Keith Mayerson and Peter Saul

Opening Reception: Tuesday, July 8th, 6-8pm

July 8 – August 8, 2014

Mayerson Sitting Bull

Keith Mayerson
Sitting Bull, 2013
Oil on linen
48 x 36 inches (included in the 2014 Whitney Biennial)
Courtesy: Derek Eller Gallery, New York. 

Peter Saul Sonny, It's Time for You to Leave Home

Peter Saul
Sonny, It’s Time for You to Leave Home, 2011-2012
Acrylic on canvas
78 x 84 inches
Copyright: Peter Saul
Courtesy: Mary Boone Gallery, New York. 

 

Peter Saul Raccoons

Peter Saul
Raccoons Descending a Staircase, 2012
Acrylic, colored pencil on paper
50 x 35 inches
Copyright: Peter Saul
Courtesy: Mary Boone Gallery, New York. 

Keith Mayerson Obama's Night

Keith Mayerson
Obama's Night, 2012
Oil on linen
42 x 32 inches
Courtesy: Derek Eller Gallery, New York. 

Peter Saul Brains

Peter Saul
Brains, 2012
Acrylic, colored pencil on paper
29 x 23 inches
Copyright: Peter Saul
Courtesy: Mary Boone Gallery, New York. 

Mayerson Little Hamlet

Keith Mayerson
Little Hamlet, 2002
Oil on linen
12 x 9 inches
Courtesy: Derek Eller Gallery, New York. 

 

Mayerson Michelangelo Jesus

Keith Mayerson
Michelangelo Jesus, 2002
Oil on linen
20.25 x 20 inches
Courtesy: Derek Eller Gallery, New York. 

Mayerson Green Iconscape

Keith Mayerson
Green Iconscape, 2002
Oil on linen
26 x 26 inches
Courtesy: Derek Eller Gallery, New York. 

Keith Mayerson Keanu

Keith Mayerson
Untitled (Keanu on the Roof), 2002
Oil on linen
30 x 18 inches
Courtesy: Derek Eller Gallery, New York. 

Keith Mayerson Martin Luther King

Keith Mayerson
Martin Luther King, 2005
Oil on linen
56 x 38.5 inches
Courtesy: Derek Eller Gallery, New York. 

Peter Saul Duet

Peter Saul
Duet, 2013
Acrylic on canvas
60 x 55 inches
Copyright: Peter Saul
Courtesy: Mary Boone Gallery, New York. 

Press Release

Keith Mayerson and Peter Saul

July 8 - August 8, 2014

Opening Reception: Tuesday, July 8th, 6-8pm
 

I’m proud and honored for my work being shown alongside that of one of my great heroes, Peter Saul.  Many people don’t realize that Peter was perhaps even earlier than Guston for using “cartoon-like” icons in allegorical narrative situations in a personal manner (unlike Warhol and Lichtenstein, who were using Duchamp-like maneuvers of the Ready Made and appropriation when bringing cartoon strips into a fine art world), building on the language of the Modernists (especially Picasso) and comics to make something new.  I saw my first Saul when I was a college student at Brown University, visiting the neighboring RISD museum, and was blown away by his use of “cartoony imagery” in a painting that was serious and in a museum.  As a teenager, loving comics, seeing Henri Rousseau for the first time at the Musee Jeu de Paume was a revelation, but to see a “painted cartoon” in a contemporary world made me realize, as always the “cartoon guy” on campus (I did the daily strip for the paper at Brown, also comics for every publication in schools since kindergarten) that I could “do this”: transfer my skills and knowledge into the transcendent world of fine art.  Although my work doesn’t look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds. It is my great pleasure to have gotten to know Peter, and to have curated him in shows and to organize panels that he has participated in, and a “dream come true” to have an exhibition along with this contemporary Master.
 
 -Keith Mayerson, July 2014

 

ROBERT BLUMENTHAL GALLERY 
1045 MADISON AVENUE, 3A
NEW YORK NY 10075


646-‐852-­‐6332
info@robertblumenthal.com