Mitchell Johnson shows seven paintings from May 15 of San Francisco May 15. The work “Trinity Eastern (Iceberg)” (2020-2024), 78 × 120 inches, go to Newfuana in 2018 and three paintings of the Continuing Museum of Johnson, with him. Like the whole life of buildings.
In interviews and essays, Johnson noticed to see the exhibition of Bologna, Italy Josef Albers / Giorgio Morandi in 2005 for its practice. This approach is in front of a more geometric view of composition and color from an application of its change in a sharp and impressionist painting. The new paintings in this exhibition combine geometric concerns and colors to return to a painter surface.
Brenda Danilowitz Josef & Annie Albers Foundation commented on Albers and Morandi’s impact on Johnson:
“Mitchell Johnson’s 2014 Monograph of 2014 Color as content Josef Albers and Giorgio Morandi is a juxtaposed page of paintings, looking at each other, so to speak. The images are not accompanied by words, but Johnson’s admiration and debt, but XX. About these two calmer masters of the twentieth century. Albers show mastery of its color, space and shape. Morandi’s responses have shape, space and color. No words needed. In 2005 Johnson met in an eponymous museum of Bologna Morandi. Mitchell Johnson is echoed in the last two decades.
In 2025 Whitehot Magazine The article, Donald Kuspit wrote about the impact of Morandi / Albers:
“Morandi and Albers are the phenomenologous excellence in Johnson. This is the most unintentional, unintentional phenosopher,” Phenomenology phenomenology is disappearing from natural attitudes from natural attitudes The ones, but the world is already “already” philosophy. It is sharp … to surprise his conscience, “as the philosopher John Cogan writes, in phenomenological reduction,” It is an experience that is possible for us without knowledge or pre-conception; It’s a surprise experience … With the experience of surprise, knowing our daily life, it appears as a pale epistemological imposter. “At their best, when [Johnson’s paintings] Be a kind of parsimony of aesthetic and aesthetic intensity, and no longer registered “believing in the world of life in our lives”, the masterpieces of phenomenological perception, which calls George Santayoan philosophers “reverberations”.
Johnson’s paintings are in permanent collections of more than 35 museums. In May, in Paris Galerie in Mercier, in June, his work will be included in group shows in Canaan, Connecticut Connecticut and Cape Museum in Dennis, Massachussettes.
For more information, visit mitchelljohnson.com and follow his instagram @mitchell_johnson_artist.
