THE ARTS MAGAZINE OF THE ART STUDIO, INC.
TENANTS ON DISPLAY PAGE 8
SEPTEMBER 2012
INSIDE: STUDIO 33 PRESENTS ‘DOUBT,’ EXPLORING ART AT THE STARK MUSEUM, ‘SILENCE’ AT THE MENIL, AND MORE
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SEE MEMBERSHIP FORM ON PAGE 3.
A View From The Top Greg Busceme, TASI Director
A TOASTY AND WET hello from the steam bath that is The Art Studio, although the ambient temperature in the gallery, a balmy 92 degrees, did not dampen the energetic enthusiasm of the students we met this summer. As part of the state public library reading program, “I’ve got a clue!” in Beaumont and Port Arthur, I was invited to demonstrate clay and discuss the various books that helped me understand the complexities of the ceramic sciences, as well as favorite books of my youth and now. I topped it off with a pottery demonstration to prove my point. With parents there I also made an appeal to encourage their schools to keep the arts as part of the curriculum to provide the children with complex problem-solving skills, reverse thinking and other motor and cognitive development only gained by fine arts and industrial arts. We also were asked to participate in a program at the Stark Museum in Orange, giving clay demonstrations as a part of their educational summer program. Cyndi Grimes, Elizabeth Fontenot and I spent five hours demonstrating different techniques in clay and explaining to visitors details about the ceramic process. We spoke to some wonderful kids who were, as always, a total entertainment package. Amelia Wiggins, who works at the museum and is an accomplished artist who has shown at The Studio,
ISSUE Vol. 19, No. 1 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers. . . . . . . . . . . . Elena Ivanova, . . . . . . . . Amelia Wiggins, Jacqueline Hays, . . . . . . . . . . . . . . . . . . . . . . . . Dana Dorman Contributing Photographers . . . . . . . John Rollins The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Chair . . . . . . . . . . . . . . . . . . . . . . . . John Roberts Treasurer/Secretary . . . . . . . . . . . . . Beth Gallaspy Members at large: . . . . . . . . . . . . Sheila Busceme, . . . . . . . . . . . . . . . . . . . . . . Elizabeth French, . . . . . . . . . . Andy Ledesma, Stephan Malick, . . . . . . . . . . . . . . . . . . . . . . . . Heather Butler
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 Stark Museum Explores Art . . . . . . . . . . . . Page 4 Night at the Museum . . . . . . . . . . . . . . . . . . Page 5 Remembering Frank Gerrietts . . . . . . . . . . . Page 6 ‘Doubt’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 7 TASI Tenants Show . . . . . . . . . . . . . . . . . . . Page 8 ‘Silence” at the Menil. . . . . . . . . . . . . . . . . Page 10 BAL Roundup. . . . . . . . . . . . . . . . . . . . . . . Page 11 Around & About. . . . . . . . . . . . . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13 Figure Drawing Sessions. . . . . . . . . . . . . . Page 14
See VIEW on page 15
UPCOMING EXHIBITIONS AT THE ART STUDIO SEPTEMBER
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“Caravanserai: Recent paintings by Andy Coughlan” Opening . . . . . . . . . . . . . . . . . . . . . . . . October 6
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Cover photo by John Rollins
talked us into this event and I hope next year we get talked into doing it again. The Museum of the Gulf Coast came to The Studio with about 20 young people to raku-fire pottery that they had made at the museum. We had a great time and again the children got not only a cool piece of pottery, but also a direct understanding about ceramics and how science is integral to our lives. We got a good tan too! The sticky atmosphere notwithstanding, we had a fantastic summer with a great Summer ArtsKool program. We had 20-plus students studying five disciplines: pottery, sculpture, printmaking, drawing and papiermaché. In the clay section, using a variety of handbuilding techniques, we explored the nature of a vessel and what it took to make one along with firing in the raku method. In sculpture we mixed plaster with vermicullite and made “stone” blocks that we carved using the subtractive method. Elizabeth Fontenot, resident artist and graduate student at Lamar’s art department, instructed the printmaking class with linocut block prints. Using a modified slab roller, our young artists were able to produce some very impressive images. Sheila Busceme focused on drawing and developing the printed image into a loosely-held storyboard and
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4 • ISSUE September 2012
Volume 19, No. 1
NOT YOUR TYPICAL EXHIBITION STARK MUSEUM
OFFERS OPPOR TUNITY TO
‘EXPLORE AR T’
For the mystic what is how. For the craftsman how is what. For the artist what and how are one. — William McElcheran, designer and sculptor.
ART IS MYSTERIOUS. Like a magic act, a process that brought to life a work of art often appears inscrutable to a non-artist. We marvel at the extraordinary skill of a painter, sculptor, ceramist, glass-blower or print-maker (the list is open-ended since artists are constantly pushing the boundaries of traditional media). It is not often that museums purposefully dispel the aura of mystery that surrounds a masterpiece. Even the customary way of displaying objects in museums — with ample wall space, on pedestals or in glass cases — emphasizes their special nature. Although this manner of presentation has practical reasons, such as better care and viewing of objects, it also stirs in us a feeling akin to worshipping. After all, the museum derives its name from Mouseion — a temple of muses. Therefore, all the more important are those instances when museums break away from the tradition and present to the visitor not only the final result of the artist’s work, but the steps that led to it. “Explore Art: Materials and Methods Revealed,” currently on view at the Stark Museum of Art, provides insights into the intricacies of the creative process in various media. The featured works have been carefully selected Story by Elena Ivanova
Explore Art: Methods and Materials Revealed: The Art of Glass.
