Johnson’s CARBON DATING #1 has been delivered and installed at the Phoenix Art Museum where the artwork finds its new permanent home.
There are few names that are widely accepted as defining the California creative landscape—but Jay Mark Johnson’s is one of them. A photographer living and working in Venice, Johnson has become well known for his signature style of photography, which captures movement in a transformative way to result in visually stunning pieces.
“We surround ourselves with machines. They shape our experiences and with them our thoughts. We see our world through the cars, trains and planes in which we journey. We travel encapsulated, isolated from the outside world as we propel ourselves through it. And the faster we race across the landscape, the more it becomes a blur.”
The thing about photography is its truthiness. Digital-age machinations aside, the camera enjoys a reputation for providing trustworthy, unmediated depictions of the real world, more or less as it actually appears. Whatever filters or post-production technologies abound, the basic idea remains that you can look at a picture and know what something looked like in a recognizable world. But when it comes to the photographs of Jay Mark Johnson, that presumption is turned on its head. . . .
It’s a still image that is more about time than space. Remarkably, the picture has not been Photoshopped: it’s simply a different way of looking at the world. If Doctor Who had a camera, he might take shots like this . . .
The abstract-seeming images here are not the result of some wacky Photoshopping. Jay Mark Johnson’s photos are actually incredibly precise. The reason they look like this is because he uses a slit camera that emphasizes time over space . . .
Architect Lebbeus Woods (1940-2012) dedicated his career to probing architecture’s potential to transform the individual and the collective. His visionary drawings depict places of free thought, sometimes in identifiable locations destroyed by war or natural disaster, but often in future cities . . .
In the group show “In the Woods“ we are presenting a range of works pertaining to the theme of woods and forests. The central work of the exhibition is the monumental painting by the renowned Berlin Neo-Expressionist Rainer Fetting, with the title “Large Forest” 1987. Also artist Jay Mark Johnson’s large scale timeline photographs of a logging truck captured in the central hills of New South Wales, Australia . . .
I make photographic timelines. It is an engaging project with plenty of unexpected results. Because the photographs seamlessly blend visual depictions of space and time into a single hybrid image they provide an altered “spacetime” view of the world . . .