tag:blogger.com,1999:blog-17962165862376537402012-01-06T15:54:26.060-08:00Joanne Mattera . 245 Eighth Avenue #245 . New York, NY 10011 . 917-921-0044. joanne@joannemattera.comJoanne Matterahttp://www.blogger.com/profile/02564594823192456546noreply@blogger.comBlogger21100tag:blogger.com,1999:blog-1796216586237653740.post-29759286824870876832008-10-11T14:36:00.000-07:002012-01-06T15:54:26.330-08:00<strong><span style="color: #999999;"><span style="color: #666666; font-size: large;">Selected Solo Exhibitions</span></span></strong><br /><br />2012 <strong>Soie</strong><em>&nbsp; </em>Structural Madness, New York City (online)<br />2011 <strong>Diamond Life</strong> Marcia Wood Gallery, Atlanta<br />2010 <strong>Travel With Me </strong>Arden Gallery, Boston<br />2009 <strong>The Unexpected Solo</strong> Arden Gallery, Boston<br />2008 <strong>Contemplating the Horizontal </strong>Arden Gallery, Boston<br /><span style="color: white;">2008</span><strong> Hue Again </strong>Schlosberg Gallery, Montserrat College of Art, Beverly, Mass.<br /><span style="color: white;">2008</span> (Curators: Leonie Bradbury and Shana Dumont)<br />2007 <strong>Silk Road</strong> OK Harris Works of Art, New York City<br /><span style="color: white;">2007</span> <strong>It’s Always About Hue, Isn’t It?</strong> Cervini Haas Gallery, Scottsdale<br />2006 <strong>Heat of the Moment </strong>Arden Gallery, Boston<br /><span style="color: white;">2006</span><strong> Pure Color</strong> Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2006</span> <strong>10 Years of Encaustic Painting</strong> Winfisky Gallery, Salem State College, Salem, Mass.<br />2004 <strong>New Paintings in Encaustic</strong> Arden Gallery, Boston<br /><span style="color: white;">2004</span> <strong>New Paintings</strong> Simon Gallery, Morristown, New Jersey<br /><span style="color: white;">2004</span> <strong>New Paintings</strong> Marcia Wood Gallery, Atlanta<br />2003 <strong>New Paintings</strong> Arden Gallery, Boston<br /><span style="color: white;">2003</span> <strong>Mudra: New Paintings</strong> Cervini Haas Gallery, Scottsdale<br />2002 <strong>Uttar: New Paintings</strong> Simon Gallery, Morristown<br />2001 <strong>New Encaustic Paintings</strong> Cervini Haas Gallery, Scottsdale<br />2000 <strong>New Encaustic Paintings</strong> Arden Gallery, Boston<br /><span style="color: white;">2000</span> <strong>Verso: Thought, Breath, Memory</strong> Espace Gallery, Manila, Philippines<br />1999<span style="color: white;">. </span><strong>New Paintings</strong> Marcia Wood Gallery, Atlanta<br />1996<span style="color: white;">. </span><strong>Linear Perspectives</strong> OK Harris Works of Art, New York City<br />1995<span style="color: white;">. </span><strong>New Paintings in Encaustic</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;"></span><br /><br /><span style="color: #999999;"><strong><span style="color: #666666; font-size: large;">Selected Group Exhibitions</span></strong></span><br /><br /><span style="color: black;">2012 <strong>Patterns, Systems, Structures: Abstraction in American Art</strong>, Montclair Art Museum</span><br /><span style="color: black;"><span style="color: white;">2012</span> Montclair, New Jersey &nbsp;(Curator: Gail Stavitsky)</span><br /><span style="color: white;">2012</span> <strong>Affordable Art Fair</strong>, Los Angeles Invited by Conrad Wilde Gallery, Tucson<br /><span style="color: white;">.</span><br /><span style="color: black;">2011 <strong>Aqua Art</strong>, <strong>Miami</strong> Invited by Conrad Wilde Gallery, Tucson</span><br /><span style="color: white;">2011</span> <strong>Drawing The Line #11</strong>, June Fitzpatrick Gallery, Portland, Maine <br /><span style="color: white;">2011</span> <strong>Women in Wax</strong>&nbsp; Sarasota Arts Center, Sarasota, Florida&nbsp; (Curator: Elena De la Ville)<br /><span style="color: white;">2011</span> <strong>Kindred Spirits</strong> Schiltkamp Gallery, Clark University, Worcester, Mass. (Curator: Toby Sisson)<br /><span style="color: white;">2011</span> </font><span style="color: black;"><strong>Sheer Color</strong> Conrad Wilde Gallery, Tucson, Arizona</span><br /><span style="color: black;"><span style="color: white;">2011</span><strong>The Summer Show</strong>&nbsp; DM Contemporary, New York City</span><br /><span style="color: black;"><span style="color: white;">2011 </span><strong>Surface Attraction</strong>&nbsp; Rice Polak Gallery, Provincetown, Mass.</span><br /><span style="color: black;"><span style="color: white;">2011</span> <strong>Plane Speaking</strong>&nbsp; McKenzie Fine Art, New York City</span><br /><span style="background-color: white; color: white;">2011 </span><strong>Baby It's Cold Outside</strong>&nbsp; Kenise Barnes Fine Art, Larchmont, New York<br /><span style="color: white;">.</span><br /><span style="color: black;">2010 <strong>Aqua Art</strong>, <strong>Miami</strong> Invited by Conrad Wilde Gallery, Tucson</span><br /><span style="background-color: white; color: white;">2010</span> <strong>Viewing Room</strong>&nbsp; Heidi Cho Gallery, New York City<br /><span style="color: black;"><span style="color: white;">2010</span> <strong>Pull: Print Portfolio Exhibition</strong> Marcia Wood Gallery, Atlanta</span><br /><span style="color: black;"><span style="color: white;">2010</span><strong> Castleton Twelve </strong>Project Space, Castleton, New York (Curators: Lisa Mackie and Peter Mackie)</span><br /><span style="color: black;"><span style="color: white;">2010</span> <strong>Art Hamptons</strong> Invited by DM Contemporary, New York</span><br /><span style="color: white;">2010</span> <strong>July Salon</strong> June Fitzpatrick Gallery, Portland, Maine<br /><span style="color: black;"><span style="color: white;">2010</span> <strong>Geometric Themes and Variations </strong>Gallery 128, New York (Curator: Gloria Klein)</span><br /><span style="color: white;">2010 </span><span style="color: black;"><strong>Inspire</strong> Amy Simon Fine Art, Westport, Connecticut</span><br /><span style="color: white;">2010</span> <span style="color: black;"><strong>Oasis </strong>Conrad Wilde Gallery, Tucson</span><br /><span style="color: white;">2010</span> <strong>Director's Choice</strong> Kenise Barnes Fine Art, Larchmont, New York<br /><span style="color: white;">2010</span> <strong>Love, Lust and Desire II</strong> McGowan Fine Art, Concord, New Hampshire<br /><span style="color: white;">.</span><br /><span style="color: black;">2009 <strong>Manhattan Preview </strong>DM Contemporary/Manhattan</span><br /><span style="color: black;"><span style="color: white;">2009 </span></span><span style="color: black;"><strong>Per Square Foot</strong> Conrad Wilde Gallery, Tucson</span><br /><span style="color: black;"><span style="color: white;">2009 </span><strong>Slippery When Wet</strong> Metaphor Contemporary Art, Brooklyn</span><br /><span style="color: black;"><span style="color: white;">2009 </span><strong>Summer Guest House</strong> Marcia Wood Gallery, Atlanta</span><br /><span style="color: white;">2009</span> <strong>Obsessions</strong> Adler &amp; Co. Gallery, San Francisco<br /><span style="color: black;"><span style="color: white;">2009</span> <strong>Stayin' Alive</strong> Metaphor Contemporary Art, Brooklyn</span><br /><span style="color: black;"><span style="color: white;">2009</span> <strong>GeoMetrics II </strong>Gallery 128, New York City (Curator: Gloria Klein)</span><br /><span style="color: white;">2009</span> <strong>Castle Hill at the Provincetown</strong> (Mass.) <strong>Art Association and Museum</strong>, Hans Hoffman Gallery<br /><span style="color: white;">2009</span> <strong>Gallery Artists: Works On Paper</strong> June Fitzpatrick Gallery, Portland, Maine<br /><span style="color: white;">2009</span> <strong>Love, Lust and Desire</strong> McGowan Fine Art, Concord, New Hampshire<br /><span