chicago

Christopher Wool, Untitled, 2010, enamel on linen, 96 x 78".

Christopher Wool

Corbett vs. Dempsey

Christopher Wool, Untitled, 2010, enamel on linen, 96 x 78".

“There is always form there, whether it’s a form that can be repeated—and I’ve been trying for some time now to back away from that. I like to find something new each time, [taking up] the sum total of my experience.” This keen and succinct articulation on process, desire, and invention, delivered in a radio interview from 1996, might have issued from the mouth of Christopher Wool. Instead it is an observation on compositional method by the underground jazz musician Joe McPhee, a longtime influence on the painter. And leave it to the idiosyncratic Chicago gallery Corbett vs. Dempsey to host an exhibition that unabashedly celebrated Wool’s musical inspiration alongside McPhee’s analogously improvisatory production.

With its title taken from a portable overdubbing tape recorder that McPhee used when playing shows in the late 1960s, “Sound on Sound” featured three paintings and

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