Oil on paper mounted on panel
30¼ x 40 in.
76.9 x 101.7 cm
Signed and dated front lower right: Philip Guston '71
- Tate London, Presented by the family of Frederick Elias in his memory through the American Federation of Arts 1987
- Michael Elias, Los Angeles
- Private Collection
- Tate Liverpool, Liverpool , England, "Philip Guston: Paintings and Prints from the Tate Collection", March 09, 2002 - August 18, 2002
- Museo Carlo Bilotti, Roma, Italy, "Philip Guston: Roma", May 25, 2010 - September 05, 2010 Travelled to:
- Nottingham Contemporary, Nottingham, England, "Already There!", October 22, 2011 - January 08, 2012
- Ashmolean Museum of Art and Archaeology, Oxford, England, "Philip Guston: Locating the Image", November 23, 2019 - March 08, 2020
- Margonari, Renzo. "Il Ku Klux Klan a Villa Borghese." Cronaca di Mantova (Mantua), September 3, 2010, illus. pg. 45
- Miller, Peter Benson, ed. Philip Guston Roma. Exh. cat. Ostfildern: Hatje Cantz Verlag, 2010, cat. no. 35, illus. in color p. 195. Also mentioned in text pp. 55-57 (Peter Benson Miller essay)
- Martin, Andrew. "Guston Goes Electric." IDIOM, June 8, 2011. Online, mentioned in text, not illus.
- Already There! Exh. cat. Nottingham: Nottingham Contemporary, 2011, cat. no. 35, illus. in color p. 71
- Mayer, Musa. Resilience: Philip Guston in 1971. Exh. cat. Zurich: Hauser & Wirth Publishers, 2019, illus. in color p. 77
- Lang, Karen and Lena Fritsch. Philip Guston: Locating the Image. Exh. cat. Oxford: Ashmolean Museum, University of Oxford, 2019, Fig. 18, illus. in color p. 29 and in detail pp. 30-31 (unpaginated) and mentioned in text pp. 28 and 32
- Robinson, Paul Carter. "Philip Guston Postponed: Curator David Anfam Speaks Out." Artlyst, October 6, 2020. Online, illus. in color as screenshot from the Tate's website
- Mary Weatherford: I've Seen Gray Whales Go By. Exh. cat. New York: Gagosian, 2020, Fig. 12 illus. in color p. 34
- Smee, Sebastian. "Philip Guston's art speaks to our present moment. We shouldn't have to wait to see it." Washington Post, January 14, 2021. Online, illus. in color
- According to the Tate: "On acquisition the work was known as 'Cornered.' However, one other drawing of the same year bears the same title (repr. Dabrowski 1988, p. 134 in col.). Thus, there is some doubt as to the authenticity of this title. Musa Mayer suggests that the title should probably be known as 'Untitled.' She states, 'It is unlikely that my father would have given the name to both works.' It was generally Guston's practice to inscribe the title on the back of the picture. However, the paper is glued to a board and it is not possible to verify this. Since there is no conclusive proof either way, the title by which the painting was known when presented to the Tate Gallery has been retained."