Books and Catalogues
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George Kinghorn, Three Chords, UMaine Museum of Art, Catalogue Essay, June, 2013

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Joanne Freeman, Wit at the Painting Center, Catalogue essay, February, 2013

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Joanne Freeman, Kim Uchiyama, COLOR-TIME-SPACE
Lohin Geduld Gallery, 2009
Janet Kurnatowski Gallery, 2009
Rosenberg Gallery, Hofstra Unversity, 2010

Articles and Reviews
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Daniel Kany, Art Review: Paintings in the Key of Bob Dylan anchor strong line up at UMMA, Portland Press Herald, Aug. 25, 2013

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Lilly Wei, "Joanne Freeman and Kim Uchiyama". Artnews. December, 2008

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Mario, Naves."Patience and Care Engender Paintings in Perpetual Motion". New York Observer. December, 2005

Selected Website Listings
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Signage (Artists in Cars) curated by Joanne Freeman, Vice President of the American Abstract Artists
IDEELART, Online Exclusive

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Diversity is Key to the Future of American Abstract Artists
Apr 24, 2019

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DOMESTIC DISTURBANCES
490 Atlantic Gallery, Brooklyn
September 16 - October 29, 2017
Curated by Joanne Freeman

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Larkin, Daniel. “A Blue Gallery Tour of Chelsea,” Hyperallergic, March 11, 2016.

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Phillip J. Mellon, ahtcast.com, artist interview: Joanne Freeman February 2, 2016

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“Joanne Freeman Interview,” Ideel Art Blog, March 5, 2016

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IN CONVERSATION WITH JOANNE FREEMAN
CELESTE KAUFMAN, KATHRYN MARKEL FINE ARTS, FEBRUARY 16, 2016

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Rhiannon Leigh, Formal Aspects at the Cape Cod Museum of Art, Artscope web zine, March, 2015

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Franklin Einspruch, When Hostility Turns into Mannerism. Subtle Simplicity Offers Respite, Art Critical, Dec. 16, 2013

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Brett Baker , Joanne Freeman: In Conversation, Painters' Table, Aug, 27th 2013

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Joanne Mattera, Joanne Mattera's Art Blog, Calligraphic Blue, 5/01/12

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Joanne Mattera, Joanne Mattera's Art Blog, Color-Time-Space. 10/14/2009

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Joanne Mattera, Joanne Mattera's Art Blog, Acute Conditions, 10/03/08,

Three Chords
Joanne Freeman

Folk-rocker Bob Dylan"s lyrics "All I've got is a red guitar, three chords and the truth" reflect the spirit and pared-down approach to art-making embraced by New York City-based Joanne Freeman. In Three Chords, Freeman exhibits a new series of oil paintings that pay homage to the formalist abstraction of Kazimir Malevich and Piet Mondrian, and also offer a distinct contrast to the reductive nature and purity inherent in early modernist ideals. Curving and looping bands of cool red, Mediterranean blue and vivid yellow intersect and overlap in a vibratory dance. Freeman's compositions are simple and direct. The forms that inhabit these canvases (several of which are elegantly shaped) create dynamic interactions - the hard-edged thickened lines quiver, rotate, stretch and sag. Lines flatten as if they have been pulled taut and ground the composition as they hug the edge of the picture plane.

Freeman describes her process as "a controlled approach to mark making" and often employs sign maker's tape to mask out various areas before applying successive layers of oil. While the artist's lines appear to be whimsical gestures they are in fact hard-edged creations. Interiors of the curvy and slumped lines often reveal thin transparent passages of paint, the colors burnished and blotted to create varied effects.

Joanne Freeman received a B.S. in Fine Arts from the University of Wisconsin and a M.A. in Studio Art from New York University. Her works have been exhibited in numerous solo and group exhibitions including Lohin Geduld Gallery, NYC; Elizabeth Harris Gallery, NYC; Marc Jancou Gallery, Zurich, Switzerland; The Painting Center, NYC; and the Queens Museum.

George Kinghorn, Director and Curator, University of Maine Museum of Art

George Kinghorn, Three Chords, UMaine Museum of Art, Catalogue Essay, June, 2013