CREATING COMMUNITY
New Orleans Museum of Art
September – December 2018
DIRECTOR’S LETTE R
Susan M. Taylor
FRONT COVER
Antoine Dieu (French, c. 1662–1727), Allegory of Philippe II, duc d’Orléans, Regent of the Realm, 1718, Oil on canvas, Musée National du Château de Versailles, MV 5968 © RMNGrand Palais/Art Resource, NY On view as part of The Orléans Collection, beginning October 25.
LEFT Lina Iris Viktor, Work in Progress from the series A Haven. A Hell. A Dream Deferred., 24-karat gold, acrylic, print on paper, 52 x 40 in., 2017–2018, Courtesy of the artist and Mariane Ibrahim Gallery, © Lina Iris Viktor On view as part of A Haven. A Hell. A Dream Deferred, beginning October 5.
In the spring of 1718, Jean-Baptiste Le Moyne de Bienville, a French Canadian explorer and royal appointed governor of the Louisiana Territory, led an expedition to clear land in a crescent of the Mississippi River some 100 miles above the river’s terminus at the Gulf of Mexico. Canebrakes were chopped by thirty convicts and six carpenters proceeded to build a rudimentary settlement of cabins on a narrow shore that sloped into swamps teeming with alligators and mosquitoes. This isolated outpost was christened La Nouvelle Orléans, in honor of the ruling regent of France, Phillippe II, the Duke of Orléans, who had sent orders to proceed with this economic enterprise. Back in France, in his extravagant Palais-Royal, the Duke was engaged not only with business in the New World. As a learned man of many interests, Phillippe pursued his passion for art, and by the second decade of the eighteenth century the walls of his Parisian palace were filled with works by the greatest artists of his time—Rubens, Veronese, Raphael, and Rembrandt, to name a few—a collection that would grow to more than 500 paintings before his death in 1723. These works would ultimately be auctioned by Phillippe’s heirs in the 1790s and scattered across the globe in the centuries that followed. Now, for the first time since the collection’s dispersal, our museum, sited in that once isolated outpost, will reunite thirty-nine works from this incomparable collection named for our city’s namesake. The Orléans Collection will open on October 26 as NOMA’s final tribute to the New Orleans Tricentennial. Beyond this exhibition of works loaned from twenty-five museums, our galleries, programming, and community outreach continue to reflect the diverse interests of a city that has grown to become one of the world’s cultural capitals in its own right. We welcome contemporary artist Lina Iris Viktor to the Great Hall for her exhibition examining America’s role in the founding of Liberia. In A Haven. A Hell. A Dream Deferred, Viktor uses a symbolic female prophetess modeled after the Libyan Sybil to convey themes of colonization and the lasting impact of the trans-Atlantic slave trade. Her dazzling backgrounds to these fantastical portraits draw upon geometric African and Egyptian sources. NOMA was at the forefront of recognizing the camera as an artistic tool equal to the painter’s brush or sculptor’s chisel. In 1918, a mere seven years after our institution opened its doors, our galleries featured a groundbreaking exhibition of photographs organized by the New York-based Pictorial Photographers of America (PPA). We will recreate that historical show in one section of a three-part exhibition titled Past Present Future: Building Photography at the New Orleans Museum of Art. The present will be showcased with selections from our notable collection of more than 10,000 photographs. I am delighted to announce that the future will be celebrated with the debut of a selection of photographs from the promised gift of Tina Freeman. This extraordinary collection of more than 1,300 works spans the history of the medium and is one of the most important collections to ever enter NOMA’s collection. This generous bequest marks a transformative moment in our stature as one of the nation’s leading repositories of fine-art photography. Mark your calendars now for two of NOMA’s most fun-filled events of the year. On September 28 we will gather outdoors under the dramatically lit, moss-draped oaks in the Besthoff Sculpture Garden for LOVE in the Garden, presented by Hancock Whitney. On November 10 patrons gather inside the museum for the always elegant Odyssey Ball, in partnership with IBERIABANK, this year appropriately themed “All That Glitters.” Join us as we toast the conclusion of an extraordinary year.
Susan M. Taylor The Montine McDaniel Freeman Director
CREATING COMMUNITY Selected highlights from September – December 2018
C ELEBRATE Japan Fest SATURDAY, OCTOBER 6, 10 A.M – 4 P.M. An annual favorite at NOMA, Japan Fest ushers in the autumn season with cultural activities from the Land of the Rising Sun. Be awed by the booming drums of Kaminari Taiko, see dozens of anime and Lolita cosplayers, and tour Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters (see page 11). $5 | Free for NOMA members, teens, and children 6 and under
PREVIEW Author Jason Berry presents City of a Million Dreams FRIDAY, NOVEMBER 16, 7:30 P.M.
PURCHASE
The Orléans Collection Catalogue Published to document the landmark exhibition of The Orléans Collection (see pages 12–15), this catalogue is both a celebration of the tricentennial of the city of New Orleans and a major contribution to historical art scholarship. In his lifetime, the Duc d’Orléans (1674–1723) assembled more than 500 masterpieces of European art, all of which were auctioned during the French Revolution and ultimately dispersed around the world. NOMA reunites thirty-eight of these works in both an unprecedented exhibition and this lushly illustrated volume authored by internationally recognized experts. Reserve or purchase a copy in the Museum Shop or online at noma.org/shop 2
Be among the first to watch clips from the documentary City of a Million Dreams: A History of New Orleans at Year 300, a companion to Jason Berry’s new book by the same title. Berry will discuss his characterdriven history of the city at its tricentennial. The book chronicles cycles of invention, struggle, death, and rebirth. On screen and paper, he reveals New Orleans’s survival as a triumph of diversity, its map-ofthe-world neighborhoods marked by resilience despite natural and man-made disasters. A book signing will follow in the Museum Shop.
New Orleans Museum of Art | NOMA Magazine
CONTENTS
APPLAUD The NOLA Project presents The Revolutionists SEPTEMBER 4 – 16, 7:30 P.M. The NOLA Project returns to NOMA’s Great Hall with an all-female cast portraying women confronting the Reign of Terror during the French Revolution. For more information on this regional premiere of ten shows, see page 27. www.nolaproject.com | 504.302.9117
DINE, IMBIBE, AND DANCE LOVE in the Garden FRIDAY, SEPT. 28, 7 P.M. – 12 A.M. Experience an unforgettable evening of dancing beneath the stars as LOVE in the Garden presented by Hancock Whitney returns for its fourteenth year to the Besthoff Sculpture Garden. Sample delectables from more than sixty New Orleans restaurants and craft drinks from the city’s top bartenders in the LOVE cocktail challenge. See page 29 for more information.
CREATE LATE MAKE YOUR OWN
The Odyssey Ball, in partnership with IBERIABANK, remains one of the highlights of the social season in New Orleans. This formal evening includes fine dining, a silent auction, live music, and dancing in the Great Hall. See page 29 for more information.
7 An African tronie from the Dutch Golden Age
SELECT FRIDAYS, SEPTEMBER – NOVEMBER, 6:30 – 8 P.M.
8 A new look for NOMA’s Decorative Arts Galleries
Exclusively for adults, kick off your weekend with a glass of wine and a handson art project. Learn new creative skills with a teaching artist while also enjoying Friday Nights at NOMA programming. Reserve your space now by emailing education@noma.org.
EXHIBITIONS
SEPTEMBER 14: Drawing by observation,
inspired by the Changing Course exhibition OCTOBER 5: Drawing with a brush,
inspired by the Zen Masters exhibition NOVEMBER 2: Printmaking
LISTEN
10 Best Seat in the House: Photographs by Del Hall 11 Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters 17 A Conversation with Lina Iris Viktor 18 Ear to the Ground: Earth and Element in Contemporary Art FEATURE
12 The Orléans Collection: A Tricentennial Triumph 16 Tracing Provenance: Peter Paul Rubens’s The Triumph of Rome LEARN
19 NOMA+ Launches SUPPORT
20 Inspired by NOMA: Robert Lyall
In celebration of The Orléans Collection, and in partnership with the Musical Arts Society of New Orleans, NOMA welcomes acclaimed trumpeter Vance Woolf and pianists Dustin Gledhill, and Cara McCool Woolf to the Great Hall for an evening of music inspired by the visual and musical arts of the seventeenth and eighteenth centuries. $15 | $10 for NOMA members and Musical Arts Society of New Orleans members
Visit noma.org for ticket information. www.noma.org
6 Clementine Hunter: Installation Artist
COLLECTIONS
WEDNESDAY, NOVEMBER 7, 7 P.M.
SATURDAY, NOVEMBER 10, 7 – 11:30 P.M.
4 A Major Bequest Upon NOMA’s Century of Photography
Create Late
Beyond Baroque: Les Arts Musicaux
Odyssey 2018: All that Glitters
A CQUISITIONS
21 Teresita Fernández: You Are Here 22 Recent Events 23 NOMA Donors 24 NOMA Book Club SHOP
25 The Museum Shop CALENDAR
26 Events by date 28 Film Series 30 Highlights 31 Exhibitions Calendar Visit noma.org/magazine for exclusive online content. 3
ACQUISITIONS
A M A JOR BEQU E ST U PON NOM A’S CEN T U RY OF PHOTOGR A PH Y
ABOVE Julia Margaret Cameron (British, 1815– 1879), Julia Jackson, 1867, from “Mrs. Cameron’s Photographs from the Life,” c. 1870, Albumen print, Gift of Tina Freeman and Philip Woollam, 2017.204.8.37
OPPOSITE PAGE, TOP LEFT Sutezo Otono (Japanese, 1905 – 1988), [Untitled], circa 1930, Gelatin silver print, Museum purchase with funds provided by George and Milly Denegre, 2016.52
OPPOSITE PAGE, TOP RIGHT Margaret Bourke-White, Chrysler Corporation, 1932, Gelatin silver print Promised bequest of Tina Freeman
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In April 1918, not quite seven years after the Isaac Delgado Museum of Art (now the New Orleans Museum of Art, NOMA) first opened its doors, the museum hosted its first photography show titled An Exhibition of Pictorial Photography by American Artists. With more than one hundred photographs by contemporary artists from around the country, this exhibition declared, at a very early moment, that the museum would take photography seriously as an art form. This promise has certainly been fulfilled: since 1918, photography exhibitions have been presented regularly, and in 1973, NOMA began
to build a permanent collection of its own. Today, this collection is one of the finest in the country, and thanks to the dedication of all facets of the NOMA community, it continues to grow rapidly. Now, on the centennial of that important first photography exhibition, NOMA is delighted to announce the promised bequest of the largest and most significant single gift of photographs in the institution’s history. Tina Freeman, NOMA’s second curator of photographs, noted photographer, and longtime supporter has been collecting photography almost as long as the museum. Over the past forty years she has assembled a comprehensive collection, ranging from photographs by one of photography’s inventors, William Henry Fox Talbot, to Andy Warhol. This year Ms. Freeman has very generously promised the entire collection to the museum as a bequest. Encompassing more than 1,300 works, the collection amounts to a history of photography in its own right, and because of Ms. Freeman’s familiarity with NOMA’s collection, it is a perfect complement to the museum’s existing holdings, with works that add profound depth to many areas and new strengths in others. The collection includes rare treasures such as a complete album of miniature versions of photographs by Julia Margaret Cameron, a Victorianera photographer who was friends with Sir John Hershel and Alfred, Lord Tennyson. Cameron was also the great aunt of writer Virginia Woolf, whose mother, Julia Jackson, was the subject of one of Cameron’s most famous (and her favorite) photographs, an arresting portrait in which Jackson’s gaze meets ours across time and space (see opposite page). The album that includes this portrait is one of only eleven known that Cameron made to give to friends and family members,
New Orleans Museum of Art | NOMA Magazine
collections that one of her colleagues once referred to as “portable galleries.” In addition to this remarkable single object, the collection includes wonderful, vintage prints by a wide range of masters from around the globe. On the occasion of the Pictorial Photography exhibition centennial and this landmark promised bequest to the museum, NOMA presents this fall Past Present Future: Building Photography at the New Orleans Museum of Art. This three-part presentation will include first, a partial recreation of the first photography exhibition in 1918, presenting vintage prints of photographs that were included in the original exhibition. The second component of the exhibition presents an impressive group of works acquired within the past seven years that demonstrates the museum’s commitment to expanding its representation of diverse cultural perspectives from around the globe. The final section will consist primarily of a small selection from Ms. Freeman’s bequest, signaling how NOMA’s photography collection will continue to grow into the future. Past Present Future, along with the recent release of a new book about the collection, Looking Again: Photography at the New Orleans
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Museum of Art, mark this important moment in the institution’s long relationship with photography, looking at its past with an eye towards its future. The exhibition in 1918 was an impressive achievement during the first successful global movement to promote photography as a fine art. It was arranged by the Pictorial Photographers of America (PPA), a New York–based group founded in 1916 by a number of prominent art photographers including the influential teacher Clarence H. White. The exhibition, designed to travel around the country, represented the PPA’s attempt to permeate traditionally resistant art museums by offering a compelling selection of carefully crafted and attractively displayed fine-art photographic prints. The 1918 showing in New Orleans was not the exhibition’s first presentation in this country, but it was among the first appearances of art photography in American museums. Most prior exhibitions had been presented in libraries and historical societies. Past Present Future will open with a recreation of the 1918 show, including photographs that were presented in the original exhibition that have been recently acquired for NOMA’s permanent collection.
