ISSUE October 2017

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

THE SHAPE OF THINGS Page 8

INSIDE: TASI AFTER HARVEY, A LIFE AT THE MOVIES, STOUT AT AMSET, AND MORE

OCTOBER 2017

CALL FOR ENTRIES The Art Studio, Inc. is encouraging artists to create works for

‘SOUND/IN-SIGHT’ an open invitational show inspired by a pair of original compositions by Lamar University music majors

TOMMY MCPHEE and AUSTIN FRANKLIN

Submissions will be accepted in person

noon to 5 p.m., Oct. 31-Nov. 2 at The Art Studio, Inc., 720 Franklin in downtown Beaumont.

The show will open Nov. 4

To hear the music, visit

artstudio.org/soundinsight All media accepted

ISSUE Vol. 24, No. 2 Publisher . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . Stephan Malick Contributing Writers . . . . . . . . . Stephan Malick, . . . . . . . . . . . . . . . . . . . . . Caitlin Duerler Contributing Photographers . . . Stephan Malick Distribution . . . . . . . . . . . . . . . . . Olivia Malick

A View From The Top Greg Busceme, TASI Director It Is nostalgIc, In a frightful way, how 12 years ago we were inundated by the start of a series of storms that changed our lives, and for as many years became a conscious part of our psyche.

Hurricanes Rita and Ike indelibly altered the lives of many people, as it is with this devastating storm, Hurricane Harvey, we experience now. I would like to honor and recognize the efforts of this community of southeast texas for the exemplary way that individuals united and assisted those in need, with no more motivation than the desire to help people. throughout this historic storm everyday people waded, boated and drove anonymous beings to safety. What strikes me is that our love of community superceded any other standards that lead our normal life, and we find ourselves helping people simply because they are people.

The Art Studio, Inc. Board of Directors Corporate President . . . . . . . . . . Greg Busceme Corporate Vice-President . . . . . Angela Scheibel Chair. . . . . . . . . . . . . . . . . . . . . . . Joe Winston Treasurer . . . . . . . . . . . . . . . . . . . Kim Armitage Members at Large . . . . . . Stephanie Chadwick, . . . . . . . . . Olivia Busceme, John Fulbright, . . . . . . . . Latasha Hagan, Stephan Malick, . . . . . Jes Prince, Sara Tuell, John Roberts, . . . . Michael M. Measell, Marilyn Tennisen Tenant Representative. . . . . . . . . . Kailee Viator Assistant Director . . . . . . . . . . Elizabeth French

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

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

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

Contents TASI After Harvey . . . . . . . . . . . . . . . Page 4 Stout at AMSET . . . . . . . . . . . . . . . . Page 7 Teresa Baker’s “Joining” . . . . . . . . . . Page 8 David Hooker’s Life at the Movies . . Page 11 LaBurn at AMSET . . . . . . . . . . . . . . Page 12 Around & About. . . . . . . . . . . . . . . Page 14 Thoughtcrime. . . . . . . . . . . . . . . . . Page 15 Cover photo of Teresa Baker by Andy Coughlan

no other mores are required as the lives, comfort and safety of our neighbors becomes paramount. no other reason but that they need help overrides any other belief, creed or origin. southeast texas shines in adversity, probably more than other communities.

Holding on to that moment might be the most important event we experience going through this disaster. thank you all. the studio has gone through its own revelation. the extent of damage to the studio has gone beyond all our expectations. at the beginning of a seemingly benign repair we thought a little sheetrock would be the extent of our rehab.Unfortunately under closer scrutiny, much of our walls have been damaged by termites and time, to the extent that there was little chance salvage much of our

See VIEW on page 13

UPCOMING EXHIBITIONS AT THE ART STUDIO

OCTOBER

NOVEMBER

Teresa Baker “Joining” Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . October 7

“Sound/In-Sight” Open Art Show Opening . . . . . . . . . . . . . . . . . . . . . . . . . . November 4

BECOME A MEMBER OF THE ART STUDIO

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

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Renewal?

Patron: $500 Angel: $1,000 Benefactor $2,000 Life Member: $10,000 Artist?

for office use pd in comp issue thanks

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4 • ISSUE October 2017

Volume 24, No. 2

studio looks to rebuild after rain water exposes wall issues

ISSUE photo by Andy Coughlan

tHe aRt stUdIo, Inc. has taken its share of hard knocks from weather over the past 34 years and after some years of slow recovery after hurricanes Rita and Ike, it has taken a beating yet again with Harvey. the storm forced rainwater through parts of the wall and roof, and put about one inch throughout the office administration areas and classroom. assessment immediately after the storm was made difficult as power was cut off and travel made difficulty by area flooding.

