group exhibitions


Abracadabra, 2017, oil on canvas, 30×24 inches

paintings by Pat Badt, Joy Garnett, Femi J. Johnson, Don Lee, Susan Washington, Sara Woster

Curated by Brian Wiggins
Cedar Crest College Center for Visual Research, Allentown, PA

March 12 – April 18, 2018
Artist Reception: March 23, 5:15 to 6:45 pm

All of the work in Warmer is to some degree abstract. I assembled these artists because of their formal qualities; the way they apply paint, their color selection, design, line use and in particular the space. It’s easy for any human aspect to be removed from the idea of abstraction but it is really the exact opposite – abstraction houses human issues in content. ~ Brian Wiggins

Guest-curated by Heather Darcy Bhandari
Woskob Family Gallery
State College, PA

MARCH 29 ­– JUNE 2, 2018
Opening Reception: Thursday, March 29, 2018 | 5 – 7 PM

Tiny Acts Topple Empires is a group exhibition that considers the manifold expressions of rebellion and multitude of ways contemporary art can challenge the status quo and enact incremental change in our culture. The work engages with all types of rebellion: formal, material, political, and otherwise.

Featuring work by: Micaela Amateau Amato, Laura Bustamante, Mandy Cano Villalobos Studio, Jonathan Ehrenberg, John D. Freyer, Joy Garnett, David Grainger, Karolyn Hatton, Krista Hoefle, Vincent Hron, Sarah E. Jenkins, Noel Kassewitz, Dave Kube, Jess Lauren Lipton, Liz Luna, Meredith Lynn, Taryn McMahon, Christopher McNulty, Margaret Murphy, Joe Netta, Landon L. Newton, Michael Pribich, Leslie Robinson, K. Sarrantonio, Jody Servon Projects, Clinton Sleeper, Kate Snow, Ann Stoddard Art, Krista Svalbonas Fine Art, Steve Totin, MJ Tyson Studio, Kirsten Valentine, Hilary Wang, Coral Woodbury, JooYeon Judy Yang

When we speak of citizen journalism, many of us think of the Arab Spring and Egypt’s youth movement launched on January 25, 2011 with its reliance on smartphones, social media and viral video. As one Egyptian activist tweeted, “We use Facebook to schedule the protests, Twitter to coordinate, and YouTube to tell the world.” Only a few years earlier, in 2005—before the advent of Facebook and Twitter—protests and riots raged on the outskirts of Paris, sparked by the accidental deaths of two young boys who were hiding from police in an electrical substation in Clichy-sous-Bois. The rioting spread throughout the Île-de-France and eventually to the suburbs of other cities, giving expression to the hopelessness of a generation of marginalized youth, the children of predominantly Arab, African and North African immigrants, stuck in ghetto high-rises in the banlieues. Over several months, more than 9,000 vehicles were set on fire, as well as scores of public businesses; France declared a state of national emergency. A government-imposed media blackout sent journalists scurrying for imagery, which they found posted on personal blogs, YouTube and Flickr: lo-res images and video of burning cars and riot police, shot by ordinary people on the ground with cheap cameras and rudimentary phones. These images served as immediate and authentic documents, and are a precursor to subsequent uses of social media as tools for dissent. I painted my Paris Riots series based on a handful of lo-res images that were circulating on Flickr and elsewhere as the riots unfolded. The paintings are small but fiery like their source images, and speak to the urgent need to communicate what was happening on the ground. But unlike the digital images, the paintings embody physical space, and they instill, through the materiality of the gesture and the paint, the urgent physicality of the moment. Hence, the paintings offer the possibility of a different kind of engagement from what we’re used to when confronting political conflagration: the proximity afforded by the physical object, as opposed to the virtual image, more than a decade after the riots. ~ J. Garnett, 2017


Installation view of The Times at The FLAG Art Foundation, 2017. Photography by Steven Probert.
Joy Garnett: Explosion, Yellow & White, 2009, oil on canvas. 32×26 inches

The Times

June 1 – August 11, 2017

The FLAG Art Foundation
545 West 25th Street, 9th Floor
New York, NY 10001


FLAG Art Foundation – The Times – press release


Tom McGlynn, The Brooklyn Rail (July-Aug 2017): Disappearing, Inc.

“New Year’s Day” (video 2:48 min.) is included in a special program of post-election screenings and symposia at Petzel Gallery, NY:

We need to talk…
Artists and the public respond to the present conditions in America
January 7 – February 11, 2017
Petzel Gallery, 456 West 18th Street
Something different for the month of January 2017, We need to talk… will try to address the myriad issues presented by the election results of November 8th.

More info…

// 2016

Blue Lagoon, 2015, oil on canvas, 20x24 inches
Blue Lagoon, 2015, oil on canvas, 20×24 inches


  • New York, I Love You, But... Curated by Keith Miller. Gallatin Galleries, Gallatin School of Individualized Study at NYU (Nov 5, 2015 – Jan 26, 2016)

Khalik Allah, Annie Berman, Sophie Blackall, Nathan Fitch, Brian Foo, Joy Garnett, Suzanne Goldenberg, Nina Katchadorian, Paul McDonough, Lawrence Mesich, Ron Milewicz, Amy Park, Maddalena Poletta, Casey Ruble, Ken Schles, Terreform ONE


Musée Magazine (November 2015): New York, I Love You, But… At NYU’s Gallatin Galleries  PDF

// 2015

Tangerine Dream at Slag bburg
Human Territory, Slag Contemporary, 81 Grand St., Williamsburg location.


