AQ Fall 2014 by ASC

Arts Quarterly New Orleans Museum of Art

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Fall 2014

10/8/14 4:13 PM

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10/8/14 4:13 PM

DIRECTOR’S LETTER

Susan M. Taylor

NOMA’s staff has been working hard over the last several months to make lots of changes behind the scenes. In early 2015, we will begin the process of moving the permanent collection to a newly renovated off-site storage facility that, for the first time since Hurricane Katrina, allows us to reimagine the gallery spaces that have been used as storage since the storm. We will reinstall these generous, reclaimed spaces with collections and special installations that will engage audiences in new ways. We’ve already begun redesigning the galleries with the establishment of a new focus gallery that will highlight singular items in the collection or special loans from other institutions. Our first exhibition presents Edgar Degas’ Little Dancer Aged Fourteen, an exquisite and important work by the artist on loan from the Virginia Museum of Fine Arts. New Orleanians already have an appreciation for the Impressionist who spent time in New Orleans, and now they will have the opportunity to see the only sculpture he exhibited in his lifetime. This gallery features Degas in depth, a remarkable opportunity for New Orleans audiences who have been fascinated by his work for over a century. We will be using technology as an interpretive tool in the galleries. In the coming months, we will examine how these resources impact our guests, and look forward to your feedback. In this issue of Arts Quarterly you can read about the new mobile self-guided tour of the Sydney and Walda Besthoff Sculpture Garden, accessible from a smartphone or mobile device. Take a look and explore the garden at your leisure—hopefully you will learn something new. And be sure to visit NOMA to see our major fall presentation, Photorealism: The Sydney and Walda Besthoff Collection. This exhibition blends the real, the unreal, and the hyperreal in a tour de force of this important American movement. In my last AQ letter I outlined NOMA’s strategic plan for you, a document developed over the last year by the board of trustees along with museum staff. This clear roadmap for our future has resulted in a rich conversation about the museum’s priorities, which include enriched collections, enhanced arts education, expanded demographic reach, upgraded technology, and ensured financial stability. NOMA’s permanent collection is at the core of the museum’s plan, and with initiatives like the focus gallery and new technology, we’re maximizing its opportunities. Behind the scenes, we’re upgrading equipment for art storage and handling, providing a state-of-the-art home for our collection. The fundraising goals for this year’s spectacular Odyssey 2014 are closely aligned with NOMA’s commitment to arts education. Recent support from the Ford Foundation for our innovative Mini Masters program allows the museum to continue to take charge in that field. With this issue, I’m delighted to announce that NOMA is going green, and will digitally publish the Arts Quarterly twice a year, beginning with the next issue. As always, you’ll get four issues a year—filled with content on exhibitions, works of art, new acquisitions, artists’ perspectives, and much more. As the publishing environment continues to evolve, museums must adapt, and I am confident that this will lead to a rich, informative, more engaging publication. In the coming weeks, we will be contacting members to confirm your email information and eventually, to send you a link to our January 2015 issue. There is a lot to look forward to in NOMA’s future. I hope you will visit, and visit often.

Susan M. Taylor The Montine McDaniel Freeman Director

CONTENTS

Fall 2014

FEATURE

MUSEUM

1 0 Degasâ&#x20AC;&#x2122; Dancer Work on View this Fall

INSPIRED BY NOMA

4 Cheryl Landrieu

EXHIBITIONS

5 Photorealism: The Sydney and Walda Besthoff Collection

6 Reparation: Contemporary Artists from New Orleans 6 Photo-Unrealism 7 The Age of Elegance: New Installation of Decorative Arts 7 Playing to the Moon: Reflections on a Theme in Japanese Painting 8 Prospect.3: Notes for Now COLLECTIONS

9 Photography and Identity 9 NOMA on the Road: Views from New Orleans

Page 6

PHOTO-UNREALISM

Page 22

ODYSSEY

Arts Quarterly New Orleans Museum of Art

JAPAN FEST

Page 15

NOMA PILOTS MOBILE APP

RO M A N A LO K H I N

Page 14

COMMUNITY VISIT

SUPPORT

14 Celebrate Japanese Culture at Japan Fest

18 NOMA Donors

14 NOMA and The NOLA Project Present Twelfth Night 15 NOMA Pilots Mobile App

19 NOMA Receives Vital Funding from Ford Foundation for Next Phase of Mini Masters

15 Movies in the Garden

20 NOMA Wraps Up Summer with a ¡Celebracíon! 22 Odyssey 2014: Supporting Arts Education

LEARN

23 First New Orleams Museum Month a Success

16 Educator Workshops

23 Exclusive Shopping Event for NOMA Members

16 Educator Appreciation Day

24 Trustees and Acknowledgments

16 NOMA’s Tools for Teaching Brings the Collection into the Classroom 17 Programs for Kids and Families

INSPIR ED BY NOM A : CHERY L L A N DR IEU

The Thornton Dial exhibition in 2012 was striking for so many reasons. This brilliant artist incorporated a range of mediums and themes into such a beautiful and historic collection. The museum was able to spotlight a selftaught artist that opened our minds to a unique form of fine art. As a co-founder of the New Orleans Book Festival, you obviously see the value of literacy in our community. (NOMA does too!) Do you think that exposure to visual art can also have a similar positive effect on children?

As First Lady of the City of New Orleans, Cheryl Landrieu has committed support to youth and families across the community. She developed Girl Up NOLA, an initiative that empowers girls to play an active role in their personal development. She also established the New Orleans Book Festival alongside civil rights icon Ruby Bridges to engage youth and families around literacy. After graduating from Louisiana State University, she earned her Juris Doctorate from Loyola University New Orleans. She currently serves as Clerk of Court for the Fifth Circuit Court of Appeals. Do you have a favorite NOMA memory? Is there a particular artist or exhibition you’ve admired?

The festival will forever remain a place for people from different backgrounds and neighborhoods to come together through a shared love of literacy. We recognize that successful young people must experience and engage multiple forms of literacy from digital to visual to cultural. As the festival celebrates its fifth year, it will expose young people and families to a wide range of mediums and perspectives. The visual arts remain so powerful because it provides young people with a foundation for imagination and creativity. What kind of role does art play in your life? Art has always taught me about the value of storytelling. New Orleans presents a range of artists that express our rich history through diverse mediums. We recognize the value of exposing books and NOMA collections to young people

and encouraging them to express their own vision. In New Orleans, we value art as much for its visual beauty as its message and inspiration. How do you think an art museum serves its community? An art museum, especially NOMA, is so much more than a building with rotating exhibitions. This museum serves as a valuable community asset at the center of world-class park and adjacent to a historic residential and commercial district. A museum is place for the community to view art, but also to gather, celebrate and learn. What advice would you give to someone who is intimidated by art, or who might be visiting a museum for the first time? There is something in every piece of art — a color, texture, or arrangement — that can resonate with any person no matter their age or background. Similar to reading and writing, visiting a museum encourages our minds to grow and explore new forms of expression and inspiration. Fill in the blank: Art makes me... hopeful for our young people as they discover opportunities through art and literacy. NOMA and a host of community partners will provide programming at the 2014 New Orleans Book Festival, which will be held in City Park around the Big Lake near the museum.

