Below is the transcript from a panel session, which was part of a day long workshop, Finding a Place for Yourself in the Art World: Strategies for Emerging and Mid-Career Artists sponsored by the College Art Association at their annual conference in Dallas, Texas in February 2008. The workshop was co-led by Joanne Mattera and me. At midday, we invited Diane Barber, Co-Director/Visual Arts Curator of DiverseWorks Artspace in Houston; Cris Worley, Director of PanAmerican ArtProjects; and Andrea Kirsh, Art Historian, Art Critic, & Writer to join us for a discussion about relationships between artists and art professionals.

Diane Barber: Co-Director/Visual Arts Curator of DiverseWorks Artspace in Houston since 1997 and co-executive director of the organization since 2006.

Cris Worley: Director of PanAmerican ArtProjects, a contemporary art gallery in Miami and Dallas, for the last five years.

Andrea Kirsh: Art Historian, Art Critic, & Writer, with past career as an administrator and curator. Writer of book Seeing Through Paintings. She is now a teacher and art critic for Fallon and Rosof art blog.

Joanne Mattera: Artist, Visiting lecturer at Massachusetts College of Art, Boston, and Montserrat College of Art, Beverly, Mass. Her book, The Art of Encaustic Painting, is the standard reference on the subject, and her reports on the annual Basel/Miami Art Fairs have attracted a following in the blogosphere.

Jackie Battenfield: Artist, Lecturer, and author, The Artist’s Guide: Making A Living Doing What You Love

Joanne: How do you find artists for your gallery?

Cris: Finding an artist is as nuanced as meeting anyone that you meet in your life. First and foremost, as reclusive or shy or introverted as you might be, it is really important to get out of your studios and meet people. Meet dealers if you’re looking for a gallery or shows. People need to know who you are, not just your work, but who you are as a person. The way we find our artists is multi-faceted. The most effective way in which my attention is gotten is if I am introduced by someone that I know. If someone who knows us mutually introduces us, I am much more likely to look at your portfolio. This is an unfavorable comment, but I don’t look at packages that come to me unsolicited. I need some sort of introduction. If you can have an introduction, use it.

If you are interested in a gallery, go there, make friends, and be a supporter. If it’s local, go there a lot. Then the right time will come to present your package, but don’t force it. The right timing is very important.

If you are interested in a gallery outside your local area, the proper materials are very important to start off with. Then follow up phone calls. I am much more likely to visit with someone that says they are coming to Dallas, they have sent me their information, and they know that I am incredibly busy, but would like me to take fifteen minutes to talk to them. I will talk to them, especially if they have flown on a plane.

Joanne: So how many new artists do you take on every year?

Cris: Not many. A dealer artist relationship is like a love relationship and it should be treated that
way. I want to get to know you as a person because a lot of it is a personal relationship. I don’t need to have kids because I have artists. I have a whole big family.

Also, we do a lot of art fairs, so there is a lot of looking at other artists’ work. So if you are already represented by somebody, chances are that you are going to be sought after by other galleries as well because you already have a platform or a venue.

Sometimes, I will take on an artist that comes to me, but honestly most of the time we go out and find them. I don’t know if that is a bunch of ego or that we are jaded because the bulk of what is presented to us turns us off, but that is the way it is.

Joanne: What turns you off?

Cris: Being pushy. But what does turn me on is follow up. So if you have a very well put together portfolio and you follow up with a phone call, “Just wanted to make sure that you got it,” I’ll take a look at it. I’ll be much more likely to take you seriously if you get on an airplane and come see me.

A lot of people say, “I think my work would be perfect for your stable of artists.” Well how do you know? How do you know what I am looking for? How do you know what I am trying to do? We need to get to know each other. It’s very presumptuous. I think trying not to be presumptuous and trying to be really respectful is important.

Joanne: Let’s go to Diane.

Diane: In the position I am in, I get hundreds of proposals from artists over the course of a year. The exhibitions we present at DiverseWorks are the result of lots of research and mutual research is critical. I research artists to find work that suits the nature of DW’s programming and, in turn, artists need to be researching appropriate venues for the work that they are doing. It is so frustrating to get proposals day in and day out from people who clearly don’t know the first thing about the organization, people who haven’t set foot in the door, don’t know what we do, and haven’t looked at our history of exhibitions. That’s a waste of that artist’s time, my time, money, and everything else. I can’t stress enough how important it is to do your research, know your community, and know your field.

