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March 2013

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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. 6

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

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

. . . . . . . . . . . . . . . . . . . . . Elizabeth Fontenot

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

“Ultima” and Beauty. . . . . . . . . . . . . . . . . . . Page 4“Rabbit Hole” at BCP. . . . . . . . . . . . . . . . . . Page 6TASIMJAE Call for Entries . . . . . . . . . . . . . . Page 7Clay Shows in Beaumont. . . . . . . . . . . . . . . Page 8Kiki Smith . . . . . . . . . . . . . . . . . . . . . . . . . Page 10Victor Spinski Remembered. . . . . . . . . . . . Page 11Around & About. . . . . . . . . . . . . . . . . . . . . Page 12Thoughtcrime. . . . . . . . . . . . . . . . . . . . . . . Page 13

Cover photo by Andy Coughlan

UPCOMING EXHIBITIONS AT THE ART STUDIOMMAARRCCHHThe Art Studio & Friends

Opening . . . . . . . . . . . . . . . . . . . . . . . . . March 2

AAPPRRIILLTASIMJAE (The Art Studio, Inc. Member Jurored Art Exhibition)

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

BECOME A MEMBER OF THE ART STUDIOMembership in The Art

Studio, Inc., provides invita-tions to all exhibitions andone year of ISSUE, the

monthly arts magazine ofThe Art Studio. It also givesfree eligibility for membersto enter the annual mem-

bership art exhibition(TASIMJAE) and partici-pate in various exhibitions

throughout the year.

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MARCH USUALLY ARRIVES AS a windstorm andThe Studio is no different.

We are hosting an exhibition of localceramics artists, past and present, alongwith the Beaumont Art League, the ArtMuseum of Southeast Texas and theDishman Art Museum, in conjunction withthe National Council on Education for theCeramic Arts(NCECA), an annual confer-ence of 5,000 to 8,000 ceramiphiles who willdescend on Houston this March 20-23.

Thus the seeming coincidence is a well-thought-out plan to showcase the arts com-munity to a national audience. We are partof the post-conference exhibit and I amthrilled to show off our studios and galleriesto our clay peers.

We plan to have Cajun fare — crawfish,boudain, etc. — at a special reception onMarch 23, and will be open most of the dayto receive visitors as they leave the confer-ence heading home eastward.

Sandi Laurette and Linnis Blanton arehandling the exhibitions for The Art Studioand the League, and I and my minions arejazzing up The Studio to look great for ourguests. I hope to have clay available forthose who need a clay fix before the longroad home.

Note: watching people play with claymakes your hands itch just to grab someand roll coils, throw pots or whatever. Icrave the smell.

This show means a lot more than justbeing seen. It reflects a four-year path torecovery from The Art Studio being on theedge of losing everything — be it throughdamage from two hurricanes or an econo-my that seemed to nosedive daily. We allran for cover. The Studio was able to perse-vere, and it did so through the hard workof resident artists, a community and peoplewho believe in the power of art and its pri-mary importance to the growth of art cul-ture.

It’s not only the production of art byour local artists that contributes to quality oflife, but the contributions artists make tothe collective mind of knowledge by thesheer act of creation. Creativity is a prayereach artist composes as they make seeablethe events in their hearts.

We have gone from survivors torevivers with the concerted efforts of manysilent volunteers.

The Studio is 30 this year and, thoughsome might say it, it was no accident. Wecame out of adversity stronger, moreautonomous and independent. We are notout of the woods, but lately it seems we areat least on the edge of the forest.

A quote from Michael Gregory: “I'vebeen through some hard times, but throughit all, I made it. Trouble don’t last always.”

The Art Studio will not let our troubleslast always.

A View From The TopGreg Busceme, TASI Director

“The beauty of thellano unfoldedbefore my eyes,and the gurglingwaters of the riversang to the hum ofthe turning earth.”

— Rudolfo Anaya, “Bless Me, Ultima”

IT ALL STARTED WITH a broken wheel. InSeptember of 1898, two young artists, ErnestBlumenchein and Bert Phillips, were on theway to Mexico in search of new “huntinggrounds” for their artistic endeavors. A fewyears earlier, in Paris, they heard about anenchanted place called Taos in New Mexicofrom fellow American artist, Joseph HenrySharp. However, had it not been for an accidenton a rocky road, they might never have made itto Taos. Phillips stayed with the carriage whileBlumenschein headed to town to get help. Onhis way, Blumenschein was so overwhelmedwith the sight of Taos valley that the friendsdecided to stay in this beautiful town nestled atthe foothills of the Sangre de Cristo Mountains.

After three months, Blumenscheinreturned to New York while Phillips chose tosettle in Taos permanently. Blumenschein spentthe next decade in Paris, mastering his paintingtechnique and working as an illustrator forAmerican magazines. Upon his return toAmerica, he spent his time sketching and paint-ing all summer in Taos and exhibiting his work

4 • ISSUE March 2013 Volume 19, No. 6

Stark Museum of Art exhibit focuses on Taos artist community

‘Bless Me, Ultima’ and Wild BeautyStory byElena

Ivanova

Ernest Leonard Blumenschein (1874-1960), MOUNTAINS NEAR TAOS,1955, top, oil on hardboard, 12.125 x 27 inches, Stark Museum of Art,Orange, Texas, 31.30.11

Emil James Bisttram (1895-1976), THE END OF THE DAY, c. 1945,above, oil on canvas, 30 x 36 inches, Stark Museum of Art, Orange, Texas,31.223.2

in New York in winter. In the mean-time, New Mexico had attracted otherartists. In 1915, Phillips and Blumen-schein, together with Joseph HenrySharp, E. Irving Couse, Oscar E.Berninghaus and W. Herbert Dunton,founded the Taos Society of Artists.