style="color: white;">2009</span> <strong>Bridge Art Fair, New York</strong> Invited by DM Contemporary, Mill Neck, New York<br /><span style="color: white;">2009</span> <strong>Los Angeles Art Show</strong> Invited by Adler &amp; Co. Gallery, San Francisco<br /><span style="color: white;">. </span><br /><span style="color: black;">2008 </span><span style="color: black;"><strong>Material Color</strong> Hunterdon Museum of Art, Clinton, New Jersey (Cura</span><span style="color: black;">tor: Mary Birmingham)</span><br /><span style="color: black;"><span style="color: white;">2008 <span style="color: black;"><strong>No Chromophobia</strong> OK Harris Works of Art, New York City (Curator: Richard Witter) </span><br />2008 <span style="color: black;"><strong>Small Wonder</strong> Garson Baker Fine Art, New York City </span><br />2008</span><span style="color: black;"> </span><strong>Relative Geometries</strong> Conrad Wilde Gallery, Tucson<br /><span style="color: white;">2008 </span><strong>Gifts from the Studio</strong> Kenise Barnes Fine Art, Larchmont</span><br /><span style="color: black;"><span style="color: white;">2008 </span><strong>This Just in</strong> Marcia Wood Gallery, Atlanta</span><br /><span style="color: white;">2008<span style="color: black;"> <strong>Adler Group Show</strong> Adler &amp; Co. Gallery, San Francisco</span></span><br /><span style="color: white;">2008 <span style="color: black;"><strong>Calculated Color</strong> Higgins Art Gallery, Barnstable, Mass. (Curator: Jane Lincoln)</span></span><br /><span style="color: white;">2008</span> <strong>A Breath of Fresh</strong> <strong>Air</strong> Kenise Barnes Fine Art, Larchmont<br /><span style="color: white;">2008 <span style="color: black;"><strong>Fourth Anniversary Exhibition </strong>DM Contemporary, Mill Neck, New York</span></span><br /><span style="color: black;"><span style="color: white;">2008<span style="color: black;"><strong> Los Angeles Art Show</strong> Invited by Adler &amp; Co. Gallery, San Francisco </span><br />2008 </span><strong>Art Now Fair</strong><em> </em>New York City, Invited by DM Contemporary, Mill Neck, New York</span><br /><span style="color: white;">.</span><br />2007 <strong>Punchbowl</strong> Metaphor Contemporary Art, Brooklyn, New York<br /><span style="color: white;">2007</span> <strong>The Blogger Show</strong> Agni Gallery, New York City (Organizer: John Morris)<br /><span style="color: white;">2007</span> <strong>Gigantic Small Works Show</strong> Rosenfeld Gallery, Philadelphia<br /><span style="color: white;">2007</span> <strong>The Fusion Project</strong> June Fitzpatrick Gallery, Portland, Maine<br /><span style="color: white;">2007</span> <strong>Adler Group Show</strong> Adler &amp; Co. Gallery, San Francisco<br /><span style="color: white;">2007</span> <strong>Encaustic Invitational</strong> Conrad Wilde Gallery, Tucson<br /><span style="color: white;">2007</span> <span style="color: black;"><strong>Art Now Fair</strong></span> Miami Beach, invited by DM Contemporary, Mill Neck, New York<br /><span style="color: white;">2007</span> <strong>Red Dot Fair</strong> Miami Beach, invited by Arden Gallery, Boston<br /><span style="color: white;">2007</span> <strong>Los Angeles Art Show</strong> Invited by Adler and Co. Gallery, San Francisco<br /><span style="color: white;">2007</span> <strong>Red Dot Fair</strong> New York, invited by Kenise Barnes Fine Art, Larchmont<br /><br /><span style="color: white;">.</span>2006 <strong>Neo Plastic Redux</strong> Elizabeth Harris Gallery, New York City (Organizer: Miles Manning)<br /><span style="color: white;">2006</span> <strong>Gigantic Small Works Show</strong> Rosenfeld Gallery, Philadelphia<br /><span style="color: white;">2006</span> <strong>Nancy Manter, Joanne Mattera, Babe Shapiro</strong> DM Contemporary, Mill Neck, New York<br /><span style="color: white;">2006</span> <strong>A Thing of Beauty and A Joy Forever</strong> Kenise Barnes Fine Art, Larchmont<br /><span style="color: white;">2006</span> <strong>Minimal</strong> Minimal Works Gallery, Philadelphia<br /><span style="color: white;">2006</span> <strong>Luminous Depths</strong> Ben Shahn Galleries, Wm. Paterson University, Wayne, N.J.<br /><span style="color: white;">2006</span>(Curator: Nancy Einreinhofer)<br /><span style="color: white;">2006</span> <strong>Adler Group Show</strong> Adler &amp; Co. Gallery, San Francisco<br /><span style="color: white;">2006</span> <strong>Order(ed)</strong> Siano Gallery, Philadelphia (Curator: Julie Karabenick with essay by Roberta Fallon)<br /><span style="color: white;">2006</span> <strong>Flow Art Fair</strong> Miami Beach, invited by Kenise Barnes Fine Art, Larchmont<br /><span style="color: white;">2006</span> <strong>Art (212) Fair</strong> New York, invited by Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2006</span> <strong>Los Angeles Art Show</strong> Invited by Cervini Haas Gallery, Scottsdale<br /><br /><span style="color: white;">.</span>2005 <strong>What Did Puck Say?</strong> Heidi Cho Gallery, New York City<br /><span style="color: white;">2005</span> <strong>Engaging the Structural</strong> Broadway Gallery, New York City (Curator: Julie Karabenick)<br /><span style="color: white;">2005</span> <strong>Cooled and Collected:</strong> Modern Masters of Contemporary Encaustic, Boon Gallery, Salem, Mass.<br /><span style="color: white;">2005</span> <strong>Wish You Were Here IV</strong> A.I.R. Gallery, New York City<br /><span style="color: white;">2005</span> <strong>Color Theory</strong> Schweinfurth Art Center, Auburn, New York (Curator: Kenise Barnes)<br /><span style="color: white;">2005</span> <strong>Wax</strong> Art Brush Gallery, Lowell, Mass. (Curator: E. Linda Poras)<br /><span style="color: white;">2005</span> <strong>Works On Paper Invitational</strong> Cervini Haas Gallery, Scottsdale<br /><span style="color: white;">2005</span> <strong>Wax Works</strong> McGowan Fine Arts, Concord, New Hampshire<br /><span style="color: white;">2005</span> <strong>AAF Contemporary Fair</strong> New York, invited by Marcia Wood Gallery, Atlanta<br /><span style="color: white;">.</span><br />2004 <strong>Color Theory</strong> Kenise Barnes Fine Art, Larchmont, New York<br /><span style="color: white;">2004</span> <strong>Unbound: Selected Artists from ‘The Art of Encaustic Painting’</strong> R&amp;F<br /><span style="color: white;">2004</span> Gallery, Kingston, New York (Curator: Laura Moriarty)<br /><span style="color: white;">2004</span> <strong>Four New York Artists</strong> Patrick Olson Gallery, Plymouth, Michigan<br /><span style="color: white;">2004</span> <strong>AAF Contemporary Fair</strong> New York, invited by Marcia Wood Gallery, Atlanta<br /><span style="color: white;">.</span><br />2003 <strong>Encaustic Now II</strong> Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2003<span style="color: black;"> <strong>Wish You Were Here Too</strong> A.I.R. Gallery, New York City</span></span><br /><span style="color: white;"><span style="color: white;">2003</span><span style="color: black;"> <strong>The Way of Wax</strong> Winfisky Gallery at Salem State College, Salem, Mass. </span><br />2003<span style="color: black;"> <strong>Serenity</strong> Cervini Haas Gallery, Scottsdale </span><br />2003</span> <strong>AAF Contemporary Fair</strong> New York, Thatcher Projects, New York City<br /><span style="color: white;">2003</span> <strong>Art Santa Fe</strong> Invited by Cervini Haas Gallery, Scottsdale<br /><span style="color: white;">2003</span> <strong>Tickled Pink</strong> Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2003</span> <strong>Art Miami</strong> Invited by Arden Gallery, Boston<br /><span style="color: white;">.