Issue Magazine - June 2014

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

JUNE 2014

I T ’ S S U MME RT I ME

INSIDE: ALT SHOW, PRIDE, GEEKS, SOTO, AND MORE

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

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WE WANT YOU FOR BAND NITE Hear original music by local musicians at

For upcoming gigs, visit The Studio’s facebook page

$5

admission

All ages welcome • 21 and up BYOB and have your ID.

A View From The Top Greg Busceme, TASI Director

SPRING IS BEAUTIFUL THIS year, cool but not too cool, warm sun but not summer, yet.

This is the time of year that things get done. Repairs on the building, especially the roof corner that has so much water coming in the building, notably in the ceramic class space but elsewhere as well. Time for the ad hoc roof committee to come to the rescue — I’ll be calling soon.

Fans need repairing from the previous long summer, with new belts and bearings and some replacement.

Air movement is of primary importance in The Studio in the summer, as we host the summer ARTSkool programs, July 14-25, as well as an increase in adult participation in classes this year. We want to keep everyone as comfortable as possible during the hot afternoons.

Look for new lights in the front of The Studio sometime this summer.

Added eye appeal and added safety are two good reasons for the change.

ISSUE Vol. 20, No. 9 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers. . . . . . . . . . . . Elena Ivanova, . . . . . . . . Jacqueline Hays, Lane Fortenberry Contributing Photographer . . . . . . . JoLee Tanner, . . . . . . . . . . . . . . . . . . . . . . Jacqueline Hays Distribution . . . . . . . . . . . . . . . . . . Daniel Dodson The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Chair . . . . . . . . . . . . . . . . . . . . . . . . John Roberts Treasurer/Secretary . . . . . . . . . . . . . Beth Gallaspy Members at Large: . . . . . . . . . . . Sheila Busceme, . . . . . . . . . . . . . . . . . . . . . . Elizabeth French, . . . . . . . . . . Andy Ledesma, Stephan Malick, . . . . . . . . . . . . . . . . . . . . . . . . Heather Butler

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 Pride Festival. . . . . . . . . . . . . . . . . . . . . . . . Page 4 Alternative Show . . . . . . . . . . . . . . . . . . . . . Page 7 Geek’s Summer Guide . . . . . . . . . . . . . . . . . Page 8 Soto at MFAH . . . . . . . . . . . . . . . . . . . . . . Page 10 “Butcher Holler” Collaboration . . . . . . . . . Page 12 Passion for Music . . . . . . . . . . . . . . . . . . . Page 13 Summer ARTSkool . . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 15 Cover photo of the Torchy Memorial Maypole fundraising picnic at Tyrrell Park Botanical Gardens, May 18, by Jacqueline Hays

We are committed to improving The Studio’s appearance as we improve the operation of this institute of nonacademic studies.

We are working on other improvements as well, looking to expand a covered deck out the back of the clay studio for additional storage and work space. It’s getting a little cozy in the clay space and movement is impeded, so expansion is the only answer. Those interested in helping can let us know and we’ll build a crew for each job. It may take a while, but these dreams do come true.

Our heartfelt sympathies go out to Donna Rae and Axel Wisor who lost their husband and father Jeff on May 12. Jeff was a masterful set director and a magician at creating sets for plays. Soft spoken and reserved, he cared deeply for his students who appreciated him and was loved by all who met him including us at The Art Studio. He will be sorely missed.

UPCOMING EXHIBITIONS AT THE ART STUDIO JUNE

SEPTEMBER

The Alternative Show Opening . . . . . . . . . . . . . . . . . . . . . . . . . . June 7

The Tenants Show Opening . . . . . . . . . . . . . . . . . . . . . . September 6

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 June 2014

Volume 20, No. 9

Beaumont Proud

SETX’S FIRST-EVER PRIDE WALK, STREET FAIR SET FOR JUNE 21 THE STREETS OF BEAUMONT will be awash with glitter and rainbows in June as Southeast Texas’ first Pride festival takes over downtown.

“It is going to be the party of the year,” Shawn Hare, Pride committee co-chair, said.

“Everyone in the community, from elected officials and city police officers to local vendors have all been overwhelmingly supportive of Pride happening here.”

Orleans Street between Fannin and Forsythe Streets will be barricaded off and will be overflowing with street performers, vendors and food trucks from noon until 8 p.m., June 21. Admission to all activities is free.

“Pride is designed to be an all-inclusive festival, celebrating the entire diverse Southeast Texas community,” Hare said. “Of course, Pride traditionally celebrates gay culture and we are upholding that tradition. However, we want this festival to appeal to every-

Story package by Jacqueline Hays

“

…come out, even if you aren’t out.

one because, after all, we are all one community.”

The event begins with a Pride walk from the corner of MLK and Broadway to the 600 block of Orleans beginning at 11 a.m.

“The best food trucks in town will be there, along with buskers, street dancers, face painters, tarot card readers, a DJ and many nonprofit booths,” Hare said. “Judge Larry Thorne has graciously agreed to cut the ribbon opening the street fair, and there will be many more surprises the day of and leading up to the event.”

While the street fair will be operational during

”

the day, many locations downtown will also feature entertainment during daytime hours and into the night. Participating venues Orleans Pub and Patio, Orleans Pavilion, Suga’s Deep South Cuisine and Jazz Bar, The Gig, and The Art Studio, Inc. will have entertainment or drink and food specials.

