Summer 2023 Art Talk

ART TALK

FROM THE INTERIM DIRECTOR

As we head into the summer we hope you make time for a visit to the LSU Museum of Art. Over the next few months, we will open three new exhibitions, each exploring representation across a variety of communities: African American Masterworks from the Paul R. Jones Museum at The University of Alabama; Reveal: Photographs by Jerry Siegel; and The Shaping of Us: Queerness in Ceramics

The Museum will be “on the road” throughout June and July with our annual Neighborhood Arts Project, visiting over twenty locations across the greater Baton Rouge region. While the LSU MOA strives to be an essential gathering space for the public, we look forward to the opportunity to visit community settings to engage with residents across the age-spectrum with hands-on, art-making activities. See a complete list of NAP dates and locations on page 14 and stop by for a fun and engaging morning break!

COVER IMAGE: Hank Willis Thomas, Who Can Say No to a Gorgeous Brunette?, 1970/2007. LightJet print. ©Hank Willis Thomas. Courtesy

To further maximize our reach and impact, the Museum is engaging in a multi-year, digital twinning project designed to create a virtual replica of both the fifth floor galleries and the Museum’s collection. This project will not only allow audiences to experience the LSU MOA outside of a physical interaction, but will also enhance the visitor experience through augmented reality and other digital initiatives. From an operational standpoint, this virtual environment will improve efficiencies in the way the Museum plans, designs, and produces exhibitions and manages the collection. The opportunity to engage in a project of this scale is due in part to the LSU MOA’s role as a University-affiliated museum. While we serve as a vital community resource for all of Baton Rouge, the Museum is an important teaching tool for the University. This relationship allows us to leverage the immense pool of intellectual capital that a research institution such as LSU provides. Throughout the year, you will notice the many collaborations we have established with our longstanding partner, the College of Art and Design, as well as new relationships we have forged with other departments, including faculty and staff in the sciences, performing arts, textiles, fashion, and other disciplines, to augment and enhance our exhibitions and programs. We are proud to be part of a University that makes such an important contribution to the state and its residents.

Looking forward to seeing you in the galleries!

Kristin Sosnowsky Interim Executive Director

of the artist and Jack Shainman Gallery, New York.

HANK WILLIS THOMAS UNBRANDED: REFLECTIONS IN BLACK BY CORPORATE AMERICA

On view until July 30, 2023

The premise of the Unbranded Series by Hank Willis Thomas is to comment on contemporary race relations and reveal concealed bigotry, prejudice, cultural stereotypes, and inequality often reinforced or disseminated through popular culture. During the artist’s “unbranding process,” Thomas copies original advertisements from Ebony and Jet magazines and strips them of product names and logos.

The 1984 print ad featured in the work Something to Believe In promoted TCB, an ethnic hair care company targeting African Americans. The TCB advertisement marketed a line of relaxer products normally used for straightening hair. Although the use of relaxers was prevalent among both African American men and women, the product was mostly utilized by women in the 1980s. Hair straightening was a way for Black Americans to assimilate into a majority white American culture. Many workplaces viewed natural ethnic hair textures and styles as unkept, deeming them unprofessional, with individuals often terminated based on their appearance. Thomas strips the advertisement of branding, forcing the viewer to focus on the person promoting the product, actor Billy Dee Williams. Williams symbolizes the socially acceptable African American man—light skinned with straightened wavy hair.

Although Ebony and Jet magazines were publications meant to promote positive representations of the African American community, and uplift individuals in terms of social status and visual depictions, this ad instead reinforces the idea of colorism, that lighter skin and straighter hair, emulating that of Caucasians, is better. By printing advertising that excluded darker skinned individuals, the magazines inadvertently promoted the message that darker skinned Black people with natural hair are not as accepted in mainstream society or African American culture. While colorism is still an ongoing issue within the Black community, contemporary media, marketing decision makers, and digital influencers have recognized the harm it does to the community. They have begun to seek out solutions and recognize the need to include individuals with a variety of skin tones and natural hair textures and styles in visual representation.

IMAGE (above): Hank Willis Thomas, Something to Believe In, 1984/2007. LightJet Print. ©Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York.

Original 1984 TCB ad (shown here for educational purposes)

Thank you collectors Becky Patterson and Doug McCraw for generously loaning these artworks, and sponsors Robin Keegan and Clarke J. Gernon, Jr. for supporting this exhibition at LSU MOA.

