Sixth International Encaustic Conference

2011-09-30T21:00:00.076-04:00

Updates! Lots of updates! Scroll down past the word cloud

Conference "word cloud"*

Updates

. New exhibiton: Going Postal: The Postcard Show at Conference 6. Click the Exhibitions page for details

. New shows in Provincetown, also listed on the Exhibitions page. Our goal is to present as broad a range of conferees as possible. More shows are being planned, so this is a page to return to

. New Feature: Click Community Exhibitions for a listing of who's showing in venues not connected to The Conference. (Want to add your listing? Please follow the posted info guidelines)

. I've re-listed Pre- and Post-Con Workshops to show you what's available rather than what's sold out. There are 18 great offerings, one of them free (our gift to you). Spaces in these workshops are going fast, as you can see

. We are now 77% full with 193 registrants out of 250

. (If registration warrants, we can expand to up to 300, but as in the past we are planning for the more "intimate" 250, large enough to make new friends and connections, small enough to meet everyone and do almost everything)

. Who's Coming to The Conference? Take a look

. The regular Conference fee is now in place: $500, through May 15, when it will jump to $550. Workshop fees have not changed.

. We are thrilled to announce that Portland-based artist Elise Wagner will complete the Saturday Morning Panel. Painter, printmaker, paintmaker and teacher, Elise is a force in the Pacific Northwest, and she exhibits nationally and internationally. Science is the inspiration for much of her work.

. Our Keynote speaker is gallerist Edward Winkleman. Edward is co-owner of the New York City gallery that bears his name and author of How to Start and Run a Commercial Gallery (which has more information for artists than you might think) .

*This word cloud, generated on wordle.net puts into visual form the number of times a word is used in a block of text. This cloud was generated from the information on the sidebar about the Conference. What you see at a glance is the emphasis on certain words, thus the emphasis we place on certain concepts. While conference and encaustic are the largest words, there are others: advancement, artist, empowerment, information, international, opportunity, participation, professional and welcome. We think that tells you almost everything you need to know about the tenor of the event.

Registration is underway

(click or scroll down)

Pre- and Post-Con Registration is underway

Click onto the Schedule and Descriptions in the tab above. Once you have made your selections, call Castle Hill to confirm and pay for your choices: 508-349-7511

The Sixth International Encaustic Conference will take place June 1-3, 2012, in Provincetown, Massachusetts, with Pre-Conference Workshops May 29-31, and Post-con Workshops June 4-8 at the Truro Center for the Arts at Castle Hill. The Provincetown Inn, at the tip of the Cape, is the Conference site.

Click the tabs just under the header for links to the Conference Schedule, Pre- and Post-Con Workshops, and Hotel Fair.

And check the Index, sidebar right, for Accommodations, Event Descriptions, Presenter Bios, Who's Coming and more.

The Provincetown Inn, location for the International Encaustic Conference, is located at the tip of Provincetown

Registration

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Registration is easy:

1) Click here to see the offerings and descriptions on this blog. Click here to register.
. . . (If you are a presenter, do not register on line. Call Castle Hill directly at 508-349-7511

2) When you register you will be given information for selecting your Conference events.

3) May we interest you in a Pre- or Post-Con workshop? Click onto the tab under the header to see your choices. Click onto the Castle Hill site for information about registering. Some workshops have sold out, but there are many great choices! Are you new to encaustic? We have Intro workshops Pre and Post.

Conference fee schedule
. $500 . . . . January 16 through May 15
. $550 . . . . May 16 through the start of the Conference

Pre- and Post-Conference fees
Note that the price per workshop decreases the more you take
. $190 . . . . one workshop
. $361 . . . . two workshops
. $532 . . . . three
. $703 . . . . four
. $874 . . . . five
. If you with to take more than five, email Cherie; she'll work out an additional discount for you

The Conference Lineup

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What started out as two-and-a-half days of Conference back in 2007 has been growing steadily. For Conference 6 we're looking at three days of Pre-Con, three full days of Conference, and five days of Post-Con. Here's the Conference lineup.

We've got a combination of brand-new offerings as well as back-by-popular-demand presentations. Click on the Event Schedule tab just under a header for a complete lineup of Conference events. Pre- and Post-Conference Workshops have their own tabbed post under the header as well.

The Lineup
Talks
. New Susanne Arnold: Ephemeral Figures in Wax
. Back by popular demand Miles Conrad: Presenting to a Gallery
. Back by popular demand Hylla Evans: Copyright Law for Artists
. New Joanne Freeman: Process, Medium and Content: One Artist's Story
. New Richard Frumess: Investigation into Materials: Adhesion
. New Mo Godbeer: Waxing Down Under: An Overview of Encaustic in Australia
. New Jane Guthridge: Bringing Light into your Work
. Back by popular demand Deborah Kapoor: Displaying Wortk Outside The Frame
. New Alexandre Masino: Landscape into Monotype
. New Cherie Mittenthal & Sara Mast: Roundtable on Standards and Practices in the Teaching of Encaustic
. New Laura Moriarty: How To Secure Funding For Your Work
. New Catherine Nash: Paper and Wax: Contemporary International Trends
. New Nancy Natale: Wax and Bricolage
. New Lisa Pressman: Visiting the Encaustic Studio, Part 2
. New Marybeth Rothman: Wax Collage: Beyond Technique
. New Patti Russotti: Photographing Your Work

Demos
. New Binnie Birstein: Basics of Encaustic
. New Format Andrea Bird &Lynette Haggard Fusing Comparisons: Iron, Heat Gun, Torch
. New David A. Clark: Finessing the Monoprint
. New Elena De La Ville: Photography with Encaustic
. New Lorraine Glessner: Printing with Rust
. New Cari Hernandez: Encaustic and Plaster Cloth
. New Supria Karmakar: The Altered Book
. New Bonny Lebowitz: Painterly Effects and Pours
. New Lynda Ray New: Texture and Color
. New Tracy Spadafora: Layer Upon Layer: Optical and Physical Depth Depth in Wax
. New Pamela Wallace: Wax and the Collograph Print
. New Charyl Weissbach New: A Flash of Metal
. Back by popular demand Greg Wright Patterned Effects w/ Mixed Media in Encaustic
. Back by popular demand Tania Wycherley: Advanced Image Transfer: Working Large

Keynote Speaker: Edward Winkleman

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We are enthusiastically and exuberantly pleased to announce that this year’s Keynote speaker is Edward Winkleman, co-owner of Winkleman Gallery in New York City.

Edward Winkleman, center, with gallery co-owner Murat Orozobekov (back to camera) and friend

With an edgy program in his Chelsea gallery, a visible presence in the international art fair scene, and an eminently informative book, How to Start and Run a Commercial Art Gallery, Edward represents a new generation of engaged, active and interactive dealers. And with his eponymous blog, he is a beacon for artists seeking to understand the inner workings of the gallery system.

In his keynote, Edward will pull back the curtain on the New York gallery world, offering ways of thinking about how to find a place for yourself as well as insights that can be applied by artists in any city with a gallery culture. Want to know the real scoop on how dealers find artists? The dealer commission? Collector discounts? Come with questions! Edward is not only willing to demystify the gallery system, he is extremely generous with his information.

Edward began his art career with a series of guerrilla-style exhibitions called "hit & run" that took place in empty warehouses in New York and London. In 2001 he co-founded Plus Ultra Gallery in the Williamsburg district of Brooklyn with artist Joshua Stern. Moving into Chelsea in 2006, the space became Winkleman Gallery to reflect a change in ownership. Murat Orozobekov became co-owner of the gallery in 2007. Orozobekov and Winkleman co-founded the Moving Image art fair in March 2011. Focused on video and moving-image-based sculptures and installation, Moving Image took place in New York and London in its inaugural year. In addition to his book and blog, Edward is a contributing editor to Art World Salon. .

“The art world will interpret your commitment to your artists as evidence that you believe in the importance of their work. So will your artists. That commitment will help build the kind of loyalty that enables you, your artists and your collectors to grow together.” – Edward Winkleman, How to Start and Run a Commercial Gallery, Allworth Press, 2009

Event Descriptions

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These descriptions will help you know more about each event. They're listed by category: Events, Talk, Demos.

Event: Print-a-Palooza

With the Conference’s relocation to the Provincetown Inn, we make use of the enormous Mayflower Room to offer events that can accommodate every conferee who wishes to attend. On Friday afternoons it’s a roundup of demos on a particular theme. Last year it was a Monotype Marathon. This year, Print-a-Palooza, where you get to see three different aspects of printmaking with encaustic.

. Screen Printing Onto Encaustic: Jeffrey Hirst

Screenprinting onto Encaustic, a Print-a-Palooza event, will explore a unique process where pigment sticks are screenprinted onto encaustic surfaces. Approaches will include printing transparent and opaque pigment stick films onto paintings and monoprints, “drawing with the screen,” and printing multiple color prints onto/ into encaustic surfaces.

Jeff will offer a Post-Con workshop on the same topic

. Michelle Marcuse: Transfer Printing from Wax Paper

Michelle will share techniques that she has developed using wax paper. Since this common kitchen product has a natural ability to ‘release’, she uses it to transfer print photographic imagery from either a copy machine or color laser printer to the skin of the wax. As in a monoprint, it can also be manipulated to transpose encaustic marks or layers of applied medium/colored wax to a painting. Other applications for this ordinary material abound. Its translucent properties make it a wonderful stencil as it allows for accurate registration, and, being waxy, it seals well to the encaustic surface, minimizing color leakage with the paint application.

