Issue Magazine - 30 Years and Counting

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

DECEMBER 2013/ JANUARY 2014

30 YEARS AND COUNTING PICTURES, PAGE 8

INSIDE: GEEK’S GIFT GUIDE, ALTERED BOOKS, TUYMANS’ ‘NICE,’ BERNI AT MFAH, AND MORE

WE WANT YOU FOR BAND NITE Hear original music by local musicians at

, t r A e n i F Food e n i F Two Magnolias r e s t a u r a n t in the Art Museum of Southeast Texas

Weekday lunch, 11 a.m.-2 p.m.

Wedding Receptions • Rehearsal Dinners • Meals to go For upcoming gigs, visit The Studio’s facebook page

$5

1 0% dis c ou nt f or a rt is ts 500 Main Street in downtown Beaumont, Texas

admission

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

409-833-5913 www.2magnolias.org • www.facebook.com/TwoMagnolias twomagnoliascatering@gmail

BECOME A MEMBER THERE’S REALLY NO EXCUSE NOT TO.

SEE MEMBERSHIP FORM ON PAGE 3.

A View From The Top Greg Busceme, TASI Director

NOV. 15, 2013 — The Studio is a-bustle with streamers, rubics cubes and floppy discs, with colorful cellphones. We are preparing for our 30th-anniversary celebration and we are pulling out all the stops. When you are known for a good party — we’ve put on two a month for the past 20 years — it’s imperative to up the ante on what the community expects.

Three reasons for putting on this event: #1. It unites the staff and volunteers as a team and acts as an outreach to others who would like to participate in the growth of The Studio. #2. It is fun. A party is a party when one sends an invitation to an event and others accept.

Make the event memorable and people will come back for more. #3. Money! Let’s not forget that, though the first two reasons are more esoteric, the third reasons’ what brung us to the party.

As a independent organization, we don’t operate without the reality of income. The parties are vehicles by which we can generate capital that can be used for major repairs to the facility (#roof) or an improvement of some kind.

I only hope we do well tomorrow. Hits on our Facebook page indicate a good turnout and our local media were generous to a fault, and everyone is on board for the event. Our volunteers are fabulous and performed their tasks seamlessly. Everyone is set and ready to go.

Let’s do this!

ISSUE Vol. 20, No. 4 Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc. Editor . . . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . . . . . . Tracy Danna Contributing Writers. . . . . . . . . . . . Elena Ivanova, . . . . . . . . . . . . . . Sarah Hamilton, Jeff Dixon Contributing Photographers . . . . . . Pete Churton, . . . . . . . . . . . . . . . . . . . . . . . . Scott Eslinger Distribution. . . . . . . . . . . . . . . Chelsea Henderson The Art Studio, Inc. Board of Directors President Ex-Officio . . . . . . . . . . . . Greg Busceme Vice-President. . . . . . . . . . . . . . . Angela Busceme Chair . . . . . . . . . . . . . . . . . . . . . . . . John Roberts Treasurer/Secretary . . . . . . . . . . . . . Beth Gallaspy 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 artstudio@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 Geek’s Gift Guide . . . . . . . . . . . . . . . . . . . . . Page 4 Repurposed Reads. . . . . . . . . . . . . . . . . . . . Page 6 Shop-O-Rama . . . . . . . . . . . . . . . . . . . . . . . Page 7 ‘TASI to the Max’ in Pictures . . . . . . . . . . . . Page 8 Berni at MFAH . . . . . . . . . . . . . . . . . . . . . . Page 10 “Nice”Luc Tuymens at Menil . . . . . . . . . . . Page 11 Around & About. . . . . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 15 Cover illustration of Greg Busceme in 1983 and 2013

by Andy Coughlan

NOV. 17, 2013 — WOW!! Whatever my hopes and dreams were about our birthday party

were surpassed by the reality. Twice as many participants who said they would come did come. Bands played, Space Capsule performed, models sashayed and food was consumed. I saw so many people who I haven’t seen in so long, met new faces, and enjoyed the 300-plus who participated in the frivolity.

An act of nature beyond our control, the weather, decided not to deluge us with rain as I expected earlier in the week but the warm air and the cold concrete of The Studio floor were a heady mix for a damp mess as moisture rose up from the cool floor and saturated the entire Studio. No big deal! No disastrous slips and falls, and everyone seemed oblivious to the damp drizzly air around us. We were impervious as nothing could dampened our spirits and the party went on.

Our thanks to all the bands that participated, to Space Capsule, to the Lamar video production class, instructed by O’Brian Stanley, to the women of Recreate fashion show, all the artists who donated work for the silent auction, to businesses who donated food and beverages, to our volunteers and to our loving benefactors.

It takes many hands to create an event, and it takes many hands to maintain an organization and make it stronger. Our appreciation especially to those who participated and made the event what it was.

The Studio is just an empty building. It takes people to make it an organization that serves.

Thanks for the opportunity.

UPCOMING EXHIBITIONS AT THE ART STUDIO DECEMBER

FEBRUARY

Holiday Shop-O-Rama Extravaganza Opening . . . . . . . . . . . . . . . . . . . . . . December 7

Elizabeth Fontenot Opening . . . . . . . . . . . . . . . . . . . . . . . February 1

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 December 2013/January 2014

Volume 20, No. 4

Silent Night,

ONCE AGAIN, IT’S TIME FOR THE ANNUAL GUIDE WELL IT’S THAT TIME of year again. You’ve all got geeky friends on your lists and you have no idea what to get them that will show them they are understood — to show them that you have taken the time to acknowledge their geekdom and purchase a gift accordingly.

