Paul and Lulu Hilliard University Art Museum

HILLIARD
Paul and Lulu Hilliard University Art Museum
SPRING/SUMMER 2012
V o l u m e
9
Number One
For the past eight years I have had the privilege of serving on our Parish Public
Library Board of Control. I’m always delighted and surprised when reviewing the
library usage statistics. Even with the advancing digital age, libraries continue to be
an important resource for the community. Libraries and museums are siblings. We
both collect, preserve, and make these collections accessible to the public.
Yet, there is an important difference between libraries and art museums. In most
cases library patrons know how to read. As for art museums, particularly in rural
communities where few people have ever been exposed to museums or the visual
arts, we have to teach our patrons how to read art work. One comes to understand
and fully appreciate art by spending time in museums and art galleries. This requires
looking at a lot of art, reading the exhibition labels and asking a lot of questions
and challenging the artist’s intent or the curator’s assumptions.
Just like an early reader in a preschool classroom, individuals learning to
understand art, must begin by knowing the history and meaning of rudimentary
imagery. “Reading” an exhibition of Modern or Contemporary art requires basic
mastery of the visual lexicon of art. With a little study one can recognize and recall
the meaning of symbols, compositions, color use and imagery. I’ve never seen
“new” art. I’ve seen great contemporary art that owes its origination to the annals
of preceding forms and ideas. All imagery is built on the foundation of creations by
preceding artists. Representations from earlier artistic efforts are reused, recycled
and translated in some way to create a different image or object.
Some anthropologists and art historians claim our visual language began
over 50,000 years ago in places like the caves of Lascoux, France and the deserts
of Australia. Early man discovered that mark-making was an effective way to
communicate ideas and record events, either real or dreamed. Our first language
was a visual language, not a written language. Many scholars suspect that these
paintings and their associative meaning held tremendous power over the future
of the people who created them.
“Paint the antelope and they will appear in the fields tomorrow.”
Front Cover: Cora Kelley Ward, Collection of the Paul and
Lulu Hilliard University Art Museum.
Above: Museum Volunteers, Grace McCloskey (in chair)
and Mary Ann Smith (seated in foreground) host Toddler
Tuesdays in the museum.
When I have an opportunity to speak with students visiting the museum, I try
to impress upon them the importance of mastering both the written and visual
language. I tell them to expand their visual reference library with works of art from
every age and culture and to enrich their vocabulary with new and old words. Don’t
be afraid to associate words and begin to create stories and poems. Don’t hesitate
to make associations between imagery and meaning.
This issue of the Hilliard’s journal documents some of the outstanding work by
our museum’s staff and volunteers and our campus and community partners. If you
are not a member of the Hilliard or you have not renewed I hope you will soon.
Your support is very important and meaningful in our efforts to serve Acadiana
and Louisiana.
Mark A Tullos, Jr., Director
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c o n t e n t s
2
Director’s Statement
4
Cora Kelley Ward: A Work in Progress
6
Faith & Form
7
Rhyme and Reason:
8
Louisiana Watercolor Society and Kenn Kotara
9
Louisiana Voices
10
Discovering Egypt in Louisiana
12
Raising Children in Museums
14
Hilliard Museum Society
16
Collection News
21
Hilliard Museum Members
Visual Literacy: Learning to Read
Eunice, Louisiana Native and New York Abstract Expressionist comes home
Fine Art and Decorative Art from Catholics in Acadiana
The Art of Shawne Major
The Year of Louisiana Art and Artists
Six Artists Speak to Us
The Ambassador Jefferson Caffery Collection
Reflections on Partnerships in Education
The University and Foundation Create a Powerful Museum Support Group
Wonderful New Additions to the Permanent Collection
Thanks to our New and Renewing Members
The record of Paul and Lulu Hilliard University Art Museum, No. 9, University of Louisiana at Lafayette
Top: Gallery view of the exhibition Faith & Form.
Bottom: An elementary school class plays a game of “Duck, Duck, Goose!” on the museum lawn.
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CORA KELLEY WARD
Dr. Lee A. Gray, Curator
Like thousands of artists before and after
her, Cora Kelley Ward did not receive
the recognition or success of artists
known to us from art history books, but
her journey as an artist was like so many
others who strived to pursue their dreams
of living a life filled with creativity and
stimulation. Ward’s aspirations to live
an artistic life represent a quintessential
narrative familiar to most American
artists. In Ward’s case, however, the period
in which she lived might be considered
one of the most fascinating and dynamic
in American art history; the rise of an
American aesthetic in post-war America.
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And she was there.
Born in Eunice, Louisiana in 1920,
Ward’s childhood began, while still an
infant, with the loss of her father. Raised
by her mother and grandmother, Cora
would go on to study nursing at Southern
Baptist Hospital in New Orleans, LA.
In 1941 she married Dr. Simon Ward
who was soon called to serve in the
navy during World War Two. With her
husband abroad, Ward began to take
painting classes at the Newcomb Art
School, Tulane University. It was here that
she found her calling as an artist and the
career she would pursue after her divorce
in 1948.
Ward then moved from New Orleans
to Chicago to pursue a Bachelor of
Science degree in Visual Design at the
Illinois Institute of Technology which
she completed in 1953. In the summers
of 1949 and 1950, Cora attended Black
Mountain College in Asheville, NC
where she met and studied with some
of the most influential artists and critics
of the mid-twentieth century including
Josef Albers and noted art critic, Clement
Greenberg. The small classes and
communal atmosphere at the college were
ideal for creative experimentation and the
sharing of ideas. Ward’s experiences at the
college would define her artistic career
and shape her life for years to come as
did her friendships with Greenberg and
his wife, Jenny, and fellow artists Helen
Frankenthaler and Kenneth Noland.
By 1955 Ward was living in the
Greenwich Village area of New York
City in the midst of what was then
the hot-bed of artistic innovation
and excitement for the nation. Ward’s
creative pursuits in painting centered on
Abstract Expressionism, however, she
was also a photographer and spent many
hours photographing artists, art world
dignitaries, friends and colleagues as they
moved through the world of exhibition
receptions, lectures, or classes. Ward is
most remembered as a photographer by
her contemporaries and fellow artists
from this period. The shy Ward would
attend events, camera in hand, where she
captured the interaction and excitement
of the contemporary art world. Some of
Ward’s photographs from that time appear
in this gallery.
