CHRISTIAN BONNEFOI
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

JOHN MILLER

Born in Cleveland, Ohio 1954

Lives and works in New York

 

EDUCATION

1979 M.F.A. California Institute of the Arts

1978 Whitney Museum of American Art Independent Study Program

1977 B.F.A. Rhode Island School of Design

 

MUSEUM AND PUBLIC COLLECTIONS

Whitney Museum of American Art, New York
Museum of Contemporary Art, Los Angeles
Museum Ludwig, Cologne
Cabinet des Estampes, Geneva
Carnegie Mellon Museum, Pittsburgh
Queensborough Community College Gallery Collection, New York
Frac Limousin, Limoges

 

SELECTED SOLO EXHIBITIONS

2016 «Relation in public», Richard Telles Fine Art, Los Angeles

«I Stand I Fall», ICA, Miami

«Sex Appeal of the Inorganic (with Richard Hoeck)», Johann Widauer, Innsbruck

«Mannequin Death (Two person show with Richard Hoeck)», Metro Pictures 83 Pitt Street, New York

2015  «Counterpublics», Campoli Presti, London

«Here in the Real World», Metro Pictures and Mary Boone Gallery, New York

«Open to All Ages and Ethnicities», 2 person show with Takuji Kogo, Neuer Berliner Kunstverein, Berlin

«Mannequin Death (two person show with Richard Hoeck)», Offsite, Rosinierre, Switzerland

«John Miller, Dominik Sittig», Galerie Nagel Draxler, Cologne

2014 «Do it Again!», Meliksetian Briggs, Los Angeles

«A Moveable Feast – Part XIII», Campoli Presti, Paris

«Our Shadowless Universe», (two-person show with Anna Rosen), Malraux’s Place, New York

2013 «The Angel of History (two-person show with Aura Rosenberg)», 3A Gallery, New York Meyer Reigger, Karlsruhe, Germany

«The Middle of The Day», Shoot The Lobster, New York

«Subjective Monuments», Marc Jancou Contemporary, Geneva

«The Grotesque», Kubus, Vienna, AT

2012 «The Petrified Forest», Praz-Delavallade, Paris

«Suburban Past Time», Metro Pictures, New York

2011 «Wolfgang-Hahn-Preis», Museum Ludwig, Cologne

2010 «The Totality of All Things as They Actually Exist», Galerie Barbara Weiss, Berlin

«Richard Hoeck John Miller: Grotesque», Galerie Johann Widauer, Innsbruck

«A Holiday in Other People’s Misery», Galerie Christian Nagel, Cologne

2009 Kunsthalle Zurich, Switzerland

«The Natural Order», Patrick Painter Inc, Santa Monica, CA

2008 «Is That All There Is?», Sutton Lane, London

Meyer Riegger Galerie, Karlsruhe

«11 Sessions» (with Karin Schneider and Matt Keegan), Orchard 47, New York

«Camouflage on a Mannequin» (with Rachel Hoeck), Micheal Hall Contemporary Art, Vienna

2007 «The New Honeymooners», Friedrich Petzel, New York; Metro Pictures, New York

«Back to the Garden», Praz-Delavallade, Paris

«The Office Party and the Communist Party», Schuermann Berlin, Berlin

«The Middle of the Day (online)», Jeffrey Charles / Henry Peacock, London

Michael Hall Contemporary Art, Vienna

2006 «Something for Everyone (with Richard Hoeck)», Jeffrey Charles / Henry Peacock, London

«Total Transparency», Metro Pictures, New York

2005 «Something for Everyone (with Richard Hoeck)», Engholm Galerie, Vienna; Galerie Hans Widauer, Insbruck; cable tv broadcast (CAC TV), Contemporary Art Centre, Vilnius, Lithunia

«Plakat» (with Richard Hoeck), Kunstraum Innsbruck

«The Middle of the Day», Musee d’Art Moderne et Contemporain, Geneva; Galerie Barbara Weiss, Berlin; Galerie Praz-Delavallade, Paris

2004 «Total Transparency», Richard Telles Fine Arts, Los Angeles

«Everything is Painted Brown», Metro Pictures, New York

«493 KB From the Administered World», Jeffrey Charles Gallery, London

2003 «Ich (36/175/74)», Meyer Riegger Galerie, Karlsruhe

«A Mutually Beneficial Encounter», Galerie Christian Nagel, Cologne

«Everything Is You», Galerie Praz-Delavallade, Paris

2002 «Screen Memories», Einstein Forum, Potsdam

2001 «Deliveries in Rear», Tiroler Sparkasse, Innsbruck, Austria

«Double Date», Galerie Barbara Weiss, Berlin

2000 «Consolation Prize» (with Mike Kelly), The Belkin Gallery

«Pilot», Richard Telles Fine Arts, Los Angeles

«The Middle of the Day», Art + Public, Geneva

1999 «Parallel Economies», Le Magasin, Centre National d’Art Contemporain de Grenoble

«Pillars of Salt», Galerie Barbara Weiss, Berlin

«The Lugubrious Game», Meyer Riegger Galerie, Karlsruhe

«Opposite Day», Metro Pictures, New York

«Parallel Economies», Kunstverein in Hamburg

1998 «For the Good Times», Richard Telles Fine Arts, Los Angeles

«Low Noon» (with Richard Hoeck), Galerie & Edition Artelier, Graz

«White Studies» (with Richard Hoeck) Kunsthalle Wien, Vienna (cat.)

