issue magazine

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ISSUE Vol. 19, No. 3

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

Editor . . . . . . . . . . . . . . . . . . . . . . Andy CoughlanCopy Editor . . . . . . . . . . . . . . . . . . . . Tracy DannaContributing Writers . . . . . . . . . . . . Elena IvanovaContributing Photographers . . . . . . . . Josh Reeter

The Art Studio, Inc. Board of Directors

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

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

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

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

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

Contents

Rite of Print . . . . . . . . . . . . . . . . . . . . . . . . Page 4Berryman’s Editorial Cartoons . . . . . . . . . . . Page 6Shop-O-Rama Call for entries . . . . . . . . . . . Page 7Western Photos at Stark Museum . . . . . . . . Page 7Sean Wilcox Exhibition . . . . . . . . . . . . . . . . Page 8Suspension of Belief . . . . . . . . . . . . . . . . . Page 11Around & About. . . . . . . . . . . . . . . . . . . . . Page 12Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13

Cover photo of Sean Wilcox

by Andy Coughlan

UPCOMING EXHIBITIONS AT THE ART STUDIONNOOVVEEMMBBEERRSean Wilcox

Opening . . . . . . . . . . . . . . . . . . . . . . November 3

DDEECCEEMMBBEERRHoliday Shop-O-Rama Extravaganza

Opening . . . . . . . . . . . . . . . . . . . . . . December 1

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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SSUUGGGGEESSTTEEDD MMEEMMBBEERRSSHHIIPP AAMMOOUUNNTT

SO, QUICKLY WE COME to the holiday sea-son, and along with that is the Shop-O-Rama Extravaganza, our annual artistssale throughout the month of December.

Residents at The Studio, and otherlocal artisans, are hard at work producingreasonably-priced, hand-made, and origi-nally-created artwork and fine crafts that,hopefully will find homes with appreciativeart lovers.

If you are creating good work, contactThe Art Studio for a short or long termspot during the Extravaganza.

On an encouraging note, purchase oflocally created art work has seemed totake an upswing over the past six to eightmonths. I think it has something to dowith the food and business trend to buylocal, buy fresh, grow your own. If youare going to get a gift or treat yourselt, thepreference would be to find somethingunique that can’t be found on a rack at amall kiosk.

Money is tight and that is reflected infinding quality art or crafts with substanceand value. With a direct connection to theartist, the work has a face and a name,and thus, a substantial bond betweenartist and patron.

The Reformations’ historic splitbetween Catholics and Protestants com-

pletely changed the role of artists. In thatperiod, artists were fully and almost exclu-sively indebted to wealthy patrons, gov-ernments or churches who commissionedartists to create propaganda as historicalfact through the painted image. Theautonomous street vendors began creat-ing the genre painting — small, simple-themed paintings of the artists’ choice,priced for the middle and working class.Dutch citizens were able to purchasethese reasonably priced art works andthey wanted art in their homes as a statussymbol.

You will see something completely dif-ferent now if you log on to the Art Studio’sWeb site. With the professional assistanceof Stacey Haynes (of KVLU fame) to takeover and revamp, our Web site will bemore media responsive. We have Youtubeconnections to set up instructional vids forteachers, donations buttons and a secureserver for transactions online. A smallercarbon footprint is in our future.

Speaking of carbon footprints, Lamarengineering professor Tony Pereira, aka,Solar Tony, is consulting with The Studioon an environmental study. We hope to

A View From The TopGreg Busceme, TASI Director

See VIEW on page 15

4 • ISSUE November 2012 Volume 19, No. 3

Estonian printmaker ToomasKuusing, an exam-ple of whose workis shown above,

will give a presen-tation and demon-

stration of hiswork during “Riteof Print,” a three-day printmaking

event organized byLamar University

art professor XeniaFedorchenko, pic-tured right with asigned poster by

Peeter Allik, anoth-er Estonian artistwho will lectureduring the event.

WHEN PRINTMAKER XENIA

FEDORCHENKO decides tohave a few friends over,they don’t just come fromaround the corner.

In early November,Estonian printmakersPeeter Allik and ToomasKuusing will bring theirunique stylings to

Southeast Texas, and Fedorchenko is invitingthe community to pop by and see them.

The pair will present lectures and work-shops while they are in town, beginning Nov.7, and the three-day event, “Rite of Print,” willend with a printmaking party featuringEstonian performance artists Non Grata, 7-10p.m., Nov. 9, at The Art Studio.

“Basically, it is centered around these fiveartists coming from Estonia, three perform-ance artists and two printmakers,”Fedorchenko said. “One of the printmakers,Peeter Allik, will do a workshop at Lamar onrelief printing. His technique is superb. Heconsiders himself both a painter and a print-

maker. He is truly an international masterartist.”

She said that in America, printmakers andpainters are more separated groups.

“I think it’s the collaborative nature of theprint studio, versus the solitary nature of thepainter,” she said. “The painter doesn’t haveto paint around other people. That’s what cre-ates that identity of a printmaker in America,because we all have homes big enough topaint in, but we don’t have homes big enoughto have a print shop in.

