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Page From Black Book by Christopher Wool

Page From Black Book
by Christopher Wool

Available at Lougher Contemporary

Prints

Alkyd Oil on Cut-out Steel

1989

Edition Size: 350

Sheet Size: 58.7 x 40.6 cm

Unsigned

Condition: Excellent

Price on Application

Details — Click to read

The instantly recognizable stencil lettering of Christopher Wool is at once serious and flippant. This part of the original bound book of seventeen screenprints presents a sociological cross-section, as Wool reduces consecutive words like “TERRORIST” and “HYPNOTIST” to raw, unbridled text in a subversive act of authoritarian determination. Wool’s verbal fractures produce witty and at times suggestive juxtapositions, challenging the implications of language while tempting the viewer to disregard meaning in favor of graphic concerns. These images were originally inspired by New York graffiti, gaining political gravity through the employment of a military font in the context of the Vietnam War.

CHRISTOPHER WOOL
Page from Black Book, 1989
Complete book is a hardcover book, printed on smooth wove paper with title page and justification, unpaginated, bound (as issued) with original black paper covers
Book is from an edition of 350 and 8 artist’s proofs
Book is signed and numbered on the justification
Published by Gisela Capitain, Cologne and Thea Westreich, New York
Overall: 23 1/8 x 16 in. (58.7 x 40.6 cm)

Sold in excellent condition. Please note that the binding holes have intentionally been left as part of the print on left edge for authenticity purposes.

Lougher Contemporary will provide the buyer of this print with a gallery proof of authenticity certificate which will include a photo of the justification page, where the book was signed and numbered by Christopher Wool.

The Artist

Christopher Wool

Known for his depictions of an unforgiving urban environment, Christopher Wool is an US painter and photographer inspired by the New York music scene of the 1970s. He began his artistic life as a painter in the early 80s in NYC. As painting had been declared a redundant art form by Douglas Crimp’s seminal 1981 essay ‘The End of Painting’, Wool focused on the act of making art, rather than making any attempt to convey a particular theme or illustrate a subject. His creations of this time look into the how rather than the what of painting. They show textures created by layering different patterned images covered over by paint rollers, taking them off and adding others, so an image of the process he went through is evident on the canvas.

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