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A benefit of membership with the New Orleans Museum of Art

ARTSQUARTERLY VOLUME XXXII ISSUE 3

NEW ORLEANS MUSEUM OF ART

JULY/AUGUST/SEPTEMBER 2010

NOMA Welcomes New Director Susan Taylor

BY CAROLINE GOYETTE Editor of Museum Publications

Susan Taylor will become the Museum’s sixth director on September 1, 2010.

Photograph by Tasha Gajewski

(article begins on page 6)

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NEW ORLEANS MUSEUM OF ART

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FROM

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DIRECTOR

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he time has come to say goodbye. After more than thirty-seven years of service, I will be retiring as The Montine McDaniel Freeman Director of the New Orleans Museum of Art on September 1.

On that date, a wonderful museum professional and art historian, Susan M. Taylor, will become the sixth director of NOMA. I have known Susan for many years, while she was director of the Davis Museum and Cultural Center at Wellesley College, and more recently as director of the Princeton University Art Museum. She is highly qualified in every way and I was thrilled when she agreed to come to New Orleans. Susan is intelligent, charming, personable, and humorous. She is totally committed to raising NOMA to an even higher level of national and international recognition while serving the needs of the citizens of our city and state.

My career at NOMA has been professionally fulfilling and the greatest pleasure for me personally. Of course the Museum's considerable accomplishments during my tenure—the Tutankhamun exhibition, the expansion of the building, the growth of the staff, the great increase in the size and quality of the permanent art collection in many areas, the opening of the Besthoff Sculpture Garden, and surviving Katrina—give me tremendous pride. But it has always been a group effort, involving hundreds of trustees, staff members, volunteers, and patrons, who have given me extraordinary support and friendship for nearly four decades. Nothing could have been accomplished without the dedication and hard work of the entire NOMA family. I have been truly blessed by this support, for which I am deeply grateful.

On the first of September, I will proudly become Director Emeritus. However, I will not be disappearing from the Museum. The plan is for me to stay through 2011, first to work with Susan Taylor to insure a smooth transition and introduce her personally to our Museum family and the arts community, and second to manage the various events, exhibitions, and publications planned for NOMA's centennial.

The celebration begins on November 13, 2010, with the opening of the exhibition Great Collectors/Great Donors: The Making of the New Orleans Museum of Art, 1910-2010, which will document the fabulous generosity of more than seventy-four donors who have helped NOMA build the finest public art collection in the Gulf South. To make this a statewide celebration and to share our rich collections with our sister Louisiana institutions, we have organized an exhibition, Copley to Warhol: 200 Years of American Art Celebrating the Centennial of the New Orleans Museum of Art, to travel to Shreveport, Alexandria, Lafayette, and Baton Rouge. In November 2011, we will present the concluding centennial exhibition, 100 Masterworks for the Next 100 Years, highlighting wonderful birthday gifts of art from private collectors, artists, foundations, and corporations.

2011 is going to be a great year for NOMA and I am looking forward to fully participating in the celebration. nDirector of NOMA and moving here in April 1973, the trustees asked me

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ARTSQUARTERLY VOLUME XXXII ISSUE 3

NEW ORLEANS MUSEUM OF ART

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NOMA Welcomes New Director Susan Taylor Caroline Goyette

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From the Land of Enchantment to the Crescent City: The George Hubbard Pepper Collection of Native American Art Paul J. Tarver and Cristin J. Nunez

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EVERY YEAR SOMETHING NEW: A Centennial Celebration from the Collection of Prints and Drawings George Roland

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SCENTS AND SENSIBILITY: Perfume Bottles and Related Accessories from Antiquity to the Present John Webster Keefe

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Projects 35: International Video Miranda Lash

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Messages from Katrina: Photographs by Richard Misrach

JULY/AUGUST/SEPTEMBER 2010

E. John Bullard 20

Sheraton New Orleans Hotel Receives 2010 Isaac Delgado Award for Southern Hospitality Kaki Read

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Volunteers Honored at Annual Luncheon

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NVC’s Fifth Annual Fabergé Egg Hunt Laura Carman NOMA Volunteer Committee Celebrates 45 Years Laura Carman Volunteer in the Sculpture Garden!

25 25 26 28 30 32 34 34 35 36 37 38 39 40 41 42 43 44 46 48 49 50 52 53 54

A Successful Green Orleans Virginia Panno NOMA Notables Susan Hayne Make It Right: NOMA Employee Moves Home to the Lower 9th Ward Caroline Goyette NVC Group Enjoys Arts, Camaraderie in Houston Virginia Panno and Laura Carman Slidell Rolls Out the Blue Carpet for an Iconic Canine Grace Wilson Odyssey Ball to Launch NOMA Centennial Virginia Panno From NOMA to the North Shore Circles and Fellows of the New Orleans Museum of Art Join the Circles and Upgrade Your Support of NOMA Corporate Membership The Art of Business Contributions New Members Portico Renovation Efforts Gear Up for Centennial Virginia Panno NVC Portico Renovation Fund Library Happenings NOMA Education: Programs & Activities Visit NOMA for a Unique Shopping Experience Museum Shop Featured Artists Program Sponsors Museum News NOMA Exhibition Schedule NOMA Calendar of Events

*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: Caroline Goyette

SUPPORT ACKNOWLEDGEMENT

Art Director: Aisha Champagne Advertising Manager: Karron Lane 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. Advertising 504-610-1279 or 504-658-4123. © 2010, 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-Sunday, 10 a.m. to 5 p.m.

The Besthoff Sculpture Garden is open every day, Thursday-Tuesday, 10 a.m. to 4:45 p.m. and Wednesday, 10 a.m. to dusk.

For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

NEW ORLEANS MUSEUM OF ART

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NOMA Welcomes New Director Susan Taylor

BY CAROLINE GOYETTE Editor of Museum Publications

Photographs by Judy Cooper

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hen Susan Taylor first considered the directorship of the New Orleans Museum of Art—a position she’ll assume September 1—she thought about the opportunities presented by NOMA, but also by the city itself. “I was attracted by the chance to engage with a city that is as culturally and historically rich as New Orleans,” Taylor explains via phone from her home in Princeton, New Jersey, where she is busy packing up for her move to New Orleans this summer. “The richness and complexity of the city lends itself to the many interpretive opportunities that a museum presents.”

An art historian with more than twenty years experience as a museum director, Taylor brings a big picture leadership style and a penchant for multidisciplinary connections—artistic, cultural, historical—that promise exciting changes on the horizon at NOMA. She is especially interested in continuing to explore and foster the relationship between the Museum and the city as a whole. “I see a tremendous opportunity for the Museum to respond to the city’s history and culture, and also to be a catalyst for it,” she says.

Art, Culture, and Community A native of Buffalo, New York, Taylor attended Vassar College, where she started out with a political science major and plans for law school. Then, in her sophomore year, she took an art history class, and everything changed. “The chance to think about art in the context of culture and history—to begin looking at history through the lens of art—was interesting to me,” she recalls. “It made me realize, ‘This is what I want to do.’”

Excited by the full picture a multidisciplinary approach—highlighting the interconnectedness of music, art, patronage, politics—could reveal about a moment in time, she changed her major to Medieval and Renaissance Studies. Taylor spent a junior semester in Rome studying art history, literature and language; after graduation, she returned to Italy on a fellowship to study art conservation. In graduate school at the Institute of Fine Arts, New York University, Taylor continued her focus on Italian Renaissance art, as well as modern art and architecture.

Her twenty-plus year career as a museum director has been marked by innovation and engaged leadership.

During her twelve-year tenure at the Davis Museum and Cultural Center at Wellesley College, she oversaw the development of an award-winning facility designed by Spanish architect Rafael Moneo. At the Princeton University Art Museum, where she was director for eight years, Taylor instituted wide-ranging advances in collections development, planning, programming, and

outreach. She has also been deeply involved in the ongoing debate about collection ownership and cultural property issues, lecturing widely on the subject and successfully negotiating ownership claims between Princeton and the Italian government. Currently, she is a member of a small working group of American museum directors and archaeologists who are committed to developing opportunities for collaboration and research.

In addition to her directorial experience, Taylor brings a host of professional activities and knowledge to the position at NOMA. She chairs the Museum Advisory Board for the Frances Lehman Loeb Arts Center at Vassar College; serves on the Advisory Board for the Getty Museum; is a former trustee for the American Federation of the Arts; and has been an active member and former board member of the Association of Art Museum Directors.

Most recently, Taylor served as director of strategic initiatives for Isles, Inc., a nonprofit community development and environmental organization in Trenton, New Jersey. Founded by former Princeton students and faculty, the organization seeks to promote healthy and sustainable communities through a wide range of outreach efforts, including arts-related programming.

Taylor’s experience at Isles, Inc. gave her a fresh perspective on the power of art, one she expects will complement her new role at NOMA. “Working in Trenton, a city that has so many challenges, allowed me to think about the relationship of art to the urban environment and its attendant challenges,” she says.

Education and visual learning opportunities are just one way museums and other arts institutions can have an impact in the community, she notes. She believes NOMA is uniquely positioned for such efforts.

Taylor approaches a directorship with the same broad, connection-minded approach she brings to her intellectual pursuits: to bring together all components of the organization to create a clearer, more vital whole. “A director of a museum should be the cultural ambassador for the institution,” she notes. “I try always to look at the big picture. What aspects of the museum affect the others; how they converge and diverge; and how we can maximize the many opportunities a museum can offer to its public.”

The Museum’s sixth director, Taylor will be the second woman to hold the position. She will succeed E. John Bullard, who has served as NOMA director for thirty-seven years. Bullard will remain on staff as director emeritus through 2011 to help facilitate the transition and continue work on NOMA’s centennial celebration. “As NOMA celebrates its centennial, I am thrilled that Susan Taylor will lead the Museum into its next century of service and success,” Bullard says. “She is an outstanding choice to lead our institution.” n

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f African Americans and other minority ethnic groups. A lesser known aspect of the Center is its extraordinary collection of fine art dating from the nineteenth century to the present day.

Beyond the Blues: Reflections of African America in the Fine Arts Collection of the Amistad Research Center,

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NEW ORLEANS MUSEUM OF ART

An art historian with more than twenty years experience as a museum director, Susan Taylor is known for her work on cultural property issues.

presented by the New Orleans Museum of Art and the Amistad Research Center, marks a long overdue public access to these remarkable works of art. On view at NOMA April 11 through July 11, 2010, the exhibition will feature nearly 150 works including paintings, prints, and sculpture, as well as archival materials such as letters and sketchbooks, providing a fascinating glimpse of the artistic process. Like the Collection itself, the exhibition is a map that charts change in American visual arts while highlighting African American connections passed, like a baton, over the course of a century from one generation to the next.1 Given the considerable obstacles faced by most of the artists en route to public recognition, the outpouring of creativity and imagination showcased in Beyond the Blues is evidence of enormous perseverance and personal determination. Painters like Henry Ossawa Tanner (1859-1937) and Edward Bannister (1828-1901) who made a living as artists around the turn of the nineteenth century were exceptions in their time. These men, while conscious of race, did not create particularly race-conscious art; rather, their work merged seamlessly

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E. John Bullard, who will remain on staff at NOMA as director emeritus through 2011, will retire as one of America's longest-serving museum directors.

with accepted thematic and aesthetic trends. They were among the few who gained access to formal art education or were able to apprentice in the atelier of a seasoned artist, as was the case for sculptor Edmonia Lewis (circa 1845-1911) in Rome. With the intensification of the New Negro movement in the 1920s, visual artists gained status as professional champions of racial uplift because of their ability to literally challenge black stereotyping with their art. As the visibility of and respect for art professions grew, so did their ranks. Sculptors like Richmond Barthé (1901-1989) literally transformed the poor black Shoeshine Boy into a high art subject worth placing on a pedestal (figure 1). When Barthé was a student at the Art Institute of Chicago from 1924 through 1928, he was the only African American enrolled in the fine art program. The graphic arts held greater promise for employment, but when Ellis Wilson (1899-1977) completed the Art Institute’s commercial art program around the same time as Barthé, his dark skin made it difficult to find work using his hard-earned skills. Settled in Manhattan, Wilson ended up an apartment building superintendent, painting lively reflections of black life at

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From the Land of Enchantment to the Crescent City: The George Hubbard Pepper Collection of Native American Art

BY PAUL J. TARVER Curator of Native American Art AND CRISTIN J. NUNEZ

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his summer, NOMA visitors will have an opportunity to see Native American art and artifacts rarely viewed by the general public.

