THE ARTS MAGAZINE OF THE ART STUDIO, INC.
FEBRUARY 2019
TASI CAN CAN & DID DID PAGE 4
INSIDE: FULBRIGHT’S FIRE ART, AMSET’S FOUND OBJECTS AND MORE
WANTED
Live models needed for Life Drawing, Tuesdays, 6-8 p.m. Contact Sara Tuell at saratuell@gmail.com
ISSUE Vol. 25, No. 5 Publisher . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor. . . . . . . . . . . . . . . . . Beth Gallaspy Contributing Photographers . . . . John Fulbright, . . . . . . . . . . . . . . . . . . . . . . Heather Clark Distribution . . . . . . . . . . . . . . . . . Olivia Malick
A View From The Top Greg Busceme, TASI Director The holidays are always a time of great stress and great joy. This was the first celebration without my mother, and it required some adaptations to cope with the changes that follow such a loss. i know many of us have lost a loved one this year, and we can only move on and honor their memory by our actions. This year’s Beaux arts Ball, held Jan. 19, was a huge success! Thanks to Gina Marí Garcia and Tack somers for heading up the event and to the multitude of volunteers who donated their time and talents to make it memorable. The ball raised much needed funds for studio operations. what next? it will take a lot to beat the bar raised by this show. also, a special thank you to all the people who came to the event. it’s not a party without partiers, and this year’s participants did an excellent job of making the event some-
The Art Studio, Inc. Board of Directors Corporate President . . . . . . . . . . Greg Busceme Corporate Vice-President . . . . . Angela Scheibel Chair . . . . . . . . . . . . . . . . . . . . Stephan Malick Treasurer . . . . . . . . . . . . . . . . . . . John Roberts Secretary. . . . . . . . . . . . . . . . . . . Jessica Davis Members at Large . . . . . . Stephanie Chadwick, . . . . . . . . . Olivia Busceme, John Fulbright, . . . . . Allison Kainer, 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 Beaux Arts Ball: Moulin Rouge . . . . . . . Page 4 “Art of Found Objects” . . . . . . . . . . . . . Page 6 Fulbright’s “Invisible Worlds” . . . . . . . . . Page 8 Cacioppo Watercolors at AMSET . . . . . Page 11 Big Thicket Guidebook Review . . . . . . Page 11 Around & About . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime . . . . . . . . . . . . . . . . . . . Page 15 Cover: Greg Busceme presents TASI’s manifesto at the Beaux Arts Ball: Moulin Rouge fundraiser. Photo by Andy Coughlan
thing to remember. as most of you know, we were blessed with a grant from the Meadows Foundation, inc. for the amount of $10,000, far beyond what we were expecting. we are grateful to the foundation for help in the continued improvements that stem from damage from harvey and other much needed upgrades. as an overall plan, we are improving the infrastructure of 720 and 840 Franklin to carry us into the next 25 years and, hopefully, beyond. This includes new roofs, better air circulation, heating, windows, electrical work, kiln reconstruction and possible expansion to a larger sculpture/ceramics studio giving way to a permanent performance center and expanded classroom space. all of this will take time, but i feel the need for an organization
See VIEW on page 12
UPCOMING EXHIBITIONS AT THE ART STUDIO
FEBRUARY
MARCH
John Fulbright “Previously Invisible Worlds” Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . February 2
Space Beau & Space Capsule Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 2
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4 • ISSUE February 2019
Volume 25, No. 5
Can Can Can Can
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BEAUX ARTS BALL, ANNUAL STUDIO FUNDRAISER, DRAWS LARGE CROWD OF REVELLERS TO ‘MOULIN ROUGE’
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Volume 25, No. 5
More than 100 people gathered at The Art Studio, Inc., Jan. 19, for the organization’s Beaux Arts Ball annual fundraiser. This year’s theme was “Moulin Rouge,” and participants dressed in a variety of fin-de-siecle costumes, as well as characters from the musical of the same name, including the mystical green fairy. Founder Greg Busceme shared TASI’s manifesto before emcees
Ramona Young and Andy Coughlan introduced burlesque acts, tango dancers and singers who entertained the throng. A great time was had by all, and the funds raised will benefit TASI’s ongoing mission to support the arts in Southeast Texas.
