Wade Guyton For Love And Money

Wade Guyton, Untitled, 2008, 8×4 ft, ed. 3 of 7, not sold at Phillips in 2019 for £30,000 – 50,000

One of my favorite things to discover about Maria Lind’s 2012 Abstract Possible: The Stockholm Synergies show was the Wade Guyton narrative arc. And how Guyton’s massive, black painted plywood floor in the Konsthall raised the profile of the his black printed plywood edition in Lind’s controversial selling show at Bukowskis auction house. And how that very example did not sell then. And it did not sell in 2019. And it did not sell again in 2022.

And so the “Distinguished European Collector” who’s been stuck with it—I like to think it’s the Lundins—has had to keep enjoying what is truly, as far as these things go, an iconic work. How would it be?

Well, for a brief shining moment, now you can find out.

Wade Guyton, Untitled for Parkett 83, 2008, 48 x 24 x 1/2 in., pigment print on plywood, ed. 38/XXII, actually the last one is available at Parkett right now

One reason I thought of for why this excellent example of Guyton’s work didn’t sell was the volume. Not just that it is an edition, but that there are actually two editions. When Guyton made this 8×4 ft plywood edition of seven in 2008, he also made a Parkett edition of 60 [38 numbered, XXII proofs].

But as I’ve noted before, what matters about the works of Guyton’s Black Paintings Era, which were all produced using the same monochromatic bigblack.tif file, is that they exist as a series. The editions, even more so. I’m getting shivers just imagining them being made all at once, 22 sheets of ply pumped into the inkjet printer, and admiring the the little differences.

Like being little. Though it elegantly maintains the proportion and scale of the ed. 7, Guyton’s untitled edition for Parkett 83 is a quarter of the size [4 x 2 ft., 15 sheets/4 = 60.]

Think what it’s like to move it around, perhaps in your car, or even in your pickup, or to store it, or to ship it. What the Parkett edition may lack in surface area, it more than makes up for in convenience.

And now, somehow, Parkett has one left, the “last available work from a previously sold-out edition.”

So you could wait a couple of years, and hope that Ed. 3/7 turns up again with another markdown—an uncertainty given the critical praise on Guyton’s recent productively incisive push forward through his past. Or you can take those ten thousand euros, and invest them right now, for which astuteness you will be rewarded with complimentary shipping.

Paint Fair, Nuts’N’Shirt

Artist Keith Haring takes a break from work in his studio making paintings for an upcoming art exhibit.

Poking around The Broad’s Keith Haring show, which is at the Walker for another week or so, led me to this photo of Haring at work. It was taken in late 1982 by Alan Tannenbaum. I feel like I’d seen images of this moment before, but this time, what caught my attention was Haring’s t-shirt.

Paint Fair, in carnival lettering with a circus tent and a frilly, scalloped, tent-like border.

Cady Noland with Diana Balton, Nuts’N’Shit, 1990, screenprint on metal, 28 3/4 x 42 1/8 in., fabricated by Big Apple Printing, collection: MoMA

I noticed it because it looked very similar to Nuts’N’Shit, a screenprinted metal work by Cady Noland and Diana Balton. The one at MoMA [above] is listed as a screenprinted edition of one, but the one in Frankfurt was enamel, framed, and from the Brants. I will trust the artist to sort that out.

Continue reading “Paint Fair, Nuts’N’Shirt”

Proposte Monochrome, TGV Orange

The designer and colorist of the TGV, Jacques Cooper, passed away at the age of 93. An industrial and auto designer, Cooper created the distinctive wedge-shaped face of Alstom’s prototype high speed train for SNCF, the TGV-001, in 1972. Cooper picked the orange color. In 1977 a brighter orange, known as SNCF 435, was approved for the livery of the TGV Sud-Est.

TGV Orange col0r sample, Cité du Train, Mulhouse, photo: Aurélien Vret

While memorializing Cooper on Bluesky, artist Aurélien Vret posted a photo of Alstom’s TGV Orange sample, which was on view at SNCF’s rail history museum, Cité du Train, in Mulhouse.

