Issue Magazine - March 2016

T H E A RT S MA G A ZI N E O F T H E A RT S T U D I O , I N C .

‘RELENTLESS’ PURSUIT PAGE 8

INSIDE: BIG BUGS, STREET ART, AFRICAN AMERICAN ART AT MFAH, AND MORE

MA R C H 2 0 16

, t r A Fiinnee Food F

r

Two Magnolias e

s

t

a

u

r

a

n

t

in the Art Museum of Southeast Texas

Weekday lunch, 11 a.m.-2 p.m.

Wedding Receptions • Rehearsal Dinners • Meals to go

10% discount for artists 500 Main Street in downtown Beaumont, Texas

409-833-5913 www.2magnolias.org • www.facebook.com/TwoMagnolias twomagnoliascatering@gmail

Auditions open for local show celebrating motherhood The third-annual Southeast Texas “Listen to Your Mother” show is seeking local amateur and professional writers to share their heartfelt, hilarious and inspirational stories about motherhood on stage.

Auditions are open to men and women of all ages, ethnicities and backgrounds.

Auditions will be held Feb. 27 and March 5 at the Ben J. Rogers Regional Visitors Center, 5055 Interstate 10 Access Road in Beaumont.

Show dates are April 28-29.

For complete audition information, visit www.listentoyourmothershow.com/southeasttexas

ISSUE Vol. 22, No. 6 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc.

A View From The Top Greg Busceme, TASI Director

Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor. . . . . . . . . . . . . . . . . . Stephan Malick Contributing Writers . . . . . . . . . . . Caitlin Duerler, . . . . . . . . . . . Elena Ivanova, Stephan Malick Contributing Photographers . . . . . Caitlin Duerler, . . . . . . . . . . . . . . . . . . . . . . . Stephan Malick Distribution. . . . . . . . . . . . . . . . . . . . Olivia Malick

ONE OF THE THINGS The Studio is known for is cooperation with other institutions. Partnerships between organizations benefit all parties with a show of mutual support, as well as expanding the outreach and capabilities of both groups.

We’ve coordinated with various arts and non-arts organizations in the past and are open to those activities in the future.

The mostly recent act of cooperation is through a collaboration with Lamar State College-Port Arthur through instructor John Freyermuth who heads a vast department for sound technology and a variety of other sound engineering and technology classes.

Students from the sound technology classes come to The Studio and handle the sound for Band Nites. This alliance was forged by Olivia Busceme, a new board member, who heads up Band Nite events and has for the past 10 years.

The Art Studio, Inc. Board of Directors Corporate President . . . . . . . . . . . . Greg Busceme Corporate Vice-President. . . . . . . Angela Scheibel Chair . . . . . . . . . . . . . . . . . . . . . . . . . Joe Winston Treasurer . . . . . . . . . . . . . . . . . . . . . Kim Armitage Members at Large: . . . . . . . . . . . Sheila Busceme, . . . . . . . . . . Olivia Busceme, John Fulbright, . . . . . . . . . . Stephan Malick, Tim Postlewait Tenant Representative . . . . . . . . . . . . . Gina Garcia Office Manager . . . . . . . . . . . . . . Elizabeth French 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 David Rogers “Big Bugs” . . . . . . . . . . . . . . . . . . . Page 4 “Statements” at MFAH . . . . . . . . . . . . . . . . . . . . . Page 6 TASIMJAE Entry Form . . . . . . . . . . . . . . . . . . . . . Page 7 “Relentless” by Carlo Busceme IV. . . . . . . . . . . . . Page 8 Art Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 10 AMSET’s Go For The Gold . . . . . . . . . . . . . . . . . Page 13 Around & About . . . . . . . . . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 15

Cover photo of Carlo Busceme IV

by Stephan Malick

As part of their curriculum, each month they will come out and set up speakers and microphones, and regulate the sound during the events. The benefits are extensive for the students who get hands-on experience in a real-world setting. For The Studio, we get sound for free and the benefit of working with a respected institution that is LSCPA. I want to thank all the parties who came up with this great idea and hope this is the tip of the iceberg as far as good cooperation's go.

The majority of people in the world don’t have an opinion about art one way or another until it offends them. Then we have controversy and political upheaval as everyone jumps on the “attack the arts” bandwagon. I don’t want to see that, and as long as we stay

See VIEW on page 14

UPCOMING EXHIBITIONS AT THE ART STUDIO M AR C H

APRIL

“Relentless” by Carlo Busceme IV Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 5

TASIMJAE (The Art Studio, Inc. Member Jurored Art Exhibition) Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April 2

BECOME A MEMBER OF THE ART STUDIO Membership in The Art Studio, Inc., provides invitations to all exhibitions and one year of ISSUE, the monthly arts magazine of The Art Studio. It also gives free eligibility for members to enter the annual membership art exhibition (TASIMJAE) and participate in various exhibitions throughout the year.

Name(s) Address City/St/Zip Phone

email

Credit Card Type: Visa MC Amex Disc Number

MAKE CHECKS PAYABLE TO:

Exp Date Day Phone

THE ART STUDIO, INC.

email SUGGESTED MEMBERSHIP AMOUNT

Individual: $35 Family/Group: $50 Friend/Business: $100 Sustaining: $250 New?

Renewal?

Patron: Angel: Benefactor Life Member: Artist?

$500 $1,000 $2,000 $10,000

for office use pd in comp issue thanks

If yes, list medium

The Art Studio, Inc. 720 Franklin, Beaumont 77701

$

4 • ISSUE March 2016

Volume 22, No. 6

Buggin’ Out SHANGRI LA TO HOST EXHIBITION OF DAVID ROGERS GIANT INSECTS In the 1954 movie “Them,” atomic testing unleashes a swarm of giant ants into the world, causing panic and terror. David Rogers is the artistic equivalent of a nuclear explosion, except he is much nicer and the swarm of enormous ants — and dragonflies, butterflies and praying mantis — he unleashes are more awe-inspiring than terrifying.

Rogers is installing his “Big Bugs,” made from found natural wood, at Shangri La Botanical Gardens and Nature Center where they will be on display March 5 through May 3.

