Gary Schwartz reflects on his time as Philip Guston's student at Washington Square College.
Schwartz remembers: "What we discussed was Guston’s big question: the relative primacy in art of abstraction versus realism. Guston insisted that abstraction came first... Our discussions always took the same turn. Guston attempted to convince me that artists like Piero della Francesca and the cave painters of Lascaux were in the first place abstractionists. True, they painted subjects, but what mattered to them most as artists was form and sheer pigment on surface."
Frank Hobbs blogs some thoughts about the painting process by the painter Philip Guston as well as a link to a video of Guston in his studio painting and discussing his work.
Hobbs quotes Guston: "Destruction of paintings is very interesting to me and almost crucial. Sometimes I find that what I destroyed five years ago I'll paint now, as if when the thing first appears you’re not ready to accept it. There's some mysterious process here that I don’t even want to understand..."
Hrag Vartanian interviews Todd Weyman of Swann Auction Galleries about Abstract Expressionist prints from Atelier 17, a print shop run by Stanley William Hayter.
Weyman notes that "Atelier 17 in New York was unique in that it brought together 'old guard' European modernists such as Miro, Ernst, Masson, Lipchitz, Hayter and others, with the vanguard of the New York abstract scene, like Rothko, Motherwell, Pollock, DeKooning..."
Kim Krause ponders Philip Guston's painting Signals, 1975, in the collection of the Cincinnati Art Museum.
Krause writes: "the painting presents a visual paradox of the artist’s inseparability of knowing/not knowing; the painting as result, sum, residue of action and real-time experience. Planning and execution become intertwined. Process and object become fused. It is a display of virtuosity and recklessness in the pursuit of truth. We become the explored and the explorer; simultaneously lost and found within the authentic."
Andrew Martin muses on the significance of painter Philip Guston's return to figuration: "Like Dylan going electric at the Newport Folk Festival in 1965, Guston’s figurative turn remains the centerpiece of his personal mythology."
Recounting both the severe critical reactions to Guston's rejection of abstraction and Guston's own attitude toward his figurative paintings Martin concludes: " ...we can appreciate Guston’s work for the brilliant, purposeful mess of contradictions that it is... In the years since... Guston’s paintings retain a striking originality of vision, but they no longer look quite so bizarre or out of place."
Greg Lindquist visits the exhibition Philip Guston: Roma at the Phillips Collection through May 15, 2011. Lindquist writes: "We see Guston developing his visual vocabulary and palette... [and] distilling lessons in overlapping form and space... What is most fascinating about this body of work is how worlds of antiquity and the contemporary meld through Guston’s touch and organization of objects in space. Often, these ambiguous images feel at once like landscapes and still lives."
Jeffry Cudlin reviews Philip Guston: Roma at The Phillips Collection in Washington D.C on view through May 15, 2011. Cudlin writes: "... Guston’s cartoonish late paintings bear little resemblance to, say, the slick reproductions of consumer-culture detritus offered by Pop artists like Andy Warhol or Roy Lichtenstein. Instead of slickness, Guston created scruffy, crudely brushed images; instead of flatness, he offered layered images showing the artist’s thought process throughout the act of creating."
Reed remembers his time at the New York Studio School and the effect Philip Guston's painting and teaching had on him and his work. Reed gives a fascinating first-hand account of Guston's critiques at the Studio School and the ideas he was wrestling with in his transition from abstraction to figuative painting. Guson spoke of "tradition as something that was removing us from our own lives and the world in which we lived."
Milton Resnick, who also taught at the Studio School at the time "used to describe the method and difficulties of an artist changing his or her work [as] 'soul-beating.' He said that some artists could 'beat their own souls,' but some could not, and needed someone else to do the beating for them, a friend or an enemy.
The article also details the influence of Piero della Francesca's fresco painting had on Guston's figurative work.
John Seed tells the story of a drawing he once owned by Philip Guston. The drawing "Mazurki" was named after a poem by Bill Berkson. Via email Seed discusses the enigmatic drawing and the objects depicted with Berkson. "...some are generic Guston objects, but some objects in the generic-Guston modes of meta-object -- object that could be one thing and another."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.