Jane Olson-Phillips Jewelry Trunk Show and Exhibition
CAFFERY GALLERY HOSTS BEAD AND FIBER TRUNK SHOW
Caffery Gallery is honored to announce an exhibition and trunk showing by jewelry designer Jane Olson-Phillips, author of the book Bead and Fiber Jewelry, beginning April 3 and running through April 9.The gallery will host an artist’s reception on Sunday, April 6 from 2 to 4 pm.
Olson-Phillips’ innovative designs are a combination of beautiful beads she has collected over the years, beads she has made, and different fibers such as linens and silks that she has worked into the designs. Olson-Phillips states that “I think of beads as miniature treasures that become entwined in fibers.”She creates her necklaces around interesting beads and objects, and each piece is a one of a kind creation.She uses old antique or new handmade beads made from a variety of materials such as glass, stone, fossils, wood, metal, ceramic, or even plastic.Of particular interest to her are the old handmade glass beads because of the technical knowledge and artistic skill needed to create them.“Each bead has an interesting story to tell,” and Olson-Phillips tries to pass the stories along to the wearers of her creations.
Linen thread plays a large part in her work.Linen was used by the Egyptians for their bead jewelry, and it lasted for hundreds of years.Olson-Phillips likes to combine natural linen with colored cotton embroidery thread, cotton warp thread, wool yarn and roving, silk, rayon, and acrylic.Each provides interesting textures in knotting, which is an integral part of her work.
Originally from Connecticut, Jane Olson-Phillips has been involved in the creative process all of her life.She holds a BA in Fine Art from the University of Connecticut, worked in the interior design field for 5 years, and taught in the public school system, adult education, and did private tutoring in Bristol, Connecticut.She and her family lived in England for 12 years, where she studied basketry, zinc plate etching, stone litho printing, ceramics, silver-smithing, and weaving.It was in England that she became interested in beads and their history.Olson-Phillips was a charter member of the Bead Society of Great Britain, was a member of the Devon Guild of Craftsmen, and became President and Editor of the Bead Designer International of Boston upon returning to the United States.Olson-Phillips also worked for Aid to Artisans, a non-profit organization that helps disadvantaged craftsmen in numerous countries develop marketable products.
Olson-Phillips and her husband moved to Baton Rouge in 1992 where she formed the Baton Rouge Bead Society and began to teach classes.Because she realized that her extensive bead collection was an important collection and that other people should be able to see and enjoy it, she has donated parts of it to the Bead Museum (now part of the Mingei Museum of San Diego), the Rural Life Museum and the LSU Costume and Textile Museum in Baton Rouge, and to several collections in England.Olson-Phillips maintains memberships in The Greater Washington Bead Society, The Bead Society of Great Britain, Bead Designer International, Bead Study Trust, Society of Bead Researchers, the Textile Center of Minnesota, Contemporary Fiber Artists of Louisiana, and the Baton Rouge Art League.
Caffery Gallery is located in Baton Rouge at 4016 Government Street at Richland and is open from 10-5:30 Monday through Friday and 10-4:30 Saturdays.For more information contact Caffery Gallery at 225-388-9397.
Necklace 2 by Jane Olson-Phillips, fiber and glass beads
Necklace 2 Detail by Jane Olson-Phillips, fiber and gflass beads
Necklace 3 by Jane Olson-Phillips, fiber and beads
Necklace 3 Detail by Jane Olson-Phillips, fiber and beads
Printmaking Invitational at Caffery Gallery
Forever Fresh, by Ross Jahnke, Intaglio
CAFFERY GALLERY PRINTMAKING INVITATIONAL INCLUDES STELLAR GROUP
Caffery Gallery’s Printmaking Invitational exhibition runs through March 29.The exhibition features ten Louisiana artists who teach printmaking at Louisiana universities around the state and offers a wide variety of techniques and approaches to the art of printmaking.Printmaking is the art of transferring a work of art drawn, etched, incised, or printed, from one surface or substrate to another surface, generally onto a piece of paper or a fabric.This technique is called an indirect method, as opposed to drawing or making the art directly on the paper.One of the advantages is that more than one print of the image can be made (an edition).Traditionally the prints are signed and numbered.
