ISSUE May 2006

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

MAY 2006

INSIDE: FLORAL ARTIST HITOMI GILLIAM, TASIMJAE WRAPUP, AND MORE

THE WAIT WAS EXCRUTIATING, BUT IF ANDY AND JAYNE COULD HOLD ON JUST A FEW MINUTES MORE, THE POT OF STUDIO BLEND WOULD BE READY.

Studio Blend Coffee “It’s A Matter Of Taste” ONLY $7 A POUND AVAILABLE AT THE ART STUDIO

• NOW AVAILABLE GROUND •

A View From The Top Greg Busceme, TASI Director

ISSUE Vol. 12, No. 6 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers . . . . . . . . . . Amanda Rowell, . . . . . . . . . . . . . . . . . . . . . . Candice Jackson Contributing Photographer . . . . . . Trish Coughlan Cartoon . . . . . . . . . . Jeff Dixon & Andy Coughlan The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Members At Large . . . . . . . . . . . . . . Beth Gallaspy . . . . . . . . . . . . . Maribeth Jones, Sandy Pate, . . . . . . . . . . . . . . . Angie Phares, Les Warren

The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org artstudio@artstudio.org Issue Submissions: artstudio@artstudio.org The ISSUE is a monthly publication of The Art Studio, Inc. Its mission is to publicize The Art Studio and its tenants, and to promote the growth of the arts in Southeast Texas. ISSUE is also charged with informing TASI members of projects, progress, achievements and setbacks in TASI’s well-being. Further, ISSUE strives to promote and distribute the writings of local authors in its “Thoughtcrime” feature.

ISSUE is provided free of charge to members of TASI and is also available, free of charge, at more than 30 locations in Southeast Texas.

Regular features include local artists of note and reputation who are not currently exhibiting at TASI; artists currently or soon to be exhibiting at TASI; Instructional articles for artists; news stories regarding the state of TASI’s organization; and arts news features dealing with general philosophical issues of interest to artists.

Contents Floral Artistry. . . . . . . . . . . . . . . . . . . . . . . . Page 4 Around & About. . . . . . . . . . . . . . . . . . . . . . Page 6 ‘Infinite Transmissions’ . . . . . . . . . . . . . . . . Page 8 ‘Macbeth’ . . . . . . . . . . . . . . . . . . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13 Cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 15

Cover Photo of Richie Haynes

by Trish Coughlan

I GUESS THE NAME of this month’s installment is “Thank you.”

Last month we were waiting on news from the Foundation for Southeast Texas, who received a grant of $150,000 from Wachovia Bank to help non-profit organizations in Southeast Texas repair and recover from the ravages of Hurricane Rita.

Along with our other foundation gifts, the Foundation for Southeast Texas granted The Art Studio $4,000 for repairs and recovery!

Our thanks go to all the people who organized this gift and had the foresight to direct funds to include organizations that represent the second wave of recovery after the storm: education, art, housing, tourism — all groups who represent quality of life, preservation and culture. Board member Beth Gallaspy and yours truly worked on this and other grants months ago and we are now seeing the fruits of our labor.

Our thanks also go out to all the supportive people who sent memberships and donations in light of our stolen software and equipment.

Studio resident Rhonda Rodman has bravely taken the lead on the mailing list/membership roster and is hard at work reorganizing and updating the mailing list.

You will soon get those invites in your mail box and the ISSUE will get mailed too.

We are cutting back by two thirds our

mailing capacity because of recent cost increases in printing to mailing, making mass mailings across the country beyond our ability to pay. We are localizing our bulk mailings and limiting complimentary mailings to institutions (colleges, other nonprofits, etc.). This will bring costs more in line with our leaner, meaner profile.

The Studio is about survival, but we are regaining our active volunteer base and drawing participants in the continued, ever-changing life and revival of The Studio.

For the first time since the storm, I feel like we have a chance to regain our footing, albeit with shaky knees.

We can finally return to our vision of the future and to look forward to our plans and hopes, rather than how to save, fix or recover what we used to have. It will be a slow recovery, but we certainly are not dead!

Even now smoke and fire billow from our kilns. Drills and grinders fill the air with their special song. The smell of fresh paint drifts down from upstairs. The wonderful sound of children experiencing their first revelries with art, the sounds of creation murmurs and laughs, shouts and curses — this is what our life is!

And The Studio is the most wonderful place in which to experience it.

Thanks to everyone for letting us stay.We will make it worth your while.

UPCOMING EXHIBITIONS AT THE ART STUDIO MAY Richie Haynes (2005 TASIMJAE Winner)

JUNE The Alternative Show

Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . May 6

Opening . . . . . . . . . . . . . . . . . . . . . . . . . . June 3

BECOME A MEMBER OF THE ART STUDIO Membership in The Art Studio, Inc., provides invitations to all exhibitions and one year of ISSUE, the monthly arts magazine of The Art Studio. It also gives free eligibility for members to enter the annual membership art exhibition (TASIMJAE) and participate in various exhibitions throughout the year.

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4 • ISSUE May 2006

Volume 12, No. 6

Guided

IN GILLIAM’S NIMBLE HANDS HITOMI GILLIAM LETS OUT another infectious laugh as she snips the bottom off of the stem of a Gloriosa Lily — one of her favorite flowers, she says — and deftly inserts it into an arrangement of flowers. Watching her work is like watching a ballet. She twists and turns, bows and leans, all the while keeping up a non-stop chatter about the nature and philosophy of floral design.

“As a whole, if you respect the concept of the floristry and working with flowers, then you want to respect the nature of it,” she says as she inserts another flower into the arrangement. “It takes away from the naturalistic point of view if you contrive it too much.

“Man has really too much power. I think that is really what’s wrong with this world — we are too smart and we have too much power to manipulate things that cannot defend themselves.”

Gilliam is one of the world’s leading floral artists, one of only five artists given the Design Influence Award in the 45-year history of the

Story and photos by Andy Coughlan

Volume 12, No. 6

May 2006 ISSUE • 5

by Nature THE ARTS MAGAZINE OF THE ART STUDIO, INC.

FLORAL DESIGN BLOSSOMS INTO HIGH ART American Institute of Floral design. After 25 years, she sold her shop in October and now travels around the country giving demonstrations and working with museums on installations. She visited Orange in March to give a demonstration at the Brown Center, as well as spend time with local floral artist Scott Hasty.

A Japanese-Canadian — she moved to Canada when she was 12 — Gilliam originally wanted to be a painter, but her parents encouraged her to go into a field that would give her a better living. She chose Ikebana, which means arranging flowers, in Japanese.

When Gilliam started out, she said, she was not a well-rounded designer. She could design, but she couldn’t tell people why.

“When I teach, I teach how and why,” she said.

“So when you are learning you have got the foundation instead of learning by seeing and you really don’t know why. Then you have to learn the whole thing again.

“That is why the foundation principles are so important. That should be the beginning of any of the arts you learn. If you don’t know that intimately, you will never know why this balance is working — or, if it’s not working, you won’t know how to spot it.”

Gilliam said that this is an exciting time to be a floral artist. Suppliers are breeding a wider array of colors than ever before, which gives the artist a more varied palette. Gilliam said she does not like to dye flowers, preferring to find desired colors in the plants themselves. The variety of colors is important because styles and designs are constantly changing.

