Postcard Show at the Inn

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Postcard Show at the Inn

Conference 13:  Going Postal 
Stephanie Roberts-Camello will accept and install your postcard donations. Info below. 

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The Postcard Show, Going Postal, takes place in the Trawler Room, right off the lobby at the Provincetown Inn. We put the postcards up on Thursday so that when you arrive for the Conference on Friday morning, you'll be able to use your break times to pop in to see the show.

The Postcard Show is one of those glorious win/wins. Conferees--as well as friends of the Conference--donate postcards for show and sale. It's an exhibition for the artists donating, and every penny of the sale goes toward scholarships for the following year.

Each year will see a different group of artists receive the Conference Scholarship Grant, which offers a paid-for entry to the Conference. Additionally, the Scholarship Grant is a legitimate entry for your resume.

Our longtime Conference friend, artist Stephanie Roberts Camello will accept your postcards.

When to send: Please have cards sent by May 15

Where to send: 
Stephanie Roberts-Camello
24 Standford Hill Road
Pembroke, MA 02359

How to pack: The postcards will not be sent individually but in a padded envelope or other safe container. Please try to cut down on excessive packaging. Not only will the environment thank you, Stephanie--who will have to unwrap everything--will thank you as well. The flat lightweight-cardboard or padded mailers available at the Post Office or FedEx should be sufficient to protect your work. You might wish to interleave your postcards with glassine, and then sandwich the stack between two lightweight layers of cardboard--the type that comes in  a digital-print paper box--before inserting the whole thing into the mailer. For good measure, I'd write "Do not bend."

Can you hand deliver? Unfortunately, no. Much as we'd love to have you do that, the postcards need to be received by May 25 so that Stephanie can prepare them for hanging before she arrives in Provincetown. An exception can be made for those of you coming from outside North America (email Stephanie if that's the case.)

USPO padded mailer and FedEx thin cardboard mailer, both about 9.5 x 12.5 inches work great. You can also use a less sturdy manila envelope if you sandwich the postcards with a thin sheet of cardboard top and bottom.

Postcard Guidelines

Basic parameters

. Size: postcard dimensions of 4x6 inches. Horizontal or vertical orientation is fine. Please keep your cards as close to the 4x6 size as possible so  they can fit into the plastic sleeves which will be provided

. Paper: People have used 300-lb watercolor paper to paint on, lightweight Japanese paper to print with, and everything in between. Other: Some artists have used  4x6" prepared panels, and others have used small stretched canvases or thin boards
. Dimension: Most of the postcards are two-dimensional, but who are we to cramp your style? Relief and three-dimensional works are entirely welcome

. Installing: We provide the archival poly bags. A small group of enthusiastic volunteers pins each poly bag to the cork walls around the room.  

. Materials: Most artists have incorporated wax entirely or in part, but we're open to your particular material expression

. Limit: There is no limit to the number of cards you donate or buy

. Purchase: The postcards are $30 each

. Getting into the room to buy: We'll have specifics listed on the schedule. The room will be open just for viewing prior to sale.

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Hotel Fair

The Hotel Fair will take place on Sunday morning, June 2nd. An in-house event, it's an opportunity for every conferee to show their work to their colleagues (and, as always, there is no fee for this). Just open your hotel room at the times noted below. Some artists create entire installations. Others approach the event more casually, placing work on their beds or on the furniture.  If you don't have a room at the Inn, not to worry; you can set up in the lobby.
 
2019 Timetable

. 9:30 to 11:00: Rooms in the two-story Inn section--Waterview Inn and Standard inn plus Waterview and Standard

. 11:00 to 12:30: Rooms in the motel section--Harborview, Cape Tip and Breakwater and the lobby


The Motel Section is divided into three sections, each with a different name:

. Harborside rooms begin after the Main Lobby area: 120 to 134         

. Cape Tip Rooms: 135 – 149     

. Captain’s Suites: 150, 153, 154 

. Breakwater Rooms: 156-173

The Inn Section is the two-story area where much of the Conference takes place

. 1st floor Waterview Inn: 2, 4, 6, 8, 10, 12, 14 

. 1st floor Standard Inn (across the hall, no water view): 1, 3, 5, 7, 9, 11, 15 

. 2nd floor Waterview Inn: 16, 22, 24, 2, 28, 30, 32 

. 2nd floor Standard Inn (across the hall, no water view): 17, 23, 25, 27, 29, 31, 33

The longer section on the second floor is, somewhat confusingly, also called "Waterview" and "Standard" but there's no "Inn" in the name
2nd floor Waterview: 38, 40, 42, 44, 46, 48, 50, 52 , 54, 56, 58, 60, 62  

2nd Floor Standard (across the hall, no water view): 37, 39, 41, 43, 47, 55, 57, 59, 61   


Notes on the Hotel Fair
Please note that the nature of this Hotel Fair, or any hotel fair, is that exhibitors do not get to see the other exhibitors in their time slot. The only way to see everything is to be a viewer rather than an exhibitor. Or share your room so that you and your roommate can take turns venturing out to see what's being shown during your time slot. Some conferees prefer not to share their personal accommodations but are open to the idea of sharing the room for exhibition during the Hotel Fair. (Use the Message Board to pair up.)

Some views of earlier Hotel Fairs The History of the Encaustic Conference blog has a lot of good pictures. Once you're on the blog, scroll about one quarter of the way down the page (it's a long page) to find the Hotel Fair section. 


Can you sell out of your room?

Yes. Some conferees use electronic card readers to accept credit cards (though Wifi can be weak in the Cape Tip and Waterview Rooms). Others take checks, cash, or IOUs. And still others are open to trading. There are no rules, except that the business is between you and the person interested in your work. Neither The Encaustic Conference nor the Provincetown Inn assumes any responsibility for your transactions.

Is the Hotel Fair open to the general public?
Yes, The Hotel Fair is open to the public. Many gallery owners in town come and visit. We also invite a number of local and regional critics, curators, writers and publishers to attend the Conference specifically so that they may see what's going on in contemporary encaustic. We encourage them to attend the Hotel Fair, and many do.

Is there anything you can't do?
You cannot make holes in the wall with pins or nails. If you do and the Inn sees them, you will be charged a refinishing fee. However, there are temporary-tape picture hangers, and artists with light-in-weight work may use those. Others simply prop work on the furniture or the bed. Conferees have also used the bathroom to create displays and propped paintings on the outdoor areas of their rooms. Be inventive while being respectful of the limitations.

"What if I have registered only for Friday and Saturday night. I'm supposed to vacate my room by 11:00 am on Sunday. Can I participate?"
Yes! However, be prepared to vacate your room as soon as the Hotel Fair is over. You can leave your suitcases and/or wrapped art with the manager once you have checked out, but know that neither the Inn nor the Conference will assume responsibility for your belongings.

"What if I'm not staying at the Inn. Can I participate?"
Yes! The lobby is available for you to set up. Participants typically place work on the furniture in the lobby. Others have brought their own card table and chairs to set up. Again, be inventive without banging into the walls. And please be conscious of the amount of space you take, which you can gauge as others are setting up.
 
"What time can I start setting up in the lobby?"

Between 8:30 and 9:30. Please be set up by 9:30 when conferees will start to come through.

"Can I ship artwork to the Inn?" 
If you are staying elsewhere, no. If you are a registered guest at the Inn, yes. Eric, the event manager, will accept packages addressed to you. Add this at the bottom of your label: ATT: ERIC, ENC. CONF. Please know, however, that neither the Provincetown Inn nor the Encaustic Conference will assume responsibility for them. Please bear in mind if you ship your work,
Provincetown is at the very tip of the Cape, so UPS and Fed Ex typically arrive late in the day.