Ancestors and Descendants: Ancient Southwestern America at the Dawn of the Twentieth Century is the first comprehensive exhibition of nineteenth-century photography, southwestern artifacts, and archival research from the George Hubbard Pepper Native American Archive at Tulane University.

Organized by NOMA in collaboration with Tulane’s Middle American Research Institute and Latin American Library, the exhibition will honor the life of archaeologist/ethnologist George Hubbard Pepper (18731924) and pay tribute to the Pueblo and Navajo cultures he documented. Ancestors and Descendants will feature eighty-four objects from Pepper’s Native American art collection in conjunction with over one hundred mostly unpublished photographic images he used to illustrate his public lectures. The exhibition is on view July 24October 24, 2010.

Pepper’s role in the first official excavation of Pueblo Bonito inspired his interest in Navajo and Pueblo culture.

The objects and images featured in the exhibition document the relationship between these American Indian peoples and the scientists, photographers, and curious tourists who traveled to New Mexico and Arizona at the turn of the twentieth century. Excerpts from Pepper’s excavation journals, personal diaries, and sketchbooks help bring the time period to life in his own words.

The idea for Ancestors and Descendants was planted some fifteen years ago when a researcher called NOMA in search of a Cochiti figurine he had seen in a nineteenth-century lantern slide (figure 1). The scholar assumed the Museum might have acquired the Cochiti object from nearby Tulane; he went on to explain that Tulane’s Middle American Research Institute (MARI) held an extensive southwestern Native American archive dating back to the 1920s.1 At the time, his mention of Native American material in a Tulane collection largely known for its pre-Columbian art was a surprise to us.

Only recently did we learn that the caller was Jonathan Batkin, director of the Wheelwright Museum in Sante Fe, New Mexico.

Years later, in July of 2008, we had the opportunity to visit MARI, which does indeed hold American Indian artifacts. Among its collections, MARI houses Pepper’s American Indian art collection as well as his photographic documentation of the excavation of Bonito and other sites. We also explored the collections at Tulane’s Latin American Library (LAL), which includes eighteen boxes of Pepper’s diaries, field notes, journals, lectures, and other materials. Struck by the complementary nature of MARI and LAL’s Pepper holdings, we began to develop the idea for Ancestors and Descendants.

Pepper was born in Tottenville, Staten Island in 1873, and became interested in science and Native Americans at an early age. After high school, he enrolled in an

Figure 1 Photographer unknown, Packing Cochiti Ceramics for Shipment to New York, circa 1903, glass lantern slide, US.01.099.0212

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NEW ORLEANS MUSEUM OF ART

Figure 2 Photographer unknown, Ancestral Puebloan Cylinder Jars in Situ, Ancestral Puebloan, Pueblo Bonito, New Mexico, circa 1100-1300, glass lantern slide, circa 1900, US.01.099.0387

anthropology course at the American Museum of Natural History (AMNH). There, he studied under Frederic Ward Putnam, head of the Department of Anthropology and a highly esteemed scholar who also served as curator at Harvard University’s Peabody Museum of Archaeology and Ethnology. In 1895, Putnam invited Pepper to “intern” with him at the Peabody. The scholar mentored Pepper for roughly a year and taught him excavation techniques as well as methods of scientific classification appropriate for the relatively new field of anthropology.

When it came time for the AMNH to send an exploring expedition to New Mexico’s Chaco Canyon in search of artifacts for the museum’s southwestern collections, Putnam thought of his young protégé. Thus, in 1896, at the age of 23 and with no field experience at all, Pepper was appointed Assistant Curator of the Department of the Southwest at the AMNH. His new job title came with the prestigious responsibility of leading the Hyde Exploring Expedition in its pioneering excavations at Pueblo Bonito—one of the most spectacular archaeological ruins in North America.

Richard Wetherill, who had previously discovered the Cliff Dweller ruins at Mesa Verde, was the excavation’s foreman, and Benjamin “Talbot” Hyde and Frederick Hyde, Jr., patrons for whom the expedition was named, occasionally participated in the dig. Artifacts were sent to the AMNH via the Santa Fe Railway, and excavation work continued each season through the summer of 1899.

Between excavation seasons, Pepper began to study the contemporary cultures of the Southwest living nearest to Chaco. In 1903, after the Hyde Exploring Expedition concluded, Pepper returned to the Pueblo communities and many of the popular curio shops in Arizona and New Mexico, collecting ethnographic materials for both the AMNH and private collectors on the East Coast. It is

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likely that Pepper collected the majority of the photographs and objects in his personal collection—the collection that Tulane acquired in 1924—between his 1896 assignment at Chaco and the 1903 field study.

Pepper’s collection of photographic images documents many aspects of Pueblo and Navajo life at the turn of the twentieth century. Notably, the Tulane archive includes a number of glass lantern slides made by the photographer Sumner W. Matteson. In 1901, Matteson thoroughly documented the Hopi Snake Dance and Flute Dance at the village of Mishongnovi.2 Pepper was present and recorded his own eyewitness account of the Snake Dance, which was used for one of his lectures. He purchased from Matteson a set of lamp slides to illustrate his presentation.

Over the four seasons Pepper supervised the dig at Pueblo Bonito, he carefully recovered, recorded, and shipped thousands of Ancestral Pueblo objects to the AMNH by rail car. One of the striking discoveries at the site was a collection of ceramic vessels shaped like long cylinders. Pepper and his team of Navajo workers uncovered 120 whole cylinder jars at the site (figure 2).

We now know the vessels are almost exclusive to Bonito; of the 200 in existence, 166 came from the site.

Recent scientific analysis indicates these jars, the majority of which have uniform cylindrical bodies painted with geometric black designs on white slip, reveal a relationship between Mesoamerica and the American Southwest. As early as the 1920s, Pepper suspected such a connection, noting in an AMNH report a resemblance between the Pueblo Bonito cylinders and Maya jars already in the museum’s holdings.

Last year, modern chemists confirmed Pepper’s analysis. In an article published in 2009 in the Proceedings from the National Academy of Sciences,

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(Left) Figure 3 Knitted Leggings and Leather Moccasins, Navajo peoples, late nineteenth century, wool, natural dye, leather; Child’s moccasins US.53.12.39-194a, b; Adult moccasins US.53.12.39-186a, b; Purple leggings US.53.11.41-76a, b; Indigo leggings US.53.11.39-173a, b

(Right) Figure 4 Photographer unknown, Portrait of a Navajo Man Wearing Elaborate Outfit, circa 1900, gelatin silver print, US.43.001.0188

Patricia L. Crown of the University of New Mexico and W. Jeffrey Hurst of The Hershey Center for Health and Nutrition identified the presence of theobroma cacao (chocolate) in the ancient residue of Pueblo Bonito cylinder jars like the ones Pepper uncovered in 1896.

Previously, similar jars from a number of Maya sites tested positive for the presence of liquid cacao.3 Made from roasted and ground cacao beans, the drink was a luxury food ritually consumed by elite Maya citizens. The fact that cylinder jars from Bonito also tested positive for cacao would indicate that one of the most elite food items of Mesoamerica might have been traded to Chaco and ritually used in the same manner. This new discovery raises many questions about the purpose and importance of Pueblo Bonito as both a trade center and ritual or pilgrimage site.

Pepper interacted frequently with the community of Navajo who camped or lived near the Pueblo Bonito excavation site. In addition to interacting with the Navajo men who participated in the excavation as diggers, Pepper also managed to research the day-to-day activities of Navajo women, especially the weavers. He hoped to publish a book entitled “The Blanket Makers of the Great Southwest.” As of today, the finished manuscript remains unpublished, in the archives of Tulane’s Latin American Library. However, Pepper’s photographs and sketches offer impressive firsthand accounts of Navajo life during the late nineteenth century.

This was a syncretic period of history for the southwestern Indian, when traditional dress and handmade crafts coexisted with Spanish Colonial items and newly introduced American and European trade goods. The photographic images Pepper collected often document the hybrid attire of the time. For instance, in figure 4, the Navajo man pictured mixed his trade cloth shirt and kilt with more traditional accessories. Pepper would have displayed a number of the items this Navajo man is wearing as a supplement to his slide lectures, including the silver concha belt, wool stockings, and leather moccasins (see figure 3). He recorded in his

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diaries that he regularly bartered with the Navajo workers for their accessories; practically every object in Pepper’s personal collection shows signs of wear.

In writing his manuscript “The Blanket Makers of the Great Southwest,” Pepper commissioned an unusual weaving which was eventually gifted to the New York Teacher’s College. Pepper approached this commission in a conceptual manner. After collecting a selection of well-worn weaving implements, he had the artist create a design using shapes that represent the tools of her trade: distaffs, wool cards, battens, and comb awls. In sequential photographs, Pepper documented the construction of this weaving from start to finish, and described its creation in every detail. He used many of these illustrations and notes in an article for Everybody’s Magazine, published in 1902.4 After a twelve-page explanation of the step-by-step process of blanket weaving, the article concludes with this nostalgic passage in which Pepper laments the influence of modern trade on traditional Navajo textiles: May the sun never rise upon the Navajo and behold him in more modernized condition in his blanket work than at the present time. On the contrary, let us hope that the efforts that are now on foot may grow to such proportions that the modern influence may be swept away completely, and primitive ideas and primitive work be once more the dominant factor in his weaving industries.5 According to Pepper’s article, the commission proved to be tedious for the Navajo woman, who did not appreciate the request for native materials when she could have woven a more colorful blanket in shorter time without having to spin her own wool yarn. By the time of Pepper’s excavations, the Navajo were mostly using store-bought aniline dyes as well as white store cord rather than spun wool. Despite the weaver’s vexation, however, Pepper praised the final product as though the primitive qualities of natural wool were the

NEW ORLEANS MUSEUM OF ART

Figure 5 Sumner W. Matteson, Antelope Priests Shaking Rattles, 1901, handcolored glass lantern slide, US.01.099.0026

most beautiful.6 As he noted in the closing of his article, Pepper believed that his “efforts” might reverse the impact of modern trade on Navajo weaving.

In addition to his interest in Navajo textiles, Pepper also collected Hopi textiles as examples of Pueblo weaving. Pepper managed to collect important textiles worn during the Hopi Snake Dance, including the kilt and sash worn by Antelope Society Priests (figure 5 and 6) and the kilt of the Snake Priest. The brocade design on the Antelope sash is a stylized version of a Broad Faced kachina, the personification of a Hopi deity. The diamond shapes in the middle register are the eyes, and the white, jagged zigzag register represents the kachina’s teeth. The snake kilt, with its black and white serpent design against a red background, was part of the regalia of the Snake Priests, who wore it while performing the Snake Dance.

In 1909, Pepper left the AMNH after accepting a position in the Department of American Archaeology at the University Museum of Philadelphia. However, a year later, George Gustav Heye, who had assembled the largest private collection of Native American art in the world, convinced Pepper to return to New York and work for him. In 1916, when the Heye Collection became the Museum of the American Indian, Heye Foundation, Pepper was assistant curator for the collection. Today most of the collection resides in Washington, D.C., and serves as the basis for the National Museum of the American Indian. Pepper retained his position at the Museum of the American Indian, Heye Foundation, until his untimely death in 1924.

George Hubbard Pepper was a devoted ethnologist and an advocate for American Indians and their culture.

Beyond the scientific value of his interest in the indigenous cultures of the Southwest, Pepper truly appreciated the beauty and spirituality of the landscape and the humanity of its native peoples. We are fortunate now to be able to view Pepper’s documentation of the

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Figure 6 Ceremonial Kilt and Sash, Hopi peoples, wool, cotton, and ribbon, circa 1900, US.2.11.11

Southwest and see the American Indian world from his perspective—a place he called the “wonderful El Dorado of our native land.” n Ancestors and Descendants: Ancient Southwestern America at the Dawn of the Twentieth Century is on view in the Ella West Freeman Galleries July 24-October 24, 2010.

Exhibition walk-throughs will be held Wednesday, July 28, 6 p.m.; Wednesday, August 18, 6 p.m.; Friday, August 27, noon; Wednesday, September 8, 6 p.m.; and Friday, September 24, noon.

A lecture by Jonathan E. Reyman, curator of anthropology at the Illinois State Museum, will take place Wednesday, September 15, 6 p.m.

The exhibition was made possible with support from the National Endowment for the Arts, the Louisiana Endowment for the Humanities, and the Cudd Foundation.

Notes 1. Department of Middle American Research of the Tulane University of Louisiana: Its Activities and Its Aims (New Orleans: Howard Tilton Memorial Library, Tulane University, 1928).

