Issue 11 17

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

NOVEMBER 2017

INSIDE: EDISON MUSEUM, HATOUM AT MENIL, TEACHERS, AND MORE

CARLO BUSCEME III Page 4

ISSUE Vol. 24, No. 3 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 I’m not even sure where to start with this. It has been a very trying time for my family, as many of you know. the sudden death of my dear brother, Carlo III, has left a huge gap in my family’s lives. It has also deeply affected all the people who he loves and love him and the myriad organizations that depend on his wisdom, his knowledge and his generosity.

I cannot tell you the hundreds of messages, letters and emails that attested to what our family has always known — he left a wonderfully indelible impact on this community. the love he has for his son and daughter-in-law, parents, brothers and sister, nieces and nephews great and otherwise, sisters-in-law and brother-

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 Remembering Carlo . . . . . . . . . . . . . Page 4 Edison at the Plaza . . . . . . . . . . . . . Page 6 Sound/In-Sight . . . . . . . . . . . . . . . . Page 8 Hatoum at the Menil . . . . . . . . . . . Page 11 Teachers at the Dishman . . . . . . . . Page 12 Thoughtcrime. . . . . . . . . . . . . . . . . Page 15 Cover illustration of Carlo Busceme III

by Andy Coughlan

in-law, and the infinite spectrum of cousins and friends.

His kind nature and his ever-present smile and warmth to everyone he met is infectious. If you are wondering if this quality is genuine I can assure you, emphatically, it is. on behalf of my family and myself, I want to thank each of you for your generosity, your outpouring of love and friendship, your moral support and sympathy, and the beautiful stories about your experiences with my brother. It has gone a long way in helping our family and friends heal from this enormous loss.

I speak of him in present tense because I know, held in our hearts, he will always be with us.

UPCOMING EXHIBITIONS AT THE ART STUDIO

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

Holiday Shop-O-Rama Extravaganza Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . December 2

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A FRIEND OF THE ARTS

4 • ISSUE November 2017

Volume 24, No. 3

Beaumont businessman, art supporter Carlo Busceme III dies at age 65 tHe soutHeast texas arts community lost one of its biggest supporters when Carlo Busceme III died sept. 22. He was a musician, artist and businessman whose greatest gift was the ability to be curious and open to everyone who met him.

It would be easy to fill this magazine with stories from friends, but there is only so much room, as those who knew him meet at upcoming art openings, symphony concerts, philanthropic fundraisers, the anecdotes will fly — hopefully, with many smiles that reflect the joy Carlo brought to the community.

“He is amiability,” his brother Greg, founder and director of the art studio, says, insisting on using present tense. “somebody said, ‘He was such a nice guy,’ but no, he is a nice guy. He continues to be a nice guy.

He won’t stop being a nice guy, he just won’t be a nice guy with us.

“It makes me feel better to keep him in present tense. of course, I know at some point I will talk about him in past tense, but as long as we hold him in our heart he will always be there.”

Carlo was a devout Catholic, but was someone who was open to all ideas and philosophies, which made him a great conversationalist.

“He saw a common connection with everything in a lot of ways,” Greg says. “although he was a devoted Catholic, he was always kind of like a devoted Catholic

Volume 24, No. 3 with an asterisk, saying, ‘But, it doesn’t mean everything else isn’t right, too. What will we see? I don’t know, but I’m going to go to church and do my thing because that’s what I do.’” there is a lot of laughing when Greg talks about his brother, as there is when any of Carlo’s friends and even casual acquaintances talk about him.

“He also was curious — he kept his mind open,” Greg says. “I think that was the most fun we had. He’d talk about politics and religion. He was a fiscal conservative and social liberal — he wanted everybody to be treated right. He saw unfairness on both sides of things.”

Greg says Carlo saw solutions in a practical manner — he was methodical that way.

