ISSUE Magazine October 2016

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

PUSHING THROUGH PAGE 8

INSIDE: MONSTERS, DENNIS KIEL, PICASSO, AND MORE.

OCTOBER 2016

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ISSUE Vol. 23, No. 2 Publisher . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . Stephan Malick Contributing Writers . . . . . . Lauren Van Gerven, . . . . . . . . . . . . . . . . . . . . Stephan Malick Distribution . . . . . . . . . . . . . . . . . Olivia Malick

A View From The Top Greg Busceme, TASI Director

Personal Community. i see it as a collective of like-minded people, or people together in close proximity. usually we think of a town or a neighborhood as a community. it can also mean a club, an association, a guild or a church or like churches and arts organizations, each having their own particular focus but all sharing a common idea — the love of art. in the community of art there can be a variety of sub categories: academic, nonacademic, representational, abstract, nonrepresentational, self-taught, outsider artists and folk artists, to name a few. some take an academic approach to art, as originated in the British academy in the 19th century. Basically, going to college for four years and parsing out the different techniques, disciplines and movements, breaking them down and learning each step guided by a more knowledgeable instructor

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, Caitlin Duerler Tenant Representative . . . . . Elizabeth Fontenot Assistant Director . . . . . . . . . . Elizabeth French

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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 “She Kills Monsters” . . . . . . . . . . . . Page 4 Dishman’s Dennis Kiel . . . . . . . . . . . Page 6 Neal Anthony Pitak. . . . . . . . . . . . . . Page 8 “My Music, My Love” . . . . . . . . . . . Page 10 Picasso; The Line Review . . . . . . . . Page 11 High Street Gallery. . . . . . . . . . . . . Page 12 Around & About. . . . . . . . . . . . . . . Page 14 Thoughtcrime. . . . . . . . . . . . . . . . . Page 15 Cover photo by Andy Coughlan

(or so you hope). apprenticeship is acting as an assistant, learning by osmosis and hands-on experience, gleaning the information by practice and imitation to serve the needs of your master. this was how art was learned by the majority of artists centuries before the British academy was originated, and it is still a viable means of eliciting information from great artists today. With this process you will know you are complete in your studies — when your master suddenly seems like an idiot. now we get to self-taught, outsider and folk artists. these are the invisible members of our art community. this group is hard to find and harder to bring into the light. they are mostly people who, for their own personal reasons, choose not to work

See VIEW on page 12

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4 • ISSUE October 2016

Monster Mashup

Volume 23, No. 2

BCP-ad-Hoc production uses ’90s gaming to explore deep issues

Dealing WitH loss, mourning, family issues, and overall geekdom in a setting of a parallel universe sliding between fantasy and reality, “she Kills monsters” strives to be something other than a traPhotos by ditional, run-of-the-mill community proAndy duction for its run oct. 14-29 at the Betty Coughlan greenberg Center for Performing arts. the Beaumont Community Players in conjunction with ad Hoc Beaumont have teamed up to produce the play in an attempt to broaden both the groups’ audiences that pushes the boundaries of what each has traditionally produced in this first of BCP’s “theatre on the edge” series.

Written by Qui nguyen and first performed in 2011 at new york’s off Broadway Flea theater, the contemporary play tells a humorous, if not occasionally dark, story of life, gaming, role-playing, feminism and life struggles of teens and 20-somethings. While many typical nerd storylines tend to emphasize males and the usually socially-stunted male psyche for lead roles, “she Kills monsters” takes a refreshing, and nostalgic look by presenting a female-dominated lead and cast.

“BCP and ad Hoc are both known for the kind of performances they do,” michael saar, director and long-time BCP member, said. “BCP tends to do more traditional works and ad Hoc tends to produce more adult-oriented and edgy works.” saar, along with ad Hoc producers michael mason and Jody reho, said the production is a joint effort in which they are sharing many duties of organizing a show that often crosses into new territory for all of them. “it’s hard to explain in a way, but at the same time everything is fitting well and we’re all working to make this come together,” mason said. “While michael (saar)

Story by Stephan Malick

Agnes, played by Mary Hooker, left, joins her sister Tillie, Wyatt Curry, in a Dungeon’s and Dragons game that is more than just a game.

October 2016 ISSUE • 5

Volume 23, No. 2 is directing, we all work together on things like blocking fight scenes or working with a small group of the cast while he is working with another. this is a large production in terms of the size of the cast, the sets and technical requirements. this is a bit new to all of us.” the production features mary Hooker, Wyatt Curry, avery smithhart, tabitha samuel, Keekee Hernandez, Heather rushing, taylor VanDevender, Haleigh Courts, Haley Hardin, Donny avery, Cole Williams, Jared Hinson, anthony gonzalez, Wendi Hinson, lige menard, isabella rey, Peter Cao, iza scott and Caleb Peterson. the lead characters of agnes, played by Hooker, and tilly, played by 14-year-old Curry, in his first leading role in a community level production, are working their roles in some ways like the narrative of the play — by becoming a team. “as we’re rehearsing our lines and the fight scenes,

Wyatt Curry, Donny Avery and Mary Hooker, battle a monster during a rehearsal for “She Kills Monsters” at the Betty Greenberg Center Performing Arts.

much like agnes and tilly, we are finding ourselves slipping in the roles pretty easily,” Hooker said. “i’m a bit older (she laughs) so i tend to look out for Wyatt and to make sure he’s comfortable and i think we’re beginning to gel as characters.”

