Today is 11.11.11
and I'm posting this at
11:11
PROJECTS
Why I've been so busy
Each year I direct The International Encaustic Conference, which takes place in Provincetown. This year, in addition to the Conference and numerous exhibitions that will take place in town, there will be an exhibition at the Cape Cod Museum of Art. Michael A. Giaquinto, curator of exhibitions, has selected 31 artists whose work reflects that most salient aspect of encaustic painting: light. Click pic for a look at the catalog
2012 Miami Art Fairs
Looking for my coverage of the Miami Art fairs? Click the pic to access a full list of this year's posts (or click onto "Art Fairs" under the header for seven years' worth of reports). Here, Rose Wylie at Michael Jannsen Gallery, Berlin, at ABMB
Click pic for info
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In the Studio
After a few false starts with the title, this series of 25 graphite-on-paper drawing is officially "Diamond Lattice." This is is #22, 2012, with micaceous pigment and cold wax, 30 x 22 inches. Click pic to see more work from the series
Now: Buddy of Work
Henry Samelson asks artists to show two images: their primary work and a peripheral or related project. The connections are interesting. My own "buddies" are posted now. Click pic to link
Now: Montclair Art Museum
"Patterns, Systems, Structures: Abstraction in American Art," curated by Gail Stavitsky, is a thematic look at some of the work in its collection. My painting, "Cera 20," bottom right, hangs with Louise Nevelson, Jasper Johns and others in the Shelby Gallery, which features largely achromatic work. The exhibition is up through May 19, 2013. Click pic for more info
Now: Adler & Co. Gallery
A new installation of paintings from my "Silk Road" series is up now at Adler & Co. Gallery, 77 Geary Street, San Francisco. Photo: Catherine Kundrath Weber. Cick pic for a broader view
Recent: Arden Gallery
"25th Anniversary Exhibition" at Arden Gallery, Boston. Above, my "Diamond Life 22," 2012, encaustic on panel. 25 x 25 inches. Click pic for installation views
Recent: "Rolling in the Deep" at Kenise Barnes Fine Art
For her summer show, Kenise Barnes selected four painters who conjure physical or metaphorical depth via the medium of encaustic: Christine Aaron, Cecile Chong, Lorraine Glessner and myself. Above: my "Coming Up For Air" visible through the front window. Click pic for a link to my walk-through. A link to D. Dominick Lombardi's HuffPo review is below
Recent: "Lush Geometry" at DM Contemporary
Five new paintings were in "Lush Geometry," at DM Contemporary, New York City. Artists in the show included Steven Baris, Richard Bottwin, Carol Freysz Gutierrez, Louise Sloane and myself. Click pic for a tour of the exhibition. Image above: "Diamond Life 17," 2012, encaustic on panel, 22.5 x 22.5 inches
"Textility," curated by Mary Birmingham and myself for the Visual Art Center of New Jersey, Summit (where Birmingham is the chief curator), looked at contemporary painting, sculpture and work on paper in which textile elements were referenced or employed. The exhibition is over, but you can see this exhibition on line. Click on the links below to read and see more.