Like many struggling artists, Ward had
small successes in getting her work shown
to the public. She had solo showings at
The New Gallery, Bennington College
(1966), Noah Goldowsky Gallery (1973,
1975, 1976), Andre’ Emmerich Gallery
(1978), and The Gallery Space, New
York, NY (1983), as well as participation
in numerous group exhibitions, though
we have little evidence that Ward’s works
were sold or collected. To support herself
she taught private lessons in drawing
and painting and worked as a nurse
in the evenings. As a regular at gallery
events, Ward met and befriended many
artists who would go on to become
luminaries of mid-century American
abstraction. Colorfield painters such as
Morris Louis, Helen Frankenthaler, and
Kenneth Noland, all second generation
“New York School” artists, were Ward’s
contemporaries and it was their influence
that most affected Ward as she labored
to find her own aesthetic voice. It is
unfortunate that her life came to an end
just as the artist within was articulating
her own unique voice. In the exhibition
held after her death in 1989, her long
time friend Clement Greenberg wrote in
the catalog, “Cora was a dear and selfless
friend. But I can confidently say that
that doesn’t sway me. It’s only with these
paintings of the eighties that I am able
to hail her art without reservation. That
makes me glad – regretfully so because
she’s not here to read what I write.”
This exhibition is presented in two
parts: the first is a re-installation of the
small memorial exhibition held at the
Greenberg Wilson Gallery shortly after
Ward’s death in 1989. The second is
a fictional installation of what Ward’s
studio might have been like. The studio is
meant to symbolically capture the artist’s
commitment to her passion of making
art. We witness Ward’s constant struggle
to work through the aesthetic ideas most
prevalent from the 1950s to the late 1960s.
On the table are books open to artists
who also worked through those aesthetic
ideals such as Helen Frankenthaler,
Kenneth Noland, Morris Louis, and Jules
Olitski. While each of these artists found
his or her unique voice earlier than did
Ward, together they represent an era of
philosophical and ideological exploration
in the visual arts.
On April 20, 2010 I had a telephone
conversation with Janice Van Horne,
once married to Clement Greenberg and
friend to Cora Kelley Ward. Van Horne
describes Ward as a good family friend
to the Greenbergs. She attended many
family events and always took lots of
photographs of the family. Despite the
numerous times Ward and the Greenberg’s
spent together, Van Horne admits that she
knew little of Cora’s personal life stating
that Cora “lived a life that was almost
monk-like in her organization and lack of
material goods. She was very discrete and
private.”
The few times that Van Horne visited
Cora in her Greenwich St. apartment,
it was clear that Cora was “meticulous
and fastidious” about everything she did.
In fact, Cora was so organized, said Van
Horne, that she kept files on all of her
works and things she found interesting.
For example, “Cora would archive articles
about art and could pull them out at a
moment’s notice.”
Van Horne admired Cora’s determination
and fortitude to pursue her dreams but knew
little of Cora’s professional life as an artist. She
recalls that Cora was a perpetual student and
completed her Master of Arts degree from
Hunter College at the age of 49.
In the first half of this gallery, you see the
fictional studio of Cora Kelley Ward. Given
Ward’s penchant for organization and meager
belongings we have deliberately kept objects
to a minimum, but we have attempted to
showcase her persistent commitment to
working through artistic theories and included
the artists and ideas that most influenced her
own search for aesthetic appreciation.
We are proud to welcome Cora home to
Louisiana. We thank her family for their
generous and thoughtful donation of her
work and legacy. ¾
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Faith & Form
Faith & Form: Fine Art and Decorative Art
from Catholics in Acadiana surveys some
of the remarkable fine art and decorative
art from area churches, cathedrals and
private collections. The exhibition will
be on view through September 1, 2012
as part of Louisiana’s Bicentennial
Celebration.
As the title of this exhibition suggests,
faith is often signified in visual form.
Evidence suggests that visual imagery and
objects have been created to communicate
with higher powers and educate others for
as long as humans have roamed the earth.
If not part of prayer, homage to the gods,
or rites of passage, spiritual significance
was integrated into objects used in daily
life. Through these objects, sacred beliefs
could be honored and taught.
In Faith & Form, visitors will have
the opportunity to consider objects
used in Catholic rituals; the shapes, the
iconography, the symbolism, and the
functions which signify Catholic faith.
Catholicism has a long presence in the
State of Louisiana beginning with its
history as French and Spanish territories.
Catholic practices of these European
nations persisted as the state grew in
population during the 18th century. By
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the early 19th century immigrants from
Ireland, Italy, Portugal, and Germany
furthered proliferation of Catholicism as
they settled in the Southern part of the
State. Until the American purchase of the
Louisiana Territory in 1803, everyone in
the Lafayette area was legally required to
be Catholic. As Anglo Americans moved
in to region Protestantism grew and by the
end of World War II the northern part of
the state was predominately Protestant.
In Acadiana, Catholicism remains the
primary denomination mirroring that
of the nation as a whole. Catholics
make up about 22% of the population
or 77.7 million as the largest religious
denomination in the United States.
This exhibition consists of religious
artifacts from a variety of Catholic
churches in Acadiana as well as a few
artworks from the Museum’s permanent
collection. Participating Churches and
lenders include: St. Peter’s (1838) New
Iberia, Rev. Charles Langlois; St. Joseph
(1892), Iota, Rev. Mikel A. Polson, Sacred
Heart of Jesus (1906), Baldwin, Rev.
Gregory Cormier; The Cathedral of St.
John the Evangelist (1916), Lafayette,
Janice McNeil, Curator; Holy Ghost
(1920), Opelousas, Rev. Jaison Mangalath;
Our Mother of Mercy Josephite (1928),
Rayne, Rev. Richard Wagner, SSJ; Our
Mother of Mercy Josephite (1941),
Church Point, Rev. Francis Butler, SSJ;
Holy Cross (1965), Lafayette, Rev.
