Saturday, March 31, 2018

Welcome to Issue 20 of ProWax Journal

Installation view of Catherine Nash's solo exhibition, An Inner Astronomy, which took place recently in Oracle, Arizona 

One of the great things about publishing our own journal is that we include a range of topics and images to represent our creatively diverse membership. Through ProWax Journal we share our publication not only with one another but with a larger public: you. 

In her Q&A feature this month, Nancy Natale interviews Binnie Birstein, an expressive painter who has never shied away from working large. This is a special feature, hard wrought by both interviewer and interviewee, because Binnie is battling a serious illness and every interview session took an enormous amount of energy. Nancy, her longtime friend, delivered an article that will serve as a legacy to an exhibiting artist who is just hitting her stride professionally. Brava to both for the effort, with our deepest wishes of love and comfort to Binnie, our friend and colleague.

Nancy and Binnie at the Whitney, 2015

Leslie Neumann was featured in Creative Pinellas, a magazine published in the Florida county in which she lives. We liked the article so much we’ve reproduced it here. Leslie's studio in the town of Aripeka overlooks breathtaking waterfront scenery, some of which makes its way into her luminous work. Did you know Leslie was buddies with her neighbor, the painter James Rosenquist?

Leslie in the studio

Deborah Winiarski has curated a feature that focuses on artists who integrate wax and fiber, noting that these artists are materially redefining the parameters of painting and sculpture.

Lisa Zukowski, Bundle Series

Our regular columns feature a wealth of ideas and images. Jane Guthridge asks the question, Who’s Afraid of Beauty? Debra Claffey features two artists in In Five Words: artist and gallerist, Michael David, and artist in multiple mediums, Lia Rothstein. Paula Fava visits Debra in her New Hampshire studio, a former horse barn, which is large enough to accommodate a wood stove and a swing. Debra is not only a fine painter, she’s a damn good carpenter as well. She turned a ramshackle structure into the perfect place to work

In Studio Visit, Paula Fava shows us Debra Claffey's New Hampshire studio

In In Residence Heidi F. Beal writes about her quest for the perfect residency and looks at others who have done one or more of those live/work experiences. In Open Call, Lorrie Fredette writes about her science-based sculpture in an article originally published in the Brooklyn Rail. 

And in something new this issue, we make cyber visits to exhibitions by six of our artists—plus one who’s not a member but is having a blockbuster show at The Broad in Los Angeles right now. It’s worth noting that several of these artists are working in whole or in part with materials other than encaustic. This is one of the (many) reasons we don’t call ourselves “encaustic artists.” It’s limiting, and art isn’t. 

Howard Hersh had the unique experience of completing a residency in Oakland, California, that led directly to an exhibition at Duval Contemporary in San Francisco

I contributed a bylined editorial in which I talk about artists who are teaching way too soon after being introduced to encaustic. And I did something I don’t normally do: I put my own work in this issue’s header.

There's more to the issue. I’ve just scratched the surface with this introduction. Dig in.

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