Encaustic Works: Nuance is the latest in R&F’s evolving Encaustic Works series, which began as a tiny juried exhibit in 1997, grew into a large and popular juried biennial exhibit held in university galleries, and then, in 2012, transitioned into an international juried exhibition-in-print. Always interested in staying ahead of the curve, yet not wanting to break the continuum of this series, we have decided to leave the juried part behind and just go straight for the most interesting contemporary work in wax, presented as a beautifully curated exhibition in book form.
Encaustic Works: Nuance is curated by artist, Michelle Stuart and contains work by Jody Alexander, Marlene Alt, Petah Coyne, Lorrie Fredette, Sandy Gellis, Lorraine Glessner, Kathy Goodell, Gail Gregg, Hiroyuki Hamada, Kate Hunt, Heather Hutchison, Brenda Mallory, Michael Marshall, Sara Mast, Don Maynard, Catherine Nash, Mark Perlman, Paul Rinaldi, and Penelope Stewart.
To learn more about this series click here.
Recently there has been some discussion and questions that have come up about the MSDS sheets on our site. We want you to better understand why MSDS are provided and what information, procedures and data they are required to convey. Our MSDS for encaustic calls out specific colors by name only if they are considered hazardous. Otherwise you will see language as in section 2 that reads:
We have always been proud of the fact that the employees at R&F are artists in their own right. No one has represented this more than Laura Moriarty, the director of both the R&F workshop program and The Gallery at R&F, who after many years of dedicated service is leaving us to focus on her own art, beginning with a solo show of her geology-inspired sculptural encaustic paintings at the prestigious New York gallery, OK Harris in January.
Laura leaves with a long string of tremendous accomplishments. As our workshop director, she organized R&F workshops in cities and workshop centers throughout the country and provided materials support for artists teaching independent workshops. She restructured the workshop format in Kingston to constantly highlight new and more sophisticated ways of working with encaustic, Pigment Sticks, and mixed media, while never losing sight of the need to teach the basics to artists who are new to these mediums. Many of the advanced classes were taught by guest artists she sought out, who had developed unique ways of pushing the envelope of technical and visual possibilities.
It is with great sorrow that we announce the death of our dear friend Mark Gottsegen. Mark was the founder and director of AMIEN (amien.org), a highly valued online technical service for artists, a long time professor of art and materials education at the University of North Carolina – Greensboro, and the author of The Painter’s Handbook, regarded as the standard painting manual for the contemporary artist.
In the fine arts, ‘medium’ refers to the material or substance that your work is made of. As more and more contemporary artists begin working with encaustic in traditional, non-traditional and boundary-crossing ways, the quandary of how to describe ones work clearly, correctly and professionally arises. This is complicated by the fact that each branch of visual art has a different way of wording these descriptions. These differences are not written out anywhere, but are nonetheless understood by professionals in the field.
Our new Pigment Stick Mixed Media Lab allows artists to explore the many possible applications of R&F Pigment Sticks, encompassing traditional and alternative approaches and materials. In addition to pigment sticks, we will also demonstrate encaustic for those students who are interested in combining these two highly compatible media. We call this a lab rather than a workshop because we want to encourage artists to come back again and again to use our wonderful space (completely stocked with paint!) as their studio. Benefit from our instructors’ guidance and feedback on your projects, and enjoy the camaraderie of other participants. This lab is a great opportunity to work with a luscious, loose and free painting medium.
Introduced in 2009, our Visiting Artist Series has become one of our favorite programs here at R&F - and judging by the full rosters we see for these workshops, they’re pretty popular with artists too. We invite some of the most exciting artists working with encaustic to come to R&F and present a workshop and have an exhibition. Since many of these artists do not teach regularly, this gives students a rare opportunity to learn new techniques, stretch their practice and see what makes other artists tick. Mark your calendars and start dreaming about which of our Visiting Artists you will want to study with in 2013!
This past June at the 6th Annual International Encaustic Conference in Provincetown, I had the opportunity to sit in on Richard’s session about the adhesive properties of different substances and their compatibility with encaustic paints and mediums. There was an abundance of information about a variety of different materials and it was all pulled from real-world testing done here at R&F. (Read more about testing here) One thing that really struck me more than anything else is that it is not the binder that dictates whether or not a ground is suitable for encaustic - it is how you use it.
David A. Clark | Dream The Arrow | 2012
Like many who are reading this, I have recently returned from the 6th International Encaustic Conference, directed by Joanne Mattera with Truro Center for the Arts director, Cherie Mittenthal. This Conference has been raising the bar for artists who work in the medium of encaustic since its’ inception, but this year impressed me as particularly touching in the way it encouraged attendees to follow their true instincts as artists. My own presentation, Funding Your Work: A Practical Guide to Dreaming Big, emphasized the dreaming big part over the funding part, and David A. Clark’s hotel fair installation, Dreaming the Arrow, illustrates this in the most literal and poetic way. Following is an interview I conducted with David about this piece.
Brook Gruber & Nicholas Hancock
Many multi-disciplinary collaborations and new techniques have emerged in the many and various encaustic workshops that have proliferated in the last two decades. Toby Sisson, a professor at Clark University in Worcester, MA, has been consulting with R&F for the past two years to make encaustic an integrated part of the painting program at Clark.
I recently attended the Southern Graphics Councils’ annual conference, which was held this year in New Orleans. One of the highlights for me was an opportunity to catch up with the work of artist, Mary Jane Parker, who had a solo show at the Gallery at R&F in 2008. In her current solo show, Keepsakes, at Arthur Roger Gallery, Mary Jane presents new work inspired by the masses of foliage that blanketed the New Orleans landscape in the aftermath of Hurricane Katrina. Struck by the natural patterns of vines and how they decorated the surfaces of the city, she began photographing, drawing and cutting stencils of them, thinking that these intricate stencils could be used for a series of encaustic paintings. But something happened in the process that made her realize she didn’t need the wax at all! The show features hand and laser cut paper, prints and photographs.