winter 2024 ART TALK
FROM THE EXECUTIVE DIRECTOR
Reflecting on my career path, I’m reminded that while hard work and persistence were crucial, the support and influence of key individuals and institutions played a pivotal role in my life. I owe a debt of gratitude to those who recognized my potential early on and provided opportunities that shaped my journey.
COVER IMAGE:
Albrecht Dürer, Melencolia I, 1514, M. 75. Engraving on laid paper. Courtesy of the Park West Foundation.
During my time at Baton Rouge Magnet High School, I worked as a lifeguard for the YMCA. It was a busy role during peak hours, but the slower moments allowed me time to read, study, and nurture my growing passion for art. Around this time, Ken Tullos (no relation), head of arts curriculum in East Baton Rouge schools, noticed my interests. He generously provided art supplies, hired me for summer programs, and even appointed me as the student representative on the Advisory Board for the Louisiana Artist in Residence Program.
Later, as an LSU student, I received similar encouragement. Marion Causey, an antiques dealer, offered me rent-free studio space behind his store in exchange for helping with cleaning and moving furniture. Mr. Welch, a local real estate broker, kept me busy painting signs on his downtown properties. If I were to list all the teachers and professors who supported me, this would turn into an essay. These early experiences, along with many other acts of generosity, shaped my path and instilled in me a deep appreciation for the power of mentorship.
Now, as Director of the LSU Museum of Art, I’m excited to carry forward this legacy of support. Over the next year, we will be transforming our educational initiatives to focus more on high school and LSU students, while continuing our commitment to children, families, and lifelong learners. By investing in educational opportunities for teens and young adults, we hope to have a lasting impact on future artists, thinkers, and leaders.
This is an exciting time at the LSU Museum of Art. Your contributions to our Year-End Giving Campaign directly support these transformative efforts. I am confident you will see the return on your investment in the growth and success of the next generation. Thank you for your continued support as we shape the future together.
Mark Tullos Executive Director
Interested
IN A NEW LIGHT AMERICAN IMPRESSIONISM 1870–1940
WORKS FROM THE BANK OF AMERICA
On view until March 23, 2025
IMAGE (above): Emile Gruppe (American, 1896–1978), Winter Stream, c. 1935–1945. Oil on linen. Bank of America Collection. This exhibition is made possible through the Bank of America Art in our Communities® program.
COLLECTION
Although Impressionism originated in France during the 1860s, the movement took several decades to reach the United States. Over the next thirty years, American artists, some of whom studied or traveled throughout the continent at the height of European Impressionism’s premiere, returned home with a new sense of fascination and respect for the innovative approach. By the 1890s, Impressionism had firmly established itself in both regions, with American artists taking the characteristics—a brightened color palette, the exploration of the effects of light on a surface, a focus on landscapes and genre scenes, and the use of quick, broken brushstrokes— and combined them with distinctly American aesthetics and techniques, resulting in a unique style.
Many artists organically gathered in scenic areas across the nation to paint and learn from each other, inadvertently establishing art colonies throughout the United States. In the East, colonies could be found in Shinnecock and Byrdcliffe, New York; Cos Cob, Old Lyme, and Mystic, Connecticut; Gloucester, Massachusetts, and elsewhere on Cape Ann; and
EXHIBITION CELEBRATION
Thursday, December 5, 2024
6–8 PM • Free
Celebrate our winter exhibitions, In a New Light and The Marvel of Old Masters. Enjoy gallery talks, refreshments, music, and holiday shopping specials at the LSU Museum Store.
New Hope, Pennsylvania. In the Midwest were Brown County, Indiana, and the Ozark Mountain region of Missouri. In the West, colonies were founded in Taos and Santa Fe, New Mexico, as well as locations in southern California, the Monterey Peninsula, and the San Francisco Bay area.
The exhibition In a New Light includes images emerging from several renowned art colonies, affording the viewer an opportunity to compare and contrast how regional environments affected composition and technique. Besides the obvious difference in subject matter, there is often a dramatic shift in coloring, mood, and atmosphere. Misty Eastern seascapes swathed in cool pigments dramatically contrast with the rugged, earthy hues found in landscapes by artists from Taos and Santa Fe. Tightly packed urban cityscapes dominate imagery from New York City, while California artists marvel at empty, expansive vistas. These differences highlight the vastness of America, reiterating the importance of place and time.
