Issue Magazine

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MEMBERSGATHER

SEE MEMBERSHIP FORM ON PAGE 3.

Life Drawing Wednesdays.6-8 p.m. $5.

Open to everyone.Join the facebook Figure Drawing group

Become a member of The Studio — it’s worth it.

ISSUE Vol. 19, No. 7

Publisher . . . . . . . . . . . . . . . . The Art Studio, Inc.

Editor . . . . . . . . . . . . . . . . . . . . . . Andy CoughlanCopy Editor . . . . . . . . . . . . . . . . . . . . Tracy DannaContributing Writers . . . . . . . . . . . . Elena Ivanova

. . . . . . . . . . . . . . . . . . . . . . . . Donley MinorContributing Photographers . . . . . . Michelle Cate,

. . . . . . . . . . . . . . . . . . . . . . . . William JonesDistribution . . . . . . . . . . . . . . . . . . . . . Betty Smith

The Art Studio, Inc. Board of Directors

President Ex-Officio . . . . . . . . . . . . Greg BuscemeVice-President. . . . . . . . . . . . . . . Angela BuscemeChair . . . . . . . . . . . . . . . . . . . . . . . . John RobertsTreasurer/Secretary . . . . . . . . . . . . . Beth GallaspyMembers at Large: . . . . . . . . . . . Sheila Busceme,

. . . . . . . . . . . . . . . . . . . . . . Elizabeth French, . . . . . . . . . . Andy Ledesma, Stephan Malick, . . . . . . . . . . . . . . . . . . . . . . . . Heather Butler

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The ISSUE is a monthly publication of The ArtStudio, Inc. Its mission is to publicize The Art Studio andits tenants, and to promote the growth of the arts inSoutheast Texas. ISSUE is also charged with informingTASI members of projects, progress, achievements andsetbacks in TASI’s well-being. Further, ISSUE strives topromote and distribute the writings of local authors in its“Thoughtcrime” feature.

ISSUE is provided free of charge to members of TASIand is also available, free of charge, at more than 30 loca-tions in Southeast Texas.

Regular features include local artists of note and rep-utation who are not currently exhibiting at TASI; artistscurrently or soon to be exhibiting at TASI; Instructionalarticles for artists; news stories regarding the state ofTASI’s organization; and arts news features dealing withgeneral philosophical issues of interest to artists.

Contents

Art in the Park . . . . . . . . . . . . . . . . . . . . . . . Page 4Artist Symposium . . . . . . . . . . . . . . . . . . . . Page 5The Bayou Bauhaus . . . . . . . . . . . . . . . . . . . Page 6TASIMJAE . . . . . . . . . . . . . . . . . . . . . . . . . . Page 7Picasso Black and White . . . . . . . . . . . . . . . Page 8Childrens Acting Workshops . . . . . . . . . . . Page 10Matthew Neil Gehring . . . . . . . . . . . . . . . . Page 11Big Read Events. . . . . . . . . . . . . . . . . . . . . Page 11Around & About. . . . . . . . . . . . . . . . . . . . . Page 12Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13

Cover photo by Andy Coughlan

UPCOMING EXHIBITIONS AT THE ART STUDIOAAPPRRIILLTASIMJAE (The Art Studio, Inc. Member Jurored Art Exhibition)

Opening . . . . . . . . . . . . . . . . . . . . . . . . . . April 6

MMAAYYAmy Faggard, TASIMJAE 2012 Winner

Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . May 4

BECOME A MEMBER OF THE ART STUDIOMembership in The Art

Studio, Inc., provides invita-tions to all exhibitions andone year of ISSUE, themonthly arts magazine ofThe Art Studio. It also givesfree eligibility for membersto enter the annual mem-bership art exhibition

(TASIMJAE) and partici-pate in various exhibitionsthroughout the year.

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The Art Studio, Inc. 720 Franklin, Beaumont 77701

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I BREEZE THROUGH THE Studio enjoying thewonderfully temperate weather. The Studioechoes with an outbreak of participation.Radios upstairs compete with NPR in theoffice, and the ladies in back are earbudded— oblivious to the aural skirmish elsewhere.

Banging, sawing, drilling and dialog,music to my ears. The state of The Studio isstrong, its future is bright, the artists arehappy (as happy as an artist can get) and allthis on a sustainable budget that addressesthe balance between our goals and objectivesas an NPO, and our ability to remain finan-cially viable.

Since the recession, The Studio paid offthe bank note on the building through thesale of another property we hoped would bean expansion to a learning center, perform-ance space and expanded 3D studios.

At the time, we didn’t have a choice. Ournote was ballooning, and we were pressed topay the note or possibly lose the building.We sold the property and saved The Studio,but later lost more of our current facilitieswith the hurricane trilogy.

At the time, we were at 50 percent occu-pancy with no participation in the classesthat were offered. We also had to cope witha downturn in membership.

At this writing, our figure drawing andclay classes are making a comeback as par-ticipation and interest increases. We also seea jump in Studio residents. We are at 100 per-

cent occupancy and we are experiencing aresurgence in charter-school and home-school classes taking advantage of TheStudio’s residents and facility.

We reduced the number of complemen-tary invitations and newsletters we mail out,but we will mail to everyone who carries amembership. This constitutes a two-thirdsreduction in the size of our mailing list,which constitutes a 50 percent reduction inmailing costs, which includes printing, sort-ing and postage of invitations and the ISSUE.

We are actively working to repair andrecover lost facilities, salt and reductionkilns, metal fabrication, metal casting andforging. Storage facilities were also lost in thehurricanes, as was much of our raw materi-als and surplus supplies.

