ISSUE December 2016

THE ARTS MAGAZINE OF THE ART STUDIO, INC.

DECEMBER 2016

An invite to a Surreal Party Page 8

INSIDE: GEEK’S GUIDE, DEGAS, COLLECTING CONVERSATIONS, AND MORE

CO

OLLECTING 1 Family 3 Generations Timeless Treasures

N V E R Every S PITCHER A Tells a Story T I O N S

Connect with the collections of the Stark and Lutcher family

Exhibition Now on View 712 Green Avenue, Orange, TX

starkmuseum.org

Water Pitcher, Gorham Manufacturing Company, 9.5 x 9.5 x 5 in., 1906, sterling silver, bequest of Nelda C. Stark, 1999, 51.1.97. The W. H. Stark House, Orange, Texas.

ISSUE Vol. 23, No. 4 Publisher . . . . . . . . . . . . . . The Art Studio, Inc.

A View From The Top Greg Busceme, TASI Director Politics is full of controversy these days, and although everyone has an opinion about it and the direction our country should be following, our nonprofit status does not allow us to express or endorse an opinion about issues supported by one party, candidate or another.

We can, however, speak about policies that affect us in a positive or negative way and that is part of the discussion i want to have here. it occurs to me that the arts have been absent from any political discussion over the past 30 years. something which is a significant issue in other industrialized nations — the preservation of antiquities, advancement of art in education, recognition of art achievement by individuals and the funding of art programs, resources or organizations — has seemed to take a back seat to other seemingly more important issues we have to face. thanks to local arts councils and state arts

Editor . . . . . . . . . . . . . . . . . . . . Andy Coughlan Copy Editor . . . . . . . . . . . . . . . Stephan Malick Contributing Writers . . Caitlin Duerler, Jeff Dixon . . . . . . . . . Elena Ivanova, Stephan Malick Contributing Photographer Kindra Leigh Armagh Distribution . . . . . . . . . . . . . . . . . Olivia Malick The Art Studio, Inc. Board of Directors Corporate President . . . . . . . . . . Greg Busceme Corporate Vice-President . . . . . Angela Scheibel Chair. . . . . . . . . . . . . . . . . . . . . . . Joe Winston Treasurer . . . . . . . . . . . . . . . . . . . Kim Armitage Members at Large: . . . . . . . . . Sheila Busceme, . . . . . . . . . Olivia Busceme, John Fulbright, . . . . . . . . . Stephan Malick, Tim Postlewait . . . . . . . . . . . John Roberts, Caitlin Duerler Tenant Representative . . . . . Elizabeth Fontenot Assistant Director . . . . . . . . . . Elizabeth French

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 Geek’s Guide . . . . . . . . . . . . . . . . . . Page 4 Collecting Conversations . . . . . . . . . Page 6 Holiday Shop=O-Rama Extravaganza. Page 7 TASI Xmas Band Nite . . . . . . . . . . . . Page 7 Surrealist Ball . . . . . . . . . . . . . . . . . Page 8 Degas at MFAH . . . . . . . . . . . . . . . Page 10 Sellers at High Street Gallery . . . . . Page 12 Face of Surrealism. . . . . . . . . . . . . Page 13 Volunteers . . . . . . . . . . . . . . . . . . . Page 14 Thoughtcrime. . . . . . . . . . . . . . . . . Page 15 Cover illustration by Andy Coughlan

agencies that are modestly funded by the National Endowment for the Arts (NEA), without whom we would have no resources for the advancement of the arts through education, or the non-academic organizations that focus on the community as a whole to expand the creation, the exhibition, and the proliferation of the arts. these agencies have taken a hit over the last 30 years from economic downturns, advancement of conservative movements and the unwillingness of political representatives to take a stand that may divide their constituents. Most of this tenuousness comes from the attack on the NEA during the mid1980s surrounding Robert Maplethorpe, Robert seranno and other artists given awards by the NEA for significant works. this was

See VIEW on page 14

UPCOMING EXHIBITIONS AT THE ART STUDIO

DECEMBER

FEBRUARY

Holiday Shop-O-Rama Extravaganza Opening . . . . . . . . . . . . . . . . . . . . . . . . . . December 3

pARTycipation Group Art Project For All Ages Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . February 4

BECOME A MEMBER OF THE ART STUDIO

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

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4 • ISSUE December 2016

Volume 23, No. 4

One wise geek’s

issuE’s resident expert offers ideas to keep your nerds content this season tHE sWEltERiNg HEAt of summer has given way to the not so bad heat of autumn and that means christmas must be right around the corner. No doubt you’ve got some eccentric personalities on your christmas list and you have no idea what to get them. Well don’t you worry your pretty little head, i’ve got you covered. We’re going to Make christmas great Again.

Commentary by Jeff Dixon

Jeff Dixon is a social media darling that you can follow on twitter at @thatJeffDixon.

He is currently ashamed of all of you.

MAD MAX FURY ROAD: BLACK AND CHROME EDITION — “fury Road” is the most beautiful movie i’ve seen in the last five years. that’s not me blowing smoke up your ass, that’s the honest truth. But director george Miller always intended for the film to be black and white. When the studio refused to back such an expensive black and white venture, Miller changed the way he was going to shoot the film.

But he promised to release a black and white color-corrected version and it’s finally here. this is the perfect gift for that friend who has used the term “the directors original vision” during a conversation.

DOOMED! THE UNTOLD STORY OF ROGER CORMAN’S FANTASTIC FOUR — corman’s shelved fantastic four movie has long been something talked about in hushed whispers at comic conventions. People swore their cousin had a bootleg of it and they’d watched it the summer before. these are the same people who will tell you they once met steve Ditko at a deli in Queens. But in the last few years the internet brought that film to the masses, or at least to people like me who needed to see it for themselves. this documentary examines the story behind a film that was made, essentially to save a licensing contract from expiring. it’s a film that was never intended to be released in theaters but the cast knew nothing, and they gave it their all. it’s such an intriguing look at a side of Hollywood not often examined.

