ARCHIVE YALE SUBMISSION
Beauty and the Bird
All images in these files are from my book “Here Comes
the Bride and Other Nightmares"
Comes the Bride and Other Nightmares," is a collection of provocative,
emotional and dream-like photographic images compiled from the works of
artist Freyda Miller. By juxtaposing her photography with quotes from
historical and literary figures she examines the personal, social, political,
spiritual and materialistic aspects of marriage. Miller’s work reflects
the roles women play in society, highlighting unreal expectations, misconceptions,
fairytale beliefs and surrounding myths.
“Here Comes the Bride and Other Nightmares”
A fine art photography book
By Freyda Miller
Release date: September 1, 2014
Published by Warner House Editions
127 pages – 58 images
Foreward by Shana Nys Dambrot
Huffington Post article in Arts & Culture section– August 22,
Here Comes the Bride and Other Nightmares brings together
over 35 years of my visual art and photography. The elements within the
images are assembled to form a metaphorical language that draws on the
mysterious, dream imagery, distant memories, gut reactions, unspoken fears,
amorphous hopes, and unabashed creative license.
The following statement comes in retrospect and is not part of an agenda,
social or otherwise. This work emerges intuitively and continues to be
an intrinsic part of my art.
The subject of marriage embraces the personal, social, political, spiritual
and materialistic. Integrated amongst the images are quotes that resonate
deeply for me, ultimately becoming an essential part of the dialogue and
This body of work reflects the roles women play in society, highlighting
unreal expectations, misconceptions, fairytale beliefs and surrounding
myths. By creating dualities in which beauty is offset by an element of
fear or discomfort, I am exploring an inner turmoil that is often filled
with guilt, a sense of loss, introspection and the struggle for growth.
Portraying the feminine as both provocative and vulnerable evoke issues
of self-esteem, autonomy and equality. The gestures of these women are
slight and subtly hinted at, revealing the secrecy and pretense women
often subject themselves to in order to be accepted by a society they
view as critical. In addition, the hidden faces of the women not only
universalizes and secures these models’ identity, but also demonstrates
my own need to protect their modesty and decorum.
Vintage treasures and personal mementos hint at double meanings, creating
hidden and whispered dialogue. Traditional objects, which often connote
purity, such as veils and bouquets, are slightly altered in order to allude
to a greater truth that might be lurking behind assumed customs. The wardrobe
and accessories are used to create visual layers, which demonstrates a
pretense to conceal but ultimately is the force that reveals and punctuates
the naked form.
Soft lighting and minimal compositions further exemplifies social pressures
and womanly composure and explores the impact that social standards continue
to have on women.
The brides appear passive and inoffensive but are only facades for what
simmers below the surface.
Miller resides in Los Angeles where she has worked as
a visual artist since 1978. She is a graduate of the UCLA Fine Art
Department, where she graduated cum laude with a major in Painting,
Sculpture, Graphic Arts and an emphasis in fine art photography.
In 1978 Miller began exhibiting and working at Soho/Cameraworks,
a photography gallery in West Hollywood. After leaving the gallery,
she became a stylist/production coordinator assisting a prominent
commercial photographer with casting, wardrobe, set decorating,
location scouting, and props. In the mid 1980s she continued her
styling and production coordinating services by developing her own
business, Prop Connection West, which targeted photographers and
commercial production companies on the East coast and in the Midwest.
During this time period she continued creating and exhibiting her
own fine art photography and incorporating her intuitive skills
of collecting and assembling elements to create her personal work.
Freyda’s consistent focus on the feminine is translated through
various mediums of her art, which includes photography, assemblage,
painting and books.
By the late 1990s, Miller had established a studio and was working
exclusively on her own art. At this time she began compiling Here
Comes the Bride and Other Nightmares and The Naked Tree, the two
handmade books that are included in the UCLA collection.
In the early 2000’s, she began working on an assemblage series,
which was a natural outgrowth of her photography and film work.
This led to her Fertile Dreams series that has been exhibited to
Freyda is a member of Women in Photography International, Woman
Made Gallery, Chicago, Los Angeles Assemblage Group, Southern California
Women’s Caucus for the Arts and the National Women’s
Caucus for the Arts. Her work has been collected by The St. Louis
Museum of Art, The New Orleans Museum of Art, The Rijksmuseum: Amsterdam,
Tokyo and Fuji Art Museum: Tokyo, Peter Palmquist Archives at Yale
University: Women In Photography International Archives and UCLA
Library, Department of Special Collections.
In the selected collections of:
The New Orleans Museum of Art
Tokyo and Fuji Art Museum, Tokyo
Peter Palmquist Archives at Yale University
Women in Photography International
The St. Louis Museum of Art
UCLA Library, Department of Special Collections
• From Her: an Exhibition by Women about Women : March 2014
– El Pueblo Historical Monument, Los Angeles, CA.
