Save the date: Conference 9

June 5-7, 2015, in Provincetown 
with Pre- and Post-Conference Workshops at Castle Hill


Registration Is Underway

Registration has begun. We expect to have 200+ conferees this year. You'll register via the Castle Hill website with a credit card. It's a fast and easy process. 

Earlybird special is $425 until November 15.

This years presenters and last year's award winners: Please Call Castle Hill to Register: 508-349-7511

If you're interested in Pre- or Post-Conference workshops, the full selection is here, along with information about the workshop and our distinguished faculty. You can register for the Workshops by phone.


Conference Events

Do we have great events for you! The only problem will be choosing which one you wish to attend each hour. Fontunately you have plenty of time to decide. While Conference registration is taking place now--secure that Earlybird rate before November 15!--event selection will not take place until January 2015.

I'll post Event Descriptions and Presenter Bios by the end of October. Meanwhile,  here's the schedule (click each page to enlarge for legibility):


Event Descriptions

Coming soon


Presenter Bios

The Encaustic Conference is so much more than one person. As we do each year, we have gathered an extraordinary array of presenters whose qualifications as artists and instructors are unmatched. Our presenters are degreed professors at the college/university level or experienced entrepreneurial teachers with large followings of dedicated students; many are "artist hypnenates," adding paintmaker, gallerist, curator, author, or art blogger to their practice. They show regularly, nationally and internationally, at museums and galleries. Many are gallery represented. All bring to their teaching years of studio practice and a deep understanding of encaustic in contemporary art.

