JOHN MILLER Exhibitions   1980-1985 1986-1989 1990-1995 1996-1999 2000-2005 2006-Present Essays Publications Collaborations Bio/Bibliography Contact Return to Index About this site © 2005-2008 2007   "Excremental Value," Tate Etc., Issue 10 (Summer): pp. 40-43. "Surplus Production," Between the Two Deaths (Karlsruhe: ZKM Center for Art and Media). "Shape Shifter," Texte zur Kunst (Juni, 17. Jahrgang, Heft 66): 116-119. "Reden  Kostet Nichts?" ("Talk is Cheap?"), Texte zur Kunst (September, 17. Jahrgang, Heft 67): 70-81. "The Placement of Sound: Florian Hecker's Spatial Music," ars viva 07/08 (Frankfurt-am-Main: Revolver, Achiv fur aktuelle Kunst) "For a Political Economy of the Petting Zoo," Amy O'Neill (Dijon: Les presses du reel). 2006   "Double or Nothing: the Art of Douglas Huebler," Artforum (April), Vol. XLIV, No. 8: pp. 220-227. "Positions dans l'espace vernaculaire: si vous viviez ici..." trans. Elvan Zabunyan, Martha Rosler: sur/sous le pave (Rennes, France: Universitaires de Rennes) 2005   "Mechanization Takes Command: Modernization, Terminable and Interminable," Chris Williams (Vancouver: the Vancouver Art Gallery) "Project for a Nudist Colony: Some Literary, Philosophical and Political Fragments," Gygi (Zurich: JRP/Ringier) "Islam and World Politics: a View from the United States," Plus Ultra, Jenseits der Moderne? (Frankfurt: Revolver Archiv für aktuelle Kunst) 2004   "From Keyboard to Keypad," Interview Ute Meta Bauer (UMB) mit Florian Hecker (FH), Wein, Juli 2003    (Zwickau, Germany: Kunstsammlungen der Städtischen Museen Zwickau) "Arbeit Macht Spass?" The Next Documenta Should Be Curated by an Artist, edited by Jens Hoffman,    (New York and Frankfurt: eFlux and Revolver Archive für aktuelle Kunst, 2004) "Lines in the Sand," Joan Jonas: Five Works (New York: Queens Museum of Art) "The Original Synth," Texte zur Kunst, (2004) ---Read the English version (PDF) "Going Apeshit: Toward a Psychology of Meta-Criticism," The Seven Reviews of Monkeys and Shit    (Nicolás Guagnini, New York: Union Guacha Productions)     2003   "AIDS (1987)" General Idea: editions 1967-1995 (Toronto: Blackwood Gallery, University of Toronto    at Mississauga, Erindale College) "Act Naturally" Spring Journal     2002   "A Trailer for the Future," Jack Goldstein: Films, Records, Performances and Aphorisms, 1971-1984,    ed. Daniel Buchholz and Christopher Müller, Köln, Verlag der Buchhandlung Walter König "Go For It!," Texte zur Kunst, 12 Jahrgang, Heft 46 (June 2002); republished in Andrea Fraser: Official    Welcome (Vancouver: Belkin Gallery, University of British Columbia).     2001   "Now Even the Pigs're Groovin'," Dan Graham: Works, 1965-2000, Düsseldorf: Richter Verlag;    republished in Frières américanes, Vincent Pécoil, ed. and trans., Dijon: les presses du réel. "Inside the Black Box: Toward a Lower State of Futurity," Eva Grubinger: operation R.O.S.A., Helsinki:    Kiasma Museum of Contemporary Art "No More Boring Art," Kunst/Kino, Jahresring 48, Oktagon Verlag, Köln "The Dancer, Not the Dance," Wiederaufnahme, Frankfurt, Revolver Archiv für aktuelle Kunst, trans. "Der Tanzer, nicht der Tanz," Allison Plath Moseley, Uli Nickel, Hans Olsson.     