Winter 2022 Art Talk

ART TALK

FROM THE INTERIM DIRECTOR

As you read this letter the year has quickly come to a close. This fall has been an exceptionally busy time at the LSU MOA, with the opening of three major exhibitions: Mediterranea: American Art from the Graham D. Williford Collection ; Pearlware, Polish, and Privilege: Art by Paul Scott; and Sculptures by Alex Podesta, and preparations for spring exhibitions underway including I, Too, Am Thornton Dial . We have completed repairs to the galleries which were damaged in the flood earlier this year, allowing us the opportunity to re-envision those spaces with objects from our permanent collection as well as new acquisitions. On that note, the Museum has been actively adding to its collection through donations from collectors and artists, as well as purchases made possible by the Winifred and Kevin P. Reilly Initiative for Underrepresented Artists. You can read more about one such acquisition, KEEPING AND EYE 333 by Luis Cruz Azaceta, on page 10.

COVER IMAGE:

William Clothier Watts, Grazing Sheep, Temple of Luxor, Egypt (detail), c. 1915, Watercolor on paper. The Jean and Graham Devoe Williford Charitable Trust.

Our talented Museum staff was recognized with a number of awards at the recent Southeastern Museums Conference including Senior Curator and Director of Programs Michelle Schulte who received the Leadership Award. We also garnered several awards in the exhibitions and publication category including an Honorable Mention for this very publication, recognizing the outstanding work of our Communications and Marketing Specialist, Sarah Amacker.

While there is much to celebrate at the Museum over the past few months we have also experienced the loss of several of our most ardent supporters, Jerry Ceppos, John Godbee, and Nadine Carter Russell. Museums and other arts organizations have thrived because of a long history of private individual support which helps to ensure that communities of every size have public access to important works of art. LSU MOA has been the beneficiary of such generosity through financial support and the investment of time and expertise by those who serve our organization in a variety of capacities. As you will read later in this issue, each of these individuals made a profound impact on LSU MOA, each in their own way. They have left their indelible mark on the institution and their loss serves as a reminder of what a privilege it is to have such dedicated and committed donors and volunteers.

I hope you all have a joyous holiday season and look forward to seeing you at the Museum!

Kristin Sosnowsky Interim Executive Director

MEDITERRANEA AMERICAN ART FROM THE GRAHAM D. WILLIFORD COLLECTION

EXHIBITION PROGRAMS

Mark your calendars to attend upcoming programs including a Grant Tour! See details on pages 12–13

IMAGE (above): George Healy, Arch of Titus (detail), c. 1868-1871. Oil on canvas. The Jean and Graham Devoe Williford Charitable Trust.

On view until February 26, 2023 Many of the artists featured in Mediterranea studied or collaborated with each other, either as students in American or European art academies or as cohorts in loosely formed groups who shared similar subject matter, theories, or techniques. Until the mid-1500s, European painters and sculptors, often considered craftsmen not dissimilar to carpenters or stonemasons, organized themselves into guilds to train and learn. The first true art academy was created in Italy in 1563, with many more following in France, England, and Germany. These artist-run organizations aspired to improve the authority of artists and provide instruction to a select few deemed worthy to study alongside established professionals. By the 17thcentury, academies were widespread throughout Europe, strictly dictating and promoting artistic style and subject matter. Academies oversaw and organized salons, group exhibitions of member works, a crucial innovation to the art world as these opportunities allowed artists to show and sell paintings outside of the sponsored patronage of royalty, wealthy families, or the church, who up to this point had supported the endeavors of most European artists.

J. Landy, Portrait of Frank Duveneck, 1877. Frank Duveneck and Elizabeth Boott Duveneck papers, 1851-1972. Archives of American Art, Smithsonian Institution.

Although American schools were founded in the early 1800s, such as the Pennsylvania Academy of the Fine Arts in Philadelphia, and the American Academy of the Fine Arts in New York, Europe remained the preeminent destination. Kentuckian Frank Duveneck was one artist who sought a continental education. Born to German immigrants in 1848, Duveneck’s artistic talent was recognized early, with his family apprenticing him as a teenager with an altar company to paint religious murals and interiors in Catholic churches across the Midwest and Canada. In 1869, Duveneck was sent to the prestigious Royal Academy in Munich, Germany, where he honed his skills to become a pivotal figure in late 19th-century American art. Taken with the diverse atmosphere and austere nature of European techniques, Duveneck established art schools in Germany and Italy, training and working alongside many of the individuals featured in Mediterranea, including Otto Henry Bacher, William Merritt Chase, Julius Rolshoven, and his future wife, Elizabeth Boott.

