Philip Guston: Bio


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PHILIP GUSTON

1913 Phillip Goldstein, born June 27 in Montreal, to Louis and Rachel Goldstein, both of whom
were immigrants from Odessa, Russia. He is the youngest of seven children.
1919 Family moves to Los Angeles.
1923 Father commits suicide.
1926 Youthful aptitude for drawing leads mother to enroll him in a correspondence course from
Cleveland School of Cartooning.
1927 Attends Manual Arts High School where he meets and becomes friends with Jackson
Pollock, Manuel Tolegian and Reuben Kadish.
1930 Scholarship to Otis Art Institute, Los Angeles, where he meets Musa McKim, but leaves after
three months. Studies painting at home, works as an occasional extra in several movies.
Sees Modern European painting in the collection of Walter and Louise Arensberg and first
encounters the work of de Chirico.
1931 First one-man exhibition at the Stanley Rose Bookshop and Gallery, Hollywood,
Organized by the painter, Herman Cherry.
1932 Visits Pomona College, Claremont, California, with Pollock, to see Jose Clemente Orozco
at work on his mural “Prometheus.”
1933 Exhibits “Mother and Child” 1930, his first fully developed painting, at the 14th
Annual Exhibition at the Los Angeles Municipal Museum.
1934 Travels to Mexico with Reuben Kadish and poet Jules Langsner. With Kadish, paints
huge mural, ‘The Struggle Against War and Fascism,’ still standing in the Museo de
Michoacan, Morelia, Mexico. Completes commission with Kadish, for the City of Hope,
Tuberculosis Sanatorium of the ILGWA, Duarte, California ( near Pasadena).
1936 Moves to New York City. Joins Works Progress Administration (WPA) Federal Art
Project. Frequent contact with James Brooks, Burgoyne Diller, Arshile Gorky, Willem de
Kooning, and Stuart Davis on the Project. Sees the A.E. Gallatin Collection in
Washington Square, New York, where he admires Picasso’s “Three Musicians” and
Leger’s “The City.”
1937 Marries Musa McKim, artist and poet.
Completes “Bombardment” in response to Spanish Civil War.
1939 Paints “Maintaining America’s Skills” on the facade of the WPA building at the New York
World’s Fair. Awarded first prize.
1940 Sees Picasso exhibition at The Museum of Modern Art, New York.
1941-1945 Artist- in-Residence, State University of Iowa, Iowa City. Completes commission for
Fortune Magazine, relating to the American war effort.
1945 First New York exhibition at Midtown Gallery.
Awarded First Prize for Painting, Carnegie Institute, Pittsburgh.
Artist-in- Residence, Washington University, St. Louis, Missouri, until 1947.
1947 Awarded Guggenheim Fellowship. Moves to Woodstock. Close friendship with
Bradley Walker Tomlin. Paints “Tormentors,” his first abstract painting.
1948 Awarded Prix de Rome, American Academy in Rome. Travels in Italy, Spain and
France for a year.
1950 Visiting Artist, University of Minnesota, Minneapolis. Moves permanently to West
10th Street, New York City. Close contact with Willem de Kooning, James Brooks,
Robert Motherwell, Mark Rothko and Barnett Newman. Active member of the
Eighth Street Club. Critical interest in philosophical questions raised through
reading Sartre, Camus, Kafka and Kierkegaard. Attends lectures by Zen
philosopher D.T. Suzuki in New York with John Cage, whom he met in Rome in
1948. Begins enduring friendship with composer Morton Feldman.
1950-1951 Period of abstract drawing leading to paintings, successfully shown at the Peridot
Gallery in January 1952.
1952 Joins Charles Egan Gallery, with Willem de Kooning, Franz Kline, Isamu Noguchi,George
McNeil and Reuben Nakian. First one-man exhibit there in 1953.
1955 Joins the Sidney Janis Gallery.
1956 Included in the exhibition 12 Americans at The Museum of Modern Art, New York.
1958 Included in the exhibition The New American Painting, organized by The Museum
of Modern Art and shown throughout Europe in 1958-1959.
1959 Awarded Ford Foundation grant. First retrospective exhibition, V Bienal, Sao Paulo,
Brazil, with David Smith.
1960 Major presentation of work in the XXX Biennale, Venice, shown later in Baltimore.
Interview with David Sylvester, broadcast on the BBC, London, in series “Painting
as Self-Discovery.”
First meeting with Bill Berkson through Frank O’Hara.
1962 Full retrospective exhibition at the new Solomon R. Guggenheim Museum,
New York, which travels to Amsterdam, Brussels, London and Los Angeles.
1964 Joins Marlborough – Gerson Gallery, New York.
1966 Large exhibition of Recent Paintings at the Jewish Museum, New York. Work
received broad criticism. During the following two years he paints little, but draws
continuously in ink and brush or in charcoal on paper.
1967 Leaves New York City, moves permanently to Woodstock. Winters in Sarasota,
Florida, resulting in minimal abstract drawings and reduced drawings of objects.
1968 Second Guggenheim Fellowship. Begins painting small panels of everyday
objects and hooded figures in response to the violence of the Democratic Party
convention in Chicago.
Friendship with the writer Philip Roth, who had moved to Woodstock.
1969 Bill Berkson, Lewis Warshow and Anne Waldman visit Woodstock, establishing his rapport with young poets.
1970 Morton Feldman and Robert Hughes view new work at Hahn Bros. Warehouse, New
York.
Friendship with Feldman ends and the two never meet again. Controversial figurative
paintings shown at Marlborough-Gerson Gallery, New York. First meeting with Clark
Coolidge, through Bill Berkson. Honorary doctorate, Boston University.
1970-1971 Artist-in-Residence at the American Academy, Rome. Completes extensive series of
oils on paper, influenced by Italian surroundings. Travels throughout Italy and Sicily.
Returns to Woodstock. Series of drawings on Richard Nixon – Poor Richard.
1972 Collaborative drawings with poet Clark Coolidge.
Elected member of National Institute of Arts and Letters, New York.
1973 Exhibition, Philip Guston Drawings 1938-1972 at the Metropolitan Museum, New York,
curated by Henry Geldzahler.
1973-1978 Appointed Professor of Art, Boston University, Massachusetts.
1974 Joins the David McKee Gallery, New York.
Exhibition of late work at Boston University. Provocative panel discussion with
Harold Rosenberg as moderator.
1975 Receives Distinguished Teaching of Art Award, The College Art Association.
1976 Friendship and correspondence with the writer Ross Feld.
1977 Musa Guston suffers stroke which leads to intense melancholic paintings of their
relationship. She recovers.
1978 Fresh optimism, lively inventiveness enters work. San Francisco Museum of
Modern Art acquires late triptych, “Red Sea”, “The Swell”, “Blue Water”.
1979 Travels with Musa to San Francisco for a small preliminary exhibition and to work on
the forthcoming retrospective at San Francisco Museum of Modern Art.
Serious heart attack – slow recovery. Returns to painting. First international
showing of late paintings at the Hayward Gallery, London – New Work, New York, curated
by Catherine Lampert.
1980 Awarded Creative Arts Award, Brandeis University, Waltham, Massachusetts.
Talk of journeys to Egypt and Spain, never realized. Australian National Gallery
acquires “Pit” and “Bad Habits.”
Attends May 15 opening of major retrospective exhibition at the San Francisco
Museum of Modern Art, which travels to Denver, Chicago, Washington D.C., &
New York. Returns home to select late paintings on paper for exhibition at the Phillips
Collection, Washington, D.C..
Dies from heart attack, June 7, in Woodstock, NY.

MAJOR MUSEUM EXHIBITIONS

1944 * Paintings and Drawings by Philip Guston, State University of Iowa, Iowa City
1947 * Philip Guston, Munson-Williams-Proctor Institute, Utica, NY
1950 * Philip Guston, The University Gallery, University of Minnesota, MN
1956 * 12 Americans, Museum of Modern Art, New York
1958 * The New American Painting, organized by the International Council of the Museum of
Modern Art; Museum of Modern Art, New York: traveled to Kunsthalle, Basel; Galleria
Civica d’Arte Moderna, Milan; Museo Nacional de Arte Contemporaneo, Madrid;

* catalogue

Hochschule fur Bildende Kunste, Berlin; Stedelijk Museum, Amsterdam; Palais des
Beaux Arts, Brussels; Musee National d’Arte Moderne, Paris; Tate Gallery, London
1959 * V Bienal Internacional de Sao Paulo, Brazil
1960 * XXX Biennale Internazionale d’Arte, Venice, Italy
1962 * Philip Guston, (retrospective exhibition 1941-1962) Solomon R. Guggenheim Museum,
New York; Los Angeles County Museum of Art, Los Angeles, CA; Whitechapel Art
Gallery, London; Palais des Beaux-Arts, Brussels, Belgium; Stedelijk Museum, Amsterdam
1966 * Philip Guston: A Selective Retrospective Exhibition 1945-1965, Rose Art Museum,
Brandeis University, Waltham, MA
* Philip Guston, Recent Paintings and Drawings, The Jewish Museum, New York
1967 * Philip Guston, Santa Barbara Museum of Art, CA
1970 New Paintings, Philip Guston, School of Fine And Applied Arts Gallery, Boston
University, Boston, MA
1971 * Philip Guston, Recent Work, La Jolla Museum of Contemporary Art, CA
1973 Philip Guston Drawings 1938-1972, The Metropolitan Museum of Art, New York
1974 * Philip Guston, New Painting, School of Fine & Applied Arts Gallery, Boston University, MA
1975 * Drawings by Five Abstract Expressionist Painters, A. Gorky, W. de Kooning, J. Pollock,F.
Kline, P. Guston, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA
1978 Philip Guston: New Works in San Francisco, San Francisco Museum of Modern Art, CA
1979 * New Painting – New York, Hayward Gallery, London
1980 * Philip Guston, (retrospective exhibition 1930-1979) originating at the San Francisco
Museum of Modern Art: traveled to Corcoran Gallery of Art, Washington, D.C.;
Museum of Contemporary Art, Chicago; The Denver Art Museum, CO; Whitney Museum
of American Art, New York
Philip Guston, Akron Art Museum, OH
1981 * A New Spirit in Painting, Royal Academy of Arts, London
Philip Guston, Montgomery Museum of Fine Arts, Montgomery, AL
1981-1982 * Philip Guston: The Last Works, organized by the Phillips Collection, Washington, D.C.:
traveled to Cleveland Museum of Art, OH; Museum of Art, Carnegie Institute,
Pittsburgh, PA; David McKee Gallery, New York
* XVI Bienal Internacional de Sao Paulo, Brazil: traveled as Philip Guston: Sus Ultimos
Anos to Museo de Arte Moderno, Mexico City; Centro de Arte Moderno, Guadalajara,
Mexico; Museo de Arte Moderno, Bogota, Colombia
1982 * Philip Guston: Paintings 1969-1980, Whitechapel Art Gallery, London: traveled to
Stedelijk Museum, Amsterdam, Kunsthalle, Basel
1983 * The First Show – Paintings and Sculpture from Eight Collections, Museum of
Contemporary Art, Los Angeles, CA
1984 * Philip Guston: The Late Works, National Gallery of Victoria, Melbourne; Art Gallery of
Western Australia, Perth; Art Gallery of New South Wales, Sydney
* La Grande Parade: Highlights of Painting after 1940, Stedelijk Museum, Amsterdam Philip Guston: Last Works, Hayden Gallery, Massachusetts Institute of Technology,
Cambridge, MA
1986 * Philip Guston, Greenville County Museum of Art, SC; North Carolina Museum of Art,
Raleigh; The Atlanta College of Art, GA
1987 * l’epoque, la mode, la morale, la passion, Centre Georges Pompidou, Paris, France
* Philip Guston: Early & Late Works, Skidmore College Museum of Art, Saratoga, NY
1988 * The Drawings of Philip Guston, The Museum of Modern Art, New York: traveled to
Museum Overholland, Amsterdam; La Fundacion La Caixa, Barcelona; Museum of
Modern Art, Oxford, England; Douglas Hyde Gallery, Dublin; Galeria Nazionale D’Arte
Moderna e Contemporanea, Rome.
1989 * Philip Guston: Painting Retrospective, Centro de Arte Reina Sofia, Madrid; Palau de la
Virreina, Barcelona; St. Louis Art Museum, MO, Dallas Museum of Art, TX
* Bilderstreit, Museum Ludwig, Cologne, Germany
1990 * High & Low: Modern Art and Popular Culture, Museum of Modern Art, New York:
traveled to the Art Institute of Chicago, the Museum of Contemporary Art, Los Angeles.
1992 * Philip Guston, Works from the Collection, Museum of Modern Art, New York
Philip Guston: Paintings in the Collection of the Tate, The Tate Gallery, London
1993 * Philip Guston: La Raiz del Dibujo (The Root of Drawing), Sala Rekalde, Bilbao, Spain
1994 * Philip Guston’s Poem Pictures, Addison Gallery of American Art, Andover, MA:
traveled to The Drawing Center, New York
* Philip Guston: 1975-1980 Private and Public Battles, Boston University Art Gallery,
Boston, MA
1995 * 46. Esposizione Internazionale d’Arte, Venice Biennale “Identita E Alterita,” Palazzo
Grassi, curated by Jean Clair, Venice
* Philip Guston: Oeuvres Sur Papier 1975-1980, Musee de L’Abbaye Sainte-Croix,
Les Sables d’Olonne, France
1996 * Painting for Themselves: Late de Kooning, Guston, Miro, and Picasso, Neues Museum
Weserberg Bremen, Bremen, Germany
1997 * Philip Guston: Working Through the 1940’s, The University of Iowa Museum of Art, Iowa
City Iowa: traveled to the Greenville County Museum of Art, South Carolina, the Munson
Williams Proctor Institute, Utica, NY.
1998 * Linea y Poesia: Philip Guston and Musa McKim, La Fundacion Cesar Manrique,
Lanzarote, Canary Islands, Spain
1999-2000 * Philip Guston: Gemälde 1947 – 1979, Kunstmuseum, Bonn: traveled to Württembergischer
Kunstverein Stuttgart; National Gallery of Canada, Ottawa; Centre national d’art et de
culture Georges Pompidou, Paris
2000 * Philip Guston: A New Alphabet, Yale University Art Gallery: traveled to Fogg Art
Museum, Harvard University, Cambridge, MA
2001-2002 * Philip Guston, One-Shot-Painting, IVAM, Valencian, Spain: traveled to the Bonnefanten
Museum, Maastricht, The Netherlands (partial exhibition)
2001-2003 * Poor Richard by Philip Guston, McKee Gallery, New York: traveled to Mass MOCA, North
Adams, MA; Fine Arts Museum of San Francisco, Legion of Honor, Lincoln Park
2003-2004 * Philip Guston Retrospective, Modern Art Musuem, Fort Worth, TX: traveled to San
Francisco Museum of Modern Art, San Francisco, CA; Metropolitan Museum of Art, New
York; Royal Academy, London, UK
* Visions of Modern Art: Painting and Sculpture from The Museum of Modern Art, Museum
of Fine Arts, Houston, TX: traveled to Neue Nationalgalerie, Berlin
2005 * Surrealism USA, National Academy Museum, New York: traveled to Phoenix Art Museum, AZ
The Experience of Art, Italian Pavilion, LV Venice Biennale
2006 * Enigma Variations: Guston and de Chirico, Santa Monica Museum, CA
* Plane/Figure, Kunstmuseum Winterthur, Switzerland
* Against the Grain: Contemporary Art from the Edward R. Broida Collection, The Museum of
Modern Art, New York
* I not I – Beckett,Guston,Nauman (Samuel Beckett Centennary Exhibition), The Royal
Hibernian Academy, Dublin
* Inner Worlds Outside, Irish Museum of Modern Art, Dublin
2007-2008 * Philip Guston: Works on Paper, traveling exhibition: Kunstmuseum, Bonn, Germany;
Louisiana Museum, Denmark; The Albertina, Vienna; Staatliche Graphische Sammlung, Munich,
Germany; Morgan Library & Museum, New York
2009 In The Tower: Philip Guston, The Tower Gallery, National Gallery of Art, Washington, D.C.
2010 * Philip Guston, Roma, Museo Carlo Bilotti- Aranciera di Villa Borghese, Rome; The Phillips
Collection, Washington, D.C.
2013 * Philip Guston: Late Works, Schirn Kunsthalle Frankfurt, Germany. Travels to:
Diechtorhallen/ Sammlung Falckenberg, Hamburg; Louisiana Museum of Modern Art,
Humblebæk, Denmark
Philip Guston: Return to Figuration, Jewish Historical Museum, Amsterdam, The Netherlands

