ISSUE October 2018

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

ONE STORY, TWO VOICES PAGE 8

INSIDE: OPEN MEETING, KLIMT & THE SPANISH FLU, AND MORE

OCTOBER 2018

WANTED

Live models needed for Life Drawing, Tuesdays, 6-8 p.m.

Contact Sara Tuell at saratuell@gmail.com

ISSUE Vol. 25, No. 2 Publisher . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor. . . . . . . . . . . . . . . . . Beth Gallaspy Contributing Writer . . . . . . . . . . Stephan Malick Contributing Photographer . . . . Stephan Malick Distribution . . . . . . . . . . . . . . . . . Olivia Malick

A View From The Top Greg Busceme, TASI Director The day I am writing this marks another dream realized sooner than we expected and later than we wanted. New windows are being installed tomorrow (Sept. 15). as things go, it was planned for next Tuesday, but the company had a cancellation so their top team of installers were idle, and they hoped to keep them working. So they asked, “how about Saturday?” my head did the backstroke and butterfly simultaneously as I ran through my brain the logistics of getting things done before tomorrow. “Bring it on!” I heard myself say, and it was done. marilyn, our assistant director, walked in at that moment, and it was all hands on deck — horns and whistles! as things usually go, The Studio response was swift and sure. Twenty-two frames were produced, pronto, and artists responded with swift and sure action! By five o’clock the dust cleared, that song that plays in the

The Art Studio, Inc. Board of Directors Corporate President . . . . . . . . . . Greg Busceme Corporate Vice-President . . . . . Angela Scheibel Chair. . . . . . . . . . . . . . . . . . . . . . . Joe Winston Treasurer . . . . . . . . . . . . . . . . . . . John Roberts Secretary. . . . . . . . . . . . . . . . . . . Jessica Davis Members at Large . . . . . . Stephanie Chadwick, . . . . . . . . . Olivia Busceme, John Fulbright, . . . Stephan Malick, Sara Tuell, Jes Prince, . . . . . . . . . . Sheila Busceme, John Rollins Tenant Representative. . . . . . . . . . Kailee Viator Assistant Director . . . . . . . . . Marilyn Tennissen

The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org info@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 TASI Open Meeting. . . . . . . . . . . . . . . . Page 4 Spanish Flu 100 Years Later . . . . . . . . . Page 6 Myers & Blanchard “Morphogenesis” . . Page 8 Tollin, Waldrep at High Street Gallery . Page 11 Hollywood Acting Workshops . . . . . . . Page 12 Around & About . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime . . . . . . . . . . . . . . . . . . . Page 15 Cover photo illustration

by Andy Coughlan

dawn crooned, and everything was right with the world. Let the windows begin!

I want to make a special recognition to two clubs from Beaumont United high School. The Key Club and Beta Club have made an enormous commitment in working with, not only The Studio, but other arts organizations in the area as well. Last Saturday we had at least 12 young people don gloves and tools to work moving junk and packing our permanent collection to clear space for the window installers (I must have had a premonition). We worked moving rock in the parking lot, hauling trash from upstairs, packing art and disassembling wood racks, and other odds and ends at The Studio. each time they arrive, a host of tasks no one wants to do get done. Not just done but

See VIEW on page 13

UPCOMING EXHIBITIONS AT THE ART STUDIO

OCTOBER

NOVEMBER

“Morphogenesis” by Anna Myers and Scarlett Blanchard Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . October 6

“For Love & Paint” by Mark Nesmith & Elizabeth Pearson Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 3

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4 • ISSUE October 2018

Volume 25, No. 2

Annual open house board meeting lays out TASI plans “ReCogNIzINg The haRd WoRK of our supporters, volunteers and staff is something we can never do enough of,” greg Busceme, The art Studio, Inc. founder, said. “and we probably haven’t always done it enough, and we wanted to start our season with a big ‘Thank you’ to the community.”

The Sept. 12 event was an opportunity to do that as TaSI kicked off its 36th year of exhibitions,

Story and photos by Stephan Malick

classes and events. The celebration and State-of-theStudio Report showcased ongoing recovery from hurricane harvey, donor and sponsorship projects, and future plans for The Studio with short-, mid-, and long-term goals.

“The fact that we have be able to come so far in just a year is a testament to the love and dedication that people have for The Studio,” Joe Winston, board president, said. “The Studio is literally a new place in many respects. We have overcome a lot of

storm damage to bring the building up to a new level.” hurricane harvey and the torrential rain that accompanied the storm severely damaged The Studio’s roof causing extensive water damage in the classroom, office and kitchen areas of the building. almost the entire interior of those spaces were gutted to the foundation to be treated and prepped for repair. a small army of volunteers lent their skills and talents over many weeks and months to building

October 2018 ISSUE • 5

Volume 25, No. 2 new walls, repairing plumbing, painting and installing drywall.

“We were emotionally devastated as much as the building was damaged,” Busceme said. “We almost didn’t know where to start, but people came in to help, and we realized the storm created a silver lining for us.”

The Studio, for all of its industrial glory, was in need of several modernizations and upgrades, Busceme and Winston said at the event.

“When we got the board together after the storm, we realized some good could come out of this event,” Winston told attendees. “This was an opportunity to grow and come back better than we were before, and we decided to go forward in improving what we knew The Studio needed.”

