ISSUE April 2005

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

APRIL 2005

MAKING AN EXHIBITION OF THEMSELVES PAGE 7 INSIDE: LISA REINAUER: JUDGE AND JURY, HOT PIG, AND MORE

‘THE NEW SHIPMENT OF STUDIO BLEND IS HERE,’ SALLIE CRIED. AND THEY DANCED. OH, HOW THEY DANCED.

Studio Blend Coffee “It’s A Matter Of Taste” ONLY $7 A POUND AVAILABLE AT THE ART STUDIO

• NOW AVAILABLE GROUND •

A View From The Top Greg Busceme, TASI Director

ISSUE Vol. 11, No. 7 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Contributing Writers. . . . . . . . . . . . . . . Jeff Dixon, . . . . . . . . . . . . . . . . . . . . . . . . Bryan Castino Contributing Photographers . . . . Morgan Mahana, Michelle Cate, Meagan Staton, Bryan Castino Cartoonist . . . . . . . . . . . . . . . . . . . Andy Coughlan The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Members At Large . . . . . . . . . . . . . Ren Brumfield, . . . . . . . . . Andy Coughlan, Maribeth Jones, . . . . . . . . . . Beth Gallaspy, Gena Wilkinson, . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Wright

The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org artstudio@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 A Good Pill to Swallow . . . . . . . . . . . . . . . . Page 4 TASIMJAE 2005. . . . . . . . . . . . . . . . . . . . . . Page 5 Around & About. . . . . . . . . . . . . . . . . . . . . . Page 6 Sex Workers Art Show . . . . . . . . . . . . . . . . . Page 7 Iron Pour . . . . . . . . . . . . . . . . . . . . . . . . . . Page 10 Above Board . . . . . . . . . . . . . . . . . . . . . . . Page 11 Lamar/Spindletop Film Festival . . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13 Community Survey . . . . . . . . . . . . . . . . . . Page 14 Cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 15 Cover Photo: Diamondback Annie

By Morgan Mahana

WE HAVE HAD A LOT of new faces lately at Studio events.

The Sex Workers Art Show was a fun and enlightening evening. The sex workers presented commentary on social issues pertaining to people in the sex industry, prejudice, abuse and exploitation. The crowd was diverse and quite different from our usual crowd.

I find it encouraging that new participants are getting involved and we made a little money to boot.

The sex worker’s show was Tim Postlewait’s baby and was everything we had hoped — and more.

As Band Night coordinator, Tim has established a good connection with different presenter groups, music labels and touring bands. Since he took over the program, we have not gone into the red and are seeing the reputation of Beaumont music grow in the eyes of musicians across Texas and Louisiana.

We regularly have musical artists from Austin, Houston and Lafayette play at The Studio’s outdoor theater (the stage in the back yard). We have also had groups from Kansas City, Mo., Chicago and Portland, Ore. performing.

Tim represents the future of The Studio in the sense that our survival depends on our own resources and inno-

vations, and the continued evolution of the organization through openness and inclusion, tolerance and support.

One area we are focusing on is our sales gallery. Traditionally a gift shop, we have expanded it to include a wide range of dry media such as charcoal, conte crayons and pastels, and a wide range of oil paints in all brands that have been donated to us by various lovers of art who wanted this material to go to worthy artists.

We also have stretched canvases, individual stretcher bars, and a pile of frames available and priced to sell.

Just this week we were given a roll of medium duct cotton canvas 8’ x 99 yds. That’s right 8 FEET wide x 99 YARDS long, available at $10 a yard.

Most oil paints are about half-price, with special bargains on used tubes ($1).

We are also testing the waters on renting equipment to the public or schools in the area. Use of potter’s wheels can be expensive and space consuming, but renting a set of wheels only as long as you need it eliminates equipment upkeep and saves valuable space.

We also have been given a six-stage

See VIEW on page 15

UPCOMING EXHIBITIONS AT THE ART STUDIO APRIL MAY TASIMJAE (The Art Studio, Inc. Members Jurored Art Exhibition) Jackie Stubblefield (2004 TASIMJAE Winner’s exhibition) Opening . . . . . . . . . . . . . . . . . . . . . . . . . . April 2

Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . May 7

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.

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4 • ISSUE April 2005

Volume 11, No. 7

A good pill to swallow Morisette’s lyricism opens possibilities of language for student

By BRYAN CASTINO ISSUE Contributor I BELIEVE IT WAS THE SUMMER of seventh grade that I went on vacation to the lakes. During the trip my cousin asked me the oddest question: “Why don’t you sing anymore?”

When I was younger I was always singing, and I had not even realized that I had stopped.

It was around this time that I started listening to Alanis Morissette.

I was moved by her album, “Jagged Little Pill.” I was not used to people being that direct.

She made me feel so much more comfortable sharing my own thoughts and emotions. She also helped ease my worry of how blunt I can be. Her music made me think that sort of expressiveness was not such a bad thing.

I had never written anything before that summer, but I was inspired by the honesty and raw emotion she presented.

It is not my proudest memory to look back on, but I used to write Christian versions of popular songs.

Although I never did anything with them, it gave me a base for writing my own songs.

The first song I wrote was about Alanis, ironically — no pun intended.

At the time, I was attending Cathedral in the Pines and attempted to sing in the chapel service. The songs I chose were not religious enough.

When I went to Hamshire Fannett I had laid off writing for a brief period.

After an attempted suicide the beginning of my tenth grade year, I knew I had not developed a deep enough understanding of myself. I suddenly began to write my own lyrics, some of which I gave more life with tunes.

I will admit, in retrospect, they look a lot like hers, but they brought me peace in the storm.

Writing also helped me become more confident. In another “not my

proudest” moment I actually ended up singing Queen’s “We Will Rock You” at a pep rally.

The older I got, the less I clung to the idea of my writing being solely “songs.” As someone told me the other day: “Everyone wants to be a front man.”

I began writing poetry and stories.

While going through the perpetual search for a major I was exposed to Lamar’s theatre department. I began tossing around theatrical and screenplay ideas.

One of my more recent ideas comes from The Art Studio.

Although it clearly gives me a venue if ever I wish to sing, it also offers me inspiration.

I have been at The Studio so much and watched the regular goings on, these people have become like family.

They are some of the most insane, emotional, introspective, loving people I have ever been exposed to, and I am trying my hardest to write a show based on the Neverneverland The

UNPRODIGAL DAUGHTER One day I’ll saddle back and speak of foreign adventures One day I’ll double back and tell you about these unfettered years One day I’ll look back and feel something other than relieved Glad that I left when I did before “no dear you can’t” got the best of me I’d speak of artistry you would roll your eyes skyward When I’d speak of spirituality you would label it absurd When I spoke of possibility you would frown and shake your head If I had stayed much longer I’d have surely imploded These are my words This is my house These are my friends of which you’ve had no part of Unprodigal daughter and I’m heading for the west Disenchanted daughter and this plane cannot fly fast enough Unencumbered daughter hit the ground running at last I’d invite you but I’m busy being unoppressed ALANIS MORRISSETTE

ALANIS MORRISSETTE

Studio can be.

Looking back, I find it odd that a simple question and a woman who sings like, as one friend described it, “Minnie Mouse on acid,” could have such an effect on my life.

If you read any of my writing I think you see Alanis’ influence.

I have always found her to be very in touch with herself and the world around her, and I have tried my best to find my own path to that destination.

