"Philip Guston Now" with Ethan Lasser for the Nantucket Historical Association
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- Опубліковано 11 лип 2022
- Ethan Lasser discusses the work of Philip Guston (1913-1980) as displayed in the 2022 exhibition, “Philip Guston Now,” at the Museum of Fine Arts Boston.
Lasser is a member of the curatorial team for this major exhibition-organized by the MFA; the National Gallery of Art, Washington; the Museum of Fine Arts, Houston; and Tate Modern, London. The exhibition foregrounds the artist’s lifelong commitment to raising difficult, even unanswerable questions. The selection of 73 paintings and 27 drawings from public and private collections features well-known works as well as others that have rarely been seen. Highlights include paintings from the 1930s that have never been on public view; a reunion of paintings from Guston’s groundbreaking Marlborough Gallery show in 1970; a striking array of small panel paintings made from 1968 to 1972; and a powerful selection of large, often apocalyptic paintings of the later 1970s that form the artist’s last major statement.
In 2019, Ethan Lasser was appointed as the Chair, Art of the Americas, to oversee the MFA’s world-class collection of paintings, sculpture and decorative arts created throughout North, Central and South America over a span of 3,000 years. Before joining the MFA Boston, Ethan served as the Curator of American Art at the Harvard Art Museums. Ethan co-curated the exhibition “Winslow Homer: Eyewitness” and was the lead curator for “The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1776-1820.
This presentation at the Nantucket Whaling Museum was sponsored by The Friends of the Nantucket Historical Association.
The Studio is also a painting about painting, about art history. It is not merely about politics, the Klan, the violence of the late 1960s. it is about reinventing painting, using the tools of old masters. It is also about irony, irony towards evil.
Culture and many curators simply want one angle, one view point, one statement in other words patriarchy. As you rightly say for artists there is always something else going on.
I very much enjoyed listening to this.
for Rug, 1976, the space comment was Clark Coolidge's. it was not a "rubbish comment". quite shrewd comment actually, and it sparked Guston's interest
Everyone thinks that the paintings are about the evil in others.
It's about the evil in us all. Every painting is a self portrait.
No wonder people can't bare to look at the work. It's telling the truth and the truth is a hard pill to swallow.
The problem being: to be unable to look at your own shadow is to be vulnerable to its possession.
at 25:50, the quote is: "going into the studio to adjust a red to a blue". (not going home)
nice job!
Phillip Guston NOW...after two years.
I'll give Lasser credit for indicating some of the layers in Guston and he clearly likes and knows much about Guston in an historical sense. But really Boston never cared for the artist and remember they pulled the show. They actively wanted to stop people seeing the work. They can never undo that. As Lasser points out they only have one painting that was gifted to them and they have only just now looked at it properly. Their pathetic attempt at explaining and censoring references just displays their ignorance further. For an intelligent look at Guston refer to Mark Godfrey's Hauser and Wirth talk. This describes more about the sensibility and methodology of the artist.
A true painting should be 60percent caricature 40 percent at it's best
This is not a good voice to embrace the genius of Guston. The curator of Gustons retrospective at the National Gallery does a beautiful in depth lecture of the artist and his work. Highly recommend that you tube video.
He gave up good painting as a goal. His urge to relevance made him a cartoonist. To bad...the world lost a great painter when he got misguided by...? Thick paint does not make cartoons more than cartoons..