SOLO EXHIBITIONS

1931 Stanley Rose Bookshop & Gallery, Los Angeles, CA
1945 * Philip Guston, Midtown Galleries, New York
1947 Philip Guston, School of the Museum of Fine Arts, Boston, MA
1952 * Paintings 1948-1951 by Philip Guston, Peridot Gallery, New York
1953 Philip Guston: Paintings and Drawings, Egan Gallery, New York
1956 Recent Paintings by Philip Guston, Sidney Janis Gallery, New York
1958 Philip Guston, Sidney Janis Gallery, New York
1959-1960 * Recent Paintings by Philip Guston, Sidney Janis Gallery, New York
1961 New Paintings by Philip Guston, Sidney Janis Gallery, New York
Philip Guston, Franz Kline, Dwan Gallery, Los Angeles
1969 * Philip Guston, Paintings and Drawings, Gertrude Kasle Gallery, Detroit, MI
1970 * Philip Guston, Recent Paintings, Marlborough Gallery, New York
1973 * Philip Guston, Major Paintings of the Sixties, Gertrude Kasle Gallery, Detroit
1974 Philip Guston, Gertude Kasle Gallery, Detroit
* Philip Guston, David McKee Gallery, New York
1975 Philip Guston, Makler Gallery, Philadelphia
Philip Guston: Drawings for Bill Berkson’s “Enigma Variations,” Galerie
Paule Anglim, San Francisco
1976 * Philip Guston: Paintings, 1975, David McKee Gallery, New York
1977 * Philip Guston: Paintings, 1976, (Part I: March 18 – April 8; Part II: April 9 – 30 )
David McKee Gallery, New York
A Selection of Recent Works by Philip Guston, Achim Moeller Gallery, London
1978 * Philip Guston: Drawings, 1947 – 1977, David McKee Gallery, New York
* Philip Guston: Major Paintings, 1975 – 76, Alan Frumkin Gallery, Chicago
1979 * Philip Guston: Paintings, 1978 – 1979, David McKee Gallery, New York
1980 A Tribute to Philip Guston: Paintings and Drawings from 1950 to 1980,
David McKee Gallery, New York
Philip Guston: Recent Paintings, John Berggruen Gallery, San Francisco
1981 * Philip Guston: New Lithographs, Gemini G.E.L., Los Angeles
Paintings by Philip Guston, Asher-Faure Gallery, Los Angeles
Philip Guston: Lithographs, Yellowstone Art Center, Billings, MT
1983 Philip Guston: Paintings, David McKee Gallery, New York
Philip Guston, Riva Yares Gallery, Scottsdale, Arizona
Philip Guston: Eight Lithographs, Gemini G.E.L., Los Angeles
1985 Philip Guston: Drawings, Reconnaissance Gallery, Fitzroy, Victoria, Australia: traveled
to Art Gallery of New South Wales, Sydney
Philip Guston: Small Works 1968-69, David McKee Gallery, New York
1986 Philip Guston: Works on Paper, Cava Gallery, Philadelphia
1987 * Roma 1971, David McKee Gallery, New York
1988 Philip Guston: The Late Prints, Cava Gallery, Philadelphia
1990 * Drawings from the Philip Guston and Clark Coolidge Exchange, The Berkshire Museum,
MA: traveled to Galerie Lelong, New York
* Philip Guston: Paintings 1961-65, McKee Gallery, New York
1991 Philip Guston: Drawings 1968-71 Hoods, McKee Gallery, New York
1995 Philip Guston, Virginia Museum of Fine Arts, Richmond, VA
* Philip Guston: The Fifties, McKee Gallery, New York
1996 Philip Guston: Major Paintings from the Seventies, McKee Gallery, New York
1997 Philip Guston, Brave New World: 1943, The Woodstock Artists’ Association, Woodstock,
NY: traveled to McKee Gallery, New York
1998 * Philip Guston: Works on Paper, 1968-1980, John Berggruen Gallery, San Francisco
* Philip Guston: The Last Works, Lafayette College, Easton, PA
* Philip Guston: Selected Works on Paper and Canvas 1951-1978, Manny Silverman
Gallery, Los Angeles
1999 Philip Guston: Works on Paper, Timothy Taylor Gallery, London
2000 * Philip Guston: Small Paintings and Drawings 1968-1980, McKee Gallery, New York
2001-2002 Philip Guston: The Last Prints, Timothy Taylor Gallery, London
* Philip Guston, BQ Gallery, Köln, Germany
2002 Philip Guston Prints, Susan Sheehan Gallery, New York
2003 Philip Guston: Mind and Matter, McKee Gallery, New York
2004 * Philip Guston, Timothy Taylor Gallery, London
2005 Philip Guston: Abstract + Figurative, McKee Gallery, New York
2006 Philip Guston: Objects, Timothy Taylor Gallery, London
* Philip Guston: Drawings, McKee Gallery, New York
2007 Guston in Grasmere: Poem-Pictures, 3W Gallery, The Wordsworth Trust, Grasmere, England
Philip Guston, Aurel Scheibler, Berlin
2008 The Private Eye of Philip Guston: The Gemini Editions, Gemini G.E.L. at Joni Moisant
Weyl, New York
2009 Philip Guston: 1954-1958, L&M Arts, New York
Philip Guston: Small Oils on Panel, 1969-1973, McKee Gallery, New York
2010 Philip Guston: Works on Paper, Timothy Taylor Gallery, London, England
2012 * Philip Guston: Inevitable Finality, The Gemini Prints, Haggerty Museum of Art, Milwaukee,
WI
Philip Guston: The Late Paintings, Inverleith House, Royal Botanic Garden, Edinburgh, Scotland
2013 Philip Guston: A Centennial Exhibition, McKee Gallery, NY