“I would be like, ‘this is the way it should be,’ and he’d be like, ‘Let me explain why it can’t,’ and I’d be like, ‘oh, oK,’” Greg says, acting like the younger brother being schooled by an older, wiser sibling, which is exactly the case.

“He was my explainer. When I was 5 or so. He’d say, ‘this is Christmas,’ and I’d be like, ‘really? I’ve seen all this stuff.’ or he’d be like, ‘this is Halloween. We’re going to dress in weird clothes and mom and dad are going to take us around places and they are going to give us a bunch of candy,’ and I’d be, ‘oh, cool.’ Christmas, candy. easter, candy. everything is candy. and I was 5 years old, and he was 8 or 9, so he was all like, ‘as far as I can tell,’ or ‘this is from my observation, just ride

See CARLO on page 14

November 2017 ISSUE • 5

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Volume 24, No. 3

DISCOVER ‘WIZARD OF MENLO PARK’ Quiet museum shows talent, drive of Edison, America’s greatest inventor

to Invent, you need a good imagination and a pile of junk.

It has been said that an hour does not go by where someone is not using an invention that was created by Photos by thomas edison. the invenAndy tor’s work ushered in many of Coughlan the conveniences that we sometimes take for granted, but as Hurricane Harvey reminded us, it would be difficult to live without them.

Beaumont pays its own tribute to “the Wizard of menlo Park” through the edison museum, located at 350 Pine st. behind the edison Plaza office building downtown.

Story by Stephan Malick

“the museum exhibits a variety of artifacts and items from edison’s menlo Park, new Jersey laboratory,” museum director alexandra mcKenna said. “We show a mix of information about his personal life, but also about edison, the man and the brand.” the museum is housed in the historic two-story travis street substation built in 1929 and occupies space once used for distributing electricity throughout Beaumont. the first floor displays more than 70 genuine artifacts from edison’s laboratories on permanent loan to the museum from the Charles edison Fund. the second story hosts a meeting room and archival and collections storage space

where one can see household appliances from the early 20th-century by a variety of manufacturers, many in working order. so why Beaumont? and why edison?

Gulf states utilities began a concept of displaying industry gear, equipment and employee memorabilia, and over time it grew into something larger. edison had no personal affiliation to Beaumont, nor did he ever visit the city, mcKenna said. “so much of what thomas edison created led to what most people saw as consumer boom after the ending of World War II — better household appliances, television,” mcKenna said. “He didn’t necessarily invent every device, but he embodied the

November 2017 ISSUE • 7

Volume 24, No. 3 idea of progress and the future.”

When Gsu and entergy merged, entergy developed the concept further by showing what the “age of edison” was all about and how much impact he had on daily life. entergy is the museum’s largest and most dedicated sponsor.

“Gulf states utilities began converting the building into a museum space in the early ’80s as newer equipment was smaller and more efficient — the main gallery is where all the older-style equipment used to be,” mcKenna said. “What is also interesting is the building houses new equipment behind the back wall that is hidden from view, so the building is actually a working museum, too.” mcKenna said the museum hopes to develop a display in the future showing mid-century appliances and furniture to give guests an example of what life was like back then. the museum is one of only a handful dedicated to thomas edison in the country and the only one west of the mississippi river. the museum has displays that highlight many of edison’s achievements including a phonograph exhibit, his various endeavors at creating lighting and light bulbs, and motion-picture making equipment such as a replica Kinetoscope. during his lifetime, edison would have 1,093 us patents in his name and 2,332 worldwide. He would also go on to found 14 companies (General electric, for example) and accrue great personal wealth. some exhibits display how edison was far ahead of his time with creating ideas. one display with items from 1911 features a promotion with edison showing a prototype electric car running on batteries he designed, accompanied with a quote by him saying, “Gasoline engines are unscientific and wasteful.” another interesting exhibit is a hands-on display about telegraphy that allows guests to create and decode morse Code messages. In addition, he had personal and special connection to that form of communication. edison learned telegraphy as a favor he earned by saving a 3-year-old boy’s life. the boy’s father was so grateful he taught edison the skill as a gift. “edison’s career started as telegraph operator, and because he was hard of hearing from a childhood illness, he and his wife communicated with each other by tapping out morse Code on each other’s wrists,” mcKenna said. “He nicknamed his first two children ‘dot and dash.’ “this museum has something for all ages, from young children seeking discovery to older folks that can recall how much technology has changed over the decades,” mcKenna said. the edison museum is located at 350 Pine st. in From early phonographs to light bulbs to vintage film viewers, the Edison Museum in downtown Beaumont has a varied collection of artifacts and machines developed or inspired by Thomas Edison.