There will also be an Art Walk set up along the sidewalk.

“We have something for everyone’s taste,” Hare said. “Films, a play, face painting, art, live music, Drag Queens, fire dancers — there will be something to enjoy for everyone who attends.”

Pride is a great opportunity for Southeast Texas, Hare said.

“Many people are traveling from out of town to take part, and that means new revenue for local businesses,” he said. “Gays like to spend money, and Southeast Texas has an opportunity to reap the benefits — and not just for the many business, but for the nonprofits as well.”

There will be a variety of items for sale by vendors, including paintings, jewelry, photographs and crafts, so Hare said he hopes people will bring plenty of cash.

Many charitable booths will be set up along Orleans.

“We plan on making the event as fun as possible, but we also want to promote charitable organizations like the Human Rights Campaign and the new Southeast Texas Resource Center,” he said.

The Resource Center is an organization aimed at strengthening the community’s health, wellness and esteem through programs, resources, outreach and advocacy and to provide a safe space for the LGBTQIA community in Southeast Texas outside of Houston. The festival will promote and raise funds for the project, Hare said.

“The goal is to have an actual physical building to offer shelter to struggling LBGTQIA people, along with counseling and other assistance,” he said.

The Resource Center will be administering a survey to assess the needs of the LGBTQIA community in Southeast Texas during the festivities. Triangle AIDS Network and Legacy Community Resource Center will also offer private HIV testing at a venue downtown.

Renee Malick, TAN public relations and commu-

Volume 20, No. 9

nity liaison, said Pride is one way for the community to celebrate diversity.

“It is time for Beaumont to be a healthy and progressive place to live for all members of our diverse community,” she said.

Hare said the Facebook buzz, emails and phone calls to the committee confirm many out-of-towners and Southeast Texans from all walks of life are planning to attend.

“Pride is a celebration of diversity, and that is what Southeast Texas has plenty of,” he said. “So come out, even if you aren’t out. I am not advocating for anyone to stay in the closet, but the street will be full of gay and straight alike, so even if you can’t walk, come and support the cause.”

Although Hare contends that Pride, with more than a dozen bands and a variety of entertainers, will be “the social event of the summer,” he said that it isn’t about who is there — it is about showing up to support the community.

“It is about support and philanthropy,” he said. “Gays have been doing your taxes, flipping your burgers, doing your hair and calming your daughters’ wedding day nerves for years. We show up and we support Southeast Texas, and Pride is a great opportunity for Southeast

June 2014 ISSUE • 5

Texas to turn out to support the LGBT community.”

Committee member Marcus Powers said he is excited to be part of Beaumont’s first-ever Gay Pride event.

“It’s been a long time coming, and I feel the community is finally ready,” he said. “We are prominent and active members of Southeast Texas, and it is time to finally show we are proud of who we are.”

Powers said he never thought he would see the day when he could stay at home to go to a Pride event instead of traveling to bigger cities — or to see the concept flourish in his own Southeast Texas community.

“My former 12-year-old self, terrified and in the closet, would be so happy to see this happening,” he said.

Hare said that many bands and venues signed up immediately when word of a Pride celebration got out.

“Andrew Fison, the Buscemes, TASI, the owner of the Pavilion, Richard Gilbert, and all the bands immediately donated their time for the actual day or helped out in some way from the get go,” he said.

See PRIDE on page 6

Pride volunteers gather at Orleans Pub and Patio on May 18, to paint posters (top), to be given out to those who want to walk at Beaumont’s first Pride Festival, June 21. Pride volunteers spent the afternoon making and bagging confettii.

6 • ISSUE June 2014

PRIDE from page 5 Ashlynn Ivy, singer for Mad Maude and the Hatters, said she is happy to donate her time and effort to perform for Pride.

“I’ve always believed in empathy, love and equality,” she said. “Events like these show the world that Beaumont is full of people that have open minds, open arms and the biggest of hearts. This is a worthy cause to come home for, and I’m proud to be part of it.”

Besides businesses and a variety of artists, Hare said individuals have stepped up to lend support.

“We recently had a very successful volunteer party,” he said. “Nearly forty people showed up to make confetti and posters, and many more than that donated supplies.”

Powers said with the committee, volunteers and

Volume 20, No. 9

the great support and leadership of committee cochairs Jennifer Daniel and Hare, Pride is destined for success.

“I have heard nothing but support from the community, and I truly think it will be a greatly successful event for the whole family,” he said.

The festival is designed to be family friendly.

Eight Beaumont police officers will provide security for the walk and during the day at the venues.

Hare said that the walk is for everyone, not just LGBTQIA community.

“We want Beaumont’s Pride to be a reflection of Southeast Texas, for Southeast Texas, and that includes all the family, friends and children of the

community,” Hare said. “Everyone knows someone who is gay. We encourage Southeast Texans to come and walk to support those people in their lives — even if it is their mail man.”

The next Pride volunteer party is scheduled for June 8 at 2 p.m. at Orleans Pub and Patio, located 650 Orleans.

Offical Pride Pride T-shirts and tanktops are available for purchase now online at Facebook.com/beaumontpride. The online store must be accessed using a PC or Mac. For more information, to volunteer or to donate, visit the Pride Event Facebook page, or email bmt.lgbt@gmail.com.