An 8-feet fence is surrounding our backyard for added security, as well as a newparking area with striped spaces, compli-ments of Eagle Scout candidate BrandonCate, who also beautified the planter box infront of the building.

With all of the upheaval and downturnsof the economy and weather, one thing ofmany that I neglected was our IRS 990 form.It is imperative to send one to the IRS at leastevery three years. In 2006 legislation, a rul-ing was made that any NPO not fulfilling this

A View From The TopGreg Busceme, TASI Director

See VIEW on page 15

Picturestory byMichelle

Cate

4 • ISSUE April 2013 Volume 19, No. 7

AArrtt oonn aa ssuunnnnyy ddaayyIT WAS ONE OF those rare springdays that seemed more like adream; the sun, the clouds and thesense of community in Stark Parkreally made one do a double take.

The pool reflected the pines andblue sky as live music filled the air.

The 11th annual Art in the Park inOrange, March 16, featured ven-dors selling their artistic wares and

crafts ranged from hand-thrown ceramics to artful-ly welded sculptures, or prints and colorful paint-ings.

The Stark Museum of Art and Stark HouseMuseum were both open to the public, as was thehistoric First Presbyterian Church with its mind-boggling stained glass.

I can hardly remember the last time I felt asencouraged by the culture in a place. Orangemight be a small town, but it has the soul that isolder and wiser than some may give it credit for.

Living in the Golden Triangle can sometimesleave a person feeling a bit jaded... but spring andthe charm of people who live here can still inspire.

The event was as colorful and as perfect as theflaming azalea bushes that framed the City Hall.

Picturestory byMichelle

Cate

THE ARTISTS SYMPOSIUM, A newseries of panel discussions, willbegin April 5 at the Beaumont ArtLeague. The symposiums will beheld from 7-9 p.m., on the firstFriday on every month, and are free.

“The Artist Symposium is a won-derful opportunity for the commu-nity to engage in artistic dialoguewith local artists who are either just

beginning or who have been creating work fordecades,” Sarah Hamilton, BAL gallery director, said.“This new event strengthens the BAL’s mission of pro-viding art education to Southeast Texans and we lookforward to the stimulating topics that this program willcultivate.”

Artist Abigail McLaurin is the driving forcebehind the symposium.

“I think it is important,” she said. “When I movedto Beaumont, I thought it needed a place where artistscan get together and talk about work, and have anintellectual discussion about art.

“In college, we would have guest speakers andtalk about a particular topic. It was really just to createa dialogue, not just between artists and student, butbetween artists and the community.”

McLaurin said that the panel discussions will offermembers of the community a chance to find out howartists work through ideas and get an understandingof process.

“When you walk into a gallery, you only see thefinal work,” she said. “For the artist, it is all about theprocess and not the artifact. So this is an opportunityto see how the process changes for these artists.These are mature, professional artists who have beenthrough a lot of change within their work.”

Each symposium will have a theme, the first being“Within the Studio,” and will feature ceramicist LinnisBlanton, printmaker Xenia Fedorchenko and sculptorDavid Cargill.

McLaurin, a tenant at The Art Studio, said that theprogram is a great chance to bring area artists togeth-er.

“I hope it will help the league get more membersand have a community involvement in the arts,” shesaid. “It is also a way of uniting artists. There seems tobe a disconnect between artists and the different

organizations in the area.”McLaurin said that community members will be

intrigued by how each artist explores their medium,and how detailed the journey is through each work.

“It’s always about the obsessive process,” shesaid. “Chasing the monster in the dark — seeking per-fection in the work and never being able to capture it.”

The Beaumont Art League is located at 4175 Gulfin Beaumont.

For more information, call 409-833-4179, or visitthe Artist Symposium Facebook page.

Volume 19, No. 7 April 2013 ISSUE • 5

Xenia Fedorchenko, top, shown teaching a printmaking class at Lamar University, Linnis Blanton, above, and David Cargill will be on thepanel of the first Artist Symposium at the Beaumont Art League, April 5.

BAL TO HOST ARTIST SYMPOSIUM SERIESStory by

AndyCoughlan

ISSUE Andy Coughlan

ISSUE Andy Coughlan

ISSUE William Jones


BAYOUS ARE KNOWN FOR creatureslike alligators, crawfish and cat-fish.

But The Bayou Bauhausisn’t the usual swamp thatSoutheast Texans are accus-tomed to.

The Southeast Texas ArtsCouncil is hosting the online artgallery that offers portraits, fur-

niture, jewelry, sculptures, ceramics and clothing bylocal artists.

The Bauhaus was a school of design in Weimar,Germany in the 1930s that changed the landscapeof design.

“The idea behind (The Bauhaus) was to have aplace where new architecture could be encouraged,taught and practiced, but it ultimately housed a vari-ety of art forms,” Sue Bard, SETAC executive direc-tor, said. “I liked the idea of it being the Bauhaushouse — house meaning a place where art happens.

“Ultimately, what we wanted wasn’t just paint-ings and sculpture. We wanted furniture, peoplewho design and create jewelry, people who designand create clothing.

“To me, it is all just creativity, all art, and we felt

that there is a market for these one-of-a-kind things,instead of the mass-produced stuff that you get ifyou visit a department store.”

Bard said that everybody wants to decoratetheir home and wants paintings on the wall.

“We wanted a place where people would shopfor art and be loyal to the region,” she said.

Bard said that she noticed a lack of galleries inthe area.

“As far as I can tell, there are no retail gal-leries,” she said. “If an artist wants an opportunityto show their work, they’re going to get involved.”

The Bayou Bauhaus provides artists with anopportunity to focus on creating new works.

