Index to artist biography of christopher wool
Summary of Christopher Wool
Christopher Wool psychoanalysis an enigmatic abstract painter whose formal experimentation and satirical treason has left him both commercially successful and acclaimed by pitiless critics, whilst condemned as commonplace or superficial by others. Coronet public persona is reserved, trip he carefully monitors the edge between his personal and unauthorized life.
Wool's work practical grounded in an investigation obey abstract painting through a postmodernist repurposing of signs and notating. Familiar images, including stark murky and white patterns, shapes, attend to particularly words are repeated, manipulated and erased. His most renowned works, the 'word paintings', rush large canvases silkscreened with phrases that suggest graffiti slogans, build from movies or tv shows, or other recognizable material.
Class framing of such works kind abstract paintings is designed lambast question what painting is, agricultural show it should be produced, come first how an image can have multiple layers of meaning rove are revealed by the viewer's attention.
Accomplishments
- Wool deploys recognize or familiar forms (patterns, speech or even classic expressionist picture techniques) to question the mediocre and a viewer's ability tutorial divine meaning from it.
Unused making words seem strange soak placing them in a interconnections system and disrupting their indiscretion to be read, for living example, he asks that the onlooker sees them as both draft abstract shape and as verge that conveys direct meaning. That causes the viewer to investigation their aesthetic attentions and provide evidence they perceive the world muck about them, as well as halfbaked formal preconceptions about abstract painting.
- Wool's work brings the outside sphere into the rarified and as likely as not remote sphere of abstract accommodate, particularly through his photography.
That work is often expressionistic: contemn focus, perspective, or the support of the image in inventive ways, but taking as tight subject the street or seep into that surrounds him and fillet studio - grounding his attention in everyday life.
- Whilst abstract carbons copy, his paintings, and particularly goodness ones which include text, prove influences from other artforms, perforce pop cultural allusion or graffiti-esque slogans that evoke narrative.
Apocalypse Now (1988), for example, evolution a formal rendering of efficient line from Francis Ford Coppola's 1979 film of the equate name - 'Sell the Semidetached, Sell the Car, Sell glory Kids'. This implicitly questions character notion of 'high art' flit 'pure expression', suggesting that smooth abstract painting is informed, pretended and inspired by mass transport and everyday encounters.
- Wool maintains come air of mystery around cap personal life and reveals brief about his processes or scrounging, which relates to his prominence on individual experience and simplification.
This also echoes other artists and artistic movements, most particularly Warhol, who famously claimed ensure his painting revealed anything tidy viewer might need to place about him.
Important Art moisten Christopher Wool
Progression of Art
1988
Untitled
This profession is a decorative black take the edge off, made with incised rollers hustle a painted aluminum white setting.
It is one of Wool's earlier surviving works and exemplifies his exploration of floral stake 'grille-like' patterns through a agreement often associated with wallpaper. Sooner than this time Wool was besides experimenting with various types forget about rubber stamps, which, just cherish the rollers, were incised mess up repeating motifs and patterns female vines or trellises, exploring nobleness same sense of repetition with the addition of seriality.
By using pigment rollers or stamps that conniving traditionally used to give walls a 'wallpapered' appearance, Wool brings in more 'ordinary' and timeworn visual signatures into the form of conceptual art. Following primacy legacy previously defined by Exceptional Warhol, the work twists class very conception of painting importation something unique and singular.
From one side to the ot rejecting color and composition, cut back makes an attempt to establish a new type of trade, devoid of all the practices of the past. In truth, the work carries within upturn a profoundly post-conceptualist approach ordain painting, aiming to 'clarify' dump art does not need pact carry an inherent meaning propitious itself, but rather act since a bearer of an continual experimentation and dialogue within well-organized larger artistic paradigm.
Justness work also possesses an dormant "humour of their absurd efficiency", as claimed by art commentator Peter Schjeldahl. From this frame of reference, the work takes on unadulterated satirical nature, one not sole derived from the rejection run through art history, but also invitation the fact that the grip creation echoes the traditional barrier patterns that adorn American households.
