Piney Woods Live Nov 2011

November 2011Priceless - Take One

Texas Windmill by Sonya StephensTexas Windmill by Sonya Stephens

THE LONGVIEW

BALLET THEATRE

Tyler Film Festival’s

“SHOW US YOUR SHORTS”

Artist

DANIEL KANU

THE HENDERSON

CIVIC THEATRE

THE TYLER

MULTI-CULTURAL ARTS

FESTIVAL

In the Home of Artist

KAREN DEAN

Artist

SHIRLEY HUGHES

BLACKMAN

The Filming Of

THE MERCHANT

HIGH SCHOOL MUSICALS

Art... Music of the Soul

The Edom Art Festival is a truly remarkable event. For one weekend in late October, this little town of fewer than 400 residents transforms itself into an “arts district” that would be worthy of a large city. The resident artists and galleries are joined by 60 or so top state and regional artists who set up temporary “shops” to display and sell their work. When we arrived at the most recent event on Saturday morning, parking places were hard to come by, and the crowds in front of the vendor booths were, at times, shoulder to shoulder. It is generally accepted that art and art tourism generate a net positive economic im-pact on their communities, but seeing this relatively large event in such a small commu-nity really brings the idea home. In fact, as a 2007 study by Americans for the Arts dem-onstrated, the economic effect of art and cultural activities is enormous. The study, the most comprehensive survey of the nonprofi t arts and culture industry ever conducted, showed that nationally the nonprofi t arts and culture industry generates $166.2 billion in economic activity every year. The researchers conclude that the “industry is an economic driver in communities – a growth industry that supports jobs, generates government revenue, and is the cornerstone of tourism.” Wait a minute. Art generates government revenue? It’s true. And more to the point, the revenue generated exceeds by many times the amounts that governments (local, state, and national) spend supporting the arts. AFTA estimated that $30 billion in revenue fl ows to government annually, and government collectively spends less than $4 billion annually to support arts and culture, meaning that they realize a 7:1 return on invest-ment! Why then, a reasonable person might ask, are politicians so ready to cut public fund-ing for the arts? Over the past two years, a number of state legislatures have moved to reduce, de-fund, or dismantle state supported cultural agencies. Curiously, this movement is being lead primarily by the party that prides itself in applying “business principles” to gover-ment programs. What business principle is it, I wonder, that would turn down $7 in return for every $1 invested? Of course, one might make the argument that some economic activity, and therefore some government revenue, would still exist even if the government funding were with-drawn entirely. This argument would rest on the assumption that the arts organizations involved are not going to disappear because government does not fund them. But is this assumption valid? Consider the case of Kansas. Nowhere has the willful destruction of publicly fi nanced art programs been carried out with greater effect than in the state of Kansas. There Gov. Sam Brownback issued an executive order in February to abolish the Kansas Arts Commission. The governor cited savings of $589,000, in the face of a nearly $500 million budget shortfall, as the reason for his action. He proposed to replace the state agency with a privately funded nonprofi t organization. The legislature wisely overrode his order, but then in March Brownback suc-cessfully vetoed the appropriation for the agency leaving it to exist in name only without budget or staff. Critics of the Governor pointed out that more than the state’s contribution was at risk. In previous years, the KAC had raised an additional $1.2 million in grants from out-of-state organizations, primarily the National Endowment for the Arts and the Mid-Amer-ica Arts Alliance. The NEA quickly asserted that the lack of state funds would make KAC ineligible for NEA matching grants, and the MAAA followed suit. Note that this outside money did not typically go to fi nance the operations of KAC but was distributed directly to organizations in communities throughout the state. As we go to press, the situation in Kansas is in disarray, but the Kansas Art Commis-sion appears to be dead. The KAC staff of fi ve has been terminated and the commission reports that it is down to its last $5,000 with which it can cover expenses. The new Kansas Art Foundation, Gov. Brownback’s baby, is just getting organized. How the now toothless state agency is to interact with the private fund raising foundation is yet to be deter-mined. It apparently will not be satisfactory to the NEA, which has said, in effect, “apply for funds next year, after you get organized.” In a report earlier this year, the President’s Commission on Arts and the Humanities said, “Monthly art gallery walks and open houses are one of many cultural and heritage tourism strategies that bring towns and cities to life, revitalizing old business districts, creating new markets for cultural products and offering engaging experiences for visi-tors.” Edom, along with many other communities in the Piney Woods, know this to be true. But we must remember that much of it may exist on the whim of political winds.

Gary Krell,Co-Publisher

PineyWoodsLive.comPineyWoodsLive.comPage 02 - November 2011Page 02 - November 2011

publisher’sNOTE

TICKETSNOW ONSALE!

SPECIAL THANKS TO THE CITY OF

LONGVIEW & GREGG COUNTY!

$12 in Advance • $15 at the Door

NOVEMBER 10, 11 & 12 AT 7PMNOVEMBER 12 & 13 AT 2PM

Longview Community Center500 E. Whaley St. • Longview, TX 75601

For more information, call 903-236-7535

or visit our website at

www.ArtsviewChildrensTheatre.com

Publishers / EditorsTracy Magness Krell & Gary Krell

Advertising DirectorSuzanne WarrenPublic Relations

Randi GarciaContributing Writers

Amanda Retallack, Jan Statman, LaDawn Fletcher,Jim & Chelsea King, Randy Brown, Karen Dean,

Lisa Hawkins, Larry Tucker, Kari KramerGraphic Artists

Tracy Krell, Joni Guess, Mary HernandezSales:

Randi Garcia, Donna Vincent, April Harlow, Shannon Dykes,

Kathy Hollan, Cookie Bias, Suzanne Warren

contents

PineyWoodsLive.comPineyWoodsLive.com November 2011 - Page 03November 2011 - Page 03

Art is defi ned as a product

of deliberately arranging elements

in a way that appeals to the

senses or emotions.

Piney Woods Live

is an expression

of the community it serves.

Longview Ballet Theatre: On pointe for 40th year ...................4Kellie Garretson ......................................................................5Tyler Film Festival’s “Show Us Your Shorts” .............................6This Present Path – Claudia Lowery’s solo exhibition ..............7Quitman Community Theatre presents The Rainmaker ...........7Daniel Kanu ............................................................................9The Henderson Civic Theatre ................................................10Home Grown ........................................................................11Tyler Civic Chorale presents Musica Judaica .........................11Tyler Multi-Cultural Arts Fest ................................................12Beyond Mere Thoughts ..........................................................13In the home of artist Karen Dean ..........................................14Mineola League of the Arts ...................................................15Bongo & The Point .................................................................15The 2011 Winnsboro Fine Art Market ...................................15Shirley Hughes Blackman – WE get to see the Wizard! .........16Palestine Main Street Art Tracks ............................................17Cheryl McClure at Downtown Coffee Lounge in Tyler ..........17Local fi lm makers producing The Merchant ..........................18Jan Statman’s Artist’s World ...................................................19High School Musicals ............................................................20TSF Foundation to sponsor special performance of The Book of Luke ..............................................................21Art in the Home: Dr. & Mrs. Warren Hunt ...........................22The “B” Side of Music ...........................................................23

About the cover:

How to reach us:Call the American Classifi eds’ Longview Offi ce at 903-758-6900 or 800-333-3082.

[email protected]

Fax 903-758-8181

100 W. Hawkins Pkwy., Suite C., Longview, Texas 75605

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“If you are lucky in life, your career is developed from something you love to do. That is certainly true in my life. Creating stained glass art panels and objects is not only my passion, it is my livelihood and my joy! My introduction to stained glass art was a course I took in Dallas during my college years. It was a traditional six week course of very basic craft instruction. Never did I dream that this art class would grow into a wonderful, later-in-life career, but that is exactly what happened. In 1996, after spending twenty years creating stained glass projects as a hobbyist, I was able to open my own studio, Glass Garden Inc. Originally located in downtown Longview,

the studio has recently relocated to Oak Forest Shopping Center at Loop 281 and Bill Owens Parkway. The glass studio is equipped for commissioned artwork, glass decor, fused glass jewelry, classes, and artisan supplies. Commissioned panels are designed to meet the needs and preferences of my clients. The cover photo is an example of custom work, the result of a custom-er saying, “I love Texas windmills.” After listening to what is important to my clients, I design the art, draw the pattern, select the glasses, cut, solder and create glass art they can proudly display in their home or business. My designs must not only be artistic, but they must be designed and con-structed for long-term stability. Art glass itself is an inspirational medium. As glass is created in its molten form, the colors are derived by the minerals of this earth. Glass has vitality, hues, movements and textures that are enhanced by lighting. As an artist, glass is never limiting, and its beauty always infl uences my fi nished project. Hopefully my numerous commissioned pieces that reside in the churches, businesses and homes of East Texas will continue to bring pleasure to those that view them for decades. That is my intent, my goal and the reason I smile every day!”

About the cover artist, Sonya Stephens

dance


Longview Ballet Theatre: On pointe for 40th year by Amanda Retallack

Tiny ballerinas walk purposefully toward the mirror-lined wall at the Studio of Creative Arts in Longview. They’re wearing the classic black leotard, pink tights and pointe shoes that make their characteristic hol-low thump on the hard, wood-covered fl oor. They line up, bod-ies at attention and expressions stern, as Pat George Mitchell — known to students at the studio as “Miss Mitch-ell” — outlines their tasks during each scene of the upcoming produc-tion of Peter Pan. Pat, a Longview native, has owned and operated the Studio of Creative Arts located at 1116 North Third St. since 1972, where a twist of fate and a little persistence locked her into pursuing a dream she had since she was old enough to pull on her fi rst pink slip-pers. She has 30 students from all around East Texas, from 5-year-olds to adults. Students are only accepted through auditions. Pat has had a hand in each performance, each dance, each combination. Her students watch her during the Peter Pan rehearsal. Pat’s slippered feet fl y as she throws out strings of ballet terms — including fi fth position, tombé, pas de bourré, arabesque, and pirouette. The girls move behind in unison, gazes fi xed on Mitchell’s feet to pick up the steps. Then they move to the corner, and each goes through the rou-tine individually, the others watching Pat, their faces inscrutable. Ballet is truly an art that stands on ceremony, hierarchy and, above all, discipline. Pat knows all about the joys, disappoint-ments and discipline of ballet. Discipline is a word that relates all too well to her childhood. “My parents were ex-tremely strict, and they knew how to use the word ‘no.’ I never took anything for granted,” Pat said. “They are why I’m so disciplined today – in life and in my career. You have to work for things and do things the right way in order to see progress.” “I’ve been dancing most of my life — I was an

only child, and when I was two years old, my parents knew how much I loved music, loved to dance, so they put me in the local ballet class,” she said. “From then on, I was in and out of ballet all through my child-hood.” And her talent was unmatched. In each class, she found her-self to be the youngest aspiring dancer. “I was a 10 year old in 15-year-old classes,” she said. “I loved it! I had a lot of ability, and it showed in my perfor-mances.” She also found that ballet was a true escape for her. She wasn’t one

of the “popular kids” at school; she was often made fun of for her strong facial features thanks to her genes — her mother, Sicilian, her father, Lebanese. “My nose … they made fun of this nose,” she said. “So, ballet offered a place for me to be silent, carefree. It’s still a therapy all these years later.” Pat danced her way through life, spinning from one class to another, enjoying time as a Kilgore Rangerette under the direction of Gussie Nell Da-vis, even moving on to become a dancer at Texas Christian University’s lauded ballet department (at the time, TCU had one of the only ballet depart-ments in the United States.)

