Past Exhibitions

58th Annual Juried Competition

On view: 4-Mar-2021 8-May-2021

The Masur Museum of Art announces the 58th Annual Juried Competition

hosted by the Northeast Louisiana Delta African American Heritage Museum!

Thank you to the Northeast Louisiana Arts Council for sponsoring this year's competition!

Due to damage to the Masur Museum of Art caused by a tornado in April 2020, the Northeast Louisiana Delta African American Heritage Museum has graciously agreed to host our 58th Annual Juried Competition! We would like to extend a heartfelt "thank you" to our friends there for supporting us in this time.

Exhibition on view March 4 – May 8, 2021 at the Northeast Louisiana Delta African American Heritage Museum, located at 1051 Chenault Park Road in Monroe, Louisiana. Work will be judged by Dr. Kelli Morgan, independent curator, historian, and culture critic!

For those who would like to see the 58th Annual Juried Competition but aren't local to Monroe...our virtual exhibit is officially live! You can view all of the pieces in this year's competition, as well as vote for the People's Choice Award!

Also, if you missed the Juror's talk where Dr. Kelli Morgan discussed the competition and announced the winners, it is also available in the online exhibition! 
Don't miss your chance to see all of the art submitted this year...virtually 🙂

Virtual exhibition: 

A bit of information about our 58th Annual Juror, Dr. Kelli Morgan:

Originally from Detroit, MI., Dr. Kelli Morgan is a curator, author, educator, and social justice activist.

She earned her doctorate in Afro-American Studies and a Graduate Certificate in Public History – Museum Studies from the University of Massachusetts Amherst (UMass). Specializing in critical-race curatorial analyses, her interdisciplinary research focuses on Black women’s visual narratives. Most recently, her work has demonstrated how traditional art history and museum practice uphold white supremacy and maintain white cultural hegemony. She’s held curatorial positions at the Birmingham Museum of Art, the Pennsylvania Academy of the Fine Arts, and the Indianapolis Museum of Art at Newfields where she recontextualized American collections to illuminate systemic racism and structural inequities to encourage responsible approaches to museum DEI initiatives.
Currently, Dr. Morgan is an independent curator and art consultant.

Thank you to all of our 58th Annual Juried Competition Artists!

Lawrence Baker (OH), A. Bascove (NY), Cindy Blair (LA), Martin Brief (MO), Christopher Paul Brown (NC), Heidi Carlsen-Rogers (AR), Charles Clary (SC), Julie Corcoran (WV), Andrew Cortez (CA), Shaina Craft (IL), Dean Dablow (LA), Jennifer Deppe Parker (NY), Michele Evola Wagner (NY), April Fitzpatrick (FL), Ashley Gates (FL), Frank Hamrick (LA), Brian Harper (IN), Sidra Hassan-Brown (NY), Robert Hein (MD), Karen Hillier (TX), Patricia Houghton Clarke (CA), Michael Hower (PA), Brandon Hudson (TX), Quinn Jin (LA), Kevin B. Jones (CA), Phillip LeBlanc (LA), Stacy Leeman (OH), Hugh Leeman (CA), Lodiza Lepore (VT), Stephen Marc (AZ), Donna McGee (LA), Mark Mcleod (TN), Rosemary Meza-DesPlas (NM), Phillip Michaels (NY), Jacob Moffett (LA), Ania Moussawel (FL), Leslie Nolan (VA), Liam Perez (IL), Alfield Reeves (MI), Nancy Rivera (UT), Jennifer Robison (LA), Cheryl Sampson (MO), Stephen Spiller (NY), Wanda Sullivan (AL), Raymond Thompson (WV), Darren Thompson Jr (MD), Paul Trichel (AR), Rhonda Urdang (AZ), Nancy VanDevender (MS), Katelyn Vaughan (LA), Lynn Anne Verbeck (PA)

57th Annual Juried Competition

On view: 27-Feb-2020 09-May-2020

The 57th Annual Juried Competition


Reception with Juror's Talk and Prize Announcements: Friday, February 28th, 5:30-7:30pm

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. Over $3,000 in prizes is awarded to artists every year. Last year's Best in Show prize went to Gabi Magaly, of San Antonio, TX, for her photographic tapestry Santa Catherine De Siena.

This long-running competition also showcases some of America’s best curatorial talent. The juror for the 57th Annual Juried Competition is Allison Glenn, Associate Curator of Contemporary Art at the Crystal Bridges Museum of American Art (Bentonville, AR).

Past jurors include: Catherine Futter, Nelson-Atkins Museum of Art; Joel Parsons, Cough-Hanson Gallery at Rhodes College; Daniel Stetson, LSU Museum of Art; Gia Hamilton, Joan Mitchell Center; Holly Hughes, Albright-Knox Art Gallery; Sandra Firmin, Colorado University Art Museum; Kelly Shindler, Contemporary Art Museum St. Louis; George Shackelford, Kimbell Art Museum; Liza Simone, Phantom Galleries, Los Angeles; Alison Greene, Museum of Fine Arts, Houston; David Houston, currently Bo Bartlett Center; and Miranda Lash, currently Speed Art Museum.

Thumbnail Image: Camila Franco Ribeiro Gomide (Baltimore, MD), Sol e Tia Thaynah, digital photograph. Courtesy of the Artist.

Selected Artists:

Gerald Alderman (GA), Jenny E. Balisle (CA), Nancy Barbosa (GA), Stephanie Cobb (LA), Brandon Crist (LA), Bill Davis (MI), Drek Davis (LA), Brooks Dierdorff (FL), William Dooley (AL), David Gardner (CA), Annette Giaco (SC), Southerly Gold (LA), Camila Franco Ribeiro Gomide (MD), Robert Gordon (AR), Anna Grevenitis (NY), Kevin B. Jones (CA), Bette Kauffman (LA), Jaime Knight (CA), Ann Kozeliski (FL), Marcia Mahoney (LA), John Moore (AL), Arely Morales (TX), Armin Mühsam (MO), Lake Roberson Newton (TN), Steve Novick (MA), Raymond Padron (TN), Sung Eun Park (OR), Linden Pohland (WI), Ziba Rajabi (AR), Roz Ritter (CA), Jennifer Robison (LA), Rossana Romero (CA), Tokie Rome-Taylor (GA), Sarah G. Sharp (NY), Martina Shenal (AZ), Ginger Sisco-Cook (TX), Shyun Song (NY), Bradley Dever Treadaway (NY), Vadis Turner (TN), Jiawei Zhao (NY)

Synthesis: Art and Nature in the Post-Digital Age

On view: 12-Dec-2019 09-Feb-2020

Synthesis: Art and Nature in the Post-Digital Age

On view Dec 12, 2019 - Feb 8, 2020 

As our technology advances it is easy to believe that we have grown very far from our natural selves. Many people fear the state of our Post-Digital world, consumed by screens and overwhelmed by targeted advertisements and social media, as technology becomes more completely integrated into our everyday lives. The artists in this exhibition look past the blip of the digital screen and into the future - a future in which the boundaries between nature and technology blur completely.

Featuring work by 26 artists from around the globe, this exhibition includes 3D printed sculpture, Virtual Reality, special effects animation, interactive smartphone filters, digital painting, and traditional media.

Programs of the Twin City Art Foundation are supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, in cooperation with the Louisiana State Arts Council as administered by the Northeast Louisiana Arts Council. Funding has also been provided by the National Endowment of the Arts, ArtWorks.

Thumbnail: Shavana Smiley, Alien Space Goddess, 2018. 3D printed PLA, leather, acrylic, LED light, crystals. Image courtesy of the Artist.

Treasures of Art Nouveau

On view: 05-Sep-2019 23-Nov-2019

Treasures of Art Nouveau

On view Sep 5 - Nov 23, 2019 

Free public reception: Friday, September 6, 5-7pm 
with a talk from visiting curator, Annemarie Sawkins, PhD. at 6pm

Generously Sponsored by:

This very special exhibition comes from a private collection in Milwaukee, and has never before been exhibited outside of its home city. Art Nouveau and its related movement, Arts & Crafts, developed in the late 1800s as a reaction against previously popular academic styles and the heavy ornamentation of the Victorian era. Instead, these movements emphasized handcrafting and design inspired by nature, most notably an appreciation of flowing lines and contours. The exhibition features decorative objects and furniture, sculpture, prints, and paintings from the 1890s – 1930s that capture the spirit of this stylistic era and demonstrate how it permeated all types of art and design. 

Highlights of this exhibition include glassware and lamps by Louis Comfort Tiffany, cameo vases by Emile Gallé, European claret jugs, sculptures by Emmanuel Villanis and Charles Drouet, and a variety of wooden furniture. The exhibition also features a wonderful array of lithographs by Alphonse Mucha, Paul Berthon, Emile Bertrand, and Eugène Grasset among others, plus paintings, drawings, and other prints of the era.

Thumbnail: Eugène Grasset (French, 1841-1917), Encre L. Marquet (L. Marquet Ink), 1892. Color lithograph with blind stamp. Courtesy of the John S. Winkowski Collection.

Our Story: Over 50 Years of Collecting

On view: 30-May-2019 17-Aug-2019

Our Story: Over 50 Years of Collecting

On view May 30 - Aug 17, 2019 

Reception Thursday, May 30, 5:30-7:30 pm with remarks from the Director and Curator at 6:30. Refreshments will be served. This event is free and open to the public.
2019 is about celebrating the history of the Masur Museum of Art: the building, the collection, and the community. Built as a family home in 1929, the Masur Museum building celebrates its 90th anniversary this year. The house was donated to the City of Monroe in 1963 to become an art museum and acquired its first work of art in 1964. The collection that developed since tells the story of evolving artistic styles and movements throughout the 20th century and into the 21st, and especially celebrates notable artists from our own region. Artists in the exhibition include Ida Kohlmeyer, George Rodrigue, Salvador Dali, Robert Motherwell, Lynda Benglis, and many more of regional, national, and international importance.
In April of 2017, however, tragedy struck. A fire in an off-site collections storage building caused smoke and soot damage to over 90% of the permanent collection. Thanks to a team of volunteers, donors, and interns, we were able to save every single work of art affected by the fire. This exhibition would not have been possible without their hard work and dedication.
Our Story is not just about the history of the Masur Museum of Art. This is also a story of the future: preserving and displaying the collection for public access and education for years to come. Join us in this celebration of art, local history, and community triumph.
Image: Ida Kohlmeyer, Composite 87-2, mixed media on canvas, 1987. Permanent collection of the Masur Museum of Art.

The 56th Annual Juried Competition

On view: 28-Feb-2019 11-May-2019

The 56th Annual Juried Competition

on view February 28 - May 11, 2019

Reception with Juror's Talk and Prize Announcements: Thursday, April 25th, 5:30-7:30pm

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. This long running juried competition also showcases some of America’s best curatorial talent. Recent jurors include: Joel Parsons, Cough-Hanson Gallery at Rhodes College; Daniel Stetson, LSU Museum of Art; Gia Hamilton, Joan Mitchell Center; Holly Hughes, Albright-Knox Art Gallery; Sandra Firmin, Colorado University Art Museum; Kelly Shindler, Contemporary Art Museum St. Louis; George Shackelford, Kimbell Art Museum; Liza Simone, Phantom Galleries, Los Angeles; Alison Greene, Museum of Fine Arts, Houston; David Houston, currently Bo Bartlett Center; and Miranda Lash, currently Speed Art Museum.

The juror for the 56th Annual Juried Competition is Catherine Futter, Director of Curatorial Affairs at the Nelson-Atkins Museum of Art in Kansas City, MO.

Participating Artists

Elizabeth Abaravich, CA; Abe Abraham, NY; Trenton Brown, GA; Richard Buswell, MT; Paula Campbell, TN; Norm Diamond, TX; M. M. Dupay, OH; Leslie Elliottsmith, LA; Farimah Eshraghi, MA; Amy Faggard, TX; Ashley Gardner, AR; Gale Gibbs, TX; Stephanie Gonzalez, TX; Sarah Granberg, OR; Richard Greene, CA; Crummy Gummy, FL; Gao Hang, TX; Lewinale Havette, GA; Dianne Hebbert, NY; Pato Hebert, CA; Ming Ying Hong, MS; Jennifer Hoskins, SC; Shreepad Joglekar, KS; R. J. Kern, MN; Noelle King, NY; David Knox, LA; Sena Kwon, NY; Joshua Littlefield, MD; Gabi Magaly, TX; A.M. Martens, IL; Andy Mattern, OK; Corinne McAuley, AZ; Daniel Melo, CA; Rebecca Miller, MO; Jason Nelson, LA; Jim Pearson, IL; Sandi Pfeifer, FL; Nikii Berry Richey, TN; Evie Richner, TN; Sharon Shapiro, VA; Annisty Thompson, AL; Chad Thompson, SC; Tonja Torgerson, IN; Rhonda Urdang, AZ; Kevin Vanek, MS; Jiawei Zhao, NY

Image: Rhonda Urdang, After Empress Josephine (1804), Femmage with hand-cut found paper, historical photograph, lace. Courtesy of the Artist.

On view: 1-Nov-2018 9-Feb-2019

En plein air: 

The Artist and the Natural World

Selections from the Permanent Collection

On view November 1, 2018 - February 9, 2019

Since the dawn of humanity, artists have looked to the natural world for guidance, inspiration, and understanding. This selection of works from the Permanent Collection of the Masur Museum and the Twin City Art Foundation features landscapes and other scenes from nature, though the artists have interpreted their surroundings in vastly different ways. From the romantic English countryside of Frederick William Hulme and the hazy bayous of Alexander Drysdale, to the scientific specimens of Alberto Rey, take a journey through this exploration of nature, and art's relationship to it.

