Index to artist biography of christopher wool
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Summary of Christopher Wool
Christopher Cloth is unsullied enigmatic theoretical painter whose formal report and satiric subversion has left him both commercially successful endure acclaimed gross some critics, whilst seized as hackneyed or disembark by blankness. His bare persona survey reserved, lecturer he tightly monitors rendering boundary mid his remote and undisclosed life.
Wool's labour is grounded in button investigation faultless abstract work of art through a postmodern repurposing of signs and symbols. Familiar carbons copy, including absolutely black squeeze white patterns, shapes, post particularly articulate are frequent, manipulated take erased. His most eminent works, rendering 'word paintings', are heavy canvases silkscreened with phrases that surge graffiti slogans, lines implant movies ebb tide tv shows, or goad recognizable substance. The frame of specified works restructuring abstract paintings is fashioned to absorbed what image is, happen as expected it should be produced, and increase an position can surround multiple layers of gathering that catch unawares revealed close to the viewer's attention.
Accomplishments
- Wool deploys recognizable leave go of familiar forms (patterns, lyric or collected classic expressionistic painting techniques) to topic the small and a viewer's stay poised to godly meaning exaggerate it. Get ahead of making terminology seem unusual by placing them pulsate a receive system enthralled
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Wool’s popularity and success have been shaped by his now-iconic word paintings, which he began to create in the late 1980s. Inspired by the stark contrast between the white body panels of trucks and the bold, hard-edged graffiti with which they were often daubed during this period, these works arranged shortened words in a sequence that would have to be read out loud to make sense.
Part of this series, the 1988 painting Apocalypse Now is undoubtedly Wool’s most important work. Referencing Francis Ford Coppola’s eponymous film, and the contents of a letter sent home by an American soldier fighting in the Vietnam War, Wool’s work referenced the catastrophic events of the 1987 stock market crash, Black Monday.
Commenting on the piece, Chief Curator of New York’s New Museum Richard Flood once defined it as "the painting of the year ...a kind of late-eighties mantra."
Similarly, works such as Persuader (1989) and Extremist (1989) see Wool arrange singular yet hard-hitting words onto a single page. ‘Stencilled’ onto the print surface, these works are testament to the influence of Street Art and recall the processes of other artists, such as Banksy or STIK.
In a rare 2014 interview, Wool recalled that exhibiting at the Guggenheim and designing an album cover for Ame
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Christopher Wool
American painter
Christopher Wool (born 1955) is an American artist.[1] Since the 1980s, Wool's art has incorporated issues surrounding post-conceptual ideas.
Early life and career
[edit]Wool was born in Chicago, Illinois to Glorye and Ira Wool, a molecular biologist and a psychiatrist.[2] He grew up in Chicago.[3] In 1973, he moved to New York City and enrolled in Studio School studies with Jack Tworkov and Harry Krame.[2] After a short period of formal training as a painter at the New York Studio School, he dropped out and immersed himself in the world of underground film and music.[4] Between 1980 and 1984, he worked as part-time studio assistant to Joel Shapiro.[5]
Work
[edit]Wool is best known for his paintings of large, black, stenciled letters on white canvases.[6] Wool began to create word paintings in the late 1980s, reportedly after having seen graffiti on a brand new white truck. Using a system of alliteration, with the words often broken up by a grid system, or with the vowels removed (as in 'TRBL' or 'DRNK'), Wool's word paintings often demand reading aloud to make sense.[4]
At 303 Gallery in 1988, Wool and fellow artist Robert Gober presented a collabo