• Southern California Women’s Caucus for Art - 10”
x 10” Exhibit – March 2014 - Los Angeles, CA.
• Los Angeles Assemblage Group LAAG – Surrealism Meets
Assemblage - February to March, 2014 – The Loft, San Pedro,
• A Window Between Worlds -– Exhibited and donated work
to “I Can We Can” End Domestic Violence, a curated exhibit
– Beverly Hills, CA – October 2013
• Los Angeles Assemblage Group LAAG – Portrait Exhibit
– The Loft, San Pedro,
Sept. – Oct. 2012
• Photo LA 2012. Co-curated and exhibited in historical installation
for Soho/Cameraworks Gallery
• American Jewish University – Platt Gallery –
“Getting it Together” – 3 person exhibit –
May through August 2011.
• St Louis Community Center College in Missouri
• Women’s Studies Reseach Center of University of Wisconsin-Madison
• LA Municipal Art Gallery – Ontario Airport –
Dec. 2010 – Feb. 2011
• The Loft Studios and Gallery – “Musical Chairs”
– LAAG – San Pedro – Dec. 2010
• Woman Made Gallery – “Mothers’”
– Chicago, Illinois – Nov. – Dec. 2010
• National Women’s Caucus for Arts – Featured
Artist of the Month – Nov. 2010
• Summer Studios – “ Transformers “–
Los Angeles Assemblage Group Show – August 2010
• California State University Channel Islands –“
Memory’s Touch” – June 2010
• Women in Photography International – Jurors Choice
Honorable Mention – “A Decade of Images” –
• Finlandia University Reflection Gallery – “The
Apron Show” Hancock Michigan
• From the Center” – National Women’s Caucus
for Art – Chicago, Illinois – Curated by Lucy Lippard
– February 2010
• Solo Exhibit – “Fertile Dreams” –
Art Dimensions – Los Angeles, CA – February 7
– March 21, 2009
• The Finegood Art Gallery – West Hills, CA –
• National Conference of Women’s Caucus for Art 2009
– “ Like Water on Rock” – Los Angeles, CA
• The Women’s Museum, Dallas, Texas, “In the Beginning”
– National Conference of
Women’s Caucus for Art 2008
• Noho Gallery – “The Feminine Mystique”
– North Hollywood, CA 2007
• The Center For Fine Art Photography “The Naked Truth”-
Fort Collins, CO.
• El Camino College “The Tree of Life” –
• Gallery 825, 2005 “The F Stops Here” –
Curated by Tim Wride – Los Angeles, CA
• LA Artcore Brewery Annex – Wallworks 2005 –
Group show – Los Angeles, CA
• Here Comes the Bride and other Nightmares – Photography
book paired with classical literature
– In the collection of UCLA Department of Special Collections.
• The Naked Tree – Photography book paired with classical
literature – collection of UCLA Deparment of Special Collections.
• Modern Art Downtown MAD – “Table of Contents”
2005 Los Angeles, CA
• The Canvas Gallery – “Incredible Eyes”
Group Exhibition – San Francisco, CA
• The Center for Fine Art Photography – “Intimate
Flora”- Fort Collins, CO
• A.I.R Gallery 6th Biennial – March 2005 – New
York, N.Y. curated by Elizabeth A. Sackler, Center for Feminist
Art, Brooklyn Museum of Art
• 2nd City Council 2004 – “Honoring the Found”
-Long Beach, CA
• Gallery 825, 2004 – “The F-Stops Here,”
juried by Tim Wride–La Cienega, CA
• Gallery 825, 2004 – “Visual Vernacular”
–La Cienega CA
• TCB Publishing – 2004“Incredible Eyes”
–San Francisco, CA Image published
• Woman Made Gallery – 2004 “Annual Members’
Show” – Chicago, Ill
• Photo LA, 2004 Women In Photography International –
5 Person Exhibition
• Topanga Canyon Gallery, Topanga, CA Group Exhibition
• Lankershim Gallery, NOHO, Group Exhibition North Hollywood,
• Photographic Process V – Period Gallery, Omaha, NE.
• 31st Annual Photo Exhibition – Yakima, WA. Group Exhibition,
Award for Excellence
• Photo LA 2003 – Santa Monica, CA., Women In Photography
• Art –Pic Gallery – Painting/Photography- North
Hollywood CA. Solo Exhibit.
• Cultural Arts Council of Sonoma County-“Here Come
the Brides” – Group Exhibit.
• South Shore Art Center – “Re-figured”
– Cohasset, MA. Group Exhibit, work reviewed in Art New England
• “Photo L.A.” – Women in Photography International
– Santa Monica, CA. 2002
• “Photo Impact” – Women in Photography
International – Santa Monica, CA.
• McLean Gallery – Painting/Photography- Malibu, CA.
• APA L.A. – Exhibit and Auction – Hollywood,
• Neiter Fine Arts – Malibu, CA. Group Exhibit.
