Oil and Paris metro posters and various collage on canvas, 48 × 48 inches, 2020-2013

Oil, acrylic and collage on board mounted to panel, 22.5 x 26 75 inches, 2012 (Private Collection, Kansas City, MO)

Oil, acrylic and collage on board, 13.24 x 17.75 inches, 2017 (Private Collection, Kansas City, MO)

Oil, acrylic and collage on board, 11 x 11 inches, 2017 (Collection Albrecht-Kemper Museum of Art, St. Joseph, MO)

Oil, acrylic and collage on paper, 12 × 12 inches, 2017 (Private Collection, San Francisco, CA

Oil on panel, 4 × 5 inches, 2024

oil, acrylic, and collage on paper, 11 × 17 inches, 2022

Oil and collage on wood panel, 11.5 x 8.5 inches, 2010 (Private Collection, Lawrence, KS)

Oil, acrylic, marker, crayon, and collage on board, 3 x 4 inches, 2009 (Private Collection, Lawrence, KS) 

Oil and collage on wood panel, 11.5 x 8.5 inches, 2005 (Private Collection, New York City, NY)

Oil, ink, graphite and collage on wood panel, 11.5 x 8.5 inches, 2006 (Private Collection, Paris, France)

Oil and collage on canvas, 36 x 48 inches, 2017 (Private Collection, San Francisco, CA)

Oil and collage on canvas, 36 x 48 inches, 2017 (Private Collection, Los Angeles, CA)

Oil, acrylic and collage on canvas, 48 x 60 inches, 2018 (Collection Kennedy Glass, Lawrence, KS)

Oil on paper, 4 × 16 inches, (Private Collection, Paris, France)

Oil and collage on canvas, 70 x 80 inches, 2017

“La Ville” in progress in Studio 5.

Stephen and his parents, opening reception of his 2012 solo show at Weinberger Fine Art, in Kansas City, MO.

Oil, enamel, charcoal and collage on canvas, 55 x 54 inches, 2009-2012

Oil and collage on canvas, 30 x 30 inches, 2017 (Private Collection)

oil, acrylic, collage and resin on panel, 18 × 18 inches, 2022

oil, acrylic, collage and resin on panel, 18 × 18 inches, 2022

oil, acrylic, collage and resin on panel, 18 × 18 inches, 2022

Oil, acrylic and collage on paper, 9.75 x 11.25 inches, 2017

Oil, acrylic and collage on paper, 9 x 13.75 inches, 2016 (Private Collection, Barcelona, Spain)

Oil and collage on paper, 8.25 x 13.75 inches, 2016 (Private Collection, Washington D.C.)

gouache and collage on paper, 3 3/8 × 4 ½ inches, 2022

Oil, acrylic and collage on paper, 5.5 x 4.75 inches, 2016

Oil, acrylic and collage on paper, 8 X 6 inches, 2017

Oil, acrylic and collage on paper, 4.5 x 7 inches, 2017

Oil, acrylic and collage on paper, 5.5 x 8 inches, 2017

Oil, acrylic and collage on paper, 10.25  x 13.25 inches, 2016 (Collection Albrecht-Kemper Museum of Art, St. Joseph, MO)

Oil, enamel, acrylic and collage on paper, 9.25 x 11.5 inches, 2016 (Private Collection, Kansas City, MO) 

Oil and collage on paper, 7.25 x 9.25 inches, 2016

Collage and rubber washer on carbon paper, 8.5 x 11 inches, 2010 (Private Collection, Hamburg, Germany)

Rubber Band, sweeTART, and collage on paper, 8.5 x 11 inches, 2005 (Private Collection, Lawrence, KS)

Mixed media collage on board, 24 x 43 inches, 2012 (Private Collection, Kansas City, MO)

Oil, acrylic and collage on paper, 10 x 13 inches, found frame, 2021 (Private Collection, Kansas City, MO)

collage onboard in antique frame, 6 × 8 inches (9 × 11 inches frame), 2022

Oil and collage on board, 1 ¾ x 1 ¾ inches (frame 2 1/3 × 12 1/3 inches), 2022 (Private Collection, Barcelona, Spain)

oil, acrylic, ink and collage on board, 4 x 4. 75 inches, 2004

Collage mounted on canvas, 19 ½ x 10 inches, 2002-2006 (Private Collection, Paris, France) 

“Affixed across and around an angled letter A are an array of abstracted and assembled bits of advertisements, and apparent among them are apostrophes, ampersands, accents, and an asterisk.” 

