appears to intimately enmesh the figures. By itself this contradictory handling of spatial depth recalls none other than Cézanne. Yet, you also see the same quality present in the abstract paintings; albeit far more subtly.
Untitled, 1959, Oil on paper mounted on board, 30 x 22 in
Milton Resnick�s solo show at the Robert Miller gallery in March 2001 (reviewed on these pages) featured two categories of paintings: those entitled X Space and those entitled Above Below. Each group presented very different forms but a
Milton Resnick, X-Space, 2000, oil on canvas, 40 x 50 in
consistent approach to paint handling. In that show, indeed through out his entire career, Resnick has kept his forms very simple. From this singular perspective these paintings are, if not minimal, at least reductive. But the thing is, you can�t just stay with the forms because they are