After many decades of photography exhibitions, NOMA decided to pursue a photography collection of its own in 1973. The history of photography was still a young field and was largely focused on American and European practitioners. Past Present Future’s second chapter, will present recent acquisitions that demonstrate the museum’s commitment to expanding its global representation of photography even as it continues to build on its world class collection of American and European works. As the world moves increasingly toward an image-dependent style of communication, there has never been a better time to consider this institution’s relationship to photography and how we might build the collection. NOMA’s centennial celebration of photography, with both Past Present Future and Looking Again provides both an assessment of what the museum has accomplished in the past and a map for where we hope to go in the future. Russell Lord, Freeman Family Curator of Photographs, Prints, and Drawings
Past Present Future will be on view from September 7, 2018, to January 6, 2019, in the Templeman Galleries.
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ACQUISITIONS
CLEMENTINE HUNTER : INSTA LL ATION A RTIST
Clementine Hunter
This spring, NOMA acquired a monumental mural painting by Clementine Hunter (1887–1988), one of Louisiana’s most beloved and accomplished artists. An extremely rare example of one of the large-scale, site-specific murals Hunter created for the interiors of Melrose Plantation in the Cane River region near Natchitoches, where she spent much of her life working as a field hand before pursuing her talent as a painter after age 50, this acquisition will allow NOMA’s permanent collection to represent the full range and scope of Hunter’s artistic legacy. Hunter designed such installations for spaces across the plantation, from her own living quarters and the shop where she sold her art, to the many public and private rooms throughout the property that were almost exclusively decorated with installations of her art. This painting reflects Hunter’s deep engagement with the landscape, history, and social politics of the American South, as well as her inventive approach to narrative, sequence, and composition. In the painting, Hunter represents life at Melrose through a series of narrative vignettes that unfold across a series of brown and green slashes of paint carefully paced throughout the composition. These slashes of earth capture the rhythm and flow of the plantation, and also hint
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at the broader structural and spatial limitations that defined plantation life. Designed specifically in response to the plantation’s architectural context, the work also reflects its confines, featuring a large white fence that stretches across the entire expanse of the composition, as well as a decorative border of gourds and vines that both frames and delimits the compositional space. Throughout the painting, subtle rhythms and compositional echoes, such as the exact rhyming of the horse whip and the vine at the painting’s lower right, speak to Hunter’s nuanced approach to form and composition. NOMA began collecting Hunter’s work as early as the 1950s and gave the artist her first museum show in 1955, among the first solo shows for any African American female artist in the country.
Paintings such as Harvesting Gourds near the African House and Wash Day Near Ghana House, Melrose Plantation reflect Hunter’s vanguard thinking and early adoption of many of the artistic strategies employed by contemporary artists. Her work sits as easily among the work of artists like Robert Rauschenberg as art being made today by artists such as Mickalene Thomas. Reflecting Hunter’s innovative and multifaceted artistic practice, this painting will allow NOMA to make important new connections between her work and current conversations in modern and contemporary art. Katie A. Pfohl, Curator of Modern and Contemporary Art
Clementine Hunter, Harvesting Gourds near the African House and Wash Day Near Ghana House, Melrose Plantation, 1959, Oil on board, 73 x 66 ½ inches, New Orleans, Museum of Art, Museum Purchase, C. Heiderich Art Purchase Fund, 2018.8
New Orleans Museum of Art | NOMA Magazine
A N A FR ICA N TRONIE FROM THE DUTCH GOLDEN AGE Set against a green background, an African woman wears a coral-colored turban, a prominent feather affixed with a gem clip. The textures are finely rendered, the gem and pearls shine, while her face and arm are particularly well modeled, marblelike. This diminutive tour de force by Willem van Mieris (1662–1747) is an extraordinary new acquisition, which will transform NOMA’s presentation of art of the global Dutch Golden Age. This exquisite, small painting was made to imitate a portrait miniature, though it is almost certainly not a portrait. Rather, this beautiful woman is an artistic demonstration, a conceit. She is what the Dutch called a tronie, a fantasy or expressive head. The tronie type had its origins in workshop practice, intended as an exercise for young painters in depicting mood and emotion; the heads were likely based on models but not intended as portraits. The challenge to create a convincing individualization was matched by increasingly dramatic expressions and tricks of light and illusionism. In the early seventeenthcentury, head studies came into their own, and for connoisseurs, the convincing deception was part of their wit and charm. Indeed, the world’s most famous tronie is Vermeer’s Girl with a Pearl Earring (c. 1665), painted a generation before Van Mieris’s picture. Van Mieris trained and worked in the Dutch city of Leiden, a bustling yet small university town and textile manufacturing center south of Amsterdam. His father, Frans van Mieris (1635–1681), had been a leading figure of the Leiden school of “fine painters,” who created some of the most iconic works of Dutch Golden Age painting. As an artist of the younger generation, Willem positioned his art in relation to what came before, reworking the treasured subjects and illusionism the Dutch Golden Age painters created. This aspect of his www.noma.org
work is fully exemplified in An African Woman, which refigures Vermeer’s Girl with a Pearl Earring (made in Delft) and references the work of earlier Leiden artists who made monumental tronies, Rembrandt in particular. Another Leidener who worked closely with Rembrandt on the tronie was Jan Lievens (Dutch, 1607–1674), whose Head of an Old Man is a beloved picture in NOMA’s collection. The representation of sub-Saharan Africans was relatively common in Dutch art of this period. The Dutch East India Trading Company (the VOC) comprised a vast network of trading posts on the African coast along the trade routes to India and Southeast Asia. The bustling port of Amsterdam was one of the world’s most cosmopolitan places, and Africans are recorded there. While Africans and other non-Europeans are represented in art of the period, the particular characterization of An African Woman is almost entirely unique. In most cases, the representation of Africans was restricted to three scenarios: as supplemental figures in biblical scenes to evoke the exotic locale of Jerusalem; as servants in interior scenes; and as allegorical figures of colonial possession and propaganda. Van Mieris’s singular presentation of this woman as a beauty, albeit an exotic one, is therefore extremely rare. An African Woman represents an ambitious recombination of sources and motifs. The turbaned female head was a standard type, though Vermeer’s masterpiece provided the main point of departure. The distinct classicism of her costume and gesture along with the slick treatment of her skin are also hallmarks of Van Mieris’s style.
Willem van Mieris (Dutch, 1662–1747), An African Woman, ca. 1710–1715. Oil on panel 7 1⁄16 x 5 13⁄16 in., Alvin and Carol Merlin Acquisition Fund and the De-accession Fund, 2018.1
Meanwhile, her facial features are related to both Rembrandt’s wellknown ink drawings of Africans and the grand paintings commissioned for Amsterdam’s Town Hall, on which Rembrandt also worked. By combining a new classicizing style with a reformulation of a Dutch traditional type, the meditation on the past comes together into an entirely new, independent image. For its depiction of and references to the material culture of the Dutch maritime empire, the rare representation of a non-European as a classical beauty (though fashioned in the European mold), and for its example as an artistic deception, An African Woman brings a significant new perspective to NOMA’s permanent collection. Vanessa Schmid, Senior Research Curator for European Art
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COLLECTIONS
A NEW LOOK FOR NOM A’S DECOR ATIV E A RTS GA LLER IES
Newcomb College Pottery, Table Lamp, c. 1910. Leaded glass, earthenware, bronze; 22 1⁄8 in height. Museum purchase, William McDonald Boles and Eva Carol Boles Fund, E-2018-30.2.
Led by a zippy Modernist bar cart and a barbed-wire cloud chandelier, NOMA’s design collection has entered the twentieth- and twenty-first centuries. The Lupin Foundation Decorative Arts Galleries on the museum’s second floor have reopened with a new installation drawn from the permanent collection, and for
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the first time include contemporary design and craft of recent decades. Extending from the installation completed in 2017, which highlighted eighteenth-century Rococo and Neoclassical era objects from the Kuntz family’s foundational gift in 1978, the most recent Lupin gallery installation begins with NOMA’s
depth in the ornamented excess of nineteenth-century Victorian styles. This includes a luscious type of French porcelain, colloquially called “Vieux Paris,” or “Old Paris,” which was adored in the American South. “Old Paris” porcelains on view include some of the earliest pieces in NOMA’s collection, vases given in 1912 by founder Isaac Delgado, and extends through a collection given in 2015 by the Lupin family in honor of longtime collectors Dr. and Mrs. E. Ralph Lupin. This porcelain, and surrounding displays of glass, silver, and furniture reflect the Victorian embrace of ornament from previous eras, with designers reviving Rococo, Gothic, Classical, and Renaissance styles with a new gusto. This exuberance is explored with a focus on “rustication,” a style that found popularity in the 1870s. This hyperrealistic ornament is found on famous Haviland plates from the 1879 White House service of President Hayes, which depict flora and fauna native to North America, but also on a mirror by an unknown maker boldly framed with twigs and carved animals. This rustication period includes nineteenth-century “Palissy ware” donated by actress Brooke Hayward Duchin. These ceramics are crawling with realistic molded fish, eels, insects, and shells in the manner of the Renaissance artist/scientist Bernard Palissy. In the years preceding the pivotal turn of the twentieth century, many called for design to “reform” from the ornamented excess of the Victorian era. Those aligned with the Arts and Crafts Movement, Art Nouveau, and the Secessionists advocated for different aesthetics, but they united in calling for the production of higher quality objects for use in daily life. This included progressive designs by Christopher Dresser, Gustav Stickley, Louis Comfort Tiffany, and a focus on New
New Orleans Museum of Art | NOMA Magazine
Orleans’s contribution to design reform through works made at Newcomb College. Gorham Manufacturing Company’s silver Martelé production line shows a significant American contribution to the fresh Art Nouveau style in the gallery, thanks to gifts and select loans from Robert and Jolie Shelton. A dramatic staircase display shows a set of balusters designed in 1898 by Louis Sullivan for Chicago’s architecturally significant Carson Pirie Scott & Co. department store. The rise of Modernist design in the 1920s eschewed all that came before, and in its embrace of new materials and factory production Modernism became the most influential design movement of the century. Rational design ideas included industrial glass technology applied to home goods, including Walter Dorwin Teague’s 1932 Lens bowl made at Corning from the mold for a locomotive engine light. New Orleans collectors Dr. Ronald Swartz and Ellen Johnson worked with the museum to augment this area of the gallery, including the gift of a charming lightweight aluminum and Bakelite Aero-art Cocktail Cart designed in 1938 for the DC3, the first airplane used for commercial passenger flights.
A wall hung with chairs designed by Ray and Charles Eames anchors the Mid-century Modern installation. Here, the rational impulses of Modernism softened in the postwar era to include rounded corners and a more playful sensibility, shown through iconic objects like Russell Wright’s “American Modern” dinnerware and in unique shapes like the timeless ceramics by the potter Katherine Choy, who led the ceramics department at Newcomb College in the mid-1950s. For the first time in the museum’s history, NOMA now has a gallery dedicated to contemporary design. New acquisitions by design superstars Ron Arad and Marcel Wanders anchor this gallery, with Wanders’s barbed-wire cloud-like chandelier hanging above the exaggerated profile of Arad’s The Big Easy Chair. Important works of glass from all periods accent the Lupin Galleries. Recent glass works include household names like Dale Chihuly, as well as New Orleans’s own Gene Koss. Lynda Benglis’s only known work in the medium of jewelry is on view, a 1980s brooch designed for New Orleanian Jean Taylor, who gave the rare item to NOMA in honor of NOMA Director Emeritus John Bullard.
The new Lupin Galleries highlight connections between society and design, between craft and manufacture, and between fine art and functional household items. The galleries have an eye toward continual change, including the new Elise M. Besthoff Charitable Foundation Gallery which allows for rotations. The gallery now features a NOMA-commissioned artwork that combines several media. The Second Line Cocktail Service by international designer Geoffrey Mann is a glass cocktail service paired with an animated video that connects the design to the unique sounds of New Orleans’s Frenchmen Street. It is the work of computers and the work of ancient glass craft; it is of the world and of New Orleans. In the way it shows how objects reflect the culture of our lives, it is a thoughtful intellectual lens with which to view the entire new installation of decorative arts and design from the past three hundred years. Mel Buchanan, RosaMary Curator of Decorative Arts and Design
Mary Ann "Toots" Zynsky, After Prokofiev, 1993. Fused glass threads; 5 x 18 1⁄2 x 6 1⁄2 in. Gift of Dr. and Mrs. Isidore Cohn, Jr., 2003.185
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EXHIBITIONS
BE ST SE AT IN THE HOUSE: PHOTOGR A PHS BY DEL H A LL
Del Hall’s career in photojournalism took him from his home in New Orleans around the world. As an Emmy Award-winning news cameraman and film editor, Hall pioneered the use of moving images on television news, and he applied the same perceptive and sensitive vision to take incredible still photographs of the people and events that shaped the second half of the twentieth century. During this tricentennial year of New Orleans’s founding, NOMA will present Best Seat in the House: Photographs by Del Hall examining the importance of Hall’s work to the history of the city. Photographs included in the exhibition will showcase Hall’s ability to balance narrative and emotional symbolism in images that are as thoughtfully composed as they are “in-the-moment.” Born in New Orleans in 1935, Hall grew up in the then-segregated Iberville housing project. As a youngster, Hall was enthralled by the movies, as well as the newsreel footage that preceded the features. Hall’s grandmother bought him his first camera, a Kodak Retina 35mm, while he was a student at Jesuit High School, and he bounced around the streets of the city learning to photograph his world. When he began working for WWL-TV, Hall found he had a knack for anticipating the way a situation might unfold and positioning himself in ways to get imagery that told a complete story in a unique way. Informed early in his career by a producer that a quality still photograph could earn him an extra five dollars, Hall made sure to take his camera on every assignment. Applying the skills he honed as a cameraman to still photography, Hall produced an impressive body of photographs that are at once packed with information and visually compelling.
