{"id":3578,"date":"2013-10-07T15:32:17","date_gmt":"2013-10-07T15:32:17","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=3578"},"modified":"2013-10-03T12:02:37","modified_gmt":"2013-10-03T12:02:37","slug":"book-of-innocence-and-experience","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=3578","title":{"rendered":"Book of innocence and experience"},"content":{"rendered":"<div id=\"attachment_3579\" style=\"width: 458px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Scissors.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3579\" class=\" wp-image-3579  \" alt=\"Scissors\" src=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Scissors-1024x706.jpg\" width=\"448\" height=\"310\" srcset=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Scissors-1024x706.jpg 1024w, https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Scissors.jpg 2033w\" sizes=\"auto, (max-width: 448px) 100vw, 448px\" \/><\/a><p id=\"caption-attachment-3579\" class=\"wp-caption-text\">Scissors, Ron Milewicz, oil on linen<\/p><\/div>\n<div id=\"attachment_3580\" style=\"width: 457px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Spools-II.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3580\" class=\" wp-image-3580    \" alt=\"Spools, Ron Milewicz, oil on linen\" src=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Spools-II-1022x1024.jpg\" width=\"447\" height=\"448\" srcset=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Spools-II-1022x1024.jpg 1022w, https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Spools-II-150x150.jpg 150w, https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Spools-II-300x300.jpg 300w, https:\/\/thedorseypost.com\/wp-content\/uploads\/2013\/09\/Spools-II.jpg 1471w\" sizes=\"auto, (max-width: 447px) 100vw, 447px\" \/><\/a><p id=\"caption-attachment-3580\" class=\"wp-caption-text\">Spools, Ron Milewicz, oil on linen<\/p><\/div>\n<p>I&#8217;ve never posted two paintings from a show I&#8217;ve written about, so that alone ought to indicate how much I liked this one.\u00a0One of the deepest pleasures of my visit to Chelsea two weeks ago was seeing the quietly commanding still life paintings of Ron Milewicz at <a href=\"http:\/\/www.eharrisgallery.com\/current_exhibition.html\" target=\"_blank\">Elizabeth Harris<\/a>. Having been given a free copy of the exhibition catalog, and reading the background on the show, entitled\u00a0<i>the soul exceeds its circumstances<\/i>,\u00a0I was conflicted, in a good way, about why the show worked so well. To say it \u201cworked\u201d is to diminish the subtle effect it has on you, at a purely instinctive and visual level. Even without knowing what inspired the show, you can feel these paintings are the outcome of restrained passion and love simply in the way he paints. You see image after image of modest household items, painted in an almost casual and un-assertive way, each object isolated in a field of white or Rembrandt-murk. The artist carefully depicts what he sees without fussing over hyper-realistic detail. These images immediately win you over with their humility, offered through an easy and relaxed execution. In painting after painting, you sense that Milewicz was working entirely within himself, as they say in sports, not striving to do anything more with the paint than he needed. Not trying to impress or dazzle with his skill; simply getting each object to the point where it\u2019s all his own eye required to feel the life of the object. A brick, a shovel, a braid of challah bread, spools of thread, a hydrangea blossom, or a pair of scissors resting on a neatly folded cloth: they look as if they could smile back at you. Walking through the show, you feel as if you\u2019re seeing tiny glimpses of the good life, in the highest sense, governed by an orderly middle-class serenity earned through hard work.<\/p>\n<p>You might pause and wonder, as I did, why challah? Oh right, the artist is Jewish. Then, out of curiosity, you ask for a catalog and read the guest essay and the artist\u2019s brief statement about his inspiration for the show. You realize this isn\u2019t simply a refined way to make the simplest possible set of still lifes, but\u2014looked at as a whole\u2014this show\u00a0is a fragmented narrative. These are glimpses of the happy life the artist\u2019s grandfather led when he came to live in Brooklyn and work as a sample maker in Manhattan\u2019s garment district. He and his wife apparently were gardeners as well. Yet you discover the deeper history behind each object when you read that Eli Milewicz weighed 60 pounds on the day Germany lost WWII and his \u201cdeath march\u201d to the Baltic Sea ended. His wife, Anna Kaplan, was also a survivor of the Nazi concentration camps. So you go back and look at each image and see the resonance of the horrific past in each painting: suddenly bricks mean a different sort of oven. A shovel is for digging both gardens and graves. Spools of thread struggle to breathe in their sealed plastic bags. And so on. If you are going to make a statement about anything, let alone something as evil as genocide, then it\u2019s hard to imagine a more understated way to sum up an entire individual life in a set of images that have double, or triple, meanings. The show as a whole is a book of \u00a0innocence <em>and<\/em> a book of experience, with both states of the soul fused together into half the images Blake required. And every one of these paintings is beautiful.<\/p>\n<p>If art depends on commentary and knowledge extraneous to the image itself\u2014and I generally hate it when that happens\u2014then this is how it should be done. The paintings work well, entirely on their own, without background information, and yet they gain in gravity and, frankly, are even more interesting, when you hear why Milewicz was moved to paint such fraught images in such a <i>sotto voce<\/i> way. As Tom Sleigh puts it in the catalog essay: \u201cThe power of Milewicz\u2019s images inheres in how he refuses to go in for the big teary-eyed gestures, and how ordinary objects like shovels, overcoats, and spools of thread are invested with deeper meanings. . . .but without insisting on them.\u201d Those last five words are the key. The \u2018deeper\u2019 meaning is there if you wish to uncover it. Instruction isn\u2019t included in the work itself, nor is it required. These are first and foremost <i>paintings<\/i>, not propositions. And very good ones at that.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I&#8217;ve never posted two paintings from a show I&#8217;ve written about, so that alone ought to indicate how much I liked this one.\u00a0One of the deepest pleasures of my visit to Chelsea two weeks ago was seeing the quietly commanding still life paintings of Ron Milewicz at Elizabeth Harris. Having been given a free copy [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3578","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Book of innocence and experience - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=3578\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Book of innocence and experience - represent\" \/>\n<meta property=\"og:description\" content=\"I&#8217;ve never posted two paintings from a show I&#8217;ve written about, so that alone ought to indicate how much I liked this one.\u00a0One of the deepest pleasures of my visit to Chelsea two weeks ago was seeing the quietly commanding still life paintings of Ron Milewicz at Elizabeth Harris. 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