artists

Q&Art with Russell Pirkle

This week: Doogie Roux, owner of Roux Bikes. This interview has been edited for length.

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This is Q&Art. I'm Russell Pirkle, and today I'm interviewing Doogie Roux. Doogie is the owner of Roux Bikes, and has recently graduated from Louisiana Tech with a degree in Computer Information Systems.

Tell me first of all . . . I think I know about everything you do, but let me go ahead and list them off, and you can sort of fill in the blanks. So you have Roux Bikes, which is like a custom bike service or shop where you make them and they're like art pieces. And you do photography work and video work. And you organized the Bicycle Art Exhibit at Turbo Goat. And you organized the Itty Bitty Bike Race. And you've done some sort of community outreach for Joplin, Missouri. Could you tell me a little bit more about that?

Well, in regards to the whole thing that I did for Joplin. That was a continuation of something that was already existing. Neal King, the local business owner, he's done several things here, the latest project being the Black Box. He was led to help out that whole situation after the storm ocurred. And he partnered with Chris from Turbo Goat, and they did a facebook blast asking for volunteers and donations. I had just recently graduated and wasn't doing a whole lot, so I volunteered to go. And that whole experience, it's hard to coin one term or one set statement to summarize it all, but it was life changing. It wasn't something I could see myself going and doing one time and being done with it. So after I started the virtual bike company Roux Bikes, I said why not use this as an avenue for fundraising and supporting this cause, because I definitely want to continue to support that whole thing. The destruction and the emotional impact that it had on people was tremendous. So the first thing I did was I built a custom bicycle and raffled it off. I did that during the week right before the Peach Festival and through the Peach Festival, and during the Itty Bitty Bike Race and the post-race party. The support and the success of the event was just tremendous. I raised a ton of money, and I was able to deliver some of the itty bitty bicycles from the race and help out the Gonzalez family, a family we had a connection with while we were there. I was able to cut them a check and help them out, because they had some really hard times after the storm. So that's project Joplin. That's it in a nutshell. But I definitely don't think even that portion is it. I could see myself doing some more, following up with that family and helping those people out, because that situation was really tremendous.

What do you see as the connection or the reason that art and creative expression and community outreach and humanitarianism pair together so well?

For me personally, I'm sure I can't speak for everyone else, I think because art and creative expression and community outreach evoke so many emotions, people who operate in such an arena, things like that really touch them. They really can connect with such an avenue. I'll be honest,in operating in these different arenas - business, technology, and the arts, I think a lot of business people aren't as emotionally connected to people as artists could be. I know that's strange coming from someone who's business minded, but like I said, I operate in so many different arenas that I notice a lot of things. When I come to a person that's an artist, and I'm a business person, I read them different. Whereas when I'm a business person speaking to another business person, it's a different perspective. I think a lot of artists are emotional, and I think they can really connect with community outreach, supporting causes a lot better than someone who's in business. And I say that just generally, not to stereotype anyone. It's just kind of a hasty generalization.

As a business person and a person who is pursuing a very functional, useful career, what are your feelings about people who are full time artists and the idea of art for art's sake, and making things like paintings or sculptures that you can't use as opposed to something like a bicycle that you can? Was it a practical choice to pursue a career other than art, or is it a philosophical choice? What's the reason why you're not a full time artist?

I think it's because of, you know they say people can be a jack of all trades . . . And I have a ton of energy. I just can't sit still. So I just have to have something to do, and I think that the whole virtual entity Roux Bikes or doing photography, or doing anything business related, it's an outlet for my energy, it's an outlet for my creative expression, and it's an outlet for a good heart. And I think that's ultimately what it is. I don't feel that I can do just one thing and be set on that. I kind of like juggling multiple concurrent projects in those different arenas, business, technology, and the arts.

Do you find it challenging juggling those, spending as much time as you would like on each?

Yeah, it is difficult at times, but I enjoy it. It definitely makes me utilize my time management skills to the utmost. One minute you may have a photoshoot with someone where you're in charge of it or you're working with someone, like some of the bigger names in photography here in Ruston. I work with them a lot. I say I work with because I graduated so I guess I work with rather than for them now. Haha. But it's a heavy task to manage all of that stuff, and sometimes when you slip up and you don't manage your time very well, some things do suffer. But you really have to be on top of things to keep that from happening.