“It took a couple of days to get the full extent of the damage because no power,” greg Busceme, executive director and studio founder, said. “We needed electricity to go in a start clean-up and demolition, especially to vacuum all the water out.” although, the water was not

Story by Stephan Malick

ISSUE photo by Stephan Malick

The walls to The Art Studio’s bathrooms in the kitchen/office area, left, have been taken down and will be rebuilt. A pile of trash, below, had to be removed.

deep, the time between discovery of the damage and the demolition allowed the drywall to absorb more water and condensation to build up within the studio.

“Wet drywall creates a big mess, but we had some previously known termite damaged framing in the sales gallery and entrance area that basically fell apart,” Busceme said.

“In some areas, we discovered some unknown termite damage that was just made more extensive by the water damage.” the timing of the storm postponed the start of the studio’s exhibition season with the annual tenant’s show kickoff, but as the extent of the damage became more evident, more time was needed to prepare for an exhibition. “this is a minor set-back for us and it allows us to address some issues that needed attention,” Joe Winston, president tasI board of directors, said. “We want to make sure our artists and guests have an enjoyable experience, but we also want everyone in the community to know that we need their help to get the studio back to full operation.”

October 2017 ISSUE • 5

ISSUE photo by Stephan Malick

the demolition required the removal of all drywall from the main bathrooms, utility room, storage room and significant band around the administrative offices. the gallery area, clay room and tenant spaces downstairs and upstairs did not have any damage requiring any demolition. Plumbing fixtures like sinks and toilets are going to be reused once new framing is built, but for the immediate future only the bathroom in the classroom area is functional. the sales gallery wall adjacent to the entrance was a complete loss due to the prior termite damage. the walls in the kitchen area bathrooms were also a complete loss as well as parts of the offices. after large scale clean-up and demolition began, one of the bathroom water pipes had a joint fail and leaked partially over one night to flood the kitchen and administration area again.

“Fortunately, when the water pipe leak happened everything was still picked up and demoed so there were no addition losses, we just had to vacuum water up again,” Busceme said. “We we’re lucky to have one of our new tenant artist on hand, eric Mclain, who was able to quickly solder and repair the joint.”

Busceme and Winston said the studio board is still assessing the financial impact of the storm damage.

“We’re going to see what happens. the studio has always been about sweat equity — almost anything any one Volunteer Eric McLain, top, solders a plumbing pipe in The Studio’s bathroom. Water caused the sheetrock in several rooms, top right, to be removed. Greg Busceme and Richard Tallent, right, pull down the wall between The Studio’s administrative offices.

sees at the studio a tenant, a member or a friend has probably built whatever they are seeing or using,” Busceme said.

Winston said the 34 years of the studio’s existence is an example of the grit, determination and commitment the

ISSUE photo by Stephan Malick

organization has made to the southeast texas community and he hopes the community will step up and support the

See HARVEY on page 13

ISSUE photo by Andy Coughlan

Volume 24, No. 2

6 • ISSUE October 2017

Volume 24, No. 2

Stout returnS ‘home’

aMeRIcan aRt In tHe 1950s exploded as works from abstract expressionists such as Pollack and Rothko made their way around europe, exposing new audiences to new types of expression in painting that had never achieved before in figural works. Bold colors and unexpected juxtapositions of form and movement found in these abstract works paved a way for painters to more closely

Story by Caitlin Duerler

AMSET hosts exhibition by influential Beaumont artist represent feelings and emotions. this new type of expression resonated with the texas artists Richard stout, who, like his contemporaries in new York, found abstraction as the best means to paint the intangibility of memories. the art Museum of southeast texas has

organized a traveling retrospective of 44 works by Richard stout which opened on sept. 29.

While Richard stout has established his career in Houston, his roots are in Beaumont and it is fitting that the retrospective is called “sense of Home”. In

October 2017 ISSUE • 7

Volume 24, No. 2 fact, Beaumont art Museum (aMset’s former moniker) hosted an exhibition of works by a 17 yearold stout, making him the youngest artist to ever have a solo show at the museum, said curator sarah Beth Wilson. He was born in Beaumont in 1934 and lived there until he received a scholarship to attend the school of art at the art Institute of chicago earning his Bachelors of Fine arts. He returned to texas to continue his studies and received his Masters of Fine arts from the University of texas. From 1959 – 1996, stout taught at various art institutions in Houston, with most of his career at the University of Houston where he taught from after his graduation from Ut through his retirement.