“Natural materials were my first love back when I was a kid,” he said. “We lived in a fairly wooded place. I used to go to construction sites after hours and pick up scrap, but then I started messing around with the branches in the back yard and the woods, and I found it much more interesting.”

When he was 13 or 14, Rogers said he fell in love with welding.

“When you’re a kid, you look at acetylene torches and you’re like, ‘Wow! This is cool.’ It opened up a whole other world,” he said.

Rogers said he welded a dragonfly and a housefly, which he still has in his house. They were not on the scale of his current pieces, with the dragonfly having a

Story by Andy Coughlan

garden. What else you got?” Rogers, a Long Island, NY native, said.

Rogers decided to return to his love of insects, but he had to figure out how to build the creatures in a way that they could be broken down and moved.

“I had no idea,” he said. “How do you build a 25-foot ant? How big is its head? I had questions like that.”

Once he decided to build his “Big Bugs,” Rogers had to figure out the look he wanted. He trapped a carpenter ant in a jar, he visited the American Museum of Natural History to sketch models built at the end of the 1800s, but finally he had an epiphany.

“I finally had to trust that, a. I am an artist, and b. I am a decent enough woodworker that I only had to do my interpretation of what an ant would look like if it was 25-feet long,” he said. “I made the big leap early on to get away from entomological studies and go with the idea that, if I stepped back and looked at the head and the arms and legs, it would look right. That was how I went forward building everything.

“I was always worried that people would get up too close and (think) that I wasn’t such a woodworker. But I realized during my first installation, that you have to step back pretty far to see five 25-foot ants.”

Despite not being an extensive researcher, Rogers said he has learned much about insect physiology over the years. They look the way they do because that’s what is needed to make them work.

“I had big revelations,” he said. “Just a few months ago I was refinishing one of the bees. I was looking at the shape of different parts of its body and the legs, and I thought, ‘You know, this whole thing is built for David Rogers’ “Big Bugs” will be on display at flight.’ The shape of the the Shangri La Botanical Gardens and Nature body is an airfoil, the Center beginning March 5. Rogers, left, shape of the head, creates his insects using natural material even its legs. It’s all he finds in the forests. about lift. I make these little discoverCourtesy photos ies. Hopefully, I keep

wingspan of five feet, and the housefly being two-and-a half-feet.

“I can assume from that experience that I must have had a fascination for insects as a subject matter,” he said.

The fascination is easy to understand, Rogers said — all those body parts and legs.

“For little boys, pulling the wings off flies is a rite of passage,” he said. “What would happen now with one wing? OK. Now what about no wings? It’s terrible to think about it now, torturing little critters.”

The self-taught craftsman eventually turned to making rustic furniture. His big “bug” break came when he created a giant dinosaur to draw people to his booth at a Renaissance fair. He got a write up in a magazine and was approached by a representative from a botanical garden in Dallas.

“She said, ‘We like the dinosaurs but we are a botanic

Volume 22, No. 6

learning something.”

The Shangri La show will feature 10 creatures, as well as a couple for the accompanying exhibit at the Stark Museum of Art. Rogers’ original exhibit had four subjects —ants, a praying mantis, a dragonfly and a spider in a web.

“I remember there was something for each one,” he said. “The ants, there had to be a group of them — there couldn’t be a solitary ant. The praying mantis, well, everyone stops in nature when you see a praying mantis.

You never see them in a group. They are always solitary — that’s because they eat their young.

“Dragonflies are just so beautiful and elegant and they do such beautiful things in flight. With the spider web, obviously the spider is not an insect, but it tells the story. If you go out in the morning and you see the dew on a spider web, you just stop and look at it. It’s amazing, structurally, artistically — they’ve got this beautiful stand-alone aesthetic.

“Those are the core pieces of the exhibit, and without

March 2016 ISSUE • 5

those core pieces, the exhibit is incomplete.”

Rogers visits each location and looks to set the sculptures so they fit into the specific location. Seeing the pieces in a different environment changes the way the artist sees the pieces. One example came at a recentlyinstalled show at a garden in Orlando, Fla. “I was walking through the garden with my assistant and we were walking along this lower trail away from the rest of the garden. We looked up and Dan said, ‘Look at the praying mantis.’ I was looking at the ground to see a real live one, and I said, ‘Where is it?’ and he said, ‘You know, yours.’ Way in the distance there was a window in the foliage, and the mantis looked like reallife scale. I hadn’t expected to see it, and if he hadn’t at that split second looked….”

Rogers said the installations are collaborations between his art and the botanical gardens — “stewards of the Earth” as he calls the preserves — part of a larger plan to motivate people to preserve the planet in all its beauty. By drawing people to the exhibits, he hopes the

message of conservation can reach a few more people.

In other words, don’t fear the ants. It’s not a movie.

Love the ants — love the “Big Bugs.”

Shangri La is located at 211 W. Park Ave. in Orange.

For more information, visit www.shangrilagardens.org.

MAKING A STATEMENT

6 • ISSUE March 2016

Volume 22, No. 6

AFRICAN AMERICAN ART FROM THE MFAH’S COLLECTION THE WORKS ON VIEW in a museum at any given time are usually a fraction of what the museum has in its holdings. The other tens of thousands of objects in a museum’s collection offer curators the challenge of creating interesting, new exhibits.

The Museum of Fine Arts, Houston is very much familiar with the trend of thematic shows and “Statements: African American Art from the Museum’s Collection” highlights works by African American artists from the 20th century through today. Rather than present just two-dimensional works, or show only contemporary works, the 47 works by 37 artists span from the early 1930s through the tumul-

Story by Caitlin Duerler

CONDITION REPORT by Glenn Ligon

SOUNDSUIT

by Nick Cave

I AM MAN by Ernest C. Withers

Volume 22, No. 6

tuous times of the Civil Rights movement through art produced in contemporary times. However, all the works present perspectives of being black in America during the past 80 years.

The earliest works in the exhibition were collected not just because they were ahead of their time, but also because of the institutional barriers that African American artists broke down in the production of their art.

