Robert Russell by Miles McEnery Gallery

ROBERT RUSSELL

525 West 22nd Street New York NY 10011

511 West 22nd Street New York, NY 10011

520 West 21st Street New York NY 10011

A!DELICATE!LIFE By Naomi Lev

“Still life will become eminently alive. Like life itself, it will always have something new to tell you, some witchery to dazzle you with, some mystery to disclose…” —Marcel Proust1

Robert Russell has spent the last two years searching the web and painting teacups. He started by le!ing the matrix of the web take him to various images by free association, leading him to eBay and online estate sales where vintage, floral decorated teacups are sold for just a few bucks. The different sellers photographed the items from various angles using personal phone cameras. Some of these images included a glimpse of the owner’s hand or torso as they presented the merchandise. But as accustomed to traditional still life paintings, Russell removed the human presence and we remain here with elegant teacups and saucers that are having their undeniable captivating moment on these poetic black canvases. In a beautifully wri!en book that explores still life, titled Looking at the Overlooked, Norman Bryson mentions Charles Sterling’s definition of Rhopography: “Rhopography (from rhopos, trivial objects, small wares, trifles) is the depiction of those things which lack importance, the unassuming material base of life that ‘importance’ constantly overlooks.”2

And indeed, the teacups seen here reveal quite an unexpected anecdote about our life. They are immediately associated with European traditions, England’s tea time, and the Queen, but also have been part of American culture since the 17th century, and embraced by mostly upper class households. In contemporary American society, they have a bit of a different connotation: they are reminiscent of our grandparents’ tea set which was either put aside for “special occasions,’’ or placed in cases and trunks not to be used at all. As traditions shi", what remains of this festive ritual reveals memories and a humble reality—a grounded life that is dominated by the mundane.

The six teacup paintings in this exhibition transform the original object and source material in radical ways. First and foremost, the found teacup images are altered in dimensions to fit the large and perfectly square canvases. Furthermore, Russell fine tunes the colors and brightness of these newly enlarged objects. By altering the sizes and hues to an extreme, these impressive photorealistic objects appear larger than life: glamorous, vibrant, shiny, charismatic, and present. When viewed from a distance, the teacups look three dimensional and exuberant, but as we zoom in and physically approach them, other qualities are revealed. Then, smooth brushstrokes blend with more expressive ones, and the parts of the form that seemed so realistic, become obscure and layered. Russell meticulously paints wet on wet, as he mixes colors directly on the canvas to reach the desired tones. The painting evolves in a spontaneous and organic manner, allowing marks to create a structure that, in its formation, is always surprising and somewhat unexpected. Russell describes the universal mystery of the painting process as “a ritualistic practice and an act of faith” until the object in the painting finally reveals itself “in some kind of a magical way.”3 There is great harmony between the various stages in which the painting is constructed and the creation of an actual porcelain teacup. First the backbones of the saucer and cup are formed, then gradually painted, and finally

Le": Jan Davidsz. de Heem, Flowers in a Glass Bo!le on a Marble Plinth, c. 1670 Right: Pieter Claesz, Still Life with a Skull and a Writing Quill, 1628

decorated with so" florals and elegant ornaments that accentuate the edges. In this series, Russell reaches the sensuous translucency and seductive shine of the original porcelain cup, and he finishes the painting process by adding the black background. As in many Baroque still life paintings, the dark background provides a dramatic backdrop. The black void is created by using ivory black oil paint combined with a layer of cold wax and linseed oil, a Renaissance glazing technique that Russell recently mastered, to complete the appearance of the silky ma#e surface. This flat backdrop, both climatic and radically silent, gives the center stage to the main character—the teacup. On a technical level, the dark background creates a three-dimensional illusion: as the black moves back from the viewer, colors and light seem to be moving forward. This tactical choice references particular works by Dutch and Spanish still life painters, se#ing an example of how this type of background accentuates the fine details and color scheme of its subject ma#er, as with Willem Kalf’s Holbein Bowl, Clara Peeters’s tazzas and flowers, Jan Davidsz. de Heem’s vivacious florals, and Pieter Claesz’s poetic wine glasses and skulls.

Reminiscent of Anish Kapoor’s velvety blacks and Vija Celmins Starfields, these black canvases exemplify the contemplative space darkness provides. They all propose an illusion of balance and a notion of infinity.

