Mitchell Johnson Archive

Press Clippings and Reviews from 1988-2024

Thursday, February 18, 2021

New York Times T Women's Fashion Magazine February 21, 2021

 



Posted by Mitchell Johnson at 8:19 AM No comments:
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Labels: abstract art, landscape painting, Mitchell Johnson, New York Times Magazine, T magazine, Truro paintings

Monday, February 15, 2021

New Yorker Magazine Double Issue inside back cover February 15, 2021

 


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 11:21 AM No comments:
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Labels: abstract art, Art, artist, fine art, landscape painting, Mitchell Johnson, New Yorker Magazine, paintings

Friday, February 12, 2021

Wall Street Journal Women's Fashion Magazine February 13, 2021, page 102

 

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 11:13 AM No comments:
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Labels: abstract art, artsit, Cap D'Ail, landscape painting, Mitchell Johnson, Wall Street Journal Magazine, Wellfleet Truro, 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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