Kelley Walker and Wade Guyton - Contemporary Art Part I New York Wednesday, May 11, 2011 | Phillips

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  • Provenance

    Greene Naftali Gallery, New York

  • Catalogue Essay

    KELLEY WALKER What’s funny is, you or I will do something, not save the file, and then tell the other person to reproduce it for whatever reason. I’ll have a printout and
    try to figure out what the hell you did and how to go about retracing your steps. That happens quite often, actually. And when I can’t figure it out, you have to come back
    and say, Oh, you’re an idiot.

    WADE GUYTON Or we give up and it just becomes something else entirely. That’s the thing. I’m not so loose with my own work. Somehow the collaboration really allows all
    of that contingency to become a part of it. And even if it causes a problem, some other solution comes along to take care of it, which of course creates other problems. The way it grows and moves around is totally fascinating to me, too, because its shape is indeterminate.

    And yet the work has an identity. It may be problematic or clumsy and full of failures, but we’ve actively kept it alive. It’s a pain in the ass, but it is simultaneously a relief.
    And I learn from it all the time. It’s weird to feel ownership but then also feel as if you’re separate from it — that it’s alien.

    KW Hate it.

    WG Hate it and love it.

    (Conversation between Wade Guyton and Kelley Walker, ARTFORUM, February 2011, pp. 168 - 169)


Coconut Chandelier (# 25)

Coconuts, electrical wiring and light bulbs.
Dimensions variable. As installed 35 1/2 x 19 3/4 x 19 3/4 in. (90.2 x 50.2 x 50.2 cm.)

$30,000 - 50,000 

Sold for $74,500

Contemporary Art Part I

12 May 2011
New York