Works like “cave” and “Flowers” from 1957 present huge, 50” x 50” canvases smeared with vibrant patches of oil paint contrasted with muted tones applied in large gestural strokes. “cave” appears not unlike a cave, offering viewers a colorful interior view abstracted by the clouds of forgotten, primal memories. this painting forms a triptych with “Flowers” and “Passion”, which match the intensity of colors in “cave” and hint at their subject matter with white zips of oil paint. such expressionistic works resonated with collectors and have been in private collections for years. “sense of Home” will be the first time in a long time that many of these works will be seen publically, which will allow for new dialogue between his older and more recent works, said Wilson.

“From Richard’s perspective, it is the first time in years he has seen his own work and hung publically with a survey of the body of his work,” Wilson said.

“Many of the large pieces have been statement pieces in people’s homes for all these years.”

In addition to the colorful, abstract canvases popular with collectors of mid-century texas art, stout’s body of work expands beyond representations of feelings and emotions featuring many interior scenes, such as “to thebes” (1995), which presents a foggy memory of an entryway into a home. like the abstract works, colors appear in patches of darker tones with pops of washed out color but with recognizable features like a rug, doorways and outside light illuminating the scene, the painting appears as a blur, giving a hazy effect reminiscent of a hot texas day.

“Richard has always had an interest in home, a sense of home whether it applies to his memories and family history, and even landscape,” Wilson said. “What is interesting about this work is even though there is span of years between the works and style shifts, you can still see this continuity in the Art Museum of Southeast Texas curator Sarah Beth Wilson right, works to install “Sense of Home,” an exhibition of work by Beaumont-native Richard Stout., on display through Nov. 26. Works on display include “Passion (triptych), 1957, oil on canvas, 71 x 74 in., Collection of David Ellis, Fort Worth, Texas (the central panel shown left), and “To Thebes” top right.

works. We can have a work hanging from the 50s or 60s hanging next to a piece from last year and there is still this cohesiveness coming from this same artist on his same path.” stout’s later work includes sculpture formed from bronze and mixed-media pieces to mirror some of the abstract forms in his earlier paintings. the smaller scale of these works encourages collectors to house their sculptures on bookshelves and mantels in their homes. stout has a history of showing his artwork in his own home for house exhibitions, which Wilson aims to emulate in this retrospective at aMset.

“He has this attention to memory and eye for detail that really plays out in the works he is creating,” she said. “He recalls his past and his home, but he also has this acute understanding with where he is going with his art.” “sense of Home” will run through nov. 26 at aMset, 500 Main st. in downtown Beaumont. after aMset, the show will travel to corpus christi and finish in late 2018 at University of Houston, downtown. the artist will be in attendance at the opening as well as will be the guest of artist at aMset’s thirtieth anniversary gala on saturday, oct. 21. accompanying the retrospective is a monograph of stout’s work throughout his career which is published by texas a&M Press and features essays and large color plates of his work from the last six decades.

For more information, visit www.amset.org.

8 • ISSUE October 2017

BakeR exPloRes

RelatIonsHIPs

In ‘JoInIng’ at tasI

In octoBeR

Volume 24, No. 2

teResa BakeR can’t FInd her scissors. this is problem, like a painter losing his brush or a surgeon losing her knife — they are the basic tools of teresa Baker’s craft. she shrugs. she knows they will soon show up in her studio, at 215 orleans in downtown Beaumont, which, like many artist’s spaces, reflects her work — large empty spaces

Story by Andy Coughlan

punctuated by areas that indicate intense activity.

Baker is completing work on “Joining,” her solo show at the art studio, Inc., which opens oct. 7, with a free reception from 7 p.m. to 10 p.m., and runs through oct. 27. the show’s title is pretty literal, Baker said.

“I am basically using some new methods and some new materials, and so it’s really

about that place where two points are meeting,” she said. the 31-year-old north dakota native’s media of choice is unconventional materials. “everything is a reaction to the last thing I did,” she said. “It’s a mix of being done with the last material and searching for the next, and reacting to what that last one was.

I was using felt for quite a while and that got to where I was done with it. I wanted some-

ISSUE photo by Andy Coughlan

RelatIonsHIPs October 2017 ISSUE • 9

Volume 24, No. 2

thing I could see through, I wanted something that wasn’t so dense. that took me into vinyl — into plastics.

“I love really common material, and I was in Home depot looking for something else and I saw this amazing blue astroturf. that’s how I got started on the astroturf.

It’s that thing about being open when you are looking for something else.”

Baker does not generally use “found” material, preferring to buy new.

“I usually don’t like to use found material because it has too much of a history — you can identify it.” she said. of course, you can identify astroturf, but I’m trying take that material and make a new identity with it — make a new object with it.”

Unlike many visual artists, Baker said she was relatively late getting started in the field.

