JOHN MILLER
Born in Cleveland, Ohio, 1954.
EDUCATION
Rhode Island School of Design, Providence, Rhode Island, 1977.
Whitney Museum of American Art Independent Study Program, NYC, NY, 1978.
California Institute of the Arts, Valencia, California, 1979.
Lives in New York City and Berlin, Germany.
SELECTED SOLO SHOWS
2015
Mary Boone Gallery, NYC, NY. Here in the Real World.
Metro Pictures, NYC. NY. Here in the Real World.
2014
Campoli Presti, Paris, France. A Moveable Feast – Part XIII.
Meliksetian Briggs Gallery, Los Angeles, California. Do It Again!.
2013
Martos Gallery, NYC, NY. The Middle of the Day.
Marc Jancou Contemporary, Geneva, Switzerland. Subjective Monuments.
Kubus, Vienna, Austria. The Grotesque.
Meyer Riegger Galerie, Karlsruhe, Germany. Social Portraits.
2012
Metro Pictures, NYC, NY. Suburban Past Time.
Patrick Painter Gallery, Los Angeles, California. New Realities.
Galerie Praz-Delavallade, Paris, France. The Petrified Forest.
Meliksetian Briggs Gallery, Los Angeles, California. Something for Everyone. (Two-Person Show with Richard Hoeck)
2011
Museum Ludwig, Cologne, Germany. The Wolfgang Hahn Prize.
2010
Galerie Christian Nagel, Cologne, Germany. A Holiday in Other People’s Misery.
Galerie Barbara Weiss, Berlin, Germany. The Totality of Everything That Actually Exists.
Christine Mayer, Munich, Germany. Dan Graham/John Miller. (Two-Person Show)
Galerie Johann Widauer, Innsbruck, Austria. The Grotesque.
2009
Patrick Painter Gallery, Los Angeles, California. The Natural Order.
Kunsthalle Zurich, Zurich, Switzerland.
2008
Sutton Lane, London, England. Is That All There Is?.
2007
Metro Pictures, NYC, NY. The New Honeymooners.
Friedrich Petzel Gallery, NYC, NY. The New Honeymooners.
Galerie Praz-Delavallade, Paris, France. Back to the Garden.
2006
Metro Pictures, NYC, NY. Total Transparency.
2005
Galerie Barbara Weiss, Berlin, Germany. The Middle of the Day.
2004
Richard Telles Fine Art, Los Angeles, California. Total Transparency.
Metro Pictures, NYC, NY. Everything is Painted Brown.
Cabinet des Estampes at MAMCO, Geneva, Switzerland. The Middle of the Day.
2003
Meyer Riegger Galerie, Karlsruhe, Germany. Ich (36/175/74).
Galerie Christian Nagel, Cologne, Germany. A Mutually Beneficial Encounter.
2002
Einstein Forum, Postsdam, Germany. Screen Memories.
2001
Galerie Barbara Weiss, Berlin, Germany. Double Date.
2000
Art + Public, Geneva, Switzerland. The Middle of the Day.
Richard Telles Fine Art, Los Angeles, California. Pilot.
1999
Metro Pictures, NYC, NY. Opposite Day.
Meyer Riegger Galerie, Karlsruhe, Germany. The Lugubrious Game.
Kunst-Werke, Berlin, Germany. Hard Hat. (Two-Person Show with Richard Hoeck)
1998
MoMA P.S.1, Long Island City, New York. John Miller: Painting and Sculpture.
Candy Factory, Yokohama, Japan. Alive with Pleasure.
1997
Center for Contemporary Art, Kitakyushu, Japan. A Trail of Ambiguous Picture Postcards.
1996
Oberrheinisches Dichtermuseum, Karlsruhe, Germany.
Galerie Barbara Weiss, Berlin, Germany. Homage an Karl May.
Galerie Thomas Riegger, Karlsruhe, Germany. Field Manual for a Tautology.
1995
Metro Pictures, NYC, NY. The Middle of the Day.
1994
Richard Telles Fine Art, Los Angeles, California.
1993
Museum Robert Walser, Hotel Krone, Gais, Switzerland.
Metro Pictures, NYC, NY. The Long March, the Narrow Road.
1992
Jablonka Galerie, Cologne, Germany.
1991
Andrea Rosen Gallery, NYC, NY.
1990
Metro Pictures, NYC, NY. …But the Flesh is Weak.
1988
Metro Pictures, NYC, NY.
1987
American Fine Arts, NYC, NY.
1986
Metro Pictures, NYC, NY.