Exhibit curator, Ann Marie Russo states
"This exhibit represents an exploration of recent work from these artists focusing on many unique images that are traditional as well as unconventional approaches to the process of making prints: aquatints, collographs, engravings, etchings/intaglio, lithography, screenprints / serigraphy, siligraphy, and woodcuts. Their work displays a variety of techniques and artistry developed through their years of education and professional experience. Their bios are impressive, and each has earned a Master of Fine Arts from schools in the state and around the country. Four of these artists were awarded individual artist fellowships of $5,000 each for the quality of their work from the Louisiana Division of the Arts. The artists in this exhibit who received artist fellowships are Teresa Cole, Ross Jahnke, Brian Kelly, and Bill Kitchens."
Artists in the exhibit include:
TERESA COLE, Tulane University, New Orleans
New Orleans based artist Teresa Cole, known for her installation print work created primarily in relief and serigraph, exhibits nationally and internationally. Her interest in appropriating varied cultural expressions led to visiting artist engagements at Hard Ground Printmakers, Cape Town, South Africa; Frans Masereel Graphics Center in Kasterlee, Belgium and Khoj Kolkata, West Bengal, India. Her most recent wall screen-print was commissioned by the Lamar Dodd School of Art at the University of Georgia.
Cole earned a BFA in fiber from MICA, Baltimore, MD and received much of her early printmaking education as a working member of Peacock Printmakers in Aberdeen, Scotland. Her MFA in printmaking is from the Cranbrook Academy of Art, Michigan. She currently holds the Ellsworth Woodward Professorship in Art at Tulane University.
Cole is exhibiting three intalia printed collographs in the show.Collagraphy, sometimes spelled collography, is derived from
-Addie Dawson-Euba, Persistence Plus Politeness, etching / intaglio
Gone, Baby, Gone, by Ernest Milsted, Screenprint
the word “collage". A collagraph is a print made from a plate that's built up from materials that are adhered tothe plate.The word comes from the French colle, meaning to stick or glue. The materials used to create a collagraph plate create textures and shapes, and the inking technique adds tone to the print.
Addie Dawson-Euba was named the Community Coffee/Frank Hayden Memorial Endowed Professorship of Art from 2000-2006 and was awarded the professorship again in the fall of 2013.Currently, she is the Program Director for the Visual Arts at Southern University A&M College in Baton Rouge where she teaches printmaking and design.Dawson-Euba holds an M.F.A. from Tulane University in Printmaking and Governors State University in Printmaking and Design, and an undergraduate degree from Eastern Illinois University in Art Education.
Professor Dawson-Euba has been a member of the art faculty at the University of Louisiana at Lafayette and has taught at Tulane University and Southern University New Orleans as well as at other colleges and universities before returning to her birthplace of Louisiana.Her career and teaching experience span over 35 years.Her works have been shown in numerous galleries and museum throughout the United States and abroad. She has many works in private and museums collections. A mentor, artist, and educator, Addie Dawson-Euba continues to express her personal stamp with the use of the female figure in her works.Dawson-Euba is exhibiting etching / lithographs in the exhibit.
The original technique for etchings, which originated centuries ago, begins with a metal plate that is covered with an acid-resistant wax coating.The artist then draws her creation by scratching off the wax ground with a pointed scribe needle to expose the metal where the lines of the drawing are to appear.The metal plate is then treated with acid which bites into the metal that has been exposed, creating the artwork on the plate in the areas that have been removed of the wax resist, which leaves lines which are sunken into the metal plate and able to hold ink. The wax resist is cleaned off of the plate, the plate inked and wiped so that the only place the ink is held is inside the lines that have been etched into the plate.Then the plate is run through a high pressure printing press and the ink transferred onto paper.
CLYDE DOWNS, Northwestern State University, Natchitoches
Clyde Downs, who is exhibiting a lithograph, is a native of Central Louisiana, receiving his B.F.A. from Louisiana College in Pineville and his M.F.A. from Stephen F. Austin in Nacogdoches, Texas. He has been a professor at Northwestern State University for 21 years teaching courses in Painting, Drawing and Printmaking. He works in oils and acrylics as well as making both intaglio and lithographic prints. His subject matter is often concerned with an abstract interpretation of the natural world influenced by Louisiana landscapes and the landscapes of the American Southwest.
The process of lithography involves applying ink to a grease-treated image on a flat printing surface.Areas on the surface with no image (blank areas) hold moisture and repel the lithographic ink. This inked surface is then printed—either directly on paper, by means of a special press (as in most fine-art printmaking), or onto a rubber cylinder (as in commercial printing).
