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ARTSQUARTERLY VOLUME XXXI ISSUE 1

NEW ORLEANS MUSEUM OF ART

JANUARY/FEBRUARY/MARCH 2009

STYLE, FORM AND FUNCTION: Glass from the Collection of Jack M. Sawyer BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

Group of vases in the Art Nouveau style (clockwise from the lower left) Footed Pyriform Vase, circa 1905 Transparent amber and green lead Favrile glass: mold-blown, tooled, applied and iridized The Tiffany Studios (active 1892–1928), Corona, Long Island, New York, height 9-5/8 inches Columnar Vase: Pansies, circa 1895–1900 Colorless, transparent rose, ochre, russet, and blown lead glass: blown, cased, tooled, cameo-cut and acid-finished Emile Gallé (French, 1846-1904), Nancy, height 9-7/8 inches Vase of Attenuated Barrel-Form: Leaves, circa 1900–10 Colorless, transparent coral and crimson lead glass: blown, tooled, cased, cameo-cut and acid-etched Legras et Compagnie (active 1864–1914; 1919–circa 1939), St. Denis and Pantin, height 15-3/4 Melon-Ribbed Tallneck Vase, circa 1900–05 Transparent green lead glass: moldblown, tooled, iridized in gold Johann Loetz-Witwe (active 1890–1938), Klöstermühle, Austria, height 10-1/8 inches Vase: Poinsettia, circa 1900–10 Transparent citron green and scarlet lead glass: blown, cased, cameo-cut, partially acid-finished and parcel-gilt Legras et Compagnie (active 1846–1914; 1919–circa 1939), Pantin. “Mont Joye” line, height 7 inches The Jack M. Sawyer Collection

The regnancy of Art Nouveau expression as the new international decorative style was confirmed by the influential Paris Exposition Universelle of 1900. Many countries developed their own version of the Art Nouveau style, with France, Belgium and the United States favoring a curvilinear floriform interpretation while the Netherlands and German tended to prefer a more architectonic version called “Jugendstijl.” Austria developed a yet more stylized rectilinear manner based upon Vienna’s revolutionary Sezession movement. Photo by Judy Cooper

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From the director N

ovember 23 was the fifth anniversary of the opening of the Sydney and Walda Besthoff Sculpture Garden, one of the greatest gifts ever made to the New Orleans Museum of Art and to our City. In its first two years of operation, the Besthoff Garden quickly became one of the favorite public spaces for New Orleanians and tourists alike. This was due in great part to the desire of the donors and the Musuem that the Garden be open without charge—free to all visitors at all times. It was wonderful to see families with small children, courting couples, individual and solitary visitors enjoying an informal, welcoming introduction to great art. Not only were the sculptures on display extraordinary but equally important the natural environment was especially beautiful and inviting, with meandering footpaths and pedestrian bridges over reflecting lagoons, surrounded by Spanish moss-laden 150-year-old live oaks, mature pines and blossoming magnolias, azaleas and camellias. This all changed of course on August 29, 2005, when Katrina blew down forty trees and caused flood waters to inundate large portions of the Garden, killing 30 percent of the plant materials, and leaving a muddy residue on many of the sculptures. Fortunately only one sculpture was seriously damaged; the forty-five-foot tall Kennenth Snelson collapsed into the lagoon, its stainless steel tubes and steel cable broken and half submerged. With hard work first by the Oregon National Guard stationed in City Park and then returning NOMA staff and voluteers, debris was cleared, sculptures were cleaned and some replanting was done. After being closed for three months, the Besthoff Sculpture Garden reopened on December 10, 2005, providing a beautiful place for inspiration, mediation, and pleasure for the citizens of New Orleans as they began the tremendous job of rebuilding the city. The Garden originally opened with fifty-one sculptures by a wide array of artists from Europe, America and Asia, dating from 1907 to 2002. Since reopening in 2006 six additional sculptures have been added, by masters like Maillol, Oldenburg, and Indiana, most the gift of Sydney and Walda Besthoff. In early 2009 we will install a wonderful new work by the Barcelona-based sculptor Jaume Plensa—a monumental seated man made of a cage of steel letters. Also this spring we finally will complete the structual restoration of the electrical and irrigation systems and the replanting of the flooded areas. ___________________________________________ NOMA begins the New Year without one of its key staff members. After nearly twenty-nine years of service, Wanda O’Shello is retiring as editor of the Arts Quarterly and publications coordinator. Under her able and expert direction, the Museum has produced hundreds of brochures, invitations, announcements, and text panels, thousands of object labels, and, most important, dozens of award-winning exhibition catalogues, both large and small. Wanda has been a cherished colleague and friend, and she will be greatly missed by the entire NOMA family. E. John Bullard

ARTSQUARTERLY VOLUME XXXI ISSUE 1

NEW ORLEANS MUSEUM OF ART

Style, Form and Function: Glass from the Collection of Jack M. Sawyer John Webster Keefe

Expression, Innovation and Design: Studio Ceramics from the Permanent Collection John Webster Keefe

Frederick J. Brown: New Portraits of Jazz Greats

Photography and Depression Diego Cortez

Evening in Paris: NOMA Celebrates the City of Light with Posters and Photographs from the Permanent Collection George Roland

Pop! Pop! Pop! Important Prints from the ’60s Pop into the Permanent Collection George Roland

Author and Subject: Murasaki Shikibu and The Tale of Genji Lisa Rotondo-McCord

Chinese Galleries Reinstalled Lisa Rotondo-McCord

Early Indian Bronzes from the Collection of Dr. Siddharth Bhansali Lisa Rotondo-McCord

NOMA’s Modern and Contemporary Galleries—Remixed Miranda Lash

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio James Mulvihill

Notes from the Sydney and Walda Besthoff Sculpture Garden Pamela Buckman

Wilhelm Wagenfeld: The Translation of Bauhaus Philosophy to Industrial Practice Alice Webb Dickinson

Le Jardin des Arts: Art in Bloom 2009 at NOMA Virginia Panno

Forty-Third Odyssey Ball Was An Opulent Evening Virginia Panno

LOVE in the Garden Was a Magical Evening of Entertainment and Cuisine Virginia Panno

Circles and Fellows of the New Orleans Museum of Art

NMA Circles Travel to Avery Island

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JANUARY/FEBRUARY/MARCH 2009

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 Assistant to the Editor: Aisha Champagne 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. © 2009, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Free admission for Louisiana residents is sponsored by The Helis Foundation and the members of the New Orleans Museum of Art. The Museum is open Wednesday, noon to 8 p.m., Thursday through Sunday, 10 a.m. to 5 p.m. The Besthoff Sculpture Garden is open Wednesday through Sunday, 10 a.m. to 4:45 p.m. For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

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ARTS QUARTERLY

STYLE, FORM AND FUNCTION: Glass from the Collection of Jack M. Sawyer BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

(continued from page 1)

edicated and impassioned collectors share in common the endearing trait of total commitment to their chosen area of interest. New Orleans collector Jack M. Sawyer has been fascinated by the magical crystalline substance that is glass since he began collecting it in the 1960s. Today he maintains that glass remains as great a source of mystery and visual pleasure as it was when he began collecting nearly half a century ago. Decorating a house in the 1960s, Sawyer was originally seeking attractive reasonably priced decorative accessories and was not yet exclusively committed to the medium of glass. Even then, however, he remembered well a colorful pair of Victorian “End-of-Day” glass vases belonging to his grandmother and the purchase of a Depression glass cake plate financed with the wages from mowing the grass of neighbors’ lawns in his native Georgia. He soon realized that attractive pieces of later nineteenth-century glass were available at modest prices because popular taste since the end of World War I had rejected the decorative arts of the Victorian era (1837–1901) as hideous, in poor taste, irredeemably ugly, devoid of any aesthetic content, and of no value. Like many another intelligent and astute collector, Sawyer was far ahead of such popular judgements in his realization that worthy pieces of glass could be acquired for little money. A Southern collector with a keen sense of history, Sawyer correctly perceived that good examples of nineteenth-century glass abounded in the South, a phenomenon created by the facts that an

affluent antebellum culture had loved showy decorative arts, possessed a definite sense of style and reveled in a markedly social existence requiring fine furniture, silver, porcelain and glass as accompaniments to daily life. Although that antebellum culture was long gone, Southerners had inherited the aforementioned traits and had continued to delight in the ownership of good things. These perceptions caused Jack Sawyer gradually to focus specifically on the medium of glass. As his career as a respected television broadcasting executive with WVUE and WYES—and later as a successful realtor—advanced, he was able to concentrate upon the concept of a glass collection. Eventually residences in New Orleans and on the Mississippi Gulf Coast were enlivened by tabletops exhibiting handsome specimens of glass, and secretary bookcases and specially built vitrines contained yet more shimmering examples. Sawyer was well in advance of many glass collectors of the era in realizing that the vast international production of the nineteenth century included many extraordinary pieces of glass, which had not yet passed the crucial test of time but would do so easily in the very near future. One of his earliest acquisitions was a cameo glass vase by the noted French Art Nouveau glassmaker Emile Gallé (1846–1904) for the now-incredible sum of $8. To this day, Sawyer regards the price of $8—or one with the numeral eight in it—as a lucky one. While such pieces were obviously not often available in the range of eight dollars, he recalls that “they were usually in the range of ten dollars, and twenty-five dollars was a lot of money to spend for any glass.”

Pair of Two-Handled Garniture Vases, circa 1855–70 W.H., B. and J. Richardson Glassworks (active 1829–1930) Wordsley, England Opal lead glass: blown, tooled, applied, enameled in melon, transferprinted in black and parcel-gilt, height 14-1/2 inches, diameter of foot 4-3/8 inches The Jack M. Sawyer Collection

Many glass historians credit the Richardson works with being the consistently outstanding English pioneer and innovator of style and technique during the nineteenth century. The Richardson dynasty regularly produced decorative and utilitarian glasswares of the highest quality in all of the fashionable modes–– Gothic and Rococo Revivals and chinoiserie. However, the neoclassical style was a company specialty, having been introduced at the firm as early as the 1840s. It remained a stylish expression until the mid-1870s. During the period, the Richardson firm exhibited at many of the great international expositions, notably garnering prizes at London’s “Crystal Palace” exhibition of 1851 and the influential Paris exhibition of 1878. These glass vases were inspired by Attic Black-figure Amphoras from ancient Greece, circa 500 B.C. Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

As his eye, taste and knowledge developed, Sawyer found that he was becoming increasingly eclectic in his selections while simultaneously becoming more discriminating. Although the collection to this day is strong in nineteenth-century examples, it grew to embrace the Art Nouveau style of the opening years of the twentieth century, the severe architectonic expression of the contemporaneous Vienna Sezession movement, the sleek stylizations of the 1920s and 1930s Art Deco mode and the Functionalist designs of post-World War II Scandinavia and Italy. Eventually, the parameters of the collection expanded to include studio glass pieces dating from the mid-1960s through the present day. By that time, however, Sawyer felt that any piece gracing the collection “must be complete in itself and epitomize an era or style.” Clearly, this was a collector who was far removed from the novice who had purchased glass objects merely for decoration or for simple usefulness. By the mid-1980s, area glass collectors knew of the Sawyer collection. The Museum, too, had knowledge of the beautiful objects in the collection and asked if they could be featured in an exhibition. Ever gracious, Jack Sawyer replied in the affirmative, and an exhibition entitled COLLECTORS CHOICE: Selections of Glass, 1830–1930, from the Collection of Jack M. Sawyer was presented from April 24 to June 4, 1989. At that time, Sawyer announced his intention to bequeath the glass to NOMA. However, he never ceased to collect, with the result that the much-loved glass threatened to outrun the available space. Eventually, Jack Sawyer decided that it would be far more enjoyable to give the collection to the Museum during his lifetime and thus be able to witness its integration into the distinguished permanent collection and to see visitors to the Museum enjoying the results of his years of dedicated collecting. However, this great donation almost did not happen. On August 29, 2005, Jack Saywer’s house in Waveland, Mississippi, was totally flooded from a thirty-foot storm surge. Fortunately, a barrier of storm debris slowed the flood waters, so that his house slowly filled with water, which then slowly receded. All of the glass objects in the house floated off tabletops and shelves, were swirled around then gently deposited in new locations. While everything was covered with mud, miraculously only about ten percent of the collection was broken beyond repair, leaving nearly six hundred works intact. Sawyer retrieved, washed and packed the glass collection and brought it to NOMA, where New Orleans conservator Lynn Harrington did further cleaning and some expert repairs to several dozen broken pieces. This exhibition officially announces Sawyer’s extraordinary donation. Many of the pieces were included in the 1989 show while others have never been seen publicly before. Visitors will be richly rewarded by viewing outstanding examples of the glassmaker’s art as well as witnessing major changes in style from circa 1835 to the present. That near century and three-quarters witnessed a panoply of change in style and function, forming a rich visual record that is a genuine gift from this dedicated collector. ■ The exhibition will be presented in the Ella West Freeman Gallery on the first floor of the Museum. The NOMA members’ preview will be on Saturday, February 7, from 6 p.m. to 9 p.m. The exhibition will remain on view until Sunday, April 26, 2008.

ARTS QUARTERLY

Pair of Garniture Vases: Songbirds and Field Flowers, circa 1877–85 August Jean (French, active circa 1877–1900) Transparent amber, pale blue and rose lead glass: expanded mold-blown, applied, tooled, polychrome-enameled and parcel-gilt, height 12-1/8 inches The Jack M. Sawyer Collection

A ceramicist and potter as well as a glass artist, August Jean anticipated the direction contemporary glass would take by well over half a century. These vases, rare in pairs, fall into the first category of Jean’s oeuvre: pale colored or clear glass with distinctive applied feet and collars and bearing enameled and gilt decoration frequently of Japanese or Persian inspiration. Jean first attracted wide notice as a successful exhibitor at the influential Paris International Exposition of 1878. His later work forsook the enameled and gilded embellishments in favor of kneaded, punched, pincered and twisted techniques in which the achieval form itself was the decoration. Photo by Judy Cooper

EXPRESSION, INNOVATION AND DESIGN: Studio Ceramics from the Permanent Collection BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

Pottery has gradually acquired its independent identity as an art form. Garth Clark, 1987, in American Ceramics, 1867 to the Present

he United States has a long and interesting ceramics history. However, that history only assumed identifiably national and individual characteristics with the rise of the art pottery movement in the 1880s. That movement was succeeded by studio pottery following the conclusion of World War II. The studio pottery movement has been a rich and varied one, involving a complex blend of tradition and innovation, which can at times baffle the observer, student and curator. At its most basic, “studio pottery” indicates pieces designed and executed by the same person. It has firmly rejected the concept of repetition and production wares in favor of originality.

(clockwise from the lower left) Charles Smith (American, born 1979; works in Alabama) Bowl, November 1987 Earthenware: thrown, carved, glazed in gloss black and matte green Collection of the New Orleans Museum of Art Gift of Eva Ingersoll Gatlin. 1992.179 Harding Black (American, 1912–2004; worked in Texas) Bowl, 1990 Stoneware: thrown, crystalline-and sang-deboeuf-glazed Collection of the New Orleans Museum of Art Gift of the Artist. 1992.153 James Watral (American, born 1942; works in Texas) Vase: Neo-Paris #1, January 19, 1988 Terracotta:cast, worked, applied, polychromeglazed, incised and parcel-copper- gilt; in two parts Collection of the New Orleans Museum of Art Gift of the Artist in memory of John V. Moisant. 1988.288 A-B

Joann Greenberg (American, born 1928; works in New Orleans) Vase: Sylvan Nudes, 1988 Terracotta: thrown, incised, black- and grey-glazed and lustered Collection of the New Orleans Museum of Art Gift of Peggy and Julian H. Good. 1988.413

Although the Museum’s collection of American studio pottery is national in scope, it should not be surprising that a number of the pieces in it are by Southern artists. This selection of work by such Southern studio ceramists provides a striking record of the breadth of expression present in the studio pottery movement as well as a wide generational spread. All of the above-illustrated pieces, which date from 1987 to 1990, reflect the fact that following World War II ceramics “emerged from the anonymity of the craft shop to the critical spotlight of the museum and the art gallery.” (Garth Clark, American Ceramics, 1876 to the Present, Abbeville Press, New York, 1987, page 9). These works also reflect the vigor and flexibility of the studio pottery movement.