“Many of them don’t want to get around to thepaperwork that’s required, the administration of it,or even marketing,” Bard said. “They want to makethe art, and they want it to be seen.”

Bard said that there is currently a 50 percentdiscount for membership, which normally runs at$40 for the year. Bayou Bauhaus takes a 25 percentcommission on all sales through the gallery. Allsales of work represented on the site must gothrough The Bauhaus.

“We handle things the way an art gallerywould,” she said.

Being an online gallery is convenient, Bardsaid.

The website has been open since October andis always adding new artists and features. Thegallery currently features six artists and Bard saidshe is looking to build the gallery slowly.

Painter Albert Faggard is one of the featuredartists on the site.

“I think it is a great thing,” he said. “I do notknow of any other website that is exclusive forartists in the Southeast Texas area.”

Faggard said the original Bauhaus was open toall kinds of art forms.

“It didn’t single out realism or abstraction, col-lage or theater — it just set the tone for the artist ingeneral, and I think that is important,” he said.“Collectively, as a group, (the website) is open toanyone that wants to participate and I think it is agreat thing.”

Bard said that many online galleries feature por-traits of celebrities and other “accessible” images.However, The Bayou Bauhaus aims to feature adiverse collection of creative artists making originalwork in the area.

For information, visit www.thebayoubauhaus.com.

BAYOU BAUHUASSETAC WEBSITE OFFERS ONLINE MARKETPLACEStory byDonleyMinor


TTAASSIIMMJJAAEETHE ART STUDIO, INC. MEMBERS JURORED ART EXHIBITION

IT’S TIME ONCE AGAIN for the unpronounceable exhi-bition that aims to showcase the diverse works ofThe Art Studio’s membership.

TASIMJAE (The Art Studio, Inc. MembersJurored Art Exhibition) will be on display throughApril 27, beginning with a free reception April 6,from 7 p.m. to 10 p.m.

TASI director Greg Busceme said the show is animportant part of The Studio’s mission.

“It’s two-fold,” he said. “We get people to showwork they haven’t shown before, and we are alsointerested in getting new memberships.”

Entry to the show is free with TASI membership.“We just encourage people to come in and get a

membership, and turn in two pieces,” Busceme said.“You can join when you drop off the work. Just comein and we’ll take care of you.”

Busceme said that the community arts organiza-tions in the area share a vision to encourage artists ofall ages, skill levels and experience to show their art.

“It gives us a nice cross section of the artworkthat’s going on in the region right now,” he said. “Ithink the Beaumont Art League and Texas ArtistsMuseum also serve that purpose.”

This year’s juror is Megan Young, director of theDishman Art Museum on the Lamar University cam-pus.

Busceme said that TASIMJAE offers area artistsa chance to get some feedback. TASIMJAE is ajurored show, which means some work will not beaccepted.

“It kind of goes against the idea of ‘everybodygets a medal,’” Busceme said. “But life isn’t like that.Not everybody gets a trophy. It’s important foryoung artists to learn that rejection is not a terriblething — it’s a growing thing.

“I say this every year. You might get a piecerejected from one show and have the same piece geta first prize at the next. It’s all up to the jurors andtheir different tastes.”

Busceme said The Studio always tries to bring injurors from different areas and from different fields,so that each year’s show is an open field.

Jurors have come from as far afield as Houston,Galveston and Lake Charles.

“We have a variety — that way, nobody getsbumped every time,” he said.

The artwork is judged blind, meaning the jurordoesn’t see names until after the completing hisselection.

“We’ve had very young people place in ourshow, which I think is phenomenal,” Busceme said.

“It’s interesting to see what the jurors respond toand who they pick, especially as they don’t knowwho’s out there.”

Busceme said that he encourages artists of allages to enter shows.

“A piece of art that is not shown is worthless,” hesaid. “You have to present it. You can’t write a poemand not give it to someone to read. You need toshare your art, or it’s just a waste of that energy.”

Busceme said that people should not see rejec-tion from a show as a rejection of the value of thework.

“It’s great for the ego when it doesn’t get mas-saged,” Busceme said with a laugh. “It makes youwork harder and appreciate the new artists who arecoming up.”

The winner of TASIMJAE receives $100 and asolo show at The Studio in May 2014. Cash prizes arealso awarded for second and third place.

Last year’s winner was Amy Faggard. Look for afeature on her upcoming show in next month’sISSUE.

For more information, contact TASI at 409-838-5393, or visit www.artstudio.org.

Show highlighting variety of members’ work to open April 6

A sizeable crowd turned out for TASIMJAE 2012. The exhibition, which features art created by members of The Art Studio, is alwaysan eclectic collection, which showcases a diversity of the artists’ works.


PICASSO EXHIBITION AT MFAH HIGHLIGHTS MONOCHROMATIC CAREER

“Color weakens.” — Picasso

IN 1904, YOUNG PABLO Picassoarrived in Paris to pursue hisdream of becoming a greatartist. It was not his first trip. Hebriefly stayed there in 1900 andthen in 1901-1902, but things didnot work out. The result was anembarrassing return to Spain,with the train ticket paid by hisparents.

Two years later, undaunted, 22-year oldPablo was in Paris again. He found lodgings atBateau-Lavoir, a run-down tenement building inMontmartre. Named for its resemblance to alaundry barge, the place was popular amongpenniless artists because of its low rent. Whocared that there was no light, gas or electric, norunning water and no heat? In winter, the coffeeleft at the bottom of the cup at night turned intoice by the morning. In summer, the little apart-ment turned into an inferno compelling Pablo topaint naked.

