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EDUCATION
M.A., Visual Arts, Goddard College, Plainfield, VT
B.F.A., Massachusetts College of Art, Boston, MA
SELECTED SOLO EXHIBITIONS
2007 O.K. Harris Gallery, New York City
2007 Cervini Haas Gallery, Scottsdale
2006 Marcia Wood Gallery, Atlanta
2006 Arden Gallery, Boston
2006 Wifinsky Gallery, Salem State College, Salem, Mass. (10-year
retrospective)
2004 Marcia Wood Gallery, Atlanta
2004 Arden Gallery, Boston
2004 Simon Gallery, Morristown, New Jersey
2003 Arden Gallery, Boston
2003 Cervini Haas Gallery, Scottsdale
2002 Simon Gallery, Morristown*
2001 Cervini Haas Gallery, Scottsdale
2000 Arden Gallery, Boston
2000 Espace Gallery, Manila, Philippines
1999 Marcia Wood Gallery, Atlanta
1996 O.K. Harris Gallery, New York City
1995 Stephen Haller Gallery, New York City
SELECTED GROUP EXHIBITIONS
2007 Introductions 3 Hidell Brooks Gallery, Charlotte
2007 Surface and Beyond, Ruth Morpeth Gallery, Hopewell, N.J. (Curators:
Pam Farrell, Ruth Morpeth)
2007 The Fusion Project June Fitzpatrick Gallery, Portland, Maine
2007 Encaustic Invitational, Conrad Wilde Gallery, Tucson
2007 Red Dot Fair, New York Invited by Kenise Barnes Fine Art, Larchmont
2006 Flow Art Fair, Miami Invited by Kenise Barnes Fine Art, Larchmont,
New York
2006 Neo Plastic Redux, Elizabeth Harris Gallery, New York
City (Organized by 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 Univ., Wayne,
NJ (Curator: Nancy Einreinhofer)
2006 Order(ed) Siano Gallery, Philadelphia (Curator: Julie Karabenick
with essay by Roberta Fallon)
2006 Art (212) Contemporary Art Fair, New York, Invited by
Marcia Wood Gallery, Atlanta
2006 Los Angeles Art Show, invited by Cervini Haas Gallery, Scottsdale
2006 Order(ed), Siano Gallery, Philadelphia (Curator: Julie Karabenick
with essay by Roberta Fallon)
2006 A Decade of A.R.T., Trustman Gallery, Simmons College, Boston,
Mass.
2005 What Did Puck Say?, Heidi Cho Gallery, New York City
2005 Engaging the Structural (Curator: Julie Karabenick), Broadway
Gallery, New York City
2005 Wish You Were Here IV, A.I.R. Gallery, New York City
2005 Color Theory (Curator: Kenise Barnes), Schweinfurth Art Center,
Auburn, New York
2005 Wax: Encaustic Techniques in Contemporary Art, Brush Gallery,
Lowell, Mass. (Curator: Linda Poras)
