From: botany18c used new fertilizer in garden. for some reason, reminded to renew studio membership
SEE MEMBERSHIP FORM ON PAGE 3.
A View From The Top Greg Busceme, TASI Director
IF 27 YEARS OF exhibitions and concerts don’t impress you, I don't know what will! The Art Studio began it’s exhibition and concert season with a bang, with the largest tenant population in many years. The diversity of experience, age and backgrounds make for a rich mixture of creative souls. That was evident in the exhibition “Who Are ThesePeople?” this past September. I expect the same energy and integrity in Richard Tallent’s work this month. We will not be disappointed if his past work is any indication. Concerts are also in full swing with schedules and performers listed on facebook/artstudio or our Web site. If you haven’t been to one of our concerts, you are missing out on the future flavor of our musical heritage in Southeast Texas. Come in and get a taste of the next big thing. Look for a face lift to the front of the building. Yes, the termites have fully devoured the front door frame and now we must repair — nay, destroy and rebuild with non-termite-friendly material, namely aluminum and glass. As of this writing we are still waiting on materials to come in and we’ve paid for half of the job already — anyone? anyone? — with a balance of about $2,500 still to go — anyone? Anyone at all? Think about it.
ISSUE Vol. 17, No. 2 Publisher. . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers . . . . . . . . . . . . Elena Ivanova, . . . . . . . . . . . . . . . . . . . . . Callie Summerlin Contributing Photographer . . . . Callie Summerlin Distribution Director . . . . . . . . . . . Terri McKusker The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Chair . . . . . . . . . . . . . . . . . . . . . . Elizabeth French Treasurer-Secretary . . . . . . . . . . . . . Beth Gallaspy Members At Large. . . . . . . . . . . . Kimberly Brown, . . . . . . . . . Sheila Molandes, Andy Ledesma, . . . . . . . Sebastian Ramirez, Stephan Malick, . . . . . . . . . . . . . . . . . . . . . . . . Heather Eager
The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org artstudio@artstudio.org The ISSUE is a monthly publication of The Art Studio, Inc. Its mission is to publicize The Art Studio and its tenants, and to promote the growth of the arts in Southeast Texas. ISSUE is also charged with informing TASI members of projects, progress, achievements and setbacks in TASI’s well-being. Further, ISSUE strives to promote and distribute the writings of local authors in its “Thoughtcrime” feature. ISSUE is provided free of charge to members of TASI and is also available, free of charge, at more than 30 locations in Southeast Texas. Regular features include local artists of note and reputation who are not currently exhibiting at TASI; artists currently or soon to be exhibiting at TASI; Instructional articles for artists; news stories regarding the state of TASI’s organization; and arts news features dealing with general philosophical issues of interest to artists.
Contents Bizarre Bazaar . . . . . . . . . . . . . . . . . . . . . . . Page 4 The Art of Botanical Illustration . . . . . . . . . . Page 5 Painting With A Twist. . . . . . . . . . . . . . . . . . Page 7 Richard Tallent’s “Funkcja Wnetrza Osoby’. . Page 8 Poetry Circle . . . . . . . . . . . . . . . . . . . . . . . Page 11 Around & About. . . . . . . . . . . . . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13 Connect the Dots . . . . . . . . . . . . . . . . . . . . Page 14 Cover photo of Richard Tallent conducting an underwater shoot by Andy Coughlan
We are installing double doors equipped with crash bars with automatically locking doors. When that is done we are moving to the loading door that has been sealed shut since Ike and make it functional once again. That will be a little less costly, constituting two roll-up doors together. This will make a stronger defense against hurricanes and allow easy access and air flow. for those hot summers and concert nights. The next step will be the rebuilding of our lost barn and the return of the facility it housed. We will also make accomodations for the music events, festivals and presentations to have a designated space for their performances. This will allow us to have more presentations that will not interfere with the work of the visual artists. I feel we can do these things because we are seeing a wonderful increase in volunteer participation and artist involvement. We are also offering classes in drawing, Tai Chi, hoola hoop, clay and, hopefully, belly dance later in the year. Expect to see more classes come available as Andy Ledesma wiggles us into his busy schedule. His job will be coordinator of classes. If you haven’t tried some of these disci-
See VIEW on page 15
UPCOMING EXHIBITIONS AT THE ART STUDIO OCTOBER Richard Tallent, ‘Funkcja Wnetrza Osoby’ Opening . . . . . . . . . . . . . . . . . . . . . . . . October 2
SEPTEMBER Lief Wallace Photography Opening . . . . . . . . . . . . . . . . . . . . . . November 6
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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BIZARRE bazaar
4 • ISSUE October 2010
Volume 17, No. 2
Beaumont Art League festival scheduled for Oct. 16 at fairgrounds ON OCT. 16 FROM 10 a.m. to 4 p.m, artists and artisans will display their wares at the Beaumont Art League’s Bizarre Bazaar. In 2009, more than 500 Southeast Texans perused the old fair grounds at this home grown, buy, sale, trade event, where merchandise ranges from original works of art to fifty-year-old hardcover books. Participants are not limited to artists, but farmers, collectors, non-profits and other craftsmen are invited to promote their services and sell their wares. “This event not only gives artists and artisans an opportunity to sell their work, but also allows them to demonstrate their craft with the community,” Jeffrey Wheeler, Bizarre Bazaar event chairman, said.
D.J. Kava tends a stall during the October, 2009 Bizarre Bazaar at the Beaumont Art League. The next Bizarre Bazaar is scheduled for Oct. 16.
