Thursday, September 10, 2015

Selected Solo Exhibitions


2018 Fifty/Fifty Arden Gallery, Boston
2018 Coming Full Circle Melanee Cooper Gallery, Chicago
2016 I Always Return to Hue  Arden Gallery, Boston
2015 Joanne Mattera: The Silk Road Paintings Kenise Barnes Fine Art, Larchmont, New York
2014 Chromatic Reasoning  Conrad Wilde Gallery, Tucson
2013 Chromatic Geometries  Arden Gallery, Boston
2012 Soie  Structural Madness, New York City (Curator: Gloria Klein)
2011 Diamond Life Marcia Wood Gallery, Atlanta
2010 Viewing Room Heidi Cho Gallery, New York City
2010 Travel With Me Arden Gallery, Boston
2008 Contemplating the Horizontal Arden Gallery, Boston
2008 Hue Again Schlosberg Gallery, Montserrat College of Art, Beverly, Mass. (Curators: Leonie Bradbury and Shana Dumont)
2007 Silk Road OK Harris Works of Art, New York City
2007 It’s Always About Hue, Isn’t It? Cervini Haas Gallery, Scottsdale
2006 Heat of the Moment Arden Gallery, Boston
2006 Pure Color Marcia Wood Gallery, Atlanta
2006 10 Years of Encaustic Painting Winfisky Gallery, Salem State University, Salem, Mass.
2004 New Paintings Arden Gallery, Boston
2004 New Paintings Simon Gallery, Morristown, New Jersey
2004 New Paintings Marcia Wood Gallery, Atlanta
2003 New Paintings Arden Gallery, Boston
2003 Mudra: New Paintings Cervini Haas Gallery, Scottsdale
2002 Uttar: New Paintings Simon Gallery, Morristown
2001 New Encaustic Paintings Cervini Haas Gallery, Scottsdale
2000 New Encaustic Paintings Arden Gallery, Boston
2000 Verso: Thought, Breath, Memory Espace Gallery, Manila, Philippines
1999. New Paintings Marcia Wood Gallery, Atlanta
1996. Linear Perspectives OK Harris Works of Art, New York City
1995. New Paintings in Encaustic Stephen Haller Gallery, New York City


Selected Group Exhibitions

2018 Crazy Beautiful III Kenise Barnes Fine Art, Larchmont, New York
2018 Organic to Geometric: Investigations in Surface and Structure Provincetown Art Association and Museum, 
2018 Provincetown, Massachusetts (Curator: Carol Pelletier)
2018 Best Practices Miller White Fine Arts, Dennis, Mass. (Curator: Susan Danton)
2018 Keeping it 100  OnCenter Gallery, Provincetown, Mass. (Curator: Winston Lee Mascarenhas)
2018 The Blues Adam Peck Gallery, Provincetown, Massachusetts
2018 The Exquisite Palette  Tacit Gallery, Melbourne. Australia
2018 Black Box Boecker Contemporary Saarlandisches Kunstler Haus, Saarbrucken, GermanyB
2018 New York Art Lab Umeda Gallery, Osaka, Japan (Organizer: Shuhei Yamatani)
2018 Blurring Boundaries: The Women of American Abstract Artists, 1937-Present  
2018 Clara M. Eagle Gallery, Murray State University, Kentucky; traveling to Ewing Gallery, University of Tennessee, Knoxville, 
2018 and elsewhere through 2021  (Curator: Rebecca DiGiovanna)
2018 Art Wynwood  Invited by Analog Projects, New York City

2017 Domestic Disturbances  490 Atlantic Gallery, Brooklyn (Curator: Joanne Freeman)
2017 Hybrid Form  Margaret Thatcher Projects, New York City
2017 Traces  Conrad Wilde Gallery, Tucson
2017 New Arrivals Cumberland Gallery, Nashville2017  
2017 Chromatopia: A History of Color in Art Tacit Gallery, Melbourne, Australia (Curators: Louise Blyton and David Coles)
2017 This One's For You! Dedicated to Women Everywhere  DM Contemporary, New York City
2017 Special Projects: Gallery Artists at Cape Cod Hospital, Hyannis, Mass.  (Organizer: Mike Carroll, Schoolhouse Gallery, Provincetown)
2017 New York Art Lab Umeda Gallery, Osaka, Japan (Organizer: Shuhei Yamatani)
2017 Black Box Boecker Contemporary, Heidelberg, Germany; traveling throughout Europe
2017 Black Tie (Optional) Adam Peck Gallery, Provincetown, Mass. (Organizers: Adam and Marian Peck)
2017 Fiction (With Only Daylight Between Us), exhibition continuing, selected: Class Room, Coventry, England; 
2017 Raygun Projects, Toowoomba, Queensland, Australia; (Curator: Jeffrey Cortland Jones)

2016 Best of 2016  Space Gallery, Denver
2016 Chromatic Space  American Abstract Artists, Shirley Fiterman Gallery, New York City (Curator: Jonathan Lippincott)
2016 10 Ways  Dr. Julius Gallery, Berlin, and RCM Galerie, Paris  (Curator: Lorenza Sannai)
2016 Indian Summer Show  DM Contemporary, New York City
2016 Fiction (With Only Daylight Between Us), Corridor/Divisible, Dayton, Ohio; Boecker Contemporary, Heidelberg, Germany; 
2016 Angelika Studios, High Wycombe, U.K.; (Curator: Jeffrey Cortland Jones)
2016 No. 10  A Gallery, Provincetown, Mass.
2016 Artists Select Cumberland Gallery, Nashville (Invited by artist Cheryl Goldsleger)
2016 The Onward of Art 80th Anniversary Exhibition of American Abstract Artists, 1285 Art Gallery, New York City (Curator: Karen Wilkin)
2016 Visible Histories American Abstract Artists, Abrons Art Center/Morris-Warren Gallery, New York City (Curator: Max Weintraub)
2016 Art Palm Beach  Invited by Projects Gallery, Miami
2016 Art Market San Francisco  Invited by Adler and Co. Gallery, San Francisco
2016 Aqua Art Miami Invited by Projects Gallery, Miami

