A View From The Top Greg Busceme, TASI Director
ISSUE Vol. 16, No. 8 Publisher. . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers . . . . . . . . . D. Harris Johnson . . . . . . . . . . . . . . . . . . . . . Carlo Busceme III Contributing Photographer . . . . Brandon Gauthier Distribution Director . . . . . . . . . . . Terri McKusker The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Chair . . . . . . . . . . . . . . . . . . . . . . Elizabeth French Treasurer-Secretary . . . . . . . . . . . . . Beth Gallaspy Members At Large. . . . . . . . . . . . Kimberly Brown, . . . . . . . . . Sheila Molandes, Andy Ledesma, . . . . . . . Sebastian Ramirez, Stephan Malick, . . . . . . . . . . . . . . . . . . . . . . . . Heather Eager
The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org 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 Beaux Arts Ball in Pictures. . . . . . . . . . . . . . Page 4 Torchy Remembered . . . . . . . . . . . . . . . . . . Page 6 “Blooms” at the Stark Museum . . . . . . . . . . Page 7 Jeff Forster’s “Entropic Devices” . . . . . . . . . Page 8 Tulip Roundtable . . . . . . . . . . . . . . . . . . . . Page 10 Kit Basquin Profile . . . . . . . . . . . . . . . . . . . Page 11 Around & About. . . . . . . . . . . . . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13 TASIMJAE Winners . . . . . . . . . . . . . . . . . . Page 14 Cover: Jeff Forster and his site-specific installation at the Houston Center for Contemporary Craft. Photo by Andy Coughlan
IT’S GREAT TO WRITE my column when something good has happened. That good was the Beaux Arts Ball. For those who came and participated, thank you for a colorful and creative night of frivolity and good fellowship. It’s wonderful to be around friends who dress funny. A special thank you to the John Evans Band who played a great set and even helped pick up chairs afterward. The “committee” worked like a welloiled machine and most of our plans went off without a hitch. We are already planning next year’s event. The food was tasty and plentiful, and everyone was sufficiently inebriated to make the silent auction a rousing success. Our hats are off to our sponsors and donors — you made our night even more special. Brandon Gouthier seemed to have as much fun as we did doing our prom shots and the pictures were perfect. Thanks to the cute girls (and one guy) at the door — Sarah, Olivia, Olivia and Ben — ever ready to take your money, tear your tickets and sell you T-
shirts. It’s a daunting task to try to talk to drunks. Speaking of which, I raise a glass to the bartenders who kept all the people suitably lubricated, all the good people who loaded and unloaded cars and trucks, stacked chairs and tables, and made cleanup the fastest it’s ever been. Youth and muscles go together well. We saw reporters from VIP magazine, The Beaumont Enterprise and The Examiner. We are still gathering receipts and checks, but it looks like we will put some cash in the bank and make some needed repairs to The Studio. For me, it was an opportunity for The Studio board to work as a team and develop into a group who can put together a strategic plan for the next 20 years. The ball is a barometer of participation. If there are no people to organize and perform the multitude of tasks needed for this and other events, they simply won’t happen. If The Studio is doing its job, engaging the community, then Beaux Arts Ball will go on for another generation and isn’t that the point?
UPCOMING EXHIBITIONS AT THE ART STUDIO MAY Jeff Forster (2009 TASIMJAE Winner)
JUNE The Alternative Show
Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . May 1
Opening . . . . . . . . . . . . . . . . . . . . . . . . . . June 5
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4 • ISSUE May 2010
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all the fun of THE LATEST INCARNATION OF The Art Studio’s Beaux Arts Ball was held April 3. The Johnny Evans Band provided the music and a goodly quantity of food and beverages was consumed. This year’s theme was Technicolor Masquerade and participants got into the spirit. A plethora of brightly-colored garb was on
PHOTOS BY ANDY COUGHLAN & BRANDON GOUTHIER
display and board member Stephan Malick even dyed his hair pink for the occasion. If it looks like fun — it was. But don’t fret if you missed it. Plans are already underway for next year’s extravaganza in January. So make plans to attend that one — you don’t want to miss out again!
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May 2010 ISSUE • 5
Beaux arts ball
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Life of the Party
Volume 16, No. 8
PAULA ‘TORCHY’ SALTER, DOYEN OF THE LOCAL ARTS, SOCIAL SCENE, REMEMBERED WHEN I FIRST MET Paula all I could think of was, “I’ve never seen anyone like this girl before!” I was born and raised in Beaumont in an Italian Catholic home with relatives and friends of pretty much the same ilk as me. Then I met Paula. She looked different, but not just looked different, she was different. She was a powerhouse of energy; her hair was a wild red tone and those baby blues shown through her big spectacles like the sky through a picture window. She had a life force that made me hover around her like so many people; her brother Donovan used to say, “like moths to the flame,” but the end result was not the end of any life but the beginning of a new view of life. Paula’s attitude insisted that God and she were in charge and that any other plan was probably just foolishness. She used to tell me that when we met she fell in love with me. Now that was not really unusual for her. She loved every creature under God’s sun. Stray dogs, homeless folks, strangers who looked down on their luck, she loved everyone. Even the people she didn’t really get along with she loved. That was almost thirty years ago. I got to know Paula best after the 2005 Hurricane Rita. She was on a fairly mundane visit to her friend and GP Mark Wilson to get treatment for a pretty nasty cut she acquired while trying to fix her downed wooden fence so her dogs wouldn’t run loose. He noticed a knot behind her ear and from that it was determined she had Lymphoma. Just like one would expect, Paula didn’t have time for cancer treatment right then; she other things to do. When she finally decided that she had to do something about the cancer she submitted to treatment. It was then that I became involved with the woman who would take the person I was, add her special blessings and philosophies, and like a flower with sunshine and rain in just the right amounts she led me into her world and changed mine forever. Paula could do stuff like that. She seldom touched any thing or person that didn’t change just a bit. I really had intended to get in line to assist the girl who, over the years, had always been so nice to me. Maybe bring her some meals, feed the dogs while she was in treatment, I really didn’t now what. I just knew that I was moved to do something for her. When I showed up at her door she was, I think, a little surprised. Keep in mind I’m talking about “the Torch.” Torchy, the most independent female I had ever met. She was glad to see me and, of course, I got one of those monster hugs that was a delightful gift she gave to her friends. We started to talk and reminisce about times past and one particular date we had enjoyed twenty five years earlier. A date that I had never forgotten and surprisingly neither had she. New Years Eve, 1985; I pick her up in a cab, knowing full well we would imbibe the fruit of the vine to the max. So off we went to five or six different parties and gatherings, visiting, talking and laughing from one cab ride to the next party, then cab ride and party and cab ride — and so it went into the wee hours