«Alive with Pleasure» (digital projections), Candy Factory, Yokohama

«John Miller: Paintings and Sculptures», P.S. I, Long Island City, New York

«Hard Hat» (with Richard Hoeck), Kunst-Werke Berlin

1997 «Hommage an Karl May», Galerie Barbara Weiss, Berlin

«A Trail of Ambigious Picture Postcards», CCA Kitakyushu Project Gallery

1996 «The Middle of the Day», Richard Telles Fine Arts, Los Angeles

«The Middle of the Day», Kunstbuero im Museum für Literatur am Oberrhein, Karlsruhe

«Field Manual for a Tautologie», Galerie Thomas Riegger, Karlsruhe

1995 «The Middle of the Day», Metro Pictures, New York, Galerie Barbara Weiss, Berlin

Galerie Rizzo, Paris

1994 Richard Telles Fine Arts, Los Angeles

1993 «The Long March, the Narrow Road», Metro Pictures, New York

Art & Public, Geneva

1992 «Rock Sucks/Disko Sucks», daadgalerie, Berlin, Bruno Brunnet Fine Arts, Berlin

Laboratorium Gallery, Center for Contemporary Art, Ujazdowski Castle, Warsaw

Jablonka Galerie, Cologne

1991 Roy Boyd Gallery, Santa Monica, California

Andrea Rosen Gallery, New York

1990 «…but the flesh is weak», Metro Pictures, New York

Galerie Isabella Kacprzak, Cologne

Standard Graphik, Cologne

1988 Metro Pictures, New York

Galerie Sophia Ungers, Cologne

1987 American Fine Arts, New York

1986 Metro Pictures, New York

1985 Rosamund Felsen, Los Angeles

Metro Pictures, New York

1983 «Recent Work», The Kitchen, New York

1982 White Columns, New York

 

SELECTED GROUP EXHIBITIONS

2016 «Painting 2.0: Expression in the Information Age», Mumok, Vienna

2015 «Painting 2.0: Expression in the Information Age», Museum Brandhorst, Munich

«Collecting Lines: Drawings from the Ringier Collection», Villa Flora, Winterthur, Switzerland

«MOMMA», Southhold, Long Island

«Mary / Miller / Mosset / Overton», Triple V, Paris

«Call and Response», Gavin Brown’s Enterprise, New York

«1989», Galerie Barbara Weiss, Berlin

«Commercial Break», official office: Final Quarter: Konstanet, Talin, Estonia; Recess, New York

«SOMA», Mexico City; STORE, Dresden

«Inside/Outside», Quadart Dornbirn, Dornbirn, Austria

«The Written Trace», Paul Kasmin Gallery, New York

«Freedom Culture», Journal Gallery, Brooklyn

«Body Bildung», Galerie Max Mayer, Düsseldorf

«Gjon Mili International Photography Exhibition», the National Gallery of Kosovo, Kosovo

«Boogie Woogie Wonderland», Kalmar Konstmuseum, Kalmar, Sweden

«B & W», Center for the Arts, Eagle Rock, California

2014 «Art in Pop», Le Magasin, Grenoble, France

«B1/A40: Die Schoenheit der Grossen Strasse», Urbane Kunst Ruhr, Dortmund, Germany

«The St. Petersburg Paradox», Swiss Institute of Contemporary Art, New York

«The Human Factor», Hayward Gallery, London

«Take It or Leave It», Hammer Museum, Los Angeles

«Gold», Bass Museum of Art, Miami

«Wurst Wust West», Buro Weltausstellung, Vienna

«The Promise», Arnolfini, Bristol

«Rockaway!», Rockaway Beach Surf Club, Queens, New York

«No Games Inside the Labyrinth», Galerie Barbara Weiss, Berlin

2013-14 «Empire State» (curated by N. Rosenthal & A. Gartenfeld), Palazzo della Esposizioni, Roma, travels to Galerie Thaddaeus Ropac, Pantin, FR

2013 «Dirty Mirrors», Städtisches Museum Abteiberg, Mönchengladbach, DE (with Frank Lutz & Aura Rosenberg)

«Holes in The Walls. Early Works 1948-2013», Fri Art – Centre d’Art de Fribourg, Fribourg, CH

«NYC 1993: Experimental Jet Set Trash and No Star», The New Museum, New York

«The Angel of History», 3A Gallery, New York, NY, US

«White Petals Surround Your Yellow Heart», Institute of Contemporary Art, University of Pennsylvania, Philadelphia

«Winter Scenario», cneai=, Chatou, France

«Expo 1, New York: Dark Optimism», MoMA PS 1, Long Island City, NY

«Call of the Mall», Hoog Catharjine, Utrecht

«Endless Bummer II», Still Bummin’, Marlborough Chelsea, New York

«A Little About Me: Four Works By Robot [John Miller & Takuji Kogo»], The New Museum of Contemporary Art, New York

«LAT. 41° 7′ N., LONG. 72° 19′ W», Martos Gallery, New York

«Painting Forever», Kunst-Werke, Berlin

2012 «BUSY. Exhausted Self/Unlimited Ability», 21er Haus, Vienna

«Imagination Adrift», Palais de Tokyo, Paris

«Sound Quality», Grey Area, New York

Candy Factory Projects: Kitaky?sh? Biennial World Tour 1, The Private Museum, Singapore

«Panegyric», Forde Gallerie, Geneva

«Drawing Show», Galeria Micheline Szwjcer, Antwerp, Belgium

«Standard Operating Procedure», Blum & Poe, Los Angles

«Recalled: Art By Telephone», Centre National Edition Art Image, Chatou, France; École Superieur des Beaux-Arts TALM, Angers, France; Centre d’Arts Plastiques Contemporains, Bordeaux, France; The Emily Harvey Foundation, New York; the San Francisco Art Institute, San Francisco

«Flying», Kunstlerhaus Bethanian, Berlin

«Lost and Found: Anonymous Photography in Reflection», Ambach & Rice, Los Angeles

«Shake and Bake», Galerie Praz-Delavallade, Paris

2011 «Case Histories», Alex Zachary, New York

Kitakyushu Biennial, Kitakyushu, Japan

«Process, time», Galerie Meyer Riegger, Berlin

«Regard sur nos productions – Part I», mfc-michèle didier, Brussels

«Road Atlas», Strassenfotografie aus der DZ BANK Kunstsammlung, Stiftung Opelvillen, Rüsselsheim