. Lisa Zukowski: Gelatin Plate Monotypes

Gelatin Plate Monotypes use water-soluble encaustic paint on plates made from gelatin to create one of a kind images on paper. In this unique method of printmaking, imagery is created directly onto the gelatin plate. The paint is applied to the plate using a variety of tools including, but not limited to, brushes, brayers, stencils and textured materials. Once the image is complete, paper is laid on the plate and the image is transferred to the paper by hand pressure, without the use of heat or the need of a press.

Event: Saturday Morning Panel

Igniting the Spark, Fanning the Flame: Creativity in Our Practice

Learning techniques is one thing. Using them to create original works of art with your unique voice is quite another. What is the spark that generates ideas? How do we fan those sparks into a blaze of inspiration? And how to we keep that inspirational blaze aflame througout the months and years of a practice? Five exhibiting artists discuss the creative process from different points of view. The panel discussion will be followed by Q&A with the audience.

Panelists:

. Pamela Blum: Encoding, Decoding Meaning in Our Work

. Paula Roland; Developing Materials, Technique, Form, Content

. Toby Sisson, Critique as a Way to Develop Your Vision

. Howard Hersh: Putting it into Practice

. Elise Wagner: The Influence of Science on Art

. Joanne Mattera, moderator

Event: Keynote

Our keynote speaker is New York City gallerist, Edward Winkleman. Scroll up or click here for more information.

Talks

Suzanne Arnold Ephemeral Figures in Wax

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 20^th century, artists began to seek out forgotten images and reconsider wax as a medium for human figuration. Wax’s very mutability, ephemerality and ambiquity 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.

Miles Conrad Presenting to a Gallery

This session is intended for the practicing artist who wants to prepare a professional-quality presentation packet. The session will cover formats and content development for the Artist Resume, Statement, Inventory Sheet, Images, Web Site, and printed materials. Miles, a gallery owner as well as an artist, will also discuss artist/gellery etiquette when requesting a portfolio review.

Miles will offer two Post-Con workshops in dimensional encaustic: his popular Off the Wall (Full) and a new one on Casting Wax.

Hylla Evans Copyright Law for Artists

What is copyright? How do you get it and protect it? When is it fair use to appropriate images into artwork by collage or transfer? May we post pictures of other artist's work online? Who owns copyright on a commissioned work? What constitutes 'publication' in the age of the internet? The US Copyright Act of 1976 vastly simplified protections for all writers and artists, making for a clearer understanding of limits and protections afforded copyright holders. This one hour class provides an understanding of copyright issues. There will be a question and answer session to address artists' concerns

Joanne Freeman Process, Medium and Content: One Artist’s Story

The co-dependent relationship of process, medium and content are the focus of this talk by a New York artist who is represented by Lohin Geduld Gallery in New York City. Using examples from her own painting history, Joanne will demonstrate how initial ideas germinate and expand with changes in process and medium. She has been concentrating on various wax surfaces since the 1980's and has produced a body or work that demonstrates how a personal visual language develops over time. Ideas related to purpose and content will be presented in conjunction with both contemporary and historical references and backed up with examples from her own work.

Richard Frumess Investigations into Materials: Adhesion

This will be the second of an ongoing series of yearly progress reports on our investigations presented at the International Encaustic Conference. At the 2011 conference Richard pesented the results of our outdoor lightfastness test in Arizona. He also discussed the methods we had developed to test the adhesion of encaustic to surfaces. This year he is are planning to use the adhesion test methods to create a comparative scale for how well encaustic adheres to a variety of substrates, such as wood, paper, canvas, glass, plexiglass, metal (including rust), acrylic gesso, tempera, oil paint, glue, and other waxes. He will also discuss the progress of other research into such topics as the relationship of different pigments to encaustic medium, blooming, and the effects of different waxes in encaustic.

Mo Godbeer Waxing Down Under

Encaustic is a fledgling art form in

Australia

. Despite the huge distances between cities, the artists have commonalities, including artistic themes such as nature, globalization, urbanization, and isolation. Mo will relate how the medium has evolved there and showcase work by a cross section of practicing artists, including prominent Australians Jenny Sages and Martin King, as well as a collective of women who met at an encaustic workshop in Ballarat and who formed the group cheekily called Waxing Down Under. The group’s goal is to promote, inspire and encourage other Australian artists working with encaustic. Mo will feature five of the the artists from this group—their backgrounds, their studios, and what influences their work.

Jane Guthridge Bringing Light Into Your Work

In this talk Jane will explore how the use of light and its visual perceptions can be used to achieve a transcendence that cannot be captured in a fixed moment. Through images of artists’ work, you will see how light can be used as a material combined with encaustic to achieve self illumination. You will also learn more about these artists and their work, and view their methods of display.

Deborah Kapoor Displaying Work Outside the Frame

This topic is of interest to any artist who is interested in making work that is displayed in a manner different from cradled panels or framed paper. You'll examine the backs of artworks, hanging hardware, and look at works where the hanging mechanism is a formal element of the work. Deborah intends this presentation to be a thorough examination of options available for presenting both 2-D and 3-D work.

Cherie Mittenthal & Sara Mast Toward Standards/Practices in Teaching

This is an opportunity to meet as as a diverse group to discuss the idea of standards and practices in the teaching of encaustic. With the director of Truro Center for the Arts at Castle Hill and a tenured professor of painting at Montana State University, Bozeman, we have two seasoned teachers leading a discussion that will be of interest to all artists who teach, as well as those who are taking courses with independent teachers. What kind of ikind of instruction constitutes Beginner Encaustic? Intermediate? Advanced? Should instruction be all about technique or introduce esthetic concepts? What about how encaustic fits into the larger art world? And what education and experience should a teacher have?

Alexandre Masino Landscape Into Monotype

This presentation addresses the dialogue between landscape painting and monotype, exploring the technical, aesthetical and conceptual notions. Geared toward the interest of pushing two productions side by side, we will cover as widely and precisely as possible how our picturial language is enriched by bouncing from one technique to the next.

Laura Moriarty Funding Your Work: A Practical Guide to Dreaming Big

What kind of artist are you? What do you want to do, and what do you really need in order to make your vision a material reality? Focusing on programs whose mission is to support artists by providing them with the space, time, resources and money needed to complete ambitious projects, this presentation will outline how programs work, and how artists can be effective applicants. By gaining a broader understanding of the funding field, and applying to programs that their work is a good match for, artists can make the stongest case for themselves in the often limited space allowed.

Catherine Nash Paper and Wax: Contemporary International Trends

Catherine will present a survey of international artists who combine encaustic with paper: an exploration of how the diversity of paper combined with the unique properties of wax can be integrated in collage, sculptural paper (either cast, formed or woven), monoprints and paintings on paper, artist books, photography and more other techniques. Focus will be on the 22 artists Nash chose to interview via video for her e-book, Paper and Wax, as well as a number of others curated into the publication.

Catherine will offer a two-day Post-Con on Wax + Paper + Encaustic (Full)

Nancy Natale Wax and Bricolage: Collage with Muscle

“Bricolage” means a construction made with found or invented objects. By “muscle” I am referring to the physicality of the construction, moving from the flat two dimensions of a painting or collage to a semi-relief dimensionality that stops short of sculpture. I will present bricolage works from artists who use encaustic as an integral part of their work, and instead of showing single works from a large number of artists, I will include several images from a smaller group to give a sense of what each artist’s work is about.

Nancy will offer a Pre-Con and a Post-Con workshop on Bricolage, and one called Constructing Bricolage: Solving Problems with Adhering and Fastening

Lisa Pressman Visiting the Encaustic Studio

Studio views give an intriguing insight to the work of an artist. Visiting the Encaustic Studio is a digital presentation of artists from around the country who use encaustic in their practice. I will be showing the work, the studio and each artist’s inspirations. We will also look at tools, ventilation, shipping, storage options and individual techniques. Lise will present this talk in Post-Con (evening to be announced), which is free and open to anyone who attended the Conference or is attending Post-Con.

Lisa will offer a Post-Con Introduction to Pigment Stick and Encaustic (Full)

Marybeth Rothman Wax Collage: Beyond Technique

This talk is a presentation of contemporary artists whose work transcends both encaustic and collage to form a singular expression. There will be a brief history of collage, including the work of Henri Matisse, Georges Braque, Hannah Hoch, Kurt Schwitters, and Jasper Johns followed by the encaustic work of painters, bookmakers, printmakers and photographers. This exposition will emphasize the message rather than the medium.
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Patti Russotti Photographing Work: When to DIY, When to Hire it Out

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 professonal quality? What do you need to know about formats and software? How much photo geekiness do you need to get professonal 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.

Demos

Binnie Birstein Basics of Encaustic

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.

Binnie will offer a Pre-Con workshop on Demystifying Transfers (Recently added)

Andrea Bird & Lynette Haggard Fusing Comparisons: Iron, Heat Gun, Torch

If you’ve been stuck on one type of fusing method, it may be time to consider the options. Andrea has demonstrated fusing with the iron several years running, while Lynette has demonstrated the options and safety requirements of fusing with an open flame. Together they will show you these methods, as well as offering tips with better fusing with a heat gun. Come, 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.

Both Andrea and Lynette will offer individual Post-Con workshops on their specialties: Andrea’s Multi-Tool Approach to Fusing and Lynette’s Day of Flames, fusing with the torch

David A. Clark Finessing the Monoprint

Learn how to fine tune the visual texture, color and crispness of your encaustic prints. Using a variety of simple techniques like blotting, masking, re-working a print and printing with both the paper face up and the paper face down, David will show viewers how to use simple solutions to take their encaustic prints to the next level. Come see how much is possible while printing with wax.

David will offer a Post-Con on Monotype Printing with Stencils (Full)

Elena De La Ville Photography with Encaustic

Thise demo combines the ancient art of encaustic with modern photography and printing techniques.