Comment by Carlo Busceme III
Paula “Torchy” Salter and Carlo Busceme III of the morning. She was magnificent. The conversation never waned and the laughter never subsided. I tell you all of this to say that though the parties were “fabulous,” the cab rides were magic. The world would dissolve into an array of colors and blurred images, except for those blue eyes and that wonderfully delightful smile. She remembered it just like I did. As the treatments continued, my friend and I had deeper and deeper conversations. Although we never gave thought to death or dying we would speak of God and the oneness of the universe, about her father and mother, about high school and her retail career. What we were doing was finding each other and realizing that we had a soul connection. She called me her soul mate. At first I was leery of such connections, but it wasn’t too long until I understood what she meant. I never had to guess at what she was saying. The meaning was always clear. She never seemed to misunderstand me. We could have debates about almost any subject and then laugh at the energy that was spent and the delight we had in our mind
expansion. I had never had this type of relationship before; a person who loved me and understood me. Being with Paula was like having someone hold a mirror up to your face and point out the loveliness of your being. She taught me how to love who I am. That was the beautiful thing about this Torchy girl; she could teach you how to love…even yourself. She made it through the treatments with the help of many friends, but mostly because she relied on God and in that she found strength. The social life that she had developed over the years has expanded a great deal since 1985 and she was determined to continue it even through the cancer treatments. We must have gone to a dozen affairs through the whole thing. Bald headed (both of us) — she because of cancer treatments and me because of a bad toupee experience, we made the events that were so
See TORCHY on page 10
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Below: Pierre Joseph Redouté (1759-1840), artist Amable Paul Coutan (1792-1837), engraver ROSES 1817, stipple engraving on paper In Les Roses, Volume 1 13 3/4 x 10 1/4 inches Stark Museum of Art, Orange, Texas, 11.63.1.A Photograph by Will France
May 2010 ISSUE • 7
Left: Victor Higgins (1884–1949) WHITE FLOWERS 1935-1945, oil on canvas 27 × 30 1/8 inches Stark Museum of Art, Orange, Texas, 31.17.6 Photograph by Will France
Fascinating Flora
STARK ART EXHIBIT BRINGS ‘BLOOMS’ TO THE FORE
YOU DON’T NEED TO possess a green thumb to surround yourself with a dazzling array of beautiful flowers. Take a trip to the Stark Museum of Art in Orange to see the exhibition “Blooms: Floral Art in the Stark Collections” on display through June 12, and you will find yourself surrounded by a technicolor array of roses, tulips, peonies and other flora. One of the most striking images in the show is Victor Higgins’ “White Flowers” (193545), whose rich complexity is at odds with the simplicity of its title. The viewer is drawn to the black and gold vase which dominates the eye. The black floral pattern has a spontaneity that reminds one of Japanese calligraphy. The flowers sit on a golden yellow patterned cloth. The table on which it sits is distorted so the vase appears balanced precariously rather than to be sitting on a stable surface. The flowers are impressionistic in style. The textured rendering of the vase and fabric
Review by Andy Coughlan
are at odds with the rough-hewn background with its slight hint of cubism. Higgins seems to be a reticent abstractionist. He incorporates elements that are delicately painted and then contrasts them with loose backgrounds. In “Pink Peonies” (1929-30), Higgins gives a slightly distorted perspective reminiscent of the French artist Pierre Bonnard. The vase and flowers are an obvious nod to impressionism, once again finely balanced on a tilted tabletop. The background has a blue panel with gold floral patterning against which the peonies jump off the canvas. Higgins frames the piece with geometric snippets of curtain and panel — a frame-within-a-frame — the hard edges of which contrast with the delicately fluffy pastel flora. As is often the case, the Stark Museum has dug into its formidable collection of books that harken back to the days when scientific observation and art were compatible subjects. One such treasure is “The Quadrangular Passion
See BLOOMS on page 10
DIGGING THE NEW
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Ceramist Forster to exhibit ‘archeological artifacts’ at TASI in May
JEFF FORSTER IS AN archaeologist — of sorts. But instead of digging up artifacts from the past, Forster creates new works that are designed to be ancient artifacts of the future. Confused? Don’t be. Just take a quick trip to The Art Studio in May and all will be revealed. Ceramist Forster will present “Entropic Devices,” a collection of recent work, beginning with a free reception, 7-10 p.m., May 1. The show is Forster’s prize for winning TASIMJAE 2009, The Studio’s membership show. Forster uses recycled materials as a foundation for much of his work. It reflects his interest in the impact we make on the planet and how future generations, through the artifacts, will judge our effect on the environment. “These objects, I see them existing in between an archaic object — clay and stone and wood — and more industrial things” he said. “One of the things that really interested me about ceramics is that so much of what we know about early people is from ceramic objects. If you think about the kind of things our culture would leave behind, that’s what I’m striving for.” Most of his pieces are slab built. “A lot of times what I will do is layer different colors of clay or clay and a slip, to get that idea of strata like you’d see in the earth,” he said. “One of my main draws to clay as a material is that it is such a natural, elemental material.” Forster uses a blow torch to harden the outside of the slabs of clay before pulling them apart to reveal stress fractures and broken surfaces. The sense of age and of permanence through time informs much of his work. The blowtorch creates the aged texture. He then presses from behind and the surface of the clay cracks apart, but the underneath part is still a solid foundation. Forster uses Styrofoam molds and other found or discarded objects to create the shapes for his pieces. He also collects glazes that have been discarded from other people’s studios. He holds up a bucket full of chunks of powdered glaze. “A lot of times people just throw it in the trash if they are not going to use it and it is extremely harmful to the environment,” he said. “But once you fire it, it’s fine. So I try to utilize as much as I can.” His pieces are often reminiscent of petrified wood. “I’ve actually had people come to me and say, ‘Are you working with wood? Or Concrete?’” he said. His pieces are constructed like hollow tubes. Forster will make a variety of shapes and piece
Story and photos by Andy Coughlan
Jeff Forster uses a torch to heat a clay slab, above, in his studio space at the Houston Center for Contemporary Craft. After breaking the surface of the clay, Forster forces it into a Styrofoam mold, right, to create a shape. His work, on display at The Art Studio in May, resembles archeological artifacts.