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Del Hall, Self Portrait # 1, 1962, Archival inkjet print, Gift of the artist, 2017.42
His work for WWL in the early 1960s put Hall’s camera in front of many important New Orleans personalities, but also at regional events shaping the course of our national history. As activists worked throughout the Gulf South to advance the Civil Rights Movement, for instance, Hall’s footage made the struggle real for viewers across the country. So close was Hall to the action, that he was often swept up in events: he was arrested in 1961 while filming lunch-counter sit-ins on Canal Street. International assignments followed, including a documentary about the Second Vatican Council in Rome and then interviewing soldiers from Louisiana and Mississippi deployed to Vietnam. After moving to Chicago to work for CBS in 1966, Hall chose to work primarily as a freelance
photojournalist, which allowed him to select assignments that he felt would be the most significant. When Del and his wife Ginger partnered up as a sound and image team in the 1980s, they followed stories around the world and, as often as they could, back to New Orleans. Wherever Hall took his camera, his photojournalism work put him in the best seat in the house to capture important events, which he visually captured with creativity and aplomb. Brian Piper, Andrew W. Mellon Foundation Fellow for Photography
Best Seat in the House will be presented in the A. Charlotte Mann and Joshua Mann Pailet Gallery from September 7, 2018, to January 6, 2019.
New Orleans Museum of Art | NOMA Magazine
TE ACHING BEYON D DOCTR IN E: PA IN TING A N D CA LLIGR A PH Y BY ZEN M A STER S Painting and calligraphy by Zen monks has a long history in Japan. Introduced from China in the twelfth century, Zen (meaning “meditation”) has its origins in the teachings of the Buddha, the sixth-century BCE Indian prince who taught that it was possible to be freed from human suffering. However, it is the legendary Indian monk Bodhidharma (called Daruma in Japan) who is considered the founder and First Patriarch of Zen. Rejecting the study of texts and established rituals in favor of strict meditative practice, Daruma achieved enlightenment. Subsequently, he accepted a disciple, whose enlightenment experience Daruma verified, thus beginning the mind-to-mind transmission of enlightenment and of the teacher-disciple lineages that continue to this day. With the establishment of the Tokugawa shogunate in the early seventeenth century, over two centuries of governmental sponsorship of Zen institutions and artistic patronage ended. Despite the loss of governmental support, Zen still thrived, as monks and abbots reformed monastic practices and sought new means to reach out to adherents from all social and economic classes. Zen art likewise flourished. Zen masters freely explored opportunities to create more personal and directed work that expressed their own experiences, educated young monastics, and encouraged lay followers. This art form—the visual expression of the Zen master’s mind—has come to be known as “Zenga.”
The paintings and works of calligraphy that comprise the exhibition Teaching Beyond Doctrine were created by Zen masters, primarily during the Edo period (1615-1868). The most influential of these, Hakuin Ekaku (1686-1769), is credited with creating a new visual language for Zen, by dramatically expanding its subjects and themes to include Shinto gods, Confucian maxims, Japanese legend, folklore, and scenes from everyday life. Hakuin’s immediate followers, along with later generations of Zen masters, have drawn on this rich pictorial vocabulary to the present day. Zen history and culture are embedded in these works. Each was created by an enlightened master using brush, ink, and paper, providing a direct encounter with the Zen master’s mind in order to advance the spiritual journey of the viewer. Drawn from NOMA’s permanent collection, and highlighting several recent acquisitions, the exhibition has benefited from generous loans from the Gitter-Yelen Foundation. We are also grateful to John Stevens, Jonathan Chaves, Stephen Addiss, and Audrey Yoshiko Seo, who read and translated many of the inscriptions. Lisa Rotondo-McCord, Deputy Director for Curatorial Affairs/Curator of Asian Art
Teaching Beyond Doctrine remains on view in NOMA’s Japanese Art Gallery through January 20, 2019 Richard Collins from the New Orleans Zen Temple will lead Zazen meditation seminars in the Besthoff Sculpture Garden on Saturdays, November 3 and 17, at 10 a.m.
Kogan Gengei, Japanese, 1747-1821, Procession of Monks, Ink on paper, Museum Purchase, 90.42
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EXHIBITIONS
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New Orleans Museum of Art | NOMA Magazine
A Tricentennial Triumph NOMA REUNITES THE ORLÉANS COLLECTION HONORING NEW ORLEANS’ NAMESAKE PHILIPPE II, DUC D’ORLÉANS Antoine Coypel’s Assembly of the Gods records the ceiling painting completed for the grand gallery of Philippe Duke of Orléans’s (1674–1723) Paris residence, the Palais-Royal. At six-and-a-half-feet wide, the work reflects the grandeur of the original ceiling, which was destroyed in 1785. The majestic composition (see page 14) depicts a ceiling opening out to the sky where the gods of antiquity meet: Zeus sits triumphantly at center in a halo of light, presiding over Venus, Minerva, Neptune and Mercury—gods of peace and war, navigation and commerce. The pinks and blues, swirling tapestries and movement are compelling, dynamic, uplifting. This was the version kept by the artist and his heirs and has only left France once before. It travels to New Orleans as part of The Orléans Collection, a landmark exhibition presented from October 26, 2018, to January 27, 2019, in commemoration of the New Orleans Tricentennial. The ceiling was part of a refurbishment of the Palais-Royal, the Parisian home of Philippe d’Orléans. The nephew of Louis XIV (“The Sun King”), Philippe was expected to become king but a direct heir was born in the final years of his uncle’s reign. Five-year-old Louis XV inherited the throne in 1715 requiring Philippe to serve as regent of France for eight years until the young king came of age. As regent, his task was to ensure the prosperity of the realm, a difficult task given the depleted finances of a kingdom strained by Louis XIV’s wars and prodigal spending, most supremely demonstrated by the vastness of Versailles. Philippe’s tenure inaugurated a new stability and as part of his mandate, French colonial holdings were secured in Senegal and Louisiana, thus the city of New Orleans bears his name. Antoine Dieu’s Allegory of the Philippe II d’Orléans (see cover image) glorifies the regent both as a great patron of the arts and commander of the Indies overseas trading company. Holding and presenting the medallion portrait are personifications of Law and Fame at left and Minerva, goddess of war and the arts, at right. Philippe is best known to history as a great patron of the arts and his extraordinary art collection is the focus of NOMA’s exhibition honoring the city’s namesake.
A passionate love of painting A fun-loving bon vivant with a sharp wit, already in his late teens Philippe d’Orléans was passionate about visual art. He is known to have taken drawing lessons with court painter Antoine Coypel and an astounding 537 paintings are recorded in Philippe’s death inventory of 1724. Visitors to the Palais-Royal were amazed by the tight hanging of so many pictures, which were displayed in the grandest ceremonial and public spaces of the palace. In 1729, a compendium of the most important pictures in France features Philippe’s collection alongside the Sun King’s royal holdings. LEFT Godfried Schalcken (Dutch, 1643–1706), Preciosa Recognized, late 1660s, Oil on panel, 17 3⁄8 × 12 5⁄16 in., Dublin, National Gallery of Ireland, Purchased 1898, 476, Photo © National Gallery of Ireland
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EXHIBITIONS
Antoine Coypel (French, ca. 1661 – 1722), Assembly of the Gods, 1702, Oil sketch on canvas, 37 3⁄8 x 76 3⁄4 in., Musée des Beaux‑Arts d’Angers, Angers, France, 38 J. 1881 © RMN-Grand Palais/Benoît Touchard/Mathieu Rabeau
AN ASTOUNDING 537 PAINTINGS ARE RECORDED IN PHILLIPPE’S DEATH INVENTORY OF 1724. VISITORS TO THE PALAIS-ROYAL WERE AMAZED BY THE TIGHT HANGING OF SO MANY PICTURES WHICH WERE DISPLAYED IN THE GRANDEST CEREMONIAL AND PUBLIC SPACES OF THE PALACE.
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The collection brought together works from the full range of European art. The avaricious collector acquired paintings any way he could: purchasing pictures during his military service in Madrid and from art dealers, or gladly accepting gifts of paintings from court favorites and political allies. Lodovico Carracci’s Dream of Saint Catherine (see page 2), for example, was given to Philippe from the Marquis de Nancré, captain of the Swiss Guards at the Palais-Royal. A crowning achievement came in 1721 with the purchase of over one hundred works formerly in the possession of Queen Christina of Sweden (1626–1689), who had taken her collection with her to Rome after abdicating the throne and converting to Catholicism. Christina’s heirs in Rome had been trying to sell the pictures for decades, but it was the duke’s trusted friend, the financier and renowned collector Pierre Crozat, who was finally able to strike the deal. A Parisian newspaper proudly declared the arrival of the paintings. An early source reports that Philippe studied painting with his court painter, Antoine Coypel, and court chronicler duc de Saint-Simon wrote that he often noticed the duke
retire to his apartments to paint in the afternoons. Indeed, so many aspects of the collection confirm that the duke was passionately engaged with the meaning and interpretation of art, and developed a remarkable eye for technique and quality. The duke relished the gamut from refined to rougher paint handling, grand scale and intimate, profane and religious, exemplified by a prescient appreciation of the Dutch Golden Age painters, of which Godfried Schalken’s Preciosa Recognized is a supreme example (see page 12). This enthralling range brings a feast of color and style to New Orleans for the exhibition. Alessandro Allori’s extraordinary painting Venus Disarming Cupid depicts an over-life-size goddess taking the bow and arrow away from her son. The serpentine lines of her torso, legs, and arms exemplify the maniera (mannered) style of sixteenthcentury Florence, a term coined by Giorgio Vasari, Italy’s first art-historian and an artist also represented in the exhibition. Allori’s work famously reworked Michelangelo’s acclaimed invention, a connection appreciated by viewers at the Palais-Royal. New Orleans Museum of Art | NOMA Magazine
PROGRAMS AND EVENTS LECTURES Introducing The Orléans Collection with Senior Research Curator for European Art Vanessa Schmid FRIDAY, 11.2.18 | 6:30 p.m. Champs-Elysées: Building Paris, Building New Orleans with Professor Joan Dejean, University of Pennsylvania THURSDAY, 11.29.18 | 6 P.M.
Alessandro Allori (Italian, 1535–1607), Venus Disarming Cupid, 1570s, Oil on panel, 71 1⁄4 × 102 3⁄4 in., Montpellier, Musée Fabre, 887.3, © Musée Fabre de Montpellier Méditerranée Métropole – photograph Frédéric Jaulmes
Viewing Art in Eighteenth-Century Paris with Professor Andrew McClellan, Tufts University FRIDAY, 1.25.19 | 7 P.M.
AN EDIBLE FEAST
A collection dispersed across the globe The celebrated status of the duke’s collection endured throughout the eighteenth century, but Philippe’s greatgrandson capitalized on this legacy and sold the collection to raise funds during the upheaval of the French Revolution. The resulting sales of the Orléans pictures in London in the 1790s were staged in three gallery spaces across the city which attracted many visitors, as noted in London’s Morning Post: “vast crowds are daily flocking to town to see the Orleans Galler[ies].” This wider viewership of art played a role in the later establishment of cultural institutions. In fact, the first picture catalogued (holding the accession no. 1) at The National Gallery of London was one of Philippe d’Orléans’s most celebrated works. Eustache Le Sueur’s painting Alexander and His Doctor was purchased at the London sales by the fashionable Lady Amabel Lucas who installed the work in the walls of her residence. The picture miraculously remained in the building as it was sold through generations, only to be rediscovered
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in 1997, and it is being lent for the first time. Another star picture during the London sales, Rembrandt’s The Mill inspired generations of English landscape painters while it was in the collection of the Marquess of Landsdowne and it is now one of America’s greatest art treasures in the National Gallery of Art. The great dispersal of the duke’s pictures make for the fact that exhibition loans are coming not just from Paris and London, but unexpected locales like El Paso, Texas, and Greenville, South Carolina. The exhibition brings thirty-eight masterpieces to New Orleans to tell this story of Philippe’s collection. No exhibition of this fascinating subject has been undertaken and this occasion created an exceptional opportunity for new scholarship. Published in conjunction with this exhibition is a fullcolor catalogue with contributions by nine scholars, edited by Vanessa Schmid. Vanessa Schmid, Senior Research Curator for European Art For non-members, an upcharge of $8 will be added to standard admission fees for The Orléans Collection. Admission is free for Louisiana residents on Wednesdays, courtesy of The Helis Foundation.
