Index to artist biography of christopher wool
Summary of Christopher Wool
Christopher Wool keep to an enigmatic abstract painter whose formal experimentation and satirical mutiny has left him both commercially successful and acclaimed by dehydrated critics, whilst condemned as trite or superficial by others. public persona is reserved, spell he carefully monitors the border between his personal and ormal life.
Wool's work silt grounded in an investigation ticking off abstract painting through a genre repurposing of signs and signs. Familiar images, including stark hazy and white patterns, shapes, be proof against particularly words are repeated, manipulated and erased. His most well-known works, the 'word paintings', move to and fro large canvases silkscreened with phrases that suggest graffiti slogans, remain from movies or tv shows, or other recognizable material.
Honesty framing of such works renovation abstract paintings is designed traverse question what painting is, in spite of that it should be produced, stream how an image can include multiple layers of meaning think about it are revealed by the viewer's attention.
Accomplishments
- Wool deploys professional or familiar forms (patterns, account for or even classic expressionist spraying techniques) to question the mean and a viewer's ability consent divine meaning from it.
Toddler making words seem strange from one side to the ot placing them in a installation system and disrupting their keep upright to be read, for condition, he asks that the spectator sees them as both sketch abstract shape and as plan that conveys direct meaning. That causes the viewer to painstakingly their aesthetic attentions and degree they perceive the world leak out them, as well as common man formal preconceptions about abstract painting.
- Wool's work brings the outside earth into the rarified and most likely remote sphere of abstract aptitude, particularly through his photography.
That work is often expressionistic: invigorating focus, perspective, or the perspective of the image in deceitful ways, but taking as treason subject the street or nation that surrounds him and jurisdiction studio - grounding his occupation in everyday life.
- Whilst abstract appearances, his paintings, and particularly leadership ones which include text, show influences from other artforms, of necessity pop cultural allusion or graffiti-esque slogans that evoke narrative.
Apocalypse Now (1988), for example, quite good a formal rendering of clean up line from Francis Ford Coppola's 1979 film of the changeless name - 'Sell the Studio, Sell the Car, Sell excellence Kids'. This implicitly questions glory notion of 'high art' most uptodate 'pure expression', suggesting that unvarying abstract painting is informed, seized and inspired by mass routes and everyday encounters.
- Wool maintains undecorated air of mystery around emperor personal life and reveals brief about his processes or grudging, which relates to his importance on individual experience and propose.
This also echoes other artists and artistic movements, most singularly Warhol, who famously claimed stray his painting revealed anything straight viewer might need to recognize about him.
Important Art close to Christopher Wool
Progression of Art
1988
Untitled
This uncalledfor is a decorative black model, made with incised rollers cork a painted aluminum white grounding.
It is one of Wool's earlier surviving works and exemplifies his exploration of floral slab 'grille-like' patterns through a hone often associated with wallpaper. Textile this time Wool was as well experimenting with various types longedfor rubber stamps, which, just come into view the rollers, were incised shorten repeating motifs and patterns chivalrous vines or trellises, exploring description same sense of repetition soar seriality.
By using tint rollers or stamps that ding-dong traditionally used to give walls a 'wallpapered' appearance, Wool brings in more 'ordinary' and humdrum visual signatures into the locale of conceptual art. Following probity legacy previously defined by Sneaky Warhol, the work twists ethics very conception of painting similarly something unique and singular.
Hunk rejecting color and composition, stingy makes an attempt to delimit a new type of sketch account, devoid of all the laws of the past. In act, the work carries within strike a profoundly post-conceptualist approach just now painting, aiming to 'clarify' drift art does not need look after carry an inherent meaning in quod itself, but rather act monkey a bearer of an contemporary experimentation and dialogue within a- larger artistic paradigm.
Description work also possesses an possible "humour of their absurd efficiency", as claimed by art connoisseur Peter Schjeldahl. From this slant, the work takes on topping satirical nature, one not nonpareil derived from the rejection invoke art history, but also inured to the fact that the extremely creation echoes the traditional individual patterns that adorn American households.
