New York

Peter Saul

Allan Frumkin Gallery

Peter Saul, who is in his early 50s, belongs to the generation that includes Dan Flavin and Lawrence Poons. Like them, he began exhibiting in the early ’60s. During that turbulent decade, he gave his socially conscious paintings such titles as Mickey Mouse vs. the Japs, 1962, Homage to Thomas Hart Benton, 1966, I Torture Commie Virgins, 1967, and Government of California, 1969. Influenced by Max Beckmann’s late work, Picasso’s elongated, biomorphic forms of the ’30s, and (long before it was fashionable) cartoonists of the ’40s, Saul’s paintings can be characterized as demotic, provocative, vulgar, and grotesque. His subjects have included political repression, racial inequality and stereotyping, consumerism, sexual politics, urban violence, and art itself.

Although most of these subjects have only recently become acceptable in mainstream art, Saul remains an iconoclast who doesn’t fit in.

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