SUNDAY, 12.9.18 | 7 P.M. | RESERVATIONS REQUIRED See page 27 for more information.
SYMPOSIUM The Orléans Collection: Tastemaking, Networks and Legacy FRIDAY – SATURDAY, 1.11 – 1.12.19 Presented by NOMA and The Frick Collection Center for the History of Collecting; reservations required: see noma.org/symposium for updates.
CURATOR’S PERSPECTIVE with Curator Vanessa Schmid
11.2.18 at 7:15 p.m.| 11.16.18 at 6 p.m. | 1.25.19 at 6 p.m.
NOONTIME TALKS with Curator Vanessa Schmid 10.31.18 at 12 p.m. | 12.5.18 at 12 p.m. | 12.28.18 at 12 p.m. 1.23.19 at 12 P.M.
NOONTIME TALKS with Fellow Kelsey Brosnan 11.14.18 at 12 p.m. | 12.19.18 at 12 p.m. | 1.9.19 at 12 p.m.
FRENCH CONNECTIONS FILM SERIES See page 28 for complete listings. The Orléans Collection is organized by the New Orleans Museum of Art and is sponsored by the City of New Orleans; New Orleans and Company; Samuel H. Kress Foundation; Hyatt Regency New Orleans and 1718 Events; JPMorgan Chase & Co.; Robert Lehman Foundation, Inc.; Zemurray Foundation; Mr. and Mrs. John Bertuzzi; Catherine Burns Tremaine; 2018 NOLA Foundation; Delta Airlines; Pelham Communications; Jean and Buddy Bolton; Mr. and Mrs. Joseph C. Canizaro; Susie and Michael McLoughlin; Sally E. Richards; and Mr. and Mrs. Robert John Axtell Williams. Additional support provided by French Heritage Society; Dr. Edward Levy, Jr.; Ms. E. Alexandra Stafford; Jason P. Waguespack; Robert and Millie Kohn; Wayne Amedee; Honorable Steven R. Bordner; Nell Nolan and Robert E. Young; and Charles L. Whited, Jr. This project is supported in part by an award from the National Endowment for the Arts.
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EXHIBITIONS
Peter Paul Rubens (Flemish, 1577–1640), The Triumph of Rome: The Youthful Emperor Constantine Honoring Rome, c. 1622–1623, The Hague, Mauritshuis, 837, Photo: Mauritshuis, The Hague
TR ACING PROV ENA NCE: RU BENS’S THE TR IU MPH OF ROME The accompanying catalogue for The Orléans Collection includes a thoroughly researched provenance for each of the works presented in the exhibition. Presented here is the fascinating journey of Peter Paul Rubens’s The Triumph of Rome. Around 1622, Flemish Baroque painter Peter Paul Rubens (1577– 1640) produced twelve oil sketches depicting episodes from the life of the Constantine, the first Christian emperor of Rome. One of these panels, which now belongs to the Mauritshuis Museum in The Hague, depicts a female personification of Rome enthroned and flanked by military trophies of armor. At her feet, bound prisoners of war kneel alongside the infants Romulus and Remus, the legendary founders of Rome who were nursed by a gentle she-wolf. Recent scholarship has theorized that this set of oil sketches was commissioned by Flemish weavers Marc Comans and Francois de la Planche, and was intended to be 16
translated into tapestries. This was most likely a speculative endeavor, but the entire series was ultimately woven, with the exception of the Mauristhuis sketch. Philippe II eventually acquired all of the oil sketches for Rubens’s Constantine series through descendants of the royal tapestry factory. The duke clearly valued their virtuosic brushwork and dramatic, multi-figural compositions depicting triumphant claims of empire. At the Palais-Royal, the oil sketches joined several other large-scale mythological paintings by Rubens, where they remained until great-grandson Louis Philippe Joseph sold the collection in two parts. The London dealer Thomas Moore Slade sold the Dutch and Flemish works from the collection in 1793, and the sketches passed to a Parisian collector, Charles-Alexandre de Colonne, comte d’Hannonville. While its subsequent whereabouts are unknown for the first half of the nineteenth-century, The Triumph of
Rome reappeared in the collection of Sir Francis Cook and his descendents. By 1939, the work belonged to the D. Katz Gallery in Dieren in the Netherlands; it may have been purchased there by Hans Posse, who served as a curator for Adolf Hitler. The Rubens sketch was probably intended for the neverrealized Führermuseum in Linz, Austria, which was founded upon the systematic looting of public and private collections by Nazi forces. After the conclusion of World War II, the Rubens oil sketch was among the works of art repatriated by the Stichting Nederlands Kunstbezit (Netherlands Art Property Foundation). By 1947, the owners of the sketch, B. and N. Katz of Dieren, had gifted the work to the Mauritshuis in The Hague 1947. NOMA is indebted to this Dutch museum for lending this work as it reunites with thirty-seven other paintings displayed in The Orléans Collection. Kelsey Brosnan, Curatorial Fellow for European Art
New Orleans Museum of Art | NOMA Magazine
A CON V ER S ATION W ITH LINA IR IS V IKTOR
I am fascinated with the concept of nation-building: the motivations of those who lead the charge, and the ramifications for all parties involved. The American Colonization Society’s (ACS) mission to build a new nation in West Africa was not a fully conceived plan, but rather a quick remedy, fueled by fear of an uprising of recently freed slaves. In this series, I also wanted to cast a light on the pathology of colonization and the damage that it so often leaves in its wake.
Lina Iris Viktor in her New York studio, 2017. Courtesy of the artist.
Lina Iris Viktor is widely recognized for her gilded paintings and installations that explore art’s relationship to history, spirituality, and prophecy. In her forthcoming exhibition in the Great Hall at NOMA, A Haven. A Hell. A Dream Deferred., Viktor examines the founding of the West African nation of Liberia. She spoke with Curator Allison Young about the evolution of this new series. Tell me about the genesis of this project. I began my initial explorations surrounding A Haven. A Hell. A Dream Deferred in 2016 and spent a year simply researching and contemplating my urge to excavate what I regard to be the “lost narratives” surrounding the creation of Liberia. This investigation has always been objective in nature, rather than motivated by my familial connection to Liberia. I have chosen not to focus on the nation’s recent history, but rather to explore the root: the ties that bind Liberia so explicitly to America. This story is fascinating, unique, and grossly under-documented. Liberia was forged in the image of early nineteenth-century America, and will forever remain a sister state.
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Your work includes the character of the “Liberian Sibyl,” adapted from the Libyan Sybil of classical antiquity. What does this figure represent? In classical antiquity, the Libyan Sybil was a prophetess who was attributed with the gift—or curse—of seeing ill-fated futures. I later found out that this archetype had been exhumed by abolitionists in the United States, and was appropriated in many works of art and literature that promoted the freedom of enslaved blacks. In these depictions, the Libyan Sibyl retroactively predicted the trans-Atlantic slave trade. As this context is intimately related to that of the conception and colonization of Liberia, I felt that this character would serve as a perfect conduit between the narratives in this series: the Liberian Sibyl unites these interwoven histories, and represents a timeless emblem of feminine intuition, foresight, and knowing. How do the works in A Haven. A Hell. A Dream Deferred signal a departure from your previous bodies of work? This is a series awash with the color red. In my previous bodies of work, I have used a restricted color palette—black, white, blue and gold— so this represents a big departure, albeit a very premeditated and
considered one. Given the subject matter of this series, I wanted to create works that were reflective of the national identities of both Liberia and the United States, which were practically synonymous at the outset. This linkage is made explicit through the use of color. As red is so evocative and striking when combined with blue, it elicits a sense of foreboding and incongruity. How has your time in New Orleans influenced the development of this exhibition? The series was already in progress when I was invited to exhibit at NOMA, but it’s very meaningful that the works will debut in the American South. In learning that the exhibition would be timed to the Tricentennial and would be in conversation with The Orléans Collection, which speaks to New Orleans’s French colonial past, I was inspired to deepen the sense of site specificity. While visiting New Orleans last spring, I learned that one of the central figures in New Orleans history— the entrepreneur and trader John McDonogh—was not only a slaveholder but also a member of the ACS. It was rare for slaveholders in the antebellum South to facilitate the emancipation of their slaves, and McDonogh proved to be a very contradictory figure in so many ways. As fate would have it, many of his former slaves were among the first to migrate and settle in Liberia. Their hand-written letters, as well as McDonogh’s ACS certificate, are among the artifacts referenced throughout the series, in addition to architectural and environmental imagery shared between New Orleans and Liberia. Lina Iris Viktor: A Haven. A Hell. A Dream Deferred., created for the Great Hall, is sponsored by Reuben O. Charles II, Pulane Kingston, Alida and Christopher Latham, and Jim and Christina Lockwood. Additional support provided by Mariane Ibrahim Gallery. The works will be on view from October 5, 2018, through January 6, 2019.
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EXHIBITIONS
E A R TO THE GROU N D: E A RTH A N D ELEMEN T IN CON TEMPOR A RY A RT
Ear to the Ground will be on view in the Contemporary Art Galleries from October 19, 2018 to August 31, 2019.
Dan Alley, Delta, 2014, Poured Aluminum, 50 x 156 inches, Collection of the Artist, ŠDan Alley Studio
FEATURING WORK FROM ARTISTS: Dan Alley Lynda Benglis Diedrick Brackens Edward Burtynsky Clyde Connell Dawn DeDeaux Courtney Egan Olafur Eliasson Jorge Otero Escobar Mikhail Karikis Ronald Lockett Sara Madandar Chandra McCormick Cristina Molina Jennifer Odem Bosco Sodi Pat Steir Christopher Wilmarth
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Working with natural elements like earth, wind, water and fire, the artists whose work is on view in Ear to the Ground: Earth and Element in Contemporary Art show how nature can spur artistic innovation and spark new thinking about human culture and community. In their art, nature is not just a resource to be protected or exploited, but rather a generative force with its own sentient power. Mining earth both as a material and a metaphor, the artists in this exhibition treat nature as teacher: a tool for negotiating the complexities of contemporary cultural life. Informed by a kind of elemental logic, their work envisions new ways we might relate to the natural world, as well as to one another. Drawn predominantly from NOMA’s permanent collection, Ear to the Ground features work by 18 artists across vastly different media, cultures and time periods who each reference earth and element in very different ways. Some, like Bosco Sodi and Clyde Connell, make materials like dirt and mud their primary medium. Others, like Pat Steir, Dan Alley and Diedrick Brackens, turn to
nature as a collaborator or conspirator in the creation of their art, casting sculptures directly upon the ground, or dying textiles with water drawn from rivers and oceans. For others, nature functions more metaphorically, as in the work of artists like Ronald Lockett, Dawn DeDeaux and Sara Madandar, who reference natural processes like weathering, disintegration and sedimentation to speak to current social and political issues ranging from climate change to questions surrounding immigration and cultural belonging. Presenting more conventional artistic media like painting and sculpture alongside more experimental work in video, textiles and performance, Ear to the Ground considers the continued resonance of natural materials and processes for artists working from the 1970s to now. For each of these artists, nature is not just a source of formal inspiration, but also a means of imagining new forms of community, reciprocity and connection to the natural world. Katie A. Pfohl, Curator of Modern and Contemporary Art
New Orleans Museum of Art | NOMA Magazine
LEARN
NOM A+ L AU NCHE S W ITH #EV ERY DAY N EWOR LE A NS COMM U NIT Y OU TR E ACH PROJ ECT The museum’s mobile outreach initiative, NOMA+, launched in the spring of 2018 with a community project tied into the exhibition Changing Course: Reflections on New Orleans Histories. In partnership with the New Orleans Photo Alliance (NOPA), Nic Aziz, NOMA’s Community Outreach Coordinator, oversaw a series of six workshops at schools, community centers, and social service agencies that engaged a wide cross section of the metro area in a photo-documentation project themed #EverydayNewOrleans. Local photographers from NOPA worked with participants to examine how photography can break down stereotypes and misconceptions about place. Using smartphones and disposable cameras, teenagers and adults alike learned about the elements of photography, and explored the medium as a method of telling a story. The project was modeled after The Everyday Projects, founded by Austin Merrill and Peter DiCampo in 2012 with the mission of “challenging stereotypes that distort our understanding of the world.” To date, the Everyday Projects have engaged amateur photographers in such diverse locales as the entire continents of Africa, Asia, and Australia, nations such as Afghanistan and Japan, among others, and American cities, including Detroit, and the Bronx. Twenty photographs from #EverydayNewOrleans were displayed in NOMA’s Evelyn L. Burkenroad Creative Concept Studio, one of seven installations in the exhibition Changing Course: Reflections on New Orleans Histories (closing September 16). These moments of life captured in South Louisiana included a crawfish boil, the gates of St. Roch Cemetery, a corner poboy shop, selfies of high school students, and portraits of family and friends. Some of the most poignant scenes were captured by twelve participants from the Rebuild Center, a shelter assisting New
Scott and Marjorie Cowen donated funds for the NOMA+ mobile museum. Their nicknames, Honey and Pops, bestowed by the couple’s grandchildren, appear on the side of the Chevy Tahoe that pulls the trailer.
