ISSUE March 2018

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

SHINING A LIGHT ON ‘PROCESS’ PAGE 8

INSIDE: OSCARS, AMSET, SONNENBERG AND MORE

MARCH 2018

WANTED

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

Contact Sara Tuell at saratuell@gmail.com

ISSUE Vol. 24, No. 6 Publisher . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor. . . . . . . . . . . . . . . . . Beth Gallaspy Contributing Writers . . . . . . . . . . Caitlin Duerler, . . . . . . . . . . . . . . . . . . . . Stephen Malick Distribution . . . . . . . . . . . . . . . . . Olivia Malick

A View From The Top Greg Busceme, TASI Director LET ME START WITH a big thank you to Olivia Busceme for chairing this year’s big fundraiser and to all the people who contributed to the success of the 2018 Beaux Arts Ball: Bacchanal.

The weather was perfect, the decorations were beautiful, the food scrumptious, our auction was, as always, a high quality display of art and generous contributions. The wine flowed, the Ladies Who Lunch pulled out all the stops for the floor show, and John Fulbright made photos worthy of Caravaggio paintings.

Of course, it would have been all for naught had the participants, those who love The Studio, those who came for the first time and those who never miss a ball, not made it what it was — a true celebration of the arts, of creativity and of the free spirit to be someone else for a night. Because of your sense of delight and desire to support The Studio we netted nearly $7,000 for our efforts. What will we do next year? What historic period of art will we chal-

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 . . . . . . Stephanie Chadwick, . . . . . . . . . Olivia Busceme, John Fulbright, . . . . . . . . Latasha Hagan, Stephan Malick, . . . . . Jes Prince, Sara Tuell, John Roberts, . . . . Michael M. Measell, Marilyn Tennisen Tenant Representative. . . . . . . . . . Kailee Viator Assistant Director . . . . . . . . . . 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 Oscar Picks . . . . . . . . . . . . . . . . . . . . . Page 4 Sonnenberg’s Sculpture . . . . . . . . . . . . Page 6 AMSET’s Fairey Collection . . . . . . . . . . . Page 7 “Process and Proof” . . . . . . . . . . . . . . . Page 8 TASIMJAE Call For Entries . . . . . . . . . . Page 11 Siefford at High Street . . . . . . . . . . . . Page 12 Around & About . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime . . . . . . . . . . . . . . . . . . . Page 15

APRIL

See VIEW on page 13

UPCOMING EXHIBITIONS AT THE ART STUDIO MAY

TASIMJAE (The Art Studio, Inc. Member Jurored Art Exhibition) Opening. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April 7

BECOME A MEMBER OF THE ART STUDIO

Travis Walthall, Winner TASIMJAE 2017 Opening. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 5

Name(s) Address

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

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Cover photo by Andy Coughlan

lenge our members to emulate? It’s not too soon to start thinking about it and forming a committee to pull this together.

We have other events coming, too, and those require bodies to put together the event and work to make them a success. Things don’t happen without someone making it happen — be that person.

We are very excited to announce the beginning of children’s classes later in March. We are gathering materials, organizing schedules and employing able instructors to offer a series of classes focused on the basics of illustration, drawing and painting. Through the assistance of studio board member Joana Hyatt, of Lamar arts education department, and her students, we have an opportunity to offer year round classes for children and young people in our

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4 • ISSUE March 2018

Volume 24, No. 6

SPOILER ALERT

And the winner is…

A quick guide to the Best Picture Oscar nominees

The nine Best Picture Oscar nominees are, from left to right, “Get Out,” “Dunkirk,” “Darkest Hour,” “Lady Bird,” “The Post,” “The Shape of Water,” “Three Billboards Outside Ebbing, Missouri.”

“Phantom Thread” and “Call Me

By Your Name.”

OSCAR’S BIG NIGHT IS March 4, and everyone is excited to find out which of the movies they saw last year will win the big prize. Except most people have not seen all the movies on the list. If you are one of the great majority who do not live in a big city, chances are not all the movies have come to your town.

Despite having 12- and a 10-screen theaters in Beaumont, it has been hard to see them all. “I, Tonya,” and “Phantom Thread” were only in town for a week at the beginning of February, with “Thread” on limited showings.

Of the nine Best Picture nominees, “Get Out” came out early in the spring and is available free on HBO, and “Dunkirk” came out in the summer and is available to stream for $4.99. “The Post” got a wide release, but the others have been in the “see it now before it’s gone” category.

“Call Me By Your Name” is not even scheduled to come to town until Oscar week, and then for only two days.

Through careful planning, drives to Houston and, in one case, help from a friend, I managed to see “The Nine” in time to offer a guide to the what to expect on the big day (good luck trying to find the documentaries, but that’s another story).

2017 was a good year for movies. The nine

Story by Andy Coughlan

nominees for the top award are all strong and a good case could be made for several others. “The Disaster Artist” was weird and funny, “The Big Sick” was poignant and funny (and picked up a deserved writing nomination), and “Mudbound” was excellent. And let’s not forget the juggernaut that was “Wonder Woman,” which became a feminist rallying cry. But the picks are always subjective and someone is always going to be disappointed.

GET OUT was the first film to be released, so let’s start with that. Writer/director Jordan Peele had a loyal following due to being half of Key and Peele and their wonderful sketch show on Comedy Central. However, no one anticipated the success of this satirical horror film.

Daniel Kaluuya plays Chris, a black photographer who has been interracially dating Allison Williams’ Rose for four months. The couple head out to her liberal parents’ country house where Chris is surrounded by well-meaning white people who go out of their way to praise black culture and his physical attributes.