Of course, studio pottery had long been present in this country, even during the heyday of the art pottery movement. George Ohr (American, 1857–1918) was the quintessential studio potter at the height of art pottery’s popularity. Ohr was no less conventional than famed California studio ceramist Beatrice Wood (American, 1893–1992), whose long career with clay commenced in the early 1930s. Indeed, the history of studio ceramics— as a movement—can be said to have commenced in the late 1930s when such venerated institutions as the Cranbrook Academy of Art (formed in 1904), Michigan, started a genuine ceramics program. Teachers like the legendary Maija Grotell (American, born Finland, 1899–1973) encouraged students to seek and develop their most truthful responses to their clays, emphasizing in the process directness, aesthetic strength and honesty. By the 1950s, American potters had been successful in freeing their work from the conventions of European design; they were still influenced by Europe but were able to assimilate and interpret such influences in order to arrive ultimately at a new and vigorous style. The American studio ceramics movement proved itself to be remarkably flexible and adaptable, digesting the impacts of Japanese Zen pottery, the surface energies of Abstract Expressionist painting and the freedom of form advocated by the Constructivists. This effective assimilation led by the 1970s to intensely personal investigations in ceramics. The longstanding vessel tradition was challenged, with ceramic sculpture becoming a viable concept, particularly on the West Coast. Such was the strength and force of the movement that during the 1980s the vessel tradition reasserted itself, with pieces assuming a mini-sculpture stance. Throughout all of these complex developments, ceramists had to move perception of the field from craft to art. This shift in perception was long in achieving realization, but today contemporary ceramics consistently attract the attention of art critics and are exhibited in museums and galleries as an integral component of the arts, be they “fine” or “decorative.” The New Orleans Museum of Art has, since 1986, built a nationally important collection of American art pottery roughly spanning the years 1884 to 1965. Even as that collection was being assembled, one was aware of the succeeding studio pottery phenomenon, and the Museum began to look for and acquire significant examples. Surprisingly, there was a number of collectors of studio ceramics in the region, and they supported this quest enthusiastically. Eva Ingersoll Gatling of Alabama; Hugh J. Smith, Jr. of New Orleans; Harriet von Breton of Mississippi; and Robert and Margaret Willson of Texas, among others, made significant additions to the small— but growing—studio ceramics collection. Word also went out to practicing ceramists about the Museum’s interest in such studio work, and a number of them generously responded with gifts of their work. These welcome gifts are all part of the present exhibition. Today, the Museum’s studio ceramic’s collection remains small and is, alas, far from comprehensive. However, it presents a coherent chapter in the distinguished history of American ceramics and is a facet of the decorative arts collection richly deserving further attention. ■

EXPRESSION, INNOVATION AND DESIGN: Studio Ceramics from the Permanent Collection is on view at NOMA from February 1 through June 1, 2009.

Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

Frederick J. Brown: New Portraits of Jazz Greats Note: This article was excerpted and updated from an earlier one by Steven Maklansky, which appeared in the January/February/ March 2003 Arts Quarterly.

or American painter Frederick J. Brown, music and musicians have been an important source of inspiration and the subject of much of his extensive work. As a child, music played a prominent role in his life. Born in Georgia, Brown and his family, like many African Americans during the first half of the twentieth century, moved from the South to Chicago in search of work and a new way of life. This migration created an urban concentration of aspiration, assimilation and culture—the sort of conditions in which music, and more specifically the blues, flourished. Raising their child in this percolating metropolis, Brown’s parents were more than just casual listeners. A jukebox was always playing in his father’s shoeshine emporium, and most remarkably, famous blues men like Muddy Waters and Howlin’ Wolf were often house guests. Brown grew up in a setting in which music provided everything from social commentary to social harmony, and in a home in which a life devoted to artistic expression was not only recognized as a possibility, but encouraged. Although Brown attended several universities and colleges where he studied art, architecture, and art history, he was a distracted student who was often more curious about the world outside the classroom. His personal pursuit of knowledge lead him to spend some time in Europe where he interacted with many artists and musicians, including clarinetist Anthony Braxton, an old high school friend who was living in Paris, and who would become the subject of Brown’s first musician portrait. Returning to the United States and living in New York beginning in 1970, Brown was introduced to some of his musical heroes such as Ornette Coleman, Pharaoh Sanders and Chet Baker, as well as artists Andy Warhol and Larry Rivers. His loft at 120 Wooster Street served not only as his painting studio but also as a makeshift performance space and meeting place for musicians, dancers, artists, and celebrities. It was this festive, fertile, and interdisciplinary environment that provided the stage and also the encouragement and confidence for Brown to paint not only what he saw, but also what he heard. In 2007 Brown was inspired to create a new series of large paintings of Jazz Greats, commissioned by Mr. and Mrs. James Flach as a promised gift to NOMA. Each measuring 84 x 36 inches, the series includes a wide range of musical personalities like Louis Armstrong, Billie Holiday, Frank Sinatra, Thelonius Monk, New Orleans native Sidney Bechet, Ray Charles, and Jelly Roll Morton. In a departure from his figurative work, Brown has created a unique abstract composition, The Origins of the Blues, as an introduction to this series. While all of the paintings are in a tall, extended format, Brown varies the composition from head and shoulders, to half lengths, and full lengths, with or without musical instruments. These are works by an artist who has claimed that: “Music is the catalyst for much of what I do,” and who has described his artistic efforts as “trying to be as lyrical as possible, as smooth as Smokey Robinson.”

When viewing these most recent portraits, it is easy to feel a backbeat in how Brown defines the basic shapes of his compositions, to sense the melodies of brushstrokes that flesh out his figures, and to be blown away by the improvisational uses of color that make Frederick Brown’s paintings just sing. ■

Frederick J. Brown: New Portraits of Jazz Greats is on view at NOMA February 7 through April 26, 2009.

Frederick J.Brown (American, born 1945) Albert King, 2007 Oil on panel, 84 x 36 inches Collection of Mr. and Mrs. James Flach Photo be Judy Cooper

ARTS QUARTERLY

Photography and Depression BY DIEGO CORTEZ The Freeman Family Curator of Photography, NOMA

hotography and Depression, the second exhibition in the museological series at NOMA, is a journey—or, as Brian Eno suggested in 1975, an “oblique strategy”—that began as a reaction to the notion of mania in contemporary art. We have recently witnessed the artmarket bubble and glut; there has been a full-color cultural impasse as a result of contemporary art’s inability to problem-solve, or even problem-designate in our society. (This is a crucial point in the works of Rudolf Steiner, Joseph Beuys, Bertolt Brecht, and others.) Underneath the frivolity of contemporary art and fashion, one can quickly locate various types of psychological disorders that always seem to lead to cataclysm, economic breakdown or illness. I concluded that something dark, gloomy, and depressing should be the order of the day—and where better to mine such postindustrial images than right here, from NOMA’s

Dorothea Lange (American, 1895–1965) Drought Refugees from Abilene, Texas, 1936 Collection of the New Orleans Museum of Art: Zemurray Foundation Fund., 1976.444 Depression is a transitory mood or emotion experienced at various times by all individuals. It is also a symptom associated with a variety of psychiatric disorders, from severe and debilitating diseases such as schizophrenia to milder anxiety disorders. It is also a commonly diagnosed mental illness.

magnificent photography collection? Carefully assembled in its formative years by NOMA’s director, E. John Bullard, and added to by generous gifts, such as the works bequeathed by Clarence John Laughlin, the collection uniquely spans both documentary and art photography—two approaches that are the fundamental souls so vividly present over the life span of this particular medium. A first edit down to three hundred pictures was based upon finding works felt to be the most relevant to our present day. This resulted in the observation that the history of photography, like the history of the twentieth century itself, has an underlying thread of depression: economic depression, an individual’s depression, and, more importantly, depressive patterns in society. All three facets are richly documented in these prints. A second edit, with this idea in mind, led to the eighty-two images we find in Photography and Depression. As we are located in a museum, it might have been more expedient to use the nineteenth-century term melancholia, rather than depression, but it was felt that the latter term—a more twentieth-century disorder and phenomenon—most accurately described our modern and contemporary society. Ryuichi Sakamoto’s 1999 Opera Life, which premiered in Osaka, Japan, was commissioned as one of many international, end-of-century “millennium” tributes. While designated an opera, it functioned more as a requiem, as a document of the holocaust of our previous century. Similarly, Photography and Depression is another such “millennium” tribute, albeit somewhat belated. While we collectively hope for the best from society, we are often slow to realize that, in spite of countless technological advances, our society isn’t necessarily evolving for the better. Only one color photograph can be found here; William Eggleston’s Huntsville, Alabama (1971) signals a departure from the ghetto of black-and-white photography to an in-color technology that brings us closer to the perceived truth of how we witness reality. To look at the history of photography before 1960 is to feel the limitations of the medium—one that existed almost solely in black and white. While photo artists were indeed able to document reality with a gritty tabloid sense (see the work of Weegee, Margaret Bourke-White, Berenice Abbott, et al.), and although photo artists quickly ventured into formal abstraction through photography’s black-and-white abstracted reality, in critical hindsight we can nevertheless see that photography—like politics and its lack of social reform in the twentieth century—was often remiss or all too often cast a blind eye on the big picture. The bulk of the twentieth century was (to phrase it briefly and coldly) a depression sandwiched between two world wars punctuated at the end by the atomic bombings of Hiroshima and Nagasaki. Prior to 1946, the twentieth century was, from one perspective, a prolonged holocaust, and we now face its history—in this exhibition, we face it photographically: we observe the agony, loneliness, and fear in the faces and circumstances of those times. We sense a lack of progress, even an outright failure of our culture to lead us through those calamities to higher moral ground. Our current economic collapse carries similar consequences both for our public economy and our private mindset. Any solutions seem to lead us to a complete change of our behaviors as consumers (viz. unregulated financial funds, obesity, Guantánamo) and our habits related to intolerance, acceleration and

NEW ORLEANS MUSEUM OF ART

impatience (viz. automobiles, internet, pharmaceuticals). We are forced to look at the psychological side of ourselves and our society, and consult a more anthropological view. I have employed the ideas of Dr. Arthur M. Kleinman, a distinguished professor, psychiatrist, medical and social anthropologist who is also the director of the Asia Society at Harvard University. Kleinman has led a revolt against his own professions by calling for a broader, more cross-cultural understanding of depressive disorders—one which can encompass widely divergent cultural behaviors, rituals, and beliefs. As every society varies in its relationship to depression, so must any interpretative study be cross-cultural. Extracts from Kleinman’s 1985 book Culture and Depression, edited with Byron J. Good, are here juxtaposed in the title plates against images or visual markers of the last century

and a half, helping to expose some of the underlying subtexts of society’s sociological, psychological or anthropological aggregate. Photographs are displayed in random pairs purely to mount a more constructed installation, and to make a strong case for comparison itself, which is the critical act. ■ Special thanks to Dawn Dedeaux, Dr. Byron J. Good, Dr. Arthur M. Kleinman, Mr. Michael Mallow, Dr. Robert Martensen, Alta Price and Mr. Seth Tillett for their generous help and suggestions.

Photography and Depression is on view in NOMA’s Templeman Galleries, located on the second floor, through March 1, 2009.

Bruce Davidson (American, born 1933) East 100th Street, 1967 Collection of the New Orleans Museum of Art: National Endowment for the Arts & Museum Purchase. 1981.164 For members of many African societies, the first signs of illness are dreams that indicate a witch may be attacking one's vital essence.

ARTS QUARTERLY

Evening in Paris: NOMA Celebrates the City of Light with Posters and Photographs from the Permanent Collection BY GEORGE ROLAND The Doris Zemurry Stone Curator of Prints and Drawings, NOMA

Paris is where the twentieth century was. Gertrude Stein

aris in the Belle Époque was a passionately exciting place, the City of Light, the creative leader of the world preparing to inaugurate a new century. At the turn of the century Paris was plastered with posters. One year alone 800,000 were up at the same time. These large brightly colored sheets covered walls and kiosks all around the city. During this period the poster was the printed art form that reached the largest audience possible—average citizens traversing the streets of the center of the universe. Advertising posters began in Paris in the 1830s. Sophisticated developments in color printing pioneered by Chéret in 1865, and the availability of larger lithographic stones by the 1880s changed forever the aspect of urban life. Gigantic women, appealing to the principle financial decision-makers, seduced the man in the street, and evoked the giddy atmosphere of Parisian night life.

Posters were collectibles as soon as they came of age. In 1890s Paris there were at least twenty-three dealers, printers or journals selling or publishing contemporary posters. Artists with a gift for communication, some as eminent as Toulouse-Lautrec, fueled the collecting mania. By 1903 photography began to replace art and the collectible poster, though not dead, suffered a decline. Joel Weinstock, a principal of Galerie Simone Stern now sadly closed, formed a small selection of posters from the best period and made a very generous gift of them to NOMA. These vivid works are shown in NOMA’s Stafford Gallery accompanied by evocative photographs by Brassaï, Doisneau, Lartigue, Kertész and other observers of the boulevards, the cafeé, the quays and the inhabitants of Paris. ■

Evening in Paris is on view at the New Orleans Museum of Art from January 16 through June 28, 2009.

G.K. (Georges Kugelmann) Benda (French, died 1921) Mistinguett, 1913 Color lithograph Collection of the New Orleans Museum of Art Gift of Mrs. John N. Weinstock. 1986.346.3

“Mistinguett (April 5, 1875–January 5, 1956) was a French actress and singer, with the birth name of Jeanne Bourgeois. At an early age she aspired to be an entertainer. She began as a flower-seller in a restaurant in her hometown, singing popular ballads as she sold her flowers. When a song-writing acquaintance made up the name Miss Tinguette, Jeanne liked it. She made it her own by joining it together and eventually dropping the second S and the final E (Mistinguett). Jeanne Bourgeois made her debut as Mistinguett at the Casino de Paris in 1895, and appeared also in shows as the Folies Bergère, Moulin Rouge, and Eldorado. Her risqué routines captivated Paris and she went on to become the most popular French entertainer of her time and the highest paid female entertainer in the world. In 1919 her legs were insured for the then astounding amount of 500,000 francs. She had a long relationship with the much younger Maurice Chevalier but it was for other more torrid love affairs that she became legendary. She first recorded her signature song ‘Mon Homme’ in 1916. It was popularised under its English title ‘My Man’ by Fanny Brice and has become a standard in the repertoire of numerous pop and jazz singers. During a tour of the United States, she was asked by ‘Time magazine’ to explain her popularity. Her answer was: “It is a kind of magnetism. I say ‘Come closer’ and draw them to me.” Jeanne Bourgeois’ career lasted over fifty years. She died at the age of 80 and is buried in the Cimetiere Enghien-les-Bains, Île-de-France, France.” Wikipedia Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

Robert Doisneau (France, 1912–1994) Le Baiser du Trottoir (Kiss by the Hotel de Ville), 1950 Gelatin silver print Collection of the New Orleans Museum of Art Gift of Mrs. Frederick Myers. 1981.236.2 “Nowadays becoming a photojournalist is relatively easy. First you touch Granny or Auntie for cash to buy all the paraphernalia, then all you have to do is push open a door that’s already ajar…A hundredth of a second here, a hundredth of a second there — even if you put them end to end they still add up to one, two, perhaps three seconds snatched from eternity.” Robert Doisneau, 1979

Brassï (Gyula Halász) (French born Transylvania, 1899–1984) “Bijou” of Montmartre, 1934 Gelatin silver print Collection of the New Orleans Museum of Art Women’s Volunteer Committee Funds and Dr Ralph Fabacher. 1973.145.2 “You don’t know her?” the bartender asked me, surprised at my astonishment. “It’s Môme Bijou – Miss Diamonds. Once she was rich and famous, led the good life. When people still had carriages she rode in the Bois de Boulogne in her barouche…now she lives on charity, reads the customers’ palms…” And yet behind her glittering eyes, still seductive, lit with the lights of the Belle Époque, as if they had escaped the onslaughts of age…the ghost of a pretty girl seemed to smile out.” Brassaï 1976

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POP! POP! POP! Important Prints from the ’60s Pop into the Permanent Collection GEORGE ROLAND The Doris Zemurray Stone Curator of Prints and Drawings, NOMA

n the early 1960s Pop Art burst upon the cosmos, like nothing seen before. Rosa Esman at Tanglewood Press invited eleven of the brightest stars to contribute to a collection of prints that define the style and would become the benchmark of the era. Published in three volumes in 1965, 11 Pop Artists Volume III is the largest and most sought-after portfolio of images that shows fine art’s romance with popular culture. From Roy Lichtenstein’s quintessential comic strip image Sweet Dreams Baby to Andy Warhol’s moving, memorable, and absolutely typical Jacqueline Kennedy III, these prints characterize an aesthetic that was startling and new half a century ago and still fresh today.

In 1964, Max Kosloff in his introduction to the portfolio wrote, “…for all its notoriety, Pop art has never been a well-understood style. But the confusion with which it is still received, after four years, proves how lively, and even unsettling an art it is. This collection of original Pop graphics reflects the excitement of a phenomenon that has become one of the most searching in the visual arts. Yet, Pop art so far has only taken root in those societies which have an enormous commercial sub-culture. Largely, this has meant England and North America. “For a generation of artists whose childhood dates to the 1930s, the allure of popular imagery—signs, illustrations, ads, movies—became simply a natural element of their consciousness. They were gifted with the ability to keep approaching these things spontaneously while their serious ambitions as artists matured. It was in London, in 1952, that the popular media were first discussed from the point of view of their aesthetic implications...As for the origins of Pop art in the United States, this is a country in which the folk tradition more than anywhere else identifies itself with the commercial environment. Stuart Davis, to name only one of the best known older American painters, developed a very colloquial style based on the jumping rhythms of the industrial landscape. And Edward Hopper still interweaves the openness and rootlessness of the country with the compression and geometry of the city...