“I was very much into the performing arts,” she said. “I was in ballet, then I went into singing, then I went into theater, so I thought that was going to be my avenue.”

But when she attended Fordham University in new York, Baker realized that she did not like being in front of crowds.

“It was too panic-inducing for me to handle any more, so I started taking art classes,” she said. “I took them with the intention that I would go into costume design — still staying in performing in some level. once I started taking those art classes, that was it.

“What was important for me was finding my language at an early point, I felt a lot of pressure to be able to technically render a scene outside the window or still life — and that’s really important, I’m not saying it’s not — but for me that was really boring to make.”

Baker went on a study abroad program to an art school in amsterdam and it was there that she found what she was searching for.

“It was there I was given the freedom to really understand that I like looking at relationship of shapes,” she said. “that was a big revelation for me because have you really have to allow that freedom, especially with the kind of environment you’re or

Teresa Baker, left, stands in her studio in downtown Beaumont. “CrossHatch,” above, will be on display in her solo exhibition “Joining,” at the Art Studio in October. being taught in, finding that language was big.”

With the original intention being costume design, it is appropriate that Baker found fabrics and materials as her primary media.

Baker has a strong connection to her native american heritage (she is from the Mandan and Hidatsa tribes, two separate tribes from the same region and now on the same Fort Berthold Indian Reservation. she is also half german-american on

her mother’s side).

“It’s a big part of my identity. It is how I identify,” she said. “We were raised to know about our culture — we were raised in the culture. It’s a big part of who I am” While the native culture is infuses her art, it is not necessarily clearly apparent to the viewer. “that is something, because you have a lot of native artists out there making work that is very clearly tied to the culture and it’s very obvious,” she said. “It’s not obvi-

ous in my work and I do know that, but it comes out in my belief system. It comes out in the materials — it’s a subtlety, it’s a way that I make decision. It’s there, but it’s not overt.

“I’m dealing with shape, color, material, I’m dealing with those relationships and that’s more of a universal language.”

See BAKER on page 10

10 • ISSUE October 2017

BAKER from page 9 Baker said she has been thinking about more direct ways she can talk about how her heritage coming out.

“In the work I am always thinking about, ‘What is native art, what is not?’ I actually doing what I am drawn to but it sometimes feels like a bit of a rebellion because there is a category for native artists and I don’t quite fit into that, and that’s something I’m always thinking about it.

“I really have, for a long time, looked at objects and wondered how they can have their own — viscera is an easy one to use because it explains it. I was raised in a culture where objects have meaning, they hold a lot of weight. Being raised with that reverence for materiality, that definitely comes into play in the concepts for me while I’m working.”

Baker said that native american culture is traditionally organized through societies. “depending what society you are born into, what society your family is in, it’s a matrilineal system,” she said. “It’s a little different for me because my mother’s german. there are a lot of rules according to if you are a woman, where you are in life, whether you’ve been given rights. If I Teresa Baker works in her studio, right, located at 215 Orleans in downtown Beaumont. Baker’s solo show, which opens Oct. 4, explores the relationships between materials and space. The show is titled “Joining.” The title piece is shown far right.

ISSUE photo by Andy Coughlan

Volume 24, No. 2 wanted to quill work with porcupine quills, I would have to get the rights to that — there’s these systems.” there are ways to earn these rights. “sometimes there’s an exchange, we use blankets a lot — you give someone a star quilt if you are going to really honor them,” she said. “I would talk to my father and he would talk to someone who would be willing — then it’s like, I’m going to teach you — then there would be some sort of ceremony where we would give them gifts, which are generally blankets.

“I don’t know if I have a direct way to say, ‘this is how that is in my work,’ but I really believe that, for everyone making art, your process, how you’re seeing the world, that’s in the work. growing up in small towns, Baker said that she didn’t grow up thinking being an artist was even possible.

“It wasn’t even on the radar,” she said.

“We were lucky if we had one art class in school. It’s a miracle. It’s amazing that I ended up doing this.”

Baker returns to the overwhelming philosophy behind her work — to figure out if an object can be visceral.

“It comes from that performing arts background a little bit,” she said. “I love

performing arts because that is a visceral thing. Whether the audience likes it or not, you’re drawing up emotions. “so I’m always thinking, can an object have something that is, in some way, at least creating a reaction. can you do that with just working with shape and color and material? I guess it’s kind of wondering how you can get belief out of a material thing?”

Baker’s work is essentially the product of process, of play. she does not work from sketches, choosing instead to go into the studio and let the materials dictate where they want to lead her.

“Most of the work, it ends up, essentially, there are only three or four marks, but I spend so long making that one mark, and to really sure of that mark,” she said. “I may have had to work on three or four pieces before I realized that (mark) had to be over here.