"How do I ship it back?"
. If you send packages to yourself, be prepared to send them back. That means contacting your carrier ahead of time to ascertain what you'll need to provide in the way of labels
. You will be responsible for storing the shipping boxes
. Make sure your carrier will pick up the packages for return delivery. If not, you will need to drop the packages off. Make sure you know where the drop locations are and when they are open
.Here's the link for the FedEx drop-off location in town

How to let conferees know where to find you
So that conferees know what room you're in, I will post a large sheet of paper in the Lobby with all the rooms numbers. If you're participating in the Hotel Fair, write your name next to your room number so that people can find you easily. Also, use the Comments section below to note your name if you'll be participating. Feel free to include  a website URL, too.



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2019 Conference Schedule

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2019 Conference Schedule

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Please Note:  This schedule is subject to change, please check back in as the Conference dates approach!

Friday, May 31

9:30 - 10:30  

DEMO: Expansive Wax Printmaking
DOROTHY COCHRAN

Making prints on paper has a long tradition. This demonstration will expand the vocabulary of plates to printed surface by using innovative materials for exciting new approaches and effects. Painting hot wax onto Yupo, a 100% recyclable, waterproof, tree-free synthetic paper, creates an encaustic collagraph plate with unending textural appeal. After inking up with Akua soy base inks, the plates are printed on Evolon, a polyspun fabric like material which is absorbent, non-wrinkling and archival. Finished work can be matted, mounted, wrapped on wood or used in 3-D objects. The possibilities are endless. The entire process will be demonstrated step by step from beginning to end.

DEMO: Getting Down to Basics
LAURA MORIARTY
This demo is intended as an introduction to encaustic, a medium that is incredibly simple and incredibly complicated at the same time. Laura will start by discussing the fundamentals, such as appropriate surfaces and brushes, fusing techniques, and of course temperature and ventilation. Then, through a free-flowing demonstration, she will illustrate how the simple process of painting with hot wax can be enhanced in a variety of ways using simple hand tools.

TALK:  The Environmental Politics of Wax and the Future of Encaustic
JANISE YNTEMA

What does the future hold for artists working with encaustic? Will encaustic remain sustainable? How are supplies of beeswax and dammar being affected by modern farming techniques and climate change? Are there synthetic alternatives to wax that are viable and desirable? Originally based in New York, but having lived in Europe for over 20 years, Janise Yntema offers a unique perspective of how different countries are approaching environmental regulations and concerns. 

TALK: Blurring of Boundaries
SHERRIE POSTERNAK
We, as artists working primarily in the medium of encaustic, are fond of proposing and even insisting that “It’s not the medium, it’s the message.” Affirming this proposition, Sherrie will discuss  combining other materials and encaustic techniques in order to convey our intent in the best way possible. Multi-disciplinary approaches can add dynamism, energy, texture and depth to our work. The talk will then focus on a more general blurring of boundaries between disciplines, such as visual art and poetry or dance, or the arts and the sciences. We will discuss why this synergistic approach is so important to us as individuals, community and the world.

10:30 - 11:30 BREAK
 Including 10:45 - 11:15 Welcome and Orientation for Newcomers
CHERIE MITTENTHAL

11:30 - 12:30

DEMO: Drawing Within Painting - The Possibilities of the Line and Mark Within Your Encaustic Painting
JOANNA KIDNEY
This demonstration will explore the potential of drawing within encaustic painting. Experimentation, intuition and immediacy will be the focus in looking at ways to expand a drawing vocabulary. It will explore a wide range of techniques and tools to add and subtract lines and marks: additive processes such as drawing media compatible with encaustic, the flow pen, masking, transferring line and subtractive techniques such as intaglio, intarsia, using objects to make impressions.

DEMO: Encaustic + Cold Wax: A Synergistic Combination
LIA ROTHSTEIN
In this Demo you’ll learn the basics of encaustic and cold wax painting and how, in combining the two materials, unique textures and effects can be achieved. The advantages of combining the materials and safe practices and limitations will be explored in-depth.

TALK: The Art and Craft of Teaching: Ongoing Professional Development for the Experienced Artist Teacher
MILISA GALAZZI
Many of us are professional artists who create and sell a body of work or many bodies of work - if we are lucky! Our studio practice is well defined and our product is thoughtfully conceived and beautifully executed. As Artists who also Teach, are we giving the same amount of thoughtfulness to the Art and Craft of our Teaching? In this talk, I will partner with the experienced ArtistTeacher to guide them through thinking about ways to deepen their art teaching practice. Just like critiquing our own artwork, professional ArtistTeachers must also learn to critique their own teaching in order to grow as an ArtistTeacher. Topics to be covered will include: Who are your students? What is your syllabus? Does your target market (students) and your teaching match? What is your philosophy of education? What exactly are you teaching your students and why? What are your goals for your students given your time and space constraints? How do you best meet the needs of your students given your goals and your philosophy? How do you know if your students are meeting your teaching and learning goals? What type of art historical context do you provide and in what way? What type of feedback, critique or critical assessment do you provide your students, how and why?

TALK: Making Art in a Time of Trial
PATRICIA MIRANDA
Vedran Smailović, the cellist of Sarajevo, captured the imagination of the world when he played his cello in the streets in the midst of war. You don’t have to be a brave musician or under fire to ponder the meaning of being an artist in a world so full of challenges. This lecture will speak to the value of art in difficult times, with examples of the ways contemporary art sits in relation to the issues of the day, from outwardly political to that which stakes a claim for beauty. This includes discussion on how art speaks to our time, from witness to memorial, revelation to action, reflective to inspirational, as well as how to see your work as having a meaningful role in the world no matter the form it takes.

12:30 - 1:30 BUFFET LUNCH

1:30 - 2:30

DEMO: MUD
RICHARD FRUMESS
This is the third installment of the series VARIATIONS ON COLOR, UNDERSTANDING WHAT YOU ALREADY KNOW. The previous two presentations discussed OPAQUE AND TRANSLUCENT COLORS and BLACK AND WHITE. This time the subject is MUD… as in dull colors or mixes that seem lifeless. So when you’re stuck in the mud, what do you do? You can, of course, always throw your painting in the garbage. But you won’t learn anything by doing that. Or you can stop and ask yourself how you got stuck. And then, since you can’t call a AAA tow truck to pull you out, you explore colors that will. And in the process you find there is no mud that can’t be turned into a color of great usefulness.

DEMO: Mixing Your Mediums (and Maybe Metaphors): Oil Paint, R&F Blending Medium with Encaustic
DEBRA CLAFFEY
Using a very absorbent paper (I use Rives BFK) on a panel. An initial drawing is made with white or clear encaustic paint and lightly fused. The next layer is put down with R&F pigment sticks or oil paint with R&F Blending medium. The paint will slide over the encaustic and absorb into the open space on the Rives BFK in a unique mix of texture and surface.

