AQJan08 by New Orleans Museum of Art

A benefit of membership with the New Orleans Museum of Art

ARTSQUARTERLY VOLUME XXX ISSUE 1

NEW ORLEANS MUSEUM OF ART

JANUARY/FEBRUARY/MARCH 2008

Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina BY E. JOHN BULLARD The Montine McDaniel Freeman Director, NOMA

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

pening on March 1, the New Orleans Museum of Art will present a forty-year retrospective of the work of George Rodrigue, undoubtedly Louisiana’s most famous contemporary artist. The exhibition will feature more than one hundred paintings, which survey the full range of his work: early landscapes, scenes of Cajun life, portraits of famous Louisianians, the emergence and evolution of the now iconic Blue Dog, and most recently hurricanes and nudes. While Rodrigue’s work is quite familiar to New Orleanians, the comprehensiveness of this retrospective will be a surprise and pleasure to even his most devoted fans. And it may convince those who so far have resisted the charm and power of his work that Rodrigue has made a unique contribution to the culture of Louisiana. I first became aware of George Rodrigue in the early 1970s when a buzz from Lafayette began reaching New Orleans about a young artist who was reinventing Louisiana landscape painting of moss-draped oaks and watery bayous, in the tradition of such late nineteenthcentury masters as Richard Claque and William Buck. Rodrigue’s dark and moody landscape paintings were followed by something totally original: nostalgic

depictions of Cajun life from the early years of the twentieth century. The 1976 publication of The Cajuns of George Rodrigue, illustrating one hundred-fifty six of these new compositions, was a major factor in his growing reputation. In fact his paintings heralded the emergence of a Cajun revival that soon swept the country with its unique music, food, folktales, and images of a bygone era. The new Cajun pride in its indigenous culture and traditions was centered in Lafayette, the capital of Cajun country. At the same time, Cajun country experienced a financial boon in the oil service industries, which supported the tremendous growth of off-shore oil and gas exploration in the Gulf of Mexico. The newly affluent owners and employees of the “oil patch” companies were among Rodrigue’s most enthusiastic patrons, competing to purchase his Cajun scene paintings to decorate their offices and homes. Cajun country was flexing new financial and cultural muscles, feeling independent from the long dominance of New Orleans.

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NEW ORLEANS MUSEUM OF ART

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

ARTS QUARTERLY

From the director T

his year Arts Quarterly celebrates its thirtieth anniversary. Once described as “one of the most ambitious museum publications,” Arts Quarterly has kept NOMA members abreast of the Museum’s many exhibitions, education programs and special events since 1978. The original concept for Arts Quarterly was developed by Dawn Dedeaux. Dawn and NOMA were pioneers in museum publishing. In 1978 few museums were producing magazines since desktop publishing, which transformed the publishing industry, had not yet permeated museums. Over the years, Arts Quarterly has become an award-winning publication. Despite the exploding technology of the personal computer that has made nearly every museum a publishing house, Arts Quarterly continues to win acclaim as one of the country’s best art museum magazines. In 1984 Dawn Dedeaux left Arts Quarterly to pursue other interests, and the assistant editor, Wanda O’Shello, was named editor. Under her direction, Arts Quarterly has continued to win awards and has maintained the excellence established by its founding editor. Besides Arts Quarterly, NOMA’s publications office is responsible for many other projects, including exhibition invitations, brochures, banners, labels, text panels and catalogues. As head of the Museum’s publications office, Wanda O’Shello coordinates all NOMA print and publishing projects, most of which are beautifully designed by the Museum’s graphic designer, Aisha Champagne. Since establishing its in-house publications office in 1997, NOMA has become a virtual publishing house. Recent exhibition catalogues include Blue Winds Dancing: The Whitecloud Collection of Native American Art, Katrina—Days of Terror, Months of Anguish: Paintings by Rolland Golden and the newly published Living Color: Photographs by Judy Cooper. Two additional titles will be published in 2008 in conjunction with the exhibitions The Opulent Object: Fabergé from the Daniel L. Hodges Collection and English Georgian Silver from the Rose and Granger Collections, which will premiere at this year’s Odyssey Ball in November. These handsome publications are important contribtions to art historical research and bring national and international recognition to NOMA for which we all may take justifiable pride.

ARTSQUARTERLY VOLUME XXX ISSUE 1

NEW ORLEANS MUSEUM OF ART

Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina E. John Bullard

Living Color: Photographs by Judy Cooper Lisa Rotondo-McCord

Dog Gone! George Roland

Two New Photography Exhibitions to be Presented at NOMA

China in Japan: Chinese Subjects and Styles in Edo-period Japanese Painting Lisa Rotondo-McCord

New Acquisition: An Early Pair of Haviland, Limoges, Porcelain Candelabra John Webster Keefe

New Acquisition: A Gift of Wedgwood Fairyland Lustre from Sydney and Walda Besthoff John Webster Keefe

New Acquisition: Pastoral Scene by George Inness Thomas Bayer

The Power of a Picture Holly M. Wherry

Merci Bien: A Bouquet of Thanks Virginia Panno

Fabergé Egg Hunt

Forty-Second Odyssey Ball Premieres Whitecloud Collection by Julie George

Love Conquers All Virginia Panno

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JANUARY/FEBRUARY/MARCH 2008

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 New Orleans Museum of Art and the Besthoff Sculpture Garden are open Wednesday through Sunday, from 10 a.m. to 4:30 p.m. For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

E. John Bullard

NEW ORLEANS MUSEUM OF ART

Recent Publications in the NOMA Shop

Katrina—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 NOMA Shop Shop Open Wednesday – Sunday, 10 a.m. – 4:15 p.m. • 504-658-4133 Also available online at www.noma.org

ARTS QUARTERLY

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This also was reflected in the emergence of politicians from Cajun country, particularly Edwin Edwards, who would control state politics for more than twenty years. With an ebullient personality and natural marketing savvy, George Rodrigue was early on a master at using the media to publicize his work. He found new ways to project his paintings into nontraditional areas, bringing his art to a broad popular audience. Beginning in the early 1980s, Rodrigue began incorporating his Cajun paintings into specially designed posters celebrating the festivals that are a unique cultural feature of the small towns of southwest Louisiana. These have included posters for the Festival Acadiens, the Breaux Bridge Crawfish Festival, the State Fairs in Baton Rouge and Shreveport, and the Lafayette Mardi Gras.

George Rodrigue (American, born 1944) Watchdog, 1984 Oil on canvas, 40 x 30 inches Private collection The first painting of the Blue Dog, created for Chris Segura’s children’s book Bayou

George Rodrigue (American, born 1944) Hank Williams, 1989 Oil on canvas, 68 x 50 inches Private collection

During this same period Rodrigue began creating a series of portraits of famous Louisianians: politicians like Huey Long, writers like Walker Percy, and popular musicians like Hank Williams and Louis Armstrong. Among his portraits that attracted the greatest media attention were those depicting recent American presidents, beginning with Ronald Reagan and later Bill Clinton. While by the mid-eighties Rodrigue was enjoying considerable success, it was nothing like what overtook him after he created the first image of a little blue dog. It began with a book of Cajun ghost stories by Chris Segura, titled Bayou, that Rodrigue illustrated in 1984. Among the stories was one about the loup-garou, a Cajun werewolf, who was often evoked as a boogyman to scare children into obeying their parents. Rodrigue’s original image was of a small, scrappy dog with big ears, staring eyes and a shaggy coat of silver blue color. This first image and the many others that followed in the next few years were placed in the same landscape setting used in his Cajun paintings. Then the dog began appearing in other contexts or against a blank background. In the nineties the dog became progressively more streamlined, featuring bolder colors and smoother forms, thus achieving its ultimate iconic form. The growing popularity of the Blue Dog prompted the expansion of the marketing and sales of Rodrigue’s work both nationally and internationally, with galleries

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exclusively devoted to him opening in New Orleans in 1989 and Carmel, California, in 1991, and later in Tokyo and Aspen. In 1993 Rodrigue joined a distinguished group of contemporary artists, including Andy Warhol, another marketing master, who were commissioned to create advertisements for Absolut Vodka. Soon it seemed that the Blue Dog was everywhere, one painting even hanging on the back wall of the Central Perk coffeehouse set on the hit television sitcom Friends. In fact Rodrigue’s work has long been popular with many show business personalities, collected by the likes of Whoopie Goldberg and Tom Brokow. While an admirer of George Rodrigue’s Cajun paintings, I resisted the appeal of the Blue Dog. I finally succumbed in 2000 when in a taxi on the way into Paris from the airport I saw dozens of highway billboards featuring the Blue Dog as part of a European advertising campaign for Xerox® color inkjet printers. I realized that the enormous popularity of the Blue Dog should not keep me from enjoying the special and unique qualities of these images. Since then I have thought often about what makes the Blue Dog such a phenomenal success. Dogs have long been a popular subject in world art, from the tombs of ancient Egypt and China to today. In old master European paintings dogs are depicted as companions to their human, often royal owners or portrayed alone, hunting, racing, or at rest. Dogs are popular characters in children’s books and in comic strips, most famously Hergé’s Tintin series and Snoopy in Charles Schultz’s Peanuts. Even some of today’s most critically acclaimed contemporary artists have used canines in one form or another. Just think of Jeff Koons’s gigantic flower-covered Puppy sculpture or William Wegman’s never-ending series of photographs of his Weimaraners. Nearly everyone loves dogs and most have owned them as children or adults. We have warm and sentimental memories of cuddly puppies and loyal and companionable dogs. In its innumerable repetitions and variations, the Blue Dog goes beyond these shared memories of beloved pets to become a universal symbol, a kind of Everyman or Everydog. Seen straight on, in a seated frontal pose, the Blue Dog is unchanging and static, no matter in what setting it finds itself. Each viewer interprets its expression in different ways. For me the Blue Dog’s unflinching gaze can show both strength or stunned bewilderment. He is both strong and vulnerable, poised and alarmed. His dead pan expression reminds me of the silent film comedian Buster Keaton, known as “The Great Stoneface,” another classic Everyman who in his naiveté and innocence triumphed over adversity. Most of all the Blue Dog makes us smile, which in New Orleans’ post-Katrina environment is a prized emotion These are some of the thoughts that visitors to George Rodrigue’s retrospective may have as they examine the results of the forty-year career of this great Louisiana-born-and-bred artist. If nothing else Rodrigue has demonstrated that an artist does not have to abandon his home state to achieve success and acclaim. ■

George Rodrigue (American, born 1944) Stacked, 2001 Acrylic on canvas, 71-3/4 x 47-1/2 inches Collection of the New Orleans Museum of Art Gift of Henry and Pat Shane. 2007.110

Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina is on view at NOMA March 1 through June 8, 2008. The exhibition, in a different format, was organized by the Dixon Gallery and Gardens, Memphis Tennessee. The exhibition is sponsored in New Orleans by Lakeside Shopping Center and The Feil Organization.

ARTS QUARTERLY

Living Color: Photographs by Judy Cooper BY LISA ROTONDO-McCORD Assistant Director for Art, NOMA

hotographic portraits of some of New Orleans’ most colorful inhabitants comprise the majority of works in a new exhibition at NOMA, Living Color: Photographs by Judy Cooper, on view in the Zita Marks Templeman Galleries on NOMA’s second floor. These works, created over a span of twenty years, document a photographer’s engagement with the personalities, and by extension, the cultural forces, that have contributed to the city’s rich and diverse cultural heritage.

Born in Birmingham, Alabama, in 1938, Cooper first came to New Orleans in 1955 to attend Sophie Newcomb College of Tulane University. An English major, she nonetheless took advantage of her junior year abroad to study in France, a decision that was to have a lasting impact on her early professional career. After being graduated from Newcomb, Cooper received her M.A. in English from Columbia University in New York City, returning to New Orleans for her doctoral studies in French and Italian literature at Tulane University. Receiving her Ph.D. in 1969, Cooper taught French at Loyola University. Teaching proved less satisfying than expected, and Cooper began to explore alternate careers. By 1974, she had left academe to pursue a career as a professional photographer. “Since I had already completed my formal education when I decided to become a photographer, I chose…the age-old route of apprenticeship…I went to work with two photographers, Ron Todd and Allen Hess. We formed a company called Muse, Inc. Most of our jobs were art related. We photographed paintings for Ida Kohlmeyer and did installation photos for Galerie Simone Stern.” By 1976, Cooper had embarked on her career as a professional photographer, specializing in fine arts photography. At the same time, she began to create portraits of a broad range of New Orleanians—from luminaries in the social and cultural scene to drag queens, artists, friends and neighbors, church women and Second Liners. The fifty works in the exhibition are presented in four chronological and thematic groups: Women in Red, New Orleans’ Characters, Twins, and New Orleans Sunday. In Women in Red (1988), Cooper’s first major series, elements of the artist’s mature individual style, as well as themes and motifs that recur throughout her subsequent body of work are readily evident. Her documentary approach to her subjects—with the face or upper body filling most of the picture frame and the subject looking directly at

Figure 1 Judy Cooper (American, born 1938) The Bailey Twins, 1989 From the series Women in Red Hand-tinted silver gelatin print, 37-1/2 x 32 inches Collection of the artist