downtown Beaumont and is open tuesday-Friday, 9 a.m. to 2 p.m. and saturday from 10 a.m. to 2 p.m. admission is free. For more information call 409-9813089.

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‘SOUND/IN-SIGHT’

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Volume 24, No. 3

vIsuaL arts, musIC to ComBIne In oPen art sHoW at tasI In novemBer sound/In-sIGHt oPens at the studio, nov. 4, curated by tenant artist andy Coughlan in collaboration with music composers austin Franklin and tommy mcPhee. the show is unique in that artists were asked to create artwork based on musical compositions.

Coughlan sought open submissions and, at press time, it was unknown how many artists would finally submit work for the project. “the concept began with an idea from a couple of years ago,” Coughlan

Story by Stephan Malick

Composers Tommy McPhee, top, and Austin Franklin provided original music for “Sound/In-Sight,” an open-call art exhibition inspired by their music. Wassily Kandinsky’s “Composition VIII,” right, from 1923.

said. “When George Wentz passed away I curated a collaborative show based upon his poetry. It was such a wonderful and moving show, I took the idea and ran with it.

“I thought it would be great idea to get some Lamar students to compose some music, that in turn, could be used to inspire someone to create a piece of art.”

Coughlan, who cites russian modernist artist Wassily Kandinsky among his influences, borrowed the idea Kandinsky used when he collaborated with composer arnold schoenberg to create a series of pieces based on the “impressions or com-

positions” Kandinsky had formed in his mind of the musical pieces.

Kandinsky, when asked about what he feels or sees when composing music, said, “Color is a keyboard, the eyes are the harmonies, the soul is the piano with many strings. the artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” these impressions of Kandinsky’s became a philosophical manifesto of sorts to his concept that artists and art were often the product of a spiritual awakening or connections.

“I think of all art in much the same

November 2017 ISSUE • 9

Volume 24, No. 3 way,” Coughlan said. “When I see a painting, I might think of music, or when I read poetry I might think of a painting. I see and feel different ways of looking at art, and music is always a part of it for me.”

Composer austin Franklin was a Lamar senior when he composed the piece and is now in the composition program at Louisiana state university pursuing a master’s in composition. “my professor nick rissman put me in touch with andy,” Franklin said. “I had been experimenting with different aspects of composition like atonal music and worked on applying the concept to this project.”

Franklin’s piece, “seventh Wave,” is an atonal piece that follows along with what he was working on for his senior recital, and it was natural for him to carry those ideas over.

the idea for the piece came when he was on vacation with family. one night, as he was watching the shoreline, he thought about an old sailor’s myth that waves travel in series of sevens and the seventh is always the strongest.

He explained that there are 12 tones in an octave that are generally played following an orderly sequence, whereas in atonal music the 12 tones are played out of sequence or order so there is not always a distinct melody and composers aren’t just writing chords.

Composer tommy mcPhee said he is interested in how the exhibition is going to be set up. Both composers plan to attend the exhibition’s open night to talk with artists and guests about the work they have done. “my expectation is that I’ll be able to see something tangible, a collaboration,

an expression of someone else’s reality,” mcPhee said. mcPhee and Franklin have not met and did not hear each other’s compositions prior to the open call for artists.

