Philip Guston Now

by Philip Guston (Author), Mark Godfrey (Author), Alison de Lima Greene (Author), Kate Nesin (Author)

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Philip Guston–perhaps more than any other figure in recent memory–has given contemporary artists permission to break the rules and paint what, and how, they want. His winding career, embrace of “high” and “low” sources, and constant aesthetic reinvention defy easy categorization, and his 1968 figurative turn is by now one of modern art’s most legendary conversion narratives. “I was feeling split, schizophrenic. The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything–and then going into my studio to adjust a red to a blue?”

And so Guston’s sensitive abstractions gave way to large, cartoonlike canvases populated by lumpy, sometimes tortured figures and mysterious personal symbols in a palette of juicy pinks, acid greens, and cool blues. That Guston continued mining this vein for the rest of his life–despite initial bewilderment from his peers–reinforced his reputation as an artist’s artist and a model of integrity; since his death 50 years ago, he has become hugely influential as contemporary art has followed Guston into its own antic twists and turns.

Published to accompany the first retrospective museum exhibition of Guston’s career in over 15 years, Philip Guston Now includes a lead essay by Harry Cooper surveying Guston’s life and work, and a definitive chronology reflecting many new discoveries. It also highlights the voices of artists of our day who have been inspired by the full range of his work: Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman and Rirkrit Tiravanija. Thematic essays by co-curators Mark Godfrey, Alison de Lima Greene and Kate Nesin trace the influences, interests and evolution of this singular force in modern and contemporary art–including several perspectives on the 1960s and ’70s, when Guston gradually abandoned abstraction, returning to the figure and to current history but with a personal voice, by turns comic and apocalyptic, that resonates today more than ever.

Philip Guston

Best known for his cartoonish paintings and drawings from the late 1960s onwards, Philip Guston audaciously returned to figuration at the height of Abstract Expressionism. Guston created a lively cast of characters rendered in bold brushwork—sinister, hooded figures reminiscent of the Ku Klux Klan; cyclopean heads; and disembodied limbs. Seemingly mundane objects, such as bare light bulbs, shoes, cigarettes, and bricks were also imbued with personal meaning. A muralist with the government-funded Federal Art Project in the 1930s, an Abstract Expressionist in the 1950s and ‘60s, and a figurative painter in the last decades of his life, Guston is regarded as a leading figure in the creation of a new style of painting known as Neo-Expressionism.

Product Details

Hardcover: 288 pages
ISBN-10: 1942884567
Dimensions: 22.86 x 1.91 x 27.94 cm
Publisher: Distributed Art Publishers; Illustrated edition (26 Mar. 2020)
Language: English

Editorial Reviews

Philip Guston is best known for his incisive, cartoonish paintings and drawings ranging in subject matter from everyday scenes to narrative political satires, particularly those of Richard Nixon. Guston's work received varying degrees of critical praise throughout his lifetime, shifting as he changed course.
Claire Selvin
ARTnews
A beautifully illustrated catalogue with essays by the show's co-curators and reflections on his influential work by such contemporary artists as Trenton Doyle Hancock, William Kentridge, and Amy Sillman. Guston created work in a variety of styles and from psychological points of view that continue to impact an evolving art world today.
Paul Laster
Art and Object
A satisfying compilation of the late painter's best-known work, as well as some surprises. Assembled for his new traveling retrospective at the National Gallery of Art, this catalogue could function either as an introduction or a point of reentry, giving those with varying experiences with Guston's work a chance to deepen what they know.
Cultured

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