Philip Guston
Philip Guston
Philip Guston, born Phillip Goldstein, was a painter and printmaker in the New York School, which included many of the abstract expressionists, such as Jackson Pollock and Willem de Kooning. In the late 1960s Guston helped to lead a transition from abstract expressionism to neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects...
NationalityAmerican
ProfessionPainter
Date of Birth27 June 1913
CountryUnited States of America
I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
Lots of artists who paint have the experience to one degree or another... where their thinking doesn't precede their doing... It's a funny thing, what I really hate yet I have to go through with it, is the preparation.
All these troubles revolve around the irritable mutual dependence of life and art - with their need and contempt for one another. Of necessity, to create is a temporary state and cannot be possessed...
The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance.
But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all - or is not even possible. The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance.
If the artist starts evaluating himself, it’s an enormous block, isn’t it?
No good to paint in the head - what happens is what happens when you put the paint down - you can only hope that you are alert - ready - to see. What joy it is for paint to become a thing - a being. Believe in this miracle - it is your only hope. To will this transformation is not possible. Only a slow maturation can prepare the hand and eye to become quicker than ever. Ideas about art don't matter. They collapse anyway in front of the painting.
Many works of the past complete what they announce they are going to do, to our increasing boredom. Certain others plague me because I cannot follow their intentions. I can tell at a glance what Fabritius is doing, but I am spending my life trying to find out what Rembrandt was up to.
There are so many things in the world - in the cities - so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make.
We are image-makers and image-ridden... We work until we vanish.
Frustration is one of the great things in art. Satisfaction is nothing.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
It is possible to make a living thing, not a diagram of what I have been thinking: to posit with paint something living, something that changes each day.
The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. What sympathy is demanded of the viewer? He is asked to 'see' the future links.