AQ Winter 2013 by New Orleans Museum of Art

Arts Quarterly New Orleans Museum of Art

Winter 2013

DIRECTOR’S LETTER

Susan M. Taylor

SEE ARTICLE ON PAGE 8

LIFE ON UTOPIA PARKWAY: THE WORLD OF JOSEPH CORNELL

The youngest members of our community are the most precious, and investing in early childhood education is an important step we can take to ensure their success. More and more studies reveal that educational experiences in the early years of a child’s life can have wide-ranging impacts on how that child performs in school, and interacts with peers and in society in general. Arts education has its own long-term effects on children; it generates creative and critical thinking skills, teaches children how to solve problems, and encourages self-assurance and discipline. At the New Orleans Museum of Art we have seized an opportunity to take advantage of New Orleans’ unique position at the center of education reform in this country. As a city, we are exploring new strategies, designing new schools, and new teaching methods. And it is working. The December 17, 2012 issue of The Daily Beast/Newsweek commends Mayor Landrieu and the city of New Orleans for their commitment to leadership in education reform and innovation. NOMA has responded to this challenge and transformation by exploring new learning opportunities for our children. NOMA’s focus: the introduction of arts education into our children’s lives as early as possible. The development of these skills makes a difference in how our children experience the world and readies them to learn more effectively— engaging various types of intelligence and learning styles. To address this opportunity in early childhood education, I’m pleased to announce that NOMA, the Bayou District Foundation, Educare/Kingsley House, and the Tulane University Teacher Preparation & Certification Program are developing a new teaching and learning initiative. Mini Masters, our partnership for children ages three and four, aims to use early learning arts integration as a means to equip children with the social and intellectual skills necessary for a lifetime of learning. Teachers will be specifically trained to integrate NOMA’s permanent collection into their lesson plans, and will expose students to developmentally appropriate visual art experiences, both in their classroom and at NOMA. Ideally, this approach will increase students’ potential for academic achievement and emotional development. At NOMA we believe that younger children are more than ready for a museum experience. Mini Masters, unlike other museum education programs, will be directed at children at the Pre-K level. They are eager and enthusiastic. Their responses are genuine and unfiltered. Looking at abstraction is an opportunity for them to dream, imagine and create. Color, line and shape have boundless possibilities. I have no doubt that the children’s unique perspectives can also lead to a renewed approach to education at our museum and others. I am thrilled to witness the effects of Mini Masters on the lives of children and educators in New Orleans. The pilot program has begun, its implications are evident, and we are carefully monitoring progress along the way. Through this initiative, we can further expand children’s ways of thinking and interacting, and help to prepare them for the milestones ahead.

Susan M. Taylor The Montine McDaniel Freeman Director

CONTENTS

Winter 2013

FEATURE 10 Cities of Ys How a local tribe and one artist are searching for legends and shifting traditions

MUSEUM EXHIBITIONS

Reinventing Nature: Art from the School of Fontainebleau

Portrait of Faith: John Paul II in Life and Art

COLLECTIONS

Page 10

CITIES OF YS

Recent Acquisition: Skylar Fein’s Remember the Upstairs Lounge

Curator’s Choice: William Fagaly

Life on Utopia Parkway: The World of Joseph Cornell

Surrealist Photography Now On View

Page 9

SURREALIST PHOTOGRAPHY NOW ON VIEW

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Page 20

ODYSSEY BALL

Page 22

ART IN BLOOM

RO M A N A LO K H IN

COMMUNITY VISIT

PARTICIPATE

14 New Museum Hours

18 NOMA Donors

14 Mini Masters: Early Childhood Arts Integration

19 NOMA Receives Grant for Marketing

15 Community Partnerships Enrich the NOMA Experience

20 LOVE in the Garden and Odyssey Ball: Parties for a Cause 22 NVC Home and Art Tour 22 NOMA Egg Hunt

LEARN

16 Spring 2013: Movies in the Garden 16 Get Creative with Studio KIDS! 16 Register Early for Summer Art Camps 17 StoryQuest 17 Educator Appreciation Day

22 Spring into the Season with Art in Bloom 23 In Memoriam 23 NOMA Welcomes 2013 NVC Chair Carol Short 23 NOMA Contemporaries Select New Acquisitions 24 Trustees and Acknowledgments

17 Educator Workshops 17 Noontime Talks 17 Artist Perspectives

EXHIBITIONS

At Fontainebleau, circa 1865, Jules Dupré, Oil on canvas, Gift of Mr. and Mrs. Chapman H. Hyams, 15.12

R EIN V EN TING NAT U R E: A RT FROM THE SCHOOL OF FON TA IN EBLE AU The Forest of Fontainebleau became an experimental lab for picture-making in the nineteenth century. There, in the wilderness of varied terrain just forty miles southeast of Paris, French artists created prints, drawings, oil sketches, photographs, and paintings that challenged traditional conceptions of landscape depiction. Their work signaled a shift from an understanding of landscape as classical, idealized, and controlled to immediate, natural, and uncontrollable. Fontainebleau, with its unkempt oak forests, craggy boulders, and vast, rocky plains, was the perfect subject for these artists. Indeed, by the mid-nineteenth century, Fontainebleau had become so entrenched as a landscape subject that the words “Fontainebleau” and “nature” were almost interchangeable in the French language. This January, NOMA will present an exhibition that reconsiders the role of prints, drawings, and photographs in the reinvention of nature in the Forest of Fontainebleau.

This reinvention of nature in the artistic world coincided with—and was informed by—debates about the earth’s timeline. Beliefs that the earth had been created, cataclysmically, about 6,000 years ago were countered by geologists who proposed that the earth had developed gradually, over millions of years. This rapid expansion of the earth’s age had a profound effect on the human psyche: suddenly, our presence on earth was ripped from a position of great authority and tossed into the chasm of the growing geologic record, a very small speck in the deep sea of time. At the same time, nature, an ever-evolving, grand old entity, became the subject of greater respect and admiration. In artistic terms, the concept of the “ideal landscape” no longer seemed to make sense. Crooked trees, broken trunks, and moss-covered rocks became the new standard of beauty, as if to proclaim that nature, in all its imperfection, was already perfect.

This new conception of nature demanded new artistic practices that allowed for greater spontaneity and immediacy. The laborious practice of painting in the studio, away from the subject, was cast aside in favor of making studies directly from nature. These studies took many forms: oil sketches made en plein air (“in the open air”), chalk and charcoal drawings of intimate details, photographs that capture the dappled light filtering through the trees, and clichés-verre (a hybrid process that is part printmaking, drawing, and photography). Although these works were initially thought of as preparatory studies, ultimately they proved better suited to dynamic landscape compositions and were often exhibited as final works, and lauded by critics. Reinventing Nature: Art from the School of Fontainebleau will be on view in the Templeman Galleries from January 18 to May 17, 2013.

Russell Lord, Freeman Family Curator of Photographs

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M I K E P OS E Y P H OTO G R A P H Y

JOIN US!

