new-york

Peter Saul

George Adams Gallery

“Suburbia,” an exhibition of Peter Saul’s paintings and drawings from the mid- to late ’60s, offers a look at the artist not only as scathing ironist but as maverick aesthete. Shocking pink and blazing complementaries jump from the works’ surfaces, creating a sense of inextricable tangle. Figures and objects fuse in a mad, comic chaos, and crayon and colored pencil, childish and garish, seem to be the perverse mediums of choice.

Saul doesn’t care much for suburbia (apparently Mill Valley, California, was the inspiration) or, for that matter, America. These works spring from the rise of the counterculture and the conflict in Vietnam; military insignia appear, and the bourgeois family home is unmasked as a sexual hothouse—Mom’s tight sweater and Dad’s bulging crotch call up the concerns of Saul’s contemporary Robert Crumb. In Golden Gate Bridge, ca. 1966, the structure is portrayed as a weird

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