Howard J. Blessing, St. Basil (1970),
Duson, Rev. A. Rex Broussard, Jr. and
Faye Drobnic, Lafayette.
Faith & Form has been in development
for over two years and is a partnership
between the Hilliard Museum and the
UL Lafayette Public History program.
Initial research for this exhibition was
performed by the following graduate
students in public History taught by Dr.
John Troutman: Lauren Albarado, Alaina
Comeaux, Meagan Dossmann, Jennifer
Hopkins, Leigh Rutherford, Lauren
Talley, and Simon Wooster. The exhibition
would not have been possible without
the endorsement of the Most Reverend
Michael Jarrell, Bishop of Lafayette. ¾
Rhyme and Reason: The Art of Shawne Major
We close our year-long celebration of
Louisiana Art and Artists with a solo
exhibition of work by Shawne Major.
Raised in New Iberia and trained at
UL-Lafayette and Rutgers University in
New Jersey, Major has managed to create
a uniquely individual visual language;
one that is both personal and poetic. “My
cultural experience serves as the accent
for my visual language,” states the artist.
“It is the filter through which I see the
world and the voice through which I
discuss concepts that are important to me.
My work is not only about my cultural
experience, but of it”.
With galleries in New Orleans, Atlanta,
and Houston, the artist is fast becoming
known in the southern art market. Her
participation in important national
exhibitions such as Prospect 1 in New
Orleans (2008) and Scope Artfair-Miami
(2008 & 2009), as well as the Cultural
Center in Chicago earlier this year, will
soon bring national recognition to Major’s
unique aesthetic voice.
She is recognized for her ability to
confound, excite, awe and inspire her
viewers with the physical presence and
emotional impact of her finely crafted
artworks. Drawing on memories and
fragments of experience associated with
growing up in Southwestern Louisiana,
the artist seeks to create magical and
sacred spaces within her intricately sewn
collages. They are personal narratives to
the artist, but accessible to every spectator
who inadvertently forms their own
narrative based on personal experiences
of childhood, travel, religion, ritual, or
culture. Opening September 15, 2012. ¾
Above: Detail, Eating Cake, Shawne Major, 2011,
Mixed Media.
“My cultural
experience serves as
the accent for my
visual language”
Shawne Major
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Kenn Kotara: Viaticus
Kotara works in many diverse mediums
both two and three dimensionally.
His interest in spatial manipulation is
informed by each unique site installation.
Viaticus, meaning, “pertaining to a
journey,” consists of 18 ceramic boxes
(image left) that mimic the pattern of
footprints in an undulating line. Native
Louisiana plants grow through footshaped cutouts on the upper side of each
of the ceramic containers. Over time,
the plants fill the footprint masking the
original clarity of the shape, symbolically
representing the journey of each step and
ultimately of the process of journey itself.
For the Hilliard’s site, viewers are restricted
from entering the actual architectural space
and must remain at the “foot” or beginning of
the journey, rendering the viewer powerless to
proceed physically. This limitation provokes
a dialogue around the concept of accessibility
and process as we watch the evolution of the
grass rise and transform over time. Viaticus
will be on view from September 15 through
November 10, 2012.¾
Aquarellistes
This year the Museum’s exhibition
schedule is devoted to art and artists
from Louisiana in honor of the State’s
bicentennial. In keeping with that theme,
we have invited Mr. Don Andrews
to curate an exhibition of watercolor
paintings created by members of the
Louisiana Watercolor Society. The exhibit
will showcase the talent of artists who
reside in our state and use watercolor as
their preferred medium.
According to the group’s website, the
Louisiana Watercolor Society was founded in
1968 and exists to advance the art of painting
with water media. Watercolor is made from
water-soluble pigments. It can be applied to
paper quickly, which may explain why many
works in watercolor display scenes from
nature, such as exotic flowers, landscapes, or
people displaying intense emotions. Images in
watercolor capture the transitory essence of our
world. Aquarellistes: Louisiana Watercolorists
will be on view from September 15 through
December 8, 2012.¾
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Louisiana Voices: Six Artists Speak to Us
The artists chosen for this exhibition are
all Louisiana natives with exceptional
talents in the visual arts. Each artist has
developed a unique visual language that
reflects both their roots in Louisiana and
their knowledge of art history. For Marjorie Pierson, Melissa Bonin and Linda
Dautreuil, a love of nature and landscape is
evident in the images they create. In their
abstractions, one can see visual elements of
Louisiana’s landscape; vines, trees, plants,
mist, and water filter through these artist’s
paintings and photographs reflecting the
many diverse faces of Louisiana’s natural
beauty.
Lisa Osborn and Amy Guidry also work
with subject matter derived from nature
but in a language grounded in the art historical modes of figural representation and
Surrealism. Though their aesthetics appear
less connected to their Louisiana roots,
both Osborn and Guidry have an edge to
their works that is simultaneously compel-
ling and unsettling much like aspects
of Louisiana culture. Courir de Mardi
Gras participants for example, engage us
with their brightly colored costumes yet
frighten us with their salacious antics and
masked identities. We are instinctively
drawn to these artist’s works for their sensuality, but unsettled by their underlying
power to confound and challenge us.
Troy Dugas’s work draws upon the
tradition of finding objects and then reworking the material into a new creation.
Unlike a painting or sculpture where the
artist starts with a blank canvas or a lump
of material, working with found objects
typically means the artist retains something of the object’s character, redefining
its meaning by reorganizing its context. ¾
From top left to right: The artwork of Amy Guidry,
Troy Dugas, Lisa Osborn, Linda Dautreuil, Melissa
Bonin and Marjorie Pierson.
Dedans le Sud de la
Louisiane: le Retour
This summer the Paul and Lulu
Hilliard University Art Museum
celebrates the return of photographs
by three Lafayette artists. The artwork
by Philip Gould, Greg Guirard,
and the late Elemore Morgan, Jr.
traveled throughout France and
Belgium in the 1990s. Herman Mhire
originally organized the exhibition
of photographs featuring landscapes
and images from south Louisiana.
After an intense search by Hilliard
staff the collection was returned in
2009. Come enjoy another exhibition
celebrating our states 200th birthday!
The exhibition closes on August 25th.