PORTR A IT OF FA ITH: JOHN PAU L II IN LIFE A N D A RT The Archdiocese of New Orleans and the Museum of Biblical Art in Dallas, TX have collaborated to present an exhibition at NOMA entitled Portrait of Faith: John Paul II in Life and Art. Marking twenty-five years since Pope John Paul II’s historic visit to New Orleans in 1987, this exhibition celebrates his life through sculpture, photography, and video. Three American artists whose work illuminates Pope John Paul II’s relationship to art will be highlighted: Gib Singleton (American, b. 1936), Frederick Hart (American, b. 1943), and Fred Villanueva (American, b. 1973). Singleton, a sculptor who lives and works in Santa Fe, NM, is known for designing the crosier favored by Pope John Paul II. A selection of Singleton’s bronzes related to Pope John Paul II will be displayed. Hart is best known for his Creation Sculptures on the façade of the Washington National Cathedral and The Three Soldiers, a bronze sculpture commemorating the Vietnam War on the National Mall. Hart’s Cross of the Millennium, a sculpture created for and presented to Pope John Paul II in 1997, will be included in the exhibition. Fred Villanueva paints large canvases and murals that focus on saints, events from the Bible, and theological principles. Villanueva will present an

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original commissioned piece depicting Pope John Paul II along with Blessed Francis Seelos, Blessed Henriette Delille, the Venerable Sister Cornelia Peacock Connelly, Saint Frances Cabrini, Saint Rose Philippine Duchesne, and Saint Katharine Drexel. Central to the exhibition will be the Pope’s historic visit to New Orleans. Photographs by Mike Posey and Mitchel Osborne that chronicle various aspects of the visit will be on view. Memorabilia including his personal garments, liturgical objects, as well as especially produced china, and other items used by Pope John Paul II will be displayed. A film summarizing John Paul II’s life will be shown in the Stern Auditorium. Portrait of Faith: John Paul II in Life and Art offers both Catholics and non-Catholics a time to reflect on the faith of this beloved man and the art he inspired. Archbishop Gregory M. Aymond of New Orleans said, “The doors of the exhibition, like the arms of John Paul II, are open to people of all faiths.” Twenty-five years ago, New Orleans was honored to host Pope John Paul II. This spring, New Orleans will proudly host this Portrait of Faith. Portrait of Faith: John Paul II in Life and Art will be on view in NOMA’s second-floor galleries from March 8 to June 16, 2013. Scott Peck, Guest Curator

FRANK STELLA COMES TO NOMA

March 1 at 6 p.m. This year’s Donna Perret Rosen Lecture will feature American painter and printmaker Frank Stella. This event, in the Stern Auditorium, is included with museum admission.

ART CRITIC LINDA YABLONSKY TO SPEAK ON JIM RICHARD’S WORK

January 18 at 6 p.m. Prolific art and culture journalist Linda Yablonsky will give a lecture on Jim Richard’s work in the Stern Auditorium. Yablonsky, who wrote an essay on Richard’s work in 2008 entitled Jim Richard: Painting Once Removed, has also written for numerous national publications including Artforum, The New York Times Magazine, and W Magazine. 5

COLLECTIONS

R ECEN T ACQU ISITION: SK Y L A R FEIN’S R EMEMBER THE U PSTA IR S LOU NGE NOMA is pleased to announce the acquisition of Remember The Upstairs Lounge, a major installation by the New Orleans-based artist Skylar Fein. Originally presented in 2008 as part of the U.S. Biennial Prospect.1, the piece is remembered as one of the highlights of the biennial, and the artwork that launched Fein’s artistic career. The installation focuses on a 1973 arson fire at the Upstairs Lounge, a gay bar located in the New Orleans French Quarter, which claimed the lives of thirty-two people. The artist’s reimagining of the Upstairs Lounge honors the victims of the crime through photos, wall-texts, hand-fashioned memorabilia, paintings, invented artifacts, electric signs, a video, and a musical soundtrack. Fein’s Upstairs Lounge garnered acclaim from critics and the public for

many reasons. It presented film and photographic materials related to the bar and the fire that had never been shared publicly before (a product of Fein’s extensive archival research). The installation became a gathering place to memorialize this tragedy: survivors, friends and relatives of survivors and the deceased, witnesses, and participating firefighters came to pay tribute, a significant act considering that in 1973 press coverage of the event was shortlived, and the Catholic archdiocese banned its churches from holding funerals for the victims. The work also provoked discussion among its visitors for the complexity of the crime, which was an act of gay-on-gay violence (a man who felt slighted at the bar set the fire). Fein’s approach also infused the space with a degree of levity and satire,

capturing the saucy spirit of the original bar. His cutouts are full of references to gay popular culture (Burt Reynolds, rockers, sailors, and cops). Fein also inserted his own version of fictionalized narratives relating to specific objects, such his “Farnese Hercules.” This acquisition marks the second installation acquired by the museum, the first being Keith Sonnier’s Fluorescent Room, originally created in 1973 and reinstalled in the centennial exhibition NOMA 100: Gifts for the Second Century. These acquisitions have significantly bolstered the museum’s holdings, and have opened a new area of collecting for NOMA. Remember The Upstairs Lounge, 2008, Skylar Fein, Multimedia installation (92 pieces total): wood pieces screen-printed with latex, painted with acrylic, plexiglas, lights, film, paper 2,500 square feet when installed, Museum Purchase, 2012.86.

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CU R ATOR’S CHOICE: W ILLI A M FAGA LY When given the opportunity to write on my choice of an artwork to discuss in this column, I had little hesitation. Last year when NOMA was celebrating its centennial, Kent and Charles Davis generously offered the institution a magnificent birthday present, a standing male figure from the Mumuye peoples of Nigeria. While the museum had in its permanent collection a similar figure from these peoples of West Africa, it was not an outstanding example of their sculptural prowess. This benefaction has dramatically corrected that deficiency. The Mumuye are an elusive ethnic group living in the Benue River Valley of Eastern Nigeria near the border of Cameroon. Though their existence has been known since the late nineteenth century, the Mumuye have only been widely recognized and accepted as a named indigenous people since 1970, when Africanist Philip Fry identified a group of works as Mumuye. From the late 1960s to early 1980s UCLA scholar Arnold Rubin performed pioneering field work in the Benue River Valley, investigating the various peoples of the region and their artistic production. Unfortunately, his untimely death (coupled with unsettled conditions in Nigeria including the Biafran Civil War), left much valuable ethnographic data and information incomplete or lost to history. However, his notes and earlypublished findings have been invaluable in this regard. While carved wooden Mumuye figures take a variety of forms, NOMA’s sculpture stands out for its rarity and scale. Appreciably larger and with an

abstracted articulation of the human figure, sculptures of this mode are some of the most sublime creations of sub-Saharan artworks to Western eyes. This figure’s stance, four feet high, suggests a commanding presence. It is associated with the protective spirit of Va and other religious spirits, and also has relationships to diviners, rainmakers and elders. Our sculpture presents the human form through an arrangement of angles and curves that create a flow of counterpoint rhythms. The body slightly leans forward in a gentle arc. The attenuated torso and elongated arms are balanced by compressed hips and legs and a domed head, giving the sculpture a phallic form. A masterful combination of linear and sinuous silhouettes defines the limbs and implies motion. The sharp angles are offset by the dominant coiffure reminiscent of a warrior’s helmet, which is echoed in the rounded slopes of the shoulders and hips. Even the bowed protruding navel and the constricted face are in harmony with this three-dimensional composition of undulating forms. With deep gratitude to the Davises NOMA now has a superb, monumental Mumuye figure in its permanent collection. Other notable examples of this rare type are at the Metropolitan Museum of Art in New York, the British Museum in London, the Museum of Fine Arts, Houston and the Beyeler Foundation Museum in Basel, Switzerland. William Fagaly, Françoise Billion Richardson Curator of African Art

