THE ARTS MAGAZINE OF THE ART STUDIO, INC.
THE WALLS ARE ALL YOURS
PAGE 7
INSIDE: PATTY CARGILL, FECHIN AND GASPARD, TERRA COTTA WARRIORS, AND MORE
MAY 2012
From: jing-wo jeez, this shift seems to go on forever wonder if micky d is hiring? must remember to renew studio membership
SEE MEMBERSHIP FORM ON PAGE 3.
A View From The Top Greg Busceme, TASI Director
THANKS ALL WHO CAME to the Membership show opening. It was as good a night as any gallery could have. The show was attended by a large and diverse crowd that included many of the artists represented in the show and their families and friends, and also featured great food and perfect weather — OK, it was a little warm, but nice. We were able to use the roll-up door to let some air in for the first time since Ike, which was a banner moment. With all the niceties, we were given a rare gift. Branden Morris, this year’s juror, came to the opening. A note here: even if they are a friend of yours, jurors rarely come to art openings they judge. Not because of any rule of decorum, but for fear of life and limb. Imagine being confronted by a disgruntled artist who was rejected or a supportive insulted spouse who feels the need to unload on you. Luckily, artists in Southeast Texas have more decorum than that! Therefore we were ecstatic that Branden came to the show unannounced to be a part of the revelries and to meet the artists he chose. Branden is Art of Culture Director and gallerist at the Museum of Cultural Arts, Houston.
ISSUE Vol. 18, No. 8 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers . . . . . . . . . . . . Elena Ivanova . . . . . . . . . . . . Andrew Strange, Mary Gagne
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 Terra Cotta Warriors. . . . . . . . . . . . . . . . . . . Page 4 Patty Cargill. . . . . . . . . . . . . . . . . . . . . . . . . Page 6 “______” DIY Show . . . . . . . . . . . . . . . . . . Page 7 TASIMJAE 2012 Wrap Up . . . . . . . . . . . . . . Page 8 Tulip Attack . . . . . . . . . . . . . . . . . . . . . . . . Page 10 Fechin and Gaspard Review. . . . . . . . . . . . Page 11 Around & About. . . . . . . . . . . . . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13
Cover by Andy Coughlan
MOCAH is a young organization who shares many of the goals of The Art Studio, functioning as a bridge between the artists and the community. Branden was able to place the artwork with the artist and the special awards recipients, and spoke with absolutely everyone who wanted his feedback. Ultimately, some exhibitors were booked for shows at MOCAH Gallery, and Branden and I see an ongoing connection between our organizations. How amazing can one night be? I quote long-time member and artist George Wentz — “It’s the best show we’ve ever had!!” Special thanks to my friend and associate Terri Fox who was kind enough to ask Branden to be our juror. It became more than selecting a show, it became finding friends. To all those who were not in the show, remember: acceptance or rejection in any show does not say anything about your work — it says something about the juror. Band Nite has brought its focus back to presenting local high school
See VIEW on page 15
UPCOMING EXHIBITIONS AT THE ART STUDIO MAY
JUNE
“__________” A Do-It-Yourself Art Experience. Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . May 5
The Alternative Show. Opening . . . . . . . . . . . . . . . . . . . . . . . . . . June 2
BECOME A MEMBER OF THE ART STUDIO Membership in The Art Studio, Inc., provides invitations to all exhibitions and one year of ISSUE, the monthly arts magazine of The Art Studio. It also gives free eligibility for members to enter the annual membership art exhibition (TASIMJAE) and participate in various exhibitions throughout the year.
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4 • ISSUE May 2012
Volume 18, No. 8
DYNASTIC MARVELS
HMNS hosts ‘Warriors, Tombs and Temples: China’s Endearing Legacy’ Story by Andrew Strange
AN EMPEROR HAS MANY servants in life. Some are meant to protect, some to entertain or to perform other services that create a life of leisure and safety for their leader. Many ancient rulers also wanted to ensure their life of leisure and safety continued in the afterlife. This is true of King Zheng, later known as Qin Shihuangdi (“The First Divine Emperor of the Qin Dynasty”), who had an entire kingdom of stone and terra cotta warriors, servants and entertainers,
Figure of Kneeling Archer with Green Face, Qin Dynasty (221-206 B.C.E.), earthenware, with Visible Pigment: h. 128 cm. Unearthed from Pit 2 of Tomb Compound of Qin Shihuangdi at Lishan near Xi'an. Museum of the Terra Cotta Army of Emperor Qin Shihuangdi.
