1976WHERE CAN I SEE IT?
This painting is part of the Tate collection but currently not on display. Check Tate Modern
or Tate Britain
to see when it will next be on show.I LIKE IT
See also 'The Visit
The American painter Philip Guston developed his lexicon of hoods, hands and trashcan shields in the 1930s during a trip to Mexico, where he met and spent time with Frida Kahlo and Diego Rivera and studied the social-realist paintings of David Alfaro Siqueiros. The motifs disappeared (back in New York, Guston became one of the most ravishingly seductive abstract-expressionists on the block), but they weren’t forgotten. Tired of the endless rehearsals of abstract painting, Guston unleashed a renewed, crudely cartoonish figuration on a scathing New York art world in 1967. Critics were appalled. For some, Guston was a traitor to the ab-ex cause. Yet, his fleshy, lumbering compositions strike a chord today because they are saturated with flawed humanity. A wall of disembodied limbs perhaps indicative of a mass grave, ‘Monument’ is among his most moving.