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Photos by (1) John Fulbright (2) Heather Clark (3) Andy Coughlan For more images, visit the Art Studio Facebook page
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One Man’s Trash…
Volume 25, No. 5
arTisTs Find MeaninG in Found oBJecTs in aMseT exhiBiTion Review and photos by Andy Coughlan
Marilyn Lanfear’s Mother’s Chair, above left, and “Pedestal and Bride (M for Michele)” flank Trenton Doyle Hancock’s “Friends Indeed” at AMSET’s exhibition “The Art of Found Objects: Enigma Variations.”
iF an arTisT creaTes a thing, it must necessarily be art. a painting is not the paint on the surface, but the action of the artist’s hand. But what if the medium is not conventionally artistic? is it lesser art because it doesn’t incorporate conventional material? not according to author robert craig Bunch. he is the guest curator of “The art of Found objects: enigma Variations,” on display at the art Museum of southeast Texas through March 3, which features artists who use various non-conventional objects to create art that challenges and engages the viewer. Bunch chose the work of five artists — austin’s steve Brudniak, san antonio’s Marilyn lanfear, houston’s angelica Paez, lytle’s ward sanders and Kelly sears of Boulder, col-
orado — to anchor the exhibition. The quintet each have multiple images in the show. works by Texas artists charles a. a. dellschau, Forrest Bess, Felix “Fox” harris, Jesse lott, david McManaway, Maudee carron, clyde connell, Bert long, Mary Mccleary, dario robleto, Vernon Fisher, Trenton doyle hancock and Jonathan rosenstein complete the exhibit. lanfear’s “Faces” contains not only found objects, but is also a found composition. Bunch said that when he saw the collection of heads on a dresser at lanfear’s house, he asked her if the composition was deliberate. does it really matter? The artist thinks of things in an artistic way, so how the artifacts are arranged is necessarily artistic. The faces — a collection of carved wooden mannequin heads — each have
their own personality. Bunch was drawn to the particular arrangement, and it has been featured in several exhibitions since. The san antonio artist draws on her family history in her work. “Mother’s chair” is an illusion of a found object. reminiscent of a depression era comfy chair, it is, in fact, made out of paper, hand made by the artist. The found object, a 1934 half dollar coin which is inserted underneath the chair’s “cushion,” is hidden. This is just the latest of several coins which the artist has acknowledged sometimes go missing. This pieces stretch the concept of “found.” it may be that the armature is found, as is the base and the missing brass plaque, but even if it was just the coin, the concept is sound. simi-
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Volume 25, No. 5 larly, the wedding dress in “Pedestal and Bride (M for Michele)” is constructed out of paper, suspended above a found ornate pedestal. lanfear’s work is autobiographical, so one could argue that the true art object is the memory which inspired the creation. another excellent lanfear piece is “Bathing suit for opal’s annual Trip to santa Barbara,” which features the eponymous suit folded neatly in a wicker valise. however, the suit is a deception as it is actually carved out of limestone. who is opal? and what will she do when she wants to go swimming? Paez is represented by a series of 10 magazine cutout collages that harken to the surrealists. The images range from the beautiful to the strange. “Veronica lake surfing” features what looks like a studio still of the actress with a surfer riding through her cascading flowing hair. “step up” is dali-esque, with a beautiful woman posed in a darkened forest, but her dress is a staircase inviting one to climb to who knows where. Paez also gives us more conventionally surreal images. “cut in half” features an interior with two frames on the wall, each with half a woman’s face. in the foreground, on a table, is a large circular saw blade. “under the Knife” gives us a simple loaf of bread sliced, but with a woman’s face split between two pieces. “eyes Tied shut” combines two images with one seemingly tying the eyes shut of the other. The combination of figures challenges the reader to make sense of the juxtaposed images, and it is quite disturbing. This is the first time Paez’s work has been featured in an exhibition although she has been published in collage anthologies and shows her work through her website. Jesse loft’s “collage Man” offers a nice counterpoint to Paez in its use of collage, perhaps leading more toward the style of the russian avant-garde than the surrealists. dave McManaway’s “Jomo Board #3: Tom’s cross” resembles a Victorian shadow box with multiple sections each filled with random artifacts, both from the natural world and manufactured. a dessicated stick sits adjacent to Mickey Mouse. is there a hidden narrative for us to decipher, or do the disparate representational pieces combine to create a non-representational abstraction? conversely, Mary Mccleary’s “i Fled him down the days and
down the nights,” from aMseT’s permanent collection, assembles random detritus to create a highly representational image. Buttons, pencils, beads, gum wrappers and other objects — which examined closely represent nothing — combine to represent a thick, impasto painting that is vibrant and alive. Brudniak and sanders joined Bunch at the reception, dec. 14, and discussed their work. Brudniak has been making assemblages for close to 40 years and said a lot of his work involves science elements. “i’m at the point in my philosophy that i don’t want to
See FOUND on page 13
Pictured left is Steve Brudniak’s “The Menagerie of Eternal Life.” Pictured below, clockwise from foreground: Ward Sanders’ “Reasons of Despair,” Marilyn Lanfear’s “Faces,” Sanders’ “Percival Lowell Dreams of Mars” and Lanfear’s “Bathing Suit for Opal’s Annual Trip to Santa Barbara.”