Pride volunteers paint personal slogans using donated materials at Orleans Pub and Patio on May 18. The signs will be carried during the Pride walk, which begins at 11 a.m., June 21, at the corner of Broadway and MLK. Participants will walk to the 600 block of Orleans and arrive at a street fair in the blocked off street. The street fair is set to begin at noon. Check in for the walk is at 10:30 a.m. at 1500 Broadway, in the parking lot of the Mildred Building.

Stonewall Inn, history of Pride, rainbows, triangles PRIDE CELEBRATIONS ORIGINATED IN June 1970 in New York when the gay community marched along Christopher Street to Central Park as a commemorative act of the Stonewall Riots of 1969.

The Stonewall Inn is a popular gay bar in Manhattan that suffered a rash of violent riots lasting six nights, beginning June 28, 1969, after local police raided the establishment in the hopes of quietly shutting the bar down.

These riots are known as the catalyst of the gay movement in the U.S. The successful demonstration of 1970 prompted other major cities to show their “pride” with parades and walks of their own. June was designated Pride Month in the 1980s.

Initially, the last Sunday in June was designated as “Gay Day,” but cities began to pick their own day to celebrate the LGBT community. Observance of Pride usually stays within the confines of

the month of June.

While the first march was a political demonstration promoting gay pride and honoring causalities and demonstrators of the riots, the observance has expanded into parades and festivals of celebration and now includes the entire queer community.

As well as June being Pride month, October was designated official LGBT History month in 1995.

As well as designated days and months of observance, the community utilizes many different symbols to show LGBTQIA Pride. Some common ones used are the rainbow flag, pink or black triangles and the Greek Lambda symbol.

The rainbow flag was first designed for the community by artist Gilbert Barker in San Francisco in 1978, with each color having a different meaning. The Pride community used the flag that year when the city’s first openly gay politician,

Harvey Milk was assassinated. The flag usually symbolizes unity and pride.

The lambda was first utilized in 1970 by the Gay Activist Alliance of New York City. There are rumors for the meaning behind using it, one of which is that it represents unity.

The pink triangle was used by Nazis to shame and identify gay males in concentration camps. It has since been re-appropriated by the LGBT community.

Nazis used the black triangle to label lesbians, or women who they deemed displayed anti-social or anti-feminine behavior. The symbol has since been re-appropriated.

For more information about the Stonewall Riots, read David Carter’s 2005 book “Stonewall: The Riots that Sparked the Gay Revolution,” or watch the PBS documentary, “Stonewall Uprising.”

Volume 20, No. 9

June 2014 ISSUE • 7

Alternative Show is egalitarian exhibit BEAUMONT — Artists looking for a place to show their work, and art patrons looking for something different can come together under one roof in June as The Art Studio, Inc. hosts its annual Alternative Show.

The first-come, first-served art exhibition will be on display June 7-28, beginning with a reception, 7-10 p.m. at TASI’s gallery, 720 Franklin in downtown Beaumont.

“This is a great opportunity for artists of all ages to exhibit their work in a relaxed setting,” Andy Coughlan, TASI tenant, said. “There are no judges and everyone is accepted, so it is a great chance to have your work shown in a gallery.

Entry is free and submissions will be accepted 25 p.m., May 28-30. There is a limit of five pieces per artist and pieces must be delivered in person. All works must be show ready and wall pieces must be wired (no sawtooths).

“The Alternative Show has traditionally been a show where anything goes,” Coughlan said. “We have had work that represents all ages and all levels of experience. Many local artists have used this opportunity to first show their work.

“The Studio has always believed that it is really important for artists to show their work and get the feedback that is so important for creative growth.

Many really talented artists never take that important step to present their work to the public. This show is a great place to take that first step.”

The Alternative Show is the traditional season-

This year’s Alternative Show features two invites designed by Andy Coughlan, based on Russian Constructivist posters. They were mailed out at random. To complete the set, attend the opening reception June 7.

ending exhibition, which begins each September with the Tenants Show.

“It’s just a celebration of art in all its forms, and we encourage everyone to come out and have a fun party in a relaxed atmosphere,” Coughlan said. “This

show is especially for anyone who has always thought that art openings are serious, stodgy affairs — that’s just not the Studio way.”

For more information, call 409-838-5393, or visit www.artstudio.org.

8 • ISSUE June 2014

Volume 20, No. 9

Summertime, & The A SEASONAL GUIDE TO KEEP THE NERDS OCCUPIED WELL IT’S SUMMER, NOT that you’d notice from the weather, of course. We’re two months into baseball season and I wore a hoodie this week. Nevertheless, summer is upon us and that means we’ll all be looking for entertainment. If air conditioning is your bag the first part of this list is for you.

However, if iced tea and a beautiful rest on a patio are more your bag I’m sure you’ll be quite pleased with the music and book recommendations. If none of these are your bag what in God’s name are you doing here?

Commentary

by Jeff Dixon (Jeff Dixon loves movies and comic books in a way that often terrifies him. You can follow his insane ramblings on Twitter @RoiVampire.)