I ride a bike myself, and I've been really curious lately about what makes the bicycle such a powerful symbol of contemporary culture, and what it represents and what its role in society is. Do you have any thoughts about that?

My thoughts on that could go for days. I'll keep it short. Haha. The bicycle is just another one of those things that people interact with, and it's forever changing. It can go infinitely forward and really far back with its history and its impact on culture through numerous generations. It's comparable to the automobile, because bicycles in the fifties, they have an impact. The style, the lines, the colors. Bicycles today, they have an impact also. And it's one of those things that human beings can experience emotions that you really can't experience with other things. You can experience a flight on a bicycle. You can experience speed. It's just so much. It can evoke so many emotions. And I'm trying not to go off on a tangent, but it's a beautiful feeling to be on a bicycle, breezing through a city, just going fast, going with the flow, breezing through traffic. It's a wonderful feeling. That or you're just in a parking lot, doing some stunts, doing a little flatland, some BMX. Or you're riding with friends. It's unifying. I've riden bikes in who knows how many big cities or how many small towns. And, if you're on a bicycle, and you're just riding, you're guaranteed to meet someone. You're guaranteed to stop and talk to someone. And it's just people from so many different places, so many different mindsets, walks of life. To get all of those to one place and just be riding together . . . The bike kind of, it fades away for a second, and you're just with people. And that's unifying. That's a wonderful feeling.

Let's talk a little about the custom bikes that you build for Roux Bikes. Where does your inspiration come from, and is it a collaborative process between you and the customer, or is it all your own ideas and creations?

It's a little of both of those. Sometimes I have a bicycle that I felt I had an inspiration to build, or I wanted to mimic something old. I like to tell people that I really appreciate old school, but I'm progressive and I have a new school vibe about me. So I say I'm middle school. I like to blend the two. So I might do something randomly like that and have it sitting on hand, maybe something I ride personally or enjoy. But if a customer wants it, if I'm not emotionally attached to it or it's not sentimental, I may sell it to them. But sometimes someone comes to me and says look, I want a bike like this. And we sit and talk. Or if they're somewhere else, we do it through email or facebook chat or skype. So I do something like that, and they'll detail to me the specifics, frame, handlebars, style. It's like a consultation to get something, and then we go from there. And that's usually how it is, one of those two ways or something in between.

In terms of volunteering, what do you think Ruston in particular is in need of?

In terms of volunteering . . . Well that kind of sparked a thought of more of a need for unification. I see a lot of division in Ruston, on many planes. And to keep from offending anyone I won't ellaborate on it, but I see a lot of division, and I think that in a small community like this, it should be a lot more unified. A lot of walls should be torn down, and steps should be taken for people to move toward unification. Through just anything, any event or function. Just being open-minded and doing not just different things, but doing things that some of the smaller people, some of the minorities are into, as opposed to always doing something that facilitates the majority. I think that would definitely be unifying, because it would open peoples minds. It would bring people together. And it would help people to learn that just because you're this person doesn't mean that you have to do this thing. You can open your mind. You can go out. You can learn new things. You can do new things. You can meet new people. So definitely I could see, if someone would volunteer to do that, that would be nice. Haha.

You use a pseudonym, and you have a certain style about you and a large presence in the community, and I'm curious about what role you feel personal presentation plays in things like creative expression and sort of building a scene and a community.

Personal presentation, I like that term. Haha. Personal presentation, it's big. How you present yourself to people, the public, it goes a long way. People have to really, and I'm learning this more and more each day, people have to really accept you for who you are. I know that's cliche and stereotypical, but it's so true. I feel that people, I don't want to compartmentalize. I don't want to give certain people certain aspects of me. I want to give everyone everything about me. And I don't want to have cut myself in sections and kind of hand me out. I want people to take me as I am, because the entities that I represent, they're holistic and they encompass a lot of things. So for me to just give a person one part of me would rob that entity of its presentation. If that makes sense. I have to really convey to that person that this is me, this is what I do, I want you to be a part of it. Or if I don't, it's ok, here's my business, here's the money I'm making, and this is what I want to do. But I need them to understand that the money I'm making, it goes to these events, these causes, these people that I'm helping. So personal presentation, it has to be holistic. That's how I see it. It has to represent the entirety.

I was sort of a late convert to the whole idea of exercise. And you can tell; I'm still not in great shape. But I found that it really made a big difference on the way I thought, and how well I could think. I'm sure you've always been physically active, but what do you think about the connection between exercise and the mental and intellectual side of life?

