ISSUE June 2017

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

JUNE 2017

ECLECTIC CLIFTON Page 8

I N S I D E : B R A N D I N G T H E W E S T, S H E I K H P H O T O S , K AVA , G E E K S , A N D M O R E

ISSUE Vol. 23, No. 9 Publisher . . . . . . . . . . . . . . The Art Studio, Inc.

A View From The Top Greg Busceme, TASI Director

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

May, the relief Month. relief from school, relief for vacations, relief from the regular routine and relief from another publication season. i always enjoy the challenge of providing some insight into what is going on at the Studio but it’s nice to have a breather from these obligations to transfer to other obligations. i would be remiss if i didn’t recognize the people behind the award-winning publication you are enjoying right now — long-time iSSUe editor and invitation designer andy Coughlan, studio resident, director of University Press and instructor at lamar University, and his partner in crime, Stephan Malick, taSi board member and assistant director at University Press. Without these two gentlemen we would not have such an excellent publication to share with our members and art lovers. i would dare say that without iSSUe there would be a gap in our cultural communication. thanks to our distributor, olivia Malick, hit-

The Art Studio, Inc. Board of Directors Corporate President . . . . . . . . . . Greg Busceme Corporate Vice-President . . . . . Angela Scheibel Chair. . . . . . . . . . . . . . . . . . . . . . . Joe Winston Treasurer . . . . . . . . . . . . . . . . . . . Kim Armitage Members at Large . . . . . . . . . Sheila Busceme, . . . . . . . . . Olivia Busceme, John Fulbright, . . . . . . . . . Stephan Malick, Tim Postlewait . . . . . . . . . . . . . . . . . . . . . . John Roberts Tenant Representative . . . . . Elizabeth Fontenot Assistant Director . . . . . . . . . . Elizabeth French

The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org info@artstudio.org The ISSUE is a monthly publication of The Art Studio, Inc. Its mission is to publicize The Art Studio and its tenants, and to promote the growth of the arts in Southeast Texas. ISSUE is also charged with informing TASI members of projects, progress, achievements and setbacks in TASI’s well-being. Further, ISSUE strives to promote and distribute the writings of local authors in its “Thoughtcrime” feature.

ISSUE is provided free of charge to members of TASI and is also available, free of charge, at more than 30 locations in Southeast Texas.

Regular features include local artists of note and reputation who are not currently exhibiting at TASI; artists currently or soon to be exhibiting at TASI; Instructional articles for artists; news stories regarding the state of TASI’s organization; and arts news features dealing with general philosophical issues of interest to artists.

Contents Stark Brands the West . . . . . . . . . . . Page 4 Geek . . . . . . . . . . . . . . . . . . . . . . . . Page 6 TASI Summer ARTSkool . . . . . . . . . . Page 7 Clifton Steamboat Museum . . . . . . . Page 8 Fazal Sheikh Photos at MFAH . . . . . Page 10 Kava at AMSET. . . . . . . . . . . . . . . . Page 13 BAL Member Show. . . . . . . . . . . . . Page 14 Thoughtcrime. . . . . . . . . . . . . . . . . Page 15 Cover photo of Sarah Hearn Wells by Michelle Cate

JUNE

ting the roads to get our paper to the many locations that provide iSSUe to the public, as well as all the volunteer writers who work so hard to produce interesting and engaging articles throughout the year. a special thanks to staff writer elena ivanova who is leaving the area for Michigan. She has been a tireless volunteer contributor for seven years almost every month, picking up quite a few awards in the process. Since elena started contributing to iSSUe, she has covered the arts from houston to Belarus and all points in between. She and her articles will be missed.

So glad for everyone who came to the opening of Kwanzaa edwards exhibition “no Message needed.” her work is personal and inviting and reveals much of what a young artists see as to who we are and what we may become. i am very impressed with her diligence and discipline

See VIEW on page 14

UPCOMING EXHIBITIONS AT THE ART STUDIO SEPTEMBER

The Alternative Show Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . June 3

BECOME A MEMBER OF THE ART STUDIO

The Annual TASI Tenants Show Opening . . . . . . . . . . . . . . . . . . . . . . . . . . September 2

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4 • ISSUE June 2017

Volume 23, No. 9

Branding the Land

StarK MUSeUM exPloreS MUlti-faCeted identity of aMeriCan WeSt

the WeSt evoKeS a uniquely american identity that many people share around the world. i can remember numerous times, while overseas, that once someone found out i was from texas they wanted to know what my ranch was like, how many head of cattle did i own or if oil wells dotted the land? yeah, i had none of those things, but it never mattered. i was from texas so i must be a cowboy. this strong identity has resonated throughout popular culture the last 150-or-so years and has routinely been reinforced through movies, books and art. the Stark Museum of art is capitalizing on that identity with “Branding the american West: Paintings and films 1900-1950,” featuring works from the museum’s prominent Western art collection and jointly with the Brigham young University Museum of art of Provo, Utah. the exhibition is the culmination of approximately five years of planning and mutual discussions over collections sharing and conversation, Sarah Boehme, Stark Museum of art curator, said. “the idea of the exhibition was to explore the changing perceptions toward the West in the early 20th century,” she said. “We looked at the reframing of the West in contemporary ideas of what branding means; a brand on a hide or a company logo. it’s about revealing identities from our past and the multiple ways to look at the West.” of special note, in addition to curating the exhibition, Boehme co-edited the expansive and elaborative catalog with ByU curator Marian Wardle. Printed by the University of oklahoma, the catalog offers six richly detailed essays of many of the concepts presented in the exhibit by a team of scholars including lamar University history professor Jimmy l. Bryan, leanne howe, elizabeth hutchinson, John ott, dean rader and Susan S. rugh. the exhibition greets visitors by presenting several themes often depicted in early films and popular culture.

While our understanding of the West might delve through many layers of geography, people and culture, the exhibit shows examples from films such as 1950’s “Broken arrow,” starring Jimmy Stewart, and the romantic, and sometimes caricatured, connection that hollywood sometimes makes when it takes an idea and tries to bring to life. a key element about the exhibit is its overview of the West’s portrayal in media and entertainment, as well as traditional painting, photography and illustration.

