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Milton Resnick: Late Works

Curated by Mor Pipman

I met Milton Resnick when I was a beginning student of painting in 1985. He came to the studio to look at my freshly painted painting and made some important remarks which I clearly did not understand. He asked if he could show me and I agreed. As he moved his big hand delicately but quickly across the thick paint my heart skipped a few beats and I felt lost, numb and excited. He asked again if I understood and I said that I did, although I was not sure. What I did understand was that he had opened a magic which I wanted to jump into. Immediately. Urgently. I wanted to learn to see.

Over the years our friendship evolved.  I started as admirer and became student, assistant, daughter, confidant. He was mentor, father, adviser and my most ardent supporter. When the opportunity to curate this exhibition of Milton’s work came along, it felt like a continuation – the next leg of what has been a lifelong journey.

Although I had some exciting ideas about which work to show, on my first venture into the studio in search of it I was like a child in a candy store. Everything looked irresistible. Everything was a must. I realized that a fresh start was in order and on the following visit I decided that I would look through all of the work, in chronological order, in the hopes that a show would reveal itself to me. I was looking for that magic and I knew that if I could keep focused, with my eyes wide open and my mind clear, I would recognize it.

In the back of my mind, or perhaps deeper, I kept wanting to jump ahead to the paintings that Milton had worked on during the last three years of his life. When I finally got to those paintings I instantly understood why. The now more familiar skip of the heart, which Milton had introduced me to twenty years ago, was stopping me as I looked at one painting after another with the same numbness, excitement and anticipation. When I got to 2004, I knew I had a show.

From 2001 through early March of 2004, Milton worked on a series of paintings which he called X-Space. There were many “X-Space”s, some “O-Space”s, “Space”s and “Untitled”s – the paintings always connected by a strong thread as Milton explored this theme from every conceivable angle. I have chosen 30 works with which I hope to represent the incredible range and breadth of this period. I have also included a few paintings which Milton called “Keys”. These were paintings which he asked me to set aside, as he considered them keys to the ones which followed and developed around them.

by Mor Pipman, Guest Curator

 

Selected Works

Snapshots From NYSS

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