Issue Magazine - November 2015

FINDING H E R WAY PA G E 8

INSIDE: ROTHKO SHOW, HOLST’S ART, BAKER’S STUDIO, CELEBRITY TALES, AND MORE

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by Author Aut hor A my S te w a r t . © 2009 York, NY. Reserved.

2 0 09 Algonquin A lgonqu in Press Press New Ne w Yo Y ork , N Y. All A l l Rights R ights R e s er v e d .

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Foundation. © ©2015 2015 A All ll Rights Rig ht s R Reserved. eser ved.

ISSUE Vol. 22, No. 3 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc.

A View From The Top Greg Busceme, TASI Director

Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor. . . . . . . . . . . . . . . . . . Stephan Malick Contributing Writers . . . . . . . . . . . Caitlin Duerler, . . . . . . . . . . . . . . . . . Elena Ivanova, DJ Kava Contributing Photographers . . . . . . Caitlin Duerler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DJ Kava Distribution. . . . . . . . . . . . . . . . . . . . Olivia Malick

WE FIND A COMMON bond in art.

Art can be controversial and has divided whole countries with issues about arts acceptance in their culture, and that culture’s attempt to stop the art that is determined to define that culture.

Jesse Helms did not want Robert Mapplethorpe’s art to define American culture, even though it was too late and the art was publicly presented with great fanfare.

The Christians’ Byzantine art drove out the naturalistic Roman art for stylized abstraction that adhered better to the Christian faith and the proper presentation of it’s narrative.

The Reformation and Counter Reformation split countries for years over the mere placement of art inside the church.

This, among many other things, was debated for more than 20 years to resolve the issues surrounding the nature of art and how it should be presented. Think nudity and “The Last Judge-

The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Chair . . . . . . . . . . . . . . . . . . . . . . . . John Roberts Members at Large: . . . . . . . . . . . Sheila Busceme, . . . . . . . . . . . . . . . . . . . . . . Elizabeth French, Andy Ledesma, Stephan Malick, Heather Butler The Art Studio, Inc. 720 Franklin Beaumont, TX 77701 409-838-5393 www.artstudio.org info@artstudio.org

ment” by Michelangelo, which was at the center of this argument about art in the CounterReformation and which received a multitude of loincloths that were not original to the piece.

After many false starts, we ultimately moved to the Baroque period, a prolific period of realistic naturalism heavily clothed and full of rules of decorum, i.e., censorship.

These turning points all show cultures trying to cope with the creative acts of individuals.

Artists are unique people that have the ability to alter culture by creating one significant piece.

They also season culture with art that puts a curve, a refraction, on the trajectory of culture.

The more art is created, the more artists to create art, the greater the effect on the local culture, anyone’s local culture.

You might feel that this opinion is myopic, in

See VIEW on page 14

UPCOMING EXHIBITIONS AT THE ART STUDIO 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 Rothko at MFAH . . . . . . . . . . . . . . . . . . . . . . . . . . Page 4 Holst at BAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 7 Life Drawing at TASI . . . . . . . . . . . . . . . . . . . . . . . Page 7 Alice Powell’s “Journey” . . . . . . . . . . . . . . . . . . . . Page 8 Baker Studio Opening . . . . . . . . . . . . . . . . . . . . . Page 10 Harry at High Street Gallery . . . . . . . . . . . . . . . . Page 11 Stevens One-Man Show, Acting Workshops . . . . Page 13 Around & About . . . . . . . . . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 15

Cover photo of Alice Powell

by Andy Coughlan

NOVEMBER

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“Journey” by Alice Powell Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 7

Holiday Shop-O-Rama Extravaganza Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . December 5

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

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4 • ISSUE November 2015

Volume 22, No. 3

A Painting is the Experience ‘MARK ROTHKO: A RETROSPECTIVE” AT THE MUSEUM OF FINE ARTS HOUSTON “Painting is just as natural a language as singing or speaking.

It is a method of making a visible record of our experience...colored by our own feelings and reactions and indicated with the same simplicity and directness as singing or speaking.”

— Mark Rothko HE CAME TO THE United States on a boat at the age of 10, dressed all in black, with a label on his chest, “I don’t speak English.”

A drop in a tidal wave of 2.3 million Jews from Russia that descended upon the American shores between 1880 and 1920. These people were not typical immigrants leaving their homeland in search of better opportunities, they were refugees escaping from persecution, oppression and pogroms. Their Odyssey foreshadowed many more forced migrations that happened in the course of the next 80 years and earned the 20th century a dubious distinction of being “the century of refugees” — the term used by Lionel Rosenblatt, President of Refugees International, in his interview with Barbara Crossette.1 Mark Rothko’s experiences as an immigrant and an outsider were at the core of his art. Out of displacement, rejection, xenophobia and exclusion, there emerged the metaphysical theme of identity which Rothko expressed in his paintings, writing and his activist stance.

The exhibition at the Museum of Fine

Story by Elena Ivanova

Arts Houston is the first large Rothko retrospective in Houston since 1979. It showcases 60 works, most of them from the National Gallery of Art in Washington, D.C. These paintings may be rightfully called “Rothko’s Rothkos” — they were within the artist’s own collection at the time of his death. The exhibition gives visitors an unequaled opportunity to see the full range of Rothko’s achievement in the city that features his most acclaimed and enduring public commission — the Rothko Chapel.