GROUP SHOWS

1933 14th Annual Exhibition of Painters and Sculptors, Los Angeles Museum, CA
1934 Progressive Painters of Southern California, Los Angeles Museum
1937 An Exhibition in Defense of World Democracy…Dedicated to the Peoples of Spain and
China, American Artists Congress, New York
1938 Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art,
New York; also included in the years: 1940, 1942-43, 1943-44, 1944, 1945,
1946, 1947, 1948, 1950, 1953, 1956, 1957, 1958, 1961, and 1963
1939 3rd Annual Membership Exhibition: Art in a Skyscraper, American Artists Congress,
New York
American Art Today, New York World’s Fair, New York
1941 Directions in American Painting, Carnegie Institute, Department of Fine Arts,
Pittsburgh, PA
1942 Biennial Exhibition of Contemporary American Paintings, Virginia Museum of Fine Arts;
also included in 1946 and 1948
1942 Annual Exhibition of American Paintings and Sculpture, Art Institute of Chicago, IL; also
included in 1943, 1944, 1945, 1946, 1951, and 1959
1943 Biennial Exhibition of Contemporary American Oil Paintings, Corcoran Gallery of Art,
Washington, D.C.; also included in 1945, 1949, and 1955
Painting in the United States, Carnegie Institute, Pittsburgh, PA; also included in the
years: 1944, 1945, 1947, 1948, and 1949
1944 One Hundred Thirty-ninth Annual Exhibition of Painting and Sculpture, Pennsylvania
Academy of the Fine Arts, Philadelphia, PA
110 American Painters Today: The Second Annual Purchase Exhibition, Walker Art
Center, Minneapolis, MN; also included in 1950
1945 Critics’ Choice of Contemporary Arts and Antiques Show, 17th Armory, New York
1946 Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings,
Whitney Museum of American Art, New York; also included in 1950, 1951, 1952,
1953, 1955, and 1962
Twelve Americans, Institute of Modern Art, Boston, MA
1947 121st Annual Exhibition of Contemporary American Painting, Sculpture, and Watercolor
and Graphic Art, National Academy of Design, New York
Forty-fifth Annual Philadelphia Watercolor and Print Exhibition, and the Forty-Sixth
Annual Exhibition of Miniatures, Pennsylvania Academy of the Fine Arts, Philadelphia
1948 University of Illinois Competitive Exhibition of Contemporary American Painting, College
of Fine and Applied Arts, University of Illinois, Champaign, IL; also included in 1949
1950 The Pittsburgh International Exhibition of Paintings, Carnegie Institute, Pittsburgh; also
included in 1955, 1958, and 1964
1951 Abstract Painting and Sculpture in America, Museum of Modern Art, New York
Ninth Street Show, 60 East Ninth Street, New York
American Vanguard Art for Paris Exhibition, Sidney Janis Gallery, New York; as Regards
sur la peinture americaine, Galerie de France, Paris
1952 Expressionism in American Painting, Albright Art Gallery, Buffalo, NY
1953 Abstract Expressionists, Baltimore Museum of Art, MD
1954 * Younger American Painters, Solomon R. Guggenheim Museum, New York
1955 50 Ans d’art aux Etats-Unis: Collections du Museum of Modern Art de New York, Musee
National d’Art Moderne, Paris, coordinated by the International Program of the Museum
of Modern Art, New York, selections from the exhibition were shown in Barcelona,
London, and the Hague.
1956 Recent Paintings by 7 Americans, Sidney Janis Gallery, New York
Benefit Exhibition for the Boston Arts Festival: The Lois Orswell Collection, Margaret
Brown Gallery, Boston
1957 IV Bienal de Sao Paulo, Museu de Arte Moderna, Sao Paulo, Brazil
8 Americans, Sidney Janis Gallery, New York
1958 Primera Bienal interamericana de pinture y grabado, Instituto National de Bellas Artes,
Mexico City
Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in
Twentieth Century American Art, Whitney Museum of American Art, New York;
exhibition toured.
10th Anniversary Exhibition, Sidney Janis Gallery, New York
1959 Documenta II, Museum Fridericianum, Kassel, West Germany
8 American Painters, Sidney Janis Gallery, New York
A V Bienal, Estados Unidos, Museu de Arte Moderna, Sao Paulo
The New American Painting, Palais des Beaux-Arts, Bruxelles
1960 The Image Lost and Found, Institute of Contemporary Art, Boston, MA
9 American Painters, Sidney Janis Gallery, New York
1961 American Abstract Expressionists and Imagists, Solomon R. Guggenheim Museum, New York
Disegni Americani Moderni (Modern American Drawings), organized by the International
Council of the Museum of Modern Art, New York, as the U.S. representative at the IV
Festival of Two Worlds, Spoleto: traveled to Europe and Israel
1962 Art Since 1950: American and International, Seattle World’s Fair, exhibition toured
Continuity and Change: 45 American Abstract Painters and Sculptors, The Wadsworth
Athenaeum, Hartford, CT
10 American Painters, Sidney Janis Gallery, New York
1963 20th Century Master Drawings, Solomon R. Guggenheim Museum, New York;
exhibition toured.
11 Abstract Expressionist Painters, Sidney Janis Gallery, New York
1964 Painting and Sculpture of a Decade: 1954-1964, The Tate Gallery, London
Two Generations, Sidney Janis Gallery, New York
A Selection of 20th Century Art of 3 Generations, Sidney Janis Gallery, New York
1965 Twelfth Exhibition of Contemporary American Painting and Sculpture, Krannert Art
Museum, University of Illinois, Champaign, IL; also included in 1967
New York School: The First Generation, Paintings of the 1940s and 1950s, Los Angeles
County Museum of Art
1966 Abstract Expressionism – A Continuing Tradition, Philip Guston, Conrad Marca-Relli,
Adlolph Gottlieb, Robert Motherwell, The J.L. Hudson Gallery, Detroit
1967 * Two Decades of American Painting, The Museum of Modern Art, New York;
exhibition toured.
Three Artists of Today: Philip Guston, Conrad Marca-Relli, James Rosati, Colby College
Art Museum, Waterville, ME
American Painting: The 1940s, University of Georgia, Athens; co-sponsored by the
American Federation of the Arts, New York, exhibition toured
* Six Painters: Mondrian, Guston, Kline, de Kooning, Pollock, Rothko, University of
St. Thomas Art Department, Houston, Texas
1969 New York Painting and Sculpture: 1940-1970, Metropolitan Museum of Art, New York
1970 Color and Field, 1890 – 1970, Albright-Knox Art Gallery, Buffalo, NY; exhibition toured D.C.
1976 A Selection of American Art: The Skowhegan School, 1946-1976, Institute of
Contemporary Art, Boston, Ma; exhibition toured.
1978 Art for the People – New Deal Murals on Long Island, Emily Lowe Gallery, Hofstra
University, Hempstead, Long Island, NY
* American Painting of the 70′s, Albright-Knox Art Gallery, Buffalo, NY; exhibition traveled
throughout the United States
1979 Works on Paper U.S.A., Rockland Center for the Arts, West Nyack, NY
H.H.K. Foundation for Contemporary Art, Milwaukee, WI
David McKee Presents Works on Paper by Franz Kline and Philip Guston, Asher Faure,
Los Angeles
* Poets & Painters, Denver Art Museum (traveling exhibition)
1980 Pictures for an Exhibition, The Whitechapel Art Gallery, London
Alexander Brook, Philip Guston, Clyfford Still Memorial Exhibition, American Academy of
the Arts, Institution of Arts and Letters, New York
* Aspects of the 70′s: Mavericks, Rose Art Museum, Waltham, MA
1983 The Painterly Figure, Parrish Art Museum, Southampton, NY
Minimalism to Expressionism: Since 1965 From the Permanent Collection, Whitney
Museum of American Art, New York
1984 * American Still Life 1945-1983, Contemporary Arts Museum, Houston, TX; Albright-Knox
Art Gallery, Buffalo, NY; Columbus Museum of Art, OH; Neuberger Museum, Purchase,
NY; Portland Art Museum, OR
The Modern Drawing, The Museum of Modern Art, New York
At the Artist’s Studio in American Painting: 1840-1983, Allentown Art Museum, PA
Painters’ Painters, Milton Aveny, Philip Guston, Giorgio Morandi. University of Fine Art,
Ohio State University, Columbus
Social Concern and Urban Realism: American Painting of the 1930′s, The American
Federation of Arts, exhibition originated in Boston and toured the United States
Twentieth Century American Drawing: The Figure in Context, International Exhibitions
Foundation, Washington, D.C.
* Automobile and Culture, The Museum of Contemporary Art, Los Angeles; Detroit
Institute of Arts, MI
* Content: A Contemporary Focus 1974-1984, Hirshhorn Museum, Washington, D.C.
1985 * Gemini G.E.L.: Art and Collaboration, National Gallery of Art, Washington, D.C.: traveled
to Nelson-Atkins Museum, Kansas City; Seattle Art Museum, WA; Fogg Art Museum,
Cambridge, MA; Los Angeles County Museum of Art
* Dorothy C. Miller: With an Eye to American Art, Smith College Museum of Art,
Northampton, MA
* American Drawing: 1930-1980, Ecole Nationale Superieure des Beaux Arts, Paris
Stadtische Galerie, Frankfurt am Main, Germany
* American Art Today: Still Life, The Art Museum at Florida International University, Miami
Fifty Artists, Fifty Printers, University of New Mexico Art Museum, Albuquerque, NM (brochure)
1986 Curator’s Choice 1985, Parrish Art Museum, Southampton, NY (curated by Klaus Kertess)
* A Joan Miro, Foundacio Joan Miro, Barcelona, Spain
* An American Renaissance: Painting and Sculpture Since 1940, Museum of Art, Fort
Lauderdale, FL
* The Neo-Figure: An International Survey, Yares Gallery, Scottsdale, Arizona
* Figure as Subject, The Last Decade, Whitney Museum of American Art, at Equitable,
New York
* Maelstrom: Contemporary Images of Violence, Emily Lowe Gallery, Hofstra University,
Hempstead, NY
1987 Seven Artists in Depth, (Joseph Albers, Fletcher Benton, Bruce Conner, Joseph Cornell,
Philip Guston, Clyfford Still, William Wiley) San Francisco Museum of Modern Art, CA
* Still Life: Painting, Sculpture, Drawing, Rahr-West Art Museum, Manitowoc Wisconsin.
American Art Today: The Portrait, Art Museum at Florida International University, Miami, FL
* Styles of Painting of the New York School, Selections from the CIBA-GEIGY Collection,
Summit Art Center, Summit NJ.
Comic Iconoclasm, Institute of Contemporary Art, London: traveled to Douglas Hyde
Gallery, Dublin; Cornerhouse Gallery, Manchester; Circulo de Bellas Artes, Madrid
1988 * Drawn-Out, Kansas City Art Institute, Kansas City, MO
* Return to the Figure: Three Studies, Philip Guston, Jean Helion, Irene Rice Pereira,
Bronx Museum of the Arts, Bronx, NY
This Was Pratt: Former Faculty Centennial Exhibition, Pratt Institute, Brooklyn, NY
* Art of Our Time, The Royal Scottish Academy, Edinburgh
1989 Stationen der Moderne, Berlinische Galerie, Martin-Gropius-Ban, Berlin
Master Drawings: 1859-1989, Janie C. Lee Master Drawings, New York
Oberlin Alumni Collect: Modern and Contemporary Art, Allen Memorial Art Museum,
Oberlin College, OH
1990 * The 1980’s: Prints from the Collection of Joshua P. Smith, National Gallery of Art,
Washington, D.C.
Abstract Expressionism: Other Dimensions, The Jane Voorhees Zimmerli Art Museum,
Rutgers, The State University of New Jersey
* Home, Asher-Faure Gallery, Los Angeles
Contemporary American Artists, Residence of Ambassador and Mrs. John Negroponte,
Mexico City, Mexico (1990 – 1993)
Dream and Perspective: The American Scene is Southern California, 1930-1945, Laguna
Art Museum, CA, 1991
1992 * La Compagnie Des Objets, Centre d’Art contemporain de Quimper, Quimper, France
Bridges and Boundaries: African – Americans and American Jews, The Jewish Museum
at the New York Historical Society; traveling exhibition follows.
Paths to Discovery – The New York School (Works on paper from the 1950′s and 1960′s),
Sidney Mishkin Gallery, Baruch College
1993 * “Not for Sale,” Loans from the Private Collections of New York Art Dealers, Tel Aviv
Museum of Art, Israel
Tutte La Strade Portano A Roma?, Palazzo delle Esposizioni, Rome
Collective Pursuits: Mount. Holyoke Investigates Modernism, (from the collection of