Coughlan said he ended up using both the artists’ work because the more he thought about the project, the more he thought it would be interesting to see multiple interpretations.

“I thought since they put in the effort to compose works, I would take them both and present the idea for the show with artists having to choose between the two compositions — or even draw from both,” Coughlan said. “I think each one is interesting on its own and I think it is interesting to see what interpretations people take from these compositions.”

Coughlan said he has not decided exactly how the show will be set up.

“I have to wait and see what comes in and then I’ll decide,” he said. “I plan on having the musical compositions play on a loop in the background during the show opening. I feel my creativity in this exhibit will be to present a cohesive and interesting show that looks good. “the most exciting thing I’m looking forward to is seeing the variations on a theme that people are coming up with to create their artwork. exhibitions are a lot like gardening. In this instance the songs are the soil, and the artists creating pieces are planting the seeds to see what ideas grow in the garden.” the exhibition will be displayed until nov. 24 with an opening reception nov. 4 from 7-10 p.m. the show is free to the public. to hear the compositions, visit www.artstudio.org/soundinsight.

Artist Maurice Abelman works on a sculpture inspired by musical compositions by Tommy McPhee and Austin Franklin in advance of the “Sound/In-Sight” exhibition which opens Nov. 4 at The Art Studio.

10 • ISSUE November 2017

Volume 24, No. 3

A Contemporary Menil Master PaLestInIan artIst mona Hatoum ComFortaBLe FIt

amonG surreaLIsts

tHe menIL CoLLeCtIon oPened in 1987 to display the collection of John and dominique de menil whose taste in surrealism, american abstraction and indigenous art (amongst other pursuits) exposed a Houston audience to important works in art history.

Contemporary exhibitions at the menil not only show important artists making work today, but also positions them in a similar vein of art making as the modern masters in the collection’s permanent exhibits.

Palestinian artist mona Hatoum’s exhibition “terra Infirma” touches on surrealism, abstraction and the performative to create a body of work which explores conflicts and contradictions in society.

Before even entering the main gallery with Hatoum’s exhibition, her work appears in the surrealism cabinets alongside works by rené magritte and marcel duchamp. the spirit of magritte’s “the treachery of Images” (1952) resonates in works like “Jardin Public” (1993). the artist takes a found object — a chair that could be found a public park — and forms a triangle on the seat with pubic hair in a tongue-and-cheek reference to the idea of public garden. “Hair necklace” (1995) plays with the abject even more, forming a necklace from rolled up clumps of hair, while “one year” (2006) (2007) freezes nail clippings in a cube of polyester resin. such practices in using the abject in artwork stemmed from practices in feminist art produced in the 1970s to dismantle previous understandings on how a woman’s body is and how it should be seen in the context of the visual arts. Hatoum uses hair strands and fingernail clippings, normally considered bodily waste, to form

Review by Caitlin Duerler

“Impenetrable” by Mona Hatoum

these ornamental objects. such juxtapositions not only surprise viewers, but also serve to question previous assumptions about these materials and their relation to the corporeal.

Larger sculptural works also play with ideas from the nascent years of the surrealist movement. “Grater divide” (2002) presents a larger-than-life standing cheese grater, raising questions such as what such a device could possibly grate at that scale and the uncanny feeling that it could be used on something

human-sized. another grater, called “dormiente” (2008) uses the Italian word for sleep because of its lateral position resembling a mattress, but its sharp holes for grating discourage such a function. another utensil that could be used in the kitchens of giants in our nightmares is an egg slicer called “marble slicer” (2002) that could fit a balled-up human in its basin. such devices, with their explicit uses in the kitchen for cooking, warn of the dangers of keeping women in the kitchen — cooking was a

skill that needed to be learned in the art of marriage and pleasing one’s husband. one of Hatoum’s works on paper, “How to turn your ordinary kitchen utensils into modern electrical appliances,” (1996) conjures this sense of danger in confinement of women to the kitchen by instructing users to connect live electricity to their metal colanders, a technique that is demonstrated in the installation “Homebound” (2000).