First up we’ll handle our movie geeks with some titles that are new to Blu Ray.

Commentary

by Jeff Dixon (Jeff Dixon loves movies and comic books in a way that often terrifies him.

You can follow his insane ramblings on Twitter @RoiVampire if he lets you)

HIGH PLAINS DRIFTER — I almost began this by saying it was the first movie Clint Eastwood directed. That’s how utterly forgettable his first effort was. “High Plains Drifter” is anything but.

Eastwood takes the best parts of Sergio Leone’s spaghetti westerns and turns them up to 11. The film takes place in a heightened reality where the lines between right and wrong, the real world and the netherworld, are blurry at best.

Also, it remains the only film where a town is literally painted red. Just tuck that away for future games of pub trivia.

TANK GIRL — Here’s the thing about “Tank Girl”; much like the recent “Judge Dredd” adaptation, “Tank Girl” is surprisingly faithful to the source material. As such, it is simply not for some people. “Tank Girl” is a very strange comic and Rachel Talalay (Oh that’s right, I know her name) made a very strange movie out of it. Lori Petty turns in a whimsical performance that teeters the line between every Zooey Deschanel character ever and Mad Max. But honestly, the real draw here is Ice-T and Iggy Pop completely owning that they are in a movie featuring talking kangaroos. Out for the first time on Blu Ray (I know I couldn’t believe it either), this one is for your friend who loves indie comics or simply out of control ’90s movies.

CITY LIGHTS (CRITERION COLLECTION) — The fourth film Charlie Chaplin directed at United Artists, “City Lights” is a gorgeous and lighthearted work that Orson Welles called his favorite movie of all time. Did you read that?

Orson Welles announced out loud that essentially he loved this film more than any other film ever. Here’s another bit of trivia for you. Virginia Cherill, the blind flower girl — who is amazing just for your information — quit acting a few years

later. She said, and I quote, she was “no great shakes of an actress.” Isn’t that just everything?

BIG: 25TH ANNIVERSARY EDITION — Lets just gloss over the fact that “Big” is 25 years old and focus on the fact that there is a director’s cut of “Big.” Yeah, let that sink in. How does that feel? Pretty awesome right?!

The disc also includes deleted scenes which, if you’ve been paying attention, aren’t in the director’s cut. Which means this is an actual director’s cut and not just some ham-fisted cash grab where the studio paid some intern to inject all the deleted scenes into the original film regardless of how it flowed. Also, each edition comes with one of three “Zoltar” fortune teller cards which tells me that whoever put this together really knows their audience.

ONLY GOD FORGIVES — Here’s a simple question: do you like movies that are super cool? If so you will absolutely fall head over heals for “Only God Forgives.” Not only was this the single best-titled film of 2013, it was for all intents and purposes, super cool. If this film were a person it would be George Clooney. And not just regular George Clooney but George Clooney in a tux in Las Vegas. If this movie were a car it would be a white 1970 Dodge Challenger with a thin red racing strip. If this movie was a fictional character it would be Jay Gatsby plus karate. Also, vengeance.

Please do yourself a favor, ignore my incoherent ramblings and buy this for your friend who loves foreign crime movies.

THOR GOD OF THUNDER: THE GOD BUTCHER BY JASON AARON AND ESAD RIBIC — Have a friend who loves the Avengers movies but hasn’t read any of the comics? Of course you do. You’re a person living on this planet. If they like Thor even a little bit please make sure they get their hands on this. Set in three different stages of Thor’s life, Aaron takes readers on a journey through Asgard, Midgard and beyond in a quest to find out who Thor is, as a god, as a leader, as an Avenger and even as a man, or close to it. Plus, how often have you read a story about a serial killer who targets deities? I probably should have led with that part right?

Volume 20, No. 4

December 2013/January 2014 ISSUE • 5

Geeky night TO THE PERFECT GIFTS FOR THE NERD YOU LOVE THE LAST DAYS OF AMERICAN CRIME

BY RICK REMENDER AND GREG TOCCHINI — This delightful little crime comic takes place in the not so distant future where the ever lovable United States government has developed a nationwide signal that makes the general populace simply not want to commit crime. Days before the signal goes live, Graham Brick (just stay with me) plans to orchestrate not only one of the biggest scores of all time but also the last crime in American history. Come for the biting satire, stay for the gorgeous art and character moments. Remender is a master of story and structure, and the panel work by Tocchini is heavily influenced by Italian indie comics of the ’80s. This is a gorgeous and fun read, perfect for that friend of yours who quotes “Oceans 11” way too much and claims that “Oceans 12” “has its moments.” It doesn’t Chris, it just doesn’t.

DOCTOR WHO TARDIS TEAPOT FROM THINKGEEK.COM — Fellas, does your girlfriend love Doctor Who? If she does I have you covered. Look at this thing. It’s a teapot shaped like the Tardis. If you know what that means you know exactly how much she will love this. I mean, she can make tea in it, guys. You know how much she loves tea. Oh my god, tea is the best, right? Tea on a Sunday afternoon in Old Town curled up with an Agatha Christie novel. Kill me.

