“Self-Portrait, Vanitas”
March, 1999
Hong Kong, China
Solo Exhibition at Galerie Rigassi, Bern, Switzerland
Solo Exhibition
Galerie Rigassi, Bern, Switzerland.
January 9, 2013 through February 27th
January 9, 2013 through February 27th.
Galerie Thaddaeus Ropac, ”Sous le Manteau”
“Sous le Manteau”
Galerie Thaddaeus Ropac
My Mother’s Suitcase Vuitton
PRESS:
“When Art Mocks — and Inspires — Fashion”, By Rebecca Voight, March 12, 1999
Shizaru Gallery, “Bad for You”
Shizaru Gallery Presents:
BAD FOR YOU
October 10th – November 23, 2012
London, England
“Health of the Planet #563” 2010, carbon ink jet & silk screen, 29”x24” private London collection
As the international community ?ocks to London for Frieze, Shizaru is delighted to host BAD FOR YOU, an
exhibition curated by Beth Rudin DeWoody featuring sixty-eight contemporary and established artists
primarily from America. Taking inspiration from its eponymous title, BAD FOR YOU highlights the unwavering
relationship between art and vice, displaying the human relationship with what is ?bad? through issues like self
destruction, drugs, alcoholism, gambling, materialism, vanity, and cigarettes. A title that is at once humorous and
grim the exhibition avoids judgment, allowing the viewer to draw their own conclusions.
Artists explore these many themes through various moralistic viewpoints. Some works celebrate, disregard and
revel in what is seen as being ?Bad? whilst others raise alarm and aim to forewarn the consequence of a life of
decadence. Artists celebrate the excitement of experimentation, and the pleasure that comes with doing what is
?Bad for You? such as Fred Tomaselli, who revels in his chosen vice; drugs, by making decorative patterns out
of marijuana leaves and Liz Markus, whose humorously titled “Fuck it” evokes the carefree attitude of “doing it
anyway”. These words written on raw canvas next to a whiskey bottle depicts that vertiginous moment, when
one decides to carelessly down the rest of the bottle.
Many works explore human desire and the thrills that tempt us to rebel. The glitzy plethora of fortune is
presented by Tony Oursler in his video installation “Bedazzled, Set for Life, Funky $5, Mother’s Day, Welcome
to Vegas” which captures a stack of various gambling scratch-off cards, alluding to the temptations that can lure
one into a rip of false promise.
VOGUE Brasil, September 2013
Fashion Animal: expo do artista Steve Miller chega ao Fashion Mall
A terceira edição da ArtRio, maior feira de arte contemporânea do Rio de Janeiro, terá um braço no Fashion Mall. Entre os dias 12.08 e 08.09, o shopping em São Conrado abriga a exposição de fotos “Fashion Animal”, do artista americano Steve Miller.
São 18 obras que fazem uma relação entre a natureza e a sociedade de consumo: com tratamento que remete a um raio x, os trabalhos de Steve trazem espécies da região amazônica brasileira (em p&b) e acessórios de moda, como bolsas, cintos e sapatos (coloridos). “O mundo da moda e o mundo animal têm um ciclo próprio de desejo, de consumo e de mudança. Ambos reluzem, seduzem e nos atraem como um tesouro”, diz o artista.
Para movimentar a mostra, o Fashion Mall prepara uma ação fashion para os visitantes da feira no Píer Mauá. Fará fotos de flagras de streetstyle, em alusão estilo do top fotógrafo Scott Schumann (que assinou a última campanha publicitária do shopping).
Sparkedscienceart.com, August 2013
DC exhibit spotlights the art of ion movement
New York artist Steve Miller’s impressive span of work over more than 30 years feels almost too vast to describe. It’s touched on the Amazon rainforest, x-ray technology, fashion, protein structures, and particle accelerators, to name but a few areas. His new “Crossing the Line” exhibit in Washington, DC, pulls together works from his collaboration with Nobel-Prize-winning chemist Rod MacKinnon.
“Blackboard Jungle” from 2005. Dispersion and silkscreen enamel on canvas. All images are from “Crossing the Line” and are courtesy of Steve Miller.
“Roam Free” from 2008. Dispersion and silkscreen enamel on canvas.
The collection, which features 11 paintings, is being shown at the National Academy of Sciences from August 5 through January 13. Miller and MacKinnon met at Brookhaven National Laboratory, which Miller first visited in 2000, according to an article by Steven Deitz.
At Brookhaven, he first collaborated with physicist Stephen Adler, producing the “Neolithic Quark”series, which contrasts early Chinese pottery with research data collected from the Relativistic Heavy Ion Collider particle accelerator — both of which investigate matter, in their own ways and in their own time periods.
“[The ‘Neolithic Quark’] project documents a conceptual timeline from the earliest efforts of civilization to the current scientific investigations about the nature of matter,” Miller writes on his website.
“Inscrutable Haze” from 2005. Dispersion and silkscreen enamel on canvas.
His work at Brookhaven eventually led him to MacKinnon, who won the Nobel Prize in Chemistry in 2003 for his research on the structure and function of ion channels. Miller’s work from this collaboration incorporates protein structures from MacKinnon’s investigations, the x-ray technology used, and even Mackinnon’s handwritten notes.
Detail of “Booming Demand” from 2012. Dispersion and silkscreen enamel on canvas.
“If They Exist” from 2007. Dispersion and silkscreen enamel on canvas.
In 2007, items from the collaboration were featured at the Rose Art Museum at Brandeis University in a collection called “Spiraling Inward.” A number of those works are part of the current exhibit in DC, according to the “Crossing the Line” show catalog.
Other recent projects have taken a more environmental tack: For the “Health of the Planet” series, Miller traveled to Brazil and took x-rays of plants and animals in the Amazon rainforest, which he describes as the “lungs of our planet” on his site. The series shows the innerworkings of various flowers, seeds, and roots, among other items; some remain the translucent gray and white of x-rays, while others are splashed with brilliant color. The works were shown at the beginning of this year in a solo exhibit at Galerie Rigassi in Bern, Switzerland.
Regarding Miller’s combination of science and art, “Crossing the Line” curator Marvin Heiferman offers an interesting view:
Commenting on his long-standing interest in working with scientists, Miller says, ‘We’re all asking questions, trying to understand what forces make or shape who we are.’ For him, art and science are parallel dialogs about possibility; when they intersect, the context of each changes. What results, as these paintings reveal, can be unexpected, engaging, and powerful.