2. Louis B. Casagrande and Phillips Bourns, Side Trips: The Photography of Sumner W. Matteson (Milwaukee: Milwaukee Public Museum and The Science Museum of Minnesota), 20-25.

3. Patricia L. Crown and W. Jeffrey Hurst, “Evidence of Cacao Use in the Prehispanic American Southwest,” PNAS 106, no. 7 (February 17, 2009): 2110-13.

4. George H. Pepper, “The Making of a Navajo Blanket,” Reprinted from Everybody’s Magazine (New York: 1902).

5. Pepper, “The Making of a Navajo Blanket,” 43.

6. Pepper, “The Making of a Navajo Blanket,” 42.

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EVERY YEAR SOMETHING NEW: A Centennial Celebration from the Collection of Prints and Drawings

BY GEORGE ROLAND Doris Zemurrary Stone Curator of Prints and Drawings

Photographs by Judy Cooper

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ost of the works in the New Orleans Museum of Art are gifts to the collection, given almost every year since 1910. And for most of those years, NOMA has received works on paper, making the Collection of Prints and Drawings the second largest collection in the Museum and by far the largest group of pictures. Because paper is damaged by light, more than 7,000 prints and drawings are kept unframed in archival boxes. To celebrate our one hundred years of collecting, an exhibition this summer will present a selection from these seldom-seen treasures.

The exhibition includes sheets from celebrated artists of the past like Goya, Audubon, Matisse, and Modigliani, as well as current celebrities like David Hockney and Howard Hodgkin. Featured are the local favorites: Robert Gordy, Ida Kohlmeyer, and Henry Casselli. Important figures from New Orleans’s past include John McCrady, Edward Tinker, Richard Clague, and both of the Woodward brothers, Ellsworth and William. Beautiful one-of-a-kind drawings and watercolors will be seen as well as limited edition prints in every possible medium: etchings, lithographs, woodcuts, photographs, and screenprints—many in color. The rich variety is a testament to the donors and the more than sixty

EVERY YEAR SOMETHING NEW: A Centennial Celebration from the Collection of Prints and Drawings will be on view in the Templeman Galleries July 24-October 24, 2010.

A catalogue of the exhibition will be available.

A gallery talk by the organizing curator, George Roland, will take place at noon on Friday, July 30, Friday, August 13, and Friday, September 17.

1910-1920

1920-1930

Pierre Allais (French, 1762-1833): After Antoine-François Callet Louis Seize, Roi des Francaise, 1792 Engraving with hand coloring Gift of the Misses P. and M. Abadie, 1912.53

Edouard Henri Leon (French, born 1873) Notre Dame, 1922 Soft-ground etching Gift of Miss Mary Bonner, 1924.14

This is the first work on paper to enter the permanent collection.

hIsaac Delgado died in 1912 bequeathing to

Louis Seize, Roi des Francaise, 1792

collectors who have assembled these choice works of art and given them to NOMA. Gifts include those of Mrs. P. Roussel “Sunny” Norman, Mrs. Frederick M. Stafford, Muriel Bultman Frances, Mrs. John Weinstock, as well as many others, including the artists themselves.

Founded in 1910 by Isaac Delgado, and known today as the New Orleans Museum of Art, the Museum opened its doors in 1911, with neither a collection nor an endowment; it nonetheless acquired its first work for the permanent collection that year. Since then NOMA has been assembling world class art for one hundred years, all of which belongs to the people of New Orleans.

the Museum the collection of decorative arts assembled by his aunt Virginia McRae Delgado. h Major Benjamin M. Harrod bequeathed twelve paintings. h The Museum received the Morgan Whitney bequest, the Whitney Jades, a collection of 145 pieces valued at $50,000. h The Museum made its first purchase from admissions monies: Frozen River, by Charles Rosen. h The Museum received a bequest from Eugenia Ulhorn Harrod of English and American silver as well as an art-purchase endowment in the amount of $5,000. h A collection of thirty-six paintings by artists of the French salon, the Barbizon school, and the Munich group were the legacy of Mrs. Chapman H. Hyams.

An accomplished printmaker, Louisiana-born donor Bonner studied with Leon in Paris, producing images of bucking broncos, cowboys, and cactuses that enchanted French collectors.

h A talented painter in watercolors, donor Ellsworth

Woodward acted as unpaid director of the Museum, 1925-1939. h An anonymous donation of $10,000 for expansion came to the Museum. Expansion did not occur for forty years.

Notre Dame, 1922

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NEW ORLEANS MUSEUM OF ART

Girl in a White Kimono

Townsend's Rocky Mountain Hare, 1842

1930-1940

1950-1960

Alice Pike Barney (American, 1860-1931) Girl in a White Kimono Pastel Gift of Mrs. Laura D. Barney, 1933.16

John James Audubon (American, 1785-1851) Townsend's Rocky Mountain Hare, 1842 Lithograph Gift of Tom Hardy, 1959.6

After study in Paris, Barney won renown not only as an artist, but as a Washington, D.C. salonist and hostess. She illustrated a chapbook of French love poems by her Sapphic daughter Natalie, sister of the donor.

“The first genuine, honest-to-goodness Audubon prints to be owned by the Delgado.”

—J. J. Brody, Curator of Collections, 1959

h A first gift from Samuel H. Kress—Madonna and

Child, by Giovanni de Biondo—began a long relationship between the Museum and the Samuel H. Kress Foundation.

h Michael Musson, nephew of Edgar Degas, gave the

artist’s sculpture Bronze Horse to the Museum. h William E. Campbell donated Dream, by Adolph Gottlieb. h Muriel B. Francis gave Sleep, by Bazoites, beginning her important patronage which includes many watercolors, drawings, and prints. h The first painting of the Cuzco school entered the collection: St. Jerome, from John Jay Cunningham, initiating a major collection of this material. h Sue Thurman was named director of the Museum with new responsibility to determine the exhibitions and control the educational and developmental thrust of the institution. h Announcement was made that the Samuel H. Kress Collection would become a part of the permanent holdings of the Museum.

Steamboat Round the Bend, 1945

1940-1950 John McCrady (American, 1911-1968) Steamboat Round the Bend, 1945 Lithograph Gift of New Orleans District Assembly of Delphians, 1945.1 McCrady made this print after the popular mural he painted for Delmonico's restaurant in New Orleans. The Delphian Society is an association of women “dedicated to intellectual enrichment, social enhancement, and philanthropic endeavors.”

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h A bequest by Kate P. Jourdan, an art-purchase endowment in the amount of $4,000, was the second such endowment the Museum received. h The New Orleans City Council quadrupled the annual funding for the Museum. h Alonzo Lansford, the first professionally trained director, was hired by the Museum’s board of administrators. h The Museum purchased Hercules the Archer, by Antoine Bourdelle, from his widow for $7,000.

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1960-1970

1980-1990

Henri Matisse (French, 1869-1954) Icare from Jazz Portfolio, 1947 Pochoir Gift of Mr. and Mrs. Fritz Bultman, 1966.13.8

Amedeo Modigliani (Italian, 1884-1920) Portrait of Jean Cocteau, circa 1916 Blue ink The Murial Bultman Francis Collection, 1986.270

Jazz, a suite of twenty pochoir plates (a stencil process)

by Henri Matisse, given by Mr. and Mrs. Fritz Bultman, was exhibited in the recently dedicated space for the permanent collection of works on paper now known as the Templeman Galleries. Jazz is widely considered to be the finest artist's book created in the twentieth century.

h The Museum received the Jeanette Waugh Lapèyre bequest of $50,000. h Sue Thurman resigned; James B. Byrnes was named director of the Museum. h The

Icare from Jazz Portfolio, 1947

Museum received the Melvin Billups Collection after showing A Decade of Glass Collection. h Mrs. Edgar B. Stern gave a collection of twentieth-century European works to the Museum. h A public fund drive raised $190,000 for purchase of Portrait of Estelle, by Edgar Degas, painted in New Orleans in 1870-71. The show Edgar Degas: His Family and Friends in New Orleans commemorated the purchase. h Deaccession and auction of surplus art netted $38,000 for the Accessions Fund. h The Ella West Freeman Foundation gave a $200,000 matching grant to the Museum for art purchases. The sum of $200,000 was raised to match the Freeman Foundation grant.

1970-1980 George Perfect Harding (British, circa 1780-1853) Catherine, Countess of Salisbury, 1818 After a painting by an unidentified artist in the collection of the Duke Bedford, Woburn Abbey Watercolor Gift of David Stone and J. Thomas Lewis, 1976.411 Before the days of photography, collectors recorded their paintings by having them copied in miniature. Stone and Lewis donated fifty-nine of these jewel-like images.

h In 1971 the expanded and renamed New Orleans Museum of Art officially opened. h Twelve Clarence

A celebrity portrait by a celebrated artist was in The Murial Bultman Francis Collection— a bequest of 165 important objects that joined many lifetime gifts from one of the Museum's most devoted supporters.

Portrait of Jean Cocteau, circa 1916

h A bequest by Bert Piso of a collection of seventeenth-

century Dutch paintings, drawings, and prints was received by the Museum. h Martin Ackerman, flamboyant businessman famous for the demise of The Saturday Evening Post, facilitated the gift of hundreds of works of (mostly British) art to smaller American institutions including NOMA. h Honorary Life Trustees Mr. and Mrs. Moise Steeg—unfailingly generous to the Collections of Prints and Drawings, Decorative Arts, and Asian Art—crowned their gifts with three superb color studies for a Vuillard portrait. h The bequest of Robert Gordy enriched the collection with ninety-one works from the artist's studio and personal collection. h Glass artist Robert Willson donated sixty-two of his sculptures and watercolors as well as thirty-two works by other artists from his personal collection.

1990-2000 George Wesley Bellows (American, 1882-1925) Reducing #1, 1916 Lithograph Museum Purchase: Friends of Prints and Drawings Fund, 1995.313

John Laughlin prints in portfolio are the first photographs acquired by NOMA and form the foundation of an Catherine, Countess of Salisbury, 1818 important and pioneering Museum collection introduced

by E. John Bullard, the newly appointed fourth director. h Victor K. Kiam died in 1974, leaving the Museum a bequest of thirteen paintings and four sculptures by twentieth-century masters. The bequest also included numerous prints and livres d'artiste as well. The Museum finally received the Kiam gifts in 1977, after legal maneuvering, and the bequest was placed on exhibition. h A blockbuster exhibition, Treasures of Tutankhamun was seen by 900,000 persons in four months. h The acquisitions fund drive, begun in 1975, was successfully completed with the gift of the Kuntz Collection, two period rooms of eighteenth-century furniture and decorative arts in memory of Rosemonde E., Emile, and Felix K. Kuntz.

Reducing #1, 1916

A giant of American art, at twenty-seven years old Bellows painted Stag at Sharkey's, an icon of the twentieth century. Always a consummate printmaker, his

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NEW ORLEANS MUSEUM OF ART

Rose Mood, 1975

Bamboo, 2000

lithographs have the freshness and silvery beauty of a charcoal sketch. This is the first work by Bellows to enter the Museum.

h In addition to their many donations to other NOMA

collections, generous long-time supporters Mr. and Mrs. P. Roussel “Sunny� Norman donated to the Prints and Drawings Collection 117 works on paper. h NOMA collections were enriched by a bequest by William D. Cousins of 255 objects that included a fine group of Old Master drawings. h Frederick R. Weisman, through his foundation, donated $400,000 to fund a gallery for Louisiana contemporary art and $100,000 for exhibits to put into it. h In anticipation of the opening of the expanded Museum, a three-year program seeking donations of art was undertaken; more than 2,000 works had been acquired since 1990 with a value of more than $10 million. h NOMA's Photography Collection, begun in 1973 and now one of the most important in the country, was the recipient of 119 promised and partial gifts of major contemporary prints from H. Russell Albright, M.D., following the exhibition of his collection, Altered Truths, in 1991. h Perhaps the largest bequest in NOMA's history to date is the legacy of Dr. William McDonald Boles and his wife, Dr. Eva Carol Boles: $2 million was placed in permanent endowment, the income from which would be used for the acquisition of Decorative Arts. h Promised gifts from the Roland-Geist Collection joined prints from the Museum's extensive holdings to bring the golden age of contemporary printmaking to NOMA in the comprehensive exhibition Hockney to Hodgkin: British Master Prints, 1960-1980. h The gift of a collection of livres d'artiste by Mrs. Frederick Stafford enriched the Department of Prints and Drawings with 472 important impressions by Chagall, Leger, Maillol, Matisse, and Rouault.