DOCTOR SLEEP BY STEPHEN KING — We all have friends who are huge Stephen King fans. We also have friends who don’t read Stephen King. Then there’s a third group, the ones who have read some of his best known work, including “The Shining.” One of King’s rare sequels, “Doctor Sleep” finds Danny Torrance all grown up and working at a hospice. There are also psychic vampires and a larger exploration of Danny’s powers. To say more would probably spoil half the fun, but if you’ve got a friend who counts “The Shining” as one of the scariest books ever, they need to have this in their collection.

NEVERMIND BY NIRVANA - Did you know they remastered “Nevermind” and released it on vinyl? Well they did. Listen I don’t have to tell you how great “Nevermind” is. You’re smart. You’ve figured it out long before now. You’ve had time to pour through the wealth of grunge that came out of the Pacific Northwest in the late ’80s and early ’90s. You understand now that “Nevermind” is a shining example of how to capture the spirit of a new sound and trap it like a caged animal for a moment.

It’s lightning in a bottle. It’s one of those rare albums that grabs you by the throat from the moment it begins and never let’s go. The Wikipedia entry for “grunge” should just be a streaming audio file of this album. I mean, that’s pushing it, but probably not far.

MARVEL SUPERHEROES SOCK SET FROM THINKGEEK.COM — Real talk, these are Spider-Man socks. That’s all I should have to say. But wait, oh look, Iron Man, too.

And Wolverine?

This is madness. Ladies, buy your boyfriend these socks.

For real. Not even joking a tiny bit.

Are you listening? Is this thing on?

And so ends another look into a world that exists beyond this bitter cold. Remember to avoid the crowds and grab the nearest machine you use for Twitter and figure out a way to buy these items online.

They’ll be just as cheap and you’ll be 100 percent less likely to be trampled by soccer moms. I feel as though I’ve made a joke very similar to that before and if so forgive me. This basketball season is getting to me. If you need my assistance I’ll be listening to Rockets games on an app. God help me.

Mahalo!

6 • ISSUE December 2013/January 2014

Volume 20, No. 4

Repurposed Reads HOERTH GIVES NEW LIFE TO ‘RETIRED’ BOOKS THE TABLE IS LITTERED with tiny slivers of paper. Despite the buzz of activity surrounding her, artist Susan Hoerth smiles as she buries herself in a book.

Hoerth is not reading, however. She is attacking the pages with scissors and blade. But this is no act of desecration.

She is carefully dissecting the battered book and re-assembling it to create an intriguing and beautiful piece of art.

Hoerth demonstrated her “repurposing” technique at the Stark Museum of Art’s family event, Oct. 19.

The assemblages are fascinating to see and one is drawn to the pages and images. In one piece, birds fly from the pages, seemingly captured in mid-flight.

In another, Alice and the inhabitants of Wonderland perform their chaotic shenanigans, bursting out from deep inside the open book.

Hoerth has been altering books since 2008, she said in an email interview from her home in McAllen.

“I got my first book to cut at the Salvation Army and fell in love with the old papers and illustrations,” she said. “I had seen books altered by other artists and wanted to try altering myself. I wanted my books to act a nook for the illustrations.”

Hoerth chooses to work primarily with books that date from 1923 or before.

“There are two reasons, the first being copyright laws,” she said. “Second, older books have a different feel, especially pre-1900 — the paper is so thick and fragile.

“I have done altered art for some time and have collected objects that are old and had value at one time. I felt I could apply this to old books as well. I never use first editions, and I prefer the books that are worn past use — I like to repurpose them into useful pieces of art.”

Like many artists who work with found objects, it is the chance to explore the object’s history that appeals.

“Old books tell a story in several ways,” Hoerth said. “The story that was intended and the one of the past owners.

I often find old fingerprints, colorings, small markings along with messages in the pages that have been left with the story.

“The paper has a unique feel and smell. My studio smells like an old

Story and photos by Andy Coughlan

Susan Hoerth, below, works on one of her creations during family day at the Stark Museum of Art, Oct. 19. Hoerth “repurposes” old books into 3-dimensional art.

library. The illustrations are lovely in old books, they are mostly black and white, and the colored illustrations have a quality of the Victorian era.”

Hoerth said that she doesn’t consider new books to be lacking.

“I never really thought about which is better,” she said. “Newer books are still purposeful — the books I cut are books that are retired, the story isn’t, but the book is.

“I look at it as if I am giving them just a little more life and awareness. Some books will always be read, some (will be) antique treasures, and some will now be altered pieces of art.”

Each creation takes around two weeks from start to finish, Hoerth said.

When she finds a book to work on, it is important that she read the book before she starts cutting.

“When the treasure is found, I like to read it to make sure I take account of all the details within it,” she said. “I want to set the scene visually to try to match what the book was about to me personally.”

While she takes commissions to work on certain stories, Hoerth prefers to find the books herself, rather than work from supplied texts.

“I like to hunt for the books as well as cut them, so I do prefer to find them myself, but I have done commission books and will adhere to requests,” she said. “I do like to make sure the book is discarded and pre-1923. Most people understand this when they request a book.”

Hoerth said she is drawn to books that are weathered or beaten up.

“I find great pleasure in finding something that is ready for the landfill, rescued, redone and admired,” she said.

“It is like recreating a life. I think I have been reassembling old junk into new interesting objects most of my life.”

Every image comes from the book itself, with no outside images.

“I use what is in the book, cut and reassemble,” she said. “Sometimes I have called it an autopsy, sometimes altered books, but they are all altered and not added.”

After reading and carefully selecting the book, Hoerth uses a variety of materials in the construction of the piece.