Artists have a tendency to mass produce packets or letters. I always see the letter that starts with the line, “I am so and so and I am writing to acquaint you with my work.” Who put that template online?! I think the benefits of a more focused effort often get lost on artists. They take a Saturday, Xerox a bunch of their resumes and their press clippings, get their disks mass produced, stick the material in packets, and then just drop them from a plane. That’s not the way to get a show.

That said, I do make it a point to look at everything that comes my way. I learn from the proposals that come to my desk. It’s very unlikely for me to get an unsolicited proposal and for that to lead to a show but the proposal review process is research for me and I am able to pick up on trends in the field which very often lead to themed exhibitions.

In my city, the curators are very accessible. They take their responsibility to connect with artists in the community very seriously. If your approach to the curators you want to meet with is not done in a pushy way and you handle it properly, you’re more likely to get that access. You are going to get that ten or fifteen minutes to introduce your work to somebody that may lead to something. The effect of those encounters is cumulative. For example, if I do a studio visit with an artist, it may or may not lead to something at DiverseWorks but I may be talking to one of my colleagues who is organizing a show that the work is appropriate for and so I’m able to pass that information along. That’s how a lot of it happens; we talk a lot, the curators, and the dealers and the critics. We learn from each other and we learn from you.

Joanne: Andrea, how do you find artists to write about? Do they find you? Is it always about a specific show or is it about a scene?

Andrea: While criticism is what I do most, I still kind of think of myself as a museum curator and an art historian, so I don’t know how typical I am. I bring my approach as a curator to criticism. When I was a curator, I opened up every packet that came in, so as a critic I go to everything I can. I look. I was trying to be diverse about artists I chose in terms of the types of art they made, the medium, and who their audience was. So it wasn’t limited but meant to give people feedback and attention. I go to juried shows, I go to gallery shows, I go to museum shows, I go to solo shows at non profit spaces, at artist run spaces, at restaurants, in beauty parlors-at all the places artists show before they have their foot firmly in the door. I write or talk about artists if the work interests me. I don’t have to like the artist, but if I have met them and they are very obnoxious, I would not want to deal with that artist. There are a lot of interesting artists out there. It hasn’t happened often, but I have met people that I have said, “I would never do anything for this person because they were so unpleasant and disrespectful of what I was doing,” I could ignore their work, and nothing was going to happen.

On the other hand, I have met artists that I know will be successful because they are aggressive and very polite. Aggressive means being out there. I love it when I meet artists who really like to talk about art other then their own. I am not going to write about their work because of that, but I am going to spend more time talking to them. It’s useful for artists to know other artists. All of us talk to people that we respect. We respect our professional colleagues and, mostly, we respect artists. That’s why we are in this field, because we care about what you do. If a senior artist says to me, “You should see so and so’s work,” I will see so and so’s work. It is the best recommendation anyone can have. So to the extent that other colleagues of yours know and respect your work is really important. Those who support each other are the ones who are more likely to have more successful careers.

Cris: You’ll often find in that in galleries there are friends among the artists. In other words, this person was already with this gallery and said, “Hey gallery dealer, you should really look at my friend’s work,” and then they end up all together.

Andrea: I only make those connections if I feel that both parties will be pleased. It doesn’t mean the dealer will necessarily show that person’s work, but it is something they should be aware of.

Cris: Know too that there are a number of reasons why galleries won’t show work. It might not necessarily be that they don’t like it, but that they have no audience or collector base for it. They might have an artist working in a very similar vain and not want to encroach on the relationship that they have established. And often times, you’ll find that if someone really does like your work, but they can’t do anything with it themselves, they will try to pass you along, help you in some way, or at least do studio visits to keep the momentum going.

Andrea: You have to understand that all of us are seeing more work than we can handle. It can’t be seen as personal rejection.

Diane: Unless you are rude.

Cris: Oftentimes, artists will say, “I don’t know if the dealer is worth their percent.” In some cases, I’m certain that it true, but people lose sight of what we go through on our end. We don’t want you to have to ride that rollercoaster all the time. We have overhead costs, travel costs, and shipping costs that all come out of our percent. Sometimes, artists might feel like they are being taken advantage of.

Joanne: This is a question for the dealer and curator: What is it like when you are contacted by someone who says, “Andrea Kirsh suggested that my work might be right for you,” or, “. . . suggested that I show you my work.”

