Milton Resnick (January 7, 1917 – March 12, 2004) was an American artist noted for abstract paintings that coupled scale with density of incident.

He was an inveterate reader, riveting speaker and gifted teller of tales, capable of conversing with college audiences in sessions that might last three hours.

Beginning in 2017, the centenary of his birth, the Foundation plans to open his former residence and studio, at 87 Eldridge Street in Manhattan as a public exhibition space to showcase his work, that of his wife Pat Passlof, and other Abstract Expressionist painters.

In the immediate aftermath of the Russian Revolution, Resnick's father abandoned his business and property, and emigrated along with his wife's family to America in 1922.

[13] In order to survive he sold his blood, modeled, and worked at the American Artists School, 131 West 14th Street, as the elevator boy, in exchange for tuition.

He observed Artaud, Matisse, Picasso, and Derain at close range, and spent an afternoon with Brancusi in his studio.

Other founding members included Franz Kline, Willem de Kooning, Ad Reinhardt, and Jack Tworkov.

The Club became famous, a venue for intellectuals and luminaries like Dylan Thomas, Hannah Arendt, John Cage, Joseph Campbell, Buckminster Fuller, Paul Goodman, William Barrett, Edgar Varese and the young Pierre Boulez.

After a 1949 debut exhibit at Charles Egan Gallery was cancelled, due to a dispute over missing paintings, Resnick did not have a solo show until 1955.

With the new decade, his work, previously characterized by muscular, sometimes chunky interlocking forms that seemed to function as a byproduct of a generalized aggressive attack, began to be replaced with a less fraught, loose and dispersive handling of paint.

Increasingly tending his own garden, he turned inward and began to produce—in complete disregard and perhaps defiance—the dense and rigorous all-over abstractions that would make his reputation.

In 1971 he was awarded a large scale exhibition featuring paintings from 1958 to 1970 at the Fort Worth Art Center Museum in Texas.

No inviting space beckons the viewer nor compromises the quite distinctive agitation of the surface that, along with a preference for mineralized color, characterizes much of Resnick's work for the last forty years of his life.