horses and chariots, livestock and fowl, all constructed to be buried with him upon his demise. In a follow-up to the 2009 exhibit “Terra Cotta Warriors: Guardians of China’s First Emperor,” The Houston Museum of Natural Science is hosting “Warriors, Tombs and Temples: China’s Enduring Legacy” through Sept. 3. The exhibit follows only the Qin, Han and Tang dynasties in China shedding light on the historical, cultural, and technological impact of China. Dirk Van Tuerenhout, HMNS curator of anthropology, said the “Warriors, Tombs and Temples” exhibit gives visitors a broader look at ancient Chinese history than the previous “Terra Cotta Warriors” exhibit. “The objects in the exhibition are drawn from three of the greatest and most important dynasties in Chinese history, the Qin, Han and Tang dynasties,” he said. “What visitors will see in this exhibit differs from our earlier exhibit, Terracotta Warriors (hosted in 2009) in two significant ways. This exhibit displays objects from three — rather than one — dynasties. The time period covered is therefore also more extensive. Instead of reviewing 20 years of history, this exhibit spans 1100 years. Moreover, some of the Qin-era Terracotta Warrior statues shown in our current exhibit are recent discoveries; they were excavated while our previous show was here. Noteworthy is also the preservation of paint on one of these newly discovered Warrior statues.” The sight in Xi’an, where the artifacts were found in the 1970s, began to be excavated rather hastily, which led to rapid deterioration of precious historical artifacts. The excavation was brought to a halt until modern preservation technics could be used to preserve the ancient objects. A large mural decorates the entry hall to the exhibit that gives a timeline for the artifacts therein. The timeline follows the Qin (221-206 B.C.E.), Han (206 BCE-220 C.E.) and Tang (618-907 C.E.) dynasties of China along the Silk Road and names a few world events along the way to give these dynasties an historical world context. It was during these dynasties that China became united, West and East, North and South, as well as adopted a unified weights and measurement system, religion and currency. It was the unifications that occurred during these Dynasties that led to the uniting of exterior protection walls that would become the Great Wall of China. The exhibit opens to a gallery room guarded by a large chariot horse standing at attention, ears raised
and ready for battle. Behind him stand four terra-cotta Qin warriors — kneeling archers, one of which still bore a surprising amount of its original color including a mysteriously green face, officers, and armored warriors, each positioned to hold a weapon that fell away long ago. It is believed that the thousands of warriors found were made in an assembly-line fashion with different stations making the limbs, head and trunk. Despite this method that would seem to lend towards thousands of identical statues, there were apparently enough variations among the molds to mix and match them so to give each warrior has his own rank, belly-bulge, hairknot or other features which make each warrior unique. Surrounding the warriors were weapons found at the sight such as arrows, swords, shields and crossbows. Much of the technology, particularly weapons technology, the Qin possessed would not reach Europe for thousands of years. The ancient Chinese developed hard and sharp metal swords, accurate arrows and crossbows with trigger mechanisms, as well as metal plating. The artifacts are displayed in a logical historical chronology as one moves through the exhibit, giving
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May 2012 ISSUE • 5
one a feel for the changes that were going on in the culture and a sense of what the people valued. The dress and figures of the statues of women, for example, were good indicators of a shift in values regarding gender and aesthetics over time. Earlier statues showed more independent women, slim and casually dressed, or in some cases dressed in men’s clothing, where later statues showed more plump, conservatively dressed, subservient women. The museum allows non-flash photography for the exhibit, which is slightly unusual, but gives one an opportunity to bring something home that wasn’t from the gift shop — something somehow more authentic to say, “I was there.” It also gives one the opportunity to post their handiwork with the camera to their Facebook page for all of their many friends to see, thus giving free advertisement for the exhibit — ahh, these museum people are pretty smart. And one might want a camera to capture the look on her child’s face when he sees the surprise the museum has for visitors to the exhibit. The exhibit would hardly be complete without a couple of dragons. Dragons are associated with immortality in the Daoist tradition, and were also thought to bring rain in the springtime. A gilt bronze with an iron core Figure of a Dragon from the Tang Dynasty (618-907 C.E.) stands perched on two claws. The figure seems to stand in an almost impossible position, but due to the iron core, the artists were able to bend the dragon into position until it balanced. There is also the large, stone “Architectural Detail of a Dragon’s Head,” from the Tang Dynasty (873-874 C.E.) which probably had a protective function. A series of nesting relic boxes, each descending vessel more valuable and ornate than its cradle, were said to once hold a finger bone of the Buddha. The vessels begin with a large iron box, once covered in fine silk, which holds an ornate, gilt silver “Reliquary in the Shape of a Square Casket, Decorated with Forty-Five Images of the Buddha Arranged in a Vajradhatu Mandala, Inscribed: ‘Casket Made on the Command of the Emperor and Presented for (Storing) the True Relics of the Buddha Shalyamuni.’” The gold casket holds a rock crystal Reliquary in the Shape of a Sarcophagus inlaid with precious stones. Finally, the nesting coffins end with a white jade “Reliquary in the Shape of an Inner Coffin with a Chamber Door,” from the Tang Dynasty (873-874 C.E.). One can see the influence of trade on the artifacts as they decrease in age. The appearance of Buddhism plays a significant role, not only in custom and religion, but in Chinese art and decor as well. Although Buddhism comes out of India, the Chinese people have a distinctly Chinese interpretation and concept of the Buddha, his practices, teachings and appearance. The exhibit ends with a Seated Sculpture of Medicine Buddha from the Tang Dynasty (626-649 C.E.). The Medicine Buddha is thought to grant health and wishes. The slightly larger than life-sized stone statue glows with a peaceful radiance that makes one feel as if he could sit and contemplate, or meditate before it for hours. Leaving the exhibit one feels somehow more in touch with the world. As Western museum goers, it is not often we get a chance to witness artifacts from such ancient places in time from the East. The exhibit broadens one’s perspective of the East and its culture. One gets to peer into a window of time and see how the ancient Chinese lived, ate, and danced. Westerners get a sense of our place in the world as an adolescent culture compared to the long standing traditions, of our precocious Eastern brothers.
The earthenware Terra Cotta Warrior, above, dates back to the Qin Dynasty. Warriors like these guarded the imperial tomb of the First Emperor Qin Shihuangdi. Figure of Mounted Cavalry Soldier, Western Han (171-141 B.C.E.). Painted Earthenware Horse: l. 50 cm. h. 58 cm.; soldier: h. 19.5 cm. w. 11 cm. Unearthed from the Changling Tomb Compound, Yangjiawan, Shaanxi Province, Xianyang Museum.