Ideas from artists working in abstraction is present in Hatoum’s two-dimensional works. “Projection (velvet)” (2013) presents a reproduction of a world map using velvet to outline the countries and patches of blank fabric for the ocean. the projection of the map appears to be skewed, with countries appearing much longer than on their paper cartographic counterparts. “3-d Cities” (2008-10) are maps with cities presented either convex or concave into the recesses of the table holding the work, showing spectators political consequences of designating such borders. such works bring to mind Jasper John’s Flags series, which presented the familiar symbol of the american flag with the grit of collage underneath the painted stars and stripes. such deviations from the expected only reinforces Hatoum’s aim for viewers to question their previous understanding of a world map. the use of a medium such as heat invokes a kind of art produced by minimalists in an aim to focus on the material, illustrated in her “drawing Heat” series (2017), where lines are made into parchment paper with heat. “Impenetrable” (2009) is another minimalist-inspired work, with strands of barbed wire meticulously hung to form a three-dimensional and impenetrable grid.

Hatoum’s kinetic works borrow both from 20th-century performance art and indigenous works. “+ and –” (1994– 2004), the only kinetic sculpture in this exhibition, has a motorized bearing which combs half of a tub of sand while simultaneously smoothing the combed lines of the other half of the tub. the use

See HATOUM on page 14

Volume 24, No. 3

Masters & Students

November 2017 ISSUE • 11

dishman art museum exhibit explores ‘art of the teacher’

When Christopher troutman decided to go to graduate school after teaching in Japan, there was only one choice — Long Beach state in California — to work with yu Ji and domenic Cretara. the relationship he built with Ji led to the exhibition, “the art of the teacher,” on display at the dishman art museum through nov. 12, which also includes nicole duet, who was mentored by Cretara.

Story by Andy Coughlan

Lamar assistant professor of art Christopher Troutman stands between his own work, right, and that of his teacher, Yu Ji, in the Dishman Art Museum.

Ji and Cretara were already influencing troutman before he attended Long Beach, so the chance to study with them was exciting.

“When I first met yu Ji, he said, ‘do you want to study with me?’ I said, ‘yeah, I want to study with you.’ He said, ‘Look, most students don’t want to put in the time. If you don’t want to put in the time, don’t waste my time.’ I was like, ‘no, I came from halfway across the planet. I am here to work. Give me chance.’ He said, ‘oK, let’s see how it goes.’ It was interesting,” troutman, Lamar university assistant professor of art, said.

When the idea for the show came up, troutman suggested bringing in duet,

currently an assistant professor of drawing and art at Louisiana tech in ruston, Louisiana, whose painting mentor was Cretara.

Both artists’ work draws on a personal narrative and feature family scenes. troutman said Cretara is like an old master.

“His paintings are in textbooks,” troutman said. “He’s pretty serious, but he can joke around a bit.” duet earned a bachelor of fine arts in theater, and her paintings have the quality of storytelling as a result.

“I think I am drawn to her photography because of the weird distortions and blurs,” troutman said.

the four artists, despite differing styles, share a common theme. “everybody here has some sort of connection between the human figure and some sort of story,” troutman said. troutman graduated with a bachelor of fine arts from Bradley university before moving with his wife to Japan for three years where the pair taught english. troutman was painting and entering competitions where he earned a couple of prizes.

“I thought, ‘Hey, I’m doing pretty good, I’m going to really knock their

See TEACHER on page 13

12 • ISSUE November 2017

High Street Gallery to host mixed media by Elizabeth French Nov. 17 tHe HIGH street GaLLery will host an exhibition of mixed media and collage artwork by elizabeth French, 7-10 p.m. nov 17. the gallery is located in victoria House, 2110 victoria st. in Beaumont.

