It’s Day 163 and I had a good time painting today. I’m actually working on a large canvas based on yesterday’s artist. My hand hurts from squeezing a hot glue gun all over a huge painting and I’m still working on it. Today’s piece was fun and I really like today’s artist. Join me in honoring Christopher Wool today.
Christopher Wool (born 1955, Boston) is an American artist. Since the 1980s, Wool’s studio practice has incorporated issues surrounding post-conceptual ideas. He lives and works in New York City and Marfa, Texas.
Wool was born in Boston to Glorye and Ira Wool, a molecular biologist and a
psychiatrist. He grew up in Chicago. In 1973, he moved to New York City and enrolled in Studio School studies with Jack Tworkov and Harry Krame. 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. Between 1980 and 1984, he worked as part-time studio assistant to Joel Shapiro.
Wool is best known for his paintings of large, black, stenciled letters on white canvases. 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.
At 303 Gallery in 1988, Wool and fellow artist Robert Gober presented a collaborative exhibition and installation which included Wool’s seminal text-based painting,
Apocalypse Now (1988). The work features words from a famous line in Francis Ford Coppola’s film Apocalypse Now, based on the Joseph Conrad novel Heart of Darkness. From the early 1990s through the present, the silkscreen has been a primary tool in Wool’s practice. In his abstract paintings Wool brings together figures and the disfigured, drawing and painting, spontaneous impulses and well thought-out ideas. He draws lines on the canvas with a spray gun and then, directly after, wipes them out again with a rag drenched in solvent to give a new picture in which clear lines have to stand their own against smeared surfaces.
Writing in 2000, in The New York Times, Ken Johnson highlighted Wool’s response to an observation made on the street as significant, “in
the 1980s, Christopher Wool was doing a Neo-Pop sort of painting using commercial rollers to apply
decorative patterns to white panels. One day he saw a new white truck violated by the spray-painted words ‘sex’ and ‘luv.’ Mr. Wool made his own painting using those words and went on to make paintings with big, black stenciled letters saying things like ‘Run Dog Run’ or ‘Sell the House, Sell the Car, Sell the Kids.’ The paintings captured the scary, euphoric mood of a high-flying period not unlike our own.”
Although Wool is best known as a painter, he has amassed a large body of black-and-white
photographs taken at night in the streets between the Lower East Side and Chinatown. Originally begun in the mid-1990s, the project was resumed and completed in 2002. East Broadway Breakdown, a book reproducing all 160 photographs, was issued by Holzwarth Publications in 2004.
In 2012, Wool contributed the set design for Moving Parts, a piece conceived by Benjamin Millepied’s L.A. Dance Project.
Biography is from wikipedia.
I enjoyed creating today’s piece. I decided to do a textured background semi-reminiscent of his paintings and then did black stenciled words on top of that. I like the finished piece and hope that I captured his spirit/essence. I hope you enjoy it as well and I’ll see you tomorrow on Day 164. Best, Linda