Showing posts with label Truro. Show all posts
Showing posts with label Truro. Show all posts

Friday, August 22, 2025

Mitchell Johnson Exhibition, "Twenty Years in Truro (Selected Paintings 1989-2025)

 

"Six Pickets (hydrangeas)," 2025, 24x30 inches, oil/canvas. (© Mitchell Johnson)

Truro Center for the Arts at Castle Hill in Massachusetts presents Twenty Years in Truro (Selected Paintings 1989-2025), a solo exhibition of paintings by San Francisco Bay Area artist Mitchell Johnson, on view September 3–14, 2025. This is Johnson’s fifth exhibition at Castle Hill, where he teaches a master color class every September.

There have been three watershed moments in Mitchell Johnson’s 45-year painting career: the first, a work trip to France in 1989, the second, his move from New York City to Palo Alto, California in 1990, and the third, an initial painting trip to Cape Cod in 2005. In his own words:

“I followed a very strong hunch that what I needed in 1989 was to leave graduate school and paint alone in France. It was all my idea, all my doing. In 1990, I was offered a chance to work in the studio of Sam Francis in Palo Alto, California. I didn’t want to leave NYC. I called Sol LeWitt on the phone, hoping he would say that I could join the Wall Drawing Team and stay in NYC. Instead he convinced me that I should move to California. In 2005, the art dealer Sally Munson invited me to visit Chatham, MA, to produce local work for a show she was curating of my European landscapes. My first paintings of Truro, paintings which changed my trajectory, were made because of Sally. Life, especially life in the art world, is an interesting combination of the things you pursue and the things that come your way. California fell into my lap. Truro fell into my lap.”

Johnson’s 20 years of annual painting trips to Cape Cod started in May 2005, immediately after he saw the historic Giorgio Morandi and Josef Albers exhibit in Bologna, Italy. He arrived on the Cape at a pivotal moment when his paintings were becoming less brushy, less impressionistic, more about large areas of flat color using familiar, even iconic, motifs to comment on color relativity. The range of work on view in the 2025 survey at Castle Hill illustrates the importance of this first stay on the Cape, examining the impact of North Truro motifs on all of his paintings. It features early Truro works borrowed from the Cape Cod Museum of Art, including “Truro n. 6” (2005), which appeared in two feature films by Nancy Meyers: The Holiday (2009) and Crazy Stupid Love (2011). The show also includes paintings from New York, Europe, California, New England, and Newfoundland.

Art critic Donald Kuspit reviewed Johnson’s paintings three times, including in a 2023 Whitehot Magazine article:

“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.”

About the Artist

Mitchell Johnson began painting in the late 1970s as a teenager at Staten Island Academy. He received his MFA from Parsons School of Design in 1990 and also studied painting, drawing, and art history at the Washington Studio School and Randolph-Macon College. His paintings are in the permanent collections of over 35 museums. He has appeared on TV programs in France (BFM Nice), Italy (Generazione Bellezza), and Monaco (Monaco InfoTV). He has been a visiting artist at the Josef and Anni Albers Foundation, the American Academy in Rome, Borgo Finocchieto, and the LeWitt House in Praiano, Italy.

About the Exhibition

Twenty Years in Truro (Selected Paintings 1989-2025) is on view September 3–14 at the Truro Center for the Arts at Castle Hill in Cape Cod, Massachusetts.

  • Artist Reception: Thursday, September 4, 4–6pm (ET)
  • Artist Talk: Friday, September 5, 3:00–3:30pm (ET)

For more information, visit mitchelljohnson.com and follow him on Instagram at @mitchell_johnson_artist.

Additionally, Johnson’s exhibition of Paris paintings at Flea Street in Menlo Park, California, has been extended through September 18, 2025.

Tuesday, July 29, 2025

Mitchell Johnson Bakersfield Museum of Art review in Art Ltd magazine June, 2015

This is a review in Art Ltd magazine written by art historian, Rebecca Weller, in 2015 during my retrospective at the Bakersfield Museum of Art in California. 

Initially ignoring the fact that the gallery is filled with a mixture of abstract and representational paintings, Mitchell Johnson's work evokes an orchestra or color. The spectator's experience automatically (if unknowingly) mimics the artist's working process, which is to engage with multiple paintings at once--the jade green of a shadowed awn in one canvas reappears in an adjacent nonrepresentational one. While the landscapes evidence his time spent in Europe as well as in San Francisco (where he moved in 1990), they are snapshots of the artist's experience of these sites and not necessarily ours.


