From: LeoDVrules invented helicopter. finished mona lisa. watchin american idol. wtf. lmao. omg, forgot 2 renew art studio membership!!!
SEE MEMBERSHIP FORM ON PAGE 3.
A View From The Top Greg Busceme, TASI Director
HOPE EVERYONE HAS HAD a good summer. The Studio enjoyed the retreat from the usual routine of newspapers and invites, mailing lists and bills. Although it is as hot as the proverbial Hades in here, we had some great workshops with the Community In Schools and Buckner STAR programs. A total of more than 80 eager students experienced the fascinating world that is The Art Studio clay facility. We had a modified program compared to other years as our Raku(a firing process) facility was victim to Ike and we have limited capabilities, especially for a class of 50 students. Even so, it was a fun day and the young people in both programs were enthusiastic and engaged in the project. We have had summer workshops with Community In Schools for easily more than 10 years and I can't remember a summer that I didn't see their sweet shining faces sweating in the heat. The same for Buckner STAR program. Since we started The Studio, there has been a parade of area youth programs that have participated year after year. Some years we could barely keep up with demand of youth organizations eager to experience clay and being at The Studio itself. Yet, over time, gas prices rose, transportation costs increased and budgets stayed the same.
ISSUE Vol. 16, No. 1 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers . . . . . . . . . . . . . . Tara Smith, . . . . . . . . . . . Lluvia Rueda, Andrew Strange Contributing Photographers . . . . . . . . Tara Smith, . . . . . . . . . . . . . . . . . . . . . . . . . Lluvia Rueda
Distribution Director . . . . . . . . . . . Terri McKusker 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 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 Fu Lien . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 4 Stark Pistols Exhibit. . . . . . . . . . . . . . . . . . . Page 6 TASI Tenants Show . . . . . . . . . . . . . . . . . . . Page 7 Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 8 Terra Cotta Warriors. . . . . . . . . . . . . . . . . . Page 10 BAL September Show . . . . . . . . . . . . . . . . Page 11 Around & About. . . . . . . . . . . . . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13 Cover: Bonsai by Tara Smith
Many programs couldn’t make ends meet. We also contend with the erosive effect of the arts being minimized in their importance as an integral part of a good educational system (politics). Some groups couldn’t justify it anymore. I am glad that CIS and STAR can justify it. It has always been a complete pleasure to work with them and I hope it will continue for many years to come. It is said, “What doesn't kill you only makes you stronger” and this might be true if you are Jeremiah Johnson(the mountain man). But organizations that survive an economic downturn usually come out weakened with limited programs and low participation of volunteers; these two items go hand in hand. What we are capable of doing depends on how many people participate in doing it. I want to thank all the volunteers who have helped this place survive through some of the toughest economic crises in our lives. We are ready for the new season of art exhibitions and Band Nites. Look for the possibility of movies being shown each month by the Southeast Texas Film Alliance. Cool stuff! After a summer of swealtering, blister-
See VIEW on page 15
UPCOMING EXHIBITIONS AT THE ART STUDIO SEPTEMBER The Tenants Show
OCTOBER “The Spectacle Self” by Dana Dorman
Opening . . . . . . . . . . . . . . . . . . . . . . September 5
Opening . . . . . . . . . . . . . . . . . . . . . . . . October 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 September 2009
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Volume 16, No. 1
DISHMAN DIRECTOR FU LIEN BLENDS EAST, WEST CULTURES CONFUCIUS SAID, “THE SCHOLAR who cherishes the love of comfort is not fit to be deemed a scholar.” Fu Lien, a Taiwanese artist, writer, educator and art historian, certainly believes in getting out of her comfort zone. “There is a world beyond the world,” she said. “One of my students said I am very artistic about the way I practice my life. I don’t know whether that is good or bad, but I’m very spontaneous — so whatever comes along, I follow that.” Fu is director of the Dishman Art Museum at Lamar University, a position she has held for two years. She moved to America to study in the early ’80s, earning her degree and her master’s in art the University of North Carolina-Greensboro. “In my generation of Taiwanese college students, if they have a little ambition, they want to move away and study abroad,” she said. “England and America is the top choice or, if you know the language, you can go to Europe. There are not many opportunities for art graduate studies in Taiwan, so we often come to America.” After getting her master’s, Fu returned to Taiwan where she taught for five years and worked in a modern art museum for three. She returned to New York after she was awarded a Fulbright Scholarship at Parsons design school, where she earned her doctorate in art history. Her sense of intellectual curiosity led her to leave the comfort of her position in the Big Apple for the unknown of the Lone Star State. “I knew nothing about Texas and it is good to explore,” she said. “A lot of my graduate colleagues don’t want to move away from New York — (they) just teach here and there part time. I wanted to have a full-time job and engage real academia. “I am a supporter. I want to support people, I want to educate people, I want to relate to people, not just be a self-indulgent artist.” After arriving at Lamar, she quickly became impressed by the area’s vibrant arts scene.