Walking from one gallery to another, we follow the journey of this extraordinary artist from his early figurative paintings to the classic monochromatic compositions.

Surrounded by large-scale, somber-color canvases of his late period, one experiences a feeling akin to being in the Rothko Chapel — spiritually upifting and invoking meditation. It is not surprising that the Museum, in partnership with the Rothko Chapel, is hosting a special series of “Art, Body & Mind” programs in the exhibition space.

Each event in the series is titled in response to a different quotation by Rothko and includes a talk and a meditative practice.

The story of Rothko’s life did not follow the traditional pattern of a child prodigy who dreamed of being an artist since the tender age. Like all Jewish boys of his time, he started his education by attending cheder and studying the Talmud at his hometown of Dvinsk (today Daugavpils, Latvia.) As a young man, he enrolled, on a scholarship, at Yale University with the intention of becoming an engineer or an attorney. However, he left the school after just one and a half years, repulsed by Yale’s conservatism and elitism. It was then that he came to realization that only in the art world he could find his identity.

“Street Scene” (1936-37) illustrates Rothko’s search for his own voice while analyzing, and experimenting with, work of his contemporaries, in this case, his friend Milton Avery. The flatness of the figures and the space may be seen as an indication of Rothko’s growing interest in abstraction.

At the same time, this is not a purely intel-

UNTITLED 1951 by Mark Rothko lectual exercise in color and shape. The scene is imbued with emotion which is especially keenly felt in the figures of the woman and the little girl, probably a mother and a daughter. The mother is slightly leaning towards her daughter and is listening attentively while the girl is excitedly gesticulating and looking up at her mother as if searching for comfort or reassurance.

The artist steadily moved towards nonrepresentation, going through a Surrealist

phase in the mid-1940s and arriving at “multiforms,” the precursors of his tiered, horizontally-oriented compositions, which today we instantly recognize as “Rothkos.”

His friendship with famous Abstract Expressionist Clyfford Still played a decisive role in this transition. In “No. 9” (1948), amorphous forms are floating in a homogenous space, as if engaged in an ongoing discourse. Rothko often referred to his multiforms as actors performing a drama in which no move or gesture could be antici-

Volume 22, No. 3

pated.

The artist continued to eliminate all indications of a narrative in his compositions until all that was left was a softedged, horizontal rectangle suspended within a monochromatic field. At the same time, his use of color became increasingly rich, with the warm orange and red dominating his palette. He summarized his artistic vision in the following statement which reads like a manifesto: “The progression of a painter’s work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from [which] one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood.”

Having reached at this level of clarity, Rothko stopped writing about his art. He believed that his paintings should speak for themselves. However, at his studio, a philosophical discourse about art never ceased, and many of his friends and visitors recalled being engaged in a kind of a “rabbinical exercise,” posing questions, raising arguments and debating issues. Rothko’s voice still comes to us through the words of these people.

Is it fair then, in view of the artist’s stance, to talk about Rothko’s classic paintings? In my opinion, the exhibition’s audioguide provides an excellent solution. Visitors can listen to responses to Rothko’s work made by writers, musicians and curators, or enjoy music selections, among them Morton Feldman’s famous “Rothko Chapel” concert from 1971.

I became intrigued by analogies between Rothko’s work and music, which, perhaps more than any other art form, requires the ability to reach a deep meditative state for both the composer and the audience. Music composed in response to Rothko’s paintings covers almost every genre –

November 2015 ISSUE • 5

NO. 9, left, and UNTITLED 1969 by Mark Rothko classical, folk, rock, ambient, experimental, jazz... Serendipitously, the Houston Chronicle published an article by Andrew Dansby “Musicians Inspired by Rothko Chapel” on Sunday, Sept. 20, the opening day of the exhibition at MFAH. Here are a few quotes from the musicians who were interviewed by the journalist.

“It’s easy to think about the depth of Rothko’s meditative states. I know I’m not the only musician that suffers from too many thoughts, and Rothko’s Chapel reminds us to breathe” (Jazz pianist Jason Moran).

“I think that chapel is one of the most powerful places on

earth. How often do you get chance to visit a place with such complete silence?” (Ian Asbury, singer of the band “The Cult”).

“There are hidden qualities of experiences that I think about quite a bit. And I think other musicians do, too...He (Rothko) got me thinking about light and form. I started studying his work more closely and learned about his intentions behind some of the paintings. The idea of projecting a

See ROTHKO on page 14

6 • ISSUE November 2015

Volume 22, No. 3

BAL to host Holst’s ‘Opening My Eyes’ AFTER A COUPLE OF decades of birding and painting, Margo Holst will present “Opening My Eyes,” an exhibition of recent works at the Beaumont Art League, Nov. 14-28, featuring glossy surfaces on wood panels of abstract semi-floral imagines and larger birds in a variety of settings.

Some birds invoke pastoral/primitive environments and others are candidates for “Angry Birds” game auditions proving one can give character to birds.