The painterly Pop quality of his work may be reminiscent of the Bay Area Figurative Movement, but as the title of the exhibit suggests, Johnson is all about color theory. Most of the abstract paintings are impressively large, consisting of horizontal and vertical rectangles (usually parallel to the canvas edges) as well as the occasional homage to the loser Albers square.


Each canvas obeys its own system. While a color may be repeated, neighboring hues will either intensify or mute it, reminding the viewer of the relativity of color. Of the large non-representational works. Biscuit (2009-2012) offers the brightest hues; yet, rather than competing with one another, the colors assert themselves one at a time, like parts of a symphony. Sometimes layered, but never simulating spatial depth, a few quadrilaterals are literally textured (evincing Johnson's tendency to use a palette knife) while others are just optically so. For example, a translucent white over a red shave does nor exclusively appear as layered, but rather, as a textured white surface. Both colors co-exist on the surface, rather than subordinating one to the other.


That Johnson is truly a formalist is remarkably evident in his approach to landscape and figurative works. In North Truro (Whiteline), 2008, there are multiple houses receding towards a horizon, but once again, it seems subservient to his use of color as form. The sun-drenched green lawn, thrusts itself forward to compete with the blue rectangle on the left as if sharing the same plane. There is a constant shift of perspective within the scene, mirroring our shift between viewing the painting as representational and then as abstract. Johnson seems far more concerned with the sincerity of painting as painting which Is always already a fictive space.


-REBECCA WELLER

Wednesday, July 2, 2025

Tuesday, August 30, 2022

Mitchell Johnson Nothing and Change exhibit at Truro Center For the Arts at Castle Hill September 7-18, 2022

 


Truro Center for the Arts at Castle Hill is pleased to host its second exhibit of the work of California artist, Mitchell Johnson, September 7-18, 2022. This survey exhibit, titled, Mitchell Johnson Nothing and Change, will span 1990-2022 and includes new paintings from Paris, Newfoundland, New England and New York as well as early work from France, Denmark and North Truro. Artist reception, Thursday, September 8, 4-6pm.

Chris Busa wrote in Provincetown Arts in 2012:

“If many of Johnson's paintings are titled after the places that inspired them, no such places actually exist. Each one is a collage of compressed intimacies spread out over the months it takes to paint them. He has done what Edwin Dickinson called Premier Coup, in which a painting is completed outdoors in one blow. Yet his typical practice is to hold a painting for several months, or more, in the studio, to see if a painting stands the test of repeated looking, often involving the process of memory revision, where a succession of impressions gained over weeks or months is expressed as continuous flow.”

An 80 page exhibition catalog with an essay by the poet, Jesse Nathan, and exhibition posters will be available at Castle Hill.

More info at www.mitchelljohnson.com. Request a digital catalog of available work: mitchell.catalog@gmail.com.

View the 2021 Mitchell Johnson Castle Hill exhibit at ArtForum. Read an extensive interview with Mitchell at Painting Perceptions.

Tuesday, December 7, 2021

Four Mitchell Johnson Paintings in the December 5, 2021 New York Times Magazine

 


Four Mitchell Johnson paintings, "Paris (Green)" on page 19 of the December 5, 2021 New York Times Magazine.

Request a digital catalog of available work by emailing:

mitchell.catalog@gmail.com


Follow on instagram: mitchell_johnson_artist

Read a recent interview at, Painting Perceptions, or listen to an interview on the podcast, I Like Your Work.

See complete bibliography at www.mitchelljohnson.com.

Thursday, September 2, 2021

Mitchell Johnson exhibit "Sixteen Years in Truro," Truro Center For the Arts at Castle Hill 2021

 



You can see some of the exhibit here in Artforum Spotlight.

Great article at Artscope Magazine in the September issue.

Catalog available at Amazon.


The reception is Thursday Sept 9, 2021, 4-6 pm. Gallery hours are M-F, 9-5. Weekends by appointment. Email mitchell.catalog@gmail for appointments.

Monday, April 1, 2019

Ad #89 February 3, 2019 New York Times Magazine Super Bowl Sunday

Request an electronic catalog of available paintings: contact@mitchelljohnson.com

#86 New York Times Magazine December 7, 2018



Request an electronic catalog of available paintings: contact@mitchelljohnson.com

#85 New York Times Magazine December 2, 2018



Request an electronic catalog of available paintings: contact@mitchelljohnson.com