Figure Pregnant Sow, Western Han (c. 141 BCE) Painted Earthenware: l. 45 cm. h. 21.5 cm. Unearthed from burial pit of eastern side of the Yangling Tomb Compound, NW of Modern Xi'an Yangling Museum. Figures of domestic animals and farm implements found in tombs supplemented the meager textual record of Han peasant life. The well-fed, healthy animals buried in Emperor Jingdi's compound suggest a peaceful and prosperous agricultural economy. Historians describe Jingdi's reign as a period of order and stability.
Tree, Tang Dynasty (168-907 C.E.). Gold, Originally Inlaid with Semiprecious Stones: h. 13.5 cm. Stones: h. 13.5 cm. Unearthed at Guojiatian in eastern suburb of Xi'an, Shanxi Province. Xi'an Museum This filagree ornament, opposite page, probably decorated a wooden box. The miniature tree is depicted in detail, with leaves arranged rosettes, vines encircling its trunk and inlaid with stones (now missing) representing fruits or flowers. It resembles images in Chinese art of the tree that shaded the Buddha as he achieved enlightenment.
6 • ISSUE May 2012
Amazing Grace
Volume 18, No. 8
PATRICIA CARGILL: AUGUST 15, 1929-MARCH 4, 2012 PATRICIA CARGILL WAS A person like no other. She devoted her life to truth and beauty. Living for a decade with lifethreatening illness, she exemplified amazing grace. (Taken from the memorial service program.) Patricia Chickowsky Cargill was an artist who taught us how to live a life of beauty, truth and goodness. As one entered the iron gates of her home, the rustic, natural beauty was a menagerie of patterns and abstractions. Not only did she teach us about art, but more importantly, she taught us about character and nobility. She lived and witnessed her faith in her everyday activities. She would greet me with “God is good!” Her faith reached beyond art. Patty grew up in Detroit, Michigan. Her parents were from Windsor, Ontario. From an early age, her religion was center in her life. Patty’s interest in art began in elementary school; she later attended Pratt Institute in New York City where she met David Cargill. He remembered clearly the first meeting. They were in class together and the instructor asked all students to stand and introduce themselves. “I spoke in my Southern Texas drawl: My name is David Cargill and I am from Beaumont, Texas.” All the students roared with laughter; all but Patty who came to him at the end of class and offered her kindness. He was immediately smitten. “Our marriage was not your typical marriage; we were married for 62 years,” he said. “We worked together 24 hours a day and seven days a week. We were inseparable. We had a lifetime of art. I can’t imagine life without her.” The community is saddened at the loss of a beautiful, spiritual, compassionate lady. She was a courageous person. Patty is also survived by two daughters: Ida Katherine and Chancel, and five grandchildren. While working on an art project of their life and works, I sat next to her bed and watched her keen eye crop and edit photos. “The perspective is now clear...you can see the light directly influencing this piece of art; the light enters here,” she would say as she pointed her delicate fingers to the spot, and as she angled her thumb and forefinger to show where the photograph should be cropped. She spoke of her friend, renowned photographer Keith Carter. “I remember when he was young he would visit our home...perhaps to enjoy the company and discourse, or simply to visit,” she said. When I asked Carter of his memories, he replied: “I knew Patty Cargill for 58 years and in all that time she remained unfailingly gracious. Her stunning range of drawings and elegant paintings evolving over six decades provide the richest of legacies for an artist; showing us how life lived can be art, and art itself provides life.” Her whole life is a testimony to her faith and to the sincerity of her character. Her paintings are immensely descriptive; she conveys the most delicate nuances about character where her presence is seen in the shadows. Her portraits, figure studies and delicate sketches leave a legacy to all. Her greatest legacy is her kindliness, her honor and her amazing grace. The art community has suffered a great loss.
Story by Mary Gagne
Mary Gagne is director of the Texas Academy of Leadership in the Humanities at Lamar University.
Patty Cargill, left, and Mary Gagne talk during the opening of “He Said/She Said: They Spoke With One Voice,” an exhibition of figurative work by Patty and her husband David at the Dishman Art Museum, June 3, 2011. An untitled painting of a little girl, top, is just one example of Patty’s work.
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May 2012 ISSUE • 7
“_______________________” TASI’S DO-IT-YOURSELF ART EXPERIENCE “DON’T DRAW ON THE WALLS!” The lure of a blank wall is a temptation for most kids armed with crayons or paint. However, most of the time, expressing one’s creativity in such a manner means going to bed without supper — or worse. On May 7, The Art Studio, Inc. will allow everyone’s naughty inner child to indulge themselves. Instead of the usual art filled walls, visitors to The Studio for the May show will find only blank walls — and stuff to make marks on them. “Art is a serious business for us, making art is the most fun a person can have,” Andy Coughlan, TASI tenant, said. “This show is a chance for everyone to come and play.” Play time is from 7 to 10 p.m. and the resulting “mural” will be on display through May. 26. Like the walls, the title of the show is blank so as not to suggest any preconceived ideas. “We hosted a workshop show in 2010 called ‘pARTycipation’ that attracted more than 200 would-be artists,” Coughlan said. “So it seemed like time for another variation on that idea.” Visitors will be supplied with paint, crayons, pens, pencils and other things that can make a mark. “Not only is it a chance to be creative, but it is also a chance to turn the creative process on its head,” Coughlan said. “Most of the time, making art is a solitary business with the artist toiling away in his or her space alone. But this enables people to chat with each other, work on images together and even add things to existing images. “There are no rules and no limits — just the way art should be.”