Tracey Adams completed her master’s degree at the New England Conservatory of Music in 1980; concurrently, she studied painting at the School of the Museum of Fine Arts in Boston. She has had solo shows at the Monterey Museum of Art, the Fresno Museum of Art, and the Santa Cruz Museum of Art and History. In 2003, she was invited to exhibit at the Andy Warhol Museum in Medzilaborce, Slovak Republic, a project supported by artist’s grants from the US Department of State and the Ministry of Culture. She is also a recipient of an Artist’s Grant from the Community Foundation of the Monterey Peninsula. Her work is included in numerous museum collections including  Bakersfield Art Museum, Hunterdon Art Museum, and Santa Barbara Museum of Art.  
Dan Addington is an artist, curator, and owner of Addington Gallery in Chicago. He has been working with wax since 1989 and exhibiting encaustic work professionally since 1992. His figurative mixed-media paintings have been featured in group and solo shows across the United Stated and are in numerous public and private collections. Dan's work incorporates materials such as fabric, oil, wax, tar, gold leaf and various printed matter. The accumulation and layering of these materials echoes his interest in history and the relationships between the stratification of cultures and the layering of memory.
Binnie Birstein is a painter known for her complex layering of images, energy lines and grids. Originally from New York City, Binnie has shown throughout the country, extensively in the Northeast, in many prestigious exhibitions, including the two museum incarnations of Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic. Her work was included in R & F’s 2012 Encaustic Works, and will be included in Organic to Geometric: Investigations in Structure & Surface in 2015 at Endicott College, Beverly, Mass. A faculty member at Creative Arts Workshop as well as an instructor at the Center for Contemporary Printmaking. Binnie also offers private instruction from her studio in Norwalk, Connecticut.
Pamela Blum makes sculptures covered with encaustic paint. She has exhibited her work throughout the United States and in France. Her BA degree in studio art and art history is from the University of Pennsylvania, her MFA in Interrelated Media from Massachusetts College of Art and Design. She has just retired from 33 years of college-level teaching. In one of her specialties, color theory, she has a taught many students how colors push one another around like naughty children on a playground. Color theory is one of her specialties.
David A. Clark teaches encaustic printmaking across the United States, most recently at Idyllwild School for the Arts, Wax Works West, R&F Handmade Paints, and the Palm Springs Art Museum. His work is part of the permanent collections of the Hunterdon Art Museum, the Process Museum and many public and private collections, and his encaustic print work will soon be featured in the upcoming book, Encaustic, from Schiffer Publishing.
Cat Crotchett is a professor in the Frostic School of Art at Western Michigan University in Kalamazoo. Her studio work focuses on encaustic painting characterized by layers of information; interweaving patterns painted in vibrant colors and textured surfaces. She has an extensive exhibition record including international and national solo exhibitions and invitational and juried shows. Cat is currently producing a body of work that combines the use of Indonesian batik tools and motifs, and encaustic painting.
Dorothy Cochran is an accomplished printmaker who continues to push the boundaries of how to create works on paper.  With long time experience as an artist, educator and curator, she has developed innovative ways to work and layer wax substrates, creating prints of luminous quality. She holds an MFA from Columbia University, currently teaches at The Montclair Art Museum and conducts workshops throughout the United States. Her works are represented in museums, corporate and private collections and exhibited widely. 
A photographer and painter, Elena De La Ville has shown at the Museum of Contemporary Art, Sofia Imber in Caracas, Venezuela; the A Gallery on Martha’s Vineyard; and Selby Gallery in Sarasota, Florida. In 2011, she curated the exhibit, Wow: Women and Wax, at the Art Center Sarasota, which showcased the work of 10 well-known women artists from around the country. Her work is in the collection of the Museo de Arte Contemporaneo, Sofia Imber in Caracas; the Museo Acarigua, Araure, Venezuela, and many other private collections. Elena has photographed, taught and lived in many places, including London, Spain, France and in Boston. She resides in Sarasota, where she is on the faculty at Ringling College of Art and Design.
Patricia Dusman, an award winning artist originally from New York City and now residing in Doylestown, Pennsylvania, studied printmaking and photography at Bard College. After a successful 20-year career in pharmaceutical research, she returned to pursue art making full time. She is currently focusing her work on encaustic painting and exploring working with wax in mixed media. She is also interested in safety issues within her encaustic painting practice. Her work can be found in private collections in the U.S.
Karen Freedman is a Pennsylvania artist recognized for her abstract geometric paintings that explore optical illusion and depth through the use of luminous encaustic paints. Karen began her formal training studying jewelry design at The University of the Arts in Philadelphia. She went on to build a successful graphic design business followed by her immersion in the fine arts. Karen has exhibited at venues that include Hunterdon Art Museum, the Cape Cod Museum of Art,  The State Museum of Pennsylvania, Art Center Sarasota, Castle Gallery at the College of New Rochelle, and the George Segal Gallery, Montclair State University. Her work is featured in Encaustic With a Textile Sensibility by Daniella Woolf and Encaustic Art (Art of the Century) by Jennifer Margell.