Standing Figure Mumuye Peoples, Nigeria Wood, Gift of Kent and Charles Davis, 2011.20

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COLLECTIONS

LIFE ON U TOPI A PA R K WAY: THE WOR LD OF JOSEPH COR N ELL

SEE YOU AT THE FA IR …

J U DY C O O P ER

Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851-1939, will include approximately 200 examples of decorative arts produced by leading international manufacturers and artisans for World’s Fairs from 1851-1939. These works showcase the technological and scientific invention, cross-cultural influence, national pride, modernism and historicism that defined the world’s fairs. New Orleans is the only venue that hosted two expositions, in 1884 and 1984. The above candelabra, featured in the exhibition, come from NOMA’s permanent collection. Produced by the Haviland firm in 1852-53, these gilded pieces exemplify the Francophilia that had taken over the United States in the mid-nineteenth century, and reflect the ostentation of the Louis XV Rococo Revival of the day. This exhibition will be on view at NOMA from April 12 – August 4, 2013, and is organized by the Carnegie Museum of Art, Pittsburgh, and The Nelson-Atkins Museum of Art, Kansas City.

In the second floor Entergy Gallery, NOMA recently unveiled a new installation of a substantial number of works by Joseph Cornell. Associated with the Surrealist movement of the 1930s and 40s, Cornell (1903-1972) was known for his whimsical assemblage boxes, collages, and experimental films. Despite being a well-regarded artist by the 1950s, he maintained a quiet, hermit-like existence. Focused on collecting antique books, postcards, and other printed material, Cornell created eerie fantasy worlds inspired by ballerinas, fairy tales, the natural world, and children’s toys. Cornell was born in South Nyack, New York to an upper-middle class family. The oldest of four children, he had little interest in art as a child, and would not create art until he was in his late twenties. Instead, he chose to immerse himself the fantasy of books, and spent hours alone in his bedroom, wrapped up in the fairy tales of Hans Christian Andersen and the Brothers Grimm. In 1917, Cornell’s father passed away, leaving behind a large amount of

debt. The family moved to Queens, New York, and as the oldest, Cornell quickly felt responsible for his mother and siblings—especially his brother, Robert, who was born with cerebral palsy. The two brothers were very close and shared a love of toys and games, and Cornell later incorporated Robert’s drawings in several of his artworks. The withdrawn Cornell, obligated to his mother and brother, spent the majority of his life in his mother’s home on Utopia Parkway in Flushing, Queens. After four years at Phillips Academy in Andover, Massachusetts, Cornell returned home and became a textile salesman. During this period, he spent a great deal of time exploring New York City, attending movies, plays, and the opera, and frequenting antique stores and book shops. He also began collecting objects and ephemera that would eventually go into his signature assemblage pieces: everything from toys and watch parts to ticket stubs and postage stamps, all carefully filed. “Everything can be used,” Cornell said once, “but one doesn’t know it at the time. How does one object know what a

Untitled (Romantic Hotel, “Chiarina”), c. 1954; Joseph Cornell; American, 1903-1972; Wood, paint, paper collage; Gift of the Joseph and Robert Cornell Foundation, 93.250

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certain object will tell another?”1 The work shown here, Untitled (Romantic Hotel, “Chiarina”), c. 1954, is part of Cornell’s “Hotel” series, and contains many clues to its possible meaning. The word “Chiarina” points us to the nickname of Clara Weick, pianist and wife of Robert Schumann, a nineteenth-century German composer whose music Cornell greatly admired. Schumann composed in a “Romantic” style, thus giving a double meaning to the word “Romantic” in the box’s title. The happy couple in Cornell’s collage capture a moment in time when lovers are at peace, and possibilities of travel and adventure hover above them. Although he never traveled there, many of his works evoke a deep sense of nineteenth century Europe. Cornell’s imagination, rich with details from the books he read, was able to create unique microcosms of seemingly unrelated objects that in union could transport the viewer to an exotic place. The motifs in his constructions display the escapism of a fantastic dreamer who admired beauty from afar, and whose complicated home life fueled a desire to seek out a utopian world. Before his death, Cornell laid the groundwork in his will for the Joseph and Robert Cornell Foundation, dedicated to honoring the memory of his brother and aiding charitable organizations. From 1993 to 2002, the Foundation donated twenty-one Cornell artworks to NOMA, on the advice of curator Walter Hopps, and the encouragement of Fritz Bultman, a famed New Orleans abstract expressionist painter, and his sister, the art patron Muriel Bultman Francis. NOMA was one of six museums in the U.S. to receive works from the Foundation, whose gift marked a significant addition to the museum’s holdings in modern art.

SU R R E A LIST PHOTOGR A PH Y NOW ON V IEW In the newly renovated second floor galleries, behind the room of works by Joseph Cornell, curator of photographs Russell Lord has presented a selection of Surrealist photography from NOMA’s permanent collection. These photographs invite the viewer to consider the role of the female form in photography in the 1930s and 40s. Dolls or mannequins are juxtaposed with real bodies (in works by Ralph Steiner and Werner Rohde), and women are presented in almost funereal settings or dreamscapes (Ilse Bing and František Vobecký) or confined to the rigid structures of geometry (Joost Schmidt). These works range from works of

avant-garde art or design to fashion or advertising images. This intense and often unsettling focus on the female form has led many scholars to see the Surrealist movement as reinforcing traditional patriarchal conceptions of women. Recently, however, scholars have begun to reconsider the role of women in Surrealism, examining how female artists presented themselves and others in works that challenge traditional conceptions of femininity. This gallery allows visitors to explore modern photography in the context of Surrealist and Modern painting and sculpture in the adjacent galleries.