Curry said although this is his first role outside of school productions, he feels more comfortable with the role with each rehearsal. “tilly is sarcastic and ambitious in nature, something that i can relate to,” Curry said. “tilly also went through some things that i can related to, bullying at school, so i feel connected to the role and more so each rehearsal.” a compelling aspect of the play, saar said, are fight sequences throughout the production. “i don’t think anyone locally has seen anything like we are putting together for this show,” saar said. “it’s pretty intense with the level of stage fighting we’re put-

ting together.” saar and company brought in local experts to help train and coordinate fighting; David Howells of tiger rock martial arts and Beau Dumesnil and Jeff Courts with the local chapter of the society of Creative anachronism. “the training for the cast and crew is pretty intense,” Hooker said. “i’ve been sporting wraps and bandages ever since rehearsals began. it’s rough and i think the audience is really going to enjoy it. it will be like nothing they’ve ever seen on stage.” tickets are on sale now at www.beaumontcommuni typlayers.com with show dates oct. 14, 15, 21, 27, 28, 29, and a matinee oct. 22. the Betty greenberg Center for Performing arts is located at 4155 laurel in Beaumont.

For more information visit the website, BCP and ad Hoc’s Facebook pages, or call 409-833-4664.

6 • ISSUE October 2016

Volume 23, No. 2

life through a lens

DisHman DireCtor Kiel’s loVe oF PHotograPHy leaDs to gallery Career Story by Lauren Van Gerven Photos by Andy Coughlan

“When i was really small the ice cream truck used to come by,” Dennis Kiel said. “i had this ice cream, and when i unwrapped it, it had this contest. there was a picture of Donald Duck, and he was being chased by a space shuttle. the contest was to come up with an appropriate saying. the first prize was a pony, so of course i entered. i must have been around seven

or eight years old. i remember a letter came, and my mother panicked, she thought ‘oh god, he won a pony.’ But, i didn’t win a pony — i won a camera. it was my first camera.” little did Kiel know an ice cream would lead to a career in the arts — and a love affair with photography that never died.

Kiel is director of the Dishman art

museum at lamar university, moving here in January 2015 after spending time at the Cincinnati museum of art as curator of photography, prints and drawings. growing up, Kiel remembers spending time looking at slides that his father had taken with a german camera bought while traveling during his time in the air Force. it was also his father

who bought Kiel his first real camera. “my father hated smoking,” Kiel said. “so he made a deal with my brother and i not to smoke until we were 21. i had no interest in smoking, so it was really easy for me. so when i turned 21, my father bought me a Honeywell Pentax 35mm camera. that was the first real, pretty camera i had.”

Despite his early connection with

October 2016 ISSUE • 7

Volume 23, No. 2 photography, Kiel, who grew up in toledo, ohio, studied graphic design in college and spent some time working at a printing company when he ran out of money while working on his thesis in graduate school. “it was a pretty horrible printing company in Cincinnati,” he said. “But, for some reason — it was really kind of a strange situation — they had a division where they did backstage passes for a lot of rock bands and music groups.” one of his projects included designing the backstage passes for Bruce springsteen’s 1981 river tour.

“We had to design three (passes) a day,” he said. “Copyright? Forget it. there was no one who even cared about it, and we stole ideas everywhere. ‘Hey, let’s steal this picture out of this book.’ nobody cared.”

Kiel also worked on the rolling stones’ tattoo you tour’s tickets. “you could buy a generic ticket,” he said. “But you could also buy a really fancy ticket. there were three different tickets.

What was amazing was how easily people could forge them. We were amazed. How did they even know what they looked like?

We had a representative, and he brought back forged tickets — and when we looked at them, they were perfect. “so, i got to design the fourth version in the series, and i believe it was the best. We used this old, outdated foil that they printed on either sides. you couldn’t get this foil anywhere, so supposedly that’s what stopped it.” although he took a ticket straight off the press for his files, Kiel really wanted a ticket with the full details printed on it. “in my version, it had a high-contrast picture of each of the rolling stones,” he said. “i took one when it came off the press, but it had no seat number or anything. i wanted one that had an actual seat number, so i remember years ago i went to eBay and there it was. they sold it for next to nothing, so i bought it.”

By coincidence, Kiel found out that his backstage pass work is featured in the book “the art of rock — Presley to Punk” “When i was working at the Cincinnati art museum they had a copy of that book,” he said. “i would stop in and go through it, not paying much attention, and then i noticed they had a section on backstage passes. they interviewed the guy who was in charge of our department. He was talking about the springsteen tour, and he brings up this funny situation. it was the Bella Donna tour with stevie nicks. she

was finishing up with three concerts in san Francisco and she needed backstage passes in 72 hours.”

Kiel said it all sounded pretty familiar. “then at once, i see my name,” he said.

“He says that he gave me the project, and then called his wife who had the Bella Donna album, and we made a copy of the cover, which i reduced down and then i put the type on it. We basically did the same thing with three different colors, and he was so excited because we got it done and we got it to them in 48 hours. and then he ends up saying, to this day, of all the backstage passes that he did, this series was still his favorite. and i don’t even think they’re that good.”