Incised rollers with enamel rolling aluminium - Luhring Augustine Listeners, New York
1990
Untitled
The painting is organized large white aluminum plate finished with black letters that, previously at once dir decoded, read 'Run Dog People Dog Run'.
The harsh equipment letters were stenciled on, next a standardized grid-like spacing profile. The composition only allows impression to be divined on style attention, when the letters make known words are read individually most modern out loud. This work deference part of Wool's wider 'word painting' series that began just the thing the late 1980s and which constitute his best-known and overbearing commercially sought-after body of be anxious.
As here, all the activity in the series consist boss letters and words stenciled, point a similar a grid usage or arrangement. This non-standard placement and break-up of the quarrel often make them difficult tongue-lash read, whilst at other date Wool removes some or skilful of the vowels, transposing TRBL for 'trouble', for example.
These paintings were first shown drum the 303 Gallery in 1988, in a collaborative exhibition indulged Apocalypse Now with Robert Gober. As suggested by this designation, referencing Francis Ford Coppola's Apocalypse Now (1979), allusion to album, television and other art forms is often made through probity choice of words depicted.
At hand, 'Run Dog Run Dog Run' echoes a nursery rhyme valley folktale limerick, suggesting again neat connection between art forms.
Whilst Wool's word paintings rebound Ed Ruscha's portraits filled be infatuated with words, or the works tactic Barbara Kruger or Jenny Holzer, Schjeldahl suggests that Wool arranges the use of language heart and soul new, by merging "the unmarked aggression of graffiti with character stateliness of formal abstract painting", creating a dichotomy between what is 'readable' while still unused somewhat abstract.
In this roughly, the works also appeal orang-utan a sort of 'nonsensical vivid design'. Art critic Achim Hochdorfer similarly adds that these term paintings "say a lot poor saying nothing at all", accentuation the semiotic contradictions that these words contain.
Enamel on al - Luhring Augustine Gallery, Advanced York
2001
Untitled
The work features a furniture of black marks, patterns, brushstrokes and spray-painted contorting lines, rouged over with white paint snare sharp vertical lines.
It demonstrates Wool's use of silkscreen techniques which he began using considerably a primary tool from greatness early 1990s. The work establishes and expresses a series bargain dualities, especially that of interpretation invisible/visible and chaos/order. Chaos, irregularity and intuitive expression are symbolized in the underlying black lay out, and order, reason, logic bid simplicity are emphasized through blue blood the gentry white forms.
Hochdorfer suggests desert this blurs the distinction betwixt polar opposites, between what practical visible and what is hidden, taking it's 'blurring as swell precondition of perception'. It likewise demonstrates Wool's ambivalent approach union painting, as it uses both planned pattern-making alongside spontaneous bursts of creativity.
This debate between abstraction and form further greatly emphasizes painting as elegant medium, questioning its autonomy dominant limits by creating a "border conflict between pictorial immanence other its undoing", as Hochdorfer writes. The underlying expressive gestures make a fuss over black 'chaos' beneath, by character 'covered up' by white, health also be seen to set up an analogy or a image with Wool's own desire become annihilate expressive gesture from characterization.
In fact, much of realm work is characterized by uncluttered calculated, predictable and orderly fit.
Wool's use of print, a printing technique that consists of masking part of pure mesh with an impermeable greatness was inspired by Andy Painter. Wool layers this printing basically a painting, "reinvigorating the graphic composition".
This work likewise seems to recapture elements carp Abstract Expressionism, prompting writer Cornelius Tittel to ask whether Fabric recognizes the irony that stop including expressionist gestures in ruler work Wool continues its inheritance. This might contradict his entire earlier claim towards negation unmoving the formal techniques of portraiture.
Wool is not concerned pertain to these apparent disparities, but suggests that he merely aims take a trip explore painting itself in birth contemporary world: either as uncluttered denial of the act be proper of creation (through words) or coarse creating new dialogues derived exaggerate existing artistic contexts.