Deluge, 1937; František Vobecký; Czech, 1902-1990; Gelatin silver print Museum purchase, 1977 Acquisition Fund Drive, 77.43

1. The Museum of Modern Art, “Joseph Cornell,” MoMA 16 (Autumn 1980): 1-2, http://www.jstor.org/stable/4380842

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Cities of Ys HOW A LOCAL TRIBE AND ONE ARTIST ARE SEARCHING FOR LEGENDS AND SHIFTING TRADITIONS

The New World, 2007, Camille Henrot View of the exhibition The New World at Musée des Beaux-Arts de Bordeaux, France

When Congress passed the Indian Removal Act in 1830, most of the Native Americans living in the Southeast were forced off their homelands and relocated to “Indian Territory” in present day Oklahoma. In Louisiana, the few who stayed behind managed to survive by not drawing attention to each other. In November 2011, French artist Camille Henrot (born 1978, lives in New York) visited southern Louisiana and met with Houma tribe members and scholars of Houma culture. These meetings sparked a concept for an exhibition that will debut at NOMA this fall. In her installation, Henrot will look to the Houma tribe as a case study for artistically exploring issues of acculturation and the erasure of communal memory. “What interested me about the Houma,” Henrot explained, “was that after the Indian Removal Act, they were given the choice to move to a reservation and maintain their own culture, but instead they decided to stay and continue to live in their homes as a community, even though it meant they would lose their identity as Native Americans.” Henrot is best known for her video and installations, which combine drawings, music, and at times photography and sculpture. After intensely researching a topic, she often uses a constellation of images from both academic and popular sources to express a theme. In The New World, the installation shown to the left, Henrot presented an abstract interpretation of the architect Yona Friedman’s apartment. Using a rich, symbolic language, Henrot deconstructed the space into an archaeological site of creative thinking. In The Cages, shown on page 13, Henrot suspended the empty cages from the ceiling, and suggesting them as arbitrary forms of cultural categorization and as a potent metaphor for entrapment. This installation was part of the major exhibition Elles at the Centre Pompidou in Paris. In her installation at NOMA she will draw a parallel between the legendary, submerged city of Ys in Brittany, France, and the disappearing wetlands occupied by the Houma Indians (historically a French-speaking tribe in Louisiana). In Brittany, the legendary city of Ys was a luxurious coastal city protected by a seawall. In some iterations of the story, Princess Dahut of Ys, convinced by a foreign knight, stole the key to the floodgate from her father, King Gradlon. As a result of her transgression, the floodwalls collapsed and Ys was submerged underwater. However, the legend adds that the city continues to exist under the waves, and its church bells can be heard when sailing over it on Christmas Eve. “Henrot is interested in the recurring concept of women who have sought relationships outside their own cultures, thereby leading their people to trouble or disaster,” curator of modern and contemporary art Miranda Lash noted. La Malinche, the sixteenth-century Nahua lover and advisor to the Spanish conquistador Hernán

Basket with Handles, 1998-99; Janie Luster (Houma, contemporary); Palmetto; Promised Gift of Mercedes Whitecloud

“. . . they decided to stay and continue to live in their homes as a community, even though it meant they would lose their identity . . .”

Cortés, is perhaps the most famous historical example of a so-called cultural “traitor.” Today, the Houmas are seeking to become a federally recognized tribe by the United States government. However, part of their struggle is to prove their Native American status, which is complicated by the fact that for generations Houma women have intermarried with European and American colonists, and adopted French as their language. “This idea of mixed lineages was very interesting to me,” Henrot said. “It’s something I think you could consider a strong part of [the Houma] identity, and not something negative that is taking their identity from them.” Henrot’s approach centers on the evolution of legends, which are passed down from one generation or culture to the next, changing as information is added or lost. Henrot’s project aims to tackle the challenges that occur in the retelling of stories, acknowledging that loss is part of the creative process. NOMA has a direct connection to the Houma’s efforts to recover their culture. Half-hitch coiling, which originated in pre-conquest Mexico, is one of the most complicated basket weaving styles. At one time the Houma people were the only Native Americans north of Mexico to produce this kind of basket. By the mid 1980s, the last Houma who knew how to weave half-hitch baskets had died decades before. It thus became essential to take action to prevent the permanent extinction of this custom. In 1984, Richard Conn, then curator of Native American art at the Denver Art Museum (DAM), was at NOMA for an exhibition of Plains Indian art entitled Circles of the World. Paul Tarver, NOMA’s curator of Native American art remembers their conversations: “During the exhibition we spoke often of the growing effort of Native Americans to reclaim their culture. Conn was particularly interested in the plight of the Indians of the Southeast.” Conn had an idea: the DAM owned a damaged Houma half-hitch basket. If the DAM would allow him and if the Houma would accept him, he could use the basket to teach the Houma the technique. Both things happened and Conn spent several days at the community center in Golden Meadow, LA, un-weaving and re-weaving the broken basket; teaching the Houma their lost tradition. One of the best Houma weavers to emerge from his instruction was Janie Luster, who now teaches the next generation of Houma half-hitch basket makers. One of Luster’s exquisite oval shaped half-hitch baskets is presently on loan from the Mercedes Whitecloud collection, on display in NOMA’s Native American gallery, evidence of a culture that struggles to reclaim itself. Camille Henrot’s exhibition will be on view at NOMA from September 27, 2013 to February 23, 2014 in the Frederick R. Weisman Galleries.

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Above The Cages, 2009, Camille Henrot, Wood and steel cages View of the exhibition Not to die twice at Centre d’art Le Lait, Castres, Collection of Musée National d’Art Moderne Centre Pompidou, Paris

Right Janie Luster, Houma basket weaver

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VISIT

FAMILY MEMBERSHIP SPECIAL!

NOMA’s exhibition Lifelike is an engaging experience for all members of the family. To celebrate the Lifelike presentation, the museum is offering a special discount on Family Memberships! For a limited time, use the code LIFELIKE18 when purchasing a Family Membership and receive 18 months for the price of 12! Use the code online at www.noma. org, or over the phone by calling (504) 658-4130. This offer ends when Lifelike closes on February 3, 2013. Remember, memberships make great gifts, too!

Save the Date

N EW M USEU M

MINI M A STER S:

HOU R S

E A R LY CHILDHOOD

Beginning January 1, 2013: Tuesday, Wednesday, and Thursday: 11 a.m. - 6 p.m. Friday: 11 a.m. - 9 p.m. Saturday and Sunday: 11 a.m. - 5 p.m.

Holiday Schedule: New Year’s Eve and New Year’s Day: 12 p.m. - 5 p.m. Easter Sunday, 3/31: 12 p.m. - 5 p.m. Memorial Day, 5/27: 12 p.m. - 5 p.m. July 4: 12 p.m. - 5 p.m. Labor Day, 9/2: 12 p.m. - 5 p.m.

Closed Holidays: Martin Luther King Day, 1/21 Lundi Gras, 2/11 Mardi Gras, 2/12 Thanksgiving Day, 11/28 Christmas Day, 12/25

THE LOUISIANA IRIS RAINBOW FESTIVAL Spring is just around the corner, so be sure to mark your calendars for the annual Louisiana Iris Rainbow Festival. This year’s festival, brought to you by NOMA and the Greater New Orleans Iris Society, will be on April 6 and as always, will feature food, live music, art activities, and more!