I, TOO, AM THORNTON DIAL

ON VIEW UNTIL JULY 2, 2023 It is human nature to label objects, ideas, even people. When studying art history, one is bombarded with terms describing movements, periods, styles, and genres, many of which were established or concocted by elite critics, academics, theorists, and those considered authorities in the art world. The term folk art has generally been used as a catch-all to describe art which was not derived from an academic or fine art tradition—it is something on the fringe, outside of the accepted canon of art history, an aesthetically pleasing form or composition crafted by someone untrained. Folk art can refer to anything from an eighteenth-century cabinet built by a Quaker artisan, to a portrait painted by an unknown early-American itinerant artist, to an assemblage crafted by a contemporary Southern sculptor. This broad categorization, however, tends to devalue the art, as it reinforces the implicit assertion that art by the untrained is of lesser value than that crafted by an individual with an academic background. Even the term selftaught evokes negative connotations, as it shifts the value of a piece to the educational background of the maker, inferring that one cannot craft an object worthy enough to be categorized as fine art without the endorsement of a university or academy. It has even been suggested that the term self-taught is biased against African American artists, as it is a somewhat modern phrase often used to classify artwork created by contemporary Black Southern artists.

In the quest to establish appropriate language and categorize artists such as Thornton Dial, the term vernacular art has been identified. The term refers to art that captures the language, community, and culture of the area in which it has been created. Vernacular artists produce intensely personal, deeply expressive work, which encapsulates their ideas, values, and histories. Many of the artists in this category are Southern, growing up in poverty and segregation, removed from mainstream white society. Their artwork decorated their yards and homes, serving as intimate reflections of their need to create and speak their inner truths.

I, Too, Am Thornton Dial features an expansive body of work by Dial including sculptural constructions made of found objects and masterful drawings and paintings. LSU MOA thanks lenders: Doug McCraw, Robert S. Taubman, Brett and Lester Levy, Jr., Jerry Siegel, the Estate of William Sidney Arnett, Salomia and Ben Jeffers, and the Dial family. Thank you to sponsors Mary T. Joseph and Nancy and Cary Dougherty, corporate sponsors Taylor Porter Law Firm and CSRS LLC, and in-kind sponsor Lamar Advertising for supporting this exhibition. Additional support is provided by the Annual Exhibition Fund donors.

IMAGES: I, Too, Am Thornton Dial Reception and Panel; Richard Dial viewing an artwork by his father, Thornton Dial.

REVEAL PHOTOGRAPHS BY JERRY SIEGEL

On view

September 1–

November 12, 2023

OPENING RECEPTION & PANEL DISCUSSION

Friday, September 1

Fifth Floor, 6 p.m. Read details on page 13

The exhibition Reveal explores identity and gender fluidity within the drag and transgender community, as seen through the lens of Alabama artist Jerry Siegel. The intimate images contrast the individual to their stage character through portraiture and sequential imagery. Before any photographs are taken, Siegel learns the personal and professional history of the subjects, allowing him to visually record their emotional identity through classically-lit and framed compositions. The photographer fearlessly captures their personas. He doesn’t shy away from detailed depictions of bodies representing all shapes, sizes, genders, and colors, exemplifying the idea that there is not one standard definition of beauty—it can be found in everyone.

Siegel was born and raised in Selma, Alabama, and graduated from the Art Institute of Atlanta. Initially the team photographer for the Atlanta Hawks in the 1980s, he quickly established himself as one of the South’s leading artists. His first monograph, FACING SOUTH, Portraits of Southern Artists, was published by the University of Alabama Press in 2011. His second book, Black Belt Color, documents the unique, cultural landscape of the South, concentrating on the Black Belt region of Alabama. The series has gained national recognition by exposing the beauty and culture of an easily overlooked area of the deep South. His work is in numerous public, private, and corporate collections.

Aligning with LSU’s Roadmap to Diversity, the University’s 2020 strategic plan to accomplish diversity, equity, accessibility, and inclusion (DEAI), the Museum has developed unique collaborative programming in consultation with LSU Residential Life, the LSU LGBTQ+ Faculty and Staff Caucus, and Baton Rouge Pride. See pages 12–13 for more information.

IMAGE (above): Jerry Siegel, Qween Farrazz (detail), 2018. Archival inkjet print on paper. Courtesy of the artist.

This exhibition is funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and the Louisiana Division of the Arts.

