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spring 2017




“The only thing worse than being blind is having sight but no vision.” —Helen Keller We are excited about the special exhibitions highlighted in this issue—Contemporary Masters: Works on Paper, When the Water Rises: Recent Paintings by Julie Heffernan, Exploring Photography: Works from the Permanent Collection, and rotations of the Art in Louisiana project. Exhibitions and our collections are the central artistic and educational content of the LSU Museum of Art. They are what make us distinct and meaningful. Fun and exciting educational and social events spin from these projects (pages 14–15). The Heffernan exhibition is an especially important partnership with the College of Art + Design and the School of Art that has resulted in a publication and national traveling exhibition. Recently, the Director's Circle membership held a soirée where some of our leading supporters gathered to hear about our progress. I reported on the 420 students involved in our ArtWorks school program, each month, over eight months, and the 2,500 students involved in our Neighborhood Arts Program, resulting in more than 7,700 artworks created last summer. These programs will have long-lasting positive impact on our community. The LSU Museum of Art looks for ways to improve our service to our audiences and to serve more people from the campus and the community. On a recent Sunday, the Museum galleries were alive with visitors commenting on our collections and installations for a “hack day” (page 11). These observations combine with other forums and insights to drive improvements in our role as a center for artistic and cultural communication and community building. There are many ways for you to get involved. The easiest way is to visit often, engage in our activities and be a member-leader by sharing these opportunities with others. Be a part of the dialogue. The Museum is a bridge between the campus and the community. You are a valued member of the discussion. We are in the vision business—come see through the eyes of others at your museum.

Artwork pictured above: Hunt Slonem (American, b. 1951), Hutch (detail), 2012, oil on canvas, Gift of Paul Yaworsky.


Art Talk Spring 2017

Daniel E. Stetson Executive Director


Everlasting Calm When the Water Rises Contemporary Masters Exploring Photography

4 6 8 9


Ben Earl Looney's Downtown 10 Baton Rouge 11 Recap of Hack Day


MUSE program update Education exhibitions

12 13


Events from March through May



Director's Circle Soirée New members

16 17


Shop local with three new artists


Stay updated through our social media channels, weekly e-newsletter and website

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EVERLASTING CALM THE ART OF ELLIOTT DAINGERFIELD December 16, 2016 through March 19, 2017

Influenced by the French Barbizon School, Tonalists, and Symbolists, the work of Elliott Daingerfield seeks to evoke the divine manifest in nature. Daingerfield’s work stands out among his National Academy of Design colleagues for its often distinctly Southern mood. Everlasting Calm includes Daingerfield’s oil paintings of Southern scenes and monumental Western landscapes as well as studies for these works. Born in Harpers Ferry, Virginia, in 1859, Daingerfield moved to New York to formally train in 1880. From 1886 to 1932, he maintained a studio in Blowing Rock, North Carolina, and in New York, where he shared space with fellow Academy member George Inness. From his studios in New York and North Carolina, Daingerfield contributed to the growing internationalism of American art as an artist, teacher, and writer.

Brown Bag Lunch Daingerfield and Tonalism with curator Courtney Taylor Wednesday, March 1, 12–1 p.m. Third floor Academy of Design Series Plein Air Painting with Tajreen Shupti Sunday, March 5, 1:30–3:30 p.m. Fifth floor Register:


Art Talk Spring 2017

This retrospective exhibition is organized by the Morris Museum of Art, Augusta, Georgia. The exhibition includes over fifty works by Elliott Daingerfield as well as work by George Inness and Ralph Blakelock, contemporaries whom Daingerfield published writings about during the early 20th century. Generous support for this exhibition provided by the Imo Brown Memorial Fund in memory of Heidel Brown and Mary Ann Brown, Louisiana CAT, L. Cary Saurage II Foundation, Charles Schwing, and Susanna McCarthy. Additional support provided by Taylor, Porter, Brooks, & Phillips, L.L.P.

