Located on the 2nd, 3rd, and 6th floors, the artwork in these frames were curated in partnership with the Newcomb Art Department. For the 2025/26 academic year, students in AnnieLaurie Erickson's Advanced Photography course printed, mounted, and installed their own work. In addition, they sent an open call for work and juried selections from other student artists. In total, there is work from nearly a dozen students throughout the library.
Taylor Sacco, To Withhold is Also to Witness. 2025 Archival Pigment Print.
Taylor Sacco, Twisted Towards the Sun. 2025 Archival Pigment Print.
Taylor Sacco, Contours Carried Like a Flag. 2025 Archival Pigment Print.
Taylor Sacco, Soft Armor. 2025 Archival Pigment Print.
"These images work to capture built, collaborated memory. I work in collaboration with friends, lovers, and strangers who trust me to document existence/resistance. Light serves as a vessel of demanding recognition, permanence, and care onto queer bodies.
Through the deliberate and slowed down methods of making these images, rituals of stillness create a space of intimacy where vulnerability is uplifted, and immediacy overlooked. This process isn’t about capturing identity but creating conditions where something less fixed can surface. In a country that has spent decades debating queer lives, breaking stereotypes of what queerness looks like, where it exists, and how it operates within a body is central to my practice.
The changing landscape of south Louisiana informs how I think about the body: how it’s held, how it’s altered over time, how mistreatment and aggression can last beyond the physical experience. The land carries its own history of extraction and abandonment, a history that mirrors the quiet violence often written onto queer lives. What has been built here sinks. What remains does so against expectation. This temporality folds into the work: images resist linearity, resist clean narrative, resist resolution."
Karl Dixon, path to redemption, from pray for us sinners. 2025 Archival Pigment Print.
Karl Dixon, Veiled, from pray for us sinners. 2025 Archival Pigment Print.
Karl Dixon, the shape of absence, from pray for us sinners. 2025 Archival Pigment Print.
Karl Dixon, Chinn's Chapel, from pray for us sinners. 2025 Archival Pigment Print.
"My photographs of abandoned churches in the American South examine the symbolic and emotional residue left behind in spaces once built for worship. These are not grand cathedrals, but modest white wooden chapels, scattered across rural towns and sinking slowly into disrepair. Though these spaces are empty, their visual language remains intact—altars, pews, crosses—symbols designed to inspire faith, worship, and often fear. The degradation of these spaces seems to parallel the archaic ideas perpetuated by faith-based groups in the south, such as the condemnation of homosexuality while preaching unconditional acceptance. This false promise and many others hold the tension I seek to explore through this project.
Using medium-format film, long exposures, and controlled lighting, I photograph these spaces in a way that makes their emptiness feel charged. Light becomes a force that complicates what’s visible, animating the decay rather than simply illuminating it. I’m interested in how religion shapes perception—what it asks us to look at, what it tells us to ignore. In meditating on religious aesthetics, my work reflects on the promises and failures inherent in systems of thought that claim to have all the answers. These images aren’t just about abandonment, but rather, they examine the afterimage of belief: the need for order, the fear of punishment, and the longing for something larger than ourselves"
Allie Tutich, Pipeline Playground. 2025 Archival Pigment Print.
Allie Tutich, Rusted Canopy. 2025 Archival Pigment Print.
"Throughout the past four years, I have studied regional environmental issues, such as coastal land loss and climate change, which has drawn me to capturing sites where industry, humanity, and the ethereal landscape of Louisiana intertwine. Where the jasmine wafts fragrantly in the spring and the lands’ natural resources are harnessed and manipulated by man daily, humanity and nature stand at conflict. In this work, I attempt to explore the contradictions of finding utopia amongst increasing environmental degradation in Louisiana.
By rendering the relationship between portraiture and landscape photography, I was able to utilize the figures of young women to construct imagery of landscapes that feel removed from the infrastructure which separates society from the natural world and its destruction. However, my images also contain physical indicators of the extractive activities that my subjects interact with or exist amongst, but the subjects rarely directly interact or acknowledge these objects. Instead, I intended to illustrate the extractive practices and degradation of the environment as a ceaseless and overlooked act. While the figures appear removed from control of society, the control of nature persists amongst their utopias. Within this framing, my images question the omnipresent influence of industry on our natural environment and one’s own coming of age in Louisiana."
