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<ĞŝƚŚĂƌƚĞƌ &ŝƌĞŇŝĞƐ͕ϭϵϵϮ WůĂƟŶƵŵƉĂůůĂĚŝƵŵƉƌŝŶƚ ϭϬпϭϬŝŶ Ϯϱ͘ϰпϮϱ͘ϰĐŵ

Contents Common Threads

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YƵŝůƟŶŐŚĂƐŽŶůLJƌĞĐĞŶƚůLJďĞĞŶĐĂƚĞŐŽƌŝnjĞĚĂƐ ĂĮŶĞĂƌƚ͕ďƵƚŝƚŚĂƐĂůǁĂLJƐƉŽƐƐĞƐƐĞĚĂƐƚƌŽŶŐ ŶĂƌƌĂƟǀĞƉŽǁĞƌ͘>ŽĐĂůĂƌƟƐƚ^LJůǀŝĂtĞŝƌŚĂƐƐƚĂƌƚĞĚ Ă^YĐŚĂƉƚĞƌĨŽƌƋƵŝůƚĞƌƐ͘

Precious Metals

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ƌĂŌŝŶŐũĞǁĞůƌLJŝƐĂŵƵůƟĨĂĐĞƚĞĚĂƌƚ͖ĂƐƐĞŵďůĂŐĞ͕ ǁĞůĚŝŶŐ͕ƐŵŝƚŚŝŶŐ͕ĐĂƌǀŝŶŐ͕ƐĐƵůƉƟŶŐͲĞĂĐŚŽĨƚŚĞƐĞ ĚŝƐĐŝƉůŝŶĞƐƐĞƌǀĞŝŵƉŽƌƚĂŶƚƌŽůĞƐ͘EĞǁĚĞǀĞůŽƉŵĞŶƚƐ ĂƌĞĐŚĂŶŐŝŶŐƚŚĞĐƌĂŌĞǀĞŶĨƵƌƚŚĞƌĂŶĚŽƉĞŶŝŶŐ ŶĞǁŽƉƉŽƌƚƵŶŝƟĞƐƚŽĂƐƉŝƌŝŶŐĂƌƟƐƚƐ͘

Billboard

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zŽƵƌŽŶĞƐƚŽƉŝŶĨŽƌŵĂƟŽŶƐŚŽƉ͘

Robert Rauschenberg

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dŚĞDƵƐĞƵŵŽĨƚŚĞ'ƵůĨŽĂƐƚŚĂƐĂƉĞƌŵĂŶĞŶƚ ĞdžŚŝďŝƚĚĞĚŝĐĂƚĞĚƚŽƚŚŝƐǀŝƐŝŽŶĂƌLJĂƌƟƐƚ͘

Curator’s Corner

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ĞŶŶŝƐ<ŝĞů͕ĐƵƌĂƚŽƌŽĨƚŚĞŝƐŚŵĂŶƌƚDƵƐĞƵŵ͕ ŽŶŚŽǁŚĞĂƌƌŝǀĞĚĂƚƚŚĞƉŽƐŝƟŽŶĂŶĚŚŽǁŚŝƐ ƉŚŝůŽƐŽƉŚLJŽĨĂƌƚŐƵŝĚĞƐŚŝƐĞdžŚŝďŝƟŽŶĐŚŽŝĐĞƐ͘

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welcome  tĞǁĞůĐŽŵĞƚƌĂǀĞůĞƌƐƚŽ^ŽƵƚŚĞĂƐƚdĞdžĂƐ͕ǁŚĞƌĞǁŝŶƚĞƌƐĂƌĞ ŵŝůĚĂŶĚƐƵŵŵĞƌƐƚŚĞŵŽƐƚĐŚĂůůĞŶŐŝŶŐ͘tŚĞƚŚĞƌLJŽƵĂƌĞůŽŽŬŝŶŐĨŽƌ ĂĚǀĞŶƚƵƌĞ͕ ĞŶƚĞƌƚĂŝŶŵĞŶƚ͕ Žƌ ĐƵůƚƵƌĂů ĞŶůŝŐŚƚĞŶŵĞŶƚ͕ ǁĞ ďŽĂƐƚ ĂŶ ŝĚĞĂůůŽĐĂƟŽŶ͘hŶŝƋƵĞůLJƐŝƚƵĂƚĞĚďĞƚǁĞĞŶ,ŽƵƐƚŽŶĂŶĚEĞǁKƌůĞĂŶƐ͕ ǁĞŽīĞƌĂƚĂƐƚĞŽĨďŝŐĐŝƚLJƚĂůĞŶƚǁŝƚŚŽƵƚ ƚŚĞ ƚƌĂĸĐ ĂŶĚ ůŽŶŐ ůŝŶĞƐ͕ ĂŶĚ Ă ĐŽŵďŝŶĂƟŽŶ ŽĨ ĞƚŚŶŝĐ ŇĂǀŽƌƐ ǁŝƚŚ ŽƵƌ ĂũƵŶ͕ ƌĞŽůĞ͕ĨƌŝĐĂŶ͕,ŝƐƉĂŶŝĐ͕ƐŝĂŶ͕ĂŶĚƵƌŽƉĞĂŶĂŶĐĞƐƚƌLJ͘  ĞĂƵŵŽŶƚŚĂƐďĞĞŶǁŽƌŬŝŶŐŚĂƌĚƚŽ ĚĞǀĞůŽƉĂŵĂŐŶŝĮĐĞŶƚĚŽǁŶƚŽǁŶŚƵďǁŝƚŚ ŵƵĐŚƚŽŽīĞƌƚŚŽƐĞǁŝƚŚĞŶƚĞƌƚĂŝŶŵĞŶƚŝŶ ŵŝŶĚ͘dŚĞŶĞǁǀĞŶƚĞŶƚĞƌďŽĂƐƚƐϭϲ͕ϬϬϬ ƐƋƵĂƌĞ ĨĞĞƚ ŽĨ ƐĞĂƟŶŐ ƐƉĂĐĞ ĂŶĚ ŚŽƐƚƐ Ă ĐŽŶǀŝǀŝĂů ĂƐƐŽƌƚŵĞŶƚ ŽĨ ŐĂůĂƐ ĂŶĚ ƉƌŽĚƵĐƟŽŶƐ͕ ĂŶĚ ƚŚĞ ĚŽǁŶƚŽǁŶ͛Ɛ ƉĞĚĞƐƚƌŝĂŶǁĂůŬǁĂLJƐǁŝůůĂůůŽǁǀŝƐŝƚŽƌƐƚŽƐƚƌŽůůĞĂƐŝůLJƚŽŶĞĂƌďLJƉĂƌŬƐ͕ ŵƵƐĞƵŵƐ͕ĂŶĚůŝǀĞƉĞƌĨŽƌŵĂŶĐĞƐ͘

Off Ramp A Guide to Arts and Cultural Adventures in Southeast Texas &ĂůůͲtŝŶƚĞƌϮϬϭϵͻsŽů͘ϯ͕EŽ͘ϭϬ Publisher ^ŽƵƚŚĞĂƐƚdĞdžĂƐƌƚƐŽƵŶĐŝů Board of Directors Pam Trosclair – President Magda Villarreal – VP Beaumont Dexter Broussard – VP Orange Adalaide Balaban – VP Hardin ^ĂŶĚƌĂ>ĂƵƌĞƩĞʹ^ĞĐƌĞƚĂƌLJ WĞŶŶLJ>Ğ>ĞƵdžʹdƌĞĂƐƵƌĞƌ At Large Albert Faggard David Cargill Sue Denosowicz Victor Higginbotham Bridget Johnson Codie Vasquez WĂƚƌŝĐŝĂĂƌƌLJZƵŵďůĞ Greg Busceme 'ůŽƌŝĂZŽLJ Ăƌƌŝ,ŽīŵĂŶ ^ƚĂī

 WŽƌƚ ƌƚŚƵƌ͕ ŚŽŵĞ ŽĨ ŵĂŶLJ ĂĐĐůĂŝŵĞĚ ĂƌƟƐƚƐ ŽĨ ĞǀĞƌLJ ŵĞĚŝƵŵ͕ŚĂƐĂƵŶŝƋƵĞŚŝƐƚŽƌLJĂůůŝƚƐŽǁŶ͘sŝƐŝƚƚŚĞDƵƐĞƵŵŽĨƚŚĞ'ƵůĨ ĐŽĂƐƚŽŶWƌŽĐƚĞƌ^ƚƌĞĞƚĨŽƌĂŶŽƉƉŽƌƚƵŶŝƚLJƚŽǀŝĞǁƚŚĞŚŝƐƚŽƌLJŽĨŵĂŶ ĨƌŽŵďĞŐŝŶŶŝŶŐƚŽƉƌĞƐĞŶƚĚĂLJ͘ŶũŽLJĞdžŚŝďŝƚƐŽŶŵƵƐŝĐ͕ĐƵůƚƵƌĞ͕ĂŶĚ ŵŽƌĞĂƚƚŚŝƐĚŝǀĞƌƐĞŵƵƐĞƵŵ͘^dŚĂƐĂůƐŽůĂƚĞůLJďĞŐƵŶŚŽƐƟŶŐƚŚĞ ĂũƵŶ ,ĞƌŝƚĂŐĞ &ĞƐƚ͕ Ă ĨŽŽƚͲƐƚŽŵƉŝŶΖ ũĂŵďŽƌĞĞ ŽĨ ĂũƵŶ ĂŶĚ ƌĞŽůĞ ĐƵůƚƵƌĞĂƚƚŚĞĂƌůWĂƌŬĞƌDƵůƟƉƵƌƉŽƐĞĞŶƚĞƌĂƚ>ĂŵĂƌ^ƚĂƚĞŽůůĞŐĞ͘

džĞĐƵƟǀĞŝƌĞĐƚŽƌ Sue Bard ƌĞĂƟǀĞŝƌĞĐƚŽƌ Blake Bertrand

 KƌĂŶŐĞ ƚŽŽ͕ ŚĂƐ ŵƵĐŚ ƚŽ ďĞ ƉƌŽƵĚ ŽĨ͘ ,ŽŵĞ ŽĨ ƚŚĞ ^ƚĂƌŬ DƵƐĞƵŵ ŽĨ ƌƚ͕ ƚŚĞ ŚŝƐƚŽƌŝĐ ^ƚĂƌŬ ,ŽƵƐĞ DƵƐĞƵŵ͕ ĂŶĚ ƚŚĞ >ƵƚĐŚĞƌ dŚĞĂƚĞƌ͕ ǁŚĞƌĞ ƐŚŽǁƐ ĨƌŽŵ ĂĐƌŽƐƐ ƚŚĞ ǁŽƌůĚ ĐŽŵĞ ƚŽ ƉĞƌĨŽƌŵ͕ ƚŚŝƐ ƐŵĂůůƚŽǁŶǁŝůůĐŚĂƌŵƚŚĞŵŽƐƚƐŽƉŚŝƐƟĐĂƚĞĚǀŝƐŝƚŽƌ͘  tĞĂƌĞƚŚĞĐĞŶƚĞƌŽĨŝŶĨŽƌŵĂƟŽŶĨŽƌĂƌƚƐĂŶĚĐƵůƚƵƌĂůĞǀĞŶƚƐ ŝŶ^ŽƵƚŚĞĂƐƚdĞdžĂƐ͘dŽĮŶĚŽƵƚǁŚĂƚ͛ƐƵƉ͕ĂŶLJƟŵĞĂŶĚĂŶLJǁŚĞƌĞ͕ǀŝƐŝƚ ƵƐĂƚƐĞƚdžĂĐ͘ŽƌŐ͕ĮŶĚƵƐŽŶ&ĂĐĞŬĂƚ&ĂĐĞŬ͘ĐŽŵͬ^dy͘KZ'͕ ŽƌĨŽůůŽǁƵƐŽŶdǁŝƩĞƌΛ^ddǁĞĞƚƐ͘