Before the storm damage, several areas of the building needed repair or remodeling. These areas included bathroom repairs and upgrades, improving access and americans with disabilities act compliance, redistributing administrative office space to a more efficient layout, increasing the size of the library, adding storage spaces, enlarging the dark room area and replacing and adding new light fixtures, fire safety upgrades and the Wi-Fi network.

Several foundations supported the recovery and improvement plan including the Pollock-Krasner Foundation, the Foundation for Southeast Texas for the wheelchair ramp and window replacement, CdBg for roof repair and the edaren Foundation with wheelchair lift.

“The heart of The Studio has always been our tenant artists, and we wanted to create a better area for them to showcase their work, so we remodeled the sales gallery and art storage area,” Busceme said.

“We also bought the property next door because we have grown so much that we needed space to accommodate more tenant work areas.” additionally, the entrance to the sales gallery and administrative area had been damaged by termites prior to harvey, and The Studio’s fundraising efforts had stalled to repair it.

“The storm really put a spark to everyone, and we had a sort of awakening that motivated the organization to a level of enthusiasm that was really needed,” Winston said. “We invited to some fresh faces to our board and rededicated ourselves, as a board, to carrying out the mission of The Studio.

“This community needs The art Studio, and after 35 years we weren’t going to let a storm knock us out. We survived Rita and Ike, and we were not only going to survive harvey, but we were going to thrive because of it — and we have with the generous help of several donors.”

Board member John Fulbright said The Studio is a fixture in the Southeast Texas community and has earned its place as a cultural destination for the entire area.

“The Studio has been around long enough now that people who came here as children and teenagers

“(Harvey) really put a spark to everyone, and we had a sort of awakening that motivated the organization to a level of enthusiasm that was really needed.” are now bringing their own children and sometimes grandchildren to classes and events,” he said. “There are not many organizations anywhere that say that.

We have a legacy to uphold for that history and for what will come in the future.”

There are 34 tenants using Studio facilities, and there is currently a waiting list. TaSI has also added more classes and instructors to its schedule to satisfy the growing demand and interest in art in the community — roughly two dozen additional people use The Studio each month taking classes. one of the future goals of The Studio is to repurpose the current clay class area to a climate-con-

Joe Winston TASI board chairman

trolled classroom so classes can be held more comfortably all year long. a long-term goal is to have the entire building air conditioned and heated. a permanent, user-friendly performance space is also included in future plans to accommodate growing requests for theatrical performances and Band Nites.

Busceme told attendees that a wave of rejuvenation and enthusiasm was an unexpected aspect of the past year’s work.

“So many people have come forward and lent their expertise and sweat equity in many, many projects, and we wouldn’t have come this far without them,” Busceme said.

TASI director Greg Busceme, foreground, and board president Joe Winston stated The Studio’s plans for continued growth and expansion during the annual open house meeting Sept. 12 in the newly renovated sales gallery. The event drew a healthy crowd of supporters.

6 • ISSUE October 2018

Volume 25, No. 2

100 years ago How the Spanish flu pandemic affected the arts

Gustav Klimt, wearing his painter's coat in front of his studio, holding one of his cats.

A mass grave for victims of the 1918 Spanish Influenza pandemic in the Philadelphia area.

IN 1918, aS moST of Western europe was winding down from the ravages of World War I, a new scourge arrived to attack those who had survived the previous four years of carnage — an epidemic of “Spanish Flu.” The flu pandemic affected more than 500 million people around the world, including those in such far-flung places as the Pacific Islands and the arctic, killing anywhere from 50 to 100 million people in the two years from 1918 to 1920.

With the war in europe ongoing, reports of the illness in england, France, germany and the United States were censored to preserve morale, but there were no such restrictions in Spain, suggesting the Spanish were especially hard hit and giving the pandemic its nickname.

In fact, this was the first of two pandemics of the h1N1 influenza virus.

This is the 100th anniversary of the beginning of the pandemic, which has been dubbed “the forgotten flu,” although historians believe that it played a significant part in the ending of WWI as the Central Powers suffered significantly more than the allies initially, thereby tipping the balance of the war.

The arts were affected with artistic lights extinguished in the pandemic, including painters gustav Klimt and egon Schiele, and the poet and critic guillaume apollinaire. other notable victims included Phoebe hearst, mother of William Randolph hearst; Sophie halberstadtFreud, daughter of psychiatrist Sigmund; english composer Sir hubert Parry of “Jerusalem” fame; and Frederick Trump, grandfather of the current U.S. president.

Notable survivors included Walt disney,

Story by Andy Coughlan

Adele Bloch-Bauer I (1903-07) by Gustav Klimt

philosopher Walter Benjamin, Raymond Chandler, greta garbo, Lillian gish, Franz Kafka, edvard munch, georgia o’Keefe and U.S. presidents Franklin d. Roosevelt and Woodrow Wilson.

Klimt died on Feb. 6, 1918, at age 56 from pneumonia following a stroke after being seriously weakened by the flu. he was buried three days later at hietzing Cemetery in Vienna.

