WILLIAM T. WILEY
THE POWER OF PUNS
"He is one of the foremost critics of America’s egotism and unsustainable way of life, expressing his critiques in beautifully and sharply rendered paintings and drawings. He is tenderer and less eruptive than Peter Saul, but his message is just as urgent, disquieting, and necessary to these addled, disjointed,
the rich-get-richer times."
"...the single most stunning work is a 1982 work by William T. Wiley titled Eerie Grotto-Okina, showing a cartographic landscape dissolving into a pictorial one, articulated in an array of bright kaleidoscopic colors, each applied by a separate woodblock."
ARTFORUM feature article
April 2019
HUMANLY POSSIBLE
Dan Nadel on the art of William T. Wiley
"Among Wiley's earliest graduate students was Bruce Nauman, who arrived in 1964. Nauman embraced Wiley's use of rough, found materials, wordplay, and life-is-art-art-is-life ethos, while Wiley took in Nauman's cerebral, proto-Conceptual approach to what an art object could be, epitomized in the younger artist's untitled fiberglass-and-polyester-resin sculptures."
SF CHRONICLE article
May 2019
William T. Wiley, beloved jester of the art world at Hosfelt Gallery
SQUARE CYLINDER review
April 2019
"Few American visual artists can rightly be called soothsayers. Among those that can, William T. Wiley, 81, stands apart. From the mid-1960s to the present, his paintings and sculptures have laid bare the lies and deceptions behind war, environmental catastrophes, corporate malfeasance, political misdeeds, hyperbolic punditry and, yes, even the sometimes-opaque machinations of the art world."