Ethan Hunt, snow on the smokeys. 2025. Archival Pigment Print.
Ethan Hunt, blue rinse. 2025. Archival Pigment Print.
Jordyn Prizmich, Litoreous. 2025. Archival Pigment Print.
Jordyn Prizmich, Ethereal. 2025. Archival Pigment Print.
"This series depicts ordinary puddles of water from a skewed view, which leads me into an alternate world where the reflection is reality and nothing else exists. Puddles are seen every day, but not always viewed past being a natural occurrence. When I see water on the ground, my mind automatically wants to see them closer and see the magical world they create.
“Looking Down to See Up” was inspired by the idea of looking down at water left by the rain to see the sky and anything else that was caught in the reflection. Viewing the world through a puddle forms an alternate reality with deception and peculiarity. This new world forms questions about our own and how they connect.
During my time in photography, I have had a focus on the clouds and sky. That fascination changed to how the sky looks in water and how our perception can change depending on the scenery. "
Elliott Taylor, Strangers (September 12, 2024). 2025. Archival Pigment Print.
Elliott Taylor, Strangers (December 18, 2024). 2025. Archival Pigment Print.
Elliott Taylor, Strangers (March 17, 2024). 2025. Archival Pigment Print.
Elliott Taylor, Strangers (April 25th, 2025). 2025. Archival Pigment Print.
Peter C. Le, Fractured Ego of Mended. 2025. Archival pigment print from cyanotype and goldleaf collage.
Peter C. Le, Shattered Glass of Mended. 2025. Archival pigment print from cyanotype and goldleaf collage.
"Kintsugi, the art of Japanese pottery repair, is the main inspiration for this project. In kintsugi, artists repair broken pottery with gold resin, creating a beautiful new piece of work. The art of repair and leaving with a more beautiful end product has a beautiful message that I wanted to capture. I usually do not take pictures of myself, preferring to be behind the lens, but I wanted to explore my self image and how it has grown. I was diagnosed with severe depression and anxiety at 14 years old in eighth grade.
I have changed a lot since then, and I wanted to have a physical representation of my progress. I photographed myself in various places throughout New Orleans, my home. All of these locations hold a significant memory or depth for me, whether it’s my high school, or a place I used to hang out at when I was younger, or a place that I have gone to at my darkest moments. I set up a tripod, framed my shot, and either used a self timer or my phone to control the camera and release the shutter. It was a very cathartic experience to visit each of these locations, where I might have been broken, or felt broken; however, I am now made whole once again. I plan on continuing this series, visiting more and more places, where I have felt broken. Unfortunately, I know that in the future: I will break again, but I will be ready with glue, gold foil, and a drive to move forward."
Sabine Greeson, Mother Tree. 2025. Archival Pigment Print.
Sabine Greeson, To the Bone, To the Root. 2025. Archival pigment print from cyanotype.
"A tree unearthed by a storm; roots exposed in a scarred landscape. My mother, adorned in flowers and returning to the earth, her hands are clasped in a posture between marriage and death, surrender and reunion. Wildflowers bloom where they were never planted, their deep roots anchoring them. Near Bird’s Foot, an oak tree dead from saltwater intrusion is overlaid with a meadow of sunspots.
As a senior double majoring in Studio Art and Environmental Biology at Tulane University, my work emerges from a place of dual observation: the scientific understanding of ecological systems and the emotional, intuitive language of image-making. Mother Tree and To the Bone, to the Root delves into the intimate relationship between nature and the self. Informed by my academic work and lived experiences in Louisiana, particularly in communities grappling with coastal land loss, this body of work reflects both personal reckoning and collective environmental concerns."
Annika Vanderspek, Assemblage. 2025. Archival Pigment Print.
Audra Marcus, Interstellar Inhabitance. 2025. Archival Pigment Print.
Sarah Silbert, Exposing Self Through Color. 2025. Archival pigment print from lumen collage
