This
Is Where It’s Fuckin At

Find out more about Harland Miller’s This Is Where It’s Fuckin At, browse prints & editions for sale & view the works wanted by active buyers right now.

This Is Where It’s Fuckin At

Harland Miller

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Critical Review

Part of his renowned Penguin series, This is where its Fuckin At (2012) captures Miller’s unique ability to combine ambiguity and sharp wit.

The work depicts, in keeping with the collection, a Penguin classic dust jacket, with a monochrome background of pale blue with hints of grey. This particular Miller print has an old feel to it, created through intentional smudges over the white band that runs across the print, on which the book’s title is printed. The tattered edges give the impression the book is from a second-hand shop, like those that Miller frequented on his travels around Europe and that originally inspired these works.

When Miller was living in Paris in 1992, he stumbled across a box of abandoned Penguin books and was instantly drawn to them, deciding to incorporate their visuals into his artistic practice. Miller started producing the Penguin series in 2001 and has continued creating these prints which have since defined his career and contributed significantly to his rise to fame.

Why is the This Is Where It's Fuckin' At collection important?

Miller’s combination of text and image is inspired by the American pop artist, Ed Ruscha, who Miller encountered whilst working in New York and New Orleans during the 1980s and ’90s. After graduating from the Chelsea School of Art in 1988, Miller travelled throughout Europe and the United States, experiences which were fundamental in the development of his artistic career.

In fact, it was during his travels in Europe that Miller started creating his own book titles. Miller adopted this technique when he was in Paris because he struggled to understand the French novel titles he encountered. This was an accidentally pivotal moment in his artistic career that strongly influenced his creative practice. He explains: “I invented a text that suggested a story – a whole narrative – which suggested the way in which I should paint the painting. I found that it seemed to be more interesting than what I’d been doing before.”

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