GREMLINS AND GREMLINS 2 BLU-RAY BOX SET — Not only does this set contain two bobble heads and one of the best christmas movies ever made, it also holds probably the most underrated satire on modern pop culture i’ve ever seen. “gremlins 2” is a hidden gem that’s not given enough credit for its tongue and cheek take down of corporate America and cable television. John glover was a revelation of

December 2016 ISSUE • 5

Volume 23, No. 4

holiday gift guide

comedic timing and charm and you can’t beat christopher lee as an evil scientist. Perfect for that friend who never tires of ’80s memorabilia.

A LIFE IN PARTS BY BRYAN CRANSTON — the first of three memoirs on this list so buckle up for some realness. cranston might be, might be, the finest actor of his generation. He’s certainly in the running. this memoir of his career and early life begins where most people know him, as Walter White, high school chemistry teach, drug manufacturer, father, and super villain. the book sways back and forth from cranston to the various characters he’s portrayed, giving us insight into their motivations and his as well. this is a great gift for your dad or any of your friends who loved “Breaking Bad” more than life itself.

SCRAPPY LITTLE NOBODY

BY ANNA KENDRICK — its no secret that Anna Kendrick is the funniest and most adorable creature in Hollywood. What is a secret is that she’s also a damn good writer. i expected this book to be funny, that was a given.

What i didn’t expect was how impressed i would be with the writing. this doesn’t read like a first effort, it reads like the memoir of a seasoned columnist or short story writer. if you know someone who doesn’t mind laughing out loud in a coffee shop at the book they’re reading because they don’t want anyone to talk to them, get them this book.

AWAKEN, MY LOVE! by CHILDISH GAMBINO — if the first two singles are any indication, this will be Donald glover’s, aka childish gambino, most experimental album. gone are the hard, angry raps and they’ve been replaced by some-

thing that sounds genuinely full of raw, untethered emotional strife. “Me and Your Mama” sounds like the love child of Bad Brains and george clinton. “Red Bone” offers up hints of ’70s soul mixed with ’90s-era electronica. the perfect gift for the hip hop fan who says things like, “Nobody’s really bringing anything fresh to the table.”

CURED: THE TALE OF TWO IMAGINARY BOYS by LOL TOLHURST — laurence tolhurst first met Robert smith when they were on their way to school. they were five years old. this memoir chronicles their relationship from that moment all throughout the life of one of the greatest bands of all time, the cure. for that friend who wore a lot of black in high school, like a lot, this is the perfect present.

PEACE TRAIL by NEIL YOUNG — Peace trail is Young’s 37th album. Quite an accomplishment in any genre but especially in folk. the album is acoustic which should come as no surprise and it rings of protest songs and verses that would make Paul Ryan vote Democrat. this one is a great gift for your uncle who hates to talk about politics at the dinner table but loves to talk about it over a beer.

DOCTOR STRANGE: THE WAY OF THE WEIRD by JASON AARON AND CHRIS BACHALO — for that friend who saw “Doctor strange” and wants to dive into the world of magic this is the perfect jumping on point. Aaron writes stephen strange with the confidence you would expect from someone with the title sorcerer supreme and Bachalo’s art draws inspiration from

Ditko and gene colan but makes it feel wholly unique and refreshing. it’s truly a magical read. Yes i said it.

No i am not proud of myself, but thanks or asking. Jerk.

And that about wraps it up. Remember to stay warm out there. snuggle up under a blanket with someone you love and listen to Mariah carey’s christmas album while you still can. there will be no room for joy like that in trump’s America, and come next christmas we’ll all count ourselves extremely lucky if anyone but Donny and Marie osmond survive the culling.

Mahalo!

6 • ISSUE December 2016

Volume 23, No. 4

‘eggs-actly’ eclectic

stark Museum offers peek inside collection of orange’s first family

oRANgE — WE All collEct tHiNgs. some of us collect stamps, some of us collect postcards — i collect keychains, for reasons that escape me but started when i was a child. the desire to surround ourselves with “stuff” transcends all demographics. orange’s stark and lutcher families were no exception, as evidenced by the exhibition “collecting conversations,” at the stark Museum of Art through Jan. 7. this eclectic collection is not your typical art exhibition. it comprises pieces from the family archives, so there is a little bit of something for everyone, from crystal to paintings, from books to eggheads (yes, eggheads. More of that later). speaking of books, the stars of the exhibition are a pair of rare books — first editions of the King James Bible and shakespeare’s first folio on loan from the Miriam lutcher stark library on the campus of ut-Austin, donated by the starks. the books of the 1611 King James Version include the 39 books of the old testament, a section containing 14 books of the Apocrypha, and the 27 books of the New testament. King James Vi commissioned 47 scholars, including some of the leading poets of the day, all of whom were members of the church of England, to translate the text — the New testament from the greek, the old testament from Hebrew and Aramaic, and the Apocrypha from greek and latin. A good condition first edition is worth up to $400,000. fewer than 200 of the original printings still exist. legend has it that William shakespeare contributed his skills to the King James, although there is no direct evidence. However, in 1610, a year before publication, shakespeare turned 46-years old. if one turns to the 46th Psalm and counts from the beginning, the 46th word is “shake.” counting back from the end, one finds the word “spear.” coincidence? it is unlikely that shakespeare, who was a favorite of the king, would not have been involved somehow.

Did the Bard of Avon bury an “easter egg” in the text as a byline? i like to think he did.

