Document 2837887

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JOHN MILLEI

A publication of UNLV | Marjorie Barrick Museum on the occasion of the exhibition: JOHN MILLEI If 6 Turned Out To Be 9 Selected Work March 20—June 6, 2015

JOHN MILLEI If 6 Turned Out To Be 9

Images © 2015 John Millei Text © 2015 UNLV | Marjorie Barrick Museum and Julia Couzens Photo credit:George Lawson Gallery Design and Layout: Julia McEvily For inquiries or copies of this catalog, contact the museum. UNLV | Marjorie Barrick Museum 4505 S. Maryland Parkway Las Vegas, NV 89154-4012 unlv.edu/barrickmuseum 702-895-3381

Selected Work foreword by Jerry Schefcik commentary by Julia Couzens

University of Nevada Las Vegas College of Fine Arts Jeff Koep, Ph. D., Dean, College of Fine Arts Dr. Louisa McDonald, Chair, Department of Art Jerry Schefcik, Director, UNLV Galleries Aurore Giguet, Program Director, Marjorie Barrick Museum Alisha Kerlin, Collections Manager / Office Manager, Marjorie Barrick Museum Gabriela Aguilar, Paige Bockman, Allen Linnabary and Christian Rios-Casstell, Museum Aides, Marjorie Barrick Museum Rebecca Pugh, Graduate Assistant, Marjorie Barrick Museum

UNLV Galleries Advisory Board Patrick Duffy, Chair RC Wonderly, Vice-chair Curt Anderson Genene Boldt Sam Cherry Jan Craddock Tori Klein Tom Lawyer Dana Lee Joyce Mack Shannon McMackin Erin Stellmon Marty Walsh Mark Zachman

Foreword/Acknowledgments On behalf of the Marjorie Barrick Museum, we are pleased to present the exhibition, John Millei: If 6 Turned Out To Be 9, Selected Work. John Millei has been recognized over his 35-year career for the extraordinary work he has produced. He was recently lauded by distinguished art critic Donald Kuspit for his, “ingenious recapitulation of Abstract-Expressionism…” in his article, “Through History to Authenticity: John Millei’s Paintings.” The bold, smartly painted works of Millei connect the historical roots of the school to a valid, contemporary iteration. It is our pleasure to present a body of his work for his first ever exhibition in Las Vegas. Our gratitude is extended to Patrick Duffy, Chair of the UNLV Galleries Advisory Board for his unfaltering advocacy of John Millei, to George Lawson of George Lawson Gallery for all his work to make the exhibition possible, and to Julia Couzens for her cogent essay; to the UNLV Galleries Advisory Board for their endorsement of the project, to Dean Jeff Koep for his encouragement and support of the museum, to Dr. Louisa McDonald for her continuing efforts on behalf of the museum, and to Aurore Giguet, Alisha Kerlin and the staff of the Barrick for all their work in putting the parts together. Most importantly, we are extremely grateful to John Millei for sharing a bit of his vision with us. We are indebted to each of these individuals for helping to make this exhibition a reality. Jerry Schefcik Director, UNLV Galleries

John Millei: If 6 turned out to be 9, Selected Work “Painting has nothing to do with thinking, because in painting thinking is painting. Thinking is language—record-keeping—and has to take place before or after.” — Gerhard Richter

This exhibition presents the work of noted Los Angeles painter, John Millei and represents work spanning from 2004 to 2015. The survey includes examples from the Procession paintings, the Hat Heads, the great Maritime series, as well as new work made specifically for this show. The paintings continue Millei’s strategic investigation of contemporary figure painting, portraiture, and the slippery slope between abstraction and figuration. Born in 1958, Millei is well into a productive mid-career. It’s difficult not to sound Old School, but when looking at Millei, one inevitably considers notions of structure, painterly hand, touch, the historical continuum that this exhibition probes, and the allure of unrepentant confidence in formal skill. The suite of four paintings from the Hat Heads series, draw from historical motifs of figure painting and portraiture, positing fragmented and reinvented recollections and commentary using such touchstones as Velasquez, Picasso, Morandi, and Guston. On some level all painting elicits the history of painting and re-presents unique distillations of all painting that has gone before. In part that is how we recognize it. So it may be limiting to make historical context an argument for painting. The motifs upon which Millei hangs his work provides scaffolding, but perhaps the richer, more immediate experience is in turning our attention to how the painting looks and to how Millei We Are All Vultures (L), and Every Morning (R) in progress on the porch outside Millei’s Santa Barbara studio, January, 2015

strategically works in the gap between painting as a picture and painting as an object.