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EXHIBITIONS

PHOTOR E A LISM: THE SY DN EY A N D WA LDA BE STHOFF COLLECTION The New Orleans Museum of Art will present an extraordinary nationallyrenowned collection of photorealist paintings late this fall. Photorealism is loosely defined as painting that is based upon the precise replication of a photograph; it is not simply lifelike, it is a translation of a photograph (or several photographs) into a painted image. Photorealism is a process of “seeing” with the gaze of the camera and a completed photograph in mind, an attribute that makes it relevant to discussions on human perception today. The artists first associated with this style in the 1960s such as Robert Bechtle, Chuck Close, Richard Estes, and Richard McLean did not know each other initially, and they did not generate a manifesto among themselves.

Gallerist Louis Meisel coined the term “photorealism” in 1969 to describe artists who used a camera and photographs to “gather the information they needed.” Photorealism continues as a genre today, with artists taking advantage of the enhanced level of detail made perceptible through highresolution digital photography. Sydney and Walda Besthoff, the founding patrons of NOMA’s Sydney and Walda Besthoff Sculpture Garden, began collecting Photorealist works of art in the 1980s. Their interest in photorealism began as an outgrowth of their love for sculpture. One of the first artists they acquired was John DeAndrea, one of the few sculptors associated with this genre. Initially, the Besthoffs built their collection of photorealist

paintings by focusing on work by Estes, Audrey Flack, and Charles Bell, who were closely associated with the first wave of photorealism in the late 1960s. They accelerated their collecting in the 1990s, and expanded their holdings to include artists from the second wave of photorealism, including Davis Cone, Randy Dudley, and Ben Johnson. The Besthoff collection continues to grow, incorporating artists from different generations and diverse nationalities and backgrounds. Photorealism: The Sydney and Walda Besthoff Collection will be on view in the Ella West Freeman Galleries from November 8, 2014 – January 25, 2015. An accompanying catalogue will be available for purchase in the Museum Shop. Adapted from Photorealism: Beginnings to Today by Miranda Lash*

Citarella Fish Company, 1991, Richard Estes American, born 1938, oil on canvas, Collection of Sydney and Walda Besthoff, Image: Richard Estes

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EXHIBITIONS

PHOTO -U N R E A LISM

A Message, 2014, Leonard Galmon Acrylic on canvas

R EPA R ATION: CON TEMPOR A RY A RTISTS FROM N EW OR LE A NS REPARATION: Contemporary Artists from New Orleans is an exhibition of 191 works by 186 New Orleans artists, young and old, and is part of Luciano Benetton’s Imago Mundi collection: works commissioned and collected by Benetton on his world travels. Organized by Diego Cortez, REPARATION features hundreds of New Orleans artists who were invited to create works utilizing the same format: a 4 x 4.75” canvas. Imago Mundi embodies a visual tapestry of the human artistic condition, and focuses on the society as opposed to the individual artist or art star. These new works will join the larger Imago Mundi collection of tens of thousands of international artists. Instead of constructing a collective exhibition in search of common themes, practices, similarities, trends, or movements, REPARATION takes an opposite approach and emphasizes disparity, dissent, rebellion, diversity, even politically-incorrect stances. REPARATION focuses on national cultural identities to investigate the cultural identity of New Orleans. Reparation: Contemporary Artists from New Orleans will be on view from October 25, 2014 – January 25, 2015.

Photo-Unrealism explores the history of the abstract, the unreal, and the surreal in photography from its origins to the present. For many, a photograph is a picture of something tangible, a recognizable person, place or thing, but throughout photography’s history artists have explored its potential to distort, disorient, blur, and alter the real world. This exhibition shifts the focus away from photography’s reproductive qualities to its productive capacity: its ability to create fantastic images that disrupt our sense of the natural order of things. It cannot be coincidence that the words “realism” and “photography” emerged within a decade of each other in the first half of the nineteenth century. “Realism” was a new word in the 1830s, preceding “photography,” which was first applied in the 1840s, by only a few years. From almost the moment of each term’s inception, they were destined to inform each other, for better or worse, setting up a complicated series of expectations

for photography that it would often struggle to meet. Early photographs, for example, were often described as strange by those that encountered them: they were monochromatic, the monocular vision of the camera flattened, skewed, and condensed space, slow exposures erased human activity and prevented the recording of clouds, and cameraless images recorded nothing but the shadow and contours of objects. As the centuries progressed, photographers intentionally exploited these abstract properties, but also went even further, manipulating processes to alter the camera image, and even creating their own elaborately staged worlds for the camera to record. Comprised almost entirely of works from NOMA’s permanent collection, Photo-Unrealism invites you to engage with this alternate history of photography. Photo-Unrealism will be on view in the Templemen Galleries beginning October 19, 2014.

Untitled, 1948, Angus McBean, gelatin silver print, mounted on printed, personal Christmas Card, 1988 Discretionary Purchase Fund, 88.10 Photograph. © Harvard Theatre, Collection, Harvard University

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THE AGE OF ELEGA NCE: N EW INSTA LL ATION OF DECOR ATI V E A RTS One of the riches of NOMA’s collection is great depth in high-style decorative arts from the nineteenth century. Sparkling American brilliant cut glass, gilded “Old Paris” porcelain, and charming miniature Fabergé eggs are some of these glittering treasures that are now on view in the museum’s second floor elevator gallery. This new installation, The Age of Elegance: Americans and European Traditions, celebrates the American popularity of nineteenth-century ornament that revived historical European styles. The Age of Elegance is anchored by a ca. 1870 Pottier & Stymus parlor cabinet, made by the crème de la crème of New York furniture workshops. In a formal parlor, a highly-ornamented cabinet would be complemented, as in this display, with a scenic painting like Felix Ziem’s ca. 1865 view of the Grand Canal, Venice, a “veduta” picture painted as a souvenir for a cultured tourist. During this stylistic period, sometimes called the American “Gilded Age” (generally 1870 to 1900), American society saw the emergence of both a wealthy upper class, and a new middle class with disposable income. Tremendous industrial fortunes developed a new class of connoisseurs that could afford to elevate everyday objects to precious jewels, like the exquisite gold and enamel Fabergé cigarette case on view. The new American middle class could show their refinement with specialized serving pieces, like a Bohemian glass decanter with pointed arches that recall a Gothic cathedral. Whether in 24-karat gold or in modest glass, these Victorian-era objects share an inspiration derived from the artistic highlights of European history.