Photo by Andy Coughlan
Several demonstrations are scheduled to take place throughout the day, including a raku fire, pot throwing and an aluminum craft project for children. In addition to vendors and craft demonstrations, two local bands will perform. “We are excited to incorporate live music this year and know it create a larger sense of community arts,” Mike O’Pry, Bizarre Bazaar music liason, said. “The sounds of Purple and the Ramblin’ Boys’ highlight local talent and are sure to be crowd pleasers.” Since 1943, the Beaumont Art League has been a major force in promoting arts awareness, providing art education, and ensuring the arts are prominent in this region. Bizarre Bazaar began in 2009 and with its accessible location, this free event is a perfect place for
families to spend their Saturday afternoon, enjoying hands-on creative expression and local music, Wheeler said. For $35, vendors will receive a one-year membership to the Beaumont Art League which includes a monthly newsletter to keep you up to date on the classes, workshops and events scheduled at the league and the ability to enter member-only exhibitions. The vendor name will be listed in all event press releases and signage. “Bizarre Bazaar is anticipated to grow each year and bring more exposure to the arts in Southeast Texas,” Wheeler said. For more information, contact Wheeler at 409893-2160 or BAL at 409-833-4179. The Beaumont Art League is located at 2675 Gulf Street in Beaumont.
Volume 17, No. 2
October 2010 ISSUE • 5
a growing artform
T REASURES
OF BOTANICAL ILLUSTRATION AT
FLOWERS HAVE ALWAYS BEEN a popular subject in art around the world. Painted in realistic or conventionalized manner, they decorated walls of Roman villas, encouraged contemplation on Chinese scrolls, adorned the pages of Persian manuscripts and dazzled readers with brilliance of colors in European medieval manuscripts. Dutch and Flemish masters painted flowers as an allegory of the transience of life, while Georgia O’Keeffe revealed their hidden eroticism. In all these art forms, flowers were explored for their symbolic, suggestive or decorative qualities. However, there is an art form in which the flower is a value in itself: the art of botanical illustration. As a companion to ancient hand-written texts on the medicinal properties of plants, botanical illustration was one of the earliest forms of artistic expression. In the course of history, and with the advancement of technology, it developed into a highly sophisticated professional field. In the 18th and 19th centuries, painters and print-makers who wanted to apply their talent to botanical illustration went through specialized training with the established masters in the field. Today botanical illustration continues to be a vibrant branch of art. Twelve certificate programs in botanical illustration are offered in the United States. The ranks of artists interested in pursuing a career of a botanical illustrator are growing, as demonstrated by the popularity of the tri-annual International Exhibitions of Botanical Art and Illustration, organized by the Hunt Institute for Botanical Documentation at Pittsburgh’s Carnegie Mellon University. The same progress is reported by the American Society of Botanical Artists, who now counts 1,200 individual members, including 120 living outside the USA in such countries as Australia, Brazil, Israel, Korea, South Africa and the United Kingdom, and twenty-six institutional members. At the same time, few people outside professional circles are aware of this artistic phenomenon. Botanical drawings and prints tend to be on the periphery of the public discourse when flowers in art are concerned. One apparent reason for this oversight may be that most people view botanical illustration as belonging to the field of science. It seems that there is some confusion about its status even within the museum world. Botanical books, drawings and prints can be found in collections of art museums, natural science museums, botanical gardens and libraries. Another possible reason is that they are rarely on public display because of their high sensitivity to light and humidity. In this regard, it is particularly noteworthy that this fall the Stark Museum of Art in Orange will showcase three 19th century botanical books in the mini-exhibit “Orchids in Print,” Oct. 2-16. Museum visitors will see orchid plates in three volumes: “Herbier de l’Amateur de Fleurs, volume 2,” published in Brussels in 1829; “L’Illustration Horticole, volume 17,” published in Ghent in 1870;
S TARK M USEUM
OF
AR T
Essay by Elena Ivanova
MASDEVALLIA LINDENI Etab. Lith. de L. Stroobant, lithographer. 1870, lithograph on paper, hand-colored. In “L'Illustration Horticole, volume XVII” 6 3/4 x 10 1/8 inches. Stark Museum of Art, Orange, Texas 11.69.6.G
and Florence H. Woolward’s “The Genus Masdevallia,” published in London in 1896. Each of these publications had its own circle of readers; together, they are representative of a wide spectrum of horticultural aficionados in 19th century Europe.
