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Posts published in “Fine Arts”

LIFESTYLE: GBN Picks for July 2015

GBN In JULY

by GBN Lifestyle Editor Lesa Lakin
by GBN Lifestyle Editor Lesa Lakin

It’s here!  Summer… and man, is there is a lot going on in the world.  So if you just want some time to pause and do something fun alone or with loved ones, check out a few things happening this month. Personally I am looking forward to the Sneaker Exhibit. Enjoy July!
IN CINEMA

ME AND EARL AND THE DYING GIRL

Rated PG-13 –NOW PLAYING

Me, Earl and the Dying Girl

If you just want to catch a really great flick…. Me and Earl and The Dying Girl “lives” up to the hype. (Yes, I’ve seen it, and yes, I’ve got a lot to say… GBN review coming soon.) Oh, and Earl is the greatest character I’ve seen in a while. Highly Recommend.  Check out the trailer here: https://youtu.be/2qfmAllbYC8

DOPE

Rated R – NOW PLAYING

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Admittedly I’ve been benched for the last few months and not up on my reviews and screenings, but I  have been meaning to see the critically acclaimed DOPE.  

High-school senior Malcolm (Shameik Moore) and his friends Jib (Tony Revolori) and Diggy (Kiersey Clemons) bond over ’90s hip-hop culture, their studies and playing music in their own punk band. A chance encounter with a drug dealer named Dom lands Malcolm and company at the dealer’s nightclub birthday party; when the scene turns violent, they flee — with the Ecstasy that Dom secretly hid in Malcolm’s backpack. A wild adventure ensues as the youths try to evade armed thugs who want the stash.

 Now playing check out the trailer here: https://www.youtube.com/watch?v=strEm9amZuo

SOUTHPAW

(Currently unrated) – RELEASE DATE JULY 24th

“Southpaw” stars Jake Gyllenhaal and Curtis “50 Cent” Jackson (Photo via usatoday.com)

I just saw the trailer for this and I’m hooked. Gotta say… I am loving Curtis “50 Cent” Jackson in the acting game. Antoine Fuqua (“Training Day”) directs. Check out the trailer here: https://youtu.be/Mh2ebPxhoLs

IN MUSIC

BROOKLYN, NY

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July 8 – July 11, 2015 Brooklyn Hip Hop Festival: A celebration of Hip-Hop Culture and the Borough of Brooklyn Artists include: Common, Mobb Deep, Lion Babe, Freeway, Charles Hamilton, Pitch Blak Brass Band, Skyzoo, John Robinson, DJ Rob Swift, Torae, and “Uncle Ralph” McDaniels, http://www.bkhiphopfestival.com

July 10- October 4, 2015 Brooklyn Museum – catch the exhibition: “The Rise of Sneaker Culture” https://www.brooklynmuseum.org/exhibitions/rise_of_sneaker_culture/

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Nike. Air Jordan I, 1985. Nike Archives. (Photo: Ron Wood. Courtesy American Federation of Arts/Bata Shoe Museum)
July 2 – July 4 – LOS ANGELES, CA
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Smokey Robinson at the Hollywood Bowl.  To get tickets, visit: http://www.smokeyrobinson.com

July 18 – IRVINE, CA; July 19, 2015 – MOUNTAINVIEW, CA

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Artists Include: The Game, Bone Thugs-N-Harmony, Ice T, Afrika Bambaataa and The Soulsonic Force, Big Daddy Kane, Rakim, Mack 10, Xzibit, Warren G, Rapper’s Delight, Kurtis Blow, Too Short, Doug E Fresh, DJ Quik, Kool Moe Dee, King T, Grand Master Melle Mel, Tha Alkaholiks, Biz Markie, Slick Rick, EPMD, Cold Crush Brothers, Ras Kass and other special guests. The event will be MC’d by Chief Rocker Busy Bee. https://www.facebook.com/artofrapfest
RELATED: Ice-T Breaks Down Why “Art of Rap” Festival in July is Important to Hip-Hop, Art & Music
July 30 – LOS ANGELES, CA

