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| | | | Christopher WoolText by John Corbett, Fabrice Hergott, John Kelsey.
Best known for patterned, stamped and stenciled paintings that follow an austere aesthetic, Christopher Wool (born 1955) has expanded his vocabulary during the years since 2000, using his own images, silkscreened or digitally treated, as source material for subsequent works. This handsomely designed volume, published in conjunction with a major exhibition at the Musée d’Art Moderne de la Ville de Paris, offers three renowned authors approaching Wool’s recent paintings from different angles. John Corbett analyzes Wool’s navigation between jazz-like improvisation and deliberate composition; Fabrice Hergott focuses on the artist’s dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist’s media-savvy black-and-white painted images: “Gestures go viral, escaping one painting and contaminating another. A work recurs outside of itself, sometimes in a partial or fragmented way, always coming back remotely as another image--thicker, faster, sharper.”
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USD $120.00 | CAN $160Pub Date: 8/22/2017
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USD $120.00 | CAN $160Pub Date: 8/22/2017
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FORMAT: Pbk, 8 x 9.5 in. / 120 pgs / 40 b&w.
LIST PRICE: U.S. $50.00
LIST PRICE: CANADA $67.5
ISBN: 9783935567596
PUBLISHER: Holzwarth Publications
AVAILABLE: 9/30/2012
DISTRIBUTION: D.A.P.
RETAILER DISC: FLAT40
PUBLISHING STATUS: Out of stock indefinitely
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AU/NZ ME | D.A.P. CATALOG: FALL 2012 Page 102 | PRESS INQUIRIES
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| Christopher Wool Published by Holzwarth Publications.
Text by John Corbett, Fabrice Hergott, John Kelsey. Best known for patterned, stamped and stenciled paintings that follow an austere aesthetic, Christopher Wool (born 1955) has expanded his vocabulary during the years since 2000, using his own images, silkscreened or digitally treated, as source material for subsequent works. This handsomely designed volume, published in conjunction with a major exhibition at the Musée d’Art Moderne de la Ville de Paris, offers three renowned authors approaching Wool’s recent paintings from different angles. John Corbett analyzes Wool’s navigation between jazz-like improvisation and deliberate composition; Fabrice Hergott focuses on the artist’s dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist’s media-savvy black-and-white painted images: “Gestures go viral, escaping one painting and contaminating another. A work recurs outside of itself, sometimes in a partial or fragmented way, always coming back remotely as another image--thicker, faster, sharper.”
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