For someone who has as little direction as I do, I needed the assistance.

This is the second in an ongoing series of contributions to the ISSUE that discuss the ways that art impacts, shapes, and affects our lives. If you have a moment or an artist (in any medium) that has affected you and you would like to write about, please send your submission to artstudio@artstudio.org.

Submissions should be 500-800 words and may be edited for style and content.

MY RIGHTS Whenever I think of orange I think of you I hate orange I’m trying to figure out if I hate you too You hated me or least gave that impression But had no actions to fit your words I couldn’t see how you’d physically abuse me Without the guts to even walk past me Is it my right to judge you the way you judged me My right to hurt you the way you hurt me My right to hate you the way hated me My right to kill you the way you killed me Whenever I think of prejudice I think of you I hate prejudice I’m trying to figure out if I hate you too You made your judgment without evidence You acted like you knew me when we hadn’t even spoken All you knew were the observations of your own blind eyes Is it my right to judge you the way you judged me My right to hurt you the way you hurt me My right to hate you the way you hated me My right to kill you the way you killed me Whenever I think of hate I think of you I hate hate and that’s why I won’t hate you I’ll never understand why I was so worried and afraid You were nowhere near as strong as I thought I wasn’t BRYAN CASTINO

Volume 11, No. 7

April 2005 ISSUE • 5

TASIMJAE THE ART STUDIO, INC. MEMBER JURORED ART EXHIBITION THE ARTS MAGAZINE OF THE ART STUDIO, INC.

APRIL 2005

Juror Reinauer explains selection process

Editor’s note: The ISSUE’s traditional pre-exhibit feature is always a problem for the April ISSUE. TASIMJAE (The Art Studio, Inc. Member Jurored Art Exhibition) adorns the walls in April, but at press time the works are not even submitted, let alone judged, so the content of the show is a mystery.

This year’s juror is accomplished artist and educator Lisa Reinauer, head of the visual art department at McNeese State University in Lake Charles, La. Reinauer was TASIMJAE winner in 2003 and had a one-woman show at The Studio last May, so she is uniquely qualified to comment on the competition itself and the process of judging a show.

A few questions sent in an email drew a thoughtful and insightful response. So what more was needed?

ISSUE: What did winning TASIMJAE mean to you?

REINAUER: Being accepted into any exhibition is exciting ... and winning an award adds to the excitement. Very often, the artist works alone in the studio — so the opportunity to share one’s work with a larger audience is a welcomed experience. This particular exhibition means a lot to me, having been involved with TASIMJAE since 1992. It has been fun to see The Art Studio evolve over the years and in several locations.

One of the earliest events I recall attending was the ‘Hot Art, Cool Jazz’ evening (I may have the name wrong). It was an evening of art, live music, poetry readings and ice sculptures. Each table had a block of ice on which to carve. About eight of us had driven over from Louisiana for the night. One should never engage eight artists to try and create any meaningful sculpture...by the end of the evening...there was nothing left.

But the evening itself was memorable. There has always been a tangible energy around The Studio.

ISSUE: Have you won other shows in the past?

REINAUER: I’ve been fortunate to have won quite a few awards and several grants over the years. It is always great to have someone recognize and value your work. Exhibiting and winning awards and grants helps to sustain a certain energy in the studio…actually, it also helps to financially sustain your work in the studio.

Of course, ones of the best motivators for getting in the studio and getting busy is to have a show on the horizon.

That was another benefit of winning TASIMJAE — not that one needs an excuse to spend time in the studio — but the realization that one has walls to fill is certainly an incentive.

ISSUE: As a juror what kinds of things do you look for ?

REINAUER: Originality, a personal voice — a certain level of accomplishment and appreciation for the medium. A work of art should invite the viewer in. This has little to do with content, meaning that I have no prejudices regarding subject matter. I will gravitate towards work that keeps drawing me — the viewer — to the piece.

ISSUE: Do you have a set criteria that you look for when judging work?

REINAUER: I am completely open to what comes up. It is always great to encounter a piece that just takes you by surprise. Some works will draw me in because of a certain level of skill or development of imagery or a combination of the two. Other works will draw me in because of the artist treating a subject or a surface with a totally unexpected approach.

ISSUE: How do you select winners?

REINAUER: These are works which do all of the above — works to which I continue to gravitate, works that demonstrate both conceptual and technical strength, works that a viewer will continue to discover or appreciate new qualities about each time he or she approaches it.

ISSUE: As a painter, do you gravitate toward that medium?

REINAUER: In selecting a show, one has to consider the overall texture of the exhibition the viewers will encounter. This means I look for a variety of media, approaches and subject matter.

I want to include work ... assemble a body of works, that represent /reflect the best of the submissions.

ISSUE: Do you enjoy judging shows?

REINAUER: As a teacher, I am constantly involved with my students and I enjoy the process of encountering and responding to work.

Being a working artist, I also appreciate and empathize with the artists who may have not been selected. There are always some tough

MAKING AN EXHIBITION OF THEMSELVES PAGE 7

Artwork by Lisa Reinauer

INSIDE: LISA REINAUER: JUDGE AND JURY, TASIMJAE 2005HOT opens with a free reception PIG, from 7 p.m-10 p.m. on April 2. The exhibit runs AND MORE throughout April. The Art Studio, Inc. is located at choices in jurying — especially when there are more deserving entries than gallery space.

720 Franklin in downtown Beaumont.

For more information, call 409-838-5393.

6 •ISSUE April 2005

Volume 11, No. 7

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.

TEXAS ARTISTS MUSEUM (TAMS) PRESENTS “ODYSSEY”

by PHIL FITZPATRICK in April in the main gallery.

The free reception for Fitzpatrick is April 10 at 3:15 p.m.

TAMS is located at 3501 Cultural Center Drive in Port Arthur.

For more information, contact: Faith Sauerwein at 409-983-4881.

––––––––––

The BEAUMONT ART LEAGUE presents the 2005 NECHES RIVER FESTIVAL SHOW, April 5-24. There will be a reception to close the show 2 p.m.-4 p.m. on April 24.

The exhibition features works by area artists depicting the theme of the Golden Triangle area or the Neches River Region.

This year’s juror is Phil Fitzpatrick, retired faculty member of the Lamar University art depart-

ISSUE/Coughlan

Kelsey Dardeau of Orange examines the artwork of Nathan Jones at the opening reception of “Yellow 5: In Theory,” March 5 at The Art Studio.

ment. Fitzpatrick earned his MFA from Auburn University. His career has focused on graphic design, painting and printmaking.

The Beaumont Art League is located at 2675 Gulf Street in Beaumont. Hours are 10 a.m.-4 p.m., Tuesday-Friday, and 10 a.m.-2 p.m. on Saturdays.

For more information, call BAL at 409-833-4179.

–––––––––– The BEAUMONT ART LEAGUE will hold its annual photography show in May, beginning with an opening reception, 7 p.m.-9 p.m. on May 7. Entries are due on or before April 30.

For a prospectus or more information, call BAL at 409-833-4179.

–––––––––– Visitors to the ART MUSEUM OF SOUTHEAST TEXAS get four times the art through June as the museum presents four separate exhibits.

“THE ART OF THE CUE” featuring hand-crafted sticks by RICHARD BLACK comprises more than 30 intricate, hand-crafted cue sticks made by Black, a master craftsman from Humble, Texas.

