Russell Maltz

b. 1952 Brooklyn, NY / Lives in New York, NY

Interested in Russell Maltz? Contact us.

Russell Maltz, S.P. / B.Y.W. #117 (Needle), 2017, Enamel and acrylic on pegboard and wood, 3 pieces, 112 x 4.5 x 7 inches / 285 x 12 x 18 cm, #RM50

Russell Maltz, S.P. / B.Y.W. #117 (Needle) (detail), 2017, Enamel and acrylic on pegboard and wood, 3 pieces, 112 x 4.5 x 7 inches / 285 x 12 x 18 cm, #RM50

Russell Maltz, S.P. / Blue + Blue #117 (Needle), 2017, Enamel and acrylic on wood, 3 pieces, 126 x 4.25 x 7 inches / 320 x 11 x 18 cm, #RM52

Russell Maltz, S.P. / Blue + Blue #117 (Needle) (detail), 2017, Enamel and acrylic on wood, 3 pieces, 126 x 4.25 x 7 inches / 320 x 11 x 18 cm, #RM52

Russell Maltz, S.P. / Blue + White #117 (Needle), 2017, Enamel and acrylic on wood, 3 pieces, 115 x 4.75 x 7 inches / 292 x 12 x 18 cm, #RM51

Russell Maltz, S.P. / Blue + White #117 (Needle) (detail), 2017, Enamel and acrylic on wood, 3 pieces, 115 x 4.75 x 7 inches / 292 x 12 x 18 cm, #RM51

Russell Maltz, S.P. / R #117 (Needle), 2017, Acrylic and polyurethane on wood, 2 pieces, 96 x 1.5 x 7 inches / 244 x 4 x 18 cm, #RM53

Russell Maltz, S.P. / R #117 (Needle) (detail), 2017, Acrylic and polyurethane on wood, 2 pieces, 96 x 1.5 x 7 inches / 244 x 4 x 18 cm, #RM53

Russell Maltz, S.P. / SCR-17 #315N, Needle Series, 2015, Day-Glo enamel on 3 wood pieces suspended from a galvanized nail, 73 x 2 x 6 inches approximately, #RM35

Russell Maltz, S.P. / SCR-17 #315N, Needle Series (side view), 2015, Day-Glo enamel on 3 wood pieces suspended from a galvanized nail, 73 x 2 x 6 inches approximately, #RM35

Russell Maltz, S.P. / SCR-17 #415N, Needle Series, 2015, Day-Glo enamel on 3 wood pieces suspended from a galvanized nail, 48 x 2 x 6 inches approximately, #RM36

Russell Maltz, S.P. / SCR-17 #415N, Needle Series (detail), 2015, Day-Glo enamel on 3 wood pieces suspended from a galvanized nail, 48 x 2 x 6 inches approximately, #RM36

Russell Maltz, S.P. / SCR-17 #115, 2015, DayGlo enamel on three plywood plates suspended from a steel post bracket, 67.5 x 67.5 x 6 inches / 171 x 171 x 15 cm, #RM32

Russell Maltz, S.P. / SCR-17 #213, 2013, Day-Glo enamel on 3 plywood plates suspended from a steel post bracket, 67.5 x 67.5 x 7 inches, #RM45

Russell Maltz, S.P. / SCR-17 #113, 2013, Day-Glo enamel on 3 plywood plates suspended from a steel post bracket, 67.5 x 67.5 x 7 inches, #RM46

Russell Maltz, S.P. / SCR-17 #313, 2013, Day-Glo enamel on 4 plywood plates suspended from a steel post bracket, 62 x 62 x 7 inches, #RM44

Russell Maltz, S.P. / BK #113, 2013, Enamel on 3 plywood plates suspended from a steel post bracket, 67 x 67 x 7 inches, #RM43

Russell Maltz, S.P./AL #115, 2015, Aluminum enamel on 3 plywood panels, metal pin, 12.5 x 12 x 4 inches, #RM28

Russell Maltz, S.P./R #215, 2015, Acrylic on 3 plywood plates suspended from a galvanized nail, 17 x 16 x 3.5 inches, #RM38

Russell Maltz, S.P./W #314, 2014, White acrylic on 3 plywood panels, metal pin, 19.25 x 16.75 x 4 inches, #RM29

Russell Maltz, Ball Park Diamond XXXVIII, 2006, Polyurethane and enamel on 2 glass plates, metal pin, 24 x 24 inches approximately, #RM42

Russell Maltz, Ball Park Diamond XXVII-D, 2006, Polyurethane and enamel on 3 glass plates, metal pin, 24 x 24 inches approximately, #RM03

Russell Maltz, Ball Park Diamond XXXVI, 2006, Polyurethane and enamel on 2 glass plates, metal pin, 24 x 24 inches approximately, #RM01

Russell Maltz, Ball Park Diamond XXXIX, 2006, Polyurethane and enamel on 3 glass plates, metal pin, 24 x 24 inches approximately, #RM02

Russell Maltz, Ball Park XXV, 1989, Polyurethane and oil based enamel on 2 pieces of wire glass, steel pin, 56 x 13 x 6 inches, #RM15