“Herbier de l’Amateur de Fleurs” was an eightvolume edition published in 1828-1835 by Pierre Auguste Joseph Drapiez. It was a Belgian re-issue of
See BOTANICAL on page 6
6 • ISSUE October 2010
BOTANICAL from page 5 the French “Herbier Général de l’Amateur” (Jean Claude Michel Mordant de Launay and Jean Louis Auguste Loiseleur Deslongchamps, 1810-1827). It is a botanical encyclopedia intended for the eyes of an upper-class botanical amateur, whose scholarly aspirations could be fulfilled by studying beautifully engraved plates, Latin names and anatomical descriptions of plants. Botany was the science of choice of 19th century ladies and gentlemen. Knowledge of the floral riches of the world and ability to classify them according to the Linnaean system added to the person’s prestige in society, as exemplified in the case of Josephine Bonaparte. Feeling insecure in her position as Napoleon’s consort, she devoted herself to the study of botany and to the transformation of her estate Malmaison into the finest botanical garden in Europe, as a way to stake out her own place and legacy in the turbulent climate of post-revolutionary France. It was also extremely important for the success
CYPRIPÈDE PUBESCENT Pancrace Bessa (1772-1846), artist Lejeune, engraver. 1829, engraving on paper, hand-colored In “Herbier de L'Amateur de Fleurs, volume II” 10 1/2 x 8 1/4 inches Stark Museum of Art, Orange, Texas 11.46.1.B
Volume 17, No. 2 of publications like Herbier that the scholarly text was illustrated by exquisitely executed illustrations. In the 19th century, new print techniques were developed and perfected, such as stipple engraving, aquatint, mezzotint and uncolored and colored lithography. The illustrations in Herbier were based mostly on watercolors by one of the best botanical artists of the time, Pancrace Bessa (1772-1846). He was believed to have studied with the celebrated Pierre Joseph Redouté, who was described by contemporaries as both “Raphael” and “Rembrandt” of flowers. At the time Bessa produced watercolors for Drapiez’s Herbier, he was at the height of his career and his work was praised and sought after as much as that of Redouté. The whole set of Bessa’s 572 original drawings of rare and new plants growing in the gardens of Paris, which he produced for Mordant de Launay and Loiseleur Deslongchamps’s Herbier Général, was purchased by King Charles X as a gift for Duchess du Berry in 1826. “L’Illustration Horticole” was a periodical, which was published in Ghent between 1854 and 1896, first by Ambroise Verschaffelt, and starting with 1870, by
Jean Jules Linden. Linden (1817-1898) who was a renowned orchid grower and collector, and traveled in South and Central America in search of new species of orchids before settling down in Ghent and devoting himself to horticulture and publishing. At that time, Ghent was the European center of ornamental flower cultivation, and publications like “L’Illustration Horticole” were highly popular among professional nurserymen as well as amateurs interested in growing exotic plants. The practical focus of this periodical did not mean that readers were less interested in beautiful illustrations which accompanied the text. Volume 17 is illustrated with high quality lithographs produced at the print shop of L. Stroobant (most likely, Louis-Constantin Stroobant, 1814-1872). The majority of the plates are based on watercolors in Linden’s garden. In a few instances, a brand new technology, photography, was used instead. “The Genus Masdevallia” by Woolward (18541936) is an example of a florilegium, a lavishly illustrated book devoted to a certain species or families of plants. A book of that kind was intended primarily to dazzle the reader with the opulent beauty of flowers, and the quality of original paintings and of prints was of utmost importance. Highly expensive, these books were produced in limited numbers and distributed through subscription. The story behind the creation of “The Genus Masdevallia” reads like a Victorian novel. In 1879, Schomberg, ninth Marquis of Lothian, decided to document in watercolors his collection of orchids which he cultivated at his estates Newbattle and Monteviot in Scotland. Through family connections, he heard of Florence Woolward, a twenty-five year old daughter of Reverend Woolward, who lived in a small town of Belton, Lincolnshire. Although untrained as an artist or a botanist, she demonstrated an exceptional skill in drawing plants. Having accepted Marquis’s commission, Woolward created hundreds of watercolors of flowers in Monteviot gardens. In 1896, “The Genus Masdevallia,” containing 87 plates and 61 woodcuts, with Woolward’s descriptions, was published in London. Experts agree that her images are among the finest botanical illustrations ever produced. Woolward continued to apply her artistic abilities at the Natural History Museum in London. However, her name remained known only to a narrow circle of botanists. Even her descendants were unaware of the importance of their great aunt’s artistic legacy. It was not until recently that a large number of her previously unknown works have been discovered at Monteviot by the present Marquis of Lothian. Sixty of them were selected and published in Thesaurus Woolwardiae, Orchids of the Marquis of Lothian, by the Missouri Botanical Gardens in 1993. To see the featured prints from these rare books and to learn more about the artists, engravers and publishers involved in their production, visitors may attend the free gallery spotlight presentation “Orchids in Print” at the Stark Museum of Art on Oct. 9, at 1:30 p.m. The talk will be repeated at 2:15 p.m. The presenter is Betty Hyatt, a museum of Art docent. The exhibit and the gallery spotlight are organized in conjunction with Shangri La Botanical Gardens and Nature Center’s “Orchid Festival, Oct. 2-9, and with the lecture “Frances Ann Lutcher: The Orchid Lady” sponsored by The W.H. Stark House on Oct. 4 at the Lutcher Theater. The Stark Museum of Art in located at 712 Green Avenue in Orange. The museum is open to the public Tuesday through Saturday, 10 a.m. to 5 p.m. Admission is free.
Volume 17, No. 2
October 2010 ISSUE • 7
Art classes offer fun in relaxed setting STUDENTS SIT IN FRONT of their canvases, paintbrushes in hand, anxiously waiting for the instructor to start the class. This looks like any other art class. But this is “Painting with a Twist” — so, what’s the twist? “The alcohol,” shouts owner Ashley Hebert. Participants in these art classes are encouraged to BYOB. “People focus on the painting,” Hebert said, “The alcohol is really just liquid courage.” A former elementary and high school teacher, Hebert made the move from Lafayette, La. to Beaumont two years ago. She recently opened Painting with a Twist, an art space located at 229 Dowlen Road, where people can sign up to create original works of art in a relaxed environment. Two-hour classes cost $35 and three-hour classes are $45. The class size ranges from 5 to 40 people, and all art supplies are included. Night-time classes are reserved for adults 15 and over. “We don’t want to lose our adult relaxation creative atmosphere,” Hebert said. Her mother influenced Hebert to become involved in the franchise, she said. “My mother was an artist — the real kind — she makes money with her art,” Hebert said. “She taught me to love art, and I know I am making her proud.” Participants follow the instructor’s prompting and the classes are themed around a specific design.