One early work is a bronze sculpture of a Senegalese male cabaret dancer, “Feral Benga” (1935), by Richmond Barthé.

Like France’s Auguste Rodin, Barthé’s technique highlights the sinuousness of the dancer’s muscles, providing a breath of movement to the work. An important artist from the Harlem Renaissance, the sculptor captures the fascination with exoticism in the entertainment industry in the 1930s.

Many of the photographs from the 1950s document segregation and the Civil Rights era — some even featuring the prominent figures of the movement.

One such photo, “First Desegregated Bus Ride: Dr. Martin Luther King, Jr. and Rev. Ralph Abernathy, Montgomery, Alabama” (1956) by Ernest C. Withers, shows a bus filled with both black and white passengers. The silence of the image speaks volumes of the tension and liberation that occupies this moment when African Americans are allowed to freely take their seat on the bus without yielding to white passengers. Another Ernest C. Withers work, from 1968, captures workers on strike holding up a sign simply stating, “I Am A Man’ — a peaceful protest summarizing the motivations behind the nonviolent movement.

“I Am A Man” is explored again by contemporary artist Glenn Ligon in his work, “Condition Report” (2000). The diptych replicates the typeface and style of the aforementioned protest poster. The left image is an inkjet, while the repeated screen printed image on the right features notations of a condition report by a conservationist. The conservationist circled and drew attention to areas of the protest poster that are in need of restoration.

The piece questions the result of the Civil Rights movement and how many of the founding ideas are still relevant or in need of “restoration” today. Ligon’s exploration of text through his work allows him to explore how the African American experience has been woven into previously published works, to reveal how one understands American society through its cultural production.

MFAH also owns one of Nick Cave’s famous “Soundsuits.” It is placed at the end of the exhibition. This powerful piece stands erect, as if an actual figure is occupying the work, demanding spectators to recognize its presence. The larger-than-life suit is made from rugs found at thrift stores and holds true to Cave’s vision of having his suits attract attention wherever they are seen — one cannot ignore these giant beings.

Closing the show with this piece, MFAH is declaring to its visitors not only the significance of African American works of the past, but also the bright and hopeful future of works to come.

The show is on view through April 24.

The Museum of Fine Arts, Houston is located at 1001 Bissonnet in Houston.

For more, visit www.mfah.org.

March 2016 ISSUE • 7

CALL FOR ENTRIES

TASIMJAE THE ART STUDIO, INC. MEMBERS JURORED ART EXHIBITION

JUROR: ARTIST MICHAEL MEAZELL APRIL 2016 • OPENING RECEPTION APRIL 2, 7-10 P.M. PLEASE READ ALL INSTRUCTIONS CAREFULLY! ENTRIES NOT ADHERING TO THESE INSTRUCTIONS WILL BE DISQUALIFIED!

CALENDAR Entry dates..................................................................................................................................March 22-26 Notification by mail ........................................................................................................................March 28 Pick-up works not accepted..............................................................................................April 1 by 5 p.m.

Opening/awards reception................................................................................................April 2, 7-10 p.m.

Pick up exhibited work.....................................................................................................................April 27

ELIGIBILITY Open to all members in good standing of The Art Studio, Inc. (TASI). Membership fee of $35 may be paid at time of entry. Works completed within the last two years that have not previously been shown at TASI may be submitted. All two-dimensional work must be ready to hang (wires, not sawtooths).

All three-dimensional work must have firm base. Work may not exceed two hundred pounds in weight or 10 feet in height. Completed entry label must be firmly attached to the back upper left corner of 2-D work or base of 3-D work.

SUBMISSIONS Entries must be delivered to TASI, 720 Franklin, Beaumont, Texas, Tuesday-Saturday between the hours of 11 a.m. and 5 p.m. No works will be accepted after 5 p.m. on March 26. Works must be shipped prepaid and/or hand delivered. Limit two (2) entries per person.

RETURN OF ALL ENTRIES Work not accepted must be picked up by 5 p.m. on April 1. Works selected for exhibition must remain on display until April 22 and may be picked up April 23.

AGREEMENT Although the greatest possible care will be exercised in handling work, TASI accepts no responsibility for loss or damage to work submitted, while in transit or on premises. TASI reserves the right to photograph submitted works for publicity purposes. All sales during the exhibition will be handled by TASI for which a 25% commission will be taken. Submission of entries implies the artist’s understanding and agreement to the rules and conditions of the exhibition.

AWARDS 1st. place: $100 and a solo exhibition at TASI in May 2017 2nd. place $75, 3rd. place $50

JUROR Artist Michael Meazell

PICK UP A COMPLETE PROSPECTUS AT THE ART STUDIO FOR INFORMATION, VISIT WWW.ARTSTUDIO.ORG

8 • ISSUE March 2016

Volume 22, No. 6

‘RELENTLESS’ PURSUIT CARLO BUSCEME IV TO UNVEIL FRUITS OF ARTISTIC COMPULSION AT TASI IN MARCH VIBRANT, COMPLEX AND SUBTLE. For an artist who sometimes finds it difficult to talk about his art, Carlo Busceme IV’s show, “Relentless,” is an exhibition that he hopes speaks for itself.

“I don’t talk about my art. It’s hard for me, sometimes, to put into words the visual thoughts I have,” Busceme says. “I make the art because that is how I can express my thoughts. It’s funny because (art) is the silliest, most unimportant thing, but at the same time, it is the most important thing.

“It’s one of the most important things for humanity — the desire to create that which compels you as an artist.”

A challenge for Busceme during the approach to the show’s deadline was finding an appropriate name for his collection of drawings and ceramics. He joked about the title perhaps being, “The Don’t Bleed in Front of the Customers Show.”

Story and photos by Stephan Malick

He settled on “Relentless,” which refers to the continuous desire and compulsion to create and solve visual puzzles.

“My need to create and work toward a solution is endless, and it’s with me all the time. I’ve set myself up to rely on the ‘Eureka!’ moments within each piece for satisfaction,” he says.

Busceme says he has been compelled to draw since early childhood.

“I like comic books, videos, TV, cartoons,” he says. “I would draw monsters and play out scenes. It was always exciting that you could make up anything and put it on paper to look at later, and come back to it later and re-experience it.”

