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Excerpt from the Exhibition Guide:
Floor Burger (1962) by Claes Oldenburg is a "soft" monument. Made with four painted canvases and stuffed with foam and small boxes for ice cream treats, the sculpture combines the seriousness of traditional art with the humour and whimsy of pop art. Originally entitled Hamburger, Floor Burger caused controversy in 1967 when it was purchased by the Art Gallery of Ontario for $2,000.
Background LEFT: Marilyn Tapestry (1968) by Andy Warhol: this very rare handwoven wool tapestry by celebrated American pop artist Andy Warhol (1928-1987) was originally created in 1968. Although this piece was intended to be one of 20 editions, it is the ony one recorded by the Andy Warhol Museum in Pittsburg.
Background RIGHT: Untitled Head (1979) by Philip Guston: Montreal-born, American artist Philip Guston (1913-1980) created a lexicon of stylized figuration and iconography during a time when abstration prevailed. He painted heads, eyes, cigarettes and Klansmen, in reference to the racism towards Jews and blacks in the US. His parents had escaped persecution in Ukraine, only to experience it once again in Los Angeles, where he spent most of his childhood. This painting was done a year prior to his death, and is therefore, one of the last "heads".
Philip Guston, born Phillip Goldstein, was a painter and printmaker in the New York School, an art movement that included many abstract expressionists like Jackson Pollock and Willem de Kooning.
Charcoal, Acrylic, Pastels, Paper, Cloth, & Paint Rag on Wood Panel
14" x 11"
As I mentioned in last night's post, this starts the next installment in the Constructed Chaos series. I'll be doing portraits of my favorite artists with hints of their styles meshed with mine. First up, we have Philip Guston.
"Painting is an illusion, a piece of magic, so what you see is not what you see."
-Philip Guston
Philip Guston American, born Canada. 1913 – 1980
Source , 1976
Oil on Canvas
Gift of Edward R. Broida in honor of Uncle Sidney Feldman, 2005
From the Placard: MoMA Museum of Modern Art, New York, NY
Philip Guston
“When the 1960s came along I was feeling split, schizophrenic,” Philip Guston recalled in 1977. “The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into frustrated fury about everything—and then going into my studio to adjust a red to blue.” After nearly two decades spend painting abstractly, alongside artists such as Jackson Pollock and Barnett Newman, in 1968 Guston emphatically embraced figuration. His new paintings were scathing and satirical, often implicitly addressing current events. Although this new body of work received a cool reception, the critic Harold Rosenberg praised Guston as “the first to have risked a fully developed career on the possibility of engaging his art in the political reality. His current exhibition may have given the cue to the art of the 1970s.” Indeed, Guston’s switchover has served as an inspiration and a touchstone for generations of artists in the years since. He died unexpectedly in 1980, shortly before his sixty-seventh birthday.
From the Placard: MoMA Museum of Modern Art, New York, NY
Philip Guston American, born Canada. 1913 – 1980
Source , 1976
Oil on Canvas
Gift of Edward R. Broida in honor of Uncle Sidney Feldman, 2005
From the Placard: MoMA Museum of Modern Art, New York, NY
Philip Guston
“When the 1960s came along I was feeling split, schizophrenic,” Philip Guston recalled in 1977. “The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into frustrated fury about everything—and then going into my studio to adjust a red to blue.” After nearly two decades spend painting abstractly, alongside artists such as Jackson Pollock and Barnett Newman, in 1968 Guston emphatically embraced figuration. His new paintings were scathing and satirical, often implicitly addressing current events. Although this new body of work received a cool reception, the critic Harold Rosenberg praised Guston as “the first to have risked a fully developed career on the possibility of engaging his art in the political reality. His current exhibition may have given the cue to the art of the 1970s.” Indeed, Guston’s switchover has served as an inspiration and a touchstone for generations of artists in the years since. He died unexpectedly in 1980, shortly before his sixty-seventh birthday.
From the Placard: MoMA Museum of Modern Art, New York, NY