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Caroline Woolard, Proposal for The Meeting (office view), 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)
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Caroline Woolard, Capitoline Wolves, 2016, cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)
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Caroline Woolard, Capitoline Wolves, 2016, (detail) cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University.
(Courtesy of Caroline Woolard, Photo by Allison Usavage)
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Caroline Woolard, Capitoline Wolves, 2016, (detail) cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University.
(Courtesy of Caroline Woolard, Photo by Allison Usavage)
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Caroline Woolard, Installation view of Barricade to Bed (for exchange cafe), 2013, police barricade, plumbing straps, hardware, 2 x 6 douglas fir cut off, maple wood dowel, tennis balls, foam, fabric, open access kit, prison abolitionist ‘zines, 16 x 43 x 96 inches.
(Courtesy of the Caroline Woolard and MoMA: Artists Experiment. Photo by Ryan Tempro)
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Caroline Woolard, Installation view of Barricade to Bed (for exchange cafe), 2013, police barricade, plumbing straps, hardware, 2 x 6 douglas fir cut off, maple wood dowel, tennis balls, foam, fabric, open access kit, prison abolitionist ‘zines, 16 x 43 x 96 inches.
(Courtesy of Caroline Woolard and MoMA: Artists Experiment, Photo by Ryan Tempro)
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Caroline Woolard, Installation view of Wound: the Study Center for Group Work, 2016, plywood, steel, paint, three-ing rug on loan from Jean Gardener and the Estate of Paul Ryan, dimensions variable.
(Courtesy of Caroline Woolard, Photo by João Enxuto)
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Caroline Woolard, Carried on Both Sides, 2018, poplar, glass, cherry wood, oil
paint. Installation view at Lesley Heller.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)
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Caroline Woolard, detail of Carried on Both Sides, 2018, poplar, glass, cherry wood, oil
paint. Installation view at Lesley Heller.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)
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Caroline Woolard, Installation view of Queer Rocker at the Queens Museum of Art, New York, 2013, CNC prototype oak plywood, ratchet straps, newspapers, 48 × 30 × 44 inches.
(Courtesy of Caroline Woolard, Photo by Martyna Szczesna)
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Caroline Woolard, DIY Ruin, 2016-2018, turned poplar, oil paint pickling, felt, 18 × 16 × 16 inches each.
(Courtesy of Caroline Woolard)
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Caroline Woolard, Tantalus and Level installed in Moore Library, 2018
(Courtesy of Caroline Woolard)
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Caroline Woolard, Tantalus, 2018, blown glass, outlet, plug, particle board, 24 ½ x 24 ½ x 7 ½ inches, edition of five.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)
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Caroline Woolard, Tantalus, 2018, blown glass, outlet, plug, particle board, 24 ½ x 24 ½ x 7 ½ inches, edition of five.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)
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Caroline Woolard, Detail of Countermeasures: Water Clock, 2018, glass, water, turned cherry wood, 18 × 10 × 10 in each.
(Courtesy of Caroline Woolard, Photo by Levi Mandel)