George Kinghorn, Three Chords, UMaine Museum of Art, Catalogue Essay, June, 2013
Joanne Freeman, Wit at the Painting Center, Catalogue essay, February, 2013
Joanne Freeman, Kim Uchiyama, COLOR-TIME-SPACE
Lohin Geduld Gallery, 2009
Janet Kurnatowski Gallery, 2009
Rosenberg Gallery, Hofstra Unversity, 2010
Daniel Kany, Art Review: Paintings in the Key of Bob Dylan anchor strong line up at UMMA, Portland Press Herald, Aug. 25, 2013
Lilly Wei, "Joanne Freeman and Kim Uchiyama". Artnews. December, 2008
Mario, Naves."Patience and Care Engender Paintings in Perpetual Motion". New York Observer. December, 2005
Signage (Artists in Cars) curated by Joanne Freeman, Vice
President of the American Abstract Artists
IDEELART, Online Exclusive
Diversity is Key to the Future of American Abstract Artists
Apr 24, 2019
DOMESTIC DISTURBANCES
490 Atlantic Gallery, Brooklyn
September 16 - October 29, 2017
Curated by Joanne Freeman
Larkin, Daniel. “A Blue Gallery Tour of Chelsea,” Hyperallergic, March 11, 2016.
Phillip J. Mellon, ahtcast.com, artist interview: Joanne Freeman February 2, 2016
“Joanne Freeman Interview,” Ideel Art Blog, March 5, 2016
IN CONVERSATION WITH JOANNE FREEMAN
CELESTE KAUFMAN, KATHRYN MARKEL FINE ARTS, FEBRUARY 16,
2016
Rhiannon Leigh, Formal Aspects at the Cape Cod Museum of Art, Artscope web zine, March, 2015
Franklin Einspruch, When Hostility Turns into Mannerism. Subtle Simplicity Offers Respite, Art Critical, Dec. 16, 2013
Brett Baker , Joanne Freeman: In Conversation, Painters' Table, Aug, 27th 2013
Joanne Mattera, Joanne Mattera's Art Blog, Calligraphic Blue, 5/01/12
Joanne Mattera, Joanne Mattera's Art Blog, Color-Time-Space. 10/14/2009
Joanne Mattera, Joanne Mattera's Art Blog, Acute Conditions,
10/03/08,
Color-Time-Space
"Music is an art of sound interval, time interval, and painting -- my painting -- is an art of space intervals. One is time, one is space."
Gene Davis interview, 1981 Apr. 23, Archives of American Art, Smithsonian Institution.
Sound and sight share experiential qualities when interpreted in music and visual art. The rhythm and tones of music compare with the intervals of sight and space in painting. The underlying systems in the score of music, and the grid in painting are comparable structures in the art of composition.
The artists participating in "Color-Time-Space" use color selectively to build intuitively rhythmic, and distinctly diverse color relationships in their creation of the painting space. That space is defined by grids, both actual and implied, and by the repetition of specific color elements. The paradoxical relationship of the intuitive and the measured gives these painters works a variety of contradictory attributes.
In a 1971 interview with Barbara Rose for Art Forum, Gene Davis states, "One must enter the painting through the door of a single color...if the viewer selects individual colors and looks at them across the surface of the work, he's almost reliving the painting process...the spectator is in a sense, entering into kind of a time experience in the same way that I did when I painted it."
The "time experience" described by Davis, links the experience of contemplation by the viewer with the process of creation by the artist. The artists participating in "Color-Time-Space" address this link and demonstrate the emotive, visceral space created in painting when color is used with psychology and intention.
Joanne Freeman
Kim Uchiyama
2009
James Biederman
Laurie Fendrich
Joanne Freeman
Julie Gross
Ben La Rocco
Gary Petersen
Kazimira Rachfal
Jennifer Riley
Yvonne Thomas
Kim Uchiyama
Stephen Westfall
Thornton Willis
Kevin Wixted
Curated by Joanne Freeman, Kim Uchiyama
September 10 -October 11 2009
Lohin Geduld Gallery, NY. NY.
Janet Kurnatowski Gallery, Brooklyn NY.
Joanne Freeman, Kim Uchiyama, COLOR-TIME-SPACE
Lohin Geduld Gallery, 2009
Janet Kurnatowski Gallery, 2009
Rosenberg Gallery, Hofstra Unversity, 2010