Save the date: Conference 9

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

While you're waiting for a Conference update, check out the newest edition of

And click onto the recent New York Times article, 36 Hours in Provincetown

Joanne and Cherie, at Castle Hill viewing "Subliminal," the Conference show juried by Dan Addington 
(Photo by Christine Hochenkeppel for the Cape Cod Times; photo essay here

"I was impressed by the quality of the Conference and the presentations I attended, and I think it's wonderful that this excellent, long- running event has obviously had a real, tangible, positive effect in people's lives. When I think of all the friendships I heard about that have been made through the conference to say nothing of professional connections, I am amazed. And the testimony is it's getting better every year. It's an outstanding accomplishment that must be very gratifying, and I congratulate you.” 
--Dan Addington, artist, Conference presenter, and owner of Addington Gallery, Chicago  

“I feel like I’m part of a wonderful community now and for that I am extremely grateful.”
--Jennie Frederick, papermaker, Conference presenter, and professor, Maple Woods College, Kansas City, Missouri

“Not only have I learned and experienced so much, but most importantly to me, I have met the most awesome people who I can now call my friends . . .The Conference has made my life so much richer.”
 – Molly Geissman , New Mexico, who will be attending the Conference for the eighth time

DATELINE PROVINCETOWN: Conference 8 is now a sweet memory replete with gallery openings, demos, talks, panels, a Hotel Fair, food--lots of food, including the requisite lobstah which every non-New Englander consumed in great quantities--and eight days of workshops. I'll have a full report for you soon, so in the meantime, allow me to leave you with a few images and links:

Some early coverage about the Conference in Provincetown Magazine
Above: The work of Tremain Smith on the cover

. From the Saturday Morning Panel, The Roots of Contemporary Encaustic, there's a Conference blog post with info and links to allow you to continue your independent research on the artists presented. Our thesis was to discuss the work of artists of achievement who have been working in the medium for two decades or more, who have served as inspiration or role models. Presenters were Dan Addington, Heather Hutchison, Tremain Smith, Joan Stuart Ross and myself

. From the Sunday afternoon panel, Raising the Bar: Standards and Practices in Teaching Encaustic, there's a Facebook group called Artists TEACH Artists which has been formed to continue the discussion. A blog post, The Art of Teaching Art, prepared conferees for the discussion and also includes notes from previous years' sessions. Panelists were Milisa Galazzi, Sara Mast, Cherie Mittenthal and Toby Sisson

If you have blogged about the Conference or any of its events or workshops, please post the URL in the Comments section below. I'll live link them here.

See you next year! --J.M.

Notes on The Saturday Morning Panel

For this year's Saturday Morning Panel we focused on The Roots of Contemporary Encaustic. For too long, discussions about contemporary encaustic have begun and ended with Jasper Johns. While we acknowledge Johns's achievement in the medium-- indeed, in contemporary art--there are now dozens, perhaps scores, of artists of achievement working in encaustic. For this panel I invited four distinguished artists--Dan Addington, Heather Hutchison, Joan Stuart Ross and Tremain Smith-- each with a decades-long involvement with wax, to speak at some length about their own work and, additionally, to show the work of several other artists, all equally longtime practitioners in the medium, who have interested, intrigued or inspired them. The concept for this panel was inspired by a conversation with Heather Hutchison.--J.M.

This post was created to serve as a live-linked accompaniment to The Roots of Contemporary Encaustic on June 7, at the Eighth International Encaustic Conference. Bios and links to our four panelists and moderator are here, along with live links to the artists they discussed.

Dan Addington
Dan in his studio

Dan Addington is an artist and gallery owner who has been working with wax since 1989 and exhibiting encaustic work professionally since 1992. His work has been featured in group and solo shows across the US, and is in numerous public and private collections. In 1996, as director of what is now Addington Gallery in Chicago, Dan curated the first in a series of encaustic exhibitions which have since featured such notable artists as Lynda Ray, Howard Hersh, Robin Denevan, and Kathleen Waterloo. Dan’s own figurative work incorporates materials such as fabric, oil, wax, tar, gold leaf and various printed matter. The accumulation and layering of these materials echoes his interest in history and the relationships between the stratification of cultures and the layering of memory.

Inset: Dan's Towards Dawn, side view;  gold leaf, oil, wax, tar, 9" x 9" x 3"

The artists Dan discussed are:

. Joan Nelson

Below: paintings by Joan Nelson, left, and Tony Scherman

. . . . .

