Well… this is an art blog, after all.   Being a painter myself, it’s important.  If I just wrote about other art, other artists, I don’t think my blog writing would be as good.  All my work, including my work in Web Analytics, starts as Art.

 

 

I did a studio view (above) – feel like I’m lazy about this – not sure where to go next with my paintings.  Feel like I need to be more deliberate and maybe, more ambitious but I’m not sure I’m ready.

 

 

I came in to BAG halfway into the Saturday Nude Model Session but was able to spend the last hour of it doing the sketch above.

The new space is fantastic – it’s a lot more enjoyable to spend time in the new studio and I love the smell of oil paints.

Tomorrow I was planning to see the Brice Marden talk that I bought tickets too - I probably won’t be able to go, need to take care of my son.  I tried to buy another ticket but it was sold out.  I’m thinking I may try to bring him along anyway and see if there’s a way I can bring him in anyway.  We’ll see. 

If I can go to Brice Marden’s talk – I’ll write about it here.  I actually wanted to interview him personally for ArtNewYorkCity.com but Brice is not an easy guy to get a hold of.  Then again, I wanted to interview Peter Saul, but nothing happened there either.

I love this headline from TalkLeft – Neocons Turn on Bush.  Time to pull out the Peter Saul painting of George Bush at Abu Ghraib which sums up what the Neocons are now saying about their “great leader”.

Yep….even the Neocons are saying it ….. dump George overboard.

I guess Bush and Rove can make up some excuses and try to deflect blame - what else do they have left?  I’m just wondering …. who can they blame…don’t they control everything already?

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.

 

Peter Saul’s opening was covered in part 1 and part 2, his technique and my photos are my last post on this series covering PETER SAUL @ Leo Koening Inc.

I tried to get a good picture of Peter Saul – but failed to get one to my liking – about the best picture I did get was the artist, center – with his back to me.  That’s OK, maybe that’s the way it’s meant to be.

 

 This is a part of Saul’s painting of “Still Life with Warhols” 2006, which there was no picture on the gallery website for, but it was in the show.  Looking at the artist’s technique – he maps out broad areas of flat shapes, colors them and then builds up his lighting, from imagination, maintaining the hard edge – which he needs for defination.  He’s evolved his own way of doing it.  You’d never mistake a Peter Saul painting for anyone else’s.  Nor does he Airbrush – amazing.  Here’s what Peter Saul has to say about his technique.

“Several people have asked if I use spray gun or masking tape. No, never.  The way it’s done is I hold a piece of paper towel in my left hand while I paint and wipe the brush on it till just the right amount of paint remains on the bristles.  Then I carefully feather the paint onto the canvas.  It can look sprayed, or not.  It takes a certain skill, but it’s a lot of fun to have that skill.  I listen to the mellow music of the old folks radio station while I work; I can paint the whole picture, from streching the canvas to signing my name in just one month, working alone.”

Peter Saul answers a few questions above.

1. Peter Saul works alone, most of the time, streching his own canvas – at his age he can still get by without assistants (though he might have assistance from time to time).
2. He skeches out his ideas first – works out the main details and shapes and then transfers the design onto canvas, probably with the help of a projector – just to get the overall layout as he wants it.
3. From that point – he’s filling in the areas of the painting with solid colors and then working the texture and lighting up.
4. After about a month per painting ….he’s done..said all he had to say and signs it – and sells them for 60K-100K each.  Not bad.

And the paintings are worth it – every cent.  I’m sure Peter Saul is collected by every major museum in the world – and they should collect it – he’s a master artist.

Here’s more on what inspireds Peter Saul from this “To the Viewer” introduction for the catelog of this show:

“I like to walk around N.Y. to see the art shows, particulary pictures of something dramatic or exciting.  That’s my art taste.  Even though I love viewing the stuff, the ideas that prop up Modern Art are the dumbest in the world.  Especially the notion that a painting is about itself and the way it’s made.  Sure, try reading a book about itself, or going to a movie about itself, not a lot of fun.

But what upsets me more is the way the word “sentimental” got trashed, defined as something bad.  I’m a very sentimental person.  I like to browse in my volumes of Orientalist and Victorian anecdotal art while I listen to Christmas carols and drink good, medium-priced champainge.  That’s the real “me.”  So, I reserve the right to paint sentimentally, anytime.  I painted “Basket of Kittens” in the early nineties but I could do it better today.”

Someone I spoke to last night asked me if Peter Saul has an “oral” fixation – since most of the imagry of his work revolves around the mouth.  Perhaps. I had not really looked at it that way..but why not?  Also, “sentimental” is a term that Joe Coleman used to describe his painting – he had the same concern that people labeled Coleman’s work “sentimental” – read the interviews here.

I commented only on paintings that are in the current show.  Peter Saul had so much work – he had another show at the David Nolan Gallery that opened the day before.  Since I did not go to that show yet - I don’t wish to comment on those paintings yet – but I am aware of the show at David Nolan and will go to it sometime over the next week or two.  There are not many pictures, just a PDF document.

Here’s a larger shot of “Still Life with Warhols” to end this post.   Go see both shows and hope the Peter Saul grants me an interview – hopefully in person, which will be more interactive.



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