Spring 2022 Art Talk by LSU Museum of Art

spring 2022

ART TALK

FROM THE

DIRECTOR

"Sometimes you will never know the value of a moment until it becomes a memory." –Dr. Seuss

COVER IMAGE: (detail) Jordan Seaberry, Blueberry (The Right to Self), 2019, acrylic and mixed media on canvas, 50 x 82 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.24

The State of the Art: Record exhibition is a thrilling opportunity to see new American art on the cutting edge of creativity. The twenty artists included have a variety of approaches and expressions that are an invitation to engage in a dialogue in the gallery. Visit and converse with friends and family. Ask questions of these works, and of yourself. What does it mean to make a record, or to record? How do you measure your experiences and give them meaning? From paintings and drawings to a large scale video installation, this exhibition has something to surprise, delight, and challenge viewers. Eugene Martin: The Creative Act offers an opportunity to view a unique body of work from our permanent collection and it offers an occasion to celebrate an artist who chose to make Lafayette his home. These colorful, playful, and surreal images from our permanent collection are joyous to behold. Their visual playfulness, and the process of their making is revealed in the viewing. Take a closer look when you visit this exhibition. Recent acquisitions continue to add meaningfully to our holdings. Important works by a diverse group of artists are shared in these pages. Works by Jennifer Odem, Fabiola Jean-Louis, and Alia Ali are a few of the new additions. Remember to visit our Art in Louisiana galleries when you visit as the works rotate and change with a certain frequency. Each visit has surprises to offer you. We have launched the Pat Bacot Lecture series, which will offer opportunities to hear special lectures from experts and artists. Our exhibition and community-related projects provide entertainment with purpose. Join us. Let’s value the moments and make memories together through the arts in your Museum. This issue of Art Talk features ways to engage at the museum–from the simple action of visitation to participation in our programs and interactive areas in the galleries. The arts are a communal enterprise between the artists and you as a viewer. We offer a safe place for friends and families to gather and to meet new friends. Long live the arts. We build our civilization everyday with cultural supporters like you.

Daniel E. Stetson Executive Director 2

Art Talk Spring 2022

EXHIBITIONS State of the Art Eugene Martin Candice Lin Blurring Boundaries

4–5 6–7 8 9

COLLECTIONS Recent Acquisitions

Programs

10–11

CALENDAR

12–13

EDUCATION

Inspired to Create Family Gallery Update

14 15

DEVELOPMENT

Bacot Lecture Series

New Members Annual Fund Campaign

MUSEUM STORE

Mother's Day Jewelry

INTERACTIVE AREAS IN EXHIBITIONS Take part in art at LSU MOA and participate in interactive areas featured in State of the Art: Record and Eugene Martin: The Creative Act. Learn more about these and our open call for zine submissions in this issue of Art Talk. www.lsumoa.org

STATE OF THE ART

RECORD

on view March 10– June 19, 2022

FREE FIRST SUNDAY EXHIBITION TOUR Sunday, April 3 Fifth floor, 2 p.m. Learn more about State of the Art: Record during this tour with LSU MOA Curatorial Fellow, Clarke Brown.

IMAGE: Kellie Romany, In an Effort to be Held, 20162019, oil on ceramic, dimensions variable, Courtesy of the artist

