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ARTSQUARTERLY VOLUME XXX ISSUE 2

NEW ORLEANS MUSEUM OF ART

APRIL/MAY/JUNE 2008

The Baroque World of Fernando Botero BY MIRANDA LASH Curator of Modern and Contemporary Art, NOMA

Fernando Botero (Colombian, born 1932) The First Lady, 1989 Oil on canvas, 80 x 65 inches Private Collection

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1001 South Broad Street, New Orleans, Louisiana 70125 Tel: 504.821.6326 E-mail: arcons99@yahoo.com

ARTS QUARTERLY

From the director A

crucial indicator of NOMA’s continued recovery is the increasing pace of new art acquisitions since 2006, both by gift and purchase. In this issue of the Arts Quarterly you will see a portfolio of a few of the 842 beautiful artworks acquired by the Museum in 2007. This is a wonderful expression of a strong and lasting commitment to the Museum’s importance and longevity. While we now have an $8 million endowment for art purchases, which yields $400,000 annually, the great growth in our art collection continues to be the result of generous donations from individual collectors. These gifts may be a single work or an entire collection. Certainly the growth of our collection in all areas is important for NOMA’s future because in the final analysis an art museum is judged on the breadth and quality of its art collection—a permanent cultural treasure for its community. In the first quarter of 2008, NOMA has already acquired some wonderful new treasures. These artworks are placed on view as soon as possible throughout the galleries, with a special “New Acquisition” label on each one. Now we have dedicated space in the first-floor McDermott Lobby for a continuing and changing display of new acquisitions. The first selection is a group of varied artworks from a collection of thirty-seven bequeathed to NOMA by Abby Ray Catledge, a longtime patron and friend, wife of the late Museum trustee Turner Catledge, former managing editor of the New York Times. The Catledge collection, purchased from prominent art dealers in New York City in the 1960s, reflects a refined taste and keen eye for quality. Nearly all the works are by twentiethcentury artists working in various figurative styles and the majority are drawings and watercolors. While a few “big names” are in the Catledge collection—Robert Henri, Fairfield Porter, Walt Kuhn and of course Picasso—most of the artists are not now well known to the museum-going public. This reflects several factors such as the resources of the collectors and their personal tastes but perhaps most important is the role fashion plays in an artist’s reputation and fame. When acquired by the Catledges most of these artists were well established and highly collectible. While the quality of their work remained the same, styles change, artists die, and younger artists emerge. But the wheel of fashion is always turning and an artist’s standing can rise again. So works in the Catledge collection by the Mexican Rafael Coronel, the American Walter Stuempfig, the Spaniard Juan Genoves and others look fresh again and are most worthy additions to NOMA’s holdings. So please, the next time you visit the Museum to see a special exhibition, take the time to tour the permanent collection galleries. Permanent does not mean static. Besides adding new acquisitions, the curators are always refreshing the displays with works from storage. With more than 40,000 artworks in our permanent collection, we are constantly rotating works on and off view. So come discover new treasures and see some old friends. E. John Bullard

ARTSQUARTERLY VOLUME XXX ISSUE 2

NEW ORLEANS MUSEUM OF ART

The Baroque World of Fernando Botero Miranda Lash

Gentle Callers: Paul Cadmus and George Dureau, From the Collection of Kenneth Holditch George Roland

New Orleans: A Sense of Place Judith Bonner

Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina

Aioli Dinner Inaugurates Rodrigue’s Louisiana Exhibition

Drag and Pop: Warhol’s Ladies and Gentlemen Alice Dickinson

Oak Tree Restoration at NOMA’s Sydney and Walda Besthoff Sculpture Garden Meg Adams

2007 Acquisition Highlights

Great Expectations Virginia Panno

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Articles appearing in any issue of Arts Quarterly do not necessarily reflect the opinion of the staff or the board of trustees of the New Orleans Museum of Art.

Editor/Art Director: Wanda O’Shello

SUPPORT ACKNOWLEDGEMENT

Advertising Manager: Karron Lane Assistants to the Editor: Aisha Champagne, M. Dreux Van Horn II Printing: Roberson Printing

The programs of the New Orleans Museum of Art are supported by a grant from the Louisiana State Arts Council through the Louisiana Division of the Arts and the National Endowment for the Arts.

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA 70179-0123. 504-658-4103. Advertising 504-610-1279 or 504-658-4103. © 2008, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Free admission for Louisiana residents is sponsored by The Helis Foundation and the members of the New Orleans Museum of Art. The Museum is open Wednesday, noon to 8 p.m., Thursday through Sunday, 10 a.m. to 5 p.m. The Besthoff Sculpture Garden is open Wednesday, 10 a.m. to 8 p.m., Thursday through Sunday, 10 a.m. to 5 p.m. For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

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ARTS QUARTERLY

The Baroque World of Fernando Botero BY MIRANDA LASH Curator of Modern and Contemporary Art, NOMA

Fernando Botero (Colombian, born 1932) Sunflowers, 1977 Oil on canvas, 71-1/2 x 63 inches Private Collection

his summer NOMA is proud to host the large-scale traveling exhibition The Baroque World of Fernando Botero. Organized by the nonprofit organization Art Services International, this exhibition is the first retrospective in the United States of Botero’s work since 1974. Recognized as one of the most well-known and commercially successful artists to emerge from Latin America, Botero now has his work exhibited and collected by art museums around the world, including the New Orleans Museum of Art. Born in 1923 in the small Andean town of Medellín, Colombia, Botero was the son of David Botero, a traveling salesman and mule-train driver. His father died when Botero was four years old, leaving his family dependent on their mother, a seamstress, for support. By saving his own money as a young teenager, Botero was able to execute his first set of watercolor paintings

around 1949. These early works depicted scenes typical of his hometown, featuring bullfights with matadors and picadors. A nonconformist at an early age, Botero studied in several schools in Colombia before moving to the capital, Bogotá in 1951. There he presented his first solo exhibition at the Leo Matiz gallery. During the subsequent years Botero traveled through Europe—first in Spain, then France and Italy, studying old Master paintings. Fusing his love of baroque sculpture and architecture from Colombia with his interest in the work of Diego Velasquez, Francisco Goya, Piero della Francesca, and Masaccio, Botero developed his own method of emulating the painters he admired. In 1956 Botero arrived in Mexico City, where he encountered the populist art of the muralists Diego Rivera, Jose Clemente Orozco, and David Siqueiros, as well as still lifes and retablos painted by Frida Kahlo. Witnessing the success of his Latin American counterparts in Mexico City, Botero there developed his trademark style of voluptuous forms. He began by painting Still Life with Mandolin, 1957, an exercise in manipulating the proportions and shape of a guitar. His desire to infuse his figures and objects with sumptuousness connects his work to the baroque. The artist explains: “The purpose of my style is to exalt the volumes, not only because that enlarges the area in which I can apply more color, but also because it conveys the sensuality, the exuberance, the profusion of the form I am searching for.”1 Success followed soon thereafter for Botero. In 1960 he moved to New York, where his studio was visited by a curator from the Museum of Modern Art. In 1961 MoMA acquired his painting Mona Lisa, Age 12 (included in this exhibition). While living in New York through 1965, Botero was represented by Marlborough Gallery, in addition to Galerie Claude Bernard in Paris. The popularity of his figurative paintings was extraordinary at this time, considering the proliferation of Abstract Expressionism as the dominant art style. By 1973, Botero’s enduring interest in volumes translated into creating three-dimensional forms. He began to make sculptures while living in Paris, and in 1976 made his first series of torsos and animal figures. Seven years later he set up a studio in Pietrasanta, Italy, located near Carrara, a marble quarry used since antiquity. There he began working with the Fonderia Artistica Mariani. The foundry’s system for casting bronzes while reducing their weight enabled Botero to develop large-scale bronze sculptures with highly polished surfaces. The nineteen sculptures on display in this exhibition comprise one example from each edition the artist cast or carved in marble or bronze. Through the eighties and nineties Botero continued to exhibit his work in the United States, Asia, Europe, and the Middle East. The artist remained connected to his native country, however, and through these decades painted numerous works that addressed the brutalities suffered during Colombia’s civil wars and illegal drug trafficking. In protest to the ongoing violence, in 2000 the artist generously donated 120 artworks, including Picassos, Mirós, and Chagalls, to form the core of two new museum collections in Medellín and Bogotá. A few years later, Botero would again speak out against acts of inhumanity, this time by painting a series dealing with the mistreatment of prisoners by U.S. soldiers in Abu Graib, Iraq. The one hundred paintings, drawings, and sculptures in this exhibition span the length of Botero’s career: from paintings executed in 1959 in his native Colombia, to

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sculptures executed as late as 2005. The works on view were selected by John Sillevis, curator of the Gemeentemuseum in The Hague, and editor and contributor to the accompanying exhibition catalogue. All of these works are generously on loan from the artist himself. This collection, assembled over the last fifty years, includes favorite works that Botero was heretofore unable to part with, as well as pieces reacquired years after they left his possession. Many of these objects are being exhibited in public for the first time. The exhibition is divided into eight sections, corresponding to epochs and themes in Botero’s life. First, early works from the 1950s, the period during which Botero first defined his unique style. Second, paintings that draw from colonial baroque pieces Botero observed in Latin America, including religious images of clergy, Jesus Christ, and the Virgin Mary. The third section contains works inspired by European masters, ranging from Titian to Vincent Van Gogh. Fourth, are Botero’s eerie still lifes of lush and decaying fruit and flowers. Fifth, are images of power and violence in Latin America: scenes of presidents, earthquakes, and executions. The sixth section is based on memories from Botero’s childhood in Colombia: street scenes, intimate interiors, and local figures. The seventh section focuses on Botero’s works on paper, including detailed chalk drawings and watercolors. Lastly, the exhibition closes with Botero’s elegant and imposing monumental bronze and marble sculptures. In describing the chief roots of his inspiration, Botero looks to both his personal heritage and his predisposition towards perceiving the world through the senses. “My painting has two main sources,” he says, “on the one hand, there are my views on aesthetics, and on the other hand, the Latin American world where I grew up. I also think that sensuality plays a great role and constitutes the principal means by which the artist transforms reality. I have tried to see the pictures of my childhood, the villages of Colombia, its people, its generals and bishops, etc. through the prism of my tenets about art…My pictures are never based on the direct contemplation of the landscape or the people. They originate from my experience of reality.”2 ■ The Baroque World of Fernando Botero is on view in the Ella West Freeman Galleries from June 28 through September 21, 2008. This exhibition is accompanied by an illustrated catalogue with essays by John Sillevis, guest curator, David Elliot, Director of the Mori Art Museum in Tokyo, and Edward Sullivan, Dean of Humanities and Professor of Latin American Art at New York University.

Fernando Botero (Colombian, born 1932) The Orchestra, 2001 Oil on canvas, 80 x 56-3/4 inches Private Collection

NOTES: 1. Originally quoted in Juan Carlos Botero, “Interview with my Father,” in Fernando Botero, (exh. cat), Stockholm, 2001, 35. 2. Originally quoted in Carlos Fuentes, (Intro.), Botero Women, New York, 2003, 57. All artist quotations are drawn from the publication The Baroque World of Fernando Botero.

Fernando Botero (Colombian, born 1932) Reclining Woman, 2000 Bronze, 10 x 23=1/4 x 11 inches Private Collection

ARTS QUARTERLY

Gentlemen Callers: Paul Cadmus and George Dureau From the Collection of Kenneth Holditch BY GEORGE ROLAND The Doris Zemurray Stone Curator of Prints and Drawings, NOMA

Figure 1 Paul Cadmus (American, 1904-1999) Coney Island, 1935 Etching, edition 24/35 II (second edition) Plate: 9 x 10 inches Collection of Kenneth Holditch Photo by Judy Cooper

“It’s almost time for our gentlemen callers to start arriving. How many do you suppose we’re going to entertain this afternoon?” Amanda Wingfield in The Glass Menagerie by Tennessee Williams

orld famous as an authority on Tennessee Williams and William Faulkner, Dr. Kenneth Holditch is less well known as a distinguished collector of art. Works on paper by Paul Cadmus (American, 1904-1999) and George Dureau (American, born 1930) are central to his collection, and NOMA is pleased to have the opportunity to bring these lyrical and sometimes provocative images to the attention of a wider public. The exhibition also will include works by Paul Cadmus from the Larry Anderson collection and the Joel Weinstock collection, all promised gifts to NOMA. A selection of nineteenth-century academic drawings from the permanent collection and other New Orleans collections will provide a historical context.