Story and photos by Andy Coughlan
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“It is as lively as New York in many ways; not in geography, New York is very vertical and here it is horizontal, but when you go to a little niche here and there, you always get surprises,” she said. “In New York, you go one block and you find surprise. Here, you drive one hour to find surprise. “Our scene here is really lively. I find I am going to openings every weekend. People are really active. It is not the laid-back South I expected. I think Texas is special South because of its adventurous spirit.” While at North Carolina, she met her husband Te-cheng Lien who was already an established artist and has exhibited at the Venice Biennale. The couple has a son, Jen Alan, who is also an artist. “I think what I find hard in an artist family is to find a supporter,” she said. “Everyone has to be engaged in their own work. The three of us, we can fight a lot. But when we go to a museum we calm down and just engage in art. Then we find such a moment for sharing.” She believes that art can help center us in an ever more hectic world. “We shouldn’t feel lonely, because we have good art with us,” she said. “There’s a transcendence. Of course, art comes from people, but they are too complicated or have too many earthy binds. Life is very confusing and you need to look for that symbolic moment of joy or transcendence. I think art provides that.” Fu originally planned to major in English but soon found her interest drawn toward the art club and artists association when she was in college. “I have more passion for art,” she said. “The Taiwanese education system is very rigid and once one chooses a major, that’s where one stays. The American system of freedom really helped me start my passion.” She said she jokes with her students that art is easier than studying English because, “you have to read a novel in a week and I cannot handle that.” In hindsight, despite her initial choice of study, she feels she was destined to be in the arts. “In my older age, I really reflect on the third element, which is the mystical,” she said. “My father passed away in an accident when I was 19, and that’s the time I really found that art was my only place to escape. I was drawing with my sister in a studio near my home in Taiwan-Taipei and I suddenly felt, this is the thing I have passion for — I can sit there for hours and draw. For reading, I can only sustain one or two hours. So that’s the time I discover my passion for art through the studio experience.” Her preferred medium is collage, but she said she has focused more on her role as an educator than as an artist over the past few years. “I started out as a painter — I’m a medium-good one, not highly talented, I think — then I find collage is my best method,” she said, adding that she could fit it in around her role as wife and mother. “I find the flexibility of the material really liberated me,” she said. “People tell me it’s a female consciousness work. Then I started to think about my female self very late in my life and that led me to study feminism when I came back to the U.S. in the early ’90s.” Fu said that Tapei and New York are similar in that they are busy, crowded cities. After being comfortable with city life, she is now enjoying the peace of the countryside. “Actually, as a little kid I hated the big city. I really enjoyed nature,” she said. “It’s a surprise; 15, 16 years in New York shaped my adult life. But as I reflect, that was really important. If I don’t shape
September 2009 ISSUE • 5
Fu Lien is the director of the Dishman Art Museum on the Lamar University campus. She is an artist as well as being an educator. Her collage, “Childhood,” is pictured opposite.
myself in that art and cultural environment, my knowledge and exposure of art is somewhat limited.” She encourages her students to travel and broaden their horizons. She said that when she was young she thought only of Taipei and staying there in her comfort zone with her family. But now she likes to try new things. “In my teaching it’s the same,” she said. “Something interests me and that comes in. It’s spontaneous; it’s not like I have a contrived plan for a particular thing. I am open to possibilities.” She paused for a moment, then laughed as she said, “But getting old, it’s a little bit scary if you are open to too many things.” Fu said that her responsibilities and teaching duties have led her to put her art on the back burner, although she expresses her creativity through her interaction with her students. “There was a stage in the ’90s when I was a lot more productive,” she said. “Now I have a lot of work that is not finished and ideas I don’t have time carry out.
“Actually, I’m not ashamed to tell my students I am a failed artist. At this age I feel I could have been a good artist…but I was always teaching. I need to serve the people. At this stage I am OK with myself. It gives me a broader view to look at art. “Many artists I know do not want to see beyond their own orientation of art. That’s also good; sometimes they are great artists. But then it’s hard to deal with other facets of life. Right now I define my role as educator and that’s fine with me.” Besides, she sees everything she does as related. “In the past I have ambivalence,” she said. “People often say only if you concentrate on one thing can you get successful. But eventually, every experience benefits you. And it’s all art. “We should question those words. What is success?” When she first came to the Dishman, she felt as
See FU on page 14
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Stark Museum of Art exhibit highlights embellished firearms ORANGE — Fifty magnificently embellished and historically important American firearms will be displayed at the Stark Museum of Art in a special exhibition “Pistols: Dazzling Firearms” on view through October 24. “Pistols: Dazzling Firearms” was organized by the Museum of the American West, Autry National Center, Los Angeles. The exhibition features pistols selected for their extraordinary quality, condition, and elegance. The works come primarily from the permanent collection of the Autry National Center of the American West, supplemented with loans from private collections. “Pistols: Dazzling Firearms” illustrates how art, historical events, and popular culture have influenced the design and symbolism of decorative weaponry. Highlights include a Colt Model 1862 revolver that presents an early, rare example of Tiffany-style grips embellished with an American eagle motif and revealing master craftsmanship. The exhibition also features Wild Bill Hickok’s Model 1851 Navy revolver, Annie Oakley’s Smith and Wesson pistols, and six presidential guns designed by the Colt company, including one
designed for John F. Kennedy. A silver Colt Single Action Army revolver engraved by Edward Bohlin for cowboy actor Tom Mix introduces the Hollywood era. A unique pair of Colt revolvers with nautical motifs, made for a former chairman of Colt Industries, combines the talents of the twentieth-century Tiffany and Co. as designer, and Leonard Francolini as engraver. The exhibition explores the political, social, and historical aspects of the decorative pistols; the influence of iconic Western painting; and the artistic talent of firearms engravers. “Firearms become decorative art when adorned by master engravers,” said Julia Logan-Bourbois, Assistant Curator for Arms and Armor, Museum of the American West, Autry National Center, and curator of the exhibition. “Pistols: Dazzling Firearms” includes plasma screen installations with filmed highlights of the firearms and of the engraving process. An educational area adjacent to the exhibition provides learning activities related to the exhibition.