“It sort of changes by the various eras that we go through,” Gilliam said. “Right now, we see a lot of young people like more artificial colors — the brighter, the brighter, the brighter. And if that color doesn’t exist, then they are dying it. As a result, the colors, the motif you get out of it is very retro, very sort of ’60s-ish. It’s a kind of faddish thing, but, as a whole, if you respect the concept of the floristry and working with flowers, then you want to respect the nature of it. It takes away from the naturalistic point of view if you contrive it too much.

“I feel the same way about flowers. If you start to manipulate something that naturally curves and you want to make it straight, I say if you want straight, go find something that grows straight. I think that forcing something to be (something it is not), is not what we should do with nature,” she said.

As Gilliam spryly darted around another creation,

snipping stems and weaving flowers into foliage, she said that the nature of art should be to allow the material to lead the artist into the design.

“That’s when the piece of art speaks, because you are able to use it in combination that has given it that personality or particular characteristic…and bring it forward so that other people can appreciate it,” she said.

Gilliam said that she believes there are two types of art.

“There’s art that speaks —even when it is about sadness, there is still beauty to it — and then there is art that is about conflict, that has a dark side to it,” she said. “You manipulate it and torture it — there’s that art, too. But I tend to like to be on the positive side. Even if it deals with death, I want to show the people that are left behind the life that is still there.”

Gilliam equated this concept with the aftermath of Hurricane Rita. She said she is interested in the forces of nature, and in the wake of Hurricane Rita, she really wanted to tell her story here.

“Initially, you deal with devastation and it’s just really awful,” she said. “There’s anger and frustration.

APRIL 2005

See FLORAL on page 10

MAKING AN EXHIBITION OF THEMSELVES PAGE 7 Renowned floral artist Hitomi Gilliam, top left, demonstrated her art at J.Scott’s Aflorist in Orange in March and at the Brown Center in Orange. The arrangement shown left comprises Bells of Ireland, Ornithogalum, Halla and Anthuriums. Gilliam is as animated when describing her artistic philosophy, above, as she is when creating her pieces. The arrangement shown right incorprates Cala Lillies and Aspidistra.

INSIDE: LISA REINAUER: JUDGE AND JURY, HOT PIG, AND MORE

6 • ISSUE April 2006

Volume 12, No. 4

Around & About If you come across any interesting exhibitions, museums or other places on your travels, share them with us. Call 409-838-5393, or contact us through our web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs.

Artist ANDY TAYLOR, February’s exhibiting artist at The Art Studio, will present more work from his NATURED AND NURTURED series in three Houston locations in the coming months. Taylor’s largescale prints will be on view through July 10 at Travis Tower — selected by Kinzelman Art Consulting. In July, the works will be at the Galveston Arts Center. Taylor will unveil all new work at the Houston Center for Photography in September.

Admission to all shows is free. _______________ The MUSEUM OF FINE ARTS HOUSTON hosts MARK SELIGER: IN MY STAIRWELL through June 4.

Seliger was the chief photographer for Rolling Stone for more than ten years. In this position, he had the opportunity to photograph a wide range of celebrities, including Bob Dylan, Renee Fleming, Lenny Kravitz, Susan Sarandon, Jerry Seinfeld, Richard Serra, Matthew Barney, and Laurie Anderson.

“In My Stairwell,” the most recent body of work by this Texas native and well-known editorial photographer, focuses on contemporary artists, musicians, and actors on the stairwell of his studio in New York’s West Village.

“The Stairwell project was an opportunity for me to create a collection of portraits of artists, ranging from peripheral to mainstream, to make a record of our times,” he said. “The Stairwell environment became the common denominator that related the subjects to one another, which they could either make into a personal space for themselves or use it as a background simply to be documented.” According to the museum’s web site, “The strength of Seliger’s portraits lies in his ability to portray the nuances in the personality of his sitters and intuitively capture a central characteristic of the individual’s public persona, such as the portrait of Cindy

Sherman.”

The exhibition includes a selection of platinum-palladium prints drawn from the 89 photographs that make up this series, begun in 1998 and completed last year.

MFAH is located at 1001 Bissonnet Street in Houston. The museum is closed Mondays.

For more information, visit the web site at www.

MFAH.org. _______________ The MENIL COLLECTION will host FRANK STELLA 1958, May 26–Aug. 20.

According to the collection’s web site, “In the year 1958, twenty-two-year-old Frank Stella graduated from Princeton, moved to Manhattan, and set out to become an artist. It was a critical year of rapid growth, during which he moved from exuberant experimentation with monumental size, vivid color, and bold stripes and brushwork to the taut, monochromatic ‘black paintings’ at year’s end, pioneering works of Minimalism that would influence the course of American art. Stella would go on to become one of the country’s most important postwar artists. Until now, however, the works of this crucial year have been either neglected or treated as a mere prelude to his later work.”

The exhibition focuses on this year, the site states, tracking the young artist’s growth by presenting together for the first time eighteen previously neglected paintings, a majority of the work he made during the year, thus allowing a thorough reevaluation of his early career.

The exhibition is accompanied by a catalogue, published by Yale University Press, that provides a document of Stella’s early career, including scholarly essays that combine new archival research with bold reinterpretations of the work. The publication presents the entire series of paintings in color for the first time (with

the exception of lost works known only through blackand-white photographs), situating them in relation to contemporaries such as Jasper Johns and Carl Andre (with whom Stella shared a studio space in 1958).

The Menil Collection is located at 1515 Sul Ross in Houston. For more information, visit www.menil.org. _______________ The CONTEMPORARY ARTS MUSEUM in Houston hosts JIM LOVE: FROM NOW ON through July 2.

This retrospective exhibition — the first significant museum exhibition in 20 years to focus on the work of the recently deceased Houston sculptor Jim Love — will bring together work from 1957 to the present.

According to CAM’s web site, “Love created his early ‘put-together’ sculptures out of objects he found in junkyards, and soon these efforts gave way to original forms of welded iron and steel. He elevated ordinary things to inventive and often amusing works of art through his use of the Surrealist and Dada-influenced practice of assemblage, creating a body of work that includes oversized birds, jacks, and flowers as well as functional sculptures such as a chess set, coat racks, and chairs.

“Love and his work were important influences on Texas artists and art institutions beginning in the mid1960s, from his work as an exhibition designer with the Contemporary Art Museum Houston’s first professional director Jermayne MacAgy to his long-time partnership with Jean and Dominique de Menil. Love’s sculpture first gained national recognition in 1961 when his work was included in The Museum of Modern Art’s groundbreaking exhibition, The Art of Assemblage.”

CAM is located at 5216 Montrose in Houston. For more information, visit www.camh.org.

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Volume 12, No. 6

May 2006 ISSUE • 7

Joyce Philen took first place at TASIMJAE 2006 for ceramic piece, “Birth of Venus.”

Philen won a solo exhibition at TASI in May 2007 for her efforts.

Philen captures top spot at TASI membership show A silvery head, quickly followed by a set of shoulders, breaks through the surface of an ocean wave.

Photos by A mass of wet Trish tangled hair frames Coughlan a face composed of delicate features.