Richard Frumess has been manufacturing encaustic commercially since 1982. In 1988 he founded R&F Handmade Paints. For the last several years he has been developing a series of comprehensive tests on the properties of encaustic paint – its lightfastness, adhesiveness, aging, and characteristics of raw materials. Many of these tests have never been carried out on a systematic basis until now. Richard has been working in collaboration with industry experts, conservators, and materials scientists.
Milisa Galazzi's artwork highlights human relationships punctuated by physical distance or separation by time and she is best known for her large scale installations, works on paper, and conceptual paintings. Milisa holds an MA with Honors from the Rhode Island School of Design, were she researched the educational effectiveness of community-based art education settings, and her findings are published by Harvard University Graduate School of Education, Project Zero Press, 1999; in addition, she holds a BA from Brown University, where she studied Studio Art with minors in Women’s Studies and Cultural Anthropology—all of which directly inform the content of her art making. Milisa works full time in her studio in Providence and on Cape Cod in the summer months.
Lorraine Glessner holds an MFA in Fibers from Tyler School of Art, Temple University, where she is currently an Assistant Professor in the Fibers and Material Studies Department, and a BS in Textile Design from Philadelphia University. Recent awards include two artist fellowship grants in crafts  from the Pennsylvania Council on the Arts, as well as the Yvonne Kelly memorial award for mixed media from Abington Art Center. Her work is included in the recently released, Encaustic Works: Nuance, curated by Michelle Stuart and published by R&F Paints. She is represented by Kenise Barnes Fine Art, Larchmont, New York, and James Gallery, PittsburghLorraine lectures, teaches, and exhibits her work nationally and maintains a studio in Philadelphia.
Lynette Haggard holds a BFA in painting from Philadelphia College of Art. Her work been shown in over 70 exhibitions, and is included in the permanent collection of the New Britain Museum of Art as well as in private collections in the U.S. and abroad. She maintains her art practice in the Boston area, and has been a regular presenter at the conference since 2009. 
Ruth Hiller has been pushing the boundaries with encaustic since 2008. Geometry, nature and industrialization are key elements in her abstract paintings. Her work has been exhibited in galleries across the country and in 2014, she was the recipient of a month-long artist residency at The Golden Foundation. Ruth splits her time between Boulder, Colorado, and New York City.
Jeff Hirst is a San Francisco Bay Area-based artist who has been exhibiting his work since 1987 and has shown extensively across the United States and Europe. His work has been shown at The Minneapolis Institute of Arts, the McKinney Contemporary in Dallas, Butters Gallery in Portland, Oregon, and Arte Internazionale in Matera, Italy. Jeff teaches workshops at his Oakland printshop and at national venues.
Deborah Kapoor is best known for her unconventional, mixed media works and sculptural wall installations. Her work will be featured in the forthcoming book Encaustic by Ashley Rooney, with foreword by Kim Bernard. In 2013, she launched an extensive program of art classes in encaustic at Bellevue College in Bellevue, Washington. Deborah is represented by Conrad Wilde Gallery in Tucson, Arizona, and at ArtXchange Gallery in Seattle’s Pioneer Square. She earned her MFA from the University of Delaware and her BFA from the University of North Texas. Her home and studio are in Seattle.
Judy Klich captures beauty in her paintings by showing close-up details and scenery often missed by our busy lifestyles.  Her work juxtaposes nature with geometry and displays the connection between the two.  It reflects her need for balance in life by contrasting elements and creating harmony at the same time.  Judy is represented by Paul LeQuire and Company and Shimai Art and Pottery, both in Nashville; River Gallery, Chattanooga; and Lark and Key Gallery, Charlotte. She paints and teaches workshops at River Art Studio in Nashville, Tennessee.
Susan Lasch Krevitt builds two- and three-dimensional tactile abstractions. Her work explores structure, connection, strength and vulnerability, transforming cast off materials, most often textiles and encaustic. Susan’s work has been exhibited internationally in galleries and museums for over 30 years. In 2012 she won the Juror’s Award at the Seventh International Encaustic Conference. Susan received her BFA from the School of the Art Institute of Chicago and currently resides in Southern California.
Alexandre Masino's practice has been devoted to encaustic painting for the past 15 years. He is known for his painterly approach, both in painting and monotype, using representation in dialogue with a subtle and expressive use of the medium. His works have been presented in more then 50 solo and group exhibitions in public and commercial galleries across Canada, the United States and Europe. Alexandre regularly presents at the Conference and has also exhibited and taught at R&F Handmade Paints. You may follow his writings and news on his blog