The paintings are acrylic often with irradiance or color shift highlights on birch wood panels covered with a high gloss glaze coat.

Holst tells how she started painting.

“One afternoon, I was sitting at Pattee and Jerry Newman’s table, eating nut cake and drinking coffee,” she said. “I was telling them about the birds I had seen on my recent birding trip. I don’t remember how the conversation turned to art but Pattee said, ‘Margo you are so artistic why don’t you go to Lamar and take come art classes from Jerry?’ So not really knowing what to expect, I started classes three weeks into the semester.”

Holst took watercolor and life drawing.

“Jerry Newman was not only a wonderful instructor, he helped me add color to my life and life drawing changed the way I looked at things,” she said.

“More than one time Jerry said my life drawing model’s leg looked like a ham bone. I finally learned to get the head at the top of page and feet at bottom and the leg looking like a leg.”

Watercolor was a challenge to learn, Holst said.

“I tried painting flowers, barns, and all the other cal-

Story by DJ Kava

ICING ON THE CAKE by Margo Holst

Artist Margo Holst paints in her Crystal Beach studio. endar subjects didn’t interest me,” she said. “I soon found the subject I wanted to paint — wildlife.

“Jerry’s wildlife painting were right down my alley, since I was an outdoor woman. That motivated me toward painting big mammals. Painting soon replaced fishing and chasing birds. Painting also brought new friends into my life.

When Newman was having a show at the Beaumont Art League, he asked Holst to help with refreshments for the event. At the opening she met DJ Kava who told her about The Art Studio’s life drawing night.

“I started attending the class and enjoying the sessions,” she said. “I joined The Studio and DJ suggested that I hang some of my mammal paintings at the membership show. So I brought in a few and hung them.

When I got to the opening I noticed how different my art looked hanging next to other art and mine looked out of place. The mammals were beautiful yet hanging next to some of the other works, mine looked out of place with so many creative pieces.

“One day after class, I stopped by DJ’s house to show him a watercolor of an elk. He said he liked it, and then he said, ‘You can paint, now become an artist.’ I thought about that for a while remembering that opening.”

A few days Holst said she was watching “Six Feet

Photo by DJ Kava Under” and a young girl was talking with her professor about the problems she was having doing an assignment.

“He told her to, ‘Open Your Eyes’ and she would become a better artist, so that is what my solo show is called — ‘Opening My Eyes’” Holst said. “This was the start of putting my watercolors away and prying my eyes open.”

Holst started working with acrylics but didn’t like the dull and flat look they had.

“I needed lessons,” she said. “Being a student of Newman’s, I had made friends with Albert Faggard. With calls and photos sent to Albert, along with cries of despair, I learned to use and make my acrylics shine. Albert became my go-to help after Jerry died. I believe I would have stopped painting without Albert as my friend. He gave me hope of becoming that artist DJ talked about.”

Faggard, Kava and Holst joined the Bolivar Culture Foundation and began booking artists to give solo shows at the gallery in Crystal Beach, where she lives. They showed 21 local artists before Hurricane Ike took the

See HOLST on page 11

Volume 22, No. 3

November 2015 ISSUE • 7

Model Tack Somers poses during a recent life drawing session at The Art Studio.

Studio life drawing offers diverse opportunities MANY ARTISTS TRAVEL FAR to seek inspiration for their works. Whether they are searching for a change of scenery to inspire a landscape or ambiance to resonate the depths of their psyche, artists are constantly challenging themselves to push the limits of their medium.

However, one does not have to leave Southeast Texas to find a rotation of fresh subjects to portray. The Art Studio, Inc. is facilitating life drawing sessions on Monday evenings from 6:30 p.m. to 8:30 p.m.

Led by TASI tenant Kailee Viator, the two-hour sessions provide an opportunity for both new and veteran artists to join together and work on their technique of portraying the human body.

“A lot of people at TASI have been to art school or done figure drawing in other settings before, and when you get out, there is almost a sense of loss of community with other artists,” Viator said. “Figure drawing is a really good way to get that sense of community, bringing everyone together for that specific goal, and maintain one’s hand at drawing.

“Even people who have never taken formal art classes are invited to come together in one room and constructively critique each other and offer tips based on their own creative experiences.”

Story and photo by Caitlin Duerler

TASI tenant David Granitz, who works with an oil-transfer technique and produces quick, scratching noises when he draws, continues his exploration of the human form while developing his own style.

“For me, life drawing is all about practice as well as interest in the figure,” Granitz said. “The figure is one of those natural forms that I am interested in primarily as an artist nowadays. Drawing is the foundation of my art form — the more opportunities I have to practice, the more progress I see in my work.”

Every week, TASI brings in a new model. The session opens with a quick warm-up; a series of 10 one-minute poses to get the hand moving and stimulate hand-eye coordination, Viator said. After the introductory poses, the model transitions into longer poses, allowing artists to practice focusing on a perspective, such as the entire subject, or a detail, like a foot.

Drawing a live nude subject provides both challenges and advantages for an artist.