But Russell’s relationship with still life is quite intricate—on the one hand he is very much influenced by the delicacy, profoundness, and poetics of this tradition, and on the other hand uses pop-ignited photographic duplicates as source materials to reflect on the role and history of the photographic image. And indeed, throughout the years he has been commi"ed to using printed images of photos taken by others, thus complicating the notion of appropriation.4 With this series of paintings, he exposes his approach through the portrayal of light: the teacups are lit from an unidentified outer source, as the origins of these artificial bright lights go back to the teacups’ initial households. These white spots of light are hinted as they reflect back through the bits of glow and shine on the teacups themselves. They are accentuated through the dramatic dance of shadows that each teacup/saucer duo provides, raising questions about belonging, ownership, memory, and loss. Meanwhile, the teacups and saucers’ delicate florals and so# colored pastels provide a tender way of penetrating into our so#est of hearts. In our conversations Russell has mentioned that these paintings are very much a poetic homage to Robert Motherwell’s iconic series, Elegies to the Spanish Republic. The use of black and white is a reference to the dichotomy of life and death. Similar to the Elegies, the ongoing Teacups series celebrates vitality and ponders on mortality. Russell’s works were created during a global pandemic that forced us to think and reevaluate our motivations in life, and has hopefully encouraged us to be more empathetic towards ourselves and others. The luminous and somewhat isolated teacups speak of yearning, socializing, and memorializing, while the background sets a blank slate for contemplation, aviation, and exploration. In other words, these modern day Vanitas are here, not to

warn, but to remind us of our own fragility and wondrous existence. The vividness and richness of the cups represent the joys and the abundance of life, a delicate life, that we need to be gentle with and remember to be affectionate about. Endnotes 1. Marcel Proust, Marcel Proust on art and literature 1896-1919, trans. Sylvia Townsend Warner (New York: Carroll & Graf Publishers, 1997), 326. 2. Norman Bryson, Looking at the Overlooked, Four Essays On Still Life Painting (London: Reaktion Books, 2017), p. 61. 3. Robert Russell, email, 2022. 4. Reference to Robert Russell, “Men Named Robert Russell” series, 2015.

Naomi Lev is a curator, cultural programming manager, and arts writer based in New York. Lev is dedicated to supporting artists in their process, and promotes rights for creators in the field. She is the founder and lead organizer of two groups, Artists and Writers 4Ever and Collective_View, that provide collaborative connections for those working in the arts, and she has worked with museums, galleries, and entities in the United States and internationally to produce exhibitions, projects, and events.

Teacup #26, 2021 Oil on canvas 60 x 60 inches 152.4 x 152.4 cm

Teacup #27, 2021 Oil on canvas 60 x 60 inches 152.4 x 152.4 cm

Teacup #28, 2021 Oil on canvas 50 x 50 inches 127 x 127 cm

Teacup #29, 2021 Oil on canvas 70 x 70 inches 177.8 x 177.8 cm

Teacup #30, 2021 Oil on canvas 50 x 50 inches 127 x 127 cm

Teacup #31, 2021 Oil on canvas 50 x 50 inches 127 x 127 cm

GROUP EXHIBITIONS

ROBERT!RUSSELL

EDUCATION

2013 “Robert Russell: Men Who are Named Named Robert Russell,” Osmos, New York, NY “Robert Russell: Men Who are Named Named Robert Russell,” Francois Ghebaly Gallery, Los Angeles, CA

2006 MFA, California Institute of the Arts, Santa Clarita, CA

2010 “Robert Russell: Masters,” Francois Ghebaly Gallery, Los Angeles, CA

1994 BFA, Rhode Island School of Design, Providence, RI

2007 “Robert Russell: Sca#ershot,” Anna Helwing Gallery, Los Angeles, CA

Born in Kansas City, MO in 1971 Lives and works in Los Angeles, CA

SOLO EXHIBITIONS

2022 Miles McEnery Gallery, New York, NY 2021 “Robert Russell: Teacups,” Anat Ebgi Gallery Los Angeles, CA 2020 “Robert Russell: Theory of Clouds,” OSMOS, Stamford, NY 2019 “Robert Russell: Book Paintings,” Anat Ebgi Gallery, Los Angeles, CA 2018 “Robert Russell: Moore. More. Moore!” Anat Ebgi AE2 Gallery, Los Angeles, CA 2016 “Lisa, The Cabin,” LA Vancouver, Los Angeles, CA 2015 “Tonic Immobility,” Burrard Arts, Vancouver, Canada “Robert Russell: Amateurs,” LA><ART, Los Angeles, CA “Robert Russell: Sein und Schein Big Pond Artworks” (curated by Cay Sophie Rabinowitz), Munich, Germany