Sara Mast is a widely exhibited artist whose paintings are included in over 30 public and private collections in the United States and abroad. Her work is included in Joanne Mattera’s book, The Art of Encaustic Painting. Recent exhibitions include a collaborative exhibition at the Ucross Foundation in ClearmontWyoming; a solo exhibition at Rosenfeld Gallery in Philadelphia; and a group exhibition at Zolla/Lieberman Gallery in Chicago. Currently, she is working on a collaborative project with physicists entitled Black (W)hole, an art installation that was was recently included in  Encaustic Works: Nuance, curated by Michelle Stuart and published by R&F Handmade Paints. Sara lives and works in BozemanMontana, and co-chairs the Drawing & Painting department at Montana State University.
A newly elected member of American Abstract Artists, Joanne Mattera is a gallery-represented painter who has shown widely since 1975. Her work is in the collections of the New Britain Museum of American Art, Connecticut; Montclair Art Museum, New Jersey; the U.S. State Department; and collections internationally. Her work is included in Geoform, an online curatorial project featuring geometric abstraction. She is the author of The Art of Encaustic Painting and the ongoing Joanne Mattera Art Blog. Joanne is a consulting editor to ProWax Journal and the founder/director of this Conference.
Marci Rae McDade is editor of the contemporary textile-arts quarterly, Surface Design Journal, and former editor of FiberArts magazine. In addition to her editorial pursuits, she is a mentor and instructor in the MFA Applied Craft + Design Program, co-sponsored by the Oregon College of Art and Craft and the Pacific Northwest College of Art, Portland, Oregon. Marci received an MFA in fiber and material studies from the School of the Art Institute of Chicago (2007), completed a Fiber Emerging Artist Residency at the Oregon College of Art and Craft (2007), and received a BA in film and video production from Columbia College Chicago (1993). As a practicing fiber artist, she has exhibited her embroidered art and multi-media fiber installations nationally in solo and group exhibitions since 2000.
Timothy McDowell received his MFA from the University of Arizona in 1981. Since then he has been a professor of printmaking and drawing at Connecticut College in New London, Connecticut
Over the years, he has concentrated on several mediums. For the last 20 he has worked primarily in encaustic as well as oils, producing paintings, prints and works on paper. His work has been exhibited nationally and internationally with representation in the U.S. and Canada. Collections include The Metropolitan Museum of Art Print and Drawing Collection, The University of Iowa Museum of Art, The New Mexico Museum of Art, the Tucson Museum of Art and others.
Raé  Miller is a mixed media artist living in San Miguel de Allende, Mexico. Her recent work addresses the illusion of time and place and the fallibility of a memory not anchored by "home". She was the recipient of a Scholarship Grant for the Seventh International Encaustic Conference, and a featured artist in the book Art in San Miguel by Al Tirado. She is at work on an exhibit of encaustic paintings on paper for Museo de la Ciudad in Queretaro, Mexico. In 2010, she opened Raé Miller Studio/Gallery in Fabrica La Aurora, a former textile mill turned arts center. She teaches 20 workshops per year in her studio. Raé’s work is in private collections in the United States, the Caribbean, Mexico, Canada, Europe and Dubai.
Cherie Mittenthal has her MFA from the State University of New York at Purchase and her BFA from the Hartford Art School at the University of Hartford. She is the Executive Director of Truro Center for the Arts at Castle Hill since 2002. Cherie serves on the board of Campus Provincetown, Provincetown Cultural Council, and partners with Highlands Center Inc. for the only Wood-Fired Kiln on Cape Cod. Cherie’s paintings and work on paper are redolent of the meeting of sky, sand and sea, and sometimes animals from crows, to pigs and sheep. In her studio practice she works in pigment sticks, mixed media and encaustic. Her work is represented by Kobalt Gallery in Provincetown. She is the co-producer of the International Encaustic Conference in Provincetown.
Wayne Montecalvo is an artist whose range of works include mixed-media prints, paintings, sculpture, video and collaborative performance. Wayne received a BFA in Sculpture from the School of Visual Arts. Honors include residencies at the Frans Masereel Center in Belgium, the Vermont Studio Center, Women’s Studio Workshop and the John Michael Kohler Arts in Industry Program..
Laura Moriarty makes prints, sculptural paintings and installations that resonate with the geologic. Laura’s honors include two grants from the Pollock-Krasner Foundation and participation in numerous artist residencies, including The Frans Masereel Center in Belgium, and the Ucross Foundation in Wyoming. She was the exhibition and workshop director at R&F Handmade Paints from 2003-2013. Recent exhibition venues include OK Harris Works of Art and IPCNY, both in New York City, The Handwerker Gallery at Ithaca College, and The Jyväskylä Art Museum in Finland. She is the author of Table of Contents, an artist’s book published in 2012.
Carol Pelletier is the Chair of Fine Arts and Professor of Art at Endicott College, Beverly, Mass.  Her previous posts have included Chair of Visual Arts at West Virginia Wesleyan College and Visual Arts Master Teacher at the Governors School for the Arts at Marshall University. Carol has worked on multiple artist’s invitational and curatorial projects including Organic to Geometric: Investigations in Surface and Structure at Endicott College. She has exhibited in over 50 solo and group shows nationwide, including  the Attleboro Art Museum and the Huntington Museum of Art. She has received three National Endowment for the Arts Grants, a Mellon Foundation grant, and is a Salzburg Fellow. Her work has been in multiple catalogue exhibitions and publications including the New American Paintings. She is represented by the River Gallery in Chattanooga, Tennessee, and Cynthia Winings Gallery in Blue Hill, Maine.