Recordings preserve information. This can include an idea, a sound, a moment in time—the important outcome remains the same: the record. The artworks in this exhibition, titled State of the Art: Record, reveal a broad expanse of this concept. Some of these artists grapple with the constantly unfolding historical record. Others use their work as a way to record concepts too big for words or too abstract for simple explanation. Others employ their artistic skills to order their surroundings, transforming chaos into something manageable. Record speaks to the task of documenting the random, confusing, and sometimes inexplicable, and underscores a desire to return to the existing record in order to reconsider. These 20 artists represent a sample of American art created in recent years. The approaches, backgrounds, and details of these artists’ practices vary widely but the echoes across works and sections of the show speak to broader trends in contemporary art in this country. Organized around the theme of “record,” this focused exhibition invites visitors to consider how these artists put this theme into action. Artists included in this exhibition are David Harper, Damian Stamer, Carla Edwards, Jenelle Esparza, Marcel Pardo Ariza, Kate Budd, Mari Hernandez, Tabitha Nikolai, Enrico Riley, Jordan Seaberry, Diego Rodriguez-Warner, Frances Bagley, Peter Everett, Mae Aur, Alex Chitty, Paul Stephen Benjamin, Jill Downen, Kellie Romany, Nicolas Lobo, and Cory Imig. State of the Art: Record is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas. The national tour of State of the Art 2020 is sponsored by Bank of America with additional support from Art Bridges. This exhibition and its programming are sponsored locally by a generous grant from Art Bridges.

Art Talk Spring 2022

EXPLORING RECORD ARTIST INTERPRETATIONS

The artists in State of the Art: Record explore the concept of record in three sections: historical record (preserving history and re-constructing history); seeking the intangible; and finding order. In her self-portrait Colonizer (pictured top left), Mari Hernandez reconstructs and re-imagines history by wearing a wig, cheap prosthetics, layers of makeup, and a basic costume to highlight the constructed and fake nature of the portrait. Drawing on her Chicana heritage and the history of her native Texas, Hernandez assumes the guise of European colonists whose portraits don’t fully reveal the traditions of colonization associated with historical artworks. On the cover of this issue and pictured top right is Jordan Seaberry's Blueberry (The Right to Self), which seeks the intangible, presenting a kaleidoscopic exploration of family histories, memories, and tangled relationships. The artist layers multiple materials—photographs, clippings, and more—to create a personal tapestry of his past, present, and future.

IMAGES: (top left) Mari Hernandez, Colonizer, 2017, inkjet print on photo rag, 29 x 25 x 2 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.39; (top right) Jordan Seaberry, Blueberry (The Right to Self), 2019, acrylic and mixed media on canvas, 50 x 82 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.24; (above) Paul Stephen Benjamin, Daily Meditations, 2019, Vinyl letter on painted wall, dimensions variable, Courtesy of Paul Stephen Benjamin

Other artists attempt to find order through creating patterns and breaking down ideas to develop understanding. Kellie Romany's In an Effort to be Held (pictured page 4) are ceramic discs stained with oil paint, mimicking nineteenth-century anthropologist and ethnographer Felix von Luschan's chromatic scale of skin color. Paul Stephen Benjamin explores the depth of meaning and possibilities contained in the color black. He asks the question, “What is the color black?” In Daily Meditations (detail pictured left), Benjamin draws from his daily ritual of manually typing out his thoughts about black. ⊲ Interactive Components When you visit the exhibition, write your daily mediation in the LSU MOA lobby and place it on the wall to create a community installation inspired by Paul Stephen Benjamin's Daily Meditations. Also submit your own ideas and creations to LSU MOA's zine project of what the term 'record' means to you (see details page 13). www.lsumoa.org

EUGENE MARTIN THE CREATIVE ACT

On view April 7– October 2, 2022

GALLERY TALK Friday, April 8 Fifth floor, 6 p.m. Free to attend. Learn more about Eugene Martin: The Creative Act during this talk with LSU MOA Registrar and Curator of this exhibition, Olivia Peltier.

IMAGE (above): Eugene James Martin, Untitled, 1995, mixed media on board, Gift of Suzanne Fredericq in Memory of Eugene Martin, LSUMOA 2008.10.23