Miriam lutcher stark was a great fan of theater and participated in the orange shakespeare Reading club where she organized a reading of “Romeo and Juliet” in 1898 and the first folio on display is open to the opening of the tragedy. the first folio was complied in 1623 by his friends John Heminges and Henry condell in an attempt to preserve shakespeare’s plays that otherwise would have disappeared. there are thought to have been 750 copies

Review by Andy Coughlan

H.J. and Miriam Lutcher Stark commissioned artist Ruth Robinson Murphy to create eggheads of some of the Taos artists that feature prominently in their extensive art collection. The whimsical creations join copies of Shakespeare’s First Folio and a first edition King James Bible in the couple’s eclectic collection, part of “Collecting Conversations” at the Stark Museum of Art through Jan. 7.

printed, with approximately 230 still known to exist. the folio includes all of the plays generally accepted to be shakespeare’s, with the exception of “Pericles, Prince of tyre” and “the two Noble Kinsmen,” and the two lost plays, “cardenio” and “love’s labour’s Won.” the first folio cost 15 shillings to a pound at the time (roughly $217 in today’s money). A first folio sold in 2003 for 3.5 million pounds ($5.79 million in today’s money). it says much about the star power of these two books that first editions of John Milton’s “Paradise lost” and “Paradise Regained,” as well as an example of charlotte Bronte’s homework, are reduced to supporting players. the rest of the exhibition is drawn from the collection of the stark foundation. the idea of the show is to highlight the lutchers and the starks as being just like everyone else — albeit with a little more disposable income.

Many of us collect books, but a first folio may be slightly outside of our price range. But ultimately, collecting is about surrounding ourselves with things we love. A giant photograph of H.J. in his study, surrounded by his books, is really no different than a scene in the houses of many of my friends. fine crystal and beautiful art mixes with knickknacks and letters, including the grandfather John stark’s civil War diary and notes from the shakespeare club meetings. there’s a even a death mask of Napoleon which reflected the couple’s interest in the french ruler.

H.J. loved to collect sets, which accounts for the museum’s impressive collection of Audubon books. it also al-

lows the display of a series of drawings and small paintings by charles Dutton that show the process behind the large painting of a bear.

Not everything in the collection is “high art.” the couple discovered a series of “eggheads” created by artist Ruth Robinson Murphy. they are exactly what their name suggests, a series of historical figures made out of eggs. they are both whimsical and hilarious — and also really well done. that they are rather silly offers a glimpse into the playfulness of the couple’s tastes. once the couple collected some of the presidents, they commissioned Murphy to create images of the taos artists that form such a dominant part of the stark art collection. lutcher seems to be obsessed with the number 13, and requested it whenever possible. uniform numbers and license plates are adorned with the number. three restored cars are featured in the lobby — a 1922 ford Model t Runabout truck, and a 1911 Hupp Motor car company Roadster, Hupmobile, both used by the stark family on their ranch in colorado, as well as a 1950 crosley super sport, owned by lutcher stark. Presumably the license plate for these would have been 13. “collecting conversation” has something for everyone. it also offers a glimpse into the private tastes and passions of one of southeast texas’ great families, and asks us to think about what we collect and why. the show is on display through Jan. 7. the stark Museum of Art is located at 712 green Ave. in orange. for more, visit www.starkculturalvenues.org/starkmuseum.

Shop-O-Rama set for Dec. 3, 10 Volume 23, No. 4

tHE HoliDAYs ARE APPRoAcHiNg and whatever you are celebrating the question is the same — where can i get a gift for that special someone that is unique and affordable? fortunately, the Art studio, inc. has the answer. tAsi will host its annual Holiday shop-o-Rama Extravaganza in December, featuring original art at reasonable prices by a variety of local artists. this year’s event will take place over two days, Dec. 3 and Dec. 10. the shop-o-Rama will open Dec. 3 with an early bird sale from 11 a.m. to 4 p.m., and a free opening reception from 7-10 p.m. that evening. the sale will also be held 9 a.m. to 6 p.m., Dec. 10, with daytime refreshments from 12 noon-2pm. “this year we decided to try something different,” board member stephan Malick, said. “We are offering vendors the chance to come and set up their stalls for a specific time. they don’t have to commit to a long time so we hope more people will

take advantage of the opportunity.” the shop-o-Rama traditionally offers smaller versions of the great art produced by tenants and members of the Art studio year-round. “the shop-o-Rama Extravaganza traditionally has a great variety of items. i am confident that there is something for everyone,” greg Busceme, tAsi director, said.

“We know that people at this time of the year are not buying for themselves, so the artists try to make work available that is not as expensive as some of the usual work they may produce. ceramics, paintings, drawings and prints, decorative boxes, photographs, woodcarvings, dolls, jewelry and other knick-knacks are expected to be on display.

Participants are responsible for setting up their work for display. All artwork must be brought by in person. Work may be added at any time during the run of the shop-o-Rama Extravaganza. tAsi staff can be re-

December 2016 ISSUE • 7

sponsible for your sales for a commission of 25 percent on all items sold. or artists can handle their own sales for a booth fee of $20 for one day or $30 for both, and must be present during the duration of the sale. “the commission is particularly low in relation to other arts organizations,” Busceme said. “it is not unusual for galleries to charge as much as 50-percent commission. We have always tried to keep the percentage low to encourage the less experienced artist to become involved in exhibiting and selling their work.” this year’s event should attract a good group of artisans, Busceme said. so instead of giving your money to a giant conglomerate, stimulate the local economy by supporting area artists. the Art studio, inc. is located at 720 franklin in downtown Beaumont. for more information, call 409838-5393.