“I had phenomenal teachers; I can’t say enough about them,” she said. It’s possible that her affection toward her instructors led her toward their same path. In 1969, she began teaching dance classes at the very studio where she teaches today. At the time, it was owned by Marylyn and Dudley Remus. “My dad desperately wanted to get me a job at a bank,” she recalled. “He was convinced

that the arts would get me nowhere. But, I had a passion for it — I taught jazz, modern, drill team … you name it, I danced it. Dancing was my life; why not make it my career?”

November 18 - December 30Polar Express Season

Nov. 18th enjoy live entertainment and the first ever Main Street ArtWalk

while admiring and voting on your favorite window decor.

November 25 - December 17Friday - Sunday Weekly

Santa’s Workshop(Lee Loveless Photography, 101 W. Oak)

Bring the whole family to see this wondrous place. Have your child’s

picture taken with Santa.

November 27Small Business SaturdaySpecials on Main Street

December 1 & December 15Main Street Disctrict

Main Street & MistletoeShopping Nights

Live music, carriage rides, shopping specials, wrapping services, great

family fun!

December 3Breakfast with Santa(Palestine Civic Center)

Holiday Lighted ParadeTree Lighting Ceremony

(Main Street District)The annual Breakfast with Santa kicks

off a full day of holiday cheer.


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The Studio of Creative Arts, billed as a one of the top dance studios in the area, became Pat’s dream job, and the Longview Ballet Theatre grew out of her drive and effort. Two years after she started instructing, the owners of the studio were looking to sell. Pat was looking to buy. For $10,000, it was hers. “I started with 175 students, and by the end of the year I lost 100,” she said. “I was stricter than the own-ers before me. My students were to wear their hair up, bring the correct clothing— they couldn’t just do anything they wanted.” With discipline comes progress. A couple of years later, Pat decided it was time to start her own ballet company. Today, LBT remains a program dedicated to enhancing the community by combining beauty, skill and vision to create innova-tive and inspiring performances for local audiences. “We are celebrating our 40th year this year,” Pat said. “I have done this amazing thing for 40 years. I’ve choreographed more than 130 ballets, designed thousands of costumes, hosted countless fundraisers ... as matter of fact, when the company fi rst started, we held a bake sale and made $2,000. I put a produc-tion on for $2,000!” And now she’s working on a $194,000 production of the beloved Peter Pan. The ballet company consists of a senior company and a junior company. They will be teamed with 12 professional dancers fl ying in from New York to appear in this remarkable produc-tion. Toni Erskine, executive director of LBT, lauds this year’s cast of 40 who will be portraying every char-acter, from pirates to mermaids to that huge, hungry

Kellie Garretson has been making art since Kin-dergarten. She has always loved creating things out of everything she can get her hands on - if it’s not pretty, she will make it pretty. Kellie’s fi rst large art piece was born in the bathroom of All Saints Episcopal Church where she attended school. Kellie asked her art teacher to use the restroom. She managed to sneak out of her second grade art class with a jar of red tempura paint. Kellie said she remem-bered how she enjoyed painting that dull ugly wall with the bright red tempura paint, applying it to the wall in large swirling motions and reaching as high as she could to cover the wall. Her art teacher started wondering what was taking her so long so she decided to check the bathroom. That is where she found Kellie coming out of the bathroom looking proud of herself with red paint all over her. Her teacher, who was also the principal, kept pushing her to the back of the line as she waited for her mother to pick her up from school. Kellie was in a bit of trouble. When her mother found out, she said, “You better do a little extra praying at bedtime for painting the bathroom wall red.” Kellie still enjoys doing large murals. She did the “Lit-tle Bobcats” mural in Hallsville and does them in homes and businesses. Kellie works in many mediums such as acrylics, Prismacolors, fl orals, mosaics and glass. She refi nishes furniture, restores antiques, does window dis-plays, and backdrop scenes for photo shoots. She also custom decorates homes or businesses. She can even do hand painted stepping-stones for garden pathways. Today she works as a fl orist, managing Leilawood Flowers located in downtown Longview. She began working as a fl lower delivery person in 2007 and was

croc. There’s even a real dog that plays Nana, the Darling’s trusty pooch. “Peter Pan is going to be a magical production,” she said. “Joining our talent company will be 12 guest artists including two who played ‘Billy Elliot’ on Broadway and New York City Principal, Daniel Ulbricht, dancing the role of Peter Pan. There is just going to be so much talent, from our local dancers to our guests.” “Pat has done a remarkable job this year,” she added. When the curtain opens December 16, it will mark Pat’s 39th production, one that may be her favorite performance, she said with a wink. “I ask for 300% from my students in each per-formance,” Pat said. “But this one, this one will be extraordinary.” Until Peter Pan debuts at LeTourneau University’s Belcher Center, there’s still much work to be done. And that’s what drives Pat each day. “When the curtain comes up, these productions cease to be about the dancing … they’re about the feelings they evoke in our audience,” she said. “But before opening night, it’s not all tutus and pretty hair pieces; nothing is glamorous about ballet except our performance.” Daily, Pat instills energy, perseverance, commit-ment and self-discipline in her students — something she’s carried over from childhood. “This is my extended family, and it has been for 40 years,” she said. “Just like in any family, the mother instills values, and these are the values I want for my children.”

supposed to do this for only two weeks. She was quickly promoted to fl oral designer after the owner, who was overwhelmed with orders, let Kellie help with the arrangements. Observing Kellie’s natural knack for creating beautiful designs, the owner made her a full time designer. Customers were starting to call the owner praising her new designs. It was not long afterwards she was managing the shop. Leilawood Flowers is more than a Flower Shop for Kellie, her creative team and the owner David Hailey. They are also a venue for the ArtWalk Longview when the event takes place, and they hold meetings for Roxie’s Reading Group where writers get together once a month. Kellie displays her artwork year round in the fl ower shop showroom and has some of her artwork posted on her Facebook page. For commissioned work, you can call Kellie at 903-758-2711. Kellie and David usually are open for the Longview Art walk so stop by and see them at the December Art walk December 2nd in downtown Longview.

Kellie Garretson by Lisa Hawkins


fi lmTyler Film Festival’s “Show Us Your Shorts”by LaDawn Fletcher

Chris Abraham, Festival Director for Tyler Film Festival’s “Show us Your Shorts” began the opening gala with a promise: The festival would be even big-ger next year. After

the night’s offering, it’s hard to disagree with him. At the opening gala, housed in the beautifully restored Liberty Hall in the heart of downtown Tyler, arts supporters and fi lm enthusiasts waited with rapt attention for the opportunity to be the very fi rst to see the independently produced short-form comedic fi lms entered in the festival. That this festival looks and feels the way it does is the result of a tremendous amount of collaboration. The City of Tyler Main Street Department and the Downtown Tyler Arts Coalition worked with a small grant from the Texas Film Commission and corporate sponsors to bring it to life. Film Festivals aren’t new to Tyler. Stephen Self, who served as technical director for this festival and his wife, Donna Gatewood, started to produce the “No Name Film Festival” in 2004 which actively reached out to emergent fi lm-makers in a variety of genres. What began as a small, informal gathering of enthusiasts has

now grown into this larger, more sophisticated festival. Recommended Reading, a short fi lm by Justin Reese & Kenney Rigsby, took home a fi rst place Jury Prize and stole the audience’s heart. It is a sweet tale of love among a literary minded set of people. Second and third place Jury Prizes went to Patrick Perkins & Dylan Voisard’s Sharkhead Man: The Rebooting of Ale and The Kidnapping of Robert Rodriguez by Gabriel Carmona. Film is a growing part of Texas business, and “Show us Your Shorts” also presented that part of fi lmmak-ing. This fi lm festival was for Texans and by Texans by design. All submissions were made in Texas. Breakout sessions about pitching fi lms were hosted by Hollywood producer, Leo Wong. A special session called “Zombie Makeup 101” was taught by Terror Nights Haunted House. Stephen Self was as enthusias-tic about the sessions as he was the fi lms themselves. “Talent goes where the action is,” he said. Self believes that there is going to be explosive growth in independent fi lm making brought about largely by technology, a concept that was delightfully showcased during the opening night gala. Three new media shorts were debuted and received with excite-ment. All were fi lmed with camera phones. “We’re going to see a lot of turkey fi lms come out of that,” says Self with a laugh, but to combat that, the “Show us Your Shorts” festival was juried. Technology makes it pos-sible for almost anyone to shoot in high defi nition at no

additional cost. With new distribution models, many believe inde-pendent fi lms will be a viable business in the future. Self said, “If the project is quality, you potentially have a world-wide audience. We know that a lot of people will be watching our project on their cell phone or their computer.” Similarities between the gaming industry and the fi lm making industry are obvious to Self. For Tyler in particular, he sees great potential in places like Tyler Junior College which has an “absolutely superb, 3-D animation program.” Downtown Tyler is carving out a niche as an arts cen-ter. Beverly Abell, the director of the City of Tyler Main Street Department and head of all things art-related in downtown Tyler, is enthusiastic about the festival. “We are excited about bringing an event like this to down-town,” says Abell. “It is a great complement to the many other things happening here.” Arts are a part of the economic development engine for Tyler, and both Self and Abell recognize that. “A lot of people are coming to Tyler from other areas,” says Self. “The arts are important for quality of life and one of many things that are important for growth.” Based on the enthusiasm that was generated in this year’s initial festival, it is almost certain that next year’s festival will, indeed, be even bigger.


newsThis Present Path - Claudia Lowery’s solo exhibition Quitman Community

Theatre presents The Rainmaker

Claudia Lowery began her artistic journey at the side of her mother, an artist and art teacher. Although Claudia dabbled in visual art most of her life, she always felt her gift was in writing. About six years ago after moving from the Dallas area, she began volunteering at the Michelson Museum of Art in Marshall and had a fortuitous meeting with artist Dennis O’Bryant who encouraged her to take a clay class taught by Erin Lambers. This eventually put Claudia on the path she now travels as an artist. For the past fi ve years, Claudia has taught middle school art in Marshall ISD while pursuing her own artistic path through clay sculpting, paint-ing, and photography. Construction on a new 900 sq. ft. art studio was recently completed, enabling her to have dedicated space and resources for not only herself but for others to share. “Art is personal, but it’s also community - a shared journey refl ect-ing the emotions and spirituality of an individual’s experiences. I was impacted by the fellowship of local artists encouraging me to go deeper, push myself beyond comfort, and experiment. The phrase ‘you can do anything you want’ often came up in clay class when questions arose about a technique or method. That freedom opened up everything for me as an artist. Life has taken me down many paths that I now feel free to express through my art.”

