Joanne Matera CV

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Selected Solo Exhibitions

2015     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 (online)
2011     Diamond Life   Marcia Wood Gallery, Atlanta
2010     Travel With Me Arden Gallery, Boston
               Viewing Room  Heidi Cho Gallery, New York, New York
2008     Contemplating the Horizontal    Arden Gallery, Boston
               Hue Again  Schlosberg Gallery, Montserrat College of Art, Beverly, Mass.

2007     Silk Road  OK Harris, New York City
               It’s Always About Hue, Isn’t It?   Cervini Haas Gallery, Scottsdale
2006     Heat of the Moment:  New Paintings in Encaustic   Arden Gallery, Boston
               Pure Color  Marcia Wood Gallery, Atlanta

               10 Years of Encaustic Painting     Winfisky Gallery, Salem State University, Salem, Mass.
2004     New Paintings in Encaustic   Arden Gallery, Boston    
               New Paintings   Simon Gallery, Morristown, New Jersey
               New PaintingsMarcia Wood Gallery, Atlanta
2003    New Paintings in EncausticArden Gallery, Boston
               Mudra: New Paintings in Encaustic   Cervini Haas Gallery,  Scottsdale
2002     Uttar: New Paintings in Encaustic    Simon Gallery, Morristown
2001     New Encaustic Paintings   Cervini Haas Gallery, Scottsdale
2000     New Encaustic Paintings   Arden Gallery, Boston
               Verso: Thought, Breath, Memory   Espace Gallery, Manila, Philippines      

1999     New Paintings    Marcia Wood Gallery, Atlanta                                        
1996     Linear Perspectives   OK Harris Gallery, New York City
1995     New Paintings   Stephen Haller Gallery, New York City 

Selected Group Exhibitions

2015      August Geometry  Marcia Wood Gallery, Atlanta
                   Going Big  Central Booking. New York City (Organizers: Suzan Shutan and Susan Carr)
                   Summer Show  dm contemporary, New York City
                   Sang-FroidSchoolhouse Gallery, Provincetown, Massachusetts
                Formal Aspects  Cape Cod Museum of Art, Dennis, Mass. (Curator: Sarah Hinckley)

                   Organic to Geometric: Investigations in Surface and Structure  Heftler Gallery, Manninen Center
                for the Arts, Endicott College, Beverly, Mass. (Curator: Carol Pelletier)

                    10 Ways  Derbylius Bookstore Gallery, Milan, Italy (Curator: Lorenza Sannai)
                    Territory of AbstractionPentimenti Gallery, Philadelphia
                    Pattern: Geometric Organic  Space Gallery, Denver
                    Selections from the Collection  U.S. State Department, Harry S. Truman Building, Washington, D.C.
                    ArtMarket San Francisco  Invited by Adler and Co. Gallery, San Francisco
 2014     Swept Away: Translucence, Transparence, Transcendence in Contemporary EncausticHunterdon
                 Art Museum, Clinton, New Jersey(Curator: Michael Giaquinto)

                    Doppler Shift  Visual Art Center of New Jersey, Summit (Curator: Mary Birmingham)
                Best of 2014  Kenise Barnes Fine Art, Larchmont, New York

                Summer Invitational  Elizabeth Harris Gallery, New York City
                To Leo, A Tribute from American Abstract Artists  Sideshow, Brooklyn
                    Summer Studio Salon  Marcia Wood Gallery, Atlanta
                    Relative Geometries  Conrad Wilde Gallery, Tucson
                Spectrum  A Gallery, Provincetown, Massachusetts
                Art Market San Francisco  Invited by Adler and Co. Gallery, San Francisco

2014       Art Silicon Valley  Invited by Adler and Co. Gallery, San Francisco
               Aqua Art Miami  Invited by Projects Gallery, Miami
2013      Swept Away: Translucence, Transparence, Transcendence in Contemporary EncausticCape Cod
                Museum of Art, Dennis, Massachusetts(Curator: Michael Giaquinto)
                A Whiter Shade of Pale Kenise Barnes Fine Art, Larchmont, New York
                Elephant in the Room Laconia Gallery, Boston (Curators: Linda Cordner and James Hull)
                Materiality  Westchester Community College, Valhalla, New York (Curator: Kenise Barnes)
                Paperazzi Janet Kurnatowski Gallery, Brooklyn
                Aqua Art Miami  Invited by Projects Gallery, Philadelphia and Miami
                Art Market San Francisco  Invited by Adler and Co. Gallery, San Francisco