“Having seen elizabeth doing more in the office of the art studio to take care of the administrative duties for so many other artists over the past several years, I thought it was high time to get her back into her creative work,” olivia Busceme, gallery director, said. entry is free and the work will be for sale. refreshments will be available at the event.

While French had taken a break from creating art, she has never stopped collecting the pieces that go into her assemblages.

“Lots of things like biological remnants, jewelry, fabric, old photos and ephemera are gathered together in reaction to ideas, literary quotes, people, pets, events or songs.,” French said. “ I used to

Volume 24, No. 3

create a protected space behind glass and neatly framed removed from the viewer, but since starting this process for this exhibition, I have created some very new pieces that are open and exposed."

French said she is influenced by all the artists around her and the great variety of creatives in this region.

“We are a product of all the things we see and that comes out in my work,” she said.

French will be showing some of her older work as well as "new work with new ideas and new work with old ideas."

"I use a personal symbolism to communicate with the viewer but knowing my original intent is not important,” she said.

“I would like viewers to have their own personal conversation with the objects and words in each piece, even if it's just that they think it is pretty or interesting.”

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

SAVE THE DATE

Artwork by Elizabeth French will be on display at High Street Gallery, Nov. 17.

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

Beaumont Art League to host Latin art show

November 2017 ISSUE • 13

Volume 24, No. 3

tHe Beaumont art LeaGue is accepting submissions for one of its most popular shows of the year: Latin american Influences in art. all artwork in the show reflects Latino culture, experiences and influences. the judge for the 2017 show is Greg Busceme, director of the art studio, Inc. Cash awards will be given for first, second and third place winners in the adult division. entries will be accepted from 11 a.m. to 4:30 p.m., oct. 26-28, at the Beaumont art League, 2675 Gulf st. in Beaumont. artists must be 18 or older to enter. each artist can submit up to three works. entry fee for BaL members is $10 each; entries from non-members are $25 each. membership is not required to enter the show. artists can join the BaL when they submit their work and pay the member rate for submissions. yearly membership dues begin at $40 for an individual or $25 for students, and $50 for a family.

TEACHER from page 11 socks off next year’ — and their socks were still fully on,” troutman said. “I thought, ‘oK, I have got to go back to school.’ I had tried really hard, or I thought I’d tried really hard, but I hadn’t tried smart.” troutman said he had his sights set on Long Beach specifically because of Ji

the BaL will collect a 30 percent commission on works sold. a youth exhibit of works — also focusing on Latin american culture — by artists younger than 18 will be on display in the back gallery. artists may bring in three pieces to be displayed. “there is no entrance fee or judging for the youth works, but it’s a wonderful opportunity for young artists to have their work seen and appreciated,” a BaL news release states. the show will be on display beginning nov.

4, and the opening reception, which is free and open to the public, is 7-9 p.m. on nov. 11. the show closes nov. 20.

Come see artwork in all mediums celebrating the rich cultural history of Latin americans.

Food will be provided by Carlos Zuniga of tacos La Bamba.

For more, visit the Beaumont art League Facebook page or call 409-833-4179.

and Cretara, but for the past 10 years he has been mainly drawing, so that’s what led to Ji’s drawings as his influence. troutman said Ji’s influence is more than simply drawing the human figure, a common theme in their work.

“It’s engaging with the environment somehow, interpreting that through your work,” he said. “even now, in the summer I had a research fellowship to do paintings exploring the interest between

“Accusation” by Domenic Cretara

Beaumont and living in miyakonojo, Japan. I think that idea sticks with me. somehow engaging with real stuff and putting that out there.” troutman said he is a fan of graphic novels, and his pieces on display in the dishman have the feel of the story, with multiple images of people in their environment. there are no words, but the viewer feels compelled to try to decipher the narrative and the images demand time and study.

Cretara’s pieces are colorful and vibrant, depicting familial scenes, yet they also echo compositions from renaissance religious paintings.

Cretara’s work has a theatrical flair. troutman said he talked to Cretara about a piece and said it reminded him of “twin Peaks.” Cretara scoffed and started referencing shakespeare. troutman’s time studying with his mentors led him to Lamar.