Mediterranea: American Art from the Graham D. Williford Collection is made possible by the generous grant and loan of artwork from The Jean and Graham Devoe Williford Charitable Trust in Fairfield, Texas. This exhibition is sponsored locally by Linda and Robert Bowsher and by Taylor Porter Attorneys at Law.

Linda and Robert Bowsher

PEARLWARE, POLISH, AND PRIVILEGE ART BY PAUL SCOTT

Paul Scott’s piece Angola 3, No. 2, focuses on the plight of three former Angola Prison inmates, Robert Hillary King, Albert Woodfox, and Herman Wallace. These African American men spent decades in solitary confinement while serving sentences at the Louisiana prison. King was in solitary for 29 years before his conviction for a 1973 prison murder was overturned on appeal; Wallace and Woodfox served more than 40 years each, the longest period of solitary confinement in American prison history. The plight of these men attracted national and international attention beginning in the early 2000s, the result of a documentary produced by National Public Radio (NPR), with Amnesty International becoming involved in 2013. Supporters mounted new challenges by appeals in court, labeling the trio the Angola Three, while families and coworkers of the victims fought to keep the men in prison.

The Angola Three continued to be the subject of documentaries, artworks, and music projects throughout the last decade. Since his re lease, King has worked as a proponent of prison reform, appearing on numerous media outlets, including CNN, BBC, and NPR. Woodfox was freed in 2016, after spending 43 years in solitary confine ment, passing away of COVID-19 in 2022. Wal lace maintained his in nocence until his death in 2013, three days after being released from Angola while awaiting retrial for the 1972 mur der of prison guard Brent Miller.

Pearlware, Polish, and Privilege: Art by Paul Scott is on view at LSU MOA until February 26, 2023. Paul Scott is the Paula G. Manship Endowed Lecture Series Visiting Artist for the LSU School of Art and LSU College of Art + Design.

UPCOMING PROGRAMS: ART WORKSHOP & ART AT LUNCH See page 13 to learn more about exhibition programming happening on Wednesday, February 15, including a workshop with local artist Therese Knowles, who will teach ceramic decal and transfer techniques and Art at Lunch with Dr. John Bardes, Assistant Professor of History at LSU, who will share a historic overview of Angola Plantation.

IMAGE: Paul Scott, Cumbrian Blue(s) New American Scenery, Angola 3, No. 2, 2019. In-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze. Courtesy of Ferrin Contemporary.

SOME BOYS, A FEW BUNNIES, AND ONE LOUSY UNICORN

SCULPTURES BY ALEX PODESTA

On view until March 26, 2023

Artist Alex Podesta has spent years perfecting his casting technique. While the faces and heads of his sculptural works are unique carvings, the hands and feet are casts of the artist’s own extremities. Podesta carefully plans his figural tableau, predetermining how a hand might hold a book, how a foot will support weight. He then uses a mold system to cast each piece with a resin mixture. The resulting sculptural elements are meticulously finished and painted to replicate skin before being attached to a wooden armature overlayed with carved foam.

THANK YOU FOR SUPPORTING THIS EXHIBITION

Leonard H. Sedlin

Visit www.lsumoa.org or the museum's YouTube channel soon to watch a video of the artist in his New Orleans studio discussing how he turns his ideas into reality. Visit this unique exhibition this winter at the LSU Museum of Art.

IMAGES: (above) Alex Podesta, The Victors, 2010. Mixed media. Courtesy of Alex Podesta; (right) Alex Podesta in his studio in New Orleans, LA; and the artist's sketches of sculptures.

ART IN LOUISIANA RE-INSTALLATION PROGRESS

Renovations have finished in the five Art in Louisiana Galleries. All traces of water damage from the summer flood are repaired and covered with a fresh coat of paint. The curatorial team is working hard to re-imagine the areas. In the coming months, watch for announcements as we re-install the galleries with collection favorites, such as artwork by sculptor Angela Gregory, printmaker Caroline Durieux, sculptor Frank Hayden, and new acquisitions, including a selection of German prints and contemporary American ceramics. Visit often, as there is sure to be something new on view!

