ALLISON MILLER
15 March 2018 – 21 April 2018
Susan Inglett Gallery, NYC
Protein Candy: Allison Miller has a proclivity to set up painterly problems and turn them into wonderment. Wonderment beaming all the more brightly due to the wrenches she throws into her picture machine. She understands that problems in part define the kind of work a painter chooses to do, and are not to be avoided but embraced. Allison Miller is a painter who can make a riddle out of an answer. Problems for her are the sparkly ruby slippers… keys to another dimension. The longer you look at Miller’s paintings the better they get. They are unlike any other paintings on the planet. The more you stare at them the more they develop, change moods, come into being right before your eyes. They feel like Buster Keaton falling down a flight of stairs, a perfect cocktail of risk and control. She has a tendency to take innocuous marks, encourage them to mutate, and then suddenly they are the hallmarks of justice, the foundation of the painting’s life. Blocks of color butt up against each other in a buttinsky kind of get-out-of-my-way style, like gargantuan toy blocks. Other times, thin stringy lines drift and wiggle diagonally, peter out, curl up and stew. Do you want brush strokes to be perfect wisps of hair or epic comb overs or musical notes? Hey look, there’s an Ellsworth Kelly joke in the upper left hand corner of one painting in the form of a quotation: Kelly’s unmistakable apple green and blue diagonal. But in Miller’s hand, her wavering voice, Kelly is imperfect, reanimated, not hard edge. Philip Guston comes to mind, soft and blobby, a little balloony, like a cartoon. Could there be a view of the underside of a mattress, one decorated in cake frosting, with diaristic notations of a sexual history? Things are always hiding behind other things in Miller’s paintings, peeking over ledges, horizon lines jerry-rigged, undermined. Grand plans eclipsed. Two of her canvases are bottom-heavy trapezoids. This is strange because the shape engenders a picture plane that doesn’t quite make sense, exaggeratedly foreshortened, like a tennis court viewed on television. Miller’s paintings are not difficult because they wish to be difficult, but because they wish to wreak some luscious brain havoc. Her marks and gestures are amusingly self-conscious, but earnest, and ultimately moving. This reminds me of writers who can really write versus writers who perform stunts on the page as stand-ins for good sentences but they smell of the klutzy stuntman. The stuntmen pine for the grace of the authentic. Miller is genuinely funny, something of a comedian, new school Borscht Belt. Is she a ham? Ham is a sugary tasting pink meat that comes from the center of a swine. It’s like protein candy. Miller’s painterly wit is deployed to unsettle the system, your system, our understanding of optical or physical reality. She makes weird decisions. Weird meaning really good. Is there a glory hole at the bottom of her painting, a strip of glued on flowery fabric that looks like baby clothes? Is it good to be torn between revelation and fertile discomfort when looking at a painting? I take that as a yes. I take the yes as a kind of drug. — Benjamin Weissman
Installation View, 2018 Susan Inglett Gallery, NYC
Bury Arch, 2018 Acrylic on canvas 60 x 58 in.
Triangle, 2018 Oil and acrylic on canvas 73 in. (height) 73 in. (bottom width) 62 in. (top width)
Trunk, 2018 Oil, oil stick, acrylic, Flashe, modeling paste, glitter and collage on canvas 73 x 68 in.
Cream, 2018 Oil, acrylic, glitter and collage on canvas 73 x 87 in.
Tongue, 2018 Oil, oil stick, acrylic and fabric on canvas 73 in. (height) 73 in. (bottom width) 62 in. (top width)
Heater, 2018 Oil stick, acrylic and fabric on canvas 59 x 64 1/2 in.