Now, 100 years later, Vienna is honoring Klimt as the artist that best typifies the Secessionist painting style (along with Schiele and oskar Kokoschka). The Vienna Secession was an art movement founded in 1897 by a group of austrian artists, including painters, sculptors and architects, who rejected the

conservatism of the austrian Kunstlerhaus, part of a wider trend of artists breaking with the traditions of historical academia, including the French Impressionists and the german expressionists.

The group initiated a contemporary art gallery, which, among other things, introduced the Impressionists to austria.

Klimt was also a pioneer of Symbolism — characterized by mystical motifs, a personal approach to the visual arts and an aesthetic similar to art Nouveau and William morris’ arts and Crafts movement. although Klimt left the Secessionists in 1905 over a difference of opinion as to artistic direction, no artist more exemplifies the fin-de-siecle Viennese arts scene.

October 2018 ISSUE • 7

Volume 25, No. 2 Roberto Rosenman, on New york’s Neue galerie website, writes: “art historians have somewhat neglected the topic of the Vienna Secession because of its apparent lack of a specific program, yet it was precisely its pluralist approach to the arts which made the group unique.

From the onset, the Vienna Secession brought together Naturalists, modernists, Impressionists and cross-pollinated among all disciplines forming a total work of art; a gesamkunstwerk. In this respect, the Secession drew inspiration from William morris and the english arts and Crafts movement which sought to re-unite fine and applied arts. Like morris, the Secessionists spurned 19th century manufacturing techniques and favored quality handmade objects, believing that a return to handwork could rescue society from the moral decay caused by industrialization.” above the door of the new Secessionist building was the motto, “To every age its art, to every art its freedom.”

The artists involved were obviously influenced by the burgeoning Jungenstil, or art Nouveau, movement, although, as Rosenman writes: “The dominant form was the square and the recurring motifs were the grid and checkerboard. The influence came not so much from French and Belgian art Nouveau, but again from the arts and Crafts movement. In particular the work of William asbhee and Charles Renee mackintosh, both of whom incorporated geometric design and floral-inspired decorative motifs, played a large part in forming the Secessionstyle.”

Possibly Klimt’s most famous painting, “adele Bloch-Bauer I (1903-07),” shows the artist working with both the abstract and the “real.” The abstract golden patchwork background merges with the ornamented dress. Painted during his “gold” period, the patchwork of ornamentation and gold leaf works in harmony with the jewelry adorning the figure. The painting, on permanent display at the Neue galerie, is stunning in person. The level of ornamentation, which nods to Byzantine iconography, creates a portrait that is both an honorific and, at the same time, a piece that exists for its own artistic sake.

This painting has become doubly famous over the past few years as the subject of a court case concerning Nazi art theft. It was commissioned by adele’s husband, Ferdinand, who was Jewish. When Ferdinand fled to Switzerland in 1938, the Nazis confiscated the painting and hung it in the austrian galerie Belvedere.

Ferdinand died in 1946 and willed his confiscated collection to his nephew and two nieces.

In 2000, his niece, maria altmann, filed a lawsuit to recover the painting, which ended up in the Supreme Court. The painting was returned to the family before being sold to Ronald S. Lauder for $135 million, at the time a record price paid for any painting. Lauder gave the painting to the museum he founded, the Neue galerie. The case was the subject of the 2015 film,

The Kiss by Gustav Klimt “Woman in gold.”

Klimt’s painting “The Kiss” encompasses the spirit of Secessionism perfectly. It is often considered to be an art Nouveau painting, but it is more than simply decorative. Klimt draws on a variety of sources, depicting a couple enveloped in an embrace, wrapped in a decorative quilt-like golden shawl, standing on a bed of flowers.

Biographer Frank Whitford writes, “This, the most celebrated of all the artist’s paintings, seems to embody Klimt’s belief in the transformative power not only of sexual love but also of art.”

The Klimt museum website states, “In its tenderness, the painting deviates from his typical portrayal of woman as distant femme fatales; here the female is the protagonist, rather than merely the object of desire.”

The painting is now in the Österreichische galerie

Belvedere museum in Vienna. on Jan.11, 1918, Klimt suffered a stroke that paralized his left side, leaving him unable to paint. In his weakened state he succumbed to the flu, “his body to weak to resist it and, deprived of the consolation of painting, his will to live had gone,” Whitford writes. despite Klimt’s popularity — his work is reproduced on posters, blankets, T-shirts and all manner of paraphernalia — Whitford argues that his influence is limited: “No school followed him. There was no one quite like him before and no one at all like him afterward. his effect on the course of painting in the 20th century was negligible. yet the transition from the old to the modern can be seen more clearly in his work and the purposes for which it was intended than in that of any other major artist.”

8 • ISSUE October 2018

Volume 25, No. 2

2 stories, 1 language myers, Blanchard to present ‘morphogenesis’ at TaSI aNNa myeRS aNd SCaRLeTT Blanchard could be twins. Not because they look anything alike — myers is dressed head to toe in black save for the ornate silver jewelry, Blanchard is a jeans and T-shirt country girl — but in the way that they communicate with each other.

“We’ve always communicated about (art),” myers says.

