Archives

Christopher Wool

09.23.11 - 10.16.11
Exhibition — les Abattoirs, Musée – Frac Occitanie Toulouse

Christopher Wool
Untitled, 2007

Courtesy of the artisit and Luhring Augustine, New York

Photo : Le Printemps de Septembre-à Toulouse

 

Christopher Wool
Vue d'ensemble, 2011
Courtesy of the artist and Luhring Augustine, New York

Photo : Le Printemps de Septembre-à Toulouse

 

Christopher Wool

Vue d'ensemble, 2011

Crédit photo : Le Printemps de Septembre-à Toulouse
 

Christopher Wool
Untitled, 2007

Courtesy of the artisit and Luhring Augustine, New York

Photo: TOM POWEL IMAGING, INK

Christopher Wool

Studio, Marfa, 2007

Courtesy of the artist and Luhring Augustine, New York

Photo: Christopher Wool

Christopher Wool
Untitled, 2007

Courtesy of the artist and Luhring Augustine, New York

Photo: TOM POWEL IMAGING, INK

Christopher Wool
Untitled, 2007

Courtesy of the artist and Luhring Augustine, New York

Photo: TOM POWEL IMAGING, INK

Born 1955 in Chicago (USA), he lives and works in New York.

 

In the 1980s Christopher Wool belonged to a group of New York artists whose other members included Jeff Koons, Cady Noland and Robert Gober. He became known in the 1990s for the black and white paintings in which he recycled words and sentences from songs and films, for example Fool, Bad Dog and Sell the house sell the car sell the kids (a quote from Apocalypse Now). Originally praised for its synthesis of abstraction, concrete poetry and the punk aesthetic, his work is now recognised for its innovative and very acute exploration of the potentialities of painting. Wool works to renew pictorial codes through the use of series, by allotting a central role to chance and accident, by foregrounding the process of production of the work, and by emphasising technical tools (silkscreen, Photoshop) as a means of pictorial invention. Wool also uses erasure and destruction as methods for producing images. He abandons mastery and immerses himself in the very process of painting, responding directly to the rhythms around him. Originally rooted in the energy of New York, Wool’s painting has become open to less urban forms of energy since he installed a studio in the desert at Marfa, Texas.

 

The works exhibited at les Abattoirs – Musée Frac Occitanie Toulouse reflect this new moment in his work by their format and lyrical content. He is also producing a series of posters that, following the principle of variations on a theme, will be put up around the town.