“Whereas, where they are coming from,in eastern Europe, people don’t have homesbig enough for a painting studio, so that iden-tity dissolves away.”

The other printmaker who will be here,Toomas Kuusing, will also be talking aboutboth media.

On Nov. 9, performance group Non Gratawill present “!Storm Generation!” Studentsand faculty from other schools will come totown, to join with Lamar students who will beprinting live. Artists from around the countrywill be invited to set up booths and sell art.

PRINTMAKER INVITES COMMUNITY TO EXPERIENCE NEW CULTURE, IDEAS

FFRROOMM EESSTTOONNIIAA TTOO SSEETTXXStory byAndy

Coughlan

ISSUE photo by Andy Coughlan

Volume 19, No. 3 November 2012 ISSUE • 5

“It will be a one evening, Rock ’n’ Roll party,”Fedorchenko said.

While the party aspect is high on the agenda,Fedorchenko, professor of printmaking at LamarUniversity, said there is a serious point to the event.

“I am doing this to promote art in the community,for us not to just see ourselves,” she said. “It does tendto be a comfortable world and I don’t necessarily thinkthat new things, innovative thought, happens within acomfortable environment. And I am hoping to shakethings up just a little bit where people can see differ-ent ideas or maybe encounter something they haven’tconsidered that they might consider in the future.”

Fedorchenko organized the “Gulf Print Storm”two years ago, and the Estonian printmakers’ workwas exhibited at The Art Studio as part of that event.While attending a festival in Estonia this summer thatthe printmakers had organized, she got to meet themand was surprised that Allik was open to visitingSoutheast Texas.

“I am a little bit in shock that this is actually hap-pening — at the giving of these artists,” she said. “Imean, the cost of coming from Estonia, which noone’s covering, it’s amazing. They are doing it for theexperience, to encounter America. That’s why I wentto Estonia, to discover the culture and the art overthere. That’s how true exchange happens. It’s not for

profit, it’s not really to achieve anything personally —it’s just to get out there.”

Fedorchenko said that she hopes that people whoare not in the printmaking classes at Lamar will showup for the free workshops.

“Carving linoleum is not much of a science,” shesaid. “What these people really bring, beyond thisbasic relief printing technique, is the way they drawwith their lines — a different approach to mark mak-ing than what is around. And that is what is reallygoing to knock people out.”

Fedorchenko said she invites anyone interested innew ideas to attend the events and get a taste of theseeastern Europeans’ artistry.

“I’m trying to keep it where it’s not too huge, but Iwant people to show up and learn, enjoy — and meetpeople from Estonia,” she said, laughing. “How manypeople from Estonia do you know?”

Estonian artist Peeter Allik, whose print, “Sausage” is showntop, will be among the artists who will lecture during “Rite ofPrint,” a three-day printmaking event in November. Performanceartists Non Grata, left, will present a unique show Nov. 9 at TheArt Studio. Lamar student David Prado, above, works on a printin Xenia Fedorchenko’s class. Lamar students will print live atthe Nov. 9 event.

ISSUE photo by Andy Coughlan

‘RITE OF PRINT’ SCHEDULEWEDNESDAY, NOV. 7

Artist Lecture by Peeter Allik, 6 p.m.Dishman Art Museum Lecture Hall, Lamar University

followed by a reception.

THURSDAY, NOV. 8.Workshop by Peeter Allik, 1 p.m. to 4:30 p.m.,

101 Art Building, Lamar University followed by Toomas Kuusing workshop,

5:30 p.m. to 8 p.m.

FRIDAY, NOV. 9Non Grata performance, "!Storm Generation!"

featuring Anonymous Boh, Devil Girl and Travis McCoy Fuller, including an exhibition of works by Non Grata,

Peeter Allik and Toomas Kuusing, live printing and art sale.The Art Studio, Inc.


“FROM THE BEGINNING OF theRepublic it has been the dutyof every free-born voter tolook down upon us, and theduty of every free-bornhumorist to make jokes atus.”

— Nicholas Longworth, Speaker of the House, 1920.

EVERY FOUR YEARS WE are caught in a frenzy ofelections. Even the most apathetic among us cannotescape hearing something about the candidates run-ning for office, due to the massive media attack.Internet has added a new dimension to our engage-ment in the political process by providing anunprecedented opportunity to share one’s personalopinions, whether informed or otherwise, with thewhole world.

But how did the voice of “the common man”become heard before the Internet? How did peopleget a behind-the-scenes look into the workings ofpolitical campaigning before TV or radio? The exhib-it, “Running for Office,“ gives us a glimpse of thepast through the witty and insightful cartoons ofClifford Berryman, the leading political cartoonist ofthe Washington Evening Star, who drew every presi-dential administration from Grover Cleveland toHarry Truman.

The story of how this exhibit came to be is asexciting as the body of work it showcases. In theearly 1990s, about 2,400 of Berryman’s original pen-and-ink drawings were discovered in the basement ofthe house of his late daughter, Florence BerrymanSeville. This was a lucky find since Berryman’s draw-ings are dispersed in different collections and thewhereabouts of many more of them are unknown.Thanks to The Charles Engelhard Foundation, thisvaluable collection found its new home at the Centerof Legislative Archives of the National Archives inWashington, D.C.