The “Relentless” exhibition is a continuation of this life-long need to draw and seeks to build upon everything he has done.

“This is about reporting back to where I’m at as an artist. I feel that my work has changed a lot from my previous work and shows, and that I’m growing and developing my art,” Busceme says.

Carlo Busceme IV works in his home studio. His latest work will be on display in “Relentless,” on display at The Art Studio, beginning March 5.

Volume 22, No. 6 And, he says, change and time of change can be difficult to express to an audience.

People often describe art as in the eyes of beholder, as is the growth of any artist — the ‘regurgitation,’ in his words, of visual imagery of Carlo Busceme IV, the artist.

Busceme’s self-deprecation is not about ego, but about a thoughtful, emotional and intimate showing of his work to date.

“I’m eager to please myself. I make work to satisfy myself and my interests. I enjoy making art and I think the work is accessible, and certainly I hope that people see it and it enjoy and that they get something out of it, too,” he says.

This show represents a period of building a “visual vocabulary,” a bank of images that he can visit again and again to build something new.

“I like the concept that I can revisit imagery and then be inspired and present it in a different way that maybe I didn’t see before, and that I present in a different way that interests me,” Busceme says.

The work he had to make, name or not, is meant as part of a massive series, Busceme says. It’s not intended as a single show, but a massive series, a continuous path of personal fulfillment and enjoyment.

The works of “Relentless” are bright and colorful with fewer corners — a sharp new set of imagery he says. It is marked with broad strokes of pen, colored pencil and paint pens on uniform, mid-weight cardstock.

“It’s bright, it’s colorful, less corners, less sharp,” he says. “I’m trying to put myself in a place I’ve never been before. I wanted everything less sharp, less aggressive. I think it is an accessible process.”

Busceme says he often works on multiple pieces at a time, and this show comprises about a year’s worth of physical work.

“It’s like putting together a puzzle without knowing what the shapes are, so you have to make up the shapes as you go along to fill the spaces you create,” he says. “It’s entirely spontaneous. I’ll have 10 pieces laid out and I’ll have a particular color or material. I’ll jump around to six different pieces and find a place to use it — seeing where I can put on different pieces. It’s more about figuring out where each piece goes and doing it quickly, because I feel that if I don’t immediately act the idea it becomes lost.”

Busceme says it is challenging to self-curate his own work, from paring down doodles to finished pieces, sizes and proportion, and then trying to make it work for the gallery space as well.

“The act of making of making those marks and the act of deciding what goes where is hard for me,” he says. “I feel like the work is one big riddle, that I’m still trying to figure out as I create it. It’s spontaneous, tedious and exciting all at the same time. One moment, I’m really into one piece and the next I want to throw everything out and start over.

“It’s different from anything else I’ve ever made. I feel this is exactly as it needs to be. It’s new imagery. I go in polar opposite directions.”

“Cheesy citrus.” “Rorschach test.” These are some of the working titles Busceme gives his pieces as he works

March 2016 ISSUE • 9

on them.

“I don’t see the value in naming them,” he says. “I don’t think it’s necessarily important for people to see my connection in how I identify the works. It’s more about trying to show (that) anyone who views the work and I can have a mutual connection.”

He laughs.

“I don’t know what that means, but that is how I feel about it.”

Busceme says that each piece has about a thousand different names while he works on it for weeks.

“It’s hard to pick out one name to represent a work forever,” he says. “I feel that if I was doing a conceptual piece and had particular idea as I’m going into it, I might, but because these are so spontaneous and composed of thousands of different, little moments of me reacting, they are endless and they’re not supposed to have names.”

Unlike the chaotic structure of Busceme’s ongoing work, his space is as curated, neat and orderly as Carlo Busceme IV the person. The tailored area is stocked with the pencils, ink, markers and paint pens of a thoughtful artist and someone who is seeking to control his space and place in time.

Busceme’s latest work is bold, drawing infusions by way of Japanese and Korean illustrators, with bright colors.

“I’ve been really influenced by that lately — high contrast, aggressive, in-your-face color and contrast, while at the same time being subtle and pleasing,” he says. “Com-

See BUSCEME on page 12

ARTISTS’ BLOCKS

10 • ISSUE March 2016

Volume 22, No. 6

Street Art to invigorate Downtown Houston “The city is a fact in nature, like a cave, a run of mackerel or an ant-heap.

But it is also a conscious work of ar t, and it holds within its communal framework many simpler and more personal forms of ar t.

Mind takes form in the city; and in turn, urban forms condition mind.”

— Lewis Mumford.

I LOVE WALKING IN Houston — in its quaint neighborhoods dotted with sidewalk cafes and boutiques or in its verdant parks.

But walking in downtown is not my favorite thing. To me it looks like an urban canyon, with an agglomeration of towering buildings and an incessant flow of cars running in all directions. There is little to attract the eye at the street level besides an occa-

Story by Elena Ivanova

sional advertisement in a store window.

However, all this is going to change.

The Downtown District has recently announced plans for a year-long public art and neighborhood redevelopment initiative. The Downtown District Public Art Committee and Weingarten Art Group have jointly curated a program called Art Blocks. It consists of four temporary art projects that will be installed throughout the three-block stretch of Main Street, between Walker and Dallas Streets, between

March 1 and March 1, 2017.

This area of the city, known as Main Street Square, has been designated a pedestrian plaza in 2003. At that time, the plaza was given a “facelift”: a new paving, lighting and a fountain. However, during the past decade Main Street Square remained underutilized as a place of relaxation and enjoyment of city residents and visitors.

“The purpose of the Art Blocks project is to make Main Street Square a signature destination of Houston by

Volume 22, No. 6

offering people street-view or vista experiences and creating an environment condusive to scaled events and street entertainment,” commented Donwtown District representative Angie Bertinot and Weingarten Art Group representative Lea Weingarten.

New-York-based artist Zach Lieberman and the collective YesYesNo (a group that specializes in computerbased and traditional art media installations) have chosen the Sakowitz Building, a former department store at the corner of Main and Dallas streets for an interactive installation titled “Mas que la cara” (“More than a face.”) The title is a wordplay: “mas que” — “mask.”