Roy Lichtenstein (American, 1923-1997) Sweet Dreams Baby, 1965 11 Pop Artists Volume III portfolio Screenprint Museum Purchase: Graphics Deaccession, Carmen Donaldson, Robert Gordy and Joel Weinstock Funds. 2008.64.1

Sweet Dreams Baby, sometimes known as POW, is one of Lichtenstein’s earliest and arguably most important prints. He regards the three prints he produced for the 11 Pop Artists portfolios as his first “true Pop Art prints.” Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

“Paul Gauguin once said that “the ugly can sometimes be beautiful, the pretty never!” Encountering this collection, one may begin to see this as the challenge to artists for whom nothing could be more provocative than to rehabilitate the “pretty.” Pop is an ironic art, because it seemingly mimes the content of its sources, while operating on other levels. And if the “pretty” is a sentimental and vicarious attempt at beauty, the artist, by displacing and anaesthetizing it, can miraculously make us look at the thing itself. “Whether optically brilliant or subtle, these works surprise by their recombinations of what was always thought familiar and banal. They startle the senses with their implausible glamour, and their effervescent seriousness.” In October, the New Orleans Museum of Art was the successful bidder on lot 256 at the Sotheby’s London auction of contemporary prints. The cost of the entire portfolio was considerably less than the auction price of the Lichenstein print, which sold by itself for $115,000 in 2007. There has long been a wish to add a Lichtenstein comic-strip image to the collection in anticipation of the American Master Prints 1960–1980 exhibition planned for 2010. The 11 Pop Artists Volume III portfolio generously fulfills that desire. A selection from the portfolio may be seen now in the McDermott International, Inc. lobby on the Museum’s first floor. ■

11 Pop Artists Volume III •

Allen D’Archangelo

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Jim Dine

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Allen Jones

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Gerald Laing

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Roy Lichtenstein

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Peter Phillips

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Mel Ramos

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James Rosenquist

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Andy Warhol

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John Wesley

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Tom Wesselmann

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Andy Warhol (American, 1928-1987) Jacqueline Kennedy III, 1965 11 Pop Artists Volume III portfolio Screenprint Museum Purchase: Graphics Deaccession, Carmen Donaldson, Robert Gordy and Joel Weinstock Funds. 2008.64.6 It was Andy Warhol who truly revolutionized and exploited the screenprint, developed as a serious medium for artists during the WPA. In Jacqueline Kennedy III the nacreous luster of the blue pigment used for the background of the print contrasts with and adds formality to the sombre subject, the assassination and funeral of JFK. Photo by Judy Cooper

Author and Subject: Murasaki Shikibu and The Tale of Genji BY LISA ROTONDO-McCORD Assistant Director for Art/ Curator of Asian Art, NOMA

Photo at right: Ikeda Koson (Japanese, 1801–1866) Ishiyama-dera Ink and colors on silk Museum Purchase, 2008.59 Photo by Judy Cooper

wo recent acquisitions highlight the importance of the theme of The Tale of Genji in Japanese Edo-period painting: a pair of six-fold screens donated by Mrs. Samuel Lombardo feature selected scenes from the novel, and a scroll by the artist Ikeda Koson (1801–1866) takes as its subject the author of Genji, Murasaki Shikibu (illustrated here). The Tale of Genji is one of Japan’s most beloved and influential works of literature. Written in about 1000 A.D., the work is considered to be not only one of the earliest examples of romantic literature, but also one of the world’s first novels. Lengthy and complex (the English translation is more than 1,100 pages long), the novel centers on the life and loves of the “Shining Prince,” Genji. The son of the emperor and one of his favorite concubines, Genji’s world is that of the imperial court. The prince’s entire life is recounted in the book, from his birth to his death, with the last chapters devoted to the exploits of his son and grandson. Much emphasis is put on Genji’s countless liaisons with women of different classes, and particularly his great love, Murasaki, who is of low birth, and thus cannot become his legitimate wife. Genji is the paragon of refinement and taste. He is extraordinarily attuned to beauty, sensitive to human emotions, and exhibits a true and deep understanding of the visual and performing arts. His character symbolizes the highest ideals of court society in Heian-period Japan. The complexity of relationships in the court, the struggles for power and the extraordinarily refined and cultivated tastes of Japan’s elite during this period are given full expression in the chapters of this work. Not surprisingly The Tale of Genji was often illustrated. Within a century of its writing, extraordinarily beautiful paintings were created to illustrate sections of the text. These twelfth-century works, and those that followed in succeeding centuries, were originally handscrolls, in which sections of the text alternated with the illustrations. The handscroll remained the dominant format for Genji-related works until the sixteenth century. During the Edo period (1600–1868) artists of various schools and traditions produced brilliantly colored hanging scrolls, screens and albums depicting not only selected scenes from the novel itself, but also portraits of the extraordinary author of the novel. Little is known of the life of Murasaki Shikibu, except what she herself recorded in a memoir Murasaki Shikibu Nikki. She is thought to have been born in the third quarter of the tenth century, the daughter of a minor nobleman and poet. Several other members of her family were writers, including a number of women. A very intelligent child, she eavesdropped on lessons given to her elder brother and in that way began her study of Chinese literature. She married and gave birth to a daughter, but was widowed shortly thereafter. Within a few years she entered service in the court of the consort of the emperor. Ikeda Koson’s Ishiyama-dera is a portrait of this extraordinary woman. It is traditionally held that Murasaki Shikibu wrote her epic novel while living in seclusion at the Ishiyama temple at Lake Biwa, a scenic spot northeast of the imperial capital of Kyoto. The author is seen through the ogival-form window, seated in her twelve-layered robe before a lacquer table, which functions as her writing desk. Her brush is raised, as if the artist has captured her mid-thought. A student of the Rinpa master Sakai Hôitsu (1761–1828), Koson displays his mastery of this decorative and evocative style, particularly his use of bright colors and tarashikomi

technique, in which ink or color (in this case the green in the foreground rocks) is dropped into an area already wet with water or pigment. Koson’s Ishiyama-dera and the Genji screens are part of an installation in NOMA’s third-floor Japanese gallery on view from January 10 through May 31, 2009, that focuses on the aesthetic sensibility conveyed by Murasaki Shikibu in her remarkable nove. The twentyfive hanging scrolls and screens are drawn from NOMA’s permanent collection as well as generous loans from the Gitter-Yelen Foundation of New Orleans. ■

NEW ORLEANS MUSEUM OF ART

Chinese Galleries Reinstalled BY LISA ROTONDO-McCORD Assistant Director for Art/ Curator of Asian Art, NOMA

his past fall, NOMA undertook the reinstallation of its Chinese collections in the Elise Mayer Besthoff Gallery on the Museum’s third floor. Drawn from the permanent collection, the ceramics, bronzes, sculpture and decorative arts on view provide a chronological survey of Chinese three-dimensional art from the earliest era through the end of the Qing Dynasty (1644–1911). One of the earliest works in the gallery is the delicate Tripod Ewer with Twist Handle (fig. 1), a product of the Dawenkou culture (circa 4300–2400 B.C.) located in the lower Yellow River valley region, along China’s eastern seaboard. Dawenkou potters created innovative vessel shapes and employed the most advanced ceramic technology of the Neolithic period, including the fast potter’s wheel. Among the finest products of this culture are the thin-bodied white wares, exemplified by this piece, part of the large and important collection of several hundred Chinese ceramic works donated by Robin and R. Randolph Richmond, Jr. in 2000. A selection from NOMA’s extensive collection of mingqi, or “spirit objects,” from the Han (206 B.C.–A.D. 220) through the Tang (618–907) dynasties reveal the tremendous variety of forms and methods of decoration employed by Chinese potters in the creation of these low-fired wares. Intended for use in the tomb, mingqi were surrogates for the actual humans, animals and other objects needed to ensure that a tomb’s inhabitants preserved their social and economic status in the afterlife. Vessels to hold food and wine, as well as figural works in the form of camels, horses, earth spirits, entertainers and dignitaries display the variations in scale. A recent donation from Mrs. Shirley Haspel, the Green-glazed Altar Table and Two Ear Cups, dating from the Eastern Han dynasty (25–220), illustrates the deceased’s need for ritual objects, as well as mingqi indicative of wealth and authority.

Figure 1 Neolithic Period, Dawenkou Culture, circa 4300–2400 B.C. Tripod Ewer with Twist Handle White earthenware, height 10-3/4 inches Collection of the New Orleans Museum of Art Gift of Mr. and Mrs. R. Randolph Richmond, Jr. 2000.252

ARTS QUARTERLY

Figure 2 Qing Dynasty, 1644–1911 Meiping Porcelain, height 13 inches Collection of the New Orleans Museum of Art Gift of Mr .and Mrs. Robert C. Hills. 94.219

NOMA’s collection of ceramics from the tenth through fourteenth centuries is also rich, due in large part to recent donations from the late Robert E. Barron, III, Mr. and Mrs. R. Randolph Richmond, Jr. and Mrs. Henry Weldon. A broad range of ceramics, including elegant monochromes, as well as more robustly potted and decorated Cizhou-type wares are displayed. In close proximity, is NOMA’s spectacular large-scale wooden sculpture of the bodhisattva Guanyin, donated by Mr. Jun Tsei Tai in 1985. Porcelains from the Ming (1368–1644) and Qing (1644–1911) dynasties display the near infinite variation of underglaze and overglaze enamel techniques employed by Chinese potters. A selection from the Dorothy and Robert Hills collection of blue-and-white ceramics from the Qing dynasty reveals the eighteenthcentury interest in earlier vessel shapes and styles of decoration (fig. 2). Overglaze enamel porcelains, and particularly export wares, are also on view, as are eighty snuff bottles from the collection of Mrs. Harold Forgotston. NOMA is fortunate to have a growing collection of eighteenth-century porcelains featuring the designs of the Dutch artist Cornelius Pronk (1691–1759), who was commissioned by the Dutch East India Company. Among his many designs is that on the largescale covered urn A Doctor’s Visit to the Emperor, decorated in a rich famille rose palette. NOMA’s Chinese collection began nearly one hundred years ago, with the 1914 donation of the Morgan Whitney collection of Chinese jade and hardstone carvings and porcelains. These holdings have been expanded through judicious purchases, but primarily through the generosity of donors, such as those mentioned above, as well as Allan Gerdau, Mrs. William David Norman, Mrs. Frederick M. Stafford, Mr. and Mrs. Moise S. Steeg, Jr., Mrs. Ping Y. Tai, and Elise Mayer Besthoff. ■

Early Indian Bronzes from the Collection of Dr. Siddharth Bhansali BY LISA ROTONDO-McCORD Assistant Director for Art/ Curator of Asian Art, NOMA

n extraordinary collection of forty-two early Indian bronzes from the collection of New Orleanian Dr. Siddharth Bhansali is currently on view in the Asian gallery on NOMA’s third floor. This selection of bronzes ranges in date from the IndoGangetic period (1500–1200 B.C.E.) through the eighth century A.D. These small-scale works, created through the cire perdu, or “lost wax” process, were presumably intended both for personal use and for dedication in religious establishments. Early representations of various deities from India’s three major religions, Jainism, Hinduism and Buddhism are on view, including some of the earliest surviving bronze religious images thus far discovered on the Indian subcontinent. A small group of Jain bronzes, dating from the second through the fifth centuries, is among this extraordinary group. Part of a hoard thought to have been discovered in the Himalayan foothills bordering on Bihar, these figures display a codified system of iconography, even at this early date. The primary Jain deities are the twenty-four tirthankaras, or Jinas, the last of whom was Mahavira (circa 540–468 B.C.), a contemporary of the Buddha. Tirthankara means “forder” or one who crossed over from the world of suffering and pain to that of perfect knowledge. In this installation, these early standing Jinas are all portrayed without clothes, attesting to the predominance of the Digambara sect in these early centuries, who eschewed all possessions (including clothing). The Goddess Ambika (illustrated here) is among the earliest representations of an important female deity. Ambika is the yakshi, or protective goddess, for the Jina Neminatha. She is identified by the small boy perched on her hip and the mangoes in her hand. The fifth century A.D date suggested for this figure makes it the earliest known representation of this important goddess, whose appearance in the Jain pantheon dates to about the same time. Early Buddhist and Hindu bronzes are also on view, displaying the rich diversity of style in religious sculpture during the first centuries of the Common Era. These sculptures will remain on view through April 2009. ■

Northern India, Bihar, 5th century Goddess Ambikia Copper allow, 5-3/8 inches Collection of Dr. Siddharth Bhansali Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

NOMA’s Modern and Contemporary Galleries— Remixed BY MIRANDA LASH Curator of Modern and Contemporary Art, NOMA

ince this past November, there has been a wealth of new things to see on NOMA’s second floor. Apart from three Prospect.1 artists on view in our Frederick R. Weisman gallery (through January 18) and a new exhibition curated by Diego Cortez entitled Photography and Depression, we also are proud to unveil a complete reinstallation of NOMA’s permanent collection of modern and contemporary art. The reinstallation sprung from my months spent during the summer of 2008 culling through the treasures in NOMA’s art storage. The result is an installation that presents more than seventy artworks in broad art historical groupings, along with new juxtapositions and dialogues between longtime favorites in the collection. For example: located adjacent to the galleries for nineteenth-century painting, which as an aside, currently feature a charming Still Life with Peaches by Edouard Manet from 1880, the Marjorie and Walter Davis Gallery now bridges to art of the first decades of the twentieth century. Cubist paintings by Albert Gleizes, Georges Braque, and Juan Gris meet a series of paintings by German Expressionists Georg Grosz, Ernst Ludwig Kirchner, and Gabrielle Münter. The reigning centerpiece from this era, however, is one of NOMA’s latest acquisitions, the gift of Sydney and Walda Besthoff, a stunning cast of Unique Forms of Continuity in Space by

the futurist sculptor Umberto Boccioni. Other recent acquisitions in twentieth-century art are on view in the P. Roussel Norman and William D. Norman, M.D. Gallery, which features a drawing by the Swiss artist Adolf Wölfli, a foremost figure in the Art Brut movement and major influence to Paul Klee (whose gouache Ladung appears nearby), and an enchanting mobile by Alexander Calder, Yellow Planet Over the Steeple, 1965, another new gift from the Besthoffs. Part of the enjoyment in reinstalling is not only displaying works that are new to the Museum, but also uncovering works that have spent many years out of the public eye. Works on paper and photographs by artists such as the constructivist Alexander Archipenko and the surrealist André Masson are now integrated with their twentieth-century counterparts. We also are pleased to present significant sculptures by minimalists John McCracken and Anne Truitt that are on view for the first time in NOMA’s history. Other works are making an appearance after a long hiatus: an early work from 1999 by Prospect.1 biennial artist Trenton Doyle Hancock, a 1963 reflective collage by Michelangelo Pistoletto, and Onyx from Robert Rauschenberg’s 1974 Hoarfrost series. I look forward to seeing NOMA’s collection of modern and contemporary art continue to rotate and evolve, not unlike the city of New Orleans itself. Please visit often and stay tuned. ■

(left to right) Richard Diebenkorn Woman in a Chair, 1958 Louise Bourgeois Female Portrait, 1962-82 Hans Hofmann Still Life, 1939 Sam Francis White Line 1, 1959 Lonnie Holley Abstract, after 1980 Photo by Judy Cooper

(left to right) Chakaia Booker Urban Townie, 2001 Trenton Doyle Hancock Throw Down at Dusk, 1999 Sam Gilliam Of Cities and Slanted Fountains, 1979 Photo by Judy Cooper

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Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Coming to NOMA in November 2009 BY JIM MULVIHILL Director of Communications and Marketing, NOMA

isitors to NOMA will live happily ever after next winter thanks to a major exhibition that may not be seen anywhere else in the world—Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio. Organized by NOMA and the Walt Disney Animation Research Library, the exhibition will showcase more than six hundred original artworks that helped shape legendary animated features including Snow White, Cinderella, Sleeping Beauty, The Little Mermaid and Beauty and the Beast. The artwork will be accompanied by film clips to demonstrate how individual sketches and paintings lead to a stunning celluloid film. The opening of Dreams Come True—set for November 14, 2009—will precede the world premier in New Orleans of Disney’s upcoming animated feature, The Princess and The Frog, set in New Orleans during the 1920s Jazz Age. The Princess and The Frog is a modern twist on a classic tale. The film will mark a return to the handdrawn aesthetics of the classic animated features that made Disney characters and films beloved throughout the world.