• Laguna Art Museum – Sales and Rental, Laguna Beach,
CA. Four Person Exhibition
• LACMA – Rental and Sales Gallery – Los Angeles,
CA. Group Exhibit. Represented for many years.
• San Diego Museum of Art – Artists Guild California
Juried Exhibit. *Received Distinctive Merit Award
• Stephen White Gallery of Photography – “California
Contemporaries” – Los Angeles, CA. Group Exhibit.
• Morgan Wixson – Photography – Santa Monica,
CA. Solo Exhibit.
• Los Angeles Art Association Galleries – Panel member
• Coos Art Museum – “5th Annual Juried Exhibition”
– Coos Bay, OR. Group Exhibit.
• Soho/Cameraworks Photo Gallery – Color Photography
– Los Angeles, CA. Solo Exhibition
• Soho/Cameraworks Photo Gallery – “Erotica”
– Los Angeles, CA. Print Published - reviewed in Artweek.
• Soho/Cameraworks Photo Gallery – “Private Editions”
Group Exhibit – Los Angeles, CA. Print published -reviewed
Photography/Paintings have been seen on various TV shows: Will &
Grace, ER, Miss/Match, Becker, Nip Tuck, Hidden Hills, CSI, Three
Sisters, Gilmore Girls, etc.
Los Angeles Assemblage Group
Women in Photography International
Womanmade Gallery, Illinois
National Women’s Caucus for the Arts
Southern California Women’s Caucus for the Arts
20 Years - photo stylist/production coordinator for national print
ads and commercials. Wardrobe, set decorating, propping, casting,
location scouting, and complete production.
Clients: Altoids, Kodak, Mattel, ABC TV, Sheraton Hotels, United
Airlines, Sprint, Polaroid, etc.
Bachelor of Arts Degree, UCLA. Graduated Cum Laude. Specialization:
Painting, Sculpture, and Graphic Arts with an emphasis in Fine Art
UPDATE - JULY 2015
- MARCH 2016
Woman’s Museum of California - Solo Exhibition - “Here
Comes the Bride and Other Nightmares” - A collection
of over 60 photographs and assemblages of Freyda Millers’
work dating from the late 1970’s through the present. Included
is her book of the same title. San Diego, California
- June 4th through July 15th, 2015.
“Millers oeuvre has a significant place in the trajectory
of art history. She recalls the historical and brings forward
a unique personal body of work. As a Postmodernist, she invents
her subjects, fabricates them, arranges, changes and stages. She
is an artist who is well aware of history and acknowledged that
in “Here Comes the Bride and Other Nightmares.”
Art Historian 2014
“Miller is drawn to objects possessing a quality of evocative
and poetic significance so that the personal and the universal
mingle as she refines her visual language. While the images
are often quite beautiful they are also frequently dark, mysterious
and iconoclastic. This reflects Miller’s perennial impulse
to render an element of the amiss, to assert that things are not
always as they seem…although the nuptial ceremonial and ritual
iconography is overt and recognizable, the Bride as she appears
here is a symbol for a fuller range of female consciousness. The
true strength of this book is reflective of how far women have
come, yet profoundly expressive of women’s veiled turmoil,
conflict and continued struggle for equality.”
Shana Nys Dambrot
Art Critique and Curator
Huffington Post, Arts & Culture 2014
“Freyda Miller’s journey in art reflects a personal
narrative that also captures the layers and conflicting dualities
of women’s realities as they attempt to satisfy the stereotypes
and myths of marriage and motherhood. The women seem staged,
are faceless, perhaps voiceless, static and objectified like props
placed in scenarios that serve to bolster the image of marriage.
The painterly quality of her photography derives from her
subtle hand tinting. The prolific use of veils creates an
impressionist mist-like quality that literally thinly veils their
nakedness and vulnerability. Aprons, perhaps also a metaphor
for domesticity, are on clotheslines held in place by clothespins.
They blow in the wind but cannot escape."
Dr. Faye Margolis, Ph.D
Freyda continues to work on photography, assemblage, painting and
books and is in the process of creating a new series. Again,
female consciousness weaves through the body of work entitled “Pieces
of Me.” This is a compilation of prop and wardrobe pieces
collected through the years with the intent of combining the photographic
process with the 3D assemblage work. Time will tell what the outcome
will be as the personal intertwines with the universal. Intuition
and the idea that “things are not always as they seem”
take center stage in this work that embarks on a life of its own.
©Copyright for all images remains the property of exhibited
photographer, and promotional use for Women In Photography International.
All inquiries regarding use of and purchasing image use rights must
be directed to the photographer.
File complete August 30, 2014
Update / COMPLETE 4/22/2015 physical materials, book, (signed to
Women in Photography International),
article, announcement card
Update Biography Final, February 2016 - WIPI group library submission