Xmas Band Nite offers respite from hectic holidays tHE ARt stuDio, iNc. will host their annual Xmas Nite concert Dec. 25, from 8 p.m. until midnight, featuring four local musical acts. “it’s a good time for hometown friends

to get together while folks are in town for the holidays,” Band Nite coordinator olivia Busceme said. “Everyone seems to breathe a sigh of relief after living through the shopping excursions and family dinners of

christmastime, and perhaps even more so for people who don’t celebrate the holiday or can’t spend it with their families. “so tAsi invites the public to enjoy a fun, safe, relaxed show where everyone is welcome.” the admission charge is $5, which contributes to keeping the non-profit Art studio in operation. Attendees over the age of 21 are welcome to bring their own beverages. live music will be provided by semi-defunct party rockers too Heavy Boxes, the world premiere of a new local project the soft Hustle, the farewell performance of Hotel Dieu, and solo artist Jake A. Hooker.

Hooker said Xmas Nite is fun because it’s all good friends having a good time after the holiday stress. His musical influences include Roy orbison, Queen, and the Vandals.

Hooker said of his performance, “people can expect self-deprecating train wreck of singer/songwriter tomfoolery peppered with dumb jokes.”

too Heavy Boxes are a local party rock trio that usually perform in themed costumes. Xmas Nite will mark their first performance in more than a year.

Drummer Haley Hardin said, “We take the void of nothingness and turn it into possum punk.” “this year it is especially important to rally together for common causes and friendship.”

A brand new musical project, the soft Hustle, will be taking the stage for the first time. frontman Jape stiegel describes the soft Hustle as, “A dive bar band that’s surprisingly unique.”

He said their music is occult and secular, and sounds like a more drunken tom Waits.

Busceme said, “Just bundle up, chill out, and listen to some fun original music while catching up with old friends or making new ones.” for more information, visit the Art studio, inc. on facebook or call 838-5393.

y t i l a e r r u s

8 • ISSUE December 2016

Volume 23, No. 4

tAsi costuME BAll

fuNDRAisER sEt foR JAN. 21

the Art studio, inc. will host the surrealist Beaux Arts Ball, a live art exhibition/fundraiser, Jan. 21, to support its art education programs, encourage membership and celebrate the year’s accomplishments of tenants and local artists. “there are going to be many exciting things going on,” olivia Busceme, event organizer, said. “the event, with all who attend in costume, is going to be a live exhibition in itself. there is going to be music, dancing, performance art, fashion and drag shows. it’s going to be one of the best art events of the year — there will be nothing else like it.”

A Beaux Arts Ball has been a part of the studio’s history many times over the years, founder greg Busceme said, with the most recent held in 2012. “the Beaux Arts Ball is an opportunity to sustain our art education programs and to celebrate the art community’s accomplishments, and have fun while raising money for a great community institution,” he said. “there are some times we’ve held it consecutive years, and sometimes we take a year or two break to build up anticipation again.” greg Busceme said the concept comes from the annual costume ball traditionally given by the students of the École nationale supérieure des Beaux-Arts in Paris in the spring. the ball was held in the palatial École building on the rue Bonaparte overlooking the seine. students produced elaborately allegorical-themed floats which circled the room at midnight and were judged by a panel of the school’s instructors, local bon vivants and artists. Apparently, winning this version of human dressage was an honor in itself, according to publications at the time.

“We’re very excited about hosting this ball,” John Roberts, event committee member, said. “it’s time for one, and we have some great ideas with the drag show and a big avant-garde fashion show with works from several artists and designers.” the event is going to be an artistic spectacle, olivia Busceme said.

Story by Stephan Malick

ISSUE illustrations and page design by Andy Coughlan

See BALL on page 13

Volume 23, No. 4

and

revelries

December 2016 ISSUE • 9

suRREAlists MElDED REAlitY WitH DREAMs

to cREAtE iMAgiNAtiVE JuXtAPositoNs of iMAgERY Story by Caitlin Duerler

ANDRÉ BREtoN DEclARED iN his 1924 essay “the surrealist Manifesto” that he believes in “the future resolution of…dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality, if one may so speak.” it is post-World War i Europe, Breton has read some freud and, along with a handful of other free-thinkers, spearheads the new artistic movement of surrealism, which seeks to marry the freedom of subconscious thought with expression in literature and the visual arts. in literature, surrealism influenced writers to write automatically — just to allow the pen to write across the paper whatever thoughts they were thinking, uninhibited by a purpose to write other than as a stream of conscious-

ness. Works of poetry, such as guillaume Apollinaire’s book “l’alcool” from 1913, went one step further than the symbolists of the late 19th century — rather than just use a word as metaphor for an emotion, his poems actually were structured into symbols. Before his time in many ways, the avant garde Apollinaire was the first person to coin the phrase “surrealism” in 1917 when writing about the play “Parade” — a underappreciated play in its time, written by Jean cocteau, set designed

by Pablo Picasso and with music by Erik satie, and attended by Breton. oil painting, with its elevated status in the fine arts, transformed during the surrealist movement. Max Ernst made figures that possessed both bird and human characteristics; René Magritte painted impossible scenarios with life-like precision, questioning the notion of representation; frida Kahlo and her self-portraits included heart-wrenching motifs and symbols of both personal turmoil and pain, and her Mexican heritage.

While artists had been liberated in the subjects they could paint since impressionism, surrealism truly tapped into the potential of what could be represented on canvas because of the influence of one’s imagination. of the surrealist painters, the most recognizable is salvador Dali — recognizable both in the sense of being identified by his outrageous mustache and exotic pets, and his iconic artworks which have

become synonymous with the movement. Melting clocks, cracked eggs and elephants with stilts for legs are among his most popular artworks. Along with paintings, Dali also produced drawings and sculptures, and even collaborated with filmmaker luis Buñuel on the film “un chien Andalou” (An Andalusian Dog) in 1929. the film is best known for its disturbing image of a razorblade slicing open an eye. the surrealism movement also influenced photography and film. Works like cocteau’s “Beauty and the Beast,” which inspired later beloved film versions, marries spectacular visuals with a fantastical story grounded in the real human themes of love and acceptance. is it possible for a table to serve its guests? for mirrors to transport us from one place to another” or for a dirty rope to be transformed into priceless jewels?