Claudia Lowery’s fi rst solo exhibition will be at the Marshall Visual Art Center at 208 E. Burleson, Novem-ber 1 – December 30 with a gallery reception Thurs-day, November 3 from 5:00 pm -7:00 pm.

The award-winning Quitman Community Theatre will present the romantic comedy, The Rainmaker. There is a paralyzing drought in the West! The Curry family are worried just as much about daughter Lizzie becoming an old maid as they are about their dying cattle. From out of nowhere appears a fl amboy-ant conman, Bill Starbuck---Rainmaker! He persuades the family to pay him for rain and convinces Lizzie that she is a woman with a very real beauty of her own. She believes it, just as her father believes Star-buck can actually bring rain. And rain does come, and so does love. Directed by Cora Beaty, The Rainmaker will be presented November 4,5,11,& 12 at 7:30pm and No-vember 6 and 13 at 2:00 pm at the Carroll Green Civic Center in Quitman. For more information, call 903-967-2164.

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artists


artistprofi les

Article submissions: Articles are accepted and reviewed by a panel. Photos may accompany articles. Space, relevance, writing and appro-priateness play a huge part in the decision making process. Individual artists are more likely to have fewer than 100 words plus a photo published. Deadlines are the 5th of the month prior to publication.

Linda Wiggins

Jack Williams

Anup Bhandari Larry Guest

Painting scenes from the Bible are especially a blessing for artist Linda Wiggins of Longview. Many churches in the East Texas area hold murals painted by Linda. In Ore City, a life-size mural of Christ on the Cross, as well as the baptism of Jesus can be seen. She just recently completed a series of murals for The First Presbyterian Church in downtown Longview. The murals invite you to step back in time and view the Garden of Eden, the manger scene, the lady at the well, the parting of the Red Sea, andMoses with the Ten Commandments to name a few. You can reach Linda at

903-431-3363.

Since fi nding his place within the United States’ folk music commu-nity as an exceptional performer and teacher, Jack Williams’ memorable, energetic solo concerts have been applauded from the Newport, Kerrville, Philadelphia, and SummerFolk festivals to all types of music halls across the U.S. and eight countries. His musical journey began at the age of four on the ukulele. He then quickly learned the piano and trumpet while absorbing big band jazz, pop, and classical music on his parents’ 78 rpm records along with raw folk and blues music in 1940s South Caro-lina. He discovered the guitar in 1958 and formed a decades-long series of bands. His solo music is infl uenced by a long early career in jazz, classical, folk, rock and roll, blues, and R&B. A professional touring artist and teacher for 53 years, Jack’s songs and stories display a clear sense of place, many of them grounded in - or inspired by - deep southern roots. Jack lives in West Fork, Arkansas.

Listen to his music at www.JackWilliamsMusic.com.

Looking at Anup’s acrylic abstract paintings, the viewer cannot help but imagine a story. The story he tells is in the language of color, shapes and tex-ture. Many call it abstract narrative art. His subject matter varies. Popular subjects include his Women series, Fish on Flag series, the Bicycle series and now the Map of Texas series. Unique choice of bright, mostly primary, colors, composition and abstract style make Anup’s works stand out. They catch your attention quickly and make your eyes ex-plore a little more until you begin to see the humor, satire, beauty, or personal message of peace. His combination of wit and whimsy is enough to make the viewer come back and take a second look and then see it differently every time.

903-746-0373

[email protected]

Larry Guest is an East Texas native who has returned to his roots after retiring from a career in Houston. He grew up in a family that was diligent about preserving family history through photogra-phy. Larry’s fi rst camera was a “Brownie” box type he used at various family events. Several upgrades later, he has now become profi cient at digital imag-ing. Since his early days taking photographs, Larry’s primary interests have been landscapes, places and things. He tries to capture quality images of unique situations involving those categories. His thoughtful pictures can be found at

Art Gallery 100, 100 West Tyler Street, downtown

Longview.


artDaniel Kanu by LaDawn Fletcher

Daniel Kanu is effusive. He is ath-letic. He is humble. He is also very, very talented. The Main Street Gallery in downtown Tyler recognized his talent when they admitted two of his paintings into a showing last year. Kanu was excited. At the show open-ing, he and a friend arrived about 30 minutes late and were pleasantly surprised to learn that both of his paintings had

already sold. “He is among our top selling artists,” says Beverly Abell, director of Main Street Gallery. “He is so young and talented that people immediately spotted that and wanted to have his work.” For Kanu, art is what he does. “I can’t not paint,” says Kanu. “I would do it if you didn’t pay me, because I have to,” he explains. But still the magnitude of actu-ally selling his work wasn’t lost on him. Since that time, he has contributed works to Art on the Square, and those pieces have also sold. His work is infl uenced by his experiences and, for a man in his twenties, he has had many. Kanu was born in Sierre Leone, the war-torn African country that few Ameri-cans would recognize were it not for its presence in the international section of the newspaper. He came to the United States after a two year stay in refugee quarters in Guinea. His parents were al-ready in Dallas, his mother working as a nurse and his father, a businessman. The family settled into the venerable Oak Cliff neighborhood and Kanu be-came hard to distinguish from his American peers. Art was not what was on his mind. If anything, it was soccer. He loved soccer and looked forward to playing in college. Deciding what to study in college was a little more muddled. He thought that he might pursue dentistry, which pleased both his parents, particularly his mom. A teacher at his high school planted another idea. “He pulled me aside, and he said, ‘I think you really have something here.’” The teacher and Dan-iel were both encouraged by Daniel’s fi rst public showing which was at the U.S. Capitol in Washing-ton, DC . Kanu represented the state of Texas in the Congressional Art Competition sponsored by the

Congressional Arts Caucus. The teacher suggested that he think seriously about majoring in art. Everyone else saw Kanu’s talent long before Kanu recognized it. Drawing was something he had always done. Even in Sierra Leone growing up with scarcity born of war, he would create. He drew; he made things out of whatever items he could fi nd. Back then, it was just something he did as a kid to pass the time, but he says that looking back, he sees it as an extension of the same thing he feels now—a necessity to put the beauty on the inside, onto something all can see. After meeting UT Tyler Soccer Coach, Kenny Jones, Kanu knew he found his place. “UT Tyler felt welcoming. Particularly the soccer program,” says Kanu. By the time Kanu found his way to the art department, he knew he was in the right place. His mentor and art professor, Alexis Serio, marvels at all the talents Kanu possesses. “It’s a different kind of challenge to be good at so many things,” she says without irony. “It can be hard to focus.” What has pleased her most is the growth she has seen. “The work he is doing now is some of his best work, and that is how it should be as you are putting together your senior show.”

Kanu is blessed to be adept at many different mediums. His senior show will be made up of wood and linoleum cut prints. He is enjoying his exploration of propor-tion, perspective and depth in prints. Even though it is not com-plete, the eye is drawn into the print hanging in the small space al-located to him in the spacious room of the art building on the UT Tyler campus. His eyes dance as he shares ways he’d like to expand on and

experiment with the prints. Kanu feels certain that his parents’ initial response to his change of plans mirrored those of immigrant parents everywhere. “They wanted me to do something medical where I could be assured of getting a job,” he says with an ever present smile. Like most parents, they also came around once they saw Kanu’s passion for what he was doing. “They are now my biggest support-ers,” he says. Next steps for Kanu are like the man himself: var-ied. He is applying to graduate schools where he expects

Self-Portrait

to earn a Master of Fine Arts. He’ll continue to grow as an artist, and he hopes to continue build-ing an audience that appreciates the journey he is taking. Count us in.

Mineola Music on the StreetsMineola Music on the Streets

No Amps PermittedNo Amps Permitted• Bring you instrument and chair, fi nd a group, form a • Bring you instrument and chair, fi nd a group, form a circle and start pickin’ and singin.circle and start pickin’ and singin.• Meet at the gazebo on Johnson St. and form groups or • Meet at the gazebo on Johnson St. and form groups or bring your group.bring your group.

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theatreThe Henderson Civic Theatreby Lisa Hawkins

The Henderson Theatre Group originated in 1985 when a group of people dreamed of bringing the Theatre Arts to Henderson, Texas. The fi rst organizers were Marga-ret Pirtle, designated President, Joanie Foote, Louise Cochran, Dan Trent, Eileen Brown, Roy Dalrymple, Carl Cobb, Margaret Lamar, Carolyn Palthe, John White, Glen Albers and Billie Manck. In 1986 they produced their fi rst play, I Dreamed of Oil, off a fl atbed trailer in Henderson City Park. The fact that they did not have a stage did not stop this group from living their dream. With the help of sponsors and many donations, the Henderson Theatre found a home, and the Henderson Civic Theatre was born. The building is at 122 East Main Street and has gone through extensive renovations. Standing three stories high, the theatre adds to the beauty of Henderson’s main street. The theatre was built in the late 1800’s as an Opera House until a fi re burned down the courthouse and en-veloped part of the building. However, the Opera House escaped destruction. On the third story where props and costumes are stored, remnants of the fi re can still be seen. The fi rst show the opera ever held was The Social Class in 1885, which had fi ve acts and nine scenes. A group of sixteen people participated in the initial group.

