- Christopher Wool: East Broadway Breakdown (2004)Our PickBy Christopher Wool
- Christopher WoolOur PickBy Katherine Brinson and Suzanne Hudson / Exhibition Catalogue from his retrospective at the Solomon R. Guggenheim Museum
- Christopher Wool: 9Th Street Run DownBy Christopher Wool and Hand Werner
- Can Your Monkey Do The Dog @ The Michele Didier Gallery - 2007By Josh Smith and Christopher Wool
- Psychopts: Christopher Wool and Richard HellBy Christopher Wool and Richard Hell
Important Art by Christopher Wool
This work is a decorative black pattern, made with incised rollers on a painted aluminum white background. It is one of Wool's earlier surviving works and exemplifies his exploration of floral and 'grille-like' patterns through a style often associated with wallpaper. During this time Wool was also experimenting with various types of rubber stamps, which, just like the rollers, were incised with repeating motifs and patterns of vines or trellises, exploring the same sense of repetition and seriality.
By using paint rollers or stamps that are traditionally used to give walls a 'wallpapered' appearance, Wool brings in more 'ordinary' and commonplace visual signatures into the frame of conceptual art. Following the legacy previously defined by Andy Warhol, the work twists the very conception of painting as something unique and singular. By rejecting color and composition, it makes an attempt to define a new type of painting, devoid of all the traditions of the past. In fact, the work carries within itself a profoundly post-conceptualist approach to painting, aiming to 'clarify' that art does not need to carry an inherent meaning within itself, but rather act as a bearer of an ongoing experimentation and dialogue within a larger artistic paradigm.
The work also possesses an inherent "humour of their absurd efficiency", as claimed by art critic Peter Schjeldahl. From this perspective, the work takes on a satirical nature, one not only derived from the rejection of art history, but also by the fact that the very creation echoes the traditional wall patterns that adorn American households.
The painting is a large white aluminum plate painted with black letters that, once decoded, read 'Run Dog Run Dog Run'. The harsh capital letters were stenciled on, following a standardized grid-like spacing system. The composition only allows meaning to be divined on closer attention, when the letters or words are read individually or out loud. This work is part of Wool's wider 'word painting' series that began in the late 1980s and which constitute his best-known and most commercially sought-after body of work. As here, all the works in the series consist of letters and words stenciled, using a similar a grid system or arrangement. This non-standard spacing and break-up of the words often make them difficult to read, whilst at other times Wool removes some or all of the vowels, transposing TRBL for 'trouble', for example. These paintings were first shown at the 303 Gallery in 1988, in a collaborative exhibition entitled Apocalypse Now with Robert Gober. As suggested by this title, referencing Francis Ford Coppola's Apocalypse Now (1979), allusion to film, television and other art forms is often made through the choice of words depicted. Here, 'Run Dog Run Dog Run' echoes a nursery rhyme or folktale limerick, suggesting again a connection between art forms.
Whilst Wool's word paintings echo Ed Ruscha's portraits filled with words, or the works of Barbara Kruger or Jenny Holzer, Schjeldahl suggests that Wool makes the use of language completely new, by merging "the anonymous aggression of graffiti with the stateliness of formal abstract painting", creating a dichotomy between what is 'readable' while still remaining somewhat abstract. In this way, the works also appeal as a sort of 'nonsensical graphic design'. Art critic Achim Hochdorfer similarly adds that these word paintings "say a lot without saying nothing at all", emphasizing the semiotic contradictions that these words contain.
The work features a series of black marks, patterns, brushstrokes and spray-painted contorting lines, painted over with white paint in sharp vertical lines. It demonstrates Wool's use of silkscreen techniques which he began using as a primary tool from the early 1990s. The work establishes and expresses a series of dualities, especially that of the invisible/visible and chaos/order. Chaos, randomness and intuitive expression are symbolized in the underlying black design, and order, reason, logic and simplicity are emphasized through the white forms. Hochdorfer suggests that this blurs the distinction between polar opposites, between what is visible and what is unseen, taking it's 'blurring as a precondition of perception'. It also demonstrates Wool's ambivalent approach to painting, as it uses both planned pattern-making alongside spontaneous bursts of creativity.
This dialogue between abstraction and form also greatly emphasizes painting as a medium, questioning its autonomy and limits by creating a "border conflict between pictorial immanence and its undoing", as Hochdorfer writes. The underlying expressive gestures of black 'chaos' beneath, by being 'covered up' by white, might also be seen to establish an analogy or a metaphor with Wool's own desire to annihilate expressive gesture from painting. In fact, much of his work is characterized by a calculated, predictable and orderly approach.
Wool's use of silkscreen, a printing technique that consists of masking part of a mesh with an impermeable substance was inspired by Andy Warhol. Wool layers this printing within a painting, "reinvigorating the pictorial composition".
This work also seems to recapture elements of Abstract Expressionism, prompting writer Cornelius Tittel to ask whether Wool recognizes the irony that by including expressionist gestures in his work Wool continues its legacy. This might contradict his own earlier claim towards negation of the formal techniques of painting. Wool is not concerned with these apparent disparities, but suggests that he merely aims to explore painting itself in the contemporary world: either as a denial of the act of creation (through words) or by creating new dialogues derived from existing artistic contexts.