The TGV Orange SCNF 435 livery was retired in the 1990s, but was brought back for a nationwide tour in 2020 for the 40th anniversary of the TGV. Otherwise it lives on in the model train painting community.

Previously, related tag: Rijksoverheid Rood

Joshua Smith, Untitled (Forbidden Colors), 2024

joshua smith 1983 just posted this image to his instagram of four elongated parallelogram shaped monochrome paintings leaning to the right, in the colors green, red, black, and white, hung on a white wall with a similarly proportioned parallelogram of sunlight hitting the hardwood floor below. a work titled Untitled (Forbidden Colors), 2024, after a related work from 1988 by Felix Gonzalez-Torres, which is in the collection of MOCA LA.
Joshua Smith, Untitled (Forbidden Colors), 2024, via IG/@joshuasmith1983

Untitled (Forbidden Colors) has been realized again, this time as a work by Joshua Smith. The parallelogram of Los Angeles sunlight coming in might be my favorite thing about this photo, after the work itself. It would be great if it draws out the Felix Gonzalez-Torres original from MOCA’s storerooms, and even better if there can be a stop to the killings in Gaza.

And In Other Mug Shot News

April 15, 1964, publicity photo of Thirteen Most Wanted Men released by the World’s Fair

This morning Michael Lobel brought some art historically significant mug shots to the social media discourse, including one of my long-time favorites, Andy Warhol’s Thirteen Most Wanted Men, a grid of 22 mug shots mounted on the facade of the New York State Pavilion Theaterama at the 1964 World’s Fair. Within two days of its unveiling, the work drew complaints from officials, and the 25 panels were painted over with silver aluminum paint.

It seemed so bold and promising. Bettmann dates the release to the press of the image above to April 15, 1964. The original caption gives the piece a different title, but it also had World’s Fair officials—and Johnson—on record explaining and promoting Warhol’s project—for one day:

A Place at the Fair. Flushing Meadow, N.Y.: Photos of New York City’s 13 Most Wanted Criminals -resplendent in all their scars, cauliflower ears and other appurtenances of their trade, unabashedly adorn masonite facade of the New York State Pavilion at the World’s Fair. The display an arrangement of official Police Department “mug shots,” forms a 20×20 foot mural mounted on the pavilion. Philip Johnson, a designer of the pavilion, said the mural is “a comment on the sociological factor of American life.”

Continue reading “And In Other Mug Shot News”

Untitled (AUS), 2023 [UPDATED]

Untitled (AUS) and USM(ono)C(hrome), 2023, installation view, via CNN Pentagon correspondent Oren Liebermann

The second in what I guess will be an ongoing series. Any Republican senator could end this installation at any time.

MONDAY MONOCHROME UPDATE: Now the Navy makes it a triptych.

Untitled (AUS), Untitled (USN), and USM(ono)C(hrome), installation view,
14 Aug 2023, via Lara Seligman

Previously, related: USM(ono)C(hrome), 2023

Craig Pride

Whoops, not me having to change the folksy billboard lede to past tense when I found a 2022 Google Streetview shot from the highway

You know the gravel pit on the east end of town? Where there used to be the big vinyl billboard you could see from US-40, that says Welcome To Moffat County? The one that made Gail from the Chamber of Commerce tear up with delight first time she saw it because it “really says Moffat County”?

Well that wedge-shaped building, which the Chamber helped paint white a ways back, wasn’t always a billboard. It used to be the screen for a drive-in movie theater. On the other side, of course. And til the projection booth and snackbar burned down, and 3B Enterprises expanded the pit.

from @fromkindra’s western photolog, as regrammed by @ndybeach

In fact, this used to be a typology: drive-in movie screens with interiors. Do a reverse Google image search of @fromkindra’s Instagram road trip posts if you don’t believe me; they’re all over.

