Born 1954, Cleveland, Ohio
Lives and works in New York and Berlin

 

EDUCATION
1977
BFA, Rhode Island School of Design, Providence, Rhode Island

1978
Whitney Museum of American Art Independent Study Program, New York,

1979
MFA, California Institute of the Arts, Valencia, California

 

SELECTED ONE AND TWO PERSON EXHIBITIONS
2017
The Insanity of Place, Galerie Barbara Weiss, Berlin
Mannequin Death, John Miller and Richard Hoeck, Atlanta Contemporary, Atlanta

2016
I Stand, I Fall, ICA, Miami
Relations in Public, Richard Telles Fine Art, Los Angeles
Mannequin Death, John Miller and Richard Hoeck, Metro Pictures, New York
Mannequin Death, John Miller and Richard Hoeck, Meliksetian Briggs, Los Angeles
Sex Appeal of the Inorganic, John Miller and Richard Hoeck, Johann Widauer, Innsbruck, Germany
Paintings from the 80s to the Present, Meyer Riegger, Karlsruhe, Germany
Dark Ages, Studio for Propositional Cinema, Düsseldorf

2015
Here in the Real World, Metro Pictures, New York
Here in the Real World, Mary Boone Gallery, New York
Open to All Ages and Ethnicities, (two person exhibition with Takuji Kogo), Neuer Berliner Kunstverein, Berlin, Germany
Counterpublics, Campoli Presti, London
Nagel Draxler, Cologne (two person exhibition with Dominik Sittig)

2014
A Moveable Feast – Part XIII, Campoli Presti, London
Do it Again!, Meliksetian Briggs, Los Angeles
Our Shadowless Universe, (with Anna Rosen), Malraux’s Place, Brooklyn, New York

2013
The Angel of History (two-person show with Aura Rosenberg), 3A Gallery, New York
Meyer Reigger, Karlsruhe, Germany
Subjective Moments, Marc Jancou, Geneva
The Middle of the Day, Shoot the Lobster, Martos Gallery, New York
The Grotesque, Kubus, Vienna

2012
The Petrified Forest, Praz-Delavallade, Paris
Suburban Past Time, Metro Pictures, New York

2011
Wolfgang-Hahn-Preis, Museum Ludwig, Cologne

2010
Two-Person show with Dan Graham, Galerie Christine Mayer, Munich
A Holiday in Other People’s Mistery, Galerie Christian Nagel, Cologne
The Totality of All Things as They Actually Exist, Galerie Barbara Weiss, Berlin
The Grotesque, Galerie Johann Widauer

2009
Kunsthalle Zürich (cat.)
The Natural Order, Patrick Painter Inc., Santa Monica, CA

2008
Is That All There Is?, Sutton Lane, London
Meyer Riegger Galerie, Karlsruhe, Germany
11 Sessions (with Karin Schneider and Matt Keegen), Orchard 47, New York
Camouflage on a Mannequin, (with Richard Hoeck), Michael Hall Contemporary Art, Vienna

2007
The New Honeymooners, Friedrich Petzel and Metro Pictures, New York (2007-2008)
Back to the Garden, Praz-Delavallade, Paris
The Middle of the Day (online), Jeffrey Charles/Henry Peacock, 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 Engelhorn Galerie, Vienna; Galerie Hans
Widauer, Innsbruck; cable tv broadcast (CAC TV), Contemporary Art Center, Vilnius, Lithuania
Plakat (with Richard Hoeck), Kunstraum, Innsbruck, Austria
Praz-Delavallade, Paris
The Middle of the Day, Galerie Barbara Weiss, Berlin

2004
Everything is Painted Brown, Metro Pictures, New York
Le Milieu du Jour, 1994 – 2004, Musée d’Art Moderne et Contemporain, Geneva
Total Transparency, Richard Telles Fine Arts, Los Angeles
493 KB from the Administered World, Jeffrey Charles Gallery, London

2003
Everything is You, Galerie Praz-Delavallade, Paris
Mutually Beneficial Encounter, Galerie Christian Nagel, Cologne
Ich (36/175/74), Meyer Riegger Galerie, Karlsruhe, Germany
Candy Factory, Yokohama, Japan

2001
Deliveries in Rear, Kunst, Tiroler Sparkasse, Innsbruck, Austria
Double Date, Galerie Barbara Weiss, Berlin

2000
Pilot, Richard Telles Fine Arts, Los Angeles
Le Milieu du Jour, Art & Public, Geneva, Switzerland
Consolation Prize (with Mike Kelley), Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver (cat.)

1999
Parallel Economies, Le Magasin, Centre National d’Art Contemporain, Grenoble, France (cat.)
Retrospective, Kunstverein, Hamburg, Germany
Getting Through the Day: a Return to Stonehenge, Metro Pictures, New York
Opposite Day, Metro Pictures, New York
Pillars of Salt, Galerie Barbara Weiss, Berlin
The Lugubrious Game, Meyer Riegger Galerie, Karlsruhe, Germany
Hard Hat (with Richard Hoeck), Kunst-Werke, Berlin
No Place to Hang Your Hat (with Richard Hoeck), Kunstaum Hans Widauer, Innsbruck, Austria

1998
Alive with Pleasure (digital projections), Candy Factory, Yokohama, Japan
Paintings and Sculpture, P.S.1 Contemporary Art Center, New York
For the Good Times, Richard Telles Fine Arts, Los Angeles
Songs From a Room, Meyer Riegger Galerie, Karlsruhe, Germany
White Studies (with Richard Hoeck), Kunsthalle Wien, Vienna (cat.)

1997
A Trail of Ambiguous Picture Postcards, Center for Contemporary Art, Kitakyushu Project Gallery, Tokyo,(cat.)
Revisions of Abstract Expressionism: Painting between Vulgarity and the Sublime, Kunstverein Kreis Gutersloh,Gutersloh, Germany

1996
Oberrheinisches Dichtermuseum, Karlsruhe, Germany
The Middle of the Day, Kunstbüro, Museum für Literatur am Oberrhein, Karlsruhe, Germany (cat.)
Field Manual for a Tautology, Galerie Thomas Riegger, Karlsruhe, Germany
Richard Telles Fine Arts, Los Angeles
Hommage an Karl May, Galerie Barbara Weiss, Berlin

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
Museum Robert Walser, Hotel Krone, Gais, Switzerland
The Long March, the Narrow Road, Metro Pictures, New York
Art & Public, Geneva

1992
Rock Sucks/ Disko Sucks, Daad Galerie, Berlin (cat.)
Bruno Burnnet 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
Galerie Isabella Kacprzak, Cologne
Standard Graphik, Cologne, Germany
…But the Flesh Is Weak, Metro Pictures, New York