A selection of drawings chosen by archivistsJessie Kratz and Martha Grove was organized into atraveling exhibition, which has been on the roadsince 2008. On Oct. 19, “Running for Office” openedat the John E. Conner Museum on the campus ofTexas A&M University-Kingsville. Here is an inter-view with the museum’s interim director JonathanPlant, conducted in advance of this exciting event.

Elena Ivanova: Before we talk about “Running forOffice,” could you tell me about your museum?Jonathan Plant: The collection was started in 1925by Professor John E. Conner and in 1929 the muse-um was established. Today, we are a general muse-um, with collections in the areas of natural and socialhistory, decorative and fine arts, and material cul-ture. Being a university museum, our audience ismainly students, but we also serve the local commu-nity and public schools. We are surrounded by many

rural communities, whose residents don’t haveaccess to many cultural institutions; our museumservices these audiences as well.

E.I.: What are the highlights of your collection?J.P.: One of the highlights of our collection is theGraves Peeler “Hall of Horns,” which features over200 animal mounts of North American native andexotic game species.

E.I.: How did you decide to show “Running for

Office” at your museum?

J.P.: We bring in four to six touring exhibitions ayear, including national or state touring exhibits. Inregards to “Running for Office,” I stumbled into thisexhibition by accident about two years ago. We arerequired by federal statute to recognize NationalConstitution Day (Sept. 17) and it’s always a chal-

Story byElena

Ivanova

Clifford Berryman. “Two Bees or Not Two Bees – That is the Question!”

October 28, 1906

See CARTOONS on page 10

Donkey, Elephant and Teddy Bear:An Artist’s Take on Candidates and Campaigns


“NATIONAL GEOGRAPHIC GREATEST PHOTOGRAPHS of the American West,” acollection of iconic Western images gathered by National Geographic over aspan of 125 years, is on display at the Stark Museum of Art in Orange throughJan. 26.

The Stark Museum is one of ten museums to open this exhibition of pho-tographs on the same day, creating the largest simultaneous photographyexhibition ever in the nation.

“Seventy-five images on display at the Stark Museum will give a grippingvisual narrative that confronts the myths and realities of life in the Westthrough an exploration of legends, encounters, boundaries and visions,” amuseum release states. “Images offer visitors a better understanding of therelationship between landscape and culture, along with an illustration of theenduring identity of the American West.

“We are pleased to bring ‘National Geographic Greatest Photographs ofthe American West’ to the Stark Museum,” Sarah Boehme, director of StarkMuseum of Art, said. “This is the first exhibition of photography ever held atthe Stark Museum of Art and we are excited to take this new direction with anexhibition that assembles great photographic imagery from historic trailblaz-ers such as William Henry Jackson and Ansel Adams to contemporary leaderssuch as Sam Abell and Joel Sartore.”

A companion book to the exhibition, “National Geographic GreatestPhotographs of the American West: Capturing 125 Years of Majesty, Spirit andAdventure,” features 175 photographs, including rarely published and never-before-seen images capturing the real West and its enduring legacy from earli-est images through contemporary issues. The book is on sale at StarkMuseum of Art’s Museum Store and online from National Geographic Books.

Adjacent to the National Geographic Greatest Photographs of theAmerican West, the museum will have an educational exhibit that will featurea display of photographic equipment including historic cameras on loan fromSpindletop-Gladys City Boomtown Museum at Lamar University in Beaumont.It will also have a timeline on the history of photography and an interactivelight table, an activity suitable for children and families.

The Stark Museum is located at 712 Green Avenue in Orange. The muse-um is open to the public Tuesday through Saturday from 9 a.m. - 5 p.m. For more information, call 409-886-ARTS (2787) or visitwww.starkmuseum.org.

The book, “National Geographic Greatest Photographs of the American West: Capturing 125 Years of Majesty,Spirit and Adventure,” is the companion to the exhibition of photographs on display at the Stark Museum ofArt in Orange through Jan. 26.

Courtesy photo

Stark Museum hosts American West photo exhibit

The Holiday Shop-O-Rama Extravaganzasoon will be upon us and we’d love for youto participate.

The Art Studio, Inc. will host its annualart sale that offers one-stop shopping for aunique, funky, artistic and inexpensive giftscreated by local artisans.

This event is your opportunity to pres-ent your work for sale during this holidayseason. All work must be handmade andoriginal by the presenting artist, no kitsallowed and work must be constructed withquality and integrity.

• Paintings, illustrations and photo-graphs must be the work of the presentingartist and must be appropriately matted andplaced in cradles or other retaining stands,as there is not enough room to hang all flatwork. Limited editions of prints are accept-

able but photocopy reproduced work is notallowed.

• Tables and displays are the presentingartists’ responsibility. All work must be list-ed on an inventory form provided by TASI.The artist will assign each work a uniquenumber and description, with a correspon-ding number and your initials on the pricetag on the item being sold.

• The Art Studio will handle all salesand tax collection in exchange for a 25 per-cent donation from the artist on all sales oftheir work.

• All contributing artists must be mem-bers in good standing with The Art Studio,Inc., and all work must remain on displayfor the duration of the show. New work willbe accepted throughout the month.

