Born in Cleveland, Ohio 1954

Lives and works in New York



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



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



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



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: Kitakyushu 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,

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)


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



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



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“, (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,”

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,” (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,” (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,, 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


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

Art / Basel

16 Jun, 2016-19 Jun, 2016

Basel, Switzerland


03 Sep, 2015-03 Oct, 2015

Campoli Presti, London

John Miller
3 September – 3 October 2015
Campoli Presti, London

Campoli Presti is pleased to present Counterpublics, John Miller’s third exhibition with the gallery. Here the artist contrasts two kinds of images: those derived from “The Price Is Right,” a long-running television game show and those of pedestrians shot by the artist himself. This juxtaposition prompts questions such as what constitutes a public and what kind of space can it be said to inhabit. In this way, the exhibition continues Miller’s investigation of repressive aspects of Western ideology. Since the end of the 1970s, Miller has focused on the absorption of art into the everyday, a tendency that challenges the function of the author and implies the loss of the artwork’s aura.

Produced by mechanical and digital means, Miller’s Game Show paintings transform the shooting stages of television game shows into colourful, nearly abstract landscapes, sometimes deliberately distorted and blurred. The series, which started in 1998, reflects the artist’s interest in the iconography of the American middle class and anticipates the increasing importance of self-representation in social media and the construction of reality as a game. He explored these themes more explicitly in his Reality TV paintings.

After his Reality TV series, Miller decided to focus on people in the public space, namely pedestrians on street corners. He derived these images from his photo series, The Middle of the Day – a project he began in 1994, in which he captures images between the hours of 12 and 2 pm. In this framework, Miller aims for a kind of candid social portraiture. If, in reality TV, subjects inevitably perform for the camera, here most individuals are unaware of it, generating an ambient or multi-directional attention. The groups Miller depicts resist idealization, in part because their interactions unfold indifferent to the aims of production and utility.

While the Game Show paintings could be understood as photography disguised as painting, in the Pedestrian series the transition goes from photography to painting, which accounts for the fracture between spontaneity and labour. These works concern the fugitive, the ephemeral, the contingent, rendering otherwise insignificant details which produce the effect of realism. Their shapes as cut-out tableaux reinforce this aspect. In conjunction with this, Miller deploys a particular grisaille technique carried over from his Reality TV paintings in which he mixes a fair amount of grey into all the colours. By reducing the range of values ordinarily found in realist painting, this palette imposes a limit on the realist effect and puts the rendering involved at one remove.

John Miller made the House Drawings displayed on the ground floor in conjunction with his brown impasto works from the late 80s and early 90s. The first phase of the brown works centered on bodies and body parts, a second, on landscapes and geology. The house drawings were developed in the second phase. These works suggest a sense of architecture that is apperceptive, haptic rather than visual. Despite its scale, when the building becomes part of the landscape, it can disappear through habituation. The permanent nature of architecture is questioned, as well as the allegorical motif of the ruin.

John Miller has an upcoming solo exhibition at the ICA Miami in 2016 and his work will be part of Painting 2.0, Expression in the Information Age at Brandhorst Museum, Munich opening this November. Miller is the recipient of the 2011 Wolfgang Hahn Prize, which coincided with a solo exhibition at Museum Ludwig, Cologne. In 2009 Kunsthalle Zürich held a retrospective exhibition of his work. He has participated in major group exhibitions at Swiss Institute of Contemporary Art, New York (2014); Hayward Gallery, London (2014); The New Museum of Contemporary Art, New York (2013); Palais de Tokyo, Paris (2012); CAPC, Bordeaux (2010/11) and Museo Nacional Centro de Arte Reina Sofia, Madrid (2010). Miller’s work was included in the 2010 Gwanju Biennale in South Korea and in the 1991 Whitney Biennial in New York.

For further information or images please contact Cora Muennich

A Moveable Feast – Part XIII

04 Oct, 2014-18 Oct, 2014

Campoli Presti, Paris

A Moveable Feast – Part XIII
John Miller
4 – 18 October 2014
Campoli Presti, London / Paris

Campoli Presti is pleased to announce the 13th part of its ongoing exhibition A Moveable Feast with a presentation of works by John Miller.

Miller’s ‘pedestrian’ paintings build upon a series of recent works that explored the interpenetration of public and private space. His recent Reality TV series of paintings portrayed different crying characters, unveiling an overdetermined behavior that purported, at least superficially, to be spontaneous. After this series, Miller decided to focus on people in public space, namely pedestrians on street corners, and started to photograph them as part of his midday photo series – a long-term and at first glance banal-seeming conceptual photography project he has been working on since 1994.

