622 Warren Street
Hudson, NY. 12534

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Russell DeYoung

click on image for an enlargement, price, size and medium.

gouache on paper

works on panel

Cardboard

Artist Statement

 


Upstate: Paintings and Constructed Paintings

This recent group of paintings reconfigure observed and felt textures, colors and forms in order to infuse empathy for temporal experience within the context of a neo-platonic, Universalist reading of 20th century abstract painting.

 Specifically, the work is inspired by and evokes a particular sense of place- post-industrial upstate New York.  Through color, facture and economy of means the paintings refer to the region’s surviving vernacular architecture (and the people who inhabit those spaces), current socio-economic realities and a Yankee pragmatism that makes survival here possible.

While not intended to be a critique of elitist-utopian aesthetics of the past century, or of the technology infatuated manifestations of the contemporary art environment, their small scale, plebian materials, and general ephemerality elude to contrasting qualities of humility and compassion, as well as to the interdependence of the comic and the sublime.

 To quote Faulkner, “Merely to survive is a triumph.”

 

   

Russell DeYoung - Going Home, oil on panel, 2008
Russell DeYoung

Interview by Tim Thayer with Albany, New York based artist Russell DeYoung. The interview was done via email during October 2008.

 


TT: Do you have differences on how you approach and execute a work when it is more representational (landscape, portrait) from when work is more abstracted?

RD: That is a very interesting question. You know, I don't employ the disjunction of images as a strategy, like say Gerhardt Richter. It's just that I need certain things as a painter from, let's call it retinal painting, when you are looking at the thing you are painting, and what you call "abstracted", which for me means simply you make it up. Of course you make it all up, on some level. But what I get from retinal painting is lacking in let's say, non-retinal painting, and also the reverse is true. Lately, over the last three years or so, I've been pretty involved in the make-it-up-as- you- go kind. It is for me an exercise of the imagination, to prove to myself I still have one. The other painting, retinal painting, is exercise for the eyes, for the careful perception of three-dimensional "reality" and the phenomenon of translating that information into two dimensions, like a camera. All painting is abstract.

TT: I would certainly agree with you that all painting is abstract, so for lack of a better word we could say non-representational, but that seems to be even worse of a word. Alright, for now we are stuck, at least for this discussion, with abstract and representational. Anyway, to the question: in the more abstract work do you, either while working or in the end, have a symbolic connection to something more tangible in your past? Basically I mean, does the work remind you of something specific - your uncle, a camping trip, a T.V. commercial - or is it even more "abstract" or theoretical?

RD: I think it works both ways, or back and forth if you like - painting helps me see the world differently, and looking informs painting. But I do not think of the paintings as "symbolic" or derived from some specific form or event. In fact I work very hard to avoid it and it happens all the time - "oh this form or area of the painting reminds me of this or looks like a penis" or whatever - so I get rid of it. There is a relationship to other paintings or painters at work in the "abstract" painting, if that's what you mean by "theoretical".

TT: Do you try to edit out the influence of other painters, or just find it an enjoyable connection?

RD: Any recognizable "influence" in my work has been consciously employed in order to engage in a dialogue with the ideas those tropes represent, and to question certain assumptions about abstract painting. The last two decades has been all about appropriation, right? As a device, appropriated imagery runs the gamut from the poignant to the absurd. The cultural critic Thomas McEviley says that cultural cannibalism is a symptom of the end of empire, which makes a lot of sense. So there a lot of complex issues that come into play when one talks about "influence", not the least of which is the antiquated modern notion of "originality", which we now recognize as a romantic stand-in for the more market-driven concept of "branding".

TT: What percentage of the reasons for painting these works is based on that exploration (of a dialog with other painters/ideas)? Essentially, is that what these works are about, or are they about many things, that being one of them?