Notwithstanding his young age, Picassoalready had an original vision of the world. Hisworld was monochromatic. His early works weredone in blue palette. These works are typically

interpreted as an expression of the young artist’sangst, caused by the harsh realities of his lifeand especially by the suicide of his friend, CarlosCasagemas. However, years passed and the cir-cumstances of Picasso’s life changed, yet he con-tinued to paint monochromatic compositions.The “Blue Period” was succeeded by the “RosePeriod” and then he found his true calling —black and white painting, which he pursued untilthe end of his life.

The exhibition “Picasso Black and White,” atthe Museum of Fine Arts in Houston, showcasesthe artist’s work from public and private collec-tions in the United States and Europe. The sheerscale of this presentation is astounding: nearly100 works, created between 1904 and 1970. Noless impressive is the diversity of formats:sketches and drawings are shown side-by-sidewith large-scale paintings, while sculptures rangefrom life-size heads to monumental figures.Monumental in size, also, is the tapestry of thefamous painting “Guernica,”1 which welcomesvisitors to the exhibition. Commissioned byPicasso from French weavers at the suggestionof Nelson Rockefeller in 1955, this exquisitework has been on view for more than twodecades at the United Nations Building in NewYork.2

The exhibition provides a unique opportuni-

Story byElena

Ivanova

THEW

ORLD

ty to trace Picasso’s everlasting passion forblack and white compositions from its begin-ning to the last years of his life. One of the ear-liest works of this kind, “Head of a Man”(1908), is an ink and charcoal drawing of a fig-ure with black irregular shapes covering theareas from the eyebrows to the chin. Thisrarely seen work, which may be Picasso’s self-portrait, provides an insight into the artist’screative process. It suggests that the initialimpulse for the black and white palette mighthave come from the artist’s fascination withAfrican sculpture. Picasso was already experi-menting with African-art-inspired shapes andplanes, which eventually led him to the cre-ation of Cubism. As he searched for ways oftranslating sculpture into the language of two-dimensional art, he started using black andwhite to convey negative and positive shapes.

During the following two decades, Picassoextensively used black and white palette, withoccasional inclusion of ochre shades, forCubist compositions. In the 1920s, he wentthrough the phase of Neoclassical painting,which coincided with his marriage to Russiandancer Olga Khokhlova. It is tempting toassume that Olga’s classical beauty wasresponsible for Picasso’s a short-lived romancewith classical art. As his love for Olga startedto fade, the artist turned his attention toCubism again. He also found a new muse: 17-year-old Marie-Thérèse Walter.

The exhibition features many intimate portraits of Marie-Thérèse.Rendered in simplified shapes and delicate lines, they project an imageof a demure, fragile woman. They also attest to Picasso’s incessantexploration of the expressive potential of Cubist shapes and black andwhite palette. Some portraits are created with one undulating linewhich traces the face and the body, resulting in a peaceful and sereneimage. In other cases, the figure is composed of bold, juxtaposingforms which create a sense of movement and three-dimensionality.

Picasso’s first large-scale black and white painting is “TheMilliner’s Workshop” (1926). The actual workshop in the painting waslocated on the same street as Picasso’s apartment. The artist could seethe activity inside the shop through the open door every time hepassed by. In the painting, the door is also open, but it is no more thana prop.

Viewers are offered a frontal view of the place, as if they were inthe shop or looking at it through a large, floor-to-ceiling window.

Viewers may have different opinions on what the interior lookslike or what is going on in the shop. However, everyone probablywould agree with one thing: there is a frenzy of activity. The space ispopulated with black, gray and white shapes which seem to intermit-tently come forward and recede, creating a sense of movement. Theimpression is akin to the feeling one may experience by walking into asomber environment from a sunlit street. While the eyes are stilladjusting to the dim light, the objects’ shapes keep shifting and trans-forming before everything comes into focus.

Works from the 1930s demonstrate how long Picasso was develop-ing his signature style and iconography which came to a full realizationin “Guernica,” painted at the commission of the Spanish Republicangovernment in exile for the 1937 International Exposition in Paris. The


IN BLACK&WWHHIITTEE

See PICASSO on page 14

Main image: Pablo Picasso, THE CHARNEL HOUSE, Paris, 1945, oiland charcoal on canvas, The Museum of Modern Art, New York, Mrs.Sam A. Lewisohn Bequest (by exchange), and Mrs. Marya BernadFund in memory of her husband Dr. Bernard Bernard, and anony-mous funds, 1971. © 2013 Estate of Pablo Picasso / Artists RightsSociety (ARS), New York.

Far left: Pablo Picasso, MARIE-THÉRÈSE, FACE AND PROFILE, Paris,1931, oil and charcoal on canvas, Private Collection. © 2013Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Top: Pablo Picasso, THE MAIDS OF HONOR (LAS MENINAS, AFTERVELÁZQUEZ), LA CALIFORNIE, AUGUST 17, 1957, oil on canvas,Museu Picasso, Barcelona, gift of the artist, 1968. © 2013 Estateof Pablo Picasso / Artists Rights Society (ARS), New York.

Above: Pablo Picasso, THE MILLINER’S WORKSHOP, RUE LABOÉTE, PARIS, January 1926, oil on canvas, Musée national d’artmodern / Centre de creation industrielle, Centre Pompidou, Paris. ©2013 Estate of Pablo Picasso / Artists Rights Society (ARS), NewYork.

ACTING COACH AND AUTHOR

Chambers Stevens will bring hisHollywood expertise to Beaumont inApril with a pair of workshops foraspiring young actors.

