Mitchell Johnson Archive

Press Clippings and Reviews from 1988-2024

Saturday, October 5, 2019

Ad #109 New York Times Magazine Full Page September 29, 2019






Here's an article about the 2019 exhibition at 555 California Street Exhibit

Request an electronic catalog of available paintings: mitchell.catalog@gmail.com
Follow recent paintings on Instagram.
Read Hyperallergic articles and Donald Kuspit reviews.

Buy Mitchell Johnson book or notecards.
Posted by Mitchell Johnson at 8:25 AM No comments:
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Labels: abstract art, American Contemporary Art, California artist, Mitchell Johnson, New York Times Magazine

Mitchell Johnson Ad #107 New York Times T Design Magazine September 22, 2019


Here's an article about the 2019 exhibition at 555 California Street Exhibit

Request an electronic catalog of available paintings: mitchell.catalog@gmail.com
Follow recent paintings on Instagram.
Read Hyperallergic articles and Donald Kuspit reviews.

Buy Mitchell Johnson book or notecards.
Posted by Mitchell Johnson at 8:22 AM No comments:
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Labels: 555 California Street, American Art, American paintings, California artist, Lower east side, Mitchell Johnson, New York Times Magazine, plaza gallery, San Francisco artist
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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 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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