TABLE OF CONTENTS

Guyton\Walker

Guyton\Walker, Untitled, 2009, paint, Formica table, digital ink-jet print on drywall, digital ink-jet print on paint cans. Installation view, Baltimore Museum of Art, 2010. Photo: Mitro Hood.

GUYTON\WALKER

KELLEY WALKER: It’s almost not a collaboration; it’s like impersonation. We are able to impersonate this character and we can take turns. We can come and go. I think one thing about Guyton\Walker that’s never quite been understood is that sometimes we’re equally engaged in the work and at other times we’re at different distances from it.

WADE GUYTON: We have very different attention spans at different times.

KW: Because we also have our separate, individual careers.

WG: After our recent show at the Baltimore Museum of Art—which was the first time we showed works that had been exhibited elsewhere—you said that we killed Guyton\Walker. But I thought it was more like we started taking our meds. It was all a bit more cooperative with the museum and the viewer than usual.

KW: Well, I think there were ideas we were relying on that were no longer useful, and that was

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 2011 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.