Updated: 5.16.13

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Conference 7: May 31, June 1 and 2, 2013

Registration is at now at 82%

Register to secure your place at the Conference at the lowest current price. Event selection is taking place now. Want to know how the Conference is progressing? Please check the Conference Updates page regularly..                                                         

Keynote Speaker: Barbara O'Brien

We are delighted to welcome Barbara back to the Conference after her participation in Conferences 1 and 3. Barbara is Executive Director of the Kemper Museum of Contemporary Art, Kansas City, Missouri, where she was formerly Chief Curator and Director of Exhibitions. She had been editor in chief of Art New England. O'Brien will

speak on the work of sculptor Petah Coyne in a talk titled, "Goodnight girls. I'll see you in the morning."

Photo: Bruce Mathews

 

 



The "girls" of the title are, of course, Coyne's massive mixed-media, wax-inclusive sculptures, one of which O'Brien recently acquired for the Kemper. In her talk, O'Brien will share the experience of considering the work intimately, and of speaking with the artist in her New Jersey studio.

 

O'Brien's keynote will take place on Saturday evening, June 1, at 8:00. It is open to all conferees and their partners or spouses.

 

 

 

 

 

Petah Coyne, Untitled #1378 (Zelda, Alabama Slammer Series), 1997-2013
Photo: Christopher Burke

 

Want a preview of Seven?

Click here

Selected work: Debra Claffey, Hickory

Friday Afternoon Focus

Collagraph Mania!

We had expected to offer a wax-and-fiber afternoon, but when the printmaking proposals kept pouring in—and especially when the collagraph proposals arrived one right after the other—we knew we had our  focused afternoon program. Whether you spell it with an "a" or an "o" collagraph (or collograph) printing is the new darling of encaustic.The techniques and effects are endless, and the equipment is easily available. Three experienced printmakers who also work with encaustic will share their approaches in technique and concept.

Session 1: Dorothy Cochran, studio artist and longtime printmaker, teaches at the Montclair Art Museum, Montclair, New Jersey

Session 2: Elise Wagner, studio artist, based in Portland, Oregon, mines celestial phenomena in her p-ainting and printmaking

Session 3: Pamela Wallace, studio artist, based in Monroe, Virginia, produces paintings and prints that reflect the natural world

Saturday Morning Panel

Raising the Bar: Encaustic in Our Practice

Raising the bar begins in our studio, where we think archivally as well as creatively about the work we make, work we expect will add to the discourse of contemporary art.  It continues as we introduce the work to jurors, dealers, curators, critics and the public. It expands as we interact with the art world community—with artists who work in the medium of encaustic, and with artists in the larger sphere. Critical thinking, professional presentation, ethical standards, excellent teaching and being what artist Chuck Close calls “good art-world citizens” are all part of what helps to Raise the Bar—for us, for our encaustic community, and ultimately for how encaustic is considered in the larger art world conversation.
Lynn Basa, Chicago-based artist and author of The Artist's Guide to Public Art, with international commissions
Mike Carroll, artist and owner/director, The Schoolhouse Gallery, Provincetown

Miles Conrad, artist and owner/director, Conrad Wilde Gallery, Tucson
Laura Moriarty, artist, author of Table of Contents, and director, Gallery at R&F, Kingston, New York
Graceann Warn, artist in Ann Arbor, Michigan, full time in the studio since 1985

Joanne Mattera, artist and art writer, The Joanne Mattera Art Blog and The Art of Encaustic Painting
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Sunday Afternoon Panel

Raising the Bar: Standards and Practices in Teaching Encaustic

We have three seasoned art educators continuing a discussion that began in Conference 6. What kind of instruction constitutes Beginner Encaustic? Intermediate? Advanced? At what point should esthetic concepts be introduced into a technical class? How does encaustic fit into the discourse of contemporary art? What education and experience should a teacher have? This is a discussion of interest to all artists who teach, as well as those who are taking courses with independent teachers. We look forward to input from all of the teachers  and students in the audience. Two hour-long segments will be devoted to this panel.
Sara Mast, artist and associate professor, Montana State University, Bozeman

Cherie Mittenthal, artist and Executive Director, Truro Center for the Arts at Castle Hill, Truro, Mass.

Toby Sisson, artist and assistant professor of studio art, Clark University, Worcester, Mass.

Conference Updates

This  page has a special function: to serve as a broadside for updates regarding registration, event selection, workshops and accommodations. Each new piece of info will be dated so you know when it was posted. Specifics will have a link to the appropriate page. Please get into the habit of checking here for Conference news.

Updated 5.16.13

5.16: Barbara O'Brien has announced the title of her keynote talk, "Goodnight girls. I'll see you in the morning," the Work of Petah Coyne.

One of those "girls" is shown left, a new sculpture by Coyne, made in honor of Zelda Fitzgerald. 

For more info about our keynote speaker, her talk and the work shown here, click here.

5.15: New this year: Saturday Evening Buffet. Rather than rushing out and back to get dinner before the keynote talk, we have the option of an in-house buffet. The Inn is offering a full spread, replete with offerings for omnivores, pescatarians, vegetarians and vegans. How fresh is the fish? "Caught in the morning, served that night," says Chef Jason. You must reserve before the Conference, as our chef will be cooking for the number of reservations he receives. Learn more about the menu and reservations here. Reserve now!