I've seen Daingerfield exhibitions from coast to coast and this is one of the best installations I've seen. —guest lecturer and Daingerfield scholar J. Richard Gruber



School of Art Lecture with Julie Heffernan Wednesday, March 15, 5 p.m., LSU Design Building, Room 103 Opening Reception and Gallery Talk with Julie Heffernan Thursday, March 16, 6–8 p.m. Fifth floor, LSU Museum of Art Gallery Talk with Julie Heffernan, 6:30 p.m. Brown Bag Lunch Curator Courtney Taylor on Julie Heffernan Wednesday, April 5, 12–1 p.m. Third floor IMAGE: Julie Heffernan, Camp Bedlam (above and detail on cover), 2016, oil on canvas, courtesy of Catharine Clark Gallery.


Art Talk Spring 2017

Julie Heffernan’s recent paintings create alternative habitats in response to environmental disaster and planetary excess. With rising waters, she imagines worlds in trees or on rafts in which undulating mattresses, tree boughs, and road signs guide the journey. Construction cones interrupt the landscape signaling places to stop, enter tiny interior worlds, and reflect on the human condition—its feckless activity, violence, failure, and redemption. Heffernan tends these alternative environments to safeguard bounties we cannot live without. In other moments, she names names and points fingers to those people and activities implicated in recent calamities of both the physical and socio-political environment. Intricately wrought, Heffernan’s paintings evoke the fantastical allegory of Hieronymus Bosch and the sublime of Thomas Cole and Albert Bierstadt. When the Water Rises is a collaboration between the LSU College of Art + Design and LSU Museum of Art. Heffernan is a visiting lecturer for the School of Art. This exhibition will be accompanied by a fully illustrated catalogue with essays by curator Courtney Taylor, art critic and writer Eleanor Heartney, and LSU Professor of Art Kelli Scott Kelley. Julie Heffernan received her MFA in Painting from Yale and a BFA from the University of California, Santa Cruz. Heffernan has received numerous grants including an NEA, NYFA, and Fullbright Fellowship and is in the collection of major museums including the Brooklyn Museum of Art and the Virginia Museum of Fine Arts. She is represented by P.P.O.W in New York, Catharine Clark in San Francisco, and Mark Moore in Los Angeles. Heffernan is a Professor of Fine Arts at Montclair State University. The exhibition will travel to several venues throughout 2018.


JULIE HEFFERNAN Below is an excerpt from conversations between LSU MOA curator Courtney Taylor and artist Julie Heffernan. Courtney Taylor: [In terms of this traveling exhibition] You said in your statement that painting can do a lot and that it can change minds. What would be your biggest hope for the response to these works? What happens if it does work and people recognize climate change, or recognize they need to change behaviors? Then what? Julie Heffernan: This is why we read novels. The arts exist to be extensions of the brain and the brain’s shortcomings. We read novels, not to gain information, but to gain empathy, and if it's a good novel to enter into another person’s experience. I remember after 9/11 it was very interesting to see different friends' reactions to it. There were friends who knew it was an awful thing, but didn’t register that things had changed in any significant way. And then there were friends who immediately got their emergency kits together because we might have to evacuate the city. Sometimes the imagination runs a little bit too wild, but sometimes imagination helps us prepare for a different kind of world. I think there are a lot of people who just aren’t inclined to…I don’t think their imaginations take them to places where they can imagine what it's going to be like when we have no elephants anymore. What it’s going to be like if all the polar bears are gone. This must be the reason they aren’t acting because if they could imagine that, really, if they could imagine all the people that are going to be suffering from [things like] desertification then I just know they would do something! I’m hoping [these] paintings provide a sensorial experience of the predicament—you know, we’re up in a tree and we’re kind of stuck because down below is a ravaged world … what would it be like to be stuck in a tree? To prod the imaginative organs of others, or to share a kind of 'this is what I see, tell me what you see' response with someone else. To engage in a conversation with a stranger through one of my paintings is certainly something I care very much about.