2000-2010 Howard Hodgkin (British, born 1932) Bamboo, 2000 Screenprint Gift of Mrs John N. Weinstock, 2004.193.35 Ninety-four twentieth-century prints from the collection of Mrs. John N. Weinstock, a former art dealer, were donated by her to the permanent collection. They join many earlier gifts from this generous donor.

h An exhibition, Acquisitions in Prints and Drawings,

1996-2000, highlighted the active expansion of the collection following the appointment of a full-time curator to the department. h The donation by the Besthoff family of more than forty major sculptures by modern masters and the creation of the free Besthoff Sculpture Garden was a magnificent benefit to the Museum and the people of New Orleans. h Zita Marks Templeman had been an art student, an artist and ever a resident of the city. In the course of her long life, she assembled a collection of works of art by other artists and bequeathed it to NOMA, seen in the exhibition Home Is Where the Art Is. h Katrina Exposed, an exhibition of photography both professional and amateur, documented the devastation, despair, and hope the hurricane left in its wake; the much-admired catalogue sold out after two printings. h The gift by Ernest and Lieselotte Tansey of funding for the purchase of 224 works from the artist's personal archive was celebrated in the exhibition, Really Beautiful: Henry Casselli Drawings, Sketches, and Watercolor Pre-studies.

RECENT ACQUISITION Adolph Gottlieb (American, 1903-1974) Rose Mood, 1975 Screenprint Museum Purchase: Jean Heid Memorial Fund, 2010.3 The legacy of the late Jean Heid permits recent Museum purchases to join the continuous lifetime donations of this great friend of NOMA. Rose Mood was acquired for inclusion in the forthcoming exhibition, ANDY TO JIM: American Master Prints, 1960-1980 in 2011.

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SCENTS AND SENSIBILITY: Perfume Bottles and Related Accessories from Antiquity to the Present

BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts

Photographs by Judy Cooper

SCENT BOTTLES THROUGH THE AGES: left to right: UNGUENT FLASK, 100-299 A.D. Pale green non-lead glass: freeblown and tooled; Syro-Palestine area; Ht. 5 inches New Orleans Museum of Art: Gift of Alvin P. Howard, 1916.76

Perfume: from the Latin per fumum, “through smoke”

T

he title of this exhibition is, of course, a play on the title of English nineteenth century authoress Jane Austen’s most famous novel, Sense and Sensibility, published in 1811. That play is appropriate here since scents, or perfumes, have been a part of civilization for more than four thousand years and have aroused the sensibilities of many artisans, craftsmen, and consumers throughout these four millennia.

Throughout history, perfumes and the crafting of their containers have inspired designers and artists. Since perfume has always been a luxury product, it is not surprising that its containers have always been made to reflect its costly nature and rarity. Such vessels were made of hardstone, pottery, glass, metal, and, eventually, porcelain. So revered were some of these vessels and their contents that they accompanied their owners to their graves. Because the best scents have always been expensive, the objects made to contain them have always been in the latest prevailing mode. Thus, a survey of these objects provides a surprisingly accurate reflection of the arts, styles, and changing fashions of history.

The art of blending scents originated in the ancient Near East with the rise of urban life there some five thousand years ago. The first perfumes were aromatics kindled as incense to the gods and ancestors; the scented smoke was thought to attract the beneficent notice of the gods and to carry aloft prayers and requests. Oils scented with saffron, cyprus, juniper, water lily, and lotus were

worn on one’s person in ancient Egypt. Ancient Greek men and women used perfumed creams and oils on their skin and in their hair. Through their contacts with the Greeks, Etruscans, and Phoenecians, the Romans learned to make and use incense and personal scent. Arab and Persian perfume makers brought the further use of scent to the cultures of the Mediterranean, including an enhanced use of rose oil and rose water. India was a major producer of perfumes, its Vanda culture burning incense fifteen hundred years before the birth of Christ.

The Silk Route brought the aromatics of Near Eastern origin to China, where a monied aristocratic class was an avid consumer. The first European center for crafting perfume was Renaissance Italy. This was due to the perfecting of the process for distilling alcohol around 1320. It was superseded by France in the eighteenth century, and that nation remains a major producer together with the United States.

With such a lengthy and infinitely varied history, it is hardly surprising that the types of containers made for perfumes are equally diverse in the materials used and the forms assumed. The ancient Near East utilized such carved stones as steatite, alabaster, and chlorite as well as cast bronze and, more rarely, silver. Due to the difficulties of making scents and their subsequent cost, perfumes were produced only in small quantities. The vessels for their containment were therefore small, a phenomenon that continued well into the nineteenth century. As civilization evolved and the skills of potters advanced, ceramic containers were used. These often took on fanciful shapes such as monkeys, ram’s heads, birds, and fantastical beasts. With the discovery of making glass about 1400 B.C., a new medium for scent vessels was available. Glass was a major discovery for

SCENT FLASK: The Monastery’s Provender, circa 1880; Hard-paste porcelain: cast, glazed and polychrome-overglazed Germany: originally modelled

by J.J. Kaendler for the Meissen Porcelain Factory (active 1710-present) in 1760, Meissen, Saxony; Ht. 3-1/2 inches New Orleans Museum of Art: Gift of Mr. and Mrs. H. Lloyd Hawkins, Jr., 1997.554

SCENT FLASK: Boy and Dog and Girl with Dog, circa 1850; Blue and white jasperware, rose-gilt brass, cut glass; TOILETTE BOTTLE, England: Josiah Wedgwood circa 1820-1840 (active 1759-present), Transparent blue lead glass: mold-blown, crimped and Etruria, Staffordshire Ht. 2 inches; New Orleans tooled; USA: New England area Museum of Art: Ht. 5-3/4 inches; New Orleans Museum of Art: Gift of The Jack M. Sawyer Melvin P. Billups in memory Collection, 2009.2.377 a-b of his wife, Clarice Marston Billups, 1963.65. a-b SCENT BOTTLE, 1983 This photograph illustrates Transparent pale grey-blue, almost 2,000 years of scent opaque russet, lattimo and teal bottle history and indicates non-lead glass: freeblown, the major mediums used for applied, combed and tooled; the containment of England: Okra Glass Studio Ht. 6-1/2 inches; New Orleans fragrances: glass, pottery, and porcelain. The photograph Museum of Art: Gift of Karen vividly indicates the changes Harriman Harris in memory in style and use exhibited by of her husband, Louis S. perfume containers from Harris (1918-2003) ancient through modern 2003.249.37 times.

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NEW ORLEANS MUSEUM OF ART

perfumers since it was transparent, watertight, and nonreactive to oils and acids. While appearing more gemlike, the transparency of glass also permitted the owner to check readily on the condition of the contents. The invention of the blowpipe about fifty years before the birth of Christ permitted glassblowers to create a far greater variety of form. The art was carried to a zenith by Islamic glass artisans, who produced extraordinary containers for scents. The development of glass continued to play an important role in the history of the scent bottle since a demand for glass perfume and eau de cologne flacons escalated in the ensuing centuries.

The French company of Pochet et du Courval received a royal grant for the manufacture of scent bottles in 1623 and continues to make them today.

With the Italian perfection of the process for the distillation of alcohol about 1320, the history of perfume entered a new phase since oils and animal fats were superseded by alcohol as a base. By 1370, the first documented named perfume, an alcohol-based extract of rosemary and lavender, was produced for Queen Elizabeth (1305-1380) of Hungary and christened “Hungary Water.” It was the originator of a lengthy and continuing list of perfumes bearing distinctive names and, eventually, equally distinctive containers.

As civilization advanced, the use of scents escalated.

The famed Marquise de Pompadour (1721-1764) of France was enamored of fragrances and is credited with the establishment of the French perfume industry. As a fashionplate and trendsetter, her use of perfume caused the court of King Louis XV to be called la cour parfumée.1 The augmented use of perfumes caused the dressing table laden with scent bottles and jars to become a fashionable and important piece of household furniture. The eighteenth century also witnessed the appearance of the most celebrated scent of the day, eau de cologne.

The secret to producing true, or hard-paste, porcelain was discovered at Meissen in Saxony in the winter of 1709-1710. That discovery was soon utilized by the makers of scent bottles, flasks, and jars. English potters such as Josiah Wedgwood of Staffordshire produced perfume and cologne bottles in his celebrated jasperware. The nineteenth century witnessed an everexpanding market for perfume and cologne bottles in porcelain; makers from Paris to Bennington, Vermont, responded eagerly to this demand.

The nineteenth century also saw the rise of everlarger perfume manufacturers such as the house of Guerlain which had created its Eau Impériale for the Second Empire’s glamorous Empress Eugénie (18261920). At the influential 1867 Paris International Exposition, perfumes and soaps were given specially designated sections for the first time, a tangible indication of the bourgeoning importance of the perfume trade.

This was followed by advances in organic chemistry which provided the ability to synthesize natural scents; synthetic musk was created in 1888; vanilla in 1890; and synthetic violet three years later.

The heightened interest of the fashionable world in perfumes and their containers aroused the sensibilities of some of the greatest designers and artists of the Belle Epoque (1890-1914). Prominent among these were France’s René Lalique (1860-1945), the great Russian artist-jeweler Peter Carl Fabergé (1846-1920), and the American Louis Comfort Tiffany (1848-1933), all of whom created stunning perfume bottles and powder jars. The Parisian couturier Paul Poiret (1879-1943) possessed an exquisite sensibility, developing such scents as Forbidden Fruit, Borgia, and Le Balcon to accompany his

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SCENT FLACON: L’Air du Temps; designed in 1947 Colorless lead glass: moldblown, tooled and partially satiné France: designed by Robert Ricci and Mare Lalique (1900-1977) for Parfums Nina Ricci, Paris, and produced by Lalique Crystal, Wingensur-Moder, Alsace Ht. 12-3/8 inches New Orleans Museum of Art: Gift of the W.R. Fitzpatrick, Jr. Family in loving memory of Natalie Marie Fitzpatrick 1997.152 a-c This dramatic flacon was the largest of four sizes for couturière Nina Ricci’s spicy floral L’Air du Temps, introduced in 1948 and considered one of the significant post-World War II perfumes. Today, the magnum Lalique L’Air du Temps flacon itself is regarded as one of the great scent containers of the twentieth century and is avidly sought by collectors.

revolutionary garments. It was he who initiated the custom of a signature scent for each house of couture.

Chanel’s No. 5 of 1921, Jeanne Lanvin’s provocatively named My Sin of 1925, and Jean Patou’s extravagant Joy of 1931 all evolved from Poiret’s lead. That tradition continues to this day; each major designer has introduced a fragrance—and an accompanying container— expressing his or her style. These immediately identifiable vessels and their packaging underscore the unique quality of their contents.

The rise of the Studio Glass Movement in the 1960s and its subsequent huge international success attracted an entirely new generation of independent artists to the creation of scent bottles. They brought a completely different sensibility into play, for each container was a functioning autonomous work of art reflecting the aesthetic of its designer and maker. The traditional glamorous connotation of the scent bottle permitted these studio artists to create jewel-like containers without any association to a specific scent.

The present exhibition covers the history of the scent bottle from its ancient origins to the present day utilizing pieces from the permanent collection as well as generous loans from local and regional collectors. Not only are these containers and accessories innately visually appealing, but they also reflect the changes in fashion, customs, and technology during three millennia. n Notes 1. Translation: the perfumed court

The exhibition Scents and Sensibility is presented in the Cameo Gallery of the Lupin Foundation Center for the Decorative Arts on the second floor of the Museum. It opens Wednesday, June 23, and closes Sunday, October 24, 2010.

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Projects 35: International Video

BY MIRANDA LASH Curator of Modern and Contemporary Art

T

his fall, the New Orleans Museum of Art is pleased to present a series of videos drawn from the traveling art exhibition Projects 35, organized by Independent Curators International (ICI). For Projects 35, thirty-five curators from around the globe were invited to select one artist’s video that they consider vital to the discourse of contemporary art. The resulting selection is released in four chapters over a period of a year, and is presented simultaneously in an ever-expanding number of venues worldwide.

NOMA’s presentation this fall will consist of the first of Project 35’s four chapters of video: nine works selected by nine curators. In this first compilation, the works range from reinterpretations of philosophical propositions to uprisings and protests in South Africa, propaganda news broadcasts in China, and emerging youth culture in modern-day Ho Chi Minh City. The selection also points to developments in video practice and reveals a diversity of approaches including animation and borrowing from the language of cinema, performance, and YouTube. These works weave between documentary and fiction.