Explore Art: Methods and Materials Revealed: Weft and Warp. from the collections of both the Stark Museum of Art and The W.H. Stark House. Many objects have been away from the public eye for a long time while some have never been displayed before. Decorative and applied arts constitute a significant portion of the exhibition: objects executed in glass, ceramics, textiles and metal. Two exquisite molded crystal panels from Lalique glass, founded
Courtesy photograph by Will France
Courtesy photograph by Will France by René Lalique, mesmerize the viewer with their classical beauty. They feature silhouettes of running men, each figure showing a particular position of the body in the sequence of movements necessary to complete a step. Together these figures simultaneously evoke an antique frieze and Eadweard Muybridge’s slow motion film strip. Next to the panels, examples of pressed, blown and molded glass shine like beacons in the somber interior, thanks to the specially designed pedestals with built-in lights. Having feasted our eyes on these extraordinary creations, we are ready to learn about the making process which is detailed in the video projected on the opposite wall. Every section of the exhibition is provided with wall labels and technological devices, such as a tablet computer and video projections, which explain the making process, as well as with hands-on stations where visitors may try out some of the art techniques. Predictably, it is the younger crowd that takes advantage of the hands-on opportunities the most. Children immediately get busy working with modeling clay, drawing at the easel or weaving on the Navajo-style loom. Adults usually prefer to explore art by watching videos, but those who try their hands at the art stations gain learning by experience and enjoy the process. And both young and old love to scroll through the pages of artists’ notebooks on a tablet computer. One of the most fascinating features of the exhibition is the presentation of preliminary or unfinished works side by side with the final painting, print or sculpture. A good example is the section that features work by woodcarver Andy Anderson. His hilarious and grotesque characters — cowboys, Indians, tourists, convicts, members of the jury and
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others — have always been favorites with Stark Museum visitors. Now, for the first time, Anderson’s creative process is illustrated step by step, from a rough block of wood to a fully-developed figure. Another highlight is the corner cabinet made by Anderson which serves as a perfect display case for his sculptures. Probably one of the most amazing discoveries of “Explore Art” is the series of silkscreen prints of American birds by Charley Harper. The artist became famous when these colorful images were first published in 1954 in “Ford Times,” a pocketsize monthly magazine of Ford Motor Company. Later they became available as hand-screened prints. At the first glance, Harper’s stylized and simplified birds may look out of place in the Stark Museum collection, which is well known for highly realistic and finely detailed images of birds by Dorothy Doughty, Edward Marshall Boehm and, of course, John James Audubon. However, a thoughtful comparison reveals an organic connection between their works and Harper’s prints. Like his famous predecessors and contemporaries, Harper succeeded in creating instantly recognizable images based on a careful observation of birds in nature. The difference between him and the artists working in a more traditional style is best summarized in his own words: “When I look at a wildlife or nature subject, I don’t see the feathers in the wings. I just count the wings.” Bright, imaginative and humorous, Harper’s prints celebrate diversity of art forms and the never-ending search for new materials, methods and means of artistic expression. The exhibition “Explore Art: Materials and Methods Revealed” is on view at the Stark Museum of Art, Orange, through Sept. 22. The Stark Museum of Art is a program of the Nelda C. and H.J. Lutcher Stark Foundation, a private operating foundation, whose other programs include the Frances Ann Lutcher Theater for the Performing Arts, Shangri La Botanical Gardens and Nature Center, and The W.H. Stark House. For more information about the museum and the exhibition, visit www.starkmuseum.org.
Andy Anderson’s carved cabinet is on display as part of the Stark Museum of Art’s “Explore Art” exhibition on display through Sept. 22.
September 2012 ISSUE • 5
Mad Maude and the Hatters, top, will perform at “Night at the Museum,” Sept. 21 at the Stark Museum of Art.