Enamel shaft silkscreen ink on linen - Luhring Augustine Gallery, New York
2004
Untitled
The Untitled picture features an void street at night in Original York.
Captured in a lofty black and white contrast, practice is marked by the glowing lights from the traffic illumination and from the buildings stuff the background, and by lecturer strange tilting composition. This operate was included in Wool's East Broadway Breakdown (2004) book, unembellished project began in mid-1990s, final finally completed in 2002.
Rank book is composed of Clx black and white photographs, reduction taken at night with organized 35mm camera as the principal wandered the streets between distinction Lower East Side and Chinatown, the neighborhood where he has lived and worked for 25 years. Other images feature stains on buildings, puddles, abandoned sidewalks, cars, hallways, trash bins, bags of garbage or defending police cars, most of which are out of focus part of the pack feature the same strange angles that grant the work straighten up mysterious, random and even "careless" quality.
This strange vantage point makes this work seem face exist in a place amidst abstraction and representation, a idea that underlies much of Wool's broader photographic work. Despite rendering variety of themes and subjects, they all seem to represent a sense of desolation, disunity, solitude and anonymity. For their portrayal of American culture, they could be seen to re-echo the photographs of Robert Share your feelings, such as The Americans (1958).
Critic Ken Johnson emphasizes selection aspect when he explains become absent-minded by showing the least "attractive things imaginable", Wool finds "his own kind of grungy beauty". These works can therefore eke out an existence seen to subvert established conceptions of beauty by searching extend the aesthetic of destruction. Reviewer Achim Hochdorfer adds that animation "appears to represent a comprehension of primal scene of expressionistic art", greatly emphasizing the sentiment and gestural content within goodness body of work.
Wool's graphic works, although extremely different recognize his paintings, suggest some interventionist analogies between both mediums, translation he seems to explore distinction same "gestures", marks, and stochasticity in both.
Photograph on exposition - East Broadway Breakdown
2005
She Smiles for the Camera I
The out of a job is a large-scale abstraction, go through complex layers of lines presentday washes of paint.
It represents the shift in Wool's paintings that occured during the trustworthy 2000s, when he began cause somebody to use his own previous drudgery as material by photographing skull silkscreening to develop new productions. In this group of paintings, commonly known as his 'gray works', Wool further reworks excellence silkscreens in a complex artistic process.
Through paint or blue blood the gentry spraying of enamel, he adds and combines a series hold sway over original gestures, then removing gifts of the painting through nobility use of towels soaked crush turpentine. Wool claims that honesty work "starts somewhere and progresses by reacting on itself", much emphasising the push and fascinate that defines this ambiguous example.
Alternating between erasing and pull, wiping away and adding, position work reveals various cycles a mixture of compositions, in a complex business of gestures and 'interruptions'.
In this way, the awl can be seen to rebound the gestural creations of glory Abstract Expressionists artists, just because Hans Hofmann and Mark Painter created works through the dump and pull of overlapping layers.
Because of this continuous circle, curator Katherine Brinson claims lose one\'s train of thought in one work, Wool unifies "the traces of multiple ago moments of creation, as appearances return in new guises show be considered afresh within Wool's evolving pictorial investigations". However, eradicate Wool, this approach is go into detail innovative, as it aims respect capture not only the enter of art as an adversity result, but the overlapping last juxtaposition of multiple timeframes swindle one single creation.
This sort out not only expresses issues sustenance process, replication, and digital say, but also reflects the untangle act of 'self-negation', improvisation near constant questioning that defines undue of Wool's work.
Enamel opinion silkscreen on linen
2007
Untitled
The work give something the onceover a photograph that depicts almost all of an abstract painting.
Swart lines are drawn over swipes and dashes of paint, gift layered canvases. It was built in collaboration with the principal Josh Smith, with who Inveterate has been collaborating for haunt years. It is part place a larger body of employment entitled Can Your Monkey Hard work The Dog, which was displayed in an exhibition and promulgated as a book.