5:12:  Conference Reminder: No videos. While the taking of no-flash photography is welcome, there is to be no videotaping of any event at the International Encaustic Conference. This is both in response to many presenter requests that their talks and demos remain their proprietary information, which they are sharing for the one event, and part of the Conference directive to remain unique.
If you are teaching, please take a moment at the beginning of your presentation to remind your audience. If you are an audience member, please respect this request.



5.11:  A few questions about weather and clothes:
What's the weather like in Provincetown?
Normally, the temperature is in the 60s-70s during the day, and in the 60s or cooler at night. But that's an average. It can get hotter or colder.

So how should I dress?
I'd bring a light jacket or a sweater, a turtleneck, a t-shirt, and a tank top; pants and shorts; sunglasses and an umbrella. In other words, dress for New England weather, which encompasses a meteorological range. You can safely leave the boots at home, however: The only thing you don't have to plan for this time of year is snow.

Is there a dress code for the Conference?
No. Nope. Nah-unh. Dress in a way that's comfortable for you, whether that be shorts or a suit. It can get chilly in the Mayflower Room, the largest meeting room at the Inn where the Saturday Morning Panel and Keynote are held, as well as many demos. so you may wish to have a sweater with you.


5.9:  The Calligraphic Gesture,  am exhibition under the auspices of the Conference Curatorial Project, organized by Jane Allen Nodine, has just completed a catalog for the show. Designed by Sarah Rehmer, it will be at the Book Signing of Saturday and is viewable in preview here.

5.1: Our Pre- and Post-Conference days are complemented with a full schedule of Evening Events--an opening, a closing and three evenings of talks--which are free to all conferees or workshop attendees. 

5.1: I've added info on the Hotel Fair post for those who are planning to show in the lobby.

4.29: As we draw closer to the Conference, our conferees are posting images on their own blogs. In Making Something out of Nothing, Debra Claffey has posted a number of images from  the Red  show. Here are two, from Ruth Hiller, left, and Linda Cordner.



Meanwhile, in Art in the Studio, Nancy Natale has created a Salon des Refusés for those works which did not get into the Red  show. 
 

4.22: The Hotel Fair will have something different this year: a short film! Sara Mast's Hotel Fair contribution is a four-minute video loop called Transmutations, a four minute loop that features a series of morphing images crafted from a group of Sara's small, mixed media encaustic paintings, mimicking science's struggle to understand the universe through the Einstein's equations that led to the discovery of black holes. Each painting layer was photographed by filmmaker Cindy Stillwell and designed to shape shift from allusions to Einstein's blackboard to chalk dust becoming fields of stars. Equations that begin to contain the mystery dissolve, and are rewritten over and over, yet are ultimately lost to the vastness of the night sky.

Transmutations will play in the Fore'n'Aft room, which is set up for viewing.

4.17:  Happily adding that Ruth Hiller will be participating in the Red show.

4.16: Vendor Room page is updated. Lots of good stuff. This year we welcome Ampersand

4.16: Our three Conference Curatorial Projects are looking to be great, with themes relating to land, nature, and the fluid line of calligraphy. Two will have catalogs. Here's one: The Calligraphic Gesture. Catalog design: Sarah Rehmer. Exhibition organizer: Jane Allen Nodine. Click on Exhibitions or Book Signings pages for more info.

4.9: Congratulations to conferee Jodi Collella, who will receive the R&F Scholarship to attend Kelly McGrath's Post-Conference workshop, Casting, Building, Sculpting. This is what Laura Moriarty, speaking for R&F Handmade Paints, had to say: "We selected Jodi because we found her work extremely fresh and exciting, and we could see how the methods Kelly will be teaching could open up new potentials for her sculpture." Wait, there's more!
 "But Jodi did have some stiff competition, so we also want to give give honorable mention awards to Ruth Hiller and Sandi Miot, who will each receive $100 in R&F paint credit. Congratulations to all!" Indeed. Big thanks to R&F Handmade Paints for their generosity

4.9:  Who's Coming to the Conference--205 conferees to date, from around the U.S.; three Canadian provinces (British Columbia, Ontario, Quebec); and four countries (Mexico, Brazil. England and Ireland).

4.8: We got you a nice discount on the Provincetown Fast Ferry.

9:  Who's Coming to the Conference--202 conferees to date, from around the U.S.; three Canadian provinces (British Columbia, Ontario, Quebec); and four countries (Mexico, Brazil. England and Ireland).

4.3: We're working on a series of evening talks in Post-Conference. The talks are free and open to anyone who is registered for the Conference or a Post-Conference workshop. Partners and spouses welcome

4.1: More Exhibitions info has been updated. If you're represented or showing at a gallery on the Cape, please post the info with a URL in the Comments section of the post

3.28: Mailing and delivery info is now posted on the Postcard Show page. If you have already read this, please check again, as the mailing address has been changed. The cards should go to Christine Aaron.

3.20: Book Signings on Saturday afternoon! We'll have between 10 and 12 authors on hand to sign  their recent or timely exhibition catalogs or books. Many of the artists whose work is included in the publications will be on hand to sign as well. This is the second year for such an event, and we expect it will be just as much fun as last year

3.19: Participants have been announced for Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic, which will take place at the Cape Cod Museum of Art. Exhibitions curator Michael Giaquinto has selected 31 artists. You can read more on the Exhibitions page. This and other opportunities have come about directly as a result of the Encaustic Conference. Curators and dealers see the work on exhibition both in town and at the Hotel Fair, and they reach out with opportunities to exhibit. Let your work be seen!