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HilliardMuseum.org
For the past nine years the museum’s
web site has been designed and managed
internally by museum and university staff
members. This summer the museum
contracted with Bizzuka Internet Services
to design and host a new and more
dynamic web site. The cost of the design
was underwritten by private contributions
to the museum’s Annual Appeal. The new
site will enable the museum to provide
information about programs more
effectively and professionally. The new site
also includes more features for collecting
information about visitor interests and
enables the collection of tour reservations,
program evaluations, broadcast e-mail and
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much more.
“We wanted the new design to reflect
the vision of the Hilliard - bridging
university and community, art and
education, generations and cultures.” says
Mark A Tullos, Jr., Hilliard Director. “I
believe the talented people at Bizzuka hit
the mark.”
When you visit the new site you will
notices the graphic emphasis on people
engaged in activities at the museum. The
intent is to make the virtual visitor feel
like the Art Museum is a place where they
belong.
“So many people have misconceptions
about an Art Museum. We learned
through our community assessment
last summer that many people in the
community don’t believe that the museum
is a place where they will be comfortable
and welcomed.” says Tullos. Hopefully
the new HILLIARDMUSEUM.ORG
will help change those perceptions and
become an important tool in building the
museum’s audience.¾
Visit the Museum Director’s new Blog
titled Object & Idea. The blog can be found
at hilliardmuseum.blogspot.com. Each
week Mark Tullos writes an insightful and
sometimes humorous reflections on the work
and mission of American museums.
Jazz on the Plazz
On Saturday, April 21st the UL Lafayette
Faculty Jazz Combo presented a concert
benefiting the Chorale Acadienne and
the Paul and Lulu Hilliard University
Art Museum. The event titled Jazz on the
Plazz began with cocktails on the plaza
followed by a delightful one hour concert
featuring vocalist Patsy Bienvenu.
The Jazz Combo included Paul Morton,
trumpet; Bob Luckey, saxophone; Jeff
George, guitar; Garth Alper, keyboard;
Troy Breaux, drums; and guest bassist Joe
Butts.
For the last twenty years the UL
Lafayette Faculty Jazz Combo has been
dedicated to the promotion of jazz on the
highest level. The group, comprised of
the Jazz Studies and Music Media faculty,
performed compositions in a number
of styles including swing, bebop, hard
bop, post bop, as well originals. Thank
you to our table sponsors and Glazer’s
Distributors for supporting the benefit.¾
A variety of cocktails were offered during the Jazz
on the Plazz concert. Special thanks to museum
volunteers Vanessa Hill and Whitney Garland for
managing guest reception.
The third annual Picasso’s Attic Art and Print
Sale raised $10,919 for museum collections
conservation and preservation. The event was
held in the museum loading bay
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Eygpt in Louisiana: The Ambassador Jefferson Caffery Collection
What we now identify as art of the ancient
Egyptians was originally created for
religious purposes. Egyptian art includes
the architecture, painting, sculpture, and
the utilitarian objects of ancient Egypt.
Much of the surviving art comes from
tombs and monuments emphasizing life
after death and the preservation of the
past. Usually an inscription, made up of
pictorial signs (hieroglyphics), identify the
name and title of the person entombed.
Symbolism in art played an important
role in establishing a sense of order for
Egyptians. For instance, a pharaoh’s
regalia, headdress, scepter, and ankh,
symbolized his power to maintain order,
while symbols of Egyptian God’s and
Goddesses are depicted as humans,
animals, or humans with animal heads.
Images of deities are shown offering an
Ankh to a king as a symbol of eternal life.
Egyptian art uses unnatural colors in
order to indicate a sense of divinity, Blue
or gold is utilized because of its association
with precious materials, and the
prodigious appearance it creates. Royal
figures, often rendered in black, express
the virility of the Nile, which symbolized
the organization of all life for Egyptians.
The Egyptians did not look toward an
afterlife in some distant paradise but to the
continuation of their daily lives on Earth,
enjoying all the pleasures of life with none
of its pain and hardships. This vision of
the afterlife is evident in the sculptures,
reliefs, and wall paintings of Egyptian
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tombs, with the deceased portrayed
in the way he or she wished to remain
forever. No other culture has created a
greater variety of art forms to ensure the
protection and well-being of the deceased
in the afterlife.
This summer, the Hillard presents a
little known aspect of the university’s
collection, Egyptian artifacts from
Ambassador Jefferson Caffery. Ambassador
Caffery was born in Lafayette, Louisiana on
December 1, 1886. He was a member of the
first graduating class of the Southwestern
Louisiana Industrial Institute, which later
became the University of Louisiana at
Lafayette. Caffery also obtained a degree
from Tulane University in 1906, and gained
admittance to the Louisiana bar in 1909.
Caffery worked 43 years in foreign
service under eight presidents, Taft,
Wilson, Harding, Coolidge, Hoover,
Roosevelt, Truman, and Eisenhower.
Caffery and his wife Gertrude eventually
moved to Rome after his retirement in
1955, where he was the honorary private
chamberlain to Popes Pius XII, Pope John
XXIII, and Paul VI.
In 1971, Caffery was awarded the
foreign service cup by his fellow foreign
service officers. He held several honorary
degrees and decorations, including the
Laetare Medal from the University Of
Notre Dame in South Bend, Indiana,
presented in 1954. In 1949, and 1955
respectively Caffery received the Grand
Cross of the Legion of Honor from
the president of France and the Order
of the Cordon of the Republic from
the president of Egypt. He returned to
Lafayette in 1973, shortly before Mrs.
Caffery’s death. He died a year later in
April of 1974. The Egyptian collection
was placed on permanent loan, from
the Caffery family, to the University of
Louisiana at Lafayette in 1976.
Jefferson Caffery served as U.S.
ambassador to El Salvador (1926–1928);
Colombia (1928–1933); Cuba (1934–
1937); Brazil (1937–1944); France
(1944–1949) and Egypt (1949–1955).
A portion of Louisiana Highway 3073
in Lafayette is named the Ambassador
Caffery Parkway in his memory.
