Artist biography

English sculptor, painter and printmaker. As a student at Camberwell School of Art, London, from 1962 to 1967 and at the Royal College of Art from 1967 to 1968, he produced representational paintings of modern architectural imagery. These were followed in 1970 by a series of wall hangings made of resin, crayon and fibreglass titled Improved Reductions, in which his painted copy of a sculpture by Anthony Caro was cut into strips and then reassembled into a parabolic shape. Elements of paintings and sculpture were also combined in his Infinity Drawings (e.g. Infinity Drawing (ID/16B/75), 1975; Brit. Council Col.), in which he used a plasterer's comb to score surfaces painted with aquatec gel mixed with oxidised copper powder. Here the equation of fragmented patterns suggestive of mathematical symbols involves the spectator in games of mental transference.

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)


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