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them together. “Once in great while I will create a mold out of lumber if I am looking for a specific shape,” he said. He tries to work with the molds that he finds, although he will sometimes alter the shapes slightly. One mold that sits in his studio at the Houston Center for Contemporary Craft was scavenged from packing from a circular fan. He has also collected packing from computers, printers, ceiling fans, among other things. “I might use the same mold for four or five different projects,” he said. He will sometimes see a piece and immediately think of a use for it. Other times, he will let it sit until an idea presents itself, sometimes for six months or a year. “I’m at the point where I have tons and tons of these Styrofoam molds,” he said, holding a lampshaped piece in his hand. “People bring me them all the time, which is great.” Forster re-uses the molds for different pieces. In the corner of his studio, a large circular piece of styrofoam leans against the wall, packaging for a circular fan. The inside is stained with color, residue of a previous construction. “What’s really interesting is that I can put a new piece in there and that will pick up part of the residue from the old piece,” he said. Forster works on several pieces at once, but estimates a medium size piece may take 10 hours of work. “To build the piece is not the most time-consuming part of it,” he said. “I spend an equal amount of time glazing the piece. And a lot of my pieces get fired from three to five, six or seven times. What I’ll do a lot of times is put a little glaze on it, fire it, sand blast it, then glaze it again, fire it, sand blast it — just build up additive and subtract, until I get the depth of the surface I am looking for.” The ceramic process also involves a lot of waiting around time. “I don’t even factor that in,” Forster said, laughing. “That’s why I’ve got more than one going at a time.” He said that his love of art began as a child, but it was a long time before he discovered ceramics. “I drew a lot as a kid, trying to copy things from comic books and that sort of thing, until I was old enough to start drawing from my imagination,” he said. “I think in the seventh grade I knew that I wanted to pursue art. I didn’t know, obviously, at that time what level. I did mostly drawing and painting in high school before getting interested in photography. “It was in my undergraduate studies that I became interested in glazed materials. Teaching was something I always wanted to do as well. I taught high school art for almost three years.” He still teaches. He just started this semester as chair of ceramics at the Glassell School of Arts in Houston. Prior to that, he was an adjunct in the Lone Star college system. He is also an artist-in-residence at the Houston Center for Contemporary Craft. Visitors are encouraged to visit his studio there. Forster still pursues his photography. “The fired objects have an implied sense of age and I also do time-based installations, usually outdoors, so photography becomes very important in documenting these,” he said. Forster said that Houston offers a lot of opportunities for artists and he has made a lot of contacts through his connection with HCCC and from his residency. “It’s like Houston just opened up and swallowed me,” he said. The main drawbacks to Houston are the heat and the flat geography — Forster is a keen snowboarder
May 2010 ISSUE • 9
and rock climber. But that is partly compensated by the diversity and the people — “and the food is incredible,” he said. Forster’s works have a strong environmental aesthetic. Many of the pieces look naturally aged. He resists the urge to manipulate the process too much. He points to the clay in the mold. “(It’s) mostly a high iron stoneware body,” he said. “I do mostly atmospheric firing processes — wood fire, salt fire, soda fire. Atmospheric being that you are altering the atmosphere in the kiln to achieve
certain effects on the piece. A lot of times what happens is that there are subtle variations in the surface — or in some cases not so subtle. There are a lot of variations. The atmosphere actually creates a glaze, essentially. “That’s the degree of control I have pretty much. I definitely like the spontaneity and not knowing what’s going to happen. I think that my working process with
See FORSTER on page 14
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STARK MUSEUM TO HOST TULIP ROUNDTABLE MAY 18 The Stark Museum of Art will host “The Tulip Allure in Art and Horticulture,” a roundtable discussion of the book “The Tulip,” May 18, 6:30-8:30 p.m. A panel will lead discussion of the bestseller “The Tulip” by Anna Pavord. Topics include connections between art, botany, economics, cultural history and social issues. Participants are encouraged to read the book in advance. Light refreshments will be provided for this International Museums Day event, presented in collaboration with Shangri La Botanical Gardens and Nature Center and the exhibition “Blooms: Floral Art in the Stark Collections.” The program is free. The panel will be moderated by Andy Coughlan, editor of ISSUE arts magazine, exhibiting artist and assistant director of student publications at Lamar University. The panelists include Holly Hanson, volunteer coordinator/tour coordinator at Shangri La Botanical Gardens and Nature Center; Scott Hasty, master florist and owner of J. Scott’s Aflorist; Ann Hoffpauir, artist; Elena Ivanova, chief educator at the Stark Museum of Art;
and Steven J. Zani, chair of English and modern languages at Lamar University. The panel will invite audience participation. The discussion will be held in the museum lobby, followed by viewing of exhibition “Blooms: Floral Art in the Stark Collections.” “The Tulip” is available for purchase at the stores of the Stark Museum of Art and Shangri La Botanical Gardens and Nature Center. The roundtable discussion is scheduled to celebrate International Museum Day, observed internationally to recognize that museums are an important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among peoples, Ivanova said. The theme for 2010 is “Museums and Social Harmony” and acknowledges that museums are in position to address the urgent need for safeguarding cultural diversity and bio-diversity as the common heritage of humanity. The museum is located at 712 Green Ave. in Orange. For more information, call 409-886-2787, or visit www.starkmuseum.org.