Experience the beauty of In a New Light–visit today to explore stunning American Impressionist works and enjoy our breathtaking salon-style wall filled with vibrant paintings. Don’t miss this art experience! Stay tuned for more programs this Spring!
(top) Guy Carleton Wiggins (American, 1883–1962), Winter in New York, c. 1938–1946. Oil on board. Bank of America Collection; (bottom left to right) Louis Hovey Sharp (American, 1874–1946), Pasadena Light, n.d. Oil on linen. Bank of America Collection; Frederick Waugh (American, 1861–1940), Seascape, c. 1900, Oil on canvas. Bank of America Collection.
REMBRANDT, GOYA, AND DÜRER
THE MARVEL OF OLD MASTERS
Albrecht Dürer, Virgin and the Child with the Monkey, c. 1498. Engraving on paper.
Courtesy of Park West Foundation.
ON VIEW UNTIL FEBRUARY 2, 2025 Simply defined, printmaking is the art of transferring an image from a matrix, such as wood, metal, linoleum, or glass, onto another surface, usually paper or fabric. A print can be economically reproduced from the original matrix many times, allowing an artist to create multiple copies of the same image, lending to wider distribution and visibility.
Early forms of printmaking appear around the second century BC in the Han Dynasty, China, in the form of decorative images stamped on silk using carved wooden blocks. The first evidence of printing on paper, another Han innovation, occurs in the seventh century BC during the Tang Dynasty, with the production of books and scrolls. Although the method quickly made its way westward, spreading throughout Mesopotamia, the print remained relatively elusive to Europeans for almost 700 years. The introduction of two innovations, the first water-powered papermill built north of the Alps and Johannes Gutenberg’s printing press, both debuting in modern-day Germany, spurred the popularity of printmaking, pushing the medium to the forefront throughout fifteenthcentury Northern Europe.
Printed images and books flourished, as these could now be cheaply massproduced and circulated. Artists, who had previously used naive wooden stamp techniques to create basic religious imagery, had a new medium, and began experimenting with different matrix materials and techniques. Metal engraving, the first intaglio printing form, in which an image is incised into a surface, with the sunken area holding the ink to be printed, was soon introduced in the Rhine valley. Etching immediately followed, also developed in Southern Germany. These processes afforded the artist more control to create richer detail, allowing for deeper tonal variation and intricate compositions, and gradually replaced woodblock printing by the late 1500s.
Raised amid Germany’s printmaking’s revolution, Albrecht Dürer was apprenticed to painter and printer Michael Wolgemut, at age fifteen, in 1486. After studying with masters in Northern Europe and Italy, he opened his first workshop in 1495, readily producing complex woodblock prints and engravings. His immense artistic talent was apparent, and he became renowned for his allegorical and Christian scenes. Several of the artist’s early works are represented in The Marvel of Old Masters, alongside prints by Rembrandt Harmenszoon van Rijn, who was a great admirer of Dürer’s art, and Francisco José de Goya y Lucientes, a revolutionary in terms of imagery.
An example of a European print shop from the Gottfried Historical Chronicle, Frankfurt, 1619.
Rembrandt Van Rijn, The Raising of Lazarus: The Larger Plate, 1632, NH. 113, B. 73. Etching on laid paper. Signed RHL v. Rijn f. in the rock to the right of Christ on wove paper. Courtesy of Park West Foundation.
GOLDEN LEGACY ORIGINAL ART FROM 80 YEARS OF GOLDEN BOOKS
On view February 27–May 25, 2025
This exhibition was organized by the National Center for Children's Illustrated Literature, Abilene, Texas.
Golden Books
Pop-Up Storytime
Stay tuned for more details this Spring!