1985
Rosamund Felsen Gallery, Santa Monica, California.
Metro Pictures, NYC, NY. (Two-Person Show with Mike Kelley)
1983
The Kitchen, NYC, NY.
1982
White Columns, NYC, NY.
SELECTED GROUP SHOWS
2014
Hammer Museum, Los Angeles, California. Take It or Leave It: Institution. Image. Ideology.
Hayward Gallery, London, England. The Human Factor.
The Swiss Institute, NYC, NY. The St. Petersburg Paradox.
La Magasin, Grenoble, France. Art in Pop.
Bass Museum of Art, Miami, Florida. Gold.
2013
Kunst-Werke, Berlin, Germany. Painting Forever.
Institute of Contemporary Art, Philadelphia, Pennsylvania. White Petals Surround Your Yellow Heart.
MoMA PS1, Long Island City, New York. Expo 1.
Palazzo delle Esposizioni, Rome, Italy. Empire State: Art in New York Today.
The New Museum, NYC, NY. NYC 1993: Experimental Jet Set Trash and No Star.
2012
Kunstlerhaus Bethanian, Berlin, Germany. Flying.
Palais de Tokyo, Paris, France. Imaginez l’Imaginaire.
Blum & Poe, Los Angeles, California. Standard Operating Procedure.
Galerie Praz-Delavallade, Paris, France. Shake and Bake.
2011
Rubell Family Collection, Miami, Florida. American Exuberance.
Galerie Meyer Riegger, Berlin, Germany. Process Time.
Palais de Tokyo, Paris, France. Carte Blanche – All of the Above.
Kitakyushu, Japan. Kitakyushu Biennial.
Kunstverein Frankfurt, Frankfurt, Germany. Uber die Metapher des Wachstums.
The Jewish Museum of Belgium, Brussels, Belgium. After Images.
2010
Galerie Barbara Weiss, Berlin, Germany. Sent By Mail.
Gwanju, South Korea. Gwanju Biennale.
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. Mixed Use, Manhattan Photography and Related Practices 1970s to Present.
Goethe-Institut, NYC, NY. Nachleben.
Centro de Arte Dos de Mayo, Madrid, Spain. Sonic Youth Etc: Sensational Fix (Planta 2).
2009
Kunsthalle Wien, Vienna, Austria. The Porn Identity. Expeditionen in die Dunkelzone.
Friedrich Petzel Gallery, NYC, NY. Interim in Three Rounds: Round Two.
Espace d’Art Contemporain, Geneva, Switzerland. Frankenstein.
White Columns, NYC, NY. Collection of….
Musée d’Art Contemporain, Lyon, France. N’Importe Quoi.
2008
Karma International, Zurich, Switzerland. Tales of the Grotesque.
Gary Tatintsian Gallery, Moscow, Russia. Bad Planet.
Vilma Gold Gallery, London, England. The Skat Players.
Kunsthalle Krems, Krems, Austria. Go West.
2007
Ballroom Marfa, Marfa, Texas. Every Revolution is a Roll of the Dice.
Derek Eller Gallery, NYC, NY. Neointegrity!.
Witte de With, Rotterdam, The Netherlands. Body Politic X.
Kitakyushu, Japan. Kitakyushu Biennial.
2006
PS1 Institute for Contemporary Art, Long Island City, New York. Gold Standard.
PS1 Institute for Contemporary Art, Long Island City, New York. Into Me, Out of Me.
The Museum of Modern Art, NYC, NY. Tomorrowland: CalArts in Moving Pictures.
Hiroshima City Museum of Contemporary Art, Hiroshima, Japan. Hyperlinks for Global Dead Links.
Santa Monica Museum of Art, Santa Monica, California. Dark Places.
2005
Kunsthalle Wien, Vienna, Austria. Superstars.
Andrew Kreps Gallery, NYC, NY. Talk to the Land.
Biennale d’Art Contemporain de Lyon, Lyon, France. Expérience de la durée.
Migros Museum für Gegenwartskunst, Zurich, Switzerland. When Humour Becomes Painful.
Kunsthalle Wien, Vienna, Austria, and Austrian Cultural Forum, NYC, NY. Living and Working in Vienna.
2004
Paula Cooper Gallery, NYC, NY. Last One on is a Soft Jimmy.
Kunstraum Innsbruck, Innsbruck, Austria. Something for Everyone.
Art Forum, Berlin, Germany. Made in Berlin.
Institute of Contemporary Art, Philadelphia, Pennsylvania. The Big Nothing.