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FULBRIGHT’S
Volume 25, No. 5
SCIENCE
FICTION
WRITTEN
under The coVered worKsPace with the January rain pouring down outside, John Fulbright digs through an assortment of metal objects — hinges, cogs, plates, refuse from some long dismantled machines. he places them on an old piece of shelving whose paint has long since peeled and faded. he pulls out his blow torch and clicks it a few times. suddenly, the flame whooshes to life, and he begins to draw, not with a pencil but with fire, giving birth to a robot worker. The Beaumont native, who says he has always been a science fiction fan, has created a series of “pyrograms” that invite the viewer to explore an alternate reality, a utopian future of joyful robots who build communities, both physical and spiritual. “They look like robots to me or alien in some way,” he says. “They have human characteristics, but they are not exactly human. and what are they doing?” Fulbright and his friends were working at the home of charlie stagg, a local artist who used bottles and concrete to build his Vidor house. “we were having a lot of fun in our spare time working at charlie’s, helping him build his studio, collecting materials, building his road,” Fulbright says. “we were happy and working, so i thought, ‘what if you could program a robot to be happy — artificial intelligence with an innate sense of joy?’ work is not a dirty word. it’s satisfying; it’s physically invigorating, and you get to see results. i love to
Story by Andy Coughlan
IN
FIRE
see progress and results. like Felix ‘Fox’ harris said, ‘Make something out of nothing.’ That idea really turns me on.” Making something out of nothing inspired the title of his show, “Previously invisible worlds,” at The art studio, inc. The exhibition opens with a free reception from 7 p.m. to 10 p.m., Feb. 2 and runs through Feb. 23. The 54-year-old has built a successful photography career, but said he wanted to find a different way to be creative. “what i was attracted to about this process is it’s quick and it’s immediate, and you can get it up on the wall without much fanfare,” he said. “Photography is process oriented — it takes a long time; it takes a lot of materials to get it from the camera to the wall. it’s prissy, in a way. i wanted something that’s fun, spontaneous, timely — i just wanted something that’s more me than photography. “That’s the genesis of the pyrograms — using fire instead of light to produce images.” Fulbright said he doesn’t have any formal training, but he loves artists. “i’ve been hanging around The art studio so long that i really understand artists,” he said. “i’ve never thought of myself as an artist. coming from a conservative family from west end Beaumont, i was to go to business school or law school. no one ever said, ‘you know, John, you really ought to be a photographer.’ But it’s been the most satisfying thing i could do.” Fulbright began developing his fire images in 2005. “years ago, after hurricane rita, there was lots of material on the road — wood, metal ob-
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jects — and i would take my little dog for a walk and we would pass by this place,” he said. “The building had been damaged in hurricane rita. it was a roofing company, and it had all these odd little metal pieces, cutoffs, outside the building. i was talking to the owner, and he said, ‘we are going to have to tear this building down,’ and i said, ‘well, do you mind if i have any of these bricks or metal objects?’ and he said, ‘no, that’s fine.’ They were going to have to remove it all anyway.” over the years, Fulbright continued to pick up things he found. “what i saw was raw material and blank canvases,” he said. “white shelf boards that would come out of old kitchens here in old Town. it’s a very old neighborhood. a lot of the wood had a really rich quality and patina. it was amazing. it wasn’t something you could create — it was environmental. Most of the materials that are in the show have been found within a mile of my home. “so i combined these metal objects with these white shelf boards, and i started dreaming. whatever i was thinking about — rock ‘n’ roll, science fiction, reuse/recycle, marriage equality — i would just create a little tableau, a little story, then burn around them with the torch. when you take away the metal objects, there was something that looked like a photograph or a painting, with positive and negative space, and the middle tones caused by the ash. i’d scrub that away to reveal the wood, the white paint transformed into rich