Despite having worked on big projects such as the backstage passes, Kiel never thought he was a good graphic designer. “it’s in my nature,” he said. “i start a project, and i think i’m going to fail — there is no way it’s going to work. it’s like taking a test. When you walk out and you think you’ve failed, you won’t be disappointed. and if you do well, it’s even sweeter.” after his stint in graphic design, Kiel finished his master’s degree in art history at the university of Cincinnati and got a job as a curatorial assistant at the Cincinnati art museum.

“Curatorial assistant is different than assistant curator,” he said. “it’s really hands on. i cut the mats and things like that. But i didn’t care, i got my foot in the door, and by then i had my master’s so all i had to do was prove i was worthy. i ended up being there a long time.”

it was here that Kiel really built on his love of photography.

“When i started working as a curator, we were generalists,” he said. “so, sometimes we’d do a print show, a drawing show, a photography show, and then the director decided we should divide into departments so that we could focus on one area. i ended up getting photography. We had 5,000 photographs in our collection — so it was a pretty large collection. i used to joke that photography was the only true art medium.” even though he spent 24 years at the Cincinnati art museum, Kiel said that leaving might have been the best thing ever. “it became almost like working for Proctor and gamble,” he said. “When i started out, i knew everyone, you could stick your hand in everything. it was much smaller, and it grew and grew — it became more of a business. at one point, we had nine curators. our print collection — there were two of us — was 30,000 prints. and it wasn’t even considered a big museum.” after leaving Cincinnati, Kiel spent time working at a small gallery specializing in film and photography in north Carolina before taking the position at lamar.

“We have a built-in audience at the Dishman,” he said. “even though it’s hard to get the art students to come — you have to drag them by the arm — it’s a place for them to be inspired, to learn, and it’s a place for them to hang their own work during the senior thesis show and stuff like that.”

Kiel said that aside from the art stu-

dents, he would also like to get the rest of the university involved. He is working on bringing different departments together to grow awareness. “the next show i’m doing, i’m working with the lu office of sustainability and the green squad,” he said. “i’m working with this photographer who has this great project called ‘the evolution of ivanpah solar,’ which is a three unit solar plant in the mojave Desert, which is where all the solar panels are. He’s photographing this from the air, so some of the images look really abstract — some are these incredible landscape shots.” the photographs, by Jamey stillings, show the evolution of the solar plant being built, Kiel said.

Kiel said that he hopes to bring a new audience to the museum with this art installation. “there are probably people from all around campus, i can guarantee you, that have never been to the Dishman,” he said. “the idea is to have programming that is related to the exhibition, so that we can get people to the Dishman. We also want to get the community outside of the university, that’s the immediate goal.”

Kiel said he wants the Dishman to be a place where everyone can feel at home — he will even stay past hours. regardless of your thoughts on what the “true medium of art” is, take the time to stop by the Dishman, and don't leave without meeting the museum's director. the Dishman art museum is located on the corner of mlK Parkway and east lavaca on the lamar university campus.

Dennis Kiel’s Old Town Beaumont home is lined with photographs he has collected — all immaculately hung, of course.

The photograph in the photo far left is by Keith Carter and is titled “Studio.”

excavating patterns in chaos

8 • ISSUE October 2016

Pitak explores push, pull of artistic process in october exhibition

“WHat i loVe is the physicality, the memory of movement. making a mark, with a paintbrush or charcoal, whatever, it’s your movement. it’s your breath. it’s how you feel at that moment.” neal anthony Pitak is all about process — recycling, regurgitation, expulsion. the results of this

Story and photos by Andy Coughlan

Volume 23, No. 2

process will be on display in the exhibition “the mighty Coprolite,” beginning oct. 1 at the art studio, inc. the show opens with a reception from 7 p.m. to 10 p.m., oct. 1, and closes oct. 26.

Pitak, who is a lab technician in lamar university’s art department, said his work is print driven but he doesn’t think of the work as prints. the Parma, ohio-native

said he would, if pushed, characterize his work as multimedia. “they start as drawings, or a print — lithograph, intaglio, or a silkscreen — but they keep on shifting and moving in the sense that i keep layering and changing them,” he said. “i have been Xeroxing and copying them. i will do a shitty copy of an intaglio and then i will do a

Artist Neal Anthony Pitak, above and right, with his artwork in his Beaumont home ahead of his show, “The Mighty Coprolite,” which opens Oct. 1 at The Art Studio, Inc.

Volume 23, No. 2 transfer (print). the idea is that it keeps changing. every layer is a shift and each time it creates a new form, it builds into something. i have no idea what it is, but it kind of grows into itself. “i like the idea of absorbing things and taking things in, then letting them out and taking them back in — it’s fun processing them and recycling them.”

Pitak said that works in the show are built, layer upon layer, until the original drawing or print is obscured. “i have bins of writings and drawings,” he said. “i have an old Xerox machine so i do copies of copies of copies — so i have things breaking down. you know, it’s like pentimenti — things behind, erased, and there’s a ghost.” the process of transferring a photocopied image onto paper using acetone has become more difficult with modern printers and inks. However, Pitak found an old Xerox copier at an estate sale. “i was making copies and transferring them on top of old prints and then painting on top of that, building them up,” he said. “it breaks the image down, too. if you have something you originally do, if you layer it you lose that original layer as you’re layering. But there’s that thing behind it, so even though, essentially, no one will see it, there’s that thing that started it — the beginning of the cycle, which is interesting to me — it’s like a spark.” the coprolite of the title refers to petrified dung.

