Mitchell Johnson Archive

Press Clippings and Reviews from 1988-2026

Showing posts with label New York water tower. Show all posts
Showing posts with label New York water tower. Show all posts

Sunday, August 4, 2019

Ad#99 Full page ad inside front cover of NY Times Magazine July 7, 2019


Request an electronic catalog of available paintings: contact@mitchelljohnson.com
Follow new paintings on Instagram.
Read Huff Post article.

Buy Mitchell Johnson book.
Posted by Mitchell Johnson at 12:38 PM No comments:
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Labels: abstract art, abstract painting, contemporary painting, lifeguard chair painting, Lifeguard stand painting, Mitchell Johnson, modern art, New York City, New York water tower, paintings

Wednesday, May 15, 2019

Ad #94 Lower East Side Painting in the New York Times Magazine May 12, 2019


This painting is sold.
Request an electronic catalog of available paintings: contact@mitchelljohnson.com
Follow new paintings on Instagram.
Read Huff Post article.

Buy Mitchell Johnson book.

Posted by Mitchell Johnson at 10:46 AM No comments:
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Labels: abstract art, abstract painting, Lower east side, lower east side painting, Mitchell Johnson, Mitchell Johnson artist, New York Times Magazine, New York water tower, print advertising, water tower
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About Mitchell Johnson

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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 40 museums and has been exhibited alongside that of Milton Avery, Georgia O'Keeffe, Wolf Kahn, and Richard Diebenkorn.The legendary art critic Donald Kuspit wrote about Johnson's work in the July 2023 issue ofWhitehot 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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