KīZĂŵƉŝƐĂǀĂŝůĂďůĞǁŝƚŚŵĞŵďĞƌƐŚŝƉƚŽƚŚĞ ^ŽƵƚŚĞĂƐƚdĞdžĂƐƌƚƐŽƵŶĐŝů͘ WŚŽŶĞ͗ϰϬϵͲϴϯϱͲϮϳϴϳ;Zd^Ϳ KŶůŝŶĞ͗ǁǁǁ͘ƐĞƚdžĂĐ͘ŽƌŐ

&ŝŶĚƵƐŽŶ&ĂĐĞŬ͊ ^ĞĂƌĐŚ ^Khd,^ddy^Zd^KhE/>

Sue Bard, Executive Director Southeast Texas Arts Council KŶƚŚĞĐŽǀĞƌ͗dŽŵEĞĂů͕džĞĐƵƟǀĞŝƌĞĐƚĞƌ͕DƵƐĞƵŵŽĨƚŚĞ'ƵůĨŽĂƐƚ

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^ŽƵƚŚĞĂƐƚdĞdžĂƐƌƚƐŽƵŶĐŝů WKŽdžϯϵϮϱ ĞĂƵŵŽŶƚ͕dyϳϳϳϬϰͲϯϵϮϱ /^EϭͲϴϴϲϭϯϬͲϯϭͲϬ KīZĂŵƉDĂŐĂnjŝŶĞŝƐƉƵďůŝƐŚĞĚƐĞŵŝͲĂŶŶƵĂůůLJďLJ ƚŚĞ^ŽƵƚŚĞĂƐƚdĞdžĂƐƌƚƐŽƵŶĐŝů͘ůůŵĂƚĞƌŝĂůƐ ĐŽƉLJƌŝŐŚƚĞĚŝŶϮϬϭϴďLJƚŚĞ ^ŽƵƚŚĞĂƐƚdĞdžĂƐƌƚƐŽƵŶĐŝů͘ ůůƌŝŐŚƚƐƌĞƐĞƌǀĞĚ͘

Off Ramp • Fall/Winter 2019 • www.setxac.org

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DANCE B∏EAKS. B∏EAKOUT SESSIONS.

When you bring your meeting to Beaumont, you make a real difference. Local businesses feel real impacts. That’s why we offer creative incentives, VIP planning and customized entertainment. And a team dedicated to helping with everything from accomodations to zydeco.

Meet fun. Meet flexible. MeetBeaumont.com

1-800-392-4401 | Freddie Willard, Director of Sales Off Ramp • Fall/Winter 2019 • www.setxac.org

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Quilting & Art A common thread The woman sits at her table and quilts. Perhaps it is a summer quilt, with top and backing only, meant to keep off the relative chill of summer nights. Perhaps it is made for warmer uses and has batting or insulation between. She may be using an older quilt as such, sewn between the layers of the new. After all, she rode west on a wagon train and new fabric is quite valuable. If she runs out of material she may repurpose old clothing or other used fabrics, each with a story she knows and sews into her quilt. Following the traditional methods of quilting, she does not stitch her work with figurative representations or scenery, yet she creates an aesthetically pleasing design imbued with personal meaning; indeed, decades before the Abstract Expressionists put brush to canvas, both male and female quilters were exploring their own styles of abstract design. The practice of quilting - that is, sewing fabric in layers - has existed for a very long time. The first example of a quilted garment is depicted on an ivory carving of a Pharaoh from the First Dynasty, circa 3,400 BC. It has existed elsewhere as part of needlework traditions in various cultures. It was actually relatively rare in Europe until after the Crusades, when returning soldiers brought quilted items back from the Middle East. From there it traveled to the Americas, but the making of quilts was not seen as a fine art until the 1970s. Prior to the 1971 Whitney Museum of American Arts exhibit, Abstract Design in American Quilts, quilts were largely seen as functional items, whose value lay primarily in the historical stories they could tell (see aside). Indeed, the practical use of the final product dictated that throughout most of history, quilts were made to be used first, and appreciated second. The Whitney exhibit changed that broad perception. Organized by collectors Jonathan Holstein and Gail van der Hoof, quilts were displayed for the first time on a museum wall, appreciation first and practical use a distant acknowledgement. Chosen strictly for their aesthetic value and completely disregarding the question of creator or historicity (for which the show garnered some criticism), Abstract Design in American Quilts opened the gates of the fine art world to a rather fantastically abstract art form that had been chugging along on its own for thousands of years. Today, fabric arts courses can be found among the offerings of any college art department, and the medium has become broadly expressive, pushing the traditional boundaries of the format well beyond functionality and into conceptual messaging and/or pure aesthetic exploration.

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Quilts as Historical Markers Though quilts can tell much about history through the type and quality of fabric used, the visual motifs displayed, and the techniques of their construction, quilts made by American pioneers have an additional means of communicating history. Foundation piercing was a popular method of creating custom patterns at the time and involves clipping paper into shapes to serve as the template. Pioneers used whatever paper they had available - letters, newspapers, magazines - and often sewed the paper into the quilt to serve as extra insulation instead of removing it. Recovering these papers has become an important source of information about pioneer life.

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Local artist Sylvia Weir comes from a traditional quilt making background. She designed her first quilt herself, rather than following a pattern. It’s not that she was aiming at artistic expression, it’s just that she thought that was “how it was done.” When she did follow patterns while making later quilts, she says she couldn’t refrain from wild color choices. Inspired by the work of quilting artist Deidre Scherer, Weir attended Lamar University in Beaumont while earning her master’s degree in Visual Arts and took fiber arts classes, seeking to learn how to push her traditional quilt making into a more complex and artistically satisfying process. Scherer is known for her intricately detailed portraiture using only thread and fabric, and Weir was excited by the unique possibilities such work suggested.

The response of Hilton Kramer in The New York Times typifies the critical take on the Abstract Design in American Quilts show: “The suspicion persists that the most authentic visual articulation of the American imagination in the last century is to be found in the so-called ‘minor’ arts - especially in the visual crafts that had their origins in the workaday functions of regional life. For a century or more preceding the self-conscious invention of pictorial abstraction in European painting, the anonymous quilt-makers of the American provinces created a remarkable succession of visual masterpieces that anticipated many of the forms that were later prized for their originality and courage.”

At Lamar Weir was mentored by, suitably enough, the late Steve Hodges. Hodges’s heavily stylized, geometric abstractions would translate fairly well into quilting, though there was some initial confusion over the medium. When Hodges allowed his students to bring in a project done in their choice of medium, Weir brought a quilt. Hodges painted; he taught with paints, and his students generally brought him paintings for their assignments. In fact, Weir’s quilt was the only thing on the critique wall that wasn’t a painting. “He’d walk along and come to it, and he’d look at it. And then walk away, go look at somebody else’s. He’d come back to look at it again. Walk away, look at somebody else’s. After the class, he said, ‘I don’t know what to do with your work. I can’t advise you about how to make stitches’.”

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“Steve, I said, you talk to me about composition and design. I’ll take care of the stitches. And he said, ‘Oh, I can do that.’” “And that was my adventure with Steve.” After graduating with her degree from Lamar, Weir began to notice that something was missing. While in school she was constantly in front of a crowd of students and professors defending her artwork in critiques. Now bereft of a classroom setting there was no one to offer critical commentary on her work, which ironically enough is one of the most important things an artist uses to further their skill. Searching around, she joined SAQA - the Studio Art Quilts Associates. For a while Weir drove almost two hours to attend meetings on the west side of Houston, Texas, but that quickly proved unsustainable. She learned that the organization supported the establishment of smaller chapters and, with the support of two other local quilters, Jackie Stubblefield and Connie Ferrian, began the Beaumont chapter of SAQA at a table at Anna’s Bakery on Calder Street. From such humble beginnings the group has grown to 15 members. They have had one show at the East Texas Art League in Jasper, Texas; a minor thing, according to Weir, since they did not have a large body of work yet, but a starting point. The group meets monthly and Weir gives a lecture on an artist and creates projects for the members to work on. They learn new techniques, exercise creative thinking, and - most importantly - critique one another’s work. Founded in 1989 by an initial group of 50 artists, SAQA is an international non-profit organization dedicated to promoting the art quilt and the artists who create them. In addition to mounting museum-quality exhibitions that travel the world, SAQA documents the artquilt movement through exhibition catalogs and the continuing series of Portfolios, the art quilt sourcebook. If you are a quilter in need of resources, SAQA may have what you need. Visit the website SAQA.com for more information. If you are a local artist and want to join the Beaumont chapter, contact the SETAC office (see page 4) and we can put you in touch with Weir.

Above: An example of Weir’s Scherer inspired work. The figure is built up in layers of colored fabric, just like any normal quilt, but the thread is used more expressively. Where Scherer’s works tend to use thread tightly and abstractly flatten color, Weir adopts a looser hand, letting her thread build in crisscrossed layers and allowing the edges of her fabric to be imperfect. The result is an interesting gestural quality in a medium that seems like it would resist that kind of expression. Left: Though Weir prefers realism, quilting is naturally suited for abstraction. Long before early Modernists like Picasso or Mondrian were experimenting with Cubism and Neoplasticism, unassuming quilters had beaten them to the punch. Their only mistake was not choosing a weird, evocative name for their style. 8

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3RUW$UWKXU/LWWOH7KHDWHU SUHVHQWV

A coming of age story about Peter before he was Peter or Pan.

DQGRWKHUIDEXORXVVKRZV Plays Get Smart | Oct 4-13th A Twisted Christmas Carol | Nov 29-Dec 8 A Chorus Line | Feb 21-March 8 Peter and the Star Catcher | May 1-10th Breaking Out of Sunset Place | TBA

KƚŚĞƌWƌŽĚƵĐƟŽŶƐ The Wolves | Aug 23-25th Band Concert | Sept 14th Grant Freeman’s Magic Show | Oct 29th Youth Christmas Show | Dec 13-15th Burn’s Supper | Jan 24th

4701 Jimmy Johnson Blvd, Port Arthur, TX 77642 | 409-727-7258 | PALT.org

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A woman wakes up and sets about selecting her attire. She chooses a dress she likes. Then she opens a box and inside is an assortment of finely crafted (and some not so finely crafted) jewelry. Among the gold and gems are many contemporary pieces. There are a few that date to her childhood and a handful of true antiques. She's looking for something that matches... The year is 2500 B.C.

ĞĮŶŝƚĞůLJŶŽƚƚŚĞǁŽŵĂŶǁŚŽǁĂƐƋƵŝůƟŶŐƉƌĞǀŝŽƵƐůLJ͕ƉƌŽďĂďůLJ͘ /ƚ͛ƐŽŶůLJƵŶŽƌŝŐŝŶĂůŝĨ/͛ŵĐŽƉLJŝŶŐsomeone else͕ƌŝŐŚƚ͍

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T

here are a number of human characteristics that do not change regardless of time or location; bodily adornment or jewelry is among them. Reach as far back in history as you care, and there you will find things which ring familiar: art, drama, literature, crude humor. Seriously, have you read any cuneiform lately? Those Sumerians loved their toilet humor. Proof positive that nothing really changes. Adorning the body with ornaments functions the same today as it did in the past: it promotes beauty, displays social, civic, or military standing, and proclaims vows. It is and has been practiced by both sexes, and while modern men generally choose a more subdued or practical application of jewelry (save mafia dons, but who'll call them out on it?), that has not always been the case. In many cultures men have worn jewelry as heavily as women, displaying their rank and social standing.

Cro-Magnon shell beads: Just another fad.

Stop me if you’ve heard this one...

The techniques of jewelry manufacture have changed little since creative minds first drilled holes in stones and shells to make decorative ornaments. Go down to any jewelry store and you will see this very thing for sale, practically unchanged. Hammering and filing metal is also too old to put a specific date on (each new archeological discovery seems to push the date back) and therefore it is reasonable to say that the bedrock techniques of jewelry likely developed concurrently in different areas of the world. The final method of jewelry crafting, applying heat, was discovered soon after. With that, all the major techniques were accounted for and have remained consistent to this day!

