Truro Heart for the Arts at Fort Hill in Massachusetts presents an eclectic group of small work by California artist Mitchell Johnson from September 6 by 17. The gallery can be open day by day from 12 to 5pm (ET), with an artist reception on September 7 from 4 to 6pm.
The exhibition is entitled It Takes Time and contains work from New England, France, New York, and California.
Artwork critic Donald Kuspit not too long ago reviewed Johnson’s work, noting his issues for each artwork historical past and abstraction:
Artwork historical past insidiously echoes in — ingeniously informs — all of Johnson’s works. It’s what makes them conceptual in addition to aesthetic masterpieces. In addition they have an ironic freshness — the freshness of the California seaside. Even “Mott Avenue” (2019–2023), with its quirky geometry — a form of patchwork quilt, “Manet’s patches” as they’ve been referred to as, grow to be eccentrically summary. “Orange Boat” (2019–2022), abruptly contrasting with a shiny blue sea, and baby in white costume and rower in blue pants, the yellow within the baby’s blonde hair and within the rower’s hat suggesting their closeness, is a very tender-minded work in Johnson’s oeuvre. Most are peculiarly tough-minded, maybe nowhere extra so than in “Ed’s Iceberg” (2019–2022), surreally looming over his yellow home, the white home between them barely holding them aside.
Like all of Johnson’s works, a latent battle is constructed into the scene, within the type of typically abrupt contrasts of house and kind. Unusual as it might appear to say so, they’re implicitly psychodramas disguised as bodily drama. I’m arguing that they’ve an emotional innovative, making them greater than matter-of-factly descriptive and ingeniously summary. “Monaco” (2019–2023) isn’t just an opulent place with a stupendous seaside on the Mediterranean, however fraught with stress, because the contradiction between the orange, inexperienced, and blue planes, together with the airplane of white desk they flank and overlap, makes clear.
Johnson is a grasp of abstraction, as his oddly constructivist work present, however of unconscious feeling, for his geometry serves to include and with that management the robust emotions implicit in his robust colours. Aside from that, his work are artwork traditionally vital, as a result of they seamlessly fuse abstraction and realism, which Kandinsky tore aside to the detriment of each at the same time as he acknowledged that they have been implicitly inseparable, tied collectively in a Gordian knot, as they masterfully are in Johnson’s work.
Mitchell Johnson moved to Palo Alto, California, in 1990 shortly after ending his MFA at Parsons Faculty of Design in New York Metropolis. He spent the Nineteen Nineties peregrinating between California, New York, and Europe as he created brushy landscapes and determine work. Within the 2000s, repeated journeys to the Danish island of Bornholm and an opportunity viewing of a Josef Albers/Giorgio Morandi exhibition in Bologna led to a decisive change in method. Johnson turned in the direction of a extra consciously organized image airplane, the place bigger shapes are meant to function scaffolding for commentary on the strain between artifical and naturally occurring shade.