Coughlan said that there is also no judging. “Everyone can scribble something — the urge to doodle is a basic human instinct,” he said. “We don’t want people to think they are ‘not good enough.’ The Studio’s mission has always focused on encouraging people to explore their creativity, to let people know that they can simply enjoy the process.” In June, The Studio will host “The Alternative Show,” its annual first-come, first-served exhibition. “This is a great lead-in to that show,” Coughlan said. “Maybe people will enjoy the evening and decide to go home and make some more art. The ‘Alternative Show’ is great place to show what they come up with.” The Art Studio is located at 720 Franklin in downtown Beaumont. For information, call 409-838-5393 or visit TASI’s Facebook page.
TASIMJAE
8 • ISSUE May 2012
Volume 18, No. 8
THE ART STUDIO, INC. MEMBERS JURORED ART EXHIBITION
THE ART STUDIO, INC. Member Jurored Art Exhibition opened April 7. The show traditionally showcases the best of the members’ work. This year’s juror was Branden Morris, gallerist and art of culture director at the Museum of Cultural Arts, Houston. Morris selected 58 works for the show. The following is a breakdown of those pieces that placed and Morris’ critique of each. FIRST PLACE: AMY FAGGARD “FRAGMENTED FORMS #3” This piece had an immediate impact on me. It’s an attention grabber in the way that an optical illusion makes you stop and examine closer. This piece has amazing depth and lots of detail that pushes your mind to wonder how the artist brought this piece together. The colors are vivid and the detail is exquisite. I truly enjoyed looking at this piece and I feel that Amy has done a great job of stretching the imagination! SECOND PLACE: KAILEE VIATOR “GOLD DUST WOMAN” I’m not from Texas. However, I can appreciate a good animal skull every once in a while. I thought this piece was a playful type of morbid that allowed me to deduce my own meaning from its content. The artist did a good job with her use of symbolism showing a familiar contemporary artistic style. I can appreciate her use of texture to add to her story and the background colors are subtle with the use of the gold as a nice contrast. THIRD PLACE: ALLISON REHO “SUNKEN SEAT” If you’ve ever gone through a bad break-up, losing your job, or some other manic-depressive event in your life, you can appreciate this piece. This artist does a great job portraying a scene of good ol’-fashioned misery and the healing process that ensues. The person and the armchair have become one as the cats gather to try and comfort. The ability to effectively bring this across through sculpture shows the skill level of the artist. Looking forward to see what other emotional chords this artist is able to strike within me! HONORABLE MENTIONS: CALEB SIMS “WINE PARTY” This piece has very clean lines and good color contrast while depicting a realistic scene. The introduction of the NASA astronaut in full spaceman attire is a fitting theme for this general area. In a time when our national space program goes through budget cuts and restructuring, the irony speaks volumes!
Amy Faggard, above, earned first place in TASIMJAE 2012 for her piece, “Fragmented Forms #3.”
SARAH VONKAIN “3412” This piece was a mild combination of old world art nouveau with a pop art feel that I felt would be a nice addition to the exhibition. It’s a nice blending of colors with a familiar technique that I can really appreciate. JODI HEBERT “MIRROR DRAWING (WOMAN BATHING)” I loved the concept in this piece. The skewed visual of a woman taking a bath brought back images I’ve encountered in my past. Things like the reflection in the faucet handle added necessary detail to help bring the image together. I like the medium and canvas selections as they really play well off of each other. I’ll be very interested to see where this artist takes us next! Amy Faggard’s prize included a solo show in May, 2013.
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May 2012 ISSUE • 9
Jodi Hebert’s “Mirror Drawing (Woman Bathing),” right, earned honorable mention in TASIMJAE 2012. Kailee Viator, below, earned second place for “Gold Dust Woman.” Sara VonKain earned honorable mention for “3412,” below right.
Allison Reho earned thrid place for her ceramic, “Sunken Seat,” far left, and Caleb Sims earned honorable mention for “Wine Party,” center left, in TASIMJAE 2012.
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Volume 18, No. 8
Tulip Attack
MUSEUMS’ EXHIBITS FEATURE FLOWER IN SPRING SHOWS “The tulip’s value gave it a special aura, surrounding it with mystique and the language of alchemy… The tulip…ranked as high among flowers as man among other animals and the diamond among precious stones.” — Anne Pavord, “The Tulip.” JUST AS BLUEBONto bloom along highways of Texas, another kind of flower invades the Texas art scene. This spring, both the Museum of Fine Arts in Houston and the Art Museum of South Texas in Corpus Christi showcase the undying allure of the tulip. MFAH’s “Elegance and Refinement: The Still-Life Paintings of Willem van Aelst,” dazzles the eye with sumptuous displays of flowers, fruit and hunting bounty from the Dutch Golden Age. At AMST, Santa-Fe-based artist Michael Scott keeps the audience in suspense between illusion and reality with his “Buffalo Bulb’s Wild West Show,” in which iconic Buffalo Bill images are intertwined with tulips. First, let’s address the obvious question: why tulip? What is so unusual about this modest flower that makes it so attractive to artists from 17th-century master Van Aelst to our contemporary Michael Scott? Born in 1627, Van Aelst was ten years old when his native Holland was struck by one of the worst economic disasters in its history, the so-called tulip mania. It was caused by staggering prices for nothing less flippant and transitory
Story by Elena Ivanova
Willem van Aelst, Dutch, 1627 – after 1687, FLOWER STILL LIFE WITH A WATCH, 1663, Oil on canvas, Mauritshuis, The Hague
NETS START