The simplest approach to making jewelry is to modify an existing object of beauty, such as a seashell. A stick or sharp rock is all that is required to punch a hole in the shell through which a bit of twine may be threaded for a simple necklace or bracelet. Doing the same to a stone or mineral such as quartz requires a slightly more refined tool and a little more patience. Metal is a different medium and needs different procedures. The first obstacle is a question of supply. Most metal appears in nature as ore, requiring heat (lots of it) to separate it. This was one of the reasons Isaac Asimov speculated that gold was "The First Metal." Gold always occurs naturally pure and is known for its malleability; simple stone tools suffice for shaping it. Other historians believe lead may have been used. Like gold, lead is exceedingly malleable and has an even lower melting point. A campfire alone is enough to soften it. Indeed, heat is the second obstacle to metalsmithing. Without it craftsmen are restricted to the level of polish and ornamentation which can be achieved with a hammer and file, which is more than you might expect but far less than can be accomplished with the application of fire. Fortunately for those early artisans, the development of ovens and kilns capable of reaching the temperatures necessary for softening and later smelting metals did not take long. Evidence of Off Ramp • Fall/Winter 2019 • www.setxac.org

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both coppersmithing and goldsmithing exist well before recorded history both in Mesopotamia and in Europe. Technology has changed the art of jewelry crafting in two major ways: in the availability and workability of materials and in the speed with which it can be accomplished. Though the general procedure remains the same - acquire, shape, and finish materials - greater availability of materials has allowed jewelers to innovate with their designs. Advances in the creation of alloys yields stronger metals which hold form better. More efficient furnaces have allowed intense, uniform application of heat so that even the hardiest of metals is workable. Finally, by working faster artisans have greater flexibility and more incentive to experiment and push the boundaries of jewelry. Modern avant garde jewelry is sometimes more akin to sculpture than anything a person might wear.

John Gordon, who crafted custom jewelry in Beaumont for many years, compares being a jeweler to being a "mini-architect." A piece of jewelry, he says, is an assemblage, and an artisan must learn the basics just like any other craft. Above: Gordon uses a torch to solder silver eyelets onto modified seashells to make earrings. The defining difference between this and the seashell necklace on the previous page is simply heat.

A puff of smoke curls quickly upward as Dana Hancock performs a small repair with a laser welder. Laser welding is infinitely quicker and more precise than soldering and does not require solder material. It fuses the metal directly without filler. This is what is commonly known as a “game changer,” as it opens up options previously physically impossible. Owning the machine has given Dana’s Custom Jewelry a creative edge that can only be matched by access to the same technology (and a skilled operator).

A recent development that is interesting to people without the space or money to accommodate acetylene tanks or laser gun blasters welders is Precious Metal Clay (PMC). PMC is exactly what it sounds like: various precious metals including gold, silver, and copper are reclaimed from industrial leftovers, purified, and suspended in an organic binder that works almost identically to pottery clay. The material can be worked into any shape imaginable using the same tools and techniques as one would work ordinary clay with. When the piece is fired, the organic binder burns away completely leaving a sintered metal product. With a combination of low entry costs and a manageable learning curve, PMC opens opportunities to any interested hobbyist to pursue precious metal jewelry.

PMC jewelry is different from normal metal jewelry, which is poured into a mold and/or hammered, in that it is sintered. Sintering does not melt the metal. In this process, the metal is brought to a temperature just beneath its melting point and held there. The atoms begin to diffuse across the surface, interlocking with one another. The sintering process creates a lattice-work structure that is very strong but more brittle than a melted metal piece. The difference is largely academic. Unless you’re a Ninja Turtle and make your living punching Shredder in his metal head, then your PMC ring will probably break. Typical package of Precious Metal Clay 12

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This collection of jewelry by John Gordon displays a wide variety of off-beat designs. From a straightforward depiction of a mermaid to futuristic designs to a strange little sunburst (or bug, depending on how you look at it) each of these pieces has a unique character.

Local Buisiness Highlight Some time back, somebody taught an eighth-grade girl how to cut opals and melt silver; hobby stuff, really. That girl was named Dana, and she turned ³KREE\VWXII´LQWRD\HDUFDUHHU,Q high school she hung out in the crafts classroom and melted down class rings for $50 a pop. She continued her education at a junior college in Paris, Texas, but it’s that enterprising spirit that is responsible for her success.

6DED/Q Port Neches, Texas

Dana has a keen eye for technology; she’s one of those types willing to shell   out a small fortune to be on the ground danascustomjewelry.com floor of the newest innovation. It has cost her some money but served her This irregular necklace was well. She bought the Digital Goldsmith created by pouring molten gold program when it was brand new and through a bundle of broom cost a mint, but the program’s ability to bristles - a novel approach to show clients what they are imagining molding that never yields the same result. Though Dana on a computer screen in a few swift does less experimentation button presses is priceless; any these days, she possesses the designer will tell you so. She also practical creativity to turn a purchased a laser welding machine. client’s vision into reality - even if As described in the caption on page it means pouring $1000 worth of precious metal onto a clean22, a laser welder’s advanced speed ing implement to see what and precision allows things previously happens. impossible. It is also indispensable for repairing antique jewelry, since it can do so without adding any new material.

Dana Hancock has been friends with Chi Huynh and carried his Galatea line of jewelry for many years. His “Diamond in a Pearl” technique is unique in the world of jewelry.

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visitportarthurtx.com/localartists

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Big Thicket National Preserve 6102 FM 420; Kountze, Texas 77625 www.nps.gov/bith 409-951-6700

30°27’25.77” N 94°23’09.51” W

Big Thicket National Preserve was established to protect the complex diversity of this unique area known as “the biological crossroads of North America.”

All facilities and activities are free and open to the public. Visitor Center - open daily 9am – 5pm Phone: 409-951-6700 Films, Exhibits, Maps, Permits, Information, Book Store, closed Thanksgiving, Dec. 25 & Jan. 1 Naturalist Programs - scheduled throughout the year. Check the website or call for upcoming events. Hiking Trails – from ¼ mile accessible to 18 miles long, some allow trail bicycles and horses. Boating/Canoe/Kayak – Village Creek and the Neches River, lakes and bayous. Bird Watching – year round, a Globally Important Bird Area, Texas Coastal Birding Trail Hunting/Trapping - State license plus a Big Thicket permit is required, register at the Visitor Center. Fishing – state license required.

Welcoming the World to Southeast Texas! Ben J. Rogers Regional Visitors Center 5055 IH-10 South Beaumont TX 77705

409-842-0500 Toll Free 866-423-8951 Fax 409-842-0501 Off Ramp • Fall/Winter 2019 • www.setxac.org

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BILLBOARD ON THE STAGE THEATRE, FILM, DANCE, MUSIC Mamma Mia! The Titans of the Classics: Beethoven and Shostakovich Luna Gale Get Smart The Piano Man Meets the Rocket Man Croce Plays Croce Symphony at Shangri La Good People Jersey Boys Permanent Collection Bandstand A Celebration of Mozart, Rossini and SOST Beaumont Interfaith Choral Society: Sing a New Song Fall and Recovery Dance Concert Georgia On My Mind: Celebrating the Music of Ray Charles A Twisted Christmas Carol Â&#x2018;Â&#x17D;ČąÂ&#x2019;Â&#x2014;Â?Â&#x17D;Â&#x203A;ČąÂ&#x2DC;Â&#x2014;Â?Â&#x17D;Â&#x203A;Â&#x17D;Ä´Â&#x17D;Â&#x153; Shane & Shane with Phil Wickham A Christmas Story Escape to Margaritaville Home for the Holidays Rudolph The Red-Nosed Reindeer The Color Purple Driving Miss Daisy Farewell Angelina Memorial Concert Bakkhai The Romantic Spirit of Music Blithe Spirit A Chorus Line

Â&#x17D;Ĵ¢ȹ Â&#x203A;Â&#x17D;Â&#x17D;Â&#x2014;Â&#x2039;Â&#x17D;Â&#x203A;Â?ČąÂ&#x17D;Â&#x2014;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x17D;Â&#x160;Â&#x17E;Â&#x2013;Â&#x2DC;Â&#x2014;Â? Julie Rogers Theatre, Beaumont Lamar Studio Theatre, Beaumont Â&#x2DC;Â&#x203A;Â?ČąÂ&#x203A;Â?Â&#x2018;Â&#x17E;Â&#x203A;ČąÂ&#x2019;Ä´Â&#x2022;Â&#x17D;ČąÂ&#x2018;Â&#x17D;Â&#x160;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x2DC;Â&#x203A;Â?ČąÂ&#x203A;Â?Â&#x2018;Â&#x17E;Â&#x203A; Julie Rogers Theatre, Beaumont Lutcher Theater, Orange Shangri La Botanical Gardens, Orange Â&#x17D;Ĵ¢ȹ Â&#x203A;Â&#x17D;Â&#x17D;Â&#x2014;Â&#x2039;Â&#x17D;Â&#x203A;Â?ČąÂ&#x17D;Â&#x2014;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x17D;Â&#x160;Â&#x17E;Â&#x2013;Â&#x2DC;Â&#x2014;Â? Lutcher Theater, Orange Lamar University Theatre, Beaumont Lutcher Theater, Orange Julie Rogers Theatre, Beaumont First United Methodist Church, Beaumont Lamar University Theatre, Beaumont Lutcher Theater, Orange Â&#x2DC;Â&#x203A;Â?ČąÂ&#x203A;Â?Â&#x2018;Â&#x17E;Â&#x203A;ČąÂ&#x2019;Ä´Â&#x2022;Â&#x17D;ČąÂ&#x2018;Â&#x17D;Â&#x160;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x2DC;Â&#x203A;Â?ČąÂ&#x203A;Â?Â&#x2018;Â&#x17E;Â&#x203A; Â&#x17D;Ĵ¢ȹ Â&#x203A;Â&#x17D;Â&#x17D;Â&#x2014;Â&#x2039;Â&#x17D;Â&#x203A;Â?ČąÂ&#x17D;Â&#x2014;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x17D;Â&#x160;Â&#x17E;Â&#x2013;Â&#x2DC;Â&#x2014;Â? Lutcher Theater, Orange Â&#x17D;Ĵ¢ȹ Â&#x203A;Â&#x17D;Â&#x17D;Â&#x2014;Â&#x2039;Â&#x17D;Â&#x203A;Â?ČąÂ&#x17D;Â&#x2014;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x17D;Â&#x160;Â&#x17E;Â&#x2013;Â&#x2DC;Â&#x2014;Â? Lutcher Theater, Orange Julie Rogers Theatre, Beaumont Lutcher Theater, Orange Lutcher Theater, Orange Â&#x17D;Ĵ¢ȹ Â&#x203A;Â&#x17D;Â&#x17D;Â&#x2014;Â&#x2039;Â&#x17D;Â&#x203A;Â?ČąÂ&#x17D;Â&#x2014;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x17D;Â&#x160;Â&#x17E;Â&#x2013;Â&#x2DC;Â&#x2014;Â? Lutcher Theater, Orange Julie Rogers Theatre, Beaumont Lamar Studio Theatre, Beaumont Julie Rogers Theatre, Beaumont Â&#x17D;Ĵ¢ȹ Â&#x203A;Â&#x17D;Â&#x17D;Â&#x2014;Â&#x2039;Â&#x17D;Â&#x203A;Â?ČąÂ&#x17D;Â&#x2014;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x17D;Â&#x160;Â&#x17E;Â&#x2013;Â&#x2DC;Â&#x2014;Â? Â&#x2DC;Â&#x203A;Â?ČąÂ&#x203A;Â?Â&#x2018;Â&#x17E;Â&#x203A;ČąÂ&#x2019;Ä´Â&#x2022;Â&#x17D;ČąÂ&#x2018;Â&#x17D;Â&#x160;Â?Â&#x17D;Â&#x203A;Ç°ČąÂ&#x2DC;Â&#x203A;Â?ČąÂ&#x203A;Â?Â&#x2018;Â&#x17E;Â&#x203A;

