Philip Guston

Post image for Flesh and Bones: Philip Guston’s “Thingness”

The idea of an abrupt transition between the abstract work and the late figuration has become so ingrained in the narrative of Guston’s career that a view suggesting a more gradual evolution might meet with resistance.

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Post image for Seeking the Real at Art Basel Miami Beach

So where were they? An Inside Art column published in The New York Times a week before the opening of Art Basel Miami Beach dangled the prospect of a more inclusive fair this year, one that would feature “A Focus on Female Artists,” as the headline put it.

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Post image for 47 Painters Exhibit Symptoms of the Philip Guston Effect

BOSTON — Before 1968, when Philip Guston more or less began working on a new body of work that would define his late career, it could be said of him, as it was of Lord Dartmouth by the poet William Cowper: this was a man “who wears a coronet and prays.”

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Post image for Revisiting Postwar American Art in Paris

PARIS — During springtime in Paris, one frequently meets beaming American newlyweds on their honeymoon.

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Post image for The Triumph of Revisionism: The Whitney’s American Century

With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.

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Philip Guston,

It’s a display of mostly gallery artists, perfunctorily titled Fall 2014 Group Show and hung without an apparent organizing principle. There isn’t even an official closing date.

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Post image for Points of Contact: Small Works, Giant Steps

The Age of Small Things, a group show organized by the painter Chuck Webster, fills the ground floor of the Lower East Side’s Dodge Gallery, where the singular touch of the artist-curator has recast a parade of diminutive objects into an unpredictable unfolding of processes and ideas.

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Post image for America’s Grand Gestures Reign Supreme Again in Basel

BASEL, Switzerland — Fifty-five years ago, the exhibition The New American Painting arrived at the Kunsthalle Basel. It was the first stop on a yearlong tour that touted the work of seventeen Abstract Expressionists before eight European countries — the first comprehensive exhibition to be sent to Europe showing the advanced tendencies in American painting. All but five of the original artists from the show had work on view at last weekend’s Art Basel, where postwar American painting and sculpture dominated the halls.

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Post image for Thomas Nozkowski and Philip Guston Talk to Each Other Without Knowing It

Thomas Nozkowski wasn’t thinking about Philip Guston’s “Untitled” (1980) while he was working on “Untitled (9-21)” (2012), but the number of formal attributes they share — from size to composition and imagery — has proven hard for me to ignore. It was while I was looking at Nozkowski’s “Untitled (9-21)” at his exhibition at Russell Bowman Art Advisory (April 12 – June 15, 2013) in Chicago that a specific Guston work came to mind. Shortly after I got back to New York, I checked to see whether or not my memory had been playing tricks on me. It hadn’t.

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GalleriesWeekend

Philip Guston’s Line

by John Yau on March 24, 2013

Post image for Philip Guston’s Line

There is still a story to be told about Philip Guston (1913–1980) and Jackson Pollock (1912–1956), who met at Manual Arts High School in Los Angeles in 1929, and were expelled the following year for handing out a broadside that ridiculed the English faculty for their conservatism. Pollock was later readmitted to the school, but Guston never went back. It is a story about acceptance and rejection.

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