NEW ORLEANS MUSEUM OF ART

the photographer (and thus, the viewer) was wellestablished. These are not casual or spontaneous photographs in which a fleeting glimpse of life is captured. Rather, Cooper asks her subjects to pose. She chooses them as subjects, but they choose how they present themselves—particularly in their clothes and setting. Cooper clearly prefers to photograph her subjects in the environment in which they feel most at home— many are seen in their living rooms, sitting in a favorite chair or standing in front of their fireplace as in The Bailey Twins, 1989 (fig. 1). If not in their own homes, Cooper’s subjects are seen in the environment that speaks most clearly to their identity—Second Liners, for example, are photographed along the routes of their annual parades in New Orleans. Cooper’s most explicit examination of identity issues is in her Twins series. With its origination in The Bailey Twins in 1988, this idea found fullest expression in the mid-1990s. Cooper attended the annual TwinsDays festival in Twinsburg, Ohio, for four years, creating her only significant body of work that does not focus on residents of New Orleans. Her portrait of identical twin bachelor farmers John and Bill Reiff (fig. 2) shows the brothers after they have been awarded the prize for “most identical twins.” The brothers believed so strongly in the concept of TwinsDays that they left the entirety of their considerable estate to TwinsDays to ensure its survival. Clothes, in Cooper’s work, are embodiments of power, authority and cultural significance. From her first series, Women in Red, wherein women posed wearing red outfits, to her latest work, entitled New Orleans Sunday, the clothes worn by Cooper’s subjects are as much a part of the wearer’s identity as their physical appearance. Two discrete aspects of New Orleans African-American culture are contained within the New Orleans Sunday series; the “sacred,” portraits of church women from Second Nazareth Baptist Church and Second Zion Baptist Church in their elaborate hats and dresses, and the “secular,” the coordinated parade attire of the Social Aid and Pleasure Clubs. In Juanita, 2007 (fig. 3), her subject’s powerful and defiant stance provides eloquent and encouraging testimony of the resilience of New Orleans popular culture. ■

Figure 2 Judy Cooper (American, born 1938) Most Identical Twins, 2000 From the series Twins Hand-tinted silver gelatin print 23-1/2 x 23-1/2 inches Collection of the artist

Living Color: Photographs by Judy Cooper is on view in the Zita Marks Templeman Galleries from January 19 through May 11, 2008. The exhibition is accompanied by an illustrated catalogue. The exhibition and programming are sponsored, in part, by the Louisiana Endowment for the Humanities. The catalogue is made possible through the support of International Well Testers Inc., and Robert and Jolie Shelton, and the Louisiana Endowment for the Humanities.

Figure 3 Judy Cooper (American, born 1938) Juanita, 2007 From the series New Orleans Sunday Color pigment print, 29-1/2 x 19-1/2 inches Collection of the artist

ARTS QUARTERLY

DOG GONE! This Spring NOMA is Going to the Dogs BY GEORGE ROLAND The Doris Zemurray Stone Curator of Prints and Drawings, NOMA

o coincide with the George Rodrigue retrospective (see cover story) and to pay tribute to the celebrated Blue Dog (a Corgi, perhaps), NOMA is putting on its own DOG SHOW. Chosen primarily from the Museum’s collection of works on paper, which includes 5,300 prints and drawings and 7,400 photographs, these best of breed will be on show through the spring. Dogs are frequent visitors to the artist’s studio, often appearing as companions in portraiture. And artists, like you and I, can be very attached to their pets, wishing to record their likeness. Of course dogs are convenient models, usually very obliging; they sit still. The great Dutch printmaker Henrick Goltzius (1558-1617) allows the magnificent spaniel in his Portrait of Frisius (fig. 1) to dominate the composition. The New Orleans favorite Robert Gordy (1933-1986) finds echoes of his love of pattern in the markings of the dogs (fig. 2). Elliot Erwitt (American, born 1928), a wonderful observer of the passing scene, is well known for his attention to dogs and their relationship to humans (fig. 3); look for two examples here. The famous Weimaraner of William Wegman makes an appearance incognito. Complemented by a few choice examples from NOMA’s Asian art and decorative arts collections, about forty championship works of art will be on view. DOG SHOW is a light-hearted look at work by serious artists in a less-than-serious mood. ■

DOG SHOW will be on view in the Stafford Gallery on the Museum’s second floor, February 3 to June 2, 2008. Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina will be on view in the Museum’s Ella West Freeman Galleries March 1 through June 8, 2008.

Figure 1 Hendrik Goltzius (Dutch, 1558–1617) Son of Frisius, 1597 Engraving, 14 x 10-1/4 inches Collection of the New Orleans Museum of Art Museum Purchase, Mr. and Mrs. William B. Burkenroad, Jr. Funds. 74.12 A gifted draftsman, extremely popular in his day, Goltzius was a versatile engraver, successfully imitating the many styles of Dutch, German and Italian masters. He also was known for his engraved portraits like this one, dominated by a handsome spaniel. Photo by Judy Cooper

Figure 2 Robert Gordy, (American, 1933–1986) Dog, 1976 Screenprint, 19 x 30 inches Collection of the New Orleans Museum of Art Gift of the artist in memory of John Weinstock and LeClare Ratterree. 77.2 The longtime New Orleans favorite was a prolific printmaker. In this example the markings on the dalmatian echo the artist’s love of pattern-making. Photo by Judy Cooper

Figure 3 Elliot Erwitt (American, born 1928) Untitled (Small dog in sweater), 1946 Gelatin silver print, 16 x 20 inches Collection of the New Orleans Museum of Art Museum Purchase through the National Endowment for the Arts Grant. 75.76.119 Erwitt has snapped Marilyn Monroe, Grace Kelly and more than a few dogs. In spite of weather warm enough for sandals, the chihuahua has bundled up.

NEW ORLEANS MUSEUM OF ART

Two New Photography Exhibitions to be Presented at NOMA

Ari Marcopoulos (Dutch, born 1957) Graf Temple, 2007 Inkjet print, 30 x 40 inches

ARTS QUARTERLY

OMA will present two exhibitions organized by the Museum’s new Freeman Family Curator of Photography Diego Cortez. The first, entitled Ari Marcopoulos: Architectures, is on view January 19 through April 27, 2008, in NOMA’s P. Roussel Norman and William D. Norman, M.D. Gallery, located on the second floor. Ari Marcopoulos is a celebrated photographer, film artist and adventurist. This exhibition presents the artist’s large-scale Xerox® and laser-jet prints. Marcopoulos expands the usual boundaries of architectural photography to encompass graffiti (architecture in dialogue), human bodies (flexible structures), skateboard ramps (computer-generated moonscapes), artist studios (chaos) and architectural models (surrogates of reality). Marcopoulos was born in Amsterdam in 1957 and lives in Sonoma, California. He has exhibited at MC, Los Angeles; P.S.1, New York City; Alleged Gallery, New York City; Mu, Eindhoven, Agnes B, Paris; Kunsthalle Bern and Shibuya Tower, Tokyo. Marcopoulos’ numerous books include The Chance is Higher (2008), Flow (2007), Out And About (2005), Transition and Exits (2001), and Pass the Mic: Beastie Boys 1991-1996 (2001). Ari Marcopoulos: Architectures is the first in the museological exhibition series curated by Diego Cortez. The exhibition includes a catalogue-zine published by Nieves, Zurich. Opening on March 2 is A Curator’s Gift: Photography Donation by Diego Cortez to NOMA. The exhibition is on view through May 25 in the Museum’s Frederick R. Weisman Galleries for Contemporary Art, located on the second floor. In accepting the position of The Freeman Family Curator of Photography at NOMA, Diego Cortez has agreed to donate more than two hundred photographs from his personal collection to the Museum. Cortez told NOMA Director E. John Bullard that he hoped this gift would create a stronger foundation of images for the Museum and better enable him to solicit further donations from photo artists and collectors of photography.

Seydou Keita (Malian, 1921-2001) Untitled (woman with sewing machine), circa 1955/1997 Gelatin silver print, 70 x 50 inches Collection of the New Orleans Museum of Art Gift of Diego Cortez

Diego Cortez has worked as a free-lance curator and art adviser for twenty-five years. From 1998 to 2001, he directed the Partobject Gallery in Carrboro, North Carolina, with his sister Kathy Hudson, where they presented fifteen exhibitions of important international photographers, many of whom are represented in this gift. Multiple works by Catherine Opie, Collier Schorr, Phyllis Galembo, Slater Bradley, John Waters and Bernard Faucon are complimented by works by African photographers Seydou Keita, Malick Sidibe and Nabil Boutros. New Orleans photo artists include Dawn Dedeaux and Elizabeth Shannon. Other American photographers include Dean Samashima, Dawoud Bey, Jean-Michel Basquiat, PhilipLorca diCorcia, Larry Clark, Wendy Ewald, Nan Goldin, Allen Ginsberg, Cindy Sherman and Danny Lyons. European photographers include Joan Fontcuberta, Pierre Verger, Jean Baudrillard, Joseph Beuys, Wolfgang Tillmans, Rineke Dijkstra, Helen Van Meene, Nick Wapplington and Boris Mikhailov. Japanese photographers include Yasumasa Morimura, Nobuyoshi Araki, Takashi Homma, Daido Moriyama, Enlightenment, Yoshitomo Nara, Katsumi Watanabe, Yurie Nagashima and Shomei Tomatsu. Also included is Chinese photographer, Rong Rong. ■

China in Japan: Chinese Subjects and Styles in Edo-period Japanese Painting BY LISA ROTONDO-McCORD Assistant Director for Art and Curator of Asian Art, NOMA

Mokuan (Japanese, born China 1611-1684) A Benevolent Wind Ink on paper, 49-5/8 x 15-1/2 inches Collection of the New Orleans Museum of Art Gift of an anonymous donor. 79.222

A benevolent wind spreads across the world

ritten in strong and fluid calligraphic style, this statement forms one part of the calligraphy triptych (illustrated here) by the Japanese Obaku monk Mokuan (1611-1684) on view in China in Japan: Chinese Subjects and Styles in Edo-period Painting, presented in NOMA’s Japanese gallery. This exhibition explores the multifaceted manifestations of Chinese influence during the Edo period (1615-1868), from the direct transmission of subject and style via Chinese émigré monk-artists such as Mokuan, who lived and worked in Japan in the second-half of the seventeenth century, to the indirect transfer of cultural ideals, themes and subjects. During the Edo period, the Tokugawa shogunate adopted a Neo-Confucian governmental philosophy and political structure; consequently, numerous aspects of Chinese culture—philosophy, history, literature, art and music—were studied by Edo-period intellectuals. However, knowledge of China was gained primarily indirectly. In order to preserve internal political stability, the Tokugawa Shoguns at first restricted and then prohibited foreign travel, and restricted both the presence and movement of foreigners in Japan. Exceptions were made for a small number of Chinese and Dutch traders confined to the port city of Nagasaki. At the fall of the Ming dynasty in 1644, a number of Chinese exiles were permitted to take refuge in Japan and created a small but thriving community. These émigrés included a small number of monks, practitioners of what is known in Japan as Obaku Zen. (The name is taken from the Japanese pronunciation of the location of their temple in southern China, Mount Huangbo.) In a rare and notable exception to the prohibitions barring foreigners’ residence any place outside of Nagasaki, the Shogun permitted the Chinese monks to establish a temple, Manpukuji, in Kyoto. Mokuan was one of the founders of Manpukuji, and became its second

abbot. Several of the Chinese monks who served in this capacity were accomplished painters and calligraphers, specializing not only in Zen subjects but also in the literati style of their homeland. Mokuan was greatly respected as a religious figure, and his calligraphy—as a manifestation of his learned and upright character— reached a broad and receptive audience. Both the style of Mokuan’s calligraphy and the content of his writings appealed to adherents, friends, artists and collectors, and his single-line calligraphy, such as the one illustrated here, was particularly sought after. Obaku painting and calligraphy exerted a great influence on contemporary Japanese artists, particularly those in the nanga, or literati tradition of Japan. Several early nanga artists lived in or near Kyoto and had direct access to the monks, their work and the Chinese materials they brought with them. In China, the literati tradition had its origins in the Song dynasty (960-1279). This art, produced by China’s highly educated scholarbureaucrats was prized for both its refinement and creative freedom. The complex layering of knowledge of culture, history, poetry and art present in the painting and calligraphy was profoundly appealing to nanga artists, who sought to emulate the lifestyle and culture of the Chinese literati. Several of the monks were friends and acquaintances of well-known artists in China, and brought to Japan books that reproduced famous works of art, as well as real works of painting and calligraphy. As such, they were direct conduits to contemporary Chinese art, and served as exemplars of the Ming style. The style and practice of Chinese literati painting was also disseminated through other means—by the few Chinese professional and amateur painters who made their way to Nagasaki, and more widely by woodblock print books that reproduced painting techniques and motifs. Nanga artists were not alone in their incorporation of Chinese subject matter and/or style; Edo painting is replete with images of Chinese deities and traditional subjects, and calligraphers wrote Confucian aphorisms, Chinese-style poems and references to Chinese history and culture. Although directly related to the government’s endorsement of Neo-Confucianism, this phenomenon also can be seen as a reflection of a partly shared cultural heritage. The classical Chinese language had been for centuries the lingua franca of East Asia. Its characters formed the foundation of the Japanese written language, and the well-educated elite from various East Asian lands communicated with one another through the written word. Edo-period artists, no matter what their artistic lineage or tradition, often incorporated Chinese subjects and themes in their work. Whether responding to the requests of their patrons for couplets exhorting one to filial piety, or familiar images of good fortune and good luck, artists clearly found a wealth of references and allusions in this deep well. ■

The hanging scrolls and screens on view in China in Japan are drawn from the permanent collection of the New Orleans Museum of Art and generous loans from the Gitter-Yelen Foundation of New Orleans. The exhibition is on view January 21 to June 1, 2008

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WHAT DO NEW ORLEANSâ&#x20AC;&#x2122; 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.