Jimmy l. Bryan, writes in the catalog, how frederick remington’s “his first lesson” (1903), is lampooned in

Review by Stephan Malick

Maynard Dixon (1875–1936), ROADSIDE, 1938, oil on canvas, 30¼ × 40¼ in., Brigham Young University Museum of Art, 1974. the 1917 film “Wild and Wooly,” about a city-slicker easterner who becomes so enamored with the West that he creates a fantasy of it in his new york apartment. “his first lesson” is prominently featured in the background. life imitating fantasy life. it could be said that one of the reoccurring concepts many of the artists try to convey is that of a mythic fantasy involving a strong mixture of conflict, landscapes and people. as i toured the galleries with Boehme and later read the catalog, the brand identity is what makes this exhibition so powerful. “the idea of creating a strong concept of authentic american art form compelled many of the artists,” Boehme said. “it was a reaction against european art movements to establish an american art movement.

“We are identified so often by our geography and it is

what is unique about america, what is creative about america. it is the West that is so rooted in our land, our place of who we are — it is a natural source of inspiration.”

While there is not a single central artist to the exhibition, there is certainly a focus on the work by the taos Society of artists, and an artist not part of the taos group — Californian Maynard dixon (1875-1946). the taos Society of artists formed in 1915 and functioned through 1927. Wardle and Boehme write in the catalog, “individually and collectively, the taos artists and Maynard dixon painted visions of western lands and peoples that fostered new romantic brandings of the West both physically, through the materiality of paint on canvas, and emotionally, through the evocation of feelings.” the artist Joseph h. Sharp first visited taos while on a

June 2017 ISSUE • 5

Volume 23, No. 9 sketching trip in 1883, and was captivated with its enchanting atmosphere. he is often referred to as the artist who “started it all.” later, while studying in Paris, he shared his enthusiasm with two artist friends, Bert G. Phillips and ernest l. Blumenschein. and the two planned to journey through the area on a trip to Mexico. as a result of a broken wagon wheel on Sept. 3, 1898, the two artists stayed in the taos area instead of completing their scheduled trip to Mexico.

Back in Paris, Blumenschein met e.i. Couse and told him about his journey to these enchanting lands. this inspired Couse to also explore taos. oscar e. Berninghaus joined the taos artists and with the addition of herbert dunton, a painter of cowboys and ranch life, the “founding” group numbered six. on July 1, 1915, the first meeting of the taos Society of artists was held. the proposed purpose of the association was to promote the showing and sale of their work. the group then met Walter Ufer and victor higgins and voted them in as active members in July of 1917.

Julius rolshoven became an associate member in 1917

Newell Convers Wyeth (1882–1945) AT THE SAME TIME HAHN PULLED HIS GUN AND SHOT HIM THROUGH THE MIDDLE, 1906, oil on canvas, 37 x 23 in. Stark Museum of Art, Orange, Texas, 31.2.1

and then an active member in 1918. e. Martin hennings became an active member in 1924. the only woman of the group, Catherine C. Critcher, became an active member also in 1924. and Kenneth adams, the last and youngest of the group, became a member in 1926, only one year before the group disbanded. you can see the passion and emotion conveyed in their works. for example, Blumenschein’s “the extraordinary affray,” of 1926, displays a dramatic ritual by native americans that combines solemn praying juxtaposed with the swaying movements of acolytes engaged in a hypnotic dance. and there is the more modern “Movie night at taos theater,” from 1939, by Berninghaus that shows folks in taos watching a Western movie with “indians” preparing to attack a careening stagecoach barreling down some narrow, mountain road. dixon’s works attracted me because they were so different from many of the other works shown, not only because of the style of painting, but because social realism of the transition from the old West to the new West looked so different. While dixon did a variety of depic-

tions during his career, the exhibit showcased what Boehme said is the “weary West” — the idea that civilizing the West was hard work, marked by many years of toil, aging and time of reflection about earlier times. dixon’s “no Place to Go,” “roadside” and “forgotten Man” show a different side of the west — those that came west and struggle in a modern world to survive. the works created during the depression show individuals who are worn and beaten, alone and without options. his social realism echoes the american realism of edward hopper’s “nighthawks.” Whereas, hopper used urban settings, dixon uses frequently uses landscapes or, in this case, downtrodden men. the exhibit displays a wide-range of styles from the artists and there are literally too many works to cite and explore here — go see the show for yourself! it’s wonderful jewel in our own backyard. the Stark Museum of art is open tuesday through Saturday, 9 a.m.-5 p.m and admission is free for all ages. for more information, visit starkculturalvenues.org/ starkmuseum, or call 409-883-3513.

Ernest Leonard Blumenschein (1874-1960), THE EXTRAORDINARY AFFRAY, 1926, oil on canvas, 50 x 60 inches, Stark Museum of Art, Orange, Texas, 31.30.13.

6 • ISSUE June 2017

Volume 23, No. 9

Geek’s Guide to An Amazon, a spider and a tree walk SPrinG May not have sprung but summer is here in full force. So take a break from that russian for dummies book and find a well air-conditioned theater where you can sit back with a bucket of popcorn and forget what a mess the outside world is and always has been.

Commentary by Jeff Dixon

Jeff dixon is a social media darling that you can follow on twitter at @thatJeffdixon. he is currently ashamed of all of you.

WONDER WOMAN — now i don’t want to get off on the wrong foot here, i really don’t, but i will. i am cautiously optimistic about this picture. if this were made by any other studio with any other track record i would be through the roof optimistic but Warner Brothers and dC do not have a track record worth writing home about. trust me, i want this movie to be great. diana, as a character, deserves a truly great and powerful film, but i’ve been burned before so i’m not getting my hopes up this time.