ROSS JAHNKE, Nicholls State University, Thibodaux
Ross Jahnke is a professor of art with over 20 years experience teaching printmaking, drawing, color design, paper making and painting. He received his Bachelor of Fine Arts degree from the University of Wisconsin Milwaukee and his Master of Fine Arts degree from LSU.
Jahnke primarily teaches printmaking which includes lithography, Intaglio (etching), screen printing, relief printing, paper making and recently letterpress. He is the recipient of two Board of Regents Support Fund Grants, one in 1997 to establish a paper making studio and curriculum, and one in 2013 to enhance the printmaking facilities. He has presented at the SGC International Conference for printmaking, Savannah College of Art and Notre Dame University on the topic of non-toxic screen printing using an ink he developed and uses in the classroom at Nicholls.
Jahnke has exhibited prints and paintings throughout the United States and currently has a print touring the US in an exhibition called East/West: Contemporary American Prints, in which he is one of two artists representing the State of Louisiana. For the Printmaking Invitational Jahnke is showing a series of woodcut / screenprints and intaglios.
The woodcut, one of the earliest printmaking techniques, is a relief process made on wood with the grain usually running lengthwise. After an image is drawn on the wood, the excess or unwanted areas (which will remain white in the print) are cut away by hand with carving gouges. Ink is applied to the wood that remains with a rubber roller called a brayer. A sheet of paper is then placed on top of the inked wood, and the back is rubbed by hand or run through a press to make the impression, or print. This resulting print will be oriented in reverse form the original block.Multiple colored prints can be achieved by cutting multiple wood blocks, with one block for each color, where a frame is made to keep each color in registration; or by inking the single block with multiple colors, which is difficult when colors are adjacent to each other.For Jahnke’s work he combines woodcut and screenprinting techniques to make his pieces.
Screenprinting, also known as "silkscreen", or "serigraphy", creates prints by using a fabric stencil technique in which ink is pushed through the stencil against the surface of the paper, most often with the aid of a squeegee. Generally, the technique uses a natural or synthetic 'mesh' fabric stretched tightly across a rectangular 'frame,' much like a stretched canvas.
BRIAN KELLY, University of Louisiana, Lafayette
Brian Kelly received an M.F.A. in Printmaking from Louisiana State University, a B.F.A. in Printmaking from Northern Illinois University, and a Certificate in Waterless Lithography from the Tamarind Institute of Lithography. Professor Kelly is Head of the Department of Visual Arts, serves as Head of the Printmaking program and is Coordinator of Marais Press at the University of Louisiana at Lafayette. Kelly holds the Universities Coca-Cola/BORSF Endowed Professorship and is a University of Louisiana at Lafayette Distinguished Professor.
Kelly has presented and conducted over 45 printmaking workshops and lectures concerning printmaking research in the United States, Mexico, and Canada, and has held residences at the GLATT/YMAGOS Atelier in San Paulo Brazil.
Kelly’s prints have been included in over 300 exhibitions through out the United States, Canada, Japan, South Korea, China, Ireland, Australia, Brazil, Poland, England, Scotland, and Slovenia. His prints have been included in museum and university collections that include GLATT/YMAGOS, Brazil; Kohler Art Museum; Spencer Museum of Art; New Orleans Museum of Art; Museum of Texas Tech University; Limerick School of Art and Design, Ireland; Monash University, Australia; Special Collections Library, University of Colorado; University of Louisiana at Lafayette University Art Museum; University of Miami at Florida; University of South Florida; Columbia College; University of Arizona; Arizona State University; University of Mississippi; University of South Dakota; Louisiana State University; McNeese State University; Murray State University; Northern Illinois University; and Southeastern Louisiana University.
Kelly is showing an aquatint and a silkscreen in this exhibit.An aquatint is an intaglio printing technique which is a variation of an etching.In intaglio printmaking, the artist makes marks on a plate (with an aquatint, a copper or zinc plate) that is capable of holding ink. The inked plate is then passed through a printing press with a sheet of paper, which results in a transfer of the ink to the paper.
As in an etching, the aquatint uses an acid to make the marks in the metal plate. The engraving technique uses a needle to make lines that print on paper, whereas the aquatint process uses powdered rosin to create a more tonal effect. The rosin is acid resistant and typically adhered to the plate by controlled heating. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time.
BILL KITCHENS, Loyola University, New Orleans
Bill Kitchens of Loyola University in New Orleans holds the rank of Professor and teaches lithography, intaglio, relief, screenprinting, book arts, and history of the book.