These artists were on the cusp ofthe first wave of migrations thatbrought to New Mexico people of artis-tic pursuits from all over the countryand abroad. In the 1920s-early 1930s,Taos was home to English writers D.H. Lawrence and Dorothy Brett,Scottish artist John Young-Hunter,Russian artists Nicolai Fechin andLeon Gaspard. Along with permanentresidents, art communities of Taos andthe nearby city of Santa Fe countedamong their members seasonal visitorsfrom New York and Chicago. The lat-ter included such famous artists asRobert Henri and John Sloan.

Already in the 1920s, the authorityof the Taos Society of Artists was chal-lenged by a new generation of artists— Emil Bisttram, Jozef Bakos, WilliamHoward Shuster, Georgia O’Keeffe.While artists like Sharp and Phillipsadhered to the tradition of academicart, the newcomers conveyed theirvision of New Mexico according to theprinciples of cubism, fauvism andexpressionism.

A wave of new arrivals swept theregion in the 1940s. During World WarII and especially after in its wake, theregion became an important cross-roads in contemporary American art.Artists from San Francisco and NewYork found in Taos a perfect retreatfrom the hustle and bustle of big cities.A group known as the Taos Moderns— Andrew Dasburg, Thomas Benrimo,Louis Ribak, Beatrice Mandelman andAgnes Martin — laid claim to the beau-ty and mystery of the land and peopleof New Mexico. Their artistic languagewas shaped by European andAmerican modernism and post-warabstract painting. Just like 30 years ear-lier, major artists of the time came tovisit, among them Mark Rothko, AdReinhardt, Clyfford Still and MorrisGraves.

What was so special about NewMexico that it captivated the minds ofartists, generation after generation,notwithstanding the differences intheir training, style and sensibilities?

Artists expressed their feelings dif-ferently, but in essence the reasonsthat attracted them to New Mexicowere the same: the picturesque land-scape, the unusual light, and the peo-ple who continued to live their tradi-tional lifestyle, seemingly oblivious tothe changing world beyond the realmof this timeless “Shangri La.” Peoplecoming from the fast-paced, industrial-ized and commercialized world inother parts of the country were anx-ious to identify the peaceful Taos valley

with “the lost horizon.”However, this was the outsider

viewpoint. American Indian andChicano writers of the second half ofthe 20th century demonstrated that thelocal population saw themselves quitedifferently. The Indians — Pueblos,Comanches and Apaches — as well asthe descendants of Spanish conquista-dors were neither frozen in time, norinsulated from the outside world, asthe newcomer artists imagined. Theirtraditions, customs and beliefs contin-ued to evolve and they incorporatedinnovations of Western civilization intotheir lifestyle without giving up theirheritage.

This spring, one of the mostfamous novels in Chicano literature,“Bless Me, Ultima” by acclaimedauthor Rudolfo Anaya, has been cho-sen for the Southeast Texas Big Readprogram. A project of NEA, Big Readhas the purpose of engaging the wholecommunity in reading and discussingone book from the list of Americanclassics. The Stark Museum of Art, asa nonrecipient member of the SETXBig Read, brings to the community theexhibition “Wild Beauty: the NewMexico Setting” which will showcase awide selection of works from the

Museum’s extensive collection of NewMexico artists.

There are many points of intersec-tion between the paintings created byTaos and Santa Fe artists and Anaya’snovel. Both immerse us in the world ofverdant pastures and valleys wherepeople live in harmony with nature, theworld of colorful fiestas and candle-light processions. Portraits of elderlywomen, such as Nicolai Fechin’s “LaAbuela” and Ernest Martin Hennings’s“Old Spanish Woman,” remind of wisehealer Ultima, one of the main charac-ters in the novel. Images of ranchesand farms in the paintings of OscarEdmund Berninghaus bring to mindthe family of another major characterof the novel, young boy Antonio, whocomes from the lineage of vaqueros onhis father’s side and from generationsof farmers on his mother’s side.

At the same time, the New Mexicoof Anaya is not immune to the harshreality of the outside world. Set at thetime of World War II, the novel tellsthe story of the people who live nearthe small town of Santa Rosa. Theyworry about their sons who are in themilitary, experience a deadly con-frontation with a homicidal war veteransuffering from a posttraumatic stress

disorder, work hard to provide for theirfamilies and strive to make the rightchoice when faced with a moral dilem-ma.

While the majority of the artistspreferred to portray an idyllic look ofNew Mexico, some of them addressedthe issue of modernity as well. Forexample, two Oscar EdmundBerninghaus paintings, “Taos Pueblo,World War II” and “Taos Tapestry,”parallel descriptions of war-time SantaRosa.

One section of the exhibition dealswith faith and spirituality. The Catholicchurch had a strong presence in NewMexico for centuries, however, variousbeliefs of local Indian nations left theirmark on the ways Catholicism is prac-ticed by both Indians and Hispanics.Celebration of such holidays asChristmas and San Geronimo Day wasa popular subject among Taos artists.They also portrayed with fascinationtraditional Indian rituals, such as chant-ing to the beat of ceremonial drums.