The workshops, hosted byOutside the Box Productions, arescheduled for Saturday, April 27, 9a.m.-noon for 3rd through 6th grade,and 1 p.m.-4 p.m. for 7th though 12th

grade. The workshops will be held in the Assembly Hallat All Saints Episcopal School, 4108 Delawarein Beaumont.

Cost is $125 for each workshop. Advance reserva-tions are required. To reserve a spot call 409-543-4915 orgo to www.facebook.com/outsidetheboxbeaumont.

“Chambers has a gift with children and teenagers,”coordinator Ramona Young said. “When he is coachingthem on auditioning and different acting styles that arecurrently en vogue in Hollywood, he is super high ener-gy. His energy reminds me of early Jerry Lewis. He’sfun, he does voices, he connects on their level — he’sjust hilarious. Kids love him.”

Stevens, an established coach and the author ofseven books of monologues, scenes and commercialsfor young actors, will offer an overview of what it is liketo audition for television or a movie, and how to behavewith a casting director, as well as how the basic auditionworks.

“Because of the tax breaks that Texas now has inplace a lot of my clients are auditioning for films and tel-evision shows that are being shot in the state,” Stevenssaid. “I have a number of young actors from Californiawho have been flown in to work on shows in Texas.These Californians are not better ‘actors’ than the kidsin Beaumont. But they are better auditioners.

“So that is what we will focus on — making themfantastic auditioners. Also because my wife is an execu-tive producer at The Disney Channel, I have a lot ofknowledge about what Disney is looking for.”

Young said that participants will learn about allfacets of the audition and acting process.

“Chambers will instruct them on what skills theyneed to work on to be an effective auditioner,” she said.“There’ll be some techniques on memorization and howto make your audition stand out. There will also bescene and monologue work.

“A lot of the stuff will be effective not only for audi-tioning on the professional level, but also for kids whoare planning to audition for college acting programs oreven local theater.”

Stevens said he enjoys working with young actors.“Kids are the best,” Stevens said. “They are so full

of creativity and energy. Their imaginations are powerfulso they can throw themselves in to any scene. Plus theyare so hungry for help from someone who knows whatthey are doing.”

This is Stevens’ fourth trip to Southeast Texas.Young, who teaches drama at All Saints school, said sheinvited Stevens to conduct workshops after meeting himfive years ago at an event for actors and agents.

“About six years ago, I had a student actor who wasfantastically talented and wanted to go to the next level,”she said. “He went to a professional scouting eventwhere they have managers and agents from L.A., NewYork, Dallas and Miami. While he was there he metChambers. Later, when the student went to L.A., he

used Chambers as his coach. On a visit home, he ravedabout how wonderful Chambers was.”

“I did a little research to check him out and soonrealized that the reason his name sounded so familiarwas because I had been using his books in my class-room for several years.”

Among Stevens coaching clients are Jae Head, whoplayed S.J. in “The Blind Side,” Kiernan Shipka, whoplays Sally Draper on “Mad Men” and Riley Griffiths,who plays Charles Kaznyk in “Super 8.”

“Chambers is the one who prepared Riley for hisaudition for J.J. Abrams on ‘Super 8,’” Young said.

“Another one of his long-time clients, Bridger Zadina,will be in ‘Iron Man 3’ this spring.”

Breaking into show business can be hard, but itnever hurts to make a contact or two. Stevens knowshow the business works.

“Last time I was in Beaumont, I got a kid an audi-tion for a Broadway show — so no telling what will hap-pen.”

For more information or to book a spot, visit theOutside the Box Facebook page.

For more information on Chambers Stevens, visitwww.chambersstevens.com.


Story byAndy

Coughlan

Hollywood acting coach Chambers Stevens to conduct Beaumont children’s workshops

CHAMBERS STEVENS Courtesy photo


LAMAR UNIVERSITY’S DISHMAN ART Museum will pres-ent “Matthew Neil Gehring: Brilliant Corners,” begin-ning April 2.

Taking inspiration from a combination of HighModernism and the jazz sounds of Thelonious Monk,Gehring, a New York painter, brilliantly combinesminimalist austerity with expressionist color andtechnique, a release states. His works are a lovelycombination of planar investigation and the relation-ships between music, literature, mathematics and art.

Gehring earned his bachelor’s degree at theUniversity of Southern Indiana and his MFA at theUniversity of Delaware.

He relocated to Northern California in 2001 aftercompletion of his degrees where he lived for twoyears, making and exhibiting artwork while teachingsculpture at Humboldt State University. In 2003, heaccepted a full-time faculty position in the art depart-ment at Syracuse University in Syracuse, NY, wherehe lived and worked for the next four years.

In 2007, he relocated, to Brooklyn, NY, where hehas been for the last six years, maintaining an activestudio practice and exhibition schedule. He has exhib-ited in numerous group exhibitions and 7 solo exhibi-tions, including an upcoming solo show of recentpainting and sculpture at the Dishman Art Museum atLamar University in Beaumont.

His work has been featured in Art Journal andArt Review, and reviewed in ArtWeek. He is currentlythe head of the art department at SUNY Suffolk andthe director of the Flecker Gallery at the same institu-tion.

This is Gehring’s first solo museum exhibition,and the Dishman Art Museum is thrilled to partnerwith him in this endeavor. The artist will give a talkabout his work on April 5, at 6 p.m., as part of theopening reception festivities.

An artist talk and light refreshments will be

served at the opening reception from 6 -9 p.m. April5. The exhibition will run through May 2. Admissionto the reception and the exhibition is free.

The Dishman Art Museum is open from 8 a.m. to

5 p.m., Monday through Friday, and is located at1030 East Lavaca in Beaumont.