ARTWORK (clockwise from left): Clementine Hunter, Wedding Scene, c. 1962. Oil on canvas panel. Gift of Mr. and Mrs. Lewis A. Bannon; Untitled [Picking Cotton], n.d. Oil on canvas. Transfer from LSU Libraries' Special Collections Department; Mary Goin' to the Barn, c. 1968. Oil on pasteboard.

An exciting addition to the Intro Gallery are three Clementine Hunter works, now on view from the permanent collection. Clementine Hunter, a Louisiana native, is one of America’s most renowned vernacular artists. From early childhood, Hunter worked as a laborer, picking cotton on plantation sites throughout the Cane River Valley, eventually moving to Melrose Plantation in the 1920s as a cook and housekeeper. In her late fifties Hunter executed her first artwork—a painting of a baptism rendered on an old window shade using discarded paints left by a plantation houseguest. This early experience blossomed into a lifelong artistic career, in which Hunter painted hundreds of vibrant and abstracted scenes of everyday life drawn from her spirited memories of family, the Louisiana landscape, and the local community. Celebrate Clementine Hunter at the museum on Free First Sunday on December 4! See page 12 for details.

On view until February 26, 2023

GALLERY TALK

Friday, January 27

Fifth Floor, 6 p.m. Learn more about Volterra during a conversation between Ludovico Geymonat, LSU Assistant Professor of Art History, and featured artist Kevin Benham.

Kevin Benham. Image courtesy of the artist.

IMAGE (above): Kevin Benham, Pasqua, 2022. Still from a video. Courtesy of the artist.

VOLTERRA

BY KEVIN BENHAM

Kevin Benham’s photographic series Volterra captures the ecology of mosses, lichens, and other vegetation growing on the calcareous rock formations of an ancient theater built in the Augustan Period during the first century BC. The micro-climate found in this part of Italy includes nutrients and minerals fed by a unique hydrology that allows certain types of fungi and plants to flourish on the structure, coating the Etruscan ruins with a tapestry of colors and textures.

On view alongside Benham’s photographs is a short film entitled Pasqua. Drawing inspiration from the early documentaries by the Italian imaginative realist film director Vittorio de Seta, Pasqua explores a contemporary view of the Transhumanza, an Italian term meaning transhumance, the traditional bi-yearly migration of sheep or cows from the highlands to the lowlands and back. Captured entirely during Holy Week in the Molise region of Italy, the film incorporates the tempo and rhythm of the day to record the relationship between the upland meadow and the herds of sheep, creating an intimate view of the remote agrarian landscape.

Benham is the recipient of the 2020-21 Prince Charitable Trusts/ Kate Lancaster Brewster Rome Prize, and the Jon Emerson/Wayne Womack Design Professorship at the Robert Reich School of Landscape Architecture at Louisiana State University. He received a master of landscape architecture from the Graduate School of Design at Harvard University, and a master of architecture at the Taubman College of Architecture and Urban Planning at The University of Michigan. Benham has taught interdisciplinary studios at several academic institutions, including The University of Michigan, Louisiana State University, and Wentworth Institute of Technology. His research and work focus on landscape phenomena and the temporal qualities inherent in the discipline. To that end, Benham produces transient and ephemeral installations that reveal phenomena that require careful observation through space and time.

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; Becky and Warren Gottsegen; LSU College of Art + Design; Mr. and Mrs. Sanford A. Arst; and The Newton B. Thomas Family/Newtron Group Fund.

I, TOO, AM THORNTON DIAL SPRING 2023 EXHIBITION

The LSU Museum of Art is thrilled to announce the 2023 opening of I, Too, Am Thornton Dia l. Originally curated by collector and author Paul Barrett of Birmingham, Alabama, this exhibition provides a thorough overview of work by the pivotal vernacular artist Thornton Dial.

Dial was born in 1928 to a sharecropping family in rural Alabama. His life was interwoven with poverty and tumultuous experience, having lived in the deep South through the Great Depression, Jim Crow segregation, and the Civil Rights movement. After dropping out of school at age twelve and working a series of odd jobs, Dial found steady employment at the Pullman Standard Plant in Bessemer, Alabama. There he honed his skills at construction and metal work, laying a foundation for his artistic endeavors. Dial began creating early-on, finding bits of odd scrap and debris, putting it together to make interesting forms that would decorate his home and yard.

