Country Roads Magazine "The Visual Arts Issue" June 2025

1 . Catch some live music at one of our local spots.

2 . Unleash your imagination at the Children’s Museum.

3 Discover Mississippi Legends at The MAX.

4 . Explore the trails at Bonita Lakes.

5 Snap a photo with one of our vibrant murals downtown. FIVE THINGS TO DO

James Fox-Smith

Public art on Canal, open studio at Glassell & a symposium at the ACA

Local museums & galleries are going all-out with summer exhibitions

Three Louisiana artists share their perspectives on portraiture by Jacqueline DeRobertis-Braun

A new platform in Lafayette envisions a better ecosystem for the arts by Shanna

The Walter Anderson Museum of Art’s new curated café kicks off the development of the Art Block in Ocean Springs by Mimi Greenwood Knight

On the Cover

HERNANDEZ,” OIL ON CANVAS, 2018

Artwork by Aron Belka

The faces that Aron Belka likes to paint are the ones on the ground—no one famous, the kind of people who are quietly integrated into society, easily passed over, yet remarkable just the same. He likes to paint them large, enormous, even—several feet tall—forcing passersby to really look at them, to see. In Jacqueline DeRobertis-Braun’s feature story, “How do People See People?” on page 32, Belka cites the digital age’s overwhelm of imagery, of faces, as an example of fragmented reality, the resistance to spending time within a singular moment. In response, he forces confrontation with realism, portraits that from afar look as though they speak and breathe—but he fragments them. Up close to the monumental works, all you see is brushstrokes, abstraction.

In his 2018 collection, Represent: Depicting Creatives in the 504, Belka asked the world to look at the artists of New Orleans, twenty individuals who were shaping the city’s contemporary art scene. Painter, printmaker, and sculptor Ana Hernandez, featured in this portrait, has been a working artist in the city for almost twenty years. She describes her work as a contribution to a movement of reimagining a world that is more just, more honest, and more postured toward healing our planet and each other.

In this issue dedicated to the arts and to artists, we invite you to slow down and really recognize artists like Hernandez, and Belka, and a dozen more. As the beloved chef and accomplished art collector Leah Chase once said (page 42), “Looking at a person is just like looking at art. When you look at them, at first you may not understand it all … you have to get to know them.”

LaHaye Fontenot

Megan Broussard

DON’T FAIL”

Baton Rouge civil rights leader Johnnie A. Jones, Sr.’s legacy lives on by Melvin McCray III

Publisher James Fox-Smith

Associate

Publisher Ashley Fox-Smith

Managing Editor Jordan LaHaye Fontenot

Arts & Entertainment Editor

Jacqueline DeRobertis-Braun

Creative Director Kourtney Zimmerman

Contributors: Megan Broussard, Jess Cole, Shanna Dickens, Mimi Greenwood Knight, Alexandra Kennon Shahin, Susan Marquez, Melvin McCray III

Cover Artist Aron Belka

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Roads Magazine P.O. Box 490 St. Francisville, LA 70775 Phone (225) 343-3714 Fax (815) 550-2272 EDITORIAL@COUNTRYROADSMAG.COM WWW.COUNTRYROADSMAG.COM

Reflections

FROM THE PUBLISHER

When I was a kid growing up in Australia, a print hung in the living room of my parents’ house for as long as I can remember. It depicted a winter scene—all muted whites and grays—in which three hunters and a pack of dogs plod down a slope towards a frozen village. A single, small animal—a rabbit or fox, perhaps—hangs over one hunter’s shoulder, and something about the scene tells you the hunt hasn’t been successful. Perhaps it’s the way the hunters’ heads and the dogs’ heads hang low. Or maybe it’s the dark birds perched in the trees overhead, but although the wintry village scene teems with life, you are left with an ominous sense that trouble lies ahead. I didn’t know it at the time, but this was a print of “The Hunters in the Snow,” which a Dutch artist named Pieter Bruegel the Elder painted in 1565. If that seems a peculiar thing to find in a suburban Melbourne household during the 1980s, consider that the household was run by a couple of English expats surprised to find themselves living in Australia and experiencing unexpect-

ed nostalgia about dark, cold European winters. Nine-year-old me never wondered what “The Hunters in the Snow” was doing in our living room. In the way that kids will, I accepted this strange part of my surroundings, and remember gazing at it often, darkly fascinated with the glimpse it gave into an alien place and time.

Why am I telling you this? Since this issue of Country Roads considers the visual arts, and since I possess as much innate artistic talent as a plate of beans, my plan is to tell you about my wife and my anniversary. As a reward for putting up with one another for thirty years, in May we spent a week in Vienna, Austria—a city we had come close to as twenty-something backpackers, but never actually visited. Vienna is a gob-smackingly beautiful city, bristling with Baroque palaces and Gothic cathedrals, grand avenues lined with mansions, monuments, and parks. The Austrian capital since the 1150s, Vienna was shaped by the Habsburgs, who, as one of Europe’s most powerful (and inbred) ruling dynasties, established the city as the seat of the emperors of the Holy Roman Empire, spent three hundred years building astonishing architectural monuments to themselves, then proceeded to fill them with exquisite art, statuary, and furniture.

Many now serve as museums, making the inner city not only one of the most beautiful sites in all Europe, but also one of the best places to see art in the world. See art we did. During the week we lost ourselves amid the soaring halls of former imperial palaces filled with works by giants of the western artistic canon— Leonardo da Vinci to Michaelangelo; Raphael to Rembrandt; and hundreds more. At the majestic Upper Belevedere Palace, home to the world’s largest collection of works by Gustav Klimt, we elbowed through hordes of visitors for a glimpse of his iconic “The Kiss,” (suitable for a thirtieth anniversary, don’t you think?). At the Leopold Museum we came under the spell of pioneering Austrian expressionist Egon Schiele, who left behind hundreds of works of remarkable and disturbing beauty when he died at just twenty-eight.

And then there was the Kunsthistoriches (Art History) Museum, which was built to house the vast collections of the Habsburg monarchy and today represents one of the world’s most extensive art collections. Its domed exhibition halls are festooned with Rembrandts and Michaelangelos and Caravaggios … and the world’s largest collection of work by one Pieter Bruegel the Elder. While drifting through one such gallery I found it. A familiar wintry scene, the trio of failed hunters. Transfixed with recognition and flooded by childhood memory, I sank onto a nearby bench, where I remained for a long time.

Good art does more than just depict people, places, and things. Good art encodes memory, illuminates perspective, and invites us into the consciousness of other people, opening windows through which we are offered chances see the world differently—more broadly and richly, perhaps, than the way we perceive it ourselves. After so many years, the jolt of recognition that came upon encountering that painting unleashed a torrent of reflection: on the passage of time, on how my life has changed, and what I’ve learned along the way. That’s what keeps us looking.

—James Fox-Smith, publisher james@countryroadsmag.com

A Story in Every Board

“A stack of wood that looks fit to burn has a lot of treasures in it. Once you remove the bad wood and start processing the good wood the natural beauty and color is revealed.”

—Dave Duhon, Furniture Builder

Out of an historic Acadiana barn, emerges furniture with provenance

Justwest of Lafayette, in the whistle-stop town of Duson, Louisiana, the big barn on the old Miller place was on the verge of falling down. During the fifty-plus years it stood, the gambrelroofed building–forty-five feet wide and seventy feet long—had housed livestock, farm tools, and equipment. But time and weather had taken their toll, and by 2024 the property had sold, and the barn needed to come down. When Dave Duhon, local craftsman and co-founder of All Wood Furniture Company saw the structure, he saw a second life for it. Duhon arranged to dismantle the barn in return for the salvaged lumber, recovered around 4,500 board feet of rough-milled, old-growth cypress, and hauled it back to All Wood’s Carencro workshop, adding to a stockpile of heritage lumber he’s accumulated during thirty years of furniture building. Now, working piece by piece, Duhon is breathing new life into the weathered old lumber, incorporating it into heirloom-quality dining tables, beds, and case goods that combine authentic Southern craftsmanship with echoes of South Louisiana’s architectural history, one board foot at a time.

For Dave Duhon, the Miller barn project was a full-circle moment. In 1993, when he started building tables in his home town of Carencro, vintage cypress was easy to come by—salvaged from houses and barns as the old farmsteads of rural

Acadiana gave way to newer developments. Often in the early years, brother and business partner Doug Duhon remembers, a neighbor would show up at All Wood’s Carencro workshop with a trailer-load of old, weathered cypress to sell. Nowadays, though, old wood has gotten scarce, and opportunities like the Miller barn don’t come around often. When they do, Dave uses the wood sparingly. “New-growth wood has more uniformity and less surprises,” he said, “but working with old wood is a discovery process. A stack of wood that looks fit to burn has a lot of treasures in it. Once you remove the bad wood and start processing the good wood the natural beauty and color is revealed. Someone’s time worn patterns, paint traces, or the shape of an old hinge are embedded in it.” He uses the most distinctive pieces as table tops, door accents, panels and drawers, combining them with sustainably sourced, new-growth cypress for maximum effect. “That way, we can be making things with this wood for years, and still saving some of the best for special projects that arise.”

Today, All Wood Furniture maintains showrooms in Baton Rouge and Lafayette. General manager Raymond Smith has run the Baton Rouge store since 2013, when the Duhons took the property over from a previous owner (“I came with the building,” he laughs.) A former school teacher and a lifelong artist, Smith loves to collaborate with a

customer to design a custom piece, considering the provenance of the wood, the desired furniture style (Shaker, Colonial, French, Tuscan, Mission, etc.), finish, and color; as well as the particulars of the room where the piece will go. Smith says this last consideration is especially important. “When planning a room, always begin with the largest, most prominent piece,” he advises. “In a dining room, that’ll be the dining table. In a bedroom, it’s the bed. With living rooms, start in the center and work outwards. Then ask: ‘Do I have a paint color?’ ‘Do I have a curtain?’ and ‘What is the style I want?’ With that information, it’s very rare that we can’t make a piece to fit a space perfectly.”

To compare styles, see examples, and explore colors and textures, visit allwoodcompany.com

All Wood Furniture locations 10269 Airline Highway, Baton Rouge (225) 293-5118

1508 W. Pinhook Road, Lafayette (337) 262-0059 allwoodfurniture.com

Raymond Smith - Manager

Canal Street Menagerie

A NEW PUBLIC ART EXPERIENCE INFUSES NEW LIFE INTO ONE OF NEW ORLEANS’S MOST ICONIC THOROUGHFARES

In a new experience presnted by Celebrate Canal—a coalition revitalizing New Orleans’s historic Canal Street—people strolling outside the Saenger Theatre can stop and view a new art installation by Jacques Francois, titled “It’s a Starry Night at the Saenger.” The artwork, situated just behind and above the iconic Saenger sign, features illustrations of Elizabeth Taylor, Louis Armstrong, Big Freedia, and Fats Domino—along with all their pets. And at the center of it is New Orleans’s own “runaway” pet of the collective: Scrim.

If the viewers take out their phones and scan a QR Code, they can listen to an interactive narration (by New Orleans musician Ivan Neville) of Scrim’s adventure down the “Canal Street Menagerie”: In the telling, as the lost pup looks up at the stars in Francois’s artwork, Patch—a mini police horse— tells him tales of Canal Street’s yesteryear, when the thoroughfare served as the “Champs Élysées of New Orleans.”

This recollection of Canal’s glory days, and dreaming for its future, is at

the heart of Celebrate Canal’s mission. The coalition’s debut activation, which is titled Windows on Canal , was created in partnership with Where Y’Art Works to serve as an “outdoor art gallery.” Installations on the façades of historic buildings all along the street feature work by contemporary New Orleans artists.

The artworks, accompanied by a digital narration, follow Scrim down Canal to landmarks like The Palace Café, where an egret offers him crabmeat cheesecake and turtle soup; and the Ruby Slipper, where Scrim meets a dove named Dodie, after civil rights activist Doratha “Dodie” Smith-Simmons. The experience brings together the work of contemporary artists, the rich history of the city, and baked-in experiences at some of its most iconic sites.

In addition, the experience will feature some signature events, including an Art & Architecture tour on June 4 and a fashion show on June 19. The window installations will be on display through July 6.

Learn more at celebratecanal.com.

—Jordan LaHaye Fontenot

Open the Studio Doors

AT GLASSELL GALLERY, MAKE ART WITH DESIGNER DAMIEN MITCHELL AND PRINTMAKER NICHOLAS ROBERTS

Over the course of June, LSU’s Glassell Gallery in downtown Baton Rouge will transform from an exhibition space into a working artists’ studio, a shoe repair shop, a printmaking atelier, a classroom, and a fort-building construction site.

This activation is the mission of the LSU College of Art & Design’s Open Experimental Studio. Returning for a second year, this program annually taps two artists, one of them a graduate student in the College of Art & Design, to take over the Glassell galleryspace for a process-oriented, public facing residency that invites the community into the artists’ world.

“The artists are pursuing their own practice, but they’re also really trying

to get the community engaged in a communal way,” explained the college’s Director of Galleries, Courtney Taylor. “It’s about spending time with artists and finding joy in making.”

This year’s artists are multidisciplinary designer Damien Mitchell and printmaker Nicholas Roberts; both artists’ work intersects at a focal point of unconventional constructions of materials in their art. Mitchell, an Assistant Professor of Industrial Design at the University of Louisiana at Lafayette, brings traditional handicraft philosophies into the world of digital fabrication—reimagining the constructions and reconstructions of mass-produced products such as sneakers. Roberts, on the other hand, uses printmaking as a medium to ex-

amine other means of making and labor—drawing deeply on his own roots; Roberts’ father was a carpenter, and the two are currently collaborating on a design for a floating staircase made of paper.

During their residency, which will last from June 1–28, the artists will work on their individual projects in what Taylor describes as their “studio zones” at the gallery. “You can drop in any time we’re open, say hello, create some art,” said Taylor. “One of them will always be there.”

Visitors can come and observe, ask questions, and interact with the artworks. The space will also feature designated “artmaking zones,” into which guests are invited to play and experiment with projects such as

sneaker design and printmaking. As part of Mitchell’s project, there will be a special “soft design” sewing station, where members in the community can engage in “creative alterations” and mending-as-art. In line with Roberts’ work, another station will serve as the cardboard construction zone, where visitors will be able to contribute to his massive fort-building project.

There will also be several scheduled workshops and artist talks over the course of the residency, starting with the kickoff on June 1, during which the artists will participate in open studio sessions, discussions, and a cardboard sculpture challenge.

Details at lsu.edu. Read more about the program in our calendar, page 17. —Jordan LaHaye Fontenot

The Palace Café installation for “Windows on Canal” by Monique Lorden.

Photo by David NOLA Photography, courtesy of Celebrate Canal.

State of the Arts

A NEW SYMPOSIUM ELEVATING PUBLIC CONVERSATION AROUND THE ARTS SECTOR IN LAFAYETTE

Lafayette, Louisiana is a place where, when a local butchershop in a disinvested neighborhood needs a face lift, a collective of grassroots organizations and volunteers assemble to commission a mural. It’s a place where, when someone envisions a culturally resonant, more inclusive twist on a classical ballet, the ensuing production sells out for years to come. When people move here, it’s as much for the food, or the music scene, or the dynamic downtown (with its museums, galleries, and monthly artwalk) as it is for a new job. And according to the most recent economic impact report, more than $1.5 billion in annual revenue is generated by the cultural sector in Lafayette Parish, making artistic and cultural activity the single largest economic driver in the region.

Community leaders in the arts want to drive this message home for all of Lafayette, not just those that identify as “creatives,” at a new event hosted at the Acadiana Center for the Arts (ACA).

The State of the Arts Symposium, to be held on June 13, is envisioned as a civic forum designed to draw the entire community into conversations about the importance of the arts infrastructure in Lafayette’s cultural identity and economy.

The arts sector in Louisiana, and the United States as a whole, has always faced a certain amount of fiscal instability with limited resources. But in early May, President Donald Trump’s Fiscal Year 2026 budget delivered a devastating blow to arts institutions across the nation with the proposed elimination of the National Endowments for the Arts and Humanities. Should the budget be approved and federal funding pulled, our local arts organizations will depend more than ever on the support of their communities.

“All of the good things about living here—the culture, the music, the art, the festivals. . . that’s what brings people together,” said Anna Kojevnikov, the Community Development

Manager at the ACA. “The arts make a huge impact on this community, and we really want to get everyone on board to understand why they are worth supporting and investing in.”

The symposium will feature sessions led by leaders representing sectors of Lafayette Parish ranging from government to education to business, in addition to the arts.

Tina Shelvin Bingham, Community Development Director for Lafayette Habitat for Humanity and Executive Director of the McComb-Veazey Neighborhood Coterie, will speak about her work in neighborhood revitalization, and “Culture as an Excuse to Develop Our Community.” Entrepreneur and dance educator Leigha T. Porter, founder of Lafayette’s wildly popular Christmas production, The Creole Nutcracker, will lead a session titled “Give Them What They Want: Creating and Meeting Demand for the Arts.” Other sessions include a discussion on talent retention and attracting new business to Lafayette through the

arts, and a panel in which local artists and their parents discuss the challenges of pursuing, and supporting, a career in the arts.

The day will conclude with a keynote address from Dr. Christophe Jackson, a musician and neuroscientist who will present an interdisciplinary talk/performance on how creativity supports cognitive development, mental health, and social cohesion.

“I just want people to understand that the arts and the culture we create is . . .what life is really about,” said Kojevnikov. “We want people to understand that it is also work, and it makes our lives joyful, and helps us all to express emotions, and contributes to these really important parts of our lives. If it can’t exist, where will that energy go?”

The State of the Arts Symposium will be held June 13 at the Acadiana Center for the Arts. Register, for free, at acadianacenterforthearts.org.

Read more about the program in our calendar, page 25.

—Jordan LaHaye Fontenot

UNTIL

SOUND ON LOUISIANA

CAJUN-ZYDECO FESTIVAL

New Orleans, Louisiana

Acadiana comes to the Crescent City in a big way this weekend, with the annual Louisiana Cajun-Zydeco Festival taking over the George and Joyce Wein Jazz & Heritage Center. The Cajun-Zydeco Fest is a dance-happy celebration of the rockin' music of southwest Louisiana. This year's lineup includes Waylon Thibodeaux, Prends Courage, Buckwheat Zydeco Jr. & the Legendary Ils Sont Partis Band, Dwayne Dopsie & the Zydeco Hellraisers, T’Monde, Horace Trahan & Ossun Express, T Broussard & the Zydeco Steppers with special guest Mary Broussard, and Corey Ledet & Black Magic. Free. 3 pm–8:30 pm both days. cajunzydecofest.com. 1

UNTIL JUN 1st

GOOD EATS

JEAN LAFITTE

SEAFOOD FESTIVAL

Jean Lafitte, Louisiana

The Jean Lafitte Seafood Festival is back again, fresher and tastier than ever. Live music, visual artists, swamp tours, kayak rentals, and of course plenty of local

SCULPTURE WORKSHOP

Arnaudville, Louisiana

This three-day bamboo sculpture workshop, taught by James Wolf, features an involved educational experience exploring how to shape and mold bamboo as a collective. 9 am–5 pm each day. $150 for all three days. nunucollective.org. 1

UNTIL JUN 7th

STUDENT ART

SOFT SCULPTURE EXHIBIT

Lafayette, Louisiana

UL College of Arts 3D Design students were asked, this semester, to select an object they considered a tool, then recreate it within a set of rules. Each object had to be created into a handsewn stuffed form, at least three times the size of the original object, created in either an analogous or complementary color scheme, and contain one outlying texture. These fascinating objects are currently on display in the Reaux Family

George Rodrigue: The River is the Road hosted at the Alexandria Museum of Art, explores forty-five years of the river in Rodrigue's paintings, tracing the ways water references his Cajun heritage. The exhibition features forty-five original artworks, including sculptures, paintings, and pastels. themuseum.org. 1

UNTIL JUN 21st

MORE THAN MUSIC FESTIVALSOUTH

Hattiesburg, Mississippi

From Broadway, to Motown, to opera, to ballet, and any genre in between, FestivalSouth in Hattiesburg offers something for every lover of music and the arts. This year, a slate of diverse performances make for a cultural "choose your own adventure"—from Elvis tributes to opera celebrations and performances of Mahler's Symphony No. 4 to pottery workshops and a beer-themed homage to Beethoven. The lineup is packed and

Vault at the Acadiana Center for the Arts.

