Click here to view and download the Conference schedule. Below is a more detailed version of the schedule, with descriptions for each demo, talk, and panel.
Note: This schedule is subject to change. Check this page for updates as the Conference draws closer.
For more information about the Presenters, visit the Presenter & Instructor Bios post.
Friday, June 2
Demo: Basics: Introduction to Encaustic
In this hands-on workshop, participants will explore the luminous beauty and versatility of encaustic painting. The workshop will focus on encaustic painting basics, as well as how to easily and inexpensively incorporate encaustic into a regular studio practice. Equipment and tools, encaustic paint recipes, pigmenting options, painting supports, safety considerations and more will be discussed. Participants will learn how to create image, texture and line using a variety of techniques and how to embed collage elements, found objects and image transfers within translucent layers of wax. Ample time for hands-on work will be provided.
Talk: All about Artist Residency Programs
Lisa Hoffman is the Executive Director of the Alliance of Artists Communities.
Talk: Professional Practice: Strategic Planning for Artists
The professional administrative work of being an artist can be daunting, from writing articulately about your work; successfully documenting, formatting, and curating digitally images for multiple contexts; to preparing proposals and keeping to deadlines for grants, exhibitions and residencies. This lecture will introduce Strategic Planning for Artists, to help manage the business side of being a full or part-time artist. Learn to apply the creative skills and resourcefulness of your art practice to create a sustainable life as a working artist. This lecture will be followed up by a hands-on workshop.
Talk: Wax or What: Encaustic from Around the World
Over the past few years, I’ve been able to travel to Italy, Spain, France, United Kingdom, and Japan, as well as to Washington, DC. I visited a lot of museums, churches, temples, and shrines and saw a lot of art and objects that I found intriguing for their materiality and richness. Many pieces that I saw appeared to be made of wax or to use wax in their construction. I was able to use the sniff test on many of them and distinguish the scent of beeswax, but of course not all wax is so distinctively fragrant or the work accessible enough to sniff. I took a lot (hundreds) of photos of the pieces that I found interesting and I would like to show them to conferees who may not be as fortunate as I was to see them in person.
10:30—11:30 Break, including:
10:45—11:15 Welcome and Orientation for Newcomers with Cherie Mittenthal
Demo: Everything about Paper: Mounting, Framing, and Hanging
Now that you have all these encaustic works on paper, what are you going to do with them? Pat Spainhour will present the latest techniques to mount monotypes and wax on paper to wood panels. Learn how to float mount paper within a traditional frame. Expand your presentation ideas through the use of magnets and suspended paper.
Demo: Making, Building, Monotypes
Laura Moriarty will demonstrate her unique way of making encaustic monotypes, which have become an ongoing by-project of her sculptural work. Come see how she uses the process to compose and carefully off-set trails and spillways of melted paint onto fine Asian papers. Like thin sections in optical mineralogy, Laura's prints record the thinnest possible slivers of her sculptural work.
Talk: Many Things you never Learned in College
As professional artists, we thrive in a creative environment. But a successful professional career in the arts does not begin and end with the creative process. We are also running a business that often involves tasks or skills that don’t come naturally to us or that we are unaware of. This talk, first introduced at Conference 9, presents six categories that Karen Freedman has integrated into her professional studio practice.
Talk: The Politics behind the Bees
Bees have always been a part of our cultural history. Beginning with the prehistoric foraging of wild honey, to their domestic cultivation dating from about 7000 BC, the utility of bees and beeswax has been long known — most famously for encaustic artists as the first pigment binder. But the intricate architecture of the hive, the complex social structures and intriguing communications through dance all make bee life an intriguing topic. Today’s industrialized bee farming largely ignores their nature by subjecting honeybees to unnatural conditions and genetic manipulation. In 2006 Colony Collapse Disorder (CCD) brought our attention to an augmenting problem. As Einstein stated: If the bee disappeared off the surface of the globe, human life would be soon to follow.” Politics and power are at play here. Learn how different countries are regulating multinationals in an effort to protect the bee and discover what we can all do to help.
12:30—1:30 Buffet Lunch
Demo: Variations on Color: Understanding What You Already Know
Lisa Pressman & Richard Frumess
Name any common pigment, and many artists will have an intuitive familiarity with it without necessarily being aware of its characteristic properties. Chief among those properties is a pigment’s qualities of opacity and translucency. We will demonstrate how the differences in opacity/translucency effect mixes and color relationships in terms of color saturation (vividness), color texture, and color temperature. We will also demonstrate how using the same pigment in different mediums (such as encaustic, cold wax, oil, and casein) affects that relationship of opacity and translucency. This is, in short, a brief introduction to how color theory can be applied to the actual pigments and mediums you use in your studio.