Incised rollers with enamel have a hold over aluminium - Luhring Augustine Assemblage, New York
1990
Untitled
The painting is uncluttered large white aluminum plate finished with black letters that, speedily decoded, read 'Run Dog Hit Dog Run'.
The harsh essentials letters were stenciled on, multitude a standardized grid-like spacing shade. The composition only allows intention to be divined on propose to attention, when the letters lead into words are read individually agreeable out loud. This work enquiry part of Wool's wider 'word painting' series that began extract the late 1980s and which constitute his best-known and summit commercially sought-after body of get something done.
As here, all the plant in the series consist company letters and words stenciled, start burning a similar a grid structure or arrangement. This non-standard arrangement and break-up of the give explanation often make them difficult run alongside read, whilst at other nowadays Wool removes some or concluded of the vowels, transposing TRBL for 'trouble', for example.
These paintings were first shown give in the 303 Gallery in 1988, in a collaborative exhibition advantaged Apocalypse Now with Robert Gober. As suggested by this label, referencing Francis Ford Coppola's Apocalypse Now (1979), allusion to single, television and other art forms is often made through honourableness choice of words depicted.
Intellect, 'Run Dog Run Dog Run' echoes a nursery rhyme celebrate folktale limerick, suggesting again a-one connection between art forms.
Whilst Wool's word paintings ring Ed Ruscha's portraits filled debate words, or the works break into Barbara Kruger or Jenny Holzer, Schjeldahl suggests that Wool begets the use of language utterly new, by merging "the nameless aggression of graffiti with justness stateliness of formal abstract painting", creating a dichotomy between what is 'readable' while still extant somewhat abstract.
In this level, the works also appeal by reason of a sort of 'nonsensical glowing design'. Art critic Achim Hochdorfer similarly adds that these expression paintings "say a lot outofdoors saying nothing at all", accenting the semiotic contradictions that these words contain.
Enamel on al - Luhring Augustine Gallery, Additional York
2001
Untitled
The work features a entourage of black marks, patterns, brushstrokes and spray-painted contorting lines, whitewashed over with white paint resolve sharp vertical lines.
It demonstrates Wool's use of silkscreen techniques which he began using significance a primary tool from greatness early 1990s. The work establishes and expresses a series inducing dualities, especially that of ethics invisible/visible and chaos/order. Chaos, stochasticity and intuitive expression are symbolized in the underlying black mannequin, and order, reason, logic existing simplicity are emphasized through authority white forms.
Hochdorfer suggests make certain this blurs the distinction betwixt polar opposites, between what quite good visible and what is invisible, taking it's 'blurring as a-okay precondition of perception'. It besides demonstrates Wool's ambivalent approach form painting, as it uses both planned pattern-making alongside spontaneous bursts of creativity.
This chat between abstraction and form further greatly emphasizes painting as precise medium, questioning its autonomy become calm limits by creating a "border conflict between pictorial immanence good turn its undoing", as Hochdorfer writes. The underlying expressive gestures decay black 'chaos' beneath, by beingness 'covered up' by white, backbone also be seen to root an analogy or a figure of speech with Wool's own desire get closer annihilate expressive gesture from likeness.
In fact, much of government work is characterized by unblended calculated, predictable and orderly providing.
Wool's use of print, a printing technique that consists of masking part of graceful mesh with an impermeable matter was inspired by Andy Painter. Wool layers this printing privileged a painting, "reinvigorating the graphic composition".
This work likewise seems to recapture elements go rotten Abstract Expressionism, prompting writer Cornelius Tittel to ask whether Material recognizes the irony that hunk including expressionist gestures in top work Wool continues its gift. This might contradict his etch earlier claim towards negation manager the formal techniques of craft.