The fashionable taste for abstract art had little to interest Paul Cadmus, who preferred to explore life drawing and the creation of epic figure compositions, pursuits to which he devoted his long career (fig. 1). That rarest of creatures, a native New Yorker, Cadmus was born in 1904 and studied at the National Academy of Design and the Art Students League. In the 1930s he worked for the WPA, receiving commissions for paintings and murals. Never far from controversy, his frieze-like compositions of hoi-polloi in skin-tight clothes brought down upon him the wrath of the Navy, Brooklyn realtors, and the U.S. Post Office. Storms of media attention created a notoriety from which he profited greatly. The works, some of which were suppressed and thus provided early examples of government censorship, were thought to portray homoerotic longings—by those in a poor position to identify such longings. Upon this unlikely foundation Cadmus’s career as an artist was built. “I owe that admiral a very large sum,” he reflected. Though generally ignored by the art mafia, the prints, drawings and paintings in egg tempera by Cadmus caught the attention and support of discerning collectors. Working independent of the prevailing fashions, Cadmus created a body of work wholly his own in the great tradition of academic discipline based on the study of the male nude. Drawings from life, elaborate scenes of social satire, intimate glimpses of domestic life are his subjects. Kenneth Holditch comments that George Dureau’s art is “entwined with that mixture of contradictory elements that constitute the carnal atmosphere of his native city. Perhaps this accounts to some extent for the paradoxes…the joyful and painful, the beautiful and ugly, the spiritual and sensual and most significant of all the real in sharp juxtaposition to that which is vividly imagined. Dureau looks at life in its grandeur and grossness and his keen eye and sure hand do not wink or tremble at either extreme.” In his best work George Dureau shows a genius for complex figure groupings that inhabit whatever the obscure occasion (one thinks of Manet’s Dejeuner sur l’herbe), and a breathtaking command of the contour line. This is dramatically evident in Dureau’s grand manner charcoal drawings (fig. 2). Executed with the facility and confidence of a great master, reminiscent of, yes, Michaelangelo, they embody accuracy, delicacy and discipline in a most satisfying way. He carries into the twentieth century the important tradition of the academie, the study of the live male model that was the foundation of art education for the last three hundred years. Most of the rest of the world knows Dureau as a photographer and “godfather” to another famous New York photographer, but here in New Orleans his paintings and drawings have been warmly received and collected both privately and by institutions for many years. He has completed with distinction many private and public commissions, the NOMA gates being an significant example. Living and working in the French Quarter as always, he is truly a favorite son. The academic system of art education, established in the seventeenth century, was based on the study of the nude male model (fig. 3). The ideals of Greek and Roman art, known mostly through sculpture, were thought to embody the highest achievement of mankind’s artistic ambitions. Architecture, also based on classical survivals, was taught as well, leading to the study of proportion, perspective, composition and, eventually, landscape.

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At first the student was set to make accurate copies of images of nudes created by the masters, sometimes reproduced in prints for the purpose. Having mastered such basics, he was allowed to draw from plaster casts, most often made from classical statuary. Only when the student had achieved proficiency in rendering form was he permitted to work from the most fundamental academic subject, the live male nude. Once he was thoroughly adept at drawing the model in charcoal or crayon, the student artist was allowed at last to make color studies in oil thus learning to paint flesh. All these student figure studies are known as academies. The live model was central to those dominant uses of art: history painting, decoration and portraiture. Academies proliferated and in the nineteenth century became the normal route for a career as an artist, still thought to be a workman-like pursuit. The artist as celebrity is a Victorian invention, and with it came the concept of “self-expression”; the serious study of the nude model no longer dominates the education of artists today. Modern artists like Paul Cadmus, George Dureau and others make their subject the nude male model, and restore its place to the center of artistic attention; they are participating in an important tradition. ■

Gentlemen Callers will be on view in the Templeman Galleries on the Museum’s second floor from May 25 through October 12, 2008. A catalogue of the exhibition will be available from the NOMA Shop. The exhibition is made possible by a generous grant from The John Burton Harter Charitable Foundation.

Figure 3 Unidentified Artist Untitled (Academic nude), 1918 Oil on canvas 24-1/2 x 17-3/4 inches Private Collection, New Orleans Photo by Judy Cooper

Figure 2 George Dureau (American, born 1930) Untitled (Bob Bartholemy), circa 1972 Charcoal on ivory paper Sight: 17-1/4 x 23 inches Collection of Kenneth Holditch Photo by Judy Cooper

ARTS QUARTERLY

New Orleans: A Sense of Place BY JUDITH H. BONNER Senior Curator, The Historic New Orleans Collection

ew Orleanians are self-conscious”—this frequently made observation often carries a negative undertone. But in a city that is steeped in such a multifaceted history, to ignore one’s cultural traditions would be willful blindness. In the case of New Orleans, even in the best of times, it is next to impossible. And in this postcatastrophic time, New Orleanians’ appreciation for their city’s history is intensified. A subconscious voice within local residents hearkens to the ancient aphorism, “Know Thyself.” Accordingly, the New Orleans Museum of Art and The Historic New Orleans Collection are presenting their third joint exhibition, titled New Orleans: A Sense of Place. Like the previous two shows, the focal point of the exhibition is local and offers vignettes of life in New Orleans. Over thirty artists are represented by more than forty oil paintings; these are augmented by decorative arts and books. The exhibition covers 150 years of the city’s history, from 1850 to the present.

Artists include Hippolyte Sebron, Paul Poincy, William Woodward, Ellsworth Woodward, George Frederick Castleden, Alexander J. Drysdale, Robert Wadsworth Grafton, Gideon Townsend Stanton, Clarence Millet, Leonard Flettrich, Marion Souchon, Noel Rockmore, Rolland Golden, Shirley Rabé Masinter, Jacques Soulas, Simon Gunning, Davis Cone, and other painters. A number of books on display, both fiction and nonfiction, underscore the city’s rich literary history. The books cover the period from 1880 through 1980, and include fiction by George Washington Cable, Kate Chopin, Frances Parkinson Keyes, Walker Percy, Shirley Ann Grau, Anne Rice, and John Kennedy Toole. Others include Lyle Saxon, Grace King, Hodding Carter, and photographers Clarence John Laughlin and Stuart M. Lynn. Author Lyle Saxon once wrote in a letter, “I—as a man—am also a lover. I shall try to tell you of the

Figure 1 Holger W. Jensen (Danish, 1880-1943) The Night Prowler, New Orleans, 1930s Oil on canvas The Historic New Orleans Collection. 1999.91.4

NEW ORLEANS MUSEUM OF ART

woman to whom I offer my love…this woman, New Orleans.” Saxon, who lived in the French Quarter during a time of physical decline, restored two buildings and was a leader in the city’s preservationist movement. He embarked upon a campaign to write romantic newspaper features to entice artists and writers to the Quarter to establish an art colony. Others had entertained the same idea, including artists Will Henry Stevens and Ellsworth Woodward. Midwestern painter Robert Grafton was the first of this group to offer art classes in the Vieux Carré. Through this united effort, some writers observed by the early 1940s that they were so successful in their venture to draw attention to the French Quarter that locals were in danger of losing it to tourists. Hippolyte Sebron’s small 1850 oil sketch, Bateaux a Vapeur Geants, sets the stage with a levee scene, a sight that is integral with the settlement of the colony and the subsequent development of the city. The shadow of the Mississippi River and the giant steamboats that plied the river continue into this day with the steamboats Natchez and Delta Queen that enchant locals and visitors alike. An 1886 painting by Paul E. Poincy, illustrates the social custom of making afternoon calls upon friends, neighbors, and business associates. This custom shows up prominently in Kate Chopin’s novel, The Awakening. Poincy depicts a young woman, shown full-length and dressed in brown, standing before a mirror. Her upperbody is reflected in a mirror as she adjusts her attire at the neckline of her period clothing—a full-length dress with bustle. Her black parasol, leaning against the marble-topped vanity upon which are placed her gloves and bag, emphasizes the propriety of her dress for an afternoon visit. The setting with its porcelain figurines, decanters, gas lamp, red draperies, ornate tie-back, and floral carpeting all point to a comfortable social status, and yet the expression on the woman’s face appears apprehensive. Two views of the Newcomb College campus at Washington and Camp before its 1917 move to the Broadway campus underscore the continuing contribution to women’s education: Edith Sansum’s Old Newcomb Chapel and Ellsworth Woodward’s Lotus Fountain. Although several artists depicted the old Newcomb Chapel, Woodward’s view is the only known painting of the lotus fountain. In 1927 George Frederick Castleden depicted the Old Slave Block at the St. Louis Hotel, a decade after the hotel was demolished. The painting shows massive columns resting on raised bases and doorways having transoms with numerous small window panes. The slave block, set off by a balustrade, is empty and deserted; only the merchant’s name and address, “M. Barnett, 40 St. Louis Street,” is still partially visible above the archway. The subtle influence of the Civil War is represented through a depiction of Lee Circle and two volumes on exhibit. Writer Frances Parkinson Keyes resided in the former home of Confederate General Pierre G. T. Beauregard. Stuart M. Lynn’s 1949 pictorial book, New Orleans, shows the Forsythe House at 1134 First Street where Confederate President Jefferson Davis died in 1889 at the Garden District residence of his friend Charles E. Fenner, who was an associate justice of the Louisiana Supreme Court. The Civil War was not represented physically in New Orleans until the 1884 unveiling of the monument of General Robert E. Lee, which was erected at what was formerly known as Tivoli Circle. Later Jeff Davis Boulevard was laid out, and the statues of Jefferson Davis and the poet-priest Abram Ryan were erected.

ARTS QUARTERLY

Figure 2 Davis Cone (American, born 1950) Orleans Theater, 1979 Acrylic on canvas Collection of the New Orleans Museum of Art Gift of American Express Company. 79.281

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Artists have long found inspiration in French Quarter architecture, its verdant courtyards, spreading fan windows, lacework balconies, vast arches, louvered shutters, staircases, and slate roofs. Accordingly, a number of the paintings provide glimpses of these expected architectural details. Among the scenarios of street life is Robert Rucker’s view of Children on a Stoop and Joseph Konopka’s understated view of a Vieux Carré building decorated for Mardi Gras.

Also included are images of restaurants, markets, parks, theaters, hotels, cemeteries, gardens, churches, and several views of world-famous Canal Street, including two rainy night scenes by Gideon Townsend Stanton and Homer E. Turner. Jacques Soulas’ view of the busy broad street depicts a red trolley coming down the neutral ground. Davis Cone’s view of Orleans Theater on Rampart Street is familiar to Orleanians of the late twentieth century, but the artist’s title “Orleans” recalls the original location of the Orleans Theater at 721 Orleans Street, just off Royal (fig. 2). It also suggests the long tradition of theater in the city, dating back to the late eighteenth century. Other works show people at work or at leisure, dining, playing checkers, or fishing. In August 1927 Alexander Drysdale, who is best known for his misty bayou scenes with sentinel moss-draped oak trees, portrayed his son Walden sitting on a verandah. The barefoot boy, clad in summer whites, sits beside a puppy, a fitting reference to life during the dog days of summer. As markets grew from mere produce sheds to picturesque colonnaded structures, William Woodward, Robert Wadsworth Grafton, and Hans Mangelsdorf captured the quaintness of these historic centers of local life. Woodward’s focuses on a colonnaded market. Grafton’s colorful market scene shows a woman wearing a red shawl, her body turned from the viewer as she shops for produce (fig. 3). Mangelsdorf’s 1930s mural-like composition, Louisiana Fishing Industry, focuses on the fatigued workers who provide fish for consumers. Conversely, in his empathetic portrayal of Yvonne’s Father, Noel Rockmore portrays an elderly gentleman holding his fishing pole, poised in a quiet moment of reverie in this Sportsman’s Paradise. Rolland Golden’s 1960 portrayal of muscular AfricanAmerican Dockworkers handling cargo reveals the influence of his art training with John McCrady, as well as that of Thomas Hart Benton’s undulating regionalist paintings. In contrast, Turner depicts a group of men playing a game of checkers in a moment of quiet contemplation. Shirley Rabé Masinter’s work focuses on inner-

Figure 3 Robert Wadsworth Grafton (American, 1876-1936) The End Stall, French Market, 1916 Oil on canvas Collection of the New Orleans Museum of Art Museum purchase with funds donated by The Art Association of New Orleans. 16.163

NEW ORLEANS MUSEUM OF ART

city blight, as a solitary young African-American man looks outward as he strolls past a corner grocery marred with graffiti. The Gospel Singers, a 1972 canvas by Rockmore, is an oblique view of four people on the sidewalk outside Preservation Hall on St. Peter Street. The foremost woman holds her songbook high, thus blocking the face of a woman in white behind her; two musicians stand behind the women, one with a banjo and the other with a tambourine. The partially hidden woman in white is undoubtedly Sister Gertrude Morgan, a well-known street preacher at the time. The foremost woman is probably either Margaret Parker or Cora Williams, one of two women with whom Sister Gertrude sang after joining up with them in 1939. The city’s preservationist movement started in the Vieux Carré, and a number of canvases by Clarence Millet and Robert Rucker focus on the architecture and street life in the Quarter. Millet, originally from southwest Louisiana, was inspired by the romantic charms of the Vieux Carré, its architecture, its market scenes, and the many shops frequented by French Quarter residents. In Antique Shop, New Orleans (fig. 4), Millet interposes

himself into the scene, drawing in a sketchbook while passers-by meander through merchandise deposited on a Royal Street sidewalk. The French Market, which was renovated in the 1970s as part of the Bicentennial celebration, has once again become a vital part of daily life for residents and visitors. Appropriately, Simon Gunning’s oversized view from the roof of JAX Brewery shows Washington Artillery Park and the Moonwalk along the Mississippi River, with Jackson Square and St. Louis Cathedral completing the picture. The exhibition reflects the interconnected facets of life in this culturally rich city. The undeniable uniting thread is a continued focus on the artistic environment of the Vieux Carré from its inception and expansion into the surrounding areas. Through looking inward at our founding roots, the path leads from self-knowledge toward resurgence. ■

New Orleans: A Sense of Place is on view at the New Orleans Museum of Art May 10 through August 31, 2008.