The white liberal praise is both embarrassing and funny. However, Chris gets an uncomfortable vibe, especially from the family’s black servants (of whom Betty Gabriel is a standout) who remind one of the Stepford Wives. As the movie progresses, Peele subverts the whole notion of race. The horror is the best kind of creepy, and his deft direction never resorts to gore for cheap effect. “Get Out” is an instant horror classic with a sharply intelligent soul.

I was on vacation when DUNKIRK

came out but, as an Englishman, I wasn’t about to miss Christopher Nolan’s telling of one of England’s finest hours (it’s a long history, people. We’ve had a few). Nolan’s reputation is built on long time-and-space-bending films like “Memento” and “Inception,” as well as the “Dark Knight” series. “Dunkirk” is his shortest film, but it is a thrill ride from start to finish. Weaving three separate stories that cover one week, one hour and one day, backed by Hans Zimmer’s amazing ticking soundtrack, the tension builds and the soldiers’ fear, as they wait trapped on the beach, is palpable. The cast is excellent, especially Mark Rylance as the cardigan-wearing ordinary man, but it’s not about the actors. Nolan has given us a riveting film that does justice to an amazing story and will leave your heart pumping. If you don’t cry when the civilian armada shows up on the horizon then you have no soul.

The Dunkirk evacuation shows up again in THE DARKEST HOUR, which tells the story of England’s darkest, and Winston Churchill’s finest, moment. The whole film takes place over three weeks at the start of his term as Prime Minister. Churchill was not popular with his own party and really only got the job because England was in a bit of a jam and facing almost certain defeat by the German army. The rest of Winnie’s Conservative Party, led by Lord Halifax (splendidly played by Stephan Dillane) is pushing for a peace deal, but Churchill stands up against the Nazis and seals his reputation. The film itself

March 2018 ISSUE • 5

Volume 24, No. 6

is pretty decent, especially if one is a fan of history, but the real reason it’s getting praise is Gary Oldman’s performance. His Churchill is all wobbling flesh and jowly diction and is great fun.

Oldman is great in everything, and he is particularly good in this and has picked up most of the acting awards this season.

Stepping away from the big themes, Greta Gerwig’s LADY BIRD is a small film about a small-town high-schooler with big dreams. Gerwig based the film on her experiences growing up in Sacramento, California, and its authenticity is in every frame. The ensemble is superb, but Soairse Ronan and Laurie Metcalfe dominate the action, and both have picked up acting nominations. As daughter and mother, their relationship is strained, with Metcalfe fighting to hold the family together through her husband’s unemployment, while Ronan’s Lady Bird (“It’s my given name; I gave it to myself.”) is just trying to make it through the myriad minefields of senior year. It is an absolutely beautiful film, and Gerwig is a deserved Oscar nominee for her direction and writing.

One of my favorites is THE POST — not because it’s a great film, but because of what has been dubbed “Hot Type Porn.” Anyone who worked at newspapers in the days pre-computer just gets a kick out of seeing all the typewriters, the lead type, the loud, heavily populated newsrooms, and that moment when the presses start and the building shakes. The film itself, directed by Steven Spielberg and featuring a stellar cast led by Meryl Streep and Tom Hanks, does a good job telling the story of the Pentagon Papers. It also sheds light on the struggles of publisher Katharine Graham to establish herself in a male-dominated field. Spielberg has given us a film that is designed to

emphasize the importance of journalism, as well as the importance of feminism. Sometimes he tries a little too hard, such as the scene where Graham meets the government’s intern at the Supreme Court. It just gets a little too earnest, bordering on trite. “The Post” is worth seeing and is a valuable entry into the journalism movie canon. It’s no “All the President’s Men” or “Spotlight,” but it’s pretty good.

Guillermo Del Toro’s THE SHAPE OF WATER is a wonderful, visual feast, a B-movie art film with heart and depth. Sally Hawkins leads a wonderful ensemble as a mute woman who works at a government research facility. When a “mer-man” is brought in to the lab where she cleans, an unlikely romance ensues. The whole film, from the color scheme to the set, has a “wet” feel. Del Toro’s movies are always interesting, and this is a masterpiece that blends Bmovie horror, film noir and romantic movies from Hollywood’s Golden Age. Hawkins is nominated for Best Actress, and her wordless performance is a delight. What she lacks in words she makes up for with her face and her physicality. She is ably supported with excellent showings from Richard Jenkins, Octavia Spencer and Michael Stuhlbarg, with Michael Shannon in fine form as the villainous agent Strickland. “The Shape of Water,” which led all films with 13 nominations, is a must-see.

One of the Oscar frontrunners is Martin McDonagh’s THREE BILLBOARDS OUTSIDE EBBING, MISSOURI. Frances McDormand plays Mildred Hayes who puts up the titular billboards calling out the local police for failing to catch the person who raped and killed her daughter. McDormand has won every award going this year, and it will be a shock if she doesn’t add another Oscar to go with

her previous win for “Fargo.” Mildred is a foul-mouthed, raging, grief-ridden tornado who dominates the picture.

Sam Rockwell, in another Oscar-nominated turn as the racist Officer Dixon, is almost her equal. The movie is funny and bleak, harsh and heartfelt. The film was a long-time frontrunner for Best Picture but, as usual, the frontrunner is there to get shot at, and there has been some backlash over Rockwell’s character and the perception that his attitude does not get enough of a comeuppance.

This has also spread to Rockwell’s performance itself. Remember, Rockwell’s character is racist, not Rockwell himself. And his performance deserves all the accolades it gets. “Three Billboards” is not perfect, but its performances make it worth seeing.

PHANTOM THREAD is supposedly Daniel Day-Lewis’ final film. If that is so, then the only three-time male Best Actor is going out on a high note. Teaming up again with Paul Thomas Anderson, the director of his Oscar-winning turn in “There Will Be Blood,” Day-Lewis is absolutely brilliant as Reynolds Woodcock, a 1950s coutourier. Reynolds is a creative genius, but he is also petulant, demanding and childlike. When he meets a waitress, played by Luxembourg actress Vicky Krieps, he opens the door to a disruption in his beloved routine. The movie shifts its tone and throws in twists and turns. “Phantom Thread” is beautiful to look at and is slyly funny.