than tulip bulbs. The most coveted of them could be acquired at the same price apiece as a decent-size building with a garden and a carriage house in downtown Amsterdam. Of course, this madness did not last long: the proverbial bubble finally burst sending the whole economy in a downward spiral. The explanation of this craze lies in the tulip’s ability to develop streaks of variegating colors which, in rare instances, form a regular feather-like pattern on its petals. Only in the 20th century was it discovered that this discoloration was caused by a virus carried by peach flies. However, in 17th-century Holland this change seemed mysterious and, as many inexplicable and unpredictable things, it became the object of gambling, obsessive experimentation and market speculation. Van Aelst belonged to the generation that came into maturity after the worst of the tulip mania was over. He probably heard horror stories of people losing their fortunes and minds in a futile pursuit of the magical flower which could make them fabulously rich. In his “Bouquet of Flowers,” a rare purplestreaked tulip rises his disheveled heads among neat and proper looking flowers, like a notorious guest who showed up uninvited at a formal party. Since baroque-era still-life paintings typically had a symbolic meaning, one may assume that the presence of a “disreputable” tulip was intended as a reminder that danger was inherent to beauty. Three hundred and seventy-five years after the infamous tulip crisis, Michael Scott evoked the spirit of tulip mania in his work as a way of addressing
Michael Scott, A BEVY OF BEAUTY. Oil on panel, 54 ½” x 43 ¾” the question: what makes people so susceptible to trickery? In an interview given during his visit to AMST in March, the artist described the idea that lead him to the creation of “Buffalo Bulb’s Wild West Show” in the following way: “Take a flower that represents beauty, which has perfect symmetry, has no scent — then bottle and sell it to an ever-hungry, evergullible public.... But who would be the salesman? The answer, of course, was that all-American, larger-than-life icon of huckstering — Buffalo Bill Cody.”1 As we walk into the galleries featuring Scott’s paintings, drawings and prints, we immediately become the audience in the famous Wild West show, with dogs wearing tutus and cowboy outfits who are jumping through the hoops; strange-looking birds wearing Mardi Gras crowns; buffaloes, Indians, cowboys and, of course, Buffalo Bill Cody himself. All of them, however, are provided with tulips either as costume accessories or props. In some cases, Buffalo Bill is incorporated into famous 17th-century paintings
dating back to the heyday of tulip mania. In “The Tulip Traders,” he is portrayed sitting side-by-side with Dutch merchants and giving his opinion on tulip bulbs. In “The Ship of Fools,” he is leading the way for Flora’s carriage, which is filled with a tulip-crazy crowd. Besides their passion for tulips, Van Aelst and Scott have something else in common: a penchant for painting in the style of trompe-l’oeil, the purpose of which is to make painted objects look as palpable as if they were real. The interest in creating illusionist paintings probably is as old as art itself. Although the term “trompe-l’oeil” was not coined until the 18th century, when art history as scholarship developed, the ability to paint life-like images was already admired in antiquity. In the famous Greek story about the competition between artists Zeuxis and Parrhasius, Zeuxis so skillfully painted
See TULIP on page 14
Volume 18, No. 8
May 2012 ISSUE • 11 ISSUE Andy Coughlan
MIXING TRADITIONS
OLD WORLD MEETS NEW WORLD IN STARK MUSEUM EXHIBITION Review by Andy Coughlan
THE STARK MUSEUM HAS built its reputa-
tion on, among other things, its fine collection of art depicting the old west. But if you think that “cowboy art” is not your thing, think again. The variety of work on display has something for everyone. A prime example is the current exhibition, “From Russia: Fechin and Gaspard in the Southwest,” on display through June 2. The show features the work of two Russian immigrants who settled in New Mexico. The two men left Europe at the birth of modernism, and the works combine the old and new to good effect. The show is composed from the museum’s holdings, and it is a delight. While both men have been featured in the gallery over the years, the volume of pieces on display embellish what has previously only been hinted at. Nicolai Fechin has long been a favorite of mine. The few works on permanent display have always had a vitality that made them stand out. But seeing such a large collection in one place, one realizes how brilliantly he fuses classical and modernist styles. He is a master technician who captures the essence of his subjects. His por-
traits are alive with the spirit of the sitter. From the wide-eyed kid in “Mother and Child” to the suspicious gaze of the “Barge Captain,” Fechin offers up a real person with a personality, not just a twodimensional image. But his brush strokes are aggressive and vibrant. In “Head of a Mexican Man,” the face is expressive, but the clarity of the face evaporates into a haze of semiabstraction. Even the smooth face of “Little Girl,” with her impish grin and pigtails, quickly shifts into bold swaths of color. As impressive as his paintings are, the highlight of the whole show are the carved wooden heads (1929-30). His technique echoes his paintings. The faces are smooth and expressive, but the surrounding area is a mass of hacked, rough-hewn slashes, as if each face has fought to make itself known, bursting forth from the wood. Michelangelo said that his figures were always there in the marble and that his job was to remove the excess stone. Looking at Fechin’s carvings, one perfectly understands that philosophy. Only slightly less impressive are Fechin’s drawings. Once again, his mastery of technique is apparent in the beautifully rendered features. And once again, he scribbles and slashes at the surroundings. “Fechin’s Father” is so expressive — Fechin’s forte is the eyes — but his
beard is a mass of wild scribbles, all of which emphasize the eyes. The viewer understands this man. The influence of Impressionism shows up in all the works, most especially in “Eya” (1924). It is a beautiful image
from afar, but fans of the painting process cannot help but be impressed by the mastery of the paint which holds up
See STARK on page 15
Nicolai Fechin’s carved heads, top, are among the highlights of “From Russia: Fechin and Gaspard in the Southwest,” at the Stark Museum. “Old Fiddler” and “Zuni” show Leon Gaspard’s skill at documenting peoples who live by old traditions.
12 • ISSUE May 2012
Volume 18, No. 8
Around & About If you come across any interesting exhibitions, museums or other places on your travels, share them with us. Call 409-838-5393, or contact us through our web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs.