The series includes videos by Israeli artist Guy BenNer (selected by Mai Abu ElDahab), Japanese artist Yukihiro Taguchi (selected by Mami Kataoka), Zimbabwean/South African artist Dan Halter (selected by Kathryn Smith), Chinese artist Zhou Xiaohu (selected by

Lu Jie), American artist Wanda Raimundi-Ortiz (selected

by Franklin Sirmans), Vietnamese artists Tuan Andrew Nguyen and Phù Nam Thúc Hà (selected by curator Zoe Butt), German/American artist Kota Ezawa (selected by Constance Lewallen), Colombian artist Edwin Sánchez (selected by José Roca), and Robert Cauble (selected by Raimundas Malasauskas).

Project 35 is produced and circulated by ICI, New York. The exhibition and tour are made possible, in part, by grants from the Cowles Charitable Trust, Foundation for Contemporary Art, Foundation To-Life, Inc., the Horace W. Goldsmith Foundation, and The Toby Fund; the ICI Board of Trustees; and ICI Benefactors Barbara and John Robinson. Project 35 also benefited from donations made to ICI's Access Fund, created to widen the reach of ICI programs—Burt Aaron, Bobbie Brown and Steven Plofker, Jim Cohan, Phillip Drill, Leslie Fritz, Marilyn and Stephen Greene, Agnes Gund, Ken Kuchin, Gerrit and Sydie Lansing, Jo Carole Lauder, Janelle Reiring, Patterson Sims, Bill and Ruth True, August Uribe, Frank and Margo Walter, Helene Winer, and Virginia and Bagley Wright. n Projects 35 will be on view in the second floor contemporary galleries in fall 2010.

Guy Ben-Ner (Israel) Berkeley's Island, 1999 Single-channel color video and sound 15 mins.

Courtesy of the Artist

Robert Cauble (United States) Alice in Wonderland or Who is Guy Debord?, 2003 Single-channel color video and sound 23 mins., 20 secs.

Courtesy of the Artist

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NEW ORLEANS MUSEUM OF ART

Messages from Katrina: Photographs

by Richard Misrach

BY E. JOHN BULLARD The Montine McDaniel Freeman Director

I

t is incredible that the fifth anniversary of Katrina is just weeks away. It feels simultaneously so long ago and as if it were just yesterday. Now living with the consequences of the horrific Gulf oil spill—yet another example of corporate and political incompetence and greed—the citizens of New Orleans will come together on August 29 to commemorate their survival of possibly the worst disaster in U.S. history.

The New Orleans Museum of Art will mark the occasion with the premiere of an extraordinary exhibition: UNTITLED [New Orleans and the Gulf Coast 2005]: Photographs by Richard Misrach. The show features sixty-nine color photographs of messages that people scrawled on roofs and walls, cars and trucks, fences and trees following the flooding of the city.

Arranged by Misrach in a powerful narrative sequence, the images express, as the artist has stated, “people pleading for help, then defending their turf, then suffering human loss, then animal loss, then despair, then humor, then anger at the political establishment, then anger at the insurance companies, and finally determination and hope to survive and perhaps recover.”

In these photographs you hear the voices of the people as they cry out—too often for help that never came or came too late. This mostly spray-painted graffiti has a primitive, Lascaux Cave-like authenticity, the messages written with an economy of expression that poets strive to achieve. Among the sad, poignant, even funny messages are: “Don’t Try—I am sleeping inside with a big dog, an ugly woman and two shotguns …”; “Katrina U Bitch”; “Hey, Katrina!! That’s all you got? We will be back!!”; and “Destroy this memory.”

Richard Misrach, the nationally/internationally acclaimed American photographer, is based in California, where he has found much of his subject matter during the past forty years. In several major series, most

famously his Desert Cantos, he was one of the pioneers in the creation of large-scale color photographs, focused in his case on the landscape and man's complex relationship to it. Misrach has worked in Louisiana beginning in the late 1970s, first with landscapes in the Louisiana series and later in the powerful Cancer Alley series, documenting the sprawl of petro-chemical plants along the Mississippi River. His work has been celebrated in innumerable exhibitions, catalogues, and books and is included in the collections of over fifty major museums, including NOMA. Misrach came to New Orleans soon after Katrina, spending three months photographing all over the city.

His plan was to continue working here every month for a year and a half, but after hauling his 8 x 10 inch camera around for twelve to fourteen hours a day, he herniated a disc in his back and was forced to lay flat for ten months and consequently end his project. Still, in the time he was in New Orleans, he made approximately one thousand 8 x 10 inch negatives as well as over two thousand images with a smaller digital camera. With all of the photographs, documentaries, and media attention that followed the disaster, and because the goal of his project was incomplete, he decided to put his Katrina work aside for posterity. His plan was to edit the work and then release it in twenty years. Misrach has followed a similar plan with his extensive coverage of the 1991 Oakland, California fire, which will finally be exhibited for the first time next year, marking the twentieth anniversary of that disaster.

However, with the fifth anniversary of Katrina approaching, he decided early this year to present images from a recently edited section of his small camera photographs in a book to be published by Aperture. He also conceived an exhibition of these photographs to be presented simultaneously at several museums across the country. In the end, the artist selected five museums to receive the generous donation of this group of images.

Two of the museums were able to arrange their schedules to premiere the exhibition on August 29, 2010, while shows at the other three museums will occur at a later date. The five participating museums are the Museum of Modern Art, New York, the National Gallery of Art, the Museum of Fine Arts, Houston, the San Francisco Museum of Modern Art, and the New Orleans Museum of Art. n UNTITLED [New Orleans and the Gulf Coast, 2005]: Photographs by Richard Misrach is on view in the Bay Gallery from August 28-October 24, 2010. Mr. Misrach will speak on his Katrina work on Sunday afternoon, August 29, in the Stern Auditorium, as part of Katrina Remembrance Day. A fully illustrated book, published by Aperture, accompanies the exhibition and is available in the Museum Shop. inary becomes extraordinary in two series of wo

Richard Misrach (American, born 1949) What Now? From UNTITLED [New Orleans and the Gulf Coast, 2005], archival pigment print (from a digital capture), 10 3/4 x 14 1/2 in.

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19

Sheraton New Orleans Hotel Receives 2010 Isaac Delgado Award for Southern Hospitality

BY KAKI READ Communications Department Intern

Photographs by Roman Alokhin

View of the festivities in the McDermott Lobby.

C

ongratulations to the Sheraton New Orleans Hotel, winner of this year’s Isaac Delgado Memorial Award. Presented at NOMA’s annual Fellows Dinner on February 28, the award honors an individual or entity that has shown exceptional support of the Museum. In the thirtyfive year history of the award, this is only the second time it has been presented to a corporation.

“We are very grateful to the Sheraton New Orleans for their generosity and partnership with the New Orleans Museum of Art,” said NOMA Director John Bullard. “The hotel has been a home-away-from-home for many of our distinguished guests and for many cultured travelers visiting New Orleans.”

The Sheraton New Orleans Hotel became a part of NOMA’s sponsoring family in 2003, as Napoleon’s sale of the vast Louisiana territory to the United States approached its 200-year anniversary. NOMA planned to celebrate the momentous event with an equally powerful exhibition, entitled Jefferson’s America and Napoleon’s France. In addition to four-star accommodations, the

Kim and Mason Granger.

NOMA Director John Bullard presents the Isaac Delgado Award to Sheraton Hotel General Manager Bill McCreary (left) and Starwood Hotels Director of Sales and Marketing Tommy Morel (right).

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hotel donated sponsorship funds as well as a giant promotional banner displayed outside its Canal Street location, encouraging all within the downtown area to visit the Museum.

Over the next several years, the Sheraton New Orleans Hotel maintained its generous patronage of the Museum, providing over $100,000 in donations for exhibitions. Shows such as Blue Winds Dancing: The Whitecloud Collection of Native American Art, The Baroque World of Fernando Botero, and Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio would not have been as successful without the Sheraton’s support.

Sheraton General Manager William McCreary and wife Shawn, and Director of Sales and Marketing Tommy Morel and wife Sandy, proudly accepted this year’s award at the Fellows Dinner. Chaired by Adrea Heebe and Dominick Russo, the event brought past Delgado Award winners, Museum patrons and trustees together for an elegant, enjoyable evening. Guests included NOMA Board of Trustees President Stephen Hansel and

Polly and Ed Renwick.

Poco Floss and Nell Nolan.

Bill and Shawn McCreary.

NEW ORLEANS MUSEUM OF ART

wife Dana, 2008 Delgado Award recipient Prescott Dunbar and wife Sarah, 2000 Delgado Award recipient Matilda Stream, Sydney and Walda Besthoff, James and Janet Frischhertz, and many others.

Kenny LaCour of Dakota Cuvee catered an exquisite dinner that featured Creole shrimp remoulade on crisp mirliton coins and olive-oil poached salmon vichyssoises.

Larry Federico of Federico’s Family Florist filled the Great Hall with aromatic floral masterpieces, while pianist John Autin provided harmonious tunes that entertained guests throughout the evening. Jim Perrier of Perrier Party Rentals handled the event design, crafting a striking backdrop for the party. n Past Recipients of the Isaac Delgado Memorial Award 1975 – Arthur Feitel 1976 – A.Q. Peterson 1977 – Edith Rosenwald Stern 1978 – Mr. and Mrs. Frederick M. Stafford 1979 – Elizabeth Wisner 1982 – Armand Hammer 1984 – Doris Zemuray Stone 1985 – Muriel Bultman Francis

1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009

– – – – – – – – – – – – – – – – – – – – – – – –

Montine McDaniel Freeman Shirley Lattner Kaufmann Beverley Muller Charles Kohlmeyer, Jr. Robert J. Newman Sunny Norman Moise S. Steeg, Jr. Louis M. Freeman Jack Aron Ernst A. Carrere, Jr. Françoise B. Richardson Freeport McMoRan & James R. Moffett E. John Bullard James B. Byrnes Matilda Stream William Fagaly Mr. and Mrs. Patrick F. Taylor Dr. Kurt Gitter Mr. and Mrs. Sydney Besthoff III Zemurray Foundation Jacqueline L. Sullivan Paul J. Leaman, Jr. Prescott N. Dunbar S. Stewart Farnet

Adrea Heebe, Dominick Russo, and Marjorie Van Dervort.

Dana and Steve Hansel.

Attendees in the Downman Gallery.

Tommy and Sandy Morel.

John Bullard and Pam and Ralph Lupin.

Marilyn Dittmann and Paul Leaman.

John Bullard, Elaine Mintz, and Saul Silverman.

Revelers in the Great Hall.

Joel Weinstock, C. Robert Holloway, and Sydney Besthoff.

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21

Volunteers Honored at Annual Luncheon

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Photographs by Judy Cooper

n April 18, NOMA honored the volunteers who so generously gave their time in 2009 with an appreciation luncheon. Over 18,000 hours were clocked by the chamberlains, docents, and NVC! Among those receiving special awards were day captains Sandra Blount, Buddy Hanemann, Rosemarie Fowler, Naomi Bender, Barbara Tureaud, Maria Daly, Nancy VandenAkker, Dixie Williams, and Charles Mims.

Receiving awards for the most hours were Rita Dejan (chamberlain), Diane Walmsley (NVC), Ann Duffy (docent), Zac Thriffely (student), Debbie Fleming (library), and Sandra Steudlin (Museum Shop). Two volunteers, each of whom have worked at the Museum for over thirty years, received Outstanding Day Captain Awards: Nancy VandenAkker and Barbara Tureaud. Also honored were Odyssey Ball Chairs Lori Frischhertz and

Volunteer Coordinator Gretchen Wheaton; Volunteer of the Year Rita Dejan; and NOMA Director John Bullard.

Charlotte Hebert, Love in the Garden Chair Jennifer Roland, and Art in Bloom Chairs Caroline Calhoun and Marilee Hovet.

The Volunteer of the Year Award is given to a volunteer of long standing who has shown special dedication to NOMA. This year's award went to Rita Dejan. Rita, a native of New Orleans, graduated from St. Mary's Academy and Southern University and worked for fifteen years at D.H. Holmes Department Store. She is an active member of the Ladies Guild of St. James Major Church and volunteers at NOMA three days a week as well as for special events. Many of our members will recognize her from the checkroom. Son Lawrence and daughter Linda surprised Rita as guests at the luncheon.

Thanks again to all the volunteers who make our Museum such a fine institution! â–

Rita Dejan and her family.

Day Captains: (Front row) Dixie Williams, Rita Dejan, Sandra Blount, and Rosemarie Fowler.

(Back row) Buddy Hanemann and Charles Mims.

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NEW ORLEANS MUSEUM OF ART

The New Orleans Museum of Art celebrates

LOVE in the Garden Friday, September 24, 2010 Besthoff Sculpture Garden PATRON PARTY

7:00 p.m.-8:00 p.m.