Installation View, 2018 Susan Inglett Gallery, NYC
BIOGRAPHY
ALLISON MILLER Born in Evanston, IL 1974 University of California, Los Angeles, MFA 2001 Rhode Island School of Design, BFA 1996 Lives and Works in Los Angeles, CA 2014
"Left Coast: Recent Acquisitions of Contemporary Art," The Santa Barbara
SOLO EXHIBITIONS
Museum of Art, Santa Barbara, CA 2018
“Feed Dogs,” Susan Inglett Gallery, NYC
“Pictures of Everything,” curated by
2016
“Screen Jaw Door Arch Prism Corner
Dion Johnson, Harris Gallery, University
Bed,” The Pit II, Los Angeles, CA
of La Verne, La Verne, CA
“Speeds,” Susan Inglett Gallery, NYC
“NOW-ism: Abstraction Today,” Pizzuti
2015
“Shark Tank,” The Finley, Los Angeles, CA
Collection, Columbus, OH 2013
“Allison Miller: Stacy Fisher,” Weekend,
2013
Susan Inglett Gallery, NYC
Los Angeles, CA
2012
Susan Inglett Gallery, NYC
“Abstraction (Sound and Vision),”
2011
ACME., Los Angeles, CA
curated by Joey Kötting, Modd Madigan
2007
ACME., Los Angeles, CA
Gallery, California State University,
2006
“Paintings,” ACME., Los Angeles, CA
Bakersfield, CA "six memos for the next…," curated by Tilo Schulz and Jorge van den Berg,
GROUP EXHIBITIONS
Magazin 4 - Bregenzer Kunstverein, 2017
“The Los Angeles Museum of Art
Bregenz, Austria
(LAMOA) presents Mülheim/Ruhr and
“Painting in Place,” curated by Shamim
the 1970’s,” curated by Alice Könitz,
M. Momin, organized by LAND, Farmer's
Kunstmuseum Mülheim an der Ruhr,
and Merchant's Bank, Los Angeles, CA
Germany
“Ma Prochaine Vie,” curated by Isabelle
“The Brightsiders,” curated by Adam D.
Le Normand, Courtesy Gallery, Los
Miller, Verge Center for the Arts, Sacramento, CA
2016
Angeles, CA 2012
Los Angeles, CA
Beach, FL
“This Was Funny Yesterday,” CCS
“We Like Explosions,” The Pit, Los
Gallery, University of California, Santa
Angeles, CA
Barbara, CA
“Alice Könitz’ Display System #4,”
“Stone Gravy,” curated by David Pagel,
Eastern Star Gallery, The Archer School,
Ameringer/McEnery/Yohe, NYC
Los Angeles, CA “Lotus Eaters,” Weiss Berlin, Berlin, 2015
“Made in L.A. 2012,” Hammer Museum,
“Small-Scale Painting,” COUNTY, Palm
“Hot Paint,” Weekend, Los Angeles, CA 2011
“California Abstract Painting - 1952-
Germany
2011,” curated by James Hayward,
“Plainly to Propound,” GAVLAK, Los
Woodbury University, Burbank, CA
Angeles, CA
“To Live and Paint in LA,” Torrance Art
“Made by Hand,” curated by Heather
Museum, Torrance, CA
Brown, Charlie James Gallery, Los
“Plain Brown Wrapper,” curated by
Angeles, CA
Molly Larkey, Human Resources, Los Angeles, CA “Works of Paper,” ACME., Los Angeles,
BIOGRAPHY
ALLISON MILLER CA “softcore HARD EDGE,” curated by
Campari, Venice, CA 2002
David Pagel and Marianne Elder, the Art
Finesse,” The Basement, Los Angeles,
Gallery of Calgary, traveled to the East and Peggy Phelps Galleries,
CA 2001
“Cal’s Art, Sampling California
Claremont Graduate University,
Painting,” University of North Texas Art
Claremont, CA
Gallery, University of North Texas,
“Immanent Domain - Part One and Two,”
Denton, TX
curated by Allen Tombello, Arena 1
“MFA Thesis Exhibition,” New Wight
Gallery, Santa Monica, CA
Gallery, University of California, Los
“Teasers: Selected Works from the Pizzuti Collection by Women
2000
Artists,” Pizzuti Collection, Columbus, OH 2010
“With Pleasure, Wickedness and
“New Art for a New Century:
Angeles, CA “The Big One,” Welsh-Beck Gallery, Los Angeles, CA
1996
“Two,” Benson Hall Gallery, Providence, RI
Contemporary Acquisitions, 2000 – 2010,” Orange County Museum of Art,
BIBLIOGRAPHY
Newport Beach, CA “Artificial Paradises,” curated by Sarah Jane Bruce, ACME., Los Angeles, CA “Meet Me Inside,” Gagosian Gallery, Beverly Hills, CA 2009
“Joe Bradley, Mario Correa, Allison
Gallery,” Artillery, 10 January 2017.