Art Talk Spring 2022

Eugene Martin: The Creative Act presents LSU Museum of Art’s first major exhibition of the artist's work. It features a selection from a 2008 acquisition of 31 works and focuses on Martin’s unique brand of abstraction. Born in Washington, D.C. in 1938, Eugene Martin dedicated his life to living and working as a full-time artist, creating a body of work clearly defined by periods, from black and white ink drawings to bright and colorful acrylic paintings and collages. Throughout these styles, Martin’s hand is distinct and present. A mixture of organic forms, geometric shapes, and even architectural worlds make up Martin’s universe of figures and creatures. Though often hinting at figures and familiar forms, Martin’s abstraction offers delights of color that are free from time and place. Highlighted in the exhibition are Martin’s unparalleled collages, which feature pieces or photographs of previously completed works. This form of artistic cannibalism represents an artist’s practice that was never static and always exploring. Also featured are Martin’s circle drawings, a product of setting his own limitations on composition—just to see what he could do. Working only from within, Martin straddles styles and does not answer to any outside influence. Rather, his works satisfy the impulse simply to create. In his last decade, Martin lived and worked in Lafayette, Louisiana. He achieved much regional acclaim while continuing to exhibit work across the country and abroad. His works are held in the collections of several other Louisiana institutions. LSU MOA thanks the generous donors to the LSU MOA Annual Exhibition Fund for supporting all exhibitions at the museum: Louisiana CAT; The Imo N. Brown Memorial Fund in memory of Heidel Brown and Mary Ann Brown; The Alma Lee, H. N., and Cary Saurage Fund; Charles "Chuck" Edward Schwing; Robert and Linda Bowsher; LSU College of Art + Design; Mr. and Mrs. Sanford A. Arst; and The Newton B. Thomas Family/Newtron Group Fund.

CLOSER LOOK

ART FROM WITHIN

“

The creative act is very important to me. So, whether the works sells or whether it hangs, is really not that important to me. The creative act—what I mean by that is when you create something by pure motive—it generates a kind of energy that goes out through the universe. −Eugene Martin

⊲ Method of Making Eugene Martin's whimsical collages and mixed media works filled with color and expression speaks to the surrealist concept of automatism, working strictly by feel from the unconscious mind. The Creative Act showcases Martin's process of creating art from within and signifies the moment in which they were made. This exhibition will have an interactive area where visitors will be able to create their own Eugene Martin inspired collages in the gallery.

IMAGE: Eugene James Martin, Courtesy of Suzanne Fredericq; QUOTE SOURCE: Dean Howard King, "Seven American Artists," Honors thesis, (University of North Carolina, 1985), https://eugenemartinart. com/seven-american-artists.pdf

⊲ About the Artist After attending the Corcoran School of Art in Washington, D.C. from 1960– 1963, Eugene Martin dedicated his life to living and working as a full-time artist, regardless of any sacrifices that might entail. He worked with what he had, where he could, and his studio was frequently a bench on Washington Circle (pictured above). His career is marked by distinct styles: a period of brown bamboo reed drawings, one of black and white marker drawings, collage, and acrylic painting. His fluid hand and biomorphic forms create a thread throughout his body of work. IMAGE: Eugene James Martin, Midnight Golfer, 1989, mixed media collage on board, Gift of Suzanne Fredericq in Memory of Eugene Martin, LSUMOA 2008.10.24 www.lsumoa.org

CANDICE LIN

THE AGNOTOLOGY OF TIGERS On view until March 20, 2022

IMAGE: Installation view of the porcelain sculpture created by Candice Lin and LSU School of Art students at LSU MOA