Not likely. However, it is possible to show kindness to another person and to be transformed by kindness. in photography, Man Ray pays homage to 19th-century french painter Jean-Auguste Dominique ingres in his work “le Violon d’ingres” from 1924. the woman photographed is wearing a headdress like several of the subjects in ingres’ paintings, particularly “the turkish Bath” (1863) and sports f-holes on her back like the violin of which ingres was a master.

Just like any cultural movement, it can be hard to pin down a person, a date or a place which initiated the movement. While the term surrealism emerged in the late 1910s-early 1920s, artists such as Hilma af Klint from sweden, a pioneer in abstract art, was creating large-scale paintings based on automatic drawing as early as 1896. Her abstractions aimed to tap into a common geometric visual language to conceptualize forces seen and unseen, such as the spiritual.

Preceding surrealism and running concurrent to it was Dada. However, surrealism is Not Dada. Rather than be anti-art establishment like the Dadaists, surrealists very much wanted to use art as a means of expressing the subconscious, and finding a way to represent and combine these ideas with their reality. surrealism is a lobster telephone, a fur cup and multiple eyes on one face. it is a painting of a pipe with the words “this is not a pipe” beneath it. it is a steampunk elephant. in fact, the only limit to surrealism is your imagination.

10 • ISSUE December 2016

“DEgAs: A NEW VisioN” At tHE MfAH

Volume 23, No. 4

The Mystery of ‘The Little Fourteen-Year-Old Dancer’ “one must have a high opinion of a work of art — not the work one is creating at the moment, but of that which one desires to achieve one day. Without this it is not worthwhile working.”

— Edgar Degas.

i WAs ABout 7 years old when i first saw a painting by Degas. i randomly opened a book, probably attracted by its glossy jacket — my dad, an obsessive bibliophile, lined our little apartment with bookshelves — and was instantly mesmerized by a picture of a dancer. i felt as if i were sitting in a corner theatre box, right above the stage. the footlights made her figure appear ethereal, weightless, magical. she was like a fairy flying towards me from some fantasy land. until this day, whenever i go to the ballet, i think of Degas and feel the same excitement as at the moment i laid my eyes on this picture. of course, now i know that there was a dark side to all this glamor and magic at the famous opera in the 19th-centry Paris. fairy-like dancers were just teenage girls who were working hard to help their families and hoping to find a “protector” — in other words, to become a mistress of a rich old man. Nowhere was this sordid reality conveyed more poignantly than in Degas’s famous sculpture, “the little fourteen-Year-old Dancer.” the model was 14-year old Marie van goethem, one of “les petits rats” (“little rats”), as the dancers in the corps de ballet were called at the time. A daughter of a tailor and a laundress (who also was a part-time prostitute), Marie did not pursue her dancing career for long and disappeared into the Parisian underworld. this fall, i came face to face with Marie at the Museum of fine Arts, Houston, at the exhibition “Degas: A New Vision.” it features nearly 200 works — paintings, drawings, photographs, prints, and sculptures — from public and private collections around the world and is the first major show of this great artist in the past 30 years.

Why did i choose to talk about “the little fourteen-Year-old Dancer,” of all fantastic works that are showcased at this exhibition?

Each gallery reveals a new facet of Degas’s genius, “the most modern artist among his contemporaries,” in the words of gary tinterow, Director of MfAH and a co-curator of the show.

Maybe because it is so unusual, so haunting, so perplexing, so unfathomable.... 135 years passed since the day it was revealed to the public, and it continues to shock, bewilder and amaze us. it must be kept in mind that when we look at “the little fourteenYear-old Dancer” today we don’t see it exactly as Degas intended. the artist executed his sculpture in wax, a highly perishable material. the original — a bequest of Mr. and Mrs. Paul Mellon — is safely locked up at the National gallery of Art in Washington, D.c. there are 28 bronze replicas in museums and galleries around the world today. the one exhibited at the Museum of fine Arts, Houston,

Story and photos by Elena Ivanova

DANCE REHEARSAL, c. 1901, Edgar Degas, pastel on joined sheets of paper on board, private collection.

December 2016 ISSUE • 11

Volume 23, No. 4 comes from Museu de Arte de são Paulo, Brazil.

Bronze figures also differ from the original in the real items they are wearing. Degas dressed his dancer in a bodice, a muslin petticoat that dropped beneath her knees and ballet shoes and placed a wig of real hair tied with a pea-green ribbon on the head. Everything, except for the petticoat and the ribbon, was covered in wax. “the little fourteen-Year-old Dancer’s” bronze cousins wear tutus, which vary in material from museum to museum, and hair ribbons.

But the expression on the girl’s face, her skinny frame and belligerent attitude are as unforgettable in the bronze replica as they are in the wax original. Bony and angular, her body frozen in an awkward pose, she looks like a gawky teenager, not an onstage fairy. Her face is a mask of defiance: chin lifted upwards, thin lips curved down in an almost imperceptible sneer, eyes half-closed and gazing up above, as if deliberately avoiding the eye contact. in today’s world, she could be a teenage daughter refusing to follow the rules laid down by her parents.