Please note: this exhibition is in the upstairs galleries of our historic building, and is unfortunately not accessible for those with limited mobility.

Image: Alexander Drysdale (1870-1934), Untitled, oil pastel on board.

On view: 01-Nov-2018 09-Feb-2019

Richard Buswell: Close to Home

On view November 1, 2018 – February 9, 2019

Richard Buswell has photographed Western settlement sites, ghost towns and frontier homesteads for more than 41 years. He has exhibited internationally and is included in the major American collections of the Smithsonian American Art Museum, Museum of Fine Arts in Boston, Corcoran Gallery of Art, the George Eastman House International Museum of Photography and Film, Baltimore Museum of Art, Brooklyn Museum of Art, The Masur Museum of Art, and more.

Throughout his career, Buswell increasingly has moved closer to his subject matter, emphasizing corroded artifacts and decayed bones to reveal the ravages of time. Ironically, Buswell’s photographs are not about loss, but about preservation. Buswell documents the effects of extraction and industry, while also portraying the renewal of the land.

Richard Buswell: Close to Home was organized by the Montana Museum of Art & Culture, at the University of Montana, Missoula, Montana.

Image: Richard Buswell, Skull Tree, 2010, selenium-toned gelatin silver print. Courtesy of the Montana Museum of Art & Culture.

The 55th Annual Juried Competition

On view: 12-Jul-2018 13-Oct-2018

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. This long running juried competition also showcases some of America’s best curatorial talent. Recent jurors include: Daniel Stetson, LSU Museum of Art; Gia Hamilton, Joan Mitchell Center; Holly Hughes, Albright-Knox Art Gallery; Sandra Firmin, Colorado University Art Museum; Kelly Shindler, Contemporary Art Museum St. Louis; George Shackelford, Kimbell Art Museum; Liza Simone, Phantom Galleries, Los Angeles; Alison Greene, Museum of Fine Arts, Houston; David Houston, currently Bo Bartlett Center; and Miranda Lash, currently Speed Art Museum.

We are honored to have this year's juror Joel Parsons

Parsons is a curator, artist, and teacher based in Memphis, where he is the Director of Clough-Hanson Gallery at Rhodes College and Assistant Professor in the department of Art and Art History. His curatorial practice is often collaborative and driven by a desire to bring institutional resources to bear on conversations of equity and marginality. Recent projects include The Weight of Hope, No Fate But What You Make: Art and Queer Spirituality, Faith Wilding: Fearful Symmetries, and Rashayla Marie Brown: Supreme Being. He is the founder and co-director of Beige, an alternative gallery and performance space devoted to the work of LGBTQ artists. He is the Co-chair of the ArtsMemphis Artist Advisory Council and serves on the board of the UrbanArt Commission. As a Thomas J Watson Fellow in 2007-2008, he studied relational art practices in emerging global art centers. He received an MFA from the School of the Art Institute of Chicago.

Participating Artists

John S. E. Alleyne (LA), David Andree (AR), Elizabeth Arden (PA), Ariel Baldwin (IL), LeeLee Brazeal (TX), Amelia Briggs (TN), Kristen Brown (CA), Jesse Butcher (TN), Susan Chambers (AR), Dean Dablow (LA), Douglas Degges (IL), Michael DeLuca (PA), William Dooley (AL), Leah Drake (SC), Ann Marie Fitzsimmons (NJ), Mark Gordon (NC), Robert Gordon (AR), Gao Hang (TX), William Hays (VT), Joseph Holsapple (LA), Gerard Huber (TX), Jennifer Hunt (SC), Manami Ishimura (TX), Perry Johnson (TN), Kevin Jones (LA), Hannah Kozlowski (WV), Neema Lal (NY), Francine LeClercq (NY), George Lorio (MD), Stacy Medaries (LA), PJ Mills (FL), Charles Mintz (OH), Lacy Mitcham (TN), Daniel Moore (LA), Joshua Newth (MO), Stefan Nodarse (IN), Alan Pocaro (IL), Pam Schmidt (CO), Robert Schwieger (IL), Suzanna Scott (LA), Courtney Sennish (CA), Parker Seward (AL), Ricky Sikes (LA), Juvana Soliven (HI), Corrie Steckelberg (MN), Melissa Wilkinson (AR), Liz Zanca (LA).
Featured thumbnail image: Gao Hang, Bear 18, 2018, Acrylic, charcoal and oil on canvas.

Afghan War Rugs: The Modern Art of Central Asia

On view: 14-Mar-2018 23-Jun-2018

Afghan War Rugs: The Modern Art of Central Asia 
Curated by Enrico Mascelloni and Annemarie Sawkins, PhD

Located in Central Asia, landlocked Afghanistan has been a commercial crossroads served by the historically significant and influential Silk Road for over 2,000 years. It is home to mountain ranges and desert areas covering over 250,000 square miles, making it slightly smaller than Texas. A nexus of ideas and trade between East and West, it has been a site of conflict for centuries. Although Afghanistan won its independence from Great Britain in 1919 and was ruled by its own monarch until 1973, lasting peace had been elusive; recent occupiers have included the Soviet Union, the United States, and Taliban forces. 

War rugs are unique to Afghanistan and northern Pakistan, to which many weavers fled following foreign invasions and civil war. Some feature maps, portraits of military heroes, monuments, or cityscapes, but most avidly collected examples showcase weaponry and armaments. Machine guns, assault rifles, bombs, mines, tanks, war planes, and drones figure prominently. Although they are often said to have appeared first after the Soviet invasion in 1979, earlier examples do exist and may express an aspect of the country’s road to modernization. War rugs produced after 1979 derive their imagery from television broadcasts, propaganda posters, and first-hand observation of the reality of daily life in a country under siege. 

Rug weaving in Central Asia and the Middle East dates back thousands of years. The process involves knotting individual pieces of colored wool to the warp threads of a loom It can take up to a year to produce a full-sized carpet of a complex rug. The finest examples are made from the wool of Karakul sheep, the oldest known domesticated breed. Designs typically consist of a central field of floral or geometric motifs framed by a decorative border. Until recently, motifs remained largely unchanged for centuries. Major producers of Afghan rugs are the Baluchi, Hazara, Zakini, Taimini, and Turkoman tribes. While weaving has traditionally been considered women’s work, men and children are now recruited out of economic necessity. The nearly 40 war rugs in this exhibition come from a number of distinguished private collections.

Ana Benaroya: Standing Before Evil

On view: 11-Jan-2018 21-Feb-2018

Ana Benaroya: Standing Before Evil

On view January 11 – February 21, 2018

Ana Benaroya: Standing Before Evil is a mural installation depicting the battle between good and evil. This installation uses contemporary takes on archetypal imagery to convey a clear sense of Benaroya’s characters’ moral bearing. Ultimately, her work reveals the subjective nature of good and evil by use of a common color palette and ambiguous facial expressions in her work. Complex and playful, Standing Before Evil uses bold imagery to create an empathic, contemplative space in the Masur Museum of Art’s Lower North Gallery.

Benaroya is the author and illustrator of 120 Ways to Annoy Your Mother (And Influence People). Her design clients include Lincoln Center, The New Yorker, Marc Ecko, WILCO, and ABC’s World News Tonight. Her work was exhibited most recently at Rabbithole Projects, Brooklyn, NY; FISK Gallery, Portland, OR; and Nooworks, San Francisco, CA. During the last several years she was an artist in residence at Newark Print Shop, NJ, and Light Grey Art Lab, Iceland. Benaroya will complete her MFA in Painting at Yale University in 2019. 

Common Ground: Selina Akter & Anna Rowan

On view: 11-Jan-2018 21-Feb-2018

Common Ground: 

Selina Akter & Anna Rowan

On view January 11 – February 21, 2018

Common Ground is an autobiographical two-woman show featuring the work of two friends, Selina Akter and Anna Rowan. Both artists come from vastly different backgrounds and view their upbringings differently; one with positivity and nostalgia, and the other with bittersweet, smoldering beauty, tempered with an almost frenetic energy. As with most things, it is complicated. The study in contrasts is fascinating. Common Ground traces key moments in artists’ life and culminates in a large collaborative piece symbolizing their current friendship.

Anna Rowan holds a BFA from Louisiana Tech, while Selina Akter holds a BFA from the University of Colorado, Denver. Rowan has exhibited and curated many projects in Monroe at the Upstairs and Big Room Galleries. She also taught art for Big Brothers Big Sisters, Boys and Girls Club, and Parkview Housing Project. Akter has exhibited extensively in the Denver and Monroe area, as well as in Bangladesh.

Alt-Ex: Escapism: Places & Spaces

On view: 1-Sep-2017 28-Feb-2018

 Escapism: Places & Spaces

(On view at the Monroe Regional Airport Gallery)

Rodrecas Davis is an Associate Professor of Art at Grambling State University. Escapism: Places & Spaces is a small series of work the Masur Museum of Art commissioned for his exhibition at The Gallery at Monroe Regional Airport.  Davis’ rich visual language deals with themes of travel, escape, and black identity using, African folk tales, Hip Hop, Jazz, and other references. His bold color palette and crisp silhouettes create an empowering energy that invites visitors and travelers at the airport to consider their motivations for travelling, as well as their worth.   

Rodrecas Davis: Artist Statement

The works created for the show have multiple points of origin: a consideration of the actual physics of flight, an African folktale and the literary work of Toni Morrison.

In the strictest sense, fight is about breaking the bonds of gravity in order to claim a semblance of freedom. This came to mind when planning pieces to best inhabit an airport. Flight and freedom, in a contemporary sense, are class-based activities. These threads are also woven into narrative of the African Diaspora. Via the Trans-Atlantic Slave Trade, a folktale with origins in the Igbo people speaks of the people who could fly. It’s a throughline in several feature films dealing with the effects of African slavery. As told in Virginia Hamilton’s The People Could Fly: American Black Folktales,

“They say the people could fly. Say that long ago in Africa, some of the people knew magic. And they would walk up on the air like climbin’ up on a gate. And they flew like blackbirds over the fields. Black, shiny wings flappin’ against the blue up there.”

This version is reiterated in Haile Gerima’s Sankofa. In Julie Dash’s Daughters of the Dust, the alternate telling centers on enslaved Africans claiming their liberty and walking across the water back to Africa. In both instances, it is the power of faith and self-actualization that allows one to “fly free”. This literal, and figurative flight is represented by the recurring birds in the works The King - Fego (Fly Upwards), The Queen - Fego (Fly Upwards), The Group - Ijeoma (Farewell), and The Flock - Fenaba (Fly Home). Seven birds, and seven steps to heaven.

The companion pieces created for this show (Stamps Paid) are based, in part, on a character from Toni Morrison’s Beloved. The character Stamp Paid resonates with me for two reasons. 1) He chose his name, as act of self determination and freedom, and 2) his purpose was to act as a ‘liberation agent’; he ferried souls along the Underground Railroad into a new existence. Whenever I receive a piece of metered postage, I always think of that character and how the stamps on packages are also manifestations of a type of boundless freedom. In particular, the stamps used in these works feature images of people of African and Indigenous descent that were pioneering liberation agents in their own right. Their personage is the foundation for the elevation of many.

Lastly, while all of the works are influenced by music, the title of the exhibition is a contraction of two specific songs; one by James Brown and the other by Jazz musician Donald Byrd. Both recordings are staples in Hip Hop culture, itself a type of liberation agent, and both deal with self-actualization and migration as a means of catalyzing change and claiming power. It is those notions I hope to convey in these works. Looking onward, and upward, and finding oneself elevated.

Down here on the ground, Watching sparrows fly...

-“Down Here on the Ground”  (Lyrics by Lou Rawls)

About the Alt Ex Program:

We are rolling out a public art initiative with the goal of putting more great arts entertainment and education front and center in Northeast Louisiana. Called Alt-Ex, short for Alternative Exhibitions, the initiative will feature pop up exhibitions, small-scale public art projects, and off-site artist demonstrations. The first Alt-Ex project is currently on view at the Outside Gallery adjacent to Art Alley downtown. Follow the Masur Museum of Art on Instagram @masurmuseum and on Facebook @masurmuseumofart for more information.

Selections from the Permanent Collection

On view: 29-Aug-2017 24-Feb-2018

Selections from the Permanent Collection

The Butler’s Gallery features a small selection of art from our permanent collection. In April the Masur Museum’s permanent collection sustained major smoke damage as a result of a fire in our permanent collection storage facility. Some of the work on view was involved in the fire and was conserved by staff. Other works on view were in the process of being acquired by the museum when the fire occurred. Read the labels to learn more about individual works of art. If you would like to learn more about the fire and art conservation, please be sure to visit on a Tuesday or Thursday to see our art conservation exhibition titled The Lab.

Victoria Smith: It Seemed Right

On view: 11-Nov-2017 03-Jan-2018

Victoria Smith: It Seemed Right

Victoria Smith’s It Seemed Right is an attempt by the artist to visually catalog several of her personal relationships. For her project at the Masur she created symbolic representations of people, events, and objects, as well as herself, which chart the ebb and flow of how she deals with people. This soul searching work is cathartic for Smith and will likely be for visitors as well. If you were presented as a single image, perhaps resembling a coat of arms or family crest, how would your personage and conduct be manifested? Smith’s many exhibition credits include shows at the Upstairs Gallery (Monroe, LA), Rumo’s (West Monroe, LA), Parlor House (Monroe, LA), University of Southern Mississippi (Hattiesburg, MS), and Agora Borealis (Shreveport, LA). In 2019 Smith will show with the Bossier Arts Council as their Emerging Artist. She and her sister, Mashall Smith, are gaining renown in Northeast Louisiana with their mobile screen printing shop Pint Sized Printers. 

