|
The First Art Newspaper on the Net |
 |
Established in 1996 |
|
Sunday, October 19, 2025 |
|
Christopher Wool's expansive exhibition opens at Gagosian London, highlighting interconnected practice |
|
|
Christopher Wool, 2025, installation view. Artwork © Christopher Wool. Photo: Maris Hutchinson. Courtesy the artist.
|
LONDON.- Gagosian opened an exhibition by Christopher Wool at its Grosvenor Hill location in London. Featuring over fifty works on paper, sculptures, and prints from the most recent period of his career, this long-awaited exhibition is the most expansive presentation of Wools work in London for many years and his third with the gallery. As in his latest self-staged exhibitionslast year in New York and this year in Marfa, Texasthe London exhibition highlights the essential interconnectivity of the artists practices, in which he continues to engage with the limits of abstraction. For Wool, process and subject go hand in hand.
The range of processes employed in each of Wools multilayered works on paper reveals the extraordinary breadth of his artistic strategies. He began to silkscreen his own works in the 1990s, flattening an image and applying it to canvas before adding gestures of paint. This approach has become more complex over time, as the artist explores the effects of repetition, scale, rhythm, and different means of overpainting, such as the looping line of an industrial spray gun. Further to these expressive marks of paint, Wool drags turpentine-soaked rags over the painted surface to efface his images in a haze of gray mist. In contrast to the monochrome palette he is often associated with, at Gagosian Wool imbues various works with pastel hues. By erasing, collaging, overpainting, and digitally modifying imagery from previous works, he creates something vitally new through a process of self-replication.
The cursive line of Wools sculpturesshown initially in his landmark survey at the Solomon R. Guggenheim Museum, New York, in 201314echoes the gestural marks of his paintings. Four intimate and two large-scale sculptures in copper-plated steel and bronze are on view here. Their genesis lies in the arid landscape of Texas, where Wool divides his time between Marfa and New York. Wool collected pieces of old fencing and hay-baling wire for years before realizing their sculptural potential. At times these remain as found, and at others they are transformed into new forms and reimagined on a dramatic scale. Wool purposefully leaves details of the processes visible, such as welded joints, to stress the handmade quality of his works.
Two series of etchings from 2021 and 2023 also form part of the exhibition. The latter, Defenestration Suite, was made to illustrate What Just Happened (2023), a book of poetry by Richard Hella writer, musician, and longtime collaborator of Wools. Reminiscent of Wools iconic word paintings, letters and words are entangled with lines in these prints to test the meaning and visual resonance of language.
Currently on view, See Stop Run West Texas is a survey of Wools works from the past decade at the Brite Building in Marfa, organized by the artist with curator Anne Pontégnie. It is complemented by three large outdoor sculptures as well as a new 400-page book, to be published this fall. Featuring more than two hundred images, the book documents the first iteration of See Stop Run, which took place in 2024 on the nineteenth floor of an unoccupied space in New Yorks Financial District. The city permeated the exhibition through windows that wrapped around the 18,000-square-foot installation.
Both of these installations emphasize Wools complex image-making process and the interconnectivity between mediums: painting, sculpture, photography, and mosaic.
|
|
Today's News
October 19, 2025
Chrysler Museum celebrates Susan Watkins and her contemporaries in fall exhibition
Wolfgang Tillmans weaves constellations of image and time in new Munich exhibition
Sonia Gomes debuts first UK solo exhibition at Pace London
Christopher Wool's expansive exhibition opens at Gagosian London, highlighting interconnected practice
Walter De Maria's final sculpture, Truck Trilogy, makes European debut at Gagosian Le Bourget
VMFA appoints Dr. Wai Yee Chiong as the E. Rhodes and Leona B. Carpenter Curator of East Asian Art
Tetsuya Yamada's playful and poetic ceramic works on view at Paula Cooper Gallery vitrine
Christie's 20/21 Marquee Week in London achieves a running total of $189,670,078
Ruoxi Jin's debut solo exhibition at Mennour navigates fear, separation, and rebirth
Van Gogh Museum appoints WildBrain CPLG for global licensing representation
The Museum of Modern Art appoints Jodi Hauptman as The Robert Lehman Foundation Chief Curator of Drawings and Prints
Stephen Lawrence Prize 2025 awarded to St Mary's Walthamstow
First posthumous retrospective of Ruth Asawa's work explores the full range of the artist's practice
Largest-ever survey of Maruja Mallo's innovative art arrives at Museo Reina Sofía
Academy Art Museum appoints Brian J. Lang as Director of Curatorial Affairs
Best show of 2025 awarded to Anselm Kiefer exhibition
Edmund de Waal unveils site-specific installations at The Huntington
S.M.A.K. presents first museum solo exhibition for Belgian photographer Marc De Blieck
New display at the New York State Museum illuminates a forgotten industry
Darren Waterston deconstructs the pastoral in Works and Days exhibition at DC Moore Gallery
1899 Bank of Egypt pound brings record $66,000 to lead Heritage's World Paper Money Auction above $2 million
Five Hours, Fifty Days, Fifty Years: David Claerbout's survey of technical imagery opens at Konschthal Esch
Juergen Teller inaugurates Onassis Ready with his largest Greek solo exhibition
MOCA Toronto presents Jeff Wall Photographs 1984-2023
|
|
|
|
|
Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography, Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs, Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, . |
|
|
|
|
Royalville Communications, Inc produces:
|
|
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful
|
|