Professional Documents
Culture Documents
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. 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. To read
this book front-to-back is to witness his paintings gradually outpace
Guston’s ability to describe them. His repeated (and perhaps willed)
endorsement of ‘frustration’ as a crucial artistic ingredient in the
mid-1960s gives way, by the end of the decade, to an outpouring of
large-scale paintings he repeatedly admitted to being baffled by.
Figurative painting allowed him to do in art what he’d always loved
about talking: to lurch from subject to subject, to butt up against
contradictions, to make wisecracks, to repeat himself. 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.
He wanted to confuse himself, if only to keep the conversation going.
Philip Guston working on a Federal Art Project mural, 1940. Courtesy Archives of American Art. Photo
by Sol Libsohn