“How does it change in a different space? I think about that a lot in my work. But that also requires us to be slow, to really take our time, take a moment. I think that’s really harder and harder to do now. that slowness is really important in my work and in my process. Making my life so that I can come in here and be truly present and slow down — that’s

when I get to the places I need to.”

Baker said landscape, such as in the Romanticism in the works of casper david Friedrick, is really important in her life and work.”

“It comes in in the same way my culture comes, it’s there,” she said. “I often wonder if that’s why I leave so much material showing — I mean, I like material to do its thing, conceptually — but then also, living in those places, I wonder if that really formed how I’m seeing, you know, these large things with just a few little details.”

Baker works have a sense of scale — not literally their physical size, but an implied sense of scale that allows the pieces to convey a metaphysical size.

“Joining” will also feature drawings, a first for a Baker show.

“I’ve always kept them to myself,” she said. “I see them as objects in themselves. there is a freedom to the drawings that I have wanted to bring into the larger materials for a while.” one large piece has a yarn “drawing” on the surface.

“It’s allowing me to play with shape and with color,” she said. “I’m so excited, because this is as close as I can get to bringing that genre into (the work) and to using the kind of methods that I’m using in my drawings, and I am, ‘oh my gosh! I can finally do it.’ I’m using these lines and that’s what the joining is — I’m very line-centric right now.

“I’m really excited about this show because I feel there are some new things, new ways to think about shape.” the art studio is located at 720 Franklin in downtown Beaumont. For information, visit artstudio.org.

Baker hosts exhibitions at her studio.

For more information, visit the 215 orleans Facebook page.

Volume 24, No. 2

light in the dark

October 2017 ISSUE • 11

Hooker’s memoir, ‘somewhere Under the Moon,’ basks in glow of silver screen davId HookeR Is a veteran of the local theater scene, and anyone who has ever met him knows that he is passionate about many things — opera, theater, his kids — but get him on the topic of movies and he will bend an ear with entertaining anecdotes and trivia.

Hooker’s new memoir, “somewhere Under the Moon” explores a love of movies as he grew up in Beaumont. nick Hornby’s “Fever Pitch” is a memoir that centers around specific arsenal soccer matches and Hooker adopts a similar model, using a particular movie or actor as a starting point for a story. He moved to Beaumont in the early 1950s and the book is a nostalgic stroll through the town’s movie history from the opulence of the Jefferson, liberty and gaylynn theaters to the bland boxy multiplexes of today. along the way, Hooker gives us anecdotes that show Beaumont as it has changed through the years, and in the process shares his journey from fiveyear old transfixed by a Western to the erudite 71-year-old english teacher with a love cinematic showing of opera. the thrill of seeing a movie in the cinema as opposed to sitting at home with a dvd or streaming is important, partly because of the screen — “size matters,” he jokes — but mostly because of the shared communal experience. “somewhere Under the Moon” begins with a love letter to the shining beacon that makes Beaumont home — the san Jacinto Building clock. “I have always savored the idea that Beaumont

Review by Andy Coughlan

David Hooker stands surrounded by his books and records in his Beaumont home. Hooker has a new memoir, “Somewhere Under the Moon,” which chronicles his life as a movie lover.

is a city watched over by a clock tower,” he writes. this is important because, for Hooker, even in provincial southeast texas, movies offered a glimpse at a wide world, and Beaumont was just as important a part of his word as anywhere else. “the clock was light and time,” he writes. “It shone out over the town as a great pharos or lighthouse, a beacon of warmth and joy. It had always resonated in my young, impressionable mind, with london’s Big Ben over the Houses of Parliament…and with the charming old burgs in europe, also dominated by their own town clocks, as in many an old tale or movie.”

Hooker gives us a collection of anecdotes, each revolving around a theme. follow his occasional quests to rediscover movies from his childhood, quests built from fleeting memories of a scene or a snippet of a story. these quests always speak to a larger issue — the way movies transport us and allow us to dream. the most interesting chapters come early, as young Hooker discovers a love for movies, particularly old horror films, which might surprise those who listen to the this english teacher wax lyrical about Puccini operas or Ingmar Bergman classics. But the fact that schlock horror B-movies (shown on the late-night “shock” series of the late 1950s hosted by the wonderfully named dr. ghoulman), brings him so much joy speaks to the power of movies. What is good or bad in many ways is irrelevant. If it sparks one’s imagination, it must have value. now creeping into his 70s, Hooker’s youthful enthusiasm brings a smile to the reader’s face. anyone growing up with Beaumont’s old movie houses will enjoy revisiting the now-gone facilities (although we have a chance to repli-

See HOOKER on page 13

AMSET to host ‘Endless, Texas’; opening reception set for Oct. 26

12 • ISSUE October 2017

tHe aRt MUseUM oF southeast texas will host endless, texas, an exhibition by sirena laBurn, oct. 26-Jan. 14, part of aMset’s cafe arts series. a free reception is slated for 2 p.m. to 4 p.m., oct. 29.