Sep 13 - 28 Sep-14 Oct 3 - 6 Oct 4 - 13 Oct-5 Oct-5 Oct-20 Oct 25 - Nov 9 Oct-29 Nov 7 - 10 Nov-8 Nov-16 Nov-17 Nov 22 - 24 Nov-23 Nov 29 - Dec 8 Nov 29 - Dec 14 Dec-2 Dec 6 - 21 Dec-7 Dec-8 Dec-14 Jan-2 Jan 17 - Feb 1 Jan-25 Jan-26 Feb 3 - 16 Feb-15 Feb 21 - Mar 7 Feb 21 - Mar 8

ON THE WALL VISUAL ARTS AND EXHIBITIONS Gulf Coast & Lure Conservation Art: Federal Duck Stamps & Prints An Impressionable 55 Years by Doug Jackson Department of Art Faculty Exhibition CRAIG ODLE: Experiments and Evolution Studio Tenants Show 16

Art Museum of Southeast Texas, Beaumont Stark Museum of Art, Orange Museum of the Gulf Coast, Port Arthur Dishman Art Musuem, Beaumont Art Museum of Southeast Texas, Beaumont The Art Studio, Inc., Beaumont

Jun - Sep 1 Jul - Jan 4 Aug 3 - Nov 2 Aug 19 - Sep 13 Aug 29 - Nov 17 Sep-7

OďŹ&#x20AC; Ramp â&#x20AC;˘ Fall/Winter 2019 â&#x20AC;˘ www.setxac.org

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Prince Varughese Thomas: The Legacy of Narcissus Keith Carter: Fifty Years Christopher Troutman Ž••’ȱŒ˜ęŽ• Rolling Stone Magazine Exhibit: Back Stage Pass Emily Peacock & Margarita Cabrera Winter Exhibition Amanda Barry & Kailee Viator

Art Museum of Southeast Texas, Beaumont Dishman Art Musuem, Beaumont The Art Studio, Inc., Beaumont The Art Studio, Inc., Beaumont Museum of the Gulf Coast, Port Arthur Art Museum of Southeast Texas, Beaumont The Art Studio, Inc., Beaumont

Sep 21 - Dec 1 Sep 28 - Nov 8 Oct-5 Nov-2 Nov 10 - Jan 7 Dec 14 - Mar 1 Feb-1

ON THE AVENUE OPEN HOUSES, FESTIVALS, WORKSHOPS, CHILDREN’S ACTIVITIES Free Lecture: Scent and Subversion Heritage Happy Hour Salsa at the Lake Taste of the Arts Lecture Series SMA Playdate: Let’s Play with Clay Create! Workshop: Paper Embossing Beaumont Craft Beer Fest Mexican Heritage Fiesta 32nd Anniversary Gala: Dancing on the Water SMA Playdate: Let's Draw Adult Studio Workshop: Cut Paper Shadow Boxes "Eat-A-Bug!" FREE Family Arts Day SMA Playdayte: Let's Watercolor AMSET Book Club Thanksgiving Doodle Days City of Beaumont Tree Lighting Adult Studio Workshop: The Art of Marbling SMA Playdate: Let's Make a Print Create! Workshop: Guided Pen & Ink Drawing Shop-O-Rama Spring Family Arts Day

The McFaddin-Ward House, Beaumont St. Michael Orthodox Christian Church, Beaumont Downtown Event Centre, Beaumont Art Museum of Southeast Texas, Beaumont Stark Museum of Art, Orange Stark Museum of Art, Orange Downtown Event Centre, Beaumont Bob Bowers Civic Center, Port Arthur Event Centre, Beaumont Stark Museum of Art, Orange Stark Museum of Art, Orange Art Museum of Southeast Texas, Beaumont Stark Museum of Art, Orange Art Museum of Southeast Texas, Beaumont Stark Museum of Art, Orange Downtown Event Centre, Beaumont Stark Museum of Art, Orange Stark Museum of Art, Orange Stark Museum of Art, Orange The Art Studio, Inc., Beaumont Art Museum of Southeast Texas, Beaumont

Aug-9 Aug-22 Aug-29 Aug-30 Sep-6 Sept-14 Sept-14 Sept-14 Sep-28 Oct-4 Oct-19 Oct-26 Nov-1 Nov-12 Nov 26, 27, & 29 Dec-3 Dec 3, 10, & 17 Dec-6 Dec-7 Dec-7 Feb-22

Photograph by Tim Sudela

For the latest events go to www.setxac.org. Stay intrigued, friends! Off Ramp • Fall/Winter 2019 • www.setxac.org

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Maybe the road never stops

but sometimes you should

Beaumont Comfort Suites 5995 Walden Road Beaumont, TX 77707 Phone: (409) 840-6001 ŽƵƌƚLJĂƌĚďLJDĂƌƌŝŽƩ 2275 IH-10 South Beaumont, TX 77705 Phone: (409) 840-5750

ĞƐƚtĞƐƚĞƌŶ:ĞīĞƌƐŽŶ/ŶŶ 1610 IH-10 South Beaumont, TX 77707 Phone: (409) 842-0037

,ŽƵƐĞ/ŶŶ 205 College Street Orange, TX 77630 (409)886-0122 (409)719-6633

ĂũƵŶŽƩĂŐĞƐ 1900 T.B. Ellison Pky. Port Arthur TX 409-982-6050

>ĂYƵŝŶƚĂ/ŶŶƐΘ^ƵŝƚĞƐ 5820 Walden Rd Beaumont, TX 77707 Phone: (409) 842-0002

^ŚĂŶŐƌŝͲ>ĂĞĚΘƌĞĂŬĨĂƐƚ 907 Pine Street Orange, TX 77630 (409)670-1911 (409)697-0912

ƵƌŽƌĂΘ 141 Woodworth Blvd. Port Arthur TX 409-983-4205

^ƵƉĞƌϴDŽƚĞů 3995 IH-10 South Beaumont, TX 77705 Phone: (409) 842-9300

Port Arthur

ƌŝŌǁŽŽĚ/ŶŶ 3700 Memorial Blvd. Port Arthur TX 409-985-8411

&ĂŝƌĮĞůĚ/ŶŶΘ^ƵŝƚĞƐďLJDĂƌƌŝŽƩ 2265 IH-10 South Beaumont, TX 77705 Phone: (409) 840-5751

ZĂŵĂĚĂ/ŶŶ 3985 College Beaumont, TX 77707 Phone: (409) 842-4420

,ŝůƚŽŶ'ĂƌĚĞŶ/ŶŶ 3755 IH-10 South at Walden Road Beaumont, TX 77705 Phone: (409) 842-5646

ZĞĚĂƌƉĞƚ/ŶŶΘ^ƵŝƚĞƐ 2640 IH-10 East Beaumont, TX 77703 Phone: (409) 899-3152

,ŽůŝĚĂLJ/ŶŶdžƉƌĞƐƐΘ^ƵŝƚĞƐ 7140 Eastex Freeway Beaumont, TX 77707 Phone: (409) 892-3600

ZĞĚZŽŽĨ/ŶŶΘ^ƵŝƚĞƐ 2310 IH-10 South Beaumont, TX 77707 Phone: (409) 842-8200

DDůĞŐĂŶƚĞ 2355 IH-10 South Beaumont, TX 77705 Phone: (409) 842-3600

Orange

ZĞƐŝĚĞŶĐĞ/ŶŶďLJDĂƌƌŝŽƩ 5380 Clearwater Ct Beaumont, TX 77705 Phone: (409) 434-0600 ŵĞƌŝĐĂΖƐĞƐƚsĂůƵĞ 1155 IH-10 South Beaumont, TX 77705 Phone: (409) 835-5913

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ŵĞƌŝĐĂΖƐĞƐƚsĂůƵĞ/ŶŶDŽƚĞů 2208 Lutcher Orange, TX 77632 (409)883-6701 (888)315-2378 ,ŽůŝĚĂLJ/ŶŶdžƉƌĞƐƐ 2655 IH-10 East Orange, TX 77632 (409)882-9222 (409)882-9111 >ĂYƵŝŶƚĂ/ŶŶΘ^ƵŝƚĞƐ 2220 HWY 62 S Orange, TX 77630 (409)883-0011

,ŽůŝĚĂLJ/ŶŶWĂƌŬĞŶƚƌĂů 2929 Jimmy Johnson Blvd. Port Arthur, TX 409-724-5000 ,ŽůŝĚĂLJ/ŶŶdžƉƌĞƐƐ 3115 Central Mall Port Arthur, TX 77642 409-853-4114 ŽŵĨŽƌƚ/ŶŶΘ^ƵŝƚĞƐ 7800 Memorial Blvd. Port Arthur, TX 409-729-0500 >ĂYƵŝŶƚĂ/ŶŶΘ^ƵŝƚĞƐ 7540 Memorial Blvd Port Arthur, TX 77642 409-722-8383 409-722-8385 (Fax) DĂŝŶƐƚĂLJ/ŶŶΘ^ƵŝƚĞƐ 7648 Memorial Blvd. Port Arthur, TX 409-729-8880 dŚƌĞĞZŝǀĞƌƐ/ŶŶΘ^ƵŝƚĞƐ 2015 Hwy 73 Port Arthur, TX 77642 409-983-8000 409-983-8002 (Fax)

ĂLJƐ/ŶŶ 8040 Memorial Blvd. Port Arthur TX 409-729-3434

Hardin County WŝŶĞǁŽŽĚ/ŶŶ 870 Hwy 96S Silsbee, TX 409-385-5593 >ƵŵďĞƌƚŽŶ/ŶŶ 131 North LHS Drive U.S. Highway 69 Lumberton, Texas 409-751-5557 >ĂYƵŝŶƚĂ/ŶŶΘ^ƵŝƚĞƐ 104 North LHS Dr Lumberton, TX 409-751-3999 ^ƵƉĞƌϴ 990 North Pine Street Kountze, TX 77625 409-246-8680

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Often called a “poet of the ordinary”, photographer Keith Carter is known for creating mysterious, ghostly images of animals, still-lifes, portraits, and natural scenes all rooted in what he calls the gumbo culture of his native Beaumont and East Texas. This exhibition celebrates his incredible career and will feature work from his recent publication, “Keith Carter: Fifty Years”. KEITH CARTER: Fifty Years September 28-November 8, 2019 RECEPTION: Friday, October 25, 6:30-8:30PM

Department of Art Faculty Exhibition August 19-September 13, 2019 OPENING RECEPTION: Friday, August 30, 6:30-8:30PM

Bachelor of Fine Arts Senior Thesis Exhibition (Title TBA) December 6-14, 2019 OPENING RECEPTION: Friday, December 6, 6:30-8:30PM

Dishman Art Museum |1030 East Lavaca Street | Beaumont, Texas 77705 | dishmanart@lamar.edu | 409-880-8959 Off Ramp • Fall/Winter 2019 • www.setxac.org

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The Art Museum of Southeast Texas 2019 - 2020

Gulf Coast Lore & Lure: Selections from the Permanent Collection Summer Exhibition June 15 – September 1, 2019 Café Arts Series for Local Artists - Jennifer G. Thompson: un peu de tout June 27 – August 25, 2019 Café Arts Series for Local Artists featuring Craig Odle August 29 – November 17, 2019

Anniversary Gala 2019 6:30 p.m., Saturday, September 28, 2019 The Monster Mash: AMSET Bash 7-11 p.m., Friday, October 18, 2019 Emily Peacock Winter Exhibition December 14, 2019 – March 1, 2020. Margarita Cabrera Winter Exhibition December 14, 2019 – March 1, 2020

Prince Varughese Thomas: The Legacy of Narcissus Fall Exhibition September 21 – December 1, 2019