Members: $85 Non-members: $100

GARDEN PARTY

8:00 p.m.-11:00 p.m.

Members: $50 Non-members: $60

Delectable dining featuring New Orleans’ best restaurants and caterers, open bar, and dancing under the stars

LOVE Honors Local Artists To purchase tickets or to become a sponsor call 504-658-4121 or visit www.noma.org/love.html Attire: Dressy Casual

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23

NVC’s Fifth Annual Fabergé Egg Hunt

BY LAURA CARMAN NVC Publications Co-Chair

Photographs ©Mike Lirette Photography, www.mikelirette.com

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T

he NVC’s fifth annual Fabergé Egg Hunt delighted hundreds of children on March 21, 2010, all of whom left with sticky fingers and much more than an handful of treats, thanks to a generous donation by Elmer Candy Corporation.

Chairs Jennifer Rareshide and Katie LeGardeur and their committee made sure the young crowd had not only a surfeit of treats to hunt, but also lots of hands-on activities. Thanks to Cherie Gauthier and the sponsorship of Gauthier, Houghtaling & Williams, a special effort was made to include special needs children in the fun.

The furry paws of the Easter Bunny himself cut the ribbon to open a hunt for the eager children. The little ones enjoyed petting real bunnies with help from volunteers from Americorps, Tulane University, and J.P. Morgan. The children cut, colored, and created at the arts

and crafts table, and were equally enthusiastic at the refreshment tables, where they snacked on sandwiches donated by McAlister’s Deli and drinks donated by Kentwood and Sqwincher. Adults cooled off with iced coffee from Coffee Roasters of New Orleans. The kids joyfully burned off some of that sugar on the spot, thanks to the donation of two Bounce Houses by Bounce Across New Orleans. Other attractions included lively strumming and singing by Papillion, balloon making, and face painting.

Parents, grandparents, and friends of the children left the party with photos and happy memories to hold for years to come. Plan to make the sixth annual springtime party in the Sculpture Garden an annual tradition for your little loved ones! n

NEW ORLEANS MUSEUM OF ART

NOMA Volunteer Committee Celebrates 45 Years

BY LAURA CARMAN NVC Publications Co-Chair

H

appy 45th Anniversary was the theme of the May 10, 2010 meeting of the NOMA Volunteer Committee (NVC), where members enjoyed Champagne, refreshments, and a beautiful anniversary cake. Since its founding in 1965 as the Women’s Volunteer Committee (WVC), the NVC has grown from a group of about fifteen active stalwarts to 442 members, including women and men.

As if that’s not enough to celebrate, the NVC’s founding chair, Beverley Muller, was the honored guest and speaker at the festivities. Mrs. Muller entertained the members with a witty and insightful presentation called “A Portrait in Progress: Women in Action at NOMA.” The first WVC faced obstacles including: opposition to the concept from the legal committee of the Museum board; being taken seriously in the 1960s when they were thought of and called “the little ladies”; suspicion from the staff as to how much extra work they’d cause; and the challenge of developing and presenting a major fundraising event.

NVC Chair Anne Gauthier and NVC’s founding chair, Beverley Muller.

Volunteer in the Sculpture Garden!

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Mrs. Muller described how the fledgling WVC took on the competitive task of presenting a ball in the “City of Balls” in 1965, using mostly borrowed items and their own labor. The committee was literally sweeping the Great Hall as the guests entered. The eclectic art collection of Mr. and Mrs. Frederick Stafford was on loan for the event, and the theme was “Odyssey of a Collector.” The hall was lighted with candles throughout.

Mrs. Muller gasped at her memory of the event—young and inexperienced Museum volunteers, borrowed art, open fire, and an overcrowded venue! But, what a success that first Odyssey Ball was! It was sold out at 750 attendees, the fire marshal did not show up, and WVC women were now taken seriously indeed!

Today, the NVC annually benefits NOMA with proceeds from Art in Bloom, LOVE in the Garden, Odyssey Ball, and the Fabergé Egg Hunt, and it continues to be a source of learning and pleasure for its members. n

Beverley Muller.

T

he Besthoff Sculpture Garden is alive with visitors and volunteers are needed in several capacities. Please contact Gretchen at 658-4137 for more information. The Garden is now open seven days a week.

25

A Successful Green Orleans

BY VIRGINIA PANNO NVC Correspondent

Photographs by Judy Cooper

T

he twenty-second annual Art in Bloom, a joint project of the New Orleans Museum of Art and the Garden Study Club of New Orleans, was held March 24 through March 28, 2010, with the environmental theme, “A Green Orleans.” NOMA’s Karen Gundlach and Elly Lane of the Garden Study Club were the co-chairs of this year’s eco-conscious, springtime event.

Guests at the Patron and Preview Party held Wednesday, March 24, held up their end of the green theme as NOMA’s Great Hall became a verdant garden of springtime attire! Party Chairs Leah Englehardt, Leila Gamard, Lise Kuhn, Frances Fayard, and Sallee Benjamin masterminded a spectacular opening night with twentynine of the area’s top eateries providing refreshments and ck3 providing the beat. Auction Chairs Elaine Gleason, Fifi Laughlin, Lander Dunbar, and Murphy Dunn amassed an exciting array of artwork and jewels to lure bidders.

“We are so lucky to have had so many amazing artists participate in our auction and are so thankful to Nicole Charbonnet, whose beautiful painting was such an inspiration,” said Gundlach. Restaurateur Greg Reggio was the elated winner of Charbonnet’s original oil painting, After Durer (For Eugenie), which graced the cover of the Art in Bloom invitation and was the highlight of the live auction. Special thanks to guest auctioneers Ruthie Winston and Lander Dunbar.

The IPPOLITA jewelry collection presented by Saks Fifth Avenue kept a corner of the Great Hall abuzz with shoppers while nearby a delectable display by KK Cookies kept every sweet tooth happy. Patrons left with a KK gift box and an eco-friendly Repax shopping tote in hot pink!

Wednesday’s preview saw NOMA’s galleries awash in a palette of chartreuse and celadon as the artistic, whimsical, and thought-provoking creations of the Art in Bloom participants made their environmental statements.

Creative and professional designers, young artists, garden clubs, and such movers and shakers as Edible Schoolyard NOLA (the Samuel J. Green Charter School), South Coast Solar, Global Green, and Groundwork New Orleans truly transformed NOMA. “So many talented artists of all kinds helped raise crucial awareness of the environment and the art of conserving,” said Lane.

Art in Bloom gratefully acknowledges the following supporters: Conservation Contributor Canal Barge Eugenie and Joseph Jones Family Foundation Nicole Charbonnet Ozone Optimist flower Tabasco Saks Fifth Avenue, New Orleans Superior Energy Services, Inc. International Sureties, Ltd. Young Artists’ Underwriter The Lupin Foundation Recycling Role Model Dr. and Mrs. Walter D. Cockerham First NBC Harrah’s New Orleans Iberia Bank Gustaf W. McIlhenny Family Foundation Jones Walker TCHOUPSTOP

26

Opening the Thursday morning lectures was Cheryl Nix Murphy, co-owner of Spruce Eco-Studio, with the message that style and sustainability are not mutually exclusive. Nix Murphy presented two case studies using green design, which featured homeowner Tracey McDade and Annabeth Goodman, proprietress of Pippen Lane children’s clothing store. “Repurposed,” “recyclable,” and “energy efficient” were key words in the spirited question and answer session with the audience that followed.

The featured speaker was Remco Van Vliet of Van Vliet and Trap, an event design company in New York.

This third-generation floral designer from Holland proclaimed his first visit to New Orleans a “feast for the eyes and soul.” Van Vliet charmed his audience with stories of his boyhood days crafting hand-tied bouquets in his father’s shop, and memories of his mentor, Chris Giftos, at the Metropolitan Museum of Art. A stunning slideshow featured the unique, creative designs that make him the toast of New York. Van Vliet then showed off his mastery of the medium as he fashioned one stunning floral arrangement after another before his enthralled audience. Flower magazine editor Margot Shaw was the happy recipient of a gorgeous, hand-tied bouquet.

The action then shifted to the Pavilion of the Two Sisters in City Park where Susan Wormser, Anne Redd, and Jenny Williamson chaired the midday luncheon, catered by Highlights. Saks Fifth Avenue presented the Best of Spring 2010 fashions, with adornments by IPPOLITA. Sisley Paris and Flower provided favors.

Art in Bloom remained on view through Sunday, March 28. Gundlach remarked: “The collective creativity of our exhibitors was incredible. I feel like everyone really embraced the green theme. I am so thankful to our wonderful committee, all the volunteers and the NOMA staff for all they did to help AIB to run so smoothly and for its big success!”

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 Gardens, the Beauregard-Keyes House and Garden, and the Project Lazarus House Garden. n

Rosemary JoAnn Flom Greenberg Karen and Mark Gundlach Susan and Jimmy Gundlach Merritt and Elly Lane Mr. and Mrs. Charles S. Reily Susu and Andrew Stall Sibyl M. White Sage Marion and Pepper Bright Mr. and Mrs. Christian Brown Louisette Brown Mr. and Mrs. John J. Charpentier Dana and Steve Hansel Eugenie J. Huger Mr. and Mrs. Bernard Jeskin Paul J. Leaman, Jr. perch Mr. and Mrs. Nat P. Phillips, Jr. Wendy and George Rodrigue, Rodrigue Studios Suzanne and Gregory Rusovich Jolie and Robert Shelton Anne Reily Sutherlin Deborah Tullis

*****Patrons listed below missed the program deadline***** Basil Julia Reed Tarragon Mrs. Adele L. Adatto Adler’s Mr. Todd Bagwell Cecile Ballard Mr. John Benton Mr. Perry J. Booth IV Mirella Cameran Mr. and Mrs. A. B. Crutcher III Ms. Kara French Mr. Mark Grise Major and Mrs. Sergei J. Hillery Mr. Josh Koch Gay LeBreton Dawn Leslie Mr. and Mrs. J. J. Morrison, Jr. Ms. Mary Wheaton Morse Mr. and Mrs. Alan H. Philipson Pizazz Planning Lisa A. Schlesinger Dr. and Mrs. David Silvers Nannetta B. Smith

NEW ORLEANS MUSEUM OF ART

Three generations: Leila Gamard, Banana Reily, and Anne R. Sutherlin.

NVC Chair Anne Gauthier with NOMA Director E. John Bullard and guest artist Nicole Charbonnet.

JoAnn Greenberg and Sybil White.

Garden Study Club President Susu Stall, Past AIB Chair Dana Hansel, NOMA Board of Trustees President Stephen Hansel, and NVC Chair Anne Gauthier.

Art in Bloom Co-Chairs Elly Lane and Karen Gundlach with E. John Bullard.

AIB Co-Chairs Karen Gundlach and Elly Lane; artist Nicole Charbonnet; winner of Charbonnet oil After Durer (For Eugenie) Greg Reggio; and Jennifer Banquer.

Paul Leaman and Susan and Jimmy Gundlach.

Mark and Karen Gundlach with Elly and Merritt Lane.

Former NVC Chairs Brenda Moffitt, Kay McArdle, and Diane Walmsley.

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27

NOMA Notables

BY SUSAN HAYNE

N

OMA is pleased to announce several new additions to our staff.

Human Resources Manager

Photographs by Judy Cooper

Page Gleason

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Page Gleason joined NOMA this spring as grants officer. She graduated from the University of Delaware with a bachelor’s degree in English and is a thesis away from a master’s degree in education policy studies from Georgia State University. In her previous positions as director of development for Georgia State University and a number of non-profit organizations in Atlanta, Page developed cultivation and stewardship plans for major gift and planned giving prospects, and successfully worked to secure grants from the Turner Foundation, the Educational Foundation of America, the Environmental Protection Agency, the Coca-Cola Company, UPS, and many others. Since beginning her position at NOMA, she has been working with curators and department heads to research and write grants for exhibitions, catalogues, and Museum programming. Page and her husband, an attorney who practiced in Atlanta and was recently sworn into the Louisiana Bar, reside in the Faubourg Marigny.

Alice Dickinson Carboni, associate collections manager, will be leaving NOMA to accept a position as Lois F. McNeil Fellow of the Winterthur Program in American Material Culture. The master of arts program focuses on the decorative arts, and is run by the University of Delaware and the Winterthur Museum and Country Estate, Winterthur, Delaware. Alice, who earned an M.A. in art history from Tulane University, is looking

Marie-Page Phelps

forward to building on her art historical scholarship and further specializing in decorative arts and design.

