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,

Lohin Geduld
In a tribute to abstraction of the nonobjective kind, Joanne Freeman and Kim Uchiyama, two New York-based painters, reprised the discourse of modernism from a contemporary point of view. Their mission is not utopian, sublime, heroic, or polemical; they are more than happy to avoid the lofty, reveling instead in the simply good-to-look-at, which in the end is not so simple.

Freeman and Uchiyama, riffing on the primary colors, tossed the notion of the grid and the implied grid back and forth in a light hearted rally of bent-out-of shape rectangles against stripes, figure ground tension against flatness, vertical against horizontal, as well as architectonic against landscape.

Freeman's spirited paintings recall the transition from the Cubism of 20th century urban spaces to the more undulant free forms of the 21st, her surprisingly colored syncopations suggesting torqued skyscrapers, stained glass windows, schematized figures, illegible text, or pieces of a jigsaw puzzle, all jostled together on rectangular supports or shaped canvases echoing the contours of the internal forms.

Uchiyama was represented by easel size canvases of mostly blue bands ranging in shade from very pale to almost black, buoyed by whites and zinged by single bands of yellow and red. Her new, small paintiings, however are the real gems, Liltingly composed with just the touch of the hand evident, they feature translucent ribbons of many-splendored confectionery colors applied over a ground of delicate pink that adds an irresistable glow to each distinctive striation, as if it is warmed by sunlight. Altogether, the show offered a delightful, well balanced, and informative colloquy on painting, one that was all the more persuasive for the artists' very evident love of the medium.
Lilly Wei

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