The Princess and The Frog will feature Disney’s first African-American princess, Tiana, who lives in New Orleans. Other characters include Louis, a trumpetplaying alligator, and Ray, a love-sick Cajun firefly. A score and soundtrack featuring Randy Newman and Dr. John also is in the works. The film is directed by John Musker and Ron Clements, who co-directed blockbusters The Little Mermaid and Aladdin. The NOMA exhibition, Dreams Come True, will explore the entire history of Disney fairy tales, from early features like The Three Little Pigs (1933) and Snow White (1937), through more recent hits like Beauty and the Beast (1991) and, of course, The Princess and The Frog (2009). An adjacent education area will highlight Disney’s long association with music and also will serve as a mini-library for animation research and storytelling programs. Dreams Come True will be on view at NOMA from November 15, 2009 through March 14, 2010. Continue checking your Arts Quarterly or visit www.noma.org for more details on this exhibition as they become available. ■

From Disney’s upcoming film The Princes and The Frog

NEW ORLEANS MUSEUM OF ART

Notes from NOMA’s Sydney and Walda Besthoff Sculpture Garden BY PAMELA BUCKMAN Sculpture Garden Manager, NOMA

all in the Garden was fabulous. Late in October, we participated in a joint effort involving the Louisiana Iris Society, the LSU AgCenter, City Park and volunteers from Turnaround Management Association. The project came together when we were contacted by Mark Schexnayder of the LSU AgCenter looking to do an Iris planting along the lagoon of the Sculpture Garden, dedicated seventy-five years ago as the Pearl Rivers Rainbow Memorial. (A smaller-scale planting was done last fall by members of the Louisiana Iris Society.) The memorial, dedicated by the Louisiana Iris Society in honor of Mrs. Eliza Poitevant Nicholson, who wrote under the name of Pearl Rivers, consisted of a border of Louisiana Irises that completely encircled the City Park lagoon located in the center of the Sculpture Garden. Nicholson was publisher of The Picayune, one of The Times-Picayune’s predecessors. Prior to being contacted by Schexnayder, Turnaround Management Association had been in touch with City Park Volunteer Coordinator Jim Morrison regarding a community service project for attendees at their annual convention here in New Orleans. TMA is the premier professional community organization dedicated to the corporate renewal, turnaround management, restructuring and distressed investing industry. In 2005, TMA launched a program to assist small businesses in New Orleans in the aftermath of Hurricane Katrina. Needless to say, the idea of an iris planting so rich in history and restoration greatly appealed to TMA. The project was completed with plants purchased by TMA with additional donations from the Louisiana Iris Growers, tools supplied by City Park and guidance from Patrick O’Connor of the Louisiana Iris Society. TMA’s eighty plus volunteers provided the labor. Amanda Hardesty, who works on volunteer projects with Mark Schexnayder, also provided supervision.

The day was glorious and the group enjoyed a picnic lunch in the Garden. Covenant House White Dove Landscape Company has continued with weekly pruning and garden maintenance. Additionally, we are receiving assistance from Sheriff Marlin Gusman’s Community Service Program. A crew comes weekly to provide help and has been instrumental in beautifying the Garden. The cool season encouraged some regular weekly individual volunteers, and we always welcome everyone this spring. Look forward to a burst of color when the irises bloom in April. ■

1st Annual Louisiana Iris Viewing Festival Saturday, April 4, 2009 To celebrate the annual blooming of Louisiana Iris in the Besthoff Sculpture Garden, NOMA has organized an Iris Festival, with music, Ikebana demonstrations, a Kimono fashion show, and other activities.

(top) Volunteers from Turnaround Management Association plan irises in NOMA’s Besthoff Sculpture Garden

(bottom) Irises in bloom in NOMA’s Sydney and Walda Besthoff Sculpture Garden

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Wilhelm Wagenfeld: The Translation of Bauhaus Philosophy to Industrial Practice ALICE WEBB DICKINSON Associate Collections Manager, NOMA

“Museum” Teapot, designed 1931 Schott-Zwiesel/Janaer Glaswerke (German, active 1872–present) Designed by Wilhelm Wagenfeld (German, 1900–1990) Glass Collection of the New Orleans Museum of Art Gift of Glenn E. and Nell Weekley. 2004.114a-e Photo by Judy Cooper

ilhelm Wagenfeld has emerged as one of the most distinguished industrial designers of the twentieth century. His work displays versatility in both subject and medium, since he worked in metal, ceramics, glass, lighting and plastics. The New Orleans Museum of Art is fortunate to hold two of Wagenfeld’s most notable designs, the “Museum” Teapot, designed in 1931, and the Kubus Stacking Containers, designed in 1938. Wagenfeld (1900–1990) was born in Bremen, Germany. He was an apprentice in the drafting office of the Koch & Bergfeld silver factory in Bremen from 1914 to 1918 while also attending the Kunstgerwerbeschule (School of Applied Art) from 1916 to 1919.1 Wagenfeld then entered the Zeichenakademie (Drawing Academy), Hanau. In 1923 Wagenfeld began his studies at the Bauhaus in Weimar, and from 1926 to 1929 he taught first as an assistant, then as the director of the metal shop. The Bauhaus sought to unite art and design, creating practical pieces that had both aesthetic content and were well made. The concept that form follows function was central to the Bauhaus; the most simply designed work would, by definition, be the best suited for its job. Walter Gropius, the founder of the school, believed, “each object should fulfill its function in a practical way and be long-lasting, affordable and beautiful.”2 The students and the faculty aimed at integrating the quality of craft with the affordability of mass production. Wagenfeld heard of Gropius’s talk entitled, “Art and Technology–a New Unity,” which he gave at the 1923 Bauhaus summer exhibition. Gropius spoke of the Bauhaus’s aim to inject machine production with good

design. Wagenfeld knew from his apprenticeship that quality workmanship was increasingly being traded for cheaper production. The acknowledgement of the trend and the opportunity to be a part of this new dialogue appealed to Wagenfeld, who applied to the school that fall. The Bauhaus responded to the rise of industrial production by shifting to what they called “productive operation,” creating design prototypes and offering them to industrial companies for purchase. This practice was intended to provide the primary financing for the school; however, it was a difficult shift as no one was yet familiar with the requirements for machine production. The Bauhaus sought to establish a presence in the lighting industry. In his first year, Wagenfeld was charged with designing new lighting appliances. This assignment resulted in his first big success as a designer with the Bauhaus lamp in 1924. The lamp generated interest as a model but did not produce revenue until it was manufactured commercially and made more affordable. Lázló Moholy-Nagy, Wagenfeld’s instructor in the metal workshop, stated, “The Bauhaus must try with all of its might to build up a relationship with industry. . . This is the issue with top priority and the work of the Bauhaus stands or falls by it.”3 Wagenfeld’s Bauhaus lamp was a pivotal step for both designer and school, and illustrated the challenges that still faced designers trying to break into the industrial world. The teachings of the Bauhaus remained central to Wagenfeld’s design aesthetic after his departure in 1929 to work as an independent designer. By the 1930s, Wagenfeld had shifted away from metal and was working primarily with glass and ceramics. He designed glass tablewares for the Janaer and Vereinigte Lausitze glassworks as well as ceramics for the Fürstenberg and Rosenthal factories. Wagenfeld stayed active in academia and taught industrial design at the Hochschule für Bildende Kunste in Berlin before moving to Stuttgart and opening his own design studio called Werkstatt Wagenfeld. Wagenfeld’s later work included appliances for Braun, plastic plates and utensils for Lufthansa airlines, porcelain tablewares for Rosenthal and lighting for WMF and Schott (Württembergische Metalwarenfabrik). Wagenfeld designed the “Museum” Teapot in 1931 while at Schott-Zwiesel/Janaer Glassworks, Jena, Germany. The teapot was manufactured in the newly conceived borosilicate glass. The choice of heat-resistant glass served both a practical and an aesthetic purpose; the clear glass kept the liquid hot as well as allowing the maker to see when the tea was ready. The teapot includes an infuser that rests neatly in the pot’s cylindrical neck. The lid fits both the infuser and the teapot, allowing the infuser to be removed once the tea is steeped and the lid to be placed on the teapot itself. The pot sits atop a stand whose interior base is

NEW ORLEANS MUSEUM OF ART

fitted with a tea-light to keep the liquid hot. Wagenfeld’s thoughtfulness toward the use of the teapot is apparent in the removable infuser, interchangeable lid and inclusion of a tea warmer. Aesthetically, the teapot exhibits lightness in both its material and shape. The soft conical shape of the body is further enhanced when set upon the tea warmer. The ease of the design masks the initial difficulty designers had adapting glass for use in kitchen wares. Forms previously used for metal pots and dishes did not translate to glass. Wagenfeld commented, “The student saw in the glassworks how little melted glass had in common with the cylinder . . . nowhere could he discover a straight line.”4 Wagenfeld adapted to the properties of this new material by shifting away from the hard lines of metal work, and utilizing an optical gauge to create pieces that were largely free of tension. The Janaer teapot exhibits ingenuity in both design and material. Janaer offered a complete tea set designed by Wagenfeld, which also included teacups, saucers and cake plates. It is worth noting that the survival of the pot with its original stand, as in this case, is rare. Wagenfeld was able to unify art and technology by adapting his training at the Bauhaus to changes in manufacturing and materials. Wagenfeld left Jena in 1935 to become artistic director at Vereinigte Lausitze Glassworks, Weisswasser, Germany. In 1938 Wagenfeld created the Kubus Stacking Containers, which became an immediate design classic. Designed for flexibility, the set can be used for food storage in the refrigerator, pantry or on the table. The containers are made of heat-resistant glass and can be stacked together, like building blocks, to create a unit, or used separately. The set contains ten components in varying sizes. As with the teapot, the heat-resistant glass serves a functional purpose by permitting the storage of both hot and cold foods and allowing the consumer to see what is being held in each. The set exhibits a functionality, which is striking in its simplicity. The clean lines and modular forms achieve a modern solution to an everyday need. During Wagenfeld’s prolific career he was recognized with numerous medals at international fairs including a gold medal at the Paris World’s Fair of 1937, the Grand Prix at the Milan Triennale in 1940, and a Grand Prix for his life’s work at the Milan Triennale of 1957. Wagenfeld’s designs are collected by museums internationally, and his work has been the subject of multiple exhibitions. The “Museum” Teapot and the Kubus Staking Containers exemplify Wagenfeld’s success in adapting the Bauhaus methods to the industrial and commercial requirements of the machine age. ■ Notes: 1. Koch & Bergfeld supplied silver to the House of Fabergé along with other well-known design firms. 2. Stephen Bayley, “MT8 table lamp.” V&A. No date. V&A Museum. 20 July 2008. <http://www.vam.ac.uk/images/image/10025popup. html >. 3. Beate Manske, “A Design Makes History: Wilhelm Wagenfeld’s Bauhaus Lamp,” Wilhelm Wagenfeld (1900-1990), ed. Beate Manske (Ostfildern-Ruit: Hatje Cantz Publishers, 2000), 28. 4. Walter Scheiffele, “The Experiment: Schott & Gen. in Jena,” Wilhelm Wagenfeld (1900-1990), ed. Beate Manske (Ostfildern-Ruit: Hatje Cantz Publishers, 2000) 42.

Kubus Stacking Containers, designed 1938 Vereinigte Lausitzer Glaswerke (German, active 1899–present) Designed by Wilhelm Wagenfeld (German, 1900-1990) Glass Collection of the New Orleans Museum of Art Museum Purchase, George S. Frierson Jr. Fund. 2000.64.1-.10 Photos by Judy Cooper

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Le Jardin des Arts: Art In Bloom 2009 at NOMA BY VIRGINIA PANNO NVC Reporter

he Twenty-first Annual Art In Bloom will be held March 11 through March 15, 2009. Le Jardin des Arts is a joint project of the New Orleans Museum of Art and the Garden Study Club of New Orleans. NOMA’s Caroline Calhoun and Marilee Hovet of the Garden Study Club are co-chairing this annual springtime showcase. “The rich and varied culture of the arts in New Orleans is a theme that runs through every aspect of life in our city,” enthuses Marilee. “Our goal this year is to put local artists in the limelight.” The featured categories of Art In Bloom 2009 are: Tablescapes, Garden Clubs, Artists, Exterior and Creative Designers, Bonsai/Ikebana, Professional Designers and Young Artists. More than one hundred exhibitors will take part in this dazzling display of talent. Among the 2009 Movers and Shakers will be Gautreau’s Chef Sue Zemanick and Bryan Batt. Sue was recently honored by Food and Wine Magazine (April 2008) as one of the “Top Ten Best New Chefs in America and was chosen by Louisiana Cooking Magazine as one of “Five Chefs to watch in Louisiana.” New Orleans native Bryan Batt is an acclaimed actor of both stage and screen. Currently, he can be seen on television’s Emmy Award-winning drama Mad Men. Bryan is also co-owner of the lovely shop Hazelnut on Magazine Street in New Orleans. Proceeds from Art In Bloom benefit the educational projects and exhibitions at NOMA and the many community projects of the Garden Study Club, including the Besthoff Sculpture Garden, City Park’s Botanical Garden and the Project Lazarus House Garden. The five-day event kicks off with the patron and preview party on Wednesday, March 11. Party Chairs Holly Mentz and Michele Romano are hard at work planning a spectacular opening night. Auction Chairs Elaine Gleason, Kay McArdle and Kim Page are thrilled to announce that an original Auseklis Ozols painting created expressly for Art In Bloom will appear on the invitation and will be the featured item at the live auction to take place at the preview party. More than 1,200

guests are expected to attend this premiere viewing of the floral fantasies and talent that make Art In Bloom a springtime must-see in New Orleans. Pam Hayne and Leah Whann are pleased to announce that the Thursday lecturers will be Julia Reed and Tim Trapolin. Julia Reed, a contributing editor of Vogue and Newsweek magazines, has called New Orleans home since 2005. A collection of her essays about the South, Queen of the Turtle Derby and Other Southern Phenomena, was published in 2004. Her book, The House on First Street, My New Orleans Story, was published in 2008, as well as the delightful Ham Biscuits, Hostess Gowns and Other Southern Specialties: An Entertaining Life (with Recipes), a collection of her food columns, published in the New York Times Magazine from 2001 to 2004. This smart and sassy transplant from Greenville, Mississippi, appears regularly on MSNBC and CNN. Painter and portraitist Tim Trapolin is an Art In Bloom favorite, featured on the invitation cover in 1994. His New Orleans roots grow deep. A graduate of Tulane School of Architecture and Newcomb Art School, Trapolin headed the art department at the Louise S. McGehee School and worked with Louisette Brown and Pam Hayne in the design team, Anything Grows. His travels and studies abroad have taken him throughout Europe, as well as India, Egypt and South America. His love for his native city is undeniable: “There is a depth of inspiration here like nowhere else—from the Himalayas to the Highlands, East or West—home is best!” Susan Wormser, Winnie Brown and Dana Hansel are planning a fabulous Thursday luncheon at the Pavilion of the Two Sisters following the two morning lectures. Saks Fifth Avenue will again provide the fashions. Art In Bloom will remain on view at the New Orleans Museum of Art through Sunday, March 15, 2009. Le Jardin des Arts will be a feast for the senses as it proudly honors the rich artistic community that uniquely defines New Orleans. ■

Julia Reed

Tim Trapolin

NEW ORLEANS MUSEUM OF ART

Children of All Ages Are Welcome at the Annual Fabergé Egg Hunt

arents and grandparents, put some spring in your step by taking the kids to the fourth annual spring event of the NVC. The actionfilled Fabergé Egg Hunt will be held on March 29, 2009, from 1 p.m. to 3 p.m. NOMA’s Sydney and Walda Besthoff Sculpture Garden is the lush, green site for this fun family event, and is known to be a hangout of a certain furry friend who will visit. The younger crowd will enjoy music, storytelling, face painting and crafts galore, all culminating in the egghunt. Grown ups can enjoy refreshments while watching the children and making wonderful family memories. Chairing the hunt are: Jennifer Rareshide and Leila Gamard. For ticket information, call (504) 658-4121 or visit www.noma.org.

A visit from a certain furry friend is expected at the annual Fabergé Egg Hunt.