BLOOMS from page 7 Flower,” an 1802 engraving from a book compiled by Robert John Thornton. Painted by Peter Henderson and engraved by Richard Cooper the younger, the piece is ornate and fascinating. As befits its purpose of scientific study, the artist has managed to provide us with a front, back and side view of the plant, while still retaining a striking sense of composition. Sitting in front of columns, the viewer sees buildings in the background. This is more than mere illustration. The artist provides the viewer a sense of the surroundings. However, if images of a more scientific nature are what you are looking for, there are plenty of beautiful examples in the show. There is something impressive in the thought of the lonely, early botanist/explorer, pad in hand, recording each
TORCHY from page 6 important to her. Fund raisers, art world events, music showcases — all with the greatest enthusiasm. She is a trooper. Never say die! So it was, she made it through and life was sweet. Dinners out, trips to New Orleans, Houston, San Miguel, Galveston and plans for more of the same all the time; life was precious to us both and we could not waste any of it. For the next four years, life was wonderful. Now, when I say wonderful I’m not talking about a life without incident or pain. There were business problems, fire, deaths of parents and pets, but none of that dampened
Robert John Thornton (1768-1837), author, Phillip Reingale (1749-1833), artist TULIPS, 1799-1807, mezzotint, aquatint, stipple and line engraving on paper, color and hand-coloring, 21 7/8 x 17 ¾ inches. In the Temple of Flora Stark Museum of Art, Orange, Texas, 11.66.1
new species he encounters. Many of the pieces, such as Leonhart Fuchs’ 1542 woodcut “Geranium,” have a simple elegance that is most endearing. While the artists were mostly male, Henriette Antoinette Vincent’s 1814 “Narcissus,” the black and white version, is equal to any. The Russian-born artist Nicolai Fechin, a Stark Museum favorite, is also represented in the show with four paintings; “Taos, Flowers in Henry Sarp’s Yard,” “Indian Corn,” “Daffodils” and “Cactus.” The pieces vary slightly in style with “Daffodils” exhibiting a bright and free execution, and “Cactus” bordering on the abstract. Georgia O’Keefe’s “Not From My Garden” features a heliconia, an almost science fictiontype flower with sharp edges. Many of O’Keefe’s flowers have been said to symbolize female genitalia. In that context, the painting is rather disturbing.
her verve for life. Although she loved life, she had no fear of death. Paula would tell me from time to time that she knew she was not from this plane, that her place was in another dimension. God was her friend and it was a special, personal relationship. With this second bout of cancer she knew it would be tough, but she also knew she would make it through. We never stopped making plans for future travel and dinners out. We never gave in to the possibility of death. Even at the end when she was hurting and tired and so, so sick she held fast to the possibility of recovery. In her last days she couldn’t speak, but I talked to her and somehow I know she heard me say “I love you” and “the dogs
John Henry Sharp is well represented with 18 soft-focus paintings forming a bulk of the exhibition. Orange native Kate Brown Giggs earns her place with the delicately-rendered “Bowl of Bluebonnets.” One of the most impressive pieces is from a book by Pierre Joseph Redouté. Engraved by Amable Paul Coutan, “Roses” is displayed in black and white, and in a hand-colored version. It says much about the artist’s touch that each is equally as beautiful as the other. For those of us who seem to kill even an artificial potted plant, “Blooms” is the perfect place to stop and smell — at least see — the roses. The Stark Museum of Art is located at 712 Green Ave. in Orange. The museum is open Monday through Saturday, 10 a.m. to 5 p.m. Admission is free. For more information, call 409-886-2787, or visit www.starkmuseum.org.
are doing fine” and it seemed to ease her stress just a little. Although Paula is physically not with me any more, she will always be with me in my heart. She was my example of Christ on Earth. Always forgiving, giving, loving without restraint and following the Golden Rule of “do unto others”. She is my friend, confidant, consoler, confessor and soul mate and even at death we do not part. “She learned to love him even before he thought it was even possible, so he didn’t have a chance to hide & mess it up. And while it was scary at times, mainly he could not imagine the world without her” (from a piece she gave me some years ago by Brian Andreas).
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May 2010 ISSUE • 11
A Career in Art Administration
BASQUIN AT HOME AMONG METROPOLITAN MUSEUM OF ART DRAWINGS, PRINT COLLECTION KIT BASQUIN SPARKLES WITH excitement as with gloved hands she gingerly manipulates the position of a priceless print so a visitor can get a better view. Handling major works of art is never mundane for Basquin as with twinkling eyes she urges visitors to feel at home among the historical drawings. Her exuberant joy gives one the impression that she is showing a piece for the first time. This kind of enthusiasm is unexpected in such scholarly surroundings and her love of art is contagious. Kit Smyth Basquin is associate for administration in drawings and prints at The Metropolitan Museum of Art in New York, where she has worked ten years. The Met has a million-and-a-half prints and fifteen thousand drawings on file. The Print Study Room is visited by scholars, curators, artists, art teachers, college classes, researchers working on books, graduate students, collectors, as well as dealers. Basquin oversees the Met’s collection, which features drawings by Leonardo and Michelangelo, and original prints by Dürer, Rembrandt, Goya, and Ed Ruscha, to name just a few. “Works on paper must have a limited exposure to the light,” Basquin said. “Light turns the paper yellow and fades the ink or drawing if the exposure is for too long. Usually works on paper are only exhibited for three months. At another venue of an exhibition that may include paintings and sculpture as well as prints and drawings, other drawings and prints are often borrowed to replace the ones in the first show.” Usually collections at the Met stay forever, Basquin said. “Sometimes, some items are de-accessioned for better works of art. Traveling exhibitions are different. These are called Special Exhibitions and they are not part of the museum’s collection. Traveling shows usually last three months. Sometimes they go on to another museum or come from another museum.” Basquin’s love of art began in high school at The Spence School in NYC, taught by the wife of the director of The Museum of Modern Art at that time, Margaret Scolari. “When I was going to college, no one talked about careers for women,” Basquin said. “We just got jobs and then got married. “I gradually evolved a career in art history. My first big push was to teach five classes of art history, from cave paintings to the present, at the art school in Addis Ababa, Ethiopia, because I needed a job there. I had never taught before and had not majored in art history, but I was going to Ethiopia to marry Peter Basquin, who was in the Peace Corps. I had met him through his sister the year before while he was in business school at Dartmouth University. “My first job was writing PR brochures for the Ethiopian Tourist Organization. I heard about the opening at the art school. I applied and got it.