TALK: Materials, Method and Process
LORRAINE GLESSNER
Process is simply defined as a specific, continuous action, operation or series of changes that produce development. Artists who use process in their work possess a strong sense of connection to their materials, yet there is always a struggle over control. In some cases this struggle may serve as a catalyst for the discovery of new processes. This lecture presents contemporary artists whose work utilizes alternative materials as well as process, and the repetition of that process to generate structure, form and content. Sculptors, painters, craft and fiber artists work is grouped into process categories such as repetition of a single action, restriction by a set of rules and restriction of use of one material and one process. The materials which these artists use is as wide as it is varied and include, found, household and recycled materials, Tyvek, hair, rubber, adhesives, stitch, fire and encaustic to name a few. These artists inspire, as they not only exploit the inherent properties of their materials, yet at the same time transform the materials from their original use.

TALK: Thinking Through Space
CHRISTINE AARON
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.

2:30 - 3:00 BREAK

3:00 - 5:00

PANEL: It’s Not ALL about the Wax but a Tool in the Toolbox
PANELISTS: Michael David, Joanne Mattera, Deborah Kapoor, Susan Lasch Krevitt
Moderated by: CHERIE MITTENTHAL


Saturday, June 1

9:30 - 11:30
KEYNOTE: Judy Pfaff

11:30 - 12:00 BREAK
12:00 - 1:00 BUFFET LUNCH

1:00 - 2:30

DEMO: Working Dimensionally with Moldable FOSS SHAPE
DEBORAH KAPOOR
Foss Shape is a flexible felt-like fabric that can be molded with heat to use as a substrate for encaustic. In this presentation, Deborah will show how this material can be used to create depth and additional layers for books or collage, or for deeper dimensional layering as either a stiffener or to create freestanding sculptural structures. A variety of techniques with heat will be shared along with work by artists who have used this material in exciting and innovative ways.

DEMO: Image Transfers Using Transfer Film and Transfierz
PATTI RUSSOTTI
This process allows one to make full color or black and white transfers directly onto wax. This seminar will show you how to transfer an image or element of an image onto a variety of surfaces using Ink Aid Transfierz or Dass Super Sauce. We will look at a variety of ways to incorporate photographic images into your art. These can be full scale images or parts of an image and can then be distressed, marked and painted and drawn over. The process: an image is printed onto transfer Film thru an inkjet printer. The substrate (board, fabric, paper) can be waxed or waxed later is coated with the transparent solution and becomes the wet receiving layer. The film is laid down and then removed when it is “done”. After drying, you can continue working.

TALK: Out of the Box
SUSAN LASCH KREVITT
This slide presentation is a survey of artists, past and present, using cardboard as an important element in their work. Historically, artists have used cardboard since it’s invention in the 1800’s. While it’s sometimes used for its structural properties, it’s also been a favorite of artists seeking free or low cost materials. Images will include geometric and organic 3-dimensional and 2-dimensional artwork using encaustic and other forms of paint.

TALK: Grant Writing For Artists
PATRICIA MIRANDA
You’ve developed a strong body of work and now want to write a proposal for a grant or exhibition. This lecture covers the essential elements of proposal writing, including best practices to: write compelling, clear, specific texts about your work; understand application questions; create competitive budgets and make a compelling case for funding; and present persuasive proposals, all while using strategic planning practices to focus your artistic and career goals.

2:30 - 3:00 BREAK

3:00 - 4:30

DEMO: Casting with Encaustic
HELENE FARRAR
Contemporary artists are looking for alternatives to making sculptural multiples. Working both three-dimensionally and in relief formats, Artists can now use eco-friendly and reusable “Impressive Putty” specifically to be cast with encaustic. In this demonstration, we will learn how to mold found objects, bisqued clay, polymer originals, collographs, relief sculptures, and textured surfaces with  ImPRESSive Putty! Digital slides and hands-on samples will be shared to exemplify these process options casted with encaustic. It will also be covered how to make multiple molds from the same material. This reusable moldmaking material has an extended working time to push or wrap around an object, chills to solidify, and casts beautifully with encaustic. It makes excellent press or push molds. This demonstration will be a perfect fit for a novice and experienced moldmaker.

TALK: Critical Thinking and the Use of Encaustic in Abstraction
MICHAEL DAVID

TALK: Growing Together: Mentors and Mentees
JEN GREELY & JEFF HIRST
Presentation and discussion regarding the ins and outs of mentoring: how to find a mentor, when it might be time to find a mentor, what different mentoring structures look like, benefits of mentoring to both the mentee and the mentor, long-distance vs. local mentors, as well as how to successfully separate from a mentoring relationship if the time is right. Panel to include Jen Greely and Jeffrey Hirst, who have worked together as mentor/mentee since 2017, along with one more artist mentor.


Sunday, June 3

9:30 - 11:00

Hotel Fair, Part 1

11:00 - 12:30

Hotel Fair, Part 2

12:30 - 1:30 BUFFET LUNCH

1:30 - 2:30

DEMO: Encaustic Monoprint with an Asian Flair
PAT SPAINHOUR & LAUREN PEARLMEN SUGITA
What is Gampi? Hanji paper comes from where? How do I use rayon paper? Clear up the confusion on how to use these papers for encaustic monotypes created on the Roland Hotbox. This extraordinary session will be co-taught by artist Pat Spainhour and paper expert Lauren Pearlman, Paper Connection International. Lauren will discuss the characteristics of Washi (Japanese papers), a few of which are Kozo, Gampi, and a paper made from bamboo. Pat Spainhour will demonstrate how to use each paper, as she creates monotypes through a variety of encaustic techniques.

DEMO: Leaf Stencils + Organic Materials
DIETLIND VANDER SCHAAF
This demo will cover how to create stencils from fresh leaves as well as working with dried plant material and encaustic. The use of Pigment Sticks will be demonstrated.

TALK: Cultivating Creativity
KIM BERNARD
Looking for inspiration? Feeling stuck? Need to shake things up? In this energized and interactive talk, participants will be guided through a plethora of playful exercises that promise to inspire and build creative confidence. We will focus on the creative process in an atmosphere where generating ideas and finding ‘flow’ are the goal. Participants will leave with an arsenal of go-to strategies they can continue to revisit for inspiration.  

TALK: How to Store, Inventory, and Archive your Works
NANCY NATALE
Nancy was part of the five-member team of artist friends who prepared Binnie Birstein’s work for her retrospective show and sale after her death. The team included: Christine Aaron, Jen Greely, Elisa Keogh and Nancy. We will talk about how we sorted through the work, photographed and marked each piece, recorded and archived it for sale, storage, and other distribution. We used methods every artist can follow to take control of their work production for ease of access. In addition to our experience, I will include other information about disposing of unsold and stored work during an artist’s lifetime and thinking about estate preparation.

2:30 - 3:00 BREAK

3:00 - 4:00

DEMO: Alternative Surfaces
JODI REEB
I will demonstrate how to create alternative metallic surfaces that can be partnered with encaustic painting. The paints contain real metal particles such as iron, copper and bronze. These finishes create beautiful, rusted and patina affects on the encaustic surface. I will also show how to add a variety of surface treatments including powdered graphite, metal leafing and embedding glass shards. These surfaces can be layered with encaustic or be the final finish. The metallic paints bind on porous and non-porous surfaces.

DEMO: Working with EncaustiFlex
LESLIE GIULIANI
Finding a new art making component or material that solves issues which allows artists to create the work they envision can be a game-changer. Encaustiflex is that material for me. I wanted to be able to add heavy machine embroideries directly into my encaustic paintings without tearing. Encaustiflex solved this but as I experimented more I found the micro-fiber material solved other issues important to other artists, as well. I will share how Encaustiflex works with Cold Wax, Digital Printing, Encaustic Collagraph and Suminagashi Marbling. Since Encaustiflex holds so much paint, I will show how deeply layered an image on a paper-like substrate can be. Encaustiflex is rip-proof so I will show how it can be cut, woven and grommeted, etc. for sculptural works and hanging applications. Lots to show and tell.