Left: Cover of the catalog. Work is a detail of Ruche by Karen Freedman. Cover designer is Jane Guthridge. Linda Cordner is designing the artists' pages. The 44-page book will be available during a book signing at the Conference.  Click here for an online view of the catalog.

3.4: Exhibition updates: There are now 14 Conference-related shows to date, mostly in Provincetown but also in Truro, Wellfleet and Dennis, Recently posted: The Calligraphic Gesture at Tao Water Gallery, organized by Jane Nodine; and Natura Viva at ArtCurrent Gallery, curated by Debra Claffey.

2.19:  To date, these workshops are sold out.

. Pre-Conference:  Pigment Sticks with Lisa Pressman and Encaustic Printmaking with David A. Clark
. Post-Conference: Understanding the Curatorial Process with Barbara O'Brien; Monoprinting with Paula Roland and Jennie Frederick; Encaustic Collagraph Monotype with Elise Wagner and Jane Pagliarulo. Many others are very close to full.

2.10: If you are attending for the first time or you know someone who will be, this introduction may be helpful.

2.9: Please note that there have been a couple of scheduling changes on Saturday. Everything is explained here on the The Schedule post, but this is it in a nutshell: Sherrie Posternak's demo, The Perfect Pour, originally scheduled for 1:30-2:30, has been moved to the 4:30-5:30 slot. Pamela Blum's, Building the Encaustic Sculpture, originally scheduled for that time, has been rescheduled for Conference 8 next year. If you have registered for either of those events, call Dana at Castle Hill to reselect: 508-349-7511.

11:26: Barbara O'Brien's Monday Post-Conference workshop is sold out. If you are interested in learning more about how the art world functions outside your studio, consider critic Shawn Hill on Tuesday and art dealer Mike Carroll on Friday. Shawn, who has just been announced as the juror for this year's juried show, will evaluate your artist's statement, website and more; Mike, who owns and directs the Schoolhouse Gallery in Provincetown, will address ways to discuss, present and advance your work. See more on the Castle Hill workshop page.

11.25: The Provincetown Inn is sold out, on Friday and Saturday night of the Conference. If you wish to stay there, try these two options: Ask to be put on a waiting list, as rooms may come available; or check the Message Board to see who's looking for a roommate. Click here for a list of alternate accommodations

The Schedule

Updated: 3.16.13

 

Please note these changes to Saturday schedule:
. The Perfect Pour with Sherrie Posternak, originally at 1:30-2:30, has been moved to 4:30-5:30

. Building the Encaustic Sculpture with Pamela Blum, originally at 4:30-5:30, will take place in 2014

If you have registered for either of these demos, please call Dana at Castle Hill (508-349-7511 ) to reselect. Note that due to the blizzard which took place over the weekend, the office may be closed on Monday the11th.

Registration

The Earlybird Special is past. Take advantage of the best price you can pay now. Don't wait! You'll register via the Castle Hill website to reserve your spot at The Conference. Link here.  




Fee Schedule
. $550 . . . . January 1 through May 15
. $560 . . . . May 16 through the start of the Conference

Room (and Saturday Buffet Dinner) Reservations

 

View of the Provincetown Inn grounds, at the tip of P-town

Room update: A few rooms have come available for the Friday, May 31, and Saturday, June 1. Additional rooms are available on Thursday, the 30th. More rooms are available before and after those dates if you with to extend your stay. Take advantage of the opportunity to stay "on campus," which gives you a room for the Hotel Fair and proximity to all the events.

The Encaustic Conference begins at 9:30 a.m. on Friday, May 31, so you may wish to arrive the day before to be fully registered at the hotel--and maybe even the day before that to unwind from your travels. The ocean and pool are close at hand, the beach half a mile a way. Many conferees arrive early in the week for Pre-Conference Workshops. We have the entire Inn for the Conference weekend.

New this year:  Optional Saturday Evening Buffet with meat, fish and vegetables (many selections for vegetarians and vegans), which you will reserve through the Inn. Price with tax and gratuity: app. $28. Reserve now!

 

 

Two buffet options: Pork, above, and hake, below.

 

Dinner will be laid out buffet style, so potatoes and vegetables will be on their own separate platters. Additionally there will be penne with pesto for vegetarians, along with vegan options: brown rice, vegetables, beans, plus salads of all kinds. Rolls will include whole wheat selections, plus gluten-free bread for those who require it. And if course, there's dessert.

 

While lunch is included in your Conference fee, the Saturday evening dinner is an optional extra, payable to the Inn. Cost is $28. If you are staying at the Inn, your dinner will be charged to your room; if you are staying elsewhere, you should call the Inn to reserve.

 

 "The fish is fresh each morning," says Chef Jason, who goes to the wharf to inspect and select the day's catch. And did we mention that he bakesdessert from scratch, including chocolate cookies? (Cherie wanted you to know about the cookies.)

 

 

About the Provincetown Inn

 

A lovely place for a Conference

 

The Provincetown Inn is located at the tip of Provincetown. It's a large complex that has grown throughout the years.There's a private beach, foreground. In the middle distance, just beyond the breakwater that juts off to the left, is a salt marsh, and in the distance is the Atlantic Ocean.

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Whether you're staying at the Inn or not, please familiarize your self with the complex, as it is the site of all Conference activity, save for the gallery openings in town.