Story by D. Harris Johnson
Kit Smyth Basquin in her office at the Metropolitan Museum of Art in New York. Because I had taught art history in Ethiopia, I got into the graduate program in art history at Indiana University on my return to the States. Once I had an MA in art history, I got a part-time job at the Indianapolis Museum of Art writing press releases. “By that time I had one child. Getting daytime sitters was difficult, so I opened an art gallery in my home in Frankfort, Indiana. After a few years, I moved the gallery to Indianapolis, where the local art market was. By that time, I knew I liked art history and art, but was not so thrilled about running an art gallery, which is a business. When we moved to Milwaukee, I first wrote art reviews for The New Art Examiner, a Chicago art newspaper. That was my favorite job. But for whatever reason, my husband wanted me to open an art gallery in Milwaukee. I resisted but finally gave in. Peter had some artistic talent and I think he wanted the gallery to satisfy his love of art and also to keep financial control over me, although he never said this.” Basquin ran the gallery from 1981–1983 before an economic recession caused them to close. “Running a small gallery in Milwaukee with regional paintings and sculpture as well as original prints bought from Pace Gallery in NYC by artists including Motherwell, Stella and Dine was hopeless,” she said. Basquin’s mother was from Houston, and her family moved to Huntsville when she was in college. “At that time, my grandfather, Dr. J.P. Gibbs, gave up his medical practice in Houston and became
a businessman in Huntsville where he opened Gibbs Brothers store which is still in operation,” she said. Basquin has a tender spot for Texas since she still has relatives in the area. People should not pursue a career in the arts if they want to make a lot of money, she said. “For the most part, careers in the arts do not pay well,” she said. “If you want to be rich, go into something else. If you really must work in the arts, then start at the entry level and work up. Nowadays, a PhD in art history is essential for being a curator. When I started, an MA was sufficient. But there are many lower level jobs in museums and galleries.” Basquin suggests that budding curators volunteer at a museum to see if they like that kind of work. “Sometimes volunteer jobs can work into permanent jobs,” she said. “I first volunteered at the Haggerty Museum of Art at Marquette University in Milwaukee. When a full-time job opened up, I got it. I started out coordinating public programs and teaching the docents. This job led to my becoming curator of education at the Haggerty Museum of Art. “A foot in the door is worth everything. A lot of hiring is done from within. A person familiar with an institution has an advantage over an outsider. The learning curve is much faster. Also, recommendations from within the field are important. Sometimes volunteer work can earn the person a good recom-
See BASQUIN on page 15
12 • ISSUE May 2010
Volume 16, No. 8
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.
DESIRE FOR TERRA FIRMA, an exhibition of prints and drawings by XENIA FEDORCHENKO, opens May 6 at Texas A&M Corpus Christi, with a reception beginning at 6 p.m. An artist’s talk will precede the opening at 4 p.m. _______________ The MUSEUM OF THE GULF COAST is hosting ANNE FRANK: A HISTORY FOR TODAY on view through May 31. On loan from the Anne Frank Center in New York, the exhibition features 25 panels that tell the story of Anne Frank and her family juxtaposed against world events before, during and after the rise to power of Adolf Hitler and the Nazi party. Through the family’s story, themes of scapegoating, bullying, anti-Semitism, racism, ethnic cleansing, and genocide are explored. The exhibition introduces visitors to the events leading up to World War II, and the government directed killing of Jews, Gypsies, the disabled, Slavs and others. The exhibit depicts individuals who chose to join the Nazi party and become perpetrators, those who were bystanders, as well as those who were willing to resist the Nazi tyranny. In addition, the Museum of the Gulf Coast will supplement the traveling exhibition with objects from its own collection as well as the Holocaust Museum Houston. The museum will also host a variety of other public programs in association with “Anne Frank: A History for Today” including film screenings on select Saturday afternoons at 2 p.m., a bus trip on May 1 to the Holocaust Museum Houston and the Museum of Fine Arts Houston. School groups are encouraged to tour this exhibition. School tours are always free at the Museum of the Gulf Coast. However, schools are urged to schedule their tours as far in advance as possible as the spring calendar fills up quickly. The Museum of the Gulf Coast is owned and operated by the Port Arthur Historical Society in partnership with Lamar State College-Port Arthur and the City of Port Arthur. The museum is located at 700 Procter Street in downtown Port Arthur and is open daily from 9 a.m. to 5 p.m. Monday through Saturday and 1 to 5 p.m. on Sunday. For more information, visit www.museumofthegulfcoast.org or call 409-982-7000. _______________ The SPINDLETOP FOUNDATION will present EUFORIALIVE, an event to benefit the STMHMR Autism Program, 5:30 p.m. to 9 p.m., May 8 at Lamar University’s Gray Library. “Witness a world of color coming to life. Experience and feel the warmth and magic of Euforialive, featuring internationally renowned artists Rolando Diaz and Seth Simmons,” Maria Guillory, the foundation’s executive director, said. “Imagine a blank canvas. At the end of our event, the artist will create an oil to canvas masterpiece that we will auction to benefit Autism research. During the time Rolando is painting, Seth will be playing original compositions on a baby grand piano. That is Euforialive.” For more information, contact Guillory at 409-839-2221. _______________ The BUU MON BUDDHIST TEMPLE is SEEKING VOLUNTEERS. The temple is preparing its gardens for the upcoming 12th Annual Lotus and Bamboo Festival. Due to the winter freezes and damage to the ponds from Hurricane Ike, which have became apparent with time, the temple has undertaken a major landscaping project out of necessity. “More than any other year we need volunteers to assist with preparing the gardens as well as the temple and the