Krieps more than holds her own opposite an acting giant, and Lesley Manville is superb as Reynolds’ sister.

“Phantom Thread” was a late entry into the Oscar race, not getting wide release until late January. As a result, it was not recognized at the Golden Globes, but the buzz is that it’s picking up steam among Oscar voters. It is certainly one to keep an eye on.

CALL ME BY YOUR NAME has yet to hit Beaumont, but when it does, on March 1, it is well worth checking out. This coming of age love story is set in early-1980s Italy, and the scenery alone is well worth the price of admission. James Ivory wrote the script and the film plays like one of the classic Merchant/Ivory films like “A Room With A View,” “Howards End” or, more fittingly, “Maurice.” When 24-year-old American graduate student Oliver, played by Armie Hammer, arrives to spend a summer as an assistant to Perlman, a professor of ancient antiquities, 17-year-old Elio, Perlman’s son, superbly played by Timothée Chalomet, is whiling away the summer, adrift in a haze of burgeoning sexuality. Both have liaisons with local girls, but it is clear from the glances and furtive looks that they are destined to find each other.

“Call Me By Your Name” is a gorgeous love story. The summer romance in other-wordly Italy allows both to find themselves in each other. The film culminates with a brilliant speech by Elio’s father that should be required viewing for everyone, gay or straight. “Call Me

By Your Name” is a moving and sweet romance.

Several times I saw a film and thought, “Well, this will be hard to beat,” only to see the next one and think it was at least its equal. So what is the “best picture of the year? The “best” picture does not always win, and I think my favorite this year will lose out to either “Three Billboards” or “The Shape of Water,” and I will be quite content with either film lifting the trophy.

But “Phantom Thread” really stuck with me and should be this year’s Best Picture.

For full reviews, visit Coughlan’s blog, English with a Bit of Texas, at andycoughlanart.wordpress.com

6 • ISSUE March 2018

Volume 24, No. 6

Contemporary Artifices

Baroque Beauty in Sonnenberg’s sculpture, installation at AMSET FOR TEXAS-BASED ARTIST Anthony Sonnenberg, the sparkle and shine found in glitzy, gold-framed portraits, precious porcelain and decorative spaces designed during the Baroque and Rococo period are parallel to the bright, flashing screens of our iPhones.

“There is a basis in Baroque and Rococo, meaning that there is a basic part of humanity that loves sparkle and shine and lusciousness and lots of detail,” he says. “We love being modern, too, with our technology, and I think it might be in a way our ‘lizard brain’ loving that sparkle and shine” Born in Graham, Texas, in 1986, Sonnenberg earned his B.A. in Art Studio with emphasis in Italian and Art History in 2009 at the University of Texas and his M.F.A. in ceramics in 2012 from the University of Washington in Seattle.

Living in Kingwood, the artist has gallery representation in Houston and Dallas and has shown his works all over Texas and the United States.

His latest exhibition, “Still Stage, Set Life,” opens March 17 at the Art Museum of Southeast Texas and will feature multi-media works that span from the visual to the performing arts and incorporate influences from both the canon of western art history and contemporary couturiers like Jean-Paul Gaultier and Dior. Sonnenberg quotes the overabundance and excess shared by artists in works made centuries ago to works made today. His interest with these art historical works is an interest still shared by mankind today in the preservation of such Baroque and Rococo work.

“Even though these styles are so much older and considered antiquated, there is still something about them that we are fascinated by that continues to call across the ages,” he says. “No one called for the destruction of Versailles because it was no longer functioning as a palace.”

On the surface, Sonnenberg’s ceramic works echo the glitz and glamour one would find in a Dresden porcelain museum. Elaborate vases, candelabras and chandeliers feature intricate details and precious materials that one could imagine viewing in former palaces and castles. In referencing these works, the artist finds a basis in art history on which to build his art practice.

“As a ceramics artist, I have noticed there is a trend in ceramic art as the conceptual artists move towards becoming more conceptual, there tends to a counteraction in the art world to balance it,” he says. “Quoting the Baroque and Rococo in my work does that because it plays with our ‘lizard brain’ with shiny objects and lots of fabrics.”

Beneath their decadent surface, however, the sculptures reveal a duality that digs deeper than just reproduction of a

Story by Caitlin Duerler

decorative object from the 17th century. Such ceramic works are assembled in a bricolage fashion with materials like silk flowers and textured fabrics (eventually incinerated in the kiln!) and found tchotchkes — low-brow excessive decorations of choice for those unable to build their own Versailles and commission Sèvres dinnerware sets.

Glazes pouring over the ceramic works are reminiscent of destructive natural forces such as landslides and volcanic eruptions and cracks in the glazes offer contrast to the

Courtesy photo Anthony Sonnenberg models CHARACTER STUDY FOR KING MIDAS

smooth surfaces in the work. Sonnenberg expertly crafts an object that stimulates the senses like one would find in the decorative, but with master handling transforms it into an artwork that demands deeper consideration of what it is presenting the viewer.

“Because the Baroque and Rococo is old-fashioned, it makes it easy for it function as a stand-in for the things we don’t want to talk about — it can be excess in our own lives or feeling out of control,” Sonnenberg says. “What I like about these styles is that is has almost become this type of standard symbol of decadence and excess and while we can understand it in this way, but also understand it as something more personal.”