</span><br />2002 <strong>Work on Paper</strong> Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2002</span> <strong>Lush Abstraction</strong> Melanee Cooper Gallery, Chicago<br /><span style="color: white;">2002 </span><strong>Hot Wax</strong> Cummings Art Center at Connecticut College, New London<br /><span style="color: white;">2002</span> <strong>Artcetera</strong> Boston Center for the Arts, Boston<br /><span style="color: white;">2002</span> <strong>Works on Paper</strong> Cervini Haas Gallery, Scottsdale<br /><span style="color: white;">2002</span> <strong>The Postcard Show</strong> A.I.R. Gallery, New York City<br /><span style="color: white;">2002</span> <strong>Water</strong> Cervini Haas Gallery, Scottsdale<br /><span style="color: white;">2002</span> <strong>Enkaustikos: Wax As a Contemporary Medium</strong> Pentimenti Gallery, Philadelphia<br /><span style="color: white;">2002</span> <strong>Centering</strong> Sonoma Museum of Visual Art, Santa Rosa, California<br /><span style="color: white;">2002</span> <strong>Generations III</strong> A.I.R. Gallery, New York City<br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2002</span><strong> AAF Contemporary Fair</strong> New York, Thatcher Projects, New York City </span><br />2002</span> <strong>Art San Francisco</strong> Invited by Newzones Gallery, Calgary, Canada<br /><span style="color: white;">.</span><br />2001 <strong>Encaustic Now</strong> Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2001</span> <strong>Encaustic Works</strong> Arden Gallery, Boston<br /><span style="color: white;">2001</span> <strong>The Art of Encaustic Painting</strong> Cervini Haas Gallery, Scottsdale<br /><span style="color: white;">2001</span> <strong>Encaustic: Joanne Mattera and Friends</strong> Melanee Cooper Gallery, Chicago<br /><span style="color: white;">2001</span> <strong>Big Painting</strong> Cervini Haas Gallery, Scottsdale<br /><span style="color: white;">2001</span> <strong>Deck the Walls</strong> Newzones Gallery, Calgary<br /><span style="color: white;">.</span><br />2000 <strong>Constant Aesthetic</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">2000</span> <strong>Generations II: A Survey of Women Artists at the Millennium</strong> A.I.R Gallery, New York City<br /><span style="color: white;">2000</span> <strong>Aesthetic Boundaries</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">2000</span> <strong>The Other Side and This Side: The Art of Italian and </strong><strong>Italian-American </strong><br /><span style="color: white;">2000</span><strong> Women</strong> Casa Italiana, New York City<br /><span style="color: white;">2000</span> <strong>Pieces IV</strong> Gallery 128, New York City (Curator: Sylvia Netzer)<br /><span style="color: white;">2000</span> <strong>Waxing Poetic: Encaustic Art in America </strong>Knoxville (Tenn.) Museum of Art<br /><span style="color: white;">. </span><br />1999 <strong>Waxing Poetic: Encaustic Art in America</strong> Montclair (N.J.) Art Museum (Curator: Gail Stavitsky)<br /><span style="color: white;">1999</span> <strong>Signs, Codes and Surfaces</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">1999</span> <strong>Pieces III</strong> Gallery 128, New York City (Curator: Sylvia Netzer)<br /><span style="color: white;">1999</span> <strong>Los Angeles National</strong> Patricia Correia Gallery, Santa Monica<br /><span style="color: white;">.</span><br />1998 <strong>Contemporary Wax</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">1998</span> <strong>Small Works</strong> Washington Square East Gallery, New York City<br /><span style="color: white;">1998</span> <strong>Generations</strong> A.I.R. Gallery, New York City<br /><span style="color: white;">1998</span> <strong>Ron Ehrlich, Gregory Johnston, Joanne Mattera, Hiro Yokose</strong> Marcia Wood Gallery, Atlanta<br /><span style="color: white;">.</span><br />1997 <strong>Cultural Markers</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">1997</span> <strong>1+1=3: Independent Artists, Collaborative Art</strong> Alicia Torres Fine Art, New York City<br /><span style="color: white;">1997</span> <strong>Material Girls: Gender, Process and Abstract Art Since 1970</strong> Gallery 128,<br /><span style="color: white;">1997</span> New York City (Curator: Harmony Hammond)<br /><span style="color: white;">1997</span> <strong>Inaugural Show</strong> Christine Adapon Gallery, Manila<br /><span style="color: white;">.</span><br />1996 <strong>Cultural Markers</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">.</span><br />1995 <strong>Small Works</strong> Stephen Haller Gallery, New York City<br /><span style="color: white;">1995</span> <strong>Virtuosity Art Fair</strong> The Armory, New York, invited by Stephen Haller Gallery, New York City<br /><span style="color: white;">.</span><br />1994 <strong>Waxing Minimal: Joanne Mattera, Inger Sand Lee, Tom Sime</strong> Denise Bibro Fine Art, New York City<br /><span style="color: white;">1994</span> <strong>Signs, Codes &amp; Alphabets</strong> Tribeca 148, New York City<br /><span style="color: white;">1994</span> <strong>Small Works</strong> Washington Square East Gallery, New York City<br /><span style="color: white;">.</span><br />1993 <strong>93 Wishes for '94</strong> Steinbaum Krauss Gallery, New York City<br /><span style="color: white;">1993</span> <strong>Small Works</strong> East West Cultural Center, New York City<br /><span style="color: white;">1993</span> <strong>Works on Paper</strong> Berkshire Museum, Pittsfield, Mass. (Curator: Andre Emmerich)<br /><span style="color: white;">.</span><br />1982 <strong>Works on Paper</strong> Eve Mannes Gallery, Atlanta<br /><span style="color: white;">1982</span> <strong>Collage: Eleven Contemporary Artists</strong> Wheaton College, Norton, Mass. (Curator: Pallas Lombardi)<br /><span style="color: white;">.</span><br />1981 <strong>Third Textile Biennial</strong> Savaria Museum, Szombatheley, Hungary<br /><span style="color: white;">1981</span> <strong>Selected Works</strong> Bartok Gallery, Budapest<br /><span style="color: white;">1981</span> <strong>Collage: Eleven Contemporary Artists</strong> Wheaton College, Norton, Mass. (Curator: Pallas Lombardi)<br /><span style="color: white;">.</span><br /><span style="color: black;">1980 </span><strong>Artist/Artisan</strong> Bass Museum of Art, Miami Beach<br /><span style="color: white;">1980</span> <strong>Paper</strong> Hera Gallery, Providence<br /><span style="color: white;">. </span><br />1979 <strong>Paper: Metamorphoses</strong> Florence Duhl Gallery, New York City<br /><span style="color: white;">1979</span> <strong>Ninth International Biennale de la Tapisserie</strong> Musee des Beaux Arts, Lausanne, Switzerland<br /><span style="color: white;">1979 </span><span style="color: black;"><strong>New Work</strong> Sunne Savage Gallery, Boston</span><br /><span style="color: white;">.</span><br />1978 <strong>New Works</strong> Hadler/Rodriguez Gallery, New York City<br /><span style="color: white;">1978</span> <strong>Small Works: An Invitational</strong> Touchstone Gallery, New York City<br /><span style="color: white;">.</span><br /><strong><span style="color: #666666; font-size: 130%;">Selected Awards</span></strong><br />2007 Ella Jackson Chair, Castle Hill Center for the Arts, Truro, Mass.<br />2005 Artist’s Resource Trust grant, a fund of the Berkshire Taconic Foundation, Massachusetts<br /><span style="color: white;">.</span><br /><strong><span style="color: #999999;"><span style="color: #666666; font-size: 130%;">Selected Collections</span></span></strong><br />The Montclair Art Museum, Montclair, New Jersey<br />Connecticut College, Print Collection<br />University Libraries Collection, State University of New York at Albany<br />Wheaton College Gallery, Permanent Collection, Norton, Massachusetts<br />Alston &amp; Bird, Atlanta and Washington, D.C.