Text by Harry Cooper, Mark Godfrey, Alison de Lima Greene, Kate Nesin. Contributions by Jennifer Roberts, Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman, Rirkrit Tiravanija.
Clth, 9.5 x 11.5 in. / 280 pgs / 275 color. | 6/23/2020 | Awaiting stock ISBN 9781942884569 | $60.00
Published by D.A.P./National Gallery of Art. Text by Harry Cooper, Mark Godfrey, Alison de Lima Greene, Kate Nesin. Contributions by Jennifer Roberts, Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman, Rirkrit Tiravanija.
A long-overdue retrospective of Philip Guston’s influential work, from social realism to abstract expressionism to tragicomic, cartoony figuration
Philip Guston—perhaps more than any other figure in recent memory—has given contemporary artists permission to break the rules and paint what, and how, they want. His nonlinear career, embrace of “high” and “low” sources, and constant aesthetic reinvention defy easy categorization, and his 1968 figurative turn is one of 20th-century art’s most legendary conversion narratives. “I was feeling split, schizophrenic. The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue?”
And so Guston’s cross-hatched abstractions gave way to large, cartoonlike canvases populated by lumpy, lugubrious figures and personal symbols in a palette of meaty pinks. That Guston continued mining this vein for the rest of his life—despite initial bewilderment from his peers—reinforced his reputation as an artist’s artist; he has become hugely influential as contemporary art has followed Guston into its own antic figurative turn.
Published to accompany the first retrospective museum exhibition of Guston’s career in 15 years, Philip Guston Now includes a definitive chronology reflecting many new discoveries. It highlights the voices of artists of our day who have been inspired by the full range of his work: Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman and Rirkrit Tiravanija. Essays trace the influences, interests and evolution of this singular force in modern and contemporary art—including a close look at the 1960s and ’70s, when Guston gradually abandoned abstraction, returning to the figure and to current history but with a personal voice, by turns comic and apocalyptic, that resonates today more than ever.
Born in Canada and raised in Los Angeles, Philip Guston (1913–80) was largely self-taught, reared on Renaissance painters in reproduction, Walter and Louise Arensberg’s modern art collection, and the Mexican muralism of Orozco and Siqueiros. After finding success as a New York School painter, in 1968 Guston began painting in a figurative mode, marshaling all those early influences into his iconic, bleakly funny images of midcentury America’s violence and anxiety. He died in Woodstock in 1980.
Published by D.A.P./National Gallery of Art. Afterword by Harry Cooper.
Philip Guston’s legendary, prescient political satire of Richard Nixon, presented for the first time as the artist envisioned it
In the summer of 1971—two years before Watergate—Richard Nixon was an incumbent fighting to hold on to the presidency. Philip Guston was holed up in Woodstock, New York, still rebounding from the punishing critical response to the debut of his recent figurative work. Inspired in part by the work of his friend Philip Roth, who had just finished Our Gang, Guston began drawing the object of his political angst and despair—Richard Nixon, transformed into the character “Poor Richard.”
In a series of 72 drawings, Guston tells the story of Poor Richard (rendered with a distinctively phallic nose and scrotal jowls) as he stumbles through his rise to power, plotting strategy, shamelessly pandering to voters and planning his triumphant “Asian Tour.”
Guston carefully sequenced the drawings in 1971 and planned to publish them as a book, even designing an original title page. But he held back, and the images were never published during his lifetime; only in 2001 were the drawings exhibited for the first time, accompanied by a publication of the series from the University of Chicago Press.
Poor Richard by Philip Guston brings Guston’s series back into print. Reproducing Guston’s own sequencing, layout and original title page from 1971, Poor Richard by Philip Guston presents this shockingly fresh, delightfully profane series for the first time exactly as the artist intended it.
Published by Hauser & Wirth Publishers. Text by Musa Mayer.
On the pivotal year that launched Philip Guston into the final, daring decade of his career
In 1970, Philip Guston (1913–80) went public with his return to figuration, in an infamous show at the Marlborough Gallery in New York City, a show that garnered devastatingly negative reviews—"Clumsy," "embarrassing" and "simple-minded," culminating in Hilton Kramer's infamous "A mandarin pretending to be a stumblebum.
