Fueled with contrasting influences from MAD magazine comics to Surrealist fantasies and American social realist painting from the 1930, Peter Saul’s latest exhibition (at the New Museum, New York) brings together approximately 60 paintings dated as early as 1960s.
Saul’s caricature style — harshly grotesque, oftentimes with deformed figures participated in violence, animated version from Trump to historical events such as the Vietnam war, and humorous ridicule of classic paintings by de Kooning, Picasso, and Rembrandt — convey the cheekiness of a youth granted to run amok.
Painted with neon-toned Day-Glo acrylics, his paintings burst with soulful livelines, convoluted shapes and an unlikely resemblance of chiaroscuro. Whispering habitually current nuances into works, from which expresses effect as subtle as that of a ball being kicked at a school game day.
Not everyone spends the time. Saul’s boldness has long captured meticulous art lovers for almost six decades now, part of an expansive story of culture that has been unreeling since the 1950s. Once a sosical outcast, now seems more than ever a figure fighting for a cause.
Take a virtual tour of Saul’s exhibition, “Crime and Punishment,” on its website here.