<br />Bank of America<br />Beacon Properties, Boston<br />Dana Farber Institute, Boston<br />Delta Airlines, Boston<br />Evans Encaustics, Sonoma, California<br />McKee Nelson, New York City<br />Pacific Peninsula Group, Menlo Park, California<br />PricewaterhouseCoopers, Florham Park, New Jersey<br />R&amp;F Paints, Kingston, New York<br />Red Wheel/Weiser Books, Boston<br />U.S. Embassies, Slovenia and Poland<br />Consulate of Brunei<br />Eduardo Calma Architecture, Makati City, Philippines<br />Private collections: United States, Canada, the Philippines<br /><br /><span style="color: white;"><strong><span style="color: #666666; font-size: 130%;">Curatorial Projects</span></strong><span style="color: black;"> </span></span><br />2012 <strong>Textility</strong>&nbsp; co-curator (with Mary Birmingham), Visual Art Center of New Jersey, Summit<br /><span style="color: white;"><span style="color: black;">2011 <strong>Encaustic Works 2011 </strong>&nbsp;juror for an exhibition in print, R &amp; F Gallery, Kingston, New York</span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2011</span> <strong>New England Collective II</strong>, juror, Galatea Fine Art, Boston</span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2011</span> <strong>Conversations</strong>, co-curator (with Laura Moriarty) at R &amp; F Gallery, Kingston, N.Y </span></span><br /><span style="color: white;"><span style="color: black;">2010 <strong>Wax Libris II</strong> curator, Paul Scott Library, Montserrat College of Art, Beverly, Mass.</span></span><br /><span style="color: white;"><span style="color: black;">2009 <strong>Wax Libris</strong> curator, Paul Scott Library, Montserrat College of Art</span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2009</span> <strong>Blogpix,</strong><em> </em>one of several curators, Platform Project Space, New York City</span></span><br /><span style="color: white;"><span style="color: black;">2007 <strong>Luxe, Calme et Volupte’</strong> curator, Marcia Wood Gallery, Atlanta<br />2007 <strong>Thinking in Wax </strong>juror, Castle Hill Center for the Arts, Truro, Mass.<br />2003 <strong>The Whole Ball of Wax </strong>juror, Woman Made Gallery, Chicago<br />1993 <strong>Objects of Their Affection</strong> curator, InterArt Center, New York City<br />1982 <strong>Artists on the Grid</strong> curator, Svetlana Rockwell Gallery, Cambridge </span></span><br /><span style="color: white;"><br /></span><span style="color: white;"><span style="font-size: 130%;"><strong><span style="color: #666666;">Organized Events</span></strong></span></span><br /><span style="color: white;"><span style="color: black;">Co-organizer, Art Bloggers @, an adhoc group of art bloggers that convenes around the art fairs in Miami, New York and elsewhere </span></span><br /><span style="color: white;"><span style="color: black;">Founder and Director,&nbsp;International Encaustic Conference;&nbsp;Provincetown, Mass., in co-production w/ Truro Center for the Arts at Castle Hill</span></span><br /><span style="color: white;">.</span><br /><span style="color: #999999;"><strong><span style="color: #666666; font-size: 130%;">Academic Affiliations</span></strong></span><br /><span style="font-family: arial; font-size: 85%;">2005-10 </span>&nbsp;Massachusetts College of Art, Boston; Visiting Lecturer, 2D Fine Arts Department<br /><span style="color: white;">.</span><br /><span style="color: #999999;"><span style="font-size: 130%;"><strong><span style="color: #666666;">Visiting Artist</span> </strong></span></span><br />2011 College of Visual and Performing Arts, University of Massachusetts, Dartmouth<br />&nbsp;<span style="color: white;">2011</span> Visiting Artist and Scholars Series, Georgia State University, Atlanta<br />2009 Distinguished Visiting Artist series, Marywood University, Scranton, Pa.<br />2007 Ella Jackson Chair, Castle Hill Center for the Arts, Truro, Massachusetts<br /><span style="color: white;">2007</span> Montana State University, Bozeman<br />2004 Montserrat College of Art, Beverly, Massachusetts<br />2002 Weissman Visiting Artist, Connecticut College, New London<br />1999 University of New York at Albany<br /><br /><span style="color: #999999;"><strong><span style="color: #666666; font-size: 130%;">Talks, Panels</span></strong></span><br /><span style="color: black;"><span style="color: black;">2012 <strong>Speaker</strong>, "Looking at Wax," Art Students League, New York City</span></span><br /><span style="color: black;"><span style="color: black;">2011 <strong>Speaker</strong>, "Bloggers' Guide to the Fair" with Franklin Einspruch,&nbsp;Art Bloggers @ Art Miami</span></span><br /><span style="color: black;"><span style="color: black;">2010 <strong>Speaker</strong>, "Affinities: Fiber and Wax," Textile Study Group of New York, New York City</span></span><br /><span style="color: black;"><span style="color: black;">2009 <strong>Moderator</strong>, "Finding Our Niche in the Blogosphere," Art Bloggers @ Art Miami</span></span><br /><span style="color: black;"><span style="color: black;"><span style="color: white;">2009</span> <strong>Moderator</strong>, "Blogpix" panel in conjunction with show at Platform Project Space, New York City </span></span><br /><span style="color: black;"><span style="color: black;"><span style="color: white;">2009</span> <strong>Moderator</strong>, "Conservators in Conversation," panel in conjunction with&nbsp;International Encaustic</span></span> <span style="color: black;"><span style="color: black;">Conference, Beverly, Mass.</span></span><br />2008 <strong>Moderator</strong>, "Art Bloggers @ Red Dot," New York City, during art fair week in March<br /><span style="color: white;">2008 </span><strong>Presenter</strong>, "Finding a Place for Yourself in the Art World," College Art Association, Dallas <br />2007 <strong>Keynote speaker</strong>, "Almost Mainstream After 2000 Years," International Encaustic Conference, Beverly, Mass.<br />&nbsp;<span style="color: white;">2007</span> <strong>Panelist</strong>, "Encaustic Painting,"June Fitzpatrick Gallery, Portland, Maine <br />2005 <strong>Keynote Speaker</strong>, "Building and Sustaining a Career in Art,"Art League of Northern California, Novato<br /><span style="color: white;">2005</span> <strong>Speaker</strong>, "The Art of Encaustic Painting," The Brush Gallery, Lowell, Mass. <br /><span style="color: white;">2005</span> <strong>Speaker</strong>,&nbsp;"2000 Years of Encaustic Painting," River Tree Center for the Arts, Kennebunk, Maine<br />2004 <strong>Guest Lecturer</strong>, "Encaustic Painting," City College, New York City<br /><span style="color: white;">2004</span> <strong>Guest Lecturer</strong>, "Encaustic Forum," R &amp; F Gallery, Kingston, New York <br />2001 <strong>Panelist</strong>, "Contemporary Italian-American Women Artists,"&nbsp; Ellis Island, New York City<br /><span style="color: white;">2000</span> <strong>Speaker</strong>, "Material Influences," Casa Italiana, New York University, New York City<br />2000&nbsp; <strong>Panelist</strong>, Artists Talk on Art, New York City; Encaustic Painting<br />1999<span style="color: white;">.</span> <strong>Panelis</strong>t, Painter’s Forum, New York City; Encaustic Painting<br /><span style="color: white;">.