Martin Cid's Blog: Martin Cid Magazine, page 1072

Birthdays Today, April 28: Jessica Alba, Melanie Martinez, Penelope Cruz, Jay Leno

She’s one of the most beautiful women I’ve ever seen. She is a fantastic actress, she was born in Pomona, California, U.S. in 1981 and her name is… Jessica Alba. From Yareah, we wish her and her family all the best in this special day. Congrats and happy birthday, Jessica Alba!

New York exhibitions. Explore the experimental career of a French master with César in context!

New York exhibitions. Beginning May 5, 2016, Luxembourg & Dayan will present César in Context, an exhibition organized to celebrate the radically inventive and mutable practice of renowned French artist César (1921-1998).

New York exhibitions. Explore the experimental career of a French master with César in context!

New York exhibitions. By placing a group of his key works in juxtaposition with contemporaneous masterpieces by American and European peers, the show draws attention to the most powerful tool of the artist’s practice: a lifelong penchant for experimentation with an ever-expanding arsenal of materials and techniques. Works on view trace the development of César’s oeuvre through his accumulated language of breakthroughs, which placed him not only within Nouveau Réalisme, the movement with which he is most often associated, but also in league with such postwar art movements as Arte Povera, Neo-Dada, and Pop Art.

On view through July 2, César in Context presents sculptures by the artist in conversation with works by Lynda Benglis, Bram Bogart, Brassaï, Bernard Buffet, Alberto Burri, John Chamberlain, John de Andrea, Lucio Fontana, Alberto Giacometti, Piero Manzoni, Robert Morris, Robert Motherwell, Louise Nevelson, Claes Oldenburg, Robert Rauschenberg, Martial Raysse, George Segal, and Tom Wesselmann.

César in Context has been organized with the support of Fondation César and its Chairman and President Stéphanie Busuttil-Janssen. The exhibition, which will be accompanied by a new publication, provides New York audiences with a foretaste of the major César retrospective exhibition scheduled to open at the Centre Georges Pompidou in Paris in late 2017.

New York exhibitions. Restless Experimentation:

Born César Baldaccini in 1921 in Marseille, France, César achieved recognition for a sculptural practice propelled by his ceaseless fascination with the inherent properties of materials. Moving restlessly through experimental phases, he manipulated a range of unexpected mediums through technological intervention. César in Context comprises a sequence of spotlights, focusing and expanding upon the formal themes recurrent in César’s work from the 1950s through the 1990s, with each room highlighting a distinctive sculptural series. From room to room, visitors will see examples from the polyurethane foam Expansions; the figural bronze Insects, Men, Drawers, and Plaques; the compactedCompression series using materials as diverse as jute sacks, oil barrels, and copper wires; the Envelope series of objects wrapped in manipulated and distorted sheets of Plexiglass; and the Human Imprint series of cast body parts scaled proportionally with the help of the pantograph. Within each of these groupings, works by peers are exhibited to place in high relief the relevance and contemporaneity of the concerns that motived César.

César’s experiments with the potentials of expanded polyurethane foam, for example, are echoed in the cascading forms of Robert Morris’s felt works, Claes Oldenburg’s soft sculpture, and the highly textured paintings of Dutch-born Belgian artist Bram Bogart. Meanwhile, his bronze Insects (cast from his earlier 1950s iron sculptures) stand as sculptural counterparts to Bernard Buffet’s Le Coq Rouge (1959), which depicts a rooster in the artist’s recognizably brutalist style. Brassaï’s Graffiti photograph (1933-1956) of a man’s head carved into a hard surface finds its companion in César’s Claire ou Homme qui marche (1954/1997).

Beginning in the 1960s, César began to experiment with the Compressions that would have a defining role in his practice – in an ever-evolving range of materials and sizes – for the rest of his life. At Luxembourg & Dayan, a selection of the Compressions will be juxtaposed with works in which the artist’s contemporaries employed identical materials. Among these objects are Robert Rauschenberg’s cardboard work French Fried/Captiva Tile (Cardboard) (1971), Alberto Burri’s Sacco (1954), and John Chamberlain’s crushed metal sculpture Asarabaca (1973).

César’s Envelopes appear in the exhibition with a contemporaneous work by Piero Manzoni, who was similarly preoccupied with the process of veiling and wrapping. In these works, found everyday objects have been stripped of their commercial or symbolic value, negating their utility and concealing their identity to capture the surprisingly enigmatic nature of the quotidian.

