“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.” —Mathew 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.

About the Artist

Johnnie Winona Ross received his MFA from the University of Illinois in 1973. He has won numerous awards including the International Support Grant from the Gottlieb Foundation, a Fulbright Artist in Residence Award, and Artist-Residence, Cite International des Artes, Paris, France. His work has been exhibited throughout the U.S and is in the collections of the Cleveland Museum of Art, The Portland Museum of Art in Portland, Maine and the Harwood Museum of Art. Between his galleries in NYC, Dallas, San Francisco, and New Mexico, Ross sells all of the work he produces—with collectors often waiting several months to purchase a painting.

About the Authors

Carter Ratcliff (writer of the main essay) is a leading art critic and contributing editor of Art in America. He has received numerous awards of distinction for his work, including a Guggenheim Fellowship, two National Endowment for the Arts’ Art Critics Grants, and a Poets Foundation Grant. Douglas Dreishpoon, Ph.D, (writer of the foreword) is the Senior Curator at the Albright-Knox, in Buffalo, NY.