Figure 4 Clarence Millet (American, 1897-1959) Antique Shop, New Orleans, 1927 Oil on canvas The Historic New Orleans Collection. 1962.2

ARTS QUARTERLY

Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina

odrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina continues at NOMA. The Museum is planning a special twenty-four closing event from midnight Saturday, June 7, to midnight Sunday, June 8, including Cajun Dance Lessons, a Blue Dog Fais Do-Do and an appearance by the artist. This forty-year retrospective of Louisiana’s most famous contemporary artist is the largest yet organized and features nearly two hundred paintings, sculptures and prints, which survey the full range of Rodrigue’s career achievement. The exhibition is presented in six thematic sections: Landscapes and Oak Trees; Cajuns; Portraits; The Blue Dog; Hurricanes; Bodies.

LANDSCAPES AND OAK TREES After returning to Louisiana from art school in California in 1967, Rodrigue began painting the landscape of Louisiana. In dark and brooding compositions the moss-draped live oak became the central motif. These simple depictions of tree, sky and ground were imaginative reinventions of the late nineteenth-century tradition of Louisiana landscapes established by Richard Clague and William Buck. CAJUNS Beginning in 1971 Rodrigue initiated his original series of paintings of scenes of Cajun life, inspired by family stories and photographs from the early twentieth century. These multifigure compositions visualize the unique Cajun culture, which evolved over two hundred years in the isolated bayous and marshes of southwest Louisiana. The subjects of his Cajun paintings are quite varied, from family portraits to school groups, gourmet clubs, barber shops, musicians, dancers, faith healers, quilting parties, cake contests—all placed outside and silhouetted against the ever-present live oak tree. A unique feature of the New Orleans exhibition is a fifteenpanel historical cycle, The Saga of the Acadians. PORTRAITS Starting in 1981, Rodrigue was commissioned to paint a series of portraits of famous Louisianans: first literary (like Walker Percy and Shirley Ann Grau), then political (Huey and Earl Long), culinary (Chef Paul Prudhomme) and musical (Louis Armstrong and Pete Fountain). These portraits lead later to others depicting current political personalities, from Louisiana governors to American presidents (including Reagan, Bush and Clinton).

Photo: George Rodrigue (American, born 1944) Watchdog, 1984 Oil on canvas, 40 x 30 inches Private Collection

THE BLUE DOG In 1984 Rodrigue painted his first Blue Dog, one of a number of paintings commissioned to illustrate a book of forty Cajun folk stories by Chris Segura. For the story about the loup-garou, the Cajun werewolf, Rodrigue was inspired by the black and white Tiffany, the artist’s late studio dog. This first image depicted a small, scrappy dog with big ears, staring eyes and a shaggy coat of silver blue placed outside in Rodrigue’s classic landscape setting. The dog’s distinctive color was suggested by the bluish light of an overcast moon, as described in the Segura story. While over the years the setting evolved and changed, the image of the Blue Dog has remained the same. His image invokes feelings of humor, love, confusion, irony, sadness, even desire. Now an international icon, the Blue Dog has become an Everyman or Everydog, who in his naivete and innocence triumphs over adversity.

HURRICANES In a surprising departure from his realist work, in 2002 Rodrigue began a series of more than sixty round paintings in various sizes inspired by the awesome power of hurricanes, which have so shaped life on the Gulf Coast. Inspired by witnessing the power of Hurricane Lili as it passed over Lafayette that year, these intensely colored, vigorously brushed canvases are totally abstract, except for a few in which can be seen fragments of branches and tree trunks and even parts of the Blue Dog swirling in the maelstrom. Prophetic of the later destruction of Katrina and Rita, these powerful compositions demonstrate Rodrigue’s complete mastery of the vocabulary of abstraction. BODIES In 2004 Rodrigue began Bodies, his latest series of paintings and prints. These works reflect a conscious return to the bayou and the classical nude, as well as an exploration of a new printmaking technique. In remastered digital prints, he combines his original painting with the innovations in design and color available through computer technology. The Bodies, while new in terms of technical process, include excerpts from his established language of symbols—the oak tree, the cemetery, the ghostly figure and the Blue Dog. These new works demonstrate that Rodrigue never completely abandons a subject but approaches his art with fresh eyes, treating the world to his ever-changing vision. ■

Rodrigue’s Louisiana is made possible by generous funding from the following sponsors: Acadian Ambulance Service, Chevron, Lakeside Shopping Center and The Feil Organization, and Anonymous Donors. Additional support was received from The Helis Foundation, the Louis Armstrong New Orleans International Airport and WWL-TV. The exhibition is on view through June 8, 2008.

NEW ORLEANS MUSEUM OF ART

Aioli Dinner Inaugurates Rodrigue’s Louisiana Exhibition

o inaugurate the exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina, NOMA presented a special “Aioli Dinner” on Saturday, March 1. The special dinner was created by Chef Paul Prudhomme and K-Paul’s Louisiana Kitchen/K-Paul’s Catering Expedition. The evening included Cajun dancing and music by Hadley Castille. The Aioli Dinner was sponsored by Robert and Jolie Shelton, International Well Testers, Inc., Paul Prudhomme, and Thibodeaux’s Flowers/Paul Norman, Event Rental, Stanford’s Just Ask Rental, and Paper Doll Promotions. Chairs for the Aioli Dinner were Louis and Sandra Wilson. The Aioli Dinner, painted by George Rodrigue in 1971, is one of his most famous paintings of Cajun life. The painting depicts a gourmet dinner club that met once a month from 1890 to 1920 on the lawns of different plantation homes in and around New Iberia, Louisiana, in this case the former Darby House. The women standing in the back row did the cooking, the young men and boys standing around the table served, and the men seated eat the dinner. George Rodrigue’s grandfather and uncle are both depicted at the table, and the rest are portraits of other club members. ■

NOMA Director E. John Bullard, Wendy and George Rodrigue Photo by Judy Cooper

Robert and Jolie Shelton, Louis and Sandra Wilson Photo by Judy Cooper

ARTS QUARTERLY

George Rodrigue (American, born 1944) Aioli Dinner, 1971 Oil on canvas, 32 x 46 inches Collection of Jacques Rodrigue and André Rodrigue

Chef Paul Prudhomme (with hat) and Aioli Dinner actors Photo by Judy Cooper

Walda Besthoff and NOMA President Sydney Besthoff Photo by Judy Cooper

Drag and Pop: Warhol’s Ladies and Gentlemen BY ALICE WEBB DICKINSON Associate Collections Manager, NOMA

ndy Warhol’s fascination with the performativity of gender is showcased in his Ladies and Gentlemen portfolio of 1975. The New Orleans Museum of Art is fortunate to hold eight prints from this series. Initially, Warhol used iconic stock images as the source of his portraits, as in his Marilyn and Mao series. Warhol began to use his own photos in 1975, as is the case with Ladies and Gentlemen. This portfolio also exemplifies a new printing technique; Warhol made the silkscreen matrices from a collaged background of colored graphic paper with the photographic images screened on top. Ladies and Gentlemen is a series of drag queen portraits. Warhol had long been intrigued by this sort of transformation and first addressed it in 1950 when he did a series of drawings based on his friend Otto Fenn in drag. Transvestites Candy Darling, Holly Woodlawn and Jackie Curtis were regulars in Warhol’s Factory in the sixties and also had roles in a few of Warhol’s films from that time. Warhol photographed local drag queens in 1975, and these images resulted in this portfolio as well as other prints and paintings. Warhol paid tribute to

Andy Warhol (American, 1928-1987) Wig from the portfolio Ladies and Gentlemen, 1975 Color screenprint on Arches paper, 43-1/2 x 28-1/2 inches Collection of the New Orleans Museum of Art Gift of Tina Freeman. 81.336.1 Photo by Judy Cooper

various accoutrements of drag throughout his career as in Diamond Dust Shoes of 1980. His fascination came to a head in 1981, when he himself dressed in various stages of drag for his Self-Portraits and in Christopher Makos’s Altered Images, both of 1981. Perhaps what interested Warhol about drag is its blatant manipulation of appearances. “I am fascinated by boys who spend their lives trying to be complete girls, because they have to work so hard—double-time— getting rid of all the tell-tale male signs and drawing in all the female signs.”1 Warhol worked quite hard on his own image as well. Self-conscious since childhood, he used makeup, wigs, clothes and even plastic surgery to conceal, mask and improve his looks. All of this “work” was part of manufacturing and manipulating an image, something at which Warhol certainly excelled. Warhol loved the glamour and the beauty of Hollywood, but he was more interested in the fabricated good looks than the innate ones. An integral element of Warhol’s movie star portraits is the veneer of the stars. The hair color, eye shadow and lipstick take center stage, all purchasable attributes. Warhol used the equation of Hollywood glamour in his commissioned portraits. Anyone who could afford it could be immortalized based on the artist’s understanding of the commercialization of an image. False beauty was far more interesting than natural beauty in Warhol’s eyes. Ladies and Gentlemen was not commissioned, however, nor are the portraits of famous celebrities. For this series, one of Warhol’s assistants invited AfricanAmerican and Latino drag queens and transvestites from the nearby Gilded Grape club to come to his studio to be photographed. After Warhol photographed them with his Polaroid camera, they were paid for their time. It is unknown whether or not these sitters knew of Andy Warhol and his art. One account states that the visitors enjoyed doing their favorite poses and being glamorous for the camera. It was usually Warhol who injected Hollywood into his sitters, but in the case the drag queens, knew the equation of glamour just as well as Warhol did. He did not need to draw attention to the performativity of their image because it was already clear. In this way the Ladies and Gentlemen sitters can be seen as some of Warhol’s most true-to-life portraits. Their images are taken from photographs of their own poses and personalities, not manipulated pictures from magazines. These drag queens exhibit what Warhol called, “an imitation woman of what was only a fantasy woman in the first place.”2 In addition to exemplifying constructed glamour, drag makes a statement about gender. This can be read as either a reinforcement of existing gender norms or a subversion of them. It can be an attempt to assimilate to or destabilize accepted gender roles. Drag blurs the line between reality and artifice just as Warhol did with his soup cans, his movie stars and his own image. The double entendre title hints at the sitters’ ability to move between anatomical gender and performative gender. The Ladies and Gentlemen portfolio accurately documents Warhol’s second phase of printmaking and his life-long interest in the manipulation of images and the ability to do so through drag. Ladies and Gentlemen will be on view in mid-June. ■ NOTES: 1. Andy Warhol. The Philosophy of Andy Warhol: From A to B and Back Again. (San Diego: Harcourt, 1975), 54. 2. Ibid., 54.

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Recent Publications in the NOMA Shop

Katrinaâ&#x20AC;&#x201D;Days of Terror, Months of Anguish: Paintings by Rolland Golden Hardcover, 96 Pages ISBN 978-0-89494-104-7 $32.95

Living Color Photographs by Judy Cooper Softcover, 56 Pages ISBN 978-0-89494-105-4 $21.95

Blue Winds Dancing The Whitecloud Collection of Native American Art Hardcover, 144 Pages ISBN 0-89494-099-6 $34.95

Stop by the Museum Shop or Shop Online at www.noma.org

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Oak Tree Restoration at NOMA’s Sydney and Walda Besthoff Sculpture Garden BY MEG ADAMS, P.E. Project Manager, Sydney and Walda Besthoff Sculpture Garden

hen Hurricane Katrina passed through New Orleans in August 2005, the Sydney and Walda Besthoff Sculpture Garden at the New Orleans Museum of Art was inundated with toxic flood waters from Lake Pontchartrain. The Oak Grove stayed under several feet of water for more than two weeks following the storm. The nineteen historic live oak trees in the Garden were severely impacted by the brackish waters, due to the lack of oxygen to the roots and to soil compaction. Drought conditions for four months following the storm further damaged the root systems of the trees, as the automatic irrigation system in the Garden had been rendered inoperable by the flood waters. When it became apparent that the live oaks had suffered severe damage during the flood and subsequent drought and that their health was in jeopardy, Jimmy Jeffrey, the Sculpture Garden manager, proposed that

TOP: An Air Spade device is used to remove and aerate the compromised structural soil layer. BOTTOM: Subsurface drainage is installed to alleviate further water damage to the root systems. Photos by Judy Cooper

NOMA retain the services of Dr. Todd Watson, Ph.D., BCMA, International Society of Arboriculture Board Certified Master Arborist, to visit the site, evaluate the trees’ condition and to recommend treatment. After Dr. Watson’s initial inspections were completed and his report received and reviewed, NOMA realized the need for immediate, emergency action in order to save the live oaks in the Garden. Because neither FEMA nor insurance provide funds for repair and replacement of plant materials, there was no funding available for the restoration of the oaks or any of the other plantings that were destroyed by the storm. In 2007, NOMA received a grant from the Getty Foundation to preserve, restore, and replace the live oaks and other landscape elements in the Sydney and Walda Besthoff Sculpture Garden. The grant was awarded through the Getty’s Fund for New Orleans, established in the wake of Hurricane Katrina’s devastation to help revitalize the city’s cultural institutions. To date, the Getty has awarded fourteen Fund for New Orleans grants totaling nearly $2 million to the city’s landmark museums and community arts organizations. The grants provide conservation funds for collections, historic structures, and landscapes, as well support for transition planning to help arts organizations rebuild their operations in a changed, post-Katrina environment. The Fund for New Orleans is a special initiative of the Getty Foundation, which supports institutions and individuals committed to advancing the understanding and preservation of the visual arts in Los Angeles and throughout the world. NOMA retained the services of local Landscape Architect Carlos Cashio to further define the scope of work to be done to each of the nineteen live oaks and to develop a tree-specific bid package for the remediation work, based on Dr. Watson’s technical recommendations. Cashio’s firm, Cashio, Cochran LLC, has provided designs for many of the landscape projects for historic City Park and Audubon Park and Zoological Gardens in New Orleans, as well as parks and zoos outside the New Orleans area. The bid package was based on the results of an extensive tree-by-tree site investigation conducted by the Sculpture Garden manager. The generalized procedure for treating the live oak trees, as recommended by Dr. Watson, entailed removal of sod and other plant material from the root zones of the trees; removal or aeration of the compromised structural soil layer to the live roots or native soil base using an Air Spade device to break up the soil to prevent root damage; aeration of the underlying native soil with an Air Spade to provide more oxygen to the root zone and alleviate the compaction caused by the standing water; treatment with fertilizer, growth chemicals, insecticides, etc., and placement of mulch top dressing in the areas where the sod was removed. Due to the condition of the trees and to prevent further compaction of the root zone, machinery was prohibited within the drop line of the trees. In areas where the soil removal affected the topography and thus the drainage pattern in the area under the tree canopy, subsurface drainage was installed to alleviate further water damage to the root systems. The contract was awarded to Tree Medics, a local arborist with extensive experience in tree pruning, removal, planting and chemical treatments at the Sculpture Garden. Tree Medics served as the general contractor’s arboreal subcontractor during the initial construction of the Garden in 2003, and thus were familiar with the topography of the site, makeup of the introduced soils, and the trees themselves.