César’s exploration of metal through casting and compression is paralleled by Lynda Benglis and Alberto Burri’s similar investigations. The reflective and sometimes harsh nature of metal, combined with its connotations of technological progress in the postwar period, made it a material of interest among sculptors and painters alike.

In the final room of the exhibition, visitors will see works from César’s Human Imprintsseries — casts of body parts that resonate with the hyperrealism of neighboring works by American artists John de Andrea and George Segal. However, César’s iconic Thumb(1966) and Main (1968) simultaneously tie his work to the French artist Martial Raysse and to American Pop artist Tom Wesselmann, who similarly exaggerated and played with the human figure.

Luxembourg & Dayan is open to the public Tuesday through Saturday, 10AM – 5PM.

César in Context. May 5 – July 2, 2016. Opening reception: Thursday, May 5, 6-8pm.

Luxembourg & Dayan, New York. 64 East 77th Street, New York City.

London auctions. Antiquities and Tribal Art at Chiswick

London auctions. On the 11th May Chiswick Auctions will play host to a sale of Antiquities and Tribal Art.

London auctions. Antiquities and Tribal Art at Chiswick

Lots of particular interest include:

L ot 174. A GROUP OF ROMANO-BRITISH BRONZES AND TERRACOTTA FRAGMENTS. Circa 2nd-3rd Century A.D.

Including two bronze figures of Herakles, the right arm raised to strike with the now-missing club, the left arm draped in the lion skin, 8.5cm and 9.5cm high; a bronze fragment, possibly from another figure of Herakles, 5.5cm high; a bronze skillet handle terminal with a lead core, in the shape of a bull’s head, 9cm long; a bronze attachment with a hoop handle and a terminal in the shape of a dog’s head, 7.5cm long; a bronze hollow-cast penannular brooch, the pin now missing, 4.3cm diam; a bronze hinged buckle with remains of inlaid enamel, the pin missing, 3cm long; two bronze spoon fragments, 3.3cm and 7.8cm long; a grey terracotta round spindle whorl, 4cm diam; six Samian red ware terracotta fragments, approx 3cm-6cm long; six coarse pottery fragments, approx 5cm-10cm long; and ten Roman bronze coins (32)

Provenance: Crellin Family Collection, found in the 19th Century in the area around their home at Denton Foot, Gilsland, Northumberland. The finds were authenticated by Chesterholm Museum, Vindolanda Trust, in 2003. Accompanied by a small photograph of Denton Foot cottage.

Exhibited: the group was with the Tullie House Museum, Carlisle, between February 2008 and April 2012.

This group of bronzes and terracotta vessel fragments were found by the Crellin family in the 19th Century in the garden of their home, Denton Foot cottage, in Gilsland, Northumberland.

All the items can be dated to the 2nd-3rd Century AD. At that time the city of Gilsland was on the Hadrian’s Wall which had been erected at the beginning of the 2nd Century AD.

The finds were authenticated by Chesterholm Museum, Vindolanda Trust, in 2003 and were displayed at the Tullie House.

Highlights of the groups are two bronze figures of Hercules, very well preserved, which were possibly left as offerings for a local Hercules shrine.

Another interesting item is a handle fragment from a bronze skillet in the shape of a bulls head with a lead core. This type was imported, possibly from Italy, showing the ongoing links between Rome and what at the time would have been the northern border of the empire.

Other fragments of terracotta vessels called ‘Samian ware’ were produced in France.

Lot 2 and 3. AN EGYPTIAN GREEN GLAZED COMPOSITION SHABTI.

Late Period, 30th Dynasty, circa 400-350 B.C.

The elongated mummiform figure holding a hoe and an adze, the front with a double row of T-shaped text added in blue glaze, for ‘Ankhep’, and a seed bag painted over the left shoulder, 18.3cm high

Provenance: John Marriott (1921-2007) Collection, London, formed prior to 1980. John Marriott and Count R. L. Sangorski expanded the family collection originally formed by his grandparents Otto and Addie Kahn and his parents Sir John & Lady Marriott throughout the first half of the 20th Century. Accompanied by a copy of a Christie’s valuation dated 13 August 1993 and by a photograph of the shabti displayed in John Marriot’s house.

Both shabtis are from the same owner called ‘Ankhep’ and are estimated at £700-£900 each.

Lot 7. A ROMAN LIMESTONE MALE PORTRAIT HEAD.

Circa 2nd Century A.D.