“If the artists gets too bogged down with the stillness of the subject who all of a sudden moves, they have to come up with a way to respond to the change in the model with the drawing — which is what makes the drawing alive,” Viator said. “For the drawing to come to life, there must be a semblance of a soul somewhere.”

Models rotate every week and offer participants a variety of subjects and angles.

“Variety is very important, because when one is drawing the figure, you need to be able to expand your horizons as far as body type or drawing because everyone is made up so differently,” Viator said. “When a new model is put before an artist, it is a new a challenge — it keeps you on your toes.”

Model Tack Somers said that rather than feeling vulnerable, modeling nude for others is empowering.

“Life modeling was something I was always interested in because it seems so taboo, but there are a lot of misconceptions about it,” he said. “(The Studio) is a very comfortable space — people aren’t there to gawk and stare and judge.

Rather, they are there to create art.

“I always feel much better about myself after modeling because I am able to see myself through the eyes and hands of other people. It is not only someone else’s perspective, but also their artistic expression — it’s not just truth, but beautiful truth.”

Sessions are $5 and will run through the first week of December before taking a hiatus for the holidays. Sessions will resume in mid-January.

For more information, join the Art Studio Life Drawing group on Facebook or visit www.artstudio.org.

8 • ISSUE November 2015

Volume 22, No. 3

Powell’s ‘Journey’ makes stop Artist to explore texture in November solo show ALICE POWELL DIPS HER brush in paint and washes it over the paper. The watery liquid pools and puddles, forming surface texture.

Sometimes she places paper on top of the wetness and pulls it away, exposing the texture.

Powell scrutinizes the revealed image for something she recognizes.

“Sometimes I’ll see people,” she said. “I try not to do facial things. It’s more like they’re busy or their traveling.”

Each “traveler” revealed becomes another step on the journey, and the images revealed along that path will be on display at The Art Studio in November. “Powell’s exhibition, “Journey,” opens with a reception from 7 p.m. to 10 p.m., Nov. 7 and runs through Nov. 28.

The Tulsa, Okla. native, who lived in Southeast Texas for 40 years, says that the exhibit didn’t start out to be a narrative.

“It just kind of happened,” she says. “I started painting and every painting I did, it was like a story and it progressed, and it came really quick — it was pouring out of me. I painted and it was like a progression.”

She has been working on the show for a year, with most of the pieces being brand new.

“No one has seen it,” she says. “I didn’t even want to post on Facebook.”

As far as the eponymous journey, Powell says it has a simple theme.

“I hate to say the circle of life, I hate to say that but it’s, like, you have turmoil and trouble, then things change and you have birth and death and progressing through life. At the very end of the story — well, it doesn’t actually end, you just start over.”

Her initial intention was “just to paint.”

“I just let it come,” she says. “I was trying new techniques, because I have always liked texture. I was trying some Casein paint. It’s got a very thick texture and it was making texture on my paper and I just loved the way it looked.

“It’s abstract, but I always see kind of something real, like people or tress or landscape — I see something real in each piece. I don’t paint from pictures or photographs, it all comes — I guess, from my heart.”

When Powell was a young child, she says was always drawing.

“My mother used to get mad at me because I was always sitting on the floor with a pencil, drawing and coloring,” she says. “It calls me. If I’m not finished with

Story and photos by Andy Coughlan

Alice Powell works in her Beaumont studio. Powell will display her recent work in “Journey” at The Studio in November.

Volume 22, No. 3

November 2015 ISSUE • 9

at TASI something, it pulls me back. I don’t think I’ll ever be able to quit. It just keeps coming.”

-----Powell has three sons and seven grandchildren, she says, before pausing to get an accurate count before settling on six grandchildren.

“Oops, I added one,” she says with a laugh.

Her sons are not artists — “It didn’t take with them,” she says — but two of her grandchildren are showing an interest.

Powell says she thinks her sons like her work and they have several in their houses.

“My oldest one hasn’t ever shown too much interest for it — I think I made him model too much when he was a child,” she says, followed by a laugh. “My middle son will call me and say, ‘Mom, I need a picture, come paint it for me.’ And he shows me some picture or idea he wants, he buys the paint and I paint it for him. The youngest one is very artistic — he just never pursued it. He’s always giving me projects, too.”

Powell says she has had a series of jobs, but never pursued a career as an artist.

“I should’ve — should’ve, could’ve,’ one of things,” she says. “I got married real young and had children, and pretty much waited until they were older to pursue and really start learning color and technique.”

Powell has had several businesses, including a guitar shop and a screen-printing shop.

“Ah, I’ve done everything,” she says, laughing. “I was a carpenter’s helper — I’ve always been strong so I’ve done a lot of physical work.”

Powell says she doesn’t regret waiting to really forge a path as a painter.

“I think I’ve studied and I probably know more than most people who’ve gone to school for it about certain things that I was interested in,” she says. “I’ve done a lot of studying on my own, a lot of trial and error, a lot of mentors — I think it was OK. “And I teach (art). I got a little bit of that — enough to know I didn’t want to do it.”

With a full-time job as assistant manager at Goodwill, by the time she has cooked and done laundry, Powell says she doesn’t paint as much as she used to because she doesn’t have time.