2015 Endless, Entire  FiveMyles Gallery, Brooklyn; sponsored by American Abstract Artists (Curator: Rachel Nackman)

2015 August Geometry Marcia Wood Gallery, Atlanta
2015 Going Big  Central Booking, New York City (Organizers: Susan Carr and Suzan Shutan)
2015 Sang-Froid  Schoolhouse Gallery, Provincetown, Mass.
2015 Summer Show DM Contemporary, New York City
2015 Selections from the Collection  U.S. State Department, Harry S. Truman Building, Washington. D.C
2015 Organic to Geometric: Investigations in Structure and Surface  Heftler Gallery, 
2015 Endicott College, Beverly, Mass. (Curator: Carol Pelletier)
2015 Formal Aspects  Cape Cod Museum of Art, Dennis, Mass. (Curator: Sarah Hinckley)
2015 Territory of Abstraction  Pentimenti Gallery, Philadelphia
2015 Pattern: Geometric|Organic  Space Gallery, Denver
2015 10 Ways  Derbylius Libreria Galleria, Milan, Italy; and Clements & Schneider, Bonn, Germany (Curator: Lorenza Sannai)
2015 Art Market San Francisco  Invited by Adler & Co. Gallery, San Francisco
2015 Aqua Art Miami Invited by Projects Gallery, Miami

2014 Doppler Shift  Visual Art Center of New Jersey, Summit (Curator: Mary Birmingham)
2014 Swept Away: Translucence, Transparence, Transcendence  Hunterdon Art Museum, Clinton, New Jersey
2014 Best of 2014: From the Studios of Gallery Artists  Kenise Barnes Fine Art, Larchmont, New York
2014 Relative Geometries Conrad Wilde Gallery, Tucson
2014 Summer Invitational  Elizabeth Harris Gallery, New York City
2014 To Leo: A Tribute from the American Abstract Artists  Sideshow Gallery, Brooklyn
2014 Summer Studio Salon  Marcia Wood Gallery, Atlanta
2014 Spectrum   A Gallery, Provincetown, Mass.
2014 Art Silicon Valley  Invited by Adler & Co. Gallery, San Francisco
2014 Aqua Art Miami  Invited by Projects Gallery, Miami

2013 Swept Away: Translucence, Transparence, Transcendence  Cape Cod Museum of Art, 
2015 Dennis, Mass. (Curator: Michael Giaquinto)
2013 Eight Women  Susan Maasch Fine Art, Portland, Maine
2013 Whiter Shade of Pale Kenise Barnes Fine Art, Larchmont, New York
2013 Elephant in the Room  Laconia Gallery, Boston  (Curators: Linda Cordner and James Hull)13
2013 Summer Show  DM Contemporary, New York, New York
2013 Materiality  Westchester Community College, Valhalla, New York (Curator: Kenise Barnes)
2013 Paperazzi Janet Kurnatowski Gallery, Brooklyn
2013 Aqua Art Miami  Invited by Projects Gallery, Philadelphia and Miami
2013 Art Hamptons  Invited by Arden Gallery, Boston
2013 Art Market San Francisco  Invited by Adler & Co. Gallery, San Francisco