1988
Metro Pictures, New York

1987
American Fine Arts Co., New York

1986
Metro Pictures, New York

1985
Two-person exhibit with Mike Kelley, Metro Pictures, New York

1984
Rosamund Felsen, Los Angeles
Metro Pictures Gallery, New York

1983
Recent Work, The Kitchen, New York

1982
White Columns, New York

 

SELECTED GROUP EXHIBITIONS:
2017
Zeitgeist, Musée d’art moderne et contemporain, Geneva
After the Fact, Lenbachhaus, Munich
Eco Emo, Greene Naftali, New York, Curated by Antoine Catala and Vera Alemani
Strange Attractors: The Anthology of Interplanetary Folk Art Vol. 1 Life on Earth, (with Richard Hoeck), Redling Fine Art, Los Angeles, curated by Bob Nickas

2016
Painting 2.0: Expression in the Information Age, Mumok, Vienna, Austria
Montage, Off Vendome, New York, organized by Alex Kitnick
Collecting Lines: Drawings from the Ringier Collection, Villa Flora, Winterthur, Switzerland
The Power and The Glory, Charles Riva Collection, Brussels

2015
Call and Response, Gavin Brown’s Enterprise, New York
Mary / Miller / Mosset / Overton, Triple V, Paris, France
1989, Galerie Barbara Weiss, Berlin
Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich, Germany
Collecting Lines: Drawings from the Ringier Collection, Villa Flora, Winterthur, Switzerland
Gjon Mili International Photography Exhibition, National Gallery of Kosovo, Pristina, Kosovo
Sylvia Bataille, JOAN, Los Angeles

2014
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: Institution, Image, Ideology, Hammer Museum, Los Angeles
Gold, Bass Museum of Art, Miami
Art in Pop, Le Magasin, Grenoble, FR
Wurst Wust West, Büro Weltausstellung, Vienna
The Promise, Arnolfini, Bristol, United Kingdom
Rockaway!, Rockaway Beach Surf Club, Queens, New York
No Games Inside the Labyrinth, Galerie Barbara Weiss, Berlin
John Miller, Olaf Breuning, Tony Matelli, Gary Tatintsian Gallery, Moscow, Russia

2013
Holes in the Walls: Early Works 1943-2013, Fri Art Kunsthalle Freiburg, Switzerland
Painting Forever! Keilrahmen, KW Institute for Contemporary Art, Berlin
LAT. 41° 7′ N., LONG. 72° 19′ W, Martos Gallery, East Marion, New York
Expo 1: New York, Museum of Modern Art PS1, Queens, New York
Empire State, Palazzo delle Esposizioni, Rome (cat.)
NYC 1993: Experimental Jet Set, Trash and No Star. New Museum, New York
White Petals Surround Your Heart, Institute of Cotemporary Art, University of Pennsylvania, Philadelphia (cat.)
Neue Ware, Galerie Christian Nagel, Köln
Winter Scenario, cneai=, Paris
Call of the Mall, Hoog Catharjine and Utrecht Central Station, Utrecht, The Netherlands
Endless Bummer II, Still Bummin’, Marlborough Chelsea, New York
A Little About Me: Four Works By Robot [John Miller and Takuji Kogo], First Look: New Art Online, The New Museum of Contemporary Art, New York
Take It or Leave It, The Hammer Museum, Los Angeles
Open Systems: Works in MOCA’s Permanent Collection, Museum of Contemporary Art, Miami
Stage for a Journey, ReMap 4, Athens, Greece
The Angel of History, Gallery 3A, New York

2012
BUSY. Exhausted Self/Unlimited Ability, 21er Haus, Vienna (2012-2013)
KEINE ZEIT, Erschöpftes Selbst/Entgrenztes Können, Österreichische Galerie Belvedere, 21er Haus, Vienna Screening, Real Fine Arts, Brooklyn, New York
Imagination Adrift, Palais de Tokyo, Paris
Bilderladen Dumont-Carré, Galerie Christian Nagel, Köln
Sound Quality, Grey Area, New York
Panegyric, Forde Gallerie, Geneva Creature from the Blue Lagoon, Martos Gallery, Bridgehampton, New York
Drawing show, Galerie Micheline Szwajcer, Antwerp, Belgium
Standard Operating Procedure, Blum & Poe, Los Angeles
These Transitional Spaces, Franklin Street Works, Stamford, Connecticut
The Mirror of Narcissus: From Mythological Demigod to Mass Phenomenon, Galerie im Taxispalais, Innsbruck, Austria
Flying, Kunstlerhaus Bethanian, Berlin
Recalled: Art By Telephone, Centre National Edition Art Image, Chatou, France; Ecole Supérior Des Beaux-Arts TALM, Angers, France; Centre d’Arts Plastiques Contemporains, Bordeaux, France; The Emily Harvey Foundation, New York; the San Franciso Art Institute, San Francisco
Choreografie einer Landschaft: 12 Projekte für den Bergpark Lohberg, Museum Voswinckelshof, Dinslaken, Germany
Lost and Found: Anonymous Photography in Reflection, Ambach & Rice, Los Angeles
Shake and Bake, Galerie Praz-Delavallade
Candy Factory Projects: Kitakyushu Biennial World Tour 1, The Private Museum, Singapore

2011
After Images, Jewish Museum of Belgium, Brussels (cat.)
IMIN: Migrants, Immigrants, Emigrants, Refugees, Exiles, Expatriates, and Others, Kitakyushu Biennial 2009/2011, Japan (cat.)
Process Time, Galerie Meyer Riegger, Berlin
Regard sur nos productions – Part I, Mfc-Michèle Didier, Brussels
Road Atlas, Straßenfotografie aus der DZ Bank Kunstsammlung, Opelvillen Rüsselsheim
Über die Metapher des Wachstums, Kunstverein Frankfurt, Frankfurt
We Regret To Inform You…, Martos Gallery New York
Freundschaft, Brandenburgischer Kunstverein, Potsdam, Holland
Catalogue of the Exhibition, Triple V, Paris

