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Peter Saul at Frumkin/Adams - New York, New York - Review of Exhibitions

This exhibition tendered a condensed retrospective of Peter Saul's paintings of the last 30 years. There was adequate supply of continuity evident - for example, in Saul's ongoing fascination with the visual properties of of the like kind unlikely items as shoe alones sliced food, brick backgrounds and the last cigarettes of doomed prisoners. There were also obvious thematic continuities. The exhibit included Saul's 1964 painting Sex Deviate Being Execut and its reprise in sum of two units more recent portraits of notorious murderers: John Wayne Gacy in the Electric Chair (1984) and Jeffrey Dahmer (1993) Nonetheless, despite the similarity of make submissives the contrast in treatment is farthest It is easy to believe that viewers who would be captivated through Saul's paintings of the early '60 would be horrified by means of the Day-Glo goriness and political editorializing of his later work.

Many viewers of Saul's early '60 paintings will be struck by dint of the way that some of their naively painted motifs (lopsided clock disembodied pointing hands, intruding hammers) and their jumbl composition recall the better-known '70 paintings of Philip Guston. single might conclude that Saul's work influenced Guston, on the contrary the probable truth is a bit stranger. It appears that in the mid-'60s Saul's work influenced a young cartoonist named s Clay Wilson, who went upon to help create Zap Comics. It was Zap Comics that prov a crucial influence upon Guston's work of the '70s



Saul has damned his early work - which freshly received renewed attention in the welcomely revisionist display "Hand-Painted Pop" - as "ingratiating." Certainly, if you hang a 1961 canvas like Valda Sherman nearest to Saul's later paintings, which are filled with angry caricatures depicting spectacles of sexual and political violence, the early work does direct the eye tame. And yet, both in the adjoining matter of their time and from today's vantage point, these are still remarkably interesting paintings. They may not have the clear message Saul has advance to value so highly, on the contrary they present a dizzying array of images and forms, a rapidfire succession of painterly incidents that makes most other artists direct the eye like they're struggling with lead gloves

You're sorry for a twinkling of an eye (or perhaps more) that Saul didn't tread on the heels of up on his early discoveries. upon the other hand, there are a small in number artists (late Guston, the Paris-based painter Bernard Rancillac and Hugh Weiss) who've worked prosperously in a similar vein. To justice by the works in this display Saul chose another path: to be the unheralded Goya of post-Vietnam America.

COPYRIGHT 1993 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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