NOMA is starting off the new year with new hours of operation! The museum is now open until 6 p.m. during the week, which means you can visit the museum at the end of your day and experience great art. NOMA is open until 9 p.m. on Fridays, when live music, art making activities, curatorial tours and more are featured.

A RTS IN TEGR ATION NOMA is delighted to introduce Mini Masters, an innovative early childhood learning pilot program. This new collaboration unites several community organizations to provide visual arts instruction for preschool students ages three and four. NOMA, the Bayou District Foundation, Kingsley House, and the Tulane University Teacher Preparation & Certification Program have developed a unique partnership, drawing on the strengths of each organization. Pre-K instruction presents a bold new direction, and the collaborative nature of Mini Masters could prove to be a model program for early learning initiatives in other communities. Stay tuned for more program updates as Mini Masters continues throughout the school year.

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COMM U NIT Y PA RTN ER SHIPS

Four-year-old Persephone Everpax and her father, Bart Everson, visit NOMA most Friday nights and hate to miss a week. “When Persephone can’t come on Friday nights she always wonders what art activity she is missing,” Bart says. There is always something different happening at the art activity table, thanks to the variety of art teachers that offer hands on projects on Friday nights. These partnerships began when NOMA’s Department of Interpretation and Audience Engagement invited community art organizations to design and oversee interactive art experiences during the popular Friday evening programs. The talented guest art teachers provided fresh perspectives on NOMA’s collection, which encouraged NOMA to expand the partnerships to summer art camps. In addition to visual art classes, NOMA’s 2012 summer offerings included theater classes led by KID smART artist Andrew Vaught, and photography and puppetry classes led by Young Audiences teachers Valorie Palmer and Noel Bennetto. These additional camp sessions enhance summer programming and enable the museum to offer a full day of art camp for students while providing summer employment for art teachers. Working with local theater companies like Skin Horse Theater and the NOLA Project, NOMA offers interactive readings of selected stories in StoryQuest, a new family program. “It is exciting to apply our performance

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skills to children’s literature and interact with NOMA’s young visitors,” says Vernonica Hunsinger-Loe of Skin Horse Theater. “Our troupe believes in theater as a holistic experience and we love to perform in inspiring settings, so partnering with NOMA matches our mission.” Amanda LaPlaca, a KID smART teaching artist in visual art, works with fourth and seventh grade students at KID smART’s after school enrichment program during the week, and leads Studio KIDS! art classes at NOMA on Saturday afternoons. “I have never been more inspired than when I teach in a museum setting!” Amanda says. She often includes pieces from the museum’s collection in her teaching outside of NOMA as well, because she wants students to visit the museum and “build a dynamic relationship” with the work. Partnerships enable NOMA to present a diverse spectrum of classes and activities for visitors. Guest teachers benefit by becoming familiar with NOMA’s collection, which they often incorporate into their lessons at local schools. “We love the creative connections our arts partners bring to the permanent collection,” says Allison Reid, NOMA’s Director of Interpretation and Audience Engagement. “Community partnerships like these enable us to provide more opportunities for museum visitors to engage with works of art.”

P H OTOS ELIS E S O LO M O N A N D G R AC E WILS O N

EN R ICH THE NOM A EX PER IENCE

LEARN

P H OTOS J U DY C O O P ER A N D G R AC E WI LS O N

SPRING 2013: MOVIES IN THE GARDEN

GET CREATIVE WITH STUDIO KIDS!

NOMA and the New Orleans Film Society are kicking off the Spring 2013 Movies in the Garden series on March 8 with the fairy tale comedy The Princess Bride. The series will continue on April 19 with Meet Me in St. Louis, starring Judy Garland as NOMA celebrates the exhibition Inventing the Modern World: Decorative Arts at the World’s Fairs. The final film of the series is Beasts of the Southern Wild, which will screen on May 17. As always, each evening will have live music, art making activities, tours, and food available for purchase. The activities and programs will start at 5 p.m. with each screening beginning at sundown. Admission is $6 for adults and $3 for NOMA members and children (7 - 17). Children 6 and under are free. Admission to the museum ($10 for adults, $6 for children, 7 - 17) grants guests access to both the building and the Sculpture Garden.

Art classes for students ages 5 – 12

Please visit noma.org for more, up-to-date, information.

Learn about art from around the world at NOMA’s Studio KIDS! Class projects are inspired by works of art from NOMA’s permanent collection and traveling exhibitions. The art studio is conveniently located with its own courtyard entrance. Classes are limited to fifteen students and are led by KID smART certified teaching artist Amanda LaPlaca. Cost: $100 per child for NOMA members. $120 per child for non-members. Call 658-4128 or email education@noma.org to register or for more information.

Saturdays, January 12 – February 2 Tickle your Funny Bone Laughter is a universal language. Artists employ humor to connect with viewers in new and surprising ways. Create works in a variety of media that “make ‘em laugh.”

Saturdays, February 16 –March 9 King for a Day Kings and queens are tastemakers who have inspired artists throughout the years. Students reign as they create portraits, art objects and costumes that celebrate all things royal. Ages 5 – 8: 12:00 – 2:00 p.m. Ages 9 – 12: 2:30 – 4:30 p.m.

REGISTER EARLY FOR SUMMER ART CAMPS Come join us in the studio and on the stage! Half and full day camps offered weekly June 3-28 and July 8-August 2 for children ages 5-8 and 9-12. Topics include painting and drawing, sculpture, printmaking, cartooning, theater, costuming, puppetry and more. Priority registration for members begins February 15. Visit www.noma.org for more information.

Ages 5 – 8: 12:00 – 2:00 p.m. Ages 9 – 12: 2:30 – 4:30 p.m.

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STORYQUEST Professional authors, actors, and artists bring the world of children’s literature to NOMA in this family series. StoryQuest begins with interactive readings of selected stories. Afterwards, families explore the museum in search of related works of art.

Saturdays, 11 a.m., Museum Shop

EDUCATOR APPRECIATION DAY

Saturday, January 12 Teachers get in FREE! On this special day, bring your valid school ID or current school check stub and receive FREE admission to NOMA for you and up to three family members. NOMA appreciates the hard work and dedication of educators.

Twelfth Night January 12 with Professor Carl Nivale (Vatican Lokey)

It’s Carnival Time January 26 with Grand Marshall Mardi Gras (Edward R. Cox)

Pablo Picasso February 16 with actress Jessica Lozano of Cripple Creek Theatre Company

Color March 9 with actress Monica Harris of Cripple Creek Theatre Company

Andy Warhol March 23 with actress Francesca McKenzie of Cripple Creek Theatre Company

EDUCATOR WORKSHOPS Bring art into your classroom with lessons inspired by NOMA’s permanent collection and temporary exhibitions. Lesson plans, worksheets, images, classroom activities, and a museum tour are provided. Our workshops make it easy to fulfill Act 175 requirements and integrate visual art in your curriculum. Come early at 4:00 p.m. to enjoy refreshments and exchange ideas with colleagues.

