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Wade Guyton : Double Negative = Doppelt Negativ

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Wade Guyton : Double Negative = Doppelt Negativ Wade Guyton : double negative = doppelt negativ Autor(en): Cotter, Suzanne / Opstelten, Bram Objekttyp: Article Zeitschrift: Parkett : the Parkett series with contemporary artists = Die Parkett- Reihe mit Gegenwartskünstlern Band (Jahr): - (2008) Heft 83: Collaborations Robert Frank, Wade Guyton, Christopher Wool PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-680628 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. 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Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Wad* Gtt)/on St/ZAAATE COTTTÄ In 2007, a work by Wade Guyton appeared, intrigu- WADE Gt/FTOH, TRAGMEiVT OE SCULPTURE THE SEZE OE ingly, in the exhibition Very Abstract and .Ftgwr«- A HOt/SE (EEACEEEFWOOD,), 2002, S«12j/0'/ tiwe at Thomas Dane Gallery in London's St. James. ERAGMENTE/AER SKE/LETE/E VOM DEE GRÖSSE EWES In a play on the conventions of curatorial display, ETA OSES (SCHWAEZES SEEREÎEZOEZ,), Sjfwrrtofe, 2,4 * 5,0 * 5 m. curatorJens Hoffmann presented what were, ostensi- bly, small-format paintings by over forty contempo- rary artists based in Europe and the U.S. Taking his cue from Marcel Broodthaers' MUSEUM OF MODERN ART, DEPARTMENT OF EAGLES (Musée de l'Art Mod- erne, Départment des Aigles, 1968-1972), Hoffmann arranged the paintings in two free-standing display cases, as if part of an anthropological or ethnographic collection of artefacts. True to the museological conceit, the paintings were classified by type, either "figurative" or "abstract." In the vitrine devoted to abstraction alongside paintings by Laura Owens, Albert Oehlen, and others, was a work by Guyton, a small primed and stretched canvas printed over in black ink with a repeating motif of Xs. For anyone familiar with the ambivalent nature of Guyton's practice, it was both amusing and typical that he would take part in an exhibition that was pur- portedly about painting today, albeit one based on an ambiguous curatorial ploy piggy-backed on the critical project of Broodthaers from almost forty years earlier. One can certainly imagine Guyton being attracted to the Belgian artist's absurdist mim- icking of curatorial practice in his museum enter- prise, which undermined the very meaning of classi- WADE GE/TTCW, ERAGMEZZT OESCt/EETDEE TETE S/ZE OE A EEOt/SE (EEACXEEyWOOD), 2002, /jtyawod, 7x20x5'/ St/ZAWW£ COTTER is Senior Curator and Deputy Director EEAGMEMTEEMEE SEE/EETE/E TOE/DEE GEÖSSEEEAES of Modern Art Oxford. HA OSES (SCHWAEZES SEEREHEOEZ/ SperrAoEz, 2,lxt<l,J»i. PARKETT 83 2008 90 Wodc Gn)>Jon WA£>£ GUY7W, [W77TLED fié), 2007, is/^son 2)£/&A23n7c inA^'cf on AooA jüage, 9 7s x 7 V2" / OHA® 777®L, 7nA/0* am/ 2?ncA$c^c, 25 x 2 9 cm. WAZ® GC/FTOiV, tW777X.E.D, 2007, q//sc£ on ^n/?cr, 54 V2 x 29 V-#" / OHA® 777®L, 0//se( a«/ Parier, S 7,6 x 75,5 cm. 9i Warf« Gwji/on flcation and reduced the objects in its collection to a "awkwardness" articulating a general reticence, what relationship of multivalent equivalence. Johanna Burton has termed, "a neutral deport- Guyton is an avowed conceptualist, attracted to ment,"3' which has come to define his work. Guyton forms and structures that, in his words, "contain also confesses to having "no natural skills in actually their own internal logic."0 While it is true that his making things" and that he received most of his use of an ink-jet printer—from his inaugural forays knowledge about art through books and reproduc- printing letters of the alphabet in standard computer tions. His earliest works suggest a parody of mod- fonts over pages from books on twentieth century art ernist, minimalist, and post-minimalist forms, made and design, to his recent ink-jet-printed, stretched from the simplest of materials and most basic of ges- linen works—has invited discussion of his work in tures. As a graduate student at Hunter College in painterly terms, Guyton's practice encompasses a New York in the late 1990s, he made objects using broader formal and conceptual terrain than strictly found photographs. For his graduate thesis exhibi- painting. His early elaborations of sculptural or tion, he created a floor piece using parquet tiles in sculpture-like form, his provocative recycling of the the form of a solid block, or platform, obstructing tropes of Modernism and its contaminations (by one of the entrances into the gallery space. A mir- which I mean