Terence C. Williams, II: Common Questions for an Uncommon Time

On view: 11-Nov-2017 03-Jan-2018

Terence C. Williams II:

Common Questions for an Uncommon Time

Terence C. Williams II’s artistic practice provides satirical insight into a variety of topics including online culture, history, hip hop, current events, and more. His paintings often have the appearance of graphic novels and other forms of popular culture he critiques. His willingness to adopt this visual strategy illustrates his elevated understanding of his subject matter and content. Williams holds a BFA from the Savannah College of Art and Design and has shown extensively in Northeast Louisiana. Williams is also a staff member at Grambling State University in Grambling, Louisiana.

Pat Phillips: Told You Not to Bring That Ball

On view: 11-Nov-2017 03-Jan-2018

Pat Phillips: Told You Not to Bring That Ball

Told You Not to Bring That Ball showcases Pat Phillip’s initial work on a yet-to-be-named series he began recently while attending the Skowhegan School of Painting and Sculpture. The work on view deals with the complexities of coming of age using references as diverse as Bambi and Boyz N The HoodTold You Not to Bring That Ball is loosely autobiographical, primarily focusing on moments in Phillips’ life when the joy of youth gives way to growing up black in America. Phillips was recently a fellow at the Vermont Studio Center, as well as Skowhegan School of Painting and Sculpture. Solo exhibitions of his work were mounted by Northwestern State University (Natchitoches, LA), Antenna Gallery (New Orleans, LA), and the Acadiana Center for the Arts (Lafayette, LA).

Alt-Ex: Zach Hannibal, Social Vices

On view: 5-Oct-2017 27-Nov-2017

Social Vices by Zach Hannibal


Thursday, October 5, 2017, 5 – 9pm

Outside Gallery, Art Alley (N. 2nd Street) and the railroad tracks, Monroe, LA

Social Vices is on view until November 27, 2017

In partnership with the Outside Gallery, the Masur Museum will present Social Vices, an outdoor installation by Zach Hannibal. Social Vices deals with how social media affects our relationships and sense of connection with people around us. Put down your phones and come see this one in person (then post about how awesome it is). Since the Outside Gallery is outside, it is always open. Like the Outside Gallery on Facebook @outsidegallery and on Instagram @outsidegallery318. Follow Zach Hannibal on Instagram @zachhannibal or visit for more information. You can buy things from Zach at

Zach Hannibal is a graphic designer and illustrator from Ruston, Louisiana. His work can be found on t-shirts, stickers, posters, magazines, and skateboards throughout Northeast Louisiana. Hannibal earned his BFA from Louisiana Tech in 2016. He currently lives in Ruston, Louisiana. 

About the Alt-Ex Program

Next time you visit the Masur Museum of Art you will see some changes. In late April there was a fire in our permanent collection storage facility. As a result we are postponing our regularly scheduled exhibitions until spring 2018. In the meantime we are transforming some of our exhibition spaces into a temporary storage facility and conservation lab. This exhibition as art conservation lab will be open to the public on Tuesdays and ThursdaysPlease come see what we are up to in The Lab.  We also opened five small, compelling exhibitions at the museum. For more information please visit

In conjunction with The Lab, we are rolling out a public art initiative with the goal of putting more great arts entertainment and education front and center in Northeast Louisiana. Called Alt-Ex, short for Alternative Exhibitions, the initiative will feature pop up exhibitions, small-scale public art projects, and off-site artist demonstrations. Social Vices is one of our many Alt-Ex projects. Follow the Masur Museum of Art on Instagram @masurmuseum and on Facebook @masurmuseumofart for more information. Exhibition listings for Alt-Ex can be found on For media inquiries, please use

Marcus Journey: Missionary

On view: 29-Aug-2017 27-Oct-2017

Marcus Journey: Missionary

Marcus Journey’s video installation is one part documentary and one part self-portrait. When Journey, a practicing Mormon, moved to Shreveport, Louisiana from the West, he felt out of place. During this time he met young Mormon missionaries who were also acclimating to the South. Sensing they were kindred spirits he became friends with many of the missionaries during their time in Louisiana. Friendship quickly turned into collaboration with Journey documenting these young men as they completed an important rite of passage in the Church of Latter Day Saints. Then, as a critical foil, he spent time with a disillusioned non-practicing Mormon for whom the mission and Mormon lifestyle was not rewarding. Journey’s Mormon identity lies somewhere in between these two parts of himself. His faith is an important part of his life and he questions it to renew his convictions and evaluate his relationships with others.

Developing Thoughts on Small Worlds

On view: 29-Aug-2017 27-Oct-2017

Lacey Stinson: Developing Thoughts on Small Worlds

Stinson’s fine oil paintings explore the many ways in which individuals create their own worlds, and often cut themselves off from others. His anthropomorphic landscapes are particularly interesting when thinking about how people perceive the world because they are incomplete. The in-progress nature of this work is fitting when thinking about this idea because perceptions are always changing. Ultimately Stinson’s are inherently positive because their intrinsic beauty mirrors humans’ indomitable optimism in the face of hardship and struggle.

Caroline Youngblood: Becoming the Butterfly

On view: 29-Aug-2017 27-Oct-2017

Caroline Youngblood: Becoming the Butterfly

Youngblood uses Northeast Louisiana’s landscape and old family photographs as inspiration for her artistic practice. She reclaims her roots by creating stunning oil paintings using these two types of source images. Her reclamation project mirrors her coming of age as a young artist with that of her family pursuing the American dream in the Delta in the past. She approaches her work with a reverence that is palpable. The visceral nature of her work is fitting being as you are witnessing her becoming something new when spending time with her paintings. 

Alt-Ex: Will Work For Food

On view: 3-Aug-2017 30-Sep-2017

Will Work For Food 

(Outside Gallery, Downtown Monroe, LA)

The Outside Gallery has a growing reputation for large, bold installations. In an unexpected way, Jenny Ellerbe’s Will Work For Food might be the boldest. Ellerbe chose to exhibit only two small works of art as a call to arms to protect one our greatest natural resources. Bees. Without these insects, we would have virtually no food, but we take them for granted everyday. We rely on bees while never really considering how thechemicals we use impact them. If you miss the images on view, you have made Ellerbe’s point. We, bees and humans, are in this together. We must work for our food! Outside Gallery, Art Alley (N. 2nd Street) and the railroad tracks, Monroe, LA. Like the Outside Gallery on Facebook @outsidegallery and on Instagram @outsidegallery318.

Below is a poem that inspired Ellerbe’s installation:

Letter to Someone Living Fifty Years from Now 

Most likely, you think we hated the elephant, the golden toad, the thylacine and all variations of whale harpooned or hacked into extinction. 

It must seem like we sought to leave you nothing but benzene, mercury, the stomachs of seagulls rippled with jet fuel and plastic.

You probably doubt that we were capable of joy, but I assure you we were.

We still had the night sky back then, and like our ancestors, we admired its illuminated doodles of scorpion outlines and upside-down ladles. 

Absolutely, there were some forests left! Absolutely, we still had some lakes! 

I’m saying, it wasn’t all lead paint and sulfur dioxide. There were bees back then, and they pollinated a euphoria of flowers so we might contemplate the great mysteries and finally ask, “Hey guys, what’s transcendence?”

And then all the bees were dead.

-Matthew Olzmann

About the Alt Ex Program:

We are rolling out a public art initiative with the goal of putting more great arts entertainment and education front and center in Northeast Louisiana. Called Alt-Ex, short for Alternative Exhibitions, the initiative will feature pop up exhibitions, small-scale public art projects, and off-site artist demonstrations. The first Alt-Ex project is currently on view at the Outside Gallery adjacent to Art Alley downtown. Follow the Masur Museum of Art on Instagram @masurmuseum and on Facebook @masurmuseumofart for more information.

Alt-Ex: Entre Nosotros (Between Us) Variation II

On view: 03-Aug-2017 28-Sep-2017

Entre Nosotros (Between Us) Variation II

(Upstairs Gallery, Downtown Monroe, LA)

An ecotone is a region of transition between two biological communities. Beaches are an excellent example of this and Lionel Cruet’s installation Entre Nosotros uses this natural phenomenon to build layer after layer of rich metaphors. Cruet takes the idea of an ecotone one step further. He conflates this ecological concept with sociological and historical themes related to the Caribbean landscape. His simulated beach includes sea stars, dramatic lighting, the sound of surf mixed with dissonant ambient sounds, and a fractured, flashing sunrise, as well as the tactile qualities of sand. Each of these elements set the stage for a variety of free associations because, of course, each response to Entre Nosotros is unique.

Within this work many ideas, including some that are contradictory, invisibly wash over one another like waves lapping on a beach. The title translated into English as “Between Us,” implies an exchange between artist and viewers, and viewers with one another. The exchange of ideas within the poetic world of Entre Nosotros mirror those in the “real” world, but call into question the physical location of ideas. Where do they reside? How do competing ideas interact? When you enter Cruet’s work, you must ask yourself what it represents. Are the flashing negative images of a rising sun an inverse of what you understand his work to be? Is it possible to be more aware of a landscape when you are not physically present?

Entre Nosotros is a symbolic representation of home, a response against imperialism, an idealized tropical escape, and more. This installation is connected to myriad ideas and places, the geographic displacement and philosophical abstraction of which can only be felt, in a shifting sense, as your “location”.

Benjamin M. Hickey, Curator of Collections & Exhibitions

Cultural context: Gilles Deleuze & Felix Guttari, Juan Downey, Hélio Oiticica, Julia de Burgos, and Édouard Glissant, Dell Upton, Kelby Ouchley, Rosalind Krauss, and Michael Fried.

Lionel Cruet was born in San Juan, Puerto Rico and received his Bachelor in Fine Arts from La Escuela de Artes Plásticas en Puerto Rico and a Masters in Fine Arts from CUNY - The City College of New York. He was the recipient of the Juan Downey Audiovisual Award in 2013 at the 11th Media Arts Biennale at the National Museum of Fine Arts, Santiago, Chile. In 2015 he had a solo show, Lionel Cruet: In Between, Real and Digital at the Bronx River Art Center in New York. Cruet’s work was featured in several notable group exhibitions including:SuperReal: Alternative Realities in Photography and Video at El Museo del Barrio in New York; Colonial Comfortat the Museo de Arte Contemporáneo de Puerto Rico; and the Sound Art Fair (Feria de arte sonoro) at Sala de las Artes, Universidad de Sagrado Corazón in Puerto Rico. His work is currently on view at The Bronx Museum of Arts’ AIM Biennale. Mind Magazine, POSTmatter, and designboom have covered his artistic practice recently. His work utilizes performance and audiovisual components to deal with ideas related to geopolitics, the natural world, and technology.

For more information about Lionel Cruet please visit Like Lionel Cruet on Facebook @lcruet and on Instagram @lionelcruet and @lionelcruetstudio.

About the Alt-Ex Program:

We are rolling out a public art initiative with the goal of putting more great arts entertainment and education front and center in Northeast Louisiana. Called Alt-Ex, short for Alternative Exhibitions, the initiative will feature pop up exhibitions, small-scale public art projects, and off-site artist demonstrations. The first Alt-Ex project is currently on view at the Outside Gallery adjacent to Art Alley downtown. Follow the Masur Museum of Art on Instagram @masurmuseum and on Facebook @masurmuseumofart for more information.

MAYA: Northeast Louisiana Bottomlands & Waterways

On view: 1-Jun-2017 19-Aug-2017

MAYA: Northeast Louisiana Bottomlands & Waterways

The exhibition and reception will take place in The Gallery by Origin Bank (Member FDIC) in the north end of the Monroe Regional Airport. Gaeb Cardinale’s exhibition MAYA: Northeast Louisiana Bottomlands & Waterways features beautiful, ethereal photo transfers.  The MAYA series emphasizes the closeness to nature and feelings of spirituality in the moments leading up to and following success during the hunt. Cardinale’s landscapes illustrate transcendence by mixing the calm dappled light of the forest or bayou with the blinding flash associated with the thrill of the hunt.

Follow the Masur Museum of Art on Instagram @masurmuseum and on Facebook @masurmuseumofart for more information. You can also learn more at

Follow The Gallery at Monroe Regional Airport on Facebook @TheGalleryMLU and on Instagram @thegallerymlu.

It Made Angels Out of Everybody

On view: 1-Jun-2017 20-Jul-2017

The Masur Museum of Art has teamed up with the Outside Gallery downtown! 
This exhibition is located at the Outside Gallery of Art Alley in Monroe, Louisiana.

“Today, Some people think that the light of the atom bomb will change the concept of painting once and for all. The eyes that actually saw the light melted out of sheer ecstasy. For one instant, everybody was the same color. It made angels out of everybody.”    -Willem de Kooning


Baltimore artist Kei Ito’s exhibition It Made Angels Out of Everybody deals with themes of loss and danger in the atomic age. Ito’s pictures have a ghost-like, irradiated appearance that gives visual form to the transience of our earthly existence, as well as forces we cannot see. His work serves as a dramatic reminder that history is cyclical and that humankind is often, with great creativity, the agent of our own destruction.