Inspired by New Orleans: Local Artists in NOMA’s Collection

Wednesday, January 23 4:30 - 6:30 p.m.

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NOONTIME TALKS

Wednesdays in January, 12 p.m. Join us for Noontime Talks in NOMA’s galleries, in which NOMA’s curators briefly discuss works in current exhibitions. Wednesday is NOMA’s free day, so come to the museum and learn something new!

Anne C.B. Roberts January 2 on Ida Kohlmeyer

William Fagaly January 9 on Ida Kohlmeyer

Miranda Lash January 16 on Lifelike

Paul Tarver January 23 on Lifelike

Lisa Rotondo-McCord January 30 on Ai Weiwei

ARTIST PERSPECTIVES Dan Tague January 11, 6-7 p.m. Maxx Sizeler January 25, 6-7 p.m. In Artist Perspective lectures, NOMA invites artists to the museum to give visitors their point of view. In January, artists Dan Tague and Maxx Sizeler will discuss the works in Lifelike. 17

DONORS The New Orleans Museum of Art gratefully acknowledges our donors. We appreciate your continued support of NOMA and its mission. Thank you!

NOMA BUSINESS COUNCIL as of December 15, 2012

Centurion Foundation and Government Support

Corporate and Individual Support

$500,000 and above

$100,000 and above

The Gulf Tourism and Seafood Promotional Fund Patrick F. Taylor Foundation Zemurray Foundation

Sydney and Walda Besthoff

$200,000 - $499,999

Jolie and Robert Shelton and International Well Testers Inc.

The Azby Fund Helis Foundation

$150,000 - $199,999 The Institute of Museum and Library Sciences

$100,000 - $149,999 The Collins C. Diboll Foundation

$50,000 - $99,999 Lois and Lloyd Hawkins Jr. Foundation The New Orleans Convention and Visitors Bureau Edward Wisner Donation

$20,000 - $49,999 The Bertuzzi Family Foundation Friends of the Collectors – Japanese Textiles The Harry T. Howard III Foundation The Louisiana Division of the Arts The Lupin Foundation National Endowment of the Arts The Selley Foundation State of Louisiana Office of the Lieutenant Governor The RosaMary Foundation The Andy Warhol Foundation for the Visual Arts

$10,000 - $19,999 Libby Dufour Foundation Étant Donnés, The French American Fund for Contemporary Art Goldring Family Foundation Eugenie and Joseph Jones Family Foundation The New Orleans Jazz and Heritage Festival and Foundation Ruby K. Worner Charitable Trust

$50,000 - $99,999 Donna Perret Rosen and Benjamin M. Rosen

$20,000 - $49,999

International-Matex Tank Terminals

Platinum Superior Energy Services, Inc.

Gold Chevron

Sapphire Bayou Lacombe Construction Company

Green

Anonymous Donor Chevron Richard C. Colton Jr. Diane Genre IBERIABANK Liberty Bank and Trust Peoples Health Superior Energy Services Inc. Whitney Bank

Boh Bros. Construction Company, L.L.C.

$10,000 - $19,999

President’s Circle

Garden Study Club Adrea D. Heebe

Mr. and Mrs. John D. Bertuzzi

Gulf Coast Bank & Trust Company Hotel Monteleone

NOMA CIRCLES as of December 15, 2012

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

In-Kind Corporate Donations

Mr. and Mrs. David F. Edwards

$50,000 - $74,999

Mr. and Mrs. Stephen A. Hansel

Dr. and Mrs. Ludovico Feoli

Sheraton New Orleans Hotel

Ms. Adrea D. Heebe and Mr. Dominick A. Russo Jr.

$20,000 - $49,999

Mrs. Paula L. Maher

The Ralph Brennan Restaurant Group Landis Construction

Mr. and Mrs. Charles B. Mayer

$5,000 - $9,999 American Aquatic Gardens Soniat House Hotel

$1,000 - $4,999 Kentwood Spring Water Christie’s Fine Art Auctioneers Dooky Chase’s Restaurant Degas House

Mrs. Robert Nims Jolie and Robert Shelton Mr. and Mrs. Stephen C. Sherrill Mrs. Patrick F. Taylor

Director’s Circle Mrs. Jack R. Aron Mr. Justin T. Augustine III The Booth-Bricker Fund Mr. and Mrs. Daryl G. Byrd

As of December 15, 2012

Mr. and Mrs. Thomas B. Coleman Mr. Leonard A. Davis Mr. and Mrs. H. M. Favrot Jr.

For additional information on exhibition sponsorship and program support, please contact the museum’s Department for Development and External Affairs at (504) 658-4107.

Mrs. Lawrence D. Garvey Mrs. JoAnn Flom Greenberg Mr. Jerry Heymann

Arts Quarterly New Orleans Museum of Art

Ms. Kay McArdle

Dr. Edward D. Levy Jr.

Mr. and Mrs. Michael D. Moffitt

Mr. and Mrs. J. Thomas Lewis

Dr. Howard and Dr. Joy D. Osofsky

Dr. and Mrs. E. Ralph Lupin

Mr. and Mrs. Robert J. Patrick

Mr. and Mrs. Paul J. Masinter

Mrs. Charles S. Reily, Jr.

Mr. and Mrs. R. King Milling

Mr. and Mrs. Benjamin M. Rosen

Mrs. Ellis Mintz

Ms. Debra B. Shriver

The James R. Moffett Family Foundation

Mr. and Mrs. Bruce L. Soltis Margaret B. and Joel J. Soniat Mrs. Harold H. Stream Jr. Mr. and Mrs. Robert S. Taylor Mr. and Mrs. Robert E. Thomas

Patron’s Circle

Robert and Myrtis Nims Foundation Dr. Andrew Orestano Dr. and Mrs. James F. Pierce Mr. and Mrs. James J. Reiss Jr. Dr. and Mrs. Edward F. Renwick Mr. and Mrs. George G. Rodrigue

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

Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. Robert H. Boh

Mr. and Mrs. Michael J. Siegel

Mr. E. John Bullard III

Mr. and Mrs. Lynes R. Sloss

Dr. and Mrs. Isidore Cohn Jr. Mrs. John J. Colomb Jr.

Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Jr.

Mr. and Mrs. Prescott N. Dunbar

Mrs. Frederick M. Stafford

Mr. and Mrs. Timothy B. Francis

Dr. and Mrs. Richard L. Strub

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Stephen F. Stumpf Jr.

Mr. and Mrs. Edward N. George

Mr. and Mrs. James L. Taylor

Mr. and Mrs. Erik F. Johnsen

Ms. Catherine Burns Tremaine

Mr. Henry M. Lambert and Mr. R. Carey Bond

Mrs. Hendrik Willem van Voorthuysen

Mr. and Mrs. H. Merritt Lane III

Mrs. John N. Weinstock

Mr. Paul J. Leaman Jr.

