ALLISON MILLER: Speeds 10 December 2015 – 30 January 2016 Text by Sarah Lehrer-Graiwer
Susan Inglett Gallery, NYC
Sound, 2015 Oil stick, acrylic and pencil on canvas 64 x 82 in.
Regarding Allison Miller’s new paintings and drawings, it is advisable to watch for red herrings, green ghosts, blue balls, and pale pink smoke screens… when repetition clicks over and becomes pattern. when the decorative function of mark becomes structural scaffolding. when pattern pathologically finds itself in the process of falling apart or coming together. when systems take hold just to be broken. when exercising permission to break “rules” (a permission of which I need frequent reminding) suddenly produces recognition of the system that was subliminal or psychically suppressed up to that point. when right-angle arrows point in the same direction but it turns out they are actually sideways and upside-down carrots trying to interrupt the flow of picture-plane conversation with witticisms and asides about how totally scripted reality is. when stilted line is the site of silent deviant struggle, laid down so self-consciously, leaking doubt. when dotted line is simultaneously perforation and stutter, speed and stitched seam—indicating short bursts of energy slipping in and out of composure, tearing through control, pulsing like an animation. when a tapered stack of slant lines are punctuated by a comma at the break and they become textual. when repetition forms grammar. when paintings are road signs, signaling construction ahead.
when one, two, three, four-lane blacktops pave over the wilderness. when doubling is about the hilarity and horror of seeing oneself, owning a mirror, loving it best when fogged up. when doubling betrays its axis of reflection, which determines orientation. when doubling is about more than one and especially multiples of two. when coupling is as much about mitosal splitting in two as it is about call and response, dialogue, cooperation, echo, sounding board, and companionship. when striping as a strategy comes up short, sputters out before the edge of things. when edges are made major for their last-chance power of resistance and insistence on misfits, marginalia, and the growth of the thing seen in medias res. when the play of surfaces includes a ripping of pictorial epidermis to reveal a glimpse of past attempts, internal and repressed content, evidence of what is below. when each drip, each colorful rivulet is archived and highlighted in white, like at a flash-bulb crime scene. when interstitial spaces, gaps, borders, corners, and auras buzz with activity and spirited sprays while big, central chunks lay quiet like open plazas in the still-early morning hours. when smudges, smears, splotches, and sores are landmarks around which a map is made. when focus softens and falls off, sleepy and happily sauced. when space is a matter of lenses and degrees of clarity and sharpness, fogginess and warmth.
when different types of space get layered and stacked in ways that do not add up. when line is tape and redaction, thick and crisp and stern. when line is strip and block and pixelated drip, delivered en masse like rain sheeting at an angle. when the same form or idea (like raining paint drips or a subtle soft pink circle) pops up on opposite sides of the room on different canvases and contexts, raising questions like is there narrative relation between them and what is it. when we track and analyze stroke, shape, and sheen like scat on a hunt. when the act of looking tunnels through and runs up against multiple arches, which are also frames and bandaged bodies; curtain, proscenium and headband. when so-called abstraction and faulty geometries accumulate figurative reference. when a picture wears paint like a mask and opacity is flaunted as erasure. when paintings operate as after-image and contrast pushes optical buttons to mess and muss and scramble vision. when a gaping white emptiness surrounded by encroaching black and blue turns out, upon further inspection, to be anything but empty or white. when opposite extremes sit together in conversation and the high volume of one hides the whisper of the other and you’re glad once again that you took the time to learn to read lips way back when. —Sarah Lehrer-Graiwer
Installation View, 2015
Both, 2015 Oil, acrylic, wax pastel and pencil on canvas 30 x 28 in.
Flush Arch, 2015 Oil, oil stick, acrylic and pencil on canvas 60 x 58 ½ in.
Doubles III #5, 2015 Mixed media on paper 18 x 24 in. Doubles III #13, 2015 Mixed media on paper 18 x 24 in.
Doubles III #17, 2015 Mixed media on paper
Doubles III #3, 2015 Mixed media on paper
18 x 24 in.
18 x 24 in.
Doubles III #32, 2015 Mixed media on paper 18 x 24 in.
Doubles III #25, 2015 Mixed media on paper 18 x 24 in.
