Tuesday, August 26, 2014

Vermont Studio Center


I'm attending an October 25, 2015 residency at Vermont Studio Center. The Vermont Studio Center is the largest international artists' and writers' Residency Program in the United States and I'm thrilled to be accepted by the center. Now to keep a stealthy eye out for that perfect warm sweater!

www. www.vermontstudiocenter.org/

Friday, August 15, 2014

Me working in my old top floor studio at 619 Western Avenue, Seattle

I've not posted for a while. I'm busy in the studio preparing for my next show at Lisa Harris Gallery in Seattle scheduled to install early 2015 and I've posting a few images of the new paintings as they take shape. There are many changes as I work to define and redefine the paintings and this is a process of mine not necessarily to post. I have posted two images of my progess for you to see on my website: www.victoriajohnson.net. Today, I ran across an image of myself in my old studio I leased for18 years and I want to post it. The photo is low res-but, precious to me. You don't know what you've got till its gone - Joni Mitchell- Big Yellow Taxi.

Photo: Drake Deknatel 2007

They paved paradise and put up a parking lot,
With a pink hotel, a boutique,
And a swinging hot spot.
Don't it always seem to go
That you don't know what you've got till it's gone?
They paved paradise and put up a parking lot.They took all the trees and put them in a tree museum.
And they charged all the people
A dollar and a half just to see 'em.
Don't it always seem to go
That you don't know what you've got till it's gone?
They paved paradise and put up a parking lot.
Hey, farmer, farmer, put away that D.D.T., now!
Give me spots on my apples
But leave me the birds and the bees, please!
Don't it always seem to go
That you don't know what you've got till it's gone?
They paved paradise and put up a parking lot.
Late last night I heard the screen door slam.
And a big yellow taxi took away my old man.
Don't it always seem to go
That you don't know what you've got till it's gone?
They paved paradise and put up a parking lot.
          © 1966-69 Siquomb Publishing Co. BMI

Victoria XOXOX

Tuesday, July 1, 2014

Max Grover: Hunter, Gatherer, Painter/Jenny Anderson: Offerings at Bainbridge Island Art Museum

With Max Grover (left), Jenny Anderson (left-middle), Josie Emmons Turner (right-middle) and Bill Turner (Right)

The Bainbridge Island Museum of Art describes Max Grover, "as adept at using familiar and simple motifs." But, nothing prepares you to experience this artist's warmth and wisdom with his capacity to translate in the simpliest of language the human experience of collecting, object fetishes and our universal habits to amass multiple sets of things. This is an exhibition of lovingly installed memorabilia seen alongside Max's paintings. We see the iconic collections he's created over the years, obviously with dedicated obsession, although his collections don't seem possessive in any way. My sense is that Max is the hunter and gatherer and caretaker of things, and a catalyst for us to connect with our collective sentient and sentimental experiences. We review our lives and our encounters from personal experience of a time and activity, and or because we are given a generous slice of Americana in this show. The exhibition is a carnival of visual stimulus opening a doorway to contemplate these collections and to consider the psychology of collections in our lives. This is a beautiful show and a must see this summer to enjoy in the amazing new island museum.

The Bainbridge Island Museum of Art text continues, "This exhibition uses Grover's numerous personal collections as inspiration for each new painting. He draws from his collections of black cats, bolo ties, wrestlers, baseball memorabilia, souvenir pins, and much more! Come see this amazing array of brand new paintings and personal collections borrowed from BIMA's favorite Hunter, Gatherer, Painter.

Nothing prepared me for the experience seeing the work of Jenny Anderson. If seeing is the best word. In describing her work, each sculpture waits to be approached, as if very much aware of you, your conversations, thoughts, emotions, listening and watching you from a place present and universal time, each very much holding the space of its creation. Take time to pause and contemplate before you think you are ready to walk to the next piece. There is singular and collective wisdom of the great unknown in each sculpture with a message for you, were you to have eyes to see, ears to hear, and your heart open.  


Jenny Andersen: Offerings

Rachel Feferman Gallery
June 28, 2014 - September 28, 2014

Monday, May 19, 2014


Just pure bliss! I thought I'd post my favorite image of Helen Frankenthaler with David Smith in Frankenthaler's studio with her iconic canvas, "Mountains and Sea" in the background.

Helen Frankenthaler
Mountains and Sea

Helen Frankenthaler
Basque Beach

Friday, April 11, 2014

Color, Composition and Content

Color, Composition and Content

This is a thoughtful installation of paintings seen with the work of Karen Kosoglad at Alijoya Thorton Place in Seattle curated by June Sekiguchi courtesy of Lisa Harris Gallery.
View the exhibition daily from 8:00am - 6:00pm at 450 NE 100th in Seattle through 
June 3rd, 2014

Victoria Johnson
Red Wine Sea
36" x 24"
Oil on Canvas

Thursday, March 20, 2014

Boston Consulting Group

An installation of a new painting titled, "Color Codes", commissioned by Boston Consulting Group, Seattle. Lisa Harris Gallery managed the acquistion for the client who specified a palette of saturated and bright colors for their lobby artwork.

Victoria Johnson
Commissioned Painting for Boston Consulting Group, Seattle
120" x 22"
Alkyd on Panel
(Collection of Boston Consulting Group, Seattle)
Victoria Johnson
Color Curve
48" x 24 "
(collection of Boston Consulting Group, Seattle)

Victoria Johnson
Passion Play
48" x 24"
(Collection of Boston Consulting Group, Seattle)

Monday, February 24, 2014

Thinking of Anni Albers

At the beginning, her style was influenced by the bright matching combinations by Stölzl, and later by the abstract and unpredictable compositions by Kandinsky and by the polychromatic semantics by Klee (these people were all teachers of Anni at the Bauhaus); finally, her style became essentially geometrical and rationalist. In her first works for the laboratory of weaving, the elements of the intertwining are not disguised, but instead, the threads and the structure delineate the composition...Anni Albers - Vogue.it