David and Renee McKee), Mount. Holyoke Art Museum, South Hadley, MA
1994 American Art in the 20th Century: Painting and Sculpture, Martin Gropius Bau, Berlin;
traveled to the Royal Academy of Art, London
* Masters of Satire, William King Regional Arts Center, Abingdon, VA.
* Reversals: Philip Guston and Tony Tuckson, Ivan Dougherty Gallery, University of New
South Wales, Paddington, Australia: traveled to Museum of Modern Art at Heide,
Bulleen, Australia
1995 * Sum of the Parts, University of Hawaii Art Gallery, Honolulu, HI
American Art Today: Night Paintings, The Art Museum at Florida International
University, Miami, FL.
Drawing the Line, Organized by the South Bank Centre, London; traveled to
Southampton City Art Gallery; Manchester City Art Gallery; Ferens Art Gallery, Hull;
Whitechapel Art Gallery, London
Pacific Dreams: Currents in Surrealism in Early California Art; The Oakland Museum,
Oakland, CA; UCLA – Armand Hammer Museum, Los Angeles
1996 * Rebels – Painters and Poets of the 1950’s, The National Portrait Gallery, Washington, D.C.
American Art Today: Images From Abroad, The Art Museum at Florida International
University, Miami, FL
Views from Abroad: European Perspectives on American Art 2, Whitney Museum of
American Art, New York: traveled to Museum fur Moderne Kunst, Frankfurt am Main Germany
Abstract Expressionism, Sezon Museum of Art, Tokyo, Japan
* Pintura Estadounidense Expresianismo Abstracto, Centro Cultural Arte Contemporaneo,
Mexico City, Mexico
* Face a l’Histoire: 1933-1996, Centre Georges Pompidou, Paris
* Private Worlds: 200 Years of American Still Life Painting, Aspen Art Museum, CO
* Founders and Heirs of the New York School, Museum of Contemporary Art, Tokyo, Japan.
Traveled to The Miyagi Museum of Art and The Museum of Modern Art, Ibaraki.
* Objects of Desire: The Modern Still Life, The Museum of Modern Art, New York
* Traylor, Guston, Basquiat, Komarin, John McEnroe Gallery, New York, New York
1997 * Homage to George Herriman, Campbell-Thiebaud Gallery, San Francisco, CA
1998 * The Edward R. Broida Collection, Orlando Museum of Art, Orlando, FL
Art and the American Experience, Kalamazoo Institute of Arts, MI
1998-1999 * Shifting Visions: O’Keeffe, Guston, Richter, Des Moines Art Center, IA
1999 Coming to Life: The Figure in American Art, Henry Art Gallery, University of Washington, WA
* Made in USA: 1940-1970 Abstract Expressionism to Pop, Centro Cultural de la Fundacio
“la Caixa,” Barcelona Spain: traveled to Schirn Kunsthalle, Frankfurt, Germany
* Examining Pictures: Exhibiting Paintings, Whitechapel Art Gallery, London, England
* Philip Guston, R. Crumb, Barry McGee, John Berggruen Gallery, San Francisco, CA.
The American Century, Art & Culture 1900-2000, Part II 1950-2000, Whitney Museum of
American Art, New York
1999-2000 * Modern Art at Harvard, The Bunkamura Museum of Art, Japan: traveled to Takamatsu
City Museum of Art, Matsuzakaya Art Museum, Oita art Museum, The Museum of
Modern Art, Ibaraki, Japan
I’m Not Here: Constructing Identity at the Turn of the Century, The Susquehanna Art
Museum, Harrisburg, PA
* Creacion y Figura: Figuracion en el siglo XX, Fundacion Bancaja, Valencia, Spain
2000 * Modern Art Despite Modernism, Museum of Modern Art, New York
* Bizarro World! The Parallel Universes of Comics & Fine Art, Cornell Fine Arts Museum,
Rollins College, Winter Park, FL
* Painting as Memory – the Memory as Painting, Aargauer Kunsthaus, Aarau, Switzerland
* Carnivalesque, Brighton Museum and Art Gallery, England: traveled to Fabrica, Brighton;
University Gallery, Brighton; castle Museum and Art Gallery, Nottingham; Djanogly Art
Gallery, Nottingham; City art Centre, Edinburgh
League Masters Then, The Art Students League of New York, New York
2000-2001 * Celebrating Modern Art: The Anderson Collection, San Francisco Museum of
Modern Art, CA
* Le Temps, Vite, Centre Georges Pompidou, Paris: traveled to Palazzo delle Esposizioni,
Rome, Centre de Cultura Contemporania de Barcelona, Spain
* The Figure: Another Side of Modernism, Snug Harbor Cultural Center, Newhouse Center
for Contemporary Art, Staten Island, NY
* Painting the Century, 101 Portrait masterpieces 1900-2000, National Portrait Gallery, London
2001 * Centenary Exhibition, Whitechapel Art Gallery, London, England
A Private Reading: The Book As Image & Object, Senior & Shopmaker Gallery, New York
* Œuvres sur papier (acquisitions 1996-2001), Musée National d’art Moderne, Centre
Georges Pompidou, Galerie d’Art graphique, Paris
2001-2002 La Natura della Natura Morta, Galleria d’Arte Moderna, Bologna, Spain
* Museum of Our Wishes, Museum Ludwig, Cologne
2002 * To be Looked At: Painting and Sculpture from the Museum of Modern Art, Museum
of Modern Art, New York
* Los excesos de la mente (The excesses of the mind), Centro Andaluz de Arte
Contemporáneo, Sevilla, Spain
* The Stamp of Impulse: Abstract Expressionist Prints, The Parrish Art Museum,
Southampton, NY
2002-2003 * Painting in Boston: 1950-2000, DeCordova Museum and Sculpture Park, Lincoln, MA
* Lois Orswell, David Smith, and Modern Art, Fogg Art Museum, Cambridge, MA
* 110 Years: The Permanent Collection of the Modern Art Museum of Fort Worth, Modern
Art Museum of Fort Worth, Texas
2003 Modern Art in Florida, A Climate for Contemporary Tampa Bay, 1948-1970, Tampa
Museum of Art, FL
A Bend in the Road, Maier Museum of Art, Randolph-Macon Woman’s College,
Lynchburg, VA, exhibition brochure
Lois Orswell, David Smith, and Friends, Knoedler & Company, New York
2003-2004 Embracing the Present: The UBS Paine Webber Art Collection, Austin Museum of Art, TX;
traveled to Phoenix Museum of Art, AZ
2004 * La Grande Parade, Portrait de’l'artiste en clown, Galeries nationales du Grand Palais,
Paris: traveled to: Musée des Beaux-Arts du Canada, Ottawa
* At War, Barcelona Center of Contemporary Culture CCCB, Spain
* Art and Utopia, Action Restricted, Museu d’art Contemporani de Barcelona, Barcelona
Summer Group Exhibition, Brooke Alexander Editions, New York
Power, Corruption and Lies, Roth Horowitz, New York
* Living Dust, Norwich Gallery, Norwich School of Art and Design, Norfolk, UK
2004-2005 * The Undiscovered Country, Hammer Museum, Los Angeles
* Faces in the Crowd, Picturing Modern Life from Manet to Today, Whitechapel, London
2005 * Contemporary Voices, works from the UBS Art Collection, Museum of Modern Art,
New York
* Surrealism USA, National Academy Museum, New York. Traveled to: Phoenix Art
Museum, AZ
2006 Selections from the Collection of Edward R. Broida, National Gallery of Art,
Washington D.C.
* Magritte and Contemporary Art: The Treachery of Image, Los Angeles County Museum
of Art
* The Maverick Continues, Woodstock Artists Association and Museum, Woodstock, NY
2007 * 1936-1939: Facing Fascism: New York and the Spanish Civil War, The Museum of the
City of New York, New York
* Guggenheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, Australia
Fast Forward: Contemporary Collections for the Dallas Museum of Art, Dallas Museum of Art
* Philip Guston & Jasper Johns, Brooke Alexander, New York
2007-2008 * Perfektion und Zerstorung, Kunsthalle Bielefeld, Germany
2008 * Monet, Kandinksy, Rothko: Und Die Folgen, BA-CA Kunstforum, Wien, Austria
* Art for Yale: Collecting for a new century, Yale University Art Gallery, New Haven, CT
Lots of Things Like This (organized by Dave Eggers), apexart, New York
New York Cool: Painting and Sculpture from the NYU Art Collection, Grey Art Gallery, New
York Univsersity, New York
* Here’s The Thing: The Single Object Still Life, Katonah Museum of Art, Katonah, NY
* Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976, The Jewish
Museum, New York
The 1930s: The Making of “The New Man”, National Gallery of Canada, Ottawa
* Art is for the Spirit: Works from the UBS Art Collection, Mori Art Museum, Tokyo
Monet Kandinsky Rothko: und die folgen, Kunstforum, Wein, Austria
* Krazy: The Delirious World of Anime + Comics + Video Games + Art, Vancouver Art Gallery,
British Columbia, Canada
Moving Horizons: The UBS Art Collection: 1960 to the present day, National Museum of China
2008-2009 * Oranges and Sardines: Conversations on Abstract Painting, Hammer Museum, Los Angeles
2009 * After Many Springs: Regionalism, Modernism & the Midwest, Des Moines Art Center, IA
Paint Made Flesh, Frist Center for the Visual Arts, Nashville, Tennessee. Travels to: The Phillips
Collection, Washington D.C. Memorial Art Gallery, University of Rochester, Rochester, NY
* Die Gegenwart der Linie, Die Pinakothek der Moderne, Munich, Germany
* Exhibition of Musee National d’Art Moderne du Pompidou, Seoul Museum of Art, Korea
* The Third Mind: American Artists Contemplate Asia, 1860 to 1989, Guggenheim Museum,
New York
Artists and the Natural World, McKee Gallery
* Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary
Drawings Collection, The Museum of Modern Art, New York
Poor. Old. Tired. Horse, Institute of Contemporary Arts, London
Oh Cet Echo: Exposition Palindromique, Galerie Catherine Putman, Paris
* My Generation, Kurimanzutto, Mexico City
Adventures in Modern Art: The Charles K. Williams II Collection, Philadelphia Museum of Art
Abstraktion und Einfühlung, Deutsche Guggenheim, Berlin
• Monet y La Abstracción, El Museo Thyssen-Bornemisza, Spain
• Reflections/ Refractions: Self- Portraiture in the Twentieth Century, National Portrait Gallery,
Smithsonian Institution, Washington, D.C.
The Robert and Jane Meyerhoff Collection: Selected Works. The National Gallery of Art,
Washington, D.C.
2010 75th Anniversary of the San Francisco Museum of Modern Art, San Francisco, CA
* Permanent Trouble: Art from the Kopp Collection, Munich, Kunstforum Ostdeutsche Galerie, Regensberg, Germany
* Dreamlands, Centre Pompidou, France
Fresh Hell, Palais de Tokyo, Paris, France
* Calder to Warhol: Introducing the Fischer Collection, San Francisco Museum of Modern Art, CA
* Vertical Thoughts: Morton Feldman and the Visual Arts, Irish Museum of Modern Art, Dublin
* Dreamscapes, The Pulitzer Foundation for the Arts, St. Louis, MO
Collecting Biennials, Whitney Museum of American Art, NY
Die Sammlung: Color and Content, Kunstmuseum Bonn, Germany
2011 Burning, Bright: A Short History of the Light Bulb, The Pace Gallery, New York
Classics, Carlson Gallery, London
2012 Patterns, Systems, Structures: Abstraction in American Art, Montclair Art Museum, NJ
Intimate Immensity: The Susan and Larry Marx Collection, Hammer Museum, Los Angeles
• In the Still Epiphany, The Pulitzer Foundation for the Arts, St. Louis, MO
* Points of View: Selections from Seven Colorado Collections, CU Art Museum, Boulder, CO
• Art Interrupted: Advancing American Art and the Politics of Cultural Diplomacy, Jule Collins Smith Museum of Fine Art, Auburn University; Travels to: Fred Jones Jr. Museum of Art, University of Oklahoma; Indiana University Art Museum; Georgia Museum of Art, University of Georgia
• The Artist’s Hand: American Works on Paper 1945 – 1975, Museum of Art, Washington State University, Pullman, WA
• Encounter with the ‘30s, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
2013 * The Grotesque Factor, Museo Picasso Málaga, Spain
* Alsoudani, Bacon, Guston, Rego, Marlborough Gallery, New York
The Time is Now, John Berggruen Gallery, San Francisco, CA
Don’t Be Shy, Don’t Hold Back: The Logan Collection at SFMOMA, San Francisco Museum of Modern Art, CA
• New Forms: The Avant-Garde Meets the American Scene, 1934-1949, University of Iowa
Museum of Art
2013-2014 * Philip Guston: Late Works, Schirn Kunsthalle Frankfurt, Germany
Biographical forms: Construction and individual mythology, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