2012 Patterns, Systems, Structures: Abstraction in American Art  Montclair  (N.J.) Art Museum (Curator: Gail Stavitsky)
2012 Super Saturated: Pigment and Pattern Schweinfurth Art Center, Auburn, New York (Curator: Kenise Barnes)
2012 Lush Geometry  DM Contemporary, New York City
2012 Rolling in the Deep  Kenise Barnes Fine Art, Larchmont
2012 Affordable Art Fair  Los Angeles  and New York City, Invited by Conrad Wilde Gallery, Tucson
2012 Art Naples  Invited by Projects Gallery, Philadelphia and Miami
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2011 Aqua Art, Miami Invited by Conrad Wilde Gallery, Tucson
2011 Drawing The Line #11, June Fitzpatrick Gallery, Portland, Maine
2011 Women in Wax  Sarasota Arts Center, Sarasota, Florida  (Curator: Elena De la Ville)
2011 Kindred Spirits Schiltkamp Gallery, Clark University, Worcester, Mass. (Curator: Toby Sisson)
2011 Sheer Color Conrad Wilde Gallery, Tucson, Arizona
2011 The Summer Show  DM Contemporary, New York City
2011 Plane Speaking  McKenzie Fine Art, New York City
2011 Baby It's Cold Outside  Kenise Barnes Fine Art, Larchmont, New York
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2010 Aqua Art, Miami Invited by Conrad Wilde Gallery, Tucson
2010 Viewing Room  Heidi Cho Gallery, New York City
2010 Pull: Print Portfolio Exhibition Marcia Wood Gallery, Atlanta
2010 Castleton Twelve Project Space, Castleton, New York (Curators: Lisa Mackie and Peter Mackie)
2010 Art Hamptons Invited by DM Contemporary, New York
2010 July Salon June Fitzpatrick Gallery, Portland, Maine
2010 Geometric Themes and Variations Gallery 128, New York (Curator: Gloria Klein)
2010 Inspire Amy Simon Fine Art, Westport, Connecticut
2010 Oasis Conrad Wilde Gallery, Tucson
2010 Director's Choice Kenise Barnes Fine Art, Larchmont, New York
2010 Love, Lust and Desire II McGowan Fine Art, Concord, New Hampshire
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2009 Manhattan Preview DM Contemporary/Manhattan
2009 Per Square Foot Conrad Wilde Gallery, Tucson
2009 Slippery When Wet Metaphor Contemporary Art, Brooklyn
2009 Summer Guest House Marcia Wood Gallery, Atlanta
2009 Obsessions Adler & Co. Gallery, San Francisco
2009 Stayin' Alive Metaphor Contemporary Art, Brooklyn
2009 GeoMetrics II Gallery 128, New York City (Curator: Gloria Klein)
2009 Castle Hill at the Provincetown (Mass.) Art Association and Museum, Hans Hoffman Gallery
2009 Gallery Artists: Works On Paper June Fitzpatrick Gallery, Portland, Maine
2009 Love, Lust and Desire McGowan Fine Art, Concord, New Hampshire
2009 Bridge Art Fair, New York Invited by DM Contemporary, Mill Neck, New York
2009 Los Angeles Art Show Invited by Adler & Co. Gallery, San Francisco
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2008 Material Color Hunterdon Museum of Art, Clinton, New Jersey (Curator: Mary Birmingham)
2008 No Chromophobia OK Harris Works of Art, New York City (Curator: Richard Witter)
2008 Small Wonder Garson Baker Fine Art, New York City
2008
Relative Geometries Conrad Wilde Gallery, Tucson
2008 Gifts from the Studio Kenise Barnes Fine Art, Larchmont

2008 This Just in Marcia Wood Gallery, Atlanta
2008 Adler Group Show Adler & Co. Gallery, San Francisco
2008 Calculated Color Higgins Art Gallery, Barnstable, Mass. (Curator: Jane Lincoln)
2008 A Breath of Fresh Air Kenise Barnes Fine Art, Larchmont
2008 Fourth Anniversary Exhibition DM Contemporary, Mill Neck, New York
2008 Los Angeles Art Show Invited by Adler & Co. Gallery, San Francisco
2008
Art Now Fair New York City, Invited by DM Contemporary, Mill Neck, New York

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2007 Punchbowl Metaphor Contemporary Art, Brooklyn, New York
2007 The Blogger Show Agni Gallery, New York City (Organizer: John Morris)
2007 Gigantic Small Works Show Rosenfeld Gallery, Philadelphia
2007 The Fusion Project June Fitzpatrick Gallery, Portland, Maine
2007 Adler Group Show Adler & Co. Gallery, San Francisco
2007 Encaustic Invitational Conrad Wilde Gallery, Tucson
2007 Art Now Fair Miami Beach, invited by DM Contemporary, Mill Neck, New York
2007 Red Dot Fair Miami Beach, invited by Arden Gallery, Boston
2007 Los Angeles Art Show Invited by Adler and Co. Gallery, San Francisco
2007 Red Dot Fair New York, invited by Kenise Barnes Fine Art, Larchmont

.2006 Neo Plastic Redux Elizabeth Harris Gallery, New York City (Organizer: Miles Manning)
2006 Gigantic Small Works Show Rosenfeld Gallery, Philadelphia
2006 Nancy Manter, Joanne Mattera, Babe Shapiro DM Contemporary, Mill Neck, New York
2006 A Thing of Beauty and A Joy Forever Kenise Barnes Fine Art, Larchmont
2006 Minimal Minimal Works Gallery, Philadelphia
2006 Luminous Depths Ben Shahn Galleries, Wm. Paterson University, Wayne, N.J.
2006(Curator: Nancy Einreinhofer)
2006 Adler Group Show Adler & Co. Gallery, San Francisco
2006 Order(ed) Siano Gallery, Philadelphia (Curator: Julie Karabenick with essay by Roberta Fallon)
2006 Flow Art Fair Miami Beach, invited by Kenise Barnes Fine Art, Larchmont
2006 Art (212) Fair New York, invited by Marcia Wood Gallery, Atlanta
2006 Los Angeles Art Show Invited by Cervini Haas Gallery, Scottsdale

2005 What Did Puck Say? Heidi Cho Gallery, New York City
2005 Engaging the Structural  Broadway Gallery, New York City (Curator: Julie Karabenick)
2005 Cooled and Collected: Modern Masters of Contemporary Encaustic, Boon Gallery, Salem, Mass.
2005 Wish You Were Here IV A.I.R. Gallery, New York City
2005 Color Theory Schweinfurth Art Center, Auburn, New York (Curator: Kenise Barnes)
2005 Wax Brush Gallery, Lowell, Mass. (Curator: E. Linda Poras)
2005 Works On Paper Invitational Cervini Haas Gallery, Scottsdale
2005 Wax Works McGowan Fine Arts, Concord, New Hampshire
2005 AAF Contemporary Fair New York, invited by Marcia Wood Gallery, Atlanta
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2004 Color Theory Kenise Barnes Fine Art, Larchmont, New York
2004 Unbound: Selected Artists from ‘The Art of Encaustic Painting’ R&F
2004 Gallery, Kingston, New York (Curator: Laura Moriarty)
2004 Four New York Artists Patrick Olson Gallery, Plymouth, Michigan
2004 AAF Contemporary Fair New York, invited by Marcia Wood Gallery, Atlanta
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2003 Encaustic Now II Marcia Wood Gallery, Atlanta
2003 Wish You Were Here Too A.I.R. Gallery, New York City
2003 The Way of Wax Winfisky Gallery at Salem State College, Salem, Mass.
2003 Serenity Cervini Haas Gallery, Scottsdale
2003
AAF Contemporary Fair New York, Thatcher Projects, New York City

