Selected Group Shows


Stripes—the whole idea

Online exhibition for American Abstract Artists, current

Curator: Edith Newhall

This online exhibition features work by seven membesr of American Abstract Artists: Gabriele Evertz, James Juszczyk, Joanne Mattera, Don Porcaro, Mary chiliro, Melissa Staiger, and Kim Uchiyama. Pictures above: Gene Davis painting the Benjamin Franklin Parkway in Philadelphia in 1972

Curator Edith Newhall writes:

My introduction to stripes as a certifiable subject for art came in 1971 when I was a student at Moore College of Art and visited England for the first time. It was there that I saw Bridget Riley’s hypnotic stripe paintings in her first museum survey at the Hayward Gallery. A year later, I witnessed firsthand Gene Davis’s spectacular Franklin’s Footpath as it was being painted on the Benjamin Franklin Parkway. At the time, the 414-foot-long painting of candy-colored stripes in front of the Philadelphia Museum of Art was the largest artwork in the world. Read more here

Silk Road 480, 2020, encaustic on panel, 24 x 24 inches

You can view the online exhibition and read curator Edith Newhall's essay here

Blurring Boundaries: The Women of  American Abstract Artists, 1936-Present

Traveling exhibition, at the Baker Art Museum, Naples, Florida, through July 25

Curator: Rebecca DiGiovanna

Entrance to the current installation of Blurring Boundaries at the Baker Art Museum in Naples, Florida. From here the exhibition will travel to the Freedman Gallery at Albright College, Reading, Pennsylvania (August 31-December 17, 2021) and culminate at the Mattatuck Museum, Waterbury, Connecticut (May 7-September 7, 2023)

An installation view of Blurring Boundaries at its first stop at the Clara M. Eagle Galleries of Murray State University, Murray, Kentucky. Subsequent stops included the Ewing Gallery, University of Tennessee, Knoxville, and the South Bend Museum of Art, South Bend, Indiana

Blurring Boundairies was organized by the Clara M. Eagle Galleries of Murray State University, Murray, Kentucky, and the Ewing Gallery, University of Tennessee, Knoxville, and is toured by International Arts and Artists, Wasshington, D.C.

Joanne Mattera

Swipe 11, 2016, oil on prepared paper, 30 x 22 inches; framed, 32 x 24 inches

A PDF of the catalog is viewable here with the names and work of all 50 artists

Take a walk-hrough of the exhibition on my archived blog

Installation views are also vieweable on the Ewing Gallery website

See more on the exhibition on the American Abstract Artists website, where you can also learn about its members, projects, and publications

Organic to Geometric: Investigations in Structure and Surface

Provincetown Art Association and Museum, Provincetown, Masssachusetts, 2018

Curator: Carol Pelletier

The original incarnation of this exhibition took place at the Heftler Gallery at Endicott College, 2015, accompanied by talks and a catalog. The curator, Carol Pelletier revised and expanded the show for the Provincetown Art Association and Museum in 2018 to coincide with the International Encaustic Conference, which is held annually in Provincetown, the longest-running continuous art colony in the United States

My contribution to the exhibition, clockwise from top left: Silk Road 404, Silk Road 401, Silk Road 353, Silk Road 402; all 2018 except 353, 2017; all encaustic on panel, 18 x 18 inches each

The exhibition catalog, designed by Karen Freedman, contains essays by curator Carol Pelletier and me and features the work of, designeds by Karen Freedman, director of Arden Gallery, and Carol Pelletier, and my own statement about the work, features the work of 24 artists.  Viewable online at no charge, it is also available for purchase

Crazy Beautiful

 Kenise Barnes Fine Art, Larchmont, New York, 2018

Panoramic view of Crazy Beautiful, Kenise Barnes's rendition of the lush, the sensuous, and the unabashedly gorgeous. At far left: Molly McCracken Kumar; at far right: Jenny Kemp. Images of my own work are below