 

There are two main sections to the Inn

. Just behind the lawn and swimming pool, shown in the foreground, is the original Inn, which contains the main lobby and event rooms on the first floor, as well as the  Standard and Waterview sections, which contain rooms on the first and second floors

. To the left of the lawn is the motel section, an open trapezoid that consists of three long, one-story segments: Harborside, Cape Tip and Breakwater, from right to left respectively. These three segments enclose the parking lot, which has plenty of free parking for all guests and Conference visitors

Visual info

. To see your room options, click here

. There are a limited number of Captains Suites that can accommodate up to four people very comfortably. Four people sharing this room could pay as little at $65-75 each per night, including tax. For views, click here.

Rates
There is no change to the room rates from last year. This is because we are able to fill the facility to capacity, however the rates do differ between midweek and weekend.

Midweek Room Rates
Note: If you wish to extend your stay Rooms are available before and after the weekend at these lower rates.

. Standard: $69.

. Standard Inn: $79.

. Waterview: $99.

. Waterview Inn: $119.

. Harborside/Breakwater: $119.

. Cape Tip: $139.

. Studio/honeymoon suite: There are two, each $169.
. Captain's Suite: There are three, each $229. 
 

Weekend Conference Room Rates
A few rooms have become available. Call the inn for dates and prices.

. Standard: $99. Sold out

. Standard Inn: $109. Sold out

. Waterview: $129.
. Waterview Inn: $149.

. Harborside/Breakwater: $149.

. Cape Tip: $169.

. Studio/honeymoon suite: $199.
. Captain's Suite: $259.

Rates include

. These rates are per room, per night, single or double occupancy, subject to state and local taxes.

. Continental Breakfast

. Additional persons sharing room $15.00 plus tax, includes continental breakfast

. Full payment will be due at check-in via American Express, Mastercard, Visa; checks accepted up to a month before checkin.

. There is a two-night miniumum on weekends

Please note: The tax on hotel rooms in Provincetown is 11.7 percent

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To reserve a room or your Saturday Evening Buffet Dinner, call the Inn directly


508-487-9500

Toll free: 1-800-WHALE-VU

Sharing a room

If you have a room to share, or you're looking for someone with a room to share, post your request or offering on the Message Board, which is set up specifically to allow conferees to meet up for rooms, rides and networking. 

Event Descriptions

Special Events

Keynote: Barbara O’Brien on the work of Petah Coyne

An internationally recognized curator will discuss the work of sculptor Petah Coyne as it relates to the encaustic tradition. The Kemper Museum of Contemporary Art in Kansas City, Missouri,  where Barbara O’Brien is the Executive Director, has “two magnificent works by Petah,”  which Barbara will discuss in detail. And we can expect to see additional images of work by this internationally acclaimed sculptor.
Barbara's Post-Conference workshop is sold out

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Friday Afternoon Extravaganza: Collagraph Mania!
Whether you spell it with an a or an o, collagraph printing is the new darling of encaustic. And with good reason. The techniques and effects are endless, and the equipment is easily available. In our Friday-afternoon extravaganza, three experienced printers share their approaches in technique and concept in one-hour sessions with a break in between each.
. . . . . Painterly Prints with Encaustic Collagraphs, Dorothy Cochran
This experienced printmaker will demonstrate a method of painting hot wax onto a plexiglass plate to reveal the subtleties of the brush and gesture. Manipulations of her plate include incising, additional layering, scraping and removal of unwanted wax areas before printing. The second stage of the demo includes inking and wiping the surface with Akua waterbase ink and printing the plate through an etching press on traditional printmaking paper. 
. . . . . Encaustic Collagraph Monotype,  Elise Wagner
Combining monotype with encaustic’s textural elements is a process that explodes beyond the boundaries of printmaking. Matrices of wax are built onto plexiglass, then we apply water based inks, wipe free the excess ink, and run it through an intaglio press to be printed on paper. These techniques can produce subtle and mysterious marks, allowing for variable prints or editions.
. . . . . Wax and the Collograph, Pamela Wallace
Collograph prints may provide exceptional texture and color as a collage element with encaustic, or an intricate layer of pattern beneath transparent encaustic color. The collograph plate can be pushed directly into layered warm wax, and the resulting impression inlaid with encaustic color or highlighted with pigment stick; repetition of this process builds the image and the surface.
You may find these demos of related interest: Creating  the Image via Color Separations, Monoprinting and Relief with Kozo Fiber Stencils, Screen Printing onto Encaustic, Scrollworks; the talk, Bringing Light into Your Work
Workshops: Pamela and Elise will teach individual workshops in Collagraph P-rinting
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Saturday Morning Panel: Raising the Bar: Encaustic in Our Practice
Lynn Basa, Mike Carroll, Miles Conrad, Laura Moriarty, Graceann Warn; Joanne Mattera, moderator
Raising the bar begins in our studio, where we think archivally as well as creatively about the work we make, work we expect will add to the discourse of contemporary art.  It continues as we introduce the work to jurors, dealers, curators, critics and the public. It expands as we interact with the art world community—with artists who work in the medium of encaustic, and with artists in the larger sphere. Critical thinking, professional presentation, ethical standards, excellent teaching and being what artist Chuck Close calls “good art-world citizens” are all part of what helps to Raise the Bar—for us, for our encaustic community. The bar we set now will set the standard for many decades of artists to come. Six established artists who are also art dealers, curators, writers and teachers tackle the topic.
Workshops: Mike will offer a Portfolio Review; Laura, The Art of Securing Grant Funding
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Sunday Afternoon Panel: Raising the Bar: Standards and Practices in Teaching of Encaustic
Sara Mast, Cherie Mittenthal, Toby Sisson
With a tenured professor of painting at Montana State University, Bozeman; the director of Truro Center for the Arts at Castle Hill; and associate professor of studio art at Clark University in Worcester, Mass., we have three seasoned art educators continuing a discussion that began in Conference 6. What kind of kind of instruction constitutes Beginner Encaustic? Intermediate? Advanced? A what point should esthetic concepts be introduced into a technical class? How does encaustic fits into the discourse of contemporary art? What education and experience should a teacher have? It is a discussion of interest to all artists who teach, as well as those who are taking courses with independent teachers. Sara Mast will report on discussions held at academic conferences during the past year, and we look forward to input from all of the teachers in the audience. Please note that two hour-long segments will be devoted to this panel.
If you are a teacher at any level or in any situation, come and be part of this discussion. Your input will help set the standards for the teaching of encaustic in this country and beyond. If you are a student at any level, come and learn how to be a smart consumer of educational resources.
Workshops: Sara will teach a collaborative with Lisa Pressman on Creating and Collaborating
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Talks
The Altered Book, Supria Karmakar                            
Supria Curated last year’s conference-sponsored exhibition, The Wax Book: Altered, Repurposed, Remade, inspiring the Conference Curatorial Project this year. We invited her to present a slide talk of images from the exhibition and to add images of new work by the same artists—as well as a selection of works y additional artists—for a big look at how artists are integrating wax and the book form.
Demos of related interest: Cannibalism and the Art of Collage, Collagraph Mania!, Creating the Image via Color Separations, Wax Collage: Beyond Technique; the talk, Materials, Methods and Process
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Authentic Visual Voices,  Catherine Nash
What do artists make their art about? What contemporary issues do artists address in their work? Gaining expertise in technique is only a first step. Our goal is to create truly innovative, authentic art that resonates with such things as our core beliefs, our curiosity or our emotional self.  With the emphasis on content rather than technique, this pertinent lecture will present international artists who push the boundaries of encaustic while addressing current trends in contemporary art.    
Demos of related interest: Cannibalism and the Art of Collage.  Wax Collage: Beyond Technique; the talks, Expanding Your Vision,  Studio Visit with Howard Hersh, Wax as Metaphor
Workshops: Catherine will offer Your Authentic Visual Voice and Wax and Paper
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Be Safe: Good, Better, Best Practices with Encaustic,  Patricia Dusman