IMAGES (details): Tootle, Written by Gertrude Crampton. Illustrated by Tibor Gergely ©1945, Random House; Tawny Scrawny Lion, Written by Kathryn Jackson. Illustrated by Gustaf Tenggren. ©1952, Random House
In 1942, the first full year of American involvement in World War II, a groundbreaking line of children’s picture books arrived on store shelves to cheer and comfort a nation and revolutionize the business of juvenile publishing forever. Fueled by the bold application of mass-market sales and distribution techniques to a sleepy backwater industry, Golden Books retailed for a fraction of the cost of traditional children’s books and could be found almost anywhere that young parents shopped: at five-and-dimes, drugstores, and supermarkets.
Easily as appealing as the affordable price tag was the books’ bright, unfussy signature design and the extraordinary art they featured—the work of some of twentieth-century America’s leading illustrators. Three of the most prolific Golden artists—Garth Williams, Tibor Gergely, and Feodor Rojankovsky—were wartime refugees who had fled to New York as the conflict in Europe began. Several more–Gustaf Tenggren, J.P. Miller, Aurelius Battaglia, Martin Provensen, and Mary Blair—were Disney Studio alumni who had played key roles in the making of Snow White, Pinocchio, and other animation classics before opting for the picture-book artist’s life of greater creative freedom. Richard Scarry launched his remarkable worldwide illustration career as a Golden artist. Eloise Wilkin achieved enduring cult status as one. Today, innovative illustrators like Dan Yaccarino and Bob Staake are creating new books for the imprint that first inspired them as children to love books and make art.
–Leonard Marcus, Exhibition Curator
VIEWS INTO THE COLLECTION WORKS ON PAPER
Mark making is innate to humanity. Over 40,000 years ago, the earliest people used cave walls as a substrate for their marks— utilizing ground pigments to make stencils of their hands. Throughout time, cultures have employed a variety of surfaces on which to document and share their thoughts and creativity—clay, tree bark, papyrus, wax, animal skins—with the choice of material driven by regional resources. True paper, pulped plant fiber which is diluted with water and formed into a sheet, was invented by Tsʼai Lun, a Chinese court official in 105 AD. This early paper was primarily used for religious texts and government documents; however, it did not take long for artists to realize the potential of this innovation. Paper can be drawn, painted, or printed on. It can be folded, crumpled, cut, mashed, and glued into countless shapes and forms. The creative possibilities are endless.
The Museum’s latest permanent collection gallery features artwork in which paper is the star. Objects include traditional prints, watercolors, and collages, as well as sculptural forms made with paper mâché and casting techniques. Many of the works are new to the collection, and have never been on view before, such as the handmade pulp reliefs by Brock Enright and Andy Mister. They were constructed using traditional papermaking methods of grinding various pulps, adding pigments for coloring and texture, and casting shapes into recognizable objects. Both works were acquired through a donation from New York paper atelier, Dieu Donné.
(top) Andy Mister, Silence (Single), 2014. Pigmented cotton and linen. Courtesy of Dieu Donné, New York; (bottom) Brock Enright, Out There, 2015. Cast pigmented linen and cotton pulp. Courtesy of Dieu Donné, New York.
LSU PARTNERSHIPS ONGOING PROJECTS
The Museum is committed to serving as a resource for LSU students, faculty, and staff, and continues to develop ongoing partnerships and opportunities for learning, research, and collaboration.
PRINTMAKING LSUMOA is working with undergraduate printmaking students to create prints inspired by the artists featured in the exhibition Rembrandt, Goya, and Dürer: The Marvel of Old Masters. Under the direction of Professor Leslie Koptcho, each emerging artist selected an inspirational illustration by either Dürer, Rembrandt, or Goya, and designed a composition that updated the theme or imagery using contemporary messaging. Working over several weeks, the students completed preliminary sketches, then crafted an etching with aquatint. Many of the compositions redefine somber themes from Goya’s Los Capricios series, exploring identity and social anxiety, while others are whimsical recreations of Rembrandt’s or Dürer’s artworks. The prints will be on display in the Museum during the length of The Marvel of Old Masters.
ANTHROPOLOGY The LSUMOA Curatorial team is advising PHD student Hannah Derouen on the re-installation of several display cases throughout the Howe-Russell Geoscience Complex. Tasked with refreshing the exhibit cases, Derouen, who is studying anthropology, will devise plans to reinstall research objects and update content, some of which is decades old. Stay tuned for updates!