BABY DRIVER — edgar Wright directing Kevin Spacey and Jamie foxx. i shouldn’t have to say anything else honestly but i’ll keep going. this is Wright’s first directing gig since completing his Cornetto trilogy with Simon Pegg and nick frost, as well as his first original film set in the colonies (British people still say that right?) the movie centers around a young getaway driver named Baby, who crosses the wrong thieves and ends up in a fight for his life. Car chases, sweet tunes and Jamie foxx saying funny quips are sure to ensue.

Summer

into a movie theater…

SPIDER-MAN: HOMECOMING — Well we all knew this one was going to be included. i have never been this excited for a Spider-Man movie since the original Sam raimi film. tom holland is an international treasure and the director Jon Watts amazed me with his debut film “Cop Car.” throw in Batman... sorry i mean Michael Keaton as adrian toomes aka the vulture and donald Glover in a mystery role and i honestly couldn’t be more thrilled. everything we’ve seen has a very John hughes-type vibe and i just can’t wait to see Peter trying to balance crime fighting, school and what passes for his social life. i’ll be there at the midnight show wearing one of the many Spider-Man shirts i own and i already know i’ll be going back for seconds, maybe thirds.

ATOMIC BLONDE — very few actors can pull off “tough as nails” the way Charlize theron can. even though her dramatic skills are outstanding she always feels more in her element when she plays strong no nonsense characters in films like “Mad Max: fury road” and “fate of the furious.” in her newest action opus theron stars as an Mi6 agent sent to Berlin at the height of the Cold War to retrieve a mysterious dossier. it’s like this film was tailor made for me. did i mention John Goodman is in this? no? Well he is, so buckle up kids.

INGRID GOES WEST — this one is the dark horse of the bunch. this film isn’t getting near the buzz it should be getting in my not so humble opinion. aubrey Plaza stars as the title character who, after losing her job and apartment, sets off to become friends with a socialite (elizabeth olsen) she’s been following for years on instagram. as you might have guessed things turn obsessive and i just can’t wait to see Plaza and olsen in a dark comedy where they can really stretch their acting muscles.

WITNESS BY KATY PERRY — if you know me at all you know that while i have a soft spot for folk, hip hop and grunge, pop music has always and will always by my favorite. this is the album i’m looking forward to the most this summer. i didn’t care much for “Prism” as a complete album. it had its moments but it didn’t have the punch or energy that “teenage dream” or “one of the Boys” did. Perry has called Witness “purposeful pop” and “fun and dance-y” when compared to her last effort. the first two singles have been stuck in my head for weeks and her voice sounds stronger than ever.

See GEEK on page 13

June 2017 ISSUE • 7

Volume 23, No. 9

Creating educa-‘fun’

taSi artSkool offers chance for students to learn diverse activities Story by Shelby Strickland

SUMMer iS a tiMe to relax and have fun — and there’s nothing more fun than getting together with friends to create art. the art Studio, inc. will hold its Summer artSkool, July 17-21 and

July 24-28.

“Summer artSkool is a program for kids to get to really enjoy art, and to have some activity for them to do besides swimming and sports and things like that,” Greg Busceme, taSi director, said. “We think art is a real key to all the rest of the forms of education to be a good student — to be a good learner.” drawing, ceramic, film, photography, paper machete and mixed media classes are taught mornings from 9:30 a.m. to noon, and afternoons from 12:30 to 3 p.m. however, students are free to choose morning sessions or afternoon sessions. each class offered at the art Studio teaches students how to get a broad range on all the different art forms and gives them a chance to find their niche.

“When printmaking, you have to think upside down and backwards,” Busceme said. “you have to think, ‘Well, if i have to put words on this, i have to write them backwards in order for them to print.’ your brain has to work it out to be able to do that.

Classes are taught by artists, not teachers, so there’s a different approach to the process. “artists teach the basics of things and not necessarily fun activities where you come out with a product. they teach the basis of what the color theory is, what drawing is, where you begin, how to shadow — things like that. Same thing with printmaking process or clay. We have drawing, printmaking, ceramics, film photography, dealing with photographing and working with cameras, paper machete and a mixed media project which kind of takes in a little bit of everything.” the summer artSkool will further kids in their creative thinking and, potentially, their academics, Busceme said. “even dance, music and theater all provide a certain other capability,” he said. “i always heard when dance programs are taken out of the schools, (dancers) math capabilities decrease by 30 percent. dance is really important toward mathematics. it’s all about making a mind exercise in ways that you don’t really get otherwise. Sports are great. you have to coordinate yourself, but this is far more

Students work on projects during The Art Studio ARTSkool 2016. complex.” at the end of all the week, a reception will be held where students will showcase the work they have created throughout the summer camp.

“We’ll pull the artwork together on friday and then have a show,” Busceme said. “the parents come out to pick them up and see the exhibit, and then they all take their work home.” each week costs $200 and the kids are sure to leave with more than they came with, Busceme said.

“We ask the kids to dress for a mess. (they) are going to get dirty or muddy — covered in glue or paint or something,” she said. “don’t expect them to come home looking the same way as they got there.

“We aims to help kids think creatively — not necessarily turn them into artists.” for more information, call 409-838-5393, or visit www,artstudio.org.

Photo by Stephan Malick

Steaming through history 8 • ISSUE June 2017

Volume 23, No. 9

Clifton SteaMBoat MUSeUM eMBraCeS david hearn Jr.’S eCleCtiC ColleCtion

“i don’t KnoW What your thing is yet, but i promise we’ll have it.”

Sarah hearn Wells laughs, an infectious laugh that echoes around the Photos by 24,00-square-feet Clifton Michelle Steamboat Museum. to say Cate the museum has something for everyone is more than just a cliché — it’s a fact. the museum, founded by Sarah’s grandfather david hearn Jr. in 1993, is a magnificent hodgepodge of memorabilia that covers far more than steamboats. looking for a full-sized tugboat?

Got it. interested in military memorabilia from at least six wars? Got you covered. Paintings and graphics? of course.

