I doubt Peter Saul will ever get his critical due as the significant painter of his generation that he is. Like Robert Colescott, another artist who did not hesitate to offend in his skewering of U.S. culture, Saul has never toed the line of art-world taste (or tastefulness), remaining staunchly figurative and political, and a painter to the core. War, greed, racism, sexual hypocrisy and institutional abuse are among his perennial targets, and his sheer glee in committing them to paint helps him defy categorization. The 16 paintings and five drawings in this recent exhibition come from the collection of Saul’s longtime dealer Allan Frumkin (1927-2002), and they are quite the stash.
Spanning the years 1961 to 1973, “Peter Saul: From Pop to Punk” showed the artist migrating from somewhat conventionally arranged, Pop-infused oils to eye-popping acrylics with ...Read more