Sonnenberg’s ceramic works are interwoven in site-specific sets which incorporate found objects, fabrics, textiles and sometimes even taxidermy and flowers. Previous sitespecific sets included exhibitions created at galleries and art spaces across Texas including one at Lawndale Art Center during his 2015-16 residency there. These structures function as stage sets for performative aspects of the exhibition. The AMSET performance will feature prominent Houston drag performer Blackberry and other drag queens who will perform March 23 at the opening reception starting at 6:30 p.m. The event will be filmed, and the subsequent video will play in another gallery throughout the run of the exhibition.

“What interests me about using drag queens as performers is often they are these effeminate gay men who at some point in their lives had been bullied and found drag and through this character bring confidence to themselves while they project confidence,” Sonnenberg says. “The audience watching the drag show also has to accept the illusion of what they are putting forward. It is not just the illusion of a man being a woman, but also the illusion that they are rich, glamourous, gorgeous characters while, in reality, most drag queens are not rich people.”

While contemporary drag queens rely on advanced makeup contouring techniques, costumes and wigs to develop their character, royal kings commissioned grand palaces to emanate power while also protecting themselves.

“Versailles was built up as a kind of cocoon protecting this family and emanating out this power that they may not have had as individuals but is projecting this powerful image of France,” Sonnenberg says.

The performance and visual work both portray themes from Friedrich Nietzsche’s “The Birth of Tragedy,” focusing

See BAROQUE on page 7

March 2018 ISSUE • 7

Volume 24, No. 6

AMSET exhibit previews Fairey collection SELECTIONS FROM THE JOHN Gaston Fairey Collection of Mexican Folk Art are on view at AMSET until March 4. This small selection of works made from materials as diverse as corn husks and tin foil to papier-mâché and ceramics functions as a small introduction to the larger collection, which is in the process of being catalogued and stored. Acquisitioning new artwork and collections is not always a fun job, but an absolutely necessary one in adding new works to the permanent collection and protecting works for display by future generations.

For the past year, AMSET has steadily packed and moved more than 450 pieces of artworks from the Hempstead residence of benefactor John Gaston Fairey, Texas A&M professor who taught in the architecture department and horticulturist. Since October 2017, contract registrar Elizabeth French has been working with boxes of packedup artworks to help the museum document the collection and prepare it for proper storage.

“I started unpacking, and there is an amazing amount of packing material,” she says. “I have mostly been working to remove boxes and packing material from the storage area so that I can actually see the collection.”

The multiple-step process from unpacking to cataloging to preparing for long-term storage is a tedious and timely process, French says. After removing the packing material, she works to categorize the collection and begin preparing its official file for museum records.

“I am going to want to separate works according to what they are, for example a pot or bowl, but also by what they are made from such as ceramic or wood,” French says. “To catalog the items, I don’t have to know about the object but rather what it’s made from — it is more scientific. I’ll be able to do more research later once everything is catalogued, and I have made the physical folders about the individual object.”

Proper cataloguing is an essential process in museum acquisitions, French says.

Story by Caitlin Duerler

BAROQUE from page 6 on the Greek story of King Midas and the simultaneous gift and curse of the golden touch. Sonnenberg recounts the point in the story where Silenus, mentor of Greek god of wine Dionysus, answers questions from King Midas about things which mortals shouldn’t know — which sparks the question of why the Greeks invented art and tragedy.

“In the exchange with King Midas, Silenus recognizes that the world is full of pain, and we have art to get you through the day,” Sonnenberg says. “There is this artifice of beauty that is false because the truth is dark reality.”

In addition to the uniqueness of this type of installation and performance at AMSET, the site-specific sets are also

Part of the newly acquired John Gaston Fairey collection of Mexican folk art is on display at AMSET through March 4.

“Part of documenting any collection are the personal records of the collector, how the collector catalogued his own collection,” she says. “Since John Gaston Fairey kept excellent inventory of the collection with photographs and categorized like-items together, such as trees of life and nativity scenes, it has been a useful tool for me.”

After cataloguing, storage is the next crucial step which takes into account not only where the art is stored, but how it is stored.

“I want the works to be stored in such a way that in the future when no one who has worked on this project will be around, it still makes sense,” French says. unorthodox in viewers’ reception of the performance. The audience will enter through backstage and view the stage before the performance and may even choose to join Blackberry and her crew onstage.

“One advantage about attending the performance is crossing the threshold from being a performer or an audience member— this allows people to choose whether or not they want to be a part of the illusion or if they want to receive the illusion,” Sonnenberg says.

In his art, Sonnenberg aims to have viewers overcome their humanness and banality and pain of human life in the visual feast of elaborate ceramics, lush fabrics and sparkling metals and beads and a temporal performance in the space. However, even if viewers are not able to catch the one-night performance and only have the film to refer

Courtesy photo

French is responsible for ordering proper materials that will protect the works from outside forces, such as weather and moths, as well as protect them for travel as potential loans to outside museums. Archival materials are expensive, and AMSET is grateful to the Mamie McFaddin Ward Heritage Foundation and the Wilton and Effie Mae Hebert Foundation for their grant awards offering financial assistance.

This year’s introduction to the collection is only a small taste of what is to come in the future in showing the multifaceted tenets of John Gaston Fairey’s Collection of Mexican Folk Art. to, the space still functions as a kind of stage set.

Anticipation is an important element in entering the sets through the backstage, whether at the performance or viewing the sets when there are not performers in the space.

“Like with any performance, I am hoping there will be a charge in the air, that kind of anticipation for the performance to begin,” he says. “When the performance is not going on, this anticipation will build with the backstage viewing prior to see the front of the set.”

“Anthony Sonnenberg: Still Stage, Set Life” will be on view March 17 through June 3 with an opening reception and live performance from 6:30 p.m. to 8:30 p.m. March 23 .

For more information, visit amset.org.