Faith and spirituality play a crucialrole in Anaya’s novel as well. Ten-yearold Antonio is going on a spiritual

Volume 19, No. 6 March 2013 ISSUE • 5

Oscar Edmund Berninghaus (1874-1952), TAOS PUEBLO, WORLD WAR II, c.1943, tempera on canvas mounted on hardboard, 30.25 x 36.25 inches, Stark Museum of Art,Orange, Texas, 31.24.23

See ULTIMA on page 14

6 • ISSUE March 2013 Volume 19, No. 6

WHEN ALICE WENT DOWN the rab-bit hole, she ended up inWonderland, a place of confusionand misunderstanding. WhenBecca and Howie lose their four-year-old son in a traffic accident,they disappear into a world not ofwonder, but of grief.

Beaumont CommunityPlayers will present the Pulitzer-

prize winning drama “Rabbit Hole,” by David

Lindsay-Abaire, beginning March 29.“It basically shows you how people cope and deal

with a tragedy of this sort,” director Donny Averysaid. “How a marriage goes through this and sur-vives — or how it doesn’t survive — the obstaclesthey face.”

Reece Ravenscraft and Jody Reho play Becca andHowie, Kristen Read plays Izzy, Pepper Thompsonplays Nat, and David Nelson plays Jason. The play isAvery’s second stint as a director at BCP.

“I read it when it came out and fell in love with

the script because it is extremely honest andextremely real,” he said. “That’s what drew me to itinitially. To me, it’s a situation that no one really likesto talk about. Once you start talking about it, peoplemay realize they have been in that sort of situationbefore — that they can really relate to it.

“I think it’s honest and I think it will make peopleuncomfortable when they see it — and that’s OK,because it’s real life.”

Avery said that despite the tragedy at the heartof the play, there are moments of lightness.

“Surprisingly, there are funny moments,” he said.“Comedy seeps through the drama, through thecharacters. People tell me the show is depressing —it’s not depressing. ‘Les Mis’ is depressing to me. Ilove it but it’s people dying, people starving. That’sdepressing, but this is about real life and coping andgrief.

“The two leads, the couple, through their mar-riage, it shows how they cope in two different ways. Ithink people will not say, ‘Oh, she’s right, he’s right’— I mean, no one’s right in this situation, but you’regoing to see the struggle.”

The actors in the lead roles both said the chal-lenge of playing characters who are in pain drewthem to the play.

“It’s a very challenging role,” Reho said. “Thewhole piece is emotionally charged, and the charac-ters themselves are in very vulnerable places andtrying to find a way to communicate, which is a niceparallel to a lot of things, especially the process ofacting. It’s going to be a very challenging piece justto access the emotional components that are neces-sary to communicate with the audience. I’m lookingforward to that process.”

Ravenscraft said she sees parallels between her-self and Becca.

“I find that she is freakishly like me,” she said.“Very often she can be unlikable because she is inpain. I find myself wondering if I can be unlikablewhen I’m upset or worried. A lot of the things shedoes are passive-aggressive and snarky things shesays, things that I would say.

Some of the conversations sound like conversa-tions (her husband) Marcus and I have had.”

She sighed and paused for a moment.“It’s been interesting.”“What’s cool about a character like this, in a

show like this, is that there are so many more layersto peel away,” she said. “You have so much more towork with.”

One word consistently peppers Avery’s enthusi-astic discussion — “honest.”

“It lets you be part of the show,” he said. “Whenyou have performers who are speaking in modernlanguage, who are in a believable situation that couldhave happened, they will force you to come into theirhouse, force you to come into their home, and forceyou to see this.

“When they force you, you don’t want to let go— you want to see what happens. When you have

DOWNTHE ‘RABBIT HOLE’BCP to present drama as part of ‘Theatre on the Edge’ series

Kristen Read, left, Pepper Thompson, Reece Ravenscraft and Jody Reho rehearse a scene from “Rabbit Hole,” Feb. 17. BeaumontCommunity Players will present the play as part of “Theatre on the Edge” beginning March 29.

Story andphoto by

AndyCoughlan

See RABBIT on page 14

Volume 19, No. 6 March 2013 ISSUE • 7

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CALL FOR ENTRIESDEADLINE MARCH 30

LOOK FOR A PROSPECTUS IN THE MAIL,

DOWNLOAD ONE ATWWW.ARTSTUDIO.ORG,

OR PICK ONE UP AT THE ART STUDIO

PLEASE READ ALL INSTRUCTIONS CAREFULLY!ENTRIES NOT ADHERING TO THESE

INSTRUCTIONS WILL BE DISQUALIFIED!

CALENDAREntry dates........................................................March 26-30Jury selection..........................................................March 31Notification by mail ..................................................April 2Pick-up works not accepted..................April 5 by 5 p.m.Opening/awards reception....................April 6, 7-10 p.m.Pick up exhibited work.........................................April 30.

ELIGIBILITYOpen to all members in good standing of The ArtStudio, Inc. (TASI). Membership fee of $35 may be paidat time of entry. Works completed within the last twoyears that have not previously been shown at TASI maybe submitted. All two-dimensional work must be readyto hang (wires, not sawtooths). All three-dimensionalwork must have firm base. Work may not exceed twohundred pounds in weight or 10 feet in height.Completed entry label must be firmly attached to theback upper left corner of 2-D work or base of 3-Dwork.