Moses Sumney
Moses Sumney

Thanks to my little sis, Ashley,  I’m also recommending checking out  the truly captivating musical artist-singer Moses Sumney.  Check him out on SOUNDCLOUD: https://soundcloud.com/mosessumney
He’s headlining the Echo in Los Angeles on July 30th.  http://www.theecho.com/event/861489-moses-sumney-los-angeles/venue/
IN ARTS
July 10-12 – DENVER, CO
(Photo via colbaf.org)
(Photo via colbaf.org)

The Colorado Black Arts Festival is excited to present the best of visual and performing arts to celebrate its 29th Annual Festival July 10-12, 2015 in historic Denver City Park West. This year’s Festival theme “Rock Steady” conveys the ability to excel in the arts with a rocking and soulful dimension.  It represents a soulful genre that captures artistic rhythms with origins in the African diaspora.   Rock Steady 2015!  To learn more, go to: http://www.colbaf.org

West Virginia University Receives Donation of Artwork Depicting Racial Injustice

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Harvey and Jennifer Peyton are donating a series of paintings to the Art Museum of West Virginia University that deal with racial injustice in the 1930s to the 1960s.
Among the works donated is “Confrontation at the Bridge,” a painting by Jacob Lawrence of marchers on the Edmund Pettus Bridge in Selma, Alabama, on Bloody Sunday in March 1965. Other works include “Waiting Room, South” by Rosalee Berkowitz, ” Lynching (Self-Portrait With Rope)” by Louis Lozowick, and “Bessie Smith, Queen of the Blues” by Margaret Burroughs.
Harvey Peyton holds bachelor’s and law degrees from West Virginia University. He stated that “Jen and I have dedicated our collecting to the idea that visual art and the concept of social justice should go hand in hand. We hope these works, and other we have given and intend to give to the Art Museum of WVU, will enrich the idea of both art and community at the university long after we are gone.”
article via jbhe.com

"Basquiat: The Unknown Notebooks" Exhibit Showing at Brooklyn Museum Until August

Jean-Michel Basquiat’s notebooks are on display at the Brooklyn Museum. (Credit: Tseng Kwong Chi/Muna Tseng Dance Projects)

As a child, Jean-Michel Basquiat (1960-1988) was a junior member of the Brooklyn Museum, which he used to visit with his mother and where he got a globalist view of art history that would provide fuel for his own later painting. He’s back at the museum now, part of that global history, in “Basquiat: The Unknown Notebooks.”

At the start of his career in the late 1970s, Mr. Basquiat was better known for words than for images: short, enigmatic, rap-rhythm phrases that he wrote on New York City walls and signed with a “SAMO©” tag. The phrases, like his Expressionist-style paintings, may have looked spontaneous, but the 160 unbound notebook pages in the exhibition show they were far from that. We see words tried out and scratched out, listed and rejected, sometimes accompanied by drawings. Some of the images are as avid and original as you would expect from this artist, but it’s the words that stand out. He was a poet who happened to find art first, and this is a poet’s show. (Through Aug. 23, 200 Eastern Parkway, at Prospect Park, NY, brooklynmuseum.org.)