Sherrie Posternak chooses whatever medium or technique is most appropriate to express her ideas—encaustic, photography, printmaking, video, collage, assemblage, mosaic, paper, fiber, metals, wood, ceramic, glass.  Sherrie began her encaustic practice 10 years ago and has had solo and group shows in the U.S. and Mexico. She has taught workshops in beginning, intermediate and advanced encaustic processes. She self-published a catalogue on the topic of her art installation, A Memorial for El Tomate. Images of Sherrie’s work are in the gallery section of Contemporary Paper and Encaustic by Catherine Nash.
Lisa Pressman is represented by Causey Contemporary in New York City, and has a solo show planned there for November 2015. She also will be exhibiting at R&F Handmade Paints, Kingston, New York; Butters Gallery, Portland, Oregon; and Telluride Gallery of Fine Art I Colorado.  In 2014, she exhibited her work in Mapping a Place, a solo show, at Susan Eley Fine Arts, New York City. Lisa has an MFA from Bard College. She lives and works in West Orange, New Jersey, and currently  teaches painting locally, nationally and internationally.
Paula Rolands extensive exhibition and teaching dates to the early 1980s and spans the United States and abroad. Awards and commissions include ones from the National Endowment for the Arts and U.S. Department of State, American Embassies in Johannesburg, South Africa, and Kampala, Uganda. Paula was recently featured in Surface Design News, Artist’s Magazine, and The Santa Fean. Her works and processes are included in several books and media, including Joanne Mattera’s The Art of Encaustic Painting. Paula’s DVD, Encaustic Monotypes: Painterly Prints With Heat and Wax, has sold over 1000 copies.  
Joan Stuart Ross is an established artist and teacher in the Pacific Northwest. Joan was born in Boston and educated at Boston Latin School, Connecticut College, Yale, and Universities of Iowa and Washington. Recent exhibitions: International Women's Art Festival, Seoul, Korea; Kent Centennial Gallery and Moses Lake Museum, Washington; and solo show at RiverSea Gallery, Astoria, Oregon. Residencies include: Pilchuck, Centrum and Espy Foundations, Balestrand Kunstlag, and Playa. Joan is a founding board member of Seattle Print Arts and partner of BallardWorks, artists’ workspace building in Seattle. She maintains her studios there and in Nahcotta, Washington.
Toby Sisson earned her MFA from the University of Minnesota, Twin Cities, and is an Assistant Professor of Studio Art and Director of the Schiltkamp Gallery at Clark University in Worcester, Massachusetts. In addition to her individual works in painting and printmaking, Toby’s areas of specialization include collaborative public art and community-based service learning. She has been the recipient of numerous awards and grants for her studio practice as well as excellence in teaching. Among her academic research projects, she studies the development of dialogic critique methods for students and professional artists. She currently lives and works in Providence, Rhode Island.
Tracy Spadafora is a painter who teaches studio art classes at colleges and museums in the Boston / Worcester area, and in her studio in Westborough, Mass.  She has given workshops and demonstrations in the technique of encaustic at locations throughout the northeast for the past 17 years. Tracy’s artwork has been exhibited across the U.S. and is included in the collections of Harvard University, the Danforth Museum, and Bank of America.  Her work has also been included in numerous publications, and most recently in the May 2014 issue of Artist’s Magazine.
Pat Spainhour is a contemporary painter-printmaker, currently teaching AP Art History at the University of North Carolina School of the Arts. She earned a BFA degree from the University of North Carolina at Greensboro and has 34 years of experience teaching studio art and art history. Pat studied encaustic painting with Tremain Smith in 2006 and Paula Roland in 2009. Her art is held in several collections and exhibited internationally.
Deborah Winiarski teaches a mixed-media class and the encaustic workshops at The Art Students League of New York in Manhattan. Her work has been exhibited at Denise Bibro Fine Art—in 2014, Waxing—and at Kouros Gallery, both in New York City, and at various venues across the United States, including Far and Wide, The 6th Annual Woodstock Regional at the Woodstock Artists Association and Museum. She was a resident artist at The Studios of Key West. Deborah is Featured Artworks Editor for ProWax Journal, a quarterly online publication for professional artists working in the medium of encaustic.  Her work is represented by Broadhurst Gallery, Pinehurst, North Carolina
Gregory Wright creates aquatic, cosmic, and microscopic fantasy worlds in his paintings that incorporate mixed media embellishments with encaustic. He is an exuberant presenter and instructor who brings his enthusiasm and innovative techniques to this year’s Conference presentations and workshops. Gregory exhibits nationally. In September 2015, Essence of Reaction at Galatea Fine Art, Boston, will signify his third solo exhibition at the gallery. Gregory exhibited in Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic at the Hunterdon Museum in Clinton, New Jersey.  He was part of R& F Handmade Paints Visiting Artist Series, where he taught and had a solo exhibition in the gallery in August 2013. He was one of the selected artists in Encaustic Works 2012, juried by Joanne Mattera.  