“I use liquid plastic adhesive book glue to repair bindings,” she said. “I use an archival spray for the pages as I work

with them, and I use clear tape on the back of the illustrations to make sure they do not rip or tear.”

Hoerth said it is important that the pieces are displayed.

“At home my books are under glass cases, or hung on the walls with plate hangers — it requires a lot of dusting.”

The pieces usually range between $200 and $500, depending on the book.

Hoerth’s work is available for viewing on her blog at http://abandonattic. blogspot.com. She also has an Etsy page at raidersofthelostart.

To purchase or commission a book, call 956-878-3407, or email sdhoerth @gmail.com.

Volume 20, No. 4

December 2013/January 2014 ISSUE • 7

holiday SHOP-O-RAMA extravaganza TASI’s annual holiday sale features unique gift ideas at affordable prices

PEOPLE ARE ALWAYS LOOKING for that perfect holiday gift. But let’s be honest, no one really has the time to scour the stores looking for that special something.

Fortunately, The Art Studio, Inc. is here to help.

The Holiday Shop-O-Rama Extravaganza offers one-stop shopping for unique, funky, artistic and inexpensive gifts created by local artisans.

The grand sale begins noon to 4 p.m., Dec. 7, with an opening reception from 7-10 p.m. that evening. The event runs through Dec. 20 during regular Studio hours.

“It really is a great opportunity to buy one-of-a-kind gifts at affordable prices — and it has the added benefit of being all local,” Andy Coughlan, TASI spokesman, said. “Southeast Texas has seen a real resurgence in pride over the past couple of years, and this is a great way to support local arts and crafts.”

The Shop-O-Rama traditionally offers smaller versions of the great art produced by tenants and members of The Art Studio year round.

An eclectic group of artists will ply their wares during the show, including ceramics, paintings, drawings and prints, decorative boxes, photographs, woodcarvings, dolls, jewelry and knick-knacks. Many of the items will be available for as little as $10-$20, but there will be a selection of higherpriced items as well.

All contributing artists must be

members in good standing with The Art Studio, Inc., and all unsold work must remain on display for the duration of the show. New pieces will be accepted throughout the month.

All work must be handmade and original by the presenting artist, no kits allowed, and work must be constructed with quality and integrity.

Contributing artists are responsible for presentation of their work.

Displays may be set up Dec. 3-6, 2-5 p.m.

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

Regular hours are 2-5 p.m., TuesdaySaturday.

For more information, call 409838-5393, visit www.artstudio.org, or check out the Facebook page.

8 • ISSUE December 2013/January 2014

Volume 20, No. 4

30

and still going

TASI CELEBRATES MILESTONE WITH PARTY, NOV. 16 THE RAIN THREATENED, BUT stayed away. It seems the universe loves a good party.

When The Art Studio, Inc. throws a party, it attracts a mottley crew of arts lovers, and “TASI to the Max: Thirty Bodacious Years,” The Studio’s 30th anniversary bash, was no exception.

More than 300 people filled the converted warehouse space at 720 Franklin in downtown Beaumont, to celebrate three decades of creativity and service to the Southeast Texas arts community.

Despite unseasonably muggy weather, revelers donned their ’80s outfits and danced to the sounds of live music in the tent by the kilns. Bands included June’s Sun, Mad Maude & the Hatters, Buffalo Blonde and Japanese

Photo by Scott Eslinger

Photo by Pete Churton

Photo by Pete Churton

Photo by Andy Coughlan

CarCrash, with a reunion by The Put-Downs.

Entertainment was also provided by Space Capsule, and REcreate held a fashion show.

The silent auction drew donations from a varietry of area artists.

All proceeds from the event went to help The Studio continue its mission to promote the arts and outreach in the Southeast Texas community.

Despite hardships from hurricanes and economic dowturns, The Studio has managed to survive where many artist cooperatives could not.

It’s all thanks to the support of its members and supporters.

Here’s to the next 30 years.

Photo by Pete Churton

Photo by Scott Eslinger

Volume 20, No. 4

December 2013/January 2014 ISSUE • 9

Photo by Pete Churton

Photo by Scott Eslinger

Photo by Scott Eslinger

Photo by Scott Eslinger

Photo by Scott Eslinger

Photo by Pete Churton

Photo by Scott Eslinger

Photo by Andy Coughlan

Photo by Scott Eslinger

Photo by Scott Eslinger

10 • ISSUE December 2013/January 2014

Volume 20, No. 4

Splendors of Courtesans and Miseries of Working-Class Boys MUSEUM OF FINE ARTS HOUSTON HOSTS ‘ANTONIO BERNI: JUANITO AND RAMONA’ “Art is a response to life.

To be an artist is to undertake a risky way to live, to adopt one of the greatest forms of liberty, to make no compromise.”

— Antonio Berni

IMAGES OF ANTONIO BERNI (1905-1981), one of the greatest Argentinean artists of the 20th century, are visually accessible and instantly recognizable. He is a storyteller who exposes the social evils of capitalist society by depicting scenes from the life of a working-class youngster, Juanito Laguna, and a working-class girl/prostitute, Ramona Montiel.

However, the manner in which he unfolds their stories is unique and complex. Berni is responsible for creating at least two new art media — a crossbreed between painting and relief, and a crossbreed between a print and a sculpture.