Included in this demo will be: attaching the image to the board, different ways of applying wax and pigments, printing options and papers, discussion of Photoshop and digital image manipulation.

Elena will offer both a Pre- and Post-Con on the same topic (both are full)

Lorraine Glessner Printing with Rust

Rust Printing is the process of creating marks and patterns with rusty metal objects and wire, while composting creates marks via the decomposition of fruits, vegetables and plant matter. Both methods yield a wide range of colors, and when combined with the warm translucency of encaustic, the resulting marks become a rich, dynamic framework for subsequent painting. Working on paper and fabric, Lorraine will demonstrate basic methods and variations.

Lorraine will offer a Post-Con on Beyond Collage: Printing with Rust and Branding (Full)

Cari Hernandez Encaustic and Plaster Cloth

Plaster cloth is a wonderful material to use to create sculpture; after it is shaped and dry it makes for a superb absorbent surface that receives encaustic while remaining lightweight in consideration of its mass. In this hour-long presentation, the basics of creating three dimensional forms using plaster cloth will be explored. Demonstrating on sculptured forms in differing stages of development will help to illustrate the methods and techniques used when creating these exciting forms.

Cari will offer a two-day Post Con on the same topic

Supria Karmakar The Altered Book

This session will demonstrate how to create a work of art out of an old book, using including encaustic medium, pigment sticks, and a variety of collage elements, such as Japanese papers, found objects, mixed media and organics. Specifically discussed will be the types of books that can be altered, what to consider when choosing books, the binding, spine applications and the types of papers within the books. Many examples of finished altered books will be shared and examples of books that are problematic from a technical standpoint will also be shared with the audience. Supria will also show you her personal favorite: how to use mica as a window within the book cover.

Supria will offer a two-day Post-Con on the same topic

Bonny Leibowitz Painterly Effects and Pours

In this demo Bonny will take you through several processes to produce dynamic contrasting effects: one flat and painterly, the other a pour which will “break open” to reveal the painterly effect below. A composition will be created with watercolor directly on the board then layers of medium and fusing in of color utilizing pigment sticks will be repeated, along with the use of an iron to develop the surface. Small objects can be embedded, and “walls” in interesting shapes will be built to hold wax for the pour. Once these are secured, a pour can be made and the dams quickly removed and cleaned up.
Bonnie will offer a a Post-Con on the same topic (Full)

Lynda Ray Texture and Color

Create engaging surfaces with encaustic paint using a thick stencil, a heated palette knife or a slightly cool loaded brush. Exploit the character of color: warm/cool, transparent/opaque, light/dark, with the quality of the medium to generate dynamic work.

Lynda will offer a Post-Con in Beginning Encaustic

Tracy Spadafora Creating Optical and Physical Depth with Encaustic

In this demo Tracy will address the differences between optical and physical depth as it applies to building a painting in encaustic. I will discuss layering vs. pouring - the advantages and disadvantages of each. Materials, equipment, and techniques for controlling transparency through layers will be discussed.

Tracy will offer a Post-Con on the same topic

Pamela Wallace Wax and the Collograph Print

A variety of unique techniques for creating collograph plates will be examined. Methods of utilizing collograph prints with wax and pigment sticks, as well as various direct uses of collograph plates on waxed panels will be demonstrated. Prior working knowledge of basic encaustic techniques is suggested.

Charyl Weissbach A Flash of Metal

Flash of Metal focuses on a variety of gilding techniques and materials: demonstrations in sizing, gilding, and sealing surfaces with genuine and imitation leaf; loose leaf gold leafing above and below the surface, patent leaf for leaf transfer, ribbon leaf, for larger flat surfaces, metallic foils, metal flakes, and metallic powdered pigments for accenting encaustic works.

Charyl will offer her back-by-popular-demand Post-Con, Mainly Metals (Full)

Gregory Wright Patterned Effects w/ Mixed Media in Encaustic

In this demonstration, Gregory will show how to achieve beautiful patterns and textures with powdered pigments and how to create even more bold and dramatic effects with different shellacs. Then he will demonstrate some possible combinations of these techniques and ways to incorporate them into encaustic painting. Fire, used as a design tool, will be highlighted, as well as safety issues of working with a propane torch and with these media. This year’s demonstration will also feature new ideas, products and information about alternatives to powdered pigments.

Gregory will offer his back-by-popular-demand Post-Con of the same name (Full)

Tania Wycherley Advanced Image transfer: Working Large

This session will demonstrate how to transfer toner images that exceed the 11x17 inch paper size barrier. We will discuss computer software to help with sizing as well as printing options. Burnishing techniques to create near-seamless image connections as well as tools and tricks to blend any resulting lines will be demonstrated. Join us for this demo that will leave you with the tools to enlarge your images in wax!

Tania will offer a Post-Con on the same topic

Presenter Bios

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Updated 12.6.11

Meet the international lineup of presenters for Conference 6. Here you will find new names as well as those who are familiar to you. All are seasoned teachers with exhibition track records and professional experience. Our goal, as always, is to bring you not only the the best of the best, but presenters you won't find at any other retreat, camp or conference.

Click on each presenter's name for a link to their website

A Richmond, Virginia-based sculptor and painter, Susanne K. Arnold exhibits regionally and nationally. She teaches 3-D encaustic workshops at the Visual Arts Center of Richmond. Honors include A-I-E residencies in encaustic painting since 1990 for the Virginia Commission for the Arts; a National Artist Residency at Montpelier Art Center; two Virginia Museum fellowships; and artist grants from the Ludwig Vogelstein and the Adolph and Esther Gottlieb Foundations. Solo exhibitions include the Virginia Museum, the Portsmouth Museum, and 1708 Gallery. She holds a MFA and MA from Virginia Commonwealth University.

Andrea Bird fell in love with encaustic in 2001 and has not looked back! She graduated from the Ontario College of Art and Design in Toronto, Ontario, and also studied at R&F. This award-winning artist has exhibited her work extensively for the past 25 years, and is an enthusiastic, experienced workshop presenter and facilitator. For the past three years, Andrea has taught a workshop at the Encaustic Conference on using the iron as a fusing tool. Recently, she opened an encaustic school and gallery, The Hive, in a converted Mill in the Caledon hills, just outside of Toronto.

Binnie Birstein is an award-winning artist originally from New York City, who has been working in encaustic for over a decade. Her work is in numerous private as well as corporate collections, including SUNY Brockport, Center for Contemporary Printmaking, R. D. Weis & Company. She is a faculty member at Creative Arts Workshop in New Haven and offers private instruction from her studio in Connecticut. She has been an attendee at all the Encaustic Conferences, and a presenter and teacher for the past three years.
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Pamela Blum has focused for 16 years on encaustic painting and sculpture. Her work, celebrating the reassessment of meaning in art throughout human history, can be assembled many different ways to prompt viewers, including herself, to change interpretations over time. Her professional experience includes drawing, painting, sculptural installation, performance art, architecture, physical planning and graphic design. Her BA degree in studio art and art history comes from the University of Pennsylvania, her MFA in sculptural installation from Massachusetts College of Art and Design. She has taught at all university levels but specializes in foundations programs. She has tenure at SUNY Dutchess in Poughkeepsie, New Tork, lives and makes art in Kingston, New York, and has exhibited her work throughout the United States and in France.

David A. Clark’s encaustic print work has drawn attention for its graphic style and fineness of execution. David has exhibited nationally work in more than six shows in the last year, including the 33rd Bradley International Print and Drawing Exhibition. Currently David is curating an exhibition of encaustic prints at the R&F Gallery in Kingston, New York, and he is preparing for an upcoming solo show of his prints at the Process Museum in Tucson, Arizona. That show will be devoted to a single encaustic print of David's and the more than 100 process pieces that went into it's creation. David lives and works in Palm Springs, California.

Miles Conrad is the Director/Curator at the Conrad Wilde Gallery in Tucson, Arizona, which hosts nine exhibitions a year including the Annual Encaustic Invitational. Miles has been working in the encaustic medium for 20 years and has exhibited his 3-D works nationally. He received the Award of Excellence at the Arizona Biennial 2011, given by the Contemporary Art Society. Miles holds a B.F.A. from California Institute of the Arts and an M.F.A. from San Francisco Art Institute. He regularly offers classes in encaustic at all levels at his Tucson studio.

Elena De La Ville is a member of the adjunct faculty at Ringling College of Art & Design in Sarasota, Florida. She has been invited to teach at Wildacres retreat in North Carolina this October and has been a presenter at three of the last Encaustic Conferences. Her work has taken on many forms over the years including textile design, photography, work with metals and encaustic. She has shown internationally and is part of the collection of the Museo de Arte Contemporaneo, and Museo Acarigua, Araure, Venezuela.

Hylla Evans worked on the Copyright law in formation as she was commissioning and hiring music writers, arrangers and performers. She studied the law extensively, teaching legal and labor professionals in advertising and broadcast media. Hylla is the owner and paint maker of Evans Encaustics, inventor of encaustic Paint Sticks™, the most heavily pigmented encaustic paints in the world. She teaches color theory and encaustic painting and developed Color Charting Packs for artists in all media.

Joanne Freeman received a B.S. in Fine Arts from the University of Wisconsin and an M.A. in Studio Art from New York University. Her work has been shown nationally and internationally, including the Galerie d’art, Casablanca; Marc Jancou Gallery, Zurich; and in galleries throughout the United States. She co-curated the group show, Color-Time-Space with Kim Uchiyama, shown at the Lohin Geduld Gallery, where she is represented; Janet Kurnatowski Gallery, Brooklyn; and the Rosenberg Gallery at Hofstra University. Joanne has taught painting and drawing at New York University and The New School for Social Research in New York City.

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. Frumess has been working in collaboration with industry experts, conservators, and materials scientists.