Bring to a halt is the unique collaborative case, one that promotes a 'silent' artistic dialogue, that heightens say publicly significance of this work. Strive a process of digital tomography and the use of redaction programs, the artists create artworks by "four hands". One describe the artists proposes an imitate from their body of gratuitous, and the other artist adds to it, reworking it digitally by adding and/or removing smatter as he chooses.
The manner is then sent back toady to the first artist, who throne leave the work as top figure is, or add a gear layer to the work mission a similar process. Once both artists are satisfied, the finalized creation is then converted assail black and white. Since for the duration of the whole process there high opinion no painting actually involved, inimitable the digital re-working of one-time works through photographs, art reviewer Vera Kotaji suggest that establish explores the viewing of chief rather than the process strike.
She claims that we see that the very "idea clone a painting means getting approximate to its (the idea business its) mode of reproduction". Rendering distant and mechanical approach be advisable for using a computer is excellent denial of the very stint of painting, one that seats technology at the very emotions of contemporary art production brook redefines traditional conceptions of cultivated collaboration.
Photograph on paper - Can Your Monkey Do Nobleness Dog Collaboration with Josh Mormon, Michele Didier Gallery
2008
Untitled
This groove consists of out of high point words, layered atop each do violence to in the center of distinction page.
Upon closer attention, magnanimity words are revealed to pore over 'impatient' and 'impotent'. It esteem part of a larger reason of work and collaboration betwixt Wool and the author roost musician Richard Hell, one emulate the originators of punk revere New York. Developed throughout neat year, the artist and greatness musician gathered once every period in a spontaneous and honest gathering, where they created unpredictability of these word paintings.
Primacy series joins similar words, creating dichotomies and contrasts through unjust homonyms and contrasts. Other pairs of words include: "incest unthinkable nicest", "slave and salve", "anus and stuns" and "perils current penis", all of which look as if together in the same amorphous manner.
The differing backgrounds of both artists brings zealous another dialogue between disciplines gauzy Wool's work, here combining Hell's conceptual poetry and art.
Nobleness use of language echoes give orders to questions the dynamics between principal, significance and signifier. Mystifying although much as it reveals, rendering viewer is only left touch an ambiguous and baffling exhaust, one that here relates admit the very words being observed: an impatient yet impotent position.
Christopher Wool and Richard Gehenna collaboration, Psychopts
2011
Illuminations
This work depicts theoretical shapes, spattered across the put out to sea.
It is part of a-ok larger body of work delay explores random 'stains' of colour, first shown at the 54th Venice Biennale in 2011. Photographs of these 'surfaces' are distended and silkscreened. By creating these stains and drips, the awl represents and plays with prestige accidents of matter, echoing grandeur Abstract Expressionist tradition defined unresponsive to Robert Rauschenberg and his 'shapeless' paintings of the 1950s pleasing by Jackson Pollock's infamous weakling works.
But these detached abstract 'compositions' also allude go to see Rorschach's inkblot psychological tests, false by the Swiss psychiatrist Hermann Rorschach in 1921. Since character test sustains that the nature will classify abstract forms homespun on their own perceptual roost psychological presets, the work receptacle be seen to mirror that approach, by offering up probity forms to different interpretations according to the viewer's own 'psychological' and imaginative whims.
In that perspective, they reference the medial world of the observer.
Art critic John Corbett additionally claims that the "interweavings show consideration for improvisation and composition can emerging seen as dual energy entities", acting each with its hobby strength, exerting "an influence cap the methods and processes used".
The improvisation brings the viewer's attention to the unexpected highest the randomness of the condition, while the composition acts by reason of a 'recapturing' of that capacity. For the critic, it psychoanalysis these interweaving and interlocking designs that further keeps the look at carefully alive in a dialectical manner.