Scouting? Please. how about a grain elevator from the late 1800s? yep, they’ve got that as well. “as you can see, this is a very eclectic place and these were the things he loved and he was passionate about,” Sarah says. “it is the Clifton Steamboat Museum, but it’s much more than steamboats.” there is a strong nautical thread throughout the whole museum. “(My grandfather) remembered growing up as a little boy and going to the Port of Beaumont and watching the ships coming and going, watching them being built during the world war — just that national pride of the ships being built and way the community interacted with our military,” Sarah says. david Jr. was an engineer by trade and owned Metal forms, a Beaumont company that manufactures heat exchangers. his business ventures allowed him to indulge his passion for collecting.

“So many of the things have special small little stories,” Sarah says. “if there was one thing he liked he would get as many as he possibly could. for example,

Story by Andy Coughlan

Sarah Hearn Wells stands beneath the grain elevator installed in the Clifton Steamboat Museum lobby.

the remington’s in our garden. his parents had one small remington sitting on a bookshelf when he was little and he just loved that. When he was older and successful he purchased as many as he could.”

Sarah says the museum has a collection of lincoln library books, which are archived, because one of david’s grandparents had some and he thought they were beautiful. david Jr. was a fan of robert haas, a ship model builder from lumberton.

Sarah remembers seeing the ships her grandfather had collected.

“When i was a little girl, before there was museum, i would go to his office and on any surface that there was there was a ship model — so that was my favorite thing to do, to look at the ships,” she says. “haas had a saying that children can only understand so much looking a two-dimensional piece, they need that three-dimensional ship model to really understand the workings of the ships. So i grew up going to look and see the small pieces, and the waterlines painted on there. “once my grandfather started the museum, he acquired many more and we have over 100 throughout the museum now.” david Jr. was still active in his business when he founded the museum. he was very hands-on Sarah said, and wanted to be involved in the day-to-day business. he was so hands-on that all of the buildings were built specifically for the museum.

“Being an engineer by trade, he loved building the buildings and the design portion — that was a passion of his,” Sarah says. “the buildings are replicas of different buildings, which is something he really enjoyed doing. the Moresi’s foundry, when you go inside is a banquet facility, but the outside is a replica on an actual foundry in

June 2017 ISSUE • 9

Volume 23, No. 9 louisiana. he would get the exact measurements and recreate it in detail. the restaurant and deli is not open now, but that structure, the footprint is a match to the house next to the Sabine Pass lighthouse. he really enjoyed those nods to the different buildings.

“More than just our exhibits, there are hidden history pieces throughout the complex.” after david Jr. died in 2011, at the age of 83, the museum was maintained but not promoted and there were no fixed hours. enter Sarah. She grew up in Beaumont and married a sailor, Seth Wells, and moved to San diego. three years ago, the couple moved back to Beaumont. “i like to say he worked really hard and i had a lovely time in San diego,” she says, laughing. “We knew we wanted to come back — we both had family here. We loved seeing the world and we loved getting those experiences, but this is home.” taking over the museum was a natural fit for Sarah. “i always say that my grandmother was the best history book i ever read,” she says.

“She told stories and she made history more than just dates to remember — it was stories of people. So i had those experiences, and just growing up around my

grandfather who loved stories and was just a lover of people.”

Sarah earned a degree in dance — “every good museum director needs a dance degree,” she says, laughing loudly again — but she minored in history.

“When i was teaching dance, my favorite parts were to teach the cultural and historical impact, and how does the history of the people reflect the dance and how does the dance reflect the people? even though i was not directly applied to history it’s always been a part of who i am.” apart from reviving her grandfather’s legacy, Sarah says she enjoys the random visitors who visit the facility.

“My favorite part is to get to share the museum on a random tuesday with someone who was just driving by and thought, ‘huh, i’m not really sure what this is, i’m going to come check it out,’” she says. “Because we are so eclectic, someone has a connection to something in the museum and they get to tell their story — and that’s just as big a part of history as the items in the cases.” for the first two years after Sarah returned to Beaumont, the museum was open by appointment only.

“We could meet people when they wanted to tour,” she says. “We had a very

A collection of hand-carved neckerchief slides, part of the Clifton Scout exhibit.

casual appointment schedule — you could make an appointment that day and we had a strict minimum of at least one person so you didn’t need to bring a group in. i think that was really special and i got to experience those people that just happened through and get those one-on-one stories.” the museum now has regular hours and plans to expand once they get more

Sarah Hearn Wells looks over a collection of nautical memorabilia from Rear Admiral Dennis Conley at the Clifton Steamboat Museum.

traffic, Sarah says, but they still make appointments and will try to accommodate everyone who is interested. the collection is so huge that Sarah says they had to streamline things a little. She cites the example of Beaumont artist herring Coe, a graduate of what was then lamar College, who created the sculpture of dick dowling at Sabine Pass, and also created sculptures that still adorn buildings at lamar University. the museum’s collection, which includes wax molds and other steps in the casting process, was donated by Coe’s daughter. “he was everywhere,” she said. “We had so much of it that i was finding people couldn’t see it because of the quantity. So we thinned it out — we still have it in our archive — with the hopes of rotating through. it’s really interesting to see how people look at it now, because there is the ability to consume it on that scale.” even when the Coe collection was vast, Sarah said the things people were drawn to were the pieces they had seen, such as the lamar panels or the frieze from the Piccadilly Café.

Sarah said that, for now, the museum is not actively acquiring works for the permanent collection but is focusing on specific temporary exhibits. “for example, for Women’s history Month we did ‘Women in the Military,’” she said. “We had over 18 women’s military uniforms that are not part of our col-

See CLIFTON on page 12

10 • ISSUE June 2017

Volume 23, No. 9

Landscape of the Face

PhotoGraPhS By fazal SheiKh at MUSeUM of fine artS, hoUSton “there is one thing the photograph must contain, the humanity of the moment.”