TALK: Writing the Perfect Artist Statement
JOANNE MATTERA
The Artist Statement is that much maligned document that nobody like to write but everybody reads. If you exhibit, apply for grants, or simply wish to engage with the art world in a verbal way, you need one. Do you have to be a great writer to produce a strong statement? No. You just need to follow 10 tips, which I’ll lay out for you.

4:15 - 4:30

Wrap up in Mayflower Room
Closing remarks from Cherie

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Introducing our Keynote Speaker: JUDY PFAFF

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Cited by critics as the pioneer of installation-art, this oft-cited label for the sprawling career of Judy Pfaff provides an introductory sense of Pfaff’s legacy, but proves limiting to the ever-changing work she has been making for decades and still today. Born in London in 1946, Pfaff received a BFA from Washington University Saint Louis (1971), and an MFA from Yale University (1973) where she studied with Al Held.  Her work spans across disciplines from painting to printmaking to sculpture to installation, but is perhaps best described as painting in space. These spatial paintings inhabit and transform their environments, becoming ad hoc homes for viewers and the artist. Drawing upon a wealth of spiritual, botanical, and art historical imagery, Pfaff’s installations simultaneously and without contradiction reference the austerity of a cathedral and the temporality of a mandala. Like a mandala, the life of Pfaff’s work is brief and burning, deconstructed and sections discarded after a show comes down. Each installation considers the specific spatial geometries of the room, the ceiling, the street out the window, so that no two shows are ever alike. This tenacious generosity Pfaff offers her viewers, in which she and her crew labor for months or years for shows that last days or weeks, sets Pfaff apart from colleagues in other disciplines who can rely on sales of discrete objects. Refusing to give narrative meaning to her work, this urgent and ferocious need to labor for the visual and tactile is remarkable in an era where language dominates artistic activity. She exhibited work in the Whitney Biennials of 1975, 1981, and 1987, and represented the United States in the 1998 Sao Paulo Bienal. Her pieces reside in the permanent collections of MOMA, Whitney Museum of Art, Tate Gallery, Brooklyn Museum of Art, and Detroit Institute of Arts, among others. She is the recipient of many awards including the Lifetime Achievement Award from the International Sculpture Center (2014), the MacArthur Foundation Award (2004), and the Guggenhiem Fellowship (1983). Pfaff lives and works in Tivoli, New York.

https://www.judypfaffstudio.com/


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Who's Coming to the Conference?

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Who's Coming to the Conference?

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Attendees from across the map listed below in alphabetical order!
Updated weekly, check back often!

 


Christine Aaron - Larchmont, NY
Pat Benes - Beverly, MA
Kim Bernard - Rockland, ME
Linda Bigness - Camillus, NY
Pamela Blum - Kingston, NY
Karen Bright - Little Silver, NJ
Bettine Broer - Siasconset, MA
Laurel Cave - Tyrone, PA
Martha Chason-Sokol - Brookline, MA
Debra Claffey - New Boston, NH
Sheary Clough Suiter - Colorado Springs, CO
Dorothy Cochran - Woodland Park, NJ
Linda Cordner - Lincoln, MA
Pamela Crabb-Burnham - Springvale, ME
Michael David - Brooklyn, NY
Angel Dean - Providence, RI
Pamela DeJong - Ashland, MA
Susan Delgalvis - Grand Junction, CO
Patricia Dusman - Doylestown, PA
Helene Farrar - Manchester, ME
Richard Frumess - Kingston, NY
Milisa Galazzi - Cranston, RI
Leslie Giuliani - Weston, CT
Lorraine Glessner - Jenkintown, PA
Jen Greenly - Westport, CT
Jeff Hirst - Chicago, IL
Lin Holzinger - Carlsbad, CA
Melanie Hulse - Kerhonkson, NY
Deborah Kapoor - Seattle, WA
Joanna Kidney - Bray, IRELAND
Melissa Lackman - Canyon Country, CA
Susan Lasch Krevitt - Thousand Oaks, CA
Barry Margolin - West Yarmouth, MA
Joanne Mattera - New York, NY
Thya Merz - Port Townsend, WA
Patricia Miranda - Port Chester - NY
Cherie Mittenthal - Provincetown, MA
Laura Moriarty - Kingston, NY
Nancy Natale - Easthampton, MA
Louis Noël - Montreal, QC, CANADA
April Nomellini - Deerfield, IL
Jeannie Pasch - Dover, MA
Sallyann Paschall - Santa Fe, NM
Lauren Pearlman - Providence, RI
Deborah Peeples - Cambridge, MA
Judy Pfaff - Kingston, NY
Arlene Piacquadio - Westerly, RI
Sherrie Posternak - Tucson, AZ
Jodi Reeb - Minneapolis, MN
Stephanie Roberts-Camello - Pembroke, MA
Lia Rothstein - Hanover, NH
Patti Russotti - Rochester, NY
Sandy Simonian - Honolulu, HI
Pat Spainhour - Lewisville, NC
Kelly Steinke - Bee Cave, TX
Anne Strout - Falmouth, ME
Dietlind Vander Schaaf - Portland, ME
Nancy Whitcomb - Providence, RI
Dianna Woolley - Walla Walla, WA
Shelley Wuitchik - Victoria, BC, CANADA
Janise Yntema - Brussels, BELGIUM


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Pre & Post Conference Workshops

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Pre & Post Conference Workshops

**Please note these workshops take place in Truro and NOT Provincetown. Truro Center for the Arts has 2 locations: 10 Meetinghouse Road & Edgewood Farm. Workshop locations will be listed on the materials list and also communicated in workshop reminders. If you have any questions regarding the workshops or studios, please get in touch!

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Presenter & Instructor Bios


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Christine Aaron is a mixed-media artist whose work investigates themes of memory, time, and the fragility of human connection. She graduated with a degree in Education from Cornell University, and a Masters in Social Work from Hunter College. Her experience as a practicing social worker informs the content in her work and directly guides the selection of materials and techniques, which includes encaustic, paper, wood, printmaking, drilling, burning, and installation.. Her work has been exhibited at Kenise Barnes Fine Art, Larchmont, New York; James Gallery, Pittsburgh; Westchester Community College and Iona College, both in Westchester County, N.Y, the Center for Contemporary Printmaking and Silvermine Guild of Artists, Connecticut; and the Hunterdon Art Museum, New Jersey. Aaron received a grant last year which enabled her to complete The Memory Project, a community based project that collected over 350 handwritten and audio recorded memories which were used to create an installation and a catalog documenting the work. She lives and works in Westchester County outside of New York City.


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Kim Bernard shows her sculpture, installations and encaustic works nationally and has been invited to participate in many exhibits, some of which include the Portland Museum of Art, Currier Museum of Art, Fuller Craft Museum, Colby College Museum of Art, Art Complex Museum and UNH Museum of Art.  Her work has been reviewed in the Boston Globe, Art News and featured in Art New England. Bernard is the recipient of the Piscataqua Region Artist Advancement Grant, a NEFA grant, several Maine Arts Commission Grants and was an artist-in-residence in the Physics Department at Harvard University in 2015-16 and the artist-in-residence at the University of New England in 2016-17. She received her BFA from Parsons in 1987, her MFA from Mass Art in 2010 and currently teaches at the Maine College of Art.  Bernard gives presentations, lectures and offers workshops nationally as a visiting artist.