2012       Patterns, Systems, Structures: Abstraction in American Art   Montclair ArtMuseum, Montclair,
               New Jersey(Curator: Gail Stavitsky)

                  Saturated ColorSchweinfurth Art Center, Auburn, New York   (Curator: Kenise Barnes)
                  Lush Geometry   DM Contemporary, New York City
                  Rolling in the Deep  Kenise Barnes Fine Art, Larchmont, New York           
                  Art Naples Invited by Projects Gallery, Philadelphia and Miami
              Affordable Art Fair, Los Angeles and New York City Invited by Conrad Wilde Gallery, Tucson
2011     Kindred Spirits   Traina Center for the Arts, Clark University, Worcester, Mass. (Curator: Toby Sisson)

                 Plane Speaking   McKenzie Fine Art, New York City
                 Drawing The Line #11   June Fitzpatrick Gallery, Portland, Maine
2011    Sheer Color   Conrad Wilde GalleryTucson, Arizona
             Baby, It’s Cold Outside   Kenise Barnes Fine Art, Larchmont
                  Aqua Art, Miami   Invited by Conrad Wilde Gallery, Tucson
2010     Geometric Themes and Variations   Gallery 128, New York City (Curator: Gloria Klein)

                  Pull:  Print Portfolio Exhibition   Marcia Wood Gallery, Atlanta
                  July Salon   June Fitzpatrick Gallery, Portland, Maine
                  Inspire   Amy Simon Fine Art, Westport, Connecticut
                  Oasis   Conrad Wilde Gallery, Tucson
                  Director’s Choice   Kenise Barnes Fine Art. Larchmont, New York
                  Love, Lust and Desire   McGowan Fine Arts   Concord, New Hampshire
                  Aqua Art Miami   Invited by Conrad Wilde Gallery, Tucson
                  Art Hamptons   Invited by DM Contemporary, New York City        
2009    Slippery When Wet   Metaphor Contemporary Art, Brooklyn
                  Inaugural Preview   DM Contemporary, New York City
                  Summer Guest House   Marcia Wood Gallery, Atlanta
               12x12   Conrad Wilde Gallery, Tucson

                  Stayin' Alive  Metaphor Contemporary Art, Brooklyn
                  Obsessions  Adler & Co. Gallery, San Francisco
                  Geometrics II   Gallery 128, New York City (Curator: Gloria Klein)
               Castle Hill at the Provincetown Art Association and Museum, Hans Hoffman Gallery, Provincetown, Mass.
               Gallery Artists: Works on Paper  June Fitzpatrick Gallery, Portland, Maine

                   Love, Lust and Desire   McGowan Fine Art, Concord, New Hampshire
               Bridge Art Fair  New York City   Invited by DM Contemporary, Mill Neck, New York

                   Los Angeles Art Show   Invited by Adler & Co. Gallery, San Francisco
2008     Material Color   Hunterdon Art Museum, Clinton, New Jersey (Curator: Mary Birmingham)

                   No Chromophobia   OK Harris, New York City (Curator: Richard Witter)
                   Small Wonder   Garson Baker Fine Art, New York City
                   Relative Geometries   Conrad Wilde Gallery, Tucson
                   This Just In   Marcia Wood Gallery, Atlanta
                   Calculated Color  Higgins Gallery, Cape Cod Comm. College, Barnstable, Mass. (Curator: Jane Lincoln
2008     A Breath of Fresh Air  Kenise Barnes Fine Art, Larchmont