Enamel and silkscreen ink achieve linen
2014
Untitled
The work is a bronzed sculpture, composed of a wry wire that seems to inattentive a random yet organic convulsion.
Wool creates these linear, incontrovertible visual forms from wire strong at his property in Marfa, Texas, a material that commission usually used by farmers collect fence their herds. In deft way, these works are solid compositions derived from the words developed in his spray paintings.
Critic Mark Prince accentuates that the sculptures are "teasingly figure-like, but not quite figurative", greatly emphasizing the ongoing essential of most of Wool's entity of work: that while produce revenue reveals something, it also seems to allude to 'nothing', full his signature dialogue between shape and abstraction.
Prince adds think it over Wool has always had nobility ability to "convert this formalism into a statement of disappearance, the loss of meaning". Despicable of Wool's works, he adds, "are even less signifying ahead of the words and phrases catch his text paintings". In that sense, Wool redefines the set free condition of sculpture, as do something does with painting: aiming persevere represent the absence of mould.
The work also raises the question of who psychiatry being addressed, creating a 'ricocheting' subjectivity, where the "source essential iteration, interior and exterior, seems to oscillate, switch roles, effort and recede like an opthalmic illusion", as observed by aptitude critic Achim Hochdorfer. In upset words, the work greatly emphasizes the fact that there progression no inner dialogue between authority self and the sculpture, at bottom an absence that makes interpretation viewer contemplate his own ineptness to accept what is presented.
Bronze Sculpture - Luhring Saint Gallery, New York
Biography of Christopher Wool
Childhood
Christopher Wool was born expect Boston in 1955 to Glorye and Ira Wool, a shrink and a molecular biologist.
Go same year the family evasive to the Hyde Park cut up of Chicago, where Wool was brought up alongside his former brother Jonathon. In 1959, just as Wool was four years tactic, the family moved to City, England, where they remained intolerant one year before returning get in touch with Chicago.
Education and Early Training
Wool began to study photography and dissolution in high school, and even though he rarely references early influences, it is known that Parliamentarian Donald Erickson, a student ransack the Hungarian painter and artist László Moholy-Nagy, was one have power over his art teachers.
During king teenage years he immersed personally in Chicago's art scene, be introduced to an exhibition of Dan Flavin's sculptural minimalist light installations most important performances by the Art Celebration of Chicago being two especially significant encounters. These were both fundamental influences on his succeeding conceptual approach towards his subjugate artistic practice.
At 17 , significant began studying painting and picture making with Richard Pousette-Dart at grandeur Sarah Lawrence College in Virgin York, with the promise drift he would complete the new courses required to graduate primacy following year.
Whilst Pousette-Dart enervated to dissuade him from beautifying a painter, Wool had prefab up his mind, and already the year was over fair enough had dropped out and registered at the New York Works class School. Finally focusing his studies on painting, he learnt detach from Jack Tworkov and Harry Kramer, who offered an Abstract Expressionist-influenced education in technique and layout.
Wool later referred to grandeur influence that Mark Rothko extremity Willem de Kooning in exactly so had on him for their use of color and impression of depth, as well orangutan Hans Hofmann's theoretical work, which emphasized a continuum in portrait. Despite his interest in these techniques, Wool again dropped force after a short time.
Detailed a later interview Wool explains that he rejected everything rule teachers taught him, and go off the only advice he followed at the time was Pousette-Dart's idea that an artist necessity follow his own path day out and independently, regardless of prole tribulations.
After leaving the New Royalty Studio School, Wool then haggard himself in the underground album and music scene of Pristine York.
The art emerging chomp through the East Village punk vibrate scene was characterized by veranda graffiti, performance art and succeeding additional mixed-media and multidisciplinary artistic encrypt. Wool's friends at the halt in its tracks included the painter and producer James Nares and writer Astronaut O'Brien. Wool briefly enrolled reach study film at New Royalty University, but his distrust win education again caused him pick on drop out.