— Robert Frank

“yoU KnoW a lot about the photographer by seeing his photographs,” fazal Sheikh says. he gives an impression of a calm, quiet man. like his demeanor, his works have a peaceful, meditative quality. the people his photographs – men and women, young and old – look relaxed and at ease. Most of them are looking straight at the camera, obviously aware of being photographed, but not trying to strike a pose or express any particular emotion. “i never tell people what to do in front of the camera,” Sheikh says. “it’s their own choice.” despite the air of serenity, each photograph is a commentary on an experience that is anything but serene. Sheikh records

Story by Elena Ivanova

Fazal Sheikh, PRAMILA SATAR (“LOVER”), VRINDAVAN, INDIA from the series “Moksha,” 2005, printed 2016, inkjet print, Museum purchase funded by Jane P. Watkins

the life of communities that have been displaced or marginalized. the stories of these people, presented side by side with their images in written and audio formats, bring down to a human level big political issues, such as refugees or israeli-Palestinian conflict, which often seem so abstract and distant for those of us who live in a different part of the world. the exhibition “homelands and histories: Photographs by fazal Sheikh” features 75 photographs which span over 25 years of the photographer’s career. the earliest works, taken in South africa and Kenya, date back to late 1980s; the most recent ones, a trilogy photographed in israel and Palestine, were done in 20112013. the majority of the photographs are black and white. having graduated from Princeton where he studied under esteemed master of photography emmet Gowin, Sheikh embarked on his first journey traveling across the african continent. his interest in this part of the world was personal: his father came from Kenya and the young photographer wanted to explore his father’s legacy. it was in Kenya, on the border with Sudan, that Sheikh saw refugee camps for the first time. a few years later he came back with a group of photojournalists who spent a day photographing refugees and left while he stayed longer. he learned a lot from this trip about interacting with the people in the camp. “Just asking permission to see a certain area goes a long way,” he says. refugees are not used to being asked, and he almost always was allowed to go where he wanted. the photographs featured in the exhibition were produced as cycles and each cycle typically comprises several series. “the victor Weeps” (1996–98) was shot in northwestern Pakistan where afghan refugee communities have been living since the Soviet invasion in the early 1980s. again, Sheikh’s journey was prompted by his family history, in this case, the legacy of his grandfather who was a native of afghanistan.

Fazal Sheikh, ROHULLAH, AFGHAN REFUGEE VILLAGE, BADABARE, NORTH-WEST FRONTIER PROVINCE, PAKISTAN from the series “The Victor Weeps,” 1997, printed 2016, Inkjet print Museum purchase funded by Jane P. Watkins

the photographer stayed in the area for a week, getting to know people. “there is a whole generation of young people who never saw their native land,” he says. at the same time, older men and women remember too well the villages they left behind and the harrowing events that had driven them away. their experiences “are alluded to, but never completely revealed in the landscape of the face,” Sheikh commented on his work. one realizes the truth of this metaphor looking at the face of old mojahedin rohullah whose cousin was buried alive together with thirteen other men

from the village. his somber, deeply lined face stands in sharp contrast to the images of children displayed nearby. looking innocent and unburdened by the travails of life, they do not realize yet the precariousness of their position as refugees living in a country that is not theirs. the trilogy that followed –“Moksha” (2003–05), “ladli” (2005–07) and “ether” (2008–12) – was taken in india. the first two series focus on the groups that live in seclusion; the third one explores the subject of death. the term “moksha” in hinduism refers to the release from the cycle of rebirth im-

June 2017 ISSUE • 11

Volume 23, No. 9 posed by the law of karma, as well as the transcendent state attained by a person as a result of such release. Shot in the holy city of vrindavan, this series highlights the life of widows who spend their final years together, away from their families. their days are filled with prayers and meditation. in Sheikh’s photographs, these elderly women look ethereal, as if they are on the threshold that separates the material and the spiritual realms. this feeling of being in some kind of “in-between” moment is echoed in the images of the city which were taken at either dawn or dusk, “the threshold times.” the title of the next series, “ladli,” which is a female hindu name meaning “the loved one” or “the dearest one,” conveys a bitter irony. Sheikh photographed girls and young women who live in orphanages, hospitals, schools and charity shelters. their future is bleak: they will be given away in marriage and, being poor, they face a real danger of being burned in case their families refuse to pay additional dowry to the husband. although this practice is illegal, cases of bride-burning still happen. one of the images shows a sevenyear old girl, lahbuben, who is already betrothed to a 17-year old boy. next to it is a photograph of a middle-aged woman, Shahjahan apa, who lost her daughter to bride-burning and now spearheads Shakti Shalini, the organization that fights to win justice for women victims of domestic abuse. the city of Benares (varanasi) is the locale of the third indian series, “ether.”

Many hindus come to die in this sacred city in the belief that they will find salvation. ether is the first of the five great elements in hinduism. the lightest of them all, it also is associated with death since ether is the only thing that remains when the body disintegrates. in his photographs of people sleeping in the streets Sheikh blurs the boundaries between sleep and death. looking at the shrouded figures, it is impossible to tell whether these people are alive or dead. “ether”stands out in the exhibition for both its philosophical contents and technique, being the only series in color.

Unlike other travels which were initiated solely by himself, Sheikh’s trip to israel and Palestine was a part of a multiyear project organized by french photographer frédéric Brenner. Sheikh was among 12 photographers who were commissioned to produce a body of work exploring this area

Fazal Sheikh, DAWN ALONG THE YAMUNA RIVER, VRINDAVAN, INDIA from the series “Moksha,” 2005, printed 2016, Inkjet print.

Museum purchase funded by Jane P. Watkins

in historical, political, personal and aesthetic terms. the result of this commission was a trilogy titled “erasure” (2011-2013) which comprises such series as “Memory trace,” “independence/nakba” and “desert Bloom.” “Memory trace” is a haunting testimony to the devastation caused by the arab–israeli war of 1948. Ghost villages with crumbling houses are still dotting the terrain 65 years later. “independence/nakba” consists of paired portraits of israelis and Palestinians who were born each year since 1948. it is a poignant reminder that one nation’s victory invariably implies the other nation’s defeat. the same date, May 15, marks yom ha’atzmaut, independence day, for is-

raelis, and yawm an-nakba, day of the Catastrophe, for Palestinians. the third series, “desert Bloom,” features aerial views of the negev desert.

