Word: guston
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After Pop and side by side with it came impersonality--Minimalism, conceptual art and a vanguardist belief in the death of painting. But the artist who did most to break the mold of late-Modernist formalism in the '70s was a former Abstract Expressionist, Philip Guston (1913-80). His work over that decade redefined the terms of painting for a whole generation of young Americans, opening up the possibilities of the painted figure once more. In their time, Guston's paintings seemed like a kind of treason to the high-minded refusals of late Modernism, but therein lay their newness...
...modernism become apparent, though it contains some fine things: for instance, a great fauve Matisse, the 1905 Woman with the Hat, and one of the most beautiful of all early Pollocks, the 1943 Guardians of the Secret. It has good groups of pictures by Clyfford Still and Philip Guston, but strangely enough it is relatively weak where it should be rock solid-in San Francisco art. Most of the top Bay Area names are represented-Wayne Thiebaud, Richard Diebenkorn, Elmer Bischoff, David Park, Manuel Neri, William Wiley and so on-but not always with works of the first quality...
...time (1936-38) in London. He was imbued with the thick-massed but linear realism that came out of the Ashcan School and filled the cartoons that John Sloan and others did for periodicals like the New Masses. He doted on Krazy Kat (as did his friend Philip Guston) and the superstylish illustrations of John Held Jr. The black-and-white tradition was in his head, where it coexisted with a considerable range of other references...
...Murray or Vija Celmins? Where are those formidable senior talents, the two Louises, Bourgeois and Nevelson, without whom no account of the post-Surrealist vein in America can be adequate? And what about -- but enough, enough already. One can see why there's a big self-portrait by Philip Guston, full of weltschmerz and peeking nervously over the top of a wall. He must have been expecting Norman of Beijing, not the other...
Literally "tearing it apart." Rothenberg's paintings over the next few years were all about dismemberment, blockage and fright. She is one of the younger artists who took heart from Philip Guston: in the early '70s, Guston, an abstract painter for years, had returned to the figure with a controversial set of seriocomic paintings of Ku Klux Klansmen, which laid the ground for his formidable "late" style and often featured stray boots, feet and arms...