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Julienne Johnson

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20140304232809-juliennejohnson_touched-_-11_2014_assemblage-installation-in-part_40-canvases-of-a-56-canvas-artwork__-102cm-x-244cm_mixed-media-with-collage-on-canvas_img_9363_copy
Touched #11, 2014 Mixed Media Oil 1 Section of 40- 12" X 12" Canvases © Julienne Johnson
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Touched #1, 2013 Mixed Media Oil 33" X 43" © Julienne Johnson
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Touched #2, 2013 Mixed Media Oil 18" X 18" © Julienne Johnson
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Touched #3, 2013 Mixed Media Oil 40" X 40" © Julienne Johnson
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Touched #4, 2013 Mixed Media Oil 24" X 34" © Julienne Johnson
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Touched #5, 2013 Mixed Media Oil 33" X 43" © Julienne Johnson
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Touched #6, 2013 Mixed Media Oil 50" X 50" © Julienne Johnson
20140304232824-touched_7_juliennejohnson_2013_mixed_media_w_collage_img_4897-72dbhcc_copy
Touched #7, 2013 Mixed Media Oil 33" X 43" © Julienne Johnson
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Touched #8, 2013 Mixed Media Oil 24" X 34" © Julienne Johnson
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Touched #9, 2013 Mixed Media Oil 40" X 40" © Julienne Johnson
20140304232830-touched_10_juliennejohnson__2013_mixed_media_with_collage_on_canvas_from_the_touchmetouchyou_collection
Touched #10, 2013 Mixed Media Oil 53" X 56" © Julienne Johnson
20110901112503-untitled9
Untitled 0009, 2011 Mixed Media Oil 48" X 60" © Julienne Johnson
20110901112353-untitled10
Baalbek, 2011 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Charcoal, Crayon, Paper, Silk, Cotton, Pigment Transfers 36" X 24" © Julienne Johnson
20110901234436-untitled12
Wilusa, 2011 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Charcoal, Crayon, Paper, Silk, Cotton, Pigment Transfers 60" X 72" © Julienne Johnson
20110901112727-todi
Todi, 2011 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Charcoal, Crayon, Paper, Silk, Cotton, Pigment Transfers 51" X 62" © Julienne Johnson
20110906005322-untitled8
Zephaniah, 2010 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Cotton, Silk, Plastic, Asian Papers, Wood, Metal, Pigment Transfers 60" X 48" © Julienne Johnson
20110901112837-untitled14
Wetherly, 2011 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Charcoal, Crayon, Paper, Silk, Cotton, Pigment Transfers 60" X 48" © Julienne Johnson
20110911142840-weddington1
Weddington, 2011 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Charcoal, Paper, Chinese Ink, Rafia, Plastic, Pigment Transfers 48" X 48" © Julienne Johnson
20110901112921-lavendareyes
Through Lavender Eyes, 2011 Mixed Media Oil on Canvas, Including, Acrylic, Graphite, Charcoal, Paper, Rafia, Pigment Transfers 48" X 72" © Julienne Johnson
20110906005423-chandler
Chandler, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Crayon, Graphite, Various Papers, Fabric, Pigment Transfers 30" X 30" © Julienne Johnson
20110906005706-undertheyellow
Under the Yellow, 2010 Mixed Media Oil on Canvas, Including, Acrylic, Crayon, Asian Papers, Charcoal, Plastic, Pigment Transfers 48" X 72" © Julienne Johnson
20110906005912-ausable
Au Sable, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Various Papers, Charcoal, Graphite, Crayon, Cotton, Silk, Plastic, Pigment Transfers 84" X 48" © Julienne Johnson
20110906005630-trust3
Trust^3, 2010 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Crayon, Graphite, Cotton, Silk, Wood, Plastic, Asian Papers, Pigment Transfers 60" X 168" © Julienne Johnson
20110906005837-spiritus
Spiritus, 2010 Mixed Media Oil on Canvas, Including, Acrylic, Various Papers, Pastels, Crayon, Pigment Transfers 40" X 30" © Julienne Johnson
