Issue Magazine - June 2013

THE ARTS MAGAZINE JUNE 2013OF THE ART STUDIO, INC.

IINNSSIIDDEE:: TTAASSII AARRTTSSKKOOOOLL,,

GGEEEEKK’’SS SSUUMMMMEERR GGUUIIDDEE,,CCHHEEFF MMOONNIICCAA,,

SSLLOOWW AARRTT,,AANNDD MMOORREE

SEE MEMBERSHIP FORM ON PAGE 3.

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

Open to everyone.Join the facebook Figure Drawing group

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

ISSUE Vol. 19, No. 9

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

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

. . . . . . . . . . . . . . . . Lainie Harris, Jeff DixonContributing Photographers . . . . . . Pete Churton,

. . . . . . . . . . . . . Beth Gallaspy, Lainie HarrisDistribution . . . . . . . . . . . . . . . . . . . . . Betty Smith

The Art Studio, Inc. Board of Directors

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

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

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

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

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

ContentsLove For Lynne . . . . . . . . . . . . . . . . . . . . . . Page 4TASI ArtSkool. . . . . . . . . . . . . . . . . . . . . . . . Page 5Chef Monica . . . . . . . . . . . . . . . . . . . . . . . . Page 6Geek’s Summer Guide . . . . . . . . . . . . . . . . . Page 8Slow Art . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 10TASI Alternative Show . . . . . . . . . . . . . . . . Page 11Fresh Start at BAL . . . . . . . . . . . . . . . . . . . Page 11Art & Photo Competition . . . . . . . . . . . . . . Page 11Around & About. . . . . . . . . . . . . . . . . . . . . Page 12Exhibitions. . . . . . . . . . . . . . . . . . . . . . . . . Page 14Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 15

Cover design by Andy Coughlan

UPCOMING EXHIBITIONS AT THE ART STUDIOJJUUNNEEThe Alternative Show

Opening . . . . . . . . . . . . . . . . . . . . . . . . . . June 1

SSEEPPTTEEMMBBEERRThe Tenants Show

Opening . . . . . . . . . . . . . . . . . . . . . . September 7

BECOME A MEMBER OF THE ART STUDIOMembership in The ArtStudio, Inc., provides invita-tions to all exhibitions andone year of ISSUE, themonthly arts magazine ofThe Art Studio. It also givesfree eligibility for membersto enter the annual mem-bership art exhibition(TASIMJAE) and partici-pate in various exhibitionsthroughout the year.

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WE ARE TAKING A break. A break away from theshow and publication schedule, and entering thesummer ArtSkool program, classes and band-nites. One reason we have a break in summer isto curb the expense of exhibitions and the sub-sequent printing and postage. That money getsdiverted to supply teachers with materials forteaching and teachers’ pay. We also take in moretours and workshops, demos and classes duringthe hot time of the year.

I love the change of pace and the 60 days Idon’t have to worry about invites and mailing,newspapers or “Views from the Top.”

Summer is a good time to catch up onmemberships to be sure your invite will arriveon time for the first show of the season inSeptember. We always get excited before thefirst show for the chance to show what we’vedone with the facility, and the skills we have andare developing.

A return addition to our kiln collection isthe salt kiln, named after the glazing ingredient,salt, NaCL. During the latter part of the firing(around 2300F) sodium cloride is shot into thekiln that is full of unglazed or near unglazed pot-tery. As the salt goes into the kiln, the chlorineand sodium molecules divide, sending sodiumon a mad dash to the silica in the clay. Sodium isan unstable element and needs to attach to someother element or compound that is compatible,in this case, clay. This forms sodium silicate, thechemical name for simple glass. This glass cre-ates a coating on the clay that is quite handsomeand always surprising.

Soon we will start repair work on the reduc-tion kiln that fires stoneware items at tempera-

tures rivaling the salt kiln. Both kilns were dam-aged during the year of the hurricanes. Bothhad structures fall on them, crushing the arch(roof) on both. These have been out of commis-sion for about eight years — it is time to getback up to speed.

We are on a search to find new candidatesfor the board of directors of The Studio.Expectations are to raise funds, help withevents, direct major fundraisers and support theresident artists. We are at the final stage of reen-acting our nonprofit status, a task that has occu-pied more than two years of our energies. Withthe generous leadership of CPA Lauren Brooks,we will regain our status that was put on proba-tion until particular paperwork was complete.Our status will be enacted retroactively, back toNovember 2010. I wanted to get our status wellin hand before we established a new board, toavoid confusion in house.

One commitment this summer is a personalone — to start making pottery again. I’veshirked my first love in art to rebuild my secondlove in art — The Studio. However, it occurredto me that I am doing no one any good if I amnot putting in my share of art and pottery to selland to offer for donations to our favorite chari-ties. I actually have nothing left to donate and Iam down to one favorite mug. So if I seem morepreoccupied than usual(absent minded somepeople say), forgive me. I must indulge in myraison d’etre, not only for myself, but to recon-nect me to the clay community and the reason Igot into the business in the first place.

Have a fantastic summer and don’t forget tokeep them cards and letters coming in.

A View From The TopGreg Busceme, TASI Director

STUDENTS, COLLEAGUES AND FRIENDS of Lynne Lokensgard gatheredat three arts locations around Beaumont, May 4, to celebrate her40-year career as art history professor at Lamar University and herpublic service as advocate and mentor to the Southeast Texas artscommunity.