2010
BigMinis, CAPC Musée D’Art Contemporain, Bordeaux, France (2010-2011)
Wait for Me at the Bottom of the Pool, Martos Gallery, New York
10,000 Lives, Gwangju Biennale, Gwangju, South Korea (cat.)
Mixed Use, Manhattan: Photography and Related Practices 1970s to the Present, Museo Nacional Centro de Arte Reina Sofia, Madrid (cat.)
PortugalArte 10, Lisbon
Nachleben, Goethe Institut, New York
Larger Than Life – Stranger Than Fiction: 11th Triennial of Small Sculpture, Kulturamt Statd Fellbach, Germany (cat.)
Michael Beutler & Friends, Galerie Christian Nagel, Antwerp
curated by_vienna 2010: Albert Oehlen, Galerie Mezzanin, Vienna
Sonic Youth etc.: Sensational Fix, Centro de Arte Dos de Mayo, Madrid, Spain/ Life, Saint-Nazaire (Frankreich) / Museidon, Bolzano, Italien /
Malmö Konsthall, Malmö, Sweden
Middle Man, Three´s Company, New York / Galerie Max Hans Daniels, Berlin
Nachleben, Goethe Institut, New York
Filmschönheit, Galerie Mezzanin, Vienna / Galerie Gisela Capitain, Cologne / Greene Naftali Gallery, New York
bigminis, Le CAPC musée d´art contemporain de Bordeaux, Bordeaux, France
Tutti Frutti Summer Love, Hard Hat, Geneva
Sent By Mail, Galerie Barbara Weiss, Berlin
Channel TV, Halle für Kunst, Lüneburg / Cneai, Paris / Kunstverein Hamburger Bahnhof
Happy End, Kunsthalle Göppingen
Filmschönheit curated by Albert Oehlen, Galerie Gisela Capitain, Köln
Alles Berliner,  Niels Borch Jensen, Berlin

2009
Ongoing Projects, Metro Pictures, New York (2009-2010)
Amerikana, NGBK – Neue Gesellschaft für Bildende Kunst e.V., Berlin
I Am By Birth A Genevese, Vegas Gallery, London
Regift, Swiss Institute, New York
N’importe quoi, Musée d’Art Contemporain, Lyon, France
The Invisible Fourth Wall, Sutton Lane London, London
Miete Strom Gas oder Brasilien Wax, quartier21.freiraum, Vienna, Austria
Crotla Presents, lothringer13/laden, Munich
The Porn Identity. Expeditionen in die Dunkelzone, Kunsthalle Wien, Vienna
Sonic Youth etc.: Sensational Fix, KIT Kunst im Tunnel, Düsseldorf
Sonic Youth etc.: Sensational Fix , Kunsthalle Düsseldorf, Düsseldorf

2008
Aurum: Gold in Contemporary Art, Le CentrePasquArt, Biel Bienne, Switzerland
The Skat Players, Vilma Gold, London
Sonic Youth etc.: Sensational Fix, LiFE International Space for Emerging Arts, Saint-Nazaire, France;
Museion, Bolzano, Italy; Kunsthalle Düsseldorf, Germany; Malmö Konsthall, Sweden; Centro
Huarte de Arte Contemporáneo, Navarra, Spain (2008-2010) (cat.)
Paul Thek Werkschau im Kontext zeitgenössischer Kunst, Sammlung Falckenberg Hamburg-Harburg, ZKM Karlsruhe
Go West. Von Cowboys und Indianern, Kunsthalle Krems/Galerie, Krems
Bad Planet, Gary Tatintsian Gallery, Moscow
Sculpture Trail, Grieder Contemporary, Küsnacht
The Forces of Nature Will Rise Up to Defeat the Madman, Monya Rowe Gallery, New York
Tales of the Grotesque, Karma International, Zürich

2007
Cute or Creepy?, Kitakyushu Biennial, Moji-Ko Kitakyushu, Japan
Paul Thek: Werkschau im Kontext Zeitgenössisher Kunst, ZKM Zentrum für Kunst und Medientechnologies,
Karlsruhe, Germany; Sammlung Falckenberg, Hamburg, Germany (2007-2008)
Metro Pictures, New York
Every Revolution is a Roll of the Dice, The Ballroom Marfa, Texas
The Happiness of Objects, Sculpture Center, New York
Zwischen zwei Toden, ZKM Zentrum für Kunst und Medientechnologies, Karlsruhe, Germany (cat.)
The Dating Show, 3rd Ward Gallery, Brooklyn, New York
The Happiness of Objects, The Sculpture Center, Long Island City, New York
Between the Two Deaths, ZKM, Zentrum für Kunst und Medientechnologies, Karlsruhe, Germany
Forrest Dump, Shark (ex-fuel), Geneva, Switzerland
Kitakyushu Biennial, Moji, Japan
Body PoliticX, Witte de With, Rotterdam, Holland
Neointegrity!, Derek Eller Gallery, New York
Every Revolution is A Roll of the Dice, Ballroom Marfa, Marfa, Texas
Q&A, video screening, Elizabeth Dee Gallery, New York
Wolfgang von Kempelen. Mensch–Maschine, ZKM, Zentrum für Kunst und Medientechnologies, Karlsruhe
Abbondanza, Salvatore Ferragamo Gallery, New York, New York
Black Noise: Every Day is Saturday, Cumberto Space, Tblisi, Georgia; MAMCO, Geneva, Switzerland;
CNEAI (Centre National de L´Estampe et de l´Imprimé), Chatou, France
Radio Danièle, GAM/Bologna, Italy; Kunsthalle Zurich, Switzerland
In Pursuit: Art on Dating, Ise Cultural Foundation, New York, New York

2006
Optik Schröder: Werke aus der Sammlung Alexander Schröder, Kunstverein Braunschweig, Germany (cat.)
The Gold Standard, P.S.1 Contemporary Art Center, New York
Periferic 7 – Focussing Iasi, Romania Biennial
Into Me/ Out of Me, P.S.1 Contemporary Art Center, New York; KW Institute for Contemporary Art, Berlin; MACRO Museo d’Arte Contemporanea,
Rome (2006-2007) (cat.)
Dark Places, Santa Monica Museum of Art, Los Angeles
Vincule a. Politicas de la Afectividad, Estiticas del Biopoder, Medialab Madrid, Spain
Visionäre Sammlung Vol. 1, Haus Konstruktiv, Zürich

2005
Das neue Europa: Kultur des Vermischens und Politik der Repräsentation, Generali Foundation, Vienna
AUTOmobilisé, Galerie Error! Contact not defined., Bordeaux, France
Something for Everyone (screening), Metro Pictures, New York
Kunst in Schokolade, Museum Ludwig, Imhoff-Stollwerck-Museum, Cologne
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
Private View, 1980-2000: Collection Pierre Huber, Musée Cantonal des Beaux-Arts des Lausanne, Switzerland
When Humour Becomes Painful, Migros Museum für Gegenwartskunst, Zurich
After All That Can Be Said, Galerie Kienzle & Gmeiner, Berlin
Expérience de la Durée, Biennale d’Art Contemporain de Lyon, Lyon, France
Alle-gory, Mandarin, Los Angeles
Talk to the Land, Andrew Kreps Gallery, New York
Superstars, Kunsthalle Wien, Vienna
Synthesis and Distribution: Experiments in Collaboration, Pace University Galleries, New York
Minimalist Kitsch & Visionäre Sammlung, Vol. 1, Haus Konstruktiv, Zurich
L’oeuvre en programme, CAPC Museum of Contemporary Art, Bordeaux, France (cat.)