Continuing Events

varied, check it out and find tickets at festivalsouth.org. 1

UNTIL JUN 27th

COLLABORATIONS

"BECAUSEWAY"

Covington, Louisiana

The Christwood Atrium Gallery in Covington, in partnership with the Ferrara Showman Gallery in New Orleans, hosts the exhibition BeCauseway, a collaborative showcase featuring works that bridge the dividing line between Lake Pontchartrain's North and South Shores. ferrarashowman.com. 1

UNTIL JUN 28th

EXPERIMENTAL ART

LYNDA FRESE:

to alien wonders we can only imagine. acadianacenterforthearts.org. 1

UNTIL JUN 29th

ART EXHIBITIONS

JOHN SCOTT: "BLUES POEM FOR THE URBAN LANDSCAPE"

New Orleans, Louisiana

Pulled from the New Orleans Museum of Art's permanent collection, this series of prints by the renowned sculpture artist John T. Scott is a tableau of New Orleans, and a tribute to the African American artisans who built the city. noma.org. 1

UNTIL JUN 30th

EXPERIMENTAL ART

"CHAOS AND HARMONY"

Arnaudville, Louisiana

"At Sister Gertrude Morgan, Four Angels." Unknkown date, Acrylic, pencil and ink on cardboard. This piece, by Floyd Sonnier, is featured in the Hilliard Art Museum's new exhibition from its permanent collection, Tides, Time, and Terrain: Floyd Sonnier and the Evolving Cultural Landscape. Sonnier, a well-known Cajun artist, was known for capturing nostalgic images of Acadiana life. Sonnier's piece is among works by forty-one artists, chosen to highlight South Louisiana's cultural identity as evolving, ever-changing, and very much alive. It is the first time in more than a decade the museum has featured work from its permanent collection. hilliard-springawake.com. Art courtesy of the Hilliard Art Museum.

a mixed media artist, uses generative AI and encaustic wax to create textured,

UNTIL JUL 5th

shape the self while setting the stage for the most intimate human experiences that take place behind closed doors. In four movements, the exhibition spans the spectrum of emotion—all confined within (and witnessed by) the impassive walls of a home. Brisco's haunting work captures the seemingly mundane moments of daily life through a skillful manipulation of light and shadow, imitating hazy memories that become part of self-definition and discovery. hilliard-springawake.com. 1

UNTIL JUL 5th

ART EXHIBITIONS ON EXHIBIT: RANDY DAUTERIVE & CAROL MILLER OF THE LOUISIANA CRAFTS GUILD Lafayette, Louisiana

In the Acadiana Center for the Arts Mallia Gallery, the Louisiana Crafts Guild presents two artists working out of Breaux Bridge: metal worker Randy Dauterive and ceramic artist Carol Miller. acadianacenterforthearts.org. 1

UNTIL JUL 13th

ART EXHIBITIONS

"CRESCENT CITYSCAPES"

New Orleans, Louisiana

In this exhibition pulled from the Ogden

Museum of Southern Art's permanent collection, New Orleans is the ultimate muse. In works that capture the "slant of light through thick humid air," and "cracked sidewalks of urban entropy juxtaposed against the shock of new construction in the midst of history," "climbing vines and persistence of nature that threatens daily to swallow the landscape"—we see how, from the nineteenth century to modern times, artists have been inspired and awed by the magic and majesty of the Crescent City, and have been compelled to recreate it. ogdenmuseum.org. 1

UNTIL JUL 14th

PHOTOGRAPHY

"DELICATE SIGHTS: PHOTOGRAPHY AND GLASS"

New Orleans, Louisiana

Focusing on an under-discussed element in the history of photography, Delicate Sights hones in on glass as a tool in the artform, showcasing processes and formats of ambrotypes, magic lantern slides, and glass plate negatives. These unexpected, often stunning works have been produced across the world, including those by photographers like E.J. Bellocq, Joseph Woodson "Pops" Whitesell, and Felicita Felli Maynard. noma.org. 1

UNTIL JUL 26th

ART EXHIBITIONS

"WEEKS HALL, AVANT GARDE"

New Iberia, Louisiana

The Shadows Visitor Center hosts the exhibition Weeks Hall, Avant Garde, featuring rarely displayed works by William Weeks Hall spanning decades of his artistic life from a young boy to late career. Hall studied at the Pennsylvania Academy of the Fine Arts from 1913–1918, before embarking on a European tour after World War I. He returned home to New Iberia in the 1920s where he began to restore the Shadows, painting all the while he worked on the home's restoration. A reception will be held May 10 from 4 pm–6 pm. Free, but registration encouraged. shadowsontheteche.org. 1

UNTIL AUG 1st WESTERNS

"AMERICAN COWBOY: ALTERNATIVE LANDSCAPES"

Monroe, Louisiana

Monroe's Masur Museum presents American Cowboy: Alternative Landscapes, exploring the tough, traditionally masculine American icon and the space he occupies, both in the country's

imagination and in reality. The exhibition grapples with, questions, and engages this storied Western legacy and its decisive omissions through reconfiguring the myth, resisting realism, and carving a new image. American Cowboy features works from the Masur Museum's collection, Colorado-based artist Grace Kennison, and Jason Byron Nelson. masurmuseum.org. 1

UNTIL AUG 3rd TEACHERS

"IN FOCUS: ARTWORK BY LSU FACULTY"

Baton Rouge, Louisiana

Setting the standard for Louisiana's flagship university's art programs, LSU's School of Art tenure and tenure-track professors are leading educators and innovative artists in their own right, practicing as experimental experts in their craft across a range of varied mediums, from digital technology, to sculpture, to ceramics, to printmaking. See their work on display at the LSU Museum of Art this summer. Participating LSU professors featured include: Ed Smith, Kelli Scott Kelley, Johanna Warwick, Jeremiah Ariaz, Denyce Celentano, Scott Andresen, Loren Schwerd, Michaelene Walsh, Kristine Thompson, Lauren Graciela Cardenás,

Robert Rauschenberg, a pioneering pop artist from Port Arthur, Texas, helped redefine modern art with

which blended painting, sculpture, and found objects.

Events

Continuing Events

Andrew Shurtz, Courtney Barr, Derick Ostrenko, Leslie Koptcho, Lynne Joddrell Baggett, and Luisa Fernanda Restrepo Pérez. lsumoa.org. 1

UNTIL AUG 7th

SOLO EXHIBITIONS

"OUT OF SLOVENIANA"

Baton Rouge, Louisiana

The Manship Theatre’s Jones Walker Foyer hosts a solo exhibition from Mitch Evans, which features abstract scenes of nature and honors his mother's homeland of Slovenia alongside his own Louisiana home. He works with fallen, sunken logs and resin, creating art that highlights natural beauty and echoes the gift of creativity his mother gave him as a child. manshiptheatre.org. 1

UNTIL AUG 10th

ART EXHIBITIONS

"BATTLE OF THE BANDS"

New Orleans, Louisiana

Don't miss the drama, the drums, and the dancing (and, of course, the stunning costumes) at the Ogden Museum of Southern Art's exhibition by Keith Duncan, titled Battle of the Bands. In the showcase, Duncan celebrates the complex and rich tradition of Historically Black Colleges and Universities (HBCU) and their marching bands through immense, large-scale fabric paintings, among other displays. Known for thrilling, rhythmic half-time show performances, including the two-part Battle of the Bands show performed during the famous Bayou Classic, HBCU marching bands are renowned for their artistry, discipline, and athleticism. ogdenmuseum.org. 1

UNTIL AUG 10th

GLOBAL ART

Nsa, Sheku “Goldenfinger” Fofanah, David Sanou, and Hervé Youmbi. The display includes thirteen masquerade ensembles, with pieces crafted from materials such as wood, cloth and fabrics, sequins, feathers, gourds, raffia, and cowry shells. The exhibition is organized in partnership with the Musée des Civilisations noires (MCN) in Dakar, Senegal, and is also on display in parallel form for African audiences. noma.org. 1

UNTIL AUG 24th

DESIGN EXHIBITIONS

ANGELA GREGORY: MONUMENTS & ARCHITECTURAL COMMISSIONS

Port Allen, Louisiana

The third iteration of the West Baton Rouge Museum's three year exhibition series, Angela Gregory: Doyenne of Louisiana Sculpture, exploring the legacy of the Louisiana sculptor will be on exhibit through August 2025. Guest curated by Elizabeth Chubbuck Weinstein, this show showcases Gregory's architectural commissions, such as those on the Louisiana State Capitol, and her monuments. To understand Gregory's artisanship and process, the exhibition includes plaster molds, sketches, and finished bronzes from these projects. westbatonrougemuseum.org. 1

UNTIL SEP 7TH

PHOTOGRAPHY "THE UNENDING STREAM: CHAPTER I"

New Orleans, Louisiana

"NEW AFRICAN MASQUERADES: ARTISTIC INNOVATIONS AND COLLABORATIONS"

New Orleans, Louisiana

The New Orleans Museum of Art (NOMA) presents a major exhibition featuring the work of four contemporary artists working in cities across West Africa. New African Masquerades: Artistic Innovations and Collaborations explores current West African masquerade practices, situating them at the nexus of social, economic, and religious contexts and identities. NOMA will showcase the work of contemporary artists workign in West Africa: Chief Ekpenyong Bassey

Paying homage to Clarence John Laughlin's photograph of the same title, which depicts a New Orleans graveyard in black and white, this two-part exhibition at the Ogden Museum of Southern Art honors New Orleans's robust, diverse photography community, with a special focus on emerging and underrepresented photographers whose work centers on the South and what makes it unique. The artists featured in the exhibition explore themes that align with Laughlin's surrealist approach to photography: memory, decay, the supernatural, forgotten places, time, place, family, and identity. In this first chapter of the exhibition, works by Trenity Thomas, Kevin Kline, Jacob Mitchell, Brittany Markert, Thom Bennett, and Tiffany Smith are included, with more to come in later installments. ogdenmuseum.org. 1

Daryl Marx, MD Robotic Surgery

Events

Beginning June 1st - 2nd

UNTIL AUG 28th

ARTISTIC ICONS

"RODRIGUE: BEFORE THE BLUE DOG"

New Orleans, Louisiana

The Louisiana State Museum and Louisiana Museum Foundation unveil Rodrigue: Before the Blue Dog, an exhibition featuring more than fifty of the artist's paintings, opening at the Cabildo. Rodrigue's work on display captures the dark, sometimes eerie depictions of the Cajun landscape, people, and culture he produced before the Blue Dog paintings thrust him into the international spotlight. louisianastatemuseum.org. 1

UNTIL SEP 21st

ART & CULTURE

"HOA TAY (FLOWER HANDS): SOUTHERN ARTISTS OF THE VIETNAMESE DIASPORA"

New Orleans, Louisiana

In a commemoration of the fiftieth anniversary of the Fall of Saigon, the Ogden Museum of Southern Art celebrates the work of VietnameseAmerican artists working in the American

South. These artists represent a culture within the fabric of America—and especially the South—that has battled displacement, assimilation, systemic racism, and collective trauma; and has contributed enormously to our communities in the realms of cuisine, beauty, and the arts. Representing a broad range of media and style, the artists exhibited in Hoa Tay (Flower Hands) illustrate the nuances of dual identities, of resilient legacies, and imagine paths forward. ogdenmuseum.org. 1

UNTIL OCT 4th

HISTORY

"JOURNEY THROUGH HISTORY: MAKING IT HOME: FROM VIETNAM TO NEW ORLEANS"

New Orleans, Louisiana

In remembrance of the fiftieth anniversary of the fall of Saigon, The Historic New Orleans Collection offers visitors the opportunity to journey through the moving stories of Vietnamese families who settled in New Orleans after the Vietnam War. The oral histories, personal heirlooms, and photographic

A family-friendly Pride Month celebration will be held at Longue Vue on June 1, including dance performances, fan decorating, story time, and more. The day will honor the contributions of LGBTQ+ individuals. Photo by Molly McNeal.

portraits recount deeply personal tales of cultural resilience and hope. hnoc.org. 1

UNTIL OCT 12th

ART & CULTURE

"RADBWA Ê TIRE TIK-LAYÉ: THE ART OF JONATHAN MAYERS"

Port Allen, Louisiana

Jonathan “radbwa faroush” Mayers presents a solo exhibition at the West Baton Rouge Museum in Brick Gallery, titled Radbwa ê tire tik-layé (Opossum pulls

the ticks). Mayers, a Doctoral Fellow of Francophone Studies at the University of Louisiana at Lafayette and a Baton Rouge native who has spent years reconnecting with his Creole heritage, creates art that grapples with the intersection of language, culture, heritage, and visual storytelling that has vanished and been reclaimed—often with an environmental lens. The show runs simultaneously with Kont Kréyol-yé (Creole Folktales), another museum exhibition exploring Creole identity. westbatonrougemuseum.org. 1

Visit Louisiana's "Toe" of Adventures!

Welcome to Washington Parish, Louisiana, one of the most scenic rural parishes in the state –our beautiful countryside of rolling hills, pine forests, farms, waterways, and rural backroads! We invite you to sh, hunt, canoe, “tube”, and drive our Scenic Byways of Highways 10 & 21 and points beyond and in between. Good food, festivals, local heritage, and the largest free fair in the nation are just some of the offerings in our little corner of the state.

UNTIL OCT 12th

ART & CULTURE

"KONT KRÉYOL-YE (CREOLE FOLKTALES)"

Port Allen, Louisiana

As part of his 1931 LSU Master's thesis, Lafayette Jarreau recorded Louisiana Creoles in Pointe Coupee and West Baton Rouge Parishes telling stories. Through funding by the Louisiana Endowment for the Humanities, the West Baton Rouge Historical Association, Vilaj Bonjwa, and Chinbo, Inc., a new publication based on Jarreau's findings will be published, with artwork created by Louisiana Creoles who have visually interpreted the tales. The art, created by local artists including Malaika Favorite, Keith "Cartoonman" Douglas, Jonathan Mayers, George Marks, Henry Barconey, and Henry Watson, will be on display at the West Baton Rouge Museum as part of an exhibition titled Kont Kréyol-yé (Creole Folktales) westbatonrougemuseum.org. 1

UNTIL OCT 19th

PHOTOGRAPHY

EDGE OF TOMORROW

New Orleans, Louisiana

Edge of Tomorrow, on exhibition at the Historic New Orleans Collection, showcases striking aerial photography of Louisiana's marshes and bayous. The work of photographer Ben Depp, who uses a paraglider to take his photographs, the exhibited photos reveal in stunning clarity the beauty and fragility of the state's wetlands. Edge of Tomorrow is presented alongside A Vanishing Bounty, HNOC's new permanent exhibition which explores the beauty of Louisiana's natural environment alongside its existential threats. hnoc.org. 1

JUN 1st

PRIDE MONTH

FAMILY EQUALITY DAY

New Orleans, Louisiana

Celebrate the many contributions LGBTQ+ individuals make to our New Orleans and Louisiana community with a free, family-friendly celebration at Longue Vue House and Gardens—featuring story time, dance performances, fan decorating, a community resource fair, and a children's parade. 10 am–1 pm. $20 parking fee per vehicle; free entry. longuevue.com. 1

JUN 1st - JUN 8th

THEATRE

“RADIO T.B.S. TRAILER PARK

BROADCASTING SCANDALS” Lafayette, Louisiana

Join radio hostesses Vesta Poteet and

Dixie Mandrell, who are eager to bring listeners the hottest gossip around The Luna Del Mar Manufactured Home Oasis and Monkey Empire in this raucous and irreverent comedy performed by Cité des Arts in downtown Lafayette. There are roving reporters, Miss Manatee contestants, and a drive-by nativity to reckon with in this Florida enclave where the drama (and comedic timing) are sure to serve up laughs. 7:30 pm, June 6 and 7; 2 pm June 1 and 8. $25. citedesarts.org. 1

JUN 1st - JUN 8th

ART EXHIBITIONS

2025 TREASURES OF POINTE COUPEE EXHIBIT

New Roads, Louisiana

The Poydras Center hosts the fifteenth annual Treasures of Pointe Coupee Art Exhibit, featuring local and regional artists. The two-weekend event includes art workshops, an arts market, conversations with artists, a treasure hunt, and the Petite Gallerie exhibit.

Open June 1 and June 6–8.10 am. artscouncilofpointecoupee.org. 1

JUN 1st - JUN 28th

ART FOR ALL

LSU COLLEGE OF

ART & DESIGN 2025 OPEN EXPERIMENTAL STUDIO

Baton Rouge, Louisiana

LSU College of Art & Design presents the second year of its Open Experimental Studio, this year featuring Damien Mitchell, a designer and Assistant Professor of Industrial Design at the University of Louisiana at Lafayette, and Nicholas Roberts, an LSU School of Art MFA ‘26 printmaker. Mitchell and Roberts will take up residency in Glassell Gallery at the Shaw Center for the Arts throughout the month of June, inviting visitors to watch them at work and, in some cases, join them in their art creation over the course of the month. The residency begins June 1 during First Free Sunday from 2 pm–5 pm. A closing event will be held June 28 from 6 pm–8 pm. design.lsu.edu. Learn more on page 8 1

JUN 2nd - JUN 6th

CULTURE WORKSHOPS

KAMP KRÉYOL :

KOURI-VINI IMMERSION CAMP

Port Allen, Louisiana

Drop yourself deep into the rich and distinctly Louisiana heritage of Creole cultural identity during the West Baton Rouge Museum's free, five-day "camp" this month. From 9 am–4 pm, workshops will introduce participants to Louisiana Visit The Northshore, where the sunshine dances, the music twinkles, easy escapes are shore to be had.

Events

Beginning June 4th - 6th

Creole folktales, art, and storytelling—in large part through the exhibitions Kont Kréyol-yé (Creole Folktales) and Radbwa ê tire tik-layé: The Art of Jonathan Mayers, each of which explores the nuances of Creole identity and heritage from unique artistic perspectives. Each morning Creole language activist (and former American Idol contestant) Clif St. Laurent will lead immersion lessons, and each afternoon, students will meet and learn from culture bearers, artists, writers, and researchers. 9 am–4 pm each day. Free. westbatonrougemuseum.org. 1

JUN 4th - JUN 11th

MOVIE MAGIC

PRODUCER'S CHOICE FILM SERIES

New Orleans, Louisiana

The New Orleans Museum of Art (NOMA) presents a new summer film series in collaboration with awardwinning producer and filmmaker Meryl Poster. The events, held in NOMA's Lapis Center for the Arts, include conversations with Poster and other leading figures about the film industry, either before or after the screenings. The June schedule is as follows:

• Wednesday, June 4: The Wings of the Dove (1997), followed by a conversation with Susan M. Taylor, the Montine McDaniel Freeman Director of NOMA, and producer Meryl Poster. 6 pm.

• Wednesday, June 11: Chocolat (2000), followed by a conversation with screenwriter Robert Nelson Jacobs and producer Meryl Poster.

$10 for NOMA members; $15 for the general public. noma.org/producerschoice. 1

JUN

5th

& 12th

MUSIC 2025 NOCCA FOUNDATION CONCERT SERIES

New Orleans, Louisiana

A joint venture between the New Orleans Jazz Museum and the New Orleans Center for Creative Arts Foundation (NOCCA), the 2025 NOCCA Foundation Concert Series features the center's accomplished alumni, students, faculty, and affiliated artists returning to a stage close to home with original artistic commissions throughout the spring and summer months. Held at the New Orleans Jazz Museum’s Performance Center, the series is free and open to the public. 2 pm for all performances.

• June 5: WWNO's Lagniappe Sessions with Adonis Rose, featuring an opening performance by current NOCCA Jazz Students.

• June 12: French Horn Soloist Maxwell S. Arceneaux. noccafoundation.org. 1

JUN 5th - JUN 21st

SOUND ON LIVE MUSIC AT TIPITINA'S

New Orleans, Louisiana

The famous Tchoupitoulas venue continues bringing a wide variety of New Orleans's favorite musical acts to Professor Longhair's legendary stage. Here's what's happening:

• June 5: The Cat Empire Bird in Paradise Album Tour + Toyesauce. Doors at 7 pm, show at 8 pm.

• June 6: Good Enough for Good Times + Deltaphonic. Doors at 8 pm, show at 9 pm.

JUN 5th

SYMPOSIUMS EMPOWERED WOMEN EVENT 2025

Metairie, Louisiana

Looking for a space where women professionals and leaders support each other? Look no further. This oneday conference held at the Metairie Country Club unites women in a professional setting while exploring the power of storytelling and resilience as a key part of finding success in the workplace. It's a day of moving TEDstyle talks, a supportive atmosphere, and networking opportunities. 8:30 am–6 pm. $200. freemanmeansbusiness.com/ empoweredwomen-event. 1

• June 7: Purple Takeover: A Prince Celebration with DJ Soul Sister. Doors at 9 pm, show at 10 pm.

• June 8: Fais Do-Do With Bruce Daigrepont Cajun Band. Doors at 4:45 pm, show at 5:15 pm.

• June 13: Eric Johanson + Very Cherry. Doors at 8 pm, show at 9 pm.

• June 20: Honey Island Swamp Band + Sweet Magnolia. Doors at 8 pm, show at 9 pm.

• June 21: Perpetual Groove + Caleb Tokarska Band. Doors at 8 pm, show at 9 pm.

• June 27: Johnny Sketch & The Dirty Notes + Slugger. Doors at 8 pm, show at 9 pm.