“PILE UP” features works by

Dallas artist CHARLOTTE SMITH who takes a cumulative approach to her artwork. Using toothpicks and dressmakers pins she painstakingly stacks paint drops on top of each other. The result is kaleidoscopic sprays of colored bumps and dots that float on and above the surface of the paintings.

The paintings in Pile Up bring to mind abstracted galaxies or deep space vistas. Smith describes the work as “abstracted pointillism.”

“LANCE LETSCHER: BOOKS AND PARTS OF BOOKS 19962004” features antique letters retrieved from flea markets; the covers, spines, and pages of books; handwritten manuscripts, ledgers, lists and old recipes — these literary castoffs provide the raw materials for Austin artist Lance Letscher’s intricate collages.

AMSET also hosts “WHISTLER: REALISM IN PRINT,” a collection of 23 etchings by the artist best known for the painting “Arrangement in Grey and Black” (a.k.a. “Whistler's Mother”).

All of the exhibits are on display through June 10.

For more information on these exhibits, call 409-832-3432.

AMSET is located at 500 Main in downtown Beaumont.

Banners, mags windows & other vinyl signage Web site design

signs, designs & more

Creative art solutions

833-7968

Located inside The Art Studio, Inc. • 720 Franklin in downtown Beaumont

Volume 11, No. 7

April 2005 ISSUE • 7 ISSUE/Mahana

Isis Rodriguez and friend

Showing a creative side Sex Workers Art Show attracts eclectic crowd to Studio Editor’s note: When you give a Hunter S. Thompson disciple an assignment and tell him he is free to “go Gonzo,” you are pretty much asking for trouble — or at least something out of the ordinary.

The following is an account of the Sex Workers Art Show presented at The Art Studio on March 1.

By Jeff Dixon Poseur and ISSUE contributor Layout by Andy Coughlan

MY FINAL DESTINATION WAS downtown at an art showing, but I was derailed mid-afternoon and convinced to go to a funeral. A family friend had passed on. I didn’t know the woman in question, we had never met, but there I was, sitting in a pew on this cold March night, listening to obscure Bible verses and incessant whispering all around me. No one is allowed to talk at funerals but it always seems that everyone has something to say.

At half past seven it was over. Too early to go to the show I thought, so I ventured home to kill some time. I needed rest if I was going to be able to handle this thing properly. I slumped on the bed and fell into a hazy sleep. I awoke about an hour later, groggy and confused. I stumbled outside to the car and aimed the Thunderbird at downtown.

I had no idea what to expect at the art show. The details in the press release had been sketchy at best. It was put on by sex workers of all kinds, that much I was sure of. But what

would they do? What would happen?

Would there be midgets with tumors shaving people’s asses. Was this the kind of thing where a man urinates in a cup, drinks it and calls it art. A barrage of awful images were pouring through my head as I pulled into the parking lot across the street. I grabbed my bottle of juice, which was half filled with rum, and made my way towards The Art Studio’s building.

There were a few people lingering near the front door, but for the most part I was early. After paying my $7 admission fee, I made my way to the back patio. And there I stayed for the next ten minutes chatting with some people I knew, until a head poked though the door and told us the show was starting. By the time I found a comfortable place to stand there was already a woman reading prose at the microphone. The room was filled to the brim but I couldn’t make out anyone’s face. There was no light except a red glow around the microphone. The reader was some kind of exotic dancer

from what I could gather, slinging stories about her job. She reminded me of Bernadette Peters in an odd and desperate way. She was good, man, damn good, interesting and funny.

Mostly her stories consisted of odd encounters with customers, strange UPS men, and creepy Santa-looking fellows with tickling fetishes.

She bowed and we applauded as she walked gracefully to the back. I caught a whiff of her as she passed me. She smelled like strawberries dipped in wine, extremely intoxicating. The next performer was introduced, but the name was garbled, or was I just not hearing things well, I couldn’t tell, and by the time I had asked myself the question, the answer was drowned out by the sound of AC/DC booming over the loudspeakers. A small girl dressed as a nun sauntered toward the stage, knocking over someone’s beer on her way. Once she

See SEX on page 8

8 • ISSUE April 2005

Volume 11, No. 7 ISSUE/Mahana

SEX from page 7

Sex Workers Art Show organizer Annie Oakley, right, kept things moving between acts and Naima Lowe, above, acted along with a short film she had made about her experiences.

ISSUE/Mahana

reached the stage she began to strip down to a school uniform and then down to a pair of AC/DC panties. This, I thought, was the American Dream in action; paying seven bucks a head to stand in a dark room and watch a girl who looked twodays shy of 15 dance around in her underwear.

The girl in question was named Diamondback Annie. The name, odd as it was, did her a strange sort of justice. After she picked up her clothes, the next performer hit the stage. Again, the name was garbled. I found out later her name was Ronica. She was dressed from head to toe in black, a button up shirt, tie, and pants to match. “This should be good,” I thought. And then she spoke, “Does everyone remember that time when our government lied to us?” Or maybe not. I made my way to the back patio. If I had wanted to hear some bitter Ani Difranco fan bitch about the Bush administration I would have gone to a coffee shop and struck up a conversation with the first brunette I came across. It says something horrible about our nation when someone as liberal as I am is tired of hearing complaints about the presidency. Ye gods,

man, I don’t care how funny you try and make it, I’ve heard it all and I’ve heard it ten times better.

I wandered back inside hoping the girl in black was done and I was struck with a cold sweat when I found that she wasn’t. I leaned against the back wall and drank, closing my eyes from time to time, “Jefferson Airplane” lyrics playing in my head. When I came to Annie Oakley, the show’s coordinator was introducing the first male performer of the night. He was shorter than I expected, but what did that mean? I suppose I thought male prostitutes were taller, but no, not this boy. He started with a poem that flowed nicely and was very pleasant to listen to. After that he moved on to a short Hip Hop song, which was barely audible. But it had a good beat and sometimes, late at night, that’s all that really matters.

The next act hit the stage and even though my vision was obscured I could tell it was a drag queen or a transsexual, maybe somewhere in between. She started into some weird mix of poetry and prose, it was all twisted up and spun around. Whenever she used the word “coming” which she used a lot, she would vibrate her vocal chords like some sort of sex toy with legs. Her voice was grating on my soul. It felt like someone was drop-

Volume Volume11, 11,No. No.1 7

September April2004 2005ISSUE ISSUE••5 9 ISSUE/Coughlan

ISSUE/Cate

Distinctly Diverse

DIFFERENT APPROACHES U NITE ‘TEXAS TWO DOZEN’ The piece consistsSTUDIO, of an automatic tennis serve exans have MAGAZINE their “Twang,” the dis- OF THE THE ARTS ART INC.

T

tinctive vocal style that distinguishes them from people from other states. “Twang” also refers to the guitar sounds of Texas R&B and country.

At the Art Museum of Southeast Texas, “Twang” is a group show of contemporary Texas sculpture featuring work by a dozen artists.

Texas is both Western and Southern, cotton and cowboys, and a multitude of clashing cultures. If there one thing that take defines ping a car battery on myissack.

I couldn’t Texas, it is its indefinability. much more of this. I closed my eyes again, “Twang,” the state that drowning out the sound of her like voice.

Suddenly links these artists, incorporates the room was filled with screaming and cursing. a plethora ofwas styles anddragged forms. from the establishA woman being Among the strongest pieces on voice display is “Lovement cursing her captors as a calm over Joey,” a study of friendship, loneliness and loss the microphone recalled a recent gang rape. by Michael Powers.