2003 Art Santa Fe Invited by Cervini Haas Gallery, Scottsdale
2003 Tickled Pink Marcia Wood Gallery, Atlanta
2003 Art Miami Invited by Arden Gallery, Boston
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2002 Work on Paper Marcia Wood Gallery, Atlanta
2002 Lush Abstraction Melanee Cooper Gallery, Chicago
2002 Hot Wax Cummings Art Center at Connecticut College, New London
2002 Artcetera Boston Center for the Arts, Boston
2002 Works on Paper Cervini Haas Gallery, Scottsdale
2002 The Postcard Show A.I.R. Gallery, New York City
2002 Water Cervini Haas Gallery, Scottsdale
2002 Enkaustikos: Wax As a Contemporary Medium Pentimenti Gallery, Philadelphia
2002 Centering Sonoma Museum of Visual Art, Santa Rosa, California
2002 Generations III A.I.R. Gallery, New York City
2002 AAF Contemporary Fair New York, Thatcher Projects, New York City
2002
Art San Francisco Invited by Newzones Gallery, Calgary, Canada

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2001 Encaustic Now Marcia Wood Gallery, Atlanta
2001 Encaustic Works Arden Gallery, Boston
2001 The Art of Encaustic Painting Cervini Haas Gallery, Scottsdale
2001 Encaustic: Joanne Mattera and Friends Melanee Cooper Gallery, Chicago
2001 Big Painting Cervini Haas Gallery, Scottsdale
2001 Deck the Walls Newzones Gallery, Calgary
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2000 Constant Aesthetic Stephen Haller Gallery, New York City
2000 Generations II: A Survey of Women Artists at the Millennium A.I.R Gallery, New York City
2000 Aesthetic Boundaries Stephen Haller Gallery, New York City
2000 The Other Side and This Side: The Art of Italian and Italian-American
2000 Women Casa Italiana, New York City
2000 Pieces IV Gallery 128, New York City (Curator: Sylvia Netzer)
2000 Waxing Poetic: Encaustic Art in America Knoxville (Tenn.) Museum of Art
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1999 Waxing Poetic: Encaustic Art in America Montclair (N.J.) Art Museum (Curator: Gail Stavitsky)
1999 Signs, Codes and Surfaces Stephen Haller Gallery, New York City
1999 Pieces III Gallery 128, New York City (Curator: Sylvia Netzer)
1999 Los Angeles National Patricia Correia Gallery, Santa Monica
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1998 Contemporary Wax Stephen Haller Gallery, New York City
1998 Small Works Washington Square East Gallery, New York City
1998 Generations A.I.R. Gallery, New York City
1998 Ron Ehrlich, Gregory Johnston, Joanne Mattera, Hiro Yokose Marcia Wood Gallery, Atlanta
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1997 Cultural Markers Stephen Haller Gallery, New York City
1997 1+1=3: Independent Artists, Collaborative Art Alicia Torres Fine Art, New York City
1997 Material Girls: Gender, Process and Abstract Art Since 1970 Gallery 128,
1997 New York City (Curator: Harmony Hammond)
1997 Inaugural Show Christine Adapon Gallery, Manila
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1996 Cultural Markers Stephen Haller Gallery, New York City
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1995 Small Works Stephen Haller Gallery, New York City
1995 Virtuosity Art Fair The Armory, New York, invited by Stephen Haller Gallery, New York City
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1994 Waxing Minimal: Joanne Mattera, Inger Sand Lee, Tom Sime Denise Bibro Fine Art, New York City
1994 Signs, Codes & Alphabets Tribeca 148, New York City
1994 Small Works Washington Square East Gallery, New York City
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1993 93 Wishes for '94 Steinbaum Krauss Gallery, New York City
1993 Small Works East West Cultural Center, New York City
1993 Works on Paper Berkshire Museum, Pittsfield, Mass. (Curator: Andre Emmerich)
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Selected Awards and Honors
2018  Honorary vice president, National Association of Women Artists, New York City
2012  Honoree, Castle Hill Comes to NYC, National Arts Club, New York City
2007  Ella Jackson Chair, Castle Hill Center for the Arts, Truro, Massachusetts
2005  Artist’s Resource Trust grant, a fund of the Berkshire Taconic Foundation, Massachusetts
Ongoing Inclusion in Geoform, an international collection of abstract geometric art curated by Julie Karabenick
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Selected Collections
Montclair Art Museum, Montclair, New Jersey
New Britain Museum of American Art, New Britain, Connecticut
Connecticut College, Print Collection
University Libraries Collection, State University of New York at Albany
U.S. State Department
U.S. Embassies, Slovenia and Poland
Wheaton College, Beard and Weill Galleries, Permanent Collection, Norton, Massachusetts
Alston & Bird, Atlanta and Washington, D.C.
Bank of America, New York City
Beacon Properties, Boston
Consulate of Brunei
Dana Farber Institute, Boston
Delta Airlines, Boston
Eduardo Calma Architecture, Makati City, Philippines
Evans Encaustics, Sonoma, California
Liberty Mutual, Boston
McKee Nelson, New York City
Montefiore Medical Center, Bronx, New York
Norwegian Cruise Lines
Pacific Peninsula Group, Menlo Park, California
PricewaterhouseCoopers, Florham Park, New Jersey
R&F Paints, Kingston, New York
Red Wheel/Weiser Books, Boston
University of Texas Southwest Medical Center, Dallas
Private collections: United States, Canada, Scandinavia, Japan, the Philippines
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Curatorial Projects
2017 Depth Perception co-curator (with Cherie Mittenthal) at Cape Cod Museum of Art, Dennis, Mass.
2015 A Few Conversations About Color  DM Contemporary, New York City
2013 Cotton, juror for second anniversary show at Fountain Street Fine Art, Framingham, Mass.
2012 Improbable Topographies curator, Rice Polak Gallery, Provincetown, Mass.
2012Textility  co-curator (with Mary Birmingham), Visual Art Center of New Jersey, Summit
2011 Encaustic Works 2012  juror for an exhibition in print, R & F Gallery, Kingston, New York
2011 Surface Attraction   co-curator (with Marla Rice), Rice Polak Gallery, Provincetown, Mass.
2011 New England Collective II  juror, Galatea Fine Art, Boston
2011 Conversations  co-curator (with Laura Moriarty) at R & F Gallery, Kingston, N.Y
2009 Blogpix  one of several curators, Platform Project Space, New York City
2007 Luxe, Calme et Volupte’  curator, Marcia Wood Gallery, Atlanta
2007 Thinking in Wax  juror, Castle Hill Center for the Arts, Truro, Mass.
2003 The Whole Ball of Wax  juror, Woman Made Gallery, Chicago
1993 Objects of Their Affection  curator, InterArt Center, New York City
1982 Artists on the Grid  curator, Svetlana Rockwell Gallery, Cambridge

