“These are reductive images as presented, but the images themselves are heavily steeped in process. I’m talking about details here, multiple layers (and by multiple I mean as many as 30 sanded and repainted layers) really fine finishing of the work, as well as perfect presentation. To illustrate the point – JWR uses hand made cooper nails to attach his work to the stretcher – this little touch has a hint of Robert Ryman – not the hand made nail part, but including the viewer in on seeing the support behind the image. I really think this is a must see show, especially if you are interested in reductive/minimal work. Spend a little bit of time and you will be rewarded with some great work.” —Matthew Langley, in a review of an exhibition of Ross’ work at Stephen Haller, NY
Johnnie Winona Ross’ quiet, contemplative and painstakingly-produced paintings have created a stir in the contemporary art world. Often compared with Agnes Martin (for both the minimalist aesthetic and the connection to New Mexico), his reputation has been growing rapidly over the last few years. This is the first major publication on his work—and this marks the first investigation of his work from an art historical perspective.
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