Heather Hutchison

Heather in her studio

Heather Hutchison’s work comes from the need to recreate, in solid form, an idea that exists in fleeting moments—a distilled essence of physical, spiritual, or emotional experience—which can only be expressed through the soul being employed in artistic expression. Heather is the recipient of a 2012 Pollock Krasner Grant and a 2011 Gottlieb Grant. Her work has been exhibited in the Corcoran Biennial in Washington, D.C., at the Brooklyn Museum, Otis College of Art and Design, the Knoxville Museum of Art, and the Montclair Art Museum. Select public collections include The Hammer Museum; The Brooklyn Museum;  The Smithsonian; Art in Embassies, Beijing; and the Gerald Schwartz Collection at Harvard University. Heather continues her 25-year line of inquiry into light and transparency in upstate New York.
Inset: Very Verdant, beeswax on panel

The artists Heather discussed are:
. Medardo Rosso
. Joseph Amar
. Wolfgang Laib

Below from left: Medardo Rosso (photo: Corina Alvarezdelugo); Joseph Amar; Wolfgang Laib

. . . . .

Joan Stuart Ross 
Joan in her studio
Photo: B. Savadow

 Joan Stuart Ross was born in Boston, graduated from Boston Latin School and Connecticut College, studied Printmaking and Color Theory at Yale, and earned an MA and MFA in Painting and Printmaking from the University of Iowa. Joan has lived, worked and taught Art in Seattle for many years and is an active and established figure in its arts community.  Her work creates non-linear narratives that celebrate light in its dominion over potential opacity. She combines layers of painting and collage and draws inspiration from the Northwest’s fog and mist, the ecstatic race of surf and spume and the subtext of items from personal history. Joan maintains her studios at BallardWorks in Seattle where she is a founding partner, and in Nahcotta, Washington. She has exhibited her work widely in the Mprthwest and abroad and is represented by the Patricia Cameron Gallery, Seattle, and several other Northwest galleries. 

Inset: Bubble Grid II, 2014, encaustic, textile collage on panel, 12 x 24 inches

The artists Joan discussed are:
. Lois Graham
. Dale Lindman

Below: Graham and Lindeman in their respective studios

. . . . .

Tremain Smith

Tremain in her studio

Tremain Smith has four works in the permanent collection of the Metropolitan Museum of Art in New York.  Her work is in corporate and private collections across the country.  She has had dozens of solo exhibitions in New York City, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale; in Maine, Delaware, Florida and Hawaii.  Group exhibitions include SOFA Chicago, Art Miami, the Painted Bride, the Philadelphia Art Alliance, and the USArtists American Fine Art Show. Tremain has been reviewed extensively, including coverage by the Philadelphia Inquirer, the Chicago Tribune and the LA Weekly. Her work is included in The Art of Encaustic Painting. In addition to her studio work, Tremain teaches and lectures. She taught encaustic painting at the Penland School of Crafts in 2006 and will again in 2015. This year she’ll teach at the Truro Center for the Arts at Castle Hill and R&F Paints.

Inset: Definite Emergence, 81 x 60 inches

The Artists Tremain discussed are:
Cheryl Goldsleger

Paintings by Cheryl Goldsleger, above; Howard Hersh, below left, and Tim McDowell

. . . . .

 Joanne Mattera 
Joanne in her studio

Working in a geometric style that is chromatically resonant, Joanne Mattera is a represented artist in galleries throughout the United States. Her paintings and works on paper are in the collections of the New Britain Museum of American Art, Connecticut; the Montclair Art Museum, New Jersey; the U.S. State Department; and in university and corporate collections internationally. Her work has been reviewed in Art in America and The New York Times. She exhibited in and wrote a catalog essay for Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic, which has traveled from the Cape Cod Museum of Art to the Hunterdon Art Museum, Clinton, New Jersey. Joanne is the author of The Art of Encaustic Painting, published in 2001, and the ongoing Joanne Mattera Art Blog. She is the founder/director of this Conference. 

Inset: Chromatic Geometry 13, 2013, encaustic on panel, 24 x 48  inches

The artists Joanne discussed are:
. Kay WalkingStick
. The exhibition, Cooled & Collected: Modern Masters of Encaustic Painting at Boon Gallery, Salem, Mass., 2005; with Eric Blum, Kevin Frank, Cheryl Goldsleger, Howard Hersh, Heather Hutchison, Alexandre Masino, Joanne Mattera, Lynda Ray, Jeff Schaller  (no information exists online for this exhibition, but live links to the artists' websites are in bold)
. Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic: installation images viewable here (scroll down a bit from the top of the page) and here
online catalogs viewable here.

Kay WalkingStick, With Love to Marsden, 1995, wax emulsion and oil on canvas, 32 x 64 inches

Below: Lynda Ray, Black Magnet, 2013,encaustic on panel, 36x36 inches