THE SHAPING OF US QUEERNESS IN CERAMICS

ON VIEW AUGUST 3–OCTOBER 22, 2023 Curated in partnership with Andy Shaw, Associate Professor of Ceramics at LSU, The Shaping of Us explores personal and sexual identity, societal pressures, and issues affecting the LGBTQ+ community as related through the perspective of two diverse artists, Joseph Kraft and Heather Mae Erickson. The exhibition was inspired by the idea of using ceramics as a catalyst for dialogue, a means to raise awareness, and an opportunity to draw disparate communities together. Erickson and Kraft each bring their own unique histories and perspectives to the project, with the resulting artworks representing two very personal stories and responses to how their respective identities drive their artistic research, production, and aesthetic.

In preparation for the show, Kraft and Erickson were tasked with creating new and unique work, with each allotted approximately twenty-eight linear feet in the gallery. While they were directed to respond artistically to the societal and personal pressures associated with their gender identity, incorporating ceramics as their main media was the only defined restriction. The finished works represent a personal journey and give viewers an intimate look into the values, philosophies, and histories that represent them as individuals.

Kraft lives and works in Chicago, Illinois. While his artistic practice is rooted in clay, he has expanded his use of media to include drawing and printmaking as complementary vistas for his ceramic illustrations. He masterfully translates two-dimensional lines into threedimensions utilizing an extrusion technique. Paired with brightly-colored block prints of male figures undertaking daily activities, the tableaux relay a sense of whimsy, action, and delicate intimacy.

Erickson, Assistant Professor and Ceramics Area Coordinator for Western Carolina University in North Carolina, and Kraft’s former professor at Alfred University, focuses her research and artistic production on studio art practice, with emphasis on reaching audiences beyond her workspace and community. To this end, she conceives methods for story-sharing and reflection by empowering students to develop projects that benefit others, a practice she boldly achieves through her own artwork. Erickson is the founder of Pride Pots: Community Conversations, (artworks pictured top) a communitybuilding art experience centered around hard conversations on LGBTQ+ issues and controversies.

Joseph Kraft, I Smile When You Smile, 2023. Ceramic extruded drawing. Courtesy of the artist.

AFRICAN AMERICAN MASTER WORKS FROM THE PAUL R. JONES MUSEUM AT THE UNIVERSITY OF ALABAMA

On view August 3–December 3, 2023

OPENING RECEPTION & PERFORMANCE

Thursday, August 3 Fifth Floor, 6 p.m. Celebrate the opening of the exhibition with a performance of Nina Simone classics by Chloé Marie. Reception follows.

The LSU Museum of Art is pleased to present African American Masterworks from the Paul R. Jones Museum at The University of Alabama, from August 3–December 3, 2023.

Paul Raymond Jones came from humble beginnings. Born in 1928 in the Muscoda Mining Camp of the Tennessee Coal, Iron, and Railroad Company (T.C.I.) of the U.S. Steel Corporation in Bessemer, Alabama, his parents instilled in him the value and importance of education. He completed a bachelor’s degree from Howard University in Washington, D.C., with the intention of attending the School of Law at The University of Alabama in 1949. However, his aspirations were stifled, as African Americans were prohibited from attending the University until the federal courts ordered desegregation in 1963. Jones instead earned a master’s degree in urban studies from Governor’s State College in Illinois in 1974, and worked with the federal government for fifteen years.

Motivated by the lack of Black representation in American museums, Jones began collecting art in the 1960s, initially focusing on twentieth century printmaking. His collecting evolved throughout the years, with him amassing one of the largest private holdings of African American art in the country. Jones was deeply committed to art, believing it to be a powerful tool that could build resilient communities, strengthen individuals, and encourage positive communication. Hoping his collection would inspire and educate others, Jones donated over 2,000 artworks to The University of Alabama in 2008. The University that had once denied his entry based on his race, was now home to an impressive collection of art by some of the country’s leading African American artists, including Jacob Lawrence, Sam Gilliam, Emma Amos, and Romare Bearden.

Throughout his lifetime, Jones received numerous awards and recognitions, including the first Martin Luther King, Jr. Center for Nonviolent Social Change Outstanding Community Service Award, the James Van Der Zee Award for Lifetime Achievements in the Arts, and an honorary Doctorate of Laws from The University of Alabama. He passed in 2010.

IMAGE (above): Jacob Lawrence Studio, 1994 Lithograph (13/50), The Paul R. Jones Collection of American Art at The University of Alabama, ©2023 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.

