9780714856940: Chris Johanson
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| SKU | 9780714856940 |
|---|---|
| Title | Chris Johanson |
| Author Description | Survey by Bob Nickas, Interview by Corrina Peipon, Focus by Julie Deamer, Artist's Choice by Jonathan Raymond and John Groh, writings by Chris Johanson |
| Uri | store/art/chris-johanson-9780714856940/ |
| Web Author Description | Bob Nickas is a curator based in New York. In addition to the numerous exhibitions he has organized independently since 1984, he also served on the teams responsible for Aperto at the Venice Biennale in 1993, the 2003 Biennale de Lyon and the 2005 edition of Greater New York at PS1, where he was Curatorial Advisor from 2003 to 2006. His books include Painting Abstraction (2009), Catalogue of the Exhibition (2011) and two collections of his writing, Live Free or Die (2000) and Theft is Vision (2007). Corinna Peipon is an artist, writer and curator based in Los Angeles, where she has been Curatorial Associate at the Hammer Museum since 2009. Julie Deamer is Director of Outpost for Contemporary Art, a non-profit residency and exchange programme she founded in Los Angeles in 2004. |
| webLongDescription | Chris Johanson (b. 1968) is an American artist whose idiosyncratic paintings, drawings and sculptural installations address the contemporary human condition with sincerity and wit, placing him in a long and distinguished lineage of artists who have attempted to portray not only objects, people and events but also the ineffable fabric that binds them together. His installation for the 2002 Whitney Biennial, This is a picture about a place we live called Earth that is inside of this place we call space, is as sprawling as its title. Featuring painted wooden cutouts of figures, cars, freeways, buildings, planets and other forms arranged in a multi-storey vignette, This is a picture is no less than a model of the universe and humanity’s inglorious place in it. From its explosion of colour to its crooked wooden supports, the work’s appearance exudes an artless urgency that’s in perfect sync with its acute message. Born in San Jose, California, Johanson moved north to San Francisco in 1989, where he took up painting and drawing in a burgeoning artistic community of street artists, including Barry McGee and Margaret Kilgallen, that later became known as the Mission School. Despite his lack of formal training, Johanson’s work stood out for its 'heavy energy' and off-kilter humour, and since the late 1990s it has been increasingly featured in major solo and group exhibitions across the United States and Europe. Existing in a state of tension between meditation and confrontation, his paintings are documentary pictures: simultaneously an image of the world outside and a direct translation of the his own heart and mind. Johanson's artistic objective is, in his words, 'beauty through honesty'. While his paintings and installations recall the apocalyptic visionary work of outsider artists such as Harold Finster and Sister Gertrude Morgan, Johanson ditches their religiosity for the secular positivism of his native northern California. His detailed, brightly coloured depictions of ordinary people are a spirited defence of humanity against the crushing uniformity of modern existence. In the painting Untitled (Figures with Black Shape) (2002), twenty individuals stand with multicoloured rays emanating from the tops of their heads. These rays twist around one another as they rise upwards, finally uniting in a black blob that represents collective unconscious, social control, harmonic convergence or none of the above. More recent exhibitions have seen an increasing involvement with abstraction in his continuing artistic quest for the sublime. His 2009 exhibition 'Totalities' featured a an elaborately funky three-dimensional environment — a cross between a spaceship and a modernist church — to house a number of abstract paintings and works on paper. Within this ramshackle structure, built entirely from salvaged wood, hidden speakers played an instrumental soundtrack made by the artist and his friends — in his words, 'a celebration of life and death through music'. True to the exhibition's title, the effect of this immersive installation was cosmic, powerful and utterly unique. Johanson's work has been shown in numerous international exhibitions, including the Istanbul Biennial (2005), SITE Santa Fe (2002) and the Whitney Biennial (2002), and featured in solo exhibitions at such venues as the Portland Art Museum (2007), the San Francisco Museum of Modern Art (2003) and the Hammer Museum (2001). |
| Binding | Hardback |
| Size | Size: 290 x 250 mm (11 3/8 x 9 7/8 in) |
| Pages | Pages: 160 |
| Illustrations | 200 |
JSON Data
