Barely a month into her new position, LSU Museum of Art’s Executive Director Jordana Pomeroy came here by way of the National Museum of Women in the Arts in Washington, D.C., where she served as chief curator. She was initially attracted to LSU MOA’s substantial collection of British paintings and spoke with 225 about her new position.
What made you take this job?
I am interested in university museums. The fact that this museum is in downtown Baton Rouge means that it boasts both the municipal position as well as the position under the umbrella of the university. I’m really excited. It’s a new chapter in my life, and I can’t emphasize enough how I’ve been embraced already, very strongly, by people who have high hopes for the institution. It’s incredible that I already have allies in this project, and that’s very exciting to me.
You were previously the chief curator at the National Museum of Women in the Arts. Do you plan on incorporating the work of more women into the LSU MOA’s exhibit space?
I do. It’s not like a stated plan of mine; I think it’s just the way I look at art now. But it’s not just women. I’m very concerned with diversity; Baton Rouge is a diverse community, and the museum should be reflective of that.
I read that you said, “Curators need to identify what we can do to keep people coming to museums … why should a person pay $20 to come to a museum, when they can go to a movie?” How do you plan on keeping people coming to the LSU MOA?
I want to increase the visitorship, and there’s no magic formula. We need to have an education program that isn’t the same old, but encourages new ways of looking at art and actually invites people to come learn without being pedantic about it.
LSU is facing massive budget cuts. What impact will this have on the museum?
This just encourages me to find private patronage. I think the key in fundraising now in all museums is private patronage.
I understand you taught a course on curatorial practice at Georgetown. Any chance you will do this at LSU?
In the second year, I’m required to teach a course in the School of Art and Design that is yet to be determined. But it’s something like that course, with a real focus on curatorial practice.
Who are some of your favorite artists?
Richard Diebenkorn, Francis Bacon and Louise Bourgeois. I also very much like the work of Kara Walker. You’ll be sure we’ll have a Kara Walker show.
Do you have any favorite Louisiana-based artists?
Keith Sonnier [a native of Mamou who currently lives in New York]. I would just love to have a permanent Sonnier that overlooks the Mississippi River. If I could get money together to have a permanent installation by him, I would do it.
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