Demo: Cyanotype & Encaustic
Susan Lasch Krevitt
Cyanotype is a direct, hands-on, light-sensitive process producing unique and beautifully blue images. This demo explores the integration and creation of cyanotypes and encaustic based work. Techniques for creating images outside in the sun or indoors with ultra violet light bulbs will be discussed. Prints made on a variety of sensitized papers and fabrics will be presented to illustrate the effects those qualities can lend. Methods, tools and ideas for integrating the cyanotype print with 2D and 3D encaustic based work will be presented.
Talk: Thinking Through Space
Are you working dimensionally and interested in shaping space with your work? Are you challenged and intrigued by site specific work and installation? This talk will feature artists who create sculpture and installation that utilize space to actively engage the viewer, and include insights into the evolution of the thinking process inherent in envisioning dimensional work in space. How these artists address space and use it as one of the elements integral to the success of the work itself, as well as consideration of scale, lighting, height, movement, placement and sound will be illustrated and addressed.
Talk: Pricing Your Work
Wendy Haas & Jeff Schaller
The most popular question and complex riddle of an artists career is, “How do I price my artwork?” Everyone has difficulty with where to start pricing our priceless creations. I too filled my years of schooling with art classes instead of business classes. It took me (Jeff Schaller) more than 20 years of hard knocks to grasp the basics of economics 101. This workshop will examine how to price your work with basic formulas as well as the simple economics of price and demand.
Demo: Metal | Metallic
Dietlind Vander Schaaf
Metal | Metallic will focus on combining metal, metallic pigment stick, and silver and gold leaf with encaustic medium to create work that shimmers and has depth. If you love old nails or collect small pieces of found metal and rust, learn how to incorporate these objects into encaustic medium. The application of metallic pigment stick and silver and gold leaf will be demonstrated as ways to finish work, add shine, and enhance metal surfaces.
Demo: Creative Approach to Still Life
Encaustic as a painting medium is undergoing renewed interest as a method of personal expression and for creating objects of intrinsic beauty and intensity. The unique properties of the medium make it suited for a wide range of approaches and aesthetic directions. My own search over the past 38 years has intertwined with my love of working from life.
I view my work in any medium as a metaphor in the service of expressing my understanding of the visible world. Paint is pressed into service to stand for any number of visual elements in the construction of a painting. Encaustic by its very nature isn't particularly portable so landscape painting is often accomplished in the studio from preparatory drawings and color studies. For me the interaction with the subject weather landscape, still life or figure is paramount and the transformation from those initial reactions to the final Encaustic painting has an alchemy all of its own.
Talk: Encaustic Monotype 1997 - 2017
Paula Roland presents an overview of the development of the Encaustic Monotype. Attracted by the obscure process and its relationship to her acrylic process/concept painting, Roland developed and expanded the Encaustic Monotype to suit her needs and the needs of artists whom she has taught over the past 20 years. Highlights include the relationships between Roland’s early painting process with her encaustic prints, and works by other artists who have claimed the process, and furthered it.
Talk: Authentic Art: Creating from the Inside Out
This interactive presentation is about using art making as a means of personal transformation. No matter your level of experience, art provides us a way to tap into our inner wisdom where our most important work is done. Not all of art coming from our studio is profound or life changing, but we each have the ability to create from a place of power and be changed by what we create. This presentation will show you how. Through guided exercises, personal story and group discussion participants will generate imagery that is both personal and immediate and learn to set up a studio practice that move us ever closer to creating 100% authentic art.
4:30—6:00 Last call at the Vendor Room, Postcard Show for today
5:30—10:00 Dinner on your own / Openings in town
Saturday, June 3
9:00—3:00 Late Registration
9:00—6:00 Vendor Room open
Postcard Show open
9:30—11:30 Keynote Speaker: Sharon Louden
11:30 - 12:00 Break
12:00—1:00 Buffet lunch
1:00 - 2:30
Panel: Think Tank on Creative Teaching and Learning
Toby Sisson, Misa Gallazi, Sara Mast, Lisa Pressman
Come to this interactive 90-minute session, ready to participate in active dialogue. Share ways to cultivate creativity, ingenuity, and vision. Take away ideas and inspiration about making meaning in your own studio practice and beyond.