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New Acquisition: “Most Unmistakably French”1 An Early Pair of Haviland, Limoges, Porcelain Candelabra BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

Figure 1 Pair of Three-Light Candelabra,, 1852-53 Hard-paste and biscuit porcelain: cast, glazed, tinted and parcel-gilt; gilt-brass France: Haviland Brothers and Company, Limoges Height 27-1/2 inches, width 9 inches, diameter (at base) 6-1/4 inches Collection of the New Orleans Museum of Art Gift of Dr. Wayne T. Moore in memory of his wife, Elizabeth Nelms Moore (1927-2004). 2007.26.1-2 Produced in Limoges for Haviland Brothers and Company of New York, this elegant pair of candelabra in the Rococo Revival taste was selected by the Haviland firm for display at the New York Crystal Palace Exhibition in 1853-1854 at which they were chosen to illustrate the official exhibition folio. Photo by Judy Cooper

uring the 1980s the decorative arts department of the New Orleans Museum of Art reconstituted and greatly enlarged its collection of Paris porcelains, eventually amassing the premier assemblage of such wares in this country. More recently, the attention of the department has been directed to the building of a small but choice group of Sèvres and Limoges porcelains. The latter area of concentration was recently richly augmented by the gift of Alabaman Dr. Wayne T. Moore of a superb pair of Haviland, three-light candelabra (fig. 1). These were presented by Dr. Moore in memory of his wife, Elizabeth Nelms Moore, whose family had purchased the candelabra during a visit to the New York “Crystal Palace” exhibition in 1854. Although Haviland is today one of the best-known names in French porcelain production of the later nineteenth and early twentieth centuries, it was but a fledgling firm at the time this ambitious pair was produced. In order to understand this phenomenon properly, one must look back to the earlier nineteenthcentury production of porcelains in France.

From the 1770s until the end of the Restauration in 1830, Paris and the adjacent town of Sèvres had been the French centers of porcelain manufacture. The Sèvres production was not widely exported, with the result that Paris porcelains dominated the market. However, the rising costs of space and labor, the difficulty of obtaining the large quantities of fuel required, and the complications of importing and storing china clay and other related materials caused porcelain manufacturers to look at alternative locations. One of these was the provincial city of Limoges in which an influx of American entrepreneurs had inculcated a spirit of enterprise and experiment. These businessmen stressed the need for efficient production utilizing modern technology in upto-date facilities; they also pointed out the need for good working conditions and fair wages. The city of Limoges was made further attractive by a railroad connecting it to Paris in 1857 and the opening of a rail link to Montluçon in 1864. The leading American entrepreneur in Limoges was David Haviland (1814-1879), a New York City dealer in and importer of ceramics who had taken up residence in Limoges in 1842 in order to oversee the production of French porcelain alternatives to the English creamwares and ironstones then dominating the American market. Haviland had initially purchased French wares he deemed suitable for American taste and shipped them to the parent company, Haviland Brothers and Company, New York, for sale. Realizing that a more practical approach would be to design molds incorporating elements of traditional French and English design while utilizing French china clay, David Haviland reorganized his firm in Limoges. By 1847, Haviland’s business was thriving, and he opened his own decorating shop there. During this period, Haviland proved to be a businessman possessing the rare combination of excellent taste, marketing savvy, a flair for innovation, unflagging energy and the ability to turn a profit. In 1853, the French government granted permission to Haviland for the construction of an independent porcelain factory. That facility was in full production by May 1855. However, prior to that time, Haviland Brothers and Company had submitted these candelabra to the New York “Crystal Palace” exhibition where they received high praise. So successful were the Haviland products at the exposition that the firm was awarded a coveted gold medal. In 1851, Queen Victoria of England’s husband, Albert the Prince Consort, had spearheaded the development of the Great Exhibition of the Works Industry of All Nations, which was a huge international success. Housed in a

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revolutionary structure of glass and cast-iron, the fair became popularly known as the “Crystal Palace Exhibition.” Americans were eager to host such an international event on United States soil, and plans ensued for a similar Crystal Palace exhibition to be presented in New York in 1853 to 1854. As an American businessman residing in Limoges, David Haviland was not about to let such an opportunity to promote his new porcelains pass unnoticed. Americans had admired French fashion and decorative arts since the late eighteenth century, and that longstanding esteem was bolstered by the establishment of Napoléon III’s glittering Second Empire in 1852. His fashion plate wife, the Spanish-born Empress Eugénie, greatly admired eighteenth-century French design and was quick to perceive that a revival of such design would add an ancien régime patina to the newly established imperial throne. These Haviland candelabra with their eighteenth-century-inspired galants figures and asymmetrical bases in the rococo taste, elegantly recalled models of the Louis XV era while adding such new and technically astonishing features as an extreme height of twenty-seven and one-half inches and the articulated pendant bellflowers at the candlearms and central sockets. Additionally, the candelabra incorporated lavishly gilded glazed and biscuit porcelain figures, which imparted a rich textural contrast. It was no wonder that these candelabra in the newly fashionable Rococo Revival style were selected by the august compilers of the official New York exhibition folio for inclusion within its pages (fig. 3). With the benefit of perfect hindsight, one can see that Haviland Brothers and Company cleverly selected one of its most elegant designs to be sent to New York. That design heralded the rise of Limoges—and the subsequent Haviland and Company of Limoges—as the center of French porcelain manufacture. That tradition has continued to the present day while the newly acquired candelabra bear mute testimony to the splendor of French design during the years of the Second Empire. ■

Figure 2 Interior View of the New York Crystal Palace Exhibition From the folio, The World of Science, Art and Industry Illustrated from Examples in the New York Exhibition, 1853-43, G.P. Putnam and Company, New York, 1854, between pages 10 and 11. Collection of the New Orleans Museum of Art Gift of Dr. Wayne T. Moore in memory of his wife, Elizabeth Nelms Moore (1927-2004). 2007.27 Inspired by Sir Joseph Paxton’s revolutionary glass and cast-iron edifice at the 1851 Great Exhibition of the Works of Industry of All Nations held in Hyde Park, London, the New York Crystal Palace was designed by architects Carstensen and Gildmeister as a basic Greek cross surmounted by a central dome of 100 feet in diameter and 123 feet in height. At the time, it was the largest dome to be constructed in this country. Of the interior space, two-thirds was dedicated to the display of foreign goods and one-third to the manufactures of the United States. Photo by Judy Cooper

NOTE: 1. Benjamin Silliman and C.R. Goodrich, eds., “The Industry of All Nations,” The New York Exhibition Illustrated, G.P. Putnam and Company, New York, 1854, 110.

Figure 3 Page Illustrating a Pair of Three-Light Candelabrum and a Vase Engraving From the folio The World of Science, Art and Industry Illustrated from Examples in the New York Exhibition, 1853-43, G.P. Putnam and Company, New York, 1854, between pages 110. Collection of the New Orleans Museum of Art Gift of Dr. Wayne T. Moore in memory of his wife, Elizabeth Nelms Moore (1927-2004). 2007.27 This engraving shows the pair of candelabra pictured in figure 1, which was included in the display of Haviland Brothers and Company at the 1853 New York Crystal Palace Exhibition. The candelabra won high praise at the time as “rich and attractive” and “most unmistakably French.” Photo by Judy Cooper

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New Acquisition: “Charmingly Imaginative and Distinctly Original”1 A Gift of Wedgwood Fairyland Lustre from Sydney and Walda Besthoff

ares from the celebrated Wedgwood pottery of Staffordshire have formed part of the Museum’s permanent collection since 1913. In that year, Eugenia Uhlhorn Harrod, one of the first major donors of decorative arts, presented a Wedgwood copy of the ancient Roman cameo glass Portland Vase. The Museum’s holdings of Wedgwood assumed major status with the 1991 to 1993 gifts and 1994 bequest of New Orleanian Irving Gerson’s collection of 107 pieces dating from the 1760s through the 1940s. In 2002, the bequest of the Frank Walker Wright, Jr. collection of twentieth-century Wedgwood jasper boxes, tea wares and vases further enriched the assemblage. The recent gift of fifteen pieces of Wedgwood’s spectacular Fairyland Lustre from Sydney and Walda Besthoff has imbued the collection with a new splendor. Wedgwood’s Fairyland Lustres have achieved a legendary status during the last quarter-century and are today eagerly sought by an international group of enthusiasts. In the years immediately preceding World War I, the Wedgwood factory had acquired a reputation for generally conservative design whose primary market was a traditional—and aging—segment of the population. The Wedgwood board of directors was keenly aware that sales had recently slipped and that the firm needed to inject a new and dramatic quality into its line. Any such new wares were intended to revive Wedgwood’s reputation as a stylesetter and innovator. Thus was the stage set for the entrance of Daisy MakeigJones (English 1881-1945), now widely considered to be among the most original contributors to Wedgwood’s modern ceramics production. The eldest of seven children born to Dr. William Makeig-Jones of Rotherham, South Yorkshire, Susannah Margaretta Makeig-Jones was called Daisy all of her life.2 Even as a child, she showed a lively imagination and delighted in reading fairy and folktales to her siblings. She also was intrigued by the worlds of fantasy, dreams and make-believe and early developed a lively sense of the dramatic. These interests, combined with a strong and occasionally willful personality, were later to evolve into eccentricities of dress and mannerism. Makeig-Jones trained at the Torquay School of Art and was determined to sidestep the traditional role of young Victorian women by becoming independently employed. Through family connections, she met and persuaded Cecil Wedgwood, great-great-grandson of Josiah Wedgwood and managing director of the Wedgwood Company, to hire her as an apprentice in 1909. In 1911, Daisy was taken on staff to train as a designer; three years later, she was accepted as a Wedgwood staff designer and provided with a studio adjoining that of the chief Wedgwood designer, James Hodgkins. By 1920, Makeig-Jones was being hailed by the local press as a “distinctly original designer.” The area of ceramic production that captured young Daisy’s attention was lustre ware, which had an 1,100year-old history. The term lustre itself was derived from the Latin lustrare, to illumine. Such wares were perfected in the Middle East around the ninth century A.D.; quickly spread to Egypt and Persia; and were carried to North Africa and hence to Spain in the twelfth or thirteenth centuries. By 1550, Italian potters had perfected the art of lustre and produced important examples. Following the late Renaissance, lustre fell from fashion and languished until its revival in the mid-nineteenth century. Such firms as the Carocci Company of Gubbio, Italy, reintroduced the famed ruby lustres of the Renaissance during the

1850s. The later rise of the international art pottery movement stimulated development of a brilliant green iridescent glaze by Hungarian Wilhelm Zsolnay. In France, Clément Massier dissolved copper in soft glazes, etching the fired glaze with hydrofluoric acid and refiring the object in a smoke kiln to create both bright and matte lustrous effects on the glaze. Massier’s technique was to appear later in the United States on the Weller Pottery’s celebrated Art Nouveau Sicardo line developed by Massier’s onetime student Jacques Sicard and introduced in 1903. In England, William De Morgan rediscovered the technique of smoke-reduced metallic glazes and offered several new lustre colors including his renowned and distinctive red. Given the Wedgwood pottery’s highly skilled technicians, Makeig-Jones judged that the glowing iridescences of traditional lustre could be extended to rich shades of orange, red, violet purple, green and blue as well as a shimmering black. With her judgment confirmed, she commenced her drawings for Fairyland Lustre. Her sources were far-flung, ranging from ancient Etruscan, Greek and Roman to Celtic motifs derived from the sixth-century Book of Kells to African, Chinese, Japanese and Persian. The designs were backed by Wedgwood’s commitment to the highest standards of technique and production; the result was a ware that stood in marked contrast to the pottery’s traditional offerings. Indeed, it appealed to an entirely new consumer. This clientele was only recently affluent, younger, eager to forget the restrictions imposed by World War I, and notably eager to accept the avantgarde, stylish and unconventional. So fashionable did Fairyland Lustre become by 1920 that the Wedgwood Company was recognized in the ceramic trade as reassuming a lead in the production of an ornamental ware other then jasper. The new lustres assisted in the economic recovery of the Wedgwood firm, permitting it to again pay dividends on ordinary shares in 1922. All of this was the more remarkable since the complex process of manufacturing Fairyland Lustre necessitated their being expensive. A piece had to move from Makeig-Jones’ drawing board to an actual object in porcelain whose production involved draughtsmen, engravers, printers, stipplers, painters, lustrers, gilders and burnishers. A minimum of five firings was required, with the more elaborate pieces frequently requiring more. A review of the 1923 Wedgwood price list establishes that a ten-inch Fairyland Lustre bowl cost seven English pounds sterling, eight shillings and six pence when a forty-piece Wedgwood bone porcelain tea service for twelve people retailed for four pounds sterling, four shillings and three pence. To put the price of Fairyland Lustre in further perspective, in that same year a vicuña overcoat, made of one of the world’s most luxurious and costly fabrics, cost four English pounds sterling. In spite of success and fame from 1915 on, the appeal of Fairyland Lustre began to wane by the late 1920s. Makeig-Jones was aging and had acquired a factory-wide reputation as an occasionally imperious and willful eccentric. In 1931, Wedgwood’s managing director, Josiah Wedgwood, requested that she retire, a wish totally ignored by Miss Makeig-Jones. During the ensuing battle of wills, Wedgwood made it patently clear that he was an admirer neither of Fairyland Lustre nor of Daisy Makeig-Jones. This time, his request for her retirement was followed although a gradually diminishing quantity of Fairyland Lustre continued in production until the spring of 1941. At that time, all of the remaining

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stock of these lustres was reduced in price and sold off, and production halted. Four years later, Daisy MakeigJones died at the age of sixty-four. As always happens with elegant, expensive and high-style objects, Fairyland Lustre endured a period of unjustified neglect for more than thirty years. During that time, a small group of Wedgwood collectors continued to seek this ware; a cadre of connoisseurs and collectors not specializing in Wedgwood ceramics began to rediscover Fairyland Lustres in the 1960s. A full resuscitation of interest was occasioned by the publication of Una des Fontaines’ Wedgwood Fairyland Lustre in 1975. That volume brought Fairyland Lustres to the attention of a far broader public and created an international interest in

them. Since that time, Fairyland Lustres have achieved a steadily increasing renown, with collectors and the ceramics collections of museums clamoring for them. Thanks to this recent magnificent gift from Sydney and Walda Besthoff, the New Orleans Museum of Art is able to display some of the best of these fascinating ceramics by one of the world’s most prominent producers. ■ NOTES: 1. Article on the Wedgwood pottery’s Fairyland Lustre in the Stafford Sentinel, February 27, 1920. 2. The use of a hyphen in the family name was a later addition made by Dr. William Makeig-Jones and his wife Anne Tofield Reeder after Daisy’s birth.