8 • ISSUE March 2018

Volume 24, No. 6

‘Process and Proof ’

TASI D ARKROOM F RIENDS

THE DARKROOM FRIENDS OPENS the exhibit “Process and Proof” March 3, in what will be the group’s third exhibition in five years for the community darkroom at The Studio.

This year’s event is extra special because it is held in conjunction with the Fotofest Biennual held in Houston, March 10-April 22, and The Studio is included as one of more than 120 participating spaces for 2018.

Fotofest International bills itself as “a platform for art and ideas” in the development of what was the first, and is now the longest-running, international biennial of photography and new media art in the United States

Story by Stephan Malick

EXHIBITION COINCIDES WITH UNTITLED by Paisley Polk

since the organization’s 1983 founding in Houston.

“The center of the photography world comes to Houston, and everyone who’s anyone comes to network, show portfolios, meet with curators and gallery directors from around the world,” John Fulbright, co-founding member of the Darkroom Friends, said. “Many photographers have started or made their career through this event simply because of who they met at an event there.”

Fulbright, a current TASI board member and past board chairperson, said that The Studio is a part of a large regional arts area and to be included as a participating space presents an opportunity for it to be represented to a larger audience.

H OUSTON ’ S F OTO F EST

“The Darkroom Friends is a young organization, but individually, we’ve had a long association with FotoFest,” he said. “We’re honored to be a part of FotoFest and appreciative of being recognized as a destination for art in Texas and the world.”

Joe Winston, TASI’s current chairperson and Darkroom Friends co-founder, said that he and Fulbright have been to FotoFest exhibits since the event’s inception.

“FotoFest is just one part of what the group does,” Winston said. “Our opportunity to be associated with them recognizes the talents of artists at The Studio and in our community. We have a network of Darkroom Friends, and it is important to be a part of this that al-

March 2018 ISSUE • 9

Volume 24, No. 6 lows us to have a reach far beyond this area. We are the only community darkroom within a 400-mile radius outside of Houston — and Houston only has one community darkroom.”

Winston said photography and Darkroom Friends emphasize craft, and a sense of control from beginning to end is what makes the community group special.

“What we do and encourage others to do as part of the Darkroom Friends is the craftwork of photography — using film, chemistry and light to create one-of-a-kind prints that will last for decades,” he said.

“I have family photos from the 1890s, and you can see details in the prints that are special because they show so many fine details that really define that specific point in time.”

Paisley Polk is a 16-year-old apprentice for Darkroom Friends and has worked with the group since its beginnings.

“I like photography because it’s interesting,” Polk said. “You can show how you see the world and show how you see things. My favorite part is putting film on the reels. It’s tense. It has action. If feels really good to complete that.”

Fulbright, Winston and Polk all emphasize that the darkroom process is what is so unique and attracts photographers to the group.

“I have always liked the element of surprise, the creativity and creative space that is the darkroom,” Fulbright said. “You go into the darkroom with one thing in mind and by some happy accident you come out with something you didn’t expect.

He likened the darkroom to a jazz method and technique — it’s improvisational, but also creative in the sense there can be pattern or rhythm to a process.

Winston added that since digital photography has become a mainstay of photography, darkroom craft for fine art has had a resurgence because it is such an individualistic process.

“I enjoy the peacefulness of slowing things down and the anticipation of waiting for the fixer to complete an image. To me, that is rewarding,” Winston said. “Every photo session is new. I always learn something new. You have the satisfaction of creating something handmade that is all its own.”

Polk, who also is a TASI summer ArtSkool instructor, said that photography is attractive to younger people for self-expression, but darkroom work takes some effort and time to get used to.

“I know with some of my friends, they like the result of what can happen in the darkroom with film and chemicals,” she said. “Their biggest challenge is patience.

They don’t always like to wait or not know what’s going to come out.”

For anyone who has ever worked with photography or in the darkroom, both are always great conversation starters, Fulbright said.

“Everyone shares the same experiences to some ex-

See PROCESS on page 10

John Fulbright instructs apprentice Paisley Polk in the ways of The Art Studio’s darkroom.

ISSUE photo by Stephan Malick

10 • ISSUE March 2018

PROCESS from page 9 tent and everyone goes through the same processes and likes to share their experiences,” he said.

Winston said that since the upsurge in digital photography, the commercial burden of the darkroom has diminished.

“The art of photography and printmaking is alive and well,” Winston said.

Volume 24, No. 6 “The darkroom is now really centered on artful expression more than commercial applications. The photo equipment companies are returning to making chemistry and materials support this.”

Winston said there is a shortage of brick-and-mortar retailers, but Darkroom Friends can recommend reputable online outlets.

“Houston used to have half a dozen retailers, and they have closed one by one,

and there is only one left. Our local retailer suffered damage during Hurricane Harvey and decided not to reopen,” he said.

Darkroom Friends exists to give guidance or direction for the darkroom. For example, Fulbright and Winston said that oftentimes someone who has previous photography experience will come in with film to develop or maybe with negatives wanting to make prints, but they need a refresher on darkroom procedures.

“We’ll do a refresher course about the chemistry and educate them on the nuances of our equipment,” Winston said.

“Some things may have changed a little since they were last in a darkroom, and we share with them what works best here and how to do it.”

The Studio has an eclectic mix of equipment, including some enlargers that are close to 30 years old that need a little tweaking to make them work.

“I tend to work more with the adults and older folks, while Joe tends to work with the younger folks and kids that come in,” Fulbright said. “We’re always happy to have a session with someone any time. If someone is rusty we’ll help them get set up with chemistry and have

a session where they are able to create prints they are happy with and also point them in the right directions for matting, framing and archival techniques so they have their prints a long time.”

Winston said the group has about 10 photographers working on a regular basis and another 10 less frequently. Sessions go on all year long with classes taught in the TASI Summer ArtSkool program and seasonally with demand.