Her eyes are closed. Lips slightly parted. Light reflects off of her collarbone.

Born out of the ocean is the goddess of beauty — but only in ceramic form.

It is the “Birth of Venus,” a ceramic wall sculpture appropriately titled by its artist Joyce Philen, first-place winner of The Art Studio Inc., Members Jurored Art Exhibition.

Story by Candice Jackson

The Art Studio Inc., held its opening night of TASMJAE on April 1.

“It just seemed really different,” said Shannon Harris, Museum of the Gulf Coast Executive Director and juror of TASIMJAE, about Philen’s piece. “I loved how all these things came together…and the way she melded all those things together to tell the story of the birth of Venus.”

“The first-place winner gets an exhibition of their work, and I wanted to see more of what she was working on,” she said.

On the wall perpendicular to ‘Venus’ hangs the second-place winner, a meticulously drawn, black and white, pen and ink piece titled “And Did The Countenance Divine…,” by Andy

Visitors to TASIMJAE 2006 examine the second-place winner, “And Did The Countenance Divine…,” by Andy Coughlan.

Coughlan.

“Being an Englishman living in America, I’ll always be an outsider.”

Coughlan said. “But, when I go back to England, it’s changed. I don’t really belong there, either. The pictures are a way to create a place where I do belong.”

Across the room from ‘Countenance’ hangs the third-place winner, “Grace of Movement,” an oilon-pastel piece comprised of warm colors — yellows, reds, and oranges — by Elizabeth Pearson.

Spread throughout the gallery are pieces awarded ‘honorable mention:’ Trish Coughlan for “Sewing Gladys,” Johna Chaisson for “Petal Duster,” Faye Nelson for “Amphistylar Cloister,” and Andy Coughlan for “Four Seasons.”

Collectively, they make up only a small portion of about 40 selected works by 30 artists chosen for the show.

Harris said she chose pieces that appealed to her senses.

Quality of work, use of medium, and originality and uniqueness were also deciding factors.

The winner receives $100 and a solo exhibition at TASI in May 2007. Secondand third-place winners also receive cash prizes.

“It’s a pretty diverse show,” said Harris. “It shows the art community in Southeast Texas is diverse and that there is a lot of original work being done here.”

TASI director Greg Busceme agrees with her.

“I’m happy with the quality of the

work in the show,” he said. “It’s a show people know is going to be judged.

Therefore, they are putting in their best work — the most sophisticated work they can think of. And they’re usually folks pretty tried and true in the art world, although, we do have a lot of young people and a lot of new people who enter every year.”

Busceme says that the show offers a the opportunity for a lot of new people to come out and enjoy TASI. “I think most people don’t realize the fun involved with looking at exhibitions, and not just the fact that you are going to it, but the chance to see what’s going on in your area,” he said. “People are always going to bars and festivals to be around a lot of people; why not do the same with art?”

Elizabeth Pearson’s red-hued oil painting, “Grace of Movement,” captured third place at TASIMJAE 2006.

8 • ISSUE May 2006

Volume 12, No. 6

The infinite transmissions of TASIMJAE 2005 WINNER TO DISPLAY ECLECTIC COLLECTION IN MAY SHOW ARTISTIC PASSION CAN BE inspired by everything from music to fashion, to love to...flea markets?

Photos by According to Trish Beaumont artist, Coughlan Richie Haynes, frequenting flea markets and garage sales provided him with the interest to make art out of “junk.”

Haynes won the membership show at The Art Studio, Inc. last year with his mixed media assemblages using found objects. This year, he will premiere his own show, “Infinite Transmissions” at The Studio in May, with a free opening reception from 710 p.m. on May 6.

While mixed media provided him with the opportunity for the show, Haynes says he is working in a lot of different areas and that there will be a variety of pieces in the show.

“I have been doing some paintings that incorporate collage, and a few larger sculptures,” he said. “I hope to have some of each of these at the show.”

With music as his first love, Haynes says his involvement in the art of music led to his exploration of other art forms. For years he played with the band “Train in Vain,” and is still making music today.

“Though now I’ve picked up other artistic habits,” he said. “Where is it going to end?”

Several years ago, Haynes began to look at old throw-away items at garage sales, flea markets and antique stores.

“I began to look at old junk that people accumulate throughout their lives as some sort of weird artistic state ment of their lives — it’s kind of beautiful, if you think about it,” he said.

After watching close friend, Marty Arrendondo, paint on a daily basis for years, Haynes was inspired to try painting.

“Watching him gave me the courage to take up the brush and try

Story by Amanda Rowell

Volume Volume11, 12,No. No.16

September 2004ISSUE ISSUE • 95 May 2006

Distinctly Diverse

Richie Haynes’ imagination been a great experience, he acknowllectors, the couple constantly stay busy Aside from the show in May, my hand,” Haynes said. edges that every artist would quit their with projects.

Haynes says he’s keen on making more Having been involved in the creday job if they could survive on what “My wife and I are both very creart in the future. ative process in music since his early they make from their art, and he’s no ative people,” he said. “While I’m busy “More than anything else, that’s twenties, painting wasn’t something he exception. with my projects, she’s designing web what I’m looking forward to,” he said. attempted until his late twenties.

If he could make a living off his art, sites and making jewelry. Most of our Admittedly nervous about the “I painted one painting at that Haynes said he and his wife, Stacey, friends and immediate family also seem show, he says the excitement of getting time, and then didn’t do anymore for The piece automatic tennis serve balls hit the wall exhibition and bounceofrandomly away as a have their “Twang,” thebe diswould completely set.

Avidconsists art col-of anto be involved in art in somethe way.” a solo his art is beginning about seven or eightexans years,” he said. machine that fires a series of balls (each labeled museum guard chased after them.

This viewing tinctive vocal style that distinto take over.

“I’ve been pretty productive for the last “Joey”) against a wall on which is a large Argyle pat- emphasized a sense“I’m of “play,” theand machine, like guishes them from people from gettingwith more more excitseveral years.” tern that may or may not be a net.

The machine is a rambunctious child, teasing its reluctant “playother states.

“Twang” also refers to ed,” he said. “I’m looking forward to Accumulating experience in music, labeled “Playmate” and the balls are fired with mate.” themixed guitar media soundshas of Texas R&B seeing all the pieces up on the wall. painting, sculpting and monotonous regularity, with the gallery walls echoThe same piece, but two games and, and country.

“Hopefully, people willtherefore, like what I shown Haynes that with all of the forms ing a repetitive thud thud thud, like the Dada soundtwo different pieces.

At the Art Museum of plan to exhibit,” he said. “It would be of art out there, there’s still plenty to tracks of Kurt Schwitters.

Even though theif“Playmate” is inanimate, Southeast Texas, “Twang” is a great the show makes people think dabble in.

The “Joey” of the title refers to Joey Powers has created a performance piece reminiscent group show of contemporary about art and its place in their lives.

“I’m definitely not ruling anything Mussacchio, a childhood friend of the artist who is of the 1960s Fluxus group, whose creations existed Texas sculpture featuring work by out,” he said.

