Whether construction sites, parking lots, or a Baroque city palace as in the city of Saarbrückenone might encounter the art of the New Yorker Russell Maltz anywhere. It is painting without a canvas, without boundaries, as an intervention in the outdoor space. By means of the fascinating combination of painting and sculpture, Maltz succeeds in setting poetic accents that develop their particular effect through reduction to basic forms and targeted use of day-glow paint. On the occasion of the exhibition in Saarbrücken, an extensive catalogue of works created over several decades is being published for the first time, from the architecture-related painting installations of the late nineteen-sixties to the neon assemblages of recent years.

Autorentext
Steven A. Mansbach, Professor of the History of Twentieth-century Art at the University of Maryland in College Park, MD (USA), focuses his research and teaching interests on the genesis and reception of classical modern art from the last quarter of the nineteenth century through the middle of the twentieth. With interests that encompass all of Europe, his specific area of scholarly publication is the art of Central and Eastern Europe from the Baltic north to the Adriatic south. On this topic he has published numerous books, articles, exhibition catalogues, and essays.