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Overview

Harland Miller combines a painterly aesthetic with a literary mind and a uniquely gritty, north-of-England sense of humor. His bold, colorful, and tactile paintings reflect an original perspective on a rich heritage of pop art and literature: there is D. H. Lawrence's Dirty Northern Bastard; Ernest Hemingway's 12 Rounds With God; and Miller's own guide to the glorious English coast, Bridlington: Ninety-Three Million Miles From the Sun. His paintings are at once impressive, funny, and touching, conveying a ...
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New York 2007 Hardcovers New in New jacket Qto 144 pages, colour illustrated. A New copy in dustjacket. *****PLEASE NOTE: This item is shipping from an authorized seller in ... Europe. In the event that a return is necessary, you will be able to return your item within the US. To learn more about our European sellers and policies see the BookQuest FAQ section***** Read more Show Less

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Overview

Harland Miller combines a painterly aesthetic with a literary mind and a uniquely gritty, north-of-England sense of humor. His bold, colorful, and tactile paintings reflect an original perspective on a rich heritage of pop art and literature: there is D. H. Lawrence's Dirty Northern Bastard; Ernest Hemingway's 12 Rounds With God; and Miller's own guide to the glorious English coast, Bridlington: Ninety-Three Million Miles From the Sun. His paintings are at once impressive, funny, and touching, conveying a pervasive sense of nostalgia while playing with the ironies of rhetoric and reputation. Miller has been a celebrated part of the London art scene since the 1990s, alongside such artists as Damien Hirst, Tracey Emin, Sarah Morris, and others. In essays and interviews with Jarvis Cocker and Gordon Burn, Miller identifies the influences of such figures as Ed Ruscha, Mark Rothko, Anselm Kiefer, and Robert Rauschenberg, all of whose work can be seen to have left a mark on Miller's textured and iconoclastic style.
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Editorial Reviews

Publishers Weekly

This lavishly illustrated but unsatisfying volume features a series of paintings in which writer and artist Miller uses the cover design of the old Penguin Classics as impetus for word play with book titles. In each work the artist begins with the familiar Penguin cover, then paints in invented titles as well as coffee stains, tattered edges and other signs of use. Some of his titles refer to the works of famous authors, such as Ernest Hemingway, who is represented by such titles as 61 with a Bullet.In the "bad weather pictures," Miller plays on cities in northern England, where he grew up. One book, Plan B,was inspired by a friend's suicide. Sometimes he reproduces inscriptions found in used books, and he also depicts a few back-cover mug shots that simulate author photos. The text, which includes a discursive essay by the artist and rambling interviews with Ed Ruscha et al., sheds some light on the genesis of these paintings, but for the most part the text is too irrelevant and the self-referential titles are not clever enough to relieve the monotony of a large number of paintings all based on the same design. (May)

Copyright 2007 Reed Business Information
Library Journal

Yorkshire novelist and artist Miller (Slow Down, Arthur, Stick to Thirty) presents samples of his iconoclastic and often scurrilous wordplay art based on the reworked covers of 1950s and 1960s Penguin Classics paperbacks. Cataloging the contents of a 2001 exhibition at the White Cube Gallery, London, the book also features transcripts of unedited conversations with such luminaries as filmmaker Sophie Fiennes, novelist Gordon Burn, and musician Jarvis Cocker. The tone is irreverent, informal, and at times tediously self-aggrandizing. Striking full-page and double-spread reproductions of the paintings and illustrations are grouped into enigmatic sections (e.g., "The Bad Weather Pictures") identified only at the back of the book. The interviews delve into the creative process; motivations and influences (Miller acknowledges pop art, Mark Rothko, Robert Rauschenberg, Ronald Dahl, and most notably Ed Ruscha, who provides the best interview); and the contemporary art, film, and music scenes. While the exchanges and anecdotes are of passing interest, excessive posturing subtracts from their profundity. The entire enterprise, which includes a brief chronology and an exhibitions list, would have been better served by third-party curators and critics as well as by the attention of a sagacious editor. Optional.
—Russell T. Clement

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Product Details

  • ISBN-13: 9780847829286
  • Publisher: Rizzoli
  • Publication date: 6/5/2007
  • Pages: 144
  • Product dimensions: 9.45 (w) x 12.37 (h) x 0.80 (d)

Meet the Author

Harland Miller is represented by the White Cube in London and at the Marianne Boesky Gallery in New York, and his books First I Was Afraid, I Was Petrified and Slow Down Arthur, Stick to Thirty have earned widespread critical acclaim. He lives and works in London. Jarvis Cocker, formerly lead singer-songwriter of the influential band Pulp, is a musician and writer from Sheffield, England. Gordon Burn is the award-winning author of several novels and nonfiction including On the Way to Work: Damien Hirst, and contributes regularly to The Guardian.
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