When the plant shut down in 1981, Dial devoted his time to creating artwork. He drew inspiration from his life experiences, blending complex themes like Civil Rights, race, class, and family into sophisticated arrangements crafted with found objects—everything from bones, wood, toys, metal, and clothing. His condensed assemblages, although compactly layered with commonplace fragments of life, move with a lightness, pulling the viewer in to explore the cracks and crevices of the varied surface. His aesthetic was not limited to sculptural constructions; Dial’s masterful drawings and paintings demonstrate his deft hand at composition and line, through the exploration of reoccurring motifs, often women and tigers, a symbol of himself, in swirling masses of shapes and color.

After meeting the Atlanta-based collector William Arnett in late 1980s, Dial gained national attention, with his artwork being shown and acquired by large institutions across the United States. The artist died on January 25, 2016, in McCalla, Alabama.

I, Too, Am Thornton Dial, includes pivotal works drawn from private and family collections. For information on how you can support the exhibition, please contact Nedra Hains at nhains1@lsu.edu or 225-389-7212.

Thornton Dial, How Things Work: The Parade of Life, 1992. Enamel, plastic toys, wood, rope, and industrial sealing compound on canvas on wood. Collection of Doug McCraw.

Thornton Dial, Scratching for Life, 1998. Paint and gravel on wood. Collection of Doug McCraw.

COLLECTIONS RECENT ACQUISITION

Luis Cruz Azaceta, a Cuban American painter now living and working in New Orleans, Louisiana, was born in Havana in 1942, emigrating to New York at age 18. His early experiences in Cuba, a country mired in turmoil during both the Batista regime and the post-revolutionary era, cultured an internal sensitivity to violence, injustice, and human cruelty, which is evidenced throughout his entire body of work. In 1969, Azaceta graduated from the School of Visual Arts in Manhattan, regularly showing his expressive drawings and paintings—abstracted compositions teeming with references to urban life, current events, and personal narrative. Azaceta moved to New Orleans in 1992, weathering three disasters, Hurricane Katrina, the BP oil spill, and the COVID-19 crisis, all of which affected his creative output. Devoted to visual experimentation, Azaceta uses art to “face the world,” and respond to past and present chaos and social disparity.

LSU MOA recently acquired the painting, KEEPING AND EYE 333, using resources from the Winifred and Kevin P. Reilly Initiative for Underrepresented Artists. The work exemplifies Azaceta’s current style—a large-scale, brightly colored, expressive canvas covered in tightly packed flat shapes and lines. The piece was created during the COVID-19 lockdown, during which the artist isolated for over two years. While in quarantine, Azaceta became more introspective, stating that the experience allowed him the “opportunity to expand his ideas in a more psychological, abstract way.” The painting includes a self-portrait and several personal symbols, such as doorways (a way out, an abyss), sharp peaks (danger, pain), and eyes rendered in varying skin tones.

View this work soon in the Art in Louisiana: Views into the Collection Intro Gallery.

Luis Cruz Azaceta, KEEPING AND EYE 333, 2020. Acrylic on canvas. Purchased with funds from the Winifred and Kevin P. Reilly Initiative for Underrepresented Artists.

SEMC AWARDS AWARD WINNING MUSEUM

Michelle Schulte, Senior Curator and Director of Public Programs at the LSU Museum of Art is the recipient of the 2022 Southeastern Museums Conference (SEMC) Museum Leadership Award. Initiated in 1994, this award recognizes midcareer museum professionals who have shown significant advancement within the profession by leadership in museum activities at his or her institution, within the museum profession as a whole, and especially in the Southeast region. Award recipients were celebrated during the SEMC 2022 Annual Meeting Awards Luncheon on October 26, 2022, in Rogers, Arkansas, with a live-streamed leadership round table discussion.

Michelle has over fifteen years of experience as a curator, educator, and museum professional. Her sustained, active involvement in the Southeastern Museums Conference has established Michelle as a “go-to” leader in the region for advice and guidance for museum professionals at all career levels. Her skills, knowledge, warm personality, and dedication to museums and their value to communities have benefited the entire SEMC community for many years and identify Michelle as a professional to be recognized with the 2022 SEMC Museum Leadership Award (excerpt from Michelle Schulte’s nomination letters).