Orleanians struggling with homelessness. Aziz shared his impressions of working with these amateur photographers from the Rebuild Center in a blog for the digital edition of NOMA Magazine. “Juston Winfield was arguably the most enthusiastic participant from the beginning of the first workshop. He took pictures at Lake Pontchartrain, the ravaged former Six Flags theme park, and the historical site of Lincoln Beach. When discussing the story behind his pictures of the lakefront, he noted how he chose to ride his bicycle ‘all the way out there’ as early as possible to catch it at the best light quality of the day. We were all surprised at how well he was able to capture the area with a disposable camera… “The love and vulnerability that encompassed NOMA+ during the workshops at the Rebuild Center was so abundant and these characteristics would show themselves throughout the actual museum on the opening night of Changing Course: Reflections on New Orleans Histories.”
Four of the photographers from the Rebuild Center attended the exhibition debut. “Witnessing how excited they were to just be in the museum as they looked at their photos on a wall and shared themselves with others was such a special sight. The beauty and ability of art to bring together individuals from all walks of life, while spurring enhanced compassion and empathy in the maker and viewer, was so evident on that night.” Read more of Nic Aziz’s blog at noma.org/ magazine. View photos and contribute your own at the Instagram page with the hashtag #EverydayNewOrleans. This fall and winter, the NOMA+ SELFIE project will connect modern-day facets of selfie culture to historic and contemporary portraiture from NOMA’s collection and temporary exhibitions. The project seeks to give artists and community curators an opportunity to address questions of identity and self while creating a new point of access between NOMA and the communities across the metro area. NOMA+ is, in large part, supported by the generosity of individual donors and members. To support this project, contact Jenni Daniel at jdaniel@noma.org or (504) 658-4107.
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SUPPORT
INSPIR ED BY NOMA: ROBERT LYALL
The New Orleans Opera will stage Pygmalion, Jean-Phillippe Rameau’s 1748 one-act acte-de-ballet, at Le Petit Theatre du Vieux Carré from November 8 to 11 in tribute to NOMA’s presentation of The Orléans Collection. Opera Director Robert Lyall spoke about how this performance will incorporate art from the exhibition into set design, and a sneak preview to be held in the Besthoff Sculpture Garden. How did you conceive of this partnership between NOMA and the New Orleans Opera? I attended the initial press conference where all of New Orleans’ cultural institutions were presenting their Tricentennial projects. The one that intrigued me the most was the statement by NOMA that there would be an exhibition of part of the famous art collection of the Duc d’Orleans, one of the greatest collections of its time. I thought, How interesting, there is a musical equivalent to that, which would be some example from French Baroque opera ... Perhaps there’s a way for us to combine both of our interests and further our respective missions, so I undertook an examination of the French Baroque repertoire. The one thing that was in abundance at the court of Louis XIV was money, and the other was a splendor in the arts that has garnered a lot of historical attention and praise. It led to the creation of French opera, and the court dances became a central part of that style, furthered by the fact that Louis XIV loved to dance. He loved to have theater pieces done at his court, and he himself would rise from the throne and join the dance scenes. I thought, What can we do that is not so lavish that it breaks the bank but can capture the spirit of what French opera focused on at that time? Pygmalion was the perfect fit.
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What is the history of Pygmalion as an opera? The subject matter of almost all early opera, whether the Italian origins of it with the Florentine Camerata, or, in the case of French opera, the court, was Greek and Roman mythology. Pygmalion was the son of the King of Crete and was famous as a sculptor. The myth is that he created the perfect female statue that was so beautiful he fell in love with his own work. Then he implored the goddess Venus, or L’Amour as she is called in most French works, to bring the statue to life so that his love would not be futile. Lo and behold she did! We’re staging Pygmalion at Le Petit Theatre in the French Quarter, a more intimate and historic venue that is closer to the era of New Orleans as America’s First City of Opera, at least according to documentation. How will works from The Orléans Collection be incorporated into the production? The setting of Pygmalion is an artist’s studio so I thought I could take projections of some of the paintings from the museum’s exhibition and make them a part of the scenic elements for our drama. I got in touch with Lisa McCord, director of the curatorial staff, and the idea was met with great enthusiasm. I soon realized that we might want to supplement those paintings, so she agreed that we could also use projections of appropriate works from NOMA’s permanent collection. This has enhanced the production and heightened the role that the museum is playing in creating this unique project. At about 45 minutes long, Pygmalion is not a full evening of opera. After a wonderful champagne intermission to celebrate the combination of our two art forms, we will offer a second
half that I call a “divertissement.” It will consist of eight short and colorful selections from two generations of the leading composers of the French Baroque. The evening will conclude with the famous rondò from Rameau’s Les Indes Galantes, which actually takes place in New Orleans! Tell us more about the preview production in the Besthoff Sculplture Garden. On Friday, October 12, we will perform little vignettes in the sculpture garden, the perfect setting to present the idea that a piece of art comes to life. The audience will be treated to a moveable feast, if you will, in that they will be guided from statue to statue that will come to life and sing. This event is free and open to the public. Pygmalion will feature local talents Sarah Jane McMahon as L’Amour (Venus), Paul Grovves as Pygmalion, Rachel Looney as La statue animée, and Haley Whitney as Cephise. The Marigny Opera Ballet will serve as dancers, and a Baroque orchestra will be drawn from the Louisiana Philharmonic. For more information, visit neworleansopera.org. On October 12 at 6 p.m., Art Comes to Life: Sculptures in Song, an evening of selections from Pygmalion and works of other French Baroque composers, will be held in the Besthoff Sculpture Garden. Visit noma.org for more information.
New Orleans Museum of Art | NOMA Magazine
SCULPTURE GARDEN
TERESITA FERNÁNDEZ: “YOU ARE HERE”
A conceptual drawing of the Teresita Fernández commission for the new Besthoff Sculpture Garden gallery.
As the expansion of the Besthoff Sculpture Garden takes shape, artist Teresita Fernández is busy at work on a commissioned wall sculpture that will greet visitors at the site of a new gallery facing the central lagoon. Fernández’s works are noted for their ability to capture the essence of formless elements such as fire, water, and air. She recently discussed with NOMA Magazine the formation of her work to be sited in New Orleans. The piece was designed to feel like an extension of the sculpture garden, emerging from the building itself and dissolving into the surrounding landscape. I wanted to create something that would be a marker, giving you a sense of you are here. The artwork is conceived as a landscape within a landscape. When I use the word landscape, I am not referring to it in the generic way of a framed vista or a picturesque scene, but rather more expanding the idea of landscape in a conceptual way that speaks to the history of people in places. So there are many cultural and historical references associated with that idea of landscape that are integral to the piece. When I first met Sydney and Walda Besthoff, who have been extremely supportive of the complexities of this work, and an absolute pleasure to work with, they were very interested in a body of www.noma.org
work that I did a couple of years ago called Viñales, which was a reference to a rural landscape in Cuba where my family is from. I wanted to draw inspiration from that piece, but I wanted to make it very specific to New Orleans. This commission is very much about contextualizing New Orleans as a global city and, in many ways, the northernmost Caribbean city. The conceptual heart of the work really is about connecting New Orleans with Havana and with Africa and using the landscape as a vehicle for making that connection. The imagery of the work comes from a piece of malachite rock from the Democratic Republic of Congo, a rock that is literally part of and from a specific landscape. The image has been transformed to feel like an immense, expansive landscape, but it actually originates from a very small rock. The piece is made from a vitreous material—hundreds of thousands of tiny, glazed ceramic pieces that are meticulously assembled to create the overall image. This highly reflective surface will not only be reflective of the changing atmospheric conditions and the shifting light of New Orleans at different times of the day, but it will also be a mirror to visitors so that when you look at this landscape, you also see your own reflection on the surface of the piece. In many ways you become the figure in that landscape.
YOUNG FELLOWS SUPPORT SCULPTURE GARDEN MEDITATION PATH Many generous donors have stepped up to support the expansion of the Sydney and Walda Besthoff Sculpture Garden, including a group of young professionals who came together to raise more than $33,000 to sponsor the Young Fellows Meditation Path. The path will meander between oaks, allowing visitors to immerse themselves in the natural setting while interacting with works from twenty-first-century artists. Led by committee chairs Marshall Hevron and Beth and Austin Lavin, a committee of twelve NOMA supporters embarked upon a campaign to name the path. Initially the committee set a goal to raise $20,000, but to date over thirty young professionals have committed to support the project, quickly surpassing the original goal by over fifty percent. “We are appreciative of the legacy created by Sydney and Walda Besthoff with the establishment and expansion of the Sculpture Garden, and we are grateful to have the ability to participate in this landmark project. We’ve been overwhelmed by the enthusiastic support of our peers for this project and are grateful to everyone who has participated.” —Beth and Austin Lavin
Young Fellows Meditation Path Donors John Cable and Andrea Andersson Samuel M. Berman Buddy Boe Brian and Courtenay Dufour Chad Graci Marshall Hevron
Dr. Tyra Mitchell J.P.Morgan Chase & Co. Taylor Morgan Nathaniel A. Novak Jessica L. Owens Natalie and Ryan Nagim
Anne Kock
Elisabeth Rietvelt and Vignesh Krishnan
Margaux and Stew Krane
William Sadler
Beth and Austin Lavin
Walker and Margaret Saik
Rebecca and Richard F. Weber, Jr.
Adam Shapiro
Charlie and Tabby Marts
Claire Elizabeth Gallery/ Claire Elizabeth Thriffiley
Lara and Clifford Mintz
Bryant S. York
If you are interested in supporting the Young Fellows Meditation Path, please contact Elisabeth Rietvelt at erietvelt@noma.org or (504) 658-4130.
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1. King Felipe VI and Queen Letiza of Spain (at center) paid a visit to NOMA on June 16 as part of festivities surrounding the 2018 New Orleans Tricentennial. Pictured here, from left, are NOMA Deputy Director Anne Baños, New Orleans Mayor LaToya Cantrell, the royal couple, and NOMA Director Susan Taylor at the front entrance of the museum. NOMA has a strong history of paying homage to the Spanish heritage of New Orleans and the nation’s global artistic influence. A gallery of Latin American works of art is scheduled to open in the near future, and works from the museum’s permanent collection were recently loaned to both the Prado and Thyssen-Bornamisza museums in Madrid, the latter of which is lending a work for The Orléans Collection exhibition. NOMA hosted a film series this past summer, Mujeres de Cine, that focused on Spanish women filmmakers, and recent exhibitions, including Carlos Rolón: Outside/In and Behind Closed Doors: Art in the Spanish American Home, 1492–1898 have also focused on Hispanic culture.
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2. Kitty Sherrill, Maria Friedlander, Lee Friedlander, Stephen Sherrill, and Russell Lord at the exhibition opening of Lee Friedlander in Louisiana 3. Suzanne Thomas engages with children whose artworks were displayed in the Mini Masters Showcase 4. Phyllis Taylor, Susan Taylor, Dr. James Caillier, and Hannah Withrow at the Taylor Scholars Luncheon 5. Skylar Fein, Katie Pfohl, and Renee and Stewart Peck at the exhibition opening for Changing Course: Reflections on New Orleans Histories 6. Willie Birch, L. Kasimu Harris, and LeRoy Harris at the exhibition opening for Changing Course: Reflections on New Orleans Histories
New Orleans Museum of Art | NOMA Magazine
DONORS 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
Corporate and Individual Support
$500,000 and above
$500,000 and above
$20,000 – $49,999
$10,000 – $19,999
The Benjamin M. Rosen Family Foundation
Sydney and Walda Besthoff
Anonymous
A Friend of NOMA
Charitable Lead Annuity Trust Under the Will of Louis Feil
Virginia Besthoff
Cathy and Morris Bart
Jean and Buddy Bolton
Donna and Benjamin M. Rosen
Gail and John Bertuzzi
Reuben O. Charles, II
Collins C. Diboll Private Foundation
Frank B. Stewart Jr.
E. John Bullard
George and Milly Denegre
Ella West Freeman Foundation
Phyllis M. Taylor
Pia and Malcolm Ehrhardt
The Frank B. Stewart, Jr. Foundation
$100,000 – $499,999
Leonard Davis and Sharon Jacobs Julie and Ted George
Tim L. Fields, Esq.
Patrick F. Taylor Foundation The Sydney and Walda Besthoff Foundation Zemurray Foundation
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JPMorgan Chase & Co.
Hancock Whitney
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Tina and Robert Hinckley
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$200,000 – $499,999
IBERIABANK
The Andrew W. Mellon Foundation
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The Azby Fund
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Robinson Lumber Company
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The Helis Foundation
$50,000 – $99,999
Jacki and Brian Schneider
$100,000 – $199,999
Cathy and Morris Bart
Kitty and Stephen Sherrill
Jay Batt
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Estate of Lynette Askin Stilwell
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Suzanne and Robert Thomas
The Walton Family Foundation
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$50,000 – $99,999
Robert E. Smith Lupo and Mary L. Puissegur Lupo
2018 NOLA Foundation
New Orleans and Company
Eugenie and Joseph Jones Family Foundation
Nancy Rathborne
The Ford Foundation
Tina Rathborne and Phillip De Normandie
Goldring Family Foundation Institute of Museum and Library Services
The Lupin Foundation The Marcus Foundation The Selley Foundation
$20,000 – $49,999
Jeffrey J. Feil Betty Fishman Dana and Steve Hansel Lexus of New Orleans Ashley Longshore Drs. Howard and Joy Osofsky Palmisano Contractors, LLC Stewart and Renee Peck Cari and Michael J. Sacks Sheila and Britton Sanderford Jane and Rodney Steiner SKYY Vodka Allison and Ben Tiller Franco and Nancy Valobra Mr. and Mrs. Robert John Axtell Williams
Liz and Poco Sloss Susu and Andrew Stall Robert and Pamela Steeg Catherine Burns Tremaine
The Bertuzzi Family Foundation Boh Foundation Louisiana Division of the Arts
NOMA Corporate Members
National Endowment for the Arts
Gold
Green
Robert Lehman Foundation, Inc.