2005 Works on Paper Invitational, Cervini Haas Gallery, Scottsdale
2005 Wax Works, McGowan Fine Art, Concord, New Hampshire
2004 Color Theory, Kenise Barnes Fine Art, Larchmont, New York
2004 Affordable Art Fair, New York, with Marcia Wood Gallery, Atlanta
2004 Unbound: Selected Artists from Joanne Mattera’s ‘The
Art of Encaustic Painting,’ R&F Gallery, Kingston, NY
2004 Four New York Artists, Patrick Olson Gallery, Plymouth, Michigan
2003 Art Miami, Arden Gallery, Boston, MA
2002 Works on Paper, Marcia Wood Gallery, Atlanta, GA
2002 Lush Abstraction, Melanee Cooper Gallery, Chicago. IL
2002 Affordable Art Fair, Margaret Thatcher Projects, New York City,
NY
2002 Hot Wax*, Cummings Art Center at Connecticut College, New London.
CT
2002 Artcetera*, Boston Center for the Arts, Boston, MA
2002 Works on Paper, Cervini Haas Gallery, Scottsdale, AZ
2002 The Postcard Show, AIR Gallery, New York City, NY
2002 Water, Cervini Haas Gallery, Scottsdale, AZ
2002 Enkaustikos: Wax As a Contemporary Medium, Pentimenti Gallery,
Philadelphia, PA
2002 Centering, Sonoma Museum of Visual Art, Santa Rosa, CA
2002 Generations III, AIR Gallery, New York City, NY
2002 Art San Francisco, New Zones Gallery, Calgary, Canada
2001 The Art of Encaustic Painting*, Cervini Haas Gallery, Scottsdale,
AZ
2001 Encaustic Now, Marcia Wood Gallery, Atlanta, GA
2001 Encaustic Works, Arden Gallery, Boston, MA
2001 Encaustic, Encaustic: Joanne Mattera and Friends, Art Mecca
Gallery, Chicago, IL
2001 Large-Scale Painting, Cervini Haas Gallery, Scottsdale, AZ
2001 Deck the Walls, Newzones Gallery, Calgary, Canada
2000 Constant Aesthetic, Stephen Haller Gallery, New York City,
NY
2000 Generations II: A Survey of Women Artists at the Millennium
AIR Gallery, New York City, NY'
2000 The Other Side and This Side: The Art of Italian and Italian-American
Women Casa Italiana, NY, NY
2000 Pieces IV , Gallery 128, New York City, NY
2000 Aesthetic Boundaries, Stephen Haller Gallery, New York City,
NY
1999 Waxing Poetic: Encaustic Art in America*, Montclair Art Museum,
Montclair, NJ
1999 Knoxville Museum of Art, Knoxville, TN
1999 Signs, Codes and Surfaces I and II, Stephen Haller Gallery,
New York City, NY
1999 Pieces III, Gallery 128, New York City, NY
1999 Los Angeles National, Patricia Correia Gallery, Santa Monica,
CA
1998 Contemporary Wax, Stephen Haller Gallery, New York City, NY
1998 Small Works, 80 Washington Square East Gallery, New York City,
NY
1998 Generations, AIR Gallery, New York City, NY
1998 Night of 1,000 Drawings, Artists Space, New York City, NY
1998 Ron Ehrlich,Gregory Johnston, Joanne Mattera, Hiro Yokose,
Marcia Wood Gallery, Atlanta, GA
1997 Cultural Markers, Stephen Haller Gallery, New York City, NY
1997 1 + 1 + 3: Independent Artists, Collaborative Art *, Alicia
Torres Gallery, New York City, NY
1997 Material Girls: Gender, Process and Abstract Art Since 1970,
Gallery 128, NY, NY (Curator: Harmony Hammond)
1997 Paper Project, Sally Sprout Gallery, Houston, TX
1997 Painting and Sculpture National, San Jacinto College, Houston,
TX (Juror's award: Howard Fox, juror)
1997 Inaugural Show, Christine Adapon Gallery, Manila, Philippines
1996 Cultural Markers, Stephen Haller Gallery, New York City, NY
1996 Small Works International, Amos Eno Gallery, New York City,
NY
1995 Small Works, Stephen Haller Gallery, New York City, NY
1995 Small Works, 80 Washington Square East Gallery, New York City,
NY (Juror's award: Jacquie Littlejohn, juror)
1995 Virtuosity, International Art Fair, The Armory, New York City,
NY
1995 Summer Show, Phoenix Gallery, NY, NY
1995 A Grand Affair, Art Initiatives at 420 Broadway, New York City,
NY
1995 About Drawing, Meridian Gallery, San Francisco, CA
1994 Waxing Minimal: Joanne Mattera, Inger SandLee, Tom Sime Denise
Bibro, New York City, NY
1994 Signs, Codes & Alphabets, Tribeca 148, New York City, NY
1994 Small Works, 80 Washington Square East Gallery, New York City,
NY
1994 The Midwinter Salon, Puchong Gallery, New York City, NY
1994 The Mundane Becomes Beautiful, Cortland Jessup Gallery, Provincetown,
MA
1993 93 Wishes for '94, Steinbaum Krauss Gallery, New York City,
NY
1993 Small Works, East West Cultural Center, New York City, NY
1993 Small Works, Denise Bibro Fine Art, New York City, NY
1993 Works on Paper *, Berkshire Museum, Pittsfield, MA (Curator:
Andre Emmerich)
1982 Works on Paper, Eve Mannes Gallery, Atlanta, GA
1982 Artists on the Grid, Svetlana Rockwell Gallery, Cambridge,
MA
1981 Collage: Eleven Contemporary Artists, Wheaton College, Norton,
MA
1981 Third Biennial, Savaria Museum, Szombatheley, Hungary
1980 Five Artists: Process and Product *, Art Colloquium Gallery,
Salem, MA Artist/Artisan*, Bass Museum of Art, Miami Beach, FL
1980 Paper *, Hera Gallery, Providence, MA
1979 Paper: Metamorphoses, Florence Duhl Gallery, New York City,
NY
1979 New Work, Sunne Savage Gallery, Boston, MA
1979 Ninth International, Musee Cantonal des Beaux Arts, Lausanne,
Switzerland
1978 New Works, Hadler/Rodriguez Gallery, New York City, NY
1978 Small Works: An Invitational, Touchstone Gallery, New York
City, NY
SELECTED COLLECTIONS
The Montclair Art Museum, Montclair, New Jersey
University Libraries Collection, State University of New York at
Albany
Wheaton College, Norton, Massachusetts
Alston & Bird, Atlanta and Washington, D.C.