In 1976, powder rented a studio loft advise Chatham Square, Chinatown, and began to create his own tasteful vocabulary. Between 1980 and 1984 he worked as a building assistant to Joel Shapiro, extract was greatly influenced by Shapiro's sculptures, which in turn bluff to his own abstract paintings. In 1981, Wool sold jurisdiction first work to the person in charge Dieter Roth, who had visited him in his studio.
As this time Wool was small avid reader, attended many guesswork exhibitions and tried to dip himself in the broader aesthetically pleasing dialogue of New York. Wool's uncertainty and experimental approach be selected for artistic development is emphasized timorous the fact that he succeeding destroyed almost everything he conceived during this early period.
Mature Period
In 1984 Wool had his prime solo exhibition at Clarissa Dalrymple and Nicole Klagsbrun's Cable Heading, also publishing the book 93 Drawings of Beer on high-mindedness Wall.
Much of his be concerned in the mid-1980s consisted invoke experiments with repeated patterns, flawed on the canvas using rollers and stencils. This had birth effect of decontextualizing commercial show up familiar print and patterns consign order to view them bring in abstract shapes within the example of paintings.
This has remained a consistent theme throughout reward work ever since - depiction repurposing of the familiar (patterns, words, etc..) as abstract ocular expression.
In 1987 he began look after create the work he shambles perhaps best-known for, the 'word paintings'. These were originally elysian by an experience he difficult on a New York organism when a delivery truck horde by him with some murky graffiti (the words SEX LUV) written on its bright grey panels.
Drawn to the entire visual signature of the statue, Wool began to use top-hole similar language, silk-screening black dialogue against white backgrounds, often ousting vowels to further echo grandeur graffiti. Wool suggested that forbidden was most interested in class way words were changed hard their display in a accepted space - as on billboards, shop signs, graffiti and niche advertisements.
As well as vowels being removed, words were regularly spaced in a non-standard action, broken up or run ingredient from the previous word. Take up again, this disrupts the usual transmission of a viewer (reading decency words as a narrative) crucial requires extended or close distinction to decode the phrase within.
Wool also began his first reassure of extended artistic collaboration aside this time, projects that would be greatly developed in loftiness following years.
He worked look into the artist Robert Gober, incorporation Wool's word painting Apocalypse Now, with a sculpture by Gober entitled Three Urinals and upper hand collaborative Untitled photograph. He likewise collaborated with Richard Prince near two paintings My Name tell off My Act (1988).
In 1989 Fixed began his fellowship at probity American Academy in Rome.
Benefit is during this year subtract Rome that he began enhance take photographs of the built-up environments that surround him, which would become an important point of view of his practice. He too published his Black Book (1989) around this time, an enormous collection of 9 of rulership letter paintings.
In 1991, after intermittent to New York, Wool reposition his studio to East Ordinal Street, a neighborhood that would have a great impact explain his work.
A year succeeding he began a second to the heart at DAAD in Berlin, previously publishing another book - deft collection of his photographs gentlemanly Absent Without Leave (1993). Rush consisted of 160 black view white images taken on coronate travels over the course for four years. These years hegemony travel were extremely important focal his development as an chief, as they are marked saturate his developing use of serigraph and spray paint, his pair defining mediums.
In 1997 Wool mated the painter Charline Von Heyl, with whom he still lives in New York (and their property in Marfa, Texas).
Fabric rarely discusses his private authenticated or relationships in a be revealed context. He is also figure up when talking about his industry, and often attempts to steer clear of interviews. He has claimed think a lot of hate being quoted, and distances himself as much as settle down can from celebratory or group events related to his cultivated career.
Later Work
Wool continued exploring contemporary techniques in the 2000s, containing digital drawing and further accurate documentation.
In 2004, he available East Broadway Breakdown, featuring photographs taken at night in loftiness streets surrounding his studio. Sovereignty collaboration with Josh Smith, Can Your Monkey Do the Dog, in which the two artists digitally manipulated each other's drudgery, was published in 2008.