NEW ORLEANS MUSEUM OF ART

Construction began October 1, 2007, to allow for cooler weather, which is advantageous to tree health. A plywood enclosure was erected around each sculpture in the vicinity of the work area to protect it from debris ejected by the air spading operation. Due to the nature of the project, with the potential for damage to very valuable and irreplaceable artwork, as well as the need to closely monitor the work around the trees to prevent further damage, NOMA provided personnel of their own on site for the duration of the project. Meg Adams, P.E., was retained to provide daily oversight, along with Jimmy Jeffrey, the Garden manager. Adams was the project manager for the original Sculpture Garden construction project. The Oak Grove was closed for the duration of the project. Each tree was excavated individually in order to ensure the protection of any live roots in the aeration

zone. At several trees, because of the topography resulting from the soil removal, additional drainage had to be installed. The work was completed, and the Oak Grove reopened the first week in December. The appearance of the live oaks has improved significantly due to the removal of dead wood, and the site is obviously holding less water due to the installation of the subsurface drainage, which will improve the condition of the roots. The major impact of the remediation efforts will not be apparent until at least next spring when the new growth emerges, and it will take longer for the full vitality of the trees to be restored. These efforts, made possible by the generous grant from the Getty Foundation, have certainly improved the chances of recovery of the irreplaceable historic live oaks, which make the Sydney and Walda Besthoff Sculpture Garden so unique among outdoor museums. â&#x2013;

Oak tree number 12 after treatment Photo by Judy Cooper

ARTS QUARTERLY

2007 Acquisition Highlights PHOTOS BY JUDY COOPER

Akan Peoples, Asante Kingdom, Ghana Royal Sword Ornament in Shape of Crocodile Eating a Mud Fish Late 19th–early 20th century Gold, 3 x 6 x 13 inches Collection of the New Orleans Museum of Art Gift of Mrs. Françoise Billion Richardson in honor of E. John Bullard’s 35th Anniversary as Director. 2007.96

Caroline Durieux (American, 1896-1989) Teatro, circa 1940 Graphite on mylar 15 x 12-3/4 inches Collection of the New Orleans Museum of Art Museum Purchase: Dr. Carl Adatto Memorial Fund. 2007.98

Ijo Peoples, Nigeria Shark Masquerade Headdress, mid-20th century Wood, pigment, mirrors, rope, 84 x 29 x 39 inches Collection of the New Orleans Museum of Art Gift of Mr. and Mrs. Jay Matthew DeVoss. 2007.154

NEW ORLEANS MUSEUM OF ART

(continued on next page)

Isaac Mytens (Dutch, born after 1602窶電ied after 1666) Family Group Portrait, 1641 Oil on canvas, 35 x 46-1/2 inches Collection of the New Orleans Museum of Art Gift of Mr. and Mrs. William H. Beck, Jr. in honor of their daughters, Mary Elizabeth Bykonen, Nancy Anne Beck and Katherine Preston. 2007.21

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Richard Prince (American, born 1949) Untitled (Three Men Looking in the Same Direction), 1978 Color “C” prints, 20 x 28 inches each Collection of the New Orleans Museum of Art Gift of Anne Kennedy and Peter Nadin. 2007.106.1-.3

Designed by René Lalique (French, 1860-1945) Vase: Camargue, 1942 Colorless lead glass: pressed, cut, satiné, oxidized in umber and polished, 11 x 7-1/2 inches Collection of the New Orleans Museum of Art Gift of Dr. Siddharth K. Bhansali. 2007.149

South India, Kerala Period Shiva, 16th century Bronze, 13 inches high Collection of the New Orleans Museum of Art Gift of Robert Kipniss. 2007.151

(continued from previous page)

NEW ORLEANS MUSEUM OF ART

William Copley (American, 1919-1996) Female Nude with Two Men, 1965 Oil on linen, 51 x 38 inches Collection of the New Orleans Museum of Art Gift of Linda and Richard S. Friedman in memory of Sunny and Roussel Norman. 2007.48

Paul Gauguin (French, 1848-1903) Self-Portrait, The Savage (Oviiri), circa 1894 Bronze, 14-1/4 x 13-3/8 inches Collection of the New Orleans Museum of Art Gift of James B. Byrnes in loving memory of his wife Barbara Cecil Byrnes. 2007.103

Unidentified Japanese Artist Tale of Genji: The Four Seasons Late 17th centuryâ&#x20AC;&#x201C;early 18th century Pair of six-fold screens: color and gold leaf paper, approximately 65 x 140 inches each Collection of the New Orleans Museum of Art Gift of Mrs. Samuel D. Lombardo. 2007.153.1-.2

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Great Expectations VIRGINIA PANNO NVC Correspondent

2008 NVC Chair Brenda Vorhoff

ince its inception in 1965, the NOMA Volunteer Committee has included in its ranks a wide variety of talented women, contributing not only their time and enthusiasm, but their own unique knowledge and skill sets for the betterment of the Museum. The 2008 NVC is no exception. This year’s NVC chair, Brenda Vorhoff, is a native New Orleanian with roots in the lakefront. Her background includes a masters in Urban and Regional Planning from the University of New Orleans. She was the director of the office of economic development during the Dutch Morial administration, where emphasis was placed on regional industrial attraction and commercial development. Brenda’s return to the private sector was a windfall for area nonprofits. A board member of the Parkway Partners and Symphony volunteer committee, she has chaired the latter’s Opus Ball, the Guild of Children’s Hospital and the Lake Vista Garden and Woman’s Clubs. Cancer Crusaders, Heart Ambassadors, and the Lakeview Shepherd Center have all benefited from Brenda’s participation. World traveler, devoted daughter and wife, Brenda has earned the respect and admiration of all who know her.

Brenda’s ideas for the NVC are visionary. “We view ourselves as the region’s premier arts institution, and as such it is our responsibility to reach out not only to the immediate metropolitan area, but to market NOMA as the leading artistic focus for the entire Gulf South. We are stewards of treasure that have no geographic bounds.” To this end, Brenda spearheaded a retreat for the incoming NVC steering committee. Held January 9, at the home of Judy David, this innovative event was attended by nearly thirty-nine newcomers and seasoned members alike. Carol Hall, NVC vice-chair of activities, was one of the retreat facilitators. “It was a wonderful opportunity to get to know the members of the steering committee, outside of NOMA. We interacted for five hours without distractions.” Carol, a New Orleans native, was first drawn to NOMA by her love of flowers. In 1994, this retired medical technician attended a demonstration at NOMA on creating the beautiful floral arrangements that greet visitors. Carol’s devoted service to the NVC has included co-chairing the flower fund, the Home and Art Tour and Studio Salons. Another retreat participant, Ellen Miclette, hails from Madison, Wisconsin. With a background in English education and electrical engineering, Ellen brings a Fortune 200 work perspective to her volunteerism. Currently, NVC treasurer, she has been recording secretary, courtyard flowers chair and was the mastermind of the PowerPoint artist presentation that delighted LOVE in the Garden attendees. Ellen was “excited to see the retreat happen. It was a brainstorming session, with no rules. EVERYTHING was a good idea.” Ellen advocates getting involved as a way to create roots in a new community. “Newcomers are welcomed in the NVC. People in the organization are inspirational and fun to work with.” As a Lake Vista resident, Kimberly Zibilich was drawn to the NVC for its proximity. “City Park and NOMA are my neighbors.” This busy realtor and paralegal is co-chairing LOVE in the Garden 2008, to be held September 26. Her take on the retreat: “I got to see the overall picture of the NVC, what it does and what it wants to accomplish.” A newcomer to the NVC, Anne Gauthier has jumped right in as art trips chair. “The retreat was so well planned and orchestrated. Everyone was energized and the ideas flowed.” The co-owner of Aux Belles Choses gift shop, this localite, via Lafayette, still finds time to volunteer. “NOMA and City Park are so important in the recovery of New Orleans.” The impact of NVC 2008 board retreat will be felt for years to come. The ideas and enthusiasm it generated, its three-year plan, are all works in progress. A move to make the organization more regional in nature has already begun. The Northshore and Baton Rouge are now represented. NVC art ambassadors have expanded their scope to real estate offices, as well as hotels and art galleries, in an attempt to educate tourists and new residents in the attractions NOMA provides. Partnerships with other museums and organizations are being examined. New events and trips are on the horizon. An increased membership is a priority. It’s a great time to join this dynamic group. Chairman Brenda Vorhoff surely has provided a groundbreaking year for her members. Another NVC first will occur in 2008; our chair is getting married. Brenda will wed NOMA board of trustee member Michael Moffitt in early spring. Best wishes to the happy couple. ■

NEW ORLEANS MUSEUM OF ART

Join the Circles and Upgrade Your Support of NOMA

he Board of Trustees of the New Orleans Museum of Art cordially invites you to upgrade your support and become a member of the Patron’s Circle, Director’s Circle or President’s Circle. These categories, our most prestigious levels of annual giving, are comprised of individuals who contribute $5,000, $10,000 or $20,000 each year in unrestricted funds. NOMA is pleased to extend unique privileges including Fellows and Collector’s Society memberships to those who demonstrate their commitment at these levels. We are most grateful for your generous and continuing support.

President’s Circle

$20,000

Director’s Circle

$10,000

• Invitations to attend behind-the-scenes events with Museum curators • Advance announcements for special travel programs • Annual listing on Donor Wall as a member of the Circle group • Special recognition in Arts Quarterly • Two complimentary publications selected by the Museum • An opportunity to use an elegant private gallery with the rental fee waived • Complimentary use of Woldenberg Board Room during Museum hours

_________________________________________ Patron’s Circle

$5,000

GENERAL MEMBERSHIP PRIVELEGES, PLUS: • Free admission to the Museum and Sculpture Garden plus free admission for additional guests when accompanied by the donor

These circles recognize cumulative giving in a calendar year, restricted to gifts of Annual Appeal and membership dues. Contributions to capital projects and special events do not apply. _________________________________________ For further information on NOMA’s Circles, please call 504-658-4107. ■

• Reciprocal membership in major art museums across the U.S. and Canada • Complimentary membership in The Fellows and Collector’s Society • All Members Previews of special exhibitions; with prior arrangement, Circle members may bring additional guests • An opportunity to have a private tour with the Director or Curator of a collection or special exhibition of your choice, with complimentary beverages in the Woldenberg Board Room, for a party of up to six individuals, at a mutually agreed upon time • An invitation to attend a private dinner with the Board President, Museum Director and a private collector in a major city • A special dinner in a private collector’s home • For private parties, elegant private galleries are available for rental

ARTS QUARTERLY

Circles and Fellows of the New Orleans Museum of Art

he two most prestigious levels of annual giving in the support of the New Orleans Museum of Art are the Circles and the Fellows. We invite you to consider upgrading your support of NOMA and join the following Circles and Fellows of the New Orleans Museum of Art. For information, please call 504-658-4107. ■

CIRCLES PRESIDENT’S CIRCLE Mrs. Jack R. Aron Mr. and Mrs. John D. Bertuzzi Mr. and Mrs. Sydney J. Besthoff III The Booth-Bricker Fund Mr. and Mrs. Ralph O. Brennan Mr. and Mrs. John H. Bryan III Collins C. Diboll Private Foundation Mr. and Mrs. Prescott N. Dunbar Mr. and Mrs. David F. Edwards Mr. and Mrs. S. Stewart Farnet Mr. and Mrs. Ludovico S. Feoli Mr. and Mrs. Stephen A. Hansel Helis Foundation Mr. Jerry Heymann Mrs. Killian L. Huger, Jr. Mr. and Mrs. David A. Kerstein Mr. Paul J. Leaman, Jr. Mrs. Paula L. Maher Mr. and Mrs. Charles B. Mayer Mrs. Robert Nims Mr. and Mrs. Gray S. Parker Mr. and Mrs. Charles S. Reily, Jr. Mrs. Françoise B. Richardson Mr. and Mrs. George Rodrigue Mr. and Mrs. Benjamin M. Rosen Ms. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Mr. and Mrs. Robert Shelton Mrs. Patrick F. Taylor Mrs. John N. Weinstock Zemurray Foundation