Beacon Properties, Boston
Delta Airlines, Boston
McKee Nelson, New York City
Pacific Peninsula Group, Menlo Park, California
PricewaterhouseCoopers, Florham Park, New Jersey
Red Wheel/Weiser Books, Boston
U.S. Embassies, Slovenia and Poland
Consulate of Brunei
Eduardo Calma Architecture, Makati City, Philippines
Private collections: United States, Canada, the Philippines
PUBLICATIONS
The Art of Encaustic Painting: Contemporary Expression in
the Ancient Medium
of Pigmented Wax (Watson-Guptill, New York: 2001)
CURATORIAL PROJECTS
2007 Luxe, Calme et Volupté, curator, Marcia Wood
Gallery, Atlanta
2003 The Whole Ball of Wax, juror, Woman Made Gallery, Chicago,
IL
1993 Objects of Their Affection, curator, InterArt Center, New York
City, NY
1982 Artists on the Grid, curator, Svetlana Rockwell Gallery, Cambridge,
MA
SELECTED BIBLIOGRAPHY
BOOKS
Abstract Painting Concepts and Techniques, Watson Guptill,
2005; Vicky Perry
In Our Own Voices: Multidisciplinary Persepectives on Italian and
Italian American Women, Bordighera Press, 2003; Elizabeth G. Messina,
ed.
Spirit Maps, Red Wheel Books, 2001; Joanna Arettam
Lesbian Art in America, Rizzoli, 2000; Harmony Hammond
PERIODICALS
The New York Sun, "Joanne Mattera: Silk Road at OK
Harris," Maureen Mullarkey; May 3, 2007
Phoenix Home and Garden, "Color Blocks," March 2007
Maine Sunday Telegram, "Fusion: A Portland Encaustic Event,"
Philip Isaacson, Feb. 18, 2007
Maine Sunday Telegram, "Stacks of Wax," feature, Bob Keyes;
February 11, 2007
Art New England, "Art Criticism on the Internet," feature,
Raymond A. Liddell; December/January 2007
Boston Globe, "A Clever Pairing," Cate McQuaid; September
14, 2001
Lowell Sun, “Whole Ball of Wax,” Barbara Rizza Mellin;
November 12, 2005
Art News, “How to Talk to An Artist,” Gail Gregg; June
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; February/March 2005; on-line and
print editions
The New York Times, “‘Unbound: Selected Artists,”’
D. Dominick Lombardi; Jan. 2, 2005
The Boston Globe, “An Eyeful of Color,” Cate McQuaid;
December 10, 2004
Traditional Home, five paintings shown in situ in cover story: “A
Fresh Shade of Bungalow,” Eliot Nusbaum; September 2004
Arts Media, “Artists Wax Enthusiastic,” Rachel Strutt;
March 2004
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
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, portfolio, ed. Barbara McNeill; Issue 62, Dec. 02–Feb.
03; Issue 63, March-June 2003
Atlanta Journal-Constitution, “Expanding the Possibilities
of Paper,” Jerry Cullum; November 15, 2002
New York Times, exhibition review, William Zimmer; December 2002
IONS Noetic Sciences Review, portfolio, ed. Barbara McNeill; Dec.
