March 19 – April 24, 2014

Alli Miller + Trey Burns have an ongoing collaborative practice through which they explore liminal, hyperbolic, and humorous visions of the American commercial landscape. This latest effort features work stemming from a character they’ve designed named “Henry Wesselwoman,” a direct revisionist reference to the New Topographics generation of landscape photography. They will employ photography and installation to engage with and reconsider this history.

Miller + Burns’ past exhibitions featured a collaborative archive entitled “Wessel Castle,” derived from their travels through the American landscape. Miller is an artist and designer working in Los Angeles, whose work is premised on the investigation of liminal moments to underscore the psychosexual, relational, and linguistic trends of display and consumerism. She received a BFA from Cooper Union and is currently an MFA candidate at the University of Southern California. Burns holds an MFA in Painting & New Media from the Savannah College of Art & Design. His practice examines the humors and banalities of monoculture, documenting the peripheries of the post-industrial United States.

Miller + Burns’ collaborative work has been featured in recent exhibitions including at et al Projects, Brooklyn (2013); Fountain Art Fair, New York (2013); May Gallery, New Orleans (2013); and BRUCENNIAL, New York (2012). Together they have produced two artists’ books: Wessel Castle (2013) and Shore Signs (2012).

Image: Alli Miller + Trey Burns, “The New Topographics (Los Angeles, 2014 / Every Woman’s a DJ)”