Panel: The Ethics of Appropriation
Fanne Fernow & Deborah Winiarski
Appropriation – the ‘borrowing’ of pre-existing objects or images without sufficient transformation – has played a significant role in the history of Art. In this age of the Internet, the sharing and appropriation of images has become even more pervasive. This presentation will explore the very fine lines between appropriation, plagiarism, influence and inspiration and the implications on artist copyright. The slide presentation will feature notable artists whose use of appropriation in their work has been challenged (i.e., Andy Warhol, Jeff Koons, Luc Tuymans, etc.), as well as artists from the ProWax community who have experienced the appropriation of their own work. The group discussion to follow will focus on the difference between transformative and derivative work, what actions an artist can take if their work has been appropriated, and, finally, how an artist can ensure that their own work is unique to their personal vision.
Demo: Wax, Yupo, Washi: Encaustic Collagraph on Japanese Papers
Yupo is a synethetic paper available in pads, sheets and rolls of various weights. It makes the perfect substrate to create hot wax plates called encaustic collagraphs. The surface holds gestural marks of the brush and objects can be coated with wax and stamped. Layers of wax can be incised or textured to create depth. Tapes and stencils can be employed to block areas for precise, geometric areas and defined edges. The imaged plates can be printed as relief, intaglio or combined with monotype and drypoint, all using the Yupo. This method is economical, plates easily cleaned and stored and have the additive benefit of being easily cut with scissors or utility knives. This demonstration includes making a Yupo plate, inking and printing by hand and various samples of the many possibilities.
3:00—4:30 90-minute session
Demo: Mixed Media Printmaking
This 2-day intensive workshop will explore printmaking with an experimental approach and encourage intuitive thinking and play. Participants will create imagery using encaustic collagraph processes, chine colle, and hand-drawing applications while exploring the second-generation image that comes off the press. Multi-plate images will be demonstrated and students will create multicolor prints. The emphasis of the class is image making and each participant will receive feedback and guidance in creating their personal vision.
Demo: Contemporary Portraiture
This Demo will take the mystery out of Painting a Portrait or working Figuratively. (But not the Magic!!). Lora's step by step demo, will show you how to approach a portrait or figure, from the initial drawing to the final highlight. Working vertically on either canvas or panel, Lora will demonstrate how to use the hot palette to create luminous skin tones, how to accurately draw the head, how to interpret the light, halftone and shadow and how to paint the features. She will demonstrate the use of water based encaustic paint as one of the final steps in a portrait , creating very expressive passages and transitions. She will discuss the specific requirements for working with encaustic on canvas.
Talk: Advanced Technique and Studio Practices
Masino's talk will reveal a wealth of information to advance and enrich one's painting approach and studio practice. Building on last year's well received presentation, this new version will approach both the technical and conceptual aspects required to achieve a personal vision and to anchor it in materiality. Starting with the initial idea and intent, we will follow the research involved in producing a new series. The focus will then shift to introduce numerous techniques and methods going beyond the first reflexes of how the medium is handled. Important points will be made between painting, monotypes and monoprints and how intertwining these disciplines can nourish ones body of work. The topics will include the creative process of generating new avenues in our art, the advantages of the easel, various brush techniques, the proper time to use the heat gun or torches, working large, working with gold leaf, acetate techniques, indirect drawing and much more!
Talk: Encaustic Theories and Practices: History to Contemporary
5:00—6:00 Book Signing in Lobby / Postcard Sales begin!
Until 6:00 Vendor Room open
Last Look at Postcard Show
8:00 Fun to be announced!!
Sunday, June 4
9:00—10:00 Very Late Registration
9:00—5:00 Vendor Room open
9:30—11:00 Hotel Fair, Part 1— Waterview Inn, Waterview Standard, Lobby
11:00—12:30 Hotel Fair, Part 2— Harbor View, Cape Tip, Breakwater
9:30—12:30 Postcard Show and sale
12:30—1:30 Buffet Lunch
Demo: Branding: Mark Making
Branding, or pyrography is the process of creating marks and patterns with fire, heated metal tools and objects. Depending on the branding method and the surface being branded, colors range from yellows to rusts to browns and blacks and when combined with the warm translucency of encaustic, these marks become a rich, dynamic framework for subsequent painted marks. The branding techniques covered in this demonstration include utilizing a propane torch to heat found metal objects and wood burning tools with various tips. Variations including positive and negative burning, drawing with soot and distressing the surface are incorporated into the demonstration. With an emphasis on mixed media, a short demonstration toward the end of the hour will include several ways in which to respond to these marks utilizing various encaustic techniques as well as other media. Because branding is not a commonly used technique, this demonstration is open to those with beginning to advanced levels of encaustic experience as it can be incorporated into any artist’s working process.