Ticket prices at tipitinas.com. 1

JUN 5th - JUN 28th

BARD BASH

TULANE SHAKESPEARE FESTIVAL

New Orleans, Louisiana

Founded in 1993 by a handful of Tulane Faculty members, the New Orleans Shakespeare Festival at Tulane has become one of the most significant theatre events in the Gulf South. This season the

festival is opening with performances of Molière's witty farce, The Imaginary Invalid, as adapted and translated by Ryder Thornton, directed by Anne-Liese Juge Fox. The preview performance ($25) will be held June 5, and opening night on June 6—with performances Thursdays–Sundays through June 22 (7:30 pm Thursday–Saturday; 1:30 pm Saturday–Sunday). $40. On June 25,

the improv group, The Fools Ensemble, returns to the festival with a one-nightonly performance, presenting A Very Important Play, Again —their take on a "Shakespeare" play that has never been put to the stage before (and never will again . . . again). 7:30 pm. $25. Then, on June 28, you can also catch a onenight-only performance of (un)prompted Shakespeare: King Lear —in which actors meet in the morning, rehearse once, and then perform the show that night with the script projected on the stage behind them. 7:30 pm. $40. All events will take place in Tulane's Lupin Theater. neworleansshakespeare.org. 1

CULTURAL RECITATIONS XOCHIQUETZALLY CULTURAL PROJECT PRESENTS: THE TENTH MUSE & HER HENCHWOMEN

New Orleans, Louisiana

Xochiquetzally Cultural Project, founded by Catalina Reyna, presents an homage to Mexican women at the Marigny Opera House. The evening will feature recitations of powerful works from Sor Juana Inés de la Cruz (1648-1695), Nelly Campobello (1900-1986), Aurora Reyes (1908-1985), Eulalia Guzmán (18901985), Rosario Castellanos (1925-1974),

Concha Michel (1899-1990), and María Dolores Guadarrama (1985-Present). Doors open at 6:30 pm; performance at 7 pm. $25 suggested donation for general admission; $15 for students and seniors. No one will be turned away for lack of funds. marignyoperahouse.org. 1

JUN 6th

LIVE MUSIC

DWIGHT JAMES AT THE ACA Lafayette, Louisiana

For one night only, Louisiana native and singer-songwriter-guitarist Dwight James and his band The Royals perform a repertoire of Southern music from rock and blues, to soul and R&B. 7:30 pm–9:30 pm. $25.  acadianacenterforthearts.org. 1

JUN 6th - JUN 8th

GOOD EATS (LITERALLY) BON MANGÉ FESTIVAL Gheens, Louisiana

Down there in the Lockport neck of the woods, not too far from Lake Salvador, lies the community of Gheens, where the good folks have hosted an annual 'good eats" festival at the VacherieGheens Community Center for fifty years now. Expect Cajun food, rides,

6TH FLOOR ROOFTOP TICKETS

Buy your tickets today before they sell out! Enjoy food, music, and a stunning fireworks display over the Mississippi River. Located at 100 Lafayette St., Shaw Center for the Arts in downtown Baton Rouge, LA.

A couple dances at Franklin's Soul Food Festival. This year's event is June 20–22, hosted by the 100 Black Men of St. Mary Parish, Parc Sur La Teche. Photo courtesy of Cajun Coast Tourism. See page 29 for details.

Events

Beginning June 6th - 7th

and dancing—and a festival queen, of course. Enjoy live music performances by Emma Lodrigue, Masquerade, Gary Thibodaux, Kerry Thibodaux Band, Ben Bruce & the Acadians, Casie & Jonny's Music, Caleb Laeyrouse & the Drivers, and Shorts in December. 6 pm–midnight Friday; 11 am–midnight Saturday; 10 am–5 pm Sunday. Free admission. Details at the Gheens Bon Mangé Festival & Community Center Facebook Page. 1

JUN 6th - JUN 8th

CULTURAL CELEBRATIONS

CAJUN HERITAGE

FESTIVAL

Larose, Louisiana

The art and culture of wood carving is this festival's raison d'etre; it's a celebration that has been going on for almost fifty years now. Look forward to a decoy show and auction, carving demos, duck calling, raffles, and more. And with a name like Cajun Heritage, rest assured there'll be plenty of good eats on hand—jambalaya and other traditional treats galore to honor this part of the

state's thriving cultural heritage. Inside the Larose Civic Center. Raffle tickets can be purchased at the Rouses Market in Lockport. Free. Details at the Cajun Heritage Festival Facebook page. 1

JUN 7th

LIVE MUSIC

THE ALEX MCMURRAY BAND AT THE JAZZ 'N THE VINES SPRING CONCERT SERIES

Bush, Louisiana

Come take a swig of good fun with the folks at Wild Bush Farm + Vineyard for a concert with The Alex McMurray Band. Wild Bush wines are available for tasting and purchase, and food trucks will be on site. Pack your lawn chairs, blankets, and battery-powered candles for a cozy night under the stars with friends, family, or a date. Bonfires, pets, sky lanterns, and canopies are off limits. 6:30 pm–9 pm. $12 in advance for tickets; $15 at the gate; $5 for teens; children ages twelve and younger are free, at bontempstix.com. Details at wildbushfarmandvineyard.com. 1

JUN 7th

FAST LANE

CLASSICS ON THE BOULEVARD CAR SHOW

Covington, Louisiana

Time travel into the past at TerraBella Village’s Classics on the Boulevard, where you can jam out to oldies while admiring a classic car show and all the trappings involved. There will also be a plethora of local food vendors to distract attendees in the meantime, and awards for best in show. 10 am–1 pm. Free. terrabellavillage.com. 1

JUN 7th

GOOD EATS

DONALDSONVILLE WING FEST

Donaldsonville, Louisiana

Fly on over to Crescent Park in Donaldsonville this weekend for Wing Fest, hosted by the Donaldsonville Area Chamber of Commerce for a finger-licking good time. There will be competitions, live music by Justin Garner, tastings, and the sauces will be practically flying off the grills into visitors' waiting mouths. Competition begins at 1 pm; music lasts from 6 pm–9 pm. For details call the chamber at (225) 473-4814. visitlasweetspot.com. 1

JUN 7th

A LITTLE FRUITY

LOUISIANA PEACH FESTIVAL Ruston, Louisiana

We know, we know ... Ruston is kind of far from most of you. But we also know that most of you can't get enough Ruston peaches when the season rolls around. Celebrating its seventy-fifth anniversary this year, the Ruston Peach Festival was awarded the 2025 Festival of the Year by the Louey Tourism Awards as a result of its "unique community collaborations, significant economic impact, [and] emphasis on local culture." So, this year is as good as any to make a peach pilgrimage to North Louisiana to experience the hype (and, of course, the peaches) for yourself. How many pounds of peaches can you eat in two minutes? You'll never know until you try. Enter the peach eating contest to find out, and fill any leftover space with peachykeen tarts, pies, salads, preserves, and main dishes sure to satisfy even the most dedicated peach-lover. Expect cooking contests, live music, juried handmade arts & craft marketplace, parade, antique cars, and more to round out (get it?) a fruity summer day dedicated to all things peaches. 9 am–5 pm. Free. lapeachfest.com. 1

You’re free to live your life out loud! Because you’ve got the compassion of the cross, the security of the shield, and the comfort of Blue behind you.

On Behalf of a Child

CASA volunteers give voice to kids from fragile families

Too often in Louisiana, children face abuse and neglect, resulting in removal from their families and placement in foster care. Each situation is different, thorned with problems like generational poverty, cycles of abuse, or a lack of access to education. Determining the best path forward for a child is of the utmost importance, but when a fraught family dynamic meets an overburdened public bureaucracy, who will take time to ensure a child’s unique needs are met?

Enter a trained volunteer CASA (Court Appointed Special Advocate) from Child Advocacy Services. CASAs help children and teens in the foster care system, providing family court judges with critical details that help them make the best possible decisions about a young person’s future. CASAs get to know children and families, connecting them with the resources they need, and speaking up for a child’s safety and well-being.

Child Advocacy Services trains and places CASA volunteers across 10 parishes. It is one of 18 CASA agencies across Louisiana.

A national program, CASA was founded in 1976 by Seattle Juvenile Court Judge David W. Soukup, who had become frustrated with the lack of information judges had when deciding the fates of minors.

Louisiana Div. A, 20th Judicial District Court Judge Kathryn E. “Betsy” Jones says, “CASAs provide “exceptionally valuable” insight and information. Because these court-appointed volunteers are not lawyers, they can provide the court with more personalized details about the unique needs, wants, and home-life circumstances of children in the system.”

“These children are in desperate need of the personalized support and representation in Court that the CASA volunteers provide,” Jones goes on. “The CASA volunteers provide a critical support system for children going through the ‘Child In Need of Care’ judicial process.”

Their contributions are indeed weighty, but CASA volunteers aren’t thrown into their role without support. To become qualified for the role, they train for 30 hours over 6 weeks, and even afterward have constant access to a supervisor for ongoing support and questions.

“You really have a team behind you at all times to help with all aspects of your case,” says Carlisle.

Seven-year CASA volunteer Tami Price, now working on her 10th case, says there’s tremendous satisfaction in speaking up for a child. “Some cases are easy, and others are difficult, but at the end of the day, you’re making a difference in a child’s life,” she says. “That’s what it’s all about.”

Price says that she has remained in touch with many of the young people whose cases are now closed. “The kids still contact me, even if they have moved away,” she says.

The CASA program isn’t just effective anecdotally, but systemically, according to research.

“We know a child with a CASA volunteer is less likely to return to foster care,” says CASA Program Director LaKisha Penn. “And, while in care, those children are more likely to get the services they need because of CASA volunteers.”

Penn adds that CASA volunteers provide consistency in a period defined by chaos. “Children with CASA volunteers have a trusted adult to walk through this process with them,” Penn says. “When their placement changes, when their case worker changes, that CASA volunteer remains constant, always advocating for their best interests.”

CASA volunteer Courtney Boyle, who completed her training less than a year ago, says the reward of serving has outweighed any nervousness or hesitance she might have had. “I’ve always wanted to fight for those who can’t fight for themselves,” she said. “Being a CASA volunteer allows you to make a big impact in a child’s life. It’s very rewarding.”

“It’s about being a voice to the voiceless,” said Child Advocacy Services’ Chief Executive Officer Rob Carlisle.

Events

Beginning June 7th - 12th

JUN 7th

HISTORY

THE DAY THE WAR STOPPED

Saint Francisville, Louisiana

Feliciana Masonic Lodge #31 will again take part in the annual Day the War Stopped reenactment of the Masonic burial at Grace Episcopal Church of Union Lt. Commander John Elliot Hart—a moment during the Civil War when two warring sides laid down arms to honor the dead together through the common bonds of Masonic Brotherhood. Each year the Lodge and the town gather to commemorate the remarkable event's anniversary with various events in St. Francisville that include a play at Grace Episcopal (9:30 am), a graveside reenactment (10 am) at the corner of Prosperity and Ferdinand streets, a jambalaya cook-off at the courthouse grounds (11 am–1 pm), dancing and music (11:15 am–12:45 pm) at Grace Episcopal, a much-anticipated book signing by James Linden Hogg coinciding with his release of the history volume titled A Day the War Stopped: The Story of a Civil War Truce, and more. Most events are free and open to the public. Find a full schedule at felicianalodge31.com. 1

JUN 7th

FLORA

FELICIANA

WILDFLOWER FESTIVAL

Clinton, Louisiana

At the second annual Feliciana Wildflower Festival, head to downtown Clinton near the historic courthouse for a day of flora, food, plant sales, educational classes and presentations, kid activities, art exhibitions, and more. 8 am–4 pm. Visit the Feliciana Wildflower Festival Facebook Page for details. 1

JUN

7th

A LITTLE FRUITY

RED, WHITE & BLUEBERRY FESTIVAL

Ocean Springs, Mississippi

The town of Ocean Springs, Mississippi, sets out to stain downtown streets and festivalgoers' teeth alike blue, during the 20th annual Red, White & Blueberry Festival. In addition to lashings of fresh blueberries (likely more than you can eat), you'll find antiques, crafts, fresh produce, open houses for downtown

businesses, and more. Best of all, don't miss the free vanilla ice cream topped with your choice of blueberries or strawberries, provided by the Ocean Springs Chamber of Commerce. 10 am–2 pm. (228) 875-4424 or gulfcoast.org. 1

JUN 7th

PRIDE MONTH

NORTHSHORE

PRIDE PARADE

Mandeville, Louisiana

Northshore's Pride Parade, organized by Queer Northshore, is Southeast Louisiana’s family-friendly celebration of LGBTQ+ PRIDE Month, featuring a parade along Mandeville's Lakeshore Drive. The parade welcomes LGBTQ+ individuals and allies to march in support of inclusivity and diversity, with various LGBTQ+ and allied organizations invited to participate as sub-krewes. 4 pm–6 pm. queernorthshore.org. 1

JUN 7th

FIT & FUN

THE NATCHEZ

BICYCLE CLASSIC

Natchez, Mississippi

Get into gear, tighten your helmet, and enjoy the glorious summer weather along the Natchez Trace Parkway. The Natchez Young Professionals and Natchez-Adams County Chamber of Commerce host the annual YP Natchez Bicycle Classic, offering scenic routes ranging from 15 to 62 miles in length, all of which begin from 111 North Broadway Street in front of the Natchez Grand Hotel. 8 am. $65. natchezbicycleclassic.com. 1

JUN 7th

SOMETHING DIFFERENT

ACADIANA META FEST

Lafayette, Louisiana

For the second year, Acadiana Meta Fest draws together practitioners and seekers across the spectrum of the metaphysical arts—from standpoints of spirituality, holistic healing, and mystical arts. Held at the Downtown Convention Center in Lafayette, this gathering will invite participants to consult astrologists, create their own incense, meet with a medium, balance their chakras, and enjoy a sound bath. After last year's success (with over five hundred attendees), the organizers are now incorporating live entertainment

and other activities to the experience. 10 am–5 pm. Sessions cost between $15–$20 each. acadianametafest.com. 1

JUN

7th

FUNDRAISERS

MAGNOLIA BALL

New Orleans, Louisiana

The Ogden Museum of Southern Art's annual Magnolia Ball brings together visual arts, music, and local cuisine— giving the public an opportunity to support the museum's educational mission through an exclusive silent auction, all while exploring the museum after-hours, especially the exhibition Hoa Tay (Flower Hands): Southern Artists of the Vietnamese Diaspora. Attire is summer cocktail. 7 pm–11 pm. Tickets begin at $200. ogdenmuseum.org/magnoliaball. 1

JUN 7th - JUN 8th

'MATER FEST

CREOLE

TOMATO FESTIVAL

New Orleans, Louisiana

It's another bright, juicy year ripe for celebrating summer's favorite South Louisiana bounty: fresh Creole tomatoes. These beloved fruits are set to take over the French Market to mark the official opening of Creole tomato season with a "Ripe and Ready" second line featuring a local jazz band, The Baby Dolls, and the Amelia Earhawts on Saturday at 10:30 am, followed by live music on three stages to keep the crowds coming

back for more. And of course, there will be a wealth of food booths featuring the star of the show: the Creole Tomato, any way you like it. 11 am–5 pm. Free. frenchmarket.org. 1

JUN 7th - JUN 28th

ART CLASSES

ART GUILD OF LOUISIANA

JUNE CLASS

Baton Rouge, Louisiana

The Art Guild of Louisiana features Roberta Loflin's "Watercolor Basics – Focus on Perspective with City Scenes," held at 2490 Silverest Ave at the Art Guild's classrooms. Loflin instructs students on the basics of watercolor, focusing in particular on city scenes and how to use perspective in composition. Held weekly on Saturdays, beginning June 7. 9:30 am–noon. artguildlouisiana.org. 1

JUN 7th - JUN 30th

SOLO EXHIBITIONS "LARGER THAN LIFE" AT GALLERY 600 JULIA

New Orleans, Louisiana

Gallery 600 Julia presents a solo exhibition this June by local artist Ralph Songy titled, Larger Than Life Songy's work in this showcase features hyper realistic paintings depicting different types of Louisiana-specific foods, including bright, signature cocktails, raw oyster plates piled high, and decadent crawfish boils. An artist reception is June 7 from 6 pm–8 pm. gallery600julia.com. 1

Pictured above is "Learned Behavior," by artist David P. Morrow. Morrow and two other aritsts are on exhibition at NUNU Arts & Culture Collective in a show titled Chaos and Harmony through June 30. Morrow is known for his mixed-media approach and textured pieces. Photo courtesy of NUNU Arts & Culture Collective. See page 12 for details.

JUN 8th

HISTORY

CRÉOLE CULTURE DAY AT VERMILIONVILLE

Lafayette, Louisiana

Créole Culture Day returns this summer at Vermilionville. The event, presented by the venue in partnership with C.R.E.O.L.E. Inc., celebrates Créole heritage and culture with food, history, crafts, dance, and art. Come celebrate the Créolité that has influenced the contemporary folklife that permeates through the region, for one day only. 10 am–4 pm. Free. facebook.com/vermilionville. 1

JUN

10th

OPERA

ANDREA BOCELLI IN CONCERT WITH LOUISIANA PHILHARMONIC ORCHESTRA

New Orleans, Louisiana

The Louisiana Philharmonic Orchestra joins celebrated Italian tenor Andrea Bocelli in concert at the Smoothie King Center in New Orleans for a night of soaring music. Bocelli, a world-renowned vocalist, has received Grammy and Emmy nominations and sold millions of albums across the globe. The night

JUN 11th

ART CHATS

GALLERY TALK AT NOMA: ERIKA WITT

New Orleans, Louisiana

Join Erika Witt, the Director and Chief Curator of Southern University, for a gallery talk at the New Orleans Museum of Art to discuss the works in the exhibition New African Masquerades: Artistic Innovations and Collaborations Free for Louisiana residents. 12:30 pm–1 pm. noma.org. 1

JUN 11th

HISTORY

"THE NEW ORLEANS HOUSEWIVES’ LEAGUE: BUILDING AND BURNING BRIDGES IN NEW ORLEANS’S WOMAN’S MOVEMENT"

New Orleans, Louisiana

Dr. Anne Gessler, a clinical associate professor in the Humanities Program and Women’s and Gender Studies Program at the University of Houston-Clear Lake, explores women's contributions to political institutions, including New Orleans female enfranchisement during interwar years, at Gallier Historic House. Follow local women’s civic and social clubs organizing for empowerment in the post-war years. 6 pm–7:30 pm. $15. hgghh.org. 1

JUN 11th - JUN 15th

WINE & DINE

NEW ORLEANS

WINE & FOOD EXPERIENCE

New Orleans, Louisiana

What began as a one-day meeting-ofthe-minds between winemakers and chefs more than thirty years ago has mushroomed into a grand celebration of wine and food that attracts tens of thousands of people to New Orleans to worship before these twin deities. This year's experience offers Wine Dinners hosted by New Orleans area restaurants; Vinola fine wine tastings, the Tournament of Rosés, and culinary labs which will fill the days and nights with all things culinary and oenological. Combination packages and full experience tickets available. nowfe.com. 1

JUN

11th - NOV 30th

SOLO EXHIBITIONS "DUSTI BONGÉ: MODERNIST OF THE SOUTH"

Ocean Springs, Mississippi

The Walter Anderson Museum of Art presents an exhibition on Dusti Bongé, one of the foremost Southern modernist painters of the past century. Dusti Bongé: Modernist of the South explores the Biloxi native's artwork, which reflects the

vivid imagery of the Gulf South and the natural world. Bongé's work spans various artistic movements, from Cubism, to Surrealism, to Abstract Expressionism. An opening reception will be held June 26. walterandersonmuseum.org. 1

JUN 12th

GREEN THUMBS EBR MASTER GARDENERS PRESENTS "SUMMER SURVIVAL IN THE GARDEN" AND "GARDENING WITH THE HANDICAPPED, CHILDREN AND THE ELDERLY" Baton Rouge, Louisiana

Central Branch Library hosts an evening with the EBR Master Gardeners, discussing how to beat the heat this summer in the garden and how to make gardening accessible (and fun) to all ages and abilities. Master Gardener Ken Irby will kick off the event exploring plants that can thrive in high temperatures, along with ways to keep plants alive in the blistering summer months Louisiana anticipates this year. Following Irby's discussion, Master Gardener Lyn Hakeem will share gardening tips on how to keep a safe environment when planting with children, handicapped individuals, and the elderly. 5:30 pm. Free. ebrmg.wildapricot.org. 1

Events

Beginning June 12th - 14th

JUN 12th

ART CHATS

HEY Y’ALL ART TALK

New Orleans, Louisiana

Hey y’all! Join the Ogden Museum for a deep dive exploring the richness and diversity of Southern art and artists. Guests are welcome to join in participatory discussions about the art, or sit back, look, and listen. Every second Thursday, museum staff will facilitate in-depth conversations about art and artists from Ogden Museum’s permanent collection and current exhibitions. Free, but pre-registration is required and space is limited. 1 pm–2 pm. ogdenmuseum.org. 1

JUN 12th

THEATRE

READERS THEATER SERIES: "AS YOU LIKE IT"

Lafayette, Louisiana

At Cité des Arts, a new Readers Theater Series focuses on presenting plays from the classical theater in a relaxed, lowstakes way that is audience accessible— all with the goal to educate the public and remind them these plays are not just for academic-types, but for all. For the first installment, catch William Shakespeare's As You Like It at Cité des Arts in downtown Lafayette. 7 pm. $10. citedesarts.org. 1