</span><br /><strong><span style="color: #999999;"><span style="font-size: 130%;"><span style="color: #666666;">Writing </span></span></span></strong><br /><span style="font-family: arial; font-size: 85%;">Current</span> <a href="http://www.joannemattera.blogspot.com/"><strong><span style="color: #666666;">Joanne Mattera Art Blog</span></strong></a>: reports, observations and opinions<br />2011 "Material Means: Diverse Practices, Common Threads," curator's essay for <em>Textility,</em> Visual Art Center of New Jersey, Summit<br />2011 "Everything into the Pool," juror's essay for <em>Encaustic Works '11,</em> exhibition in book form, Gallery at R&amp;F, Kingston, New York<br /><span style="color: white;">2011</span> "Sheila Hicks: Fifty Years," Surface Design Journal, Summer issue<br />2010 "Affinities: Fiber and Wax," Surface Design Journal, Winter&nbsp;issue&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />2007 <a href="http://www.marciawoodgallery.com/luxe_calme/essay.html"><strong><span style="color: #666666;">Luxe, Calme et Volupte: A Meditation on Visual Pleasure</span></strong></a>, essay for my<br /><span style="color: white;">2007</span> curated exhibition at the Marcia Wood Gallery, Atlanta<br /><span style="color: white;">2007 </span><span style="color: black;">"</span>Exquisite Dualities: The Recent Paintings of Alexandre Masino," essay<br /><span style="color: white;">2007</span> "Material Witness: Silken Surfaces in Wax," essay of my work for the Surface Design Journal, Fall issue<br />2006 "Encaustic: The ‘New’ Art Medium, Just 2000 Years Old," essay for<br /><span style="color: white;">2006 </span>"Luminous Depths" catalog and exhibition<br />2006 "Dancing Shards: Between Order and Intuition," essay for painter Gloria Klein<br /><span style="color: white;">2006</span> "<a href="http://www.kevinfrankpaintings.com/pages/essay.html"><strong><span style="color: #666666;">Kevin Frank: The World in a Still Life</span></strong></a>," essay<br />2005 "Betsy Eby: Give and Take,"<em> </em>essay for the Seattle-based painter<br />2001 <em>The Art of Encaustic Painting: Contemporary Expression in the Ancient </em><br /><em><span style="color: white;">2001 </span>Medium of Pigmented Wax,</em> Watson-Guptill, New York<br />1981-83 <em>Fiberarts,</em> Editor in Chief<br /><span style="color: white;">.</span><br /><strong><span style="color: #999999;"><span style="font-size: 130%;"><span style="color: #666666;">Selected Bibliography</span></span></span><span style="color: white; font-size: 78%;">.</span></strong><br /><strong>Books</strong><br />2011 <em>Against the Tide,</em> Two Coats of Paint Press; Sharon Butler<br />2011 <em>The Art of Reading Italian Americana,</em> Bordighera Press; Fred Gardaph<span style="font-family: Arial; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-US;">é</span>; cover art<br />2010 <em>Encaustic with a Textile Sensibility,</em> Waxy Buildup Press; Daniella Woolf<br />2009 <em>The Artist's Guide: Making A Living Doing What You Love,</em> Da Capo; Jackie Battenfield<br />2005 <em>Abstract Painting,</em> Watson Guptill; Vicky Perry<br />2003 <em>In Our Own Voices: Perspectives on Italian and Italian-American Women, </em>Bordighera; Eliz. G. Messina, ed.<br />2001 <em>Spirit Maps,</em> Red Wheel/Weiser; Joanna Arettam<br />2000 <em>Lesbian Art in America,</em> Rizzoli; &nbsp;Harmony Hammond<br />1999 <em>Waxing Poetic: Encaustic Art in America</em>; Montclair Art Museum/Rutgers Univ. Press; Gail Stavitsky, ed.<span style="color: white;">.</span><br /><strong><span style="color: white;">.</span></strong><br /><strong>Print and Online</strong><br />2011 Artcritical, <strong><a href="http://artcritical.com/2011/12/02/standing-out-in-art-fairs/"><span style="color: #666666;">Get Lost! Victims and Victors of the Art Fair Grid</span></a></strong>, David Cohen; December 2<br /><span style="color: white;">2011</span> Boston Globe Magazine, "Keeping it Simple," Jaci Conry; November 13, 2011<br /><span style="color: white;">2011</span> Artcritical, <a href="http://artcritical.com/2011/08/31/bookmarked-hofmann/"><strong><span style="color: #666666;">Artists Who Write Write for a Purpose</span></strong></a>, George Hofmann; August 31<br /><span style="color: white;">2011</span> ArtscriticATL, "Joanne Mattera at Marcia Wood Gallery," Felicia Feaster; May 13<br /><br />2010 <span style="color: #999999;"><span style="color: black;">Artcritical, <a href="http://artcritical.com/2010/11/21/report-from-boston/"><strong><span style="color: #666666;">Abstraction in a Cold Climate</span></strong></a>, Franklin Einspruch; December</span></span><br /><span style="color: white;">2010</span> Culture Surfing, "<a href="http://clatl.com/culturesurfing/archives/2010/10/07/marcia-wood-pulls-her-artists-in-different-directions"><span style="color: #666666;"><strong>Marcia Wood <em>Pulls</em> Her Artists in Different Directions</strong></span></a>," Deanna Sirlin; Oct. 7<br /><span style="color: white;">2010</span> Maine Sunday Telegram, "<a href="http://www.pressherald.com/life/audience/seeing-monhegan-in-cold-clear-light_2010-07-25.html"><strong><span style="color: #666666;">Refinement Multiplied</span></strong></a>," Philip Isaacson; July 25<br /><span style="color: #999999;"><span style="color: black;"><span style="color: white;">2010</span> Portland Phoenix, "<a href="http://portland.thephoenix.com/arts/105677-bright-lines/"><strong><span style="color: #666666;">Bright Lines at June Fitzpatrick</span></strong></a>," Nicholas Schroeder; July 20 </span></span><br /><br /><span style="color: #999999;"><span style="color: black;">2009<strong> </strong></span></span>Zocalo, "<a href="http://www.thezmag.com/blog-83-per-square-foot-at-conrd-wilde.html"><strong><span style="color: #666666;">Per Square Foot at Conrad Wilde</span></strong></a>," Dolly Spaulding, December 10<br /><span style="color: white;"><span style="color: #999999;"><span style="color: black;">&nbsp;</span></span><span style="color: white;">2009</span><span style="color: #999999;"><span style="color: black;">View List at Minus Space, <a href="http://www.minusspace.com/2009/07/viewlist-bulletinboard-inspirationinformation/"><strong><span style="color: #666666;">Bulletin Board: Inspiration Information</span></strong></a>, curated by Karen Schifano</span></span><br /><span style="color: #999999;"><span style="color: black;"><span style="color: white;">2009</span> Making the Art Seen, <a href="http://as16online.blogspot.com/2009/07/featured-painter-joanne-mattera.html"><strong><span style="color: #666666;">Featured Painter: Joanne Mattera</span></strong></a>, interview by Sand T, July </span></span><br /><span style="color: white;">2009</span> <span style="color: #999999;"><span style="color: black;">The Artist's Career Guide, <a href="http://www.artistcareerguide.com/interviews/pdf/Joanne%20Mattera.pdf"><strong><span style="color: #666666;">Reality Check interview with Joanne Mattera</span></strong> </a>by Jackie Battenfield, June </span></span><br /><span style="color: #999999;"><span style="color: black;"><span style="color: white;">2009</span> Artscope, "Third Annual Conference of Encaustic Painting," Brian Goslow; May-June issue </span></span><br /><span style="color: #999999;"><span style="color: black;"><span style="color: white;">2009 </span><span style="color: black;"><span style="color: #999999;"><span style="color: black;">NYC Art,</span> <a href="http://www.crywalt.com/blog/2009/03/geometrics-ii.html"><strong><span style="color: #666666;">GeoMetrics II</span></strong></a>, </span></span></span></span><span style="color: black;">Chris Rywalt; March 25</span><br /><span style="color: #999999;"><span style="color: black;"><span style="color: black;"><span style="color: #999999;"></span></span><span style="color: white;">2009</span> Venetian Red, <strong><a href="http://venetianred.net/2010/02/06/artists-in-conversation-joanne-matteras-journey-of-visual-pleasure/"><span style="color: #666666;">Artists in Conversation: Joanne Mattera's Journey of Visual Pleasure</span></a></strong>, Liz Hager; February</span></span></span><br /><span style="color: white;"><span style="color: #999999;"><span style="color: black;">&nbsp;</span></span><br /><span style="color: white;"><span style="color: black;">2008 The Boston Globe, "Color Their World," Cate McQuaid; December 17</span></span></span><br /><span style="color: white;"><span style="color: white;"><span style="color: black;"><span style="color: white;">2008</span> Berkshire Fine Arts, </span><a href="http://www.berkshirefinearts.com/?page=article&amp;article_id=913&amp;catID=3"><span style="color: black;"><span