“We invite the public to enjoy artistic beauty in a different medium, that of firearms engraving, while seeing the historic and thematic connections with our permanent collection of Western American paintings, sculpture and prints,” said Sarah Boehme, Stark Museum of Art Director. Located at 712 Green Avenue in Orange, the Stark Museum of Art is open 10 a.m.-5 p.m., Tuesday through Saturday. Admission is free. Group tours are available by appointment. For more information call 409-886-ARTS (2787) or visit www.starkmuseum.org. (Left) A Colt, Model 1862 Police and Pocket Conversion Revolver, ca. 1862. (Above) A Colt, Single Action Army Revolver, ca. 1980. Rendered by Tiffany & Co. and Leonard Francolini.
Images courtesy of the Museum of the American West, Autry National Center, Los Angeles, California.
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Tenants Show kicks off 2009-10 season at TASI PAINTER RENEE WOMACK, 38, was just looking for a space of her own. But when the Port Neches native moved from Photos by her hometown to pursue a job in Houston, she picked Andy up her oils and brushes only Coughlan to find a lack of affordable tenant spaces in nearby art studios. “I just ran up against a wall. It was hard to find a place where I could work. Most places were too expensive, and others were hard to work in, because of the owners or lack of communication with the rest of the tenants,” said Womack. One year and a move later, Womack is happily settled as a tenant at The Art Studio, and she now hopes to pursue work as full-time artist. “When I came back, I visited The Studio and I thought, ‘This is it.’ It’s great that a city like Beaumont has a place to support local artists,” said Womack. An influx of new and returning members this year is a testament to the allure of The Art Studio Inc.’s warm, bohemian atmosphere, said founder Greg Busceme. “It’s a way for artists and art lovers to come together. We’re like a family and we are always looking to increase the number,” he said. Busceme said tenantship has increased steadily, going from eight to 17 members this year. Artist Elizabeth Fontenot, 24, a Vidor native, is one of the studio’s fresh faces. The recent Louisiana State University graduate and
Story by Lluvia Rueda
Renee Womack, top, and Elizabeth Fontenot, above, are among the artists featured in The Art Studio’s Tenants Show in September.
painting/art major said she looks forward to putting down roots and discovering her own place in the local art community. “I think it’s a great way to get to know people, get involved with the community and find out what works for you artistically,” said Fontenot. A growing population of artists promises a variety of pieces for The Studio’s upcoming Tenants Show, which will open Sept. 5. The show traditionally kicks of the arts season and will begin with a reception from 7 p.m. to 10 p.m. “Last year we had only seven or eight tenants, so it’s really going to be a big show for us. We encourage everybody to come out and meet the new artists,” said Busceme. Seasoned art veterans and Beaumont residents Beau Dumesnil, a 3-D artist and ceramicist Rhonda McNally agreed, saying the newcomers provide “new life” to The Studio. “I think it’s exciting to see The Studio grow. It’s not only great for The Studio but for the community as well. It gives the public more options (in local art),” said McNally. The exhibition will include work by Cyndi Grimes, Sue Wright, Rhonda Rodman, Rhonda McNally, Beau Dumesnil, Karen Dumesnil, Elizabeth Pearson, Andy Coughlan, Jessica Jones, Sandra Laurette, Suzanne Garrett, Stephen Scales, Elizabeth Fontenot and Renee Womack. Full-tenant spaces are available for $85 a month, and partial-tenant status is $40 a month. Artists are granted 24-hour access to all the facilities, including computer labs and dark room areas. For more information on how to become a tenant, call The Studio at 409-838-5393.
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PATIENCE IS KEY TO HORTICULTURAL ARTFORM AS A GARDENER FOR Shangri La Botanical Gardens in Orange and as a folk artist, Greg LeBlanc’s skills lend themselves naturally to the horticultural art of bonsai. LeBlanc, from Lake Charles, La., said the word “bonsai” is Japanese in origin and actually means “planted in a tray” because of the tray-like pots in which the trees are planted. He also uses his expertise to expel one of the
Story and photos by Tara Smith
most common bonsai myths. “A lot of people think that bonsai is a specific species of tree,” LeBlanc said. “But it is not. You can make a bonsai out of any tree.” He emphasizes that this does not mean a person should pick just any tree. “You usually want trees that have smaller leaves,” he said. Choosing a tree with smaller leaves is only a part of the key to reaching the goal of the art. “The goal,” he said, “is to make a tree look like a really old tree in nature, but in miniature.” LeBlanc said he knows he has reached his goal
Greg LeBlanc holds one of the bonsai trees he has shaped. LeBlanc said it can take from one to 20 years to train a tree into a nice looking bonsai.