Courtesy Randy Edwards
YOUR INVITATION TO ‘NIGHT AT THE MUSEUM’ FOR YEARS, LOYAL PATRONS have visited the Stark Museum of Art in Orange for its celebrated collection of American Western art, for its special exhibitions, and for events such as lectures by art historians. These days, the museum is also a place for children, with many camps, art classes, and Family Days. But the Stark Museum is now turning its attention to a more elusive audience — that of young adults. It is with this audience in mind — college students, young professionals, twenty- and thirtysomethings, and everyone young at heart — that the Stark Museum introduces “Night at the Museum,” an after-hours evening with art. On Sept. 21, the Stark Museum will open its doors from 8-11 p.m. and invite the public to experience the art in a new way. “Night at the Museum” will celebrate art in all forms, including live music. Nationally-recognized Beaumont “super group” Mad Maude & the Hatters will perform, filling the museum with an eclectic mix of doo-wop, Motown, and their signature three-part harmonies. Mad Maude alone is reason enough to drive over to Orange for the evening. But the event is much more than a concert. Inside the galleries, visitors will have a last chance to see the special exhibition “Explore Art: Materials and Methods Revealed” before it closes on Sept. 22. This exhibition emphasizes how art is made, and puts artists’ tools and techniques on display alongside their finished works. “Night at the Museum” will also offer guests the opportunity to create. Visiting artists will bring their tools and expertise to the event. Outside the museum, these artists will lead participants in creating unique works of art. In the galleries, visitors will have the opportunity to weave on a Navajo-style loom and to add their own drawings to a display within the special exhibition. “Night at the Museum” will be an evening of Story by Amelia Wiggins
great music, new experiences with art, and opportunities to create. The event is open to the public, with a $5 cover charge (cash only, please). Snacks and Mocktails will be available. Come out to hear the live music, meet local artists, enjoy snacks and mocktails, and create art with us. The Stark Museum of Art is located at 712 Green Avenue in Orange. For information, visit www.starkmuseum.org or call 409-886-2787. Amelia Wiggins is Educator for Studio and Family Programs at the Stark Museum of Art
Van Briggle Pottery (founded 1899), Toast Cup, c. 1902, earthenware with matte glaze, 11.75 x 8 x 7.5 inches On Loan from The W.H. Stark House, 41.98.1
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FRANK GERRIETTS 1937-2012
‘LOVE YA BABY’ Former BAL director remembers artist, curmudgeon, friend I HAVE DEFINITELY BEEN accused of being sentimental, mushy and someone who holds on to things that I probably should let go of. I should read birthday cards and toss them, delete emails no longer needed and erase old messages from my voicemail. I actually do the opposite of getting rid of things, so when I came across the voicemail, the one I continue to save, the last one I ever received from Frank Gerrietts, I contemplated if there was a way that I could save it forever. It really wasn’t very lengthy or even that sentimental; it was Frank checking on me after I had thyroid surgery this spring. His message ends with, “Love Ya Baby.” I listened to his message again today, and could not stop myself from crying — hard. I met Frank for the first time while applying for the director’s position at the Beaumont Art League. It was an intense interview. Pretty early on, in fact at that interview, I knew Frank was bold, in-your-face honest, abrupt and someone who could rub some people the wrong way. I started loving him that day. Trying to summarize and write about Frank is like trying to explain fire. Unless you have experienced it, it is hard describe. Frank is like passion afire, painting, cussing, laughing, arguing, dancing, smoking, screwing, singing, drinking, loving. A proud curmudgeon who was always ready to either show you his world or burn you up. I will always carry Frank with me in these ways; as an artist, as a teacher, and as Frank, my friend. As an artist I was truly flabbergasted when I first saw Frank’s work. I was stunned to see his watercolors, stunned at what this codgity old man created. His works are like little flakes of his soul — loud, uncompromising, bold, colorful and also the extreme opposite; quiet, contemplative, shy — a paradox. The works are alive; beautiful moments captured in time with themes of transcendence, love and regret and especially memories that he held dear.
Story by Dana Dorman
And music. His works have visual elements of iconic religious symbology —usually cleverly woven into the composition — birds, vices…. I laughed to myself because he did what I try to do in my own work: he used all the touted “principles of good design” learned in college — balance, rhythm, emphasis, unity, texture etc. — and then infused it with mystery, depth and meaning. Even if you didn’t know Frank, you could easily recognize how truly amazing the works are. If you did know Frank, well, you would have to own one. I display “Kitchen Window Morning Fire” in my home. I only have the print — the original is way too valuable — and I never get tired of looking at it. I loved it before he let me in on the deeper meaning about his memories of his mother in the kitchen on warm mornings. This is Frank having coffee with me right now. I have another work, a small acrylic he did for me about the brass and power in the music of Wagner. He named it “Tannhauser with Attitude.” Very fitting, like Frank. It was truly wonderful to experience Frank’s array of styles, mediums, to see his painterly struggles, and his majestic pieces at the memorial show at the League in July. Some of them I had never seen, some of them we talked about at his home as he worked on them. The people who love him are ferociously loyal. Most were there that special night. His daughter, Lisa Sudela, really has no idea how much that evening, surrounded by his work and the people who loved him, meant to me and to so many other people. Thanks Lisa, you are one of his many jewels. Frank always said he would like to be remembered for his teaching. Artist Cynthia Fontenot said that Frank taught and reminded her about how to truly see the beauty and detail of our everyday world. Truly seeing is not so easy to do in this world sometimes. Yes, he definitely taught me about art, creating and perseverance. I could write a book called “Art 101 to 2012 by Frank.” It would be an exhaustive study on color, theory and everything else, with cussing. I learned many practical things, or at least practical to me, like growing
Frank Gerrietts hugs his cat Paintbrush, above. Gerrietts, who died June 2, was a long-time fixture in the Southeast Texas arts scene. His painting “Kitchen Window Morning Fire” is shown top. hydrangeas, Photoshop tricks, hanging gallery shows, making quiche, and how to get a cigar smell out of the gallery before a show. I have a lot of precious memories of Frank. But mostly, I learned about loyalty, acceptance of life, and time tested examples how to live. Real love…..
That is what I got from Frank. Love Ya Baby. Artist Dana Dorman was director of the Beaumont Art League from 2006 to 2009. She works at the Stark Foundation in Orange.
