Greg Miller

Greg Miller

Miller grew up in '50s– and '60s–era Sacramento, inspired by the rush of billboards, posters, ads and text that shaped the flat delta landscapes and pulp fiction images of his youth. Layer upon layer of images — one billboard or poster slapped over the next — formed a sort of cultural geology, where the passage of time might jumble, conceal and reveal an archeology of images, their stories hidden and hinted at in the remaining fragments.


Labeled a “neo-pop and “post-Pop” artist by such critics as Donald Kuspit and Peter Frank, Miller does indeed draw from pope cultural imagery that saturated American consciousness during the 1950s and 1960s. It was a time when advertising and text became indelibly encrypted into our experience of everyday life. Life as “advertised” and life as “lived” became insuperably intertwined on the pages of LIFE and LOOK magazines, on television shows, commercials, billboards, hotel signs, romance novels and even matchbook covers as never before. Miller’s paintings excavate this imagery and often appear as unreconstructed fragments of these signs, drips, patterns and phrases.


Drawing from the diverse cultural and geographic makeup of his Californian roots, Greg Miller explores his relationship with the space he inhabits to communicate a particular urban experience. Working with both paint and collage, he constructs and deconstructs exploring the contradiction, ambiguity, and truth between urban streetscape and history.


Miller’s art is clever and cool. His abstracted backgrounds of drips, patterns, and phrases and the peeling back of layers provide a study in the impermanence of the things that surround us. His large-scale paintings and installations aim to make the most fleeting parts of American culture tangible. They grab us nostalgically, rousing us to enjoy the momentary beauty found in the impermanent parts of our lives. There is a fragile heroicness conveyed within the temporary nature of it all, especially within his construction of paper, wood, and natural materials, that gives Miller’s work liveliness and depth.


Greg Miller’s work is featured in numerous museum and private collections that have traveled internationally including those organized by the Charles Saatchi Collection and the Frederick R. Weisman Collection. The Get Go, a volume of his writings, photography and paintings, was published in 2010, and the first comprehensive monograph on the artist, Signs of the Nearly Actual, was published in 2008.

Miller spends his time between New York, NY and Los Angeles, CA.



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