Books published by Gregory R Miller & Company

Seven decades of incredibly dynamic sculpture in bronze and steel from the Chicago virtuoso-with full-color plates, archival materials and much moreSculptor Richard Hunt was only 35 years old at the time of his 1971 retrospective exhibition at MoMA-the first for an African American sculptor at the museum-and his continued work over the course of his nearly seven-decade-long career, ranging from small bronze and steel sculptures to large-scale public commissions, has cemented his place as one of the foremost artists of the 20th century. This book is the definitive look at Hunt's work and career. Fully illustrated with more than 350 images, including historical photographs, installation images, images of Hunt in his studio, newspaper clippings and a plate section of significant works from throughout the artist's career, this book also includes a section on his major public commissions, a recent interview with art historian Adrienne L. Childs and an illustrated biography and chronology by Hunt's biographer Jon Ott. Essays discuss Hunt's attentiveness to antiquity, the ways in which his critical reception aligned with his practice and the relevance of his unique studio-a decommissioned electrical substation in Chicago's Lincoln Park neighborhood-to the ethos of his artmaking. This volume is a testament to the monumental works and stature of one of our greatest living artists. Chicago artist Richard Hunt (born 1935) is one of the most important sculptors of the 20th century. Hunt has had over 150 solo exhibitions and is represented in more than 100 public museums. In 2022 the Obama Presidential Center in Chicago commissioned him to make a work for its collection.

As a painter, sculptor and printmaker, Frank Stella (born 1936) has always paid great attention to geometric lines and patterns in his work, creating pieces that are arrestingly kaleidoscopic in both their form and content with bold lines and shaped canvases. This catalog, published for his 2020 exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, focuses in particular on the enduring use of star shapes in Stella's oeuvre.'Stella's depictions of stars range from the minimalism of his early career, with lithograph prints of brightly colored polygonal patterns, to the maximalism of his more recent work seen in his towering angular sculptures made from stainless steel. Although he is well aware that his last name is the Latin word for star, Stella maintains that his fixation on the shape is inspired by its form and the endless possibilities that accompany the star, rather than its etymology. Both instantly recognizable and infinitely abstract, stars seem like an obvious choice for an artist who has dedicated his life to experimenting with form. Exhibition: The Aldrich Contemporary Art Museum, Ridgefield, USA (21.09.2020-09.05.2021).

A new focus on the sublime landscapes in Lisa Yuskavage's voluptuous figure paintingsThough she is arguably best known for the voluptuous female nudes that populate her paintings, Lisa Yuskavage's work is just as focused on the ethereal settings in which these subjects appear. Yuskavage creates finely detailed landscapes that blur the line between the fantastical and the familiar, melding abstraction with realism to depict self-contained worlds. These outdoor scenes defy conventions of landscape painting with surreal color palettes of lush greens and delicate pinks, cast in a gauzy light quality that highlights the almost magical nature of her paintings. Published in conjunction with a joint exhibition between the Aspen Art Museum in Colorado and the Baltimore Museum of Art in Maryland, this volume includes color reproductions of Yuskavage's paintings and watercolors from the early 1990s to the present, as well as an interview between Yuskavage and fellow artist Mary Weatherford.Based in New York City, American artist Lisa Yuskavage (born 1962) received her MFA from the Yale School of Art in 1986. In the years since, her signature style of figure painting has developed something of a cult following for its attention to art historical tradition and a decidedly contemporary, pop culture-based approach to the representation of the female form. Her work has been in solo exhibitions around the world. Yuskavage is represented by David Zwirner.

"Curators: Richard Klein and Amy Smith-Stewart, The Aldrich Contemporary Art Museum; David Adamo; Elizabeth Essner; Dakin Hart, The Noguchi Museum."

New York-based artist Brannon has spent the past five years exhaustively researching the Vietnam/American War, seeking his own understanding of one of the most pivotal confrontations of the 20th century and translating that research into intricate silkscreen works that collage military documents, maps, logos, memoranda, and contemporaneous ephemera.

The FLAG Art Foundation, founded in 2008 by financier, philanthropist and collector Glenn Fuhrman, began with the mission of promoting the appreciation of contemporary art among a diverse audience. Since then, FLAG has presented 50 exhibitions featuring more than 500 artists. Guest curators have ranged from artists to athletes, from writers to historians, and from fashion designers to museum directors. Ambitious and entertaining solo and group exhibitions have included established figures such as Louise Bourgeois, Mark Bradford, Maurizio Cattelan, Robert Gober, Félix González-Torres, Jim Hodges, Ellsworth Kelly, Charles Ray, Gerhard Richter and Cindy Sherman, as well as the work of a large number of emerging artists. The FLAG Art Foundation: 2008-2018 documents the first decade of programming at this innovative and important nonprofit organization. FLAG has rapidly made a major contribution to contemporary art and to the careers of many artists. Fully illustrated with installation views of each exhibition, along with a diverse range of texts from people who have played key roles in FLAG's history (including Jim Hodges, Chuck Close, James Frey, Shaquille O'Neal and Fuhrman himself), The FLAG Art Foundation: 2008-2018 is a beautifully designed tenth-anniversary testament to a singular institution.