Immediately after, he left the country for a residency at the American Academy in Rome that lasted into 1971. Resilience: Philip Guston in 1971 sheds light on the pivotal year that launched Guston into the final prolific decade of his career, during which he painted what are now celebrated as some of the most important works of art of the 20th century. This volume includes examples from two major series of that year: the Roma paintings, works spurred on by Guston's year among the ruins and landscape of Rome; and the Nixon drawings, narrative satirical drawings produced in response to the political and social turmoil back in the United States. Together, these series bear witness to an artist at the height of his powers, wholly responsive to his world.
Lavish plates capture the variety of cadmium red, pinks and whites in the Roma paintings, as well as the withering details of the Nixon drawings. This volume also includes a text by Musa Mayer, Guston's daughter, that offers an intimate view of her father's state of mind throughout 1971.
Published by Hauser & Wirth Publishers. Edited with text by Kosme de Barañano.
Philip Guston and the Poets explores the artist’s oeuvre in relation to critical literary interpretation.
The book draws parallels between humanist themes reflected in both Guston’s paintings and drawings as well as in the language and prose discerned in five of the 20th century’s most prominent literary figures: D.H. Lawrence, W.B. Yeats, Wallace Stevens, Eugenio Montale and T.S. Eliot. The enormous influence that Italy itself had upon Guston and his work is also examined.
Spanning a 36-year period, Philip Guston and the Poets features approximately 60 major paintings and 25 prominent drawings dating from 1944 through 1980, the last of which were created in the final year of Guston’s life. The monograph also includes an extensive essay from Kosme de Barañano, an internationally respected art historian and Guston scholar.
A contemporary of Jackson Pollock and Willem de Kooning, Philip Guston (1913–80) first came to fame as an Abstract Expressionist. He began reintroducing figurative elements—clumsy hands, cigarettes, light bulbs—into his work in the late 1960s. These late paintings were first exhibited, to savage critical reception, in 1970.
Published by Hauser & Wirth Publishers. Text by Musa Mayer, Debra Bricker Balken. Contributions by Phong Bui, William Corbett, Irving Sandler, Lisa Yuskavage, Bob Mankoff, Katy Siegel.
"Guston's Richard Nixon drawings are nasty, scabrous, witty, grossly unfair and one of the juster verdicts handed down on our 37th president, the only one to resign from office." -William Corbett, The Brooklyn Rail
Philip Guston: Nixon Drawings is the first comprehensive collection of Guston’s legendary satirical caricatures of the 37th President of the United States, Richard Nixon. Expanding on Poor Richard (University of Chicago Press, 2001, now out of print and rare), it features some 180 works depicting Nixon and his cronies from 1971 and 1975. The book opens with an introduction by Philip Guston’s daughter, Musa Mayer, and also includes the transcript of a panel discussion moderated by Phong Bui with William Corbett, Irving Sandler, Lisa Yuskavage, Bob Mankoff and Katy Siegel.
These trenchant works were created in the tumultuous political climate of the early 1970s; the US was reeling from the assassinations of Martin Luther King Jr. and Senator Robert F. Kennedy, the chaos of the 1968 presidential election and the enduring violence of the Vietnam War. The publication of the Pentagon Papers, and Nixon’s unsuccessful attempts to prevent their disclosure, made the president look both amoral and somewhat hapless. This is the “Poor Richard,” a slyly political little sneak, that appears in Guston’s cartoons from the period.
A contemporary of Jackson Pollock and Willem de Kooning, Philip Guston (1913–80) first came to fame as an Abstract Expressionist. He began reintroducing figurative elements—clumsy hands, cigarettes, light bulbs—into his work in the late 1960s. These late paintings were first exhibited, to savage critical reception, in 1970; Guston began his Nixon drawings at precisely this point in his career. Caricaturing Nixon, Guston began to refine a pictorial language equally sensitive to inner pathos and the turmoil of the public world.
Featuring nearly 90 paintings and drawings from Philip Guston’s (1913–1980) Abstract Expressionist period, this book explores a decade in which the artist confronted aesthetic concerns of the New York School, questioning modes of image making and what it means to paint abstractly. In the number and quality of paintings from this period, the book parallels Guston’s important 1966 survey exhibition held at the Jewish Museum in New York, a half century ago. As its title suggests, this volume offers an intimate look at Guston’s unique relationship to painting and the process by which his work evolved. The publication also includes an expanded chronology on the artist, which includes archival material, historic installation views, plus conversations with Guston and texts by him. Philip Guston: Painter concludes with a section of 50 of Guston’s “pure” drawings from the late ‘60s.
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 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 135
PRODUCT DETAILS ISBN 9781906129903TRADE List Price: $40.00 CDN $50.00
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 Hatje Cantz. 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.