Cost to join Darkroom Friends is $35 a month which includes membership to The Art Studio, Inc. Users must provide their own paper and chemistry and can use the darkroom as often as they like.

“We want people to continue to support TASI, come to openings, make TASI a regular stop in your life,” Fulbright said. “We’re a community of people and not all of us are necessarily artists. We’re patrons or simply just people who appreciate art. It’s a visceral experience. TASI is fun. Darkroom Friends is fun. People need fun in their lives, and communities need to have fun spaces.”

For more information about Darkroom Friends call 409-838-5393. For more information about FotoFest visit. www.fotofest.org.

TEAR OF THE STORM by John Fulbright

GAMEFACE by Rainey Knox will be in the exhibition “Process and Proof” at TASI beginning March 3.

SMACK by Joe Winston

UNTITLED by Madison Marse

Volume 24, No. 6

TASIMJAE

March 2018 ISSUE • 11

CALL FOR ENTRIES

THE ART STUDIO, INC. MEMBERS JURORED ART EXHIBITION

JUROR: ARTIST CHRISTOPHER TROUTMAN OPENING RECEPTION APRIL 7, 7-10 P.M.

PLEASE READ ALL INSTRUCTIONS CAREFULLY! ENTRIES NOT ADHERING TO THESE INSTRUCTIONS WILL BE DISQUALIFIED!

CALENDAR Entry dates ..........................................March 27-30 Notification by mail .....................................April 3 Pick-up works not accepted .........April 4 by 5 p.m.

Opening/awards reception ..........April 7, 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 200 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 noon and 5 p.m. No works will be accepted after 5 p.m. on March 30. 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 4. Works selected for exhibition must remain on display until April 26 and may be picked up April 27.

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 percent 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: $500 and a solo exhibition at TASI in May 2019 2nd place $300 3rd place $200

JUROR Christopher Troutman (pictured below) Assistant Professor of Art Lamar University

High Street Gallery to host Walter Siefford, March 9 12 • ISSUE March 2018

THE HIGH STREET GALLERY will host an exhibition of 2D and 3D work by Walter Siefford, 7-10 p.m., March 9.

The gallery is located in Victoria House, 2110 Victoria St. in Beaumont.

“Walter's artwork is a combination of sculpture, painting and collage that often touches on personal subjects like religion and societal struggles,” Olivia Busceme, gallery director, said. “Viewers seem to identify themselves deeply with his pieces in such different ways, which makes his work both easy to connect with but slightly disturbing. We are very excited to be sharing his recent work with the public.”

Entry is free and the work will be for sale. Refreshments will be available at the event. The show, titled "The Ballad of Cicero," is on display for one night only.

Siefford, originally from Pueblo, Colorado, said he hasn't taken any art classes since primary school.

“A lot of my art is based on human anatomy so my education as a paramedic helps out a great deal,” Siefford said. “As far as learning the techniques, it was a

Volume 24, No. 6

mixture of a lot of guidance from some incredible people and a lot of trial and error.

“My biggest influence was my grandmother who passed time crafting, sewing and painting. She always put great importance on constantly learning and growing beyond oneself.”

He said his art is hard to describe overall, as he just creates things that run through his mind.

“The same day dreams that made me a constant fixture at the principal’s office now with the opportunity to come to life.”

The title of the exhibition refers to a new series Siefford will be showing based on the story of a marionette puppet.

“I don't expect everyone to like my art. I'm far from a visionary or a unique talent,” he said. “I only hope that my art can inspire people to think."

For more information, visit High Street Gallery on Facebook, or see more of Siefford’s work at “From 4 to 1 Creations” on Facebook and Etsy.

Walter Siefford

SUPPORTS THE ART STUDIO, INC.

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

March 2018 ISSUE • 13

Volume 24, No. 6

VIEW from page 3 community. More classes in other disciplines will be available as the program progresses.

We hope to incorporate a variety of institutions to participate in the program as an addendum to their schedule of activities. Boys Haven, Girls Haven and Buckner School are three institution we hope to cooperate with in the coming year. We also hope that charter schools and home school programs find a way to make use of this opportunity.

As we all know, the arts are the most underrated part of the educational system.

As misdirected state institutions and local school districts try desperately to raise their dismal academic numbers though useless and disruptive testing, they over-

This light box

by Inés Alvidres, located on the corner of College and Main streets in downtown Beaumont, is part of a citywide arts project which includes murals and boxes painted by local artists.

look the arts that are proven to offer students real strength in brain functions that are conducive to the ability to learn and excel.

Public and private school arts education continuously get cuts on funding and personnel while schools continue to preserve those archaic and manly activities that build “character” and brain damage but no learning skills. Sports are great, but they do not belong in an academic environment. With that in mind, you understand the urgency of this initiative. The Art Studio can supplement the art educational needs of this community through the efforts of young, talented instructors under the guidance of seasoned educators.

This is not only a “fun” activity, but also an assurance that our children have a chance to reach their full potential in their personal and academic life.

Murals are going up in downtown in an effort by The Art Studio and the Beaumont Convention and Visitors Bureau.

This program is funded through the Hotel Occupancy Tax collected to promote tourism in Beaumont. Started in April of last year, it is an effort to upgrade downtown with murals to attract tourism. Other projects are underway as well. Switch boxes for intersection lights are being dressed up all over town and mural work is even happening at the Beaumont Civic Center. Each project is separately funded through different entities.

This a small phase of a concerted effort to promote downtown revitalization by encouraging artists to occupy the area and develop interesting spaces to draw people downtown. I am happy to be a part of anything to help downtown as The Studio was the first arts organization to establish a location here.

What was most important to our efforts in developing The Studio in those early years was funding from the Southeast Texas Arts Council. SETAC was a critical source of funding because of its accessibility, availability of funds and the support in grant writing and applications. Barbara David (Knight) and David Hitt were directors when we were around our second year of existence and things were getting tough. We heard of SETAC and took a chance to see if we could get funding.