Holy God, what was going on here? Was this real, or part of the show? It soon became apparent that it was a part of the tranny’s performAmong the works ance. Good Lord, I wasn’t sure I could take much morefeatured of this.inThankfully an intermission was “TWANG: declared and the crowd thinned out toward the Contemporary patio and the front of the studio.

Sculpture Whenfrom the second act started I found a seat near theTexas,” front. The rum was taking effect nicely display and aon calm, peaceful vibration was settling over through Sept.

26 next few acts went by in a blur. I the room. The at the distinctly Art remember a black woman, who had Museum of play she had written. The audio recorded a short Southeast Texas, was piped in through the loud speakers as she are, clockwise got dressed next to a slide show of her and a from left, in various sexual positions. I’m white woman bysomething, but what that was I sure it “E.B.” meant Erick Swenson, couldn’t figure out.

“Museum Bench” About this time Diamondback Annie hit the by Chris Sauter, stage again, this time dressed as Elvis. There she “Two5 Paintings was, foot nothing, a shining beacon of hope, on made flesh, Elvis and a stripper Las Vegas itself a Rock” all rolled into a little ball of sexual energy. The by Davenport lastBillperformance of the night began soon after. It and “Sellfor Mejustice in the ongoing fight for was a call Something higher pay for strippers and culminated with the Brown” performer being wrapped in the American flag. by The Franco crowd began to disperse slowly. The Mondini-Ruiz. transsexual was off giving tarot card readings. I’d had my fortune read in the past and I doubted she could shed any new light on it. I lingered on the patio with a few friends for a few moments until it became clear that I needed to go home before I became too tired to drive. I walked out Review and night air with thoughts of funerals into the cool and sex, journalism and death, weaving in and photos by out of my skull. I climbed into the white Andy Thunderbird Coughlan and together we spilled out onto the road and headed home.

machine that fires a series of balls (each labeled “Joey”) against a wall on which is a large Argyle pattern that may or may not be a net. The machine is labeled “Playmate” and the balls are fired with monotonous regularity, with the gallery walls echoing a repetitive thud thud thud, like the Dada soundtracks of Kurt Schwitters.

The “Joey” of the title refers to Joey Mussacchio, a childhood friend of the artist who is now dead.

Does the lifeless “Playmate” long for someone with whom to play? It seems to connect with the quintessentially American past-time — a simple game of catch.

Visitors to the opening witnessed the balls bouncing off two walls and back into the machine, completing a never-ending solitary game of catch.

The piece had a melancholy quality that reflected both the loss of a childhood friend and of childhood itself.

However, visitors at a later date may have seen

APRIL 2005

the balls hit the wall and bounce randomly away as a museum guard chased after them. This viewing emphasized a sense of “play,” with the machine, like a rambunctious child, teasing its reluctant “playmate.”

The same piece, but two games and, therefore, two different pieces.

Even though the “Playmate” is inanimate, Powers has created a performance piece reminiscent of the 1960s Fluxus group, whose creations existed in the reactions of the viewer.

Powers plays with our emotions and delicately balances the the joys of childhood with the loss of innocence.

Artists showing their Another piece that demands viewer participastuff at The Sex tion is Justin Kidd’s “In and Out Box.” Workers Art Show at Consisting of a crudely constructed mailbox TASI on March 1, hanging on the wall, visitors to the exhibit are invitincluded ed to “mail” a postcard from the Czech Republic Diamondback Annie, above left, Chelsea Starr, above, Ben See TWANG on page 11 McCoy, left, and Ronica, below.

MAKING AN EXHIBITION OF THEMSELVES PAGE 7 INSIDE: LISA REINAUER: JUDGE AND JURY, HOT PIG, AND MORE ISSUE/Mahana

10 • ISSUE April 2005

Volume 11, No. 7

POURING THE PIG

ISSUE/Staton

RAIN ABATES, IRON ONLY THING THAT POURS AT LAMAR’S ANNUAL EVENT

By BRYAN CASTINO ISSUE Contributor The clouds parted just in time for “Hot Pig,” the 25th Annual Iron Pour held at the Lamar University Art Department on March 4.

The event brought in a fairly intimate crowd in

An intimate group braved the heat of the iron and the glare of television cameras during “Hot Pig,” the 25th Annual Iron Pour hosted

by Lamar University’s art department on March 4.

ISSUE/Castino

comparison to years past. In the past, several local schools have attended, but a furnace replacement brought up safety precautions. The pour went on with a few hitches due to the introduction of the new furnace.

Meridith “Butch” Jack, sculptor and art professor at Lamar said fixing problems only adds excitement to this delicate process.

“It started 25 years ago when Phil Fitzpatrick and

I were trying to combat the situation that most students had more allegiance to their high school football teams than to their identity as a Lamar art student,” he joked.

Although the first year was a disaster, he said, the event slowly became a staple for Lamar. People began to expect it, and the affair is now a ritual in the Southeast Texas art community.

T-shirts are made as a memento for students and faculty. The event has been a successful way of getting students to work together.

“It’s pretty exciting because you get students and alumni, all working together,” Kurt Dyrhaug, Lamar art professor, said. “I enjoy seeing that energy.”

Dyrhaug has years of experience working in foundries and said that even those who do not get the most enjoyment out of the event can find it useful for future career ventures.

Byron O’Quinn, a 20-year-old Beaumont native and Lamar art student attended the event for the first time and enjoyed the occasion.

“Honestly, it was a nice experience,” he said. “It was fun.”

The process of pouring iron is much more complex than other metals.The process itself is a couple of thousand years old.

If you missed out on this year’s event, don’t worry.

It will be back next spring.

After all, it’s a tradition.

Volume 11, No. 7

April 2005 ISSUE • 11

To blog or not to blog…

Above Board Stephan Malick, ISSUE contributor

IT’S THAT TIME AGAIN FOLKS. Yes, the annual TASI Benefit for Art is set for April 7, at the Beaumont Club on Orleans. The Studio needs your support now, more than ever. Summer’s-acomin’ and we need to get air conditioning working in the main building to hold classes in a comfortable environment.

On another note, I have recently stepped down from the chairmanship of the board and from the board itself. I’m still going to be around (See you at the Benefit) and will continue to work on a volunteer basis. I’ve got two little ones at home that demand lots of attention and I want to be there more often.

However, I hope to reach each of you here. I plan on writing a column every ISSUE with the hope of shining a little light and common sense in dark places.

From time to time, I’ve remarked about my background (father, teacher, veteran, etc.); included in that list is also reporter. I worked for a number of years as writer for some daily papers, including the Port Arthur News and the Beaumont Enterprise.

It’s a tough job. Odd hours, at times what seems 24/7, and, of course, always in weird places. I’ve always likened it to

being a cop or a firefighter, except without gun or some burly dudes for backup. That is also its charm.

If you peruse our Constitution and the Bill of Rights, it’s the only profession mentioned by name and it is named in the most prominent of places — The First Amendment.

Along with the concept of a free press, we have the freedom of assembly and the right to practice religion of our own faith. Pretty powerful stuff.

Madison and Jefferson knew what was important when designing our fledgling democracy.

The ability to comment without the fear of violence or retribution is an awesome power. The information age we live in today provides the means to do this at a level Jefferson and Madison never dreamed of.