Shortly after the state of israel was established, its first Prime Minister, david BenGurion, proclaimed that the desert would bloom. as a result of consistent efforts, which included mining, afforestation and military training, Bedouins were forced off the land. however, traces of their presence are still visible from the air in the form of outlines of abandoned settlements and corrals.

“See these dark circles?” Sheikh points to one of the photographs. “that’s where the Bedouin camp was, where they burned the manure before leaving. they camped

in this location several times, you can tell by the lighter circles close by.” ironically, the desert did not bloom. the wind blows the sand over the former tree plantations and mining sites. all that is left today from the dreams of israeli pioneers are scars on the land. like Bedouin camps, these grandiose projects have become a thing of the past.

“Weren’t you concerned to fly in the area so close to the border?” “i was lucky to find a pilot who was enthusiastic about this idea,” Sheikh replied with a smile.

“When we were in the air, he was constantly communicating with the base. if he

See SHEIKH on page 14

12 • ISSUE June 2017

Volume 23, No. 9

CLIFTON from page 9 lection, so that was special to see the interaction with that. it’s not something you normally see. it was a treat for me.” the Port arthur grain elevator, a twostory high structure that was in operation for more than nine decades, from the late 1800s to the 1900s, dominates the museum’s lobby. the large construction is made of longleaf yellow pine, a staple of the area. adjacent to the elevator is a model of the City of Beaumont ship by robert hass. the ship was made of pine and was used to ship the pine that was milled in the area. the planks were slid through a trap door to keep the planks long. the exhibition cases are also made of long leaf yellow pine, Sarah says. the museums’ grounds are also home to the hercules, a 90-feet-long tugboat.

“Sabine towing was retiring the hercules at the time the museum was being built, and they said, ‘if you can move it you can have it,’” Sarah says. “Being a stubborn texan that (my grandfather) was, we’re pretty sure he would have moved it even if there wasn’t a need for it. the hercules came in three pieces early one Sunday morning down the streets of Beaumont.” the hercules’ engine is on display in the lobby. it is so large and heavy that the concrete foundation was poured and the museum was built around it, Sarah says. the museum features a lot of military artifacts. in addition to the museum, david hearne Jr. was part of a committee that spearheaded navy days in Southeast texas, the equivalent of fleet Week in larger cities.

“Beaumont, Port arthur, many of the surrounding communities, adopted a ship as their second home port,” Sarah says. “they would come, they would have parties for them — when they would deploy they would send care packages for them.”

Sarah says it was a way for her grandfather to connect back to watching the ships in the port of Beaumont when he was a child. he loved the interaction between the civilians and the military. in recognition of his efforts, david hearn Jr. received the zachary and elizabeth fisher distinguished Civilian humanitarian award in 1999. the award is “ a multi-service recognition to be given to an individual or organization demonstrating exceptional patriotism and humanitarian concern for members of the armed

A few of the more than 100 model ships, built by Robert Haas, in the Clifton Steamboat Museum collection. forces or their families.” it is one of the highest honors a civilian can receive from the military.

Sarah says that her grandfather was a lover of individual stories, and many of the pieces in the collection tell history from an individual perspective. a love of country drove david Jr.’s respect for the military.

“But it wasn’t a bumper sticker for him,” she says. “he was very gentle and people get the wrong idea. it’s not that military side of things — it’s that pride side of things.” the museum covers all the major wars from texas independence to Korea. the Pearl harbor Survivors group used to meet on the property and they donated some of the pieces in the exhibit. rear admiral dennis r. Conley, who worked with david Jr. on navy days, has an entire case of personal memorabilia. the museum is seemingly endless.

When one section ends, one only has to go through a door to another set of rooms branching off a maze of hallways. from model warplanes by Bill Janis to WWii posters, to a vast collection of uniforms and items, the Clifton Steamboat Museum is a delight for fans of the eclectic. the museum also hosts a vast collection of Boy Scout memorabilia. When the scouts visit, the museum has a scavenger hunt to find related items scattered through the collection apart from the main exhibit upstairs. david Jr. was a not a

scout himself but his four sons were all eagle Scouts. a group called the old timers association maintains the exhibit. “they are former Boy Scouts, their kids are out of scouting, so this is a way for them to stay involved,” Sarah says. the Girl Scouts are also working on an exhibition for their Silver award.

Sarah’s favorite piece in the museum is a sculpture called “Cross Current,” by Stephen Kensrue from California. “it’s got a free-standing water line around the animal,” she says. “above the line is very serene, very quite. But below, its wild — its legs are (going). i feel like that’s very metaphorical. My brain is the paddling and the fish is swimming, but when i am giving a tour i like to present to the world that i am calm and serene.”

Kensrue’s main focus was “to bring the beauty of nature inside,” Sarah says.

“Because there are people like me who really like air conditioning, and if he brings nature here, where we’ll enjoy it, we’ll do a better job of taking care of the earth,” she says. “So that’s one of his goals with his art.” there are many other artists in the collection including John James audubon and his son John Woodhouse audubon, Karl Bodmer, George Catlin, david Behrens and the delightfully named Woodrow Wilson Crumbo, covering topics from landscapes to cityscapes, nature to industry and everything in between.

there’s even some taxidermy because, well, why not?

Sarah says the eclectic nature of the collection can have a positive effect on family groups. “one of the things i just love is when a family comes in because the father or the son, one of the family loves steamboat, and they come in and you can just see everyone thinking, ‘Well, Johnny gets his two hours,’ and they’ll fall in love with the art or who knows what it might be,” she says. “it’s so good to see that realization of, ‘oh, i get to enjoy this time, too.’ “it’s fun to see families come and they all go to 14 different places and they all have 14 very different experiences.” to describe the Clifton Steamboat Museum as a glorious mess is no insult. it is a truly fascinating mishmash of themes and styles, each fascinating in its own right. it could be argued that history is about discovering ourselves through the lives of others. the life of david hearn Jr. and his particularly eclectic vision is worth exploring again and again — and his granddaughter Sarah is a willing guide. the Clifton Steamboat Museum is located at 8727 fannett rd. in Beaumont. hours are 10 a.m. to 1 p.m., Monday through thursday, or by appointment. admission is $7, seniors, students and veterans are $5, children five and under are free. for more information, visit www.cliftonsteamboatmuseum.com.

