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| Michael Shane Neal |
During the four-day Art of the Portrait Conferences, it is always Friday which features the most jam-packed schedule. I had never really appreciated just how full the itinerary was until a few years ago when the Portrait Society of America granted me fuller access to all of the daily events, and I grew exhausted while frantically trying to document everything that was happening during the day. This year, if it was at all possible, seemed to have more activities on the agenda than had any other conference Friday I can remember.
At 8:30 AM (or, as the jet-lagged, West Coast artists who staggered downstairs called it, "Zero Dark Thirty"), the 15th Annual Art of the Portrait Conference officially welcomed its guests to Atlanta. This was only the second time the conference was held in the ATL, and just like that last time two years ago, all previous attendance records were broken. Portraiture is certainly alive and well in the South.
Following the traditional overview film by Tony Pro - in which the faculty, finalists, and the winners of the awards of Exceptional Merit were announced - emcee Michael Shane Neal, who had been standing in for Edward Jonas, left the podium so he could stand-in for Rose Frantzen during the first demonstration of the day. Frantzen, whose paintings and presence onstage have made her a perennial favorite, unfortunately had to cancel her appearance at the conference this year. (Our thoughts and good wishes are with you, Rose). As could be expected of a man with such sartorial style, Neal took to "wearing many hats" with grace, and by the time he made it to mid-stage, he was already in his painting jacket and ready to go.
Neal was joined on the main stage by artist Mary Whyte for a program called "Oil and Water," during which the two each painted a portrait in their respective medium of mastery; Neal in oil, and Whyte in watercolor. With their complementary quick wit, intelligence, and charm, Whyte and Neal made for a perfect pairing, and kept the audience entertained for the entire program. Fellow portrait artist, Sam Adoquei, who did an excellent job sitting for the demonstration, likely had the hardest job of the three on the dais; not only did Adoquei have to sit with his eyes half-closed for the two-hour pose, he also had to do so in the midst of his colleagues' playful and humorous banter.
After a short break, the next presenter to step up to the podium was James Gurney, a brilliant man who has applied his skills variously to illustration, animation, writing, sculpting, science, blogging, plein air painting, . . . the list just goes on and on. This year marked Gurney's first participation with the Art of the Portrait convention, and his many fans were eager to hear his stories about "Portable Portraits" - the portrait sketches Gurney has made on a regular basis during his worldwide travels. Since publication of his popular Dinotopia books, Gurney has been in demand as a lecturer, and his abilities as a practiced speaker were in high evidence during his discourse. Everyone left the ballroom inspired, and possibly a little ashamed that they were not making as good a use of their sketchbooks as Gurney was of his own.
From 12:15 to 2:00 PM, attendees had an open lunch period, but grabbing a meal was only one of the options available. Professional portrait artists and portrait agents were on hand in the foyer to offer critiques and advice to attendees wishing to share their portfolios, and the authors of many of the art books available for purchase in the vendor's room were present to inscribe and sign their books. Fortunately, the hotel provided bag lunches for purchase so that attendees could make the most of the time allotted for this break.
In the afternoon, attendees were invited to build their own schedule through a curriculum of "Breakout Sessions" in which, by prior registration, they could choose which of five programs would best suit their needs. The first program took place on the main stage, and offered a two-hour painting demonstration and Q&A with Michelle Dunaway and David Kassan. Program two featured a discussion with James Gurney, Bart Lindstrom, Michael Shane Neal, and Mary Whyte on the topic of "Building a Reputation through Social Media." The four discussed how the internet keeps them connected to their fans, and to potential clients. "The Natural Evolution of Two Painters," the third program offered, featured slide shows and lectures by two very highly-respected artists who joined the faculty for the first time this year: Quang Ho and Daniel Sprick. Through visual examples, Ho and Sprick explained what inspires them in their work, and what humbles them and keeps them creating. In the fourth option, "Turning My Worst Commission Experience into My Best," artists Sam Adoquei, Evert Ploeg, Glenn Harrington, and Lynn Sanguedolce shared stories about paintings which did not necessarily have inauspicious starts, but which ended in challenges that no one had anticipated when the work began. In the final program choice, some lucky few attendees were able to participate in a drawing workshop led by Sherrie McGraw and Judith Carducci. By necessity, this program was limited to a small class size, but those fortunate enough to secure a spot in the workshop were able to draw from live models while under the constant guidance of these two powerhouses of draftsmanship. Deciding which one of these programs to attend was far from an easy choice for the attendees.
When the "Breakout Sessions" ended at 4:00 PM, guests were faced with new options throughout the hotel. The ambassadors to the Portrait Society of America were congregated on the outdoor terrace, making themselves available so that Portrait Society members both old and new could meet with their representatives and discuss what was on the upcoming agendas for each state. For those so inspired by the day's programs that they could not wait to return to their studios to start working, models were provided free of charge for an hour-and-a-half of open drawing time. In the library, where the 20 works of art eligible for the William F. Draper Grand Prize Award were on display, attendees were invited to stop by to meet the finalists and to discuss their paintings or sculptures. And for those hoping to use the break to get some more shopping done, and perhaps a little relaxing too, the vendor's room was open, as was a cash bar outside the main ballroom.
But those who had attended previous Art of the Portrait conferences knew what was coming at 5:30 PM, and may have spent that last hour-and-a-half preparing both mentally and physically for the 6X9 Limited Size - Unlimited Talent Mystery Sale. During this special biannual auction, dozens of temporarily unattributed 6 by 9 inch paintings (or similarly-sized sculptures) by many of today's most talented artists are sold for a flat rate of $250 each. It is thrilling and exciting, and sometimes terrifying, but for the persons who obtain a painting, it can make their year. This was only the third time this event has taken place, but it has been a resounding success. Hopefully, if it continues into the future, the auction will become a bit more regimented; as it is right now, when the bell rings to start the bidding, the room becomes a madhouse. (Of course, this may also be the sour grapes of a person who has failed in his three attempts to get the paintings he wanted).