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Hollyhocks by a Stream, 1932, Autumn Grasses and the Moon, 1932, Yuiitsu Sakai, Japanese, 1878-?, ink and color on silk, Museum Purchase, Carrie Heiderich Art Fund, 2003.4.1,.2

PL AY ING TO THE MOON: R EFLECTIONS ON A THEME IN JA PA N E SE PA IN TING Why not bring your qin to the top of the mountain And play to the moon outside my window? This inscription, found on Tokaku Aigai’s painting, Summer Landscape, provides a glimpse into traditional Japanese conceptions about the moon and the ways in which it is represented in Edo-period painting. The current installation in the Japanese galleries, Playing to the Moon, explores these varied representations through nearly thirty hanging scrolls and screens, each with either explicit or implied references to the moon. Prior to the adoption of the Gregorian calendar in the midnineteenth century, Japan followed a calendrical system based on the phases of the moon. Festivals, celebrations, agricultural cycles, virtually all aspects of daily life depended upon and referenced the lunar cycle. The birth of the moon god Tsukuyomi is described in Japan’s earliest extant history, the Kokinji, and the earliest anthologies of poetry include numerous references to famed moon-viewing locales, gatherings,

and the deep emotions brought about by viewing the moon in the company of others. The season of autumn is commonly represented in painting by the full moon arising over pampas grass and fall flowers, such as in Yuiitsu Sakai’s pair of scrolls Autumn Grasses and Moon, and Hollyhocks by the Stream. Artists such as Matsumura Goshun in his screens Chinese Scholars Viewing Antiquities relied upon the multi-layered poetic and literary associations of the moon and the rich history of moonviewing gatherings to underscore the depth of erudition and lofty aspirations of his subjects. Artists did not always need to represent the moon to reveal its existence. Zen painters, for example, implied the presence of the moon through various devices—the shape of a treasure bag, or the pointing finger of a Zen worthy. In the eleventh-century novel The Tale of Genji, the hero is likened to the moon itself. Known as “The Shining Prince,” Genji’s fortunes waxed and waned, his presence celebrated, his absence mourned. Playing to the Moon is on view in NOMA’s third floor Japanese galleries.

EXHIBITIONS

PROSPECT. 3: NOTE S FOR NOW Prospect New Orleans launched its first international contemporary art biennial in November 2008. This October, Prospect.3 will open with 61 artists exhibiting in multiple venues citywide, including NOMA. NOMA’s rich encyclopedic holdings allow for thoughtful engagement with the modern and contemporary, suggesting a synergy between the city’s first and grandest museum with the art and ideas of the present. A key aspect featured consistently in the exhibition is the exploration of “other” in Western art, as well as the adoption of canonical forms by artists to create new and hybrid artistic movements. The touchstone here is Paul Gauguin (1848–1903), who through his obsessive practice and exoticization of a foreign culture was able to achieve a singular means of expression. NOMA’s Pair of Doors: Rupe Tahiti, 1891-93, depicts Tahitian women in a manner akin to stained-glass doors typical of European churches. A group of paintings by Brazilian modernist Tarsila do Amaral (1886– 1973) complements the museum’s early twentieth century collection. Tarsila do Amaral’s work appropriates foreign and native influences and elevates the local or site-specific, calling into question the relationship between artistic ideas and ideals of similarity and difference in global art. The work of several other artists from the modernist period attests to the presence of different narratives within the movement. Three key works by Alma Thomas (1891–1978), one of the first black women artists to be celebrated in the mainstream, are on view. New Orleans-born Ed Clark (b. 1926) is placed here as well, in visual conversation with his friend painter Joan Mitchell (1925-1992), as well as the playful surrealist figuration of Huguette Caland (b. 1931).

Pair of Doors: Rupe Tahiti, 1891-93, Paul Gauguin, French, 1848-1903, oil on reverse-painted glass, painted beechwood, The Knoedler Benefit Fund and Gift of Two Anonymous Donors, 1964.1

In another take on modernity, artist Jeffrey Gibson (b. 1972) uses sculpture and painting to ignite a conversation about Native American contemporary art. In the Great Hall, a selection of large colorful portraits of cultural legends by Frederick J. Brown (1945–2012) will be displayed. These portraits, on long-term loan to NOMA, show how, through his art, Brown shared the diverse cultural history of the United States.

Finally, Andrea Fraser (b. 1965) will present a performance that explores racial relations in the South. As a white Northern outsider, Fraser explores dialogue and confrontation in New Orleans among diverse audiences. Fraser’s performance will take place at 2 p.m. on Saturday, October 25 in the Stern Auditorium at NOMA. Prospect.3: Notes for Now will be on view from October 25, 2014 – January 25, 2015.

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COLLECTIONS

PHOTOGR A PH Y A N D IDEN TIT Y Coinciding with Prospect 3: Notes for Now, NOMA will mount Photography and Identity, a display of photographs from its permanent collection that addresses cultural hybridity and the importance of place as a marker of identity. Photography, for better or worse, is still commonly thought of as a recorder of things. Photographs continue to function as facts, evidence, proxies, proof, substitutes, and as validation for and of the things represented in them. But photographs often have very little to say about the identities of the places they depict or the people they represent. The photographs on display in this exhibition are almost all the products of hybrid cultural collaborations (a Creole woman photographed by two Parisian men for the Musée de l’Homme, an African mask photographed by an American photographer for an exhibition at the Museum of Modern Art in New York, etc.) and yet on a visual level, these origins are often completely hidden. Instead we are left with a collection of people, places, and things whose histories have been reduced to what we can glean from their surfaces. In these photographs, people and places of different origins are presented in conversation with each other, inviting you to consider what kinds of histories are revealed or obscured by photographic images. Photography and Identity will be on view in one of the Templeman Galleries from October 17, 2014 – January 19, 2015.

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Cypress, 1990. Simon Gunning, American, born Australia 1956, oil on canvas, Museum purchase, John V. Moisant Memorial Fund, 91.150

NOM A ON THE ROA D: V IEWS OF N EW OR LE A NS This fall, NOMA presents a selection of contemporary works from the permanent collection that depict the unique visual environment of New Orleans as seen through the eyes of fourteen acclaimed artists. For decades George Dureau, Robert Gordy and George Rodrigue have been the face of local mainstream contemporary art, while self-taught artists such as Roy Ferdinand and Reginald Mitchell clearly exemplify the burgeoning artistic creativity that has historically shaped New Orleans’ distinctive culture. While the images in this exhibition resonate strongly with New Orleanians, the recognition of artists like Bruce Davenport Jr., whose work was included in the Prospect.2 art biennial, and Wayne Gonzales, who has made a successful art career in New York is testimony to the universal appeal of these artists’ work. Through cityscapes, cultural scenes, and landscapes, these artists invite the

viewer to ponder the distinguishing features that define New Orleans. A rainy night on Canal Street, a pensive ride on the iconic streetcar, as well as depictions of landmark arts institutions such as the Saenger Theatre and New Orleans Museum of Art all convey a sense of timelessness. Scenes of Jazz musicians, colorful marching bands at Mardi Gras and a bar scene of a diverse crowd awaiting a parade display the ongoing rhythm of a creative community committed to local traditions. This exuberance is tempered by a cemetery scene on All Saints’ Day that features life-size mausoleums laced throughout a lively New Orleans neighborhood. Distinctive landscapes of crescentshaped rivers and cypress trees pay tribute to an environment that gracefully camouflages destructive acts of nature, signaling recovery and rebirth. Views of New Orleans: Contemporary Art from the New Orleans Museum of Art is on view at the St. Tammany Art Association through October 25, 2014.

