Hill Top 1,  2017, oil on linen, 19 x 12 inches

Hill Top 1,  2017, oil on linen, 19 x 12 inches

I will be showing the new painting Hill Top 1 in  Elizabeth Harris Gallery's summer show. Please stop by.


New Gallery / New Work

June 10 - July 28, 2017

opening reception: Saturday, June 10, 3-6pm

elizabeth harris gallery
529 w20 st ny 10011











I will have in three pieces in the New York Studio School's Spring Benefit Event

Anonymous Was a Masterpiece

Wednesday, May 24, 6-9 pm.

Hundreds of 5 x 5 inch works will be available for sale, each priced at $100. The thrill is that all work is anonymous until after the purchase. Test your luck and your artist eye with this exhilarating sale.

All funds raised support scholarships!



A Day for Songs and Contests - View North and West from Long Island City , 2008, oil on linen, 42 x 132 inches

A Day for Songs and Contests - View North and West from Long Island City , 2008, oil on linen, 42 x 132 inches

I will be participating in the show

New York, I Love You, But ....

Opening Reception Thursday, November 5, 6-8 pm

Gallatin Galleries

1 Washington Pl @ Broadway
New York, NY 10003

Get Directions: Map

Mon – Fri: 9am – 9pm.
Sat: 10 am – 6 pm.
Sun: Closed.



Curator’s Statement

All the arguments against it are right: too crowded, too loud, too spread out, too expensive. But also: too exciting, too energetic, too fast, too much. All superlatives. New York, I love You, But… is a glimpse at the superlative that is New York, an audience to the internal conversation of the person pressed against the subway door, smelling something unidentifiable on the journey home from some unique, strange wonderful New York moment. It is a glance at the instances of excess and intimacy, humanity and wonder that define being a New Yorker.  “You are a New Yorker when what was there before is more real and solid than what is here now,” (Colson Whitehead) because being a New Yorker is as much about the frenetic thrust into the present (and by that we mean the future), as it is about harboring nostalgia for a New York that is eternally slipping away. CBGBs or Shea Stadium, Ebbets field or the Twin Towers; affordable rent or addicts in Times Square: all gone. What is lost is our city, the city that each of us individually makes through momentary encounters, reflections in the window of a cab, panoramic vistas we didn’t know existed, but became ours because that is where we fell in love, were held up, got away, and all the other endless events that create the place we call home

As part of that bifurcated experience, New York also lays out too plainly its problems. Economic disparity is nowhere so clear as on a walk through the city. If you walk an hour in any one direction, you see it. A multi million dollar  pied-à-terre, not even inhabited most of the year, minutes away from a cockroach infested five story walk up. The changes imposed upon neighborhoods, blind the already existing owners and tenants. A white man claims to have “settled” a part of Brooklyn, and we all know what he means: moved into a Brown space, a POC space, before the caucasian influx, made it safe for the late comer, as if it were an uninhabited desert, forgetting (if only momentarily), of course, that he too is an invader. The admixture of race and class, ethnicity and education, location and proximity make the turbulence apparent on the surface, all too quickly. The split is everywhere, and the only ones who seem not to see it are literally above the fray, in buildings with park views that push the clouds a little bit further up.

Within that constant but often unstated battle there remain the connections and crossings that fill ones day with a reminder of how strange and magical New York can be. Tourists openly marvel at acapella gospel groups on the subway, but die hard New Yorkers too look up with a warm recognition of talent. And on those platforms and trains, glances cross and moments had that push distant strangers into accidental intimacies. It’s not just Tinder and Grindr, OK Cupid and Bumble, but also real human bodies that meet by chance and make us murmur New York, I Love You, But…

- Keith Miller, curator


Khalik Allah, Annie Berman, Sophie Blackall, Nathan Fitch, Brian Foo, Joy Garnett, Suzanne Goldenberg, Nina Katchadorian, Paul McDonough, Lawrence Mesich, Ron Milewicz, Amy Park, Maddalena Poletta, Casey Ruble, Ken Schles, Terreform ONE












  Covered Bricks, 2013, oil on linen, 36 x 48 inches


Covered Bricks, 2013, oil on linen, 36 x 48 inches

I am participating in the show Presence of Form at the New York Studio School

Exhibition dates: October 8 - November 10, 2015 

Reception: Thursday, October 8, 2015, from 6 - 8 PM

New York Studio School

8 West 8th Street

New York, Ny 10011

212 673 6466


In honor of the New York Studio School's 50th anniversary, comes Part II of work by artists who are associated as faculty members of the school; past and present. The exhibition explores "The Presence of Form" - an aesthetic idea that links the teaching philosophies of distinct individuals who have had a presence over the School and influenced generations of artists.

Works on view by the following artists:

Rosemarie Beck 

Garth Evans

Sidney Geist

Philip Guston 

John Lees

Leonid Lerman

Ron Milewicz

Fran O'Neill

Ophrah Shemesh

Lee Tribe

William Tucker

Nicole Wittenberg













I will be participating in the Staten Island Museum's exhibition:



Staten Island Museum at Snug Harbor Grand Opening Weekend (FREE)

Saturday, September 19, 2015, 10:00am - 5:00pm

Staten Island Museum at Snug Harbor, 1000 Richmond Terrace, Building A


Staten Island SEEN and Staten Island SEEN: Witnessing Change

The exhibition traces this borough’s unique history and landscape from the 17th century to the present. These works are made by amateur and professional artists, working in a broad range of styles and materials from ink drawing to anaglyph 3-D video. Artists include the masters of the Hudson River School such as Edward Moran and Jasper Cropsey, a native Staten Islander, Cecil C. Bell, who lived on Staten Island and current talents.