Blogging, for example, didn’t exist in Revolutionary America. Certainly, not the way we know it today. Sure you had columnists, but they could not comment as timely as they do now. Bloggers have exposed the Clinton-Lewinsky affair, brought down Dan Rather, and revealed GOP plants in the White House press corps.

Man, what a wonderful world.

There is a downside though. While many in the new media decry the downfall of big media, people also said newspapers would die when the radio was invented, just like the TV guys said the same about radio. One teensy-weensy item, I think, holds “big media” in a little more esteem than most people give credit for.

Accountablility.

Most bloggers have nothing or no one to be accountable to. If your local paper makes a mistake, you’ll read it the next day in the corrections column.

Well, at least, one of the local papers does. If a national TV network flubs a story, someone will be fired. And if a story is bungled or a reporter’s work is questionable, a panel will review the issues at hand.

Not so in the blogging world. The thing that makes it great is also its downfall.

There are some good blogs and a lot of bad ones. The Internet provides just about anyone a podium in cyberspace.

See ABOVE on page 15

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Can’t find that thing you need? Don’t drive all the way to Houston. We can order it for you!

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SERVING THE ARTS IN SOUTHEAST TEXAS SINCE 1983 720 Franklin in downtown Beaumont • 409-838-5393

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12 • ISSUE April 2005

Volume 11, No. 7

TASI to host film festival kick-off party

Westpark Foundries; and special FX expert Steve Wolf, “Castaway” and “The Firm.”

In addition to the speakers, Beaumont native Irma P. Hall, who took a special jury prize at Cannes for her role in “Ladykillers,” will be inducted into the Southeast Texas Filmmaker Hall of Fame.

“I am more than thrilled about the honor in Beaumont, more than any other because it is my home,” she said in an online interview. “Beaumont is where my seeds were first planted. I started school there at Carrol Street Elementary.”

In 1996, Hall won best supporting actress honors from Chicago film critics for her performance as the tough but lovable Aunt T. in “A Family Thing.”

She earned a best supporting actress honor at the NCCAP Image Awards in 1988 for her work as Big Momma in the feature “Soul Food.” In 2001, she was nominated for a second Image Award when she reprised

her role in the Showtime series “Soul Food,” based on the film.

In 2004, when she won a special jury prize at the 2004 Cannes Film Festival for her performance in “Ladykillers,” director Quintin Tarentino called her “a force of nature.” That year, she also appeared in “A Slipping Down Life,” starring Guy Pierce and Lili Taylor.

The festival will also pay tribute to the life and work of Robert A. Burns, a longtime Texan.

Castillo said Burns will always be remembered for the films, especially his his ability to create a terrifying and eerie backdrop for horror films. He worked as art director with noted horror directors Wes Craven, Stuart Gordon, Tobe Hooper and Joe Dante on such classics as “Re-Animator,” “Texas Chainsaw Massacre,” “The Hills Have Eyes” and “The Howling.”.

“After I learned about the death of Robert Burns, I spoke with Stuart Gordon. He suggested we pay tribute to Burns at our 2005 film festival. I knew it was the right thing to do,” Castillo said.

As part of the tribute, Gordon will screen his film “Re-Animator” at the festival. Gordon will introduce the film, do a Q & A after the film and will speak on a panel during the 2005 festival. Several other directors and screenwriters who worked with Burns also plan to attend the festival.

Burns, who lived in Seguin at the time of his death, was noted for his art direction, but he also directed, did special effects and starred in films. In May 2004, Burns was diagnosed with terminal cancer. He died less than a month later.

For information, call Castillo at 409-880-8490.

$5

co v

er

The Art Studio will once again be part of the Spindletop/Lamar University Film Festival in April, hosting a kick-off party and film screening on the evening of April 15.

Plans are still being formed, but Chris Castillo, festival programmer, said he hopes to screen some films outside during the party. There will be a small fee of $5 to cover costs, he said.

This year’s festival takes place throughout Beaumont on April 15-17 at a variety of locations including Lamar University and Tinseltown. At press time, other venues were still being planned.

As usual, this year’s festival features a variety of speakers who represent all facets of the film industry, including blues musician Becky Barksdale, a Lamar University graduate whose music has appeared in movie trailers for films including “Neverland” and “Cold Mountain;” David Carren, screenwriter “Mr. Hell” and “Star Trek: The Next Generation;” Greg Carter, director “Fifth Ward” and “Resurrection:The J.P. Richard Story;” Alfred Cervantes, location specialist, Houston Film Commission; Sandy Collora, Visual FX artist and director, “Batman: Dead End;” Lamar grad J.D. Feigelson, screenwriter and producer,“Red Water;” Mike Gasaway, award-winning director, Jimmy Neutron series; musicians Sam Gay and Templeton Thompson; Stuart Gordon, director, “Re-Animator,” and screenwriter, “Honey I Shrunk the Kids;” actress Irma Hall, starring in “Ladykillers” and “Collateral;” Stephen Mims, director, “Lizards Times Twenty;” Lance Myers, lead animator on Richard Linklater’s animated feature, “A Scanner Darkly;” Wade Rowland, film development coordinator,

Band Night

Southeast Texas' premier venue for area musicians playing original compositions

April 30

May 8

Skinkrawl • Vertigo Sun • Killjoy 72 Dirt • Raku • Sekrum

New Dead Radio Stalemind

NO GLASS CONTAINERS ALLOWED All shows begin at 8 p.m. • Doors open at 7 p.m.

Volume Volume11, 11,No. No.1 7

September April 2005 2004ISSUE ISSUE • 513

Distinctly Diverse

Tho ughtcrime 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 or submitted on a disk (using approved word processing software), or may be sent to TASI by e-mail. All works are subject for review by our editor, and may be rejected or edited on the basis of grammar, spelling or content.

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 e-mail: The piece consists of oran automatic tennis serve the artstudio@artstudio.org.

Caught in the Web

There is a small boy standing next to you looking up at the smoke He’s got the same look on his face that you have on yours The second one is coming now balls hit the wall and bounce randomly away as a exans have their “Twang,” the disjust like the first machine that fires a series of balls (each labeled museum guard chased after them. This viewing tinctive vocal style that distinWords echo through your head “Joey”) against a wall on which a with large Argyle pata sense of “play,” with the machine, like guishes them from people from Authors must submit a daytime telephone number is along all submissions.

Pen namesemphasized are “There are no Bombs!” authors must names All machine submitted works tern but that may orsupply mayrealnot beforaverification. net. The is become propa rambunctious child, teasing its reluctant “playother states. “Twang” also refers to acceptable, The people on the plane don’t have a choice of TASI, and whether rejected or accepted, are not returned to the author. ISSUE does not notify labeled “Playmate” and the balls are fired with mate.” the guitar sounds of Texas R&B erty of rejection by mail or telephone.

They’re the bomb now monotonous regularity, with the gallery walls echoThe same piece, but two games and, therefore, and country.

You drop your briefcase ing a repetitive thud thud thud, like the Dada sound- two different pieces.

At the Art Museum of and a small hand reaches out and grabs yours tracks of Kurt Schwitters.

Even though the “Playmate” is inanimate, Hanging Out Man’s Choices Southeast Texas, “Twang” is a There is a small boy standing next to you The “Joey” of the title refers to Joey Powers has created a performance piece reminiscent group show of contemporary looking up at you a childhood friend of the 1960s Fluxus group, whose creations existed in Texas sculpture featuring work by WeMussacchio, just wandered, my friend andofI,the artist who is Man is a silence of the mind that comes He’s got the same look on his face now dead. the reactions of the viewer. a dozen artists. through the gallery’s whitewashed halls that you have on yours from living in the natural world.