Kei Ito’s Statement

In the high summer of 1945, a specially modified B-29 called Enola Gay dropped an atomic bomb named Little Boy onto the city of Hiroshima. My grandfather, only a fifteen-year-old boy at the time, was exposed to and witnessed the light that took away his family. Many years later, it took his life in the form of cancer. I remember him saying that day in Hiroshima was like hundreds of suns lighting up the sky.


These prints were made by exposing a Type-C photographic paper to sunlight. The inverted image of an airplane was formed by placing the shadow of a model of the Enola Gay onto the light sensitive paper. The real Enola Gay delivered the purest light. Light that vaporized entire bodies of innocents, leaving only their shadows. 


The light cast by the innocent Little Boy on that fatal day created the darkest shadow known in history. Should the future bear witness to this light, there will be none left to be called angels.

More information about Ito can be found by clicking here.
Featured thumbnail: Kei Ito, Harbinger, Digital print of Type-C photographic paper exposed to the sun, 2017, Courtesy of the artist.

54th Annual Juried Competition

On view: 29-Mar-2017 5-Jul-2017

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. This long running juried competition also showcases some of America’s best curatorial talent. Recent jurors include: Holly Hughes, Albright-Knox Art Gallery; Sandra Firmin, Colorado University Art Museum; Kelly Shindler, Contemporary Art Museum St. Louis; George Shackelford, Kimbell Art Museum; Liza Simone, Phantom Galleries, Los Angeles; Alison Greene, Museum of Fine Arts, Houston; David Houston, currently Bo Bartlett Center; and Miranda Lash, currently Speed Art Museum. 

We are honored to have this year's juror Gia Hamilton, Joan Mitchell Center Director.

Hamilton’s practice as a cultural facilitator is collaborative and community based. Artists she has recently hosted at the Joan Mitchell Center, New Orleans include Firelei Baéz, William Cordova, Blane De St. Croix, and Mei-Ling Hom. In 2009, Hamilton founded Gris Gris Lab, as a place-based incubator and cultural exchange space to ensure that emerging thought-leaders could actualize their interdisciplinary projects through an innovative live-work model in Central City, New Orleans. To date, her work with Gris Gris Lab includes the exhibition, Invisible Man at the McKenna Museum in New Orleans for Prospect 2. Her current projects include the Atlanta Biennial, Southern Parlour, and the Afrofuture Society Salon series. Hamilton founded the Afrofuture Society in 2015. The Afrofuture Society is an online platform for artists of color that provides a place to communicate across disciplines and communities. Hamilton is currently on the board of the Alliance for Artist Communities and was a Dr. Norman Francis Leadership Institute 2014 Fellow. The Huffington PostCome BienPelican Bomb, and Education Revolution have published her writing.

Due to unforeseen circumstances, Gia Hamilton is no longer available to come to the reception. Daniel Stetson, Executive Director of LSU Museum of Art, has stepped in to be the Second Juror for this exhibition.

Daniel will select award winners and give a Gallery Talk at 6:45 pm. 
We are happy to have been able to work with both jurors!

We are grateful to have Daniel Stetson, LSU Museum of Art Executive Director step in as our Second Juror. 

Daniel E. Stetson has over 30 years of executive museum and curatorial leadership experience, including public and private universities and government-based and private not-for-profit organizations. Stetson assumed the position of Executive Director of the LSU Museum of Art in January 2016. Before coming to LSU, Stetson served as executive director of the Hunter Museum of American Art in Chattanooga, Tenn.  Prior to that, he was the executive director of the Polk Museum of Art in Lakeland, Fla., for nearly 15 years. Stetson holds a BA in art history from the State University of New York at Potsdam and an MFA in museology from Syracuse University. He is a 2010 participant in the Getty Museum Leadership Institute at Claremont Graduate University in Los Angeles. He continues to believe that all art is local and that good art happens everywhere.

Participating Artists

Perry Angelora (NY), James Xavier Barbour (NY), Claire Bendiner (CA), Kelly Boehmer (GA), Jesse Lee Brongersma (NY), Lindy Chambers (TX), David Contreras (CA), Barbara Crawford (VA), Carla Crawford (CA), Julie Crews (LA), Dean Dablow (LA), Mary Jean Davis (TX), Rodrecas Davis (LA), Mira Dayal (NY), Brent Dedas (KY), Lisa DeLoria Weinblatt (NY), Matthew Derezinkski (MO), Kristen Downing (LA), Patty B. Driscoll (AL), Lauren Duffy (WI), Keith Dull (OH), Walter Early (NY), Sofia Echa (NY), Shelley Feinerman (NY), Morgan Ford Willingham (KS), Kit Gilbert (LA), Abigail Good (LA), Samantha Goss (SC), Isabel Gouveia (FL), C’naan Hamburger (NY), Frank Hamrick (LA), Carol Hanna (MI), Michael Hewett (TX), Kei Ito (MD), Wendy Kawabata (HI), James Kelson (NY), Judy Lipman Shechter & David Shechter (NY), Harry Longstreet (WA), Dana Mano-Flank (CA), Stacy Medaries (LA), P.J. Mills (FL), Katie Minyard (LA), Lacy Mitcham (TN), Lake Newton (MD), Trent Pechon (LA), Pat Phillips (LA), Julie Plasketes (AL), Brittany Powell Parich (OR), Amanda Roe (LA), Les Schmidt (LA), Robert Schwieger (IL), Jon Shannon Rogers (CA), Ruth Sharton (FL), Bertrell Smith (CA), Susan Stephenson (RI), Alessandra Sulpy (NC), Tore Terrasi (TX), W. Max Thomason (CO), Monica Tiulescu (CA), Siavash Tohidi (MD), Anne Wedler (AL), Simone Welsh (DE), Terrence Williams (LA), William Winbush (CA), Kalina Winska (GA), Carolin Wood (NY), Christine Wuenschel (IN), and Robert Zurer (NY)
Featured thumbnail image: Carla Crawford, Ajmal; Refugee from Afghanistan, 2016, Oil on linen

Artist-in-Residence: Beili Liu

On view: 28-Nov-2016 11-Mar-2017

The Masur Museum of Art’s Artist-in-Residence Program consistently showcases Northeast Louisiana culture and accomplished artists from outside our area. We choose artists with little to no connection to Louisiana because it removes all assumptions in terms of looking at our culture. Artists who are curious by nature, improvise well, and have something about their studio practice that is compatible with Louisiana are natural fits. If an artist is a blank slate and earnestly wants to learn about us, it will translate to our audience, who we try to include in the creative process. If we remove as many barriers as possible for people coming to the Masur to see art, it will be a more personal experience, especially for those who may be unsure of how to respond. This provides an opportunity for Louisiana natives and transplants alike to feel more connected to our shared cultural heritage.

Our most recent Artist-in-Residence, Beili Liu, is an Associate Professor in the Department of Art and Art History at the University of Texas at Austin. Most of Liu’s projects combine folk craft traditions with a sense of place to create metaphorically rich installations. Her work is always beautiful, delicate, and overwhelmingly intricate. Experiencing Liu’s work in person is like seeing a memory. 

Upon inviting her to visit the Masur this past spring, we assembled a group of people who could give Liu an introduction to a variety of folk crafts tied to Louisiana. The resulting program was a Cultural Exchange Panel. Members of our community, with Liu in the crowd, listened to Sarah Albritton, Rose Fisher-Greer, Danny Frasier, and Mary Shambin speak about their experiences as masters of their crafts. Each is respectively a renowned storyteller and folk painter, an expert cane basket weaver holding onto her Choctaw roots, an amiable man who ties traditional hoop-style fishing nets with great speed, and a pillar in the quilting community of Northeast Louisiana. Susan Roach, a respected folklorist emceed the event and ensured Liu left with a thorough introduction to skills that may inform the work she creates for her exhibition at the Masur. It is my hope she carries the stories and skills she learned along with her for future projects, making her time in Louisiana part of her personal narrative. 

In the days following the Cultural Exchange Panel, Liu gave a lecture about her career and studio practice, met with museum members over cocktails, ate at local restaurants with members of Monroe’s arts community, and went on a memorable canoe trip in Black Bayou Lake. While on the lake Liu was entranced by how water trapped on top of lily pads shined as though it was electrified. Upon touching it, she discovered the bubbling, flashing water flowed like quicksilver. Since hearing about the abovementioned crafts, and their ties to the land, Liu has endeavored to capture this fluid relationship in a single work of art. The selection process of the title for the exhibition, as well as the work to be exhibited is in progress. Please come see the results, and attend more programs with Beili Liu at the Masur Museum of Art between November 28, 2016 and March 11, 2017.

Everything Is Abstract

On view: 28-Nov-2016 11-Mar-2017

There is one truth that permeates Dean Dablow’s art: any attempt to depict a thing alters how it is perceived, making the depiction subjective. Rather than creating an interpretive framework that is intuitively understood by viewers, Dablow focuses on creating well designed compositions.   He works in this manner because he feels interpretation is unavoidable and uncontrollable. Being as interpretation is so inherently human, he makes work that is purposefully ambiguous, relying on individuals to make it relatable. The result of this strategy is an oeuvre overflowing with rich points of reference that are ultimately inconsequential to Dablow, but effective nonetheless.

Dablow has purposefully engaged with a variety of media over the course of his career, often mining one for all it is worth before moving on to another for a time. While this progression is sequential and can be tracked chronologically, Everything Is Abstract is laid out in our gallery spaces in a non-linear fashion. This is meant to be more indicative of Dablow’s goals as an artist. It is an homage to his process rather than a staid accounting of it. Each gallery houses a variety of his work that runs the gauntlet from pithy or profound to ominous or joyous. The sensibility of individual works of art may vary, but the unifying feature of the exhibition is the slow reveal achieved by each of them. Dablow’s excellent sense of design is at play in this regard because viewers must discover for themselves an artwork’s truth. The truths you perceive may vacillate between a visceral sense of wonder or an impending sense of doom, but regardless of the sensations you feel, it is crucial to understand they are yours.

Everything Is Abstract is a retrospective featuring examples of Dean Dablow’s work beginning in 1974, and running through 2016. Dablow was born in Superior, Wisconsin, in 1946. He holds an MFA from the University of Iowa and is currently Professor Emeritus at Louisiana Tech University. Dablow was one of only two Northeast Louisiana artists to be featured in A Unique Slant of Light: The Bicentennial History of Art in Louisiana. His work resides in the collections of the Amon Carter Museum of American Art, the Contemporary Arts Center New Orleans, the former Corcoran Gallery of Art, the Masur Museum of Art, the New Orleans Museum of Art, and others. 

Accalia and the Swamp Monster

On view: 26-Jul-2016 05-Nov-2016

This installation of Kelli Scott Kelley's series Accalia and the Swamp Monster marks the first time it will be on view alongside a wide selection of preparatory sketches, as well as Bird and Squirrel, the video that inspired the series. Accalia and the Swamp Monster is a loosely autobiographical coming of age story that references fairy tales, mythology, and Louisiana bayous in a manner that feels primordial and otherworldly. Kelley’s work feels archetypal, as though we are familiar with its narrative arc and imagery. This is the case because, as a society, we know enough about Beowulf, Artemis, anthropomorphic creatures, Joan of Arc, and other references to intuitively understand Kelley’s various nods to bygone eras. It is her use of bald cypresses, pirogues, and other familiar imagery that makes Accalia’s trials and tribulations so personal to those who make Louisiana their home.

Kelley’s work is decidedly feminine. Not only is the heroine based on Kelley herself, but her paintings are executed on re-purposed antique linens, handcrafts typically associated with women and domesticity. Accalia’s actions in the story undermine traditional cultural notions of femininity, while the materiality of the linens acknowledges them as a cultural construct to some degree. These complexities ring true when the re-purposed linens, including table runners and handkerchiefs, are thought of as items used by many people over a long period of time. It directly addresses the sense of shared cultural experience so important to many functional items, while also mirroring the transmission of oral traditions like storytelling.

53rd Annual Juried Competition

On view: 15-Mar-2016 05-Jul-2016

Juror, Holly E. Hughes 
Godin-Spaulding Curator & Curator for the Collection
Albright-Knox Art Gallery

Reception with Gallery Talk by Hughes
Postponed due to flood, date to be determined

The 53rd Annual Juried Competition is sponsored by CenturyLink Security Systems

$3,200.00 in total prizes. Includes Best-in-Show $1,000, People’s Choice, and Best Packed. Additional awards to be determined by the juror.

Participating Artists 
Carolyn Adams (LA), Ransom Ashley (LA), Lester Berman (NM), Jayson Bimber (IN), Nancy Brown (CA), Marie Bukowski (IL), Richard Buswell (MT), Critz Campbell (MS), Adam Christensen (UT), Elizabeth M. Claffey (IN), Beau Comeaux (LA), Black Conroy (MD), Hannah Cooper McCauley (LA), Carla Crawford (CA), Tanya Gadbaw (IL), Louise Glass (NH), Lindsay Godin (IA), Frank Hamrick (LA), Garrett Hansen (KY), David Heo (IL), Cindy Holmes (TX), Michael Hower (PA), Richard Hricko (PA), Kei Ito (MD), Andy Johnston (GA), Marcus Journey (LA), Caitlin Margaret Kelly (NC), Emily Kenas (NY), Tray LaCaze (TX), Lauren Lake (AL), Drew Leventhal (PA), Ryan Lewis (MI), Lauren Lohman (TX), Harry Longstreet (WA), Rodrigo Lopez Gomez (NY), Jenna Lynch (CT), Shona Macdonald (MA), Amanda Maciuba (KS), Stephen Marc (AZ), Loren Marple (NH), Zachary McCauley (LA), Dan McCormack (NY), Tony McDonald (LA), Joseph A. Miller (NY), Ryan Napier (AZ), Lake Newton (TN), Soon Ee Ngoh (MS), Darren Oberto (IL), Shelby Orr (TX), Ji Yeon Park (RI), Jim Pearson (IL), Robert Pena (TX), Victoria Pendzick (NY), MaLynda Poulsen (ID), Marina Povalishina (CA), Lisa Qualls (TX), Todd Reed (IL), Gina Robbins (IL), Jimmy Salmon (TX), Suzanne Schireson (RI), Gary Schmitt (IN), Steven Silberg (MD), Paul Sisson (CO), Cara Sullivan (AR), Paul Valadez (TX), Mark Vargo (LA), Harei Waja (TX), Margi Weir (MI), Peggy Wyman (MO), Timur York (NY), Zach Zecha (PA), and Zijie Zhu (NY).