I think, again, it's holistic. It all goes together. What your body is in good status, when you're eating well and you're active, treating your body right, your mind is in sync with that. And if you lack in any, of course, it's a symbiotic relationship. If your body's doing well, your mind's doing well. You feel okay emotionally, you're positive. You're doing well, you're thinking good thoughts. But when you let the body suffer, when you don't take care of it, again that's holistic. Things start happening. So it's a symbiotic relationship.

What advice do you have for people for taking a more active role in their community? Say, artists for instance, or any sort of business people, I think we would all like to be doing more for our community and be a bigger part and be more involved. What advice do you have about that?

Anyone operating in any arena should go for it, because where ever you are, you want to have an impact. Like I tell people, I don't want to be famous. I don't want everyone to know me. I just want to have an impact on people, on a place. I want to go somewhere and do something. And to know whether or not I should be there, whether or not I should leave, it really depends on how will I be missed. What about me will be essential to that place? For people to be somewhere, especially Ruston, and just not be invested in their community, especially since it's so small. You have to be invested in such a place as this. You have to help people, because everyone needs help. If someone is here, I think they should actively be engaged in the community doing something. It doesn't always have to be money. People think, when you think supporting causes, it's ok, cut them a check, put a dollar in their pocket. Nah, give somebody a ride somewhere. Sit and talk with someone. Give them something. If you have something you don't really need it, give it to someone, help them out. Go to an event and volunteer. Just get out and invest, because when you're in a place like this, that's this small . . . there's more, but more meaningful, there's nothing else you can do but just get out and help your fellow man.

As a jack of all trades to use your words and a high energy person, it seems like you'd probably be a hard fit for any education system. With your experience, is there anything you wished were different? Or maybe even the whole educational system, is there anything you'd change?

With education, I'm pretty sure this is true for a lot of people, but some it may or may not apply to. When it comes to learning, I learn by doing. When I'm doing things, creating things, building things, putting things together, that's when I learn it. If you give me a mountain bicycle, which I'm not very familiar with, and you let me tinker with it or you show me things, you show me how this goes together and how that works, I learn it. But if you give me a powerpoint presentation on how a mountain bike works, I'll probably go to sleep on you. Because I have lots of energy, and I want to get out and do things. Hands on learning is the best learning. Interactive learning is the best. Rather than sit in a classroom and learn about American history, take me to the Smithsonian museum. I worked at the Smithsonian, and it was the best job I ever had, because I learned something new everyday. I was able to touch things. I was able to interact with things, and I think that's the best kind of education. I've mentioned to some people that I could see myself in education at some time in the future, and I think if I was in a classroom, I would actively engage my students in interactive hands on learning. That's what the educational system today lacks. There's just too much involved with the negative aspect of technology, like powerpoint presentations, digital this, visuals that. Get them out and interacting with that technology. Get them out doing things. Especially being an IT major at Tech, there were just a lot of us sitting around in a classroom. And you cannot engage me, you cannot keep me there in that way. I lost interest. I fall asleep. It doesn't grab me. And there needs to be more of that, more interactive, hands on learning in the educational system today.

I think that's about all the time we have for the interview. Is there anything else you'd like to say or any closing thoughts?

I appreciate you coming to me and wanting to do the interview, and I really enjoyed my time here. Today is actually the day I'm leaving. I just want to extend some gratitude and appreciation for everyone here I worked with, collabored on projects with. I definitely enjoyed it, and I definitely don't see this as the end of me being in Ruston and doing things. I can definitely see myself coming back and doing some mini projects or keeping in touch with people.

Well thanks, Doogie.

Thank you.

Lewis Boutique: Featured Host for Holiday Arts Tour 2010

About Lewis BoutiqueLewis Boutique has been a prominent fixture in Ruston's downtown since 1884. For 126 years, Lewis's has served our region.

Owners Richard and William Lewis, along with manager Jhola McGee, ensure that Lewis Boutique offers lines that are unique to our area--Clinique, Estee Lauder, Brighton, and Vera Bradley for example.

In addition, Lewis Boutique offers the most popular and highly trained specialists for each cosmetic line, as well as the most complete selection of Vera Bradley in Louisiana. Their friendly, well-trained staff is always eager to assist you.

Why Lewis's Supports the Tour They particpate annually in NCLAC's Holiday Arts Tour because their customers enjoy it. Richard, who is also a NCLAC Board Member, sees the Tour as a social event and a gift to his customers.