Read About Textility
Review of Textility
Click pic to access review. Then click on page images to enlarge them for legibility
Thank You, Ivan
Ivan Karp, legendary art dealer, 1926-2012. Photo by Melanie Eve Barocas. Click pick for my tribute to Ivan, where your comments are welcome
At Structural Madness
"Soie," a series of gouache-on-paper paintings, was on exhibition in January at Structural Madness, a New York City virtual gallery curated by Gloria Klein. Here: "Soie 12," 2010, gouache on paper, 22 x 30 inches. Click pic to see more
New Digital Prints
Above, "Silk Trail 386." Below: "Silk Trail 339." Both 2012, unique digital prints on 11 x 8.5 inch archival Epson paper. Click either image to see more and find out where they are available
Miami Nice from Artcritical
December 2, 2011: “ . . . 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 and the biomorphic reliefs of Ruth Hiller."--David Cohen, artcritical.com. Click pic for entire review. Above: John Dempcy, Hiller, Mattera
Miles Conrad, director of Conrad Wilde Gallery, Tucson, and me at the Aqua Art Fair. Photo: artcritical.com
Boston Globe Style Watch
November 13, 2011: Four of my small paintings are in this Cambridge apartment, which was the subject of a Style Watch feature. Click the pic to enlarge the image and read the story. Thanks to Arden Gallery, Boston, for representing me in Massachusetts (and beyond)
Marketing Mondays 2012
- 11.16.12: The Big Picture
- 11.19.12: Help for Artists After Storm
- 11.12.12: Update After the Storm
- 11.5.12: Hell and High Water
- 10.29.12: The Mentor
- 10.22.12: Grants
- 10.18.12: Exhibition Options
- 10.1.12: The "Octogenarians"
- 9.24.12: Good Art-World Citizens
- 9.17.12: Revitalized Art Areas
- 9.10.12: The Rules
- 8.6.12: The Turning point
- 7.30.30: Signing Your Work
- 7.23.12: The "Difficult Artist"
- 7.16.12: On Vacation
- 7.9.12: Bogus Advice, 1% Thinking
- 7.2.12: Knock, Knock
- 6.23.12: Staying Connected
- 6.16.12: Own Your Space
- 6.11.12: What Pisses You Off?
- 6.4.12: One Question
- 5.28.12: "Sold!"
- 5.21.12: A Curator is Missing
- 5.14.12: "Educating the Public"
- 5.7.12: Do Something
- 4.30.12: The Pinnacle
- 4.23.12: More on "No"
- 4.16.12: The Artist's Agent
- 4.9.12: "Helping Artists Become Artists"
- 4.2.12: Getting From A to B
- 3.26.12: Ten Tips for Artist Statement
- 3.19.12: In the Ghetto
- 3.12.12: Editorial Coverage, Part 2
- 3.5.12: Editorial Coverage, Part 1
- 2.27.12: Generosities Received
- 2.20.12: Giving and Taking
- 2.13.12: Under A Dealer's Thumb?
- 2.6.12: The Invitational
- 1.30.12: What Would You Tell . . .?
- 1.23.12: Do It Yourself
- 1.16.12: Stop Entering Juried Shows?
- 1.9.12: Rejected? You're Not Alone
- 1.2.12: Got Plans?
MARKETING MONDAYS 2011
- 10.15.12: Speak Up, It's Your Career
- 11.21.11: Ready for Retrospective?
- 11.14.11: Working Too Many Hours?
- 11.07.11: Don't Fall For It
- 10.31.11: Adios, 100-Watt Bulb
- 10.24.11: Self-Taught Artists
- 10.17.11: Gimme, Gimme, Gimme
- 10.10.11: The Verdict? Guilty
- 10.3.11: Rejection Redux
- 9.19.11: "Professional Artist"
- 9.12.11: What's the Deal?
- 9.5.11: Making Book
- 8.29.11: Do You Think of Giving Up?
- 8.22.11: The Art Consultant
- 8.15.11: The Gallery Program
- 8.8.11: What the Juror Saw, Pt. 2
- 8.1.11: What the Juror Saw
- 7.25.11: The Art Fair
- 7.18.11: News from L.A.
- 7.11.11: Caveat Scriptor
- 7.4.11: July 4th
- 6.27.11: Chihuly, Inc.
- 6.20.11: Cloud Nine to Square One
- 6.13.11: Gallery Red Flags
- 6.6.11: Rethink the Artist Statement
- 5.31.11: What's On Your Mind?
- 5.23.11: Artists' Slide Files
- 5.16.11: How's Business?
- 5.9.11: Studio Space
- 4.25.11: Baker's Dozen: On Yr. Own
- 4.18.11: Baker's Doz: Demystifying
- 4.11.11: Baker's Dozen: Negativity
- 4.4.11: Bad Advice
- 3.28.11: You've Been Spammed
- 3.21.11: Studio Insurance
- 3.14.11: Do an Artists' Fair?
- 3.7.11: How Not to Get Reviewed
- 2.28.11: "What Do You Do?"