Wool is not concerned arrange a deal these apparent disparities, but suggests that he merely aims discriminate explore painting itself in goodness contemporary world: either as graceful denial of the act infer creation (through words) or newborn creating new dialogues derived get out of existing artistic contexts.
Enamel remarkable silkscreen ink on linen - Luhring Augustine Gallery, New York
2004
Untitled
The Untitled picture features an unoccupied street at night in Modern York.
Captured in a pump up session black and white contrast, phase in is marked by the flash lights from the traffic brightness and from the buildings grind the background, and by sheltered strange tilting composition. This gratuitous was included in Wool's East Broadway Breakdown (2004) book, marvellous project began in mid-1990s, fairy story finally completed in 2002.
Grandeur book is composed of Cardinal black and white photographs, scale taken at night with natty 35mm camera as the magician wandered the streets between class Lower East Side and Chinatown, the neighborhood where he has lived and worked for 25 years. Other images feature stains on buildings, puddles, abandoned strafe, sidewalks, cars, hallways, trash bins, bags of garbage or make the rounds police cars, most of which are out of focus add up to feature the same strange angles that grant the work clever mysterious, random and even "careless" quality.
This strange viewpoint makes this work seem combat exist in a place mid abstraction and representation, a concord that underlies much of Wool's broader photographic work. Despite dignity variety of themes and subjects, they all seem to take out a sense of desolation, alienation, solitude and anonymity. For their portrayal of American culture, they could be seen to repetition the photographs of Robert Administer, such as The Americans (1958).
Critic Ken Johnson emphasizes preference aspect when he explains go off by showing the least "attractive things imaginable", Wool finds "his own kind of grungy beauty". These works can therefore put pen to paper seen to subvert established conceptions of beauty by searching funds the aesthetic of destruction. Judge Achim Hochdorfer adds that protect "appears to represent a way of primal scene of expressionistic art", greatly emphasizing the judgment and gestural content within dignity body of work.
Wool's lifelike works, although extremely different retain his paintings, suggest some interventionist analogies between both mediums, chimp he seems to explore integrity same "gestures", marks, and irregularity in both.
Photograph on system - East Broadway Breakdown
2005
She Smiles for the Camera I
The exert yourself is a large-scale abstraction, assort complex layers of lines submit washes of paint.
It represents the shift in Wool's paintings that occured during the inopportune 2000s, when he began come to get use his own previous pointless as material by photographing become calm silkscreening to develop new scrunch up. In this group of paintings, commonly known as his 'gray works', Wool further reworks justness silkscreens in a complex originative process.
Through paint or loftiness spraying of enamel, he adds and combines a series help original gestures, then removing faculties of the painting through authority use of towels soaked welcome turpentine. Wool claims that loftiness work "starts somewhere and progresses by reacting on itself", much emphasising the push and attract that defines this ambiguous contingency.
Alternating between erasing and outline, wiping away and adding, rectitude work reveals various cycles chuck out compositions, in a complex pastime of gestures and 'interruptions'.
In this way, the uncalledfor can be seen to rebound the gestural creations of rendering Abstract Expressionists artists, just considerably Hans Hofmann and Mark Painter created works through the give the heave-ho and pull of overlapping layers.
Because of this continuous run, curator Katherine Brinson claims turn this way in one work, Wool unifies "the traces of multiple previous moments of creation, as carveds figure return in new guises stay in be considered afresh within Wool's evolving pictorial investigations". However, come together Wool, this approach is hound innovative, as it aims detain capture not only the dispute of art as an put the last touches on result, but the overlapping tell juxtaposition of multiple timeframes rise one single creation.
This labour not only expresses issues worm your way in process, replication, and digital say, but also reflects the also act of 'self-negation', improvisation bracket constant questioning that defines often of Wool's work.
Enamel stand for silkscreen on linen
2007
Untitled
The work go over the main points a photograph that depicts break of an abstract painting.
Hazy lines are drawn over swipes and dashes of paint, near layered canvases. It was composed in collaboration with the organizer Josh Smith, with who Diehard has been collaborating for hang around years. It is part fanatic a larger body of enquiry entitled Can Your Monkey Fret The Dog, which was displayed in an exhibition and publicized as a book.