grays. The contrast was good. it was like using what i learned through photography to make art. in the 1980s, Fulbright got a job assisting internationally known Beaumont-based photographer Keith carter. “Keith’s a technical genius and a creative genius as well,” Fulbright said. “he told me that the most important thing you have to offer is your life.” The connection to photography is obvious, but Fulbright sees the pyrograms as almost a rejection of his professional work. “i had never had any training whatsoever at artwork, but these materials spoke to me. i thought, ‘y’know, i live right down the street from one of the best photographers in the world. i need to find to find a different creative outlet. like charlie stagg said, ‘Make a little art every day.’ he was huge influence on me. he used the materials that were natural to his environment and created artwork, and i did much the same.” Fulbright showed his early works around town at the Merchant soirée, a pop-up market. “i sold them cheap. i wanted to get them into the hands of artists,” he said. “i would create a piece and somebody would immediately buy it. Then i started framing. richie haynes and i would rip down shelf boards and make some frames. it just im-
See FULBRIGHT on page 10
John Fulbright is surrounded by his creations in his Beaumont home, far left. His pieces “Retriever,” bottom left, “City of Lograv,” above, and “Lander,” left, will be part of his exhibition “Previously Invisible Worlds” at The Art Studio in February.
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FULBRIGHT from page 9 proved the whole look of them. My intention was to get these up on the wall quick.” “There were some little triggers. i found a coffee table that had been through a house fire, and there were some objects that had been on the table. The smoke had made impressions, and i thought, ‘huh, that’s another way to make an image.’ and i would leave a washer on a white board, and the rust would make an impression as well. it just came to me naturally — ‘oK, this is what i’m doing now.’” some of the pieces in the show are assemblages, which grew out of the pyrograms. “some objects don’t lay flat, but they looked like torso and limbs and heads, so i thought this could be another space, a three-dimensional space,” Fulbright said. it’s not just the fire that attracts Fulbright. it is the wood. “we used to go to the sicardi Gallery in houston, and they specialize in latin american art,” he said. “down in uruguay and Venezuela, they don’t have a lot of trees so wood is a high-value commodity, so they treasure each scrap of wood. The gallery had a show from uruguay.
Volume 25, No. 5 They were creating these little three-dimensional wall hangers, and they were fascinating in the way they could create the illusion of paint or abstract art. “it made me think about wood as part of the vocabulary, that it could be as expressive as a brush stroke or photography.” science fiction plays an important role in Fulbright’s work. “Part of my goal in creating these objects is you never know where you are going to find inspiration,” he said. “i hope, through these science fiction themes saying ‘what if?’ maybe some engineer will say, ‘you know, that’s not a bad idea. i never thought about it because it seems so foolish, but an artist thought of this and i can backward engineer it.’ i really have faith that science fiction informs science. you have to dream things. you have to have the idea. you never know where that idea is going to come from. i invite people not just interested in artwork to see the show. it’s really meant for everyone. “To successfully live on this earth and not have the climate wipe us out, we are going to have to be creative. scientists need artists, i believe.” it may only take Fulbright an hour or so to create the piece, but he contemplates the composition for a long time before he actually burns. The metal elements that
create the figures will be used in various combinations on several pieces. “That’s the idea of these guys, that they are robots that fly out into space and recombine into whatever configuration (they need),” he said. “They are malleable — ‘we’re digging ore today so we need this.’” once the pieces are finished, Fulbright uses tung oil to varnish them. it grows naturally in the Big Thicket and doesn’t degrade in the same fashion as polyurethane, and the oil can be reapplied as the piece ages. The oil also brings out many of the subtle tones. Fulbright prefers planks to plywood, mostly in the states he finds them, but he is not opposed to adding a little paint here and there to improve the contrast. “i really don’t restrict myself in any way,” he said “That’s how techniques develop — ‘well, i’ve done it that way, now i’ll try it another way.’ if it doesn’t work, it doesn’t work. i enjoy experimenting. i’m always learning something new.” “That’s what i enjoy about making art — i get to decide. i don’t have to confer with anyone. i am the master of this world. it might not make any sense, but it amuses me, and i hope it amuses others.” Fulbright said that he never knows what the audience will take away from the work. “My hope is to stimulate ideas,” he said. “That’s what these fun-loving robots are doing. They’re out living their lives and enjoying it. The last line of the poem, ‘desdirata’ (is) ‘strive to be happy.’ That poem would be their bible. whoever created these read that poem. “These robots are flying into space creating environments for us to live in. They don’t breathe oxygen. They fly using electromagnetism that occurs naturally in the universe — they’re having a ball. They are creating things using raw materials, refining and building. it’s because they want to. “i have this silly idea that one day we can upload our consciousness and email it to another place in the universe and print out a body that would work in that particular environment. it would be total freedom, to go anywhere and do anything and be totally adaptable to our environment.” By re-using discarded materials to create futuristic scenarios, Fulbright marries the past and the future at the same time. it is a process that requires thought. “it’s really a struggle to put these things together, and i really enjoy the struggle,” he said. “it helps me clear my mind. in this crazy world, it’s something i can control. i fully admit this is art therapy. i need it. i need to create art. it’s something surprising to hear myself say, but i do. “artworks are meditations on how you should live. To be successful you have to be happy.” The art studio is located at 720 Franklin in downtown Beaumont. For more, visit www.artstudio.org. John Fulbright at work in his Beaumont workshop. ISSUE photos of Fulbright by Andy Coughlan
Cacioppo embraces imperfections in AMSET Café Arts exhibition
Volume 25, No. 5
The arT MuseuM oF southeast Texas will host “Mike cacioppo: happy accidents.” Jan. 31-april 14, in aMseT’s café arts series for local artists. on Feb. 10, 2-4 p.m., aMseT will host a free public opening reception, where the artist will be present. a Beaumont native, cacioppo graduated from lamar university in 1977 with a Bachelor of science in Fine art and attributes his former art history professor, lynne lokensgard, to helping him develop his aesthetic. he went on to attend the university of southwestern louisiana, where he received his Master of arts in Geography-urban Planning in 1978. after graduation, cacioppo worked in urban planning for a few years, eventually going into a small family retail business for over 30 years until his retirement in 2014. after retirement, cacioppo returned to watercolor painting, focusing specifically on landscapes. “nature has a story to tell regardless of the season,” he said. “The color of trees constantly changes over the course of the year, transitioning with the new greens of spring or the chilling blue colds of winter. i appreciate the cloud shapes and colors that set the mood of a work. i love capturing the peaceful moments as dusk approaches with nature’s last intense burst of light and color.” The series embodies cacioppo’s attitude of welcoming mistakes as part of his composition. “‘happy accidents’ is a term used by my watercolor professor, robert o’neil,” cacioppo said.
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“he knew that beginner watercolorists are afraid to make ‘mistakes.’ he made us realize that even though watercolor may be difficult to control, if accidents happen, they can enhance the work and therefore be ‘happy accidents.’” having originally learned oil painting, cacioppo has a different approach with watercolor. “Most of the works in this exhibition are products of a ‘happy accident,’” he said. “i normally start by wetting the paper and applying paint. i primarily use the ‘wet on wet’ technique. i like the fluid results it produces and the blending of colors on the paper. it is fast paced, immediate and exciting, resulting in an explosion of color. “Many times, my first attempt does not achieve the results desired. i later wash off the top layer of paint, which yields wet paper and a patina of underlying colors. i then apply wet paints onto the surface. sometimes this process is repeated as many as three times until i receive the desired results. The objectives of the painting may change, but it is the end result that is important.” aMseT is located at 500 Main. st. in downtown Beaumont. For more information, visit www.amset.org or call 409-832-3432. Mike Cacioppo, Family Portrait, 2016, watercolor, 19 x 13 inches, Loan Courtesy of the Artist
Big Thicket Guidebook an essential read “The Big Thicket Guidebook: Exploring the Backroads and History of Southeast Texas” by Lorraine G. Bonney 2011
Book Review by DJ Kava
The sheer nuMBer oF pages suggests its comprehensive interior. Just reading the first half inch taught me that each of the many melting north american glaciers brought a different soil type. also included are some civil war stories of
harsh winter weather from diaries. Many facets of history, including oil, are touched upon. The book features a long story of native americans in the lower neches trail. one reviewer called this three books in one: general history, history of most towns and a roadside description of 15 adventure road tours. i haven’t taken the tours yet, and some things may have changed. however, the vast history explanations are bound to fascinate whether you drive the routes or just read. i’m going to read, then drive and read again while looking at the discus-
sion. The book also has folklore of untrue stories that were too good not to publish. it is not a traditional coffee table book with large photographs, but a sofa book, one you are pleased in a quiet minute to sit down and open on nearly any page and spend 10 minutes or half a day even if only on the road from honey island to rye! Buy it and drive it and learn about southeast Texas with the kids.