THREE VASES (left to right): Vase 2465: “Imps on a Bridge and Tree House,” circa 1924; Covered Vase 2046: “Ghostly Wood,” circa 1923; Vase 3451: “Imps on a Bridge,” circa 1924-26 Height 17 inches; 16 inches; 12 inches Collection of the New Orleans Museum of Art Gift of Sydney and Walda Besthoff. 2007.70-.84 Makeig-Jones’s imps were introduced to the Fairyland Lustre line in 1924; they were inspired by the Kewpies created by the American poetess-artist Rose O’Neill in 1909. The “Ghostly Wood” pattern illustrated the several apparitions encountered in Makeig-Jones’s Land of Illusion; it was one of the most fantastical of the Fairyland designs. The Besthoff Collection of Wedgwood Fairyland Lustre is now on display in the Norvin and Sue Pellerin Lobby on the second floor of the Zemurray Wing. Photo by Judy Cooper

ARTS QUARTERLY

New Acquisition: Pastoral Scene by George Inness (American, 1825-1894) BY THOMAS BAYER, Ph.D.

n September 19, 2007, the board of trustees of the New Orleans Museum of Art unanimously agreed to add an important work by the American landscape painter George Inness (18251894) to the Museum’s permanent collection. This acquisition is particularly significant on several levels. For one, the painting has been in a prominent New Orleans private collection for nearly a century. Particularly now, at a time when so many of our city’s artistic riches have been destroyed or are in danger of leaving with their owners, this acquisition attests to the Museum’s commitment to its role as a guardian and patron of our cultural possessions. The painting, which is on view on NOMA’s secondfloor mezzanine, was originally brought to New Orleans by the well-known local philanthropists, Mr. and Mrs. Samuel Zemurray, around 1917, to be a central focal point in their recently acquired great mansion at 2 Audubon Place, now the home of the president of Tulane University. The work remained in the possession of the family until it was purchased by the Museum from the succession of Samuel Zemurray’s grandson, Dr. Samuel Z. Stone, this year.

George Inness (American, 1825-1894) Pastoral Scene, 1857 Oil on canvas, 40 x 50 inches Collection of the New Orleans Museum of Art Museum purchase. 2007.29 Photo by Judy Cooper

In addition to its important local history, the painting is also a particularly fine example of George Inness’ work of the late 1850s. The two leading experts on the artist, Nicolai Cikovsky, the curator of art at the National Gallery in Washington, DC, and Michael Quick, the author of the Inness catalogue raisonne, describe this painting, respectively, as an “important early work” and an “exceptionally attractive example of its period.” George Inness ranks among the truly great and quintessentially American painters whose unique vision of the landscape of his native country has transformed the ways in which we see it ourselves. The painter successfully embraced both the old artistic traditions of Europe as well as the new pictorial language that had begun to develop in France and blended them into something uniquely American. At the young age of eighteen, George Inness received his first professional training from a French painter named Regis Francois Gignoux (1816-1882), who had settled in New York around 1840. The artist had studied in Europe with some of the notable proponents of the Romantic movement. He also was a great admirer of seventeenth-century Dutch landscape painting and old masters in general. Once settled in, Gignoux associated himself with the painters of the Hudson River School. Although never an organized group, the Hudson River School was made up of painters like Thomas Cole, Asher B. Durand, Thomas Doughty and their followers who, in the 1820s, had spearheaded the establishment of the tradition of a national landscape art. Hence, many of Inness’ paintings of the decade after 1843 echo, to varying extents, the twin influences, transmitted through his teacher Gignoux, of the landscapes of the old masters and the romantic Realism of the Hudson River School. Large vistas and distant views, typical of the Hudson River School, coexist with depictions of forest brooks rushing over boulders and under broken, gnarly trees reminiscent of the painting of Jacob van Ruisdael or Meindert Hobbema. Yet, already then, Inness showed very much his own independent artistic orientation. Rather than just copying the old master mode or the visual devices of the popular Hudson River School, he strove to find his own pictorial language. He was far more intrigued with the coloring and compositional methods of the old masters with whose works he was familiar than attempting to record faithfully the natural appearances around him. It was art that interested him, not imitation. Unfortunately, this interest ran counter to the general notions of what painting should be. As a result, while his talent as a

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painter was clearly recognized by his contemporaries, he was, at times, accused by critics of a certain artificiality and excessive reliance on earlier art. By the year 1857, the date of the newly acquired painting, George Inness had already made two extended trips to Europe, and the effects of his exposure to contemporary European painting began to manifest themselves in his work. On his second journey in 185354, the artist had the opportunity to spend an extended period of time in Paris and its environs. It was there that Inness first encountered the landscapes of the painters of the Barbizon School, a group of artists who, like he, were not content to work within the prevailing rules of the artistic establishment. Away from the hustle and bustle of Paris, they sought to immerse themselves in the everyday, eternal truths of nature: sunlit clearings, reflecting foliage, forest pools and watering ponds, a nature as yet unspoiled by human presence. Their approach to landscape painting was much indebted to the great English painter John Constable (1776-1837), whose depictions of a pre-industrial, peaceful and harmonious country existence had caused such a stir when they were first introduced to French audiences at the Paris Salon of 1824. Like Constable, the Barbizon painters also went outdoors, pad in hand, to seek their inspirations. Once back in the studios, they worked these sketches into larger compositions. Rather than rigidly copying nature, however, they poeticized her in an effort to convey some of the emotions of the moment, employing the rich effects of brush and pigment that Constable’s painting had first introduced. Upon his return to the United States, Inness did not suddenly alter his work. He was too confident of a painter to be satisfied with the mere appropriation of someone else’s visual vernacular. Instead, he took his time to internalize the observations he had made, and it would be several years before the radical transformation that his encounter with the Barbizon School had effected became fully apparent. The newly acquired canvas, entitled Pastoral Scene (Michael Quick, George Inness: A Catalogue Raisonne, Rutgers University Press, New Brunswick, New Jersey, and London, vol. I, p. 128, no 100.), is a particularly fine example of this transitional phase. Clearly a major work (there are only two slightly larger paintings among the two dozen or so Inness did that year), Pastoral Scene readily reveals the stylistic and aesthetic issues that preoccupied the artist during this time. The natural ease with which this painting charms the eyes obfuscates a complex and superbly executed exercise in composition. The viewer’s space effortlessly merges with the immediate foreground of deftly, broadly painted weeds and saplings that lead the eye to the dying beech tree, the right border of the composition and counter-balance to the dramatic tree grouping on the left. From there, the subtle diagonal of the slope of the riverbank pulls us to the center and middle ground of the scene. A second diagonal formed by the left bank draws our eyes to the hazy coolness of the background. The rider and the cattle, the center of the composition, are neatly framed in a trapezoid formed by two sets of parallel diagonals, one formed by the boulder in the river and the small projection of land behind the rider, the other by the diagonals of the foreground slope and the left river bank. Such a carefully assembled combination of dynamic and stabilizing elements harks back to the works of the old masters Inness admired: Claude Lorrain, Caspar Poussin or Meindert Hobbema. Nature is rarely that

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perfectly composed, and Inness must have referred to any number of sketches made at different locations to arrange this imaginary view. The unusual and eyecatching group of trees on the left, for example, is the mirror image of a group of trees in a watercolor sketch from the previous year (Catalogue Raisonne, no. 92.). This suggests that, indeed, the artist relied on on-the-spot sketches from which to construct his compositions. Not faithfully recording nature, as the Hudson River School painters would have it, but, instead, Inness manipulated her to achieve a specific mood. To what extent the artist employed consciously the language of symbols that was so popular, particularly among the old Dutch landscape painters, is difficult to say. Dying trees, tree stumps, a boulder in a river, rushing torrents or quiet brooks would have been powerful reminders of the transience of life. But a direct adoption of someone else’s visual vernacular to similar ends seems at odds with Inness’ sense of independence and artistic integrity. More likely, he remembered these devices and enjoyed them for the general mood they lent to a picture. The indebtedness of Pastoral Scene to Inness’ encounter with the paintings of the Barbizon School is less obvious than his employment of traditional compositional devices. To be true, in the foreground, there is the painterly handling and the delightful use of impasto and texture characteristic of many of the Barbizon painters’ works. However, the real Barbizon quality of this scene relies less on technical aspects but on the mood it conveys—an idyll of nature, man and beast untainted by the harsh facts of city life and the cancer of industrialization. The feeling that urbanization and industrial growth were beginning to rob mankind of the last vestiges of our earthly paradise, infused the artists of the Barbizon School with an almost religious devotion and messianic zeal towards their work To what extent, or if at all, Inness shared their anxiety, is difficult to assess. At mid-century, when this painting was executed, less than twenty percent of Americans lived in cities and towns, i.e., settlements with a population of more than 2,000. The fear that industrial progress was becoming a real danger to the tranquil existence of untroubled farmers and village peasants, as was the case in Europe, was not vocalized in America until much later in the century. Nonetheless, Inness’ Pastoral Scene is a visual escape par excellence into a bucolic idyll. Masterfully blending compositional and technical aspects, the canvas invites the viewer to partake in the timeless sensual and meditative enjoyment of a cool summer morning, somewhere where nature, man and beast indeed exist together in peaceful harmony. In a world where the preservation and protection of our environment is becoming an increasingly urgent matter of survival, Inness’ Pastoral Scene serves as a powerful reminder of the beauty we are risking to lose. ■ Thomas Bayer has been an adjunct professor of art history at Tulane University. His focus is on nineteenth-century art; his area of research is art market economics. He received his MA in art history in 1993 and his interdisciplinary Ph.D. in art history, history and economics in 2001, both from Tulane University. NOMA’s new Inness painting is now on display on the second-floor balcony in the Delgado building.

The Power of a Picture BY HOLLY M. WHERRY Art Therapist, Katrina Initiative, NOMA

One of the more destructive legacies of Hurricane Katrina is the psychological trauma that has lingered untreated now for two and a half years after the storm. While the stresses of moving on have impacted entire families, it is children in particular who have had great difficulty in expressing feelings of fear, anger, and frustration, as these emotions are frequently difficult for them to verbalize. Alternative methods of conventional therapy—especially art therapy—provide an outlet for younger survivors to cope with their current circumstances and to release some of the pent up emotions and questions they have been unable to express or ask. The New Orleans Museum of Art, with the assistance of a generous gift from the Prefecture of Hyogo, Japan, recently began a two-year art therapy program in the public schools that will continue through May 2009. The following article was written by NOMA art therapist, Holly Wherry, MAAT, who has been working in the John Dibert School since September. The young artists are not identified in order to maintain their confidentiality.

hate Hurricane Katrina so bad, I just wanted to draw this picture, so I could get my anger out on her.” This is the eight-year-old artist’s explanation of her drawing pictured below. The drawing was made in a weekly art therapy group at her school

in which all of the child’s artwork has focused on the losses she experienced before and during Hurricane Katrina. Through the creative outlet of art therapy, she has learned the importance of safely releasing these strong emotions; she has gained power. Within the confines of her art, she has control over her life. She can draw her experiences and express herself the way in which she wants. In this image, she draws herself battling Hurricane Katrina with a water cannon and a water gun. Signs of her struggle with Hurricane Katrina are apparent as her house floods in the background, and lightning bolts represent her anger. She has shown the intensity of the hurricane as its red and grey lines loom threateningly over her small figure. As this child described her picture, she remembered leaving her house and the many places she lived after Hurricane Katrina, but at the end of her story, she pointed to her drawing and proclaimed, “Katrina lost this time.” It is through moments like this that a child can begin to regain a sense of safety, security, and control. This child, like many other children in New Orleans, never had the opportunity to talk about her Hurricane Katrina experiences. When given a chance, these children are able to share their pain with each other, ask questions, and express their emotions in a way that leads to their emotional healing. Thanks to a ground-breaking

“I hate Hurricane Katrina so bad, I just wanted to draw this picture, so I could get my anger out on her.” This is the eight-year-old artist’s explanation of her drawing, pictured here.