Lorraine Glessner holds an M.F.A. in Fibers from Tyler School of Art, where she is currently an Assistant Professor in the Fibers and Material Studies Department. Lorraine also holds a B.S. in Textile Design from Philadelphia University and an Associate’s Degree in Computer Graphics from Moore College of Art & Design. Recent awards include two Pennsylvania Council on the Arts, Artist Fellowship Grant in Crafts, the Anne K. Allison Award, Woodmere Museum of Art. Her work is included in the recently released Encaustic With a Textile Sensibility by Daniella Woolf. Lorraine lectures, teaches, exhibits her work nationally and maintains a studio in Philadelphia.

Mo Godbeer, an artist working in encaustic, mixed media and photography, has her finger on the pulse of the diverse encaustic scene in

Australia

. Her love for the medium has led her to track down other Australian artists in order to share ideas, techniques and enthusiasm. Mo teaches encaustic workshops throughout Australia, including her home town of Sydney, and runs the Encaustic Group on Loving Mixed Media, with more than 2500 international members. She is also a founding member of and website administrator for the Facebook group “Waxing Down Under.”

Jane Guthridge lives in Denver. Her work is inspired by the natural world—the rich colors of the land, the play of light on water, the way light and shadows continually change. Her fascination with light and it’s transcendent qualities has shaped her work. Guthridge’s work is represented by galleries around the United States and is in numerous corporate collections. Recently Jane was selected as the artist of recognition for the State of Colorado.

Lynette Haggard is an award-winning, Massachusetts-based artist who exhibits nationally. A founding member of New England Wax, she is an enthusiastic contributor to the regional art community. Conference. Lynette holds a B.F.A in painting from Philadelphia College of Art. In 2010 she launched her blog, www.lynettehaggard.blogspot.com where she has interviewed dozens of artists. Lynette returns in 2012 for her fourth year as an invited presenter at The Conference.

Cari Hernandez combines a full-time studio practicet with a robust schedule of teaching and exhibiting internationally. In 2010, she released her first instructional DVD, Wax Twist: Advanced Encaustic Techniques to complement her teaching program. She is a founding board member of the non-profit artists group International Encaustic Artists, having served as it’s education chair creating the annual retreat for 3 consecutive years bringing together nearly 100 artists for a 4-day event in the Carmel Valley.
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Howard Hersh is a third generation artist working in San Francisco, California. With over 50 solo and 200 group exhibitions, Howard has pursued a life of creativity, freedom, and beauty. Beginning to work with encaustic in 1987, the medium corrolates well with Nature as his muse.

Jeff Hirst is a Minnesota-based artist who has shown his work nationally since the early 1990’s. Trained as a printmaker, he has been painting with encaustic for over 12 years and teaches workshops around the Midwest and at his Minneapolis studio. Hirst received his M.F.A. from Louisiana State University and his work is in numerous public and private collections.

Working with encaustic since 2002, Deborah Kapoor exhibits her work locally and nationally. She earned her B.F.A. from the University of North Texas and her M.F.A. from the University of Delaware. She also studied with encaustic artist Paula Roland at Ghost Ranch in Abiqui, New Mexico. Her work was featured in Daniella Woolf’s Encaustic with a Textile Sensibility. You can see Deborah’s work at Conrad Wilde Gallery in Tucson, Arizona, and at ArtXchange Gallery in Seattle’s

Pioneer Square

Supria Karmakar is a full-time artist, teacher and facilitator, currently living in rural Ontario, Canada. She was raised in England and is of Eastern Indian heritage. It is these diverse life experiences, Eastern and Western cultures intertwined, that have been the source of her inspiration. Supria uses encaustic mixed media, as well as the altered book form as avenues to work out her musings about life’s journey. These mediums are the perfect ‘vessels’ for her work, as they unfold stories. Her artwork has been shown in commercial and public galleries across the province of Ontario, throughout parts of Canada and in the United States.

Bonny Leibowitz’s work concerns itself with both the physical structure she creates and the conceptual message within her subjects of choice; their consequences and causal effects. Bonny utilizes atmospheric translucent layers of pigment along with textural materials including encaustic wax, silk, graphite, string, fibers, photography and wood. Originally from Philadelphia, Bonny now resides in Dallas. She maintains two working studios: www.thebonnystudio.com and www.theencausticcenter.com

Michelle Marcuse has worked with and taught classes in contemporary encaustic techniques since 1999; she was one of the first R & Affiliate Teachers. Her classes have been held regularly in Southern California, (San Diego and La Jolla) and also in Los Angeles where she has been invited annually to teach. Additional teaching experience has included the Pennsylvania Academy of the Fine Arts and Moore College of Art in Philadelphia. Michelle currently work as a studio artist and teaches bi-annually at The Main Line Art Center in Haverford, Pennsylvania.

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. Exhibitions in 2011 include As Above, So Below, a solo exhibition at Rosenfeld Gallery in Philadelphia; Repertoire, a group exhibition at Zolla/Lieberman Gallery in Chicago; and Night Visions IV, a juried exhibition at Coconino Center for the Arts in Flagstaff, Arizona. Sara lives and works in Bozeman, Montana, and is a co-chair of the Drawing/Painting department at Montana State University.

Alexandre Masino has been exhibiting for the past twenty years in public and commercial galleries across Canada, the United States and Europe. Since 2001, he has been painting exclusively with encaustic. Alexandre will be presenting a solo show at R&F next autumn exhibiting both paintings and monotypes.

Joanne Mattera works in a chromatically resonant, physically tangible and compositionally reductive style she calls lush minimalism. In an almost 40-year career she has exhibited internationally in 30 solo shows and hundreds of group exhibitions and is represented in numerous corporate, public and private collections. Joanne travels widely to view and write about art, curate, and serve as a speaker or visiting artist in universities around the country. Author of the landmark book, The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax, Joanne speaks out vociferously on the need to integrate encaustic into the mainstream rather than isolating it into a ghetto of "encaustic art." She is the founder and director of this Conference.

Cherie Mittenthal works in many mediums: wax, tar, marble dust, pigment sticks, graphite and miscellaneous mediums. She graduated with an M.F.A. from the State University of New York at Purchase and a B.F.A. from the Hartford Art School of the University of Hartford. She is the Executive Director of Truro Center for the Arts at Castle Hill. She is on the board of the Provincetown Cultural Center, and of Campus Provincetown. Her work can be seen at Kobalt Gallery in Provincetown. Cherie is co-producer of this Conference.

Laura Moriarty 's work is exhibited throughout the United States and abroad. Her honors include two grants from the Pollock-Krasner Foundation, a 2009 NYFA MARK Award, the Aldrich Contemporary Art Museums' Radius Award, and project grants from the New York Foundation for the Arts, The Craft Aliance of New York State, The New York State Council on the Arts, and Artists' Space, plus over a dozen artist residencies. Most recently, Laura ran a successful fundraising campaign through United States Artists to produce her forthcoming artist book, Table of Contents. In addition to her studio practice, Laura is Director of Exhibitions and Workshops at R&F Handmade Paints.

A long time resident of Tucson, Arizona, artist Catherine Nash, M.F.A., freely mixes media in her work to express her ideas. Her love of travel and different cultures has inspired her to live, create, exhibit, research and teach on four continents. Nash balances her studio time with her work as an educator of sculptural artist books, The landscape, aesthetics and cultures of

Japan

, the rich gradations and spaciousness of Scandinavian summer night skies, experiences with Native American friends and her explorations into the wilderness of the southwestern deserts have deeply influenced and informed her art.

Even though Nancy Natale is a painter at heart, she loves bringing together pieces of things, making objects, solving problems and performing whatever processes are necessary to achieve the desired resolution of her works. After years of experimenting with materials, mediums and methods, she has mastered a way of working with encaustic that allows her to make constructed paintings (bricolage) that straddle the divide between two and three dimensions. Visit her blogs www.artinthestudio.blogspot.com and www.artofbricolage.blogspot.com.

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Carol Odell is a Cape Cod-based painter working in a non-representational style in the media of oil, monotype and encaustic. She believes in art as means of transportation away from the routines of life to a place of new experience and revitalization. She exhibits regularly with Provincetown Art Assoc., the Printmakers of Cape Cod, the Monotype Guild of New England, New England Wax and 21 in Truro. She and her artist husband have owned a gallery in Chatham for almost 40 years. She has taught workshops at the Cape Cod Art Association, the Cape Museum of Art, PAAM and Castle Hill. Her work has been exhibited at galleries in New England and is in the collections of Newport Art Museum, Boston Public Library, the Cahoon Museum of American Art and the Cape Museum of Art and in private and corporate collections. She is a graduate of the School of the Museum of Fine Arts, Boston.
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Lisa Pressman’s paintings incorporate oil, collage, wax and other mixed media to create works that allude to a personalized time and space. Recently, Lisa’s work was exhibited in Making the Mark at Susan Eley Fine Art and at the Affordable Art Fair with Anelle Gandelman Fine Art, both in New York City. She is currently an adjunct at the Art Institute of New York and teaches painting privately and around the country. Lisa lives and works in West Orange, New Jersey

Lynda Ray has been working with encaustic paint since 1986. Her painting and sculpture have been exhibited throughout the Untied States. Her work is included in the book, The Art of Encaustic Painting by Joanne Mattera, and she completed an interview with Julie Karabenick recently published on Geoform.net. Originally from Massachusetts, Lynda earned her B.F.A. from Massachusetts College of Art and Design, and attended Skowhegan School of Painting and Sculpture where she studied with Joseph Campbell and Agnes Martin. She conducts encaustic workshops throughout the country and currently lives in Richmond, Virginia.