if the tree reminds others of an old tree from their childhood or one they have recently seen in nature they found beautiful. Children are especially good critics. “When a child walks up to a bonsai and says the tree looks like a big old tree in the woods,” he said, “you know you’ve done something good.” The process of reaching this goal is arduous because bonsai trees have to be specifically trained into a certain shape and style. “It all depends on what shape you want it to be,” he said. “There are the formal uprights, the informal uprights, the slanting, cascading, and then there are group or forest-style plantings.” According to LeBlanc, bonsais are trained mostly through pruning and wiring. The wiring works similar to braces on teeth and bone by pushing the tree into a particular shape and style. It is a time-consuming process. “It takes anywhere from one to twenty years to train a tree into a nice-looking bonsai,” he said. LeBlanc, therefore, suggests that before getting into bonsai, people should ask themselves if they have the required patience needed for the art. “Some people, when they start, they soon get out of it,” he said. “It takes a lot of responsibility.” Part of that responsibility is having the materials needed, which can be expensive. “Because you put so much time in it,” he said, “bonsai is kind of expensive. So, if you are just starting out, you don’t want to spend $300 to $400 on a tree when you don’t know anything about it.” LeBlanc admits that he is now hooked on the art of bonsai and the philosophy and spiritual lessons that come with it. “It is sort of like a meditation, a peacefulness you get when in and around nature,” he said. “I get into the soul of a tree and find its movement, where it wants to go or what it wants to be.” He said the phrase “Wabi Sabi” often comes to mind as he is working on a tree. “Wabi Sabi has lots of meanings of beauty and aesthetics,” he said. “Imperfections of nature, asymmetry, simplicity, modesty, patience and intimacy.” The art of bonsai caught LeBlanc’s attention around 28 years ago when he landed his first landscaping job. “My boss had a book on botany,” he said. “I started looking through it one day and saw pictures of bonsai.” Though there were only three pictures of them in the entire book, the trees made a serious impression on him.
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“One was a double trunk sago palm, and the other two were hemlocks,” LeBlanc said. “The hemlocks reminded me of the beautiful huge bald cypress trees in the swamp at my uncle’s camp.” Shortly after seeing those three bonsais, he decided to buy his own book and started experimenting with different trees. From the beginning, LeBlanc found that his background as an artist helped him master certain aspects of bonsai. LeBlanc was already drawing, mostly doing commissions of swamp landscapes. “The art and aesthetics of bonsai came to me really easy,” he said. “I was, and still am, a folk artist.” Other aspects of bonsai, however, did not come
September 2009 ISSUE • 9
so easily. LeBlanc said he made the usual beginner’s mistakes, most of which revolved around hydration. “Learning not to kill them was the main thing I had to learn,” he said. “Most beginners kill their trees by not watering enough when it is hot. Because they’re in small shallow pots they can dry
out fast.” Over-watering was just as much of a problem as under-watering and more complex. “Some trees transpire water — take in water
See BONSAI on page 15
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Standing Guard Houston Museum of Natural History exhibits Qin dynasty Terra Cotta warriors CLAY HAS BEEN PROVEN to stand the test of time perhaps more than any other medium. From ancient pottery to lifelike sculptures, ceramics have been used to carry and preserve foods, decorate homes, buildings and tombs and, in some cultures, are even believed to protect people in the afterlife. The Houston Museum of Natural Science is hosting “Terra Cotta Warriors: Guardians of China’s First Emperor” through Oct. 18. The exhibit features 120 ancient Chinese artifacts and a 15 warrior sample of the estimated 8,000 terra cotta warriors discovered in Xi’an in 1974. Tickets for the exhibit are $30 for adults and $24 for students with an optional purchase of an audio guide for an additional $9. The audio guide is optional but very helpful in the tour. It offers additional information about
Story by Andrew Strange
Armored General, top, and Kneeling Archer, above, are among the Qin dynasty terra cotta warriors on display at the Houston Museum of Natural Science though Oct. 18. Courtesy photos
each figure and artifact that is not provided anywhere else and gives insight into the history and social order of China at the time. The exhibit, located on the second level of the museum, begins with a kneeling archer warrior, surrounded by weapons of the era. The warrior is in near perfect condition. Being crafted from clay somewhere between 221 and 206 B.C., the figure and its stunning detail has been preserved in the earth for more than 2,000 years. The warrior’s bow and perhaps other weapons are believed to have been looted or recycled over the years, but his heavy armor, crafted from overlapping panels of clay, remains a testament to the skill of the Qin craftsmen. Down to the souls of the warrior’s feet, the workers accounted for every painstaking detail. On the walls of the museum hang photos of the site where the artifacts were found, factual and historical information, maps, paintings and other materials that contribute to the experience. A large photo of the dig site shows just how huge an endeavor the project was. The site in Xi’an consists of three finished pits containing artifacts. Each pit is between 15 and 20 feet underground with special supports and roofing to conceal its location. A fourth pit
See WARRIORS on page 11
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Gerrietts, Keith to exhibit at BAL in September The Beaumont Art League will present “There is Music on the Wall,” an exhibition of work by Frank Gerrietts, Sept. 11-30. Gerrietts is 2008 Membership Show winner and the exhibition is part of the prize for first place. “Gerrietts’ new show reflects the emotions and moods which arise while listening to zydeco, classical or other types of music,” Dana Dorman, BAL director, said. “The show features abstract compositions with vibrant colors that dance on canvas, each named after a specific piece of music.” Artist Sam Keith will accompany Gerrietts in the Scurlock Gallery with “Canvas Images: Real and Imaginary.” An opening reception is scheduled for 7-9 p.m., Sept. 11. For more information, call BAL at 409-833-4179.