About the Competition
The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. This long running juried competition also showcases some of America’s best curatorial talent. Recent jurors include: Sandra Firmin, Colorado University Art Museum; Kelly Shindler, Contemporary Art Museum St. Louis; George Shackelford, Kimbell Art Museum; Liza Simone, Phantom Galleries, Los Angeles; Alison Greene, Museum of Fine Arts, Houston; David Houston, currently Bo Bartlett Center; and Miranda Lash, currently Speed Art Museum.

This year 384 artists, representing 42 states and Washington D.C., entered 1070 works of art for consideration by our juror. From that group, Hughes selected 72 works of art by 72 artists representing 30 states. Our exhibition will truly give you a sense of best studio practices by artists working all over the country. Upon seeing the entries this year, Hughes became interested in how artists’ work related to the historical genres of still life, portraiture, history painting, genre painting, and landscapes. Come and see what is happening everywhere, here! 

Juror, Holly E. Hughes 
Godin-Spaulding Curator & Curator for the Collection.
Albright-Knox Art Gallery
Holly E. Hughes is the Godin-Spaulding Curator & Curator for the Collection. Ms. Hughes, who is the first Albright-Knox Art Gallery curator to hold an endowed position at the museum, centers her curatorial practice on researching and organizing exhibitions that consider in-depth the museum’s Collection. She also works closely with artists in developing site-specific installations and oversees the management of the Fine Art, Digital Assets, Library, Archives, and Special Collections. Most recently, Hughes co-curated the exhibition, Monet and the Impressionist Revolution 1860–1910, which illustrates Monet’s seminal contributions to the development of modernism. She also co-curated the large-scale exhibition, Screen Play: Life in an Animated World, which to date comprises the largest survey of contemporary artists employing animation as a predominant tool in their practices. Other projects she has organized in the past three years include a comprehensive portraiture exhibition drawn entirely from the museum’s Collection entitled Eye to Eye: Looking Beyond Likeness (2015), as well as Dan Colen: Shake the Elbow (2015); Arturo Herrera: Little Bits of Modernism (2015); Sweet Dreams, Baby! Life of Pop, London to Warhol (2013); One Another: Spiderlike, I Spin Mirrors (2014), an exhibition focused solely on female artists from the Collection; and Kelly Richardson: Legion (2013), a major mid-career survey of her immersive video works. Forthcoming projects include organizing a mini-survey exhibition of emerging artist Torey Thornton in 2016 and an exhibition of large-scale drawing, which will open in spring 2017. 

Past projects include an installation at Buffalo’s Central Terminal with artist Spencer Tunick (2004) and the exhibitions Bodily Space: New Obsessions in Figurative Sculpture (2004); Op Art Revisited: Selections from the Albright-Knox Art Gallery (2008); Ingrid Calame: Step on a Crack…(2009); and Videosphere: A New Generation (2011). From 2002-2005, she served as the museum’s Project Director for The Wall: Reshaping Contemporary Chinese Art, a large-scale exhibition that marked the first collaboration between two American art museums (the Albright-Knox and the University at Buffalo Art Galleries) and a major Chinese art institution to focus on contemporary Chinese art. Additionally, from 2002-2011, Ms. Hughes was the Adjunct Professor for Museum Studies at Canisius College in Buffalo, New York. Hughes holds a BA in Fine Arts with a concentration in Photography and a minor in Art History from Buffalo State College, and a master’s degree with a major concentration in Contemporary Art and a minor concentration in Indigenous Art from the State University of New York at Buffalo.

Well Worn Truths

On view: 04-Nov-2015 20-Feb-2016

Well Worn Truths features a variety of media and deals with depictions of the body in contemporary art. The body as a theme makes the exhibition easily relatable to visitors and also makes clear the many ways our bodies can be used as powerful vehicles for any number of ideas, both timeless and timely. The images and objects in Well Worn Truths include direct representations of individuals and groups, as well as depictions that imply bodies and their associated histories through metaphor.

The artists who bring this exhibition to life include: Kyle Bravo (LA), Sonya Clark (VA), Eliot Dudik (VA), Nicole Duet (LA), Robert Hodge (TX), Cetin Oguz (MS), David Politzer (TX), Libby Rowe (TX), and Felandus Thames (NY).

Recent Acquisitions & Favorites

On view: 15-Jul-2015 20-Feb-2016

This exhibition will highlight recent acquisitions and favorites from the Masur Museum of Art’s permanent collection. While specifically outlining our collecting habits, it will also deal with broad artistic and historic trends, as well as those in the American South.

Recent Acquisitions & Favorites will feature work by Ron Adams, Robin Bernat, John James Audubon, Richard Buswell, Mary Cassatt, Joshua Chambers, Clyde Connell, Samuel Corso, Salvador Dali, Bruce Davidson, Alexander Drysdale, Jenny Ellerbe, Michael Elliot-Smith, Frank Hamrick, Albino Hinojosa, Jim Isermann, Peter Jones, Ida Kohlmeyer, Eugene Martin, Robert Motherwell, Greely Myatt, Ed Pinkston, Alberto Rey, George Rodrigue, Vitus Shell, Ann Shields, Julian Stanczak, Bill Viola, Bob Ward, Douglas Weathersby, and others.

Makers' Marks

On view: 15-Jul-2015 15-Oct-2015

Makers’ Marks is an exhibition featuring work by Todd Cloe, Frank Hamrick, and Cliff Tresner. These artists’ studio practices revolve around making objects constructed largely by hand, as well as using visual forms to express parables. Their broad storytelling capacity touches on many themes ranging from formal or art historical issues to personal narratives with larger human implications.

These artists work in representational and abstract modes in media as diverse as tintypes, books, drawings, and sculptures. The intended impact of this exhibition is an unexpected immediacy and connection by visitors to the artists’ work, because the personality of the artists and essence of their materials overlap where the traces of their touch can be detected.

Tintypes individually rendered, with their distorted edges and glossy surfaces; hand hewn wood weathered by the very hands that shaped it; aggressively welded metal; and precisely bound, deckle-edged rag paper all speak to this. By and large, the work showcased in Makers’ Marks is an interesting counterpoint to living in front of a screen and expecting instant gratification.

The exhibition is not a criticism of our milieu though, but a new way of appreciating it by reacquainting ourselves with skills and materials alien to most.

Emily Caldwell, Naturally

On view: 15-Jul-2015 15-Oct-2015

Emily Caldwell is a pillar of the arts community in Monroe, Louisiana. Her service to Monroe’s Downtown Arts Alliance has contributed to providing area artists with a launching pad for careers in the arts. Caldwell’s artistic practice is as exemplary as her service to the Monroe arts community.

She is a skilled draftswoman and a patient assembler of collages. Positing humans as unseen observers and stewards, her drawings and collages speak to the interconnectedness of various species and the roles they play in the delicate balancing act required to have a healthy ecosystem.

Taking this into account, Caldwell focuses on the habitats within Northeast Louisiana, using them as specific examples to discuss broader conservation issues throughout the world.Caldwell’s finished works of art vacillate between stripped down drawings that feel slightly somber and scientific to lyrical pattern-driven collages full of contrasting, sometimes otherworldly colors. All told, her work is like the artist herself: an improbable mixture of joie de vivre and seriousness that coalesces into beautiful, thought provoking activism.


On view: 04-Mar-2015 20-Jun-2015

The Masur Museum of Art and CenturyLink Security Systems Proudly Present:

The 52nd Annual Juried Competition

About the Competition
The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. This long running juried competition also showcases some of America’s best curatorial talent. Recent jurors include: Kelly Shindler, Contemporary Art Museum St. Louis; George Shackelford, Kimbell Art Museum; Liza Simone, Phantom Galleries, Los Angeles; Alison Greene, Museum of Fine Arts, Houston; David Houston, currently Bo Bartlett Center; and Miranda Lash, currently Speed Art Museum. Enter to get your work seen! Go to to enter!

Sandra Firmin, Juror
Director and Chief Curator, Colorado University Art Museum Sandra Q. Firmin was Curator of the UB Art Galleries, gallery of the University of Buffalo SUNY, a position she held from 2003 to 2014. She holds an M.A. from Bard College’s Center for Curatorial Studies (2002), and was awarded a Philadelphia Exhibitions Initiative Fellowship at Arcadia University Art Gallery (2003). Firmin co-curated the traveling exhibition Kim Jones: A Retrospective (with Julie Joyce). The exhibition was accompanied by the catalogue “Mudman: The Odyssey of Kim Jones” (MIT Press, 2006), co-edited with Joyce. In 2010, Firmin organized Artpark: 1974–1984, an exhibition and publication (Princeton Architectural Press, 2010) chronicling the seminal years of an innovative residency program located in Lewiston, New York, just north of Niagara Falls. At the UB Art Galleries, Firmin established an annual residency program in which artists are presented with an empty gallery to transform over time while open to the public. These commissioned projects aim to forge meaningful interactions between artists and diverse groups of people while acknowledging a turn toward research-based and ephemeral site-specific approaches in contemporary art. In 2014 Firmin co-chaired (with Julian Cox) the Association of Art Museum Curators’ annual conference in Detroit, and moderated the panel Urban Ecologies and Cultural Exchange.

Shared Earth: The Ancient Mounds Project

On view: 29-Oct-2014 15-Feb-2015

This exhibition features photographs by Jenny Ellerbe. It deals with the landscape of Northeast Louisiana as a cultural object whose layers heap one on top of another. Some are forgotten, others not. Specifically, Ellerbe’s subject matter is the ancient mounds scattered throughout Northeast Louisiana. Some of the mounds were constructed as early as 5000 BCE, but the largest and most complex mounds, located in the Poverty Point State Historic Site, were constructed from 1700 to 1100 BCE. Built by hunter-fisher-gatherers, the Poverty Point design has not been duplicated anywhere in the world. The site includes a variety of earthen constructions including five mounds ranging between two and twenty-two meters tall and six low lying concentric rings, the longest of which is over one kilometer long. One factor that likely contributed to the mounds’ successful construction was a highly developed trading network that accounted for great deposits of non-local building and tool materials found there. These materials include quartz crystals, steatite, copper, galena, and iron oxide: materials that are found as far afield as Iowa, the Ozark and Appalachian Mountains, and western Georgia. The mounds at Poverty Point are also unique in North America for their age, the proliferation of new styles of tools and cultural objects, their size, and the fact these infrastructure intense projects were completed by hunter-fisher-gatherers. The civilization that occupied Poverty Point from 1700 to 1100 BCE marked a high water point for cultural achievement that was not surpassed for several hundred years. This degree of achievement makes Poverty Point truly noteworthy in the history of humankind. The Poverty Point mounds were inscribed on the UNESCO World Heritage List* earlier this year. The mound building tradition continued in Louisiana and throughout the Southeast at varying scales until contact with European cultures disrupted it.

The manner in which Ellerbe photographs the mounds positions them as monuments to humans’ fleeting existence and a testament to the power of a nearly forgotten culture’s achievements. She often uses long dramatic shadows to indicate the passage of time and portrays contemporary human objects as though they are detritus. From image to image the mounds may be depicted as monumental or as hidden, virtually forgotten things. This contrast parallels inconsistent general awareness of the mound tradition in Northeast Louisiana. Ellerbe uses dramatic Louisiana cloud formations as a critical foil to this issue. Their regular appearance points, as it does in many art historical traditions, to the importance, majesty, and timeless nature of a thing. The Shared Earth exhibition will pair photographs with a selection of archaeological artifacts from Poverty Point. This element of the exhibition is intended to contextualize the historic nature and importance of the developments at mound sites in Northeast Louisiana within the overall story of human civilization. The artifacts speak to what we know of a moment in time as well as the human condition itself by illustrating how all human endeavors, artistic and otherwise, drive and shape our environment, ensuring our survival and giving our lives’ meaning. This is the unavoidable nature of the human condition.

Shared Earth: The Ancient Mounds Project exhibition is a collaboration between the Poverty Point Station Archaeology Program and the Masur Museum of Art. It will feature fine art photography and archaeological artifacts. Free lectures and educational activities will take place at the Masur and Poverty Point State Historic Site during the exhibition. Call the Masur at 318.329.2237 or like us on Facebook for more information. This exhibition 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 as administered by the Northeast Louisiana Arts Council.

*To be included on the World Heritage List, sites must be of outstanding universal value and meet at least one out of ten selection criteria. Please visit for more information.

