christopher wool interview

Trouble (1989),Untitled (Sex and Luv) (1987) and Blue Fool (1990), would all shine on their own in a gallery or a group show with other work. And I have no trouble, by the way, David R., in reconciling nihilism with productivity. ‘In the recent works of 1997, overpainting with white becomes very specifically about erasure – erasure as a process of producing and articulating an image’ (C. Wool, interview with A. Goldstein, (ed. It’s really interesting with art-movies too, but art especially-to see how your attitude toward artists and works and your level of appreciation of them is always shifting and changing over the years. or by the way in the rectangle format, that for some time has not been a given for painters, indicate bad boy or punk in art, but an affiliation with attitudes of renewal. In a way, though, perhaps Wool is influencing late de Kooning, in the sense that de Kooning insisted that HE influenced the old masters. By experiential space, I meant that some paintings are made to construct a kind of experience that unfolds, and use that manner of unfolding to reveal what they are about and some paintings are using other means to communicate. by using glass or a mirror as does Gerhard Richter. The darkness in these photos works much like the wipes in the later paintings. From across the room the patterned flowers take on a kind of all over character, loosing their more decorative aspects to the overriding gestalt. . They had absolute fearlessness.CHRISTOPHER WOOL. CHRISTOPHER WOOL — When Grace Slick sings it, I believe it. It’s often the case that the making of a painting is not always visible in the viewed work. To be in a room of Islamic carpets and bring back a desultory black and white snapshot that you’ve had printed from a crappy camera and then Xeroxed. He did a book of the Polaroids he would take of his paintings as he went along, pictures at various points in the process of making a single painting. CW: Despite all the attention paid to art right now, you could easily argue that it’s dead, too. His first one-man show was at the legendary Cable Gallery in 1984, and since then, he has showed his bold word paintings; edgy, energetic pattern paintings; and revolutionary, quietly startling manipulated abstract paintings in galleries and museums around the world. Reserve to Receive Zoom Details, Famous Artists of Williamsburg Pop-up Covid Survival Exhibit & Very Excellent Art Sale, Autonomous Brushwork: Warhol, Wool, Guyton at Nahmad Contemporary, L’Orientaliste on the Continent: Robert Janitz in Berlin, Surface Tension: William Corwin on Amalia Piccinini and Stephen Maine, Punchline in Search of a Comedian: Jayson Musson takes on Nancy, Abstraction Goes Underground: The Painting Factory at LA MoCA, The Time-Capsule Formula: Warhol at the Whitney, Disrupting the System: Thomas Bayrle at the New Museum, “Flesh is the reason oil paint was invented”: Chaim Soutine at the Jewish Museum, Jenny Saville ROUNDTABLE: Julie Heffernan, Brenda Zlamany, Dennis Kardon, Walter Robinson, Barry Schwabsky, and Suzy Spence, Open Casket: “Enquête” regarding the Dana Schutz affair, the painting, the protests, Roundtable: Philip Guston at Hauser & Wirth. The thing is that the discarded stage in retrospect sometimes looks more interesting than the direction I took in the finished painting. That same year the family moved to the Hyde Park neighborhood of Chicago, where Wool was brought up … They’ll take the finished thing and then deconstruct it. An underscore. Glenn O’Brien: How do you know each other? GLENN O BRIEN — If you didn’t live in New York, where would you live? Robert Motherwell, Figure with Blots, 1943, Oil, ink, crayon, and pasted paper and Japanese paper on paperboard. But perhaps I am just asserting my biases for work made before the 1980s art boom, and also letting in the idea of beauty felt amidst decay. At the same time, none of these images was the least bit memorable, not that that is the point. CW: Actually they are almost in reverse order. Empathy for whom? CW: They were poetry and art collaborations. GRIFFIN: As I walked through the museum, I kept trying to imagine another context where this work might seem exciting to me. In his Art of the Postmodern Era, From the Late 1960s to the Early 1990s (1996) there is no reference or footnote to Christopher Wool. GO: I have several. He lives and works in New York City and Marfa, Texas, together with his wife and fellow painter Charline von Heyl. I realized at a point, as I looked over the drafts, that they made a poem I liked more than any of the drafts separately. GRIFFIN: To me, Wool is not a “classical modernist painter,” as David R calls him, which is perhaps why it looks funny to see his paintings hanging like icons, suspended in air with no wall behind them as much of the work was in the Guggenheim. And yes a painting should be able to speak on its own terms through any period, and if in using the details and circumstances of the time to discover the possible terms, you find that the work doesn’t really function outside that, then there is a clear cut critique and the nays have it. GO: Are these poems in the order that you wrote them? What do you mean by “authentic”? And in the end there is no need to concur about anything. GO: I think, at best, collaboration is like dub music in reggae. I called the series Psychopts because of that. Rene Ricard with art by Robert Hawkins. The thinness and industrial materials he uses already speak to me as paintings as “posters.” I love posters, live with posters, and think they are culturally significant, but they are not the same thing as paintings. I would describe him with that popular health-food term free radical.Today, the German-born Oehlen lives and works in Berlin, Switzerland, and Spain. A footnote regarding Pattern and Decoration: The curators tell us that Wool’s pattern paintings of the ’80s arose from observation of the forlorn semi-demolished buildings in the East Village; maybe, but he was looking at P&D obviously, too. Silk screening, however basic and available as a technique, could be seen as a doubling endlessly of an original or as a means to transfer an element from one painting to the other, like de Kooning’s newspaper blottings. David Cohen, Nora Griffin, David Rhodes, and Joan Waltemath exchanged a flurry of emails about the Christopher Wool retrospective at the Solomon R. Guggenheim Museum (on view from October 25, 2013 to January 22, 2014). They were just images we started with. RH: They were more like pamphlets really. When I learned of the Guggenheim retrospective and that several of my regulars wanted to write about him I thought now would be the chance to see him in depth and in the company of astute commentators, that maybe the blinkers would drop and an “aha” experience would ensue: that the Wool would fall from my eyes. The guy was a gentleman and an artist. [laughs] But I grew to really, really love them, and all of his stuff. It was so great to work with Christopher. We played around with how to put them together, how to make images out of them. My point is you can’t evaluate Wool on terms set for painting by Rothko, you have to figure out his (Wool’s) terms. On the contrary, I have to describe it as one of the most enervating and dispiriting museum exhibitions I’ve seen in a long while. And he asked me to do something for this magazine Whitewall when they wanted an interview he didn’t want to give. CW: As for poets doing this kind of collaboration, it doesn’t seem that it’s dead, but that maybe it’s skipping a generation or something. Is that right? By carving out a niche for oneself in relation to the grand art historical narrative, you set up something to bank on. Perhaps this makes for a more kinetic and immediate experience as opposed to a meditative delayed experience. At first you have to be insulted, almost, RH: Right, right. One medium blob to the right makes this point. Surrealism and Dada have been understated as part of the Ab-Ex endeavor in favor of expressionism, expressionism being seen as more noble, and perhaps more known. I think anyone living downtown at that time learned to see all that chaos and debris as extremely liberating and not abject as it reads today. He played in the first wave of bands that brought attention to CBGB and became famous in 1977 as the auteur of the album Blank Generation.

Smh Student Subscription, Samsung Smart Tv Apps Store, Ma Kyal Sin Instagram, A La Antoine, Watch World Juniors, Saul Road To Damascus Movie, Elvi Okoye Season 5,