Degas’ Dancer WORK ON VIEW AT NOMA THIS FALL Edgar Degas, famed French artist and one of the founders of the impressionist movement, painted Portrait of Estelle Musson Degas, 1872 during his brief stay in New Orleans. The painting has been in NOMA’s collection since 1965, when a group of enthusiastic board members and volunteers spearheaded a citywide movement to raise funds to purchase the work. Since 1965, Estelle has rarely left the museum’s walls. “We infrequently loan Estelle out to other institutions, due to its importance to the city of New Orleans,” said Lisa Rotondo-McCord, Deputy Director of Curatorial Affairs at NOMA. “The campaign to ‘Bring Estelle Home’ was a community effort; even New Orleans schoolchildren contributed to raise the money for this important work. We often receive visitors who come to view this painting that they helped purchase.” When the Virginia Museum of Fine Arts (VMFA) first inquired about a possible loan of Estelle to their exhibition Bouquets: French Still-Life Painting from Chardin to Matisse, the staff at NOMA initially declined. The VMFA then made a new offer. In exchange for the loan of Estelle, they agreed to loan NOMA another important work by Degas, one that also had sentimental value for the Virginia community, who rallied together to purchase it in the 1940s: his Little Dancer Aged Fourteen, a bronze sculpture of a young ballerina, and the only sculpture Degas exhibited in his lifetime. Degas and the Dancer Born to a wealthy banking family in Paris in 1834, Hilaire-Germain-Edgar Degas began his studies at the Lycée Louis-Le-Grand at the age of eleven. After studying the classics and completing his baccalauréat in literature, Degas joined the ranks of the University of Paris Law school in 1853. He simultaneously pursued his art training, registering as a copyist at the Louvre. In 1855 he abandoned law school and was accepted to the Ecole des Beaux-Arts. His earliest work focused on history painting, but by 1865 he began to concentrate on scenes of modern Parisian life and leisure, including horse races, café-concerts, and the ballet. Degas’ social stature played a significant role in his choice of subject matter. His enthusiasm for music and dance stemmed from his family, who was known to support the arts. The Paris Opera provided the perfect marriage of music and dance, and became an ideal setting and subject. In the late nineteenth century, the Opera was the place to see and be seen, and much of Paris’ upper class held an abonnement, or subscription, to one of three weekly performances. This privilege allowed one to access seating in the stalls and boxes, the wings of the stage, dancers’ dressing rooms, and the foyer de la danse, where abonnés mingled with the dancers. While many of Degas’ works depict the performances, even more treat the ballet dancers behind the scenes and in rehearsal, showing his fascination with the complexity of the human form.

The Little Dancer, Fourteen Years Old, 1880 - 1881, Edgar Degas (French, 1834 - 1917), Bronze, net tutu with satin hair ribbon, Collection of the Virginia Museum of Fine Art, State Operating Fund and the Art Lovers’ Society, 45.22.1.

“...the depiction of this novice ballerina or ‘rat’ standing in relaxed fourth position was described by critics as ‘ugly’ and ‘a threat to society.’ ”

Degas modeled Little Dancer Aged Fourteen out of colored wax in 1880, but it wasn’t until 1922 when at least twenty-five bronze sculptures were cast posthumously by the Hébrard foundry at the request of the artist’s nieces and nephew. Though Degas sculpted throughout his mature career, this figure of Marie van Goethem, a young novice at the Paris Opera Ballet, was the only one he exhibited publicly in his lifetime, causing a sensation at the 1881 impressionist exhibition in Paris. Originally exhibited like an anthropological specimen under a vitrine, and embellished with a muslin tutu, linen bodice, ballet slippers, and a real hair wig tied with a satin ribbon, this sculpture of a novice ballerina or “rat” standing in relaxed fourth position was described by critics as “ugly” and “a threat to society.” The realistic treatment of her face and the use of unorthodox materials highlighted his desire for naturalism as an artistic standard rather than idealization. Much has been written on the Little Dancer – on her expression, on her position, on what she represented at the time. Degas’ sculpture continues to fascinate and engage audiences over a century later. Her posture and attitude are both defiant and enigmatic. The lowest “ballet rat” has been elevated to a position of importance. A New Focus Gallery NOMA will share this renowned work with audiences in a newly created focus gallery this fall. A selection of related works from the museum’s permanent collection will be displayed alongside the Little Dancer, including

Arts Quarterly New Orleans Museum of Art

a pastel drawing and a smaller bronze sculpture of another dancer putting on her slipper. This display approach allows for one or a few works of art to be presented and explored in depth, a concept that director Susan M. Taylor has been eager to explore for some time. “Creating a focus exhibition around the Little Dancer will allow us to show this work and others by Degas in depth,” Taylor said. “NOMA’s works by Degas will complement the Little Dancer and invite a close examination of Degas in a variety of mediums.” In March, when the Little Dancer returns home, a second loan from the VMFA will arrive: Claude Monet’s Irises by the Pond.

Above Portrait of Estelle Musson Degas, 1872, oil on canvas, Museum purchase, 65.1 This work is currently touring in the exhibition Bouquets: French Still-Life Painting from Chardin to Matisse, organized by the Dallas Museum of Art and the Virginia Museum of Fine Arts. This work will be back on view at NOMA by November 2015. Opposite page, left Dancer Tying her Shoe, c. 1885 Charcoal and chalk on blue paper, Gift of Carolyn Querbes Nelson, 2011.78 Opposite page, right Dancer in Green, c. 1878, pastel on paper, Gift of Charles C. Henderson in memory of Nancy S. Henderson, 74.282

Little Dancer Aged Fourteen will be on view in the Stafford Gallery from October 10, 2014 – March 1, 2015.

UPCOMING PROGRAMS

Friday, December 12 7:30 p.m. Teen dancers from the New Orleans Dance Academy will perform a selection from The Nutcracker in the Great Hall

Saturday, December 13 All day Come dressed up in your tutu or ballet dancewear! All day Cafe NOMA will serve a high tea menu 10 a.m. - 12 p.m. Studio KIDS! class: “Get to Know Edgar Degas—Little Dancers” 11:30 a.m. StoryQuest: “Dancers” www.noma.org

RO M A N A LO K H I N

VISIT

Japan Fest

CELEBR ATE

NOM A A N D THE

JA PA N E SE

NOL A PROJ ECT

CU LT U R E

PR E SEN T

AT JA PA N FE ST

T W ELFTH NIGHT

October brings the return of Japan Fest at NOMA, the annual celebration of Japanese culture featuring live music, dancing, martial arts demonstrations, and more. Throughout the day, crowd favorite Kaminari Taiko drumming ensemble will give performances on the steps of the museum. Inside the museum and the Sydney and Walda Besthoff Sculpture Garden, there will be food, games, crafts, gallery tours of NOMA’s Japanese art collection, and demonstrations of Japanese ikebana and martial arts. Don’t miss the Japan Club’s performance of a traditional tea ceremony and an anime fashion show. Japan Fest is organized by NOMA, the Consulate General of Japan in Nashville and the Japan Club of New Orleans.

This December, NOMA’s neoclassical Great Hall will be transformed into the strange country of Illyria where two shipwrecked twins must find their way back to one another. NOMA and The NOLA Project are collaborating once again to present the classic Shakespearean comedy Twelfth Night. Shakespeare’s iconic characters and verse presented in the Great Hall alongside works of art will allow audiences to experience both the visual and performing arts simultaneously in ways that offer unique and delightful commentary on one another. A.J. Allegra, Project Director of The NOLA Project, says, “One of my favorite parts of directing any show at NOMA is getting a glimpse at what new works of art will influence a scene we are staging. When an audience picks up that the two seemingly unrelated works are now, for one ephemeral moment delightfully intertwined, the reaction is just thrilling.” Starting November 2, purchase tickets online at noma.eventbrite. com, or at NOMA’s front desk during regular museum hours.