His work is in the permanent collections of the National Museum of American Art in Washington, DC; the Whitney Museum in New York; the Kennedy Museum of Art in Athens, Ohio; the New Orleans Museum of Art; the college of Notre Dame / Maryland in Baltimore; Edinboro University in Edinboro, Pennsylvania; and the Stockton Arts Commission in Stockton, California.
Kitchens has received the Mentorship Award from the Southern Graphics Council International, New Orleans; the Newberry Library Research Fellowship, Newberry Library, Chicago;the Teaching Award from Loyola University Alumni Association, and a Louisiana Division of the Arts Artist Fellowship.
His work has been reproduced in publications such as The Best of Printmaking, The International Edition; Living in Louisiana; Willow Springs Literary Journal of Spokane, Washington; and Breaking the Binding / American Book Art Now, the exhibition catalog published by the Elvehjem Museum of Art in Madison, Wisconsin.Kitchens has been included in portfolio publications such as Saints and Sinners, a print portfolio involving 25 artists from the USA, Australia, Russia, France, and Italy in association with the University of Georgia Cortona Print Symposium held in Italy; and Drawn to the Stone, The 200th Anniversary of the Invention of Lithography, an invitational print portfolio celebrating the invention of Lithography and presented at the Kennedy Museum of Art in Athens, Ohio.
Kitchens is showing 2 lithographs and a siligraph in the exhibit.Siligraphy is a form of vitreography (initially conceived as an intaglio process), which is a technique which involves using a glass plate rather than a metal or wood matrix to hold the image that is to be transferred to paper.In vitreography the lines are carved, scratched, or etched into the glass plate’s surface.In siligraphy, also called waterless lithography, the image is drawn onto a ground glass matrix with water-soluble art materials, over which is applied a film of common caulking silicone thinned with synthetic turpentine. Frosted Mylar can be also be used as a printing matrix as well as 3/8” float glass to create the vitreograph using waterless lithography.After the silicone layer cures, the original drawing is gently washed from the plate with water, dried, and inked with a roller. The silicone layer protects the non-printing areas of the image while allowing open areas (those free of silicone) to accept ink. Like intaglio vitreographs, waterless lithographs on glass plates are transferred to paper in an etching press.The Harvey Littleton Glass Studios has been at the forefront of the vitreography / siligraphy printing process, and began combining digital imagery with vitreography processes.Using a large format inkjet printer the artist prints digital images onto clear transfer film, transferring them to paper in the etching press, along with glass plate imagery processed in intaglio or siligraph techniques.
LESLIE KOPTCHO, Louisiana State University, Baton Rouge
Leslie Koptcho was born in and grew up near Philadelphia, Pennsylvania. She earned degrees in art from Temple University, Tyler School of Art (BFA), and Cranbrook Academy of Art (MFA). She is currently a professor at Louisiana State University in Baton Rouge.Her prints and bookworks are included in thirty-five permanent collections worldwide, including Australia, France, Japan, Portugal, Russia, and the United States.Highlights include the Bibliotheque National de France’s Department of Prints and Photographs, The Queensland University of Technology Art Museum, Harvard’s Fogg Art Museum, The New York Public Library, Brooklyn Museum, Nelson Atkins Museum, and the Library of Congress, Artists’ Books Collection.
She has exhibited over 200 venues including the Seoul Space International Print Biennial at the Seoul Art Museum in Korea (Selected Works Award); Between Nature and Culture, which was exhibited in Finland, the Czech Republic, and the United States; the 5th International Printmaking Biennial of Douro (Portugal); and the 2nd Panang International Printmaking Exhibition (Malaysia). Her prints were also included in MATRIX: Contemporary Prints at the Museum of Fines Arts, Florida State University. Most recently, she exhibited her work in Prints Tokyo 2012, an invitational that opened last October. Recent solo exhibitions include the JARFO Gallery in Kyoto, Japan and the Joan Grona Gallery in San Antonio, Texas.
Special honors and awards include a Yaddo Fellowship; and an American Cultural Specialist Designation, sponsored jointly by the US Information Agency in Bombay and Baroda University, and the National Institute of Design in India. Most recently, she was selected to serve as an International Juror at “The 2nd International Conference of Plastic Arts,” which was held at Assiut University in Assuit, EGYPT. She is also the beneficiary of a Louisiana Board of Regents Atlas Grant, which supported travel and research in Japan.Koptcho has published several articles in Contemporary Impressions and Graphic Impressions, and has served on the Board of Directors for both the Southern Graphics Council and American Print Alliance.