Doubles III #26, 2015 Mixed media on paper
Doubles III #31, 2015 Mixed media on paper
18 x 24 in.
18 x 24 in.
Doubles III #23, 2015 Mixed media on paper 18 x 24 in.
Doubles III #18, 2015 Mixed media on paper 18 x 24 in.
Doubles III #19, 2015 Mixed media on paper
Doubles III #2, 2015 Mixed media on paper
18 x 24 in.
18 x 24 in.
Doubles III #22, 2015 Mixed media on paper 18 x 24 in.
Doubles III #6, 2015 Mixed media on paper 18 x 24 in.
Vault, 2015 Oil, oil stick, acrylic, modeling paste, pencil and collage on canvas 48 x 48 in.
Scratch Arch, 2015 Oil, oil stick, and acrylic on canvas 48 x 48 in.
Installation View, 2015
Front 2015 Oil, oil stick and acrylic on canvas 30 x 28 in.
Snare, 2015 Oil stick, acrylic, modeling paste and pencil on canvas 73 x 68 in.
ALLISON MILLER Born in Evanston, IL 1974 Rhode Island School of Design, BFA 1996 University of California, Los Angeles, MFA 2001 Lives and Works in Los Angeles, CA SOLO EXHIBITIONS 2015 2013 2012 2011 2007 2006
“Speeds,” Susan Inglett Gallery, NYC The Finley, Los Angeles, CA Susan Inglett Gallery, NYC Susan Inglett Gallery, NYC ACME., Los Angeles, CA ACME., Los Angeles, CA “Paintings,” ACME., Los Angeles, CA
GROUP EXHIBITIONS 2015 2014 2013
2012
2011
2010 2009
2008 2007 2006 2002 2001 2000 1996
“Plainly to Propound,” GAVLAK, Los Angeles, CA “Made by Hand,” curated by Heather Brown, Charlie James Gallery, Los Angeles, CA "Left Coast: Recent Acquisitions of Contemporary Art," The Santa Barbara Museum of Art, Santa Barbara, CA “Pictures of Everything,” curated by Dion Johnson, Harris Gallery, University of La Verne, La Verne, CA “NOW-ism: Abstraction Today,” Pizzuti Collection, Columbus, OH “Abstraction (Sound and Vision),” curated by Joey Kötting, Modd Madigan Gallery, California State University, Bakersfield, CA "six memos for the next…," curated by Tilo Schulz and Jorge van den Berg, Magazin 4 - Bregenzer Kunstverein, Bregenz, Austria “Painting in Place,” curated by Shamim M. Momin, organized by LAND, Farmer's and Merchant's Bank, Los Angeles, CA “Ma Prochaine Vie,” curated by Isabelle Le Normand, Courtesy Gallery, Los Angeles, CA “Allison Miller : Stacy Fisher,” Weekend, Los Angeles, CA “Made in L.A. 2012,” Hammer Museum, Los Angeles, CA “This Was Funny Yesterday,” CCS Gallery, University of California, Santa Barbara, CA “Stone Gravy,” curated by David Pagel, Ameringer | McEnery | Yohe, NYC “Hot Paint,” Weekend, Los Angeles, CA “California Abstract Painting - 1952-2011,” curated by James Hayward, Woodbury University, Burbank, CA “To Live and Paint in LA,” Torrance Art Museum, Torrance, CA “Plain Brown Wrapper,” curated by Molly Larkey, Human Resources, Los Angeles, CA “Works of Paper,” ACME., Los Angeles, CA “softcore HARD EDGE,” curated by David Pagel and Marianne Elder, the Art Gallery of Calgary, traveled to the East and Peggy Phelps Galleries, Claremont Graduate University, Claremont, CA “Immanent Domain - Part One and Two,” curated by Allen Tombello, Arena 1 Gallery, Santa Monica, CA “Teasers: Selected Works from the Pizzuti Collection by Women Artists,” Pizzuti Collection, Columbus, OH “New Art for a New Century: Contemporary Acquisitions, 2000 – 2010,” Orange County Museum of Art, Newport Beach, CA “Artificial Paradises,” curated by Sarah Jane Bruce, ACME., Los Angeles, CA “Meet Me Inside,” Gagosian Gallery, Beverly Hills, CA “Joe Bradley, Mario Correa, Allison Miller and Alex Olson,” Redling Fine Art, Los Angeles, CA “Tables and Chairs,” curated by Jedediah Caesar and Shana Lutker, D’Amelio 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,” initiated by Brett Cody Rogers and Max