CT: I think a possible critique of these paintings could be that painting, and contemplating painting, is a luxury–a privileged way to spend your life–while others are suffering. Just as you've repurposed luxury items in the paintings to new uses for our new environmental reality, you're in a sense re-purposing painting as a luxury item to painting as a serious message (not that other paintings haven't historically had serious messages), but we're talking about this idea of a creative sublime with a very real hope for change. JH: I think that’s a great observation. It’s exactly what I was talking about with the [paintings from the early 2000s]. It goes back to those. You know I put my kids through college with those paintings but after they left home and I no longer had the financial responsibilities of kids I started to think, what am I doing? Do I want to keep making the same painting over and over again? Am I making consumer items? I don’t want to make consumer items; I want to make things that are vitally important to everything that I believe in. [With the stories in these paintings], I’m basically creating a consumer item that nobody is going to want to consume in the usual way, of dressing up your couch or whatever. These paintings are not necessarily things you would want to put in your home. On the other hand a museum provides a realm of contemplation, as opposed to a showcase for one’s wealth. I guess it depends on which museum, but in general that is the case—and that’s the kind of position I want to speak from.

Read the full Q&A with Heffernan at Purchase the exhibition catalogue produced in conjunction with the LSU School of Art at the LSU Museum Store.




Opening Reception and Gallery Talk Thursday, April 6, 6–8:30 p.m. Fifth floor Gallery Talk, 6:30 p.m. Reception, 7 p.m. Brown Bag Lunch Curatorial assistant Glauco Adorno discusses Latino artists in Contemporary Masters Wednesday, May 3, 12–1 p.m. Third floor Third Thursday Artist/professor Leslie Friedman leads printmaking discussion and demonstration Thursday, May 18, 6–8 p.m. Sixth floor IMAGE: Edward Ruscha (American, b. 1937), High Priority (detail), 1975, pastel on paper, museum purchase funded by Frederick Stimpson and the National Endowment for the Arts.


Art Talk Spring 2017

Comprised of the works on paper holdings of the Art Museum of South Texas, Contemporary Masters, brings together works by artists of regional, national, and international importance, with a particular focus on Texas artists. This exhibition, as the title implies, offers works by a number of icons in the art world including Josef Albers, Milton Avery, Alexander Calder, Judy Chicago, Dale Chihuly, Salvador Dali, Paul Jenkins, Donald Judd, Sol Lewitt, Robert Motherwell, Robert Rauschenberg, Ed Ruscha, and Andy Warhol, among others. Stylistically, works range from minimalism to realism, pop to op, narrative to symbolism. Techniques represented in the exhibition include drawings in pastel, ink, pencil, crayon, colored pencil, and charcoal; printmaking in the form of serigraphy, lithography, etching, and monoprint; as well as the use of collage and renderings in liquid media such as oil, acrylic, gouache, and watercolor. These works on paper are significant works in their own right, but many also offer insight into the value of graphic arts and drawing as preparation for execution of works in other media such as sculpture. Often artists better known for work in other media expanded their oeuvre by working alongside master printers at printmaking studios across the United States such as Tamarind, Brandywine, Gemini, Graphicstudio, Pace, Landfall, and Blackburn. Organized by The Art Museum of South Texas, Corpus Christi. Are you interested in supporting this exhibition? Contact Heather Nelson, Director of Development, at 225-389-7212 or for details.



April 7 through July 9, 2017

Opening Reception and Gallery Talk Thursday, April 6, 6–8:30 p.m. Fifth floor Gallery Talk, 6:30 p.m. Reception, 7 p.m. Brown Bag Lunch Executive director Daniel E. Stetson on Exploring Photography Wednesday, June 7, 12–1 p.m. Third floor IMAGE: Robert von Sternberg (American, b. 1939) Rockview Trailer Park, 2013, printed 2016, Inkjet print on Carson Infinity Baryta Photographique paper, gift of the artist, LSU MOA 2016.6.9