EDGE OF TOMORROW — I’ll be the first to admit that Tom Cruise is not what I would refer to as a sane individual. But this man can make me care about a useless script faster than almost anyone. I’m not proud of that fact, but it is true, and we all just have to deal with it now. Like grandpa’s drinking or the way your sister sighs every time you mention the president. Wow, that might be a record for getting sidetracked. Ahem — from director Doug Liman comes what seems to be “Groundhog Day” meets “Starship Troopers” and if that sounds like a bucket of awesome then you are set to start your summer off right. Cruise plays a soldier strapped into a battle suit who is reliving the same battle over and over again, each time dying no matter what he does. Liman hasn’t really wowed me since the original “Bourne Identity,” but this may well turn the tide.

TRUST ME — Something else you should know about me, I have a man crush on Clark Gregg. Admittedly it’s 80 percent due to his performance as Agent Coulson in the Marvel Studios movies but he’s always been an actor I loved seeing perform. This is the second film Gregg’s directed and the third he’s written. Oh, did you know the movie “What Lies Beneath” was written by Gregg? That’s for you. Take it home and stick it to your fridge and think of me. “Trust Me” is quite a departure from his last film “Choke.” Think “Little Miss Sunshine” meets the world of child actors. It looks adorable and earnest in all the ways that are good and true and I can’t wait to cry like a baby during it.

22 JUMP STREET — Can we just talk for a moment about how funny Channing Tatum has become? Tatum has the comedic timing of a world weary character actor trapped in the body of a leading man. He was the heart and soul of “21 Jump Street” and if this film is half as good as the trailers, we’ll all be in for a treat. This Jonah Hill kid is great as well. I really think he’s going places.

SNOWPIERCER — Hey, Captain America and Tilda Swinton made a movie together! Still need convincing? How about this? It's about the last surviving humans on a frozen Earth. They reside on a super train(how cool is that, by the way?) where the rich and the poor are constantly at odds. This looks like an amazing class warfare piece set amidst the backdrop of an apocalypse. Also, are you really not going to see anything Chris Evans does from now on? Dude is the Sentinel of Liberty. What are you, some kind of commie?

Volume 20, No. 9

June 2014 ISSUE • 9

geeking is easy…

GUARDIANS OF THE GALAXY — This is a Marvel Comics adaptation I have almost no knowledge of. Let that sink in for a second. Marvel is making a movie about really obscure characters. Characters I only know in passing from their guest appearances in issues of Avengers and Fantastic Four. And guess what? It looks amazing. I haven’t seen a more exciting sci-fi trailer since the reboot of Star Trek. Mark my words, between this film and next year’s “Jurassic World” (google it), Chris Pratt is our next big leading man.

MANSLAUGHTER: ICE-T AND BODY COUNT — Did you guys know Ice-T had a thrash metal band? Well he does and they have a new album coming out. The group debuted a few new tracks at South by Southwest this year and blew the doors off the venue, which explains why Ice-T was trending on Twitter even though “Law and Order SVU” wasn’t on. Due out in June this might be the start of a return to music for the Ice man.

ULTRAVIOLENCE: LANA DEL RAY — The third studio album from Del Ray might be my most anticipated album of the summer.

Something about her voice makes her music infinitely listenable. Once this album comes out I doubt anything else will grace my earbuds for weeks or even months.

LUCY — For the past few years it seemed like Luc Beeson was only interested in producing sequels to “The Transporter” and directing an absolutely horrendous trilogy of movies about Arthur and the Invisibles. But now the gods have smiled upon us, because there are no bald englishmen doing karate nor weird little elves to be found in this film. Scarlett Johansson stars as the title character who has been implanted with a chemical that allows her to access more of her brain functions, essentially turning her into John Travolta from “Phenomenon” but with a gun.

Morgan Freeman steps outside his comfort zone to play a smart man who wears bow ties and has an amazing voice.

ME. I AM MARIAH... THE ELUSIVE CHANTEUSE: MARIAH CAREY — Despite “Beautiful” being quite possibly the worst Mariah Carey song I’ve ever heard, I’m still excited about this album because I am incapable of learning my lesson. The knowledge that Nas makes an appearance and produces a few tracks is the only thing keeping hope alive for me.

BLACK WIDOW: THE FINELY WOVEN THREAD — Speaking of Scarlet Johansson, if you loved “Captain America: The Winter Soldier,” more importantly if you love “Black Widow,” you’re going to want to pick up this volume of her new series

by Nathan Edmonson and Phil Noto. Black Widow finds herself caught up in a web of intrigue and murder that spans the globe. Noto gives Natasha a spark that few artists have been able to capture and his pencils set this series apart from any other mainstream comic book out there. He is truly one of the modern masters.

SATELLITE SAM — Howard Chaykin has been one of my favorite comic creators for as long as I can remember. Here the legendary Chaykin teams with Matt Fraction to bring you a tale of murder, sex and children’s programming. Set in the golden age of television, “Satellite Sam” is the most popular kids show on the air. But what do you do when the leading man is murdered? Who can you trust in a world built on lies and deceit? Find out in the first volume of this amazing series from Image Comics.

And so I leave you with a multitude of things to keep your eyes and ears busy. If you need me I'll be on twitter lamenting the state of the Astros or raving about the new Amazing SpiderMan series. Take care gentle readers and be sure to keep yourself cool once this blistering summer finally sets it's sights on us poor souls.

Mahalo!

