Word: charnels
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Dates: during 1980-1989
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Toward the end of his life, Guston was painting the world as a charnel house of gross dreams and irreconcilable conflicts: no satisfaction anywhere, except in the creamy, impasted paint, which remained as lavish as in his abstract paintings. The essential Guston is all there in a work like Entrance, 1979. It is about intrusion and helplessness, the mind's impotence to fend off its demons. A door opens, and in rolls a mass of Guston's standard images-the trampling, dismembered limbs, nasty enough even without the bugs that advance with them across the floor. Then...