                   Summer/Fall Group Show Adler & Co., San Francisco
2008     Fourth Anniversary Exhibition   DM Contemporary, Mill Neck, New York
                   Art Now Fair, New York   Invited by DM Contemporary, Mill Neck, New York
                   Los Angeles Art Show   Invited by Adler & Co. Gallery, San Francisco
2007      Punchbowl   Metaphor Contemporary Art, Brooklyn, New York
                  The Blogger Show   Agni Gallery, New York City   (Organizer: John Morris)
                  Gigantic Small Works Show   Rosenfeld Gallery, Philadelphia
                  The Fusion Project   June Fitzpatrick Gallery, Portland, Maine
                  Encaustic Invitational   Conrad Wilde Gallery, Tucson
                  Red Dot Fair, Miami BeachInvited by Arden Gallery, Boston
                  Los Angeles Art Show     Invited by Adler and Co. Gallery, San Francisco
2006    Neo Plastic Redux   Elizabeth Harris Gallery, New York City(Organizer: Miles Manning)

                  Gigantic Small Works Show   Rosenfeld Gallery, Philadelphia
                  Nancy Manter, Joanne Mattera, Babe Shapiro     DM Contemporary,  Mill Neck, New York
               A Thing of Beauty and A Joy Forever   Kenise Barnes Fine Art, Larchmont
               Minimal    Minimal Works Gallery, Philadelphia
               Luminous Depths   Wm. Paterson Univ., Wayne, NJ(Curator: Nancy Einreinhofer)
               
Order(ed)    Siano Gallery, Philadelphia(Curator: Julie Karabenick with essay by Roberta Fallon)
               Flow Art Fair, Miami Beach    Invited by Kenise Barnes Fine Art, Larchmont, New York

                  Art (212) Contemporary Art Fair, New York   Invited by Marcia Wood Gallery, Atlanta
                  Los Angeles Art Show    Invited by Cervini Haas Gallery, Scottsdale
2005     What Did Puck Say?   Heidi Cho Gallery, New York City
               Engaging the Structural   Broadway Gallery, New York City(Curator: Julie Karabenick;  essay: Lilly Wei)
               Cooled and Collected: Modern Masters of Encaustic   Boon Gallery, Salem, Massachusetts
               Color Theory     Schweinfurth Art Center, Auburn, New York   (Curator: Kenise Barnes)

                  Wish You Were Here IV     A.I.R. Gallery, New York City
               Wax: Encaustic Painting in Contemporary Art    Brush Gallery, Lowell, Mass. (Curator: E. Linda Poras)
2005      Works On Paper Invitational   Cervini Haas Gallery, Scottsdale
               Wax Works    McGowan Fine Arts,  Concord, New Hampshire
               AAF Contemporary Art Fair, New York   Invited by Marcia Wood Gallery, Atlanta
2004     Color Theory    Kenise Barnes Fine Art, Larchmont, New York
               Unbound: Selected Artists from ‘The Art of Encaustic Painting’   R&F Gallery,
               Kingston,  New York(Curator: Laura Moriarty)
               Four New York Artists    Patrick Olson Gallery, Plymouth, Michigan

                  AAF Contemporary Art Fair, New York   Invited by Marcia Wood Gallery, Atlanta
2003     Encaustic Now II    Marcia Wood Gallery, Atlanta
               Serenity    Cervini Haas Gallery, Scottsdale         

                   Tickled Pink    Marcia Wood Gallery, Atlanta
                Wish You Were Here Too     A.I.R. Gallery, New York City
                The Way of Wax    Winfisky Gallery at Salem State College, Salem, Mass.
                Art Miami     Invited by Arden Gallery, Boston

                Art Santa FeInvited by Cervini Haas Gallery, Scottsdale
                   AAF Contemporary Art Fair, New York   Invited by Thatcher Projects, New York City
2002     Work on Paper   Marcia Wood Gallery, Atlanta

                Lush Abstraction   Melanee Cooper Gallery, Chicago
               Hot Wax   Cummings Art Center at Connecticut College,  New London
                   Artcetera    Boston Center for the Arts, Boston
                   Works on Paper  Cervini Haas Gallery, Scottsdale
                The Postcard Show    A.I.R. Gallery, New York City Water     Cervini Haas Gallery, Scottsdale

                    Enkaustikos: Wax As a Contemporary Medium    Pentimenti Gallery, Philadelphia
2002      Centering     Sonoma Museum of Visual Art,  Santa Rosa, California
                Generations III    A.I.R. Gallery, New York City