However, in 1881, Degas’s sculpture was not seen in such innocent light. the public had no difficulty in connecting “the little fourteen-Yearold Dancer” with unsavory goings-on behind the scenes at the opéra which were universally known yet unmentioned in the upper-class society. But instead of blaming the licentious “patrons of the arts,” they chose to vilify the victim. “Why is she so ugly?” critic Paul Mantz addressed his readers in a self-righteous anger. “Why is her forehead, half covered by her hair, marked already, like her lips, with a profoundly vicious character?” this view of “the little fourteen-Year-old Dancer” as a young, but already deeply corrupt person was seconded by another critic, Jules claretie. “the lecherous little snout on this barely pubescent young girl, this little flower of the gutter, is unforgettable,” he chimed in.

But what about the artist himself? What was his attitude towards his model? Did he also saw her as a symbol of depravity? or was he sympathetic to her plight? “the little fourteen-Year-old Dancer” is as tight-lipped as ever. However, shown within the context of other Degas’s works, she unwittingly provides an insight into the thinking process of her creator.

Dancers, laundresses, prostitutes look at us from the walls as we stroll through the galleries.

Regardless of their occupation, they all have one thing in common: they are working women being captured by the artist at the moment when they seem unaware of being observed. Many of them look bored or tired. Dancers are striking rather ungraceful poses as they are stretching before the rehearsal. laundresses are yawning and stretch-

ing in front of the pile of linen waiting to be ironed. Naked prostitutes are sitting or sprawling on a couch waiting for a customer, their legs nonchalantly spread apart.

Not so long ago Degas was sometimes labeled a misogynist by art historians based on what was perceived as his denigrating representation of women. the exhibition at MfAH lays this viewpoint to rest. When one looks at these images not separately, but as a part of a series, it becomes obvious that the artist was an unbiased observer of the contemporary life which he recorded it as he saw it without passing judgment. He avoided both melodramatics and didacticism which were so common at his time.

Neither Degas’s dancers nor prostitutes fit the prevailing stereotype of his time — that of a voluptuous seductress. surrounded by these images, “the little fourteen-Year-old Dancer” does not look so exceptional. With her skeletal frame and awkward pose, she belongs to this unglamorous world of working women. Yet she stands alone in the artist’s legacy as the only large-size sculpture (two-thirds life size) he ever created and showed publicly.

Predominately a painter, Degas made a handful of small wax sculptures during his lifetime. All of them were later cast in bronze to prevent the inevitable loss of the perishable wax originals. it is believed that he intended them as studies to better understand the movement of a body — of a person or a horse — before depicting it on canvas. shown in the exhibition at MfAH is a small horse figure which is positioned in front of the painting where the same image is featured. However, there is no evidence that “the little fourteen-Year-old Dancer” was a study for a painting. it seems that Degas spent almost two years finessing his sculpture before presenting it to the world. initially, he planned to do it at the impressionist exhibition of 1880, but changed his mind. in 1881, the place reserved for this long-awaited work remained empty for 14 days before it finally made its debut. And what an uproar it caused! Exhibiting a sculpture executed in wax – not one of the long-venerated fine art media like marble or bronze — was an audacious gesture in itself. Wax was traditionally reserved for funerary art, such as recumbent effigies, and moulage — depiction of human anatomy and different diseases for teaching purposes. Degas taunted the public even further by dressing his creation in real garments and displaying it in a glass case, the same way classical sculpture was exhibited at the louvre. the artist demonstrated great ingenuity in making his masterpiece. A few years ago the National gallery of Art in Washington, D.c., undertook an extensive study to resolve questions about his technique. it proved that Degas did not carve his sculpture but used an additive

process. He built a metal armature which he filled with organic materials such as wood chips, rope and even old paintbrushes in the arms.

“Among the most surprising discoveries reported in the study is the evidence of an earlier version of the “little fourteen-Year-old Dancer‘s” head and face concealed inside the current head,” Patricia failing of “ArtNews” wrote.

Very few of Degas’s contemporaries were ready to appreciate the novelty of his creation. Among them was french novelist Joris-Karl Huysmans who called it “the only really modern attempt that i know of in sculpture.” others were appalled and mocked the unusual work declaring that it belonged to an anatomical display or the wax museum of Madame tussaud rather than an art exhibition. so was Degas’s real objective to break the boundaries of the artistic convention of his time? Was his sculpture an experiment, a revelatory vision of things to come in the more openminded 20th century? Was it a purely artistic search for new means of expression and Marie van goethem’s personal story was irrelevant? there is one more fact that should be taken into

See DEGAS on page 12

THE LITTLE FOURTEEN-YEAROLD DANCER, 1879–81, Edgar Degas, bronze with cotton skirt and satin ribbon, Museu de Arte de São Paulo, Assis Chateaubriand.

12 • ISSUE December 2016

Volume 23, No. 4

High Street Gallery to host Sellers show

BEAuMoNt — tHE HigH stREEt gAllERY will host “street Violence is Always love,” an exhibition of photography by gabriel sellers, 7-10 p.m., Dec. 30. the gallery is located in Victoria House, 2110 Victoria st. in Beaumont.

“A few months ago, gabe showed me some photographs he took at some house shows around 2011 and i thought it would be great to end the year with a little short-term nostalgia” olivia Busceme, gallery director, said. “it was a pivotal time for Victoria House as a part of Beaumont’s music scene and we’re lucky enough that it was also the time when gabe was experimenting with film photography. so you’ll be seeing a slice of our brief history.”

Entry is free and the work will be for sale. Refreshments will be available at the event. “this particular project was the start of learning the documentary process, for myself that is,” sellers said. “i’d describe this as a long process of learning new equipment, seeing as i had never used a Range-finder until this time period, documenting the world around me as it passes” sellers said alongside music and occult iconography, his biggest artistic influence is lauren E. simonutti. “she was a photographer that used very large cameras to do her work, which was of a very personal nature. Her eye for composition, and skill in the darkroom were amazing.” since 2011, sellers has only been using filmbased processes, including darkroom development. “i tend to use a shot-gun approach to shooting in 35mm,” he said. “i’m a passive photographer when i have a Range-finder in my hands, i exist in the scene, and don’t change anything other than the angle or place i am.” the artist said he hopes “to share in the experience that consumed so much of my life, as well as

countless other people involved in making Victoria House amazing. this was a once in a life-time experience for myself.” for more information, email victoriahousetx@ gmail.com, or visit the High street gallery facebook page.