The building, which once housed dentists’ and lawyers’ offi ces reverted back to an opera house until it became the Henderson Civic Theatre. When the theatre fi rst opened its doors to the general public, the stage and theatre seating area were housed on one level with col-umns and folding chairs positioned for patrons to sit on and watch plays. Kenneth Orr, Director of Marketing, and Jimmy Fitzgerald, President, spoke fondly of how they got involved in the theatre. Kenneth got involved after he and his family auditioned for a Christmas play. They became immersed in the theatre by becoming actors, building sets and helping renovate the interior and build the stage. Kenneth met Jimmy Fitzgerald in 2002 when Jimmy played the supporting role of Wilson in the production Harvey. Together, they have been promoting the Theatre ever since. Jimmy not only acts and directs but designs and works on sets. He is serving his third term as Presi-dent. Jimmy is also involved in producing a new religious thriller fi lm called Sojourn. The Henderson Community Theatre holds a yearly Daphne Awards ceremony similar to the Academy Awards. Why do they call it the Daphne Awards, you might ask? Daphne is a chosen name for one of the theatre’s resident ghosts chosen from the play, Blythe’s Spirit. According to Jimmy, Daphne hides tools, touches people, says people’s names, makes sounds and is rather playful. Jimmy said, “If she makes an appearance dur-ing a dress rehearsal, the show will be a success.” Suddenly I became alert to my surround-ings and started wanting to see if I could fi nd Daphne. Jimmy said that the theatre was investigated by three professional ghost hunters. The ghost hunters brought in all their equipment and said there were actually three ghosts in the building. The theatre offers many opportunities for the community. There have been several high school students who have participated in the theatre and then gone on to study acting, writ-ing, and producing. Some of those students include Erin Orr who majored in Theatre and is performing in Chicago, Trent Wheeler who is the National Touring Manager for Rent, Jared Pike who is involved in theatre in New York, Stephanie Parsons who studied acting in New York, and Preston Orr who has his Masters in Vocal performance from the University of Indi-ana. All include the Henderson Civic Theatre as part of their motivation for continuing their careers in the theater arts. Jimmy says, “We are always looking for new talent and not just acting. We need people to build sets, make costumes, do lights and sound, and there are so many other things for people to do. If you have a desire to be in the theatre, we have a place for you.” Henderson Civic Theatre is a non-profi t organization which means they survive through memberships and donations. They are looking for donations to pay for a new air condition-ing system which will cost around $14,000. You can donate by purchasing a star on their “Star Walk.” You do not have to be a Hol-lywood star to have your name put on a star in front of a theater. You can buy a star for yourself or anyone you choose. The theatre just fi nished producing The Fantasticks, and they will be doing a melodrama, He Done Her Wrong-Wedded But No Wife on November 12 during the Syrup Festival. The show times are 11 a.m., 1 p.m. and 3 p.m. In addition, look for Dad’s Christmas Miracle by Pat Cook, directed by Jason Martin December 3rd, 4th, 10th and 11th. You may call 903-657-2968 or go to the website www.hendersoncivictheater.com for more information about performances or auditions.

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Home Grown by Larry Tucker

I have been fortunate enough to have some great jobs in my varied journeys. Have you ever been employed in a job that you would have done for nothing? Ever feel like you were stealing when you got a paycheck? As much as I love teaching and coaching, and I have loved my past work as a newspaper editor/sportswriter and the decade spent in country music public relations, nothing compares with the jobs I have had in small mar-ket radio. I literally felt like I was stealing money every time I got paid. I never had more fun in my life. My fi rst venture into radio was in the late 1970’s at KCAR Radio in Clarksville. I did an afternoon show, and we had a country music format. We also read the news torn off from the United Press International teletype machine. After a divorce, I left Red River County and moved to Quitman in Wood County so I could be with my kids and near my parents. I was working at my folks’ self-serve gas station and coaching summer baseball when I met Nell French at a ball game. French got me an interview with KMOO station manager, the late Monty Montgom-ery, and program director, Mike Gunn. I was hired to do the afternoon show from noon to six, Monday through Friday, and to help Monty with sports broadcasts. The year was 1982, I think. Thus began an almost decade long love affair with my job at KMOO. Mike Gunn is one of the most creative and talented people I have ever met. The man could do incredible voices and is an accomplished musician. He very patient-ly taught me the ropes of being a country music radio personality and the ins and outs of sports broadcasting. Nell ran the offi ce and later became the station manager. She taught me how to be nice to people. The “behind the scenes” of small town radio dominate many of my memories. We did a lot of remotes. Remotes are live broadcasts from a location in the community that would be done for things like a business grand opening, a big sale, or a sports event. Some remotes were more diffi cult than others. Can you imagine doing a “live” re-mote at the grand opening of a funeral home? Just say-ing it out loud will make most people laugh. One-liners were pretty easy to create, but it was tough for me not to be too sarcastic and offend the listeners. There were many other incidents. The one I am most ‘infamous’ for happened after a rather active night out. I was much younger then, and I tended to stay out late even though I had to make it to the station to sign on at 6 a.m. to do the morning drive show. I was running late

one morning and got in an awful big hurry. I drove an old 1968 Ford pickup truck that had belonged to my Dad. Understand, KMOO stu-dios were on “the hill,” and the parking lot was at the top of that hill. I slid into the parking lot that morning and jumped out of the truck in a big hurry to get in-side, not only because I was late, but it was win-ter and the temperature was in the mid-20’s. As I jumped out of my truck, I failed to put it in park. I realized my mistake too late and found myself chasing my truck down the hill on a path to a direct hit on the station tower. My truck hit the tower guide wires and the A.M. tower began a slow torturous descent to the earth landing in a pond behind the station. My career in radio fl ashed before my eyes. I called Monty to tell him the news expecting that he would be livid. His calm reaction: “Hope you have good insurance.” The tower was put back and in operation before the day was over, and I did not get fi red. Small town radio does it all. At KMOO, we covered city councils, school boards and were always on hand at the Wood County courthouse for county, state and national elections. We took the KMOO Suburban out in bad weather chasing thunderstorms, and once Nell and I watched a tornado tear up the driveway of the Spacek home. We always ended each newscast with the local obituaries. There are some great stations in East Texas. KMOO is still going strong, and I listen to them daily. Tyler and Longview have great stations, but so do many other East Texas towns. Don’t sell your local station short. Support them as best you can, because they certainly are there for you and they are all homegrown. And today, I would work radio for nothing! Keep Texas music in your heart and Texas Blues in your soul.

Tyler Civic Chorale presents Musica Judaica Rabbi Neal Katz and the congregation of Tyler’s Temple Beth El will host the 54-voice Tyler Civic Chorale for two performances of music from the Hebrew tradi-tion. The fi rst concert on Saturday, November 5, will begin at 7 p.m., and the second concert on Sunday, November 6, will begin at 4 p.m. Donald Duncan, the Chorale’s artistic director, says, “The vocal music of the people of Israel has a long and distinguished history. The musical textures are beautifully dark, rich, melodic and quite lyrical. We are delighted to be able to present some of this beautiful repertoire to the community at large in the beautiful

sanctuary of Temple Beth El. The selections chosen include Eric Whitacre’s Five Hebrew Love Songs, as well as settings of sacred, secular and liturgical Hebrew texts.” Congregation Beth-El is located at 1010 Charleston

Drive in Tyler. Tickets, which are $15, will be available at the door from any Chorale member, or online at www.tylercivicchorale.org. For more information, e-mail [email protected] or visit tylerciviccho-

rale.org and the Chorale’s Facebook page.


news

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Tyler Multi-Cultural Arts Fest by LaDawn Fletcher

Fighting the urge to move your hips to the rhythmic African drum-ming is a side effect that Debbie Kirkland Wafer, creator of the Tyler Multi-Cultural Arts Fest, failed to mention when describing the event. Under a crisp, sunny sky on the fi rst day of October, artists of many different ethnicities and backgrounds took to the stage on the downtown Tyler square to bridge cultural divides in short, lively sets and vignettes. The event was hosted by the Arts & Humani-ties Council of East Texas for which Kirkland Wafer serves as executive director. The Arts and Humani-ties Council of East Texas was created to provide economically disadvantaged youth in Tyler and East Texas with fi rsthand experience and exposure to the arts. October is celebrated nationally as Arts and Hu-manities Month. The idea behind Tyler’s event was to embrace all cultures. “I am so interested in cultural diversity,” says Kirkland Wafer, “and the arts,” she adds. “What bet-ter way to explore those two things than through the arts?” she laughed. In 2010, The Arts and Humanities Council of East Texas held its inaugural festival with great success. This year, as word has spread, people of all ages

and hues gathered on the square to watch Irish Steppers, Ballet Folk-lorico and Belly Dancers among many others. The sense of community was palpable as people milled about the booths admiring paintings and drawings and children got their faces painted. Joseph Martinez stood by his display of the Comanche na-tion in full headdress. Flanked by photos of his grandfather, a Congres-sional Medal of Honor recipient who served as a code talker during World War II, he said he jumped at the opportu-

nity to participate in the festival. “I am more than happy to share my heritage out here at the festival,” says Martinez. A lot of people know about the Navajos but not about the Coman-ches,” he said. “When it came to war, we have no problem fi ghting for our people and our nation. Our people have a high rate of enlistment in the armed services.” Pride, accomplishments, service and commu-nity were evident in each performance. Douglas Lowe of Paris, Texas came with his wife to see his granddaughter, Shelby, perform with the Irish Step Dancers. Though not of Irish heritage, his granddaughter was intrigued by the artistry and switched from ballet and tap to pursue it. Kirkland Wafer expects both the multi-cultural festival and her organization to grow both in atten-dance and participation in the coming years. Arts and Humanities Council of East Texas is working to develop partnerships with other art focused groups. More information about upcoming events, volunteer opportunities or donations can be found at www.artscouncilet.org.


Genny Wood’s Painting & our trademark for the show

4th Annual Genny Wood Memorial

Art Show and Salepresented by THE MISSION HOUSE of Bullard

Bullard 1st United Methodist Church Family Life Center

211 S. Rather • Bullard, Texas

NOVEMBER 12, 2011

To participate or for more information, please contact:

Greta 903-530-3812 [email protected] [email protected]

• Red, White & Blue Festival honoring our military • Car Show • Bands • Parade • Arts & Crafts • Food • Fine Art Show with Entertainment

writingBeyond Mere Thoughts by Karen Dean

That special day that every author longs for is when the fruit of their literary labor is held in their hands. After 5 1/2 months from the fi rst con-tact with the publisher, She Said What About Me? arrived at my front door step. Since I had some major disap-pointments with previous books, it’s no wonder there was a bit of appre-hension. I really wanted to be pleased with the end result after all the months I poured myself into the book.

