Picture Perfect,
Stephanie Hoppen
Exit (May), Abstraction in Photography
House and Garden US Edition (March), Cracking the Bar Code,
by Caroline Cunningham:
"It's admittedly difficult to look at his work and not think about candy-colored
bar codes, those ubiquitous symbols of consumerism whose futuristic beeps
record every purchase, but this shouldn't be a distraction. Lewis's prints
are joyful visual confections."
2003
Norari (June 5), Gallery 1 by 4, by Aya Harazono
2002
Pierogi Press (Number 8), Camel printed on page 22
The Express-Times (August 9), Post-Systemic Art brings new life to the ordinary, by Tony Sienzant: "…they are either sweet innocuous confections for the eye or pretty scary symbols of a consumerist technology that spoon-feeds us the 'candy' everybody wants…"
The Sunday Star-Ledger (July 21), A kaleidoscope of wit and whimsy, by Bydan Bischoff
Neo-Impressionism - Artists on the Edge, Points and Pixels, by Sabrina DeTurk in the catalogue for the exhibition at the Portland Museum of Art, ME
2001
Art On Paper (Sept-Oct Issue), Working Proof, review by Faye Hirsch:
"...Lots of artists are doing it (Tom Friedman and Jason Salavon are but two) - scanning in this or that and breaking it down into its basic color components, remade into abstract shapes. Jonathan Lewis has conceived an ingenious twist here, in his scans of 47 brand-name candy labels - 3 Musketeers, Jolly Rancher, Bit O'Honey, Butterfinger, etc. - which are distilled into..."
Blind Spot (Issue 18), front cover with 4 pages inside:
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Philadelphia
Weekly (July 4), User-Friendly Interface, by Gerard Brown:
"...Jonathan Lewis strikes an almost ideal balance of new and old media
with 20 Iris prints collectively titled See Candy. In each, a super-cool
abstraction of stripes - laughably derived from candy wrappers - gently
mocks art-world pretense..."