Mrs. Henry H. Weldon

Mr. and Mrs. Thomas B. Lemann

Mr. and Mrs. Douglas Brent Wood

PAT RI C K BAT ES

Mr. and Mrs. Edward Shearer

NOM A R ECEI V E S GR A N T FOR M A R K ETING A N D PROMOTIONS As part of the $57 million Gulf Tourism and Seafood Promotional Fund – established to support Gulf Coast areas impacted by the Deepwater Horizon oil spill – NOMA will receive a two-year grant ($500,000 each year) to increase the museum’s visibility both regionally and nationally. Through this Promotional Fund, the museum will have the resources to implement a comprehensive media and marketing strategy. NOMA will use this generous award to advance the profiles of the museum and Gulf Coast through a cultural traveler programming initiative, which will attract increased regional and national audiences to the museum and region over the next twenty-four months. NOMA’s cultural traveler initiative will also deepen visitors’ understanding of the singular, profound and rich cultural history of New Orleans and the ways the city has served as an inspiration for artistic creation. “I am pleased that NOMA has been given this unique opportunity to expand its outreach and attract new audiences,” said NOMA Director Susan M. Taylor. “New Orleans is a cultural ecosystem, a source of inspiration to artists across all disciplines. With this grant, NOMA will continue to engage our audiences in new ways.” Over the next two years, NOMA will use this distinctive funding opportunity to expose audiences to the myriad of programs and exhibitions that the museum has to offer. Patrick A. Juneau, the Deepwater Claims Administrator, presented checks to all grant recipients in New Orleans at a ceremonial award presentation on Thursday, December 6, 2012 in NOMA’s Stern Auditorium.

Left to Right Kay McArdle, Elizabeth Ryan, Brenda Moffitt, Cammie Mayer, Patrick A. Juneau, Susan M. Taylor, Edgar L. Chase III.

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PARTICIPATE

LOV E IN THE GA R DEN A N D ODYS SEY B A LL : PA RTIE S FOR A CAUSE

On September 28, 2012, NOMA ushered in the fall social season with the eighth annual LOVE in the Garden celebration. Held under the gorgeous oak canopy of the Sydney and Walda Besthoff Sculpture Garden, the party hosted over 1,000 NOMA devotees who joined co-chairs Margaret Jones and Karen Gundlach for a delightful evening of dining and dancing among the art by some of the world’s greatest artists. Attendees enjoyed delectable cuisine from over forty of the city’s finest restaurants and caterers, and listened to the musical talents of Sasha Masakowski and John Boutté. The 610 Stompers also brought some extraordinary moves to the Garden, and DJ Soul Sister spun the funk to keep the party going.

In keeping with recent tradition, the annual celebration honored local artists whose work and lives have made a contribution to our city. The 2012 LOVE honorees—George Dunbar, Rashida Ferdinand, Mitchell Gaudet, Miranda Lake, and George Schmidt—were recognized by NOMA Director Susan M. Taylor at a ceremony during the evening while a visual tribute to their work was projected on the Garden walls for all to admire. On November 10, 2012, art lovers filled NOMA for Off the Wall: the 2012 Odyssey Ball. The forty-seventh annual gala celebrated the opening of Lifelike, a spectacular exhibition featuring an international, multigenerational collection of renowned artists who Arts Quarterly New Orleans Museum of Art

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transform everyday objects into compelling and exciting art. Under a towering canopy of enormous white balloons, Melanee and Steven Usdin, chairs of the event, and Susan M. Taylor welcomed guests into the Great Hall. Heartland, an eight and a half foot tall bronze milk carton by Jonathan Seliger, sat on the landing of the Grand Staircase, and set the stage for the uncanny realism of the works in Lifelike. The Ralph Brennan Restaurant Group treated ball-goers to a decadent feast, and “BRW” – the fabulous Motown nine piece orchestra – rocked the Great Hall until the very end, when late night revelers were treated to a midnight breakfast. A fabulous silent and live

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auction and, of course, great art were all part of the festive evening. Guests at both parties came out in droves to advocate art and art education initiatives at NOMA. This year’s LOVE raised over $82,000, and the Odyssey Ball brought in over $390,000. Funds raised from these events directly helps to support NOMA in its mission of presenting excellent art, and educating the public through diverse programs and exhibitions. Special thanks to the Lupin Foundation and Peoples Health for generously underwriting the Odyssey Ball and to IBERIABANK for sponsoring the VIP Brillo Pad Lounge.

ODYSSEY BALL 1. Mayor Mitch Landrieu, Cheryl Landrieu, Susan M. Taylor, Paolo Meozzi, Odyssey Ball Chairs Melanee and Steven Usdin 2. Daryl Byrd, Cammie Mayer, Brent Wood 3. Edgar L. Chase III, Leah Chase. Susan M. Taylor 4. Auction Co-Chair Lisa Brooking 5. Live auctioneers Mark Romig, Camille Whitworth 6. Jolie and Robert Shelton, Elizabeth Ryan 7. Helen Gillet LOVE IN THE GARDEN 8. Ralph and Pam Lupin, and Sydney and Walda Besthoff 9. Karen Gundlach, Chet Pourciau, Margaret Jones 10. Rashida Ferdinand, George Dunbar, Miranda Lake, George Schmidt, Mitchell Gaudet 11. 610 Stompers

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PARTICIPATE

Left to Right Home and Art Tour, NOMA Egg Hunt, Art In Bloom

N VC HOME A N D A RT TOU R On March 9, 2013, the picturesque Garden District will be the locale of the 2013 NVC Home and Art Tour. Event co-chairs Carol Hall and Pam Rogers have definitely raised the bar this year to plan the perfect event for art and architecture lovers. Guests also have the option to arrive in style, skip the line, and dine in a luxurious manor. For the first time, the event will offer special ticket categories and sponsorship opportunities with a myriad of choices including priority entrance, limousine service, lunch, and a tour of a VIP home. Whether your favorite architectural style is Southern Colonial, Neoclassical, Georgian, Mediterranean or Tudorinspired, there is something for you to enjoy on this tour. The art collections promise to be as eclectic as the homes. Participants are free to create their own schedules, and visit the homes between 10:30 a.m. and 3:30 p.m. NVC volunteers will greet participants at each home and provide historical information. Visitors

can enjoy light refreshments and indulge in a little retail therapy at the NVC boutique featured at one of the homes. The 2013 NVC Home and Art Tour is sponsored by Jeri Nims.

NOM A EG G H U N T Mark your calendars now for March 16, 2013 and plan to hop on over to the Sydney and Walda Besthoff Sculpture Garden for NOMA’s annual rite of spring – the NOMA Egg Hunt. For the third consecutive year, the joyful celebration is in the capable hands of our co-chairs Petra Guste and Angél Junius. The dynamic duo invites you to join them and hundreds of excited children and their families for a fun-filled day featuring egg hunts, a petting zoo, spacewalks, face painting, balloon making, arts and crafts activities and, of course, a visit from the Elmer’s Easter Bunny. The 2013 NOMA Egg Hunt is sponsored by Catherine Burns Tremaine.