style="color: #999999;"><strong><span style="color: #666666;">Boston's Newbury Street Galleries</span></strong></span></span></a></span><span style="color: black;">, Shawn Hill; December 27</span></span><br /><span style="color: white;">2008<span style="color: black;"> Kate Beck :: Art Notes, </span><a href="http://katebeckstudio.blogspot.com/2008/08/essentials-of-light-pure-color.html"><strong><span style="color: #666666;">Essentials of Light: Pure Color</span></strong></a><span style="color: black;">, Kate Beck, August 19</span></span><br /><span style="color: white;"><span style="color: white;">2008</span><span style="color: black;"> Steven Alexander Journal, </span><a href="http://stevenalexanderjournal.blogspot.com/2008/03/joanne-mattera.html"><span style="color: black;"><span style="color: #999999;"><strong><span style="color: #666666;">Joanne Mattera,&nbsp;</span></strong></span></span></a>&nbsp;</span><span style="color: black;">Steven Alexander; March 15</span><br /><br /><span style="color: white;"><span style="color: black;">2007 <span style="color: black;">Art New England, "Art Criticism on the Internet," Raymond A. Liddell; December</span></span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2007 <span style="color: black;">Lowell Sun, "Whole Ball of Wax," Barbara Rizza Mellin; November 12</span></span></span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2007</span> Provincetown Banner, "When Art Runs Hot and Cold," Melora B. North; August 23</span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2007 </span>At</span><span style="color: black;">lanta Journal Constitution, "Spirit of Baudelaire, Matisse Flows," Debra Wolf; July 8</span></span><br /><span style="color: white;"><span style="color: white;">2007 <span style="color: #999999;"><span style="color: black;">Abstract Art on Line, </span></span></span></span><span style="color: white;"><span style="color: white;"><a href="http://www.abartonline.com/html/ny_views_16_7.html"><strong><span style="color: #666666;">New York Views: Joanne Mattera at OK Harris</span></strong></a><span style="color: black;">, Joseph Walentini, May 15</span></span></span><br /><span style="color: white;"><span style="color: black;"><span style="color: white;">2007</span> The New York Sun, "Joanne Mattera: Silk Road at OK Harris," Maureen Mullarkey; May 3</span><br /><br /><span style="color: white;"><span style="color: black;">2006 The </span><span style="color: #999999;"><span style="color: black;"><span style="color: white;"><span style="color: #999999;"><span style="color: black;">Boston Globe, "A Clever Pairing," Cate McQuaid; September 14<br /><span style="color: #999999;"><span style="color: black;"><span style="color: white;">2006</span>&nbsp;Fallon and Rosof’s Artblog, <a href="http://www.fallonandrosof.com/2006/05/ordered.html"><strong><span style="color: #666666;">"Order(ed),"</span></strong> </a>review by Libby Rosof, May 17<br /><span style="color: white;">2006</span> Look, See, <a href="http://www.chrisashley.net/weblog/archives/week_2006_04_16.html#001365"><strong><span style="color: #666666;">Joanne Mattera's Encaustic Paintings</span></strong></a>, essay by Chris Ashley, April 16</span></span></span></span></span></span></span></span><br /><span style="color: white;"><span style="color: #999999;"><span style="color: black;"><span style="color: white;"><span style="color: #999999;"><span style="color: black;"><span style="color: #999999;"><span style="color: black;"><br />2005&nbsp;Art News, "How to Talk to An Artist," Gail Gregg; June<br /><span style="color: white;">2005</span> NY Arts, "Geometry Reloaded," Lilly Wei; April/May<br /><span style="color: white;">2005</span> Syracuse Post-Standard, "Color This Exhibit…," Katherine Rushworth; May 15<br /><span style="color: white;">2005</span> NYArts, "On and Off the Grid: In Conversation with Joanne Mattera," Julie Karabenick; Feb/March<br /><span style="color: white;">2005</span> New York Times, "‘Unbound: Selected Artists,"’ D. Dominick Lombardi; Jan. 2<br /><br /><span style="color: black;">2004 </span>Boston Globe, "An Eyeful of Color," Cate McQuaid; December 10<br /><span style="color: white;">2004</span> Traditional Home, "A Fresh Shade of Bungalow," Eliot Nusbaum; Sept.<br /><span style="color: white;">2004</span> Arts Media, "Artists Wax Enthusiastic," Rachel Strutt; March<br /><br /><span style="color: black;">2003<strong> </strong></span>Boston Sunday Globe, "Critics’ Picks," Christine Temin; April 28<br /><span style="color: white;">2003</span> Boston Globe, "Critics’ Picks," Cate McQuaid; April 18<br /><span style="color: white;">2003</span> Arts Media, "Joanne Mattera: Paintings in Encaustic," Shawn Hill; April-May<br /><span style="color: white;">2003</span> IONS Review, Barbara McNeill, ed., portfolio; Issue 63, March-June<br /><span style="color: white;">2003</span> The Week, "Joanne Mattera at Arden Gallery, Boston," April 19<br /><span style="color: white;">2003</span> Scottsdale Republic, "Eclectic Mix at Cervini Haas," Roberta Burnett, April 16<br /><span style="color: white;">2003</span> IONS Review, Barbara McNeill, ed., portfolio; Issue 62, Dec. 02–Feb. 03<br /><br /><span style="color: #999999;"><span style="color: black;">2002 </span></span>Atlanta Journal-Constitution, "Expanding the Possibilities of Paper," Jerry Cullum; November 15<br /><span style="color: white;">2002</span> New York Times, "Hot Wax," William Zimmer; November 10<br /><span style="color: white;">2002</span> Philadelphia Inquirer, "Novel Process, Classical Elegance," Edward J. Sozanski; May 19<br /><span style="color: white;">2002</span> Philadelphia Weekly, "Play On," Roberta Fallon; May 10<br /><span style="color: white;">2002</span> Philadelphia Daily Local News, "Ancient Medium Explored Again," R.B. Strauss; May 4<br /><span style="color: white;">2002</span> Boston Sunday Globe, "The Process," Catherine Foster; March 3<br /><span style="color: white;">2002</span> Art New England, "The Art of Encaustic Painting," book review, Susan Schwalb; Feb/March<br /><br /><span style="color: #999999;"><span style="color: black;"><span style="font-family: arial;"><span style="font-family: arial;">2001</span> A</span></span></span>rizona Republic, "Beauty of Encaustic Has its Price," John Carlos Villani, November 8<br /><span style="color: white;">2001</span> Atlanta Journal-Constitution, "Waxing Eloquent," Catherine Fox; October 12<br /><br /><span style="color: #999999; font-family: arial;"><span style="color: black;">2000 </span></span>Manila Today, "Art Guide," review; June 6<br /><span style="color: white;">2000</span> The Philippine Star, "Gallery News," review; June 5<br /><br />2000 Art in America, "Joanne Mattera at Marcia Wood," Jerry Cullum; March<br /><span style="color: white;">2000</span> Design and Architecture (Manila), "An Italian Spell in Tagaytay," Alane Ty; February<br /><span style="color: black;"></span><br /><span style="color: black;">1999 </span>Atlanta Journal-Constitution, "Mattera Infuses Modernist Grid with New Depth," Jerry Cullum; July<br /><span style="color: black;">1997</span> New York Arts, "Picks," Christopher Chambers; October<br /><span style="color: white;">1997</span> Atlanta Journal Constitution, "Four Artists," Jerry Cullum; October 3<br /><span style="color: white;">1997</span> William and Mary Review, Erica Weitzman ed., portfolio; Vol. 35<br />1994 Artforum, "Objects of Their Affection at Interart Center," Keith Seward; February<br />1981 Art Voices, "Joanne Mattera," Jessica Scarborough; July/August<br /><span style="color: white;">1981</span> Driadi, "Du Blanc a la Couleur," Michel Thomas; April<br /><span style="color: white;">1981</span> Maenad, "Joanne Mattera," portfolio; Spring 1981<br />1980 Sojourner, "Risks Pay Off," Jessica Scarborough; August<br /><span style="color: white;">1980</span> American Craft, "Joanne