JUN 12th - JUN 14th

AN EARFUL LOUISIANA CORN FESTIVAL

Bunkie, Louisiana

Sink your teeth into Avoyelles Parish's most important harvest celebration at this annual fiesta in downtown Bunkie, where you'll find corn shucking, corn eating, corn cooking contests, street dancing, arts & crafts vendors, pirogue races, a state-wide softball tournament, a carnival midway, and live music by the likes of LaRoxx Project, Three Thirty Seven, Alphonse Ardoin, and Chubby Carrier and the Bayou Swamp Band giving attendees plenty of reasons to tear up the dancefloor all weekend long. Come honor the impact of our local corn farmers, and stay to pack away all the mouth-watering, hot buttered corn you can. Don't miss the city-wide parade, which rolls out at 10 am Saturday. bunkiechamber.org/corn-festival. 1

JUN 12th - SEP 21st

ART EXHIBITIONS

"CARVED & CRAFTED: THE ART OF LETTERPRESS" Baton Rouge, Louisiana

Discover the vanishing art of the handmade, grounded in a tradition of craftsmanship. The LSU Museum of Art presents Carved & Crafted: The Art of Letterpress, an exhibition exploring the

The Cajun band BeauSoleil avec Michael Doucet will perform at the West Baton Rouge Museum's Historical Happy Hour on June 20 as part of the museum's monthly offerings showcasing local and national musical talent. Courtesy of the West Baton Rouge Museum.

printing process through the work of artist Jim Sherraden, artist and musician Jon Langford, and Hatch Show Print, a Nashville-based letterpress atelier. The exhibition features a selection of original and historic Hatch poster restrikes, early prints by Sherraden, and current collaborative work by Sherraden and Langford. lsumoa.org . 1

JUN 13th

GOOD EATS

JUNETEENTH

CHEESEBURGER

CHALLENGE COOK-OFF

Natchez, Mississippi

Kick off Juneteenth weekend with beaucoup burgers at the second annual Cheeseburger Challenge on the Bluff. Watch (and try to keep your mouth from watering) as five to ten teams compete to see who can whip up the best cheeseburger in Southwest Mississippi, with $1,000 as the grand prize. And with Father's Day around the corner, bring dad along too for a bite—he'll thank you. 3 pm–7 pm. Free. visitnatchez.org. 1

JUN 13th

GET TOGETHERS GATHERING ON THE GROUNDS

Laurel, Mississippi

At Gathering on the Grounds, come for the live entertainment, and stay for the food trucks, outdoor movies, kids' activities, fresh produce and plants, local art, and more. Held at the South Mississippi Fair Grounds Magnolia Center in Laurel. 5:30 pm–9:30 pm. jonescounty.com. 1

JUN

13th

CREATIVE COMMONS

STATE OF THE ARTS SYMPOSIUM 2025

Lafayette, Louisiana

It's a meeting of the artistic minds at the State of the Arts Symposium 2025. Held at the Acadiana Center for the Arts, the day promises a gathering of leaders from all walks of life, including government, business, education, and the arts—all to discuss how to strengthen Lafayette Parish's cultural infrastructure as an artistic powerhouse. In addition to other speakers, a keynote address will be given by Dr. Christophe Jackson, a neuroscientist, educator, and artist, who will discuss “What Creativity Does to Your Brain," exploring the nuances of creativity when it comes to mental health, cognitive development, and community. 1 pm–8 pm. Free. acadianacenterforthearts.org. 1

JUN 13th - JUN 15th

SEE-FOOD

HOLLY BEACH

CRAB FESTIVAL

Cameron, Louisiana

This sunny festival on the iconic Cajun Riviera goes all in on the delicacy of Gulf Blue Crabs. Kick things off with DJ Troy on Friday, then on Saturday, dive in with crab bingo, crab racing, and a crab cookoff, not to mention axe-throwing, a dunking booth, sand castle building lessons, and live music by local bands like Geno Delafose & French Rockin Boogie, Swampland Revival, Jamie Bergeron & the Kickin Cajuns, and more. Then, on Sunday, join DJ Troy for a free pancake brunch from 10 am–1 pm. It all takes place along the Creole Nature Trail All-American Road at 2412 Heron Street in Cameron. Lawn chairs and ice chests encouraged. Free. (409) 365-6598. visitlakecharles.org. 1

JUN 13th - JUN 22nd

THEATRE "THE MOUSETRAP" AT BAY ST.

LOUIS LITTLE THEATRE

Bay Saint Louis, Mississippi

It's an Agatha Christie classic—a whodunit with a twist at Bay St. Louis Little Theatre. The Mousetrap explores the lives of a group of strangers at a boarding house, stranded in a snowstorm. One of them is a murderer—all eight are suspects. 8 pm; 2 pm for Sunday matinees. $25; $18 for seniors, military, and students; $10 for children twelve and younger. bontempstix.com. 1

JUN 14th

FIT & FUN

Q50 RACES

RUN TO THE HILLS

Franklinton, Louisiana

Arts Council of Central Louisiana

Q50 Races presents "Run to the Hills"—a five or ten mile race on a scenic, dirt course with small hills at Bogue Chitto State Park in Franklinton. Registration begins at 6:30 am at the Day Use Area Pavilion 2, and all proceeds benefit the New Orleans Mission Shelter. $75 for tenmile race; $65 for five-mile race; $3 for spectators. q50races.com. 1

JUN 14th

TIP TAP

ALLONS DANSER

Houma, Louisiana

Put on your dancing shoes for a day of family fun filled with Cajun culture, music, and food, all presented by the Cajun French Music Association Bayou Cajun Chapter. “Come on and dance" at the Houma Municipal

River Oaks Square Arts Center

Free-admission center showcasing art and providing opportunities to interact with artists and participate in workshops. riveroaksartscenter.com

Performing Arts

Our area is home to a thriving performing arts scene that offers plenty to see and do in Alexandria and Pineville, LA. Catch a live theater production at the CoughlinSaunders Performing Arts Center, enjoy a concert by the Rapides Symphony Orchestra, or experience a community play at the Hearn Stage. Whether you’re into dance, drama, or live music, there’s always something happening to entertain and inspire in Central Louisiana!

EXPLORE all of the arts events in Alexandria/Pineville at ExploreAlexandriaPineville.com/events.

EVENTS ARE GOING ON?

Alexandria Museum of Art With interactive classes and tours, AMoA hosts numerous events, including the currect exhibition Blue: The Art and Life of George Rodrigue themuseum.org

Artist Studio at River Oaks Square Arts Center Alexandria Museum of Art

Events

Beginning June 14th

Auditorium with live music from La56, and Benjamin Bruce. Free shrimp pastalaya, salad, and bread will be available while supplies last, along with other treats to purchase throughout the day. There will also be a 50/50 raffle, cake walks, and more. Doors open at 10 am; music kicks off at noon. $10; free for children younger than twelve. Contact Joel Ohmer at cfmabayoucajuns@gmail.com for more information. 1

JUN 14th

JAVA JOY

LAFAYETTE

COFFEE FESTIVAL

Lafayette, Louisiana

Calling all the would-be-caffeinated in Acadiana: the Lafayette Coffee Festival is here. This robust celebration of all things coffee at Rock-n-Bowl in downtown Lafayette features everything from samplings and classes to custom coffee roasting for small businesses looking to cultivate a signature blend. Don't miss the rare confluence of Southern roasters, chefs, and innovators meeting under

one roof to commune with coffee from all over the world. 9 am–4 pm. $10. lafayettecoffeefestival.com. 1

JUN

14th

ARTS & CRAFTS

SUNFLOWER TRAIL & FESTIVAL

Gilliam, Louisiana

The annual Sunflower Trail and Festival brings art and entertainment to the grounds of the Red River Crossroads Museum in Gilliam. Visitors can shop handmade items by heritage crafters, send the kids to do arts and crafts, and peruse exhibitions of sunflower photography and local art. Returning this year are exhibits of local vintage tractors at the old Linda Lay Church site. Food and refreshment vendors are on-site, or you could visit one of several local favorites like Main Street Restaurant, James Country Store Restaurant, and D&I Café and Deli. Of course, you wouldn't drive all that way without taking time to explore the Sunflower Trail, which takes you by several fields planted with sunflowers, and quite a few wildflower

meadows. To drive it, turn right at Old Dixie Gin and Sentell Road, and drive the loop around the levee. Sentell Road circles back to Highway 3049 at Cornerstone Baptist Church, just north of Dixie. Festival from 9 am–3 pm. Admission is free. More details at redrivercrossroadshistorical.org. 1

JUN 14th

UP IN THE AIR ROCKIN' ON THE RUNWAY

Sunset, Louisiana

Look to the skies for this annual Acadiana aerial event, with stunning acrobatics performed by GhostWriter, SRC Airshows, Franklin's Flying Circus, Falcon Flight Formation Team, and Robby Grice. For the comedown, Travis Matte and DJ Digital will keep things elevated at Red Oak Landing, where kids can also enjoy airplane rides and other activities, including the car show. All proceeds go toward supporting St. Mary's Residential Training School, which houses and educates Louisiana children and young adults with developmental disabilities. 4 pm–10:30 pm; airshow takes place at 7 pm. $30; children younger than twelve get in free. rotr-la.com. 1

JUN 14th

CELEBRATIONS

JUNETEENTH

MUSIC FESTIVAL

Donaldsonville, Louisiana

For thirty years now Donaldsonville has celebrated freedom as it's meant to be celebrated—with good food, good music, and good company. The event kicks off with an opening prayer and history of the day when all enslaved people learned of their freedom granted by the Emancipation Proclamation. The festivities will continue with live music from Total Control Band, Esco Soul Music, Red Tape Musiq, Michael Foster Project, and Royal Essence. 11 am–7:30 pm at Louisiana Square. Free. Details on the Juneteenth Music FestivalDonaldsonville, Louisiana Facebook page. 1

JUN 14th

GOOD EATS

DA CAJUN TACO COOK OFF Morgan City, Louisiana

Downtown Morgan City is the place to be this weekend for a Cajun/Hispanic fusion, sure to be packed with flavor. Teams will compete to create the best version of this cultural mashup in taco form, and the public gets to choose the

In early June, NUNU Arts & Culture Collective plays host when bamboo enthusiasts and artists descend upon Arnaudville's creative haven for James Wolf's Bamboo Sculpture Workshop. Working in a group, participants will learn about how to manipulate bamboo, cooperate as a collective, and evolve as artists. Photo courtesy of NUNU Arts & Culture Collective. Learn more on page 11.

winner. So come on down, stuff your face, and vote for your favorite. Don't miss live music, a fun zone for the kiddos, other non-taco foods, drinks, and family-friendly activities. 11 am–4 pm. $10 admission covers four tacos, though additional tacos may be purchased. Contact dacajuncritique@gmail.com for more information. 1

JUN 14th

ART CHATS

ARTIST WORKSHOP

WITH KEITH DUNCAN

New Orleans, Louisiana

Keith Duncan's Battle of the Bands exhibition at the Ogden Museum of Southern Art is a masterpiece collection of large-scale fabric paintings featuring fifteen Southern HBCU bands known for their flair and sound. Join him on Father's Day weekend for a mixed media workshop inspired by your own high school or university marching band. The morning will begin with an artist-led tour of the exhibition, followed by a class on figure drawing and portraiture. All materials are provided. 10 am–1 pm. $50; $45 for members. ogdenmuseum.org. 1

JUN 14th

FUNDRAISERS

ARTINI 2025: ON THE ONE Bossier City, Louisiana

Shimmy and shake the night away at the Bossier Art Council's annual fundraiser ARTini, taking place at Live! Casino & Hotel of Bossier City. This year's theme is "On the One"—think funk music and James Brown, but also an invitation to experiment with monochromatic fashion.

So pick a color and go all in, with catered food, crafted cocktails, and jamming live tunes to round out the celebration.

The evening shines a spotlight on local creatives of North Louisiana while raising funds to support the Bossier Art Council's community arts initiatives. 7 pm–11 pm. $107. eventbrite.com. 1

JUN 14th

ART FOR ALL VISUAL ARTISTS DAY: SEE, MEET, AND VISIT

Arnaudville, Louisiana

On the second Saturday of each month, NUNU Arts and Culture Collective celebrates the work of a Deux Bayous exhibiting artist, while

Events

Beginning June 14th - 21st

inviting the public to meet them in person and engage directly with their work. 11 am–4 pm. Free. nunuaccollective.homesteadcloud.com.1

JUN 14th

SEASONAL CELEBRATIONS

DUDGEMONA SUMMERFEST

Winnfield, Louisiana

The Dugdemona Summerfest returns to Winnfield's Main Street for an evening of live music, arts and crafts, and summer celebrations. 4 pm–midnight. Free. Details at the Dugdemona Fest Facebook Page. 1

JUN 16th - JUN 19th

CELEBRATIONS

JUNETEENTH

FREEDOM FESTIVAL

Lake Charles, Louisiana

Join the City of Lake Charles for four days of festivities celebrating the legacy of Black excellence in Louisiana. The festival offers something for everyone, with a line-up that includes outdoor movies, parades, concerts, health screenings, worship services, fireworks, a sauce piquante cook-off, and more. Find the full schedule and more information at swlahealth.org/juneteenth. 1

JUN 18th

MUSIC

ALVIN BATISTE JAZZ SOCIETY PRESENTS: YOLANDA ROBINSON WITH HOUSE TRIO

Baton Rouge, Louisiana

Hosted at the Virginia and John Noland Black Box Studio at the Cary Saurage Community Arts Center, the Alvin Batiste Jazz Society Series presents an eclectic mix of local and national artists performing in an intimate space meant to foster community. See Yolanda Robinson with House Trio this June. 6:30 pm–8 pm. $10; $5 for students. artsbr.org. 1

JUN 19th

PARADES

JUNETEENTH FREEDOM DAY CELEBRATION

Covington, Louisiana

The Future Leaders of Louisiana are hosting a celebration of freedom in downtown Covington this Juneteenth Weekend. It all kicks off with a Freedom Parade through historic downtown at 11 am, starting at Peter Atkins Park, followed by a program and resource

fair at Fuhrmann Auditorium at 2 pm. The celebration continues with a program of speakers, spoken word performances, arts and crafts vendors, and a roundtable discussion. Free. visitthenorthshore.com. 1

JUN 19th

BOOKWORMS

"ZEBULON'S DREAM"

New Iberia, Louisiana

Shadows-on-the-Teche, in partnership with the Iberia African American Historical Society, hosts a special Juneteenth performance of Zebulon’s Dream, written by celebrated poet Suzanne Wiltz. Zebulon’s Dream is told from the perspective of Zebulon Richardson, who was rumored to have been separated from his family during slavery times and vanished. Before the event begins at the Shadows Visitor Center, Pastor Zachary P. Mitchell, Sr. of Word of Hope World Outreach Church and Chairman of the Shadows Advisory Council, is scheduled to perform a libation ceremony. 5:30 pm. Free. shadowsontheteche.org. 1

JUN

19th - AUG 30th

HISTORY

"LEPROSY: THE SEPARATING SICKNESS"

New Iberia, Louisiana

The Bayou Teche Museum presents Leprosy: The Separating Sickness, an exhibition based on content from Claire Manes and Anne Brett, curated by archivist Theresa Herrera and director Ana Bellomy. The exhibition explores the humanity of the people who were unjustly isolated because of their diagnosis, and aims to dispel misunderstandings about and educate the public on Hansen’s Disease—as well as the community created by The Carville Leprosarium's residents. An opening reception will be held June 28 at 10 am. bayoutechemuseum.org. 1

JUN 20th

LIVE MUSIC

SUNSET AT THE LANDING

Covington, Louisiana

Who doesn't like free, outdoor live music? We, and the folks on the Northshore, certainly do, and they go all out for their spring Sunset at the Landing concerts, which feature local artists performing cozy, outdoor concerts

at the Columbia Street boat landing overlooking the Bogue Falaya River. Past acts have included The Groove Kings, The Magnolia Sisters, Sweet Olive, and many other esteemed local artists. Find out who is performing next at the weekly announcements on the Sunset Concert Series Facebook Page. Just bring chairs, refreshments, and maybe a picnic basket. Free. 6 pm–9 pm. sunsetatthelanding.org. 1

JUN 20th

CELEBRATIONS

BRIDGING THE GAP FROM PAST TO PRESENT: A COMMUNITY JUNETEENTH CELEBRATION

Natchez, Mississippi

Sponsored by the Natchez-Adams County Branch of the NAACP, this joyful community Juneteenth celebration includes live entertainment, cultural exhibits, kid activities, storytelling, food, and more—all held at Concord Quarters at 301 Gayosa Street. 10 am–2 pm. Free. visitnatchez.org. 1

JUN 20th

MUSIC

ARMED RHYMERY AT THE ACA

Lafayette, Louisiana

At the heart of Lafayette's hip-hop scene are Armed Rhymery, a duo consisting of artists Kween Mo and Edward X, two Louisiana natives who for the past decade have dedicated themselves to furthering the area's hip hop scene and developing an online following through their viral web series of narration-style verses—

which has received recognition from hip hop greats like Snoop Dogg, MC Lyte, and 9th Wonder. Tonight, they return to their home town, on the Acadiana Center for the Arts stage, to present their signature performance. 7:30 pm. $25. acadianacenterforthearts.org. 1

JUN 20th - JUN 21st

MUSIC

CONCORDIA JUNETEENTH CELEBRATION

Ferriday, Louisiana

In the heart of the Louisiana's Delta region, Concordia Parish has seen some of America's darkest and most complicated historical chapters play out. Here, June 19, 1865—when enslaved people were officially freed by the Emancipation Proclamation— represented the hopeful dawn of an entirely new era for many. On Juneteenth, Concordia Parish will celebrate in the spirit of the historic Haney's Big House—a venue on the Chitlin Circuit that hosted some of America's most important Black musicians, including B.B. King, Ray Charles, Little Milton, and Irma Thomas. For two days, people of all backgrounds are invited to join a celebration of Black freedom and achievement with performances by musicians performing historically-Black genres like zydeco, blues, hip-hop, and gospel. This year's lineup includes Naydja Cojoe & Cafe Au Lait and Freddie D & the Epic Band. 6:30 pm each night. Details at the Louisiana Juneteenth Celebration Facebook Page. 1

Rosie (Ledet) Bellard & the Zydeco Playboys performs at the St. Landry Parish BBQ Festival in 2024 at the Yambilee ag-arena in Opelousas. The St. Landry BBQ Festival, an annual extravaganza this year held June 20–22, features a cook-off, mechanical bull, carnival spread, live music, and more. Photo by David Simpson.

JUN 20th - JUN 22nd

GOOD EATS

FRANKLIN SOUL FOOD FESTIVAL

Franklin, Louisiana

Head down to Parc Sur La Teche in Franklin for some delicious soul food, live music, and more all in celebration of the community. Don't miss a 5K and Gospel Brunch, among other family-friendly activities. 11 am–3 pm. soulfoodfest.net. 1

JUN 20th - JUN 22nd

GOOD EATS

ST. LANDRY BBQ FEST

Opelousas, Louisiana

St. Landry is upping the stakes for weekend BBQ, bringing in carnival rides, live music, shopping vendors, a rock-climbing wall, a mechanical bull, and a massive BBQ Cook-Off. It all gets started on Friday with live music by the Chee Weez; followed by an exciting slate of local musicians all weekend long, including Keith Frank and Roi "Chip" Anthony. The Cook-Off on Sunday will feature categories of every sort of pitfriendly meal you can imagine, from beef and seafood to wild game and dessert. At the Yambilee Building in Opelousas. stlandrybbqfestival.com. 1

JUN 20th - JUN 23rd

CELEBRATIONS LET THE GOOD TIMES ROLL FESTIVAL

Shreveport, Louisiana

For almost forty years now, Shreveport has celebrated the abolition of slavery in the South on or around Juneteenth weekend with its Let the Good Times Roll Festival—a rousing, joyful, communal testament to the life, hope, and freedom of the city's African American communities today. Presented by Rho Omega & Friends, Inc. in downtown Shreveport's Festival Plaza, the event will bring together the best of the local cuisine and arts scenes, as well as nonstop live music by artists such as Leela James, Too $hort, Keith Frank, Big Pokey Bear, and more. $25 per day; $65 for a weekend pass; VIP options available. In addition, this year the festival will close out with a special Gospel concert at Morning Star Baptist Church, presented by Rho Omega and the local Gospel station KOKA. Stick around to celebrate the legacy of Black culture and resilience with special guests Joshua Douglas, Bishop William Murphy, Maranda Curtis, and the Glorious Praise Singers. 7 pm. $20–$50. Details at letthegoodtimesrollfestival.com. 1

JUN 21st

TRADITIONS

JUNETEENTH FOLKLIFE CELEBRATION

Opelousas, Louisiana

Step into the rich cultural labyrinth of St. Landry Parish at this Juneteenth celebration centered on the folk art, heritage, and traditions of African Americans on the Cajun prairie. Described as a true celebration of Creole culture, Juneteenth in Opelousas pays tribute to the date in 1865 when enslaved people in Texas first heard news of their emancipation. The event is hosted by Rebecca Henry, artist and owner of the Creole Heritage Folklife Center, and will feature live music and dancing at the Opelousas Farmers Market Pavilion. Free. 12:30 pm–7:30 pm. (337) 945-5064. 1

JUN 21st

GREAT OUTDOORS

CANOE RACES & ANYTHING OVER RICE COOK-OFF

Port Barre, Louisiana

Craving a cook-off and a canoe race all in one family-friendly, fun-packed day?

