In the mid 1970s Milow began a series of more than 100 Crosses between Painting and Sculpture: Latin crosses, often cast in concrete in emulation of the surfaces of modern buildings. Inspired by Minimalism, conceptual art and the work of Jasper Johns, Milow intended no religious or symbolic overtones but in 1979 again chose an image redolent with associations, Edwin Lutyens's Whitehall Cenotaph (1919–20), as the source for aggressively sculptural objects hung in pairs from opposite walls. After settling in New York in the early 1980s, Milow experimented briefly with a form of expressionist painting characterised by perspectival illusion before returning to reliefs made of plywood covered in sheets of lead.
A. Seymour: ‘Choice States: Keith Milow in Conversation', Studio Int., clxxiii/942 (1972), pp. 112–15
A. Lewis: ‘Keith Milow at Nigel Greenwood', Artscribe, 12 (1978), p. 58
British Art Now (exh. cat. by D. Waldman, New York, Guggenheim, 1980)
Article provided by Grove Art Online www.groveart.com