With a long career working in labs and hospitals, Patricia understands how to translate safe practices to art materials. “While encaustic shares many safety issues with other mediums, it also has its unique challenges,” says Patricia. She will present different options in varying degrees for such issues as ventilation, handling of materials, fire and burn prevention. The goal of the talk is to provide a great resource for artists who either want to confirm that they are working safely or for artists who may be already working safely but want to improve their individual situations.
Beginners: This is an essential talk for you, and should be part of a Friday package that includes Basics of Encaustic and Fusing with Torches, Irons and Heat Guns. However, artists at every level will find this talk helpful
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Bringing Light into Your Work,  Jane Guthridge         
Reprising her talk from Conference 6, Jane will discuss the work of artists who use light as an integral part of their work via translucency or transparency. You will see work by a number of contemporary artists, including Jane’s own work. “What their work is about? How do they use light and why? Encaustic is a medium that works well to illuminate your work,” she says.
Demos of related interest: Collagraph Mania!, Creating  the Image via Color Separations, Monoprinting and Relief with Kozo Fiber and Stencils, and Scrollworks
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Cannibalism and the Art of Collage, Tracey Adams     
A nationally exhibited artist, Tracey will talk about her work and process in her encausti-cbased collages. All the fragments used in her collages are derived from encaustic monotypes and small pieces of her intaglio prints coated with wax. During the talk, she will describe why and how she chooses certain fragments for collage, this being what defines her process. And the cannibalizing?  Says Tracey, “I ‘cannibalize’ most of my large scroll installations (encaustic monotypes), after they are in de-installed from various museum installations.”
Demos of related interest: Collagraph Mania!, Monoprinting and Relief with Kozo Fiber Stencils, The Perfect Pour, Scrollworks; talks: Bringing Light into Your Work; Materials, Methods and Process; Studio Visit with Howard Hersh,  Wax Collage: Beyond  Technique
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Digital Footprint: Marketing via Social Media,  Catherine Weber

Artists must understand and use a wide variety of digital tools to promote their work, exhibitions and workshops. While the opportunities to reach a wide audience are unlimited, they can be overwhelming, especially when you would rather be making art. This talk provides an overview and checklist of online marketing considerations, focusing on social tools such as websites, blogs, Facebook, and photo-sharing sites. The talk will integrate examples of artists who are successfully using these tools to build awareness and develop relationships their many audiences including their artist network, galleries and collectors.
Talks of related interest: Photographing Your Work , Preparing Your Images with Photoshop
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Edges & Corners: The Devil in the Details, Milisa Galazzi
Does the edge enhance or detract from the overall painting? Does it make the painting more, rather than less, archival? Is it thoughtful and considered given the nature of the painting?  In this slide talk Milisa will show and examples of paintings that exemplify a variety of edge treatments.
Beginners: This is a recommended talk for you, and should be part of the package that includes the demos Basics of Encaustic and Fusing with Torches, Irons and Heat Guns; the talk, Be Safe. However, artists at every level will find this talk an enhancement to your technical repertoire
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Ephemeral Figures in Wax,  Susanne Arnold