20110906005806-untitled5
Firebird, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Paper, Plastic, Crayon, Chinese Ink, Pigment Transfers 72" X 48" © Julienne Johnson
20110906005353-blue3
Pavane, 2010 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Crayon, Graphite, Asian Papers, Cotton, Silk, Pigment Transfers 72" X 48" © Julienne Johnson
20110906010233-blue1
Blue 0001, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Pastel, Graphite, Crayon, Fabric, Paper 30" X 40" © Julienne Johnson
20110906010306-blue4
Debussy, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Pastel, Graphite, Crayon, Fabric, Various Papers, Pigment Transfers 24" X 30" © Julienne Johnson
20110906010156-untitled6
Untitled 0006, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Crayon, Charcoal, Graphite, Chinese Ink, Various Papers, Fabric, Pigment Transfers 36" X 48" © Julienne Johnson
20110906010121-blue2
Blue 0002, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Crayon, Charcoal, Graphite, Chinese Ink, Various Papers, Fabric 36" X 48" © Julienne Johnson
20110906010342-untitled7
Untitled 0007, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Pastel, Graphite, Crayon, Fabric, Various Papers, Pigment Transfers 36" X 18" © Julienne Johnson
20110906010454-purplestudy
Purple Study, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Various Papers, Charcoal 10" X 10" © Julienne Johnson
20110906010422-greenstudy
Green Study, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Various Papers, Charcoal 10" X 10" © Julienne Johnson
20110906010534-darkhorse
Dark Horse, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Various Papers, Silk, Pigment Transfers 22" X 24" © Julienne Johnson
20110912173632-ezekiel
Ezekiel, 2009 Mixed Media Oil on Canvas, Including, Acrylic, Charcoal, Chinese Ink, Crayon, Various Papers, Metal 30" X 40" © Julienne Johnson
20110906010905-untitled3
Untitled 0003, 2008 Mixed Media Oil on Canvas, Including, Acrylic, Metal, Wood, Silk, Cotton, Various Papers, Pigment Transfers 16" X 22" © Julienne Johnson
20110906010613-defocus
Defocus, 2009 Mixed Media Oil With Collage, Including, Acrylic, Various Papers, Rafia 18" X 22" © Julienne Johnson
20110906010805-study1
Study1, 2009 Mixed Media Oil With Pigment Transfers, Including, Acrylic, Silk, Various Papers, Pigment Transfers 10" X 10" © Julienne Johnson
20110906010719-study2
Study2, 2009 Mixed Media Oil With Pigment Transfers, Including, Acrylic, Silk, Various Papers, Pigment Transfers 10" X 10" © Julienne Johnson
20110906011010-untitled2
Theyba, 2008 Mixed Media Oil on Canvas, Including, Acrylic, Metal, Silk, Cotton, Various Papers, Pigment Transfers 16" X 22" © Julienne Johnson
20110906010937-untitled4
Untitled 0004, 2008 Mixed Media Oil on Canvas, Including, Acrylic, Wood, Silk, Cotton, Various Papers, Pigment Transfers 16" X 22" © Julienne Johnson
20110915003518-hangar13
Hangar 13, 2009 Mixed Media Oil With Torn Papers, Including, Acrylic, Various Papers, Silk, Crayon 39" X 40" © Julienne Johnson
20110906011218-hangar
Hangar, 2009 Mixed Media Oil With Torn Papers, Including, Acrylic, Various Papers, Silk, Crayon 40" X 30" © Julienne Johnson
20110906011140-mentone
Mentone, 2008 Mixed Media Oil on Canvas, Including, Acrylic, Silk, Pastel, Charcoal 20" X 20" © Julienne Johnson
20160713203148-touchmetouchyou_artslant_entry_072016__72dpi
touchmetouchyou_the installation, 2016 Archival Inkjet Print on BFK Rives 300gsm 9in X 6in © Julienne Johnson
Quick Facts
Birthplace
Sandusky, Michigan USA
Lives in
Los Angeles, California
Works in
Studio / NoHo Arts Community
Schools
Wayne State Univ, MI / Taylor Univ, IND / Dick Grove School of Music, CA
Art Center College of Art & Design, CA / LAAFA, LA Academy of Figurative Art
Otis College of Art and Design
Tags
Mixed Media Paintings / Assemblage / Mixed Media Drawings / Sculpture / Art Talks / Lectures / Workshops
Statement