MONOGRAPHS AND MAJOR CATALOGUES

Ashton, Dore. Philip Guston. Grove Press, New York, 1960 (35 plates).
Arnason, H.H. Philip Guston. Solomon R. Guggenheim Museum, New York, 1962 (64 plates, 22 in color).
Philip Guston: Recent Paintings and Drawings. Introduction by Sam Hunter, dialogue with Harold Rosenberg Jewish Museum, New York, 1966. (32 plates).
Philip Guston. Marlborough Gallery, New York, 1970 (30 plates, 9 in color).
Steinberg, Leo. Other Criteria, Confrontations with Twentieth– Century Art. Oxford University Press, 1972.
Philip Guston: New Paintings. Introduction by Dore Ashton. Boston University, Boston, MA, 1974 (16 plates, 2 in color).
Ashton, Dore. Yes, But… A Critical Study of Philip Guston. Viking Press, New York, 1976 (93 plates, 4 in color). Second printing, retitled: A Critical Study of Philip Guston. University of California Press, Berkeley and Los Angeles, 1990; University of California Press, Ltd., Oxford, England, 1990.
Philip Guston: Drawings 1947-1977. David McKee Gallery, New York, 1978 (55 plates).
Philip Guston. Essay by Ross Feld. San Francisco Museum of Modern Art, George Braziller, Inc., New York, 1980 (50 color plates).
Philip Guston: The Last Works. Essay by Morton Feldman. The Phillips Collection, Washington, D.C., 1980 (31 plates, 6 in color).
Philip Guston: Paintings 1969- 1980. Edited by Nicholas Serota; Essay by Norbert Lynton, Whitechapel Art Gallery, London,1982 (90 plates, 32 in color).
Philip Guston: The Late Works. Essays by Edward Fry & Joseph Ablow. Art Gallery of New South Wales, Sydney, 1984 (52 plates, 24 in color).
Philip Guston. Essay by Tom Styron. Greenville County Museum of Art, SC, 1986 (9 color plates).
Storr, Robert. Philip Guston. Abbeville Press, New York,1986 (116 plates,47 in color).
The Drawings of Philip Guston. Essay by Magdalena Dabrowski. The Museum of Modern Art, New York, 1988 (153 plates,29 in color); Second Edition published in Spanish by Fundacio Caixa De Pensions, 1989.
Mayer, Musa. Night Studio, A Memoir of Philip Guston. Alfred A. Knopf, Inc., New York, 1988; Random House of Canada Ltd., Toronto, 1988 (106 photographs, paintings, and drawings); Second edition, De Capo Press, New York, 1997.
Philip Guston. Essays by Mark Rosenthal, Robert Storr, Carrie Rickey, Francisco Calvo Serraller, and Dore Ashton. Ministerio de Cultura, Madrid, Spain, 1989 (71 plates in color, b/w illustrations).
Guston 1961-1965. Essay by Bill Berkson. McKee Gallery, New York, 1990 (19 color plates).
Philip Guston, Opere Su Carta 1933-1980. Galleria Nazionale d’Arte Moderna Roma, Electa,
Milano 1989.
Coolidge, Clark. Baffling Means: Writings/Drawings by Clark Coolidge and Philip Guston. O-blek Editions, Stockbridge, MA, 1991 (40 plates).
Philip Guston in the Collection of the Museum of Modern Art. Essay by Robert Storr, organized by Kirk Varnedoe. Museum of Modern Art, New York, 1992.
Philip Guston: La Raiz del Dibujo. Exhibition curated and catalogue edited by Kosme María de Barañano, essays by Kenneth Baker, Morton Feldman, Dore Ashton, and Bill Berkson. Sala de Exposiciones Rekalde, Bilbao,1993.
Kovner, Abba. Scrolls of Testimony. Edited by Shalom Loria. Bialik Institute Publishing, Jerusalem,
Israel,1993.
Philip Guston’s 1975 – 1980 Private and Public Battles. Essays by Kim Sichel and Mary Drach McInnes. Boston University Art Gallery, MA, 1994.
Corbett, William. Philip Guston’s Late Works: A Memoir. Zoland Books, Boston, MA, 1994.
Balken, Debra Bricker. Philip Guston’s: Poem Pictures. Contributions by Bill Berkson, Clark Coolidge, William Corbett, Stanley Kunitz. University of Washington Press, Seattle and London, 1994.
Ottinger, Didier. Philip Guston (1913- 1980) Oeuvres Sur Papier 1975-1980. Musee de l’Abbaye Sainte-Croix des Sables d’Olonne, France, 1995 (33 plates in color, 15 b/w).
Philip Guston: Working Through the Forties. Essay by Michael Shapiro. The University of Iowa Museum of Art, 1996.
Linea y Poesia: Philip Guston/ Musa McKim. Essay by Sally Radic. Fundacion Cesar Manrique, 1998
Master Paintings in the Art Institute of Chicago. Selected by James N. Wood, Director. Art Institute of Chicago, 1999.
Philip Guston: Gemälde 1947- 1979. Essays by Christoph Schreier, Michael Auping and Martin Hentschel. Kunst Museum Bonn, Germany, 1999.
Philip Guston: Peintures 1947- 1979. Essay by Didier Ottinger and Philip Roth. Centre Georges Pompidou, Paris, 2000.
Philip Guston: A New Alphabet, The Late Translation. Essays by Joanna Weber, Harry Cooper and Laura Greengold. Yale University Art Gallery, New Haven, Connecticut, 2000.
Balken, Debra Bricker. Philip Guston’s Poor Richard. The University of Chicago Press, IL, 2001 (106 pages, 72 black and white illustrations).
Kastein, Albrecht. Philip Guston. BQ Gallery, Partnerdruck GmbH, Köln, Germany, 2001 (60 pages, black and white illustrations).
Philip Guston, One-Shot-Paintings. Essays by Kosme de Barañano, Mª Jesús Folch, Fernando Gómez Aguilera and Manuel Padorno. Ediciones Aldeasa, IVAM, Valencià, Spain, December 2001.
Feld, Ross. Guston in Time: Remembering Philip Guston. Counterpoint, New York, 2003.
Visions of Modern Art: Painting and Sculpture from the Museum of Modern Art. Edited by John Elderfield. The Museum of Modern Art, New York, 2003.
Against the Grain: Contemporary Art from the Edward R. Broida Collection. Essay by John Elderfield; Interview with Edward R. Broida by Ann Temkin. The Museum of Modern Art, New York, 2006.
Botelho, Manuel. Guston em contexto: Ate ao regresso da figura. Livros Vendaval, Lisbon, Portugal, 2007.
The Guggehnheim: The Making of a Museum. Guggenheim Museum Publications, New York, 2009.
Kaufmann, David. Telling Stories: Philip Guston’s Later Works. University of California Press, Los Angeles, CA, 2010.
Vertical Thoughts: Morton Feldman and the Visual Arts. Exhibition curated by Juan Manuel Bonet. Catalogue edited by Sean Kissáne. Irish Museum of Modern Art, Dublin, 2010.
Philip Guston, Roma.Exhibition curated and catalogue edited by Peter Benson Miller. Museo Caarlo Bilotti-Aranciera di Villa Borghese; The Phillips Collection, Washington D.C. Hatje Cantze Verlag, Germany, 2010.
Philip Guston: Collected Writings, Lectures, and Conversations. Edited by Clark Coolidge, with an introduction by Dore Ashton. University of California Press, Berkely and Los Angeles, California, 2011.
Craig Burnett. Philip Guston: The Studio. Afterall Books: One Work, London, 2014.