2002 - Feb.2003
Philadelphia Inquirer, exhibition review, Edward J. Sozanski, May
19, 2002
Philadelphia Weekly, exhibition review, Roberta Fallon, May 10,
2002
Philadelphia Daily Local News, exhibition review, R.B. Strauss,
May 4, 2002
Boston Sunday Globe, profile, Catherine Foster, March 3, 2002
Art New England, book review, Susan Schwalb, February/March 2002
Arizona Republic, gallery profile, John Carlos Villani, November
18, 2001
Art in America, exhibition review, Jerry Cullum, March 2000
Design and Architecture, Alane Ty, February 2000
New York Arts, exhibition review, Christopher Chambers, October
1997
Atlanta Journal Constitution, exhibition review, Jerry Cullum, October
3, 1997
William and Mary Review, portfolio, ed. Erica Weitzman; Vol. 35,
1997
Artforum, exhibition review, Keith Seward, February 1994
Art Voices, profile, Jessica Scarborough, July/August 1981
Driadi, exhibition review, ed. Michel Thomas, April 1981
Maenad, portfolio, Spring 1981
American Craft, portfolio, Spring 1980
ON-LINE
Abstract Art on Line, "New York Views: Joanne Mattera at OK
Harris," Joseph Walentini, May 15, 2007; www.abartonline.com,
Fallon and Rosof’s Artblog, "Order(ed)," review
by Libby Rosof, May 17, 2006; http://www.fallonandrosof.com/2006/05/ordered.html
Look, See, " Joanne Mattera’s Encaustic Paintings,"
essay by Chris Ashley , April 16, 2006; www.chrisashley.net/weblog/archives/week_2006_04_16.html#001365
NYArts, “On and Off the Grid: In Conversation with Joanne
Mattera,” Julie Karabenick;
February/March 2005; on-line and print editions
Geoform, www.geoform.net, “An Interview with Joanne Mattera,”
Julie Karabenick, editor
Abstract Art On Line, “Noteworthy Abstraction,” Joseph
Walentiny, editor; images from solo
exhibition at Simon Gallery; October 1, 2005 edition
NYArts, “On and Off the Grid: In Conversation with Joanne
Mattera,” Julie Karabenick;
February/March 2005; on-line and print editions
TALKS, PANELS
Keynote Speaker, National Conference of Encaustic Painting, Montserrat
College of Art, Beverly, Mass., 2007
Guest Lecturer, City College of New York , 2004
Panelist, Ellis Island, New York City, Italian American Women Artists,
2001
Speaker, Casa Italiana, New York University, Material Influences,
2000
Panelist, Artists Talk on Art, New York City, Encaustic Painting,
2000
Visiting Artist, State University of New York at Albany, 1999
Speaker, Painter's Forum, New York City, Encaustic Painting, 1999
VISITING ARTIST
Ella Jackson Chair, Truro Center for the Arts, Truro, Mass., 2007
Visiting Artist, Montana State University, Bozeman, 2007
Visiting Artist, Montserrat College of Art, Beverly, Massachusetts,
2004
Weissman Visiting Artist, Connecticut College, New London, 2002
Visiting Artist, State University of New York at Albany, 1999
CATALOGS AND ESSAYS
Joanne Mattera: Ten Years of Encaustic Painting, from the exhibition
of the same name, Salem
State College, Salem, Mass., March-April, 2006
Geometry Reloaded, Lilly Wei; from the exhibition, “Engaging
the Structural,” a group exhibition
curated by Julie Karabenick, Broadway Gallery, New York, April 2005
Uttar: Poetics of Materiality and Process, Flavia Rando; from the
exhibition, “New Paintings in
Encaustic,” Simon Gallery, Morristown, N.J., September 10-October
12, 2002
SELECTED OVERVIEW
"Joanne Mattera…employs a grid-based field for her sensuous
abstract encaustic paintings. She works with a classic encaustic
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 paint, oil stick or oil pastel, or
scraping to reveal previous strata."
--Gail Stavitsky, curator, from the catalog essay, Waxing Poetic:
Encaustic Art in America 1999
"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
"Mattera's expert manipulation of beeswax in the encaustic
process creates works of finesse and subtlety."
--The Philippine Star, June 5, 2000
"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. Taken individually, these paintings
suggest a calm that nonetheless builds in momentum when placed together."
--R.B. Strauss, Phila. Daily Local News,
May 4, 2002
"Speaking of heavenly, Joanne Mattera's nine
encaustic wax 'Uttar' paintings…are smooth, icy confections."
--Roberta Fallon, Philadelphia Weekly
May 8, 2002
"Mattera orders the sensuality of the artist's
touch through the austerity of the grid….Ongoing, the 'Uttar'
suite is the everyday work of one artist, one woman-a poetics of
materiality and process. It is daily ritual, obsession, meditation.
Each subtle alteration of the artist's gesture becomes a study of
interior dialog giving expression to the process of (making) art
and life."
--Flavia Rando, Ph.D., from the essay,
Uttar: Poetics of Materiality and Process
September, 2002
"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, April 18, 2003
"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, The Boston
Globe, December 10, 2004
"‘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 Reloaded," April 2005
"Mattera provides literate and important insights into the
process of creating art." --Raymond A. Liddell, Art New
England, December/January 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, Maine Sunday Telegram, Feb. 18, 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 Art, The New York Sun, May 3, 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
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