Paula Roland is a life-long artist and teacher. Paula has had over 20 solo exhibitions of her works and more than 100 group exhibitions across the United States and in Europe. Paula was awarded an MFA from the University of New Orleans and has received numerous awards for her art, including one from the National Endowment for the Arts. Roland’s works are held in many collections, including those of the American Embassies in Uganda and South Africa.

Marybeth Rothman is known for her figurative encaustic and mixed-media paintings. She exhibits nationally, and her work is in collections throughout the U.S. and abroad. Currently she is exhibiting at the Heckscher Museum of Art in Huntington, New York, in Ripped: The Allure of Collage with Roy Lichtentstein, Joseph Cornell, Hannah Hoch, Kurt Schwitters and others. Marybeth earned a BFA from Rhode Island School of Design. She received the Juror’s Award at the 5th International Encaustic Conference. Her home and studio are in New Jersey. Read her blog at www.marybethrothman.wordpress.com .

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. Sisson’s areas of specialization include drawing, painting and public art, as well as community-based service learning. One of her current research projects focuses on the development of dialogic critique methods for visual artists. Her artwork has been shown in solo and select group exhibitions, and acquired for numerous private collections.

Tracy Spadafora has been working in encaustic for 17 years and teaching it for 15. She started as a paint maker for R&F Handmade Paints and continued her career in encaustic through teaching, curating and her her studio practice. Her work has been shown throughout the US and is published in several books, including the Art of Encaustic Painting by Joanne Mattera, and Embracing Encaustic by Linda and William Womack. She recently curated the exhibition, Beyond the Surface: Biological Explorations in Wax, for the Fountain Street Fine Art Gallery in Framingham, Mass.

Pamela Wallace resides in rural central Virginia, where she works full time as a painter and printmaker. Her previous career in medicine, and her love of nature filter into her artistic imagery. Since 2005, she has utilized encaustic wax in her painting and mixed media work, exhibiting locally and nationally.

Charyl Weissbach works in encaustic, creating botanical and arboreal-based paintings incorporating a variety of techniques and materials, including gilding with metal leaf and metallic powdered pigments. Charyl also draws and creates customized stencils to produce patterned effects with the use of Indonesian tjap batiking tools. She is co-founder and co-curator of The Luminous Landscape, a conceptual group initiative that explores the diversity of nature in the context of encaustic painting. She is also coordinator and co-curator of the Salvage Metal Encaustic Group, an exhibiting artist collective that works in encaustic and metal. Charyl received a B.F.A. from Massachusetts College of Art with a concentration in painting and art history. She lives and works in Boston.

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 his Conference presentations and workshops. Gregory exhibits nationally, and most recently, his Microcosm/Macrocosm was featured in a May 2011 solo exhibition at Galatea Fine Art in Boston’s South End. This past year, Gregory’s focus has been on his curatorial project, Pollination: Beyond The Garden, a thematic group exhibition of works in encaustic, at the Brush Gallery in Lowell, Mass., to take place in November. Gregory is a featured artist in Embracing Encaustic by Linda Womack.

Tania Wycherley is a Canadian artist who combines her love of photography with a passion for encaustic painting. Her latest work focuses on balancing large image transfers with the medium. Creating depth and movement within the image is a constant focus. Last fall Tania exhibited her work in the group show. The Whole Ball of Wax: A Celebration of Encaustic, in Toronto.

Lisa Zukowski works both two dimensionally and sculpturally in multiple media. She received her degree in painting and printmaking from Brooklyn College, where she served as printer for the Brooklyn College Press. She balances her studio time by teaching Gelatin Printmaking workshops and conducting an annual art holiday in Tuscany. A native of Brooklyn, Lisa now lives and works in New York’s Hudson Valle. She is a member of Bau Gallery in Beacon, N.Y. and is represented by Shortwave Gallery in Stone Harbor, New Jersey, and Skylight Gallery in New York City.

Room Reservations

2011-09-02T08:00:00.000-04:00

Updated 11.14.11

Reservation of rooms at The Provincetown Inn is underway. The Conference is June 1-3, and this is when we expect to see a full house. However you may also wish to reserve for Pre-Conference (May 29, 30, 31) or Post-Conference (June 4, 5, 6, 7, 8). A few rooms remain, see below in red. Cherie is working on a list of options, all within walking distance to the Inn, to be posted soon.
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View of the Provincetown Inn, at the tip of P-town

The Provincetown Inn is located at the tip of Provincetown. It's an expansive 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.

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 an open trapezoid that consists of three long, one-story segments: Harborside, Breakwater and Cape Tip These latter 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 three or four people. For views, click here. Ask for rates when you call the Inn (they should be very reasonable with several people sharing).

As of 11.4.11
Midweek Room Rates

Thursday night is 90% full. If you are thinking of arriving early, whether for Pre-Con or just to have some vacation time, we suggest you reserve as soon as possible
. Standard: $69.00

. Standard Inn: $79.00

. Waterview: $99.00

. Waterview Inn: $119.00

. Harborside/Breakwater: $119.00

. Cape Tip: $139.00

As of 11.14.11
Weekend Conference Room Rates

. Standard: $99.00--sold out fo

. Standard Inn: $109.00--sold out

. Waterview: $129.00--sold out
. Waterview Inn: $149.00--sold out

. Harborside/Breakwater: $149.00--sold out

. Cape Tip: $169.00--sold out for

. Studio/honeymoon suite--sold out
. Captain's Suite--two suites remain

. . . . . A note about the suites: Rooms are larger and may be shared by a group of friends.
. . . . . There's a kingsize bed and a pullout couch, with room for an optional cot.
. . . . .Captain's suites may have two baths. Ask for specifics when you register.

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.

. There is a two-night miniumum on weekends

To reserve your room or suite, 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, check or post in the Comments section below or the Message Board.

Once the Inn fills, we'll list other nearby options.

Accommodations

2011-09-01T00:49:00.002-04:00

Updated 1.23.12

The Provincetown Inn is filled up except for two Captains Suites (which are perfect for a group of friends, or if you come with your family). It's possible that a few rooms will become available later, but there are many other good options. If you have a room at the Inn and are looking for a roommate, or if you wish to find someone who has a room, check the Message Board.

If You Need to Book a Room
Cherie has put together the following Discount Accommodations List, and I have listed the venues in order of distance from the Provincetown Inn (but bear in mind that everything is within walking distance in Provincetown). All of these Inns/Hotels/B&S's offer a 10% discount unless otherwise noted. This discount is generally offered on a space-available basis. Be sure to identify yourself as a conference participant.

The map below should help to orient you. Click on it for a larger version, and click here for a full-screen, and fully printable map.

To orient you, The Provincetown Inn is at the far left of the map, at the very end of Commercial Street. Look for "WEST END" on the map. The street numbers for Commercial and Bradford are marked in increments of 50. The galleries are about a 25-minute walk, in the EAST END. The designations "west" and "east" seem counterintuitive until you realize that P-town is the fingertip curl of the peninsula. If you are anywhere on Commercial Street, the beach is almost literally at your feet

Inn at the Moors
508-487-1342
59 Province Lands Road (between Commercial and Bradford)
This venue is a two-minute walk from the Provincetown Inn, just up from Fort Pilgrim Park on the map. It overlooks the serene saltwater Marsh beyond which is the Atlantic.

Chateau Provincetown
105 Bradford Street Extension (in the West End)
508-487-1286

The West End Inn
508-487-9555
44 Commercial Street
Rates without discount rane from $85-$123 a night
A two-minute walk from the Provincetown Inn, a few buildings away.

Watership Inn
508-487-0094
7 Winthrop Street
About a 10-minute walk from the Provincetown Inn.

Lotus Guest House (15% discount; midweek rates are lower)
508-487-4644
296 Commercial Street
About a 15-minute walk from the Provincetown Inn; a block from McMillan Wharf and the ferry from Boston and a six or seven-minute walk to the galleries.

Sage Inn and Lounge (special Conference rates: $105-$120 select rooms, mention Encaustic) Conference
506-487-6424
336 Commercial Street
Somerset House
800-575-1850
378 Commercial Street
Pretty much in the center of town, heading toward the East End, five minutes from the galleries

Carpe Diem
508- 487-4242
12 Johnson Street, Provincetown
On the map, above, Johnson St. is about a 20-minute walk.from the Provincetown Inn, five minutes from the galleries

Benchmark Inn &Central
888-487-7440
6 & 8 Dyer Street
Dyer is edging toward the East End.

Surfside Inn
508-487-1726
543 Commercial St
In the East End, about a 25-minute walk from the Inn, just past the galleries. If you are a brisk walker, knock a few minutes off..

Snug Cottage
800-432-2334
178 Bradford StreetIn the East End, past the galleries.and close to the other end of Commercial Street .

Elephant Walk Inn
877-487-0085
156 Bradford Street
Near the Snug Cottage

Horizons Beach Resort (North Truro)
800-782-0742
Route 6A
You'll need a car if you stay here

Got A Question?

2011-08-25T21:08:00.012-04:00

I'll be updating the site regularly from now until Conference time, but if you have a pressing query for which you don't see information, post it here. (If you are looking to share a room or travel arrangements, please use the Message Board.)

