Three Chelsea Exhibitions Showcase Philip Guston's Enduring Influence on Contemporary Painting

Three concurrent exhibitions in New York's Chelsea district demonstrate the lasting impact of Philip Guston's late work. At Anton Kern Gallery, German painter Bendix Harms presents work until December 4, with a self-portrait showing clear Guston influences alongside references to Louise Bourgeois and Francesco Clemente. Richard Bosman, who studied directly with Guston at the New York Studio School in the 1960s, exhibits at Elizabeth Harris Gallery until November 13. His paintings explore American vernacular themes with a mix of earnestness and satire. Carroll Dunham's show at Gladstone Gallery, running until December 4, reveals strong Guston and Picasso influences in its priapic beach scenes and absurdist figures. The article positions all three artists within the legacy of Guston's "Bad" painting movement from the 1980s, characterized by expressive, personal, and sometimes vulgar approaches that challenged formal conventions. Bosman's work is noted for its ambiguous handling of kitsch and Americana, while Dunham's new paintings show a thinned-out, aqueous quality compared to his earlier impasto work. Dunham also presents laser-cut steel sculptures that the critic finds less substantial than his paintings. The exhibitions collectively highlight how Guston's confrontation between formal and informal approaches continues to shape contemporary painting decades after his influential late period.