10 • ISSUE June 2014

Volume 20, No. 9

Stepping into the Fourth Dimension

Soto’s ‘The Houston Penetrable’ at MFAH “Movement is a spark of life that makes art human and truly realistic.

An artwork endowed with never-repetitive kinetic rhythm is one of the most free; a creation, which escaping from all systems, lives on beauty alone.”

— Pontus Hulten, co-founder and first director of the Centre Georges Pompidou in Paris.

Story by Elena Ivanova

OH, THE FREE SPIRIT of the 1960s! The decade of thinkers and activists who questioned traditional modes of authority and embraced creativity and experimentation. It was the time of short skirts, long hair and free love.... It also was the decade of the first open engagement in “difficult” social isues, such as race relations, human sexuality, women’s rights and environmentalism.

Art, like people, was driven by the desire to break norms, cross boundaries, challenge the seemingly “immutable” truths and reach for new horizons.

All these thoughts were running through my mind as I sailed through the shimmering sea of plastic strands suspended from the ceiling at the Museum of Fine Arts, Houston. “The Houston Penetrable,” designed by famous Venezuelan artist Jesús Rafael Soto, occupies 2,600 square feet of the Mies van der Rohe’s Cullinan Hall in the Caroline Wiess Law Building.

One can easily get lost among the wavering mass of 24,000 PVC tubes which are hanging 28 feet from ceiling to floor — the height of two stories. It feels akin to walking in a dense fog. Figures appear vague, one can no longer trust the sense of distance, sounds become muffled while one’s tactile sense becomes more acute as one constantly anticipatea, yet get startled by, the light touch of the moving tubes.

I wondered how people reacted to Soto’s Penetrables when he started creating these immersive environments. The first one was exhibited at the Galerie Denise René in Paris in May of 1967. Critic

Jean Clay hailed the artist’s work as revolutionary, however, his praise was worded in doomsday metaphors. He referred to the installation as “arachnidan traps where the eye panics and gets lost...

Soto’s infernal machine threatens the whole space we move around in — the space where we once felt so confident in. Fiction encroaches on the real; they become indiscernible. We topple into the dizzy void.”1 Have we changed so much since 1967 that, instead of panicking, we enjoy walking into the environment that upsets our daily perceptions? I observed people of all ages getting happily lost among the wavering transparent tubes. Personally, I found the experience of walking through the Penetrable relaxing, pleasantly suspenseful, and even therapeutic.

Then I tried to put myself in the shoes of a regular museum-goer of the 1960s. Wouldn’t I have been apprehensive when, instead of a conventional display of paintings and sculptures, I was confronted with an unusual space with which I was expected to interact?

Jean Clay, in the above-quoted Soto exhibition catalog, underscored this cardinal change in the

Volume 20 No. 9 relationship between art and the viewer: “The work is now no longer beyond the real, it is no longer a window on the world of imagination, a porthole through which the eye, comfortably ensconced in familiar surroundings, can savor for a moment the thrills once experienced by the artist.

Quite the contrary: it hits into the real, it encroaches on our feeling of space, it questions our idiosyncrasy.”

It is not easy to abandon the comfort of the old and embrace the new. Fifty years later, some people are still self-conscious about participatory art and immersive environments. However, once the first step is made, even the most straight-laced among us cannot resist the feeling of exhiliaration and start freely interacting with the artist’s work. Just watch MFAH visitors as they wander through the Houston Penetrable.

Since 1967, Soto’s Penetrables have been sited around the world. The most notable from this signature series have been displayed in the Museo Soto in Ciudad Bolivar, Venezuela (1973), in the rotunda of the Guggenheim Museum (1974), in MALBA-Fundación Constantini in Buenos Aires (2003) and in the Los Angeles County Museum of Art (2011.)

However, the Houston Penetrable is unique. It is the only one that the artist designed as permanent and one of the few intended for indoor display. Unprecedented in its size and complexity, it took almost ten years to produce. The project was brought to fruition by collaborative efforts of MFAH, Atelier Soto, Paris, arhitect Paolo Carrozzino and producer Walter Pellevoisin, who oversaw a team of artisans and ironworkers in Vielle-Tursan, France, and in Houston.

The Houston Penetrable also has a special visual feature. While other Penetrables are monochromatic, this one has a huge yellow ellipse which seems to be floating at its center. This effect is created by the yellow-painted tubes surrounded by clear tubes. Each of the 24,000 tubes was assigned a specific color code in order to achieve a gradual transition from clear to yellow and convey the illusion of an object suspended in the middle of the installation.

A few words must be said about the artist. A landmark figure in Latin American art, Jesús Rafael Soto (1923-2005) is well known in Europe, but not in the United States. Native of Venezuela, he studied art at the Escuela de Belles Artes in Caracas before traveling to France in 1950. He settled in Paris where he lived till his death in 2005.

Soto is recognized as one of the founders of Kinetic art, the trend which explored ways to visualize movement.

Together with a group of international artists, which included Yakkov Agam, Alexander Calder, Yves Klein, Jean Tinguely, Victor Vasarely and fellow Venezuelans Alejandro Otero and Carlos Cruz-Diez, Soto participated in the seminal exhibition Le Mouvement at Galerie Denise René in 1955. “What we were in search of was the fourth dimension,” said

June 2014 ISSUE • 11

Soto in an interview published in 2004.