Q: The conference sounds exciting! I noticed that you described it as a conference by and for "professionals." I'm a teacher, do my own photography when I can, and have never done encaustic, though it's something I would love to learn about. Is this conference for someone like me? Thanks! Bonita

A: Bonita, there's some latitude with the concept of "professional." While we recognize that not everyone working in the medium will learn a living from artmaking, we strive to create a big-picture context for encaustic as a medium used in contemporary art. That, for us, is the difference between "professional" and "hobby." For that reason we don't focus on "encaustic art" (a limited and limiting category) and we don't encourage technique to the exclusion of all else. If you are open to the ways technique can be used in service to a larger vision, come and join us. If you are absolutely new to the medium, I'd suggest these options:
. If you can, take a Pre-Conference workshop in Beginning Encaustic. This will give you all the terms and techniques you need to fully understand the demos and talk at The Conference--and ways to think about how to express your vision in the medium
. Alternatively, sign up for the Basics of Encaustic demo on Friday afternoon at The Conference. You want to understand encaustic medium, wax paint, fusing, and options for substrates and ground. With those concepts, you'll go on to appreciate the amazing range of expression of your presenters
. Sign up for some talks as well as demos. Even at the beginning of the learning curve, it's great to see what artists have to "say" in a medium, not just how they use it
. Given your existing interest in photography, you might also consider the talks, demos and Pre- or Post-Con workshops that integrate photography and encaustic--a great way to expand your vision. Joanne

There are more Q&As in the Comments section.

Message Board

2011-08-10T17:39:00.014-04:00

Looking for a roommate for the Conference? Got a room to share? Looking for a ride? To share a ride? It's bot too early to make your plans. While The Conference assumes no responsibility for the arrangements you make between and among yourselves, you are welcome to use this space to communicate. Just post your comments. Once you find a roommate or a ride, please remove your posting. Thanks, JM.

Exhibitions . . . And More Exhibitions

2011-08-05T12:16:00.140-04:00

Updated 2.10.12

Oh, do we have some exhibitions for you! As of this writing there are two exhibitions announced for Castle Hill; two for the Provincetown Inn, site of The Conference; and seven at galleries in town, including the Conference juried show. That's 11 and counting, with 40 exhibiting artists, a number that will increase dramatically when a 12th show is announced shortly and results from the two juried shows are announced later this spring.
(Wondering how selections for exhibitions are made? Scroll to the very bottom of this page for info.).
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Call for entries
Kobalt Gallery
Confluence: Water and Light
June 1--mid June
Opening: Friday, June 1, 6:00-10:00 p.m.
For our annual juried show we invite registered conferees to consider the watery vastness into which Provincetown is set: the calm Massachusetts Bay in the crook of the arm of the Cape and the roiling Atlantic that spirals out beyond it. For a hundred years artists have come to Provincetown to paint the ocean that enfolds it, at high tide and low, and to capture the exquisite light that hovers at the horizon, illuminates the shore and bathes the dunes.
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We challenge you to draw inspiration from this embrace of water and light—realistically, abstractly or somewhere in between. The luminosity and fluidity of encaustic would seem especially suited to the challenge. If you would prefer, you may draw your inspiration from a different ocean with its own special light, or from the sense of “ocean” or from a sense memory of water itself: traveling through it or over it, perhaps even flying above it.
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Kobalt Gallery will again host the Conference juried show. Francine D'Olimpio, Kobalt's owner, will once again be the juror. We are so fortunate to have our exhibition in this quintessential Provincetown gallery, with the gallery owner Francine D'Olimpio.
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As always, there is no fee to enter. However, this show is open only to conferees who are registered by the entry deadline of April 2. Click here for the prospectus
As always, three equal prizes will be awarded: Juror's, Director's, and Castle Hill's.
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(Francine D'Olimpio will offer a Critical Feedback session in Post-Con on Tuesday, June 6.)
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Call for entries--but open to all conferees
Provincetown Inn
Going Postal: The Postcard Show at Conference 6
June 1-3
Cherie and Joanne are pleased to announce Going Postal: The Postcard Show at Conference 6, an everyone’s-invited opportunity to show your work while helping other artists. Yes, this is a request for donations, but we think you’ll like the idea:
. It’s open to every conferee
. There is no fee to enter
. All postcards, to be sent in advance, will be installed on the cork wall in the Trawler Room
. The Trawler Room will be set up specifically for this exhibition
. The show will run the duration of The Conference, with sales taking place at designated times (to be announced) on Sunday, June 3
. The price will be $30 per postcard, with proceeds going toward scholarships for Conference 7. This is a great opportunity to support the organization that co-produces the Conference and to add to your own collection
. You may donate as many postcards as you wish
. You may buy as many postcards as you wish
. Additional info and entry particulars at the very bottom of this post in blue **
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Curated exhibition
Castle Hill Gallery
Merge: Contemporary Encaustic Print Invitational
May 31--June 7
Opening: Thursday, May 31, 4:00-6:00 p.m.
Informal closing: Thursday, June 7, 4:00-6:00 p.m.
Cherie Mittenthal, Executive Director of Castle Hill and co-producer of The Encaustic Conference, is curating this exhibition of prints from artists from around the country. Monotype, transfer, photography and other print methods are represented in a range of expression by five nationally exhibited artists:
Invited::
David A. Clark (California)
Lisa Pressman (New Jersey)
Paula Roland (New Mexico)
Marybeth Rothman (New Jersey)
Toby Sisson (Massachusetts)
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Juried exhibition
Castle Hill Library: The Wax Book
May 31--June 7
Opening: Thursday, May 31, 4:00-6:00 p.m.
Informal closing: Thursday, June 7, 4:00-6:00 p.m.
The Castle Hill library--that little outbuilding near the beehives--will be the site of a small book show juried and curated by Supria Karmakar, an Ontario-based artist working within the idiom of altered books. Supria is the first artist we invited to curate an exhibition during The Conference, because we feel that curatorial opportunities can be as important for professional development as exhibition opportunities. The call for entries is now closed. Selected artists will be announced shortly.
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Curated exhibition
A Gallery: Wax
June 1-8
Opening: Friday, June 1, 5:00-10:00 p.m.
Gallery hours: 12:00-5:00 daily
This show is focused on the gray scale, monochromatic as a theme. The fog, sea spray, clouds and white summer skies--all Provincetown hallmarks--will inspire work created especially for this event.
Invited:
Christine Aaron (New York)
Deborah Claffey (New Hampshire)
Linda Cordner (Massachusetts)
Mary Farmer (North Carolina)
Leslie Ford (New Jersey)
Kathleen Lemoine (Louisiana)
Tracy Spadafora (Massachusetts)
Charyl Weissbach (Massachusetts)
Gallery artists Adam Peck and John DeMestico will contribute works as well
.
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Curated exhibition
Art Current Gallery: Pollination: Beyond the Garden
June 1-24
Opening: Friday, June 1, 6:00-9:00 p.m.
Pollination: Beyond The Garden, curated by Gregory Wright, is the expression of 12 artists working in the beeswax-based medium of encaustic who have interpreted the process of pollination from their personal view--scientifically, socio-politically, metaphorically or emotionally.
Invited:
Kim Bernard (Maine)
Binnie Birstein (Connecticut)
Milisa Galazzi (Rhode Island)
Lynette Haggard (Massachusetts)
Sue Katz (Massachusetts)
Cherie Mittenthal (Massachusetts)
Nancy Natale (Massachusetts)
Toby Sisson (Massachusetts)
Donna Hamil Talman (Massachusetts)
Laura Tyler (Colorado)
Kellie Weeks (Massachusetts)
Gregory Wright (Massachusetts)
..
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Curated exhibition
Gallery Ehva: Good Vibrations
June 1-13
Opening: Friday, June , 6:00-8:00 p.m.
Book signing: Sunday evening, 6:00-8:00 p.m.
Laura Moriarty, director of the Gallery at R & F, Kingston, New York, is curating this show. The 12 artists featured in Good Vibrations represent a small fraction of artists who submitted their work to be considered for Encaustic Works ’11, the inaugural edition of a biennial exhibition-in-print published by R & F Handmade Paints, and juried for 2011 by Conference Director, Joanne Mattera. Over 400 artists submitted their work for her consideration, and ultimately only 50 could be included in the book. The opening will be on Friday, June 1, exact time to be posted--but part of the Friday evening festivities in town.

To celebrate the release of EW’11, we invited Laura to curate a show. She decided to make her selections from those artists who were passed by for the book but whose work is eminently worthy of attention. "Bound by deference to the submission process, these artists submitted in good faith, and are now being honored for their fine work and professional good graces," says Laura. Gallery Ehva, located on Shankpainter Road, is the enthusiastic host gallery.
Invited:
Christine Aaron (New York)
Lynn Basa (Illinois)
Jorge Luis Bernal (Maryland)
Michael Billie (New Mexico)
Lynda Cole (Michigan)
Kim Flora (Ohio)
Jeffrey Hirst (Minnesota)
Bonny Leibowitz (Texas)
Michelle Marcuse (Pennsylvania)
Winston Lee Mascarenhas (Texas)
Maritza Ruiz-Kim (California)
Pamela Wallace (Virginia) .
.
.
Curated exhibition
Ernden Gallery: Milissa Galazzi and Deanna Wood
The gallery's "feature wall" will show the work of two of its represented artists:
Misa Galazzi (Rhode Island)
Deanna Wood (Texas)
More info coming.

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Invitational exhibition
Charles-Baltivik Gallery and Sculpture Garden: Binnie Birstein
May 29-June 9
Opening June 1, 7:00-9:00 p.m., noshes by Bayside Betsy's
Solo exhibition of recent work by Conference presenter Binnie Birstein (Connecticut)
Charles-Baltivik Gallery, 432 Commercial Street
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Curated exhibition
Rice Polak Gallery: Improbable Topographies
May 31-June 8 p.m.
Opening: Friday, June 1, 7:00-9:00
Group show co-curated by Joanne Mattera and gallery director Marla Rice. Following last year’s Surface Attraction, in which we considered elements affecting a planar topography, this year we’re considering the result of more dimensional actions: upheaval, eruption, incursion, erosion, channeling, flow. The exhibition will include painting, bricolage and sculpture.
Invited:
Ruth Hiller (Colorado)
Christine Kyle (Massachusetts)
Laura Moriarty (New York)
Nancy Natale (Massachusetts)
Joanne Mattera (New York)
And gallery artist Willie Little
.
. \
Curated exhibitions
Stay tuned. We still have more shows to be announced. Cherie and Joanne are working with galleries in town on thematic ideas based on a gallery's program, or to bring artist-curated exhibitions to the attention of specific galleries who have expressed interest in being involved with The Conference. Each gallery will make its own final selections. This is an evolving process, the result of interest expressed by Provincetown's galleries after seeing the huge interest in encaustic last June, and the subsequent editorial attention paid to the exhibitions. We are focused on showing the work of registered conferees.