SUBMISSIONSEntries must be delivered to TASI, 720 Franklin,Beaumont, Texas, Tuesday-Saturday between the hoursof 11 a.m. and 5 p.m. No works will be accepted after 5p.m. on March 30. Works must be shipped prepaidand/or hand delivered. Limit two (2) entries per person.

RETURN OF ALL ENTRIESWork not accepted must be picked up by 5 p.m. onApril 5. Works selected for exhibition must remain ondisplay until April 28 and may be picked up April 30.

AGREEMENTAlthough the greatest possible care will be exercised inhandling work, TASI accepts no responsibility for lossor damage to work submitted, while in transit or onpremises. TASI reserves the right to photograph submit-ted works for publicity purposes. All sales during theexhibition will be handled by TASI for which a 25%commission will be taken. Submission of entries impliesthe artist’s understanding and agreement to the rulesand conditions of the exhibition.

AWARDS1st. place: $100 and a solo exhibition at TASIin May 2014 2nd. place $75, 3rd. place $50

JURORMegan YoungDirector, Dishman Art Museum at Lamar University

Amy Faggard won first place in TASIMJAE 2012 andwill be the featured artist in May.

8 • ISSUE March 2013 Volume 19, No. 6

WHEN THE NATIONAL COUNCIL onEducation for the Ceramic Artsdecided to hold its 2013 conven-tion in Houston, the (potters)wheels were set in motion.

Area clay artists, many ofwhom spend their hard-earnedcoin on traveling to far away con-vention sites decided it would bea great opportunity to host a clay

show that would show off the best Southeast Texashas to offer.

“For about 20 years, we have tried to have aBeaumont clay show for our friends at that confer-ence,” artist Sandra Laurette said. “But it was neverpossible until now. Otherwise, you would have toshlep stuff to Seattle or Philadelphia. I have friendsthat do that, but I have always had another job todo. This year it happened to work out.

“This is our opportunity to let people knowhow wonderful our clay community is.”

The exhibition “The Art Studio & Friends,”opening with a free reception March 2, will show-case the work of a diverse group of artists whohave associated with TASI over the years, includ-ing tenants, NCECA members who have been ten-ants, and about a dozen friends of The Studio.

“We will be showing the Bob Willis collection,”Laurette, who is organizing the show, said. “Therewill be three separate parts to the exhibition,although separating tenants and friends who havebeen tenants will be hard.”

Willis left his collection to The Studio andLaurette said this is the first time the collection willbe shown in its complete state.

“There will also be work of instructors, pastand present, from Lamar, and the work of peoplefrom Maine to Arizona, in terms of past visitors,”she said. “The British potter John Eden will behere. He is connected through networking. He ismarried to Constant Albertson, who GregBusceme went to graduate school with. Their por-taits are on the wall of The Studio.

“We would like to show off the strength of ourclay community.”

Tenant Dana Dorman said she is excited aboutthe chance to show off the clay artists in the area.

“Our show at The Studio will showcase thebest ceramic artists that Beaumont has to offer,”she said. “The show will feature local artists choos-ing from their strongest works. Because our areais rich with style and technique, the show willinclude many types of work including wheel-thrown vessels, figurative pieces, slab work and an

Story byAndy

Coughlan

Old Friends,TASI, AREA MUSEUMSFEATURE DIVERSE

CERAMICS EXHIBITIONS

ISSUE photo by Andy Coughlan

assortment of other surprises.”There will be a special reception on March 23,

when NCECA closes, for people from the conference.Members of the community are invited to come andmeet the visiting artists.

“If they want to come and meet ‘NCECers,’ as werefer to ourselves, they are welcome,” Laurette said.

“We will be passing out invitations at the confer-ence for our friends,” she said. “We have friends fromAlaska and the West coast who we hope will come by.

“We are on the list of ‘other’ exhibitions forNCECA. There are something like 90 clay exhibitionsrelated to the show in Houston. It’s a field trip or astop on the way home opportunity for our friends inthe conference.”

Laurette said area ceramicists attend the confer-ence on a regular basis, and she expects more toattend this year as it is so close.

NCECA is an international show, despite itsnational tag, and draws 8,000 to 9,000 every year,Laurette said. Tenant Suzanne Garrett has attendedevery year, with Laurette, for more than 25 years.

“I wouldn’t miss it for anything,” she said.Dorman said NCECA is something that all clay

artists aspire to attend.“The NCECA conference represents the collective

“soul” of some of the most important ceramic work inthe world,” she said. “ The ceramic exhibition, titled“Earth/Energy” is testament to years of study, practiceand refinement within the field. I can hardly wait tosee this work in person.”

Dorman said she has a strong reaction when view-ing such top-level work.

“My first reaction is, ‘What does this work say tome?’ I become inspired, moved, or assaulted, or I ampresented with content I have not experienced before,”she said.

“My second thought is, ‘How’d they do that?’ Thedialog opens up the inner pupil in me. I want to learnabout new textures, firing methods, glazing techniquesand the artist’s vision.

“My third reaction is, ‘Let me go get busy creatingmy own voice through my work.”

Dorman said she is always inspired by seeing thework of some of the world’s leading practitioners ofthe ceramic arts.

“It is this rare exchange of ideas, and this once-in-a-lifetime experience has this small-town Texas artistexcited beyond measure, chomping at the bit to be apart of NCECA 2013,” she said.

Anyone who has ever worked with clay knows youhad better make more than one, so there are fourshows at three venues for the ceramics aficionado tochoose from in March.

The Beaumont Art League will host “Lamar Thenand Now,” with an opening reception March 2.