RD: Oh I don't know percents. Some do more than others for sure. These paintings are about the possibility of grace to work in the lives of "ungraceful" or regular people. That's not always a pretty thing. How do they do that? I don't know if they do - I mean, that is my intention. So one uses formal elements, like scale for example, or the pallet, along with the basic character of the forms and the way the paint is handled - kind of dumpy and right in the middle - you know, like no tricks or facility or whatever - and at the same time allow for the thing, the painting to surprise - even fail. You look to people whose work you feel is empathetic to those ideas, like Morandi or Guston or someone like Peter Acheson. On the other hand, maybe you're saying to yourself, I can make like a little tiny Clifford Still painting, you know? Be the anti-hero, the slacker. Little things can be scary, can be sublime.

TT: Does it matter if the viewer understands, or even knows about, your intentions for the work? Or are these personal, motivating ideas for you?

RD: Well sure, one wants them to read on some level. But paintings "mean" or "read" in their own way, in their own language. We can talk about what they mean, or what I hope they mean in words all day long, but in end you have this thing, the painting, and ultimately you have to deal with that. It just hangs on the wall. It's got all the time in the world. The other factor is what the viewer brings to the work. We all see what we want, what we need, and that changes too, over time. The painting doesn't change.

TT: How do you like to work - big blocks of time, late at night, early in the morning - what conditions are ideal for you?

RD: It depends. Usually it's when I can get time and money at the same time-they seem to be mutually exclusive. I draw a lot. I tend to work really intensely for long blocks of time- weeks, months, then not at all for a while. But I'm always thinking about working, always.

TT: Do you feel fortunate to be a painter in this time?

RD: No.

TT: Why are you a painter, versus being a poet, sculptor, musician, or even stockbroker?

RD: Just lucky I guess.

TT: Do you have work that fails and are hidden or destroyed - in doing the interview with Eunju Kang she said the "failed" work she puts away and then often looking at it later it gives her something - an idea to go on or to even rework the piece or a feeling that it wasn't so bad - how does "failed" work fit into your life?

RD: Oh yes. I think it all fails on some level, just some more than others. Other painters have said it before- and its true- it's always the next painting that you are going to get right. I can't stand to have old work lying about in storage-its depressing. I either paint over stuff, give it away, throw it out, yes. It is very cathartic to chuck a big painting in the dumpster.

TT: You have also worked as an art professor and so I assume teachers must have had an influence on you both to inspire your art work as well as to be a teacher. At what point, after graduate school, did you feel you were on your own ground? (Russell, I know this question assumes a lot - maybe you were on your own ground your second year of undergraduate work - feel free to correct my assumptions).

RD: On the contrary- I don't think we should assume I am on "my own ground" yet. I mean I don't have it figured out by any means. I've been at some places with my work where I felt pretty good, you know, like it was the right thing to be doing at the time and things like that, and I think I've made a few good paintings in my life- but it comes and goes- it really does. And I didn't learn anything about painting in school.

TT: Is there any conflict with selling work? Would you prefer to keep all the work yourself?

RD: God no. Sell it all. I don't get attached to things in general.

TT: Thanks Russell. Is there anything you'd like to add to this brief, but informative (for me) discussion?

RD: Thank you Tim, it's been really great. Thanks so much for taking an interest.


 

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For more information please visit http://www.russelldeyoung.com/

 

 

 



Artist Bio

Russell DeYoung

___________________________________________________________________________

 

Education

                1999                     MFA       University of Connecticut

                1994                                      Rollins College, (Master of Liberal Studies Program)

1988                     BA           University of South Florida

 

 Grants and Awards

 

2009                     Research Resident, Flying Horse Editions, University of Central Florida

                             New York Foundation for the Arts Strategic Opportunity Stipend

                                2007                     The Peter S. Reed Foundation, Inc., New York, NY

                2003                     Catskill Platte Cove Artist in Residency

Honorable Mention, Schoharie County Arts Council National Small Works Exhibition

2002                     New York State Foundation for the Arts Decentralization Program, Albany-Schenectady League of Arts Community Connection Grant

1997-                    Full Tuition Remission Grant, Master of Fine Arts Program, University 

                                1999                     of Connecticut

 

Selected Exhibition Record (* solo exhibitions marked by asterisk)

 

