LCV Winter 2012 - (Page 14)

top: William Joyce graciously gave Louisiana Cultural Vistas permission to print an illustration originally intended for the Feb. 27, 2006, edition of The New Yorker. Joyce was commissioned by The New Yorker to create a painting related to the first post-Katrina Mardi Gras in New Orleans, but the breaking news of Vice President Dick Cheney’s accidental shooting of a friend on a hunting trip supplanted this original cover idea. right: Joyce is a frequent contrbuting illustrator for covers of The New Yorker, including this holiday issue for Dec. 24 and 31, 2001. the financial and contractual aspects of the venture, and Joyce working his magic, adding oldenburg to the team was the next logical step. despite his ongoing collaboration with Joyce, oldenburg, living happily in dallas with his wife and two young children, was not eager to move. an additional impediment was that he had been hired as creative director for the upcoming London tour of michael Jackson, his longtime favorite musician. Jackson’s sudden death in June 2009 changed oldenburg’s future. he put his dallas home on the market the next weekend and prepared to move 190 miles east to shreveport. in august 2009 Enochs, oldenburg, and Joyce founded the animation and visual effects studios called moonbot. trish farnsworth-smith, who had first worked with Joyce on projects with the shreveport regional arts Council, came on board to help with managing howdy ink, a precursor of moonbot, and then became head of production at moonbot studios. the new collaborations required new work space. Joyce’s existing studio at Centenary College, where he serves as an artist-in-residence, could not adequately house the rapidly growing moonbot studios. Even after acquiring larger quarters, however, Joyce opted to maintain offices at the college, where he conducts workshops from time to time. 14 Louisiana EndowmEnt for thE humanitiEs • Winter 2012-13

Table of Contents for the Digital Edition of LCV Winter 2012

LCV Winter 2012

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