The portraits seem like blow-ups or close ups taken with a zoom lens. The lines tend

of the Deutschland”, to Life of Pi, maritime disasters and journeys have been deployed

to be reductive and precise, and as much shape or plane or mass. Millei’s brush strokes

as metaphors for our interior journeys spanning minds and time. Millei’s capsizing,

are emphatic, rarely random, and each stroke becomes an integral component of the

oceanic abstractions are transcendent spectacles of radiance and existential mystery.

painting’s structure. There is no extraneous painting or embellishment, and to remove a line or stroke, one risks collapsing the framework like a house of cards. This reductive

The paintings in this show are lean and buff. They are organized, resolved, and

tension becomes a drama of control and admirable restraint, painting only to what just

focused. They are efficiently drained of problems. But it’s their resolution and sense

holds, nothing more.

of certainty that takes risk and a rich dimensionality out of the equation. There is no doubt to be found, and Millei seems to know what he is thinking, as if he is unwilling to

Millei’s surfaces are a uniformly coherent layering of thick over thin, gloss over chalky,

be confused or disruptive. He plays his cards close to the vest, exposing little of himself,

ethereal matte. His painting is driven by his concern for physical truth, paying attention

as if his decisions are mobilized more by strategy than necessity. Millei is capable of

to how the pigment goes down to achieve architectural integrity. He doesn’t finesse

making grand and speculative paintings that hold us in a breathtaking emotional grip.

his surface to make the painting appear a particular way. The paint itself is what the

But who of us can lay claim to consistent greatness? Any serious, working artist keeps

painting is. The painting is direct, terse, straightforward, and feels as if it was made all

working, building and dismantling, waiting in the working, working in the waiting.

at once without spending hours and hours and hours to get a certain look. To be sure

And to be sure, Millei is an intelligent painter, a workhorse painter, possessing a dogged

there is consummate craft afoot, but to Millei’s credit it’s invisible, and as if his decisions

belief in painting’s power.

were made from the paint itself. Julia Couzens The several abstractions favor a French palette of muddy browns, grays, anemic peach, and sour greens. Up-ended and tilting compositions are organized into freeways of speeding lines, on-ramps and off-ramps of space and gesture. Special Pleasure, 2015

Julia Couzens is an artist living and working on Merritt Island in the Sacramento River delta. This commentary is, in part, from a review previously published on squarecylinder.com

[p. 21], offers a sluice-y blade of rose suggestive of a woman’s sheath emerging from looping lines of gunky violet. The superb Every Morning, also 2015 [p. 23], is an unzipping grid conjuring grayed casement windows. It is confident, reductive, and masterful in its balanced distillation of the architectural impulses evident in the sextant like earlier painting, Maritime (Aloft), 2011 [p. 37]. The extent to which Millei pays attention to what is just enough signifies a painter in full. In contrast to land-locked space and the closely held intimacy of the Hat Heads, the Maritime series unmoors the craft of art, setting sail on an odyssey of linear discovery and spatial squalls. Heeling planks of cold blacks, ice-y whites, and cobalt blue toss us onto collapsing decks of paint. From The Odyssey, to Robinson Crusoe, to “The Wreck 10

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PLATES

12

Swally Ha Ha, 2010 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 96 x 84 in. (243.84 x 213.36 cm) cat. no. JOM015

14

If 6 Turned Out To Be 9, 2015 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 52 in. (152.4 x 132 cm) cat. no. JOM018

16

We Are All Vultures, 2015 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 52 in. (152.4 x 132 cm) cat. no. JOM019

18

Out The Window, 2015 oil and Flashe® vinyl acrylic on canvas 60 x 52 in. (152.4 x 132 cm) cat. no. JOM020

20

Special Pleasure, 2015 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 52 in. (152.4 x 132 cm) cat. no. JOM021

22

Every Morning, 2015 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 52 in. (152.4 x 132 cm) cat. no. JOM023

24

Motus Animi Continuus #1, 2014 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 85 x 72 in. (215.9 x 182.88 cm) cat. no. JOM006

26

Motus Animi Continuus #2, 2014 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 84 x 77 in. (213.36 x 195.58 cm) cat. no. JOM007

28

Motus Animi Continuus #3, 2014 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 84 x 77 in. (213.36 x 195.58 cm) cat. no. JOM008

30

Motus Animi Continuus #4, 2014 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 84 x 77 in. (213.36 x 195.58 cm) cat. no. JOM009

32

Maritime (Doldrums #1), 2009 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 55 in. (152.4 x 139.7 cm) cat. no. JOM016

34

Maritime (Doldrums #2), 2009 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 55 in. (152.4 x 139.7 cm) cat. no. JOM017

