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 typically concerns the role of aesthetics within mass culture. In 2012 he had solo shows of his work at Metro Pictures in New York; Patrick Painter Gallery in Los Angeles and Galerie Praz-Delavallade in Paris.
Professor Miller's teaching includes undergraduate seminar in art criticism, supervised projects in photography, and the senior visual arts project.
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)
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.
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.
Contemporary art and criticism
Supervised Projects in Photography
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
“Cine-Club,” panel discussion, The Artists’ Institute, New York
“Kippenberger in America,” Austrian Cultural Forum, New York
Visiting Artist Lecture Series, Columbia University, New York
“Art Schools, the Internet and the Violin Playing Mermaids: a Conversation between John Miller and TonyConrad,” Mousse Contemporary Art Magazine, No. 28, April-May, 2011: 48-61.
“Painting, Object, Theater,” Monika Baer, (Köln: Verlag der Buchhandlung Walther König, 2011).
“POP RIGHT NOW: Roundtable with Bettina Funcke, Massimiliano Gioni, John Miller, moderated byJoanna Fiduccia, with a postscript by Boris Groys, and artworks by Darren Bader, Kaleidoscope, No.11 (Summer 2011): pp. 93-105.
“Tomorrow Is the Question: John Miller on the Art of Ilene Segalove,” Artforum, Vol. 50, No. 2 (October 2011): pp. 262-67.
American Exuberance,” American Exuberance (Miami: Rubell Family Collection, 2011).
“In Memoriam: Mike Kelley,” Texte zur Kunst, Vol. 22, No. 85, 2012: 245-7.
“From My Institution to Yours: a Personal Remembrance,” art agenda, February 6: http://www.art-agenda.com/reviews/mike-kelley-1954%E2%80%932012/ (accessed March 11, 2012).
“Mike Kelley (1954-2012): Ten Tributes,” Frieze, No. 146 (April, 2012): 127.
“No,” Angela Bulloch (Rotterdam: Witte de Witte Center for Contemporary Art, 2012).
“The Universal Solvent,” Jim Shaw - Left Behind: Essays, edited by Charlotte Laubard and Jim Shaw (Bordeaux: les presses du réel and CAPC musée d'art contemperain de Bordeaux).