Philip Guston and the Poets, currently at the Gallerie dell’Accademia in Venice, shows the significant influence of poetry on Guston’s work, especially after he retreated from the art world.
There are eighty works on paper in the exhibition, Branden Koch: Bald Ego at Regina Rex, all of which speak to and about the dilemma of being an artist and sympathetic human being in America under the current regime.
The exhibition includes scores by John Cage and Morton Feldman, paintings by Philip Guston, sculpture and works on paper by Louise Bourgeois and David Smith, and oil paintings by Joan Mitchell.
The first painting I saw in 2016 was “Cockman Always Rises Orange” (2015): we can’t say we weren’t warned.
This list barely scratches the surface of the city’s artistic offerings this year, from overdue retrospectives to surprising sides of artists we know well.
I don’t know if laughter is the best medicine: sometimes it is the only medicine.
Over 170 caricatures of Richard Nixon offer an instructive precedent for artists struggling to overcome political and creative blocks in one leap.
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.
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.
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.”
PARIS — During springtime in Paris, one frequently meets beaming American newlyweds on their honeymoon.
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.