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Debra Claffey is a visual artist who uses encaustic, oil, and mixed media in her work. She holds a BFA in Painting from the School of the Museum of Fine Arts in Boston and Tufts University and an Associate's Degree in Horticultural Technology from the University of New Hampshire. In 2011, she received an Artist Entrepreneurial Grant from the New Hampshire State Council on the Arts and the National Endowment for the Arts. Claffey’s work has won several awards, including the Second Place Award at the Monotype Guild of New England’s Fifth National Monotype Exhibition in May 2018. Claffey writes a blog, Making Something Out of Nothing. She has curated five exhibitions, the most recent being The Space Between Shadow and Light for the Eleventh International Encaustic Conference in Provincetown, Massachusetts in June 2017. Claffey is a Past-President of New England Wax, and Past President of the NH Chapter of the Women’s Caucus for Art. Raised in Connecticut, educated in Massachusetts, she now lives and works in New Boston, New Hampshire.


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Dorothy Cochran is an accomplished printmaker who continually pushes the boundaries of how to create works on paper. With extensive experience as an artist, educator and curator, she has developed innovative ways to work and layer substrates, creating prints of luminous quality. She holds an MFA from Columbia University, currently teaches at The Montclair Art Museum, and conducts workshops throughout the US, including Maui, Hawaii, Manhattan Graphics Center, NYC and The International Encaustic Conference in Provincetown. Her works are represented in museums, corporate and private collections and exhibited widely.


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Michael David has been exhibiting with the Bill Lowe Gallery since his first workings in representational art in 1999, including the comprehensive exhibit "Compassion" held in Atlanta during 2006. David has exhibited widely throughout the United States for 30 years, and has been the subject of much historical and curatorial acclaim. His work is included in the permanent public collections of the Museum of Modern Art in New York, the Guggenheim Museum in New York, the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among several prominent private collections. Critically-acclaimed New York artist Michael David built his early career on abstraction, a stylistic tendency he continues to explore, but since 1999 he has also successfully experimented with representational painting and traditional photography.


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Helene Farrar has taught and worked in the visual arts for twenty years while actively exhibiting in commercial, nonprofit and university galleries in New England, New York, Pennsylvania, Italy, and England. Farrar has a BA in Studio Art from the University of Maine and a Masters of Fine Art Degree in Interdisciplinary Arts from Goddard College in Vermont. Hélène currently owns and operates her own private art school in Manchester, Maine out of her “Farmhouse” studio. Farrar was most recently featured in a solo exhibition “What We Carry” at the University of Maine at Farmington's Emery Art Center. Farrar holds a professional certificate as an art educator and is represented by the Archipelago Fine Arts in Rockland, the Cynthia Winings Gallery in Blue Hill, and the Center for Maine Craft in West Gardiner . Her teaching practice has lead her to non-profits across the state of Maine, as well as, workshops on Monhegan and in Tuscany. She has been on the faculties at both the University of Maine and Thomas College. Most recently, she taught encaustic painting at the Haystack Mountain School of Crafts. She is also a teaching artist for the Farnsworth Art Museum.


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Richard Frumess has been manufacturing encaustic commercially since 1982. In 1988 he founded R&F Handmade Paints. For the last several years he has been developing a series of comprehensive tests on the properties of encaustic paint – its lightfastness, adhesiveness, aging, and characteristics of raw materials. Many of these tests have never been carried out on a systematic basis until now. Richard has been working in collaboration with industry experts, conservators, and materials scientists.


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Milisa Galazzi's artwork highlights human relationships punctuated by physical distance or separation by time and she is best known for her large scale installations, works on paper, and conceptual paintings. Galazzi holds an MA in Education with Honors from the Rhode Island School of Design where she extensively researched the educational effectiveness of community-based art education settings and her findings are published by Harvard University Graduate School of Education, Project Zero Press, 1999. In addition, Galazzi holds a BA from Brown University where she studied Studio Art with minors in Women’s Studies and Cultural Anthropology - all of which directly informs the content of her art making. Her artwork is reviewed in many books and magazine and is represented by Miller White Fine Arts gallery in Dennis, Mass. Galazzi works full time in her studio in Providence, Rhode Island, and on Cape Cod in the summer months.


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Leslie Giuliani has an eclectic artistic background. Having graduated with a B.F.A. in drawing and painting, she continued her studies in esoteric art forms including fresco painting, Byzantine icon painting, gold leaf conservation, non-silver photographic processes, primitive rug hooking, digital embroidery and encaustic painting. Working at the Center for Contemporary Printmaking in Norwalk, CT, she has taught hybrid forms of printmaking focusing on its application in Encaustic painting. Currently, her work involves creating monotypes, embellishing them with Digital Embroidery and sewing the pieces together to form larger works.  Ms. Giuliani is the recipient of a 2008 Artist Fellowship Grant from the Connecticut Commission on Culture and Tourism for Craft and is the author of several published articles on rug hooking and cyanotype photography. Her work was included in the Farnsworth Museum’s show, “Beyond Rugs” and her work is in the permanent art collections of the Housatonic Museum of Art and the state of Connecticut. She has worked with well-known artists on special projects including the architect, Richard Meier and the Argentinian artist Liliana Porter.  


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Lorraine Glessner’s love of surface, pattern, markmaking and image has led her to combine disparate materials and processes in her work. Lorraine is an Assistant Professor at Tyler School of Art, a workshop instructor and an award-winning artist. She has a diverse art background with skills that include painting, sculpture, photography, digital imaging and much more. Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, experimentation and discovery.


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Born and raised in Sonoma County, CA, Jen Greely earned Bachelors degrees in Economics and Italian from UC Davis and a Masters degree in Demography from the University of Pennsylvania. Her professional experience ranges from government research in banking regulation, teaching internationally on the collection and graphical representation of data, and researching religious populations while on faculty at Georgetown University in Washington, DC.
In 2004, Greely left the academic realm to focus on her family and she now lives in Westport, CT where she is pursuing her passion for the visual arts. Greely began studying classical painting methods in 2014, working in watercolor, inks, and encaustic. In 2017 she expanded her studies to printmaking, studying with Chicago-based artist Jeffrey Hirst on merging the two disciplines by layering silkscreen printing into her encaustic paintings. Her newest work transforms hand drawings into repetitive forms in detailed and unique carborundum silk aquatint monotypes.


Jeffrey Hirst has exhibited his work throughout the United States since the 1987. His work has been showcased at national and international venues including the Minneapolis Institute of Art; The Holter Museum, Helena, Montana; McLean Project for the Art, McLean, VA; Addington Gallery, Chicago, IL; McKinney Contemporary, Dallas, TX and Palazzo Dell’ Annunziata, Matera, Italy. He has been a visiting artist at universities around the United States conducting encaustic painting and printmaking workshops and has taught encaustic painting classes at North Country Studio Workshop in VT, Center for Contemporary Printmaking in CT, Ah Haa School of Art in CO, Truro Center for the Arts in MA and in the fall of 2018 at Ballinglen Arts Foundation in Ireland. Hirst also is the owner of Jeffrey Hirst Studios, a Printmaking/Painting studio in Chicago specializing in Intaglio, Screenprinting, and Experimental Approaches towards combining printmaking and encaustic. Hirst received his MFA from Louisiana State University and BFA from the University of Minnesota.  He is a recipient of grants including a City of Chicago Individual Artist Grant, a Minnesota State Arts Board grant and a fellowship residency to the Ballinglen Arts Foundation in Ireland.  Hirst is represented by Addington Gallery in Chicago, Brandt-Roberts Galleries in Columbus, OH and Water Street Gallery in Douglas, MI and his work is in numerous public and private collections.