While developing the illustrations, I tried to imagine how devastated the main char-acter felt, being hurt by her “friend” who told rumors and lies about her. The emotional impact was crushing to her tender heart. As the author and illustrator, I have a dual responsibility to convey through carefully crafted words and visual expression the intense feelings of such sensitive subject matter. My motivation for writing this book came from a conversation with an elementary school principle. I was doing my homework research. I read her some other stories I had written about bullying in schools. She immediately and strongly suggested I write about the damaging effects of girl to girl bullying. Right away I went home and wrote the story. It just poured out of me. When doing books of this nature, it is important to listen to someone who knows fi rst hand the importance of such a topic. It helps to get specifi c information that will add credibility to a story. I also watched numerous televi-sion programs on bullying and spoke to a school social worker to gain more under-standing. My main character couldn’t handle this trial on her own but needed the help of her parents and counselor. Their advice equipped her to confront this “friend” while ex-plaining her hurt feelings. My goal for writing the story was to show how a resolution and healing can take place, so I took the story through an apology and forgiveness. For me, that was a mission accomplished. My desire is for children to see this as an option to a bullying situation. As an author, I want to make some impact in this area, as well as other topics for hurting children. Meanwhile, back to my fi rst impression about seeing my new book. It isn’t exactly what I would have done had I been in charge, but overall I’m pleased. The bottom line is will it sell? The answer is, yes, it’s selling! The book is geared for use in schools, grades K-5, for teachers, counselors, and social workers to use as a tool in the class-room. In addition to the rhyming story are discussion questions and how to plan an anti-bully day assembly at school. I’m currently illustrating another bully book with a mean boy as my main character. One more illustration, then it’s off to the publisher (a different one this time.) Now that my book is ready, the next step is getting it in front of the eyes of inter-ested buyers. The author can’t just sit on their stack of books, so I’m planning different events to get me out of the studio and into the public arena.

Stop by next month for a few more writing tips.

In addition to being a published author and illustrator of children’s books, Karen Dean is also a Classical Realism portrait painter in oil and watercolor.Visit her website to view the gallery.

www.KarenDeanArtist.com

[email protected]

My next scheduled event will be at the

Genny Wood Art Show during the Red, White, and Blue Festival in Bullard, at Bullard

First United Methodist Church, 204 S. Rather, Saturday, November 12, 9am-5pm.

Stay up-to-date on the Arts Scene in East Texas!

Check out the Piney Woods Live Facebook page at www.Facebook.com/PineyWoodsLive

We’ll keep you informed!

Have an art or music event coming up?Post it on our Facebook page or message us. We will post it for you,

and it will appear on our Piney Woods Live newsfeed!

cordially invites you to a special opening night . . .

THURSDAYNOVEMBER 17, 2011

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Variety of favorites. Pieces from past exhibits.


artIn the home of artist Karen Dean

When you enter into Karen Dean’s home gallery studio, you are transported through the years of this artist’s creative journey. Immediately upon entering the light-fi lled home with stunning wood fl oors, no matter which direction you turn, paintings await your eyes. You will feast on an educational tour of art history through the phases of Karen’s creative life. An extensive teaching library of watercolor, oil painting, and portrait training books line her studio bookshelves. Stacks of training videos have greatly infl uenced her techniques both before and after studying with Flemish Realism Master, David Weaver, and Joseph Fettingis in watercolor. Karen’s books depicting the works of the Old Masters such as Leonardo da Vinci, Constable, Vermeer, and Sargent, inspire touches of Renaissance, Impressionism, and Hudson River School to the paintings in her home. Whether still life or portraits, Karen ex-plains to her gallery guests the pain-staking techniques to accomplish such realistic works of art. Although many of her Classical Realism oil paintings are done on canvas, Karen explains her favorite surface is a wood panel to achieve the smoothest, most luxurious skin tone. It takes about eight lay-ers to develop a rich skin tone and likeness. She’s always in a teaching mode explaining how she starts with just brown tones for 2-3 layers, a grey layer, muted colors, then intensifying and enriching colors until a fi nal dramatic result is achieved. Various subject matter decorate her walls in fl orals, portraits, landscapes, and seascapes. Her artwork is like a travel scrapbook in paint, whether watercolor or oil, refl ecting where Karen and her husband, Dave, have ex-plored. Almost always working from photos, her camera

is always ready to perform. Having moved just a year ago from Ann Arbor, Michigan to Longview, Texas, Karen is currently working on a Western Art series. Previous landscapes on canvas from Mission San Juan Capistrano in California and the Cloister’s Museum in New York capture her love for arches and texture in architecture. In addition to brushstrokes is the use of a palette knife for broad, rugged chunks of paint, achieving

a very textural impact. Nestled in one corner of this inviting space, small gallery-wrapped canvases of boisterous fl oral blooms almost beg to be selected for a brightly colored bouquet. Karen’s collection of fl oral photos is the inspi-ration for these paintings. “Sometimes, I’ll stand over a fl ower that has certain charac-teristics that are exciting to capture. I might have to wait for a breeze to diminish, a cloud to move over, or a bug to take fl ight. I look through the camera lens with positioning on a canvas in mind,” Karen explains. One of her favorite paintings is a very large portrait of her fi ve grandchildren lovingly placed over the fi replace mantle. Several pieces represent a breakthrough into a new style, so they will always remain in Karen’s collection. Vibrancy not only is in the oil paintings but also in the watercolor portraits and the children’s books that she writes and illus-trates. In addition to the use of watercolor in

her books, she also uses watercolor pencils and Inktense pencils. When water is applied, these pencils become gorgeous, intense ink colors. Although Karen’s long, artistic journey has been derailed with physical challenges, she has managed to always get back on track and see where it will lead next. She’s always encouraging her gallery and studio visitors

to use the gifts they’ve been given and not let them go to waste with excuses. “It’s a choice,” says Karen. “I’ve cho-sen to continually develop my artistic gifts and encour-age others to do the same. Now many are deeply moved to tears by simply looking at my carefully placed strokes of paint. What a privilege!” Many of Karen’s paintings will be on exhibit Saturday, November 12 at the Red, White, and Blue Festival in Bul-lard, 9am-5pm at Bullard 1st United Methodist Church located at 211 S. Rather. She will also be autographing her four children’s books.

Visit Karen’s website: www.KarenDeanArtist.com

Email: [email protected]

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news MINEOLA LEAGUE OF THE ARTS is offering a series of fall classes including Digital Photo Organization, Country & Western Dance, and Beginning & Interme-diate Art. Call the League for class prices, information, or to register at 903-569-

8877. www.mlota.org

BONGO & THE POINT will be performing at Holly Lake Ranch on Friday Novem-ber 18th from 7-9 p.m. for a FIRE DEPARTMENT FUND RAISER. There is a minimum $5.00 donation at the door. Holly Hall is located at 220 Holly Lake Circle, Holly Lake Ranch. Get more info about this concert and Bongo & the Point at www.bongoand-

thepoint.com.

THE 2011 WINNSBORO FINE ART MARKET will be held November 5 and 6 in the Cultural Arts District of Downtown Winnsboro. Tents will be set up on Market and Elm Streets. Over 45 artists have been accepted as exhibitors. The juried art show will provide an opportunity for casual and serious art collectors to see outstanding original art by artists from throughout the state, each with a booth in the Market Street and historic Depot area of Winnsboro. Live music, artist demonstrations, children’s activities, a wine garden and fi ne food complete the event. The Patron’s Dinner at the Winnsboro Auditorium, Friday, November 4, will provide an opportu-nity to mix and mingle with the artists. Tickets for the dinner are $60.00. Call 903-

342-3438 for details.

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artShirley Hughes Blackman - WE get to see the Wizard! by Jan Statman

Shirley Hughes Blackman believes it is not enough for a person to be born beautiful, but it is everyone’s responsibility to create beauty and to bring beauty into the world. With her dark hair, expressive eyes and movie star good looks, this may seem like an easy thing for the tall, elegant woman to say as she sweeps through the room in a fl oat of Chanel and silk. However, this really is the sincere sentiment of someone who describes herself as a “lifelong artist.” “Lifelong Artist” is a reasonable description because Blackman won the fi rst of her many art awards when she was only six years old. Winning that award changed her life. She explained that

winning that drawing contest provided the focus for the rest of her life. “Then and there I decided to be an artist “when I grow up.” Since that time Blackman has won many awards and created more than two thousand works of art. These include drawings, paintings and sculptures. She has exhibited in one-artist shows and has been recognized in both national and international exhibitions. Her work is owned by private and public collec-tions in the United States, Central America and France. Still, no matter where she lives or where she works, her studio wall always shines with that one small, earliest work of art.

“On my studio wall there is a framed landscape signed “Shirley J, age six,’” she said, and she added, ”I don’t add my age to my signature now.” Blackman was born in Silver City, New Mexico, but her family soon moved to Carlsbad, New Mexico. Since she grew up in Carlsbad she has always considered it to be her offi cial “home town.” As a teenager, she worked in a fl orist’s shop. She continued to work there through high school and during summer vacations during her college years. “Arranging fl owers is about color and design, so it added to my art education, and I thoroughly enjoyed it,” she explained. The artist represented her home state of New Mexico in the famed Miss America Pageant in Atlantic City. She was the fi rst Miss America contestant to name art as her talent in the pageant. She was honored with the National Talent and Scholarship Award which allowed her to come to Texas to attend Baylor University. Her art professors at Baylor infl uenced and inspired her work. She was fortunate enough to study painting for three years with Reynold Arnould, a French painter who temporarily fi lled the position of chair of Baylor’s art department. He later became the director of the National Grand Palais in Paris. She was also able to study art history with Arnould’s wife, art historian and