A significant portion of Berni’s works in the exhibition “Antonio Berni: Jaunito and Ramona,” at the Museum of Fine Arts-Houston, is represented by monumental-scale assemblages which blend together painting and collage. The list of the materials used for each of these works is long and diverse. Most of them incorporate industrial or commercial refuse as well as regular residential trash — machinery parts, scrap metal, broken appliances, old clothes, discarded household items, smashed cans, glass beads, plastic and other “relics of civilization.” In Berni’s works, they become a part of the landscape, clouds, buildings, streets and figures. Glued, stapled or nailed to the board, they provide three-dimensionality to the scene turning it into a deep relief.

While these objects are reconfigured, they are not altered and their original purpose is still apparent, which often provides them with a symbolic meaning. Thus, in “Juanito Laguna Is Going to the Factory” (1977), transistors from a discarded TV set become factory buildings while smashed coke and beer cans serve as paving stones in the road to the factory, a parody of the

Story by Elena Ivanova

Antonio Berni, RAMONA EN LA CALLE, de la serie Ramona Montiel y sus amigos (RAMONA IN THE STREET, from the series Ramona Montiel and Her Friends), 1966, xylo-collage-relief, the Museum of Fine Arts, Houston, gift of Alfredo and Celina Hellmund Brener. © José Antonio Berni “yellow-brick road.”

This is how the artist explained what prompted him, a renowned painter, to turn to assemblage as his new medium: “One cold, cloudy night, while passing through the miserable city of Juanito, a radical change in my vision of reality and its interpretation occurred.... I had just discovered, in the unpaved streets and on the waste ground, scattered discarded materials, which made up the authentic surroundings of Juanito Laguna - old wood, empty bottles, iron, cardboard boxes, metal sheets etc., which were the materials used for constructing shacks in towns such as this, sunk in poverty.”* The overwhelming presence of refuse in Berni’s assemblages literally places the viewer in the environment of a

shantytown. This immersion has a powerful effect, akin to a theatrical experience.

Like an experienced stage director, the artist orchestrates a convincing setting for his story while keeping the viewer fully aware that it is a make-believe.

Berni’s stories are played out by characters which are more reminiscent of puppets than live actors. Their faces bear the same look from scene to scene — a kind of a “generic,” expressionless look one may see on a doll or in a portrait done by a Sunday painter. There is a difference in the way Berni portrays his favorite characters, Juanito and Ramona.

Juanito’s face is painted flat while Ramona has the face and body of a doll made of plaster in high relief.

However, it is not their faces, but

their clothes and their environment that tell the stories of their lives. Juanito starts his life as a son of a poor farmer, then moves with his parents to the city and starts working at a factory. Although his environment changes, he is invariably surrounded by squalor and poverty. A boy, a teenager and later an adult living in the shantytown, Juanito is always portrayed wearing a cap, a dirty shirt, baggy pants and worn shoes.

Similarly, Ramona started her life as a poor working-class girl, but she quickly changed her career to a showgirl in a cabaret — hence such glitzy outfits as sequin dresses, lacy undergarments, fishnet stockings and golden shoes. To find these accoutrements, Berni rummaged flea markets in Paris in the 1960s. He saw Ramona as a modern embodiment of a Parisian courtesan of the Belle Epoque, a new Olympia. Significantly, in one of his assemblages, “Ramona’s Dream” (1977), his favorite character is shown lying in the bed nude (except for the lacy thong which accentuates more than conceals her pubic area) in a pose reminiscent of Manet’s famous picture.

Another large group of Berni’s works comprises prints, which add many new episodes to the stories of Juanito and Ramona. While Berni’s assemblages are highly innovative and original, his contribution to the area of printmaking is arguably even greater. Berni invented a new type of print which he called a xylocollage-relief.

Xylography is a type of wood engraving and is the oldest known relief printmaking technique. It is a “woodcut in reverse”: instead of raising the image above the surface (similarly to a typographical print), the image is carved into the woodblock. Berni created high-relief images by blending the ancient art of xylography with collaging and the papiermâché technique. The exhibition provides a unique opportunity to see Berni’s woodblocks side by side with the resulting prints and thus better understand this intricate process.

To create a xylo-collage-relief, Berni would start with adhering the molds and various materials (metal scraps, fabric, etc.) to the woodblock. Then he pressed the dampened paper against the block and into the molds before running it through the press. To create the areas of high-relief, the artist added patches of paper to the deepest pockets of the print in a manner similar to the papier-mâché technique. It took him years of experimenting to arrive at the right consistency

See BERNI on page 13

Volume 20 No. 4

December 2013/January 2014 ISSUE • 11

‘Nice’ is not nice LUC TUYMANS’ EXHIBIT AT MENIL COLLECTION QUESTIONS REALITY Review by Sarah Hamilton

THE OPENING LINE OF THIS review should contain some type of disclaimer such as, “What you are about to see is not for the faint of heart, nor the faint of mind, or for anyone who has recently been plagued with severe depression and anxiety.”

The exhibition is called “Nice,” but that’s exactly the conundrum —

it’s not.

Even the philanthropic goodwill of the Menil Collection founders is questioned. Don’t get me wrong, I commend and recommend this show for exactly that reason.

If you are in search of a show that gets a little gritty under the surface and reveals immediately a visual language echoing profound darkness and pessimism, you have come to the right museum and embarked on a stimulating journey. Besides, winter is nearing its official start soon, so what more appropriate time than now to bask in the bleak, gray toned world of this complex artist?

