Document 2837887

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
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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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