Los Angeles

Keith Milow

Pence Gallery

The works in Keith Milow’s recent show, entitled “100 Drawings,” function first and foremost as a unit. Realized in oil on copper, aluminum, or lead and mounted on plywood, the works present a distinctive visual lexicon. The uniformity of their format and execution and the resemblance of many of the drawings to enlarged ancient manuscript pages reinforce the sense that they are leaves from an image book. They seem meant to be read together, though not necessarily in any particular sequence.

Milow’s vocabulary consists of an array of decorative devices that appear to be derived from Renaissance painting: orbs, stars, dead branches in various symmetrical configurations, Roman numerals, undulating ribbons, and wreathes that look like crowns of thorns. These forms; employed in the classical era as flourishes rather than as the central subject matter, are gently juggled by Milow. Seemingly

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