Free museum-dedicated parking is available infront of the Dishman during museum hours.

Dishman to host ‘Brilliant Corners’

“The Big Read,” an annual event sponsored bythe National Endowment for the Arts, will becommemorated with a series of free eventsaround Southeast Texas in April and May.

HISTORY AND CULTURES OF NEW MEXICAN AMERICANS AND TEXAS AMERICANSApril 4, 7 p.m., in Gray Library on the LamarUniversity campus in Beaumont.

Jim Sanderson, chair of English and ModernLanguages at Lamar University, will discuss thehistorical and geographical backgrounds ofMexico, New Mexico and Texas. His lecture willfocus on the traditions and cultures of threegroups — Native Americans, Anglos andHispanics — and the conflicts between them.

FILM SCREENING: BLESS ME, ULTIMA(2013), PG-13April 18, 6:30 p.m., in the Lutcher Theater, 707 Main Avenue in Orange.

Based on the novel of the same title by

Rudolfo Anaya, this film is set in New Mexicoduring World War II. The story is centered onthe relationship between a 10-year old boy andan elderly medicine woman who helps him con-tend with the battle between good and evil thatrages in his village.

ULTIMA: A HEALER FOR OUR TIMESA presentation by Denise ChávezApril 25 at 6:30 p.m., in the Lutcher Theater.A reception and book signing at Stark Museumof Art will follow the presentation

Award-winning novelist, playwright, teacherand performer Denise Chávez will talk aboutRudolfo Anaya’s novel “Bless Me, Ultima” andthe relevance of its message in the modernworld.

Chávez is one of the leading authors docu-menting the unique culture of the Mexican-American border. Like Rudolfo Anaya, she drawson the traditions of storytelling and folk dramasin the Hispanic Southwest. For many years, shehas taught at the department of English at New

Mexico State University in Las Cruces, NM. Today, Chávez is the director of The Border

Book Festival, a major national and regionalbook festival based at Casa Camino Real, a multi-cultural bookstore, art gallery and resource cen-ter in Las Cruces.

FIESTA FAMILY DAYMay 4, 9 a.m.-3 p.m., in the Stark Museum ofArt.

Enjoy fun art activities for all ages, a scav-enger hunt, refreshments and more.

BOOK DISCUSSION OF BLESS ME,ULTIMA: IN THE MUSEUM SETTINGMay 18, 2 p.m., in the Stark Museum of Art.

Discuss Rudolfo Anaya’s novel while lookingat the paintings featuring New Mexico bySouthwestern artists in the special exhibition“Wild Beauty: The New Mexico Setting.”

Stark Museum chief educator Elena Ivanovawill lead the discussion. The event is an obser-vance of International Museum Day.

‘Big Read’ events to celebrate ‘Bless Me, Ultima’

UNTITLED by Matthew Neil Gehring will be on display at the Dishman Art Museum as part of the exhibition “Brilliant Corners.”

The BEAUMONT ART LEAGUE will host theNECHES RIVER FESTIVAL EXHIBITION, April 3-27. A reception is scheduled for 2 p.m. to 4 p.m., April21.

The Beaumont Art League is located at 2675 GulfSt.

For information, visit www.beaumontart league.org. ______________

The MENIL COLLECTION will host FORRESTBESS: SEEING THINGS INVISIBLE. April-19 toAug. 18.

“Self-described ‘visionary’ artist Forrest Bess(1911–77) is a unique figure in the history of Americanart,” a museum release states. “For most of his career,Bess lived an isolated existence in a fishing camp out-side of Bay City, eking out a meager living by selling baitand fishing. By night and during the off-season, howev-er, he read, wrote, and painted prolifically, creating anextraordinary body of mostly small-scale canvases richwith enigmatic symbolism. Despite his isolation, Besswas known to a number of other artists, and in 1949, hemet the prominent artist and dealer Betty Parsons.Between 1949 and 1967, Parsons organized six soloexhibitions of his work at her gallery in New York.

“Bess taught himself to paint by copying the still-lives and landscapes of artists he admired, such asVincent van Gogh and Albert Pinkham Ryder.

Beginning in early childhood, Bess experiencedintense hallucinations that both frightened and intriguedhim; in 1946, he began to incorporate images from thesevisions into his paintings. After discovering Carl Jung’s

theory of the collective unconscious, Bess began tounderstand painting not as an end in itself, but rather asa means to an end. By meticulously recording andstudying the dream symbols captured in his artwork,Bess hoped to uncover their universal meaning.

“To aid in his search, Bess looked to a variety offields — medicine, psychology, anthropology,philosophy — combing their literature for clues. Heeventually formulated a theory, which he referred to ashis ‘thesis,’ that the unification of male and female withinone’s body could produce immortality.

“Forrest Bess: Seeing Things Invisible will presenta selection of approximately 40 paintings, along withrare works on paper and selected letters by this impor-tant but under-recognized artist.”

The Menil Collection is located at 1515 Sul Ross inHouston.

For information, visit www.menil.org.______________

The ART MUSEUM OF SOUTHEAST TEXASwill exhibit a pair of shows in April. SALLYCHANDLER: THE LOST WORLD, and DAVIDEVERETT: THE TIES THAT BIND will open with a

free reception April 20. The exhibitions will be on dis-play through June 30.

“Sally Chandler: The Lost World” explores a timewith 18th-19th century French sensibilities: horse drawncarriages, decorated walls and sumptuous colors.Chandler’s work has a gestural quality and playfulnessemphasized by her delicate colored palette. The looseapplication of paint and palette are juxtaposed with thecontent of Chandler’s work. She illustrates a world thatshe believes to have been lost; the slower pace of thepast, the style and the ornaments, as well as the animalsthat have since disappeared.