Look no further than Port Barre, where folks gather at the Bayou Courtableau Boat Ramp for an 8 am cook-off, food, drinks, music, and activities for the kids. Come hungry for the People's Choice

vote. Then, at 10:30 am, the canoe races start, with trophies for the first three to cross the finish line. Anyone five years old and above is welcome to compete. 8 am–2 pm. Contact (337) 692-3311 for more information. 1

JUN 21st

ART CLASSES INTRODUCTION TO IMPACTFUL NEGATIVE PAINTING TECHNIQUES

Covington, Louisiana

At this single-session introductory workshop, students as young as thirteen learn about working with acrylic paint to develop layers of transparency and opacity. Using negative painting techniques, students at The Art House will create a dramatic nature-inspired painting from beginning to end. Note: Students are responsible for most supplies. 9 am–1 pm. $40. sttammany.art. 1

JUN 21st

MOVIE MAGIC PRIDE ACADIANA

QUEER FILM SHOWCASE

Lafayette, Louisiana

For the fourth year, the Acadiana Queer Collective is showcasing short films created by LGBTQ+ filmmakers from

Tiny Patients, Big Impact

Events

Beginning

June 21st - 30th

across the country for an evening at Cité des Arts. After the film, curators and filmmakers will be avaiable for a talkback and reception. Costumes encouraged! 6 pm–9 pm. $20. acadianaqueercollective.org . 1

JUN 21st

BOTTOMS UP BLIND BOURBON TASTING AT SUNNYSIDE

Natchez, Mississippi

At the beautiful Sunnyside Bed and Breakfast in Natchez, spend an evening enjoying authentic Cajun food, live entertainment and, most importantly, excellent bourbon (in a blind tasting, that is). 6 pm–8:30 pm.

$100.  Call (601) 807-1148 to purchase tickets. sunnysidenatchez.com. 1

JUN 21st

BOTTOMS UP LARRY HARTZONG

TWISTED BEER FEST AND HOMEBREW COMPETITION

Mandeville, Louisiana

Time to get twisted at the twelfth

annual Larry Hartzog Twisted Beer Fest and Homebrew Competition at the Castine Center. Wander through a Beer Garden with over two hundred beer samplings, from commercial breweries and homebrewers alike—featuring the newest and top selling brews of the year. Attendees will also enjoy local eats, live music, and the chance to weigh in on the People's Choice Award. All proceeds will benefit the Northshore Humane Society, and dogs are welcome. 4 pm–

7 pm. General admission is $45 and gets you access to all of the beer samples; $60 early entry tickets allow entry at 3 pm and the opportunity to meet brewmasters in person; discounted designated driver tickets also available. Find the event at louisiananorthshore.com. 1

JUN 21st & 22nd

GREAT OUTDOORS

FLOAT FEST

Franklinton, Louisiana

Dreading a sweaty Louisiana summer? Have no fear. Instead, kick back, relax, and enjoy the breeze

while tubing at Louisiana River Adventures's eighth annual Float Fest on the Bogue Chitto River. Or, take the adventure into your own hands and kayak with a couple of friends or family if you're craving something a bit more hands-on. No reservation required. louisianariveradventures.com. 1

JUN 25th - JUN 29th

ART GATHERINGS

KOLAJ FEST

New Orleans, Louisiana

This summer, thousands of artists— specifically collage artists—will descend on New Orleans for the annual Kolaj Fest. This multi day festival and symposium investigates the role of collage in contemporary arts culture, and how to elevate it further. Held in venues across New Orleans, the event features dozens of events, including symposia on subjects like "Storytelling and Collage" and "Transformation in Collage as a Vehicle for Global Interruption," with input from expert speakers from across the visual arts spectrum. There will also be various roundtable discussions, panels, and workshops on everything from encaustic collage to creative placemaking. In addition, expect exhibits, museum tours, and markets throughout the course

of the festival. Tickets are $175, granting access to all sessions and activities. Find the full schedule of events at kolajinstitute.org/kolaj-fest-new-orleans.1

JUN 26th

HOBBIES

EBR MASTER GARDENERS PRESENTS: HYDROPONICS AND HOUSE PLANTS

Baton Rouge,Louisiana

Green thumbs unite! The East Baton Rouge Master Gardeners present a discussion on Hydroponics and House Plants at the Fairwood Library to further the public's gardening knowledge. First up is Master Gardener Kathy Conerly, who knows the ins and outs of hydroponics (growing plants without soil). Next, Master Gardener Kelly Hebert explores how to make your house plants prosper (instead of perish while you're on vacation). 5:30 pm. Free. ebrmg.wildapricot.org. 1

JUN 27th

ILLUMINATIONS

BALLOON GLOW

Ridgeland, Mississippi

Northpark in Ridgeland, Mississippi plays host to a gathering of more than fifteen hot air balloons slated to inflate

and illuminate the twilight. The balloon glow will take place against a backdrop of food, fun, entertainment, and (rumor has it) a fireworks display. 5 pm. Free. exploreridgeland.com. 1

JUN 27th

SNIP 'N SIP BONSAI WORKSHOP AT CHAFUNKTA BREWING COMPANY

Mandeville, Louisiana

Grab some gardening gloves—and a drink—at Chafunkta Brewing Company, all in the name of making tiny trees. Bonsai Bar is a night of fun with friends crossed with fundamental skills and techniques behind the art of bonsai. Learn core concepts with experienced teachers as you pot, prune, and design your own bonsai tree. 6:30 pm–8:30 pm. $85. bonsaibar.com . 1

attracting thousands of visitors each year. The festival centers around "The Rainbow Exchange"—a resource fair and "Queerative Market" showcasing the Baton Rouge area's non-profits, socialservices organizations, and artisans. Plus, plenty of entertainment will be provided by local performers and drag queens. It all takes place at the Raising Cane's River Center Arena. 11:30 am–7 pm, open to all ages. Free. brpride.org . 1

JUN 28th

OVER AND OUT

BAYOU REGION AMATEUR RADIO SOCIETY FIELD DAY

Houma, Louisiana

Tune in to the Bayou Region Amateur Radio Society (BRARS)'s Field Day 2025,  a chance for the public to learn about the value of ham radio. Head to the Wetlands Event Center in Houma

JUN 28th

FIREWORKS

SPARKS IN THE PARK

Covington, Louisiana

Dig out your lawn chairs and blankets just shy of the Fourth of July, and head to Covington's Bogue Falaya Park for a free festival celebrating America's Independence Day. It's a chance to get ahead of the holiday celebration by going all in with fireworks, food, music and fun for the whole family. Picnics are welcome, though Kiwanis of Covington, The Rotary Club of Covington, and the Covington Business Association will have food and beverages available over the course of the evening for the very hungry—or those who forgot to pack a snack. 5:30 pm; fireworks end the event at dusk. Free. visitthenorthshore.com. 1

30th 4th

every night leading up to Independence Day—when the whole town gathers for summer fun in the form of an early morning fun run, water fights, a parade, and of course—a stunning fireworks display to close it all out. 6 pm–10 pm June 30–July 2; 6 pm–midnight July 3. 7:30 am–midnight July 4. Free entry; fees for ride entry. erath4.com. 1

As usual, we couldn't fit everything. For information about all these events and many more, searchable by name, date, and destination, visit countryroadsmag.com/eventsand-festivals.

Features

32 THE ART OF PORTRAITURE: THREE PERSPECTIVES // 36 REIMAGINING SYSTEMIC SUPPORT FOR THE ARTS IN LAFAYETTE // 39 WALTER ANDERSON'S FOOTPRINT IN OCEAN SPRINGS IS GROWING • JUNE 2025

ART UP CLOSE

How Do People See People?

THREE LOUISIANA ARTISTS SHARE THEIR PERSPECTIVES ON PORTRAITURE

Story by Jacqueline DeRobertis-Braun

Portraiture remains one of the most recognizable and accessible forms of visual art; depictions of figure and face, even when abstracted, are easily identifiable without artistic training. Since time immemorial, artists have imagined the human form, striving to capture how eyes, lips, and noses create harmony or disruption, how truth can be found in both representational creations and fragmented realities. For our Visual Arts issue, we asked three Louisiana-based artists working in different mediums how they approach portraiture—how they see and (re)create the people they encounter—and what this reveals about our shared humanity.

Aron Belka, oils

DIALOGUE AND DISRUPTION

Aron Belka’s portraits, many standing several feet tall, demand confrontation. His subjects are working class, man-on-the-street, traditionally passed over by society—no one widely known. This is deliberate, the canvas a pedestal of sorts.

“I always wanted to paint large,” Belka said. “It also tied into these subjects that I chose, these people who were going unnoticed. If you walk by a painting that large, you're definitely going to notice it.”

Inspired by contemporary English painter Jenny Saville, who is known for depicting the human form at a massive, monumental scale, Belka developed his own approach to portraiture.

“The amount of pictorial competition and incessant scrolling that we have now, because of the emergence of handheld devices and things like that, it leaves little time to invest in a singular moment,” Belka said. “So, that sort of has driven some of the style of my work, and actually the style in other people's work that I like—’disrupted realism,’ I guess. It's almost like distorting traditional realism to reflect that fragmentation of modern life.”

In 2015, he presented his first solo exhibition at New Orleans's LeMieux Galleries titled Working the Wetlands. Along with landscapes, Belka portrayed people who labored in Louisiana's coastal marshes, most rendered on gigantic canvases against largely abstract backgrounds.

Since then, Belka has launched other people-focused projects; some of his work illustrates time spent in Ireland during two residencies, others explore different snippets of Louisiana life. He has painted Sierra Leoneans affected by the Ebola epidemic, as well as his then-wife, a field epidemiologist at the frontlines of the outbreak, in addition to creatives in the New Orleans area, many of them friends.

Though he often paints on commission, Belka also selects subjects when he is drawn to their appearance or story. One striking portrait titled “Seosamh, a chara,” from his 2022 exhibition at LeMieux titled Kelp and Potatoes, depicts an Irish peat farmer who would deliver logs to Belka’s cottage during his residency in Ballinskelligs. Belka knew when he first met the man he wanted to paint him, though it took him several weeks to develop enough of a rapport to ask permission to photograph the farmer for a painting. The man’s ruddy, lined face is one of Belka’s most vivid portraits.

As part of his process, Belka tries to photograph his subjects mid-conversation so he can capture them at their most natural and relaxed. Afterward, he begins the portrait sometimes with a sketch, other times with large shapes and color as he maps out the face. His tools include brushes (occasionally quite large ones), rollers, palette knives, squeegees, and scrapers to achieve the diversity of marks and texture characteristic of his work.

“Each painting is almost like a dialogue,” Belka said. “When you get into it, you're kind of having this dialogue, and sometimes you have to take it in a different direction. Sometimes the painting is really fighting you, and it's just a lot more difficult. Sometimes it goes very easily, and just seems to flow.”

His paintings rely on disruption, often composed of several layers and sections in varying stages of development, to produce a fragmented appearance. He will pull paint from the background into the subject (and vice versa) or leave portions of an abstract underlayer visible in a finished piece. Viewing his larger, more imposing portraits up close is an experience in abstraction, the markings loose and unrecognizable; it is only when one steps back that the image takes on shape and meaning, the textures and brushstrokes deliberate. aronbelka.com.

Aron Belka. "Seosamh," oil on canvas.

Aron Belka."Contact Tracing," oil on canvas.

John Alleyne, silkscreen-collage

THE ROOTS OF BELONGING

While manning the membership sales desk at New York City’s Museum of Modern Art, John Alleyne often admired Andy Warhol’s colorful screen prints on display—though he noticed he did not see many inspiring images of Black or Brown people in Warhol’s oeuvre. Years later, working on his MFA at LSU and learning the art of screen printing, Alleyne set out to fill that gap—representing the Black icons of his home country of Barbados and his American homes of Brooklyn and Baton Rouge.

When he first arrived in Brooklyn from Barbados in his teens, Alleyne was homesick and experiencing culture shock, yearning for the communal spaces of his youth and the people who populated them. He found one of the antidotes to his nostalgia in the barbershop and the hair salon—a “space of sanctuary.”

“I'm really inspired by hairstyle-guide posters and the portraits,” said Alleyne, who has frequently turned to hair as a pattern-making tool in his art. “You know, these different portraits of the different numbers of like, one through thirty or one through twenty, of just these different hair styles that you can embody.”

Those images have become an integral part of Alleyne’s artistic process; in his prints, he sources pieces from the posters—an eye or a nose, for example— which he collages and prints with self-portraits of his own hair. The results are abstract images drawing on his roots of belonging. Alternately, the use of negative space in his work, along with pieced-together abstractions of his portraits, grapples with Alleyne’s teenage desire to find camouflage as a young immigrant in a new country, a visual expression of his deportation fears.

As an artist, Alleyne exists in a liminal space between a printmaker and a painter, labeling himself something

John Alleyne. "Protective Dreadlock Stylz," silkscreen monotypes on paper.

of an abstract expressionist. He creates all his own prints manually and often lays his printing surface on the floor for a wider range of motion. In addition to using layers to create his signature collage effect, he also has multiple screens going at a time. His process deviates from traditional printmaking insofar as he focuses on a “fluid, gestural quality” in his prints (no hinges or registration marks, tools that usually allow for more precise placement with clear, consistent results).

“I'm looking for the imperfect print. And printmakers are, for the most part, interested in looking for something that's, you know, like the perfect print, something that's exact,” Alleyne said. “I think there's an energy that I am trying to make in my work that I'm only able to achieve through the use of ghost printing.” Ghost printing refers to the doubled, often faint copy of an image that appears on a page or surface during printmaking, and is generally considered a print quality issue. “Ghost printing is something I would say not every print maker is looking for—if anything, it's kind of like an accident; basically, printmakers don't use it as a technique. They want clean, sharp images as they print onto a surface. But there's this hazy tint that it kind of creates—like this atmosphere that I really enjoy in my work.”

One of Alleyne’s most recent projects interrogates how Black hair—dreadlocks in particular—can be understood and imagined as armor to protect the Black body, from threats ranging from the weather to police brutality. “So Afro-futurism,” Alleyne explained. “Thinking about the future, thinking about what Black people can potentially become, and our aesthetic, and just using hair as a shield to protect oneself.”

The boldness of his work, often monochromatic with occasional pops of color, extends to his use of models in his portraits. He seeks faces that are unashamed to stare back at the viewer, those willing to bare their souls to the camera.

“I'm looking for this captivating eye contact that is not intimidated, it’s not afraid,” he said. “It's basically saying, ‘Here I am, and I'm proud of my image. I'm proud of my aesthetic.’" johnalleyne.com

Janet Maines, graphite/charcoal artist START WITH THE EYES

Janet Maines stumbled into portraiture about a decade ago—through the doors of a garage apartment.

Maines was, and remains, a graphic designer by trade, and only “piddled around” with drawing, by her own admission, for most of her life. But browsing Facebook one day, she was captivated by several charcoal life drawings an art teacher from her college days posted regularly. He kept referring to a class where he made these sketches, and she finally mustered the courage to ask him more about it.

As it turned out, the “class” consisted of three seasoned artists who gathered in a garage apartment to do figure drawing with a model in a chair. There was no instruction, and not enough space to invite anyone else to participate, she was told. She was welcome to watch.

“So, I went one week, and in the last thirty minutes or so, they thrust the drawing pad and a pencil in my lap and said, ‘Okay, here, you draw her too,’” Maines recalled. “And I was so intimidated, because one of the men had studied in Paris, and, I mean, you know, they were real artists. And so, I tried to draw the best that I could, which was horrible, and I cried all the way home … and I thought, ‘Well, at least they don't have room for me, so that torturous situation will be the last.’”

Instead, the owner of the apartment moved furniture out of the space so the group could make room for Maines who, now obligated, began attending the class regularly.

John Alleyne. "In a perfect world, I would be perfect world," silkscreen monotype on Arches 88 Paper.

Soon, with pointers from her colleagues, along with rigorous study of contemporary artists she admired online, Maines found both her confidence and a new passion.

“Within a couple of months of drawing, I just really liked the face, so I was doing head and shoulders,” she said. “I started getting commissions, and I just started drawing more regularly than I ever had before.”

The timing was serendipitous. During the pandemic, Maines’ graphic design work slowed—while her portrait commissions ramped up, along with interest in a drawing class she started offering on Zoom.

Now she regularly takes commissions and teaches. For portraiture, she prefers pencil over charcoal—graphite allows her slightly more control, though she enjoys using charcoal for looser, more creative pieces. Some portraits have stayed with her—for instance, one of a former high school art teacher, who has a magnificent beard cascading down his chest; another of a little boy in a dinosaur raincoat who had died from a chronic illness.

Maines largely works from photographs, which she uses as a reference while drawing. She begins with an overall sketch of the face, head, and shoulders before putting in small details.

“I usually start with the eyes … but I kind of work a little bit on this area, and then I notice, you know, a little dimple over here, and I'll work a little bit on that, and kind of skip back and forth,” she said. “Each feature and every bit of shading in a portrait, it's all relative.”

Often, she will place her portrait-in-progress beside the reference photo to make sure she’s catching the most minute characteristics that make the image come alive. For Maines, paying close attention to the responsive nature of the face can bring a portrait into conversation with the viewer. Signifiers of emotional response—the twinkle or spark in the eyes, the suggestion of a smile—are critical to animating her portraits.

“Moreso than the likeness, it has to reflect the personality and the spirit of the person. So, if there is no light inside of them, the portrait is academic—it's just dead,” she said. “I want the work that I do to move the viewer emotionally; I want them to look at it and connect with that person.” janetmaines.com •

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Janet Maines. "Phases of the Mood," charcoal and pastel.

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ARCHIVES

A NEW PLATFORM IN LAFAYETTE ENVISIONS A BETTER ECOSYSTEM FOR THE ARTS

Story by Shanna Dickens

The stereotype of the starving artist has long been romanticized, glorifying the struggle to survive in the name of artmaking. But what if the system were reimagined, and a community built to support the process, nurturing artists at every stage of their journey? What if the work of artists weren’t canonically rife with financial struggle? What more—and more liberated— art might exist? This dynamic is part of what Lafayette artists Emma Sonnier and Lex R. Thomas set out to explore when they co-founded ARCHIVES Exhibitions.

Both natives of Acadiana, Sonnier and Thomas found their way to the arts through different paths that eventually intersected. Sonnier, born and raised in Lafayette, encountered the magic of museums during childhood visits that sparked an early love for curation. She later moved to New Orleans to attend Loyola University, studying studio art before switching to art history, and began honing her curatorial practice while still a student. After graduating, she returned home to work in the visual arts department at the Acadiana Center for the Arts (ACA), carrying with her a philosophy of curation as “creating a space for art to carry its full message at maximum capacity.” Currently, she is pursuing an MA in Museum Studies from Johns Hopkins University.

Though they’d always practiced art, Thomas, who grew up in Vermilion Parish, didn't fully step into the Acadiana arts community until moving to Lafayette in their mid twenties. They attended the University of Louisiana-Lafayette, first as a Music Education major, then for a time on a visual arts track. After a break, during which they hoped to establish a career in the arts outside of academia, they returned to school and completed a B.S. in Psychology with a focus on research methods through Arizona State University’s online program. Even with this departure from the arts as a degree path, they always found their way back to art—the one

thing, according to Thomas, that consistently offered room for growth.

Thomas and Sonnier first crossed paths at the ACA, where they worked as Executive Assistant and Visual Arts Assistant, respectively. Their working relationship took shape during a collaboration between LoudHouse—a local experimental artist collective Thomas was involved with—and ARCHIVES, which Sonnier was just beginning to conceptualize. Drawn to the project’s vision and potential, Thomas soon came aboard as a cofounder, helping shape ARCHIVES into what it is today.

As creatives, Sonnier’s and Thomas’s perspectives converged around a shared frustration: the challenges artists face when traditional systems fail to support creative work. This motivated them to design ARCHIVES Exhibitions as an artist-led platform intended to

empower Southern creatives and reinvigorate Louisiana’s arts landscape. Their vision was to provide opportunities for exposure, mentorship, and fair compensation—offering a vital support system for artists at every stage of their careers. Through exhibitions, programming, and initiatives, Sonnier and Thomas hope to cultivate a stronger, more connected creative community.

“We wanted to build an inclusive, welcoming community where artists of all backgrounds and skill levels could gain visibility, build meaningful connections, and find opportunities to grow alongside one another,” said Sonnier. “ARCHIVES isn’t just about showcasing art; it’s about creating a space where creatives feel seen, supported, and part of something bigger.”

While the creative energy in the Acadiana region is abundant, support for early- to mid-career artists can be scarce. "In Acadiana, you can’t help but come into close contact with someone who participates in the arts," said Thomas. "We have an incredible number of contemporary artists occupying a relatively small area, but without the extensive resources of a metro city."

Addressing these shortfalls requires a broader vision for where and how art lives in our community. Traditional spaces like museums and galleries will always be essential, but they can also present barriers that limit access for both artists and audiences. Many of these organizations offer valuable resources such as grants, exhibition opportunities, and professional development, but there remain countless artists who haven’t found a foothold within them due to factors like financial instability, limited networks, and the increasing isolation within our modern society.