Last year, Lewis's Boutique served as a host for area artists Donna Henkel and Mara Loeb.

These artists will be participating there again this year. Donna makes luxurious hand-crafted, goat's milk soaps with all-natural ingredients and a variety of scents. Mara makes wearable art and menopause charms. Both artists were quite popular with visitors last year and are sure to be again.

More Info For more information about Lewis Boutique, visit their new Facebook page by clicking here.

Holiday Arts Tour 2010 Featured Artist: Slaughterhead

In the weeks leading up to this year's Holiday Arts Tour, NCLAC will be posting articles about the participating artists here on the blog and on NCLAC's Facebook page. In addition, we will include featured artists in our e-blasts. To subscribe to our mailing list, visit our official site and signup for our Newsletter. Slaughterhead, a husband and wife team consisting of Joey Slaughter and Jessica Head Slaughter, is featured this week.

About Slaughterhead The Slaughters live in Ruston, Louisiana with their three-year-old son, Sylas, and infant daughter, Eero.

They make fun, functional, and durable wallets, pouches, and bags using PVC-free, 100% urethane for the exteriors and repurposed linens for the linings. This endeavor began with a wallet Jessica made for Joey on his birthday six years ago, and it has grown to include two bifold wallet styles, two large pocketbook wallet bodies, three what-not pouch sizes, and an assortment of bags.

The birth of Slaughterhead was a creative merging of two already artistic minds. Joey is a painter, a Studio Art professor a Louisiana Tech University, and a graduate of Cranbrook Academy of Art and the Memphis College of Art. He is inspired by toys, things that fly, and how-to manuals. Jessica has a similarly artistic background. She is a graduate of the University of Louisiana (Monroe, Louisiana) in Studio Art. She is inspired by growing things, feeding birds, and being efficient.

Together the Slaughters enjoy home improvement projects, listening to and making music, dance parties in the kitchen, cooking, parenting, and occasional grown-up weekends.

Their online store, www.slaughterhead.com was begun in 2006 by Joey, and their present site was designed by ConstantX.

Slaughterhead's Vision Slaughterhead intends to help individuals organize bits of their lives. We create wallets, pouches, and bags to give people a fun place to store their daily items. We have all waited in line behind too many people who try to stuff ineffective wallets back into their bags.

Our wallets and pouches are simple, yet fully functional, with pockets in just the right places. In addition to function, we are also concerned with the materials we use and their impact on the environment. Our linings are re-purposed linens collected locally, and the exteriors are a synthetic PVC-free urethane that looks and feels like leather but is vegan-friendly. We shop locally as often as possible and do our best to minimize or use our scrap materials.

Incorporating design is also an important factor in the process of building the wallets. The use of color and line created through stitching and/or screenprinting gives the work a very unique and handmade feel.

Our business name, Slaughterhead, is the combination of our last names, because we create these items together as a team. I do the sewing, and Joey screenprints and/or laser cuts the exteriors.

Slaughterhead on Slaughterhead (a.k.a. Jessica on Slaughterhead) 1. What's your favorite memory of the arts, and/or how did you become interested in art?

I've always been interested in "making things." I created furniture, clothes, etc. for dolls as a child. I built miniature environments from paper in my closet. I loved making dioramas. Making and building in a creative way were an important part of my childhood, spurred by seeing my grandfather make and build in his shop.

2. What is something that inspires, influences, and/or drives you as an artist?

Living with an artist inspires me, as does surrounding myself with other people involved in the arts. Growing things is also inspiring to me. I am driven by the need to mkae items that people will enjoy using, things that will help them organize a little part of their lives.

3. How do you feel about perfection in art?

Perfection isn't possible, and if it were, then what would be the point in making anything else? It would get boring quickly.

4. What, if anything, do you hope others get from your art?

Since I make functional work, I hope people get an effective item of good quality that they enjoy using.

5. Which do you think is smarter for a working artist: pricing work affordably to make it more accessible or pricing work high to make it more precious? Why?

Such a big question! As a maker of small functional items, I try to make items that fit into each category. People can "save" for buying more expensive, precious items, or get a quick fix with a smaller more inexpensive item. I think it often depends on your audience as well.

Jessica on Jessica 1. Who were your childhood heroes?

My Aunt Carol. I respected her education, her parenting skills, and her compassion.