Anyway, maybe it’s time to repaint that thing.

Yves Klein Proposte Minicrome

Yves Klein: With the Void, Full Powers, installation view at the Walker Art Center, 2011

In the 2010-11 retrospective of Yves Klein’s work organized by the Hirshhorn and the Walker Art Center, there was a wall (in DC) and a nook (in Minneapolis) filled with early, small-ish monochromes in a variety of colors that weren’t blue. They surrounded a vitrine with Klein’s amazing 1954 catalogue for an imaginary monochromes exhibition, Yves Peintures.

Yves Klein, untitled (M 109), 1955, 10×10 cm, oil on gauze on panel, being sold at Christie’s Paris

This little red square was not among them, but can you imagine if it was, looking like an emergency button in its gigantic, beveled frame?

Continue reading “Yves Klein Proposte Minicrome”

Mural With Girl With A Pearl, 2023

Mural With Girl With A Pearl, 2023, paint on plaster, Vermeer, dimensions variable (installation view via @BMPMurphy)

I’m not sure I could think of a greater honor than to have work in a two-artist exhibition with Vermeer. I certainly didn’t think of anything before today.

But now I am beyond thrilled to announce my site-specific installation, Mural With Girl With A Pearl is on view at the Rijksmuseum in Amsterdam. It comprises a painting on the wall holding Girl With A Pearl, and the painting Girl With A Pearl itself. It’s hard to say how long it will be there; certainly this incarnation won’t go past March 30th, when Girl With A Pearl goes back to The Hague. Tickets to see it are definitively not available. [But if you do go, SEND PICS!]

Like Vermeer’s work, which it incorporates, it is an exploration of the subtle effects of light captured in built up layers of paint. And like those light effects, it may be fleeting, perceived only in the periphery of vision, occupying the liminal spaces around the older work that is the predictable draw of our attention.

Mural With Girl With A Pearl, 2023, paint on plaster, Vermeer (installation view via @blogexhibitions)

But for now, if you look up, and the gallery lights hit at the right angle, you will feel your field of view, and with the close looking you’ve exercised, you’ll recognize the changing world beyond the frame.

Mural With Girl With A Pearl, 2023, paint on plaster, Vermeer (installation view via @BrothersCammy)

You’ll see the new horizon coalesce just above Girl with a Pearl Earring‘s head. The loose grid of brusquely brushed forms —pearls? lights? ships? celestial figures? yet too big to be stars?—shimmering in formation in the graying sky.

While the current installation involves Girl with a Pearl, I am happy to discuss how to make the piece work for your Vermeer, too. Or, if you’re at the Mauritshuis, we can recreate the Amsterdam magic. Just because the Vermeer show is once-in-a-lifetime doesn’t mean this collab has to be, too.

Mural With Girl With A Pearl, 2023, installation view via @worldelsewhere/ig

April Update: Thanks to @worldelsewhere, I am able to say that the installation stayed up until Girl With A Pearl left for the Mauritshuis. Thank you all for your engagement.

Previous, related museum works:
The Wall, 2021, Musée du Louvre
Proposte Monocrome, gris, 2017, The Metropolitan Museum

Regina, RGB

Wolfgang TIllmans, Regina, 2002, ed. 1/1+1AP, inkjet on paper, 137 x 206cm, sold for GBP68750 at Christie’s London during Frieze Week 2018

The last time the Queen of England rode around London in the Gold State Coach was for her 50th anniversary, and Wolfgang Tillmans was there.

Halberds out: Study for Tillmans Regina, 115 x 206 cm, 2022, sky news screencap, which, alas, does not include the giant

If he was there today to see the Queen’s subjects waving at a hologram of her riding in the GSC, it might look a little something like this. Protip: the way you can tell my Tillmans from Tillmans’ Tillmans is the aspect ratio.