“I do it anyway — I get up early or just stay up late and paint,” she says, adding that she prefers to work on a single piece at a time, rather than work on several at once.

“It’s usually pretty fast,” she says. “It comes one at a time, and a lot of small pieces because I’ve never had a large studio.”

As well as an apartment full of paintings, Powell also has a lot of drawings.

“I draw a lot,” she says. “I have several sketchbooks.

THE THAW by Alice Powell I really believe in figure drawing and sketching, and keeping your line and sight.”

Powell says she has always been a painter.

“I had no formal education, but I had a lot of mentors along the way to help me and encourage me,” she says.

She cites Frank Gerriets particularly as a mentor.

She worked at the Beaumont Art League for a long time and Gerriets was a driving force behind the

See POWELL on page 12

10 • ISSUE November 2015

Volume 22, No. 3

Baker to host open studio, Nov 14 ARTIST TERESA BAKER HAS spent her life living in different places — from small towns to big cities, stateside and abroad.

Now she is making Beaumont her home.

“I have been here for three months, fixing up the studio, and I have fallen in love with it and all its eccentricities,” she said.

“I wanted to be able to have a show to get to know the community better and also present my work to Beaumont in a tangible form, not just in images.”

On Nov. 14, she will open up her studio to introduce her art to Southeast Texas from 4 p.m. to 7 p.m.

Baker has shown in art galleries from San Francisco to New York, and focuses on changing works and materials from their original states to ones which spectators are no longer able to recognize.

“Essentially, I believe in my work as being a continuation — it is always about the same thing,” she said. “The material changes for sure — there is always new material investigations. However, the concept is always the same.”

For this show, Baker will pull works from 2013 to present. While the majority of the works were fabricated during her MFA studies at the California College of Arts in San Francisco, Baker said they are not to be categorized as a series or a period, but rather as a succession of previous works she has produced.

“I don’t believe that I do bodies of work,” she said. “Materially, I go through phases where I may work with felt for awhile, then felt and canvas, felt stretched, and now I am working with vinyl-coated mesh.”

For exhibitions, artists usually have little say in what works are chosen and how they are arranged in the space. Baker said this will be the first time that she has had the opportunity to curate her own show and the freedom to mix pieces from different years, “I’m really excited to see what relations the works are going to create with each other and how they are going to look, what kind of dialogues they will create as the viewer bounces back and forth between the works,” she said.

While many of her works share com-

Story and photos by Caitlin Duerler

mon characteristics, such as type of material and large format, their similarity is not dependent on being a part of a series but rather because of the influence of the environment in which she lives.

Baker said she is indirectly influenced by environments in which she lives and works. Intrigued by the humid climate of her new home, she is looking forward to creating works that reflect the denseness of the air and other regional characteristics.

“I’m from the plainsland; it is open, spare and flat,” she said. “That is actually what has generally come out in my work and I think being raised in that area guided me towards that aesthetic in my work with objects.”

Baker moved to Beaumont to live with her partner Michael Mason.

“The one thing I am really curious about Southeast Texas is what the environment is going to do and how it is going to come into my process,” she said. “This

Artist Teresa Baker works in her Beaumont studio.

Baker will host a studio opening, Nov. 14

environment, the air is thicker. Everything is thick here. I am curious and excited to see how it will change my work and to try something different.”

Admission to the studio opening is free.

Baker’s studio is located at 3660 Ironton St. in Beaumont.

For more information, email adhoc beaumont@gmail.com.

Volume 22, No. 3

November 2015 ISSUE • 11

High Street Galler y to host Honour Harr y paintings, Nov. 7 THE HIGH STREET GALLERY will host an exhibition of paintings and drawings by Honour Harry, 8-11 p.m., on Nov. 7. The gallery is located in Victoria House, 2110 Victoria St. in Beaumont.

“Honour’s work is beautiful and mesmerizing,” Olivia Busceme, gallery director, said.

“She will be displaying her various unique styles and technique in her artwork and we’re very excited to have her finish out the 2015 season.”

Entry is free and the work will be for sale.

Refreshments will be available at the event.

Beaumont-native Harry created these images by painting strokes while having conversations with different volunteers.

“While sitting with them, I used color, stroke, and saturation, to paint my reactions to their personality. Later, I used apophenia to clarify those preliminary shapes into more recognizable images,” Harry said. “The final product becomes something like a portrait that transcends physical features and allows viewers a chance to view a new side of the volunteer and themselves.”

Apophenia refers to the perception of connections and meaningfulness in unrelated things, such as seeing a face in woodgrain.

Harry uses this to create her final images.

“Creating works in this way becomes a collaboration that celebrates the lives and experiences of people I encounter. The entire process becomes a personal, cathartic interaction,” Harry said.

For more information, email victoriahousetx@gmail.com, visit the High Street Gallery Facebook page, or www.HanhArts.com.

MARK, above, and JULIANNA, left, by Honour Harry

HOLST from page 6 gallery away.

“After putting my home back after the storm and building a new studio, I starting playing with acrylics and having fun with my art,” she said. “With this change, I won two of the Beaumont Art League Neches River shows. Believe it or not, one of the wins was my first going “out of the box” work.

