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2012
Artvoice (January 25), 'Shop Til We Drop, by Jack Foran:
"Jonathan Lewis is working in what might be called the “full monte” version of photographic digital edit imaging...In image after image, garishly colored rectangles are stacked up like boxes of product lining super-lit avenues of overabundance."
2011
ArtsCriticATL.com (October 17), Six Artists Scavenge the Internet, by Robert Stalker
Art Critiqued (October 8), When Does Minimalism Become Too Minimal?, by Bradley Hayman
Six Hands And A Cheese Sandwich, Zavod P.A.R.A.S.I.T.E., by Michalis Pichler
Time Out (August 26), Signs of a Struggle: Photography in the Wake of Postmodernism, by Nina Caplan
Afterimage (Vol 37, No 6), Ruscha Rip-Off, Rip-Out, by Tom Sowden
Pittsburgh Post-Gazette (October 6), Silver Eye photography exhibit driven to abstraction, by Mary Thomas
Pittsburgh Tribune (October 28), Unreal Reality, by Kurt Shaw:
"In the pieces by him on display here from the series "Designer Labels," Lewis used a low-megapixel camera to capture the glittering facade of a Fendi store at night. He further pixelated the images in Photoshop, abstracting them to the point where the store's window and wares morph into elegant art-like ciphers...Lewis conflates the shopping mall with venues such as galleries and museums where cultural products are similarly branded, consumed and experienced."
The Tartan, Exhibit Redefines Photography, by Shweta Suresh
Extra Magazine Fotomuseum Antwerp (Summer), Space Invaders, by Steven Ceuppens
In The Loupe, Ad/Agency, by Leslie K Brown
Artscope Magazine (Jan/Feb), Ad/Agency, by Gary Duehr:
"Go into any mall and squint and you'll feel the hypnotic effect: all the candy-colored bits of vibrating color. This is what Jonathan Lewis expertly captures in his "WalmArt" series...It’s a strangely entrancing, Mr. Magoo kind of world that Lewis unveils."
2004
Picture Perfect,
Jacqui Small, by 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
Living Large in Small Spaces, Thames & Hudson, by Marisa Bartolucci
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), 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..."