This talk was the sleeper of Conference 6. The folks who attended were bowled over, Joanne included. We’re bringing Susanne back so that more of you can see and hear this wonderful presentation. As an organic medium, beeswax has the unique ability to simulate the look, touch and feel of human flesh. From earliest times artists took advantage of these qualities to create lifelike wax reproductions of the human head and body as objects for portraiture, science, religion, entertainment and art. By the mid 20th century, artists began to seek out forgotten images and reconsider wax as a medium for human figuration. Wax’s very mutability, ephemerality and ambiguity now matched contemporary artists’ vision of the human condition. This review of wax sculpture’s story and images, from the Infant of Prague to Mme. Tussaud to Urs Fischer, is fascinating, funny, scary and inspiring.
Demos of related interest: Building the Encaustic Sculpture;  Fusing With Torches, Irons and Heat Guns; Moldmaking and Casting; and the talk, Wax as Metaphor
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Expanding Your Vision,  Deborah Kapoor

So you’ve mastered technique. If you’ve been asking yourself, “What is the next step for my art?” this is the talk for you. See how other artists have continued to evolve and grow. Deborah intends this presentation to help you identify ways to take your work to the next level.
Talks of related interest: Authentic Visual Voices, Studio Visit with Howard Hersh,  Wax Collage: Beyond Technique,  Wax as Metaphor
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Materials, Methods and Process,  Lorraine Glessner

This lecture presents contemporary artists whose work utilizes alternative materials as well as process—defined as a specific, continuous action—and the repetition of that process to generate structure, form and content. The work of sculptors, painters, craftmakers and  fiber artists is grouped into process categories such as repetition of a single action, restriction by a set of rules and restriction of use of one material and one process. The materials which these artists use is as wide as it is varied and include, found, household and recycled materials, Tyvek, hair, rubber, adhesives, stitch, fire and encaustic to name a few. These artists inspire, as they not only exploit the inherent properties of their materials, yet at the same time transform the materials from their original use. 
Demos of related interest:  Building the Encaustic Sculpture, Cannibalism and Collage, Collagraph Mania!, Creating Texture and Dimension with Textiles, Texture and Pattern; the talks, Authentic Visual Voices,  Edges and Corners: The Devil in the Details, Expanding Your Vision,  Wax Collage: Beyond Technique
Workshop: Lorraine will offer Pattern, Repetition and Process
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Photographing Your Work,  Patti Russotti

This presentation will survey the different options and methods for photographing your work as well as a brief demo illustrating the results of a do-it-yourself photo studio. When should you photograph work yourself and when should you hire a professional? How do images differ when photographed with a smart phone, a point-and-shoot, and an SLR? What kinds of lights will give you a professional quality? What do you need to know about formats and software? How much photo geekiness do you need to get professional results? Join Patti, associate professor in the School of Photographic Arts and Sciences at Rochester Institute of Technology, to see and discuss your options as an artist.
Talks of related interest: Preparing Your mages with Photoshop, Digital Footprint: Marketing Via Social Media
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Preparing Your Images with Photoshop, Elena De la Ville                                   

The images of your work are used on the internet, web page, blog, facebook, submissions to galleries and Zapp applications. They are also used on their own for prints, photo transfers and as part of photo-based work. Each one of these requires their own settings for their best reproduction and distribution. Elena will use Adobe Photoshop to cover sizing, color management, saving as jpgs and tifs, and working with outside printers.
Talks of related interest: Photographing Your Work, Digital Footprint: Marketing Via Social Media
Workshop: Elena will offer Photography and Encaustic
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Studio Visit with Howard Hersh,  Howard Hersh

While Howard can’t bring his actual San Francisco studio to Provincetown, he can share it with you via slides. Expect an “intimate” look at where he works and what he’s working on. For new artists, it’s a peek into what a decades-long studio practice looks like; for longtime artists it’s a look at how a peer has created a muse-worthy and technically efficient space.  Some interesting points: He is set up to paint both large and small, and he has relocated his studio several times so you’ll get to see a distillation of space to its maximum effectiveness, and  you’ll get a look at his legendary sawhorses.
Talks of related interest: Authentic Visual Voices, Expanding Your Vision, Visiting the Encaustic Studio, Wax as Metaphor
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Visiting the Encaustic Studio, Part 2,  Lisa Pressman
Back by popular demand, and with some revisions from Conference 6, this talk features a visit to abut a dozen artists who use encaustic in their practice. “I will be focusing on the actual studio, each individual’s work and its relationship to encaustic along with techniques of interest,” says Lisa. The talk will address the etiquette of the studio visit from the visitor’s point of view and the artist’s point of view.
Talks of related interest: Authentic Visual Voicesm Expanding Your Vision, Studio Visit with Howard Hersh
Workshop: Lisa will offer a collaborative with Sara Mast on Creating and Collaborating
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Wax Collage: Beyond Technique,  Marybeth Rothman