Exploring Photography highlights over 40 works from the collection of the LSU Museum of Art by photographers such as Berenice Abbott, Edward Weston, Ruth Bernhard, Judy Dater and Louisiana’s own Clarence John Laughlin, Richard Sexton, Debbie Fleming Caffery, and Thomas Neff. The exhibition reflects the photographic holdings of the Museum, which have doubled in the past year, and celebrates the range of photography’s possibilities. These new acquisitions enrich and broaden the focus of the collection in terms of subject matter, medium, and chronology. Themes/subjects found elsewhere in our collections are paralleled in Exploring Photography. Portraits range from the powerful studio images of the famous by Yousuf Karsh to the marginalized subjects of Diane Arbus to the constructed double images by Nancy Webber and Bonnie Schiffman. Landscapes presented are as different in style and tone as a megalith by Paul Caponigro, constructed digital images of a scene from a porch by Robert Fichter, the black-and-white and color images of Robert von Sternberg, or the surreal dream-spaces of Jerry Uelsmann and the abstracted image of the land by Barry Anderson or Henry Gilpin. Works in the Museum’s collection from the early1900s are joined with works as recent as 2012. Mediums as varied as traditional gelatin silver prints, archival digital prints, scanograms and xeroradiography, ultrachrome color images, and gum pigment and cyanotype and solvent transfer photo-based images are represented. Exploring Photography celebrates the power of photography. The variety represented in the Museum’s photography holdings expands our ability to share the importance of photographic image making and makers. 9



Celebrate Baton Rouge's 200th year by comparing the downtown of the early 20th century with today. Ben Earl Looney, one of LSU's first art instructors, painted this scene in 1920, which overlooks downtown Baton Rouge from the Mississippi River levee. In the background is the Old State Capitol and the Baton Rouge Waterworks Company standpipe, adjacent to where the museum is located today. IMAGE: Ben Earl Looney (American, 1904–81), Downtown Baton Rouge, 1920, oil on canvas, Gift of the artist, transfer from Special Collections, LSU Libraries, 2004.4.4


Art Talk Spring 2017

Looney's painting is on display through 2017 in the Pennington Family Foundation Education Gallery as part of the exhibition, From Point A to Point B: The Art of Transportation.

HACK DAY AT LSU MOA On January 29, 59 people provided 231 comments on the six Art in Louisiana galleries. LSU MOA staff are reviewing the comments and beginning to make changes, so visit soon to see where your voice had the most impact.

The Alfred C. Glassell Jr. Exhibition Gallery is located on the first floor of the Shaw Center for the Arts. Call 225-389-7180 for information.

Andrea Berg, Sethalopod, 2016, oil and ink on panel, 24 x 28 inches.

UPCOMING MFA THESIS EXHIBITIONS Tuesday, March 28 – Saturday, April 1

Haley Hatfield and Sarah Ferguson Reception: Saturday, April 1, 6 – 8 p.m. Tuesday, April 4 – Saturday, April 8

Taryn M Nicoll and Tina Korani Reception: Saturday, April 8, 6 – 8 p.m. Tuesday, April 18 – Saturday, April 22

Abigail Smithson and Brian Deppe Reception: Saturday, April 22, 6 – 8 p.m. Tuesday, April 25 – Saturday, April 29

Naomi Clement and Michael Stumbras Reception: Saturday, April 29, 6 – 8 p.m. Tuesday, May 2 – Saturday, May 6

Bri Ozanne and Adam Meistrell Reception: Saturday, May 6, 6 – 8 p.m. Tuesday, May 9 – Saturday, May 13

Andrea Berg: Baby’s Day Out Reception: Saturday, May 13, 6 – 8 p.m. Did you miss Hack Day? Visit the museum and provide your feedback anytime at Museum Hack & Hack are trademarks of Museum Hack LLC.

College of

Art + Design

School of Art 11


MUSE SERVES MORE THAN 100 HOME SCHOOL STUDENTS PER MONTH This fall marks the fifth anniversary of MUSE, the LSU Museum of Art's objects-based arts enrichment program designed specifically for homeschool students ages 4–13. Since its inception, MUSE has grown by leaps and bounds from one class of 15 students to a group of more than100 students and three monthly sessions. MUSE explores a wide and diverse world of art, art history and art making. Adapted to different ages, levels and needs, the program serves families from Baton Rouge and surrounding parishes and is designed to align with the homeschool curriculum and philosophy. Students are introduced to each area of the museum's collection and special exhibitions and learn about the history, materials and purpose of the objects, developing a connection through art to culture and self.