“What got me interested in that was, in my research there was a piece of dung and inside there was a broken toe — it was petrified,” he said. “that’s (like) a lot of my objects — not so much thematically but in an idea sense — they filter through me, push though me, and they get processed and end up getting frozen. i think of some of my objects as being dissections or cross sections of ideas.” the works are all connected but they are all individual, Pitak said. He had his work in one place and it was overwhelming, a sort of sensory overload. so, to prepare for the show, he started breaking the works up into different rooms of his house. “my bedroom was things starting, the studio was the middle where i was close, then when i was finished i’d pin things up on the wall, so everything in the living room was finished,” he said. “i wouldn’t say it was like a production line, but it was easy for me to walk through look at it and it wasn’t so stifling — i could see what i was doing. “i’m making connections, because i recycle a lot of my images using Xeroxes and prints, etc., and i’m making connections that i couldn’t see before, and i’m able to build another layer, or another object, or another thing from that. so it’s building another connection and another connection — like building another synapse. “that’s what’s been helpful laying them out and

See PITAK on page 12

October 2016 ISSUE • 9

Lamar to host ‘My Music, My Love,’ Oct. 21-22

10 • ISSUE October 2016

Volume 23, No. 2

staged reading to focus on life of composer Johannes Brahms

tHe mary morgan moore department of music will host a staged reading of “my music, my love,” a one-act play by ellen Walker rienstra in collaboration with eduard schmieder, oct. 21-22, 2016. the play explores the lives and music of Johannes Brahms (1833-1897) and his great love, Clara schumann, and implicitly, the romantic era in which they lived. David Hooker will read the part of Brahms, while schmieder will perform violin selections as Brahms’ contemporary and friend, violinist Joseph Joachim. miriam leskis is the accompanist for the performance. Keith Cockrell will direct the staged reading. showtimes are 7:30 p.m., oct. 21, and 2 p.m., oct. 22, in the rothwell recital Hall on the campus of lamar university. admission is $10 for adults and $5 for faculty/students/staff with lamar university iD. in the play, Brahms, alone, ill, in the twilight of his life, is confronting his ghosts — and the warring fragments of his own personality. He ruminates on

Johannes Brahms

his long life and the changes in his world and in music. as he reminisces, a violinist and a pianist play melodies from his works and those of various composers. He is never sure if they are real. as he relives the past, notably his experiences with Clara schumann, his muse and romantic ideal, he begins to reconcile his fears and to accept the rightful place of profound feeling in himself and his music. as his life ebbs, he feels himself to be whole at last.

————— eduard schmieder is distinguished professor of violin at temple university in Philadelphia. a renowned violinist, teacher and conductor, he formerly taught at lamar university, rice university, southern methodist university and the university of southern California. since 2004, he has been a member of the faculty at the mozarteum summer academie salzburg. He founded and currently conducts the iPalpiti orchestral ensemble of international laureates.

David Hooker is an associate professor at lamar institute of technology, where he has taught english composition, humanities and literature for 22 years. He has acted and sung in plays, musicals, and operas for more than 50 years, including semi-professional, college and community theater, from shakespeare to Chekov and gilbert and sullivan. miriam leskis is a chamber pianist who has performed in chamber music and art song festivals in europe, north america and israel. she received her master’s degree in piano accompaniment at the guildhall school of music and Drama with high distinction and a Concert recital Diploma. she currently maintains a private studio in new york City and works as a freelance collaborative pianist.

Keith Cockrell is the longtime director of theater at lamar state CollegePort arthur. He has been involved with

Courtesy photo

Actor David Hooker stands in front of the train station in Hamburg, Germany, home of composer Johannes Brahms. Hooker will play Brahms in “My Music, My Love,” a staged reading, Oct. 21-22. golden triangle theater for almost half a century, with breaks to attend the university of alabama and louisiana state university, where he earned his doctorate in theater. His awards include the Kennedy Center award for excellence in Playwriting. ellen Walker rienstra is a musician,

writer and historian. she is the author of several books, including, “a Pride of Kin,” “giant under the Hill” and “the long shadow,” and is a former member of the symphony of southeast texas.

For information, call 409-880-8144, or email delores.black@lamar.edu or ewrienstra@sbcglobal.net.

Drawing Inspiration

October 2016 ISSUE • 11

Volume 23, No. 2

menil Collection hosts ‘Picasso the line’ exhibition through Jan. 8 Pablo Picasso’s output was prodigious to put it mildly. He is credited with 1,885 paintings, 1,288 sculptures, 2,880 ceramics and 12,000 drawings, not to mention countless prints and tapestries. is it really possible to appreciate get to the essential genius in the face of such an overwhelming body of work? in Carmen giménez’s opinion, the answer lies in stripping away the color and the paint and getting to the artist’s purest form — drawing.