Study for SCREEN COVERAGE…, 2022, it’s a diptych

And while mine will ship with a separate
SCREEN COVERAGE WILL CONTINUE
AFTER THE HORSES HAVE SAFELY PASSED BY
monochrome, I feel like Wolfgang would have been able to get both screens in one shot.

Previously: Yas, Regina

Ellsworth Kelly, Red Floor Panel (1992)

Ellsworth Kelly, Red Floor Panel, 1992, acrylic on canvas on wood panel, installed at Matthew Marks

I remember the experience of walking into Matthew Marks and seeing one stunning work: the 1957 Sculpture for a Large Wall, which Marks had basically rescued from the Philadelphia Transit Building for which it had been commissioned. (The Lauders bought it for MoMA in 1998.) Anyway, now there will be another, though it seems like this time, seeing won’t be enough.

Ellsworth Kelly Westfälischer Kunstverein exhibition poster, A1 offset print, signed, via Susan Sheehan Gallery

Red Floor Panel (1992) is one of five floor paintings Kelly made, beginning in 1990. [Glenstone got the first, but how can this not be the best?] It is being shown for the first time since its original appearance at the Westfälischer Kunstverein in Münster.

Ellsworth Kelly, Münster, 1992 exhibition poster, silkscreen, signed, via Susan Sheehan Gallery
[yikes, someone cropped one down to make it look more like a print.]

How does this object exist? And how is it possible that each of these pictures is of the same object? I mean, it’s at once the most obvious and confounding thing. [update: I’ve learned the answer to the first question, and it will astound you. It did me.]

Blue Green Black Red and Postcards is open at Matthew Marks through June 25, 2022 As Lloyd Wise tweeted, “the postcard show next door will help it click into place.” [matthewmarks.com]
Marks always has great posters, but somehow not one of this. Susan Sheehan Gallery sure does, though, and then some. [susansheehangallery.com]

Wish I Was There! Ellsworth Kelly Postcards

Ellsworth Kelly, Blue/Black Squares, 1975, collage on postcard from St. Maarten, image via Ellsworth Kelly Studio

For too many years this blog was the top search result for Ellsworth Kelly postcards. I’d Google it myself, hoping to find more, and wondering if my compilations of collaged postcards Kelly made over the years would ever lure some to me. It has not, but last fall, I was rewarded with news from the Tang Museum at Skidmore College of the first comprehensive exhibition of Kelly’s postcards, organized by the Tang’s Ian Berry in conjunction with the artist’s studio and Jessica Eisenthal. Schedule complications kept me from attending, but there is an excellent-looking catalogue being released this spring, and the show will open late this summer at the Blanton Museum at UT Austin.

Domenico Veneziano/Washington Monument, 1984, newspaper on NGA postcard, via Peter Freeman back in the day

Though a couple we included in his Guggenheim retrospective in 1996, most of Kelly’s 400 or so postcards made between 1949 and 2005 have never been shown or published. Each venue will show a distinct selection of 150 of the works, and the catalogue reproduces 216 postcards at full scale. It is a veritable facsimile object blockbuster–but I still want to see the real things in person.

Continue reading “Wish I Was There! Ellsworth Kelly Postcards”

Proposte Momacron

Ceci n’est pas un miroir noir, image via like ten hot takers on twiter

Some might say this warrior president Golden Room mise-en-scène feels like a very special Continental episode of Black Mirror come to life. Me, I say, that’s no black mirror: it’s a Proposte Monocrome Macron! Srsly, though, the Struth fan who took this photo deserves a Légion d’Honneur.

UPDATE WTF: I just zoomed in to make myself an Ellsworth Kelly-style rhomboid crop, and it appears that is not a flatscsreen TV with a reflective image on it at all, but an image? Non, but it is a picture. It is a Soulages.

2 DÉCEMBRE 1989, by Pierre Soulages, acquired by the French State in 1990, and installed in the Salon Doré at the moment. image via, also © Présidence de la République

cf. Proposte Monocrome, eBay Rose