                    Art San Francisco    Invited by Newzones Gallery, Calgary, Canada          
                    AAF Contemporary Art Fair, New York    Invited by Thatcher Projects, New York City
2001      Encaustic Now    Marcia Wood Gallery, Atlanta    

                Encaustic Works    Arden Gallery, Boston
                The Art of Encaustic Painting    Cervini Haas Gallery, Scottsdale
                   Encaustic: Joanne Mattera and Friends   Melanee Cooper Gallery, Chicago
                Large-Scale Painting    Cervini Haas Gallery,  Scottsdale
                Deck the Walls   Newzones Gallery, Calgary
2000     Constant Aesthetic   Stephen Haller Gallery, New York City
                Generations II: A Survey of Women Artists at the Millennium    A.I.R Gallery, New York City

                   The Other Side and This Side: The Art of Italian and Italian-American Women  Casa Italiana, New York
                    Pieces IV    Gallery 128, New York City    (Curator: Sylvia Netzer)
1999   Aesthetic Boundaries   Stephen Haller Gallery, New York City
                   Waxing Poetic: Encaustic Art in America    (Curator: Gail StavitskyMontclair Art Museum, Montclair, New Jersey,  and Knoxville                             Museum of Art,  Knoxville, Tennessee
1999      Signs, Codes and Surfaces I and II     Stephen Haller Gallery, New York City
                
Pieces III     Gallery 128, New York City    (Curator: Sylvia Netzer)            
1998      Contemporary Wax   Stephen Haller Gallery, New York City

                   Small Works   Washington Square East Gallery, New York City     
                   Generations    A.I.R. Gallery,  New York City           
                  Ron Ehrlich, Gregory Johnston, Joanne Mattera, Hiro Yokose    Marcia Wood Gallery, Atlanta

1997       Cultural Markers     Stephen Haller Gallery, New York City
                 1+1=3: Independent Artists, Collaborative Art    Alicia Torres Gallery, New York City
                 Material Girls:  Gender, Process and Abstract Art Since 1970  Gallery 128, New York City(Curator: Harmony Hammond)
                 Paper Project    Sally Sprout Gallery, Houston
                 Inaugural Show   Christine Adapon Gallery, Manila
1996       Cultural Markers   Stephen Haller Gallery, New York City
                 Small Works International   Amos Eno Gallery, New York City
1995       Small Works    Stephen Haller Gallery,  New York City
                 Virtuosity Art Fair, The Armory, New York   Invited by Stephen Haller Gallery, New York City
1994        Waxing Minimal: Joanne Mattera, Inger Sand Lee, Tom Sime   Denise Bibro Fine Art, New York City
                  Signs, Codes & Alphabets   Tribeca 148,  New York City
                  Small Works    Washington Square East Gallery, New York City
1993        93 Wishes for '94     Steinbaum Krauss Gallery, New York City

                      Small Works    East West Cultural Center,  New York City                        
                      Small Works     Denise Bibro Fine Art,  New York City
                      Works on Paper   Berkshire Museum, Pittsfield, Massachusetts   (Juror: Andre Emmerich)

 Selected Honors

 Ongoing    Geoform.net, an international website of abstract geometric art; curator, Julie Karabenick
2014       Elected member, American Abstract Artists
2012       Honoree, Castle Hill at National Arts Club, New York City
2007       Ella Jackson Chair, Castle Hill Center for the Arts, Truro, Mass.
2005       Artist’s Resource Trust grant, a fund of the Berkshire Taconic Foundation, Massachusetts

 SELECTED COLLECTIONS

 Montclair Art Museum, Montclair, New Jersey
New Britain Museum of American Art,  Connecticut
Connecticut College, New London, Print Collection
University Libraries Collection, University of New York at Albany
U.S. State Department
Wheaton College Gallery, 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, Washington, D.C.
Mark Williams Design, Atlanta
McKee Nelson, New York City
Pacific Peninsula Group, Menlo Park, California
PricewaterhouseCoopers, Florham Park, New Jersey
R&F Paints, Kingston, New York
Red Wheel/Weiser Books, Boston
Stanley, Beaman, Sears, Atlanta
Private collections: United States, Canada, Scandinavia, the Philippines

 