Room Reservations

The Conference takes place at the Provincetown Inn, which has 100+ rooms. The Inn will open for reservations on November 3.  

You must be registered for the Conference to reserve a room at the Inn. We want all registered conferees to have the option of staying on premises.The the Inn will not honor your reservation without your confirmed registration to the Conference. We work together on this.

If you have reserved a room and wish to share it or if you are looking to share a room with someone who has already reserved, check out the Message Board.

I'll post links and phone numbers just before reservations begin. Scroll down to see your room options.

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

The Provincetown Inn is located at the tip of Provincetown. 
It's a large complex that has grown throughout the years. The Inn has 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.
Whether you're staying at the Inn or not, please familiarize yourself with the complex, as it is the site of most Conference activity, save for the gallery openings in town, and the workshops and exhibitions at Castle Hill.
There are two main sections to the Inn
. Just behind the lawn and swimming pool, shown in the foreground, is the long 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: HarborsideCape 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

More info coming soon


Scholarship Application Deadline Has Passed

Thanks to everyone who applied. We'll be announcing the recipients by November 14.


Grant Funding

The call for Scholarship Grants for Conference 9 has just been been issued. While 10 scholarships will be awarded, we know that many others would appreciate funding to attend. We encourage all conferees to seek out professional development grants.

These are grants that might be available in your city, region, state, university or other grant-giving entity to fund, or help fund, your attendance at The Conference. The International Encaustic Conference is widely seen as the foremost event of its kind. Our international presenters—artists, gallerists, curators and critics—have exhibited academic and professional achievement at the highest levels. The professional stance and goals of the Conference, as evidenced by the History of the Encaustic Conference blog, and outlined as a mission statement on the Conference blog (sidebar right), should serve as your reference.
Conferees have attended on grants from the states of Arizona, Colorado, Florida, Montana, New Hampshire and Oregon, as well as on professional development grants from their universities and/or regionsd. You might also look into grants that might be offered by organizations in which you are a member.

Here’s an example of professional development funding, notes Cherie Mittenthal: “Massachusetts residents can apply for a Cultural Council grant. Every city and town has money available.” A quick look through the site offers this information: Average grants tend to be modest ($200-$500) and are reimbursement-based, meaning the applicant expends their own money, and if approved for a grant, then submits paperwork for reimbursement. A grand of this type would cover conference entry in whole or in part.
Here's a Professional Development Grant for artists in Washington state, specifically the Clackamas, Multnomah and Washington Counties. The Fall cycle has just been awarded and one of our conferees, Elise Wagner, was a recipient. There is a spring cycle. Click for more info.

Here's one for Colorado artists, Jumpstart Awards, sent in by Jane Guthridge, who was a recipient last year. One of the categories is for artists selected to present at a conference; another is "enrollment in professional development workshops . . . to build administrative and business skills" (The deadline was October 15, so keep it in mind for next year).  Jumpstart Awards provide fresh energy to artists and creative entrepreneurs to help stimulate their creative business or organization, whether non-profit or commercial. The end goal is that grantees will achieve tangible business benefits, such as increased revenue, new audiences or improved management practices," says the information on the website.

An example of an organizational grant is the Professional Development Grant from the Surface Design Association, which supports travel to a conference or workshop. And here's a Small Event Grant, also from SDA, to support participation in an exhibition: "Funds may be used for curated, group, and juried exhibitions of SDA members’ works, and for SDA-sponsored lectures, workshops . . ." You must be a member of SDA, and presumably there would need to be a tie-in with fiber.

Be inventive in seeking funding sources! You might  see about securing funding through Kickstarter or through your own entrepreneurial undertaking, particularly if you have friends willing to support your effort to attend the International Encaustic Conference. What might you offer them in return? 

. A slide talk on encaustic punctuated with pictures from the event
. A work on paper or small painting inspired by one of the demos or workshops you attend
. A chance to come to your studio to select specially made postcards
. A studio visit with a talk about your work
. If you are already teaching and are fluent in the medium, you might offer a demo or workshop to your funders; this might take place in your studio or at an institution that . underwrites your funding.
. Both Paypal and Square allow you to set up accounts into which money can be deposited. Set up a "store" or "popup shop" on your blog or website. Be clear that it's is a special event with special prices. If it's a limited selling time, install a countdown clock on your site (Google "countdown gadgets). If you're gallery represented, offer work of a size or style that none of your dealers sells. With Square you also can take credit card payments at the Hotel Fair with the swipe of a card in a reader that plugs into your smart phone.
. Don't forget the Hotel Fair as a way to make some sales! You might also advertise it. Be inventive with emails and FB announcements leading up to the Conference, and don't be shy about promoting your work at the Conference. As always there will be an info table there.
. Make it happen!

A Few Tips to Help You in Your Application for Funding:
If you are presenting

. You are adding to the discourse of contemporary encaustic, indeed to the discourse of contemporary art in any medium
. Your presentation will help broaden awareness of this contemporary medium with ancient roots
. You are a role model for what is possible
. The International Encaustic Conference is the standard bearer for the medium, and you are a valued part of it

If you are attending
. The International Encaustic Conference is the standard bearer for the medium, giving you the opportunity to learn from and interact with the best practitioners in the field, as well as enjoy opportunities for exhibiting and networking
. With a strong presence of curators, gallerists, critics, art journalists and art publishers from the region, as well as around the country, your work has the potential to be seen in a way that might not otherwise be possible
. The Encaustic Conference offers talks and interactive discussions on professional development
. Additionally, the Conference offers you opportunities to acquire books and supplies, via a Vendor Room, book signings, and a Hotel Fair

If you have information to share about other kinds of funding, please post the info and link  in the Comments section below or let me know and I'll post in here. --J.M.