“Maybe someone will look at it in now dead. the reactions of the viewer. a dozen artists. and be inspired to use their own talents During the day you can find Powers plays with our emotions and delicately Does the lifeless “Playmate” long for someone Texas is both Western and Haynes teaching sophomore Pre-AP to do something artistic.” with whom to play?

It seems to connect with the balances the the joys of childhood with the loss of Southern, cotton and cowboys, and English at Ozen High School, a career innocence. quintessentially American past-time — a simple a multitude of clashing cultures.

If that he calls a “happy accident.” game of catch.

Another piece that demands viewer participathere is one thing “I never planned on teaching as athat defines tion is Justin Kidd’s “In and Out Box.” Visitors to the opening witnessed the balls Texas, it is its indefinability. career,” he said, “but after college and Consisting of a crudely constructed mailbox “Twang,” like the state that bouncing off two walls and back into the machine, a few years of bumming around doing hanging on the wall, visitors to the exhibit are invitcompleting a never-ending solitary game of catch. links these artists, incorporates a odd jobs and playing music, I got the ed to “mail” a postcard from the Czech Republic plethora of styles and forms.

The piece had a melancholy quality that reflected opportunity to teach at a school that Among the strongest pieces on display is “Loveboth the loss of a childhood friend and of childhood had an emergency need for an English Joey,” aand study friendship, loneliness and loss by itself. teacher theof rest is history.”

However, visitors at a later date may have seen Michael Powers.

See TWANG on page 11 While Haynes admits teaching has

DIFFERENT APPROACHES U NITE ‘TEXAS TWO DOZEN’ THE ARTS MAGAZINE OF THE ART STUDIO, INC.

T

Among the works featured in “TWANG: Contemporary Sculpture from Texas,” on display through Sept. 26 at the Art Museum of Southeast Texas, are, clockwise from left, “E.B.” by Erick Swenson, “Museum Bench”

by Chris Sauter, “Two Paintings on a Rock”

by Bill Davenport and “Sell Me Something Brown”

by Franco Mondini-Ruiz.

Review and photos by Andy Coughlan

APRIL 2005

Assemblages, paintings, collages and sculptures — the variety of works in artist, musician and teacher Richie Haynes’ studio, located in his garage, reveals an eclectic taste and a love of experimentation.

MAKING AN EXHIBITION OF THEMSELVES PAGE 7 INSIDE: LISA REINAUER: JUDGE AND JURY, HOT PIG, AND MORE

10 • ISSUE May 2006

Volume 12, No. 6

FLORAL from page 5 Hitomi Gilliam’s art explores the tension between different floral forms. In the piece above, Gilliam used the exotically-named plants, Pin Cushion Protea, Flaming Parrot Lips, Makari Orchids and Curly Willow.

Though Gilliam is constantly on the move as she creates a piece, right, the movement of the piece leads to one focal point.

But we have to take the example of the trees outside because they all come back and in so many years, you will still see the scars, but it will be OK again.

“In designing, too, you can go to that place where something is not working or you force something to happen because you want it to, but if you just go with the flow instead, it becomes a much more wonderful story.”

“If things aren’t working out and you are frustrated, stop. Stay that way for not longer than a minute. Snap out of it and see what the solution is — because there is always a solution.”

Gilliam said that when she is frustrated, she draws on a martial arts saying: “Find like water.”

“Water always finds a way to get where it wants to go,” she said. “If there is a big rock and it dams it up, it will still find a way —it will go over it or under it, but it will find a way through. You have got to be flexible and you will find a way.”

Gilliam said that a true artist allows the materials to dictate the process. If she packs something for a particular design and finds it damaged when she arrives, she simply looks at what she has and seeks a different design.

“Instead of spending all day worrying,

look at what you have,” she said. “Maybe the story is about the broken pot instead.

You know, sometimes that story is even better than the whole pottery.”

You’ve got to switch modes and go with the flow, she said.

“A lot of those stumbling blocks are the heart of some of the best mechanics and ideas,” she said. “You’ve got to have those hardships, because that’s where the best ideas come from.”

Gilliam said that the hardships teach valuable coping skills.

“You learn it doing flower arranging — you learn how to cope,” she said, “because things break on you and things fall apart on you. But if you can come out of it and resolve it, you learn how to deal with difficulty.”

As she constructs each design, she said she acts and reacts with each insertion.

Gilliam said that nature is her guide — her textbook. She draws inspiration from the materials she uses, and she accepts guidance from the flowers she uses.

The nature of the business of flower arranging means having to find a balance between the purity of the artistic vision and the desires of the customer. Gilliam sees that balance as an important part of the process — the ability to produce a design that is in sync with the decor of the house or setting and fits with the sensibility of the client.

Volume 12, No. 6 Gilliam said it is important that artists draw on previous styles in art, must understand the concepts of the style, but not try to copy the style.

“You really have to know (the style), not just mimic it,” she said, adding that with new colors and mechanics, artists must be willing to look at art movements with a modern eye and create something that is reminiscent of the past, but that has a fresh twist.

“That’s the real creative side of floristry — it’s not the design itself, but the mixture,” she said.

Gilliam used neo-classicism as an example. The combination of a modern, angular form juxtaposed with a classic shape creates a tension that works to give the piece an inherent energy. Gilliam said that making bold choices with color, shape and texture brings dividends.

“A lot of people don’t do that because they are scared,” she said, “but we do it just to dare people and say, ‘See, it works.’

“The fun part of all this is composing mixes that are daring and bold. Or you can go with something that is subtle and fabulously fine because it is so subtle.”

Gilliam said it is important to explain to the client why a piece has been created in a particular way.

“You are the professional,” she said. “If you don’t take charge, why would they come to you?”

Often, she said, a client will come to her with pre-conceived notions of what they want. She told a story about a client who came to her early in Gilliam’s career.

“Judging by the way that I look and the name of my business (Satsukis), a woman came to me

May 2006 ISSUE • 11 because she wanted an Oriental design,” Gilliam said. “I did a design that I felt exuded that feeling. The client said, ‘I don’t think this is Oriental — because it doesn’t have Money Plant in it.’ And I thought, ‘Oh, for heaven’s sake.’

“Some people just see one and that becomes a model,” Gilliam said. “It is your job (as a professional) to dispel that — kill it right now.”

Gilliam said that it is important that professional artists have depth in their knowledge.

“You can’t stand behind what you believe in if you don’t,” she said. “If you explain the power of life and death, they would buy into it.”

As Gilliam demonstrated the process of making an arrangement, she talked about the changing trends in the use of color. She has a particular love of lime green, she said, which when used to accent the foliage, adds to the contrast between the flower and the foliage.

“That’s what’s nice about following the trends of color,” she said. “The growers start to think of going into varieties that give them a certain color, and so they are breeding that color.

“That’s the reason why — if we go back in time to retro — it will never be that because we have these colors and we’re going to keep them. We’re not going to go back to red and white carnations. That would be stupid.”

Gilliam said that even if today’s designers used the same static arrangements as in the past, they would still be different because of the advances in texture and color.

“So it would be more beautiful today because of the new varieties,” she said.

Gilliam said that good design has

certain universal elements, but it is also driven by the products available to us. Artists have a wider variety of media with which to work than in the past, and the same applies to floral design.