Not long after winning that show Holst met Salli Babbitt, someone that inspired her “beyond my expectations.”

“One Sunday, I opened the Galveston “Coast” magazine and there was an artist standing with a large painting that popped my eyes out. The painting’s background was exactly what I wanted to learn,” she said. “The subject was a large bird. I had been asked to do a solo show at the Beaumont Art League and I

wanted to do something completely different so I called and was lucky enough to reserve a class with her. Salli and I had fun teaching me to throw, drip and get dirty painting.

“The paint covered walls of my studio tells what fun it is painting with new paints and ideas. My art shows hidden critters and objects are fun to spot. It flows and moves with bright colors that show drips, drops and runs that will make you smile.

“I love these paintings, and just for Jerry’s sake, I put in a few realistic birds mixed with a little “Opening My Eyes.”

For more information, visit info@beaumontartleague.org.

BAL is located at 2675 Gulf St. in Beaumont.

KESTREL by Margo Holst

12 • ISSUE November 2015

Volume 22, No. 3

POWELL from page 9 league.

“Frank Gerrietts was awesome at line and color design,” she says. “And he could relay it to you, what you were doing wrong — and he wasn’t afraid to tell you, either, his old cranky self.

He took me under his wing; I think he’s done that with a lot of people.”

Powell, who has previously had solo shows at the Beaumont Art League and in Jasper, says that having an exhibition is analogous with singing.

“When you get up before a large audience, and you sing and pour your soul out — which I would never do, by the way — my artwork is from my heart,” she says.

“For a long time I couldn’t show anyone. It stayed under my bed for years and kept piling up. Then I guess you get a littler braver and more knowledge, you’re more secure with what you do. I think it’s from my heart, and I hope people can see that and read something into it and appreciate it.

“I’m singing loud.”

The Art Studio, Inc. is located at 720 Franklin in downtown Beaumont.

For more information, visit www.artstudio.org.

Alice Powell sits surrounded by her paintings in her Beaumont apartment.

Volume 22, No. 3

November 2015 ISSUE • 13

Hollywood actor, coach brings one-man show to SETX LIVING IN HOLLYWOOD IS the ideal place for someone with an eye for the celebrity. But it takes a real storyteller to appreciate the tales that come from such close encounters.

Fortunately, actor/comedian Chambers Stevens has a file full of anecdotes from 40 years in show business and will bring his latest one-man show, “It’s Who You Know,” in cooperation with Divergent Theater, to Lamar University’s Studio Theatre, Nov. 6 and 7.

Tickets are $15, $5 for Lamar University students with valid ID, and are available online at www.divergenttheater.com.

This is not Stevens first visit to Southeast Texas. He is a frequent visitor to the area to conduct workshops and he even premiered this show when it was still in its workshop stage.

“After touring the country, it is fantastic to be back in Beaumont where I debuted the show,” Stevens said. “People in Southeast Texas have the best sense of humor. I always have a blast there.”

The Beaumont date is the latest stop in a multi-state tour.

Stevens said the idea for the show came from a meeting with Steven Soderbergh at a screening of the movie director’s documentary “And Everything is Going Fine,” about humorist Spalding Gray. Soderbergh told Stevens about a film, “Personal History of American Trash,” where Gray pulls scripts of plays he had been in from a box, and proceeds to tell anecdotes about his experiences in those plays.

“I thought that would be a perfect idea now,” Stevens says.”No one would care about plays, but because I live in Los Angeles, it would be cool to talk about celebrity encounters.”

He describes the show as being like”sit-down comedy.”

Stevens is one of the top acting coaches in Hollywood, and his wife is producer for Disney, so he has more than his share of runins with the rich and famous.

“I’ve worked with them, known them — and run into them at the supermarket,” he says. “I have stories that are funny, sad, hilarious and even angry.”

Stevens grew up in Nashville, so many of his stories involve country music stars.

KIDS,

“It started when the Mandrell sisters moved in next door when I was 10,” he says. Johnny Cash sponsored my Little League baseball team, and Faith Hill was in the first acting class I taught.”

In the show, Stevens shuffles a deck of 100 cards, each with the name of a celebrity. He pulls out a name and his natural talent for storytelling kicks in. No two shows are the same.

An Emmy-nominated author and playwright, Stevens has been lauded for his previous shows. His previous one-man show, “Desperate for Magic,” won the Backstage Garland award. The Los Angeles Times wrote, “Star shines in ‘Desperate for Magic’ The dude is worthy! Way!!!” The paper also called him a “kinetic explosion.”

Stevens is a frequent collaborator with Divergent Theater, including the hilarious “My Dirty Little Secret,” which was performed in Beaumont in Nov. 2014.

“We at Divergent have had the opportunity over the past eight years to become very familiar with Chambers’ works,” artistic director Ramona Young says. “Chambers is a frequent visitor to Beaumont. He comes every year to host acting workshops for children, teens and young adults where he teaches them how to break into the business.

“We are especially pleased to collaborate with Lamar University for this presentation. Chambers will also conduct a masterclass for the students while he is here. It perfectly fits with Divergent’s mission to build a strong theatrical bonds across the whole Southeast Texas community.”