The celebration began at the Beaumont Art League, followedby a reception at Art Museum of Southeast Texas. The event fin-ished at The Art Studio, Inc.

The event drew a large group and the evening featured musicand tributes. Participants covered the range of stu-

dents from 1973 to thepresent, withmany formerstudentscoming fromacross thecountry tojoin theparty.

4 • ISSUE June 2013 Volume 19, No. 9

Art community gathers to celebrate long career of Lamar art history professor

Love for Lynne LokensgardPhotos courtesyof Beth Gallaspy and Pete Churton

THERE ARE FEW THINGS that kidslook forward to more than summerfun. There are few things that striketerror in the hearts of studentsmore than summer school.

But The Art Studio aims tofind that “cool” balance betweenschool and fun with its “ArtSkool”summer classes, July 22-26 and July29-Aug. 2.

The sessions are open to stu-dent ages 10 and up. The weeks are divided into morn-ing and afternoon sessions. The cost is $200 for oneweek, or $100 if the student takes only the morning orafternoon session for a week. All supplies are included.

The morning sessions include drawing, papermache and printmaking. The afternoon classes includeceramics and photography. Students taking both weekswill get a different experience each time, coordinatorAndy Ledesma said.

“What they’ll do is one of the sessions we offer percycle — and we have morning and afternoon sessions— and then they’ll rotate,” he said.

“This year it’s going to be a re-boot. Even if a personhas done paper mache in the past, they’re going to get atotally different experience. And if they are a beginner,they’ll still be able to get the same experience, becausewe are going to explore different ways of building —they are actually going to be more hands on this timearound.”

A variety of artists are teaming up to offer instruc-tion in a range of different media. The faculty willinclude artists such as Ledesma, Sheila Busceme,Elizabeth Fontenot, Greg Busceme and Joe Winston.

This is the third year that The Studio has offered its

ArtSkool classes.“We’ve had a chance to get some good feedback

from the students and parents,” Ledesma said. “Witheach year we’ve tried to change things up, as far as theapproach.

“I’m going to incorporate some things that I havelearned recently, and try to make the class fun by intro-ducing a looser structure but still have the same amountof projects.

“We tend to have more projects than other peoplewould have because we have one structure that’s arequirement and one where the student decides whatthey want to do with the techniques they’ve learned.

The weekly sessions will end with an exhibition ofstudent work in The Studio’s gallery.

“I expect the show to have a real impact because weare going to start planning it right from the first ses-

sion,” Ledesma said. “Not only will they be designingthe art products, but they will also be designing thepresentation, the space they will be presenting in.

“They will be coming up with a one-week art show.”The exhibitions will be on the Friday afternoon of

each week and are open to everyone.There is no limit to how many students are accept-

ed. Last year, between 20 and 30 students participated inat least one session.

Art classes offer a great experience for kids,Ledesma said.

“It’s up to each organization to make the experienceunique,” he said. “The Art Studio is unique in that ithouses a bunch of different kinds of artists and a bunchof different ideas. Every year we try to share as much ofthat as possible.”

Ledesma said that exposing children to the artsteaches them to think outside the box, to exploreprocesses that have been around for hundreds of years.

“In a sneaky way, in a standard day, figuring out theprojects, they go through social studies, math, econom-ics, learn team dynamics — in the midst of the fun theybecome better citizens and are better equipped to thinkbetter.

“Stuff that they might be bored with at school, theyare learning to use to make a fun thing.”

Students should dress for mess, with an apron orsmock recommended. Cell phones will not be allowed inclass.

Students attending all day should bring a lunch.Beverages are supplied.

For more Information, call 409-838-5393.The Art Studio, Inc. is located at 720 Franklin in

downtown Beaumont.

Volume 19, No. 9 June 2013 ISSUE • 5

Story byAndy

Coughlan

Students of the 2012 ArtSkool kearn raku firing with Greg Busceme, top,cermics, left and paper mache.ISSUE photo by Andy Coughlan

ISSUE photo by Elizabeth Fontenot

ISSUE photo by Elizabeth Fontenot

TASI Summer Skool for Fun


CRUISE DOWN CALDERAVENUE in Beaumontmost weekdaylunchtimes and one willsee a white horse trail-er adorned with a paint-ing of Elvis. Normally, there are

between 10-15 peoplemilling around. Some

are seated and eating. Some are just wait-ing for their “Bánh Mon.”

Chef Monica Cobb has built quite areputation for her French-Asian inspiredsandwiches, which she sells from thewindow of her Bánh Mon RenegadeFood Truck.

Monica’s sandwiches are her versionof the Bánh Mi, which is Vietnamese forbread. She wanted to sell street food andattempted to sell hamburger and Italiansausage sliders, but that was not the suc-cess she hoped for.

“I went out and sat on the curb, thenliterally the Bánh Mi popped in my head,and I knew it was flavors that I loved — itwas a little bit of a psychic intuition,”

Monica said.The “Bánh” is the bread, and the

“Mon” is the filling — as well as being aplay on her name.

Monica has been a chef for morethan 15 years. She attended LamarUniversity to major in Marine Biology,but deep down she really wanted to be anartist — of any form.

While in school, she worked as awaitress at Cody’s restaurant with herfriend, Jennifer Nichols, a photographystudent.

“Whenever possible I would get inthe kitchen and cook staff meals for all ofthe employees,” Monica said. “I remem-ber Jennifer said that I should be a chef— ‘That’s an artist.’ From there on, I pur-sued a career in the culinary arts.