Saturday, October 11 10 a.m. - 4 p.m. $5 | nonmembers Free | NOMA members

$24 | General Admission $18 | NOMA and The NOLA Project members $18 | Obstructed View Children 6 & under will not be admitted The NOLA Project, Romeo and Juliet

Check the calendar for show dates and times.

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NOM A PILOTS MOBILE A PP Mobile applications have become powerful 21st-century educational tools. Collaborating with CultureConnect, a New Orleans-based start-up, NOMA is harnessing this technology to create innovative ways to interpret works of art in the museum’s 40,000-object permanent collection. Over the last several months, NOMA has partnered with CultureConnect to develop a pair of mobile platforms, one focused on self-guided tours on smartphones and one that allows visitor-driven content exploration application on tablets. Accessible on a variety of devices and viewable on all operating systems and mobile browsers, each tour is interactive. The first mobile tour, a self-guided experience through the Sydney and Walda Besthoff Sculpture Garden, launched in conjunction with NOMA’s annual LOVE in the Garden event on September 26, 2014. In the coming year, visitors can look forward to a deeper content exploration application that will highlight objects in the museum’s collection, and allow visitors as well as off-site users to choose their own pathways to explore. The content exploration app can also be used by educators as a curriculum-aligned educational tool to prepare for field trips,

as part of arts-integrated classroom instruction, or to reinforce learning objectives. “CultureConnect has built a platform that NOMA can tailor to fit our specific needs,” Taylor said. “The fact that NOMA staff can edit and create content based on user feedback and data is a huge asset to the museum. We’re excited to share the fruits of this partnership with our audiences.” The ability to customize will give NOMA the flexibility and capacity to engage specific audiences, like LOVE in the Garden attendees, or to align with K-12 curriculum when students visit the museum. Parents can explore artwork with their children without needing a background in art history. And through user feedback and analytics, NOMA can understand what content is most interesting to audiences. NOMA will continue to place a focus on upgrading and expanding its technology, engaging audiences and providing access to art in the collection beyond the museum’s walls. Visit http://tour.noma.yourcultureconnect.com/ on your mobile device to explore a few highlights from the collection and the Sydney and Walda Besthoff Sculpture Garden.

MOV IE S IN THE GA R DEN NOMA and the New Orleans Film Society are bringing more classic films to the Sydney and Walda Besthoff Sculpture Garden. This outdoor film series in the Besthoff Sculpture Garden will focus on classic movies that represent some of the most highly regarded films from cinema’s “Golden Age” (1927-1963). All have been selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant” and were also included in TIME Magazine’s 2011 list of the Greatest Films Ever Made. These films, most of which were created through the Hollywood studio system, are marked by plots that progress through time in a linear way, and are based on characterdriven action (in traditional three acts) and the continuity (or “invisible”) editing style. All films begin at sundown.

October 24 North by Northwest

November 14 Citizen Kane $8 | Adults $5 | NOMA, NOFS members, students, children (7 to 17) Free | 6 & under

Save the Date! Family Day 2015 will be Saturday, January 24.

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Portrait of Marie Antoinette, Queen of France, 1788 Louise Élisabeth Vigée Le Brun LEARN French, 1755-1842 Oil on canvas, 109 1/2 x 75 1/2 in.

Women’sEDUCATOR Volunteer Committee and Carrie HeiderichNOM Funds, 85.90 A’S

WOR K SHOPS

TOOLS FOR

TE ACHING BR INGS

ARTIST

THE COLLECTION

Bring art your classroom Louise Élisabeth Vigée Le into Brun is Court at the Palace of Versailles by Marie Antoinette, whom she counted as one of her considered to be the most important female byAntoinette, life-long friends. While royal connections with lessons inspired NOMA’sQueen of France. In 1783, with painter of the 18th century. She was the the aid of her royal patron, Vigée Le Brun facilitated the artist’s success, they also collections and exhibitions. Lesson daughter of a pastel artist who recognized became one of only four women admitted forced her to flee France in 1789 at the onset her talent early and began to teach his to the state sponsored Académie Royale de of the French Revolution. Vigée Le Brun plans, images, and a museum tour Educators returning the as classroom creative daughter. By her early teens, Vigée Peinture et de Sculpture (The Academy). continuedto to paint she traveled through Le Brun began her career Europe. In 1802 she returned to Paris and areprofessional provided. Come earlyDuring at 4 her p.m. this fall new materials available long career as a portraitist to will have painting portraits of French nobility. In her exhibited portraits in the Paris Salon. the aristocracy, Vigeé Lebrun completed early twenties, to sheenjoy was invited to the French and exchange refreshments help bring NOMA’s collection to at least twenty-five portraits ofto Marie

TO THE CL A S SROOM

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ideas with colleagues. For more information, call 504-658-4100 or email education@noma.org. TIME & PLACE

their students. The online Educator Toolbox provides digital access while the NOMA Teaching Posters offer handson resources. These new materials Marie Antoinette reigned as queen of France became a fashion icon to European courts. to secure arms and ammunition. This event, from 1774 untilTuesday, her execution byOctober guillotine 7 However, rumors of her excessive spending teachers known to as Bastille and commemorated empower buildDay connections in 1793 during the French Revolution. habits during a time of financial turmoil in in France as a national holiday, is generally 4:30of –Empress 6:30Maria pm. human She was the daughter France displeased her French between subjects, whocurriculum consideredand to mark the beginning of the French Theresa of Austria and the Holy Roman nicknamed her “Madame Deficit.” Revolution. The revolutionary period in TEACHING WITH ART creativity. Emperor Francis I. Her marriage to King France was influenced by the Enlightenment On July 14, 1789 a revolutionary crowd Louis XVI united the French Bourbon concepts of inalienable rights and popular Learn about ourand new Tools for workers and peasants, fearful Working with the Educator of French Austrian Hapsburg royal families. As queen, sovereignty. It marked the end of absolute of a military coup in the capital, stormed Teaching. Advisory Board and web designers, Marie Antoinette was celebrated by the monarchy and feudalism in France. the Bastille Prison in Paris in an attempt French court for her charm and beauty. She NOMA crafted the Educator Toolbox. Tuesday, November 18 This online portal is a place for 4:30 – 6:30 pm. educators to exchange ideas and lesson STYLE PHOTOREALISM plans related to NOMA’s permanent This royal portrait demonstrates Vigée Le From the royal blue of her gown imposing canvas. Her figure dominates Consider tools that visual artists use collection andmeaning. exhibitions. Searchable by Brun’s ability to seamlessly blend the popular to the pillow placed under her feet, Marie the picture plane, while her clothing, rococo and neoclassical styles. Rococo in possessions, Antoinette’s it status is emphasized by the accentuate to recreate a The moment time. and the architecture artist and grade-level, allows educators style, which favored fanciful elements, inclusion of fine objects and references to her elevated status and authority. to bookmark resources including lessons highlights the queen’s rich clothing and royalty. Additionally, her placement in front Portraits such as this served as political surrounding ornamentation. Neoclassicism of an open window in a grand room elevates propaganda, providing a carefully and digital reproductions of works is reflected in Marie’s austere, dignified pose her above her subjects. constructed image of the queen. Each and the marble column. Marie Antoinette from the NOMA collection for later use. item included in the portrait has symbolic appears slightly larger than life size in the Educators can also upload lessons and photographs of student work to add to the toolbox and provide inspiration for VOCABULARY other members. people more knowledge and understanding PARIS SALON | The official annual art ACADEMY | A learned group accepted as than tradition and religion. of the Académie des Beaux-Arts an authority in its field. Art academies have NOMA’s exhibition Teaching Posters are in Paris, France. included the French Académie des BeauxNEOCLASSICISM | An artistic movement Arts, the English Royal Academy of Art and designed to beROCOCO used in| An the classroom developed in the mid 18th century as a elegant and ornateby artistic the Pennsylvania Academy of Art. response against rococo. Neoclassical style during the 1700s, which often used teachers and students. The 2014 posters, artists drew from classical and Renaissance gilded and ostentatious elements. ENLIGHTENMENT | Also called the Age of artwork and strived for balanceCollection and realistic Highlights, includes six Reason. A movement of the 18th century that representations. stressed the belief that science and logic give cornerstone works of art from NOMA’s collection including Marie Antoinette, EDUCATOR Queen of France by Élisabeth VigéeFIND & COMPARE Lebrun as well as works representing A PPR ECI ATION the Italian, African, Chinese and Dutch collections. Each poster features a large, DAY color reproduction with interpretive guides, vocabulary, comparisons and Saturday, November 29 suggestions for student writing. Major 11 a.m.- 5 p.m. support from the Patrick F. Taylor France Foundation allows NOMA to make one Teachers get in FREE with a school set of Teaching Posters available to ID! Bring your valid school ID or schools in Orleans parish free of charge. current school check stub and get free admission to NOMA for you and up to three family members. NOMA appreciates your hard work and Vigée Le Brun Painting the Portrait of Queen Portrait of Louis XVI,King of France, c. 1782 – 83, dedication in the classroom. Madame Marie Antoinette c. 1859, Alexis Joseph Perignon Antoine Francois Callet (French, 1741 - 1823), (French, 1806-1882), oil on canvas, 53 1/8 x 39 1/4 in. Gift of Joseph Baillio, 2010.150