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Studio 33 troupe to present ‘Doubt’ STUDIO 33, A NEW professional theater group, is seeking to make its mark in Southeast Texas by offering new plays and modern dramas. They are starting small but aiming high. “We are starting off, but we are going by the guidelines of professional theater as far as how we run auditions, how we run rehearsals and performances,” Donny Avery, president of the board of directors, said. “Everyone is getting paid — performers, directors. Eventually, a couple of years down the line, we would like to get a couple of equity contracts, but right now we are just staring.” The group will open its new season with “Doubt: A Parable,” by John Patrick Shanley, at The Art Studio, Sept. 28-30 and October 12-14. Friday and Saturday shows are at 7:30 p.m., with Sunday matinees at 2:30 p.m. Reservations may be made by calling 409-233-3308. The show, directed by Adonia Placette, features a strong cast of talent from Southeast Texas and Houston, including Adam Conrad as Father Brenden Flynn, Roxane Gray as Sister Alyosius Beauvier, DeeDee
Story by Andy Coughlan
Howell as Sister James and Crystal Curry as Mrs. Muller. Shanley’s 2004 Pulitzer and Tony Award winning play revolves around the relationship between a young boy and a priest, and a conservative nun’s suspicions about that relationship. “‘Doubt’ is a wonderful, modernday drama,” Avery said. “It’s a question that the audience ponders, that is almost rumor-esque.” Many people will be familiar with the Oscar-nominated movie of the play, but Avery said that there is a great difference in how the audience interacts with live theater as opposed to a movie. “Live theater is so much more enjoyable,” he said. “You are watching a dialogue on stage. It is so much harder for actors to convey the story) as opposed to a movie which has music and special effects. “A play is more ‘real.’ You are in a room and you are transported — especially with dramas.” Avery said that “Doubt” is a great representation of modern genius. “You have characters that are written ‘real,’” he said. “It makes it what real life is.” Studio 33 aims to showcase local talent doing things that community theaters might not deem appropriate for them, Avery said.
Nathan Foster, top, as the MC, is surrounded by the Kit Kat Girls during the “Night at the Cabaret” fundraiser for Studio 33 at The Gig, Aug. 19. Ashley Burton Riley, above, sings “Cabaret.” “We are showing mostly modern works and then classics in a different way,” he said. “We want to be more diverse with our choices. We want to open up and let people see what’s going on in New York, or offBroadway or in London — we want some newer things down here.” Over the past year, the fledgling company presented “Always Patsy Kline,” which featured the group’s artistic director Ashley Burton Riley,
and performed at Dickens on the Strand in Galveston, where the actors played beggars. “It was a fundraiser,” Avery said, adding that the group raised $800. Eventually, they plan to have their own building where they can run classes and workshops, as well as promoting new work. For more information about Studio 33, call Avery at 409-548-1125 or visit them on Facebook.
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TASI tenants tip off 2012-2013 ABIGAIL MCLAURIN MAY BE small in stature, but the work she produces certainly isn’t. If one ventures upstairs at the Art Studio, Inc. on any given day, they will most likely find McLaurin sketching as far as she can reach on canvases wider than her arm span in her signature skirt and tank, with glasses teetering on the bridge of her nose or pushed up on her forehead, as sweat beads on her face — usually with charcoal, pastels, or dirt smeared on her arms, and quite possibly her face, as she labors over her art. Some of McLaurin’s pieces are so large, she makes them in sections so they can be shipped easier. “I like the big pieces,” the 25 year-old Charlotte, N.C. native said, with a scrunched nose, while contorting her hands into claws. “It’s like they want to eat you.” Her current works depict family settings and people from the late forties and early fifties. “I am very interested in the era,” she said. “Particularly the position of women and children within the family.” She evaluates the proximity of women in relation to the family unit. She is exploring the role of women of the era as the nurturers and caregivers of children parallel to that of nurtures to men, e.g. their husbands. Her space at TASI is littered with old family photos, massive renditions of the photos, newspaper clippings, and small blank canvases. She said she is trying to create smaller, more affordable works, but it is difficult for her — that is why the smaller canvases are blank. The Beaumont newcomer, who is a fulltime artist, didn’t waste anytime after moving to the area to find a space to facilitate her rather large drawings. “I looked up The Studio the first day,” she said. McLaurin said she was pleasantly surprised to find a place that catered to the art community in Southeast Texas and was thankful she was able to find a proper studio in which to create. She also takes advantage of the company of other artists. She said it is not so much a collaborative element she enjoys, just that there are other artists around to take breaks with and vent about problems with their work, or to talk to about exciting, new elements. Although McLaurin has had other exhibitions and does commissioned work, she is currently readying her contributions to
Story by Jaqueline Hays
Artist Abigail McLaurin works in her space at The Art Studio in preparation for the annual Tenants Show, opening Sept. 1.