“If I hadn’t been to Long Beach I wouldn’t have had the career I had,” he said. the dishman art museum is located at 1030 e. Lavaca on the Lamar university campus in Beaumont. also on display in the upstairs gallery is “the truth of Ink” by Liu Wei, visiting artist/scholar from Henan Polytechnic

A mural by Andy Ledesma

“Tug” by Nicole Duet university in China. a free talk and demonstration by the artist is scheduled for 5:30 p.m. nov. 10.

14 • ISSUE November 2017

CARLO from page 5 along with it and everything’s going to be good. “so he was always my explainer, and the view he had at that time, which may have been slightly flawed, but he gave me the gist of the story, which was really kind of wonderful.” the laughter echoes around the room as Greg tells the story. “driving to the beach we would always make up funny stories — we’d do it just to crack each other up,” he says. “We’d do it years later and still crack each other up. We had that rapport, which I love. He was the big brother everybody wants to have.”

Lynn Castle, art museum of southeast texas executive director, reminisces about Carlo, who was a member of the museum’s advisory board.

“Last February, I sent out an email to our advisory board, of which Carlo was a member, requesting help with decorations for our mardi party. at the last minute, due to the beautiful weather and a growing reservation list, we decided to move the event outside to the café courtyard. We needed to string Christmas lights in the trees for ambient lighting. Carlo showed up (always a snappy dresser) in his white button-down shirt and

HATOUM from page 10 of sand in such a repetitive action brings to mind the native american sand rituals that Jackson Pollock cited as his inspiration for his drip paintings. However, it isn’t a human hand performing such a shamanistic act — rather it is a machine. the expression from which the exhibition takes its title, “terra Infirma,” originated in salmon rushdie’s novel, “the Ground Beneath Her Feet,” loosely based on the myth of orpheus and his wife eurydice, who was swept away to the underworld when he looked upon her after her return to earth after her unexpected death. rather than terra firma, or solid earth, “terra Infirma” suggests shifting ground and instability — which is in contrast to the human longing for sense of belonging and roots in a chaotic world. mona Hatoum’s work follows in the tradition of other important artists collected by the menils throughout the 20th century in its handling of uncanny subjects while also positioning itself in a

Volume 24, No. 3 dress slacks. He did not miss a beat climbing through the jasmine beds, wrapping lights from the bottom of each all the way up to the top with a long pole and ladder. We were out there for several hours, but we had a great time. When we turn on those twinkly lights for night events I always think of Carlo. He was a bright light at amset, for sure.”

Chelsea tipton, symphony of southeast texas conductor says, “Carlo Busceme III was someone who loved and supported all of the arts in Beaumont and southeast texas. He has been a good friend to the symphony of southeast texas as well as to me personally with his constant encouragement over the years. Carlo will be missed, and his memory will live on through the music of the sost that came from his unwavering support over many years.”

Greg Busceme says that goodwill expressed by the southeast texas community has been a great comfort for his family. “that is a major comfort for all of us to see,” he says. “We all knew that, but it is wonderful that everybody else felt that way, too. that outpouring was a beautiful thing.” the Issue staff always appreciated Carlo’s continuing support. many times he talked with the writers to explore some idea he had read about in our pages. We, like everyone who knew him, will miss his insightful, inquisitive, friendly conversations. larger art world narrative of works questioning norms concerning women’s roles in contemporary society. “terra Infirma” will be on view until Feb. 25. For more information, visit www.menil. org.