“Current students and alumni of LamarUniversity’s ceramics program from 1980 to presentwill join together to exhibit a broad range of works in

Volume 19, No. 6 March 2013 ISSUE • 9

New Ideas

See CLAY on page 11

UNTITLED(above) bySandra Laurette

ANTICIPATION(left) byDana Dorman

Photo courtesySandra Laurette

10 • ISSUE March 2013 Volume 19, No. 6

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KIKI SMITH IS AN American artistwho was born in Nuremburg,Germany in 1954. The next year,her family moved to South Orange,New Jersey where she lived withher two younger sisters, motherand father. Her father, Tony Smith,was a minimalist artist, known forhis large polyhedron-based struc-tures. Smith and her sisters often

spent time assembling paper models of his sculptures.She was exposed to the art world: AbstractExpressionism, Minimalism, and significant contempo-rary artists including Pollock, Rothko, and Newmanfrom an early age.

Most of Smith’s work revolves around the humanbody and individual identity. She explores the fragilityand resilience of life, the permeability of human skin,and narratives through a variety of media. Images andsculptures of iconic women, many literary, are used toinvoke a universal humanity through their female expe-riences and stories. Beginning in the 1980s, her art uti-lized the human body as a format for discussing socialand political issues such as race, gender, sexuality, andas a way of responding to the newly recognized AIDSepidemic. Her work represents a return the human fig-ure, representation, and spirituality in the art commu-nity, themes which were neglected and even frownedupon during the reign of “modern” painting.

Smith produces work in bronze, wax, paper, plas-ter, glass, and many other media. She believes that allartistic methods are equal in value and significance.There is no material too lowly for artistic use. Paper,for example, is thought of as a delicate and femininematerial, and it is often placed on the bottom end of artmaterials. Paper tears, creases, and is in greater dan-ger of deterioration than many other substances. Smithpoints out that paper can be a strong, malleable, andarchival material. Much like human skin, it is simulta-neously fragile and strong, and it acts as a barrier thatis permeable to light. She uses papier-mâché to createsculptures and joins many small sheets of paper togeth-er to support large-scale prints and drawings.

The artist also takes advantage of materials andtechniques side-lined by the art world as lowly or femi-nine forms. Doilies, beads, ceramics, and plaster arenot associated with fine art or high art forms. Smithtakes these instruments, the discarded remnants ofhigh art culture, and imbues them with deeper mean-ing throughout her work. Glass beads become the flu-ids of life, representing blood, urine, tears, and semen.Lustrous, metallic doilies mimic snowflakes and celes-tial bodies. Smith claims that “there is power in artforms that are neglected,” and she taps into that hid-den power of the everyday and shares it with the audi-ence.

Some people describe Kiki Smith’s artwork as ajourney from the body’s hidden inside to the body’srelationship with the outside environment. Smithexplains that she wants to reclaim our bodies fromfragmentation within society and art history. People

are divided into oppositions between male and femaleand between mind and body through society and cul-ture. In the art world, the Cubists formally fragmentthe human figure to illuminate the varying facets ofform.

Her work has also been discussed in the context offeminism and attempts to redefine the images ofwomen through their own experiences. In the begin-ning, Smith presents the audience with situations withwhich all women must come to terms. She carefullyavoids direct relationships to challenging issues likeabortion, gender identity, and sexuality by centeringher work around biological functions of the femalebody.

Kiki Smith’s artwork reflects a feminine point ofview. The majority of her creations depict women andevents specific to women, such as menstruation andpregnancy. She says that she wants to show that theexperience of being a woman is a universal humanexperience.

One criticism that applies to many of Smith’sfemale figures is that they are vulnerable, weak, and ina state of suffering. These abject women are often con-structed from wax, their facial features left softly mod-eled. In several cases, they are not in control of theirbodily functions. Sculptures such as “Pee Body” (1992)and “Tale” (1992), are modeled after a universalwoman. In “Pee Body,” a female figure squats low tothe ground, her legs splayed out to the side to allow

beaded trails of yellow urine flow out. The beadedstrings are arranged in a simple wave pattern. Theyare simultaneously repulsing and beautiful. This uni-versal woman is meant to evoke feelings of embarrass-ment for both the exposed sculpture and the voyeuris-tic viewer.

Some critics view her use of iconic and archetypalfemale figures, such as the Virgin Mary and MaryMagdalene, as a return to stereotypical female roles.But Smith’s “Virgin Mary,” produced in 1992, is by nomeans a stereotyped representation. This Virgin Maryis formed from a combination of beeswax and micro-crystalline wax, and the impermanence of these mate-rials challenges the idealized renderings of theDormition and the Assumption. The removal of the fig-ure’s skin reveals the humanity of her flesh and con-nective tissue. This sculpture shows the audience thatthe Virgin Mary was, at one time, a real and physicalhuman being.

Kiki Smith herself appears as a figure in her work.The artist sometimes casts her face and body for sculp-tures and uses her portrait in several prints. In “Pietà”(1999) Smith shows herself in an iconic role, imitatingthe Virgin Mary who holds the body of her crucifiedson after his descent from the cross. In Smith’s ver-sion, the artist appears seated on a chair cradling the

See SMITH on page 11

Story byElizabethFontenot

Kiki Smith turns everydayobjects into mystical creations

ST. GENEVIEVE (1999) by Kiki Smith

clay,” Sarah Hamilton, BAL director said.“Many have gone on to teach others inschools and universities.