WARRIORS from page 10 was found which was unfinished at the time of the emperor’s death in 210 B.C. and contained no figures. The Terra Cotta Army is believed to contain as many as 8,000 warriors, 130 chariots pulled by 520 horses as well as an additional 150 cavalry horses. The emperor, surviving several assassination attempts, became increasingly paranoid and insured his protection in life and the afterlife. There are only a fraction of the army on display in the exhibit but that is impressive enough. One can only imagine the feeling of awe being confronted by an army of 8,000 stone-faced, 400 pound, six-foot fiveinch towers of terra cotta men carrying real weapons and clad in ceramic and stone armor. The young emperor, commissioning the project when he was only thirteen years old, was not only interested in an army to protect him in the afterlife, but also had his craftsmen create an entire terra
Civilian Official is among the Qin dynasty terra cotta figures on display at the Houston Museum of Natural Science though Oct. 18.
TRISTAN AND ISOLDE by Frank Gerrietts
cotta kingdom, complete with civil workers to keep order in the underworld. The emperor was not just concerned with matters of order, business and protection, however. Faced with an eternity in the afterlife, the emperor also required entertainment to keep his terra cotta head together. A headless acrobat stands in a glass case. The figure is massive. Its arms and shoulders rival that of an Olympic weightlifting champion. There are also terra cotta musicians and life-size bronze exotic birds. One can imagine the emperor sitting on his throne while the acrobat performs and the birds dance to the music played by the figures. Construction of the tomb is believed to have taken about 36 years and began soon after the boy became king of the state of Qin and declared himself the first emperor of China. Archeologists estimate more than 1,000 workers were divided into 87 groups to construct the army. A detailed model of the construction of the terra cotta army at the exhibit shows how the figures were
made. Using an assembly line construction process, the craftsmen built all the figures from the ground up. Each 6.5 foot, 300 to 400 pound warrior began as a roll of clay which was beaten to remove any air. The rolls moved down the line and were fashioned into feet and legs. After the legs were made, the torso and arms were made leaving a hole in the neck for the air to escape during firing, and finer clay was added in which to add detail to each figure. The limbs and head of each figure are solid but the torso is hollow. The figures are believed to have been fired between 950 and 1,500 degrees centigrade, much higher than other Chinese pottery of the era. The head was added later and the whole figure was lacquered, toned, and decorated. Although archeologists estimate there were only about 8 different moulds for the warriors, each figure has a unique look, features, military rank, and body type. From differing hairstyles, headdress and bulging bellies to varying clothing and armor each warrior has something that distinguishes it from another. There is a group of warriors standing together in the exhibit which appear to have used the same head mould. The overall shape of the head is almost identical, but the features, the shape of the eyes or slant of the eyebrows, a moustache or clean face, a hat or a hair knot give each figure its own identity. In addition to the terra cotta army, China’s first emperor commissioned more than 200 palaces, the beginning stages of the Great Wall of China, the Lin Canal and unified the country’s currency, law code, weight and measures system and written language. He burned all books of ancient knowledge about medicine, agriculture and divination in the process so that every part of China was united under the Qin. It is believed that the name for China is derived from Qin, pronounced “chin,” which was the name of the country at that time. “Terra Cotta Warriors” offers a look into a unique part of Eastern history and culture which remains somewhat mystical and mysterious to most of the West. The exhibit features the vision of a ruler and the talent and dedication of his people that is unparalleled to this day. For more information visit tcwarriors.hmns.org.
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Volume 16, No. 1
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.