Powers plays with our emotions and delicately Does the lifeless to “Playmate” long for someone Texas is both Western and stopping occasionally talk A look that says it all Witness the American Thoreau. withthis whom play?some It seems balances the the joys of childhood with the loss of Southern, cotton and cowboys, and about andtothat, styletoorconnect feeling with the I am not a religious man Confident, yet nota resolved, innocence. quintessentially American past-time — a simple multitude of clashing cultures. If and outside the sun looked down but if you’re out there as the founding fathers laid down game of catch.

Another piece that demands viewer participathere is one thing that defines through intermittent raindrops.

Save me Spider-man in print, the mind,Texas, if given tion is Justin Kidd’s “In and Out Box.” Visitors to the opening witnessed the balls it is its indefinability. freedom to think, to “Twang,” write to print, Consisting of a crudely constructed mailbox like the state that off my twofriend walls and Webouncing wandered, andback I, into the machine, Jeff Dixon Opens the possibility simply “be.”incorporates a through hanging on the wall, visitors to the exhibit are invitcompleting a never-ending solitary game of catch. linkstothese artists, the aisles lined with books, Unique of is the American experience ed to “mail” a postcard from the Czech Republic plethora styles and forms.

The piece had a melancholy quality that reflected a place she had visited many times before, to choose not choose to simply Amongorthe strongest pieces on display is “Love- although both thewe loss of a childhood friend and of childhood didn’t have time to stop Joey,” of neither friendship, loneliness and loss by itself. “be.” aIfstudy we had option My Father’s Secret Arbor she just wanted to show me However, visitors at a later date may have seen Michael Powers. would discover See TWANG on page 11 we as Americans a favorite place. ourselves not to be Americans.

He did not speak well to me, nor often, It is a matter of the gift and on the day we planted trees We wandered, my friend and I, Among the works of choice.

Opportunity. Freedom. into the health-food store, his words were few, as usual. featured in will, Grace if you where the man behind the counter Liberty.

Free “TWANG: reached for the Earl Grey Ten ornamental trees he planned to put Will. Here, I make it clear Contemporary before I had time to ask where no one else, save us, would see.

That I refer to Christianity.

Sculpture fromto Christianity while she had a mocha or some such thing.

I never asked him why.

Not to refer Texas,” Practices in the manner on display We sat, my friend and I, “Hand me that shovel, Son.” as seen in America, by through Sept.

26 outside in the humidity Americans. As if Christianity at the Art drinking tea and coffee With eyes, alone, he pointed to the tool, was invented by an American.

Museum of watching cars go by so I surmised he meant the spade Suffice to say that Christianity Southeast Texas, and we said, my friend and I, and not the shorter long-blade. is, was and always will be are, clockwise that we must do this more often. an eastern religion. It is simply from left, “Pull them trees over here.” a fact “E.B.” of lifebythat human life itself Andy Coughlan began in the eastern portion of this world.

Erick Swenson, Unsure, I dragged the heavy balls of root Back toBench” Opportunity. Freedom. Liberty.

“Museum by naked pollard trunks to wait Or, rather, the school of the above

by Chris Sauter, beside the holes he dug.

Three.

Better yet, back to the silence, “Two Paintings Haiku Trio i.e., the serenity on of the natural world.

In turn, he dropped each one of them in dirt This is aa Rock” state of mind; state of choice, he knew full well would work Socialite of state of mind. Stop and think bychoice Bill Davenport because of what he’d done.

She flits, floats, flies by and “Sell about this Me a while. That is it. The end.

Never slowing, never still Something No big words. No promises nor platforms “Water.”

Lonely butterfly Brown” broken. Possibly, this “thing”

by Franco as “state of mind,” “this” is, “to be” As I uncoiled the clumsy, grey-green hose, Night Sky Mondini-Ruiz. is a line so long. This says a gout pulsed round aloud inside, Mozzarella moon Thanks, Jim then gushed upon the trees.

Half circle crest shows its smile A lifelong friend of mine.

Like Alice’s cat Once again, thanks for reading my “Now, get my coffee, Boy.” Stuff — I can only share with you what Azalea I have learned in my own experience — And off to fetch his bitter drink, I went, Fragile pink flower Review and Enjoy yourself. If there a secret Fooled by warm Texas winter wondering if little trees cared photos by In life, “you” are the secret.

Blooming far too soon what their fathers think.

DIFFERENT APPROACHES U NITE ‘TEXAS TWO DOZEN’ THE ARTS MAGAZINE OF THE ART STUDIO, INC.

T

APRIL 2005

MAKING AN EXHIBITION OF THEMSELVES PAGE 7

INSIDE: LISA REINAUER: JUDGE AND JURY, HOT PIG, AND MORE

Andy Coughlan George Wentz

Beth Gallaspy

Jesse Doiron

14 • ISSUE April 2005

Volume 11, No. 7

THE ART STUDIO, INC. COMMUNITY SURVEY The Art Studio, Inc. (TASI) wants to know what you think!

Please take a moment to complete this short survey to tell us your interests, help us better meet the needs of our community, attract more members, and determine the effectiveness of our programming and services. In order to make this survey reflective of the entire community, we’ll need a high level of participation. Please feel free to photocopy or request extra copies. And please be honest or even blunt! Your identity is not required, and we need to know your true feelings in order to remain viable.

You may either submit your answers by e-mail to tracyd@artstudio.org or return a paper copy to The Art Studio, Inc., Attention: Surveys, 720 Franklin Street, Beaumont, TX 77701-4424. Please don’t hesitate to call if you have any questions, (409) 838-5393.

Thank you in advance for taking the time to assist us.

I. Background Information Although some of these questions may be personal in nature, we ask to determine what types of populations we’re serving (or not!).

1. Ethnicity (indicate all that apply): ____African American ____Asian American ____Hispanic/Latino(a) ____Native American ____Pacific Islander ____White ____Other:_________________ 2a. Gender: ____Female ____Male

2b. Age ____

3. Current income range: ____Under 11K/yr ____11K-24K/year ____24K-40K/yr ____40K-60K/yr ____60K-100K/yr ____100K+ 4. Highest level of education completed: ____High School ____Associates degree ____Bachelor’s degree ____Master’s degree ____Doctoral degree 5. Are you an artist? ____Yes ____No If yes, medium ____________________________ 6. How did you find out about TASI? ____Word of mouth ____Website ____Direct mail ____The ISSUE ____Media advertisement ____Other:_________________________ __________________________________ 7. Please indicate what types of activities you/your family have attended or participated in at TASI: ____Classes or Workshops ____Exhibitions ____Band Night ____Other: _____________________

8. Rank our activities,from 1 to 6, 1 being most beneficial to the community, 6 being least beneficial. ___Classes, Workshops ___Band Night ___Exhibitions ___The ISSUE ___Sales Gallery ___Affordable studio space __________________________________ __________________________________ 9. What activities or services would you like at TASI that we don’t have now? __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 10. Is there anything at TASI that you feel is not beneficial to our community ? If so, what? __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ II: Membership 11. Are you currently a member of TASI? ____Yes ____No 12. If Yes, what caused you to become a member? ____To enter our Membership Exhibition (TASIMJAE) ____Attended an Adult Clay Class ____To sell your artwork in our Sales Gallery ____To receive our monthly arts magzine, The ISSUE ____Because you feel TASI is beneficial to your community ____Other : ________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________

13. If not, what might motivate you to become a member? ____To enter our Membership Exhibition ____Attending a Class ____To sell your artwork in our Gallery ____To receive our monthly arts magazine, The ISSUE ____Because you feel TASI is beneficial to your community ____Other : ________________________ __________________________________ __________________________________ __________________________________ 14. In the future, which of the following TASI activities will you be most likely to participate in? ____Classes or Workshops ____Band Night ____The ISSUE ____Exhibitions ____Sales Gallery ____Studio space ____Other: __________________________________ III: Education 15. How many classes have you attended at TASI? __________________________________ 16. What classes would you like to see offered at TASI? __________________________________ __________________________________ __________________________________ __________________________________ __________________________________

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.