500 Main Street Downtown Beaumont | 9 a.m. to 5 p.m. Monday through Friday, 10 a.m. to 5 p.m. Saturday, and noon to 5 p.m. Sunday. | (409) 832-3432 | www.amset.org. 20

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Theater

utcher L

the

Croce Plays Croce Saturday, October 5, 2019 – 7:30pm Symphony at Shangri La Sunday, October 20, 2019 – 5:00pm Jersey Boys Tuesday, October 29, 2019 – 7:30pm Bandstand Friday, November 8, 2019 – 7:30pm Georgia On My Mind: Celebrating the Music of Ray Charles Saturday, November 23, 2019 – 7:30pm Shane & Shane with Phil Wickham Monday, December 2, 2019 – 7:30pm Escape to Margaritaville Saturday, December 7, 2019 – 7:00pm

season 2019 - 2020

The Color Purple Thursday, January 2, 2020 – 7:30pm Farewell Angelina Saturday, January 25, 2020 – 7:30pm An American in Paris Sunday, March 8, 2020 – 3:00pm Beautiful – The Carole King Musical Thursday, March 19, 2020 – 7:00pm Fiddler on the Roof Monday, March 30, 2020 – 7:30pm VIVA MOMIX Sunday, April 5, 2020 – 7:00pm

To reserve your season tickets, for more information, or to receive a season brochure, please contact the Lutcher Theater box office at 409-886-5535. For additional show information, visit the Lutcher Theater website at www.lutcher.org

Rent Thursday, April 30, 2020 – 7:30pm

Rudolph The Red-Nosed Reindeer Saturday, December 14, 2019 – 3:00pm & 7:00pm Off Ramp • Fall/Winter 2019 • www.setxac.org

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The Beaumont Community Players 2019 - 2020 Season

McFaddin Ward Theatre Feb 21, 2020 - Mar 7, 2020 Classic Noel Coward, Blithe Spirit is a comical journey through the world of the occult. Researching material for a new novel, Charles engages Madame Arcati, a spiritual medium of uncertain talent, to conduct a séance in his home. Quite by accident, she summons the spirit of Charles's first wife and cannot make the disruptive spirit go away.

Mamma Mia! McFaddin Ward Theatre Sep 13, 2019 - Sep 28, 2019

Good People Jerry L. McMillan Studio Theatre Oct 25, 2019 - Nov 9, 2019

The Winter Wonderettes Jerry L. McMillan Studio Theatre Nov 29, 2019 - Dec 14, 2019

A Christmas Story McFaddin Ward Theatre Dec 6, 2019 - Dec 21, 2019

Driving Miss Daisy Jerry L. McMillan Studio Theatre Jan 17, 2020 - Feb 1, 2020

Ain't Misbehavin' Jerry L. McMillan Studio Theatre Apr 3, 2020 - Apr 18, 2020 Chitty Chitty Bang Bang McFaddin Ward Theatre May 8, 2020 - May 23, 2020

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MUSEUM OF THE GULF COAST 700 Procter Street, Port Arthur, Texas 77640 www.museumofthegulfcoast.org | 409-984-6446

“An Impressionable 55 Years” Featuring Doug Jackson Celebrating a Career Through Art August 3, 2019 – November 2, 2019

Backstage Pass: Baron Wolman & the Early Years of Rolling Stone November 9, 2019 – Tuesday, January 7, 2020

OTHER EVENTS Honoring Douglas Jackson 66th Birthday Event Wednesday, Nov 20th Family Fun Day Saturday, October 5, 2019 10AM-2PM Pictures with Santa Saturday, December 14, 2019 10AM-2PM

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He’s something of a nightmare ĨŽƌLJŽƵŶŐĂƌƚƐƚƵĚĞŶƚƐ͕ƐƚƌƵŐŐůŝŶŐƚŽŵĞŵŽƌŝnjĞŶĞǁƚĞƌŵŝŶŽůŽŐLJĂŶĚƐƟůůƚƌLJŝŶŐƚŽĮŐƵƌĞŽƵƚŝĨƉŽƐƚͲŵŽĚĞƌŶŝƐŵŝƐŐŽŽĚ ĨŽƌĂŶLJƚŚŝŶŐ͘ZŽďĞƌƚZĂƵƐĐŚĞŶďĞƌŐ͛ƐĞdžƉĞƌŝŵĞŶƚĂůǁŝůůŝŶŐŶĞƐƐƚŽůĞƚĂƌƚĨŽƌŵĂƐĂŶŽƌŐĂŶŝĐƌĞĂĐƟŽŶďĞƚǁĞĞŶĂƌƟƐƚĂŶĚ ǁŽƌůĚŵĞĂŶƐƚŚĂƚŚĞǁĂƐƉĂŝŶƚĞƌ͕ƉƌŝŶƚĞƌ͕ƐĐƵůƉƚŽƌ͕ĐůŽƚŚŝŶŐĚĞƐŝŐŶĞƌ͕ĚĂŶĐĞĐŚŽƌĞŽŐƌĂƉŚĞƌĂŶĚŶŽŶĞŽĨƚŚŽƐĞ͕ƌĞĂůůLJ͘,Ğ ǁĂƐĂƐĂůǀĂŐĞƌ͕ƌĞƐĐƵŝŶŐĂƌƚĨƌŽŵƚŚĞŵƵŶĚĂŶŝƚLJŽĨƌƵďďŝƐŚŚĞĂƉƐĂŶĚƚƌĂƐŚďŝŶƐ͘,Ğ͛ƐƐŽŵĞƟŵĞƐĐĂůůĞĚEĞŽͲĂĚĂ͕ŽƚŚĞƌ ƟŵĞƐŐƌŽƵƉĞĚǁŝƚŚŶĚLJtĂƌŚŽůĂƐŽŶĞŽĨƚŚĞƉƌŽŐĞŶŝƚŽƌƐŽĨWŽƉƌƚ͘ZĞŐĂƌĚůĞƐƐ͕ŚĞǁĂƐĂŶĚŝƐŚƵŐĞůLJŝŶŇƵĞŶƟĂů͘ ZĂƵƐĐŚĞŶďĞƌŐ͛ƐŶĂŵĞǁĂƐŝŶƚŚĞŶĞǁƐĂŐĂŝŶŝŶDĂLJŽĨϮϬϭϵ͘,ŝƐǁŽƌŬƵīĂůŽ//ƐŽůĚĂƚŚƌŝƐƟĞ͛ƐŝŶEĞǁzŽƌŬĨŽƌŶĞĂƌůLJ ΨϴϵŵŝůůŝŽŶ͕ĐƌƵƐŚŝŶŐƚŚĞĂŵŽƵŶƚŽĨŚŝƐƉƌĞǀŝŽƵƐŚŝŐŚĞƐƚƐĞůůŝŶŐǁŽƌŬďLJΨϳϬŵŝůůŝŽŶ͘dŚŝƐŝƐƐŽŵĞǁŚĂƚŝƌŽŶŝĐĨŽƌƚŚĞǁŽƌŬ ŽĨĂŶĂƌƟƐƚǁŚŽŽŶĐĞŽďƚĂŝŶĞĚĂĚƌĂǁŝŶŐďLJtŝůůĞŵĚĞ<ŽŽŶŝŶŐĨŽƌƚŚĞƐŽůĞƉƵƌƉŽƐĞŽĨĞƌĂƐŝŶŐŝƚ͘ZĂƵƐĐŚĞŶďĞƌŐĂĚŵŝƌĞĚ ĚĞ<ŽŽŶŝŶŐĂŶĚƉƌĞƐƐĞĚƚŚĞĂƌƟƐƚĨŽƌĂĚƌĂǁŝŶŐ͘ůĞĂƌůLJŐĂŵĞ͕ĚĞ<ŽŽŶŝŶŐŶŽƚŽŶůLJŐĂǀĞZĂƵƐĐŚĞŶďĞƌŐĂĚƌĂǁŝŶŐŚĞ ĂĐƚƵĂůůLJůŝŬĞĚ͕ďƵƚŽŶĞǁŚŝĐŚŚĞĨĞůƚǁŽƵůĚďĞĚŝĸĐƵůƚƚŽĞƌĂƐĞ͘/ŶƚŚĞĞŶĚ͕ǁĂƐŝƚĂƌƚ͍/ƚ͛ƐĂĚĞďĂƚĞĂďůĞƋƵĞƐƟŽŶ͕ďƵƚƚŚĂƚ ĂĐĐŽŵƉůŝƐŚĞƐZĂƵƐĐŚĞŶďĞƌŐ͛ƐƉƵƌƉŽƐĞ͘,ĞĨĞůƚƚŚĂƚŝŶƚĞƌĂĐƟŽŶǁŝƚŚĂƌƚǁĂƐĂƐŝŵƉŽƌƚĂŶƚĂƐƚŚĞŽďũĞĐƚŝƚƐĞůĨ͘ 24

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WŚŽƚŽƐĐŽƵƌƚĞƐLJŽĨƚŚĞDƵƐĞƵŵŽĨƚŚĞ'ƵůĨŽĂƐƚͮϳϬϬWƌŽĐƚĞƌ^ƚƌĞĞƚ͕WŽƌƚƌƚŚƵƌ͕dĞdžĂƐϳϳϲϰϬͮǁǁǁ͘ŵƵƐĞƵŵŽŌŚĞŐƵůĨĐŽĂƐƚ͘ŽƌŐͮϰϬϵͲϵϴϰͲϲϰϰϲ

/Ŷϭϵϴϱ͕ZĂƵƐĐŚĞŶďĞƌŐǁĂƐŶĂŵĞĚ^ĞƐƋƵŝĐĞŶƚĞŶŶŝĂůƌƟƐƚƚŽĐŽŵŵĞŵŽƌĂƚĞƚŚĞϭϱϬƚŚĂŶŶŝǀĞƌƐĂƌLJŽĨdĞdžĂƐĂƐƚŚĞ ΗƐƚĂƚĞΖƐŵŽƐƚĨĂŵŽƵƐĂƌƟƐƚΗ͘/ŶϮϬϬϮ͕ŚĞĚĞƐŝŐŶĞĚƚŚĞĐŽǀĞƌŽĨdŝŵĞŵĂŐĂnjŝŶĞΖƐƐƉĞĐŝĂůĚŽƵďůĞŝƐƐƵĞŽŶƚŚĞĮƌƐƚĂŶŶŝǀĞƌͲ ƐĂƌLJŽĨƚŚĞϵͬϭϭƚĞƌƌŽƌŝƐƚĂƩĂĐŬ͘/ƚǁĂƐƚŚĞĨŽƵƌƚŚƟŵĞŚŝƐǁŽƌŬǁĂƐĨĞĂƚƵƌĞĚŽŶǁŚĂƚŝƐĂƌŐƵĂďůLJƚŚĞǁŽƌůĚ͛ƐŵŽƐƚ famous magazine cover. dŚŽƵŐŚZĂƵƐĐŚĞŶďĞƌŐďĞĐĂŵĞǁŽƌůĚͲĨĂŵŽƵƐ͕ŚĞŶĞǀĞƌĨŽƌŐŽƚŚŝƐŚŽŵĞƚŽǁŶŽĨWŽƌƚƌƚŚƵƌ͘:ƵƐƚƚŚĞLJĞĂƌďĞĨŽƌĞŚĞǁĂƐ ŚŽŶŽƌĞĚďLJƚŚĞƐƚĂƚĞŽĨdĞdžĂƐ͕ŚĞƉĂƌƟĐŝƉĂƚĞĚŝŶĂƐŚŽǁĂƚƚŚĞWŽƌƚƌƚŚƵƌWƵďůŝĐ>ŝďƌĂƌLJͲŚĂƌĚůLJĂǀĞŶƵĞĨƌĞŶƋƵĞŶƚĞĚďLJ ŝŶƚĞƌŶĂƟŽŶĂůůLJƌĞŶŽǁŶĞĚĂƌƟƐƚƐͲLJĞƚŚĞŶŽƚĞĚƚŚĂƚŚŝƐŵŽƚŚĞƌǁĂƐŵŽƌĞŝŵƉƌĞƐƐĞĚďLJƚŚĂƚůŝƩůĞƐŚŽǁƚŚĂŶďLJĂůůƚŚĞ ŐůŝƚnjŽĨEĞǁzŽƌŬŽƌWĂƌŝƐ͘ dŚĞDƵƐĞƵŵŽĨƚŚĞ'ƵůĨŽĂƐƚŚĂƐĂůĂƌŐĞƉĞƌŵĂŶĞŶƚĞdžŚŝďŝƚĚĞĚŝĐĂƚĞĚƚŽZĂƵƐĐŚĞŶďĞƌŐ͕ǁŚŽŚĂŶĚƉŝĐŬĞĚĞĂĐŚƉŝĞĐĞ ďĞĨŽƌĞŚŝƐƉĂƐƐŝŶŐŝŶϮϬϬϴ͘dĞĐŚŶŝĐĂůůLJŵĂƐƚĞƌĨƵůĂŶĚĂůǁĂLJƐĐŽŶƚĞdžƚƵĂůůLJĐŚĂůůĞŶŐŝŶŐ͕ŝĨLJŽƵ͛ƌĞƵƉĨŽƌĂƌƚǁŽƌŬƚŚĂƚƉŽƐĞƐ ƐŽŵĞĐĞƌĞďƌĂůĚŝůĞŵŵĂƐ͕ǀŝƐŝƚƚŚĞŵƵƐƵĞŵĂŶĚĂƐŬĂďŽƵƚƚŚĞĞdžŚŝďŝƚ͘ Off Ramp • Fall/Winter 2019 • www.setxac.org