Hyatt Regency New Orleans
Boh Bros. Construction Company, LLC
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International-Matex Tank Terminals
Crescent Capital Consulting, LLC
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Jones Walker
Dupuy Storage & Forwarding, LLC
New Orleans and Company
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Hexton Gallery
$10,000 – $19,999 The Booth-Bricker Fund Charles W. and Elizabeth D. Goodyear Foundation Evelyn L. Burkenroad Foundation The Garden Study Club of New Orleans, Inc. The Holt Family Foundation J. Edgar Monroe Foundation Kabacoff Family Foundation New Orleans Theatre Association The Ruby K. Worner Charitable Trust
Silver JPMorgan Chase & Co.
Library Street Collective Neal Auction Company New Orleans Tourism Marketing Corporation Salon 94
Bronze
Valentino Hospitality
Christie’s Gulf Coast Bank and Trust Hotel Monteleone Laitram, LLC
This list includes donors who made gifts between August 1, 2017 and August 1, 2018. If you have any questions, or would like information about supporting NOMA, contact NOMA’s Development Department by calling 504.658.4127.
www.noma.org
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SUPPORT
NOMA BOOK CLUB
NOMA CIRCLES
Join NOMA staff and fellow book lovers as we read and discuss books related to art, artists, art museums, NOMA’s collections and exhibitions. Contact NOMA Librarian Sheila A. Cork at 504.658.4117 or scork@noma.org for information about joining the NOMA Book Club.
President’s Circle
September
Mrs. Robert Nims
The Lost City of Z: A Tale of Deadly Obsession in the Amazon by David Grann In 1925, the legendary British explorer Percy Fawcett ventured into the Amazon jungle, in search of a fabled civilization. He never returned. Over the years, countless perished trying to find his party and the place he called “The Lost City of Z.”
Mr. and Mrs. Michael J. Siegel Mr. Michael Smith
Mr. and Mrs. Sydney J. Besthoff III
Mr. and Mrs. Lynes R. Sloss
Mr. and Mrs. Ralph O. Brennan
Mr. and Mrs. Bruce L. Soltis
Mr. and Mrs. David F. Edwards
Mr. and Mrs. Robert M. Steeg
Mrs. Marla Garvey
Mr. and Mrs. Robert E. Thomas
Mr. and Mrs. Charles B. Mayer
Ms. Susan Zackin
Mrs. Phyllis Taylor
Patron’s Circle
Director’s Circle
Dr. Siddharth K. Bhansali
Mr. and Mrs. John D. Bertuzzi
Mr. John L. Cleveland, Jr.
Mrs. Katherine Boh
Dr. and Mrs. Scott S. Cowen
Ms. Lucy Burnett and Mr. Gregory Holt
Mr. and Mrs. James J. Frischhertz
Mrs. Isidore Cohn, Jr.
Mr. and Mrs. Frederick Heebe
Mr. and Mrs. Kevin Cates
Mr. and Mrs. G. Anthony Gelderman
Mr. and Mrs. Thomas B. Coleman Mrs. H. Mortimer Favrot, Jr.
Ms. Sharon Jacobs and Mr. Leonard A. Davis
Wednesday, September 12, 1:30 – 3 p.m. and
Ms. Adrea D. Heebe and Mr. Dominick A. Russo, Jr.
Dr. Edward D. Levy, Jr.
Friday, September 14, 12 – 1 p.m.
Mr. and Mrs. Russ Herman
Ms. Elizabeth Livingston
BOOK DISCUSSION GROUP:
Mr. and Mrs. J. Thomas Lewis
Mr. and Mrs. Jerry Heymann
October Michelangelo and the Pope’s Ceiling by Ross King This book recounts the fascinating story of the four years Michelangelo spent laboring over the twelvethousand square feet of the ceiling of the Vatican’s Sistine Chapel, while war and power politics that abounded in Rome swirled around him.
Ms. Louise H. Moffett
Mr. and Mrs. Robert Hinckley
Drs. Joy D. and Howard Osofsky
Mr. and Mrs. Dennis P. Lauscha
Mr. and Mrs. Gray S. Parker
Mr. and Mrs. Robert J. Patrick
Mr. and Mrs. James C. Roddy
Dr. and Mrs. James F. Pierce
Mr. and Mrs. Brian A. Schneider
Dr. Elisabeth H. Rareshide and Dr. Ronald G. Amedee
Mr. David P. Schulingkamp
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Mr. and Mrs. Robert Shelton
Mrs. Charles S. Reily, Jr.
Mr. Stephen F. Stumpf, Jr.
Mr. and Mrs. James J. Reiss, Jr.
Ms. Catherine Burns Tremaine
Mr. and Mrs. Benjamin M. Rosen
Ms. Celia Weatherhead
Mr. and Mrs. Edward Shearer
Mr. and Mrs. D. Brent Wood
PRE-RESTORATION SISTINE CHAPEL PORTFOLIO BOOK ON DISPLAY IN LIBRARY Tuesday, October 16, 10 a.m. – 5 p.m. BOOK DISCUSSION GROUP:
ISA AC DELGADO SOCIETY
Tuesday, October 23, 12 – 1 p.m. and Wayne Amedee
Lee Ledbetter and Douglas Meffert
Larry W. Anderson
Thomas B. Lemann
Honorable Steven R. Bordner
Dr. Edward D. Levy, Jr.
Madame de Pompadour by Nancy Mitford
E. John Bullard
John and Tania Messina
Joseph and Sue Ellen Canizaro
Anne and King Milling
When Madame de Pompadour became the mistress of Louis XV, no one expected her to retain his affections for long. With a fiction writer’s felicity, Mitford restores the royal mistress and celebrates her as a survivor who reigned as the most powerful woman in France for nearly twenty years.
Mrs. Carmel Cohen
James A. Mounger
Folwell Dunbar
Jeri Nims
Prescott N. Dunbar
Judith Young Oudt
Lin Emery
Mrs. Charles S. Reily, Jr.
William A. Fagaly
Pixie and Jimmy Reiss
Randy Fertel
Polly and Edward Renwick
Lyn and John Fischbach
Donna and Benjamin M. Rosen
Tim and Ashley Francis
Brian Sands
Sandra D. Freeman
Jolie and Robert Shelton
Sarah and Richard Freeman
Margaret and Bruce Soltis
Tina Freeman and Philip Woollam
Nancy Stern
Dana and Steve Hansel
Mrs. John N. Weinstock
Abba J. Kastin, M.D.
Mercedes Whitecloud
Wednesday, October 24, 1:30 – 3 p.m.
November
CURATORIAL PROGRAM with Vanessa Schmid, Senior Research Curator for European Art Friday, November 9, 12 – 1 p.m. BOOK DISCUSSION GROUP: Wednesday, November 14, 1:30 – 3 p.m. and Thursday, November 15, 12 – 1 p.m.
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New Orleans Museum of Art | NOMA Magazine
SHOP
THE M USEU M SHOP The fall and winter months ahead are filled with many holidays and elegant social events. Make the Museum Shop your one-stop location for finding both practical and magical gifts for all occasions. SKULL ROUND CLUTCH BY ALEXANDER MCQUEEN
OBSIDIAN HERITAGE BOTTLE OPENER BY ANNA BY RABLABS
OP ART PORCELAIN COASTERS BY JONATHAN ADLER
This embroidered round clutch features a skull clasp and a clock design adorned with crystals and pearls.
Clear crystal and deep-black obsidian bottle opener enveloped in 24-karat gold.
Modernist coasters crafted from high-fired porcelain with solid-gold accents. Set of 4.
$125
$78
CRYSTAL BRUTALIST CUFF BY ALEXIS BITTAR
DIAMOND BAGUETTE RING BY EF COLLECTION
This bracelet is made of gunmetal and 10-karat gold-tone plated brass with crystal accents.
14-karat white gold with genuine baguette diamonds.
$275
$2,565
$1,700 HAND ENGRAVED NOTECARDS BY JULIE BELL Elegant hand-engraved copper and steel-stamped stationery from a British manufacturer. Set of 8.
$35 CORKCICLE AIR BY CORKCICLE The all-in-one solution for perfect wine every time. This device aerates red or white wine to the ideal temperature as you pour.
CRISP CHAMPAGNE AND FRENCH CADE LAVENDER CANDLES BY VOLUSPA Fragrant candles in petite decorative tins.
$15
$18
Find additional merchandise at noma.org/shop NOMA members receive a 10-percent discount (some restrictions apply).
www.noma.org
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SEPTEMBER – DECEMBER, 2018 • EVENTS AT NOMA BY DATE
CALENDAR
YOGA IN THE GARDEN
TAI CHI
DOCENT-GUIDED TOURS
SCULPTURE GARDEN TOURS
Every Saturday at 8 a.m. in the Besthoff Sculpture Garden
Every Monday at 6 p.m. in NOMA’s Great Hall
Join us for guided tours of the collection daily at 1 p.m.
Saturdays and Mondays at noon in October and November.
SATURDAY, SEPTEMBER 1 10 a.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
12 p.m.
WEDNESDAY, SEPTEMBER 5 12 p.m. NOONTIME TALK Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters with Abbot Richard Collins, New Orleans Zen Temple
FRIDAY, SEPTEMBER 7 COMMUNITY NIGHT AT NOMA Free Admission, 5–9 p.m. 5 p.m.
ART ON THE SPOT
5:30 p.m. MUSIC Lynn Drury
PINT-SIZED TOUR Changing Course (for kids 5-11)
6 p.m.
#EVERYDAYNEWORLEANS Round Table
6:15 & 7 p.m. GUIDED TOURS Changing Course 7:45 p.m. TEEN TOUR Changing Course
10 a.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
STUDIO KIDS! STORYQUEST
WEDNESDAY, SEPTEMBER 12 12 p.m. NOONTIME TALK Changing Course with Curator Katie Pfohl 1:30 p.m. NOMA BOOK CLUB DISCUSSION The Lost City of Z: A Tale of Deadly Obsession in the Amazon by David Grann
FRIDAY, SEPTEMBER 14 11:30 a.m. NOMA BOOK CLUB DISCUSSION The Lost City of Z: A Tale of Deadly Obsession in the Amazon by David Grann 5 p.m.
ART ON THE SPOT
5:30 p.m. MUSIC Dr. Jee Yeoun Ko: Celebrating 300 Years of Cello 6 p.m.
GALLERY TALK Changing Course with Curator Allison Young
6:30 p.m. CREATE LATE Drawing from Observation 7 p.m.
ARTS & LETTERS Author Anne Boyd Rioux in Conversation with Susan Larson
7:15 p.m. ARTIST PERSPECTIVE Skylar Fein on Changing Course
NOONTIME TALK Past Present Future: Building Photography at NOMA with Curator Russell Lord
FRIDAY, SEPTEMBER 21 5 p.m.
ART ON THE SPOT
5:30 p.m. MUSIC Neptune Steel Orchestra of Louisiana 6 p.m.
GALLERY TALK NOMA’s new Decorative Arts Wing with Curator Mel Buchanan
7 p.m.
FILM Spring, Summer, Fall, Winter, and Spring (2003)
SATURDAY, SEPTEMBER 22 10 a.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
STUDIO KIDS!
11 a.m.
STORYQUEST
WEDNESDAY, SEPTEMBER 26 12 p.m.
SATURDAY, SEPTEMBER 8
11 a.m.
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WEDNESDAY, SEPTEMBER 19
10 a.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
2 p.m.
WEST AFRICAN CINEMA SERIES Sembene! (2015)
FRIDAY, OCTOBER 5 NOONTIME TALK Lina Iris Viktor: A Haven. A Hell. A Dream Deferred with Artist Lina Viktor
5:30 p.m. MUSIC DJ Chinua 6:30 p.m. SMALL TALK Lina Iris Viktor: A Haven. A Hell. A Dream Deferred with Artist Lina Viktor
CREATE LATE Drawing with a Brush
7 p.m.
FILM Ghost Dog (1999)
SATURDAY, OCTOBER 6 10 a.m.
WEDNESDAY, OCTOBER 24
12 p.m. NOONTIME TALK Lina Iris Viktor: A Haven. A Hell. A Dream Deferred with Curator Allison Young
1:30 p.m. NOMA BOOK CLUB Michelangelo and the Pope’s Ceiling by Ross King
FRIDAY, OCTOBER 12 6 p.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
10 a.m. - 4 p.m. JAPAN FEST See page 27.
ART COMES TO LIFE: SCULPTURES IN SONG A roaming concert in the Besthoff Sculpture Garden presented by the New Orleans Opera Association
WEDNESDAY, OCTOBER 31 12 p.m.
10 a.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
STUDIO KIDS!