«Über die Metapher des Wachstums», Frankfurter Kunstverein, Frankfurt am Main

«We Regret To Inform You…» Martos Gallery New York

«After Images», Musée Juif de Belgique, Brussels

«Dystopia», CAPC, Museum of Contemporary Art Bordeaux

«No Color in Your Cheeks Unless the Wind Lashes Your Face», online exhibit, itsourplayground.com

«Carte Blanche – All of the Above», Palais de Tokyo, Paris

«American Exuberance», Rubell Family Collection, Miami

«Inside/Outside: Dressing the Monument», Lynden Sculpture Garden, Milwaukee

«After Images», the Jewish Museum of Belgium, Brussels

2010 «Channel TV», Halle fur Kunst, Luneburg, Cneai/Paris, Kunstverein Harburger Bahnhof

«Sonic Youth etc.: Sensational Fix», Centro de Arte Dos de Mayo, Madrid; LiFE, Saint-Nazaire,France; Museion, Bolzano; Malmo Konsthall, Malmo; Galerie Max Hans Daniels, Berlin «Nachleben», Goethe Institut, New York

«Larger Than Life – Stranger Than Fiction: 11th Triennial of Small Sculpture», Kulturamt Stadt Fellbach, Germany (cat.)

«SENT BY MAIL», Galerie Barbara Weiss, Berlin

Gwangju Biennale, Gwangju, South Korea

Portugal Arte 10, Lisbon

«Mixed Use», Manhattan: Photography and Related Practices 1970s to the present, Museo Nacional Centro de Arte Reina Sofia, Madrid

Dan Graham, John Miller, Galerie Christine Mayer, Munich

«Filmschönheit Art & Film, curated by Albert Oehlen, Galerie Mezzanin, Vienna, Galerie Gisela Capitain, Cologne

«Middle Man», Dan Graham / Nic Guagnini / John Miller, Three`s Company, New York; Max Hans Daniel, Berlin

2009 «Zeigen. Eine Audiotour durch Berlin von Karin Sander», Temporäre Kunsthalle, Berlin

«Amerikana», NGBK – Neue Gesellschaft für Bildende Kunst e.V., Berlin

«I Am By Birth A Genevese», Vegas Gallery, London

«Allegories», Galerie Francesca Pia, Zurich, Schweiz

«N’importe quoi», Museé d’art Contemporain, Lyon

«Every Revolution is a Roll of the Dice», Paula Cooper Gallery, New York ,NY

«Drawings», Praz-Delavallade, Paris

«Cave Painting», PSM Gallery, Berlin

«Sonic Youth Etc.: Sensational Fix», Kunsthalle Düsseldorf, Dusseldorf

«Robert Longo», David Maljkovic and John Miller, Metro Pictures, New York

«Miete Strom Gas oder Brasilien Wax», quartier21.freiraum, Wien

«Crotla Presents», lothringer13/laden, Munich

«The Porn Identity. Expeditionen in die Dunkelzone», Kunsthalle Wien, Vienna

2008 «Aurum: Gold in Contemporary Art,» Le CentrePasquArt, Biel Bienne, Switzerland

«The Skat Players», Vilma Gold, London

«Paul Thek. Werkschau im Kontext zeitgenšssischer Kunst», Sammlung Falckenberg, ZKM, Karlsruhe

«Every Revolution is a Roll of the Dice», Ballroom Marfa, Marfa

«Go West», Kunsthalle Krems, Krems, Austria

«Bad Planet, Gary Tatintsian Gallery, Moscow, Russia

«Sculpture Trail», Grieder Contemporary, Küsnacht, Switzerland

«Sonic Youth Etc.: Sensational Fix», LiFE, Lieu international des Formes Emergentes International Space for Emerging Arts, Saint-Nazaire, France; Museion, Museum of Modern and Contemporary Art, Bolzano, Italy

«Tales of the Grotesque», Karma International, Zurich, Switzerland

«Regroup Show», Miguel Abreu Gallery, New York

«Shot Spot», Geoffrey Young Gallery, Great Barrington, Massachusetts

«Power Structure», Andrew Roth Gallery, New York

«Too Hot Not to Be Naked , Galerie Sassa Trülzsch, Berlin

2007 «Zwischen zwei toden / between two deaths», ZKM Karlsruhe (with Jan Mancuska)

«INTO ME OUT OF ME», MACRO, Rome

«THE BONG SHOW or This Is Not a Pipe», Leslie Tonkonow, New York

«The Gold Standard», PS1 MoMA, Long Island

«BODYPOLITICX», Witte de With, Rotterdam

2006 «Dark Places», Santa Monica Museum of Art, Santa Monica, California

«Periferic», Romania Biennial, Romania

«Vincule a. Politicas de la Afectividad», Estiticas del Biopoder, Medialab Madrid, Madrid

«ALLE-GORY», Mandarin, Los Angeles

2005 «Das neue Europa. Kultur des Vermischens und Politik der Repräsentation», Generali Foundation, Vienna

«L’oeuvre en programme», Galerie Ilka Bree, Bordeaux

«AUTOmobilise», Musee d’art contemporain de Bordeaux, Bordeaux

«Screening Ð Something for Everyone», Metro Pictures

«Kunst in Schokolade», Museum Ludwig, Imhoff-Stollwerck-Museum, Kšln

«Living and Working in Vienna», Kunsthalle Wien, Vienna

Austrian Cultural Forum, New York

«Roy Arden, Michael Krebber, John Miller», Richard Telles Fine Art, Los Angeles

Orchard Gallery New York

Metro Pictures, New York

«Private View, 1980-2000: Collection Pierre Huber», Musee cantonal des Beaux-Arts des Lausanne, Laussanne

«When Humour Becomes Painful», Migros Museum für Gegenwartskunst, Zurich

«After All That Can Be Said, Galerie Kienzle & Gmeiner, Berlin

«Experience de la duree», Biennale d’Art Contemporain de Lyon, Lyon

«Alle-gory», Mandarin, Los Angeles, California

«Talk to the Land», Andrew Kreps Gallery, New York

«Superstars», Kunsthalle Wien

«Synthesis and Distribution: Experiments in Collaboration», Pace University Galleries, New York

