Philip Guston's Klan paintings, emerging prominently in the late 1960s, signify a radical shift in his artistic trajectory, from abstract expressionism to a more figurative, narrative style. This period is marked by Guston's grappling with themes of evil, identity, and societal conflict, employing the imagery of Ku Klux Klan figures in a series of works that are both deeply personal and universally resonant.
In these paintings, Guston confronts the viewer with cartoonish yet sinister hooded figures, often depicted in mundane, everyday settings. Works such as "City Limits" (1969) portray these Klansmen engaged in seemingly trivial activities, driving around a desolate urban landscape, which paradoxically underscores the banality of evil present in American society. Guston described these figures as self-portraits, reflecting his contemplation on the nature of evil and his own complicity or place within a society where such hatred exists. He was driven by a desire to understand and inhabit the mindset of what it would be like to be evil, using the Klan imagery to explore these themes (The Museum of Modern Art).
Guston's return to figuration and his choice to engage with such charged imagery was not without controversy but marked a pivotal moment in his career and in the broader landscape of American art. His Klan paintings are seen as a bold confrontation with America's fraught history of racism and violence, a reflection on the artist's responsibility to address social issues, and a critique of the complicity of silence. These works challenge the viewer to confront uncomfortable truths about identity, morality, and the pervasive undercurrents of racism.
The transition also illustrates Guston's broader concerns with political disorder and upheaval in America, particularly in the tumultuous context of the 1960s. The Klan paintings can be viewed as part of Guston's wider critique of American society and politics, incorporating a level of satire and caricature that was unusual for serious subjects but effective in provoking thought and dialogue. This period of Guston's work has served as an inspiration and touchstone for future generations of artists, highlighting the power of art to address and challenge societal evils (The Art Story) (The Museum of Modern Art).
Guston's Klan series not only marked a significant shift in his own artistic practice but also contributed to a broader conversation about the role of art in society, the responsibility of the artist, and the power of imagery to confront and question deeply ingrained societal issues.