Winter 2021 Art Talk by LSU Museum of Art

winter 2021

ART TALK

FROM THE

DIRECTOR

Throughout the year, I am reminded often of the power of creativity and am thankful for its influence on the world around us. Artists fill our ears with music and theatre, our eyes with artworks and movies, and our lives with the designs that are all around us. Running a cultural institution, I am reminded daily that we are the caretakers for these cultural treasures, these gifts to the spirit. They soothe us, they challenge us, and they enrich us. We need to listen to these artistic voices and pay attention to these artistic visions, as we navigate this wonderful and complex world. Don’t be afraid of these challenges; embrace the opportunities to share and understand from others’ points of view. COVER IMAGE: Candice Lin, La Charada China (Tobacco Version), 2019, cement with casein paint, welded steel table frame, tobacco, ceramics, distillation system (distilling a tincture of tobacco, sugar, tea, indigo, and poppy), poppy pod putty, sugarcane, white sugar, cacao, sage, ackee, oak gall, Anadenanthera, dong quai, California clay, Dominican Republic clay, metal parts, bucket, pumps, tubing, dried indigo, glass slides, bottles, drawings, tile, rubber, wood, Courtesy of the Artist and François Ghebaly Gallery, Photography by Ian Byer-Gamber

Museums have been experiencing a redefinition as we better engage in our communities and in the broader world. Robert McCormick Adams, Secretary of the Smithsonian, said about the establishment of the National Museum of the American Indian that, “We move decisively from the older image of the museum as a temple with its superior, selfgoverning priesthood…to a forum…committed not to the promulgation of received wisdom but to the encouragement of a multicultural dialogue.” I especially like the concept of the museum as a town square, a forum for safe and complicated dialogue for the community. In our galleries, you can be engaged with works in a variety of media and many different points of view—from Candice Lin’s collaborative project with LSU School of Art students, which confronts colonialism and forgotten histories, the environment and economics, to the beauty of Newcomb pottery from the Arts & Crafts movement, to a national touring project, State of the Art 2020: Record, which asks questions of what and why we record, the meaning we ascribe to it, and how meaning changes. Explore our museum in the new year. Enjoy the galleries and revel in new discoveries. We hope a visit will spur conversations for you and your friends and family. Talking, engaging, pausing, and appreciating are important activities to take part in as we (re)make civilization every day. Thank you for your continuous support and Happy New Year to you and your families.

Daniel E. Stetson Executive Director 2

Art Talk Winter 2021

EXHIBITIONS Candice Lin Form & Fire The Boneyard State of the Art

4–5 6–7 8–9 10

COLLECTIONS 11

Recent Acquisition

Programs

CALENDAR

12–13

EDUCATION

Creating with the Community

14–15

DEVELOPMENT

COVES Visitor Experience Annual Fund Campaign New & Renewing Members

16 17

MUSEUM STORE

Shopping Guide

CANDICE LIN COLLABORATION WITH LSU SCHOOL OF ART STUDENTS (PAGE 5) "Candice Lin provided so many valuable insights into her approaches regarding materiality, process, research, and histories. I look forward to seeing how the exhibition transforms in the weeks to come." –Matt Jones (MFA Ceramics, LSU '24) www.lsumoa.org

CANDICE LIN

THE AGNOTOLOGY OF TIGERS On view until March 20, 2022

THE ARTIST Candice Lin works primarily in sculpture and installation, and currently serves as Assistant Professor of Art at UCLA. Lin is also a Prospect.5 artist with work now on view at the University of New Orleans until January 2022.

IMAGE (above): Candice Lin and visitors during the opening reception of The Agnotology of Tigers 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. Central to Lin’s project, La Charada China (pictured on the cover) features a stereotypical “coolie” 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 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. Lin’s most recent works explore how these processes intersect with LSU football’s “Chinese bandits” and cheerleaders who dressed as "coolie" laborers. This exhibition is part of an annual 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 Winter 2021

COLLABORATION LSU SCHOOL OF ART

The porcelain sculpture in the LSU MOA Portrait Gallery was created on site with LSU School of Art students Kyra Jackson, Matt Jones, Nickeyia Johnson, Cecelia Moseley, Gillian Harper, Lu Colby, Paul Acevedo Gomez, Thras Kalaitzidis, and Ali Saunders during Candice Lin’s visiting artist workshop. During this collaboration, students were challenged to recall an object broken in childhood that they had certain attachments to and an object that represented a time or moment of transformation. They discussed objects that reflected things happening within themselves and in society over the past few years. This exercise led to the creation of this sculpture featuring elements such as pandemic masks and the effects of pollution, all which will be eroded and intentionally transformed over time by the distillation system of La Charada China (Tobacco Version). In the gallery are also a selection of works from the LSU MOA permanent collection that further illuminate forgotten histories and emphasize the environments of exploitation and colonial violence.