A small display of Soto’s early works in the Caroline Wiess Law Building provides insight into the artist’s evolution. In the 1950s, the artist used Plexiglass to superimpose motifs which produced a dynamic effect and created optical illusions. Later, Soto brought his exploration of kinetic vibrations into the three-dimensional space. In the series called Vibraciones (Vibrations), 1957-61, Agujas (Needles), 1961-62, and Escrituras (Writings), 1963, hanging elements, such as squares, rods and thin metal wires, appeared and disappeared, thus conveying “an accelerated image of the fleetingness of the world,” as Jean Clay put it.

Eventually, with the development of the Penetrable series, Soto’s works became architectural in scale.

It seems fit to conclude the article with the artist’s own description of the Penetrable: “The Penetrable makes concrete an idea that has nourished my thoughts, on a state of total plenitude of a universe filled with relationships. It is the revelation of sensible space, eternally filled by the purest structural values, such as energy, time and movement. The experience of the viewer who takes part by entering a Penetrable, thus entering a different space-time continuum, will be clearer for him when he is able to move freely in an environment where gravity does not exist.”2 “The Houston Penetrable” will be on view at MFAH through September 1.

1

Jean Clay. “Soto, de l’art optique à l’art cinétique.”

In: Soto, exhibition catalogue, Galerie Denise René, Paris, 1967. http://www.jr-soto.com 2 Soto, mentioned by Marcel Joray. In: Soto, Éditions du Griffon, Neuchâtel, 1984, p. 174. http://www.jrsoto.com

Inside, left and above, Jesús Rafael Soto’s “Houston Penetrable,” top, lacquered aluminum structure, PVC tubes and water-based silkscreen ink, the Museum of Fine Arts, Houston, Museum purchase with funds provided by the Caroline Wiess Law Accessions Endowment Fund. © Estate of Jesús Rafael Soto. Used by permission. Photo: Carrithers Studio.

12 • ISSUE June 2014

Volume 20, No. 9

‘Butcher Holler Here We Come’ COLLABORATION BRINGS NEW PLAY TO BEAUMONT BEAUMONT — A new play that has drawn rave reviews at theater festivals across the country will open for a limited engagement in Beaumont in June through a unique collaboration between a Brooklyn-based theater group, a Beaumont independent theater group and Beaumont Community Players.

“Butcher Holler Here We Come” tells the harrowing story of five coal miners after a cave collapse in 1973 West Virginia as they struggle with dwindling oxygen, complicated relationships with each other and their own troubled psyches. The production immerses the audience in the miners’ world shifting from moments of complete darkness to the glowing lights of their headlamps.

Written by Casey Wimpee and produced

by Aztec Economy, both based in Brooklyn, the 70-minute play debuted at the Cincinnati Fringe Festival in 2013 and has since been featured at the New Orleans Fringe Festival, the Out of the Loop Fringe Festival in the Dallas area and Baltimore’s EMP Collective.

The ensemble cast includes Adam Belvo, Isaac Byrne, Michael Mason, Adam Laten Willson and Cole Wimpee, twin brother of the playwright. Mason is co-founder of both Aztec Economy and Ad Hoc Beaumont, an independent theater group assisting with the production, who returned to his native Beaumont after eight years working in theater in New York.

“Both Aztec Economy and Ad Hoc Beaumont are committed to introducing new works and to making theater accessible to new audiences, so we’re thrilled to be able to bring this production to Southeast Texas,” Mason said. “We think Southeast Texans will be able to relate to these characters and this story.”

While “Butcher Holler” focuses on coal miners in West Virginia, Southeast Texas audiences may see parallels to the men and women who work in area refineries and related industries. In recognition of that connection, discounted tickets will be available for $5 at the door for employees of refineries and related industry with ID. “Butcher Holler Here We Come” is rated R for violence and language, and is not recommended for young children or people with claustrophobia or a fear of the dark.

Performances are scheduled for 7:30 p.m. June 5-7 and June 12-14, and at 2 p.m.

June 7 and June 14.

Performances will be in the Jerry L. McMillan Studio Theatre at Beaumont Community Players’ Betty Greenberg Center for the Performing Arts, 4155 Laurel Ave. in Beaumont.

Tickets are available for $15 per person online at beaumontcommunityplayers.com.

Brooklyn-based Aztec Economy will present “Butcher Holler, Here We Come” in collaboration with Ad-Hoc Beaumont and BCP in June.

Volume 20, No. 9

June 2014 ISSUE • 13

A Passion for Music JAMES FAUST MIXES SOUNDS FOR VARIETY OF AREA MUSICIANS “MY PASSION IS WORKING with bands and live music — that’s really where it stems from so I‘ve always worked in that realm.“ James Faust has been around music his whole life, playing in bands and recording them. When he reached a point when finding band members was tough, he decided to start recording music.

“I played in bands my whole life and then there was this period of time I couldn’t get a band together, so I started going to Lamar State College Port Arthur for audio engineering,” he says. “It just seemed like something to do with music in the mean time. I just couldn’t get anything going but I wanted to stay involved in music.”

He graduated in May of 2013 and decided to invest in his own recording studio, which is located behind the kitchen in his home. There’s a nice open space for guitarists and bassists to comfortably sit behind him to track their instruments.