“You’ve got to be on top of new varieties,” she said. “If you do (the same thing) for three years, people will say, ‘Oh, the orchids are kind of ordinary. We’ve had that almost every time you’ve sent us flowers.’

“You’ve always got to be on the lookout for something new. You’ve got to keep teasing the client with challenging combinations. It’s like things you think shouldn’t happen, but it’s happening.”

Gilliam laughed at the rules she said we impose on ourselves artistically, saying that people used to make a big fuss if two whites didn’t quite match.

Now, she said, we recognize the beauty of the transition between a white bouquet against a slightly different white wedding dress. That is so much better than “same and same,” she said.

“When you have plain white on a white dress, you take a picture of it and it looks flat,” she said. But a little bit of creaminess gives it a depth…you can’t capture with just shadows.

“Now you are composing it to have

that wonderful depth, because you are working with different shades.”

Gilliam said that tension —the play of oppositions — is an important part of good design. She said the balance between black and white is an obvious example of tension, but that it can be used to create an impression of temperature or emotion.

“If you can feel that emotion, then you’ve got good tension,” she said.

“Good tension could be that hot and cold. But it could also be warm and cool — or it could be warm and warmer. It’s like, instead of black and white, you chose to design with grey and the grey next to it.

“That can be as powerful as a complete opposite.”

There is also tension in texture, she said, adding that there is a rhythm of different textures.

Ultimately, she said, creativity comes down to the pleasure one gets from working with a given material.

“What is so fabulous about the material that makes you want to use it?” she said.

Watching Gilliam dance her way through the explosion of color, line and texture that typifies her creations, it is easy to see that it is not just her materials that are fabulous.

An arrangement comprising Equisetum (Horse Tails), Anthurium, Palm Foilage and Halla, top, exploits the tension of straight lines and curves.

Gilliam, left, created this piece to balance on the left side, with the flowers and plants counterweighted. Despite its size, she was able to hold the entire piece in one hand.

Photo by Trish Coughlan

12 • ISSUE May 2006

Volume 12, No. 6

Something wicked TASI’s way comes THEATER GROUP TO PERFORM

‘MACBETH’ IN MAY An acting class project turned into a production, which became a fundraiser, and the kickoff of a new annual project.

“The Globe at The Art Studio,” better known as the band yard, will be the site of the inaugural production of “Shakespeare in Shorts,” May 12 and 13 at 8:06 p.m.Tickets for the event are $10.

There will also be a performance for students at 7:30 p.m. on May 11, with tickets only $2.

The project will reflect the style of presentations at the London Globe, with a multi-level stage in the outdoor arena.

The yard can accommodate seating for several hundred patrons. The audience will be transported to 12th-Century Scotland for a production of “Macbeth,” The concept behind “Shakespeare in Shorts” is simple: productions will be brief and the audience is requested to wear theirs,” Joanna Clark, event organizer and TASI member, said. This casual

approach is audience friendly.

“Since ‘Macbeth’ is actually one of the Bard’s shorter plays, the script has been taken almost directly from the second folio, said to have been the actors promptbook for performances in the court of King James,” Clark said.

The performances are the offspring of “Take A Bow,” a workshop offered at TASI since February for “Drama Queens (and Kings).”

A dozen or so students learned stage movement, voice placement, story analysis and character development, and wanted to use these techniques for something meaningful.

Clark said she chose “Macbeth” due to its strong characters and themes.

Actors have joined the effort from Nederland, Silsbee, Huntsville, Lumberton, Beaumont, Port Neches, Orange, and Port Arthur. The group includes Ali Norton, Jonathan Boddie, Miranda Harper Boddie, Josh Lavergne, Marcus Watson, Kayla Harper, Jeff Courts, Nick Verasik, Corey Simoneaux, Alicia Strahan, Gerald Flatten, Michael Jamail, Veronica Bruce, Britt Simoneaux and Ashley Bloodworth. Additional cast members will appear in cameo performances.

Original music has been composed

by David Clark and recorded by his

3679 Calder • For Appt. 833-LIPS www.senegence.com/chamaeleon

bands, Fallen Hallow and Slit Trench.

Britt Simoneaux will provide live percussion and Jeff Courts will perform the bagpipes.

Assistants to the director are John and Rose Stark Evans and Liza Nelson.

Clark studied and performed Shakespeare with Dr. Phillip Sackton, Jagienka Zych, John Houseman, Stephen Wyman and Steve Coleman as a student at The University of Texas at Austin and through internship with Juilliard and Royal Academy of Dramatic Arts workshops. She holds a bachelor of arts in drama from UT. In addition to “Take a Bow,” she is an assistant director and actor with “Troupe d’Jour” in Houston.

Audiences are invited to come as they are, since the venue is outdoors and the weather may be warm. They may bring their own chair or rent one for the evening for a $1 fee. Snacks and beverages will also be available before the play and at the interval for a nominal fees.

Special reserved seating is available at an underwriters’ price and includes a knave or serving wench.

For underwriting information or group reservations, contact Greg Busceme at 838-5393 or Clark at takeabow99@netscape.net.

Photo by Trish Coughlan

“Take A Bow” organizer Joanna Clark, left, and John Evans, dressed in costume at the opening reception of TASIMJAE on April 1, to promote the upcoming production of “Macbeth,” May 11, 12, 13.

Volume Volume11, 12,No. No.1 6

September May 2006 2004ISSUE ISSUE••13 5

Distinctly Diverse THE CALL FOR ENTRIES

Tho ughtcrime

donors to TASI. Send typed works to: Submission Guidelines and Disclaimer ISSUE ISSUE solicits and publishes the work of 720 Franklin, Beaumont, TX 77701 local authors. Poetry, short fiction, scholarly or e-mail: works and opinion pieces may be submitted for issue.tasi@hotmail.com review. All works must be typed or submitted on a disk (using approved word processing software), Authors must submit a daytime telephone or may be sent to TASI by e-mail. All works are number along with all submissions. Pen names subject for review by our editor, and may be rejectare acceptable, but authors must supply real ed or edited on the basis of grammar, spelling or names for verification. All submitted works content.

The piece consists of an automatic tennis serve balls hit the wall and bounce randomly away as aor become property of TASI, and whether rejected The opinions expressed inthe “Thoughtcrime” machine that fires a series of balls (each labeled museum guard them.

Thistoviewing accepted,after are not returned the author. ISSUE do not necessarily reflect the opinions of TASI, its chased doesof not“play,” notify of with rejection mail or telephone. of Directors, staff, ora sense “Joey”) against a wall on which Board is a large ArgyleISSUE’s pat- editorial emphasized thebymachine, like

DIFFERENT APPROACHES U NITE ‘TEXAS TWO DOZEN’

ALT ERN ATI VE SH OW

exans have MAGAZINE their “Twang,” the dis- OF THE ART STUDIO, INC. THE ARTS

T

APRIL 2005

tinctive vocal style that distinguishes them from people from a rambunctious child, teasing its reluctant “playother states. “Twang” also refers to tern that may or may not be a net. The machine is labeled “Playmate” and the balls are fired with mate.” the guitar sounds of Texas R&B Await, O Bliss!

Await!regularity, with the gallery walls echomonotonous The same piece, butSucks two games and, therefore, and country. ing a repetitive thud thud thud, like the Dada sound- two different pieces.