Los Angeles, CA
Gallery Magazine, 22 December 2016, #214, pp. 28-31. Gerwin, Daniel. “Clunky Beauty – Allison Miller at the Pit,” Los Angeles Review of Book, 16 December 2016. Pagel, David. “What to see in LA galleries: street-art ethos, a mesmerizing digital canvas, wild tapestries,” Los Angeles Times, 2 December 2016. Wagley, Catherine. “The Female Cool School,” Contemporary Art Review Los Angeles, October 2016. Yau, John. “The Center Does Not Have To Hold: Allison Miller’s Recent Paintings,” Hyperallergic, 24 January 2016. Pagel, David. “Critic’s Choice: Apartment stairwell turned into public gallery? See the latest show for yourself,” Los Angeles Times, 7 January 2016. Wagley, Catherine. “Bernhardt Over Los
DʼAmelio Terras, NYC “A Modernist Vernacular,” Espasso, Pacific Design Center, Los Angeles, CA “Tony Feher, Allison Miller and Mitzi Pederson,” ACME., Los Angeles, CA “L.A. Now,” curated by David Pagel, Las Vegas Museum of Art, Las Vegas, NV “Weekend Warrior,” Nathan Larramendy Gallery, Ojai, CA “Circle Jerks,” Monte Vista Projects, Los Angeles, CA, initiated by Brett Cody Rogers and Max Lesser “Something About Mary,” Orange County Museum of Art, Newport Beach, CA 2006
Bazaar, 22 January 2017. Poindexter, Kathryn. “Allison Miller: The Pit Pagel, David. “Allison Miller: Familiar Sensation,”
Jedediah Caesar and Shana Lutker,
2007
Fare’s New York City Home,” Harper’s
Miller and Alex Olson,” Redling Fine Art, “Tables and Chairs,” curated by
2008
Haque, Abid. “Manhattan Muse | Inside Noor
“25 Bold Moves,” curated by Simon Watson and Craig Hensala, House of
BIOGRAPHY
ALLISON MILLER Angeles,” Art Los Angeles Reader No. 2, January 2016, p. 6-7.
March 2012. Allen, Emma. “Uncanny Abstraction: Allison
Butler, Sharon. “Miracle on 24th Street: Allison
Miller’s many layers,” Modern Painters,
Miller, Odili Donald Odita, Cary Smith,”
Two Coats of Paint, 23 December 2015. Staff. “Portfolio: Around the World,” Modern Painters, December 2015. Pini, Gary. “14 Must-See Art Shows Opening This Week,” Paper Magazine, 9 December 2015. Blasberg, Derek. “Noor Fares’ Modernist Manhattan Apartment,” Wall Street Journal, 14 August 2015. Wagley, Catherine. “5 Free Art Shows You Should See This Week,” LA Weekly, 29 April 2015. Hoelscher, Jason. "Pattern and Deregulation: Beauty and Non-Order in Contemporary Painting," ArtPulse, No. 17, Vol. 5, 2013, 22-25. Yau, John. “What Doesn’t Add Up Adds Up to Allison Miller’s New Paintings,” Hyperallergic, 29 September 2013. Kalina, Richard. “The Four Corners of Painting,” The Brooklyn Rail, 10 December 2012. French, Christopher. “Stone Gravy,” Artnews, October 2012, 102. Mueller, Kurt. “Made in L.A. 2012,” exhibition catalog published by Hammer Museum, LA><Art, Los Angeles Municipal Art Gallery, Summer 2012, 265, illus. 279282. Pagel, David. “Stone Gravy curated by David Pagel,” exhibition catalogue published by Ameringer, McEnery, Yohe, 2012, 28-31. Knight, Christopher. “Art Review: The Hammer Biennial ‘Made in L.A. 2012’ succeeds,” Los Angeles Times, 8 June 2012. Editors. “50 Next Most Collectible Artists,” Art + Auction, June 2012, 107. Harnish, Tracey. “10 Questions for Allison Miller,” Huffington Post, sec. Huffpost Arts & Culture, 2 April 2012. Yau, John. “Ways to Proceed,” Hyperallergic, 3