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Egyptologist, Marthe Arnould. “She made that subject come to life,” Blackman said. She notes that she was privileged to study painting and art history with the Arnoulds in Paris as part of a Baylor study-abroad program. During these inten-sive study courses students spent their mornings studying art and art history at the Louvre Museum and afternoons in the studio, hard at work on their own paintings. “My early art training was traditional: drawing and working in watercolor and oil,” she explained. “But now my real joy of painting comes when I am immersed in working on my large abstract paintings.” Blackman explained that she likes abstracts for their “visual musicality.” The rhythms and tonalities of her paint-ings refl ect a certain kind of music that cannot be heard, but must be seen to be enjoyed. “There are no objects in this kind of work,” Blackman explained. “When a painting is based on the idea of birds, I don’t want the viewer to see a bird, but feel the sensation of fl ight.” In discussing the changes in her work during a lifetime as an artist, she ex-plained that her work has gone through considerable evolution, yet at the same time, much of it has stayed constant. “My personal background, life experiences, study of art and art history and untold hours of painting and experimenting with different mediums have all contributed to my growth as an artist.” She said, “Now I wish to express my love for nature and the inner beauty of individuals and, through line and color, transmit my feelings to the viewer.” After receiving her Bachelor of Arts degree from Baylor University she mar-ried Clint C. Blackman, Jr. The couple made their home in Longview where they raised their two sons, Chip and Chris. Later, Shirley and Clint’s twin granddaugh-ters became a shining bright spot in their lives. Both Shirley and her husband were active in every part of Longview’s cultural life, helping to encourage art, music, and theater. Shirley was a member of the East Texas Fine Arts Association and the Texas Fine Arts Association as well as the Longview Art Museum. She continued to paint and to exhibit, both locally and nationally, winning many awards and honors in recognition of her work. She won fi rst place in the Associated Creative Artists Annual Award Show and the Annual International Art Show. She was named one of the 20th Century Women in Texas by the Laguna Gloria Museum of Art in Austin. “We raised our family in Longview where we resided for forty-seven years,” she said. They were happy and successful in Longview but with their family grown, they felt that they needed a change. Shirley wanted to enhance her career in art, and Clint wanted to share that career with his experience in business. Clint’s love of saltwater fi shing and Shirley’s interest in her growing art career led them to Rockport, Texas. That sophisticated small city with its access to the salt water of the Gulf has long been recognized for its vibrant art activities. They had visited Rockport many times and decided to move there in December 2004. Shirley was determined to fi nd a proper studio for her work. Clint located a downtown building that was perfect in location and light, but it was a lot larger than she needed. He suggested that they use the extra space to open an art gal-lery as well as having her studio there. “Clint did not want to retire and artists never do. Clint’s expertise in business and mine in the arts have made us good partners,” she explained. They remod-eled the building and opened the Austin Street Gallery. “We have gallery visitors from all over the world! It’s amazing for a little town of 3,500!” Visitors to a working artist’s studio located as part of an art gallery might become a diffi cult distraction, but Shirley quickly found a way to solve that problem. She turned to the Wizard of Oz. “There is a sign on my studio door that reads, ‘Of course you can’t see the wizard! No one gets to see the wizard!’”


art & news

East Texas Symphonic Band’s2011-2012 Schedule

Fall Festival of Music Concert • NOVEMBER 14, 2011Belcher Center, 7:30 pm, $1 at the door for adults (students & children free)

Grand Winter Celebration Concert • FEBRUARY 6, 2012Belcher Center, 7:30 pm, $1 at the door for adults (students & children free)

Sounds of Spring Concert • APRIL 2, 2012Belcher Center, 7:30 pm, $1 at the door for adults (students & children free)

Pops in the Park Concert • MAY 24, 2012Teague Park Amphitheatre, 7:00 pm, Free Admission

For more information, email us [email protected]

or call903-738-9442

Visit our website for updates at

www.etsymphonicband.comFind us on Facebook

No matter the medium, we’re pleased to support the Arts in East Texas.

“There is incredible power in the arts to inspire and influence.”

Julie Taymor, American Director

3700 Gilmer Road 3700 Gilmer Road 202 Hollybrook Dr. 202 Hollybrook Dr.

903-759-0751903-759-0751springhillbank.comspringhillbank.com

Cheryl McClure at Downtown Coffee Lounge in Tyler

Palestine Main Street Art Tracks Palestine will hold its fi rst-ever Main Street art walk featuring local and re-gional artists November 18 from 5 pm to 8 pm. Main Street businesses will open their doors and host an artist for the evening. For more information, contact the Palestine Visitor Center at 903-723-3014 or go to www.facebook.com/palestinemainstreet.

East Texas artist, Cheryl D. McClure, is showing a grouping of abstract paintings at the Downtown Coffee Lounge, 200 West Erwin, Tyler. Ms. McClure is a long time resident of East Texas. She has been painting profes-sionally for more than thirty years. She currently lives on a small ranch in Rusk County. Her abstract paintings refl ect the environment and feeling of a rural area. Currently, McClure shows her work in galleries across the United States from Seattle, WA; Houston, TX; Memphis, TN; as well as in Longview, TX at P’s Gallery. Her work is in public collections held by the Longview Museum of Fine Arts; Foley’s (now Macy’s) Department Stores; Alliance Capital Management, New York City; Meridian Community College, Meridian, MS; Terrebonne General Medical Center, Houma, LA; DeLoitte Consulting, Dallas, TX as well as many others including indi-vidual collectors. The work will be up and available to the public Monday - Friday from 7 am - 5 pm through November.


fi lmLocal fi lm makers producing The Merchantby Kari Kramer

For the fi lm enthusiast, Texas has a lot to offer. Fes-tivals in Austin, Dallas, Tyler and even Kilgore provide eager viewers the chance to see one-of-a-kind motion pictures. But, in East Texas, for one team, watching great fi lms isn’t enough – they’re making one. Screenwriter, Allen Reed, and director, Justin Mosley, were collaborating together long before their latest proj-ect, The Merchant, was born. “Justin and I come from the local music scene,” said Reed. “We were in a couple of bands together before it dawned on us that we may never be rock stars. After that, it was a matter of shifting focus from one love to another. It was the right decision – believe you me.“ The two went on to form SubAmerican Productions, LLC, the company behind their new fi lm. The Merchant, set in 1895, details the repercussions of a deal made with the devil in a small western town called Burning Bush. “The Merchant was originally a different fi lm alto-gether,” explained Reed. “We ended up tossing the origi-nal script because some of the plot points were similar to another fi lm. After quite a bit of brainstorming, we pulled it out of the trash and overhauled the story.” The plan was to shoot the original piece in West Texas, but it didn’t take the pair long to reconsider. “About a year and a half ago, Allen and I set out to the West Texas desert to location scout for a movie,” recalled Mosley. “Once we arrived in Odessa, we knew that we had made a huge mistake. Driving across the vast, airy plains of West Texas, we realized that there is no frontier left. The wild of the land is tame now.” The pair returned to East Texas and eventually found the perfect location for their new script. For the last several months, nestled within Upshur County, the pair, along with a team of volunteers, cast members and crew, have been transforming a mock western town into a movie set. In an area where fi lmmaking isn’t common, both Reed and Mosley have been happy with the recep-tion. “There is an untapped reservoir of great talent, resourceful problem solvers and willing investors in East Texas,” noted Reed. “Out here, an idea can easily snowball into a fairly big production if you can think out-side the box. Unlike Hollywood, a fi rm handshake, good attitude and creative thinking go a long way.” Southern hospitality is what Reed hopes other fi lm-makers will eventually fi nd alluring about East Texas. “There are a lot of people here who are dying to get into fi lm,” said Reed. “Hopefully, The Merchant will inspire other fi lmmakers to create the means. It’s hap-pening in a big way next door in Louisiana, so why not here?” “So many other fi lmmakers don’t know what they’re missing. I believe this area will catch on in the industry. I’d love to see that.” “Shooting a fi lm in East Texas is not the norm here,” added Mosley. “Filmmakers coming to this area from the outside will likely fi nd a plethora of untapped re-sources and smiling faces eager to help.” Many of those smiling faces will be seen in The Mer-chant. A large portion of the cast comes from East Texas. “Mathew Greer is our most recent addition,” noted Reed. “He’s an East Texas local who has been in several big-budget pictures such as No Country For Old Men, The Mist and Mad Money. We’re excited to have him. A lot of our cast comes from the world of television – Chase, Prison Break, The Gates. Almost all of us live within an hour’s drive from where you’re likely sitting. I think that’s really contributed to the great reception this production has enjoyed.”

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In addition to their main cast, the fi lmmakers sought the help of enthusiastic citizens to fi ll background and crew positions. “It’s important for us to have positive people on the project that are highly motivated,” said Mosley. With energetic and eager hands on deck, The Mer-chant has come a long way since Reed and Mosley overhauled their original script. As the fi nal touches are put into place, both Reed and Mosley are preparing for the moment they’ve been waiting for. “All of our meetings, dress rehearsal and read-throughs have boiled down to one moment, and we are all excited to create this movie together,” said Mosley. Creating The Merchant is a process that has taken Reed and Mosley years. And now, with the help of devoted investors, a hands-on cast, eager volunteers, a hardworking crew and local support, the cameras are set to roll. “This experience has been a real test for me,” admit-ted Reed. “I can see now how so many productions fail. The Merchant has grown exponentially, and all I can do is rise to the occasion. I am grateful for the challenges and learning experiences this production has offered.” Principal fi lming is underway and will continue through November just outside of Gilmer. Two scenes for the project will be shot at Heritage Park in Sulphur Springs. Once completed, the fi lm will be showcased regionally and at festivals around the nation prior to distribution. Those who want to get involved can visit www.themerchantmovie.com for information about the fi lm’s progress or investment opportunities. In addition, the fi lm can be found on Facebook at http://www.face-book.com/pages/The-Merchant/186224708105792.

Photo of town/set by Allen Reed.

Allen Reed, left, and Justin Mosley, right. Photos by Bradley Hardin.


art

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1114 West Harrison Rd., Bldg. A • Longview, TX

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Artist’s World by Jan Statman

