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Philip Guston returns to the figure in his late works, after years of abstraction, because of his compulsion to express a sense of frustration and immobilization at life’s tragicomic events. His ever-present form of a Ku Klux Klansman references less the specific horrors of racial conflict in the South than his own inability as a painter to address injustice of all sorts, specifically the Vietman War. While not an image of a person, Guston’s Multiplied, 1972, functions as a portrait of the artist and a metaphor for society. The up-turned shoes are his image of our worn-out collective soul.
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