Art by John Guy Johnston
Follow @jjprojects Instagram: jjprojects Email john@jjprojects.com
Manifestation, from my Graphs series, 2013 90cm x 60cm — — #painting #graph #contemporaryart #contemporarypainting #contemporaryartist #nzart #nzartist #artist #blackandwhite #artgram #artstagram #art #artwork #artcollector #artcollection #artcollecting A post shared by John G Johnston (@jjprojects) on Sep 25, 2017 at 11:33am PDT
Manifestation, from my Graphs series, 2013 90cm x 60cm — — #painting #graph #contemporaryart #contemporarypainting #contemporaryartist #nzart #nzartist #artist #blackandwhite #artgram #artstagram #art #artwork #artcollector #artcollection #artcollecting
A post shared by John G Johnston (@jjprojects) on Sep 25, 2017 at 11:33am PDT
Drone Empire Decoration, 2016 The world has nations threatening each other with total destruction again, so I thought this one was fairly topical. — #painting #contemporaryart #nzart #artgram #art #artwork #drones #trump #artcollection A post shared by John G Johnston (@jjprojects) on Sep 20, 2017 at 4:25pm PDT
Drone Empire Decoration, 2016 The world has nations threatening each other with total destruction again, so I thought this one was fairly topical. — #painting #contemporaryart #nzart #artgram #art #artwork #drones #trump #artcollection
A post shared by John G Johnston (@jjprojects) on Sep 20, 2017 at 4:25pm PDT
In 2012 I made 3 of these small Signature Cluster paintings. As the title suggests, they were made simply by writing my signature multiple times in clusters. I’ve worked with signatures, the often lauded marks of artistic authenticity and branding, periodically for a a long time. I’ve signed generic products for sale as part of installations (along with videos aping infomercials), made giant signatures with computer cut vinyl lettering, printed signatures across large inkjet-on-canvas banknotes, and scrawled signatures repeatedly across large sheets of black paper to resemble landscapes. I’ll work with “the artist’s signature” again at some stage. Signature Cluster Oil stick and acrylic on canvas 40.5cm x 30.5cm – #contemporaryart #artgram #art #painting #drawing #nzart #artwork #artist #signature A post shared by John G Johnston (@jjprojects) on Sep 5, 2017 at 2:27pm PDT
In 2012 I made 3 of these small Signature Cluster paintings. As the title suggests, they were made simply by writing my signature multiple times in clusters. I’ve worked with signatures, the often lauded marks of artistic authenticity and branding, periodically for a a long time. I’ve signed generic products for sale as part of installations (along with videos aping infomercials), made giant signatures with computer cut vinyl lettering, printed signatures across large inkjet-on-canvas banknotes, and scrawled signatures repeatedly across large sheets of black paper to resemble landscapes. I’ll work with “the artist’s signature” again at some stage. Signature Cluster Oil stick and acrylic on canvas 40.5cm x 30.5cm – #contemporaryart #artgram #art #painting #drawing #nzart #artwork #artist #signature
A post shared by John G Johnston (@jjprojects) on Sep 5, 2017 at 2:27pm PDT
One of my coin sculptures from the late 90s, installed here as part of my Face Value exhibition, Gallery 19, Sydney, 1999. I was thinking a lot about the peculiar economics of contemporary art at the time, and wrote my master’s thesis on that subject. The international art market has grown considerably since then, and ultra high net worth investors (UHNWI) are some of the world's most prominent contemporary art collectors. 40,000 x 5c coins 300 cm x 150 cm – #contemporaryart #artgram #sculpture #installation #art #investment #money #nzart #artcollecting #artmarket #artworld #artcollector #artwork #artstagram A post shared by John G Johnston (@jjprojects) on Aug 21, 2017 at 3:02pm PDT
One of my coin sculptures from the late 90s, installed here as part of my Face Value exhibition, Gallery 19, Sydney, 1999. I was thinking a lot about the peculiar economics of contemporary art at the time, and wrote my master’s thesis on that subject. The international art market has grown considerably since then, and ultra high net worth investors (UHNWI) are some of the world's most prominent contemporary art collectors. 40,000 x 5c coins 300 cm x 150 cm – #contemporaryart #artgram #sculpture #installation #art #investment #money #nzart #artcollecting #artmarket #artworld #artcollector #artwork #artstagram