The LSU Museum of Art is honored and pleased to announce we received multiple awards in the 2022 Southeastern Museums Conference (SEMC) Exhibition and Publication Competitions. The annual competition is open to museums in the Southeastern region to submit exhibition and publication projects for review of merit. The Boneyard: The Ceramics Teaching Collection was selected for the Bronze Award in the Under $25,000 budget exhibition category. This exhibition was a collaboration between LSU Museum of Art and LSU School of Art and was curated by LSU Ceramics Associate Professor Andy Shaw, former LSU MOA Curator and Director of Programs Courtney Taylor, and former LSU MOA Educator and Manager of Public Programs Grant Benoit. Form & Fire: American Studio Ceramics from the E. John Bullard Collection Campaign (includes catalogue, invitation, and other designed marketing collateral) was awarded a Gold Medal in the Campaigns category. Art Talk Newsletter was also awarded an Honorable Mention in the Magazines & Newsletters category. These publication projects were designed by LSU MOA's Communications and Marketing Specialist Sarah Amacker. Learn more about all of these awards at www.lsumoa.org/inside-lsu-moa.

LSU MOA Curator Michelle Schulte (left) and SEMC Executive Director Zinnia Willits (right)

LSU MOA PROGRAMS MARK YOUR CALENDARS

DECEMBER

01 TODDLER THURSDAY: LANDSCAPES AND LEARNING

Fifth floor, 10 a.m. / Fee applies See the beautiful landscapes in the Mediterranea exhibition; afterwards create your own abstract/collage tree art.

01 LECTURE & RECEPTION: MEDITERRANEA

Fifth floor, 6 p.m. / FREE Celebrate the opening of this exhibit with a lecture by Dr. Mark White, the Executive Director of the New Mexico Museum of Art and original exhibition curator. Reception follows.

08 MEMBERS SHOPPING DAY AT THE LSU MUSEUM STORE

First floor, 10 a.m.–8 p.m. 20% off entire purchase for LSU Museum of Art members plus free gift wrap.

13 ART AT LUNCH: GEE'S BEND QUILTS

Third floor, 12 p.m. / FREE Learn about the Gee’s Bend quilting tradition during a talk by Curatorial Fellow Clarke Brown. Bring a lunch— we’ll supply the water and sodas.

JANUARY

01 FREE FIRST SUNDAY: CLOSED FOR THE HOLIDAY

05

02

18TH ANNUAL HOLIDAY SHOPPING EVENT AT THE LSU MUSEUM STORE

First floor, 4–8 p.m. Get 20% off one regular priced item plus free gift wrap at the LSU Museum Store.

04 FREE FIRST SUNDAY: HAPPY BIRTHDAY MISS HUNTER!

Fifth floor, 1–5 p.m. / FREE Celebrate the great artist Clementine Hunter with a mixed-media art experience!

TODDLER

THURSDAY: POLAR BEAR HAND CRAFT

Fifth floor, 10 a.m. / Fee applies Enjoy a book about polar bears in the gallery then make a polar bear hand print design.

24 ART AT LUNCH: THE HISTORIC EUROPEAN GRAND TOUR TRADITION

Third floor, 12 p.m. / FREE Enjoy a talk by Professor Dr. Darius Spieth, the Art History Area Coordinator in the LSU College of Art + Design. Bring a lunch—we’ll supply the water and sodas.

27 GALLERY TALK: KEVIN BENHAM

Fifth floor, 6 p.m. / FREE Learn more about Volterra during a conversation between Ludovico Geymonat, LSU Assistant Professor of Art History, and featured artist Kevin Benham, LSU Assistant Professor of Landscape Architecture.

FEBRUARY

02 TODDLER THURSDAY: I ART

Fifth floor, 10 a.m. / Fee applies Create an abstract valentine based on art from our contemporary gallery!

28 H. PARROTT BACOT LECTURE SERIES

Third floor, 6 p.m. / FREE Dr. Blaise Ducos, the Curator of 17th- and 18th-Century Dutch and Flemish Paintings at the Musée du Louvre, discusses European decorative arts.