Diane: I think it matters. I would have a conversation with them in person. Any opportunity to establish a connection with someone I know, personal or professional, is a good thing to do. But artists tapping into second-hand connections should consider what is and isn’t appropriate. It frustrates me when an artist I have met in passing asks me to lend my name to their career – for example, an artist whose work I had never seen recently asked me to write a recommendation letter for him. It’s just inappropriate. Immersing yourself in your field and personally getting to know the type of people who are interested in what you are doing or who have access to people who are interested in what you are doing is where your efforts should be focused in terms of finding your way in your career.

Andrea: When I say that to somebody, I hope the artist understands that I am not implying that anyone is going to show their works, but only that if they are the sort of person that doesn’t open every unsolicited thing, they will at least open the letter. It’s only because I really think that someone I know will at least look at the work and be happy that they have seen it.

Joanne: This is something that artists can do for one another, too. Jackie, you have the experience of being an artist and having run a gallery. Would you talk about your experience from both ends from the stick?

Jackie: Well, it always helps to understand what the other side is thinking. It certainly fine tuned my ability to go out and develop relationships. Every relationship I have out there happens where we started introducing my work or finding a way to get introduced to somebody I wanted to work with. I call it courting. Sometimes, it can take a year and a half. You don’t necessarily want somebody to seize upon you right away. The thing with a commercial gallery is that hopefully that’s a long term relationship. So it is important that you are comfortable together, you like the program of the gallery, and it feels like you are a part of the gallery’s growing program.

One can be put into an exhibition by being in the right place in the right time with a non profit. Working with a nonprofit on an exhibition is more of a one shot opportunity, although it is a larger opportunity to develop a relationship with the people in the nonprofit who might be able to do other things with you. The fluidity in the art world is incredible. People don’t stay in one thing forever. These things will change. So, again, any contacts that you make, nurture them, take care of them, and allow them to help work with you over the long term. I find one of the biggest mistakes artists make is we think too short time. Encouraging a core group of support is not just with curators. It’s a variety of people. I still say, other artists will be your best supporters.

Andrea: When I spoke of artists and said the ones that would be successful where the ones that were aggressive, it really means following up. I appreciate when the artists whose work I have found interesting let me know every time they have a show. I am delighted to hear about it. It continues my understanding of what they are doing. People who might be interested in your work should be kept up with it in a polite way. If someone has shown you once, they probably want to know if you have a show someplace else.

Jackie: It validates their decision.

Joanne: One thing we tend to do as artists is to think of the dealer or the curator or the critic as “the great other.” We do it ourselves. We create this mount Olympus and we put them on it, and then we are afraid to approach it. In fact, that mountain is all in our head. Thank someone as a followup to a nice gesture: to a critic for a review, to someone who has taken time to look at your work, or to another artist who has gone out of his or her way to do something for you or who has made a referral. Why would we not do that? And yet sometimes, because we have put certain art people up on such a pedestal, we are afraid to do the kinds of things that we would normally do with our relatives or friends-that kind of social courtesy.

Jackie: I’ve sent thank you notes for rejection letters. “Thoughtful. Considered. You really thought about it, and I really appreciate it. I see that I am not the right fit, but I really appreciate that.”

Andrea: I teach museum studies and I think the most important thing I teach my students is old fashioned manners. I insist that they write thank you notes. It got me very far in my professional career and I can remember every single person who has ever written a thank you note to me…All three of them. It is so rare that anyone has good manners. You aren’t going to get a solo show because of it, but if someone is thinking of the many artists whose work they saw that they think are interesting and you are this wonderful person who follows through and says thank you, they would think of you first.

Cris: You do want to be courteous. You do want to follow up. You have to ask for an interview, but you have to consider who you are dealing with and their time.

Jackie: Your CV is your least important part of your package. Doesn’t really matter. They like the work. They don’t care that you teach. If they like the work, they don’t care that you don’t teach. If they like the work, they don’t care that you’ve never had a show before. If they like the work, they don’t care that you have a ten mile resume.

Diane: Your work is your resume.

Cris: I work with some artists that are professors. I like that they are professors because they still have their foot in academia. There is the problem of time, but it doesn’t turn me off that someone is a professor. Everybody struggles with time. It’s a matter of how you use it. Sometimes, the more busy we are, the more efficient and effective we are because you know those are times you can do it instead of waking up and going, “I have a full day. I don’t know…I don’t feel quite right.” It’s like, “This is my time to be in the studio.” It doesn’t bother me if someone has a professorship or a full time job.

