new-york

Peter Saul

Allan Frumkin Gallery

Like D’Archangelo, Peter Saul comes out of the Pop Art scene; he too is attempting to develop his Pop materials into something else—in Saul’s case a kind of blasting, bombardiering, socially relevant funk. At the Allan Frumkin Gallery during November he showed three groups of paintings, all about equally hysterical and iconoclastic.

In Saul’s famous Saigon (Whitney Museum), a horrors-of-war extravaganza with an anti-hokey edge to it, the embodiment of hatred and anxiety seemed justified; in fact, the utter offensiveness of it (as in Guernica) had a decorous appropriateness. Now, however, in the new social-critical works, everything is hopelessly and equally corrupt. The freaked Popeye grotesquerie of Saigon is applied without diminution of intensity—with merely a change to a simpler format on a smaller scale—to taking pot shots at, for instance, Leo Castelli, Henry Geldzahler, Clement

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