I make art to communicate what I cannot communicate with words: what I need to say about it all; what's going on in the world around us; what I cannot fix; what I wish I could make different with my paint or wood, metal – or the sledge hammer my husband gave me. I work desperately hard at it all – hands first: putting on – taking off, scraping, sanding, sawing, soldering, pounding. It takes a whole lot of passion and persistence when you are trying so desperately to trade ashes for beauty.

Communication, the first step toward empathy, is at the heart of Julienne Johnson's work. The poetic and numinous qualities of her mixed media artworks are wedded to a uniquely humanistic concern. Her work is not simply an exercise in cleverly arranging shapes and colors into a perfunctory, graphic order. In its dedication to find a unified form of the senses, the works speak of a much more meaningful conversation that is taking place.

Julienne Johnson is a multi-disciplinary artist whose practice includes drawing, painting, sculpture and assemblage. She has exhibited in the USA, Doha, Qatar and both Northern and Southern Thailand; her lectures include art schools and universities in Florence, Italy and Thailand. Her mentor was the late Franklyn Liegel (1950-2012), and she has studied with Katherine Chang Liu. Johnson continues her studies in Chinese calligraphy and Chinese brush painting. Her artworks are in collections across Europe, Middle East, Asia and USA.

 


 

> PROCESS

Although I am working intuitively, somehow the paintings are deeply considered and elaborately realized. I am working with my hands – no brushes. Regarding the paintings: The work consists of up to 30 layers of paint and glazes, including oil, acrylic, graphite, charcoal, crayon, paper, silk, cotton and pigment transfers. Various ordinary objects that are a part of our lives in this space of time are embedded in the paint, sometimes in part and sometimes as whole objects. Everything you see in the work is personal, meaningful and specific, including the various printed languages seen in the form of transfers. When closely viewed, the transfers can be seen through the various layers of paint and glazes. What may appear to be collage in photographs of the paintings are actually transfers, excepting a few works done in 2009.

Personal Website

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> PETER FRANK essay on Johnson's current TOUCHED series

Peter Frank is art critic for the Huffington Post, Associate Editor for Fabrik Magazine, and former Adjunct Senior Curator at the Riverside Art Museum. He is also former art critic for Angeleno Magazine, the LA Weekly, and the Village Voice, and has served as editor of Visions Art Quarterly and THEmagazine LA. Frank has curated exhibitions for the Guggenheim Museum, dOCUMENTA, the Biennale di Venezia, the Museo Reina Sofia in Madrid and numerous other institutions and galleries. He has published numerous books and catalogues. A cycle of poems, The Travelogues, was issued by Sun & Moon Press in 1982. Frank teaches and lectures extensively throughout North America and Europe.

Julienne Johnson is no less a collagist than she is a painter. Material from the outside world finds its way into almost everything Johnson fabricates, and frequently acts as the spur for generating the artwork itself. By employing collage, Johnson not only signals her interest in the world outside the studio, but directly engages that world in her art. Her art becomes no mere reflection of contemporary life, but becomes a physical part of life's tissue – and vice versa.

In her production since the end of 2012 Johnson has come to rely on collage, material and technique alike, even more than on painting. Indeed, most of her work from this year consists of paint applied to materials the artist has used to build up her surfaces – build them up, that is, not just formally, but expressively. Even in the most seemingly inchoate, all-over compositions of things, dynamic relationships emerge between objects and substances affixed to canvas or panel, and between such materials and the pigments applied to them.

Those pigments are no longer the primary raison d'être (or de faire) for Johnson. She now uses such pigments to give her activated, quasi-caricatured surfaces their tone; each "painting" – in fact a bas-relief of myriad affixed items – has been as much dyed as painted, the traces of Johnson's hand no longer articulated by anything like brushstrokes but disappearing into fulminating topographies of stuff.

This is hardly to claim that the human hand has disappeared from Johnson's work. Just the opposite: the bulk of these assemblaged reliefs are constructed primarily – almost exclusively – of surgeon's gloves, treated to convey the presence of the hands they are supposed to cover. The hand has receded in Johnson's work as a tool and has come forward instead as a symbol – or, if you would, a sign, a cipher signifying human activity, human sensitivity, human anxiety, human consciousness.

Johnson regards these assemblaged reliefs as the culmination of her "Touch Me, Touch You" series – and, indeed, they are the most tactile and the most physically aggressive artworks she has ever produced. The two works she made on either side of the new year brim with furious miscellanies, tightly organized into what can be read as impacted urbanscapes, carpets of junk, or a kind of alien braille. They fairly demand to be handled, their bristly but oddly tender skins (the tenderness resulting perhaps from the subtly luminous color coating them) suggesting mystery knowable only through touch.

By contrast, the panels realized since the beginning of 2013 have relied entirely on the trope, visual and physical, of the hand itself. The first several works mash their gloves up into flailing forests of fingers oscillating provocatively between manual gesture and fecund underbrush, painted odd dark shades that seem at the same time botanical and metallic. The gloves used to comprise the more recent such "hand paintings" have been filled with a medium that keeps them "inflated" – and thus emphatically anthropomorphic (although in their teeming density they can also suggest schools of fish, swarming insects, or microbial clusters). They burgeon outward from their roosts.