Lieberman admits that he has a long-time interest in masks as an ancient art form that all cultures have in common. However, it was specifically the mask collection at the Menil that shaped his vision for the project in Houston.

Next time you pass the corner of Main and Dallas, look at the window of the former store. You will be amazed to see your own face transformed into a mask.

Digital screens installed behind the glass will momentarily capture your likeness and create a mask using modern face-recognition technology and the bank of images of historical and children-drawn masks.

One block down the street, Houston artist Patrick

March 2016 ISSUE • 11

Renner and the Flying Carpet collective will create a marvel of artful engineering — a gigantic “Trumpet Flower.” The project is based on the juxtaposition of the organic form of the structure and the surrounding rectilinear architecture. This six-story high “flower” will cover, like a huge umbrella, the recessed area between One City Centre and its garage and will provide a welcome respite for passersby on a sunny day. “Trumpet Flower” will have a terrazzo concrete footing, a steel contour, and a canopy layered with colored wood pieces. A cantilever will connect the top of the structure to the top floor of the adjacent garage building. Sitting under the canopy, visitors will enjoy the intricate light and shadow play and also the “cathedral” view of the structural components of the work.

Internationally-renowned, Chicago-based artist Jessica Stackholder will take over the intersection of Main and McKinney streets. In her installations, which can be found all over the country, Stackholder marries picturemaking and particular givens of the location.

“I am interested in finding out what binds things, both physically and metaphorically, and how they are slipping into other areas,” the artist says.

“Color Jam Houston” is all about surprise, excitement and discovery. The pavement of the intersection will be painted in bright, playful colors which will spill over the physical limits of the horizontal space and will creep up the lamp-posts, planters and walls of the corner buildings. “The work is woven into the place and also jams into the intersection, creating associations with such notions as a traffic jam and jamming as improvisation,” Stackholder explains. Each street corner will provide a different view of the painted space, and those who choose to climb the stairs in one of the surrounding buildings will be rewarded with an astonishing perspective unveiling from the upper floors.

The marquee on the Main Street Market, the former Street art in Houston’s downtown Art Blocks project includes, clockwise from main photo, MAS QUE LA CARA by Zach Lieberman and the collective YesYesNo; TRUMPET FLOWER by Patrick Renner and the Flying Carpet Collective; LIGHTIN’ FIELD

by Jamal Cyrus; ROSES AND HEARTS ON A BLUE SKY by Nataliya Scheib; and COLOR JAM HOUSTON by Jessica Stackholder;

Dollar 25 Building, at the intersection of Main and Walker Streets, will be the site of rotating three-month long installations by Texas-based artists. Images will be realized on vinyl screens and illuminated to create an impression of a movie theater marquee.

More than 100 artists submitted their proposals, out of which the Committee selected four artists. Houston artist Jamal Cyrus created a facsimile of a 1970s store sign titled “Lightnin’ Field.” This work is a reference to Lightnin’ Hopkins and now nonexistant Liberty Hall, a popular music venue of the 1970s. Using fonts typical of grocery store signs from that era, Cyrus takes us back in time and pays tribute to the musical legacy of Houston when blues stars like Freddie King, Big Mama Thornton, Lightnin’ Hopkins and John Lee Hooker graced the Liberty Hall stage.

Ukranian-born, Houston-based Nataliya Scheib brings a splash of bright colors of Ukranian folk art into the drab neighborhood at the intersection of Main and Walker. “Roses and Hearts on the Blue Sky” evoke colorful embroidered or woven textiles that used to decorate Ukranian homes. “Blue in the background is reminiscent of the Ukranian flag,” Scheib says. “My work is important for the Ukranian community who understands its symbolic meaning, and also brings distraction from the mundane for all Houstonians.”

See BLOCKS on page 12

12 • ISSUE March 2016

Volume 22, No. 6

BUSCEME from page 9 plex and subtle, more and more detail, bright and fervent — what I get out of the work and like is when I see a composition and how it is put together. You could say some of these are chaotic. But what I like is a work composed in such a way that it has what it needs; nothing more, nothing less.”

The drawn ink works in progress are quiet and loud together as one. Busceme says he is also influenced by ceramic sculptures, and the forms and combination give a sense of fluidity, an active form that is calming and surprises viewers.

The influences are evident in a collection of worldly compositions, very modern presentation merges with subtle manga or street art, resembling graffiti. A sense of Japanese ukiyo-e style woodblock prints that use a number of colors to achieve complex and detailed images, and something that seems to synthesize between older and modern styles of drawing and printing.

The abstractions are also reminiscent of Picasso, who said he used color as an expressive element, but relied on drawing rather than subtleties of color to create form and space.

Picasso and Braque have been said to paint objects as facets of an analysis, rather than as unified objects; they wanted to paint as they thought, not as they saw. Similarly, Busceme challenges the traditional concept of pictorial space by presenting what he feels and thinks rather than a standard representation of objects.

In another interpretation, as Wassily Kandinsky wrote in his seminal book, “Du Spirituel dans l’art (Concerning the Spiritual in Art),” published in 1912, Busceme explores the interrelation of a pictorial language that is only

BLOCKS from page 11 “City Bird of Houston” by another Houston artist, Armando Castelan, features a gigantic bluebird, painted with an utmost realism, against the background of the same color as the wall of the Main Street Market Building.

This is a trompe-l’oeil that plays tricks on our perception of space, scale and proportion. It seems that the bird is three-dimensional and

Carlo Busceme IV works in his studio at his downtown Beaumont home. loosely related to the outside world, but expressed volumes about the artist’s inner experience — a “visual vocabulary.”

Busceme’s visual vocabulary will alert patrons to this exploration of imagery.

the two-story building behind it is a birdhouse. In fact, all this is an illusion masterfully painted by the artist.

“The bird represents everyday life in Houston,” Castelan says. “It is bright and happy, but there also are undercurrents implied by the bird’s shadow.”

“Ay te miro” (“See you later”) by Dallas artist M. Giovanni Valderas is a digital banner.

