Following his previous limited editions with Holzwarth Publications, Road, Yard and Westtexaspsychosculpture (all published in 2017), New York–based artist Christopher Wool (born 1955) presents Swamp, a beautiful, slipcased, large-format (10 x 15 inches) paperback volume that likewise features images that have been created through processing and reproduction, in which the original photographic material acts as only the basic layer.
Here, what initially appears as an unruly surface gives way to Wool's black-and-brown photographic superimpositions, fragments of motifs: backyards, abandoned car tires, huge cable drums, dead tree stumps, rusty bed frames or the wall of a shack with strange objects leaning against it.
Published in an edition of 1,200, each copy is signed by the artist and dated 2019.
This book documents Christopher Wool’s (born 1955) 2017 exhibition at Berlin’s Galerie Max Hetzler, at the center of which is a torso made out of pigmented concrete, surrounded by large-scale paintings and works on paper in which Wool works through his own oeuvre and references from art history. The book also contains exhibition shots by Wool and comes with a dust jacket that unfolds to reveal a poster designed by the artist.
In this artist's book, Christopher Wool (born 1955) layers photos of backyard debris and dusty roads, of Texan wilderness and scenes rife with sculptural properties. Two realities invade each other and their overlapping actualities collapse into an artistic reality beyond the moment caught by the artist's camera. Thus the pictures are imbued with the history of their own making. For Yard, Wool has resampled photographic images that appeared in the previous artist's books Road and Westtexaspsychosculpture, also available from Holzwarth Publications. The book is published in an edition of 1,200 copies, all signed by the artist.
It collects photographs taken by the artist between 2015 and 2017—dust roads, gravel roads, roads partly overgrown or full of tire tracks, roads through desert and fields of rocks, through sparse woods and along precipices. Wool’s roads are not purposeful trajectories toward destinations but the roads of perpetual, endless motion for motion’s sake. In Wool’s black-and-white photographs, only seldom does a fork in the road offer the viewer an apparent choice of which way to go. And though each photograph comes from a different location, the place changing from one shot to the next, it still feels like one long road traveled under the clear light of the sun.
Christopher Wool: Road is available in a limited edition of 1,200 copies, all signed by the artist.
These are pictures of found situations, rendered serendipitous by the power of the artist’s photographic vision: pictures of backyard debris and improvised storage solutions, stray animals and strange constructions that once must have made sense but now appear undecipherable. Things set adrift and excerpts from the landscape that appear almost like sculpture for the split second of the open lens.
Christopher Wool: Westtexaspsychosculpture is published in an edition of 1,200 copies, signed by the artist.
Published by Guggenheim Museum Publications. Text by Katherine Brinson, Suzanne Hudson, Melinda Lang, Richard Prince, James Rondeau.
At the heart of Christopher Wool’s creative project, which spans three decades of highly focused practice, is the question of how a picture can be conceived, realized and experienced today. Engaging the complexities of painting as a medium, as well as the anxious rhythms of the urban environment and a wide range of cultural references, his agile, largely monochrome works propose an open-ended series of responses to this central problem. Published on the occasion of the artist’s retrospective at the Solomon R. Guggenheim Museum, New York, organized by Katherine Brinson, Associate Curator, and supported by the Andy Warhol Foundation for the Visual Arts, this exhibition catalogue presents a rich selection of paintings, photographs and works on paper, forming the most comprehensive examination of Wool’s career to date. This fully illustrated publication includes essays by Katherine Brinson, Suzanne Hudson, Richard Prince and James Rondeau, as well as a definitive bibliography and exhibition history.
BOOK FORMAT Hardcover, 8.5 x 11 in. / 256 pgs / 170 color.
PUBLISHING STATUS Pub Date 11/30/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 45
PRODUCT DETAILS ISBN 9780892074983TRADE List Price: $55.00 CDN $72.50 GBP £50.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
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.”
Published by Skarstedt Gallery/Luhring Augustine, New York.
Published on the occasion of Christopher Wool's 2008 exhibition at New York's Skarstedt Gallery, this concise collection of 17 black-and-white pattern paintings made between 1987 and 2000, set alongside 10 installation shots, serves as historic documentation of works that have rarely been shown or published, but which remain perennially influential. Born in Chicago in 1955, Wool came to prominence in New York in the 1980s with his graffiti-like text paintings, which are full of slang, song lyrics and action painting drips. Loved and loathed by critics, Wool has been described by the Village Voice's Jerry Saltz as, "a very pure version of something dissonant and poignant. His all-or-nothing, caustic-cerebral, ambivalent-belligerent gambit is riveting and even a little thrilling. It's what makes him one of the more optically alive painters out there."
PUBLISHER Skarstedt Gallery/Luhring Augustine, New York
BOOK FORMAT Paperback, 8.25 x 11.75 in. / 48 pgs / 37 duotone.
PUBLISHING STATUS Pub Date 7/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2008 p. 124
PRODUCT DETAILS ISBN 9780970909077TRADE List Price: $25.00 CDN $30.00
Published by Holzwarth Publications. Text by Friedrich Meschede.
This book throws the recent developments in the work of American artist Christopher Wool into sharp focus. Eleven paintings and large-format silkscreens from 2007 that were exhibited together at Galerie Max Hetzler in Berlin are presented on beautiful tip-in color plates that reveal all the richness of nuances in an oeuvre which has become ever more subtle, ever more painterly. This is abstract art that no longer has anything to do with denial, as Friedrich Meschede writes in his essay: "If I should attempt to describe it through language, it seems to me that Christopher Wool wants to give expression to the nothingness before nothing, and to do so exclusively through the pictorial means of the elementally visible, with no terms attached. Christopher Wool neither insists on nor attacks anything. What he does attempt is to re-think the terms you arrive at when viewing his pictures."
Published by Holzwarth Publications. Photographs by Christopher Wool.
Between 1994 and 1995, Christopher Wool shot a series of photographs in downtown New York City that he calls East Broadway Breakdown, after a street on the Lower East Side, the neighborhood where he lives and works. Taken at night using a 35 mm camera, the pictures feature the city's signature streets with their dilapidated storefronts and ramshackle staircases leading up to anonymous spaces. The high contrast images are often hard to read, producing, rather than coherent images, seemingly random forms that emerge from skewed camera angles. Like his paintings, Wool's photographs hover between abstraction and representation, forcing viewers to confront their desire for visual coherence while offering an alternative construct for picture-making today.