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Alphabet Soup: Work by Stephen T. Johnson, Jim Munce and Tony Fitzpatrick, Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, KS, 2008

Oil, enamel, bicycle tire, bowl, and collage on canvas, 78 x 68 inches, 2004-2007.

"Beside a bisected, black, bumpy bicycle tire, a bunch of busy burgundy brushstrokes blurs into a blue background with a broken bowl below at the bottom."

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Oil, enamel, bicycle tire, bowl, and collage on canvas, 78 x 68 inches, 2004-2007.

"Beside a bisected, black, bumpy bicycle tire, a bunch of busy burgundy brushstrokes blurs into a blue background with a broken bowl below at the bottom." — Caption from An Abstract Alphabet Series and A is for Art: An Abstract Alphabet, published by Simon & Schuster, NYC and a New York Times Best Illustrated Book of the Year.

An Abstract Alphabet: New Works by Stephen T. Johnson, The Spencer Museum of Art at the University of Kansas,
May 19 - August 5, 2007

Plexiglas and commercially confected candies, 48 inches in diameter x 3 inches deep, 2005

"Countless colorful candies consciously collected, crammed, crushed, and confined crowd a clear circular container filled to capacity."

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Detail of the letter C in blue gumballs.

Installation view of "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

plastic toy soldiers, enamel paint, plastic base that can turn clockwise or counterclockwise, 11¾ in diameter x 2½ inches, 2024

“Clashing combatants, comprised of contradictory conflicts spanning centuries, continents, and countries, are configured within a constrictive, circular composition, to challenge common conjectures, correlations, and cultural conventions concerning contemporary art.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

"Densely distributed dominoes, divided by dark and light dots on dual panels, disappear under drips of dramatically dashed paint dribbling downwards." 

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

An Abstract Alphabet: New Work by Stephen T. Johnson, Spencer Museum of Art, University of Kansas, Lawrence, KS, Solo Exhibition 2007

My wonderful, supportive Dad helping me with "Dotty Diptych" in my Studio B.

Final adhesion.

My enthusiastic daughters lent a helping had as well!

Abstractions by Stephen T. Johnson, Weinberger Fine Art, Kansas City, MO, Solo Exhibition, 2012

dominoes, felt, and enamel paint, wooden frame, 6 x 18 3/4 inches, 2024

“Dramatically dashed paint dribbled downwards descends over divided dark and light dominoes.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

Oil, ink, house paint, graphite, and collage on wood, 21 x 24 inches, 2004 (Private Collection, Paris, France)

"Examining the enigmatic elements in this work exposes an eagle, an ear, an elongated English red earthworm, an egg and dart motif (upper right edge), the Eiffel Tower, and an exclamation point!"

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Detail from Evidence

Fake French fries and acrylic paint on wooden panel, 75 x 54 inches, 2005

"Fourteen hundred and fifty-five fake French fries were flipped, flicked, and flung onto a full-size (75 x 54”) field of faint fuchsia.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Working on Fast Food Frenzy in my Studio B.

finger cots, clover, fake fur, Formica base, 10¼ x 7¼ x 1¼ inches, 2024

“Fluffy, faux-fox fur, fifty-five fuchsia-colored finger cots, and a four-leaf clover, form a funky, fanciful formation on a four-sided Formica form from France.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

chewing gum, glue, glycerin, glass globe, 4-inch sphere, 2024

“Gathered in glycerin inside a globular-shaped glass is a gestural grouping of gnarly green gum seeming to grow out of a gap in the globe.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

Gouache, graphite, glitter, gunpowder, gesso, glassine, and collage on paper mounted on panel, 26.5 x 40.5 inches, 2006

“Gradations of green, gray, and gold geometric groupings rendered with gouache, graphite, glitter, granulated gunpowder, and glue generate glimpses into golden ratios and the gamut of Greek thought.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Detail

Work seen with a final blue color coating as initially envisioned. Cost factors inhibited doing so for the moment.

