Micaela Amateau Amato is represented by Heather James Gallery in Palm Desert, CA, and Jackson Hole, Wyoming, and Angles Gallery in Los Angeles. She exhibited her work with ACME INC in Los Angeles, and Hackett Projects in Santa Fe and was represented in New York City by Kornblee Gallery, Sandra Gering Gallery, Bertha Urdang Gallery, Nancy Hoffman Gallery, Barbara Gladstone/Villani Gallery, Ruth Siegel Gallery; and in Chicago with Marianne Deson Gallery. Her work is in the public collections of the Museum of Contemporary Photography, Chicago; The Museum of Art & Design, NYC; Palm Springs Art Museum; Bard College’s Hessel Museum for Curatorial Studies/NYC; Rose Art Museum/Brandeis University; San Francisco MOMA; Chase Manhattan Bank. Her private collections include: Albert&Vera List, Eric&Carol List Schwartz, Lucy R. Lippard, Sam Hoi, Eileen Guggenheim, Carol and Arthur Goldberg, and Paula Cooper. Amateau Amato’s work has been reviewed in the New York Times, the Los Angeles Times, Artforum, Art in America, Art News, Arts Magazine, and many other periodicals. She has been a writer and curator for fifty years (Preparatory Notes/Thinking Drawings-NYU, Mysterious Messages, Austin TX) and was the curator and editor for the exhibitions and books Couples Discourse, and Uncanny Congruencies, Penn State Press. She has lectured on her work at the Brooklyn Art Museum, The Drawing Center, The Neuberger Art Museum, Paintings Edge, LA., as well as many universities across the US (Chicago Art Institute, Brown University, Claremont Graduate School, NYU, University of Georgia, etc.).
Micaela Amateau Amato’s mixed media works incorporate painting, photography, sculpture, (neon, cast glass, ceramic) and text. Often engaging forms of self-portraiture and nomadic identities in a dialogue with her Mediterranean ancestry from Iberia, Morocco, Turkey, and Rhodes, Amateau Amato’s work embodies a multiple self that is mediated by her personal and political engagement with diasporic history. The series “Dodecanese Apparitions” combines painted gouache anthropomorphic images seen through photographic transparencies and film negatives. Her current series, “All the land was sea,” uses detritus/wood/clay as reference to eco-suicide and our environmental state of emergency. “La’am = Yes/No Between the Scarab and the Dung Beetle” includes examples from a dozen different series that symbolize a meeting of multiple tribes in dialogue and reconciliation. As cultural nomad, Micaela Amateau Amato is a Professor Emerita of Art and Women’s Studies at Penn State University.