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Paton MillerRead All About It2021
2021
About the Item
A painting of a whimsical scene, "Read All About It" shows three animals of indeterminate species sitting on a soft pastel, green field facing a large billboard. On the billboard are a collection of images, because obviously, animals can't read.... These images are collaged together, all drawings on paper, charcoal or pencil, under a layer of resin, embellished with paint over the resin. Each drawing tells its own little story, we have people in boats and wagons, animals, water scenes and landscapes. Paton is a prolific draftsman and this is his way of working his favorite sketches into his larger paintings. The background is purposefully distressed, another often used technique of Paton's, red and white showing through patchy blue, the painting has quite literally been sanded.
This item came directly from the artist's studio and has never been owned. It has however been intentionally distressed and made to look as if it could have a long and rich history common theme in Paton's work. The patchwork style of collage that Paton uses is unique, intentional and has been perfected over the course of his career.
Canvas mounted on wooden panel, canvas sides painted dark grey.
Dimensions 38in x 48in
Paton Miller, b.1953, in Seattle,Washington, raised in Hawaii has made his home in Southampton since 1974.
Paton is in the permanent collections of Guild Hall, The Parrish Art Museum, The Heckscher Art Museum and others.
One of the most collected artist on Eastern Long Island, Paton has had over 25 solo exhibitions in NYC and many exhibitions on the West Coast, Europe and Asia.
Paton has curated 6 East End Collected exhibitions at the Southampton Arts Center and was asked by the Heckscher Museum in Huntington, NY, to co- curate their sentential exhibition in 2020.
- Creator:Paton Miller (1953, American)
- Creation Year:2021
- Dimensions:Height: 38 in (96.52 cm)Width: 48 in (121.92 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:This item came directly from the artist's studio and has never been owned. It has however been intentionally distressed.
- Gallery Location:Sag Harbor, NY
- Reference Number:
Paton Miller
Paton Miller’s natural talent as an artist was apparent from an early age when his family noticed Miller drawing caricatures of the family. This interest in the family condition grew into an interest in the human condition, leading him to his early studies of Honoré Daumier, Francisco de Goya, and William Hogarth. The family moved to Hawaii when he was quite young. In 1973, following his formal art studies at the Honolulu Academy of Arts, Miller embarked on a year-long journey that took him west from the island of Oahu, Hawaii, to the Philippines, China, much of Asia and Europe, finally returning to the United States. In the ensuing years, Miller has had over fifteen solo exhibitions and numerous group shows in New York, and across the United States and around the world. His penchant for capturing the comedy and drama of the human condition continues to this day. Reminiscing about those first early days in Southampton, Miller remarked on his first exposure to the titans of contemporary art: “I found myself in the studios of Willem de Kooning, Roy Lichtenstein, Larry Rivers, and Frank Stella. It was a great experience for a young artist.” Miller’s work is a combination of his early influences, his own life experiences, his personal life, and his extensive adventures. Many writers have commented on Paton Miller’s unique works, including American art critic, poet, and professor Donald Kuspit, who wrote: “These pictures make clear a familiar, but often forgotten point: that the expressivity of a representational scene often depends upon the abstract intensity generated in response to the medium. Without this visionary intensity, representational painting can become a kind of perceptual journalism. It becomes all the more important when the artist is picturing inner rather than overt horror. The achievement of ecstatic abstractness also indicates that the artist is master of the scene, rather than overwhelmed by what she or he is rendering — to make it appear magically upon command, which is what Miller’s version of magic realism does.”
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