Thus, Julienne Johnson has literalized the once-metaphoric title of her painting-collage series. In doing so, however, she has not robbed "Touch Me, Touch You" of its poetic resonance. If her newest works ask to be touched or reach out to touch someone, they do so as inanimate objects, abstract structures, and evocations of moods and conditions, not actions. They evoke great storms of activity, but only in their own physical realms; these formulations are, after all, silent and still. But our eyes, and, yes, our hands tell us that they brim with an infectious vitality, and that touching is, here, simply a matter of attitude – Johnson's, then yours.

 


 

> PETER FRANK ESSAY ON JOHNSON

Can abstraction be romantic? If vast expanses of a single color, modulated by shifts in tone and value and leavened with extraneous material, manifest an abstract sublime, can they also manifest a human-sized passion?

Vast as they might be, Julienne Johnson's paintings maintain a disarming intimacy, confounding our sense of scale even as they launch themselves across the walls. Line, color and space seem to struggle for primacy in Johnson's works; but, in its very insistence, their argument gradually turns into a coherent, often harmonious chorus. Some of her work relies on a calligraphic vigor, suggesting at once contemplative notation and expansive choreographic movement. Others embrace but (unlike the informel and abstract expressionist models they suggest) do not become the void. Indeed, in their dependence on the presence of non-painterly as well as painterly materials, they celebrate matter itself.

Sensuality offsets existential despair; tactile as well as optical stimulation charges what might have been spiritual as well as visual negative space. The frequent, if usually subtle, appearance of actual text, an ongoing infusion of reports from around the globe in a profusion of alphabets, lets the world in just enough to assert the visual pleasures of writing itself.

Johnson's is a method, and a world view, both eruptive and lyrical, delighting in its own textures even as it responds urgently to the world and the soul.

 


 

> EZRHA JEAN BLACK essay

Ezrha Jean Black, art critic and staff writer for Artillery Magazine, is also an investigative researcher and blogger based in Los Angeles. She has written widely on all the arts and has contributed essays and chapters to books and exhibition catalogs, including Richard Hertz's oral history of the the Los Angeles art world, The Beat and the Buzz. Black freelances for numerous publications on-line and off-line, including The Daily Beast and also writes a fashion blog on Examiner.com.

The impression of color comes first – rich, saturated, frequently in vivid, fire-bright or jewel-like colors, which are modulated through the multiple layers that gradually reveal themselves beneath the surface glazes. "The color is always there," Johnson says, almost matter-of-factly. It's not necessarily the focus of the work, although its effects are inescapable. The under painting is complicated by its multiple layers, movements, and digressions. Johnson's work is clearly impacted by environmental and sheerly informational elements, as well as culturally identifiable or aesthetic motives, that filter free-associatively into what appears to be a very fluid process. It would be easy to imagine Johnson going about her work as if she were reconstructing a complex message of images (and words) by Ouija board.

The cacophony of the information-saturated urban and suburban environment clearly inflects Johnson's motives. But there is also a more recondite message-making – cursive scrawls that ebb and flow beneath swirls of paint, words and phrases that can barely be discerned yet alternately convey urgency and alienation. Themes (occasionally referencing the political environment) emerge, but are never defining or determinative of the work as a whole. The viewer's eye scans the surface ruminatively, but not entirely randomly, controlled by Johnson's orchestration of shape and color, the scrum of macerated messages and asynchronous calligraphic detail. Shape, as it turns out, is what anchors Johnson's composition. The composition begins even as the canvas is being gessoed, though, through cumulative layers and details, it may be utterly transformed.

Johnson doesn't shy away from big issues, whether public or political, or personal and emotional. So it makes sense that she seems to focus on shapes that are strong and resilient enough to hold them through the rigor of her process, yet just ambiguous enough to keep the viewer looking and asking questions.