Repeating her SRO talk from last year, Marybeth will discuss and analyze the message, rather than the medium of Wax Collage. This presentation will of the work of contemporary artists who create a singular expression that transcends materials, both encaustic and collage. “This is not a ‘How To’ revealing  the secret techniques of a sub-group of ‘encaustic artists,’ but an examination of the expression of wax collage,” says Marybeth. Expect to see work by Henri Matisse, Georges Braque, Hannah Hoch, Kurt Schwitters, Nancy Spero and Jasper Johns, among others.
You may find demos of related interest: Cannibalism and the Art of Collage, Creating The Image via Color Separation, Screen Printing on Encaustic; and the talks, The Altered Book, Expanding Your Vision, Wax as Metaphor
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Wax as Metaphor, Richard Frumess
For some artists the seductive visual properties of wax are an end in themselves. Yet, in the overuse of those effects, beauty can trump substance. Wax is extraordinarily multifaceted. Its ancient history of utilitarian uses, its role in the fertility of bees and the production of our food, and its optical and mutable properties make wax not only a material of paint but a tool for metaphorical statement.
Talks of related interest: Bringing Light into Your Work, Ephemeral Figures in Wax, Wax Collage: Beyond Technique
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Demos
Basics of Encaustic,  Binnie Birstein
What is medium? What is fusing? What’s a substrate? If you are new to encaustic, we urge you to attend this demo so that you will become familiar with the essential terms and processes that will be referenced throughout the Conference. Birstein will introduce you to painting with a medium that begins to harden the moment it leaves its heat source. You will learn about wax and medium, painting and fusing, substrate options, working the surface to achieve various textures, archival issues, and safe studio practices. If you are new to encaustic, this is a demo you must attend, because all other Conference presentations assume you will have a basic understanding of materials and techniques
Beginners: This is an essential talk for you and should be part of a Friday package that includes Be Safe: Good, Better, Best Practices with Encaustic; Edges and Corners: The Devil in the Details and Fusing with Torches, Irons and Heat Guns
Workshop: Binnie will offer Beginning Encaustic                        
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Batik Tools and Encaustic Painting, Cat Crotchett
Batik is the art of creating wax-resist patterns on fabric to be dyed While it may not appear to have much in common with encaustic besides the wax, Cat—who has been involved in an Indonesian exchange of information on traditional batik tools and how they could be used with encaustic processes—will show how to use batik caps and canting tools (traditional Indonesian batik tools for stamping and pouring wax) with encaustic painting incorporating collage, mixed media, sgraffito, direct painting and oil media.
Demos of related interest: Creating Texture and Dimension with Textiles, Monoprinting and Relief with Kozo Fiber Stencils; talk: Materials, Methods and Process
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Boxes and Solutions for Storing and Shipping Encaustic, David A. Clark

This demonstration will give artists at all levels the skills to construct simple storage and shipping containers for their encaustic work. David will begin by showing how to construct a basic cardboard box and then adapt the design by adding foam padding and silicone release paper or glassine to protect and cushion the work. He’ll modify the design to function as a reusable shipping container. He will also demonstrate several simple solutions to protect work when it is stored in the studio or in a gallery rack. You’ll leave this demonstration with the basic skills to construct your own customized boxes, storage protection solutions and shipping containers.
Workshop: David will offer Encaustic P-rintmaking
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Building the Encaustic Sculpture, Pamela Blum

In this popular demonstration, Pamela will show her method for creating fully dimensional forms over a substrate of papier maché that has been formed over an armature of metal screening and plaster gauze. Because the armature is relatively light in weight, the forms can be manipulated in whatever way you wish and worked large. And because the skin is wax, it can be painted as you choose. This is a great way for painters to think dimensionally, or for sculptors to think in a painterly way.
Demos of related interest: Creating Texture and Dimension with Textiles, Moldmaking and Casting;  talks: The Ephemeral Figure in Wax, Studio Visit with Howard Hersh, Wax as Metaphor
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Cannibalism and the Art of Collage, Tracey Adams         

A nationally exhibited artist, Tracey will talk about her work and process in her encausti-cbased collages. All the fragments used in her collages are derived from encaustic monotypes and small pieces of her intaglio prints coated with wax. During the talk, she will describe why and how she chooses certain fragments for collage, this being what defines her process. And the cannibalizing?  Says Tracey, “I ‘cannibalize’ most of my large scroll installations (encaustic monotypes), after they are in de-installed from various museum installations.”
Demos of related interest: Collagraph Mania!, Creating the Image via Color Separations, Monoprinting and Relief with Kozo Fiber Stencils, The Perfect Pour, Scrollworks; talks: Bringing Light into Your Work; Materials, Methods and Process; Studio Visit with Howard Hersh,  Wax Collage: Beyond  Technique
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Creating the Image via Color Separations,  Wayne Montecalvo

Wayne has been preparing layered images with pigment stick and screen printing ink on gampi and/or muslin, and then stacking the separate colors between layers of encaustic medium. The result is an image that is made up of two, three, or four separate layers of primary colors to build the whole color spectrum. This process results in a color photographic reproduction that is much complex, unique and integrated into the medium, with a look that is similar to vintage postcards. If you’re looking for a step beyond conventional transfers, this is for you.
Demos of related interest: Cannibalism and the Art of Collage, Collagraph Mania!, Screen Printing on Encaustic; talks: The Altered Book; Materials, Methods and Process; Photoshopping Your Work; Wax Collage: Beyond Technique
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Creating Texture and Dimension w/ Textiles,  Susan Lasch Krevitt

Working with a variety of textiles Susan will demonstrate ways that texture and dimension can be created for 2D and 3D forms. After applying wax onto/into fabric on the hot palette, I’ll demo how to remove and store it for later manipulation. Slicing, piercing, folding, wrapping and draping will be shown . Susan will how stitching can influence shaping. Additionally she will demo the use of linear textile elements as the base for accretion, as armature under textiles. These techniques can be used by artists at all levels looking to add texture and dimension to their work.
Demos of related interest: Batik Tools and Encaustic Painting, Monoprinting and Relief with Kozo Fiber Stencils;  the talk, Materials, Methods and Process
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Encaustic en Plein Air,   Kimberly Kent
If you think encaustic equipment has you tethered to the studio, Kimberly Kent will show you how to bring your studio outside. And  what better place to consider plein air that Provincetown with its glorious light. Even cloudy or foggy days have a je ne said quoi that invites painting.
Workshop: Kimberly will offer Encaustic en Plein Air
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Fusing w/ Torches, Irons and Heat Guns, Lynette Haggard