"Working with Candice Lin while learning about her personal work and process was an amazing experience. During our workshop, we approached clay in a way that allowed the material to be more of an expressive medium with the weight of our collective thoughts and world views. I enjoyed seeing the result of my first time collaborating within a group with Candice and other artists." – Nickeyia Johnson (BFA Sculpture & Ceramics, LSU '22) www.lsumoa.org

FORM & FIRE

AMERICAN STUDIO CERAMICS FROM THE E. JOHN BULLARD COLLECTION On view until February 13, 2022

This collection of over 100 American studio ceramic works are on long-term loan and are a promised gift by bequest to the LSU Museum of Art from E. John Bullard. This collection will be studied over time by the public and students in support of LSU's top-ten ranked ceramics program. The Bullard collection is comprised of artworks by over 70 artists, including important figures in ceramics history such as Andrea and John Gill, Vivika and Otto Heino, Ken Ferguson, Wayne Higby, Roberto Lugo, Gertrud and Otto Natzler, Don Reitz, Daniel Rhodes, Richard Shaw, Charles Smith, Paul Soldner, Akio Takamori, Robert Turner, Peter Voulkos, Kurt Weiser, Marguerite Wildenhain, and more.

Curated by Daniel E. Stetson, Executive Director of LSU MOA

The Bullard collection adds significant depth to LSU MOA's ceramic holdings. The addition of these works expands the permanent collection beyond Newcomb Pottery, into studio ceramics of the 20th century, which entails important developments in scale and style. They join other works in the collection, including ones by Walter Anderson, Piero Fenci, Sin-Ying Ho, Pres Kors, Shadow May, Robert Milnes, George Ohr, W. Steve Rucker, Sharon Smith, Akio Takamori, and Michaelene Walsh. LSU MOA is pleased to share these works through a Form & Fire catalogue that is available for purchase in the LSU Museum Store. This catalogue features essays by Daniel E. Stetson (LSU MOA Executive Director), Garth Johnson (Paul Phillips and Sharon Sullivan Curator of Ceramics at Everson Museum of Art), and Rod Parker (LSU School of Art Director and Professor). It contains illustrated works from the promised collection, artist spotlights and history, collection checklist, and a glimpse into E. John Bullard's process and ceramics collecting goal.

IMAGE (above): Installation view of Form & Fire at LSU MOA

The catalogue and exhibition are generously supported by Partner Sponsors E. John Bullard, Catherine Burns Tremaine, and Becky and Warren Gottsegen; Presenting Sponsors Robert and Linda Bowsher; and Supporting Sponsors Debbie de la Houssaye and Lake Douglas, and Brian and Jacki Schneider.

Art Talk Winter 2021

RECENT ADDITIONS

EXPANDING THE COLLECTION LSU Museum of Art recently acquired additional gifts from collector E. John Bullard, expanding the museum's American studio ceramics collection. The museum is grateful for these promised gifts and the resource they will provide for students, faculty, and the public for future exhibitions at LSU MOA. Recent additions include works by master ceramists and contemporary established artists such as a reticulated basket by Sunshine Cobb, a jar by Clary Illian, a condiment tray by Betty Woodman, and works by James Makins, Guillermo Cuellar, Farraday Newsome, Andy Shaw, and Lisa Orr. Visitors can see another recent addition: Frances Senska's Covered Jar with Triple Loop Handle in Form & Fire, now on view in the galleries until February 13, 2022.