36

Maritime (Aloft), 2011 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 90 x 60 in. (228.6 x 152.4 cm) cat. no. JOM003

38

Hat Head (Small Dancer), 2012 oil and Flashe® vinyl acrylic on canvas 62 x 48 in. (157.48 x 121.92 cm) cat. no. JOM004

40

Hat Head #7, 2013 oil and Flashe® vinyl acrylic on canvas 62 x 48 in. (157.48 x 121.92 cm) cat. no. JOM004

42

Hat Head (Monument), 2013 oil and Flashe® vinyl acrylic on canvas 98 x 63 in. (248.92 x 160 cm) cat. no. JOM001

44

Hat Head (Dancer), 2013 oil and Flashe® vinyl acrylic on canvas 98 x 63 in. (248.92 x 160 cm) cat. no. JOM002

46

Jack Daniels and Jeopardy, 2011 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 48 in. (152.4 x 121.92 cm) cat. no. JOM010

48

Caterwaul, 2011 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 48 in. (152.4 x 121.92 cm) cat. no. JOM011

50

There There, 2011 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 48 in. (152.4 x 121.92 cm) cat. no. JOM012

52

Drunk History, 2011 oil, Flashe® vinyl acrylic and aluminum enamel on canvas 60 x 48 in. (152.4 x 121.92 cm) cat. no. JOM013

54

Summer, 2011 oil and Flashe® vinyl acrylic on canvas 60 x 48 in. (152.4 x 121.92 cm) cat. no. JOM014

56

Procession #105, 2005 oil on linen 20 x 24 in. (50.8 x 61 cm) cat. no. JOM026 [overleaf, left to right] Procession #126, 2005, cat. no. JOM029 Procession #101, 2005, cat. no. JOM027 Procession #173, 2006, cat. no. JOM028 Procession #124, 2005, cat. no. JOM031 Procession #77, 2003-04, cat. no. JOM025 Procession #166, 2005, cat. no. JOM030

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JOHN MILLEI

SELECTED GROUP EXHIBITIONS

1958 Los Angeles, California

2014

“Ellipse, a Partial Inventory from the West”, a3 Gallery, Moscow

Currently resides in Pasadena, CA

2011

Selected Abstraction, 1940s -90s Santa Barbara Museum Of Art, Santa Barbara



(Re-): Un-Historical Documents, Guggenheim Gallery, Chapman University, California

TEACHING



Baker’s Dozen Iii, Torrance Art Museum, Torrance, California

1991 - Present Adjunct Professor Of Painting, Claremont Graduate University

2009

“Painting In Southern Caliifornia” The Riverside Art Museum, Riverside, California

1987 - Present Fine Art Faculty, Art Center College Of Design Pasadena

2009

“Los Angeles” Paintings By John Millei & Lucas Reiner, The Pacific Design Center, Los Angeles

1995 – 2000 Adjunct Professor & Thesis Advisor, Sci-Arc (Southern California Institute Of Architecture)

2004

“Ace Invitational 2004,” Ace Gallery Los Angeles

2002

“Ace Invitational 2002,” Ace Gallery New York

SELECTED ONE PERSON EXHIBITIONS

1998

“Helmut Dorner, Helmut Federle, John Millei, Gerhard Richter,” Domaine De Kerguehennec,

2015

“If 6 Turned Out To Be 9” Selected Work, UNLV | Marjorie Barrick Museum, Las Vegas, Nevada



Bignan, France

2014

“Selected Paintings” George Lawson Gallery, San Francisco

1997

“Primary Colors,” Barbara Faber/Rob Jurka Gallery, Amsterdam, (Curated By Bennett Roberts)

2013

“Six Paintings” George Lawson Gallery, San Francisco

1995

“Abstraction From Two Coasts,” The Lawing Gallery, Houston, Texas



“Anthropomorphic Abstraction” Quint Contemporary, San Diego, California



“Painting Beyond The Idea”, Manny Silverman Gallery, Los Angeles (Curated By Bennett Roberts)

2012

“Portraits of You” Quint Contemporary, San Diego, California



“Flowers”, Boritzer/Gray/Hamano, Santa Monica, California

2009

“Woman In A Chair” Ace Gallery Beverly Hills, California

1993

“Physical Abstraction,” Blum Helman Gallery, New York



“Maritime” Ace Gallery Los Angeles



“4th Newport Biennial” Newport Harbor Art Museum, Newport, California (Catalogue)



“Los Angeles Paintings”, Washington Adams Project, Los Angeles

1992

“New Physical Abstraction In Los Angeles Part II” Ace Contemporary Exhibitions, Los Angeles