The Hilliard Museum would like to
thank the Edith Garland Dupré Library
at UL Lafayette and the staff of Special
Collections: Caffery Papers for their
exceptional assistance in gathering images
and information for this exhibit.¾
Center: Ibis, 26th Dynasty, 664-525 B.C.
Raising Children in Museums
Raising youth in museums benefits the
whole child. The intellectual challenges,
visual stimulation, and the unique
vocabulary all contribute to shaping an
engaged learner. Museum educators and
docents will tell you that you can have
conversations in a museum gallery that
you may never have anywhere else because
the imagery and history behind the
creation of an artwork foster new ideas
and provoke a response, whether that
response be verbal or written.
The photo at the top left of this
page captures a moment during the
Summer Scholars Residential Program,
a partnership between the Hilliard and
the Center for Gifted Education at
UL Lafayette. The Sunday - Thursday
residential program was designed to
develop the academic, leadership, and
creative skills of 7th, 8th, and 9th grade
students who have demonstrated high
levels of ability in their school work, in
the arts, or in their daily lives. Classes
integrated Museum collections in the
course work and were taught in the
galleries and the A. Hays Town Building.
Last spring the Hilliard Museum,
in partnership with the UL Lafayette
College of Education Teacher Candidates,
presented Creative Classroom for Young
Learners (image top right). Future
teachers provided a series of stories and
lessons to include hands on activities
appropriate for ages pre-K - 3rd graders.
The program was free.
Julie Fox (bottom center) with the
Lafayette Parish School System conducted
her annual Art Smart professional
development program utilizing our
museum collection. The program provides
teachers training in ways to utilize
museum collections as teaching tools.
For the second year the Hilliard
Museum joined Episcopal School of
Acadiana (ESA) in our partnership titled
the International Children’s Museum
(ICM). Through volunteer leadership
and ESA faculty, this program integrates
art and museum science into the school’s
daily curriculum through exhibitions,
activities and an international art exchange
each year. The objectives include teaching
students about the role of museums and
art in society and to teach pluralism of the
arts and creative thinking in the arts. This
program is an effective discipline-based
art education tool for faculty, students
and families. In the photo above, Museum
Director, Mark Tullos appeared with
ESA Headmaster, Charles Skipper and
ICM students on the morning television
program Good Morning Acadiana hosted
by Tom Voinche.¾
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Artist Griminisa Arora visits with Museum Curator Lee Gray during the
installation of Uros House.
¾
Programs and Partnerships
The images from left to right capture parents waiting to pick
up children who participated in the Summer Scholarship
Residency program. Alexander Mouton House museum
trustees, Ramona Mouton and Deanie Chasson pose with
General Mouton’s armoire. The Museum returned the armoire,
which has been in the museum’s collection for 40 years, to it’s
rightful home. Bishop Glen John Provost of Lake Charles
brought his seminarians to the exhibition Faith & Form. A
partnership with the Center for Louisiana Studies at UL
Lafayette yielded a series of lectures about Louisiana history
including An Afternoon with New Orleans’ Raconteurs: George
Schmidt, James Nolan, Gordon “Tad” Wilson, and Jason Berry.
In celebration of African American History month the Hilliard
presented a forum for local African American leaders. The
discussion was presented in conjunction with the book signing
by Sherry T. Broussard author of Images of America: African
Americans In Lafayette and Southwest Louisiana. Left, City of
Scott Mayor Purvis Morrison speaks about his family history in
Acadiana. ¾
14
Hilliard Across America
For the past two years, the exhibition
organized by the UL Lafayette’s Art
Museum titled East/West: Visually
Speaking has traversed the country and
appeared in six museums. Museums
included the Jacksonville Museum of
Contemporary Art, Jacksonville, FL;
Colorado State University, Bolder, CO;
The Frost Museum, Miami, FL; Schnitzer
Museum at University of Oregon;
Yellowstone Art Museum, MT and this
fall the South Texas Institute for the Arts
in Corpus Christi will be the final venue.
Many thanks to Hilliard Curator, Lee
Gray for coordinating this ambitious tour.
The James W. Bean Museum Store offers a unique assortment of
art-inspired home and office accessories, beautifully handmade
jewelry, books on art, architecture, design and culture, a large
selection of arts and crafts products, and exclusive Hilliard
Museum products. Museum Members receive a 10% discount in
the store and online, plus seasonal double discounts! Become a
Museum Member today to start saving. Stop by the store or call
for details (337) 482-0817..
Other Hilliard collections available for
travel to museums include:
Eygpt in Louisiana: The Ambassador
Jefferson Caffery Collection
Being Andy Warhol: Photographs from
the Paul and Lulu Hilliard University
Art Museum Collection
Penny Meaux Edwards
This summer the museum store
features two of our regions finest
jewelry designers, Penny Meaux
Edwards and Suzanne Juneau.
We also carry a broad selection of
work by members of the Louisiana
Crafts Guild.
Suzanne Juneau
Cora Kelley Ward: A Work in Progress
The Jacqueline Heymann Cohn
Japanese Print Collection
For more inforation about these
exhibitions and other upcoming
opportunities contact the museum at
(337) 482-0817 or email: artmuseum@
louisiana.edu.
15
The Paul and Lulu Hilliard University Art Museum at the
University of Louisiana at Lafayette plays an integral role in both
cultural enrichment and education in southwest Louisiana. The
Hilliard Museum Society was established to shepherd and support
the museum as it continues to grow and serve our many audiences.
Each seat on this Society is held by individuals who represent the
diversity, influence, intelligence, and creativity of our community.
The Hilliard Museum Society should be a standard for other
community non-profits and arts organizations in south Louisiana.
We are seeking individuals with a strong business sense, sensitivity
to the creative spirit, and a willingness to work for the betterment
of the Hilliard Museum. Society members must have a strong ethic
for fairness and a vision for the unique nature of the Art Museum.
Our Society Members are the guardians of the museum’s mission
and the programs.
You are invited to become a charter member of the Hilliard
Museum Society. The Society is a private nonprofit organization
operating within the University of Louisiana at Lafayette
Foundation.
With an annual gift of $1,000 you and your spouse are accorded
the highest level of Museum membership and all privileges
pertaining to that category. Membership also provides you voting
privileges during the annual society meeting. Hilliard Museum
Society Members also have the opportunity to serve on Society
committees.