Luckily, and through grant mentoring from David and Barbara, we were able to receive $5,000. The next year the same and the same the next….

In our history at The Art Studio, there were one maybe two times we did not receive funds from SETAC. Those monies were drawn from each major city in Jefferson, Orange and Hardin counties, the Texas Commission on the Arts, and through HOT funds for developing tourism through a strong arts community.

Without SETAC there would be no Art Studio. SETAC historically helped expand programs for the many visual and performing arts organizations in the area.

SETAC has had a profound effect on the viability of these groups including Young Audiences, Hispanic Community for Progress, the Beaumont Fire Department Band, Beaumont Community Players and as many as 30 other organizations.

I bring this little known history to you because a lot of those dollars have dried up by funding cuts by the cities (in good and bad times) and restrictions in funding

put on by the state through the Texas Commission on the Arts.

Now there is a concerted push by our city leaders to have more artists and art groups downtown.

Since a large part of the redevelopment plan of downtown Beaumont depends on the art and cultural community, shouldn’t there be a outpouring of funds to assist those groups and individuals to create the theaters, music venues, studios and galleries? The onus seems, suddenly, to be on the shoulders of the artists and arts organizations of this city.

Along with this amazing revelation of art as an revitalization tool, where will the support come from?

At the same time that so much is riding on the local creative community, there is a concerted effort to minimize the effectiveness of SETAC, the one foundation that is specifically for the support of arts organizations in this community. Instead of funneling money from SETAC to other entities that have little to do with the growth of cultural activities, put the money in the able hands of a strong institution like SETAC who has offered nothing but support to the fledgling and established arts organizations for decades.

SETAC has suffered too long from leaders being fed erronious information from the misguided. If the city wants galleries, theaters and living spaces downtown, there need to be funds available to local groups, individuals and organizations whether for profit or non profit, very much like the funds provided to redo streets, sidewalks and entertainment complexes through block grants.

It is time to reopen venues for visual art, music and theaters with the same enthusiasm that has moved downtown thus far. For example, Crockett Street has many venues that are underutilized and could serve many artists and groups. As it was funded in part by block grants, it should be in full use or given up. There are a wealth of spaces sitting fallow that could come to life with the right people and the right money. This was the problem when The Studio was looking for space in the early ’90s, and it is the problem now.

If we are serious about a cultural district in Beaumont, then let’s be serious about the young people and groups that have put their lives, labor and hearts in a city we all love and make Beaumont the best place to call our home.

14 • ISSUE March 2018

Volume 24, 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.

Make plans to attend THE ART STUDIO’s summer ARTSKOOL for ages 10 and up.

Week 1 will be held July 23-27, and week 2 will be held July 30-Aug. 3.

Morning classes are 9 a.m. to noon, and afternoon classes are 1 p.m. to 4 p.m.

Each session is $100, and $200 for allday sessions.

Activities include papier mâché, mixed media, printmaking, ceramics, film photography, drawing and color theory.

For more information, call 409-8385393, or visit www.artstudio.org. ________

Voting continues at the MUSEUM OF THE GULF COAST for the GULF COAST COMMUNITY ART SHOW. Judging and awards will be given during the Family Fun Day, March 10.

The Museum of the Gulf Coast is located at 700 Proctor St. in downtown Port Arthur.

For more, visit museumofthegulf coast.org. ________ The LUTCHER THEATER and SHANGRI LA BOTANICAL GARDENS announce that SYMPHONY AT SHANGRI LA featuring the Symphony of Southeast Texas has been rescheduled for 5 p.m., March 25. The event was postponed from its original date due to the effects of Hurricane Harvey.

All are invited to bring lawn chairs, blankets and a picnic lunch to soak up the alluring sights and sounds of spring and the

performing arts at sunset.

Lawn seating is available for $15 at lutcher.org, or by calling the Lutcher theater Box Office at 409-886-5535.

The Symphony of Southeast Texas, conducted by Maestro Chelsea Tipton, returns to Shangri La Gardens in the spring to indulge patrons with a festive evening of seasonal nature and magnificent music. New this year, the program will feature soprano soloist Abigail Dueppen.

Shangri La Gardens is located at 2111 W. Park Avenue in Orange and is open Tuesday-Saturday, 9 a.m.-5 p.m.

For more information, visit shangrila gardens.org. ________ THE ART SUDIO, INC. will host WINE AND HULA classes on the third Friday of every month beginning March 16.

Classes are instructed by Cherish Eve Moore.

For more information, email chituh89@gmail.com, or contact TASI at 409-838-5393. ________

The ART MUSEUM OF SOUTHEAST TEXAS will host the annual GO FOR THE GOLD fundraiser at 6:30 p.m., March 8.

This year’s Go for the Gold is royally themed, and everyone is encouraged to attend dressed in crowns and tiaras.

One ticket admits one entry into reverse drawing with a chance to win third place prize: $1,000 in gold, second place prize: $1,500 in gold, and first place prize: $10,000 in gold. Winners need not be present to win. The gold prizes are given in American Eagle coins and have value that depends on the price of gold and value on the collectors’ market.

One ticket also includes two admissions for a party with dinner by Green Light Kitchen and an open bar serving the signature drink, the Crown Jewel.

All proceeds benefit AMSET’s exhibitions

and educational programs.

This year’s Go for the Gold fundraiser is chaired by Kit Ohmstede and Jo Vance.

Only 450 tickets will be sold to maximize participants’ chance of winning; advance purchase is recommended.