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Open to all conferees!
The Hotel Fair
Sunday, June 3; 9:30a.m.--12:30p.m.
This is your opportunity to show and sell. Totally democratic (there is no entry application, no fee), all that's required of you is a room at The Inn. Specifics are on the Hotel Fair's own page. Now that the Inn has filled, we'll make exhibition arrangements (closer to the Conference date) for those staying elsewhere who need a place to set up..

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*CALL FOR SUBMISSIONS

GOING POSTAL: THE POSTCARD SHOW AT CONFERENCE 6 will take place at the Provincetown Inn during the run of the Conference, June 1-3.

Going Postal is open to every conferee who wishes to donate a handmade 4" x 6" postcard. Every penny of the $30 selling price for each postcard will go toward scholarships for Conference 7. Scholarships, based on financial need, will be awarded. The niumber of scholarships will be in direct relation to the amount of money received from the sale of the postcards. Guidelines for scholarship application will be posted in August, in advance of registration for Conference 7. If your postcard does not sell, you may retrieve it at the end of the last hour of selling. Or you may donate it to Castle Hill so that they can put it into their postcard show in July. Castle Hill is a non-profit educational institution, and every penny that comes in will go to make it a better place for artists—including those who attend the Conference and Pre- or Post- Workshops, and the free exhibitions and talks that take place there around the Conference.

DEADLINE: May 15
FEE: There is no fee to enter

If you'd like to participate
● You must be registered for The Conference by the entry deadline
● Make a 4” x 6” postcard. (Do you have to use encaustic? No, but you probably will)

● Write your name on the back (all the better for the surprise of seeing whose work you have acquired)

● Send it by May 15 to Cherie at PO Box 756, Truro, MA 0266 – Please put GOING POSTAL: Postcard Show on the envelope

● You may donate as many postcards as you wish

● You may buy as many postcards as you wish

● If your postcard doesn’t sell and you wish to retrieve it, you may do so on Sunday afternoon at the end of the Conference

● Or you may donate it to Castle Hill so that they can put it into their postcard show in July. Castle Hill is a non-profit educational institution. Every penny that comes in from the sale of your postcard(s) will go to make it a better place for artists—including those who attend the Conference and Pre- or Post- Workshops, as well as the free exhibitions and talks that take place there around the Conference

. . . . . . . . . . . . . .
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Wondering How Selections are Being Made for the Exhibitions in Town?
I've received several emails from artists requesting to be considered for exhibitions. The Conference is an evolving and ongoing project. Each year we do new things as more people sign up and more galleries become interested. This is what's true right now:

Opportunities Open to All
. There are two juried shows, one currently still accepting submissions: Confluence: Water and Light. The show is open, with no entry fee, to any conferee who is registered by the datesnoted. We hope all conferees will enter appropriate work for consideration
. The Hotel Fair is free and open to all conferees. It's a closed fair--for us, not open to the public--but we have invited and will continue to invite the dealers from P-town, as well as dealers and curators from throughout New England

Curated or Invitational Shows
Cherie and I have been working with the galleries in town in different ways:
. In several instances dealers have expressed interest in a certain type of work, or certain themes, and we have given them a list of artists' names, lots of names, with URLS to peruse. The dealers will announce their selections, and we'll post the information
. In other instances we matched up galleries with curators. The galleries are providing the space and the openings; the curators have selected work for the shows. One example: Laura Moriarty curated Good Vibrations from specific parameters noted earlier in this post. Another: a dealer has invited Gregory Wright to travel his curated exhibition, Pollination, to Provincetown for the month of June
. In still other instances, Provincetown gallerists attended The Hotel Fair or the Conference juried show at Kobalt last year and found artists whose work they wished to show this year
. And in the you-never-know category, one gallerist found an artist through an Internet search

If not this year, next year
We expect to see a Cape Cod museum host a show for Conference 7, and we expect that the number of interested galleries will grow. We also expect that The Hotel Fair will prove to be a rich source of artists for the many galleries in town, so show your best stuff!

About Provincetown

2011-08-01T02:00:00.000-04:00

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

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? 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
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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)

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Getting to Provincetown

2011-07-30T02:02:00.000-04:00

We'll update with discounts after the first of the year

The Cape

Provincetown is located at curled fingers of the flexed arm of Massachusetts. There are many ways to get to P-town. I have just started adding links to this page. Here's the quick of it:

. 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 belo for the special Conference airfare

. 90 minutes via The Provincetown Fast Ferry, from the Bay State Cruise Company, Seaport Blvd. in Boston
. 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

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

Another option, below: the Provincetown fast ferry, which zips from Boston to P-town in 90 minutes. McMillan Wharf, where the ferry docks in P-town, is about a mile from the Provincetown Inn. Here's the schedule for 2011. We'll update the schedule as soon as the 2012 timetable is available.

Depart Boston	Arrive Provincetown	Depart Provincetown	Arrive Boston	Frequency
8:30am 1:00pm 5:30pm	10:00am 2:30pm 7:00pm	10:30am 3:00pm 7:30pm	noon 4:30pm 9:00pm	Every Day Every Day Every Day

We'll work on getting you a discount for Conference 6 as we did this past June

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.

P-town!

Orienting you to your travel options to the Provincetown Inn:

Click pic for a larger image of the map, or click here for a fully printable map

. The Inn is at the very end of Commercial Street, at the left side of the map. 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. (Yes, you will be staying exactly where the Pilgrims first landed in the New World!)

. 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

. Cape Air: Look for the airplane icon at the top of the map, just under the second "T" in ATLANTIC OCEAN

Who's Coming to the Conference

2011-07-28T16:33:00.016-04:00

Updated 2.9.12
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So nice to see new friends and long-time friends on this list..