Born in nederland in 1986, laBurn received her MFa in Painting from the new York studio school in 2014), and a bachelor’s in arts administration from Wagner college in 2009, where she occasionally spends time as a guest artist.

Before beginning her MFa, laBurn worked as collections catalogue assistant at the stark Museum of art in orange, and is a former tenant at the art studio, Inc. In 2014, 2015, and 2017 she assisted graham nickson in his internationally recognized drawing Marathon. she currently lives and works in cologne, germany.

In her artist statement, laBurn states, “a

Volume 24, No. 2

few years ago, after returning to live in germany, I came up with an imaginary scenario in which I placed myself wandering in an american desert, with little food, water or gasoline.

What are the types of things I would see? What would I encounter? What are the different possible outcomes for such a scenario?

“My current body of work attempts to answer this imaginary situation with visual imagery. I use books, films and photos to transport me back to the american West where I have traveled since 2011, and to a particularly memorable family trip to death valley when I was a child. this scenario allows me to explore various themes in my work, including symbols of the american West, human presence in nature, personal fears, my connection to my homeland, and death. aMset is located at 500 Main st. in downtown Beaumont.

For more information, visit www.amset.org.

In Memoriam

Carlo Busceme III 1952-2017

A true humanitarian and patron of the arts see the november IssUe for a tribute

SUPPORTS THE ART STUDIO, INC.

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

October 2017 ISSUE • 13

Volume 24, No. 2

HOOKER from page 11

HARVEY from page 5

cate some of the experience with movie nights at the renovated Jefferson theatre). there is wistfulness when Hooker laments the passing of the days when going to the theatre was an event, when the curtains opened to reveal the opening credits, it had a sense of anticipation — and people did not talk or text through the show. We should allow Hooker this moment of old-fuddyduddery because he is right. each of the 30 stories is a self-contained essay, each seemingly written to stand alone, which sometimes leads to a little bit of repetition, but that is a minor quibble. the chapter on meeting vincent Price is an absolute delight, as is his interaction with Basil Rathbone, “darkly handsome in a somber and lugubrious way as a young man, with pronounced aquiline english features, Rathbone, as he grew older, rather began to resemble his name.” a meeting lash laRue is a classic schoolboy meets his hero story and the story of the Beaumont-set “sno-line” is both interesting and amusing — Hooker had a small part but has no illusions as to the film’s merits.

Hooker ends the book with a list, compiled somewhat obsessively from memory, of the films he has seen and where he saw them. Who can resist a game of “How many have I seen?” the book gives the reader the impression of sitting in a room, post show, listening to Hooker hold court about the magic of film. this natural storyteller’s enthusiasm shines through and makes for an entertaining read. now, I think there are a few old movies I need to hunt down.

Hooker will be signing copies of his book at the Mildred Building’s First thursday event, 5 p.m. to 9 p.m., oct. 5. “somewhere Under the Moon,” by david Hooker, is published by clockface Books and is available on amazon and local booksellers.

rebuilding efforts. “the studio is the only independent arts organization of its kind in the region,” Winston said. “It is a thriving, growing organization and is a ‘forever’ institution for the area, and we want to continue our place in the community as the go-to place for exhibitions, adult and kids art classes and music.”

Winston said the studio doesn’t just need financial support, but also needs volunteers to help clean up. “come by, call us, follow us on Facebook or through our website,” he said. “We really need the support of our community members and we are going to be organizing a series of volunteer days to do specific projects.” last month, the studio was gleefully announcing the acquisition of its new building adjacent to the studio’s property. the new building was not damaged and re-

VIEW from page 3 administrative facility. thankfully, the studio spaces and gallery avoided damage but not so for two of our three restrooms, offices and storage area. as of this writing our communication equipment is disrupted as well as losing our ability to process credit cards. the phone is limited but the Internet, luckily, is functioning. It will take us a while to address the variety of issues as we have invested quite a few dollars toward the new facility oblivious of the devastation that was to befall us.