Traveling to Provincetown

Cape Cod, with Provincetown at the tip
Provincetown is located at curled fingers of the flexed arm of Massachusetts. There are many ways to get to P-town. If you're new to the Conference, these are your travel options:

. 20 minutes via Cape Air from Logan International Airport; rental cars are available at the Provincetown Airport, but you must reserve in advance. If you prefer not to drive, the airport is just a mile or so from the Provincetown Inn, and it's a zip of a taxi ride along Province Lands Road. See picture and info below
. 90 minutes via ferry from Boston harbor
. 2.5 hours
driving from Logan Airport in Boston to the Provincetown Inn

. 2.5 hours driving from T.F. Green Airport in Warwick, R.I. (near Providence), with less traffic than from Boston

Cape Air
Rates for 2015 will be announced, Plan on around $200 round trip.
.Note 1: Some conferees have found it cheaper to book their flight directly to Provincetown via Jet Blue, which partners with Cape Air. You'll still change planes at Logan, but  through-booking should offer a better price.
Note 2: You may find that you can get a better deal via Expedia.com,  Farespotter.net or other travel site, depending on when you plan to travel. 

If you wish to rent a car, Enterprise has cars available--but you must reserve as a limited number are typically available. (Do you need a car? See my comments at the very bottom of this post.)

 20 minutes from Logan Airport in Boston to the Provincetown Airport, which is a mile from the Conference
. . . . . . . . .


A more affordable option

Provincetown Fast Ferry
A more affordable option: the Fast Ferry, which zips from Boston to P-town in 90 minutes. McMillan Wharf, where the ferry docks in P-town, is right in town, about a mile from the Provincetown Inn.
. One way: $53 in 2014; new rates will be announced
. Round trip:We'll secure a discount for you closer to the date of the Conference

Don't want to drive? The fast ferry will get you from Boston to Provincetown 









Every Day

Every Day

Every Day

Here's how to get from Logan Airport to the Ferry. I have pulled the info below from the ferry website:

Taxi: The quickest way to get to the ferry. Simply ask the taxi driver who picks you up at your terminal to take you to World Trade Center, lower level, on Seaport Blvd. You will be taken on a quick 5-10 minute ride through Boston's Ted Williams tunnel directly to our pier at World Trade Center. Our ships depart from the West side (the city side) of the pier. The cab fare is approximately $15 without gratuity. (JM's suggestion: You've come this far, take the taxi. It's faster and easier than anything else.)

Silver Line: An MBTA articulated bus makes the rounds of all airport terminals every 15 minutes for an eight-minute trip through a dedicated tunnel to the World Trade Center stop, one block inland from our dock. Fares are approximately $1.50 per passenger. Total time from your airport terminal curb to our dock, once aboard the bus, is approximately 14 minutes.

Water Taxi: An airport water transportation bus, clearly marked "Water Transportation", circles all of the airport's terminals. The bus will order a City Water Taxi for you and deliver you to the water taxi. The water taxi ride from Logan Airport to the Provincetown boat takes 7 minutes. Two boat companies leave from this terminal: City Water Taxi, www.citywatertaxi.com and Rowes Wharf Water Taxi, http://www.roweswharfwatertaxi.com/ . The water taxi fare is approximately $10.00 per person.

Walking: I don't recommend this, specially if you'll be schlepping art or suitcases, but I'm including the info for those who want to know:
It's under a mile from South Station (#1) to Long Wharf (#2). You'd walk along Atlantic Avenue, which hugs the harbor. Use the Boston Aquarium (with a stylized fish logo) as your landmark

. . . . . . . . . .

Orienting you to your travel options to the Provincetown Inn

. The Inn is at the very end of Commercial Street, at the left side of the map above. Look for the lighthouse icon with the arrow that says "Wood End." Next to it is "First Pilgrim Park." That's where the Inn is located. You will be staying exactly where the Pilgrims first landed in the New World! (Talk about making a pilgrimmage to Provincetown.)