2.

3.

17. Please make any additional comments or suggestions about this survey below, or on an additional sheet of paper. __________________________________ __________________________________ __________________________________ __________________________________

4.

18. If you would be willing to be contacted for follow up, please provide your name and a contact e-mail address or phone number on a separate sheet of paper. This identification is optional and will not be associated with your answers on the survey.

Thank You!

3.

For information on TASI classes, call 409-838-5393 or visit us on the web at www.artstudio.org

To present public exhibitions To provide educational opportunities To provide accessible equipment for artists To provide peer feedback through association with other artists and crafts people

OBJECTIVES 1.

2.

4.

5.

6.

7.

8.

To present 10 art exhibitions per year To maintain equipment for artists in a safe working environment To provide better access to artists for the public To offer regularly scheduled adult and children’s classes To develop and maintain public activities with all sectors of the community To develop and maintain equipment to aid artists in their work To provide a display retail outlet for artists To expand programming and activities with increased facility space

Volume 11, No. 7

T-shirt/silkscreen machine that will be on-line as soon as we can get out of the office and into the facility (hint, hint).

This could bring additional income with short runs of T-shirts for our events and shows, and other projects.

I want to extend a thank you to all those who were and are able to help The Studio financially. We are not out of the woods yet, but your generosity has assisted us in getting our mailers out and kept the lights on through these difficult times.

I know there are many organizations in many needed areas who are asking for assistance, too, and the board of The Studio and I appreciate your including TASI in your generosity.

ABOVE from page 11 However, most who make mistakes never admit it and there is no accountability to correct it.

Any mouthpiece, whether liberal

A last note of good tidings. We are working with Cheryl Guidry and Angeliqueca Avery of the IEA (Inspire, Encourage, Achieve) Program which is tied to Bens’ Kids and “I have a Dream.” We will be hosting a group of children for twelve classes covering ceramics, drawing and other disciplines in art.

This is what we are all about, providing the support for front-line assistance programs, adding uplifting activities that open a child’s mind to all the possibilities of their life — to raise the quality of their lives and ours through a mutual learning experience that will have a far reaching effect on all of us beyond the activity itself.

Thanks for the chance to serve you as you serve our community.

The Günderssens

by Andy Coughlan

Simone Weil argued that individuals can overcome the alienation characteristic of modern society only through their engagement in meaningful work, but Genevieve and Heléne prefered to sit around all day and watch the workmen sweat.

cARToon

VIEW from page 3

April 2005 ISSUE • 15

or conservative, that does not obey ethics of accuracy, credibility and objectivity is not worthy of being called a journalist. Journalists can be partisan, but they should never skirt proven fact and they should always admit when a mistake has been made.

WE NOW CARRY

ART SUPPLIES IN OUR SALES GALLERY 11 a.m. to 6 p.m.

Tuesday-Saturday

Ceramics • Paintings • Jewelry Plus Art Studio merchandise including shirts and tote bags.

Whether you are an art collector or just shopping for gifts, we have something for you.

VISIT OUR SALES GALLERY TODAY AT 720 FRANKLIN IN DOWNTOWN BEAUMONT

409-838-5393 • www.artstudio.org

14 • ISSUE September 2004

720 Franklin, Beaumont, Texas 77701

THE ART STUDIO, INC. CLASS SCHEDULE This fall we are offering another class, but these sessions will be 1 mask-making class, and Cindy eclectic mix of classes at The Art hour shorter. So, it will cost a little Picou will show you how to make less. wire-wrapped jewelry.

Studio, Inc. There are a few changes to a George Wentz will be teaching Make sure you pay attention to some of the familiar classes. Salsa another acrylic painting class. Grace the ISSUE, your e-mail, and fliers at INSIDE night is now on Wednesdays. Life Megnet is coming back in October the Studio for updates as we add • ‘’HOT PIG’ IRON POUR drawing has not been attracting the to do bookbinding. No photography even more classes to the list.

• THOUGHTCRIME: FROM session,AREA but lookPOETS for it to return numbers it used to, so weMUSINGS will now this hold it every other week. in the future.

Ren Brumfield, • AROUND & ABOUT: INFORMATION ABOUT ART HAPPENINGS Greg Busceme is going to offer We are offering several new TASI education coordinator • SEX WORKERS ART SHOW a daytime clay class. It will meet the classes. Andy Coughlan fuses the• BAND NIGHT same number of times as the night ater and visual art in a creative new

Volume 11, No. 1

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

Mission Statement

Founded in 1983, The Art Studio, Inc. is ADULT BEGINNING DRAWING KIDS CLAY MASK MAKING devoted to: providing opportunities for interacTuesdays, 6:30-8:30 p.m.

Saturdays, 10:30 a.m.-noon Thursdays, 6-8 p.m. tion between the public and the Southeast Texas Aug. 31-Oct. 12 Sept. 18-Oct. 23 Sept. 16-Oct. 21 community of artists; furnishing affordable stu$115 ($95 for members) $75 $100 ($80 for members) dio space to originating artists of every medium; Explore the rich tradition of masks in the- You CAN draw! Learn to draw realistically Beginning clay class introduces a variety of promoting cultural growth and diversity of all art in this fun and easy class. handbuilding techniques, preparation and ater. Create and decorate large-form masks forms in Southeast Texas; and providing art eduapplication of glazes, and the raku firing for performance or decoration using a vari- Instructed by Karen deMedrano. cational opportunities to everyone, of every age, process. ety of techniques from painting to collage. regardless of income level, race, national origin, Instructed by Katheryn Rogers.

Imagination is the only limit. This six-week BOOKBINDING sex or religion.

When you support The Art Studio with your membership, you receive ISSUE, course will also include tips on using your Fridays, 6-8 p.m.

WIRE WRAPPED JEWELRY Southeast and Southwest s alternative press as well as class schedules, invitations to opening receptions and various Studio functions.

8-Nov. 12 masks in performance andTexas’ the history of Oct.Louisiana’ $110 ($90 for members) Wednesdays, 5:30-7:30 p.m. masks around the world.

The individuals listed below have recently contributed to the life force of this art organization.

PURPOSE Learn terms, tools and basic techniques in Sept. 8, Oct. 13, Nov. 10, Dec. 8 Instructed by Andy Coughlan. this introductory class. $45 per session The purpose of The Art Studio, Inc. is to (1) ACRYLIC PAINTING Instructed by Grace Megnet.

