Mitchell Johnson Archive

Press Clippings and Reviews from 1988-2026

Showing posts with label New Yorker Magazine cover. Show all posts
Showing posts with label New Yorker Magazine cover. Show all posts

Wednesday, February 14, 2024

Mitchell Johnson Reyjavik painting in the December 25, 2023 New Yorker Magazine

 


Posted by Mitchell Johnson at 6:31 AM No comments:
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Labels: abstract art, fine art, Iceland, landscape painting, Mitchell Johnson art, New Yorker Magazine cover, Reykjavik painting

Wednesday, August 10, 2022

Red Sweater Luxembourg Painting on Back cover of April 18, 2022 New Yorker Magazine

 



Request a digital catalog of available paintings by emailing: mitchell.catalog@gmail.com


Posted by Mitchell Johnson at 10:43 AM No comments:
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Labels: Luxembourg painting, Mitchell Johnson, New Yorker Magazine cover, Paris art

Monday, July 25, 2022

Cap D'Ail Swimming Pool painting in the March 7, 2022 New Yorker Magazine

 



Request a digital catalog of available paintings by emailing: mitchell.catalog@gmail.com


Posted by Mitchell Johnson at 11:24 AM No comments:
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Labels: Cap D'ail painting, Cote D'Azur, French landscape, landscape painting, Mitchell Johnson artist, New Yorker Magazine cover, Swimming pool painting
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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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