2. What is the greatest compliment anyone has ever paid you? What about the greatest insult? How did you respond?

Repeat customers are my biggest compliments. My biggest insult was an online customer requesting to return an item she ordered, saying it wasn't of sufficient quality. I responded by accepting the return, of course, and reminding myself that it took four years for the first return, so I shouldn't feel too bad about it.

3. What one word would you use to describe yourself?

Honest

4. What one word would your friends use to describe you?

Hardworking

5. What's one thing about you few people know?

I hum all the time.

Learn More Visit Slaughterhead's website @ www.slaughterhead.com. You can also visit Joey's site at www.jslaughter.com.

Holiday Arts Tour 2010 Featured Artist: Julie Crews

In the weeks leading up to this year's Holiday Arts Tour, NCLAC will be posting articles about the participating artists here on the blog and on NCLAC's Facebook page. Julie Crews is our first featured artist. She is new to the Tour this year. About Julie Grown from the hills of North Carolina, Julie Crews is a transplant to Ruston and lives with her scientific husband and her four very young and spritely children. She is inspired by the small, simple and often poor things in life, and everyday items are a recurrent theme in her work. She finds them encouraging and inspiring. 

She states, "Even as my family has grown and the demands of life have increased, I realize that the time I spend painting is not a selfish activity. On the contrary, it is an act of giving."

Sharing her talents with others drives her to improve, and allows for a richer and deeper life experience. She enjoys snatching scenes digitally to recall later and is seldom found without her camera. She also enjoys working from life, but a carefully orchestrated still-life is not always safe in her busy home.

She participated in the 33rd Annual Spartanburg Sidewalk Art Juried Exhibition (Spartanburg Museum of Art), and had her first solo exhibition in Salt Lake City in 2008. To date, she is self-taught in oils.

Julie on Art 1. Who is your favorite artist?

Dead: John Singer Sargent Alive: Karin Jurick

2. What is something that inspires, influences, and/or drives you as an artist?

Long ago, I was a maid. The lady of the house considered herself a painter. On the third floor of her white brick, colonial home was her studio. There, shelves lined the room and were filled with books of all sorts. Baskets and interesting containers were stacked on little tables, and canvasses both leaned against and hung on the white walls. In the center of the room was a large table where more items of inspiration were placed, as well as a myriad of supplies. This studio would be the envy of every artist I now know, minus one thing. Use. The dust was thick and the oil tubes were rocks. The most recent painting indicated its creation was in excess of thirty years prior. I was physically sick the day I discovered the room. It was not always easy to admit being impacted so immensely by a negative experience, but I vowed then (as I also considered myself an artist) to never become that person. I will paint. And paint. And paint.

3. Regarding the "business" of being an artist, how do you promote yourself, and does it work?

I just work. I paint and keep my ears open for opportunities to share the images I am producing. I learned years ago that spending a lot of time "promoting" myself kept me from painting, and logistically, that just didn't work for me.

4. Do you find yourself more attracted to work that is not like your own, or work that has similarities to yours? Why?

I find that the art work I want my paintings to resonate with is what I am attracted to. If I see someone's art and it has a more sophisticated color pallet than mine, whether the subject matter is similar or not, I am drawn to it. If I see an interesting subject, I take that with me. The art I am drawn to reflects what I want to learn. The more I learn, the more I want to learn, so that really opens up a wide range of possibly attracting artwork during my lifetime.

5. Did you go to art school or receive lessons, and if so, are you satisfied with the experience vs. teaching yourself? (vice versa for those that did not receive training)

All the tutelage in the world will be to no avail if the student does not continue to learn for himself.

Julie on Julie 1. What one word would you use to describe yourself?

Firey

2. What one word would your friends use to describe you?

Thoughtful

3. What's one thing about you that few people know?

One of my favorite things to do is to smile at strangers.

4. What is your favorite restaurant?

Can you say RAW FISH? Seriously, if I was rich and famous, I would have my own personal sushi chef make me yummy maki rolls everyday.

5. What is your favorite book, television, show, website, and/or magazine?

My love of television is my dirty little secret. I am an addict. I just don't seem to have the ability to control myself when it comes to that little glowing box of colors and voices, which is why I haven't owned a television in over ten years. Even commercials are exciting to me! I do, however, get my "fix" while visiting relatives (especially during the holidays). And when the space of time between Thanksgiving and Christmas gets to be too much for me, I go to HGTV.com Love that Design Star.