Story and photos by Callie Summerlin
“Many people think that we have commercialized art, but I think we are creating an appreciation of it,” Hebert said. “The paintings are not cookie cutter. They are not paint-by-number, and there is no pre-sketch on the canvas. “Our classes spark creativity, and the students leave with their own ideas.” If you think you can’t paint, Painting with a Twist will prove you wrong, she said. Painting with a Twist offers step-by-step instruction and a finished product that you can leave with at the end of the night. “Anyone can do art,” instructor Nadia Choates, a recent graduate of McNeese State University, said. “You should see the stuff people do. I watch people who have only ever finger-painted create masterpieces in this room. They add texture and don’t even know what they’re doing.” Choates’ background is in drawing and printmaking. “While I did enjoy the technical training, I didn’t like being told what to do,” she said. “I prefer the laid-back atmosphere where people drink wine, listen to music and create art. I’m into funky street art and tattoo drawing.” Choates said she doesn’t believe in mistakes. “As artists, we just say, ‘We meant to do that,’” she said. “It’s just paint,” Hebert added. “You can cover it up. You shouldn’t be scared of it. “This is an anything-goes atmosphere. We’ll show you how, but you can do whatever you want. It’s your artwork.” For those with a little more technical ability, Painting with a Twist features more difficult paint-
See TWIST on page 15
Ashley Hebert, top left, and Ellen Whitly, above left, teach classes at Painting with a Twist, at 229 Dowlen in Beaumont.
8 • ISSUE October 2010
Volume 17, No. 2
F unkcją PHOTOGRAPHER TALLENT
RICHARD TALLENT, T-SHIRT STICKING to his wet body, bobs in his swimming pool while balancing on a foam noodle. With one hand clutching his camera, he struggles to maintain his balance while demonstrating a pose as his model clings to the side of the pool. Watching this ungainly scene, it is hard to imagine that this photo shoot will result in a series of strikingly graceful images. Yet Richard is building a reputation for beautiful nudes in graceful poses that are both seductive and aesthetically alluring. The results of his recent work can be seen in “Funkcja Wnetrza Osoby,” on display at The Art Studio, Inc., beginning with a reception, 7-10 p.m., Oct. 2. The show runs through Oct. 30. He doesn’t consider himself a highly conceptual artist. “I don’t have huge story lines going on behind my images,” he says. “I’m a pretty simple guy. I am more figurative than anything else. I enjoy the line and form and shape and volume and texture and shadow and lighting — that’s the kind of thing I enjoy most about shooting the human figure. “At the same time I try to work in some emotional overtone or conceptual theme — or
Story by Andy Coughlan
“Drifting Falling, Floating Weightless” by Richard Tallent.
Richard Tallent shoots underwater in the pool in his old town Beaumont house.
Photo by Andy Coughlan
Volume 17, No. 2
October 2010 ISSUE • 9
Wnętrza Osoby
EXPLORES INTERIOR FUNCTION OF MODESTY, NUDITY just an interesting environment, not just inside the studio walls. I’m trying to get more and more outside of those boundaries.” Dealing with the nude figure, Richard has to be mindful to find appropriate public venues. “You do have to be cogniscent of the laws of various places and be aware that is some places you may be toeing the line, and in other places you might be crossing over the line,” he says. “For me, when I am shooting in a public space I want to respect the fact that it is a public space. I’m not interested in shock value. I’m not interested in making a spectacle out of a photo shoot. The vast majority of the time no one has even been aware of the shoot. I’m very picky about finding secluded spaces that appear to be public.” There have been exceptions. “Back in June I was in San Francisco and worked with a model who insisted on shooting in the middle of the street in Chinatown in broad daylight,” Richard says. “We did it very quickly. She laid down in the middle of the street, I took the pictures, and we walked away. “Of course, being San Francisco, people barely registered what was going on.” Some of the results of that shoot will be in the exhibition. Richard says he shoots a mix of people. Half are professional models who travel the country on a circuit. When they come through this area they stay with him and Delanea, his wife of 12 years. “Some of those I have worked with three, four or five times and just loved working with them,” he says. “They are the closest to muses that I have because we are really on the same wavelength.” The other half he describes as normal, everyday people. “Some who had some modeling experience, and some who are completely new at it, people who enjoy the art and just want to be a part of it,” he says. “Yes, some of the professional models are excellent at what they do, but I think a good artist can coach and work with anyone who is willing. “I’m not someone who says, ‘I won’t work with a rank amateur.’ I will work with anyone as long as they are willing to be good.” He pauses for a second and looks over at Delanea. “Except her,” he said with a laugh. She responds with a mock frown. “I am happily married,” he says, “but we do not work well together. I can’t shoot her to save my life. We just sit there and argue.” Delanea is an interior designer and says she loves her job and the artistic outlet it offers. Richard, on the other hand, is keen to keep his art on a non-professional level. “I enjoy this being my avocation,” he says. “I enjoy this being the thing that I do when I am not at work.” While Delanea does not model, she often is with her husband on the shoots where she acts as his assistant and helps with equipment and transport.
“I will sometimes sit close to where we parked and whistle if there’s someone coming,” she says. “Sometimes it makes the models more comfortable that his wife is there.” “Sometimes it makes them less comfortable,” Richard says. “It’s all up to them.” Delanea says she enjoys watching the process.
“All in the Reflexes” by Richard Tallent.
“I am always amazed how, when we are at a shoot it will look just like plain person in the woods,” she says. “Then we get back and look at it on the computer, there are shadows I didn’t see in person. It’s almost
See TALLENT on page 10
10 • ISSUE October 2010
TALLENT from page 9 surreal. You think, ‘How did that get there?’ It’s neat how he captures the figure in whatever space they are in and makes it look interesting. “I don’t see what he sees. Sometimes I will say, ‘Come over here, it looks good from where I’m standing,’ and he will say, ‘No, shut up.’” Richard interjects. “Other forms of art are constructive,” he says. “You start with a blank canvas and build up. With photography it’s different. It’s the art of editing. It is the art of selecting your viewpoint, selecting the angle, selecting the model and the angle you are going to work with. It’s reductive.” Delanea says that having Richard around naked women is not a problem because of the trust they share. “He tells me pretty much everything that he does,” she says. “I get to see all the images when he comes home, so it makes me comfortable that way. For some other people it might be difficult. I’m not saying it wasn’t difficult when he first started doing it. There was a lot of conversing that had to go on before I was comfortable with it. “And when I see him work, it’s really technical. He doesn’t say, ‘Give me a sexy pose.’ It’s like, ‘Left arm up, right arm to the right.’ That’s why I don’t work with him. It bugs the crap out of me.” The show’s title is taken from a Pope John Paul II quote. “It means the function of the interior of a person,” Richard says. “It’s from his book on sexual morality. It’s where he’s talking about modesty and nudity. He says that modesty is not about wearing clothes, that being nude does not devalue the person. Shamelessness, like modesty, is a function of the interior. Since he wrote it originally in Polish, I decided to go with it. “I’m a Christian as well as a photographer, so it’s something I had to work through as well, making sure it was in line with my faith.” Richard was born in Knoxville, Tenn. He moved to Orange when he was 12. He graduated from Lamar University with a degree in computer and information systems. “Not art, alas.” He says. When he is not making art, he is a software devel-
Delanea Tallent, left, watches as her husband Richard shoots models Shannon Purdy, Skye Green and Maddy Boullion at the couples ‘ Beaumont home.