contemporary art practice since the rored, rectangular column extending from floor to 1960s, although especially artists such as Dan Gra- ceiling stood along its side—its structural possibili- ham and Robert Morris), not to mention his staged, ties supposedly usurped by the dematerialized action improvised readings, collaborative work, and publi- of its reflective surface. cations with Continuous Project, point to a more In the early 2000s, Guyton's literal blocking of complex and distinctly un-medium-specific practice, space became a hypothetical "blacking out" of space, one to which Rosalind Krauss' term "post-medium" as he began to combine sculptural dimensionality might more aptly apply. with reproductions of architectures, interiors, and Guyton's practice has consistently defied easy cat- modernist sculptures, filling in, for example, the egorization, operating instead from within an accu- contours of a photograph of a suburban house with a mulation of formal and conceptual slippages. He black marker. The resulting DRAWING FOR A SCULP- uses terms such as "unease," "embarrassment," and TÜRE THE SIZE OF A HOUSE (2001) became a model WAZ)£ GGY7W, 7)AAW77VG £07? sct/uproRfi rae S/ZE OE A ETOGSE, 2007, 7narÄ«r on jb^crfogra/)/*, rf x 6" / Z£/C//Af(7AG EÜÄ EJAffi SEt/LPEt/R VOiV DER GRÖSSE E/A/ES ETA USES, Marfc«r aw/PAo£ogra^Ai«, 70,7 x 75,2 cm. 92 Wade for a series of planar plywood structures, painted forms were also eminently reproducible. As with his black and propped up by pieces of 2 x 4, which rep- earlier "fragments," the X sculptures relate as much, resented fragments of the scale of the proposed if not more, to the space of the image, be it of an house-sized sculpture. In turn, the act of drawing architectural interior or of sculpture in a public set- over existing photographic images would become ting. These casual gestures of insertion, predicated the impetus for his "Printer Drawings," at which on a supposedly neutral if not anonymous form, point Guyton began using a simple office printer as a would come to invite a variety of readings, the most means of mark-making, while introducing a system of obvious being that of cancellation or negation. chance that was to prove generative. Trumping his X with the letter U, he assumed yet At the same time as he was making his "frag- another variable and outwardly reflecting form. The ments," he expanded his repertoire to include verti- U sculpture, as either a three-dimensional object or cal towers made from mirrored panels alternating two-dimensional sign, functions as an emblem of between gold and black Plexiglas, works that articu- reproducibility. Like the X, the letter U (along with lated his interest in fragments and voids. Elaborating other pre-existing motifs) would find its way into the on the willed "dumbness" of his earlier propositions, two-dimensional realm of ink-jet registration. he also drew on the found photograph, primarily It is of significance that X is one of the most rudi- from books and art magazines, reframing moments mentary marks of acknowledgment or signature. For from the history of Modernism and Conceptualism, Guyton, the notion of authorship is a pertinent ques- producing what might be considered cultural-arte- tion, whether it be the distance he assumes with fact-turned-sculpture. NEW DESIGN (2003) replicates regard to making the work or his varying artistic (in hinged oak) the structure of one of Dan Gra- roles: as himself, as GuytonXWalker, or a part of the ham's pavilions for viewing videos (NEW DESIGN FOR publishing collective Continuous Project. History— SHOWING VIDEO, 1995). Instead of creating an archi- as it is authorized and perpetuated through the tecture in which subjective perception is implicit to archive and document (their circuits of distribu- the work, Guyton produced a free-standing, linear tion)—underpins the absurdist, parasitical inter- framework that resembled a set of interconnecting vendons of Continuous Project, be it through its door thresholds. Instead of investing the work with a elegantly folded bulletins or the re-enactments of promise of intersubjectivity (as did Graham), Guyton transcribed events from past artistic moments produced a structure for the viewer to merely walk performed by a complicit cast of characters. Here, through. Similarly, with his "Action Sculptures," he Guyton espouses the collaborative process, personal removed the seat and back of one of Marcel Breuer's anonymity, and a spirit of masquerade.
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