Olaf Breuning, Tony Matelli, John Miller: Group Exhibition
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Exhibited works | Olaf Breuning
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Tony Matelli
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John Miller
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John MillerA Bridge Of Tradition, Group 1, 2009Imitation gold leaf, assorted objects, fiberglassDimensions Variable
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John MillerBig Love, 2009Assorted objects, plaster, paper mache
and imitation gold leaf on panel182.9 × 127 × 48.3 cm -
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John MillerSeventh Heaven, 2008Composite metallic leaf over assorted objects, papier mache, plaster and styrofoam on wood panel170 x 134 x 66 cm
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John MillerThe Succession of Planes Gives No Impression of Depth, 2009Imitation gold leaf, assorted objects, fiberglass
216 × 40 × 162 cm -
John MillerThe Temple, 2006MDF, styrofoam, plaster, papier mache, plastic fruit, plastic and metal kitchen utensils, construction adhesive, composite (metal alloy) gold leaf, and mirrors4 sections, each part – 144,8 × 86,4 × 152,4 cm
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John MillerCyclists, 2013Acrylic on styrofoam and wood panels2 parts:
101,6 × 96,5 × 3,8 cm
114,3 × 55,8 × 3,8 cm -
John MillerLunch Bags, 2013Acrylic on styrofoam and wood panels3 parts:
119,3 × 119,3 × 3,8 cm,
54,61 × 50,8 × 3,8 cm,
57,15 × 53,3 × 3,8 cm
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Influenced by a number of diverse and eclectic sources, Breuning’s work humorously reflects his observation of human behavior and concerns:
“Well, I would like to be perfect, but I think art shows me that whatever technology I use, my personality pushes through and there we are… something is not perfect. I like that. We are finally human.”
Besides the numerous exhibitions around the world, artist has participated in various prestigious public projects, including City Hall Park exhibition “Lightness of Being” (2013) and “Happening of Station to Station” at Miami Art Basel (2013). His “Clouds” (2014) installation in Central Park in New York embellished the landscape of the park with 35-feet blue aluminum clouds.
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What are the limits between realism in art and photorealistic techniques achieved with modern technology? What approaches are welcome in painting, yet are scaring and repulsive in sculpture? Does hyper-realistic art require artistic embellishment? On the very border between absurdity and humor, Matelli’s sculptures raise this variety of existential questions.
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In 2008, he began gilding junk using imitation gold leaf in his wall reliefs and sculptures. The metallic shimmer of gold-plated objects evokes an unconscious attraction, drawing viewer’s eyes to the shiny surfaces. Only on a closer look, these gold-painted details turn out to be the low-cost household items. Taken together, these objects are devoid of practical application and portray a mock reflection of average life. ‘All that glitters is not gold’ – the contrast between the illusion of luxury and the disappointment of the sudden loss of value of the object reflects Miller’s position on the validity of art in consumer culture.
In 2011, Miller received the Wolfgang Hahn Prize from the Society for Contemporary Art at the Museum Ludwig in Cologne. In 1991, he received a Fellowship from the Berliner Kunstlerprogramm, German Academic Exchange Service (DAAD).
His work was included in the Gwangju Biennale (2010), Biennale d’Art Contemporain de Lyon (2005) and the Whitney Biennial (1985, 1991).
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Artist
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