Aluminum, steel wire rope, and hook, 14 x 5 x 5 feet, 2006-2008

"Hordes of handmade, homogenously hued, hollow hula hoops in a huge heap hang and hover from a hook high up, where the letter H is hidden." 

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Private dinner party won at auction to support a charity at my old Studio B in 2012.

Goofing around with Kansas City Pipeline Entrepreneurs during a studio visit, 2011

Resin, monofilaments, mirrors, reverse osmosis water, tracing dye, lights, powder-coated steel, painted wooden bases, and electrical components, 64 x 12 ½ x 12 x ½ inches each, 2005-2007

“Indoors, in an institutional interior, is an installation of individually illuminated, isolated, immobilized, immersed, inverted identical insoluble imitation ice cream cones.” 

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Installation view of "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Preparing the work with reverse osmosis water, the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Final touch — one drop in each tank of xanthene yellow dye.

“Stephen Johnson’s latest body of work, An Abstract Alphabet consists of twenty-six pieces that explore the dynamic and varied relationships between language and culture.  In his creative constructions, Johnson’s work acknowledges the arbitrariness of language and juxtaposes the absurd with the overlooked.  He alters the natural state of familiar objects in order to create original pieces that fit into a schema governed by the twenty-six letters of the alphabet.  By fusing objects linked only by their starting consonant, such as “typewritten text” “triangles” and “tarnished thumbtacks,” Johnson generates cohesive works, each inspired by one letter. Johnson’s work incorporates everyday objects in a playful manner and creates a new way of viewing the world.  His “Meditation on the Memory of a Princess” makes a bold statement with an oversized magenta mattress juxtaposed with a mini mauve marble.  Through re-contextualizing, Johnson’s innovative creations make viewers think about language and its relevance.” — David Cateforis & Emily Ryan, Professor and curator, the Spencer Museum of Art

The Art of Joelle Ford and Stephen T. Johnson Montgomery Museum of Fine Art, Montgomery, AL, 2012. {On the left is Camouflage, Ice Cream Floats center, and Recycled on the right.)

Goofing around with Joelle at the opening of The Art of Joelle Ford and Stephen T. Johnson Montgomery Museum of Fine Art, Montgomery, AL, 2012.  

steel, aluminum, vinyl, rubber, and plastics, 19 x 13 x 6 inches, 2005

“Jampacked juxtapositions of jagged, jutting, jammed, and jumbled junk joyfully and judiciously joined.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

oil, key, kapok, wooden knobs and twine on canvas, 80 x 76 inches (king-size), 2006-2007

“Knitted kitchen cloth, key, keyholes, kapok, knots, and knobs keep company near a king’s blue stripe on a king-size, kelly green canvas.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Solo Exhibition: Stephen T. Johnson: Visualizing Ideas from A to Z, Cider Gallery, Lawrence, KS, 2016

Oil and latex enamel on two wooden panels, with illuminated electric light, lightbulb and wooden ladder, 18 x 228 inches (24 feet), 2005

“Latched to the left of a long, long painting layered with lemon yellow, lavender, and light red latex and lit by a little lightbulb, a lime green ladder leans.” 

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Landscape in progress in Studio B.

Installation view of "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Nazdar printer’s ink, vinyl-coated nylon, molded plastic, nylon cording, 110 volt internal blower fan, and extension cord, 108 x 108 x 144 inches (9 x 9 x 12 feet), glass marble 1 x 1 inches, 2002 - 2006.

"Motionless, a man-made, monochromatic magenta mass mimics multiple mattresses and makes a massive mound near a mini mauve marble. (Look for the missing letter M in “Recycled.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Mauve marble and top view looking down onto Meditation on the Memory of a Princess.

Inflating the work then my daughters hamming it up before the photo shoot began!