“Over the years, (Lamar’s) programhas caught the imagination of students ofother university disciplines and even thosereturning to the university after a long hia-tus. Many of these students spend severalsemesters developing a great skill workingin clay.”

Laurette is also curating “The NextGeneration: K-12 Clay in Southeast Texas”at BAL.

“Many public and private school edu-cators in this region offer their students anopportunity to begin investigating ceram-

ics as they learn about art in 3D,”Hamilton said. “Most emphasis is placedon hand building and electric firings. Evenfewer high school students have theopportunity to create works of art in clay,but ceramic objects are entered each yearinto competitions for high school seniorsof this region.”

The exhibition will offer the opportu-nity to view some of these beginners’works.

“Everybody should see the showsbecause the work is phenomenal,”Laurette said.

The Art Museum of Southeast Texasis currently hosting “San AngeloCeramics,” representative pieces from theSan Angelo Museum of Fine Arts’ perma-nent collection.

The exhibition features works by mul-tiple artists displaying a variety of tech-niques and manipulation of the media.

For more on that show, visitwww.amset.org.

Volume 19, No. 6 March 2013 ISSUE • 11

“Spilled Coffee Cup,” a ceramic sculpture by Walter Spinski.

Ceramicist Jim Leedy created the piece, left, duringa workshop at TASI. The electric kilns and wheel arelocated in The Studio clay area.

CLAY from page 9

SMITH from page 10

IN MEMORIAL

VICTOR SPINSKI, NOTED CERAMIST, humorist and general gadfly to theestablishment, has gone to the Great Clay Studio in the sky.

I was honored to meet Victor at NCECA through his many stu-dents who seemed to be everywhere at the conference. He wasshort, shy, quiet but persistent. He had the determination it takesto do phenomenal things and advanced his form of imitativeceramics — making ceramics that imitate other objects. In ouroffice area we have a Spinski piece that looks like a spilled cup ofcoffee. He produced it during a workshop at The Studio with VernFunk from Texas Tech.

Victor was generous with his time and was an open heart whowas easy to approach. He gave all his research in the art of slipcasting and fabrication. His humility belied his vast knowledge thatcame from knowing his material inside and out.

I felt like he was my uncle. Through him, a host of amazingpeople revealed themselves and we have continued that relation-ship throughout the years. We will miss him.

— Greg Busceme

body of her deceased cat. This image also highlights the interjection ofthe artist’s personal life into a more universal narrative.

“Lying with the Wolf” and “Wearing the Skin” present the viewerwith unknown women. These figures are not an example of what itmeans to be a good or bad woman or even an ordinary woman. Theimages do not refer to a specific event in any existing narrative. Instead,the scenes come from Kiki Smith’s own mythology and symbolic lan-guage. The women in these two drawings are based on St. Geneviève,the patron saint of Paris, who persuaded the Parisians to remain in theirhomes and pray in order to protect themselves from the army of Attilathe Hun in 451 CE. The prayers of Paris were answered: Attila and hismen were diverted and attacked the city of Orléans. Kiki Smith recallsseeing a portrait of the patron, whose purity and gentleness caused bothwolf and lamb to lay down in peace.

The combination of woman and wolf is a frequent occurrence inSmith’s artwork, and this repetition starts to build a history for thesetwo figures. The pair appears most frequently as characters from theLittle Red Riding Hood tale.

As Kiki Smith incorporates neglected and sometimes rejected artforms and themes, her work transcends some of the contemporarysocial and political issues. By making work that is about a specific indi-vidual, Smith invites the viewer to experience a personal and emotionalconnection with each work. Iconic figures like the Virgin Mary aremade human, and everyday people, including the artist herself, fill theroles of more universal narratives. Ordinary and commonplace materi-als are transformed into mystical and symbolic representations of every-day life.

The BEAUMONT ART LEAGUE will hostthe 2013 PORTRAIT SHOW, beginning with areception 7-9 p.m., March 2. The show runsthrough March 23 in the Brown Gallery.

If you are a painter of portraits, representation-al or non-representational, this is the exhibitionyou won’t want to miss.

This judged exhibition is open to all artistsworking in any medium.

The 2013 Portrait Show chair is Alice Powell. The Beaumont Art League is located at 2675

Gulf Street.For information, visit www.beaumontart

league.org. ______________

The ART MUSEUM OF SOUTHEASTTEXAS invites everyone to GO GO FOR THEGOLD on March 7 for a chance to win $10,000 ingold or other fantastic prizes at this disco-themedbash. During this most popular and entertainingfund-raising event, one lucky ticket-holder will turntheir $100 entry into $10,000 in gold in just onenight.

“So break out your bell bottoms and go-goboots, and boogie on down to the grooviest shindigthat Southeast Texas has ever seen, the 18thAnnual Go for the Gold Party and ReverseDrawing!” Monique Sennet, AMSET spokes-woman, said in a release.

“The emcees for the evening will be CraigEscamilla, executive director of the Symphony ofSoutheast Texas, and former television newsreporter Jennifer Gordy Swantner.

“Guests are highly encouraged to dress intheir funkadelic ’70s attire of tie-dye, leisure suitsand polyester, and enjoy delicious food donated byJohnny Carino’s of Beaumont and Two MagnoliasCafé.”

For the ticket cost of $100, guests receiveadmission, dinner and cocktails for two along withone entry into the drawing.