Introduction to creating unique jewelry Volunteers provide educational opportunities between the using wire and beads. You will learn basic 1:30-3 We Saturdays, couldn’t do it p.m.

Thanks toADULT all these new and renewing members. general public and the community of artists and CLAY (MORNINGS) techniques and complete a bracelet or Sept. 11-Oct.16 without you!

Member support is the backbone of our operations!

(2) to offer sustained support for the artist by Tuesdays and Thursdays, 10 a.m.–noon anklet. Students will need to purchase DISTRIBUTION POINTS $95 ($75 for members) operating a non-profit cooperative to provide Twylia Altom, some materials separately, list available at Learn to express your own ideas and feel- Sept. 14-Oct. 14 INDIVIDUAL DOWNTOWN studio space and exhibition space to working Royings Bares, THE ART STUDIO, INC. 720 FRANKLIN $100 ($80 for members) The Art Studio. with painter and art educatorJason George Palmer ART MUSEUM OF SOUTHEAST TEXAS 500 MAIN artists and crafts people, an area Brooke BABE DIDRIKSON ZAHARIAS MUSEUMand to provide 1750 IH-10E course is designed for the complete Instructed by Cindi Picou.

MequelitaThis Smith Wentz.Boyett, You will explore brush techniques, BEAUMONT CONVENTION & VISITORS BUREAU 801 MAIN for group work sessions for those artists and Renacrylic Brumfield, (IN CITY HALL) paint mixing, and layering paint. novice at clay work. Students learn the BEAUMONT ART LEAGUE (FAIRGROUNDS) 2675 GULF ST crafts people to jointly offer their labor, ideas, Greg Busceme, HABITAT FOR HUMANITY RE-STORE 610 TRINITY@ FANNIN FRIEND/BUSINESS Supplies to be purchased separately.

List basics of clay manipulation, glazing and LIFE DRAWING GROUP SETAC (INand JULIE ROGERS THEATER) STREET enthusiasm to each other. PEARL B.J.available Bourg, from the Studio.

Jason & Emily Every other Monday, 7-9:30 p.m. @ FORSYTHE firing. Bowden SOUTH END/LAMAR UNIVERSITY Bryan Castino, Sept. 13, 27, Oct. 11, 25, Instructed by Greg Busceme.

CARLITO’S RESTAURANT 890 AMARILLO @ COLLEGE DOS AMIGAS GOALS 1590 FRANKLIN Melissa Chaisson, SQUARE FOOT Nov. 8, 22, Dec. 6, 20 BASKET CLASS KAMPUS KORNER RESTAURANT 4637 CALLAGHAN KOCH’S FLOWERS & GIFTS 2270 AVENUE C Charmaine Costner, Jason Bowden ADULT CLAY (EVENINGS) $5 per session Saturdays, 9 a.m.-1 p.m.

LU ART DEPARTMENT 1.

To present public exhibitions Andy Coughlan, Uninstructed group creating studies of the LU SETZER STUDENT CENTER Tuesdays and Thursdays, 6 p.m.-9 p.m.

Sept.

18, Oct. 9, Nov. 13, Dec. 4 Gladys Carlin TOWN 2. To provideOLD educational opportunities Mary S. Pentecost Renee Coughlan, 215 N 11TH @ LIBERTY human form, drawing from a different BANDO’S Sept. 14-Oct. 14 $32 to $50 BRAD’S PLACE 2306 HAZEL @ 7TH 3.

To provide accessible equipment Robert C. Rogan Yolanda Cuniff, CARLO’S RESTAURANT 2570 CALDER model each session.

Step-by-step instruction in creating a dif- $150 ($130 for members) GREEN BEANERY 2121 MCFADDIN for artists Jesse Doiron, HAIRY BUSINESS SALON 2121 MCFADDIN ferent functional and decorative basket This course is designed for the complete JASON’S DELI 112 GATEWAY SHOP CNTR 4. & To provide peer feedback through associaHeather Eager, THOUGHTCRIME: THE READING KATHARINE CO. 1495 CALDER novice at clay work.

Students learn the each session. Instructed by Emma Hughes.

PIG STAND 1595people CALDER tion with other artists and crafts Elizabeth PIG STAND 3695 COLLEGE For moreFrench, information and to register, call basics of clay manipulation, glazing and Third Thursday of the month RAO’S BAKERY 2596 CALDER John Fulbright, Free firing.

SIGN INTERNATIONAL EXPRESS 2835 LAUREL Emma at 337-527-5328.

OBJECTIVES 2425 S 11TH Beth Gallaspy, Poetry night: read, hear, think, and corrupt SUNRISE Instructed by Greg Busceme.

SWICEGOOD MUSIC CO. 3685 COLLEGE CENTRAL/WEST END Marcus Hammons, original poems, rants, and stories.

FOUNDRY WORKSHOP BASIC FOODS 229 DOWLEN 8th Annual 1.

To present 10 art exhibitions per year Monica Hay, BIG D’S 2050 S MAJOR DRIVE Wednesdays, 6-8 p.m./Saturdays, 12-4 p.m. SALSA WITH AMBER AND GORDON Led by Guiseppe Barranco.

EARLY BIRD CAFE 5955 PHELAN 2. To maintain equipment for artists in a Trishell Joffrion, GUITAR & BANJO STUDIO 4381 CALDER Wednesdays, 7:30-9 p.m.

Dates to be announced KRISTY’S KORNER CALDER safe working environment 4285 Maribeth Jones, LOGON CAFE 3805 CALDER Sept. 8-Oct. 13 $100 (80 for members) THE MASSAGE INSTITUTE 2855 EASTEX FRWY, 3. To provide better access to artists SUITE for the1 D.J.InKava, (@ DELAWARE) this two-day workshop, you will design $10 per session ($5 LU students) NOVROZSKY’S public 4230 CALDER Stephan Malick, THE OPEN BOOK 4245 CALDER and cast your original artwork in aluminum. Salsa, Merengue, Cha-Cha, Cumbia, 4.

To offer regularly scheduled adult and RED B4 BOOKS 3875 CALDER @ 23RD Marianna Measells, REED’S LAUNDRY 6025A PHELAN @ PEYTON Ages 15 and older. Limited to six partici- Rhumba. children’s classes THE ROYAL STOP MAJOR DRIVE @ GLADYS Sheila Molandes, pants. Instructed by Rhonda McNally.

PARKDALE 5.NOBLE To develop and maintain public BARNES & 4153activities DOWLEN Elizabeth Pearson, RAO’S BAKERY 4440 DOWLEN with all sectors of the community Tim Postlewait, MID/SOUTH COUNTY LAMAR STATE COLLEGE, PORT ARTHUR April 7, 2005 6. To develop and maintain equipment to aid Clint Ray, MUSEUM OF THE GULF COAST 700 PROCTER PATSY’S HEMP CREATIONS 1221 NEDERLAND AVE at The artists in their work Katheryn Rogers, JASPER Beaumont Club GALLERY7.

SQUARE LAMAR To provide a display retail outlet126for artists Jackie Stubblefield, For more information on TASI classes, call 409-838-5393 or visit us on the web at www.artstudio.org ORANGE LAMAR STATE COLLEGE, ORANGE 8.

To expand programming and activities with Gena Wilkinson, increased facility space Tom Wright.

Memberships

Time is running out to make your reservations for the

Benefit for Art

REGISTER EARLY AS CLASS SIZES ARE LIMITED Call 409-838-5393 for details

ISSUE