Seattle Art Fair 2015

  • FOODshed: Art and Agriculture in Action. An exhibition of upstate/downstate NY artists who work with food and agriculture. Curated by Amy Lipton. CR10 Arts, Linlithgow, NY. August 8 – September 5.


John Isaacs, Thought for Food (IMBY Aug 11, 2015)

// 2014

Piss and Vinegar (art and ferment)‘@ FOODshed installation view, Smack Mellon, Brooklyn, NY. Left to right: Joy Garnett. Bonnie Ora Sherk, Peter Nadin. Photo by Etienne Frossard.


Last Brucennial
The Last Brucenniall, NYC, Mar-Apr 2014
The Wayland Rudd Collection, organized by Yevgeniy Fiks, First Floor Gallery, Harare, Zimbabwe, June 20-August 7, 2014.

The Wayland Rudd Collection (Harare): Installation shots

Wayland Rudd-Frossard
The Wayland Rudd Collection, a project by Yevgeniy Fiks. Winkleman Gallery, New York, January 17 – February 22, 2014. Photography by Etienne Frossard.


Holland Cotter, The New York Times (February 2014): The Wayland Rudd Collection, at Winkleman Gallery PDF

The Wayland Rudd Collection (NYC): Installation shots

Sargent’s Daughters, Sargent’s Daughters, NY: An exhibition of women artists exploring the legacy of John Singer Sargent. June 25-July 26, 2014
  • A Gift to Birobidzhan, curated by Yevgeniy Fiks, 21ST.PROJECTS, New York. September 11 to October 19, 2014
  • Sargent’s Daughters, Sargent’s Daughters, NY: An exhibition of women artists exploring the legacy of John Singer Sargent. June 25-July 26, 2014.
  • Painting the Pixel, curated by Rachel Sharp, Gallery North, University of Northumbria, Newcastle upon Tyne, United Kingdom, March 3-April 11, 2014.
  • Being There, curated by Amy Lipton, Elga Wimmer Gallery, NY, Feb 1- Mar 14, 2014.


The Tool at Hand. Curated by Ethan Lasser. Originating: Milwaukee Art Museum, Dec 8, 2011-Apr 1, 2012; traveled to: Philadelphia Art Alliance, Feb 1-Apr 28 2013; Houston Center for Contemporary Craft, May 31-Sept 8, 2013; Museum of Contemporary Craft Portland in partnership with Pacific Northwest College of Art, Oct 2, 2013–Jan 11, 2014.

The Tool at Hand: Work in progressExhibition catalogueExhibition website

Picture Takers 2012
Picture Takers. Curated by Mary Birmingham. Visual Arts Center of New Jersey, Summit, NJ, September 14-December 2, 2012.

Picture Takers: Exhibition catalogue.

// 2009

2009 Group exhibition: Out of the Blue, Gallery Bergen, Bergen Community College, Paramus, NJ, organized with Joy Episalla & Amy Lipton. Press release; installation views

// 2008

That Was Then…This Is Now. MoMA- PS1, June 22 – September 29, 2008. Shown: Nancy Spero (L); Joy Garnett (R).

That Was Then…This Is Now Installation shots

Documentation of CFA Gallery Exhibit
Atomic Afterimage. Curated by Keely Orgeman. Boston University Art Gallery, September 5 – November 2, 2008.

// 2006

Image War 2006
IMAGE WAR: Contesting Images of Political Conflict, Whitney Independent Study Program, at the CUNY Graduate Center, May 19 – June 25, 2006. Shown: Joy Garnett (L) and Rainer Ganahl (R).

IMAGE WAR: Contesting Images of Political Conflict. Catalogue essay (Benjamin Godsill). Installation shots

Murtaza Vali, Bidoun (Fall 2006): Image War’ Whitney Museum of American Art PDF

Red Heat, 2006, oil on canvas, 38x48 inches PRIVATE COLLECTION
Prevailing Climate, Sara Meltzer Gallery, NY. Image: Red Heat, 2006, oil on canvas, 38×48 inches PRIVATE COLLECTION

Prevailing Climate


Holland Cotter, The New York Times (August 2006): Art in Review:  Prevailing Climate PDF
Sara Meltzer Gallery
525-531 West 26th Street
curated by Rachel Gugelberger and Jeffrey Walkowiak
July 13 – August 18, 2006 [press release]

Eric Anglès
Andrea Bowers
Margarita Cabrera
Anthony Discenza
Christoph Draeger
Joy Garnett
Boukje Janssen
John Jurayj
Catarina Leitao
Joan Linder
Anna von Mertens
Jason Middlebrook
Yumi Janeiro Roth
Karina Aguilera Skvirsky
Type A

Visit: Exhibition history (1998-2010)