“I really started with the basics,” he says. “I already had all my cables and small things from bands in the past. Then I started with my interface, which is the main control for everything with how sound comes in and out. Then I just pieced together things after that. I sold a lot of my old bands’ stuff to invest more into it. I probably have a little over $20,000 worth of gear now.”

Faust has recorded just about every genre of music, but there’s one kind he enjoys the most.

“Loud punk bands are my favorite to record, like old-school stuff, bands like Hot Water Music and The Bronx,“ he says. “It’s my favorite kind of music and it’s what I do best. I mix aggressively as I listen to stuff like that.”

Story and photos by Lane Fortenberry

James Faust mixes music in his home recording studio in Beaumont.

Faust records sessions for local bands to be played on “The Local Scene,” which airs on KVLU 91.3 on Saturday nights, as well as producing singles and full CDs. “Some of the bands I’ve recorded are We Were Wolves, Cody Schaeffer, Mad Maude and the Hatters, Johnny Jailbird and his Misdemeanor, and the Ruxpins,” he says. “I also do a lot of work for dance companies that need mash-up songs for their performances.”

Faust has a few different ways to record bands, which affects how long the process takes and the cost.

“A song depends on the way the band and I want to record,” he says. “We generally break things up into pieces. Bands that want to do stuff live would probably take a day — that would include just getting the raw tracks completed with no mixing. Working on a song in pieces would take probably eight to ten hours, probably around two hours of mixing and an hour of mastering.

“I like to record and charge by the hour. Bands tend to be more motivated and come in with their songs better prepared that way. Some bands think they can do it cheaper by the hour. That way normally comes out to around to $100 a song. That’s a good estimate.”

Faust records himself as well, although he would rather get another engineer’s perspective on his music.

“I’m in a band called the Ramblin’ Boys, we’re kind of like a folk punk band and I’m working on our album right now,” he says. “I don’t love to record myself or even mix myself, because I like to be away from the music. I’m too attached to songs for me to be unbiased. I like to be involved like a band would be but detach myself from being an engineer. That way I can have an outside perspective of the song, rather than me thinking every song I’ve written is the best I’ve ever written.”

Faust has a passion to work with bands.

“I plan on this being my career,” he says. “I do have a full-time day job though. My father owns an engineering and surveying company and I work as a draftsman. So I do land research from 8 a.m. to 5 p.m., Monday through Friday, then I get off to record and mix bands.

“It’s a hard job to have in this area, if you want to stick with just doing music. If you want to get involved with overdubs for commercials, radio stations or television, then there’s a bigger market for that. My passion is working with bands and live music, and that’s really where it stems from, so I’ve always worked in that realm. I’ve done odd jobs just because I couldn’t turn down the money.”

Faust has thought about moving to a bigger market to reach more bands. He says Beaumont can be slow at times but there’s no lack of talent.

“It’s all about the scale of the city and the lack of bands,” he says. “I don’t think there’s a lack of talent though at all, the local bands here are some of the best I’ve heard all over the United States.”

While he might move in the future, Faust says he really likes this area.

“I live with my girlfriend and she’s still in college so I want to support that for her and let her finish,” he says.

“All my band members are down here and I’m attached to that. That’s one of the biggest reasons I want to stay here.”

Faust says the bigger cities are harder to get started in, and the smaller cities are better than people think.

“Austin is a tough market to get into, there’s a lot of studios and a lot of competition,” he says. “Same thing for Nashville, which tends to be a hot spot as well. The engineers that I follow made it in places that you would never imagine someone making it. Their mixes and music are so good that people are willing to fly out of state to go to them.

“You would be surprised that some of the biggest studios are in the smallest cities. I like the Houston market, it would be a cool spot. I’ve got a good foot in their music scene already with bands I’ve recorded in the past.”

Faust reflects on Beaumont’s current music scene and how it fluctuates. Recently, one of the staple venues for local bands, Tequila Rok, closed down.

“I think it comes in waves,” he says. “Right now I think we’re in a little bit of a down period, but six months ago we were thriving. It rolls with the venues as well. When they shut down it takes a lot of the touring bands out of the equation. It’s a cool deal when there’s a big band that comes to Beaumont that you want to play with at a cool venue and get paid nicely.

“It’s always in waves, it’ll always come back. It’s also what the kids make their scene out to be. When I was playing in bands in high school, there was no place for all ages. So we rented out the KC Hall with hot checks, hoping the kids wouldn’t destroy it. Then we would get our ‘check’ back that night that might or might not of had money in the account. It just comes in waves.”

For now, Faust is happy to sit in the comfort of his own home, mixing the disparate musical styles of the area’s musicians.

Any inquiries about recording at Polarity Studio can be directed to James Faust’s email, thepolaritystudio@gmail.com, or by visiting Polarity Studio’s Facebook page.

14 • ISSUE June 2014

Volume 20, No. 9

dress for mess

TASI ARTSKOOL RETURNS

it’s awesome!

IT’S GETTING TO BE that time again. The heat of summer is approaching and the kids are nearly out of school.

Imagine the scene: Kids whining about how bored they are, tormenting each other and making life miserable for parents everywhere.

Fear not, The Art Studio, Inc. has a solution.

The summer ARTSkool will be held July 14-18 and July 21-25.

Classes will be split into morning and afternoon sessions, with each session costing $100 a week.