February 2012, 17. Wood, Eve. “Allison Miller,” Flash Art, JulySeptember 2011, 108. Wood, Eve. “Criticsʼ Picks,” Artillery, July/August 2011. Lehrer-Graiwer, Sarah. “Allison Miller’s Visceral Idiosyncrasy,” Artslant, 9 May 2011. Nickas, Bob. “Painting Abstraction: New Elements in Abstract Painting,” New York:
Phaidon Press, 2009. Lupo, Nancy. “Allison Miller,” Artslant, 20 October 2007. Khastoo, Leila. “Allison Miller,” Artkrush, 3 October 2007. Balaschak, Chris. “Allison Miller,” Frieze, 8 September 2007. Pagel, David. “Keeping Her New Works in Line,” Los Angeles Times, 28 September 2007, E19. Roth, Charlene. “Allison Miller at ACME.,” Artweek, October 2006, 16-17. Holte, Michael Ned. “Allison Miller,” Artforum, October 2006, 272-273. Pagel, David. “Painting a la sculpting, drafting,” Los Angeles Times, 4 August 2006, E28E29. AWARDS
2014 Diebenkorn Teaching Fellowship, San Francisco Art Institute PUBLIC COLLECTIONS
Capital Group, Los Angeles, CA Orange County Museum of Art, Newport Beach, CA The Pizzuti Collection, Columbus, OH Progressive Insurance, Mayfield Village, OH Santa Barbara Museum of Art, Santa Barbara, CA
BIOGRAPHY
ALLISON MILLER UBS Art Collection, NYC
2010 Guest Lecturer, Pomona College, Pomona,
Vassar College, Poughkeepsie, NY
CA
The West Collection, Oaks, PA
Visiting Artist, California College of the Arts, San Francisco, CA Guest Lecturer, Art Center College of
LECTURES
Design, Pasadena, CA 2015 Visiting Artist, UNLV at the Barrick
Visiting Artist, University of California,
Museum, Las Vegas, NV
San Diego, CA
Visiting Artist, Miami University, Oxford,
Panel/Lecture/Visiting Artist, Claremont
OH Guest Lecturer, Anderson Ranch Arts
Graduate University, Claremont, CA 2007 Visiting Artist, Otis College of Art and
Center, Snowmass, CO
Design, Los Angeles, CA
Visiting Artist, University of California, Riverside, CA
FELLOWSHIPS AND RESIDENCIES
Visiting Artist, Polytechnic School, Pasadena, CA
2017
2014 Guest Lecturer, San Francisco Art
University of New Mexico, Albuquerque,
Institute, San Francisco, CA Guest Lecturer, Santa Monica College,
NM 2015
Santa Monica, CA 2013 Guest Lecturer, California State
Frederick Hammersley Foundation,
Residency, Anderson Ranch Arts Center, Snowmass, CO
2014
Richard Diebenkorn Teaching Fellowship,
University, Bakersfield, CA
San Francisco Art Institute (Including
Visiting Artist, University of California,
residency at the Headlands Center for
Irvine, CA Visiting Artist, University of New Mexico, Albuquerque, NM
the Arts) 2010
Residency, Anderson Ranch Arts Center, Snowmass, CO
2012 Guest Lecturer, California State University, Fullerton, CA
PROJECTS
Visiting Artist, Brigham Young University, Provo, UT Guest Lecturer, Anderson Ranch Arts Center, Snowmass, CO Visiting Artist, Polytechnic School, Pasadena, CA
2015 Works on Paper & Monoprint Series, Anderson Ranch Arts Center, Snowmass, CO 2013 Lithograph Edition and Monoprint Series, Tamarind Institute, Albuquerque, NM
2011 Guest Lecturer, University of California, Los Angeles, CA Guest Lecturer, Pasadena City College, Pasadena, CA Guest Lecturer, Anderson Ranch Arts Center, Snowmass, CO Panel/Guest Lecturer, Chaffey College, Rancho Cucamonga, CA Visiting Artist, Polytechnic School, Pasadena, CA
ALLISON MILLER Publication © 2018 Susan Inglett Gallery NYC All Rights Reserved
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