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BLUES
2018. 60 parts. Oil on linen  
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DELFT MALCOM
2018, Oil on linen

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WHAT HAPPENED.
2018. 100 parts. Oil on linen
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PICTURE LAKE
Solo Exhibition. Opening at The Sunday Painter, London, 2017
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LIGHT ATLAS
Solo museum exhibition. Herron Galleries. Opening September 13, 2017. 

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TAKING PICTURES. 
The Metropolitan Museum of Art, a Collaboration with Daniel Heidkamp. June 26, 2017 - January 2018. 

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THE CLEAREST WAY INTO THE UNIVERSE.
American Genre. July 20, 2017 - September 15, 2017. 

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HISTORY IS A NIGHTMARE FROM WHICH I AM TRYING TO WAKE.  
Night Gallery, Los Angeles. June 30 - August, 2017. 

READING ROOM.
Derek Eller. New York. June 29 - August, 2017

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SOMEWHERE / SOMEONE
A collaboration with Curran Hatleberg. May 2018 - March 2018. 

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THERE IS NOTHING I COULD SAY THAT I HAVEN'T THOUGHT BEFORE. 
36 Works. 36 x 28 inches each. 2016-2017. 
In collaboration with Cory Arcangel, Sadie Barnette, Carol Bove, Sara Cwynar, Andy Coolquitt, Peter Dreher, Jessica Eaton, Awol Erizku, Roe Ethridge, Robert Gober, Josephine Halvorson, Anthea Hamilton, Peter Harkawik, Matthew Higgs, Jim Hodges, John Houck, Jeff Koons, Barbara Kruger, Louise Lawler, Margaret Lee, Allan McCollum, Josephine Meckseper, Jonathan Monk, Roula Partheniou, Richard Phillips, Charles Ray, Magali Reus, Jenna Rosenberg, Ed Ruscha, Tom Sachs, Erin Shirreff, Lorna Simpson, Julia Wachtel, Stanley Wolukau-Wanambwa, Fred Wilson, and Letha Wilson

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MoMA
32 Canvases: 14 x 19", 2017

THE CERTAINTY OF OTHERS
2017. 12 Canvases. 15 x 10" each. 
In collaboration with: Conor Backman, Jason Bereswill, Todd Bienvenu, Canyon Castator, TM Davy, Gregory Edwards, Matthew Hansel, Daniel Heidkamp, Paul Jacobsen, Chason Matthams, Tristan Unrau, and Dylan Vandenhoeck.


POSTCARDS
2016. 5 x 7 inches each. Edition of 180. Painted on the front, Individual text on the back. 
For one year, I painted, wrote, and sent postcards of the sites I passed back to collectors, friends and family. 
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I LOVE YOU MORE THAN ONE MORE DAY
2013. 365 canvases. 10 x 15 inches each. 
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Equinox Clock / Solstice Clock
2014/2016 Series of 4. Each 24 canvases: 6 x 6 inches each. 
On each of the equinox and solstice, I painted a clock over 24 hours, observing shifting light over 1 day.
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Night Walk
2015. 12 Canvases. 15 x 10" each. 
This piece depicts a walk I would take around my childhood home in Maryland. Painting at night, I retraced the walk.  
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Das Tauschregal [The Barter Shelf]
2014. 30 canvases: 10 x 10 inches each. 
In 2014, I traded 30 "objects of value" for the painting of the object. I solicited trade requests and traded with 30 different people, trading out one object per day over 1 month on a shelf in a bookstore.
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360 Sunset
2014. 24 parts: 24 x 6 inches each. 
I painted the sky around 360 degrees at sunset in Joshua Tree, California. The resulting 24 paintings, suggest both a shift of light and color across time and space, animating a kind of virtual sunset.  
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40 Days / 40 Nights
2014. Series of 2 Works: 40 canvases each: 12 x 9 inches. 
I painted the view outside my studio window for 40 days and 40 nights.  
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Rashomon Effect
2014. 30 parts: 9 x 12 inches each. 
Based off the famous shots filmed directly into the sun, I painted directly into the sun over one month.  

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Over / Under
2013. 6 Parts: 15 x 10 inches each. 


Countdown to the end of the world. 
2015 7 Parts: 19 x 14 inches each. 

Matterhorn, Paris 2014. 
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Reflection Reflection
2017, Collaboration with Matt Hansel

Light Index
2014. 9 parts: 24 x 6" each


Sky Clock
2012. 8 parts: 24 x 24 each


Any Window. Any Morning. Any Day.
A series of 24 paintings. 
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CCTV
2012. 30 parts: 12 x 16 inches each.
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Even now the mountain is crumbling. 
2015. 9 parts: 18 x 24 inches each. 

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ROWHOUSE PROJECT, Baltimore, 2015
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Everyone you ever loved will die, 2014
Five paintings with accompanying plaques. Each plaque announces the date the painting will be destroyed. The first was destroyed on December 4, 2015. 


Which is the sun, which is the shadow, 2013


LOVE WILL TEAR US APART, 2013


DIDACTIC (UNTITLED), 2013
For this project, I asked 5 writers and curators to each write a wall text from which I would produce a painting, thus reversing the standard relationship of generative and reactive forces. 
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PHUBAI IS ALL RIGHT, 2012


GLASS HOUSE, 2012
A front / back portrait of a single pane of glass at the Glass House, presented in the same frame Johnson designed for the single painting inside the Glass House, a Poussin. 


SIMULCAST OF THE AFTERPARTY, 2011


PORTRAITS, 2012
A series of portraits. Manzoni, Warhol, Beckett, Baldessari, Mies. 


WHITE COLUMNS, 2011
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