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HEAD AND BOTTLE. , 1975. I FIRST SAW HEAD AND BOTTLE more than a decade ago, at Amsterdam’s Stedelijk Museum, in a show of paintings done by Philip Guston in the last years of his life, 1969 to 1980. It was work I was immediately at home with. By this time Guston had stripped his vocabulary down to a few sturdy basics—soles of boots, bodies ...
Philip Guston: Collected Writings, Lectures, and Conversations, edited by Clark Coolidge. Los Angeles: University of California Press, 2010. 352 pages. $30. PHILIP GUSTON’S CAREER swung like a dangling lightbulb—from figuration (starting in 1930) to abstraction (around 1948) and back to figuration (from 1968 until his death in 1980). Yet he ...
Philip Guston, Sarasota, FL, 1967. THIS PAST SEPTEMBER, the directors of four institutions—the National Gallery of Art, Washington, DC; Tate Modern, London; the Museum of Fine Arts, Boston; and the Museum of Fine Arts, Houston—issued an unprecedented statement postponing “Philip Guston Now,” a major traveling retrospective that had been years in the making.
Philip Guston with The Studio, 1969, Woodstock, NY, 1969. Photo: Frank Lloyd. Photo: Frank Lloyd. For Guston and for many artists who have revered these paintings since, his return to figuration—and the clowning Klanners who brought it into being—was an act of defiance against aesthetic doxa; the sophisticated insouciance of the artist’s late works has long served as the epitome of ...
These two books sit atop a growing stack of Guston-themed publications. Distributed Art Publishers and the National Gallery of Art in Washington, DC, have published a new edition of Poor Richard, Guston’s Nixon satire from the summer of 1971, pitched to publishers at Philip Roth’s urging, 4 with no takers until the University of Chicago Press finally issued a now-rare 2001 printing.
Philip Guston, Woodstock, NY, 1970. Photo: Frank Lloyd. I have a large amount of trust in the signature because I enjoy the flow of the handwriting. It is painted with a brush that was dipped in paint that was more liquid at the time it was brushed on than the paint used to paint the painting—a much smaller brush, too. This reminds me of ...
Philip Guston’s latest work—a disparate group of eleven paintings and four drawings—omits the Klansman-like figures prominent in most of his painting since 1970. The leading figure now is a bristly, bean-shaped head with ear and enormous, pupil-less eye. The image suggests a thinking eye, the essential stripped-down painter’s eye. One ...
Guston did something truly radical. He deconstructed his own intelligence and, in the process, revealed a lot about the art world’s pretentiousness. One of the most seductive and delicate handlers of paint to emerge during the ’50s, a decade later he made his work intentionally crude and blunt in order to get to the reality beneath the ...
“Philip Guston: A New Alphabet” presents forty-eight oils (including four from the controversial 1970 Marlborough exhibition), acrylics, and gouaches made between 1961 and 1978, but the thematic core is the “alphabet panels,” a pivotal group of small oil paintings from 1968–70, which the artist arranged and rearranged into narrative ...
Philip Guston, San Clemente, 1975, oil on canvas, 68 × 73 1/4". © The Estate of Philip Guston. Who would have imagined that it would one day be possible to…