Candice Lin: The Agnotology of Tigers features recent works based on archival images from LSU alongside a new configuration of Lin’s tobacco version of La Charada China, which features a figure made of pressed tobacco leaves alongside other plants and materials entangled in the indentured Chinese labor trade. The installation derives from a syncretic, divination-type gambling game practiced in the Caribbean primarily by Chinese laborers. In Lin's hands, she speculates that this game could have functioned within the community to redistribute wealth. At LSU MOA a distillation system drips a tincture of tobacco, tea, sugar, and poppy onto an unfired porcelain sculpture. This tincture of valuable colonial commodities speaks to the intertwined histories of plants and humans, both within plantation economies and herbal medicine. As it drips, it erodes the unfired porcelain—metaphorically dismantling the presumed associations of whiteness with purity, superiority, and hardness. In this exhibition, Lin worked with LSU School of Art students to create the porcelain sculpture (pictured above) that will be transformed and destroyed in the liquid process. Lin’s installation illuminates sublimated histories of social violence and the politics of forgetting that obscures the history of indentured Chinese labor and its dehumanizing effects still manifest in global policies and lingering stereotypes. Pick up and take home a free object guide in the galleries to learn more about the history and significance of the objects that are featured on the table of Candice Lin's La Charada China. This exhibition is part of a collaboration featuring an LSU School of Art visiting artist. This exhibition is a collaboration between the LSU College of Art & Design, the LSU School of Art, and the LSU Museum of Art. Support is provided by The Winifred and Kevin P. Reilly Jr. Fund and generous donors to the Annual Exhibition Fund. Supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, in cooperation with the Louisiana State Arts Council, as administered by the Arts Council of Greater Baton Rouge. Funding has also been provided by the National Endowment of the Arts.

Art Talk Spring 2022

BLURRING BOUNDARIES

THE WOMEN OF AMERICAN ABSTRACT ARTISTS, 1936 – PRESENT On view this summer at LSU MOA is an awe-inspiring celebration of an intergenerational group of artists—one that is both comprehensive and long overdue—Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present highlights the indelible ways in which the women of American Abstract Artists have, for more than eighty years, shifted and shaped the frontiers of American abstraction. The hierarchy of distilled form, immaculate line, and pure color came close to being the mantra of 1930s modern art—particularly that of American Abstract Artists (AAA), the subject of a new exhibition entitled Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present. From the outset—due as much to their divergent status as abstract artists as to their gender—women of American Abstract Artists were already working on the periphery of the art world. In contrast to the other abstract artist collectives of the period, where equal footing for women was unusual, AAA provided a place of refuge for female artists. Through fifty-four works, Blurring Boundaries explores the artists’ astounding range of styles, including their individual approaches to the guiding principles of abstraction: color, space, light, material, and process.

IMAGE: Cecily Kahn, Laughter and Forgetting, 2017, oil on canvas. Courtesy of the artist

More than eighty years after its founding, AAA continues to nurture and support a vibrant community of artists with diverse identities and wide-ranging approaches to abstraction. In celebration of this tradition, Blurring Boundaries: The Women of American Abstract Artists traces the extraordinary contributions of the female artists within AAA, from the founders to today’s practicing members. Included are works by historic members Perle Fine, Esphyr Slobodkina, Irene Rice Pereira, Alice Trumbull Mason, and Gertrude Greene, as well as current members such as Ce Roser, Irene Rousseau, Judith Murray, Alice Adams, Merrill Wagner, Katinka Mann, and Louisiana-based artist Susan Bonfils. ON VIEW THIS SUMMER AT LSU MOA This exhibition will be on view at LSU MOA July 14 – October 23, 2022 and was curated by Rebecca DiGiovanna. Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present was organized by The Clara M. Eagle Gallery, Murray State University, Murray, KY and the Ewing Gallery, The University of Tennessee, Knoxville, TN and is toured by International Arts & Artists, Washington, DC.

www.lsumoa.org

COLLECTIONS

RECENT ACQUISITIONS LSU MOA recently acquired works by artist Alia Ali and Fabiola Jean-Louis, both continuing the expansion of the museum's contemporary holdings by underrepresented artists, works of photography, and contemporary portraits as part of The Reilly Initiative. Alia Ali confronts colonial histories, challenges racial and gendered biases, and puts pressure on borders both physical and conceptual. She focuses on how textiles with stylistic variations are indexes of colonial, economic, and political histories of exchange. Ali also works with photography, video, and installation while focusing on questions of identity that cause concern in diasporic communities. Atomic Flower (pictured below) is from Ali’s FLUX series, which explores the ways fabric can be a form of unification and division within various cultures. Ali focuses on wax print fabric—a form with roots in Indian, Javanese, Chinese, Japanese, Dutch, and African traditions. Ali's work has been featured in the Financial Times, Le Monde, Vogue Arabia, Art Review, and Hyperallergic. Her work has been exhibited internationally and is in collections including Princeton University, the New Orleans Museum of Art, and numerous international private collections. She was featured in a solo exhibition at the New Orleans Museum of Art in 2020.