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program funded by the Hyogo Prefecture through the New Orleans Museum of Art, a semester-long art therapy program will take place in several New Orleans public and charter schools. The goal of this program is to use art to promote healing by helping children move through the grieving process, learn to express emotions, and develop coping skills. The Hyogo-NOMA Children’s Art Therapy Initiative is unique in that it is the first art therapy program organized by an art museum. This program is also distinctive for its ability to reach such a large population of the school system, as all children who live in New Orleans were affected by Katrina. Therefore, many children who continue to be traumatized, but have not been identified as having emotional difficulties, will be able to participate in a program where they will receive the help they need. Art therapy is a field that encompasses many different schools of thought, with the underlying notion that art-making is therapeutic. More specific to the Hyogo-NOMA Children’s Art Therapy Initiative, art therapy is used as a form of counseling, in which art, instead of words, is the main form of communication and expression. Art therapy is especially helpful in processing trauma. Trauma is stored visually in our memory, and these memories can be difficult to access verbally. Although not limited to children, art therapy is especially helpful for them as their vocabulary often is not developed enough to process such complex emotions. Through this art therapy program, children also learn to use art as a coping skill in addition to other skills they will need to continue to express themselves after the program concludes. The Hyogo-NOMA Children’s Art Therapy Initiative is currently working with children in grades first through sixth at the John Dibert School. NOMA has had a long relationship with this neighborhood school, and this partnership continues with Principal Keith Bartlett who strongly believes that there is a great need for therapeutic intervention at the school. With support from the NOMA education department, art therapists Holly M. Wherry and Celeste Schexnaydre have been working with the children in small groups outside of the classroom during the school day. The Hyogo-NOMA Children’s Art Therapy Initiative also works closely with a LSU Health Sciences Center Department of Psychiatry research team, whose services are donated by Drs. Howard and Joy Osofsky, longtime supporters of NOMA and, respectively, the Department Chair and Professor of Pediatrics and Psychiatry. Their role is to screen the children to assess their needs, evaluate the art therapy program, and provide clinical feedback. Unfortunately, many of the children at John Dibert School have had no intervention prior to participating in the art therapy program and have had no opportunities to discuss their Katrina experiences. Many of the family members have been traumatized as well and are no longer able to provide a support system for their children. For many, access to therapy is limited. Children in the art therapy program have been assisted in different aspects of the healing process, including trust, loss, anger, sadness, acceptance, and communication. Sharing these experiences in a group and knowing that they are not alone is a powerful and important part of healing. With the help of the HyogoNOMA Children’s Art Therapy Initiative, the students at John Dibert School continue to grow into emotionally healthy individuals as they recover from their trauma and look forward to a hopeful future. ■

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A participant in the Hyogo-NOMA Children’s Art Therapy Initiative

Drawing by a participant in the Hyogo-NOMA Children’s Art Therapy Initiative

Merci Bien: A Bouquet of Thanks BY VIRGINIA PANNO NVC Reporter

Fabergé Egg Hunt

he Twentieth Annual Art In Bloom will be held April 2 through 6, 2008. This joint project of the New Orleans Museum of Art and the Garden Study Club of New Orleans is a floral celebration of art and creativity. This year’s theme “Merci Bien: A Bouquet of Thanks” will showcase floral tributes to the individuals, groups and organizations from around the world who have come to the aid of our beloved city. The featured categories of Art In Bloom 2008 are: Garden Clubs, Artists, Exterior and Creative Designers, Bonsai/Ikebana, Movers and Shakers, Professional Designers and Young Artists. Inspiration comes from designated artworks or an interpretation of the Merci Bien theme. More than one hundred exhibitors take part in this dazzling display of talent. Proceeds from Art In Bloom benefit the educational projects and exhibitions at NOMA and the many community projects of the Garden Study Club, such as NOMA’s Besthoff Sculpture Garden, City Park’s Botanical Garden and the gardens of Project Lazarus. Co-chairing Art In Bloom are NOMA’s Dana Hansel and the Garden Study Club’s Anne Redd. The five-day event kicks off with an opening night patron and preview party on Wednesday, April 2. Auction Chairs Elaine Gleason and Sandra Wilson are pleased to announce the donation of an original, mixed-media Blue Dog by renowned Louisiana artist George Rodrigue, whose work will be on exhibit during Art In Bloom. Proceeds from this one-of-a-kind item will benefit NOMA, as well as the numerous organizations in New Orleans assisting in the rebuilding efforts. Pam Hayne, Gen Trimble and Leah Whann are pleased to announce the Thursday lecturers, Dorothy McDaniel, 9:30 a.m. to 10:45 p.m., and Ian Prosser, 11:15 a.m. to 12:30 p.m. Owner of Dorothy McDaniel’s Flower Market in Birmingham, Alabama, McDaniel’s floral designs have graced the pages of Southern Living, Southern Accents, Creative Ideas for Living and Portico magazines. She has been a regular guest demonstrator for Macy’s, Rich’s and Saks Fifth Avenue department stores. Her “Design Your Own Station” is a featured column in Southern Lady and her book, Dorothy’s Simply Beautiful Flowers, provides a step-by-step guide to simple, yet sophisticated arrangements. Ian Prosser is the owner and operator of Botanica International Design Studio in the Tampa Bay area. Born in Scotland, Prosser has more than thirty years experience in the floral industry. He has designed for

Proceeds from George Rodrigue’s Flowers of Love (2007) will benefit NOMA and other organizations in New Orleans assisting in the city’s rebuilding efforts.

many dignitaries, including HRH Queen Elizabeth II and the British Royal Family. Prosser participated in the inaugural decorations of both President Bill Clinton and President George W. Bush. A member of the FTD Design Team, he travels the country demonstrating and teaching floral design to his peers. So many provided the much needed manpower, supplies and funding to New Orleans in its time of need. So many generous hearts buoyed our breaking ones. “Merci Bien: A Bouquet of Thanks” attempts to express a city’s gratitude through a favorite springtime tradition, Art In Bloom. Flowers, fun and a good party—how very New Orleans. ■

op on over to NOMA’s Sydney and Walda Besthoff Sculpture Garden on Sunday, March 9. Now in its third year, the Fabergé Egg Hunt is a very popular family event. The younger crowd will be entertained with music, storytelling, face-painting and crafts galore, while doting parents and grandparents enjoy refreshments in the lush, outdoor setting. Excitement culminates with the egg hunt, organized by age group and special prizes. A certain furry friend pays a visit, too. For ticket information, call (504) 658-4121 or visit www.noma.org. ■

NEW ORLEANS MUSEUM OF ART

Our History Art Contest Exhibition Showcases Work of Area Schoolchildren

IMLS Sponsors NOMA’s Post-Katrina Art Relocation Projects

ur History Art Contest, sponsored by Cox Communications and Cox Media, will be presented at the New Orleans Museum of Art from January 26 through March 16. This competition allows students from kindergarten through twelfth grade to submit artwork that reflects their choice of the most influential person or event throughout history. Now in its twelfth year, this annual event is the only program of its kind in Louisiana. Students representing more than four hundred public, parochial and private schools throughout Jefferson, Orleans, St. Bernard and St. Charles parishes, submitted works of art for consideration. The entries were judged on the following criteria: quality of line or

paint application, completeness of composition, expression of artwork and originality and creativity. In addition to the first-place winners, additional scholarships and prizes also are awarded to second through fourth places in each of the five categories. Each school that submits the first-place entry receives art equipment for their classroom. Winners were selected by a panel of judges and will be awarded cash scholarships and prizes for their respective school at a special recognition dinner/awards banquet at the New Orleans Museum of Art on January 20. Cox will distribute a total of five thousand dollars in scholarship money, and the work of the top twenty finalists will be exhibited at NOMA. ■

storage facilities. Lynn Harrington, of Artifacts International, and Chicago Conservation Center, Chicago, Illinois, have been the lead conservators in a process by which each object’s condition was assessed prior to its relocation. In 2007, NOMA received a second IMLS Conservation Project Support grant to fund the purchase of additional compact shelving to re-house our collections of furniture, textiles and ethnographic art collections. The retrofitting of these spaces will begin in March 2008. ■

he New Orleans Museum of Art was honored to be a recipient of a prestigious IMLS (Institute of Museum and Library Sciences) Conservation Project Support grant in 2005 for the removal of art from its ground-level art storage facility to newly reconfigured spaces within the upper levels of the Museum. This project, which was extended until March 2008, is nearing completion. Thousands of works of art have been examined by outside conservators, photographed and moved to new

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) 658-4101.

ARTS QUARTERLY

Forty-Second Odyssey Ball Premieres Whitecloud Collection BY JULIE GEORGE NVC Reporter

PHOTOS BY JUDY COOPER

his is the best Odyssey Ball ever!” proudly proclaimed Louis Wilson, in his characteristically exuberant style, as he watched the hundreds of happy guests enjoying the Forty-Second Odyssey Ball on the night of Saturday, November 10, 2007. Louis and his wife, Sandra, were the co-chairs of this spectacular event—kudos to them, their committee, and the hardworking ladies of the NOMA Volunteer Committee. This was an unforgettable evening. The ball was generously underwritten by a grant from the Lead Sponsor, the Lupin Foundation, and a donation from A.T.&T. Odyssey Ball previewed two unique and beautiful exhibitions—Blue Winds Dancing: The Whitecloud Collection of Native American Art and Katrina–Days of Terror, Months of Anguish: Paintings by Rolland Golden. Dramatic decorations by the event designers of Blaine Kern, Jr.’s Mardi Gras Productions highlighted the Native American themes. The front doors of the Museum were covered by a gigantic teepee. The Great Hall was magically transformed into a woodland scene—the strongest focus of the Blue Winds Dancing exhibition being the southern woodlands. Human “statues” costumed as warriors and forest animals, and one magnificent tree (the costumed masker was on stilts), added drama to the gala. Huge dreamcatchers and vines floated above the dance floor. The Yellow Moon Drum and Dance Troupe performed at the patron party, setting the mood for exhibition viewing. Patron party guests received a delicious gift of chocolates, compliments of Lee Michaels Fine Jewelry and Chopard. And there was so much more. The cuisine, by the Windsor Court Hotel, was delightfully presented and truly delicious. Odyssey Ball is famous for its music, and this year was no exception. The ball’s loyal supporter The House of Blues returned this year, recreating its Foundation Room in one courtyard, and a cabaret in the café area, in which well-known chanteuse Theresa Andersson performed. Blain Kern, Jr.’s Mardi Gras

Productions and Generations Hall teamed up to create the “Longhouse Lounge” in the other courtyard. There, guests enjoyed the Stiletto Vodka martini bar, compliments of Republic National Distributing Company, and a musical performance by Cocoa Creppel and Cannes Brulees. But the musical “main event” took place in the Great Hall, where Rockin’ Dopsie and the Zydeco Twisters rocked the house. Several people commented that they had never seen so many people dancing at Odyssey Ball. The dance floor was packed all evening. There were more than 120 fabulous items in the auction, which was the most successful Odyssey Ball auction ever. Art, antiques, jewelry and trips tempted the bidders. There was even a live auction, featuring Adam Marcus as our dynamic auctioneer. The luxurious items in the live auction included: a Chopard diamond necklace donated by Chopard and Lee Michaels Fine Jewelry; a one-week stay at a six-bedroom house in Moonlight Basin, Montana, donated by NOMA’s Development Associate Kristin Jochem and her family; a signed artist’s proof entitled Aioli Dinner with Blue Dog, donated by Mr. and Mrs. George Rodrigue; a rail party complete with champagne, and catering by Southern Hospitality caterers, donated by New Orleans Public Belt Railroad; the “Music Package”—a Willie Nelson guitar, plus tickets and backstage passes to his concert, donated by Juli Miller Hart, combined with a one-of-a-kind chair autographed by local musicians, donated by Where Y’At magazine; and a stay at the Merona Resort and Spa in Mexico, donated by the Windsor Court. We hope to see you at Odyssey Ball 2008, which will be chaired by Mimi and Claude Schlesinger. Thank you to all of NOMA’s patrons and volunteers who made possible the stunning and unforgettable evening of Odyssey Ball 2007. We also are grateful to those local businesses who generously helped ensure the ball’s success: Blaine Kern, Jr.’s Mardi Gras Productions, New Orleans Event Rentals, Generations Hall, House of Blues, Postlethwaite & Netterville, and Republic National Distributing Company. ■

LEFT: NOMA Director E. John Bullard, NOMA Deputy Director Jacqueline Sullivan, Wendy and Geroge Rodrigue

RIGHT: NOMA Trustee Dr. E. Ralph Lupin, Pam Halter, 2007 Odyssey Ball Chairs Sandra and Louis Wilson

LEFT: The Whitecloud Family: Simone, Elena, Jacques, Mercedes, Saint, Renée, Karen Whitecloud Raymond

RIGHT: 2008 NVC Chair Brenda Vorhoff, Michael D. Moffitt

NEW ORLEANS MUSEUM OF ART

2007 Odyssey Ball Patrons COUNCIL OF CHIEFS AT&T DREAM CATCHERS Mr. and Mrs. Lawrence D. Garvey Goldring Family Foundation Gloria S. Kabacoff House of Blues Paula L. Maher Ms. Kay McArdle Mr. and Mrs. William G. McArdle, Jr. Mrs. Mercedes B. Whitecloud Louis and Sandra A. Wilson, Jr. THUNDERBIRDS International Well Testers, Inc. Lee Michaels Fine Jewelry and Chopard Mathes Brierre Architects Morris Bart Debra and Robert Patrick TURQUOISE AND SILVER FEATHERS Mr. and Mrs. John D. Bertuzzi Capital One Eskew + Dumez + Ripple Frishhertz Electric Company Dana and Steve Hansel Mr. and Mrs. Fred Heebe Paul J. Leaman, Jr. Mr. and Mrs. John C. Martin Regions Bank Mr. and Mrs. Joe D. Smith, Jr. Tulane University Department of Orthopaedics NOMA WARRIORS Chevron Larry and Marla Garvey

Sally E. Richards George and Wendy Rodrigue Aimée and Mike Siegal HORSE WARRIORS Sydney and Walda Besthoff E. John Bullard Edgar and Alva Chase Mr. and Mrs. Prescott N. Dunbar John and Barbara Girard Harry T. Howard III Mrs. Killian L. Huger Mr. and Mrs. Eric Johnson Mr. and Mrs. Charles Buck Mayer Mr. and Mrs. Stephen Miclette Michael Moffitt and Brenda Vorhoff Mr. and Mrs. William D. Norman Jr. Mr. and Mrs. Rick S. Rees Françoise B. Richardson Henry and Pat Shane Ms. Patricia Strachan Ms. Jude Swenson Phyllis M. Taylor Margie and Sandy Villere Mrs. John N. Weinstock DRUMMERS Mr. and Mrs. Ralph O. Brennan Mr. William Perry Brown III Mr. Stephen W. Clayton Mr. and Mrs. Richard W. Freeman, Jr. Mr. and Mrs. James M. George Mr. and Mrs. James O. Gundlach Iberia Bank Mr. and Mrs. R. King Milling Drs. Howard and Joy Osofsky Mr. and Mrs. R. Hunter Pierson

E. A. Stafford and R. M. Rathlé, Jr. Mr. and Mrs. Charles S. Reily, Jr. Mr. and Mrs. E.M. Simmons Mr. and Mrs. Harry Stahel Mrs Sol B. Stern, Jr. CHOCTAW* Alex Berger Foundation Steven Cullan Bill Elliott Realty John Fishback Mrs. Denise Monteleone Gregory Holt and Lucy Burnett Charles Hollinger Rosemary James and Joseph DeSalvo Landis Construction Co., LLC Ivan Cyle Lopez Lynn Luker Karen Cotton Maczewski Mr. and Mrs. Adam Marcus Brenda Maitland Cole Pratt Warren Roesch Al Schwarzenberg Bridget Seals Mrs. Sandra G. Thomas Michael Valentino Deborah Vinson

NOTE: Patrons received after program print deadline.