DIRECTOR’S CIRCLE Mr. and Mrs. F. Macnaughton Ball, Jr. Ms. Tina Freeman and Mr. Philip Woollam Mr. and Mrs. Lawrence D. Garvey Mrs. Harry Greenberg Mrs. John D. Guthrie Heymann-Wolf Foundation Mrs. Charles W. Ireland Mr. and Mrs. Erik F. Johnsen Mr. and Mrs. Peter R. Monrose, Jr. Mr. and Mrs. Robert J. Patrick Dr. and Mrs. James F. Pierce Mr. Joel J. Soniat and Mrs. Margaret B. Soniat Mr. and Mrs. Harry C. Stahel Dr. and Mrs. Richard L. Strub Mr. and Mrs. St. Denis J. Villere Mrs. Nan S. Wier

PATRON’S CIRCLE Mr. and Mrs. William D. Aaron, Jr. Mr. and Mrs. Wayne F. Amedee Mr. and Mrs. Clark W. Boyce, Jr. Mr. E. John Bullard III Mr. and Mrs. William K. Christovich Dr. and Mrs. Isidore Cohn, Jr. Ms. Barbara D. Currier Mr. Leonard A. Davis Mr. and Mrs. Richard W. Freeman Mr. and Mrs. James J. Frischhertz Mr. and Mrs. Edward N. George Dr. and Mrs. Herbert E. Kaufman Dr. Edward D. Levy, Jr. Mr. and Mrs. J. Thomas Lewis Dr. E. Ralph Lupin Mr. and Mrs. Edward C. Mathes Ms. Kay McArdle Mr. and Mrs. R. King Milling Mr. Michael D. Moffit Ms. Karyn E. Murphy Mr. and Mrs. Richard E. O’Krepki Dr. Howard and Dr. Joy D. Osofsky Dr. and Mrs. Edward F. Renwick Mr. and Mrs. R. Randolph Richmond, Jr. Mr. and Mrs. Brian A. Schneider Mr. and Mrs. Edward Shearer Mr. and Mrs. Michael J. Siegel Mr. and Mrs. Bruce L. Soltis Mrs. Harold H. Stream, Jr. Mr. and Mrs. James L. Taylor Mrs. Henry H. Weldon Mr. and Mrs. Louis A. Wilson, Jr.

FELLOWS Mrs. Adele L. Adatto Dr. and Mrs. Kenneth N. Adatto Mrs. Jack R. Anderson Mrs. Jimi Anderson Mrs. H. W. Bailey Ms. Roberta P. Bartee Mr. and Mrs. Beauregard L. Bassich Mr. Robert M. Becnel and Ms. Diane K. Zink Mr. and Mrs. W. Mente Benjamin Mr. and Mrs. Dorian M. Bennett Mr. and Mrs. Michael A. Berenson Mrs. Marian Mayer Berkett Dr. Siddharth K. Bhansali Mr. and Mrs. Robert H. Boh Mr. and Mrs. Donald T. Bollinger Mr. R. Carey Bond and Mr. Henry Lambert Mrs. Jane Bories and Mr. Sam Corenswet Dr. and Mrs. John C. Bowen III Ms. Jean M. Bragg Dr. and Mrs. Joseph Brenner Mr. and Mrs. Edgar E. Bright, Jr. Dr. Stephen Brint and Mr. Mark Brown Mr. and Mrs. B. Temple Brown, Jr. Mr. and Mrs. Perry S. Brown Mr. and Mrs. Christopher Bruno Ms. Debra Bryant and Mr. Fred Riddlemeyer

NEW ORLEANS MUSEUM OF ART

Ms. Pamela R. Burck Professor and Mrs. Morris E. Burka Mr. Harold H. Burns Mr. and Mrs. Joseph C. Canizaro Mr. and Mrs. Carlo Capomazza di Campolatttaro Dr. and Mrs. Edgar L. Chase III Dr. Victor P. Chisesi Mr. John A. Chrestia Mr. Stephen W. Clayton Mr. and Mrs. John Clemmer Mr. and Mrs. James J. Coleman, Sr. Mr. and Mrs. Thomas B. Coleman Ms. Shirley Colomb and Don Clausing Mr. Barry J. Cooper and Mr. Stuart H. Smith Mr. and Mrs. Orlin Corey Ms. Jeanette Cornnam Mr. and Mrs. Rufus P. Cressend Mr. and Mrs. Richard M. Currence, Jr. Mr. and Mrs. Charles B. Davis III John W. Deming and Bertie Murphy Deming Foundation Mr. and Mrs. Con G. Demmas Mr. and Mrs. George Denegre, Jr. Drs. Raja W. and Nina Dhurandhar Mrs. Albert S. Dittmann, Jr. Mr. and Mrs. Clancy DuBos Dr. Clayton B. Edisen Dr. and Mrs. John O. Edmunds, Jr. Mrs. Eleanor T. Farnsworth Dr. and Mrs. K. Barton Farris Mr. and Mrs. C. Allen Favrot Mr. and Mrs. D. Blair Favrot Mr. and Mrs. H. M. Favrot, Jr. Mr. and Mrs. Thomas B. Favrot Mr. and Mrs. Edward Feinman Mr. and Mrs. Darwin C. Fenner Mrs. Irving Ferman Mr. and Mrs. Randy Fertel Ms. Natalie Fielding Mrs. Julia Fishelson Ms. Anne A. Fitzhugh Mr. and Mrs. Richard B. Fox Mr. and Mrs. Louis M. Freeman Mr. and Mrs. Louis L. Frierson Dr. and Mrs. Harold A. Fuselier, Jr. Mrs. Anne Gauthier and Dr. Perry Rigby Dr. and Mrs. Charles F. Genre Mrs. Dennis A. Georges Mrs. Luba B. Glade Mrs. Louis A. Glazer Mr. and Mrs. Mason Granger Mrs. Harry Greenberg Mrs. Harold S. Grehan, Jr. Ms. Susan Talley and Mr. James C. Gulotta, Jr. Mr. and Mrs. James O. Gundlach Mr. and Mrs. John W. Hall Mr. and Mrs. Hamp H. Hanks Mr. and Mrs. Harry S. Hardin Mrs. Robert B. Haspel Mrs. H. Lloyd Hawkins, Jr. Mr. and Mrs. Edward M. Heller Mr. and Mrs. Theo M. Heller Mrs. S. Herbert Hirsch Mrs. William H. Hodges

ARTS QUARTERLY

Mr. and Mrs. John C. Hope III Mr. Harry T. Howard III Mr. and Mrs. Harley B. Howcott, Jr. Mr. and Mrs. Arthur W. Huguley III Mr. and Mrs. Lawrence Israel Mr. and Mrs. Marvin L. Jacobs Dr. Ronald A. Javitch Mr. and Mrs. Harold B. Judell Mrs. Arthur L. Jung, Jr. Mrs. Gloria S. Kabacoff Ms. Allison Kendrick Mrs. Irene Klinger Mrs. E. James Kock, Jr. Mr. and Mrs. Donald J. Labauve Mr. and Mrs. John P. Laborde Mr. and Mrs. Charles W. Lane III Mrs. James M. Lapeyre, Sr. Mr. and Mrs. James M. Lapeyre, Jr. Mr. and Mrs. John H. Lawrence Mrs. Rita Benson LeBlanc Mr. Victor C. Leglise, Sr. Mr. and Mrs. Thomas B. Lemann Mr. and Mrs. Frank L. Levy Dr. and Mrs. Samuel Logan Mr. Edward B. Ludwig, Jr. Dr. and Mrs. George D. Lyons Dr. Cris Mandry Mr. and Mrs. Stephen D. Manshel Mr. and Mrs. Adam B. Marcus Mrs. Shirley R. Masinter Mr. and Mrs. Bernard Mason Ms. Elizabeth R. McCall Mr. and Mrs. John McCollam Mr. and Mrs. William McCollam, Jr. Mr. and Mrs. Gerald D. McInvale Dr. and Mrs. Alvin S. Merlin Mr. and Mrs. Robert W. Merrick Mr. and Mrs. Michael J. Mestayer Mr. and Mrs. Albert Mintz Mrs. Bernard D. Mintz Mrs. Ellis Mintz Mr. and Mrs. Saul A. Mintz Mr. and Mrs. Donald P. Mitchell Mrs. Louise Moffett Ms. Stephany S. Monteleone Dr. and Mrs. Lee Roy Morgan, Jr. Mr. and Mrs. Walter Morton Mrs. Andree Moss Mr. Peter E. Moss Mr. and Mrs. J. Frederick Muller, Jr. Dr. and Mrs. Bert Myers Mrs. Elizabeth S. Nalty Mrs. Isidore Newman II Mrs. Ulisse Nolan Mr. and Mrs. John B. Noland Mr. and Mrs. W. D. Norman, Jr. Dr. and Mrs. John L. Ochsner Dr. Sanford L. Pailet Karyl Pierce Paxton Mr. and Mrs. Norvin L. Pellerin Mr. and Mrs. Jerome Pepper Dr. Quinn Pepper Mrs. Ben J. Phillips Mr. and Mrs. John Phillips

Mr. and Mrs. R. Hunter Pierson, Jr. Mr. and Mrs. Dick H. Piner, Jr. Mr. and Mrs. O. Miles Pollard, Jr. Mr. and Mrs. Arthur C. Pulitzer Mrs. James W. Reily, Jr. Mr. and Mrs. James J. Reiss, Jr. Ms. Sally E. Richards Mr. Robert R. Richmond III Mr. and Mrs. Leon H. Rittenberg Mr. and Mrs. John K. Roberts, Jr. Mr. and Mrs. James C. Roddy Mr. Andre Rodrigue Mr. Jacques Rodrigue Mr. Arthur Roger Mr. and Mrs. Edward Rosen Mr. and Mrs. Paul S. Rosenblum, Sr. Mrs. J. William Rosenthal Mr. and Mrs. Louie J. Roussel III Mr. and Mrs. Hallam L. Ruark Mrs. Basil J. Rusovich, Jr. Ms. Nadine C. Russell Miss. Courtney-Anne Sarpy Mr. and Mrs. Richard Schornstein, Jr. Dr. Milton W. Seiler Mr. and Mrs. Aaron Selber, Jr. Mr. and Mrs. William H. Shane, Jr. Mr. and Mrs. Lester Shapiro Mrs. Shepard H. Shushan Mr. and Mrs. Edward M. Simmons Mr. and Mrs. Richard L. Simmons Dr. and Mrs. Julian H. Sims Mrs. Evald L. Skau Mr. and Mrs. Timothy C. Slater Mrs. James Carlos Smith Mr. and Mrs. Joe D. Smith, Jr. Mr. and Mrs. Rodney R. Smith Mr. and Mrs. Charles A. Snyder Mr. and Mrs. Stephen L. Sontheimer Mrs. E. Alexandra Stafford and Mr. Raymond M. Rathle Ms. Mary Holmes Stephens Mrs. Mary E. Stern Dr. and Mrs. Sterne Dr. and Mrs. Harold M. Stokes Dr. Nia K. Terezakis Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. and Mrs. R. Preston Wailes Dr. and Mrs. Cedric Walker Mr. and Mrs. Albert J. Ward, Jr. Mr. and Mrs. Hugo Wedemeyer Dr. and Mrs. Rudolph F. Weichert III Dr. and Mrs. Robert G. Weilbaecher Ambassador and Mrs. John G. Weinmann Mr. Thomas P. Westervelt Mr. Robert J. A. Williams and Mrs. Norris Williams Mrs. Warren Wirth Mr. and Mrs. Joseph Young, Jr. Mr. and Mrs. Robert E. Young Ms. Helen H. Wisdom and Dr. Jack S. Zoller

CORPORATE MEMBERSHIP

e are deeply grateful to the following member firms whose investment in the Museum makes it possible for NOMA to pay dividends in service to the public, to the business community, to the City of New Orleans, to the greater metropolitan area and to the State of Louisiana.

GUARANTOR

LEADER

Jones, Walker, Waechter, Poitevent, Carrere & Denegre New Orleans Saints Whitney National Bank Windsor Court Hotel

J. Aron and Company, Inc. Barriere Construction Company, Inc. Boes Iron Works, L.L.C. Boh Bros. Construction Company, Inc. Capital One, N.A. Christie’s Fine Art Auctioneers Cooper T. Smith Stevedoring Company, Inc. Dorian M. Bennett, Inc. Eskew + Dumez + Ripple Fabrixx First Bank and Trust First NBC Fowler Rodrigues Jefferies & Company, Inc. The Laitram Corporation M. S. Rau Antiques, LLC Magnolia Marketing Company Neal Auction Company, Inc. New Orleans Auction Galleries, Inc. New Orleans Silversmiths Rathborne Companies, LLC Regions Bank The Soniat House Taylor Energy Company The Times-Picayune

BENEFACTOR Gambit Communications, Inc. PATRON Brian Schneider Company Columbus Properties, LLC The Sydney and Walda Besthoff Foundation MASTER Dooky Chase’s Restaurant Energy Partners, Ltd. Gulf Coast Bank McIlhenny Company MPress The Schon Charitable Foundation

ASSOCIATE A Gallery for Fine Photography Inc. Fidelity Homestead Association KPMG Royal Antiques, Ltd. The Steeg Law Firm LLC Waggonner and Ball Architects

CONTRIBUTOR A. L. Lowe Picture Framing Company Alvarez + Basik Design Group Aquatic Gardens As You Like It Silver Shop Baker, Donelson, Bearman, Caldwell & Berkowitz Bolton Ford Gulf Coast Bank

Hirsch Investment Management, L.L.C. James A. Mounger, A Professional Law Corporation Jon Antiques Ledbetter Fullerton Architects Mignon Faget, Ltd. Milling Benson Woodward L.L.P. Selley, Hite, Rivera & Mercer Sisung Securities Corporation Teri Galleries Ltd.