A different MUSE class visits the museum once a month on first, second and third Thursdays from 1:30–3 p.m. Sign up by contacting Lucy Perera at or 225-389-7207. 12

Art Talk Spring 2017

On Thursday afternoons from September through May, the museum galleries come alive with learners and their families. Each class begins in the Pennington Family Foundation Education Gallery where families gather to socialize and play before an interactive student-centered tour of selected objects, followed by an art lesson in the museum’s third floor studio.


Lexi Smicker and mother Andrea have attended the MUSE program for the past three years. Lexi, now thirteen, is one of the older students. Her family has become dedicated to the LSU Museum of Art, often staying after class to help straighten up. In January, the Smickers began taking on the immense three-week volunteer job of reorganizing the art studio prep room. When asked about what MUSE means to her, Lexi explained, “The program is so great because it lets kids express themselves in art. The environment is surrounded with lots of inspiration for creativity. Ms. Lucy is an amazing art teacher. She helps us learn while keeping it fun, interesting and happy at the same time. I have been in this program for three years and I progress and learn something each time.”

EDUCATION EXHIBITIONS WE LOVE... AN EXHIBITION FEATURING THE MANY FACES OF LSU MOA’S ARTWORKS AND MUSE PROGRAMS This exhibition includes portraits created by students in Pre-K through 5th grade who participate in ArtWorks, a monthly program working intensively with students from three East Baton Rouge Public Schools—White Hills Elementary, Bernard Terrace Elementary and Capitol Elementary—as well as three classes from the museum’s dedicated homeschool program, MUSE. The pastel portraits were created in January as part of a lesson focusing on portraiture in the museum’s collection. You will see in this work the faces of our community, the love of self, a range of expression and the spirit of creativity. We LOVE these young artists, and they LOVE learning through art. On view now through March 19.

FROM POINT A TO POINT B: THE ART OF TRANSPORTATION Visit the Pennington Family Foundation Education Gallery for a new exhibition exploring the wonders of transportation. Check out a creative, fun and interactive display of unusual and seldom seen works from our permanent collection. Toys, cars, trains, paintings, prints, photographs, sculpture, maps and more are whimsically curated to get our gears turning about how we move from point A to point B.




Third floor, 12–1 p.m. Curator Courtney Taylor on Daingerfield and Tonalism $5 nonmembers, free for members


Fifth floor, 1 p.m. Art enrichment for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Third floor, 10:30 a.m. Reading and art making for ages 0–6 with parent/caregivers Free

05 FREE FIRST SUNDAY Fifth floor, 1–5 p.m. Free family activities


Fifth floor, 1:30–3:30 p.m. Tajreen Shupti leads Plein Air landscape class Registration: $20 nonmembers, $15 members


O’Neil’s Barber & Beauty Salon, 449 N. Acadian Thruway, 4–7 p.m. Free haircuts for boys ages 2–13 in exchange for reading a book


Laura Larsen leads tour in partnership with Alzheimer’s Services of the Capital Area. Call Dana Territo at 225-236-4616 for more info or to sign up. Free


Fifth floor, 1 p.m. Art enrichment for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Fifth floor, 1 p.m. Art enrichment for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Art Talk Spring 2017




Fifth floor Gallery talk with Julie Heffernan at 6:30 p.m. Tour and light refreshments, 7–8:30 p.m. Cash bar. $10 for nonmembers, free for members and students and faculty with ID


PROJECT AT EBB & FLOW Downtown Baton Rouge Free art making for all ages

02 FREE FIRST SUNDAY Fifth floor, 1 – 5 p.m. Free family activities


O’Neil’s Barber & Beauty Salon, 449 N. Acadian Thruway, 4–7 p.m. Free haircuts for boys ages 2-13 in exchange for reading a book


Third floor, 12–1 p.m. Curator Courtney Taylor on Julie Heffernan $5 nonmembers, free for members


Fifth floor, 1 p.m. Art enrichment for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


“CONTEMPORARY MASTERS” AND “EXPLORING PHOTOGRAPHY” Fifth floor Gallery talk at 6:30 p.m. Tour and light refreshments, 7–8:30 p.m. Cash bar. $10 for nonmembers, free for members and students and faculty with ID