Curatorial and Organizational Projects
CurrentInternational Encaustic Conference  Founder and director,  Provincetown, Mass., with Truro Center for the Arts at Castle Hill (since 2007)
2015     A Few Conversations About Color  Curator, dm contemporary, New York City
2013     Cotton  Juror, Fountain Street Fine Arts, Framingham, Mass.
2012     Improbable Topographies   Curator, Rice Polak Gallery, Provincetown, Mass.
              Textility  Co-curator with Mary Birmingham, Visual Art Center of New Jersey, Summit
              Encaustic Works 2012Juror for an exhibition in print, R & F Gallery, Kingston, New York
2011     Surface Attraction Co-curator with Marla Rice, Rice Polak Gallery, Provincetown, Mass.
              New England Collective II  Juror, Galatea Fine Art, Boston
              Conversations  Co-curator with LauraMoriarty, Gallery at R&F, Kingston, N.Y.
2010     Wax Libris II  Curator, Fourth International Encaustic Conference, Beverly, Mass.
2009     Wax Libris  Curator, Third International Encaustic Conference, Beverly, Mass.
                Blogpix  Curator, with Olympia Lambert and others,  Platform Gallery, New York City
2007       Luxe, Calme et Volupté  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

Teaching

2013,12   Visiting Artist, School of Visual and Performing Arts, Endicott College, Beverly, Massachusetts
2011         Visiting Artist, College of Visual and Performing Arts, University of Massachusetts, Dartmouth
                  Visiting Artist, Visiting Artists and Scholars Series, School of Art, Georgia State University, Atlanta
2010-05  Visiting Lecturer, 2D Fine Arts Department,  Massachusetts College of Art, Boston
2009        Distinguished Visiting Lecturer, Marywood University, Scranton, Pennsylvania
2007        Visiting Artist, Montana State University, Bozeman
2004        Visiting Artist, Montserrat College of Art, Beverly, Massachusetts        
2002         Weissman Visiting Artist, Connecticut College, New London
1999         Visiting Artist, University of New York at Albany     

Talks, Panels

2015     Moderator, Professional Practice: The Big Picture, 9th International Encaustic Conference,                                            Provincetown
2014         Moderator, A Conversation About Art Criticism, with Mira Schor,  Barry Schwabsky, and Helen Miranda
               Wilson, Preservation Hall, Wellfleet, Mass.
               Moderator, The Roots of Contemporary Encaustic, 8th International Encaustic Conference, Provincetown
2013          Moderator, Raising the Bar: Encaustic in Our Practice, 7th International Encaustic Conference, Provincetown
                    Presenter,
Art Bloggers @ Art Miami, with David Cohen, editor in chief, artcritical.com
2012           Speaker, Art Students League, New York City, Looking at Wax

                         Moderator, Igniting the Spark Fanning the Flame: Creativity in Our Practice, 6th International Encaustic Conference
2011           Speaker, Art Bloggers @ Art Miami, Bloggers' Guide to the Fair
                         Moderator, Mastering Media: The Art of Promotion, 5th International Encaustic Conference, Provincetown
2010           Guest Speaker, Textile Study Group of New York, New York City, Affinities: Fiber and Wax

                          Moderator, Massachusetts College of Art,  Life After Art School
                          
Moderator, Making a Career in Encaustic, 4th International Encaustic Conference
2009           Moderator, Art Bloggers @ Art Miami, panel discussion, Carving Our Niche in the Blogosphere

                     Moderator, Blogpix, panel in conjunction with exhibition at Platform Gallery, New York City
                     Moderator, Conservators in Conversation, 3rd International Encaustic Conference
2008           Moderator, Art Bloggers @ Red Dot, panel discussion during March art fairs in New York City
                     Presenter, College Art Association, Dallas   Finding a Place for Yourself in the Art World
                          Moderator, Encaustic as Viewed in the Media, 2ndInternational Encaustic Conference         
2007              Co-organizer, Art Bloggers @ Miami, an ad hoc gathering of artbloggers during Miami/Basel
                     GuestSpeaker,  Montana State University,  35 Years of More or Less The Same Thing
                     Keynote Speaker, Almost Mainstream After 2000 Years. International Encaustic Conference  
2005           Keynote Speaker, Art League of Northern California, Novato   Building and Sustaining a Career in Art
2004           Guest Lecturer, City College of New York    Encaustic Painting    
                     Guest Lecturer, R&F Gallery, Kingston, New York    Encaustic Forum                    
2003           Gallery Talk, Marcia Wood Gallery, Atlanta   Contemporary Encaustic Painting          
2001            Panelist, Ellis Island, New York City   Italian American Women Artists, New York City   
2000              Speaker, Casa Italiana, New York University, New York CityMaterial Influences       
                      Panelist, Artists Talk on Art, New York City   Encaustic Painting                   
1999            Speaker, Painter’s Forum, Encaustic Painting
                                 