Deborah Kapoor is a Seattle-based artist who creates dimensional, haptic, mixed-media paintings, prints and sculpture about the distilled poetry within cultural markers. She has exhibited recently at Tacoma Art Museum, Square Foot Art Basel Miami, Ukrainian Institute of Modern Art, Trenton City Museum, Seattle City Hall, and at universities and commercial galleries. She is excited to be doing a residency with Michael David at David Schweitzer Contemporary in Brooklyn in September, 2018.


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Joanna Kidney was born in Dublin, Ireland and currently lives in Co. Wicklow, Ireland. Her practice encompasses drawing, spatial drawing, encaustic painting and assemblage works. Utilizing a wide range of diverse materials and processes, her work reflects on the human experience and our place within the vastness of the universe.  Recent Solo Exhibitions include Galway Arts Centre (2017), Mermaid Arts Centre, Co. Wicklow (2015), Royal Hibernian Academy, Dublin (2013) and The Drawing Project, Co. Dublin (2012). She has exhibited widely in group shows in Ireland, France, Germany and the USA. She has been visiting lecturer and presenter in Universities in Ireland and Utah, USA. She is a founding member of Outpost Studios, Bray, Co. Wicklow (2014); a member of the artists collective The Tellurometer Project (with Helen G. Blake, Joanne Boyle, Raine Hozier Byrne, Rachel Fallon, Laura Kelly and Susan Montgomery) and a featured artist on The Drawing Suite. Her work can be seen in the collections of AIB, The Central Bank, Dublin, OPW, UCD and the Department of the Environment, Northern Ireland.


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Originally from Chicago, Susan Lasch Krevitt now resides in Southern California and New Orleans. She earned her BFA from the School of the Art Institute of Chicago majoring in Material Studies. Susan builds free standing and wall hung sculptural paintings exploring themes of structure, connection and transformation. Her work has been exhibited internationally and across the U.S. including Organic to Geometric: Investigations in Structure & Surfacein 2018 at the Provincetown Art Association & Museum and in 2015 at Endicott College’s Heftler Gallery and Depth Perception in 2016 at the Cape Cod Museum of Art. In 2014 she participated in the Conference Curatorial Program, co-curating Material Consequences with Nancy Natale at Gallery X. Susan received the Juror’s Award in 2013 for her work in Seven, the Castle Hill Gallery show juried by Shawn Hill.


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Founder and director emerita of the International Encaustic Conference, Joanne Mattera is a widely exhibited painter who embraces writing in her practice. She is the author of the first commercially published book on encaustic in half a century, The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax (Watson-Guptill, 2001), numerous essays and articles on art, and until recently was editor in chief of ProWax Journal. She is working on her memoir, Vita: A Queer, Italian-American, Art Memoir, to be published by Well-Fed Artist Press.


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Kelly McGrath is the former workshop coordinator for R&F Handmade paints. She is currently a full-time graduate student and educator, teaching painting, sculpture and mixed media classes. She has been researching, designing and teaching workshops since 2009. With regularly scheduled classes through R&F Kelly has also taught through organizations such as Truro Center for the Arts at Castle Hill, Women's Studio Workshop, Hudson Valley Museum of Contemporary Art, Loomis Chaffee Academy with additional demonstrations throughout the northeast.This past year she has shown at Katonah Art Center in NY, the NAEA National Gallery in VA, the Lace Mill Gallery in NY and a special online show with Trestle Gallery, NY. She maintains a studio and residence in the Hudson Valley of New York.


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Patricia Miranda is an artist, educator, and curator, using interdisciplinary projects to make connections between art, science, history and culture. She is founder of MAPSpace, a gallery and project space in Port Chester, NY, where she implemented a collaborative workspace residency program. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah, and been awarded residencies at I-Park, Weir Farm, Julio Valdez Printmaking Studio, and Vermont Studio Center. She has received grants from ArtsWestchester/New York State Council on the Arts, and an NEA grant working with homeless youth. Miranda is Practitiioner-in-Residence in the BFA program at Lyme Academy College of Fine Arts of the University of New Haven, and served as director and curator of the Gallery at Concordia College-NY from 2008-12. She has curated exhibitions on the intersections of art, science, history, culture, and the environment. Miranda develops education programs for K-12, museums, and institutions, including Franklin Furnace, the Solomon R. Guggenheim Museum, the American Museum of Natural History, and the Smithsonian Institution. She has exhibited at Wave Hill, Bronx, NY; the Cape Museum of Fine Art, Cape Cod MA; the Belvedere Museum, Vienna Austria; Metaphor Contemporary Art, Brooklyn, NY; and Kenise Barnes Fine Art, Larchmont, NY.


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Cherie Mittenthal, Director and Producer of the 13th International Encaustic Conference. She’s been working predominately in wax or encaustic paint while integrating tar, marble dust, pigment sticks, dry materials, graphite, collage and miscellaneous mediums. She has her MFA from the State University of New York at Purchase and her BFA from the Hartford Art School at the University of Hartford. She’s the Executive Artistic Director of Truro Center for the Arts at Castle Hill since 2002. She serves on the board of Campus Provincetown, Provincetown Cultural Council, OCARC - the Outer Cape Artist Residency Coalition and is partners with Highlands Center & the National Seashore for the only Wood-Fired Kiln on Cape Cod. 


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Laura Moriarty makes process-driven sculptural paintings and monotypes with encaustic, creating forms, colors, textures and patterns that result from the same processes that shape and reshape the earth. A lifelong resident of the Hudson River Valley, Laura maintains a full-time studio practice in Rosendale, New York and teaches workshops at R&F Handmade Paints and as a visiting artist in the U.S. and abroad. Before taking up encaustic, Laura received training in hand papermaking and printmaking. Her work is exhibited extensively throughout the United States and abroad and is included in many public and private collections. Among her honors are a Grants from the Adolph & Esther Gottlieb Foundation and the Pollock-Krasner Foundation, as well as many artist residencies and fellowships.


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Nancy Natale has participated in 11 previous International Encaustic Conferences as an exhibitor, presenter, teacher, and curator. She is a native of Boston, a graduate of Massachusetts College of Art & Design, and has been working as an artist for more than 30 years. She is represented by Arden Gallery in Boston. Natale has received a number of grants, including a Pollock Krasner grant. Her work is included in the collections of more than 25 large institutions such as Fidelity Investments, Boston Medical Center and Delta Airlines, as well as those of private collectors.


While living in Japan from 1985 to 1989, Lauren Pearlman learned how to make paper and a passion was born. Lauren founded Paper Connecton International, LLC in 1995,  Although Paper Connection has mainly been recognized as a leading source of “washi” (Japanese paper), Paper Connection is now also known for its large collection of specialty papers from many other remote places in the world, such as: China, India, Korea, Mexico, Nepal, and The Philippines. As of 2002, Lauren maintains a double-residency in both Japan and Rhode Island; thus she has easy access to many of the papermakers. Lauren makes her rounds on the lecture circuit to discuss the the major changes that have occurred in the handmade paper world that she has witnessed first hand, as well as the past, present, and future of hand papermaking. Through import, distribution, and education, Lauren and her staff, remain committed to the preservation of traditional hand papermaking, the papermakers themselves, and ensuring there will be good quality paper in the market for future generations.  