Third floor, 10:30 a.m. Reading and art making for ages 0–6 with parent/caregiver Free


PROJECT AT BATON ROUGE BLUES FESTIVAL Downtown Baton Rouge Free art making for all ages


Fifth floor, 1 p.m. Art program for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Fifth floor, 1 p.m. Art program for home school students ages 6-12 and their families/caregivers $5 nonmembers, free for members


Fifth floor, 2 p.m. Author John Kemp will be signing his book, Expressions of Place: The Contemporary Louisiana Landscape


O’Neil’s Barber & Beauty Salon, 449 N. Acadian Thruway, 4–7 p.m. Free haircuts for boys ages 2-13 in exchange for reading a book


Third floor, 12–1 p.m. Curatorial assistant Glauco Adorno on Latino artists in Contemporary Masters $5 nonmembers, free for members



Third floor, 6:30–8:30 p.m., doors at 6 p.m. A unique, festive monologue event about the second universal language, food, and how our lives revolve around it. Limited seating available. Tickets must be purchased in advance by calling 225-389-7210. $50 for nonmembers, $40 for members


Fifth floor, 1 p.m. Art program for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Fifth floor, 1 p.m. Art program for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Sixth floor, 6–8 p.m. Artist/professor Leslie Friedman leads an interactive printmaking discussion and demonstration $15 for nonmembers, $10 for members



BREC Perkins Road Community Park, 7122 Perkins Road Free art making for all ages


Fifth floor, 1 p.m. Art program for home school students ages 6–12 and their families/caregivers $5 nonmembers, free for members


Third floor, 10:30 a.m. Reading and art making for ages 0–6 with parent/caregivers Free

07 FREE FIRST SUNDAY Fifth floor, 1–5 p.m. Free family activities


First floor, 1–5 p.m. Shop local with a selection of artisians in the LSU Museum Store

PROGRAM KEY Get the most up-to-date information on these events and programs at Family-friendly Exhibitions/Permanent collection Education/Community Adults Special events



The first Director's Circle SoirĂŠe of 2017 was held on January 19 at the home of generous hosts Beverly and Steven Heymsfield along with co-hosts Beth and Butler Fuller and Fran and Leroy Harvey. Attendees were treated to hors d'oeuvres from Chef Don Bergeron while mingling with fellow donors, board members and museum staff. The Director's Circle includes Silver, Gold and Platinum level members. Join us at the next Director's Circle event by becoming a member today at








1. Friends of the LSU Museum of Art Chair Nedra Davis and John Hains. 2. Matthew Edwards, Beth Fuller and Advisory Board Chair George Clark. 3. Steven and Beverly Heymsfield. 4. Executive Director Daniel Stetson, Catherine Stetson, Curator Courtney Taylor, Jerry Fischer and John Turner. 5. Jerry and Karen Ceppos. 6. Joyce Jackson, Pam Roby and Katherine Spaht. 7. Chadwick Kenney-Possa and Joseph Possa. 16

Photos courtesy inRegister Magazine Art Talk Spring 2017

WELCOME NEW MEMBERS FRIEND Brandi Simmons DUAL David Chicoine and Elise Lassande Lluvia Peveto Stephanie Little and Christopher Murray HOUSEHOLD Kathryn and Sarah Burke Jim and Patricia DuBos Barbara and Richard House Heather Nelson SUSTAINER A.E. Kaiser III DIRECTOR’S CIRCLE, SILVER Jerry and Karen Ceppos Cary and Nancy Dougherty Matthew Edwards Dr. Joyce Jackson and J. Nash Porter Catherine and Daniel Stetson CONTEMPORARIES Heather Nelson Brandi Simmons Catherine and Daniel Stetson

Lend your support to Baton Rouge's only dedicated art museum through an annual membership. Levels begin at $50. Discounted memberships for teachers and students are available. Benefits include (but are not limited to): • Free admission to the museum • Subscription to our quarterly newsletter, Art Talk • Discounts on programs and events, as well as selected downtown businesses • Invitations to members-only events • Reciprocal membership privileges at museums around the country Add your name to the list by becoming a member today at


Whether you’re a young professional or just young at heart, the Contemporaries affinity group presents an engaging opportunity for creative-minded Baton Rougeans to learn about the museum and contemporary Louisiana artists, while building relationships in the local art scene. Members at the Friend level and above are eligible to participate for an additional $50/year.