Silk Road 410, 2018, encaustic on panel, 18 x 18 inches

Silk Road 409, 2018, encaustic on panel, 18 x 18 inches

Silk Road 408 , 2018, encaustic on panel, 18 x 18 inches

Silk Road 414, 2018, encaustic on panel. 18 x 18 inches

Silk Road 415, 2018, encaustic on panel, 18 x 18 inches

Silk Road 416, 2018, encaustic on panel, 18 x 18 inches

Three Silk Road paintings flanked by paintings by Jenny Kemp; ceramic work on table by Peter Pincus

The work in Crazy Beautiful is viewable online. Click to view  

See my walk through of the show here


Tacit Gallery, Melbourne, Australia, 2017

Curators: Louise Blyton and David Coles

Installation view of Chromatopia

Paintmaker David Coles and painter Louise Blyton curated Chromatopia: A History of Colour in Art for the Tacit Gallery in Melbourne, Australia. Since then Coles, the master paintmaker behind Langridge Oil Colours, has produced a book based on the research he did for the exhibition with images of work selected by Blyton

Image courtesy of the curators

The yellow/green/blue corner with my painting, Silk Road 207, inclluded and shown below

Silk Road 207, 2014, encaustic on panel, 18 x 18 inches

Chromotopia An Illustrated History of Colour by David Coles, published by Thames & Hudson, is a marvelous and informative study of pigments and their sources. It is illustrated with artwork from the exhibition. The book includes an international lineup of works by Samara Adamson-Pinczeski, Irene Barberis, TJ Bateson, Louise Blyton, Richard Bottwin, Peter D Cole, Kevin Finklea, Connie Goldman, Brent Hallard, Jeanne Heifetz, Euan Heng, Ruth Hiller, Suzie Idiens, Ash Keating, Emma Langridge, Simon Leah, Tom Loveday, Joanne Mattera, James Austin Murray, Munira Naqui, Redbox Peter, Debra Ramsay, Michelangelo Russo, Marlene Sarroff, Wilma Tabacco, Jim Thalassoudis, Richard van der Aa, Don Voisine, and Ian Wells

It is available in the United States here

Domestic Disturbances

490 Atlantic Gallery, Brooklyn, 2017

Curator: Joanne Freeman

Panoramic view of the exhibition, the entirety of which occupies three rooms and an outdoor space

Curator Joanne Freeman writes:

Domestic Disturbances features the work of eight artists whose work merges functional and non-functional elements, highlighting the interplay of art and design. Traditionally the use of craft and design was associated with domesticity, functionality and decoration. These classifications have contributed to a hierarchy that historically marginalized and devalued the art of women, minorities and non-western cultures.  Changes in cultural awareness precipitated by feminism, gender identiry, and racial diversity have shifter perceptions of aesthetic value and softened divisions in the art world. The artists participating in Domestic Disturbances have come full circle, bringing a multidisciplinary approach to their practice that champions both the fine and applied arts. Building on a devalued history of marginalization, their work celebrates the personal as political.

You can view a walk through of Domestic Disturbance here

10 Ways

Shown in galleries in Milan, Bonn, Berliln, and Paris, 2015-2016

Curator: Lorenza Sannai

Artist curator Lorenza Sannai has brought the work of 10 members of the New York City-based group, American Abstract Artists, to four cities in Europe. Geometry and small scale are the unifying elements in a show that includes one artwork and a related small edition of 10 books by each artist. The artists are Power Boothe, John Goodyear, Lynne Harlow, Daniel G. Hill, James Juszczyk, Joanne Mattera, Lorenza Sannai, Susan Smith, Don Voisine, and Stephen Westfall

Installation view from the RCM Gallery, Paris

Installation view, Derbylius Gallery, Milan

Photo: Jim Osman

Installation view, Clement & Schneider Gallery, Bonn, with work by Lorenza Sannai, Joanne Mattera, Stephen Westfall, Susan Smith, Daniel G. Hill. Books on desk in foreground, with Stephen Westfall featured

Photo courtesy of the gallery

Corner of the installation at Dr. Julius, Berlin, with the artis books foreground. On wall from left: Daniel G. Hill, Lorenza Sannai, Susan Smith, Power Boothe