If you are able to make a charitable donation it would go a long way to meet our future goals. We will not miss an exhibition, bandnite, poetry meeting drawing group or any other event on our schedule. We’ve al-

ways been a self sustaining facility but your contributions of time and material, donations, memberships, and your physical and moral support will help us in our endeavors to serve you. new Board members abound in the studio’s leadership. not the way we want to bring in new board members, however, I am pleased to welcome and extend my thanks to our newest members, Jes Prince, sara tuell, John Rollins, Joana Hyatt, Michael M. Measell, Marilyn tennisen and kailee viator. this the largest Board the studio has ever assembled and it is driven by the high expectations of what the studio will be able to do for this community in the very near future and beyond.

It is a daunting task to drive forward an agenda of growth and diversification, but it is also so important that we persist in the importance of art. all the arts, are paramount to a thriving community,

mains usable.

Busceme said some good can come out of this. “out of adversity comes opportunity. I always say hope springs eternal. We should’ve quit this years ago,” he laughs, recounting times people said he should give up his dream. “this is the most important mission in my life. and look at us we have been doing this last 34 years.

“We’re hopeful. People can help by bringing their bodies up here to pitch in cleaning up. of course, monetary support would be helpful to. We are still dealing with some issues from hurricanes Rita and Ike. For example, our large outdoor kilns were destroyed by Rita along with Ike. “We’re survivors, we’ll persevere. We going to continue to do the hard work we can do ourselves.” to help, stop by the studio at 720 Franklin in downtown Beaumont, call 832-5393, contact it through Facebook or visit the website at www.artstudio.org

intelligent children, the growth of additional art organizations and a sense of pride in our cultural growth and artistic legacy. the new facility is officially dubbed “the Barn,” aka “the Barn II” or “the Barn, too,” refering our old barn which was devastated by Ike. We are still chasing the elusive certificate of occupancy or c.o, but we are progressing at a rapid pace. We’ve been signed off by fire inspectors, electrical inspectors, and water and sewer. still to go is ada and safety compliance with rails on stairs, disabled accessible parking and da ramp.

In the midst of our current disaster it is difficult to find a Boy scout or other organization that is not involved in more pressing matters. that being said, it is important we become compliant, not only at the barn but within the main facility as well.

14 • ISSUE October 2017

Volume 24, No. 2

Around & About

If you come across any interesting exhibitions, museums or other places on your travels, share them with us. Call 409-838-5393, or contact us through our web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs. the BEAUMONT ART LEAGUE presents VISIONS OF CHINA: ANCIENT TO MODERN, an exhibition of photography by LIEF ANSON WALLACE. a closing reception will be held 7 p.m. to 9 p.m., oct. 7. as winner of the Bal’s 2016 annual Membership show, Beaumont photographer lief Wallace earned a solo exhibition. His show. “visions of china: ancient to Modern” will showcase 25 of his photos, half of which were taken on his 2013 trip to china. the photos also include images of the tetraptych from his “Hands series” which took first place in the Bal show, as well as pieces from a series on old farm equipment.

Bal is located at 2675 gulf st. in Beaumont.

For more information, call 409- 8334179, or visit Beaumont art league on Facebook.

“The Great Wall” by Lief Wallace

__________

due to the aftermath of Hurricane Harvey, all stark cultural venues in orange will remain closed to the public throughout september to allow the community and stark cultural venue employees to continue recovery efforts. along with many community members, neighbors, friends and patrons each venue has been affected by the flood.

the stark Museum of art did not incur any damage, and is scheduled to reopen to the public oct. 3 with regular hours from 9 a.m. to 5 p.m. the lutcher theater for the Performing arts incurred minor damages, and is scheduled to begin the 2017 fall season on nov. 16 with “a very electric christmas.” For more information, call the box office at 409-886-5535. shangri la Botanical gardens and nature center will remain closed for an extended period due to significant flood damage. the venue aims to reopen in the next few months, but a specific date is not scheduled at this time. the W.H. stark House did not incur any damage, but will remain closed through the end of 2017. special tour hours will be announced in early 2018.

For information on all stark cultural venues, visit starkculturalvenues.org. __________

HIGH STREET GALLERY’s art installation by KAILEE VIATOR, originally scheduled for sept. 15 has been rescheduled for 7-10 p.m., oct. 21, due to Hurricane Harvey. the gallery is located in victoria House, 2110 victoria st. in Beaumont. the exhibition is titled "Flora and Fauna" and is described as "an installation which transforms High street gallery into an indoor/outdoor mystical wonderland designed to mythically describe life's origins and those of the world we inhabit." kailee viator is a vidor native who received a Bachelor of Fine arts in studio art from lamar University in 2013. she said this show, which incorporates a multitude of media as well as live models, is unlike her previous work.