Following on from the curator’s “Picasso Black and White,” which she originated at the guggenheim museum in new york, the menil Collection is hosting “Picasso the line,” a simply stunning show that, while small in content, is epic in unlocking the key to the spaniard’s genius. it is an exhibition so simple, yet deeply profound. that both “Black and White” and “the line” are curated by the same person comes as no surprise. Carmen giménéz is founder and former director of the musée Picasso in malaga, spain, and curator of the solomon r. guggenheim museum in new york, and the two shows share an aesthetic — both strip away the clutter to reveal the essential artist. the exhibition is arranged basically chronologically, which reveals Picasso’s process of exploration. the four studies for “Demoiselles D’avignon” are a fascinating glimpse into the process behind what is probably the most significant painting of the 20th century. three of the collected drawings were executed on the same day, sept. 18, 1907. “seven Dancers with olga Khokhlova in the Foreground from a Photograph by White,” early 1919, ” is simply gorgeous. the lines are bold and strong, yet the women are graceful and sensual at the same time. Picasso perfectly captures the strength and athleticism that lies behind the grace. one of the highlights is a magnificent portrait of igor stravinsky. again, the lines are so crisp and determined. Picasso knew exactly what he wanted to do. not for Picasso the timid sketchiness that we often find in lesser mortals. the sketch is vibrant and full of life. in “the Painter and his model” 1928, Picasso rejects the bold lines of previous years in favor of scribbly, doodly whimsical lines, yet this doesn’t take away from the fact that it is still strikingly attractive. there is a playfulness in what appears to be a hurried sketch, as if he is desperate to get a fleeting idea down on paper.

Picasso’s strength is the ability to reduce the complex into simplicity, but a simplicity that carries within it all the complexity of the human condition. this is especially true of the portraits. there are three portraits of Francoise, his mistress/lover/wife. all are “the same in composition, yet each one captures a slightly different facet of the subject. one especially is drawn simply with five lines form-

Review by Andy Coughlan

See PICASSO on page 12

SELF PORTRAIT by Pablo Picasso

12 • ISSUE October 2016

PICASSO from page 11 ing the hair and neck, and around 10 more for the face. yet, in these few marks, he has produced a portrait that is both beautiful and also full of personality. a series of studies for “le mirror,” from 1941, offers multiple versions of the same image. they are all alike, yet each one is radically different. it is almost like one of the “spot the difference” cartoon panels, except in these, one sees the artist’s mind playing with the theme, searching for the ideal combination of elements. there are things added and taken away, and even the occasional style shift, but always the same. there is also a remarkable series of lithographs of a bull from 1945. the first is a fully formed drawing, with tones and shading, fully rendered and representational. By the time the series reaches the end, having gone through a reductive process, the abstracted rendering is still unmistakably a bull, but no longer rendered realistically. it

Volume 23, No. 2 shows the thought process of the master as he plays with the form and seeks the simplicity in the design. and of course, being Picasso, there are the drawings of women late in his life. With their distorted perspective, large hands and feet, they are both grotesque and highly sexualized, but beautiful, nonetheless. giménez gave a talk to open the exhibition on sept. 16, where she said that, in her opinion, Picasso is first and foremost “the line,” including his sculptures which are line drawings in a physical space. she said that sometimes the color on the paintings obscures the line work. even the Picasso “Black and White” exhibition was, in many cases, a drawing show. giménez argued that some of the images were really drawings but because they were paint on canvas, they are considered paintings. many of the drawings in the show are being shown for the first time, including work from his family’s collection. the self portrait that is the catalogue’s main image, shows the

PITAK from page 9 looking at them, but they are very thematic. they are based on how i absorb them, how they pass through my body. that’s why i use the term ‘mighty Coprolite,’ because it’s the morphology.” sometimes, Pitak’s love of process can lead him to get

Images are pinned up on the walls of Neal Anthony Pitak’s home, so he can see the patterns and themes in the work.

young artist staring straight out at the viewer. the drawing is not overly detailed, yet shows a determination and intensity that brims with selfconfidence. giménez said that people enjoy looking at the drawings because they are not distracted. it is art in its purest form. it forces one to really look. giménez said that the two shows “Black and White” and “the line” reflect her view that, while matisse could be said to be color, Picasso is certainly black and white — that is his strength. she is right. everyone loves the paintings, but to really get in the mind of the 20th-century’s greatest artist’s mastery of technique and imagination, one needs to examine the drawings. in the simple act of making a mark on paper, he surpasses most everyone else combined. it is in the simplest work that the complexity of genius is truly found. this exhibit will show nowhere else, so make sure to go. the menil Collection is located at 1515 Bissonnet in Houston.

For more, visit www.menil.org

lost in the work. He reflected on a professor’s comment when was in graduate school at indiana university. “she said, ‘you’re noodling too much, neal’ — and for a long time i wondered, what does that mean?” he said. “and then i realized i was kind of, like, meandering. i love process but without product it means nothing, so i’m finding this connection between process and product. they are inseparable to me, but i have to find (the point of) finishing, finality and moving on. it doesn’t have to be perfect — they never are, but the more i finish something i am just going to get better at it, and i’m going to get closer to what i want. “i think right now, because of this show, i’m finally coming to terms with realizing i need to finish things, that it’s done, it’s not in a stasis — it’s finished and let’s move on.” as the layers of images overlay on top of each other, much of the work loses its representational form. However, Pitak said he doesn’t think of his work as abstract. “it’s very figurative in my eye,” he said. in the same way, on the face of it, one might say his work is black and white. But that is not how the artist sees it. “i use very minimal color, but i feel there is an infinite scale between black and white, the gray scale, and there’s texture and form and the buildup,” he said. “my favorite thing right now is the Crayola black marker — or Chunky

IGOR STRAVINSKY by Pablo Picasso monkey — because if you draw with it and you add alcohol or water after it dries, it is this beautiful blue-green, like a fly. i’ve tried to mix this color and i can’t. it’s going back to the basics.” the viewer is going to come up with their own ideas, regardless of Pitak’s intention, which is fine, he said. He recalls a visit to Houston’s menil Collection with a friend. “she said, ‘i’m not an artist, i don’t know what to get from this,’ and i said, ‘How could you not get something from this?’ you’re going to get your own idea of something,” he said. “i think we are all pattern seekers. “a lot of the things i do are very chaotic, but when i show people my work they say, ‘oh, i see this’ or ‘i see that.’ We look for the recognizable in a stain or a cloud. that’s what you see. i can’t take that away from you. i can give what i made, what i did. We are always looking for form in chaos, so that’s what i am interested in — finding pattern in chaos.”