Photo by John Rollins
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season with eclectic art exhibit the annual Tenant’s Show, opening Sept. 1, from 7 p.m. to 10 p.m. Currently, there are twenty tenants and fourteen plan to have pieces in the exhibition. McLaurin feels that the community, not just the art community, but the larger community, would benefit from coming to the show. “They can see what is going on,” she said. McLaurin believes that art is a reflection of society. “An artist’s job is to ask questions,” she said. “These questions lead to conversations from the viewer.” The power of art will be represented by a wide array of artists at the exhibition that kicks off the 2012-2013 season. Kaillee Viator, Lamar University art student and TASI tenant, said she has learned a lot from residing at The Studio. “We all kind of do different things — we have sculptors and painters — and Abby does huge freaking paintings and those are pretty amazing,” Viator said. “Some do huge monumental paintings, and others do teenie-tiny little things, and as far as ceramics,
some people do totally non-representational things and then others do flowers.” Another contributing factor to Viator’s TASI education is the mixture of the different tenants of different ages. “I am turning 22 next month — I am the baby here.” All different types of art produced at The Studio happen to be generational because of the wide array of ages of the tenants. Viator said at the end of spring semester she was faced with the dilemma: get a real job or just do something. She decided to come to TASI — even though she doesn’t get paid. “It has been a really awesome experience and I have made a lot of really good connections, but I haven’t really sold anything,” she said. “I have been able to take part in hanging shows and curating — cool stuff like that.” She feels she has grown up a lot being at The Studio. “I am pretty childish for the most part,” she said in a comedic voice, “but I am turning into an adult — or something.” She said this maturity has progressed from
Tenants Suzanne Garrett, left, and Sandra Laurette work in their space at The Art Studio.
hanging around the artists at The Studio. “I hang around people that are decades older than me, and we still have conversations. I think that is cool,” she said, adding that she thinks more seriously about her art now. “Obviously, I think more seriously about it, I go to school for it, but it doesn’t always work out that way,” she said. While some of the pieces at the exhibition may not be for sale, most of the work, including Viator’s, will be. Viator said she appreciates that there is a place for artists to create and to show their work in a small city like Beaumont. “It is not an art community kind of place, but it is starting to be, “ she said. “It is definitely getting that way.” Tenants will be in their work spaces for the first hour of the Tenant’s Show reception so patrons can get to know them and see where and how they work. The exhibition is free and open to anyone, and refreshments will be provided. The Art Studio, Inc. is located at 720 Franklin in downtown Beaumont. For information, call 409-838-5393.
Photo by Andy Coughlan
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Sounds, and sights, of ‘Silence’ ECLECTIC MENIL COLLECTION EXHIBITION EXPLORES CONCEPT HOW DOES ONE REVIEW a concept? It is easy to refer to the artworks in an exhibition, to point out the individual characteristics that make the piece what it is. But in the case of “Silence,” at the Menil Collection through Oct. 21, the parts only matter in relation to the whole — the concept. To start with, the exhibition itself is not silent. Several of the pieces are quite noisy indeed. Kurt Mueller’s “Cenotaph” consists of a RockOla jukebox with a collection of 100 moments of silence observed in various settings. Each comes with its introduction, be it congressman, siren or, in one case, the roar of NASCAR engines. The gaudy colors of the jukebox seem to contradict the solemnity of the content to challenge our perception of the nature of the memorial. In recent years, English soccer, in response to unruly elements in the crowds, has taken to holding a minute of applause to honor former players who have died instead of the traditional moment of silence. It is easy to bemoan the lack of respect among the hooligan minority, but there is a bigger issue here. For most people, silence is an uncomfortable thing. After a relatively short time — and a minute, in such circumstances, is an exceptionally long time — even the most respectful begin to shift and fidget. We live in times where we are bombarded by stimuli and are uncomfortable when we abandon, or are abandoned by it. It is the nature of things that, as time passes, the meaning of things change. Marcel Duchamp’s “With Hidden Noise” is an assisted readymade featuring a ball of twine held between two plates. Inside the twine is an unknown object that rattles when the piece is shaken. As we do not know what creates the rattle, we are reminded of the mystery of the creative process. Of course, being a valuable work by a great artist, we are not allowed to shake it. The prohibition adds an extra layer of mystery. What does it sound like? If we cannot hear it, how can we relate to the original intention?
Review by Andy Coughlan
John Cage, Printed Score for 4’33”, 1960. Tacet, tacet, tacet version. 11 7/8” x 9 1/8 inches.
Jacob Kirkegaard, AION, 2006, Courtesy of the artist. Photo: Jacob Kirkegaard Several of the conceptual pieces, which are the real highlight of the exhibition, have the same “problem.” We are forced to relate not to the piece itself, but to documentation of the piece. Tehching Hsieh’s “One Year Performance 1978-1979” is shown only in a couple of photos and a pair of letters that testify to the fact that Hsieh locked himself in a cage for a year and did not speak, read, watch television or listen to the radio. While Hsieh stripped his life to the basics, the viewer can only wonder what that would be like. The photos show Hsieh in an open cage. One is discomfited not just by the idea of the silence, but also by the lack of any privacy. The concept is fascinating and unsettling at the same time. Several of the two-dimensional works are culled from the Menil Collection. Renee Magritte’s “La Chambre d’écoute (The Listening Room),” with its large, green apple, and Giorgio de Chirico’s “Melancholia” will be familiar to patrons of the museum’s fine Surrealist gallery. Among the show’s highlights are two versions of John Cage’s score for 4’33”. The composition comprises three movements of silence. There are no instruments, but the listener is forced to hear the “musical” accompaniment of the ambient sounds. Here is another artwork that is altered from its original intent by its placement in the gallery. We can see the notations for the work, but we are unable to hear what we see. On the wall next to the score is one of Robert Rauschenberg’s “White Paintings,” which are said to have inspired Cage’s composition. It is worth noting the irony of seeing a show about silence during an opening reception that was anything
but silent. However, that, in itself, raised interesting questions about how we think we should view art. Is the experience more or less enhanced by sharing it with a crowd? We are, after all, expected to treat museum art with the reverence of a church — an expectation which, in most cases, is an artificial constraint which really contributes little to one’s enjoyment of the work. Settling down to watch “AION,” a film by Jacob Kirkegaard, one of the four scenes that make up the film ended and I waited for the next to begin. After a relatively short time, I decided nothing was going to happen and I wondered whether I should just leave. My friend urged patience, and that is when the point of “Silence” became apparent. Kirkegaard’s film shows scenes from abandoned buildings in Chernobyl, Ukraine, which were empty following the nuclear reactor disaster. The images, infused with manipulated ambient sounds, reveal themselves slowly, forcing the viewer to try to work out what they are. Eventually, one gives in and allows the slow reveal to appear in the artist’s time. The ambient sounds of the film merge with the sounds of the gallery outside, and we disappear into an interior world. Silence, or the lack thereof, is a theoretical impossibility. The works on display in “Silence” challenge our desire for, and comprehension of its meaning. It is possible to appreciate the component parts; but as for the concept, I can only say _____________. A series of events are being held during the run of the exhibition. For information, visit www.menil.org. The Menil Collection is located at 1515 Sul Ross in Houston.