COLLECTIONS ACQUISITIONS UPDATE

The LSU MOA collection is growing!

Dieu Donné, a New York city artists’ workspace and gallery dedicated to the creation, exhibition, and preservation of contemporary art utilizing handmade paper, collaborates with artists to produce one-of-a-kind works. Founded in 1976, the nonprofit introduces artists and the public to the art of papermaking, fostering experimentation and exploration of the craft. As part of their public outreach, Dieu Donné generously gifted the Museum nineteen works by a variety of artists, each representing a unique integration of pulp with found materials, dyes, inks, or paint. The new pieces will form the basis of an exhibition focusing on the art of handmade paper premiering in late 2025.

Pioneering American aviator, professor, curator, and photographer Anne Noggle dedicated her life to overcoming the restraints and prejudices placed on women during the twentieth century. Born in 1922, she trained as a WASP, a member of the Women Air Force Service Pilots, flying missions throughout World War II. Decades later she served in the Air Force during the Korean War, retiring as a Captain in 1959. Noggle then shifted her attention to photography, mainly focusing on female subject matter. She was fascinated with mature beauty, stating, “I like older faces, not because of the aging itself, but rather the look of the face, the revelation of life, and the conflict between what was and what they are now.”

“I like older faces, not because of the aging itself, but rather the look of the face, the revelation of life, and the conflict between what was and what they are now.”

The LSU MOA received forty-nine original silver gelatin prints, crafted by the artist herself, from the recently shuttered Anne Noggle Foundation in Florida. The photographs include many of Noggle’s delicate and revealing portraits of women and document the intimate relationships she maintained throughout the latter part of her life. The artist passed away in 2005.

J. Fiber, Forced Entry, 2009. Stenciled linen pulp paint on cotton base sheet with screen print. Courtesy of Dieu Donné, New York.

–Anne Noggle

Anne Noggle, Myself as a Pilot, 1982. Silver gelatin print. Courtesy of the Anne Noggle Foundation.

LSU PARTNERSHIPS DIGITAL TWIN & 3D SCANS

As museums swiftly closed their doors during the COVID-19 lockdown, many realized they were ill-equipped to continue their core mission of serving communities. The pandemic abruptly revealed the lack of quality digital programming, poor staff training, and outdated technologies and equipment. While some museums, particularly larger institutions with the budgets to support in-house technology departments, quickly shifted to digital platforms, others struggled to develop content and secure funding.

Three years on, as museums continue to recover from the pandemic, institutions across the country are experiencing an increased demand for digital content and programming from their core audiences. Acknowledging this need, Chief Curator Michelle Schulte has partnered with Jason Jamerson, LSU Assistant Professor of Virtual Production and Immersive Media, on a digital twin project. Over the next eighteen months Jamerson will lead a team of LSU students and MOA staff through the process of creating a digital twin of the museum, and produce three-dimensional scans of permanent collection objects and a series of experiences using augmented reality. These digital resources will be accompanied by research, interpretation, and educational programming. The twin will serve two purposes; a front-of-house experience to be utilized by museum guests, school groups, and those who cannot physically visit the LSU MOA via our website and in-gallery screens, and a back-of-house experience to be used by museum staff to organize collections, design exhibitions, and archive objects and research.

To initiate the project, graduate students from LSU’s Digital Media Arts and Engineering (DMAE) program, Katherine Wilson and Meredyth Yorek (pictured left), created threedimensional scans by photographing multiple angles of Dial's sculptural constructions and assemblages in the exhibition I, Too, Am Thornton Dial. The files serve as prototypes for future photogrammetry projects of collection objects, that will be integrated into the digital twin. The scans are accessible on lsumoa.org and iPads in the galleries, allowing visitors to closely examine pieces without physically touching the art.

SCAN QR CODE TO SEE THE 3D SCANS OF THORNTON DIAL'S ARTWORKS.

STAFF

CLARKE BROWN

We are saddened to announce the departure of the LSU MOA’s first Curatorial Fellow, Clarke Brown. Brown made significant contributions during her tenure. She began at the Museum in July 2020, initially tasked with researching methods to increase diversity within the museum’s permanent collection and assisting the curatorial team. Over the following two years, the position grew, with Brown playing an integral role in exhibitions and programming, seeing her independently curate three exhibitions featuring underrepresented artists, and leading numerous educational initiatives. She helped organize our collection database, actively participated in the Collections Committee, and provided acquisition recommendations. We cannot thank Brown enough for her hard work and commitment to the Museum, the University, and the Baton Rouge community.