Posing in my former studio in 2007 surrounded by a selection of works from my Abstract Alphabet Series.  (photo by Jon Blumb)

Oil, ink, gouache, charcoal, pastel, and collage on paper mounted to canvas, 25 x 24 inches, 2006-2007 (Collection Emprise Bank, Wichita, KS)

“Number nineteen is next to the letter N; nearby, the number nine neighbors a Naples yellow number ninety-nine.” — Caption from An Abstract Alphabet Series and A is for Art: An Abstract Alphabet, published by Simon & Schuster, NYC and a New York Times Best Illustrated Book of the Year.

oil and collage on wooden table, 36 x 22 x 16 inches, 2005

“Offset on an overall opaque orange oval is one off-centered, off-white oblique.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

packing foam peanuts, glue, polymer, gesso, acrylic, USPS box, 5 ½ x 8 5/8 x 2 3/8 inches, 2024

“Placed in a painted priority postal box, packing peanuts produce purposeless yet pleasing patterns.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

Arrchival print on 100% Museo Portfolio Rag Paper, 16 × 40 ½ inches, 2008

“Packed into this panoramic picture are:  Pancakes. Potato chips. Pencils. Pale pink paper clips. Photorealistic peas. Peanuts. Popcorn. A pinwheel. A plug. A plastic peeing putto. A portrait of a parrot in profile. A pen point. Polka-dots. Peacock feathers. Puzzle pieces. Purple paint pouring, pouring…period!”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

quilted cotton fabric, 60 × 80 inches (queen size) stretched on wooden frame.

“Queen-size quilt quartered by quadrants, with quadrilaterals, quotation marks, and question marks, invites queries as to queens, quilts, and quietude.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Collection School of Business, University of Kansas, Lawrence, KS

"Randomly placed, ready-made red and blue round rubber bands, rendered rigid by resin, reside in an upright rectangular receptacle.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

The Letters R and M references Marcel Duchamp’s readymade sculpture of 1917 titled “Fountain,” signed R. Mutt. It is also part of a little repartee in my book A is for Art: An Abstract Alphabet, where the letter M is missing from the work “Meditation on the Memory of a Princess,” and one must “Remember” to look for the “Missing” letter M in this work.

Accumulations: Paintings and Installations by Stephen T. Johnson and Joelle Ford, Montgomery Museum of Fine Arts, Montgomery, AL, 2012.

Pouring organic resin, one layer at a time.

rubber bands, resin, Plexiglas, 8 x 10 ¾ x 1 1/2 inches, 2024

“Residing in an upright rectangular receptacle are ready-made red and blue rubber bands rendered rigid by resin.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

100 constructed robots from my children's book My Little Blue Robot published by Simon & Schuster, NYC, were exhibited in 2010 at the Mulvane Museum of Art, Washburn University, Topeka Kansas.

“Remaindered robot books are recontextualized in rigorously rigid rows with one rebellious robot reversed.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

Overseeing building the robots with my father, daughter, assistants and museum staff.

Rubber Bands, 72 inches in diameter.

“Randomly placed, ready-made round rubber bands, are to be removed by visitors as a remembrance, resulting in a remnant of the rug.”

A literal abstraction from An Abstract Alphabet: New Work: by Stephen Johnson, the Spencer Museum of Art, 2007.

Rubber Bands, 72 inches in diameter.

“Randomly placed, ready-made red round rubber bands, are to be removed by visitors as a remembrance, resulting in a remnant of the rug.” 

A literal abstraction from An Abstract Alphabet: New Work: by Stephen Johnson, the Spencer Museum of Art, 2007.

Installation view of "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

powder-coated steel, various sizes from 6 ¼ x 3 x 1 ½  inches to 8 x 4 x 2 inches, 2006-2007

“Several sizes of shiny, solid, spoon-shaped, semiabstract sanguine, silver, and slate black sculptural statuettes standing on similar sleek-surfaced spheres, sunken in simple square stands with slits, cast soft, svelte, sinuous shadows.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Entrance to "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Oil, acrylic, gouache, tape, thumbtacks, tracing paper, collage and wooden train on three wooden panels, 28.5  x 55.5 inches, 2007 (Private Collection, New York City, NY)