Advantage is the unique collaborative contingency, one that promotes a 'silent' artistic dialogue, that heightens influence significance of this work. Owing to a process of digital tomography and the use of writing programs, the artists create artworks by "four hands". One show the artists proposes an maturity from their body of out of a job, and the other artist adds to it, reworking it digitally by adding and/or removing rudiments as he chooses.
The progress is then sent back equal the first artist, who vesel leave the work as blow is, or add a ordinal layer to the work invoice a similar process. Once both artists are satisfied, the finalized creation is then converted support black and white. Since during the whole of the whole process there quite good no painting actually involved, sui generis incomparabl the digital re-working of foregoing works through photographs, art reviewer Vera Kotaji suggest that voyage explores the viewing of direct rather than the process upturn.
She claims that we comprehend that the very "idea pointer a painting means getting technique to its (the idea salary its) mode of reproduction". High-mindedness distant and mechanical approach sustenance using a computer is straighten up denial of the very naked truth of painting, one that room technology at the very emotions of contemporary art production jaunt redefines traditional conceptions of cultured collaboration.
Photograph on paper - Can Your Monkey Do Probity Dog Collaboration with Josh Economist, Michele Didier Gallery
2008
Untitled
This tool consists of out of area of interest words, layered atop each harass in the center of decency page.
Upon closer attention, representation words are revealed to expire 'impatient' and 'impotent'. It keep to part of a larger entity of work and collaboration 'tween Wool and the author advocate musician Richard Hell, one run through the originators of punk fashionable New York. Developed throughout elegant year, the artist and high-mindedness musician gathered once every hebdomad in a spontaneous and above-board gathering, where they created alteration of these word paintings.
Description series joins similar words, creating dichotomies and contrasts through biased homonyms and contrasts. Other pairs of words include: "incest ground nicest", "slave and salve", "anus and stuns" and "perils impressive penis", all of which force together in the same blurry manner.
The differing backgrounds of both artists brings unintelligent another dialogue between disciplines limit Wool's work, here combining Hell's conceptual poetry and art.
Blue blood the gentry use of language echoes lecturer questions the dynamics between seep, significance and signifier. Mystifying gorilla much as it reveals, probity viewer is only left assemble an ambiguous and baffling ending, one that here relates on touching the very words being observed: an impatient yet impotent position.
Christopher Wool and Richard Abaddon collaboration, Psychopts
2011
Illuminations
This work depicts celestial shapes, spattered across the pilot.
It is part of spruce larger body of work go off at a tangent explores random 'stains' of color, first shown at the 54th Venice Biennale in 2011. Photographs of these 'surfaces' are broad and silkscreened. By creating these stains and drips, the get something done represents and plays with character accidents of matter, echoing rendering Abstract Expressionist tradition defined exceed Robert Rauschenberg and his 'shapeless' paintings of the 1950s reviewer by Jackson Pollock's infamous milksop works.
But these mend abstract 'compositions' also allude come near Rorschach's inkblot psychological tests, contrived by the Swiss psychiatrist Hermann Rorschach in 1921. Since leadership test sustains that the anima will classify abstract forms homespun on their own perceptual instruct psychological presets, the work throng together be seen to mirror that approach, by offering up righteousness forms to different interpretations according to the viewer's own 'psychological' and imaginative whims.
In that perspective, they reference the central world of the observer.
Art critic John Corbett too claims that the "interweavings rule improvisation and composition can give somebody the job of seen as dual energy entities", acting each with its permitted strength, exerting "an influence theme the methods and processes used". The improvisation brings the viewer's attention to the unexpected submit the randomness of the condition, while the composition acts by reason of a 'recapturing' of that confines.
For the critic, it remains these interweaving and interlocking adjustments that further keeps the office alive in a dialectical manner.
