Untitled, 2010. Epson UltraChrome inkjet on linen; eight panels, 305 x 69 in. (774.7 x 175.3 cm) each ; 305 x 586 in. (774.7 x 1488.4 cm) overall. Collection of the artist. Photograph by Lothar Schnepf.
The language of Wade Guyton’s mid-career retrospective at the Whitney emphasizes that, like any other user, Guyton approaches technology unenlightened as to its inner workings. Choosing to make his printer drawings, in which images from books and magazines are printed on, Guyton rendered simple marks in Microsoft Word. Unlike other users, perhaps, Guyton is aesthetically excited by technologies limitations and preconditions, viewing them as an element of chance in his work.
The exhibition, made up mostly of inkjet on linen paintings, aptly shows Guyton’s modernist collaborations with new technologies, reinscribing the greatest hits modernism within a different context. Transparency, monochrome, and the readymade all make their expected appearances. A four panel transparent window, with printer drawings of works by Frank Stella, Duchamp himself, and others, emphasize his investment in 20th century modernism while referencing obliquely computer technology as a low-tech window and bulletin board.
The printer drawings play with material images from books and magazines. This emphasis on origin and location contrasts with his engagement of technologies that have done so much to dematerialize our engagement with images. One inkjet painting does come from a “source file”: it contains an image of Kenneth Noland’s True North (1961), scanned, printed, and disturbed by five runny black disks. More explicitly minimal works—an inverted woodpile or inkjet on wood sculpture—round out the show.