These were the introductory remarks made by Chair Michael Shane Neal when he opened this year’s Portrait Society of America conference in Atlanta, Georgia. This set the stage for and encapsulated the whole experience of the next four days. Whether a first-timer, occasional attendee or seasoned participant, there was something for everyone. Those who have attended all or most of the 25 previous conferences shared with me that they primarily return for the friendships. The newbies indicated that they come to learn the basics and good practices from experts. The rest of us come seeking varying levels of support and guidance to such questions as “where to now?” and “how do I evolve?”
After an exciting evening of award presentations, the finalists of The International gathered onstage for a group photo.
The conference consists of components that are much loved and repeated each year but refined in the light of feedback. Previous attendees told me they embrace the changes and like the way the society is evolving. I learnt firsthand that the society was founded and flourished under the guiding vision of “truly remarkable men” such as Gordon Wetmore, Edward Jonas, Daniel Greene, Everett Raymond Kinstler and Burt Silverman. While no longer in attendance, their impact is still present—they were quoted often and remembered with affection and respect. Now this role is in the capable hands of the next generation of greats, including the Board and the amazing all-female-engine-room staff led by the indefatigable Christine Egnoski. The recipient of this year’s Excellence in Fine Art Education award, Dawn Whitelaw highlighted the vital role teaching plays in developing our own and our students’ creative expression. The Society’s passionate commitment to lifelong learning is responsible for an increasing number of young artists attending the conference each year. Giving as much as they glean, we can all rest assured knowing that the Portrait Society’s future will be in good hands.
More than 700 artists gathered together for a shared experience during the 26th annual conference.
While other professional societies may atrophy and struggle to maintain relevance, the Portrait Society is growing from strength to strength. In response to its clearly articulated unwavering mission, pursuit of excellence, and a constantly improving program of events well-run by committed volunteers, over 700 people from 45 states and nine countries attended this year’s multi-generational event.
Workshops are a great way to start the conference and allow participants in these sessions to use paint, drawing and sculpture materials. Throughout the conference, not a single drop of paint was spilled by demonstrators, Oliver Sin’s fingers remained free of charcoal throughout, and the incomparable sculptor John Coleman brushed molten clay over an aluminum foil frame and then layered strips of it like a Le Cordon Bleu pastry chef!
Drawing and sculpting the torso under the guidance of Kevin Chambers captivated attendees participating in his hands-on workshop.
Hugely popular is the opening event, the Face-Off, which takes place straight after registration on the evening of the workshops. Here 15 of the 28 faculty artists bravely put themselves out there to create a masterpiece from scratch in a limited time and under difficult conditions. Their creations, full of raw spontaneous expression, are then generously donated to be auctioned off to raise funds for future scholarships. Another fundraiser is the 6x9 Mystery Art Sale with works generously donated by previous faculty and finalists that are eagerly purchased by participants.
The Face-Off is a great opportunity to see the breadth of excellence in all artistic media (oil, watercolor, pastel, graphite and clay), and it’s the ideal icebreaker. Set up spaciously in the Grand Ballroom, the audience can mingle freely to catch up with friends and get that first glance of their art heroes. They can also settle in to intently watch individual artists and chat with the like-minded. Some simply wander around enjoying the ambience.
At the same time the doors are opened to the exhibit hall. Referred to as “a candy store for artists,” these displays are staffed by not so much merchants but trusted collaborators, who are forging the way forward with product developments specifically tailored to artists’ evolving needs.
The rest of the conference is equally interactive and full of variety. There’s a mix of demonstrations, panel discussions and presentations in the ballroom and smaller breakout sessions for greater audience participation. Even more intimate are the personal critiques, book signings and meetings with finalists in The International portrait competition. The conference reaches a climax with the Gala Dinner where we come together to celebrate personal achievements of excellence and the Society as a whole. This night of glittering prizes leaves many of us “so pumped, it is hard to sleep!”
With so much choice, a welcome addition to recent conferences is Kristina Laurendi Havens’ live coverage, which the Portrait Society posts on social media. It’s as though we all have a special timepiece like Hermione Granger in Harry Potter, that enables us to simultaneously attend multiple sessions—albeit when we go to bed at night, elated and exhausted.
Jeff Hein and Susan Lyon entertained attendees during a concurrent main stage demonstration.
Ask anyone and you’ll get a different answer as to what their highlight was this year. For me, it was twofold. Firstly, in the “Watercolor and Oil Connection,” Michael Shane Neal showed the sublime watercolors of grand masters like John Singer Sargent and Anders Zorn while Mary Whyte deftly demonstrated the technique. The impact on me was personal; for the first time ever I have been inspired to try watercolors, and I feel I now have enough instruction to just have a go! Secondly, we witnessed magic in John Coleman’s the “Importance of Spontaneity” where he miraculously sculpted a little Hopi child who then evolved into a young Navajo maiden and finished as a mature Native American chieftain. A standing ovation said it all!
During his hands-on drawing class, Oliver Sin offered key instruction on shapes, anatomy and value rendering.
Just like the art/paintings we do, at these conferences we learn to simplify and focus on the essentials: consolidate and build sound foundations and then, only then, add details and finish with bravado and boldness. And when we fall short, we are more likely to forgive ourselves and learn from our mistakes with the optimism and determination to get it better next time. The more time I spend with attendees, staff, volunteers and faculty, the more I realize what a very special tribe we are.
In an extraordinary sculpture demonstration, John Coleman created three distinctive life stages using one armature.
I was reminded of the song “If you like piña coladas...” (officially “Escape” by Rupert Holmes), and for fun, I asked others at this year’s conference to give me single words to describe the characteristics of portrait artists. They came up with these unseen bonds: determined, resilient, emotional, anatomically analytical, curious, intense, self-motivated, in pursuit of excellence, introverted extroverts, excitable, humble, passionate, focused, organized, easily distracted, vulnerable, gentle, outrageous, quiet, thoughtful, respectful, fastidious, caring…and we love people.
If this describes you, then come and join us at next year’s 27th annual Art of the Portrait Conference to be held in Washington, DC, May 8 to 11, 2025. —