WORK IN PUBLIC COLLECTIONS

Albright Knox Art Gallery, Buffalo, NY
Arkansas Art Center, Little Rock, AK
Art Institute of Chicago, IL
Australian National Gallery, Canberra
Baltimore Museum of Art, MD
University Art Museum, Berkeley, CA
Bezalel National Museum, Jerusalem
Birmingham Museum of Art, AL
Binghampton Art Gallery, State University of NY
Brooklyn Museum, Brooklyn, NY
Brooks Museum of Art, Memphis, TN
Carnegie Museum of Art, Pittsburgh, PA
Centre National d’art et de Culture Georges Pompidou, Paris
Centro de Arte Reina Sofia, Madrid
Ciba-Geigy Collection, Ardsley, NY
Cincinnati Art Museum, OH
Cleveland Museum of Art, OH
Colby College Museum of Art, Waterville, ME
University of Connecticut, William Benton Museum of Art, Storrs, CT
Corcoran Gallery of Art, Washington, D.C.
Dallas Museum of Art, TX
Dayton Art Institute, OH
Denver Art Museum, CO
Denver Institute of Fine Arts, CO
Detroit Institute of Fine Arts, MI
Everson Museum, Syracuse, NY
Ft. Lauderdale, Museum of Art, FL
Fogg Art Museum, Cambridge, MA
Friends of Art and Preservation in Embassies, Washington, D.C.
Georgia Museum of Art, University of Georgia, Athens, GA
Greenville County Museum of Art, South Carolina
Solomon R. Guggenheim Museum, New York
High Art Museum, Atlanta, GA
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Honolulu Academy of Art, HI
Hood Art Gallery, Dartmouth College, Hanover, NH
Illinois Wesleyan University, Bloomington
Museum of Art, University of Iowa, Cedar Falls
Israel Museum, Jerusalem
J.B. Speed Art Museum, Louisville, KY
Herbert F. Johnson Museum of Art, Ithaca, NY
S.C. Johnson Collection, Smithsonian Institute, Washington, D.C.
Joslyn Art Museum, Omaha, NE
University of Kansas, Helen Foresman Spencer Museum, Lawrence
Kent State University Museum, Kent, OH
Krannert Art Museum, University of Illinois, Urbana
Kunstmuseum Winterthur, Switzerland
Los Angeles County Museum of Art, CA
Madison Art Center, Madison, WI
The Metropolitan Museum of Art, New York
The Michener Collection, University of Texas Art Museum, Austin
Milwaukee Art Museum, WI
Minneapolis Institute of Art, MN
Modern Art Museum of Fort Worth, TX
Montclair Art Museum, Montclair, NJ
Montgomery Museum of Fine Arts, AL
Mount. Holyoke College Art Museum, South Hadley, MA
Munson-Williams-Proctor Institute, Utica, NY
Musee de l’Abbaye Saint-Croix, Les Sables d’Olonne
Museo Regional Michoacano de Morelia, Michoacán, México
Museum of Fine Arts, Boston, MA
Museum of Fine Arts, Houston, TX
The Museum of Modern Art, New York
National Gallery of Art, Ottawa, Canada
National Gallery of Art, Washington, D.C.
National Gallery of Victoria, Melbourne, Australia
National Museum of American Art, Washington, D.C.
University of Nebraska,Sheldon Memorial Art Gallery, Lincoln
Nelson Atkins Museum of Art, Kansas City, MO
Newark Museum of Art, NJ
Newport Harbor Art Museum, Newport Beach, CA
The Roy Neuberger Museum, Purchase, NY
Oberlin College, Allen Memorial Art Museum, Oberlin, OH
Parrish Art Museum, Southampton, NY
The Phillips Collection, Washington, D.C.
Art Museum, Princeton University, NJ
Portland Art Museum, OR
Rhode Island School of Design, Providence, RI
Mable and John Ringling Museum of Art, Sarasota, FL
Rose Art Museum, Brandeis University, Waltham, MA
Museum of Contemporary Art, San Diego, CA
San Francisco Museum of Art, CA
San Jose State College, CA
Seattle Art Museum, WA
Smith College Museum of Art, Northampton, MA
South Mall, Albany, NY
Stanford University Museum of Art, Stanford, CA
State College of Iowa, Cedar Falls
Stedelijk Museum, Amsterdam
St. Louis Art Museum, MO
City Art Museum of St. Louis, MO
Tang Teaching Museum, Skidmore College,Saratoga Springs, NY
Tate Gallery, London
U.S. State Department Collection, Hagerstown, MD
Vassar College, Poughkeepsie, NY
Virginia Museum of Fine Arts, VA
University of Virginia Art Museum, Charlottesville, VA
Walker Art Center, Minneapolis, MN
Washington University, St. Louis, MO
Whitney Museum of American Art, New York
Williams College Museum of Art, Williamstown, MA
Wight Art Gallery, University of California, Los Angeles
Worcester Art Museum, MA
Yale University Art Gallery, New Haven, CT

SELECTED ARTICLES AND PUBLICATIONS

“On a Mexican Wall,” Time Magazine, April 1, 1935.
Frank O’Hara, “New Directions in Music 2/ Morton Feldman,” ML 5403, Columbia, album cover, 1960.
Lawrence Alloway, “Notes on Guston,” The Art Journal, Fall 1962.
Hilton Kramer, “A Mandarin Pretending To Be A Stumblebum,” The New York Times, October 25, 1970.
Harold Rosenberg, “Liberation from Detachment,” The Art World, The New Yorker, November 1970.
“Philip Guston: To Abstraction and Back,” Time Magazine, November 9, 1970.
Charles Moritz, “CurrentBiography,” February 1971.
Thomas B. Hess, “Dumb is Beautiful,” New York Magazine, March 29, 1976.
Ross Feld, “Philip Guston,” Arts Magazine, May 1976.
Nobert Lynton, “Yes, but…a Critical Study of Philip Guston by Dore Ashton,” The Times Literary Supplement, January 7, 1977.
Jerry Talmer, “Creation is for Beauty Parlors,” New York Post, April 9, 1977.
Kenneth Baker, “Philip Guston’s Drawing: Delirious Figuration,” Arts Magazine, June 1977.
Grace Glueck, “The 20th-Century Artists Most Admired By Other Artists,” ARTnews, November 1977.
Roberta Smith, “The New Gustons,” Art in America, January – February 1978.
Ross Feld, “Philip Guston’s Wharf,” Arts Magazine, April 1978.
Alan G. Artner, “Carefully Watched, An Escape Artist Finds New Freedom,” Chicago Tribune,
October 15, 1978.
Franz Schulze, “3 Artists Defy Trend,” Chicago Sun-Times, October 15, 1978.
“Philip Guston – review,” Soho Weekly News, October 1978.
“Philip Guston – review,” ARTnews, December 1978.
Rene Richard, “Philip Guston – review,” Art in America, November – December 1978.
Mary Stofflet-Santiago, “Philip Guston – A Thorough Preview,” ArtWeek, January 13, 1979.
Edgar Buonagurio, “Philip Guston – review,” Arts Magazine, February 1979.
William Zimmer, “Art for the Me Decade,” Soho Weekly News, February 1979.
David Shirey, “An Artistic Celebration,” The New York Times, May 6, 1979.
William Feaver, “Loads of Sprockets,” London Observer, May 6, 1979.
Wade Saunders, “Art Inc.: The Whitney’s 1979 Biennial,” Art in America, May – June 1979.
Merle Schipper, “Kline and Guston: Phases of Drawing,” ArtWeek, August 11, 1979.
Carrie Rickey, “What Becomes a Legend Most,” The Village Voice, October 22, 1979.
Dore Ashton, “A Response to Philip Guston’s New Paintings,” Arts Magazine, December 1979.
Edward Lucie-Smith. Art in the Seventies. Phaidon Press, Oxford, 1980.
Mark Stevens, “A Talk with Philip Guston,” The New Republic, March 15, 1980.
Oakland Post, April 24, 1980.
Thomas Albright, “A Survey of a Man’s Life,” San Francisco Chronicle, May 15, 1980.
Charles Shere, ”Looking Beyond Guston’s Paintings,” Oakland Tribune, May 18, 1980.
Los Angeles Times, May 18, 1980.
Al Morch, “Impressive Guston Gamut,” San Francisco Examiner, May 19, 1980.
Stacey Moss, “Guston at the Museum of Modern Art,” Peninsula Times Tribune, May 24, 1980.
Thomas Albright, “A Curious Repertorie of the Guston Imagery,” San Francisco Chronicle, May 25, 1980.
Dorothy Burkhart, “Two Artists who Continue to Surprise their Audience,” Mercury News, San Jose, May 25, 1980.
Cathy Curtis, “Philip Guston: One of a Kind,” North East Bay Independant and Gazette, May 25, 1980.
Harre W. Demore, “SCM sponsoring S.F. Modern Art Exhibit with More than Altruism in Mind,” San Francisco Business Journal, May 26, 1980.
Carla Fowler, “Guston Retrospective Mirrors his Life,” Contra Costa Times, Walnut Creek CA,
June 4, 1980.
“Renegade Artist’s Paintings Exhibited,” Nevada State Journal, May 17, 1980.
“Philip Guston,” Santa Barbara Chronicle, June 1980.
Paul Williams, “The Art of Philip Guston,” Valley Pioneer, June 4, 1980.
Cathy Curtis, “Philip Guston: The Continuity of Change,” Artweek, June 7, 1980.
Mark Stevens, “Diamond in the Rough,” Newsweek, June 23, 1980.
Grace Glueck, New York Times, June 10, 1980.
William Wilson, “Mystery at the Core of Guston Memorial Exhibition,” LA Times, June 15, 1980. (Article also appears in Peninsula Herald, June 22, 1980; Miami Hearld, June 26, 1980; Newsday, July 6, 1980)
Carrie Rickey, Village Voice, June 23, 1980.
April Kingsley, “Philip Guston’s Endgame,” Horizon Magazine, June 1980.
Suzaan Boettger, “Art for Modern Times,” Daily Californian, June 26, 1980.
Robert Taylor, “A Triumphant Vision of Art’s Complexities,” Boston Sunday Globe, June 29, 1980.
Jan Butterfield, “A Very Anxious Fix: Philip Guston,” Images & Issues, Summer 1980.
Benjamin Forgey , “Getting to know Guston,” Washington Star, July 20, 1980.
“Philip Guston, 1913-1980,” West Art, June 27, 1980.
Thomas Albright, “Philip Guston: It’s a Strange Thing to Be Immersed in the
Culture of Painting,” ARTnews, September 1980.
Roberta Smith, “Philip Guston 1913 – 1980,” Art in America, September 1980.
Kenneth Baker, “Breaking the Silence,” ARTFORUM, September 1980.
Ralph Toucatt, “Metamorphosis: The Art of Philip Guston,” The Three Penny Review, Fall 1980.
Carrie Rickey, “Gust, Gusto, Guston,” ARTFORUM, October 1980.
Alan Artner, The Chicago Tribune, November 30, 1980.
David Elliot, “Philip Guston: A Nagging Honesty,” The Sun Times, (Chicago) November 30, 1980.
Paul Brach, “Looking at Guston,” Art in America, November 1980.
Lewis Kachur, “Philip Guston,” Arts, January 1981.
Mary King, “The Guston Retrospective`A Grim Mirror to Our Time,” St. Louis Post Dispatch,
February 1, 1981.
Paul Richard, “The Gusto of Guston,” The Washington Post, April 9, 1981.
Richard Whelan, Art & Auction, June – July, 1981.
John Russell, “Art: Philip Guston in Retrospect,” The New York Times, July 3, 1981.
John Perreault, “Guston Winds,” Soho News, July 8, 1981.
Kay Larsen, “Painting From Ground Zero,” New York Magazine, July 21, 1981.
Regina Hackett, “Guston’s Legacy Lives,” Seattle Post Intelligencer, July 12, 1981.
Daniel Grant, “Philip Guston, Rebel Painter in Retrospect,” Newsday, July 12, 1981.
Peter Scheldahl, Village Voice, July 15 – 21, 1981.
John Clark, “Philip Guston and Metaphysical Painting,” Artscribe, No. 30, August 1981.
Robert Hughes, “Reflections in a Bloodshot Eye,” Time, August 1981.
Kenneth Baker, “Modern Metamorphosis,” Boston Phoenix, August 4, 1981.
Bernard Hanson, (Whitney Review), Hartford Courant, 1981.
Andrea Hill, “No Picnic: Philip Guston at the Whitney,” Artscribe, No. 30, August 1981.
Richard Roud, “Art of U.S. Imperialism?,” The Guardian, November 16, 1981.
Kay Larsen, “Absence of Schmaltz,” New York, January 25, 1982.
Dore Ashton, “Philip Guston, Different Subjects,” Flash Art, January 1982.
David Sweet, “Philip Guston and Beyond,” Artscribe, No. 38, 1982.
The News, Mexico City, March 21, 1982.
The News, Mexico City, May 2, 1982.
“The Good, The Bad, and the Ugly,” Vogue, March 1982.
Barbara Cavaliere, “Philip Guston,” Arts, April 1982.
Waldemar Januszczak, “Philip Guston,” The Guardian, October 13, 1982.
John Russell Taylor, “Philip Guston, Paintings 1969-1980,” Whitechapel Art Gallery,
The Times (London), October 19, 1982.
John Spurling, “Caught Short,” New Statesman, October 22, 1982.
William Feaver, “The Shockers,” The London Observer, October 24, 1982.
William Packer, “Change and Philip Guston,” London Financial Times, October 26, 1982.
Mac McCloud, “Philip Guston at Asher Faure Gallery,” Images & Issues, November – December 1982.
“Philip Guston: Stumblebum,” Artsline, November 1982.
John Roberts, “Philip Guston: The Last Years,” Art Monthly, November 1982.
Von Robert Schiess, “Ich Hatte diese Reinheit Einfach Satt,” Nordschweiz, May 9, 1983.
Siegmar Gassert, “Aus Einer Entsetzlich Ehrlichen Welt,” Basler Zeitung, May 9, 1983.
Elsbeth Thommen, Basler Woche, May 13, 1983.
Vox Max Wechsler, “Das Spatwerk des Amerikaners, Philip Guston,” Vaterland, May 14, 1983.
Von Harry Zellweger, “Guston’s Post-Expressionismus,” Luzerner Tagblatt, May 27, 1983.
Harry Zellweger, “Mit den Jungen Deutschen Verwandt,” Solothurner Zeitung, May 30, 1983.
Martin Schuab, “Eine Monumentale Hasslichkeit,” Tages Anzeiger, June 6, 1983.
Rolf-Gunter Dienst, “Aus der Buchse der Pandora,” Frankfurter Allgemeine Zeitung, June 8, 1983.
Harry Zellweger, “Philip Guston’s Post Expressionismus,” Der Landbote, October 6, 1983.
Jean-Christophe Ammann, “De L’Oeuvre Tardive de Philip Guston,” Artistes, (Paris) No. 17, 1983.
Michael Brenson, “Assessing Guston by His Late Paintings,” The New York Times, October 21, 1983.
Kay Larson, “Philip Guston – reviews,” New York Magazine, November 7, 1983.
Stephen Westfall, “Philip Guston,” Arts, February 1984.
Paul Brach, “Paint Remover: The Late Guston,” Art in America, February 1984.
John Russell, “Mixed Painting Show – Philip Guston,” The New York Times, April 6, 1984.
Corinne Robbins, The Pluralist Era: 1968-1981, New York: Harper & Row Publishers, 1984, p.107-103, 178.
Dore Ashton. American Art Since 1945. Oxford University Press, New York, 1984. Pages 10, 20, 31, 48, 65, 99, 101, 102, 105, 155, 160, 165.
Ruth E. Fine. Gemini G.E.L.: Art and Collaboration. Abbeville Press, New York, 1984.
Stuart Morgan, “Bread and Circuses,” ARTFORUM, March 1985.
Nina Purviance, “Philip Guston in the Fifties: The Power of Suggestion,” Arts Magazine, September 1985.
Peter Schjeldahl, “Philip Guston,” Art of Our Time, The Saatchi Collection, Volume #3, London: Lund Humphries Publishers Ltd., 1984; New York: Rizzoli International Publications, Inc., 1985.
“Drawings: Philip Guston,” The Paris Review, Summer 1985. A Portfolio of drawings
selected by Richard Marshall.
Ruth Bass, “Philip Guston – review,” Arts Magazine, November 1985.
Holland Cotter, “Philip Guston – review,” Arts Magazine, November 1985.
Joseph Ablow, “Philip Guston: The Last Paintings,” Bostonia, April/May 1986.
James Beck, “Il Segno Americano,” Promoteo, September 1986.
Barry Schwabsky, “The Real Situation: Philip Guston and Mark Rothko at the End of the Sixties,”
Arts Magazine, December 1986.
Robert Storr, “Assured Successes and Surprises,” The New York Times, December 28, 1986.
Robert Storr, “Philip Guston: une nouvelle figuration,” Art Press, October 1987.
Robert Zaller, “Philip Guston and the Crisis of the Image,” Critical Inquiry, Autumn 1987, Vol. 14, No. 1.
John Russell, The New York Times, October 25, 1987.
Michele Vishny, “On The Walls: Murals by Ben Shahn, Philip Guston, and Seymour Fogel for the Social
Security Building,” Washington, D.C., Arts, March 1987.
Tiffany Bell, “Philip Guston,” The Empire State Collection: Art for the Public, New York, 1987.
John Yau, “Philip Guston,” ARTFORUM, January 1988.
Musa Mayer, “My Father, Philip Guston,” The New York Times Magazine, August 7, 1988.
Vivien Raynor, “Three Artists Who Abandoned Abstraction,” The New York Sunday Times, July 17, 1988.
Hilton Kramer, “Guston at MoMA: What Was ‘In’ Drove this Artist Compulsively,” The New York Observer, September 19, 1988.
Roberta Smith, “Retrospective Covers Guston’s Two Careers,” The New York Times, September 9, 1988.
Kay Larson, “Waiting for the Light,” New York, September 26, 1988.
Theodore F. Wolff, “Philip Guston’s Wide-Ranging 50 Year Career in Art,” The Christian Science Monitor,
September 26, 1988.
Arlene Raven, “Seeing and Believing,” Village Voice, September 27, 1988.
Kenneth Baker, “A Giant Emerges,” San Francisco Chronicle, October 2, 1988.
Adam Gopnik, “Cyclops,” The New Yorker, October 3, 1988.
Ross Feld, “Guston in Time,” Arts Magazine, November 1988.
Marjorie Welish, “I Confess: The Drawings of Philip Guston,” Arts Magazine, November 1988.
William Corbett, “What a Miracle Images Are!” Arts Magazine, November 1988.
Alison de Lima Greene, “The Artist as Performer,” Arts Magazine, November 1988.
Archie Rand, “The Victory of the Futile,” Arts Magazine, November 1988.
Dore Ashton, “That is Not What I Meant at All: Why Philip Guston is not Post Modern,” Arts Magazine,
November 1988.
Eleanor Heartney, “The Drawings of Philip Guston,” ARTnews, December 1988.
Dore Ashton, “Impassioned Quest,” Art International, Winter 1988.
Jack Flam, “The Gallery: Philip Guston,” The Wall Street Journal, October 17, 1988.
Paul Brach, “An Act of Salvation,” Art in America, January 1989.
Ramon Tio Bellido, “Philip Guston, Figures Fantomes,” Beaux Arts, March 1989.
Horacio Fernandez, “El Ultimo Perplejo,” El Europeo, March 1989.
John Yau, “The Phoenix of the Self,” ARTFORUM, April 1989.
Rosario Fontova, “El Enigma de Philip Guston se exhibe en la Virreina,” El Periodico de
Catalunya, May 26, 1989.
Jordi Costa, “Tras Su Coleccion de Dibujos, Llega La Obra Pictorica de Philip Guston a la Virreina,”
ABC, May 26, 1989.
“Tota la Trajectoria del Pintor Philip Guston Revisada a la Virreina,” AVUI, May 26, 1989.
“Una Retrospectiva de Philip Guston Ocupa el Palau de la Virreina,” Diari de Barcelona, May 26, 1989.
Olga Spiegel, “Una Completa Retrospectiva de la Obra Pictorica de Guston Inaugurada en la Virreina,”
La Vanguardia, May 26, 1989.
“Una Retrospectiva de Philip Guston,” Heraldo de Aragon, May 26, 1989.
“El Pintor Philip Guston, Influenciado Por Goya, Expone en Barcelona,” El Correo De Andalucia,
May 27, 1989.
Marie-Claire Uberquoi, “La Carrera Singular d’un Pintor Inquiet,” Diari de Barcelona, May 27, 1989.
“Philip Guston en el Virreina,” El Punto, June 2 – 8, 1989.

