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Bryan Wolf, Jones Professor in American art and culture at Stanford, recounts how Philip Guston scandalized the New York art world from 1967 to 1970. Guston renounced abstraction and turned instead to figurative modes of painting characterized by cartoonish images that mixed Ku Klux Klan hoods, idioms of popular culture, and a private vocabulary of cigars, light bulbs, legs, shoes and other assorted--and often hairy--body parts. Running through these outlandish works is another concern: not the tribulations of everyday life, but the memory of the Holocaust. IMAGE: Philip Guston, Untitled (no. 394), 1969. Acrylic on masonite panel. Cantor Arts Center, Gift of the Estate of Musa Guston, 1992.255.
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