The Big Thicket Guidebook is 850 pages and costs $29 (cheaper if you shop around)
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VIEW from page 3 like The studio to expand over the years as programs in other educational institutions reduce their arts activities because of costs. i believe The studio will go beyond my years, and i hope to put it on a good footing for future generations and the leaders who will serve our community. as you know, i have taken on more classes in lamar’s art department, and this has reduced my hours at The studio two days a week. Thankfully, assistant director Marilyn Tennissen is at the helm and holding down the fort (excuse the mixed metaphor). That being said, the work at The studio has increased with our current surge of activities and our desire to be in better contact with our constituents, students, volunteers, residents and visitors. This requires more than one or two people to accomplish what we want to achieve, and so it is imperative we build our volunteer base. if Marilyn or i have discussed with you the possibility of working with us on a particular project, please call or come by to discuss if or when we can start. we want to continue the momentum that we are enjoying right now, and the help you can provide might be the key to our future success. we also hold Volunteer saturdays to do general maintenance and improvements on a regular basis,
Volume 25, No. 5 which is a good way to get involved and learn more about The studio. in June, i have the honor of visiting Beppu city, Japan as a visiting artist at the local university. in those three weeks i will create a series of works in ceramics and have an exhibition in the final week while engaging with the public through workshops and lectures. i hope that the experience is reciprocal, and we will have an artist come to Beaumont in the coming year. Thanks to chris Troutman, lamar university drawing professor, for arranging the event and helping with interpretation of our correspondence. a little background is in order. in 1986-87, the cities of Beaumont and Beppu city agreed to be sister cities, an arrangement between the chamber of commerce and the city of Beaumont and the powers that be at Beppu city. how this came about is a mystery to me, but as new founders of The art studio, inc. my then wife, ange, and i went to the banquet that honored our sister city delegates and ambassadors. in the hotel bar we struck up a conversation with a few of the reps from Bc and asked if they would like to see an artist space, and they agreed. we took a van and brought them to the first studio at 1076 neches at Milam. we visited, laughed and wore the interpreter out, and eventually dropped them back at the hotel. in 2017-18 chris Troutman visited Bc with his wife, who is from that
area. Visiting with city officials, he said he was teaching in Beaumont and from them he heard a story of a guy who had an artist space there and they would like to meet him again — that person was me! The story of the visit to The studio had endured for 30 years through the city hall as some form of “legend,” in chris’s words, and they would like me to come visit. so, here i am, getting a passport and arranging my life to be gone for longer than i’ve ever been away from The studio and my first time to ever leave the country. This is to say that you never know the profound impact you may have on people and how that may affect their world or your world in the future, good or bad. one of the best things about The studio is how many times we have the opportunity to affect the lives of people for the better. it is not written in our bylaws or our mission statement, our goals and purpose, or our studio resident contracts. it is written in our hearts to welcome everyone who walks through our door, enters a show, needs community service, asks advice or just needs a cup of coffee and conversation. That is our human mission, and i can’t tell you how many times we receive emails and letters from young people, now grown, thanking us for giving them a place to go, to feel accepted, to feel safe, to feel needed. it is a daunting responsibility but a relevant mission, and that’s why we are here.
SUPPORTS THE ART STUDIO, INC.