 


 

> UPCOMING EXHIBITIONS

2017
May, SOLO Gallery Exhibition, Genoa, Italy, Curator: Alfio Borghese

June, SOLO Gallery Exhibition, Frosinone, Italy, Curator: Alfio Borghese

TBA, Duo Exhibition, Julienne Johnson & Alfio Borghese

TBA, SOLO Exhibition, USC IGM Art Gallery

 


 

> SELECTED MUSEUM COLLECTIONS & EXHIBITIONS

2014
Ratchadamnoen Museum: PERMANENT COLLECTION on PERMANENT EXHIBITION, International Gallery, Krabi, Thailand
Thaksin University Museum: PERMANENT COLLECTION, Songkhla Province, Songkhla, Thailand

2013
Arab American National Museum – on PERMANENT EXHIBITION / Dearborn, Michigan
Arab American National Museum, 3 month exhibition / Dearborn, Michigan

2011
Arab American National Museum – Permanent Collection / Dearborn, Michigan – affiliate of the Smithsonian Museum, Washington, D.C.

2009
Pacific Asian Museum – Contemporary Gallery exhibition / Pasadena, California

 


 

> PAST EXHIBITIONS

PERMANENT MUSEUM COLLECTIONS & MUSEUM EXHIBITIONS

2016
Prince of Songkla University, School of Art & Architecture Museum, Rayong, Thailand, Curator: Kamol Tassananchalee

Ratchadamnoen Contemporary Art Museum, Bangkok, Thailand, Exhibited with the Honorable Chaun Leekpai, former Prime Minister of Thailand, Curator: Kamol Tassananchalee

Prince of Songkla University Museum, Pattani, Thailand, Curator: Kamol Tassananchalee

2015
Blue Roof Art Museum, Chengdu, China, Curator: Xi Hou

Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, Curator: Nobuyoshi Kano

2014
Portraits of the Fallen Memorial Exhibition, Richard M. Nixon Presidential Library & Museum, Yorba Linda, CA, Curator: Sherry Moorem

Ratchadamnoen Museum, International Gallery, painting in the PERMANENT COLLECTION and on PERMANENT EXHIBITION, Krabi Province, Thailand, Curator: Kamol Tassananchalee

Thaksin University Museum, painting in the PERMANENT COLLECTION, Songkhla Province, Thailand, Curator: Kamol
Tassananchalee

Thaksin University Museum, International Art X change, Thailand / USA 2014, Songkhla Province, Thailand, Curators: Lydia Takeshita and Kamol Tassananchalee

2013
Arab American National Museum, painting on PERMANENT EXHIBITION, Dearborn, MI, Curator: Elizabeth Barrett Sullivan

DIWAN5: THE EXHIBITION, Arab American National Museum, Dearborn, MI, Curator: Elizabeth Barrett Sullivan

2011
Arab American National Museum, PERMANENT COLLECTION, Dearborn, MI, Affiliate of the Smithsonian Museum, Washington, DC

2009
Pacific Asian Museum, Contemporary Gallery, Pasadena, CA, Curator: Guangi Li Chang

SELECTED EXHIBITIONS

2016
AWAKEN: The Female Voice, Plummer Park Community Center, Santa Monica, CA, Curator: Brooke Mason

Out There, Gallery 825, Los Angeles, CA, Curators: William Escalera, Francisco George

Southern Nevada Museum of Fine Art, Las Vegas, NV, Curator: Vered Galor, Director of Exhibitions at SNMOFA

Biennale d’arte Contemporanea di Frosinone, Anagni, Frosinone, Italy, Curator: Alfio Borghese

Women Manifest: Out & About, West Hollywood City Hall, West Hollywood, CA, Curator: Brooke Mason

Women Manifest: Hear Me, Robert Kuo Design, West Hollywood, CA, Curator: Brooke Mason

2015
The iBox, Chengdu, China, Curator: Xi Hou

Ink & Clay 41, PAINTING AWARD, Kellogg Art Gallery, CA State Polytechnic University, Pomona, CA, Curators: Jody Baral, Julie Perlin Lee and Cathy Weiss

Kyoto City International Foundation Gallery, Kyoto, Japan, Curator: Nobuyoshi Kano

Gallery Ashiya, Ashiya City, Japan, Curator: Nobuyoshi Kano

Portraits of the Fallen Memorial Exhibition, Westfield Valencia Town Center, Valencia, CA, Curator: Sherry Moore

LAAA 2015 Benefit Exhibition/Auction, Curator: Peter Mays, LAAA Board

2014
Passion and Structure: Julienne Johnson 2008-2014, Metcalf Gallery, Taylor University, Upland, IN, SOLO, Curator: Peter Frank

Five Artist Show, FAB Studio Gallery, Santa Monica, CA, Curator: Flavio Alejandro Biscott

Summer Solstice, PAINTING AWARD, Segil Fine Art Gallery, Monrovia, CA, Curator: Ellie Blankfort