11 a.m.
STORYQUEST
2 p.m.
WEST AFRICAN CINEMA SERIES Green White Green (2017)
WEDNESDAY, OCTOBER 17 12 p.m.
NOONTIME TALK Past Present Future: Building Photography at NOMA with Curator Russell Lord
FRIDAY, OCTOBER 19 5 p.m.
ART ON THE SPOT
5:30 p.m. MUSIC Blato Zlato 6:30 p.m. NOLA 4 Women and NOMA present EXTRAORDINARY WOMEN AND THE SHAPING OF A MODERN MUSEUM 7:30 p.m. SMALL TALK Ear to the Ground with Curator Katie Pfohl 8 p.m.
SMALL TALK The Work of Mildred Thompson with Melissa Messina
8:30 p.m. SMALL TALK Lina Iris Viktor with Curator Allison Young
12 p.m.
MINDFULNESS CLASS with Dr. Jayashree Rao
10 a.m.
STUDIO KIDS!
11 a.m.
STORYQUEST
TUESDAY, OCTOBER 23 11:30 a.m. NOMA BOOK CLUB Michelangelo and the Pope’s Ceiling by Ross King 12 p.m.
NOONTIME TALK Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters with Curator Lisa Rotondo-McCord
NOONTIME TALK Louisiana Furnishings with Philippe Halbert
5 – 8 p.m. ART ON THE SPOT 5:30 p.m. MUSIC Russell Welch Hot Quartet 6:30 p.m. LECTURE and GALLERY TOUR with Curator Vanessa Schmid, introducing The Orléans Collection
CREATE LATE Printmaking
SATURDAY, NOVEMBER 3 10 a.m.
ZAZEN MEDIATION in the Sculpture Garden
10:30 a.m. ADULT ART STUDIOS Cyanotype Workshop with Robert Schaefer 11 a.m.
STORYQUEST
2 p.m.
FRENCH CONNECTIONS FILM SERIES A Little Chaos (2014)
WEDNESDAY, NOVEMBER 7 7 p.m.
BEYOND BAROQUE: LES ARTS MUSICAUX A concert presented by the Musical Arts Society of New Orleans
FRIDAY, NOVEMBER 9 12 p.m.
SATURDAY, OCTOBER 20 10 a.m.
NOONTIME TALK The Orléans Collection with Curator Vanessa Schmid
FRIDAY, NOVEMBER 2
SATURDAY, OCTOBER 13
NOONTIME TALK Decorative Arts with Curator Mel Buchanan
SATURDAY, SEPTEMBER 29
12 p.m.
WEDNESDAY, OCTOBER 10
NOMA BOOK CLUB Curatorial Program with Vanessa Schmid, Senior Research Curator for European Art
SATURDAY, NOVEMBER 10 10 a.m.
STUDIO KIDS!
2 p.m.
WEST AFRICAN CINEMA SERIES Pray the Devil Back to Hell (2008)
WEDNESDAY, NOVEMBER 14 12 p.m.
NOONTIME TALK The Orléans Collection with Curatorial Fellow Kelsey Brosnan
1:30 p.m. NOMA BOOK CLUB Madame de Pompadour by Nancy Mitford
New Orleans Museum of Art | NOMA Magazine
JAPAN FEST SATURDAY, OCTOBER 6 10 – 4 P.M. $5 | free for NOMA members, teens, and children 6 and under Organized by NOMA, the Consulate General of Japan in Nashville and the Japan Club in New Orleans, Japan Fest is the largest celebration of Japanese culture in the Gulf South. It’s a day to sample Japanese cuisine and enjoy traditional dance groups, martial arts demonstrations, tours of our Japanese art collection, fashion shows, and much more.
AN EDIBLE FEAST SUNDAY, DECEMBER 9 | 7 P.M. Reservations required. $75 members | $90 nonmembers
7:30 p.m. | Tuesdays, Wednesdays, Thursdays, Sundays $33 for adults, $25 for NOMA members Saturdays | $38 for adults, $28 for NOMA members NOLA Project guest director Joanna Russo leads the regional premiere of The Revolutionists, an all-female production, featuring four beautiful, bold women, who lose their heads in this girl-powered comedy set during the French Revolution’s Reign of Terror. This dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world. It’s a true story. Or total fiction. Or a play about a play. Or a raucous resurrection…that ends in a song and a scaffold.
Join us for a decadent evening of art and edibles. A private curatorled gallery tour of The Orléans Collection will be followed by a champagne reception, featuring delicacies from New Orleans’s leading pastry chefs. During the reception, Susan Pinkard, culinary scholar and author of A Revolution in Taste: The Rise of French Cuisine, 1800-1650, will discuss the history of desserts and champagne in early modern France. Email education@noma.org for more information.
TICKETS: www.nolaproject.com | (504) 302-9117
THURSDAY, NOVEMBER 15
SATURDAY, NOVEMBER 24
WEDNESDAY, DECEMBER 5
11:30 a.m. NOMA BOOK CLUB Madame de Pompadour by Nancy Mitford
10:30 a.m. BABY ARTSPLAY!
12 p.m.
FRIDAY, NOVEMBER 16 5 p.m.
ART ON THE SPOT
6 p.m.
GALLERY TOUR The Orléans Collection with Curator Vanessa Schmid
OPERA ON TAP with the New Orleans Opera Association
7:30 p.m. LECTURE and BOOK LAUNCH City of a Million Dreams: A History of New Orleans at Year 300 with Author Jason Berry
SATURDAY, NOVEMBER 17 10 a.m.
STUDIO KIDS!
ZAZEN MEDIATION in the Sculpture Garden
10:30 a.m. BABY ARTSPLAY! 11 a.m.
STORYQUEST
2 p.m.
FRENCH CONNECTIONS FILM SERIES The Death of Louis XIV (2016)
www.noma.org
2 p.m.
FRENCH CONNECTIONS FILM SERIES The Royal Exchange (2017)
WEDNESDAY, NOVEMBER 28 12 p.m.
NOONTIME TALK Past, Present, Future with Curator Russell Lord
THURSDAY, NOVEMBER 29 6 p.m.
LECTURE Champs-Elysées: Building Paris, Building New Orleans with Joan Dejean, University of Pennsylvania
NOONTIME TALK The Orléans Collection with Curator Vanessa Schmid
SATURDAY, DECEMBER 15 10 a.m.
11 a.m.
SATURDAY, DECEMBER 8 10 a.m.
STUDIO KIDS!
10:30 a.m. BABY ARTSPLAY! 2 p.m.
3 p.m.
SATURDAY, DECEMBER 1 10:30 a.m. BABY ARTSPLAY!
LECTURE AND EXHIBITION CATALOG LAUNCH Artist Lina Viktor in conversation with Renée Mussai, Curator and Head of Archives, Autograph ABP, London
STORYQUEST
WEDNESDAY, DECEMBER 19 12 p.m.
WEST AFRICAN CINEMA SERIES Borders (2017)
SUNDAY, DECEMBER 9
STUDIO KIDS!
10:30 a.m. BABY ARTSPLAY!
NOONTIME TALK The Orléans Collection with Curatorial Fellow Kelsey Brosnan
SATURDAY, DECEMBER 22 10:30 a.m. BABY ARTSPLAY!
FRIDAY, DECEMBER 28 12 p.m.
NOONTIME TALK The Orléans Collection with Curator Vanessa Schmid
AN EDIBLE FEAST (see inset)
11 a.m.
STORYQUEST
7 p.m.
2 p.m.
FRENCH CONNECTIONS FILM SERIES Dangerous Liaisons (1988)
WEDNESDAY, DECEMBER 12 12 p.m. NOONTIME TALK Lina Iris Viktor: A Haven. A Hell. A Dream Deferred with Curator Allison Young
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SEPTEMBER – DECEMBER, 2018 • FILM
CALENDAR
WEST AFRICAN CINEMA SERIES FEATURING RECENT AWARD-WINNING FILMS FROM BURKINA FASO, NIGERIA, SENEGAL, AND THE UNITED STATES, THE WEST AFRICAN CINEMA SERIES IS PRESENTED IN CONJUNCTION WITH THE EXHIBITION LINA IRIS VIKTOR: A HAVEN. A HELL. A DREAM DEFERRED.
Sat., Sept. 29 | 2 p.m.
Sat., Oct. 13 | 2 p.m.
Sat., Nov. 10 | 2 p.m.
Sat., Dec. 8 | 2 p.m.
SEMBENE!
GREEN WHITE GREEN
PRAY THE DEVIL BACK TO HELL
BORDERS (FRONTIÈRES)
NR, 2008; 1 hr. 12 min.
Four strangers travel across West Africa by bus, experiencing both the scenic beauty and dangers of the long journey from Bamako, Mali, to Lagos, Nigeria. (Burkina Faso)
NR, 2015; 1 hr. 29 min.
Explores the life and career of Ousmane Sembène, the “father of African cinema,” who blended styles to create films that challenged existing power structures and promoted new visions of the African continent. (Senegal)
NR, 2017; 1 hr. 42 min.
A touching comedy about three Nigerian teenagers who set out to make a movie on Nigerian history before heading off to college. (Nigeria)
Gripping account of a group of women who demanded peace for Liberia, a nation torn apart by a decadeslong civil war. (USA)
NR, 2017; 1 hr. 30 min.
French with English subtitles.
French Connections Travel through time to 18th-century France with films exploring life among the aristocracy. This series, presented in conjunction with the exhibition The Orléans Collection, takes place Saturday afternoons in November and December.
Sat., Nov. 3 | 2 p.m.
Sat., Nov. 17 | 2 p.m.
Sat., Nov. 24 | 2 p.m.
Sat., Dec. 1 | 2 p.m.
A Little Chaos
The Death of Louis XIV (La mort de Louis XIV)
The Royal Exchange (L’Echange des Princesses)
Dangerous Liaisons
R, 2014; 1 hr. 52 min.
Two talented landscape artists become romantically entangled while building a garden for King Louis XIV’s palace at Versailles.
NR, 2016; 1 hr. 55 min.
Upon returning from a hunting expedition in August 1715, King Louis XIV feels a pain in his leg. The film traces the king’s last days.
NR, 2017; 1 hr. 40 min.
In 1721, French Regent Philippe II, Duc d’Orléans offers to marry his own daughter to the heir apparent to the Spanish throne. French with English subtitles.
R, 1988; 1 hr. 59 min.
This portrait of the 18th-century French aristocracy focuses on a scheming widow and her manipulative ex-lover, who make a bet regarding the corruption of a recently married woman.
French with English subtitles.
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New Orleans Museum of Art | NOMA Magazine
PARTIES WITH A PURPOSE
LOVE IN THE GARDEN PRESENTED BY HANCOCK WHITNEY Chaired by Elizabeth Grimes, Christine LeBlanc, and Mimi Schlesinger, NOMA’s annual fall soiree takes place in the Sydney and Walda Besthoff Sculpture Garden, and will honor artists John Alexander, Katrina Andry, Luis Cruz Azaceta, and L. Kasimu Harris. Sample cuisine from more than 60 restaurants and imbibe in the LOVE COCKTAIL CHALLENGE, presented by Sazerac New Orleans. ENTERTAINMENT BY | THE BOOGIE MEN | STORYVILLE STOMPERS | DJ OTTO
TO PURCHASE TICKETS OR TO BECOME A SPONSOR: 504.658.4121 | LOVE@NOMA.ORG | noma.org/event/love-garden-2018
This fall NOMA supporters will gather for the ever-popular LOVE in the Garden, presented by Hancock Whitney, and the Odyssey Ball, in partnership with IBERIABANK. Organized each year by the NOMA Volunteer Committee, these events are among the most important sources of revenue for the museum, contributing more than $800,000 annually to NOMA’s programs. In addition to enjoying a night of dining and dancing, event supporters are also providing art supplies for preKindergarten students, bringing a museum experience to community centers and schools through the NOMA+ mobile museum, and supporting the development of new exhibitions for visitors from around the world to appreciate. Donors to NOMA fundraisers make an impact at the museum all year long, enhancing the caliber of programming offered to over 290,000 visitors and community members long after the events are over.
SOURCES OF OPERATING SUPPORT NOMA’s fundraisers like LOVE in the Garden and Odyssey are critically important to generating funds to support all that NOMA does—from groundbreaking exhibitions to engaging educational programs.
14%
BENEFIT EVENTS
19%
MEMBERSHIP
November 10, 2018 Chaired by Robyn and Andrew Schwarz, Allison and Ben Tiller, Nancy and Franco Valobra, the 52nd annual gala event will celebrate and enhance the New Orleans Museum of Art in an evening of unparalleled elegance. Don’t miss a spectacular evening featuring inventive cuisine by Hyatt Regency New Orleans and 1718 Events, with surprising activations and inspired dance and musical performances curated by Élan Artists. A silent auction featuring one-of-a-kind art, trips, jewelry, and more, raises funds to support NOMA’s nationally-recognized exhibitions and educational programs. TO PURCHASE TICKETS OR TO BECOME A SPONSOR:
29%
ENDOWMENT INCOME
9% ADMISSIONS 8% ANNUAL FUND 8% PRIVATE EVENTS 6% MUSEUM STORE 3% GOVERNMENT GRANTS 3% MISC. SUPPORT & REVENUE 2% EDUCATION PROGRAMS
504.658.4121 | ODYSSEY@NOMA.ORG | noma.org/event/odyssey-2018 Join the conversation! NOMA’s Arts & Letters series welcomes authors, poets, journalists, playwrights, and literary scholars to the museum for public conversations that reflect on literature at the intersection of arts and culture. This program is free with museum admission thanks to support from the Patrick F. Taylor Foundation. www.noma.org
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CALENDAR HIGHLIGHTS • SEPTEMBER – DECEMBER, 2018
CALENDAR
FAMILY
ENTERTAINMENT
LECTURES AND ARTISTS PERSPECTIVES
ART ON THE SPOT FRIDAYS | 5 – 8 P.M. SEPTEMBER 7, 14, 21 OCTOBER 5, 19 NOVEMBER 2, 16 Children and adults alike can join an artist-teacher in creating a work of art.