• This year’s sale will coincide with the

Merchant Soiree which will take place onthe opening date, Dec. 1, during the recep-tion from 7-10 p.m.

DATES TO REMEMBER:November 24-28: Bring work and set up displays.December 1: Sale opens noon-5 p.m. Reception, 7-10 p.m.(Treat for the food table greatly appreciat-ed)December 20-21: Unsold work to be picked up by artist.

If you have questions, please call The ArtStudio at 409-838-5393, or send us an emailthrough our contact page atwww.artstudio.org.

HOLIDAY SHOP-O-RAMA EXTRAVAGANZA

CALL TO ARTISTS

SEAN WILCOX SITS IN the coveredporch of his Beaumont house, afew cats dozing on the chair, hisblond hair bright in the eveningsun.

He is thoughtful as he answersquestions about his paintings. Butbring up photo chemicals — specif-ically his photo chemical paintings— and he becomes almost evangel-

ical in his effusive promotion of the art form.“When it comes to the photo chemicals, there is a

philosophy and there is motivation on my part,” he said.“We’ve seen the (photographic film) industry crumble— Kodak no longer makes silver gelatin, black andwhite — chemicals are hard to find.

“With the photo chemical paintings, I would like tosee a rebirth of that industry. We’ll never be able to fightdigital, but the part that I think is ironic and beautiful atthe same time, is that when Picasso (started) painting,photography had just started to come out and everybodysaid, ‘We can’t paint the perfect painting anymore.What’s the point?’ That’s how a lot of the art evolved,they weren’t stigmatized by that any more. That wastaken away. Now we are free to go off and do whateverthe heck, you know?

“In the same sense that digital has come along,there is no comparison to film. What someone can do (inminutes) on a laptop used to take me hours in the darkroom. It’s opened up the world for photography. But,ironically, the thing that took away the people’s desire topaint an almost photo-realistic painting has become thepainting.”

Wilcox will exhibit his photo chemical images, aswell as his complex oil paintings, in the exhibition, “AndNow For Something Completely Different,” at The ArtStudio, Nov. 3-25. The show will open with a free recep-tion, 7-10 p.m., Nov. 3.

The Montana native said he was an Air Force bratand right after he was born his family moved toOkinawa, Japan for five years. After that, they spent timein Spain, England and the Phillipines. His father is fromBeaumont and his mother was from Kettering, England,and the family settled in Beaumont when Sean was 10.

He said his nomadic early life is represented in hiswork.

“You can see it in the Samurai paintings” he said. “Ithink a lot of the inspiration of travels, history — I had agood opportunity to see lots of museums growing up.My mom really loved art and kind of pushed it. Mybrother was a basketball player so she kind of shelteredme in that sense.”

In third grade, Wilcox won an award for a smalldrawing and was hooked from then on.

After high school, he joined the army as a mechanic,

Story andphotos by

AndyCoughlan


Sean Wilcox shows off one of his photo chemical paintings in his Beaumont home.

ARTIST WILCOX FINDS OUTLET FOR UNIQUE PHOTO CHEMICAL PAINTINGS

serving in the Desert Storm conflict. “It was a very on-edge kind of thing — but with a

lot of laughter,” he said. “War is the most boringthing imaginable. You just sit around waiting for afew minutes to happen and that’s it.”

Before he joined the army, he was an avid pho-tographer, winning several awards.

“But when I was (in Iraq), I took photos of someof the most horrible things I could ever see, and Ifound myself composing it,” he said. “So I put thecamera down. I just quit taking photographs.Something about it triggered something. I probablyshould have used it o my advantage, but at the time Iwas thinking, ‘What the hell am I doing?’”

When he left the service he planned to use hismoney for college to study painting, but the militaryrefused to allow him to go into the liberal arts, sayingthat Wilcox could only use the money for something

tangible that would allow him to go into the work-force, he said. So he never went to college, choosinginstead to use his mechanical and photographic skillsby working for photo labs.

“That led to the photo-chemical paintings, whichwas a complete accident,” he said.

He would see the chemicals on the paper intrash cans when he turned the lights on, and that ishow he discovered the photo paintings.

“I found that I didn’t need a camera to use theaspects of photography — the chemicals, the paper,”he said.

Despite being unable to study formally, Wilcoxdid pick up painting again as soon as he returnedfrom the Gulf.

“I was living with my parents and I had hardlyany money, and it was really something to do,” hesaid. “I can honestly say, I’m 44 now, that I have beendedicatedly painting for 25 years.”

Wilcox said he is self-taught through books andtrial and error. He also met local artist MartyArredondo, another “key player” when he got back.

“We used to go to shows and hang out and

paint,” Wilcox said, adding that he also shared a stu-dio with photographer and acrylic artist RodneyNavarre.

“They were good influences,” Wilcox said. “And Ialways went to the shows.”

For the past four years he has entered The ArtStudio’s Alternative Show, and he placed in the 2011TASIMJAE, The Art Studio’s membership show. Itwas then that he was offered the chance to show hislatest work.

“And Now For Something Completely Different”will feature a cross section of Wilcox’s work over thepast few years, including some works on loan fromcollections.