Artist from the audience: There is a culture of youth in American culture and there is this idea of it in the visual arts. How much does that matter to you?

Diane: It doesn’t matter to me.

Andrea: I actually heard from a curator friend that artists have to be very young or very old. I never paid any attention to any of that. I was absolutely startled when she said this. I thought, “Who cares how old anybody is?” It is the work. But there may be people who do. And if you are trying to sell something, the image of the artist comes in to it in a way that it does not if you are writing criticism or if you are working in a museum.

Jackie: It’s kind of the elephant in the room in many ways. Being in your twenties, you have ability to be out and about more and have less obligations. When you are fresh from your MFA program or from where you’ve been, you still have a series of contacts and relationships and are utilizing those contacts. Younger people tend to keep each other more informed, so it is not any surprise to me that there is this natural thing that happens where because of all of the above, somehow there is a little more interest in younger artists. Many people are motivated by tenure to be out and about.

When we become isolated, overwhelmed with what’s happening, feel that we haven’t launched ourselves “successfully,” the contacts start dropping away, we aren’t going out so much, keeping current, and applying less for things, it’s not a surprise that it winds down. I don’t think it’s a thing of age.

When I started to make a living as an artist, I was 39. I didn’t let age stop me. And nothing has changed about that. You have to spend the time and take the effort to make and nurture your relationships. You all have let relationships lapse. If you spent the next six months reconnecting with people in a nice way, I could predict that something will happen. It will make a difference.

Cris: A lot of my artists are over fifty.

Diane: Again, it goes to knowing the field. If you don’t fit what they are looking for, don’t approach them. If age is a factor in that, then age is a factor in that. But that generalization does not hold true.

We do a lot of commissioned works…We have affairs with artists.

Artist 2 from the audience: If you might take someone on, let’s say they have other obligations, how much work do you expect of that artist? One one-person show per year? Two?

Cris: I guess I expect a substantial show. I wouldn’t want to say numbers, because it depends on the artist. It is a case by case basis.

Artist 3 from the audience: Let’s say you have done your research and you have found a gallery that you think is a good fit, but you don’t know anybody who they know or you are in another city. What is the best cold way, maybe just an email, of saying, “I have researched your gallery and I would like to send you a packet? Would you be willing?”

Cris: Yes. “I would like to send you a packet. Would you be willing?” Follow up with an email. You can say, “I have done a lot of research on your gallery.” It’s okay to say all those things. Say, “I know you, and I know all of these things about you. I don’t want to be presumptuous, but I think that maybe we could establish some kind of a relationship.” And then just follow up. After six times of trying to get in contact and not getting any feedback, drop it. Have an image readily available and then a website in the email. I would say, “I am coming to Dallas, and I would really like to meet with you for fifteen minutes.”

Joanne: The more interaction you have with folks in the art world-dealers, curators, critics, other artists-the more things naturally fall into place until finally one day someone asks, “Are you an artist or a collector?” Or, “What kind of work do you do?” And then there is a window of opportunity for you to talk about your work. Have a two-sentence description ready, and don’t be afraid to pull out a card from your pocket. There’s nice reinforcement in someone’s seeing you, hearing you talk about your work, seeing the work (if your card has an image) and then being able to click onto the URL listed on the card.

Cris: That’s why I said at the very beginning, it’s very important to get out there and to talk to people. I’m not saying to be pushy. Don’t cram it down people’s throats. People will generally ask. You don’t have to wear it on your sleeve. In fact don’t. Subtlety. But don’t be too shy either.

Artist 4 from the audience: It seems nothing bothers a dealer more than when you produce some paperwork that says, “After all we are in a business relationship.” I have had friends who have had problems dealing with hard contractual things like insurance and have found that dealers weren’t going to contact them if work was sold or damaged.

Cris: Don’t deal with those people.

Andrea: That’s where you need to talk to other artists. That gets around and it should get around.

Jackie: Yes. The big hard contracts-you’re going to exhibit me, you’re going to do this, you’re going to give me a stipend-that doesn’t happen very often. Galleries start producing those things when they are afraid that you are going to be poached or that somebody else is going to take you and so they are trying to hold onto you. Those things never work. If your gallerist isn’t motivated to sell your work, it’s just not going to happen. And same is true for you. If you are not happy with them, that’s not going to work too. But a consignment agreement, those things, you can have somebody sign. There is nothing in that agreement that a legitimate business person wouldn’t sign.