LEFT: Mercedes Whitecloud, NOMA Director E. John Bullard, Rita Benson LeBlanc

RIGHT: Barbara Currier, NOMA Trustee Paul J. Leaman, Jr.

LEFT: Daisy Tarver and NOMA Curator of Native American Art Paul Tarver

RIGHT: Rolland and Stella Golden

ARTS QUARTERLY

Love Conquers All BY VIRGINIA PANNO NVC Reporter

n Friday, September 28, 2007, more than one thousand partygoers filled NOMA’s Sydney and Walda Besthoff Sculpture Garden for LOVE in the Garden. Chairman Brenda Vorhoff and her hardworking committee garnered rave reviews for this exhilarating fall event. Guests entering the candle-lit patron party, underwritten by Three Fold Consultants, LLC, were greeted by event Chairman Brenda Vorhoff and NOMA Volunteer Committee Chair Kay McArdle. Kinetic decorations in colors of valentine red and white popped against the lush gardens. Balmy breezes and starry skies accented the merry-making while the Dave Mahoney Trio and Louisiana Spice quickened the beat. Restaurant Chairs Kimberly Zibilich and Joni Diaz garnered more than thirty local eateries, providing the delicious food stations interspersed along the Garden’s footpaths. The signature “LOVE-tini” cocktail in its own mini-martini glass sated thirsts. LOVE in the Garden honored a dozen local artists, who were featured, along with their impressive works, in a stunning outdoor video presentation. NOMA Director E. John Bullard introduced the honorees: Natalie Boos, Robert Cook, Bill Hemmerling, Steve Martin, Terrance Osborne, Jean Sidenberg, Ron Bechet, Fredrick Guess, Steve Kline, Nell Mabry, Louis Sahuc and Sidonie Villere. Party-goers were spellbound as the artistic videos lit up the night. Special thanks to NVC’s Ellen Miclette and Barbara Ballard for taking the power point presentation to another level. They added the wow factor.

Lucky auction winner of the Aucoin Hart Circle of Love diamond pendant was Celeste Jeffrey, wife of Jimmy Jeffrey, Besthoff Sculpture Garden Manager. Every partygoer deemed the event a huge success. Love really did conquer all. LOVE in the Garden gratefully acknowledges the following participants: RESTAURANTS FOR LOVE Acme Oyster House Café Degas Canseco’s Carretta’s Chops Bistro and Martini Bar Corky’s Bar-B-Q Court of Two Sisters Ditcharo’s Eleven 79 Five Happiness Galatoire's Grand Isle Restaurant Hard Rock Café Highlights Catering LeParvenu Restaurant Lucy’s Mandina’s The Melting Pot Mona’s Café Mr. Mudbug, Inc. Muriel’s Jackson Square Nick’s Snowballs and Gelato The Pelican Club Restaurant

LOVE in the Garden-honored artists Robert Cook, Steve Kline, Steve Martin, Louis Sahuc, Natalie Boos, Ron Bechet, Sidonie Villere, Nell Mabry, Bill Hemmerling, Jean Sidenberg, Fredrick Guess and Terrance Osborne surround NVC’s Ellen Miclette

NEW ORLEANS MUSEUM OF ART

Peristyle Restaurant P.F. Changs China Bistro Pigéon Caterers/Carnival Brands Ralph’s on the Park 7 on Fulton Smokin’ Turkey Catering Southern Candymakers The Steak Knife Restaurant and Bar Table One Tomatillo’s Tony Morans/Jean Laffites Vega Tapas Café and Catering Whole Foods Market Zea Restaurant SUPPORTERS Cragmar Construction, LLC Mrs. Ellis Mintz Ms. Kay McArdle CONTRIBUTORS Aucoin Hart Jewelers Baptist Community Ministries Barriere Construction Co., LLC Mr. and Mrs. John O. Bertuzzi Sydney and Walda Besthoff Janet and Jimmy Frischhertz Ms. Jo Ann Greenberg Mr. and Mrs. John W. Hall International Well Testers, Inc. Mr. Paul Leaman, Jr. M. G. and Paula Maher Foundation Metairie Bank and Trust Company Steve and Ellen Miclette Michael Moffitt and Brenda Vorhoff Debra and Robert Patrick Mr. and Mrs. R. Hunter Pierson, Jr. Ms. Sally E. Richards Françoise B. Richardson The Sanctuary, Crosby Development Co. Stephen and Julie Saussy Mrs. Harold H. Stream Diane and Hughes Walmsley Louis and Sandra Wilson Mr. and Mrs. Keith Zibilich SPECIAL THANKS TO: Allied Waste CC Rents and Pam Berrigan DocuMart Earthsavers GW Fins George Freegard/Performance Food Group Frischhertz Electric Kentwood Spring Water Lancôme Louisiana Coca-Cola Bottling Co., Ltd. Mini Sports Balls—minisportsballs.com Ray Pecot/Service Line Republic National Distributing Co. VIECO LLC.—promotionplace.com TOP: Elizabeth Ryan, LOVE in the Garden Chair Brenda Vorhoff, Francine Godchaux MIDDLE: Craig Martin, NVC Chair Kay McArdle and NOMA President Sydney Besthoff BOTTOM: Former NVC Chairs Judy David, Janet Frischhertz, Julie George and Ann Duffy

ARTS QUARTERLY

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 504-658-4100. ■

• 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

NEW ORLEANS MUSEUM OF ART

O N T R I B U T I O N

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. ■

KATRINA RECOVERY FUND IN HONOR OF JOHN BULLARD’S BIRTHDAY: Bonnie Pitman STELLA AND ROLLAND GOLDEN’S ANNIVERSARY: Betty Guillaud

IN MEMORY OF FLORENCE LAZARUS ADLER: Mr. and Mrs. Winston Lill

LIBRARY FUND IN HONOR OF THEO HELLER’S BIRTHDAY: Carol Rosen Mr. and Mrs. Irwin Isaacson Dr. and Mrs. J. Terry Sergua Dr. and Mrs. W. J. DeFee, III Carol B. Wise Jane M. Kohlman MACKY AND JEFFREY’S MARRIAGE: Celia L. Katz

EDUARDO MARVEZ-VALLES: Dorian Bennett EMMET PARKERSON: Phyllis Taylor

FOR THE LOVE OF FLOWERS New Orleans Lawn Gardeners

MILDRED BROWN LEGER: Christopher Ralston

IN MEMORY OF

JOHN T. SCOTT: Joyce and Bernard Mayer LILLIAN ROUSSEL: Suzanne Schram ROBERT BARRON, III: John C. Abajian and Scott Simmons Dr. and Mrs. Robert Edgerton Holly Edgerton McCollum Mr. and Mrs. William Beaty, Jr. Frank Gagnard ELEANOR KOHLMEYER: Mrs. S. Herbert Hirsch Brucie Poitevent Mr. and Mrs. John Clemmer Joel Weinstock Susan and Jimmy Gundlach Carol B. Wise Janis Berenson Sally M. Bruns Jane N. Kohlmann Pam and Rick Cantor Julanne and Irwin Issacson Jane Bories and Sam Corenswet Sue Menge Nikkie and H. Merritt Lane, Jr. Mr. and Mrs. Julian Good John F. Heimerdinger Margaret and Milton Brown Phyllis Brown Feibelman SUZANNE SCHNETL: Joel and Bert Myers LAZARD GOLDBLUM: Mr. and Mrs. Peter Briant

WILLIAM FAGALY’S BIRTHDAY: John C. Abajian and Scott Simmons JOHN BULLARD’S BIRTHDAY: John C. Abajian and Scott Simmons

NVC FLOWER FUND

JANE PHILLIPS’S BIRTHDAY: Bertha Ferman Margot S. Garon

IN HONOR OF

HERMAN MOYSE: Margie Scheurmann Don and Betty Kern Diane Walmsley Cammie and Charles Mayer Carol Hall ALBERTA MELANCON CARTER: Ann Duffy and John Skinner PEGGY GULOTTA: Merlyn Weilbaecher CHARLENE WILLIAMS: NOMA Volunteer Committee

NVC GENERAL FUND IN HONOR OF MILLIE HAWKSHEAD: ExxonMobil MARIE (MICKEY) GREVE: ExxonMobil

PHOTOGRAPHY FUND IN MEMORY OF ANTHONY TORRES: Mr. and Mrs. Harry Rosenberg MARCIE KOCH: Mr. and Mrs. Harry Rosenberg BARBARA KITTRELL HOGUE: Mr. and Mrs. Harry Rosenberg

ANN GAUTHIER: NOMA Volunteer Committee

IN MEMORY OF

RON BECHET: NOMA Volunteer Committee

RICHARD WALLIN BOEBEL: Dorian Bennett

AUSIKLIS OZOLS: NOMA Volunteer Committee

ARTS QUARTERLY

JERRY INGOLIA’S BIRTHDAY: Rosemarie Fowler

CLARA SHOLES: Dorian Bennett

BEN LUBEL: Nancy and Andre Wogan

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 504-658-4100. ■

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. David F. Edwards Mr. and Mrs. S. Stewart Farnet Mr. and Mrs. Ludovico S. Feoli Mr. and Mrs. Stephen A. Hansel Helis Foundation 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. Mr. and Mrs. Prescott N. Dunbar 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 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. 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. 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. E. Ralph Lupin Mr. and Mrs. Edward C. Mathes Mr. and Mrs. R. King Milling Ms. Karyn E. Murphy Mr. and Mrs. Richard E. O’Krepki 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 Mr. and Mrs. James L. Taylor Mr. and Mrs. Louis A. Wilson, Jr.

FELLOWS Mrs. Adele L. Adatto Dr. and Mrs. Kenneth N. Adatto Mr. and Mrs. Richard Adkerson Dr. H. Russell Albright Mrs. Moira Ambrose 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. Edward B. Benjamin, Jr. Mr. and Mrs. W. Mente Benjamin Mr. and Mrs. Dorian M. Bennett Mr. and Mrs. Michael A. Berenson Mrs. Marian Mayer Berkett Ms. Virginia Besthoff and Ms. Nancy Aronson Dr. Siddharth K. Bhansali Mrs. Janet Blocker Mr. Harry J. Blumenthal, Jr. Mr. and Mrs. Henry J. Bodenheimer 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 Ms. Ella and Ms. Dorothy Brennan 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. Pamela R. Burck Professor and Mrs. Morris E. Burka Mr. Harold H. Burns Mr. Steven Callan Mr. and Mrs. Joseph C. Canizaro Mr. and Mrs. Carlo Capomazza di Campolattaro Mr. and Mrs. Michael Carbine Mr. and Mrs. Kenneth M. Carter Dr. and Mrs. Edgar L. Chase III Dr. Victor P. Chisesi Mr. John A. Chrestia Mr. Stephen W. Clayton and Mr. W. P. Brown III Mr. and Mrs. John Clemmer Mr. and Mrs. James J. Coleman, Sr.

