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Phillip Guston

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Frank (O’Hara, fh) was in his most non-stop way of talking, saying that the pictures put him in mind of Tiepolo. Certain cupola frescoes. Suddenly I was working in an ancient building, a warehouse facing the Giudecca. The loft over the firehouse was transformed. It was filled with light reflected from the canal. (1955)
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quoted in 'Ferguson', 1999, p. 18

 
Phillip Guston

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I’ve been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting… …I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn’t there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion.I was an eye, ear, nose, and throat person too... ...One day Frank Stella just said to me, “Look, if you paint another painting I’m going to cut off your hands.” I asked, “Can’t I become a good painter?” Frank said, “No, because you are a good sculptor now.” That’s really my formal education... ...the company of artists is the great education. We educate each other. I’ve learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that’s how I received my education.

 
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He (Robert Rauschenberg, fh) was a kind of enfant terrible at the time (around 1960, fh) and I thought of him as an accomplished professional. He’d already had a number of shows, knew everybody, had been to Black Mountain College in South Carolina, working with all those avant-garde people.. ..Rauschenberg focused very much on working. I was prepared to do that, too. He was also involved with Merce Cunningham dance group and totally unconcerned with his success, in the cliché term. All of the activity had a lively quality, quite separate from any commercial situation.. ..(Rauschenberg moved into a loft in John’s building and they very closely worked together for a couple of years, fh) You get a lot by doing. It’s very important for a young artist to see how things are done. The kind of exchange we had was stronger than talking. If you do something then I do something then you do something, it means more than what you say.

 
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I don’t like that word 'finish'. When something is finished, that means it’s dead, doesn’t it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it’s something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I’m working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.(1947)

 
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Frank II had been back in the aptly named Mother Country for only a few months when a lady of his acquaintance presented him with Frank IV. Frank IV was a girl, christened Berenice. The state of coma which had ensnared Frank II for so long did not afflict Berenice, or any other of his descendants.
Another tremendous adjustment in the shared consciousness had to be made. That also had its compensations; Frank was the first man ever really to appreciate the woman's point of view.

 
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