“Nice,” currently on view at the Menil Collection in Houston through Jan. 5, is a show of 30 oil on canvas portrait paintings by the contemporary Belgian artist Luc Tuymans, born in 1958.

If you Google the artist, you will find that he is classified as one of the world’s most important painters of modern life and memory, who reinvigorated figurative painting from its stale perception in the history of art.

Tuymans is a painter who depicts moments of atrocities in our history, from events associated with WWII, the Holocaust, and Belgium’s days of colonization in the Congo, among others.

The exhibition was curated by the Menil’s Director, Josef Helfenstein, curator of modern/contemporary art, Toby Kamps, and Tuymans who is usually highly instrumental in selecting his own works, titling shows, and installing the artwork.

All of the paintings on exhibit date from 1990 to 2012.

Accompanying the works by Tuymans are 25 portraits, masks, carved heads, funerary images, devotional figures and abstract paintings from the Menil’s permanent collection. The permanent holdings on view range in date from the early encaustic mummy portraits of the Faiyum region of Egypt in 30 B.C.E. to Ad Reinhardt’s black cross painting from the late 1960s. They are placed in specific dialogue with the contemporary work in an effort to accentuate the messages/meanings inherent in Tuymans’ paintings.

The 30 portrait paintings selected for this show are not just the typical traditional portraits of your grandmother or grandfather, but rather contain representations of some of history’s most esteemed and, at times, controversial leaders such as Condoleezza Rice in “Secretary of State” and Nazi architect, Albert Speer in the painting “Secrets.”

I would like to comment on some of the nuances that lingered in the exhibition as I wandered from gallery to gallery. This is what makes a review interesting anyway, and there is a beautiful catalogue, titled “Portraits for Purchase,” that contains an essay

by Kamps and Robert Storr, as well as a free gallery

Luc Tuymans SECRETS brochure to assist visitors who desire more understanding of the facts.

I read the essays and materials prior to visiting the exhibition, which in my opinion is a must, since many of the historical figures represented by Tuymans were unfamiliar to me.

Or you can see the show and be completely confused throughout and read later.

What are we really seeing when we come to

“Nice?” The answer is twofold. First, we see the environment, the exterior view the Menil curatorial staff fabricated to enhance the paintings’ messages and overall amnesiac feel. The quiet, soft mood of the natural lighting gives a feeling of being enveloped in a mausoleum. It is a somber, contemplative space much

See TUYMENS on page 12

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Volume 20, No. 4

TUYMANS from page 11 like the nearby Rothko Chapel, Tuymans’ pale and washed-out color palette of greens, yellows, blues, and grays barely surfacing from the vast wall of soft white underneath.

After confronting the environment, we meet the internal, the paintings themselves, which in the case of Tuymans, gives us an almost blank canvas, not quite blank, but literally veiled with cloudiness and unease that allow for a multivalent reading. As the artist comments, “Violence is the only structure underlying my work.”

This cloudiness is most pronounced in “Evidence,” “Self Portrait,” “Iphone,” “Himmler” and “Rumour,” where we are visually displaced from identifying or orienting ourselves with the subject. In “Secrets” and “Head,” the eyes are completely closed; while further still in “A Flemish Intellectual” and “Heritage I,” the physical elements are completely removed. Tuymans’ selection of figures with eyeglasses in many of the portraits incorporates a division or wall between subject and viewer, an impenetrable barrier of sorts. Further corroborating this idea, Tuymans, in a gallery talk in September, noted that he strips out the psychology of portraiture and creates a shell that is devoid of any emotional connectivity with the observer. The cold, rawness of this show is highlighted even further by the unfinished edges on many of the artist’s canvases leaving the nails exposed. The works are unframed and primitive in their presentation.

I am intrigued by Tuymans’ work and the Menil environment was relevant and top notch as usual. The distraction, however, particularly in the “Nice” exhibition, lies in the incorporation and dialogue of ancient and modern works from the permanent collection.

The result of using these works in conjunction to reinforce theme or idea is one that reeks of forced ideology and a weak and rudimentary curatorial lesson to Menil visitors.

“Byzantine Things in the World”, a previous exhibition this year at the Menil, utilized this same type of dialogue between religious, Byzantine icons and modern and contemporary works. That exhibition suc-

cessfully created new insight and an unusual interplay between works, thus revealing a refreshed view on things we thought we knew or typically take for granted when viewing these works alone.

The problem with the insertion of works such as Picasso’s “Woman in a Red Armchair,” for instance, and many of the other non-Tuymans works is the extent to which it resembled an afterthought, a far reach, a very abstracted message.

Tuymans’ paintings are so complex and visually exhausting that we need only them to do the show justice. In fact, I was bothered that ethnographic masks were sitting pristinely nearby only to echo in my head, “Yes, they do this in other cultures. Yes, this is a mask. Look at how they parallel one another.”

“Nice” is nice in many ways and not so much in a

lot of others. If you are unfamiliar with Tuymans, this is an outstanding exhibition to introduce yourself to his work and his cynical personality and world views.

This show will leave you perplexed about our world, painting, the Menil, the Menil’s founders John and Dominique de Menil, the artist himself, yourself, and what “Nice” is really telling us.

After all, Tuymans comments, “The Menil is in sharp contrast with the reality around it. It is a kind of theme park where race, cultural difference, gender come together under one roof…. ‘Nice,’ which itself is an image with tremendous meaning and also nonmeaning, is meant to be an extreme reality check.”