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Sherrie Posternak takes advantage of all of her life’s passions—making and teaching art, travel, learning about other cultures, becoming fluent in the Spanish language, and building her new business designing accessories. Everything involves communication and the integration of the variety of life’s disciplines. Within the context of the arts, Sherrie chooses whatever medium or technique is most appropriate to express her ideas—encaustic, photography, ceramic, glass, fiber. She began her encaustic practice 11 years ago (www.sherrieposternak.com), and has had solo and group shows in the U.S. and Mexico. She teaches workshops in all phases of the encaustic practice, including specialty courses in transferred and embedded imagery and working with mixed media. She self-published a catalogue on the topic of her art installation “A Memorial for El Tomate.” Images of Sherrie’s work are in the gallery section of the E-book “Contemporary Paper and Encaustic” by Catherine Nash, and Volume I of Linda Robertson’s revised E-book “Embracing Encaustic.”


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Jodi Reeb lives in Minneapolis, Minnesota, and has been a full-time artist and teacher for 20 years. She has taught printmaking, acrylic and encaustic painting as well as book arts.  Her artwork has been shown nationally receiving numerous awards and is in many private and corporate collections nationally such as Target Corporation, United HealthCare Group, Hilton Hotel Minneapolis and Wells Fargo Mortgage. She received a Bachelor’s degree in Fine Arts from the Minneapolis College of Art and Design where she instructed printmaking in the Continuing Studies program for over 9 years. She also has been teaching acrylic and encaustic painting workshops for the past 6 years at the Minnetonka Center for Art and in her studio. Jodi creates her mixed-media paintings and sculptures in her studio at the Traffic Zone Center for Visual Art in Minneapolis, but travels to the countryside to receive her inspiration, combining contrasting landscapes and environments in her work.


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Lia Rothstein has BA and MFA degrees from Boston University. She has been a professional photographer for over 40 years, has taught digital photography and imaging in colleges and art centers throughout New England, and has also worked as a photographic specialist for Dartmouth College. Lia was awarded artist residencies at the Vermont Studio Center and the Baer Art Center in Hofsos, Iceland. From 2009 through August 2012 Rothstein directed the award-winning PHOTOSTOP Gallery in White River Junction, VT. She has exhibited her photographic and mixed media work in galleries and museums across the US and her work is in numerous private and public collections, including the Polaroid Permanent International Exhibition Photography Collection, and the collections of John Hancock and the Radisson Group. Rothstein’s encaustic and cold wax paintings are featured in the book, “Cold Wax Medium: Techniques, Concepts and Conversations” by Rebecca Crowell and Jerry McLaughlin, now in its second edition. She has been teaching workshops in cold wax painting in northern New England and in the fall of 2018 her encaustic and photographic work was featured in Art Maze Magazine, published in London and distributed worldwide.


Visual artist and educator, Patricia Russotti is an Associate Professor in the School of Photographic Arts and Sciences, College of Art and Design at Rochester Institute of Technology. She is an active imaging artist producing a wide range of work for corporations, public service organizations, museums, individual artistic commissions, funded projects, and exhibitions. She develops and presents technical and creative corporate seminars, workshops, and training programs Internationally. Patti’s career has a breadth and depth of experience and skill in workflow, image making (analog, digital, alternative, and historic processes), the creative process, design, and education. She has been a regular presenter at national and international conferences.


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Pat Spainhour is a contemporary artist and art educator. She recently retired from teaching AP Art History at the University of North Carolina School of the Arts. Pat also serves as a docent at Reynolda House Museum of American Art in Winston-Salem, NC. Pat has a BFA degree, with concentrations in design and art education from the University of North Carolina Greensboro, with graduate studies at Wake Forest University. Pat Spainhour studied encaustic painting at Penland School of Crafts and was awarded a North Carolina Arts Council Regional Artist Grant, used to attend Paula Roland’s Advanced Encaustic Workshop. Assisting Paula Roland, Pat taught an encaustic monotype workshop at Cullowhee Mountain Arts. Pat Spainhour is a certified instructor in encaustic painting, encaustic monotypes, and Evans Cold Wax Paint.


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Dietlind Vander Schaaf holds an MFA from the University of San Francisco and an MA from the University of Southern Maine.  Her work has been described as the transformation of “disparate objects into elegantly simple compositions of pattern and grace” (Artscope).  She has exhibited nationally and was featured in Maine Home + Design magazine’s 2016 profile “One to Watch” on standout artists in Maine.  Vander Schaaf has received grants from the Maine Arts Commission, a Tending Space Artist Fellowship from the Hemera Foundation, and the Juror’s Award in association with the 10th International Encaustic Conference.  She currently serves as the president of New England Wax.


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As a painter,  Janise Yntema has worked in encaustic for over 20 years. She is a graduate of Parsons School of Design and an alumna member of AIR Gallery in NYC. Recent Solo Exhibitions include: Galerie Marie Demange, Bruxelles, 2016, Nancy Dryfoos Gallery at Kean College, Union, New Jersey 2015, Cadogan Contemporary, London UK 2015, Libre Choix Bruxelles 2014, Galerie Josine Bokhoven, Amsterdam 2012 Recent Group exhibitions include: Elizabeth Dow, East Hampton NY 2016, Galerie Judy Straten, The Netherlands, 2014, School Voor Filosofie, Amsterdam, 2012. Her works are included in public and private collections throughout the United States and Europe.  Yntema lives and works in Brussels, Belgium.  A forthcoming book on her life and work is scheduled for publication by Galerie Marie Demange next year. 


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Need a Ride?

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Transportation to the Conference as well as to Pre- and Post-Conference workshops is not provided by Castle Hill.

If you are looking for a ride, want to share a cab, or have space in your car to offer, please feel free to share here in the comments! During the Conference, we will also have a notice board in the lobby where you can post ride shares.

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Cancellation Policy

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Please make sure you understand our Cancellation and Transfer Policies before registering for the Encaustic Conference or Pre- and Post-Conference Workshops. If you have any questions please contact the Castle Hill office.

ENCAUSTIC CONFERENCE:

80% of the total cost of registration will be refunded if Castle Hill is notified of withdrawal thirty days prior to the beginning of the Conference. This means that you must notify us of cancellation by May 1, 2019 in order to receive any form of a refund.
**If you notify Castle Hill of a cancellation after May 1, 2019, your entire payment will be forfeited.  

 

PRE- & POST-CONFERENCE WORKSHOPS:

80% of the total cost of registration will be refunded if Castle Hill is notified of withdrawal thirty days prior to the first day of the workshop.
If you cancel your registration less than thirty days before the first day of the workshop, your entire payment will be forfeited.  

TRANSFERRING TO A DIFFERENT WORKSHOP:

If you would like to switch from one Pre- or Post-Conference workshop to another, a $25 processing fee will be charged. This fee will be waived if your previous workshop was cancelled.

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Medical Emergencies

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Medical Emergencies

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No one attends a conference expecting to have a medical emergency, but if the unforeseeable happens, here's a rundown of what to do.

If you feel ill and the feeling doesn't pass but you don't feel it's an emergency, call the Outer Cape Health Services in Provincetown at 508-487-9395. Address is 49 Harry Kemp Way, about a mile from the Provincetown Inn.