Photo by Andy Coughlan
Volume 17, No. 2 oper for ERM, an environmental consulting firm. “We work with a lot of major industrial clients to assist them with compliance for environmental health and safety regulations,” he says. He did not really start getting the photography bug until 2001, when he bought his first digital camera, a Canon digital Rebel. As one would expect from a software developer, it was the technology that first attracted him. “Before I worked for the company I am with now, I was a Web designer for local Internet firms so I already had experience of Photoshop and digital scans,” he says. “But that was back in the day when you’d shoot with 35mm film and have it scanned.” He says he is not a child of the film era. “I got into photography after digital took over,” he says. “It’s instant gratification. I can look at the back and see what I did. “But when I first bought my camera it was literally just for taking fun little snapshots. When I got my SLR we went on vacation to New York. It was my first time there and I kind of got into doing street photography, although I didn’t know what it was at the time. “I started looking into it and found some artists I really respected. That how I started getting into the art, by seeing people like Henri Cartier Bresson. I really latched onto that. “I started doing some portrait-type things, but not art. I was hired, by some random chance, to do a swimsuit calendar for a hip-hop artist in Houston. It was an utter disaster of a shoot and not the content I was interested in, but that was when I started working with models. I decided I enjoyed that, so I started getting into fashion photography.” Richard subscribed to a series of fashion magazines and began shooting shots for model’s portfolios. “As I continued shooting fashion I continued to get more and more editorial, and less and less commercial,” he says. “So I started getting into fashion nudes and from there into art nudes. The rest is history.” He has paid his dues, including wedding photography, mostly to subsidize his art. “It allowed me to build my studio, get equipment, keep my photos up-to-date, and all that,” he says. “The weddings have basically paid for everything up to this point. Now that I have quit the weddings….” His voice trails off and he begins to laugh. “I don’t know how I am going to pay for this
“Untitled” by Richard Tallent ‘hobby,’” he says. Richard produces limited runs of his images and sells them through his Web site, www.tallent.us. He is also to be found on Facebook. He limits his most recent editions to 30. He takes pains to point out that he doesn’t just shoot female nudes, even if it seems that way. “Part of the difficulty of being a photographer of nudes is that it is very difficult to find male models,” he says. “Models are self selecting. People who advertise themselves on modeling Web sites, or who express interest in posing, tend to be young, female and relatively thin. As much as I enjoy shooting people, that doesn’t lend itself to a lot of variety. “When I do get to shoot with male models I take full advantage of it. I worked with one in San Francisco a few months ago, and I worked with a married couple a couple of years ago who posed together and we got some really great shots.” He says he doesn’t discriminate on the basis of age or sex. In fact, he would welcome any volunteers who wish to pose. “I’m looking for variety,” he says. “This is figure modeling. It isn’t glamour; it isn’t Playboy. My intent is not to make someone look sexy. If they end up looking sexy it is totally a coincidence, a side effect.” At the moment he “pays” his models mostly with a print of the finished work. “One reason is that it helps me select people who are really interested and not just in it for the money,” he says. “And the second reason is that I can deliver more value in a print than I can trying to pay them in cash, which would probably be the standard life-drawing rate per hour. “When I pay models in prints it does feel like more of a collaboration. They feel they have more invested in it beyond just a shoot.” At the underwater shoot, Richard climbs out of the water and leaves the three models to float about the pool. He calls Delanea and she runs off to the house to get some piece of equipment. Richard calls the three models over. In quick time, they are stretched across each other, arms and legs contorted into some uncomfortable angles. Richard stops for a moment and it is quiet. “Move your leg that way and shift your arm across her shoulder,” he tells one of the models, before the camera begins to click away.