IMAGE: Alia Ali (Yemeni Bosnian-US, b. 1985), Atomic Flower, FLUX series, 2019, archival pigment print, mounted, UV laminated, ed. 5/5 + 2 AP, LSUMOA 2022.1

Art Talk Spring 2022

IMAGE: Fabiola Jean-Louis (Haitian-American, b. 1978), Conquistador, 2016, archival pigment print on hot press bright paper, ed. 8/10, LSUMOA 2022.2

Fabiola Jean-Louis is a native of Port-AuPrince, Haiti, but was raised in Brooklyn, New York. She is a conceptual artist who creates in several mediums including paper sculptures, photography, paper textiles, installation, and painting. Central themes of Jean-Louis' work are Afrofuturism, science/science-fiction, pre and post-industrial eras, elves, fairies, history, and folklore. Conquistador is from JeanLouis’ Rewriting History series, which consists of period paper gowns and models who are photographed in the traditional colonial portrait style. Each portrait includes a woman of color as the subject dressed in Baroque luxury, but Jean-Louis revises the narrative by including references that remind the viewer of a lineage of violence, forcing the acknowledgment of this heritage and their powerful roles in the present.

Jean-Louis' work has expanded to new mediums such as short films, pottery, large scale installations, and a new photographic series entitled Atonement. Her work has also been featured in the New York Times, Architectural Digest, Vogue, Elle Décor, Huffington Post, the Chicago Tribune, Modern Luxury, and many others. The Metropolitan Museum of Art commissioned a sculpture by Jean-Louis for a two-year exhibition, Before Yesterday We Could Fly: An Afro-Futurism Period Room.

NOW ON VIEW IMAGE: (left) Jennifer Odem (American, b. 1961), Earth Mound, 2006, plaster, soil, brass pressure valve, Gift of the Artist, L2021.13.1; (right) Salt Mound, 2005, plaster, marble dust, brass zipper, Gift of the Artist, L2021.13.2

Now on view at LSU MOA in the Art in Louisiana: Views into the Collection landscape gallery is another recent acquisition by New Orleans-based artist Jennifer Odem. Odem’s mounds evoke the natural in their shape and material. Earth Mound’s surface consists of red clay from Southern Georgia. The marble dust of Salt Mound represents Louisiana’s natural salt mines. They resemble and represent minerals hidden deep within the earth. However, the addition of domestic materials–a pressure valve and zipper, respectively– and the mounds’ human scale also invites the viewer to reflect on human relationships to the environment. The valve and zipper indicate something buried inside and provoke thoughts on interiority.

www.lsumoa.org

LSU MOA PROGRAMS MARK YOUR CALENDARS

free first sunday / State of the Art tour TOUR THE EXHIBITION STATE OF THE ART: RECORD ⊲ April 3, 2022 at 2 P.M. Join LSU MOA in the galleries during Free First Sunday to tour and learn more about the works and artists featured in State of the Art: Record with LSU MOA Curatorial Fellow, Clarke Brown. IMAGE: Carla Edwards, Bonfire, 2017, American flags, bleach, nylon dye, 124 × 112 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.20

gallery talk / Eugene Martin: The Creative Act LEARN MORE ABOUT THE ARTIST AND THE EXHIBITION ⊲ April 8, 2022 at 6:00 P.M. Join LSU MOA in the galleries to learn more about Eugene Martin's creative process and works featured during this free gallery talk with LSU MOA Registrar and Curator of The Creative Act, Olivia Peltier. Attend to receive a coupon to Capital City Grill to enjoy during this evening.

IMAGE: Eugene James Martin, Untitled, 1998, mixed media on board, Gift of Suzanne Fredericq in Memory of Eugene Martin, LSUMOA 2008.10.20.