«Minimalist Kitsch & Visionäre Sammlung, Vol. 1», Haus Konstruktiv, Zurich

2004 Global Consulting, New York, New York

«The Middle of the Day», MAMCO, Geneva

«Body Display: Performative Installation», Secession, Vienna

«Before the End», Le Consortium, Dijon

«Mike Kelley: the Uncanny», Tate Liverpool, Liverpool

«Scream», IASPIS, Stockholm

«Made in Berlin», Art Forum, Berlin

«Writing, Images, Ideas: Walter Benjamin and the Art of Present Day», Haus am Waldsee, Berlin

«Something for Everyone», Kunstraum Innsbruck, Innsbruck

«Channel 0», CATV Project, Akiyoshidai International Art Village, Yamaguchi

«Untitled painting show», Richard Telles Fine Art, Los Angeles

«Last One on is a Soft Jimmy», Paula Cooper Gallery, New York

2003 «there is no land but the land(up there’s just a sea of possibilities)», Meyer Riegger, Karlsruhe

«Faking Real», Leroy Nieman Gallery, Columbia University, New York

«Drawings», Metro Pictures, New York

«Perfect Models», Galerie Remont, Belgrade

«Artists’ Gifts», the Museum of Contemporary Art, Los Angeles

«Candy Factory Projects: Boogie-Woogie Wonderland», Akiyoshidai International Art Village, Yamaguchi

«They like them so long as they’re on a stage», (performance with Richard Hoeck), Transmitter Musikfestival,Hohenems, Vorarlberg, Austria

«Sandwiched», Public Art Fund and the Wrong Gallery, Brooklyn, New York

«3-2-1», Gallery M, New York, New York

«Jessica Stockholder: Table Top Sculpture», Gorney Bravin + Lee, New York, New York

«Art Focus 4», Jerusalem Museum, Jerusalem

2002 «From the Observatory», Paula Cooper Gallery, New York

«The Empire Strikes Back», ATM Gallery, New York

«Schuermann Sammlung», K21, Düsseldorf

«Flash Two: JRP Editions», Galerie Martin Janda, Vienna; travelled to Chouakri Brahms, Berlin

Galerie Edward Mitterrand, Geneva

«In portraiture irrelevance is ugliness», Galerie Reinhard Hauff, Stuttgart and the Museum Schloss Hardenberg,Velbert

«A Country Lane», Galerie Kerstin Engholm, Vienna

«40 Jahre: Fluxus und die Folgen», Kunstsommer Wiesbaden, Kulturamt der Landeshaupstadt Wiesbaden

2001 «Homes for the Soul: Micro-architecture in Medieval and Contemporary Art», the Henry Moore Foundation, Leeds

«Tele(visions): Kunst Sieht Fern», Kunsthalle Wien, Vienna

«Superman in Bed», Das Museum am Ostwall, Dortmund

«Trade», Fotomuseum Winterthur, Switzerland; travelled to Nederlands Foto Institut, Rotterdam

«Ziviler Ungehorsam: Sammlung Falckenberg», Kestner Gesellschaft, Hannover

«Drawings», Galerie Biedermann, Munich

«John Miller, Fred Wilson, Pae White», Metro Pictures, New York

2000 «Wider Bild Gegen Wart – Positions to a political discourse», Raum acktueller Kunst Martin Janda,Wien

«Nieuw Internationaal Cultureel Centrum (NICC), Antwerp

«Extraordinary Realities», Columbus Museum of Art, Columbus, Ohio

«All You Can Eat», Galerie fur Zeitgenosches Kunst, Leipzig

«Essensbilder/Bilder zum Essen», Manzini Mitte, Berlin

«American Art Today: Fantasies & Curiosities», The Art Museum at Florida International University, Miami, Florida

Kunstraum Hans Widauer, Innsbruck

 

SELECTED PERFORMANCES

2009 XXX Macarena, with Jutta Koether and Tony Conrad, The Kitchen, New York

2008 XXX Macarena, with Jutta Koether, Artists’ Space, New York

Music Performance: Jutta Koether & John Miller, Neuer Berliner Kunstverein, Berlin

2007 Tony Conrad, Mike Kelley, Jutta Koether and John Miller, Friedrich Petzel, New York

 

SELECTED BIBLIOGRAPHY

2016 Tracy, Liz. “John Miller’s “I Stand I Fall“ at ICA Leaves No Philosophical or Visual Stone Unturned“, Miami New Times (February 24).

Williams, Christopher. “John Miller Through Time And Space“, Interviewmagazine.com (February 23)

2015 Reisman, David. “John Miller,” Frieze (Issue 169, March)

Simmons, William J. “John Miller,” Modern Painters (April): p.97

Dawson, Jessica. “Double Vision: Painter John Miller Is In Two Places at Once,” villagevoice.com

2014 Burton, Johanna and Ellegood, Anne.Take It or Leave It: Institution, Image, Ideology, Prestel, New York and The Hammer Museum, Los Angeles

Pukemova, V. Olaf Breuning, Tony Matelli, John Miller. Gary Tatintsian Gallery, Moscow

Marshall, Piper. “The Costliness of Our Attachments: On ‘Bad Conscience’ at Metro Pictures,” Texte Zur Kunst (June): pp.237-242

Smith, Roberta. “The St. Petersburg Paradox at the Swiss Institute,” NYtimes.com (August 7)

Rugoff, Ralph. The Human Factor: The Figure in Contemporary Sculpture, Hayward Publishing

“’Bad Conscience’ at Metro Pictures,” The New Yorker (February 10): p.13

McClemont, Doug. “’Bad Conscience at Metro Pictures,” ARTnews (March): p.92

Piejko, Jennifer. “’Bad Conscience’ at Metro Pictures,” Art Agenda (February 14)

Farago, Jason. “Critic’s Pick: ‘Bad Conscience’ at Metro Pictures,” Artforum.com (February 17)