16 NOMA Teaching Posters | Set 1 Collection Highlights

3 5 4 LOOK & DISCUSS 1. Marie Antoinette wears a chapeau (hat) made of silk, lace, ostrich feathers, and a large diamond. This accessory was both decorative and practical, as it provided warmth in the drafty Palace of Versailles. The window provides a frame for her dignified pose. 2. The queen of France was a trendsetter,

admired for her fashion and courtly manners. Powdering hair and rouging cheeks and lips was fashionable among French nobility of the time.

3. The floral arrangement and crown on the table create a still life that symbolizes the Queen’s royalty and femininity. Sumptuous red velvet trimmed with gold embroidery covers the chair, the tablecloth, and the pillows at her elbow and feet. 4. The lavish clothing and surrounding finery demonstrate the queen’s great power and wealth. Her dress is made of silk, velvet, and fur while her bejeweled crown sits on the table to her left. 5. Marie Antoinette’s royal status is expressed throughout the painting. The small leather book in her lap is embossed with coats of arms of both Bourbon and Hapsburg families. The blue pillow holding the crown is embroidered with golden fleurs-de-lis, symbol of the Bourbon dynasty. The eagle on the red velvet tablecloth represents Marie Antoinette’s Hapsburg lineage.

ENGAGE & WRITE

Detail from one of the Collection Highlights Posters How doesTeaching the artist employ the elements of art to tell us about the subject of this painting? What textures can you identify in this painting? How does the artist’s use of color and shape capture your eye? How is the figure situated in space? What symbols of royalty can you recognize in this painting? Look for similar symbols in the Portrait of Louis XVI, King of France by court painter Antoine François Callet. If you commissioned a painting of yourself, what would you include to signal your own personality? Write an acrostic poem about yourself using the letters of that object to begin each line. Who are today’s trend setters? Consider how the media establishes status. Write a blog post or short essay comparing current media to royal portraiture.

oil on canvas, 64 x 51 1/2 in, Museum purchase in honor of the 75th anniversary 86.9

Arts Quarterly New Orleans Museum of Art

STUDIO KIDS!

STORYQUEST

HOLIDAY CAMPS AT NOMA

Art classes for ages 5 - 10 10 a.m. – 12 p.m.

11:30 a.m. in the Museum Shop

Art classes for ages 5 - 10 9:30 a.m. – 12:30 p.m.

Get to know some of the world’s greatest artists this fall, including Edgar Degas, Louise Bourgeois, and Chuck Close. Studio KIDS! classes explore NOMA’s galleries to view works by different artists who will provide inspiration for art projects. Professional teaching artist Belinda Tanno provides skill-building lessons using different mediums and two- and three-dimenstional techniques. Register for one class or the entire series! Per class: $25 | members $30 | nonmembers

Check the calendar for the fall schedule.

www.noma.org

Spark imagination, creativity, and a love of reading. Professional authors, actors and artists bring the world of children’s literature to NOMA in this family series. StoryQuest begins with interactive readings of selected stories then families search NOMA’s galleries and garden seeking related works of art. Major support for this program is provided by the Patrick F. Taylor Foundation.

Check the calendar for the fall schedule.

For information or registration, call 504-658-4128 or email education@noma.org.

Get creative over the holidays! NOMA offers three single-day Holiday Camps to engage young artists in the creative process. Campers will explore works of art in the museum galleries and get creative in the studio. Each camp is limited to 12 students. Camp themes will be available soon. Visit noma.org for the most up-to-date information. Per class: $30 | members $35 | nonmembers

Tuesday, November 25 Tuesday, December 30 Wednesday, December 31

SUPPORT The New Orleans Museum of Art gratefully acknowledges our donors, who make our exhibitions, programming, and daily operations possible. We appreciate your continued support of NOMA and its mission. Thank you!

Foundation and Government Support $500,000 and above Collins C. Diboll Private Foundation The Gulf Seafood and Tourism Promotional Fund The Helis Foundation

$20,000 - $49,999 The Bertuzzi Family Foundation Eugenie and Joseph Jones Family Foundation The Harry T. Howard III Foundation

NOMA BUSINESS COUNCIL Centurion

Bronze

International-Matex Tank

Ernst & Young

Terminals

First NBC Bank

Platinum

Green

First Bank and Trust

Basin St. Station

Superior Energy Services, Inc.

Boh Bros. Construction Company, LLC Crescent Capital Consulting

Gold

Dupuy Storage & Forwarding, LLC

The Institute of Museum and Library Services

Capital One Wealth and Asset Management

The Lupin Foundation

Chevron

National Endowment for the Arts

Jones Walker

The RosaMary Foundation

Liberty Bank and Trust Company

$10,000-$19,999

The New Orleans Convention and Visitor’s Bureau

JP Morgan

Anonymous Bayou District Foundation

Frank B. Stewart, Jr.

