CHRISTOPHER WOOL
Untitled, photo gravure, paper size 55.8 x 45.7 cm. /22 x 18 inches, image size 40.5 x 30.2 cm. /15.9 x 11.9 inches, edition 20, signed and numbered, 2018
please contact gallery for price
Untitled, set of 4 photo gravures, each paper size 55.8 x 45.7 cm. /22 x 18 inches, image size 40.5 x 30.2 cm. /15.9 x 11.9 inches, edition 20, each signed and numbered, 2018
please contact gallery for price and images
Road,
artists’book, softcover with dust jacket, 25.4 x 38.1 cm. /10 x 15 inches, 194
pages, 92 duotone illustrations, edition 1200, all signed by Christopher Wool,
2017
€ 115,-
Road is an artist’s book composed from a series photographs that Christopher Wool shot between 2015 and 2017. Dust roads, gravel roads, partly overgrown or full of tire tracks, through desert and fields of rocks, through sparse woods and along precipices. Only seldom does a fork in the road offer a choice of which way to go, and though the place always changes from one shot to the next, it still feels like one long road traveled under the clear light of the Texas sun.
Westtexaspsychosculpture, artists’book, softcover with dust jacket, 25.4 x 38.1 cm. /10 x 15 inches, 226 pages, 108 duotone illustrations, edition 1200, all signed by Christopher Wool, 2017
€ 115,-
This
artist’s book comprises photographs Christopher Wool made between 2008 and 2017
in the surroundings of Marfa in West Texas. Pictures of found situations: of
backyard debris and improvised storage solutions, stray animals and strange
constructions that once must have made sense but now appear undecipherable.
Things set adrift and excerpts from the landscape that appear almost like
sculpture for the split second of the open lens.
Yard, artists’book, softcover with dust jacket, 25.4 x 38.1 cm. /10 x 15 inches, 184 pages, 92 duotone illustrations, edition 1200, all signed by Christopher Wool, 2017
€ 115,-
In this artist’s book from 2018, Christopher Wool layers photos of backyard debris and dusty roads, of Texan wilderness and found situations rife with allusions to sculpture. Two realities invade each other, and their overlapping actualities collapse into an artistic reality beyond the moment caught by the artist’s camera. Thus the pictures are imbued with the history of their own making and filled with a vibrant sound close to that of Wool’s black-and-white paintings. Similar to his painting process, Wool resamples his own earlier work: theimages in Yard were composed from photos appearing in the artist’s books Road and Westtexaspsychosculpture.
Yard, special edition, artists’book + signed and numbered photograph, artists'book: softcover with dust jacket, 25.4 x 38.1 cm. /10 x 15 inches, 184 pages, 92 duotone illustrations, edition 1200, all signed and dated by Christopher Wool, 2017. Photograph: 22.9 x 30.5 cm. /9 x 11.9 inches, image size 17.8 x 26.7 cm. /7 x 10.5 inches, 92 unique photographs, each signed and numbered on the reverse side, 2017
€ 2925,-
photographs (details):
# 1/92 # 5/92
# 6/92 # 8/92
# 10/92 # 11/92
# 14/92 # 16/92
# 17/92 # 19/92
please contact gallery for other available photographs!
East
Broadway Breakdown,
artists’book with an unique, original b/w photograph by Christopher Wool.
Artists’book softcover with dust jacket, 21.6 x 28 cm. /8.5 x 11 inches, 328
pages, 160 b/w illustrations.
Photograph 10.2 x 15 cm. /4 x 5.9 inches, edition of 160 unique photographs,
each signed, numbered and dated, and stamped on the back, 2003
Presented in a box.
€ 960,- just a few photographs available
2/160 11/160
16/160 SOLD 17/160
18/160 26/160 SOLD
30/160 38/160 SOLD
49/160 SOLD 50/160
51/160 55/160
64/160 SOLD 69/160
70/160 SOLD 75/160 SOLD
76/160 77/160 SOLD 83/160 SOLD
89/160 91/160 SOLD 104/160
108/160 117/160
120/160 123/160
126/160 127/160
128/160 135/160
143/160 SOLD 149/160 SOLD
151/160 156/160 158/160
Between 1994 and 1995, Christopher Wool shot a series of photographs in downtown New York City that he calls East Broadway Breakdown, after a street on the Lower East Side, the neighborhood where he lives and works. Taken at night using a 35mm camera, the pictures feature the neighborhood’s signature streets, with their dilapidated storefronts and ramshackle staircases leading up to anonymous spaces. The high contrast images are often hard to read, producing, rather than coherent images, seemingly random forms that emerge from skewed camera angles. Like his paintings, Wool’s photographs hover between abstraction and representation, forcing viewers to confront their desire for visual coherence while offering an alternative construct for picture-making today.
A succession of images in undifferentiated shades of gray that immerse the viewer in this nocturnal world. Their realism has more to do with this subjectivity dis-solved in its context than with any hypothetical truth of representation. In his paintings and photographs, Wool might associate with stray dogs, neurosis, or debris: stains, drips, and accidents of various origins, pictorial or organic. This voluntary assimilation with degrading phenomena – another form of humor, this time, black – is the instrument that allows him to achieve the dissolution found in these photographs and gives him access to a singular vision: one that is street level. (Anne Pontégnie, Ghost Dog, in Christopher Wool, Crosstown Crosstown)
MAYBE MAYBE NOT, artists' book, softcover, offset
printing, japanese binding, 28 x 43 cm., edition of 300 (plus 20 AP), 32 pages,
signed and numbered, 2001
€ 650,-
Untitled, digital inkjet prints, each paper size 48.3 x 32.9 cm. /19 x 12 7/8 inches, image size 45.1 x 30.2 cm. /17 3/4 x 11 7/8 inches, edition 15, each signed and numbered, 2003
please contact gallery for price