Volume 19, No. 1
September 2012 ISSUE • 11
BEAUMONT ART LEAGUE THE BEAUMONT ART LEAGUE held its annual 3D and Figure Shows in August. Awards were announced at the opening reception Aug. 4. In the 3D Show, Evie Atkins was awarded first place for “River Dreams,” a stoneware piece. Richard Spinney’s wooden “Catfish #1” earned second place and Mickey Sanchez’s painted wood “Untitled”
ROUNDUP
placed third. In the Figure Show, first place was awarded to Alice Powell for her watercolor, “Study 2.” Scot Meents’ “Red Lines,” pastel on paper, won second place. Annie Orchard’s mixed media “Self Portrait” placed third. Honorable mentions went to Andy Coughlan, Eileen Wheeler, Sylvia Weir, Richard Tallent and Sarah Von Kain. _________________ Local photographer Lief Anson Wallace will be featured in a one-man show at the Beaumont Art League’s Brown Gallery Sept. 5-26. The show opens with a free reception Sept. 8, 7-9 p.m. Wallace was awarded a solo exhibition after receiving Best in Show for his photograph “Summer” in the 2011 Membership Show. The exhibition “Black, White, & Color” will comprise 40 of Wallace’s recent photographic creations that reflect his artistic philosophy; “Black and white is the soul of photography and color is the heart.” _________________ BAL will hold a Rummage Sale & Funky N’ Fab Furnishings Sale, Sept. 14 and 15, 8-5 p.m. “Gather unique finds and support your local art league,” Sarah Hamilton, BAL gallery director, said. “For two days, the League’s Scurlock Gallery will be chock-a-block with both arty and practical objects such as home décor, art, art supplies, furniture, antiques, toys, books, and tools.” In addition, the Funky N’ Fab Furnishings Sale
held in conjunction will feature a wide array of fine furniture and objects from the period of the 1940s to 1970s. “This sale will be very popular with traditional and retro style chairs, tables, desks, dressers, vanities, as well as smaller items such as frames, lamps, clocks, paintings, decorative items, and more,” Hamilton said. “ The Art League was very fortunate recently to receive these quality goods as a donation from a local estate. All proceeds from these sales will support League exhibition and education programs. BAL will also accept donated items from the public for this fundraiser. Please drop off at the league before Sept. 5 during office hours, 2-6 p.m., Wednesday through Friday, and 11 a.m.-3 p.m., Saturday. _________________ Entries for the Beaumont Art League’s annual membership show will be accepted beginning Sept. 29. The show is open only to BAL members, but any artist is encouraged to become a new member or renew a membership at the time of entry. “This is one of BAL’s most popular shows so it is the perfect time to join and become a part of one of the oldest arts organizations in the community,” BAL gallery director Sarah Hamilton, said. See our current newsletter online at www.beaumontartleague.org or on facebook.com/ beaumontartleague for the show prospectus and complete guidelines. The Beaumont Art League is located at 2675 Gulf Street in Beaumont.
“River Dreams” by Evie Atkins won first place at the Beaumont Art League’s annual 3D Show.
“Study 2” by Alice Powell won first place at the Beaumont Art League’s annual Figure Show.
“Ferry” by Lief Anson Wallace will be on display at the Beaumont Art League in September as part of the exhibition “Black, White & Color.”
