Marit1e Art News Natiottal Maritte Art Cottferettce, a Resouttdittg Success for ASMA n September, more than 200 marine artists, curators, collectors, and enthusias ts came together in Wi lliamsburg, Virginia, for the inaugural N ational Marine Arr Conference, sponsored by the American Society of Marine Artists (ASMA), and featuring the opening of its 17th National Exhibition. ASMA president, sculptor Kim Shaklee, led the conference; acclaimed artist Len Tantillo, served as m as ter of ceremonies as the nation's top talent in marine arr gathered for four days of presentations, demonstrations, and workshops by many notable artists, including John Barber, William Duffy, Peter and Lisa Egeli, Neal Hughes, Mike Killelea, Ian M arshall, Len Mizerek, C. W. Mundy, Sergio Roffo, John Stobarr, and Kent U llberg. Artists and enthusiasts alike were given an education in the process of creating arr, both en plein air and in the studio, and in the business of arr and printmaking. "The conference was a true synthesis of everything we've been working toward," said M s. Sh aklee. Discussing the vibrant exchange of ideas between artists, curators, editors, and gallerisrs, she noted, "It illustrates the importance of a n ational gathering, where o ur signature artists, membership, and the larger arr community can discover what's really going on in marine arr, a nd what the Society's fellows and other ASMA members have to offer."
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Plein air painter Neal Hughes, the featured marine artist in the last issue of Sea History (#156), opened the conference with an instructional demonstration on painting en plein air, which, for the conference, was done indoors from a photograph. It was remarkable to see how quickly a plein air painter can take a blank canvas to near-finished work in a matter oftwo hours. On Saturday, he participated in the Jamestown paintout and captured the Susan Constant at his easel. Charles Warren "C. W "Mundy (above) p resented his "7 Foundational Truths," a powerful presentation that proved an education in technique and what to look for in paintings. Sea History editor, Deirdre O'Regan, who attended the conference along with NMHS president Burchenal Green and NMHS chairman Ronald Oswald, was particularly impressed with M undy's talk. "After sitting through his presentation, I found myselfnoticing aspects in paintings that I had never noticed before, from hard edges to soft edges, use ofintense light positioned against darkness, and much m ore. For an admirer of marine art but not educated in the discipline, I found Mr. Mundy's presentation a gen uine quick-start education in art and art history." On Saturday in the heat of the Virginia sun, ASMA artists participated in a plein air paint-our on the pier at the Jamestown Settlem ent, where the historic replica ships Susan Constant, Godspeed, and Discovery with sails se t were in full view. Jam estown visitors and the ships' crews enjoyed h aving the esteemed marine artists in their midst, and watching them create views of the vessels on canvas. ASMA Fellow David Bareford with his contribution to the 17th National Exhibition at the opening gala. His oil p ainting, A Spanking Breeze on a Srarborad Tack, 24 x 4 0 inches, graces the cover ofthe exhibition's official catalogue.
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SEA HISTORY 157, WINTER 2016- 17