Possibly from a large relief, the back flat and unworked, depicting a man with full beard, pronounced cheekbones and curly hair falling over the forehead, 23cm high.

Provenance: John Marriott (1921-2007) Collection, London, formed prior to 1980. John Marriott and Count R. L. Sangorski expanded the family collection originally formed by his grandparents Otto and Addie Kahn and his parents Sir John & Lady Marriott throughout the first half of the 20th Century. Accompanied by an invoice from Asprey London for mounting the head on the green calf leather plinth, dated 13 June 1975, and by a photograph of the head displayed in John Marriott’s house dated 1 September 1991.

Estimate £3,000-£5,000.

The following three lots are from the Horatio and Patsy Melas Collection, Alexandria, Egypt, acquired before 1967. Thence by descent, moved to Switzerland and London.

TV Shows Today, April 27: Empire, Arrow, Supernatural

It’s Wednesay and it’s time for music, it’s time for… Empire. Today’s episode: More Than Kin. Season 2. Episode 15. 9:00 pm. FOX. From Wikipedia: Empire is an American musical drama television series which debuted on Fox on January 7, 2015. Although filmed in Chicago, the show is based in New York and it centers on a hip hop music and entertainment company, Empire Entertainment, and the drama among the members of the founders’ family as they fight for control of the company.

Our second choice is for Arrow. Today: Canary Cry. Season 4. Episode 19. 8:00 pm. CW.

And our last recommendation is for Supernatural. Today’s episode: The Chitters. Season 11. Episode 19. 9:00 pm. CW.

We hope you enjoy the shows. Have a very nice day, dear friends.

TV Shows Today, April 27 Video: Empire Season 2 Ep 15 First Look: “More Than Kin” | EMPIRE

Birthdays Today, April 27: Patrick Stump, Si Robertson, Jenna Coleman, K Camp

He’s the lead singer and guitarist for the pop band Fall Out Boy, he was born in Evanston in 1984 and his name is Patrick Stump. From Yareah, we wish him and his family all the best in this special day. Congrats and happy birthday, Patrick Stump!

Famous Birthdays Today, April 27: Patrick Stump performing with Fall Out Boy in 2014. Source: Wikipedia. Author: Stefan Brending

There’s no first impressions anymore. You go to a job interview, and they’ll probably Google you. It’s a shame – people should play it a little closer to the chest as far as what information they release to the world. If I’m angry about something, I’m not going to take to my Twitter.

Patrick Stump

When you make art, you get really invested in it. When art happens by accident and you were just along for the ride? It’s way more fun.

Patrick Stump

More famous birthdays today, April 27: Si Robertson, reality star; Jenna Coleman, actress; and K Camp, rapper.

Happy birthday to all of them. Have a very nice day, dear friends.

Famous Birthdays Today, April 27 Video: Fall Out Boy – Irresistible ft. Demi Lovato

Grounded is an exhibition that explores the use of technology in contemporary art in Boston

Grounded is an exhibition that explores the use of technology in contemporary art in Boston. May 14 to June 26, 2016.

Raquel Fornasaro, The Things We Miss

Boston Cyberarts Gallery is pleased to present Grounded, an exhibition that explores the use of technology in contemporary art. In electrical terminology ‘grounded’ is the state of being connected to the earth. As an adjective, ‘grounded’ can also mean sensible, realistic, and unpretentious. New media is sometimes considered the most outré of art forms, but the dynamic nature of technology provides artists with a unique platform to substantively consider current events and the nature of the modern world. In Garden Rooms, Sophia Sobers attempts to reconnect people with the natural world by creating 3D scans of plants and rendering them into digital narratives. By training the world to jump synchronously, Total Jump attempts to accomplish world peace. Mark Stock implements computational physics to simulate the core of a supernova that is then represented as a sculptural object in Chaotic Escape (m70).

Artists in this exhibition include: Betsy Connors, Amber Davis Tourlentes, Joseph Farbrook, Caitlin Foley and, Misha Rabinovich, Raquel Fornasaro, Simón García-Miñaúr, Ryan Kuo, Dennis H. Miller, Nick Montfort, Brooke Scibelli, Matthew Shanley, Sophia Sobers, and Mark Stock.

London exhibitions. Hungarian artist Dóra Maurer at Mason’s Yard

London exhibitions. Hungarian artist Dóra Maurer at Mason’s Yard. 24 May – 9 July 2016.