Wilcox said that when he is working on an oilpainting, he dedicates himself to one piece at a time.A large blue painting sits on an easel in his livingroom, one that he said took six months to complete.

“It’s a lengthy process, because with oils theyhave to build up, build up, build up,” he said. “I try tocapture and use the ridges in the paint, but it’s onthere very, very light — it’s not a thick impasto. So itis a horrible experience of just building up. I don’tpaint the canvas one solid color and then start. I gofrom raw, following my lines, and then start buildingup from there.”

Wilcox said he works from fully-realized draw-ings in his ever-present sketchbook.

“Of course, the paintings evolve themselves, butthey do start out as little tiny thumbnails,” he said.

Some of the sketches will be framed to show theviewer how the pieces evolve, he said.

Most of the work he does is abstract portraiture,Wilcox said.

“I like to paint people, but not necessarily realis-tic,” he said.

Wilcox said that he doesn’t have a specific phi-losophy in his work.

“I like samurais, so I paint samurais,” he said. “Ithink it is beautiful, the whole honor and pageantry,


Artist Sean Wilcox will host a gallery talkand demonstration of his “photo painting”technique, 7 to 8 p.m., Nov. 15, in conjunc-tion with the exhibition “And Now ForSomething Completely Different.”

“Sean has developed a really interestingprocess people will want to explore,” AndyCoughlan, Art Studio tenant, said.

The event is free and refreshments willbe available.

Demonstration slated for Oct. 18

See WILCOX on page 14

Sean Wilcoxstands sur-rounded by hisartwork, left, inhis Beaumonthome. The“bunny”image, far left,is an exampleof his pioneeringphoto chemicalpainting technique.

OMEGA II,below, is an oilon canvas.

lenge to find an appropriate show. I was very happyto find this one and succeeded in reserving it.

E.I.: What would you like visitors to take away fromthis show?J.P.: Even though these cartoons were made before1948, the themes they portray resonate today. Theexhibition is organized in several sections, which cor-respond to different stages in the political campaign;from the time the candidate declares his interest inpursuing an elected office, to planning a politicalstrategy, to engaging voters, and finally to the after-math when the election results are announced.Today, candidates go through the same process andoften act in a similar way. I think that our public,caught in the election spirit, will find it refreshing tosee how politicians of the past grappled with thesame issues. I also expect that this exhibit will helpstudents of political and social sciences recognize theimportance of political satire as a historical docu-ment.

E.I.: I enjoyed looking at Berryman’s drawings inthe catalog. What strikes me most is that his car-toons, while hilariously funny and insightful, arealways good-natured and characters never lookgrotesque. What a difference from today’s candi-dates’ messages disseminated by public media inwhich the opponent is typically demonized.J.P.: Yes, this is very true of Berryman’ cartoons.Berryman was never derogative. His characters arecartoonish, but their features are remarkably accu-rate — not much is exaggerated. These drawingsremind us of the lost era in political lampooningwhen there was no hatred or bias in cartooning.

E.I.: Do you have a favorite cartoon in the exhibi-tion?J.P.: There are several. One is titled “The Fishin’Season,” from June 7, 1919. It shows the DemocraticDonkey and the Republican Elephant sitting back toback on a tree log and fishing in the same pool forcampaign issues. This is so typical of today’s politicsas well. Candidates go beating the bushes to findissues that would grab the public attention and winthem the election. Ironically, only three weeks afterthis cartoon was published, World War I officiallyended with the signing of the Treaty of Versailles anda big political issue — who will dominate the postwarworld — came up. Another one is “Post-SeasonParade,” from March 5, 1915. We see a stream oflame ducks — congressional members who did notget re-elected — departing Capitol Hill and headingtowards the White House in hope to secure politicalappointments from President Woodrow Wilson.Again, political ambitions today are still the same.

E.I.: The Democratic Donkey and the RepublicanElephant characters were not invented by Berryman,were they?J.P.: No, they first appeared in the drawings ofThomas Nast, the same artist who is responsible forthe popular image of Santa Claus as a jolly pot-belliedfellow. However, Nast showed the DemocraticDonkey and Republican Elephant as animals whileBerryman anthropomorphized them. In his cartoons,they always are wearing clothes and act as people.

E.I.: But Berryman has the honor of creating a very

important animal character which became anAmerican cultural icon?J.P.: Yes, the character of Teddy Bear, named soafter Teddy Roosevelt. According to the story,Theodore Roosevelt refused to shoot an old bearwhile hunting in Mississippi. Berryman portrayedthis episode in his cartoon “Drawing the Line inMississippi,” from Nov. 16, 1902. Under his pen, theold bear was transformed into an adorable, wide-eyedbear cub. Teddy Bear became a reappearing charac-ter in Berryman’s cartoons during the Roosevelt eraand later was appropriated by the artist as his alterego — we can see a little bear in the background ofmany of his drawings. It reflects the artist’s sense ofwonderment.

E.I.: So the popular children’s toy owes its existenceto Berryman?J.P.: This kind of toy existed before, but it was notcalled Teddy Bear till Berryman’s cartoons. Its popu-larity skyrocketed after Morris Michtom, the founderof Ideal Toy Company, started marketing toy bearsthat looked like Berryman’s cartoons.