That’s the opportunity to have discussion. You need to do this in the honeymoon time and not when things are going bad, because that’s not when things are easy to work out. It’s when you want them and they want you. That’s when you get the bigger diamond. So, it is kind of like a prenup. There is a consignment law in New York State that covers all of that stuff without any piece of paper passing between you. You have to think about the drop dead policy. If this person walks out the door with your art, there isn’t some kind of paper trail, and they drop dead, who knows who owns it? You have to be proactive, “Let me see your consignment agreement. I’ll show you mine and let’s compare terms.”

Joanne: Talk with your dealer. Don’t set up barriers. You can talk about it right at the beginning: “This is how I have done it at my other gallery,” or, “This is how I would like to do it,” or, “Who’s going to pay for the return shipping?” And work that out.

Andrea: No one should be unhappy to have a written record of who owns it and who’s accepting it on what terms. That should not scare someone off.

Joanne: If you are involved with a gallery that doesn’t want to sign anything or give you the name of one of your collectors and is suspicious of you, then clearly that’s not the gallery you should be dealing with.

Artist 5 from the audience: This is about websites. Should websites only present current work or is it okay to show work from previous years or previous media?

Cris: I like to see the history. I like to see the chronology. I like to see where an artist has come from and where they are now. I don’t necessarily want it immediately accessible, but if is archived there or presented by year, that’s fine. I mean, I do go back and look at that stuff, because I think it is interesting. It’s just more knowledge of who you are and how you have or haven’t grown.

Joanne: I would say, speaking from an editorial point of view, that it’s your website. You can put whatever you want on there. Set it up so that there is archived information as well as current information, so you aren’t asking someone to scroll down endlessly to see work. Create compartments for the information and images in ways that are easily accessible bite- size chunks. You can do that in any number of ways.

Cris: But the current work should be what is immediately accessible.

Jackie: Diane, how does an artist know what curators are working on in exhibitions? How do you know when to get yourself to the curator? How do you come up with a show and how do you work on a show?

Diane: Well one way is a making a call for proposals. Much of the work is done behind the scenes but when there are opportunities that are pretty broadly open to artists, institutions make an effort to get the word out, because the more people that know about it, the more likely it is that the open call will generate a large volume of work to be considered. But again, it sounds so simple, but it really does go back to knowing your field. If you are living in Houston, you don’t know about every show happening in Dallas, but you should know about everything going on in your immediate community and if you forge relationships with the curators, well like I already said, we talk about stuff. If I am working on a show, I talk to every colleague I know about that show, “I’m looking for work like this. Let me know if you see anything.” Fifty percent of exhibition development happens in conversations. Think of the arts community as your professional network. If you really know your field, you’ll have opportunities to get information that would otherwise be flying under the radar.

The most important thing with a packet is that it is easy and quick to look at. I don’t want a phone book.

Joanne: How many images do you need to see?

Diane: Not a lot, because you know pretty quickly whether the work is a fit or not. I’d say five to ten. People tend to overwork it by sending too much. The more work that has to be done on our end to get to the meat of the proposal, the more challenging it is to give each proposal the attention it deserves. Artists do themselves a big favor by making their proposals as easy to review as possible.

Andrea: Google is very useful! I use it for everything! If you look at a list of who she’s shown and what they are, that’s your picture of her interest. It may not show exactly what she is doing next year, but if she’s never shown abstract art in five years and you are very concerned with formal questions of abstraction, that’s not the right place to approach.

Jackie: Or she might be ready to do it. The worst possible thing that used to happen all the time when I was curating exhibitions, I’d get this flurry of packages about past exhibitions. Sorry. I’m not doing this show again.

Joanne: I would like to ask each of you for one piece of advice to give to the group.

Andrea: I think the most important thing that all of you can do is to make serious ongoing connections with your artist colleagues, with people whose work you respect and who might respect your work, because step one in people knowing each other are artist generated exhibitions. You need to have your work seen and that’s probably going to be the best way to do it.

Diane: Do your research and be focused in your efforts outside of your studio.

Jackie: Follow up. I’ve gotten more things just because I have followed up.

Cris: Take yourself very seriously, take your career very seriously, and other people will pick up on that and take you seriously as well.