2009                     * Paintings and Constructed Paintings, Flying Horse Editions, University of Central Florida, Orlando, FL                         

Then and There, Carrie Haddad Gallery, Hudson, NY

Winter Exhibit, Carrie Haddad gallery, Hudson, NY

Russell DeYoung & George Van Hook, Gallery 668, Greenwich, NY

Public Bookstore: A Printed Art Collective, Eyebuzz Fine Art, Tarrytown, NY

 

2008                     *Little Paintings, Eyebuzz Fine Art, Tarrytown, NY

Scene/Reseen, Albany International Airport Gallery, Albany, NY

*Astronaut: Recent Paintings, Riverfront Studios, Schuylerville, NY

Contemporary Painting, Carrie Haddad Gallery, Hudson, NY.

 

2007                     Mohawk Hudson Regional Juried Exhibition, Albany International Airport Gallery, Albany, NY

5oth Annual Chautauqua National Exhibition of American Art, Chautauqua Institute, Chautauqua, NY

*Paintings, Lakeshore Gallery, Bolton Landing, NY

Carrie Haddad Gallery, Hudson, NY

Landscapes for Land’s Sake, Benefit Exhibition for the Washington county Agricultural Stewardship Association, Salem, NY

 

                                2006                     * The Enigmatic Landscape, Ambrose & Sable Gallery, Albany, NY

 

2005                     48th Annual Chautauqua National Exhibition of American Art, Chautauqua Institution, Chautauqua, NY

Haddad-Lascano Gallery, Great Barrington, MA

                                                                Carrie Haddad Gallery, Hudson, NY

Landscapes, Riverfront Studios, Schuylerville, NY

Gallery Artists, Lakeshore Gallery, Bolton Landing, NY

                                                                Significantly Small, Gallery 100, Saratoga Springs, NY

 

2004                     *Recent Paintings, Arts Center of Old Forge, Old Forge, NY

 Lake George Arts Project, Lake George, NY

Artist in Residency Program Exhibition, The Erpf Cultural Institute at the Catskill Center for Conservation and Development, Arkville, NY

Spring Landscapes, Gallery 100, Saratoga Springs, NY

Various Approaches to Landscape, Saratoga County Arts Council, Saratoga Springs, NY

Whispers of Nature, Centennial of the Catskill Park

Exhibition, The Erpf Cultural Institute, Arkville, NY

 

 

2003                     Landscapes, Carrie Haddad Gallery, Hudson, NY

Drawings and Prints, Gallery 100 Saratoga Springs, NY

 

2004                     Schoharie County Arts Council National Small Works Exhibition

                                                Schoharie County Arts Council, Cobleskill, NY

               

2002                     *The Sustainable Landscape: Paintings from Roxbury, Homestead and Slack Hollow Farms, Yates Gallery, Siena College, Loudonville, NY

                                2000                     Millennium: New Gifts and Acquisitions, The William Benton Museum of Art, Storrs, CT

 

1999                     International Contemporary Painting Competition, Erector Square Gallery, New Haven, CT

Art at the End of the Millennium, The William Benton Museum of Art,

Storrs, CT

 

1997                     Three Emerging Artists from Central Florida, Alice and William Jenkins Gallery, Winter Park, FL

 

1993                     Orlando Museum of Art Annual Juried Exhibition, Orlando Museum of Art, Orlando, FL

 

1991                     U.S.F./ Nanjing College of the Arts Print Exhibition Exchange, University of South Florida, Tampa, FL and Nanjing College of Arts, Nanjing, China

 

1989                     *The Pilgrimage: New Paintings, Albertson-Peterson Gallery,

Winter Park, FL

 

1988                     Tampa Triennial, Tampa Museum of Art, Tampa, FL

 

 

Collections

William Benton Museum of Art, University of Connecticut, Storrs, CT

Cornell Museum of Fine Arts, Rollins College, Winter Park, FL

Richard and Ann Artschwager

Flying Horse Editions, University of Central Florida, Orlando, FL

Orlando Museum of Art, Orlando, FL 

 

 

               

 


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