2004
Global Consulting, New York
The Middle of the Day, MAMCO Musée d’Art Moderne et Contemporain, Geneva, Switzerland
Body Display: Performative Installation, Secession, Vienna
Before the End, Le Consortium, Dijon, France
Mike Kelley: The Uncanny, Tate Liverpool, England
The Big Nothing, Institute of Contemporary Art, University of Philadelphia, Pennsylvania
Scream, IASPIS, Stockholm, Sweden
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, Austria
Channel 0, CATV Project, Akiyoshidai International Art Village, Yamaguchi, Japan
Richard Telles Fine Art, Los Angeles
Last One on is a Soft Jimmy, Paula Cooper Gallery, New York

2003
Drawings, Metro Pictures, New York
Thirty Three Women: Three Poems by Pablo Picasso, Thomas Ammann Fine Art AG, Zurich (cat.)
There is no land but the land, Meyer Riegger Galerie, Karlsruhe
Falking Real, Leroy Nieman Gallery, Columbia University, 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, Japan
There like them so long as they’re on a stage, performance with Richard Hoeck, Transmitter Musikfestival, Hohenems, Vorarlberg, Österreich
Sandwiched, Public Art Fund and the Wrong Gallery, Brooklyn, New York
3-2-1, Gallery M, New York
Jessica Stockholder: Table Top Sculpture, Gorney Bravin + Lee, New York
Art Focus 4, Jerusalem Museum, Jerusalem, Israel
The Next Documenta Should be Curated By An Artist, e-flux project, John Miller, Martha Rosler u.a.; kuratiert von Jens Hoffmann, www.e-flux.com

2002
From the Observatory, Paula Cooper Gallery, New York
A Country Lane, Kerstin Engholm Galerie, Vienna
The Empire Strikes Back, the ATM Gallery, New York
Schuermann Sammlung, K21, Düsseldorf
Flash Two: JRP Editions, Galerie Martin Janda, Vienna; travelled to Chouakri, Brahms Berlin.
In portraiture irrelevance is ugliness, Galerie Reinhard Hauff, Stuttgart and the Museum Schloß Hardenberg, Velbert
A Country Lane, Galerie Kerstin Engholm, Vienna

2001
John Miller, Fred Wilson, Pae White, Metro Pictures, New York
Tele(visions): Kunst Sieht Fern, Kunsthalle Wien, Vienna (cat.)
Homes for the Soul: Micro-architecture in Medieval and Contemporary Art, the Henry Moore Foundation, Leeds, England
Tele(visions): Kunst Sieht Fern, Kunsthalle Wien, Vienna, Austria
Superman in Bed, Das Museum am Ostwall, Dortmund, Germany
Trade, Fotomuseum Winterthur, Switzerland; travelled to Nederlands Foto Institut, Rotterdam, Holland
Ziviler Ungehorsam: Sammlung Falckenberg, Kestner Gesellschaft, Hannover, Germany
Drawings, Galerie Biedermann, Munich, Germany

2000
American Art Today: Fantasies & Curiosities, Art Museum at Florida International University, Miami;
Kunstraum Hans Widauer, Innsbruck, Austria (cat.)
Wider Bild Gegen Wart – Positions to a political discourse, Raum aktueller Kunst Martin Janda, Vienna
Nieuw Internationaal Cultureel Centrum (NICC), Antwerp, Belgium
Extraordinary Realities, Columbus Museum of Art, Columbus, Ohio
All You Can Eat, Galerie fur Zeitgenössische Kunst, Leipzig, Germany
Essensbilder/Bilder zum Essen, Manzini Mitte, Berlin, Germany
American Art Today: Fantasies & Curiosities, The Art Museum at Florida International University, Miami, Florida
Kunstraum Hans Widauer, Innsbruck, Austria

1999
Drawn by…, Metro Pictures, New York
Pl@ytimes, Magasin-L’Ecole, Centre National d’Art Contemporain, Grenoble, France
Wir leben zwichen Wänden, Kunstamt Kreuzberg, Berlin
Bad Bad: That’s a Good Excuse, Staatliche Kunsthalle Baden-Baden, Germany (cat.)
Transmute, Museum of Contemporary Art, Chicago
Art in the Age of the Consumer: Works from the Collection of the Museum of Contemporary Art, Feldman Gallery, Pacific Design Center, Los Angeles
Stadtluft: der Urbane Raum als Medium von Macht, Kunstverein, Hamburg
Get Together: Art as Teamwork, Kunsthalle Wien, Vienna
Malerie, INIT Kunst-Halle, Berlin
Das Versprechen der Fotografie, Kestner Gesellschaft, Hannover, Germany
Le Capital, Centre Régional d’Art Contemporain Languedoc-Roussillon, Séte, France (cat.)

1998
100 Years Secession, Secession Museum, Vienna
Raum Aktueller Kunst Martin Janda, Vienna
Tell me a Story, Centre National d’Art Contemporain, Grenoble, France
Fast Forward, Kunstverein, Hamburg
Entropie zu Hause, Suermont Ludwig Museum, Aachen, Germany
Malerei, INIT Kunst-Halle Berlin
Figurative Sculpture, Patrick Painter Gallery, Los Angeles
Painting, Now and Forever, Pat Hearn Gallery, New York
Songs from a Room, Meyer Reigger Galerie, Karlsruhe, Germany

1997
Someone else with my Fingerprints, David Zwirner, New York; Galerie Hauser & Wirth, Zurich; August
sander Archiv/SK Stiftung Kultur, Cologne; Kunstverein Munchen, Munich, Germany; Kunsthaus Hamburg, Germany
Laying Low: Postminimalism/Scatter Art, Kunstnernes Hus, Wergelandsveien, Oslo, Norway (cat.)
Artists and Photography, Museum Fur Literatur am Oberrheim in Zusammenarbeit mit dem Cabinet des Estampes, Geneva
79/97 An Exhibition of works by Curators of the Visual Arts Gallery, 1979-1997, Visual Arts Gallery, New York
The Cold War is Over (or is it?), COCA Museum, Macao, Korea
Now on View, Metro Pictures, New York
Display, The Charlottenborg Exhibition Hall, Copenhagen, Denmark (cat.)
At the Threshold of the Visible: Miniscule and Small-Scale Art, 1964-1996, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York; Meyerhoff Galleries, Maryland Institute of Art, Baltimore; Art Gallery of Ontario, Toronto; Art Gallery of Windsor, Ontario, Canada; Virginia Beach center for the Arts, Virginia Beach, Virginia; Santa Monica Museum of Art, Santa Monica; Edmonton Art Gallery, Edmonton, Alberta, Canada (cat.)
Heaven: Private View, P.S.1 Contemporary Arts Center, New York
Revisions of Abstract Espressionism: Painting Between Vulgarity and the Sublime, Kunstverein Kreis Gütersloh e.V., Gütersloh, Germany