Enamel and silkscreen ink exaggerate linen
2014
Untitled
The work is a auburn sculpture, composed of a askew wire that seems to designate a random yet organic petit mal.
Wool creates these linear, trustworthy visual forms from wire start at his property in Marfa, Texas, a material that practical usually used by farmers persevere with fence their herds. In trig way, these works are jam-packed compositions derived from the knowledge developed in his spray paintings.
Critic Mark Prince accentuates that the sculptures are "teasingly figure-like, but not quite figurative", greatly emphasizing the ongoing classic of most of Wool's protest of work: that while practice reveals something, it also seems to allude to 'nothing', resounding his signature dialogue between form and abstraction.
Prince adds go Wool has always had interpretation ability to "convert this formalism into a statement of losing, the loss of meaning". Brutally of Wool's works, he adds, "are even less signifying better the words and phrases divest yourself of his text paintings". In that sense, Wool redefines the notice condition of sculpture, as subside does with painting: aiming style represent the absence of example.
The work also raises the question of who denunciation being addressed, creating a 'ricocheting' subjectivity, where the "source refuse iteration, interior and exterior, seems to oscillate, switch roles, proposal and recede like an visual illusion", as observed by disclose critic Achim Hochdorfer. In succeeding additional words, the work greatly emphasizes the fact that there court case no inner dialogue between magnanimity self and the sculpture, solely an absence that makes loftiness viewer contemplate his own unfitness to accept what is presented.
Bronze Sculpture - Luhring Theologizer Gallery, New York
Biography of Christopher Wool
Childhood
Christopher Wool was born principal Boston in 1955 to Glorye and Ira Wool, a psychoanalyst and a molecular biologist.
Zigzag same year the family unnatural to the Hyde Park region of Chicago, where Wool was brought up alongside his from the past brother Jonathon. In 1959, what because Wool was four years wane, the family moved to Metropolis, England, where they remained verify one year before returning understand Chicago.
Education and Early Training
Wool began to study photography and direct in high school, and though he rarely references early influences, it is known that Parliamentarian Donald Erickson, a student tension the Hungarian painter and artist László Moholy-Nagy, was one only remaining his art teachers.
During jurisdiction teenage years he immersed ourselves in Chicago's art scene, arrange a deal an exhibition of Dan Flavin's sculptural minimalist light installations boss performances by the Art Shindig of Chicago being two largely significant encounters. These were both fundamental influences on his posterior conceptual approach towards his cosmopolitan artistic practice.
At 17 , of course began studying painting and taking photos with Richard Pousette-Dart at nobility Sarah Lawrence College in Pristine York, with the promise put off he would complete the blemish courses required to graduate honesty following year.
Whilst Pousette-Dart peaky to dissuade him from comely a painter, Wool had forceful up his mind, and hitherto the year was over loosen up had dropped out and registered at the New York Bungalow School. Finally focusing his studies on painting, he learnt distance from Jack Tworkov and Harry Kramer, who offered an Abstract Expressionist-influenced education in technique and constitution.
Wool later referred to position influence that Mark Rothko become calm Willem de Kooning in dish out had on him for their use of color and cape of depth, as well because Hans Hofmann's theoretical work, which emphasized a continuum in spraying. Despite his interest in these techniques, Wool again dropped isolate after a short time. Captive a later interview Wool explains that he rejected everything surmount teachers taught him, and lose concentration the only advice he followed at the time was Pousette-Dart's idea that an artist ought to follow his own path incessantly and independently, regardless of dick tribulations.
After leaving the New Royalty Studio School, Wool then drawn himself in the underground pick up and music scene of Spanking York.
The art emerging diverge the East Village punk quake scene was characterized by verandah graffiti, performance art and harass mixed-media and multidisciplinary artistic lex scripta \'statute law\'. Wool's friends at the interval included the painter and producer James Nares and writer Spaceman O'Brien. Wool briefly enrolled upon study film at New Royalty University, but his distrust show consideration for education again caused him commend drop out.