article by Holland Cotter via nytimes.com

OPINION: Racebent "Frozen" Fan Art Reminds Us That Representation Matters

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One Tumblr artist struck a nerve when she re-imagined the main characters from “Frozen” as Black girls. Here’s why haters need to find their chill.
Earlier this week, I saw some “Frozen” fan art from Brazilian artist Juliajm15 that gave me all of the warm fuzzies. It depicted the sisters Queen Elsa and Princess Anna as young Black women in remixed scenes. Julia didn’t just dip the original characters in chocolate, either! She gave her recreations afro-centric features and gloriously curly hair. Not only that, but that art style was so close to Disney’s traditional animation that it looked like concept art for film. It. Was. Everything!
When Buzzfeed posted the pieces online, it pointed to the “absolutely stunning” pics as an example of racebending. For those unfamiliar with the word “racebending,” it’s a term born of the egregious white‑washing in M.Night Shyamalan’s “The Last Airbender.” It was based on Nickelodeon’s hit cartoon “Avatar: The Last Airbender,” and the main characters that were obviously meant to be Brown and Asian were played by Caucasian actors. Shocker: all of the villains were Brown people. It’s not that M.Night couldn’t cast Asian actors that would better resemble the characters on the TV show, though, because he had plenty of them running through the background.
tumblr_njkzgpXhj81rqsahko2_500Anyway, many from the digital community have put the idea of racebending on its head by creating ethnic versions of their favorite characters from books, film and TV. It’s a fairly common practice among online artists. Julia, in particular, has gone on a run of re-doing Disney heroines with an Indian version of Rapunzel and a Latina incarnation of Merida from “Brave.” Her work is flaw-free. Go check it out. You will live for her human version of Nala.
It’s all for fun, but some Disnephiles are not feeling her vision. There are grown people having full-on conniptions over someone drawing the characters as Black. The problem for them, supposedly, is that her art is not accurate to the fable’s Scandanavian origins. There will be privilege-laced arguments–nasty little flame wars–all to defend the idea that the characters should remain as originally created…which is White. To that, I say, “Girl, bye.” God forbid anyone should use their creativity to imagine the beloved characters as an under-represented segment of society.
Julia’s not suggesting that Disney should re-do the movies to include Black people. She’s creating a reflection of herself (and many little girls that love Disney movies) that is missing from the cultural landscape in a fun little project. People want to see a piece of themselves in the art that they enjoy. In an odd way, it’s a form of validation that people who look like you matter, and that you can be an important part of a larger narrative. And in the case of Disney films, there has not been a great track record of having Black characters in their feature animation films. It took Disney 72 yeas to put a Black princess on screen. When we finally did get one with “The Princess And The Frog,” they turned her into an animal for a majority of the film. I love the movie, but WTF! That’s only after having two movies set in Africa with not one Black character in them (“The Lion King” and “Tarzan”).
However, this is not just a problem limited to Disney. It is still a huge surprise when people of color (whether Black, Asian or Latino) are present in the main cast of anything. Whenever a new project is announced, I find myself looking to see if there are any Black characters in the cast. Not that the lack of having a Black person on the cast will keep me from seeing the project, but there is still a twinge of disappointment when I do watch.

Philadelphia Museum of Art to Open “Represent: 200 Years of African American Art” Exhibit in January 2015

The Annunciation, (1898), Henry Ossawa Tanner. (Courtesy the Philadelphia Museum of Art, Purchased with the W. P. Wilstach Fund, 1899)
The Annunciation, (1898), Henry Ossawa Tanner. (Courtesy the Philadelphia Museum of Art, Purchased with the W. P. Wilstach Fund, 1899)

In January, the Philadelphia Museum will open “Represent: 200 Years of African American Art,” a sprawling survey of its holdings of works by black artists. Featuring 75 artworks by over 50 artists, the show’s earliest pieces include silhouettes by Moses Williams that date to 1802, pre-Civil War decorative arts by free and enslaved artists, and potter David Drake’s bible-inscribed storage jar sculpture.
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Birds in Flight (1927) by Aaron Douglas (Courtesy the Philadelphia Museum of Art, © Heirs of Aaron Douglas/Licensed by VAGA, New York)

“Presenting these works together now, we are mindful of the many anniversaries of the civil rights movement that have recently passed or are soon to come, and are thinking equally about the way race remains a key topic of conversation in the United States today—in politics, society, popular culture, and, of course, the arts,” said Philadelphia Museum of Art director Timothy Rub said in a statement. “This is an important moment in which to explore the historic development and continuing growth of the Museum’s collections of African American art.”
A centerpiece of the exhibition is undoubtedly Henry Ossawa Tanner’s 1898 painting titled The Annunciationreports the Wall Street Journal. Acquired by the museum in 1899, it was the first piece by an African American artist added to its collection. The show traces black artists through many of the major movements in American art history, from Cubism with Aaron Douglas’s Birds in Flight (1927) to Modernism with works by William Henry Johnson and Elizabeth Catlett. A combination of both can be seen in the figurative painting of Harlem Renaissance artist Jacob Lawrence.
Other, more contemporary, highlights include Barbara Chase-Riboud’s large-scale bronze and fiber sculpture Malcolm X #3, as well as pieces by Carrie Mae Weems, Glenn Ligon, Lorna Simpson, and Kara Walker.
“Represent: 200 Years of African American Art” will be on view at the Philadelphia Museum of Art January 10, 2015 though April 5, 2015. (Preview a selection of artworks from the exhibition below.)