At the Art Museum of Suck it in. is inanimate, Thames-muggy August night. tracks of Kurt Schwitters.

Even though the “Playmate” Southeast Texas, “Twang” isSoho a stroll.

Buttonholespiece stretch Thought I’d wade into it, right?

Maybe make a conquest.

The “Joey” of the title refers to Joey Powers has created a performance reminiscent group show of contemporary to form unstitched Find some winsome West End bird, out with her vineyard friends Mussacchio, a childhood friend of the artist who is of the 1960s Fluxus group, whose creationsslits existed in Texas sculpture featuring work by in a once friendly suitcoat.

— and willing now smile dead. — ignoring all the miles and miles the reactions of the viewer. a dozen artists.

Suck it up. and delicately of sweet and sweaty gents.

Powers plays with our emotions Does the lifeless “Playmate” long for someone Texas is both Western and Visible in the periphery balances the the joys of childhood with the loss of Southern, cotton and cowboys, and with whom to play? It seems to connect with the of blurred eyesight, And me, entering the Narrow Golden, virtually burgeoning innocence. quintessentially American past-time — a simple a multitude of clashing cultures. If makeviewer a turbid stream with what game I know of she’d catch.like. Seen her ’round before, Another piece thattears demands participathere is one thing that defines down swollen cheeks. ravaging the boys, y’know.

So I takes a back seat, tion is Justin Kidd’s “In and Out Box.” Visitors to the opening witnessed the balls Texas, it is its indefinability.

A sucking sound-not the conspicuous fellow aboutand it — willing to wait.

Consisting of a crudely constructed mailbox “Twang,” like the state that bouncing off two walls back into the machine, a draw And after she’s done a few pints, the girl’s up and got to go, eh? hanging on the wall, visitors to the exhibit are invitcompleting a never-ending solitary game of catch. links these artists, incorporates a account ed to “mail” a postcardfrom frommy thebank Czech Republic plethora of styles and forms.

The piece had a melancholy quality that reflected into a base black hole.

But the NG’s only got one loo, and the door’s locked tight.

With me, Among the strongest pieces on display is “Love- both the loss of a childhood friend and of childhood Sucks pretty obviously now, leaning on the wall outside, waiting to go in.

Joey,” a study of friendship, loneliness and loss by itself.

“Hallo, Sweets,However, come here often?” joke,date so she visitors at aIlater maydon’t haveget seentoo wise.

Michael Powers.

See TWANG on page 11 Donna Rae Wisor “Well, yeh, I’m a regular.” She like glares right out with a bit of a withering smirk.

Among the works featured in “TWANG: Contemporary Sculpture from Texas,” on display through Sept. 26 at the Art Museum of Southeast Texas, are, clockwise from left, “E.B.” by Erick Swenson, “Museum Bench”

by Chris Sauter, “Two Paintings on a Rock”

by Bill Davenport and “Sell Me Something Brown”

by Franco Mondini-Ruiz.

TASI’S FIRSTCOME, FIRSTSERVED ART EXHIBIT

Entry Deadline May 27 Opens June 3.

Review and Call 409-838-5393 for photos by Andy details.

Coughlan

“So, I guess you know about the loo here, too?

“Yeh.” And she don’t say no more. But then, the door-latch rattles a rat-a-tat-tat ’cause the old fellow inside’s never been through the gate before, when he finally falls out with his trousers still un-zipped.

Naked Words

“I’m next,” I let her know. And then she puts her little Venus knees together tight. “Course, you could go first. I mean, if you’re in a bother.”

“Yeh? And what about you?” She comes right rat-a-tat back.

So, what I do’s just push on the door and give her a big stage bow, y’know, and say: “I can wait.”

I want naked words Murmuring truths to my numbed heart.

Trick mirrors lie and Words bare illusions.

Paper mirrors are where I look Into the truth of my soul.

Jesse Doiron

Cathy Atkinson

Lyric Poem* Outside the dogs were barking, In these days, I don’t know what to do.

I can’t forget all those tears that I cried On that rainy night in Soho.

We’re changing our ways, taking different roads.

I’ve been doing some hard travelin’, Hard to understand? Yes, I agree.

Late at night, a lover thinks of these things.

MAKING AN EXHIBITION OF THEMSELVES PAGE 7

I was taught to fight, taught to win I never thought I could fail.

Fearlessly I’ll face them and argue their doubts away.

But you came like a comet, blazing your trail.

The last time I saw you, You were standing in the dark.

It’s memories that I’m stealing, Walking in the park, kissing in the dark.

Hoping everything’s not lost.

And there’s you, a little black cloud in a dress.

But you woke up my neighborhood, It makes me feel sad for the rest.

I wonder, am I a good, deep man?

And I stumbled down the stairs to meet the day.

She promised she’d be there with me.

And I threw it all away.

I saw her again last night.

Every day I look at the world from my window.

Innocence has passed me by a long, long time ago.

But it wouldn’t be true, if not for you.

INSIDE: LISA REINAUER: JUDGE AND JURY, Andy Coughlan HOT PIG, AND MORE *Compiled from song lyrics

14 • ISSUE May 2006

Volume 12, No. 6

THE ART STUDIO, INC. COMMUNITY SURVEY The Art Studio, Inc. (TASI) wants to know what you think!

Please take a moment to complete this short survey to tell us your interests, help us better meet the needs of our community, attract more members, and determine the effectiveness of our programming and services. In order to make this survey reflective of the entire community, we’ll need a high level of participation. Please feel free to photocopy or request extra copies. And please be honest or even blunt! Your identity is not required, and we need to know your true feelings in order to remain viable.

You may either submit your answers by e-mail to tracyd@artstudio.org or return a paper copy to The Art Studio, Inc., Attention: Surveys, 720 Franklin Street, Beaumont, TX 77701-4424. Please don’t hesitate to call if you have any questions, (409) 838-5393.

Thank you in advance for taking the time to assist us.

I. Background Information Although some of these questions may be personal in nature, we ask to determine what types of populations we’re serving (or not!).

1. Ethnicity (indicate all that apply): ____African American ____Asian American ____Hispanic/Latino(a) ____Native American ____Pacific Islander ____White ____Other:_________________ 2a. Gender: ____Female ____Male

2b. Age ____

3. Current income range: ____Under 11K/yr ____11K-24K/year ____24K-40K/yr ____40K-60K/yr ____60K-100K/yr ____100K+ 4. Highest level of education completed: ____High School ____Associates degree ____Bachelor’s degree ____Master’s degree ____Doctoral degree 5. Are you an artist? ____Yes ____No If yes, medium ____________________________ 6. How did you find out about TASI? ____Word of mouth ____Website ____Direct mail ____The ISSUE ____Media advertisement ____Other:_________________________ __________________________________ 7. Please indicate what types of activities you/your family have attended or participated in at TASI: ____Classes or Workshops ____Exhibitions ____Band Night ____Other: _____________________