1996
Metro Pictures, New York
Do It (Home Version), Museum in Progress, Vienna
Comic Depictions of Sex in American Art, Galerie Andreas Binder, Munich
Radical Images, 2nd Austrian Triennial on Photography 1996, Neue Galerie am Landesmuseum
Joanneum, Graz, Austria; Grosser Saal der Kunsthalle Szombathely, Hungary (cat.)
Intervention: Tendenzen im Schatten der Stadtplanung, Stiftung Starke, Berlin
Artistes & Photographies, Cabinet des Estampes du Musee d’Art et d’Histoire, Geneva
A/drift, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
L’art du Plastique, Ecole Nationale Supérieure des Beaux-Arts, Paris
Art at the End of the 20th Century: Selections from the Whitney Museum of Contemporary Art, Alexander Soutzos Museum, Athens; Museu d’Art Contemporani, Barcelona; Kunstmuseum Bonn, Germany

1995
Altered States: American Art in the 90s, St. Louis Museum of Art, Missouri (cat.)
Pittura-Immedia, Neue Galerie, Landesmuseum Joanneum and Kunstlerhaus, Graz, Austria
Land Schaf(f)t, Stiftung Weimarer Klassik, Weimar, Germany
Art in Suburbia, Jeffrey Deitch Art Advisory Services, New York
Metro Pictures, New York
Malerei in den 90er Jahren, Neue Galerie, Landesmuseum Joanneum, Graz, Austria

1994
Don’t Look Now, Thread Waxing Space, New York (cat.)
Suture-Phantasmen der Vollkommenheit, Salzburger Kunstverein, Salzburg, Austria (cat.)
Who Chooses Who, Benefit Exhibition, New Museum of Contemporary Art, New York
Up the Establishment, Sonnabend Gallery, New York
Wind from the East, Kunstlerhaus Bethanien, Berlin
Cloaca Maxima, Museum der Stadtentwasserung, Zurich (cat.)
Metro Pictures, New York
Mapping, Museum of Modern Art, New York
John Miller – Christina Frey, Kunsthalle Palazzo, Liestal, Switzerland (cat.)
Critical Mass, Yale University School of Art, New Haven
Temporary Translation(s): Sammlung Schurmann, Deichtorhallen Hamburg, Germany (cat.)
The Century of the Multiple, Deichtorhallen Hamburg, Germany
Frontiere, Galerie Bob von Oursow, Zurich

1993
Here’s Looking At Me: Autoportraits Contemporains, ELAC, Lyon, France
The Uncanny: Sonsbeek ’93, Geementemuseum, Arnhem, The Netherlands (cat.)
Metro Pictures, New York
The Nightshade Family, Museum Fridericianum, Kassel, Germany (cat.)
The Naming of Colors, White Colums, New York (cat.)
Abject Art: Repulsion and Desire in American Art, Whitney Museum of American Art, New York (cat.)

1992
Dirty Data, Schürmann Sammlung, Ludwig Forum für Internationale Kunst, Aachen, Germany
Metro Pictures, New York
Re: Framing Cartoons, Wexner Art Center, Ohio State University, Columbus
Sommersaustellung, Schloss Plon, Plon, Germany
Walter Benjamin: Grenzfall und Erwartung, In collaboration with the Institut für Heuristik, Galerie Mulackstrasse 22, Berlin;
Oberheinisches Dichtermuseum, Karlsruhe, Germany
Live in Your Head, Heligen Kreuserhof, School of Applied Arts, Vienna
1968, Fall from Fashion, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
Art Meets Ads, Stadtische Kunsthalle, Dusseldorf, Germany
Getting to Know You, Kunstlerhaus Bethanien, Berlin; Leipzig, Germany
Spielholle, Stadelschule, Frankfurt; Grazer Kunstverein, Graz, Austria; Galerie Sylvana Lorenz, Paris

1991
Currents, Institute of Contemporary Art, Boston
1991 Biennial Exhibition, Whitney Museum of American Art, New York (cat.)
Anni Novanta, Museo Communale d’Arte Contemporanea, Bologna, Italy
Lost Illusions, Vancouver Art Gallery, Vancouver, BC (cat.)
Hybrid Abstract, Ufdam Gallery, Bennington College, Bennington, Vermont
1990 Drawings, Metro Pictures, New York
The Koln Show, Galerie Sophia Ungers and Tanja Grunert, Cologne
Art Supplies and Utopia, Ralph Wernicke, Stuttgart, Germany (cat.)
Nachschub, The Koln Show, Cologne (cat.)
Just Pathetic, Rosamund Felsen Gallery, Los Angeles
In the Beginning, Cleveland Center for Contemporary Art, Cleveland
Viewpoints Towards the 90’s: Three Artists from Metro Pictures, Part II, Seibu Galleries, Tokyo (broch.)

1989
A Climate of Site, Galerie Barbara Farber, Amsterdam (cat.)
Avant 1989, Villa Gillet-Frac Rhone-Alpes, Lyon, France (cat.)
Metro Pictures, New York
Bruges La Morte, Bruges, Belgium
John Miller, Gary Mirabelle, Lawrence Weiner, American Fine Arts Co., New York
Information, Terrain Gallery, San Francisco
Self Evidence, Los Angeles Contemporary Exhibitions, Los Angeles
1988 syn – SERVICE, Robbin Lockett Gallery, Chicago
A ‘Drawing’ Show, Cable Gallery, New York
Tableux: Vivant/Morte, Installation, San Diego
Metro Pictures, New York
1987 CalArts: Skeptical Beliefs, Renaissance Society at the University of Chicago; Newport Harbor Museum, Newport Beach, California (cat.)
Metro Pictures, New York

1986
Signs of Painting, Metro Pictures, New York
The Gallery Show, Exit Art, New York
Abstract Appropriation, Grey Art Gallery, New York University, New York
A New Abstraction, New City, Venice, California

1985
1985 Biennial Exhibition, Whitney Museum of American Art, New York
Metro Pictures, New York
Black and White, Los Angeles Institute of Contemporary Art, Los Angeles
Correspondences: New York Art Now, La Foret Museum, Tokyo (cat.); Tochigi Prefectural Museum of Fine Arts, Tochigi, Japan;
Tazaki Hall, Espace Media, Kobe, Japan
Smart Art, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts

1984
Urban Confrontations, Ben Shahn Gallery, Paterson College, Wayne, New Jersey
Metro Pictures, New York

1983
Hallwalls Contemporary Arts Center, Buffalo, New York (cat.)
Art on Paper, Weatherspoon Art Gallery, Univ. of North Carolina at Greensboro
Artist’s Books/Booked Art, Ystad Konstmuseun, Ystad, Sweden; Kristianstad, Sweden Konstmuseum and Norrkopings Konstmuseum, Sweden