The Museum’s premiere fellowship was made possible by a generous gift from Winifred and Kevin P. Reilly, as part of the Winifred and Kevin P. Reilly Initiative for Underrepresented Artists. Founded in 2020, the Initiative not only provided the critical resources to fund Brown’s fellowship, but also allowed the LSU MOA to considerably expand its holdings of artwork by historically overlooked populations, particularly African American and Latinx artists. Thanks to the donation, the Museum has acquired pieces by numerous pivotal American artists including Sonya Clarke, Radcliffe Bailey, and renowned Gee’s Bend quilter, Mary Lee Bendolph. Winifred Reilly shared her larger vision for the project in 2022, stating, “Kevin and I developed this initiative with the museum staff to support structural change at LSU MOA by fostering greater inclusivity. We hope this gift will encourage others to join us now and in future gifting to support LSU MOA’s commitment to becoming a place where everyone sees themselves, their culture, and their values represented.”

The Reilly’s altruism was acknowledged by the Louisiana Association of Museums, with the presentation of the 2022 Elizabeth McLundie Bolton Award, which recognizes individuals outside of the museum profession for their extraordinary achievement in service and outstanding support of Louisiana museums.

Support diversity initiatives at LSU MOA.

Contact Deputy Director Nedra Hains at 225-389-7212 or email nhains1@lsu.edu.

(left) Dr. Gheni Platenburg, Assistant Professor of Journalism, at the Auburn University School of Communication and Journalism, Clarke Brown, and Nancy Hampton, Interim Library Director at Xavier University of Louisiana discuss Unbranded (right) Clarke Brown and Winifred Reilly

LSU MOA PROGRAMS MARK YOUR CALENDARS

LIMITED SPACE BUY

JUNE

LIMITED SPACE BUY

01 TODDLER THURSDAY: ALL ABOUT PRINTS

Fifth floor, 10 a.m. / Fee applies Learn about prints and make your own monotype. Designed for kids five and under accompanied by a caregiver; members, free; nonmembers, $5 per child, caregivers free.

04 FREE FIRST SUNDAY: THORNTON DIAL

Fifth floor, 1–5 p.m. / FREE Learn about Thornton Dial and his love of fishing, then create an inspired paper fish.

DINNER FIREWORKS MUSIC

DINNER FIREWORKS MUSIC

TUESDAY, july 4 • 7–10 pm

TUESDAY, july 4 • 7–10 pm

CELEBRATE & SUPPORT ART FOOD

CELEBRATE & SUPPORT ART FOOD

06 ART AT LUNCH: ART AND APPROPRIATION

Third floor, 12 p.m. / FREE

Enjoy a talk with Liz Lessner, artist and Instructor of Art at LSU, and discover the artistic history of appropriation and how Hank Willis Thomas employs the technique in his works in Unbranded. Bring a lunch—we’ll supply water and sodas.

15 JUNETEENTH PANEL

Fifth floor, 5 p.m. / FREE Panel discussion with community leaders in partnership with Alpha Phi Alpha Fraternity, Inc.

6TH FLOOR SHAW CENTER FOR THE ARTS downtown baton rouge, la

6TH FLOOR SHAW CENTER FOR THE ARTS downtown baton rouge, la

JULY

02 FREE FIRST SUNDAY: STARS & STRIPES

Fifth floor, 1–5 p.m. / FREE Enjoy patriotic crafts in the galleries.

04 FOURTH OF JULY FUNDRAISER

Sixth floor, 7–10 p.m. / Fee applies Buy tickets at lsumoa.org to enjoy fireworks, food, and music. Proceeds support LSU MOA. Tickets required / final sale / rain or shine event.

06 TODDLER THURSDAY: QUILT DESIGN

Fifth floor, 10 a.m. / Fee applies

Learn about quilts and make your own design. Designed for kids five and under accompanied by a caregiver; members, free; nonmembers, $5 per child, caregivers free.

25 ART AT LUNCH: ARTS & COMMUNITY

Third floor, 12 p.m. / FREE

Hear about the Baton Rouge Arts and Community featuring Luke St. John McKnight, Chief Operations Officer for the Arts Council of Greater Baton Rouge. Bring a lunch—we’ll supply water and sodas.

AUGUST

03 TODDLER THURSDAY: BACK TO SCHOOL

Fifth floor, 10 a.m. / Fee applies

Get ready for school by crafting a paper school bus. Designed for kids five and under accompanied by a caregiver; members, free; nonmembers, $5 per child, caregivers free.