Kava turns critical lens to coast at AMSET

June 2017 ISSUE • 13

Volume 23, No. 9

in addition to teMPorary exhibitions in its galleries, the art Museum of Southeast texas also shows works by locally-known artists in their Café arts series. these works are made by both up-and-coming artists and ones who have been working for decades. dJ Kava, whose photography will be shown in Café arts through the beginning of august, belongs to the latter. the 71-year-old artist has lived all over the U.S. and texas, travelling for his work in the military as well as his job with the national Weather Service. Kava has made Beaumont his home for the past 35 years, and for the past 13 years has traveled between Beaumont and Crystal Beach making art. his work has been shown at

Story by Caitlin Duerler

DJ Kava poses with one of his favorite beach art projects — a painted portable toilet.

Beaumont art league and in the art Studio, inc.’s annual darkroom friends shows. according to Kava, his need to create art stems from his need to tell stories. “i haven’t been making art for 35 years without having something to say about something,” he said.

Kava works in a variety of media, from painting to jewelry-making and found-object sculpture. for this show, however, he turns to photography — a medium he has been working in for nearly 50 years. from starting with a 35-mm camera in his early 20s to working at a film-processing plant in fargo, n.d. during his college years, to the early years of the art Studio’s darkroom in the ’80s, Kava keeps returning to photography. for this show, in particular, he has been working with digital photography.

“What i like about photography is that it gives you a bigger dimension than painting or making pendants,” he said. “you have the whole world with photography.” the exhibition, titled “a Stroll along the Coast,” captures scenes from the Bolivar Peninsula. Many shots focus on the nature in the area — birds in flight, orange sunsets in december. another presence in the photos is the effects of hurricane ike from nearly 10 years ago.

“With this show, i am telling a story of a stroll along the coast,” Kava said. “i start with the rookery in high island and

GULLS ON STICKS by DJ Kava.

march down and end up at Port Bolivar. i am making a statement about the history and about the wetlands.” images include residents protesting the closing of rollover Pass, a single standing tree left after the hurricane which has become decorated with odds

and ends, and receding wetlands. in addition to the erosion of the wetlands, nature is also being altered by real estate and property development, Kava said. the show is on view at the art Museum of Southeast texas through aug. 13. for information, visit www.amset.org.

GEEK from page 6 A WALK WITH LOVE AND DEATH BY MELVINS — the Godfather’s of grunge are as we speak in the studio recording a new album set for a July release. details are scarce at this time but, and this is just a theory mind you, but i’m guessing this album will be very very loud.

BABY GROOT — i know the summer guide is usually movies and music but look at this little guy! how cute is he? too cute, that’s how cute. you can find this adorable bundle of twigs online at disneystore.com.

that’s all for me folks. i wish i could say a bitter wind was coming to cool us all down but that’s just wishful thinking on my part. Stay cool and more importantly stay sane out there. Can’t be too careful with all those weirdos around.

Mahalo!

Melvins

14 • ISSUE June 2017

BAL member show to open June 10

the Beaumont art league’s annual membership show will be on display June 10 through July 15, with an opening reception, 7 p.,. to 9 p.m., June 10. entries will be accepted May 31 through June 3, 12:30 p.m. to 4:30 p.m.

Membership dues may be paid upon entry. limit three entries for each artist.

“Bal’s annual Membership Show will feature the works of our talented and diverse artist members who support the Bal’s mission and bring talent and creativity to our organization,” according to a release. “Cash prizes will be awarded to first, second, and third place, as well as honorable mentions. “the first place recipient is honored with a solo exhibition in the following year.”

Bal will take 30 percent of all sales. the Membership Show will be on view in the Brown and Scurlock Galleries. through the month of June and July. for more details, call 409-833-4179 or email info@beaumontartleague.org, or visit www.beaumontartleague.org.

will be on hiatus for the summer and will return in September

Have a fun and creative summer

Volume 23, No. 9

SHEIKH from page 11

VIEW from page 3

said that we had to leave, i knew there could be no arguing.”

What motivates Sheikh to pursue his chosen path – documenting daily lives of communities that are on the periphery or at odds with their neighbors? “i want to broaden the vocabulary of talking about refugees by showing them as communities” the photographer explains. he also adds that, when confronted with two hostile communities, he tries “functioning in the seam between them.” “you learn more by listening to both sides.” fazal Sheikh currently lives in zurich, Switzerland. he is a recipient of many awards, including fulbright, Guggenheim, Macarthur, and national endowment for the arts fellowships, as well as honors acknowledging the essential humanism of his work, such as the Prix dialogue de l’humanité, rencontres d’arles (2003), the lucie humanitarian award (2009), and the lou Stoumen Prize (2016.) the exhibition “histories: Photographs by fazal Sheikh” is on view through oct. 1. More information at www.mfah.org.

in producing a high caliber of work with a consistency more befitting an artist of more years than her 25. Quiet and too humble, Kwanzaa’s work reflects the potential to advance her skills as far as she wants to go and i look forward to seeing her progress as long as i have eyes to see.

She reflects the second of three young aspiring artist winning taSiMJae three years in a row. starting with avril falgout, Kwanzaa and the future exhibition of travis Walthall in 2018. travis is a young man who will graduate from lamar’s art department this december. this reflects the new generation making their way into the art world, and the talent that comes from hard work and dedication that are cornerstones to success in a competitive field. i am so very grateful for the opportunity to witness this evolution of one generation to the next as we nurture our community of artists to carry on stronger, smarter and more inspired to meet the next challenges that will face them.

Summer means summer activity for young people and the art Studio has our traditional Summer artSkool for children 10 and up.