Alice joined the Museum three and a half years ago to work on a grant to assess the permanent collection after Hurricane Katrina. After completion of the grant, Alice and Monika Cantin, who also worked on the project, were hired as collections managers. Alice’s recent work at NOMA includes her role as institutional curator for The Art of Caring: A Look at Life through Photography.

A recent bride, Alice and her husband will be leaving New Orleans in July.

NOMA was fortunate to have several excellent candidates apply for the associate collections manager job, and in May welcomed Marie-Page Phelps to the position. Marie-Page worked as an intern in the Collections Department for several months prior to joining the staff, handling and packing art and developing a familiarity with the Museum’s collection.

She received her bachelor of arts degree in anthropology from Colorado College. Before interning for NOMA, she did field work with the University of Tennessee as a member of an excavation team for a Bronze Age site in Greece. Marie-Page also spent the fall of 2008 participating in a survey of an Ancestral Puebloan site in Canyon of the Ancients.

Our new preparator Todd Rennie came to us by way of Baltimore, Maryland, and Pensacola, Florida. A Florida native, he studied at the Maryland Institute College of Art in Baltimore and the Edinburgh College of Art in Edinburgh, Scotland. Todd has worked at several museums and galleries around the country, including the American Visionary Art Museum in Baltimore and the Frederieke Taylor Gallery in New York, where he was a

Todd Rennie

NEW ORLEANS MUSEUM OF ART

Rachel Strassel

Rebecca Thomason

preparator; and at the Walters Art Museum in Baltimore, where he was an education assistant. In New Orleans, he worked on Prospect One, handling art and doing project installation. Before joining the NOMA staff as a preparator, Todd was an auditory supervisor for the Disney exhibition.

Rachel Strassel recently joined NOMA’s Education Department as public programs assistant. Rachel interned in the Education Department for a semester while she was finishing her degree in Mass Communications-Photo Journalism at Loyola University and continued her internship after graduation. In addition to her studies at Loyola, Rachel spent the fall of 2005 studying graphic art and art history at the Savannah College of Art and Design. She was named an Outstanding Photojournalism Student at Loyola, where she received several other awards and honors. She also earned the 2009 Press Club of New Orleans third place award for her feature photography.

Rachel’s duties as public programs assistant will include working with the assistant director of education in the planning and implementation of a range of community outreach programs. She will also assist the Museum with audio visual needs.

Centennial! Centennial! Centennial! Rebecca Thomason wants you to think of her when you hear these words. Rebecca recently took on the position of planned museum events coordinator, having served as logistics coordinator during the Disney Dreams Come True exhibition. In her new position, she will be

ARTS QUARTERLY

Katherine Truxillo

planning and executing the Museum’s many events and festivals, including the Art Museum Membership Conference, Japan Fest, Mid-Week in Mid-City, and the upcoming Centennial Celebration. Rebecca will also be the staff liaison to board committees on all events.

She comes well prepared for the job with a bachelor of fine arts in graphic design from Mississippi State University and a master’s in visual arts management from Columbia College, Chicago. She has been working in the arts for the last seven years.

Katherine (Katie) Truxillo has joined the NOMA staff as a development associate for membership. She began working as an intern for the Development Department in the fall of 2009, and soon filled in as interim grant writer and special events coordinator. Katie was always there when needed and happily took on whatever task was before her.

In her new position, Katie will be responsible for the recruitment and retention of members, reaching out to potential new members from various local organizations.

She will also be working with our state advisory council on membership to see how we can capture new members across Louisiana.

Katie received her bachelor’s degree in foreign language education and her master’s in arts administration from the University of New Orleans. She taught French for two years in the Caddo Parish School System and taught French and English for two years at her high school alma mater, Ridgewood Prep. n

29

Make It Right: NOMA Employee Moves Home to the Lower 9th Ward

BY CAROLINE GOYETTE Editor of Museum Publications

Photographs by Judy Cooper

30

In May, Arcola Sutton, a longtime employee of NOMA, moved into her brand new home in the Lower 9th Ward.

A former resident of the neighborhood, she’s grateful to Brad Pitt’s Make It Right Foundation for helping to make her return possible. The program, launched in 2007, helps 9th Ward residents rebuild with affordable, environmentally friendly construction. “I’m so thankful that Brad Pitt came up with this program,” she says.

“There’s no way I could have done this without it.”

Sutton lived on Jourdan Avenue for a decade before the flood, in a five-bedroom home with a front porch view of the Industrial Canal levee. After the levee breach, she and her son spent two nightmarish days on the roof of her house, eventually making their way to the Superdome. She spent the next eight months living in Beaumont, Texas, and Baton Rouge. When former deputy director Jackie Sullivan contacted Sutton about returning to the newly reopened Museum, she began living with her sister three days a week so she could work at NOMA, and commuted back to Beaumont on her days off.

“We lost everything. We had to start from scratch,” notes Sutton, a senior museum protection officer who has been with NOMA for thirty-one years this July. Still,

she says, “I had my health and I had my strength and I had my job to come back to.” While living with her sister, she heard about the Make It Right Foundation’s efforts to help rebuild her neighborhood and applied to the program.

Her new place on Tennessee Street—a cheery yellow house with light green trim—is two blocks away from her old house. Inside, a ceramic tile floor and color palate of wheat and white combine with plentiful skylights to create an airy, light-filled space. Outside, Japanese magnolia and indigenous plants offer lowmaintenance beauty; an ancient oak tree on the corner of the lot provides a shady spot for lounging. A porch lift to the home, which is elevated eight feet, makes it easy for Sutton’s 81-year-old mother and daughter-in-law, who uses a wheelchair, to access the house when they visit.

Solar panels and other green innovations mean reasonable utility bills.

After a year of waiting for construction on the house to be finished, Sutton is glad to finally be settled. The peaceful master bedroom—complete with a door to the patio, bath and a walk-in closet—is her favorite room in the house. “It’s beautiful to be back,” she says. “I never dreamed it would be so nice.” n

NEW ORLEANS MUSEUM OF ART

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31

NVC Group Enjoys Arts, Camaraderie in Houston

BY VIRGINIA PANNO AND LAURA CARMAN NVC Contributors

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n a sunny Tuesday morning in April, twenty-two NVC members flew to Houston, Texas, for a whirlwind three days of art, theater, and camaraderie.

Organized by NVC Regional Art Trip Chairs Elaine Mintz and Virginia Dare Rufin, the trip kicked off with a tour of the stunning condominium and art collection of Frank and Doreen Herzog. Tracing the evolution of abstract expressionism into the pop art movement, the Herzog collection features an exhilarating display of work by artists such as Andy Warhol, Roy Lichtenstein, Frank Stella, Lee Krasner, Christo, David Pettibone, and the late Houston artist Jim Love. The Herzogs guided the NVC group through their home, discussing color field paintings, appropriations art, and even flower frog ladies, the delightful private collection of Mrs. Herzog. Delicious refreshments followed.

After a brief stop at Houston’s much-photographed Water Wall, the group was welcomed into the River Oaks home of another gracious couple, Louis and Gail Adler.

The magnificent light-filled residence was a fitting showcase for the Adlers’ contemporary art collection, which was begun in the early years of their marriage.

Gradually, their focus shifted from North American painters to contemporary painters in Brazil and Argentina. A granite sculpture by Texas-born Jesús Moroles, familiar to NOMA visitors from the Moroles piece in the Besthoff Sculpture Garden, and a startlingly lifelike Duane Hanson sculpture of a young man in gym attire, were among the many interesting works. Other art included the bright abstracts of Nancy Graves, an Arman two-dimensional accumulation of saws mimicking diving sharks, and Mr. Adler’s favorite Lichtenstein. After elegant refreshments, it was off to the hotel.

Hotel ZaZa in the Houston museum district provided dramatic and luxurious accommodations for the NVC group. Its Monarch Restaurant was the al fresco venue for the group’s dinner, where reminiscences of the first eye-poppingly full day were shared.

The next day began with a quick stop at the Lillie and Hugh Roy Cullen Sculpture Garden designed by Isamu Noguchi before a visit to the Museum of Fine Arts, Houston. Docents guided the group through three beautiful exhibitions: Sargent and the Sea, Houston’s Sargents, and Prendergast in Italy. Lively conversations involving John Singer Sargent’s Madame X and her New Orleans origins, the subject of a recent NOMA book club selection, carried the group to its lunchtime destination, La Colombe d’Or. Built in 1923 for Texas oil baron W. W. Fondren, this historical landmark is now a luxury hotel and restaurant. After a special meal, the genial owner, Steve Zimmerman, led the group on a tour of the hotel’s Belle Epoque showpiece ballroom, Le Grand Salon.

The afternoon continued with a visit to the Menil Collection campus. With an introduction by Michelle White, assistant curator, the NVC group began their tour of the collection of John and Dominique de Menil in architect Renzo Piano’s first American building. The de Menils’ humanist approach to art was evidenced in the serene galleries, imaginative use of light, and lack of audio tours and label text—all fostering an intimate exchange between object and visitor. Stops on the Menil walking tour included the Cy Twombly Gallery, the Rothko Chapel, and the Byzantine Fresco Chapel Museum, housing two thirteenth-century frescoes from a church in Cyprus.

That evening, the group supped at Artista in the Hobby Center for the Performing Arts, the stylish

Host Collectors Chris and Don Sanders. Photo by James Riopelle.

Collector-hostess Stephanie Smithers with Oscar Hadwiger wooden art. Photo by Laura Carman.

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Tour leaders Virginia Dare Ruffin (far left) and Elaine Mintz (far right) with hosts Doreen and Frank Herzog. Photo by Laura Carman.

NEW ORLEANS MUSEUM OF ART

NVC Houston Art Trip participants with George Rodrigue dogs. Left to right, front row: Jo-Ann Adams, Anne Gauthier, Margie Scheuermann, Anita Garcia, Jackie Lothschuetz, Beverly Katz, Irene Klinger, Adele Adatto, Joan Lennox, Elaine Mintz, Virginia Dare Rufin. Second row: Betty Killeen, Eleanor Straub, Vicki Bartels, Virginia Panno, Dottie Brennan, Ann Duffy, Jamie Manders, Bernice Daigle, James Riopelle, Sally Richards, Laura Carman. Photo by Don Sanders.

Hostess collector Stephanie Smithers with a favorite self-taught artist’s work. Photo by Virginia Panno.

Jesús Moroles statue (left) at the Adlers’ home. Photo by Laura Carman.

Hosts Gail and Louis Adler with favorite Lichtenstein painting. Photo

by Laura Carman.

entertainment complex in downtown Houston, before a very short walk to attend In the Heights, a Tony awardwinning musical.

The final day of the trip began with a quick bus ride to the glass enclosed, loft home of Don and Chris Sanders. Despite stunning views of the Houston skyline, art was the visual knockout—everywhere! Works by Frank Stella, Mel Ramos, Timothy Greenfield-Sanders, Dale Chihuly, John Chamberlain, Tom Wesselmann, James Rosenquist, Helmut Newton, David Levinthal, and hometown favorite George Rodrigue were on vivid display. Two horse sculptures by Deborah Butterfield reminded the group of the Butterfield mare in the Besthoff Sculpture Garden. After much prodding, Mrs. Sanders allowed the group into her jewelry studio, causing quite the frenzy as the NVC ladies, starved for shopping, scooped up her beautiful necklaces, pins, and earrings.

The next stop, the River Oaks home and art collection of John and Stephanie Smithers, offered a different theme from much of the abstract and surreal art previously viewed by the group. The Smithers have for several decades collected the works of self-taught artists.

Mrs. Smithers explained that these outsider artists often begin to create due to life changes such as retirement, accidents, illnesses, imprisonment, or institutionalization.

Her stories about the artists’ lives conveyed that this was a collection with a very personal and heartfelt touch. It included pieces by Charles Stagg; Texas Baptist minister

ARTS QUARTERLY

Deborah Butterfield horse in found materials. Photo by Laura Carman.

Rev. Johnnie Swearingen; institutionalized artists Ike Morgan and Adolph Wolfli; and Thornton Dial, who became an acclaimed self-taught artist after he retired from the Pullman Company. Also included were Southern face jugs and the wooden inlay models of master carpenter Oscar Hadwiger. Much of the Smitherses’ art was collected without the assistance of gallery representatives on the couple’s travels throughout the country.