London exhibitions. Hungarian artist Dóra Maurer at Mason’s Yard

London exhibitions. White Cube presents an exhibition by Hungarian artist Dóra Maurer at Mason’s Yard. Maurer’s rigorous, conceptual work spans 50 years and incorporates painting, drawing, printmaking, photography and filmmaking. Widely acknowledged as one of the most important members of the Hungarian avant-garde and active as a curator and teacher, she is one of the most experimental artists to emerge from Eastern Europe during the past half century. This will be the first exhibition in the UK to encompasses the breadth of her prolific career to date and includes several signature black and white photographic series from the 1970s, frottage drawings from the 1980s and a selection of paintings dating from the late 1990s to the present. Also on show are two major wall installations created especially for this exhibition.

London exhibitions. Dóra Maurer ‘6 out of 5’. Organised by Katharine Kostyál.

Maurer’s radical work embraces indeterminacy, allowing multiple possibilities and interpretations, but it also focuses on the grammar of geometry and mathematical systems and methodologies. Her approach can alternate between process-based experiments and formal investigations of rule-based compositional logic, but is always characterised by a sense of movement and change. Although Maurer was affected by the political and social situation of communist Hungary, she was able to move with relative ease between Budapest and Vienna, straddling both the east and west. This was because in 1967 she had gained a scholarship to study in Vienna, and there she had met her husband, Tibor Gáyor, a Hungarian artist with Austrian citizenship.

The 1970s were a key period in her development as an artist, when, after initially concentrating on printmaking, she started to produce conceptual photography, structural films and process-based drawing. Occasionally her works incorporated found or natural forms, as inSchautafel 3 (1972), which is made from an organic mass of delicate twigs and dripped brown paint set against a simple geometric grid.

The result of playful investigation, chance and freedom, her visually arresting and resolved work allows process to become visible, harnessing its experimental energy and force and the natural change of materials. The photographic series ‘Reversible and Changeable Phases of Movements’ (1972), is described by Maurer as being ‘minimal sequences of movement which I analysed and captured photographically’. Arranged in a grid formation, they record simple, repetitive actions such as throwing a ball or clenching and unclenching a fist, creating a story line of images that can be read both left to right and right to left. This emphasises the importance of photography and film as a  mechanical means of recording human experience in a straightforward way, while also suggesting the possibility of continual renewal and a ‘self-made system’. For Maurer, these works are not concerned with visual effect but create, instead, what she has described as ‘easily comprehensible signs’. (‘I Will Take a Stone Away – Reversible and Interchangeable Phases of Movement’,Etudes for a Change in Meaning 1-7, 1972−73. p.35)

Towards the end of the 1970s Maurer focused on ‘hidden structures’, making minimal pencil frottage drawings with geometrical shapes, where further traces or impressions were created by folding the paper in various different ways. Hidden Structures 1-6, (1977-80), is made in this manner: a delicate, six-part work on paper that uses both horizontal and diagonal folds as well as pencil rubbings to create its monochromatic, intricate, geometric composition.

During the 1980s Maurer continued to explore geometric forms, looking at how they are affected by colour and colour perception. In these dynamic acrylic paintings on canvas laid on wood, she painted what appear to be overlaid or intersecting shapes in strong hues, creating a three-dimensional presence and sense of mobility. Elegant and seemingly lightweight, the paintings in fact exist on a single plane. They are not formed by any sculptural manipulation but by using colour to create the illusion of layering or the semblance of transparency, as if we were seeing one area of colour through another. These paintings are made from combinations ranging from two intersecting planes of colour, such as Overlappings I (1999), to complex compositions of three or more, as in the recent ‘IXEK’ series made in 2015.

Influenced by the colour theory of Josef Albers, Maurer has said that ‘the IXEK pictures are concerned with the reciprocity of colour and form, with the way the two penetrate one another. The individual elements of an IXEK painting have not only a formal influence on each other but also a chromatic one. Since I apply the colours in transparent layers, they merge at the points where the shapes overlap and intersect.’ (Dóra Maurer, Snapshots, ex.cat. Museum Ritter, 2014, p.59).