BOOK YOUR EVENT! SCHEDULE A TOUR OF OUR RENTAL SPACES

05 FREE FIRST SUNDAY: GO ON A GRAND TOUR

Fifth floor, 1–5 p.m. / FREE See the Mediterranea exhibition, create a pastel landscape, and enjoy a 2 p.m. performance of 19th-century European compositions by the LSU Constantinides New Music Ensemble.

10 FREE FRIDAY MUSIC: LSU STUDENT PERFORMANCE

Fifth floor, 6 p.m. / FREE Enjoy music celebrating Black History month in the galleries.

15 ART WORKSHOP: HOW TO CREATE A STORY ON POTTERY

Second floor, 9:30 a.m. / Fee applies

Artist Therese Knowles teaches participants how to create ceramic decals and tissue transfers. Members, $15; nonmembers, $20. Preregistration required by calling 225-389-7207 or by emailing brandonlewis@lsu.edu.

15 ART AT LUNCH: ANGOLA PLANTATION

Third floor, 12 p.m. / FREE Join us for the special WEDNESDAY Art at Lunch, as Dr. John Bardes, Assistant Professor of History at LSU, provides a historic overview of Angola Plantation. Bring a lunch—we’ll supply the water and sodas.

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

IMAGES (details left to right): Dr. Mark White, Executive Director of the New Mexico Museum of Art; Clementine Hunter, Wedding Scene, c. 1962. Oil on canvas. Gift of Mr. and Mrs. Lewis A. Bannon; Kevin Benham, Pasqua, 2022. Still from a video. Courtesy of the artist; William Clothier Watts, Grazing Sheep, Temple of Luxor, Egypt c. 1915, Watercolor on paper. The Jean and Graham Devoe Williford Charitable Trust.

EDUCATION TEACHING THROUGH PROGRAMS

ART IN THE CLASSROOM LSU MOA

Educator Brandon Lewis brought arts education programming to the Baton Rouge community this fall. In October, Lewis visited Highland Elementary School (pictured top left) for their Hispanic Heritage Month celebration. The students were given a short lesson on the artistic contributions of Salvador Dali and Frida Kahlo, and then created their own Kahlo and Dali inspired self portraits. A group of young artists (pictured below) from The First United Methodist Church Early Learning Center also visited the LSU MOA education classroom at the Shaw Center to create self portraits and learn the basic elements of art and design.

LSU CERAMICS VISITS LSU MOA Led by Graduate Teaching Assistant Peter Froehlich (pictured bottom left with students and LSU MOA staff), LSU students visited the museum to view ceramic works from LSU MOA's permanent collection. They examined surfaces and discussed techniques used by various artists. Froehlich is currently the assistant to LSU Ceramics Associate Professor Andy Shaw. Ceramic works featured in images below are promised gifts from E. John Bullard to be used as an educational resource, fulfilling LSU MOA's mission to teach and inspire students through interactive learning with objects.

ART AT LUNCH WITH MALAIKA FAVORITE AND ANDY SHAW

LSU MOA launched this new program series, inviting art professionals and artists to share their knowledge and experience with visitors during a monthly lunch break. The premiere speaker was local artist Malaika Favorite (pictured above), who shared her creative process and works including Lessons from My Mother (from the LSU MOA permanent collection). The October program featured LSU Associate Professor of Ceramics Andy Shaw (pictured above), who discussed the creative project, the Mid-Atlantic Keramik Exchange (MAKE) held in Reykjavik, Iceland, and how this program sparked creativity and exploration in his own ceramic practice. See pages 12–13 for upcoming Art at Lunch programs!

TODDLER THURSDAY This fall the museum launched a new program series just for toddler museum visitors and their families. Through engaging and interactive activities, toddlers make art, learn about current exhibitions at the museum, and collaboratively explore their creativity.