All quotes taken from the “Nice” brochure essay adapted from Toby Kamps’s text in the accompanying publication.

Luc Tuymans’ SECRETARY OF STATE, far left, HERITAGE VI, left, and DONATION, above, are part of the exhibition “Nice,” on display at the Menil Collection through Jan. 5.

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Volume 20, No. 4

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.

Shelly Vitanza.

“I am so happy to have such a diverse group of actors,” Young said. “I think it says a lot about how much fun the show is going to be.”

The event encompasses all aspects of the holiday season, from hilarious to poignant and all points in-between.

“The Woman’s Club is such a great venue and I am so glad to partner with them once again to bring a new show to Beaumont’s most historic stage,” Young said.

For information, visit www.outsidetheboxtexas.com, or search on Facebook for Outside the Box Productions. ________________

The holiday season is packed full of lights and decorations, dances and shows that bring joy to children’s faces.

But who caters to those looking to celebrate in an adult way?

OUTSIDE THE BOX PRODUCTIONS, in collaboration with the WOMAN’S CLUB OF BEAUMONT, will present AN UNEXPECTED CHRISTMAS, an evening of alternative festive plays, Dec. 12, 13 and 14, at the Woman’s Club, 575 Magnolia St. in downtown Beaumont.

Tickets are $24 and are available at www.outsidethe boxtexas.com, or by calling 409-543-4915. A cash bar will be available.

“This show is a great way for the grownups among us get into the holiday mood,” director Ramona Young said.

“Some of the scenes are funny, some are sad and some are even a little saucy, but they all encompass the true spirit of Christmas.”

“An Unexpected Christmas,” features four short plays and a monologue by playwright George Cameron Grant, including “The Office Party,” “Santa’s Clara,” “The First Noel,” “Balls” and “Santa Comes to The King David.”

A stellar cast of local celebrities includes Michael Mason, Kristen Read, Rachel Cain, Chad Peterson, Andy Coughlan, Thomas Waddill, Juliet Goldstein, Pepper Thompson, Grace Mathis, Harris McGrade, and

K R O W T R A

ELIZABETH FONTENOT will present PATTERNING NATURE, her graduate thesis exhibition, 6:30 p.m. to 8:30 p.m., Dec. 6. at Lamar University’s Dishman Art Museum.

Fontenot’s work consists of a series of artist’s prints of birds juxtaposed with domestic textiles and wallpaper.

“For a long time, I wanted to make and show big works on paper and fabric,” she said. “With large images comes the difficulty of storing and transporting them, so they’ve been living in a flat file in the printshop most of the semester. I am excited to see the finished artworks presented all together on the wall.

I plan to expand on these ideas in my next exhibition which is scheduled for February 2014 at The Art Studio.”

“Echoes of Humanity,” the senior thesis show featuring nine Lamar students, will be also be on display.

For more information, call the Dishman at GREAT HERON 409-880-8141.

by Elizabeth Fontenot

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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 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.

2.

3.

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OBJECTIVES 1.

2.

3.

4.

5.

AC X T SE ORG .

To present public exhibitions To provide educational opportunities To provide accessible equipment for artists To provide peer feedback through association with other artists and crafts people

6.

7.

8.

To present 10 art exhibitions per year To maintain equipment for artists in a safe working environment To provide better access to artists for the public To offer regularly scheduled adult and children’s classes To develop and maintain public activities with all sectors of the community To develop and maintain equipment to aid artists in their work To provide a display retail outlet for artists To expand programming and activities with increased facility space This project was funded in part by the B.A. & E.W. Steinhagen Benevolent Trust through the Southeast Texas Arts Council.

Volume 20, No. 4

December 2013/January 2014 ISSUE • 13

TASI darkroom orientation set for Dec. 14 THE ART STUDIO, INC. has revamped its darkroom facility and will hold an orientation session 1 p.m. to 3 p.m., Dec. 14.

Access to the darkroom is open to all members of The Art Studio for a fee of $35 a month, photographer Joe Winston said.

“The aim is to get people to sign up for monthly usage access and to get everyone up to speed on the basics of operating the darkroom,” he said.

Winston and John Fulbright decided to rebuild the darkroom space after it had fallen into disrepair through lack of use.

“Film is making a comeback and this is the only community darkroom in SETX,” Winston said. “I saw a need for a space.

“It’s a major renovation. We built walls, the ceiling, refurbished the sink, and solicited donations of equipment and money for the project that took most of the summer.”

BERNI from page 10 of paper dampness and pressure level to avoid paper tearing under the stress. After applying ink, the artist would run the paper through the press for the second time. To reinforce the paper, he applied a second sheet to the back of the print after stuffing tissue inside the pockets to keep the desirable shape.

Berni first used this new process to produce large-size prints of Juanito Laguna’s series.

By adhering to the woodblock the same industrial refuse items he used in assemblages, Berni created varied textures which provided a fitting setting for his beloved character.

Exhibited at the 31st Venice Biennial of 1962, these prints attracted international attention to his work and made him the winner of the prestigious International Grand Prize for Printmaking and Drawing.

However, in the following years Berni demonstrated an even greater level of mastery in his series of xylo-collage-reliefs based on adventures of Ramona Montiel. Laying stress on the baroque style of ornamentation, the

With the dominance of digital photography, darkroom production slumped over the past few years. But recently there has been a renewed interest in working with film and prints.