2000   "The Human Cavity," trans. Dieter Lend as "Die Höhle der Menschen, " Couch, Basel: Christoph Merian    Verlag; republished in KW Magazine (February, 2001): 94-99. "Burn, Baby, Burn!: Mike Smith Talks About Disco, Life Insurance and. . . Videotape," interview with    Mike Smith (French translation by Frank Straschitz), Mike Smith, Grenoble: Le Magasin. "Everything and More," All You Can Eat, Leipzig: Galerie fur Zeitgenosches Kunst. The Price Club: Selected Writings 1977-1998 (Geneva and Dijon: JRP Editions and Editions du Reél) "Frieds Neffen: Gameshows im Zeichen des Minimalismus,” trans. Susanne Saygin,  Texte zur Kunst,    10 Jarhgang, Heft 39 (September 2000): 40-47. ---Read the English version (PDF) "Something From Nothing," Xavier Veilhan, Grenoble: Le Magasin. "The Use Value of Rock," liner notes - For Those About to Rock lp, Frankfurt: Revolver Editions. "Mary Lucier," reprinted in Mary Lucier, Baltimore and London: The John Hopkins University Press. "Statement: Whose Freedom?" NICC Newsletter 8 (October, November, December 2000): 58-60.     1999   "Visions of Alternativity," Les espaces indépendents, Geneva: JRP Éditions. "Lebende Legende," John Sinclair  interviewed with Frank Lutz, Texte zur Kunst, trans. Axel Fischer,    9. Jahrgang, Heft 33 (March 1999): 106-115. "Entropie und Immobilien," trans. Anja Tippner, Texte zur Kunst, 9. Jahrgang, Heft 33 (March 1999):    49-52. ---Read the English version (PDF) "Hard Hats, Cold Facts," What does your wife/girlfriend think of your rough and dry hands?,    Santa Fe: SITE Santa Fe "Acting Out," CD Liner Notes: Blood on the Honky-Tonk Floor: Gone, Gone, Gone, published by    Christoph Keller, Stuttgart: naïve sehen + horen     1998   "Heil Hitler!  Have a Nice Day!  "Die neue Politik des Hasses in den U.S.A." Die Kunst des    Öffentlichen,eds. Marius Babias and Achim Könneke, Dresden, Verlag der Kunst; excerpted    in Jungle World, No.  5 (January 29, 1998): 15-18. "Die therapeutische Institution oder Die Gnade der Präsenz, " Secession: das Jahrhundert der Künsterlischen Freiheit: 1898-1998, Munich: Presetel Verlag. "Playing the Game," a/drift, Annandale-on-Hudson: Center for Curatorial Studies, Bard College;    republished as “Das Spiel spielen: "Was machen Sie sonntags um zwanzig vor sieben?"    trans. Thomas Atzert, Subtropen/Jungle World, No. 31, August 1, 2001.     1997   "God's Country" and "Postwar Prehistory," Transatlantik Echoes, Berlin: ID Verlag.     1996   "Paradise Lost," Jane Dickson: Paradise Alley, New York: the Whitney Museum of American Art    at Philip Morris. "Be Here Now: the Image of History," Face a l'Histoire, Paris: Centre Georges Pompidou. "The Procrustean (Water) Bed: The Definition of Popular Culture in Pierre Bourdieu's Distinction,"    and "Bourdieu, High and Popular Culture: a Debate Between John Miller and Students of    Cultural Studies," Games Fights Collaborations: Das Spiel von Grenze und Überschreitung, eds.     Beatrice von Bismarck, Diethelm Stoller and Ulf Wuggenig, (Lüneburg and Stuttgart: Kunstraum der    Universität Lüneburg and Cantz Verlag, 1996). "Day by Day," Arbeit/Freizeit, Berlin: EA-Generali Aktiengesellschaft. "Transforming the Esthetic Field: the Cold War is Over (If You Want It)," Macao: Macao Museum    of Contemporary Art. "I Want to be [a Desiring] Machine," Kritik, No.  2: 67-71.     