A post shared by John G Johnston (@jjprojects) on Aug 21, 2017 at 3:02pm PDT
Drone Warfare Decoration, 2015 After seeing the news this morning, this seemed appropriate. The painting could just as well be titled Met with Fire and Fury. – #painting #contemporaryart #nzart #artgram #art #artistsoninstagram #art #artwork #art #drones A post shared by John Johnston (@jjprojects) on Aug 8, 2017 at 2:25pm PDT
Drone Warfare Decoration, 2015 After seeing the news this morning, this seemed appropriate. The painting could just as well be titled Met with Fire and Fury. – #painting #contemporaryart #nzart #artgram #art #artistsoninstagram #art #artwork #art #drones
A post shared by John Johnston (@jjprojects) on Aug 8, 2017 at 2:25pm PDT
Block Offer, 2017 100cm X 100cm Block Offer is part of my Oil Age series. Annually, New Zealand has been allocating petroleum drilling permits, covering large areas of land and seabed, to oil companies in a tender process called a Block Offer. #painting #contemporaryart #nzart #artgram #artwork #oil #environmental A post shared by John Johnston (@jjprojects) on Jul 26, 2017 at 4:29pm PDT
Block Offer, 2017 100cm X 100cm Block Offer is part of my Oil Age series. Annually, New Zealand has been allocating petroleum drilling permits, covering large areas of land and seabed, to oil companies in a tender process called a Block Offer. #painting #contemporaryart #nzart #artgram #artwork #oil #environmental
A post shared by John Johnston (@jjprojects) on Jul 26, 2017 at 4:29pm PDT
Oasis, 2013 – #painting #artgram #contemporaryart #nzart #art #artistsofinstagram A post shared by John Johnston (@jjprojects) on Jul 18, 2017 at 6:06pm PDT
Oasis, 2013 – #painting #artgram #contemporaryart #nzart #art #artistsofinstagram
A post shared by John Johnston (@jjprojects) on Jul 18, 2017 at 6:06pm PDT
Five Eyes Network, 2014. During late 2013 to early 2014, when the public debate surrounding spy agencies and digital mass surveillance was in full swing internationally, I made my first paintings on the Five Eyes theme. One of these included an outdoor version of the above painting, installed for a week in December, 2013 on the large telephone pole marking the Takapuna Beach landing point of New Zealand’s only undersea internet data cable. The above painting on canvas (35cm x 135cm) has not been exhibited but remains one of my personal faves. #painting #contemporaryart #nzart A post shared by John Johnston (@jjprojects) on Jul 4, 2017 at 2:21pm PDT
Five Eyes Network, 2014. During late 2013 to early 2014, when the public debate surrounding spy agencies and digital mass surveillance was in full swing internationally, I made my first paintings on the Five Eyes theme. One of these included an outdoor version of the above painting, installed for a week in December, 2013 on the large telephone pole marking the Takapuna Beach landing point of New Zealand’s only undersea internet data cable. The above painting on canvas (35cm x 135cm) has not been exhibited but remains one of my personal faves. #painting #contemporaryart #nzart
A post shared by John Johnston (@jjprojects) on Jul 4, 2017 at 2:21pm PDT
This painting is Simulations, from my small Graphs series, 2012. None of the Graphs paintings have been exhibited. At the time I'd been looking at different kinds of dramatic graphs, primary graphs to do with climate change and financial boom and bust. Climate change has often been on my mind when it comes to making art, and by 2012 it was only about 4 years since the beginning of the global financial crisis. These graph paintings have been on my mind again lately because of the significant housing bubbles in Australia and New Zealand. This painting, and others in the series, could just a well be simulations of how that all plays out. Some other paintings in the series are: Downfall, Growth, Peak, Crisis, Rise, Manifestation. #painting #contemporaryart #nzart A post shared by John Johnston (@jjprojects) on Jun 26, 2017 at 3:29pm PDT