Borland, Jenny. “Bad Conscience: Metro Pictures, New York,” Spike (Issue 39): pp.148-149

2013 Rosenberg, Karen. “Wry to Whimsical, a Summer Eden for Improvisers”, The NY Times, July 19, p.C27

Young, Rachel. “East Marion Family’s Home Serves as Exhibit Backdrop”, The Suffolk Times, August 18

“14 Artworks. The 2012 Selection”, Crash Magazine, The Art Issue, n°62, Winter 2012-2013

“Bob Nickas’ Top 10”, JRP Ringier Magazine, n°4, Winter 2012-2013, p.322013

Gartenfeld, Alex and Rosenthal, Norman eds. Empire State: New York Art Now!, Skira editore S.p.A, Milan: 134-5

Gioni, Massimiliano and Gary Carrion-Murayari. NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York, 115

2012 Doran, Anne. “John Miller at Metro Pictures”, Art in America, April, pp.114

Rosenberg, Karen. “John Miller, Suburban Past Time”, The New York Times, February 17, C27

Wilson, Michael. “John Miller, Suburban Past Time“, Time Out New York, February 16-22, p.33

Gillick, Liam. “John Miller”, BOMB, pp.48-55

2011 Blondin, Phillippe. ed. After Images, Jewish Museum of Belgium, Brussels, pp.94-5

Flores, Jr., Angel. “John Miller: Kunsthalle Zurich”, Multiply, September 9

Halle, Howard. “Winter’s Top 20 Art Exhibitions”, Time Out New York, December 14

Zhong, Fan. “When: December 1st”, W Magazine, December, p. 120

2010 Hafner, Hans-Jürgen. Sittengemälde mit Brüstchen und Möpschen, www.artnet.de/magazine, May 04

Keegan, Matt. “Public Image Limited”, Artforum, January

Lunn, Felicity. “John Miller”, Frieze, January – February

2009 Schreiber, Daniel. “Scheisskapitalismus”, Die Tageszeitung, September

Schreiber, Daniel. “Unter der Oberflaeche brodelt es braun: John Miller in der Kunsthalle Zürich“, monopol, September

2008 Moriarity, Bridget. « The High Life”, Art + Auction, July/ August pp. 48-53

Michael Wilson, « John Miller, Kunsthalle Zürich”, Artforum, September

Emmanuel, Daniel. « Golden Age”, Texte Zur Kunst, June, pp. 236-239

Saltz, Jerry. « Emerging, After All These Years”, New York, February 4, pp. 72-73

Halle, Howard. « John Miller: The New Honeymooners”,Time Out New York, January 9, p. 68

2007 Biesenbach, Klaus (ed.), « Into Me / Out of Me”, Hatje Cantz Verlag, Ostfildern, pp. 340

Merrell, « The Eye: Interview with John Miller, » The Columbia Spectator, Dec. 6

Ellen Blumenstein and Felix Ensslin (ed.), « Between Two Deaths”, Hatje Cantz, Ostfildern, Germany, pp. 204-207, 289

2006 Branden, W. Joseph. « Informationsavatare », Texte Zur Kunst, December, pp. 196-200

François Richer and Matthew Rosenweig (ed.), No. 1 , D.A.P., New York, pp. 243

Diaz, Eva. « Review: John Miller, » Modern Painters, December 2006, pp. 115

2005 JRP Ringier, Private View 1980 2000 Collection Pierre Huber, Zurich, Switzerland, p. 84-85

Poisay, François. « John Miller. Les Photographies de L’inutile, » L’œuvre en Programme, capcMusée d’art contemporain de Bordeaux, France

2004 Nickas, Bob. »Portfolio, John Miller, » Artforum, April, pp. 132-137

Avgikos, Jan. « New York – John Miller – Metro Pictures, » Artforum, Summer, p. 245

2003 « Thirty Three Women – Three Poems by Pablo Picasso », Thomas Ammann Fine Art, Zurich, p. 26

2001 Hainley, Bruce. « Fecal Matters, » Artforum, Summer, p. 42

« Televisions », Kunsthalle Wien, Vienna, Austria, pp. 75, 251

Johnson, Ken. « John Miller, » New York Times, 7 January, p. E43

2000 Halle, Howard. « John Miller ‘Opposite Day’, » Time Out, 20-27 January, p. 57

Rian, Jeff « Staying in the Game », Flash Art, Milan, March/April, pp. 82-83 (featured on Contents Page)

Nahas, Dominique. « American Art Today: Fantasies & Curiosities », Art Museum at Florida International University, Miami

« …it looked comical: each house had a chimney rising into the sky, but nothing next to it… « ,The Middle of the Day- Vol. 2, Musées D’Art et D’Histoire, Geneva

Consolation Prize – Mike Kelley & John Miller, Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver

Koether, Jutta. « Art as Americana! Americana as Art! » Spex, Cologne, May, pp. 50-51

Cay-Sophie Rabinowitz, « John Miller: Confronting Kitsch, » Sculpture, July/August, pp. 12-13

Brehm, Margrit, Bad Bad: That is a Good Excuse, Staatliche Kunsthalle, Baden-Baden

Damiani, Marion et al., Get Together: Kunst als Teamwork, Kunsthalle, Wien

Nobuo Nakamura and Akiko Miyake (ed.), Let’s Talk About Art, Kitakyushu, Kyoto, Japan

Barachon, Charles et al. (ed.), Playtimes, Le Magasin, Grenoble

Aupetitallot, Yves, Spector, Nancy and Kelley, Mike, John Miller: Parallel Economies, Centre National d’Art Contemporain, Grenoble

Le Capital, Centre Régional d’Art Contemporain Languedoc-Roussillon, Séte, France

Bovier, Lionel. « John Miller: A Retrospective, » MAG, Grenoble, France, October, p. 1

Bovier, Lionel. « John Miller, » Parkett, Zurich, no. 57, pp. 163-172

« Arwed Messmer, Heidi Specker, Doug Hall, John Miller, » Grand Street, Summer, pp. 79-84