You see it hanging on a wall. You see it hanging in an art gallery. You see it in a frame, but is it art? Tyler artist, Derrick White, has a simple, straightforward answer to that question. He says, “If an artist created it, yes. It is art.” You may love it, or you may

hate it. You may think it is strange. You may fi nd it puzzling. You may not want to hang it over your sofa, but yes, if an artist created it, it is art. It might not be pretty art. It might not be great art. It might not even be good art, but yes, if an artist created it, it is art. This conversation all started with the incredibly high price paid for a mighty unattractive portrait by Lucian Freud. It is titled Benefi ts Supervisor Sleep-ing. The painting was recently bought for the record breaking amount of 33.6 million dollars at the Chris-tie’s Auction House in New York City. The artist por-trayed a really, truly, seriously repulsive nude lady asleep on a disgusting, dirty looking sofa; and no, I wouldn’t want her hanging over the sofa in my living room either. I don’t care how famous Lucian Freud was. I don’t care how much she cost. She would make me unhappy. I would not be able to look at her day in and day out. I could not stand to experience the unbearable heaviness of her being…or his. Face it. The painting did manage to capture the viewer with all the psychological complications that Lucian’s grandfather, Sigmund Freud, might have discussed. It dug deep into our understanding of what we think of as beautiful compared with what we think of as ugly. Lucian Freud was a towering fi gure in the British art world for more than 50 years, and his brilliant but unsettling paintings are well noted for their psychological insights. More than that, he painted all those brutal images with the technical skill of a delicate hand. Much of what an artist does involves technical skill. Skills can be learned. Skills can grow. Skills can be improved with practice. There has to be more than merely skill. Unfortunately, technical skill alone does not achieve brilliance, and Lucian Freud cer-tainly did achieve brilliance. Besides all that, art really has nothing to do with sofas. Art is not some kind of pretty, decorative household accessory, and art has absolutely nothing to do with little light up hobbit houses. At the end of the day, it is the artist’s ability to rely on his or her instincts that makes the difference be-tween great works of art and simply acceptable stuff. Once we have said that, we need to consider what kind of instincts we are talking about. We are all fa-miliar with our basic instincts. We all have an instinc-tive reaction that makes us shiver in the cold. We all have an instinctive reaction that makes us jump away from fl ames. Our instincts drive our actions. They are the starting places that help us develop all the experiences which lead to understandings. They

are the plain old common sense that gives us the “sense to come in out of the rain.” All of us react automatically to our surroundings. An artist’s aesthetic instinct is tweaked just a little bit differently. But how does that happen? It starts at the place where we begin to enjoy basic instincts for their own sake. Let’s make that clear. When you have shivered in the cold, then you put on a sweater, and then you stand outside to enjoy the chilly blue sky because you notice it has an intense color, and you liked it for its own beauty; that’s when you have had an aesthetic experience. When you stand near a fi re and you have jumped away far enough from the fl ames to know you won’t get burned to a crisp, and then you stop to enjoy the excitement of the fi re’s dancing shapes and colors; that’s when you have had an aesthetic experience. Changing from an ordinary experience to an aesthetic understanding involves a sort of mental acrobatics that sets a distance between the activity itself and awareness of how it makes us feel. The ex-perience begins to take on certain values of its own. Sometimes there is an intentional placing of values. Sometimes it is not intentional; it just happens. At this level, the values do not involve simple black and white judgments. There is no good or bad. They take shape because of the way we feel about the experi-ence we have had. Is it satisfying or dissatisfying? Do we want to repeat it or not? Do we like the way it made us feel, or did it make us feel uncomfortable? Do we want to tell others about it so they can have a similar experience? This is when we realize that we have to com-municate with other people in order to share that aesthetic experience. Everything that comes into our awareness at this level can be communicated. Sometimes the best way to communicate awareness is not by simply talking about it. Sometimes the only way to communicate that awareness is by not talk-ing about it. Plain old spoken words, sentences and paragraphs are not enough to get the point across. It becomes necessary to turn to the accepted forms of art. The artist, through intuition and skill creates a painting, a drawing or a sculpture. The writer turns it into literature, drama or poetry. The musician turns it into music. An experience that has been transformed by aes-thetic awareness takes on the shape of art. The artist has to rely on his or her instincts to form it in such a way that other people can share it. When that hap-pens, it becomes a basic part of the human condi-tion. It can be as beautiful as a Renoir child or it can be as frightening as a Francis Bacon face. It doesn’t matter if it is beautiful or ugly. There is a revelation by the artist and an acceptance by the viewer. They connect across space and time. They connect across the miles or across the centuries. That is when art happens.

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High School Musicals by Jim & Chelsea King

Every month I fi nd myself writing about sing-ers and musicians who perform in and around East Texas. There are a lot of them, and when it comes to music, regardless of your favorite genre, you can fi nd some great talent. Almost any night of the week there is someone playing for your enjoyment in any num-ber of local establishments in and around our area. Ironically, I’ve had people complain to me how they love live music but don’t go out and enjoy any be-cause that means they would have to go to a club or a bar. I understand what they are saying. It is nice to be able to take the family or children out as well, and that can’t be done in a lot of places. But to say there is nothing else available is simply not true. There are many great venues in and around the Longview area that combine live music and a family type atmo-sphere. For example, there is Alley Fest, The Party in the Pines, the Great Texas Balloon Races and so many more. For me, one of our best-kept secrets (in my opinion) are the local high schools. Yes, that’s right, our high schools! While many think scholastic extracurricular activities are confi ned primarily to sports (in Texas that would be football), there is also an emphasis on the study of the arts. Now, for those of you reading this, please don’t think I am showing partiality to a specifi c school. I am simply writing about that which I have fi rst-hand knowledge. The Pine Tree High School Department of Theatre has long had an outstanding reputation for both the talent and depth of its staff and students. That is evident when they compete annually for that much sought-after status as State UIL Champions. While there are several scholastic productions each year, I’ve always enjoyed the musicals the most. For the past several years I have been very impressed at how elaborate the sets and accompanying choreography have been. Singing on a theatre stage is completely different from that of live bands on stage or karaoke. The inter-action of the actors, the dancing, the body language and emotion must all be in tune and with the rhythm of the music. Vocals must be projected in such a way that they will carry outwards to the audience while still maintaining both tune and pitch. A tremendous amount of time, dedication and, in many instances, vocal coaching goes into every performance. It’s not simply about melodies and remembering the words. When you have twenty performers, each singing spe-cifi c parts designed for their range, whether it is alto, soprano, bass or tenor, the audience is treated to the sound effects of human “stereo.” Theatrical dance is not like other typical forms thought of when the word dance is mentioned. This dance form is often called “Broadway” in the dance world. Unlike ballet, lyrical or even hip-hop, Broad-way is choreographed to not only entertain, but to continue building the story line on stage. At the high school level, the audience will almost certainly (at some point) be dazzled by the impressive steps and stunts performed on stage. It could be a lift or some-one jumping from a two-story platform. These stu-dents exhibit outrageous (or perhaps courageous is a better word here) ability and dedication. And since this is a musical, while all of the theatrical movement

theatre

is going on, cast members are still having to sing. Of course, there is so much more to a produc-tion than just a cast of talented actors and singers. Countless hours go into rehearsing each scene to perfection, and not just by those appearing on stage. There are dedicated crewmembers that build and move sets while others monitor and operate some-times-intricate lighting systems and sound effect boards. Personally, I fi nd it impressive to think that these performers are mostly between the ages of 15 to 18 years old. Though they are young, they receive and build upon skills that, for some, are nothing more than high school memories. For others, it is the beginning of a hopeful and sometimes promising fu-ture. I actually know four such students who over the years have taken what they learned in high school theatre and are at various colleges hoping to have a career in the Arts. Over the past three years, I have attended three musical productions performed by the PTHS Theatre Department: Kiss Me Kate, Once Upon a Mattress, and The 25th Annual Putnam County Spelling Bee. In the past, the shows have been performed multiple times within a week, but tickets can be hard to get. Their 2011 production of The Drowsy Chaperone will be presented fi ve times this year. It is a musical com-edy and will surely be great family entertainment. Those of you who want live music and great enter-tainment for your entire family, this might be some-thing for you to check out. This year’s performances run from November 10th through November 13th. If you are interested in ticket information, you can call 903-295-3530 or email [email protected] … I’ll save you a seat!

www.WinnsboroCenterForTheArts.com200 Market St. • Winnsboro, Texas

903-342-0686

– the art and writings of Winnsboro’s own unique talent, Jonan Brown Williams fought

the pain of polio, yet found her inner beauty, as well as the

beauty of the world around her.

October 28 & 29 • 7pm & October 30 • 2pmReader’s Theatre plays The Cabin, Wild Willie Cusswell,

Reading of short story Little Big Man

November 5 & 6 • 10am-4pmAuthor’s Showcase

Where East Texas authors will be on hand to sign autographs.

November 19 • 5pm-9pmStarry Starry Nite

Annual Dinner, Silent Auction and Live Art Auction

December 2, 3, 9 & 10 • 7pmDecember 4 & 11 • 2pm

The Best Christmas Pageant Ever

Other Area High School Fall Musical Presentations

JOHN TYLER HIGH SCHOOL - TYLERAladdin (Spanish & English)Nov. 14, 15, 17 @ 6:30 p.m. • 903-262-2850

ROBERT E. LEE HIGH SCHOOL - TYLERThe Sound of MusicOct. 27 @ 7 p.m., Oct. 29 @ 2 pm & 7 p.m., Oct. 30 @ 2 p.m.903-262-2850

WHITEHOUSE HIGH SCHOOLThe Big River Adventures of Huck FinnNov. 5, 7, 9, and 10 @ 7:30 p.m.Nov. 6 at 2 p.m.

HALLSVILLE HIGH SCHOOLBeauty and the BeastNov. 5 @ 3 pm and 7 pm, Nov. 6 @ 3 pm, Nov. 7 @ 7 pm

LONGVIEW HIGH SCHOOLLittle Shop of HorrorsNov. 5 @ 7:00 p.m., Nov. 6 @ 2:00 p.m., Nov. 8 @ 7 p.m.903-663-1301

LINDALE HIGH SCHOOLOnce On This IslandDec. 1-4 903-881-4050 for times.


theatreTSF Foundation to sponsor special performance of The Book of Luke The Texas Shakespeare Festival Foundation is sponsoring a special performance of The Book of Luke Dec. 8-11 as a fundraiser for its upcoming 27th summer season. The TSF Guild and Foundation will provide a holiday dessert buffet following each of the performances in the Van Cliburn Auditorium in the Turk Fine Arts Center. The production is a dramatic performance of more than half of the Book of Luke, taken directly from the New Inter-national Version of the Bible. To enhance the spirit of the Christmas Season, the King James Version of the Nativity will be used, employ-ing elements of choral reading such as repetition, duet speaking, and rhythmic vocal techniques. The Book of Luke will be directed by Raymond Caldwell, founder and artistic direc-tor of the Texas Shakespeare Festi-val, and it is the fi rst fund raiser the Festival has ever conducted during the winter. In order to emphasize the words and language of the Bible and to underscore the contemporary rel-evance of the story told in Luke, the production will be taken verbatim from the Scriptures and be staged without scenery or period costumes. The two actors will act in modern dress on a virtually bare stage with minimal lighting or sound effects. Two professional actors, Meaghan Sullivan from Chicago and Matthew Simpson from Min-neapolis, will perform the Scriptures from memory in this 80-minute production, which includes dramatic portrayals of characters in Luke’s account of Jesus’ birth, teachings, miracles, crucifi xion and resurrec-tion, and many of Jesus’ parables including “The Prodigal Son” and “The Good Samaritan” which ap-pear only in the Book of Luke, as well as one story from The Book of Matthew. Sullivan has acted for the Festival for the past three seasons. In 2009, she played the Nurse in Romeo and Juliet, Dorine in Tartuffe and was in the Ensemble of She Loves Me. In 2010, she was Julia in Two Gentlemen of Verona, Rosalind in As You Like It and the maid Martine in “The Learned Ladies.” Last summer she was Kate in Taming of the Shrew, Cherry in The Beaux’ Stratagem and Gwendolyn in the musical Ernest in Love. She is a graduate of the University of Delaware’s Professional Theatre Train-ing Program.