Russell Maltz, Ball Park V, 1984, Polyurethane and oil based enamel on 10 sheets of plywood, 96 x 79 x 21 inches, #RM16

Russell Maltz, Ball Park V (side view), 1984, Polyurethane and oil based enamel on 10 sheets of plywood, 96 x 79 x 21 inches, #RM16

Russell Maltz, Ball Park XLI, 2012, Industrial latex paint on cinder blocks, wooden pallet, 35 x 42 x 42 inches, #RM09

Russell Maltz, STACK - Safety Yellow, 1985/1992 Traffic enamel on 6 plywood sheets, 48 x 109 x 18 inches / 122 x 277 x 46 cm, #RM54

Russell Maltz, SCR-17 Floor Stack, 2015, DayGlo enamel on ten plywood plates, 36 x 58 x 7 inches / 91 x 147 x 18 cm, #RM30

Russell Maltz: Painted/Stacked Oaxaca, 2012, Dayglo yellow paint on white PVC pipe, Dimensions variable, Installation view in MINUS SPACE en Oaxaca, Museo de los Pintores Oaxaqueños (MUPO), Oaxaca, Mexico, 2012

Russell Maltz, BC #414, 2014, Mixed media collage on paper, framed, 26.5 x 31 inches, 32 x 36 inches framed, #RM25

Russell, Maltz, BC #214, 2014, Mixed media collage on paper, framed, 30.75 x 27 inches, 36 x 32 inches framed, #RM22

Russell Maltz, BC #314, 2014, Mixed media collage on paper, framed, 17.5 x 12 inches, 22 1/2 x 16 1/2 inches framed, #RM24

Russell Maltz, B-Dwg. #213, 2013, Charcoal on paper, framed, 37 x 39 inches, 41 x 43 inches framed, #RM23

Russell Maltz, B/W #1, 1978, Oil on 2 MDF panels, 9.75 x 7.25 inches, #RM20

Russell Maltz, B/W #1 (side view), 1978, Oil on 2 MDF panels, 9.75 x 7.25 inches, #RM20

Russell Maltz, Blue/B #1, 1978, Oil on 2 MDF panels, 9.75 x 7.25 inches, #RM17

Russell Maltz, Blue/B #1 (side view), 1978, Oil on 2 MDF panels, 9.75 x 7.25 inches, #RM17

Russell Maltz, GR/W #3, 1978, Oil and graphite on 2 plywood panels, 9.5 x 7 inches, #RM19

Russell Maltz, GR/W #3 (side view), 1978, Oil and graphite on 2 plywood panels, 9.5 x 7 inches, #RM19

Russell Maltz, Blue/W #1, 1978, Oil on 2 found wood panels, 8.75 x 7 inches, #RM18

Russell Maltz, Blue/W #1 (side view), 1978, Oil on 2 found wood panels, 8.75 x 7 inches, #RM18

Biography
Russell Maltz (b. 1952, Brooklyn, NY; lives New York, NY) is one of the leading reductive artists of his generation. Over the past 40 years, he has exhibited his work in solo and group exhibitions internationally, including in Switzerland, Germany, Denmark, Austria, Sweden, Israel, Mexico, and the United States. The first comprehensive retrospective exhibition of his work was mounted by the Stadtgalerie Saarbrücken in Germany in 2017, and was accompanied by a 230-page book published by Kerber Verlag.

At the gallery Maltz was recently included in the group exhibition On Paper in summer 2016. He also presented new work in the two-person exhibition Plywood, alongside artist Melissa Kretschmer, in 2015, and mounted the solo survey exhibition The Ball Park Series, 1977-2012 in 2012. That same year he produced a major installation entitled Painted/Stacked Oaxaca at the Museo de los Pintores Oaxaqueños, part of our survey exhibition MINUS SPACE en Oaxaca in Mexico.

His additional recent solo exhibitions include Galerie Michael Sturm (Stuttgart Germany), Galerie Wenger (Zurich, Switzerland), Alejandra von Hartz Gallery (Miami, FL), 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).

Maltz’s work is included in many public and private collections worldwide, including The Brooklyn Museum (Brooklyn, NY), 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.

Maltz serves on the Advisory Board of Critical Practices Inc. (CPI), which supports the emergence and development of new practices within the field of cultural production. CPI was included in the 2014 Whitney Biennial at the Whitney Museum of American Art.

Overview
Russell Maltz produces work in a broad array of media, including painting, sculpture, installation, drawing, and photography. Working both indoors and out, Maltz commonly uses new or repurposed commercial building materials, such as plywood, lumber, metal wall studs, cinder blocks, glass, PVC pipes, and enamel paint, which he gingerly manipulates and sites in response to the dynamics of a given environment. His work often appears raw and industrial upon first impression, a striking contrast against the seemingly casual nature of its arrangement. The works deliberately eliminate any separation between the objects and the space, as well as any distance between the artwork and the viewer.

About his work over the past four decades, Maltz states, “I have an affinity towards the found object. It is clear to me that paint is a material that is applied to another material. It is also clear that my works are not hung on the wall, but rather installed on the wall.” He continues, “I explore the temporal aspects of presence rather than the static construct of the specific physical properties of a site. I have found that if I stay out of my own way and truly follow my value for being present, the work follows.”