2008

“Procession,” Galleria Michela Rizzo, Venice, Italy



“Essential Gestures: Nancy Haynes, John Millei, Sigmar Polke,” Pamela Auchincloss Gallery, New York

2006

“Procession,” Ace Gallery Beverly Hills, California

1991

“The New Physical Abstraction In Los Angeles,” Ace Contemporary Exhibitions, Los Angeles

2002

“The Real Life Of Flowers,” Ace Gallery Los Angeles



“Three Painters: Jacqueline Humphries, John Millei, Carl Ostendarp,” Rena Bransten Gallery, San Francisco



“For Surfing,” Ace Gallery, Los Angeles



“Recent Acquisitions Of The Achenbach Foundation For The Graphic Arts, Part Two: 1950-1991,”

2001

“John Millei” Ace Gallery Los Angeles



Fine Arts Museums, California Palace Of The Legion Of Honor, San Francisco

2000

“Annus Mundi Paintings” Ace Gallery New York

1990

“Physical Abstraction,” Ace Contemporary Exhibitions, Los Angeles



“John Millei” Ace Gallery Los Angeles

1990

California Brazil Projects, “Municipal Art Gallery, Los Angeles

1999

“John Millei” Galerie Ghislaine Hussenot, Paris



California Brazil Projects, Art Museum of Sao Paulo, Sao Paulo (Catalogue)



“Paintings,” Domaine De Kerguehennec, Bignan, France



“In Perfect Silence,” Art Center College Of Art And Design, Pasadena, California (Catalogue)

1998

Terra Paintings,” Ace Contemporary Exhibitions, Los Angeles



“Group”, David Beitzel Gallery, New York



“Terra Paintings,” Ace Gallery Mexico City



“The Ends Of Painting: The Edges Of Abstractions,” Shoshana Wayne Gallery, Santa Monica, California,



“Paintings,” Velan, Torino, Italy



Curated By David Pagel (Catalogue)

1997

“Selected Paintings,” Ace Contemporary Exhibitions, Los Angeles



“Four Abstract Painters,” Claremont College, Claremont, California



“Friendly Pressure,” Lawing Gallery, Houston, Texas



“The Spirit Of Our Time,” Contemporary Arts Council, Santa Barbara, California

1996

“Selected Works: 1991-1996,” Ace Gallery New York

1988

Marc Richards Gallery, Los Angeles



“Paintings & Drawings,” Douglas Lawing Gallery, Houston, Texas



After Abstract,” Art Center College Of Design, Pasadena, California (Catalogue)

1995

“Drawings,” Ace Contemporary Exhibitions, Los Angeles

1987

“Drawings,” Marc Richards Gallery, Los Angeles



“John Millei Retablos, “ Trisorio Gallery, Napoli, Italy

1984

“Small Works National,” Zanel Gallery, Rochester, New York



“Ni-Be-Fe,” Ace Contemporary Exhibitions, Los Angeles





“Nerve Meter Paintings & Drawings,” Douglas Lawing Gallery, Houston, Texas

PUBLICATIONS

1994

“Drawings,” Ace Contemporary Exhibitions, Los Angeles

John Millei: If 6 Turned Out To Be 9, selected work, Jerry Schefcik, Julia Couzins, UNLV|Marjorie Barrick Museum 2015

1993

“Project: Retablos,” David Beitzel Gallery, New York

John Millei, six paintings, George Lawson, George Lawson Gallery, 2013



“Drawings,” Ace Contemporary Exhibitions, Los Angeles

Procession, Robert Creely, Kevin O’ Sullivan, Mitchell Kane, John Millei, Ace Gallery, 2008

1992

“Paintings And Drawings,” Ace Contemporary Exhibitions, Los Angeles

For Surfing, Jamie Brisick, Dennis Phillips, Ace Gallery, 2002

1991

“Drawings,” Marc Jancou Gallery, Zurich

Terra Incognita, Dennis Philllips, John Millei, Claremont Graduate University Press, 1999

1990

“Drawings,” Ace Contemporary Exhibitions, Los Angeles

Personal, Robert Creely, John Millei, Peter Koch Press, 1998

1988

“John Millei” Marc Richards Gallery, Los Angeles



“Drawings,” Thomas Babeor Gallery, La Jolla, California

DOCUMENTARIES

1987

“John Millei” Marc Richards Gallery, Los Angeles

John Millei Maritime, Full Figured Films. www.Youtube.Com, 2010

1984

Orlando Gallery, Sherman Oaks, California (also 1982, 1981)

John Millei Woman In A Chair, Full Figured Films. www.Youtube.Com, 2010

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