Koptcho is exhibiting a Softgound Etching / Aquatint / Digital Chine Collé and a Lithograph / Intaglio.Softground etching is traditionally used to replicate the quality of a soft pencil line, to receive a textural transfer from various materials, or to accept the impression of various types of plant matter or animal skins.Chine-collé is a special technique in printmaking in which the image is transferred to a surface that is bonded to a heavier support in the printing process. It can allow the printmaker to print on a much more delicate surface, such as Japanese paper or linen, which pulls finer details off the plate. Another purpose is to provide a background color behind the image that is different from the surrounding backing sheet.
ERNEST MILSTED,Southeastern Louisiana University, Hammond
Ernest Milsted, born in Houma, LA., earned a B.A. from Nicholls State University and an M.F.A. in Printmaking from the University of Notre Dame. At Notre Dame he was awarded the Kaneb Center for Learning's Outstanding Graduate Student Teacher Award, and The Snite Museum of Art awarded him the Walter R. Beardsley Award for his thesis project.In 2006 Milsted joined the faculty at Southeastern Louisiana University.He currently is Associate Professor of Art and the Printmaking Area Coordinator as well as the faculty advisor to the Palmetto Press and the Clark Hall Student Gallery.Ernest has given lectures and demonstrations at Nicholls State University, the University of Louisiana at Lafayette, Millsaps College, and Savannah College of Art and Design.He has exhibited his creative research in regional, national, and international exhibitions.
Milsted is exhibiting screenprints and a screenprint / lithograph.
LARRY SCHUH, McNeese State University, Lake Charles
Larry Schuh, of McNeese State University, has prints in the collections of Nelson-Atkins Museum, New Orleans Museum of Art, Harvard Art Museum, and the Paul and Lulu Hilliard Museum in Lafayette. A drawing is in the corporate collection of Transco, Houston.His work has been reviewed in the New York Times and Times Picayune. Schuh is exhibiting a hand-colored stone lithograph in the Printmaking Invitational.
GERRY WUBBEN, McNeese State University, Lake Charles
Gerry Wubben graduated from Mesa College with an Associate of Arts degree and earned his B.F.A. in Printmaking from Colorado State University and his M.F.A. in Printmaking in 1985 from Indiana University.
In 1987 he was hired to teach art at McNeese State University in Lake Charles, Louisiana, where he is currently Professor of Art. He is an award-winning artist and the recipient of several research grants. His prints, drawings, sculptures, and paintings have garnered numerous awards both regionally and nationally and are in numerous private and public collections such as The Kansas City Art Institute and the Southern Graphic Print Collection.
Over the past 25 years he has shown in more than 200 group exhibitions as well as 20 solo shows which include the Art Center of Western Colorado, the Contemporary Art Center in New Orleans, Louisiana, the Dishman Gallery at Lamar University in Beaumont, Texas, and at Southwestern University in Georgetown, Texas. In addition, he has had work published in numerous catalogs as well as in issues of American Artist Drawing magazine. In 2000, he was selected Lake Charles Artist of the Year. For his exhibition record, teaching success, and university service he was awarded the 1999-2000 Distinguished Faculty Award by the McNeese Alumni Association.
Wubben is exhibiting 2 intaglios and an engraving.
♦Caffery Gallery is open from 10 to 5:30 Monday through Friday and 10 to 4:30 Saturday.It is located in Baton Rouge at 4016 Government Street at Richland.For more information call the gallery at 225-388-9397.
High Chair, by Bill Kitchens, Siligraph
Current S(k)in, by Leslie Koptcho, Softgound Etching / Aquatint / Digital Chine Collé
Dangerous Sofa, by Bill Kitchens, Lithograph
Below, some earlier, interesting posts from Caffery Gallery...
Local artist Mary Ann Caffery documents the light and darkness of south Louisiana in a photographic series on egrets
By Randy Faucheux Aug 14, 2013
...Caffery says all of her art, regardless of medium, is about light. In addition to light, much of her recent work also seems to be about the local region in some way, especially in terms of subject matter...
"Caffery's stunning mosaic panels, tall and slender, varying slightly in length, are intricate and colorful and, in arrangements of two or more, create stunning patterns on the wall. An 'In My Garden' series of three expresses serenity, truth and beauty by turn, and the trio belongs together. Subtle patterns and clever design mark every inch of the mosaic panels, and give them depth and meaning." From The Advocate, July 18, 2004, reviewing the Baton Rouge Gallery exhibit featuring mosaics by Mary Ann Caffery, drawings by Billie Bourgeois, and layered glass works by Craig McCullen, which was on display through July 31, 2004.
