{"id":1815,"date":"2010-07-12T11:58:16","date_gmt":"2010-07-12T18:58:16","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2010\/07\/peter_millett_-_cake_boss_scul\/"},"modified":"2010-07-12T11:58:16","modified_gmt":"2010-07-12T18:58:16","slug":"peter_millett_-_cake_boss_scul","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2010\/07\/peter_millett_-_cake_boss_scul.html","title":{"rendered":"Peter Millett – cake boss, sculptor, imaginary architect"},"content":{"rendered":"

From a physical understanding of volume, Peter Millett built a cake. <\/p>\n

BIG CAKE, 2010
\nGalvanized steel
\n48 x 26 x 26 inches<\/div>\n

\"petermillettcake.jpg\"His triangles join, like cupped hands, to make a bowl.<\/p>\n

FEAST BOWL, 2009
\nPainted wood
\n25 x 21 x 8 inches
\n$7,500<\/p>\n

\"petermilletredwod.jpg\"He moves back and forth between wood and steel, from carving into a solid to manipulating the empty skin of metal. In metal he can extend and twist a triangle. When triangles try to become a square, they fail, just as, in Millett’s mind, the American effort to remake Iraq in its image will fail. <\/p>\n

OPEN SQUARE, 2009
\nWelded steel
\n38 x 40 x 6 inches<\/p>\n

\"petermillettsquare.jpg\"He makes no models or drawings for his sculpture, preferring to work directly with what he calls the “real stuff.” While real stuff is in his hands, real stuff is in his head. His current exhibit at Greg Kucera Gallery<\/a>, titled Skyscrapers<\/i>, is a tribute to architects who blur the line between sculpture and buildings, making art that people inhabit high in the sky.  With a tough elegance that compromises on nothing, his sculptures and
\ndrawings collaborate to create a weathered sense of place.
\nLisa Corrin<\/a> called his
\nwork “disembodied architecture,” and that’s certainly part of it.<\/p>\n

In HOTSEAT  (2010
\nWelded steel
\n60 x 22 x 12 inches), his imaginary architecture becomes an emblem of mourning. The moire-pattern of its skin function as windows, something like the Bridge of Sighs<\/a> but more what prisoners in their Guant\u00e1namo Bay holding cells might see through chain-link. The few accused with evidence of substantial crimes mingle with those who were in the wrong place at the wrong time and those who are guilty of thought crimes.<\/p>\n

\"petermillettmoireskystel.jpg\"Decades ago, traveling in Iran, Millett was struck with the spare
\nbeauty of the cities, how homes and mosques had almost no furniture, and
\nhow light streaming through windows was filtered by latticework grills,
\ngiving the emptiness inside a patterned sense of form. 
\nAn affinity for Middle Eastern architecture and decor is fundamental to
\nhis work. It’s hardwired into what he does. He’s not as much influenced
\nas drawn to admire. <\/p>\n

That admiration is the subtext of his modernist
\nform. Following Brancusi and Noguchi, his work is more elemental than
\nminimalist, rooted not just in nature but in human
\nnature. Millett has his rich color sense largely in check, giving free rein
\nonly to rust. The range of his rust tonalities is a marvel, from cold
\nand dark to dappled across a fluid expanse and warm in places as
\noven-baked bread. <\/p>\n

Through August 14.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

From a physical understanding of volume, Peter Millett built a cake. BIG CAKE, 2010 Galvanized steel 48 x 26 x 26 inches His triangles join, like cupped hands, to make a bowl. FEAST BOWL, 2009 Painted wood 25 x 21 x 8 inches $7,500 He moves back and forth between wood and steel, from carving […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1815","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1815","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1815"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1815\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}