by Harry Cooper (Author), Mark Godfrey (Author), Alison de Lima Greene (Author), Kate Nesin (Author), Philip Guston (Artist), Peter Fischli (Contributor), Trenton Doyle Hancock (Contributor), William Kentridge (Contributor), Tacita Dean (Contributor), Glenn Ligon (Contributor), Jennifer Roberts (Contributor) Philip Guston (Artist)

Philip Guston―perhaps more than any other figure in recent memory―has given contemporary artists permission to break the rules and paint what, and how, they want. His winding career, embrace of “high” and “low” sources, and constant aesthetic reinvention defy easy categorization, and his 1968 figurative turn is by now one of modern art’s most legendary conversion narratives. “I was feeling split, schizophrenic. The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything―and then going into my studio to adjust a red to a blue?”