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Affiliations
0000Director Emerita, International Encaustic Conference, Provincetown, Mass. (founder, 2007)
0000Member, American Abstract Artists
0000Artist Advisory Council, Taller Puertorriqueño, Philadelphia
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            .
Visiting Artist
2013 School of Visual and Peforming Arts, Endicott College, Beverly, Massachusetts
2011 College of Visual and Performing Arts, University of Massachusetts, Dartmouth
 2011 Visiting Artist and Scholars Series, Georgia State University, Atlanta
2010-05 Massachusetts College of Art, Boston; Visiting Lecturer, 2D Fine Arts Department
2009 Distinguished Visiting Artist series, Marywood University, Scranton, Pa.
2007 Ella Jackson Chair, Castle Hill Center for the Arts, Truro, Massachusetts
2007 Montana State University, Bozeman
2002 Weissman Visiting Artist, Connecticut College, New London
1999 University of New York at Albany
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Writing
Current Joanne Mattera Art Blog, reports, observations and opinions
Current Editor in chief, ProWax Journal
2017 Digging Deep, curator's essay for Depth Perception at Cape Cod Museum of Art 
2015 Constructs and Contradictions, catalog essay for Organic to Geometric: Investigations in Structure and Surface  
2015 at Heftler Gallery, Endicott College, Beverly, Mass., curated by Carol Pelletier
2013 Extravagant Light, catalog essay for Swept Away at Cape Cod Museum of Art, curated by Michael Giaquinto
2013 "Making Room in New Haven," essay for Making Room, curated by Suzan Shutan
2012 Far From the Rolling Queue: The Lingering Virtues of Art Blogs, Artcritical.com, September 24
2012 Material Means: Diverse Practices, Common Threads, curator's essay for Textility, 
2012 Visual Art Center of New Jersey, Summit
2012 "Everything into the Pool," juror's essay for Encaustic Works '12 exhibition in book form, Gallery at R&F, Kingston, New York
2011 "Sheila Hicks: Fifty Years," Surface Design Journal, Summer issue
2010 "Affinities: Fiber and Wax," Surface Design Journal, Winter issue     
2007 Luxe, Calme et Volupte: A Meditation on Visual Pleasure, essay for my
2007 curated exhibition at the Marcia Wood Gallery, Atlanta
2007 "Exquisite Dualities: The Recent Paintings of Alexandre Masino," essay
2007 "Material Witness: Silken Surfaces in Wax," essay of my work for the Surface Design Journal, Fall issue
2006 "Encaustic: The ‘New’ Art Medium, Just 2000 Years Old," essay for
2006 "Luminous Depths" catalog and exhibition
2006 "Dancing Shards: Between Order and Intuition," essay for painter Gloria Klein
2005 "Betsy Eby: Give and Take," essay for the Seattle-based painter
2001 The Art of Encaustic Painting: Contemporary Expression in the Ancient
2001 Medium of Pigmented Wax, Watson-Guptill, New York
1981-83 Fiberarts, Editor in Chief
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Selected Bibliography.
Books
2019 Chromatopia: An Illustrated History of Color, Thames and Hudson; David Coles
2015 Experience Painting, Davis Publications; John Howell White
2014 Italian American Review, Calandra Institute, Vol 4., No. 1; cover
2011 Against the Tide, Two Coats of Paint Press; Sharon Butler
2011 The Art of Reading Italian Americana, Bordighera Press; Fred Gardaphé; cover
2010 Encaustic with a Textile Sensibility, Waxy Buildup Press; Daniella Woolf
2009 The Artist's Guide: Making A Living Doing What You Love, Da Capo; Jackie Battenfield
2005 Abstract Painting, Watson Guptill; Vicky Perry
2003 In Our Own Voices: Perspectives on Italian and Italian-American Women, Bordighera; Eliz. G. Messina, ed.
2001 Spirit Maps, Red Wheel/Weiser; Joanna Arettam
2000 Lesbian Art in America, Rizzoli;  Harmony Hammond
1999 Waxing Poetic, Montclair Art Museum/Rutgers Univ. Press; Gail Stavitsky, ed..
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Print and Online
2018 Boston Voyager, Meet Joanne Mattera