Josh Wascome



Charles G. Smith

On March 5, 2017, the LSU Museum Store will celebrate its 12th anniversary in the Shaw Center for the Arts. For the last 12 years, it has been our goal to support and work alongside local Louisiana artists. The LSU Museum Store has proudly featured hundreds of artworks that have found a home with customers all across the country. Our featured artists create truly exceptional pieces that capture the beauty of our extraordinary state through a wide variety of creative mediums. We would like to introduce you to three artists who capture an essence of Louisiana in their works: Josh Wascome, Charles G. Smith, and Christy Barrett. Josh Wascome of Wascome Woodworks is a wood worker and mixed media artist from South Louisiana. By utilizing locally sourced trees, Wascome designs and creates pieces that are distinctly unique from one another. Wascome’s wood pieces include an assortment of dishes, cooking utensils, greeting cards, and even bowties.

Christy Barrett

Visit the LSU Museum Store on the first floor of the Shaw Center for the Arts. HOURS Tuesday through Saturday, 12–5 p.m. Thursday, 12–8 p.m. Sunday, 1–5 p.m. CONTACT 225-389-7210 18

Art Talk Spring 2017

After his career in geologic consultation in Louisiana, Charles G. Smith adopted a plein-air painting style. His pieces are inspired by the low-lying terrain, copious live oaks, and year-round green color schemes that characterize the landscape of Baton Rouge. Christy Barrett of MNLa Originals is well-known for handworking copper, brass, and sterling silver into unique jewelry. After attending leisure classes at LSU and working under Tom Lorio, a metalsmith, Barrett expanded her skills by teaching herself to acid sketch. Pieces by Barrett are hand-worked with exquisite detail and care, and they reflect Louisiana’s distinctive traditions and symbols.

STAFF Daniel E. Stetson, Executive Director Becky Abadie, Business Manager Tanya Anderson, Assistant Registrar ReneĂŠ Bourgeois, Coordinator, Events & Marketing of Facility Rentals Heather Nelson, Director of Development LeAnn Dusang, Museum Store Manager & Membership Coordinator Fran Huber, Assistant Director for Collections Management Brian Morfitt, Preparator Lucy Perera, Coordinator of School & Community Programs Brandi Simmons, Communications Coordinator Courtney Taylor, Curator

FRIENDS OF LSU MUSEUM OF ART President: Nedra Sue Davis Vice President: Susannah Bing Secretary/Treasurer: Robert Bowsher Brad M. Bourgoyne Clark Gernon Emile Rolfs Ann Wilkinson

ADVISORY BOARD Chair: George Clark Vice Chair: Brian Schneider Secretary/Treasurer: John Godbee Melissa Caruso Jerry Ceppos Nancy C. Dougherty John Everett Jerry Fischer Beth Fuller Louanne Greenwald Steven Heymsfield Joyce Jackson Ben Jeffers William Judson Chadwick Kenney-Possa Ellen Kennon Susanna Atkins McCarthy Scott McKnight Stephanie Possa Katherine Spaht Alkis Tsolakis Ex-Officio: Daniel E. Stetson Honorary: Nadine Carter Russell Emerita: Sue Turner


The LSU Museum of Art is supported by a grant from the Louisiana State Arts Council through the Louisiana Division of the Arts and the National Endowment for the Arts as administered by the Arts Council of Greater Baton Rouge.

HOURS Tuesday through Saturday: 10 a.m.–5 p.m. Thursday: 10 a.m.–8 p.m. Sunday: 1–5 p.m. Closed Mondays and major holidays

100 Lafayette Street, Fifth Floor Baton Rouge LA 70801

Spring 2017 Art Talk  

LSU Museum of Art quarterly newsletter featuring upcoming exhibitions, programming information and member/donor recognition.

Spring 2017 Art Talk  

LSU Museum of Art quarterly newsletter featuring upcoming exhibitions, programming information and member/donor recognition.