COLLECTIONS DECORATIVE ARTS
The Museum recently added several pieces of furniture to the permanent collection galleries. While the unassuming objects, antique chairs, tables, and a bookcase, appear to be the wares of a bygone era, each piece retains hidden meanings and histories.
Sugar chests, an icon of early Kentucky furniture, were manufactured and exported across the South from the late-eighteenth century through the Civil War. The Museum’s chest features two interior sections, one for white refined sugar in the form of cakes or cones; the other for granulated brown unrefined sugar. The drawer below would hold a sugar hammer, tongs, or nips, a pair of large pincers with sharp blades, designed to cut sugar from the hardened block. Sugar, often referred to as “white gold,” was an immensely valuable commodity. Chests were a staple in upper class households, a minority who could afford the valuable sweetener, and were equipped with keys so the costly foodstuff could be safely locked away. Owning a sugar chest was a sign of affluence, and they were prominently situated in parlors and dining rooms
While an unpretentious construction, quite simply a locking box on raised legs, the chest symbolizes the nation’s dark history of enslavement. Although slavery had been practiced by both the French and Spanish throughout the Louisiana Territory, the demand for laborers dramatically increased due to the invention of the cotton gin (1793) and the process to granulate American sugar (1794), coupled with the Louisiana Purchase (1803). Cotton thrived in the upland areas, and sugar cane was grown in the rich alluvial soil in the south. Hundreds of plantations were established along the Mississippi—and they all required a large workforce to prosper.
Kentucky was one of the leading exporters of slave labor. By 1850, the state was transporting over 3,000 humans annually from ports along the Ohio River, connecting with the Mississippi River southward. Many of the enslaved were sold through the market in New Orleans. Commodities, including sugar grown and refined in Louisiana, were then shipped back Northward to wealthy households.
Unknown maker, Kentucky Sugar Chest, c. 18101819. Walnut. Gift of Miss Ione Easter Burden.
An example of a Louisiana plantation, with a sugar refinery to the left-hand side. Marie Adrien Persac, Faye Plantation, 1861. Gouache and collage on paper. Gift of the Friends of the LSU Museum of Art.
LSUMOA PROGRAMS
MARK YOUR CALENDARS
The first Sunday of each month is FREE at the LSU Museum of Art.
Generous support provided by Art Bridges Foundation’s Access for All program.
ACCESS FOR ALL DAY
Access for All Day: Santa's Art Studio
Sunday, December 15 from 1–4 PM • FREE • 5th floor
Santa has a fun-filled day planned just for you! Decorate ornaments, design Rudolph’s new sled, and enjoy more festive surprises! *Note: The Museum will be closed December 1 for the Thanksgiving holiday. This program is on December 15.
Access for All Day: The Art of Mini Furniture
Sunday, January 5 from 1–4 PM • FREE • 5th floor
Come see our new exhibition of antique furniture from our permanent collection. Learn about the charming mini furniture used by traveling salesmen in the 19th century and design your own fancy mini chair!
Access for All Day: Black History Month
Sunday, February 2 from 1–4 PM • FREE • 5th floor
Celebrate Black History Month with inspiring artwork by Black artists! Enjoy hands-on art activities and performances.
WINTER RECEPTION
Thursday, December 5 from 6–8 PM • FREE • 5th floor
Join us in celebrating our winter exhibitions, In a New Light and The Marvel of Old Masters. Enjoy short gallery discussions, refreshments, music, and finish up your holiday shopping with specials in the LSU Museum Store.
CURATOR LECTURE
Thursday, February 13 at 6 PM • FREE • 5th floor
Delve into the rich history and artistic innovation of American Impressionism. Learn more about these remarkable works of art seen in In a New Light: American Impressionism 1870–1940, Works from the Bank of America Collection
GUIDED GROUP TOURS
OPEN TO THE PUBLIC Join us for a 45-minute guided tour of exhibits: In a New Light: American Impressionism 1870–1940, Works from the Bank of America Collection and Rembrandt, Goya, and Dürer: The Marvel of Old Masters. Led by LSUMOA Educator & Public Programs Manager, Callie Smith, the tour is designed for all ages and will be open to the first 25 people. No registration required. Regular admission applies. Friday nights are free thanks to the Louisiana Lottery Corporation.
