Review in the SF Chronicle

Chronicle article of show at Dzine

“The show grew from Johnna’s work,” Dym says. “There’s a kind of push-back in her images. There’s sharp observation, but also a darkness about current times, without being heavy or even ugly.”

The show at Dzine looks great - there is a beautiful catalog and many great photos in the impressively large gallery. Thanks to the kind and impactful Ms. Dym for including my work.

Residency at RayKo Photo

Super excited to be a Artist-in-Residence at RayKo Photo Center. I've fallen in love with this beast of an enlarger and it's partner in crime: the only communally accessible chromogenic processor west of the Mississippi. Excited to dig into this new project and these impressive new facilities. 

Johnna Arnold at RayKo

Dzine Gallery ...And Everywhere InBetween

Dzine Gallery Show

Delighted to be a part of this group show at a fancy furniture showroom in San Francisco. A fun opening full of silver trays with goat cheese and impressive furniture to try. Curated by the wonderful and illustrious Miriam Dym, the show looks great, came with a nice catalog, and will be up for a generous six months. 

Dzine Gallery:

“... And Everything in Between.”

Through Aug. 28. 10 a.m.-6 p.m. Monday-Friday, 11 a.m.-5 p.m. Saturday.

128 Utah St., S.F. (415) 674-9430.

Headlands Show: Dreams and Reality

The In/Finite Hut and two In/Finite Potential photos are up as a part of a great show:  Reconnaissance at the Headlands Center for the Arts. The Hut is delighted to have now been presented on all three continents of the inner Bay Area - and very much likes being near the water. This show is full of solid, imaginative work worth the drive to go and see.  Up until March 9th. With the Headlands being one of the most beautiful places on earth; I recommend a visit.

In/Finite Hut goes to SF Camerawork

I am taking the hut over the new bridge today. the show will open to the public on September 11th and (better yet) there will be an opening on Friday, September 13th. Auspicious indeed.

I have altered the video for this new installation - a new planet, this one encircled by Interstate 580. For more information: SF Camerawork

In/Finite Hut at Traywick Contemporary

Dreaming up this felted hut and video installation was the easy part - it took a lot more work and determination than I had anticipated to bring it to life. An official thanks to Mr. Sean Olson, who was essential to both the design and assembly - and who shot this awesome video -  a time lapse of the piece being installed.

The hut will soon be on the move - heading to the Art Mrkt Art Fair May 16-19 at Fort Mason.


Refinery, I-80, Hercules, CA 2013  

Two new reviews of my show up at Traywick Contemporary

In the first, via the East Bay Express, my photographs have been deemed "Risky & Rebellious"

"An up-close view of the photographs yields another curiosity: horizontal streaks of pink or red light — the trails of speeding cars, captured by long camera exposures. Further illuminating the transitional quality of these images, these streaks also call attention to the fact that not just the built environment but Arnold, too, must have kept perfectly still for the duration of the shots. Thus, she places her human subject in a relationship of curious equivalence with the structures that dwarf her."  - East Bay Express, April 24, 2013

And in the second, in the East Bay Monthly,

"Arnold's deliberate, stable compositions are the result of her careful consideration of these sites, along with the demands of her tripod-mounted 4-by-5 inch camera, and long exposure times (as phantom vehicles and streaked tailights attest); her methods and images hark back to photography's first century. Arnold breaks from the classical tradition, however, by inserting herself, in various guises, into the landscapes. The pleasure of recognizing Arnold's sites is doubled by the anticipation of spotting Arnold reacting to the location." - East Bay Monthly, May, 2013


Excited to see some press for the show -  both on 7x7 and California Home Design:
"Massive desolate urban landscapes, sometimes dotted with one lone figure make Johnna Arnold’s large-scale photographs both eerie and captivating.  The Traywick Contemporary gallery in Berkeley is hosting an exhibition of her recent work titled In/Finite Potential. Arnold’s images play with light and time as long exposures show freeways in motion and lightened up nights. Along with the photographs, Traywick Contemporary is also showing a video and sound installation created by Arnold. Runs from March 17 to May 18, Traywick Contemporary, 895 Colusa Avenue."            -Dana Kerr

Catalog Online!

In conjunction with my new show at Traywick Contemporary, we have printed a catalog of images - twenty in all. It's a culmination of over two years of shooting, and comes with a fantastic essay by my friend and esteemed photographer Rebecca Horne. There are a limited amount of printed catalog's available, which you can buy through Traywick Contemporary. I've also uploaded the book online, just click here to browse.