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Hours:
Monday-Friday:  8:00am to 7:00 pm
Saturday: 9:00 am to 5:00 pm
Same day appointments may be available

If you feel you are having a medical emergency, whether it's an accident, an allergic reaction or any kind of serious health problem, call 911. The Provincetown Rescue Squad will respond, take your vitals, and determine a course of action for you. That might be a trip to the local Outer Cape Health Services in Provincetown or, for a more serious issue, the Cape Cod Hospital in Hyannis. You will be responsible for getting there if the ambulance doesn't take you.

If you have an accident at the Provincetown Inn, the same information applies. Don't feel embarrassed about "making a fuss" if you need to call 911. Make the call. Be sure to talk to a manager so that you can fill out an accident report as soon as possible after the incident.

. If you have an accident at Castle Hill, the same information applies. The Castle Hill staff are here to help you!


Pharmacies
. Outer Cape Health Services has a Pharmacy
. The Stop & Shop on 56 Shank Painter Road also has a full-service pharmacy: 508-487-3738.
The pharmacy is open seven days a week; hours vary


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Traveling to Provincetown

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Traveling to Provincetown

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

  • 20 minutes via Cape Air from Logan International Airport

  • 90 minutes via ferry from Boston Harbor

  • 2.5 hours driving from Logan Airport in Boston to the Provincetown Inn

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

Fly from Boston to Provincetown: Cape Air

  • Plan on around $358 round trip. Check website for latest schedule and rates

  • Some conferees have found it cheaper to book their flight directly to Provincetown via Jet Blue, which partners with Cape Air. You'll still change planes at Logan, but through-booking should offer a better price.

  • If you wish to rent a car, Enterprise at the Provincetown Airport has cars available--but you must reserve as a limited number are typically available.

Ferry from Boston to Provincetown: Bay State Cruise Company & Boston Harbor Cruises

  • Check websites for latest schedule and fares

  • One caveat: A crossing can be a bit unpleasant if the bay is rough. Come prepared with anti-nausea medication if you are prone to seasickness.

  • If the company determines that the crossing will be too rough, you will board a bus and be taken directly to McMillan Wharf in Provincetown, where the ferry normally disembarks


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

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

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

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


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FAQ's

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FREQUENTLY ASKED QUESTIONS

Is there an orientation for those of us who are new to the Conference? 
Yes, indeed. We've scheduled a 30-minute session on Friday morning, 10:45 to 11:15 during a special one-hour break between sessions. We'll meet right in the lobby.

What if I want to register for just one day of the conference?
Yes, you can register for one day although we don't recommend it since there is so much going on each day. If you have a limited schedule, you will need to call the office to register: 508-349-7511

What if I don't like the event I've selected. May I switch rooms?
Sorry, no. Moving around once a presentation is underway is rude to the presenter and annoying to the audience.

What's the procedure for the Hotel Fair?  
If you are staying at the Provincetown Inn, on Sunday we invite you to open up your room to show and sell your work. If you are NOT staying at the Inn, we invite you to show your work in the hotel lobby. Visit the blog page about the Hotel Fair for more info!

Help! I want to participate in the Hotel Fair but I need to vacate my room at noon.
Don't worry, you can participate. Just be sure to vacate your room right after the Fair. You can leave your baggage at the front desk.

Are post-conference workshops included in the conference price?
No, there is a separate fee. 

Do I need to bring materials for the conference demos or workshops? 
Conference demos are strictly demonstration, so you do not need to bring materials. The Pre- and Post-Conference workshops are different. Teachers typically provide either a list of supplies that you may bring with you or purchase from conference vendors, or they may provide materials for a fee. Castle Hill or the specific teachers will contact you if you're signed up. Also, it's important to note that our wonderful vendors donate a large amount of paint, medium and materials for you to try.

Could I register only for the Post-Conference sessions?
Sure. But you'll miss a great conference!

What if I decide at a later date that I wish to register for a Post-Conference workshop? Possible?
Sure. If there is space, you can register even during the conference if you wish. Please know, however, that the workshops tend to fill up quickly.  Occasionally a spot may open at a late date, but it's not recommended to plan on that as a registration strategy.

What are the hours of the post-conference workshops, and where do they take place?
The workshops run from 10:00am to 4:00pm with an hour for lunch as determined by the instructor. Informal events are planned for some of the evenings. All post-Conference events take place at Castle Hill in Truro, the next town over. We have two campuses in Truro - the specific location will be listed on your materials list. At the Conference we encourage those with cars to offer rides to those without. There will be a signup sheet. It's also possible for a group to take a taxi. The ride thing seems confusing but it always works out. Castle Hill will post a sign-up sheet to help link drivers with those who need a ride. (Be sure to chip in for gas.)

I see you have multiple-day workshops. Is there any chance I could take just one day of, say, the three-day workshop so that I may take different workshops on other days?
Nice try, but the point of multiple-day workshops is to have the opportunity to explore one area in depth with one teacher and the same group of equally committed participants.

Would you explain how Conference presenters get selected?
Earlier in the year, Cherie put out a Call for proposals and received many great options. She tried to bring in new and different topics to keep it fresh, but also to bring back some regular favorites!

What's the parking like?
The Provincetown Inn has a very large lot which is FREE for conferees to use, whether you're staying at the Inn or not. Parking in town is less accommodating. There's not a lot of free on-street parking, but there are pay-to-park lots--municipal lots on the hill above town and on McMillan Wharf in the center of town, and another, the rather costly Duarte's, on Bradford St.

Where can I find a map of Provincetown?
Click here for a fully printable map of Provincetown.

What about transportation to and from Provincetown?
Getting to and from the Conference is your responsibility. Information about buses, taxis, etc. will be posted on the blog.

How soon can I arrive?
The Inn is fully booked earlier in the week of the Conference. If you don't have a room and wish to come early, check out the Alternative Accommodations page. It's a great way to take advantage of what P-town has to offer in June: the beach, biking, kayaking, exploring the shops and galleries, the Provincetown Art Association and Museum, whale watching, fishing, and satisfying your seafood cravings at fried clam shacks as well as upscale restaurants.

Where can I find information about the Provincetown galleries?
Encaustic-specific info will be posted to the blog when it has been finalized. Gallery Guides should be available at the Inn.

What's the weather like in Provincetown?
Normally, the temperature range in early June is is in the high 60s to low 70s during the day, and in the low 60s to high 50s at night. But that's an average. It can get hotter or colder. And the weather can turn on a dime. As the town meteorologist :-), I guarantee it will be perfect!

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

Is there a dress code?
Nope. Wear what you like, whether it's a sundress, jeans and a t-shirt, a suit, or cutoffs. Your choice. One thing I would suggest is that you have a sweater, shawl or other coverup for the Mayflower room, where the all-Conference events take place as well as many demos. It's a big room, and the cooling is uneven, so to get the warm areas cool, the cool areas may be cold.

Does the Conference provide food?
Coffee and tea are provided all day, every day of the three-day Conference. A fabulous buffet lunch is provided on Friday, Saturday and Sunday, where you'll find a selection of meats, cheeses, vegetables, pastas and salads. Lots of Vegetarian options to choose from as well.  

For those staying at the Inn there's a breakfast room where you can get a nice selection of breakfast foods. You may be asked to show your room card if the staff doesn't recognize you.

Pre- and Post-Conference workshops do not provide lunch, however there's a good sandwich shop nearby and a Castle Hill staffer comes by to take orders. Lunch is about $10, but that's between you and what you select from the menu.

Can I purchase paint or paper or panels in the Vendor Room even if I haven't registered for the Conference?
Yes you can. We hope you come to the conference or take a workshop but the vendors would be happy.

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