Stevens said that he is excited for everyone to see the show, especially students.

“When I was 18 or 19 I first saw Spalding Gray, Eric Bogosian and Whoopi Goldberg, and they inspired me,” he says. “Maybe (students) will be inspired to tell their own stories.”

Stevens says that he travels a lot and no matter what plane he gets on, people are reading about celebrities.

“That’s what this show is, a deeper version of People magazine,” he laughs.

For more, visit www.chambersstevens.com.

Chambers Stevens will perform “It’s Who You Know” Nov. 6 and 7.

YOUNG ADULT ACTING WORKSHOPS SET FOR

HOLLYWOOD ACTING COACH AND author Chambers Stevens will bring his expertise to Beaumont with a pair of acting workshops; an advanced commercial workshop for kids and young adults which will include a showcase in front of a panel of local producers, and a Hollywood 101 workshop for kids on the Disney and Nickelodeon style of acting.

The workshops, hosted by Divergent Theater, are scheduled for Saturday, Nov. 7, 8 a.m.noon for the advanced commercial workshop, and 1 p.m.-5 p.m. for the Hollywood 101 workshop.

The workshops will be held in the Assembly Hall at All Saints Episcopal School, 4108 Delaware in Beaumont.

Cost is $100 for the commercial workshop with producer panel and $75 for the Hollywood 101 workshop for kids. Advance reser-

vations are required. Reserve a spot online at Divergenttheater.com or go to facebook.com/divergenttheater.

Stevens is an expert in preparing actors for television, commercial and film auditions.

“We are really excited to offer this unique showcase for actors interested in getting into local commercials,” Ramona Young, Divergent Theater artistic director, said. “This workshop not only gives participants a chance to learn everything they need to know about preparing for a television commercial audition, but they will also get feedback from area professionals.”

Showcase panelists include Darryl Corley of KFDM and KJAC, and Josh Yawn of Joshua Productions.

Stevens is an expert on the Disney style and has a multitude of clients on the Disney

Channel and Nickelodeon. He is an established coach and the author of seven books of monologues, scenes and commercials for young actors.

“Chambers has a gift with children and teenagers,” Young said. “When he is coaching them on auditioning and different acting styles that are currently en vogue in Hollywood, he is super high energy. He’s fun, he does voices, he connects on their level — he’s just hilarious. Kids love him.”

He will teach students how to focus on the laugh, how to make an impression, and the difference between single camera and multicamera auditions.

Stevens is married to Betsy Sullenger, producer of the Disney Channel hit “Liv and Maddie,” and he recently won in five categories “Best in L.A.” awards from Backstage, the na-

NOV. 7

tional magazine for the film and television industry.

“Chambers instruction includes techniques on memorization and how to make your audition stand out,” Young said. “There will also be scene and monologue work to help the young actors develop their skills.”

This will be Stevens’ eighth trip to Beaumont, during which he has taught dozens of Southeast Texas’ young actors.

“Kids are the best,” he said. “They are so full of creativity and energy. Their imaginations are powerful so they can throw themselves in to any scene. Plus they are so hungry for help from someone who knows what they are doing.”

For more on the workshops, visit www.divergenttheater.com or www.facebook.com/divergenttheater.

14 • ISSUE November 2015

Volume 22, No. 3

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 announced the winners of its ANNUAL MEMBERSHIP SHOW, its biggest show of the year, at a reception Oct. 10.

First place was awarded to Robert Lawson for “The Family.” Second place was awarded to Lief Anson Wallace for “The Library,” and third place was awarded to Richard Spinney for “Viola.”

Honorable Mentions were awarded to Amy Faggard for “Fragments,” Scot Meents for “Echo,” and Rose Stark for “Abstract Series I.” For more information, visit info@beau

montartleague.org.

BAL is located at 2675 Gulf St. in Beaumont. _________________ Janet Cardiff and George Bures Miller are the first artists to be commissioned by the Menil Collection to create an installation in the Byzantine Fresco Chapel.

The Infinity Machine inaugurates an experimental series of year-long, site-specific installations giving new life to the chapel.

Cardiff and Miller’s first mobile fills the

now-deconsecrated space with a sonic and visual experience inspired by ancient Greek philosopher Pythagoras’s concept of “the music of the spheres.” Aspects of the theory that the movement of celestial bodies creates audio harmonies have been corroborated by NASA's Voyager I and II spacecraft. Visitors hear an audio collage made up of the probes' recordings of the interactions of the solar wind with the magnetic fields of planet and moons in our solar system.

The Menil is located at 1533 Sul Ross in Houston. Visit www,menil.org.

VIEW from page 3

ROTHKO from page 5

the sense that all these turning points had things more far reaching than issues that have to do with the arts.

Money, religion, politics, war, and social upheaval were all at the center of these and other controversies with art as a minor subject, you might think — but history would prove you wrong.

Art had and has such an effect on people that popes and kings fought to maintain the arts, but still under rules of decorum. So the common bond in art is the collective repression of art through the ages.

Artistic autonomy is rare in history. Sen. Jesse Helms wanted to censor art made in America, but all he did was to stop funding artists through the National Endowment for the Arts.