Video Exhibition & Guiseppe Verde Requiem Concert, The Blessed Sacrament Church, Los Angeles, CA, Curator: Sherry Moore

Spectrum-Gestalt, Bleicher Project Space, Santa Monica, CA, Curator: Om Navon Bleicher

2nd GOLDline Art & Concert Exhibition, Lake Avenue Church, Pasadena, CA, Curator: Rebecca Testrake

1st GOLDline Art & Concert Exhibition, Lake Avenue Church, Pasadena, CA, Curator: Rebecca Testrake

2013
The Franklyn Liegel Memorial Exhibition, LA Artcore, Los Angeles, CA, Curator: Lydia Takeshita

Portraits of the Fallen, USC Hillel Gallery, Los Angeles, CA, Curator: Sherry Moore

Wellness Works / AFTA, Pico House – El Pueblo Monument, Los Angeles, CA, Curator: Joy Feuer

LA Artcore Brewery Annex, Los Angeles, CA, Curator: Lydia Takeshita

9th Annual SNAP to GRID, Los Angeles Center For Digital Art, Los Angeles, CA, Curator: Rex Bruce

2012
Portraits of the Fallen, Veterans Appreciation Festival 2012, USS IOWA, Port of LA, San Pedro, CA, Curator: Sherry Moore

Rico Adair Gallery, Opening Exhibition – Los Angeles, CA, Curator: Takara Tomeoni

T O U C H M E T O U C H Y O U, TAG Gallery, Santa Monica, CA, SOLO

ANIMA Gallery, The Pearl – Doha, Qatar, sole American of 13 artists

Buy Local – Think International, TAG Gallery, Santa Monica, CA

2011
Experience NoHo, NOHO Arts Festival, CELLA Gallery / Rico Adair Gallery, North Hollywood, CA

Portraits of the Fallen: Memorial to Honor Our Nations Heroes, Terrell Moore Gallery, Los Angeles, CA

FLAGSTOP 2011, South Bay Lexus, Torrence, CA, Curators: Howard Fox, Bill Moreno and Lily Siegel

Chain Letter, Shoshana Wayne Gallery, Santa Monica, CA, Curators: Christian Cummings and Doug Harvey

Summer Diversity at TAG Gallery, Santa Monica, CA

Ashes for Beauty: Scene II, TAG Gallery, Santa Monica, CA, SOLO

GEM Exhibition, LAAA/Gallery 825, Los Angeles, CA, Curator: Peter Mays

Small Works, TAG Gallery, Santa Monica, CA

Best of TAG – 2011, TAG Gallery, Santa Monica, CA

2010
Ashes for Beauty, TAG Gallery, Santa Monica, CA, SOLO

Small Works, TAG Gallery, Santa Monica, CA

Best of TAG – 2010, TAG Gallery, Santa Monica, CA

2009
Art Center College of Art & Design, Painting, Curator: Anne Saitzyk

Art Center College of Art & Design, Sculpture Photo – Catalog Cover

2008
Art Center College of Art & Design, CA, Sculpture, Curator: Chris Statoff

1978
Ann Arbor Street Fair, Ann Arbor, MI, Juried – U of M

Downriver Council of the Arts, Wyandotte, MI, Juried – Peoples Choice Award

PRIVATE COLLECTIONS

USA
Bel Air, CA
Beverly Hills, CA
Los Angeles, CA
Rancho Santa Fe, CA
San Francisco, CA
Tahoe, CA
St. Petersburg, FL
Tampa, FL
Alpena, MI
Bloomfield Hills, MI
Grosse Ile, MI
Orchard Lake, MI
New York, NY
Portland, OR

ASIA, CANADA, EUROPE, MIDDLE EAST
Milan, Italy
Pietrasanta, Italy
Todi, Italy
Beirut, Lebanon
Sarnia, Ontario
Taipei, Taiwan
Bangkok Thailand
Krabi, Thailand
Pattani, Thailand
Rayong, Thailandt
Songkla, Thailand
London, United Kingdom

 


 

> BOOKS

http://juliennejohnson.com/book.htm

TOUCHED, 8 x 8" Hard or Soft cover, Released September 2013, Available on Amazon.com

ASHES for BEAUTY, 12 x 12" Hard Cover or 8.5 x 8.5" Soft cover, Released July 2012, Available on Amazon.com

A CONVERSATION in ART, 8.5 x 8.5" Soft Cover, Released December 2013, Available on Amazon.com

Exhibited with these artists
Exhibited at these venues