1998 Koether, Jutta. « Good and Ugly, » Artforum, February, p. 27

« The Promise of Photography: the DG Bank Collection », edited by Luminita Sabau, Prestel Verlag, Munich

1997 Rimanelli, David. « A/Drift, » Artforum, February, p. 83

Halle, Howard. « Four on the Floor, » Time Out New York, 17-24 April, p. 41

A Trail of Ambiguous Picture Postcards, Kyoto & Kitakyushu: Korinsha Press & the Center for Contemporary Art, Kitakyushu

Shottenkirk, Dena. « New York in Brief, » International Contemporary Art, September – November, p. 43

Display, Lars Bang Larsen & Mikael Anderson, Charlottenborg Exhibition Hall, Copenhagen

A/Drift, edited by Joshua Decter, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York

White Studies, Kunsthalle Wien, Vienna (with Richard Hoeck)

Steihaufg, Jon-Ove. « Abject/Informe/Trauma: Discourses in American Art of the Nineties », For Art, Oslo, Norway, pp. 16, 26

« Games Fights Collaborations: Das Spiel von Grenze und Uberschreitung », edited by Beatrice von Bismarck, Diethelm Stoler and Ulf Wuggenig; Luneburg and Stuttgart: Kunstraum der Universitat Luneburg and Cantz Verlag

Transforming the Esthetic Field: the Cold War is Over (if You Want it), Macao Museum of Contemporary Art

« I Want to be (a Desiring) Machine, » Kritik, no. 2, pp. 67-71

1996 Schwendener, Martha. « Catch My Drift, » Time Out, 12-19 December, p. 40

Smith, Roberta. « Finding Art in the Artifacts of the Masses, » New York Times, 1 December, pp. 43-44, 46

Babias, Marius. « Das Rebellischste,.. » (interview), Kunst-Bulletin, Berlin, May, pp.10-15

« Radical Images », 2nd Austrian Triennial on Photography 1996, Neue Galerie am Landesmuseum Joanneum, Graz and Camera Austria in the Kunsthalle Szombathely

« It was a beautiful day, in the seventies. I watched people on pogo sticks in the park », Cabinet des estampes du Musee d’art et d’histoire, Geneva

1995 Reisman, David. « John Miller, » Texte Zur Kunst, Berlin, May

1994 Foster, Hal. et al., « Round Table: The Politics of the Signifier II: A Conversation on the Informe and the Abject, » October, no. 67, Winter, pp. 3-21 (illus.)

Don’t Look Now, Thread Waxing Space, New York

Kandel, Susan. « A Spectacular Brown Colors the Message, » Los Angeles Times, 18 February, p. F19

Maxima, Cloaca. Museum der Stadtentwasserung, Zurich

Ward, Frazer. « Abject Lessons, » Art + Text, May, pp. 46-53

John Miller – Christina Frey, Kunsthalle Palazzo, Liestal, Switzerland

Temporary Translation(s): Sammlung Schurmann, Deichtorhallen Hamburg

1993 Nesbitt, Lois. « Cologne, Germany, » Sculpture, January/February, pp. 18-19

Bourriaud, Nicolas. « La Position Secondaire de l’Art, » Art Press, Paris, pp. 33-34

Cembalest, Robin. « Much Ado About Doodoo, » Art News, September, pp. 57-58

Nickas, Robert. « John Miller. Shit Happens, » Flash Art, Milan, November/December, pp. 94-95 (illustration)

Reissman, David. « The Other Side, » Tema Celeste, Milan, Winter, no. 39, p. 72

The Uncanny, essay by Mike Kelley, published in conjunction with Sonsbeek ’93, Arnhem, Netherlands

The Nightshade Family, Museum Fridericianum, Kassel, Germany

Wallis, Brian. « Mike Kelley’s « The Uncanny, » Art in America, October, p. 5

Abject Art: Repulsion and Desire in American Art, Whitney Museum of American Art, New York The Naming of Colors, White Columns, New York

1992Rock Sucks, Disco Sucks, DAAD Berlin

Liu, Catherine. « Just Pathetic at American Fine Arts, » Artforum, April, pp. 95-96

Behrens, Katja. « Star der New Yorker Szene, » Koelner Stadt-Anzeiger, Cologne, 23 June

Koether, Jutta. « John Miller: Metro Pictures, » Artforum, October, p. 119

Hixson, Kathryn. « John Miller. Not Just Another Teenager Defecating On Tradition, » Flash Art, Milan, October, p. 92

1991 Johnson, Ken. « John Miller at Metro Pictures, » Art in America, February, p. 149

Lewis, James. « John Miller, » Artforum, February, p. 124

Mahoney, Robert. « New York in Review, John Miller, » Arts, February

Kandel, Susan. « John Miller at Roy Boyd, » Art Issues, no. 29

Bergen, Phillip. « John Miller, » Artweek, 18 April

Reissman, David. « John Miller, Metro Pictures, » Artscribe, London, March/April, p. 69

Koether, Jutta. « John Miller in New York, » Texte zur Kunst, Berlin, Winter, pp. 169-170

Kaplan, Steven. « John Miller, » ETC. Montreal, Spring, pp. 36-38

1991 Biennial Exhibition, Whitney Museum of American Art, New York

Lost Illusions, Vancouver Art Galle

1990 Evans, Steven. and Jenkins, Michael. « John Miller, Gary Mirabelle, Lawrence Weiner: American Fine Arts, Co., » Artscribe, London, January/February, p. 81

Lebrero Stals, Jose. « John Miller, » Lapiz International, Madrid, May, p. 65

Messler, Norbert. « John Miller: Isabella Kacprzak, Koln, » Noema, Cologne, March/April, p. 106

Johnson, Ken. « John Miller at Metro Pictures, » Art in America, February, p. 149

Knight, Christopher. « The Pathetice Esthetic: Making Do With What Is, » Los Angeles Times, 14 August, p. F8

