Guston was part of the same mid-century New York cohort as Jackson Pollock - but his name is relatively unknown in Britain. This exhibition will change that
Guston was part of the same mid-century New York cohort as Jackson Pollock – but his name is relatively unknown in Britain. This exhibition will change thatTowards the end of Tate Modern’s exhibition comes a painting of Philip Guston lying in bed, his head rendered as a pink monocular bean with a shadow of stubble. A filterless Camel indicates where his mouth might be. On his bed cover sits a plate of fat chips, their edges daubed in the cadmium red of tomato ketchup.
For many artists a visit to this long-delayed show will be an act of pilgrimage. It is an outstanding exhibition, offering a startling view inside the creative mind, and a career spanning the dynamic years of art in the mid-century. Expect the cult of Guston to proliferate dramatically.Ukraine This exhibition first encounters Guston, still in his teens, in 1930, with a Picasso-esque painting of a mother and child, and a reproduction of a political mural destroyed in a Ku Klux Klan raid on a communist social club. On canvas Guston was dipping his toe into surrealism, inspired by the uncanny streetscapes of Giorgio de Chirico. On city walls, however, he found early success as a political muralist, inspired by the great public art of post-revolution Mexico.
His breakthrough as an abstract painter came in 1951 with a work that reflected only his physical engagement with the canvas – he painted without stepping back to take an overview until it was done. The result was the pale and clustered forms ofThe abstract paintings start gestural and bodily, Guston’s colours fleshy and sanguine. As the 50s progressed they became darker, and the suggestion of clustered bodies and unfolding drama crept into the work.
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