I cannot think of another American artist who went as far as Guston did without a safety net.
Last month, four museums announced that they would postpone the retrospective to 2024, citing the need to better contextualize KKK imagery in Guston’s work.
I talked to Kaywin Feldman to ask why the museum chose to delay the show by the well-known American artist.
An autumnal offering of Artemisia Gentileschi, Dorothea Tanning, Henri Matisse, and Guston galore, among much, much else.
In this time of self-isolation and social distancing, shouldn’t the art world consider celebrating artists who don’t require expensive materials or run up high production costs?
A chance to visit the mural and listen to a discussion about this important but often overlooked moment in Guston’s career.
The literalism of 1960s Formalism has been replaced by an insistence on the factual, which leaves little room for the imagination or for speculation.
The new annual Fellowship, for an artist working in any discipline, was funded by a gift from the daughter of artists Philip Guston and Musa McKim Guston.
Guston and Steinberg are unclassifiable figures who satirized political figures, artists, poseurs, and American consumerism.
One of the defining features of Guston’s last decade is a paradoxical faith in the elusiveness of truth.
Asian-American artists engaged deeply and creatively with Abstract Expressionism, counter to historical views of the movement as a New York monolith.
Savinio’s adulteration of old and new was highly influential in the postmodernist revolt against the strictures of formalism.