With the format determined by the constraints of the printer, the artist doubles the image as a diptych. Thus lines, accidents and discrepancies inherent to this technique can be seen.
© Wade Guyton © Fondation Louis Vuitton / Marc Domage
A leading figure of the new New York scene in the early 2000s, Wade Guyton continually eluded categorization by first turning away from painting, then by pulling away from abstraction.
His radical project was to use a large-format Epson inkjet printer as his brush and his signature and, in doing so, redefined the pictorial field of experimentation and the concept of author in Warhol’s wake.
Cypress, 1980
Joan Mitchell
Sans titre, 1990
Raymond Hains
"Monument" for V. Tatlin, 1964
Dan Flavin
23.2.08 Grauwald, 2008
Gerhard Richter
17.2.08 Grauwald, 2008
Gerhard Richter
Peinture, 290 x 520 cm, 22 Mai 2002, 2002
Pierre Soulages
21.2.08 Grauwald, 2008
Gerhard Richter
9.3.08 Grauwald, 2008
Gerhard Richter
22.2.08 (Grauwald), 2008
Gerhard Richter
Untitled (for you, Leo, in long respect and affection) 1, 1977
Dan Flavin
29. April '05, 2005
Gerhard Richter
"Monument" for V. Tatlin, 1967
Dan Flavin
