Jeremy Millar (b.1970) is an artist living in Whitstable, and tutor in art criticism at the Royal College of Art, London. His recent solo exhibitions include M/W, Muzeum Stzuki, Lodz; XDO XOL, Whitstable Biennale; Chandelier, London; The Oblate, Southampton City Art Gallery (2013); Resemblances, Sympathies, and Other Acts, CCA, Glasgow; and Mondegreen (with Geoffrey Farmer), Project Arts Centre, Dublin (both 2011); As Witkiewicz, Ethnographic Museum, Krakow (2010); Given, National Maritime Museum, London; and Projector, Ikon, Birmingham (both 2009–10); Plum Tree Blossom, Inverleith House, Edinburgh (2007).
group exhibitions include Curiosity: Art and the Pleasure of Knowing
(curated by Brian Dillon), Turner Contemporary, Margate, then touring to
Norwich and Amsterdam; The World is Almost Six Thousand Years Old
(curated by Tom Morton), The Collection, Lincoln; and Mythographies
(curated by Roy Brand), Yaffo23, Jerusalem (all 2013); The Future’s Not
What It Used To Be, Chapter, Cardiff; The Associates, Kettle’s Yard,
Cambridge; Membra Disjecta for John Cage, MQ, Vienna, then touring to
DOX, Prague, and GVUO, Ostrava (all 2012); Never the Same River
(Possible Futures, Probable Pasts) (curated by Simon Starling), Camden
Arts Centre, London (2010–11); Sculpture of Space Age (curated by
Raimundas Malasauskas), David Roberts Art Foundation, London; The Dark
Monarch — Magic and Modernity in British Art (curated by Michael
Bracewell, Martin Clark, and Alun Rowlands), Tate St Ives (both 2009).
conceived Every Day is a Good Day for Hayward Touring, the largest
exhibition to date of the visual art of John Cage, which opened at
Baltic in June 2010, and has curated many exhibitions nationally and
internationally, including The Institute of Cultural Anxiety — Works
from the Collection, ICA, London, (1994); Speed, Whitechapel Art
Gallery, and The Photographers’ Gallery, London, (1998); and was
co-curator, with Barbara London, of escape, Media_City Seoul (2000).
has also written numerous catalogue essays and published in magazines
and newspapers such as Frieze, Art Monthly, and The Guardian; his most
recent book is The Way Things Go (Afterall Books, 2007) on the film by
Fischli and Weiss.