Neal Auction Company

Ella West Freeman Foundation

The Benjamin M. Rosen Family Foundation

Gary and Martha Solomon

New Orleans Auction Galleries

The Gayle and Tom Benson Charitable Foundation

The Garden Study Club of New Orleans

Lois and Lloyd Hawkins Jr. Foundation

Louisiana Division of the Arts

$200,000 - $499,999 The Azby Fund

$150,000 - $199,999 Charitable Lead Annuity Trust under the Will of Louis Feil City of New Orleans

$100,000-$149,000

$50,000-$99,999

Goldring Family Foundation

Gulf Coast Bank & Trust Company Hammack, Hammack, Jones, LLC Helm Paint and Supply Hotel Monteleone Laitram, LLC

Pan-American Life Insurance Group

Sapphire

Premium Parking Service

New Orleans Theater Association

Bayou Lacombe Construction Company

Ruby K. Worner Charitable Trust

Entergy New Orleans, Inc.

American Council of Learned Societies

Eclectic Investment Management

Stone Pigman Walther & Wittmann, LLC

Ochsner Health System

Estate of Albert and Rea Hendler Zemurray Foundation

Silver Anonymous (2) Bellwether Technology Corporation

Corporate and Individual Support $100,000 and above

$10,000-$19,999

Corporate Realty

Sydney and Walda Besthoff

Dr. H. Russell Albright

NOLA.com | The Times-Picayune

Mr. and Mrs. H. Mortimer Favrot, Jr.

Anonymous

Phelps Dunbar, LLP

Estate of Françoise Billion Richardson

Jeffery Beauchamp

World Trade Center of New Orleans

$50,000 - $99,999 New Orleans Convention and Visitors Bureau Kitty and Stephen Sherrill

$20,000-$49,999 Susan and Ralph Brennan Chevron Stephen Reily Jolie and Robert Shelton Whitney Bank

Suzanne Deal Booth and David G. Booth Galerie Kamel Mennour Greater Lakeside Corporation International-Matex Tank Terminals JP Morgan Molly O’Connor Kemp NOLA Media Group Nicholas Metivier Gallery Joshua Mann Pailet Pan-American Life Insurance Group Peoples Health Regions Josephine Sacabo

SAVE THE DATE Art in Bloom “New Orleans by Design” presented by IBERIABANK, will be March 18-22, 2015.

Estate of Dorothy B. Skau

For additional information on exhibition sponsorship and program support, please contact Brooke Minto at (504) 658-4107 or bminto@noma.org. 18

For more information on the NOMA Business Council, please contact Gia Rabito at (504) 658-4129 or grabito@noma.org. Arts Quarterly New Orleans Museum of Art

President’s Circle

Patron’s Circle

Mr. and Mrs. Sydney J. Besthoff III Mr. and Mrs. Ralph O. Brennan

Dr. Ronald G. Amedee and Dr. Elisabeth H. Rareshide

Mr. and Mrs. David F. Edwards

Anonymous

Dr. and Mrs. Ludovico Feoli

Mr. and Mrs. Alvin Baumer, Jr.

Ms. Adrea D. Heebe and Mr. Brent Barriere and Ms. Judy Barrasso Mr. Dominick A. Russo Jr. Mr. and Mrs. Robert H. Boh Mr. and Mrs. Charles B. Mayer Mrs. Robert Nims

Dr. and Mrs. L. Jay Bourgeois III

Jolie and Robert Shelton

Ms. Dorothy Brennan

Mr. and Mrs. Stephen C. Sherrill

Dr. and Mrs. Isidore Cohn Jr.

Mrs. Patrick F. Taylor

Mr. Leonard A. Davis and Ms. Sharon Jacobs

Director’s Circle

Mr. and Mrs. Timothy B. Francis Mr. and Mrs. Edward N. George

Mr. Justin T. Augustine III

Mr. and Mrs. Charles W. Goodyear

Mr. and Mrs. John D. Bertuzzi

Mr. and Mrs. H. Merritt Lane III

Mr. and Mrs. Daryl G. Byrd

Mr. and Mrs. Thomas B. Lemann

Mr. and Mrs. Thomas B. Coleman

Dr. Edward D. Levy Jr.

Mr. and Mrs. H. M. Favrot Jr.

Mr. and Mrs. J. Thomas Lewis

Dr. and Mrs. John F. Fraiche

Ms. Elizabeth Livingston

Ms. Tina Freeman and Mrs. E. Ralph Lupin Mr. Philip Woollam Mr. and Mrs. Paul J. Masinter Mrs. Lawrence D. Garvey

Ms. Kay McArdle

Mr. Robert Hinckley

Mr. and Mrs. R. King Milling

Dr. Howard and Dr. Joy D. Osofsky

Mr. and Mrs. Michael D. Moffitt

Mr. and Mrs. Robert J. Patrick

Mr. Joshua Pailet

Mrs. Charles S. Reily Jr.

Dr. and Mrs. James F. Pierce

Mr. and Mrs. Benjamin M. Rosen

Mr. and Mrs. James J. Reiss Jr.

Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. James C. Roddy

Mr. and Mrs. Bruce L. Soltis

Mr. and Mrs. Edward Shearer

Mrs. Harold H. Stream Jr.

Mr. and Mrs. Michael J. Siegel

Mr. and Mrs. Robert S. Taylor

Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Jr. Mrs. Frederick M. Stafford Dr. and Mrs. Richard L. Strub Mr. and Mrs. Stephen F. Stumpf Jr. Mr. and Mrs. James L. Taylor Ms. Catherine Burns Tremaine Mr. and Mrs. Steven W. Usdin Mr. and Mrs. Douglas Brent Wood

SAVE THE DATE Circles members are invited to travel with NOMA to Florence and Venice, Italy on October 4-11, 2015.

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NOM A R ECEI V E S V ITA L FU N DING FROM FOR D FOU N DATION FOR N EX T PH A SE OF MINI M A STER S

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Herschel L. Abbott Jr.

Mr. and Mrs. Robert E. Thomas

SA B REE H I L L

NOMA CIRCLES

NOMA’s Mini Masters program, which provides early learning visual arts instruction for 3- and 4-year-old students, will continue to build on past success with the support of the Ford Foundation. Piloted by NOMA during the 2012 and 2013 school years, the program is now at a pivotal stage in its growth and ability to reach more students. “The power of the arts can be witnessed through the eyes of these Mini Masters as they are transformed by their own creativity and imagination,” said Darren Walker, president of the Ford Foundation. “Incredible art institutions like NOMA are anchors in the community and it’s so important that they are accessible to all residents so that even our youngest can connect to the wonder of art and what it can teach us about the human experience and the world we live in.” Working in partnership with the Tulane University Teacher Preparation & Certification Program, the Bayou District Foundation, and the new Educare early education center in Columbia Parc, Mini Masters introduces developmentally appropriate experiences that link works of art in NOMA’s permanent collection to language and literacy concepts. This union not only improves creative and critical thinking skills, but also aids in the development of vital social and problem solving abilities needed for a lifetime of learning. The program is free for participating students and their families. Previous support from the Ford Foundation in 2007 funded a strategic partnership with the Amistad Research Center at Tulane University, in an effort to understand and cultivate new audiences for the museum post-Katrina. In addition to the Ford Foundation, Chevron and Capital One Bank also recently provided support for Mini Masters this year. “We are delighted to increase the reach of the Mini Masters program with the support of these local and national funders,” said Susan M. Taylor, director of NOMA. “The importance of an art education for all ages cannot be underestimated. NOMA is committed to providing critical early exposure for children.” Major support for the Mini Masters early childhood education program is provided by the Ford Foundation. Additional support is provided by the Patrick F. Taylor Foundation, Chevron, the Bayou District Foundation, NOLA Media Group, Capital One Bank, and Mr. and Mrs. David Schlakman.

