{"id":1114,"date":"2023-11-15T17:44:00","date_gmt":"2023-11-15T17:44:00","guid":{"rendered":"https:\/\/news.philipguston.org\/?p=1114"},"modified":"2023-12-06T20:04:45","modified_gmt":"2023-12-06T20:04:45","slug":"philip-guston-at-tate-modern","status":"publish","type":"post","link":"https:\/\/news.philipguston.org\/index.php\/2023\/11\/15\/philip-guston-at-tate-modern\/","title":{"rendered":"Philip Guston at Tate Modern"},"content":{"rendered":"\n
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Philip Guston’s Flatlands<\/em> (1970) is one of more than 100 paintings and drawings in an exhibition originally due to take place in September 2020. Photo \u00a9Tate; Larina Fernandes<\/figcaption><\/figure>\n\n\n\n

The Art Newspaper<\/a>, November 2, 2023, “The Big Review: Philip Guston at Tate Modern – The long-delayed London survey is a revelatory tour de force that charts the twists and turns of the Canadian-American artist’s 50-year career,” by Matthew Holman<\/p>\n\n\n\n

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Painting, Smoking, Eating<\/em>, 1973. Stedelijk Museum, Amsterdam. \u00a9The Estate of Philip Guston, Courtesy of Hauser & Wirth<\/figcaption><\/figure>\n\n\n\n

The Times<\/a>, September 23, 2023, “‘My father, Philip Guston, would be offended by the reaction to his show.’ The painter of cartoon Klansmen had his Tate show cancelled. Now it is back on. His daughter talks to Laura Freeman about the controversy,” by Laura Freeman<\/p>\n\n\n\n

The Times<\/a>, October 3, 2023, “Philip Guston review – beyond the controversy, marvel at the craft – Tate Modern,” by Laura Freeman<\/p>\n\n\n\n

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Monument<\/em>, 1976. Tate, London. \u00a9The Estate of Philip Guston<\/figcaption><\/figure>\n\n\n\n

Evening Standard<\/a>, October 3, 2023, “Philip Guston at Tate Modern review: riven with anger, engorged with love, haunted by suffering,” by Ben Luke<\/p>\n\n\n\n

The Guardian<\/a>, October 3, 2023, “‘What would it be like to be evil?’ Controversial Philip Guston show ridicules the virus-like KKK,” by Adrian Searle<\/p>\n\n\n\n

The Telegraph<\/a>, October 3, 2023, “Philip Guston: timeless art that skewers evil with a savage intensity. From his Holocaust-derived imagery to Ku Klux Klan figures, Guston does not set out to ingratiate – and the results are astonishing,” by Alastair Sooke<\/p>\n\n\n\n

The Independent<\/a>, October 4, 2023, “Philip Guston at Tate Modern review: An extraordinary, startling show full of moral disquiet,” by Mark Hudson<\/p>\n\n\n\n

Financial Times<\/a>, October 5, 2023, “Philip Guston, Tate Modern review – violent, unsettling and thrilling from start to finish. The decade’s most controversial exhibition features some of postwar America’s most original, potent images,” by Jackie Wullschl\u00e4ger<\/p>\n\n\n\n

The Arts Desk<\/a>, October 5, 2023, “Philip Guston, Tate Modern review – a compelling look at an artist who derided the KKK,” by Sarah Kent<\/p>\n\n\n\n

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Artlyst<\/a>, October 6, 2023, “Philip Guston Tate Modern Worth The Wait,” by Sue Hubbard<\/p>\n\n\n\n

Strand Magazine<\/a>, October 6, 2023, “Review: Philip Guston at Tate Modern,” by Ernest Chlopicki<\/p>\n\n\n\n

The New Statesman<\/a>, October 8, 2023, “Philip Guston’s American Monsters. His 1960s paintings of Ku Klux Klansmen confront the banality of evil – and retain their power to shock,” by Michael Prodger<\/p>\n\n\n\n

The Sunday Times<\/a>, October 8, 2023, “Philip Guston: forget the Ku Klux Klan row, this show is unmissable,” by Waldemar Januszczak<\/p>\n\n\n\n

The Observer<\/a>, October 8, 2023, “Philip Guston; Sarah Lucas: Happy Gas review – tragi-comic cartoonery. Tate Modern; Tate Britain, London. The delayed Philip Guston retrospective opens at last – and it is mordant, magnificent, unmissable…,” by Laura Cummings<\/p>\n\n\n\n

FAD Magazine<\/a>, October 9, 2023, “Philip Guston’s First Major UK Retrospective in 20 Years Opens at Tate Modern,” by Mark Westall<\/p>\n\n\n\n

The Conversation<\/a>, October 10, 2023, “Philip Guston: controversial delayed Tate show asks ‘what would it be like to be evil?,'” by Clare Carolin<\/p>\n\n\n\n

ArtReview<\/a>, October 13, 2023, “Philip Guston and the Politics of Painted Images,” by J.J. Charlesworth<\/p>\n\n\n\n

Studio International<\/a>, October 19, 2023, “Philip Guston – This strait-laced, work-focused retrospective affirms Philip Guston’s place as one of the 20th century’s finest painters,” by Joe Lloyd<\/p>\n\n\n\n

The Week<\/a>, October 20, 2023, “Philip Guston review: a ‘five-star show’ at Tate Modern – New retrospective traces ‘Guston’s progress’ over a long, varied career,” by The Week staff<\/p>\n\n\n\n

The Spectator<\/a>, October 21, 2023, “How Philip Guston became a hero to a new generation of figurative painters,” by Laura Gascoigne<\/p>\n\n\n\n

Le Journal des Arts<\/a>, October 24, 2023, “Philip Guston r\u00e9habilit\u00e9,” by Itzhak Goldberg<\/p>\n\n\n\n

Apollo<\/a>, October 24, 2023, “Taking Philip Guston on his own terms,” by Hettie Judah<\/p>\n\n\n\n

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The Line<\/em>, 1978, at Philip Guston Tate Modern, London, 2023. Photo \u00a9Tate (Larina Fernandes)<\/figcaption><\/figure>\n\n\n\n

The Observer<\/a>, November 9, 2023, “Tate Modern Reveals Philip Guston’s Hoodwink. After courting controversy in America, the artist’s retrospective arrives mostly unmoderated in London,” by Nathan Smith<\/p>\n\n\n\n

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