“Thick-textured titanium white paint. Torn tan tape. Tabs. Triangles. Thin transparent tracing paper. A tag. Two-dimensional typewritten text. Three tarnished thumbtacks. Ten teal blue thumbprints. A tilted T. A tiny three-dimensional toy to tease out trains of thought.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Oil, acrylic, gouache, tape, thumbtacks and collage on wooden panels, 18.5 x 28.5 inches, 2007 

Oil, acrylic, gouache, tape and collage on wooden panels, 18.5 x 28.5 inches, 2007

Oil, acrylic, gouache, tape, collage and 3 dimensional train on wooden panels, 18.5 x 28.5 inches, 2007

oil on shaped wood, 54 x 54 x 5 inches, 2007

“Underneath—an umber-colored circle. Upside—uneven, unequal, ultramarine blue undulates around an upside-down, underlined, uppercase, umlauted U.” 

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Installation view of "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Presenting in front of Untitled at my solo exhibition — Art, Language & Play by Stephen T. Johnson, at the Guldner Gallery, Central Library, Kansas City Public Library, Kansas City, MO in 2012.

oil, enamel, vinyl, metal vents and collage on aluminum panels, 87 x 36 inches, 2006-2007

“Violet vents? Vibrantly vivid vermicelli? Vanishing vowels on verdant vinyl? A visually vertiginous vocalise?”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

wishbones, acrylic paint, metal stand and base, 10 x 10 x 7 inches, 2024

“Weightless whitewashed wishbones were woven into a weightier web of whimsical wavy wonderment.”

A literal abstraction from the ongoing series “An Abstract Alphabet.”

Wax, wool, wire and an object, various sizes, from 12 x 16 inches to 29 x 22 inches, 2005

“White waxy wall hangings, wrinkled and wavy—one wonders what’s within.”

Literal abstractions from the ongoing series “An Abstract Alphabet.” These works were published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year and a solo exhibition at the Spencer Museum of Art, University of Kansas in Lawrence, KS, 2007.

Working with Bob, the owner of Waxman Candles in Lawrence, Kansas. We are dipping my “Wrapped Wishes” in large vats of clear wax.

X-rays, xerography collage, xanthene yellow dye, painted metal box, glass, lights, electrical components and wire, 18 x 15 x 2 ¾ inches, 2008

“X-rays and xerographs of xylophones examine experiences exactly, expertly, exquisitely.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Oil, enamel, pastel, fabric, photographic reproductions, and collage on canvas, 73 x 64 inches, 2008 (Private Collection)

“Yams and yellow yolk on a yo-yo with yellow ochre-colored yarn. Yes!”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

oil, enamel, ink, pastel, crayons, charcoal, collage, and Zipatone on canvas, 63 ½ x 49 inches, 2007. (Collection One Light Luxury Apartments, Kansas City, MO)

“Zigging and zagging through a zodiac, zinnia, and zebra zips a zigzag.”

A literal abstraction from the ongoing series “An Abstract Alphabet.” This work was published by Simon & Schuster, NY in my book A is for Art: An Abstract Alphabet, a New York Times Best Illustrated Book of the Year.

Zippy in progress in Studio B.

Working on a few final touches.

Oil, acrylic and collage on canvas, 22 1/8 x 16 inches, 2009 

Artwork created for George Lucas and reproduced in the book Star Wars Visions, published by Abrams books in 2010. 

Collage material for Leiapop!, 2009

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017 (Private Collection, Los Angeles, CA)

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017 (Collection the Artist)

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017 (Private Collection, Hamburg, Germany)

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017 (KU Medical Center Collection, Kansas City, MO)

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2016

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2017

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2016 (KU Medical Center Collection, Kansas City, MO)

Oil, acrylic and collage on a kana card, 2 x 3 inches, 2016 (KU Medical Center Collection, Kansas City, MO)

Archival print on 100% Museo Portfolio Rag Paper, 33 x 24 inches, 2016 — $1,500.00 unframed.

Archival print on 100% Museo Portfolio Rag Paper, 33 x 24 inches, 2016 — $1,500.00 unframed.

Archival print on 100% Museo Portfolio Rag Paper, 33 x 24 inches, 2016 — $1,500.00 unframed.