Whispering Pines

On view: 29-Oct-2014 14-Feb-2015

The Masur Museum of Art is proud to exhibit renowned photographer Birney Imes’ series Whispering Pines. The series documents the life and times of Blume Triplett, the late proprietor of Whispering Pines, a roadside bar and restaurant in Crawford, Mississippi. Two women played integral roles in his life: his wife Eppie and Rosie Stevenson, his cook and business manager. Eppie was the love of Blume’s life and when she died in 1973 Whispering Pines became a shrine to her. The restaurant was slowly overrun with ephemera that documented the trajectory of the Triplett’s lives and the American South. While the newspaper clippings and knick-knacks scattered throughout the restaurant provide the chronological and geographical context for audiences of Imes’ photographs, it is the comings and goings of the Pines’ regulars that are most important when thinking about the South in the twentieth century.

By the time Imes began photographing Blume Triplett, the abovementioned ephemera became such a presence in Whispering Pines it overwhelmed the whites only side of the restaurant. Even though integration was the law of the land well before Eppie’s death, segregation was still informally enforced in many places like the Pines. It was out of necessity that integration became a part of Blume’s life. When he began having health problems Rosie Stevenson, his African American cook, became his caretaker and took on expanded duties at the Pines. She became like family to him. This coming of age story of integration took a natural, glacial course. Rosie eventually inherited the Pines when Blume died in 1991. Imes’ images of this story possess genuine warmth and a hardscrabble honesty that parallels the South’s political, cultural, and business ascendancy in the twentieth century. For better or worse, it also illustrates how many Americans continue to deal with issues of race by slowly building relationships that change the nature of our society.

Imes has exhibited his work at The Art Institute of Chicago, Chicago, Illinois; the Center for Creative Photography, University of Arizona, Tucson, Arizona; the Morris Museum of Art, Augusta, Georgia; the Museum of Modern Art, New York, New York; the Ogden Museum of Southern Art, New Orleans, Louisiana; the Polk Museum of Art, Lakeland, Florida; the Weatherspoon Art Museum, Greensboro, North Carolina; and the Whitney Museum of American Art, New York, New York. His work has also been collected by several of these venues including The Art Institute of Chicago and the Museum of Modern Art as well as many others too numerous to list. Imes is also broadly known for his three books of photography Juke Joint (Jackson, Mississippi, University Press of Mississippi, 1990); Whispering Pines (Jackson, Mississippi, University Press of Mississippi, 1994); and Partial to Home (Smithsonian Press, 1994). Whispering Pines will include audio recordings of Blume Triplett and other Pines regulars. There will also be a project gallery featuring mixed media art by Elayne Goodman created using Imes’ prints and objects from Whispering Pines itself.

Not Again?!

On view: 03-Jul-2014 11-Oct-2014

Greely Myatt was born in Mississippi in 1952. His earliest experiences with art were intuitive, improvised with everyday materials, and well outside the auspices of an educational institution. These formative experiences continue to drive his art-making approach. He is the Sculpture Program Coordinator for the Department of Art at the University of Memphis. Myatt holds an MFA from the University of Mississippi, Oxford, and a BFA from Delta State University, Cleveland, Mississippi.

In a way Not Again?! is a homecoming for Greely Myatt. His second solo exhibition took place at the Masur in 1979. Since then he and the Masur have grown a great deal. Not Again?! is also a fitting metaphor for thinking about Myatt’s studio practice. He is interested in the cyclical nature of life and symbols. Myatt often gives found objects and well worn cultural cues new life while making art. His subject matter varies drastically from a painstakingly realistic depiction of an ice cream cone dropped mid-lick to an esoteric examination of how the Underground Railroad used quilt patterns to communicate in code. As a result viewing this exhibition is like life itself and runs the gamut from humor to tragedy; sometimes simultaneously (if you like ice cream). Specific subject matter aside, Myatt is most interested in communication as the theme within his work. He constructs art much like an author writes a sentence. In a sense, his materials provide a vocabulary and the means of fabrication becomes the punctuation that holds his work together; giving it a particular emphasis or sensibility. His titles often convey specific ideas about a work of art’s intended meaning, but as with most things it is up for debate. When different elements of a particular work of art are examined, things can change.

Myatt has exhibited his art in many venues including the Alexandria Museum of Art, Alexandria, Louisiana; The Contemporary Art Center, Atlanta, Georgia; Frist Art Center, Nashville, Tennessee; Hunter College, New York, New York; Honolulu Academy of Art, Honolulu, Hawaii; Institute of Contemporary Art Boston, Boston, Massachusetts; Memphis Brooks Museum of Art, Memphis, Tennessee; Portland Contemporary Art Center, Portland, Oregon; The Running Horse Contemporary Art Space, Beirut, Lebanon; The University of Wisconsin – Milwaukee, Milwaukee, Wisconsin; and Van Abbemuseum, Eindhoven, The Netherlands.

51st Annual Juried Competition

On view: 27-Feb-2014 14-Jun-2014

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. This year's Annual Juried Competition features 79 works of art from 30 states. This year’s Juror is Kelly Shindler, Associate Curator at the Contemporary Art Museum St. Louis. Exhibiting artists include, Paul Sisson, Arvada CO, Phillip Scarpone, Athens GA, Kristin Reeves, Muncie IN, Frank Hamrick, Ruston LA, Ricky Sikes, Downsville LA, Zachary McCauley, Ruston LA, Anna Maranise, Cordova TN, J.C. Lenochan, Orange NJ, Linda Wilson, South Bend IN, Jackie Branson, Pawling, NY, Kate Shannon, Mansfield OH, Will Holub, Groton CT, Russ White, Chicago IL, Greg Sand, Clarksville, TN, Jonathan Sherrill, Candler NC, Regina Loch-Elvert, Baton Rouge LA, Jimmy Salmon, Longview TX, Mary Margaret Morgan, Birmingham AL, Grant Newman, Lyons IL, Peter Everett, Provo UT, Peter Jones, Ruston LA, Zahra Nazari, New Paltz NY, Harriet Bellows, Wake Forest NC, Drew Nikonowicz, Saint Louis MO, Jason Nelson, Monroe LA, Anna Garner, Tucson AZ, David Howe & Anita Cruz-Eberhard, New York NY, Dianne Douglas, Ruston LA, Jenny Ellerbe, Monroe LA, Véronique Gambier, Brooklyn NY, Hannah Hiaasen, Baltimore MD, Sky Shineman, AL, Gregory Martin, Starkville MS, Keith Dull, Ashland OH, Julie Plasketes, Opelika AL, Linda LaBella, New York NY, Lucinda Cobley, Houston TX, Erin Elizabeth, Bloomington IL, Viviane Silvera, New York NY, Stanley Stalewski, Woodbury MN, Jane Ogren, Pittsburgh PA, Joe Ford, Jonesboro AR, Kalina Winska, Valdosta GA, William Tarnowski, Boston MA , Kendric Tonn, Wooster OH, Carole Loeffler, Philadelphia PA, Erin Fitzpatrick, Baltimore MD, Julie Crews, Ruston LA, Kathleen Thum, Liberty SC, Jong-un Choi, West Lafayette IN, Anna Valdez, San Rafael CA, Avery Falkner, Malibu CA, Carol John, Athens GA, Morgan Everhart, Denton TX, Shan Bryan-Hanson, Sturgeon Bay WI, Nadege Morey, New York NY, Rhenda Saporito, Metairie LA, Christina Renfer Vogel, Chattanooga TN, Aliza Morell, Highland Park NJ, Isabel Gouveia, Lake Worth FL, Randy Akers, Savannah GA, Chloë Feldman Emison, Lee NH, Joyce Pommer, New York NY, Echo Lew, Diamond Bar CA, John Baran, Santa Barbara CA, Jave Yoshimoto, Alva OK, Michele Taber, Hershey PA, Joshua Chambers, Bossier City LA, Grace Troxell, Harrisburg PA, Marcus Michels, Hattiesburg MS, Corey Escoto, Pittsburgh PA, Benny Melton, Oxford MI, SethThibodaux, Oxford MS, Benjamin Adelmann, Chatsworth CA, Nils Hasche-Vasquez, Brooklyn NY, Sasha Waters Freyer, Richmond VA, Anja Foerschner, Sherman Oaks CA, Taehee Kim, Conroe TX, Christopher Atkins, Minneapolis MN.

Biological Regionalism: Monroe, Louisiana, United States

On view: 23-Oct-2013 08-Feb-2014

Biological Regionalism will feature paintings, videos, and objects created during and after artist Alberto Rey’s visit to Monroe in spring 2012. Rey strives to document the flora and fauna in the areas he visits for posterity’s sake and as a means of educating his audiences about the importance of conservation. While he does not directly portray human culture in his work, it is us that end on being on exhibition. Rey is a Distinguished Professor for Research and Creative Activity at SUNY Fredonia as well as an Orvis endorsed fly fishing guide. This exhibition will appeal to art enthusiasts and outdoorsmen alike.

Narratives Near and Far: Selections from the Wells Fargo Collection

On view: 23-Oct-2013 08-Feb-2014

This exhibition showcases well known artists working in many media. Narratives Near and Far will lend a largely American perspective to the art historical narratives of exploration, regionalism, iconography, portraiture, and interpretation in general. Exhibiting artists include Karl Bodmer, Birney Imes, Roy Lichtenstein, O. Winston Link, Robert Rauschenberg, and Eudora Welty.

Computer Aided

On view: 23-Jun-2013 05-Oct-2013

Computer Aided is an exhibition examining the impact technology has on current art making practices and contemporary culture. Photography, video, painting, code and algorithm art, and other “new” media are showcased. The exhibition addresses how new technologies allow individuals and smaller institutions to take part in cultural dialogs that are often exclusive to large influential institutions. This theme is reflected by the acquisition of art for the exhibition from s[edition], a website selling digital artworks by artists who are otherwise beyond the Masur’s means. To underpin this concept of hierarchy and increased ease of communication with technology, Computer Aided also features a variety of artists at different points in their careers who live and work throughout the United States and world. Computer Aided also explores how artists use technology as the basis for creating their art. The exhibiting artists are Keliy Anderson-Staley (AR), Joshua Chambers (LA), Harold Cohen (CA), Mat Collishaw (UK), Craig Damrauer (LA), Hasan Elahi (MD), Shepard Fairey (CA), Damien Hirst (UK), Jenny Holzer (NY), John Rodriguez (LA), Marni Shindelman & Nate Larson (GA & MD), Jes Schrom & Graham Simpson (IL), Kate Shannon (OH), and Bill Viola (CA). Additionally, Activision & Toys for Bob will present a gallery dedicated to their blockbuster video game Skylanders Giants. The artists’ interests include the mingling of historic and contemporary art-making processes, technological infrastructure, automated or repetitive processes, surveillance, code or algorithm art, mass production, interactivity, site specificity, craft, the act of viewing and interpreting images, and more. This diverse group of exhibiting artists, drawn together by their common interest in technology, allows museum visitors to take stock of newer art forms as well as evaluate technology’s potential impact on culture in broad terms.

Golden Anniversary: The Masur Celebrates Fifty Years

On view: 26-Jun-2013 05-Oct-2013

This exhibition features acquisitions from the permanent collection over the last 50 years. Golden Anniversary will showcase artists including Edwin Pinkston, Thomas Hart Benton, Dean Dablow, George Rodrigue, Julian Stanczak, Raphael Soyer, Ida Kohlmeyer, George Dunbar, Betty Waldo Parish, Bruce Davidson, Eugene Martin, Doug Weathersby, Benjamin Shamback, Auguste Rodin, Joan Miro, Jenny Ellerbe, and Samuel Corso. This exhibition will touch on broad social and art historical narratives as well as those specific to Louisiana while telling the story of the Masur's collecting habits.

50th Annual Juried Competition

On view: 01-Mar-2013 08-Jun-2013

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. The 49th Annual Juried Competition featured 72 works of art from 23 states. This year’s Juror is George T.M. Shackelford, Senior Deputy Director of the Kimbell Art Museum. Most recently he co-curated the exhibition, Degas and the Nude with Xavier Rey, Curator of Paintings at the Musée d'Orsay while serving as Chair of Art of Europe at the Museum of Fine Arts, Boston. Exhibiting artists include, Buket Savci Atature, Long Island City, NY Douglas Barrett, Birmingham, AL Cindy Blair, Pineville, LA Denise Bossarte, Houston, TX Marie Bukowski, Ruston, LA Hsiu Ching Yu, Commerce, TX Brandy Coons, Longmont, CO Phillip Counselman, Fairhope, AL Adele L. Crawford, Oakland, CA Al Denyer, Salt Lake City, UT Terri Garland, Soquel, CA Cindy Gibson, Ruston, LA Gary Guinigundo, Monroe, LA Frank Hamrick, Ruston, LA Adrian Hatfield, Ferndale, MI Anne Herrero, San Anselmo, CA Jedediah Johnson, Chicago, IL Mary Anna Keshen, Santa Fe, NM Glen Kessler, Rockville, MD Meghan Kirkwood, Sewanee, TN Connie D.K. Lane, Long Beach, CA Doug McAbee, Laurens, SC Rachul McClintic, Bossier City, LA Christopher McEvoy, Oswego, NY Peter Milder, Alexandria, LA Johnny Naked, Pasadena, CA Judith Peck, Vienna, VA Lisa Qualls, Houston, TX Laura Rusnak, Worthington, OH Justine Serebrin, New Orleans, LA Manju Shandler, Brooklyn, NY Paul Sisson, Broomfield, CO Eduardo, Sarmiento, Miami, FL William Stoehr, Boulder, CO Eva Struble, San Diego, CA Diana Synatzske, Ruston, LA David Mazure & The MMXII Collective, East Stroudsburg, PA Colin Todd, Queens, NY Christopher Troutman, Charleston, IL Mia Weiner, Baltimore, MD Caroline Youngblood, Columbia, LA


On view: 09-Nov-2013 09-Feb-2013

This exhibition features the Canadian sculptor Shayne Dark. His work examines the difference between spaces directly created and administered by mankind and those that exist separately or on their margins. Dark's work exists in both realms by using materials such as natural looking wood and theatrically colored paint. The dialog created between viewers of his sculptures and the spaces they occupy, prompts a thoughtful investigation of Man's existence within nature.