Mattera," portfolio; " Spring<br /><br /><strong><span style="color: #999999;"><span style="color: #666666; font-size: 130%;">Catalogs and Essays</span></span></strong><br /><em>Pull,</em> Marcia Wood Gallery, Atlanta, 2011; essay by Jerry Cullum<br /><span style="color: white;"><span style="color: #999999;"><span style="color: black;"><span style="color: white;"><span style="color: #999999;"><span style="color: black;"><span style="color: #999999;"><span style="color: black;"><em>Material Color, </em>Hunterdon Art Museum, Clinton, New Jersey, 2008; essay by Mary Birmingham, curator<br /><em>Joanne Mattera: Ten Years of Encaustic Painting,</em> for the eponymous exhibition,<br /><span style="color: white;">2006</span> Salem State College, Salem, Mass., March-April, 2006; essays by Flavia Rando and the artist<br /><em>Order(ed),</em> for the eponymous exhibition curated by Julie Karabenick at Gallery Siano,<br /><span style="color: white;">2006</span> Philadelphia, May-June, 2006; essay, "Beauty, Order and Individuality," by Roberta Fallon<br />"Uttar: Poetics of Materiality and Process," Flavia Rando; from the exhibition, "New<br /><span style="color: white;">2002</span> Paintings in Encaustic," Simon Gallery, Morristown, N.J., Sept.-October, 2002<br /><br /><strong><span style="color: #666666; font-size: 130%;">Education</span></strong><br />M.A., Visual Arts, Goddard College, Plainfield, Vermont<br />B.F.A., Painting, Massachusetts College of Art, Boston</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1796216586237653740-2975928682487087683?l=jmresume.blogspot.com' alt='' /></div>Joanne Matterahttp://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-1796216586237653740.post-12955001022665103652007-09-06T17:25:00.000-07:002011-12-07T07:56:04.863-08:00<span style="color: #666666;"><strong><span style="color: #666666; font-family: arial; font-size: 130%;">Selected Critical Overview</span></strong></span><span style="color: black;"></span><br /><br /><span style="color: black;">". . . stand-out exhibits at Aqua included . . .the funky abstractionist stable of Conrad Wilde Gallery of Tucson, Arizona, amongst them the sensual encaustic monochromes of Joanne Mattera." --<strong>David Cohen</strong>, <a href="http://artcritical.com/2011/12/02/standing-out-in-art-fairs/"><strong><span style="color: #444444;">Artscritical</span></strong></a><strong><span style="color: #666666;">,</span></strong> December 2, 2011&nbsp;</span><br /><br /><br /><span style="color: black;">"Appreciating this series of 129 paintings <em>[Silk Road] </em>solely on the basis of its tour-de-force technical achievement would be to miss the richer sphere that the work inhabits. Each painting contains the inherent mystique invoked by the series; which is to say, each piece promises a journey full of visual delights without a specific roadmap . . . color on the scale of intimacy that Mattera achieves is a powerful experience.”<br />--<strong>Liz Hager, <a href="http://venetianred.net/2010/02/06/artists-in-conversation-joanne-matteras-journey-of-visual-pleasure/"><span style="color: #333333;">Venetian Red</span></a>,</strong> February 2010 </span><br /><span style="color: white;">.</span><br /><span style="color: white;">.</span><br />“What Joanne has done is lay down encaustic in layers, over and over, and then gone back in with a carving tool and scraped out lines. So each line reveals, through the layers, a varying sampling of the colors she's laid down. The carving is, of course, imprecise and in places stuttering and halting, so you can see the effort and manual nature of the carving, which both brings out and is brought out by the different colors. The effect is far too subtle, in terms of resolution, to look correct in reproduction. In fact these paintings are closer to sculptures; what you also can't get until you see them in person is the very tactile nature of the encaustic, the way its waxy sheen communicates with the carving . . .with Joanne allowing the encaustic to lap over the edges of her panels like the rind on good cheese. Elegant, simple, precise in their imprecision -- very wabi sabi, as the Japanese might say.”<br />--<strong>Chris Rywalt, <a href="http://www.crywalt.com/blog/2009/03/geometrics-ii.html"><span style="color: #333333;">NYC Art</span></a>,</strong> March 25, 2009<br /><span style="color: white;">.</span><br /><span style="color: white;">.</span><br /><span style="color: black;">“Mattera . . . excels in taking encaustic, this oldest of media, in the most lush minimal and formal directions. “Contemplating the Horizontal" features stripes that manage to retain strict geometry while never forgetting the gestural touch of the artist's hand, especially in a subtractive sub-series where wax is scraped away in horizontal bands to reveal underlying layers of color and texture. While most of her panels are square, the show doesn't lack for variety or vibrant color.”</span><br /><span style="color: black;">--<strong>Shawn Hill, </strong><a href="http://www.berkshirefinearts.com/12-27-2008_boston-s-newbury-street-galleries.htm"><span style="color: #444444;"><strong>Boston's Newbury Street Galleries</strong></span></a><strong>,</strong> <em>Berkshire Fine Arts,</em> December 27, 2008</span><br /><strong></strong><br /><br /><span style="color: black;">"These pieces highlight the artist's delicate, almost surgical, touch as she decides how deep to dig, to which level of color. The joyful tones </span><span style="color: black;">play together, waking up the weary-eyed. The horizontal veins widen and narrow like rivulets. . . Sometimes it's a relief to stop thinking and just gaze on something beautiful."</span><br />--<strong>Cate McQuaid,</strong> <strong>"Color Their World," <em>The Boston Globe,</em> </strong>December 17, 2008<br /><strong></strong><br /><strong></strong><br />"Order and beauty form the organizing principle in an engaging new exhibition at Marcia Wood Gallery....Using Baudelaire and Matisse as a springboard for contemporary expression, Mattera's premise is both clever and effective. Fastidious process (order) is essential to aesthetic outcome (beauty). Mattera's selections are smart and pleasing in a show that combines control and creativity, visual and tactile harmony, and individual refrains of luxe, calme et volupte....Verdict: Intelligent and pleasurable."<br /><span style="color: black;">--<strong>Debra Wolf, “Spirit of Baudelaire, Matisse Flows,” </strong><em><strong>Atlanta Journal Constitution</strong>,</em> July 8, 2007</span><br /><br /><br />“Over the years Joanne Mattera has gradually reduced the imagery in her work to finally arrive at this celebration of color and surface….Mattera combines conceptual order, as embodied in the structure of the grid, with beauty.”<br /><span style="color: black;">--</span><span style="color: black;"><strong>Joseph Walentini, "New York Views," </strong><em><strong>Abstract Art on Line</strong>,</em> May 17, 2007</span><br /><br /><br />“The medium itself is very much the subject of "Silk Road," Ms. Mattera's series of small encaustic panels on view at OK Harris. Each panel is a simple expanse of what appears, at quick glance, to be a single color. But owing to the opalescent properties of pigmented beeswax applied in layers, these radiant fields are irreducible to monochrome. Cunning visual subtleties are the raison d'être of the series…The refinement of Ms. Mattera's touch is all the more impressive when weighed against the handling properties of encaustic, which work against finesse. Encaustic begins to cool — and harden — the instant a brush leaves the heated palette.”<br />--<strong>Maureen Mullarkey, "Joanne Mattera at OK Harris Works of Art," </strong><em><strong>The New York Sun</strong>,</em> May 3, 2007 <br /><strong><br /></strong><br />“Joanne Mattera is one of the acknowledged American authorities working in encaustic. Her “Uttar 157” shows a mastery that allows the application of the medium in thick, vigorous swipes and encourages the result to stand up above the surface of the work. Its boldness and ravishing color are unique in this event.”