“For me, it’s a lifestyle and the onlyway of life I know. It’s a life of art, prettythings, delicious smells, fabulous tex-tures, dangerous and intense situations,and hard work with an intensely satisfy-ing payoff — a desire to do it all again thenext day.

“I live to create and I live to serve my

creations.”Monica left Beaumont and moved to

Hollywood, Calif. shortly after college.“I crashed on a friend’s couch and

started out working as a waitress atLouisa’s Tratorria,” she said. “I went toevery little restaurant in the area lookingfor kitchen work, but no one was interest-ed in hiring a greenhorn with absolutelyno experience, just sheer drive and deter-mination. I even looked into culinaryschools, but they were all too expensive. Iwas not going to give up.”

Monica decided, on a whim, tosearch for a chef to study under.

“One night, I told my roommate thatI was going to go to a bar and look for achef in chef pants and talk my way into ajob,” she said.

She ended up at the Red RockTavern on Sunset Boulevard, locatedright across from world-famous Spagorestaurant, where she spotted a femalechef in red and white checked chef pantsat the bar ordering drinks.

“If I had calculated correctly, I’d becatching her after a long night on the

line, maybe half drunk and in the moodto talk shop,” Monica said.

Monica’s calculations were correct.“First thing I said to her was, “Are

those chef pants?” She replied, ‘No, Iwear them because they make my asslook so good.”

The woman said she was the chef decuisine at Spago, run by renowned chefWolfgang Puck.

“I was so green that I didn’t evenknow what Spago was or who WolfgangPuck was, and I asked her if the restau-rant was good,” Monica said.

By the end of the night, Monica hadmade a solid connection with Chef GinaDeCew, so solid that DeCew told her tocome in the following Thursday nightand hang out on the line, and see if it waswhat she wanted to do with her career.

When Monica told her co-workers,she said they “freaked out.” Spago isPuck’s flagship restaurant, which intro-duced the first open-kitchen concept inAmerica and created California cuisine.

“I got nervous, but somehow I knewthat this was just the beginning of a lifefull of surprises and hard work,” she said.

Monica said she went into Spago andfell in love.

“I came in through the back door ofthe prep kitchen and immediately I wasimmersed in a sea of white chef coats,sharp knives, flames, boiling pots ofstock, camaraderie, and lots and lots oftalent,” she said.

“I waited at the open line kitchen inthe dining room for Gina to come downstairs. I watched the sous chef, Lori, prep-ping sauces for that night’s dinner. Lori’sarms were scarred with burns and cuts.

“I watched in awe as she choppedgallons of vegetables, the whole timelooking at me and having a conversationabout the culinary arts. I thought then,‘I’ll never be able to cut like that.’”

DeCew finally came downstairs,looked at Monica and said, “Oh, it’s youand you remembered. Go upstairs andput a chef coat on and put your things ina locker.”

Monica spent the night working theline, as well as the pantry station.

Story byLainie Harris

Sometimes a sandwich is just a sandwich…& sometimes it’s a work of art

Chef Monica Cobb serves one of her French-Asian inspired sandwiches to Sarah Douglas at the Bánh Mon food truck on Calder Avenue in Beaumont.ISSUE photo by Lainie Harris

Chef Monica Cobb brings world of experience to culinary artistry


“I knew that this is what I wanted to do for the restof my life,” she said.

Monica asked every question she could to figureout how she could get a job at Spago. One of the linecooks told her to attend the culinary school that she andthe other line cooks had gone to, and then call DeCewfor a job.”

After the dinner shift DeCew asked Monica to meetfor a drink after work at the Red Rock.

“In no time, Chef Gina changed my life forever,” shesaid.

DeCew asked if Monica had a car, a job, and whereshe wanted to live. DeCew offered Monica a job as a linecook at Spago, the opportunity to rent her guest housefor $300 a month, and told her to sleep on it.

“I accepted right away, and had to leave rightaway just so I could breathe — and then scream at thetop of my lungs all the way to my friend’s place,”Monica said.

She worked at Spago for a year before being award-ed a scholarship to Westlake Culinary, the school thatthe Spago line cooks attend. During the day she studiedunder Cecelia DeCastro, who opened all of the restau-rants with Wolfgang Puck during the 1980s, and workedat Spago at night.

Cecelia basically trained chefs for the Spagolifestyle, Monica said.

Spago, Hollywood closed in the 2001, once thetwenty year lease was up.

Monica moved on to be the private chef for MattGroening, the creator of the Simpsons, and spent timestudying the art of French pastry at Les Deux Cafe inHollywood.

Then, for three years in a row, she followed a bandof neo-gypsy techno artists and spent time in the BlackRock Desert of Nevada at Burning Man, where she wasa macrobiotic chef for a colony of free-form artists.

“Every year at the end of the summer, myself and35,000 to 40,000 other free-form artists would build anamazing city on a lifeless desert floor and live it forseven days, and then burn most if it and take the restdown — leave no trace,” she said.

After Sept. 11, 2001, Monica left the states andmoved to Cairo, Egypt, where she lived on a parked1901 River steamboat, the Le Pache, on the Nile River inZamalek, a district of Cairo.

She was hired to open an Asian fusion, Thai-conceptrestaurant for an Egyptian tycoon.

“It was the hardest thing I ever did,” she said. “I wasalone, a female chef from America and I didn’t speak thelanguage.”

The restaurant, L’Astique, is still open today and issuccessful.

Monica said she ventured into Italy, Belgium andLondon before running out of money.