Hilliard Museum Society Benefits & Obligations
• Minimum annual contribution of $1,000 to the Society Fund
• Opportunity to serve on one Standing Committee
• Invitation to exclusive Society events
• Unique access to visiting artists and scholars
• Voting privileges at the annual meeting of the Hilliard Society
(one per household)
• All benefits of the highest level of general museum
membership
16
Society Committees & Service Opportunities
• Membership Committee:
• Finance & Strategic Planning Committee:
• Marketing Committee:
• Special Events/ Fund-raiser Committee:
• Education Committee:
• Planned Giving/Endowment Committee:
• Art Collection Committee:
Please contact Museum Director, Mark Tullos at (337)
482-1369 or by email at [email protected] for more
information concerning the new Hilliard Museum Society.
Did you know you can also make
contributions through the Community
Foundation for Acadiana? A special
Director’s fund was established by Jolie
and Robert Shelton supporting the Museum
Director’s work, travel and research.
Collections Additions
Recently we received gifts of art work
for the museum’s permanent collection.
Devoted patron, Elizabeth Dubus
Baldridge, who contributed a delightful
painting by Arthur Dove in 2010,
contributed another fine painting in by
Bernhard Gutmann. This gift further
builds our collection of works by
American artists of the early 20th century.
Another wonderful friend, Warren C.
Lowe, Ph.D., M.P., who has enriched
this museum collection with gifts over
the years has made another significant
contribution of 42 significant works of
vernacular art. These gifts further establish
our collection of folk and outsider art as
one of the finest in the state. ¾
Back Inside Cover: Bernhard Gutmann, American,
(1869-1936), Sunset, Monhegan Island, Medium:
Oil on Panel, 8 x 10 inches, 2011.09.01, Gift of
Elizabeth Dubus Baldridge
In a wide-ranging career spent in both Europe and
America, Bernhard Gutmann created paintings, prints,
and graphic designs, taught art, served as an arts administrator, and published several art manuals. Gutmann was
born in Hamburg, Germany.
Top Left: Clinton Hill, American, Mostly Yellow,
1955, Oil on Canvas, 48 x 37 inches, Gift of the
Clinton Hill Foundation
American abstract painter who created abstract color
compositions on canvas, constructions made from wood
and canvas, wood and plastic relief sculptures, collage,
woodblock prints and unique assemblages of handmade
paper.
Collections Preservation Grant
The Museum received a $7,000 grant from
the Lafayette Visitor Enterprise Fund.
Funds will be utilized to expand accessible collections storage particularly for
works on paper. This will enable staff to
share prints and photographs with visiting
scholars, curators and university faculty
and students.¾
Bottom Left: Alfred Henry Maurer, American,
(1868-1932), Abstract Head, c.1920, Gouache, 18 x
11 inches, Gift of George N. Newton
An American Modernist who exhibited his work in avantgarde circles internationally and in New York City during
the early 20th century.
Top right: Sultan Rogers, American, (b. 1922) Man
Confronts Haint, 1995, wood and paint, 14 x 4-1/2
x 2-1/2 inches, 2001.09.25b, Gift of Warren and
Sylvia Lowe
Originally from the state of Mississippi, Sultan, also
spelled Sulton, learned carving at an early age from his
father. He began carving later in life when working the
night shift at a chemical plant.
New Staff Appointments
After a nation wide search the museum
welcomes Ramona East. Ramona will
serve as the museum’s new Registrar. She
received her B .A. in anthropology with a
minor in American Studies and History
from the University of Wyoming in 1993.
She received her M.B.S. in Museum and
Field Studies/Anthropology from the
University of Colorado at Bolder. Prior to
joining the Hilliard staff, she served as a
Museum Specialist with the National Park
Service managing over one million objects.
Kerry Frey recently graduated from
the University of Louisiana at Lafayette
where he received his B.S. and Master of
Architecture degrees with a concentration
in Historic Preservation. Kerry worked
at the museum for two years as a graduate
assistant before his full-time employment
began this summer. Kerry works as the
museum’s preparator. He is responsible
for the handling and installation of the
museum’s various exhibits. He assists the
registrar in organizing and maintaining
the museum’s permanent collection. Kerry
also acts as Chief of Security and oversees
building maintenance.¾
17
Opening Antics
Guests from New Orleans and Lafayette and Students from the UL Lafayette Communications program came dressed as historical
figures. Nearly 400 guests attended the opening reception celebrating our new exhibitions and the Bicentennial of Louisiana
statehood. The Bicentennial exhibition Satire, Scandal, and Spectacle: The Art of George Schmidt, was well received along with the UL
Lafayette’s collection of American and European Painting, Modern and Contemporary Art, the special exhibition. Morgan as Mentor
and an exhibition of new additions to the Hilliard’s print collection titled Ink... Paper... Process: Marais Press Prints. Artist George
Schmidt entertained the crowd with song and Miss Louisiana, Erin Edmiston, made a guest appearance.¾
18
New Leviathan Orchestra Concert
In May, the Hilliard put the spotlight
on Louisiana culture in 2012, the
bicentennial of Louisiana, with its
“Year of Louisiana Art and Artists.” Lt.
Governor Jay Dardenne (shown above
with wife Cathy and Hilliard Board
member Cherie Kraft) made a special
appearance followed by a concert by
the New Leviathan Oriental Fox-Trot
Orchestra. The orchestra, described as a
“living museum,” performed authentic
arrangements of vintage American
popular music from the 1890s through
the early 1930s. The orchestra paid
particular attention to the music of New
Orleans, where it is based. In addition to
the well known compositions of jazz and
ragtime composers like Jelly Roll Morton,
Fletcher Henderson, and Eubie Blake, the
orchestra’s repertory included the work
of New Orleans Tin Pan Alley composers
such as Larry Buck, Joe Verges, Paul
Sarebresole and Nick Clesi.
Taking its name from the SS Leviathan,
a transatlantic ocean liner with a well
regarded dance band at the start of the
1920s, the orchestra was founded in
1972 and has endured for more than four
decades. Their recordings are featured
in the sound tracks of Woody Allen’s
film, Bullets Over Broadway (1994) and
Storyville, directed by Mark Frost (1992),
as well as being annual presenters at
JazzFest in New Orleans and numerous
other performances across Europe and
throughout the United States.