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C UR AT OR’S CO R NE R Dennis KielŽŌĞŶǁŽŶĚĞƌƐǁŚĞƌĞƚŚĞƌŽĂĚŶŽƚƚĂŬĞŶŵŝŐŚƚŚĂǀĞůĞĚŚŝŵ͕ ďƵƚŚĞĂĐŬŶŽǁůĞĚŐĞƐƚŚĂƚƚŚĞƉĂƚŚŚĞĨŽůůŽǁĞĚŝƐĂĮŶĞŽŶĞ͕ŵĂƌŬĞĚďLJĂ ƌŝĐŚĞĚƵĐĂƟŽŶĂŶĚĨŽƌƚƵŝƚŽƵƐĞǀĞŶƚƐ͘

ƐĐŚŽůĂƌƐŚŝƉƐƚŚĂŶƐƚƵĚĞŶƚƐ͖ĂĨŽƌƚƵŶĂƚĞĐĂƐĞŽĨ ƐƵƉƉůLJ ĂŶĚ ĚĞŵĂŶĚ ĂŶĚ ƚŚĞ ĮƌƐƚ ŽĨ ƐĞǀĞƌĂů ƐĞĞŵŝŶŐůLJ ĂƌďŝƚƌĂƌLJ ĞǀĞŶƚƐ ƚŚĂƚ ƉůĂLJĞĚ ĂŶ ŽƵƚƐŝnjĞĚƌŽůĞŝŶƐŚĂƉŝŶŐ<ŝĞůΖƐĐĂƌĞĞƌ͘

'ƌŽǁŝŶŐƵƉŝŶdŽůĞĚŽ͕KŚŝŽ͕ŚĞƐƚƵĚŝĞĚĨŽƌŚŝƐƵŶĚĞƌŐƌĂĚƵĂƚĞĚĞŐƌĞĞŝŶ ŐƌĂƉŚŝĐĚĞƐŝŐŶĂƚKŚŝŽhŶŝǀĞƌƐŝƚLJ͘dŚŽƵŐŚŚĞǁĂƐŶĞǀĞƌƐĂƟƐĮĞĚǁŝƚŚŚŝƐ ǁŽƌŬĂƐĂŐƌĂƉŚŝĐĚĞƐŝŐŶĞƌ͕<ŝĞůĚŝƐĐŽǀĞƌĞĚŚŝƐƉĂƐƐŝŽŶŝŶƚŚĞĂƌƚŚŝƐƚŽƌLJ ĐůĂƐƐĞƐŚĞƚŽŽŬĂƐĂƉƌĞƌĞƋƵŝƐŝƚĞ͘dŚŝƐůĞĂĚƚŽŐŽŝŶŐƚŽŐƌĂĚƵĂƚĞƐĐŚŽŽůĂƚ ƚŚĞ hŶŝǀĞƌƐŝƚLJ ŽĨ ŝŶĐŝŶŶĂƟ ĨŽƌ Ăƌƚ ŚŝƐƚŽƌLJ͘ Ɛ ĂŶ ŝŶĐŽŵŝŶŐ ƐƚƵĚĞŶƚ ŚĞ ǁŽƌƌŝĞĚ ƚŚĂƚ ŚĞ ǁŽƵůĚ ďĞ ƐƵƌƌŽƵŶĚĞĚ ďLJ ƚŚŽƐĞ ǁŚŽƐĞ ƵŶĚĞƌŐƌĂĚƵĂƚĞ ƐƚƵĚŝĞƐ ǁĞƌĞ ĂůƐŽ ŝŶ Ăƌƚ ŚŝƐƚŽƌLJ͖ Ă ŶŽǀŝĐĞ ŝŶ Ă ƐĞĂ ŽĨ ǀĞƚĞƌĂŶƐ͘ ,Ğ ǁĂƐ ƌĞůŝĞǀĞĚ ƚŽ ĮŶĚ ƚŚĂƚ Ăƌƚ ŚŝƐƚŽƌŝĂŶƐ ŐĞŶĞƌĂůůLJ ďĞŐŝŶ ĂƐ ƐŽŵĞƚŚŝŶŐ ĞůƐĞ ĞŶƟƌĞůLJĂŶĚƚŚĂƚŚŝƐƉĞĞƌƐǁĞƌĞĂƐŶĞǁůLJƐƚƌƵĐŬďLJƚŚĞƉƵƌƐƵŝƚĂƐŚĞǁĂƐ͘

,ĞƐƚƵĚŝĞĚĨŽƌƚǁŽLJĞĂƌƐĂƚŝŶĐŝŶŶĂƟďĞĨŽƌĞ ĂĐĐĞƉƟŶŐ Ă ƉŽƐŝƟŽŶ ǁŝƚŚ ƚŚĞ ƉŚŽƚŽŐƌĂƉŚLJ ĚĞƉĂƌƚŵĞŶƚĂƚƚŚĞŝŶĐŝŶŶĂƟƌƚDƵƐĞƵŵ͘,Ğ ǁĂƐ Ă ĐƵƌĂƚŽƌŝĂů ĂƐƐŝƐƚĂŶƚ ƚŚĞƌĞ ĨŽƌ Ϯϰ LJĞĂƌƐ͘ ƵƚĂůůƚŚŝŶŐƐŵƵƐƚĐŽŵĞƚŽĂŶĞŶĚ͕ĞƐƉĞĐŝĂůůLJ ǁŚĞŶ ƚŚĞ ŽƌŐĂŶŝnjĂƟŽŶ ĚĞĐŝĚĞƐ ƚŽ ĞůŝŵŝŶĂƚĞ LJŽƵƌƉŽƐŝƟŽŶ͘

dŚŽƵŐŚŚĞŚĂĚŽƌŝŐŝŶĂůůLJĂƉƉůŝĞĚƚŽƚŚĞŐƌĂĚƵĂƚĞƉƌŽŐƌĂŵĂƚWĞŶŶƐLJůǀĂŶŝĂ ^ƚĂƚĞhŶŝǀĞƌƐŝƚLJ͕ƚŚĞƌĞǁĂƐĂĚĞůĂLJŝŶĂƉƉƌŽǀŝŶŐŚŝƐĂƉƉůŝĐĂƟŽŶ͘LJƚŚĞƟŵĞ WĞŶŶ^ƚĂƚĞŵĂŝůĞĚŚŝŵĂŶĂĐĐĞƉƚĂŶĐĞůĞƩĞƌ͕ŚĞǁĂƐĂůƌĞĂĚLJĐŽŵĨŽƌƚĂďůLJ ĞŶƌŽůůĞĚ Ăƚ ƚŚĞ hŶŝǀĞƌƐŝƚLJ ŽĨ ŝŶĐŝŶŶĂƟ͘ <ŝĞů ƐĂLJƐ ŚĞ ŽŌĞŶ ƚŚŝŶŬƐ ĂďŽƵƚ ǁŚĂƚǁŽƵůĚŚĂǀĞŚĂƉƉĞŶĞĚŝĨƚŚŝŶŐƐŚĂĚƚƵƌŶĞĚŽƵƚĚŝīĞƌĞŶƚůLJ͕ďƵƚŝƚǁĂƐ ĂďůĞƐƐŝŶŐŝŶĚŝƐŐƵŝƐĞ͘ƚƚŚĞƟŵĞ͕ƚŚĞhŶŝǀĞƌƐŝƚLJŽĨŝŶĐŝŶŶĂƟŚĂĚŵŽƌĞ 26

>ƵĐŬŝůLJ͕ĂŶŽƚŚĞƌũŽďǁĂƐŽŶƚŚĞŚŽƌŝnjŽŶǁŚĞŶ dŚĞ>ŝŐŚƚ&ĂĐƚŽƌLJ͕ĂĐŽŶƚĞŵƉŽƌĂƌLJŵƵƐĞƵŵŽĨ ƉŚŽƚŽŐƌĂƉŚLJ ŝŶ ŚĂƌůŽƩĞ͕ EŽƌƚŚ ĂƌŽůŝŶĂ͕ ĐĂůůĞĚ ƚǁŽ ǁĞĞŬƐ ĂŌĞƌ ŚŝƐ ůĂƐƚ ĚĂLJ͘ ^ŽŵĞ ĂƐƐŽĐŝĂƚĞƐ ĨƌŽŵ dŚĞ >ŝŐŚƚ &ĂĐƚŽƌLJ ŚĂĚ ĂƩĞŶĚĞĚ Ă ĐŽŶĨĞƌĞŶĐĞ ŝŶ DŝĂŵŝ ĂŶĚ ǁĞƌĞ ŽǀĞƌŚĞĂƌĚĚŝƐĐƵƐƐŝŶŐƚŚĞŝƌŶĞĞĚĨŽƌĂĐƵƌĂƚŽƌ

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Good art creates an emotional response. I t d o e s n’ t h a v e t o b e a p o s i t i v e r e s p o n s e .