UNIVERSITY MEMBERS Loyola University Saint Scholastica Academy (High School) Southern University of New Orleans University of Louisiana at Lafayette

NEW ORLEANS MUSEUM OF ART

THE ART OF BUSINESS

When you take your place among the Corporate Members of the New Orleans Museum of Art, you are supporting the continuing excellence of the Gulf South’s finest institution for arts and arts education. NOMA is a force for economic development, contributing greatly to our city’s prominence as an international cultural center and visitor destination. The business and professional sectors have long recognized that the Museum makes our community a more desirable place for families and companies to locate.

BENEFITS FOR YOUR BUSINESS

CORPORATE MEMBERSHIP IN THE NEW ORLEANS MUSEUM OF ART

BENEFITS TO YOUR COMPANY WHEN YOU INVEST IN THE PREEMINENT CULTURAL INSTITUTION OF OUR CITY CORPORATE MEMBERSHIP ❑ Please have NOMA’s Corporate Membership Director call. ❑ Please send me a brochure on Corporate Membersip. ❑ Our check is enclosed in the amount of $_______________. Please make check payable to: New Orleans Museum of Art. ❑ Please send an invoice in the amount of $______________. Firm Name ____________________________ Contact Person ____________________________ Phone ____________________________ Address ____________________________ City/State/Zip ____________________________ Mail to: Corporate Membership New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179-0123

ARTS QUARTERLY

Your Corporate Membership provides world-class benefits to your employees and a positive image for your company. From unlimited family admission to NOMA, to the loan of fine art from NOMA’s permanent collection, to a Company Day for all your employees and their families, your Corporate Membership is a high profile business asset and a great business decision. The vitality and growth of the New Orleans Museum of Art is dependent, quite literally, on the companies we keep. Our Corporate Membership Program provides the opportunity for your business, whether large or small, to participate at the level most beneficial to you. We have streamlined the rate structure and improved benefits, so select your membership category today, and enjoy all the special privileges of Corporate Membership at the NOMA.

CORPORATE MEMBERSHIP PRIVILEGES • Free family admission at all times (immediate family, including children and grandchildren 17 years and younger). • Free subscription to Arts Quarterly • Invitations to Members’ Only Previews throughout the year • Discount of 10% in the Museum Shop • First notices of Special Events at NOMA • Opportunity to participate in Members’ Art Tours in America and abroad • Curatorial Opinion Service • Opportunity to participate in Volunteer Programs • Access to the Dreyfous Art Reference Library

GUARANTOR

$10,000 &

ABOVE

• Use of the Museum for a member’s business special event at a mutually agreeable time. • Your company’s name prominently displayed in the Museum. • The loan of four works of art from NOMA’s Permanent Collection. • A private viewing and guided tour of an exhibition for the executives of your firm. • Family Membership privileges for ten designated officials with Reciprocal Membership at 39 participating museums. • A complimentary invitation for one designated official to NOMA’s Holiday Party. • Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families. • A Speakers Bureau program at your place of business or at the Museum. • 125 Museum passes. • Curatorial consultation. • One framed poster and a catalogue from the Museum’s inventory.

BENEFACTOR

$7,500

• Limited use of a Museum space for a member’s business function at a mutually agreeable time. • Your company’s name prominently displayed in the Museum. • The loan of three works of art from NOMA’s Permanent Collection. • Family Membership privileges for eight designated officials with Reciprocal Membership at 39 participating museums. • A complimentary invitation for one designated official to NOMA’s Holiday Party. • Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families. • A Speakers Bureau program at your place of business or at the Museum. • 100 Museum passes. • Curatorial consultation. • One framed poster and a catalogue from the NOMA’s inventory.

PATRON

$5,000

• The loan of two works of art from NOMA’s Permanent Collection. • Family Membership privileges for six designated officials with Reciprocal Membership at 39 participating museums. • A complimentary invitation for one designated official to NOMA’s Holiday Party. • Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families. • A Speakers Bureau program at your place of business or at the Museum. • 75 Museum passes. • Curatorial consultation. • One framed poster and a catalogue from the NOMA’s inventory.

MASTER

$2,500

• The loan of one work of art from NOMA’s Permanent Collection. • Family Membership privileges for five designated officials with Reciprocal Membership at 39 participating museums. • A Speakers Bureau program for your employees at your place of business or at the Museum. • 50 Museum passes. • Curatorial consultation. • One framed poster and a catalogue from the NOMA’s inventory.

LEADER

$1,000

• Family Membership privileges for four designated officials with Reciprocal Membership at 39 participating museums. • 25 Museum passes. • Two posters from the NOMA’s inventory.

ASSOCIATE

$500

• Family Membership privileges for three designated officials with Reciprocal Membership at 39 participating museums. • 15 Museum passes. • A poster from NOMA’s inventory.

CONTRIBUTOR

$250

• Family membership privileges for two designated official of your firm with Reciprocal Membership at 39 participating museums. • 10 Museum passes.

O N T R I B U T I O N

MARILYN W. DAVIS: Marilyn Dittmann

PHOTOGRAPHY FUND

ALAIN DE LA VILLESBRET: Ann Y. de la Villesbret

IN MEMORY OF

ABRAHAM J. RAU: Dr. and Mrs. Ashley Shocket

BETTY MOSS: Kimberly and Harry Rosenberg

MAESTRO SIXTEN EHRLING: Dr. and Mrs. Ashley Shocket

CHARLOTTE GLASS: Kimberly and Harry Rosenberg

MAESTRO PETER PAUL FUCHS: Dr. and Mrs. Ashley Shocket

BEN CIMINI, JR.: Kimberly and Harry Rosenberg

DR. EMILE JOSEPH BERNARD: Dr. and Mrs. Ashley Shocket

ELTON FALLON: Kimberly and Harry Rosenberg

ART ACQUISITION FUND

ALICE D. VOROS: Christopher K. Ralston

BENNY JEFFERSON: Kimberly and Harry Rosenberg

IN HONOR OF

ROBERT PEYROUX: Mr. and Mrs. J. M. Fried, Jr

P. R. NORMAN FUND

CHARLES AND CAMMIE MAYER: James Farwell

HARRIET TRAUTMAN: Mr. and Mrs. J. M. Fried, Jr:

IN HONOR OF

MR. AND MRS. ROLLAND GOLDEN’S FIFTIETH ANNIVERSARY: Ron Cohen and Amy Martin

LUCAS BRUNO, JR.: Shirley Rabe Masinter

ELLIS MINTZ: Mr. and Mrs. Luis Banos, Jr

he New Orleans Museum of Art has established a number of special funds for gifts in honor of or in memory of friends or family members or to commemorate an event. Recipients or their families will be notified of the gift and will be acknowledged in Arts Quarterly. For information on NOMA special funds, call (504) 658-4100. Donations for all funds should be mailed to the New Orleans Museum of Art, P.O. Box 19123, New Orleans, Louisiana 70179-0123. ■

LIBRARY FUND

MR. AND MRS. THEODORE RABE, JR.: Shirley Rabe Masinter MRS. MARTI SPEIGHTS: Dorian M. Bennett

IN HONOR OF ROZ AND RUSTY GAUDÉ’S MARRIAGE: Shelley and Todd Nicole and Michael Joey and Melanie

NVC FLOWER FUND

MR. AND MRS. MOISE STEEG: Paul Kullman

CAMMIE AND CHARLES MAYER’S ANNIVERSARY: James, Marguerite, Anne and Jimmy Kock Ginger Kock

MARIANNE COHN: Jane Moses TIMOTHY SLATER: Tiki and Arthur Axelrod

IN MEMORY OF FLO ADLER: Mr. and Mrs. J. M. Fried, Jr. ELEANOR KOHLMEYER: John K. and Lynn B. Robinson Mr. and Mrs. J. Vernon Williams MARY LOU AND STEPHAN WATSEY: The Slidell Junior High Family JAMES J. COLEMAN, SR.: Blanche Comisky and Family BETTY ANNE L. MOSS: Dorian Bennett

MRS. P. ROUSSEL (SUNNY) NORMAN: Mr. and Mrs. Luis Banos, Jr

WILLIAM “PEPPER” BROWN MEMORIAL FUND

IN HONOR OF

MR. AND MRS. ROLLAND GOLDEN’S ANNIVERSARY: Dr. and Mrs. Ashley Shocket DR. AND MRS. E. RALPH LUPIN’S MARRIAGE: Sherry and Charles Snyder

IN MEMORY OF

IN MEMORY OF ELLIE KOHLMEYER: Cammie and Charles Mayer HARRIETT TRAUTMAN: Jean Taylor TOM PRESTON: Mrs. Stanley Fried JAMES KOCK: Barbara Ruark Janet Frischertz Lou Lane Brooke H. Duncan

NVC PORTICO RENOVATION FUND

IN MEMORY OF WILLIAM “PEPPER” BROWN: Saskia and William Arthur Jacqueline Avegno E. John Bullard Katherine Louis deMontluzin Robyn Dunn Mary Ann & Michael J. Freeman Joan A. Giraud Karen Harris Katherine Hovas Jackie Howell John W. Keefe James McClatchey Wanda O’Shello George Roland Gretchen Sehrt Jean R. Stein Lise Anne and Parham Werlein Susan Mary Young

IN MEMORY OF JAMES KOCK: Kay McArdle

NEW ORLEANS MUSEUM OF ART

WAYS OF GIVING T

he future of the New Orleans Museum of Art depends to a large degree on the foresight and generosity of today’s visionaries— our members—who are willing to consider new ways to make gifts. Here are a few suggested methods of making a difference for NOMA:

GIFT OF CASH OR MARKETABLE SECURITIES Gifts may be restricted to a designated program or applied to NOMA’s general operating fund.

GIFT OF LIFE INSURANCE Name NOMA as policy owner and beneficiary and receive immediate tax deductions on your premium.

GIFT OF PROPERTY Gifts of real estate, boats, or artwork provide NOMA with marketable assets and may enable you to avoid capital gains taxes.

NAMED ENDOWMENT FUND The principal of a fund established in your name—or for someone you wish to honor or memorialize—is managed for growth, while the income from the fund supports Museum programs.

CHARITABLE REMAINDER TRUST/CHARITABLE LEAD TRUST Provide NOMA or yourself with a steady income stream and, with a remainder trust, leave a significant future gift to NOMA. Both arrangements entitle you to considerable tax savings.

BEQUESTS Name NOMA as a beneficiary in your will and make a lasting contribution to the Museum.

For more information about any of these suggested methods of giving to NOMA, call (504) 658-4107.

WHAT DO NEW ORLEANS’ MOST DISCRIMINATING CONSUMERS READ? Published by the New Orleans Museum of Art, one of the premier cultural institutions in the South, ARTQUARTERLY is an award-winning magazine, whose readers share some very specific characteristics and aspirations: an appreciation for fine art and fine life and a concern for improving or maintaining their quality of life and their distinctive lifestyle. In its 30th year of publication, ARTQUARTERLY provides an effective medium to reach this elusive group of consumers. To reach New Orleans most discriminating consumers, call our representative to reserve your space in ARTQUARTERLY, 504-610-1279 or 504-658-4103.

ARTS QUARTERLY

NOMA EDUCATION: Films

Lecture

Monthly films in NOMA’s Stern Auditorium continue this spring with new classics for all ages. In conjunction with the exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina, on view through June 8, 2008, NOMA will present films directed by Pat Mire that spotlight the Cajun culture. Films begin at 6:30 p.m. (please note new time) and are free with Museum admission. For more information please contact the associate curator of education at mrobinson@noma.org or by phone (504) 658-4113.

Wednesday, April 23, 6:30 p.m. Against the Tide: The Story of the Cajun People of Louisiana With An Introduction and Q&A by Director Pat Mire (2000, 60 min., Not Rated) Against the Tide is the epic story of a celebrated yet frequently misunderstood population in North America—the Cajun people. During the seventeenth century, wars in western France forced a community of predominantly farmers to establish a new homeland in the wilderness of Nova Scotia. A subsequent deportation by the British scatters them across the east coast of the Western hemisphere and, only decades later, they are reunited in Louisiana. This true story of the Cajuns, told by Pat Mire, host/

narrator Zachary Richard, historian Carl Brasseaux, folklorist Barry Ancelet and writer C.E. Richard, is a tribute to the tenacity of this remarkable community.