6. What gem of advice would you like to share that someone shared with you?

If you share the same bed, the same God, and the same bank account, you will have a happy marriage.

And, "Paint like a rich man."

Artist Statement I stand, face the group, and announce, "Hello, my name is Julie. I paint with oils on primed board." (Everyone seated in the circle says in unison, "Hello, Julie.")

It is my desire to never recover.

I feel very much still a student in my work because I aim to learn something every time I spend an hour with a brush in hand. Nothing can touch the feeling of an activity you are addicted to. I am fortunate enough to live with a healthy addiction, one to painting.

Bites of lunch are frequently interrupted by a short walk down the hallway and into the paint thickened air of the studio. Just a peek before I finish my sandwich, as if something might have magically changed on the easel since I left to construct my spicy black bean burger.

When the work is going well, or when the work is going poorly, it is the same: I long to return to my squeaky little chair, so I can think some more, so I can see some more.

I love the process dearly.

The object of my current affection keeps me engaged until the engagement is broken by its completion. Then: need more. Enter: new bright and blank flat surface.

In my current work, I am excited about repetition. I want to see what happens to my process when I repeat a common subject throughout multiple pieces and also within a single composition.

As people experience my paintings, I hope they share a portion of the joy I experience while creating them. Painting, for me, is in large part a process, where I not only develop my God given talent, but also my personality. It brings me closer to the achievement of a fully developed relationship with God and with myself.

Learn More Visit Julie's blog @ www.juliecrews.com

Local Artists Honored in National Exhibition

The Alexandria Museum of Art recently held its 23rd Annual National Competition Exhibition. The exhibition, which included works by artists from across the United States, was judged by Kelli Scott Kelley, an Associate Professor of Painting and Drawing at Louisiana State University in Baton Rouge. Joshua Chambers of Ruston, Louisiana won first place and $800 for his painting It’s Nice to See You Flying Again. Though the exhibition is judged by a different artist every year, this is Chambers’s second year to place in the exhibition, a feat which earned him an invitation to judge a future exhibition at the museum. Another Ruston artist, Jes Schrom, won second place for her video installation Making Room. Schrom is a Professor of Photography at Louisiana Tech University.

 A third Ruston artist, Hooshang Khorasani, gained acceptance to the exhibition for his piece Luminescence #3, making Ruston the most represented city in the exhibition. 

According to the museum, “The much-anticipated September Competition is a strong exhibit that will intrigue and inspire the most discriminating art lover, with works by talented artists from around the country.”

The exhibition will be on display through October 8 at the Alexandria Museum of Art, 933 Main Street, Alexandria, LA 71309. Hours of operation are Tuesday-Friday from 10am-5pm and Saturday 10am-4pm. For more information, please call 318-443-3458 or visit www.themusuem.org.

Call for Artists-West Baton Rouge Museum

Call to Artists from the West Baton Rouge Museum:“Cathartic Art: Remembering September 11th” An Invitational Art Show Scheduled for July 23-September 18, 2011work of art to be juried for a future exhibit entitled, “Cathartic Art: Remembering September 11th.” This exhibit will be held from July-September of 2011 to help commemorate the 10th anniversary of the tragic events now known as 9-11. The events surrounding 9-11 turned the tide of our nation's history and forever marked the beginning of a new era. Most of us remember where we were when the World Trade Center and the U.S. Pentagon were attacked and when the third plane crash-landed after being diverted from Washington, D.C. We as a nation and as a people have been working through the grief, loss, and rebuilding since that fatal morning over the course of the past decade. The museum is eager to assemble an exhibition that features artworks inspired by the events of 9-11 as artistic visual expressions that reflect the emotions and historical impact felt by artists at the time of the tragedies, since the events, or for the future.

The West Baton Rouge Museum is calling artists--of all ages and all levels of their artistic careers--to consider entering a

The museum will consider art works including but not limited to paintings, photography, drawings, collage, sculpture, textiles, and digital arts. Entry forms and submission guidelines are available at www.westbatonrougemuseum.com. The entry form requires your contact information, artwork title, date of creation, and details about your work of art including a 4”x 6” color photograph, the actual dimensions of the artwork, insurance value, and a brief explanation (less than 250 words) of how your entry relates to the events of 9-11. The deadline for submission for review by a jury is May 3, 2011. Letters of acceptance and rejection will be sent out by May 16, 2011. Accepted artwork must be delivered to the museum during business hours July 6-8, 2011.