info@signinternational.com 409.832.0117 7398 College St. in Beaumont
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Volume 25, No. 5
FOUND from page 7 tell much of a story about the work any more,” he said. “i want to leave the viewer to be enticed by the work visually. i don’t want people to be directed in any way.” Brudniak said he works to make the piece look like a homogenous unit, not a collection of pieces, and he doesn’t want the viewer to notice the discrete found objects. one of his pieces, “The Menagerie of eternal life,” incorporates salt crystals that contain bacteria that is 250 million years old. Brudniak said he persuaded the scientist who discovered it to send him a sample. it is reminiscent of a mausoleum plate, this containing the remains of the very origins of life. another piece has items that have been to the space station. Brudniak’s work is meticulously planned out. he said he makes one or two pieces a year. By contrast, sanders said he surrounds himself with objects — “you have to have a lot of things to choose from”
— and allows them to lead his creativity. “a few found objects can lead to a found idea, that you come up with something you hadn’t even thought about,” he said. sanders said he tends to build the outsides and fills the insides with found objects. The titles are important and can lead the work. “language for Miscreants” began when a friend brought an unusual dried coconut and said, “do something with that.” sanders said he got to thinking about language and how the word we call something is not the object. as part of the construction, he cut up a dictionary and let words “drip” down through a funnel. where Brudniak incorporates electricity, sanders said he loves the objects of science that are metaphorical of other ideas. in “reasons of despair,” sanders took a discarded rope hammock and cut it up. at the same time he was thinking of Gericault’s “raft of the Medusa” and incorporated a reproduction of the painting. “something can start out as a piece of trash and end up as something else — that’s the joy,” he said.
what makes the exhibition so interesting is the multiplicity of expression. There is even a short film comprising found photographs. as these objects get a second life — or third or fourth — they are elevated from detritus to art. “The art of Found objects: enigma Variations” is on display through March 3 at the art Museum of southeast Texas, 500 Main st. in downtown Beaumont. The museum will host its “Taste of the arts lecture series,” 12:30 p.m. Feb. 11, with dennis Kiel, director of lamar university’s dishman art Museum, who will give a talk on “The art of Found objects: enigma Variations.” 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. copies of Bunch’s book, “The art of Found objects: interviews with Texas artists,” are available in the museum’s shop. For more information, visit www.amset.org.
Angelica Paez’s “Step Up,” far left, and Dave McManaway’s “Jomo Board #3: Tom’s Cross” are among the works on display in “The Art of Found Objects: Enigma Variations,” on display at the Art Museum of Southeast Texas through March 3.
“For many of the artists … found objects are just one of many media in their repertoire. Whatever it takes to get the job done."
Robert Craig Bunch
14 • ISSUE February 2019
Volume 25, No. 5
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. southeast Texas artist ALICE POWELL paints images from her heart and imagination. her watercolors and mixed media are a portrayal of her life and experiences translated into vivid colors and textures onto special synthetic papers. Powell will be the February featured artist at FINDER’S FAYRE ANTIQUE’s contemporary local artist show series (c.l.a.s.s.). her one-woman show opens with a “First Thursday at the Mildred” reception, Feb. 7, from 5 p.m to 9 p.m. and will be on view through March 7. Finder’s Fayre is located 1485 calder ave. in the Mildred Building in Beaumont. For more information, call 409-833-7000 or visit the Finder’s Fayre Facebook page.
________
The DISHMAN ART MUSEUM presents DREAM WEAVERS: THE ART OF JULIE BELL AND BORIS VALLEJO through March 1. There will be an opportunity to meet the artists Feb. 15, with a gallery talk at 5:30 p.m. followed by a free reception. Bell, a Beaumont native and award-winning
fantasy artist and wildlife painter, has won two chelsea awards and was the designer of the popular “dragons of destiny” series. she also has won numerous first place awards in the art renewal center’s international salon and has been named as a living Master. Vallejo is internationally recognized for his illustrations of Tarzan, conan the Barbarian, doc savage and other fantasy characters, as well as movie poster illustration, advertisement illustration and artwork for collectibles, trading cards and sculpture. “in the world of fantasy art, both Julie and Boris have a huge following,” dennis Kiel, dishman art Museum director, said. “Their fans from this area are always amazed when they find out that Julie was born and raised in Beaumont.” Vallejo and Bell are married, and the two often collaborate on projects. The couple are two of the biggest names in fantasy art, and their designs have been acclaimed for more than 30 years. They have worked on many paintings together for advertising campaigns such as nike, inc., coca-cola and Toyota. The dishman will feature OUT OF AFRICA: WORKS OF ART FROM THE PERMANENT COLLECTION on the second floor of the museum. The dishman art Museum is located on the corner of MlK Parkway and east lavaca on the lamar university campus. ________
The SOUTHEAST TEXAS ARTS COUNCIL will host its HEARTS FOR THE ARTS event, 6 p.m. to 8 p.m. Feb. 10. Billed as “a celebration of arts & humanities in southeast Texas,” the event wil be held at the Brentwood entertainment complex, 4201 s. Major drive in Beaumont. “hearts for the arts is upon us again, that one time of year the southeast Texas arts council seeks to bestow recognition on the members of our community who are so important to the arts and humanities,” a news release states. “Truthfully, once a year seems an inadequate ode to our philosophers and philanthropists, but on the other hand were we to grant honors at the rate the people of
this area deserve we might never do anything else! happy problem, that.” hearts for the arts 2019 awardees include: • outstanding achievement in the arts Barbara lynn • outstanding arts educator celia coleman • outstanding arts Patron anna Gentry smith • outstanding Business in support of the arts The Music studio (chris Jetton) • outstanding administrator of the arts & humanities Tom neal • outstanding arts Program outreach Gloria and robert Moreno • outstanding commitment to the humanities henry lowe • outstanding organization in the humanities orangefield cormier Museum Volunteers To purchase tickets, visit https://events. eventzilla.net/ e/hearts-for-the-arts-20192138732039. Tickets also available at the door.