Bill Cosby to Loan African-American Art Collection to Smithsonian Institution

Bill Cosby
‘To me, it’s a way for people to see what exists and to give voice to many of these artists who were silenced for so long,’ Cosby said. (Photograph: Rick Cinclair/AP)

After amassing a private collection of African-American art over four decades, Bill Cosby and his wife Camille plan to showcase their holdings for the first time in an exhibition planned at the Smithsonian Institution.

The Smithsonian’s National Museum of African Art announced Monday that the entire Cosby collection will go on view in November in a unique exhibit juxtaposing African-American art with African art.
The collection, which will be loaned to the museum, includes works by such leading African-American artists as Beauford Delaney, Faith Ringgold, Jacob Lawrence, Augusta Savage and Henry Ossawa Tanner. The Cosby collection of more than 300 African American paintings, prints, sculptures and drawings has never been loaned or seen publicly, except for one work of art.
“It’s so important to show art by African-American artists in this exhibition,” Cosby said in a written statement. “To me, it’s a way for people to see what exists and to give voice to many of these artists who were silenced for so long, some of whom will speak no more.”
The exhibit, “Conversations: African and African American Artworks in Dialogue”, will open November 9th and will be on view through early 2016 in Washington. It will be organized by themes, placing pieces from African artists in the Smithsonian collection near similar works from African-American artists in Cosby’s collection. Curators said it will explore ideas about history, creativity, power, identity and artistry.
Some highlights include rare 18th and early 19th-century portraits by Baltimore-based artist Joshua Johnston, explorations of black spirituality in the 1894 piece “The Thankful Poor” by Henry Ossawa Tanner and Cosby family quilts.
“The exhibition will encourage all of us to draw from the creativity that is Africa, to recognize the shared history that inextricably links Africa and the African diaspora and to seek the common threads that weave our stories together,” said museum director Johnnetta Betsch Cole, in announcing the exhibit.
The exhibition of Cosby’s collection is part of the African art museum’s 50th anniversary.
article via theguardian.com

Walker Art Center Opens "Radical Presence: Black Performance in Contemporary Art" Exhibit Today

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Senga Nengudi: RSVP at CAMH performance

The Walker Art Center in Minneapolis is set to present the groundbreaking survey “Radical Presence: Black Performance in Contemporary Art.”
“Radical Presence” chronicles the development of Black performance in contemporary art beginning with fluxus and conceptual art in the 1960s and extending to the present. While this tradition has previously been contextualized from the perspective of theater and popular culture, its prevalence in visual art has gone largely unexamined until recently. Organized and first presented by the Contemporary Arts Museum Houston, “Radical Presence” was co-presented in New York City by The Studio Museum in Harlem and New York University’s Grey Art Gallery. The final opportunity to view the exhibition will be at the Walker. The showing opens July 24 and runs through Jan. 4, 2015 in the Target and Friedman galleries.

pope l costume at camh performance 2 photo max fields
Pope.L: Costume at CAMH performance (Photo by Max Fields)

The July 24 launch, a Target Free Thursday Night, with live performances at the Walker by contributing artists Senga Nengudi, Pope.L and Jacolby Satterwhite. Performances continue on Saturday, July 26 with Maren Hassinger and Jamal Cyrus, in addition to a panel discussion hosted by organizing curator Valerie Cassel Oliver from the Contemporary Arts Museum Houston and contributing artists Adam Pendleton, Satterwhite, and Xaviera Simmons that addresses the role of performance in their larger artistic practice.
A range of performances and events continue beyond the opening weekend and throughout the run of the exhibition. Beginning in September, the Walker and The Bindery Projects will host Theaster Gates’ “See, Sit, Sup, Sip, Sing: Holding Court” (2012), while additional performances include Benjamin Patterson’s “Activation of Pond” (1962), a performance lecture by Coco Fusco, and Trenton Doyle Hancock’s “Devotion” (2013).

