Readings
(saved to IAMD\Reading\Encaustics)
Whitman, Natalie Shifrin. “The Specter for the Golem: The Quest for Safer Encaustic Painting Practice in the Age of OSHA.” Leonardo, vol 33, no 4, MIT Press. pp-299-304.
The author’s use of the millennia-old, multi-dimensional encaustic painting technique, which uses hot colored wax as a painting medium, led her to the literary and artistic concept of the golem, which she sees as a metaphor for the appropriate use of technology. This, in turn, prompted the author to learn more about encaustic from an industrial-hygiene perspective. Owing to the commendable handling characteristics of encaustic, many painters after using it never go back to using oil or acrylic paints; however, the act of heating wax creates airborne substances that can cause longterm health effects to artists who do not take common-sense precautions. This article offers information to help artists set up safer encaustic/conventional painting studios. The author also introduces encaustic’s long history, describes various encaustic techniques and lists permanent pigments that are generally safer than other professionally accepted materials.
Yao, L. and Wang, T. (2012), Textural and Physical Properties of Biorenewable “Waxes” Containing Partial Acylglycerides. J Am Oil Chem Soc, 89: 155-166. doi:10.1007/s11746-011-1896-7
“The colony collapse disorder of honeybee [2], which if it continues will markedly increase the cost and decrease the availability of beeswax.” … “the difference in melting and crystallization profiles of the 50% AM wax from beeswax and in the crystalline microstructure indicates that further improvement may be needed. “
Heather Hennick (2016) Captured in Layers: Encaustic as a Tool to Reduce Stress (Des couches révélatrices : l′encaustique comme outil pour diminuer le stress), Canadian Art Therapy Association Journal, 29:2, 77-84, DOI: 10.1080/08322473.2016.1250057
Blythe, Sarah Ganz. “R.H. Quaytman: Archive to Ark, the Subjects of Painting.” Afterall: A Journal of Art, Context and Enquiry, no. 38, 2015, pp. 74–87. JSTOR, www.jstor.org/stable/10.1086/681288. Accessed 29 Sept. 2020.
Elizabeth Garber (2019) Objects and New Materialisms: A Journey Across Making and Living With Objects, Studies in Art Education, 60:1, 7-21, DOI: 10.1080/00393541.2018.1557454
Materials, making, and objects are important parts of an ecology of meaningful learning and teaching in art that must accompany the development of concept and social impact. New materialist theory suggests that matter matters to how life is lived, while emphasizing that animacy is inherent not only to what we think of as animate beings but to all types of matter. The author explores what new materialism is and its relationship with making, materials, and objects in her own practices and in visual art education. Through deepened understandings of their material articulations of the world, makers and learners construct new knowledge and thickened experiences, and they develop firsthand sensitivities to making that help them find the “causal structures” (Barad, 2007) underlying what they do. This “knowing in being” (Hickey-Moody & Page, 2016, p. 12) can be transformative with regard to how a maker/student/person interacts with and lives in the world.
Anderson, Virginia M. G. A Map and a Painting: The Re-Working of Jasper Johns’s Map (Based on Buckminster Fuller’s Dymaxion Airocean World) American Art 2018 32:1, 52-73
Filippone, Christine. “Cosmology and Transformation in the Work of Michelle Stuart.” Woman’s Art Journal, vol. 32, no. 1, 2011, pp. 3–12. JSTOR, www.jstor.org/stable/41331098. Accessed 29 Sept. 2020.
Paula Eubanks (2012) Interdisciplinary Study: Research as Part of Artmaking, Art Education, 65:2, 48-53, DOI: 10.1080/00043125.2012.11519168
Brown, Maurice. “Review: Garner Tullis and the Art of Collaboration By David Carrier” Journal of Aesthetic Education, vol. 33, no. 3, 1999, pp. 109–112. JSTOR, www.jstor.org/stable/3333707. Accessed 29 Sept. 2020.
Thorson, Victoria. “Review: Work of Lynda Benglis Process by Susand Richmond” Woman’s Art Journal, vol. 34, no. 2, 2013, pp. 63–64. JSTOR, www.jstor.org/stable/24395321. Accessed 29 Sept. 2020.
