Etching Enigmas, an exhibition of Peter Milton's copper plates, prints and LED displays opens on March 20, 2016 and runs through October 9 at the Johns Hopkins University Evergreen Museum. It is a joint collaboration between the Baltimore Museum of Art, Maryland Institute of Art and the John Hopkins Museum. The exhibition planning started in August 2015 with a visit to Peter Milton's New Hampshire studio by Trudi Johnson of the Maryland Institute and Ann Schafer, a curator of the Baltimore Museum of Art. Additional information will be posted as it is received. A catalog with full essay is being planned.
An exhibition of Peter Milton's work at the Academy Art Museum, 106 South Street, Easton, MD is scheduled for Spring, 2016. Peter Milton: Living Old Master will run from April 23 - July 17, 2016, with a members' Reception on April 22, 2016, 5:30-7:30pm. For additional information click the link below.
Peter Milton's newest print, Tsunami (shown above), is now available.
Tsunami was suggested to me by Mike Leigh's cinematic account of Turner having himself tied to a ship's mast in order to feel what a storm at sea actually feels like in order to really paint it. It is also a reminder of my own summer of 1950 working on an oil tanker off the Pacific coast and a treasured evocation of a few of my own pitching and yawing storms.
A tsunami is rolling in from a mysterious seismic event. Riding out the great wave is a grand three masted schooner. On the deck an intent painter is at work. The name on the boat tells us it is JMW Turner, and his paintings confirm it. Foundering in the tumultuous white water of a storm surge is a small disintegrating sailboat with six boaters caught on a nautical spree. One man is clearly facing a losing battle.
In the sails of the small boat is a beckoning, flag waving man. If the painter is Turner, then this must be his most devoted admirer, the critic, John Ruskin, cheering him on as only this man of letters could do, By now it is clear that the boaters must be some Turner colleagues from The Royal Academy in London. Manning the boat's tiller is a young man who was later Turner's most notable competition, John Constable. At his feet is inscribed the name, Effie Gray, a reference to the pre-Raphaelite, once RA president, John Everett Millais. In turn, this boat's name brings us back to Ruskin whose beautiful Effie was later absconded from Ruskin by Millais. But that's another story.
Here Turner is the fierce hero with his flying dutchman of an imagined schooner riding out the savagery of nature and the vicissitudes of Art. Today, it now appears that it was Turner himself who had become the tsunami.
The edition of 70 prints is divided between a small version (19 x 30 inches) numbered 1-35/70 and a larger version (23 x 37 inches) numbered 36-70/70. Contact a dealer for additional information.
Peter Milton awarded the Speedball Art Products Materials Purchase Award in the SAGA Centennial Exhibition. The Art Student League of New York, October 22 through November 6, 2015. Opening reception, Thursday, October 22, 6-8pm.
Peter Milton's print, Shootout in Verona (shown above), is also available.
Shootout in Verona is theater of the absurd, an intoxicated time warp where farce and melodrama meet.
The image started as a pun on the word "shooting" which has turned Sergio Leone gunslingers into camera-packing paparazzi swarming the ballroom scene of Shakespeare's Romeo and Juliet. The image ended as a painstaking searching and probing for the best strategies with which to refine and re-refine my forays into multi-layered riffs on architectural classics. Read Peter Milton's complete notes on Shootout in Verona.
The edition of 90 prints is divided between a small version (19 x 30 inches) numbered 1-45/90 and a larger version (23 x 37 inches) numbered 46-90/90. Contact a dealer for additional information.
Peter Milton's print, Magritte's Eclipse (shown above), is also available.
Eclipse was born out of my interest in the photographer Eugene Atget, and out of my fascination with his c.1900 street photography of Paris. Work on the image went through many transformations and reversals, until my focus finally settled on Atget's Paris street scene of a crowd watching the hybrid solar eclipse of 1912. It was two days after the sinking of the Titanic. The clock is announcing the two times of the two events on a single face.
Magritte's Eclipse was the fourth or fifth variation this image went through before it came in for its final landing as a gathering of the various photographers associated with Paris. It occurs to me that people might wonder why I did not just stop at the Magritte variation. Mainly, with the amount of time I already had invested, putting the non-parisan Magritte at the center seemed too capricious. It was only later, after I had payed off my nattering demons with the more exacting Eclipse did I find Magritte's familiar ease and good nature a total relief. Much like Magritte, himself, where angst becomes like an old friend, I can just settle back with an apple or two, let that hybrid lunar eclipse and sinking Titanic wait, to enjoy a run of fantasy without message, comfort without guilt, with just that right soupçon of the unexplainable to help wash it all down. Read Peter Milton's notes on Sight Lines III: Eclipse.
The edition of 90 prints measure 19 x 30 inches. Contact a dealer for additional information.
Listen to an interview with Peter Milton that aired on National Public Radio (NPR) on November 16, 2014. It was produced by Angela Evancieas part of the series Color Decoded: Stories That Span The Spectrum. Click the link below.For One Artist, Colorblindness Opened Up A World Of Black And White
Davidson Galleries has an online retrospective of Peter Milton's early prints. Click the link below.Davidson Galleries
Larry Warnock also has similar online retrospective. Click the link below.Warnock Fine Arts
Current and Upcoming Exhibitions
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