Museum guests took advantage of
beautiful weather and brought out picnic
suppers and lawn chairs to enjoyed an
enchanting evening on the plaza with this
internationally renowned band. We plan
to bring the Orchestra back to Lafayette
next year for another memorable evening
on the plaza of the Museum. Much credit
is due our concert sponsors, Robert and
Jolie Shelton, Ralph and Cherie Kraft, The
Randy Haynie Family Foundation and,
The Daily Advertiser. ¾
19
The second annual Acadiana Wine and
Food Festival was a wonderful success.
We could not have asked for a more
perfect weekend last October. Hundreds
of people enjoyed the Friday evening Joie
du vin wine dinner and the Grand Tasting
the next day. Chef Patrick Mould was the
organizing Chef and he was supported
by community volunteers Vanessa Hill,
Whitney Garland and Luke Tullos. Many
thanks to our sponsors Glazer, Rouses,
Associated Travel, Party Central, Town
Square Media, Lafayette Convention and
Visitor Commission, HULCO printing
and all the participating restaurants and
chefs!
Mark your calendar for the next festival
October 26th. If you are interested in
becoming a festival volunteer we hope you
will contact us at artmuseum@louisiana.
edu or call 482-0817. ¾
20
Thank You to our New and Renewing Members
Golden Circle
Mr. & Mrs. Robert Shelton
Connoisseur’s Circle
Mr. & Mrs. Raymond Allen
Ms. Martha Brown
Ms. Jimmie Buie
Dr. & Mrs. James Cole
Mr. & Mrs. Jim Doyle
Mr. & Mrs. Randy Haynie
Mr. & Mrs. Ralph Kraft
Collector’s Circle
Mr. & Mrs. Robert Wiggs
Patron’s Circle
Mr. & Mrs. C. Walter Dobie
Dr. & Mrs. Martin Ducote
Mr. & Mrs. Gerald Gesser
Mr. & Mrs. John Girard
Dr. & Mrs. J. Patrick Herrington
Mr & Mrs Thomas R Hightower Jr
Mr. & Mrs. Joel Gooch
Mr. & Mrs. Richard Kennedy
Mr. Paul Leaman
Mr. & Mrs. Frank Limouze
Mr. Roger Ogden
Mrs. Charles Reily
Mr. & Mrs. Rick Revels
Mr. & Mrs. Richard Rivet
Family
Dr. & Mrs. Joseph Andriano
Mr. & Mrs. John Arnold
Mr. & Mrs. Frederic Ball, Jr.
Mr. & Mrs. Randolph Bernard
Ms. Susan E. Besse
Ms. Julie Bird & Ms. Lisa DeLacerda
Mr. & Mrs. Carl Blyskal
Mr. & Mrs. Mike Boatner
Mr. & Mrs. Jesse Bourque
Ms. Sarah Brabant & Ms. Wilmer MacNair
Mr. & Mrs. Billy Bullington
Dr. & Mrs. Beau Burch
Mr. James R. Burke
Ms. Bonnie H. Camos
Ms. Yvonne Carter
Velma & Robert Clement
Mr. Bruce Conque
Mr. & Mrs. Robert Cox
Dr. & Mrs. Pearson Cross
Mr. Robert Dafford & Ms. Lillian Elston
Ms. Aggie DesJardins
Mr. & Mrs. John Duplantis
Mr. & Mrs. Thomas Falgout
Dr. & Mrs. Tim Faul
Mr. & Mrs. Joseph Giglio
Mr. Philip Gould & Mrs. Margo Hasha
Mr. & Mrs. James Grace
Mr. & Mrs. Keith Guidry
Mr. & Mrs. Brooke Hamilton III
Ms. Linda Harris & Mr. Percy Bernard
Mr. & Mrs. John Hathorn
Mr. & Mrs. Rick Hawkins
Mr. & Mrs. Joel Hilbun
Mrs. Wynelle Jones
Dr. & Mrs. Henry Kaufman IV
Drs. Jean & Larry Kreamer
Ms. Roxanne Guillory & Mr. Matthew Lane, Jr.
Ms. Jetta Molter
Mr. & Mrs. Asa Moss
Mr. & Mrs. Chase Nelson
Mr. & Mrs. Mike Neustrom
Dr. & Mrs. Charles Olivier
Mr. Jesse Poimboeuf & Ms. Nancy Brewer
Mr. & Mrs. Joe Pons
Mr. & Mrs. Jack Proffitt
Mr. & Mrs. Sammy Pyle
Mr. & Mrs. Wayne Robideaux
Mr. & Mrs. Victor Schneider
Mr. & Mrs. Burton Smart
Mr. & Mrs. Charles Smith Jr.
Mr. & Mrs. James R. Stewart
Mr. & Mrs. Ray Sutton
Mr. & Mrs. Byron Vermillion
Mr. & Mrs. Chuck Wood
Ms. Virginia Yongue
Friend
Ms. Aline M. Arceneaux
Ms. Mary M. Attrep
Ms. Mary Ann Bernard
Ms. Rebecca Berner
Mrs. Monique Burdin
Ms. Joan Cain
Ms. Brenda Cary
Mrs. Tom Castille
Dr. Barbara J. Cicardo
Mr. Howard Cornay Jr.