Looking to learn a little more about your digital camera? Want to understand how to use your cell phone’s camera apps better or just brush up on your photography skills with your DSLR? A four-week BASIC DIGITAL PHOTOGRAPHY COURSE will be offered at THE ART STUDIO, INC., starting Thursday, May 10 through May 31. Classes run from 6:30 p.m. to 8:30p.m. Classes are $5 each. All ages are welcome. Students will learn through both lecture and hands-on education. Bring your preferred device of photography — be it digital, cell, or DSLR — and an active imagination. Folders with all learning materials will be provided. Instructor will be Holly Westbrook-Morrell. For information, call at 409-344-0416, or The Art Studio, Inc. at 409-838-5393. ______________ As the school year comes to a close, the AR T MUSEUM OF SOUTHEAST TEXAS aims to stimulate children’s interests through exploring the beauty of marine life at SHIPS AHOY FAMILY AR TS DAY. From 10 a.m. to 2 p.m., May 5, families are encouraged to travel the sea by creating aquatic-inspired art to take home. This Family Arts Day is held in conjunction with the exhibition CONTEMPORARY MARINE AR T: 15TH NATIONAL EXHIBITION OF THE AMERICAN SOCIETY OF MARINE AR TISTS, which features more than 100 works of art showcasing a vibrant array of nautical inspired artwork including dynamic paintings and skillfully crafted sculptures. Children and their families are encouraged to explore this exhibit and make similar creations by replicating the artists’ techniques through several hands-on activities including fish print T-shirts, floaty boats, decorative knots and watercolor paintings. In addition, “Ships Ahoy” Family Arts Day will feature a celebration of Mother’s Day and Cinco de Mayo. Festive activities will include making tissue paper flowers and papel picado. Rounding out the fun is a live musical performance by local music sensation, the Jazz Innovators. The event features art activities, face painting, lively entertainment, refreshments and more. AMSET is located at 500 Main in downtown Beaumont. For more information, call 409-832-3432 or visit www.amset.org.
______________ Auditions for OLIVER!, a joint production of LAMAR STATE COLLEGE-PORT ARTHUR and PORT ARTHUR LITTLE THEATER, will be held May 29 and 30 at 7 p.m. in the Lamar Theater on the LSC-PA campus. Everyone is welcome and they will be very friendly auditions, director Keith Cockrell said. The show dates are July 19-July 29. Thursday, Friday and Saturday performances are at 7:30 p.m., with a matinee Sunday at 2:30 p.m. LSC-PA is located on Procter Street in downtown Port Arthur. For information, call 409-984-6338. ______________ It has been two years since the last unveiling of the ART MUSEUM OF SOUTHEAST TEXAS’ Treasure Auction. On May 10, AMSET will reveal a spectacular collection of decorative fine art created by this area’s most talented secret “artists in hiding” at THE SECRET ARTIST IN YOU: TREASURE AUCTION 2012. Chaired by Melanie Dishman and Albert Nolen, “The Secret Artist in You” will feature fine art, painting, drawing, mixed media and sculpture. Nearly 20 masterpieces will be painted, sculpted and drawn by the area’s most talented artists including Colleen Burns, Carlo Busceme, IV, Lynn Castle, Robert Clark & Jerry Thacker, David Dishman, William Elliot, Scott Fisher, Suzanne Garrett, David Granitz, Annie Green, Jamie Paul Kessler, Greg Landry, Summer Lydick, Tim Robtoy, Elena Sandovici, Michael Snowden, and Adele Wells. Artwork will be on view in AMSET Café Arts May 4 through May 9 for sealed, silent bidding. Each piece in the live auction on May 10 will open with the highest sealed bid and go to the highest bidder. Guests are invited to the museum at 6:30 p.m. for cocktails and dinner. The live auction, with professional auctioneer Scott Droddy, will begin at 7:30 p.m. Reservations are $35 for AMSET members and $40 for non-members, and includes admission, dinner and drinks. Funds raised at “The Secret Artist in You: Treasure Auction 2012” will support the museum’s educational programs and upcoming exhibitions. For more information, visit www.amset.org, or call 409-832-3432. ______________
RECENT ART STUDIO NEW OR RENEWING MEMBERS Marty Arredondo Andy Coughlan Chris Cox Alyssa Danna The Elwell Family Albert & Amy Faggard Elizabeth Fontenot Ian Grice Margo Holst Greg Landry Christopher Maldonado Steve & Melinda McCrary Melinda McWhite Scot Meents Melody Montero-Ortiz Gwendolyn Mumford Dave Nance Cynthia Barnes Perkins & Chris Perkins Joyce Philen Rodney & Sandra Price Alison Reho Rhonda Rodman Peggy Scott Caleb Sims Tyler Tully Sarah VonKain
Three senior art students will display their thesis projects at the Dishman Art Museum, May 4 through May 11. Photographers Jarvis Quach, Alison Heidbreder and Jason Tastensen will display their senior thesis projects at the Dishman Art Museum, May 4 through May 11. The show opens with a reception, 7-9 p.m., May 4. The art majors enrolled in the senior thesis class have spent the entire semester working on their projects that include eight different pieces of artwork around one central theme. The Dishman is located on the corner of E. Lavaca and MLK Parkway on the Lamar University campus. For more information, call 409-880-8959. ______________
Volume 18, No. 8
the Lack of imagination the Plunder of realm the Renaissance of OUT LOUD
May 2012 ISSUE • 13
Thoughtcrime
Lincoln stills against Geometric builds caught up fucked up laid up Stop.