“David Everett: The Ties That Bind” depicts thefamiliar creatures that inhabit the Texas landscape insculpture, drawing and woodcuts. The rich hues used inhis drawings and sculpture emphasize a playfulness andquirkiness. Each sculpture begins with a sketch andlaminated hardwood as the material. Using a traditionalmallet and wood gouges, Everett removes material slow-ly revealing the rough forms of animals. As the processprogresses, he draws directly on the wood to assist invisualizing the form he wants to achieve. Once the carv-ing is complete, he paints the wood forms with oils withhis unmistakable palette of vibrant hues.

AMSET is located at 500 Main St. in downtownBeaumont.

For information, visit www.amset.org


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 throughour web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs.

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BEAUMONT FRIED CHICKENCorner of 7th and Calder

Different delicious Punjabi dish each week

409-813-1200Forrest Bess, UNTITLED, 1947. Oil on canvas. The Menil Collection,Houston, gift of the artist. Photo: Paul Hester

The Moment We've been Waiting For

To see you walk through my door send chills down my spineWatching you undress makes my lotus flower throbKnowing all of that “love” is mine blows the hell out of my mind.You’re teasing me, taking your time because you know I'm ready,Ready to be loved through my body when we intertwineI can’t take it anymore so I jump on your chocolate “stick” and let it fillMe all up like a steak lunch, up to the middle of my stomach.I'm about to “explode” OMG, but I turn my headTo see another set of eyes lusting to be an addition to this love partyThose curves swaying with every step closer like a ribbon in the skyAs we switch to make room for you to enter inside you drop down to your knees ready to pleaseFeeling your tongue swish back and forth OMG!, I almost diedI want you to more than the first time but patience is a virtue we've all come to learn. He flips me over on my back as you slide forward. As we transition I wonder am I dreaming, this can’t be real.All of us synchronize like we were made for each otherNo selfishness just love making as three becomes one.

Myoshi Price


SSuubbmmiissssiioonn GGuuiiddeelliinneess aanndd DDiissccllaaiimmeerrISSUE solicits and publishes the work of local

authors. Poetry, short fiction, scholarly works and opin-ion pieces may be submitted for review. All works mustbe typed or submitted on a disk (using approved wordprocessing software), or may be sent to TASI by e-mail.All works are subject for review by our editor, and maybe rejected or edited on the basis of grammar, spellingor content.

The opinions expressed in “Thoughtcrime” do notnecessarily reflect the opinions of TASI, its Board ofDirectors, ISSUE’s editorial staff, or donors to TASI.

Send typed works to: IISSSSUUEE

772200 FFrraannkklliinn,, BBeeaauummoonntt,, TTXX 7777770011oorr ee--mmaaiill::

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Authors must submit a daytime telephone numberalong with all submissions. Pen names are acceptable,but authors must supply real names for verification. Allsubmitted works become property of TASI, and whetherrejected or accepted, are not returned to the author.ISSUE does not notify of rejection by mail or telephone.

Thoughtcrime

Vanity Revisited

A moment briefly conqueredIn the mind is but a threadWhich tends to wind aboutA fleshy, spinning spool andAlong a curving space fromWithered hands to milky face.

Like the acquiescenceOf a sigh, that in its timeWould choose to lie withinThe womb of larger breaths,Until a catalyst should findThe catalexis to unwind

A fleshy, spinning spool ofAge, en masse, a knottedMat of leaves of grass, untilThe waxing hubris lightsThe denouemential blaze, andNothing marks the moment razed.

Chance Henson

De-stress

The music blasts loud.Paint hits the canvas, I laughLike a manic.

Andy Coughlan

Alternative Showa first-come, first-served, free-for-all art exhibition

Look for entry details in the May ISSUE


Mission StatementFounded in 1983, The Art Studio, Inc. is

devoted to: providing opportunities for interac-tion between the public and the Southeast Texascommunity of artists; furnishing affordable stu-dio space to originating artists of every medium;promoting cultural growth and diversity of all artforms in Southeast Texas; and providing art edu-cational 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 thegeneral public and the community of artists and(2) to offer sustained support for the artist byoperating a non-profit cooperative to providestudio space and exhibition space to workingartists and crafts people, and to provide an areafor group work sessions for those artists andcrafts people to jointly offer their labor, ideas,and enthusiasm to each other.

GOALS

1. To present public exhibitions2. To provide educational opportunities3. To provide accessible equipment

for artists4. To provide peer feedback through associa-

tion with other artists and crafts people

OBJECTIVES

1. To present 10 art exhibitions per year2. To maintain equipment for artists in a

safe working environment3. To provide better access to artists for the

public4. To offer regularly scheduled adult and

children’s classes5. To develop and maintain public activities

with all sectors of the community6. To develop and maintain equipment to aid

artists in their work7. To provide a display retail outlet for artists8. To expand programming and activities with

increased facility space

Pablo Picasso, MOTHER WITH DEAD CHILD II, POSTSCRIPT TO GUERNICA, Paris, September 26 (?), 1937, oil on canvas, Museo NacionalCentro de Arte Reina Sofía, Madrid. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

exhibition at MFAH features studies for this monumentalpainting, as well as a number of works painted before“Guernica” was conceived. In particular, the image of a moth-er crying out in despair over the dead child appears in earlierworks, such as a mythological scene from 1934, as well as inthe works painted as a postscript to “Guernica.” Similarly, thebull, the horse and the lamp seem to be recurrent themes inPicasso’s work around the same time.

