Published by The Royal Botanic Garden Edinburgh. Edited by Paul Nesbitt. Text by David Anfam, Philip Larratt-Smith, Paul Nesbitt.
In 1967 Philip Guston (1913–80) left New York City for Woodstock, where—abandoning the Abstract Expressionism of the previous decades—he revisited the figurative imagery of his youth. Cartoonlike in quality, these paintings began to incorporate motifs familiar to him since childhood, from the hooded figures of the Ku Klux Klan to everyday objects such as lightbulbs, shoes and cigarettes. When these paintings were shown for the first time in 1970, they proved highly controversial but soon gained critical recognition and are now widely regarded as some of the most compelling and influential works of the late twentieth century. Published from the acclaimed exhibition Philip Guston: Late Paintings held at Inverleith House, Edinburgh (which was featured in Artforum's top 100 exhibitions of 2012), this handsome volume includes installation views, color plates, an illustrated interview, essays and additional plates in both color and black and white.
PUBLISHER THE ROYAL BOTANIC GARDEN EDINBURGH
BOOK FORMAT Hardcover, 12 x 13 in. / 60 pgs / 33 color / 2 bw.
PUBLISHING STATUS PUB DATE 9/29/2015 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2015 p. 135
PRODUCT DETAILS ISBN 9781906129903TRADE LIST PRICE: $40.00 CDN $50.00
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Philip Guston (1913–1980) was the first abstract painter to return to figuration in the postwar era and was pioneering in his mixing of high art and popular culture. He initially came to prominence as a first-generation Abstract Expressionist, alongside his close friends Jackson Pollock, Willem de Kooning and Mark Rothko. Toward the end of the 1960s, dissatisfied with abstraction, he embarked on an intense phase of drawing, which culminated in his departure from the "purity" demanded of abstract art. Guston introduced human figures smoking, drinking and painting; large heads, severed hairy legs, clumsy shoes and domestic objects such as walls, doors and lamp bulbs were among the motifs of these new paintings. The first exhibition of these works was in 1970; it caused a scandal, with many critics accusing him of "betraying" abstract art. This volume accompanies an exhibition at the Schirn Kunsthalle in Frankfurt, marking the 100th anniversary of Guston’s birth and presenting a selection of some 40 works from what was his most exciting period. Also gathered here are many of Guston’s "poem-pictures," made in collaboration with writers such as Clark Coolidge, William Corbett and Bill Berkson.
Published by Hatje Cantz. Text by Dore Ashton, Peter Benson Miller.
Since Philip Guston's death in 1980, his late figurative paintings and drawings have steadily reaped the acclaim they deserve--acclaim that was largely denied them during Guston's lifetime (Hilton Kramer infamously reviewed Guston as a "mandarin pretending to be a stumblebum" in a damning 1970 New York Times article). This volume reunites a selection of paintings from the Roma series, completed during Guston's residency at the American Academy in Rome in 1970-71. From early in his career, Guston had taken inspiration from Italian art, and his 1973 painting "Pantheon" features a list of Italian painters: de Chirico, Masaccio, Piero della Francesca, Giotto and Tiepolo. Italian cinema (especially Fellini) and classical sculpture were also dear to his heart. The Roma works consolidate this dialogue with Italian art and culture. Diary entries published alongside the reproductions recount exchanges at the American Academy, pilgrimages to Venice, Arezzo, Sicily and Orvieto, and observations of the international cultural community in Rome.
Published by Hatje Cantz. Edited by Christoph Schreier, Michael Semff. Text by Poul Erik Tojner, Isabel Dervaux, Christoph Schreier.
Painter Philip Guston's return to figuration in the late 1960s was plotted and rehearsed in his drawing practice, in which he veered between what he referred to as "pure drawing" (abstract) and figurative drawing (a shoe, a chair, a nail, an open book, a hooded head). As he groped his way into this strange and clunky vocabulary, Guston discovered an incredible world awaiting him, and realized, as he put it, that "I wanted to tell stories!" Guston's drawing was also a vehicle for collaboration--with poets such as Clark Coolidge and Bill Berkson--and for satire--the Poor Richard series. His draftsmanship betrays such early influences as the cartoons of Frink and George Herriman, perhaps instances of the "impure" art that flooded back into his practice after he abandoned abstraction. With a selection of about 100 drawings, mostly from the artist's estate, Philip Guston: Works on Paper tracks the evolution of this major American artist's drawing from the 1940s to 1980.
Published by State Russian Museum. Essays by Evgeny Barabanov, Aleksandr Borovsky, Eleanor Heartney, Hans-Peter Riese and Natalia Sipovskaya. Introduction by Eugenia Petrova.
Grisha Bruskin is a Russian painter whose recent work has been an attempt to re-energize the traditionally Russian medium of painting on porcelain. Combining text and image, these figuative works follow in the tradition of such Russian masters as Kandinsky, Malevich, and others. Bruskin is represented by the Marlborough Gallery in New York, where he now lives and works.
PUBLISHER STATE RUSSIAN MUSEUM
BOOK FORMAT Hardcover, 9.5 x 12 in. / 280 pgs / 312 color
PUBLISHING STATUS PUB DATE 2/2/2002 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2001
PRODUCT DETAILS ISBN 9783935298001TRADE LIST PRICE: $50.00 CDN $60.00
AVAILABILITY Not available
STATUS: Out of print | 4/30/2004
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Published by Hatje Cantz Publishers. Contributions by Michael Auping, Martin Hentschel, Christoph Schreier.
Focusing on Philip Guston's mature production in abstraction and his later figuration, this book argues for Guston as a consistent artist whose generic shift in the late 60s, from Monet-like abstract hatchings to the cartoonish forms of his final decade and a half, reminded artists everywhere that courage is what it's all about. Here, well-known experts on Philip Guston's oeuvre such as Michael Auping and Christoph Schreier discuss the scope of Guston's sizeable body of work.