 

Writing

Current   Joanne Mattera Art Blog, ongoing at www.joannemattera.blogspot.com
2014         The Art of Transformation (and Vice Versa), essay for Material Consequences, Gallery X, Truro, Mass.
2013         The Miami Art Fairs: Fiber, Fiber Everywhere, feature; Surface Design Journal, Fall issue
                       Extravagant Light, essay for Swept Away, Cape Cod Museum of Art, Dennis, Mass.
                   Heady Abundance and Spare Elegance, essay for Natura Viva, ArtCurrent Gallery, Provincetown, Mass.
                   The Writing on the Wall, essay for The Calligraphic Gesture,  Tao Water Gallery, Provincetown, Mass.
2013          Making Room, essay for Making Room in New Haven, curated by Suzan Shutan
2012             Material Means: Diverse Practices, Common Threads, curator's essay for Textility, VisualArt
                    Center of New Jersey, Summit  
                    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, review; Surface Design Journal, Summer issue
2011           Affinities: Fiber and Wax, feature; Surface Design Journal, Winter issue
2010           A Thread Runs Through It, foreword for Encaustic with a Textile Sensibility, by Daniella Woolf


Selected Bibliography
2007     Luxe, Calme et Volupte: A Meditation on Visual Pleasure, curator’s essay, Marcia Wood Gallery, Atlanta. Text online atwww.marciawoodgallery.com/luxe_calme/essay.html
Exquisite Dualities: The Recent Paintings of Alexandre Masino, essay for the Montreal painter
Material Witness, feature; Surface Design Journal, Fall issue
2006     Encaustic: The ‘New’ Art Medium, Just 2000 Years Old, essay for “Luminous Depths” catalog
      and eponymous exhibition, curated by Nancy Einreinhofer, Wm. Paterson University, Wayne, N.J.
Dancing Shards: Between Order and Intuition, essay for New York painter Gloria Klein
 Kevin Frank: The World in a Still Life, essay for the New York painter
2005        Give and Take, essay for Seattle-based painter Betsy Eby
2001     The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented
            WaxWatson-Guptill, New York
1981-83   Fiberarts, Editor in Chief

 Books
2015   Silk Road: Excerpts from an Ongoing Series  Well-Fed Artist Press, New York City

2014     Italian American Review, Vol. 4, Number 1; Calandra Institute,  cover
2011     Against the Tide  Two Coats of Paint Press; Sharon Butler
              The Art of Reading Italian Americana, Bordighera Press; Fred Gardaphé; cover
2010     Encaustic with a Textile Sensibility   Waxy Buildup Press; Daniella Woolf
2009     The Artists’ Guide: How To Make A Living Doing What You Love, DaCapo; Jackie Battenfield
2005     Abstract Painting,  Watson Guptill; Vicky Perry
2003    In Our Own Voices: Multidisciplinary Perspectives on Italian and Italian American Women

              Bordighera Press;   Elizabeth G. Messina, ed.
2001     Spirit Maps, Red Wheel/Weiser; Joanna Arettam
2000     Lesbian Art in America,  Rizzoli; Harmony Hammond
1998
     Waxing Poetic: Encaustic Art in America; The Montclair Art Museum/Rutgers University     
               Press; Gail Stavitsky, editor

 Periodicals
2015     Bedford + Bowery, “When 111 Artists Find Each Other Through Facebook,” Rob Scher, August 3
               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