If you’ve been stuck on one type of fusing method, it may be time to consider the options. Long a master of the open flame, Lynette has expanded her teaching repertoire so that you can expand your practice. Learn basic techniques and understand the safety requirements of each fusing method. Come and compare. If you are new to encaustic, this is a demo you should attend, but even longtime practitioners can benefit from learning a new methods.
Beginners: This is an essential demo for you and should be part of a Friday package that includes Beginning Encaustic and Be Safe: Good, Better, Best Practices with Encaustic, as well as Edges and Corners: The Devil in the Detail
Workshop: Lynette will offer Fusing w/ Torches, Irons and Heat Guns
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Giving Form to Paper, Sarah Rehmer

The focus of this demo would be utilizing various papers not as just flat collage elements, but as three-dimensional elements on the picture plane. After discussing substrates, papers, and various coloring elements, Sarah will show you how she saturates the paper and gives it form while the wax is warm. Then using a variety of heated tools, she will fuse, and further shape the composition.
Demos of related interest: Cannibalism and Collage,  Collagraph Mania!, Creating the Image via Color Separations,  Creating Texture and Dimension with Textiles; talk: Materials, Methods and Process
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Moldmaking and Casting, Kelly McGrath             

This demonstration is intended to show you different approaches to using wax as a casting material. You’ll see different types of mold--clay waste molds, alginate lifecasting, multiple-part plaster molds; single and multiple part silicone molds. Kelly will cast wax into each of these molds as part of the demonstration. She will also show you how to incorporate and embed objects into castings, and demonstrate finishing techniques.
Demos of related interest: Building the Encaustic Sculpture; Cannibalizing Collage; The Perfect Pour
Workshop: Kelly will offer Cast, Build, Sculpt in Wax
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Monoprinting and Relief with Kozo Fiber Stencils, Paula Roland/Jennie Frederick

Two artists join forces to transform strands of kozo (mulberry) fiber into stencils to be used in encaustic monoprinting, and later, incorporated as an element in the final piece.  Jennie manipulates long strands of kozo it to conform to her expressive preliminary drawings; when dry, the kozo becomes a rigid open-shaped stencil.  Paula shows how to use the personally designed stencil in monoprinting to create positive and negative shapes and pattern.  When complete, the fiber constructions may be used as relief elements with the prints.  Roland and Frederick will take you step by step through preparation of the kozo creating the stencil, monoprinting, and assembly.
Demos of related interest: Collagraph Mania!, Creating the Image via Color Separation, Screen Printing onto Encaustic, Scrollworks; the talk, Bringing Light into Your Work

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The Perfect Pour, Sherrie Posternak        

One of the most useful applications of a poured layer of encaustic medium is to prepare a smooth surface for accepting a detailed transferred image. Sherrie will explain and demonstrate the materials and techniques necessary to make a successful poured surface.
Demos of related interest: Creating the Image via Color Separations, Cannibalism and Collage; talks: Edges and Corners: Devil in the Details;  Materials, Methods, Process; Wax: Collage Beyond Technique
Workshop: Sherrie will offer The Perfect Pour and Transferring and Embedding Images
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Pigment Wizardry, Gregory Wright

In this followup to Patterned Effects, which he presented at two previous Conferences, Greg will show the varied uses of pigments (powdered, aqua-dispersion, and metallic) and will demonstrate such techniques as coloring encaustic gesso, mixing pigments with various solvents (including water, alcohol, and shellac), enhancing manufactured encaustic paints, creating your own encaustic paint, and enhancing texture and relief with powdered pigments. As always, Greg will focus on the safe handling of these products, working with a torch, and studio safety.
Demos of related interest: Batik Tools and Encaustic Painting; Cannibalizing Collage, The Perfect Pour, Texture and Pattern
Workshop: Greg will offer Pigment Wizardry
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Scrollworks, Patricia Spainhour              
Aficionados of monotypes and Asian Art will want to sign up for this one. Working on the HotBox, Patricia will demonstrate vertical scrolls, horizontal scrolls, fans, and hand scrolls. The initial step is a printmaking technique, a monotype, which is reworked through painting on the reverse side, employing design skills. You’ll also learn about various papers, tools, and encaustic paints.
Demos of related interest: Creating the Image via Color Separations, Monoprinting and Relief with Kozo Fiber Stencils, Screenprinting onto Encaustic; talks: Expanding your Vision; Materials, Methods and Process
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Texture and Pattern, Lynda Ray

Lynda is the master of pattern and surface. You’ll see how to create engaging surfaces with encaustic paint using a thick stencil, a heated palette knife or a slightly cool loaded brush. Learn to exploit the character of color: warm/cool, transparent/opaque, light/dark, with the quality of the medium to generate dynamic work.
Demos of related interest: Batik Tools and Encaustic Painting, Collagraph Mania!, Edges and Corners: The Devil in the Details; The Perfect Pour, Pigment Wizardry; talk: Materials, Methods and Process
Workshop: Lynda will offer Texture and Pattern