ďLJĂĨƌŝĞŶĚŽĨ<ŝĞů͘,ĞǁŽƌŬĞĚǁŝƚŚƚŚĞ>ŝŐŚƚ &ĂĐƚŽƌLJĨŽƌϳLJĞĂƌƐďĞĨŽƌĞƌĞͲĞŶƚĞƌŝŶŐƚŚĞũŽď ŵĂƌŬĞƚ͘ ,Ğ ƐŽŽŶ ƌĞĐĞŝǀĞĚ ĂŶŽƚŚĞƌ ĐĂůů͕ ƚŚŝƐ ƟŵĞ ĨƌŽŵ <ĞŝƚŚ ĂƌƚĞƌ͕ ǁŚŽŵ ŚĞ ŚĂĚ ŵĞƚ ƚŚƌŽƵŐŚĂƉŚŽƚŽŐƌĂƉŚLJůĞĐƚƵƌĞƐĞƌŝĞƐĚƵƌŝŶŐͲ LJŽƵ ŐƵĞƐƐĞĚ ŝƚ Ͳ ŚŝƐ ƟŵĞ ŝŶ ŝŶĐŝŶŶĂƟ ǁŚŝůĞ ǁŽƌŬŝŶŐŝŶƚŚĞƌƚDƵƐĞƵŵ͘ĂƌƚĞƌŚĂĚďĞĞŶ ŝŶǀŝƚĞĚĂƐĂƐƉĞĂŬĞƌƚŚĞƌĞŝŶϮϬϬϭ͕ĂŶĚƚŚĞƚǁŽ ƐƚĂLJĞĚŝŶƚŽƵĐŚ͘tŚĞŶƚŚĞĐƵƌĂƚŽƌƉŽƐŝƟŽŶĂƚ ƚŚĞ ŝƐŚŵĂŶ DƵƐĞƵŵ ŽĨ ƌƚ ŝŶ ĞĂƵŵŽŶƚ ŽƉĞŶĞĚ ƵƉ͕ <ŝĞů ĚŝƐĐŽǀĞƌĞĚ ƚŚĞ ũŽď ƚŚƌŽƵŐŚ ĂƌƚĞƌ͘ dŚŽƵŐŚ ƚŚĞ ŝƐŚŵĂŶ ŝƐ ƵŶĚĞƌ ƚŚĞ >ĂŵĂƌ hŶŝǀĞƌƐŝƚLJƵŵďƌĞůůĂ͕ƚŚĞŵƵƐĞƵŵŝƐůĂƌŐĞůLJŝƚƐ ŽǁŶ ĞŶƟƚLJ ĂŶĚ ƌĞĐĞŝǀĞƐ ĨƵŶĚŝŶŐ ƚŚƌŽƵŐŚ ĨƵŶĚƌĂŝƐĞƌƐƌĂƚŚĞƌƚŚĂŶƵŶŝǀĞƌƐŝƚLJĐŽīĞƌƐ͘ƐĂ ƌĞƐƵůƚŽĨĂƐƵƉƉŽƌƟǀĞƉƵďůŝĐĂŶĚƉĂƚƌŽŶƐ͕ƚŚĞ ďƵĚŐĞƚŝŶĞĂƵŵŽŶƚŚĂƐďĞĞŶŵŽƌĞŐĞŶĞƌŽƵƐ ƚŚĂŶĂƚŽƚŚĞƌƉůĂĐĞƐ<ŝĞůŚĂƐǁŽƌŬĞĚ͘dŚŝƐŚĂƐ

enabled him to go the extra mile and see to things such as proper ƚƌĂŶƐƉŽƌƚĂƟŽŶǁŝƚŚŚƵŵŝĚŝƚLJĐŽŶƚƌŽůůĞĚƚƌƵĐŬƐĨŽƌƐŚŝƉƉŝŶŐĂƌƚǁŽƌŬ͕ƐŽŵĞ ďĞĂƵƟĮĐĂƟŽŶ ƉƌŽũĞĐƚƐ ĂƌŽƵŶĚ ƚŚĞ ŵƵƐĞƵŵ͕ ĂŶĚ ŵŽƐƚ ŝŵƉŽƌƚĂŶƚůLJ͕ ŝůůƵŵŝŶĂƟŽŶĐŽŶƚƌŽů͘dŚĞŝƐŚŵĂŶ͛ƐƚĂůůĐĞŝůŝŶŐƐĂŶĚůĂƌŐĞǁŝŶĚŽǁƐůĞƚŝŶ ŶĂƚƵƌĂů ůŝŐŚƚ ƚŚĂƚ ĐŽƵůĚ ďĞ ĚĂŵĂŐŝŶŐ͕ ĞƐƉĞĐŝĂůůLJ ĨŽƌ ǁŽƌŬ ƚŚĂƚ ŝƐ ůŝŐŚƚ ƐĞŶƐŝƟǀĞ͘EŽǁ͕ƚŚŽƐĞǁŝŶĚŽǁƐĂƌĞĐŽǀĞƌĞĚǁŝƚŚƌĞŵŽƚĞĐŽŶƚƌŽůůĞĚƐĐƌĞĞŶƐ ƚŚĂƚďůŽĐŬŽƵƚϵϵйŽĨůŝŐŚƚǁŚĞŶŶĞĐĞƐƐĂƌLJ͕ďƵƚĐĂŶĂůƐŽďĞĞĂƐŝůLJƌŽůůĞĚƵƉ ĨŽƌĂŶLJŶĂƚƵƌĂůůŝŐŚƚƐŚŽǁƐ͘ƟŵĞůLJĂĚĚŝƟŽŶƐŝŶĐĞƚŚŝƐĨĂůů͕ĂŶĞdžŚŝďŝƚŝƐ ƉůĂŶŶĞĚƚŽĐĞůĞďƌĂƚĞ<ĞŝƚŚĂƌƚĞƌΖƐŬ͕ϱϬzĞĂƌƐ͘dŚĞƉƌŽũĞĐƚďŽĂƐƚƐŽǀĞƌ ϴϬϬ ƉŚŽƚŽŐƌĂƉŚƐ ďŽƌƌŽǁĞĚ ĨƌŽŵ dŚĞ tŝƩůŝī ŽůůĞĐƟŽŶ Ăƚ dĞdžĂƐ ^ƚĂƚĞ hŶŝǀĞƌƐŝƚLJ͘ ZĞŐĂƌĚůĞƐƐ ŽĨ ƚŚĞ ŵƵƐĞƵŵΖƐ ĨŽƌŵĂů ƐƚĂƚƵƐ ǁŝƚŚ ƚŚĞ ƵŶŝǀĞƌƐŝƚLJ͕ <ŝĞů ĞŵƉŚĂƐŝnjĞƐƚŚĂƚŝƚŝƐƐƟůůƚŚĞƐƚƵĚĞŶƚƐ͛ŵƵƐĞƵŵ͘,ŝƐĂŝŵŝƐƚŚĂƚƚŚĞLJƐŚŽƵůĚ ƐĞĞ ƚŚĞ ŝƐŚŵĂŶ ĂƐ ƐŽŵĞƚŚŝŶŐ ŝŶƐƉŝƌŝŶŐ ĂŶĚ ĞĚƵĐĂƟŽŶĂů͘ EŽƚ ũƵƐƚ Ăƌƚ ƐƚƵĚĞŶƚƐ͕ĞŝƚŚĞƌ͖ŚĞ͛ƐŵĂĚĞĞīŽƌƚƐƚŽĞdžƉĂŶĚƚŚĞĂƵĚŝĞŶĐĞƚŽŽƚŚĞƌŵĂũŽƌƐ ĂƐǁĞůů͘KŶĞƐŚŽǁƉƌĞƐĞŶƚĞĚƉŚŽƚŽŐƌĂƉŚLJŽĨƐŽůĂƌƉĂŶĞůƐĂŶĚŝŶǀŽůǀĞĚƚŚĞ ŶĞǁKĸĐĞŽĨ^ƵƐƚĂŝŶĂďŝůŝƚLJͲ>ĂŵĂƌ͛Ɛ'ƌĞĞŶ^ƋƵĂĚͲĂŶĚĞŶĐŽƵƌĂŐĞĚƚŚĞ ĞŶŐŝŶĞĞƌŝŶŐ ĚĞƉĂƌƚŵĞŶƚ ƚŽ ĐŽŵĞ ǀŝƐŝƚ͘ ŶŽƚŚĞƌ ĞdžŚŝďŝƚ ĨĞĂƚƵƌĞĚ ƉŚŽƚŽŐƌĂƉŚLJ ƌĞůĂƟŶŐ ƚŽ ƚŚĞ ǁŽƌŬ ŽĨ ƚŚĞ ^ŽƵƚŚĞƌŶ ǁƌŝƚĞƌ &ůĂŶŶĞƌLJ Off Ramp • Fall/Winter 2019 • www.setxac.org

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K͛ŽŶŶŽƌĂƐĂǁĂLJƚŽŚĂǀĞƚŚĞǀŝƐƵĂůĂƌƚƐŵĞĞƚƚŚĞ ůŝƚĞƌĂƌLJĂƌƚŽĨƚŚĞŶŐůŝƐŚĚĞƉĂƌƚŵĞŶƚ͘ KƚŚĞƌ ĞdžŚŝďŝƚƐ ĚĞǀĞůŽƉ ŝŶ Ă ŵŽƌĞ ŽƌŐĂŶŝĐ ĨĂƐŚŝŽŶ͘ tŚŝůĞĂƚƚŚĞ>ĂŵĂƌWůƵŵŵĞƌĚŵŝŶŝƐƚƌĂƟŽŶƵŝůĚŝŶŐ͕ <ŝĞůŶŽƟĐĞĚƚŚĞƌĞǁĞƌĞĂƌĐŚŝƚĞĐƚƵƌĂůƌĞŶĚĞƌŝŶŐƐĨƌŽŵ ůŽĐĂů ĂƌĐŚŝƚĞĐƚ DŝůƚŽŶ Ğůů Ͳ ŵĂŶLJ ŽĨ ƚŚĞ ĚƌĂǁŝŶŐƐ ǁĞƌĞ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐƐ ĨƌŽŵ ƚŚĞ ϭϵϱϬƐ͘ ,Ğ ƋƵŝĐŬůLJ ŽƌŐĂŶŝnjĞĚĂƐŚŽǁ͘>ĂƚĞƌ͕ǁŚŝůĞ<ŝĞůǁĂƐƐƉĞĂŬŝŶŐǁŝƚŚ Ğůů͕ŚĞŵĞŶƟŽŶĞĚŚŝƐĚĂƵŐŚƚĞƌͲ:ƵůŝĞĞůůͲǁĂƐĂŶ ĂƌƟƐƚ͘KĨĐŽƵƌƐĞ͕ŚŽǁŵĂŶLJƟŵĞƐŚĂƐƚŚĂƚďĞĞŶƐĂŝĚ͍ EĞǀĞƌƚŚĞůĞƐƐ͕ <ŝĞů ƚŽŽŬ Ă ůŽŽŬ Ăƚ ŚĞƌ ǁŽƌŬ ĂŶĚ ƌĞĂůŝnjĞĚ ƐŚĞ ǁĂƐ ƚŚĞ ƌĞĂů ĚĞĂů͊ dŚĞLJ ĚĞĐŝĚĞĚ ƚŽ ŝŶĐůƵĚĞĂƉŽƌƚƌĂŝƚƐŚĞŚĂĚĚŽŶĞǁŝƚŚŚĞƌĨĂƚŚĞƌĂƚŚŝƐ ĚƌĂŌŝŶŐƚĂďůĞŝŶƚŚĞĂƌĐŚŝƚĞĐƚΖƐƐŚŽǁ͘ŚƌŝƐdƌŽƵƚŵĂŶ͕ ǁŚŽ ƚĞĂĐŚĞƐ ĚƌĂǁŝŶŐ Ăƚ >ĂŵĂƌ͕ ƌĞĐŽŐŶŝnjĞĚ :ƵůŝĞ͛Ɛ ǁŽƌŬ ĂŶĚ ƌĞƐƉŽŶĚĞĚ ĞŶƚŚƵƐŝĂƐƟĐĂůůLJ͕ ͞tŚŽĂ͊ ^ŚĞ ǁĂƐƌĂŝƐĞĚŝŶĞĂƵŵŽŶƚ͍͊͟dŚŝƐďĞŐĂŶƚŚĞƉƌŽĐĞƐƐŽĨ ĂŶŽƚŚĞƌ ƐŚŽǁ ĨĞĂƚƵƌŝŶŐ :ƵůŝĞ Ğůů ĂŶĚ ŚĞƌ ŚƵƐďĂŶĚ͕ ŽƌŝƐ sĂůůĞũŽ͕ ďŽƚŚ ŽĨ ǁŚŽŵ ĐƌĞĂƚĞ Ăƌƚ ƚŚĂƚ ŝƐ ĐŽŶƚƌŽǀĞƌƐŝĂůĞŶŽƵŐŚͲĂŵŽŶŐĂƌƚĐƌŝƟĐƐ͕ĂƚůĞĂƐƚͲƚŽ ďĞĂƌĞůĂƟǀĞůLJƌŝƐŬLJĐŚŽŝĐĞ͘ĨƌŝĞŶĚ͛ƐŚĞůƉĨƵůĂĚǀŝĐĞ͍ ͞/ƚ͛ƐŐƌĞĂƚLJŽƵ͛ƌĞƌŽĐŬŝŶŐƚŚĞďŽĂƚ͕ďƵƚLJŽƵ͛ƌĞŐŽŝŶŐƚŽ ŐĞƚĮƌĞĚ͊͟ hůƟŵĂƚĞůLJ͕ ƚŚĞ ŽƉĞŶŝŶŐ ƌĞĐĞƉƟŽŶ ǁĂƐ ŽŶĞ ŽĨ ƚŚĞ ůĂƌŐĞƐƚ LJĞƚ͕ ĚƌĂǁŝŶŐ ŝŶ ŶŽƚ ŽŶůLJ ƐƚƵĚĞŶƚƐ ďƵƚ ŵĂŶLJ ŽƚŚĞƌƐ ĨƌŽŵ ƚŚĞ ĐŽŵŵƵŶŝƚLJ͕ ĂŶĚ Ă ůĂƌŐĞ ƐŚŽǁŝŶŐ ĨƌŽŵ ĐŽŵŝĐ Ŭ ůŽǀĞƌƐ͘ KŶĞ ƐƚƵĚĞŶƚ͕ ĂŌĞƌ ďĞŝŶŐ ĂƐŬĞĚŚŝƐƚŚŽƵŐŚƚƐĂďŽƵƚƚŚĞƐŚŽǁ͕ƐĂŝĚ͞/ƚΖƐŐƌĞĂƚ͊ tŚĂƚ͛ƐŶŽƚƚŽůŝŬĞ͍͟ĞƐƚŽĨĂůů͕<ŝĞůǁĂƐŶŽƚŝŶĨĂĐƚ ĮƌĞĚ͘

