Following is a list of the Selected Artists:
Kevin Frank | Fanne Fernow | Ann-Marie Brown | Debra Ramsay | Howard Hersh | Lisa Pressman | Binnie Birstein | Willow Bader | Cherie Mittenthal | Cecile Chong | Marybeth Rothman | Kim Bernard | Eileen Goldenberg | Jane Nodine | Ellen Koment | Lynda Ray | Nancy Natale | Alexandre Masino | Paula Roland | David A. Clark | Kathleen Lemoine | Andrea Benson | Lisa Kairos | Pam Farrell | Stephanie Lerma | Sara Mast | Jeri Eisenberg | Hilda Shen | Nancy Richards Davis | Zoe Ani | Sandi Miot | Dawna Bemis | Susan Delgalvis | Charyl Weissbach | Alicia Forrestal-Bohm | Renee Magnanti | Peggy Epner | Catherine Nash | Lorrie Fredette | Susan Tonkin Reigel | Sue Katz | Nathan Hatch | Shelley Gilchrist | Stephanie Armbruster | Susanne Arnold | Bianca Pratorius | Toby Sisson | Russell Thurston | Gregory Wright | Ruth Hiller
and now…The 29 Portfolio Artists:
Anne-Marie Brown | Debra Ramsay | Howard Hersh | Lisa Pressman | Binnie Birstein | Cecile Chong | Marybeth Rothman | Kim Bernard | Ellen Koment | Lynda Ray | Nancy Natale | Paula Roland | Kathleen Lemoine | Sara Mast | Jeri Eisenberg | Hilda Shen | Renee Magnanti | Peggy Epner | Catherine Nash | Sue Katz | Nathan Hatch | Shelley Gilchrist | Stephanie Armbruster | Susanne Arnold | Bianca Pratorius | Toby Sisson | Russell Thurston | Gregory Wright | Ruth Hiller
Nicely done, one and all!
And now, some words from Joanne Mattera…
A Word About the Selections
The insistent message of the 415 entrants to this competition is that there is a lot of really good work being made in encaustic—accomplished work that has a presence and a point of view. The work I selected for this volume reflects but a fraction of the painting, sculpture and work on paper worthy of inclusion. A different judge would surely have selected a different exhibition. Indeed, 10 judges could easily have selected 10 compelling and totally different exhibitions from the images submitted.
Some artists removed themselves from the running with images that did not represent the work well. Most egregiously were those several images not adequate for publication, either in quality or in size. This is an exhibition in a book, after all, so if the images were not of sufficient reproduction quality, they could not be considered. Relatedly, some artists submitted work that simply was not photogenic—work that would read as blurry or that was so subtle the image would be lost in print (there are five or six degrees of separation from your actual work to its representation in ink on paper). In a bricks-and-mortar exhibition, the juror might accept such work provisionally, reserving final judgment when the work could be seen in person; that’s not an option when the exhibition is in print. (I saw this same situation when I was considering images for The Art of Encaustic Painting 12 years ago.) Image quality counts.
Other artists presented images that did not hold together as a portfolio. Indeed some submissions looked like a group show; that’s the mark of a beginner, someone who has not yet found a visual identity or the courage to say, “Thisis what I do.” And yet others are still in the experimentation stage; they’ve learned what they can do with wax, but it’s all about technique—medium without message.
Overall, though, the biggest issue is that 415 entrants (!) submitted work for which a fraction could be selected. Congratulations to those of you who made it in. I know the rest of you will not stop here. There are other competitions, other opportunities to show. You will find a place for what you do.