Phillip Guston: Thing

“Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It's unnatural. What's inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point That's some kind of a leap.... I'm describing the process of painting.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 68/69

Life , God , Way , Idea

“If you push it, it feels good; I don’t know what it is. It must have something to do with kinesthesia. I feel now that I am painting I'm not drawing anything, or even representing non-objective art. You know, you can represent abstract art, too, as well as heads figures, nudes. A lot of abstract artists are just representational painters, you know that. And a lot of figurative artists are very abstract. I don't feel as if I'm doing that. I feel more as if I'm shaping something with my hands. I feel as if I've always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me. I always thought I am a very spiritual man, not interested in paint, and now I discover myself to be very physical and very involved with matter. I want to be involved with how heavy things are, a balloon, how light things are, things levitating, pushing forms, make me feel as if my hand is pushing in a head, bulges out here and pushes there.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

Art , Feeling , Light , Drawing

“Lots of artists who paint have that experience to one degree or another, this release where their thinking doesn't precede their doing. The space is shortened between thinking and doing. It's a funny thing, what I really hate, yet I have to go through with it, is the preparation. You have to go through it, like somebody preparing for sacred vows, the sensation of you putting paint on, and it's so boring to put paint on and to see yourself putting paint on. You're really preparing for those few hours where some kind of umbilical cord is attached between you and it. You do it and the work is done and this cord seems to slacken, as if you left yourself there. And what a relief to leave yourself somewhere, to get out of it entirely.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 68

Hate , Thinking , Painting

“To will a new form is inacceptable, because will builds distortion. Desire too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else – a condition somewhat unclear, but which in retrospect becomes a very precise act. This 'thing' is recognized only as it comes into existence. It resists analysis - and probably this is as it should be. Possibly the moral is that art cannot and should not be made.”

Phillip Guston

1961 - 1980, ARTnews Annual', October 1966

Art , Way

“.. there comes a point when something catches on the canvas, something grips on the canvas. I don’t know what it is, you can put your paint on the surface? Most of the time it looks like paint, and who the hell wants paint on a surface? But there does come a time – you take it off, put it on, goes over here, moves over a foot, as you go closer you start moving in inches not feet, half-inches – there comes a point when the paint doesn't feel like paint. I don't know why. Some mysterious thing happens. I think you have all experienced it.... What counts is that the paint should really disappear, otherwise it's craft. That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 67

Feeling , Hell , Thinking , Time

“There are so many things to paint in the world – in the cities – so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make. To paint is always to start at the beginning again, yet being unable to avoid the familiar arguments about what you see yourself painting. The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish.”

Phillip Guston

What sympathy is demanded of the viewer! He is asked to 'see' the future links
1961 - 1980, ARTnews Annual', October 1966

World , Art , Soul , Understanding

“You use things; the idea is, of course, to eliminate things [in making a picture]. And just as fifteen or eighteen years ago [when Guston made whole figurative series of children's pictures: 'all sort of props and so on'] I stretched out to get that, - put it in and took it out - to get that look in that's kid's eye and the way his mouth was open or wasn't - I mean a very particular kind of look - I'd do the same now. In other words, I can't find any freedom in abstract painting [but Guston did abstract painting in 1960 - till in 1967 he moved to figuration]. I'am just as stuck with locations, a few areas of colour in relation to some kind of totality that I want, as I was before. And so the problem of figuration is somehow irrelevant to me. I think some of the best painting done in New York today is figuration, but it's not recognised as such... Well I think of my pictures as a kind of figuration... I think every good painter here in New York really paints a self-portrait..”

Phillip Guston

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 92-93

Children , Way , Idea , Problem

“Actually, one of the real problems that always bothers me [in creating a painting] is sustaining a feeling. I mean, when I look at Poussin now, well, I think that's the most incredible thing to maintain the feeling for a year, however long it took Poussin, I'm telling you, to paint this vast structure. Bur perhaps that is not given to us now. I don't know…. Actually all all modern art puzzles me. I don't understand it. II really don't. I don't know whether it is fragmentary [as David Sylvester the interviewer suggested]. I have a sickening nostalgia for this other state of sustaining a feeling for months, being able to construct and build a picture. Well Mondrian, I think, did that, of course. He was almost one of the last artists to do that. I wish I could get there.”

Phillip Guston

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 91-92

Art , Feeling , Understanding , Problem

“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.”

Phillip Guston

12 Americans, by Dorothy C.Miller, New York, 1956. p. 36
1950 - 1960

Travel , Feeling , Sense , Light

“.. when I see people making quote 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough, that is to say, there is you painting and this canvas. I think there has to be a third thing, it has to be a trialogue. Whether that third thing - it must be, to reverberate and make trouble, you have to have trouble and contradictions, it has to become complex because life is complex, emotions are complex, - whether that third element is a still life of something, or an idea or a concept, in each case it has to be a trialogue and above all has to involve you.... The real thing that matters is how involved you are in that.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

Life , People , Quotes , Idea

“I mean that the things I felt and that I enjoyed about certain painters of the past that I liked, that inspired me, like Cézanne and Manet, that thing I enjoyed in their work, that complete losing of oneself in the work to such an extent that the work itself, even though it was a picture of a woman in front of a mirror or some dead fish on the table, the pictures of those men were no pictures to me. They felt as if a living organism was posited there on the canvas, on this surface. That's truly to me the act of creation.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 66

Men , Fish , Past , Dead

“I have two thoughts [on the question of interviewer Joseph S. Trovato: 'Were the projects a good thing for American art?']. That practically all of the best painters of my generation developed on the projects such as Pollock, de Kooning, Brooks, Hague (sculptor), B. Greene, and Baziotes. I could go on and on. My second thought is that the reason it was good is that it had a broad base due to the economic situation we were in - the depression - and all kinds of art and styles, plus all degrees of talent were employed. Everybody was given an opportunity to prove himself. The many painters I mentioned above who have come such a long way is proof of this.”

Phillip Guston

n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

Art , Way , Question

“Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. It's a very archaic form. Same things can be said with words, writing poetry, making sounds, music. It is a unique thing.... I think that the original revolutionary impulse behind the New York School, as I felt it anyway, and as I think my colleagues felt and the way we talked all the time, was a kind of a.... you felt as if you were driven into a corner against the wall, with no place to stand, just the place you occupied as if the act of painting was not making a picture.... it was as if you had to prove to yourself that truly the act of creation was still possible.... I felt as if I was talking to myself, having a dialectical monologue with myself to see if I could create.”

Phillip Guston

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 66

School , Music , Way , Imagination