For more information please call (225) 336-2422 x 11 or visit our website at www.westbatonrougemuseum.com

Artists and Musicians Apply Today!!!

Today is the deadline for regional artists and musicians to apply to participate in the 13th Annual Holiday Arts Tour! For more information, visit these previous blog posts:

Holiday Arts Tour: Call for Musicians
Holiday Arts Tour: Call for Artists

You can download your Holiday Arts Tour (HAT) Artist and Musician Application Packet from our Shared Files at the bottom of the page. Call 318-255-1450 (Tuesday-Friday, 9 am to 3 pm) if you have questions. Drop your application at the Dixie or submit via mail or email today!

Register Now for NCLAC Arts Academy Classes

NCLAC is now offering art classes in a variety of genres for all ages, 3 year olds through adults. Classes start September7 and will run in seven-week sessions and all are taught by working professional artists. More information can be found in these previous blog posts (click below to learn more):

NCLAC Launches Arts Academy Classes
NCLAC Arts Academy Teachers


Call 318-255-1450 (Tuesday-Friday between 9 am and 3 pm) to register! Registration forms can also be downloaded from our Shared Files at the bottom of the page. Mail to NCLAC, P.O. Box 911, Ruston, LA 71273.

41st Annual River Road Show Call for Entries

The 41st Annual RIVER ROAD SHOW, sponsored by the Louisiana Art and Artists' Guild, is receiving entries for the December 2 - January 30 exhibit at the Louisiana State Archives Building in Baton Rouge. Deadline for entries is SEPTEMBER 17, 2010. Entry fee is $40 for three entries and $5 for each additional submission, up to 10. This is a national competition with cash prizes of $3,000. All United States artists 18 years and older are invited to submit any original two-dimensional art except photography or digitally created/enhanced works. The show will be juried and judged by Paul Jackson AWS, NWS, an internationally known artist and instructor. The prospectus and pictures of the 2009 show are available here. Direct questions to Lane Downs at laned69@gmail.com. Contact: Lane Downs River Road Show Chair 225-275-8835 laned69@gmail.com Louisiana Art and Artists' Guild 2490 Silverest Ave. Baton Rouge, LA 70816

Artists Selected for 7th Annual Forum 35 Art Melt

The North Central Louisiana Arts Council is pleased to announce that five artists in our region were accepted to the 7th Annual Forum 35 Art Melt:

Joshua Chambers
Peter Jones
Lacey Stinson
Davenport Wang
Caroline Youngblood

Davenport Wang also received an Honorable Mention award for his piece “Um I’m Thinking About It.” Congratulations to these artists!

More than 500 pieces of Louisiana art were submitted, and 97 were chosen for display at the Louisiana State Museum (660 North 4th Street, Baton Rouge) through August 27. The artwork represents submissions from more than 35 parishes throughout the state.

Jurors for this year’s accepted art submissions were Paul Dean, Associate Professor at the LSU School of Art; Denny Mecham, Executive Director of the Ohr-O’Keefe Museum of Art in Biloxi, Mississippi; and Andrea Pollan, Executive Director of the Curator’s Office in Washington, D.C.

Art Melt artwork can also be viewed online at www.artmelt.org, where remaining unsold work is still available for sale.

Holiday Arts Tour: Call for Artists

NCLAC is now accepting applications from artists to participate in our 13th annual Holiday Arts Tour. We want to serve the artists in our region first, so we're inviting artists in Lincoln, Jackson, Claiborne, Bienville, and Union parishes to apply from August 13-27. Afterward, if there are host sites still available, we'll extend the call for artists beyond our region for two more weeks. Late applications from artists in our region will only be considered if a second call is issued. To ensure consideration, we want to encourage artists in our parishes to apply before August 27.

To download an Artist Application Packet, scroll down to the bottom of the page and look for our Shared Files. If you need any assistance with your application or if you have questions, please contact us.

If you have participated before, you will notice some additional requirements in the application packet. For example, we are including a Supplemental Artist Info form that we will use in creating publicity materials. As we choose artists, musicians, and businesses to participate this year, we will also post "feature" articles about them on the blog in the weeks leading up to the Tour.

We are making some exciting changes this year, so even if you have attended or participated in the Tour in the past, we encourage you to check out what’s new this year. For more details and regular updates, please subscribe to our blog.

More information about how businesses and sponsors can participate will be coming soon!