Story and photos by Andy Coughlan

“She’s the only one I’ll send pictures of my art to, and she will show me what she’s working on. out of everyone we went to college with, she’s the only one I’ve kept up with — that must count for something. She must like me a little bit.” “oh, I love you,” Blanchard quickly says, and the pair fall about laughing. “We’ve fed off each other, especially with the show. Like, nothing will want to come out and

she’s pushing me. When you see our stuff, well, you’ll see the similarities, but my stuff is totally different.”

“Telling the same story in two different languages,” myers interjects.

The pair will tell their artistic story in “morphogenesis” at The art Studio, Inc., 720 Franklin St. in downtown Beaumont, beginning with a free reception oct. 6 and running through oct. 26.

Volume 25, No. 2

October 2018 ISSUE • 9

“morphogenesis is a biological process, and that’s really the one thing we have in common is that biological-type organisms,” myers says. “Something had come across that maybe we would do something scientific because that’s what you have with organisms, your genus and species and all that. So it just ended up — thesaurus — with that really nice word.”

The pair are sitting in the printmaking lab at Lamar University, from which the pair had graduated with degrees in printmaking, myers in 2009 and Blanchard in 2010.

“We met in here, and it just sort of happened,” Blanchard says. “I don’t know how we became friends.” “organically,” myers interjects. “We spent a lot of hours huffing fumes. It was totally toxic in here. We’d, like, leave, still high, in the dawn hours — it was awful.”

The pair’s attention turns to the ventilation now, which meets with their approval. They clearly have a fondness for their time in the room as they wander down memory lane trying to figure out the different teachers they had at different times.

“I think (college) exposed our psychotic-ness to detailed things,” Blanchard says. “Printmaking just pushed that further. Printmaking is such a (“Tedious,” myers interjects) tedious, yeah, procedure so we bonded over that.” “you have to be like a machine, which works for me,” myers says. “I listen to industrial music so it’s like machine, machine, machine. It was great in the middle of the night when there was no one here.” myers is the more outgoing of the two, a non-stop, machine-like banter of witty, self-effacing comments, while Blanchard laughs often yet seems uncomfortable with the attention. yet myers says that in class, Blanchard was the one who could clearly express her ideas.

“Scarlett is a tough customer,” myers said. “I never knew what to say. I still don’t really know — I make art.” myers exaggerates her Southern accent as she draws out the word “aaarrrt.” myers says spending so much time in the lab had its drawbacks.

“We would always have to clean up because we were always the last ones to leave,” she says. “I made a sign that said, ‘Clean up your mess.’ It stayed up for a long time. It made me so mad because it was always us.” once they left school, the pair were forced to abandon printmaking for the want of facilities. Blanchard says she looked into getting a press, but they are too expensive. With printmaking no longer an option, the pair returned to drawing — charcoal and pastel for myers; graphite, pen and ink and watercolor for Blanchard. myers, who is married with a teenage son, creates a fantasy world full of tentacle creatures inspired by h.P. Lovecraft stories that offers an escape from day-to-day reality.

“I hate to say because I love my life, and I love the people I have in my life, but I had to settle down early,” she says. “I have a career. It has retirement, if I can make it that long.

“I live the normal life — as a weirdo — but I live the normal life. I just have a yearning for something more, something weird something paranormal. Nothing weird or paranormal

See MORPHOGENESIS on page 10

Scarlett Blanchard, left, and Anna Myers, above, will present “Morphogenesis,” an exhibition of their recent work, Oct. 6-26 at The Art Studio, Inc. The pair have been friends since meeting at Lamar University, where they majored in printmaking.

10 • ISSUE October 2018

MORPHOGENESIS from page 9 ever happens to me, and I hear about these people who have these out-of-body experiences, and I’m like, ‘That never happens to me! I want my own weirdness.’”

So myers says she is building a world of her own. “my dimension,” she said, excitedly.

“I’m going to have so many of these hoarded images and sculptures, and I’m going to have them in a room, and I’m going to pretend I’m in an h.P. Lovecraft story and I’m going into a different dimension and it’s fabulous. “and I want to share it with others.”

Volume 25, No. 2 Blanchard, who lives in Nome where she is a horse trainer, says she shares myers’ idea of an alternate world.

“I’ve always drawn, but what probably got me more into it was when my parents divorced,” Blanchard says. “I’m a country kid, and we got shoved into an apartment, and it was, ‘What are you gonna do with all this energy?’ my outlet was to draw, and it’s just carried on from that.”

Blanchard says her art features a lot of animals and plants, but also imagery of skulls and death. her drawings are small and intricate with exquisite detail, mostly black and white, but some in color.

“In my stuff there’s drawings that are out there,” Blanchard says. “Tall sticker

bushes that are so intricate. most of my stuff is thorns.” “and I love pretty flowers,” myers laughs. “and dead stuff,” Blanchard says. “In college that’s what I was known for. If I see something on the side of the road, I’m picking it up.” aside from sharing a love of obsessive details, Blanchard and myers feed each other’s creativity, they say. as well as drawings, myers will include some soft sculptures in her collection (she placed third at this spring’s TaSImJae exhibition with her first sculpture). The connection between drawing and sculpture is obvious.

“It’s lines,” she says. “I start with wire, I ‘draw’ the structure. It’s the same (as drawing) because I don’t start with recognizable imagery — it’s either right or wrong, If it’s right I go with it. If it’s wrong, I don’t.” myers said the urge to sculpt just came on her.