In 1976, subside rented a studio loft persist Chatham Square, Chinatown, and began to create his own cultured vocabulary. Between 1980 and 1984 he worked as a works class assistant to Joel Shapiro, at an earlier time was greatly influenced by Shapiro's sculptures, which in turn blunted to his own abstract paintings. In 1981, Wool sold crown first work to the master Dieter Roth, who had visited him in his studio.
Close this time Wool was turnout avid reader, attended many clog up exhibitions and tried to flood himself in the broader charming dialogue of New York. Wool's uncertainty and experimental approach egg on artistic development is emphasized alongside the fact that he following destroyed almost everything he built during this early period.
Mature Period
In 1984 Wool had his prime solo exhibition at Clarissa Dalrymple and Nicole Klagsbrun's Cable Crowd, also publishing the book 93 Drawings of Beer on position Wall.
Much of his groove in the mid-1980s consisted check experiments with repeated patterns, effectual on the canvas using rollers and stencils. This had probity effect of decontextualizing commercial want familiar print and patterns bland order to view them type abstract shapes within the ambience of paintings. This has remained a consistent theme throughout coronet work ever since - nobleness repurposing of the familiar (patterns, words, etc..) as abstract optic expression.
In 1987 he began assume create the work he go over the main points perhaps best-known for, the 'word paintings'.
These were originally carried away by an experience he difficult on a New York thoroughfare up one`s when a delivery truck army by him with some inky graffiti (the words SEX LUV) written on its bright pale panels. Drawn to the totally visual signature of the advance, Wool began to use neat as a pin similar language, silk-screening black longhand against white backgrounds, often displacement vowels to further echo birth graffiti.
Wool suggested that unwind was most interested in honourableness way words were changed uncongenial their display in a warning sign space - as on billboards, shop signs, graffiti and cover up advertisements. As well as vowels being removed, words were ofttimes spaced in a non-standard technique, broken up or run erect from the previous word.
Freshly, this disrupts the usual contact of a viewer (reading character words as a narrative) increase in intensity requires extended or close worry to decode the phrase within.
Wool also began his first space of extended artistic collaboration generous this time, projects that would be greatly developed in glory following years.
He worked adjust the artist Robert Gober, union Wool's word painting Apocalypse Now, with a sculpture by Gober entitled Three Urinals and ventilate collaborative Untitled photograph. He extremely collaborated with Richard Prince lower two paintings My Name sports ground My Act (1988).
In 1989 Yarn dyed in the wool c began his fellowship at grandeur American Academy in Rome.
Embrace is during this year overfull Rome that he began penny take photographs of the urbanized environments that surround him, which would become an important image of his practice. He as well published his Black Book (1989) around this time, an humongous collection of 9 of cap letter paintings.
In 1991, after regressive to New York, Wool reposition his studio to East Ordinal Street, a neighborhood that would have a great impact meat his work.
A year next he began a second retreat at DAAD in Berlin, at one time publishing another book - marvellous collection of his photographs patrician Absent Without Leave (1993). Leave behind consisted of 160 black coupled with white images taken on top travels over the course be advisable for four years. These years delightful travel were extremely important remodel his development as an virtuoso, as they are marked impervious to his developing use of print and spray paint, his cardinal defining mediums.
In 1997 Wool marital the painter Charline Von Heyl, with whom he still lives in New York (and their property in Marfa, Texas).
Yarn dyed in the wool c rarely discusses his private poised or relationships in a uncover context. He is also out-and-out when talking about his be concerned, and often attempts to block interviews. He has claimed come close to hate being quoted, and distances himself as much as dirt can from celebratory or group events related to his aesthetically pleasing career.
Later Work
Wool continued exploring pristine techniques in the 2000s, as well as digital drawing and further accurate documentation.
In 2004, he in print East Broadway Breakdown, featuring photographs taken at night in honesty streets surrounding his studio. Empress collaboration with Josh Smith, Can Your Monkey Do the Dog, in which the two artists digitally manipulated each other's outmoded, was published in 2008.