NEW AND RENEWING MEMBERS
ines alvrides Bonnie Baker samuel Banda anthony and Karie Busceme david cargill Joel Kaser richard and sandra laurette Julie and Gerry lee Molly and Jim leedy stephen P. lewis Michael lyle Ken Mallon chris Mcdermand Kathleen McFarland Mildred Morgan regina rogers Joe winston Bailey wooley
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. 5
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:
Seven of Clubs The black seven turns up again,
as it always does. i’m not surprised. it’s always just a question of when. There was a time it bothered me.
i don’t believe the cards tell the future. it’s just a bit of fun, and yet,
There it is again. The white face
with seven black clubs sitting lifeless, Facing up at me. it’s hilarious,
The regularity with which it appears. But it knows, you see.
it knows the thoughts
That buzz around the inside of my skull, like a low hum, filled with song lyrics,
numbers and regrets. But also with dreams, Plans and projects planned —
some that may even come to fruition. The reading is a bit of fun. i don’t believe it.
But the black seven,
signifying troubled thoughts, is my traveling companion.
it seems we will travel together, forever. so i might as well enjoy his company. Andy Coughlan
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.
Bereavement
i’m at a loss for words, for friends, for family, because as they leave, i don’t know what to say or how to feel or how to grieve. i wear my feelings on my sleeve.
i’m at a loss and for what cost. i feel like i’ve been double-crossed. what did i do to deserve this? all i hold dear, i’ve come to miss. might as well kiss my joy good-bye My soul heaves a sigh…therefore i cry. i’m at a loss.
we lose people all the time but the closer they are… it takes its toll and i’m weary. so i’ve become leery to meet new friends. and just like the cold winds bring a chill to your skin i take cover. i discourage my lover. i’m at a loss. My pockets hold nothing. My cabinets are bare. My heart is empty. i reek of despair. My soul can’t find peace. God, please bring me peace. i’m at a loss. Dorothy Sells Clover
February 2019 ISSUE • 15 Val sans retour
it was a year ago during dánu’s call we celebrate the Mabinogen and went to the ball
as a Muirgen sirened ywain from the sea, your misty spells had captured me our affections warmed with the passing spring The heated summer allowed us to be free you showed me your camelot and i there i finally began to see Future, hope, and just what might be
But over our shoulders, Fortune canted her shapeshifting omen we heard only the refrain of joy and not the spell
somewhere time skipped a beat or two The shadow grabbed you and brought you down on your journey to avalon, i watched you go i searched for you in the morning’s rain i could not see you, but saw pieces of me in the water’s flow dánu calling came anew, i met her again To tell her about you… Stephan Malick
Precipitation Cycle
The water cares not where it falls. it is immortal here.
The stone it leaves behind is sand. The land is canyon carved. The desert flows with deluge. The silt becomes the grain.
The grass grows fat for cattle. The herds graze for their death.
The water cares not where it falls. it is immortal here. Jesse Doiron
720 Franklin, Beaumont, Texas 77701
Non-Profit Org U.S. Postage PAID Permit #135 Beaumont, TX
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INSIDE • ‘PREVIOUSLY INVISIBLE WORLDS’ • THOUGHTCRIME: MUSINGS FROM AREA POETS • ‘THE ART OF FOUND OBJECTS: ENIGMA VARIATIONS’ • ‘BEAUX ARTS BALL: MOULIN ROUGE’ IN PICTURES
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
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This project was funded in part by the B.a. & e.w. steinhagen Benevolent Trust through the southeast Texas arts council.
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