If in reality TV subjects inevitably perform for the camera, here most individuals are unaware of it and the character of performance concerns much more the presentation of self in public space. This has been informed by a certain facade-like aspect that artists such as Gilbert & George or Pistoletto have also addressed in their work. Some of the elements that constitute this presentation can be intentional, through choice of clothing, posture, etc., but much of it defaults to unconscious, ideological factors.
In these social portraits the attention is redirected on the plural and on a kind of heterogeneity that evokes that of Bataille’s, even if the group he portrays is not constituted as a social class but is rather a formless entity. There is a certain energy and affectivity concentrated in them, an interaction that exceeds the aims of production and utility.

The transition from photography to painting accounts for the fracture between spontaneity and labor. The works depict the fugitive, the ephemeral, the contingent (an attitude that points out Baudelaire’s vision of Constantin Guys as a proto-pop manifesto) rendering otherwise insignificant details that produce the effect of realism. Their shape as cut out panels and their installation as a tableau reinforce this aspect.

The human desires that can be submerged within the banal are also the theme of Miller’s sculptures. The pieces on view belong to a group of works that use the cornucopia – made exclusively of plastic fruit – as a figure of speech. Inspired by Giorgio de Chirico’s late still lifes, Miller conflated foreground and middleground space so the image could be read either as a landscape behind an ordinary fruit arrangement or as giant fruit set within a landscape. Yayoi Kusama’s use of repetitive elements have also informed his understanding of the cornucopia as a kind of obliteration. The aggregation of fruit is ostensibly generous and grotesque making its negative counterpart visible at the same time.

Miller is the recipient of the 2011 Wolfgang Hahn Prize, which coincided with an exhibition at Museum Ludwig, Cologne. In 2009, the Kunsthalle Zurich held a retrospective exhibition of his work that was accompanied by a catalogue. Miller has had solo shows at Metro Pictures (2012); Musée d’art moderne et contemporain, Geneva (2004); Magasin, Grenoble (1999); and Kunstverein Hamburg. He has participated in major group exhibitions at Swiss Institute of Contemporary Art (2014), Hayward Gallery, London (2014), The New Museum of Contemporaray Art (2013), Palais de Tokyo (2012), CAPC, Bordeaux (2010/11); Museo Nacional Centro de Arte Reina Sofia, Madrid (2010); and MoMA PS1, New York (2006). His work was included in the 2010 Gwanju Biennale in South Korea and in the 1991 Whitney Biennal in New York.

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

Is That All There Is?

16 Oct, 2008-06 Dec, 2008

Sutton Lane (Campoli Presti), London

John Miller Is That All There Is?
October 16 – December 6, 2008
Sutton Lane, London

I had the feeling that something was missing.
I don’t know what, but when it was over,
I said to myself, « Is that all there is to a circus?
“Is That All There Is?” Jerry Lieber and Mike Stoller

John Miller’s current show at Sutton Lane takes its title from the well known existentialist lament that Peggy Lee recorded in 1969. In turn, Thomas Mann’s short story “Disallusionment” had inspired Lieber and Stoller’s song. On view are three reliefs, three carpets and wallpaper. The reliefs feature conglomerations of vernacular objects such as toy guns, costume jewelry, fake fruit, sea shells and sports equipment. All these things have been painstakingly covered with imitation gold leaf. Miller has titled the reliefs “The Edge of Night,” “A Hypnotic Effect” and “Lost Years.” These titles refer either to soap operas or to minimal art. Miller had the carpets cut from remnants. He ordered the wallpaper online. Writing in Texte zur Kunst, No. 70, Daniel Emmanuel (“artistic advisor to the Schlomo Foundation”) observed that, “Miller’s use of objects and images hinges heavily on an alchemic transmutation of low culture and subcultural codes into concerns generally believed to be posed by high culture, namely how class and aesthetics interact to define beauty and the sublime.”

John Miller (born 1954, Cleveland / Ohio, USA) is an artist, writer and critic. He lives and works in New York where he teaches at Columbia University’s School of the Arts. In 2000, JRP Editions in Geneva and the Consortium in Dijon jointly published a collection of his writings: John Miller: The Price Club – Selected Writings (1977-1998), edited by Lionel Bovier.

John Miller’s work is featured in collections of institutions such as The Whitney Museum of American Art, the Museum of Contemporary Art in Los Angeles, the Carnegie Mellon Museum in Pittsburgh and the Cabinet des Estampes in Geneva.