Christopher Wool

Earlier remarks on the work of Christopher Wool probably suggest that I don’t admire his work. Actually I have a lot of respect for Wool, recently increased when I read in Artforum about his window designs. The solution – to draw with the leading – is elegant and the designs are good. The author of the article describes his work: “He has become celebrated for infusing his abstraction with the rhythms and realities of our time, but also for stubbornly shutting out the very world whose spirit he is chasing.” How that “infusion” occurs, how much it happens and how much it is an intention of the artist, is the difficult switching point between conceptual and non-conceptual art. It’s not a bad thing to be sitting at that place. But maybe more interesting is Barry Schwabsky’s comment that his work looks tough in exactly the right way, that it meets the measure of a museum retrospective. That would be its weakness, that it has no apparent weakness.

CHRISTOPHER WOOL . Vitraux - Prieuré de La Charité . 2012 (2)

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