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

DEVELOPMENT

LSU MUSEUM OF ART LEGACIES

Professor of journalism Jerome “Jerry” Merle Ceppos, dean of the Manship School from 2011 to 2018, died on July 29, 2022, at 75. Jerry was born in 1946. Jerry is survived by his wife, Karen Ceppos and two children, Matthew and Robin. He was a relentless supporter of democracy, ethics and diversity, Jerry was a titan in the field of journalism during his 50+ years. “Always above all, the news,” Jerry’s wife explained. “And telling it like it is.” Outside of journalism, he and Karen were connoisseurs of both wine and contemporary art, and generously donated both to the LSU Museum of Art. Jerry Ceppos served on the LSU MOA's advisory board from July 2016 to June 2022. He worked tirelessly to promote the values of the museum and Louisiana State University. Jerry Ceppos was buried in Miami during a private family service. A public celebration will be held at a later date. LSU MOA wishes to express our heartfelt gratitude and solace to Karen and their family. In lieu of flowers, friends are asked to contribute to the Manship School or the charity of their choice.

John Raiford Godbee, III died on October 13, 2022, in Baton Rouge, Louisiana. John was an executive director for J.P. Morgan Private Bank. He is survived by his wife, Gretchen Larsen Godbee, D.V.M. John was born January 22, 1954, in Tampa, Florida. He received his master’s in business administration from Tulane University in 1989. John and Gretchen moved to Baton Rouge in 2001. John Godbee served on the LSU MOA's advisory board from July 2011 to June 2017. John always gave generously of his time and talent to many organizations in Baton Rouge. He was an avid rugby player and classic rock fan. Services were held on October 29, 2022, at St. Luke's Episcopal Church in Baton Rouge, Louisiana. LSU MOA wishes to express our sincere gratitude and condolences to Gretchen and friends. In lieu of flowers, friends are asked to contribute to the Louisiana Americana and Folk Society or charity of their choice.

Philanthropist and community activist Nadine Carter Russell died peacefully at home surrounded by friends on October 27, 2022. She was 79. She was born in Baton Rouge on October 8, 1943. A memorial service was held November 2, at St. Alban’s Chapel on LSU’s campus. Describing her dedication to LSU College of Art + Design and the LSU Museum of Art, Nadine said, “I think you should support the university you graduate from because that’s how you get your start in life,” “your education is what gives you the basis for your career and your future life.” She graduated from LSU with a bachelor’s in art history in 1967. Nadine served on the LSU MOA's advisory board as an honorary member from 2005 until her passing. Nadine donated two generous endowments to the museum, one in 2007 starting the “Paula Garvey Manship Endowment for the LSU Museum of Art Fund” for the long-term support of the museum; then the second fund in 2014, the “Paula G. Manship LSU Museum of Art Endowment for Acquisitions and Conservation.” LSU MOA wishes to express our gratitude and sympathy to Nadine’s caregivers and friends. In lieu of flowers, friends are asked to contribute to the Companion Animal Alliance or charity of their choice.

Their gifts touched lives in countless ways. LSU MOA honors and remembers their contributions and service to the museum and beyond. The museum also wishes to acknowledge and thank our comforters, professionals who work in the funeral home and crematory industry, thank you for helping us all celebrate the life and honor the memories of our loved ones.

Nadine C. Russell (above) and Paula G. Manship (below), 2005

HOUSEHOLD

Joelle Castille

Blythe Earl

Jill Kidder

Whitney Sayal

DUAL

Scott Dusang & LeAnn Russo

Andy Shaw

Malaika Favorite Kim Handy

FRIEND

Sarah Amacker

Jonathan Barnett

Clarke Brown

Kyle Gautreau

Marianna Luquette

Sandy Parfait

Terry Percle

Tricia Prewitt

Joyce & James Ryder

Travis Pickett

Georgia Tsolakis Kyle Vernon

EDUCATOR

Thrasyvoulos Kalaitizidis

Brandon Lewis

STUDENT

Olivia Batist

Dylan Bernard

Zoe Dickson

Charles Johnson

Amina Kane

MaryLee Kelso Janus Korevec

Je'An Melton

Collin Murphy Alisha Ortolano

Angelina Patton Phoebe Pellitteri

Ashley Roksvaag

Adam Seeholzer

Justin Sins

Amanda Smallwood

Rachel Sutherland Palesha Thorton Delainy White

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. Make your end of the year gift before December 31, 2022 to the FY23 Annual Fund Campaign. DONATE HERE www.lsumoa.org/annual-giving or use the form below!

MEMBERS SHOPPING

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, Senior Curator & Director of Public Programs

Georgia Tsolakis, Visitor Services II & Events Assistant

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: Mayor-President Sharon Weston Broome 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.