SELF-PORTRAIT, c. 1857–58, Edgar Degas, oil on paper, mounted on canvas, Sterling and Francine Clark Institute, Williamstown, Massachusetts.

DEGAS from page 11 consideration. At the same exhibition of 1881 Degas showcased two pastels titled “criminal Physiognomy,” a characterological study of a criminal type based on the appearance of the murderers in a recent notorious case. like many intellectuals of his time, Degas shared an opinion that one’s predisposition towards criminal behavior may be detected through the examination of this person’s skull and facial features. in fact, Degas was lauded as the champion of “scientific realism,” the goal of which was to study natural phenomena through artistic methods. could it be that “the little fourteen-Year-old Dancer” also was a characterological study? if so, were those critics who called her “bestial,” “monkey,” and “a flower of precocious depravity” correct in their understanding of the artist’s message?

Degas provided no personal account which could shed light on the reasons that compelled him to create “the little fourteen-Year-old Dancer.” like so many artists before and after, he delivered his creation to the public forum and left it there to fend for itself. Maybe the power of art is in its ability to challenge us to seek our own answers. the exhibition “Degas: A New Vision” is on view at MfAH though Jan. 16.

Volume 23, No. 4

BALL from page 8 “there are going to be special guest performance art pieces from some very wellknown local artistic groups and individuals,” she said. “those we’re keeping kind of a secret, because we want people to be excited and surprised when they see what they’ve created — and also because some are collaborations between different people and groups.”

Roberts said there will also be live t-shirt printing, photograms by the studio’s Darkroom friends and a silent auction.

“Everyone should be creative and come out,” Roberts said. “We are going to transform the entire appearance of the studio. the studio knows how to throw a fun party and there are several things for people to do once they get here.” olivia Busceme people should “like” the facebook event page.

“We are going to be posting inspirational things to help people plan their costumes,” she said. in addition to all the activities, music and shows, there will be a cash bar, heavy Hors d’oevres and sweets. tickets are $50 through Jan. 20, and are $60 at the door. online purchases may be made at www.artstudio.org website. click the tickets link to purchase with a credit or debit card. tickets are also available, 1-5 p.m., tuesdays through saturdays, at the studio. tickets will also be available at first thursday at the Mildred, Dec. 1. for more, call 838-5393 or visit www.artstudio.org.

December 2016 ISSUE • 13

Faces of Surrealism Makeup artist Kindra leigh Armagh offers some ideas for the Art studio’s surrealist Ball. the costume fundraiser will be held Jan. 21. for tickets, visit www.artstudio.org.

Volunteers vital to TASI’s health 14 • ISSUE December 2016

tHE ARt stuDio, iNc. is seeking volunteers for its openings and for other activities. caitlin Duerler, tAsi volunteer coordinator, started volunteering after moving home to Beaumont after living in Paris. “i have always been interested in art, but while i was out of the country, i really developed a love for contemporary art,” she said.

“Moving back, i felt like i had to become more involved with the art scene in my community so i started doing stuff with tAsi and i made friends and become more and more involved.”

Duerler said there is a variety of tasks to suit anyone’s schedule. “i started helping with life drawing — i would bring clean sheets for the model every week,” she said. “A couple months ago, i joined the board and have been serving as the volunteer chair. Alongside a couple of other board members, we facilitate volunteer days to update the studio and make it a more functional place.

“We have cleaned and organized the studio as well as regularly help prep the wall for works to be hung and get the space ready for different events such as Band Nite and the garage sale. We are currently repainting and freshening up other parts of the studio

VIEW from page 3 met by ultraconservatives in congress putting up a strong opposition as the art reflected very controversial subject matter that they deemed pornographic, homoerotic and anti-christian, and undeserving of the awards given them by the NEA. in a court case against the director of the corcoran gallery in cincinnati, ohio.

Maplethorpe’s work was deemed not child pornography or pornographic at all. the director was acquitted but not without a chilling effect permeating the art world and the mass of state, and especially corporate, donors. the NEA was limited in its scope and awards for individuals was revoked. A contract was given to any organizational recipient that if any art work in their institution was of an excretory or sexual nature they would lose their nonprofit status. this obviously had a deleterious effect on

Volume 23, No. 4

TASI volunteer coordinator Caitlin Duerler organizes items prior to The Studio’s garage sale in August including the classroom.”

Volunteer meetings are held once a month for specific facilities improvement projects, Duerler said.

“However, we always need volunteers to assist with opening receptions and working the door at Band Nite and different functions thoughout the year,” she said. “We organize through our tAsi Volunteer facebook page, so people who would be interested in lending a hand can join the group and be informed of meet-up days that way.”

Duerler said that apart from “the warm fuzzy feeling inside” she gets from volunteering, she sees it as a way to support the artists who work at the studio. “the tenants are living artists and the studio provides them a sanctuary,” she said.

“i feel like the work we do shows them that we are appreciative of their talents and we want to help make their home more reflective of their caliber of artist.” it is important that volunteers know their input is valued and welcome, Duerler said.

“Many of our most recently completed projects came about through casual conversation,” she said. “one project i am looking forward to working on is reorganizing our reference library which is an amazing resource with lots of catalogs, books and magazines on art. it will probably take twice as long to complete that project because i am sure to start flipping through books.” to volunteer, call 838-5393, or visit the tAsi Volunteers facebook page.

anyone applying for the grants of the NEA and obliterated the arts for anything but children programs and educational purposes. since that time the arts have been relegated to the seen but not heard as part of the American psyche.