TOUR DATES
NOVEMBER
⊲ Friday, November 8 at 12–12:45 PM and 6–6:45 PM
⊲ Sunday, November 10 from 2–2:45 PM
DECEMBER
⊲ Friday, December 13 at 12–12:45 PM and 6–6:45 PM
JANUARY
⊲ Friday, January 10 at 12–12:45 PM and 6–6:45 PM
⊲ Sunday, January 19 from 2–2:45 PM
CURATOR TOURS
FOR MUSEUM MEMBERS ONLY Join us for a members tour of our winter exhibitions led by LSUMOA Chief Curator Michelle Schulte.
⊲ Thursday, November 14 at 6 PM (In a New Light)
⊲ Thursday, January 16 at 6 PM (Old Masters)
Join as a member at www.lsumoa.org/membership
GEAUX SHOP
Member’s Holiday Shopping Day Thursday December 5 • 10 AM–8 PM
Get 25% off all items (excluding George Rodrigue merchandise) for LSU Museum of Art members plus free gift wrap!
Holiday Shopping Event Friday, December 6 • 4–8 PM
Enjoy 20% off all items (excluding George Rodrigue merchandise) and enter a raffle for a chance to win a free Household membership for a family of four!
EDUCATION LOOKING FORWARD
As the LSU Museum of Art, we’re at the heart of a vibrant community of 30,000 students, 1,700 faculty, and 3,797 staff—all connected through Louisiana’s flagship university. We share LSU’s bold vision of being the Statewide University, a strategic framework unveiled earlier this year that aims to enhance the quality of life across all 64 parishes through education and public engagement.
Our impactful programs, like Free First Sunday, sponsored by Art Bridges Access for All, exemplify our commitment to connecting the university with the wider community. One highlight was our recent “Stitch by Stitch, Vote by Vote” event, where we collaborated with the Louisiana League of Women Voters, the Power Coalition for Equity and Justice, and the LSU Department of Textiles, Apparel Design, and Merchandising. This initiative not only promoted civic engagement, but also showcased vital research from our campus, setting a benchmark for successful collaboration between campus and community.
Building strong relationships is key to our mission. Over the past several months, LSUMOA Educator and Public Programs Manager Callie Smith met with various community organizations, including the East Baton Rouge Parish Public Library System, the Big Buddy Program, and the East Baton Rouge Parish Public School System. Smith also met with faculty, staff, and students from across campus representing:
⊲ Office of Global Engagement
⊲ College of Human Sciences and Education
⊲ LSU School of Veterinary Medicine
⊲ LSU Natural Science Museum
⊲ LSU School of Music and others
In these conversations, we identified campus and community needs, and made plans for how we can work together. One important insight emerged from discussions with LSU Education faculty: pre-service teachers need guidance on using art to foster critical thinking. In March 2025, LSUMOA will host its inaugural Day at the Museum series offering three enriching days of professional development for nearly 100 student teachers. This event will empower them to see museums as valuable resources for their future classrooms. The year ahead is brimming with opportunities for intentional growth and collaboration. We look forward to building and sharing these experiences with you.
PARTNER SPOTLIGHT
For the October 6 Access for All event, LSUMOA partnered with the LSU Global Community Center, a unit within the Office of Global Engagement that provides services and outreach support to international students, faculty, and scholars. The goal of this partnership was to give international students and their families a chance to visit the museum and downtown Baton Rouge. Many international students do not have vehicles and rely on campus transit services, which, as of Fall 2023, no campus transit route connects downtown to the university. This is a major accessibility challenge that impacts our ability to serve campus audiences. The Access for All funds from the Art Bridges Foundation make partnerships like this possible by providing support for transportation.
In a conversation with Daniela Chu-Rodriguez, Director of International Student Engagement (pictured top left), she expressed how there is limited programming that includes international students and their families. Often, university events are only for registered students, even though several international graduate students have partners and children. The registration form for the museum trip filled up almost immediately with a wait list of about 70 people. We are in the process of gathering feedback and creating a plan for how to continue this partnership. The Museum would also like to thank LSU MFA ceramic artists Pete Froehlich (pictured bottom right) and Richard Boehnke (pictured bottom left) for their amazing pottery and sculpting demos. It was an inspiring day of hands-on creativity, celebrating the LSUMOA's ceramics collection.