E.I.: In the end, what is the enduring legacy ofBerryman’s cartoons?J.P.: He covered hard times in the country’s history— World War I, Depression, World War II, and thebeginning of the Cold War. He was at the center ofthe political scene working for Washington EveningStar. But despite all this hard struggle, his cartoons

were constant, amiable and thought-provoking. Hisworks are held in high esteem by the United StatesSenate. It is not an accident that this collection isnow preserved at the National Archives, togetherwith such documents as the Declaration ofIndependence, the Constitution, the Bill of Rightsand the official correspondence of the government ofthe United States.

E.I.: Thank you for your interview. I hope that thisexhibition will travel to southeast Texas so we canfully appreciate the humor and the draftsmanship ofClifford Berryman.

“Running for Office: Candidates, Campaigns, andthe Cartoons of Clifford Berryman” was created bythe National Archives with the support of theFoundation for the National Archives and organizedfor travel by Humanities Texas, the state affiliate ofthe National Endowment for the Humanities.

This traveling exhibition is on view at the JohnE. Conner Museum through Nov. 30.

The John E. Conner Museum is located on thecampus of Texas A&M University-Kingsville, 905 W.Santa Gertrudis Avenue, 700 University Blvd.,Kingsville.

The museum is open Monday through Friday, 9a.m. to 5 p.m., and Saturday, 10 a.m. to 4 p.m.

Admission is free; donations are accepted. For information, call 361-593-2810 or email

[email protected].


CARTOONS from page 6

Clifford Berryman. “The Fishin’Season”

June 7, 1919


HHaannggiinngg OOuuttWHEN THE “IMMERSED IN INK” tattoo

convention came to the Beaumont CivicCenter, Oct. 19-21, the masters of the nee-dle were not the only attraction.

Suspension were also an attraction.Kasey Burnham, from Austin, decid-

ed to avail herself of a hook up. Suspension involves metal hooks

piercing the skin and the participant is lift-

ed off the ground. Burnham said she initially got into

suspension because of curiosity and toovercome a fear. It provides an endorphinrush, she said.

Steve Bennett, owner of 313Suspension from Chicago, tours with“Immersed In Ink” and conducts the sus-pensions.

Photos byJosh

Reeter

The BEAUMONT ART LEAGUE will host the51ST ANNUAL NATIONAL JURIEDEXHIBITION, May 1 through 31, 2013.

The deadline to submit digital entries is Feb. 14. The artists whose pieces are selected by a panel

of jurists will be notified by letter after March 1. The show’s prospectus is available for download

on the League’s Web site at www.beaumontartleague.org.

______________

Lamar University’s DISHMAN ART MUSEUMis hosting an exhibition by QUILT NATIONALthrough Nov. 16.

Megan Young, director of the Dishman ArtMuseum, said the exhibit is a traveling collection of20 contemporary quilts.

“We are only getting a small selection of thequilts,” she said. “There are more than 100. But theybreak the collection down into sections so it can trav-el to more places and expose a wider audience.”

Young said the quilts in the Quilt National exhib-it are not your grandmother’s quilts. Many of theartists incorporate traditional, as well as moderntechniques to create their own unique work.

“They are using traditional hand-quilting tech-niques, but they are also integrating new technolo-gies,” she said. “Some of them use digital printingand new machines that hook up to the computer — itis really a meshing of old and new technologies.”

The Quilt National exhibition is aimed at high-lighting quilt making as a fine art, Young said.

“I really hope this exhibition can show howvibrant the art of quilt making is today,” she said.

The Dishman will also host a hands-on quiltingworkshop Nov. 17 at 10 a.m. The Blockheads Bee ofthe Golden Triangle Quilt Guild will lead the work-shop, and will familiarize participants with variousquilting styles and techniques.

Young said the celebration of quilt making is anattempt to speak about the visual arts in a variety ofways.

For information, call Young at 409-880-7794.______________

The ART MUSEUM OF SOUTHEAST TEXASpresents ESPOUSED, a vibrant group exhibition onview through Jan. 6, featuring 36 contemporaryTexas artists who are partners either in marriage, assignificant others or as a collaborative team.

“Espoused” comprises more than 40 works in avariety of media and highlights these diverse pairs ofartists working together in various ways throughinspiration, creativity, encouragement, studio spaceand techniques. These couples further examine howtheir works are or are not influenced by one another.

The artists whose work will be featured include:Shannon and William Cannings, Jerolyn Bahm-Colombik and Roger Colombik, Elizabeth Akamatsuand Piero Fenci, Suzanne Bloom and Ed Hill (MAN-UAL), Linda Ridgway and Harry Geffert, Letitia andSedrick Huckaby, Janet Chaffee and Benito Huerta,Carter Ernst and Paul Kittelson, Corinne andCharles Jones, Cathy Cunningham-Little and Ken

Little, Liza and Lee Littlefield, Joan Batson and BertL. Long Jr., Beverly Penn and Marc McDaniel, SusanBudge and Jesús Moroles, Sharon Engelstein andAaron Parazette, Charmaine Locke and James Surls,Ann Stautberg and Frank X. Tolbert 2, and MarianneGreen and Randy Twaddle.