Wednesday, May 21, 6:30 p.m. Dirty Rice (1997, 85 min., Not Rated) Director Pat Mire’s debut feature recounts the tale of a man rediscovering his roots and reclaiming his heritage. Returning from the city of New Orleans, where he works as an architect, to his parents’ farm following the death of his father, Louis Daigle (Benjamin Mouton) is drawn back into the life of farming and a relationship with an old flame. But times are hard and the falling value of rice is threatening the farmers’ livelihood. ■

NOMA lectures are intended to complement our permanent and traveling exhibitions. These events will take place in the Museum’s Stern Auditorium. All lectures are free with Museum admission. For information, contact education@noma.org or call 504-658-4131.

Sunday, April 6, 2 p.m. Conversations with the Keepers of Culture Panel Discussion Moderated by Don Marshall, Executive Director, New Orleans Jazz and Heritage Foundation Don Marshall, executive director of the New Orleans Jazz and Heritage Foundation, moderates a panel featuring the leaders of area organizations charged with the preservation and perpetuation of distinctly New Orleans traditions. This discussion will spotlight the determination and dedication of these groups and their myriad challenges in a post-Katrina environment. This panel discussion is presented in conjunction with the exhibition Living Color: Photographs by Judy Cooper, on view through May 11, 2008. This program is made possible by a grant from the Louisiana Endowment for the Humanities. ■

Judy Cooper (American, born 1938) High Life, 2005 From the series New Orleans Sunday Color pigment print on canvas, 23 x 23 inches Collection of John and Sheila Cork

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina Special Events

Saturday, April 12

Saturday, May 17

Sunday, June 8

10 a.m. to 2 p.m. NOMA’s Besthoff Sculpture Garden

10 a.m. NOMA Museum Shop Book Signing with George Rodrigue

5 p.m. to 8 p.m. New Orleans Museum of Art Cajun Dance Lessons and Blue Dog Fais Do-Do

Come to NOMA and have the artist sign your favorite George Rodrigue book.

Join us for Cajun dance lessons and a “Blue Dog Fais Do-Do” on the final day of the exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina. Free with Museum admission. ■

Dog Day in the Sculpture Garden Bring your dog to the Besthoff Sculpture Garden or adopt one from an on-site LA SPCA adoption team. Enjoy live music and take your picture with the eight-foot Blue Dog steel and chrome sculpture.

10 a.m to Noon NOMA’s Besthoff Sculpture Garden Children’s Event: Painting Demonstration with Artist George Rodrigue Watch artist George Rodrigue paint one of his iconic Blue Dogs and participate in children’s art activities in the Garden. Free and open to the public. Space is limited. Please arrive early.

2 p.m. NOMA’s Auditorium Book Reading with George and Wendy Rodrigue Join George and Wendy Rodrigue for a lively reading of Why is Blue Dog Blue? There will be a book signing immediately following.

Noon NOMA’s Auditorium Cajun Storytelling: The Tale of the Loup-Garou by Mary LeCompte Come hear “The Tale of the LoupGarou” with storyteller Mary LeCompte. The legendary Cajun werewolf, or loup-garou, has haunted, teased and fascinated the imagination of children South Louisiana for generations. A popular figure of local folklore and an inspiration for George Rodrigue’s Blue Dog paintings, the loup-garou will be the highlight of this spellbinding hour of bayou tales. For ages five and up.

1 p.m. to 4 p.m. NOMA’s Besthoff Sculpture Garden Cajun Dance Lessons and Music by Bruce Daigrepont Join members of the Cajun Dance Company for an hour-long lesson of the basic two-step and waltz, then practice your new moves with a live Cajun band in the Besthoff Sculpture Garden. Admission $5 for ages five and up, or free to Museum members.

George Rodrigue (American, born 1944) On My Master’s Grave, 1988 Oil on canvas, 30 x 24 inches Private collection Come hear “The Tale of the LoupGarou” with Cajun storyteller Mary LeCompte on Saturday, May 17, noon.

NOMA will present a series of programs in conjunction with the exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina, which is on view through June 8. George Rodrigue (American, born 1944) Dependence, 2003 Acrylic on canvas, 60 x 60 inches Private collection

ARTS QUARTERLY

NOMA EDUCATION: Second Line

Sunday, May 11, 2 p.m. The Prince of Wales and the Hot 8 Brass Band Come see one of the greatest New Orleans traditions—the second line—in City Park on this closing day of Living Color: Photographs by Judy Cooper. Performers, dancers and musicians from the well-known Social Aid and Pleasure Club and the nationally recognized brass band will take over Lelong Avenue in front of the Museum and parade into NOMA’s Besthoff Sculpture Garden for an afternoon of lively and festive celebration. ■

Judy Cooper (American, born 1938) The Prince of Wales Social Aid and Pleasure Club, 2006 From the series New Orleans Sunday Color pigment print on canvas, 34 x 37-1/2 inches Collection of the artist

Saturday, April 5 and 19, Noon

Storytelling in the Besthoff Sculpture Garden Summer Art Studio in City Park

The beautiful Sydney and Walda Besthoff Sculpture Garden will become a world of fables and fantasy for a wonderful storytelling hour. Children and families can gather to listen to tales presented by talented storytellers in the Oak Grove of the Sculpture Garden. This event is free and open to all visitors. ■

Come learn new techniques in artmaking at NOMA’s Children’s Art Classes. NOMA is offering a variety of summer art classes for children, which will be taught by professional art teachers. The art classes introduce children to the Museum’s collections and special exhibitions. NOMA’s art classes provide students with an exciting atmosphere where students can express their creativity using a variety of art materials. Our art teachers stress the importance of the creative process over the final product. Each session is one week, Monday through Friday and will be held in the Timken Center (Old Casino Building) in City Park. The cost of each session of five classes is $75 for members of the Museum and $90 for nonmembers. Classes are limited to twenty students;

NOMA will present storytelling in the Besthoff Sculpture Garden on April 5 and 19. Photo by Ina Davis

pre-registration and payment in advance are required. All materials are included. Students should bring an old shirt or smock to wear as classes can get messy. For further information or registration, please contact the Education Department at education@noma.org or (504) 658-4113.

Session 2, June 16 – 20 Ages 8 – 12 Morning Session 10 a.m. to 12:30 p.m. Afternoon Session 1:30 p.m. to 4 p.m. SAVE THE DATE

Session 1, June 2 – 5 Ages 5 – 7 Morning Session 10 a.m. to 12:30 p.m. Afternoon Session 1:30 p.m. to 4 p.m.

Session 3, June 30 – July 2 Intensive Teen Workshop Ages 13 – 17 Morning Session 10 a.m. to 12:30 p.m. Afternoon Session 1:30 p.m. to 4 p.m. Visit www.noma.org for further information on sessions in July.

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Hyogo Family Sundays

The New Orleans Museum of Art received a grant from the Prefecture of Hyogo, Japan, in spring 2007 to pilot an art therapy program in the public schools. In addition, the Museum is offering a series of weekend family events to promote a sense of support and unity in the community in a postKatrina environment. These events are free with Museum admission.

Sunday April 13, 2 p.m. Thelonious Monk Institute of Jazz Performing Arts High School Program Young musicians from the New Orleans Center for Creative Arts will present an exciting performance featuring various styles of jazz. In

Therapeutic Art Camp Sessions for Families

During the 2007 to 2008 academic year, the New Orleans Museum of Art has sponsored a highly successful art therapy program in two area public schools with a generous gift from the Prefecture of Hyogo, Japan. This summer, NOMA art therapist, Holly M. Wherry, will present a series of classes for families and children that offers the opportunity for continued personal restoration through creativity.

June 2 – 6 Sketchbooks!

addition to more familiar early and contemporary works, the students will also introduce some of their original compositions for this family-oriented program.

Sunday, May 18, 2 p.m. Washboard Chaz Though comfortable in all forms of our diverse American musical heritage, Washboard Chaz Leary has achieved dominance and international recognition in acoustic country blues. Spend part of your afternoon with this talented performer and his trio, whose stage presence has brought countless excellent reviews and wide regional and national popularity. ■

July 14 – 18 Communicating About Katrina Workshop for Parents and Children Many families often feel uncomfortable talking about Hurricane Katrina. This workshop will help children and their parents communicate through art projects as well as create a piece of artwork that tells about their family’s Hurricane Katrina story. Parents must attend with their children.

Washboard Chaz will perform at NOMA on Sunday, May 18, at 2 p.m.

Both sessions are free, but preregistration is required. Space is limited, so please call NOMA at 504-658-4128 today to register.

Session I, 9 a.m. to Noon Ages 7, 8, 9 and Parents Timken Center (Old Casino Building), City Park Session II, 1 p.m. to 4 p.m. Ages 10, 11, 12 and Parents Timken Center (Old Casino Building), City Park

Participants will find new and exciting ways to use and create sketchbooks. This program will promote using the privacy and containment of a sketchbook as a creative way to express their emotions. Please note: There is a preapproval screening process for the two Sketchbooks! sessions. Applicants will be contacted by the instructor. Please call the Education Department at 504-658-4128. ■

Session I, 9 a.m. to Noon Ages 10 – 13 Timken Center (Old Casino Building), City Park Session II, 1 p.m. to 4 p.m. Ages 13-17 Timken Center (Old Casino Building), City Park

ARTS QUARTERLY

Fernando Botero (Colombian, born 1932) Bird, 1998 Bronze, 13 x 17 x 11 inches Private Collection

Get Over the Hump...Wednesday Evenings at the New Orleans Museum of Art NOMA is now open on Wednesdays from noon to 8 p.m. In addition to the Museum’s permanent collection and special exhibitions and the Besthoff Sculpture Garden, enjoy these special evening activities. All events begin at 6:30 p.m.

APRIL 2 Art In Bloom Preview Party. Museum Closes at 5 p.m. APRIL 9 Sketching in the Galleries APRIL 16 Gallery Talk, John Webster Keefe, The RosaMary Foundation Curator of Decorative Arts, NOMA, will discuss the Lalique, Lalique, Lalique exhibition currently on view in the Museums’ galleries. APRIL 23 Short Film and Q&A with the Director Pat Mire, Against the Tide: The Story of the Cajun People of Louisiana (2000, 60 min., Not Rated) APRIL 30 Private Event. Museum Closes at 5 p.m. MAY 7 Sketching in the Galleries

MAY 21 Short Film, Dirty Rice (1997, 75 min., Not Rated) Directed by Pat Mire MAY 28 Art After Hours, Music and Cocktails JUNE 4 Gallery Talk, George Roland, The Doris Zemurray Stone Curator of Prints and Drawings, NOMA, will discuss the exhibition Gentlemen Callers: Paul Cadmus and George Dureau, From The Collection of Kenneth Holditch, on view through September 7. JUNE 11 Artist Talk, TBA JUNE 18 Short Film, TBA JUNE 25 Art After Hours, Music and Cocktails

MAY 14 Gallery Talk, Judith Bonner, Senior Curator at the Historic New Orleans Collection, will discuss the collaborative exhibition between the HNOC and NOMA, New Orleans: A Sense of Place, on view at NOMA through August 31. After touring the Museum and enjoying these special evening events, visitors are encouraged to have dinner at one of these Mid-City restaurants. Angelo Brocato Ice Cream, 214 North Carrollton Ave. (486-1465); Cafe Arabesque, 127 N. Carrollton Ave. (486-7233); Cafe Degas, 3127 Esplanade Ave. (945-5635); Cafe Minh, 4139 Canal St. (482-6266); Crescent City Steak House, 1001 Broad St. (821-3271); Doson’s Noodle House, 135 N. Carrollton Ave. (309-7283); Fellini’s Cafe, 900 N. Carrollton Ave. (488-2155); La Vita, 3201 Esplanade Ave. (948-0077); Little Tokyo, 310 N. Carrollton Ave. (485-5658); Lola’s, 3312 Esplanade Ave. (488-6946); Mandina’s, 3800 Canal St. (482-9197); Mona’s Cafe, 3901 Banks St. (482-0661); Parkway Bakery and Tavern, 538 Hagan St. (482-3047); Ralph’s on the Park, 900 City Park Ave. (488-1000); Venezia Restaurant, 134 N. Carrollton Ave. (488-7991).