“The phrase stands for a cultural equity with Latino community,” Valderas explains. With its colorful background inspired by piñatas, the work serves as an alternate identity of Spanish-speaking population of Houston.

Never again will I think of downtown Houston as an urban canyon with nothing to see at the street level. The installation of the Art Blocks projects already began in late February. The Grand Opening with a citywide celebration will take place on Saturday, April 16.

For more information, visit http://www.downtowndistrict.org/projectsinitiatives/main-street-square.

“I’m making them so I can see the thoughts that I have — and others can see them as well.”

The Art Studio, Inc. is located at 720 Franklin in downtown Beaumont.

For more information, visit www.artstudio.org.

AY TE MIRO (SEE YOU LATER) by M. Giovanna Valdera and CITY BIRD OF HOUSTON by Armando Castelan are among the Art Blocks on display in downtown Houston beginning March 1.

Volume 22, No. 6

March 2016 ISSUE • 13

AMSET’s ‘Go For The Gold’ fundraiser set for March 10 THE ART MUSEUM OF Southeast Texas (AMSET) invites everyone to Go for the Gold on Thursday, March 10 for a chance to win $10,000 in gold or other fantastic prizes at our annual reverse drawing. Join us in the “Goldfinger” theme this year, as we encourage guests to channel their inner spy and dress in their best James Bond-inspired garb. During this always engaging fundraising event, one lucky ticket holder will watch their $100 entry turn into $10,000 in gold in just one night.

One lucky winner could become “the man with the Midas touch” while you’re given a great chance to win your fortune of $10,000 in GOLD at AMSET’s 20th Annual Go for the Gold Party and Reverse Drawing! Guests are invited to enjoy this highly entertaining evening while dining on a delicious dinner donated by Two Magnolias Catering.

For the ticket cost of $100, guests receive admission, dinner and cocktails for two along with one entry into the most exciting drawing in town. Only 450 tickets will be sold for the event, and advance purchase is recommended. Go for the Gold is a reverse

drawing, meaning that the last three ticket stubs drawn from the hopper are the winners of: 3rd Place — $1,000 in Gold 2nd Place — $1,500 in Gold 1st Place — $10,000 in Gold In addition to first, second and third place prizes, a number of other prizes will be given away throughout the evening. The gold prizes are given in American Eagle coins and have a value that depends not only on the price of gold, but also their value on the collectors’ market.

Go for the Gold is a thrilling, suspenseful event.

Players have a great opportunity to win all while they support AMSET’s exhibition and education programs.

Go for the Gold 2016 is chaired by the stunning secret agents themselves, Sandy and Joseph Fertitta.

“Please join us this year for a ‘Goldfinger’ theme, as we help support AMSET’s exhibition and education programs through this fabulous fundraiser,” said Go for the Gold Co-Chair, Sandy Fertitta.

U DON’T! SATURDAY, APRIL 30 8 P.M. SEMON DEMON BELLWEATHER TOTAL STRANGERS ABANDONED MANSIONS

original music by local musicians All ages welcome • 21 and up BYOB and have your ID.

$5 admission

For upcoming gigs, visit The Studio’s facebook page

Gold coins for the evening will be provided for display by Universal Coin and Bullion.

To purchase tickets, visit www.amset.org or call 409-832-3432.

AMSET is located at 500 Main St. in downtown Beaumont.

14 • ISSUE March 2016

Volume 22, No. 6

Around & About If you come across any interesting exhibitions, museums or other places on your travels, share them with us.

Call 409-838-5393, or contact us through our web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs.

The HIGH STREET GALLERY will host an art exhibition by YOLANDA CARMEN PEREZ, 7-10 p.m., March 19.

Entry is free and the work will be for sale.

Refreshments will be available and there will be live music at the event.

“My ultimate intention is to reveal a new Cultural Realism by introducing an alternative connection to an image or icon within new a context,” Perez said in a release. “With this approach I want to change the viewer’s preconceived notions of a popular image or reference by the use of satire and re-juxtaposition. In this the viewer will experience a more critical and enlightened perspective of the over simplification of a cultural genre that may transcend to other areas in their life experience.”

The mixed media exhibition is titled “Identity In Flux.” The artist said this body of work shows her experience in American society as a woman of Puerto Rican descent.

“Due to my cultural and racial ambiguity there is an alienation that makes me an outsider.

As an outsider I see the world from multiple perspectives, these perspectives are portrayed in my work. My art deals with issues of Latina identity and culture, the exploitation of women of color and feminism ideals," Perez said. "I take on the absolute rejection of Latina stereotypes by acknowledging the great complexity that is overlooked within the many different Hispanic cultures. My work is deliberately confrontational in order to expose some of the worst marginalized, forgotten and ignored experiences within the intricacy of our society.”

For more information, email victoriahousetx@gmail.com, or visit the facebook pages of High Street Gallery or Artist Yolanda Carmen Perez.

The gallery is located in Victoria House, 2110 Victoria St. in Beaumont. ________ The BEAUMONT ART LEAGUE will host a reception for the NECHES RIVER FESTIVAL EXHIBITION, 2 p.m. to 4 p.m., April 3.

The show is open to all artists over 18 years of age working in any medium. This show’s focus is the Neches River and its lifesustaining natural resources, eco-nomic vitality, and the countless recreational opportunities it offers to Southeast Texans.

Submitted artwork should feature subject

matter celebrating the Neches River.

Prizes will be announced at the opening reception on April 3rd from 2-4 PM. Eligibility / Specifications: This show is open to any 2D or 3D visual media.

Entry is $10 for BAL members and $25 for non-members. Limit three entries a person. Entries will be accepted March 24-26.

BAL is located at 4179 Gulf St. in Beaumont.

For more information, call 409-833-4179, email info@beaumontartleague.org, or visit www.beaumontartleague.com. ________ Lamar University’s COLLEGE OF FINE ARTS AND COMMUNICATION is soliciting artwork for LE GRAND BAL, its annual fundraiser.

Artists retain 60 percent of the purchase price, with 40 percent going to the college. The exhibition is professionally hung in the Dishman Art Museum, and will be on view March 28 through April 3.