The BEAUMONT CAMERA CLUB hosted its 5TH ANNUAL PHOTGRAPHY SHOW at the Beaumont Art League July 10-31. Winners were announced at a reception July 11. First place was awarded to Jeffrey Brown for “Gli Occhi Blu.” Second place went to Taylor Brown for “A Clutch of Innocence.” Greg Rabel was awarded third place for “Rune in Frieden.” Honroable mentions were awarded to Richard Tallent, Lief Anson Wallace, Dwain Cox and Tri M. Le. For more information on the Beaumont Camera Club, call BAL at 409-833-4179. _______________ The TEXAS AR TISTS MUSEUM will host an exhibition of photography by SERGIO SANTOS of Houston and paintings by EDGAR BUSTILLOS of Baytown with a reception to be held Sept. 13 at 3:15 p.m. Prior to the reception, pianist Jay Vinecour will present a free performance at 2:30 p.m., part of TAM’s Second Sunday program. September’s featured foyer artist is Sam Keith of Warren. Ever y fourth Saturday, TAM hosts Market Days by the Sea. 9 a.m.-4 p.m., a sale of crafts, art and jewelr y. TAM is located at 3501 Cultural Center Drive in Port Arthur. For more information, call 409-983-4881. _______________ The AR T MUSEUM OF SOUTHEAST TEXAS hosts the latest in its series of summer exhibitions examining portions of the permanent collection with different themes or points of view. Two exhibitions, CITYSCAPES: WORKS OF THE PHOTOREALISTS and LATE 19TH EARLY 20TH CENTURY PAINTINGS AND PRINTS, will be on view through Sept. 27. “These exhibitions provide the community with a great opportunity to view a sampling of the wide diversity contained in the museum’s permanent collection,” said AMSET curator of exhibitions and collections Sarah Hamilton. “Cityscapes: Works of the Photorealists” includes 10 silkscreens of urban landscape imager y by first or second generation Photorealist artists, such as Charles S. Bell and Noel Mehaffey. The pieces are part of a portfolio that was donated to AMSET in 1980. The highlight of Cityscapes is a 4-by-6 foot silkscreen print titled, Holland Hotel (1984) by the most well-known Photorealist, Richard Estes. This work was acquired for AMSET’s permanent collection in 1984 and beautifully represents the Photorealism art movement, which evolved from Pop Art in the United States during the late 1960s and early 1970s. Photorealism is a style of painting, printmaking and sculpture that utilizes one art form, in this case photography, to create another. In creating
photorealistic works, the artist attempts to precisely mimic the physical qualities contained in a photograph, such as a glossy or matte finish, grainy textures, and light and dark contrasts. “Late 19th-Early 20th Centur y Paintings and Prints” is an exhibition of 22 prints and paintings of this time period by such major figures as Robert Henri, Julian Onderdonk and Winslow Homer. The show will be supplemented by the museum’s outstanding collection of 23 etchings and dr ypoints by the highly influential 19th centur y artist, James Abbott McNeill Whistler. The works included in this exhibition represent a variety of art historical styles ranging from French Realism in the mid-19th centur y to American Impressionism and Early Texas art in the early 20th centur y. AMSET is located at 500 Main in downtown Beaumont. For more information, call 409-832-3432 or visit www.amset.org. _______________ The FALL 2009 BALLROOM DANCE SERIES at the CHRISTUS ST. ELIZABETH’S HEALTH AND WELLNESS CENTER, will offer three sets of group dance classes. Group dance classes are multi-level. Ever yone is welcome. Each class will meet three times a month and last 1.5 hours, 6:40 p.m.-8 p.m. The classes are as follows: Ballroom Basics: Foxtrot, Waltz & Rumba Sept 10, 17, 24 (Thursdays) “Learn the basics of three Dance Classics that can take you anywhere and get you moving on the dance floor at a variety of parties, weddings, and other social functions. Learn to Foxtrot with its smooth movements that will make you shine like Fred Astaire and Ginger Rogers. Waltz your way to grace, style, and confidence. Add some sultr y, slow Latin moves to your dance repertoire by learning to Rumba.” Latin Combo: Salsa & Cha Cha Nov 5, 12, 19 (Thursdays) “Salsa dancing is now one of the hottest dance trends around and a favorite dance at local nightclubs here in Beaumont. Salsa dancing sizzles, sparkles and gets your hips moving! It has an easy basic pattern, but so much variety can be added by the partnering of twirls, spins and tricks! The Latin Dance Cha-Cha is a fun, cheeky, flirty dance where there is a distinct sound in the music to which people began dancing. This rhythmic sound of feet one hears became the name of the dance. Cha-Cha can be danced to a variety of music such as Latin, CW, and Pop.” Swing: East Coast & Single Count Nov 6, 13, 20 (Fridays) “If you can’t help tapping your feet to the amazing rhythms you hear in the Jitterbug or Big Band music, then this class is for you! Swing has earned its reputation as one of the most versatile and energizing forms of popular music & dance and continues to attract new converts with its
catchy tunes and syncopated beats. Swing Dancing is amazing fun, simple and socially dazzling. Sweep yourself and your partners away with this class as you learn the single and the triple count which is known as East Coast Swing.” Price is $40 per couple for members, $50 per couple for non-members. Payment is due upon registration. Space is available on a first-come, first-ser ved basis. To make a reser vation, call the Wellness Center at 409-899-7777. The center is located at 3030 North Street in Beaumont. _______________ The ART MUSEUM OF SOUTHEAST TEXAS presents LIVING SMALL, 18 paintings of interior scenes, and I STARE AT PEOPLE, 20 coffeehouse paintings, by Austin-based artist LAVANNA MARTIN on view in Café Arts through Nov. 1. Martin’s loose painting style and café/interior subject matter is reminiscent of French paintings of the late 19th century, which frequently render leisurely café scenes and interior settings, Melissa Tilley, AMSET spokesperson, said in a release. Martin terms the coffeehouse paintings “live” as she executes them on the spot at various coffeehouses in Austin. Her decision to paint figures “live” originated from an increasing sense of frustration in creating art in a controlled studio, which the artist believed inhibited her artistic spontaneity. “Working in this fashion is difficult, and I have a huge failure rate,” Martin has said. “It is not for the faint of heart – you have to be kind of crazy.” Born in the small west Texas town of Seminole with an oil field working father, Martin and her family moved 26 times before she was five years old. She attributes her source of inspiration for interior spaces to her early, formative years. “I remember developing a keen sense of drawing interiors at the age of ten,” she said. “I spent hours copying pictures from home and garden magazines. Being from an oil field family that moved around a lot, I was probably longing to stay put, and in some place nice.” Martin said she has always loved to paint and is, in fact, obsessed with painting. She is enamored with the smell of the oils and their descriptively distinct names, such as Alizarin Crimson, Indian Yellow and Persian Red. Martin earned a bachelor of fine arts degree from Trinity University in 1975 and studied at Cranbrook Art Academy in Bloomfield Hills, Mich. in 1980. She also previously served as the assistant art director for Dallas-Fort Worth Home and Garden Magazine. Martin currently maintains a Web site blog also titled “I Stare at People,” that documents her live coffeehouse paintings at www.lavanna.com. The exhibition is open for viewing during regular museum hours. Two Magnolia’s serves lunch in Café Arts from 11 a.m. to 2 p.m., Monday through Friday. For more information, contact AMSET at (409) 832-3432 or visit www.amset.org.
