Christopher Wool, ‘Untitled’, 1993, Doyle

Created originally in 1993 for the Printed Matter exhibition at Dia in New York as a “stack” piece by Felix Gonzalez-Torres in collaboration with Christopher Wool, the work was available to be taken from the stack by exhibition attendees. As was the democratic intention for Gonzalez-Torres’ “stack” pieces, the edition was created in unknown size and available to the public to take during the run of the exhibition.

Framed. Dimensions of Frame: 56.25 x 37.25 x 1

About Christopher Wool

Making a name in the New York art scene in the early 1980s, Christopher Wool is best known for his word paintings, white canvases with black stenciled letters spelling out text like "Sell the house, sell the car, sell the kids" (in his 1998 work Apocalypse Now). In his early paintings, Wool used commercial rollers to apply decorative effects on canvas, and he has continued to explore pattern in his art. Incorporating media and techniques including photography, silkscreen, reproduction, overpainting, and erasing, Wool's work often combines human and machine marks, as in his paintings in which he smudges black lines drawn with a spray gun into gray fields.

American, b. 1955, Chicago, Illinois, based in New York, New York

About Felix Gonzalez-Torres

Drawing from the traditions of Minimalism and Conceptual Art, Felix Gonzalez-Torres created installations and sculptures that function as personal and political meditations on private and public life. Often referred to as process art, Gonzalez-Torres’s work focused on ideas of formation and decay: he combined household and found objects that have the potential to change over time, while also working with more enduring materials such as puzzles, light strings, and photographs. Public interactivity was an integral part of some of his most iconic pieces, including Untitled (Placebo) (1991), an arrangement of individually wrapped candies with an ideal weight of 100-120 pounds that spectators are able to take from. Gonzalez-Torres emphasized the thematic universality of his pieces; whereas he was deeply affected by the AIDS epidemic while working, the artworks themselves have ongoing political relevance. He was heavily influenced by Conceptual artists such as Joseph Kosuth and Lawrence Weiner.

American, 1958-1996, Guáimaro, Cuba, based in New York, NY, United States