12 • ISSUE September 2012
Volume 19, 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 AR T MUSEUM OF SOUTHEAST TEXAS will host its 25th silver anniversary celebration, COME FLY WITH US, at 6:30 p.m. on Sept. 7. “This monumental evening will take off with cocktails and soar into a seated dinner and dance featuring live musical entertainment,” Monique Sennet, AMSET spokesperson, said in a release. “Come aboard AMSET Flight 9712 as we honor celebrated Texas artist and AMSET supporter, Paul Manes. Enjoy an elite class dinner with assorted libations, a silent auction, music, dancing and a Mile High Flight Deck lounge with First-Class amenities. The black-tie event will feature fine dining, entertainment, surprises and much more, so join AMSET for the greatest party of the year. “Gala co-chairs Michele and J. Mitchell Smith were inspired to plan this year’s gala with the theme of Come Fly With Us to pay homage to Manes’ extraordinary artistry which often features a common theme of aviation and aircraft. The evening will give patrons the rare occasion to dine in the AMSET galleries amidst a creative genius.” “We are so proud to honor Paul Manes at this year’s gala,” Smith said. “He is such an important part of our community, and this is a great opportunity to bring people together to recognize his accomplishments as we celebrate this major mile-
stone in AMSET’s history.” Take-off is scheduled for 6:30 p.m. with a cocktail hour followed by a three-course dinner prepared by Two Magnolias Café and served in the museum galleries. Following dinner, passengers are invited to dance the night away, and enjoy the night’s musical selections. A silent auction featuring artwork by local artists and other tempting items will complete the occasion. Reservations are $200 per person for Individual Frequent Flyers reserved seating, $1,600 for a Flying Aces table for reserved seating for eight, $5,000 for a Thunderbirds table for Business Class reserved seating for eight, or $10,000 for a Blue Angels table for First Class reserved seating for eight. Dress is black tie, or come dressed in your favorite flight attire. Seating is limited; to book your flight, visit www.amset.org or call 409-832-3432. Proceeds will support AMSET’s exhibition and education programs. AMSET is located at 500 Main in downtown Beaumont. ______________
ART CLASS
DRAWING
THE
MARK
Artist Abigail McLaurin will offer a six-week drawing class beginning Sept. 11, 6-8 p.m., at The Art Studio, Inc., 720 Franklin in downtown Beaumont.
RECENT ART STUDIO NEW OR RENEWING MEMBERS Alphabet Soup / Martha & Wayne Hale Milton & Hester Bell Joe Boucher Anthony & Kari Busceme Carlo Busceme III Sarah M. Cannatella Melanie Dishman Jesse Doiron & Uliana Trylowsky Paul, Avril & Michelle Falgout Sandy & Joseph Fertitta Suzanne & Lee Roy Garrett Theresa & J.C. Giglio Richie & Stacey Haynes Victor Higginbotham Tam & Tom Keinhoff Betty & Dr. Mark Kubala Stephen V. Kuritz Trang Le Roger & Sharon McCabe Neches Engineers Dale & Cynthia Parish Rose C. Perkins Gary Pinkerton John Raney David Riker The Pat A. Riley Family Richard Tallent Texas Coffee Co. Tom Tuminello Mary Ellen vonNetzer
MEMORIALS
Cost for the course is $80 with all supplies included.
Christa Vutera, Erin McNabb & Suzie Veillette In memory of art lover Bettie M. Stringer
For more information, call McLaurin at 828-381-4582
THANKS To Pat Brittain for his contribution to the Reduction Kiln Revival Project
Volume 19, No. 1
September 2012 ISSUE • 13
she softened her eyes
Thoughtcrime
so he came and left the words are running from me
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.
forcing poets relentless feelings chaste I cried behind them deliberately came upon nothing intended to be empty knew it was gone
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.
saw it running, from me Terpsichore
However did I land in Nod?
Dancer, dance my life away.
Ogod,
Tie me with a ribbon to your sweaty hair
Lead me from the Land of Nod,
joke it is a joke
and let me ride a pirouette away —
This interminable land
played on me
to dizzy death — away.
take away that
Spot me not.
losted sorrow founded shame losing deeper
give me this
Let twirling take its toll.
ordinarily done deliberately came upon,
Of drowsiness and lethargy Of noheart and noone Everyone trying to be someone In the Land of Nod
Hold me in a turning pas de deux Mountains of Fear
nothing
till I die into you.
knowingly faced the same
Away from everything that cannot move as you move.
Clouds raining tears In tedious-tight circles, whorls, and curls.
I found a way out
A warm-round spinning in your wet, tied tails of hair.
how do I fuck it up
Away from everything that cannot move as you move.
Ogod, why did I think of landing in Nod?
Cathy Atkinson
Move as you move. there was once upon a time
Move —
a sunshine in rain
into you.
this thing that existed
Move as you move.
a calling I thought
Move —
hang on hold on wait
into a music made of moves.
fuck you man
Move as you move.
what happens next
I Made It
I made it,
Move —
I finally did something right.
you don't even mean it
into an endlessness of measured moves.
I’ve waited for this my whole life.
you never intended to mean it
Move as you move.
Happiness —
you just never, mean,
Move —
I’ve made it to joy.
anything
slipping corners,
Just goes to show Life is not a toy.
clipping corners,
Precious baby — is it a girl or boy?
tripping lightly in a cornerless flight.
It’s an angel,
I thought I knew how to be sad
Above the salt-filled sea and heavy-breathing sky.
Please fear no danger.
but its outside yourself
Away from everything that cannot move as you move.
Hey Stranger,
beside myself
Above the weighted world —
Who are you?
lying closer,
the silly, solar world and all its troupe of clumsy planets
Seek Careful,
that cannot move as you move.
You never know who’s who.
Move as you move.
They’re the future,
Move as you move —
Who’s the teacher?
the words would stop
away, away, away, away, my life, away.