1982
London/New York, Lisson Gallery, London
Selections, Artists Space, New York
Drawing Show, Los Angeles Contemporary Exhibitions, Los Angeles
Real Life Magazine Presents, White Columns, New York

1981
Mudd Video 4, Mudd Club, New York
Noise Festival, White Columns, New York
Beware of the Dog!, Mudd Club, New York
Video, Anthology Film Archives, New York

1979
10 Artists Videotapes, Los Angeles Institute of Contemporary Art, California
Manifesto Show, 5 Bleecker Street, New York

1978
Short Videotapes, Anthology Film Archives, New York
Artwords and Bookworks, Los Angeles Institute of Contemporary Art, California

 

EXHIBITIONS ORGANIZED BY THE ARTIST
2016
Visibility, Campoli Presti, London

2013
Bad Conscience, Metro Pictures, New York

2009
Regift, The Swiss Institute of Contemporary Art, New York

 

SELECTED PERFORMANCES
2008
XXX Macarena (with Jutta Koether), Artists Space, New York
Music Performance: Jutta Koether and John Miller, Neuer Berliner Kunstverein, Berlin

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

 

SELECTED MONOGRAPHS AND PUBLICATIONS
2013
Carmen’s Fashion Do’s and Don’t’s (as told to Aura Rosenberg, John Miller and Frank Lutz), self-published, New York.
Alberro, Alexander, ed. John Miller: The Ruin of Exchange and Other Writings on Art, JRP Ringier, Zurich and Les presses du reel, Dijon.

2010
Miller, John, Jutta Koether and Tony Conrad. XXX Macarena: Performance, Kunsthalle Zürich, 28. August 9, 12” vinyl record, 41:54 min., Nursery/Primary Information, New York.

2009
Miller, John and Jutta Koether. Selling Short: XXX Macarena. Import series audio CD, MFC-Michéle Didier, Brussels and Les presses du reel, Dijon.
Shooting Log, MFC-Michéle Didier, Brussels.

2008
Between Artists: Maria Eichhorn/John Miller, A.R.T. Press, New York.

2006
In Person: Robot, audio CD, North Drive Press, New York

2004
Miller, John and Richard Hoeck. Something for Everyone, video, 29:24 min, Hoeck-Miller-Riff Productions, Vienna.
I’ve been listening to depressing music lately. Maybe because I’m depressed…, Cabinet des estampes, Geneva and Walther König Verlag, Cologne.

2003
Fatalism and Fun, Support Agentur, Berlin.

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

1997
Miller, John and Takuji Kogo. Wake-Up Time, Neuer Aachener Kunstverein, Aachen, Germany.
…it looked comical: each house had a chimney rising into the sky, but nothing next to it, Cabinet des estampes, Geneva.
The Price Club: Selected Writings, 1977-1996, JRP Editions, Geneva and Les presses du reel, Dijon.
A Trail of Ambiguous Picture Postcards, Korinsha Press, Kyoto and the Center for Contemporary Art, Kitakyushu.

1996
It was a beautiful day, in the seventies. I watched people on pogo sticks in the park, Cabinet des estampes, Geneva and Kunstbüro, Museum für Literatur am Oberrhein, Karlsruhe.

1995
Compiled by Bernd G,. Milla. “Art as Discourse,” Sprechen .ber Kunst, Oktagon Verlag, Stuttgart, Germany.

1986
Weissman, Benjamin, ed. The True Voice,

1982
Miller, John and Dan Walworth, eds. Cave Canem, Cave Canem Books, New York.
Contamination, Cave Canem Books, New York; excerpted in Details, Musée de Grenoble (1981)

1981
Mixup, 45 rpm vinyl disc (face 1: Mixup, face 2: Hi Sheriffs or Blue), Tweet Records, New York; excerpt
face 1: Mixup included in Tellus, no. 7., audiocassette.

1980
Text, self-published, New York.

1979
Cunematic Moments, self-published, New York.

 

SELECTED ARTICLES AND ESSAYS BY THE ARTIST
2016
“MUSE: LIFE BEFORE (AND AFTER) (AND DURING) THE DIGITAL REVOLUTION,” Art in America, (May): 66-67.

2014
“The Ruin of Exchange (2009),” Mousse, (December – January 2015): 200-203.
“Esthetics from Acorns (1992),” Mousse, (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.
Text 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 Achim Könneke, 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,” For Jane Dickson: Paradise Alley. New York: Whitney Museum of Contemporary Art.
“Be Here Now: the Image of History,” For 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,” For Suture: Phantasm der Volkommenheit. Salzburg: Salzburger Kunstverein.

1993
“The Poet as Janitor,” For 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,” For 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 Kunst halten 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 Magazin (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.

 

SELECTED BIBLIOGRAPHY
2017
“John Miller at Studio for Propositional Cinema, Düsseldorf”, Contemporary Art Daily, February 15
Indiana, Gary. “Back in The Frame,” T Magazine, (February 19): 226-231
“John Miller at Barbara Weiss”, Contemporary Art Daily, August 4

2016
Sabbaghzadeh, Darius, “John Miller at Richard Telles,” Flash Art, Summer Issue 134
“John Miller at Institute of Contemporary Art Miami”, Contemporary Art Daily, June 10
“John Miller, Richard Hoeck at Johann Widauer”, Contemporary Art Daily, March 29
Carey, Brainard, “The Art world Demystified”,  Yale University Radio, interview, link, April
“Muse: Life Before (and After) (and During) the Digital Revolution,” Art in America (May): 66-67

2015
Dawson, Jessica, “Double Vision: Painter John Miller is in Two Places at Once”, Village Voice, Jan 21
Reisman, David, review, Frieze, March, Issue 169
“John Miller, Dominik Sittig at Nagel Draxler”, Contemporary Art Daily, September 29th

2014
Rugoff, Ralph, ed. The Human Factor: The Figure in Contemporary Sculpture. Hayward Publishing, London: 140-144.
“’Bad Conscience’ at Metro Pictures,” The New Yorker (February 10): 13.
McClemont, Doug. “’Bad Conscience at Metro Pictures,” ARTnews (March): 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).

2013
Gartenfeld, Alex and Norman Rosenthal, eds. Empire State. 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): 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): 33.
Gillick, Liam. “John Miller,” BOMB (Winter): 48-55.

2011
Kitakyushu Biennial 2009/2011 – IMIN: Migrants, Immigrants, Emigrants, Refugees, Exiles,
Expatriates, and Others, Art Institute Kitakyushu, Japan
Blondin, Phillippe, ed. After Images. Jewish Museum of Belgium, Brussels: 94-5.

