JD Miller, Luminous Levitation, 2014, acrylic plexiglas sculpture, 76 x
36 x 14 in.
JD Miller, Dawn of the Phoenix, 2014, 3-D oil on canvas, 60 x 48 in.
opened a curatorial consultancy in San Francisco in 1990. Ultimately,
they moved to Beverly Hills where they assembled collections and,
as Michael says, “bought and sold everything from 15th century art to
Warhols and everything in between.” From there, they moved their
business to Madrid, where they could work with major galleries and
participate on the European art circuit. Finally, aging parents brought
them back to Dallas, Karen’s hometown.
When they returned, they contacted everyone they knew in the
local art world, including Romano, with whom they had been in touch
several years earlier. They became partners in the gallery and took
over operations and curatorial decisions. Miller says they also brought
a roster of blue chip artists with them, including sculptors John
Henry, Hans van de Bovenkamp, Fletcher Benton, Stephen Knapp,
and Tom Holland. Their goal is to make the gallery a destination
for sculpture. They are also creating an artist-in-residence program
that will allow sculptors, working in another building in the Design
District, to work on a massive scale. They plan to host their first
resident artist next spring.
They have also been active in the US art fair scene. This past year
they participated in Miami’s Concept Art Fair and Miami International
Art Fair. Over the summer, they were included in Art Southampton
and ArtAspen. In the winter, they will have booths at Art Palm Beach
and the Palm Springs Fine Art Fair. And at every fair, one artist seems
to stand out: JD Miller. At Art Southampton the press interviewed
only three of the 300 artists and he was one of them.
Miller’s collectors are equally enthusiastic. One of the gallery’s
clients, Lisa Benson, first saw Miller’s work in 2007 at the DIFFA
fundraiser. She sums up Miller’s success as follows, “His personal
dedication, his inherent talent and fluidity of the medium are
incredible.” Her collection includes several of Miller’s pieces along
with works by Georges Braque, Diego Rivera, Robert Rauschenberg,
Andy Warhol and Dale Chihuly. She is equally excited about the
direction in which the Bivinses are taking the gallery, saying, “Art
Basel! Really! That’s what is going to put him (Miller) on the map.”
On November 22, Samuel Lynne Galleries will mount a solo show
for Miller titled Luminous Levitation. “The show embodies inspiration
from my recent travels to both of the American coasts this past
year. Luminous Levitation will debut my newest multimedia sculptures,
which are my first fully holographic creations,” says the artist.
Ever the experimenter Miller describes: “I am combining totally
new elements in my work by infusing light, color, wood, and 3-D
acrylic in a way that is multidimensional and kinetic. In these new
sculptures, I have manipulated acrylic paint to make it appear to float
in three-dimensional space, while light continually scrolls through the
entire color spectrum.”
Entering more museum collections is a primary goal for Miller.
He currently has work at the Meadows Museum and Jesuit Museum.
Using the Reflectionist theory, the optimism in his work will surely
make this aspiration a reality. To that end, there is no negativity in
Reflectionist art. Miller sums it up best, saying, “My heart and soul
go back to Impressionism. I want things that are beautiful and make
your heart sing.” P