NEW ORLEANS MUSEUM OF ART

PROGRAM SPONSORS A

nnual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops, films, lectures, art classes and numerous other special programs enjoyed by visitors from throughout the city, the state, the country, and, indeed, the world, are made possible through the generosity of our many sponsors. The New Orleans Museum of Art and its thousands of visitors are deeply grateful to these friends for their continued commitment. If you would like additional information on sponsorship, please contact the Museum’s development department, (504) 658-4100. ■

BECOME A NOMA SPONSOR

SHERATON NEW ORLEANS HOTEL: Blue Winds Dancing: The Whitecloud Collection of Native American Art Exhibition Support THAW CHARITABLE TRUST: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

HOUSE OF BLUES FOUNDATION ROOM: Odyssey Ball 2007 GLORIA S. KABACOFF: Odyssey Ball 2007 TAMMY AND BLAINE KERN, JR. MARDI GRAS PRODUCTIONS: Odyssey Ball 2007 THE MCILHENNY COMPANY AND THE GUSTAF PAULA L. MAHER: Odyssey Ball 2007

$100,000 + ACADIAN AMBULANCE SERVICE: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support THE AZBY FUND: General Operating Support Besthoff Sculpture Garden Operating Support Security Equipment ANONYMOUS DONORS: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support FORD FOUNDATION: Planning and Exploration of New Orleans Audiences GETTY FOUNDATION: Conservation of the Besthoff Sculpture Garden THE HELIS FOUNDATION: Free Admission for Louisiana Residents THE PATRICK F. TAYLOR FOUNDATION: Taylor NOMA Scholars Program ZEMURRAY FOUNDATION: General Operating Support

$34,999 - $20,000 JOLIE AND ROBERT SHELTON INTERNATIONAL WELL TESTERS, INC.: Living Color: Photographs by Judy Cooper Exhibition Catalogue Support Odyssey Ball 2007 Rodrigue Aoili Dinner LOVE in the Garden 2007 LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATON: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support LOUISIANA ENDOWMENT FOR THE HUMANITIES: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support Living Color: Photographs by Judy Cooper Exhibition, Programming and Catalogue Support

MS. KAY MCARDLE: Odyssey Ball 2007 MR. AND MRS. WILLIAM G. MCARDLE, JR.: Odyssey Ball 2007 NEW ORLEANS METROPOLITAN CONVENTION VISITORS BUREAU: Odyssey Ball 2007 PAUL PRUDHOMME: Rodrigue Aoili Dinner RUBY K. WORNER CHARITABLE TRUST: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support Educational Support SHELL EXPLORATION & PRODUCTION COMPANY: Van Go, NOMA’s Museum-on-Wheels Educational Programming

THE ROSAMARY FOUNDATION: Family Workshops Handbook of School Programs

WESTFELDT MCILHENNY FAMILY FOUNDATION: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

WWL-TV: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support

MRS. MERCEDES B. WHITECLOUD: Odyssey Ball 2007 SANDRA AND LOUIS A. WILSON, JR.: Odyssey Ball 2007

$19,999 - $10,000 $99,999 – $50,000 CHEVRON: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support Handbook of School Programs Teacher’s Packets LOUIS ARMSTRONG NEW ORLEANS INTERNATIONAL AIRPORT: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support LOUISIANA DIVISION OF THE ARTS: General Operating Support THE LUPIN FOUNDATION: General Operating Support Odyssey Ball 2007 Art in Bloom 2008 SELLEY FOUNDATION: General Operating Support

ARTS QUARTERLY

AT&T: Odyssey Ball 2007 GAYLE AND TOM BENSON: Odyssey Ball 2007 THE CUDD FOUNDATION: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

$9,999 - $5,000 MR. AND MRS. MORRIS BART III: Odyssey Ball 2007 LEE MICHAELS FINE JEWELRY AND CHOPARD: Odyssey Ball 2007 MATHES BRIERRE ARCHITECTS: Odyssey Ball 2007

DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions

JERI NIMS: Odyssey Ball 2007

MR. AND MRS. LAWRENCE D. GARVEY: Odyssey Ball 2007

DEBRA AND ROBERT PATRICK: Odyssey Ball 2007

GOLDRING FAMILY FOUNDATION: Odyssey Ball 2007

THREE FOLD CONSULTANTS, LLC: LOVE in the Garden 2007

GREATER LAKESIDE CORPORATION: Odyssey Ball 2007

THE TUNICA-BILOXI TRIBE OF LOUISIANA AND PARAGON CASINO RESORT: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

THE GPOA FOUNDATION: Educational Pre-Visit Video of African Art Collection

MUSEUM NEWS MUSEUM NEWS MUSEUM BOARD OF TRUSTEES BOARD OF TRUSTEES MEETING SCHEDULE NOMA’s board of trustees will meet on Wednesday, April 16, May 21, and June 18, at 4 p.m.

DOCENTS CALL FOR NEW DOCENT CLASS The Education Department will be starting a new docent class this August. Docents at the New Orleans Museum of Art are extensively trained on the Museum’s permanent collection during an academic year and will apprentice with our Master Docents in order to provide comprehensive tours of the collection. As an important liaison between the Museum, schools and the general public, docents collaborate with teachers and work to create tailored experiences for students and adults. After completing the training process, all docents are expected to commit to working one day a week—a significant time commitment, but one that is personally rewarding and fulfilling—with a collegial group that shares your enthusiasm for art. For more information, please contact the Education Department at education@noma.org or (504) 658-4128.. ■

STAFF NOMA WELCOMES NEW STAFF The New Orleans Museum of Art is pleased to announce that the following individuals have joined the NOMA staff: James Mulvihill, director of communications and marketing; Miranda Lash, curator of modern and contemporary art; Chris Smith, grants officer; Sarah Davidson, coordinator of special events. ■

VOLUNTEERS NOMA NEEDS YOU Volunteering at the New Orleans Museum of Art is a great way for art lovers to support the Museum and the community. Volunteers provide a vital link between visitors and and their museum experience. NOMA offers a variety of opportunities to fit your schedule and interests. The Museum particularly needs volunteers for the current exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina, which is on view through June 8. If you would like to become a NOMA volunteer or for additional information on volunteer opportunities, please contact Molly St. Paul, NOMA’s volunteer coordinator, at (504) 658-4137 or Margaret Lancaster at (504) 658-4119.

ETCETERA NOMA HONORED BY WEDDING PROFESSIONAL GUILD OF LA At the recent awards luncheon of the Wedding Professional Guild of Louisiana, the New Orleans Museum of Art won the two top honors. NOMA was selected as the 2007 Wedding Venue of the Year, and Marilyn Dittmann was selected as the Outstanding Wedding Professional. ■

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Jacqueline L. Sullivan, Deputy Director Lisa Rotondo-McCord, Assistant Director for Art/Curator of Asian Art Joanna Sternberg, Assistant Director for Education Gail Asprodites, Controller Aisha Champagne, Graphics Coordinator/Webmaster Sheila Cork, Librarian Diego Cortez, The Freeman Family Curator of Photography Sarah Davidson, Coordinator of Special Events Marilyn Dittmann, Acting Development Director William A. Fagaly, The Françoise Billion Richardson Curator of African Art Anthony Graffeo, Chief of Security Jimmy Jeffrey, Sculpture Garden Manager Jennifer Ickes, Assistant Registrar Kristin Jochem, Development Associate for NVC John W. Keefe, The RosaMary Foundation Curator of The Decorative Arts Miranda Lash, Curator of Modern and Contemporary Art Elizabeth Levy, Membership Assistant Katherine Marquette, Education Assistant James Mulvihill, Director of Communications and Marketing Karl Oelkers, Computer Coordinator Wanda O’Shello, Publications Coordinator/Arts Quarterly Editor Marney N. Robinson, Associate Curator of Education George Roland, The Doris Zemurray Stone Curator of Prints and Drawings Chris Smith, Grants Officer Paul Tarver, Registrar/Curator of Native American and Pre-Columbian Art Patricia Trautman, Museum Shop Manager Laura Wallis, Development Associate for Membership and Annual Appeal Holly M. Wherry, Art Therapist, Katrina Initiative Alice Rae Yelen, Principal Curator for Education NOMA BOARD OF TRUSTEES Sydney J. Besthoff III, President Mrs. Edward George, Vice-President E. Ralph Lupin, M.D., Vice-President Mrs. James Frischhertz, Vice-President William Aaron, Treasurer Mrs. Françoise Billion Richardson, Assistant Treasurer Charles A. Snyder, Secretary Mrs. John Bertuzzi Isidore Cohn, Jr., M.D. Leonard Davis S. Stewart Farnet Mrs. Ludovico Feoli Timothy Francis Tina Freeman Lee Hampton Stephen H. Hansel Edward F. Harold Adrea Heebe Henry Lambert Paul J. Leaman, Jr. Edward C. Mathes Mrs. Charles B. Mayer Kay McArdle Councilmember Shelly Midura Mrs. R. King Milling Michael Moffitt Mayor C. Ray Nagin Mrs. Robert J. Patrick R. Hunter Pierson Thomas Reese, Ph.D. Mrs. James Reiss Michael J. Siegel Mrs. Lynes R. Sloss Mrs. James Lyle Taylor Mrs. Patrick F. Taylor Mrs. Brenda Vorhoff Louis A. Wilson, Jr. HONORARY LIFE TRUSTEES H. Russell Albright, M.D. Mrs. Jack R. Aron Mrs. Edgar B. Chase, Jr. Prescott N. Dunbar Mrs. Richard W. Freeman, Jr. Kurt A. Gitter, M.D. Mrs. H. Lloyd Hawkins Mrs. Killian L. Huger Richard W. Levy, M.D. J. Thomas Lewis Mrs. Paula L. Maher Mrs. J. Frederick Muller, Jr. Mrs. Jeri Nims Mrs. Charles S. Reily Mrs. Françoise Billion Richardson R. Randolph Richmond, Jr. Mrs. Frederick M. Stafford Harry C. Stahel Mr. and Mrs. Moise S. Steeg, Jr. Mrs. Harold H. Stream Mrs. John N. Weinstock

NATIONAL TRUSTEES Joseph Baillo Mrs. Carmel Cohen Mrs. Mason Granger Jerry Heyman Herbert Kaufman, M.D. Mrs. James Pierce Mrs. Benjamin Rosen Mrs. Robert Shelton Ms. Debra Shriever Mrs. Henry H. Weldon

NEW ORLEANS MUSEUM OF ART

NOMA Calendar of Events APRIL 2

WEDNESDAY, 6 p.m. to 7 p.m., Art In Bloom Patron Party

JUNE 4

WEDNESDAY, 6:30 p.m., Gallery Talk, “Gentleman Callers: Paul Cadmus and George Dureau, From the Collection of Kenneth Holditch” by George Roland, The Doris Zemurray Stone Curator of Prints and Drawings, NOMA

SUNDAY, Midnight to Midnight, Closing Day— Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina

7 p.m. to 10 p.m., Art In Bloom Preview Party

THURSDAY, 9:30 a.m., Art In Bloom Lecture by Dorothy McDaniel 11 a.m., Art In Bloom Lecture by Ian Prosser 12:30 p.m., Art In Bloom Luncheon in City Park’s Pavilion of the Two Sisters

5 6 9 12

SATURDAY, Noon, Storytelling in the Besthoff Sculpture Garden SUNDAY, 2 p.m., Panel Discussion, “Conversations with the Keepers of Culture,” Moderated by Don Marshall, Executive Director, New Orleans Jazz and Heritage Foundation WEDNESDAY, 6:30 p.m., Sketching in the Galleries

5 p.m. to 8 p.m., Cajun Dance Lessons and Blue Dog Fais Do-Do

11 18

WEDNESDAY, 6:30 p.m., Artist Talk, TBA WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting

SATURDAY, 10 a.m. to 2 p.m., “Dog Day in the Sculpture Garden” 6:30 p.m., Artist Talk, TBA 10 a.m. to Noon, “Children’s Event: Painting Demonstration with Artist George Rodrigue” (in the Besthoff Sculpture Garden) 2 p.m., Book Reading with George and Wendy Rodrigue

SUNDAY, 2 p.m., Hyogo Family Sunday: Thelonious Monk Institute of Jazz Performing Arts High School Program

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting

WEDNESDAY, 6:30 p.m., Artist Talk, TBA

FRIDAY, 6 p.m. to 9 p.m., NOMA Members Preview— The Baroque World of Fernando Botero

SATURDAY, Opening Day—The Baroque World of Fernando Botero

6:30 p.m., Gallery Talk, “Lalique, Lalique, Lalique” by John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA

19 23

SATURDAY, Noon, Storytelling in the Besthoff Sculpture Garden

NOMA EXHIBITION SCHEDULE

WEDNESDAY, 6:30 p.m., Film, Against the Tide: The Story of the Cajun People of Louisiana (2000, 60 min., Not Rated), with an introduction and Q&A by Director Pat Mire Ari Marcopoulos: Architectures Through April 27, 2008 Living Color: Photographs by Judy Cooper Through May 11, 2008

MAY 7 10 11 14 17

WEDNESDAY, 6:30 p.m., Sketching in the Galleries

A Curator’s Gift: Contemporary Photography from Diego Cortez Through May 25, 2008 Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina Through June 8, 2008

SATURDAY, Opening Day—New Orleans: A Sense of Place SUNDAY, 2 p.m., Second Line with The Prince of Wales and the Hot 8 Brass Band WEDNESDAY, 6:30 p.m., Gallery Talk, “New Orleans: A Sense of Place” by Judith Bonner, Senior Curator, The Historic New Orleans Collection

Dog Show Through June 8, 2008 New Orleans: A Sense of Place May 10 – August 31, 2008

SATURDAY, 10 a.m., “Book Signing with George Rodrigue” Noon, “Cajun Storytelling: The Tale of the Loup-Garou” by Mary LeCompte

Gentlemen Callers: Paul Cadmus and George Dureau, From the Collection of Kenneth Holditch May 25 – October 12, 2008

1 p.m. to 4 p.m., Cajun Dance Lessons and Music by Bruce Daigrepont

18 21

SUNDAY, 2 p.m., Hyogo Family Sunday: Washboard Chaz WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting 6:30 p.m., Film, Dirty Rice (1997, 85 min., Not Rated)

The Baroque World of Fernando Botero June 28 – September 21, 2008

SUNDAY, Opening Day—Gentlemen Callers: Paul Cadmus and George Dureau, From the Collection of Kenneth Holditch

ARTS QUARTERLY

For further information on upcoming exhibitions and events at the New Orleans Museum of Art, call (504) 658-4100, or visit our website at www.noma.org.

Post Office Box 19123 New Orleans, Louisiana 70179-0123

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