Few figures have had an impact as important on our understanding of artistic production after the turn of the millennium as Wade Guyton, whose practice has widely prompted reconsiderations of longstanding models of medium-specificity, appropriation, and critical engagement--and, perhaps more provocatively, performativity and readymade gesture--in art.This volume takes stock of critical perspectives on Guyton's work over the course of the artist's career, assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors including Daniel Baumann, Kirsty Bell, Bettina Funcke, Tim Griffin (editor), and John Kelsey.Just as significantly, this book holds up a mirror to the rapidly changing context for Guyton's work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.Published with the Kunsthalle Z�rich. This book is part of the JRP Ringier Documents series.

Founded in 2004, Guyton\Walker--the artist duo of Wade Guyton (born 1972) and Kelley Walker (born 1969)--is a partnership that has remained virtually without parallel in contemporary art, in that both artists work and exhibit individually. This volume examines all facets of their output, both singly and together. Essays by Sam Pulitzer and Quinn Latimer discuss individual authorship and joint techniques, while Jack Bankowsky's text examines Guyton\Walker within a broad art-historical context. Yilmaz Dziewior's introductory essay outlines the distinctive concept of the Kunsthaus Bregenz exhibition this book accompanies, and addresses the relationship between individual and joint artistic practices. Each section on the three artistic positions features photographs of the installation in Kunsthaus Bregenz.

This catalogue was produced on the occasion of the exhibition Wade Guyton at the Whitney Museum of American Art, New York, October 4, 2012-February 2013.

This year's Best American Magazine Writing features articles on politics, culture, sports, sex, race, celebrity, and more. Selections include Ta-Nehisi Coates's intensely debated "The Case For Reparations" (The Atlantic) and Monica Lewinsky's reflections on the public-humiliation complex and how the rules of the game have (and have not) changed (Vanity Fair). Amanda Hess recounts her chilling encounter with Internet sexual harassment (Pacific Standard) and John Jeremiah Sullivan shares his investigation into one of American music's greatest mysteries (New York Times Magazine). The anthology also presents Rebecca Traister's acerbic musings on gender politics (The New Republic) and Jerry Saltz's fearless art criticism (New York). James Verini reconstructs an eccentric love affair against the slow deterioration of Afghanistan in the twentieth century (The Atavist); Roger Angell offers affecting yet humorous reflections on life at ninety-three (The New Yorker); Tiffany Stanley recounts her poignant experience caring for a loved one with Alzheimer's (National Journal); and Jonathan Van Meter takes an entertaining look at fashion's obsession with being a social-media somebody (Vogue). Brian Phillips describes his surreal adventures in the world of Japanese ritual and culture (Grantland), and Emily Yoffe reveals the unforeseen casualties in the effort to address the college rape crisis (Slate). The collection concludes with a work of fiction by Donald Antrim, exploring the geography of loss. (The New Yorker).

The monochrome - a single colour of paint applied over the entirety of a canvas - remains one of the more contentious modernist artistic inventions. But whilst the manufacture of these 'pictures of nothing' was ostensibly straightforward, their subsequent theorisation has been anything but. More than a history, Monochrome: Darkness and Light in Contemporary Art is the first account of the monochrome's lively role in contemporary art. Liberated from the burden of representation, the monochrome first stood for emancipation: an ideological and artistic impulse that characterised the avant-garde of the early twentieth century. Historically, the monochrome embodied the most extreme form of abstraction and pure materiality. Yet more recently, adaptations of the art form have focused on a broader range of cultural and interpretive contexts. Provocative, innovative and timely, this book argues that the latest artistic strategies go beyond stylistic concerns and instead seek to re-engage with ideas around authorship, process and the conditions of the visible as they are given and understood through both light and darkness. Discussing works by artists such as Katie Paterson, Hiroshi Sugimoto, Tom Friedman, Bruno Jakob, Sherrie Levine and Ceal Floyer, the book shows that the debates around an artwork's form and its possibility for meaning that the monochrome first engendered remain very much alive in contemporary visual culture.

Postscript is the first collection of writings on the subject of conceptual writing by a diverse field of scholars in the realms of art, literature, media, as well as the artists themselves