Anthony Miler: There Are More Good People Than We Know by chartgallery

ANTHONY MILER There Are More Good People Than We Know

ANTHONY MILER There Are More Good People Than We Know June 23 – August 19, 2022

CHART is pleased to present There Are More Good People Than We Know, an exhibition of new paintings and works on paper by Anthony Miler. The exhibition will feature nine new paintings in the main gallery, with a selection of over twenty works on paper from the past five years of Miler’s practice installed on the gallery’s lower level. There will be an opening reception on Thursday, June 23rd, from 6 – 8 pm, and the exhibition will remain on view through August 19th. In Anthony Miler’s newest paintings, a decade-plus artistic evolution arrives at the present amalgamation of past materials and formal stylings. Featuring curving, organic forms set amid colorfully stained backdrops, the paintings on view offer a more meditative and pared-down experience than previous works. At first glance, they could be seen as simple landscapes, with bird-like forms dashing across their surfaces, often offset by an otherworldly orb, perhaps a sun or moon. Upon closer examination, however, the biomorphic nature of the subjects begins to fracture — what was first construed as a head or a wing subtly dissolves, and an eye reverts to a simple glyph, a stark symbol waiting to be recast by our imaginations. Miler’s earlier work focused heavily on an interplay of graphite lines — thickets of sweeping, gestural marks coalesced into amorphous faces and scenes. Now, the graphite mark-making has returned, albeit in a finer, more controlled manner, dictated, in small part, by the material Miler uses. Incorporating cross-hatching and other delicate line work to shade his abstracted forms, the artist uses the warp of the tightly woven canvas to direct the line, implicating the materials in their own act of transformation. Despite Miler’s turn to more meticulous mark-making, especially in the detailing of the “eyes” that populate his canvases, it remains difficult to refer to Miler’s paintings as exactly representational. In Miler’s work, the singular, cyclopic eye operates as a hinge between the worlds of figuration and abstraction. The symbol serves as the minimal possible gesture necessary to break the spell of total abstraction, while also resisting any further formal readings or turns toward pareidolia. The viewer is left vacillating between the two genres, constantly reevaluating their relative ratios. The installation on the gallery’s lower level reveals Miler’s expansive work-on-paper practice that has developed concurrently with his painterly one. Ranging from earlier, more pictographic graphite drawings to recent, hard-edged matte paintings, the multiple series on view provide a glimpse into the artist’s multifaceted engagement with a variety of artistic influences. Colors, shapes, and symbols leap off the page, each creating a wondrously dynamic and arresting scene, while also demonstrating the artist’s interest in working through new compositional challenges.

Associations abound, from Arthur Dove’s abstract landscapes to more surrealist arrangements reminiscent of Joan Miró or William Baziotes. Paul Cézanne is repeatedly brought to mind, as Miler returns again and again to foundational influences in a keen and apparent effort to fuse elements of naturalism and abstraction. In fact, “natural” might be the best way to understand the evolution of Miler’s ever-expanding oeuvre. Imaginatively incorporating the materials at hand, the artist is fueled by a desire for perpetual metamorphosis; and in engaging the interpretive involvement of the viewer, he connects us in this open-ended transformational process. Anthony Miler was born in 1982 and is currently based in Brooklyn, New York. Miler received his MFA from The City College of New York, CUNY in 2008. Miler’s recent solo exhibitions include Witness, The Pit (Los Angeles, CA, 2021); 05, PM/AM (London, 2020); The Sun Sets On Us All, MASAHIRO MAKI GALLERY (Tokyo, 2019). He has also participated in group exhibitions, primarily in New York, as well as in Denmark, France, and the U.K.

Not Titled, 2022 oil, acrylic, and graphite on canvas framed: 47 1/2 x 60 1/2 inches (120.7 x 153.7 cm)

Not Titled, 2022 oil, acrylic, and graphite on canvas framed: 43 1/2 x 54 1/2 inches (110.5 x 138.4 cm)

Not Titled, 2022 acrylic and graphite on canvas framed: 49 x 60 inches (124.5 x 152.4 cm)

Not Titled, 2022 acrylic, and graphite on canvas framed: 45 x 54 inches (114.3 x 137.2 cm)

Not Titled, 2022 acrylic and graphite on canvas framed: 48 3/4 x 66 1/2 inches (123.8 x 168.9 cm)

Not Titled, 2022 graphite and acrylic on canvas framed: 29 1/2 x 35 1/2 inches (74.9 x 90.2 cm)

Not Titled, 2022 oil, acrylic, and graphite on canvas framed: 29 1/2 x 34 1/2 inches (74.9 x 87.6 cm)

Not Titled, 2022 oil, acrylic, and graphite on canvas framed: 51 x 61 3/8 inches (129.5 x 155.9 cm)

Witness, 2022 oil, acrylic, and graphite on canvas framed: 62 1/2 x 76 1/2 inches (158.8 x 194.3 cm)