September 2009 ISSUE • 13
Volume 16, No. 1
Tho ughtcrime
Inter view Question It drifts definite. Cold. Never swerving — Black Infinite & Unmovable, fixed upon its Prey. Swirling, circling it fixes at one Point and crystallizes into sharp inquiries, pressing
deeper into moist, quivering thoughts. Lluvia Rueda
A.M. in Madrid The day glints sleepy from café con leche; it is morning in Madrid. Outside the piso a pair of early workers sing each other’s tunes. I am only moments with them as they pass below my flat. I light a cigarette. The plumbing yawns. A shower starts. A hammer is hammering away somewhere (already). A lock down the well rattles open. This time of day the calles and paseos sound much wider. Our lift slams shut. Someone’s child has wandered off (crying). My neighbor gargles. I need to make another cup, but muzziness has so confused mi manana madrilena – am I too early or too late? A hammer falls. A Citroen jazzes by. A stranger’s steps make the corner, changing pitch on the broken brick. Jesse Doiron
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:
ISSUE 720 Franklin, Beaumont, TX 77701 or e-mail: artstudio@artstudio.org 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.
Forgive and Forget
An Altar of Memor y
Forgiveness is not Weak or naive Forgiveness only requires courage and clarity Again I say It is not Naive People may say forgiveness is easy it is NOT To simply forgive and forget is not wise forgiving and forgetting are very different you must be Wise and full of Wisdom to do both When it comes to forgiving and forgetting For Forgiveness does not forget easily Forgiveness Sees all things Forgiveness Never really forgets anything Forgiveness feels and hears and Sees everything Forgiveness must BE the moving on leaving of past gestures and moving forward be sure nothing is ever completely forgotten only forgiven They do not walk hand in hand only down the same road hopefully always back to something good.
In daydreams I return to the pines by the bay. My father saw these pines as he stood above the waters to go on about the way the sun selects the island for its trees. Soon it will be eighteen years.
Terri McKusker Lovers Walk I can still taste you. If I drift off at the right moment, if the air is humid and the clouds line the sky, I can taste your lips and hints of beer and cigarettes. I can feel your slender stomach under my fingers, and the way your shirt hung loose over your frame. In my mind we kiss in your driveway just like we did. But I don’t leave alone. I take you by the hand and we pile into my car. The wheels hit the highway and we’re gone, blazing through the evening sky, burning twilight. We never look back, we know what’s there. Half-forgotten dreams of our grandfathers and the static of these little towns. We are free on the open road. Free to run as fast and as far as we can. Our hands are clasped tight and we never let go. Letting go would be too painful now. Jeff Dixon
There are no water lilies here, none as in Monet’s light of the moment with traces of sun. Monet serves up on a tray for feast of myth’s awkward face. Here, I take time for a picture I have of dad. I make a model of him. I see him there under the trees whose twists and curves are like jewels on the soft neck of a lady. It is a great scene. On the way home, I stand weeping in his own place to tell those on first floor that I begin to stop tears to listen for voices on second floor. They speak like music as we move through the light to recall my father. It is he alone who bids us meet as only one painter can capture. If his stance does not lift you, the autumn light will. George Wentz
14 • ISSUE September 2009
FU from page 5 though her place was to speak for others’ works at the expense of her own art. “When you have to curate other peoples’ shows you can’t just speak for your work,” she said. “But all my background and my belief says, if you teach art history, you need to have experience of being an artist, or else, how do you know and understand? “A lot of my teaching is more creative. I have met a lot of art historians who are boring. Sometimes, I find the best art history books are from other fields.” Fu said that another part of her job is to help young artists find a balance between occupation and creativity. “Sometimes they just think about one thing,” she said. “Either they just want to make money with art, or it’s how to not make money and just do art. They need to realize there are so many possibilities. You can formulate your creative life and you have to combine yourself in your own way.” Fu sits still for a moment as she lets the thought sink in. Then she moves again, her hands nimbly shifting back and forth as she compares two pieces by Leonardo da Vinci. There is a huge difference between “Genevera,” painted when Leonardo was 20 and “Mona Lisa,” which was painted in his 50s, she said. “It shows different maturity, a different attitude toward life,” she said. “Often artists, later in life, get more introspective. When you see clearer, it is even harder and more complex.” After 17 years in America, Fu said she feels as though she has become a hybrid of Eastern and Western cultures, even though Taiwan has a strong western influence. “If I think about my philosophy of life, art, there are many different hybrid combinations,” she said. “We have to study Confucianism since our childhood, and Taoism is part of the background. I feel as though I understand my cultural background better after I’ve been here. When you
Volume 16, No. 1
Lamar University Faculty Show Aug. 24-Sept. 15 Dishman Art Museum Reception: Sept. 11, 7-9 p.m.