Hugh MacFarlane, “Museum of Modern Art,” The Oxford Times, June 2, 1989.
Deanna Petherbridge, “Graphic Revelations from the Sharp End of the Pencil,” Financial Times,
June 2, 1989.
Tony Tysome, “Hobnai Boots,” Oxford Times, Englad, June 1989.
Peter de Francia, “Effigies and Images,” New Statesman and Society, June 9, 1989.
Tim Hilton, “Ghosts of the Past,” The Guardian, June 9, 1989.
William Feaver, “Have His KKK and Eat It,” Observer, London, June 25, 1989.
W.J., “A Forgotten Portrait of T.S. Eliot,” The Guardian, June 16, 1989.
Francesc Miralles, “Guston, la Lucha a Contracorriente,” La Vanguardia, June 17, 1989.
Josep Miquel Garcia, “Philip Guston,” Guia-ocio, July 2, 1989.
Brian Fallon, “Drawing Close to the Edges of Nightmare,” Irish Times, July 5, 1989.
Abel Figueres, “Les Relacions Entre Contingut Forma,” AVUI, July 9, 1989.
Roy Oxlade, “Philip Guston,” Modern Painters, Summer 1989, Vol. 2, No. 2.
Aidan Dunne, “Staying Same By Changing,” The Sunday Tribune, August 13, 1989.
Brian Fallon, “Philip Guston at Douglas Hyde Gallery,” Irish Times, August 17, 1989.
Kate Robinson, “Guston: Satire and the Threat of Violence,” Sunday Independent, September 1989.
Patricia Degener, “Retrospective Of Philip Guston`s Paintings Shows ‘A Life Lived,” St. Louis Post-Dispatch, September 10, 1989.
Philip Roth, “Breast Baring,” Vanity Fair, October 1989.
John Hutchinson, “A Dose of Streetwise Cynicism,” Sunday Press, August 27, 1989.
William Corbett, “Philip Guston Drawing Poems,” NOTUS, Vol.4, No. 2, Fall 1989.
Guido Montana, “Philip Guston e la tematica del Ku Klux Klan,” L’Umanita, October 20 1989.
Dario Micacchi, “Philip Guston: le rovine del sogno Americano,” L’Unita, October 26 1989.
Guido Giuffre, “I Designi di Phiip Guston,” La Discussioine, November 4 1989.
Janet Kutner, “The Guston Looks,” The Dallas Morning News, November 18, 1989.
Peter Schjeldahl, “Painted Words,” 7 Days, February 21, 1990, Volume 3, Number 7.
Sanford Schwartz. Artists and Writers. Yarrow Press, New York, 1990.
Jeremy Gilbert-Rolfe, “Unmade in America,” Arts Magazine, September 1990.
Clifford Ross. Abstract Expressionism: Creators and Critics. Harry N. Abrams, Inc., New York,1990.
Kay Larsen, “Pop Goes the Easel,” New York Magazine, October 15, 1990.
Michael Brenson, “Philip Guston: Paintings,” The New York Times, November 9, 1990.
John Loughery, The Hudson Review, Spring 1991.
Karen Wilkin, “At the Galleries,” Partisan Review, Winter 1991.
Dore Ashton, “Which Way is Up?” Contemporanea, January 1991.
Andrew Graham-Dixon, “Laughing in the Dark,” The Independent Magazine, February 23, 1991.
Musa Mayer, “Under the Influence,” Mirabella, March 1991.
Anthony Curtis, “Portrait of an Action Painter,” Financial Times Weekend, February 23 – 24, 1991.
William Corbett, “Philip Guston / Clark Coolidge,” Arts Magazine, Summer, 1991.
Robert Hughes. The Shock of the New. Revised Edition, Alfred A. Knopf, Inc., New York, 1990, 1991.
Nicholas Jenkins, “Philip Guston,” Art News, December 1991.
Daniel Wheeler. Art Since Mid-Century 1945 to the Present. The Vendome Press, New York, 1991.
Roberta Smith, “Abstraction: A Trend That May Be Coming Back,” The New York Times, January 10, 1992.
Diana Negroponte, “Hoy en La Cultura,” Interview on video cassette, September 1991.
Robert Storr, “Philip Guston,” MoMA, Members Quarterly, Museum of Modern Art, NY, Summer 1992.
April Kingsley. The Turning Point. Simon & Schuster, New York, 1992.
Linda Konheim Kramer, “Forum: Philip Guston’s Mural Study for Kings County Hospital,”Drawing, March-April 1993.
Art News, May 1993.
John Russell, “American Art Through European Eyes,” The New York Times, May 30, 1993.
Robert Natkin, “Epilogue – Letter to David McKee,” Subject Matter and Abstraction – in Exile, Herts,
England: The Claridge Press, 1993.
Robert Hughes, “The View from Piccadilly,” Time, October 4, 1993.
“Philip Guston, el arte del dibujo,” El Punto de las Artes, Madrid, May 21-27, 1993.
Jose Luis Merino, “Guston,” El Mundo, May 1993.
Xabier Saenz de Gorbea, “La Raiz del dibujo y sus rutas,” Arte, May 1993.
Francisco Chacon, “La `investigadora’ de Guston,” El Mundo, May 14, 1993.
A. Okariz, “Los dibujos de Philip Guston,” Egin, May 1993.
J. A. Gonzalez Carrera, “La Sala Rekalde de Bilbao exhibe una antologica de dibujos de Philip Guston,”
El Correo espanol – El Pueblo Vasco, May 12, 1993.
Francisco Chacon, “Philip Guston, Obsesion por el dibujo,” El Mundo, May 11, 1993.
“La hija del pintor asistio a la inauguracion de la muestra de Guston,” Deia, May 12, 1993.
Juan Manuel Bonet, “El Philip Guston intimo,” ABC de las Artes, May 1993.
M.J. Gandariasbeitia, “135 dibujos mostraran en Bilbao la trayectoria del pintor norteamericano Philip Guston,” Cultura (newspaper unknown), May 9, 1993.
“El dibujo segun Philip Guston,” Bilbao, June 1993.
Elisa Gonzales, “Un trazo singular,” Bilbao, June 1993.
Sam Hunter and John Jacobus. Modern Art. Third Edition, Harry N. Abrams, Inc., New York, 1993.
Roberto Ohrt, “Drecke in Farbe Der Maler Philip Guston,” Texte zur Kunst, March 1994.
Anne Loxley, “National Identity Explored,” The Sydney Morning Herald, April 29, 1994.
Elwyn Lynn, “Driven to surrealist abstraction,” The Weekend Review, May 7 – 8, 1994.
Jacques Delaruelle, “A Different Mode of Thinking,” The Sydney Review, May 1994.
William Corbett. Guston’s Nixon. Lingo, 1993.
William Corbett, “Guston’s Guston: How One Bold Artist Saw His Place In The Universe,” The Boston Phoenix, September 1994.
Cate McQuaid, “Battleground: How Philip Guston Fought The War To Create Art,” The Boston
Phoenix, September 1994.
Michael Edward Shapiro, “Philip Guston: The War Years,” The Print Collector’s Newsletter,
September – October 1994.
Debra Bricker Balken, “Double Billings: Philip Guston’s Poem-Pictures,” The Print Collector’s Newsletter,
September – October 1994.
Joseph Ablow, Ordered Terror: The Art of Philip Guston, Bostonia, Fall 1994.
Robert Taylor, “Philip Guston’s poem-pictures rise above art lingo,” The Boston Sunday Globe,
October 2, 1994.
Nancy Stapen, “Philip Guston exhibit at B.U. offers profound rewards,” The Boston Sunday Globe,
October 2, 1994.
CeCe Bullard, “A painter’s anguish and anxiety,” Richmond Times-Dispatch, November 1994.
Paulette Roberts-Pullen, “Between Reality and Dreams,” Style Magazine, Richmond Times- Dispatch,
November 1994.
Nancy Stapen, “Philip Guston, Boston University Art Gallery,” ARTnews, December 1994.
Miles Unger, “Philip Guston: Wrestling with the Past,” Art New England, December 1994 – January 1995.
William Corbett, “Philip Guston: Drawing Poems,” Art New England, December 1994 – January 1995.
Jon Imber, “Philip Guston: Teacher, Mentor, and Friend,” Art New England, December 1994 – January 1995.
Patrick McGrath, “Philip Guston: Head and Bottle, 1975,” ARTFORUM, February 1995.
Roberta Smith, “A Philip Guston Decade Colored by Red and Pink,” The New York Times, April 28, 1995.
Didier Ottinger, “Acqisition d’un Tableau de Philip Guston par le Musee Des Sables D’Olonne,”
Revue du Louvre – Etudes, March 1995.
Cathy Curtis, “The Figures are Hooded, but the Message is Clear,” Los Angeles Times (Orange County
Edition), April 18, 1995.
“Philip Guston,” The New Yorker, May 15, 1995.
Sabine Russ, “Die Suche nach der Mitte,” Aufbau, May 26, 1995.
Joel Lewis, “Guston Gets Another Go,” Forward, June 9, 1995.
Edith Newhall, “Retrospective: Soul Mates,” New York Magazine, June 19, 1995.
Philippe Dagen, “Philip Guston aux Sables-d’Olnne: l’abstraction aller et retour,” Le Monde, July 4, 1995.
Nicola Kalinsky, ” Exhibition Review: Drawing the Line,” Burlington Magazine, July 1995.
Holland Cotter, “A Painter Who Collaborated with Poets,” The New York Times, July 7, 1995.
Karen Wilkin, “At the Galleries,” Partisan Review, Summer 1995.
Victoria Pedersen, “Gallery Go Round,” Paper Magazine, Summer 1995.
David Carrier, Burlington Magazine, Review, August 1995.
Elisabeth Lebovici, “Guston, dessins sur un champ de mines,” Liberation ( no. 4431), August 17, 1995.
Jean-Louis Pradel, ” L’Apocalypse triviale de Philip Guston,” L’evenement du Jeudi, August 30, 1995.
“Philip Guston,” Art Press, No. 205, September 1995.
Manuel Jover, “L’art impur de Philip Guston,” Beaux Arts Magazine, No. 137, September 1995.
Raphael Rubenstein, “Ars Poetica,” Art in America, September 1995.
Andrea Barnet, “Parallel Sensibilities,” The New York Times Review of Books, September 3, 1995.
Paul Brach, Review, Art in America, October 1995.
Ronald Jones, ” Philip Guston’s Poem-Pictures,” Frieze, November 1995.
Jonathan Fineberg. Art Since 1940: Strategies of Being. Prentice Hall, New Jersey, 1995.
Edward Lucie-Smith. Movements in Art since 1945: Issues and Concepts. Thames and Hudson, 1995.
Jurgen Schmidt-Missner, “Schwarmgeister und Zweifler, Vier Alterswerke: Arbeiten von Philip Guston, Pablo Picasso, Willem de Kooning und Joan Miro im Bremer Weserburg-Museum,” Nurnberger Nchrichten, June/July 1996.
Michael Kimmelman, “Philip Guston: Paintings From the 70’s,” The New York Times, October 11, 1996.
Tim Griffin, “Philip Guston, Major Paintings From the Seventies,” Time Out-New York, October 24 – 31, 1996.
“In vollkommener Freiheit…, Ausstellung um Picasso, Guston, Miro und de Kooning im Neuen Museum Weserburg”, Bremer Anzeiger, October 26, 1996.
“Galleries Uptown,” The New Yorker, November 4, 1996.
Hans Berndt, “In Vollkommer Freiheit…,” Handelsblatt, Freitag/Samstag, 8/9 November 1996.
Kim Levin, “Art Short List: Philip Guston,” The Village Voice, November 12, 1996.
Ursula Bode, “Alte Manner sind gefahrlich: Das Spatwerk von Guston, de Kooning, Miro und Picasso in Bremen,” Die Zeit, November 20, 1996.
Peter Winter, “Schwung, Volumen und Dichte: Vier Maler mit ihrem Spatwerk in der Bremer Weserburg: Picasso, Miro, de Kooning und Guston,” Frankfurter Allgemeine, Zeitung für Deutschland, November 25, 1996.
Jurgen Schmidt-Missner, “Mit dem Alter wachst die Freiheit: Saptwerker der Moderne im Weserburg-Museum Bremen,” Hannoversche Allgemeine Zeitung, December 2, 1996.
Heiner Stachelhaus, “Die Krise des Alters malend gemeistert: das Weserburg-Museum konfrontiert Zeitgenossisches mit dem Spatwerk von vier Klassikern,” St. Gallener Taghlatt.
Irving Sandler, Art of the Post Modern Era: From the Late 1960s to the Early 1990s, Harper Collins
Publishers, 1996.
Kunstler Kritisches Lexikon der Gegenwartskunst, Verlage Weltkunst and Bruckmann, 1997.
Robert Hughes. American Visions, The Epic History of Art in America. Alfred A. Knopf, Inc., New York, 1997.
Robert Hughes, “American Visions,” Time, page 85, Spring 1997.
Jeffrey Day, “Greenville takes the lead with Guston and Mann exhibits,” Tempo, May 11, 1997.
Tom Patterson, “Guston’s ‘40s works frame his future,” The Charlotte Observer, May 18, 1997.
Roberta Smith, “Something Constant in a Procession of Styles,” The New York Times, August 22, 1997.
Dorothy Koppelman, “Philip Guston: The Man, His Life and His Work,” Terrain Gallery online, Aesthetic Realism Foundation, September 1997. http:// www.aestheticrealism.org/Philip_Guston/Philip_Guston.html
MaLin Wilson, “deomKrazy in the American West,” Art Issues, September – October 1997.
Grady T. Turner, “Philip Guston,” ARTnews, November 1997.
Tim Griffin, “Philip Guston: Brave New World:1943,” On Paper, November – December, 1997.
“Philip Guston’s Revolution in Style on Display at Berggruen,” San Francisco Chronicle, January 15, 1998.
Penelope Rowlands, “Guston Works on Paper at John Berggruen,” Art & Auction, January 1998.
David Bonetti, “Different Styles, different scales,” San Francisco Examiner, January 29, 1998.
Philip E. Bishop, “A Celebration of Contemporary Art,” The Orlando Sentinel, March 15, 1998.
Joanne Milani, “Quality’s the Theme in Collector’s Show,” The Tampa Tribune, BayLife, May 24, 1998.
Suzanne Muchnic, “The Shock of the Old,” Los Angeles Times, Sunday, June 7, 1998.
“Summer Fiction Issue,” The New Yorker, June 22 & 29, 1998.
“Present Time,” ARTnews, September 1998.
David Pagel, “Jabs and Stabs,” The Los Angeles Times, November 13, 1998.
H. H. Arnason. History of Modern Art. Fourth Edition, edited by Marla F. Prather, Harry Abrams,
New York, 1999.
Michael Kimmelman, “A Century of Art: Just How American Was It?” The New York Times, April 18, 1999.
“Can Painting as an Art Survive? An Anxious Yes,” The Economist, May 1, 1999.
William Packer, “Painting brought to a Head,” The Financial Times, May 15 & 16, 1999.
Sally Radic. Creación y Figura, Figuración en el siglo XX. Gráficas Vernetta, S.A., 1999.
Examining Pictures: Exhibiting Paintings, Whitechapel Art Gallery, London, England and the Museum of Contemporary Art, Chicago, Cornerhouse Publications, Manchester, 1999.
Ruth Händler, “Trying Racism On,” Ausstellungen, September 1999.
Nicholas Serota, “Words and Deeds,” ARTFORUM, October 1999.
Samuel Herzog, “Stiller Abschied vom Absoluten, Ausstellung Philip Guston im Kunstmuseum Bonn,”
Neue Bürcher Beitung, Feuilleton, Friday, October 15, 1999.
Michelle Grabner, Examining Pictures: Exhibiting Paintings,” Frieze, issue 49, November – December 1999.
Harry Cooper, “Philip Guston: Paintings 1947-1979,” ARTFORUM, December 1999.
David Anfam, “Bonn, Philip Guston,” The Burlington Magazine, December 1999.
Christiane Vielhaber, “Bonn: Philip Guston,” 1999.
Julian Bell. What is Painting? Representation and Modern Art. Thames and Hudson, 1999.
Kosme Maria de Baranano, “Diskurs um Philip Guston” Van Gogh, Can Doesburg, de Chirico, Picasso, Guston, Weiner, Mangold, Richter. Kunstmuseum Winterthur, Richter, Verlag, Dusseldorf, 1999.
William Feaver, “The Passionate Aesthete: NIcholas Serota’s Choice of Art,” Vernissage, No.98 December, 1999.
New York School, Abstract Expressionists: Artists Choice by Artists. Edited by Marika Herskovic, New York School Press, New Jersey, 393 pages, 2000.
Robin Gibson. PAINTING THE CENTURY, 101 PORTRAIT MASTERPIECES 1900-2000. National Portrait Gallery Publications, National Portrait Gallery, London, 2000.
Treasure from the Art Institute of Chicago. Hudson Hills Press, New York, 2000.
Patricia Hills. Modern Art in the USA: Issues and Controversies of the 20th Century. Prentice Hall, NJ, 2001.
Celebrating Modern Art: Highlights of the Anderson Collection. San Francisco Museum of Modern Art, printed and bound by Mondadori printing, Italy, 2000.
The Figure, Another Side of Modernism. Snug Harbor Cultural Center, Newhouse Center for Contemporary Art, Staten Island, NY, 2000.
Emily Erikson, ‘Preview U.S. Shorts, “Philip Guston: A New Alphabet,” ARTFORUM, January 2000.
Jean Robertson and Craig McDaniel. Painting as a Language: Material, Technique, Form and Content. Harcourt College Publishers, New York, 2000.
Beat Wismer and Sibylle Omlin. Das Gedächtnis der Malerei. Wathler König, Cologne, 2000.
David Carrier, “Arte estrema, di rottura che smantella uno stile,” Tema Celeste: Arte Contemporanea,
January – February 2000.
Christoph Bannat, “Heimlicher Vater, Tabubruch: Philip Guston kehrte von der Abstraktion zurük zur Figur,” Vogue, February 2000.
Von Gerog Leisten, “Zurück zur Figuration,” Stuttgarter Zeltung, February 18, 2000.
Von Claudia Ihlefeld, “Kraftstrotzender Kulturpessimist,” Heilbronner Stimme, February 19, 2000.
Volker Bauermeister, “Der Vorturner des Stilbruchs,” Badische Zeitung, February 26, 2000.
Andreas Sommer, “Made in USA,” February 26, 2000.
Von Nikolai B. Forstbauer, “Malerei der offenen Faust oder Die Form ist die Farbe,” Stuttgarter Nachrichten, February 29, 2000.
Deborah Everett, “Philip Guston-Paintings and Drawings from the 1970’s,” NY Arts, international edition, Vol.5 No. 3., Winter 2000.
Diana Nemiroff, “The Painter’s Quest,” Vernissage (the magazine of the national gallery of Canada), Spring 2000.
Robert Storr, “Modern Art despite Modernism,” Making Choices, Brochure, The Museum
of Modern Art, 2000.
Carmela Thiele, “Kapuzen und das Böse im Ich,” Badische Neueste Nachrichten, Mar 2, 2000.
Christian Marquar, “Der Ku-Klux Klan ist immer dabei,” Kunst, Mar 2, 2000.
Von Carmela Thiele, “Mich interessiert das Böse,” Tagesspiegel, Der, Mar 5, 2000.
Robert C. Morgan, “Philip Guston: Small Paintings and Drawings 1968-1980,” Review, March 15, 2000.
“Die Wucht der Dinge,” Schwäblschce Zeltung, Mar 16, 2000.
Von Martin Mezger, “Körper zwischen Lust und Leiden,” Eblinger Zeitung, March 17, 2000.
Holger Steinemann, “Weg zurück zur Gegenständlichkeit,” Staatsanzeiger für Baden-Württemberg,
March 20, 2000.
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“Drömilk gestaltning av det absurda,” Svenska Dagbladet, April 8, 2000.