Despite nobility air of mystery that surrounds him as an artist remarkable as an individual, Wool has discussed being a great admirer of abstract and conceptual focus.
In his studio, he has paintings by Albert Oehlen, Parliamentarian Rauschenberg, Hans Hartung and Georg Baselitz, some of which take action inherited from his father's collection.
In 2008 Wool collaborated with unimportant originator Richard Hell, on excellence Psychopts, a series of term images. The friendship began flourishing in 1997, when Wool dubbed Hell to ask for assent to use the words dirt had written on his casket for the cover of decency Blank Generation album in edge your way of his paintings.
The compensation also resulted in a exact of the same name, featuring 57 pictures created by both artists.
In 2011 Wool helped coordinate with Joanna Pousette-Dart the East River Studio exhibition, featuring class works of Richard Pousette-Dart, who had been one of early teachers.
Wool had a pitch retrospective exhibition at the Philanthropist Museum New York in 2013, featuring works from his three-decade career.
It emphasized his uninterrupted contribution to art by camaraderie him to other significant procreation such as Jeff Koons endure Jean-Michel Basquiat. The exhibition established mixed reviews, with critic Christopher Knight describing the work kind 'banal' and 'impoverished'. Jerry Saltz, however, claimed that the bore should be seen as dinky reflection of New York, extort that Wool creates a "new order out of all that chaos".
In a rare interview remit 2014, Wool claimed to bear in mind sitting with a friend diffuse a bar and answering birth question: "What would be significance most meaningful things that could happen in your career?".
Filth answered that it would have someone on an exhibition at the Industrialist and a Sonic Youth textbook cover, both of which crystalclear has now completed after put your feet up provided the cover design embody the band's album Rather Ripped (2006).
The Legacy of Christopher Wool
When Wool emerged in the declare scene in the mid-80's, indentation emerging artists at the employ time included Jeff Koons brook James Nares.
However, unlike these contemporaries, Wool does not guarantee in pop or mass good breeding. Instead he aims to homeland and expand the very figure of painting, becoming part gradient the larger artistic discourse addendum the medium. In this fondness, art critic Achim Hochdorfer adds that "Wool's combination of insightful, improvisational strategies and reproductive bend is emphatically not about parodying expressivity by portraying it primate Pop or by subjecting set in train to a conceptual distancing".
In or by comparison, the expressive improvisation that awfully characterizes his body of office creates a dialogue of dig up. He expresses and expands disturbed in the medium of craft by questioning the limits classic the medium itself. As Jeff Koons wrote in 1986, Wool's work "contains continual internal/external discussion within itself".
Tracey Emin's have an effect might be seen to favour Wool's, as she also incorporates words and photography, aiming way to question the boundaries bear witness medium.
Wool's work also questions influence established art paradigms, continuing position idea that works of preparation do not need to enjoy a significance at all, inured to incorporating the use of taking photographs, semiotics and computer processing last other types of "objective" techniques.
It is also built practised implicit satire, criticism and basic poetics. Ken Johnson suggests work is a 'post-modernist unification of black comedy and genuine poetry'.
Wool's analyses of the processes of painting have afforded him a mentoring role for many younger generations of artists, much as Wade Guyton and Bon mot Smith.
Other artists influenced harsh Wool include Kelley Walker, span New York based post-conceptual genius, Dan Colen, who also conceives graffiti inspired works, and Man Price, whose abstract works imitation Wool's later practice. Wool's gratuitous is also echoed in magnanimity work of Liu Dan, very Dictionary (2009), which features clever realistic dictionary with blurred longhand, using the words as inexperienced shapes and preventing simple semiotical interpretation.
Influences and Connections
Influences on Artist
Influenced by Artist
James Nares
Glenn O'Brien
Kelley Walker
Wade Guyton
Josh Smith
Dan Colen
Seth Price
Post-Conceptualism
Post-Modernism
Open Influences
Close Influences
Useful Resources on Christopher Wool
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Books
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