SF Chronicle

Excited to have my work included in yesterday's review of three San Francisco photography shows - in a pretty big way. It was a big surprise to see my photo reproduced so big in the paper - and a bit of a surprise to read the criticism in such a public format - but I'm excited to have the visibility and the conversation out there.
Arnold's "Fake Rock, I-80, Rodeo, CA" (2011) presents a highway retaining wall molded, cut and colored to look like a natural outcropping.
This piece of public works fakery enshrines the assumption that none of us will look at our surroundings more carefully than a speeding driver can. The camera's steady gaze cannot make the fake any more real, but it might unmake the thought behind it.
(The fake rock climber on the fake rock wall, it is me.)
To read the full article online, Click here:

I'm excited to say that one of my new photos will be a part of the San Francisco Camerawork Auction, a fun once a year occurrence coming up on December 1st. The show is up now - an amazing grouping of photos and local talent. I've donated a slightly smaller than usual (24" x 30") version of Benicia Bridge/ Passenger Train. The last time I went to the auction there was a thrilling and serious atmosphere - Sean and I admired all the great photos that we couldn't quite afford to bid on, but could still enjoy. Now at their new beautiful location, I expect the atmosphere to be just as impressive. A catalog of all works donated can be found here.
Detail of: Passenger Train / I-80, Benicia, CA. 2012
A shortcoming of showing this work online is that there is much more detail in an image than is apparent. Above is a magnified detail of the Benicia Bridge image. The white and blue lines of light above my head are from a boat that went along the water during the exposure time - just around two minutes. The black along the wall at the bottom left of the frame are burn marks from people having  bonfires along the water (and under I-80) at this fairly amazing spot.

Rayko Instructor Interview

By the Home Depot, I-80, Oakland, CA (32" x 40" Digital C-print; 2011) 

Happy to have this new interview up on the Rayko Website - teaching there has been a fun learning experience. As they say, to truly learn a subject; teach it. Between the new students and the changing technology, teaching the beginning digital courses remains exciting. Photography is a magical thing, and showing people how to utilize their cameras helps me re-consider the basic precepts of photography - a treat within itself.

Nothing To See Here

I am super excited to be included in a show of four photographers at the San Francisco Art Commission Gallery entitled Nothing To See Here

The show opens next week, and is curated by Aimee LeDuc, who seems pretty wonderful. She came to my studio last month to look at my new photos and discuss her ideas for the show.  

As I see it, the primary connection between the four photographers selected is a desire to learn from landscapes usually passed over. With the continuing compartmentalization of our land photographers have plenty of opportunity to continue the subversive desire to document areas officially considered "uninteresting". Often utilized for human purposes, these locations are intended as a means not an end. This in itself is not a new interest in photography - what was new to me was Aimee's thoughts about the landscape as a stage. This idea being that in our contemporary "first-world lifestyle" we have separated ourselves from the land to such an extent (through digital media, cars, clocks, supermarkets and the rest) that the landscape becomes an option, something to enter into but not something to daily contend with. 

I'm fairly fascinated with this theory - a modern view of this historical relationship; one that sees us not necessarily as having lost, but instead having altered our perspective. 

Install of Nothing to See Here at SFAC Gallery

Meanwhile, an official thank you to Damian Taylor (now at Reprint Mint in San Leandro). Damian and his impressive Light Jet printer/processor helped me out in a couple of pinches while getting ready for this show- always with a smile. If anyone is looking for high quality digital C-prints in the Bay Area (up to 53" I believe) with a kind, flexible, knowledgeable printer at the helm, willing to work with the crazy artist’s timeline, I can't recommend Damian highly enough. Email: damian"at"reprintmint . com 

Oakland Estuary

Arnold Point, I-80, Oakland, CA (32" x 40" Digital C-print, 2012)  

I was lucky enough to find some time last week to head out to take photos with my most wonderful photo-assistant / friend Jen. We had two nights out in a row which felt both fun and indulgent.  Part of why Jen is so wonderful to work with is because she seems to genuinely enjoy heading out to these strange locations and carrying around awkward bits of photo equipment while I keep walking or driving in circles, looking for something that seems like it could work.
One of my lessons in shooting this new work is how incredibly important the lighting is. This sounds foolish to me when I write it, like a photographer stating only the most obvious, but there seems to be a 10-15 minute window at twilight in which the colors become more saturated and everything takes on a surreal glow of sorts.
Detail: Arnold Point, I-80, Oakland, CA
The other beauty of working this way has been the unexpected nature of adventure. Just before taking this photo Jen and I had been carrying my equipment through the muddy bay-lands below. As the tide moved in deceivingly quickly, the ground beneath us suddenly swelled with water, and we found ourselves literally stuck in the mud. Suddenly I could hear my pulse in my ears, I imagined embarrassing phone calls and/or shoe loss as I struggled- and with that all the little things I had been worrying about all day were gone. Out of the mud! Quick! Retreat! We will find a spot from the shore, and go from there...

Artist's Lecture at S.F. Art Institute this Monday

I am thrilled to be giving a noon-time artist's lecture this Monday, April 30th at the San Francisco Art Institute. I'll be in room 16A (to the right when you enter and reach the fish, then down the hall and on your right) ready to discuss the work I've made over the past ten years. It's been interesting thinking about the evolution of my work, and all of the experiences that have played a part in my getting to where I am now. I'll have some workprints with me from my newest body of work, and am hoping for some good conversation. The talk goes from 12-1 sharp, is free and open to the public. I hope to see you there!