2005 “Robert Russell: Pink,” Anna Helwing Gallery, Los Angeles, CA “Robert Russell: Recent Work,” Limn Gallery, San Francisco, CA

2021 “Mystic Truths” (curated by Brooke Wise) Neuehouse Bradbury, Los Angeles, CA 2020 “Good Company: Pt. 1,” Anat Ebgi Gallery, Los Angeles, CA 2019 “The Conversation,” Anat Ebgi at Minnesota Street Projects, San Francisco, CA 2016 “Perfect Day,” Roberts and Tilton Gallery, Los Angeles, CA “The Art of Politics,” Pasadena Convention Center, Los Angeles, CA

2002 “Eight Gardeners,” Frumkin/Duval Gallery, Santa Monica, CA

2015 “Loosely Bound: Launch of Material Press,” Material Press, Los Angeles, CA “Men Named Robert Russell,” Museum of Contemporary Art, Los Angeles, CA Manifest: Justice, Los Angeles, CA

2001 “A"er Images,” Frumkin/Duval Gallery, Santa Monica, CA

2013 “P&CO,” Thomas Duncan Gallery, Los Angeles, CA

2003 “Skaters,” Frumkin/Duval Gallery, Santa Monica, CA

2012 “The Dorian Project,” Second Guest Projects, New York, NY “Los Angeles Contemporary Tendencies” (curated by Annka Kultys), Helene Bailly Gallery, Paris, France 2011 “The New Versimilitude,” M+B Gallery, Los Angeles, CA “The Los Angeles Initiative - Rema Hort Mann Foundation,” Honor Fraser Gallery, Los Angeles, CA “On Forgery” (curated by Andrew Berardini and Lesley Moon), LAXART, Los Angeles, CA 2010 “Summer Group Show,” Susanne Vielme#er Los Angeles Projects Culver City, CA

“Billboard Project,” Portugal Arte 10, Lisbon, Portugal “California Dreamin,” Portugal Arte 10, Lisbon, Portugal 2009 “Dile#antes, Dandied and Divas,” Gavlak Projects, Palm Beach, FL 2008 The Cartin Collection, at Ars Libri, Boston, MA “Going Out of Business,” Anna Helwing Gallery, Los Angeles, CA 2007 “Distinctive Messengers,” House of Campari, Venice, CA 2006 “Farewell to Icon,” Anna Helwing Gallery, Los Angeles, CA “MFA WMD’s: Selections from LA Schools,” Track 16 at 2nd Annual L.A. Weekly Biennial, Santa Monica, CA “Collisions & Pileups: MFA Thesis Exhibition,” Armory Northwest, Los Angeles, CA “Nightmares of Summer,” Marcello Marvelli Gallery, New York, NY 2001 “The World of Figure” Limn Gallery, San Francisco, CA 2000 “The Changing Face of Portraiture,” Guggenheim Gallery, Chapman University, Orange, CA “Woods-Gerry Invitational Exhibition,” Woods-Gerry Gallery, Providence, RI

RESIDENCIES 2015 Artist in Residence, Burrard Arts Foundation, Vancouver, Canada

Published on the occasion of the exhibition

ROBERT!RUSSELL 3 Febuary – 12 March 2022 Miles McEnery Gallery 520 West 21st Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2022 Miles McEnery Gallery All rights reserved Essay © 2022 Naomi Lev Page 5 Le": Image courtesy of National Gallery, London, United Kingdom On loan from the collection of Janice and Brian Capstick, © © Photo courtesy of the owner. Right: Courtesy of The Metropolitan Museum of Art Director of Publications Anastasija Jevtovic, New York, NY Digital Initiatives Associate Sean Kennedy, New York, NY Special thanks to Anat Egbi Photography by Christopher Burke Studio, Los Angeles, CA ISBN: 978-1-949327-75-5 Cover: Teacup #30, 2021