Before he turned 30, it was clear that Saul had found his subject: an American society deeply rooted in consumerism, pervasive racism, and toxic masculinity.
Strokes of Conflict
The exhibition Wars at David Nolan evokes political and personal violence as facts of modern life.
Hoarding and Spending at Art Basel Miami Beach
After Safariland, if you need to convince yourself that the art world isn’t entirely in money’s thrall, you’d want to be anywhere but here.
Connecting the Dots in the Met Breuer’s Show About Conspiracy Theories
Everything Is Connected: Art and Conspiracy spirals through 50 years of paranoia in America from JFK’s assassination to extraterrestrial touchdowns and September 11. But what does that even look like?
When Art Refuses to Let Go
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
Peter Saul Knows What to Do with the President and a Hamburger
Some artists get the honor of having their work displayed in the White House, but chances are Saul will never be one of them.
NADA New York Gets Nasty
NADA New York, the New Art Dealers Alliance’s (NADA) hometown art fair, has a reputation for showing a certain type of clinical, vaguely cynical, and aggressively cool contemporary art.
In a New Location, the Independent Art Fair Feels Like Home
After spending six years in Chelsea, the Independent Art Fair has found a new home in Tribeca, in the incredibly sleek Spring Studios, usually host to fashion-related events.
The Necessary Insolence of Peter Saul
Peter Saul has an uncanny ability to seamlessly combine the hilarious and the hideous to great effect. In the middle of chortling at one of his wacky, indecorous paintings, you are apt to suddenly notice an odd and even disturbing detail.
Peter Saul’s Hair-Raising Attacks
Peter Saul’s anarchic imagination is a singular phenomenon in American art.
The Pursuit of Art, 2014
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.
Monsters’ Ball: Peter Saul and the Company He Keeps
The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.