Not Titled, 2017 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2018 graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2017 graphite on woven cotton paper 18 1/2 x 27 inches (47 x 68.6 cm) framed: 26 1/2 x 35 5/8 inches (67.3 x 90.5 cm)

Not Titled, 2020 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2019 acrylic, gouache, and graphite on woven cotton paper 18 1/4 x 26 1/2 inches (46.4 x 67.3 cm) framed: 27 1/8 x 36 3/8 inches (68.9 x 92.4 cm)

Not Titled, 2018 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2019 acrylic, gouache, and graphite on woven cotton paper 18 x 26 1/2 inches (45.7 x 67.3 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2019 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2021 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2020 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 inches (47 x 68.6 cm) framed: 26 1/2 x 35 5/8 inches (67.3 x 90.5 cm)

Not Titled, 2020 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2019 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2020 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

Not Titled, 2022 acrylic, gouache, and graphite on woven cotton paper 18 1/2 x 27 3/4 inches (47 x 70.5 cm) framed: 27 1/4 x 36 1/2 inches (69.2 x 92.7 cm)

ANTHONY MILER Born 1982 in Toldeo, Ohio Lives and works in Brooklyn, New York

EDUCATION

2008

MFA, The City College of New York, CUNY, New York, NY

2005

BFA, Adrian College, Adrian, MI

2004

Central Collage, London, UK London Metropolitain University, London, UK

2003

GROUP EXHIBITIONS

2022

Zona Maco, The Pit, Mexico City, Mexico

2021

Run with the Wolves, The Pit, Los Angeles, CA Horses?, CHART, New York, NY Mirror Gazing, The Pit, Los Angeles, CA

2020

DUST: The Plates of the Present, Centre de Pompidou, Paris, France Water Always Moves On, Almine Rech, Brussels, Belgium New Raw Green, Sim Smith, London, UK 36 Paintings, Harper’s Books, East Hampton, NY Table Magic, Real Tinsel, Milwaukee, WI

2019

Big Ringer, Andrew Edlin Gallery, New York, NY Of A Sacred Dimension, Compton Goethals Gallery, CUNY, New York, NY 02: Howse, Knop, Miler, PM/AM, London, UK Champ Chow, curated by Sarah Schechter, Columbia University, New York, NY

2018

Early 21st Century Art, Almine Rech, London, UK Operating Thetan, Antenna Works, New Orleans, LA On Your Missile Toes, Rover, Chicago, IL Friends of Marvin Gardens, Rod Barton, London, UK Brask Collection Willumsen, Willmsen Museum, Frederikssund, Denmark

2017

Intoto, Essex Flowers, New York, NY Hide And Go Chic, Rover, Chicago, IL First And Only East Hampton Biennial, curated by Adrianne Rubenstien and Woobie Bogus, East Hampton, NY

2016

Untitled, Galleri Jacob Bjorn, Aarhus, Denmark Geerk, Kasey, Miler, Thierry Goldberg, New York, NY Imagine, Brand New Gallery, Milan, Italy

Ox-Bow, Art Institute of Chicago, Douglas, MI

SELECTED SOLO EXHIBITIONS

2022

There Are More Good People Than We Know, CHART, New York, NY On Our Way To The Devil’s Fortress, Maki Gallery, Tokyo, Japan

2021

Witness, The Pit, Los Angeles, CA

2020

05: Anthony Miler, PM/AM, London, UK Land Is Witness, Maki Gallery, Tokyo Japan Sky Pond / Fossil Lake, ROOM, Brooklyn, NY

2019

The Sun Sets On Us All, Masahiro Maki Gallery, Tokyo, Japan Nine Paintings In A Room, ZieherSmith, New York, NY

2016

Uptown Top Ranking, Thierry Goldberg, New York, NY

2015

In The Desert, Rod Barton, London, UK

2014

The Gris, Silas Von Morisse Gallery, Brooklyn, NY

2008

Not Titled, University of the Arts, Philadelphia, PA Murkury, University of the Arts, Philadelphia, PA

2015

The Negative Hand, Anonymous Gallery, Mexico City, Mexico

2014

Collection Brask, Munkerphus Museum, Dronningmolle, Denmark Ain’t No Fortunate One, Ampersand Gallery, Portland, OR Winter Show, Waterhouse & Dodd, New York, NY Deep Fun, Space 1026, Philadelphia, PA

2013

Hope Despite the Times, ZieherSmith, New York, NY Modern Language, Garis & Hahn, New York, NY Catcamp, Helper, Brooklyn, NY Gravity Rides Everything, Brooklyn Fireproof, Brooklyn, NY News From New York, Galleri Tom Christoffersen, Copenhagen, Denmark

2012

This Red Door, Kunsthalle Galapagos, Brooklyn, NY

2011

A Night With Zefrey Throwell, MoMA, Museum of Modern Art, New York, NY (collaborateive film) Entanglement, Regina Rex, New York, NY; ART BLOG ART BLOG, New York, NY

2010

Heavy, curated by Elizabeth Ferry, Place, Brooklyn, NY

2008

Insinuation, curated by Brad Silk, Temporary Gallery, New York, NY

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