1995   "Den Untergrund begraben," trans. Christoph Hollender, Im Zentrum der Peripherie: Kunstvermittlung    und Vermittlungskunst in den 90er Jahren, ed. Marius Babias, (Dresden and Basel: G&B Fine Arts    Verlag, GmbH, 1995); excerpted in Jungle World, No.  5 (January 29, 1988): 15-18. "Das padagogische Modell oder die Steigerung der Scham durch ihre Veroffentilichung," trans.    Clara Dreschler, Texte zur Kunst, Vol. 5, No. 18: pp. 1779; reprinted as "The Pedagogical Model:    To Make Shame More Shameful Still by Making It Public," Akademie, ed. Stephan Dillemuth    (Munich: Permanent Press Verlag, 1995). "Dada By the Numbers," October, No. 74 (Fall 1995): pp. 1218. "Suture and Picture Theory," Symposium: Suture: Phantasm der Volkommenheit,    Salzburg: Salzburger Kunstverein. "The Perverse Gesture," Head Shots (photos by Aura Rosenberg), Reykavik and New York:    Stopover Press.     1994   "Conflict of Interest," Acme Journal, Vol. 1, No. 3: 7275. "Clubs for America," The Use of Pleasure, San Franciso: Terrain Gallery. "Too Young to be a Hippy, Too Old to be a Punk," discussion with Mike Kelley, Be Magazin, Vol. 1,    No. 1: pp. 119123 with German translation by Clara Dreschler, pp. 124129; excerpts republished as    "Marcuse fur Teenager" Die Tageszeitung, May 27, 1994: p. 15 and as "Mike Kelley: Die    Depolitisierung der Hippiekultur trug zu ihrer Mystifizierung bei," Kunstforum International, Vol.     134 (May - September, 1996): 199-205. "Bob Flanagan: The Kitchen," trans. Anja Tippner, Texte zur Kunst, Vol. 4, No. 13: pp. 99101. "AutofensterSkulpturen," trans. Brigitte Kalthoff, Piotr Nathan: AusschnitteCuttings, Bremen:    Gesellschaft fur Aktuelle Kunst, e.v. and Cantz Verlag. "Eine Antwort auf Hal Foster," Gewalt/Geschafte, Berlin: Neue Gesellschaft fur Bildende Kunst (NGBK).     1993   "Evolutionary Theory and Ideology," Amokkoma, Vol. 1, No. 1: unpaginated. "The Body as Fetish: an Open Letter to My WouldBe Compatriots," Aperto '93: Emergncy/Emergenza,    XLV Biennale de Venezia, Milan: Giancarlo Politi Editore. "The Poet as Janitor," Mike Kelley, New York: The Whitney Museum of American Art. "The Fig Leaf Was Brown," The Art Journal, Vol. 52, No. 3 (Fall): pp. 7678. "Relative Autonomy and the Esthetic Field," Reading Things, ed. Neil Cummings, Sight Works,    Vol. 3, London: Chance Books. "Why Don't We Do It in the Road? Vito Acconci's Public Sculpture," or "Why Don't We Do It in the    Road? Vito Acconci's Offentliche Skulpturen," trans. Thomas Hermann,  Meta, No. 4: 3549.     1992   "Mike Kelley", Los Angeles: Art Press; excerpted in Bomb, No. 38 (Winter): 2631;    anthologized in Between Artists: Twelve Contemporary Artists Interview    Twelve Contemporary Artists (Los Angeles: Art Press, 1996). "When Activism Becomes Quietism," Acme Journal, No. 1 (Spring): 5152. "Die Deutschen muhen sich ab," Zitty Stadtzeitung (215 April): 218220. "The AvantGarde, Sublimation and the Patriarchy," The Lectures 1991, Rotterdam: Witte de With. "Esthetics from Acorns," Dirty Data, Aachen, Ludwig Forum. "A Round Table on Criticism: Criticism and Use Value,"  M/E/A/N/I/N/G, No. 11 (May): 2526. "Curating and Materialism,"  Meta, No. 2: 1416. "Disappearing into the Woodwork," gemischtes Doppel/mixed doubles, Wien: EAGenerali Foundation    and Wiener Secession. "Dreaming is Almost Free: Audiocassettes at Bilka," Qui, Quoi, Où?: un regard sur l’art an Allemagne    en 1992, Paris: Musee d'Art Moderne de la Ville de Paris. "The Show You Love to Hate: a Psychology of the MegaExhibition," Autoren von Texte zur Kunst halten    Reden u.a. auf der Documenta IX; republished in Thinking About Exhibitions (New York: Routledge, 1996). "Kitsch," Guggenheim Museum: A to Z, New York: Guggenheim Museum.     