Among such contemporaries as
Mike Kelley and
Jim Shaw, but also
Tony
Oursler and Stephen Prina, John Miller (born 1954 in Cleveland, Ohio, lives and works in New York City and Berlin) embodies a singular position: he
articulates the synthesis of an ideologically committed critique of
representation with a postconceptual shift toward the “real.” Using
completely stereotyped genres (figurative painting, travel photography,
landscape painting, and so on), Miller, like
Sherrie Levine and
Richard
Prince, has, since the end of the 1970s, challenged the function of the
author and the concomitant loss of aura of the artwork. Yet this critique
is for him only a means of revealing the repressed aspect of the
ideological aggregates of day-to-day late-capitalist Western culture.
First noticed for his brown “faux” abstract painting and objects
recovered by a brown impasto, he resisted to what he calls “aesthetic
appropriation” by regularly shifting his practice, introducing series such
as the “Middle of the Day” photographs, game show sets and paintings,
and golden maquettes through the 1980s and 1990s. This strategy of
resistance to a reduction of his work to any critical tag explains why,
despite the early critical recognition of his work by theoreticians such
as Hal Foster, he is still overlooked among his generation.
Also a writer, John Miller became in 1987 the US Editor for
Artscribe; he founded
Acme Journal in 1991. For the past two decades, he has written intensively and published texts in
Artforum,
October and
Texte zur Kunst, as well as in numerous museum publications. He has taught art at Columbia University, the School of Visual Art in New York, Yale University, and Cooper Union.