. By Fast Ferry: McMillan Wharf, where the ferry arrives, is just above the "E" in PROVINCETOWN. There are always taxis and pedicabs at the wharf to meet arriving passengers. It's about a mile from the Inn

. Cape Air: Look for the airplane icon at the top of the map, just under the second "T" in ATLANTIC OCEAN. The Inn is a two-minute taxi ride from the airport

. Thinking of renting a car in P-Town? Enterprise in the franchise, and you have to reserve. You'd pick up the car at the airport. But unless you are planning to drive around the Cape, it's actually cheaper and far more convenient to take a taxi when you need one and walk the rest of the time. Besides, with so much taking place at the Inn, your car will sit in the parking lot. A car will come in handy if you are taking workshops at Castle Hill, but we can work with you for Pre- and Post-Conference to hook up folks with cars to those who need a ride. 

Got Questions about Getting to Provincetown?
Post your query in the Frequently Asked Questions post. Chances are that others will have the same question as well. Thanks.--J.M.


About Provincetown

I'll update this post soon
Meanwhile check out Laura Shabbott's column on Provincetown.com, What's New on Commercial Street?

There's no other place quite like P-town. It's the country's oldest continuous art colony, an active fishing village, and a gay mecca. Where else can you spend the evening wandering the art galleries, tuck into fried clams or a lobsta dinnah, and then bump into three or four Chers and a gaggle of Gagas on your walk home?

A glimpse of Provincetown architecture by Chris Seufert (from the Internet)

Once you’re in P-town, everything is within a 10-20 minute walking distance, with the ocean, shops, galleries and quirky New England architecture all along the way. If you prefer to drive from the Inn to the center of town, there's (for-a-fee) parking on McMillan Wharf and at Duarte's lot off of Bradford. If you prefer to take a taxi or pedicab, they'll be waiting at the front door of the Inn. If you plan to stay a few extra days (stay, stay!) there's also whale watching, bike rentals, National Park Service bike trails, dune rides, and that big sandy thing--yeah, the beach.

Some reading
. Wikipedia has a decent history of Provincetown, with pictures, stats and links. Did you know that the Pilgrims landed first in P-town? And that they landed pretty much on the site of The Provincetown Inn, where The Encaustic Confterence takes place?

. Michael Cunningham's literary walkabout, Land's End , offers an insider's view of the idiosyncratic town at the tip of the tip of Cape Cod. "It is the only small town I know of where those who live unconventionally seem to outnumber those who live within the prescribed bonds of home and licensed marriage, respectable job, and biological children," says Cunningham, author of the Pulitzer-winning The Hours. (JM's suggestion: read it before you arrive, and then again once you've spent time there.)

. The Provincetown Gallery Guide online is an 80-page listing, with pictures and info, of the huge number of galleries in town. The guide that's up now is from 2010, but that should be enough to at least give you a sense of the abundance of offerings. (Use the magnifying glass icon to enlarge the pages.)

. Visit the Arts and Culture guide on The Provincetown Tourist Office website

. Once you've arrived, the Now Voyager Bookstore in town carries a selection of titles on Provincetown and Cape Cod history and architecture, as well as those by local and regional authors, which may be unavailable elsewhere. There's no website, but it's located at 357 Commercial Street, not far from the Kobalt Gallery.

The famed Provincetown light, with a view of the working harbor
(Click pic to see it larger) JM photo
And click here for Wikipedia's entry on Provincetown Harbor

The beach in town. Many restaurants have decks overlooking the water; you can just see one in at the left side of this picture

Some Eating
The many sit-down restaurants range in price from reasonable to pricy. The Provincetown.com Restaurant Guide offers a list of offerings, with menus and prices. (Remember, The Conference is providing lunch on Saturday and Sunday, and Inn guests get a continental breakfast.)  There's also a listing for coffeeshops, pizza and other quick food (no McD's or BK here).  If you have a favorite restaurant, coffeeshop or pizza place, why not put it in the Comments section.

Lobstah? Ya want lobstah? This is crustacean central--great fried clams, too--and while it looks small, it's not. Two floors of dining rooms extend all the way back to the water

I'm not sure what the Portuguese word for fried dough is, but it's boa--good. Sure, you'll hate yourself later. Have some pizza with broccoli and feel virtuous. . .

Best pizza in P-town (image from the Internet)

 This group of eateries, right next to Town Hall, covers all the bases

More eats. Don't forget your Lipitor. But, this cluster comes with a weight-control option: Rent a bike and ride off the calories!

Local Color
I'm not sure, but beige and tweed may actually be outlawed here (just kidding). Nothing is too unusual for Commercial Street, though.

Just your average ad for a pedicab

A violin concert outside the (now newly refurbished) library

Talk about a beehive. This is Lucy Belle (image from the Internet)

. . . . . . . . . . . .