I will also be participating in a panel discussion on Sunday, November 15 at 2 pm, located at the museum.



I will be participating in the exhibition


Paintings of the Contemporary Urban Landscape

Curated by David Ebony

April 29 - June 6, 2015


Edward Tyler Nahem Fine Art

37 West 57th Street

New York, NY  10019








  Acorns, Leaves, Sticks and Stones 2014, oil on linen, 6 x 9 inches


Acorns, Leaves, Sticks and Stones 2014, oil on linen, 6 x 9 inches

I will be participating in the upcoming exhibition

Small is Beautiful 

Flowers Gallery

November 20 , 2014 – January 10, 2015

Opening Reception Thursday November 20, 

6 pm – 8 pm

529 West 20th Street 3rd Floor

New York, NY 10011

212 439 1700













  Brick, 2014, oil on linen, 8 x 13 inches Benefit Auction for the New York Studio School October 23, 2014


Brick, 2014, oil on linen, 8 x 13 inches

Benefit Auction for the New York Studio School

October 23, 2014


Three Cranes, 2012, oil on linen, 30 x 40 inches

My work will be included in the upcoming exhibition

Westbeth Gallery: CITY AS SUBJECT 

Sept 20 – Oct 4, 2014

Opening Reception Saturday Sept 20, 

6 pm – 8 pm


 "Milewicz Paintings: The Souls Exceeds its Circumstances" by Richard McBee in The Jewish Press


The Soul Exceeds its Circumstances

September 5 – October 12, 2013

Reception: Thursday September 12, 6-8pm

Elizabeth Harris Gallery

529 W 20 St NY 10011 212 463 9666



catalog available


Ron Milewicz

The Soul Exceeds its Circumstances

September 5 – October 12, 2013

Reception: Thursday September 12, 6-8pm

Elizabeth Harris Gallery is pleased to present its third solo exhibition of new paintings by Ron Milewicz.

Acclaimed as a painter of the urban landscape, in his new works Milewicz turns to painting objects in order to regard the life of his father, Eli Milewicz. The elder Milewicz, who died in 2012 at age 98, was a tailor who survived Auschwitz, three other Nazi concentration and forced-labor camps, and two death marches. The artist has chosen, from the facts of extraordinary experience, to depict ordinary objects – a shovel, bricks, spools of thread, an overcoat, a leaf. The paintings surprisingly and uncannily address, without bombast, fundamental issues raised by surviving an atrocity of inconceivable cruelty and scale.

As poet Tom Sleigh writes in the catalog essay: "Milewicz’s images are suffused with a kind of metaphorical double vision...whatever the literal object in the painting, that object is both itself and something more. And that something more is always disturbing, not in some vague way, but in a way that feels deeply personal to the painter, meditated over, wrestled with, approached head on, then edged away from ---- as if the images were as much a psychic invitation as a psychic threat to both painter and viewer...These paintings make serious demands on the viewer. They are at once symbolic, historical, and personal. They refuse to stand aloof from biographical circumstance, but demand that viewers come to them prepared to intuit some deeper private resonance."

Consistent with the gravity of his subject matter, Milewicz’s imposing compositions are elemental – a single object or a group of objects, always presented actual size, is centrally located on the canvas, sometimes raised or lowered. Color, likewise held in check, relies on precise calibration and subtle shifts in hue and tone to achieve its haunting impact. Milewicz’s restraint yields images of tremendous force that belie the seemingly simple subjects they depict. Deftly painted but without emphasis on Milewicz’s formidable artistic skill, the paintings are quietly iconic, illicit multiple associations and acquire monumental significance.

As Sleigh writes of the painting Shovel: “ a shovel laid out on a plank of wood, the blade's rust and abrasions, nicks and scars, even the blade's helmet-like shape atop the vertical shaft, suggests a starved corpse laid out in a coffin; or a mock memorial to the slave labor of concentration camp victims; or a deteriorating, sick, and aged body hovering above the plank's map-like grain, as if an individual life had risen momentarily above the vast ebb and flow of historical circumstance.”

It is difficult to refer to these painting as still lifes, because the term is so often condescendingly misunderstood. Improbably, essential questions about man’s resilience and the possibilities of redemption underlie this powerful and moving exhibition of luminous paintings of simple things.

Ron Milewicz was born in 1963 in Brooklyn, New York. He studied art history at Cornell University (1979-83), received a masters degree from Columbia University Graduate School of Architecture (1983-86), and attended the New York Studio School (1990-1994), where he currently teaches. He lives and works in Queens, New York.

The gallery is located at 529 West 20th Street, 6th floor, and is open Tuesday through Saturday 11-6. A reception for the artist will take place on Thursday, September 12 from 6-8 pm.

for further information contact Miles Manning at