Art Talk Spring 2022

spend your week with @lsumoa FACEBOOK | INSTAGRAM | YOUTUBE | ONLINE

call for submissions / zine project SUBMIT YOUR INTERPRETATION OF RECORD ⊲ open call closes May 1, 2022 Visit State of the Art: Record at LSU MOA and take in the way each artist creates, responds, or reflects on a record or the idea of one. Use these questions as a starting point: What does it mean to record? What constitutes a record? Who creates the record and can a record be changed? Respond to these ideas or create your own record in any form you desire. Poetry, painting, photography, collage–anything is fair game. Responses will be compiled into a zine to be released before the exhibition closes. Submit images or texts online at www.lsumoa.org or mail original work to the museum.

IMAGE: Paul Stephen Benjamin, Summer Breeze, 2018, video installation, dimensions variable, Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2021.1

art, jazz, & pizzazz / art installation VIEW EBRPS STUDENT ARTWORK ⊲ May 1, 2022 from 1–5 P.M. Presented by EBRP Fine Arts Department and Magnet Programs, LSU MOA will be displaying EBRP student artwork during their Art, Jazz, and Pizzazz Art Walk in the Young Artists Gallery. View this artwork during LSU MOA's May Free First Sunday.

Thank you to the following sponsors of Free First Sundays and Free Friday Nights: Louisiana Lottery Corporation and IBERIABANK, a division of First Horizon, for sponsoring free admission and Louisiana CAT for sponsoring programming. www.lsumoa.org

EDUCATION

INSPIRED TO CREATE

When you visit LSU MOA exhibitions, look closely and think about the art you see. Do certain works speak to you and inspire you to create at home? Below is a sneak peek of a few museum resources and activities from LSU MOA's online educational page which enhance artistic learning and understanding. Visit online www.lsumoa.org/ed-resources and start creating today!

MAKE A RECORD: Create an Adventure / Memory Journal Be inspired by State of the Art: Record and create your own memory journal in this activity. What will you record? Maybe a favorite childhood memory or a current event or adventure you want to document...create your own record today!

MAKE A COLLAGE: Create from Within Visit Eugene Martin: The Creative Act at LSU MOA this spring. Make a collage from materials around your home and challenge yourself to create from within like the artist Eugene Martin. Dive into the creative act yourself and see what you make in this activity!

CANDICE LIN

the agnotology of tigers

object—guide

MAKE A DIAGRAM: Create Your Story Pick up a free object guide at the museum for Candice Lin: The Agnotology of Tigers to better understand the significance of the objects in illuminating forgotten histories. Read and make your own diagram about your history or memories. Which objects would you use to tell and remember your story?

LSU MOA educational programming is also sponsored by Louisiana CAT and Junior League of Baton Rouge.

Art Talk Spring 2022

FAMILY GALLERY

WHAT IS PRINTMAKING?

The latest exhibition in the Pennington Family Foundation Education Gallery, What is Printmaking?, highlights 17 pieces from the permanent collection that illustrate the variety of printmaking techniques and styles such as woodcut and woodblock, screenprinting, etching, lithography, dry point, and black electron printmaking. Printmaking is an art technique where an artist carves, cuts, or burns a design into a material like wood or metal. The artist covers the design in ink and presses it to paper or fabric. They can ink their design over and over to keep making art. With printmaking, you can create multiple and identical artworks and this exhibition highlights this unique form of art making. Look around at these artworks that use printmaking when you explore this gallery. Notice the vivid layers of the lithograph The Painter by Roy De Forest, the mixed media approach of Kathryn Hunter's Return featuring hand-cut paper birds, and the juxtaposition of the woodblock used to make the print below in Paul Arthur Dufour's Stargazer VIII. See one of the great ukiyo-e Japanese woodblock print masters, Kuniyoshi's Standing Bejin Carrying Bowl, from c. 1842 in this gallery. View these works today that display the variety of tools and methods artists use in the field of printmaking. IMAGES (top to bottom): Installation view of What is Printmaking? exhibition at LSU MOA; (detail) Kathryn Hunter, Return, 2009, four color reduction woodcut on mulberry paper, with hand-cut paper birds, Purchased with funds from the Friends of LSU Museum of Art Endowment 2010.7.2; Paul Arthur Dufour, carved woodblock and woodcut print on paper of Stargazer VIII, 1978–1980, Gift of Paul and Rita Dufour, 2001.3.22 www.lsumoa.org