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Jacolby Satterwhite: Orifice at CAMH performance (Photo by Max Fields)

Featuring more than 100 works by some 36 artists, “Radical Presence” includes video and photo documentation of performances, scores and installations, interactive works and artworks created as a result of performance actions, presenting a rich and complex look at this important facet of contemporary art.

‘”Radical Presence’ is a risk-taking exhibition that looks at the vitality of performance-based works by Black artists from the United States and the Caribbean over several decades and across generations,” said Olga Viso, executive director of the Walker. “Engaging works where the performer is often the medium and subject, the exhibition is both provocative and captivating, as it addresses the limits of representation of the Black body and elicits timely reflection on American culture and identity.”
“From seminal works by such highly influential artists as Coco Fusco, Lorraine O’Grady, Pope.L and David Hammons to essential new voices like Theaster Gates, Jacolby Satterwhite, and Xaviera Simmons, ‘Radical Presence’ brings together artists from across generations that push the boundaries of performance,” said Fionn Meade, the Walker’s senior curator of cross-disciplinary platforms. “Ranging from intimate acts done solely for the camera to participatory installations and the tracing of overtly public gestures of celebration and resistance, the Walker is thrilled to welcome such a dynamic and far-ranging exploration.”

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Maren Hassinger: Diaries (Photo by Adam Avila)

Works on view in “Radical Presence” include “Hopes and Dreams: Gestures of Demonstration” (2006-2007), a photographic series by Carrie Mae Weems, “Pond” (1962), a performance score conceived and activated by Benjamin Patterson, documentation of Lorraine O’Grady’s performance, “Mlle, Bourgeoise Noire” (1980-1983), “Eating the Wall Street Journal” (2000) by Pope.L, a sculpture and video installation, “Say It Loud” (2004) by Satch Hoyt, a participatory sculpture meant to be activated by gallery visitors and documentation of Jamal Cyrus’ performance “Texas Fried Tenor” from the series “Learning to Work the Saxophone” (2012).
article via insightnews.com

National Museum of African American History to Display Photos of the Gullah People

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Miss Bertha, 1977 (JEANNE MOUTOUSSAMY-ASHE/NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE)

The collection is haunting: black-and-white stills of another place from another time, a documentation of the Gullah, or Geechee, people—a population of African descendants living on the Sea Islands off the Eastern coastline.  The images of a place and a people that time forgot were captured by celebrated photographer Jeanne Moutoussamy-Ashe—the wife of renowned tennis player Arthur Ashe—between 1977 and 1981.

Bank of America donated the collection of more than 60 photos to the Smithsonian’s National Museum of African American History and Culture. The photographs center on the people and life of Daufuskie Island, a cultural and national treasure tucked away off the coast of South Carolina.
A “time capsule” is how the island was aptly described by Lonnie Bunch, the museum’s founding director, who is thrilled at the addition to the yet-to-be-finished museum.  In addition to the stunning collection, which Bank of America originally obtained through its acquisition of Merrill Lynch in 2007, the financial institution also donated $1 million toward the building of the museum, a $500 million project.
“We’ve had a great history with the [museum]. We were one of the first donors [and have a] long-standing partnership,” Bank of America spokeswoman Diane Wagner told The Root. “[The collection] seemed like a very natural fit to be donated to the museum as one of their key exhibitions once they open in 2015.
“We feel that the arts have the power to connect people and … can connect people across cultures, across geography and socioeconomic status … People can take a look at art and understand a different culture, or they can understand their heritage, where they come from and how they’ve been established,” she added.

Artist Mickalene Thomas Debuts Her First Film on HBO

Artist Mickalene Thomas
Artist and Director Mickalene Thomas (Photo: Michael Loccisano/Getty Images for HBO)

When Mickalene Thomas, 42, describes her short film, Happy Birthday to a Beautiful Girl, as a “moving portrait of my mother,” it’s meant both literally and figuratively. The 30-minute feature on Thomas’s mother, Sandra Bush, a beautiful statuesque preacher’s daughter from Camden, New Jersey, who has appeared in many of Thomas’s paintings, is rich in detail, provocative and endearing. It chronicles Bush’s life in her own words as she becomes a young mother and wife, a survivor of abuse and addiction, the reigning “mother of the art-world” and ultimately a warrior for her waning health.