From the start, Sonnier and Thomas understood that addressing the needs of artists would require more than guesswork; it would take intention. “Rather than creating events in isolation, we actively seek input from our community to ensure our programming reflects what people truly want, rather than assuming what they need,” Sonnier said. That collaborative spirit is grounded in three guiding principles: connection, visibility, and compensation. In practice, that mission takes shape through thoughtfully designed community gatherings, professional showcases, and stipends that place value on artists' time and work.

Connection

The mission to foster connection is integrated throughout ARCHIVES’s programming. From creating low-barrier opportunities to enter the art world to fostering intimate conversations between artists and audiences, the organization is reshaping how artists connect with both their peers and the public. This ethos of care extends to how ARCHIVES helps artists connect with collectors and patrons as well, breaking down the exclusivity often associated with the art world.

Artist Erin Gray's installation at the ARCHIVES Exhibitions Loudhouse Event in October 2024. Photographed by Brett Hebert.

ARCHIVES Exhibitions Creative Acadiana Figure Drawing Night in March 2025. Courtesy of ARCHIVES.

“We also do our best to ensure that we take the time to make space for our artists,” said Thomas. “We directly communicate with them throughout the entire process and get to know each and every one of them personally. Using our own resources and the network of arts organizations we’ve developed relationships with, if we’re unable to provide guidance or feedback, we will directly connect them to a professional in the field who can.”

Building on this commitment, ARCHIVES is also cultivating powerhouse partnerships with organizations like Basin Arts, the University of Louisiana Visual Arts Program, Deuxième Vie, and others—creating even more opportunities for artists to tap into a broader, interconnected arts community.

Visibility

Sonnier and Thomas’s exhibition programming remains the most recognizable way ARCHIVES helps artists gain exposure, but they hope to extend that impact beyond public-facing shows. “One of the biggest hurdles is a lack of consistent platforms for contemporary artists to showcase their work beyond small, one-off events,” Thomas said. “While Acadiana has a strong creative community, traditional galleries and institutional support are limited, making it difficult for artists to gain sustained visibility. Without diversity of open calls for group exhibitions, gallery representation, or arts-related careers, many artists struggle to reach new audiences and secure continual funding for their practice.”

One way that ARCHIVES is looking to offer innovative opportunities for artists is through a new partnership with The Hallway Gallery and the launch of ARCHIVES at The Hallway—a rotating slate of curated group shows presented each season. Designed to bring together emerging and established voices, the series offers artists valuable resume credits while exposing audiences to fresh work.

Top: Art by Caroline Weiss, Julia Ferrell, Susan David, and Sydnei Henson on display in the ARCHIVES "Boundaries" installation at The Hallway in April and May 2025. Bottom: Missy Maloney's drawings, on display in the "Boundaries" installation.

"IN ACADIANA, YOU CAN’T HELP BUT COME INTO CLOSE CONTACT WITH SOMEONE WHO PARTICIPATES IN THE ARTS. WE HAVE AN INCREDIBLE NUMBER OF CONTEMPORARY ARTISTS OCCUPYING A RELATIVELY SMALL AREA, BUT WITHOUT THE EXTENSIVE RESOURCES OF A METRO CITY."

—LEX THOMAS

Compensation

The co-founders admit that the financial needs of local artists remain “the most difficult challenge to tackle,” but they are intent on turning principle into practice. That means building a funding ladder sturdy enough for artists at every rung, emerging dream-chasers and seasoned stalwarts alike. ARCHIVES' recurring exhibitions are free to enter; juried shows that might run $25–$70 elsewhere cost nothing here. When a piece sells, ARCHIVES takes no cut; the artist pockets the proceeds and the encouragement to press on. Small stipends and hands-on professional development replace the old promise of exposure with real, bankable support—as does the organization’s Acadiana Arts Access Micro-grant, a reimbursement pool that refunds the submission fees artists pay to traditional galleries and arts centers. “By covering these costs,” Sonnier explained, “we hope to encourage artists to take the next step in their careers, expanding their networks and increasing their visibility in professional art spaces.”

In the works is a project to expand the pool of Acadiana Arts Access Micro-grants, as well as a future residency-style program, pairing stipends with studio space for deeper creative dives. At the same time, the team is mapping out a sustainable, artist-run ecosystem—one designed to scale with the community, not beyond it—so that creative talent can continue to thrive close to home.

In founding ARCHIVES, Sonnier and Thomas have discovered, at every turn, that they have tapped into a community that keeps showing up and surprising them. At the debut exhibition in October 2024, ticket sales and artwork purchases did more than clear expenses; they put real money in artists’ pockets, a rarity for first-time shows. Several exhibitors even returned a portion of their proceeds back to the organization.

Since then, turnouts to events have told the story: a Wednesday-night Figure Drawing session with the ACA's Creative Acadiana program drew more than fifty sketch-pads and smudged thumbs. The inaugural Artist Lounge at Black Café saw newbies and veterans swapping tips, venting mid-project frustrations, and mapping the year’s opportunities. Each gathering reinforces the same refrain: ARCHIVES isn’t a lone endeavor, but a living network of artists, patrons, and placemakers.

The art world is equal parts gorgeous and gritty—inky, unpredictable, but at the end of the day, a business. ARCHIVES reimagines Acadiana’s art community as something to nurture, an art form Sonnier and Thomas are rapidly mastering. “Since launching ARCHIVES within the last year,” Thomas reflected, “we’ve been actively planting the seeds for a more sustainable and inclusive arts scene in Acadiana. We recognize that the challenges artists face won’t be solved overnight, but we are committed to building the necessary foundations to create lasting change. When we work together, we are able to find this beautiful emergence of community that is impossible in a silo.” •

archivesexhibitions.org

Conversations at The Traveler

THE WALTER ANDERSON MUSEUM OF ART'S NEW CURATED CAFÉ IS JUST THE BEGINNING OF A NEW ART BLOCK

Story by Mimi Greenwood Knight

On a recent visit to Ocean hSprings, I made the hobligatory stop at the hhalways-inspiring Walter Anderson Museum of Art, which channels the prolific Mississippi artist’s spirit of curiosity and admiration for the natural world through its world-class collection of his original works.

On my way out, I found myself following a walkway around the side of the building. As I went, I was met on each side of the path by towering metal pillars created by Gulf Coast artists Colin McQuilkin and Bryan Milling. I soon came upon a small flat-bottom skiff painted with Andersonesque designs and cast upside down to one side, an invitation for kids to climb and play, and an homage to Anderson's journeys to nearby Horn Island.

As I rounded the corner, I caught my first glimpse of the old cottage called The Traveler—the Museum’s latest addition, which officially opened its doors in late May. Outside

of it were two exhibits. The first was a playful bicycle totem, five vintage bikes vibrantly painted and piled one atop the other. Created by husband and wife artist duo, Erica Larkin and Mitchell Gaudet, the sculpture is a tribute to Anderson's extensive bicycle travels throughout the US and abroad.

Just beyond is a vintage Volkswagen van. The whimsical work of local muralist Scott Allen covers its exterior, reminiscent of the 1940s Anderson painting of people on a streetcar in New Orleans.

The Traveler itself is simultaneously a coffee shop/café, art exhibit, green space, community venue, and living homage to Ocean Springs’ most storied artist.

The museum purchased the cottage from Mary Alice Owen, a beloved local citizen who was born and died in the century-old home. They bought it ten years ago on two conditions: she could continue to live there, and, upon her death, the museum would care for her two cats. Owen died in

2020 and only then did renovations of her cottage begin. The museum board and staff held up their end of the bargain where the cats are concerned, too. Along the path from the museum to The Traveler is a multi-level cat cottage where, on most days, you can find two pampered felines lounging.

The Traveler is just the latest addition to the museum’s expanding campus of art and arts education programs inspired by the life and travels of Anderson. “This is our way of connecting the legacy of this onehundred-year-old building with Walter Anderson's legacy and our coastal environment,” said Julian Rankin, the executive director of the Walter Anderson Museum of Art. “All the artwork within the space is made by living artists and is inspired by Anderson’s designs. Everything is completely original but is in conversation with Anderson's work.”

Inside the café, guests find themselves in an immersive and interactive space where everything you

see—from the art on the walls, to the curtains on the windows, to the very dishes on which you're served—draws connections between the Anderson legacy and up-and-coming Mississippi artists, Anderson family members included.

For instance, The Traveler’s front counter features a tile mosaic by Anderson's niece, Adele Anderson Lawton, which she created as a tribute to Walter’s two brothers, Peter and Mac Anderson, artists in their own rights. The mosaic is constructed of eightyfour individually painted, six-inch tiles and features a blue heron design that is Lawton’s interpretation of a work her father and uncle created for a local high school in the 1930s. The original installation can be seen today at the Mary C. O'Keefe Cultural Arts Center a few streets over.

Another Anderson offspring, Walter’s youngest daughter, Leif, created what she named “Earth and Air Barn Door Murals” on the doors leading from the front counter into the

The Traveler's vintage Volkswagen van features a whimsical mural by artist Scott Allen, inspired by Walter Anderson's painting of people on a streetcar in New Orleans. Images courtesy of the Walter Anderson Museum of Art.

cottage’s dining area. Leif based her doors on ones her father painted in his cottage on the family compound known as Shearwater. Using motifs from her father's doors, such as Blackeyed Susans and a turtle, Leif created a tribute to the flora and fauna surround-

ing the Anderson homeplace. Yet another family motif can be seen in the cicada sconces on the walls of the dining room, which were made from an original mold Mac Anderson created in the 1940s.

The conversation between Anderson

and contemporary artists continues in a mural by Biloxi-born artist, Julia Reyes. The mural, titled “Cows on the Border” is based on one Anderson painted around his bathtub in his cottage at Shearwater. “The legend goes that during one of his bicycle journeys

through Texas, Anderson stopped to cool off in a nearby stream, having to shoo away a herd of cows so he could bathe in their watering hole,” Rankin said. “As he lay in the water with his eyes closed, he felt a tickle on his nose, and he opened his eyes to see the cows

November 8-9, 2025

St. Francisville, LA

The annual St. Francisville Food & Wine Festival is a weekend-long celebration of the culinary culture of Louisiana and Mississippi with acclaimed chefs, creative wine pairings, cocktail and spirit tastings, craft beer and live entertainment in one of Louisiana’s most beautiful and historic small towns.

Julia Reyes, painting a mural inside The Traveler titled, "Cows on the Border."

had wandered back over, curious about the new visitor.”

Anderson found the encounter so enchanting that he painted the scene around his Shearwater bathtub in order to relive it every time he took a bath. Reyes’s mural is a great example of the exchange between Anderson and his influence and contemporary approaches, as she incorporates elements from her Mexican heritage and her own life experience into a work that honors Anderson's. As a wink to Anderson's storied bovine encounter, another local artisan repurposed a clawfoot tub into a couch, which sits in front of Reyes's mural.

During his lifetime, Anderson spent days, and even weeks, alone on nearby Horn Island painting the flora and fauna—and earning himself the name, “The Horn Island Hermit.” His time on the island was spent sketching, writing, painting, and simply observing the nature that's the focus of most of his work. Legend has it he even rode out Hurricane Betsy on Horn Island by lashing himself to a tree. But when he was at home in Ocean Springs, he also created pottery with his brothers and designed, built, and decorated furniture, hook rugs, wallpaper, and stained glass—all reflecting his love of nature.

This appreciation for the wilds of Mississippi arises in artisan Shane Sekul's Blue Jay Table—an interpretation of Anderson's own Blue Jay Table.

While Anderson's is preserved and protected in the museum galleries, Sekul intends for his version to be used for communal gatherings, family meals, and conversations over cups of coffee at The Traveler.

In addition to the permanent works at the Traveler, the cottage’s hallway will serve as a rotating gallery space, offering ongoing opportunities for regional artists to display their work.

Soon, the Anderson legacy will cast an even longer shadow, with a four million-dollar Creative Complex in the works. The space will include five thousand square feet of public gardens directly across the street from the Walter Anderson Museum of Art, as well as a teaching space intended for the youngest Gulf Coast artists. The emphasis of the Creative Complex, Rankin said, will be on using art to stimulate environmental literacy—a fitting extension of this grand tribute to a man who spent his life celebrating and painting the natural world.

“We want to constantly ask ourselves, ‘How do we take the inspiration of the past and use it to address our calls in the present moment?’” Rankin said. “We hope the art block can help others take agency and continue to make this a more beautiful place, the way Walter Anderson did throughout his life.” •

walterandersonmuseum.org

A sculpture by husband-and-wife artist duo, Erica Larkin and Mitchell Gaudet—a tribute to Anderson's extensive bicycle travels throughout the U.S. and abroad.

Creole Folktales

Malaika

TASTE GOES BEYOND FOOD

The Artful World of Leah Chase

ONE OF THE CRESCENT CITY'S BEST COLLECTIONS OF BLACK ART IS INSIDE DOOKY CHASE'S RESTAURANT

Story

and

photos by Alexandra Kennon Shahin

“My mother, loved art. She loved beautiful things,” Stella Chase Reese, the daughter of the late Chef Leah hChase, told me on a recent Tuesday morning at Dooky Chase’s Restaurant, eyes scanning her mother’s art collection sprawling across the yellow walls of the empty dining room. “And she loved to just behold these things.”

The storied chef was first exposed to fine arts when she moved from Madisonville to New Orleans as a thirteen-year-old girl. Chase’s parents wanted her to receive a Catholic education, which wasn’t yet available to Black children on the Northshore of Lake Pontchartrain. They sent her to live with her aunt in the city and enrolled her at St. Mary’s Academy. On walks through the French

Quarter, Chase was mesmerized by the grandeur of the restaurants and art galleries.

“She saw all of these things, and she just said, ‘this is the part of life that I've missed,’” Reese explained. From those formative moments, Chase knew she wanted art and artists to be part of her life. “She always wanted to actually have art, because she said, ‘It's not only beauty to the eyes, but it's also the story that it tells,’” Reese recalled her mother saying. “‘And each artist has a story to tell.’”

That profound sense of empathy, of seeing the humanity and story to be told in each and every person, guided much of Chase’s life. Within protestors, cops, presidents, and civil rights leaders (and even this author as a naive twenty-something journalist), Chase saw the

real human value and potential in each and every person she encountered. It’s no surprise that she understood and appreciated artwork and artists on such a visceral level. Gesturing to the works on display at Dooky Chase, Reese said, “Most of these are just art[works] that spoke to her.”

At a time when platforms for displaying Black art were rare in the South, Chase decided the dining room at Dooky Chase’s Restaurant would become a gallery of her own curation. “And so her art collection began,” said Reese.

Even when Chase could not afford to buy artworks outright, a trusting friendship-turned-layaway-plan with Stella Jones of the Stella Jones Art Gallery on St. Charles allowed Chase to pay for pieces a little at a time. Jones

Stella Chase Reese, the daughter of the late Chef Leah Chase, standing before a section of her mother's expansive art collection on display in Dook Chase's Restaurant.

“‘LOOKING AT A PERSON IS JUST LIKE LOOKING AT ART. WHEN YOU LOOK AT THEM, AT FIRST YOU MAY NOT UNDERSTAND IT ALL. . . YOU HAVE TO GET TO KNOW THEM.”

—LEAH CHASE

allowed Chase to display the works in the restaurant while completing the payments, and would help Chase choose works that spoke to her. “And then we had some artists who certainly were starving artists, and they asked [Chase], ‘Well, if I give you this art piece, can I eat in your dining room for about six months?’” Reese said. “And of course, that was always a ‘Yes.’”

Other times, Chase would commission original works of art directly from the artists, funding them while they completed the projects. One of the most notable remains a focal point of the restaurant’s dining room today: a series of stained glass panels by Winston Falgout, depicting scenes from Chase’s life growing up in Madisonville as a little girl. The concept was inspired by the way Jacob Lawrence—one of the most impactful artists of her time, whose paintings are among Chase’s collection—depicted moments of African American life

“That was her opportunity to tell a little bit about her upbringing, about scenes in her life that meant a lot for her as a child,” Reese said. “She felt, to make it come to life, it would be there forever.” The colorful panels of glass depict kite flying, hopscotch, the neighborhood sno-ball stand—simple, nostalgic childhood pleasures that Chase made sure her children and grandchildren got to experience, too.

“She would always tell us, ‘You have to be proud of who you are and proud of your culture. And when you’re proud of who you are, then you can accept other people and you can welcome them in, because you know who you are.’ And she was always well aware of who she was,” Reese said. “She never lost sight of that.”

Other artist friends of Chase’s whose work became fixtures of her collection were Ron Bechet, Willie Birch, John Scott, Clifton Webb, Bruce Brice, Elizabeth Catlett, Samella Lewis—and on goes the list. Chase had personal connections with each. Ron Bechet and Wilie Birch, according to Reese, would visit the restaurant at least once a month for lunch—but more than that, to sit with Chase in her kitchen for long stretches of time, talking and joking.

“Of course, now the African American art is priceless. And I say, ‘thank God my mother started collecting it then, because we wouldn't be able to afford it now, nor would we have some of these artists that we're privileged to have, because a lot of them have passed,’” Reese said. “So, we are truly blessed to have her eye and her love for art.”

Chase’s love of art and artists extended into her civic engagement activities, as well. In 1977, Chase joined the Board of Trustees for the New Orleans Museum of Art, becoming an Honorary Life Member. In 1995, she testified before Congress, advocating for increased funding for the National Endowment for the Arts (NEA).

Art by Black artists on the walls at Dooky Chase's Restaurant—curated by Chef Leah Chase over the years.

As a way of continuing Chase’s artful legacy while also paying homage to the civil rights history that played out in Dooky Chase’s second-floor dining room, Reese and the Chase family commissioned a mural by Ron Bechet and Ayo Scott (son of artist John Scott) with the help of Bechet’s Xavier University art students. Now, a stately mural of the late members of the Chase family—including Leah Chase herself— overlooks the space where leaders like Martin Luther King Jr., NAACP attorney Thurgood Marshall, first African American Supreme Court Justice Revius O. Ortique Jr., New Orleans’ first Black mayor Dutch Morial, Freedom Riders O.C. Haley and A.L. Davis, and countless others dined and strategized in the 1950s and '60s.

Spanning the perpendicular wall is another mural depicting an imagined scene of all those civil rights leaders and more, frozen in time eating, laughing, and planning over good Creole food. Tucked in their midst is a small diamond-shaped mirror, reminding visitors today of their own place among history.

Reese recalled that her mother would tell her and her siblings, “‘Art is different, and all art should be really appreciated, because it speaks to us in a different way. I might look at this art piece, and I'll see this in it, but someone might come along right after me, they may see something else—but the beauty is there.’”

Reese spoke like this through much of our interview: recounting her mother’s philosophies from memory in a casually reverent way, making me wonder how many times she’d heard these sentiments from Chase herself, perhaps while looking up at the same works of art. She’s inherited her mom’s way of speaking, with a matter-offact wisdom and humbleness, coexisting with deep pride in her family’s legacy. She has her wide, gracious smile and sparkling eyes, too. Throughout the hour spent in the restaurant with her, I was struck by the feeling of Chase’s presence, certainly her memory, there palpably between us.

Just as Chase appreciated the diversity of stories within art, connected by underlying beauty—so the same it was with people, according to Reese, echoing the sentiment that her mother had also shared with this author from her immortalized spot in the kitchen in August 2019, shortly before she passed away. “‘Looking at a person is just like looking at art. When you look at them, at first you may not understand it all. . . you have to get to know them. And so when you speak to a person, you can always find something that you like in that person, and that makes you look at the person

Top: More art by Black artists on the walls at Dooky Chase's Restaurant—curated by Chef Leah Chase over the years. Bottom: Murals by New Orleans artists Ron Bechet and Ayo Scott, commissioned by the Chase family, of Civil Rights leaders enjoying lunch at Dooky Chase's, and adjacent to it, of members of the Chase family who have passed.

Soupçon

A DASH OF DINING NEWS

By CR Editorial Staff

Chef Kris Padalino takes up the mantle at Brennan's

One of New Orleans’s most emblematic culinary hotspots has a new executive chef. Following in the footsteps of chefs Ryan Hacker, Slade Rushing, Lazone Randolph, Michael Roussel, and Paul Blangé, Kris Padalino has accepted the mantle of culinary tastemaking signature to Owen Brennan’s legacy. Educated at Le Cordon Bleu in Pasadena, California, she honed her approach at restaurants in Los Angeles and Denver before making her way to New Orleans.

After eight years as part of the Brennan's team as executive sous chef and pastry chef, Padalino has already made her mark on the Brennan's menu, although she has plans to further develop dishes as she leads the classic Creole restaurant into the future—pulling from an interest in Vietnamese flavors and her own Sicilian background. brennansneworleans.com.

