{"id":498,"date":"2011-08-19T22:53:52","date_gmt":"2011-08-19T22:53:52","guid":{"rendered":"http:\/\/danielbar.ch\/inktree\/?p=498"},"modified":"2011-08-19T22:53:52","modified_gmt":"2011-08-19T22:53:52","slug":"maybe-maybe-not","status":"publish","type":"post","link":"https:\/\/www.inktree.ch\/?p=498","title":{"rendered":"Maybe Maybe Not"},"content":{"rendered":"
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Christopher Wool treats Polaroids of his paintings as a means of self-scrutiny. In MAYBE MAYBE NOT, he has worked over photocopies of the Polaroids again and again with black and white paint that spills over and beyond the pictures. The complex layers of paint evoke a pictorial density about which Wool says, \u201eThose are the paintings I would like to do\u201c. MAYBE MAYBE NOT \u2013 this weave of simultaneous, superimposed, juxtaposed layerings seems to be inspired by the many associative reverberations of free jazz.<\/p>\n","protected":false},"excerpt":{"rendered":"

Christopher Wool treats Polaroids of his paintings as a means of self-scrutiny. In MAYBE MAYBE NOT, he has worked over photocopies of the Polaroids again and again with black and white paint that spills over and beyond the pictures.<\/p>\n","protected":false},"author":5,"featured_media":501,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[10],"class_list":["post-498","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editions","tag-christopher-wool"],"yoast_head":"\nMaybe Maybe Not - INK TREE EDITIONS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.inktree.ch\/?p=498\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Maybe Maybe Not - INK TREE EDITIONS\" \/>\n<meta property=\"og:description\" content=\"Christopher Wool treats Polaroids of his paintings as a means of self-scrutiny. 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