Andrew Cornell Robinson will present a new body of work titled A Congregation of Wits, an installation of one thousand images, prints and drawings.

Double Violet, silkscreen, monotype, collage, 30 x 40 inches, 2018 © Andrew Cornell Robinson

Also on view at RUSK, New York City

“When am I done?” is one of the perennial questions working artists ask themselves.  To be continued., conceived and organized by artist and curator Eve Rusk, invites artists to exhibit before they have reached a definitive answer to that question.  We are delighted to feature the work of Andrew Robinson in our inaugural show.

The exhibition will be on view by appointment through January 31, 2019.
For more information contact, Eve Rusk at
LOCATION Rusk, 39 West 37th Street, 15th Floor

K (front and back), silkscreen, monotype, collage, 17 x 17 inches, 2018 © Andrew Cornell Robinson

Drop by the exhibition. If you can't make it to Miami in person, selections from this project will also be available online for a limited time.


During a visit to Pasquino, one of the “talking statues” in Rome, Italy, Robinson was moved by the leaflets, poems, prayers, manifestos, affirmations and protestations plastered over this sculpture and pediment. Mementos like these have been left by Romans since the sixteenth century when it was one of the only ways that the disempowered citizenry voiced their complaints against a corrupt city state. Each message signaling the voice among a choir of discontent or deepest wish. Much like the bleating crowds on social media, these physical traces of unheard and unheeded citizens create a compelling visual palimpsest of civic gathering. In the soon to be premiered artist’s limited-edition print, A Congregation of Wits Robinson recalls focusing on the hand-written messages, taped and tacked together, thinking, “What does it look like when a society gives voice to the voiceless?”. He began assigning drawn images and transcribing quotes, poems, prayers and affirmations; assigning a fragment of text to each drawing, imagining a community and the unique voices in congregation. This idea manifested in a series of one thousand drawings, and one thousand statements which were then silkscreen printed onto a series of forty double sided prints and related artifacts.

Each print is comprised of twenty-five drawings juxtaposed into a modular grid within a square. A series of abstract forms based on Robinson’s gesture drawings of Jamón ibérico is over printed in red, blue, green and yellow. This Spanish ham leg form appealed to Robinson after having traveled extensively in the Iberian Peninsula where he encountered a common gesture of hospitality; the offering of a plate of charcuterie. One of the artist’s favorite authors Christopher Hitchens, speculates that this tradition of presenting guests with cured pig derives from the inquisition where such an offering was a means of sniffing out disingenuous religious converts. These prints with layered meanings, and cryptic drawings of people, places, events and things are paired with uncanny phrases composed in bold sans serif and serif letterforms. The series presents a humorous visual and verbal trace of the voices within a community. They reveal conflicts through caricatured reflections of humanity. As the series progressed, Robinson envisioned these mementos in multiple forms including an animated film, related works on paper and an series of ceramic artifacts.

The style of Robinson’s renderings ranges from technical line drawings, digital imaging and gestural marks in ink and wax crayon transformed through silkscreen print. Composed in a loose and exuberant manner, these images and lines are a reflection and response to the faceless din of civic chatter where everyone talks and no one listens. Robinson curiously reminds us that we can approach the choir of incoherent voices with a sense of humor.


Andrew Cornell Robinson in the studio with 0ne thousand drawings on the wall © 2018, Photographer Michael Chiabaudo


Andrew Cornell Robinson, born in Camden, New Jersey 1968, has been known for his ceramic sculptures, prints and craft collaborations exploring the ephemeral themes of desire, power, memory and making. His work explores relationships between material and narrative, often creating multiple images and objects as artifacts based on a revision of history where the losers are winners and the silent get a voice. While he primarily works in ceramic, he uses an array of additional materials that include sculpture, printmaking, photography, drawing, fashion and performance.

He has been awarded residencies and fellowships including the Edward Albee Foundation, Urban Glass, The United Kingdom’s Crafts Council, India’s Agastya Foundation and Donna Karan’s artisan project Urban Zen in Port au Prince, Haiti. He has worked with The Powerhouse Workshop and their design team from the Pritzker-prize winning architecture firm Herzog & de Meuron in the design and development of a ceramics and interdisciplinary studio established to serve the working needs of artists in New York City. He has participated in curatorial and research projects and recently was a participating artist in Debtfair a project in the Whitney Biennial. His exhibitions include solo shows at Saint Joseph’s University, Christopher Stout, and Eyelevel BQE galleries and group exhibitions and symposia at Anna Kustera Gallery, ADO Gallery, David & Schweitzer Contemporary, the American Center for Design, the Bruce Museum, the Ross Art Museum, the Baltimore Contemporary Museum of Art, the Aldrich Museum, et al. He has been a visiting artist and lecturer at Columbia University, Brooklyn College, Cooper Union, School of Visual Arts, Pacific Northwest College of Art and Saint Joseph’s University. Robinson is a member of the faculty at Greenwich House Pottery, and Parsons School of Design. He lives and works in New York City.