This publication accompanies a 2017 collaboration at the Aspen Art Museum between Swiss artists Peter Fischli (born 1952) and David Weiss (1946–2012), known during their 33-year collaboration as Fischli and Weiss, and American artist Wade Guyton (born 1972). In this unprecedented exhibition, Fischli and Guyton worked with Heidi Zuckerman, the AAM's Nancy and Bob Magoon CEO and Director, to curate a show that intertwines older works of Guyton and Fischli and Weiss as well as incorporates new pieces. Most prominent are Fischli and Guyton's wall sculptures—placed in various spaces around the museum, outside and within the galleries—and interspersed among and placed in relation to these collaborative sculptures are significant pieces, from Guyton’s as well as Fischli and his late collaborator David Weiss’ respective practices.
Published by Walther König, Köln. Edited with text by Yilmaz Dziewior. Text by Johanna Burton, Wade Guyton, Michelle Kuo, Kerstin Stakemeier.
Accompanying a retrospective exhibition at the Museum Ludwig in Cologne, this catalog documents Wade Guyton’s (born 1972) solo exhibitions, including reproductions of many of his well-known large-scale paintings made with a conventional inkjet printer, alongside short texts and floor plans.
Published by JRP|Ringier. Edited by Tim Griffin. Text by Daniel Baumann, Johanna Burton, Bettina Funcke, John Kelsey, Vincent Pécoil, Scott Rothkopf, et al.
This volume takes stock of critical perspectives on the work of New York–based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors—Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them—offering an invaluable reference for any reader coming to terms with his artistic production. The volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.
Published by Koenig Books. Edidet by Agnes Gryczkowska, Rebecca Lewin. Text by Flame, Alex Kitnick, Hans Ulrich Obrist, Yana Peel.
Inspired by traditional exhibition guides and designed as a portable accompaniment to Wade Guyton's (born 1972) exhibition at the Serpentine Gallery, this book examines the artist's exploration of translation between mediums in his large-scale paintings.
The latest in the Zeichnungen series of artist’s books by Wade Guyton (born 1972), this volume depicts a collection of book pages, over-printed with photographs, bitmap files and screen captures from websites, piled onto the artist’s studio’s kitchen floor and photographed.
Published by Walther König, Köln. Edited with text by Achim Hochdörfer. Interview by Johanna Burton, Achim Hochdörfer. Text by Berhard Maaz.
Instead of the minimal, repeated letters that characterize his best-known work, Guyton’s new paintings feature a diverse range of imagery, all digitally captured. Some of these works show recognizable forms—the newspaper homepage, the view from Guyton’s Bowery studio—and some dissolve into abstraction as their source material is subject to extreme enlargement. Taking snapshots and screen-captures and printing them on his huge printer, Guyton has created works that reflect, in their content and their making, the rapid expansion of the digital code into all areas of life. Published to accompany the first exhibition of these new works at the Museum Brandhorst, this volume also features texts by Johanna Burton and Achim Hochdörfer.
The latest in the series of American post-conceptual artist Wade Guyton’s (born 1972) Zeichnungen artist’s books, this volume depicts a collection of book pages printed over with photographs, bitmap files and screen captures from websites piled onto his studio’s kitchen floor.
Published by Koenig Books. Text by Catherine Chevalier, John Kelsey.
This book collects American artist Wade Guyton’s (born 1972) digital paintings, produced for two exhibitions at the Galerie Chantal Crousel, staged six years apart. Using images often torn from books and magazines, Guyton prints his pieces onto canvas using scanners and inkjet technology.
For this artist's book, Wade Guyton (born 1972) decided to print a large-format painting on a 1:1 scale, recomposed across 360 pages. Flipping through the pages, the reader encounters the fragments of a unique work, which might potentially be reconstructed by joining the pages together. This book constitutes a reflection on questions of reproduction, the original, the source and the act of re-formation at the heart of Guyton's practice. If it can be said that Guyton's minimalistic "paintings," which connect directly to the history of abstraction, conjure a restructuring of modernist art and design, Wade Guyton: WG3031 offers a mise en abyme of these procedures. This book is published in a limited edition of 700 copies.
In his yellow-tiled studio kitchen, New York–based artist Wade Guyton (born 1972) photographed magazine pages overprinted with geometric shapes and reproduced these on the same yellow tile in the exhibition, connecting the two spaces. This publication documents his installation.
The color of Wade Guyton's kitchen floor determines the titles of his artist's book series Drawings. After Blue, Red and Yellow, he presents Red Vol. II, which depicts a collection of magazine pages, overprinted with geometric shapes, piled onto his kitchen floor.
This artist's book reproduces 60 "print-painting" works by Wade Guyton, in which he layers reproductions from books and art magazines, tweaking the act of stacking into a painterly gesture. The pile of pictures and magazine snippets on the first page grows ever smaller as the pages are turned, leading the reader through the titular big picture: a book reenactment of Guyton's "print-painting" process.
With this publication, American painter Wade Guyton (born 1972) brings his conception of painting and its reproducibility to the book format. He first had the volume designed, then printed it on the same ink-jet printers he uses for his large-format serial prints on canvas; these pages were then scanned and printed by offset.
For his exhibition at the Secession in Vienna, Wade Guyton has produced this artist’s book, which consolidates his work across more than 60 color pages. The book enacts his creative methods, which often involve appropriated imagery from books or art magazines, so that the photographed pile of images and cut-outs on the first page diminishes as one leafs through.
Published by Walther König, Köln. Edited by Yilmaz Dziewior, Janneke de Vries. Interviews by Yilmaz Dziewior, Daniel Baumann, Scott Rothkopf, Janneke de Vries.
This first monograph on the prominent New York City artist, Wade Guyton, whose name has lately been appearing on the international art circuit with increasing regularity (often together with his sometimes-collaborator, Kelley Walker), features a selection of Guyton's chromatically cool, large-format serial prints on canvas. These object-like, Minimalistic "paintings," which sometimes connect directly to Bauhaus aesthetics, sometimes to Constructivism, Concrete, Appropriation or Conceptual art, convey a particular kind of humor and beauty, conjuring a re-formation and re-structuring of Modernist art and decor. Incorporating scanned pictures of flames, stripes, squares, points and holes drawn in the computer, as well as typed U's and X's, the works feel resolutely undefined and open to interpretation, even as the book's title refers directly to the advertising slogan for Olympus digital cameras: "Color. Power. Style. Find your Verve." Amen.