Crozier, W. Ray. “Gerald C. Cupchik (2016). The Aesthetics of Emotion: Up the Down Staircase of the Mind-Body.” Empirical Studies of the Arts, vol. 36, no. 1, Jan. 2018, pp. 114–121, doi:10.1177/0276237417723263.
Pelzer-Montada, Ruth. “The Attraction of Print: Notes on the Surface of the (Art) Print.” Art Journal, vol. 67, no. 2, 2008, pp. 75-91. ProQuest, http://ocadu.idm.oclc.org/login?url=https://www-proquest-com.ocadu.idm.oclc.org/docview/223297289?accountid=12991.
Audirac, F. L (2008), ‘Origins of the Future: an artist’s encaustic perspective’, Technoetic Arts: A Journal of Speculative Research 6:2, pp. 199-205, doi:10.1386/tear.6.2.199/1
IMAGES
(saved to IAMD\Reading\Encaustics)
“Jasper Johns.” Britannica Academic, Encyclopædia Britannica, 22 Apr. 2016. academic-eb-com.ocadu.idm.oclc.org/levels/collegiate/article/Jasper-Johns/43846. Accessed 29 Sep. 2020.
Howser, Greg. “Between Friends: A Supporting Paper for a Graduate Exhibition” (MFA Thesis) East Tennessee State University, ProQuest Dissertations Publishing, 2011. 1496103.
Rogish, Tanya. “Time Preserved.” (MFA Thesis) Virginia Commonwealth University, VCU Scholars Compass. 2010.
Schnabel, Julian. “Past,” julianschnael.com, 2018.
Stewart, J. W. “Gibbous Moon.” CCCA Concorida, 2010.
Materials: Color copy transfers, enamel, lacquer, encaustic and other media on hand-made Japanese paper with wood, galvanized steel and copper Measurements: 54 x 40.5 x 3.5 cm ; 21 x 16 x 1.5 in.
Schouten, Tim. “Untitled 111 (In the Absence of Horses).” CCCA Concorida, 2008.
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Schouten, Tim. “Untitled 20 (In the Absence of Horses).” CCCA Concorida, 2008.
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Schouten, Tim. “The Treaty 2 Suite (Where IS Treaty Land?)” CCCA Concorida, 2004.
Materials: Materials: oil, microcrystalline wax on canvas
Schouten, Tim. “Highway (Treaty 1)” CCCA Concorida, 2004.
Parsons, Bruce. “Horses & Helicopter.” CCCA Concorida. 1982.
Materials: encaustic construction
Martyn, Carol. “Women’s Commitee.” CCCA Concorida. 1987.
Martyn, Carol. “Coma Cluster.” CCCA Concorida. 1980.
Martyn, Carol. “Uranus.” CCCA Concorida. 1980.
Martyn, Carol. “Jazz Squite.” CCCA Concorida. 1980.
Low-Beer, Susan. “Echoes: Reflection on Structure #4” CCCA Concorida. 2009.
Low-Beer, Susan. “#10 Tools for Daily Living” CCCA Concorida. 2009.
Logan, Janet. “Memories/Dreams” CCCA Concorida. 1995.
London, Naomi. “Beyond Sweeties.” CCCA Concorida. 1996.
Jacobs, Kartja. “Words #2.” CCCA Concorida. 2006.
Jacobs, Kartja. “Healing Blanket #5.” CCCA Concorida. 2006.
Grund, Dieter. “The Beam Rejected.” CCCA Concorida. 1991.
Dukes, Caroline. “Midnight.” CCCA Concorida. 1991.
Donoghue, Lynn. “Anda/Vesalius”. CCCA Concorida. 1992.
Donoghue, Lynn. “Silence”. CCCA Concorida. 1992.
Coupey Pierre. “Notations 19: What If” CCCA Concorida. 1995.
Collins, Nicole. “Cluster Collide” CCCA Concorida. 1997.
Collins, Nicole. “Someday You’ll Find Everything” CCCA Concorida. 2003.
Collins, Nicole. “common currency” CCCA Concorida. 2001.
Barnett, David. “Earth Song #3” CCCA Concorida. 2000.
Barnett, David. “The Death of Icarus” CCCA Concorida. 1991.
Astman, Barbara. “Untitled (The Rock Series, 10 of 12)” CCCA Concorida. 1991.