RUSSELL MALTZ: Painted/Stacked 2012

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Painted/Stacked Oaxaca, 2012 Fluorescent Yellow Paint On Pvc Pipes Variable © Courtesy of the artist and Museo de los Pintores Oaxaqueños
RUSSELL MALTZ: Painted/Stacked 2012

2630 NW 2nd Avenue
33137 Miami

December 3rd, 2012 - January 26th, 2013
Opening: December 3rd, 2012 6:00 PM - 10:00 PM

wynwood district
+1 305 438 0220
As of April 2017, Alejandra von Hartz Gallery closed its location in Wynwood.


Semblance / Dissemblance – Assembly / Disassembly –Time and Duration
Notes on Entropy and the Invisible:

To become and become undone
As becomes done again as not before
Becomes unimaginable
As is visible and
As invisible as always

Alejandra von Hartz Gallery is very pleased to announce the installation of a new work by New York-based artist Russell Maltz. This is Maltz’s first project with the gallery and will engage the exterior surfaces of the gallery structure and position.

Russell Maltz’s most recent works, which began in January 2004, and constitutes an ongoing project, which this proposal is a part, engages the action of fabrication, transportation, painting, assembly, disassembly and integrating the work’s elements into the public realm while mapping the element of time and duration. These works consist of palettes of cinder block, stacked and placed at construction sites, PVC Pipe, bundled

plank and lumber. As such, they are represented in their raw physical state that convey the concept of semblance, an assembly of everything they are; an ordered representation of the unseen process, that go into their making. Day-Glo paint is applied as “material on material” and defines areas or zones on the raw blocks. During this phase as the transformation process is now initiated, the work assumes the identity of a “painted object”, a static representative state, in which it can be viewed or evaluated according to the established values of art criticism and theory.

It is at this stage, that the work can be disassembled by others (usually construction workers) who by reclaiming the material regardless of its alteration, re-assemble the materials using them to fulfill the original purpose for which the raw material was initially fabricated; to become an integral part of the construction process in erecting a building or structure. It is this activated dissemblance that curbs the perception of entropy and fosters a discussion of painting in terms of process and duration and time, as its form and as its content. This altering of manufactured material such as steel plates and beams, glass, metal stud, lumber, drywall and CMU etc.; for the purposes of making art becomes an act of ventriloquism by the artist. This ventriloquism manifests itself in the artist’s ability to take the basic, intrinsic and intended use of a material by its manufacturer, as defined by the requirements of a society and transform these into art-works that function on several levels simultaneously, without relinquishing its original, newly found or potential, future identity.

Russell Maltz (b. 1952, Brooklyn, NY) has exhibited work in solo and group exhibitions internationally, including in Australia, Germany, Austria, Italy, Israel, Mexico and New Zealand. His recent solo exhibitions include Galerie Michael Sturm (Stuttgart Germany), Galleri Weinberger (Copenhagen, Denmark), The Atlanta Contemporary Art Center (Atlanta, GA), Galerie Schlegl (Zurich, Switzerland), and the Ringling School of Art and Design (Sarasota, FL).

His work is included in many public and private collections worldwide, including The Brooklyn Museum (New York), Yale University Art Gallery (New Haven, CT), Fogg Art Museum/Harvard University Art Museums (Cambridge, MA), Museum Moderner Kunst (Ottendorf, Germany), and the Gallery of Western Australia (Perth, Australia). His work has been reviewed in publications such as The New York Times, Artforum, Art in America, and Village Voice, among many others.

Russell Maltz lives and works in New York City.