“What I love about my mother is that she had a never give up spirit. Even when she was really sick and dying, you can see in the film that she didn’t want to die. She had hope and faith that she was going to survive,” says Thomas. Sandra Bush passed on November 7, 2012, shortly after Thomas’ first solo exhibition at the Brooklyn Museum, where the Happy Birthday film debuted.
“The reason why I say this is a portrait of my mother is because for me it’s like looking at a painting—you don’t always have all of the answers, instead there’s lots of questions. It’s very open ended and that’s what makes life beautiful and mysterious and exhilirating and exciting and adventurous because it’s so tangible and intangible at the same time.”
Happy Birthday to a Beautiful Girl airs starting today on HBO.
article by Norell Giancana via bet.com
 

Artists Of The Civil Rights Movement Exhibit Comes to Brooklyn Museum of Art in March

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Benny Andrews (American, 1930–2006). Witness (detail), 1968. Oil on canvas with painted fabric collage, 48 x 48 in. (121.9 x 121.9 cm). © Estate of Benny Andrews/Licensed by VAGA, New York, NY. Photo: Matthew Newton, courtesy of Michael Rosenfeld Gallery LLC, New York, NY

Throughout the 1960s, a decade marked by an ardent civil rights fight that swept the American nation, many artists found themselves on the side of a burgeoning protest movement. From assemblage artists to Minimalist masters to Pop Art figures, those working in a wide breadth of media turned to art as an act of political defiance. They painted, sculpted, and photographed to comment on the social turmoil that surrounded them, creating visual symbols of resistance, liberation and empowerment.
An upcoming exhibition at the Brooklyn Museum of Art pays tribute to this period in U.S. history with “Witness: Art and Civil Rights in the Sixties.” The 103-piece show presents 66 artists of various races and ethnicities who created works informed by their own opinions of injustice and conflict 50 years ago.
The exhibition is organized according to themes like “American Nightmare,” “Black Is Beautiful,” “Sisterhood” and “Politicizing Pop.” Staged in honor of the 50th anniversary of the Civil Rights Act of 1964, the artworks on display range from Jack Whitten’s “Birmingham 1964,” an assembled homage to the violence that rocked the Alabama town, to Norman Rockwell’s “New Kids in the Neighborhood,” a fictional portrait of two black children confronting their new white neighbors in the suburbs.
Many familiar images appear in the canvases and three-dimensional installations set to fill the halls of the Brooklyn art haven this March. Philip Guston’s pink-tinted painting of three members of the Klu Klux Klan will hang near Robert Indiana’s text-heavy indictment of the confederacy, featuring a loaded image of the American South. While these artworks conjure historical memories, other pieces — like Jeff Donaldson’s “Wives of Shango” and Emma Amos’ “Three Figures” — reference self-identity and blackness, many times using the striking image of the female form, reappropriating the reclining nude or the goddess stance as a visual for change.
Check out a preview of “Witness: Art and Civil Rights in the Sixties” below:
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Emma Amos (American, born 1938). Three Figures, 1966. Oil on canvas, 60 x 50 in. (152.4 x 127 cm). Collection of the artist. © Emma Amos / Licensed by VAGA, New York, NY. Photo: Becket Logan

indiana
Robert Indiana (American, born 1928). The Confederacy: Alabama, 1965. Oil on canvas, 70 x 60 in. (177.8 x 152.4 cm). Miami University Art Museum, Oxford, Ohio, Gift of Walter and Dawn Clark Netsch. © 2013 Morgan Art Foundation / Artists Rights Society (ARS), New York

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Jacob Lawrence (American, 1917–2000). Soldiers and Students, 1962. Opaque watercolor over graphite on wove paper, 22 7/16 x 30 7/16 in (57 x 77.3 cm). Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, bequest of Jay R. Wolf, Class of 1951. © 2013 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

guston
Philip Guston (American, born Canada, 1913–1980). City Limits, 1969. Oil on canvas, 77 x 103 1/4 in. (195.6 x 262.2 cm). The Museum of Modern Art, New York, Gift of Musa Guston, 1991. © The Estate of Philip Guston