Improvisations in Time: Eugene J. Martin and the Masur Museum of Art

On view: 04-Aug-2012 20-Oct-2012

6 – 7 pm: Special Event for Patrons and Donors only. If you are a Patron level member or higher, please join us at this exclusive event for a champagne toast. Meet Eugene Martin’s widow Suzanne Fredericq, who will join us from Lafayette to speak about her husband. If you are not sure of your level of membership, please give us a call.

7 – 9 pm: Members reception. Join us for the reception for all levels of museum membership. If you are not a museum member, call us to join!

7:30 pm: Gallery Talk with Eugene Martin scholar Marie Vinouze. Marie earned her M.A. in the History of Art at the University of Paris 1 Pantheon-Sorbonne, and is the preeminent Martin scholar. She will travel from Paris, France to speak about Martin’s art and our exhibition. Vinouze is an exhibition coordinator at the Louvre Museum in Paris. 

Call (318) 329-2237 for more information.

The Masur Museum of Art is excited to announce the recent acquisition of twenty-four works of art from the estate of the artist Eugene J. Martin. The Masur’s exhibition celebrates Martin’s legacy as a visual artist in Louisiana and around the world. Martin studied painting at the Corcoran School of Art and Design in Washington D.C. His often humorous and highly abstract paintings, collages, drawings, and photographs primarily deal with the concepts of time and memory. He has exhibited at Ohr-O’Keefe Museum of Art, MS; Louisiana State University Museum of Art, LA; Walter Anderson Museum of Art, MS; New Orleans African American Museum, LA; Lilly Gallery, Duke University; and Michel Rooryck Gallery, Ghent, Belgium. Martin’s art also resides in the permanent collections of the Munich Museum of Modern Art, Munich, Germany; Ogden Museum of Southern Art, LA; University of Delaware Museums, DE; Schomburg Center for Black Culture, NY; Sheldon Museum of Art, NE; and Stowitts Museum, CA

On the surface, Eugene J. Martin’s work appears to be an after-the-fact riff on modernism driven abstraction. His work is related to this tradition, but is something more. Martin was an accomplished Jazz musician and incorporated his experience of rhythmic improvisation also associated with High Modernism or Abstract Expressionism as a means of illustrating the irregular, non-linear, but cyclical manner humans perceive, understand, and experience the world around them. He used biomorphic and quasi-mechanical abstractions to create this link with the physical perceived world, but warped them to reference the slipstream nature of consciousness as well. The improvisational language Martin ascribed to any moment or period of time plays back into how he considered his oeuvre. He conceived of it as fluid and let it be guided directly by variables such as access to art making materials dictated by his financial means, a passing interest in any given media or subject matter, and his mood. He would also muddle the chronology of his work by creating new work to add on to old pieces, dismantle a completed artwork and incorporate it into several works, or do the same with photographs of his art. This totally integrated art practice is what makes Martin stand apart from other artists; his improvisations were rigorous and permeated his entire decision making process.

49th Annual Juried Competition

On view: 12-May-2012 12-Jul-2012

The Masur Museum of Art Presents: The 49th Annual Juried Competition Open to the Public May 12 – July 21, 2012 Sponsored by Century Link Members’ & Artists’ Preview Reception All accepted artists and their guests are welcome. Saturday, May 12, 6 – 8 p.m. Juror’s Gallery Talk featuring Liza Simone, Founding Director of Phantom Galleries Los Angeles Saturday, May 12, 6:30 p.m. The Masur Museum of Art’s Juried Competition has served as a venue for innovation in contemporary art for nearly half a century and has featured both locally and nationally renowned artists. This year’s competition features 62 artists from 23 states!

Best in Show:

Matthew Dercole. if you are in my dreams where will the flies nest, 2011. Porcelain and felted wool.

Second Place (Group of 4):

Teresa Getty. take your chance, ride the pony -- only one side bucks, 2011. Silver point, gouache, graphite, and oil on panel.

Joshua Chambers. Every happy family is the same-or-It's all in the company you keep, 2011. Acrylic on panel.

Kelly Blevins. Self, 2010. Charcoal on paper.

Sharon Shapiro. Emperor's New Clothes, 2012. Powdered graphite, collage, and colored pencil on paper.

Third Place (Group of 4):

Kate Shannon. Untitled, 2012. Digital Animation from glass slide.

Tanya Chaly. Domestic Nature - Cow, 2011. Charcoal and punctured drawing on paper.

Michael Azgour. Woman in a Cafe, 2012. Oil on canvas.

Mariestella Colon Astacio. Look Up!, 2012. Watercolor, acrylic, and crayon on canvas.

Honorable Mention (Group of 2):

John Harlan Norris. Manager, 2011. Oil on canvas.

PJ Mills. Monster, 2011. Oil on canvas.

John James Audubon

On view: 09-Feb-2012 21-Apr-2012

This exhibition is a survey of prints by the famed wildlife painter of the same name. Its thematic thrust is the importance of the printmaking process to his career. The context of when or how an edition of Audubon’s work was struck is an interesting and sometimes overlooked window into the artist’s life, business practices, and legacy. John James Audubon contains some of the artist’s most iconic art, but also lesser known works, such as a selection of North American quadrupeds. This exhibition is not to be missed!

Outside In

On view: 09-Feb-2012 21-Apr-2012

Five Louisiana artists, each with a different artistic approach, transform the Masur Museum’s galleries by creating large murals directly on our gallery walls. The featured artists are, Troy Malmstrom, Jason Byron Nelson, Vitus Shell, Joey Slaughter, and Allen Spurlock. Their work reflects the historic importance and power of murals as a statement of prevailing cultural attitudes or as a vehicle for societal change. In doing so, their work will bring to mind the art of Diego Rivera, Banksy, Thomas Hart Benton, David Siqueiros, Shepard Fairey, and more. Murals are often taken for granted as pleasant tableaux or are forgotten by institutions that ought to maintain this form of expression but do not because it cannot be possessed as a valuable artifact or easily displayed as part of their programming. Even though the murals cannot be maintained permanently, OUTSIDE IN acknowledges the importance of murals as a relevant public art form by bringing them to the forefront of artistic and social dialogs in Northeast Louisiana. By doing this, the Masur Museum embraces its role as a public venue for the exchange of ideas, even if it is not broadly public in the way most venues for murals are.

Seeing and Believing: Recent Work by James Surls

On view: 03-Nov-2011 28-Jan-2012

This exhibition features sculptures and drawings with strong gestural and representational elements. Surls' art deals with the phenomenal and noumenal worlds we inhabit. He simultaneously interprets substantive experience, touching on scientific ideas like genomes and the natural order of flora and fauna while also attempting to give physical form to unseen elements that influence the course of events both large and small such as emotions, the subconscious, and the inexplicable urge of life to persist.

Michael Manjarris' Rate of Exchange

On view: 03-Nov-2011 28-Jan-2012

Michael Manjarris' career as an artist/curator is geared around the give and take concept of cultural exchange. He is concerned with how artworks, individuals, groups, and even whole cultures interact with one another in the market place of ideas. Please join us as he presents one way of making sense of a world where different cultures collide and create something new.

River & Reverie: Paintings of the Mississippi River by Rolland Golden

On view: 29-Jul-2011 19-Oct-2011

Rolland Golden's body of work "River & Reverie" explores the natural beauty and mystique of the Mississippi River. These cerebral paintings are an unexpected port of call for viewers to evaluate their personal relationship to the river and its historical importance to America. Please enjoy this prelude to Louisiana's bicentennial celebration.

Opening Reception (Free and Open to the Public): Thursday, July 28, 6 - 8 p.m.

Gallery Talk led by Rolland Golden: Thursday, July 28, 6:30 p.m.

16 Tons: Douglas Weathersby Works in Northeast Louisiana

On view: 29-Jul-2011 19-Oct-2011

Weathersby's work conceptually explores the relationship between making fine art and manual labor by documenting the janitorial activities he contracts through his company Environmental Services. His photographs, videos, and vinyl signs are simultaneously playful and professional; featuring colorful compositions of gritty garbage piles and other evidence of a hard day's work. This exhibition is particularly poignant in light of the world's present economic condition and the manner in which it has prompted a reevaluation of how work and the workplace can lend meaning to our lives.

Reception (Free and Open to the public): Friday, September 23, 5:30 p.m.

Gallery Talk led by Douglas Weathersby: Friday, September 23, 6:00 p.m.

Free Children's Drop-In Activity with Douglas Weathersby: Saturday, September 24, 2 - 5 p.m.

48th Annual Juried Competition

On view: 10-May-2011 16-Jul-2011

The Masur Museum of Art's Juried Competition has served as a venue for innovation in contemporary art for nearly half a century and has featured both locally and nationally renowned artists. We are excited to continue this tradition and will be accepting new submissions in early 2011. *Members Only Preview Reception - May 7, 2011 Open to the public beginning May 10, 2011 *Becoming a member is easy and affordable! For more information, visit the "Get Involved" section of our website, call the Masur Museum @ 318.329.2237, email, or come by Tuesday through Friday 9 a.m. to 5 p.m. and Saturday 12 p.m. to 5 p.m.

Blue Dogs and Cajuns: George Rodrigue from The New Orleans Museum of Art

On view: 01-Apr-2011 23-Apr-2011

"Blue Dogs and Cajuns" is a must see for all! It features each major period of Rodrigue's work in the intimate setting of the historic Masur Museum. This exhibition is graciously sponsored by Gabriella and Dr. Ralph Armstrong. See the "Events" page for all programming related to this exhibition!

The Finalist Exhibition of the George Rodrigue Foundation of the Arts 2011 Art Contest

On view: 01-Apr-2011 23-Apr-2011

The Finalist Exhibition of the George Rodrigue Foundation of the Arts 2011 Art Contest will feature the fifteen finalists from his statewide high school art contest. Each finalist will receive a scholarship to assist with their college education. Come and see Louisiana's next generation of fine artists!

Robert Warrens: Home to Roost

On view: 05-Feb-2011 23-Apr-2011

Home to Roost showcases works from Warrens’ 2005-2006 series, Katrina and the 2008 series Return to Paradise. Warrens’ Katrina series features dreamlike imagery that captures the artist’s own incredulity in the face of the traumas and hardships imposed on his family and adopted hometown. In comparison, his Return to Paradise series illustrates a renewed sense of optimism and a return to normalcy with idyllic depictions of indigenous Louisianan flora and fauna. Unfortunately, the recent ecological disaster in the Gulf of Mexico lends this exhibition an air of irony, but gives audiences pause to consider the cyclical nature of natural and cultural events.

About Face: A Study of Portraiture

On view: 05-Feb-2011 23-Apr-2011

This exhibition culls the best examples of portraiture from the permanent collections of the Masur Museum of Art and the Meadows Museum of Art at Centenary College with an eye toward exploring the genre's flexibility and capacity to provide the viewer with historical context that ranges from metaphysical to documentary.

Marcus Kenney: Almanac 2020

On view: 04-Nov-2010 22-Jan-2011

The Masur Museum of Art presents Marcus Kenney's singular vision of art history and American culture. You will be intrigued by his use of popular imagery, found objects, and social commentary. His diverse interests and varied pictorial subject matter provide audiences with multiple means of entry into his iconographical world. Kenney, who was raised in North Louisiana and now lives in Georgia, has had solo exhibitions in New York, Boston, New Orleans, and Atlanta. In addition to exhibiting his work in various cities throughout the United States, he has also exhibited in Paris, London, and Montreal. Kenney's work has been featured in Art in America, Oxford American, The New York Sun, The Boston Globe, Art Papers, New American Paintings, and National Public Radio. Programs of the Twin City Art Foundation are supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the Northeast Louisiana Arts Council. Members Preview Reception* November 4, 2010, 6:00-8:00 p.m. Members Preview Gallery Talk and Demonstration by Marcus Kenney Thursday November 4, 2010, 6:30 p.m. Members Preview Reception* *Becoming a member is easy. The cost is $40 and once you join, you are eligible for all members only programming and a reduced price on all programs and workshops. Call the museum for more information at 318-329-2237 or visit

Oxbows: Acquienscence and Continuity, The Photography of Lee Estes

On view: 16-Sep-2010 23-Oct-2010

A survey of Estes' most recent photography dealing with themes of decay and renewal.

LSU: Building and American Renaissance

On view: 31-Jul-2010 11-Sep-2010

This exhibition, on display in the museum's River Galleries, uses photographs, sketches, and text to illustrate the history of the architecture of LSU's campus. The exhibit was developed by architecture professor Michael Desmond, PhD, and made possible by a grant from the Getty Foundation. The 2010 statewide tour is conducted in cooperation with the Louisiana Department of State Museums Division, operated by Secretary of State Jay Dardenne

Jean Despujols

On view: 31-Jul-2010 23-Oct-2010

Cultures of Cambodia, Laos and Vietnam as Captured by Jean Despujols, 1936-1938 From the Permanent Collection of the Meadows Museum of Art at Centenary College of Louisiana. In May of 1936 Jean Despujols, a French Academic artist, was selected for a special assignment by the Grand Conseil Economique of French Indochina. He was sent to travel through Cambodia, Laos and Vietnam to record on canvas and paper the cultures of these regions. Despujols, a fifty-year-old professor at the American Academy of Fine Arts at Fontainebleau, traveled through Indochina for twenty months. The resulting 360 works were eventually purchased by Algur H. Meadows and presented to Centenary College. In 1975 the Meadows Museum of Art was established for the purpose of housing the Jean Despujols Collection of Paintings and Drawings of Indochina. This exhibition includes paintings, textiles, and drawings.