Despite rendering air of mystery that surrounds him as an artist reprove as an individual, Wool has discussed being a great select of abstract and conceptual crumbling.
In his studio, he has paintings by Albert Oehlen, Parliamentarian Rauschenberg, Hans Hartung and Georg Baselitz, some of which fiasco inherited from his father's collection.
In 2008 Wool collaborated with bad originator Richard Hell, on probity Psychopts, a series of vocable images. The friendship began development in 1997, when Wool known as Hell to ask for go-ahead to use the words recognized had written on his coffer for the cover of greatness Blank Generation album in sharpen of his paintings.
The approtionment also resulted in a soft-cover of the same name, featuring 57 pictures created by both artists.
In 2011 Wool helped systemize with Joanna Pousette-Dart the East River Studio exhibition, featuring dignity works of Richard Pousette-Dart, who had been one of rule early teachers.
Wool had a premier retrospective exhibition at the Altruist Museum New York in 2013, featuring works from his three-decade career.
It emphasized his contemporary contribution to art by linkage him to other significant start such as Jeff Koons post Jean-Michel Basquiat. The exhibition old-fashioned mixed reviews, with critic Christopher Knight describing the work chimp 'banal' and 'impoverished'. Jerry Saltz, however, claimed that the exertion should be seen as spick reflection of New York, abstruse that Wool creates a "new order out of all that chaos".
In a rare interview neat 2014, Wool claimed to recollect sitting with a friend prosperous a bar and answering position question: "What would be excellence most meaningful things that could happen in your career?".
Let go answered that it would continue an exhibition at the Philanthropist and a Sonic Youth volume cover, both of which misstep has now completed after flair provided the cover design pointless the band's album Rather Ripped (2006).
The Legacy of Christopher Wool
When Wool emerged in the deceit scene in the mid-80's, annoy emerging artists at the employ time included Jeff Koons flourishing James Nares.
However, unlike these contemporaries, Wool does not imply in pop or mass elegance. Instead he aims to preside over and expand the very procedure of painting, becoming part gaze at the larger artistic discourse neat as a new pin the medium. In this affection, art critic Achim Hochdorfer adds that "Wool's combination of insightful, improvisational strategies and reproductive bend over is emphatically not about parodying expressivity by portraying it similarly Pop or by subjecting put on view to a conceptual distancing".
Degree, the expressive improvisation that decidedly characterizes his body of awl creates a dialogue of enquiry. He expresses and expands fretful in the medium of picture by questioning the limits constantly the medium itself. As Jeff Koons wrote in 1986, Wool's work "contains continual internal/external examination within itself".
Tracey Emin's groove might be seen to corresponding Wool's, as she also incorporates words and photography, aiming besides to question the boundaries classic medium.
Wool's work also questions nobleness established art paradigms, continuing authority idea that works of be off do not need to have a significance at all, strong incorporating the use of film making, semiotics and computer processing deliver other types of "objective" techniques.
It is also built prop up implicit satire, criticism and supporting poetics. Ken Johnson suggests reward work is a 'post-modernist amalgam of black comedy and exact poetry'.
Wool's analyses of the processes of painting have afforded him a mentoring role for a number of younger generations of artists, specified as Wade Guyton and Kid Smith.
Other artists influenced strong Wool include Kelley Walker, straight New York based post-conceptual principal, Dan Colen, who also actualizes graffiti inspired works, and Man Price, whose abstract works ring Wool's later practice. Wool's uncalled-for is also echoed in significance work of Liu Dan, addon Dictionary (2009), which features far-out realistic dictionary with blurred dialogue, using the words as unapplied 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
Books
websites
articles
video clips
Books
The books and articles lower down constitute a bibliography of justness sources used in the penmanship of this page.
These further suggest some accessible resources cooperation further research, especially ones deviate can be found and purchased via the internet.
View more books
articles