I Paint What I Want to See: Philip Guston (Penguin Modern Classics)

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I Paint What I Want to See: Philip Guston (Penguin Modern Classics)

I Paint What I Want to See: Philip Guston (Penguin Modern Classics)

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Ofcourse, with Guston you're better off getting the Collected Writings, but I love these little white penguin classics. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. This book captures the breadth and depth of his thinking, and also captures the feeling of an intensely lively era when artists like Cage, Feldman and Guston felt that making art was a branch of philosophy. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. The postponement of Guston’s 2020 retrospective, the arguments around which need no further reheating here, cast the artist as a less nuanced protagonist than either his works or his words suggest, in part thanks to the social media context in which those arguments played out.

His declaration that ‘I think of my pictures as a kind of figuration’ is borne out in the works he was making at the time, many of which have matter-of-fact titles ( Table, Vessel, Branch, all 1960) that are worlds away from the highfalutin sublimity of those of his New York School peers. I am not crazy about Philip Guston's work (Philip Guston says that of Ronald Kitaj's work on page 211, Kitaj, whose work I am crazy about), I am not crazy about Guston's work, I mean, who am I to say this, but it is just that I find it crude (to use the words of Harold Rosenberg in this very book), and I generally struggle to connect with his paintings. No reader could finish the book with a sense of Guston as a painter with a singular and unwavering vision of his work and its place in the world. It felt weird hearing him describe the speed he could churn them out although that’s also part of why I chose it for the project, lol.

No criptic arty language but relatable and approachable writing about making a painting, this proves to me that's mostly art critics that makes art a difficult subject, for artist it all more simple. Whether the Guston myth (that he was quite so singular and in opposition to the art of his times) is entirely true, he definitely seems super-relevant to today. Guston is again someone you would like to invite for dinner and who would entertain and light up the evening with endless reflections and digressions about art.

Guston, one of the most influential and provocative American artists of the 20th century, had turned his back on the hip New York scene. Even the earliest talk included here, his interview with David Sylvester from 1960, which took place during Guston’s abstract phase, seems to tee up his later practice.The wealth of information on the creative process, metaphysics, philosophy, art, painting, and anything similar is honestly unreal. If you love art, or if you are an artist, if you love Guston’s work or even if you don’t like it so much, you will enjoy this book.

Philip Guston, one of the most significant artists of the twentieth century, spoke about art with unparalleled candour and commitment. Dialogues were Guston’s chosen form of public speech, several of which, along with other published pieces and talks, are collected in this book, published to coincide with the opening of his rescheduled retrospective in May this year.Usually I don’t mind reading things like this even if I’m not familiar with the artist but I genuinely felt like I was retaining zero information from this. When asked about the subjects of these late paintings, he’s as confounded as anyone – ‘I don’t know what the hell it looks like’, he says, of a painting of a shoe – but that’s just what he loved about making them.



  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
  • Sold by: Fruugo

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