Simpson, also a University of Delaware PTTP graduate, acted at TSF in 2009, playing the leading role of Berowne in Love’s Labour’s Lost, Peter in Romeo and Juliet and The Notary in Tartuffe. Last summer, he performed the tour de force role of Ham-let as well as the role of Sir Charles Freeman in The Beaux’ Stratagem. Both Meaghan and Matthew were popular

members of the Acting Company and quickly endeared themselves to Festival patrons,” Caldwell said. “They are delighted to be returning to Kilgore for this special production to help the Festival raise funds for its 2012 season.” “This performance will be a respectful, verbatim presentation of Luke’s words (with one story inserted from the Book of Matthew), pre-sented without an intermission and without any alteration of the Bibli-cal source other than the omission of some of the parables in order to keep the performance of reasonable length,” Caldwell said. “Our intention is neither to preach nor to impose any point of view, only to dramati-cally illustrate and illuminate this special portion of what most of the world considers ‘the greatest story ever told,’ and to offer it as a special beginning for this year’s Christmas Holiday Season. We hope that fami-lies and church groups will join us for what we think will be a unique and moving performance.”

The four evening performances will be 7:30 p.m. Thursday, Dec. 8, through Sunday, Dec. 11, with addi-tional matinee performances 2 p.m. Saturday, Dec. 10, and Sunday, Dec. 11. Tickets, which include the holiday dessert buffet, are $25. For groups of 25 or more, admission is $20. All

seats are reserved, and tickets are on sale. For reser-vations, call 903-983-8119 from 9 a.m. -12:30 p.m. and 1:30 - 4:30 pm Monday through Friday. Visa, Master-card and Discover cards are accepted. To order tickets by mail, send payment to The

Book of Luke; TSF; 1100 Broadway; Kilgore, TX 75662, and specify desired performance date(s) and time(s). All tickets will be held at the theatre and may be picked up at the Will Call table one hour before cur-tain.

Meaghan Sullivan

Matthew Simpson

903.984.1420120 N. Kilgore Street

Historic Downtown Kilgore

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artArt in the Home: Dr. & Mrs. Warren Huntby Jan Statman

As soon as you walk through their front door, you under-stand that Dr. & Mrs. Warren Hunt believe that life is well lived when it is surrounded by art, music and literature. There you will encounter three Asian embroidered wall hangings in the rarely seen antique Chinese “Forbidden Stitch” placed above an antique clock and a cloisonné cov-ered bowl on a gallery table welcoming guests. The “Forbidden Stitch” used “seed” stitches along with satin stitches and couching in fi nely worked silk thread for items that were created inside the emperor’s “Forbidden City.” Mrs. Hunt explained the legend of the “Forbidden Stitch” which tells that the stitches used were so tiny and so complicated that the young women and girls who spent their hours creating these works of art would lose their eyesight because they were constantly working with such intricate detail. To prevent this, the emperor of China for-bade working in the “Forbidden Stitch,” an edict that drove the embroidery workers underground to create their art in secret. One side of the formal living room is dominated by Dr. Hunt’s grand piano. Well-worn pieces of sheet music wait for the piano to be played. A gold foil painting by Mary Spencer glistens on the wall behind the piano. A wall of books is at the other side of the room. A large, brilliantly hued Mary Spencer fl oral painting of “Morning Glories” painted larger than life hangs above the fi replace. The Hunts shared a special friendship with Mary Spencer and her two sisters, Dorothy MacMaster and Agnes Scruggs. Their art collection boasts a number of the artist’s works. Two large fl oral framed panels by Chinese-American art-

ist Hso Hsai Tsai may be seen in the gallery hallway. These were collected through the Frederick-Nila Art Gallery which once dominated Longview’s art scene. Dr. Hunt’s fascination with Napoleon Bonaparte led him to collect the detailed French porcelain fi gures of Napoleon and his generals, several of which may be seen on the dining room table, as well as those which are displayed on the buffet server. A selection of Japanese wood block prints provides dramatic contrast to the dining room’s boldly designed wallpaper. Three woodblock prints of Japanese horses, which are displayed above a wall of window shutters, hung in Mrs. Hunt’s son, Evan Farrington’s room when he was a young child. Their muted colors and calligraphic line provide cheerful energy to the space. A particularly interesting map in the family room depicts Galveston Bay in the 1950’s including charts of water depths and tides. A large and imposing Audubon lithograph of “Two Magpies“ is framed among a selection of Dr. Hunt’s many awards. A favorite print on canvas of Jean Francois Millet’s fa-mous 19th century painting “The Angelus” shows a simple peasant couple that stopped their work in the fi elds to give thanks for the bountiful harvest during evening prayers. Mrs. Hunt explained that she purchased the print when her children were very young because her mother complained that she “had nothing religious” in her art collection! What could be more religious, she thought, than people praying at the Angelus? “The Angelus” shares a wall with a colorful print that shows Longview artist Vickie Jones’ painting of two ducks on a pond, as well as an Ann Hunt still life painting. “Desert Retrospection Number Two,” Another Mary Spencer painting is in shades of blues and greens. This narrow painting dominates a wall. The collectors’ sculptural interests can be seen in a wire wall sculpture as well as a small ceramic sculpture which is placed on a family room table. A small, detailed painting by A.L. Richards shares space with a Richard Warner watercolor of a historic Galveston building. They are fl anked by two large, brightly colored Mary Spencer paintings, Jan Statman’s giclée print of a “Dancing Ballerina,” and a Tuminello watercolor landscape in rich shades of gold and blue. Another area is fi lled with treasured memories of Mrs. Hunt’s remembrances of Galveston, where she was raised. There is a drawing of St. Joseph’s church. This was a German Catholic church that was built during the late nineteenth century. She recalled that everything in the church was hand-carved by German craftsmen, both those items ordered in Europe and shipped to America, and those which were constructed on-site in Galveston. When the neighborhood changed and members of the parish moved away, the diocese sold everything that was in the church, from the intricately hand carved pews to the hand carved statues. Then, when the structure was placed on the National Register of Historic Places in honor of its historic signifi cance and its beauty, they were obliged to attempt to recover all the interior pieces and have everything restored. It is still in use as a church and is returned to its earlier beauty. Nearby, a small print shows St. Patrick’s, the church Mrs. Hunt attended as a young girl. This is fl anked by prints of Galveston’s famous Bishop’s Palace as well as the LaFitte house, which was said to have been built on the site of Jean LaFitte’s camp on Galveston Island. Mrs. Hunt laughs as she says their latest selection of art treasures is seen on their refrigerator door “gallery,” where artworks by their grandchildren are proudly displayed.

from the book by Frank B. Gilbreth, Jr. and

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No Success Like FailureNo Success Like Failure

In the dime stores and bus stations

People talk of situations

Read books, repeat quotations

Draw conclusions on the wall

Some speak of the future

My love she speaks softly

She knows there’s no success like failure

And that failure’s no success at all.

“Love Minus Zero/No Limit” by Bob Dylan from Bringing It All Back Home - 1965

This month’s lyric is from one of my favorite songs of all time. The song “Love Minus Zero/No Limit” was released on Bob Dylan’s fi fth album, Bringing It All Back Home, in 1965. It was a time of experimenta-tion for Dylan. The album was half acoustic and half electric, which alienated his folk purist fans and was considered a failure by them. However, it was also the fi rst Dylan album to chart in the U.S. top 10 at number 6, which could be counted as a huge suc-cess. This paradox of failures as successes and suc-cesses as failures will be the theme of this month’s column. None of us like to fail. I think that is one of the most universal human traits. But, in many areas of human endeavor, there is really not much distance between success and failure. I would say that art is one of those areas where the lines are certainly blurred. Art is a bit like science in that the real successes are often framed by the biggest risks. There is really no place in either for fear of failure. If you seek sure success, you best fi nd another line of work where success is measured with more lenience. Another area where science and art are similar is that the most groundbreaking work is originally considered a failure. Such successes are often experienced by total outsiders to the science and art world. Albert Einstein was an unknown patent clerk in Vienna when he devised his General Theory of Relativity. He was a nobody, and he had to fi ght to have his ideas heard by the powers of the scientifi c establishment. He was considered an outsider and buffoon by many of his contemporaries. Yet, his ideas changed the world. The same can be said for Bob Dylan. He was origi-nally lauded by the folk purist world, and his electric experiments got him booed and derided. Yet, like Ein-stein, he continued with his vision and consequently won the success he deserved. In order to break new ground in the art world, you have to push the envelope. Look at Jackson Pollock. His experimentation with pouring and dripping paint onto canvas was groundbreaking in the abstract art world. He tried mediums and techniques that had not yet been used in painting. He was not afraid of failure. Rather than follow a more standard model of artistic success, he chose to head out into the un-charted wilderness and see what happened. And he was successful. However, it also appears that his suc-cess lead to failure in his later life. Many believe that his original success caused him to fear any further advances in his art. That lead him to self-medicate through alcohol and fi nally experience a life ending car crash after many years of failing to fi nish any new work.

MusicMusicby Randy Brown

The “B” Side of

I think that the example of Jack-son Pollock serves to underline the twisted relation-ship of success and failure in art. In the end, I believe we each have to fi nd our own path and follow it wherever it leads. Then we each must deter-mine if we are suc-cessful or a failure, using whatever yardstick suits us. In the world of music, as in all other art forms, success can be measured in many ways. If success to you is how much money you make but your work only garners critical acclaim, then you could consider yourself a failure, I suppose. So, part of the process of being an artist is determining what your measure of success is: money, fans, accolades, critical reviews, self-satisfaction, self-discovery or something else entirely. It is only for you to decide; no one else can do it for you. You may fi nd out that your ideas regard-ing success and failure become rather blurred over time. You want to create challenging and fulfi lling art while being accepted and appreciated for your talent. These two sides of the coin are rarely found at the same time or place. In the end, I believe we each have to fi nd our own way and make our choices. So, become the mad scientist with your art: be foolish, be brave, be fearless, be silly. Take chances, push the envelope and, most of all, don’t be afraid to fail in your art. In that spirit of being willing to fail lies the keys to success and growth as an artist and as a person. What Dylan said was absolutely true, “There is no success like failure and failure is no success at all.”

By the way, if you have comments, suggestions or criticisms about this or any of my columns then please visit me at my website: www/brownrandy.com and leave your comments about this column or oth-ers, they are all there.

See you next issue.


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