03 OPENING RECEPTION & PERFORMANCE

Fifth floor, 6 p.m. / FREE

Celebrate the opening of African American Masterworks from the Paul R. Jones Museum at The University of Alabama with a performance of Nina Simone classics by Chloé Marie.

Reception follows.

06 FREE FIRST SUNDAY: CREATE A MASTERPIECE

Fifth floor, 1–5 p.m. / FREE

View the new exhibition African American Masterworks, create your own masterpiece, and take home an art kit (one per child under 12).

22 ART AT LUNCH: CROWNS

Third floor, 12 p.m. / FREE

Crowns: The Impact and Significance of Hats in African American Culture, presented by Brandon V. Lewis, LSU MOA educator. Bring a lunch—we’ll supply the water and sodas.

29 BACOT LECTURE SERIES: DR. LAUREN CROSS

Fifth floor, 6 p.m. / FREE Dr. Lauren Cross, the Gail-Oxford Associate Curator of American Decorative Arts, speaks on reclaiming African American Traditions in the Decorative Arts.

SEPTEMBER

01 OPENING RECEPTION & PANEL DISCUSSION

Fifth floor, 6 p.m. / FREE Exhibition opening for Reveal and The Shaping of Us. Join community leaders for the panel discussion Gender Identity and Social Constructs. Reception to follow panel discussion.

work from Pride Pots: Community Conversations

Thank you to the following sponsors of Free First Sundays and Free Friday Nights: Louisiana Lottery Corporation for sponsoring free admission. Thank you to LSU Auxiliary Services for providing water and sodas at all LSU MOA programs.

EDUCATION

NEIGHBORHOOD ARTS PROJECT

SUMMER 2023 SCHEDULE

EACH SITE: 10 AM–12 PM

100 Black Men of Metro Baton Rouge Center

June 6

Village Resource Center

June 15, June 20, June 29

Hartley/Vey Park at Gardere

June 8, June 21, July 6

Shiloh Baptist Church

June 9

New Hope Baptist Church

June 7, June 13

Mt. Gillion Baptist Church

June 14

Delmont Gardens Branch Library

June 16

Mt. Pilgrim Baptist Church

June 19

Xi Nu Lambda Alpha Phi Alpha House

June 21

My Faith Thrift Store

June 23, June 28

Baker High School

June 27, June 29

Pearl George Community Center

June 30, July 7

Thank you for your support!

Mayor-President Sharon Weston Broome and CareSouth Medical & Dental

Presented in partnership with various city organizations, including churches, community centers, BREC, and the East Baton Rouge Library System, the Neighborhood Arts Project provides a variety of art-making lessons based on current exhibits at LSU MOA, with an emphasis on artists representing diverse backgrounds. The activities are designed and led by museum educator Brandon V. Lewis, alongside three trained assistant instructors and LSU students, one of whom is fluent in Spanish. Sites are selected in historically underserved areas of the Parish, pinpointing individuals who traditionally receive little or no arts programming or access to free summer activities.

Scotlandville High School

July 11

EBRP Main Branch Library

July 12

River Center Library

July 13

Eden Park Branch Library

July 14

Greenwell Springs Road Regional Branch

July 18

Baker Branch Library

July 19

Mt. Bethel Baptist Church

July 20

Gus Young BREC Center

July 21

For more info visit, www.lsumoa.org/nap

ADDITIONAL UPDATES

BREC's Sunshine Interactive Club The LSU MOA is excited about its continued partnership with BREC. Our friends from BREC’s Sunshine Interactive Program and Sunshine Club graced our community gallery walls with outstanding pieces of art, which will be on view through the end of June. The Sunshine programs provide daily support, a safe environment, and social and creative activities to adults with a variety of special needs and challenges, a segment of the population often overlooked by most organizations. We look forward to expanding our services with them over the next few months.

Juneteenth Programming While the Emancipation Proclamation was established in 1863, it was not implemented in areas still under Confederate control. As a result, in the Western Confederate state of Texas, enslaved people were not freed until June 19, 1865, when over 2,000 Union troops arrived in Galveston Bay. Army leadership announced an executive decree, liberating more than 250,000 Black people from decades of enslavement. This day came to be known as Juneteenth.