are there, you don’t think about your own culture. We have a great longing for Western cultural achievement. “But one of my students noted that Confucianism is about social order — you have to obey your father or whatever. Taoism is about personal, inner freedom. This gave me the idea about my cultural background and my philosophical combination. She said, ‘If you can deal with Taoism internally, it’s not so difficult to deal with Confucianism outside.’ I think she made a lot of sense for me because I didn’t think about that. “Studying Confucius does influence my behavior. I always want to do things right. So how do I find my freedom and creativity as artist? And the Taoism internal part makes me feel it’s OK. That kind of philosophical existence is interesting for me. That is the main thing that liberated me.” Fu’s upbringing makes her challenge herself. “We had to wear school uniforms and cut our hair straight until I was 18,” she said. “That makes me fear, ‘Can I be an artist?’ Because I was so suppressed all my life. America really liberated me in my ideas and thoughts. But at this point I can find there are as many pitfalls here and you can start to understand your own cultural background a little better. “It’s like Dada in a way. You displace or dislocate something to give it a new meaning or to question the established meaning.” Fu’s travels have taken her from Taiwan to Texas. Along the way, she has picked up a thing or two. After all, it’s all about the journey. In the words of the Taoist philosopher Lao Tzu, “A good traveler has no fixed plans, and is not intent on arriving.”
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. 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.
Fu Lien stands outside the Dishman Art Museum on the Lamar University campus.
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. 1
September 2009 ISSUE • 15
BONSAI from page 9 from the roots and out through the leaves — more and faster than others,” LeBlanc said. “Then some trees will shut down or go dormant due to heat stress, and I had to learn not to water them whenever they do shut down because they don’t transpire when this happens.” Even though this was a particular problem when he was a beginner, as a professional, LeBlanc said killing a bonsai every-nowand-then is just natural. LeBlanc interjects the following quote by John Naka, one of the most famous teachers of bonsai, to stress this point: “Dead trees is tuition for doing bonsai.” Next, LeBlanc had to learn about working with different soils and how to keep the pH neutral or slightly acidic. “Some soils I made up, for some reason went acidic after time and killed some trees before I learned to neutralize the soil with different products,” he said. “Baking soda will neutralize acidic soil in minutes.” LeBlanc said beginners should invest in a book on the basics of botany if they are interested in the art. “A botanical book that teaches you how to grow plants is best,” he said. “Taking care of a bonsai and taking care of a regular plant — it is pretty much the same thing.”
While developing an excellent and extensive collection of bonsai over the years, life began to disrupt his art. “I got out of it, then back into it again, and then out again,” he said. By 2001, however, LeBlanc decided to go back to it and eventually started a bonsai business. “In 2005, from the ground up, I started Black Bayou Bonsai nursery and began selling trees at fairs, festivals, garden shows, and bonsai conventions,” he said. “Every year, the nursery and business gets a little bigger.” LeBlanc currently has 50 trees in bonsai pots and around 350 trees he is training for bonsai in his nursery in Lake Charles. His other job is working as a gardener at Shangri La where he does “a little of everything that involves gardening” — planting, pruning, digging of trees, etc. “I get to collect some small trees from there that I can grow and use as bonsai,” he said. “I also have three bonsais on exhibit at the gardens.” In addition, LeBlanc is the director of the Lake Charles Bonsai Society and member of the Houston Bonsai Society. He charges around $70 for about four hours of bonsai training. Those interested in bonsai may contact LeBlanc at blackbayoubonsai@yahoo.com or by calling 337-302-9120.
VIEW from page 3 ing heat, the wait may be over. With the aid of Cynthia Grimes and others, we have received an air conditioner from Bill Gyser of Coburn Plumbing Supply. We began this epic journey just before Rita and have had a bumpy ride. Through nobody’s fault but nature, the storms have thwarted each attempt, and recovery redirected our focus. But now we are seeing 20/20 and all systems are go. There is a price of installation, albeit small compared to what it would be if we bought the whole unit, We could use some help in this regard. We already have $500 toward the project and hope to cover the balance when the work is done. The Texas Commission On The Arts offered an emergency grant to non-profit arts organizations in 39 Ike-affected counties along the Texas coast. The application was simple: write an email to the TCA about what you need. Easy. There was only $22,000 available, so our chances were slim to none, but the app was easy enough so I blithely told them what happened and what we needed. TCA has never been very generous to The Studio so I had little hope. Well, I was Wrong!! We received $2,000 for repairs and expenses incurred by Ike! Now the work begins. We have to update our DUNS number, federal approval as contractors to government, and do the regular granting process — except this time we already know we have the funds. Too cool. If I had more help we could do more of these. Looking forward to seeing everybody this year as shows or concerts abound. Later, G.
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INSIDE • TERRA COTTA WARRIORS • THOUGHTCRIME: MUSINGS FROM AREA POETS • DISHMAN ART MUSEUM’S FU LIEN • THE ART OF BONSAI
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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 Jannell Rigaldo 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
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