2017 Provincetown Arts, "Joanne Mattera,"  Jan Lhormer, 2017 issue

2016 The New Criterion, Gallery Chronicle, James Panero, March

2015 ArtsATL, Math is Beautiful in Quirky "august geometry" at Marcia Wood Gallery, Jerry Cullum, August 26
2015 Bedford + Bowery, When 111 Artists Find Each Other Through Facebook, Rob Scher, August 3
2015 Westword, Artists Repeat Themselves in Pattern, an Elegant Group Show . . . , Michael Paglia, May 20
2015 Artscope, Formal Aspects at the Cape Cod Museum of Art , Rhiannon Leigh, March 23

2014 The New Criterion, Gallery Chronicle, James Panero, November
2014 Hyperallergic, Profaning Geometry, Venerating Uncertainty, Peter Malone, July 11
2014 Painter's Progess, Have You Met Joanne Mattera?, Stephen B. MacInnis, January 15

2013 Maine Sunday Telegram, Is There A New Vein in Abstract Painting in Maine?, Daniel Kany; December 29, 2013
2013 Artscope, "Joanne Mattera: Chromatic Geometries," Elizabeth Michelman; September/October
2013 Two Coats of Paint,  Joanne Mattera's New Angle, Sharon Butler; September 8 (excerpted in Painters' Table)
2013 Art New England, "The Elephant in the Room," David Raymond; July/August
2013 Artscope, "Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic," J. Fatima Martins; May-June

2012 Buddy of Work, Henry Samelson, ed., October 16
2012 Huffington Post, Rolling in the Deep at Kenise Barnes Fine Art, D. Dominick Lombardi; July 2
2012 Syracuse Post-Standard, The Power of Patterns, Katherine Rushworth, Sunday, August 5
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2011 Artcritical, Get Lost! Victims and Victors of the Art Fair Grid, David Cohen; December 2
2011 Boston Globe Magazine, Keeping it Simple, Jaci Conry; November 13, 2011
2011 Artcritical, Artists Who Write Write for a Purpose, George Hofmann; August 31
2011 ArtscriticATL, "Joanne Mattera at Marcia Wood Gallery," Felicia Feaster; May 13

2010 Artcritical, Abstraction in a Cold Climate, Franklin Einspruch; December
2010 Culture Surfing, Marcia Wood Pulls Her Artists in Different Directions, Deanna Sirlin; Oct. 7
2010 Maine Sunday Telegram, Refinement Multiplied, Philip Isaacson; July 25
2010 Portland Phoenix, Bright Lines at June Fitzpatrick, Nicholas Schroeder; July 20

2009 Zocalo, Per Square Foot at Conrad Wilde, Dolly Spaulding, December 10
 2009View List at Minus Space, Bulletin Board: Inspiration Information, curated by Karen Schifano
2009 Making the Art Seen, Featured Painter: Joanne Mattera, interview by Sand T, July
2009 The Artist's Career Guide, Reality Check interview with Joanne Mattera by Jackie Battenfield, June
2009 Artscope, "Third Annual Conference of Encaustic Painting," Brian Goslow; May-June issue
2009 NYC Art, GeoMetrics II, Chris Rywalt; March 25
2009 Venetian Red, Artists in Conversation: Joanne Mattera's Journey of Visual Pleasure, Liz Hager; February

 
2008 The Boston Globe, "Color Their World," Cate McQuaid; December 17

2008 Berkshire Fine Arts, Boston's Newbury Street Galleries, Shawn Hill; December 27
2008 Kate Beck :: Art Notes, Essentials of Light: Pure Color, Kate Beck, August 19
2008 Steven Alexander Journal, Joanne Mattera,  Steven Alexander; March 15

2007 Art New England, "Art Criticism on the Internet," Raymond A. Liddell; December
2007 Lowell Sun, "Whole Ball of Wax," Barbara Rizza Mellin; November 12
2007 Provincetown Banner, "When Art Runs Hot and Cold," Melora B. North; August 23
2007 Atlanta Journal Constitution, "Spirit of Baudelaire, Matisse Flows," Debra Wolf; July 8
2007 Abstract Art on Line, New York Views: Joanne Mattera at OK Harris, Joseph Walentini, May 15
2007 The New York Sun, Joanne Mattera: Silk Road at OK Harris, Maureen Mullarkey; May 3

2006 The Boston Globe, "A Clever Pairing," Cate McQuaid; September 14
2006 Fallon and Rosof’s Artblog, "Order(ed)," review by Libby Rosof, May 17
2006 Look, See, Joanne Mattera's Encaustic Paintings, essay by Chris Ashley, April 16