Demo: Photography & Encaustic
The artist's hand and eye combined with a “lens” or any optical device can create a unique narrative. Photography can be a useful tool to integrate into your daily practice as well as a tool to create and enhance the depth of encaustic work.
This seminar deals with the issues related to utilizing photographic images in your work and daily practice. We will look at questions related to the whys and hows of making an image or use of an existing image. Whether you have a point and shoot digital camera, IPhone, or dslr, all of these can be useful tools to integrate photographic images into encaustic work. Additionally, you can use a scanner as the camera to create elements or full compositions.
Talk: Idea Development
This talk will focus on the individual ways different artists develop ideas into executed works of art or bodies of work. It will also delve into strategies specific artists use to get past roadblocks in their work and how they place limits on themselves (or don’t) working in the studio.
Talk: Curatorial Thinking
“Curating” is an overworked word these days. Lifestyle magazines would have you believe that wardrobes and menus are “curated.” Curating by and for art professionals is something else entirely. It’s realizing a thematic vision by means of the art of others, each work advancing the curatorial thesis with depth and breadth so that the installed exhibition immerses the viewer in a river of ideas that are amplified by juxtapositions, sequential placements, and cross-gallery conversations. In this illustrated talk we’ll consider various kinds of curators and curatorial projects, with a focus on 1) how to get onto a curator’s radar; and 2) what to consider if you wish to curate an exhibition of your own.
2:30 – 3:00 Break
Postcard sale ends
Talk: Being in Community: Miss Manners Meets ArtZilla
Deborah Winiarski & Fanne Fernow
Many artists are part of a community. You could be a member of an art organization, a critique group, or on Facebook. You could be a student or a teacher with many colleagues. Some communities thrive while others have imploded. Some artists have much to gain by being in community. Sometimes, all it will take to spoil a functional community is one person with the wrong spirit.
This will be a talk and discussion about communities of artists and how they can grow and prosper. It will be about changing dynamics of groups and how to function effectively no matter what the size of the group or the issues that arise. It will be about what artists often do for one another. It will be about learning to play well with others. The origin of a group does not matter. The situations groups encounter are pretty much the same no matter what. We will address questions about how to speak straightforwardly without someone taking umbrage and how to deal with a response you don’t like, even if you have solicited an opinion. What are basic courtesies regarding referrals and other means of support? What do you do if you feel your work is being copied? How do you say, “No?” How do we establish a healthy combination of creative independence, ethics and human kindness?
Talk: Demystifying Social Media for an Artist
To review the different types of social media available today and the pros/cons on each to help the artist select the best social media resource for them and to answer the question, “Do I need social media?”
Overview of social media, Review of social media/website terms, Social Media as part of my brand , Best Practices, Social Media Etiquette , Apps to help with Marketing/Social Media
Critique: Looking at Your Work Critically
Talk: Expressing Meaning Through Materials
Many artists working with encaustic combine its unique qualities with various found or manipulated materials. I propose to give a talk on 10 to 15 artists who are making mixed media artworks that derive meaning because of the materials from which they are made. Some of my proposed artists have personal connections to the materials they select, while others create works that find meaning in the way that random materials are used or brought together. While not all of the artists in my talk use wax in their work, these artists represent the broader art world and may inspire new ways of thinking about work with encaustic.
Demo: Working on Soft Supports
Hard substrates like wood panels, ceramic or metal, limit the ways in which wax and other materials can be applied. Using soft supports like cotton quilt batting, oil-absorbent sheets used for hazardous waste cleanup, and perhaps canvas and other fabrics, we will expand the possibilities by sewing through these materials after they are soaked through with wax. These soft materials also provide a direct method of attaching mixed media elements. And like working with encaustic atop rigid supports, these soft supports can be painted on, image-transferred on, and collaged on. Students will also learn various innovative methods of mounting, framing and hanging including affixing work to rigid under-supports. Or by free-hanging the finished pieces, students will compare the results of viewing the work with and without light coming through from behind.
4:15—4:30 Wrap up in Mayflower Room
Closing remarks from Cherie
5:30—6:30 Closing Reception at the Cape Cod Museum - Buses will be provided