She returned to the West Coast and began workingas the private chef to the creators of “American Idol,”spending time between Beverly Hills and Hawaii.

“I eventually came back to my roots here inSoutheast Texas,” she said.

She grew up in Kirbyville and later moved to Vidorwhere she completed grade school. While attendingLamar, her boyfriend at the time, John Cobb, was begin-ning his portrait-painting career. When she returned,she married him.

“My husband is the most talented person I know,”Monica said. “He is an amazing portrait artist, he is in arock ’n’ roll band, jams on the guitar, sings, plays thepiano and the banjo — he blows my mind with his tal-ent. He works out of a brightly-lit studio behind mykitchen at home.

“We are lucky because we get to do what we loveand get paid for it, too.”

Monica and John have two children.

“We are older now and a lot more grounded, but thedrive and imagination to create is a constant,” she said.

Monica has not forgotten the help she got when shewas starting out, and she is keen to pass on her knowl-edge. Hannah Persia, Monica’s protégé, has cookedwith her for more than 10 years. Hannah is a graduatefrom both the Culinary Institute of America and OleMiss, with a degree in restaurant management, andworks alongside Monica at Bánh Mon.

“Hannah is my soul cooking partner,” Monica said.“I’m excited for our future. For now, we are makingBánh Mon magic in a converted horse trailer.”

Part of Monica’s cooking philosophy is to use local-ly grown product. She is part of the Slow FoodMovement of Southeast Texas, which promotes a food

and farming policy that is good for the public, the planet,farmers and workers.

“Cooking and creating is an evolution of life’s expe-riences,” Monica said. “I express myself through myfood. I travel to Southeast Asia and many other foreignlands in my mind, and express my imagination on myplates and in my Bánh Mon sandwiches.

“I am now in my late thirties, and I’m just as excitedabout my future as I was at the beginning,” she said.

The Bánh Mon trailer is located at 4585 Calder Ave.in Beaumont. Hours are Tuesday through Friday, 11a.m. to 2 p.m.

For menu, visit www.banhmon.com., or visit theFacebook page by searching Bánh-Mon-Renegade-Street-Food.

ISSUE photo by Andy Coughlan

Chef Monica Cobb, left, and Hannah Persia prepare food at the Bánh Mon food truck on Calder Avenue in Beaumont.

WELL, SPRING HAS FLOWN by with her usual two week briskness and the summer doldrums are officially on their way. No doubt you’ll beknee deep in crawfish boils and wedding receptions. I know I will.

So if you’re interested in air conditioning or music not hand picked by a man with a MacBook plugged into a speaker, we should beoff to the races.

THE PURGE— I don’tknow where this fascina-tion with horror thatEthan Hawke has sudden-ly developed came frombut I do know that I likeit. From the folks thatbrought you “Sinister”comes a horror movieripe with satirical possibil-ities. Once a year fortwelve hours all emer-gency services within theUnited States are sus-pended and all crime islegal. This is a story ofthat night.

MUCH ADO ABOUTNOTHING— From thedirector of “Marvel’s TheAvengers” and the cre-ator of “Buffy theVampire Slayer” comes ablack and white Shakespeare production shot on a shoestring budget! Honestly this film looks as comforting as a warm bath or a cold

glass of beer. Starring a host of Whedon alumni including Amy Acker and Nathan Fillion, this little project was shotin between the director’s days filming Mark Ruffalo pretending to be a green monster.

THIS IS THE END— James Franco, Seth Rogen, Jonah Hill,Danny McBride, Jay Baruchel and Craig Robinson versus the apoca-lypse. Oh and they all play themselves. Also, Rihanna probably diesin this movie, once again failing to shine bright like a diamond. Ifyou’re wondering, the first time was in the cinematic achievementknown as “Battleship.”

WHITE HOUSE DOWN— I know what you’re thinking. Wait, thesame guys who made that awful “Godzilla” movie are behind the sec-ond movie this year that’s basically Die Hard in the White House?Yes and yes. But unlike that first one you don’t have to listen toGerard Butler attempt what studio executives think is an Americanaccent. Also, name the last good movie Gerard Butler made — “300”right? That came out more than six years ago. The last good movieChanning Tatum made was “21 Jump Street,” which, at the time ofthis writing, is one year old. It’s just math folks.

PACIFIC RIM— Speaking of giant monsters, I don’t know aboutyou, but I can’t think of a better formula for a summer blockbusterthan giant robots fighting giant monsters. From director Benicio DelToro comes a love letter to the Toho monster movies of Japan. If youneed more than that I submit to you a cast that includes Charlie Day


(OR, YOU ARE ALLOWED TO TEAR YOURSELF

TThhee ggeeeekk’’ss gguuiiddee

Commentary byJeff Dixon

(Jeff Dixon loves moviesand comic books in a waythat often terrifies him. Youcan follow his insane ram-

blings on Twitter@RoiVampire if he let’s

you.)

The Purge

of “It’s Always Sunny in Philadelphia.” We can onlyhope for a game of “night crawlers.”

THE WOLVERINE— Here’s a question: how muchdo you want to watch Hugh Jackman fight hundreds ofninjas and cut them to pieces? The answer ought to be“a lot.” You’re in luck, citizen, because that is exactlywhat you’re going to get in this little motion picture.Based on the acclaimed mini series by ChrisClaremont and Frank Miller, this is the tale thatlaunched Wolverine from a guy on the X-Men to one of

the top five most popular characters in comics. Yes,dear friends long before Robert Downey Jr. put on hisiron helmet there was a time when you couldn’t swinga dead Phoenix without hitting a comic guest starringWolverine.