2005 Art News, How to Talk to An Artist, Gail Gregg; June
2005 NY Arts, Geometry Reloaded, Lilly Wei; April/May
2005 Syracuse Post-Standard, Color This Exhibit…, Katherine Rushworth; May 15
2005 NYArts, "On and Off the Grid: In Conversation with Joanne Mattera," Julie Karabenick; Feb/March
2005 New York Times, "‘Unbound: Selected Artists,"’ D. Dominick Lombardi; Jan. 2

2004 Boston Globe, An Eyeful of Color, Cate McQuaid; December 10
2004 Traditional Home, "A Fresh Shade of Bungalow," Eliot Nusbaum; Sept.
2004 Arts Media, "Artists Wax Enthusiastic," Rachel Strutt; March

2003 Boston Sunday Globe, "Critics’ Picks," Christine Temin; April 28
2003 Boston Globe, "Critics’ Picks," Cate McQuaid; April 18
2003 Arts Media, Joanne Mattera: Paintings in Encaustic, Shawn Hill; April-May
2003 IONS Review, Barbara McNeill, ed., portfolio; Issue 63, March-June
2003 The Week, Joanne Mattera at Arden Gallery, Boston, April 19
2003 Scottsdale Republic, "Eclectic Mix at Cervini Haas," Roberta Burnett, April 16
2003 IONS Review, Barbara McNeill, ed., portfolio; Issue 62, Dec. 02–Feb. 03

2002 Atlanta Journal-Constitution, "Expanding the Possibilities of Paper," Jerry Cullum; November 15
2002 New York Times, "Hot Wax," William Zimmer; November 10
2002 Philadelphia Inquirer, "Novel Process, Classical Elegance," Edward J. Sozanski; May 19
2002 Philadelphia Weekly, "Play On," Roberta Fallon; May 10
2002 Philadelphia Daily Local News, "Ancient Medium Explored Again," R.B. Strauss; May 4
2002 Boston Sunday Globe, "The Process," Catherine Foster; March 3
2002 Art New England, "The Art of Encaustic Painting," book review, Susan Schwalb; Feb/March

2001 Arizona Republic, "Beauty of Encaustic Has its Price," John Carlos Villani, November 8
2001 Atlanta Journal-Constitution, "Waxing Eloquent," Catherine Fox; October 12

2000 Manila Today, "Art Guide," review; June 6
2000 The Philippine Star, "Gallery News," review; June 5
2000 Art in America, Joanne Mattera at Marcia Wood, Jerry Cullum; March
2000 Design and Architecture (Manila), "An Italian Spell in Tagaytay," Alane Ty; February

1999 Atlanta Journal-Constitution, Mattera Infuses Modernist Grid with New Depth, Jerry Cullum; July


1997 New York Arts, "Picks," Christopher Chambers; October

1997 Atlanta Journal Constitution, "Four Artists," Jerry Cullum; October 3
1997 William and Mary Review, Erica Weitzman ed., portfolio; Vol. 35

Earlier
1994 Artforum, "Objects of Their Affection at Interart Center," Keith Seward; February
1981 Art Voices, "Joanne Mattera," Jessica Scarborough; July/August
1981 Driadi, "Du Blanc a la Couleur," Michel Thomas; April
1981 Maenad, "Joanne Mattera," portfolio; Spring 1981
1980 Sojourner, "Risks Pay Off," Jessica Scarborough; August
1980 American Craft, "Joanne Mattera," portfolio; " Spring

Catalogs and Essays
2018 Organic to Geometric: Investigations in Structure and Surface second edition, Provincetown Art 
2018 Association and Museum, Provincetown, Mass.
2018 The Blues Adam Peck Gallery, Provincetown; A Gallery Press; Marian Peck, editor
2017 Depth Perception  Cape Cod Museum of Art, Dennis, Massachusetts2018 
2017 Black Tie Adam Peck Gallery, Provincetown; A Gallery Press; Marian Peck, editor
2016 Silk Road: Excerpts from an Ongoing Series  Well-Fed Artist Press; second edition
2016 The Onward of Art: American Abstract Artists 80th Anniversary Exhibition, New York City; essay by Karen Wilkin 
2016 No. 10 Adam Peck Gallery, Provincetown; A Gallery Press; Marian Peck, editor
2015 Pattern: Geometric/Organic, Space Gallery, Denver; essay by Lynn Biederstadt
2015 Organic to Geometric: Investigations in Surface and Structure  Heftler Gallery, 
2015 Endicott College, Beverly, Mass.; introduction by curator Carol Pelletier
2015 10 Ways Derbilius Libreria Galleria, Milan; Lorenza Sannai, curator and editor
2014 Doppler Shift  Visual Art Center of New Jersey, Summit; essays by Mary Birmingham, 
2014 curator, and Thomas Micchelli
2013 Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic  Cape Cod Museum 
2013 of Art; introduction by Michael Giaquinto, curator
2013 The Elephant in the Room  Laconia Gallery, Boston; essay by Linda Cordner and James Hull
2011 Pull  Marcia Wood Gallery, Atlanta; essay by Jerry Cullum
2008 Material Color  Hunterdon Art Museum, Clinton, New Jersey; essay by Mary Birmingham, curator
2006 Joanne Mattera: Ten Years of Encaustic Painting  for the eponymous exhibition, Salem State University, 

2006 Salem, Mass.; essays by Flavia Rando and the artist
2006 Order(ed)  for the eponymous exhibition curated by Julie Karabenick at Gallery Siano, Philadelphia; 

2006 essay, "Beauty, Order and Individuality," by Roberta Fallon
2002 Uttar: Poetics of Materiality and Process  Flavia Rando; from the exhibition, "New Paintings 

2001 in Encaustic," Simon Gallery, Morristown, N.J.