SPR ING IN TO THE SE A SON W ITH A RT IN BLOOM NOMA and the Garden Study Club of New Orleans are excited to host Art in Bloom, “Celebrating Steel Magnolias” on March 20-24, 2012. This annual fundraiser, underwritten by Whitney Bank, will feature over seventy-five exhibitors, including floral designers, garden clubs, and artists who will create and display floral works of art that complement the museum’s own masterpieces. The Patron and Preview Party will feature a silent auction of unique works of art, and the culinary talents of some of New Orleans’ finest restaurants and caterers. Other highlights of the week include a lecture by author and garden historian Susan Haltom, and a Saks Fifth Avenue fashion show and catered lunch held at the Pavilion of the Two Sisters. Proceeds from Art in Bloom benefit NOMA’s educational programs and exhibitions and the Garden Study Club’s various community projects.

For tickets and information on these events, visit www.noma.org or call the NVC office at (504) 658-4121.

Arts Quarterly New Orleans Museum of Art

IN MEMOR I A M NOMA was recently saddened by the passing on December 8, 2012 of one of the museum’s beloved volunteers. Charlie Mims was a volunteer for thirty-two years, and often played piano in the Great Hall for visitors. He was Volunteer of the Year in 2008, and continued to serve until he was 91 years old. Monique Tourres, NOMA’s Volunteer Coordinator said, “Charlie always had a smile on his face, and his presence behind the piano added warmth and cheer to the Great Hall on Sunday afternoons. He will certainly be missed.”

Save the Date: FELLOWS DINNER The Fellows Dinner is an annual event that honors NOMA’s Circles and Fellows members. This year’s dinner will be held on March 2, 2013.

Arts Quarterly New Orleans Museum of Art EDITOR

Taylor Murrow ART DIRECTOR

Aisha Champagne PRINTING

DocuMart Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124 © 2013, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

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NOM A CON TEMPOR A R IE S SELECT N EW ACQU ISITIONS

NOM A W ELCOME S 201 3 N VC CH A IR CA ROL SHORT The NOMA Volunteer Committee (NVC) proudly welcomes Carol Short as 2013 NVC Chair. Fundraising is always NVC’s primary goal, but Carol states her special interest is “… to invite and welcome new members to NVC…and to grow the legacy of the NVC, which for so many years has so proudly supported the museum.” Short serves as the Associate Director of the University of New Orleans Transportation Institute, where she has been an advocate for education, workforce development and community outreach. The year marks Short’s 20th anniversary of involvement at NOMA, which began when, after her first UNO art appreciation class, she went directly to NOMA and volunteered. As an NVC member, she has also served as Publications Co-Chair. Short’s talent of engaging others in accomplishing a shared goal, has been proven at NOMA, in her work at UNO, and in her civic involvement. Short was 2012 Chair of the Louisiana Center for Women & Government, and has been active in several cultural organizations, of which she counts NOMA as her favorite. NOMA thanks Short for offering her leadership talents and time to the NVC in 2013! Laura Junge Carman, NVC Publications Committee

The NOMA Contemporaries recently selected their first acquisitions of contemporary art for the museum: an oil painting on canvas by Brooke Pickett, entitled North Towards Home, and a three-part video installation by Derek Larson: Fountains of Youth, Sent from my iPhone, and Waste is All We Have. Want to help select the next contemporary art acquisition for NOMA? Join the Contemporaries! Upcoming events include a private reception with art critic Linda Yablonsky, and a day trip to view a private art collection and more in April. To participate, NOMA Contemporaries contribute $1,000 in addition to museum membership. For more information please contact nomacontemporaries@noma.org or call (504) 658-4138.

North Towards Home, 2005 Brooke Pickett Oil on Canvas

2012 BOARD OF TRUSTEES

Kitty Duncan Sherrill

Mrs. Charles B. Mayer President

Mike Siegel

Sydney J. Besthoff III Vice-President

E. Alexandra Stafford

Mrs. Lynes Sloss

Mrs. Richard L. Strub

Julie Livaudais George Vice-President

Robert Taylor

E. Ralph Lupin, MD Vice-President

Brent Wood

Timothy Francis Secretary Ms. Kay McArdle Treasurer Justin T. Augustine III Mrs. John Bertuzzi Dr. Siddharth K. Bhansali Susan Brennan Kia Silverman Brown Robin Burgess Daryl Byrd Mrs. Mark Carey Edgar L. Chase III Tommy Coleman Leonard Davis David F. Edwards H. M. “Tim” Favrot Jr. Mrs. Ludovico Feoli John Fraiche Susan G. Guidry, Councilmember District “A” Lee Hampton Adrea D. Heebe Ms. Allison Kendrick Mayor Mitch Landrieu Paul J. Masinter Mrs. R. King Milling Michael D. Moffitt Mrs. Michael D. Moffitt Howard J. Osofsky, MD, PhD Mrs. James J. Reiss Jr. Mrs. George Rodrigue Donna Perret Rosen Mrs. John Ryan Brian Schneider Mrs. Jolie L. Shelton

Suzanne Thomas

NATIONAL TRUSTEES Joseph Baillio Mrs. Carmel Cohen Mrs. Mason Granger Jerry Heymann

SUPPORT ACKNOWLEDGMENT The programs of the New Orleans Museum of Art are supported by grants from the Arts Council of New Orleans, Louisiana State Arts Council through the Louisiana Division of the Arts, the National Endowment for the Arts, the Office of the Lieutenant Governor Department of Culture, Recreation and Tourism, New Orleans Convention and Visitors Bureau, Ruby K. Worner Charitable Trust, and the New Orleans Jazz and Heritage Festival and Foundation.

Herbert Kaufman, MD Mrs. James Pierce Debra B. Shriver Mrs. Henry H. Weldon Mrs. Billie Milam Weisman

HONOR ARY LIFE MEMBERS H. Russell Albright, MD Mrs. Jack R. Aron Mrs. Edgar L. Chase Jr. Isidore Cohn Jr., MD Prescott N. Dunbar S. Stewart Farnet Sandra Draughn Freeman Kurt A. Gitter, MD Mrs. Erik Johnsen Richard W. Levy, MD J. Thomas Lewis Mrs. Paula L. Maher Mrs. J. Frederick Muller Mrs. Robert Nims Mrs. Charles S. Reily Jr. R. Randolph Richmond Jr. Mrs. Frederick M. Stafford Harry C. Stahel Mrs. Moise S. Steeg Jr. Mrs. Harold H. Stream Mrs. James L. Taylor

Right Synthesis BB (detail), 1983, Ida Kohlmeyer, Mixed media on canvas, Promised gift of Arthur Roger Front Cover Study for “Salut de Schiaparelli” (detail), 1934; Ilse Bing German, born 1899 or 1900-1998, Gelatin silver print, Gift of an anonymous donor, 85.77.3

Mrs. John N. Weinstock

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