Tate Liverpool, Liverpool, England. Mike Kelley: the Uncanny.
Secession, Vienna, Austria. Body Display: Performative Installation.
2003
Jerusalem Museum, Jerusalem, Israel. Art Focus 4.
Public Art Fund, NYC, NY, and the Wrong Gallery, Brooklyn, New York. Sandwiched.
Museum of Contemporary Art, Los Angeles, California. Artists’ Gifts.
LeRoy Neiman Gallery, Columbia University School of the Visual Arts, NYC, NY. Faking Real.
Galerie Meyer Riegger, Karlsruhe, Germany. There is no Land but the Land.
2002
ATM Gallery, NYC, NY. The Empire Strikes Back.
Paula Cooper Gallery, NYC, NY. From the Observatory.
2001
Kestnergesellschaft, Hannover, Germany. Ziviler Ungehorsam: Sammlung Falckenberg.
Museum am Ostwall, Dortmund, Germany. Superman in Bed.
Kunsthalle Wien, Vienna, Austria. Tele(visions): Kunst Sieht Fern.
The Henry Moore Foundation, Leeds, England. Homes for the Soul: Micro-architecture in Medieval and Contemporary Art.
2000
The Art Museum at Florida International University, Miami, Florida. American Art Today: Fantasies & Curiosities.
Columbus Museum of Art, Columbus, Ohio. Extraordinary Realities.
1999
INIT Kunst-Halle, Berlin, Germany. Malerei.
Kunsthalle Wien, Vienna, Austria. Get Together: Art as Teamwork.
Kunstverein im Hamburg, Hamburg, Germany. Stadtluft: der Urbane Raum als Medium von Macht.
Contemporary Art Center, Sète, France. Le Capital (Inscriptions, Tableaux, Diagrammes & Bureaux d’Ètudes.
Museum of Contemporary Art, Chicago, Illinois. Transmute.
Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany. Bad Bad: That’s a Good Excuse.
Magasin-L’Ecole, Centre National d’Art Contemporain de Grenoble, Grenoble, France. Pl@ytimes.
1998
Galerie Meyer Riegger, Karlsruhe, Germany. Songs from a Room.
Suermondt-Ludwig-Museum, Aachen, Germany. Entropie zu Hause.
Kunstverein im Hamburg, Hamburg, Germany. Fast Forward: Trademarks.
Magasin, Centre National d’Art Contemporain de Grenoble, Grenoble, France. Tell Me a Story: Narration in Contemporary Painting and Photography.
1997
Independent Curators International, NYC, NY. At the Threshold of the Visible.
School of Visual Arts, NYC, NY. 79/97.
Kunstnernes Hus, Oslo, Norway. Laying Low.
1996
Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York. A/drift: Scenes from the Penetrable Culture.
Friedrich Petzel Gallery, NYC, NY. Screen.
1995
La XLVI Biennale di Venezia, Venice, Italy. Club Berlin.
Forum for Contemporary Art, Saint Louis, Missouri. Altered States: American Art in the 90s.
1994
Deichtorhallen, Hamburg, Germany. Temporary Translation(s).
Yale University, New Haven, Connecticut. Critical Mass.
The Museum of Modern Art, NYC, NY. Mapping.
Sonnabend Gallery, NYC, NY. Up the Establishment.
Salzburger Kunstverein, Salzburg, Austria. Suture: Phantasmen der Volkommenheit.
Thread Waxing Space, NYC, NY. Don’t Look Now.
1993
Stadtisches Kaufhaus, Leipzig, Germany. Minimal Curating.
Museum Fridericianum, Kassel, Germany. Nachtschattengewachse.
Whitney Museum of American Art, NYC, NY. The Abject: Repulsion and Desire in American Art.
White Columns, NYC, NY. The Naming of the Colors.
Espace Lyonnais d’Art Contemporain, Lyon, France. Autoportraits Contemporains: Here’s Looking at Me.
1992
Stadtische Kunsthalle, Dusseldorf, Germany. Art Meets Ads.
Ludwig Forum fur Internationale Kunst, Aachen, Germany. Dirty Data.
1991
Institute of Contemporary Art, Boston, Massachusetts. Currents.
Whitney Museum of American Art, NYC, NY. Biennial Exhibition.
Castello di Rivara, Turin, Italy. Proiezioni.
Vancouver Art Gallery, Vancouver, Canada. Lost Illusions.
1990
Cleveland Center for Contemporary Art, Cleveland, Ohio. In the Beginning.