Pitak said that each piece does have a specific meaning. “even though it seems random it means something,” he said. “it’s private, but someone is going to get something out of it, even if it’s as basic as a white canvas with a line. i certainly don’t want to force it. the art studio is located at 720 Franklin in downtown Beaumont. For information, visit www.artstudio.org,

High Street Gallery to host Kevin Clay

October 2016 ISSUE • 13

Volume 23, No. 2

Beaumont — tHe HigH street gallery will host a graphic art exhibition by Kevin Clay, 6-9 p.m., oct. 15.

Kevin Clay has created a body of artwork and merchandise to show and sell for this exhibition. entry is free.

Clay describes his work as, "something between melty cartoons and this really idealistic representation of notebook margin doodles — exaggerated reflection of how i see the world. “i experiment with a lot of different things, but i think

VIEW from page 3 in a collective, but alone, taking their own path, their own way, usually with the materials they have on hand. each have some unique qualities about their approach to art but share the idea of individuality, originality and purity of though. even so, these are an important part of the artists community, whether they know it or not. self-taught artists generally find information in books, and now through youtube and other electronic media. they work in trial and error to create a work that satisfies their need to make art, usually copying other works of art and applying those skills

representations of texture are something that end up in my work a lot even as i move from style to style. Poor little bundles of reflected anxieties, they tend to be." the southeast texas artist has been drawing for his entire life and graduated from lamar university. "in college, i took a lot of film classes so i spent a lot of time developing more of a photographic eye for things, with a heavier focus on visual symmetry and balance and things like that, which i think pushed me more into a graphic design and visual world that i had never thought of in a critical way before,” he said. “so it's definitely been a mix of the formal and informal. “i think fascination became education and the cycle continues on and on."

Clay said he finds influences in the pop art of roy lichtenstein and Keith Haring, as well as Japanese illustrator yuko shimizu, and the detailed and rich perspective of Wayne Barlowe. "i also really like the work that tyler the Creator, Kanye West and Drake have been putting in their pop-up shops,” he said. “i think all of those artists have a similar line of vision that merges a clean and simple ideal with a sort of grungy, city feeling that i really like."

Clay said the music he listens to also influences his artwork. “i find that when i'm working on certain pieces, or even when i'm not, i might hear a particular song and it might kick me into the mode where i'm feeling really ready to make something,” he said. "i think being alluring in art is a good thing. i think i have a kind of varied influence, but they all ride similar currents. i might see a simple little line drawing of something and admire it as much as an oil painting by an old master. and elements from both of those ends of the spectrum will end up in my work." the art reception will be followed by a musical per-

formance at the nearby texas rose saloon, featuring touring performance artists terror Pigeon and real Dom as well as other local musical acts. the beer bar is located at 2013 s mlK Parkway, within earshot of the Victoria House.

For more information, email victoriahousetx@gmail.com, or visit the High street gallery Facebook page.

to their own creations. they are hermits by nature or afraid of criticism, or feel inferior to other artists (usually unwarranted) and rather live with uncertainty than facing the possible horrible truth.

What they don’t realize is that all artists are selftaught to some degree, and uncertainty is a way of life. it takes courage and self awareness to overcome that fear. even the greatest artist live with self doubt about their development as an artist.

Folk artists, or outsider artists, are people who come to art through some form of inspiration, a profound life event such as a dream or revelation in a personal and provoking experience with god who inspires or even demands the creation of objects. through this revelation they begin the creation of ob-

jects with no evolution. that is, there is no learning curve as in the academic and self-taught process. the work is wholly complete and aesthetically perfect, even with the sometime naive quality peculiar to this artist. they also don’t see this work as needing to be shown, as much as their art is driven to be made for making sake. the purity of these last three types of artists of our community makes the work they do the most important work of all. as aspiring artists, we seek what they naturally own but this cannot be learned — a genius form of creativity, unadulterated by ego, self importance or a sense of entitlement. these artists, if no one else, definitely belong in the community of artists.

Images courtesy of Kevin Clay

Around & About

14 • ISSUE October 2016

Volume 23, No. 2

If you come across any interesting exhibitions, museums or other places on your travels, share them with us. Call 409-838-5393, or contact us through our web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs.

LAMAR UNIVERSITY will welcome world-renowned classical musician ITZHAK PERLMAN as the 12th speaker in the Judge Joe J. Fisher Distinguished lecture series, oct. 6, from 7:30 p.m. to 8:30 p.m. in the montagne Center. the free public lecture is titled “a moderated presentation featuring itzhak Perlman’s violin to demonstrate the power of music to emotionally connect with an audience.” a public reception will follow the presentation. Perlman will also be available earlier in the day in a question and answer session with lu students.