SMURFS 2— We should all be ashamed of ourselvesfor allowing this to happen. Write your congressmanand let’s get a head start on legislation to prevent athird outing. It’s too late to stop the Chipmunks butthese little blue bastardizations of our childhood canstill be vanquished.

SUPER COLLIDER byMEGADETH— Rememberwhen metal meant something?And I mean something besidesskinny boys with hair in theirfaces screaming unintelligiblelyrics while their even skinnierguitarists try desperately not tosound like the former emoband members that they are?Me too. Thankfully one of thegreatest metal bands to evercrawl out of the depths of Hellis releasing what could easilybe described as the loudestrecord of the year. Featuring11 tracks that will surely driveyour parents or legal guardiansinsane, this is the album towatch for this summer. And by

watch I of course mean listen to. Early reviews indi-cate just holding it in your hand can turn your t-shirtas black as a moonless night.

BEN FOLDS FIVE LIVE by BEN FOLDS FIVE—Earlier this year Ben Folds Five reunited for a worldtour. This album features tracks recorded during thoseshows from Tokyo to Toronto and a lot of places inbetween. The years have definitely been kind to theband and they remain as tight and energetic as ever.The disc will be available on iTunes, on a double vinyland a, let me make sure I’m reading this right, a com-pact disc, whatever that is.

And that’s it’s for me. Iknow we’re a littleheavy on movies thisyear but what do youwant from me, it’ssummer. I’ll be prepar-ing my palate for thewealth of finger foodsbeing served at thebarrage of weddingsthis summer. Myadvice to you would beto avoid three-piecesuits all together andspend a few air condi-tioned hours in a cine-ma. God knows I’ll bedreaming of it.


AWAY FROM NETFLIX OCCASIONALLY…)ffoorr ssuummmmeerr


THE WORD “SLOW”HAS many negativeconnotations. Whowants a slow watch,a slow car or slowservice? Being called“slow” is an insult.Our age is all aboutspeed and instantgratification. People

want action-packed movies, cars thataccelerate to high speed in seconds,instant communication via internet....Slow-going things are often perceivedas boring; in any case, who has thepatience to wait for something good tohappen if it takes too long?

However, important things mayand do get lost in out relentless questfor speed. Just like our palate becomesdesensitized to subtle flavors of gour-met foods after a prolonged exposureto fast food, our ability to savor theworld diminishes as we try to make itto the finish as soon as possibleinstead of taking time to enjoy theprocess.

Julian Treasure, the chair of theSound Agency and a renowned sound

expert, described the increasing inabil-ity of people to listen and, as a result,the loss of the art of conversation, as avery serious social problem in today’sworld. In his talk on TED, “Five Waysto Listen Better,” Treasure said:“Listening is our access to understand-ing. Conscious listening always createsunderstanding.... A world where wedon’t listen to each other is a veryscary place indeed.”

He commented that, instead of lis-tening, we resort to recording informa-tion or to isolating ourselves with ourselective “channels” by using head-phones, thus turning the sharedsoundscape into individual “bubbles.”Consequently, we do not hear the sub-tle and the understated; media has toscream at us with catchy or forebodingheadlines. To improve one’s listeningskills, Treasure suggested to take timeeach day to savor our sound-filled envi-ronment, or, in his words, “the hiddenchoir” of the world, and to try to dis-cern different “channels.” His otheradvice is to practice a three-minutesilence.

What Treasure said about listen-

ing can also be applied to looking. Thisvital skill is equally threatened by ourquickening pace of life. Our visualworld is as “noisy” as our soundscape,and we depend on our ability toprocess information quickly. As wedrive on the highway, we make instant

decisions based on reading the signswhich we see for a split second. Wefollow effortlessly a story by piecingtogether a rapid succession of scenes

See SLOW on page 13

TAKE YOUR TIME

Story byElena

Ivanova

Slow art movement promotes patience, reflection for understanding

“No, no. Turn around. Do it doucement. Do it very slowly.”

— True Lies, 1994

Judy Taylor ponders Nicolai Fechin’s “La Abuela,” left, during the Slow Art event at the Stark Museum of Art.

Thomas Moran (1837-1926), A NORTHER IN THE GULF OF MEXICO, top, 1884, oil on canvas, 25 x 51 inch-es, Stark Museum of Art, Orange, Texas, 2007.1.1

Photo courtesy Henry Ramsey


BAL ‘Fresh Star’ showto open June 8

September marks the 150thanniversary of the Battle of SabinePass and entries are being sought forthe “Dick Dowling Sesquicentennial

Art & Photography Exhibition,” sched-uled for the Texas Artists Museum inPort Arthur. Entries will be acceptedat the museum, July 30.

The show opens Aug. 1, with areception Aug. 8. The exhibition willtransfer to Dick Dowling Park inSabine Pass, Sept. 6-8, and will be ondisplay as part of the sesquicentennialcelebration.

The exhibition’s theme is the CivilWar. Entry is free and open to anyone.Categories include photography, craftsand painting, with separate sections forprofessional, semi-professional, non-professional, beginners and students.

There is a cost of $5 for adults and$3 for under 18.

“It can be anything Civil War relat-ed,” organizer Lynda Guillory said. “Itcould be anything, it could be a ceme-tery, it could be clothing — it doesn’thave to be Sabine Pass at all. It is any-thing to do with the Civil War.”