NEW ORLEANS MUSEUM OF ART

Mr. and Mrs. Thomas B. Coleman Mrs. John J. Colomb, Jr. Ms. Shirley Colomb and Don Clausing Mr. Barry J. Cooper and Mr. Stuart H. Smith Ms. Erika Cooper and Mr. Billy Tiemann 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 Ms. Sheila Davlin 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 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. Randy Fertel Ms. Natalie Fielding Mrs. Julia Fishelson Ms. Anne A. Fitzhugh Mr. and Mrs. Richard B. Fox Mr. and Mrs. Timothy Francis Mr. and Mrs. Louis M. Freeman Mrs. Gore Friedrichs Mr. and Mrs. Louis L. Frierson Dr. and Mrs. Harold A. Fuselier, Jr. Mrs. Anne Gauthier Dr. and Mrs. Charles F. Genre Mrs. Dennis A. Georges Dr. Kurt A. Gitter and Mrs. Alice Rae Yelen Mrs. Luba B. Glade Mrs. Louis A. Glazer Mrs. Frederick A. Gottesman Dr. and Mrs. Warren L. Gottsegen Mr. Richard A. Goula Mr. and Mrs. Mason Granger 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. R. L. Hindermann Mrs. S. Herbert Hirsch Mrs. William H. Hodges Dr. Larry H. Hollier Mr. Harry T. Howard III Mr. and Mrs. Harley B. Howcott, Jr. Mr. and Mrs. Arthur W. Huguley III Mr. and Mrs. Merl Huntsinger Mr. and Mrs. Lawrence Israel Mr. and Mrs. Marvin L. Jacobs Dr. Ronald A. Javitch

ARTS QUARTERLY

Mr. and Mrs. Harold B. Judell Mrs. Arthur L. Jung, Jr. Mrs. Gloria S. Kabacoff Dr. Nina Kelly Ms. Allison Kendrick Mr. and 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. Sidney W. Lassen Mr. and Mrs. John H. Lawrence Mrs. Rita Benson LeBlanc Mr. Victor C. Leglise, Sr. Mr. and Mrs. Thomas B. Lemann Dr. Edward D. Levy, Jr. 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. Adam B. Marcus Mrs. Shirley R. Masinter Mr. and Mrs. Bernard Mason Mr. and Mrs. George H. Massey, Jr. Ms. Kay McArdle 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. 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 Mr. Michael D. Moffitt Ms. Stephany S. Monteleone Dr. and Mrs. Lee Roy Morgan, Jr. Mr. and Mrs. Walter Morton Mrs. Andree Moss Mr. and Mrs. J. Frederick Muller, Jr. Dr. and Mrs. Bert Myers Mrs. Elizabeth S. Nalty Ms. Carolyn Nelson 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 Mr. Roger H. Ogden 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. Lawrence H. Pugh Mr. and Mrs. Arthur C. Pulitzer Mrs. James W. Reily, Jr. Mr. and Mrs. James J. Reiss, Jr.

Ms. Sally E. Richards 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. Dr. and 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 Mr. and Mrs. William Ryan Miss Courtney-Anne Sarpy Mr. and Mrs. Brian A. Schneider 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 Mr. and Mrs. John Sinnott 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 Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Ms. Mary Holmes Stephens Dr. and Mrs. Sterne Dr. and Mrs. Harold M. Stokes Mrs. Harold H. Stream, Jr. Dr. Nia K. Terezakis Dr. and Mrs. Karl Tornyos Mr. and Mrs. Hugh Uhalt, Jr. Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. and Mrs. R. Preston Wailes Mrs. Floyd A. Wallis 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. Charles Lewis Whited, Jr. Mrs. James A. Wysocki 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 Jones, Walker, Waechter, Poitevent, Carrere & Denegre New Orleans Saints Reagan Equipment Co., Inc. Tidewater, Inc. Whitney National Bank Willoughby Associates, Limited Windsor Court Hotel

BENEFACTOR Gambit Communications, Inc.

PATRON Associated Office Systems Brian Schneider Company Columbus Properties, LLC Lemle & Kelleher The Sydney and Walda Besthoff Foundation

LEADER J. Aron and Company, Inc. Barriere Construction Company, Inc. Boh Bros. Construction Company, Inc. Christie’s Fine Art Auctioneers Cooper T. Smith Stevedoring Company, Inc. Dorian M. Bennett, Inc. Eskew + Dumez + Ripple The Laitram Corporation M. S. Rau Antiques, LLC Magnolia Marketing Company The Monteleone Hotel Murphy Exploration & Production Co. 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

MASTER Dooky Chase’s Restaurant Emirau Partners Energy Partners, Ltd. Gulf Coast Bank IPC New Orleans 1, LLC McDermott International Inc. McIlhenny Company MPress Oreck Corporation The Schon Charitable Foundation

ASSOCIATE A Gallery for Fine Photography Baker CAC, Inc. Bowie Lumber Associates Dauphine Orleans Delta Petroleum Co., Inc. E. N. Bisso and Son, Inc. Fidelity Homestead Association Hunt Forest Products, Inc.

KPMG Royal Antiques, Ltd. The Steeg Law Firm LLC Waggonner and Ball Architects 901 So. Peters St. LLC

CONTRIBUTOR A. L. Lowe Picture Framing Company Aquatic Gardens As You Like It Silver Shop Baker, Donelson, Bearman, Caldwell & Berkowitz Bolton Ford Catherine G. Bienvenu Dreyfus-Cortney, Inc. Dupuy Storage & Forwarding Corporation Grant Rivers LLC Gulf Coast Bank Hirsch Investment Management, L.L.C. James A. Mounger, A Professional Law Corporation Jon Antiques Juneau Odenwald Roofing

Le Richelieu Motor Hotel LIFT Productions Mignon Faget, Ltd. Milling Benson Woodward L.L.P. Sisung Securities Corporation Teri Galleries Ltd. Tujague’s Restaurant URS Corporation Waters, Parkerson & Co., Inc.

UNIVERSITY MEMBERS Delgado Community College Dillard University Loyola University Our Lady of Holy Cross College Saint Scholastica Academy (High School) Southeastern Louisiana University, Hammond Southern University of New Orleans Tulane University University of Louisiana at Lafayette University of New Orleans Xavier University

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: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support 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

THE GPOA FOUNDATION: Educational Pre-Visit Video of African Art Collection HOUSE OF BLUES FOUNDATION ROOM: Odyssey Ball 2007 INTERNATIONAL WELL TESTERS, INC. AND JOLIE AND ROBERT SHELTON: Living Color: Photographs by Judy Cooper Exhibition Catalogue Support Odyssey Ball 2007 GLORIA S. KABACOFF: Odyssey Ball 2007

$100,000 +

$34,999 - $20,000

THE AZBY FUND: General Operating Support Besthoff Sculpture Garden Operating Support Security Equipment

ELIZABETH F. CHENEY FOUNDATION: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support

FREEPORT-MCMORAN FOUNDATION: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Title Sponsor

JOE W. AND DOROTHY DORSETT BROWN FOUNDATION: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support

THE HELIS FOUNDATION: Free Admission for Louisiana Residents

JONES, WALKER, WAECHTER, POINTEVENT, CARRERE & DENEGRE L.L.P.: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support

LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATON: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support LOUIS ARMSTRONG NEW ORLEANS INTERNATIONAL AIRPORT: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support THE PATRICK F. TAYLOR FOUNDATION: Taylor NOMA Scholars Program WDSU NEWSCHANNEL 6: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support ZEMURRAY FOUNDATION: General Operating Support

$99,999 – $50,000

LLOYD A. FRY FOUNDATION: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support LOUISIANA ENDOWMENT FOR THE HUMANITIES: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support OFFICE OF THE LIEUTENANT GOVERNOR/LOUISIANA DEPARTMENT OF CULTURE, RECREATION AND TOURISM: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support THE ROSAMARY FOUNDATION: Family Workshops Handbook of School Programs

$19,999 - $10,000

TAMMY AND BLAINE KERN, JR. MARDI GRAS PRODUCTIONS: Odyssey Ball 2007 THE MCILHENNY COMPANY AND THE GUSTAF WESTFELDT MCILHENNY FAMILY FOUNDATION: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support PAULA L. MAHER: Odyssey Ball 2007 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 MRS. MERCEDES B. WHITECLOUD: Odyssey Ball 2007 RUBY K. WORNER CHARITABLE TRUST: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support 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 SANDRA AND LOUIS A. WILSON, JR.: Odyssey Ball 2007

$9,999 - $5,000

AT&T: Odyssey Ball 2007

MR. AND MRS. MORRIS BART III: Odyssey Ball 2007

GAYLE AND TOM BENSON: Odyssey Ball 2007

LEE MICHAELS FINE JEWELRY AND CHOPARD: Odyssey Ball 2007

THE BOOTH-BRICKER FUND: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support

BRINKER INTERNATIONAL, INC.: French Heritage Society’s Katrina Heritage Rescue Fund, West Palm Beach

LOUISIANA ENDOWMENT FOR THE HUMANITIES: Living Color: Photographs by Judy Cooper Exhibition, Programming and Catalogue Support

CAPITAL ONE: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France NOMA Members Day Sponsor

THE CUDD FOUNDATION: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

MATHES BRIERRE ARCHITECTS: Odyssey Ball 2007

CHEVRON: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support Handbook of School Programs Teacher’s Packets

DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions

BLANCHARD AND COMPANY, INC.: Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France Exhibition Support

LOUISIANA DIVISION OF THE ARTS: General Operating Support THE LUPIN FOUNDATION: General Operating Support Odyssey Ball 2007

ARTS QUARTERLY

MR. AND MRS. LAWRENCE D. GARVEY: Odyssey Ball 2007 GOLDRING FAMILY FOUNDATION: Odyssey Ball 2007 GREATER LAKESIDE CORPORATION: Odyssey Ball 2007

JERI NIMS: Odyssey Ball 2007

DEBRA AND ROBERT PATRICK: Odyssey Ball 2007 THREE FOLD CONSULTANTS, LLC: LOVE in the Garden 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

NOMA EDUCATION: Sunday, March 30, 2 p.m.

Cajun Storytelling

Collaborative Community Partnership

Family Workshops Pre-registration is requested for NOMA’s Family Workshops. Children must be accompanied by an adult.

Tales from deep in the bayou will thrill audiences of all ages. Storyteller Mary LeCompte will delight visitors with the traditional Cajun legend of the Loup Garou and other captivating tales from George Rodrigue’s Acadiana. Cajun storytelling is presented in conjunction with the exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina, on view at NOMA March 1 through June 8, 2008. This program is free with Museum admission and open to the public. ■

With a grant from the Ruby K. Worner Charitable Trust to facilitate a programming partnership with the Jefferson Parish Library during the exhibition Blue Winds Dancing: The Whitecloud Collection of Native American Art, a complementary selection of Native American art from NOMA’s permanent collection is on

view at the Jefferson Parish Library through February. Additionally, Dr. Cory Willmott, who will be lecturing at NOMA on Sunday, January 13 (see “Lectures” on next page for more information), will offer another talk— ”Second Skins: A History of Chippewa Hide and Textile Arts”—at the Jefferson Library on Saturday, January 12.

For more information about these and other programs at the Jefferson Parish Library, please call 504-838-1100. Blue Winds Dancing: The Whitecloud Collection of Native American Art in on view at the New Orleans Museum of Art through February 17, 2008. ■

NOMA offers Sunday afternoon art workshops designed as a collaborative venture in which children and their adult companion create an art project together. Children should be between five and twelve years old and must be accompanied by an adult. After a tour of NOMA’s collection to view artworks related to the workshop, participants will create their own project. The cost of the workshop is $10 per family for Museum members and $15 for nonmembers plus Museum admission. All art supplies are provided by NOMA. Pre-registration is requested. For more information, contact kmarquette@noma.org or call 504-658-4128.

elements. Animals such as birds, snakes and alligators are often signified with symbolic forms. Cane, pine, straw and animal hide are among the materials used to create these representations of the natural world. After examining the works on view, participants in this workshop will create their own symbols for the world around them. Using foam board and natural objects, students will create a three-part painting symbolic of their own life.

American mythology and symbols from Blue Winds Dancing: The Whitecloud Collection of Native American Art, they will develop their own iconography for use in the decoration of their pots. ■

Sunday, January 6 2 p.m. – 4 p.m. Symbolic Triptych Many of the objects on display in the exhibition Blue Winds Dancing: The Whitecloud Collection of Native American Art were inspired by natural

George Rodrigue (American, born 1944) On My Master’s Grave, 1988 Oil on canvas, 30 x 24 inches Private collection

Sunday, February 17 2 p.m. – 4 p.m. Clay Coil Pots One of the earliest types of pottery was the coil pot, made by coiling long ropes of clay in a spiral. The coils were pinched together carefully and baked outside in a shallow pit to produce a hard vessel. Many Native American cultures used the pots to hold water and store food. Participants will learn a modern version of this pottery technique; and, after studying Native

NOMA will present two family workshops in conjunction with the exhibition Blue Winds Dancing: The Whitecloud Collection of Native American Art, on view through February 17, 2008.

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Films

Film are presented in NOMA’s Stern Auditorium and are free with Museum admission. Please note that the film on March 19 is at 6 p.m., instead of the usual 2 p.m. screening. For more information, please contact mrobinson@noma.org or call 504-658-4113.

Saturday, January 12, 2 p.m. Smoke Signals (1998, 88 min., Rated PG-13) On a Coeur d’Alene, Idaho, reservation, not much changes—until the estranged father of Victor Joseph (Adam Beach) dies in Arizona, and Victor must collect the cremated remains. Victor can’t afford the fare, but annoying Thomas Builds-the-Fire (Evan Adams) will give Victor a loan… if he can tag along. This tender tale of self-discovery is based on acclaimed author Sherman Alexie’s short stories, The Lone Ranger and Tonto Fistfight in Heaven, and it is the first film written, directed, and acted completely by American Indians.

Saturday, February 16, 2 p.m. The Education of Little Tree (1998, 112 min., Rated PG) James Cromwell stars in this heartwarming adaptation of the acclaimed best-seller about an eightyear-old Cherokee boy in Tennessee’s Smokey Mountains during the 1930s. Little Tree (Joseph Ashton) is sent to

NOMA will present the film The Education of Little Tree on Saturday, February 16, at 2 p.m.

Lectures

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 mrobinson@noma.org or call 504-658-4113.

Sunday, January 6, 2 p.m. After the Flood by Robert Polidori, Photographer Canadian-born artist Robert Polidori will discuss the works from his exhibition New Orleans After the Flood: Photographs by Robert Polidori, which was on view in 2006 at the Metropolitan Museum of Art in New York City. His stirring, yet contemplative, photographs of postKatrina New Orleans reveal a formal beauty in the mud-caked belongings and discarded mementos captured in his powerful images.

