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Christopher Wool

Christopher Wool
(Born 1955)

Christopher Wool was born in Chicago in 1955. He graduated from Sarah Lawrence College in Bronxville, New York. Wool’s works span several mediums such as paper, photography and painting. He began developing his style during the mid 1970s, when he started creating allover abstract paintings that included multiple mark makings. His artistic influences are very diverse, but the process-based emphasis of Post-minimalism became very important in his work at this time. Throughout the 1980s Wool’s emphasis on process increased as he created allover paintings that shied away from specific subject matter and form. Eventually, he began incorporating printmaking techniques such as patterned rubber paint rollers, rubber stamps, stencils and silkscreens to create his now famous enamel-on metal works. With this multiplicity of techniques, Wool created paintings that are highly reminiscent of wallpaper, or that include large monochrome letters that are at sometimes difficult to discern or cunningly depict partial words, and a biting

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Christopher Wool was born in 1955 and grew up in Chicago. In 1972, he enrolled at Sarah Lawrence College in Bronxville, New York, where he studied painting with Richard Pousette-Dart. He left for Manhattan after a year and attended classes at the New York Studio School. Wool soon became immersed in the underground film and music scenes of downtown New York, taking a short hiatus from painting to study film at New York University in the late 1970s. A couple of years later he returned to painting while working as a studio assistant to the sculptor Joel Shapiro, this time fully devoting himself to the medium.

In 1984 and 1986, Wool received his first solo exhibitions at New York’s Cable Gallery. An institutional presentation of Wool’s work was held at the San Francisco Museum of Modern Art in 1989 and since then his work has been exhibited widely at institutions around the world, including Museum Boijmans Van Beuningen, Rotterdam, Kölnischer Kunstverein, Cologne, and Kunsthalle Bern (1991); Museum of Contemporary Art, Los Angeles (1998), Carnegie Museum of Art, Pittsburgh (1998–99),

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Over a career that spans three decades, Christopher Wool has conducted a riveting investigation into the question of how to make a painting at a time when new possibilities for the medium might seem exhausted. Extending his practice to photographs, prints, artist’s books, and, most recently, sculpture, he has approached each new work as a site of open-ended experimentation in which images exist as volatile entities that are subject to an array of disruptive processes.

Wool was born in 1955 and grew up in Chicago. By the time that he turned eighteen he had moved to downtown New York City, where the anarchic energy of the punk and No Wave scenes were a defining influence on his creative development. At the outset of his mature career in the mid-1980s, Wool abstained from the seductive expressionism of color and the gestural brushstroke in favor of stark, monochrome compositions that employed commercial tools and imagery appropriated from mass culture. His breakthrough body of work used rollers and stamps to transfer decorative patterns in severe black enamel to a white ground. His