WĂƐƚdžŚŝďŝƟŽŶ͗:ƵůŝĞĞůů ĞŚŝŶĚƚŚĞsĞŝůͮKŝůŽŶǁŽŽĚͮϰϮΗdžϯϲΗ

dŚĞ :ƵůŝĞ Ğůů ĂŶĚ ŽƌŝƐ sĂůůĞũŽ ĞdžŚŝďŝƟŽŶ ŶŽƚ ŽŶůLJ ĚĞŵŽŶƐƚƌĂƚĞƐĞŶŶŝƐ<ŝĞů͛ƐĚĞƐŝƌĞĨŽƌŽƌŝŐŝŶĂůĂƌƚ͕ďƵƚ ĂůƐŽ ŚŝƐ ƌĞƐƉĞĐƚ ĨŽƌ ĐŚĂůůĞŶŐŝŶŐ Ăƌƚ͘ KŶĞ ŽĨ ŚŝƐ ƉŚŝůŽƐŽƉŚŝĞƐ ŽŶ Ăƌƚ ŝƐ ƚŚĂƚ ĐŚĂůůĞŶŐŝŶŐ ĂƌƚǁŽƌŬ ŝƐ ǀĂůƵĂďůĞ͘KŌĞŶ͕ĂǀŝĞǁĞƌĚŽĞƐŶ͛ƚŚĂǀĞŵƵĐŚƚŽƐĂLJ ĂďŽƵƚ ĂƌƚǁŽƌŬ ƚŚĞLJ ůŝŬĞ͕ ŽƚŚĞƌ ƚŚĂŶ ƚŚĞLJ ůŝŬĞ ŝƚ͘ ,Ğ ĞŶĐŽƵƌĂŐĞƐƚŚĞŵƚŽƐĂLJƐŽŵĞƚŚŝŶŐĂďŽƵƚǁŚĂƚƚŚĞLJ ĚŽŶ͛ƚůŝŬĞ͘tŚŝůĞƚĞĂĐŚŝŶŐ,ŝƐƚŽƌLJŽĨWŚŽƚŽŐƌĂƉŚLJĂƚ EŽƌƚŚĞƌŶ <ĞŶƚƵĐŬLJ hŶŝǀĞƌƐŝƚLJ͕ ŚĞ ǁŽƵůĚ ĂƐƐŝŐŶ ŚŝƐ ƐƚƵĚĞŶƚƐƚŽŐŽƚŽĂƉŚŽƚŽŐƌĂƉŚLJƐŚŽǁĂƚĂŐĂůůĞƌLJŝŶ ƚŽǁŶĂŶĚŐŝǀĞĂƉƌĞƐĞŶƚĂƟŽŶĂďŽƵƚǁŚĂƚƚŚĞLJƐĂǁ͘ DĂŶLJ ƐƚƵĚĞŶƚƐ ĨŽƵŶĚ ŝƚ ŝŶƟŵŝĚĂƟŶŐ͕ ĂŶĚ ŐƌĂƉƉůĞĚ ǁŝƚŚƚŚĞŵŝƐĐŽŶĐĞƉƟŽŶƚŚĂƚΗŝĨŝƚΖƐŝŶĂŐĂůůĞƌLJ͕ŝƚΖƐŐŽƚ ƚŽďĞŐŽŽĚ͕ΗƉĂƌƟĐƵůĂƌůLJǁŚĞŶƚŚĞLJĚŝĚŶΖƚůŝŬĞǁŚĂƚ ƚŚĞLJǁĞƌĞƐĞĞŝŶŐ͘ <ŝĞůΖƐĂĚǀŝĐĞƚŽƚŚĞŵǁĂƐ͕Η^ƉĞŶĚƟŵĞǁŝƚŚǁŽƌŬLJŽƵ ŝŶŝƟĂůůLJ ƚŚŝŶŬ LJŽƵ ĚŽŶΖƚ ůŝŬĞ͕ ďĞĐĂƵƐĞ LJŽƵΖůů ďĞ ƐƵƌƉƌŝƐĞĚŚŽǁŵĂŶLJĚŝƐĐŽǀĞƌŝĞƐLJŽƵΖůůŵĂŬĞ͘zŽƵŵĂLJ ƐƟůůŶŽƚůŝŬĞŝƚ͕ďƵƚLJŽƵΖůůǁĂůŬĂǁĂLJǁŝƚŚĂĐŽŵƉůĞƚĞůLJ ĚŝīĞƌĞŶƚ ĨĞĞůŝŶŐ͘ dŚĂƚ͛Ɛ ƚŚĞ Ăƌƚ LJŽƵ͛ůů ƌĞŵĞŵďĞƌ͘ tŚĞŶ ƚŚĞ ĞdžƉĞƌŝĞŶĐĞ ĐŽŶƟŶƵĞƐ͕ ǁŚĞŶ ƚŚĞƌĞ͛Ɛ ĂŶ ĞŵŽƟŽŶĂůƌĞƐƉŽŶƐĞ͗ƚŚĂƚ͛ƐŐŽŽĚĂƌƚ͘Η 28

&ƵƚƵƌĞdžŚŝďŝƟŽŶ͗<ĞŝƚŚĂƌƚĞƌ ŽŐŽŐͮϮϬϭϰ

Off Ramp • Fall/Winter 2019 • www.setxac.org

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CONSERVATION ART

Federal Duck Stamps & Prints

Jay N. Darling (1876-1962), 1934-35 Federal Duck Stamp; Mallards, c. 1934, engraving on paper, 1.375 × 1.9375 inches, Bequest of H.J. Lutcher Stark, 1965, Stark Museum of Art, Orange, Texas, 91.1.1.B

On view July 13, 2019 - January 4, 2020 Free admission 712 Green Avenue, Orange, TX 77630

starkculturalvenues.org/starkmuseum

©2019 Nelda C. and H.J. Lutcher Stark Foundation. All Rights Reserved. Off Ramp • Fall/Winter 2019 • www.setxac.org

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Classic Series I

Classic Series IV

September 14, 2019 | 7:30PM | Julie Rogers Theatre The Titans of the Classics: Beethoven and Shostakovich Guest Artist Phillipe Bianconi, Pianist

April 4, 2020 | 7:30PM | Julie Rogers Theatre A Renewal of Spirit: Elgar and the Common Man Guest Artist Julian Schwarz, cellist

POPS I

Additional concerts not part of the season subscription

October 5, 2019 | 7:30PM | Julie Rogers Theatre The Piano Man meets the Rocket Man Jean Meilleur and John Regan as Elton John and Billy Joel

Symphony at Shangri La Gardens Shangri La Gardens October 20, 2019 | 5:00 pm

Classic Series II November 16, 2019 | 7:30PM | Julie Rogers Theatre A Celebration of Mozart, Rossini and SOST! Featured Artist Whitney Bullock, SOST Principal Violist

Home for the Holidays

Classic Series III

A tribute concert for violinist Yu Gu

February 15, 2020 | 7:30PM | Julie Rogers Theatre The Romantic Spirit of Music Brahms, Fauré, Hanson featuring the SOST Chorus

POPS II

Julie Rogers Theatre December 8, 2019 | 3:00PM

Julie Rogers Theatre January 26, 2020 | 5:00PM For tickets and more information, visit SOST.org

March 7, 2020 | 7:30PM | Julie Rogers Theatre We're Off to See the Wizard A multimedia presentation of the movie The Wizard of Oz accompanied by your SOST! 30

Off Ramp • Fall/Winter 2019 • www.setxac.org

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Sponsors

SETAC Members show they have big hearts for the arts year-round. PATRON MEMBERS: Adalaide Balaban

Regina Rogers

Carrol and Susan Cross

Vijay and Rita Kusnoor

C. Delle Bates

Jon Tritsch

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Jobie Irvine

Not a member of SETAC? Consider it. Join one of the most effective arts organizations in the state of Texas and support the arts and humanities you love. This is what the Southeast Texas Arts Council exists for: We promote. We advocate. We educate. We collaborate. We grant. Since the 1970s it has been our sole mission to ƵƉůŝŌƚŚĞŝŶƐƉŝƌĞĚǁŽƌŬŽĨĞƐƚĂďůŝƐŚĞĚĂŶĚĞŵĞƌŐŝŶŐĂƌƚƐ ĂŶĚ ŚƵŵĂŶŝƟĞƐ ƉƌŽŐƌĂŵƐ ŝŶ :ĞīĞƌƐŽŶ͕ ,ĂƌĚŝŶ͕ ĂŶĚ KƌĂŶŐĞŽƵŶƟĞƐ͘ ^Ž ůŽŶŐ ĂƐ ƚŚĞƌĞ ŝƐ ĞǀĞŶ Ă ƐŝŶŐůĞ ĂƌƟƐƚ͕ ƚŚĞĂƚĞƌ ƚƌŽƵƉĞ͕ musician - so long as even one person sets their mind to ĐƌĞĂƚĞͲ^dǁŝůůďĞƚŚĞƌĞƚŽƐƵƉƉŽƌƚƚŚĞŵ͕ďĞĐĂƵƐĞƚŚŝƐ ŝƐ^ŽƵƚŚĞĂƐƚdĞdžĂƐ͕ĂŶĚĂƐĨĂƌĂƐǁĞ͛ƌĞĐŽŶĐĞƌŶĞĚ͕ŝƚŝƐƚŚĞ ŐƌĞĂƚĞƐƚƉůĂĐĞŽŶĂƌƚŚ͘&ŽƌŵŽƌĞŝŶĨŽƌŵĂƟŽŶŽŶďĞĐŽŵŝŶŐĂŵĞŵďĞƌ͕ǀŝƐŝƚŽƵƌǁĞďƐŝƚĞĂƚǁǁǁ͘ƐĞƚdžĂĐ͘ŽƌŐ͘ Off Ramp • Fall/Winter 2019 • www.setxac.org

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Welcome to Your State Designated Cultural Arts District DowntownBeaumont.org

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Profile for Southeast Texas Arts Council

Off Ramp Fall/Winter 2019  

A crafting issue featuring quilting and jewelry. Plus, Dishman Art Museum curator Dennis Kiel gives his thoughts on selecting art for exhibi...

Off Ramp Fall/Winter 2019  

A crafting issue featuring quilting and jewelry. Plus, Dishman Art Museum curator Dennis Kiel gives his thoughts on selecting art for exhibi...

Profile for setac
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