When the 6x9 auction ended, there was only one official event left - the auction of the painting sketches from Thursday night's Face Off. Throughout the day, those paintings were on display in the hallway outside the grand ballroom. Attendees had the opportunity to examine the paintings closely, and to vote for one of the artists to be a demonstrator on Saturday morning. They also had the opportunity to bid on those Face-Off paintings on an attached bid sheet. At 6:15, the final bids were placed, and some lucky collectors went home with some terrific original artworks.
With all of the official events of the day finally over, it was time for everyone to grab dinner at the hotel, or at one of the excellent restaurants nearby. Afterwards, many of the artists gathered in the hotel's lounge to relax and socialize, but only a hardy few stayed up past midnight. Saturday's schedule was also rather full, and the morning would be there before we all knew it.
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| Michael Shane Neal donned his painting jacket, and prepared to begin his demonstration. |
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Minutes after Neal reached his easel, Mary Whyte claimed to be nearly finished with her portrait;
Neal was peeking at Whyte's drawing, just to make sure she was joking. |
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| Sam Adoquei |
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| Portrait of Sam Adoquei - Mary Whyte |
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| Portrait of Sam Adoquei - Michael Shane Neal |
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| James Gurney |
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| Gurney related stories of learning just enough language in a foreign country to ask locals to sit for him. |
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In his twenties, Gurney travelled with his college roommate, Thomas Kinkade,
making sketches of people and places across America. The results were published
in the book, The Artist's Guide to Sketching. |
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Sometimes Gurney introduces fantasy into his observational sketches. On the left, he imagined a fellow-traveller
in an airport as a leprechaun waiting for a mysterious hidden transport system of which only magical creatures
are aware. On the right, he drew a city street scene, but left the center blank. He added the cat back in his
hotel room while dreaming of a city gridlocked by giant animals sleeping in the city streets. |
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| Ed Jonas sending the audience off on their lunch break. |
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| (l-r) James Gurney, Bart Lindstrom, Michael Shane Neal, and Mary Whyte |
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| Neal discussing how he needs special dispensation to put images of his governmental portraits online. |
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| Quang Ho thinks in terms of the very big, and the very small. His representational paintings are made up of hundreds of tiny abstract works, and he feels that each of his brushstrokes should tell a story. |
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| Daniel Sprick discusses his choice of setting his figures against a bright white backdrop. |
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| Evert Ploeg |
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Glenn Harrington was inspired to add flowers to the hair of a commissioned portrait, and liked the resulting
painting so much, he decided to start a new painting for his client, and keep the original. |
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| Michelle Dunaway and David Kassan painting Mia Bergeron |
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| Squint! |
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When the demonstrations conclude, the paintings are displayed to the side of the main stage so that the
audience may take a closer look. Often the faculty will bring in other examples of their finished work to
share with attendees. |
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| Sherrie McGraw |
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| Judy Carducci |
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| Examining the finalists in the library. |
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| Kerry Dunn (left) in mid-conversation with fellow-finalist T.J. Cunningham |
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| Serge Marshennikov - In the Twilight (detail) |
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| Leslie Adams speaking with Richard Broderick |
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| Katherine Stone |
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| Marina Dieul |
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| Alicia Ponzio - Irving (detail) |
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| Seth Haverkamp |
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| Glenn Harrington |
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| David Kassan - Letter to My Mother (detail) |
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| Letter to My Mother (detail) |
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| Cheng Lian |
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| Jeffrey Hein |
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| Jennifer Welty speaking to Jonathan Linton |
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| Jennifer Welty - Will (detail) |
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| Mary Sauer and Gary Haynes |
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| Ardith Starostka |
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| Richard Christian Nelson (center) |
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| Richard Christian Nelson - Luke at 15 (detail) |
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| Bart Lindstrom (standing) checking in with Florida's Ambassador to the Portrait Society of America |
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| Open drawing session in the Azalea Room |
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| Alexandra Tyng |
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| Face-Off paintings are on display until Friday evening, when they are auctioned off. |
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Attendees have until 4 PM on Friday to vote for which Face-Off painter they think should give a
demonstration on the main stage Saturday morning. |
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| Crowds gather in the ballroom to examine the 6X9 works before the auction. |
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| Sherrie McGraw |
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| Alexandra Tyng |
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| Stephen Early |
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| Mary Whyte |
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| Richard Broderick |
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| Ann Manry Kenyon |
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| William Bartlett |
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| Vasudeo Kamuth |
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| Matthew Innis |
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| Marina Dieul |
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| Jason Bouldin |
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| Holly Metzger |
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| John Michael Carter |
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| Carol Arnold |
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| Lea Colie Wight |
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| James Tennison |
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| The bell sounds, and the madness begins. . . |
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| Bidding on Sherrie McGraw's still life. |
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| Annie Kraft Walker with her purchase, painted by Aaron Westerberg |
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| Evert Ploeg with a painting by Rob Liberace |
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(l-r) David Gluck, Kate Stone, Jeff Hein, and Ursula Toelke
After finding out he was picked to demonstrate Saturday morning, Hein asked Stone to be his model. |
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Joseph Todorovitch posing with the lucky person
who purchased his Face-Off painting. |
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Unwinding at the end of a long day: (l-r) Sam Adoquei, Osiris Rain, Alexandra Tyng,
Linda Tracey Brandon, and David Kassan |