Volume 17, No. 2
October 2010 ISSUE • 11
SNAP YOUR FINGERS
Poetry to return to Studio in October for National Day on Writing celebration SNAPPING FINGERS WILL SIGNAL approval as poetry is set to return to The Art Studio. In conjunction with National Day on Writing celebrations, Lamar’s Sigma Tau Delta, the International English Honor Society, will host a “Poetic Circle,” an evening of poetry, art and music, Oct. 22 at 7 p.m. “We plan to feature student poets from Lamar University and Pulse Magazine (LU’s student literary journal) and will open the floor to anyone who would like to read as well,” Mary Baswell, Sigma Tau Delta president, said. “Ideally, we will have an hour or so of poetry open mic, then perhaps have a few musicians play an open mic. We will have beer, wine, and light refreshments. The event will be free of charge, but we encourage canned food donations at the door.” The canned goods will be donated to the Southeast Texas Food Bank. “Having it at The Studio will provide the event with an artistic atmosphere with the photography exhibition on display that month,” Baswell said. National Day on Writing, organized by the National Council of Teachers of English, seeks “to draw attention to the remarkable variety of writing we engage in, and to help writers from all walks of life recognize how important writing is to their lives,” according to the organization’s Web site. “The National Day on Writing will celebrate the foundational place of writing in Americans’ personal, professional, and civic lives, point to the importance of writing instruction and practice at every grade level, for every student and in every subject area from preschool through university, and emphasize the lifelong process of learning to write and composing for different audiences, purposes, and occasions.” the Web site states. The organization also hopes the day will “recognize the scope and range of writing done by the American people and others, honor the use of the full range of media for composing, and encourage Americans to write and enjoy and learn from the writing of others.” “The event will serve as an end-of-the-week festivity that celebrates the art of writing and language,” Baswell said. “The holiday season will be in full swing by late October, so we thought the food drive would be a great way to support local art and to give back to our community at the same time.” Though the event is sponsored by and will feature talent from Lamar University, the poetry circle is open to anyone who is interested in experiencing local art and artists. “The entire community is invited,” Baswell said. “If someone would like to read, they can
bring along friends or family to cheer them on. If someone loves to play guitar and sing, we encourage them to come out and perform in an intimate and nurturing environment. “We hope that the poetry circle will become a regular event, perhaps once-a-month, and all we need for that to happen is an audience and participation. Artists of any kind need a support system of like-minded individuals and those that will encourage their creativity. With the poetry circle, we hope to form a close-knit community of artists that can feed off and inspire one another. I sincerely hope that this forum will revitalize the artistic spirit in Southeast Texas and will become an event that artists and the community are excited to be a part of. Baswell said the event aims to be inclusive and welcoming to everyone. “With the incorporation of other local artists, the poetry circle will be more than just a poetry reading,” she said. “And by ‘artist,’ I don’t mean the individual has to be published or locally wellknown. We invite the guy who secretly writes poetry in his spare time to come out and meet other people just like him. We invite the girl who only sings in the shower even though her friends
tell her she has an amazing voice to come out and give it a try. “The event is about more than reading poetry or singing songs. It is about a network of individuals coming together to share their thoughts and their art. It is about opening up the doors to the community and demonstrating the immense talent we have in the Golden Triangle. “Some people might ask, ‘Why go to a poetry reading?’ If they have to ask, it may not be for them. However, the experience will be inspiring and fresh and offer the audience and participants an extraordinary medium in which to present their art.” As a writer herself, Baswell said she knows that there are many people who long for such an artistic outlet. “I expect younger and college-age participants, but we have just as many artists that moonlight as lawyers and bankers and teachers as well,” she said. “I think it’s a phenomenal way to meet new people, share thoughts and ideas, and come together to support local art and the community.” For more information, email Baswell mrbaswell@my.lamar.edu.
12 • ISSUE October 2010
Volume 17, No. 2
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 DISHMAN ART MUSEUM will host A HOMECOMING: A TRIBUTE TO PROFESSOR EMERITUS JERRY NEWMAN, Oct. 8 to Nov. 9. The show will open with a reception beginning at 7 p.m., Oct. 8. Newman taught at Lamar University for more than four decades. Upon his retirement in 1999 at age 65, The Texas State University System Board of Regents honored him as distinguished professor emeritus, stating that he “left an enduring legacy of artistic excellence in the brushes and palettes of students who themselves have garnered widespread attention and respect.” The artists selected for this exhibition will present their work at an alumni show. The museum is located at 1030 East Lavaca on the Lamar University campus. For more information, call 409-880-8959. _______________ The ART MUSEUM OF SOUTHEAST TEXAS will host the ART OF BEER 2010, 6-10 p.m., Oct. 7. The event is “a foam-filled and adventurous fundraising event where beer-lovers and those new to the brew will have the opportunity to sample a selection of the finest specialty and seasonal brews from around the world paired with complementary food dishes,” AMSET public relations coordinator Melissa Tilley said in a release. Funds raised at this annual celebration of global beer and the art of brewing benefit AMSET’s exhibitions and educational programs while taking the beer tasting idea to another level. For Art of Beer 2010, AMSET is bringing in local distributors Giglio and Del Papa with their best and most unique beers to sample, Tilley said. Also on hand from Houston will be Saint Arnold Brewing Co. and Ben E. Keith Beverages, with more still coming on board. “Those beers will be perfectly paired with a variety of delicious food items and a cheese bar,” Tilley said. Carrabba’s Italian Grill will provide entrees for all patrons. Other food pairings will be prepared by Abbie’s Imports, Basic Foods, H-E-B, Katharine & Co., Rao’s Bakery, Spindletop Steakhouse and Continental Cuisine, Two Magnolias, Zummo Meat Co. and more. Spindletop chef and owner Chuck Harris will prepare his homemade and beer-blended ice creams for beer floats. “Art of Beer 2010 will offer patrons a whole new array of the best beer from across the globe carefully selected and paired with amazing food dishes,” Tilley said. “This event is so much fun and we are pleased that it continues to grow each year.” Art of Beer 2010 will also include musical entertainment performed by the Cadillacs. Admission to the Art of Beer is limited, so advance reservations are recommended. Tickets are $50 per person for AMSET members, or $60 per person for non-members and can be purchased online at www.amset.org, at 500 Main