Many of these artists have gained national andinternational attention and are represented by majorgalleries and in museum collections across the coun-try. AMSET also has exhibited individually or ownswork by several of the featured artists.

“We are pleased to present ‘Espoused’ to theSoutheast Texas community,” Caitlin Williams,AMSET curator of exhibitions and collections, said.“This is an exciting exhibition teeming with a varietyof subjects, media, styles, and personalities.”

“Espoused” is organized by AMSET and fundedin part by the Southeast Texas Arts Council, EdithFuller Chambers Charitable Foundation, the lateDorothy Anne Conn, City of Beaumont and theTexas Commission on the Arts.

AMSET is located at 500 Main in downtownBeaumont.

For more information, visit www.amset.org.______________

The MENIL COLLECTION hosts DEARJOHN & DOMINIQUE : LETTERS ANDDRAWINGS FROM THE MENIL ARCHIVESthrough Jan. 6.

This exhibition commemorates the Menil’s 25thanniversary. It celebrates the founders of the MenilCollection, John and Dominique de Menil, throughthe words and images in the letters and drawingssent to them by their friends: artists, curators, muse-um directors, architects, family members and intel-lectuals. In gratitude, awe and delight the assembledexchanges penned in the collected correspondencefrom the Menil Archives provides a unique and inti-mate look at the pioneering ideas that helped form

the museum long before the building opened in1987.

The exhibited letters will be displayed in thegallery turned into an archival reading room. Here,museum guests will be able to comfortably spendtime with the letters, which will be augmented by aselection of photographs and ephemera also pulledfrom the archive. Together, the materials reveal thecomplexity and pleasure of the swirling art world thede Menil’s inhabited, as well as the profundity andconviction of their project, and the magnitude of theirpatronage of living artists. This is expressed in thesimple eloquence of a letter from RobertRauschenberg to Dominique de Menil from 1996 thatwill be included in the exhibition. It reads:

“Dear Dominique, I personally, and the worldspecifically, will and do celebrate your devotions,dedication and accomplishments. I am grateful thatyour acceptance of my artwork — marking yourunique contributions — can be a contract to ourfuture services to continue our unveering care. Let’sget on with our joyous work. We are needed asnever before — again. Thank you from the depths ofmy mind, body and heart. Robert Rauschenberg.”

As a component of the exhibition, the MenilCollection will launch an interactive cell-phone tourof the Menil campus, compiled of rare audio record-ings from the Menil archives, including the voices ofJohn and Dominique de Menil. It will also featurethe perspective of those who have impacted — andare continuing to impact — the formation of themuseum and the neighborhood. “Dear John andDominique: Letters and Drawings from the MenilArchives” is organized by Michelle White, curator,with Geraldine Aramanda, Menil Collectionarchivist.

The Menil Collection is located at 1515 Sul Rossin Houston.

For more, visit www.menil.org.


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

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SSuubbmmiissssiioonn GGuuiiddeelliinneess aanndd DDiissccllaaiimmeerrISSUE solicits and publishes the work of local

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

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

Send typed works to: IISSSSUUEE

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

aarrttssttuuddiioo@@aarrttssttuuddiioo..oorrgg

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

Thoughtcrime

a convenience of lovean audacity from you

halfway

it glows the same correctit vanishes exact no less

it meansit hopes,more

strangers that drink too muchfriends who don't drink enough

I can close my eyesand never fall asleep

face to face palm to palmback to back lust, to lust

was I to assume you existedright here without soundwas I meant to chase you

have we met beforedo I seem the samedo I remind you of someone,still

power to powerlight to lightdust to dust might tomight stop telling me shit I already knowdon't believe you existed before make believe we came at the same time

pretend we sawthrough the same eyesI know you're listening

hour to hourtime after timelook after lookdrink after drinkshy between shymoment against, moment

call with no answerdream out of reachtears by any other name

face upon my faceskin upon my skin,deliverance

I want so listen so yet still cannot hear

hollow tipped and brokennumb fallen and wide awake

sleepless

I can see the sun breakthrough my curtainsthe panes I inherited

is it not a truthelastic and forgivingdo you not

see the lies

the ones you tell

I didn't ask to knowbut how could you forgetdid you not callare you not availabledid I not mentionam I not sincere

I am afraid we have no endI'm sorry I can't see anything else,blindafter youbrutal

perhaps thenyou are presentdepended onsorry shit I lean oncoward piece of man I wait oni love you, words i hang onor did i imagine

wholly fully completedid i dream itmake you upto run from myselfdo you know

do you not see the liesthe ones you tellI didn't ask to know

then tell me something real

solo

Action

Can you set me up with adjudication?I haven’t been practicing my multiplicationDon’t pump me full of medicationOr harass me with implications

Every time they lie they use lubricationSo my brain becomes pitter-pattered with complicationSomeone take away this intoxicationAnd fill me up with will and sophistication

Don’t make me work for telecommunicationsFor I will never have the dedicationI will analyze my spirit and make modificationsSo my story will have more qualifications