P H OTO G R A P H Y BY J U DY C O O P ER A N D R A L EI G H C O O P ER

SUPPORT

NOM A W R A PS U P SU MMER W ITH A ¡CELEBR ACIÓN!

1. Richard Aste, Susan M. Taylor, Ileana and José Suquet 2. David F. Edwards and Cleland Powell 3. Ana and Dr. Juan Gershanik with Lucia Abramovich 4. Richard Aste gives a gallery talk of Behind Closed Doors 5. ¡Celebración! fashion contest winners 6. NOMA Young Fellows at Upperline Restaurant 7. Alexis Rockman and Brett Littman 8. Jean-Christophe Castelli, Alexis Rockman, and Brett Littman discuss Rockman’s drawings for Life of Pi

Behind Closed Doors, Art in the SpanishAmerican Home, 1492-1898 opened in the Ella West Freeman Galleries on June 20, 2014. Organized by the Brooklyn Museum and supplemented by works from NOMA’s permanent collection, the exhibition peered into the interior lives of elite colonial Spanish Americans. To celebrate the end of summer and the closing of Behind Closed Doors and Rising Up: Hale Woodruff’s Murals at Talladega College, NOMA held ¡Celebración! NOMA, a late night party filled with food, live music, dancing, film screenings, lectures, a fashion contest, and more. NOMA stayed open until

midnight on Friday, September 12 and welcomed over 900 guests. Special thanks to NOMA’s partners in ¡Celebración! NOMA: 504Ward, Hispanic Chamber of Commerce of Louisiana, INVADE, New Orleans Auction Galleries, the Preservation Resource Center, The Scout Guide, the Southern Coalition for Fashion and Design, Teach for America, and WWOZ New Orleans. On Friday, September 19, artist Alexis Rockman, associate producer Jean-Christophe Castelli, and Brett Littman, executive director at The Drawing Center, all engaged in a lively

Arts Quarterly New Orleans Museum of Art

N O M A YO U N G F EL LOWS P H OTO BY T H E ESTO PI N A L G RO U P

discussion about Rockman’s conceptual drawings for the 2012 Academy-Award winning film Life of Pi. Rockman’s drawings are on view in the Templeman Galleries through October 12, 2014. On August 28, NOMA’s Young Fellows gathered for a private dinner and art collection tour at Upperline Restaurant with JoAnn Clevenger. At Upperline, Clevenger discussed her rich collection featuring Louisiana artists such as David Halliday, Douglas Bourgeois, Shirley Rabé Masinter, Noel Rockmore, and others.

www.noma.org

Behind Closed Doors: Art in the Spanish American Home, 1492–1898 is organized by the Brooklyn Museum. Generous support for this exhibition has been provided by National Endowment for the Humanities. The New Orleans presentation is underwritten by the Zemurray Foundation, with additional support provided by Pan-American Life Insurance Group. Rising Up: Hale Woodruff’s Murals at Talladega College is organized by the High Museum of Art, Atlanta, Georgia, in collaboration with Talladega College, Talladega, Alabama. Alexis Rockman: Drawings from Life of Pi is made possible by an anonymous donor. Additional support is provided by Richard Edwards, Baldwin Gallery, Aspen and James Salomon. Support for the New Orleans presentation of this exhibition is provided by International-Matex Tank Terminals.

SUPPORT

ODYSSEY’S NIGHT AT THE MUSEUM: TICKET LEVELS AND BENEFITS $100,000 Arts Ambassador 12 Odyssey Enchanted Evening tickets 18 Odyssey Night at the Museum tickets

$75,000 Arts Patron 10 Odyssey Enchanted Evening tickets 16 Odyssey Night at the Museum tickets

$50,000 Arts Educator 8 Odyssey Enchanted Evening tickets 14 Odyssey Night at the Museum tickets

$25,000 Picasso 8 Odyssey Enchanted Evening tickets 12 Odyssey Night at the Museum tickets

$15,000 Degas 6 Odyssey Enchanted Evening tickets 10 Odyssey Night at the Museum tickets

$10,000 Monet 4 Odyssey Enchanted Evening tickets 8 Odyssey Night at the Museum tickets

$5,000 Cézanne 2 Odyssey Enchanted Evening tickets 4 Odyssey Night at the Museum tickets

$1,500 Patron Party | 7 p.m.

ODYS SEY 2014: SU PPORTING A RTS EDUCATION This year, NOMA Odyssey presented by IBERIABANK is an event like no other. Odyssey Co-chairs Gayle M. Benson, Margo DuBos, Juli Miller Hart, and H. Britton Sanderford Jr., along with Honorary Chairs Sydney and Walda Besthoff, have planned two nights of entertainment, cuisine and cocktails, auctions, and more. All of the proceeds from this year’s Odyssey are supporting a very specific mission: the continued development of arts education programs at the museum. Odyssey is also the inspiration for the newly founded Curator’s Club, a group of leaders who will play a greater role in NOMA and the museum’s future. This group is led by Sanderford. Odyssey’s Night at the Museum On Friday, November 7, Odyssey’s Night at the Museum will unveil Photorealism: The Sydney and Walda Besthoff Collection, an exhibition of this internationally-renowned photorealism collection. This collection features works painted from 1969 to 2013 by many of the artists associated with the first wave of photorealism in the late 1960s and early 1970s, such as

Chuck Close, Richard Estes, and John DeAndrea. Enjoy champagne and passed hors d’oeuvres, then indulge in a cocktail and cigar in the Havana Club, explore a biker bar, or savor some throwback treats at the K&B diner. On the second floor, visit Marie Antoinette for a decadent display of cakes and sweets and try your hand at the great American pastime of pinball. Guests are encouraged to walk through the galleries and watch how an art museum “comes to life” at night. A silent auction will include forty items all valued over $2,000 that range from original art to luxury weekend packages. Guests can also bid on live auction items, which include a private dinner party in your home provided by Restaurant R’evolution, jewelry designed by Volobra Jewelry and Antiques, and more. Odyssey’s Enchanted Evening Lead sponsors are also invited to Odyssey’s Enchanted Evening on Wednesday, November 5, which will be held at the beautiful Audubon Place home of Basi and Michael Carbine. Enchanted Evening guests will have the

2 Odyssey Night at the Museum tickets with reserved seating

$500/$1,000 Patron Party | 7 p.m. 1 or 2 Odyssey Night at the Museum tickets

$250/$500 Gala | 8 p.m. 1 or 2 Odyssey Night at the Museum tickets

$125/$250 Young Fellows Gala Tickets | 8 p.m. 1 or 2 Odyssey Night at the Museum tickets A special ticket level for Patrons 21-45 years of age; Limited Availability To view full list of benefits and to purchase tickets, visit www.noma.org.

Straps, 2007, Peter Maier, American, born 1945, DuPont Cromax on fabricated aluminum, Collection of Sydney and Walda Besthoff, Image: (c) Peter Maier, courtesy Louis K. Meisel Gallery

Arts Quarterly New Orleans Museum of Art

New Orleans Museum of Art To learn more about NOMA’s innovative arts education programs and the impact they have in our local community follow NOMA’s #ArtMakesMe campaign through Facebook, Twitter and Instagram.

makes me ... imagine