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.
too obscene too profane. animated laughter, un-interrupted joy vaseline floss apple lip gloss violent rhymes, sign of the times turn it down belt it out sink that shit in flip it down burn it out loop that shit again shut it down turn her out make
Baby “J”
scream I saw a sign from God, I assumed she'd be more subtle. I thought I knew the words I remembered it wrong I thought I knew the song I remembered it wrong I thought the meaning was, is you I remembered you wrong some times
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.
A symphony of chants engulf, And whispers nonchalant,
Fledgling she is. Focused on Material. Beauty lies not from without But, from within.
An ideal plays harlot to the masses, And another stands contested, The jackals come to feed on the flesh of both kings and gods, Shadows flicker to the dance of depravity, Weak constitutions flee from barbed statements, And flags burn and are woven in the same enraged passions, The established law to be raped, With destruction yielding radical seeds,
Thy virtue is of eloquent nature.
Society left to the waters of reconstruction, Or to wilt to the touch of soapbox opposition,
that bitch
Send typed works to:
Such tender love. Her dignity. That spectacular reverence. Non-comformist to meager Existence, “No;” but of higher Being. A radiant paradigm… of thy being of light.
A scale waits anxiously for a side to tip, And lovers pray for fading traditions, Statues warp and bend to the hold of a torch, Their tears cooled to an eternity of change, Because a spark, An idea, Or fate found its grasp, Through parchment or compelled lungs, To the march of revolution.
So anxious you are to discover the world avast. Nathan Crump “Be not.” Cherish thy youth. Ascertain
Gray Squirrel
some times
The path in which you shall abide.
sometimes, violins sound like fiddles
Uphold your integrity.
sometimes, I can hear my hair growing
Stoop not to the depths, but,
sometimes, I can hear you not listening
Your desire, for in your valor…
I wonder if the little gray squirrel that lives in my trees whom I so admire, admires me.
Ascend to the height of You shall always prevail.
sometimes some times
Hold fast to truth.
some
For love…
times
Always remembers.
Solo
Jaimé E. Cantú, Jr.
And remain in love.
Jesse Doiron
14 • ISSUE May 2012
Volume 18, No. 8
TULIP from page 10
stay in his homeland. At a young age, he traveled to Paris and later to Italy where he became a court painter for the powerful Medici family in Florence. However, for personal grapes that birds tried to feed on them. However, it was reasons - some biographers mention the artist’s extreme Parrhasius who won the contest. He painted a curtain which arrogance and quarrelsome demeanor — he had to leave looked so tangible that Zeuxis tried to pull it aside thinking this lucrative employment and eventually return to Holland. that the painting was behind it. Having settled in Amsterdam, Van Aelst established a Like so many artists before them, both Van Aelst and highly successful practice catering to wealthy middle-class Scott pay tribute to this famous legend. Their works often clientele. He marketed himself as a painter who was intifeature a billowing curtain in the corner of a composition. It mately familiar with the aristocratic way of life and even serves as an indication of a hidden space, thus emphasizing started signing his works with the Italian version of his first the illusion of depth as well as adding mystery to the unfoldname, Guilliermo, to make his connection with the Medici ing scene. Van Aelst enhances the illusion of reality by metic- court more apparent. ulously rendering textures of all objects of his still-life comDespite his financial success, it appears that he suffered positions. One’s sense of touch is instantly aroused when a setback in his personal life. According to rumors, he fell in confronted with his work. It is impossible not to feel the soft love with renowned still-life painter Maria van Oosterwyck, fuzziness of the velvet tablecloth, the roughness of the finely who was his neighbor. Pious and hard-working Maria woven metallic fringe (Van Aelst signature mark), the coldallegedly set a condition that she would marry him if he ness of polished armor, the firmness of ripe peaches, the ten- proved his love by committing to painting one still-life a day. derness of flower petals and the Van Aelst must have failed this test smoothness of the glass vase which since the marriage never took place. reflects the whole scene on its mirrorMichael Scott was born in like surface. Lawrence, Kansas in 1952, and Scott uses other means to received his MFA at the University enhance the impression of reality. of Cincinnati in 1978. For a long Embedded in many of his works are time he lived in the Midwest before two “levels of illusion” on which his settling in Santa Fe, New Mexico. art may be experienced by the viewer. Scott has shown extensively On one hand, the presented scene throughout the Midwest, on the looks like a theater or a circus stage, East Coast and in the South and his with a curtain pulled aside and a show works are in many corporate and about to begin. On the other hand, public collections. the scene itself seems to be painted In one of his most compelling on a banner which gives an appeartromp-l’oeil paintings, “A Bevy of ance of being made of canvas and susBeauty,” Scott painted himself pended on metallic rings. The largedressed as a seventeenth-century size print, which bears the name of Dutchman. To emphasize that we the exhibition, “Buffalo Bulb’s Wild are looking at a painted image and West Show,” and features Buffalo Bill not a real person, Scott depicted the Cody on horseback against the backunfinished portrait resting on the Michael Scott, Red TULIP SHOOTING GAME ground of a huge tulip, exemplifies easel. By contrast, he made the Oil on Panel, 17 ½” x 13” this type of Scott’s art. easel look as life-like as possible, Another group of his works, such with a palette hanging from its side as “Red Tulip Shooting Game,” falls and old-fashioned cards of frivolous into a particular subdivision of trompcontents pinned to its wooden l’oeil paintings which imitate the frame. And, the tour de force of the appearance of a wooden board with whole composition, the artist’s arm miscellaneous items attached to it. in a puffed sleeve seems to be starThe sense of reality is amplified by tlingly real as it is coming through the contrast between the objects the canvas towards the viewer. which in real life are flat and those Maybe this is a playful way of saywhich are three-dimensional. Flat ing that art is about communication objects, like letters, postcards or and artists are “reaching out”? notes, which look as if they were “Elegance and Refinement: The pinned with pushpins or secured with Still-Life Paintings of Willem van a string, make three-dimensional Aelst” is on view at MFAH through objects, like the tulip, stand out and, May 28. “Buffalo Bulb’s Wild West therefore, even more convincing. Show” is on view at AMST through In conclusion, let’s take a quick June 3. look at the artists. Willem van Aelst 1 An interview with Michael Scott: Buffalo had an unusual career for a sevenWillem van Aelst, Dutch, 1627 — after 1687 Bulb’s Wild West Show, Art Museum of South teenth-century Dutch artist. Unlike BOUQUET OF FLOWERS, 1651, Oil on panel, Texas News, April-May 2012, p. 4. many of his compatriots, he did not Musée des Beaux-Arts de Caen
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.