Students may take both sessions for $200 a week.

Morning classes, 9:30 a.m. to noon, feature drawing and printmaking. The afternoon classes, from 1 p.m. to 3 p.m., will feature ceramics and photography.

No two classes are the same and students attending both weeks will have a different experience each time.

The classes are for kids ages 10 and up.

“The fun part is that on Friday we set up a little show from 5 p.m. to 6 p.m.” Elizabeth French, TASI administrator, said. “They really seem to enjoy that.

They go home and get dressed, and come back. It’s just like The Studio. “(The classes are) a lot like The Studio in microcosm — managing your time, dealing with different materials in different areas of The Studio.”

Scheduled to teach are drawing instructor Sheila Busceme, printmaker Elizabeth Fontenot, Ceramicist Greg Busceme and photographer Joe

Winston. Each of the instructors is an exhibiting artist in their own right.

“The dynamics of the class are pretty much up to the students and where they want to take it — sometimes it’s the individual, but some groups have got together collectively,” French said.

One printmaking group decided to get together and produce their prints in comic book form, she said.

French said the classes are a lot of fun. But students should “dress for mess.”

For more information, call 409-838-5393.

LR L SE U O Y

K R O W T R A

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JOIN TODAY!

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.

4.

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.

3.

4.

AC X T SE ORG .

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 This project was funded in part by the B.A. & E.W. Steinhagen Benevolent Trust through the Southeast Texas Arts Council.

Volume 20, No. 9

June 2014 ISSUE • 15

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: ISSUE 720 Franklin, Beaumont, TX 77701 or e-mail issue@artstudio.org Authors must submit a daytime telephone number and email along with all submissions. Pen names are acceptable, but authors must supply real names for verification.

All printed works are protected by copyright. The author retains rights to any published work. ISSUE does not notify of rejection by mail or telephone.

The Mirror Look in the mirror What do you see?

An addict A whore Someone that has sold her very soul The daughter no one wanted The wife that was abused The mother that left her children to chase drugs Let’s look in the mirror Clean it off Can you see

Franklin Covey

As I Walk

A minute, an hour, a day in a life, And never a second go.

Or so say the clock and the calendar both.

Whenever we ask, we know.

And neither one’s willing to give us a hand whenever the moment arrives.

At the end of the turning and winding, we know, This is all that is left of our lives.

Jesse Doiron

Complementar y Colors Fire burns bright behind green clarity, Green and red being complementary colors.

Red being both danger and excitement, It is neither one thing nor another, yet, At the same time everything.

Orange swirls around the periphery Dancing with blue, which is both cold and alluring.

But look through the lens of green, and clearly she knows — she knows, indeed.

And red, being the complement, Compliments and smolders in the blackness.

Andy Coughlan

As I walk down this winding path, The sun engages me in a playful Game of peek-a boo, through the The scantily clad trees. They cry a leaf here and there, (sad to see winter wane away) Sudden puffs of leaves swirl around Then drift lazily down toward the hay-like grass.

A lone butterfly darts by, Lost and bewildered…

A flock of birds zigzag Across the partly cloudy skies The wind whispers a secret language In my ear as I stroll along, “So long winter…Hello spring!”

Is what I decipher the message to be.

As I come around the bend.

Green sprigs seem to suddenly appear on the Almost barren tree branches.

The grass is littered with wildflowers Like popcorn on a movie theatre floor.

Did I not see this transformation At first…

Or can nature literally chance Before your very eyes I walk, I behold, I am in awe!

D. Clover

The woman who is trying Dying to self Working, learning, coping Getting her life together Loving and gaining strength I Look your mirror What do I see?

A woman of beauty In recovery Full of grace And mercy A woman forgiven of her sins Dedria Tanton

Pride Haiku Whether you are gay Or straight is irrelevant.

Come to Beaumont Pride.

Chelsea Henderson

VOLUNTEERS NEEDED The Art Studio is looking for energetic people who have a few hours a month to help us in the following areas:

OFFICE SUPPORT • BUILDINGS & GROUNDS SPECIAL EVENTS • MAILOUTS If you are interested in one or more of these opportunities or if you know of anyone who might be, give us a call at 409-838-5393

720 Franklin, Beaumont, Texas 77701

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

RETURN SERVICE REQUESTED

INSIDE • PRIDE FESTIVAL • THOUGHTCRIME: MUSINGS FROM AREA POETS • GEEK’S SUMMER GUIDE • SOTO AT MFAH

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

Volunteers These people are the life blood of our organization.

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

Elizabeth Fontenot Bryan Castino Heather & Adam Butler Andy Ledesma Rhonda Rodman Sue Wright Cyndi Grimes Rhonda McNally Andy Coughlan Ben Jennings Beth Gallaspy John Roberts Beau Dumesnil Karen Dumesnil Sheila Busceme Kailee Viator Haley Bruyn Bryan LaVergne Gabe Sellers Ian Grice Abby McLaurin Samantha Wheeler Scott & John Alexander Heather Adams Terri Fox Avril Falgout B.J. Bourg Michelle Falgout Dana Dorman Reagan Havens Anna Buchele Nick Wilcox Stacey Haynes

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This project was funded in part by the B.A. & E.W. Steinhagen Benevolent Trust through the Southeast Texas Arts Council.

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