All photos and paintings must beoriginal, but Guillory said people cando a painting from an old photograph.

“It could be a painting of a field, ora photo of a cannon — it could be any-thing,” Guillory said. “They can even

do a logo celebrating the 150 years.”The photos must be matted but

not framed.Guillory said she hopes people will

donate their art to be part of a perma-nent collection that will be shownevery year.

The Battle of Sabine Pass tookplace on Sept. 8, 1863, and was theresult of a Union expedition intoConfederate-controlled Texas duringthe American Civil War. It has oftenbeen credited as the most one-sidedConfederate victory during the con-flict.

The event Facebook page featuresCivil War photographs for painters toreference.

Texas Artists Museum is located3501 Cultural Center Dr. in PortArthur.

For information on the exhibition,call Guillory at 409-549-2601, [email protected], or visitthe Dick Dowling Art & PhotographyCompetition 2013 Facebook page.

Art, photo competitions to mark Sabine Pass sesquicentennial

Photo courtesy Lynda Guillory

THE BEAUMONT ART LEAGUE is seeking entries for “Fresh Start,”a concept show scheduled to open with a reception, 7-9 p.m.,June 8.

The idea behind the show is to get more artists involved(in the Art League),” Elizabeth Fontenot, the show’s organizer,said. “We already have an established figure show and portraitshow, and I wanted to give artists — and the League — a rea-son to expand their boundaries and their experiences.

“I’m hoping to get a greater variety of art and artists in asingle show.”

Entries will be accepted 11 a.m. to 3 p.m., May 29-June 1.Cost is $10 for members and $15 non-members, which coversthree entries.

Fontenot said the idea is to encourage artists to do some-thing they are unfamiliar with, to push the boundaries of whatthey do.

“It doesn’t necessarily have to be weird,” she said. “It is achance to share something you haven’t shared before, or dosomething new for you — and it’s probably new for the com-munity as well.”

It’s an open-ended show, open to all media and subject mat-ter, Fontenot said.

The show draws its inspiration from the Art League’s 70thanniversary. The idea is to look to the future.

“Hopefully, we can get some new perspectives over at theLeague and get new people involved,” Fontenot said.

Fontenot said the League has established figure and 3Dshows, and she wants to allow a space for other forms.

“I hope to break through the idea that everything has aniche, and put everything on the same playing field,” she said.“I feel that people can get entrenched in their own styles. Forexample, I normally do paintings and prints, but I am thinkingof showing some ceramics.

“The show is meant to get you thinking on a new train ofthought.”

For prospectus, visit www.beaumontartleague.org.

ARTISTS LOOKING FOR A place toshow off their latest creationsneed look no further than The ArtStudio, Inc. in June.

The annual Alternative Show,a first-come, first-served art exhi-bition, will be on display June 1-29.

The show will open June 1with a reception, 7-10 p.m. atTASI’s gallery, 720 Franklin indowntown Beaumont.

Entry is free and submissionswill be accepted 2-5 p.m., May 28-30. There is a limit of five piecesper artist, and pieces must bedelivered in person. All worksmust be show ready, and wallpieces must be wired (no saw-tooths).

“This is a great opportunityfor artists of all ages to exhibittheir work in a relaxed setting,”Andy Coughlan, TASI tenant, said.“There are no judges and every-one is accepted, so it is a greatchance to have your work shownin a gallery.

“The Alternative Show has tra-ditionally been a show where any-thing goes. We have had work thatrepresents all ages and all levels ofexperience. Many local artistshave used this opportunity to firstshow their work.”

For more information, call409-838-5393, or visitwww.artstudio.org.

June show a real free-for-all

Outside the Box will present THE LADY WITHALL THE ANSWERS, a dinner theater production atthe Woman’s Club of Beaumont, May 31 and June 1.The show begins at 6:30 p.m.

The production, which features Roxane Gray asAnn Landers, will take place in the grand ballroom fol-lowing a four-course dinner.

Tickets are $65.“After the very successful Valentine’s Day dinner

theater show, we decided to do another production,”director Ramona Young said.

“The Lady With All the Answers,” written by DavidRambo, takes place in 1975, 20 years after Eppie Lederertook over the Ann Landers advice column that changedthe social landscape of the last half-century and madeher “America’s Therapist.” While struggling to write themost difficult column of her life, Ann Landers breaksdown the fourth wall and shares some of her favorite let-ters and memories with us.

“The playwright, David Rambo, has found an artfulway to tell the story of America’s transition from thecalm of the 1950s to the constant flux of the 1970s. Hetells us the story of one woman’s struggle to cope withthe changes in the world around her. The true beauty ofthe work is that he chooses the irrepressible AnnLanders to be that woman,” Young said. “Through herwit and straight-talk, he is able to tackle huge themeslike marriage and divorce, war and peace, celebrity andprivacy, without lecturing.”

Drawing from the life and letters of Ann Landersand with the cooperation of her daughter, MargoHoward, Rambo has created a touching play that theLos Angeles Times calls “...folksy, funny, straightfor-ward and validating ...a smile-inducing, tear duct-activat-ing reunion with a woman who might have been astranger but seemed like family...engaging from begin-ning to end.”

Since its 2005 debut at the Old Globe in San Diego,“The Lady With All the Answers” has been mounted inmore than 50 regional productions, including an off-Broadway production at the Cherry Lane Theatre thatearned Judith Ivey a Drama Desk and Lortel nominationfor her portrayal of Ann Landers.