Picasso turned to the powerful iconography of“Guernica” once again to express the sense of devastation,anguish and rage over the mass murder and genocide perpe-trated by the Nazis during World War II. “The CharnelHouse” (1945) is a large-scale painting featuring a blood-cur-dling scene of a family murdered in their home. As our eyesfollow the intricate pattern of black, gray and white shapes,we start to discern the mangled bodies and realize thetragedy that has just happened. Maybe the most poignantimage is that of the mother and child, both dead. She is stillcovering the baby with her body, and the blood is pouring outof her wounded breast into his mouth, as a gruesome twist onthe universal symbol of motherhood.

As the time went on, the aging artist started thinking ofhis legacy, which inevitably led him to comparing himself toartists of the past, in particular, to such colossal figures inSpanish art as Goya and Velázquez. “Las Meninas, afterVelázquez” (1957) is a playful, yet thoughtful, “conversation”between Picasso and his famous predecessor. Picasso’s trib-ute is slightly smaller in size (76 x 100 in.) than Velázquez’soriginal (125.2 x 108.7 in.), however, there is nothing humbleor obsequious in the manner with which Picasso presents hisinterpretation of the epic painting.

While preserving the composition of Velázquez’s work,Picasso completely reconfigures the characters according tothe Cubist vocabulary. They become geometricized, collage-like cutouts; some look like sinister harpies, some appear tobe amiable. The friendliest of them all is Picasso’s dog, aDachsund by the name of Lump, that replaced the well-

groomed Spanish mastiff in the original painting. Unlike typi-cal Cubist compositions, this painting has depth which isimplied by the arrangement of gradually diminishing shapeswith a silhouette of a man standing in a white doorway as avanishing point.

In Picasso’s version of the painting, it is Velázquez, notInfanta Margaret Theresa, that is the major figure. Standingby the easel with the tools of his trade, the artist looks like agiant in the company of the Pygmies. He also seems too bigfor this picture — his head is almost pushing through theupper edge of the canvas. Picasso’s statement about the placeof the artist in history is unmistakable and refers as much tohimself as to Velázquez.

The latest works in the exhibition attest to Picasso’s undi-minished fascination with black and white painting. Most ofthem are portraits of the last woman in his life, his secondwife Jacqueline. Picasso’s style oscillates between straightfor-ward Cubism, exemplified in “Seated Woman (Jacqueline )”(1962) and a more representational manner which incorpo-rates elements of Cubism, as demonstrated in “The Kiss”(1969). These paintings, which celebrate love and art, serve apowerful finale to Picasso’s long life.

The exhibition “Picasso Black and White” is on viewthrough May 27. This is the first major exhibition to focus onthe artist’s lifelong exploration of a black and white palette.

The exhibition has been organized by the Solomon R.Guggenheim Foundation, New York, in the Federal Councilon the Arts and the Humanities, and is sponsored by Bank ofAmerica.

For more information, visit www.mfah.org.

1 “Guernica” (1937) is in the collection of the MuseoNacional Centro de Arte Reina Sofía, Madrid.2 The”Guernica” tapestry was displayed at the UN Buildingfrom 1985 to 2009; it was moved to London in advance ofextensive renovations at UN Headquarters; as of 2012, it ison temporary loan to the San Antonio Museum of Art inSan Antonio.

PICASSO from page 9


WE WANT YOU FOR BAND NITE

Hear original music by local musicians at

$5 admission All ages welcome • 21 and up BYOB and have your ID.

For upcoming gigs, visit The Studio’s facebook page

VOLUNTEERS NEEDEDThe Art Studio is looking for energetic people

who have a few hours a month to help us in the following areas:

OFFICE SUPPORTBUILDINGS & GROUNDS

SPECIAL EVENTS • MAILOUTSIf you are interested in one or more of these opportunities or if you

know of anyone who might be, give us a call at 409-838-5393

requirement would have their 501(c)(3) put on hold until such information isdelivered. This is a humongus, 30-page, detailed audit that needs to be in thehands of experts. We are lucky to have such a person in Lauren Brooks,CPA. She pulled us from the inferno of the tax office and saved our NPO byfinishing the form that will reinstate The Studio’s status. With Lauren’s help,we will never have to deal with this issue again.

Lastly, I want you to know that The Studio will always be here. Thirtyyears of the toughest political and economic periods any group has everendured, assures we are right for this region and serve a need that tran-scends socio-economic conditions. We are a community of diversity and Ithink The Studio reflects that diversity. We survived all misfortunes and arecoming back stronger. So have all the other organizations of the visual arts.

Here’s the difference. A ridiculously small percentage of our income isthrough grants, and the percentage of our budget that is covered by a publicor private entity on an annual basis is ZERO. We support The Studio throughearned income, concessions, door tickets, clay sales, studio space rental,event rentals and a percentage of class fees.

The Art Studio is the only visual arts organization that can functionautonomous from any continuous or contracted outside assistance. Everyarts organization has its unique purpose and each has merits the othersdon’t, but The Art Studio stands alone.

Your generous memberships and donations go to expansion projects andadditional activities that can’t be covered by our budget. We are locally drivento support visual and performing arts, through presentation of the young peo-ple with the will to add to the cultural diversity of an amazingly diverse com-munity. We want to spend the next 30 years seeing what comes next.

P.S. Save the date of November 16, 2013 for The Studio’s anniversarygala party.

VIEW from page 3

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VVoolluunntteeeerrssThese people are the life blood of our organization.WE COULDN’T DO ITWITHOUT YOU!To volunteer, drop byThe Art Studio, Inc., or call 409-838-5393.

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