Tag Archives: Philip Guston


RESILIENCE—PHILIP GUSTON IN 1971 is the first local solo exhibition of the artist’s paintings and drawings in over half a century. The show—at Hauser & Wirth Los Angeles, and curated by his daughter Musa Mayer—is on view for one more week.

The paintings in the exhibition were made in Rome during an extended Italian trip in 1971. Guston had recently weathered a storm of negative reaction to his 1970 show of work at the Marlborough Gallery in New York City.

I’ve found no better word than “resilience” to describe that particular year in my father’s work and life, and indeed to characterize his entire life, especially his early life, when he discovered the great art and artists of the past and quite literally drew and painted a new identity for himself. — Musa Mayer


Through January 5.

Hauser & Wirth

901 East 3rd Street, downtown Los Angeles.

Resilience—Philip Guston in 1971, Hauser & Wirth, Los Angeles, September 14, 2019––January 5, 2020, paintings, from top: Untitled, 1971, oil on paper; Hand and Stick, 1971, oil on canvas; Untitled, 1971, oil on paper mounted on panel; Untitled (Roma), 1971, oil on paper; Untitled (Roma) , 1971, oil on paper mounted on panel. The Nixon Drawings and the Poor Richard series (all 1971) are pen and India ink on paper. The film still of Guston in his Woodstock, New York, studio, summer 1971, is from footage shot by Michael Blackwood. Images courtesy and © the Estate of Philip Guston, Musa Meyer, Michael Blackwood Productions, and Hauser & Wirth.


The poet, journalist, novelist, and editor Stephen Spender is the subject of an exhibition at Frieze London, presented by Hauser & Wirth and Moretti Fine Art.

The project explores Spender’s progressive ideas and artistic friendships, and features work by artists he personally knew and/or collected, including Michael Andrews, Frank Auerbach, David HockneyLucian Freud, Leon Kossoff, Henry Moore, Giorgio Morandi, Pablo PicassoSerge Poliakoff, and Yannis Tsarouchis.

A beautiful exhibition catalogue—edited by Ben Eastham and formatted in the style of Horizon, the journal Spender, Cyril Connolly, and Peter Watson founded in 1939—includes artwork reproductions, poems by Spender, and essays on his deep affinities with art, literature, and political activism in the 1930s. “On Censorship” by Caroline Moorehead addresses Spender’s connection with its subject through the journal he co-founded, Index on Censorship.

(In the early 1990s, Spender himself prevailed on the court system to prevent the publication of While England Sleeps, David Leavitt’s novel that appropriated stories from Spender’s autobiography World within World and added scenes of gay erotica, which he dismissed as “pornography.” Spender married twice—Natasha Spender was his widow and he was the father of Matthew and Elizabeth—but, as disclosed in his New Selected Journals and letters to Christopher Isherwood and others, Spender’s emotional and sexual life was marked by numerous same-sex relationships.)


Thursday, October 4 through Sunday, October 7.

Frieze London—Hauser & Wirth, Booth D01, Regents Park, London.

The Worlds of Stephen Spender catalogue.

From top: Henry Moore, Portrait of Stephen Spender, 1934. © Henry Moore Foundation. Image credit: Hauser & Wirth.

Exhibition catalogue image credit: Hauser & Wirth. Book design by Fraser Muggeridge studio.

A 1929 photograph of Spender’s German friend Franz Büchner on the cover of the novel The Temple, written in the late 1920s and finally published in 1988. Image credit: Faber and Faber.

Below: W.H. Auden (left), Stephen Spender, and Christopher Isherwood in 1931.


In a exhibition inspired by the phrase “Those who dance are thought to be insane by those who cannot not hear the music,” Hauser & Wirth will show the work of Lorna Simpson, Geta Brătescu, Louise BourgeoisStefan Brüggemann, Martin Creed, Philip Guston, Paul McCarthy, Fausto Melotti, Djordje Ozbolt, Lygia Pape, Pipilotti Rist, Dieter Roth, David Smith, and Philippe Vandenberg this month at ARCO Madrid.


ARCO MADRID, February 21 through 25.

IFEMA, Feria de Madrid, Booth 7B04, pavilion 7, Avenida del Partenón, 5, Madrid.


Lorna Simpson, Portrait, 1988. Image courtesy of the artist and Hauser & Wirth.



The sardonic paintings, videos, photographs, and sculptures of artist, filmmaker, and stage director Juan José Gurrola (1935-2007) are on view at House of Gaga/Reena Spaulings Fine Art, part of Pacific Standard Time: LA/LA.

Included are works from his Dom Art series (Domestic Art), his “bad painting” versions of Philip Guston canvases, the poems and photographs of Gurrola’s Monoblock series, and three of his films: Robarte el arte (1972, documenting Gurrola’s supposed theft of a Documenta 5 artwork), Porn (circa 1989), and Cinturón gay latino (1984), which documents Gurrola, David Hockney and others painting murals on the walls of Mexico City gay bar El 9.


JUAN JOSÉ GURROLA—1966–1989, through November 18.

REENA SPAULINGS FINE ART, 2228 West 7th Street, 2nd floor (entrance on South Grand View Street), Los Angeles.



Juan José Gurrola, Familia Kool Aid, 1962/1966. Image credit: Gurrola Foundation and House of Gaga.





Gallerie dell’Accademia di Venezia is hosting a public symposium THE PAINTER CAN’T SLEEP to mark the final week of the exhibition PHILIP GUSTON AND THE POETS. Symposium participants include curator Kosme de Barañano, gallery director Paola Marini, Peter Benson Miller, Pia Capelli, and Musa Mayer, Guston’s daughter.

THE PAINTER CAN’T SLEEP, Thursday, August 31, from 4 to 6:30 pm.

PHILIP GUSTON AND THE POETS, through Sunday, September 3.

GALLERIE DELL’ACCADEMIA, Campo della Carità 1050, Venice.

r.s.v.p.: guston@hauserwirth.com

Catalogue: Kosme de Barañano, Philip Guston & the Poets (Venice: Gallerie dell’Accademia di Venezia/Zurich: Hauser & Wirth, 2017).


Image credit: Hauser & Wirth.