Dóra Maurer studied at the Hungarian Academy of Fine Arts from 1955-61. Maurer has exhibited widely internationally, most recently at Tate Modern, London (2016); Museum of Modern Art, New York (1985, 2015); Whitechapel Gallery, London (2015); Museum Ritter, Germany (2014); The Museum of Fine Arts, Houston (2014); the 12th International Biennial, Istanbul (2012), Ludwig Museum, Budapest (1997, 2008, 2012); Centre Pompidou, Paris (2010). Her work is held in collections across the world, including Museum of Modern Art, New York; Tate Modern, London; the Art Institute of Chicago; the Hungarian National Gallery, Budapest; Neue Nationalgalerie, Berlin, and the Victoria & Albert Museum, London.

TV Shows Today, April 26: The Flash, Botched, Limitless

Well, it’s Tuesday and it’s time for The Flash. Today’s episode: Back to Normal. Season 2. Episode 19. 8:00 pm. CW. From Wikipedia: The Flash is an American television series developed by Greg Berlanti, Andrew Kreisberg and Geoff Johns, airing on The CW. It is based on the DC Comics character Barry Allen / Flash, a costumed superhero crime-fighter with the power to move at superhuman speeds.

Our second choice is for Botched. Today: First Look. 8:00 pm. E!

And our last recommendation is for the series Limitless. Today’s episodfe: Finale: Part Two!! Season 1. Episode 22. 10:00 pm. CBS.

We hope you enjoy the shows. Have a very nice day, dear friends.

TV Shows Today, April 26 Video: The Flash | Back To Normal Trailer | The CW

Birthdays Today, April 26: Channing Tatum, Kevin James, Kane, Scott Timlin

Model and actor… his name is Channing Tatum and he’s o0ur Top#1 Famous Birthdays Today, April 26. From Yareah, we wish him and his family all the best in this special day. Congrats and happy birthday, Channing Tatum!

Famous Birthdays Today, April 26: Channing Tatum at the Magic Mike XXL Premiere Warner Bros. & Hoyts red carpet Arena Premiere of Magic Mike XXL. Source: flickr. Author: Eva Rinaldi

The more you try to look sexy, the lamer it is, so you just have to commit to the comedy.

Channing Tatum

In the beginning, I would find a character I understood. That was my focus. Not now – but you basically get offered the exact same thing you just did. Which I find hilarious. I did ‘The Vow,’ and then I had every love story you can imagine thrown at me. And now I’m getting offers for comedies.

Channing Tatum

More famou8s birthdays today, April 26: Kevin James, comedic actor born in 1965; the wrestler known as Kane; and Scott Timlin, reality star born in Newcastle, England.

Happy birthday to all of them. Have a very nice day, dear friends.

Famous Birthdays Today, April 26 Video: Lip Sync Battle – Channing Tatum II

New York exhibitions. Exploring a pivotal decade in the career of Philip Guston

New York exhibitions. Exploring a pivotal decade in the career of an American Titan, Philip Guston: Painter, 1957-1967, will go on view in New York.

Philip Guston Accord I, 1962. Oil on canvas. 173 x 198.4 cm/ 68 1/8 x 78 1/8 in Private Collection. Image @ The Estate of Philip Guston. Courtesy Hauser & Wirth

New York exhibitions. Beginning 26 April 2016, Hauser & Wirth will present ‘Philip Guston: Painter, 1957 – 1967’, exploring a pivotal decade in the career of the preeminent 20th century American artist. Featuring 36 paintings and 53 drawings, many on loan from major museums and private collections, the exhibition draws together a compelling body of work that reveals the artist grappling to reconcile gestural and field painting, figuration and abstraction. Calling attention to a series of works that have not yet been fully appreciated for their true significance in the artist’s development, ‘Philip Guston: Painter, 1957 – 1967’ explores a decade in which Guston confronted aesthetic concerns of the New York School, questioning modes of image making and what it means to paint abstractly. In the number and quality of paintings on view from this period, the show parallels Guston’s important 1966 survey at the Jewish Museum in New York, a half century ago. As its title suggests, the exhibition offers an intimate look at Guston’s unique relationship to painting and the process by which his work evolved.

On view through 29 July 2016, ‘Philip Guston: Painter, 1957 – 1967’ has been organized by Paul Schimmel, Partner and Vice President of Hauser & Wirth. The exhibition is accompanied by a comprehensive, fully illustrated catalogue focusing specifically on the period beginning in the late 1950s and spanning a decade until the artist’s return to figuration in the late 1960s.