<br /><strong>--Philip Isaacson, review of “Fusion: A Portland Encaustic Event,”</strong><em> <strong>Maine Sunday Telegram</strong>, </em>Feb. 18, 2007<br /><br /><br />On the <a href="http://www.joannemattera.blogspot.com/"><span style="color: #333333;">Joanne Mattera Art Blog</span></a>: “Mattera provides literate and important insights into the process of creating art.”<br />--<strong>Raymond A. Liddell, <em>Art New England,</em></strong> December/January 2007 <br /><strong></strong><br /><br />"The buildup of drops of wax signifies the passing of time, a real passing as well as a metaphorical one. The poetry of time passing is seen in the light captured in the layers of wax, seemingly frozen in the medium like a seed in amber. Mattera employs in these paintings what she calls 'disciplined intuition." A superb colorist able to evoke emotional content, she contains the expressive elements within the fomality of the grid."<br />-- <strong>Nancy Einreinhofer, curator of "Luminous Depths" at Wm. Paterson University</strong>, Wayne, N.J., 2006 <br /><strong></strong><br /><br />“Mattera…is an artist who delights in the process. With a palette influenced by Indian miniature painting and with a love of non-narrative, non-objective expression, Mattera delivers a world of beauty and order in which individual [elements]—with their spontaneous expressions of color, texture, drip, drop and slather—are valued. ‘Uttar 135’ is a statement of peace and a meditation on life’s wonders."<br />--<strong>Roberta Fallon, from the catalog essay, “Order(ed)”,</strong> May 2006 <br /><br /><br />“The light in Joanne Mattera’s paintings is about the present and the just passing present. The light is present in the material— it’s physical, and it interacts with the environment and with current lighting conditions. But if her art has what some might call a contemplative dimension it’s because while the light is a thing that draws us in, it’s the way this light is held in the wax, and the way we look below the surface and into the depth of this light-filled wax, that slows down our looking just a beat to an even more present presence, one that is slow enough for us to see passing. If our looking stayed on the surface our attention might glance off and finish. If our looking goes beyond a surface, even if a only a fraction of an inch into a physical depth and a depicted depth, our seeing is more settled. The physical effect is slower looking. The psychological effect is awareness of self in relation to the phenomenological world.”<br /><span style="font-size: 100%;">--<strong>Chris Ashley,<span style="color: #666666;"> </span></strong><a href="http://www.chrisashley.net/weblog/archives/week_2006_04_16.html#001365"><span style="color: #444444;"><strong>Joanne Mattera's Encaustic Paintings</strong></span></a>, <strong>from the blog, “Look, See,”</strong> April 5, 2006<br /><br /><br />“‘Uttar 250,’ part of a continuing series by Joanne Mattera, is the most luxuriant painting here, inspired by the colors of India, by traditional Indian miniature painting with its saffrons, roses, vermilions, indigos, emeralds, cinnabars. Also encaustic, its version of the grid consists of three stacks of more or less even strokes of colors which in turn drip paint, like syrup. This is a voluptuous painting, its grid about to melt down, it seems, into pure, irresistible paint.”<br />--<strong>Lilly Wei, from the essay, “Geometry Reloaded,” </strong><em><strong>NY Arts,</strong> </em>April 2005<br /><br /><br />“Mattera revels in the medium’s stained-glass-like luminosity. She’s a colorist whose principal concern is how tones interact and play off one another….Throughout, there’s a sense that light is powering these works.”<br />--</span><strong>Cate McQuaid, <em>The Boston Globe,</em></strong> December 10, 2004<br /><br /><br />“Mattera’s play of color and luminosity is beguiling.”<br />--<strong>Rachel Strutt, <em>Arts Media</em> (Boston),</strong> March 2004<br /><br /><br />“Minimalist artists used the grid to downplay the sensuality of color and brushstrokes. The austerity helped focus the viewer’s attention on pigment as pigment, line as line—a primary concern of 60’s minimalism. Joanne Mattera has a different agenda. She uses grids the way classical poets used rigorous rhyme schemes: to impose elegant order onto an otherwise messy outpouring of emotion.”<br />--<strong>Staff review, <em>The Week</em> (New York City),</strong> April 18, 2003<br /><br /><br />“Mattera’s square panels light up the intimate space of the gallery…Mattera’s squares, dots and stripes are minimal, but just enough to hold her emotive colors together. Each painting is a distinct world.”<br />--<strong>Shawn Hill, <em>Arts Media,</em></strong> April 15-May 15, 2003<br /><br /><br />“’Uttar’ is intimate, embodying the artist’s emotional response to the emotional world. Mattera is in love with color, with material, with process….For Mattera, the process of making art is a process of intuition working within a disciplined framework.”<br />--<strong>Flavia Rando, Ph.D., from the essay, "Uttar: Poetics of Materiality and Process,"</strong> September, 2002<br /><br /><br />“Joanne Mattera is represented by nine paintings from her ‘Uttar’ series. The sweep in these one-foot-square paintings of encaustic on panel is in the vibrant color, paced by how the compositions grow from one piece to the next.”<br />--<strong>R.B. Strauss, </strong><em><strong>Philadelphia Daily Local News</strong>,</em> May 4, 2002<br /><br /><br />“One of the nation’s premier encaustic specialists.”<br />--<strong>John Carlos Villani, </strong><em><strong>The Arizona Republic</strong>,</em> November 18, 2001<br /><br /><br />“Mattera’s expert manipulation of beeswax in encaustic creates works of finesse and subtlety.”<br />--<strong>Staff review, </strong><em><strong>The Philippine Star</strong>,</em> June 5, 2000<br /><br /><br /><span style="font-size: 130%;">“Despite the complex formal relations present in these works, the overall tone is intuitive rather than cerebral and defines Mattera as a particularly adept representative of poetic intelligence.”</span>--<strong>Jerry Cullum, <em>Art in America,</em></strong> March, 2000<br /><br /><br />“Encaustic, the successive layering of melted colored wax, is one of the world’s oldest ways of putting down pigment on a surface. New York artist Joanne Mattera finds ways to wring contemporary content from the method. Many of her works start with the almost universal theme of the modernist grid, wrenching the grid asunder in various energized and interesting ways….Mattera succeeds in achieving many visual outcomes with a limited range of materials, producing works in which every scratch and drip yield something different.”<br />--<strong>Jerry Cullum, </strong><em><strong>Atlanta Journal-Constitution</strong>,</em> July 17, 1999<br /><br /><br />“Joanne Mattera…employs a grid-based field for her sensuous abstract encaustic paintings. She works with a classic formula of beeswax colored with oil-based dispersion pigments to build up as many as twenty layers of translucent paint. The surface is further enriched through incising lines into which pigment is rubbed, making marks with oil stick or oil pastel, or scraping to reveal previous strata.”<br />--<strong>Gail Stavitsky, curator, Montclair Art Museum, from the catalog, "Waxing Poetic: Encaustic Art in America,"</strong> 1999<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1796216586237653740-1295500102266510365?l=jmresume.blogspot.com' alt='' /></div>Joanne Matterahttp://www.blogger.com/profile/02564594823192456546noreply@blogger.com