Archival print on 100% Museo Portfolio Rag Paper, 27.5 x 23.75 inches, 2016 — $1,500.00 unframed.

Archival print on 100% Museo Portfolio Rag Paper, 34.5 x 23.75 inches, 2016 — $1,500.00 unframed.

Underneath my book “Alphabet City” open to the letters D and E. Building Stories, National Building Museum, Washington, D.C., January, 2024.

Sketchbook showing studies for the letter F from the book Alphabet City. National Building Museum, Washington, D.C., January, 2024. (Permanent Collection of the National Building Museum, Washington, D.C)

Goofing around at the opening for Building Stories, National Building Museum, Washington, D.C., January, 2024.

Wonderful opening reception and cocktail party for “Building Stories” The National Building Museum. Here with my lovely date amongst David Macaulay’s magnificent installation of organized chaos showcasing tons of preparatory sketches and book dummies.

The Distinguished Alumni Award Ceremony, School of Architecture & Design held at the Lied Center at the University of Kansas, Lawrence, KS, 2024

Opening reception from my solo show “Abstractions” at Weinberger Fine Art in Kansas City, MO, 2012.

Opening reception from my solo show “Abstractions” at Weinberger Fine Art in Kansas City, MO, 2012.

Opening reception from my solo show “Abstractions” at Weinberger Fine Art in Kansas City, MO, 2012.

Kim Weinberger and client at the opening reception from my solo show “Abstractions” at Weinberger Fine Art in Kansas City, MO, 2012.

Los Angeles collectors at my opening reception from my solo show “Abstractions” at Weinberger Fine Art in Kansas City, MO, 2012.

View from across the street as I spoke on June 21st, 2007 – Opening night of "An Abstract Alphabet: New Works by Stephen Johnson" at the Spencer Museum of Art. 

"An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Spencer Museum Summary: “Stephen Johnson’s latest body of work, An Abstract Alphabet consists of twenty-six pieces that explore the dynamic and varied relationships between language and culture. In his creative constructions, Johnson’s work acknowledges the arbitrariness of language and juxtaposes the absurd with the overlooked. He alters the natural state of familiar objects in order to create original pieces that fit into a schema governed by the twenty-six letters of the alphabet. By fusing objects linked only by their starting consonant, such as “typewritten text” “triangles” and “tarnished thumbtacks,” Johnson generates cohesive works, each inspired by one letter. Johnson’s work incorporates everyday objects in a playful manner and creates a new way of viewing the world. His “Meditation on the Memory of a Princess” makes a bold statement with an oversized magenta mattress juxtaposed with a mini mauve marble. Through re-contextualizing, Johnson’s innovative creations make viewers think about language and its relevance.” — David Cateforis & Emily Ryan, Professor and curator, the Spencer Museum of Art

Installation view of "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Giving a speech for a private reception sponsored by USBank during my exhibition: "An Abstract Alphabet: New Works by Stephen Johnson," the Spencer Museum of Art, the University of Kansas, Lawrence, KS, 2007.

Alphabet Soup: Work by Stephen T. Johnson, Jim Munce and Tony Fitzpatrick, Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, KS, 2008. STJ works represented were Landscape, Quiet Time Quilt, Ice Cream Floats, Untitled, Camouflage, and Rug No.1.

Accumulations: Paintings and Installations by Stephen T. Johnson and Joelle Ford, Montgomery Museum of Fine Arts, Montgomery, AL, 2012. STJ works exhibited were Camouflage, Ice Cream Floats, and Recycled.

Art and Ideas: Stephen T. Johnson, White Gallery, Sangre de Cristo Arts Center, Pueblo, CO, 2011

Art and Ideas: Stephen T. Johnson, White Gallery, Sangre de Cristo Arts Center, Pueblo, CO, 2011

My Little Red Toolbox and My Little Blue Robot Books – Art and Ideas: Stephen T. Johnson, White Gallery, Sangre de Cristo Arts Center, Pueblo, CO, 2011

Art and Ideas: Stephen T. Johnson, White Gallery, Sangre de Cristo Arts Center, Pueblo, CO, 2011

City by Numbers paintings – Art and Ideas: Stephen T. Johnson, White Gallery, Sangre de Cristo Arts Center, Pueblo, CO, 2011

Art and Ideas: Stephen T. Johnson, White Gallery, Sangre de Cristo Arts Center, Pueblo, CO, 2011

In the Academic Tradition, Connections between the Artist’s Work and his Art Collection, Albrecht-Kemper Museum of Art, St. Joseph, MO, 2022.

