{"data":{"id":"9230","type":"artist","attributes":{"id":9230,"topgoose_id":2134,"tms_id":9230,"display_name":"Wade Guyton","sort_name":"Guyton Wade","display_date":"1972–","begin_date":"1972","end_date":"0","biography":"\u003cp\u003eWade Guyton’s polyptych painting\u003cem\u003e\n\u003c/em\u003e\u003ca href=\"/collection/works/36706\"\u003e\u003cem\u003eUntitled \u003c/em\u003e\u003c/a\u003espans a monumental fifty feet and\nwas created specifically for the long,\nnarrow proportions of the gallery in Milan\nwhere it was first installed. Although\nmade on preprimed linen traditionally used\nby painters, the work employed neither\nbrush nor paint but was instead produced\nby a 44-inch-wide inkjet printer (Epson’s\n9600 UltraChrome model, to be exact).\nGuyton folded each of eight canvases in\nhalf lengthwise and fed them through the\nmachine twice, printing the same TIFF\nimage file—a stack of seven black bands—\nonce on each side; when unfolded and\nstretched on separate panels that are then\nhung five inches apart, the canvases\nmerge into a rhythmic, undulating expanse\nof black and white intervals.\n\u003c/p\u003e\u003cp\u003e\u003cem\u003eUntitled \u003c/em\u003eextends a practice Guyton\ninitiated in 2002, when he first made “printer\ndrawings” using Microsoft Word and his\ndesktop printer. Though the scale of the\nprinter has increased, he continues to\nrely on everyday technology and software,\nexploiting their failures and limitations to\nproductive ends. For Guyton, a new\ntechnique often “starts as an accident and\nthen becomes a template for other things,\nor reproduces itself and generates its\nown logic until something else intervenes to\nchange it.” The repetition of the TIFF file in\u003cem\u003e\nUntitled\u003c/em\u003e acts as a yardstick that reveals\nthese incidents of the process: as the fabric\njams, the printer clogs or runs dry, or the\ngiant canvases smudge against the\nstudio floor, the initial image produces\ncountless variations. While the resulting\npainting formally recalls the elegance\nof high modernist abstraction, Guyton makes\na work that also offers a picture of how\nmachines, humans, and images\ninteract haltingly in the early twenty-\nfirst century.\u003c/p\u003e","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500122494","wikidata_id":"Q3564983","created_at":"2017-08-30T17:01:49.000-04:00","updated_at":"2026-04-12T07:04:36.950-04:00","links":{"artworks":"/api/artists/9230/artworks","exhibitions":"/api/artists/9230/exhibitions"}}}}