The LSU MOA is committed to celebrating all parts of our country’s history. In honor of Juneteenth, the Museum is partnering with the Beta Iota Lambda and Xi Nu Lambda Chapters of Alpha Phi Alpha Fraternity Inc., the oldest African American fraternity, to host an engaging panel discussion that will unpack the post-emancipation triumphs of Black Americans. Please join us Thursday, June 15 at 5 p.m., for a pre-reception, with the program to follow. The LSU MOA is also hosting an activity table during the City of Donaldsonville’s Juneteenth Music Festival on Saturday, June 17 at Louisiana Square.

IS

WHAT WE ARE. take part in art

DEVELOPMENT SUSTAINER'S CIRCLE

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 monthly gift to the NEW SUSTAINER'S CIRCLE of the LSU Museum of Art will create an exciting future for the museum and every life we reach. It is thanks to the generosity of our donors that the LSU Museum of Art is a cultural and intellectual resource that inspires more than 20,000 adults and children every year. By becoming a recurring monthly donor and joining the LSU Museum of Art's Sustainer’s Circle, you’ll truly be “sustaining” the museum with stable funding that allows us to plan activities over the long term. The benefits to you, as a sustaining giver to the museum, are many...

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 monthly gift to the NEW SUSTAINER'S CIRCLE of the LSU Museum of Art today will create an exciting future for the museum and every life we reach. It is thanks to the generosity of our donors that the LSU Museum of Art can be a cultural and intellectual resource that inspires more than 20,000 adults and children every year

By becoming a recurring monthly donor and joining the LSU Museum of Art's Sustainer’s Circle, you’ll truly be “sustaining” the museum with stable funding that allows us to plan its activities over the long term. The benefits to you, as a sustaining giver to the museum, are many, such as…

⊲ It simplifies the process of financially supporting the museum: You only have to complete your donation form once, and we’ll take care of it from there!

• It simplifies the process of financially supporting the museum: You only have to complete your donation form once, and we’ll take care of it from there!

⊲ You can make a greater impact on the museum by making your donation fit within your monthly budget.

• You can make a greater impact on the museum by making your donation fit within your monthly budget.

⊲ You’ll receive Invitations to VIP Sustainer’s Circle special events along with regular communication about exhibitions and events throughout the year.

• You’ll receive Invitations to VIP Sustainer’s Circle special events along with regular communication about exhibitions and events throughout the year.

As Baton Rouge’s only dedicated art museum featuring local, regional, and international exhibitions alongside our permanent collection, we count on community support. The LSU Museum of Art is proud to be home to a range of cultural treasures, from a world-class collection of Chinese jade to one of the most comprehensive public collections of Louisiana art. Donor support allows us to conserve these priceless works, acquire new pieces, enhance the museum experience for visitors of all ages, and partner with local artists and LSU faculty and students. Your gifts also fund growth in our outreach programs, which bridge resource gaps for local schools and benefit families throughout the metro area. Thank you for investing in the LSU Museum of Art. We are proud to be a vital cultural and educational resource for the greater Baton Rouge community.

Gratefully,

Nedra D. Hains Deputy Director

Carol Steinmuller

Carol Steinmuller Chair, Development Committee, LSU Museum of Art Advisory Board

As Baton Rouge’s only dedicated art museum featuring local, regional, and international exhibitions alongside our permanent collection, we rely on community support. The LSU Museum of Art is proud to be home to a range of cultural treasures, from a worldclass collection of Chinese jade, to one of the most comprehensive public collections of Louisiana art. Donor support allows us to conserve these priceless works, offer free educational programming, enhance the museum experience for visitors of all ages, and partner with local artists and LSU faculty and students. Your gifts also fund our outreach programs, which bridge resource gaps for local schools and benefit families throughout the metro area. Thank you for investing in the LSU Museum of Art. We are proud to be a vital cultural and educational resource for the greater Baton Rouge community.

THANK YOU FOR GIVING MONTHLY IN 2023!

1. CHOOSE YOUR GIFT Sustainer's Circle:

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The LSU Foundation will charge your card until informed otherwise

I would prefer to give a one-time gift:

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2. CHOOSE YOUR AREA(S) TO SUPPORT Museum of Art Development Fund (MAB35) Director's Excellence Support Fund (DIR35)

Other: _______________________________________

We will apply your gift equally among the funds you choose.