The Beaumont Woman’s Club is located at 575Magnolia in downtown Beaumont.

Reservations may be made by calling 409-543-4915,or online reservations at facebook/com.outsidetheboxbeaumont.

_________________

Tsarist Russia and great songs will fill the PortArthur stage this summer as LAMAR STATECOLLEGE-PORT ARTHUR, IN CONJUNC-TION WITH PORT ARTHUR LITTLETHEATRE, stage the classic musical “FIDDLERON THE ROOF.”

The show will be presented July 18, 19, 20, andJuly 25, 26, 27 at 7:30 p.m., as well as July 21 and 28at 2:30 p.m.

Director Keith Cockrell said he is returning to

“Fiddler” after 16 years because it is a great storywith great songs — and to attract a large audience.

“Which is absolutely a legitimate reason to pickit, because the reason you get an audience isbecause it may be the best musical script ever writ-ten,” he said. “Certainly it is some of the best musicever written for a musical.

“There are cute musicals out there where thescript doesn’t mean anything. This is as good as aPulitzer Prize-winning play — the script itself hasthat kind of depth, that kind of humor. It’s hilariousand at the same time it is very touching.”

“Fiddler” is a family-friendly show with music byJerry Bock, lyrics by Sheldon Harnick, and book byJoseph Stein. It is based on the story “Tevye and hisDaughters” by Sholem Aleichem. The show also fea-tures original choreography by Jerome Robbins.The story centers on Tevye, the father of five daugh-ters, and his attempts to maintain his family andJewish religious traditions while outside influencesencroach upon their lives. Tevye must cope bothwith the strong-willed actions of his three older

daughters — and withthe impending evictionof the Jews from theirvillage.The musical fea-

tures such classicsongs as“Matchmaker,”“Miracle of Miracles”“If I Were a RichMan,” “Sunrise,Sunset,” and manyothers.For information,

call Cockrell at 409-984-6338.For reservations,

call 409-984-6111.


If you come across any interesting exhibitions, museums or other places on your travels, share them with us. Call 409-838-5393, or contact us throughour web site at www.artstudio.org. Be sure to include the location and dates of the subject, as well as any costs.

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on a movie screen. We efficiently navi-gate between several pages that aresimultaneously open on the computermonitor.

Are we losing our ability to see“the subtle and the understated” in thevisual culture as we become better andbetter in responding quickly to theinformation conveyed in succinct videobites? There are indications that weare. For several decades, art museumshave been conducting studies inregards to how long visitors look atworks of art. According to one study,museumgoers spend an average of 17seconds looking at individual painting -and that’s a generous estimate. Mostvisitors succumb to the “museum shuf-fle:” they read the wall text and, after abrief scan of the work of art, move on.

A world where people are tooimpatient to spend time in order toconnect with a work of art on emotion-al, intellectual and aesthetic levels isno less scary that the one where peo-ple do not listen to each other. Theloss of listening and looking leads tothe intellectual impoverishment ofmodern society since these abilitiesare germane to the appreciation of cul-ture.

Art museums always have beenthe biggest advocates of looking andlistening. Both are important parts ofthe art appreciation process: individu-als sharpen their observation skills inthe process of sharing their reflectionsabout works of art. Recently, a newmovement, dubbed Slow Art Day, hasswept through museums around theworld. It has become a popular annualevent during which visitors are encour-aged to spend no less than 10 minuteslooking at one work.

Ironically, the idea of Slow Art Daybelongs to a man who is neither amuseum curator, nor an artist. PhilTerry is the CEO of Creative Goods, aconsulting firm that helps corporateexecutives to relate to their customers.“My wife kept dragging me to muse-ums,” said Phil. “I did not know how tolook at art. Like most people, I wouldwalk by quickly.”

The program officially launched inOctober of 2009, when 16 museumsand galleries in the United States,Canada and Europe committed to hostSlow Art Day in spring of 2010. Threeyears later, on April 27, 2013, 274museums around the world engagedtheir visitors in looking at art slowlyand sharing their experiences at asocial gathering after the viewing.

The process is simple: interestedindividuals sign up to participate in theevent and on the chosen day come tothe local museum where they spendno less than 10 minutes looking ateach painting and maybe sketchingand taking notes. There are no particu-

lar rules or instructions other thanstraightforward tips suggested by PhilTerry, such as “look closely and backup,” “there is not a right or wrongway,” “be naive, be patient, allow theexperience to unfold” and , mostimportantly, “breathe.”

Some museums prefer to provideparticipants with a list of works, whileothers let visitors choose works ontheir own. It appears that the majorityof museums encourage visitors to lookat about five works during the event,which makes the total viewing experi-ence about 50-minutes long.

The organizers of Slow Art Dayrecommend that the discussion thatfollows the viewing take place outsidethe galleries — in a cafe or a museumlobby. It may seem strange at firstglance, however, there is a reason.When the participants do not have thework of art in front of them, they haveto rely on their memory and theirnotes, which makes them morefocused during the observationprocess.

After the latest Slow Art Day, theinternet exploded with emails fromevent hosts all over the world. As amuseum professional, I never feltmore a part of the museum communi-ty. My colleagues excitedly reportedon the day’s progress in their muse-ums using more exclamation marksthan any style manual would recom-mend. What happens when people arelooking at a work of art for an extend-ed period of time? Obviously, theynotice details which escaped them dur-ing a regular visit when they looked atmany works in a cursory manner. Butthis is not all. Visitors often commenton how completely different theirexperience was when they gave them-selves time to look at every square of apainting or every angle of a sculpture.Some compare it to a treasure hunt,some emphasize the increased emo-tional involvement, some experience asurge of a creative energy which com-pels them to write a poem or make art.