Prospect.1 New Orleans Closing Party

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o commemorate the closing of Prospect.1 New Orleans and the celebration of Martin Luther King, Jr. Day, a second-line will be held by the Original Big 7 Social Aid and Pleasure Club and Brass Band. of the Porch 7th Ward Cultural Organization on Saturday, January 17, in NOMA’s Great Hall. The event is free and open to the public. Prospect.1 New Orleans is the largest contemporary art biennial every held in the United States and features eighty-one artists from thirty-eight countries at more than twenty-five venues throughout the city. The artists whose work will be on view at the New Orleans Museum of Art and the adjacent City Park grounds are Willie Birch, Monica Bonvicini, Victor Harris & Fi Yi Yi, Kalup Linzy, Rafael Lozano-Hemmer, Jorge Macchi and Edgardo Rudnitzky, Kaz Oshir, Xu Bing and Paul Villinski. During Prospect.1, which is on view through January 18, 2009, the New Orleans Museum of Art and all public programs are free to the public. No advance tickets are necessary. ■

The Original Big 7 Social Aid and Pleasure Club and Brass Band Photo courtesy Edward Buckner, director, The Porch 7th Ward Cultural Organization

Forty-Third Odyssey Ball Was An Opulent Evening BY VIRGINIA PANNO NVC Reporter

PHOTOS BY JUDY COOPER

s Odyssey Ball guests turned onto Lelong Avenue in their final approach to the New Orleans Museum of Art, they were greeted by a breathtaking view. The NOMA allée of crape myrtles was spotlighted in shades of brilliant blue and winter white, stunning against the darkness of night, the handiwork of Blaine Kern, Jr.’s Mardi Gras Productions. Balustraded and draped, the NOMA façade shimmered in the same colors, resplendent with banners bearing the Romanov Imperial crest. Cossack-attired valets tended to the duties of parking while ball-goers entered through a flurry of Russian snow. Saturday, November 8, 2008, marked the fabulous premiere of OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection. The ball was generously underwritten by a grant from The Lupin Foundation, Imperial Sponsor, and from Royal Family donors: Goldring Family Foundation, Greater Lakeside Corporation, the Hodges Family, International Well Testers Inc., and Jolie and Robert Shelton, Gloria Kabacoff, Paula L. Maher, New Orleans Saints, and Mr. and Mrs. Claude Schlesinger. Odyssey Ball Chairs Claude and Mimi Schlesinger greeted their guests along with NOMA Director E. John Bullard and NVC Chair Brenda Moffitt with spouse, Michael Moffitt, a NOMA trustee. The columns of the Great Hall were curtained in the signature Fabergé blue while golden candlebras lit the Great Staircase, the steps of which were adorned with the imperial double-eagled crest. Quite impressive. Patrons were entertained by New Orleans legend, Allen Toussaint, while champagne quenched any royal thirst. Odyssey Ball Decorations Chairmen Jennifer Rowland and Lisa Kirschman and Blaine Kern, Jr.’s Mardi Gras Productions masterminded the feast for the eyes while PALATE New Orleans satisfied Odyssey appetites

with Russian inspiration, beginning with caviar and blinis and ending with Strawberries Romanov. Odyssey Entertainment Chairs Judy David, Sheila Collins and Betty Kern ensconced chanteuse Anais St. John with Harry Mayronne in the Russian Red Room, while Oak Alley held court in the Great Hall and klezmer music serenaded the line for the tarot card reader, giving readings on the first floor. Cammie Mayer, Elizabeth Ryan and Ellen Miclette were responsible for the crowds in the Auction Rooms. “Our donors were exceedingly generous, especially the artists, during these challenging economic times,” observed Miclette. Ruthie Winston of New Orleans Auction Galleries, Inc. led the spirited Live Auction, where a Parisian apartment, Mallorca vacation and a private Pullman car twilight trip, courtesy of the New Orleans Public Belt Railroad added to the night’s excitement. The masterpiece of this extraordinary evening and its raison d’être was the premiere of OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection. Odyssey Ballgoers were among the first New Orleanians to get a glimpse of more than one hundred incredible works of art by Russian jeweler Peter Carl Fabergé. Dr. Daniel L. Hodges and Sherri S. Logan of Lafayette, Louisiana, served as honorary Odyssey chairs. This magnificent collection has been placed on extended loan to NOMA. John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts at NOMA, remarked: “The Odyssey Ball is always a highlight of the New Orleans social season, and this year’s gala was no exception. In fact, it may have been the best ball ever. The Hodges’ collection of Fabergé is wonderful, and the ball decorations, cuisine and music certainly lived up to that high standard. Everyone who was involved with the 2008 Odyssey Ball should be very, very proud of their effort.”

Dr. Daniel L. Hodges and Sherri S. Logan, John Webster Keefe

Allen Toussaint, NOMA Director E. John Bullard

Odyssey Ball Chairs Claude and Mimi Scheslinger

Dr. E. Ralph and Pam Lupin

Jane Bernbach, Raymond Rathle, Alexandra Stafford

2008 NOMA President Sydney Besthoff, Walda Besthoff Drs. Howard and Joy Osofsky

NEW ORLEANS MUSEUM OF ART

“This magical evening and the success of this ball would not have been possible without the hard work and support of an outstanding committee, devoted to NOMA and the NOMA Volunteer Committee, along with the professional staff at NOMA where no request seemed too big,” enthused Odyssey Ball Chair Mimi Schlesinger. The grandeur and opulence of the Belle Époque were recreated on one fabulous night in November. The FortyThird Odyssey Ball will never be forgotten!

OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection will be on view at NOMA through January 18, 2009.

Odyssey Ball gratefully acknowledges the following: IMPERIALS The Lupin Foundation ROYAL FAMILY Goldring Family Foundation Greater Lakeside Corporation The Hodges Family International Well Testers Inc.,and Jolie and Robert Shelton Gloria S. Kabacoff Paula L. Maher J. Edgar Monroe Foundation New Orleans Saints Mr. and Mrs. Claude Schlesinger ARISTOCRATS AT&T Mr. and Mrs. John D. Bertuzzi The Booth-Bricker Fund Capital One Bank Chevron Mrs. Anne Gauthier

Lexus of New Orleans Mathes Brierre Architects Gray S. and Mary Kay Parker Irene W. and C.B. Pennington Foundation GRAND DUKES AND GRAND DUCHESSES Baptist Community Ministries Alison and Mitch Caponetto Mr. and Mrs. Thomas B. Coleman Eskew + Dumez + Ripple First NBC Bank Frischhertz Electric Company Mr. and Mrs. Lawrence D. Garvey Hise Company Adrea Heebe and Dominick Russo, Jr. Herbert and Maija Kaufman Judge and Mrs. Robert J. Klees Paul J. Leaman, Jr. Ellen and Stephen Miclette Mr. and Mrs. Michael D. Moffitt Mr. and Mrs. Robert J. Patrick Bertie Deming Smith Phyllis Taylor PRINCES AND PRINCESSES Sydney and Walda Besthoff E. John Bullard Alva and Edgar Chase Stephen Clayton Marie Louise de la Vergne JoAnn Flom Greenberg Eugenie J. Huger Mr. and Mrs. Harold B. Judell Keith M. Maillard Mr. and Mrs. Charles B. Mayer Mrs. Louise H. Moffett Howard and Joy Osofsky Regions Bank Mr. and Mrs. Charles S. Reily, Jr. Mr. and Mrs. James J. Reiss, Jr. Sally E. Richards E. Alexander Stafford and Raymond Rathle

Mrs. Harold H. Stream Mr. and Mrs. Leonard Tallerine Mrs. Joel Weinstock COUNTS AND COUNTESSES Morris and Cathy Bart Mr. and Mrs. Ralph O. Brennan Julie and Ted George Susan and Jimmy Gundlach Mr. and Mrs. Stephen A. Hansel Iberia Bank Diana and Tom Lewis Mrs. Russell B. Long Janet and Hermann Moyse III Carol and Thomas Reese Françoise B. Richardson Terri and Ned Simmons Sherry and Charles Snyder Mrs. Frederick M. Stafford Mr. and Mrs. Harry C. Stahel Mrs. Sol B. Stern Paulette and Frank Stewart BARONS AND BARONESSES*** Mrs. Adele Adatto Coastal Mortgage Corp. Marie Denette Farwell Michelle Dalier and Terry Kimes Frischhertz Technologies Lisa Kirschman Irene Klinger Sarah and Robert McHarg Jane C. Miller Carlos Muniz Mr. and Mrs. John K. Roberts, Jr. Lora Wormuth Ellen Yellin ***Received after program print date

2008 NVC Chair Brenda Moffit and NOMA Trustee Michael Moffitt

Daniel Bibb, Elizabeth and David Merritt, Ira Bourgeois

NOMA Trustee Cammie Mayer, 2008 NVC Chair Brenda Moffitt, Odyssey Ball Chair Mimi Schlesinger, Ellen Miclette, Kay McArdle

Daniel Hodges and Lexi Lawson

John Bertuzzi and NOMA Trustee Gail Bertuzzi

James Frischhertz, NOMA Trustee Janet Frischhertz, Judy and Dr. Tom David

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LOVE in the Garden Was a Magicial Evening of Entertainment and Cuisine PHOTOS BY AMANDA THOMAS

n Friday, September 26, 2008, LOVE in the Garden returned to NOMA’s Besthoff Sculpture Garden for a spectacular opening to the fall art season. Love Co-chairs Kimberly Zibilich and Joni Diaz had all the prerequisites for a successful event—the finest of food, great entertainment, a fabulous setting and perfect weather. Patron party guests entered the lush Garden adorned with Love’s trademark red and white decorations, with entertainment provided by Rachel Von Voorhies Music, while the Boogie Men took center stage at the main event. This year’s newest addition of a dance floor kicked the enjoyment factor even higher as couples relished the joy of dancing under the stars. Delicious cuisine from thirty-nine of the city’s top restaurants fortified Love guests. The winding paths of the Sculpture Garden were filled with delighted partygoers renewing old acquaintances after a busy summer as well as sharing

directions to their favorite culinary picks. Ten local artists were honored at LOVE in the Garden: Wayne Amedee, Nicole Charbonnet, Jeffrey Cook, Elaine Gleason, JoAnn Greenberg, Beth Lambert, Auseklis Ozols, Garland Robinette, Richard Thomas and Martin Welch. NOMA Director E. John Bullard was master of ceremonies, presenting each honoree with a plaque while an impressive video highlighted the artists and their work. NVC Chair Brenda Moffitt summed up the stellar Friday night: “This year’s LOVE was magical! The Age of Aquarius arrived and all the planets aligned…the cuisine and libations, the music and entertainment, the incredible honored artists, the romance of the setting…never underestimate the romance. The Besthoff Sculpture Garden is truly the jewel of the city. I know the 1,200 plus persons who attended our event will agree with my assessment—perhaps, I have even understated the perfection of the evening!”

LOVE in the Garden honorees: artists Elaine Gleason, Garland Robinette, Nicole Charbonnet, Wayne Amedee, Richard Thomas

LOVE in the Garden honorees: artists Auseklis Ozols, JoAnn Greenberg, Martin Welch, Jeffrey Cook, Beth Lambert

The Craig Martin Family

NOMA Trustee Janet Frischhertz, Jimmy Frischhertz

NOMA Director E. John Bullard (center) East Jefferson General Hospital’s John Sartori and Ben Frank

Tommy Diaz, LOVE in the Garden Co-chair Joni Diaz, Keith Ziblich, LOVE in the Garden Co-chair Kimberly Zibilich

From Ruth’s Chris Steakhouse Michael Miller, Nicole Strassel, Pete Montecino

NOMA Trustee Michael Moffitt and 2008 NVC Chair Brenda Moffitt

2008 NOMA President Sydney Besthoff, Walda Besthoff, Pam and Dr. E. Ralph Lupin

NEW ORLEANS MUSEUM OF ART

LOVE in the Garden gratefully acknowledges the following participants: GOLD SPONSORS East Jefferson General Hospital Friend of NOMA SILVER SPONSOR Ruth’s Chris Steakhouse BRONZE SPONSORS Kevin Clifford Cragmar Construction Land Rover of New Orleans The Lupin Foundation Linfield, Hunter & Junius, Inc. NIKE Factory Store Claire and Steven Stull CONTRIBUTORS Anonymous Abbott, Simses & Kuchler Baptist Community Ministries Sydney and Walda Besthoff Brice Building Company, Inc. Dorsey & Company, Inc. Adrian and Sally Duplantier Family Fund Friend of NOMA Frischhertz Electric Co., Inc. Anne Gauthier JoAnn Flom Greenberg Adrea Heebe Beth and Hugh Lambert Paul J. Leaman, Jr. Paula L. Maher Cammie and Charles Mayer Kay McArdle Merrill Lynch Ellen and Steve Miclette Mrs. Ellis Mintz Brenda and Michael Moffitt Gloria Moore Perez, APC Mr. and Mrs. R. Hunter Pierson, Jr. Mr. and Mrs. Dick Piner Sally Richards Françoise Richardson Pam and John Rogers Brian Schneider Co. Shapiro & Mentz LLP Mrs. Harold Stream Joli and Robert Shelton Jackie Sullivan Lakeshore Estates & Yacht Harbor Phyllis M. Taylor Universal Personnel Margie and Sandy Villere Michael and Robin Wilkinson Sandra and Louis Wilson

Dr. and Mrs. Isidore Cohn, Jr. Bernice and Donald Daigle Judy and Tom David Cherise and Bart Farris Julie and Ted George Sally and Jay Lapeyre Rene A. Louapre III, MD Mr. and Mrs. Adam Marcus Bill and Doris Norman Virginia and Jack Panno Prudential Gardner, Realtors Mimi and Claude Schlesinger Michael Valentino Diane and Hughes Walmsley Mr. and Mrs. Stephen Welch RESTAURANTS FOR LOVE Acme Oyster House Andrea’s Restaurant & Catering Antoine’s Restaurant Bayona Café Degas Carreta’s Grill Chad’s Bistro Chops Bistro & Martini Bar Corky’s Bar-B-Q Court of Two Sisters Crescent City Brewhouse Del Porto Drago’s Feelings Cafe Galatoire's Restaurant Gordon Biersch Hard Rock Cafe Hostel Restaurant and Lounge Lago Landry’s on the Lake Mandina's Restaurant Martin Wine Cellar Maximo’s Italian Grill The Melting Pot Michael Joyner Catering, Inc. Muriels Jackson Square Nick’s SnoBalls and Gelato Palate New Orleans PF Changs China Bistro Pigeon/Carnival Brands Ralph’s on the Park Republic National Distributing Co. Rouses Markets Ruth’s Chris Steak House 7 on Fulton Southern Candymakers Sweet Leslie’s Tomatillo’s Wolfe’s Zea Rotisserie & Grill

BENEFACTORS Mr. and Mrs. John Aslakson Gail and Nick Asprodites Gail and John Bertuzzi Clay N. Boyd, M.D. E. John Bullard Mr. and Mrs. Michael Carbine Steven Callan Alva and Edgar Chase

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Circles and Fellows of the New Orleans Museum of Art

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

CIRCLES PRESIDENT’S CIRCLE Mrs. Jack R. Aron Mr. and Mrs. John D. Bertuzzi Mr. and Mrs. Sydney J. Besthoff III The Booth-Bricker Fund Mr. and Mrs. Ralph O. Brennan Mr. and Mrs. John H. Bryan III Collins C. Diboll Private Foundation Mr. and Mrs. Prescott N. Dunbar Mr. and Mrs. David F. Edwards Mr. and Mrs. S. Stewart Farnet Dr. and Mrs. Ludovico S. Feoli Mr. and Mrs. Stephen A. Hansel Ms. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Helis Foundation Mr. Jerry Heymann Heymann-Wolf 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 Mr. and Mrs. Robert Shelton Mrs. Patrick F. Taylor Mrs. John N. Weinstock Zemurray Foundation

PATRON’S CIRCLE Mr. and Mrs. William D. Aaron, Jr. Mr. and Mrs. Wayne F. Amedee Mr. Clark W. Boyce, Jr. Mr. E. John Bullard Mr. and Mrs. William K. Christovich Dr. and Mrs. Isidore Cohn, Jr. Ms. Barbara D. Currier Mr. Leonard A. Davis Mr. and Mrs. Timothy Francis Mr. and Mrs. Richard W. Freeman, Jr. Mr. and Mrs. James J. Frischhertz Mr. and Mrs. Edward N. George Mrs. John D. Guthrie Mr. and Mrs. Frederick Heebe Ms. Allison Kendrick Mr. Henry M. Lambert and Mr. R. Carey Bond Mr. and Mrs. Thomas B. Lemann Dr. Edward D. Levy, Jr. Mr. and Mrs. J. Thomas Lewis Dr. and Mrs. E. Ralph Lupin Mr. and Mrs. Edward C. Mathes Ms. Kay McArdle Mr. and Mrs. James McClennen Dr. and Mrs. Alvin S. Merlin Mr. and Mrs. R. King Milling Mrs. Ellis Mintz Mr. and Mrs. Michael D. Moffitt Ms. Karyn E. Murphy Robert and Myrtis Nims Foundation Mr. and Mrs. Richard E. O’Krepki Dr. Howard and Dr. Joy D. Osofsky Mr. and Mrs. R. Hunter Pierson, Jr. Mr. and Mrs. James J. Reiss, Jr. 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. Bruce L. Soltis Mrs. Harold H. Stream, Jr. Ms. Jude Swenson Mr. and Mrs. James L. Taylor Mrs. Henry H. Weldon Mr. and Mrs. Louis A. Wilson, Jr.