In the Academic Tradition, Connections between the Artist’s Work and his Art Collection, Albrecht-Kemper Museum of Art, St. Joseph, MO, 2022. Works from left to right are: The Wine colored Bodice (1928) by John Theodore Johnson (American, b. 1902- 1963); four works by Stephen; Academic Portrait Drawing of a Man (1924) by John Theodore Johnson (American, b. 1902- 1963); Study after Velàzquez by Stephen; Portrait of King Charles II of England in Armor (1654) by Circle of Philippe de Champaigne (Belgian/French, 1602-1674)

Stephen’s Father John Theodore Johnson, Jr. contemplating his drawings, as well as his father’s, his sons and many others in the exhibition: In the Academic Tradition, Connections between the Artist’s Work and his Art Collection, Albrecht-Kemper Museum of Art, St. Joseph, MO, 2022.

Stephen and his Mother in front of the big wall representing numerous artists as well as his work at his exhibition: In the Academic Tradition, Connections between the Artist’s Work and his Art Collection, Albrecht-Kemper Museum of Art, St. Joseph, MO, 2022.

In the Academic Tradition, Connections between the Artist’s Work and his Art Collection, Albrecht-Kemper Museum of Art, St. Joseph, MO, 2022. Works from left to right are: Nannia by Otto Greiner (German, 1869-1916) as well as two lithographs; 2 works by Heinrich Kley (German, 1863-1945); Male Nude Studies by Otto Greiner (German, 1869-1916); 2 ink drawings by José García Ramos (Spanish, 1852-1912); Basketball Playber (1997) by Stephen.

In the Academic Tradition, Connections between the Artist’s Work and his Art Collection, Albrecht-Kemper Museum of Art, St. Joseph, MO, 2022. Works from left to right are: Torso (1974) by John Theodore Johnson, Jr. (American, b. 1936- 2024); Nude Figure (1997) by Stephen; Meditation (1893) by Eugène Carrière (French, 1849-1906; The Symbolists (1987) by Stephen; Subway Passenger and Portrait of a Girl (1958) by David Levine (American, 1926-2009); Étude pour Passants (1890) by Eugène Carrière (French, 1849-1906); Untitled, (1986) and Self-Portrait (1991) by Stephen; Portrait of Lucie Carrière (1903) by Eugène Carrière (French, 1849-1906)

Presenting at the American Library Conference in San Francisco, California in 2015.

With my dear editor Paula Wiseman and the marvelous author Angela DiTerlizzi at the American Library Conference in San Francisco, California in 2015.

Family Day at The Katonah Museum of Art, Katonah, NY in conjunction with “The Interactive Art of Stephen T. Johnson,” exhibit. Year 2007.

Family Day at The Katonah Museum of Art, Katonah, NY in conjunction with “The Interactive Art of Stephen T. Johnson,” exhibit. Year 2007.

Opening of the School of Business, University of Kansas, Lawrence, KS in 2017 with my work “Ice Cream Floats” in their permanent collection.

Opening of the School of Business, University of Kansas, Lawrence, KS in 2017 with my piece “Quiet Time Quilt” in their permanent collection.

Nocturnes: Paintings and Prints by Stephen T. Johnson and Lisa Grossman, Lawrence Arts Center, Lawrence, KS, 2009

Some of Stephen’s work from Nocturnes: Paintings and Prints by Stephen T. Johnson and Lisa Grossman, Lawrence Arts Center, Lawrence, KS, 2009/

With my pastel Olympia II at the 2016 Lawrence Art Auction, Lawrence, KS.

With my pastel Male Nude at the 2011 Lawrence Art Auction, Lawrence, KS.

Delighted to be a featured presenter along with these esteemed author/illustrators at the National Association for the Education of Young Children (NAEYC) Conference, Orlando, FL in 2015.