Photo: Lorenza Sannai

Street view of the RCM Gallerty, Paris

Photo: Daniel G. Hill

My Slant 4,2015, encaustic on panel, 8 x 15 inches, diptych

Above and below: views of my book, Slant

I opted for a series of 10 identical books, engaging the diagonal reductively with pencil, thread and negative space. It was conceived as conversation with my painting, Slant 4, in which the two panels read as a kind of open book

Photo above: Jim Osman

Visit the 10 Ways website for gallery-by-gallery views of all the works, plus books by the individual artists

Catalog is viewable here

Formal Aspects

Cape Cod Museum of Art, Dennis, Mass., 2015

Curator: Sarah Hinckley

Installation view owith work by, from left: Joanne Freeman, Emily Berger, Joanne Mattera (in Ocean Gallery, rear), Sarah Hinckley, Mira Schor, Erica Adams

Curator Sarah Hinckley writes:

"These six artists have spent their lives coming to the Cape. Their experience, made manifest in their artwork, shows the many unique ways people internalize and respond to nature and to this specific landscape. Light, reflection, and space are metaphors that could easily describe the unique beauty of the Cape, but are also part of the language utilized in painting. Reflection in particular, could describe the mindset of the artist at work. I hope to begin a community discussion regarding the formal aspects involved in creating a painting, and of the awareness and poetic individuation inherent to this process."

Peek into the Ocean Gallery with my work; Sarah Hinckley, right

Angle view of the installation of my Silk Road paintings, each encaustic on panel, 12 x 12 inches

Angle view from right, with Silk Road 244, 2015, in foreground

Visit the Formal Aspects website to see complete imstallation views of the exhibition with individual works and statements by each of the artists

Doppler Shift

Visual Art Center of New Jersey, Summit, 2014

Curator: Mary Birmingham

An installation view of Doppler Shift from the gallery entrance

Doppler Shift, curated by Mary Birmingham for the Visual Art Center of New Jersey, explores shifting perceptions of color and space. The work is largely geometric in form, the geometry allowing for what Birmingham calls "spatial ambiguities" based on angle of viewing, distance, and light. 

The term Doppler Shift is, says Birmingham, "the apparent change in the frequency of emitted waves relative to an observer." You've probably heard it with regard to weather forecasting, where radar bounceback from rain, snow and hail allows meteorologists to determine the placement and intensity of approaching precipitation. I like to think of this exhibition, then, as a kind of visual weather report for a particular kind of painting and sculpture."

From left: Three small sculptures by Kevin Finklea, my Chromatic Geometry 21

Photo: Brent Hallard

Chromatic Geometry 21, 2014, encaustic on panel, 12 x 12 inches

Writing in The New Criterion, James Panero singles out my work: "I was dazzled by the well-handled triangles of Joanne Mattera’s Chromatic Geometry 21"

Left: Take a walk-through of Doppler Shift in my archived blog. There are numerous installation views as well as images of work by all the individual artists

Right: Read James Panero's review of the show

Material Color

Hunterdon Museum of Art, Clinton, New Jersey, 2008

Curator: Mary Birmingham

The Hunterdon Art Museum is located in a 19th Century stone building that began life as a grist mill. MoMA it’s not—but then MoMA doesn’t have a river and waterfall outside its front door, either. About an hour west of Manhattan in Clinton, New Jersey, this solid, four-story building provides an unlikely but lovely environment for contemporary art. The thick walls and shuttered windows remind you of its former life,as do the wooden floors, massive beams and solid staircases. Looking up you see the remains of what was once a chute that sent materials from one floor to another. Looking out, you see the Raritan river.

Installation view as you enter the second-floor gallery from the stairs. From left: Peter Fox, Royaume; Marcus Linennbrink, Lightenyourdark and Stehafmannchen (in vitrines); my Mudra 1, 3 and 6 on the far wall; foreground, Carlos Estrada Vega, Marcus

Mudra 6, 2003, encaustic on panel., 12 x 12 inches

Mudra 1, 2003, encaustic on panel, 12 x 12 inches

Mudra 3, 2003, encaustic on panel, 12 x 12 inches

Take a walk-through of Material Color in my archived blog