IMAGES: (1) Andy Shaw, Celadon Vase, 2012, glazed porcelain, H. 18 3/8 x D. 7 inches; (2) Frances Senska, Covered Jar with Triple Loop Handle, c. 1970, stoneware, H. 8 x D. 6 inches; (3) Sunshine Cobb, Reticulated Basket, 2021, earthenware, H. 3 1/2 x Diam. 8 inches; (4) Farraday Newsome, Persephone Box, 2009, red earthenware, H. 8 x W. 5 1/2 x D. 5 1/2 inches; (5) Clary Illian, Jar with Dogs, c. 2020, red earthenware, H. 10 x Diam. 9 inches; (6) Betty Woodman, Condiment Tray, c. 1980, porcelain, W. 7 1/2 x L. 16 1/4 x D. 3 inches; Promised Gifts of E. John Bullard

www.lsumoa.org

THE BONEYARD

THE CERAMICS TEACHING COLLECTION On view until February 13, 2022

Curated by LSU Ceramics Associate Professor Andy Shaw, LSU MOA Curator Courtney Taylor, and LSU MOA Educator Grant Benoit

Inspired by the visiting artist tradition, The Boneyard: The Ceramics Teaching Collection presents the energy and legacy of ceramics demonstrations through bisqueware. Bisque refers to the state achieved after a wet clay demo is completed and then fired once. What remains is a porous, unglazed record of the visiting artist’s creative process that can be referenced year after year by professors and students. Included in this exhibition are over 200 bisque works that provide a valued resource for LSU School of Art’s top-ten ranked ceramics program. The ever-growing collection is now displayed at LSU MOA to imitate the classroom use of the boneyard. The "boneyard" refers to bisque works and how they are stored in studio spaces for teaching and ceramics demonstrations. It's known for its unique display on high shelves in the studio, with many bisque works together, showcasing a variety of techniques, improvisation, and skill. Faculty and instructors pull bisque objects from the shelves to highlight specific techniques and attributes of form, only to return the bisque back to the shelf so they can grab another set of objects. This exhibition features rotating displays and a demonstration space that has been activated by MFA students, local artists, and visiting artists to allow museum visitors to share in the boneyard tradition—to watch clay transform and to see artist-specific techniques shared in the openness of the craft tradition. The Boneyard is a collaboration between LSU Museum of Art and LSU School of Art.

IMAGE: Installation view of The Boneyard at LSU MOA

Art Talk Winter 2021

LSU MOA thanks the generous donors to the LSU MOA Annual Exhibition Fund: 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. September 2021 Drop-In Ceramic Demos programming was part of the 2021 Ebb & Flow Festival event and was made possible in part by a grant from the Arts Council of Greater Baton Rouge, funded by the East Baton Rouge Parish Mayor-President and the Metro Council. Programming was also sponsored by Louisiana CAT.

EXPERIENCE CERAMICS COLLABORATIVE EXCHANGE

The visiting artist demonstration is a key teaching format within craft media. LSU Ceramics hosts several visiting artists each year. The results of these demonstrations, or “demos,” are in-process and finished forms retained for teaching that become the boneyard. Throughout this exhibition, LSU MOA and LSU School of Art have hosted visiting artists including Lisa Orr, Wes Brown, LSU School of Art students, and local ceramic artists where they have created and demonstrated their creative practices for the public to watch and learn. As these artists create new works, the Boneyard—LSU School of Art’s Teaching Collection—will expand.

⊲ Visiting Artist Wes Brown Wes Brown creates sculptural functional wares by mixing textured clay pieces with smooth wheel-thrown elements to make his signature teapots and vases. Brown visited LSU MOA for a weekend of ceramic demos and an artist talk and dropped by the LSU Ceramics department for studio visits and interactive learning with students.

⊲ LSU School of Art Students and Local Creators Drop-in for Demos

Artists dropped in to do live ceramic demonstrations showcasing their artistic practice and techniques for museum visitors. These works were added to the exhibition as they were created.

DROP-IN DEMOS: 1. Peter Smith 2. Amanda Proctor 3. Matthew Barton 4. Joe Nivens 5. Kyra Jackson IMAGE (above): Works by Lisa Orr, Peter Smith, and Matthew Barton in The Boneyard. www.lsumoa.org

STATE OF THE ART 2020: RECORD

ON VIEW SPRING 2022 March 10– June 19, 2022 OPENING RECEPTION Thursday, March 10 Fifth floor, 6–8 p.m. Join us in the lobby for a performance art piece by Kellie Romany (see page 12 for more details)

IMAGE: Marcel Pardo Ariza, Linda, Lee & Dorsey, Louis (1988, 2018), 2018, mounted inkjet print, ash artist frame, Twilight Blue paint, 58 × 29 in. 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 2020: 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 2020: 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 Winter 2021