Ms. Linda Dautreuil
Ms. Martha S. Dixon
Ms. Camilla Drobish
Mr. Steve Drouant
Ms. Julie M. Dubuisson
Ms. Dorothy Ducote
Ms. Kathy Dumesnil
Ms. Deborah Elberson
Ms. Susan Fang
Mr. R. Greg Faulk
Dr. Jean E. Finch
Ms. Ellen Gill
Mr. & Mrs. Kim Goodell
Ms. Caroline F. Goodman
Ms. Margaret Guerrini
Ms. Jill Hall
Ms. Kathleen Hidalgo
Mrs. Joan Hill
Mrs. Madelyn B. Hoyt
Mrs. Willanna James
Ms. Mary Kramer
Ms. Sandy H. LaBry
Mr. & Mrs. Richard Labutka
Mr. & Mrs. Dave Landgrave
Mrs. Connie M. LaRochelle
Ms. Eleanor H. Lasseigne
Ms. Phyllis Malzyk-Giordano
Mrs. Elaine L. Mann
Dr. Nancy W. Manuel
Mrs. Anna Marquardt
Mr. Arthur Mcviccar
Ms. E. Karen Miller
Ms. Dorothy Mims
Mrs. Pat Olson
Ms. Jean Ostrich
Ms. Ellen Patton
Mr. & Mrs. Warren Perrin
Bishop Glen John Provost
Ms. Paulette Rawdon
Ms. Kathy Rosenberg
Mrs. Betty Rowell
Ms. Natalia Sidorovskaia
Dr. Enrica Singleton
Mr. & Mrs. James Slatten III
Mrs. Bettie S. Sonnier
Mrs. Sarah J. Stephens
Mrs. Lawrence LeRoy Swan
Mrs. Sandra Swearingen
Mrs. Cathy Thomason
Ms. Stephanie Warner
Ms. Wilda Webre
Ms. Cathy A. Williamson
Annual Appeal Donors:
Robert and Jolie Shelton, Amos &
Vaughan Simpson, Charles Jagneaux,
Madelyn B. Hoyt, James Burke, Dr.
& Mrs. H.B. Burch, Virginia Yongue,
William Edwards, Jr., Mr. & Mrs. C.
Walter Dobie, Daryl Starr, Joel & Janet
Gooch, Gretchen M. Stewart, Mr. Arthur
D. Green, Joseph & Diane Billeaud, Dr.
& Mrs. Patrick Herrington, Dr. & Mrs.
Alvin Merlin, Mr. Adele Smart, Dr. Ruth
Ettinger, Drs. Carolyn & Harry Bruder,
Dr. & Mrs. E. Joseph Savoie, Dr. & Mrs.
E. Kinchen, Jr., Martha Brown, Carolyn
& Joe Pons, Charles & Mary Ellen
Sonnier, Ralph or Elisabeth Kraft, Sarah
Jane Stephens, Trula Russek, Dennis G.
Sullivan, Warren C. Lowe, PhD, Yvonne
B. Carter, J. Neil Morein, LLC, Marion D.
Rosser.
21
Dr. E. Joseph Savoie, President, UL Lafayette
Join the Museum Family!
Museum Governance Board
Are you a part of the museum family? Join the museum today and enjoy the benefits and satisfaction
of knowing that you support Acadiana’s Art Museum. Please indicate the level of membership you
would like to join:
Dr. Carolyn Bruder, Interim Provost, Board Chair
Mrs. Jenny Cole
Dr. John Troutman
Mr. Joel Gooch
Mr. John Hathorn
Dr. Vanessa Hill
Ms. Cherie Kraft
Ms. Jan Swift
Ex-officio Representative
Ms. Julie B. Falgout, UL Lafayette Foundation
Museum Staff
Director, Mark Tullos, Jr.
Curator of Exhibitions and Collections, Dr. Lee Gray
Assistant to the Director, Debby Mayne
Retail/Visitor Services, Cindy Hamilton
Registrar, Ramona East
Preparator and Chief of Security, Kerry Frey
Security, Hugo Boutte
Graduate Assistants: Jason Knight, Chun Lee and
Courtney Dupre
710 East Saint Mary Blvd., Lafayette, LA 70503
P. O. Drawer 42571, Lafayette, LA 70504
Phone number: (337) 482-2ART (482-2278)
Fax number: (337) 262-1268
Email address: [email protected]
Hours: Tuesday - Thursday 9-5, Friday 9-noon &
Saturday 10 a.m. to 5 p.m.
University Art Museum Members - Free with
Member Card, UL Lafayette Students, Staff and
Faculty, Serving Military Families - Free with I.D.
Admission: Adult $5, Senior Citizens (50 and older)
$4, Student (5-17) $3, Adult Groups of 20 or more
$4, Senior Groups of 20 or more $3, Student
Groups of 20 or more $2
On the web at hilliardmuseum.org
Also follow the Hilliard on
General Levels (Circle One)
Individual -$40
Family -$55
Senior Citizen, Student or Educator -$25
Student -$35
Contributor Levels
Patron’s Circle -$250
Collector’s Circle -$500
Hilliard Museum Society -$1,000
Enclosed is my check in the amount of $_________ payable to the Hilliard Museum.
Name ______________________________________________________
Address _____________________________________________________
City, State & Zip ________________________________________________
Phone No. ___________________________________________________
Email ______________________________________________________
If you prefer Visa, MasterCard or American Express, please enter your credit card information and
sign below:
visa mc ax
Card No. ____________________________________________________
Exp. Date ___________________________________________________
Signature ___________________________________________________
I’m interested in becoming a museum volunteer; please call me.
* Many employers sponsor matching gift programs and will match any charitable contributions made
by their employees. If you know that your company is eligible, request a matching gift form from
your employer, and send it completed and signed with your gift. We’ll do the rest. If you’re not sure
if your company has a matching gift policy, please write your employer’s name below:
Company ____________________________________________________
The impact of your gift on the museum may be doubled or tripled. Some companies match gifts made
by retirees and/or spouses. Join the Museum online! For any information regarding the museum,
please call us at (337) 482-0817, email us at [email protected] or visit our web site:
hilliardmuseum.org.
The flags that have flown over the state of Louisiana were
installed on the historic A. Hayes Town Building for the state’s
bicentennial celebration.
&
Return to: UAM, P.O. Box 42571, Lafayette, LA 70504. The board, staff and volunteers of the Paul
and Lulu Hilliard University Art Museum thank you for becoming a member.
Exhibition and program support provided by Museum Supporting Level Members, Annual Appeal Contributors
and the Lafayette Convention and Visitors Commission.
N o n-P r o f i t O r g.
U. S. P O S T A G E
PAID
Lafayette LA 70504
P E R M I T N O. 2 1 8
P O D rawer 40400
Lafayette LA 70504-0400
hilliardmuseum.org
OR CURRENT RESIDENT