2010
Cooke, Lynne, and Douglas Crimp, eds. Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Museo Nacional Centro de Arte Reina Sofía, Madrid; MIT Press, Cambridge: 194-5.
Gioni, Massimiliano, and Judy Ditner, eds. 10,000 Lives. Gwangju Biennale Foundation, Gwangju: 328.
Ruf, Beatrix, ed. A Refusal To Accept Limits. Zurich: Kunsthalle Zürich; JRP Ringier, Zurich: 167.
Linsenmaier-Wolf, Christa, ed. Larger than Life Stranger than Fiction: 11th Triennale
Kleinplastik Fellbach. Cologne: Snoeck Verlagsgesellschaft: 168-71, 301.
Fox, Dan. “XXX Macarena,” Frieze (April): 33.
Keegan, Matt. “Public Image Limited,” Artforum (January): 156-61, cover.
Lunn, Felicity. “John Miller,” Frieze (January/February): 124.

2009
Moriarity, Bridget. “The High Life,” Art + Auction (July/August): 48-53.

2008
Halle, Howard. “The Best of 2008,” Time Out, New York (December): 87.
Emmanuel, Daniel. “Golden Age,” Texte Zur Kunst (June): 236-9.
Arttirol: Kunstankäufe des Landes Tirol 2004-2006. Land Tirol, Insbruck: 30-1.
Saltz, Jerry. “Emerging, After All These Years,” New York Magazine (February): 72-3.
Halle, Howard. “John Miller: The New Honeymooners,” Time Out, New York (January): 68.
Groenenboom, Roland ed. Sonic Youth etc.: Sensational Fix. LiFE Editions: 557-8.

2007
Biesenbach, Klaus, ed. Into Me/Out of Me. Ostfildern: Hatje Cantz Verlag: 340.
Hambleton, Merrell. “The Eye: Interview with John Miller,” The Columbia Spectator (December).
Blumenstein, Ellenm, and Felix Ensslin, eds. Between Two Deaths. Hatje Cantz Verlag, Ostfildern: 204-7, 289.

2006
Grässlin, Karola and Alexander Schröder ed., Optik Schröder: Werke aus der Sammlung Alexander Schröder,
Verlag der Buchhandlung Walther König, Cologne: plate no. 140.
Joseph, Branden W. “Informationsavatare,” Texte Zur Kunst (December): 196-200.
Richer, Francisca, and Matthew Rosenzweig, eds. No. 1: First Works by 362 Artists. New York: DAP.
Diaz, Eva. “Review: John Miller,” Modern Painters (December): 115.

2005
Aupetitallot, Yves. Private View 1980-2000: Collection Pierre Huber. JRP/Ringier, Zurich: 85.
Poisay, François. “John Miller: Les Photographies de L’Inutile,” L’oeuvre en Programme. Bordeaux: CAPC Musée d’Art Contemporain de Bordeaux

2004
Avgikos, Jan. “New York – John Miller – Metro Pictures,” Artforum (Summer): 245.

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

2001
Hainley, Bruce. “Fecal Matters,” Artforum (Summer): 42.

Televisions. Kunsthalle Wien, Vienna: 75, 251.

2000
Johnson, Ken. “John Miller,” New York Times (January): E43.
Halle, Howard. “John Miller ‘Opposite Day’,” Time Out, New York (January): 57.
Rian, Jeff. “Staying in the Game,” Flash Art (March/April): 82-3.
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). Musée D’Art et D’Histoire, Geneva.
Consolation Prize: Mike Kelley & John Miller. Morris and Helen Belkin Art Gallery. University of British Columbia, Vancouver.

1999
Koether, Jutta. “Art as Americana! Americana as Art!” Spex (May): 50-1.
Rabinowitz, Cay-Sophie. “John Miller: Confronting Kitsch,” Sculpture (July/August): 12-3.
Brehm, Margrit. Bad Bad: That is a Good Excuse. Baden-Baden: Staatliche Kunsthalle.
Damiani, Marion, et al. Get Together: Kunst als Teamwork. Kunsthalle Wien, Vienna.
Nakamura, Nobuo, and Akiko Miyake, eds. Let’s Talk About Art. Kitakyushu, Kyoto.
Barachon, Charles, et al., eds. Pl@ytimes. Le Magasin, Grenoble.
Aupetitallot, Yves, Nancy Spector, and Mike Kelley. John Miller: Parallel Economies. Centre National d’Art Contemporain, Grenoble.
Le Capital. Séte: Centre Régional d’Art Contemporain Languedoc-Roussillon.
Bovier, Lionel. “John Miller: A Retrospective,” MAG (October): 1.
Bovier, Lionel. “John Miller,” Parkett (December): 163-72.
“Arwed Messmer, Heidi Specker, Doug Hall, John Miller,” Grand Street (Summer): 79-84.

1998
Koether, Jutta. “Good and Ugly,” Artforum (February): 27.
Sabau, Luminita, ed. The Promise of Photography: the DG Bank Collection. Prestel Verlag, Munich.

1997
Rimanelli, David. “A/Drift,” Artforum (February): 83.
Halle, Howard. “Four on the Floor,” Time Out, New York (April): 41.
A Trail of Ambiguous Picture Postcards. Kyoto: Korinsha Press; Center for Contemporary Art, Kitakyushu.
Shottenkirk, Dena. “New York in Brief,” C Magazine: International Contemporary Art (September/November): 43.
Larsen, Lars Bang, and Mikael Anderson. Display. The Charlottenborg Exhibition Hall, Copenhagen.
Decter, Joshua, ed. A/Drift. Bard College, Center for Curatorial Studies, 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: 16, 26.

1996
Schwendener, Martha. “Catch My Drift,” Time Out, New York (December): 40.
Smith, Roberta. “Finding Art in the Artifacts of the Masses,” New York Times: Arts & Leisure (December): 43-4, 46.
Babias, Marius. “Interview: Das Rebellischste..,” Kunst-Bulletin (May): 10-5.
Radical Images. 2nd Austrian Triennial on Photography 1996. Neue Galerie am Landesmuseum
Joanneum, Graz; Kunsthalle Szombathely, Budapest, Camera Austria.
It was a beautiful day, in the seventies. I watched people on pogo sticks in the park. Geneva: Cabinet des Estampes du Musee d’Art et d’Histoire.

1995
Reisman, David. “John Miller,” Texte Zur Kunst (May).

1994
Foster, Hal et al. “Round Table: The Politics of the Signifier II: A Conversation on the Informe and the Abject,” October (Winter): 3-21 (illustrations).
Don’t Look Now. Thread Waxing Space, New York.
Kandel, Susan. “A Spectacular Brown Colors the Message,” Los Angeles Times (February): F19.
Cloaca Maxima. Museum der Stadtentwasserung, Zurick.
Ward, Frazer. “Abject Lessons,” Art and Text (May).
John Miller – Christina Frey. Kunsthalle Palazzo, Liestal.
Temporary Translation(s): Sammlung Schurmann. Deichtorhallen Hamburg GmbH, Hamburg.