               Hyperallergic,  “Profaning Geometry, Venerating Uncertainty,”  Peter Malone, July 11
               Painter’s Progress
, “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, Dec. 29
               Two Coats of Paint, “Joanne Mattera’s New Angle,” Sharon Butler; September 8
                  Artscope, “Joanne Mattera: Chromatic Geometries,” Elizabeth Michelman; September-October
                  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     Syracuse Post-Standard, “The Power of Patterns,” Katherine Rushworth; August 5
              Huffington Post, Rolling in the Deep at Kenise Barnes Fine Art, D. Dominick Lombardi; July 2
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
              Art Critical, “Artists Who Write Write for a Purpose,” , George Hofmann; August 31 (online)

                 Art Critical, “Abstraction in a Cold Climate,” Franklin Einspruch; December (online)
2010   Maine Sunday Telegram, “Refinement Multiplied,” Philip Isaacson; July 25
            Portland Phoenix, “Bright Lines at June Fitzpatrick,” Nicholas Schroeder; July 20
            Art in the Studio, The Questionnaire: Joanne Mattera,” Nancy Natale, October 4 (online)
            Venetian Red, “Joanne Mattera’s Journey of Visual Pleasure,”  Liz Hager (online)
2009    View List at Minus Space, "Bulletin Board: Inspiration Information," Karen Schifano (online)
              Making the Art Seen, "Featured Painter: Joanne Mattera," interview by Sand T., July 2009 (online)
              Artist's Career Guide, "Reality Check: Interview with Joanne Mattera,  Jackie Battenfield (online)
              Artscope, "Third Annual Conference of Encaustic Painting," Brian Goslow; May-June issue

                  NYC Art, "GeoMetrics," Chris Rywalt; March 24 (online)}
               Zocalo, "Per Square Foot at Conrad Wilde," Dolly Spaulding, December 10
2008     Boston Globe, “Color Their World,” Cate McQuaid; December 17

                  Berkshire Fine Arts, “Boston’s Newbury Street Galleries,” Shawn Hill; December 27 (online)
                  More magazine,  “Art Beat,” Alesha Hardwick-Whyte; October issue
                  The Boston Phoenix, “Waxing Poetic,” Randi Hopkins; June 3
                Steven Alexander Journal, "Joanne Mattera,"  March 15 (online)
2007    Provincetown Banner, “When Art Runs Hot and Cold,” Melora B. North; August 23

                 Atlanta Journal Constitution, “Spirit of Baudelaire, Matisse Flows,” Debra Wolf; July 8
             Abstract Art On Line, "New York Views: Joanne Mattera at OK Harris," Joseph Walentini;  May 15}

                The New York Sun, “Joanne Mattera: Silk Road at OK Harris,”  Maureen Mullarkey;  May 3
                Phoenix Home and Garden, “Color Blocks,”  March
                Maine Sunday Telegram, “Fusion: A Portland Encaustic Event,” Philip Isaacson, February 18
                Maine Sunday Telegram, “Stacks of Wax,”  feature, Bob Keyes; February 11
2006   Art New England, “Art Criticism on the Internet,”  feature, Raymond A. Liddell; December/January 2007

                Boston Globe, “A Clever Pairing,” Cate McQuaid;  September 14
            The Art Blog, "Ordered," Libby Rosof; May 17 (online)
            Look, See, "Joanne Mattera's Encaustic Paintings," Chris Ashley; April 16 (online)
2005  LowellSun,  “Whole Ball of Wax,” Barbara Rizza Mellin; November 12

               Art News,  “How to Talk to An Artist,” feature, Gail Gregg;  June
               Syracuse Post-Standard,  “Color This Exhibit…,” Katherine Rushworth; May 15
                NYArts,  “On and Off the Grid: In Conversation with Joanne Mattera,”  Julie Karabenick; February/March }
                New York Times,  “‘Unbound: Selected Artists,”’ D. Dominick Lombardi; Jan. 2
2004   Boston Globe,  “An Eyeful of Color,” Cate McQuaid; December 10
             Traditional Home, “A Fresh Shade ofBungalow,” cover story, Eliot Nusbaum; September

