I am writing to announce a new site to feature my work displayed using LED light boxes. This new site is a complement to my primary website which features all of my prints.
This new site also combines my interests as a former draughtsman and intaglio printmaker with my continued fascination with all things photographic, as I work to be a part of the continuing search for inventive surprises and innovation.
Visit lightboxes.petermilton.com for more information.
Twentieth Century Ltd II (TCL II) is a reworking of my 1998 Points of Departure III which memorialized the 1963 demolition of New York's Penn Station. The first TCL print also imagined an extravagant rescue operation, adding a gentle twist of collegial irreverence toward 20th Century modernism. For further details, turn to my Artist Notes for the previous version of TCL.
This new 2017 version of calamity-run-amock was first thrust upon me by the whole new chapter of our own dismaying times now twenty years beyond the the time of the original TCL image. In order to dramatize the amazing degree to which 2017 is surpassing any earlier demolition of a mere railroad station, I found myself unleashing a thundering set of lightning bolts to join the savage train crashes and the yet another careening in. This is the latest offering for the ever-growing oeuvre of images from an increasingly committed catastrophist.
I have now combined the running Marcel Duchamp with an equally commanding and audacious Louise Bourgeois. She is busy with an imagined twin, an irony originally suggested by the title of her 1946 construction,"The Blind Leading the Blind”. She is sending forth a stealth variant of one of her towering avenging spiders. Duchamp is carrying the crack and breaks from a shipping accident to his "The Big Glass" which he then perversely decided to like; and also carries my future Y2K Millennium variant on his "Box in a Valise” series, with its pointed designation of "The Exterminating Angel".
Art is Truth and lies are not. My phantom duo arrive from another period of difficult times with this smoking message for our own growing legion of the aghast and repelled. The pair's animated presence is anticipating the arrival of the first responders. As I write, the first indictments have just been issued.
It's been been two years since my website was updated. Steve Brixner, my webmaster, was in increasingly failing health, and finally last October his valiantly fought bone marrow transplant battle ended. His loss is devastating to all of us all who knew him.
Steve's site was unique, highly personal, and in many ways irreplaceable. But for many months I have been working on a newly designed and fully updated return of petermilton.com with Nic Goodman, the brilliant and deeply committed developer of NineBar Creative in Asheville, NC.
All the links and essays have been restored. There will however be further adjustings and additions. If there are any areas which you feel invite further inclusion or smoother ease of use, we would be more than happy for your imput. I am currently working with The Old Print Shop in New York to bring even more zoom functionality and higher resolved scanning results to many of the earlier images. And shortly we will be adding a newly re-imagined 2017 second state of my 1999 TWENTIETH CENTURY LIMITED.
You may note that the last two years have been unusually active and eventful ones for me. To start you might want to look through the "News" and to catch up with the latest "CV: Chronology" developments. I am pleased to be able to finally offer some sincerely felt relief to all interested after such a long hiatus of news and neglected happenings.
THE ASPERN PAPERS is a classic tale by Henry James of duplicity foiled and love denied. Taking place in Venice, this print version is a gleaned set of eight prints developed and further opened up from the earlier 18 drawings portfolio of 1990-92.
I was intrigued by the question of how the images might benefit from the highly refined layering approach I had been exploring from my decade's adventure of working with Adobe Photoshop. My challenge was to stay true to the touch and textures of the original graphite drawings, and to remain equally resistant to the more facile or pre-programmed filtering that can so often de-personalize an artist's intentions, as intriguing as those effects can be.
I am including an accompanying link of the detailed chapter I wrote for my 1993 drawing catalogue raisonné, The Primacy of Touch. It follows my Venetian adventures, among which were the photographing and drawing of the now cat-infested derelict palazzo, and the ravishing Lake Como sojourn of three months at the Rockefeller Foundation's Serbelloni Villa in Bellagio, Italy. It was a career's high point for me with its dream pursuit of the intricacies of this tale of sly guile and of a love's labors lost.
The original Aspern Papers drawings portfolio was my second commissioned project of a Henry James novella following The Jolly Corner, suite of 21 prints of 1969-71. One sportive ambition of the present print set is for each of the eight prints to contain images of the Master himself, strolling, brooding, or stalking his literary prey.
The eight print suite is an archival digital edition of 75, measuring 14 x 22" on 22 x 30" paper.