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.
"The Studio" (1969) is reproduced from Philip Guston: Late Works.
"The Line" (1978) is reproduced from the new release, Philip Guston: Late Works. In the book, Guston is quoted: "I feel strongly believed in and stated convictions on art have a habit of tumbling and collapsing in front of the canvas, when the act of painting actually begins. Furthermore, I have found that painters of my generation are more candid and provocative in their casual talk and asides, and funnier too. Mark Rothko, after a mutual studio visit, said, 'Phil, you're the best story teller around and I'm the best organ player.' That was in 1957; I still wonder what he had in mind. So many articles appeared with words like sublime, and noble, and he says he's the best organ player around. Franz Kline, in a very easy bar conversation in the fifties, said 'You know what creating really is? To have the capacity to be embarrassed.' And one of the better definitions about painting was Kline's... He said, 'You know, painting is like hand stuffing a mattress.'" continue to blog
FORMAT: Hbk, 10 x 11 in. / 148 pgs / 170 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $55 ISBN: 9783942680479 PUBLISHER: Walther König, Köln AVAILABLE: 3/31/2014 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR
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.
