Keith Johnson @ CEPA

Today I had the opportunity to view Keith Johnson's photographs at CEPA. It was great to see his signature square format (Hasselblad/film) photographs in action. While I appreciate his rectangle photos (I think they are digital, though I have never seen an actual print) I value the Extended Landscape on a formal level. I was particularly struck by two of Johnson's works. Clay, from 2005, is reminiscent of a detail of an Anselm Keifer painting. There is a wonderful luminosity that emerges from the images, which gives the work depth. Interesting enough, the actual piles in the photographs have very little depth in terms of volume. Of the actual prints in the gallery, three of the prints have a reddish, warm tint in the piles, while the fourth, a cooler green, which makes for a lovely, asymmetrical color balance. I found the grid, which is often used as a typological device, an interesting formal tool in creating a visual contrast of organic and human.

Keith Johnson, Clay, 2005

The second work that struck me was Pi/Life/18 from 2006. Again, the grid created an interesting formal tool in containing the various marks and traces, that Johnson captured with his camera on various green grass surface. There is formal restraint in this piece that allows the viewer eyes to dance among the 9 images. Your eyes never quite rest, yet one continually seems to be at ease. If you like looking, you will like Keith Johnsons' show. At CEPA through March 15.

Pi/Life/18, 2006

From Keith Johnson's website:

My photography is about my travels which I do a lot; sometimes to interesting places, sometimes not. I travel with my camera expecting to see things of interest photographically; I am rarely disappointed. I am interested in the way we have shaped the landscape, entertaining juxtapositions, color, and stuff. At its root it is about entertainment. Enjoy!

PS.2.26.08
Keith wrote me after this posting. He explained some of the tools he uses. Part of his email reads: All the work with the exception of P’town Shards was done either with the Hasselblad SWC or the Plaubel Makina W67. Shot on film (usually Kodak Portra 160VC but more recently Fuji 160C 120 or 220) Scanned with an Imacon 848 or Microtek 120tf, printed on Museo Silver Rag with Epson Ultrachrome on an Epson 7600.