“Film is not dead,” Winston said. “There are things that you can do in the darkroom that can’t be done any place else. It’s messy and it smells, and although it’s not for everyone, there’s a great deal of interest in learning the process.”

Winston said he expects more darkroomrelated events in the future.

“We have plans for various workshops like pinhole and coffee developer, lectures on photojournalism and fine art,” he said. “The idea is to build a community of people interested in the art of photography.”

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

For information, call 409-838-5393, or visit www.artstudio.org.

artist created exquisite decorative compositions in which ravishingly beautiful Ramona appeared in the company of glamorous and daring men, such as a matador and a boxer. Berni wrote that he was attracted to bullfighters “because of their richly structured arabesqueladen glitz.” At the same time, one cannot but feel the undercurrent humor, the artist’s tonguein-cheek attitude towards this story about glamour and risk, constant gamble with death for glory and wealth — a story frequently found in soap operas, gossip magazines and tabloids.

The series about Ramona in Spain was especially popular and gained high acclaim in the United States. Jacqueline Kennedy proudly proclaimed that “The Bullfighter” from this series was among the most treasured items in her collection.

Within his own lifetime, Berni witnessed his creations, Juanito and Ramona, become popular legends and folk heroes. Since the late 1960s, various Argentine musicians have written and recorded Juanito Laguna songs, including Mercedes Sosa’s “Juanito Laguna remonta un barrilete” (in the album “Para cantarle a mi gente,”1967) and “La navidad de Juanito Laguna” (in the album “Navidad con Mercedes Sosa,” 1970). In 2005, a compilation CD commemorating Berni’s 100th birthday included songs by César Isella, Marcelo San Juan, Dúo Salteño, Eduardo Falú, and Las Voces Blancas, as well as interviews with the artist.

A collaboration between the MFAH and Malba-Fundación Costantini in Buenos Aires, “Antonio Berni: Juanito and Ramona” is the first exhibition to focus on Berni’s iconic series and a related series of monumental “Monsters,” as well as the first Berni exhibition organized by a U.S. museum in nearly 50 years.

The exhibition is on view at MFAH, 1001 Bisonnett, through Jan. 26.

For more, visit www.mfah.org. * Quoted in: Salinas, Esmeralda. The Power of Juanito: Antonio Berni and the Continuing Legacy of Juanito Laguna. http://www.academia.edu/401451. P.4.

Photo courtesy of Joe Winston

The Art Studio’s darkroom has been renovated and is available for use.

An orientation will be held 1 p.m. to 3 p.m., Dec. 14.

Antonio Berni, JUANITO VA A LA CIUDAD (JUANITO GOES TO THE CITY), above, 1963, wood, paint, industrial trash, cardboard, scrap metal, and fabric collage on board, the Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund. © José Antonio BerniSucesión Lily Berni Antonio Berni, LA COMMUNION DE RAMONA, left, 1962, gouche, velvet, lace, buttons, metal, and paper on wood, Private Collection. © José Antonio Berni

Volume 20, No. 4

December 2013/January 2014 ISSUE • 15

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: 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.

Life Goes On

Strong Winds

Alone and wedged between the old worn boards of a rustic porch…

A clover…its four leaves shudder from the caress of a brisk cool autumn breeze…

It appears…beating the odds It rises…defeating circumstances It overcomes…defying oppression

Your lips sweet like molasses I see you’re halfway Gently as the wind passes Slowly my time begins to stretch On this bridge I’ll sketch

“The old one’s old, and cannot work, now, I’ll need the filly.”

“But if we blind my pit pony, then who will play with me?”

“Play’s up,” he said.

“It’s time to learn what miner’s work will be.

Tomorrow’s job begins tonight, bring up the pit pony.”

Of all the hateful words I’ve heard, they were the worst for me.

For us to cross, so we may meet Troubles tossed, I’ll take a seat Now near, your eyes are all I see They begin to magnetize me As I fall towards you slow Your lips are all I’d like to know

Life goes on…

“It’s time to blind your pit pony,” my father said to me.

I watch your hair sway Hoping that you’ll stay

at the same time it gives color and life to this old tattered grey porch. a stark, beautifully satirical reminder that…

Even though we brave hardships, determination will persevere through the worst and we will emerge unscathed… a teal green clover against the backdrop of this rough veneer… this weather worn porch…

Blinding the Pit Pony

They’re closed I'll wait till they divide Now grasp my failing heart

Dorothy Sells Clover

First light of even-star was last that she would see.

And that last light, was then the work, and then, the dark for me.

Jesse Doiron

For it no longer beats inside You relieve me of my woes

POETRY RENAISSANCE Dorothy Sells Clover (poet and author) presents open mic, spoken word, selected reading.

Every third Thursday at The Art Studio, 7 p.m. to 10 p.m.

Admission is $5.

Make me right with your loving sews Raul Martin IV

A solitary bird sings punctuating the silence.

A train whistle blows through the damp morning air.

It’s Time Outside, dogs bark as if passing messages to one other.

The time has come for us to see Not eye to eye But heart to heart The emphasis

All the while I lie stretched out on the bed finding faces in the shadows.

For too long has Been in the seeing Not the feeling

For more information, call 409-363-3444.

Being Lazy

Until the shrill alarm breaks the peace for the fourth or fifth time.

The energy put into reasoning Instead of letting go for healing

Time to get up.

Cathy Atkinson

Andy Coughlan

720 Franklin, Beaumont, Texas 77701

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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.

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