The department will be accepting hand-delivered work in the Dishman Art Museum, 10 a.m. to 5 p.m., March 21-23. between the hours of 10 a.m. and 5 p.m. Each artist is being limited to five works. Each piece of art donated must be exhibition-ready, and professionally presented.

For more information, call 880-8141 or email donna.wilridge@lamar.edu. ________ Artwork by 20 local high school seniors was selected to be exhibited in the 30TH ANNUAL PROTÉGÉ COMPETITION AND EXHIBITION at the ART MUSEUM OF SOUTHEAST TEXAS. Protégé will be on display at AMSET through March 20, and will then travel to selected area schools and other venues for further exposure and outreach in the Southeast Texas community.

The Protégé Competition and Exhibition is a program that offers area 12th-grade students the opportunity to begin taking the steps necessary to become part of the greater world of art.

Protégé is offered to all senior students in Chambers, Hardin, Jasper, Jefferson, Liberty, Newton, Orange and Tyler counties.

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

VIEW from page 3 out of the fray the art world is better off. We tend to lose those battles. We don’t see the same reaction when people confront some art they like! No headlines of, “Good art found in museum,” or politicians trying to get a photo op with the piece of art. No chance, no way.

So why do we do this inane thing we call Art that the public is clueless about unless, of course, it pisses them off?

It is something I’ll call the “Archaic Act of Human Endeavor.” Early human beings, with all their strife and hardships, still created objects of both beauty and functionality. Aesthetics is an innate sense that the ancients understood early on in their development, as evidenced in the delicate work of paleolithic and neolithic humans witnessed in museums around the world.

This act is one of our purposes: To preserve the act of creation through human hands, human thought. Every time an artists marks on paper or a convenient wall, any time a potter throws a form or fires vessels, every sculptor, every printmaker who creates another work of art, is practicing the trade that has been going on for tens of thousands of years in a continuous line of heritage for the arts.

We preserve the sheer act of making art.

We, as artists, are part of the cumulative effect of all art ever made. We hold this honor, this legacy as part of us and in so doing, follow the fine tradition of passing on the knowledge that we have accumulated to the next generation to expound on and improve, and to continue the unbroken chain of knowledge that grows with each stroke of the brush or hand in the clay.

That’s why we’re here.

Mission Statement Founded in 1983, The Art Studio, Inc. is devoted to: providing opportunities for interaction between the public and the Southeast Texas community of artists; furnishing affordable studio space to originating artists of every medium; promoting cultural growth and diversity of all art forms in Southeast Texas; and providing art educational opportunities to everyone, of every age, regardless of income level, race, national origin, sex or religion.

PURPOSE The purpose of The Art Studio, Inc. is to (1) provide educational opportunities between the general public and the community of artists and (2) to offer sustained support for the artist by operating a non-profit cooperative to provide studio space and exhibition space to working artists and crafts people, and to provide an area for group work sessions for those artists and crafts people to jointly offer their labor, ideas, and enthusiasm to each other.

GOALS 1. 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 22, No. 6

March 2016 ISSUE • 15

Thoughtcrime April 14, 2014 the Boko Haram army attacked Chibok near the Cameroon border in Nigeria. The girls had been called back to school for a physics test to complete a term after being sent home because of the security problem. School guards were shot and 276 girls were kidnapped (with about 50 later escaping). Very little is known of their fate. #BringBackOurGirls has more information.

Here is a possible story.

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: ISSUE, 720 Franklin, Beaumont, TX 77701 or e-mail issue@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 of rejection by mail or telephone.

Eyes closed Sleep left me warm Or maybe it was the sun Slipping through the blinds We never bothered to replace.

I can smell you — smoky sweet Cigarettes, sun baked skin, and mint — A faint and strange aroma, One I never thought I’d cherish.

Now my hands are searching, Fingers grasping to taste your skin, But my dreams are lost in sheets.

When my listless eyes open, A chill slithers under my skin Into every corner warmth had been.

Haley Bruyn

Abull She was abducted from her girls’ school with 275 classmates and sold to Abull for double the usual $12 American weeks later from the back of a truck. An appealing lass she was older, 17 late in starting school because her liberal (western) parents had political problems. Abull thought having one of the girls would add to his tribal status.

He was wrong. She smelled from weeks without hygiene and he turned over Wife TWO to prepare. Despite from being separated from her classmates she was almost happy to have smaller reality to comprehend. She knew she was going to do anything to get back to her family. The bath was luxury and TWO somewhat jealous of another virgin wife accepted her, suggesting protocol procedures. “He will want you shaved.” “Do not shave me.” “But Abull told me.”

“Tell him I said, ‘I’d pull your eyeball out if you did. Let me deal with him.’”

“Abull doesn’t like his wishes ignored.

He even beats ONE when displeased. “ Later when TWO presents her to Abull’s quarters. He formally greets her and she simply said, “Do not touch me. I was stolen from my parents, they want $1.2 million American for a dowry.” Abull was amazed first at her forwardness and second dumb smacked since he was used to a handful of livestock as a dowry. Blood rushed to his face and he raised his hand to strike. “Hit me once and you will never have a safe peaceful sleep rest of your life because the first time I find you asleep I’ll cut your penis off and stuff it bloody end down your throat.” The urge to strike was almost overwhelming but he stopped.

“I can make you a world hero or the subject of international scorn.”

What?

“Ever see TV?”

Once, it was gray & fuzzy.

“It’s not that way now, it’s color and what happens here is shown all over the world in an hour.”

No, Allah will not permit it.

“Trust me, I am the woman you fear, I tell you the truth you fear. You can not buy me, only kill me.”

How can you make me a hero?

“It is simple buy all my classmates and give them back to their parents.”

WHATTT? “Otherwise they will attack and kill you and take me back to my mother. “ You’re just a woman.

“I want to go home. It is going to happen with you being a new enlightened leader or a man with the shortest penis. Go sleep on it. You are safe tonight, you did not hit me.

Thank you Abull.”

Abull’s ease dropping security chief walks in as she leaves. “I should erase her?”