Only 500 tickets will be sold for the event, andadvance purchase is recommended. Go for theGold is a reverse drawing, meaning that the lastthree ticket stubs drawn from the hopper are thewinners of:

3rd Place $1,000 in Gold2nd Place $1,500 in Gold1st Place $10,000 in Gold

The gold prizes are given in American Eaglecoins and have a value that depends not only onthe price of gold, but also their value on the collec-tors’ market.

“Go for the Gold is such a thrilling eventbecause of the chance to win such fantastic prizes,and the process of the reverse drawing is suchfun,” said AMSET Executive Director Lynn Castle.“But most importantly, this event raises funds tobenefit our educational programs and exhibitions.”

For more information, contact AMSET at 409-832-3432 or visit www.amset.org.

______________

The MENIL COLLECTION exhibition THEPROGRESS OF LOVE is on display throughMarch 17.

“Numerous scholars have addressed the waysmedia, technology, and capitalism have affectedWestern notions of love over the last few centuries,”a Menil release states. “Little attention, however,has been paid to the impact of these forces on theconception of love in Africa, or even to the subjectitself. ‘The Progress of Love’ explores romanticlove, self-love, friendship, familial affect, love ofone’s country, and other bonds in and around thecontinent. Though the exhibition is weightedtowards art produced specifically about love inAfrica, works that might otherwise be consideredmore ‘Western’ in orientation are included as well,calling attention to the global exchange throughwhich such concepts develop, and to both theshared and distinct aspects of the experience oflove.

“Bringing together the work of more thantwenty artists, and ranging in media from paintingand photography to installation, video, and perform-ance, ‘The Progress of Love’ considers howtechnology, economic systems, and other forceshave shaped — and continue to shape — ideasabout love and their expression. In doing so, theexhibition seeks to ask what part of love is univer-sal? What part is timeless and what is a culturalconstruct?

“Yinka Shonibare’s ‘The Swing, 2001,’ callsattention to the way Western notions of romanticheterosexual, monogamous love were brought intobeing through an increasingly globalized economyand reproductive technologies such as the printingpress. Mounir Fatmi’s ‘Connections (Conspiracy),2008,’ an installation of seminal Western andArabic books wired together, speaks to the interna-tional circuits through which love travels, and of the

transformative, sometimes even explosive, effects ofthe dissemination of religious and philosophicaltexts on ideas of the self and other. Artists such asZoulikha Bouabdellah and Kendell Geers considerthe effects of language, how one’s primary or sec-ondary tongue affects the way one conceives of thisdyad, and raise questions about the ability to beunderstood across a linguistic or cultural gap.

“While many works in the show explicitlyaddress the subject of love, others can be under-stood more indirectly as acts of love in their cre-ation or in the experience they provide. Createdspecifically for this exhibition, in RomualdHazoumé’s new project, the artist has founded anongovernmental organization based in Cotonou,Benin, and is inviting his fellow Beninois to expresslove for self and others by making contributions toWesterners in hopes of helping them live betterlives. In so doing, he offers a critical reevaluation ofcharity and the intersections between love andmoney.

The Menil Collection is located at 1515 Sul Rossin Houston.

For information, visit www.menil.org.

12 • ISSUE March 2013 Volume 19, No. 6

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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409-813-1200

Volume 19, No. 6 March 2013 ISSUE • 13

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

The Experience

I was good enough then with my thick thighs, brown

eyes and small waist but after that plus sign came I

was nothing more than a number to ignore. My love

was genuine only to you but that didn’t matter because

you weren't true. Your actions scraped my heart like a

knife peeling fruit, but that last day you pierced right

through. You watched me bleed out & my soul turn

blue. My smile faded away but to you that wasn’t any-

thing new. When I woke up in that hospital bed alone

& sore your face was nowhere near the door. Once

again I healed & walked away but this time to never

look back at that day. I still think of you with revenge

but in the end my heart can't kill. So I have no choice

but to let it go and wonder will you ever know?

Myoshi Price

Black Mother

Mother Goddess,

Your strong hands

Can lift the

Father, Daughter, Son.

Mother Goddess,

Your clay thighs

Can awaken

The newborn who

Cries in desperation.

Earth Mother,

You can know

The secrets

Of the Spring

And you can know

The hated rot of wood

Turned bad

And good.

Though you will never

Turn away

From your wormwood children,

Though you will never

Forget their springtime loveliness.

Mother Earth Goddess,

You remember

The infant who

Suckled at your heavy breast.

Do not forget that

Wormwood sapling.

She is

You.

Chance Henson

I Have A Dream

I have a dream,

America we are the team.

I had a dream last night,

We took flight.

To the heavens right above,

God is love.

Sweet Jesus in the manger,

I fear God,

I fear no danger.

Regina Wilson, poet

Client of Beaumont Hope Center

God

He is the positive side of my life.

He helps me to be strong and real

Through prayer and faith in him.

Step out on Faith.

God is someone who will

never leave your side

or your family.

He helps my self-esteem,

helps me get up when I am down.

I am a prayer warrior.

God is there watching me.

Connie Walker, poet

Client of Beaumont Hope Center

Easter

A fear of deathA lack of breathAnd incense in my mouth

A sudden coughA perfumed troughA slimy feeling throat

I lie uponA filthy bedAnd look about the room

To find that inMy sleep I’ve diedAnd, now, am in a tomb

Jesse Doiron

those kind of performances, an audience really getsengaged.”

As a director, Avery said that when he sees that hon-esty on stage, it makes him really pay attention.

