Ok, exhausted today but decided the “White Box” Anti War opening would be fun so I went over to White Box tonight to see it - and it was a pretty good.

And here’s the pictures I took and found noteworthy. This picture of Bush, Osama and Putin(?) is from the Blue Noes Group and called -Series Mask-Show Sheet 1, 2001 | Ed. 7 and is shown care of Ethan Cohan Fine Arts.

Untitled VII (Garden Tulip) is by Kyle Goen from the Homes & Gardens Series -Acrylic on Canvas - I’m not sure exactly what this picture represents - are these the good guys or the bad guys - was interesting to look at.

Lock and Load, by Jerry Kearns, 2004, Acrylic on Canvas looks more like a photo montage - but I get turned on looking at the naked woman, but then see the boy holding a gun - and then it’s set against the interior of Arab Temple …. it’s mixed up assoications - looks more like a science fiction book cover.

Not sure who drew the picture below or what it’s named - I liked the drawing.

And finally - here’s a shot or two of the crowd - one of the better one’s I have been to at White Box.

Two drawings were “smashed” by a couple of participants as part of an “art performance” - a statement about “right” and “wrong”.

And here’s some of the crowd. I had a beer and moved around the gallery twice - so I could get a look at everything - then I left.

Went over to David Nolan Gallery on Broadway, in Soho, to see the other show of Peter Saul’s work that opened last Thursday.  I would much rather write about paintings I see personally - I need the personal contact to do my best work.  I covered the Leo Koenig opening last Friday in part 1, part 2 and part 3 last week.

I really wanted to see the painting “Hitler’s Bunker” (see below).  In a way, the Nazi Lapdogs remind me of a situation in my life ……I don’t want to be a “lapdog” for anyone.  There’s so much going on in this painting - I like Saul’s technique which has a lot of layering of colors.

I wonder if the coins in Hitler’s shirt is money he got from Stalin, or not.   the action is remarkable.  Eisenhower’s fist knocks Hitler in the face and his eyeballs fly out of this eye sockets.   That’s some painting - it seems to be in a moment - a moment in between seconds - like split second photography at the Olympics.

Peter Saul writes about Hitler’s Bunker in his “To the Viewer” introduction to his work:

“Previously, I painted “Hitler’s Bathroom” in 1960, but the best part of that one was the title, so I ought ot paint it again.  Also, I remember seeing the Bunker scene by a Russian artist, in Life Magazine, about 1950.  In that realistic version, Hitler is listening fearfully, presumably to  bombs exploding up above.  For this picture I wanted to return in my imagination to 1946, when I had just begun to paint, and approach the scene in the hot bast of post ware propaganda (concentration camps, war crimes).  I was quite a bit influenced by “Crimeboy versus the Iron Jaw” a swll comic book I owned then.  Hopefully,if I’ve done it right, this picture  will zooom forward 60 years and be interesting right now.”

The painting is interesting now - not familar with “Crimeboy versus the Iron Jaw” but it seems to me that Peter Saul is connecting back to his youth in this painting.

 

The Neptunes (above) is possibly the most realized of Saul’s work that I’ve seen at either show.  Tho color of the ocean reflects Neptunes domain, showing many variations of color  - this painting “sings”, every part of it.

Here’s what Peter had to say about The Neptunes.

“The Neptunes” is supposed to make the ancient god of the sea and his family resemble the kind of humorously sysfunctional characters found on a modern T.V. sitcome like “Raymond” or “The Sopranos.”  That’s why Neptune is smoking a cigar and does not look very smart.  His wife looks a little crabby with that vicious shark mouth; junior cotopus is cute, and Uncle Octopus wisely moves the ocean liners out of the way so people won’t get hurt.  I don’t have time to watch T.V. sitcoms, just once or twice to get the idea”.

It helps me to envision the feels behind this painting - Peter Saul is transforming a scary situation into something humorous - I think that’s what he’s working out here - something in his own life that he wanted to be in control of.

Chinese Businessman Lands on Wall Street - really tells the story of the Chinese “owning” America and calling in the “chips”.

I took this shot with my own camara as I did not see a better copy online.  I am very interested in what Peter Saul has to say about this painting:

 ”The purpose of “Chinese Businessman Lands on Wall Street” is to take an average, dull sentence out of the business section of the N.Y. Times (actually, I made it up) and see if I can make it come alive in a cartoony sort of way, leap off a back page into your brain.  It’s an artistic challenge.”

Makes sense, taking something, a sentence and creating a painting around it.

The Still Life in a Bathroom reminded me of a dream where everything is “mixed up”.  I love the burnt Turkey and the cat that appears not to have a head.

I look at this painting in terms of symbolism - kinda like Freud’s symbols.

I was also talking with one of the woman that worked at Nolan’s gallery - we talked about the great passages and sections in Peter Saul’s paintings.

There were a couple of other works in the show, I’ll write about the another time.

 

I thought I had to write about this -

 

“It hurts, it hurts,” Philipp Carlen said of his feeling toward the vast Rhone glacier, which once came to the edge of his hotel, but now has receded several hundred yards. The glacier, whose soft contours and dirty gray surface make it resemble some huge sea creature, a whale perhaps, is rapidly shrinking, in the mild autumn weather, by 12 to 15 feet a day.”