Samuel Sanders of Mid City Redevelopment Alliance. The photo links to The Advocate's Oct. 2, 2006 article on Revitalizing Mid City.
Mary Ann's Speech: A little Baton Rouge history...
Photos of Turquoise and Exotic Stone Jewelry by Amy Kahn Russell; Reveille Article; Passion Flowers
(right, photo of Amy Kahn Russell jewelry -- earrings, necklaces, brooches -- and we have lots more of her work this week ... it's an AKR Turquoise Trunk Show!)----------------------------------------------->
A Baton Rouge native, artist Amy Kahn Russell uses antique pieces, amber, semi-precious stones and sterling silver in hand-crafted necklaces, earrings, pendants and rings. Her work was recently featured on WAFB TV-9's Weekend Morning Show with Kellee Hennessy and Barbara Dixon. In addition to our regular large variety and selection of Amy's work, we have a special turquoise trunk show. Call us at (225) 388-9397 or email CafferyGallery@gmail.com for information on available pieces and styles.
On Government Street just past Sister Paula Psychic Palm Reader and before Calandro's Supermarket lies a pink house trimmed in black and white polka dots. The threshold of the front door is framed in cloth flowers, and the windows on either side display hanging pieces of purple, green and red stained glass. Before patrons enter the Caffery Gallery, their art bone is already tickled.
Mary Ann Caffery, who earned a MFA from LSU, opened Caffery Gallery in 1989 on Government Street about eight blocks from the current location, which was established in 1992. For 13 years, the gallery housed local art as well as novelty items.
"I chose to sell and feature pieces that fit with the spirit of the store, which is unexplainable," said Caffery. "It just does or it doesn't fit into that spirit."
Among hand-crafted jewelry and pottery, customers can find Carmen Miranda paper dolls and Garden Nuns (Garden Gnomes with habits). There is a wide selection of fine art and fun toys, which both feature distinct creativity.
"Our customers are people who like unique things, who like contemporary art," Caffery said.
The contemporary theme of the gallery also is complemented with vintage reincarnations, taking the form of earrings, posters or furniture. Jewelry pieces by Catherine Popesco of Paris are molded from casts dating back to the 1920s and 1930s. Many of the books, candles, soaps and postcards are nostalgic of the post-WWII era.
In keeping with Caffery's patronage of modern art, the gallery also hosts many local artists. Bruce Odell, Amy Kahn Russell and Alvin Batiste contribute original pottery, jewelry and oil paintings respectively to the inventory of work by Baton Rouge natives.
Nov. 21 marked the first of Caffery's exhibits to be shown in her own gallery. She has previously worked on mosaic pieces for the New Orleans International airport and last winter the Baton Rouge Gallery hosted her show "Icons." The recent exhibit was titled "Spiritual Journeys," which presented a series of stained glass compositions.
"Since I have been involved with art, I find it interesting what makes things sacred to people," Caffery said. "In Ireland they have standing stones, France has cathedrals ... this exhibit is my idea of spirituality."
The gallery presents a different art show every six weeks and Caffery's opening soon will be followed by an art sale. On Dec. 7, Greg Elliott and his wife, Roberta Cohen of the LSU art department, will be putting their sculpture pieces up for sale, along with Bruce Odell's pottery work. The sale will last from 9 a.m. to 11 a.m.
The gallery is a truly unique vendor for almost anything artistic. From decorative umbrellas, pink flamingo swizzle sticks and Elvis Presley memorabilia to Louisiana folk art, introspective collages and Celtic crosses, the Caffery Gallery is an exceptional contribution to Baton Rouge art and commerce.
Wall Crosses from Ireland and Small Tabletop Replicas of Celtic Crosses from Scotland, England and Ireland
Louisiana Folk Art by ALVIN BATISTE
Rusted Recycled Metal Yard Dogs & Cats --by Richard Kolb
-Architectural Stained Glass -Jewelry -Gifts From Around The World --New Glass Review Top 100
--Here's an interesting summary of the public art project that Mary Ann and other Louisiana artists completed at Louis Armstrong International Airport in New Orleans: The Concourse C Collaborative Project.
Caffery Gallery 4016 Government Street Baton Rouge, LA 70806
Caffery Architectural Stained Glass and Mosaics 225-388-9957
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