
Bartha Contemporary is pleased to present a two-part retrospective exhibition of works by Alan Johnson from the 1970’s to the present day. Part one held at the Cologne Art-fair, part two at Bartha Contemporary from early May to early July.
Alan Johnston’s two complementing presentations will feature works made over the past five decades. Since his first solo exhibition at Konrad Fischer in Düsseldorf in 1973, Johnston has continuously exhibited internationally. Indeed the exhibitions at Art Cologne and at the gallery in London will feature seminal works that were first exhibited in Museum exhibitions such as the 1978 exhibition at the Museum of Modern Art Oxford to the 2015 exhibition at the Mies van der Rohe Haus in Berlin, as well as Henry Moore Institute Leeds, Fruitmarket Gallery Edinburgh, Haus Wittgenstein Vienna and Inverleith House Edinburgh and others alongside key works from exhibitions held at important commercial galleries including Nigel Greenwood Gallery London, Jack Tilton Gallery in New York, Shimada Gallery in Yamaguchi and Tokyo to name only a few.
Institutional collections include Tate Britain; Scottish National Gallery of Modern Art, Edinburgh; Inverleith House Royal Botanic Garden, Edinburgh; Pier Art Centre, Stromness Orkney; Charles Carpenter Collection at The Carnegie Museum, Pittsburgh; Museum of Fine Art, Houston Texas; Yamaguchi Institute of Contemporary Art, Yamaguchi; AIAV, Akiyoshidai and Prefectural Centre for Contemporary Art, Osaka.
Alan Johnston was born in Edinburgh in 1945 where he lives and works. He studied at the Edinburgh College of Art and Royal College of Art London, received a D.A.A.D. Scholarship in 1972 at the Kunstakademie Düsseldorf and has since held several academic positions including Honorary Professor in Fine Art at the University of Dundee and Professor at the Edinburgh College of Art.
‘My work explores spatial contexts and relations through drawing and architectural construction, reflecting on the spatial and tactual implications in architecture where perceptual notions are rendered as common factors in sight and touch. This field is closely related to the work of Patrick Geddes, Philosophical Generalism, and Gesamtkunstwerk. This is a comparative context which has its roots in the practice of art, architecture and visual thinking in the West and the East, and relates to concepts and practices such as Wabi Sabi. I engage in collaborative initiatives in art and architecture with Professor Shinichi Ogawa, Tokyo, and Neil Gillespie, Edinburgh.’



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