1991   "Formalism and Its Other," Jessica Stockholder, Rotterdam and Chicago: Witte de With and    the Renaissance Society. "The Body as Site," Flash Art, No. 161 (November): 9899.     1990   "The Weather is Here; Wish You Were Beautiful: the Persistence of Dandyism," Artforum, No. 9    (May): 152159. "The Death of Tragedy," Nachschub: the Koln Show, Koln: Galeries Daniel Buchholz, Gisela Capitain,    Tanja Grunnert, Max Hetzler, Jablonka, Isabella Kacprzak, Esther Schipper, Monika Spruth,    Sophia Ungers and Spex Magazine.     1989   "The Art of Noise," Artscribe, No. 73 (January/February): 9296. "Lecture Theatre: Peter Halley's 'Geometry and the Social'," Artscribe, No. 74 (March/April): 6465. "El Corte Mas Profundo: Notas sobre la tecnica de John Baldessari," Ni Por Esas/Not Even So, Madrid:    Ministerio de Cultura, pp. 5359; reprinted as "The Deepest Cut: Montage in the Work of    John Baldessari," Artscribe, No. 75 (May): 5256. "The Greenberg Effect," Arts, No. 64 (December): 61.     1988   "Please Pass the Orb," CalArts: Skeptical Belief(s), Chicago and Newport Harbor: the Renaissance    Society and the Newport Harbor Art Museum. "The Consumption of Everyday Life," Artscribe, No. 67 (January/February): 4652; republished as    "La Consommation de la vie quotidienne" with "Le Prix des Mots" (interview with Haim Steinbach),    Haim Steinbach, Bordeaux: capc Musee d'art contemporain de Bordeaux. "Here, There and Everywhere," New Observations, No. 63: 19. "The Mnemonic Book: Ed Ruscha's Fugitive Publications," Parkett, No. 18: 6671. "The Mortification of the Sign: Mike Kelley's felt banners," Mike Kelley, Chicago: the Renaissance    Society. "A Poetics of Imperfection" (interview with David Shapiro), Artscribe, No. 70 (June): 5459.     1987   "What You Don't See is What You Get: Allan McCollum's Surrogates, Perpetual Photos and Perfect    Vehicles," Artscribe, No. 61 (January/February): 3226. "In the Beginning There Was Formica," Artscribe, No. 62 (March/April): 3642; republished in abridged    form in Lusitania, No. 17: 2830 with Korean translation by Inho Choi. "Baudrillard and His Discontents," Artscribe, No. 63 (May): 4951. "Jacques Lacan's 'Television'," Artscribe, No. 66  (November/December): 4041. "Swiss Family Robbins," Real Life Magazine, No. 16: 1011.     1985   "The Commodity as a Country Music Theme," LAICA Journal, No. 81:  2630; republished as "Die Ware    als Thema in der Country Music," trans. Cornelia Vismann, Shattenlinien, Nos. 8 & 9: 7380. "Morality and the Poetic," Real Life Magazine, No. 13: 1517.     1977   "Taste," RISD Press, No. 11 (April 1): 910. "Contradictions in the Politics of Art," (with Dan Walworth) Citiart News, Vol. 1, No. 3 (July): 5, 8. "Drawings That Question Diagrams," RISD Press (December 2): 56.