This spring, the Stark Museum ofArt hosted its first Slow Art Day. Asthe coordinator of this event, I can tes-tify that it was an unforgettable experi-ence for both the visitors and themuseum staff. We had a highly moti-vated group of thirteen people whohad great observations and reflectionsto share about the five chosen paint-ings. The list included a romantic land-scape of Yosemite Valley by AlbertBierstadt; a stormy seascape byThomas Moran; a genre painting fea-turing a group of Indians riding on abuffalo hunt across a snow-coveredplain by Henry Farny; a modernistpainting of a canyon by Emil Bisttram;and a portrait of an elderly woman byNicolai Fechin.

During the discussion that fol-lowed the viewing at Star and CrescentMoon Cafe in Shangri La Gardens, I

asked our group what painting theyliked the most. The majority voted forFechin’s portrait titled “La Abuela.” Adeeply emotional response to this por-trait is summed up in this poem writ-ten by one of the participants:

Strong mouthPenetrating eyesEternal faceTemporary clothingMany smiles in the lines around themouthMuch sun on the skin

The most controversial paintingwas Bisttram’s “Canyon.” Unlike themore conventional landscapes byBierstadt and Moran, Bisttram’s paint-ing is composed of flat, angular forms

which convey an idea, rather than por-tray a true-to-life image, of a rocky,confined space. This is how one of theparticipants commented on thegroup’s heated conversation about thiswork: “I loved the reaction during thediscussion. This piece was polarizingand the volume went up a notch. As amore abstract painter, I loved the factthat this painting seemed to force themost visceral response.”

I also experienced a surge of cre-ative energy as Slow Art Day came toan end. No, I did not write a poem, nordid I pick up a paint brush.

I kept thinking about the manyways I can incorporate looking at artslowly into educational programs forall ages.

Emil James Bisttram (1895-1976), THE CANYON, 1950, oil on canvas, 40 x 25 inches, Stark Museum of Art, Orange, Texas, 31.223.1

SLOW from page 10


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

devoted to: providing opportunities for interac-tion between the public and the Southeast Texascommunity of artists; furnishing affordable stu-dio space to originating artists of every medium;promoting cultural growth and diversity of all artforms in Southeast Texas; and providing art edu-cational opportunities to everyone, of every age,regardless of income level, race, national origin,sex or religion.

PURPOSE

The purpose of The Art Studio, Inc. is to (1)provide educational opportunities between thegeneral public and the community of artists and(2) to offer sustained support for the artist byoperating a non-profit cooperative to providestudio space and exhibition space to workingartists and crafts people, and to provide an areafor group work sessions for those artists andcrafts people to jointly offer their labor, ideas,and enthusiasm to each other.

GOALS

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

for artists4. To provide peer feedback through associa-

tion with other artists and crafts people

OBJECTIVES

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

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

public4. To offer regularly scheduled adult and

children’s classes5. To develop and maintain public activities

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

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

increased facility space

CURRENT AND UPCOMING EXHIBITIONS

VOLUNTEERS NEEDEDThe Art Studio is looking for energetic people

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

OFFICE SUPPORTBUILDINGS & GROUNDS

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

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

Abigail McLaurinSolo Exhibition

June 1 to June 30 at the Texas Artists Museum,3501 Cultural Center Drive in Port Arthur.

Artist reception is June 13, 5:30 p.m. to 7:30 p.m.

‘Family Histories’ by Mary Sibande

Lamar University’s Dishman Art Museum is hosting “FamilyHistories,” featuring murals by contemporary South African artistMary Sibande.

Exploring constructions of gender, class and race, the exhibi-tion will run through Aug. 16.

Based in Johannesburg, Sibande employs the human form asa vehicle to explore the construction of identity in post-ApartheidSouth Africa. Her work also attempts to critique stereotypicaldepictions of women, particularly black women, in our society.

The Dishman Art Museum is open from 9 a.m. to 5 p.m.Monday through Friday, and is located at 1030 East Lavaca,Beaumont, Texas. Free museum-dedicated parking is available infront of the Dishman during museum hours.

Call 409-880-8959 for more information or visitlamar.edu/dishman.


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The Steadfast Truth

A situation has the tendency to distort the expression

Of yourself

A particular set of circumstances will cast hues and tones of

Color onto your palette of self-perception

The struggle emerges as

Self seeks steadfast truth

There is a struggle because

Truth, for some of us— is hard

And Steadfastness— Well, that too

Reveals my weaknesses

While keeping reign on helplessness and victimization

Rely on good judgment and a

Functional mind and

Keep your eye on the steadfast truth.

Cathy Atkinson

What Have I Done?

compelled the fertile bell of earth to put forth plant and petalled birth forced life into existence with a shove and ungloved, filthy handscut into the belly of the ground and ripped a baby from the wombdeclared the dirt a follower of mine and told it to obey not sun and moon nor rain and wind but every furrow in my sweaty, harrowed browdemanded love when all I’ve done is take advantage of its nakedness and kicked it down and damned the damage I have done in days ofdousing, drowning, digging, dumping till its done growing, dead tired of me and given into dust hoping that in death I'll bury it for good in some untended, unmarked grave beside a fruit tree with simple marker reading: rest in peace my dearest garden bed

Jesse Doiron

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Issue Magazine - June 2013

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