About the Exhibition:

By the mid-1950s, Philip Guston (1913 – 1980) and his contemporaries Jackson Pollock, Franz Kline, Willem de Kooning, Mark Rothko, Barnett Newman, and Clyfford Still, were among the leading figures of the New York School, standing at the forefront of American avant-garde painting. Guston, whose work was widely exhibited during this period, achieved critical success as an abstract painter, whose work was lauded its luminous, ethereal, and tactile fields of bold gesture and color. At this pinnacle moment, with the artist seemingly at the height of his career, an unexpected shift occurred in Guston’s approach. Dark, ominous forms began to crowd his paintings, coalescing into what would become a new language that consumed his practice over the next ten years.

The exhibition at Hauser & Wirth opens with ‘Fable II’ and ‘Rite’, two small paintings from 1957 that suggest evolution in both Guston’s mood and technique. Disturbing the pictorial field of these canvases, thick, densely clustered black strokes burst through heavily pigmented colorful patches ranging in tone from radiant azure and blazing orange, to fleshy pink and deep forest green. Similarly, a silvery wash of glimmering brushstrokes begins to encroach upon Guston’s lighter forms. Enveloping the background completely in ‘Last Piece’ (1958), the expanses of grey field suggest erasure – an obliteration of the artist’s previous association to pure abstraction.

In that same year of 1958, Guston exclaimed, ‘I do not see why the loss of faith in the known image and symbol in our time should be celebrated as a freedom. It is a loss from which we suffer, and this pathos motivates modern painting and poetry at its heart’. In the face of abstraction, Guston’s search for corporeality intensified. He challenged himself to create and simultaneously dissolve the dialogues of the New York School in a field that evoked ‘something living’ on the surface of his canvas. The introduction of brooding forms can now be understood as harbingers of a new figuration, wherein titles such as ‘Painter’ (1959) go so far as to suggest the pictorial presence of Guston, the painter himself. Wrestling with the simultaneous existence of abstraction and representation, ‘Painter’ strikes a precarious note: ambiguous, but semi-recognizable forms recall the artist’s early figurative works of the 1940s. A red shape and the loose application of blue paint hint at the return of his signature hooded figure, here with a paintbrush in hand. At the same time, however, the artist’s gestures dissolve legible shapes into a swirling field of energies in flux.

The exhibition continues across four dedicated rooms, tracing the evolution of Guston’s forms through the 1960s until they are reduced to “the isolation of the single image”. With such works as ‘Path II’ (1960) and ‘Alchemist’ (1960), dense pictorial dramas are unleashed, with colors and forms competing against one another in a storm of darkened strokes. In ‘Path IV’ (1961), Guston’s blackened, weighted masses emerge victorious, swarming in an atmosphere of rusted reds and ashen greys. Meanwhile, ‘Accord I’ (1962) reconciles the grouping of Guston’s black forms while still offering richness and warmth, as faint hues of color peek through pewter grey grounds.

Such concessions disappear in the following year: In a significant group of works created between 1963 and 1965, Guston interacts directly with the raw surface of his canvas, marking gestural, smoky fields in greys and pinks. One of the largest paintings from this period, ‘The Year’ (1964) is dominated by the presence of two great black personages floating in a field of luscious wet-on-wet strokes. Using white pigment to erase his looming black strokes, Guston creates heaving washes of nuanced grey matter that seem to pulsate with energy and life. As forms become fewer and denser in other works, the artist’s titles imply vague narratives. In ‘Group II’ (1964) or ‘The Three’ (1964), head-like shapes and bodies emerge. In the latter, Guston represents a family: the artist, his daughter, and his wife. The culmination of this extraordinary series is ‘Position I’ (1965), in which a single black shape nestles in a barren landscape devoid of chromatic variation.

In the years following his 1966 Jewish Museum survey, Guston would abandon painting and turn to drawing during a time of internal conflict and personal turmoil. In the two-year span between 1966 and 1967, he produced hundreds of works on paper in charcoal and brush-and-ink that are known as his ‘pure’ drawings. Works from this period occupy the final room of the exhibition at Hauser & Wirth. Presented together in a grid, they recall the manner in which Guston lived with these works, which were tacked to his studio walls.

Commenting upon the decade explored in ‘Philip Guston: Painter, 1957 – 1967’ Paul Schimmel said, ‘If there was one way in which Guston was consistent as an artist, it was in his unwillingness to be pinned down or to rest on his own considerable accomplishments and influence. As one of the most significant proponents in the reconciliation of gestural and field painting, figuration and abstraction, he was a solitary figure, ‘moving vertically’, unencumbered by the responsibilities and pressures that others often felt as they worked in his shadow’.