Artists live in the shadow of uncertainty and any advancement in the arts is an individual accomplishment not recognized by the country. the general public only remember that something bad happened with the arts and are uncertain what to make of the controversy, leaving funding to be tenuous at best. so we know that the arts are not represented in any political arena. We also know that the arts and their varied expressions are part of the first Amendment and protected speech. to ask the question, “Do we want the arts to be represented in our political discourse?” asks if we want to make ourselves a new target for the detractors who believe that art is controversial and out of

control, and its opinions though free speech can be construed as un-American. the obvious answer would be apparent — that we should stay in the shadows create our work and preserve the cultural heritage of our time without the blessing of our leaders and, more than likely, half of the population of America, it would be better to have art recognized as the important educational tool it is, and that the advancement of our children’s intellectual potential is dependent on the use of art to develop the skills needed for the proper education of our future doctors, engineers ands scientists, and that arts should be given the utmost support for its value in our educational institutions.

We must accept that the question should not be asked in this political climate. if asked, we could see further erosion of an institution that defines our culture to the world and defines us as something separate from the animals, no matter how noble they are.

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 23, No. 4

Thoughtcrime The Artist

i am not an artist i cannot paint a beautiful landscape that makes you believe you're looking at the real thing You will not stare in awe as you wonder what compelled me to paint those lines so uneven And i can't make my color choices dance in your eyes like sugarplum fairies off of the canvas and into your mind for you to transpose the choreography to your own understanding

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

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

On Time

glancing through the window of broken dreams, is time…and he’s wasted. dingy panes…rusted frames ghostly phantoms of the past wave time and time again as they solemnly parade by in a timely manner. time brandishes his arthritic hand unlatches the glass portal, unleashing an inclement deluge of suppressed emotions. tattered curtains whip and flap violently.

And it’s only a matter of time until time waits for no one … time does not stand still… through the open window he flees.

When he winds down, only time will tell…

And we all know so well…

He won’t be late…No, he won’t be late!

Dorothy Sells Clover

i am not an artist i cannot capture a single moment in time with the simple click of a camera. they say a picture is worth a thousand words But every shot i capture seems to be silent Mute But they're beginning to be heard screaming millions of words Hoping someone will just hear one

i am not an artist i cannot make your skin shiver as my lyrics echo through the room Your emotions will not crescendo as each note burns nostalgia in your memory And i will not leave you wanting to hear more i am not an artist And i can't create a masterpiece in two hours i can't write words that will break your heart as they enter your ears and fill your soul with the emotions i'm feeling i can't make you believe that i'm actually the character i tried so hard to become at rehearsals for the last three months My movements on the dance floor dont flow with ease or grace And you will never give me a standing ovation or shower me with roses as you cheer for the art i've created.

But With every step that i take on this earth i am leaving brush strokes in the dirt and in your memory Every laugh every sob every word that i speak is going through your ears for your own musical enjoyment My eyes are like cameras capturing every moment and every face each time my lashes flutter And even though most of we don't have photographic memories We still remember the precious moments our personal cameras caught on film i am not an artist i am art

Caroline Badon

December 2016 ISSUE • 15

Haiku For Our Times Half will say this sucks.

Half will say it’s genius.

Half will be half right.

Andy Coughlan

Hiroshima 2016

it’s raining crows in the skeletal dome caw, “nevermore” leaders send drones children fold paper cranes it’s raining gently

why do we not think before bombs have fallen? it’s raining people like us don’t need apologies we need peace, peace Grace Megnet

Not by Chance

Well, Boy, you asked about the trees – weed trees they’re called ’round here – but what they are to me is shade. time’s though when they were not.

Back then, i had no place to rest and get out from the sun.

Right where we’re here, it was just hot, over yonder – hotter.

it all seemed empty to me then, like what i had inside, a place where there was too much space but not enough of time. ‘guess both yard and me were ready, for when the trees came up, by chance, since ’round here, like i said, they’re weeds, i thought, “Why not?”

And so i lined them up to make them what they are right here: four trees in the yard with purpose.

Weeds, yes, but not by chance

in how they stand – that’s mine, you see.

A right nice place to shade.

You think so, Boy? Well, i do too. time’s though when they were not.

Jesse Doiron

720 Franklin, Beaumont, Texas 77701

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

RETURN SERVICE REQUESTED

INSIDE • SURREALIST BALL • THOUGHTCRIME: MUSINGS FROM AREA POETS • DEGAS AT MFAH • STARK COLLECTION

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

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

Elizabeth fontenot Bryan castino Heather & Adam Butler Rhonda Rodman sue Wright cyndi grimes Rhonda McNally Andy coughlan John Roberts Beau Dumesnil Karen Dumesnil sheila Busceme Kailee Viator caitlin Duerler stephan Malick terri fox Avril falgout Michelle falgout stacey Haynes Joe Winston John fulbright Mark Jacobson Nathaniel Welch gina garcia Hayley Hardin Jack Hays tyler Hargraves Aslinn garcia chase Kiker Paisley Polk Zoe Williams Rana Matthews Michael Beard Brittany tawater Juliet goldstein caroline Badon Jake Hollier Breanna Workman David granitz Pat grimes

JOIN US

FOR ART OPENINGS ON THE FIRST SATURDAY OF THE MONTH

THIS MONTH:

DECEMBER 3 AND DECEMBER 10 EVENING RECEPTION IS DECEMBER 3, 7-10 P.M.

this project was funded in part by the B.A. & E.W. steinhagen Benevolent trust through the southeast texas Arts council.

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