Street in downtown Beaumont or by calling 409-8323432. _______________ LAMAR STATE COLLEGE-PORT ARTHUR announces a call for entries for the fall 2010 ART AUCTION. The show is in response to the success of the Centenniel Art Show in 2009. The auction is open to area artists, including high school and college students. The work will be displayed in the theater lobby of the Performing Arts Building at LSC-PA Nov. 8-12 during school hours. A reception will be held 5:30-7 p.m., Nov. 13. A silent auction will be held during the reception. LSC-PA will receive a 40 percent commission on all sales. Proceeds will be used to endow a scholarship fund for art students. Deadline for entries is Nov. 1. Framed 2D pieces no larger than 36 x 36 inches will be accepted. For more information, contact Grace Megnet at 409-984-6477, or email ruth.megnet@lamarpa.edu. _______________ The ART MUSEUM OF SOUTHEAST TEXAS requests the assistance of local art collectors and artists in its search for artwork created by Southeast Texas artists from 1925 to 1965 for an exhibition scheduled to open in January 2011 titled, SOUTHEAST TEXAS ART: CROSS-CURRENTS AND INFLUENCES. The deadline for loaning artwork is Nov. 1. “There was such an abundance of talented artists working in Southeast Texas during this time period that this exhibition has great potential,” Sarah Hamilton, AMSET curator of exhibitions and collections, said. “We are trying to bring that artwork together into a cohesive exhibition to share with the community that represents its history.” “Southeast Texas Art: Cross-Currents and Influences” will feature a wide array of paintings, drawings and sculptures. The exhibition will examine and address the strong artistic, stylistic, and geographic connections and influences that prevailed between artists’ work produced in Southeast Texas (particularly Beaumont and Port Arthur) and the important early Texas artists working around the state during a span of 40 years from 1925 to 1965. These highly influential Texas artists include Otis Dozier and DeForrest Judd of Dallas, and Robert Preusser of Houston, who traveled to Beaumont during the middle of the 20th century to serve as jurors in various local fine art competitions. Their impact was pivotal to the local art scene of Southeast Texas. Some of the significant Southeast Texas artists working during the mid-20th century whose work will be featured in AMSET’s exhibition include: Lorene David, Maudee Carron, Lillian Hayes, Katherine Green Baker, Lynn Sweat, Dennis McCarthy, Jack Shofner, Clarice Holloway, Eva Hogeland, Watson Neyland, Naiman Woodland, Merle Cox, Herman Hugg, Erin O’Brien, Will-Amelia Sterns Price, Richard Stout, Jerry Newman, John
Alexander, David and Patricia Cargill, Robert Rogan, Robert Madden, George Hampton, Waifie Hoffman and Vallie Fletcher, among others. Collectors are asked to loan pieces fitting this description to the museum for the exhibition, and they will be returned once the show closes in April. Hamilton adds that pulling artwork from private collections throughout the community adds to the intrigue of exhibitions like this one. To loan artwork or for more information, contact Hamilton at 409-832-3432 or e-mail shamilton @amset.org. AMSET is located at 500 Main in downtown Beaumont _______________
The STARK MUSEUM OF ART will host a BOOK PANEL DISCUSSION Nov. 6 at 3 p.m. “Join us for a round-table discussion of the book “The Medici Giraffe: And Other Tales of Exotic Animals and Power” by Marina Belozerskaya, which explores exotic animals as mirrors of the cultures that prized them,” Elena Ivanova, chief educator of the museum, said. Participants are encouraged to read the book in advance. A panel will lead the discussion which will be moderated by Andy Coughlan, Editor of ISSUE arts magazine, exhibiting artist and assistant director of student publications at Lamar University. Light refreshments will be served and admission is free. The museum is located at 712 Green Avenue in Orange. For information, visit www.starkmuseum.org.
October 2010 ISSUE • 13
Volume 17, No. 2
Tho ughtcrime
September 11, 2011 Today, much like another day not long ago, we stand beneath a big, blue bell of autumn air that rings high into the sky.
Submission Guidelines and Disclaimer ISSUE solicits and publishes the work of local authors. Poetry, short fiction, scholarly works and opinion pieces may be submitted for review. All works must be typed or submitted on a disk (using approved word processing software), or may be sent to TASI by e-mail. All works are subject for review by our editor, and may be rejected or edited on the basis of grammar, spelling or content. The opinions expressed in “Thoughtcrime” do not necessarily reflect the opinions of TASI, its Board of Directors, ISSUE’s editorial staff, or donors to TASI. Send typed works to:
Look up there. How can tears be shed on such a day as this? How can they not be shed? Three thousand times we can deny the rain within our hearts, today. Yet rain will come beneath this warm September sun. For in our hearts are memories of dark souls, and smoke, and death unspeakable that even skies of blue and fine fall days of living well cannot construe.
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.
Frisky Business
Poor Man’s Palette
It’s about that time, and I hate to say that I’ll fall for a thousand boys today. I’m a lady, of course. I’ll tr y to conceal it, but it will be hard. I can already feel it.
With red clay on my cold hands I make my way, outlined against a poor man’s palette of muddy browns and mortem greens, saturated into the tattered stalks and tufts of colloquial grasses that can stand to grow nowhere else.
Look up in the sky.
It will come in waves that I’ll tr y to ignore, and I’ll tr y to behave when I go to the store; but I find that I tend to hover and lurk around some desirable stocking clerk. I’ve learned to disguise a fact from the surface: I’ve no intention of making a purchase. But still, I’ll waste a pretty good while creeping around in the stock-boy’s aisle, until it’s time to attend my classes full of boys—with hats, with glasses, and even he whose face is flawed might have a back all solid and broad, or a chiseled jaw, or radiant hair— I‘ll find a feature I like somewhere. And like some scar y insatiable creature, my hungr y eyes will gobble the teacher.
Remember those who died not long ago that other day.
So avoid me boys, and beware if you catch my sneaky, burning stare. It's a terror the way my affections swell when I fall under this monthly spell.
Jesse Doiron
Lucy Biebel
Bright red busts of birds peek from between husk-thin reeds and ruddy socks of cattails. Warbles and woody rattles of beaks pull rhythm from inky puddles that reflect a petroleum sheen. With red clay on my cold hands I find my way, allied against an old man’s hindsight, of settled terms and jobs that paid, sunken in the marshy earth, situated along the coastal shore. He could stand to go nowhere else. Like a blessed torrent, my thoughts wash over wrought ways of life. Bits of words and ideas lift the stains of rusty oxtails, slough off layers of silt and recession, and rinse clean the petroleum sheen.