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In addition to the numerous exhibitions he has organized independently since 1984, he also served on the teams responsible for Aperto at the Venice Biennale in 1993, the 2003 Biennale de Lyon and the 2005 edition of Greater New York at PS1, where he was Curatorial Advisor from 2003 to 2006. His books include \u003cem\u003ePainting Abstraction\u003c/em\u003e (2009), \u003cem\u003eCatalogue of the Exhibition\u003c/em\u003e (2011) and two collections of his writing, \u003cem\u003eLive Free or Die\u003c/em\u003e (2000) and \u003cem\u003eTheft is Vision\u003c/em\u003e (2007).\u003cbr /\u003e\u003cbr /\u003e\u003cstrong\u003eCorinna Peipon\u003c/strong\u003e is an artist, writer and curator based in Los Angeles, where she has been Curatorial Associate at the Hammer Museum since 2009.\u003cbr /\u003e\u003cbr /\u003e\u003cstrong\u003eJulie Deamer\u003c/strong\u003e is Director of Outpost for Contemporary Art, a non-profit residency and exchange programme she founded in Los Angeles in 2004.\u003cbr /\u003e","webDescription":"","webKeywords":"","webLongDescription":"\u003cp\u003eChris Johanson (b. 1968) is an American artist whose idiosyncratic paintings, drawings and sculptural installations address the contemporary human condition with sincerity and wit, placing him in a long and distinguished lineage of artists who have attempted to portray not only objects, people and events but also the ineffable fabric that binds them together. His installation for the 2002 Whitney Biennial, \u003ci\u003eThis is a picture about a place we live called Earth that is inside of this place we call space\u003c/i\u003e, is as sprawling as its title. Featuring painted wooden cutouts of figures, cars, freeways, buildings, planets and other forms arranged in a multi-storey vignette, \u003ci\u003eThis is a picture\u003c/i\u003e is no less than a model of the universe and humanity’s inglorious place in it. From its explosion of colour to its crooked wooden supports, the work’s appearance exudes an artless urgency that’s in perfect sync with its acute message.\u003c/p\u003e\u003cp\u003eBorn in San Jose, California, Johanson moved north to San Francisco in 1989, where he took up painting and drawing in a burgeoning artistic community of street artists, including Barry McGee and Margaret Kilgallen, that later became known as the Mission School. Despite his lack of formal training, Johanson’s work stood out for its 'heavy energy' and off-kilter humour, and since the late 1990s it has been increasingly featured in major solo and group exhibitions across the United States and Europe. Existing in a state of tension between meditation and confrontation, his paintings are documentary pictures: simultaneously an image of the world outside and a direct translation of the his own heart and mind. Johanson's artistic objective is, in his words, 'beauty through honesty'.\u003c/p\u003e\u003cp\u003eWhile his paintings and installations recall the apocalyptic visionary work of outsider artists such as Harold Finster and Sister Gertrude Morgan, Johanson ditches their religiosity for the secular positivism of his native northern California. His detailed, brightly coloured depictions of ordinary people are a spirited defence of humanity against the crushing uniformity of modern existence. In the painting \u003ci\u003eUntitled (Figures with Black Shape)\u003c/i\u003e (2002), twenty individuals stand with multicoloured rays emanating from the tops of their heads. These rays twist around one another as they rise upwards, finally uniting in a black blob that represents collective unconscious, social control, harmonic convergence or none of the above. More recent exhibitions have seen an increasing involvement with abstraction in his continuing artistic quest for the sublime. His 2009 exhibition 'Totalities' featured a an elaborately funky three-dimensional environment — a cross between a spaceship and a modernist church — to house a number of abstract paintings and works on paper. Within this ramshackle structure, built entirely from salvaged wood, hidden speakers played an instrumental soundtrack made by the artist and his friends — in his words, 'a celebration of life and death through music'. True to the exhibition's title, the effect of this immersive installation was cosmic, powerful and utterly unique.\u003c/p\u003e\u003cp\u003eJohanson's work has been shown in numerous international exhibitions, including the Istanbul Biennial (2005), SITE Santa Fe (2002) and the Whitney Biennial (2002), and featured in solo exhibitions at such venues as the Portland Art Museum (2007), the San Francisco Museum of Modern Art (2003) and the Hammer Museum (2001).\u003c/p\u003e","webReviews":"\u003cp\u003eOn the \u003cem\u003eContemporary Artists Series\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\n\n\u003c/p\u003e\u003cp\u003e\u0026quot;The boldest, best executed, and most far-reaching publishing project devoted to contemporary art. These books will revolutionize the way contemporary art is presented and written about.\u0026quot;\u0026#8212;\u003cem\u003eArtforum\u003c/em\u003e\u003c/p\u003e\n\n\u003cp\u003e\u0026quot;The combination of intelligent analysis, personal insight, useful facts and plentiful pictures is a superb format invaluable for specialists but also interesting for casual readers, it makes these books a must for the library of anyone who cares about contemporary art.\u0026quot;\u0026#8212;\u003cem\u003eTime Out\u003c/em\u003e\u003c/p\u003e\n\n\u003cp\u003e\u0026quot;A unique series of informative monographs on individual artists.\u0026quot;\u0026#8212;\u003cem\u003eThe Sunday Times\u003c/em\u003e\u003c/p\u003e\n\n\u003cp\u003e\u0026quot;Gives the reader the impression of a personal encounter with the artists. Apart from the writing which is lucid and illuminating, it is undoubtedly the wealth of lavish illustrations which makes looking at these books a satisfying entertainment.\u0026quot;\u0026#8212;\u003cem\u003eThe Art Book\u003c/em\u003e\u003c/p\u003e\n","webShortDescription":"A celebration of the visionary artist's thought-provoking, eye-catching and mind-expanding work."}