                 Arts Media, “Artists Wax Enthusiastic,” Rachel Strutt; March
2003  Boston Sunday Globe,  “Critics’ Picks,” Christine Temin; April 28
                 Boston Globe,  “Critics’ Picks,” Cate McQuaid; April 18
                 Arts Media,   “Joanne Mattera: Paintings in Encaustic,” Shawn Hill; April-May
                 The Week,  “Joanne Mattera at Arden Gallery, Boston,” April 19
2003     Scottsdale Republic “Eclectic Mix at Cervini Haas,” Roberta Burnett, April 16

                  IONS Review, Barbara McNeill, ed., portfolio; Issue Issue 63,  March 2002
2003
    IONS Review, Barbara McNeill, ed., portfolio; Issue 62, December
2002     Atlanta Journal-Constitution,  “Expanding the Possibilities of Paper,” Jerry Cullum; November 15
                  New York Times,  “Hot Wax,” William Zimmer;  November 10
                  Philadelphia Inquirer, “Novel Process, Classical Elegance,”  Edward J. Sozanski;  May 19
                  Philadelphia Weekly, “Play On,” Roberta Fallon;  May 10
                  Philadelphia Daily Local News, “Ancient Medium Explored Again,” R.B. Strauss; May 4
                  Boston Sunday Globe,  “The Process,” profile, Catherine Foster;  March 3
               
Art New England, “The Art of Encaustic Painting,” book review,  Susan Schwalb;  Feb/March
2001      Arizona Republic,  “Beauty of Encaustic Has its Price,” feature,  John Carlos Villani; November 8
                  Atlanta Journal-Constitution,  “Waxing Eloquent,” Catherine Fox; October 12
2000     Manila Today,  “Art Guide,” review;  June 6
            The Philippine Star,  “Gallery News,” review; June 5

            Art in America,  “Joanne Mattera at Marcia Wood,”  Jerry Cullum; March
            Design and Architecture (Manila),   “An Italian Spell in Tagaytay,” feature, 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

            Atlanta Journal Constitution, “Four Artists Aimed at the Stars,”  Jerry Cullum; October 3
            William and Mary Review, Erica Weitzman ed., portfolio; Vol. 35
1994     Artforum,  “Objects of Their Affection at Interart Center,”  Keith Seward;  February
Earlier   Driadi,  “Du Blanc a la Couleur,” Michel Thomas;  April 1981
                American Craft, “Joanne Mattera,” portfolio; ” Spring 1980

 Catalogs
2015     Pattern: Geometric\Organic Space Gallery, Denver
             A Few Conversations About Color
, dm contemporary, New York City  
             Organic to Geometric: Investigations in Structure and Surface, Endicott College, Beverly, Mass.
2014     Swept Away
, second edition, Hunterdon Art Museum, Clinton, New Jersey
2013     Swept Away
, Cape Cod Museum of Art. Dennis, Mass.

               Elephant in the Room, Laconia Gallery, Boston   
2011      Pull, Marcia Wood Gallery, Atlanta; essay by Jerry Cullum
2010      The Art at Dana-Farber Center, Boston, Mass.
2008    Material Color, Hunterdon Art Museum, Clinton, N.J.; essay by Mary Birmingham, curator
2006      Joanne Mattera: Ten Years of Encaustic Painting, from the eponymous exhibition,
                Salem State University, Salem, Mass., March-April; essays by Flavia Rando and the artist
                Luminous Depths, Wm. Paterson University, Wayne, N.J.; essay by Nancy Einreinhofer
2006     Order(ed), for the eponymous group exhibition curated by Julie Karabenick atGallery
                        Siano, Philadelphia, May-June; essay, “Beauty, Order and Individuality,” by Roberta Fallon
2005           Geometry Reloaded, Lilly Wei; from the exhibition, “Engaging the Structural,” a group exhibition curated
                        by Julie Karabenick, Broadway Gallery, New York, April   
2002         Uttar: Poetics of Materiality and Process
, Flavia Rando; from the exhibition, “New Paintings in Encaustic,” Simon                                                             Gallery, Morristown, N.J., September-October,

 

 

Education

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

Selected Critical Overview.
"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 Kany
Maine 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 129 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


“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
. 

“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 Art, The 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 Telegram, Feb. 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 Reloaded, NY 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 Color, The 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, Boston, Arts 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