DEVELOPMENT

BACOT LECTURE SERIES

LSU MOA was pleased to kick off the H. Parrott Bacot Distinguished Visiting Scholar Series with LSU School of Art / College of Art + Design art history professor Darius A. Spieth, PhD. Spieth spoke about the art of collecting glass and his personal journey in the decorative arts. Thank you to all who attended and the following program sponsors: Janet and Sanford Arst; Beth and Butler Fuller; Carol Steinmuller; Susan and Carl Blyskal; Nedra and John Hains; Janie and Chet Coles; Gresdna Doty; Linda and Robert Bowsher; Catherine and Daniel Stetson; Frances Huber and Michael Katchmer; Julie and Leonard Nachman II; Mary Pollard; and the LSU School of Art / College of Art + Design. DARIUS A. SPIETH, PHD INAUGURAL GLASS LECTURE IMAGES: Darius A. Spieth, PhD giving his inaugural lecture for the H. Parrott Bacot Distinguished Visiting Scholar Series at LSU MOA.

VINCENT DARRÉ'S COLLECTION RESPONSE ARTWORKS & LECTURE TUESDAY, APRIL 5 AT 5 PM The museum is pleased to have French interior / fashion designer and decorative arts extraordinaire, Vincent Darré visit the LSU School of Art and LSU MOA for the collections response program this year for the Bacot series. Darré is known for creating timeless spaces and whimsical works filled with extravagant creativity. As part of the Bacot series, Vincent Darré has studied selected decorative artworks from the LSU MOA permanent collection to create three response pieces. Inspired by these museum pieces, Darré added his unique vision to ceramic works produced by Matt Jones (LSU MFA Ceramics 2024) and the LSU School of Art Ceramics Department to be added to the permanent collection. These works will be revealed along with a lecture by Vincent Darré during this program at LSU MOA. 16

Art Talk Spring 2022

WELCOME NEW MEMBERS DIRECTOR'S CIRCLE SILVER Kevin and Elena Harris Gerri Hobdy

EDUCATOR Shirley and Fred Jones Margarita Ramos-Grasa

DUAL Brenda Davis and Jim McCall Lucila and Walter Smith

STUDENT Elodie Duffy

FRIEND Patricia Jones Karen Rowley

GEAUX GIVE ANNUAL FUND CAMPAIGN LSU Museum of Art’s Annual Fund is our crucial fundraising effort. One of the most exhilarating aspects of art museums is that they constantly evolve. We give communities continual access to exhibitions that celebrate the many ways art enriches life. Your gift to LSU MOA today will create an exciting future for the museum and every life we touch. It is thanks to the generosity of our donors that LSU MOA is a cultural and intellectual resource that inspires more than 20,000 adults and children every year. Please consider a gift today using the form below!



www.lsumoa.org

MOAAFC22M

LSU MUSEUM STORE

MOTHER'S DAY JEWELRY

Celebrate Mother’s Day and shop at the LSU Museum Store from May 3–8 and get 20% off one regular priced item. Also during this time period, sign up for a raffle to win a Household membership for LSU MOA and a Family membership for the Louisiana Art & Science Museum. Below are a few featured jewelry pieces from the store's wide selection of jewelry created by local artists. For more information, contact LSU Museum Store Manager, LeAnn Russo 225-389-7210 or lrusso@lsu.edu.