I’ve already been through the ramificationsAnd had others decide my classificationI just want more justification and specificationTo narrow down and understand my identification

I’m going to take my life and turn it into an abbreviationSo I won’t have to take part in silly initiations

Or get pushed into evacuationsFor deprivation of mental stimulation leads to brain masturbationIf you don’t agree then you must be on a different stationAnd you too will develop random infatuationsBut living your life is still an obligationIt matters not the position of your location

Only that you are free of suffocationBreathe! Clean the warehouse! Liquidation!I will no longer accept others’ intimidationsOr listen close and ponder words of degradation

Instead I shall give myself a commendationFor getting so good at investigationI’ll fill my days with jubilationAnd be comfortable with isolation

Until one day I randomly receive a revelationAnd will no longer accept any stipulationsI’ll take a giant inhalationOf affirmation and information

I will be there. This is my confirmationI’m now committed to a reformation

All those thoughts of transformationAre no longer in hibernation

HEAR ME NOW! THIS IS MY DECLARATION!I’ve found the combination for my destinationAnd no, I’m not having a hallucinationAnd I don’t need an examination

I just have a great imaginationA massive sphere of determinationI have realized my emancipationAnd I buzz in E major with my intonation

Bang! BOOM! Detonation!You know that you hold a secret fascinationFor the days when everyone starts showing participationDancing and singing in liberation with decoration

So everything is good in moderationAnd although we are the laziest generationWe still believe in celebrationAnd there is no limitation

Ryan Gist

The Shaver

This morning, when I shaved, I cut my face away.It was in the way, so I removed it.The sleek remaining cheeks will serve me better and not betray how felt I am.No longer will those finky brows and flappy eyes say what I do not want to when I do not want to say anything.No nose will smile its nostrils at a roast,or honeysuckle,or panties.No longer will I clip the corners of my mouthbecause I’ve peeled offboth my lips.Now, I’ll never need to grin,or pout,or bare my teeth,or whistle when I’m bored,or keep the upper one stiff,or get fever blisters,or use Chapstick again.I’ve sliced off my receding chin.Why, I’ve even lopped those earsthat used to hold my glasses on.Those ears would fill with blood-redblood when I got embarrassed.Now, I don’t need double-edged,double-trac,Teflon coats,or hot-lather machinesanymore.Now, I just use waterand a straightedge razor that my fatherused(in the family for years).A bald faceLies much better.

Jesse Doiron


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

the whole idea. “Not necessarily am I trying to make someone sit

there and have a political statement or a life-altering con-sciousness from looking at my paintings. I’m trying tomake beauty. That’s my philosophy — trying to add beau-ty to the world.”

Wilcox will demonstrate his photo painting processduring the gallery talk on Nov. 15 at 7 p.m., at The ArtStudio.

He said it is not something he can trademark and sell,but while he has heard of other artists who pour chemi-cals on the paper, he doesn’t know of people who use abrush and “paint” the chemicals in the controlled mannerhe has developed.

Where these images fall in the nomenclature of theart world is open for debate. Wilcox has been told that

his photo paintings are not photographs, because there isno negative. He has also been told that they are notpaintings because he is not actually applying color to thesurface.

“So I just sort of got ditched by both sides,” he said. Wilcox continues to make his photo paintings, and

has even experimented with making the chemicals instick form to draw on the paper.

This show is a cleaning of the slate, he said, “I don’t know what to expect from the future, but I

will be starting a lot of new stuff,” he said.He plans to really promote the photo-chemical tech-

niques, maybe writing a how-to book. He said he wouldlike to get with the manufacturers and see if there is anyway to make it a viable product.

If things go to plan, we may all be playing with ourchemical crayons and photo painter, the cheap pack wepicked up at the local art supply store. If that happens,Sean Wilcox will be a happy man.

WILCOX from page 9

DISENCHANTED, oil on canvas, by Sean Wilcox.


WE WANT YOU FOR BAND NITE

Hear original music by local musicians at

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

For upcoming gigs, visit the studio’s facebook page

VOLUNTEERS NEEDEDThe Art Studio is looking for energetic people

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

OFFICE SUPPORTBUILDINGS & GROUNDS

SPECIAL EVENTS • MAILOUTSIf you are interested in one or more of these opportunities or if youknow of anyone who might be, give us a call at 409-838-5393

reduce the inside temperature of TheStudio to a reasonable working temper-ature through a variety of greenprocesses, such as a green roof, grow-ing grass, or a garden to insulate oursolid concrete roof. from the intenseheat.

Our liason to Tony is MikeClannahan who has a background inscientific studies and can translate whatI’m saying so Tony understands andvice versa. We are in the early planningstages of this project, so it’s not too latefor you to get involved. Our first task isto put together a proposal to submit toTony and let him take it from there.

The work of Sean Wilcox is on dis-play in November. I’ve watched Seandevelop as a musician, a father, and ofcourse, an artist over the past 20 yearsor more. He has always been one ofthose “path least taken” kind of guys inhis art, and he comes through withrich work that is new and fascinating.His work is an honest interpretation ofhis own vision of the world, and that isworth seeing.

VIEW from page 3

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

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