(left to right) Callie Smith, LSUMOA Educator and Public Programs Manager, Jade Ngo, Coordinator of International Student Engagement, and Daniela Chu-Rodriguez, Director of International Student Engagement
Group photo with LSU International Student Community who came to the October 6, 2024 Ceramics themed Access for All Day at the museum.
DEVELOPMENT YEAR-END REPORT
SCHWING GIFT This year, we mourn the loss of a cherished friend and museum patron, Charles Edward Schwing. A renowned architect, Schwing’s legacy is etched into the fabric of Baton Rouge through his many notable projects, most prominently his restoration of the Senate Chambers in the Louisiana State Capitol following the 1970 bombing. His remarkable ability to balance innovation with historical preservation earned him the title of Louisiana State Capitol Architect in 1981, a role he held with distinction until his retirement in 1999. Schwing's passion for the arts extended beyond architecture. He was a founding board member of the Louisiana Arts and Science Museum and a lifetime member of the LSU Museum of Art, where he was honored as the AFP Philanthropist of the Year. This fall, we are deeply honored to receive a generous $50,000 gift made in his name through the LSU Foundation.
To commemorate his extraordinary contributions, the museum will present three exquisite paintings from the Schwing Collection in our decorative arts gallery this November. The featured works include a stunning seascape by Winslow Homer (pictured above), a Venetian scene in watercolor by James Abbott McNeill Whistler, and an enchanting portrait by British artist Gerald Festus Kelly. These pieces stand as a testament to Schwing’s love of art and his enduring impact on our cultural community.
CUBAN
BOARD
RETREAT In September, the museum’s Advisory Board and Friends Board met together in a retreat hosted at the LSU Rural Life Museum. The day-long meeting included a workshop and discussion with facilitator Sylvia Matiko from A Different View consulting out of Nashville. The Boards reviewed the 20-year history of the museum and explored opportunities and challenges for the future. The retreat laid the groundwork for the creation of a new five-year strategic plan. The Board will continue to meet annually to support the planning process for the museum.
ART RELATIONS In May, Museum Director Mark Tullos made a historic trip to Havana, Cuba, on behalf of the LSU Museum of Art. There, he met with Cuban artists and Jorge Torres, Director of the Museo Nacional de Bellas Artes. The meetings were arranged by Gilbert Brownstone, a French collector, museum director, writer, and founder of the Brownstone Foundation, which supports cultural and educational projects with a focus on Latin American and Cuban art. This visit laid the groundwork for future collaborations and exchanges with the Cuban creative community.
INTRODUCING THE CARY SAURAGE OBJECT LAB
Thanks to a generous gift from Cary Saurage, the LSU Museum of Art is proud to announce the completion of an innovative educational space: the Cary Saurage Object Lab. This dynamic gallery and smart classroom, located adjacent to our collection’s storage, provides a unique opportunity for in-depth study of artworks from the museum’s permanent collection that are not currently on display.
The Object Lab is designed to enhance academic engagement with the museum’s diverse and exceptional holdings, including prints, drawings, photographs, ceramics, and small decorative art objects—collections that are particularly well-suited for teaching and research. With the support of curatorial staff and our new collections management software, faculty members will eventually have the ability to select up to 20 artworks related to their course topics for close study by their students. This digital catalog will further expand opportunities for faculty and students to engage with the collection.
The Cary Saurage Object Lab is fully equipped with state-of-the-art technology, including a large-screen monitor, a computer, and a lectern, all connected to the University’s high-speed fiber network, ensuring seamless integration with LSU’s campus and the broader world. With a seating capacity of up to 20 students, the Object Lab is set to become a vital resource for enhancing academic inquiry and fostering new connections between art and education.
REFLECTING ON 2024 WITH GRATITUDE As 2024 comes to a close, we are grateful for the incredible support from friends like you who have helped make the LSU Museum of Art more welcoming and inspiring for everyone. Your generosity, along with contributions from 52 community partners, has enriched the lives of thousands of visitors of all ages through our exhibitions, school programs, and community outreach.
