![]() ![]() It was a gray afternoon, heading toward evening the gallery’s many skylights were offering little light and I was in a gray-heading-toward-evening mood. This was when he was having a good deal of success as a member of the New York School of more or less Abstract artists, and before he again openly embraced the figurative, cartoon-like, editorializing painting of his Los Angeles youth. Ifound myself in a partial situation-or in a total one masquerading as a partial one?-a retrospective of the painter Philip Guston’s work from the late 1950s and 1960s. Allen Ginsberg, from Howl, Part I, 1955 Who threw their watches off the roof to cast their ballot forĮternity outside of Time, & alarm clocks fell on their heads And I think the best painting that’s done here is when he paints himself, and by himself I mean himself in this environment, in this total situation. I think a painter has two choices: he paints the world or himself. ![]() I think every good painter here in New York really paints a self-portrait. Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.
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