“Grater Divide” by Mona Hatoum

THE FOLLOWING MADE GENEROUS DONATIONS TO THE ART STUDIO, INC. IN MEMORY OF CARLO BUSCEME III

Bolivar Cultural Foundation James & Lynette Busceme Jerri Lesikar ann manes elizabeth saladino Leonard Junker & sharon Kirksey ymBL dennis & rhonda mcnally donald, Judy & Greg Landry ronald & susan Legnion susan russell andrea Karlin Buddy & debbie tortorice robert Head & LuJean dengler nancy mcGrade mary moorehouse smith regina rogers Phyllis & sammy Chirafis mary F. Busceme mary & martin montalbano Laurie & thomas messina James montalbano Kathy & tony tortorice ann mcdonald ernestine Kettl dennis Kiel randy Flateau estelle Broussard Huston dr. Ken & nancy evans the William earl Fox estate sales & marketing executives Club of setx James m. & mary Gagne Patton mehaffy Weber Gay & denise domingue mona Brittain & donavon salter Kimberly Brown Lance Larue maurice abelman sandy & Joseph Fertitta suzanne & Christopher Peiler nancy Fertitta donald Fertitta Jack & Janie Farris Joyce Philen & Farrell menard Pete Churton and Beth Gallaspy

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

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

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

Volume 24, No. 3

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:

Pines are a type of tree…

When I said goodbye to you a couple of years ago It feels just like yesterday.

Lost, sad and alone nothing I could give to you and it seemed you didn’t want enough of me I tried, I really did But I couldn’t find way What I want, What I need now is to believe the choice I made am I better off today?

I can hear your voice inside my head saying you should be with me instead every time I’m feeling down, I wonder What would it be like with you around?

I made my way stumbling in the dark, Chasing far away light It made me who I am, more by necessity, than any kind of plan now I’ve made myself a place I’ve got a life that I struggle to keep pace But still can’t forget, (no matter how hard I try).

What we gave up, when gave up each other.

What I want, What I need now is to believe the choice I made am I better off today?

I can hear the voice inside my head saying you should be with me instead every time I’m feeling down, I wonder What would it be like with you around?

Stephan Malick

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.

Color Me Worn down, broken crayons is what’s left

in my color box.

a life splashed with bright hues… reds flashing like street lights… though I did not stop.

yellows…warnings not heeded in a rush for the gusto.

the varied shades of green… envy, jealousy, greed

the familiar crayons…in bits and pieces some have rubbed together;

the specks off one adhere to the other… you can’t distinguish the dark colors until you make a mark with it.

I must make a mark…my mark.

I drift in and out of the lines as I create my picture. maybe I should find a use for those weird colors that rarely touch paper.

that blank sheet of paper that is the rest of my life. my box is stained with a plethora of colors.

I force the lid closed…

but my crayons fall from the bottom,

scattering clumsily on the soiled floor of discontent. and so goes my life…

a colorful life…an incomplete life…

I need a new box of crayons.

Dorothy Sells Clover

November 2017 ISSUE • 15 Full of Love Filled

Consumed Inundated

With a vast ocean of love

Compassion and Kindness

the ocean carries me

Filling my heart and soul With its warm waters

I am familiar with this sea these waters have been Felt before

yet the capacity is astounding taking my breath away

replaced by the winds and

the sands of time that cannot Be explained

nor the beauty that lies within the immeasurable ocean that constantly ebbs and flows

Flooding inside my heart and soul like the tide the effects

of its great power reminding me

to go with the flow and when it ebbs even still

I am consumed

In awe of the feelings Left behind the same

Love, compassion and kindness

until the ocean carries me out further

With kindness compassion

and love that runs even deeper I am warmed by its water and the beauty

Which cannot be the explained.

Chrissie Mouton

720 Franklin, Beaumont, Texas 77701

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

RETURN SERVICE REQUESTED

INSIDE • REMEMBERING CARLO BUSCEME III • THOUGHTCRIME: MUSINGS FROM AREA POETS • EDISON MUSEUM • SOUND/IN-SIGHT 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 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:

‘SOUND/IN-SIGHT’ TOMMY MCPHEE AUSTIN FRANKLIN

OPENING RECEPTION IS NOVEMBER 4, 7-10 P.M.

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

ISSUE

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