Starting July 17 and ending July 28, we have an excellent line up of artists that look forward each year to enlightening the minds and honing the skills of the kids that love the arts. not only enlightening and enjoyable, there are serious skills that help a young person in other educational disciplines. Much is written about the skills learned in art advancing other skills in reading, comprehension, complex problem solving and thinking flexibility, as well as confidence building and a sense of accomplishment. again with the help of lamar art department we have the honor of having practicing artists reveal their knowledge to the youth of our community, to better expand their capabilities and produce insightful and beautiful works of art. don’t forget the other opportunities in art education through the Beaumont art league, art Museum of Southeast texas and lamar University art department. We attempted to coordinate between our groups so a child could do art all summer long. thanks to these art institutions working together to create a better world for the children through arts. artSkool teachers will be neal Pitak, printmaking; Greg Busceme (me), ceramics; Joe Winston, film photography; Paisley Polk, Papier Maché; Gina Garcia, mixed media project and Stephanie Messina for drawing. Come and enjoy a great time as we explore the wonderful world of art.

THE ART STUDIO, INC. NEW AND RETURNING MEMBERS

Individual

Samuel Banda Stephen S. derrick r.d. nance

FAMILY/GROUP

the elwell family Sam & Wanda Keith Kathe & Jim hendricks Julie & Jerry lee

FRIEND/BUSINESS

Brian & Jayne aquino neches engineers Julia frank Sandy & Joseph fertitta

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

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

GOALS 1. To present public exhibitions 2. To provide educational opportunities 3. To provide accessible equipment for artists 4. To provide peer feedback through association with other artists and crafts people OBJECTIVES 1. To present nine art exhibitions per year 2. To maintain equipment for artists in a safe working environment 3. To provide better access to artists for the public 4. To offer regularly scheduled adult and children’s classes 5. To develop and maintain public activities with all sectors of the community 6. To develop and maintain equipment to aid artists in their work 7. To provide a display retail outlet for artists 8. To expand programming and activities with increased facility space

Volume 23, No. 9

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:

Brother of the Wild i remember seeing you there,

above the mountains by the great sea.

timber led the way to the top of vibrant green hills undulating on the edge of earth- a gateway to heaven.

and there above,

the tips of your wide gallant feathers broadened my scope, cut like knives through the mist and fog. spiral and looping in a carlacue dance.

in trance with my passions and arrested in time, i flung myself down the side of the hills- the leaves of grass guiding me there.

i rolled and rolled through the damp verdant like a childlike your naive brother of the wild;

if only to mimic your heroism there at your home.

Merely a stranger i was, gaping; in awe, yet we were not afraid.

i saw the way you swooped below the tufts of clouds flashing your intricate scheme, and i remember it well.

that day you were more than archaic, ancient and rare, rivaled withoutgreatest creature on earth.

you gave hope and compassion, belonging and worth; a barrage of humanity to this wandering soul, to this blood and these bones — a son of the condor.

Warren Rex

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

All printed works are protected by copyright.

The author retains rights to any published work. ISSUE does not notify rejection by mail or telephone.

Thirsty

it’s the break of dawn i rise to a wondrous site and try as i might…i can’t swallow My tongue feels scorched…my throat is parched i crave a drink. the morning sun floods my resting place it’s rays…floating, pounding Golden waves. they ebb and flow.

Crashing noisily against dark dismal walls. i drink in the sweet nectar of light…

Wash my face in it Cleanse my thoughts with it refresh my mind with this golden shower this blessed hour of the day now i bow down on my knees and pray… for some strange reason i’m not thirsty anymore!

Dorothy Sells Clover An Uninvited Guest

When i go to someone’s house, the first thing i look at is their art, or lack thereof, heaven forbid. one can tell so much about the host that way. i also look at their books. i secretly applaud those with “good” books. i shamelessly judge those who display “bad” books.

But those with no books on show?

Who are these people? and how do i even know them? now i suppose no one will ever invite me over. that’s why these sorts of thoughts are best kept to one’s self.

But be honest — i’m not the only one.

Andy Coughlan

June 2017 ISSUE • 15 Equally Confusing

in kindergarten, these days, teachers often make the claim that everybody’s different, though really all the same. to ratify this nonsense, our constitution is employed to underscore the sameness of the differences devoid.

at work, the human resource staff affirm the odd man out is really quite the normal one, Whom all the world’s about. the church i go to Sundays, also, joins in the fray, By praying much the same as all the other churches pray.

it seems it doesn’t matter much, these days, what really isn’t true, the fact that i’m completely different, and, therefore, just like you.

Jesse Doiron

Forever Fading Fast

once i had a girl you’ve heard the story. fresh binding broken by blows unkind forever fading fast the dream dies. once i had a woman you’ve heard the story.

Past and present merge the dream not dead love lies.

once i had a father you’ve not heard this story! the woman’s shades show the way By deception she deceives he dies.

once i had a spirit if you find it, i can finish this story. lost, i long to forgive the onerous one — her shadows and myself.

Steven R. Moore

720 Franklin, Beaumont, Texas 77701

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INSIDE • CLIFTON STEAMBOAT MUSEUM • THOUGHTCRIME: MUSINGS FROM AREA POETS • STARK MUSEUM BRANDS AMERICAN WEST • GEEK’S SUMMER GUIDE

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

Volunteers These people are the life blood of our organization.

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

elizabeth fontenot Bryan Castino heather & adam Butler rhonda rodman Sue Wright rhonda Mcnally John roberts Beau dumesnil Karen dumesnil Sheila Busceme Kailee viator Stephan Malick terri fox Michelle falgout Stacey haynes Joe Winston John fulbright Mark Jacobson nathaniel Welch Gina Garcia Jack hays tyler hargraves aslinn Garcia Paisley Polk zoe Williams rana Matthews Caroline Badon david Granitz latasha hagan James King Madison rose Stuckey dawn S. fischer Madison Bonds Chris Garcia taylor vandevender Jaycie henderson nathan West Kay o'neal olivia Busceme Chad Barrows

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