Lesser, Monte Vista Projects, Los Angeles, CA “Something About Mary,” Orange County Museum of Art, Newport Beach, CA “25 Bold Moves,” curated by Simon Watson and Craig Hensala, House of Campari, Venice, CA “With Pleasure, Wickedness and Finesse,” The Basement, Los Angeles, CA “Cal’s Art, Sampling California Painting,” University of North Texas Art Gallery, Denton, TX “MFA Thesis Exhibition,” New Wight Gallery, University of California, Los Angeles, CA “The Big One,” Welsh-Beck Gallery, Los Angeles, CA “Two,” Benson Hall Gallery, Providence, RI
BIBLIOGRAPHY
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. 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. 279-282. 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 March 2012. Allen, Emma. “Uncanny Abstraction: Allison Miller’s many layers,” Modern Painters, February 2012, 17. Wood, Eve. “Allison Miller,” Flash Art, July-September 2011, 108. Wood, Eve. “Critics’ Picks,” Artillery, July/August 2011. Lehrer-Graiwer, Sarah. “Allison Miller’s Visceral Idiosyncrasy,” Artslant, 9 May 2011. 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, E28-E29.
PUBLICATIONS
Nickas, Bob. “Painting Abstraction: New Elements in Abstract Painting,” New York: Phaidon Press, 2009.
AWARDS 2014
Diebenkorn Teaching Fellowship, San Francisco Art Institute
PUBLIC COLLECTIONS
Capital Group, Los Angeles, CA Cleveland Clinic, Beachwood, OH Orange County Museum of Art, Newport Beach, CA Pizzuti Collection, Columbus, OH Progressive Insurance, Mayfield Village, OH Santa Barbara Museum of Art, Santa Barbara, CA UBS Art Collection, NYC West Collection, Oaks, PA
LECTURES 2015
2014 2013 2012
2011
2010
2007
Visiting Artist, UNLV at the Barrick Museum, Las Vegas, NV Visiting Artist, Miami University, Oxford, OH Guest Lecturer, Anderson Ranch Arts Center, Snowmass, CO Visiting Artist, University of California, Riverside, CA Visiting Artist, Polytechnic School, Pasadena, CA Guest Lecturer, San Francisco Art Institute, San Francisco, CA Guest Lecturer, California State University, Bakersfield, CA Visiting Artist, University of California, Irvine, CA Visiting Artist, University of New Mexico, Albuquerque, NM Guest Lecturer, California State University, Fullerton, CA Visiting Artist, Brigham Young University, Provo, UT Guest Lecturer, Anderson Ranch Arts Center, Snowmass, CO Visiting Artist, Polytechnic School, Pasadena, CA 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 Guest Lecturer, Pomona College, Pomona, CA Visiting Artist, California College of the Arts, San Francisco, CA Guest Lecturer, Art Center College of Design, Pasadena, CA Visiting Artist, University of California, San Diego, CA Panel/Lecture/Visiting Artist, Claremont Graduate University, Claremont, CA Visiting Artist, Otis College of Art and Design, Los Angeles, CA
FELLOWSHIPS AND RESIDENCIES 2015 2014 2010
Residency, Anderson Ranch Arts Center, Snowmass, CO Richard Diebenkorn Teaching Fellowship, San Francisco Art Institute (Including residency at the Headlands Center for the Arts) Residency, Anderson Ranch Arts Center, Snowmass, CO
2013
Lithograph Edition and Monoprint Series, Tamarind Institute, Albuquerque, NM
PROJECTS
ALLISON MILLER Publication Š 2015 Susan Inglett Gallery NYC All Rights Reserved Design: Aryn Foland Photography: Robert Wedemeyer, LA Photography: Adam Reich, NYC Text: Sarah Lehrer-Graiwer Published by: SUSAN INGLETT GALLERY 522 West 24 Street New York, New York 10011 212 647 9111 | info@inglettgallery.com No image or portion thereof may be copied, reproduced or electronically stored/transmitted without permission.
SUSAN INGLETT GALLERY