temple grounds for this year’s coming event.,” a temple release states. “There is a variety of tasks needed to be addressed in order for this year’s Lotus Garden Festival to be as successful as it has been in the past. The work cannot be completed in time without the community’s support. Whatever time you can offer from a few hours a day, to a few days, even weeks, is greatly appreciated.” Volunteers need not be educated in the cultivation of tropical plants, just be willing to work outdoors, and want to serve the community. Bhante Kassapa, assisted by Mr. Mark Hines of Shangri-La Gardens, will instruct volunteers in the proper way to go about working in the gardens. Volunteers are also needed in the kitchen to assist Bhante Kassapa (Rev. K.) with meals that the temple will provide for the volunteer workers. Also, the temple will need some repairs and painting. Those who live out of town or out of state are welcome. If transportation is needed in order for volunteers to assist with the gardens, please contact Bhante Kassapa at 409-9608369 or email cbmtemple@yahoo.com. Arrangements can be made to make your visit a possibility. “Granted, gardening is at times physically draining but you will be filled with a sense of accomplishment, pride and wonderment when you see the gardens blossom from your endeavors,” the release states. In addition, the monks need volunteers to assist the temple during the festival. Volunteers will assist visitors by answering questions and giving directions as well as working in the temple booths. For more information, email cbmtemple@yahoo.com, or call Bhante Kassapa at 409-960-8369, or Danny Dubuisson at 409-982-9319. _______________ Auditions for the summer musical, presented by LAMAR STATE COLLEGE-PORT ARTHUR and PORT ARTHUR LITTLE THEATRE, will be held June 1, 2 and 3 at 7 pm in the Lamar Theater on the LSC-PA campus. Show dates are July 29, 30, 31 and Aug 1. Aug 5, 6, 7 and 8. As of press time, the show had yet to be announced. For more information, call Keith Cockrell at 409-9846338. _______________ The ART MUSEUM OF SOUTHEAST TEXAS presents two new exhibitions on view through July 11, that share emotional stories and childhood memories through art. “Playing in the Sand” features dynamically engineered photographic reconstruction sculptures of beach scenes by artist Rusty Scruby, and “Virgil Grotfeldt, 274296” includes moving oil paintings on X-rays of the artist’s brain completed during the last year of his life. RUSTY SCRUBY: PLAYING IN THE SAND features 19 analytically derived two and three-dimensional works which demonstrate the perfect balance Scruby achieves by blending his learned abilities in math and music with art. Using a series of repetitious photographs, drawings, paper or plastic, he cuts, folds and weaves together complex constructions. Much of Scruby’s artwork in this exhibition is based on his childhood living on Kwajalein Island, a secret U.S. military base in the middle of the South Pacific, where he developed a curiosity and love of the ocean. He went on to study aerospace engineering at Texas A&M University and then music composition at the University of North Texas, Denton. Scruby has no formal art training other than working in a design studio with ceramics and porcelain forms. He pieces together what he learned through his education and experiences to create innovative works of art.
Defining his work as sculpture, Scruby employs his engineering techniques to render surfaces that represent waves, ripples or bodies of water. Color, pattern and images are used to express musical harmonies, melodies and themes. “Playing in the Sand,” the title piece, and “Beach Couple” are two of Scruby’s latest developments – threedimensional photographic reconstructions of globe and torpedo-shaped objects hanging from the ceiling that give viewers the opportunity to experience the work from every angle. “Reef” and “Cube Network” use precisely and repetitiously folded paper and plastic to abstractly illustrate the complexity of the ocean. VIRGIL GROTFELDT, 274296 is the final body of work of Grotfeldt, one of Houston’s leading artists, who died from cancer on Feb. 24, 2009. He had been treated for lymphatic illness at the University of Texas M. D. Anderson Cancer Center since 1993, when he was first assigned the patient number 274296. The 18 oil paintings that comprise the exhibit incorporate magnetic resonance imaging (MRI) scans of Grotfeldt’s own brain. “By incorporating personal brain scans into the art of oil painting, Virgil makes a most profound human statement in a personal and original manner,” said Edwards. “The oil paintings in this exhibit, which represent a continuation of Virgil’s long career as a painter, have been completed under the most extraordinary conditions.” Grotfeldt was a highly experimental painter and often used found notebooks and papers as the basis for his work, so choosing his own brain scans was the ultimate found base. Born in 1948 in Decatur, Ill., Grotfeldt earned a bachelor’s degree in art education from Eastern Illinois University in 1971 and a master’s degree at Tyler School of Art in Philadelphia in 1974. He moved to Houston in 1977 and from 2002 until his death served as associate professor of art and artist-in-residence at Houston Baptist University. Grotfeldt’s résumé includes numerous national and international solo exhibitions. His work has been collected by the Museum of Fine Arts, Houston; Menil Collection; the Whitney Museum of American Art, New York; Chengdu Museum, China; and the Fritz Becht Collection, Amsterdam. Summer is quickly approaching and the ART MUSEUM OF SOUTHEAST TEXAS is gearing up for days full of fun and sun spent at the beach with PLAYING IN THE SAND FAMILY ARTS DAY. From 10 a.m. to 2 p.m. on May 1, children and their families are encouraged to visit the museum to learn about art and make beachinspired art to take home. The Family Arts Day is held in conjunction with the exhibition “Playing in the Sand” by artist Rusty Scruby. Children will be able to explore this exhibit and then participate in several art activities in the same styles such as woven paper beach balls, beach scene photo collages and colored sand paintings. They will also be able to contribute to the collaborative folded collage installation, where folded artwork will be mounted together to make a large-scale sculpture and displayed at AMSET. Children will be able to create their own X-ray paintings and sun print paintings in conjunction with “Virgil Grotfeldt, 274296,” which includes oil paintings on X-rays of the artist’s brain. The event will also include face painting, lively entertainment and refreshments. Family Arts Day is free and open to the public. Call 409-832-3432 or visit www.amset.org for more information. _______________
May 2010 ISSUE • 13
Volume 16, No. 8
Tho ughtcrime
Driving Memory If only the motor hadn’t been running so well, so mammalian, impatient. I might have watched her leave differently. Sitting in an iced shell of a Chevrolet, who’d remember the smell of a dead steering wheel? The corpse-like flesh of a vinyl armrest? A ticless, dashboard clock? What would there be to remember? She would have left without turning. She would have stepped out into the winter; walked away, and left me. But the car was idling. Oh baby, it was purring. and every dial was twitching. Every lubricated part waited for the automatic transmission to be engaged. And I was waiting, too. She must have felt us waiting. She must have sensed us throbbing, Warm, responsible, alive. Feeling us, she turned around. A natural reaction. Just curious. Just a warm-wrapped brain noticing another. With dented tears welded to her face, She turned to notice me and my machine. And, baby, we were running well that winter, as I recall.