8. Rank our activities,from 1 to 6, 1 being most beneficial to the community, 6 being least beneficial. ___Classes, Workshops ___Band Night ___Exhibitions ___The ISSUE ___Sales Gallery ___Affordable studio space __________________________________ __________________________________ 9. What activities or services would you like at TASI that we don’t have now? __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 10. Is there anything at TASI that you feel is not beneficial to our community ? If so, what? __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ II: Membership 11. Are you currently a member of TASI? ____Yes ____No 12. If Yes, what caused you to become a member? ____To enter our Membership Exhibition (TASIMJAE) ____Attended an Adult Clay Class ____To sell your artwork in our Sales Gallery ____To receive our monthly arts magzine, The ISSUE ____Because you feel TASI is beneficial to your community ____Other : ________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________

13. If not, what might motivate you to become a member? ____To enter our Membership Exhibition ____Attending a Class ____To sell your artwork in our Gallery ____To receive our monthly arts magazine, The ISSUE ____Because you feel TASI is beneficial to your community ____Other : ________________________ __________________________________ __________________________________ __________________________________ 14. In the future, which of the following TASI activities will you be most likely to participate in? ____Classes or Workshops ____Band Night ____The ISSUE ____Exhibitions ____Sales Gallery ____Studio space ____Other: __________________________________ III: Education 15. How many classes have you attended at TASI? __________________________________ 16. What classes would you like to see offered at TASI? __________________________________ __________________________________ __________________________________ __________________________________ __________________________________

Mission Statement Founded in 1983, The Art Studio, Inc. is devoted to: providing opportunities for interaction between the public and the Southeast Texas community of artists; furnishing affordable studio space to originating artists of every medium; promoting cultural growth and diversity of all art forms in Southeast Texas; and providing art educational opportunities to everyone, of every age, regardless of income level, race, national origin, sex or religion.

PURPOSE The purpose of The Art Studio, Inc. is to (1) provide educational opportunities between the general public and the community of artists and (2) to offer sustained support for the artist by operating a non-profit cooperative to provide studio space and exhibition space to working artists and crafts people, and to provide an area for group work sessions for those artists and crafts people to jointly offer their labor, ideas, and enthusiasm to each other.

GOALS 1.

2.

3.

17. Please make any additional comments or suggestions about this survey below, or on an additional sheet of paper. __________________________________ __________________________________ __________________________________ __________________________________

4.

18. If you would be willing to be contacted for follow up, please provide your name and a contact e-mail address or phone number on a separate sheet of paper. This identification is optional and will not be associated with your answers on the survey.

Thank You!

3.

For information on TASI classes, call 409-838-5393 or visit us on the web at www.artstudio.org

To present public exhibitions To provide educational opportunities To provide accessible equipment for artists To provide peer feedback through association with other artists and crafts people

OBJECTIVES 1.

2.

4.

5.

6.

7.

8.

To present 10 art exhibitions per year To maintain equipment for artists in a safe working environment To provide better access to artists for the public To offer regularly scheduled adult and children’s classes To develop and maintain public activities with all sectors of the community To develop and maintain equipment to aid artists in their work To provide a display retail outlet for artists To expand programming and activities with increased facility space

Volume 12, No. 6

May 2006 ISSUE • 15

cARToon

WE CARRY

ART SUPPLIES IN OUR SALES GALLERY 11 a.m. to 4 p.m.

Tuesday-Saturday

Ceramics • Paintings • Jewelry Plus Art Studio merchandise including shirts and tote bags.

Whether you are an art collector or just shopping for gifts, we have something for you.

VISIT OUR SALES GALLERY TODAY AT 720 FRANKLIN IN DOWNTOWN BEAUMONT

409-838-5393 • www.artstudio.org

14 • ISSUE September 2004

720 Franklin, Beaumont, Texas 77701

THE ART STUDIO, INC. CLASS SCHEDULE This fall we are offering another class, but these sessions will be 1 mask-making class, and Cindy eclectic mix of classes at The Art hour shorter. So, it will cost a little Picou will show you how to make less. wire-wrapped jewelry.

Studio, Inc. There are a few changes to a George Wentz will be teaching Make sure you pay attention to some of the familiar classes. Salsa another acrylic painting class. Grace the ISSUE, your e-mail, and fliers at INSIDE night is now on Wednesdays. Life Megnet is coming back in October the Studio for updates as we add • ‘RICHIE HAYNES: INFINITE TRANSMISSIONS drawing has not been attracting the to do bookbinding. No photography even more classes to the list.

• THOUGHTCRIME: FROM session,AREA but lookPOETS for it to return numbers it used to, so weMUSINGS will now this hold it every other week. in the future.

Ren Brumfield, • AROUND & ABOUT: INFORMATION ABOUT ART HAPPENINGS Greg Busceme is going to offer We are offering several new TASI education coordinator • ART AND NATURE a daytime clay class. It will meet the classes. Andy Coughlan fuses the• ISSUE SUBMISSIONS: artstudio@artstudio.org same number of times as the night ater and visual art in a creative new

Volume 11, No. 1

Non-Profit Org U.S. Postage PAID Permit #135 Beaumont, TX

Mission Statement

Founded in 1983, The Art Studio, Inc. is ADULT BEGINNING DRAWING KIDS CLAY MASK MAKING devoted to: providing opportunities for interacTuesdays, 6:30-8:30 p.m.

Saturdays, 10:30 a.m.-noon Thursdays, 6-8 p.m. tion between the public and the Southeast Texas Aug. 31-Oct. 12 Sept. 18-Oct. 23 Sept. 16-Oct. 21 community of artists; furnishing affordable stu$115 ($95 for members) $75 $100 ($80 for members) dio space to originating artists of every medium; Explore the rich tradition of masks in the- You CAN draw! Learn to draw realistically Beginning clay class introduces a variety of promoting cultural growth and diversity of all art in this fun and easy class. handbuilding techniques, preparation and ater. Create and decorate large-form masks forms in Southeast Texas; and providing art eduapplication of glazes, and the raku firing for performance or decoration using a vari- Instructed by Karen deMedrano. cational opportunities to everyone, of every age, process. ety of techniques from painting to collage. regardless of income level, race, national origin, Instructed by Katheryn Rogers.

Imagination is the only limit. This six-week BOOKBINDING sex or religion.

When you support The Art Studio with your membership, you receive ISSUE, course will also include tips on using your Fridays, 6-8 p.m.

WIRE WRAPPED JEWELRY Southeast and Southwest s alternative press as well as class schedules, invitations to opening receptions and various Studio functions.

8-Nov. 12 masks in performance andTexas’ the history of Oct.Louisiana’ $110 ($90 for members) Wednesdays, 5:30-7:30 p.m. masks around the world.

The individuals listed below have recently contributed to the life force of this art organization.

PURPOSE Learn terms, tools and basic techniques in Sept. 8, Oct. 13, Nov. 10, Dec. 8 Instructed by Andy Coughlan. this introductory class. $45 per session The purpose of The Art Studio, Inc. is to (1) ACRYLIC PAINTING Instructed by Grace Megnet.

Introduction to creating unique jewelry Volunteers provide educational opportunities between the using wire and beads. You will learn basic 1:30-3 We Saturdays, couldn’t do it p.m. general public and the community of artists and ADULT CLAY (MORNINGS) techniques and complete a bracelet or Sept. 11-Oct.16 without you!

