Mitchell Johnson Archive

Press Clippings and Reviews from 1988-2024

Sunday, September 20, 2020

Ad #137 New York Times Magazine September 20, 2020 Inside Backcover C3

 



These paintings are sold.

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

Buy Mitchell Johnson book.




Posted by Mitchell Johnson at 10:31 AM No comments:
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Labels: abstract art, American Contemporary Art, Mitchell Johnson, New York Times Magazine

Monday, September 7, 2020

New Yorker ad #3 September 7, 2020


 

These paintings are sold.

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

Buy Mitchell Johnson book.
Posted by Mitchell Johnson at 6:23 AM No comments:
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Labels: contemporary art, landscape painting, Mitchell Johnson, New Yorker Magazine

Saturday, September 5, 2020

Wall Street Journal Magazine Saturday September 5, 2020

 




Posted by Mitchell Johnson at 3:45 PM No comments:
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Labels: abstract art, contemporary art, landscape painting, Mitchell Johnson, Wall Street Journal Magazine, WSJ Magazine
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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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