HIGHLIGHTS OF THE YEAR
⊲ Secured our largest-ever grant of $240,000, allowing us to offer free admission and programming for all guests on the first Sunday of each month.
⊲ Received private gifts supporting critical upgrades to our collections storage and the creation of new educational spaces, including an Object Lab for visiting classes.
⊲ Provided nearly 300 hours of arts education and presented some of the most engaging exhibitions in our history—from experimental quilts and folk art to Pop Art icons, digital sculptures, and Old Master prints.
DONATE TODAY Your year-end gift will help us build on these successes in 2025, enabling us to continue providing high-quality exhibitions and programs that rely on the generosity of supporters like you. As Baton Rouge’s only fine arts museum, your support is vital.
Please consider making a donation today using the enclosed envelope or online by visiting www.lsumoa. org/ways-to-give. Thank you for being a part of our exciting past year and for supporting an even more ambitious future!
LSU MUSEUM STORE
NEW MUSEUM MERCH
GEAUX SHOP OUR NEW MUSEUM MERCHANDISE Our Museum Geauxer tees, Geaux See Art shirts, mugs, magnets, and more are now available to buy at the LSU Museum Store. Don’t miss out—buy yours today and display your love for art and LSU in style! Contact the LSU Museum Store for more information at 225-389-7211 or email lrusso@lsu.edu. The LSU Museum Store is located on the 1st floor of the Shaw Center for the Arts.
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STAFF
Mark Tullos, Executive Director
Sarah Amacker, Communications & Marketing Specialist
LeAnn Dusang, Museum Store Manager / Visitor Services Manager / Rentals
Nedra Hains, Director of Operations & Visitor Services / Membership Coordinator
Marianna Luquette, Registrar
Sandy Parfait, Business Manager
Travis Pickett, Preparator
Michelle Schulte, Chief Curator
Callie Smith, Educator & Public Programs Manager
FRIENDS OF THE LSU MUSEUM OF ART
President: Clarke J. Gernon, Jr.
Secretary / Treasurer: Jim Fairchild, CPA
Brad M. Bourgoyne
Jeff Bell
Leone Elliott
Claire Major
Ann Wilkinson
Brad Way
ADVISORY BOARD 2023–2024
Chair: Ben Jeffers
Vice Chair: Elizabeth Noland
Secretary / Treasurer: Stephen R. Miller
Immediate Past Chair: Nancy C. Dougherty
Dan Bergeron
Luisa Cantillo
Renee Erickson
Becky Gottsegen
Blaine Grimes
John Haile
Randell Henry
Gerri Hobdy
Yvette B. Marsh
Winifred Reilly
Laura A. Siu
Darius Spieth
Carol Steinmuller
Ex-Officio: Clarke J. Gernon, Jr.
Ex-Officio: Mark Tullos
Honorary: Lt. Governor Billy Nungesser
Installation and special event photography by Charles Champagne
Join the LSU Museum of Art and access all the benefits, now with convenient digital membership cards. Join now at www.lsumoa.org/membership.
VISIT DOWNTOWN
Explore the Shaw Center for the Arts, located on 100 Lafayette Street in downtown Baton Rouge. We look forward to welcoming you!
1st Floor
⊲ LSU Museum Store Shop for unique gifts and art-related merchandise.
⊲ LSU College of Art + Design Glassell Gallery Discover rotating exhibitions from emerging and established artists.
⊲ Manship Theatre Enjoy a variety of performances, including music, theater, and film.
5th Floor
⊲ LSU Museum of Art Experience a diverse collection of visual arts through engaging exhibitions and programs.
6th Floor
⊲ Tsunami Sushi Savor delicious sushi and stunning views of the Mississippi River.
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 by a grant from the Arts Council of Greater Baton Rouge, funded by the East Baton Rouge Parish Mayor-President & Metro Council; and in part by a grant from South Arts in partnership with the National Endowment for the Arts. LSUMOA thanks the generous donors to the Annual Fund. Generous support provided by Art Bridges Foundation’s Access for All program. Free Friday Nights is sponsored by the Louisiana Lottery Corporation.