“I think I was texting you,” she says to Blanchard, “and I said, ‘I want to do a 3-dimensional piece, it’s gnawing inside of me — I just have to do it.’” myers is self-effacing when she talks about her drawings.

“Nobody likes my drawings, nobody likes anything else I do — and the fact that placed (in TaSImJae), I was like ‘Whaat?’ like the universe was telling me, ‘do more

of these stupid, weird things,” she says.

Blanchard says that making art, especially with such tight details, gives her something to fixate on.

“I can’t sit still,” she said. “I can’t watch TV. I don’t care to converse. I don’t go hang out with friends — I don’t do anything else.” myers said that making the soft sculpture is even more tedious than printmaking.

“I make everything by hand, and it’s just going over it and over it and over it — there’s layers,” she said. “I’m using synthetic fabric, and it’s not forgiving. my fingers are bleeding and they hurt — I got friggin’ man hands. It’s like penance; you just keep jabbing yourself over and over again.”

Surprisingly, Blanchard listens to much of the same music as myers, something that seems at odds with her appearance. “deep down I would like to look like her, but I’m not that fashionable,” Blanchard says. “as far as fashion goes, I’m like, ‘don’t look at me.’ maybe she can pick me something out for the opening.”

Both women have been working hard and say that they have put their lives on hold while they are work on the show. But it’s just what they do.

They have art to make and stories to tell — stories of worlds that revolve around a particularly special friendship.

Photo courtesy Matthew Myers

Scarlett Blanchard, left, and Anna Myers, above with her pet Nan-Sun conure, Grendel, share a passion for finely detailed drawings. The pair will show their work in an exhibition titled “Morphogenesis” at The Art Studio in October.

October 2018 ISSUE • 11

Volume 25, No. 2

Art by Jill Waldrep

Art by Chelsea Tolin

High Street Gallery to host Tolin, Waldrep art The hIgh STReeT gaLLeRy will host an exhibition of paintings and drawings by Chelsea Tolin and Jill Waldrep, 7-10 p.m., oct. 13. The gallery is located in Victoria house, 2110 Victoria St. in Beaumont.

“I really like what I’ve seen from each of these artists, though their styles are different, and they may not have even had the chance to work together before,” olivia Busceme, gallery director, said. “Both Chelsea and Jill have each created a separate body of work which I think will end up reflecting very nicely against each other. I’m excited to see how the pieces end up fitting together.” after initially getting an education in musical theater, Waldrep has been self-taught in visual arts for the past three years, exploring the use of acrylics and more recently watercolors.

Waldrep has titled her collection “Fighting for Self.”

She describes it as sensual, exploratory, resilient, honest, raw, and her main inspiration has been her self. “more specifically, my physical body and the battle I go into every morning to stay afloat,” she said. “diving into the female form was brought on exactly a year

ago after painting myself in a moment of despair after my third surgery. It changed my life, literally. I am also extremely inspired by nature, its cycles, and our human connection to it.

Tolin’s collection for this show is titled “Contemplating my Status Quo.” “While I was making the art for this show, I was thinking about what I’d like to do as my status quo after college,” she said. “do I still want to work in concept art for movies or television? do I want to go work for an illustration or design firm? or do I want to travel the world on my own boat doing freelance? So this show is really me exploring the type of art I want to make in life and trying to better myself through my art.”

Beaumont native Tolin currently studies graphic design at University of North Texas but attributes much of her art education to a friend and former teacher Roy Bares. Influences also include nature, family and movies, especially the work of hayao miyazaki.

“I think that ghibli movies edge out disney movies almost completely because they’re just so powerful

and each one just gets better — also the female heroines were very inspiring,” Tolin said. “I also grew up with a love for Walt disney’s work and how he approached characters. movies in general have been a big part of my life and how I set up my pieces in both color and composition.” entry is free and open to the public. Refreshments will be available at the event. The exhibition will be on display for one night only, and work will be for sale by each of the artists. “my largest hope with any of my work is that it makes people, especially women, truly think about the way they look at themselves, the way they talk to themselves and the way they treat themselves,” Waldrep said. “Then, after looking inward, they think about the impact we each have on our environment and people around us with our thoughts, words and actions.

“I hope they find their SeLF and light.“ For more information, email victoriahousetx@ gmail.com, or visit the high Street gallery Facebook page.

12 • ISSUE October 2018

Volume 25, No. 2

Hollywood acting coach to conduct Beaumont workshops aCTINg CoaCh aNd aUThoR Chambers Stevens will bring his hollywood expertise to Beaumont in october with a trio of acting workshops for aspiring young actors.

The workshops, hosted by divergent Theater, are scheduled for Friday, oct. 19, 4:30-7:30 p.m. for returning students, or Saturday, oct. 20, 9 a.m.-noon for second through fifth grade, and 1-4 p.m. for sixth though 12th grade.

The workshops will be held at the The art Studio, Inc., 720 Franklin St. in downtown Beaumont.

Cost is $95 for each workshop. advance reservations are required.

To reserve a spot sign up at facebook.com/divergenttheater or call 409-553-7968.