COLLECTIONS

RECENT ACQUISITION LSU Museum of Art recently acquired this large-scale quilt by Mary Lee Bendolph, a quilter from Gee’s Bend, Alabama. Residents of the community are direct descendants of the enslaved people who worked its land, where Pettway Plantation once stood. Quilting in Gee’s Bend is a community practice steeped in tradition that also serves a practical purpose. Gee’s Bend quilts, and their creators, have become renowned in recent years and Bendolph is one of the foremost strip quilters associated with Gee's Bend. Bendolph rejects traditional methods of symmetry and uniformity, instead embracing abstraction through the improvisational use of geometry. Bendolph’s work is held in the collections of the Philadelphia Museum of Art; the National Gallery of Art, Washington, D.C.; the Minneapolis Institute of Art, Minnesota, the Museum of Modern Art, New York, among others. Bendolph held her first solo show in New York at the Nicelle Beauchene Gallery, entitled Peace of Mind, in 2021. This one-of-a-kind work aligns with LSU Museum of Art’s collecting purchase priorities to expand contemporary holdings by underrepresented artists as part of The Reilly Initiative.

IMAGE: Mary Lee Bendolph (American, b. 1935), Untitled (Strip Quilt), 2009, cotton, corduroy, velvet, Purchased with funds from the Reilly Initiative for Underrepresented Artists, LSUMOA 2021.10

www.lsumoa.org

LSU MOA PROGRAMS MARK YOUR CALENDARS

experience art / collaborative programs VISITING ARTIST: JESSICA BRANDL ⊲ February 7–9, 2022 February 7 / Lecture at LSU 5 P.M. in Design Auditorium Room 103 February 8–9 / Demos at LSU MOA 9–11:30 A.M. & 1–4 P.M. Watch ceramic demos in The Boneyard at LSU MOA. IMAGE (right): Jessica Brandl, Can Container, red clay and colored underglaze, 2018

EXPLORATION OF TIME, SOUND, AND SPACE WITH JEREMI EDWARDS ⊲ March 18, 2022 from 6–8 P.M. Experience art and music in a new way as you roam the galleries during this program. As part of Jeremi Edwards' dissertation (PhD Music Composition LSU '22 / pictured right), improvised music will create a listening experience similar to viewing art in a gallery space.

art voices / teaching through exhibitions "Visiting The Boneyard and the Form & Fire Bullard collection provided our students with excellent visual aids to discuss everything from the technical aspects of the ceramic making process to the nuanced language of how 3-D form and 2-D surface work together. In the galleries, there are outstanding examples of ceramic color, temperature, and surface outcomes. Examining specific pieces, we had deeper discussions about each student's own creative work and desired outcomes. Direct visual experience of a range of vessels—and evidence of the processes used to achieve them—has been a unique and invaluable teaching tool." IMAGE: Michaelene Walsh with students touring Form & Fire at LSU MOA

Art Talk Winter 2021

–Michaelene Walsh (Associate Director and Associate Professor at the LSU School of Art)

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

opening reception / State of the Art VISITING ARTIST: KELLIE ROMANY ⊲ March 10, 2022 from 6–8 P.M. Join LSU MOA in the lobby of the museum to watch a performance art piece by State of the Art 2020: Record artist Kellie Romany. The nineteenth-century anthropologist and ethnographer Felix von Luschan created a chromatic scale of 36 skin color tiles that was used to determine a person’s race in Europe and America up until the 1950s. State of the Art artist Kellie Romany stained ceramic discs with oil paint (pictured left), mimicking the varying shades of skin tones based on von Luschan’s scale. Visitors will be able to touch and inspect these discs during this exhibition at LSU MOA. IMAGE (detail): Kellie Romany, In an Effort to be Held, 2016-2019, oil on ceramic, dimensions variable, Courtesy of the artist

artist talk & making / Kellie Romany FREE FRIDAY NIGHTS AT LSU MOA ⊲ March 11, 2022 from 6–8 P.M. Learn more from State of the Art 2020: Record artist Kellie Romany during an artist talk and create a ceramic disc with the artist during this free program.

IMAGE: Kellie Romany with In an Effort to be Held (image via www.3arts.org)

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

VISITING ARTIST TINA UFFORD AT SCOTLANDVILLE MIDDLE MAGNET

LSU Museum of Art stopped by Ms. Kay Stanzel’s Ceramics II class (pictured left) at Scotlandville Middle Magnet School where students watched demonstrations by visiting artist Tina Ufford (pictured right) and then created their own ceramic works.