I see what art can do, to and for people. The work of The Studio is as big as any movement through the ages. We are here to curve culture and add our unique twist to the world we live in.

It is imperative that artists continue to do what they do. The Art Studio participates in the incredible honor of maintaining the proliferation of art to joint the artists through the ages.

feeling rather than a flat surface” (Rob Mazurek, jazz musician and painter).

How often do we try to impose literal associations with the surrounding world upon a work of art? It is difficult to resist an impulse to hear a bubbling brook in a musical piece or to see a landscape in a Rothko’s painting. Instead of yielding to this irksome temptation, let’s practice freeing our minds from extraneous thoughts and opening up to a work of art.

As we walk into Rothko’s exhibition, let the paintings wrap around us. Let us be reminded of the artist’s words: “A painting is not a picture of an experience. It is the experience.” Let us look at the magnificent expanses of color, sometimes bright and vibrant, sometimes dark and unfathomable, and listen to our own instinctive responses.

And then we may have a revelation, like composer Philip Glass, who wrote this about Rothko’s canvases: “I could, and I did, sit in front of these paintings for long stretches, bathing in their strength and wisdom.”

“Mark Rothko: A Retrospective” is on view at the Museum of Fine Arts, Houston, through Jan. 24, 2016. For more information about related educational programs, museum hours and tickets, visit www.mfah. 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

STREET SCENE by Mark Rothko

1

New York Times, Dec. 31, 2000.

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

GOALS 1. 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 22, No. 3

November 2015 ISSUE • 15

Thoughtcrime Empty Parking Space

Submission Guidelines and Disclaimer ISSUE solicits and publishes the work of local authors. Poetry, short fiction, scholarly works and opinion pieces may be submitted for review. All works must be typed and may be sent to TASI by email or by messaging the ISSUE Facebook page.

The opinions expressed in “Thoughtcrime” do not necessarily reflect the opinions of TASI, its Board of Directors, ISSUE’s editorial staff, or donors to TASI. Send typed works to: ISSUE, 720 Franklin, Beaumont, TX 77701 or e-mail issue@artstudio.org Authors must submit a daytime telephone number and email along with all submissions. Pen names are acceptable, but authors must supply real names for verification. All printed works are protected by copyright. The author retains rights to any published work. ISSUE does not notify of rejection by mail or telephone.

He was looking for a space for the painter to discharge her big wares in downtown Galveston gallery area. Heavy stuff, with no alley loading dock, he had to have dollies. Finally, he found one space within walking distance. He jumped out and claimed the space with waving arms, most just nodded and moved on, while the driver went around the long block. Then one of those high end automatic parallel park cars drove up.

He pounded on the car and stopped the driver.

“You can’t have this space, I’m here. It is important.”

“It is empty.”

“No Man, you can’t take it. Look, I’ll lay down on it. We gotta have it.”

“It is empty.”

He lay down. The driver pressed Auto Park. It crushed him coming and going, as the vehicle settled in.

“Officer, the car has safety stuff said it’s OK. It did it. Not my fault, it was an empty parking space. The car did it.”

Pitiful Love You knocked my socks off When you said You didn’t love me That you’d never loved me It was only pity you felt for me All these years My knees buckled and I almost fell as I Ran out of out of your house Shocked and puzzled at your Cruel declaration The hurt was excruciating and You literally knocked my socks off Cripplingly me, my heart, and my feet Go ahead Knock my socks off You fair weather lover Knock my socks off I’ll walk barefoot In pain til I win your love Cathy Atkinson

DJ Kava

WE WANT YOU FOR BAND NITE Listen to original music by local musicians at For upcoming gigs, visit The Studio’s facebook page

$5

admission

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

A Single Tear A single tear, though all alone, A sign of things to come.

For welling up behind this mask A storm I know not from.

The brewing of a cyclone; The swirling, growing, churning Will spill over to stain this mask.

I cringe, because the burning Of these tears, so hot... so hot It eats from inside out.

A hollow shell is left to tell The story of my grief.

And I’ll because of my belief.

I thought that you belong to me...

Catbird’s Nest

720 Franklin, Beaumont, Texas 77701

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

RETURN SERVICE REQUESTED

INSIDE • POWELL’S JOURNEY • THOUGHTCRIME: MUSINGS FROM AREA POETS • ROTHKO AT MFAH • LIFE DRAWING AT TASI

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 Cyndi Grimes Rhonda McNally Andy Coughlan John Roberts Beau Dumesnil Karen Dumesnil Sheila Busceme Kailee Viator Gabe Sellers Scott & John Alexander Heather Adams Terri Fox Avril Falgout B.J. Bourg Michelle Falgout Stacey Haynes Joe Winston John Fulbright Mark Jacobson Nathaniel Welch Tracy Danna Jaime Barclay Gina Garcia Hayley Hardin Spencer Holland Tack Somers Jack Hays Tyler Hargraves Aslinn Garcia Chase Kiker Paisley Polk

THIS MONTH:

JOIN US FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

JOURNEY Recent Works by Alice Powell NOVEMBER 7-28 GALLERY RECEPTION IS NOVEMBER 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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