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 18, No. 8
May 2012 ISSUE • 15
VIEW from page 3 bands who play original music beginning April 21. It marks a new era of leadership for Band Nite as the baton is passed into the capable hands of 16-year-old Bryan LaVergne, a student at the Texas Academy of Leadership in the Humanities at Lamar University, and a Studio apprentice for the past year. We will be running Band Nites on the third Saturday of the month and our focus is on young people under 20 who are working on original songs or variations of pieces as in jazz or symphony. Any style of music is acceptable. We are developing a formal mentoring program putting experienced musicians with the neophytes as a way to pass on the information gathered over 20 years of music production. Simply go to Studio Facebook, email us, or call The Studio and we will set a date with you. There is no audition required.
STARK from page 11 under close inspection. Gaspard is the perfect compliment to his Russian counterpart. His work is “prettier” (and that is no insult), and his works are more illustrative. His work does not reach out and grab one by the proverbial throat and he does not seem to have Fechin’s passion. But he is equally adept at technique and his work may have a wider appeal. His gouache images, infused with pinks and other pastel hues, document the festivals and gatherings of the Zuni and other Native-American tribes, all the while capturing the bright New Mexico sunlight. In documenting these people and their traditions, Gaspard draws on his own Jewish tradition. Compare, for example, “Old Fiddler,” a horizontal picture of a Jewish village in pre-Revolutionary Russia, with “Zuni,” and one sees how he carries his own history to his new home. While in the New Mexico piece, the colors are slightly brighter, a result of the desert sun, in the Russian piece, the brightness is a reflection of the snow. Gaspard saw the parallel in peoples who still lived by old traditions. He sought to capture and preserve these people, and by documenting them, he celebrated them. By melding old-world tradition and new-world locales, Fechin and Gaspard offered up a new look at the American Southwest. The Stark Museum, by extension, offers up a new look at an old theme we only thought we knew.
The Stark Museum of Art is located at 712 Green Ave. in Orange. For more information, visit www.starkmuseum.org.
FECHIN’S FATHER by Nicolai Fechin
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
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INSIDE • “______________” TASI’S DIY ART EXPERIENCE • THOUGHTCRIME: MUSINGS FROM AREA POETS • PATTY CARGILL REMEMBERED • TASIMJAE IN PICTURES
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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. 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
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DISTRIBUTION POINTS DOWNTOWN THE ART STUDIO, INC. 720 FRANKLIN ART MUSEUM OF SOUTHEAST TEXAS 500 MAIN BABE DIDRIKSON ZAHARIAS MUSEUM 1750 IH-10E BEAUMONT CONVENTION & VISITORS BUREAU 801 MAIN (IN CITY HALL) BEAUMONT ART LEAGUE (FAIRGROUNDS) 2675 GULF ST BOOK BAZAAR 1445 CALDER THE CAFE 730 LIBERTY JERUSALEM HOOKAH CAFÉ 3035 COLLEGE NEW YORK PIZZA & PASTA 790 NECHES SETAC 701 NORTH STREET, STE. 1 TEXAS ENERGY MUSEUM 600 MAIN SOUTH END/LAMAR UNIVERSITY CARLITO’S RESTAURANT 890 AMARILLO @ COLLEGE DOS AMIGAS 1590 FRANKLIN LU ART DEPARTMENT DISHMAN ART MUSEUM OLD TOWN ANNA’S MEXICAN BAKERY 2570 CALDER JASON’S DELI 112 GATEWAY SHOP CNTR KATHARINE & CO. 1495 CALDER RAO’S BAKERY 2596 CALDER SIGN INTERNATIONAL EXPRESS 2835 LAUREL SUNRISE 2425 S 11TH SWICEGOOD MUSIC CO. 3685 COLLEGE THE TATTERED SUITCASE 2590 CALDER CENTRAL/WEST END BASIC FOODS 229 DOWLEN BEAUMONT VISITORS BUREAU IH-10 CHRISTIAN MYERS-RMT 6755 PHELAN BLVD 24E COLORADO CANYON 6119 FOLSOM GUITAR & BANJO STUDIO 4381 CALDER LOGON CAFE 3805 CALDER THE MASSAGE INSTITUTE 2855 EASTEX FRWY, SUITE 1 (@ DELAWARE) NORTH END CYCLE HWY 105 PACESETTER COLONNADE CENTER QUIZNOS 3939 SUITE 9 DOWLEN RED B4 BOOKS 4495 CALDER REED’S LAUNDRY 6025A PHELAN @ PEYTON STUDIO 77 6372 COLONNADE CENTER THIRSTY’S 229 DOWLEN TRENDY’S 5905 PHELAN, STE. E. PARKDALE RAO’S BAKERY 4440 DOWLEN ORANGE STARK MUSEUM OF ART 712 GREEN AVE.
