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SEEING THROUGH

Christopher Wool, Untitled (detail), 2012, glass, lead. Installation view, Chapelle capitulaire du Prieuré de la Charité-sur-Loire, France. Photos: André Morin.

ON OCTOBER 25, a major retrospective of the work of CHRISTOPHER WOOL opened at the Solomon R. Guggenheim Museum in New York, the artist’s most comprehensive exhibition to date. But just last year, Wool completed a much quieter and more unusual project: a series of stained-glass windows for a Romanesque chapel in France’s Loire Valley. Artforum invited curator ANNE PONTÉGNIE, who helped commission the work, to reflect on the windows’ luminous realization and their relation to Wool’s oeuvre—in a context equally digital and archaic,painterly and crafted, earthly and divine.

CHRISTOPHER WOOL is not the first name that comes to mind for a church-window commission. Indeed, he is one of the few artists of his generation to have resolutely stayed in front of the earthbound plane of the easel: fighting, sweating, swearing, and bitching until he could find his own solution to the problem

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