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

RECENT ART STUDIO NEW OR RENEWING MEMBERS

Lynn Castle Tracie VanLaw Rick Masters Chris Presley

THANK YOU TO OUR GENEROUS DONORS AND SPONSORS WHO HELPED MAKE BACCHANAL 2018 A SUCCESS

Specs Liquor Regina Rogers Zummo Meat Co. Cathy Zummo Jerusalem Hookah Bar Abbie’s Imports Katharine & Co. Greg Busceme

Bacchanal 2018 raised more than $7,000 to benefit TASI’s repairs after damages from Hurricane Harvey and for children’s educational programs.

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 24, No. 6

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:

Weird Girl

I remember the weird girl humming her song I was watching poetry, as I walked along, to the store I went, to the store I planned to spend

I saw the weird girl humming her song again and again I had not a list, so forgot what I might spend She had no hesitation, she had not a clue, She had no doubts, and was not thinking about me and you, I could tell she was out tune And that she was not wearing shoes I walked among the shelves, The stacks of cans and bags of bread A beautiful thing, a wondrous thing What was inside her head?

A treasure was found, and then the humming stopped, The clerk told me my purchase, and I learned the true cost, the treasure found, was now lost.

Times pass and colors gray, I sometimes remember what happens, Where I walk a certain way Shadows hold faces, but my eyes look away I thought I heard humming?

ISSUE, 720 Franklin, 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.

And how does a pilgrim walk upon a trail?

Bent, and bowed with hands praying and saying grace, Longing and hoping for just some little trace

And finally, the door closes, there are no sounds, Bent and bowed, sorrow upon my face, I hum to myself that same old song, Staring out a window — at clouds and watching wind blow, Trying to guess where did she go.

Stephan Malick

The Moth and the Bat and the Moon A dusty, old moth tips his feathery hat to a bat that skies over him, then continues pursuing the moon’s night light that beckons the both of them.

A sleepy-eyed boy with his chin on the sill (he is barely awake at all) flies in a dream far away from the scene of shadows that fall on the wall.

A father, whose age has devoured his days, traces his gaze through the gloom down to his son, who smiles in a dream of the moth and the bat and the moon.

Jesse Doiron

March 2018 ISSUE • 15 To Test or Not to Test That is the question.

This is a test…this is only a test As if testing is nothing, But I think it’s a mess.

The real deal is important

But to treat testing any less

Is to dismiss the real reason Why you’re taking a test.

Some say it’s to evaluate

The knowledge you’ve acquired To sum up what soaked in

Like some type of score card.

And even though it’s hard To assess the progress,

With this type of testing We seem to digress

forgetting everything you’ve learned And coming up blank.

What happen to all the info stored In your memory bank.

Or simply shut down

And put your head on the desk, Which is not a good thing

When your brain’s in distress.

They say testing is not for everyone I tend to agree.

Testing just for testing sake…

A disturbing trend to me.

The smartest kid can fold

In time of stress and worry For you see,

This whole concept of gauging what you know On a complex test,

really doesn’t reflect whether or not You did your very best.

Testing…testing…1-2-3 Can you hear me now?

We may or may not pass a test.

The whole idea is foul.

Dorothy Sells Clover

720 Franklin, Beaumont, Texas 77701

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

RETURN SERVICE REQUESTED

INSIDE • DARKROOM FRIENDS • THOUGHTCRIME: MUSINGS FROM AREA POETS • OSCARS PREVIEW • SONNENBERG AT AMSET

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

Volunteers These people are the life blood of our organization.

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

Elizabeth Fontenot Bryan Castino Heather & Adam Butler Rhonda Rodman Sue Wright Rhonda McNally John Roberts Beau Dumesnil Karen Dumesnil Sheila Busceme Kailee Viator Stephan Malick Terri Fox Michelle Falgout Stacey Haynes Joe Winston John Fulbright Mark Jacobson Nathaniel Welch Gina Garcia Jack Hays Tyler Hargraves Aslinn Garcia Paisley Polk Zoe Williams Rana Matthews Caroline Badon David Granitz Latasha Hagan James King Madison Rose Stuckey Dawn S. Fischer Madison Bonds Chris Garcia Taylor VanDevender Jaycie Henderson Nathan West Kay O'Neal Olivia Busceme Chad Barrows

JOIN US

FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

THIS MONTH:

OPENING RECEPTION IS MARCH 3, 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 BEAUMONT ART LEAGUE (FAIRGROUNDS) 2675 GULF ST NEW YORK PIZZA & PASTA 790 NECHES SETAC 701 NORTH STREET, STE. 1 STARBUCKS EDISON PLAZA TEXAS ENERGY MUSEUM 600 MAIN SOUTH END/LAMAR UNIVERSITY CARLITO’S RESTAURANT 890 AMARILLO @ COLLEGE SUNRISE 2425 S 11TH JERUSALEM HOOKAH CAFÉ 3035 COLLEGE SIGN INTERNATIONAL 7398 COLLEGE SWICEGOOD MUSIC CO. 3685 COLLEGE LU ART DEPARTMENT DISHMAN ART MUSEUM UNIVERSITY PRESS 202 CARL PARKER BUILDING OLD TOWN ALDEN HOUSE SALON 2415 CALDER ANNA’S MEXICAN BAKERY 2570 CALDER JAVELINA TATTOO 2510 CALDER CHAPAS TAMALES 2305 CALDER BETTY SMITH CREATIVE WORKS 2485 CALDER THE BREW SHOP 2410 CALDER HEADSTRONG HAIR STUDIO 215 18TH ST. JASON’S DELI 112 GATEWAY SHOP CNTR KATHARINE & CO. 1495 CALDER TACOS LA BAMBA 2005 CALDER RAO’S BAKERY 2596 CALDER CENTRAL/WEST END BAR LOCAL 6358 PHELAN COLONNADE CENTER SMALL TOWN VINYL 6356 PHELAN COLONNADE CENTER BASIC FOODS 6220 PHELAN 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.