47th Annual Juried Competition

On view: 22-May-2010 17-Jul-2010

This annual competition features the work of contemporary artists from across the country. This year's Juror will be David Houston, Chief Curator and Co-Director at the Ogden Museum of Southern Art.

Louisiana Tech Studio BFA Exhibition

On view: 03-May-2010 08-May-2010

The Louisiana Tech Studio BFA Exhibition will include sculpture, ceramics, painting, and prints by Louisiana Tech's 2010 studio BFA candidates. The exhibit will feature new work by Lindsay Armstrong, Matthew Blache, Lyndey Clayborn, Meredith Mceachern, Danielle Milton, Karelle Von Hefley, and Corey Westerfield. A reception will be held on May 6 from 6-8 p.m. in the museum's Lower River Gallery in conjunction with the Don Cincone Closing Reception.

Don Cincone

On view: 02-Apr-2010 08-May-2010

Paintings in this exhibit, by renowned Louisiana artist Don Cincone, include portraits and still lifes. These works will be on loan from the Northeast Louisiana Arts Council.

Triumph Over Tragedy: The Great Depression & New Deal Era in North Louisiana

On view: 13-Feb-2010 27-Mar-2010

Triumph over Tragedy is a collaborative event to commemorate the 80th anniversary of the start of the Great Depression. The Masur Museum is pleased to participate by presenting the portraits and stories of North Lousiana residents who lived through this pivital time in our country's history. Portraits by photographers Brad Arender, Scarlett Hendricks, and Neil Johnson will be presented along with the personal stories of their subjects.

Triumph Over Tragedy: The Great Depression & New Deal Era in North Louisiana is the inaugural collaboration of the Eye-20 Creative Corridor. The Eye-20 Creative Corridor is a unified effort of the three North Louisiana Arts Councils- Northeast Louisiana Arts Council, Shreveport Regional Arts Council and Bossier Arts Council- to provide a long-term Cultural Economy Initiative that will unify the communities surrounding Interstate-20, ensuring access to the highest quality programs and services offered by artists and arts organizations in North Louisiana. In its first group effort the Eye-20 Creative Corridor is engaging 200 arts organizations, 100 professional artists, and 525 eight grade students.

Old Masters from The Thrivent Financial Collection

On view: 13-Feb-2010 08-May-2010

This exhibition of Old Master prints includes works by Renaissance and Baroque artists such as Albrecht Dürer, Rembrandt van Rijn, Lucas Cranach the Elder, Lucas van Leyden, Giovanni Battista Fontana, Hendrik Goltzius, Giovanni Benedetto Castiglione, and Etienne de Lavallee-Poussin, among others. These works are on loan from the Thrivent Collection in Minneapolis, Minnesota.

Jonathan Pellitteri

On view: 20-Nov-2009 30-Jan-2010

Jonathan Pellitteri was the 2007 recipient of the International Sculpture Center's Outstanding Student Achievement in Contemporary Sculpture Award. Pellitteri has since finished his MFA and continues to receive awards and commissions for his work. His intricately detailed sculpture has a mechanical and architectural quality. He incorporates water and plants in his work, which is constructed of various materials including metal, glass, and wood. His work is meticulous, thought provoking, and fun.

Artists of the Great Depression

On view: 28-Aug-2009 07-Nov-2009

This exhibition features the work of Depression era artists, including several who were employed by the Works Progress Administration's Federal Art Program, and photographers working under the Farm Securities Administration. The paintings, prints, and photographs in this exhibition include works by Dorothea Lange, John McCrady, Clarence Millet, Eudora Welty, Fonville Winans, and Marion Post Wolcott, among others. A special gallery will also focus on the establishment of The University of Louisiana at Monroe in 1931 and the great flood of 1932 in Ouachita Parish.

Presented in conjunction with Triumph Over Tragedy: The Great Depression & New Deal Era in North Louisiana.

46th Annual Juried Exhibition

On view: 30-Jun-2009 15-Aug-2009

Sponsored by CenturyTel

This year's juror is Miranda Lash, Curator of Modern and Contemporary Art for the New Orleans Museum of Art (NOMA).


Sarah Alewyne - Gloster, LA
Brad Arender - Monroe, LA
Bess Bieluczyk - Ruston, LA
Sheila Ernst-Bifano - Houston, TX
Critz Campbell - Mississippi State, MS
Jenny Zoe Casey - Tavares, FL
Joshua Chambers - Ruston, LA
Kyle A. Chaput - Corpus Christi, TX
Wang-Ling Chou - Pineville, LA
Linda Dautreuil - Covington, LA - Best in Show
Mark Denham - Baton Rouge, LA
Jenny Ellerbe - Monroe, LA
Dara Engler - Monroe, LA
Tate Foley - Athens, GA
Giacomo Fortunato - New York, NY
Ernie L. Fournet - New Iberia, LA
Laura Gipson - New Orleans, LA - Second Place
Jay Gould - Ruston, LA
Alicia Grullon - Riverdale, NY - Honorable Mention
Karla Hackenmiller - Athens, OH
Frank Hamrick - Ruston, LA
Charlie Heck - Monroe, LA
Steinthor H. Hrafnsson - Calhoun, LA
Georgeana Ireland - Costa Mesa, CA
Patricia Tait Jones - Ruston, LA
Larry B. Joseph - Brooklyn, NY
Leslie Kerby - Brooklyn, NY
Katy Leachman - Ruston, LA
Eric S. Lincoln - Rayville, LA
Scott Litton - Ruston, LA
Luz-Maria Lopez - Covington, LA
Joanne R. Luongo - Warwick, RI - Third Place (tie)
Joetta Maue - Brooklyn, NY
Christina Mazzalupo - Brooklyn, NY
Irvin Morazan - Brooklyn, NY
Linda Norwood - West Monroe, LA
Nick Norwood - Ruston, LA
David Orr - Los Angeles, CA
Meredith Pardue - Monroe, LA
Anastasia Pelias - New Orleans, LA
Tiana Peterson - Brooklyn, NY
Joyce Polance - Chicago, IL
Rebecca Reeve - Brooklyn, NY
Tom Richard - Monticello, AR
Bill Rowe - State University, AR
Lindley Rust - Ruston, LA - Honorable Mention
Jess Schrom and Graham Simpson - Ruston, LA
Brian Schutza - Ruston, LA
Leslie Shiels - Cincinnati, OH
Marla St. John, Julie Schapman, and Robert Brooks artist collaboration - Choudrant, LA
Donna Stack - Brooklyn, IA
Shane Stratton - Philadelphia, PA
Samuel Trioli - New Boston, NH
Kathleen Tumey - West Monroe, LA
Lauren Quinn Ward - Simsboro, LA - Third Place (tie)
Jasmine Washington - Alexandria, LA
Brandy Wolfe - Allston, MA
Monica Zeringue - New Orleans, LA
Events in conjunction with this exhibition include a member’s reception on June 27 from 6 – 8 p.m. For more information please call the museum at (318) 329-2237.

About the Juror

A native of Los Angeles, Lash received her bachelor’s degree with honors from Harvard University, and she completed her masters at Williams College. Lash has worked extensively in different museums, including the Los Angeles County Museum of Art, the Fogg Art Museum at Harvard, the Peggy Guggenheim Collection in Venice, Italy, the Dallas Museum of Art, the Williams College Museum of Art, and most recently, The Menil Collection in Houston, where she held the position of Assistant Curator.

Since arriving at NOMA in February 2008, she has curated NOMA’s installation of traveling exhibition The Baroque World of Fernando Botero (organized by Art Services International) and the installation of nine artists for U.S. Biennial Prospect.1. She reinstalled the permanent collection of modern and contemporary art during the fall of 2008 and is currently working on a series of exhibitions featuring Louisiana contemporary artists.

Everything I See is Strange & New: A Retrospective Exhibition of Walter Inglis Anderson

On view: 05-Apr-2009 13-Jun-2009

Born in New Orleans in 1903, Walter Anderson studied at Parsons Institute of Design in New York and the Pennsylvania Academy of Fine Arts. He lived much of his life on the Mississippi Gulf Coast, taking residence in Ocean Springs, and often seeking solitude in a cottage on Horn Island. Anderson was a naturalist, and spent hours painting and drawing the nature and wildlife he found around him. This exhibition, on loan from the Walter Anderson Museum of Art in Ocean Springs, Mississippi, is comprised of 90 works of art including watercolors, oils, pottery, wood sculpture, textiles, and furniture.

Events in conjunction with this exhibition include a talk by John Anderson, Walter Anderson's son, during the Member’s Preview Reception on April 4 from 6 – 8 p.m. and a lecture by Douglas Myatt, Curator of Collections and Exhibitions at the Walter Anderson Museum of Art on Thursday, June 4. For more information please call the museum at (318) 329-2237.

Time of Change: Bruce Davidson's Civil Rights Photographs

On view: 01-Feb-2009 22-Mar-2009

Renowned photographer Bruce Davidson received a Guggenheim Fellowship in 1962 to photograph the people and events of the Civil Rights Movement. This exhibition includes 31 stunning photographs of the heroic people he encountered. As witness to some of the most courageous and important events of the 1960’s, Davidson gives us a first hand account of these racially charged times. He also tenderly records the every day experience of the African American, from images of school houses to weddings. These images are captured in beautifully executed photographs which the Masur Museum of Art is proud to display during Black History Month.

Born in 1933, Davidson attended Rochester Institute of Technology and Yale University. In October of 1955 his college thesis was published in LIFE Magazine, where he later worked as a freelance photographer. IN 1957 he became a member of Magnum Photos and in 1966 Davidson was awarded the first grant in photography from the National Endowment for the Arts. His photographs have been acquired by many major museums and private collectors worldwide, including the Whitney Museum of Art, The Museum of Modern Art in New York, The Metropolitan Museum of Art, the George Eastman House, The Smithsonian, and the Museum of Contemporary Photography in Chicago.

In association with Jackson Fine Art, Atlanta, Georgia; Howard Greenberg Gallery, New York; and the artist

Also on view, "Troubling the Waters," a film about the 1960's struggle for Civil Rights in Northeast Louisiana. Shown in association with the Northeast Louisiana Delta African American Heritage Museum.

Events in conjunction with this exhibition include a Members' Reception on January 31, 6 – 8 p.m. To become a member, click here.

John Scott Retrospective

On view: 23-Nov-2008 18-Jan-2009

John Scott is one of Louisiana's most celebrated artists of the past 50 years. Born in New Orleans and raised in the Lower Ninth Ward, Scott attended Xavier University, where he later became a professor. Scott's work was influenced by jazz and the variety of cultures present in his native city, including African, African-American, Caribbean, and Southern Creole. Scott worked in a variety of media, although he is widely known for his metal sculpture, which ranged from small works to monumental public sculptures. This exhibition is organized in conjunction with Arthur Roger Gallery in New Orleans.

A catalogue of the exhibition is available at the Masur Museum for $15. The publication includes an essay by Mora Beauchamp-Byrd, Assistant Professor of Art and Curator of Art Collections at Xavier University, entitled, "Yesterday's Doorway: John Scott's Iconographic Portraits of New Orleans." The catalogue was made possible through a grant from the Louisiana Endowment for the Humanities, the state affiliate of the National Endowment for the Humanities, and with the support of Peregrine Corporation of Monroe.

German Expressionism: The Kopriva Collection

On view: 21-Sep-2008 09-Nov-2008

Gus and Sharon Kopriva are the owners of The Redbud Gallery in Houston, Texas and are avid collectors of German Expressionism. The prints in this exhibition include work by internationally renowned artists Max Beckman, Otto Dix, Wassily Kandinsky, Ernst Kirchner, Paul Klee, Käthe Kollwitz, Emile Nolde, and Edvard Munch. Please visit our Events and Lectures section for programs presented in conjunction with this exhibition.

Highlights from The Permanent Collection

On view: 17-Aug-2008 10-Sep-2008

The Masur Museum of Art boasts a collection of 278 artworks. This exhibition will present highlights from this impressive collection, including the unveiling of 20 recently reframed paintings, prints, and photographs. Artists featured in this exhibit include Thomas Hart Benton, Marc Chagall, Salvador Dali, Alexander Drysdale, Philip Guston, Robert Motherwell, and Pablo Picasso among others.

Masur Museum Closed

On view: 04-Jul-2008 16-Aug-2008

The museum will be closed from July 4th through August 16th for renovations to the galleries. The museum will return to normal viewing hours on Sunday, August 17th. It is our mission to continually meet the needs of our community, museum members, and museum patrons, and we thank you in advance for your patience during this time of renewal.

The museum will reopen with Highlights from the Permanent Collection. A special preview reception for members of the Twin City Art Foundation / Masur Museum of Art will be held on Saturday, August 16th from 6 - 8 p.m. Please contact the museum for information on becoming a member.

Louisiana Seven

On view: 08-Jun-2008 03-Jul-2008

Masur Museum of Art presents the Louisiana Seven featuring Marie Bukowski, Bess Bieluczyk, Doug Kennedy, Jenny Ellerbe, Jay Gould, Drek Davis and Joey Slaughter.