Christine Aaron, New York
Sylvia Allan, British Columbia, Canada
Marie Claude Allen, Maryland
Corina Alvarezdelugo, Connecticut
Ilona Anderson, New Jersey
Todd Anderson, New York
Amy Arledge, Connecticut
Susanne Arnold, Virginia
Carol Bajen-Gahm, Massachusetts
Greg Barnett, New York
Irene Bartz, Pennsylvania
Lynn Basa, Illinois
Dawna Bemis, Maine
Marcy Bergeron, Massachusetts
Lynn Berglund, California
Jorge Bernal, Maryland
Kim Bernard, Maine
Margaret Bertrand, California
Constance Bigony, Massachusetts
Michael Billie, New Mexico
Andrea Bird, Ontario, Canada
Binnie Birstein, Connecticut
Pamela Blum, New York
Jeanne Borofsky, Massachusetts
Peggy Braun, Massachusetts
Carol Brody Luchs, Maryland
Heather Bruce, Colorado
Jill Burkholder, New York
Maureen Caouette, Massachusetts
Valerie Cargo, Ontario, Canada
Lea Cattan, New York
Anne Cavanaugh, Massachusetts
Lera Cavanaugh, Michigan
Eileen Charles, Massachusetts
Judith Chaves, Rhode Island
Alecia Chenoa, Connecticut
Debra Claffey, New Hampshire
David A. Clark, California
Cheryl Clinton, Massachusetts
Dorothy Cochran, New Jersey
Lynda Cole, Michigan
Angela Collins, Texas
Miles Conrad, Arizona
Tatiana Cooklin, Panama
Katherine Cookson, California
Linda Cordner, Massachusetts
Neverne Covington, Florida
Pamala Crabb-Burnham, Maine
Jane Davies, Vermont
Karen Dearson, California
Elena De La Ville, Florida
Susan Delgalvis, Alaska
Diane Destiny, California
Erna de Vries, Ontario, Canada
Robert Dodge, California
Deborah Dryden, Ontario, Canada
Patricia Dusman, Pennsylvania
Kenneth Eason, Maine
Judith Edwards, Florida
Cynthia Egan, Oregon
Carol Ettinger, Colorado
Hylla Evans, California
Mary Farmer, North Carolina
Dora Ficher, Pennsylvania
Joe Fiorello, Massachusetts
Laura Fisher, New York
Katherine Flammia, Massachusetts
Kim Flora, Ohio
Leslie Ford, New Jersey
Nicole Fournier, California
Karen Frazer, North Carolina
Joanne Freema, New York
Richard Frumess, New York
Milisa Galazzi, Rhode Island
Dona Geib, California
Molly Geissman, New Mexico
Shelley Gilchrist, Illinois
Lorraine Glessner, Pennsylvania
Mo Godbeer, Australia
Alison Goldner, New Jersey
Diana Gonzalez Gandolfi, New Jersey
Jane Guthridge, Colorado
Lynette Haggard, Massachusetts
Michael Haley, California
Sarah Harford, Rhode Island
Elizabeth Harris, Massachusetts
Kay Hartung, Massachusetts
Cari Hernandez, California
Howard Hersh, California
Marsha Hewitt, New Hampshire
Ruth Hiller, Colorado
Loree Hirschman, California
Jeff Hirst, Minnesota
Deborah Howard, Colorado
Sandee Johnson, North Carolina
Laura Leslie Jordahl, Illinois
Suzanne Kachmar, Connecticut
Deborah Kapoor, Washington
Supria Karmakar, Ontario, Canada
Ilona Kennedy, New Jersey
Maritza Kim, California
Esther Kirschenbaum, New York
Anne-Marie Kott, Massachusetts
Susan Lasch Krevitt, California
Karen Krieger, Massachusetts
Christine Kyle, Massachusetts
Ruth Lague, Massachusetts
Maria Lara-Whelpley, Connecticut
Richard Legge, Massachusetts
Bonny Leibowitz, Texas
Kathleen Lemoine, Louisianna
Marianne Suter Levai, New York
Joan Lewis, New York
Annette Lieblein, New York
Gurli Lovinger, Massachusetts
Julie Shaw Lutts, Massachusetts
Michelle Marcuse, Pennsylvania
Deborah Martin, Florida
Patricia Martin, Massachusetts
Winston Lee Mascarenhas, Texas
Alexandre Masino, Quebec, Canada
George Mason, Maine
Sharon L. Mason, Virginia
Sara Mast, Montana
Joanne Mattera, New York
Amie McCarron, New Zealand
Laurie McCoy Foster, New Jersey
Jillian McLaughlin, Maine
Rae Miller, Mexico
Cherie Mittenthal, Massachusetts
Laura Moriarty, New York
Kathleen Morton, Rhode Island
Catherine Nash, Arizona
Nancy Natale, Massachusetts
Leslie Neumann, Florida
Karen Nielsen-Fried, New Jersey
Mindy Nierenberg, Massachusetts
Jane Nodine, South Carolina
MaryAnne O'Brien, Massachusetts
Tara O'Leary, New Jersey
Linda Omelianchuk, Georgia
Jane Page-Conway, Maine
Patricia Palmer, Massachusetts
Jeannie Pasch, Massachusetts
Luzi Pfenninger, Pennsylvania
Janet Ponder, Virginia
Sherrie Posternak, Arizona
Lisa Pressman, New Jersey
Deborah Przedpelska, Norway
Diana Quinn, Washington, DC
Karen Raus, Massachusetts
Lynda Ray, Virginia
Peggy Reeves, Massachusetts
Sarah Rehmer, Illinois
Geralyn Robinson, New Jersey
Paula Roland, New Mexico
Christine Rooney, Virginia
Marybeth Rothman. New Jersey
Patricia Russotti, New York
Margaret Ryall, Newfoundland, Canada
Natalie Salminen, Minnesota
Dietlind Vander Schaaf, Maine
Susan Schenk, Nebraska
Idee Schoenheimer, New York
Karen Schoolman, New York
Rebecca Sher, Massachusetts
Jean Shook, Texas
Lisa Sisley-Blinn, Missouri
Toby Sisson, Massachusetts
Martha Shea Smith, Massachusetts
Norman Soskel, Tennessee
Theresa Spadafora, Massachusetts
Patricia Spainhour. North Carolina
Susan Stayer, Virginia
Kelly Steinke, Texas
Anne Strout, Maine
Krista Svalbonas, New Jersey
Donna Hamil Talman, Massachusetts
Michele Thrane, Illinois
Felicia Touhey, Rhode Island
Mary Travers, New Jersey
Constance Vallis, Massachusetts
Mitchell Visoky, New York
Elise Wagner, Oregon
Pamela Wallace, Virginia
Tina Watson, Massachusetts
Kellie Weeks, Massachusetts
Charyl Weissbach, Massachusetts
Deborah Winiarski, New York
Gregory Wright, Massachusetts
Tania Wycherley, Ontario, Canada
Lisa Zukowski, New York

A Look Back

2010-10-01T18:31:00.000-04:00

We were 250 strong this time around at the Provincetown Inn in Provincetown, Massachusetts--we maxed out!--with Post-Con workshops at Truro Center for the Arts at Castle Hill. I've posted a big, image-filled roundup on the History of the Encaustic Conference blog, along with recaps of each of the previous four years. Here are the basics--but, really, check out the full Conference 5 report here.

Our keynote speaker, Jackie Battenfield

Talks and Demos

. Jackie Battenfield, artist and author of The Artist’s Guide: How to Make a Living Doing What You Love, gave an inspiring Keynote talk on creating a place for yourself in the art world. . The Saturday Morning Panel, Mastering Media, looked at the ways we can promote ourselves and our work. Panelists were Cherie Mittenthal, Nancy Natale, Jeff Schaller, Linda Womack and Joanne Mattera as moderator

. Our three-hour Monotype Marathon was a huge hit on Friday afternoon--thank you, Dorothy Furlong-Gardner, Kathleen Lemoine, and David A. Clark.

. We had some two dozen talks and demos over the course of three days. Thank you to Jhina Alvarado, Nancy Azara, Kristy Battani, Michelle Belto, Kim Bernard, Andrea Bird, Darla Bjork, Dorothy Cochran, Miles Conrad, Elena De La Ville, Hylla Evans, Richard Frumess, Lorraine Glessner, Lynette Haggard, Deborah Kapoor, Kimberly Kent, Brenda Mallory, Laura Moriarty, Catherine Nash, Sherrie Posternak, Lisa Pressman, Toby Sisson, Tracy Spadafora, Deanna Wood, Gregory Wright, Tania Wycherly

Coverage

Provincetown showed itself to be an ardent supporter of The Conference, recognizing the cultural and financial importance of our event on the town. At least three local articles covered our event: Provincetown Magazine, Provincetown.com, and the Cape Cod Times, as well as a nice feature in Artscope Magazine, which covers all of New England. We expect the town to remain supportive in the coming years.

Below: The spread in Provincetown Magazine

(Thanks to Lynette Haggard for scanning the whole spread. Click to enlarge for reading)

Exhibitions

We had five gallery exhibits in town, all opening on Friday evening, P-town’s traditional night for openings:

. Kobalt Gallery, hosted the Conference’s juried exhibition, Beeline. Juried by Kobalt’s owner, Francine D’Olimpio, some 35 artists exhibited work that referenced bees, honey, hives and other apian themes. Recipients of awards were: Marybeth Rothman, Juror’s Award; Christine Kyle, Director’s Award; and Anne Cavanaugh, Castle Hill Award. Recipients each received a comped entry to The Conference in 2012.

All the name of the artists in these shows will be included in the History post.

. Bowersock Gallery’s Wax in Motion exhibition, juried by Steve Bowersock and Kim Bernard, exhibited the work of 16 artists, most of whom attended The Conference. Catherine Nash received the exhibition award, which comes with a solo show in 2012

. Rice/Polak Gallery featured Surface Attraction, co-curated by gallery director, Marla Rice, and Conference Directror, Joanne Mattera. The focus was on the texture in a variety of mediums, including encaustic, in work that was largely geometric and chromatically resonant.

. At Ernden Gallery, gallery director Dennis Costin featured work in encaustic by gallery artist Deanna Wood and guest artist Milisa Galazzi.

. The upstairs gallery at Kennedy Studios featured scenes of Provincetown and marine abstractions by Cid Bolduc and Marc Kundman

Post Conference

In five days of Post-Con we offered 20 daylong workshops at Truro Center for the Arts at Castle Hill, aka “Castle Hill.” We also had three evening events— “Looking at Wax,” a talk by Joanne; the Drumming Circle, organized by Lynette and Greg Haggard; and the Closing of the Sculpture Invitational in Wax, curated by Cherie—as well as our Friday gift to the conferees who stayed the whole week: Rebecca Matarazzi’s talk on Beekeeping at Castle Hill, replete with a visit to the hives, and Joanne’s Wax Walk in Provincetown, in which we revisited the shows, chatted with the dealers and then enjoyed the rest of the afternoon with coffee and chocolate.

Joanne already started to think about the Keynote speaker and the Saturday Morning Panel, as well as the talks and demos. Cherie has already begun to think about the Post-Con workshops. See for our Call for Proposals below.

Community Exhibitions

2010-09-30T18:39:00.012-04:00

This is a brand-new page for the listings of exhibitions in wax or encaustic. It's for the entire community. If you're attending The Conference and want specifics info about the exhibitions in Truro and Provincetown, click here.

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Through February
Susanne Arnold, group showDiscovering HanoverGallery Flux
Jan 26-Feb 29
Info: Info@galleryflux.com
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David A. Clark, solo show
Inside Out
Tucson Contemporary Arts
February 4-25
Info: www.tucsoncontemporaryarts.org
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Through March
Kathleen Waterloo, solo show
Circa Gallery
January 27-March 3
Info: www.circagallery.org
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Through April
Nancy Natale, solo show
Geometric Bricolage
Bing Art Center, Springfield, Mass.
February 3- April 7
Opening: Saturday, February 11, 5:00-7:00 p.m.
Info: Bing Arts Center and Art in the Studio
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David A. Clark, solo show
Big Red Arrow #4 - The Point
Process Museum, Tucson, Arizona
February 18 - April 18
Opening: Saturday February 18, 6:00-9:00 pm.
RSVP for opening processmuseum@gmail.com
More info: www.processmuseum.org
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Supria Karmakar, solo show
Navigating Heart--New Encaustic Mixed Media Works
Homer Watson Gallery, Kitchener, Ontario, Canada
March 17 - April 29
Opening: Sunday, March 25, 2:00-4:00 p.m.
Artist Event/Talk: Saturday, April 14, 1:00-3:00 p.m.
Info: Supria Karmakar Blog
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Through May
Kathleen Waterloo, solo show
Addington Gallery, Chicago
April 13-May 30
Opening: Friday April 13, 5-8 pm
Info: www.addingtongallery.com

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To have your listing included, use the Comments section to post information in this format:
Your name
Name of show
Name and location of gallery
Opening and closing dates
Date and time of opening
Participants
URL for more information
No pictures or no press releases, please. This is simply a community bulletin board.