STUDIO KIDS!
SATURDAYS | 10 A.M. - 12 P.M. SEPTEMBER 8, 22 | OCTOBER 13, 20 NOVEMBER 10, 17 | DECEMBER 8, 15 Students ages 5 to 10 explore art made by diverse cultures as inspiration for art projects. Each class features different media. Register in advance: $25/$30 per class for NOMA member/ nonmember. Call 504.658.4128 or email education@noma.org to register.
STORYQUEST
SATURDAYS | 11 A.M. SEPTEMBER 8, 22 | OCTOBER 13, 20 NOVEMBER 3, 17 | DECEMBER 1, 15 Professional authors, actors, and artists bring the world of children’s literature to life in this in-gallery family program designed for kids aged 2–7. Funded by the Patrick F. Taylor Foundation.
FRIDAY, SEPTEMBER 7 | 6 P.M. #EverydayNewOrleans Round Table 5 – 9 P.M. LAST ADMISSION AT 8:30 P.M.
START YOUR WEEKEND OFF RIGHT AT THE NEW ORLEANS MUSEUM OF ART! Friday Nights at NOMA features live music, art-making activities, and a full line-up of changing programs, including gallery tours and talks with artists, authors, curators, and culture connectors, film screenings, and dance performances. Check out noma.org/events for the full line up. Museum admission applies | Free for NOMA members, teens, and children six and under. SEPTEMBER 7 COMMUNITY NIGHT FREE ADMISSION with music by Lynn Drury SEPTEMBER 14 with music by Dr. Jee Yeoun Ko, Celebrating 300 Years of Cello SEPTEMBER 21 with music by Neptune Steel Orchestra OCTOBER 5 with music by DJ Chinua
BABY ARTSPLAY!
SATURDAYS | 10:30 a.m. NOVEMBER 17 – DECEMBER 22 Instill a love of art at a young age through a guided, hands-on gallery experience. Young Audiences Wolf Trap teaching artists will present a series of six workshops for caregivers and children ages 0-3. Funded by The Helis Foundation. Space is limited. Register today at www.yabap.eventbrite.com.
Educators can choose from a selection of theme-based school group tours led by knowledgeable, engaging docents. Guided tours are available Wednesday, Thursday, and Friday mornings beginning October 1. Admission is FREE for scheduled school groups, including students, teachers, and one adult chaperone per 10 students. Two weeks notice is required for guided tours, 24 hours notice is required for self-guided groups. Visit noma.org/grouptours or call 504.658.4100 to learn more.
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7 P.M. Arts & Letters: Anne Boyd Rioux in conversation with Susan Larson 7:15 P.M. Artist Perspective Skylar Fein on Changing Course FRIDAY, NOVEMBER 2 Introducing The Orléans Collection A lecture and gallery tour with Curator Vanessa Schmid FRIDAY, NOVEMBER 16 | 7:30 P.M. Lecture, Film, and Book Launch City of a Million Dreams: New Orleans at Year 300 with author Jason Berry THURSDAY, NOVEMBER 29 | 6 P.M. Lecture Champs-Elysées: Building Paris, Building New Orleans with Joan Dejean, University of Pennsylvania SUNDAY, DECEMBER 9 | 3 P.M. Lecture and Exhibition Catalogue Launch Artist Lina Iris Viktor in conversation with Renée Mussai, Curator and Head of Archives, Autograph ABP, London
OCTOBER 19 with music by Blato Zlato NOVEMBER 2 with music by Russell Welch Hot Quartet
WORKSHOP
NOVEMBER 16 with Opera on Tap by the New Orleans Opera Association
SATURDAY, NOVEMBER 3 10:30 A.M. – 3:30 P.M. Seeing Blue: A Cyanotype Workshop with Photographer Robert A. Schaefer
ART COMES TO LIFE: SCULPTURES IN SONG SUNDAY, OCTOBER 14 | 6 P.M.
SCHEDULE YOUR SCHOOL FIELD TRIP
FRIDAY, SEPTEMBER 14
FREE AND OPEN TO THE PUBLIC Join us in the Besthoff Sculpture Garden for a roaming concert featuring twelve statues and music from Pygmalion, presented by the New Orleans Opera Association.
Join us for an exploration of the history and methods of the cyanotype process with Robert A. Schaefer, Jr., a teacher for the Penumbra Foundation’s Center for Alternative Photography in New York. This workshop begins with an overview of the camera-less photographic process, from its roots in the midnineteenth century to the present. Participants will then create their own cyanotypes. Lunch and all needed supplies will be provided. Email education@noma.org for more information. NOMA Members $65 Nonmembers $80
New Orleans Museum of Art | NOMA Magazine
Kogan Gengei, Japanese, 1747-1821, Procession of Monks, Ink on paper, Museum Purchase, 90.42
Margaret Bourke-White, Chrysler Corporation, 1932, Gelatin silver print, Promised Bequest of Tina Freeman
Del Hall, Self Portrait # 1, 1962, Archival inkjet print, Gift of the artist, 2017.42
Lina Iris Viktor, Work in progress from the series A Haven. A Hell. A Dream Deferred., 2017-18, 24-karat gold, acrylic, print on paper, Courtesy the Artist and Mariane Ibrahim Gallery
Carracci, Ludovico, The Dream of Saint Catherine of Alexandria, circa 1593, Oil on canvas, Washington, DC, National Gallery of Art, Samuel H. Kress Collection, 1952.5.59, Courtesy National Gallery of Art, Washington
Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters
Past Present Future: Building Photography at the New Orleans Museum of Art
Best Seat in the House: Photographs by Del Hall
Lina Iris Viktor: A Haven. A Hell. A Dream Deferred.
The Orléans Collection
THROUGH JANUARY 20, 2019
SEPTEMBER 7, 2018 — JANUARY 6, 2019
SEPTEMBER 7, 2018 — JANUARY 6, 2019
OCTOBER 5, 2018 — JANUARY 6, 2019
OCTOBER 5, 2018 — JANUARY 27, 2019
REPRESENT: LOUISIANA ABSTRACTION FROM THE NEW ORLEANS MUSEUM OF ART Non-representational. Non-objective. Non-figurative. Concrete. Pure. There are as many terms for abstraction as there are approaches to this style of art. Represent: Louisiana Abstraction from the New Orleans Museum of Art , a traveling exhibition on view at the St. Tammany Art Association in Covington, Louisiana, from October 13 through November 27, 2018, will explore the diverse styles and techniques of abstract art that emerged and flourished in the twentieth century. The exhibition will include the work of renowned Louisiana artists from NOMA’s permanent collection, including Fritz Bultman, John Clemmer, George Dunbar, Robert Gordy, Ida Kohlmeyer, Paul Ninas, and Pat Trivigno.
Perspective and illusion, the reproduction of visual space and reality, were foundational elements in Western art from the Renaissance in the late fourteenth century through the late nineteenth century. The emergence of new philosophies and technologies led to new approaches to art making. What was the role of the artist following the development of photographic processes that could capture visual reality? What was the role of art in the age of highly individual, inward-looking psychoanalytic methods? Artistic investigations led to impressionism, fauvism, cubism, suprematism, constructivism, surrealism, abstract expressionism, and geometric abstraction. Visual reality was obscured, rearranged, exchanged, or forsaken for emotional reality or materiality.
CALENDAR HIGHLIGHTS • SEPTEMBER – DECEMBER, 2018
NEW ORLEANS MUSEUM OF ART EXHIBITION CALENDAR
Pat Trivigno, Green Rite, 1966-1967, Oil on canvas, 72 x 54 in., The Muriel Bultman Francis Collection, © Courtesy of Eva L. Trivigno, 86.307
The St. Tammany Art Association is located at 320 North Columbia Street in downtown Covington. Curator Anne C. B. Roberts will deliver a gallery talk on Saturday, October 6, at 6 pm for a patron preview party. Saturday, October 13 marks Covington’s Fall for Art festival and the exhibition will be open from 6 to 9 p.m. Visit sttammanyartassociation.org for more information.
www.noma.org
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2018 BOARD OF TRUSTEES
ACCREDITATION
Michael J. Siegel, President
Thomas F. Reese
Janice Parmelee, First Vice-President
Jolie Shelton
Stephanie Feoli, Vice-President
Susu Stall
Michael Smith, Vice-President
Frank Stewart
Elizabeth Monaghan, Secretary
Catherine Burns Tremaine
Lynes R. (Poco) Sloss, Treasurer
Melanee Gaudin Usdin
Robert Hinckley, At-Large
Brent Wood
James J. (Jimmy) Reiss, Jr. At-Large
The Honorable Mayor LaToya Cantrell
Rob Steeg, At-Large Julie Livaudais George, Immediate Past President
Joe Giarrusso, New Orleans City Council Member Anne Redd, NVC Chairman
The New Orleans Museum of Art is accredited by the American Alliance of Museums.
New Orleans Museum of Art
Sydney J. Besthoff III Suzanne Thomas
NATIONAL TRUSTEES
EDITOR
David Johnson
Joseph Baillio
ART DIRECTOR
Mrs. Carmel (Babette) Cohen
Mary Degnan
Herschel L. Abbott, Jr.
Mrs. Mason (Kim) Granger
Jay Batt
STAFF PHOTOGRAPHERS
Jerry Heymann
Gayle M. Benson
Herbert Kaufman, M.D.
Roman Alohkin Sesthasak Boonchai
Elizabeth Boone
Mrs. James (Cherye) Pierce
EDITORIAL INTERN
MEMBERS
Caroline Calhoun
Mrs. Billie Milam Weisman
Deniz Sidi
Henry Coaxum Scott Cowen Leonard A. Davis Margo DuBos Tim L. Fields Penny Francis Tony Gelderman Dathel Coleman Georges Adrea D. Heebe Marshall Hevron Hunter G. Hill Joseph Jaeger, Jr. David Kelso Kenya LeNoir Messer Louis J. Lupin Robert E. Smith Lupo Cammie Mayer Juli Miller Hart Brenda Moffitt Howard Osofsky J. Stephen Perry
HONOR ARY LIFE MEMBERS Mrs. Edgar L. (Leah) Chase, Jr. Prescott N. Dunbar S. Stewart Farnet Sandra Draughn Freeman Kurt A. Gitter, M.D. Mrs. Erik (Barbara) Johnsen Richard W. Levy, M.D. Mr. J. Thomas Lewis Mrs. J. Frederick (Beverley) Muller Mrs. Robert (Jeri) Nims Mrs. Charles S. (Banana) Reily, Jr. R. Randolph Richmond, Jr. Harry C. Stahel Mrs. Harold H. (Matilda) Stream Mrs. James L. (Jean) Taylor Mrs. John N. (Joel) Weinstock
NOMA Magazine (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124 © 2018, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher. Every effort has been made to acknowledge correct copyright of images where applicable. Any errors or omissions are unintentional and should be notified to NOMA’s Publications Department, who will arrange for corrections to appear in any reprints or online editions.
COMING IN MARCH 2019 Keith Sonnier: Until Today, opening March 14, will be the first comprehensive museum survey for Keith Sonnier, a pioneering figure in conceptual, postminimal, video and performance art of the late 1960s. The exhibition includes over twenty key artworks and installations by the Louisiana-born artist created between 1969 and 2018, including rarely exhibited works in sound, satin, light, radio waves, and bamboo that demonstrate Sonnier’s interest in the way architecture, light, and form commingle to shape experience and human communication. Organized by the Parrish Art Museum, this exhibition will be accompanied by a catalogue with essays by curator Jeffrey Grove and NOMA’s Katie Pfohl. RIGHT Keith Sonnier, SHMOO—O.G.V., 2013, Neon tubing, acrylic, aluminum, electrical wire, and transformer, 131 x 92 1⁄2 x 4, Courtesy of the artist and Pace Gallery, New York
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New Orleans Museum of Art | NOMA Magazine
www.noma.org
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N O N - P RO FIT U.S . P OSTAG E PAI D N E W O RL E A N S P ERM IT # 10 8
P.O. Box 19123 New Orleans, LA 70179-0123 Follow us! Instagram @NOMA1910 Facebook NOMA1910
COZY UP IN THE MUSEUM SHOP KIDS’ CORNER
Families with small children visiting NOMA will find a special reading nook in the Museum Shop. Furnished with pint-sized couches, cushions, and toy animals, the space is the perfect place to bond over the joy of reading. The shop features ideal gifts for the youngest art lovers in your life.
noma.org/shop | 504.658.4116