Stevens is an established coach and the author of seven books of monologues, scenes and commercials for young actors as well as published playwright. he is married to Betsy Sullenger, producer of the disney Channel hit “Liv and maddie,” and has won multiple awards for as the top acting coach for kids and teens in Los angeles from Backstage, the national magazine for the film and television industry.

Just a few of Stevens’ current coaching clients are Kiernan Shipka, who played Sally draper on “mad men” and is the star of the new Netflix “Sabrina the Teenage Witch,” Lili Reinhart, who stars as Betty in “Riverdale,” and Bridger zandina as mordis in the marvel show “Inhumans,” Sharkey in amazon Prime “Bosch” and harvey in “Better Things.”

“Chambers has a gift with children and teenagers,” coordinator Ramona young said. “When he is coaching them on auditioning and different acting styles that are currently en vogue in hollywood, he is super high energy. his energy reminds me of an early Jerry Lewis. he’s fun, he does voices, he con-

nects on their level — he’s just hilarious. Kids love him.”

Stevens is an expert on the disney style and has a multitude of clients on the disney Channel and Nickelodeon as well as all the major network and cable channels. he will teach students how to focus on the laugh, how to make an impression and the difference between single camera and multi-camera auditions.

“Chambers will instruct them on what skills they need to work on to be an effective auditioner,” she said.

“There’ll be some techniques on memorization and how to make your audition stand out. There will also be scene and monologue work. “a lot of the stuff will be effective for not only auditioning on the professional level, but also for kids who are planning for auditions for college acting programs or even local theater.” young said that Stevens visits Southeast Texas annually but hurricane harvey caused the postponement of last year’s workshop.

“I am so excited to have Chambers return this year,” she said. “his workshops are so popular, and I know students who have attended for several years and are thrilled that he will be back.”

Stevens, who is making his eighth trip to Southeast Texas, although his first for almost two years, said he enjoys working with young actors.

“Kids are the best,” Stevens said.

“They are so full of creativity and energy. Their imaginations are powerful so they can throw themselves in to any scene. Plus they are so hungry for help from someone who knows what they are doing.”

For more on the workshops, visit www.facebook.com/divergent theater.

For more on Chambers Stevens, visit www.chambersstevens.com.

Hollywood acting coach and author Chambers Stevens directs students during his previous Beaumont workshop.

SUPPORTS THE ART STUDIO, INC.

info@signinternational.com 409.832.0117 7398 College St. in Beaumont

October 2018 ISSUE • 13

Volume 25, No. 2

VIEW from page 3 done with smiles and laughter and a spirit of generosity that reminds us that good people rarely get press.

But it doesn’t mean they don’t exist. after three hours of serious progress, we break for the just reward of pizzas for everyone. To lift their spirits further, I brought two giant bags of candy and about 15 small bags of chips, all gone in mere seconds.

They are returning later this month to help with more progress, and I look forward to not only their help but also their thoughts, conversation and friendship. These guys are not just helpers. They are what the future of The Studio will look like. Where are my shades?

Watch for our new T-shirts, koozies, bumper stickers and earplugs with our new old logo. Retro is in, and our original logo has survived the test of time.

Thanks Tina Novelli. Proudly display our motto “Fresh art made daily.” more new merch coming soon.

If you think Band Nite is the same as when you were a kid, think again. gen-whatever will blow your doors with evocative and original music that defies labels. Support these originating artists as they break ground interpreting these times with sound.

Speaking of sound, we need a little help putting our new system together. help out the bands with new speakers and overall upgrades in our system. your contributions are tax deductible. Screw the IRS and help a worthy cause at the same time. This program has been going for more than 25 years. Keep it truckin’ for 25 more. had a wonderful night Sept. 12 at our annual meeting that was open to the public. Truth be known, all members are welcome to the board meetings held on the second Wednesdays of each month at 6 p.m. grants are how we improve major brick-and-mortar needs and improvements. our next big grant is concerning overall roof construction on all three facilities and solar panels to help defray the cost of electricity. This a first phase of a multiphase program to expand the ceramic/sculpture facility, air condition the entire complex, open a performance space for music and theater, and more class spaces. This will happen over several years, but each phase will bring us closer to our ultimate goal.

So onward and upward. To say this year has been a series of surprises, gifts and challenges beyond my usual mundane expectations is such an overt understatement as to be considered ridiculous. Through a series of unfortunate events, Lamar University’s art department has deemed me, oxymoronically, a temporary, full time visiting adjunct, taking on four classes, two of which I’ve never taught before. Since 1991 I have served at the pleasure of the department filling in and fielding classes as needed. This year the need has erupted into an academic challenge that has taken me quite off guard and had me asking myself, “Why do

they think I can do this?” But through the support of the department chair and multiple faculty members, there is a light I can follow. honored and humbled, this is a challenge testing myself for the stuff that makes me. There is sacrifice — being missing from The Studio three days a week.

