DENVER – Over the last 18 years, a small but loud contemporary art collection has been brewing in the Mile High City, with a mission to bring together artists’ most difficult pieces.
Tag: Wade Guyton
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Could a Long-Forgotten Contract Settle the Artist Resale Royalties Debate?
With a group show simply titled The Contract, the Lower East Side gallery Essex Street encourages us to consider an old proposition: the “Artist’s Reserved Rights Transfer and Sale Agreement” by the pioneering dealer of conceptual art Seth Siegelaub and the lawyer Robert Projansky.
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Tom Sachs’s Pointless Americana
PARIS — In a search for art that reacts to the inequalities of globalization, must art lose touch with the sort of grace that exceeds the hand, a grace that couldn’t be anything but artificial and technological?
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Wade Guyton and the Post-Media Question
PARIS — A backshift in the Parisian weather, from spring warm sun to cold gray, complemented the opening of Wade Guyton’s back-titled 26 avril – 7 juin 2008 exhibition at Galerie Chantal Crousel perfectly.
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What Happens When We Run Out Of Styles?
What does it mean when you hook up your work to that of a late modernist giant working in a reductive vein – Ad Reinhardt, Agnes Martin, Robert Ryman, Ellsworth Kelly, Frank Stella, or Donald Judd, for example – like a caboose?
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The Right Way to Do It Wrong: Three Takes at the Whitney
Last week the Whitney Museum announced its plan for the 2014 Biennial, which entrusts three curators with organizing the exhibition, but not as collaborators. Rather, each individual will be responsible for a single floor of the museum, dividing it, as chief curator Donna De Salvo told The New York Times, “like a layer cake.” This is a new wrinkle in the history of the Biennial, and director Adam Weinberg deserves credit for finding a new direction to take a show that has hit virtually every point on the compass. I read the announcement on the same day that I viewed the Whitney’s commendable Sinister Pop exhibition, and it occurred to me that the museum was already divided into three interrelated layers — or perhaps it would be more to the point to say three case histories — that offer a particular slant on recent developments in American art: Sinister Pop on floor two, Wade Guyton OS on three and Richard Artschwager! on four.
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Hidden in Plain Sight – Wade Guyton’s Dirty Pictures
For anyone who has been following painting in New York since the beginning of the 21st century, it is not surprising that the mid-career survey devoted to Wade Guyton is currently the main attraction at the Whitney Museum of American Art. It is also not surprising that the show has been very well received in newspapers and magazines by the likes of Roberta Smith and Jerry Saltz.