Wade Guyton

In a statement of 2004, Guyton said: Recently I've been using Epson inkjet printers and flatbed scanners as tools to make works that act like drawings, paintings, even sculptures.

I've been using a very pared down vocabulary of simple shapes and letters drawn or typed in Microsoft Word, then printed on top of these pages from catalogues, magazines, posters- and even blank canvas.

As he told The Times in 2012, “I chose the computer because it was right here” — and while making screenshots of the website permits this least emotional of painters a rare dose of topicality, Mr. Guyton also treats nytimes.com as a kind of default.” [8] The Serpentine Gallery in London described Guyton’s work as underscoring, “The studio’s potential, not just as a locus for discussion and production, but as a material in and of itself.” His exhibition Das New Yorker Atelier in 2017 was a collaboration with Museum Brandhorst in Munich, Germany.

The title of the exhibition makes a reference to a painting by Swiss artist Hans Jakob Oeri entitled Das Pariser Atelier.

[11] He is regarded as one of many contemporary painters revisiting late Modernism, alongside Tomma Abts, Mark Grotjahn, Eileen Quinlan, Sergei Jensen, and Cheyney Thompson.

In 2005, then-MoMA PS1 director Klaus Biesenbach included Guyton's inkjet panels in a room with fellow newcomers Seth Price and Josh Smith.

[14] The following year, curators Daniel Birnbaum and Hans Ulrich Obrist included Guyton/Walker's brightly colored stacks of paint cans in their "Uncertain States of America" survey at Astrup Fearnley Museum of Modern Art in Oslo.

[14] In 2009, Guyton and Kelley Walker were invited by Birnbaum to participate at the Venice Biennale, where they exhibited canvases and pieces of drywall at the Palazzo delle Esposizioni.

[16] In an interview with Nicolas Trembley, Guyton says of the unusual organization of the exhibition, “It was the building that refused the chronological show, since some paintings need particular walls to be shown against.

From there the exhibition could develop in a more unusual way, picking up lots of loose conceptual threads and temporarily making thematic narratives, or performing a more conventional pedagogical function.

I also needed to figure out a way to keep myself interested in looking at all this old work, because this kind of retrospective thinking can sometimes get a little bit boring.” [17] In 2021, Guyton presented “The Undoing”, a suite of 26 paintings documenting the artist’s experience during the pandemic.

Images include news from the New York Times website, the artist taking his temperature, and photographs taken during Guyton’s exhibition at the Museum Ludwig in Cologne, which closed just before the start of the pandemic.