FELLOWS DIRECTOR’S CIRCLE Mr. and Mrs. F. Macnaughton Ball, Jr. Ms. Tina Freeman and Mr. Philip Woollam Mr. and Mrs. Lawrence D. Garvey Mrs. Harry Greenberg Mrs. 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 Ms. Debra B. Shriver Mrs. Margaret B. Soniat and Mr. Joel J. Soniat Mr. and Mrs. Harry C. Stahel Dr. and Mrs. Richard L. Strub Mr. and Mrs. St. Denis J. Villere Mrs. Nan S. Wier

Mr. John Abajin and Mr. Scott Simmons Mrs. Adele L. Adatto Dr. and Mrs. Kenneth N. Adatto Mrs. Jack R. Anderson Mrs. Jimi Anderson Mrs. H. W. Bailey Mr. and Mrs. William F. Banta Mrs. Howard T. Barnett 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

NEW ORLEANS MUSEUM OF ART

Mrs. Marian Mayer Berkett Ms. Virginia Besthoff and Ms. Nancy Aronson Dr. Siddharth K. Bhansali Mr. Harry J. Blumenthal, Jr. Mr. and Mrs. Robert H. Boh Mr. and Mrs. Donald T. Bollinger Mrs. Jane Bories and Mr. Sam Corenswet Ms. Jean M. Bragg Dr. and Mrs. Joseph Brenner Mr. and Mrs. Edgar E. Bright, Jr. Mrs. B. Temple Brown, Jr. Mr. and Mrs. Perry S. Brown Mr. and Mrs. Christopher Bruno Ms. Debra Bryant and Mr. Fred Riddlemeyer Ms. Pamela R. Burck Mr. Harold H. Burns Mr. and Mrs. Joseph C. Canizaro Dr. and Mrs. Edgar L. Chase III Mr. and Mrs. William J. Chaucer, Jr. Dr. Victor P. Chisesi Mr. Stephen W. Clayton Mr. and Mrs. John Clemmer Mr. and Mrs. Thomas B. Coleman Ms. Shirley Colomb and Don Clausing Mr. Barry J. Cooper and Mr. Stuart H. Smith Mr. and Mrs. Orlin Corey Mr. and Mrs. Rufus P. Cressend Mr. and Mrs. Camille A. Cutrone Mr. and Mrs. Charles B. Davis III John W. Deming and Bertie Murphy Deming Foundation Mr. and Mrs. Con G. Demmas Mr. and Mrs. George Denegre, Jr. Drs. Raja W. and Nina Dhurandhar Mrs. Albert S. Dittmann, Jr. Mr. and Mrs. Clancy DuBos Dr. Clayton B. Edisen Dr. and Mrs. John Ollie Edmunds, Jr. Mrs. Eleanor T. Farnsworth Dr. and Mrs. K. Barton Farris Mr. and Mrs. C. Allen Favrot Mr. and Mrs. D. Blair Favrot Mr. and Mrs. H. M. Favrot, Jr. Mr. and Mrs. Thomas B. Favrot Mr. and Mrs. Edward Feinman Mr. and Mrs. Darwin C. Fenner Ms. Natalie Fielding Mrs. Julia Fishelson Ms. Anne A. Fitzhugh Mr. and Mrs. Richard B. Fox Mr. and Mrs. Louis M. Freeman Mrs. Gore Friedrichs Mr. and Mrs. Louis L. Frierson Mrs. Anne Gauthier Dr. and Mrs. Charles F. Genre Mrs. Dennis A. Georges Dr. Kurt Gitter and Mrs. Alice Rae Yelen Mrs. Luba B. Glade Mrs. Louis A. Glazer 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

ARTS QUARTERLY

Mrs. Robert B. Haspel Mrs. H. Lloyd Hawkins, Jr. Mr. and Mrs. Edward M. Heller Mr. and Mrs. Theo M. Heller Mrs. S. Herbert Hirsch Mrs. William H. Hodges Joan Von Kurnatowski Hooper and Julian Feibelman Mr. and Mrs. John C. Hope III Mr. Harry T. Howard III Mr. and Mrs. Arthur W. Huguley III Mr. and Mrs. Alex T. Hunt, Jr. Mr. and Mrs. Marvin L. Jacobs Mr. and Mrs. Harold B. Judell Mrs. Arthur L. Jung, Jr. Mrs. Gloria S. Kabacoff Mrs. Irene Klinger Mr. and Mrs. John E. Koerner III Mrs. E. James Kock, Jr. Mr. and Mrs. Donald J. Labauve Mr. and Mrs. John P. Laborde Dr. and Mrs. W. Wayne Lake, Jr. Mr. and Mrs. Charles W. Lane III Mrs. James M. Lapeyre, Sr. Mr. and Mrs. James M. Lapeyre, Jr. Mr. and Mrs. John H. Lawrence Rita Benson LeBlanc Mr. Victor C. Leglise, Sr. Mr. and Mrs. Frank L. Levy Dr. and Mrs. Samuel Logan Mrs. Russell Long Mr. Edward B. Ludwig, Jr. Dr. and Mrs. George D. Lyons Dr. Cris Mandry Mr. and Mrs. Stephen D. Manshel Mr. and Mrs. Adam B. Marcus Mrs. Shirley R. Masinter Mr. and Mrs. Bernard Mason Ms. Elizabeth R. McCall Mr. and Mrs. John McCollam Mr. and Mrs. William McCollam, Jr. Mr. and Mrs. Michael J. Mestayer Mr. and Mrs. Albert Mintz Mrs. Bernard D. Mintz Mr. and Mrs. Saul A. Mintz Mr. and Mrs. Donald P. Mitchell Mrs. Louise Moffett Ms. Stephany S. Monteleone Mrs. George R. Montgomery Dr. and Mrs. Lee Roy Morgan, Jr. Mr. and Mrs. Walter Morton Mrs. AndrĂŠe Moss Dr. and Mrs. Bert Myers Mrs. Elizabeth S. Nalty Mr. Max Nathan, Jr. Mrs. Isidore Newman II 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 Mr. and Mrs. Norvin L. Pellerin Mrs. Ben J. Phillips Mr. and Mrs. John Phillips

Mr. and Mrs. Dick H. Piner, Jr. Mr. and Mrs. O. Miles Pollard, Jr. Mr. and Mrs. Arthur C. Pulitzer Ms. Sally E. Richards Mr. Robert R. Richmond III Mr. and Mrs. Leon H. Rittenberg Mr. and Mrs. John K. Roberts, Jr. Mr. and Mrs. James C. Roddy Mr. Andre Rodrigue Mr. Jacques Rodrigue Mr. Arthur Roger Mrs. Carol H. Rosen Mr. and Mrs. Paul S. Rosenblum, Sr. Mr. and Mrs. Louie J. Roussel III Mr. and Mrs. Hallam L. Ruark Mrs. Basil J. Rusovich, Jr. Ms. Nadine C. Russell Miss Courtney-Anne Sarpy Mr. and Mrs. Richard Schornstein, Jr. 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. Michael J. Siegel Mr. and Mrs. Edward M. Simmons Mr. and Mrs. Richard L. Simmons Dr. and Mrs. Julian H. Sims Mrs. Evald L. Skau Mr. and Mrs. Timothy C. Slater Mrs. Joe D. Smith, Jr. Mr. and Mrs. Rodney R. Smith Mr. and Mrs. Charles A. Snyder Mrs. Frederick M. Stafford Ms. Mary Holmes Stephens Mrs. Mary E. Stern Dr. and Mrs. Harold M. Stokes Ms. Anne Reily Sutherlin Dr. Nia K. Terezakis Ms. Catherine Burns Tremaine Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. and Mrs. R. Preston Wailes Dr. and Mrs. Cedric Walker Mr. 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 Mrs. Karolyn Kuntz Westervelt Mrs. Donald L. White Mr. Robert J. A. Williams and Mrs. Norris Williams Mrs. James A. Wysocki Mr. and Mrs. Joseph Young, Jr. Mr. and Mrs. Robert E. Young Ms. Helen H. Wisdom and Dr. Jack S. Zoller

NOMA Circles Travel to Avery Island BY MARILYN DITTMANN Director of Development, NOMA

hat comes in a bottle with a diamond label, red cap and a green-banded neck? Diners throughout the world know the answer is Tabasco®, which comes from Avery Island, destination of NOMA’s most recent Circles’ trip. Unique experiences, access to private collections and intimate groups guided by NOMA’s Director, John Bullard, are what make the Circles’ trips unparalleled. Only the parts of Avery Island that house the Tabasco® factory and the two hundred-acre wildlife park, Jungle Gardens, are open to the public. The rest is a mix of agricultural, industrial and residential property where NOMA’s hosts Cathy and Chuck Thomason reside. The Circle members were treated to cocktails and dinner at their new beautifully designed Lee Ledbetter home, which is based on Thomas Jefferson’s residence at Poplar Forest. On the previous day, the Circles visited two other unique homes and art collections. Robert Smith’s home, located on Lake Martin, is a six-story tower, with one room on each floor, filled with period French furniture and surrounded by a moat with alligators. Jolie and Robert Shelton’s large French colonial home in Lafayette

overlooks the Vermillion River and was the perfect setting for cocktails, dinner and a tour of their extensive art collection. The weekend trip ended on Sunday with a visit to Albania Plantation, located on the banks of Bayou Teche and the setting for the 2006 movie All the Kings Men. New York artist, Hunt Slonem, invited the Circles for a tour and sumptuous lunch at the beautifully restored plantation, which he has owned since 2004. Built in 1842 by Charles Grevemberg, Albania was later owned by Isaac Delgado, NOMA’s founder. One of the many benefits of joining NOMA’s Circles is the exclusive travel opportunities only available to its members. While many art lovers can journey anywhere and visit famous museums and private art collections, few can experience the exclusive privileges and access available on all of the Circles’ trips. While NOMA is planning its next trip to Chicago, we are also spontaneous and are ready to seize any new travel opportunity for our members. If you would like to join this exclusive group of travelers, please call the membership office at (504) 658-4130 or (504) 658-4107 for more information. ■

(first row) NOMA Director E. John Bullard, Pat Morrison, NOMA Director of Development Marilyn Dittmann, Barbara Johnsen (second row) Jacki Schneider, Mary Lou Christovich, Cathy Thomason, Catherine Edwards, Erik Johnsen, NOMA Trustee Phyllis Taylor (third row) Brian Schneider, Bill Christovich, Marla Garvey, Larry Garvey, David Edwards, NOMA Trustee Paul J. Leaman, Jr.

NEW ORLEANS MUSEUM OF ART

Join the Circles and Upgrade Your Support of NOMA

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

President’s Circle

$20,000

Director’s Circle

$10,000

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

_________________________________________ Patron’s Circle

$5,000

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

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

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

ARTS QUARTERLY

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 Superior Energy Services, Inc. Whitney National Bank of New Orleans Willoughby Associates, Ltd.

BENEFACTOR Antenna Audio, Inc.

LEADER Boh Bros. Construction Company, Inc. Dorian M. Bennett, Inc. Gambit Communications, Inc. Laitram, LLC M. S. Rau Antiques, LLC The Monteleone Hotel Neal Auction Company, Inc. New Orleans Silversmiths Rathborne Companies East, L.L.C. Republic National Distributing Company The Times-Picayune

PATRON Brian Schneider Company The Sydney and Walda Besthoff Foundation

MASTER Baptist Community Ministries Capital One Bank Christie’s Fine Art Auctioneers Dooky Chase’s Restaurant Eskew+Dumez+Ripple Energy Partners, Ltd. First NBC Bank McIlhenny Company Frischhertz Electric Company Hise Company MPress The Schon Charitable Foundation

UNIVERSITY MEMBERS Delgado Community College Dillard University Loyola University Elaine P. Nunez Community College Our Lady of Holy Cross College Saint Scholastica Academy (High School) Southern University at New Orleans Tulane University University of Louisiana at Lafayette University of New Orleans

ASSOCIATE A Gallery For Fine Photography Bockman Forbes + Glasgow, Architecture + Design Bowie Lumber Associates Royal Antiques, Ltd. Waggonner & Ball Architects

CONTRIBUTOR A. L. Lowe Picture Framing Company Aquatic Gardens As You Like It Silver Shop Bolton Ford Gulf Coast Bank Hirsch Investment Management, LLC Milling Benson Woodward L.L.P. Mudbug Media, Inc. Teri Galleries, Ltd.

NEW ORLEANS MUSEUM OF ART

THE ART OF BUSINESS CORPORATE MEMBERSHIP IN THE NEW ORLEANS MUSEUM OF ART

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

ARTS QUARTERLY

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

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

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

BENEFACTOR

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

PATRON

$10,000 &

ABOVE

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

$5,000

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

MASTER

$2,500

• Family Membership privileges for five designated officials with Reciprocal Membership at 39 participating museums. • A Speakers Bureau program for your employees at your place of business or at the Museum. • 50 Museum passes. • Curatorial consultation. • One catalogue from the NOMA’s inventory.

LEADER GUARANTOR

$7,500

$1,000

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

ASSOCIATE

$500

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

CONTRIBUTOR

$250

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

O N T R I B U T I O N

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, PO Box 19123, New Orleans, Louisiana 70179-0123. ■

BESTHOFF SCULPTURE GARDEN FUND IN HONOR OF JOANN GREENBERG’S BIRTHDAY: Paul J. Leaman, Jr.

IN MEMORY OF JOAN LEVY: Paul J. Leaman, Jr. ANNABEL SCHILLING HAYES: Paul J. Leaman, Jr.

ELISE PLAUCHE EDUCATION FUND IN HONOR OF JOANNA STERNBERG: Carmen Stargardter Mary Doiron

IN MEMORY OF

Carmen Stargardter Patricia Trautman PRESCOTT DUNBAR: Diane Sustendal JOANN GREENBERG’S BIRTHDAY: Joan and Gerald Bergenson Mr. and Mrs. Joseph Epstein, Jr. Mrs. Carol Good J. E. and Babs Isaacson Barbara Jacobs Celia Katz Paul and Edie Rosenblum Flo and Richard Schornstein Jane Bories and Sam Corenswet Mr. and Mrs. Irving Rosen Dr. and Mrs. Harris Hyman, III Mrs. Louis Pick Sandy & Edward Heller Gail and Harvey Lewis Nancy P. Turner Marie and Bob Wolf Marjorie and Scott Cowen Anne and Stan Levy Mr. and Mrs. Irwin Isaacson Jack and Clare Benjamin Rene Lehmann Carol and Stanley Marx E. John Bullard Mrs. Elaine Mintz Claire H. Moses Abe and JoEllyn Kupperman Ms. Ernie Eckstein Mr. and Mrs. John Clemmer Patty and Les Barnett Barbara and Wayne Amedee Mrs. Walter Marcus Dan and Florence Scharff Frankie Wolff Copie and Duke Prince

Margie and Sandy Villere H. Merritt and Nikkie Lane Mr. and Mrs. H. B. McFadden Mr. and Mrs. Longer de la Gueronniere Elizabeth A. Boh Suzanne and Ashton Phelps ADAIR H. MARSH: Mr. and Mrs. Robert J.A. Williams MRS. EVELYN P. MCCALL: Mr. and Mrs. Robert J.A. Williams MRS. MARY VOORHIES: Mr. and Mrs. Robert J.A. Williams MRS. FRANCES C. O’KEEFE: The Family of Elva L. Weiss RITA CANTRELLE ACOSTA ALFORD: Koch & Wilson Architects LARRY WARICK: Nancy and Peter Briant ELVA G. MARKS: Morton and Barbara Sosna MRS. ARTHUR J. SILVERMAN: Mrs. S. Herbert Hirsch Richard Hirsch Mrs. Herbert C. Yellin Leona and Stan Shlosman DR. MANFRED LINDENBURGER: Susan Buzick MRS. ELISE G. ST. PIERRE: Dr. and Mrs. Chet C. Coles LAWRENCE S. TENNANT: Susan Kartzke KIT FAVROT: Dot Shushan

NVC FLOWER FUND

MR. AND MRS. STANLEY MCDERMOTT’S ANNIVERSARY: Stephanie & Peter Miller

IN HONOR OF

DR. AND MRS. E. RALPH LUPIN’S ANNIVERSARY: Karen MH Kersting

FRED AND DELLIE LOZES’S BIRTHDAY: Fay Beth Wedig

IN MEMORY OF

JOANN GREENBERG’S BIRTHDAY: Kit and Bob Goldberg

IN HONOR OF

LEWIS PARRISH: Lise Anne and Parham Werlein

JERRY INGOLIA’S BIRTHDAY: Rosemarie Fowler

JOANNA STERNBERG: Kathy Alcaine Aisha Champagne Victoria Cooke Brandi Hand Jennifer Ickes John Webster Keefe Heather Nelson Wanda O’Shello George Roland, The Roland-Geist Collection Vanessa Smith

THOMAS MICHAEL GARDES: Amy Krysiewski Shirley Dunn & Family James and Jeanne Bourg

RITA ALFORD: Carmen Stargardter Mary Doiron

LIBRARY FUND

ARTS QUARTERLY

MARY NELL PORTER NOLAN: Jimmy and Susan Gundlach Ambassador and Mrs. John G. Weinmann The Times-Picayune Living & Art Department Dot Shushan Blanche Edge McCloskey

IN MEMORY OF PATRICIA ROLLINS WHITTY: Shirley Rabé Masinter Bradley Mary Lockett Wilson Guthrie

FOR THE LOVE OF FLOWERS Garden Study Club New Orleans Town Gardeners, Inc.