Denson, G. Roger. « Wasting it: John Miller’s and Andres Serrano’s ‘Bad Boy’ Sublimations, » Contemporanea, November, no. 22, pp. 36-40

Schjeldahl, Peter. « Shit and Fan, » Village Voice, 11 December, p. 103

Viewpoints Towards the 90s: Three Artists from Metro Pictures Part II, Seibu Contemporary Art Gallery, Tokyo, text by Ronald Jon

1989 Kelley, Mike. « Foul Perfection: Thoughts on Caricature, » Artforum, January, pp. 92-99

Avant 1989, essay by Ronald Jones, Villa Gillet – Frac Rhones – Alpes, Lyon

Christov – Bakargiev, Carolyn. « Avant 1989, Villa Gillet – Frac Rhones – Alpes, Lyon, » Flash Art, Milan, March/April, p. 124

Graw, Isabelle. « Kunstkritiker al Kunstler: Thomas Lawson, Ronald Jones, John Miller, » ARTIS, Amsterdam, May, pp. 50-53

Spector, Nancy. « Smart Art, » Contemporanea, June, pp. 94-97

Messler, Norbert. « Jennifer Bolande, John Miller at Sophia Ungers, » Artscribe, London, May, p. 89

Decter, Joshua. « New York in Review, » Arts Magazine, December, pp. 99-100

Spector, Nancy. and Evans, Steven. « Doppel Angst/Double Fear, » Parkett, Zurich, no. 22, December, pp. 129-1

1988 McCoy, Pat. « of Ever – Ever Land I Speak, » Artscribe, London, January/February, pp. 73-74

Rian, Jeffrey. « John Miller at American Fine Arts, » Art in America, May, pp. 187

Cooper, Dennis. « John Miller, Metro Pictures, » Artforum, Summer, p. 139

Christopher Knight, « Focusing on the Hidden Meaning of ‘Untitled’ Works, » Los Angeles Herald Examiner, 7 February, p. E2

Kuspit, Donald. « The Modern Fetish, » Artforum, October, pp. 132-140

C. Morgan, Robert. « Anti-Style, or the Installation as a Pleasurable Text, » Arts Magazine, June, pp. 45-48

1987 CALARTS: Skeptical Belief(s), Newport Harbor Art Museum and The Renaissance Society at the University of Chicago (cat.)

1986 Indiana, Gary. « Soho Sketches, » Village Voice, 22 April, p. 93

Kuspit, Donald. »John Miller at Metro Pictures, » Artscribe, London, June/July, no. 58, pp. 78 -79

1985 Masheck, Joseph. Point 1: Art Visuals/Visual Arts, pp. 80-84

Gardner, Colin. « John Miller, » Flash Art, Milan, December/January

Jones, Alan. Correspondences: New York Art Now, Laforet Museum, Tokyo

Liss, Andrea. »Confronting Modern Art History, » Artweek, 15 November

1984 Glueck, Grace. « John Miller, » New York Times, 3 March

Bankowsky, Jack. « John Miller at Metro Pictures, » East Village Eye, June

Wilson, William. « Art Reviews, » Los Angeles Times, 8 June, p. 6

Bankowsky, Jack. « Summer Show at Metro Pictures, » East Vilage Eye, September

Drohojowska, Hunter. « John Miller at the Rosamund Felsen Gallery, » L.A. Weekly, 22 June, p. 39

1983 Hallwalls, interview by Claudia Gould, Hallwalls, Buffalo, New York

1979Paseles, Chris. « John Miller’s Art: Studying the Mental Process, » Cal Arts Today, February, vol.4, no.6

SELECTED ARTICLES AND ESSAYS BY THE ARTIST

2015 Mike Kelley: Educational Complex, Afterall Books, Central Saint Martins, London

2014 “The Ruin of Exchange (2009),” Mousse Magazine (December – January 2015): 200-203

“Esthetics from Acorns (1992),” Mousse Magazine (December – January 2015): 198-200

Decter, Josh. Art is a Problem. Edited with an introduction by John Miller. JRP Ringier, Zurich and Les presses du réel, Dijon, France

2013 “This impossibility of psychedelia.” In Only parts of us will never touch parts of others, Gallery Thaddaeus Ropac, Salzburg/Paris: 107-19 Texte Zur Kunst (March) (editor)

“The View from the Top: Empire State,” In Empire State. Daminia editore S.p.A., Milan: 30-7

2012 “Mike Kelley (1954-2012): Ten Tributes,” Frieze (April): 127.

2011 “Tomorrow is the Question: John Miller on the Art of Ilene Segalove,” Artforum (October):262

“Art Schools, the Internet, and the Violen-Playing Mermaids: A Conversation between John Miller and Tony Conrad,” Mousse Magazine (April/May): 48-61

“Body of Influence: Six Views on Paul Thek,” Artforum (January): 164

2010 “1000 Words: Public Image Limited,” Artforum (January): 162-3

2009 “The Ruin of Exchange,” Peep-Hole Sheet (Fall)

2008 “Pop by Other Means,” In Sonic Youth etc.: Sensational Fix. LiFE Saint-Nazaire; Museion, Bolzano; Verlag der Buchhandlung Walther König, Cologne: 130-2

2006 “John Miller on Nicolas Guagnini,” BOMB Magazine (Summer): 8-9

“Double or Nothing,” Artforum (April): 220-7

2005 “Traces of Corporeality in the Ramble.” In Theft is Vision, edited by Bob Nickas, JRP Ringier, Zurich and Les presses du reel, Dijon: 42-52

“439 KB,” Next Level: if…, No. 7 (Ed. 1, Vol. 4), Blue Modernist Ltd., London: 112-5

“Sarah Lucas,” Artforum (October): 269

2004 Total Transparency. Berlin: Support Agentur

2003 With Robert Nickas, “Traces of Corporeality in the Ramble.” In Into the Abyss, Powerhouse Books, New York: 20-5

2002 « Trisha Donnelly,” Artforum (Summer): 164-5

1998 Babias, Marius. and Könneke, Achim eds. Heil Hitler! Have a Nice Day! Die neue Politik des Hasses in den U.S.A. Die Kunst des Öffentlichen, Verlag der Kunst, Dresden: 186–229

« Die therapeutische Institution oder Die Gnade der Prasenz,” Secession: das Jahrhundert der Künsterlischen Freiheit, Prestel Verlag, Munich: 17-28.