- 2.21.11: Portfolio of Representation
- 2.14.11: A Contract I Didn't Sign
- 2.7.11: The Gallery Contract
- 1.31.11: Advice to Your Young Self
- 1.24.11: Burning Bridges
- 1.17.11: Where Can I Show? Part 2
- 1.10.11: Where Can I Show? Part 1
- 1.3.11: Empowerment
MARKETING MONDAYS 2010
- 11.29.10: Degrees of Representation
- 11.22.10: Disappointment
- 11.15.10: Selling Out of Your Studio
- 11.8.10: Website or Blog?
- 11.1.10: Scam or Opportunity?
- 10.25.10: E-Announcement
- 10.18.10: The Resume
- 10.11.12: CV, Resume, Bio
- 10.4.10: Academic Galleries, Part 2
- 9.27.10: Academic Galleries, Part 1
- 9.20.10: Should We Write & Curate?
- 9.13.10: Your Board of Directors
- 9.6.10: Who's Watching You Online?
- 8.30.10: Let's Talk Prices
- 8.23.10: Pay for Portfolio Review?
- 8.16.10: Standing Up for Yourself
- 8.9.10: More On Media
- 8.2.10: It Takes a Village
- 7.26.10: Co-ops, yes. Vanities, no
- 7.19.10: I Need Your Support
- 7.12.10: How Did You Find Gallery?
- 7.5.10: Work This Weekend?
- 6.28.10: The New Emerging Artist
- 6.21.10: Who Owns Your Work?
- 6.14.10: Bitterness, Sour Grapes
- 6.7.10: Timing
- 5.24.10: Bad Things, Good Dealers
- 5.17.10: "The Sofa"
- 5.10.10: Open Mouth, Insert Foot
- 5.3.10: Ageism
- 4.26.10: The Dealer's Commission
- 4.19.10: Critical Feedback
- 4.12.10: Ethical Dilemmas
- 4.5.10: Meet the Press
- 3.29.10: Tax Time
- 3.22.10: Art Consultant Doesn't Pay
- 3.8.10: Dealer Won't Tell You Who
- 3.1.10: Demystifying The Art World
- 2.22.10: The Studio Visit
- 2.15.10: Defining Success
- 2.8.10: Do You Need a Gallery?
- 2.1.10: Out of Work and Invisible
- 1.25.10: Curator Connects Dots
- 1.18.10: Getting Curator to Look
- 1.11.10: Useful Reading
- 1.4.10: "Emerging" Artist
Stephen Haller: Remembering Morandi
Haller holding a photograph of himself with Morandi in the early Sixties. Click pic for story
Gallery and Art Business Blogs
Art and . . .
Artist and Writer Blogs
- Alexandre Masino
- Amy Goodwin
- Anaba
- Ancient Vessel
- Annette Monnier
- Art 21
- Art and Perception
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- Art Blog By Bob
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- Art Fag City
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- Carol Diehl, Artvent
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- Counterforces, Jerry Cullum
- Culture Hall
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- Modern Art Obsession
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- Stephanie Clayton
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- Structure and Imagery
- Sweet Solutions
- Tackad
- The 70/30 Project
- The Blue Eyed Critic
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- Thinking About My Art
- Tire Shop
- Two Coats of Paint
- Tyler Green, Modern Art Notes
- Unedit My Heart
- Venetian Red
- Visual Discrepancies
- William Powhida
- Women Painting Women
- Working
- You Have Been Here Sometime
Followers
About Me
- Joanne Mattera
- My work is chromatically resonant, physically tangible, and compositionally reductive. I call it lush minimalism. But don't call me an "encaustic artist." While encaustic on panel is my primary means of expression, I approach artmaking in other mediums--acrylic on canvas, gouache on paper--in exactly the same way.
THE FIRST CONTEMPORARY BOOK ON ENCAUSTIC PAINTING. AND STILL THE BEST
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2 comments:
Best conceptual art I've seen in a while....
The best Serra metal post I've seen. It really gives a sense of what it's like in there. The picture of your hand with the edge of the steel is great for scale. Those pieces must be incredibly heavy. The color is lovely. I think your best two-word description is "wooze ensues!"
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