First and foremost, Christopher Wool is a painter
Wool had captured the attention of the “big deal” uptown galleries This seminal exhibition, A Project: Robert Gober/Christopher Wool, featured a collaborative work, Gober’s Three Urinals and Wool’s Apocalypse Now, one of his earliest word paintings and one of only a few that are titled There was a demand for Wool’s
F Contempor˜ry Art
|Ellsworth Kelly |Raoul De Keyser |Daan Van Golden |Franz West |John Armleder |Günther Förg |Michael Krebber |Christopher Wool |Heimo Zobernig
Elements of the natural, 1950-1992 : selections from the
to the point of purification, Christopher Wool's Untitled (1991), Yayoi Kusama's Untitled (1952), and Brice Marden's Rain (1991) celebrate that aesthetic artifice which composes nature's own patterning Whether portraying the repetitive design of a creeping vine through the technique of stamping (Wool), the density of a
Press Release-Rome Italian - Gagosian
Christopher Wool è nato a Chicago nel 1955 Il suo lavoro è stato oggetto di numerose mostre a livello internazionale, tra cui personali presso i musei di arte contemporanea di San Francisco (1989) e Los Angeles (1998), e alla Kunsthalle di Basilea (1998) Le sue opere fanno parte delle
Collaborations with Parkett : [brochure] 1984 to now
Christopher Wool A R Penck Sigmar Polke Elliott Puckette Pipilotti Rist Matthew Ritchie Edward Ruscha Adrian Schiess Shirana Shahbazi Cindy Sherman David Shrigley Robert Smithson Anselm Stalder Beat Streuli N iele Toroni RosemarieTrockel Kara Walker Boyd Webb William Wegman Christopher Wool Andreas Ziist SPINE ARTISTS Ross Bleckner Louise
Download Spring Security 31 PDF by Robert Winch, Peter
Pass The Bitch Chicken: Christopher Wool & Harmony Korine The Violent Decade: A Foreign Correspondent in Europe and the Middle East, 1935-1945 YOU Rule Take Charge of Your Health and Life: A Healthy Lifestyle Guide for Teens Curtin's California Land Use and Planning Law 2010 Hero's Best Friend: An Anthology of Animal Companions
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First and foremost, Christopher Wool is a painter
and when it comes to the discourse on the viability of painting, he shows us that the medium is indeed very much still alive. Rooted deeply in contemporary experience and popular culture, Wool relays his relationship to the world through historical modes of production. Even Wool's works in other mediums visually substantiate his paintings. From pattern andword paintings to prints and photographs and artist books, Wool's work blends mechanical process with
the physical act of creation. Formal and technical constraints guide Wool as he manipulates, distortsand repeats motifs and themes creating works of art that reminds us that flaws and imperfections are what
make the world most interesting. In 1987 Christopher Wool, upon the referral of Jeff Koons, hired a young college student to be his onlystudio assistant. Over the next six years, Wool and his "right hand" worked side by side, forging a close
working relationship and friendship as they navigated the rise of Wool's artistic career.By 1987 Christopher Wool was exhibiting works
in the hip downtown galleries of New York, with soloshows at Cable Gallery in both 1984 and 1986. Working out of his raw 3,000 square foot fourth floor walkup in
Chinatown, Wool was creating large-scale paintings on aluminum panels. Wool, with the help of his assistant, built the aluminum panels from scratch, making them as large as the two of them could physically carry up the stairs to the space. They constructed a spray booth to apply a flat white layer of acrylic paint to the panelthen Wool painted using rollers, block prints, linoleum stamps and other items in search of a new visual
language. During this period in Wool's career, there were not many people coming and going from the studio. Funk, hip-hop and acid jazz streamed from the stereo. Woolbegan exploring text as imagery, appropriating words from popular culture; album covers, books and film
noir and people like James Brown and Lenny Bruce provided words for his paintings. Initially Wool would