ANTHONY MILER

Openings Tonight at SHRINE! ⁠ Anthony Miler⁠ Numerous Concerns⁠ May 15 - June 27, 2026 ⁠ Opening Reception: Friday, May 15, 6 - 8 pm⁠ ⁠⁠ Anthony Miler, Drawings, 2008-2026, mixed media on paper, 8.5 x 11 in.⁠ ⁠ Shop these and 1,000+ other drawings by Anthony Miler at the , link in our bio. ⁠ @anthonymiler ⁠ ⁠ #anthonymiler #1,000drawings #shrinegallery #tribecaart #shrine⁠

Numerous Concerns, an archive of a private practice will open at SHRINE May 15, 2026 @relim_ynohtna_drawings . . . #numerousconcerns #archive #shrinenyc #anthonymiler

It is. What is. It is not science. Every guess is met with silence or negation. graphite on lenox cotton paper, 38x50 inches

New Acquisition! Soft gradients of color and rhythmic blue contours define "Land is Witness", a painting by Anthony Miler (@anthonymiler ) that merges clarity of form with quiet emotion. Through its flowing lines and luminous palette, the work suggests a landscape distilled to essence, at once serene and vibrant. Exemplifying Miler’s continued engagement with abstraction and observation, "Land is Witness" invites reflection on the relationship between line, light, and land. Anthony Miler, "Land is Witness", 2023, Acrylic on canvas, 18 × 24 in. Photography by Ed Mumford. Courtesy of the Artist and The Pit. © Anthony Miler.

pencil on paper, marking… time? searching through something that does not appear to give, does not appear to reveal, its action is its action

aluminum with black flocking 2025 “Tomorrow’s Not What It Used To Be” is open through August 9th @thepitla

“Tomorrow’s Not What It Used To Be” @thepitla through August 8 #anthonymiler

I’d been kicking these pieces of aluminum around the studio, literally, since 2017. Similar to having fully formed ideas of the tally paintings a decade before making any. Somehow this makes it harder to place them in time, which I enjoy as a relaxed poetic inquiry, un-rushed by any demand for acceleration and resolution, instead an example of inquiry suspended in time, as they oscillate with an indeterminate function. Their artifactual language suggesting a time-past, I wonder more often if they are a softly spoken predictor of a terrifying future. One where they bear the language of their own disuse, and so come more fully into their artifact nature. As we accept our methods of inquiry are broken, having forgotten how to learn, as we suckle on the reliable cancerous drip of so called entertainment, which continues ever to stir the pot of resentment. However, it’s not what I think about every day, nor what drives their creation, though if I willingly look through the lenses being rushed to my eyes, one does wonder … Not Titled aluminum, found concrete, found wood 2025 #anthonymiler

Tomorrow’s Not What It Used To Be Opens today at The Pit, Los Angeles, Dolores Street alongside concurrent solo exhibitions by Llyn Foulkes and Pepe Mar #llynfoulkes #pepemar #anthonymiler #thepit

Part of “Tomorrow’s Not What It Used To Be” opening this Saturday, June 28, at The Pit, Dolores Street, Los Angeles. While traditionally discreet object-based sculptural processes often fall within a binary of additive or subtractive, this is made via compression. Thinking alongside geological processes, and our basic drive towards extraction. In person, from a distance and at specific angles one can make out the vestige of a head lying on its side, which upon approach disappears to be a less revealing, less penetrative geological substance of unknown origin akin to a moon rock. Time slows, acceleration is suspended momentarily. This object may in part be considered a manufactured artifact, built to speak, perhaps in reverse. Not Titled Aluminum 24x36x32 inches 2025 #anthonymiler

My show “Tomorrow’s Not What It Used To Be” opens in Los Angeles at The Pit, June 28th, 2025 Thank you to the whole team at the gallery Not Titled Oil and Acrylic on Canvas 2025 #anthonymiler

Fog in Fiji, Optic Marine in port #fiji #suva #opticmarine