Mitchell Johnson Archive

Press Clippings and Reviews from 1988-2024

Wednesday, May 9, 2018

#72 New York Times Magazine May 27, 2018

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Mitchell Johnson at 7:35 AM No comments:

#71 New York Times Magazine April 29, 2018

Page 17 of 54

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Mitchell Johnson at 7:31 AM No comments:

Tuesday, May 8, 2018

#70 New York Times Style Magazine April 22, 2018

Page 97 of 136

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Mitchell Johnson at 10:50 AM No comments:

#68 New York Times Magazine April 1, 2018

Page 19 of 56

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Mitchell Johnson at 10:40 AM No comments:

#67 New York Times Magazine March 25, 2018

Page 30 of 92

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Mitchell Johnson at 10:20 AM No comments:

#66 New York Times Magazine March 18, 2018

Page 21 of 60

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Mitchell Johnson at 10:10 AM No comments:

#65 New York Times Magazine March 11, 2018

Page 69 of 72

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Mitchell Johnson at 10:00 AM No comments:

#64 NY Times T Men's Fashion Magazine March 4, 2018

Page 69 of 116

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Mitchell Johnson at 9:50 AM No comments:

Mitchell Johnson ad#63 New York Times Magazine February 18, 2018

Page 21 of 56

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Mitchell Johnson at 9:40 AM No comments:

#62 New York Times Magazine February 4, 2018

Page 22 of 80

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Mitchell Johnson at 9:20 AM No comments:

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About Mitchell Johnson

Mitchell Johnson: Mitchell Johnson's color- and shape-driven paintings exist at the intersection of color theory, art history, nostalgia, and observed experience. His work is in the permanent collections of over 35 museums and has been exhibited alongside that of Milton Avery, Georgia O'Keefe, Wolf Kahn, and Richard Diebenkorn. The legendary art critic Donald Kuspit wrote about Johnson's work in the July 2023 issue of Whitehot Magazine: “Johnson is a master of abstraction, as his oddly constructivist paintings show, but of unconscious feeling, for his geometry serves to contain and with that control the strong feelings implicit in his strong colors. Apart from that, his paintings are art historically important, because they seamlessly fuse abstraction and realism, which Kandinsky tore apart to the detriment of both even as he recognized that they were implicitly inseparable, tied together in a Gordian knot, as they masterfully are in Johnson's paintings.”

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