There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen.
American artist (1913-1980)
Philip Guston (1913-07-27 – 1980-06-07) was a notable painter of the New York School, which included many of the Abstract Expressionists such as Jackson Pollock and Willem De Kooning. In the 1960's Guston helped to lead the transition from Modernism to Post-Modernism in painting, abandoning the so-called 'pure abstraction' of Abstract Expressionism in favor of more cartoon-like renderings of various personal symbols and objects.
From: Wikiquote (CC BY-SA 4.0)
Alternative Names:
Philip Goldstein
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Phillip Goldstein
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Phillip (birth name - used before 1935) Goldstein
From Wikidata (CC0)
What is seen and called the picture is what remains – an evidence. Even as one travels in painting towards a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear. Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanished and the paint falls into positions that feel destined. The very matter of painting – its pigment and space – is so resistant to the will, so disinclined to assert its plane and remain still. Painting seems like impossibility, with only a sign now and then of its own light. Which must be because of the narrow passage from a diagramming to that other state – corporeality. In this sense, to paint is a possessing rather than a picturing.
O’Hara was in his most non-stop way of talking, saying that the pictures put him in mind of Tiepolo [Spanish wall-painter, c. 1750]. Certain cupola frescoes. Suddenly I was working in an ancient building, a warehouse facing the Giudecca. The loft over the firehouse was transformed. It was filled with light reflected from the canal. [quote in 1955]