Submission Guidelines and Disclaimer ISSUE solicits and publishes the work of local authors. Poetry, short fiction, scholarly works and opinion pieces may be submitted for review. All works must be typed or submitted on a disk (using approved word processing software), or may be sent to TASI by e-mail. All works are subject for review by our editor, and may be rejected or edited on the basis of grammar, spelling or content. The opinions expressed in “Thoughtcrime” do not necessarily reflect the opinions of TASI, its Board of Directors, ISSUE’s editorial staff, or donors to TASI. Send typed works to:
Better Intentions On the corner of Second and South Central A boulevard just north of Hell, bent on better intentions But beggars come and go Someplace where sunlight never breathes, never glows Where your fall brings on winters so hot you tremble Cold and bitter, figuring you’re better off on your own anyway So you’d hide until you turned up missing Find you on a pile of your own rubble, Self-indulged troubles that you rather not mention From the bar off Third and Memory Lane More than once on a sad and misty morning, just a touch of rain Honeydew thick as mourning pie from the town’s only kitchen In search of a greasy remedy, Served with juice and all the fixins, Topped with a kind word from a soft spoken… A gentle touch but didn’t catch his name… Just put it on your tab; mark it up, another tally for blame Somebody else so you can rinse and repeat for another night of the same Another moon howling at your demons Until the wolves come to feed on more of your selfish reasons Excuses that will sentence you to that same grave From their plot of empty ambitions, Made on the corner of Second and South Central A boulevard just north of Hell, bent on better intentions
Lost Minds He told me that he wasn’t Afraid of losing his mind, He had already lost that Years and years ago. What he suffers so Badly from is the Tears on his heart. That is the black hole, the Dark of winter for him. We write back and forth Extolling the beauty we see within each other, Trying not to sound trite or Become wordless In the religious fervor of Pouring our hearts on the page. We listen to what the other has been
Mi Padre
There’s a giant Wookie under the cabinet wearing fishnet stockings and yes he’s out to get you
Authors must submit a daytime telephone number along with all submissions. Pen names are acceptable, but authors must supply real names for verification. All submitted works become property of TASI, and whether rejected or accepted, are not returned to the author. ISSUE does not notify of rejection by mail or telephone.
Cody Pastorella
Jesse Doiron
Honey, guess what I found in the vacuum
ISSUE 720 Franklin, Beaumont, TX 77701 or e-mail: artstudio@artstudio.org
Silently he stands before the plot of land, surveying the distance between the aqui and the aya Work-worn hands tighten on the shovel handle beneath, rivaling the carved grooves of time etched on the dark surface.
Directed to pen, and Wonder where it all came from Marveling at the calling we have received, and Being grateful for the companionship. His love is my mother’s, Sustaining, steadfast and protective
Constellations are just space freckles on a hot galaxy’s boob and yes she’s willing
He sighs and spreads a hand across the image of the dampened earth, reveling in visions of a future that I can not see. “Mira, Corazon. Mira y oye. Look, listen.” Stooping, he crumbles a mound of dirt, closing his eyes to hear the path of the wind.
My brethren lest we forget handshoes and horsegrenades red beans and rice inseparable con sal and yes we’re all knuckle deep in the blueberries
Beneath tightened eyes, years of prayers and hopes unfold. Las aguas negras of struggle and worry seep into the ground beneath — waves of pity and despair choke as they rush toward the firm surface. Their hold on him is lost. And the years fall limply from his frame.
The mind is no loss.
Ryan Forsythe
Lluvia Rueda
Cathy Atkinson
He brings me breakfast and cigarettes, Filling in the gaps of my need Without question.
The heart still beats and the Feelings consume the paper, Strengthening circulation.
14 • ISSUE May 2010
Volume 16, No.
Laburn earns first place at TASIMJAE Sirena Laburn placed first at TASIMJAE 2010 (The Art Studio, Inc. Member Jurored Art Exhibition), for her charcoal drawing “Studio #9,” shown right. Laburn’s prize is a solo show in May 2011 at The Studio. Second place was awarded to Sam Keith for his acrylic painting, “The Road Continues.” Third place was awarded to Sheila Molandes for her mixed media, “See No Evil, Speak No Evil, Smell No Evil.” Honorable mentions were awarded to Amelia Wiggins for “Reading Room,” Teresa Johnson for “Archetype Classification Cynosure 1,” and Karen and Beau Dumesnil for “Renewal of Our Seven Year Vows.” Juror for the show was Vidor artist Charles Stagg. The awards were presented at a reception April 3.