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August 2000.
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Philippe Regnier, “Un expressionniste militant, Philip Guston, un abstrait hanté par la figure,” Le Journal
des arts, September 2000.
Hervé Gauville, “Guston la gaffe,” Liberation, Culture, September 13, 2000.
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October 3, 2000.
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Annie Cohen-Solal, “L’art américain mine de rien,” Le Journal Des Arts, October 6, 2000.
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Lieven Van den Abeele, “Schilderen tegen Ku Klux Klan,” De Standaard, October 17, 2000.
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Museum of Our Wishes, edited by Kasper König with Thomas Weski and Ulrich Wilmes, Museum Ludwig, Köln, Autoren und Künstler, 212 pages, 2001.
Whitney, American Visionaries: Selections from the Whitney Museum of American Art, Introduction by Maxwell L. Anderson, Distributed by Harry N. Abrams, Inc., New York, 2001.
Philip Roth, Shop Talk: A Writer and His Colleagues and Their Work, “Pictures by Guston,” Houghton Mifflin Company, New York, NY, 2001. Pages 131-138.
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Arthur Smith, “A Quick One,” The Guardian, London, January 17, 2001.
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Steven M. L. Aronson, “The Collecting Impulse,” Architectural Digest, October 2001.
Mario Naves, “The Life and Times of Richard Nixon,” The New York Observer, October 1, 2001.
Arthur C. Danto, “Dick (Nixon) Heads,” The Nation, October 1, 2001.
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“Metáforas al alba,” & “Trayectoria de vanguardia,” Valencia, Guias LaNetro, December 2001.
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Ferran Bono, “E1 IVAM reùne las pinturas que Philip Guston realizò de un solo impulso,” El Pais, La Cultura, December 14, 2001.
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Los excesos de la mente (The excesses of the mind), Centro Andaluz de Arte, Contemporáneo, Empresa Pública de Gestión de Programas Culturales, Sevilla, Spain, 2002. Exhibition catalogue.
Painting in Boston:1950-2000, Edited by Rachel Rosenfield Lafo, Nicholas Capasso, and Jennifer Uhrhane, DeCordova Museum and Sculpture Park, Lincoln, MA, distributed, University of Massachusetts Press, Amherst and Lincoln, 2002.
Marjorie B. Cohn, Lois Orswell, David Smith, and Modern Art, Fogg Art Museum, Harvard University Art Museums, Cambridge, MA, Yale University Press, New Haven and London, 2002.
Robert Palter, The Duchess of Malfi’s Apricots, and Other Literary Fruits, University of South Carolina Press, Columbia, SC, 2002.
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Kenneth Baker, “Just what is a masterpiece?” San Francisco Chronicle, Datebook, The Arts, February 17, 2002.
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Arthur C. Danto, “Cheerio to Cheerios,” BookForum, Art & Culture, Spring 2002.
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Sarah Boxer, “Drawings Are Still Kicking Nixon Around,” The New York Times, The Arts, Monday, June 17, 2002.
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“Philip Guston’s Poor Richard,” Newsletter: Achenbach Graphic Arts Council, California Palace of the Legion of Honor, Fine Arts Museum of San Francisco, Volume 9, Number 3, Fall 2002.
Jean Martin, “Philip Guston’s Poor Richard,” The Art Book, Volume 9, Issue 4, September 2002.
Michael Kimmelman, “Brave Enough to Be Himself (A Season for Visionaries, New, Old and Ancient),”
The New York Times, Sunday, September 8, 2002.
Kenneth Baker, “Philip Guston’s mightier pen skewers politicos,” San Francisco Chronicle, Datebook, October 16, 2002
Will Shank, “Tricky Dick, captured in ink on paper,” Bay Area Reporter, October 24, 2002.
Robert Storr, “Slow Burn,” ARTFORUM, November 2002.
Kenneth Baker, Critics Picks: Art, San Francisco Chronicle, November 22, 2002.
Richard Kalina, “Expressing the Abstract,” (Joan Mitchell), Art in America, December 2002.
“In SF: fine arts and dining”, Gentry Magazine, Menlo Park, CA, December 2002.
Kenneth Baker, “SFMOMA advances to forefront” and “The weird, wild, and wonderful: Happenings on the 2002 arts and entertainment scene worth remembering,” San Francisco Chronicle, December 29, 2002.
Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art, Philadelphia Museum of Art, PA, organized by Alice Beamesderfer, produced by Department of Publishing, Philadelphia Museum of Art, Philadelphia, PA, 2002.
Michael Auping, Modern Art Museum of Fort Worth 110, III Third Millennium Publishing Limited, London, 2002. Pages 74-79, 242.
Sean Rainbird, Max Beckmann, London: Tate Publishing, 2003.
David Franklin, Treasures of the National Gallery of Canada, National Gallery of Canada, Ottawa in association with Yale University Press, New Haven and London, 2003.
David Anfam, “Preview, Winter 2003: Philip Guston, Modern Art Museum of Fort Worth,” ARTFORUM, January 2003.
Faye Hirsch, “Dunham’s Demonology,” Art in America, January 2003.
“In SF: fine arts and dining”, Gentry Magazine, Menlo Park, CA, January 2003.
Gaile Robinson,” An EYE for anguish, Modern’s exhibit gives Philip Guston a rare turn in the spotlight,”
Star Time, Fort Worth, TX, March 28 – April 3, 2003. (cover)
Janet Kutner, “Bold Strokes, Modern of Fort Worth provides grand setting for Philip Guston’s daring canvases,” The Dallas Morning News, Arts Sunday, March 30, 2003.
“Philip Guston,” New in the Galleries, Denver Art Museum, Spring 2003.
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Robert Enright, “The Undiscovered Familiar, The Art of George Condo,” interview, Border Crossings, Volume 22, Number 2, Issue No. 86, May 2003.
Allegra Muzzillo, “Guston Gets the Glory,” Art & Auction, May 2003.
David Anfam, “Telling Tales,” ARTFORUM, May 2003. (cover)
Poul Erik Tøjner, “Udsat (Philip Guston),” Louisiana Magasin, May 2003.
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William Corbett, “Agreeing to disagree, Ross Feld explores the tumult of Philip Guston,” The Boston Phoenix, Arts, October 3, 2003.
Michael Kimmelman, “Anxious Liberator Of an Era’s Demons,” The New York Times, Friday, October 31, 2003.
William Corbett, “Philip Guston in Retrospect,” The Brooklyn Rail, November 2003.
Lisa Yuskavage, Thomas Nozkowski, Gregory Amenoff, Katy Siegal, Peter Soriano, “To Philip Guston,” The Brooklyn Rail, November 2003.
Peter Schjeldahl, “The Junkman’s Son, A Philip Guston retrospective,” The New Yorker, November 3, 2003.
“Exhibitions & The Collection,Philip Guston,” The Metropolitan Museum of Art Calendar, page 7, illustrated, November / December 2003.
Karen Rosenberg, edited by, “Art, The Week, Solo Galleries, 57th Street Area & Museums,” New York, November 10, 2003.
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Paul Richard, “Disparate Measures: Philip Guston’s Great Divide,” The Washington Post, November 16, 2003.
Mario Naves, “Guston, Vindicated Underdog, A Man Who Changed His Mind,” The New York Observer, November 17, 2003.
Edward J. Sozanski, “Art | In 2 exhibitions, lessons in fame,” The Philadelphia Inquirer, Sunday, November 23, 2003. [web page]; http://www.philly.com/mld/inquirer/entertainment/7320419.htm [Accessed, December 4, 2003].
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Bruce Hainley, “Best of 2003, #1, Philip Guston,” Artforum, December 2003.
“Goings on About Town,” Art: Museum and Libraries; and Galleries-Uptown, The New Yorker, December 1, 2003.
Clare Henry, “An artist who delighted in ‘crapola’,” FT.com Financial Times, December 1, 2003, and Financial Times, December 2, 2003.
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Karen Rosenberg, edited by, “Art, The Week, Solo Galleries, 57th Street Area,” New York, December 8, 2003.
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Daniel Kunitz, “The Three Faces of Philip Guston,” The New York Sun, December 30, 2003.
Nicole Krauss, “the first painter after the last,” Modern Painters, Winter 2003.
Daivd Anfam, “Eye to Eye with Philip Guston,” RA Magazine, Winter 2003. (cover)
Andy Burgess, “Tired of all that purity,” The Jewish Quarterly, Winter 2003/4.
William Corbett, The Art Book, Volume 11, Issue 1, January 2004.
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Philip Roth, “The Odd Couple,” The Sunday Telegraph, 4 January 2004.
“Guston with gusto,” Rochester Democrat and Chronicle, January 11, 2004.
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William Packer, “Contentious Hand that Lately Reveals Its Worth,” Financial Times, Arts, January 21, 2004.
Brian Sewell, “What a Waste of a Little Bit of Talent,” Evening Standard, The Arts, Friday, 23 January 2004.
Andrew Lambirth, “Apocalyptic vision,” The Spectator, 24 January 2004.
Jill Lloyd, “Krazy Kat Cuts the Crapola,” The Times Literary Supplement, Friday, February 6, 2004.
Matthew Collings, “Overrated Guston,” TLS, Letters to the Editor, February 13, 2004, page 17.
David Kaufmann, “The Double Mystery of Creativity and Personality,” Forward, February 27, 2004.
Raphael Rubenstein, “Philip Guston: Some Thoughts,” Art In America, March 2004.
Fiona McHardy, “The Art of Phiilip Guston,” Education Guide, Royal Academy of Arts, Burlington, 2004.
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Drew Milne, “The Anxiety of Surfaces,” Blunt Edge 4, (The Peter Fuller Memorial Foundation), London, April 2004.
Roy Oxlade, “Guston & Eliot,” Blunt Edge 4, (The Peter Fuller Memorial Foundation), London, April 2004.
Norman Rosenthal, “vanity projects,” Art & Auction, April 2004.
Recent Acquisitions, Mount Holyoke College Art Museum newsletter, Spring 2004.
“Verbatim,” Books, RA Magazine, Spring 2004.
David Ebony, “Record-Breaking Attendance at ADAA Art Fair,” Art in America, April 2004.
Rosalind Furness, “London: Royal Academy, Timothy Taylor Gallery, Philip Guston,” Contemporary, Issue 61, March 2004.
Jon Imber, “Guston and Dylan, Tangled Up in Blue,” Art in America, Letters, May 2004.
Yolanda Montejano, “Llegan norteamericanos para recuperar mural,” Provincia, May 12, 2004.
Claudia Aguilar, “Buscan revalorar La Inquisition,” Cambio de Michoacan, May 12, 2004.
Eugenio Mercado López, ” La inquisición, Un mural del Museo Regional Michoacano de Morelia, Michoacán, México,” Acento, May 12, 2004. [web page]; http://kubernesis.voznet.com.mx/acento/584/1-584.htm [Accessed, May 19. 2004].
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The Great Parade, Portrait of the Artist as Clown, edited by Jean Clair, Yale University Press, New Haven and London, in association with the National Gallery of Canada, Ottawa, 2004.
“Lucas Reiner: Trees and Words”, Beyond Baroque Books, Los Angeles, Summer 2004
Lucas Reiner, “Fear and Trembling of the Image,” Beyond Baroque, Vol. 26, No. 2, 2004.
Antoni Llena, “Hi ha tantes modernitats com dogmatismes?” Avui, Dialeg, July 8, 2004.
David Urban, “Painting’s Radiant Array,” Border Crossings, August 2004.
John T. Spike, “Switch Hitter: Philip Guston Defines the Trends,” Art & Antiques, Closer Look, September 2004.
Joel Weinstein, “Enrique Chagoya: Big and Little Drawings, at George Adams Gallery,” Art on Paper,
September / October 2004.
The Undiscovered Country. Essay by Russell Ferguson. Hammer Museum, Los Angeles, CA, October 2004.
R.C. Baker, “Before the Empire Strikes Back,” The Village Voice, October 6-12, 2004.
Robert Storr, “View from the Bridge,” Frieze, November / December 2004.
Roberta Smith, “Corporate Taste in Art, And the Art of Donation,” The New York Times, Friday, February 4, 2005.
Michael Boodro, “Alan Wanzenberg: 12 Things He Can’t Live Without,” Elle Décor Magazine, March 2005, page 54.
Robert Zaller, “The Abandoned Studio:Philip Guston’s Gnostic Testament,” Boulevard, St. Louis University, Spring 2005, Volume 20, Numbers 2 & 3, pages 100-118.
Katharina Hacker, “Guston: Alfie unterwegs” (Guston: Alfie on the way), du 756, No. 4, May 2005, pg. 92.
Debra Bricker Balken, Abstract Expressionism, Tate Publishing, London, 2005.
Barbara MacAdam, “Guston Low and High,” Art + Auction, February 2006, pp 112-114.
Ed McCormack, “Guston by the Book: Solipsistic Riffs, Gonzo Recollections, and Reprobate Ruminations on Art, Aging, and Late-Life Rebirth,” Gallery & Studio, June/July/August 2006, pages 14-18.
John Levy, “The Painter Philip Guston,” First Intensity, #21, Fall 2006, pages 78-197.
Jan Tumlir, review of “Enigma Variations: Philip Guston and Giorgio de Chirico” at the Santa Monica Museum of
Art, ArtForum, December 2006.
John Goodrich, “A Highly Original Appetite,” The New York Sun, November 30, 2006.
Jack S. Blanton. 20th and 21st Century American Art Dublin City Gallery The Hugh Lane. Edited by Margarita Cappock. Museum of Art, University of Texas at Austin, Merrell Publishers Limited, London, 2006.
Martha Schwendener, review of “Philip Guston Drawings,” The New York Times, December 15, 2006.
Von Boris Hohmeyer, “ Die Entdeckung der Wirklichkeit” (“The Discovery of the Reality”), Art: Das Kunstmagazin, March 2007.
Ellen G. Landau, “Double Consciousness in Mexico: How Philip Guston and Rubin Kadish Painted a Morelian Mural”
American Art, Spring 2007.
Samantha Baskind, Encyclopedia of Jewish American Artists, Greenwood Press, London, 2007.
Christopher Bucklow, What is in the Dwat: The Universe of Guston’s Final Decade, The Wordsworth Trust, 2007.
Eric Banks, “walk the line: Philip Guston’s Creepy Klansmen and cartoon Nixons pushed the limits on paper,” Men’s Vogue, May 2008.
Ken Johnson, “Primal Instincts Hooked to an Art Against Artifice,” Art Review, The New York Times, May 2, 2008.
Mario Naves, “How Abstract Clumps Became Philip Roth and Dick Nixon,” New York Observer, May 6, 2008.
“Philip Guston: The man who changed his mind,” The Economist, Books and arts, May 10, 2008.
Karen Wilkin, “An Artist’s Drawings Trace an Odd Trajectory,” The Wall Street Journal, June 12, 2008.
Peter Schjeldahl, “Better Late,” Critic’s Notebook, The New Yorker, June 23, 2008.
Julia Dault “Philip Guston” review of Works on Paper show at the Morgan Museum & Library. Border Crossings, November 2008, volume 27, number 4.
Donald Kuspit, “Philip Guston at the Morgan Library and Museum,” Artforum, November 2008.
Paul Richard, “Ascents & Sensibility: National Gallery Showcases Philip Guston’s Rich Canvases In Its Bright and Airy Tower,” The Washington Post, Saturday, March 7, 2009.
Chris Klimek, “Philip Guston: Raw at the National Gallery,” Washington Examiner, May 6, 2009.
Mark W. Scala, “Paint Made Flesh,” Frist Center for the Visual Arts, Vanderbilt University Press, 2009.
Laura Cumming, “A Face to the World: On Self-Portraits,” Harper Press, London, 2009.
Carmen Giménez, “Lasting Impact: Carmen Giménez on Abstraction and Empathy”, Deutsche Guggenheim Magazine, issue 8, Summer 2009.
Meg Cranston, “and Simplify,” Tate Etc., Issue 17, Autumn 2009.
Robert Zaller, “Guston Miniatures, in New York,” Broad Street Review, November 28, 2009.
Roberta Smith, “Philip Guston, Small Oils on Panel: 1969-1973,” Art Review, The New York Times, December 11, 2009.
Charlie Finch, “Guston’s Finger Puppets,” Artnet.com, December 7, 2009.
Thomas Micchelli, “Philip Guston: Small Oils on Panel, 1969-1973,” The Brooklyn Rail, February, 2010.
Alfred Mac Adam, “Philip Guston,” ARTNews March 2010, volume 109, number 3.
Donald Kuspit, “Philip Guston,” Artforum, March 2010.
Edoardo Sassi, “Guston, tonalità in rosa,” Corriere della Sera, June 4, 2010.
Carlo Alberto Bucci, “Nel mondo rosa di Guston tra Astrattismo e Pop,” La Repubblica (National Edition), June 5, 1010.
Edith Schloss, “Philip Guston’s Roman soujourn,” Wanted in Rome, June 23, 2010.
Renato Barilli, “Guston Macchie di Poesia,” L’Unità, July 3, 2010.
Manuela de Leonardis, “Philip Guston,” Exibart, July 1, 2010.
Dore Ashton, “Rome, Imperium Sine Fine? (Dominion Without Limits?)” The Brooklyn Rail, July/August 2010.
Marco Vallora, “Al Museo Bilotti un protagonista del dopoguerra,” La Stampa, August 8, 2010.
Renzo Margonari, “II Ku Klux Klan a Villa Borghese,” Cronaca di Mantova, September 3, 2010.
David Anfam, “Philip Guston: Rome and Washington,” The Burlington Magazine, September 2010.
Harry Cooper, “Like Clockwork,” Artforum, October 2010.
Jerry Saltz, “The Old is New Again: Eleven paintings you can’t miss at MoMA’s historic Abstract Expressionism show,” New York Magazine, November 15 2010. Illustrated in color, page 66.
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