NVC PORTICO RENOVATION FUND

I SUPPORT

THE PORTICO RENOVATION FUND

IN HONOR OF MARIE (MICKEY) GREVE: ExxonMobil NVC Portico Fund: Mrs. Vincent Culotta

PHOTOGRAPHY FUND IN MEMORY OF

Yes, I want to help support the NOMA Volunteer Committee’s Pledge to the NVC Portico Renovation Fund. Funds collected defray expenses associated with a new entry ramp, refurbished decking, urns and torchieres flanking NOMA’s main entrance at Lelong Avenue, and for providing attractive trash receptacles. NAME _____________________________________________________________________________

ROBERT A. MORGAN: KimberlyHarry Rosenberg

ADDRESS __________________________________________________________________________ CITY/STATE/ZIP ____________________________________________________________________

DR. ROBERT L. FLURRY, JR.: Harry and Kimberly Rosenberg

Enclosed is my donation in the amount of: ❑ $10 ❑ $15 ❑ $25 ❑ $50 ❑ $100* Other __________

PEPPER BROWN FUND

Please make checks payable to the NOMA Volunteer Committee. Mail to: New Orleans Museum of Art • NOMA Volunteer Committee PO Box 19123 ª New Orleans LA 70179-0123

IN MEMORY OF PEPPER BROWN: Thomas and Ella D’Agostino

We will be happy to accept credit card payments for contributions of $50 or higher. Please call the NVC Office, 504-658-4121, to donate by credit card.

Thank you! *All contributions in the amount of $100 or more will be acknowledged in Arts Quarterly.

WAYS OF GIVING

he future of the New Orleans Museum of Art depends to a large

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

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

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

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

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

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

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

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

ARTS QUARTERLY

The Felix J. Dreyfous Library

NOMA Library Book Club Come and join us as we read and discuss fiction and nonfiction books related to art, art museums, NOMA’s collections and NOMA’s exhibitions. We will meet monthly, from noon to 1 p.m., in the library to discuss selected books, and there occasionally will be special meetings at which there will be a program related to that month’s book selection. Bring a sack lunch and enjoy this lunchtime break. NOMA will provide soft drinks and water. Call the librarian, Sheila Cork, at 504-658-4117, or email at scork@noma.org to reserve a space. JANUARY The Rape of Europa: The Fate of Europe’s Art Treasures in the Third Reich and the Second World War by Lynn H. Nicholas (nonfiction) “Lynn Nicholas offers an astonishingly good account of the wholesale ravaging of European art during World War II, of how teams of international experts have worked to recover lost masterpieces in the war’s aftermath and of how governments “are still negotiating the restitution of objects held by their respective nations.”” (Amazon.com) Wednesday, January 14 Book Discussion Group

Photo by Aisha Champagne

FEBRUARY The Art Spirit by Robert Henri (nonfiction) “Embodying the entire system of Robert Henri’s teaching, The Art Spirit contains much valuable advice, critical comment, and inspiration to every student of the arts.” (Amazon.com) Thursday, February 12 E. John Bullard, The Montine McDaniel Freeman Director, will present a program about the “Ashcan School”—the group of artists that includes Robert Henri. Thursday, February 19 Book Discussion Group MARCH The Luncheon of the Boating Party by Susan Vreeland (fiction) “Vreeland tracks Auguste Renoir as he conceives plans and paints the 1880 masterpiece that gives her vivid fourth novel its title.” (Amazon.com) Friday, March 13 Book Discussion Group Contact NOMA’s gift shop if you would like them to order bookclub books for you. Phone at 504-658-4116 or email to museumshop@noma.org. Books also can be obtained from local book stores, online book sellers, and try your local library.

Volunteer Opportunities in the Library

Photo by Aisha Champagne

The library always needs volunteers to help with routine library tasks such as processing and shelving books, organizing and filing catalogue cards, sorting and adding material to the artist files, organizing the periodical display area, and setting up for meetings and programs. If you are interested in contributing your time to the library please call Molly St. Paul, volunteer coordinator, at 504-658-4137, or contact the librarian, Sheila Cork, at 504-658-4117, or e-mail at scork@noma.org. ■

NEW ORLEANS MUSEUM OF ART

NOMA Members Survey

In an effort to further service our members, we ask you to complete and return the following survey. How many times have you visited NOMA in the past 12 months? _____

Please mail your completed survey to: Members’ Survey New Orleans Museum of Art PO Box 19123 New Orleans LA 70179-0123

Of the following, what is the greatest benefit of your NOMA membership? Check one _____ Arts Quarterly _____ Invitations to Member’s only previews _____ Free admission to blockbuster exhibitions _____ Reduced pricing for special events _____ 10% discount in the Museum Shop _____ Discount on art classes _____ Use of the Dreyfous Art Reference Library Are you aware NOMA is free for Louisiana residents? Yes _____ No _____ What is your best source of information about events at NOMA? Check one. _____ Arts Quarterly _____ Weekly E-newsletter _____ NOMA’s website: www.noma.org _____ Advertising (newspapers, TV, radio, etc). Do you regularly read the Arts Quarterly? Yes _____ No _____ Is the Arts Quarterly one of your primary reasons for your membership dues? Yes _____ No _____ Please rank the following media in order of preference as a source for NOMA’s events (1 is favorite, 5 is least favorite): _____ Newspaper _____ Television _____ Websites _____ Radio _____ NOMA’s E-news If you are not already receiving NOMA’s weekly E-News, would you like to? Yes _____ No _____ If yes, please provide your e-mail address: __________________________________________________

Did you visit NOMA for the following? If so, rate event on a scale from 1-10 (10 being excellent). _____ Objects of Desire: Fabergé from the Hodges Family Collection _____ The Baroque World of Fernando Botero _____ Rodrigue’s Louisiana: Cajuns, Blue Dogs and Beyond Katrina _____ Femme, femme femme _____ Prospect.1 _____ Sydney and Walda Besthoff Sculpture Garden _____ Museum Shop _____ Dreyfous Art Reference Library How many of the listed events do you attend each year? (Check all that apply and the number of times for each event:.) Attend Number Times per year _____ Members Preview _____ _____ Sunday afternoon lectures _____ _____ Mid-Week in Mid-City events _____ _____ _____ Child enrolled in art class _____ Odyssey Ball _____ _____ _____ Love in the Garden _____ Art in Bloom _____ _____ Easter Egg Hunt _____ Are you aware of NOMA’s extended public hours on Wednesday evenings? (Open until 8 p.m.) Yes _____ No _____ Have you ever attended an event on Wednesday evenings during NOMA’s extended hours? Yes _____ No _____ If so, how many times? _____ Would you be interested in a Travel Program if offered by NOMA? Yes _____ No _____ Are there any programs NOT offered that you wished NOMA provided? Please comment. __________________________________________________ __________________________________________________ __________________________________________________ __________________________________________________ MEMBER PROFILE: How long have you been a member of NOMA? ________________________ What is your current membership category? ________________________

Are you aware of NOMA’s Website—www.noma.org ? Yes _____ No _____ Do you use NOMA’s Website? Yes _____ No _____ If yes, what areas of information on the website do you find useful? (check) _____ Calendar of Events _____ Exhibition Information _____ Activities _____ Other Would you prefer to receive your Arts Quarterly on the website only? Yes _____ No _____

ARTS QUARTERLY

What is your zip code _________________ Are you: Male _____ Female _____ What are the number of adults (18 or older) in your household? _____ What are the number of children in your household under 18? _____

NOMA EDUCATION: Community Art-Making Studios

Educator Workshops

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

All area educators are invited to attend NOMA’s free workshops. The Museum’s permanent collection, special exhibitions and other resources for educators will be explored in these informative evening sessions. Educational materials will be provided to participants as well as a certificate of attendance. Pre-registration is required. Please contact the Education Department at 504-658-4128 or education@noma.org. When emailing, please provide your name, school/organization, and phone number.

Tuesday, January 13 6 p.m. – 8 p.m. Teaching with Primary Sources, NOMA and Amistad Research Center Collaboration

Wednesday, January 7 6 p.m. – 8 p.m

Saturday, March 7 11 a.m. – 3 p.m.

In conjunction with the HyogoNOMA Art Therapy Initiative, art therapists will guide you in expressing yourself with provided art materials and producing a masterpiece. No artistic experience is necessary.

Come paint with us. NOMA’s art therapist will facilitate a group painting project for all ages. Families are invited to drop in and paint large-scale paper murals outside the Museum in picturesque City Park. No artistic experience is necessary. ■

Saturday, March 21 2 p.m. – 4 p.m. The Sydney and Walda Besthoff Sculpture Garden

Tuesday, April 28 6 p.m. – 8 p.m. African Art from NOMA’s Permanent Collection

Come enjoy NOMA’s Sydney and Walda Besthoff Sculpture Garden and learn about the history of the Garden, the sculpture collection, and the landscape architects behind the design. Educators can try out activity suggestions developed by the Education Department and discuss ideas for field trips to the Garden. Perfect for self-guided visits, our Educator’s Manual of information, scavenger hunts, sketching ideas and lesson plans will be sure to delight students (and teachers) of all ages.

William Fagaly, NOMA’s curator of African art, will use the Museum’s collection to provide educators with a general overview of the arts of Africa. The objects in the galleries will be discussed to shed light on the religious, social and artistic background of each culture represented. Overall themes within the collection will be highlighted to allow educators to easily present the material to their students. Education staff also will discuss classroom activities and suggestions for incorporating African art into a variety of curricula. ■

This workshop will take place at the Amistad Research Center and introduce the use of primary sources (letters, diaries, oral histories, organizational records, etc.) as pedagogical tools for classroom instruction. Topics covered will include how archivists conserve, catalog and store materials, locating primary sources, working with libraries and archives regarding reproduction and copyright, strategies for using sources at various grade levels and abilities. Educators will take away ideas and activities that can be adapted in their own educational settings. (Please Note: The Amistad Research Center is located on the campus of Tulane University.)

NOMA’s Sydney and Walda Besthoff Sculpture Garden will be the setting for the educator workshop on Saturday, March 21

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES 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 education@noma.org or call 504-658-4131.

Sunday, January 18, 2 p.m. Fabergé and the Silver Age by Suzanne Massie, Author and Historian of Russian Cultural History

Sunday, February 8, 2 p.m. Nothing But the Best: The Jack M. Sawyer Collection by John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA This lecture provides an overview of the exhibition Style, Form and Function: Glass from the Collection of Jack M. Sawyer, which is on view at NOMA February 7 through April 26. (See cover story.)

New Orleanian Jack Sawyer has collected glass for nearly half a century, and that dedication was marked early on by an exhibition at the Museum in the spring of 1989. Now that collection, which is particularly rich in works from the mid-nineteenth to the midtwentieth centuries, is a promised gift to the Museum. This slide-illustrated lecture will discuss some of the highlights of the Sawyer collection, as well as some of the history of the collecting of this most popular medium. ■

The last quarter of the nineteenth century and the early years of the twentieth century in Russia were the time when the House of Fabergé reached its apotheosis, with establishments in St. Petersburg, Moscow and Odessa. This coincided with a period of such great cultural achievements in all the arts in Russia that it is called the Silver Age—a time of great painters, poets, writers and musicians and dancers that brought worldwide fame to Russian culture and was to end with World War I, the Bolshevik Revolution and the great exodus and tragedy that followed. Suzanne Massie, author of Land of the Firebird: The Beauty of Old Russia and Pavlovsk: The Life of a Russian Palace, will present an overview of the Silver Age, focusing on the environment in which the House of Fabergé flourished.

Wednesday, January 21, 6 p.m. Think Backwards: Rodin and His Legacy by Judith Sobol, Executive Director of the Iris and B. Gerald Cantor Foundation The French artist Auguste Rodin’s sculpture has become so much a part of our daily visual lives that many of his pieces, like The Thinker, are known the world over by people who have never heard of the artist. When his work was new, however, its revelations led to the artist’s great fame and he transformed the nature of sculpture, influencing artists of the next generation like Matisse, Picasso, and Maillol. In her talk, Judith Sobol will trace Rodin’s influences from his time to ours, including examples of contemporary sculpture that take advantage of Rodin’s transformations.

ARTS QUARTERLY

NOMA will present the lecture “Nothing But the Best: The Jack M. Sawyer Collection” on Sunday, February 8, at 2 p.m. This lecture is presented in conjunction with the exhibition Style, Form and Function: Glass from the Collection of Jack M. Sawyer, which is on view at NOMA February 7 through April 26. Photo by Judy Cooper

PROGRAMS & ACTIVITIES Sources of Inspiration: African American Art in the New Orleans Museum of Art

Teen Advisory Board

Artwork by African-American artists has long been part of the New Orleans Museum of Art’s permanent collection. In an effort to familiarize viewers with these works, NOMA has created a selfguided tour through the permanent collection entitled Sources of Inspiration: African American Art in the New Orleans Museum of Art that will be available to all visitors through May 2009. In the future, this tour will be augmented by a more in-depth, new online resource. These featured works were the subject of an educator’s workshop at NOMA, as well as the basis of a new online resource intended to guide both educators and visitors to a deeper understanding of African-American art within the context of American art, history and culture. This website can be accessed through www.noma.org. Ranging from the Romantic style of the early twentieth-century painter Henry O. Tanner to the abstraction of Lonnie Holley, this collection of paintings, sculpture, and works on paper span nearly a century of American art history. Included in this tour are the works of such renowned artists as Romare Bearden, Elizabeth Catlett, Jacob Lawrence, and Sam Gilliam, as well as local artists like John T. Scott. These artists highlight twentieth- and twenty-first-century issues such as slavery, family life, work, notable figures, culture, the energy of city life, and local architecture as visible topics of discussion.

This installation serves as a prelude for an exhibition featuring art of the Harlem Renaissance and the African Diaspora, in a collaborative effort

The New Orleans Museum of Art’s Teen Advisory Board is a servicelearning opportunity for students ages fourteen through seventeen. TAB participants collaborate with NOMA’s Education Department to create ideas for new programming for young audiences and think creatively about the Museum’s role in their community. The thirteen members of our inaugural Teen Advisory Board represent eleven different schools from the greater New Orleans area—St. Mary’s Dominican High School, Ursuline Academy, NOCCA Riverfront, Grace King High School, Benjamin Franklin High School, Holy Cross High School, Metairie Park Country Day School, O. Perry Walker High School, McDonough 35, Joseph S. Clark High, and Pierre A. Capdau Early College High School—and will meet

monthly throughout the school year to advise the Museum on matters pertaining to education, public events, exhibitions, communications and more. Applications for new TAB positions will be accepted each fall, and more information on TAB can be found at http://www.noma.org/tab.html.

between the New Orleans Museum of Art and the Amistad Research Center, which will be on view at NOMA from August 22 through October 25, 2009. ■

Jacob Lawrence (American, 1917–2000) Builders #4, 1973 Gouache on paper, 21-1/2 x 30-1/2 inches Collection of the New Orleans Museum of Art National Endowment for the Arts Matching Fund and Women’s Volunteer Committee. 73.251

Congratulations to the following area students for being chosen as members of the 2008–09 Teen Advisory Board: Martha Babbitt Mary Grace Bernard Tracey Bullington Emily Chaplain Erin Doherty Candace Gautreaux Ariel Rene Jackson

Nestor Miranda Hannah Rau Blake Reimmuth Troy Simon Jinaga Washington Colette Williams

TAB (Teen Advisory Board)

NEW ORLEANS MUSEUM OF ART

Get Over the Hump...Wednesday Evenings at the New Orleans Museum of Art NOMA is open on Wednesdays from noon to 8 p.m. In addition to the Museum’s permanent collection and special exhibitions and the Besthoff Sculpture Garden, enjoy these special evening activities. Each Wednesday will feature a cash bar and a different speciality cocktail. JANUARY 7

JANUARY 28

FILM, James Bond, 007–From Russia with Love 6, p.m., Stern Auditorium

POETRY WORKSHOP Choose a work of art to your likening. Jean E. Grau, published poet and writer, will assist in writing poetry, followed by a reading. (Hot Coco and Cookies Will Be Served) 6 p.m., Café

COMMUNITY ART STUDIO, Holly Wherry, NOMA Art Therapist 6 p.m., Café

JANUARY 14

MUSIC, Band TBA 6 p.m, Great Hall

LECTURE, “Roots of the Fi Yi Yi,” Victor Harris and Fi Yi Yi will recount the oral history of Fi Yi Yi and its legacy within the Mardi Gras Indian Tradition 6 p.m., Stern Auditorium HANDS-ON DEMONSTRATION, “Lost Art of Water Gilding,” Alan Shuptrine of Shuptrine Fine Art Group in Chattanooga, Tennessee, will discuss the details of Old World gilding methods and how these methods are applied in the restoration and conservation of historical items. 6 p.m., Café

FEBRUARY 11 LECTURE, “Sculpture for New Orleans,” presented by Sculpture for New Orleans founders Michael Manjarris and Peter Lundberg. Sculpture for New Orleans is a two-year sculpture exhibition that has placed monumental sculptures throughout New Orleans, including the two Alexander Calder stabiles on view outside NOMA 6 p.m., Stern Auditorium

JANUARY 21 MARCH 4 LECTURE, “Thinking Backwards: Rodin and His Legacy,” Judith Sobol, Executive Director of the Iris and B. Gerald Cantor Foundation (see page 41 for lecture description) 6 p.m., Stern Auditorium

LECTURE, “Reinstallation of NOMA’s Permanent Collection Galleries,” Miranda Lash, Curator of Modern and Contemporary Art, NOMA 6 p.m., Frederick R. Weisman Galleries, Second Floor

After touring the Museum and enjoying these special evening events, visitors are encouraged to have dinner at one of these Mid-City restaurants. Angelo Brocato Ice Cream, 214 North Carrollton Ave. (486-1465); Cafe Arabesque, 127 N. Carrollton Ave. (486-7233); Cafe Degas, 3127 Esplanade Ave. (945-5635); Cafe Minh, 4139 Canal St. (482-6266); Crescent City Steak House, 1001 Broad St. (821-3271); Doson’s Noodle House, 135 N. Carrollton Ave. (309-7283); Fellini’s Cafe, 900 N. Carrollton Ave. (488-2155); La Vita, 3201 Esplanade Ave. (948-0077); Little Tokyo, 310 N. Carrollton Ave. (485-5658); Lola’s, 3312 Esplanade Ave. (488-6946); Mandina’s, 3800 Canal St. (482-9197); Mona’s Cafe, 3901 Banks St. (482-0661); Parkway Bakery and Tavern, 538 Hagan St. (482-3047); Ralph’s on the Park, 900 City Park Ave. (488-1000); Venezia Restaurant, 134 N. Carrollton Ave. (488-7991).