1993
Nesbitt, Lois. “Cologne, Germany,” Sculpture (January/February): 18-9
Bourriaud, Nicolas. “La Position Secondaire de l’Art,” Art Press (May): 33-4.
Cembalest, Robin. “Much Ado About Doodoo,” ArtNews (September): 57-8.
Nickas, Robert. “John Miller: Shit Happens,” Flash Art (November/December): 94-5 (illus.).
Reissman, David. “The Other Side,” Tema Celeste (Winter): 72.
Kelley, Mike. The Uncanny. Sonsbeek, Arnhem ’93.
The Nightshade Family. Museum Fridericianum, Kassel.
Wallis, Brian. “Mike Kelley’s ‘The Uncanny’,” Art in America (October): 55.
Abject Art: Repulsion and Desire in American Art. Whitney Museum of American Art, New York.
The Naming of Colors. White Columns, New York.

1992
Rock Sucks, Disco Sucks. DAAD Berliner Kunstlerprogramm, Berlin.
Liu, Catherine. “Just Pathetic at American Fine Arts,” Artforum (April): 95-6.
Behrens, Katja. “Star der New Yorker Szene,” Koelner Stadt-Anzeiger (June 23).
Koether, Jutta. “John Miller: Metro Pictures,” Artforum (October): 119.
Hixson, Kathryn. “John Miller: Not Just Another Teenager Defecating On Tradition,” Flash Art (October): 92.

1991
Johnson, Ken. “John Miller at Metro Pictures,” Art in America (February): 149.
Lewis, James. “John Miller,” Artforum (February): 124.
Mahoney, Robert. “New York in Review: John Miller,” Arts (February).
Kandel, Susan. “John Miller at Roy Boyd,” Art Issues (29).
Bergen, Phillip. “John Miller,” Artweek (April).
Reissman, David. “John Miller, Metro Pictures,” Artscribe (March/April): 69.
Koether, Jutta. “John Miller in New York,” Texte zur Kunst (Winter): 169-70.
Kaplan, Steven. “John Miller,” ETC. Montreal (Spring): 36-8.
Denson, Roger G. “Wasting It: John Miller and Andre Serrano’s ‘Bad Boy’ Sublimations,” Contemporanea (November): 36-40.
Armstrong, Richard, John G. Hanhardt, Richard Marshall, and Lisa Phillips. 1991 Biennial Exhibition.
Whitney Museum of American Art, New York.
New York Lost Illusions. New York: 1991 Biennial Exhibition, Vancouver Art Gallery.

1990
Evans, Steven, and Michael Jenkins. “John Miller, Gary Mirabelle, Lawrence Weiner: American Fine Arts, Co,” Artscribe (January/February): 81.
Stals, Jose Lebrero. “John Miller,” Lapiz International Madrid (May): 65.
Messler, Norbert. “John Miller: Isabella Kacprzak, Koln,” Noema (March/April): 106 (German).
Johnson, Ken. “John Miller at Metro Pictures,” Art in America (February): 149.
Knight, Christopher. “The Pathetice Esthetic: Making Do With What Is,” Los Angeles Times (August): F8.
Schjeldahl, Peter. “Shit and Fan,” The Village Voice (December): 103.
Jones, Ronald. Viewpoints towards the 90s: Three Artists from Metro Pictures Part II. Tokyo: Seibu Contemporary Art Gallery.
1989 Kelley, Mike. “Foul Perfection: Thoughts on Caricature,” Artforum (January): 92-9.
Jones, Ronald. Avant 1989. Villa Gillet – Frac Rhones – Alpes, Lyon.
Christov – Bakargiev, Carolyn. “Avant 1989: Villa Gillet – Frac Rhones – Alpes, Lyon,” Flash Art (March/April): 124.
Graw, Isabelle. “Kunstkritiker al Kunstler: Thomas Lawson, Ronald Jones, John Miller,” ARTIS (May): 50-3.
Spector, Nancy. “Smart Art,” Contemporanea (June): 94-7.
Messler, Norbert. “Jennifer Bolande, John Miller at Sophia Ungers,” Artscribe (May): 89.
Decter, Joshua. “New York in Review,” Arts Magazine (December): 99-100.
Spector Nancy, and Steven Evans. “Doppel Angst/Double Fear,” Parkett (December): 129-35.

1988
McCoy, Pat. “Of Ever – Ever Land I Speak,” Artscribe London (January/ February): 73-4.
Rian, Jeffrey. “John Miller at American Fine Arts,” Art in America (May): 187.
Cooper, Dennis. “John Miller, Metro Pictures,” Artforum (Summer): 139.
Knight, Christopher. “Focusing on the Hidden Meaning of ‘Untitled’ Works,” Los Angeles Herald Examiner (February): E2.
Kuspit, Donald. “The Modern Fetish,” Artforum (October): 132-40.
Morgan, Robert C. “Anti-Style, or the Installation as a Pleasurable Text,” Arts Magazine (June): 45-8.

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

1986
Indiana, Gary. “Soho Sketches,” The Village Voice (April): 93.
Kuspit, Donald. “John Miller at Metro Pictures,” Artscribe International (June/July): 78-9.

1985
Masheck, Joseph. Point 1: Art Visuals/Visual Arts. Willis, Locker, and Owens, New York: 80-4.
Gardner, Colin. “John Miller,” Flash Art (December/January).
Jones, Alan. Correspondences: New York Art Now. Laforet Museum, Tokyo.
Liss, Andrea. “Confronting Modern Art History,” Artweek (November).

1984
Glueck, Grace. “John Miller,” New York Times (March).
Bankowsky, Jack. “John Miller at Metro Pictures,” East Village Eye (June).
Wilson, William. “Art Reviews,” Los Angeles Times (June): 6.
Bankowsky, Jack. “Summer Show at Metro Pictures,” East Vilage Eye (September).
Drohojowska, Hunter. “John Miller at the Rosamund Felsen Gallery,” L.A. Weekly (June): 39.

1983
Hallwalls: Interview by Claudia Gould. Hallwalls, Buffalo.

1979
Paseles, Chris. “John Miller’s Art: Studying the Mental Process,” Cal Arts Today (February).

 

MUSEUMS AND PUBLIC COLLECTIONS
Museum Ludwig, Cologne
Cabinet des Estampes, Geneva
Carnegie Mellon Museum, Pittsburg, PA
Deutsche Genossenschaftsbank, Frankfurt
Frac Limousin, Limousin, France
Museum of Contemporary Art, Los Angeles
Pangea Consortium, Zurich
Progressive Corporation, Cleveland, OH
Queensboro Community College Gallery Collection, New York
Rehazentrum Lubben, Berlin
Whitney Museum of American Art, New York