Peter Saul, Ice Box 8, 1963,
Oil on canvas, 190 x 160 cm / 74,8 x 63 inches,
Hall Collection, © Peter Saul, Courtesy Hall Art
Foundation, Photo: Jeffrey Nintzel
Peter Saul @ Schirn Kunsthalle Frankfurt
The powers that be who dominates the Portuguese indigenous art scene hate anything and anyone near hard drawing and hard-core figuration. The bureaucrats follow this idiotic trend and finance it with public money. Let's trash these pretentious apparatchiks!
Estou disposto a dirigir um pequeno museu de bonecada, para acabar de vez com o 'liricoidismo' indígena. Um museu de género, crítico, às vezes mesmo, sórdido, onde não falte a mãozinha, o saber fazer e o humor. Programa do futuro museu da bonecada de Lisboa (o desejo é livre):
Eduardo Batarda (do período inglês)
João Fonte Santa
Manuel João Vieira
Rafael Bordalo Pinheiro
Ernst Ludwig Kirchner
Franz von Stuck
Hans and Lea Grundig
|Peter Saul, Rich Dog, 1963, |
Oil on canvas, 149 x 150 cm / 58,7 x 59 inches,
Hall Collection, © Peter Saul, Courtesy Hall Art Foundation,
Photo: Jeffrey Nintzel
JUNE 2 – SEPTEMBER 3, 2017
From June 2 to September 3, 2017 the Schirn Kunsthalle Frankfurt is presenting an extensive survey exhibition of the work of the American painter Peter Saul (*1934 in San Francisco, California).
Long before “Bad Painting” became a central concern in contemporary art, Peter Saul deliberately offended good taste. Beginning in the late 1950s he developed his highly individual idiom blending Pop Art, Surrealism, Abstract Expressionism, Chicago Imagism, San Francisco Funk, and cartoon culture, one in which he managed to address complex political and social issues. Saul shares with Pop Art an interest in the commonplace, in consumer society, and the cheerful pictorial worlds of the comics in glowing, appealing colors. Yet his work is also associated with the aesthetic strategies of the California counterculture. He produces an almost irate kind of painting when depicting the darker sides of the American Dream. In it he combines exuberant humor and playful but harsh criticism of the system. He makes use of jokes, slapstick, puns, comedy, and persiflage, and often crude humor in his caricature-like attacks on American high culture. Apart from the major artistic schools, Saul developed an extremely idiosyncratic oeuvre. Never really associated with any group or movement, he has been painting in his own way despite changing artistic fashions for more than fifty years. Saul’s paintings tell stories, tend toward exaggeration, and resist unambiguous interpretation. The Schirn has brought together roughly sixty works by this hitherto little noticed “artists’ artist,” among them groundbreaking groups of works like his Ice Box Paintings, his comics narrations and Vietnam paintings from the 1950s and 1960s, as well as never exhibited drawings and selected late works from the 1980s to the 2000s.
This exhibition is made possible through support from the Terra Foundation for American Art.
|Peter Saul, San Quentin # 1 (Angela Davis at San Quentin), 1971, |
Oil on canvas, 180,3 x 238,8 cm / 71 x 94 inches,
© Peter Saul, Collection of KAWS
Atualizado em 1/6/2017 10:13 WET