This painting is Simulations, from my small Graphs series, 2012. None of the Graphs paintings have been exhibited. At the time I'd been looking at different kinds of dramatic graphs, primary graphs to do with climate change and financial boom and bust. Climate change has often been on my mind when it comes to making art, and by 2012 it was only about 4 years since the beginning of the global financial crisis. These graph paintings have been on my mind again lately because of the significant housing bubbles in Australia and New Zealand. This painting, and others in the series, could just a well be simulations of how that all plays out. Some other paintings in the series are: Downfall, Growth, Peak, Crisis, Rise, Manifestation. #painting #contemporaryart #nzart
A post shared by John Johnston (@jjprojects) on Jun 26, 2017 at 3:29pm PDT
This is a fairly close-up detail of an acrylic paint pen drawing, Signature Field 1, from 2013. In that year I made a small series of Signature Field drawings/paintings in which I repeatedly scrawled my signature all over large sheets of black paper like this. Signature Field 1 was shown in the inaugural Parkin Drawing Prize exhibition in Wellington in 2013. I’ve been interested in using signatures, those often lauded marks of artistic authenticity and branding, for a long time. No doubt I’ll return to “the artist’s signature" again at some stage. This series of work really continues a thread I pursued for a few years and quite a few exhibitions in Australia in the mid to late 1990s. The work involved using my signature in various ways, including on generic products for sale as part of art installations (along with videos aping infomercials), as giant computer cut vinyl lettering, and eventually across giant inkjet-print-on-canvas banknotes and novelty bank cheques. Growing up in New Zealand, I was well aware of Billy Apple’s (#billyapple, @billyapplecider, @maryandbillyapple) early and ongoing work with signature and artist-as-brand. In the 1990s the international art market was expanding rapidly, so this kind of work seemed all the more relevant to me. That work was in many ways a response to his. In hindsight, perhaps New Zealand may have been a more appropriate place to try and present that work, but I was living in Sydney at the time, working part-time at the Museum of Contemporary Art, and completing a Master’s at Sydney College of the Arts, so it made sense to show it in Australia. Still, it seemed quite out of step to what was being made in Oz at the time, which I didn't mind. #painting #drawing #contemporaryart #signature #brand #nzart A post shared by John Johnston (@jjprojects) on Jun 21, 2017 at 4:40pm PDT
This is a fairly close-up detail of an acrylic paint pen drawing, Signature Field 1, from 2013. In that year I made a small series of Signature Field drawings/paintings in which I repeatedly scrawled my signature all over large sheets of black paper like this. Signature Field 1 was shown in the inaugural Parkin Drawing Prize exhibition in Wellington in 2013. I’ve been interested in using signatures, those often lauded marks of artistic authenticity and branding, for a long time. No doubt I’ll return to “the artist’s signature" again at some stage. This series of work really continues a thread I pursued for a few years and quite a few exhibitions in Australia in the mid to late 1990s. The work involved using my signature in various ways, including on generic products for sale as part of art installations (along with videos aping infomercials), as giant computer cut vinyl lettering, and eventually across giant inkjet-print-on-canvas banknotes and novelty bank cheques. Growing up in New Zealand, I was well aware of Billy Apple’s (#billyapple, @billyapplecider, @maryandbillyapple) early and ongoing work with signature and artist-as-brand. In the 1990s the international art market was expanding rapidly, so this kind of work seemed all the more relevant to me. That work was in many ways a response to his. In hindsight, perhaps New Zealand may have been a more appropriate place to try and present that work, but I was living in Sydney at the time, working part-time at the Museum of Contemporary Art, and completing a Master’s at Sydney College of the Arts, so it made sense to show it in Australia. Still, it seemed quite out of step to what was being made in Oz at the time, which I didn't mind. #painting #drawing #contemporaryart #signature #brand #nzart
A post shared by John Johnston (@jjprojects) on Jun 21, 2017 at 4:40pm PDT