Summer Means Seafood in South Louisiana

On June 27, the Louisiana Seafood Promotion and Marketing Board will be traveling to The Harbor Center in Slidell, a new location for the annual Louisiana Seafood Cook-Off. One of the most esteemed culinary competitions in the country, the Cook-Off draws together the state’s most inspired seafood chefs (of which there are many) to compete for the crown. The winner then goes on to represent the state at the Great American Seafood Cook-Off, while garnering red carpet-level fame within the industry that has frequently led to success in the form of new restaurants, television shows, and other opportunities. Previous winners include: Chase Woodard, Owen Hohl, Amanda Cusey, Tory McPhail, and more. louisianaseafood.com/louisiana-seafood-cook-off

The new restaurant inside Voodoo BBQ

Opened in March in the old Voodoo BBQ building on Baton Rouge's Drusilla Lane, this new coastal Mexican concept called Veracruz is the brainchild of La Carreta owner William Mealer and his wife. As a restaurateur who grew up in Honduras and now lives in Baton Rouge, Mealer found that the cuisine of Veracruz aligned in interesting ways with his culinary sensibilities—mixing influences of Creole Caribbean and Spanish cuisine in a coastal style. The new restaurant’s approach is mar y tierra, or “surf and turf,” balancing familiar meat-centric tacos and burritos against seafood dishes like salmon salteado, a pan-seared Faroe Island salmon or pescado a la Veracruzana, charcoal red snapper in a tomato sauce with capers and onions. And it’s all prepared on a wood fire grill imported from Spain. veracruzbatonrouge.com

Chef Kris Padalino is Brennan's new executive chef. Photo by George Long.

‘Round the Mulberry Tree

ONE OF LOUISIANA'S MOST IMPORTANT NATIVE TREES

Story by Jess Cole

Last month my tiny son and I drove our truck west through Pointe Coupée parish, headed to hArnaudville. This is one of my favorite drives hthis time of year. The edges of the roads, sugarcane, rice, and crawfish fields are adorned with blankets of clasping coneflower and sporadically dotted with clusters of swamp spider lilies, among other late spring treasures.

We were visiting our dear friends, Lilli and Mel. Lilli’s recently restored the old library there and calls it home. It’s in the middle of town, tucked away on a quiet dead end next to the little brick jailhouse and surrounded by open fields. She has been doing beautiful work in her small tract of land—planting natives, allowing grass to grow wild. We have plans to fill all the empty spaces with native trees.

During this last visit, her two old mulberry trees were fruiting in the yard, and that is where my son and I spent so much of our weekend, me picking, him eating. He carried a bowl half the size of himself around, waiting for his bounty to fall. This lovely dance under the tree reminded me how much mulberries have been intertwined in my life as of late. All so fitting in a tiny Cajun town whose name was once “La Mûrier”—“The Mulberry Tree.”

Lilli’s mulberry trees are white mulberry, Morus alba White mulberries are of Chinese origin and were brought over to Georgia in the late 1700s via European colonists. There was a great attempt to use the white mulberries, host to the silkmoth, to mimic silk production elsewhere in the world. In his writings, the famed naturalist William Bartram mentions that at some point, every landowner in the English colonies was required to grow at least two white mulberries to help aid the grand New World silk experiment, which ultimately found no footing

Then there is the red mulberry, Morus rubra —our native mulberry, the most commonly encountered mulberry here next to its white counterpart. This tree has a rich history with all human groups who have encountered it—culinarily, medicinally, spiritually, architecturally.

The native tree’s fruit, like the white mulberry, is sweet and full of depth—a food source for humans as well as birds and small mammals. It’s a joyous sight to watch the squirrels and other wildlife fight over the hard-to-reach berries. The mulberry is also a host plant to the morning clark butterfly and countless other pollinators; older trees’ giant rotten hollowed branches house so much life, while still producing excess fruit.

My passionate affair with the red mulberry began near the Mississippi River in the hills of St. Francisville years before I called the area home. We had pulled over on the side of a narrow country road to bask in the wild stands of oakleaf hydrangeas we stumbled upon. To our further delight, amongst the hydrangeas, there were red mulberry trees, loaded with fruit. We stood on the truck for hours, harvesting every berry we could reach.

To me, there is no more important native fruit tree than the red mulberry—nor an easier one to care for. This tree is

White mulberry

known to love a wet space—swamp/bog edge, river banks, ravines, and so on. Yet, I have also seen it pop up in disturbed dry spaces, roadsides, full sun, full shade.

Last spring, a tornado upended half of my wooded acreage, causing many strange and interesting things to happen—a new abundance of sunlight among them. A year later, I have a handful of mulberry trees that volunteered themselves by seed, growing over fifteen feet high, producing bounties of berries.

I have been playing around with them, moving them to fill in empty spots, capitalizing on their growth rate. Others have popped up in my perennial gardens. Instead of removing them, I have been pruning their lanky form to experiment and see how they could, perhaps, stick around in my smaller spaces.

White and red mulberry trees can be hard to differentiate. One way to identify them is to examine the leaf hue and texture: a red mulberry has a duller and more textured leaf, while the white mulberry leaves are smoother to the touch and have more of a sheen/gloss to them. However, even this strategy can be uncertain, as the two species so readily hybridize. Many believe there are no “true” red mulberries out there anymore— that every tree we have encountered has crossed genes by now with the white mulberry. I used to think similarly until developing my own relationship with the

mulberries on my land. My red mulberries are true!

There is, in addition, a third mulberry thriving in the southeast worth mentioning—though I would rather live without it: the invasive paper mulberry, Broussonetia papyrifera. Thomas Jefferson, with his alleys of paper mulberry at Monticello, popularized the species, and I have cursed his name ever since I learned of it. This tree spreads rapidly by seed and roots, proving totally detrimental to native plants and the larger ecosystem. It chokes out urban waterways, does not respond well to chemicals, and the more you cut it back, the harder it returns and spreads. The only time I have seen it completely eradicated (without use by powerful machine) was with my buddy, Donnie—who has made it his mission to take down the paper mulberry in his Spanish Town neighborhood in Baton Rouge, preventing it from choking out nearby gardens. He follows the root system and digs it up entirely—I am telling you, entirely. He is legendary for this. His work sees no lines, digging from yard to yard. With the removal of a wild paper mulberry patch on my property, Donnie opened my backyard up, giving space and sunlight for my swamp red maple and cherry tree to fill out and flourish.

The only redeeming quality of the paper mulberry? Its fruit is just as tasty as that of its close relatives! •

June Plant Spotlight: Clasping Coneflower, Dracopis amplexicaulis

I joyride for this coveted late spring floral display more than any other. Clasping coneflower is a readily reseeding native annual. It will reseed and come back with vigor, annually, making it an excellent component in native meadows or an annual cut flower space, alongside other annuals such as red salvia, gaillardia, coreopsis, and even the non-native zinnia. This flower thrives in full sun and nearly all soils I have seen it touch. Its name, amplexicaulis, means “encircling stem,” pointing to the interesting “clasping” leaf.

Clasping Coneflower, by Jess Cole

Culture

48 ACADIAN ART JAMS // 49 THE MYSTERY OF CAJUN CULTURE'S FAVORITE WORD // 50 JOHNNIE ANDERSON JONES, SR.—AN ICON OF AMERICAN DEMOCRACY

ARTS EXCHANGE

FrancoFAE

ART FROM ACROSS THE ACADIAN DIASPORA

Story by Jordan LaHaye Fontenot

Thhe idea for an arts exchange had been brewing in the mind of FrancoFAE founder Rozalyn LeCompte for over a year. But it all coalesced while she was watching a performance by the Holiday Playgirls. It was Festivals Acadiens et Créoles, an event that has brought Acadiana together in a grand expression of shared heritage for fifty years now.

LeCompte, a visual artist, has been on her own journey of exploring and expressing her Acadian roots—a journey that culminated in a solo exhibition at the Acadiana Center for the Arts last fall, titled RÊVERIE. Her fever dream folk art-style abstractions are built from a language of symbols drawn from LeCompte’s experience of home and heritage, of a distinct Acadian-ness. That experience sharing her art on such a platform, where other Acadian artists could engage with it, was addicting. She wanted more. “It felt so good to just share everything,” she said. “I wanted to continue that, to seek out who else would be interested in my perception of home as a Cajun girl . . . What a gift it is to see your work from external eyes. It's an invaluable learning experience for the community as well, especially when shared lineage is the common thread.”

She had begun to fantasize about hosting Acadian artists from elsewhere in a residency of sorts in the cabin on her property. Then, hearing the Holiday Playgirls belt out their contemporary interpretations of the Cajun musical storytelling canon, at a festival where other Louisiana roots bands were doing the same—it all crystallized for LeCompte. This network, this platform for Acadian musical expression—visual artists needed one, too.

It wasn’t just the local opportunities our cultural infrastructure has designed for Acadiana’s music scene that LeCompte wanted to emulate, but the international ones. For decades, Louisiana’s French-speaking musicians have built and fostered relationships across the Acadian diaspora, traveling and collaborating with Canadian and French musicians who can trace their ancestry back to Acadie. “There isn’t anything like that for visual artists that I'm aware of,” said LeCompte. So, she set out to build it.

In November 2024, she launched the FrancoFAE Fine Arts Exchange, a nonprofit organization built with a goal of cultivating connections through the visual arts between Acadian descendants across the globe. She put out a roll call—starting out entirely by word of mouth, emails, and social media. “I realized there was no centralized directory of Acadian artists,” she said. “Like, where is everybody? Where did everyone end up?”

The directory is already more than twenty artists strong—most of them from Louisiana, but extending all the way to the Mi’kma’ki region of Canada. Many of these artists are featured in the organization’s first group exhibition, titled FrancoFAE: Correspondance—A Reflection of Acadian People Throughout Time, on display at the Acadiana Center for the Arts through June 16. Among the works

featured are Zozo Huvall’s vernacular textiles and adornments, Melissa Bonin’s atmospheric painted reveries, and Kristie Cornell’s black and white photo of a 1500 year old cypress, which inspired the exhibition statement by Brooke Broussard:

“Here, in this room, with Mama Cypress, the cousins are together. They meet again, and correspond. And a very old story is picked back up to be told in the chorus of new voices.”

There was also a work that LeCompte has declared an example of an “art jam”—a multimedia, international collaboration between Canadian artist Francois Gaudet and Acadiana artist Lucius Fontenot.

“The goal is to really connect these artists all the time, not just for these exhibitions,” said LeCompte, once again taking inspiration from the way Louisiana’s music scene facilitates connection that surpasses geography, and even language. “They speak the same language musically in a jam. They connect.” In this way, “Art Jams” will collapse distance and meld visions, one artist creating something to be mailed out

and completed, riffed on, and expanded by another artist a world away. “There is a pre-existing connection when meeting other Acadian artists—it feels like an extension of home,” said LeCompte.

Such coming-togetherness is an exercise in discourse, discovery, and, thus, inspiration. During LeCompte’s solo exhibition at the ACA, she hosted a “tea talk,” in which creatives and art-lovers gathered in the gallery to casually discuss their interpretations and experiences of her work. Such cozy, comfortable gatherings around art appreciation are at the heart of her vision for FrancoFAE. “I just think art sparks deeper conversations, because we can express things we can’t really say, through emotions, expressions, gestures,” she said. “It’s such a vulnerable thing, expressing something and then sharing it and talking about it with other people . . . And how punk rock is it to raise your hand and be like, ‘We survived, and let’s talk about it, and make art together, and share with our community!’” • francofae.org.

Top row: left, artwork by Chase Julien; right, Kristy Cornell. Bottom row: left, Cayla Zeek; right, Melissa Bonin. Courtesy of Roz LeCompte.

“You a Couillon”

WHY YOU CAN ONLY SAY THIS WORD IN CAJUN COUNTRY

Story by Megan Broussard

Ican’t remember a time when I didn't know what the word “couillon” (pronounced “cooyon”) meant. It was programmed into my Cajun DNA in the same way that my tolerance for cayenne pepper was, or my ability to peel a crawfish tail. I heard the word early, around the same time other words just embedded themselves in my brain without explanation, like “lagniappe,” “pirogue,” or “cher.” Words that weren’t taught so much as absorbed, like steam off a boiling pot.

The first time I realized “couillon” wasn’t part of everyone’s vocabulary, I was in my twenties, driving with friends through Texas. One was from Colorado, and the other Michigan, and I had decided that they were ready, no, worthy of listening to Megan’s Mix Volume 23 (a burnt CD I made in college) with all my favorite “festival” songs on it.

In retrospect, they must have thought I meant “festival” as in Coachella or Lollapalooza—when really, I meant Festivals Acadiens et Créoles, specifically. As we listened to Louisiana greats like Wayne Toups, Zachary Richard, and Clifton Chenier, I fielded questions like:

“Is this polka music?”

“Are there any female singers?”

And…

“What’s a ‘coo-YOHN’?”

That last one hit hard, referring to the banger “Nuttin' but a Couillon” by Lafayette's Bayou Boys, and it sent me spiraling, nearly Jeep-first through a Whataburger. I shut the music off.

“‘Couillon’ is . . . It’s me. It’s you. It’s us that time we snuck ‘My Neck, My Back’ into the playlist at that Southern Baptist wedding reception!”

I couldn’t believe I had to explain it; a word as common to me as “queso” is to a Dallasite. It was the nickname we gave to the kid on my tee ball team who insisted on sliding into first base for no reason. It was the name of my sorority sister’s overexcited terrier. It was how we described a cousin with ADHD before we knew it existed.

The word is playful, a sign of camaraderie and mischief, and I was happy to have it in my lexicon when I enrolled in a five-week French immersion program in Nova Scotia, Canada nearly thirteen years later.

On Day One of that experience, I had about twelve words I felt confident using in French, and “couillon” topped the list. Surely there would be many instances at the Université Sainte-Anne that would call for its use. I just had to wait patiently for the opportunity to amaze and amuse my teachers, peers, and RAs—all from different French-speaking parts of Canada, France, and Africa—with my acutely attuned knack for using “couillon” at just the right time.

Finally, the moment came, during a game of pétanque. I didn’t know how to play and couldn’t understand the instructions in my elementary level French, so I assigned myself to le très important role of sideline cheerleader.

“C’est magnifique!” I yelled, quoting my Beginner French textbook. And, “bon travaille!” when good work on the field earned applause.

But when players started goofing off, missed a move, or celebrated a point too early, I let it rip:

“Couillon!” I shouted. “Couillon, couillon, COUILLON!”

That’s when I realized something was off. The responses I got didn’t match the ones I grew up with in Louisiana. Instead of big smiles, bursts of laughter, or a look of teasing recognition that says “it takesone-to-know one,” I received a range of reactions— from puzzled, blank stares, to looks of sheer horror.

That night in my journal, beneath the pale glow of my dorm room lamp, I wrote: “Not to self: when you get out of here, and can speak English again, find out exactly what ‘couillon’ means in modern day Stan-

Sophie Rhéaume-Jalbert, a Québécois from Trois-Rivières, Canada knew of the word, but said it’s “not frequently used in Québec. It’s more common in France. However, we know what it means. It definitely has a negative connotation though … like an insult.”

Of course I had to find out how much of an insult, so I contacted Tristan Bera, a native of France and the director of Sainte-Anne’s immersion program; along with Monique LeBlanc, a social media friend from L’Acadie currently living on L’Île de Sein in France, who I’d connected with after sharing videos on Instagram about the work I was doing to learn my ancestral language. Bera and LeBlanc both said the same thing about “couillon” in France: the word is vulgar.

“IN THE CAJUN WAY OF SPEAKING, THE LINE BETWEEN INSULT AND ENDEARMENT IS RAZOR THIN—AND ‘COUILLON’ STRADDLES IT PERFECTLY. IT TEASES, BUT IT ALSO BONDS. IT SAYS, ‘YOU’RE ONE OF US, EVEN WHEN YOU’RE ACTING UP. ’”

dard French. It can’t be good.”

My hunch was right. Once I was back in my Brooklyn apartment, I reached out to an academic and current Louisiana French teacher about the word “couillon’s” contemporary meaning outside of Louisiana. They agreed to answer, but only so long as they could remain anonymous.

Anonymous? I thought. How bad could this word be?!

It turns out . . . kind of bad?

While the Louisiana French word “couillon” translates to “fool” or “dummy,” and is often used with some fondness, it originates from the Standard French word “couilles,” which is . . . modern day slang for “testicles.” It’s essentially the Spanish equivalent of “cojones.”

How it’s perceived in Canada and France and Africa varies. When I reached out to a few animateurs (the hosts who also act as RAs) from Sainte-Anne’s French immersion program, they seemed taken aback. Alec Comeau, a native of L’Acadie, Canada, specifically Baie Sainte Marie in the region of Clare, said it was the first time he, and his parents, had heard the word “couillon.” The same was true for Layla Abboud, from the same area. She asked, “Is that what the word originally meant, or did it just change over time?”

LeBlanc, to me, explained it perfectly: “In France, you wouldn’t use it when talking about someone directly to his face.” It seems to essentially mean, when referring to a guy, for example, “He’s a f*cking idiot.”

After speaking to a few native French-speakers from Rwanda and Côte d’Ivoire, I determined that it’s not commonly, if ever, used in Africa, either.

Even back home in Louisiana’s Acadiana, where “couillon” is one of the most commonly used examples of Louisiana French, the word seems to carry a certain mystery to it. I reached out to Ashlee Wilson, an expert on Louisiana French, and she didn’t know why on earth we, as a people, have latched on to “couillon.” Other scholars politely declined to be quoted, not wanting their names permanently tied to a Google or ChatGPT search for “balls,” which is fair. But it left me wondering: why has this word —a word that literally comes from the French slang for “testicles”—survived in the common parlance for centuries in Louisiana when so much of our ancestral language has slipped away?

I have some theories. Maybe it’s because “couillon” is one of the shorter, easier French words to pronounce that still packs a punch. Maybe it’s because it’s useful—a quick, familiar way to gently roast someone who locked their keys in the car, again. Part of what makes it gentle is the switch into French itself. It signals, “I can say this to you because we’re close, like kin, so don’t take it the wrong way.” Or maybe it’s because, in the Cajun way of speaking, the line between insult and endearment is razor thin— and “couillon” straddles it perfectly. It teases, but it also bonds. It says, “You’re one of us, even when you’re acting up.” Even in its crassness, it’s affectionate, in a way that English can’t quite communicate. And that, to me, is fascinating: that a word whose literal meaning is anatomical has become one of our most enduring cultural handshakes—passed down, preserved, and still shouted across bayous, ball fields, and backyard boils.

I still love the word. In fact, like any kid who’s told a word is bad, I think I want to use “couillon” even more. •

“We Don't Fail”

BATON ROUGE CIVIL RIGHTS LEADER JOHNNIE ANDERSON JONES, SR.'S LEGACY CONTINUES

Story and photos by Melvin McCray III

On January 30, the Grand Hyatt's ballroom buzzed with anticihpation as 200 members and guests of the National Association of Secretaries of State gathered in Washington, D.C. for a momentous occasion. They had come to honor a man whose life’s journey from the battlefields of Normandy to the frontlines of the civil rights movement embodied the essence of American democracy.

Johnnie Anderson Jones Sr., who passed away on April 23, 2022, at the age of 102, was about to join an illustrious roster of American heroes. The Margaret Chase Smith Award for American Democracy—established in 1991 to honor Smith's courageous stand against McCarthyism—had previously recognized luminaries such as Jimmy Carter, Sandra Day O'Connor, Rosa Parks, Condoleezza Rice, the Little Rock Nine, and Bob Dole. Now, it would posthumously honor a Louisiana native who had made his state and nation a better place.

Louisiana Secretary of State Nancy Landry had nominated Jones, and she could barely contain her pride as she introduced him to her colleagues. "I was really glad to introduce Mr. Johnnie Jones to my other secretaries of state here," she beamed. "They told me that it was a no-brainer who to vote for. They thought Jones was hands-down the best nominee, and they were happy to vote for him and couldn't wait to give him this honor."

The poignancy of the moment was heightened by the absence of those closest to Jones. He outlived not only Sebell, his wife of thirty-four years, but also all four of his children—Johnnie Jr., twins Adol and Adir, and his daughter, Ann. Standing in their stead was Baton Rouge's Mary Louise Jones, the widow of Johnnie Jr., who accepted the award with words that captured her father-in-law's extraordinary legacy.

"Johnnie Jones," she declared, her voice carrying the weight of history, "put his own safety and comfort on the line to ensure that future generations would not endure the injustices he had faced. His courage and persistence left an indelible mark on this nation, making it a better place for all Americans. That, I believe, is the true measure of a life well lived."

From Rosemound Plantation to the Battlefield

This life began in 1919 on Rosemound Plantation in West Feliciana Parish, where Jones's ancestors had been enslaved. Jones grew up watching his parents, Henry and Sarah, work seventy-five rented acres with quiet dignity and fierce determination. Though unable to read, his father possessed a remarkable mathematical genius, calculating complex sums in his head. His mother planted in him an unshakeable belief: "We don't fail."

His father’s mathematical gift manifested early in young Johnnie. At just twelve years old, he landed a job at W.A. Ransom Lumber Company in Woodville, Mississippi, where he quickly proved himself far more than a simple office boy. His natural leadership emerged as he began managing shipments and running complex operations. The owner noticed that every time the regular manager went fishing and Jones took over, he saved hundreds of dollars in unnecessary lumber allocations. The "little Negro boy running the company with a sharp pencil," as he became known, caught everyone's attention—especially his father's.