Joanne: If I may, I’d add: Think outside the box. As artists, we should be thinking outside the box all the time, and yet sometimes we end up penned inside some pretty tight parameters. There is nothing that says an artist can’t curate a show, write an article, or write a book. This is not going to become your second career, but we have ideas and there are many ways to get them out. Whatever you do, you are working within the context of your colleagues; the things you do for others can come back to you in really great ways.


This is the transcript from a panel session, which was part of a day long workshop, Finding a Place for Yourself in the Art World: Strategies for Emerging and Mid-Career Artists sponsored by the College Art Association at their annual conference in Dallas, Texas in February 2008. The workshop was co-led by Joanne Mattera and me. At midday, we invited Diane Barber, Co-Director/Visual Arts Curator of DiverseWorks Artspace in Houston; Cris Worley, Director of PanAmerican ArtProjects; and Andrea Kirsh, Art Historian, Art Critic, & Writer to join us for a discussion about relationships between artists and art professionals.

Diane Barber has been the Visual Arts Curator of DiverseWorks since 1997 and Co-Executive Director of the organization since September 2006. During her tenure, she has curated more than 60 exhibitions for DiverseWorks including Thought Crimes: The Art of Subversion, named Best Art Show in the Houston Press Best of Houston awards; Maria Elena Gonzalez: UnReal Estates, a collaboration with Art In General (NY) and the University of Memphis; and William Pope.L: eRacism, named Best Art Show in an Alternative Space by the International Association of Art Critics (AICA) in 2003. While at DiverseWorks, Barber has given particular emphasis to commissioning new works and site-specific installations and to developing programs with charged social, cultural and political undertones. Barber has served as guest curator for the Austin Museum of Art , Houston Center for Photography, McNeese State University (LA), Oklahoma Visual Arts Coalition, Hallwalls Contemporary Art Center (NY) and Estudio Abierto in Buenos Aires, where she organized a major public installation by Houston artists Dan Havel and Dean Ruck. Prior to DiverseWorks, Barber served as Exhibitions/Publications Coordinator for FotoFest. She is past board president of the National Association of Artist Organizations (Washington D.C), former Chairman of the Houston Coalition for the Visual Arts, a current member of FotoFest’s Art Advisory Board and has served as guest portfolio reviewer at various regional and national conferences.

Cris Worley holds a Master of Arts in Art History from Southern Methodist University and a Bachelor of Arts in Art History from the University of the South. Since 2003, she has held the position of Director at PanAmerican ArtProjects, Dallas, the first of now two galleries in Dallas and Miami, and following a directorship at Karen Mitchell Frank Gallery. She is a charter member and chairperson of the recently formed Contemporary Art Dealers of Dallas and is actively involved in supporting her local art community. The gallery represents artists in national and international art markets including Dallas, Miami, Los Angeles, Chicago, New York, Buenos Aires, Argentina, Milan, Italy, and Basel, Switzerland.

Andrea Kirsh is an art historian with a very non-linear career. All the artists in the room will appreciate that. In the Eighties and Nineties, she worked as a museum curator and administrator, and she spent two years administering a public art program in Miami. Later, when living in Eugene, Oregon, and unable to do museum work, she wrote a book, Seeing Through Paintings; Physical Examination in Art Historical Studies, that introduces art historians, artists, museum docents and others to what can be learned about paintings as they might be encountered on museum walls, by paying attention to materials and condition issues. Since moving to Philadelphia in 2003, she has done some teaching and has been writing criticism for two web publications. One of them is the Fallon and Rosof Art Blog, which has been names one of the top art blogs in America. Andrea is their star correspondent. She has been on the board of CAA since 2006.

Joanne Mattera is a studio artist whose focus is lush color and reductive geometry, an esthetic she calls “lush minimalism.” She has shown in New York City with the Stephen Haller Gallery; at the Elizabeth Harris Gallery, Thatcher Projects, the Heidi Cho Gallery; and at OK Harris, where she has had two solo shows, the most recent in May 2007. She writes regularly, teaches occasionally, and curates when concept and support converge. Her book, The Art of Encaustic Painting, is the standard reference on the subject, and her reports on the annual Basel/Miami Art Fairs have attracted a following in the blogosphere. She is a visiting lecturer at Massachusetts College of Art, Boston, and Montserrat College of Art, Beverly, Mass. Her most recent curatorial effort was “Luxe, Calme et Volupte: A Meditation on Visual Pleasure,” for the Marcia Wood Gallery in Atlanta, where she is a represented artist.
www.Joannemattera.com and blog, www.Joannemattera.blogspot.com