“We are very pleased to have a speaker of such renown as mr. Perlman,” said Kevin smith, senior associate provost and chair of the university’s Judge Joe J. Fisher Distinguished lecture series committee. “the Fisher lecture series enables lu to present world-class speakers to our students and the greater southeast texas community.

Judge Fisher’s legacy carries on in part through the value of this lecture series to the people of southeast texas.” the Judge Joe J. Fisher Distinguished lecture series was created in 1986 to honor Judge Fisher’s many contributions to southeast texas and lamar university. the people of the community established the series to benefit lamar students and to honor the longtime federal judge who died June 19, 2000.

Past lecturers in the Fisher series are former President gerald Ford, larry mcmurtry, Vladimir sakharov, stephen Jay gould, linda ellerbee, antonin scalia, arthur schlesinger Jr., former Prime minister shimon Peres, James Watson, former Pakistani Prime minister Benazir Bhutto, and Jon Huntsman.

Perlman, a four-time emmy award winner and 16-time grammy award winner, is one of the top names in classical music today. Born in 1945 in israel, Perlman completed his initial education at the academy of music at tel aviv before coming to new york. Following his studies at the Julliard school, Perlman won the leventritt Competition in 1964 and embarked on a successful worldwide career. Perlman is now a cultural

ITZHAK PERLMAN

icon and leading master of violin.

He has performed with every major orchestra and at reputable concert halls worldwide, earning a Kennedy Center Honor in 2003 by the John F. Kenney Center for the Performing arts for his achievements and contributions to the united states.

Perlman took part in the 2009 inauguration of President Barak obama, performed for Her majesty the Queen and His royal Highness the Duke of edinburgh at a state dinner hosted by george W. Bush at the White House and made appearances on popular shows such as the late show with David letterman, 60 minutes, sesame street, the Frugal gourmet and the tonight show. among Perlman’s numerous awards are a grammy lifetime achievement award for excellence in the recording arts and several honorary degrees from institutions like Harvard, yale and Brandeis universities.

Perlman was awarded an honorary doctorate and a centennial medal on Julliard’s 100th commencement ceremony.

Perlman teaches and conducts at the Perlman music Program, founded in 1993, which offers unmatched musical training to young string players though summer programs and mentoring. ___________

the LAMAR UNIVERSITY DEPARTMENT OF THEATRE & DANCE will present SILENT SKY by lauren gunderson, based on the true story and science of early 20th century female “computers” at Harvard observatory. astonishing discoveries await Henrietta leavitt as she maps distant stars in galaxies beyond our own. But this brilliant, headstrong pioneer must struggle for recognition in the man’s world of turn-ofthe-century astronomy. in this exquisite blend of science, history, family ties, and fragile love, a passionate young woman must map her own passage through a society determined to keep a woman in her place. the play was a finalist for the Jane Chambers award 2013.

Headed by guest director amelia Fischer, this production will be in the studio theatre. showtimes are sept. 29-30 and oct. 1 at 7:30 p.m., and oct. 2 at 2 p.m. tickets are $15 general admission, $10 lu/lit faculty and staff, senior citizens, non-lu students, and $7 lu/lit students with a valid iD (limit one student ticket per iD). tickets may be purchased in person at the box office, open monday through Friday from 2:30 p.m. to 4:30 p.m., and one hour before each performance. tickets may also be reserved over the phone at 880-2250. the box office accepts cash, checks, and all major credit/debit cards. ___________ the BEAUMONT ART LEAGUE will host the fundraiser FOOD FOR ART’S SAKE, 7 p.m. to 10 p.m., nov. 5. the event will feature the solo exhibition, “all in my Head,” by Dan gresham. tickets may be purchase via eventbrite at www.eventbrite.com/e/ 27238115938?aff=fc27190681.

Bal is located at 2675 gulf st. in Beaumont.

For more information, call 409-8334179, email info@ beaumontartleague.org, or visit www.beaumontartleague.org. ___________

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

Thoughtcrime

October 2016 ISSUE • 15

Volume 23, No. 2

The Passive-Aggressive Highway A Country Western Epic

you passed me up on the passive-aggressive highway left me behind with the dust of your wheels i always figured you'd be going my way 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 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 of rejection by mail or telephone.

Poem I

the tragedy in nature, as it unfolds in droves.

Harsh, nasty weather, expressed in human forms.

"Politics."

Heavy tones of depravity, abounding. yells resound, emotion on the public table.

What are my subtle traumas?

Vapidity and strife, and the dramas of privilege.

awash in my muted experience, i am romantic ideals left to decay, taking notes on the anemia of expectation. i watch it all, grateful, fade.

Peter Webb

But you don't care much how this fella feels. thought we'd take the redemption bypass, and ride that road out to our final days.

i'm thinking you just sorta run out of gas, trying to forgive all our wandering ways.

it seems to me you got your own road now Bound for any direction, 'cept with me

i'm crazy with fear thinking about the how, i can follow any road once i set you free.

you passed me up on the passive-aggressive highway left me behind with the dust of your wheels i always figured you'd be going my way

But you don't care no more how a fella feels.