(2) to offer sustained support for the artist by Tuesdays and Thursdays, 10 a.m.–noon anklet. Students will need to purchase DISTRIBUTION POINTS $95 ($75 for members) operating a non-profit cooperative to provide Twylia Altom, some materials separately, list available at Learn to express your own ideas and feel- Sept. 14-Oct. 14 DOWNTOWN studio space and exhibition space to working Cathy THE ART STUDIO, INC. 720 FRANKLIN The Art Studio. ingsAtkinson with painter and art educator George $100 ($80 for members) ART MUSEUM OF SOUTHEAST TEXAS 500 MAIN artists and crafts people, an area RoyWentz.

Bares, BABE DIDRIKSON ZAHARIAS MUSEUMand to provide 1750 IH-10E You will explore brush techniques, This course is designed for the complete Instructed by Cindi Picou.

BEAUMONT CONVENTION & VISITORS BUREAU 801 MAIN for group work sessions for those artists and Brooke Boyett, (IN CITY HALL) acrylic paint mixing, and layering paint. novice at clay work. Students learn the BEAUMONT ART LEAGUE (FAIRGROUNDS) 2675 GULF ST crafts people to jointly offer their labor, ideas, RenSupplies Brumfield, HABITAT FOR HUMANITY RE-STORE 610 TRINITY@ FANNIN to be purchased separately. List basics of clay manipulation, glazing and LIFE DRAWING GROUP SETAC (INand JULIE ROGERS THEATER) STREET enthusiasm to each other. PEARL Greg Busceme, Every other Monday, 7-9:30 p.m. @ FORSYTHE firing. available from the Studio.

SOUTH END/LAMAR UNIVERSITY B.J. Bourg, Sept. 13, 27, Oct. 11, 25, Instructed by Greg Busceme.

CARLITO’S RESTAURANT 890 AMARILLO @ COLLEGE DOS AMIGAS GOALS 1590 FRANKLIN Bryan Castino, Nov. 8, 22, Dec. 6, 20 BASKET CLASS KAMPUS KORNER RESTAURANT 4637 CALLAGHAN KOCH’S FLOWERS & GIFTS 2270 AVENUE C Melissa Chaisson, ADULT CLAY (EVENINGS) $5 per session Saturdays, 9 a.m.-1 p.m.

LU ART DEPARTMENT 1.

To present public exhibitions Charmaine Costner, Uninstructed group creating studies of the LU SETZER STUDENT CENTER Tuesdays and Thursdays, 6 p.m.-9 p.m.

Sept. 18, Oct. 9, Nov. 13, Dec. 4 TOWN 2. To provideOLD educational opportunities Andy Coughlan, 215 N 11TH @ LIBERTY human form, drawing from a different BANDO’S Sept. 14-Oct. 14 $32 to $50 BRAD’S PLACE 2306 HAZEL @ 7TH 3.

To provide accessible equipment Renee Coughlan, CARLO’S RESTAURANT 2570 CALDER model each session.

Step-by-step instruction in creating a dif- $150 ($130 for members) GREEN BEANERY 2121 MCFADDIN for artists Yolanda Cuniff, HAIRY BUSINESS SALON 2121 MCFADDIN ferent functional and decorative basket This course is designed for the complete JASON’S DELI 112 GATEWAY SHOP CNTR 4. & To provide peer feedback through associaJesse Doiron, THOUGHTCRIME: THE READING KATHARINE CO. 1495 CALDER novice at clay work.

Students learn the each session. Instructed by Emma Hughes.

PIG STAND 1595people CALDER tion with other artists and crafts Heather Eager, PIG STAND 3695 COLLEGE For more information and to register, call basics of clay manipulation, glazing and Third Thursday of the month RAO’S BAKERY 2596 CALDER Elizabeth Free firing.

SIGN INTERNATIONAL EXPRESS 2835 LAUREL Emma atFrench, 337-527-5328.

OBJECTIVES 2425 S 11TH John Fulbright, Poetry night: read, hear, think, and corrupt SUNRISE Instructed by Greg Busceme.

SWICEGOOD MUSIC CO. 3685 COLLEGE CENTRAL/WEST END Beth Gallaspy, WORKSHOP original poems, rants, and stories.

FOUNDRY BASIC FOODS 229 DOWLEN 1.

To present 10 art exhibitions per year Marcus Hammons, BIG D’S 2050 S MAJOR DRIVE Wednesdays, 6-8 p.m./Saturdays, 12-4 p.m. SALSA WITH AMBER AND GORDON Led by Guiseppe Barranco.

EARLY BIRD CAFE 5955 PHELAN 2. To maintain equipment for artists in a Monica Hay, GUITAR & BANJO STUDIO 4381 CALDER Wednesdays, 7:30-9 p.m.

Dates to be announced KRISTY’S KORNER CALDER safe working environment 4285 Trishell Joffrion, LOGON CAFE 3805 CALDER Sept. 8-Oct. 13 $100 (80 for members) THE MASSAGE INSTITUTE 2855 EASTEX FRWY, 3. To provide better access to artists SUITE for the1 Maribeth Jones, (@ DELAWARE) per session ($5 LU students) In this two-day workshop, you will design $10 NOVROZSKY’S public 4230 CALDER The Art Studio, Inc., in cooperation with Kroger grocery stores, D.J. Kava, THE OPEN BOOK 4245 CALDER Cha-Cha, Cumbia, and cast your original artwork in aluminum. Salsa, Merengue, is proud to offer the Kroger Share Card Program.

4.

To offer regularly scheduled adult and RED B4 BOOKS 4495 CALDER Stephan Malick, REED’S LAUNDRY 6025A PHELAN @ PEYTON Ages 15 and older. Limited to six partici- Rhumba.

Here’s how it works: children’s classes THE ROYAL STOP MAJOR DRIVE @ GLADYS Marianna Measells, pants. Instructed by Rhonda McNally.

PARKDALE 5.NOBLE To develop and maintain public BARNES & 4153activities DOWLEN 1. Pick up a Share Card at TASI (if you don’t have one already) Sheila Molandes, RAO’S BAKERY 4440 DOWLEN with all sectors of the community 2. Bring the card with you each time you shop at Kroger Elizabeth Pearson, MID/SOUTH COUNTY LAMAR STATE COLLEGE, PORT ARTHUR 3. Present the Card to the cashier before the cashier rings up your order.

6. To develop and maintain equipment to aid Tim Postlewait, MUSEUM OF THE GULF COAST 700 PROCTER PATSY’S HEMP CREATIONS 1221 NEDERLAND AVE artists in their work Clint Ray, And that’s it! Each time you present the card, a percentage of your purchase is donated to TASI. JASPER GALLERY7.

SQUARE LAMAR To provide a display retail outlet126for artists Jackie Stubblefield, s fast, simple and call an easy way to add some or much-needed funds TASI’satcoffers.

So if you don’t For more information onIt’TASI classes, 409-838-5393 visit us on thetoweb www.artstudio.org ORANGE LAMAR STATE COLLEGE, ORANGE 8.

To expand programming and activities with Gena Wilkinson, have a TASI Kroger Share Card, ask us for one, and if you have one already, USE IT! increased facility space Tom Wright.

ISSUE

Share the Wealth!

REGISTER EARLY AS CLASS SIZES ARE LIMITED