Preach, preacher.
solo
Jesse Doiron
Regina Wilson
I thought I understood pain this idea of being hurt
to you the words will stop I was so scared
14 • ISSUE September 2012
Volume 19, No. 1
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 A variety of artists work during the life drawing session at The Art Studio, Aug. 1. The group meets every Wednesday, 6-8 p.m. The group is open to all.
Figure drawing group starts THE LIGHTS WERE SET, the music played in the background — classics seems to fit most tastes — and the room quickly quietened down as the model assumed a pose for the first of a series of short poses. The occasional squeak of an easel and the muffled sounds of charcoal or pencil on paper could be heard between breaks in the music. Ten minutes later, the ding of the clock broke the peace and the modeled moved to a different position, artists tore sheets from pads or turned the page, and the next session began. Yes, live figure drawing sessions have returned to The Art Studio. The sessions are held every Wednesday from 6 to 8 p.m. The cost is $5 to cover the model, and participants are responsible for their own supplies.
Story by Andy Coughlan
“We felt like there needed to be a place where local artists could have this experience,” Abigail McLaurin, TASI tenant and the group’s organizer, said. “It’s not just for people who have been academically trained. It’s for anyone who wants to work from the figure.” The atmosphere is friendly and, as there is no teacher, there is no pressure to be “good.” Many of the artists wander around during the break and look at each other’s work, sharing ideas and offering support. Life drawing, along with still life, is the foundation of art education since ancient times. Art photographer Richard Tallent, who is establishing a good reputation for his images of nudes, says that the classes allow him to look at models in a new way. “It allows me to interpret the form differently, by having to construct it rather than capture it,” he said. “I start off with a blank piece of paper rather
than an exposure. By working in other media, such as charcoal, it informs my process in figurative photography. “It is great to work in a group environment.” The group is loosely structured and there is no obligation to show up every week. “As long as we can keep enough of a turnout to be able to compensate the models for their work, we want to keep this as informal as possible,” McLaurin said. “We don’t want anyone to feel pressure. This should be a fun way to practice our skills in a relaxed and friendly environment. “Come out and draw with us. It’s a great way to meet people and get feedback.” The Art Studio is located at 720 Franklin in downtown Beaumont. For information, call 409-838-5393, or visit The Studio’s Facebook page. There is also a Facebook page listed as Figure Drawing Group.
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.
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 19, No. 1
September 2012 ISSUE • 15
VIEW from page 3 Andy Ledesma, the papier-maché king, brought the images into 3D form using paint and huge amounts of cornstarch and imagination. It has been at least five years since we had a such good turn out for classes — for adult or children. We are thrilled that the community has found ways to utilize this facility and to expand the scope of their knowledge — but mostly, to have a great time and meet great people. Encouraged, we are extending the childrens classes and starting adult classes in printmaking, ceramics, drawing, papier-maché and pastels. We are going to wait until the temperature comes down a little, but expect a series of classes starting in late September, early October. It has been a long time since we have seen such an immense amount of public participation. This fall we are set to rebuild the kilns outside, returning to reduction and salt firing. We also intend to extend our existing deck and add a covered porch on the back of the clay building for storage of raw material and equipment. Slowly we are moving forward. There are far fewer independent arts organizations after the recession than before. I feel we were lucky and smart: Lucky we had some welltimed windfalls, smart because we saw this past downturn coming and began to shave down costs and to trim budgets. The rest comes from you, our patrons and participants. We have a full house of residents, clay sales are up, class participation is at a five-year high and we are selling more local art than I ever remember. Membership is increasing and we are winning small grants, thanks wholly to Elizabeth French’s attention to detail and persistence. We are working on The Studio’s exterior and hope to improve on that as well. We are in our 30th year as an arts organization. We lived mostly month-to-month in the hardest economic times of our life, but we made it. It wasn’t always pretty, but we’re still standing. “Trouble don’t last always” — Michael Gregory
VOLUNTEERS NEEDED The Art Studio is looking for energetic people who have a few hours a month to help us in the following areas:
OFFICE SUPPORT BUILDINGS & GROUNDS SPECIAL EVENTS • MAILOUTS If you are interested in one or more of these opportunities or if you know of anyone who might be, give us a call at 409-838-5393
WE WANT YOU FOR BAND NITE Hear original music by local musicians at For upcoming gigs, visit the studio’s facebook page
$5
admission
All ages welcome • 21 and up BYOB and have your ID.
720 Franklin, Beaumont, Texas 77701
Non-Profit Org U.S. Postage PAID Permit #135 Beaumont, TX
RETURN SERVICE REQUESTED
INSIDE • THE TENANTS SHOW • THOUGHTCRIME: MUSINGS FROM AREA POETS • NIGHT AT THE STARK MUSEUM • STUDIO 33 PRESENTS ‘DOUBT’
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. Elizabeth Fontenot Bryan Castino April Ringland Heather & Adam Butler Andy Ledesma Rhonda Rodman Sue Wright Cyndi Grimes Rhonda McNally Andy Coughlan Olivia Busceme Ben Jennings Beth Gallaspy Kim McGlothlin John Roberts Philip Grice Beau Dumesnil Karen Dumesnil Sheila Busceme Kailee Viator Haley Bruyn Bryan LaVergne Gabe Sellers Michael Snowden
JOIN US FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH THIS MONTH:
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