The Nothing Fable Prologue: This messed up world that eats your soul and devours poor innocence.
I cannot appreciate its beauty, because it is plainly so. This is where I live.
And wakes you to the dawn of a new evil with each foul breath you take. Mar y Baswell Cut our wrists, make us bleed, Forever for the blood we feed, Until you say no more, Last ones home are the ones to know, The truth may set you free, But when it’s evil what shall you be? Hate may breathe in fire and burn you with seduction and desire, But love so strong will prove you wrong, Believe what you’re told, and grow evil and old, Trust no one but yourself, you’re crazy on pills but normal without them so what’s wrong? Pray for your sins and save your kin, Be a hero or walk the line of a zero, I don’t see you and I don’t need you. Betty Langham
Deepwater Horizon Black plumes swirl from the deep. Avian plumage blackened from the seepage. Salt water from tears is lost Amid the salt of the Gulf waters. But not to worr y, it’s all gone now. No harm done. Move along, move along. Nothing to see here. Andy Coughlan
14 • ISSUE October 2010
Volume 17, No. 2
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 17, No. 2
October 2010 ISSUE • 15
VIEW from page 3
TWIST from page 7
plines, you might find them eye opening and quite engaging. As always, we are looking for good people who want to advance the arts on a grassroots level in whatever capacity you feel you can contribute. Speaking of contributions, Elizabeth French has been working all summer to try and make sense of the jigsaw puzzle we call the “mailing list.” Soon you will receive a letter requesting membership and other points of interest. The problem is some of our records got jumbled and we are not sure about some of the due dates and some of the phone numbers. I tell you this so if you find some glaring error or feel you have already paid your membership, please let us know. We can take criticism, and then we can be more accurate with our records. We at The Art Studio appreciate the help and contributions made by our community. Without the participation of the arts community and the population as a whole, the goals of The Art Studio would diminish.
ings that incorporate different styles such impressionism and realism. “We offer over 800 choices,” Choates said. “The number grows every week. There are paintings for everyone.” On the first Saturday of each month, they host “SOS Saturday” from 10 a.m. to 12 p.m. for those who want to come back to work on a previous painting. “It gives our customers peace of mind,” Hebert said. “They know their painting will look good.” Private parties are welcome with a minimum of 10 people. The cost is the same, but you get to choose the time and the painting. Family days are once or twice a month. “We encourage parents to bring the kids,” Hebert said. Painting with a Twist believes in giving back to the community. “We choose a charity each month and half of the proceeds from the designated ‘Painting With a Purpose’ class go to the charity,” Hebert said. “So far, we’ve donated to the Lance Armstrong Foundation, CASA, and the Anayat House.” Hebert said that it is a good alternative to a typical evening out. “It’s a good date night as a couple or a group of friends,” she said. “It’s something do outside of the typical date or night at the bar — the art is the bonus. “People make new friends here. We stress at the beginning of each session that it’s the memories you make while you’re painting that’s important. “We have people that come in almost every week. We’re
new, but we already have ‘regulars.’ Our customers want to be here. “The biggest response has been that this is fun. People really do leave proud of their work.” Instructor Lindsay Spector is a self-taught artist who believes “everything is art.” The X-ray technician said she turned her garage into an art studio, picked up a paintbrush and fell in love. Spector is at the forefront of art-as-entertainment emphasis at Painting with a Twist. “People want to be entertained — I entertain them,” she said. “It’s not unusual to catch me dancing around and doing karaoke for the class. I’ve been called “inappropriately delightful,” and I think it suits me.” Hebert said that the program’s motivation is to encourage people to make art and explore their creative side. “We want to give them the confidence to not just create here, but leave and make art at home,” Hebert said. The class begins with a recitation of their motto: “In art, there are no mistakes, only creative differences.” Choates said that it is important to promote the arts in the community. “It’s kind of beautiful,” she said. “There is a problem with schools taking out art and music classes. The more people that get involved and see the beauty in art and creativity, the more likely they are to get involved and help schools keep art in their curriculum. “We want to open the eyes of the general public.” To choose a design and register for a class, visit www.paintingwithatwist.com/beaumont, or visit their Facebook page.
WE WANT YOU FOR BAND NITE Hear original music by local musicians at For upcoming gigs, visit the studio’s facebook page or www.myspace.com/artstudio
$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 • RICHARD TALLENT PHOTOGRAPHY • THOUGHTCRIME: MUSINGS FROM AREA POETS • POETRY AND MUSIC CELEBRATION • ART OF BOTANICAL ILLUSTRATION
When you support The Art Studio with your membership, you receive ISSUE, Southeast Texas’ and Southwest Louisiana’s alternative press as well as class schedules, invitations to opening receptions and various Studio functions.
Volunteers These people are the life blood of our organization. WE COULDN’T DO IT WITHOUT YOU! To volunteer, drop by The Art Studio, Inc., or call 409-838-5393. Bryan Castino April Ringland Heather Eager Andy Ledesma Rhonda Rodman Sue Wright Cyndi Grimes Rhonda McNally Andy Coughlan Renee Coughlan Olivia Busceme Greg Busceme, Jr. Brianna Grice Ben Jennings Beth Gallaspy Chad McGillivray Kimberly Brown Kim McLothlin Trisha faye Nathaniel Welch John Roberts James Warren Terri McKusker Willie McKusker Sheila Busceme Deborah Snyder Colby Duhe Beau Dumesnil Karen Dumesnil Tosha McKusker
JOIN US FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH THIS MONTH:
F unkcją Wnętrza Osoby P h o t o s by R i c h a r d Ta l l e n t OCTOBER 2 GALLERY RECEPTION IS 7-10 P.M.
ISSUE
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