READING AND CREATING AT EBRP LIBRARIES

LSU Museum of Art visited multiple East Baton Rouge Parish libraries for Stories in Art. Participants read and learned about Dave the Potter by Laban Carrick Hill. This book is about enslaved potter David Drake and the poetry he wrote on the pottery he created. The participants made their own clay face jugs and poetry pots inspired by Hill and Drake. 14

Art Talk Winter 2021

EDUCATION

CREATING WITH THE COMMUNITY This fall, the LSU Museum of Art focused on creating with the community through ceramic demos, clay workshops, and interactive learning. Through these programs the Baton Rouge community was able to experience ceramics through a traveling pottery wheel in their own classrooms and libraries or in The Boneyard studio space at the museum. The Boneyard exhibition focuses on how demonstration and teaching is key to understanding ceramics. By having visiting artist Tina Ufford, and collaborating with local teachers and libraries, techniques and processes were shared with students and members of the local community. Reading and sharing stories of potters, observing artists making, and actively creating together inspired participants to explore ceramics and create their own clay works. THE BONEYARD TOURS & CLAY MUG WORKSHOPS

These programs were 2021 Ebb & Flow Festival events and made possible in part by a grant from the Arts Council of Greater Baton Rouge, funded by the East Baton Rouge Parish MayorPresident and the Metro Council. Exhibition support from LSU School of Art + Design. LSU MOA educational programming is also sponsored by Louisiana CAT and Junior League of Baton Rouge.

www.lsumoa.org

DEVELOPMENT

VISITOR EXPERIENCE & SUPPORT FOCUS ON VISITOR EXPERIENCE

COVES (Collaboration for Ongoing Visitor Experience Studies) is a program by Art Bridges designed to unite museums in systematically collecting audience-level data, with a focus on institutional and field-wide improvement. LSU MOA will be participating in this program this spring to get feedback on visitor experiences in the galleries using tablets with an on-site survey. The data collected will tell LSU MOA staff who visits, why they visit, what they see or do in the galleries, and how they feel about their overall experience at the museum. Better understanding of the visitor’s experience allows the museum to improve, using this feedback to engage our community and the public more effectively.

Read LSU MOA's 2020–2021 Annual Report Learn about LSU MOA's mission and impact, and join us in 2022 for a year of engaging exhibitions and programs. Scan the QR to read it today!

SUPPORT AN AWARD-WINNING MUSEUM This year, LSU Museum of Art was honored to win two awards as an institution in the Publication Competition of the Southeastern Museums Conference (SEMC). Your support of our exhibitions allows LSU MOA to provide an exceptional museum experience to the public. Consider donating to our Annual Fund to support future exhibitions. Make your end of the year gift before December 31, 2021 to the FY22 Annual Fund Campaign. Official kick-off is February 1, 2022. DONATE HERE www.lsumoa.org/annual-giving 16

Art Talk Winter 2021

Magazines & Newsletters BRONZE: LSU Museum of Art Art Talk Newsletter Annual Report BRONZE: LSU Museum of Art 2019–2020 Annual Report

WELCOME

NEW & RENEWING MEMBERS DIRECTOR'S CIRCLE SILVER LeuAnne and Cyrus Greco SUSTAINER Wayne Amedee Susan and Bill Galligan Charles and Patty Holley HOUSEHOLD Anne Marie and Jeff Blackmon Bobbie Zaunbrecher and Robert Cheramie DUAL William and Melissa Bell Mary Erlingson and Michael Simon

EDUCATOR Cynthia Oby Kylie LaFleur Margaret Miller Dr. Molly Quinn STUDENT Clare Appleby Janus Korevec Tyler Manning Lara Nicholson Phoebe Pellitteri Caitlyn Trosclair McKenna Williams Amelia Zetty

FRIEND Nicole Falkenheimer Allyce Trapp Mona Truluck Francis Varnado IMAGES (above): Gallery view of LSU MOA's Art in Louisiana Modern | Contemporary Gallery; Visitor looking at La Charada China (Tobacco Version) in Candice Lin: The Agnotology of Tigers; Visitors with LSU MOA Executive Director Daniel E. Stetson in Form & Fire: American Studio Ceramics from the E. John Bullard Collection galleries; Visitors listening to a gallery talk with co-curator of The Boneyard: The Ceramics Teaching Collection and LSU Ceramics Associate Professor Andy Shaw www.lsumoa.org

LSU MUSEUM STORE