ARTS QUARTERLY

Sunday, January 13, 2 p.m. Cosmological Motifs in Chippewa Art in the Whitecloud Collection by Dr. Cory Willmott, Assistant Professor of Anthropology, Southern Illinois University Edwardsville Historically, the Chippewa traversed a beautifully wooded and rocky landscape speckled with small lakes and rivers that drained into the Great Lakes. For the Chippewa, this delightful landscape was the Middle World in a cosmology that also included the Upper and Lower Worlds. Dr. Willmott’s presentation will focus on the ways in which male and female Chippewa artists depicted these three cosmological worlds in motifs and mediums appropriate to their genders. She will further explain how these motifs embodied the powers they represent and thereby enlivened Chippewa lives and rituals with spiritual presence.

live with his mountain-dwelling grandparents after the loss of his mother and father. His new life is filled with joy, discovery, setbacks, triumphs and good friends like mystical Cherokee seer Willow John (Graham Greene).

Wednesday, March 19, 6 p.m. Dance for a Chicken: Cajun Mardi Gras (1993, 60 min., Not Rated) This award-winning film brims over with stunning images of carnival play and a rich soundtrack of hot Cajun music. Cajun filmmaker Pat Mire gives us an inside look at the colorful, rural Cajun Mardi Gras. Every year before Lent, processions of masked and costumed revelers, often on horseback, go from house to house gathering ingredients for communal gumbos in communities across rural southwest Louisiana. The often-unruly participants in this ancient tradition play as beggars, fools, and thieves as they raid farmsteads and perform in exchange for charity or, in other words, “dance for a chicken.” ■

Saturday, February 9, 2 p.m. Gallery Walk-through of Blue Winds Dancing: The Whitecloud Collection of Native American Art by Paul Tarver, Curator of Native American Art, NOMA, and Mercedes Whitecloud, Collector Paul Tarver, NOMA’s curator of Native American art, and Mercedes Whitecloud, collector, will informally discuss the objects in the current exhibition and answer questions from the participants as they walk through the galleries. Space is limited. Blue Winds Dancing: The Whitecloud Collection of Native American Art is on view at the New Orleans Museum of Art through February 17, 2008.

NOMA EDUCATION: Lectures (continued)

Sunday, February 17, 2 p.m. The Beauty of Diversity: The Aesthetics of the Whitecloud Collection of Native American Art by Dr. Mary Jo Watson, Director of the School of Art, University of Oklahoma Tribal communities across the United States have developed distinct and specialized aesthetic expressions, which are evident in both the functional and decorative objects they produce. Drawing upon the various Native American cultures represented in the Museum’s current exhibition, Blue Winds Dancing: The Whitecloud Collection of Native American Art, Dr. Watson will explore the artistic canons of the geographic regions as well as the distinctive motifs and influences that distinguish one group from another.

Sunday, February 24, 2 p.m. Living Color: Photographs by Judy Cooper Panel Discussion Moderated by Jacqueline Bishop, Artist Photographer Judy Cooper captures the character of her subjects while also providing an important document of the costume, dress and accessory that make local traditions come alive. Catalogue essayist Jacqueline Bishop joins four panelists to discuss the role of clothing as “finery” and how costume is used as a statement of personality and identity within a cultural context. Programming for Living Color: Photographs by Judy Cooper is sponsored, in part, by the Louisiana Endowment for the Humanities. The exhibition is on view at the New Orleans Museum of Art January 19 through May 11, 2008.

Sunday, March 2, 2 p.m. Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina by George & Wendy Rodrigue Join George and Wendy Rodrigue for an animated lecture exploring the artist’s career and the process behind the creation of his iconic image, the Blue Dog. George Rodrigue will demonstrate his painting technique for the audience while his wife and art historian, Wendy Rodrigue, discusses his work. This event is free, but seating is limited. Please arrive early, as tickets will be distributed on a first-come, firstserved basis.

Sunday, March 9, 2 p.m. The Science of Optics: The History of Art by Dr. Charles M. Falco, Chair of Condensed Matter Physics, College of Optical Sciences, University of Arizona, Tucson Recently, renowned artist David Hockney made the controversial claim that artists of the Renaissance, even those as prominent as Jan van Eyck and Giovanni Bellini, must have used optical aids to produce their paintings. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In his talk, Dr. Falco will present the evidence he and Hockney discovered during this unusual collaboration between artist and scientist. These revelations convincingly demonstrate optical instruments were in use by artists nearly two hundred years earlier than commonly thought possible, and account for the remarkable transformation in the reality of portraits that occurred in the early fifteenth century.

George Rodrigue (American, born 1944) Broken Limb, 1975 Oil on canvas, 24 x 30 inches Private collection

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES 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 program is presented in conjunction with the exhibition Living Color: Photographs by Judy Cooper, on view at NOMA January 19 through May 11, 2008. Programming for Living Color: Photographs by Judy Cooper is sponsored, in part, by the Louisiana Endowment for the Humanities. ■

Special Exhibition Docent Program

Teacher Workshops

The education department is now accepting applications for a new and exciting docent opportunity for winter 2008. Special Exhibition Docents will be trained to provide tours of the exhibition Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond

Katrina. Special Exhibition Docents will be required to attend three evening training classes in February, as well as one morning training session with Master Docents on March 3, 2008. Special Exhibition Docents will commit to leading guided tours to school age

groups one day a week for the duration of the exhibition. No prior experience in art history is required. If you are interested in this program, please contact the associate curator of education at 658-4113 for an application. ■

Admission for teacher workshops is free for all area educators, but preregistration is required. Please call 504-658-4128 for registration or more information.

specifically designed for educators, with particular emphasis on identifying symptoms in children exhibiting lingering post-traumatic classroom behavior. Teachers will be provided informational packets and participate in an example of a therapeutic art activity.

history, development, and inspirations throughout his career. The workshop will conclude with the opportunity for educators to preview the exhibition with the artist, and educational packets will be provided for participants. ■

Tuesday, January 22 4 p.m. – 6 p.m. Art Therapy Information Session and Activity

RIGHT: George Rodrigue (American, born 1944) Isidore, 2002 Oil on canvas 24 x 24 inches Private collection

ARTS QUARTERLY

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

In conjunction with the Hyogo/NOMA Katrina Art Therapy Initiative, NOMA art therapist Holly M. Wherry, MAAT, will provide an informative session on the field of art therapy and how it can assist children in dealing with issues of trauma, grief, and loss. This workshop will be

Tuesday, March 4 4 p.m. – 6 p.m. Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina George and Wendy Rodrigue will present an overview to the artist’s exhibition at NOMA, which is on view March 1 through June 8, 2008, and will provide information about Rodrigue’s

MUSEUM NEWS MUSEUM NEWS MUSEUM ART DIVISION PRESENTATION IN CHINA In late November 2007, NOMA Director E. John Bullard and Assistant Director for Art and Curator of Asian Art Lisa RotondoMcCord, were invited to speak before a meeting of the Art Museum Professionals of Henan Province. This annual conference brings together the Directors and Assistant Directors of all the major museums and cultural institutions in Henan, China’s most populous province. Mr. Bullard spoke on the history of NOMA and discussed such issues as the role of special exhibitions, membership, fund raising and building a collection through donations and acquisitions. Ms. Rotondo-McCord gave an overview of NOMA’s Chinese collection.

BOARD OF TRUSTEES BOARD OF TRUSTEES MEETING SCHEDULE NOMA’s board of trustees will meet on Wednesday, January 16, February 20, and March 19, at 4 p.m.

NVC NVC GENERAL MEETING IS FEBRUARY 11 AT 10:30 A.M. Plan to attend the NVC general membership meeting in the NOMA Stern Auditorium on Monday, February 11, at 10:30 a.m. A light lunch will follow. Chairman Brenda Vorhoff will reveal the exciting 2008 NVC calendar, including the NVC Fabergé Egg Hunt on March 4. Volunteer signup sheets will be available for this fun weekend event. Look for details on the website, www.noma.org. NEW NVC CHAIRS ANNOUNCED Brenda Vorhoff assumes her duties as 2008 NVC chair on January 1. She will be assisted by Chair-Elect Diane Walmsley, ViceChair of Activities Carol Hall, ViceChair of Fundraising Margaret Kessels, Vice-Chair of Membership

Cammie Mayer, Recording Secretary Betty Kern, Corresponding Secretary Pam Rogers, Treasurer Ellen Miclette and Parliamentarian Elizabeth Ryan. The two At-Large Representatives are Jean Taylor and Janet Frischhertz. JOIN THE NVC Joining the NOMA Volunteer Committee is an excellent way to aid in the recovery of New Orleans while gaining both knowledge and friendships. Through its many functions throughout the year, the NVC plays a vital fund-raising role within NOMA. Lectures, studio visits, home tours, galas and children’s activities are among the benefits a NVC membership provides. STUDIO SALON Studio Salon Chairs Sally Richards and Cary Alden scored another triumph with their fall visit to the New Orleans Academy of Fine Arts. Director and Founder Auseklis Ozols was the amiable host and tour guide. This dynamic duo is already planning their spring function. Watch your mail for details. FLOWER FUND Flower Fund Chairmen Carol Hall and Jerrye St. Martin announce the Flower Fund Coffee will be held on January 15 from 10 a.m. to noon, by invitation. Kenny Rabalais, owner of The Plant Gallery, will speak on “Container Gardening for Today’s Lifestyle.” Flower fund teams are responsible for the beautiful floral arrangements that grace the urns in NOMA’s Great Hall. The coffee is a thank you for their help during the previous year. Interested in joining a Flower team? A commitment of at least one Monday morning a year is required. No experience necessary, just a love of flowers. ■

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Jacqueline L. Sullivan, Deputy Director Sarah L. McCoy, Director for Development and External Affairs 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/Grants Officer Diego Cortez, The Freeman Family Curator of Photography Marilyn Dittmann, Senior Development Associate 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 Elizabeth Levy, Membership Secretary Katherine Marquette, Education Secretary 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 Paul Tarver, Registrar/Curator of Native American and Pre-Columbian Art Patricia Trautman, Museum Shop Manager Laura Wallis, Development 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 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 JANUARY 6

SUNDAY, 2 p.m., Family Workshop, “Symbolic Triptych”

MARCH 1

2 p.m., Lecture, “After the Flood” by Robert Polidori, Photographer

SATURDAY, 2 p.m., Film, Smoke Signals (1998, 88 min., Rated PG-13)

SUNDAY, 2 p.m., Lecture, “Cosmological Motifs in Chippewa Art in the Whitecloud Collection” by Dr. Cory Willmott, Assistant Professor of Anthropology, Southern Illinois University Edwardsville

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WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting FRIDAY, 6 p.m. to 9 p.m., NOMA Members Exhibition Preview—Living Color: Photographs by Judy Cooper and Ari Marcopoulous: Architectures

SATURDAY, Opening Day—Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina and Dog Show 6 p.m. to 9 p.m., NOMA Members Preview—Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina and Dog Show

SUNDAY, 2 p.m., Lecture, “Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina” by George and Wendy Rodrigue

TUESDAY, 4 p.m. to 6 p.m., Teacher Workshop, “Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina”

SUNDAY, 2 p.m., “The Science of Optics: The History of Art” by Dr. Charles M. Falco, Chair of Condensed Matter Physics, College of Optical Sciences, University of Arizona, Tucson

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting 6 p.m., Film, Dance for a Chicken: Cajun Mardi Gras (1993, 60 min., Not Rated)

SATURDAY, Opening Day—Living Color: Photographs by Judy Cooper and Ari Marcopoulous: Architectures

TUESDAY, 4 p.m. to 6 p.m., Teacher Workshop, “Art Therapy Information Session and Activity”

SATURDAY, Opening Day—Our History Art Contest

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SUNDAY, Happy Easter—Museum Closed SUNDAY, 2 p.m., Cajun Storytelling by Mary LeCompte

NOMA EXHIBITION SCHEDULE Home Is Where the Art Is: Zita Marks Templeman (1918-2005)–Artist, Collector, Benefactor Through January 6, 2008

FEBRUARY 9

SATURDAY, 2 p.m., Exhibition Walk-through of Blue Winds Dancing: The Whitecloud Collection of Native American Art” by Paul Tarver, Curator of Native American Art, NOMA, and Mercedes Whitecloud, Collector

SATURDAY, 2 p.m., Film, The Education of Little Tree (1998, 112 min., Rated PG)

SUNDAY, 2 p.m., Family Workshop, “Clay Coil Pots” 2 p.m., Lecture, “The Beauty of Diversity: The Aesthetics of the Whitecloud Collection of Native American Art” by Dr. Mary Jo Watson, Director of the School of Art, University of Oklahoma

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

SUNDAY, 2 p.m., Panel Discussion, “Living Color: Photographs by Judy Cooper” moderated by Jacqueline Bishop, Artist

Blue Winds Dancing: The Whitecloud Collection of Native American Art Through February 17, 2008 Katrina—Days of Terror, Months of Anguish: Paintings by Rolland Golden Through February 17, 2008 Louisiana: Where Land Meets Water Through March 2, 2008 Ari Marcopoulous: Architectures January 19 – April 27, 2008 Living Color: Photographs by Judy Cooper January 19 – May 11, 2008 Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina March 1 – June 8, 2008 Dog Show March 1 – June 8, 2008 A Curator’s Gift: Contemporary Photography from Diego Cortez March 1 – May 25, 2008

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.

ARTS QUARTERLY

Post Office Box 19123 New Orleans, Louisiana 70179-0123

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