Whatever Wool�s intentions the work goes beyond all that as any great art does. Conceptually the removed moodiness is there but not so much as to overtake or kill off Wool�s painterly sensibility.  In each of these pieces the two are constantly battling with no clear winner.  The majority of the work in this show consists of paintings that appear to have been erased.  Wool achieves this by using enamel paint on canvas but in such a way that suggests smeared charcoal or graphite. In other hands this could easily become a gimmick resulting in empty serialization.  Although Wool�s variations are fairly close, each piece still retains a fair measure of individuality. Sprinkled throughout the show are a few pieces that are clearly distinctive which provides a pleasant contrast. However, in these pieces, such as when Wool adds in flat vertical bands of white or drops in a dull raspberry red, the pieces lean more toward a conceptual rendering. But even here Wool does not let his attention stray from the formal elements such as composition, contrast or the edges of his forms.

The subject matter of Wool�s paintings is conceptual; the analysis, presentation and explosion of visual ideas on canvas and paper.  But the subject matter, in conjunction with his attention to sensibility, is what defines the content of his work. In the final analysis these pieces evoke a stark quality of loneliness and separation made poignant by their un-emotional rendering.

Christopher Wool, Luhring Augustine Gallery

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Christopher Wool, Luhring Augustine Gallery

We last reviewed Nancy Rubins� work in this gallery in April 2001.  That show comprised a major departure from her signature recycled airplane part sculptures in that the materials were made up of graphite-drenched pieces of paper that were torn, crumpled and otherwise formed into wall sculptures. This installation, entitled Small Forest, represents a return to Rubins� classic materials.

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