"Most of the local art community know my work for my paintings, drawings, and few for my ceramic sculpture work. While I am still working a similar conceptual

Mission Statement

A piece from Kailee Viator’s show “Flora and Fauna”

pattern, I think that my work has softened exponentially," viator said. "there is still the darkness I believe I am known for, but with a much more subtle, feminine approach. decayed animal skulls meet grandmother's doilies, giant Wolf spiders accompanied by Baby's Breath.... "the room is lit by lanterns and tealights, warmly peeking out from behind folds of pink tissue paper reminiscent of the primordial womb. amidst a woodland backdrop and floral decorum sits a goddess figure bathed in milk and honey. egg cartons cascade from the ceiling, sprinkled with trinkets of life and death: tiny animal bones, dried flowers, and bird feathers, all encapsulated by beeswax." she is inspired by artists like sherry owens, sharon kopriva and ann Wood, and is also influenced by others in her own community, such as fellow artist amanda Berry. “the viewer should contemplate the symbolic language of spirituality, as well as the great question: 'Which came first: the chicken or the egg?'” she said. entry is free and open to the public.

Refreshments are provided at the reception on sept. 15. a pared-down version of the installation will be on view again during the evenings of sept. 20 and 24.

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

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

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

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

Volume 24, No. 2

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:

Hug Me

I need a hug a big huge hug spoon me, for I am starved…

Hungry for affection Your warmth and intimacy is what I crave cup me in your loving arms Wrap me up in an embrace, so tight, so stifling, so intense that I struggle to breath the kind that almost hurts But a good hurt I need a hug… one that will leave imprints of your body against my supple skin…

Impressions that I will carry with me always Hold me, caress me, love me Hug me!

Dorothy Sells Clover Why This One?

the tallow is laden with leaves in the rain, heavy and wet and green. though soft, it refuses to bend, so it breaks. a branch to the wind it gives. of the many to hold, “ Why this one?” I cry, “fallen to grass below?”

“Why this one? Why this one? Why this one? Why?” Hear the mocking of tears.

Jesse Doiron

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.

The Growth

It echoes through my body sends a pulse to my mind signals and commands and operations Piercing its infection to the base of my heart a system undone nudging Itching Probing locating the breach a monstrous extension growing on my side Mixing and mining away a needle a spear crying out in the wreckage Begging the troops to retreat Finally, a slice.

and then it spews from me. a river of blood and pus of poems and tears and sleepless nights and misty mornings all wasted in the name of you.

It spews from me, taking the skin and the altitude.

Releasing the lid of a soda bottle, a third-grade science project on volcanoes.

We learned that they erupt from a brewing, blistering well and now I realize what I lost when I fell But also what I gained: the power of mighty vesuvius When I learned to cut clean.

Katherine Leister

October 2017 ISSUE • 15 The storm

a storm brewed energy of emotions Recipe pre existing coming together almost instantly Forming quietly Moving even quieter still gradually yet forcefully Feeding and growing churning at magnitudes Unimaginable Yet remaining quiet still a storm of the sky compares not to the storm of the heart Why not profess the genuine love felt and the the energy of the storm created by such power such compassion and the beauty that is love? a storm of the sky cannot move unnoticed any more than a storm within heart can intensify churn and move With the wind and remain hidden to the naked eye so many fear the storm and the energy In which created Both in the sky as well as within But the one created of love should not be feared Rather it should be Welcomed as it blows through the soul as it stirs emotions and energy of Both compassion and love love in its truest forms one cannot deny storm of sky not storm of heart Both of which May indeed shake one to the inner core Whistling winds of change leaving in its wake a newness a redefined sense and vision of self of the world and a new perspective of the truest nature that is love Chrissie Mouton

720 Franklin, Beaumont, Texas 77701

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INSIDE • THE TENANTS SHOW • THOUGHTCRIME: MUSINGS FROM AREA POETS • TASI EXPANSION • MUSEE TOULOUSE-LAUTREC

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

Volunteers These people are the life blood of our organization.

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

elizabeth Fontenot Bryan castino Heather & adam Butler Rhonda Rodman sue Wright Rhonda Mcnally John Roberts Beau dumesnil karen dumesnil sheila Busceme kailee viator stephan Malick terri Fox Michelle Falgout stacey Haynes Joe Winston John Fulbright Mark Jacobson nathaniel Welch gina garcia Jack Hays tyler Hargraves aslinn garcia Paisley Polk Zoe Williams Rana Matthews caroline Badon david granitz latasha Hagan James king Madison Rose stuckey dawn s. Fischer Madison Bonds chris garcia taylor vandevender Jaycie Henderson nathan West kay o'neal olivia Busceme chad Barrows

JOIN US

FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

THIS MONTH:

Teresa Baker ‘Joining’

OPENING RECEPTION IS OCTOBER 7, 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.

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