1989
LACE - Los Angeles Contemporary Exhibitions, Los Angeles, California. SelfEvidence.
Massimo Audiello Gallery, NYC, NY. In the Center of Doubt.
Simon Watson Gallery, NYC, NY. Erotophobia: a Forum in Sexuality.
Hallwalls, Buffalo, New York. Amerikarma.
1987
The Renaissance Society, Chicago, Illinois. CalArts: Skeptical Belief(s).
Newport Harbor Art Museum, Newport Beach, California. CalArts: Skeptical Belief(s).
1986
Exit Art, NYC, NY. The Gallery Show.
Grey Art Gallery, New York University, NYC, NY. Appropriated Abstraction.
1985
Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts. Smart Art.
Whitney Museum of American Art, NYC, NY. Biennial Exhibition.
Los Angeles Institute for Contemporary Art, Los Angeles, California. Black & White.
La Foret Museum, Tokyo, Japan. New York Now: Correspondences.
1983
Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro, North Carolina. Art on Paper.
Hallwalls, Buffalo, New York.
1982
Artists’ Space, NYC, NY. Selections.
Lisson Gallery, London, England. London/New York.
White Columns, NYC, NY. Real Life Magazine Presents.
1981
White Columns, NYC, NY. Noise Fest.
Anthology Film Archives, NYC, NY.
1979
5 Bleecker Street, NYC, NY. Manifesto Show.
Los Angeles Institute for Contemporary Art, Los Angeles, California. 10 Artists’ Videotapes.
1978
Los Angeles Institute for Contemporary Art, Los Angeles, California. Artwords and Bookworks.
Anthology Film Archives, NYC, NY. Short Videotapes.
1977
Athens International Film Festival, Athens, Ohio.
Fylkingen Video Arts Festival, Stockholm, Sweden.
SELECTED BIBLIOGRAPHY
Simmons, William J., John Miller, MODERN PAINTERS, April 2015, p. 97.
Smith, Roberta, The St. Petersburg Paradox at the Swiss Institute, THE NEW YORK TIMES, 7 August 2014.
Marshall, Piper, The Costliness of Our Attachments: On “Bad Conscience” at Metro Pictures, TEXTE ZUR KUNST, June 2014, pp. 237-242.
Staff, “Bad Conscience” at Metro Pictures, THE NEW YORKER, 10 February 2014, p. 13.
Mc Clemont, Doug, Bad Conscience at Metro Pictures, ART NEWS, March 2014, p. 92.
Doran, Anne, John Miller at Metro Pictures, ART IN AMERICA, April 2012, p. 114.
Rosenberg, Karen, John Miller, “Suburban Past Time”, THE NEW YORK TIMES, 17 February 2012, p. C27.
Wilson, Michael, John Miller, Suburban Past Time, TIME OUT NEW YORK, 16 February 2012, p. 33.
Gillick, Liam, John Miller, BOMB, Winter 2012, pp. 48-85.
Fox, Dan, XXX Macarena, FRIEZE, April 2010, p. 33.
Lunn, Felicity, John Miller, FRIEZE, January/February 2010, p. 124.
Keegan, Matt, Public Image Limited, ARTFORUM, January 2010, Cover, pp. 156-161.
Moriarty, Bridget, The High Life, ART + AUCTION, July/August 2009, pp. 48-53.
Halle, Howard, The Best of 2008, TIME OUT NEW YORK, December 2008, p. 87.
Emmanuel, Daniel, Golden Age, TEXTE ZUR KUNST, June 2008, pp. 236-239.
Saltz, Jerry, Emerging, After All These Years, NEW YORK MAGAZINE, February 2008, pp. 72-73.
Halle, Howard, John Miller: The New Honeymooners, TIME OUT NEW YORK, January 2008, p. 68.
Hambleton, Merrell, The Eye: Interview with John Miller, THE COLUMBIA SPECTATOR, December 2007.
Diaz, Eva, Review: John Miller, MODERN PAINTERS, December 2006, p. 115.
Avgikos, Jan, New York: John Miller - Metro Pictures, ARTFORUM, Summer 2004, p. 245.
Hainley, Bruce, Fecal Matters, ARTFORUM, Summer 2001, p. 42.
Rian, Jeff, Staying in the Game, FLASH ART, March/April 2000, pp. 82-83.
Johnson, Ken, John Miller, THE NEW YORK TIMES, 7 January 2000, p. E43.
Halle, Howard, John Miller “Opposite Day”, TIME OUT NEW YORK, January 2000, p. 57.