The artistic career of Christopher Knowles (born 1959) began at the age of 13, when his writings and recordings came to the notice of avant-garde theater director Robert Wilson. Still a teenager, Knowles went on to write the libretto for Wilson and Philip Glass' opera Einstein on the Beach, and his collaborations with Wilson would continue for decades. His practice spans many mediums--text, sound, painting, sculpture and performance--and exhibits a fascination with the materiality of language. In a Word is the most comprehensive look at Knowles' work to date, published for his exhibition of the same name, organized by Anthony Elms and Hilton Als. Containing an autobiographical text by the artist himself, new texts by Elms and curator Lauren Digiulio and a personal reflection by Als, this is an essential resource on an under-recognized artist.

From her earliest experiments with painting old-master landscapes as graffiti on the streets of New York, to her recent project The Alien's Guide to the Ruins of Washington, DC (2013) at the Corcoran in Washington, DC, Ellen Harvey (born 1967) has applied her unique and humorous perspective to unpacking the history of art and aesthetics. Taking its title from the ongoing project featured in the 2008 Whitney Biennial, a rear-illuminated wall of plexiglass mirrors in ornate frames, The Museum of Failure is the first major retrospective publication on the artist's work, looking at each of her major projects and bodies of work of the past 20 years. Harvey's practice incorporates painting, photography, video, installation and public participation to examine our expectations about art and cultural production, their proper contexts and what constitutes appropriate engagement, all with a disarming charm. The book includes a new text on the artist by curator Henriette Huldisch and an in-depth interview with the artist by curator Adam Budak.

"Edited by Dietmar Elger, translations by Fiona Elliott."

"Published in 2014 by Gregory R. Miller & Co. in association with the Rose Art Museum on the occasion of the exhibition Mika Rottenberg: Bowls Balls Souls Holes (February 14-June 8, 2014)."

Published on the occasion of an exhibition held at Blaffer Art Museum at the University of Houston, Texas between October 13, 2012 and March 30, 2013.

In the tradition of Robert Frank's photographs of the 1956 Democratic National Convention in Chicago and William Eggleston's 1976 "Election Eve" series, 100 photographs offer an intimate political and personal view of one of the most public days of a nation: the inauguration of Barack Obama as the country's first black president on January 20, 2009.

Curator and historian, gallerist and writer: Klaus Kertess has long been a decisive and forward-thinking presence in the art world. He founded the Bykert Gallery in 1966, where he represented artists including Chuck Close, Ralph Humphrey, Brice Marden and Dorothea Rockburne; three decades later, he curated the 1995 Whitney Biennial, the follow-up to the famously political 1993 iteration. "What is being proposed here," he wrote in a catalogue essay for the 1995 exhibition, "is not a return to formalism but an art in which meaning is embedded in formal value. An acknowledgment of sensuousness is indispensable--whether as play or sheer joy or the kind of subversity that has us reaching for a rose and grabbing a thorn." The art world has changed considerably from the relatively convivial world of the 60s to today's globalized milieu, but Kertess has been a constant throughout the years, curating shows of provocative new work and writing critical essays on artists whose work challenges and engages him, while also maintaining a vital literary sideline (his short stories are collected in 2000's South Brooklyn Casket Company). This volume collects Kertess' critical works from the past 30 years, including meditations on Agnes Martin, Joan Mitchell, John Chamberlain, Vija Celmins, Chris Ofili and Matthew Richie. With each essay accompanied by full-color reproductions of works discussed, Seen, Written provides a priceless opportunity to see art through the eyes of a lifelong viewer.

Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.

An activist and a curator as well as a trailblazing artist, feminist, and lesbian scholar, New Mexico-based Hammond has enjoyed a career spanning nearly 50 years and many mediums, all of which are brought together for the first time in this work which accompanies the artist's museum survey of the same name at the Aldrich Contemporary Art Museum.

Painter, novelist and wrestler, Drexler is the great polymath of PopRosalyn Drexler has always moved between worlds. In the late 1950s and early '60s, she showed sculpture at New York's Reuben Gallery, a gathering place for artists like Allan Kaprow and Claes Oldenburg who combined installation and performance with traditional media. Drexler took part in Happenings at Reuben Gallery and at Judson Church (years after her own quasi-performance as a female wrestler, memorialized by Andy Warhol in the 1962 series Album of a Mat Queen). Drexler's collages and large-format paintings of the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media.Her writing also crosses high and low genres, comprising novels both experimental and popular, avant-garde theater and writing for television (including an Emmy-winning Lily Tomlin special). In addition to a comprehensive selection of Drexler's major paintings, Who Does She Think She Is? also recovers the artist's early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler's performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler's varied career.Rosalyn Drexler was born in 1926 in the Bronx, New York. In 1951 Drexler pursued a brief career as a professional wrestler under the name "Rosa Carlo, the Mexican Spitfire." In January 1964 her work was included in the First International Girlie Exhibit at Pace Gallery, New York. In 1968, Drexler signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.