Russell Forester: Unauthorized Autobiography

Untitled (The Bathroom) 1993 Mixed media installation Russell Forester: Unauthorized Autobiography A 30 year retrospective of Forester's paintings, drawings, sculptures and installations that looks at his art in the context of his relentless experimentation and his parallel career as a renowned and award-winning architect. Press Release smart art press catalogue
Untitled 1950	Untitled 1975 Ink on paper	Untitled (The Crow) 1993 Mixed media installation
"Russell Forester has been making art in the beachside community of La Jolla since the early 1950s, but the word 'artist' is too small and limiting to describe him or the range of his creative activities. In a career that has spanned six decades, he has been an architect, painter, sculptor, draftsman, graphic designer, and industrial designer. At times he was even an electrician and seamstress." "Forester advocates that all creative people adhere to the time-honored ideal of the Renaissance man, or what is known colloquially in America as the 'jack-of-all-trades.' He believes that rather than focus on one narrow specialty, people should work in an ever-widening sphere of creative activity: sensitivity to aesthetic issues in one field automatically enhances one's awareness of what is going on in other fields." From Unauthorized Biography, Text by Michael Zakian, "Art Beyond Architecture", p11		Entrance Mayne Residence La Jolla, 1962
Untitled 1997 Mixed media	Death's Recruiter 1972 Casein and washed ink on paper	You Gotta Walk It Like You Talk It 1974 Acrylic on Linen
"Dissolve II: Russell Forester—The Painterly and the 'Architected' The 'Architectonic Series' appears in several special sequences, perhaps dispersed throughout the film. The various pieces appear, sometimes clustered collectively and at other times individually: in bright daylight with cast shadows, or overexposed and without shadow, then in simulation of overcast skies, followed perhaps by an interposed screen of rain. They might be tracked one by one as they are about to be positioned in their overall effect for their first public display in 1982, conveying the sense of an architect's oversize maquettes for eloquent urban planning: another Città Ideale, the modern skyscapes, the New York that might have been, or Niemeyer's 'mastered' Brasilia . . ." From Unauthorized Biography, Text by Alain J.-J. Cohen, "Filmic Dissolves on Russell Forester", p81

For more information, e-mail us or phone the gallery at (310) 264-4678
between 10 a.m. and 6 p.m. Monday through Saturday