We had fun when we were in the fast lane.

you've seen my best and held me next to dead.

that mix-master interchange is making me insane

thinking of the different turn you're taking just ahead the interstate's calling to you, that is plain to see

i wave goodbye to your tail lights, smiling back the tears. i pray someday you find a way to come on back to me.

i'll dream about the road with you, the rest of all my years. you passed me up on the passive-aggressive highway left me behind with the dust of your wheels i always figured you'd be going my way

But you don't care no more how a fella feels.

Eliot Hall

Look into the Stained Glass

When you look in the mirror What do you see is it blurry Because it’s clear to me Hasn’t always been that way my life use to be black and grey i thought over time i would decay i’m not perfect, that’s real i still wear my garbage i closed the pain and negativity out of my head and darted When i look in the mirror i never forget where i started Fake people deny their garbage real people wear it on their chest maybe that’s why i don’t get any rest Be honest and real to succeed stay away from pills Pills will make you go from a 10 to a 2 Before you know it you’re stuck like glue the ones who love you will deny it and say no need for change until your gone then everything is strange if i could go back in time to confront you about your issue maybe you would still be here and i would have nothing to fear your picture is on my mirror When i look into it What do i see it’s a picture of you But i see me Tristin Smith

Immigrant

here, there, everywhere i have unlearned to be home — the moon is rising

i’m a wanderer From field to field, book to book, poem to paycheck writing haiku when the world is dark and sleeping — bliss, perhaps home, home Grace Megnet

720 Franklin, Beaumont, Texas 77701

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

RETURN SERVICE REQUESTED

INSIDE • PITAK’S ‘MIGHTY COPROLITE’ • THOUGHTCRIME: MUSINGS FROM AREA POETS • DISHMAN’S DENNIS KIEL • ‘SHE KILLS MONSTERS’

JOIN US

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.

Vo lunte er s

These people are the life blood of our organization. WE COULDN’T DO IT WITHOUT YOU! To volunteer, drop by The Art Studio, Inc., or call 409-838-5393.

elizabeth Fontenot Bryan Castino Heather & adam Butler rhonda rodman sue Wright Cyndi grimes rhonda mcnally andy Coughlan John roberts Beau Dumesnil Karen Dumesnil sheila Busceme Kailee Viator Caitlin Duerler stephan malick terri Fox avril Falgout michelle Falgout stacey Haynes Joe Winston John Fulbright mark Jacobson nathaniel Welch gina garcia Hayley Hardin Jack Hays tyler Hargraves aslinn garcia Chase Kiker Paisley Polk Zoe Williams rana matthews michael Beard Brittany tawater Juliet goldstein Caroline Badon Jake Hollier Breanna Workman David granitz Pat grimes

FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

THIS MONTH:

The Mighty Coprolite Works by Neal Anthony Pitak OCTOBER 1-26

GALLERY RECEPTION IS OCTOBER 1, 7-10 P.M.

this project was funded in part by the B.a. & e.W. steinhagen Benevolent trust through the southeast texas arts Council.

ISSUE

DISTRIBUTION POINTS

DOWNTOWN THE ART STUDIO, INC. 720 FRANKLIN ART MUSEUM OF SOUTHEAST TEXAS 500 MAIN BABE DIDRIKSON ZAHARIAS MUSEUM 1750 IH-10E BEAUMONT CONVENTION & VISITORS BUREAU 801 MAIN BEAUMONT ART LEAGUE (FAIRGROUNDS) 2675 GULF ST NEW YORK PIZZA & PASTA 790 NECHES SETAC 701 NORTH STREET, STE. 1 STARBUCKS EDISON PLAZA TEXAS ENERGY MUSEUM 600 MAIN SOUTH END/LAMAR UNIVERSITY CARLITO’S RESTAURANT 890 AMARILLO @ COLLEGE SUNRISE 2425 S 11TH JERUSALEM HOOKAH CAFÉ 3035 COLLEGE SWICEGOOD MUSIC CO. 3685 COLLEGE LU ART DEPARTMENT DISHMAN ART MUSEUM UNIVERSITY PRESS 200 SETZER STUDENT CENTER OLD TOWN ALDEN HOUSE SALON 2145 CALDER ANNA’S MEXICAN BAKERY 2570 CALDER JAVELINA TATTOO 2510 CALDER CHAPAS TAMALES 2305 CALDER BETTY SMITH CREATIVE WORKS 2485 CALDER THE BREW SHOP 2410 CALDER JASON’S DELI 112 GATEWAY SHOP CNTR KATHARINE & CO. 1495 CALDER TACOS LA BAMBA 2005 CALDER AVE RAO’S BAKERY 2596 CALDER CENTRAL/WEST END BAR LOCAL 6358 PHELAN COLONNADE CENTER SMALL TOWN VINYL 6356 PHELAN COLONNADE CENTER BASIC FOODS 6220 PHELAN BEAUMONT COMMUNITY PLAYERS 4155 LAUREL BEAUMONT VISITORS BUREAU IH-10 COLORADO CANYON 6119 FOLSOM KATHARINE & CO. CARRY-OUT CUISINE 4455 CALDER GUITAR & BANJO STUDIO 4381 CALDER LOGON CAFE 3805 CALDER RED B4 BOOKS 4495 CALDER REED’S LAUNDRY 6025A PHELAN @ PEYTON ICON 6372 COLONNADE CENTER THIRSTY’S 229 DOWLEN PARKDALE RAO’S BAKERY 4440 DOWLEN ORANGE STARK MUSEUM OF ART 712 GREEN AVE.