Education.
M.A., Visual Arts, Goddard College, Plainfield, Vermont
B.F.A., Painting, Massachusetts College of Art, Boston



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Selected Critical Overview
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"August geometry is best experienced as a single extraordinary installation before it is contemplated in terms of individual works. But this is a hard trick to pull off: We’re presented with too many individually distracting tours de force."
-- Jerry Cullum, Arts ATL, August 26, 2015 



"I was dazzled by the well-handled triangles of Joanne Mattera's Chromatic Geometry 21 (2014)."
--James Panero, Gallery Chronicles, The New Criterion, November 2014


"Joanne Mattera’s monochromes exude luscious indulgence but are tempered by a savvy sense of portion size. As well, with her small panels on a long wall of panels, Mattera’s eye to the material painterly edge and its role in scale come across with surprising clarity."

--Daniel KanyMaine Sunday Telegram, December 29, 2013


"Her game is formal as she determines what kinds of color relationships to set in motion and how to balance or destabilize them within the geometrical structures that hold them."
--Elizabeth Michelman, Artscope, September/October 2013


"As usual, Mattera demonstrates tremendous mastery over her materials and a seductive approach to color, while introducing some quirky compositional strategies. Although she usually discusses her work in terms of formal exploration, the timeless fascination of the figure-ground reversal that points to our shifting notions of meaning and perception is compelling on a metaphorical level as well."
--Sharon Butler, Two Coats of Paint, September 8, 2013



"Joanne Mattera's Diamond Life 20 has a structural rigor that counters the dreamy side of waxy paint. Her work has the near dry juice of the medium that suggests the poise of Piero della Francesca."
--David Raymond, Art New England, July/August, 2013


"Coming up For Air (2012) is a testament to the command that she has for her medium. Using a coarsely bristled brush and applying very straight bands of color that waver between precisely taped edges and carefully painted ones sans the tape, Mattera creates a hypnotic blend of visuals that is at once uplifting and calming. I also love the witty title that to me, references . . . the transitions of color one might experience while snorkeling in a pristine coral sea. "
--D. Dominick Lombardi, The Huffington Post, July 2, 2012


". . . 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."
--David CohenArtscritical, December 2, 2011 


"Appreciating this series of paintings [Silk Road] 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.”
--Liz Hager, Venetian Red, February 2010

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“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.”
--Chris Rywalt, NYC Art, March 25, 2009
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“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.”
--Shawn Hill, Boston's Newbury Street Galleries, Berkshire Fine Arts, December 27, 2008


"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 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."
--Cate McQuaid, "Color Their World," The Boston Globe, December 17, 2008


"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."
--Debra Wolf, “Spirit of Baudelaire, Matisse Flows,” Atlanta Journal Constitution, July 8, 2007


“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.”
--Joseph Walentini, "New York Views," Abstract Art on Line, May 17, 2007


“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.”
--Maureen Mullarkey, Joanne Mattera at OK Harris Works of ArtThe New York Sun, May 3, 2007


“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.”
--Philip Isaacson, review of “Fusion: A Portland Encaustic Event,” Maine Sunday TelegramFeb. 18, 2007


On the Joanne Mattera Art Blog: “Mattera provides literate and important insights into the process of creating art.”
--Raymond A. Liddell, Art New England, December/January 2007


"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."
-- Nancy Einreinhofer, curator of "Luminous Depths" at Wm. Paterson University, Wayne, N.J., 2006


“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."
--Roberta Fallon, from the catalog essay, “Order(ed)”, May 2006


“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.”
--Chris Ashley, Joanne Mattera's Encaustic Paintingsfrom the blog, “Look, See,” April 5, 2006


“‘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.”
--Lilly Wei, from the essay, Geometry ReloadedNY Arts, April 2005


“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.”
--Cate McQuaid, An Eyeful of ColorThe Boston Globe, December 10, 2004



“Mattera’s play of color and luminosity is beguiling.”
--Rachel Strutt, Arts Media (Boston), March 2004


“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.”
--Staff review, The Week (New York City), April 18, 2003


“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.”
--Shawn Hill, Joanne Mattera at Arden Gallery, BostonArts Media, April 15-May 15, 2003


“’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.”
--Flavia Rando, Ph.D., from the essay, "Uttar: Poetics of Materiality and Process," September, 2002


“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.”
--R.B. Strauss, Philadelphia Daily Local News, May 4, 2002


“One of the nation’s premier encaustic specialists.”
--John Carlos Villani, The Arizona Republic, November 18, 2001


“Mattera’s expert manipulation of beeswax in encaustic creates works of finesse and subtlety.”
--Staff review, The Philippine Star, June 5, 2000


“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.”--Jerry Cullum, Art in America, March, 2000


“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.”
--Jerry Cullum, Atlanta Journal-Constitution, July 17, 1999


“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.”

--Gail Stavitsky, curator, Montclair Art Museum, from the catalog, "Waxing Poetic: Encaustic Art in America," 1999


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Selected Reviews

Click Older Posts below right to access a scroll of reviews. Otherwise, you may access them via the specific links below
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Provincetown Arts   

August Geometry

Profaning Geometry, Hyperallergic 

Chromatic Geometries, Artscope  

Super Saturated

Joanne Mattera at OK Harris 

Geometry Reloaded 

Color Theory  

An Eyeful of Color