Bovier, Lionel, John Miller, PARKETT, December 1999, pp. 163-172.
Rabinowitz, Cay-Sophie, John Miller: Confronting Kitsch, SCULPTURE, July/August 1999, pp. 12-13.
Koether, Jutta, Good and Ugly, ARTFORUM, February 1998, p. 27.
Halle, Howard, Four on the Floor, TIME OUT NEW YORK, April 1997, p. 41.
Rimanelli, David, A/Drift, ARTFORUM, February 1997, p. 83.
Smith, Roberta, Finding Art in the Artifacts of the Masses, THE NEW YORK TIMES, 1 December 1996, pp. 43-44, 46.
Schwendener, Martha, Catch My Drift, TIME OUT NEW YORK, December 1996, p. 40.
Reisman, David, John Miller, TEXTE ZUR KUNST, May 1995.
Kandel, Susan, A Spectacular Brown Colors the Message, LOS ANGELES TIMES, 18 February 1994, p. F19.
Reisman, David, The Other Side, TEMA CELESTE, Winter 1993, p. 72.
Nickas, Robert, John Miller: Shit Happens, FLASH ART, November/December 1993, pp. 94-95.
Wallis, Brian, Mike Kelley’s “The Uncanny”, ART IN AMERICA, October 1993, p. 55.
Cembalest, Robin, Much Ado About Doodoo, ART NEWS, September 1993, pp. 57-58.
Bourriaud, Nicolas, La Position Secondaire de l’Art, ART PRESS, May 1993, pp. 33-34.
Koether, Jutta, John Miller: Metro Pictures, ARTFORUM, October 1992, p. 119.
Hixson, Kathryn, John Miller: Not Just Another Teenager Defecating on Tradition, FLASH ART, October 1992, p. 92.
Liu, Catherine, Just Pathetic at American Fine Arts, ARTFORUM, April 1992, pp. 95-96.
Koether, Jutta, John Miller in New York, TEXTE ZUR KUNST, Winter 1991, pp. 169-170.
Lewis, James, John Miller, ARTFORUM, February 1991, p. 124.
Mahoney, Robert, New York in Review: John Miller, ARTS MAGAZINE, February 1991.
Schjeldahl, Peter, Shit and Fan, THE VILLAGE VOICE, December 1990, p. 103.
Knight, Christopher, The Pathetic Esthetic: Making Do With What Is, LOS ANGELES TIMES, August 1990, p. F8.
Stals, Jose Lebrero, John Miller, LAPIZ (Madrid), May 1990, p. 65.
Johnson, Ken, John Miller at Metro Pictures, ART IN AMERICA, February 1990, p. 149.
Decter, Joshua, New York in Review, ARTS MAGAZINE, December 1989, pp. 99-100.
Spector, Nancy and Steven Evans, Doppel Angst/Double Fear, PARKETT, December 1989, pp. 129-135.
Spector, Nancy, Smart Art, CONTEMPORANEA, June 1989, pp. 94-97.
Kelley, Mike, Foul Perfection: Thoughts on Caricature, ARTFORUM, January 1989, pp. 92-99.
Kuspit, Donald, The Modern Fetish, ARTFORUM, October 1988, pp. 132-140.
Cooper, Dennis, John Miller, Metro Pictures, ARTFORUM, Summer 1988, p. 139.
Rian, Jeffrey, John Miller at American Fine Arts, ART IN AMERICA, May 1988, p. 187.
Knight, Christopher, Focusing on the Hidden Meaning of “Untitled” Works, LOS ANGELES HERALD EXAMINER, February 1988, p. E2.
Mc Coy, Pat, Of Ever-Ever Land I Speak, ARTSCRIBE, January/February 1988, pp. 73-74.
Kuspit, Donald, John Miller at Metro Pictures, ARTSCRIBE, June/July 1986, pp. 78-79.
Indiana, Gary, Soho Sketches, THE VILLAGE VOICE, April 1986, p. 93.
Gardner, Colin, John Miller, FLASH ART, December/January 1985.
Bankowsky, Jack, Summer Show at Metro Pictures, EAST VILLAGE EYE, September 1984.
Wilson, William, Art Reviews, LOS ANGELES TIMES, June 1984, p. 6.
Drohojowska, Hunter, John Miller at the Rosamund Felsen Gallery, L.A. WEEKLY, June 1984, p. 39.
Bankowsky, Jack, John Miller at Metro Pictures, EAST VILLAGE EYE, June 1984.
Glueck, Grace, John Miller, THE NEW YORK TIMES, March 1984.