Henry Jones arrived at the lumber yard one day to find his teenage son confidently directing operations with a precision that amazed both Black and white workers. In that moment, the elder Jones made a decision that would alter his family's destiny: "If you can do all this," he declared, "I'm going to put you in 'the Southern.'"

It was a dramatic move that required dramatic sacrifice. Henry Jones transplanted his family thirty-eight miles south to Scotlandville, on Baton Rouge's northern edge, trading their seventy-five prosperous acres for just thirteen. There stood Southern University, then the nation's largest historically Black college, with its Laboratory School for gifted students.

When Jones, then a student at the university, received his draft notice in 1943, he refused to report for duty immediately—as Black students at Southern were expected to do; white students at Louisiana State University, on the other hand, were allowed to finish their semesters before beginning service. Jones stood his ground. "I wanted to complete my semester, then I'll

The late Johnnie A. Jones Sr. in 2020.

report," he told the draft board, demanding equal treatment. And he won.

A little over a year later, Jones had worked his way up to the position of Warrant Officer in the U.S. Army— the second African American to ever hold the title. On June 6, 1944, dawn broke over the English Channel as his transport ship, the USS Francis C. Harrington, approached the coast of Normandy. Part of the third wave headed for Omaha Beach, Jones and his fellow soldiers of the 494th Port Battalion had spent days crossing the Channel. Suddenly, a massive blast rocked the Harrington as it struck a German mine. "When the ship hit the mine, it knocked the whole ship out of water," Jones would later recall. "I went up in the air and came back down in the midst of twenty-five dead soldiers."

Jones, with other survivors, boarded one of the Higgins boats for the final approach to the beach. German forces in pillbox bunkers overlooking the beach opened up with withering fire. Bullets came "from everywhere" as Jones and his fellow soldiers waded through neck-deep water under constant fire. The explosion had torn away Jones's sidearm; once ashore, he retrieved a carbine from one of his fallen comrades.

Then came a moment that would haunt Jones for the next seven decades. As he made his way across the bloodsoaked beach, a young German soldier suddenly rose from a concealed position

directly in front of him. In that split second, the newly minted warrant officer who would spend his life fighting for justice was forced to take a life. "I didn't want to kill," he would recall, his voice growing quiet even decades later. "I see that at night now. That haunts me."

In the days following victory in Europe, Jones confronted racial injustice within the military itself. While white soldiers received leave passes in Paris, African American troops who had fought in the third wave at Normandy were denied the same privileges. Jones refused to accept this disparity. Drawing on his warrant officer authority, he went directly to General Dwight D. Eisenhower's headquarters to advocate for fair treatment. His approach was diplomatic but firm, arguing that leave should be granted based on arrival date, not race. His reasoned argument and calm demeanor proved persuasive—Eisenhower's staff immediately issued a policy change ensuring troops received leave based on their arrival date, regardless of race. "If you resort to the proper methods to achieve a proper result," Jones would later reflect, "the proper results will be achieved."

Though he survived Normandy, Jones carried shrapnel in his neck for decades—a wound for which he would not receive a Purple Heart until 2021, when he was 101 years old. At the ceremony, Lieutenant General Russell Honoré captured both the triumph and tragedy

Johnnie Jones in 1943, courtesy of Melvin McCray III.

“JOHNNIE JONES PUT HIS OWN SAFETY AND COMFORT ON THE LINE TO ENSURE THAT FUTURE GENERATIONS WOULD NOT ENDURE THE INJUSTICES HE HAD FACED. HIS COURAGE AND PERSISTENCE LEFT AN INDELIBLE MARK ON THIS NATION, MAKING IT A BETTER PLACE FOR ALL AMERICANS. THAT, I BELIEVE, IS THE TRUE MEASURE OF A LIFE WELL LIVED.”

—LOUISIANA SECRETARY OF STATE NANCY LANDRY

of the moment: "He, like many others, did not get the recognition they deserved after fighting in WWII, after that great demobilization. I think it's Churchill that said 'America always does the right thing, most of the time

Jones's military service earned him multiple honors, including the Victory Medal, the World War II American Campaign Medal, the European African Middle Eastern Campaign Medal with two Bronze Stars and one Bronze Arrowhead, France's prestigious Croix de Guerre, and the Legion of Honor.

A Legal Warrior for Civil Rights

Returning from war, Jones quickly realized that his fight for equality would be ongoing. On a bus from New Jersey to Mississippi, he noticed that German prisoners of war were seated comfortably, while Black veterans were forced to stand. "After being exposed to flying bullets and flying bodies during the Normandy invasion, death did not really faze me," he reflected. "I was more willing to die fighting for my rights in the United States than trying to defeat the Germans in Europe."

Armed with the GI Bill, Jones returned to Southern University to finish his undergraduate degree and then enrolled in Southern's Law School. "I thought I was smart because I had been a warrant officer and everything," Jones recalled, "but when I got into law school, I found out that words convey more thoughts than I had in my vocabulary."

As his first exams approached, self-doubt crept in—

Top: U.S. Senator Bill Cassidy shakes Johnnie A. Jones, Sr.'s hand at his Purple Heart ceremony in 2021. Bottom: At the Margaret Chase Smith Award luncheon honoring the late Johnnie A. Jones, Sr. in January 2025. From left to right: Adol Jones (Jones's grandson), Michael Watson (Missississippi Secretary of State and incoming NASS President), Mary Louise Jones (Jones's daughter-in-law), Nancy Landry (Louisiana Secretary of State), Klye Jones (Jones's grandson), and Stephanie Jones (Jones's granddaughter).

Special Guest: Jon Batiste

until a profound moment with his mother changed everything. Sarah Jones had always insisted her son would become a lawyer, even when such dreams seemed impossible for a Black child from Rosemound Plantation. Now, as she lay on her deathbed during his first semester, she provided one final, crucial push forward.

"Son, how are you doing in law school?" she asked, weakly.

"Mama, I think I'm going to fail," Jones admitted, leaning down to kiss her.

With her last reserves of strength, she reached up and stroked his forehead, whispering, "You never fail, Son.”

Those words ignited something in Jones. He left her bedside for the law library, studying past midnight, then brought books home to continue until dawn. Sarah Jones lived just long enough to see her son complete that first semester, passing away in 1951. But her words—"You never fail"—became his North Star, guiding him through decades of legal battles ahead.

In Louisiana's segregated courtrooms, Jones faced constant attempts to diminish his dignity and legal acumen, particularly from District Court Judge Fred LeBlanc. Rather than let the judge's racist quips and backhanded comments distract or enrage him, Jones developed a strategy of measured responses, sometimes using humor to deflate LeBlanc's attempts at humiliation. When LeBlanc once sneered that Jones "looked like he ought to be one of them [defendants]," Jones pretended to take it as a compliment about his youthful appearance, replying with a grin, "Thank you, Judge. When I start looking old, I'm going to do just like Ponce de Leon did. I'm going to start looking for the fountain of youth." The courtroom erupted in laughter—at the judge's expense.

His approach to the law was innovative and daring. In 1960, he found himself defending some of the first activists of the Civil Rights Movement in Louisiana—

Southern University students who staged lunch counter sit-ins demanding integration. But when Jones brought his arguments for the cases to a gathering of civil rights attorneys in New Orleans, not a single lawyer agreed with his novel constitutional approach—which challenged “separate but equal” through six distinct constitutional questions, rather than the standard three. The NAACP's Legal Defense Fund even threatened to withdraw funding if Jones persisted with the unconventional legal theory. At a crucial moment, legendary New Orleans civil rights attorney A.P. Tureaud rose to Jones's defense. "You may not like his research, and you may not agree with his research . . . but I'm not in a position to reject it," he said. When asked if he would put his name on Jones's brief, Tureaud responded firmly: "I certainly would."

The gamble paid off. While multiple sit-in cases from across the South sought Supreme Court review, only Jones's case was accepted. His innovative constitutional arguments caught the attention of the nation's highest court, prompting civil rights attorney Jack Greenberg to marvel that this "wiry, energetic, and rustic" lawyer from the Deep South could craft "constitutional objections that would command Supreme Court review."

Jones's involvement with the Civil Rights movement made him a target of the Ku Klux Klan. Three times, they tried to assassinate him. On a sunlit Louisiana morning in 1970, Jones turned his car's ignition key and felt his world explode. He recalled how the blast lifted his vehicle violently skyward, leaving him sprawled on a second-story rooftop amid burning rubber and singed shrubbery. Anonymous callers warned they would "put a bullet through his forehead." Jones added each threat to the long list of perils he'd faced and survived.

His legal victories paved the way for Black Americans to register to vote, attend integrated schools, and

hold public office. As U.S. Representative Cleo Fields, a Black man, later reflected at Jones's Purple Heart ceremony: "I've never been bitten by a dog. I've never been hosed with water. I've never had to drink from a colored fountain. When I registered to vote, I didn't have to state the preamble to the Constitution. I didn't have to state how many bubbles were in the bar soap." Each "never" in Fields's litany measured the distance between the segregated Louisiana of Jones's youth and the state where Fields could dream of the governor's mansion. "And I thank [Johnnie Jones] for that."

A Great American

For Mary Louise Jones, the Margaret Chase Smith Award ceremony carried a profound significance that transcended even the prestigious award itself. As she reflected on the moment, her words captured both personal pride and historical weight: "I felt proud, I felt honored, and just overwhelmed in some ways to know that he is being honored by a group that has honored such a prominent group of other Americans throughout history."

Secretary Landry concluded the event with a final expression of praise for Jones: "The State of Louisiana is just really proud to have a great American like Mr. Johnnie Jones to be a native son who worked for equality in Louisiana like he did. He has made Louisiana a better state and a state that we can all be proud of. America should be proud of Johnnie Jones, too, because he was a great patriot. . . Our country is a better place because of Mr. Johnnie Jones."

In that elegant ballroom, Jones’s lifelong fight for justice echoed against the walls. Through the voices of those who gathered to honor him, his story will continue to inspire future generations to stand up for the principles he had defended so courageously: equality, honor, and democracy. •

LIVING WITH ART

Inside the Gallery Suite

CURATING A NEW OVERNIGHT EXPERIENCE IN NATCHEZ

Story by Jordan LaHaye Fontenot

Natchez, with its treasury of historic buildings and legacy of hospitality, has long held a reputation as the unofficial “bed and breakfast capital of the South.” And now, somewhere between the opulent charm of Antebellum cottages and the lore-heavy intrigue of Under-the-Hill’s Mark Twain Guesthouse, the gallerist/artist couple Stacy and Andrés Conde have inserted their own fine arts-focused overnight experience into the heart of the downtown district.

“There are so many really spectacular bed and breakfasts here in Natchez that have capitalized on those themes the city is known for,” said Stacy Conde, who moved with Andrés from Miami to Natchez during the pandemic. “And those places have done it, frankly, far better than I ever could, because they are of this place. They know it inside and out. I was not looking to compete with that. What I wanted was something completely different.”

When you enter the Condes’ Natchez Gallery Suite above Bank Alley, your eyes will be instantly drawn toward the light, the window—centuries-old panes draped delicately in opulent silk curtains, two antique wooden chairs and an elegant café table inviting you to ponder, to journal, to enjoy a cup of tea. To the left of this tableau are three artworks by Denver artist Kevin Sloan, displayed in oval, gold frames against a column: each a hazy depiction of the sun rising, or setting, over a body of water—four vividly depicted moths in the foreground.

Catercorner to Sloan’s soft dreamscapes, above a gold velvet loveseat, is the arresting work by Uruguayan/ Chilean artist Pablo Santibaez Servat, titled “Circus III.” The piece is confrontational, a shock to the senses with loud color, brash nudity, caricatural illustrations, and a dead lion. It’s an unexpected move, placing these two drastically different styles of art so close to each other. But somehow, it works.

“I don’t love the word ‘eclectic,’ because it’s so overused,” said Stacy, who designed the spaces and curated the art for the Natchez Gallery Suites. “But the aesthetic is very much that. A lot of people think everything has to match exactly—like, if this is classical, everything has to be classical. But I think it’s much more interesting to mix and match, to curate your space in a way that’s meaningful. Little vignettes everywhere, that’s what it’s all about to me. Different vibes, different feelings, different stories in each little area. And you’re journeying through.”

Conde comes by her design experience honestly; she spent ten years working as the assistant to Barbara Hulanicki, founder of the London fashion company, Biba. (In 2012, Hulanicki was appointed an Officer of the Order of the British Empire (OBE) for her contributions to the fashion industry.) Starting at age seventeen, Conde worked for Hulanicki in her interior design business in Miami Beach. “We did full gut rehabs of Art Deco hotels, and nightclubs, and music videos,” she recalled. “Everything you could imagine.”

Hulanicki was the first person Conde called to see the Natchez Gallery Suites design. “I put her on FaceTime, walked her through,” she said. “She told me, ‘Well done, Stacy!’ when she’d seen everything.”

Other details include refinished antiques from Natchez and beyond, a French Empire Montgolfier beaded chandelier, and a selection of essential oils and bath salts for guests’ enjoyment.

And then, there’s the art.

“I’m an art dealer,” said Conde. “I’m a gallery owner. But more than anything, I’m really a curator. And that’s how I approached these spaces. As they really developed as I started moving different elements in, it just became apparent what they needed.”

Bringing works from her host of gallery artists into the suites was an obvious move for Conde, an opportunity to show her guests—many of them collectors—how the art looked in situ. “You get to live with the art,” she said.

The job required a different sort of curation than what Conde does in her gallery; when selecting art for interiors, instead of gallery walls, you’re curating more than visuals; you’re curating tone, emotion, and environment.

The Suites had been part of the Condes’ plans for their Natchez property since they purchased it in 2020, following their pandemic move—with their art gallery in tow—from Miami Beach. Since then, Conde Contemporary has occupied the circa-1898 Greek Revival building that once housed the Bank of Mississippi. Formerly a center of Southern commerce, the gothic, airy interior now plays host to a rotation of magical realist, surrealist, and other representational works by artists from across the globe.

The historic building came with a collection of former office spaces upstairs. According to Stacy, it had always been part of the plan to make use of those rooms—to create overnight accommodations for her visiting artists and collectors, and use it as a short-term rental in between guests.

The floor plan mostly went unchanged, but the renovation was extensive; the rooms’ electricity and plumbing had to be completely re-installed. “And then, you know, the hunt began,” said Conde, referring to the task of finding the perfect flooring, finishes, paints, and furnishings. They installed marble subway tiles in the bathrooms, a cast iron tub in one and a marble shower in the other. They kept the two-hundred-year-old wooden floorboards, and when they pulled off the “ancient” wallpaper, they found shiplap behind it. “People were telling me I needed to put drywall, and I was like, ‘Why?’”

They kept the shiplap—Conde’s husband, Andrés, painting it a distressed copper color, “as though water had just been dripping down these walls forever,” Conde described. “I love working with him on projects, because our minds are so completely different—it’s very bizarre, but we somehow always come to the same conclusion. Taking two paths to get to the same place.”

In the Bank Alley Suite, they had to open up a hole between two former offices to connect the living space to the bedroom—a gap they filled with the room’s centerpiece: nine-foot-tall green doors from the 1850s, which Conde found in New Orleans. “But then I made them super contemporary with brass snake door handles,” she said.

“Art can enhance a space in both a sort of subliminal and obvious way. You walk into a space and the environment is completely changed by the piece, by whatever emotion it evokes,” she explained. “I think people need to trust their instincts when it comes to art, and not listen to what the expert trends are, per se. You should really buy what resonates with you.”

For the suites, Conde was looking for artworks that were intriguing and romantic, moody and sexy. “And so the works I went with are kind of doubling down on that,” she said.

In April, the walls of the Gallery suites included Giovanni Gellona’s magical surrealism, a sculpture by Ignacio Gana, Noah Saterstrom’s ancestral dreamscapes from his immersive narrative collection of paintings titled What Became of Dr. Smith, and Andrés’ own work, among many others. But the selection will be ever-changing as guests fall in love with them—identifying some emotion in the pieces they then want to bring into their own spaces.

“If you see something in it, then you’re getting something emotionally beautiful—a sense of calm, or excitement, or whatever it is you’re after—out of that piece,” said Conde. “And you’ll be able to return to it for that feeling, again and again.” • thegallerysuites.com

Images of the Natchez Gallery Suites, courtesy of Stacy Conde.

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Michael Deas is likely one of the most famous artists you’ve hnever heard of.

As a master realist painter and one of the nation’s premier illustrators, prints of his work are bought by thousands of people every day—for pennies.

Deas works from his studio in the historic French Quarter, where he creates paintings and drawings for magazine and book

covers, advertisements, and postage stamps for the United States Postal Service. He’s painted portraits of actors and politicians that grace envelopes for postcards, love letters, and birthday cards. Deas spent his early childhood in suburban New Orleans before moving to Long Island with his family, continuing to visit New Orleans throughout his teen years. While studying art at the Pratt Institute in Brooklyn, he maintained a studio for a time. But New Orleans was like a siren call; he moved back to the city in 1988 and rented a studio on Governor Nicholls. Eventually, he moved a few doors

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PERSPECTIVES: ART OF OUR STATE

Micro-Realism

MICHAEL DEAS’S STAMP-SCALE MASTERPIECES

Story by Susan Marquez

down from where Tennessee Williams wrote some of his earliest plays.

Williams’s would be the very first portrait Deas would paint for the USPS.

“I’ve always been a fan,” he said. “If you look closely, the image includes a streetcar with a lone figure inside. That is my homage to Williams’s character, Blanche DuBois. You’ll have to use a magnifying glass. She can’t be seen with the naked eye.”

To this day, Deas has painted twenty-five portraits for postage stamps, including depictions of Hollywood

book covers, including the iconic twentieth anniversary cover of Anne Rice’s Interview with the Vampire in 1996.

Research is an important part of Deas’s process, especially when it comes to portraiture. “I research as many portraits and photographs as I can find,” he said. One of his TIME covers is a portrait of Benjamin Franklin. With very little reference material available, Deas used himself as a model for the portrait. “We have the same hairline,” he joked. “I also read all I can about the person I’m painting. The Postal Service always asks that the person be depicted at the height of their career.” And unlike a portrait that will hang in a gallery, the portraits Deas paints for stamps must make an impact with less than a square inch of real estate. When working on a stamp,

gested he talk with Jenny Joseph—who worked as a graphic artist at the newspaper. “When I met her, I knew she was the one,” Deas said. “She was British and very elegant. I stayed up all night making a costume with a sheet, and she came during her lunch hour to model. I gave her a small desk lamp without a lampshade to hold up as a torch.” At one point during the session, Joseph, who was twenty-eight at the time, asked if she could sit. “She told me that she had just learned she was pregnant.” Joseph had never modeled before and hasn’t since.

The studio loved the image, and it’s still in use today. “It’s fun to see my work on the big screen,” said Deas.

Today, Deas continues to do portrait commission work, alongside his own

stars Marilyn Monroe, Audrey Hepburn, and Cary Grant; as well as literary icons Edgar Allan Poe and Mark Twain. He’s also painted political figures, such as Ronald Reagan, Theodore Roosevelt, and Ruth Bader Ginsburg. Currently, he is working on three more stamps, all top secret, to be released in 2026. Deas still lives and paints in the French Quarter in a home he purchased in 1999. Drawn to eighteenth and nineteenth century realism, Deas said he has always been most interested in painting realistically. “That was my model since art school, although realism was not fashionable when I went to school. The style then was more conceptual.” As an illustrator, he has created magazine covers for TIME and

Deas uses a smaller board, usually 4” x 6”, or as large as 6” x 9”. To get a feel for what the image will look like when it’s reduced, he holds a mirror over his shoulder and looks at the stamp.

A person must be dead for a minimum of three years before they are honored with a stamp. A committee decides who will be featured, then an artist is selected and commissioned. “I’m always glad when they call,” Deas said. Seeing his artwork on envelopes is always a thrill for the artist, who says it is an honor and a privilege to paint portraits for stamps. “To me, a stamp can be like a beautiful note on the outside of an envelope,” he said.

One of the crowning achievements in Deas’s career was when his agent called in 1991 about a potential advertising project. The art director of Columbia Pictures wanted to commission him to create a new version of their iconic “Lady Liberty” logo.

After Deas interviewed several potential models, Ken Harrison, a friend of his who worked at The Times Picayune, sug-

artistic whims. He has earned numerous awards and accolades, including five Gold Medals and two Silver Medals from the Society of Illustrators. He was presented with the Hamilton King Award in 2004 for the single best illustration of the year— his Benjamin Franklin portrait for TIME In 2012, forty of his original drawings and paintings were displayed in a retrospective exhibition of his work at the Ogden Museum of Southern Art in New Orleans, including his Columbia Pictures logo. When the original drawing was brought in to be installed for the show, Deas saw it for the first time in the twenty years since he finished it.

He recalled that the clouds behind Joseph had been inspired by a huge bank of cumulus clouds Deas saw forming over the Mississippi River at the time. “I had been riding my bike around town for weeks, hoping to photograph the perfect clouds when I saw them. Between the clouds and Jenny, it is a very New Orleans-based image, in many ways.” • michaeldeas.com.

From left to right, top to bottom: Portraits of Benjamin Franklin, Bette Davis, Tennessee Williams, James Dean, and Columbia’s “Lady Liberty”. Images courtesy of the artist, Michael Deas.

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