1 S ilver and copper stitched heart necklaces by Christy Barrett of Benchworks Originals These necklaces are made from sterling silver and reclaimed copper from a New Orleans home built in the 1800s that was destroyed by Hurricane Katrina. Each are placed on a 18" sterling chain. 2 T echno-Romantic jewelry by Thomas Mann from New Orleans Thomas Mann's unique jewelry combines industrial aesthetics and materials with evocative themes and romantic imagery. 3 C arol Cassisa's unique and handcrafted jewelry Carol's jewelry, including these bracelets, are made using a special lightweight clay. It is molded and sculpted, fired, and then hand-painted with a highly reflective gold or white metallic finish. 4 R ed Rosarita heart necklace by Christy Barrett of Benchworks Originals Rosarita is a unique material, which derives its exceptionally rich, red color from the process of gold refining. It is a unique by-product of the 1960s and 1970s gold refining processes in which Alaskan beach sand was smelted for its gold content and the slag by-product was Rosarita, which is essentially a gold-infused glass. 18

Art Talk Spring 2022

STAFF

Daniel E. Stetson, Executive Director Sarah Amacker, Communications & Marketing Specialist Clarke Brown, Curatorial Fellow LeAnn Dusang, Museum Store Manager / Visitor Services Manager / Membership Coordinator Nedra Hains, Director of Development & External Affairs Olivia Peltier, Museum Registrar Travis Pickett, Preparator

FRIENDS OF LSU MUSEUM OF ART President: Clarke J. Gernon, Jr. Vice President: Michael Avant Secretary / Treasurer: Robert Bowsher Brad M. Bourgoyne Ann Wilkinson Jeff Bell Kevin Harris Ex-Officio: Daniel E. Stetson Staff Representative: Nedra Hains

ADVISORY BOARD 2021–2022

Chair: Nancy C. Dougherty Vice Chair: Ben Jeffers Secretary / Treasurer: John Everett Immediate Past Chair: Steven Heymsfield Sanford A. “Sandy” Arst Margaret Benjamin George Bonvillain Jerry Ceppos Lake Douglas Donna Fraiche Becky Gottsegen LouAnne Greenwald Blaine Grimes Randell Henry Joyce Jackson Mary T. Joseph Yvette Marsh Stephen R. Miller Elizabeth Carpenter Noland Winifred Reilly L. Cary Saurage II Carol Steinmuller Ex-Officio: Clarke J. Gernon, Jr. Daniel E. Stetson Honorary: Mayor-President Sharon Weston Broome Lt. Governor Billy Nungesser Nadine Russell Jeffrey Fraenkel

GLASSELL GALLERY MFA THESIS EXHIBITIONS

CONTACT

Lauren Sanders Tuesday, March 22 – Tuesday, March 29

Malia Krolak 225-389-7180 kkrolak@lsu.edu

Thrasyvoulos Kalaitizidis Tuesday, April 5 – Tuesday, April 12 Paul Acevedo Gomez Tuesday, April 19 – Saturday, April 23 Alexandra Saunders Tuesday, April 26 – Tuesday, May 3

IMAGE: Paul Acevedo Gomez, No Contaban Con Mi Astucia, Lithograph MANSHIP THEATRE PRESENTS:

ce Frehley

MAY 20 | 7:30 PM

Paul Daniel "Ace" Frehley is an American musician and songwriter best known as the original lead guitarist and co-founding member of the rock band Kiss. He invented the persona of The Spaceman and played with the group from its inception in 1973 until his departure in 1982.

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FOR TICKETS: MANSHIPTHEATRE.ORG • 225-344-0334

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Supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, and the National Endowment for the Arts, a Federal agency.

LSU Museum of Art is supported in part by a grant from the Arts Council of Greater Baton Rouge, funded by the East Baton Rouge Parish Mayor-President and Metro Council. Additional support is provided by generous donors to the Annual Exhibition Fund. LSU Museum of Art is supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, in cooperation with the Louisiana State Arts Council. Funding has also been provided by the National Endowment for the Arts. Support also provided by Art Bridges.

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