FORSTER from page 9 (the installations) relates to these. Once it’s out of my control, it’s pretty much up to the weather.” The site-specific installations, which he documents through photographs, are made out of clay and soil and vegetation native to the location. They are designed to break down on site. Different blocks are built with different materials, he said. “One might be built with raw clay, while another might be a stabilized adobe,” he said. “The idea is that different blocks decay at different rates, and even different parts of the blocks will decay faster than the rest of the block.” The decaying process is slow. Forster documented one piece for almost two years and there were still parts of it intact. He has a collaborative piece with Gabriel Craig in the garden at the Houston Center for Contemporary Craft. “The forms are based very loosely on the oil industry — the storage facilities they have,” Forster said. A few of the blocks are stuffed with native vegetation. “There is compost and native Texan wildflower seeds wedged in with the clay, so the idea is we are going to document every day how this thing slowly breaks down. Eventually, flowers will grow through a lot of it.” The piece is designed to last three or four months, depending on the weather conditions. Forster sees his work as a reference to industry and its effects. “Hopefully, if people look at it, they might think, ‘what am I leaving behind?’” he said. “But I have a feeling most viewers don’t get that far. I definitely reference old functional objects of some kind, but I try to leave it ambiguous so the viewer can bring their own speculation.” Forster said he even recycles his titles, although they reference devices of function. Many have numbers, which are actually taken from the barcodes of the pieces that comprise the molds. “But the irony is, for me, that it also references the cataloging of artifacts,” he said. One doesn’t need a science degree to appreciate Forster’s “ancient” artifacts. Visit “Entropic Devices” —
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.
you’ll “dig” it. The Art Studio, Inc. is located at 720 Franklin in downtown Beaumont. For more information, call 409-838-5393.
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. 4.
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. 3. 4. 5. 6. 7. 8.
Jeff Forster stands behind a site-specific installation at the Houston Center for Contemporary Craft. The piece, produced in collaboration with Gabriel Craig, is designed to decay naturally over a period of months. Forster is documenting the event.
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 16, No. 8
May 2010 ISSUE • 15
BASQUIN from page 11 mendation for graduate school or for a full-time job. Basquin said that New York is the center of the art scene in the United States, for museums, galleries, research libraries, and teaching art history. Other cities are developing art communities, including Chicago, Los Angeles, San Francisco, and Houston. “The Metropolitan Museum is the greatest museum in the Western Hemisphere. It is probably the most comprehensive museum in the world. The other great museums are the British Museum in London, the Louvre in Paris, and the Prado in Madrid. The New York galleries and auction houses are the center of the art market in the United States. Auction houses and galleries pay even less well than museums, but they are all good training grounds for the field. When I moved back to New York eleven years ago, I got a foothold in the field with a part-time job at Doyle New York, an auction house. While I was there, I heard about an opening at The Met and applied immediately. I have been working as an administrator in the Print Study Room for ten years. Basquin has worked her way up to her dream job. “At first, my now ex-husband encouraged me to get an MA in art history, as a way to keep me entertained in a small Indiana town before we had children,” she said. “What he didn’t bargain on was that the study would change me.” When asked about up and coming summer events Basquin’s voice is animated. She can best be described as a conduit of electricity when spreading the word about what she loves best, art. Basquin makes you feel like every day is Christmas at the Met and you can’t wait to see what surprise is waiting for you under the tree. Exhibitions at the Met include: “Picasso in the Metropolitan Museum of Art,” running through Aug. 1; “American Women: Fashioning a National Identity,” May 5–Aug. 15; “An Italian Journey: Drawings from the Tobey Collection,” May 12–Aug. 15. Visit www.metmuseum.org for details.
CALL FOR ENTRIES
THE ART STUDIO, INC.
ALTERNATIVE SHOW Entries will be accepted for this annual “anything goes” exhibition 1 p.m. to 5 p.m., June 1-4. The exhibition will open June 5 with a reception, 7-10 p.m.
LIMIT 5 ENTRIES PER ARTIST. For more information, call 409-838-5393
WE WANT YOU FOR BAND NITE Hear original music by local musicians at For upcoming gigs, visit www.myspace.com/artstudio
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All ages welcome • 21 and up BYOB and have your ID.
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INSIDE • JEFF FORSTER’S ‘ENTROPIC DEVICES’ • THOUGHTCRIME: MUSINGS FROM AREA POETS • ‘BEAUX ARTS BALL’ IN PICTURES • TORCHY REMEMBERED
When you support The Art Studio with your membership, you receive ISSUE, Southeast Texas’ and Southwest Louisiana’s alternative press as well as class schedules, invitations to opening receptions and various Studio functions.
Volunteers These people are the life blood of our organization. WE COULDN’T DO IT WITHOUT YOU! To volunteer, drop by The Art Studio, Inc., or call 409-838-5393. Bryan Castino Katy Hearne Heather Eager Benee Bernard Clint Dearborn Rhonda Rodman Sue Wright Cyndi Grimes Rhonda McNally Andy Coughlan Renee Coughlan Olivia Busceme Uriah Keneson Les Warren Torchy Colleen Bonnin Beth Gallaspy Lige Joanna Clark Chris Dombrowsky Terri McKusker Willie McKusker Sheila Molandes Deborah Ragsdale Colby Duhe Beau Dumesnil Karen Dumesnil Tosha McKusker
JOIN US FOR ART OPENINGS ON THE FIRST SATURDAY OF EACH MONTH THIS MONTH:
‘Entropic Devices’ by Jeff Forster MAY 1 GALLERY OPENING IS 7-10 P.M.
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