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 concerns the role of aesthetics within mass culture. In 2017 he had solo shows of his work at Galerie Barbara Weiss in Berlin and Galerie Praz-Delavallade in Paris; in 2018 he will have solo shows at Meliksetian Briggs Gallery in Los Angeles and at the Museum im Bellpark in Kriens, Switzerland.
Professor Miller's teaching includes undergraduate seminar in Art Criticism, Supervised Projects in Photography, and Independent Research.
Books
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)
Catalogs
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.
I Stand/I Fall. Miami: The Institute of Contemporary Art, Miami, 2017, curated by Alex Gartenfeld with texts by Ellen Saltpeter, Alex Gartenfeld, Hal Foster and Isabelle Graw.
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.
Photography
Contemporary art and criticism
Supervised Projects in Photography
Art Criticism
Independent Research
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
2016 “Educational Complex,” Museum of Contemporary Art, Detroit, Michigan
“Relations in Public,” Institute of Contemporary Art, Miami, Florida
“TransArt Triennial Berlin: Processed Being: an Exploration of Intersubjectivity, Authorship
and Geography,” Ufer Studios, Berlin, Germany
“Social medium: artists writing, 2000-2015,” MoMA PS 1, New York, New York
2017 “Conversation: Nicolás Guagnini and John Miller,” The Swiss Institute, New York, New York
“Introduction: Mike Kelley Videos,” Hauser & Wirth Gallery, Los Angeles, California
“A is for Apple,” Matt Keegan: Or, ed. Nicole Lanctot (New York: Inventory Press and Stavenger, Norway: Rogaland Kunstsenter, 2016).
“Muse: Life Before (and After) (and During) the Digital Revolution,” Art in America (May 2016): http://www.artinamericamagazine.com/news-features/magazine/muse-life-before-and-after-and-during-the-digital-revolution/ (ill.) (accessed May 16, 2016).
“Role Play: There are more and more large-scale shows curated by artists. Why do you think that is?” Mousse, No. 54 (June, 2016): pp. 136-153.
“Cleveland Rocks,” Cleveland Rocks (Cleveland, Ohio: Cleveland Museum of Art, 2016).
“Barbara Weiss: 1960-2016,” frieze.com, https://frieze.com/article/barbara-weiss-1960-2016 (accessed January 21, 2017).
“Barbara Weiss (1960-2016), conversation with Monika Baer, Texte zur Kunst (March 2017), Volume 27, No. 105: pp. 236-240. (ill.)
“How to Fix the Art World,” Art News (Winter 2017), p. 69 (ill.)
“A Stopgap Measure, an Echo Chamber, a Hall of Mirrors,” Four by Three Magazine, http://www.fourbythreemagazine.com/issue/saturation/a-stopgap-measure?rq=john%20miller%2C%20a%20stopgap%20measure (accessed April 26, 2017)
“The Fantasy of the Fantasy,” Cash for Gold: Nina Beier (Milan: Mousse Publishing and the Kunstverein in Hamburg, 2017).
“What Is a Cinematic Moment?’ in relation to a Spectator: (Hannover: Kestner Gesellschaft and Sternberg Press, 2017).
212.854.1697
jmiller@barnard.edu
B.F.A., Rhode Island School of Design
M.F.A., California Institute of the Arts