His brain is confused, how can a girl make sense? How could he be a hero on TV all over the world? Western education caused this disrespect; they were right in stopping the school. She scared him. He heard of the drones that bomb leaders driving down the road and in their safe houses with family.

Echoing in his brain, “They will kill you and take me back to my mother” & “I will cut off your penis and stuff it down your throat.”

No not yet . Get me television.

“But the Iman said…..”

Get me television.

The weeks roll by and with the other wives she shares her western knowledge.

She told the story of threatening to cut of his penis and they laughed and were in awe of her boldness and fearful of her future.

“You scare a man and he’ll attack you.” She made friends with all but ONE. One day they were together alone. She asked ONE, “Why do you hate me?”

“You are a disruption. Things will never be the same.”

“You know that Abull is not very smart?”

“Smart? How can you criticize? He’ll be an elder!”

“They stole me from a school to keep me dumb.” Her piercing eyes dominated ONE’s and she glanced away in submission. “I told him how to be a world hero or the man with world’s shortest penis.” ONE aware of the story suddenly chuckled, covering her mouth sounding like a fart. She laughed at

ONE and they laughed at each other.

“You scare me.”

With a twinkle in her eyes, “I told you he wasn’t very smart. I’m the dumbest thing he ever did!” And again they both broke into laugher.

The rumor of TV was going on for days after the truck with the satellite dish showed up. Strange men with wires and boxes followed and no one was allowed in the new room. Suddenly Abull summoned her, ONE, TWO, and the five children to see the TV. The techs showed Abull how to use the remote and how to reset the system but she grabbed their user’s manual with directions.

Only then she asked to see the handset and asked about functions, channel availability and learn the reset procedure. She just became the tech guru status above One but remained untouched.

Within hours she learned to tune into to the various news channels and one day found the French talking about their kidnapping. She couldn’t understand much but heard “USA drones.”

“Abull, Abull! I hear USA drones on TV in Nigeria on French channel. Graphic near us.”

What’s a graphic?

“Illustration, picture. Shows northern Nigeria, us. You want to be a hero or dead. If they bomb your house I’ll be dead too. I’m not important enough for them to send a team just to shoot you and rescue me.”

What are you telling me?

“Buy my sisters and send them home immediately. You will be famous on TV. I’ll stay here so they don’t bomb you.”

Go away let me think.

“Sleep well, you didn’t hit me today and your manhood is safe.”

Their eyes met and she straighten up thrusting her breasts forward in a masculine way that scared him. “I am going home if you don’t have my parents’ dowry.”

I could kill her and she would just disappear. The TV thing has changed everything ONE & TWO have daily shows. She teaches of the world we are trying to stop from changing our culture. The night was a fitful example of unsettled sleep.

The next day he sends a message to his oldest enemy, “Want to buy a TV & virgin cheap?”

D.J. Kava

720 Franklin, Beaumont, Texas 77701

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

RETuRN SERVICE REquESTED

INSIDE • ‘RELENTLESS’ BY CARLO BUSCEME IV • THOUGHTCRIME: MUSINGS FROM AREA POETS • DAVID ROGERS’ BIG BUGS • ‘STATEMENTS’ AT MFAH

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 Cyndi Grimes Rhonda McNally Andy Coughlan John Roberts Beau Dumesnil Karen Dumesnil Sheila Busceme Kailee Viator Caitlin Duerler Stephan Malick Gabe Sellers Scott & John Alexander Heather Adams Terri Fox Avril Falgout B.J. Bourg Michelle Falgout Stacey Haynes Joe Winston John Fulbright Mark Jacobson Nathaniel Welch Tracy Danna Jaime Barclay Gina Garcia Hayley Hardin Spencer Holland Tack Somers Jack Hays Tyler Hargraves Aslinn Garcia Chase Kiker Paisley Polk

THIS MONTH:

JOIN US FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

MARCH 5-26 GALLERY RECEPTION IS MARCH 5, 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 DISTRIBUTION POINTS DOWNTOWN THE ART STUDIO, INC. 720 FRANKLIN ART MUSEUM OF SOUTHEAST TEXAS 500 MAIN BABE DIDRIKSON ZAHARIAS MUSEUM 1750 IH-10E BEAUMONT CONVENTION & VISITORS BUREAU 801 MAIN (IN CITY HALL) BEAUMONT ART LEAGUE (FAIRGROUNDS) 2675 GULF ST JERUSALEM HOOKAH CAFÉ 3035 COLLEGE NEW YORK PIZZA & PASTA 790 NECHES SETAC 701 NORTH STREET, STE. 1 STARBUCKS EDISON PLAZA TACOS LA BAMBA 2005 CALDER AVE TEXAS ENERGY MUSEUM 600 MAIN SOUTH END/LAMAR UNIVERSITY CARLITO’S RESTAURANT 890 AMARILLO @ COLLEGE LU ART DEPARTMENT DISHMAN ART MUSEUM OLD TOWN ANNA’S MEXICAN BAKERY 2570 CALDER BEAUMONT FRIED CHICKEN 7TH AND CALDER GRANDMA’S BASEMENT 2406 CALDER JASON’S DELI 112 GATEWAY SHOP CNTR KATHARINE & CO. 1495 CALDER RAO’S BAKERY 2596 CALDER SUNRISE 2425 S 11TH SWICEGOOD MUSIC CO. 3685 COLLEGE CENTRAL/WEST END BASIC FOODS 229 DOWLEN BEAUMONT COMMUNITY PLAYERS 4155 LAUREL BEAUMONT VISITORS BUREAU IH-10 COLORADO CANYON 6119 FOLSOM KATHARINE & CO. CARRY-OUT CUISINE 4455 CALDER GUITAR & BANJO STUDIO 4381 CALDER LOGON CAFE 3805 CALDER RED B4 BOOKS 4495 CALDER REED’S LAUNDRY 6025A PHELAN @ PEYTON ICON 6372 COLONNADE CENTER THIRSTY’S 229 DOWLEN PARKDALE RAO’S BAKERY 4440 DOWLEN ORANGE STARK MUSEUM OF ART 712 GREEN AVE.