Mid-Week in Mid-City is sponsored by the Ruby K. Worner Charitable Trust.

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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

$100,000 +

$99,999 – $50,000 CHEVRON: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support Handbook of School Programs Teacher’s Packets LOUIS ARMSTRONG NEW ORLEANS INTERNATIONAL AIRPORT: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support LOUISIANA DIVISION OF THE ARTS: Institution Stabilization Arts in Education General Operating Support

ACADIAN AMBULANCE SERVICE: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support

THE LUPIN FOUNDATION: General Operating Support Art in Bloom 2008 Odyssey Ball 2008

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

SELLEY FOUNDATION: General Operating Support

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

SHERATON NEW ORLEANS HOTEL: The Baroque World of Fernando Botero Exhibition Support

LOUISIANA ENDOWMENT FOR THE HUMANITIES: Living Color: Photographs by Judy Cooper Exhibition, Programming and Catalogue Support PAN AMERICAN LIFE INSURANCE GROUP: The Baroque World of Fernando Botero Exhibition Support THE ROSAMARY FOUNDATION: Family Workshops Handbook of School Programs JOLIE AND ROBERT SHELTON INTERNATIONAL WELL TESTERS, INC.: Living Color: Photographs by Judy Cooper Exhibition Catalogue Support Rodrigue Aoili Dinner Odyssey Ball 2008 WWL-TV: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support

$19,999 - $10,000 AT&T: Art in Bloom 2008 Odyssey Ball 2008 DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions

$34,999 - $20,000

EAST JEFFERSON GENERAL HOSPITAL: LOVE in the Garden 2008

D. LEE HODGES SHERRI S. LOGAN: Objects of Desire: Fabergé from the Hodges Family Collection Exhibition Catalogue Support Odyssey Ball 2008

GOLDRING FAMILY FOUNDATION: Odyssey Ball 2008

LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATON: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support

GREATER LAKESIDE CORPORATION: Odyssey Ball 2008

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

MR. AND MRS. STEPHEN A. HANSEL: Art in Bloom 2008

NEW ORLEANS MUSEUM OF ART

JONES FAMILY FOUNDATION: Art in Bloom 2008 GLORIA S. KABACOFF: Odyssey Ball 2008

$9,999 - $5,000 AGILITY PROJECT LOGISTICS: Art in Bloom 2008

PAULA L. MAHER: Odyssey Ball 2008

MR. AND MRS. JOHH D. BERTUZZI: Odyssey Ball 2008

NATIONAL FEDERATION OF COFFEE GROWERS OF COLOMBIA: The Baroque World of Fernando Botero Exhibition Support

THE BOOTH-BRICKER FUND: Odyssey Ball 2008

NEW ORLEANS SAINTS: Odyssey Ball 2008 PAUL PRUDHOMME: Rodrigue Aoili Dinner MR. AND MRS. GEORGE RODRIGUE: Art in Bloom 2008 RUBY K. WORNER CHARITABLE TRUST: Mid-Week in Mid-City SAKS FIFTH AVENUE: Art in Bloom 2008 MR. AND MRS. CLAUDE SCHLESINGER: Odyssey Ball 2008

LAMAR ADVERTISING: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support LUZIANNE: Art in Bloom 2008

ENERGY PARTNERS, LTD.: Art in Bloom 2008

MATHES BRIERRE ARCHITECTS: Odyssey Ball 2008

ENTERGY LOUISIANA: Educational Programs

MR. AND MRS. FRANK NORMAN: P. R. Norman Fund Art Acquisition

MRS. ANNE GAUTHIER: Odyssey Ball 2008

GRAY S. AND MARY KAY PARKER: Odyssey Ball 2008

HCA HEALTHCARE-DELTA DIVISION: Art in Bloom 2008

IRENE W. AND C.B. PENNINGTON FOUNDATION: Odyssey Ball 2008

MRS. JEAN R. HEID: Art Acquisition Fund

REGIONS BANK Art in Bloom 2008

IBERIABANK: Art in Bloom 2008

REGIONS MORGAN KEEGAN PRIVATE BANKING: Art in Bloom 2008

IRENE W. AND C. B. PENNINGTON FOUNDATION: Odyssey Ball 2008 J. ARON AND COMPANY, INC.: Educational Programs

THE JOHN BURTON HARTER CHARITABLE FOUNDATION: Gentlemen Callers Exhibition Support

RUTH’S CHRIS STEAKHOUSE: LOVE in the Garden 2008 SUPERIOR ENERGY SERVICES, INC.: Art in Bloom 2008

RECEIVE NOMA E-NEWS ON UPCOMING ACTIVITIES Would you like to receive emailed updates on events and exhibitions coming to the New Orleans Museum of Art? If so, Go to http://www.noma.org/enews.html to sign up for E-News from NOMA. We will alert you to upcoming festive events, programs and new exhibitions, and we will provide links back to the NOMA website for more details.

ARTS QUARTERLY

MUSEUM NEWS MUSEUM NEWS MUSEUM BOARD OF TRUSTEES NEW NOMA TRUSTEES New officers of the board of trustees for 2009 will be Stephen H. Hansel, president; Leonard Davis, vice-president; Mrs. Charles B. Mayer, vice-president; Mrs. William Frischhertz, vice-president; William Aaron, treasurer; David Edwards, secretary; and Françoise Billion Richardson, assistant treasurer. The following individuals were elected as new members to begin January 2009: Sydney J. Besthoff III, Edgar B. Chase III, H. Mortimer Favrot, Ms. Allison Kendrick, Paul Masinter, Dr. Alvin Merlin, Dr. Howard Osofsky, Mrs. George Rodrigue, Bryan Schneider, Charles A. Snyder, Mrs. Richard Strub, Mrs. Hughes P. Wamsley, Jr. Mrs. Erik Johnsen and Mrs. James L. Taylor were were named as a honorary trustees and Mrs. Robert Shelton as a national trustee. BOARD MEETING SCHEDULE The NOMA board of trustees will meet on Wednesday, January 21, February 18, and March 18, at 4 p.m.

MEMBERS ATTENTION NOMA MEMBERS In an effort to go paperless and to reduce mailing costs, we are asking NOMA members to supply a valid email address to the Museum. We appreciate your cooperation with this process. Please send email addresses to: elevy@noma.org, or call 504-6584127, or mail to PO Box 19123 New Orleans LA 70179-0123.

NVC NEW NVC CHAIRS ANNOUNCED Brenda Moffitt will turn the gavel of leadership over to our new NVC chair Diane Walmsley, on January 1, 2009. Diane will be assisted by Carol Hall, vice-chair of activities; Glendy Forster, vice-chair of membership; Kimberly Zibilich, vice-chair of fund-raising; Pam Rogers, corresponding Secretary; Dana Hansel, recording secretary; Cammie Mayer, treasurer; and Elizabeth Ryan, parliamentarian.

Also serving are Janet Frischhertz, at-large; Kay McArdle, at-large; and Kevin and Lori Frischhertz, 2009 Odyssey Ball chairs. GENERAL MEETING Plan to attend the NVC general membership meeting in the NOMA Stern Auditorium on Monday, February 9, 2009, at 10:30 a.m. A light lunch will follow. Chairman Diane Walmsley will reveal the 2009 NVC calendar, filled with both educational and fun events, including the Fabergé Egg Hunt on March 29. Volunteer sheets will be available. Look for details on the website, www.noma.org. STUDIO SALONS On October 22, Cary Alden and Sally Richards finished their year as chairs of Studio Salons with a captivating visit to the home and studios of artists Garland Robinette and his wife, Nancy Rhett. In the beautiful, art-filled rooms of this uptown residence, NVC members were charmed by stories of Garland Robinette’s forays into broadcasting and his propitious entry into portraiture. His first portrait commission was of Pope John Paul II. His distinctive voice, so well known to listeners of WWL radio’s The Think Tank, entertained with anecdotes detailing the stories behind his artwork. Wife Nancy gave NVC members a tour of her studio. Her lovely collages, gracing the light-filled windowsills, combine texture, color and the prose of her own journal entries. Studio Salons Chairs Cary and Nancy provided delicious refreshments to complete a delightful afternoon. Thank you, ladies. NVC MEMBERSHIP Membership in the NOMA Volunteer Committee is open to all NOMA members. 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 events are offered through an NVC membership. Three general meetings a year plus a myriad of other activities and volunteer efforts keep the NVC calendar busy. From stuffing Odyssey Ball invitations and assisting in Art in Bloom setup to gallery visits and out of town trips, the NVC has a spot for you in its family. Dues are nominal. Friendships are free. For more information, contact the NVC office at (504) 658-4121. ■

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Jacqueline L. Sullivan, Deputy Director Marilyn Dittmann, Director of Development Lisa Rotondo-McCord, Assistant Director for Art/Curator of Asian Art Alice Rae Yelen, Assistant Director for Education Gail Asprodites, Controller Pamela Buckman, Sculpture Garden Manager Aisha Champagne, Graphics Coordinator/Webmaster Sheila Cork, Librarian Diego Cortez, The Freeman Family Curator of Photography Sarah Davidson, Coordinator of Special Events William A. Fagaly, The Françoise Billion Richardson Curator of African Art Julie Galstad, Grants Officer Jennifer Ickes, Assistant Registrar Kristin Jochem, Development Associate for NVC John W. Keefe, The RosaMary Foundation Curator of The Decorative Arts Miranda Lash, Curator of Modern and Contemporary Art Elizabeth Levy, Membership Assistant Katherine Marquette, Education Assistant James Mulvihill, Director of Communications and Marketing Karl Oelkers, Computer Coordinator Wanda O’Shello, Publications Coordinator/Arts Quarterly Editor Marney N. Robinson, Associate Curator of Education George Roland, The Doris Zemurray Stone Curator of Prints and Drawings Paul Tarver, Registrar/Curator of Native American and Pre-Columbian Art Patricia Trautman, Museum Shop Manager Laura Wallis, Development Associate for Membership and Annual Appeal Holly M. Wherry, Art Therapist, Katrina Initiative NOMA BOARD OF TRUSTEES Stephen H. Hansel, President Leonard Davis, Vice-President Mrs. Charles B. Mayer, Vice-President Mrs. James Frischhertz, Vice-President William Aaron, Treasurer David Edwards, Secretary Mrs. Françoise Billion Richardson, Assistant Treasurer Mrs. John Bertuzzi Sydney J. Besthoff III Edgar B. Chase III Isidore Cohn, Jr., M.D. S. Stewart Farnet H. Mortimer Favrot Mrs. Ludovico Feoli Timothy Francis Lee Hampton Adrea Heebe Ms. Allison Kendrick Henry Lambert Paul J. Leaman, Jr. Paul Masinter Edward C. Mathes Kay McArdle Alvin Merlin, M.D. Councilmember Shelly Midura Mrs. R. King Milling Michael Moffitt Mayor C. Ray Nagin Howard Osofsky, M.D. Mrs. Robert J. Patrick Thomas Reese, Ph.D. Mrs. James Reiss Mrs. George Rodrigue Bryan Schneider Mrs. Lynes R. Sloss Charles A. Snyder Mrs. Richard Strub Mrs. Patrick F. Taylor Mrs. Hughes P. Walmsley, Jr. 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 Mrs. Erik Johnsen 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. James L. Taylor 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 7

WEDNESDAY, 6 p.m., Film, James Bond, 007—From Russia with Love

MARCH 4

WEDNESDAY, 6 p.m., Lecture, “Reinstallation of NOMA’s Permanent Collection Galleries” by Miranda Lash, Curator of Modern and Contemporary Art, NOMA

SATURDAY, 11 a.m. to 3 p.m., Community Art-Making Studio

6 p.m. to 8 p.m., Community Art-Making Studio

SATURDAY, Opening Day—Author and Subject: Murasaki Shikibu and The Tale of Genji

TUESDAY, 6 p.m. to 8 p.m., Educator Workshop, “Teaching with Primary Sources, NOMA and Amistad Research Center Collaboration” PLEASE NOTE: This program is at the Amistad Research Center, which is located on the campus of Tulane University.

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

SATURDAY, 2 p.m. to 4 p.m., Educator Workshop, “The Sydney and Walda Besthoff Sculpture Garden”

SUNDAY, 1 p.m., Fabergé Egg Hunt

WEDNESDAY, 6 p.m., Lecture, “Roots of the Fi Yi Yi” by Victor Harris and Fi Yi Yi 6 p.m., Hands-on Demonstration, “Lost Art of Water Gilding” by Alan Shuptrine of Shuptrine Fine Art Group, Chattanooga, Tennessee

FRIDAY, Opening Day—Evening in Paris

SATURDAY, Prospect.1 New Orleans Closing Celebration in conjunction with Martin Luther King, Jr. Day

SUNDAY, 2 p.m., Lecture, “Fabergé and the Silver Age” by Suzanne Massie, Author and Historian of Russian Cultural History

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting 6 p.m., Lecture, “Think Backwards: Rodin and His Legacy” by Judith Sobol, Executive Director of the Iris and B. Gerald Cantor Foundation

23 28

FRIDAY, Arts Quarterly Editor Retires WEDNESDAY, 6 p.m., Poetry Workshop with Jean E. Grau

NOMA EXHIBITION SCHEDULE Seeking the Light: Studio Glass by Luke Jacomb Through January 4, 2009 A Taste for Excellence: A Tribute to Louisiana Collector H. Speed Lamkin Through January 10, 2009 Prospect.1 New Orleans Through January 18, 2009 Prints Past & Prints Present: Limited Editions from Louisiana, Selections from The Historic New Orleans Collection and the New Orleans Museum of Art Through January 18, 2009

FEBRUARY 1

SUNDAY, Opening Day—Expression, Innovation and Design: Studio Ceramics from the Permanent Collection

SATURDAY, Opening Day—Style, Form and Function: Glass from the Collection of Jack M. Sawyer

Objects of Desire: Fabergé from the Hodges Family Collection Through February 18, 2009 Photography and Depression Through March 1, 2009 Author and Subject: Murasaki Shikibu and The Tale of Genji January 10 – May 31, 2009

Opening Day—Frederick J. Brown: New Portraits of Jazz Greats 6 p.m. to 9 p.m., NOMA Members’ Preview—Style, Form and Function: Glass from the Collection of Jack M. Sawyer

SUNDAY, 2 p.m., Lecture, “Nothing But the Best: The Jack M. Sawyer Collection” by John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA

MONDAY, 10:30 a.m., NVC General Meeting, followed by light lunch

WEDNESDAY, 6 p.m., “Sculpture for New Orleans” by Michael Manjarris and Peter Lundberg, Sculpture for New Orleans Founders

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

Evening in Paris January 16 – June 28, 2009 Expression, Innovation and Design: Studio Ceramics from the Permanent Collection February 1 – June 1, 2009 Style, Form and Function: Glass from the Collection of Jack M. Sawyer February 7 – April 26, 2009 Frederick J. Brown: New Portraits of Jazz Greats February 7 – April 26, 2009 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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