Published in celebration of Guyton's eponymous 2016 painting exhibition at Petzel (November 10, 2016 – January 14, 2017).
The exhibition focused on a selection of works from late 2015. They are all from an ongoing series of paintings in which the artist uses images captured from The New York Times website. They are made with an Epson 9900 printer, and the ink is UltraChrome HDR.
From a New York Times review by Jason Farago - "The series is 'The New York Times Paintings: November-December 2015,' though to call these works paintings is to give half the game away. Mr. Guyton does not use brushes, but rather produces designs as digital files and outputs them to a large inkjet printer. As with Andy Warhol’s silk screens or Christopher Wool’s early stencils, his paintings make a virtue of suppressing the artist’s hand; where Warhol once said he wanted to paint “like a machine,” Mr. Guyton really does it. But just as Warhol never really gave up artistic control when embracing mechanical methods, Mr. Guyton, too, finds a voice in seeming automation. Even the simplest of digital gestures — once typing the letter X, now taking a millisecond’s screenshot — has some artistic motive, and the translation from JPEG to canvas introduces its own formal kinks."
Published by Petzel, New York (2018).
80 pages, 10.5 x 8 in.