This, too, has a light of its own. She is marilyn Tennissen, assistant director, who is fully able to handle the challenges handed to her through december. The Studio stands on sturdy feet. Life will return to some normalcy in the spring, but I truly hope deep in my heart this academic trial does not end. gifts are things we all enjoy. Some gifts leave us wondering if the giver loves us or does not know us at all. Stephanie Chadwick, LU professor of art history, asked the faculty, almost a year ago, to collectively write a textbook on art appreciation. again, I asked myself, “ Why does she think I can do this?” I was charged with the chapter on ceramics and a short history of the arts organization’s impact on the proliferation of art and culture and its place in the community

as a whole. I’ve never written anything near academic standards, but ultimately the chapter was done, as was the addendum, and I found myself reading the words I wrote (generously edited for continuity, syntax and grammar) and seeing a gift — a byline among noted professors. one alien to my eyes: my name. gift. my surprise was one to myself. The day after Summer arts School I walked into the clay studio and began creating work for faculty and tenant exhibitions.

No question that work would be complete, but what they would be was as much a surprise to me as anyone. Three weeks, 11 works, two ash urns and an umbrella stand later, I felt more relaxed, fulfilled and happy than I ever had been in a long time. achy after stopping each night, there was never the twinge of pain in the midst of creation.

This is what our purpose is — this is the reward, the pleasure, and the raison d’être for all the work, time and effort. The warm blanket of the creative act is like a mother’s embrace.

14 • ISSUE October 2018

Volume 25, 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.

Photo by Deborah Luster Lamar University professor and photographic artist KEITH CARTER will give a talk on artist DEBORAH LUSTER and her exhibition at the ART MUSEUM OF SOUTHEAST TEXAS’s fall Taste of the arts Lecture Series, oct. 22 at 12:30 p.m.

The talk, which is free and open to the public, will be held in the galleries with lunch to follow in the Two magnolias café, dutch treat style.

Carter’s photographs have been shown in over 100 solo exhibitions in 13 countries.

Thirteen books of his work have been published along with two documentary films: “a Certain alchemy” and “Keith Carter: The artist Series.”

Called a “Poet of the ordinary” by the Los angeles Times, he is the recipient of the Texas medal of arts. Carter has been featured on the arts segment of nationally televised CBS Sunday morning, and he is the recipient of the Lange-Taylor Prize from the Center For documentary Studies at duke University. his work is included in numerous private and public collections including the art Institute

of Chicago, National Portrait gallery, Smithsonian american art museum, San Francisco museum of modern art, museum of Fine arts, houston, the Wittliff Collections at Texas State University and art museum of Southeast Texas. Carter holds the endowed Walles Chair of art at Lamar University where he was awarded the university’s highest teaching honors: the Regents’ Professor award and distinguished Faculty Lecturer Prize.

Recognized for her use of photography focusing on the relationship between humanity, violence and its consequences, Luster lives and works in New orleans, Louisiana, and galway, Ireland. The current exhibition features a video installation and portraits of prison inmates in costumes they created for a performance of the Passion Play at angola maximum-security prison in Louisiana. “deborah Luster —Passion Play” along with “Woven Wonders: Textiles from the John gaston Fairey Collection of mexican Folk art” will be on view through Nov. 25 in amSeT’s main galleries. amSeT is located at 500 main St. in downtown Beaumont.

For more information, visit www.amset.org or call 409-832-3432. ________

The BEAUMONT HERITAGE SOCIETY will host its annual PUMPKIN WALK AND HAUNTED HALLOWEEN TOUR oct. 20 on the grounds of the historic John Jay French museum from 6-9 p.m.

“Use your creativity to decorate or carve a pumpkin and enter it in our contest,” spokeswoman Shelby dryden said in a release. “The best pumpkin in several categories will be selected by ballot and prizes will be awarded, so gather your friends and family to come vote on your favorites.”

The event will also include a “haunted” tour of the 1845 French home with costumed actors portraying departed French family members, a haunted hay ride of the grounds and a pumpkin craft for kids.

“Beaumont heritage Society holiday events are a great way to start your own fam-

ily tradition,” dryden said. “don’t miss it.” admission for the walk is $5. entry in the pumpkin contest is free. Visit beaumontheritage.org/event/pumpkin-walkand-haunted-halloween-tour for entry information.

The John Jay French museum is located at 3025 French Road in Beaumont. ________

The BOOMTOWN FILM AND MUSIC FESTIVAL has partnered with the SEA RIM STRIDERS to bring Beaumont its first ZOMBIE 5K FUN RUN. Runners will pass through several “contamination” zones in which they’ll be pursued by zombies “for that extra kick of adrenaline you always needed,” spokeswoman Julia Rodriguez said.

The event will take place at 5 p.m. oct. 27 at gulf Terrace Park, 9001 dishman Road in Beaumont. The fee is $25 until Sept. 30, and the price will rise slightly after that date.

“This is an event that other, larger cities have, and I’m really excited that we get to bring such a fun idea to life here,” said matt Noble, one of the event organizers and a member of Boomtown. “my hope is that it is something that people enjoy so much that it becomes a staple of our halloween celebrations in Beaumont. I love community events, like the Classic movie Nights at the Jefferson, the Turkey Trot every Thanksgiving — I love seeing people come together and enjoy it together. That’s what I hope this event does, brings all kinds of different people out to have a good time.

“It’s a pretty casual event, so if you’re a runner, you can come and speed through the course, and if you’re just a fun-loving zombie fan, like me, then you can go your own pace and just enjoy the thrill of getting chased along the way.”

The race is self-timed, and runners will be sent out in heats to allow space for navigating the “Contamination zones.”