4.PLEASE RETURN FORM

LSU Museum of Art Sustainer's Circle 100 Lafayette Street Baton Rouge, LA 70801

Questions? please contact Nedra Hains at nhains1@lsu.edu • 225-389-7212

• 225-389-7212

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Spring 2023

SUMMER MEMBERSHIP DRIVE

JUNE 19–

31

SPEND

THE SUMMER IN THE GALLERIES AS A MEMBER!

⊲ Unlimited free admission

⊲ 10% discount on most merchandise purchased in the Museum Store

⊲ 15% discount at Capital City Grill and Stroubes Seafood & Steaks

⊲ 10% discount at Tsunami

⊲ LSU MOA's Art Talk mailed to your home quarterly

⊲ Invitations to member receptions and annual meetings

⊲ Discounts on programs and special events

⊲ LSU MOA Members at the Sustainer Level and above receive a 20% rentals discount (space fee only)

⊲ Reciprocal membership privileges at more than 700 museums with the North American Reciprocal Museum Program (NARM) for Household Level and above

⊲ Join online: www.lsumoa.org/membership or scan QR code

WELCOME NEW & RETURNING MEMBERS

HOUSEHOLD

Ashley Vucci

FRIEND

Kelly Elrod

Laura Larsen

Shirley Wright

DUAL

Dr. John Bardes

Monique Bassey

Yolanda & Jimmy Dixon

Ferin Jones

Therese Knowles

Dr. Darius Spieth

LSU MUSEUM STORE

JENN GRAPHIA

The LSU Museum Store prides itself on showcasing local Louisiana artists, like Jenn Graphia. Graphia is a self-taught artist whose passion for making jewelry started at the beginning of the COVID-19 pandemic. Her jewelry making began as a hobby, mainly for her kids to have something to do during lockdown. Graphia takes apart antique jewelry and crafts it into unique bracelets, necklaces, and earrings. She incorporates leather and beads into her pieces making distinctive and affordable works.

Please stop by the LSU Museum Store, located on the first floor of the Shaw Center, after your visit to the LSU Museum of Art. Our hours of operation are Tuesday through Friday 10 a.m. to 8 p.m., Saturday 10 a.m. to 5 p.m., and Sunday 1 p.m. to 5 p.m.

I, TOO, AM THORNTON DIAL MERCHANDISE

Now in the LSU Museum Store!

Purchase a magnet featuring Dial's artwork created by the Wiregrass Museum of Art, a Struggling Tiger enamel pin, or a catalogue while supplies last.

Image by the Wiregrass Museum of Art.

STAFF

Kristin Sosnowsky, Interim Executive Director

Sarah Amacker, Communications & Marketing Specialist

Clarke Brown, Curatorial Fellow

LeAnn Dusang, Museum Store Manager / Visitor Services Manager / Membership Coordinator

Nedra Hains, Deputy Director

Brandon Lewis, Educator & Public Programs Manager

Marianna Luquette, Registrar

Sandy Parfait, Business Manager

Travis Pickett, Preparator

Michelle Schulte, Chief Curator & Director of Public Programs

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

Staff Representative: Nedra Hains

ADVISORY BOARD 2022–2023

Chair: Nancy C. Dougherty

Vice Chair: Ben Jeffers

Secretary / Treasurer: Stephen R. Miller

Immediate Past Chair: Steven Heymsfield

Sanford A. “Sandy” Arst

Margaret Benjamin

Dan Bergeron

Luisa Cantillo

Lake Douglas

Becky Gottsegen

Blaine Grimes

Randell Henry

Gerri Hobdy

Joyce Jackson

Mary T. Joseph

Yvette Marsh

Elizabeth Carpenter Noland

Winifred Reilly

L. Cary Saurage II

Carol Steinmuller

Thrasyvoulos I Kalaitizidis

Ex-Officio: Clarke J. Gernon, Jr.

Ex-Officio: Kristin Sosnowsky

Office of the Lt. Governor Representative:

Susannah Bing Johannsen

Honorary: Lt. Governor Billy Nungesser

Jeffrey Fraenkel

100 Lafayette Street, Fifth Floor Baton Rouge, LA 70801

HOURS

Tuesday through Saturday: 10 a.m.–5 p.m.

Thursday and Friday: 10 a.m.–8 p.m.

Sunday: 1–5 p.m.

Closed Mondays and major holidays

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 MayorPresident 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. Funded in part by a grant from South Arts in partnership with the National Endowment for the Arts. Support also provided by Art Bridges. Funding for the 2023 Emergency Planning Grant has been provided by the State of Louisiana and administered by the Louisiana Endowment for the Humanities.