Steve Miller (artist)

Steve Miller (born October 12, 1951, Buffalo, New York)[1] is a multi-media artist, who makes paintings, screenprints, artist books, and sculptures. Through his art he explores the influence of science and technology on modern culture.[2]

Education

Miller received his BA in 1973 from Middlebury College, and also attended the Skowhegan School of Painting and Sculpture in 1973.[3]

Career

Steve Miller has lived and worked between New York City and Eastern Long Island since 1975. His career trajectory consists of over 40 solo exhibitions at venues such as the National Academy of Sciences, the Hong Kong Arts Centre, Rose Art Museum, the Centre International d’Art Visuels CARGO in Marseilles, and the CAPC musée d'art contemporain de Bordeaux. His work has also been included in group exhibitions at the New Museum,[4] the Bronx Museum, The Brooklyn Museum of Art, and The Everson Museum of Art. In 2004 Miller was a New York Foundation for the arts painting fellow.

His work or reviews of his work have been published in Le Monde, La Nouvelle Republique, Art Press, Beaux Arts Magazine, Süddeutsche Zeitung, South China Morning Post, The New York Times, Artforum, Art News and Art in America.

Significant artworks

He was an early pioneer of the Sci-Art movement.[2]

Major projects include a multimedia computer installation which analyzed financial commodity trading and the distribution of contemporary art exhibited at White Columns Gallery in 1981.[5][6]

Later Miller began to silk-screen computer generated images onto painted canvases and in 1986 The Josh Baer Gallery (New York),[7] exhibited his computer enhanced Rorschach blots screenprints. This series was also exhibited at the Elga Wimmer Gallery in 1992.[8] In 1995 he began his Vanitas series in which he photographed his own blood with a microscopic camera and displayed them on light boxes. This work has been exhibited at the CAPC Musée Bordeaux, Hong Kong Arts Center, and Universal Concepts Unlimited (NYC).

In 1999 Miller created Dreaming Brain,[9] with artist Colin Goldberg, an interactive computer movie about dreaming and reflects the complexity of the unconscious mind.[10] This project was sponsored by Thundergulch and funded by the Greenwall Foundation and exhibited at the Equitable Art gallery in New York City.

In collaboration with scientists from the Brokehaven National Laboratory and Rockefeller University[11] to develop multiple screen printing projects visualizing advanced scientific research called Neolithic Quark and Spirialing Inwards. This work has been exhibited at the Rose Art Museum and the National Academy of Sciences.[12] His most recent body of work, Health of the Planet, is a series of x-ray photographs of Amazonian flora and fauna, and was exhibited at Oi Futuro Ipanema, Brazil in 2013.[13] This work has also been shown in solo exhibitions in Rio de Janeiro at Galeria Tempo, in Switzlerand at Galeria Rigassi, in London at Gallery Maya, and in East Hampton, New York, at Harper's Books.

References

  1. ↑ "Steve Miller Artspace Profile". Artspace.com.
  2. 1 2 "Straight Talk with Steve Miller". SciArt in America. December 2013.
  3. ↑ Heiferman, Marvin (2000). Paradaise Now: Picturing the Genetic Revolution. Tang Art Museum.
  4. ↑ "New Museum Digital Archive".
  5. ↑ Cavaliere, Barbara. "Steve Miller at White Columns".
  6. ↑ Cavaliere, Barbara (February 1982). "Steve Miller at White Columns". ARTS Magazine.
  7. ↑ McCormick, Carlo (April 1988). "Steve Miller/Josh Baer Gallery". Artforum.
  8. ↑ Hagen, Charles (June 12, 1992). "Art in Review: Technological Alienation". The New York Times.
  9. ↑ http://rhizome.org/artbase/artwork/26617/
  10. ↑ Gamwell, Lynn (1999). Dreams 1900-2000 (PDF). Ithaca: Cornell University Press. p. 53.
  11. ↑ Popper, Frank (2009). From Technological to Virtual Art (PDF). MIT Press.
  12. ↑ Maggie, Fazeli Fard (July 29, 2013). "Art exhibits inspired by science fiction and medicine". The Washington Post.
  13. ↑ Michaels, Levi (July 16, 2013). "Machinarium, Technological Art in Ipanema". The Rio Times.
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