Despite Matt Miller Scandal, Philanthropy Has Found a Home in Fantasy Football
By GEORGE WILLIS
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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Philip Guston’s 30 works in ink, charcoal, and pencil currently at McKee are a treat. Averaging a little less than 2 feet across, these never-before exhibited drawings — they were only recently released by his estate — are smaller than the artist’s typical late paintings, and, executed in black media or graphite, they necessarily lack his pungent color. They amply demonstrate, however, his freewheeling energy and compelling sense of design. Covering the years from the heyday of Abstract Expressionism until his death in 1980, the chronological installation shows the artist building upon, and in some ways surpassing, the explorations of his 1950s abstractions.
By GEORGE WILLIS
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By THE NEW YORK SUN
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By MARIE POHL
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By LUKE FUNK
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By JENNIFER DOHERTY
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By CARLOS SOUSA
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By BRADLEY CORTRIGHT
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By MARTIN PENGELLY
|Philip Guston’s 30 works in ink, charcoal, and pencil currently at McKee are a treat. Averaging a little less than 2 feet across, these never-before exhibited drawings — they were only recently released by his estate — are smaller than the artist’s typical late paintings, and, executed in black media or graphite, they necessarily lack his pungent color. They amply demonstrate, however, his freewheeling energy and compelling sense of design. Covering the years from the heyday of Abstract Expressionism until his death in 1980, the chronological installation shows the artist building upon, and in some ways surpassing, the explorations of his 1950s abstractions.
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