« Playing the Game,” For A/drift, Bard College, Center for Curatorial Studies, Annandale-on- Hudson: 93-5 (cat.)

1997 Hoeck, Richard. Transatlantik Echoes: John Miller, God’s Country, Postwar Prehistory, ID Verlag, Berlin

1996 « Paradise Lost,” In Jane Dickson: Paradise Alley. New York: Whitney Museum of Contemporary Art

« Be Here Now: the Image of History,” In Face à l’Histoire, Centre Georges Pompidou, Paris. Von Bismarck, Beatrice, Diethelm Stoler, and Ulf Wuggenig, eds.

“Cultural Studies” In Games Fights Collaborations: Das Spiel von Grenze und Uberschreitung. Lüneburg: Kunstraum der Universität Lüneburg; Stuttgart: Cantz Verlag

« Day by Day, » Arbeit/Freizeit, Berlin: EA-General Aktiengesellschaft “Day by Day / Tag für Tag,” Maria Eichorn: Arbeit/Freizeit, Generali Foundation, Vienna (1996): 123–133 (German), 135-143 (English)

Transforming the Esthetic Field: the Cold War is Over (if You Want it). Macao: Macao Museum of Contemporary Art

« I Want to be (a Desiring) Machine,” Kritik (2): 67-71

1994 « Jason Rhoads,” Artforum (January): 88

« Bob Flanagan: The Kitchen,” Texte zur Kunst (March): 98-100

« Conflict of Interest,” ACME Journal 1 (3): 72-5

« Clubs for America,” For The Use of Pleasure, Terrain Gallery, San Francisco

« Discussion: Too Young to be a Hippy, Too Old to be a Punk,” Be Magazin 1 (1): 119-23

« Suture and Picture Theory,” In Suture: Phantasm der Volkommenheit. Salzburg: Salzburger Kunstverein

1993 « The Poet as Janitor,” In Mike Kelley Catholic Tastes, Whitney Museum of American Art, New York

1992 Kelley, Mike. Mike Kelley (Interview). Los Angeles: A.R.T. Press: 7–51; excerpted in Bomb New York (Winter): 26–31; republished in Between Artists: Twelve Contemporary Artists Interview, A.R.T. Press, Los Angeles (1996): 103–30

« When Activism Becomes Quietism,” Acme Journal (Spring): 51-2.

« The Avant-Garde, Sublimation and the Patriarchy,” The Lectures 1991, Witte de With, Rotterdam

« Esthetics from Acorns,” Dirty Data, Ludwig Forum für internationale Kunst, Aachen: 71-4

« A Round Table on Criticism: Criticism and Use Value,” M/E/A/N/I/N/G (May): 25-6.

« Curating and Materialism,” Meta (2): 14-6

« Disappearing into the Woodwork,” In Gemischtes Doppel/ Mixed Double, EA-Generali, Vienna, Foundation and Weiner Secession: 60–2 (English), 63–6 (German)

« Dreaming is Almost Free: Audiocassettes at Bilka,” Parciours Europeen III: L’Allemagne, Musee d’Art Moderne de la Ville de Paris

« The Show You Love to Hate: a Psychology of the Mega-Exhibition,” Autoren von Texte zur Kunsthalten Reden u.a. auf der Documenta IX, Texte zur Kunst

1991 Stockholder, Jessica. Formalism and Its Other. Witte de With, Rotterdam; Renaissance Society, Chicago (cat.)

« The Body as Site,” Flash Art (November): 98-9

1990 « The Weather is Here, Wish You Were Beautiful,” Artforum (May): 152-9 Wernicke, Ralph, ed. Art Supplies and Utopia. Galerie Ralph Wernicke, Stuttgart

1989 « Lecture Theatre: Peter Halley’s ‘Geometry and the Social’,” Artscribe International, London (March/April): 64-5

« The Greenberg Effect,” Arts Magazine (December): 61

« El corte más profundo: Notas sobre la técnica de John Baldessari,” Ni por ésas / Not Even So Madrid: Ministerio de Cultura; reprinted as « The Deepest Cut: Montage in the Work of John Baldessari,” Artscribe International, London (May): 52-6

1988 « Please Pass the Orb,” CalArts: Skeptical Belief(s), The Renaissance Society, Chicago.

« The Consumption of Everyday Life,” Artscribe International, London (January/February):46-52

« The Mortification of the Sign: Mike Kelley’s Felt Banners », The Renaissance Society, Chicago: 16-23

« The Mnemonic Book: Ed Ruscha’s Fugitive Publications,” Parkett (18): 66–71 (English), 74–9 (German)

« Here, There and Everywhere,” New Observations (December): 19 1987

« Jacques Lacan’s ‘Television’,” Artscribe International, London (November/December): 40-1

« Baudrilliard and His Discontents,” Artscribe International, London (May): 49-51

« In the Beginning there was Formica,” Artscribe International, London (March/April): 36-42

« Swiss Family Robbins,” Real Life Magazine (16): 10-1

“What you don’t see is what you get: Allan McCollum’s Surrogates, Perpetual Photos and Perfect Vehicles,” Artscribe International, London (January/February): 32-6 1986 Weissman, Benjamin, ed.

“The True Voice,” In Storytellers 1 (1). Foundation for Art Resources, Los Angeles.

1984 « The Commodity As A Country Music Theme,” LAICA Journal, Los Angeles Institute of Contemporary Art (Spring): 26–30

1983 Barney, Fred & Barney Press (no. 30): 28-30

1982 Real Life Magazine (Spring/Summer): 22-24

1981 Musard, Yve, ed. Details, Grenoble Museum of Art, Paris

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