“I get all these emotions when I watch the show,” hesaid. “Even in auditions, I teared up quite a few timesbecause it’s just so powerful. I think your average playgo-er who doesn’t know what the play is about, or is scaredof the subject, I say, ‘Give it a chance.’ These performersare going to pull you into their world.”

Ravenscraft said she expects the audience will experi-ence a catharsis through the play.

“Everybody has something,” she said. “You may nothave lost a child, but everyone has a relative who hasbeen ill, and they can relate to all those situations.”

Reho said that everyone has a sense of empathy forgrief and grieving.

“This piece is really, at its core, about how we gothrough that process and how we rely on each other, butcan’t always communicate with each other,” he said.“We’re not always in the same place. And the conflicts thatcome out of that are tangible to people. Hopefully, that’s

what will be communicated through it — that struggle toremain whole in the aftermath of such a traumatic loss.”

The show is part of BCP’s “Theatre on the Edge”series. Avery said that people go to see a play, to a movieor watch a TV show to escape from reality, but “Theatreon the Edge” aims to bring more modern, less standardfare to area audiences.

“A comedy will make you laugh, make you walk out-side with a smile on your face and that’s wonderful, that’sgreat, I love comedies,” he said. “But this is going to makeyou sit and think about real life, about what you would doin this situation. Or if you’ve ever been in this situationbefore, you might see yourself on the stage. That’s what’simportant for some people. Even if you’ve never been inthat situation, you can say, ‘I can see myself doing this.’”

“Rabbit Hole” is rated R. Show times are March 29, 30, 31, April 5, 6, 11, 12, 13

at 7:30 p.m., with a matinee April 6 at 2 p.m. in theMcMillan Theatre in the Betty Greenberg Center forPerforming Arts, 4155 Laurel in Beaumont.

A panel discussion will follow the April 12 perform-ance.

Tickets are $18, $16 for seniors and students.For tickets, visit

www.beaumontcommunityplayers.com.

quest trying to reconcile the Catholic faith with theworship of nature which he learns from Ultima. Thisold woman is a curandera — a healer and a medium forthe world of spirits, like Indian medicine men andwomen. “For Ultima, even the plants had a spirit, andbefore I dug she made me speak to the plant and tell itwhy we pulled it from its home in the earth,” Antoniosays about their herb-collecting trips. Ultima is aguardian of the ancient wisdom which is based in view-ing humans as an inseparable part of nature. Thesecret of carrying on a spiritual relationship with theland, animals and plants is the message which Ultimapasses to Antonio.

The theme of the mystic power and intense spirituali-ty of nature is echoed in such paintings as Georgia

O’Keeffe’s “Gerald’s Tree II,” Emil Bisttram’s “The Endof the Day,” and Ernest Martin Hennings’s “Reflections.”Although different in content and style, these worksallude to the same ancient concept of the world as the onethat Ultima epitomizes. It is noteworthy that the wildbeauty of New Mexico made the painters of such diverseartistic interests and pursuits open up to the spiritualmessage of nature.

“Wild Beauty: the New Mexico Setting” is on view atthe Stark Museum of Art from March 16 through June 8.The Museum will host renowned writer Denise Chávezwho will present a free lecture “Ultima: A Healer for OurTimes” on April 25, at 6:30 p.m. at Lutcher Theater.

For more information about this lecture and otherMuseum events in relation to Southeast Texas Big Read,visit www.starkmuseum.org.

To see the full list of Southeast Texas Big Readevents, visit www.bigread.lsco.edu.

14 • ISSUE March 2013 Volume 19, No. 6

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

ULTIMA from page 5

RABBIT from page 6

EXPERIMENTAL DRAWING CLASSTuesdays, March 12-April 16 • 6-8 p.m. • $80, materials not included • ages +15

Experimental Drawing isintermediate level coursethat pushes students toexpand upon their own defi-nition of what constitutes adrawing.

Students will explorenon-traditional drawing meth-ods, materials and tools, thesculptural aspect of drawing,and the relationship betweenthe pictorial form and con-tent.

The course aims to helpstudents build a suitablefoundation for further artisticdevelopment in a variety ofmedia.

Volume 19, No. 6 March 2013 ISSUE • 15

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

720 Franklin, Beaumont, Texas 77701 Non-Profit OrgU.S. Postage

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

RETURN SERVICE REQUESTED

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.

Elizabeth FontenotBryan CastinoHeather & Adam ButlerAndy LedesmaRhonda RodmanSue WrightCyndi GrimesRhonda McNallyAndy CoughlanBen JenningsBeth GallaspyJohn RobertsBeau DumesnilKaren DumesnilSheila BuscemeKailee ViatorHaley BruynBryan LaVergneGabe SellersIan GriceAbby McLaurinSamantha WheelerScott & John AlexanderHeather AdamsTerri FoxApril FalgoutB.J. BourgMichelle FalgoutDana DormanReagan HavensAnna BucheleNick WilcoxStacey Haynes

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JOIN USFOR ART OPENINGS ONTHE FIRST SATURDAY

OF THE MONTH

THIS MONTH:

MARCH 2-30GALLERY RECEPTION IS MARCH 2, 7-10 P.M.SPECIAL RECEPTION MARCH 23, 7-10 P.M.

THE ART STUDIO & FRIENDSAN EXHIBITION IN CONJUNCTION WITH THE

NATIONAL COUNCIL ON EDUCATION FOR THE CERAMIC ARTS CONFERENCE