Created following Guyton’s usual creative process, in which an identical image is printed one or more times on a canvas folded in two, Untitled depicts a studio floor strewn with scraps of canvas. This image, taken with an iPhone, captures a moment in the workspace and shows it as a place of creation and production at rest, where nothing seems to be happening. Created in monumental dimensions using vertical framing and “misaligned” composition, the apparent banality of the subject seems to contradict the artist’s approach. Accident, shifts in meaning, overlapping, and color—all typical of Guyton’s approach—give the work a certain plastic and chromatic density.
© 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