“Bring your friends, because survival is more fun in groups.”

For more information, visit runsignup. com/Race/TX/Beaumont/zombie.

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 nonprofit 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. To present public exhibitions 2. To provide educational opportunities 3. To provide accessible equipment for artists 4. To provide peer feedback through association with other artists and crafts people OBJECTIVES 1. To present nine art exhibitions per year 2. To maintain equipment for artists in a safe working environment 3. To provide better access to artists for the public 4. To offer regularly scheduled adult and children’s classes 5. To develop and maintain public activities with all sectors of the community 6. To develop and maintain equipment to aid artists in their work 7. To provide a display retail outlet for artists 8. To expand programming and activities with increased facility space

Volume 25, No. 2

Thoughtcrime 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 and may be sent to TASI by email or by messaging the ISSUE Facebook page.

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:

A Walk In the Fall

When I walk in the city I can hear only the sound of my steps on the pavement Left right left right or maybe it’s the sound of my heart striving in its own left and right march to keep going.

I go in circles and try to breathe Left right left right Inhale exhale.

I think in circles too, problem solve and pray.

It’s a work out.

Who can hear me?

I can hear only, discerning from the noise of an urban morning, my own feet beating toward the next lap.

Sharon McKenzie Future Tears he was scheduled for sexual therapy. She was confused because no one told her he was blind so all her visual foreplay presentation minutes were wasted. Upon discovery shifted her training to the tactical. Touching for arousal, tonguing his hairy thighs.

She thought this is virginal territory and deep down thought this is why I do this, so damaged men can feel like men. She was attacking his manhood when the clock ran out and had to leave him. Walking out she turned and saw tears in his blind eyes.

DJ Kava

ISSUE 720 Franklin St. Beaumont, TX 77701 or e-mail info@artstudio.org

Authors must submit a daytime telephone number and email along with all submissions. Pen names are acceptable, but authors must supply real names for verification. All printed works are protected by copyright. The author retains rights to any published work. ISSUE does not notify rejection by mail or telephone.

Trouble Trouble didn’t stop with you.

Nor did it start with me.

For problems plagued the best of men, and devastates the worst of men, The woes will always be.

When Trouble’s knocking at your door, you gullibly let him in.

For unbeknownst to you and yours,

he saunters in and taunts…and then he lures you with his grin.

October 2018 ISSUE • 15 Abigail’s First Lesson here, a piano sits,

with you in front of it – so.

It arches and bends,

while you measure your ends, and feel for the pedals below. once in place, you relax – but not nearly quite so –

Back’s erect, would you please, when beginning the piece.

Imagine, then, how it should go. offer one hand to the

keys, as to a gentleman – so. and after you greet –

more discreetly, my Sweet – think of a velvet legato. allow each finger

to fall, lightly as this – just so. yes, rightly, you’ve got it!

Now, eyes down a bit

slightly, notice the notes in a row.

For Trouble is a good ole boy,

Play each separately,

your way of life…

don’t worry about

Beware, because he will destroy he’ll bring you strife.

he doesn’t need to ploy. discretion…Trouble does not show. he inflicts one and all.

he travels with chaos in tow.

Sometimes he visits to and fro.

When Trouble comes to call, and he will come to call.

Dorothy Sells Clover

starting with C, on up to So – the hand that is out;

it’ll soon enough learn how to follow. good! Let’s try it encore.

again. and again. and – oh! So Nicely! you’ve learned

it precisely and turned

what was work to piano.

Jesse Doiron

720 Franklin, Beaumont, Texas 77701

Non-Profit Org U.S. Postage PAID Permit #135 Beaumont, TX

RETURN SERVICE REQUESTED

INSIDE • MORPHOGENESIS • THOUGHTCRIME: MUSINGS FROM AREA POETS • OPEN HOUSE • KLIMT& SPANISH FLU

When you support The Art Studio with your membership, you receive ISSUE, Southeast Texas’ and Southwest Louisiana’s alternative press, as well as class schedules, invitations to opening receptions and various Studio functions.

Volunteers These people are the life blood of our organization.

WE COULDN’T DO IT WITHOUT YOU! To volunteer, drop by The Art Studio, Inc., or call 409-838-5393.

elizabeth Fontenot Bryan Castino heather & adam Butler Rhonda Rodman Sue Wright Rhonda mcNally John Roberts Beau dumesnil Karen dumesnil Sheila Busceme Kailee Viator Stephan malick Terri Fox michelle Falgout Stacey haynes Joe Winston John Fulbright mark Jacobson Nathaniel Welch gina garcia Jack hays Tyler hargraves aslinn garcia Paisley Polk zoe Williams Rana matthews Caroline Badon david granitz Latasha hagan James King madison Rose Stuckey dawn S. Fischer madison Bonds Chris garcia Taylor Vandevender Jaycie henderson Nathan West Kay o'Neal olivia Busceme Chad Barrows

JOIN US

FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

THIS MONTH:

morphogenesis anna myers & scarlett blanchard T

OPENING RECEPTION IS OCTOBER 6, 7-10 P.M.

This project was funded in part by the B.a. & e.W. Steinhagen Benevolent Trust through the Southeast Texas arts Council.

ISSUE

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