Installation view, photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Christopher Wool
She Smiles for the Camera I, 2005
Enamel on linen, 104 × 78 inches (264.2 × 198.1 cm)
Christopher Wool
Jazz and AWOL, 2005
Enamel on linen, 104 × 78 inches (264.2 × 198.1 cm)
Christopher Wool
Untitled, 2005
Enamel on linen, 96 × 72 inches (243.8 × 182.9 cm)
Christopher Wool
Untitled, 2005
Silkscreen ink on linen, 104 × 78 inches (264.2 × 198.1 cm)
Christopher Wool
You Said Tomorrow Yesterday II, 2005
Enamel on linen, 104 × 78 inches (264.2 × 198.1 cm)
Gagosian Gallery is delighted to present an exhibition of new paintings by Christopher Wool. This will be Wool's first major solo show in Los Angeles since his retrospective at the Museum of Contemporary Art in 1998.
For this exhibition, Christopher Wool continues his exploration of conventional painting, through a combined array of painterly techniques, including spray paint, silkscreen, and hand painting. Commonly known for his restricted palette, these new works surprisingly introduce colors, such as pink and brown, but they are primarily single-color canvases. Yet the emphasis remains on painterly technique and the works' formal properties. Wool provides tension between painting and erasing, gesture and removal, depth and flatness.
Born in 1955 in Chicago, Christopher Wool is an internationally exhibited artist whose work has been shown in major museums and galleries including Museum Boymans-van Beuningen, Rotterdam, The Netherlands; the Museum of Modern Art, New York; and PS 1 Contemporary Arts Center, Long Island City, NY.
A fully illustrated catalogue featuring an essay by Richard Hell will accompany this exhibition.
Lauren Mahony and Michael Tcheyan pay homage to the founder of the New York Studio School.
Gray turns to pink or his twenty-first century, much of it in Texas. Text by Richard Hell.
Christopher Wool and his unlikely heroes or conceptual or not? Text by Richard Hell.
The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Meredith Mendelsohn discusses the impact of Free Arts NYC and its mission to foster creativity in children and teens, on the occasion of its twenty-year anniversary.
Christopher Wool’s Black Book (1989) was selected by Douglas Flamm, a rare-book specialist at Gagosian, for a special focus. Text by Anna Heyward.
In this video, Christopher Wool, Katy Siegel, and David Reed discuss Reed’s paintings and memories of the New York arts scene in 1975.
Katy Siegel and Christopher Wool discuss David Reed’s paintings and the New York art scene in 1975.
