John Miller

Professor of Professional Practice in Art History

John Miller, Professor of Professional Practice in Art History, joined the faculty of Barnard in 2000. Professor Miller is an artist and critic. He exhibits his work internationally. His criticism typically concerns the role of aesthetics within mass culture. In 2014 he had solo shows of his work at  Meleksetian Briggs in Los Angeles and Campoli Presti in Paris; in 2015 he had solo shows at Metro Pictures and Mary Boone Gallery in New York.  

Professor Miller's teaching includes undergraduate seminar in Art Criticism, Supervised Projects in Photography, and the Senior Independent Projects.


The Price Club: Selected Writings, 1977-1996 (Geneva and Dijon: JRP Editions and the Consortium, 2000)

When Down Is Up: Selected Writings, trans. Thomas Atzert (Frankfurt-am-Main: Revolver Verlag, 2001)

The Ruin of Exchange, edited by Professor Alexander Alberro (Geneva and Dijon: JRP-Ringier and les Presses du Reel, 2012)

Mike Kelley: Educational Complex (London: Afterall Books, 2015)


A Refusal to Accept Limits. Zürich, Switzerland: Kunsthalle Zürich and JRP/Ringier Kunstverlag AG, 2010, curated by Beatrix Ruf with texts by Alexander Alberro and Norra Alter, Branden W. Joseph and Jutta Koether.

Economies Paralleles/Parallel Economies. Grenoble: Le Magasin, 1999, curated by Yves Aupettitalot and Lionel Bovier with texts by Yves Aupettitalot, Lionel Bovier, Mike Kelley, John Miller, Robert Nickas and Nancy Specter.

Manifest-O.  Brooklyn, New York: Concrete Utopia, 2010, curated by Melanie Kress and Rosie DuPont withforeword by Melanie Kress.

Mapping. New York: Museum of Modern Art, 1994, curated and text by Robert Storr.

 Middle Man. New York: Three’s Company, 2010, curated by Alex Gartenfeld and Piper Marshall with texts bythe curators and Dan Graham, Nicolás Guagnini and John Miller.

Rock Sucks/Disko Sucks. Berlin: daadgalerie, 1992, texts by Dennis Cooper, Isabelle Graw and Nancy Spector.

Academic Focus
Contemporary art and criticism


Supervised Projects in Photography

Art Criticism

Independent Projects


Louis Comfort Tiffany Award

 Artists' Fellowship (New Genres), National Endowment for the Arts

Deutscher Akademischer Austauschdienst (D.A.A.D.) Berliner Kunstlerprogramm, Berlin

Residency, Center for Contemporary Art, Kitakyushu, Japan

Pollock Krasner Foundation Grant

The Wolfgang Hahn Prize, Gesellschaft für Moderne Kunst, Museum Ludwig, Cologne



“Mike Kelley and Class,” MoMA PS1, New York, New York

“Part 2: Post-Digital Media Critique,” the Museum of Art and Design, New York, New York

Winifred Johnson Clive Foundation Distinguished Visiting Fellowship, San Francisco Institute of Art, San Francisco, California

“The Ruin of Exchange” and “Educational Complex,” the Staedelschule, Staatliche Hochschule für Bildende Künste, Frankfurt-am-Main

“Symposium: Mike Kelley in Los Angeles,” Japanese American Museum and the Los Angeles Museum of Contemporary Art, Los Angeles

 “Art and Its Frames: Continuity and Change,” Kunstraum der Leuphana Universitaet Lueneburg, Lueneburg, Germany

 Kunstakademie Düsseldorf, Düsseldorf, Germany

 “Body Politic: Discussion About the Meaning of Contemporary Sculpture,” Royal Festival Hall, Hayward Gallery, London

 “Christopher Williams: the Production Line of Happiness,” the Museum of Modern Art, New York

  “Close to Now,” Goethe Institute, New York, New York


“Speculative Realism, Accelerationism and Esthetics,” The Center for the Humanities, The Graduate Center, City University of New York, New York, New York



“Art Schools, the Internet and the Violin Playing Mermaids: a Conversation between John Miller and TonyConrad,” Mousse Contemporary Art Magazine, No. 28, April-May, 2011: 48-61.

“Painting, Object, Theater,” Monika Baer, (Köln: Verlag der Buchhandlung Walther König, 2011).

 “POP RIGHT NOW: Roundtable with Bettina Funcke, Massimiliano Gioni, John Miller, moderated byJoanna Fiduccia, with a postscript by Boris Groys, and artworks by Darren Bader, Kaleidoscope, No.11 (Summer 2011): pp. 93-105.

“Tomorrow Is the Question: John Miller on the Art of Ilene Segalove,” Artforum, Vol. 50, No. 2 (October 2011): pp. 262-67.

 American Exuberance,” American Exuberance (Miami: Rubell Family Collection, 2011).

“In Memoriam: Mike Kelley,” Texte zur Kunst, Vol. 22, No. 85, 2012: 245-7.

“From My Institution to Yours: a Personal Remembrance,” art agenda, February 6: (accessed March 11, 2012).

“Mike Kelley (1954-2012): Ten Tributes,” Frieze, No. 146 (April, 2012): 127.

“No,” Angela Bulloch (Rotterdam: Witte de Witte Center for Contemporary Art, 2012).

 “The Universal Solvent,” Jim Shaw - Left Behind: Essays, edited by Charlotte Laubard and Jim Shaw (Bordeaux: les presses du réel and CAPC musée d'art contemperain de Bordeaux).





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

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

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