The group’s final outing took place at Rienzi, the former home of the late philanthropists Carroll Sterling Masterson and her husband Harris Masterson III and now the Museum of Fine Arts, Houston’s center for decorative arts. Named for Rienzi Johnston, Mr. Masterson’s grandfather, the residence evokes English Georgian architecture with Palladian designs. Docents led the NVC members on a tour of the eighteenth-century English ceramics, furniture, and portraiture on display. The exquisite Rienzi gardens, nestled between two ravines, contained enough blooming azaleas to remind the New Orleans group that they would soon be home.

On the return flight Elaine Mintz and Virginia Dare Rufin were congratulated for the meticulous planning and research that created such an outstanding itinerary.

Their capable leadership, along with the generous assistance of NVC Chair Anne Gauthier, created a thrilling opportunity to visit private homes and collections, museum exhibitions, and even a Broadway show in the best possible way—among friends! n

33

Slidell Rolls Out the Blue Carpet for an Iconic Canine

BY GRACE WILSON Director of Communications and Marketing

S

ometimes the summertime blues can be a good thing. Join the city of Slidell as they roll out the blue carpet for The Blue Dog Days of Summer: George Rodrigue from the New Orleans Museum of Art. The Slidell Cultural Center, located on the first floor of Slidell City Hall, will display paintings featuring the iconic canine from June 25 through August 7. Admission is free. Gallery hours are Monday through Friday, noon to 4 p.m., Saturday, 9 a.m. to noon.

Admission is free.

“This is a great opportunity for our local businesses to showcase what they offer,” said Slidell Mayor Ben O. Morris. “In addition to providing our citizens an opportunity to enjoy the work of this world-renowned artist, right here in Slidell, we anticipate that the exhibit will attract visitors from other areas as well. We want to ensure that they have plenty of things to explore when they arrive.”

Downtown Slidell will be “painted” blue as local galleries and businesses host blue-themed exhibits and workshops. Participating galleries include Slidell Art League Gallery, DuBuisson Gallery, and Gallery 2100.

“We want everyone to have a lot of fun with this,” said Kim Bergeron, Director of Cultural & Public Affairs.

“Local restaurants are offering their own ‘Paint the Town Blue’ specials, whether it’s a bleu cheese burger, blueberry cobbler or a commemorative blue drink, and local shops can entice visitors with special discounts on blue items or blue dot sales, complimentary blue gift wrapping, and such. We’d also love to see residents tying blue ribbons on their mailbox posts or trees or lighting their porches with blue bulbs. Let’s show our creativity!”

“The Blue Dog Days of Summer: George Rodrigue from the New Orleans Museum of Art marks the beginning of a long-term program of sharing NOMA’s collection with Slidell in a series of annual exhibitions,” said NOMA Director E. John Bullard. “We are delighted that we could move forward with this partnership on the North Shore.”

For more information, visit Slidell’s Special Events calendar at www.slidell.la.us/events_special.php or contact the City of Slidell Department of Cultural & Public Affairs, 985-646-4375. n

George Rodrigue (American, born 1944) Happiness Blooms Around Me, 2002 Acrylic on canvas, 40 x 30 in.

New Orleans Museum of Art: Gift of Mr. and Mrs. Don A. Sanders, 2005.118

Odyssey Ball to Launch NOMA Centennial

BY VIRGINIA PANNO NVC Correspondent

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C

ircle Saturday, November 13 on your calendar. Watch your mail for details.

Odyssey Ball 2010 will usher in the start of the New Orleans Museum of Art’s centennial celebration. The event will premiere the exhibition, Great Collectors/Great Donors: The Making of the New Orleans Museum of Art, 1910-2010, saluting the sixty-five collectors who helped build the Museum’s permanent collection.

To observe this momentous occasion, Odyssey Ball Chairs Adrea Heebe and Dominick Russo, Jr., along with Assistant Chairs Aimèe Farnet Siegel and Sally Warren Wallman and a host of volunteers, are hard at work creating a spectacular event. Dance band BRW promises outstanding and high-energy entertainment.

The Honorary Chair of Odyssey Ball 2010 will be Mrs. Frederick Stafford. Forty-five years ago, the exhibition Odyssey of an Art Collector, featuring the art collection donated to the Museum by Mrs. Stafford and her late husband Frederick, opened the very first Odyssey Ball. How fitting that the title from the exhibition that christened “Odyssey Ball” continues to be used to this day.

Higher level patrons will be invited to a special reception on Thursday, November 11, 2010, at the elegant Saint Charles Avenue home of Mr. and Mrs. Frederick Heebe.

Odyssey Ball 2010 is sure to be a fabulous beginning to NOMA’s centennial year. Don’t miss this historic evening! n

NEW ORLEANS MUSEUM OF ART

From NOMA to the North Shore

he New Orleans Museum of Art has a special membership group just for residents of St. Tammany Parish. NOMANS—New Orleans Museum of Art on the North Shore—have the opportunity to attend exhibitions and special events just for North Shore members, including many right in their own backyards.

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As part of this initiative, each issue of Arts Quarterly will highlight upcoming exhibitions and events at partner North Shore arts organizations. Check back each quarter for an update on participating arts groups.

BAYOU LACOMBE ART CENTER 30414 Hwy. 190, Lacombe, LA 70445 985-882-4836; www.blartcenter.org

SLIDELL ART LEAGUE 1827 Front St., Slidell, LA 70458 985-847-9458; www.slidellartleague.info

Saturday, September 4, 10 a.m.-2 p.m.: Cultural Artisan Open House Featuring Margo Rosas of Lacombe, LA Margo Rosas is a native Louisianian who grew up in New Orleans. Her mother is American Indian and French; her father is Mexican. She does beadwork and tans her own deerskin hides to make clothing and small bags. She grows, dries, and decorates gourds. She grows and cans mayhaw jelly, among many other earth-based skills.

These items will be on display as she explains how she lives in harmony with the earth and with her Native American heritage.

Friday, July 9, 7-9 p.m.: Opening Reception—Heroes

Saturday, September 25, 12-9 p.m. and Sunday, September 26, 12-5 p.m.: Fall Juried Art Show at the Louisiana Medical Center and Heart Hospital in Lacombe, LA Almost 200 original paintings and sculptures on display.

Meet-the-artists reception and awards ceremony on Saturday evening from 6-9 p.m.

Margo Rosas

Waiter’s Race

ARTS QUARTERLY

Friday, August 13: Opening Reception—Artists of the Year (AOY) Friday, September 10, 7-9 p.m.: Opening Reception—Members-Only Show ST. TAMMANY ART ASSOCIATION 320 North Columbia St., Covington, LA 70420 985-892-8650; www.sttammanyartassociation.org Saturday, July 17, 6-9 p.m.: Fourth Annual Bastille Day Celebration Shoppers, art lovers, and music enthusiasts alike can stroll the streets of downtown Covington, taking in the sights and sounds of this French-themed festival. Come enjoy special sales, wine and food tastings, art exhibitions, musical acts, and our annual Waiter’s Race as well as other special events to be announced. Columbia Street will be closed to vehicle traffic from 5:30-9:30 p.m.

Sponsored by the St. Tammany Homestead, St. Tammany Art Association (STAA), Jim Carey Distributing, the City of Covington, Homes & Lifestyles Magazine, and the Covington Business Association, this event plans to draw some 3,000 visitors to the historic St. John district.

Programs with locations and contact information for each participating shop are available at STAA and at your favorite locations around Covington. For more information, to become a sponsor, or to volunteer during this fun event, contact the St. Tammany Art Association.

Saturday, July 17, 6-9 p.m.: 45th Annual Summer Show The 45th Annual Juried Summer Show features the work of artists from across the country. Juror Karoline Schleh, Assistant Professor of Drawing and Director of the Collins C. Diboll Art Gallery at Loyola University in New Orleans, will be choosing the Best of Show winner of a $1,000 prize, to be announced during the opening reception. Artwork includes installation, painting, digital media, photography, and sculpture.

Saturday, September 11, 6-9 p.m.: A Breath of St. Tammany: Charles Sidney August Fuhrmann The St. Tammany Art Association celebrates the artwork of multitalented artist Charles Sidney August Fuhrmann, born in 1819. This renaissance man created a visual combination of artwork and prose based on his passion for the rivers and woodlands of St. Tammany Parish.

Among his many talents of painting, writing, music, and acting, he was also a vaudevillian and is credited with opening the first theater in Covington. Join the St. Tammany Art Association in honoring his work on September 11 from 6-9 p.m. The show will be on view through October 1. n

35

Circles and Fellows of the New Orleans Museum of Art

Ms. Debra B. Shriver Mrs. Margaret B. Soniat and Mr. Joel J. Soniat Dr. and Mrs. Richard L. Strub Mr. and Mrs. St. Denis J. Villere

PATRON’S CIRCLE

T

he two most prestigious levels of annual giving in 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 joining the following Circles and Fellows. For information, please call 504-658-4107. n

Circles CIRCLES

ircles

PRESIDENT’S CIRCLE

Mr. and Mrs. John D. Bertuzzi Mr. and Mrs. Sydney J. Besthoff III The Booth-Bricker Fund Mr. and Mrs. Ralph O. Brennan Collins C. Diboll Private Foundation Mr. and Mrs. David F. Edwards Mr. and Mrs. S. Stewart Farnet Dr. and Mrs. Ludovico Feoli Mr. and Mrs. Stephen A. Hansel Ms. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Helis Foundation Mrs. Killian L. Huger, Jr. Mr. and Mrs. David A. Kerstein Mr. Paul J. Leaman, Jr. Mrs. Paula L. Maher Mr. and Mrs. Charles B. Mayer Mrs. Robert Nims Mr. and Mrs. Charles S. Reily, Jr. Mrs. Françoise B. Richardson Mr. and Mrs. Robert Shelton Mrs. Patrick F. Taylor Zemurray Foundation

Mr. and Mrs. William D. Aaron, Jr. Mr. and Mrs. Robert H. Boh Mr. E. John Bullard III Mr. and Mrs. Mark Carey Dr. and Mrs. Isidore Cohn, Jr. Mr. Leonard A. Davis Mr. and Mrs. Prescott N. Dunbar Mr. and Mrs. H. M. Favrot, Jr. Mr. and Mrs. Timothy Francis Mr. and Mrs. James J. Frischhertz Mr. and Mrs. Edward N. George 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. Paul J. Masinter Mr. and Mrs. Edward C. Mathes Ms. Kay McArdle Mr. and Mrs. R. King Milling Mrs. Ellis Mintz Mr. and Mrs. Michael D. Moffitt Robert and Myrtis Nims Foundation Dr. Howard and Dr. Joy D. Osofsky Mr. and Mrs. James J. Reiss, Jr. Dr. and Mrs. Edward F. Renwick Mr. and Mrs. R. Randolph Richmond, Jr. Mr. and Mrs. Benjamin M. Rosen Mr. and Mrs. Brian A. Schneider Mr. and Mrs. Edward Shearer Mr. and Mrs. Lynes R. Sloss Mr. and Mrs. Bruce L. Soltis Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Mrs. Frederick M. Stafford Mrs. Harold H. Stream, Jr. Mr. and Mrs. James L. Taylor Mrs. John N. Weinstock Mrs. Henry H. Weldon

FELLOWS

DIRECTOR’S CIRCLE Mrs. Jack R. Aron Mr. and Mrs. F. Macnaughton Ball, Jr. Mr. and Mrs. Lawrence D. Garvey Mrs. Harry Greenberg Mr. Jerry Heymann Heymann-Wolf Foundation Mr. and Mrs. Erik F. Johnsen Mr. and Mrs. Peter R. Monrose, Jr. Mr. and Mrs. Robert J. Patrick Dr. and Mrs. James F. Pierce Mr. and Mrs. George Rodrigue Mr. and Mrs. Edwin R. Rodriguez, Jr.

36

Mr. John Abajian and Mr. Scott R. Simmons Mrs. Adele L. Adatto Dr. and Mrs. Kenneth N. Adatto Mrs. Jimi Andersen Mrs. Jack R. Anderson Mrs. H. W. Bailey 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. Michael A. Berenson Mrs. Marian Mayer Berkett Ms. Virginia Besthoff and Ms. Nancy Aronson Dr. Siddharth K. Bhansali 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 Bright, Jr. Mrs. Betty Graves Brown Mrs. B. Temple Brown, Jr. Mr. and Mrs. Perry S. Brown Mr. and Mrs. William D. Brown Judge and Mrs. Christopher Bruno Ms. Pamela R. Burck Mr. Harold H. Burns Mr. and Mrs. Carlo Capomazza di Campolattaro Mr. James Carville and Ms. Mary Matalin Dr. and Mrs. Edgar L. Chase III Dr. Victor P. Chisesi Mr. and Mrs. William K. Christovich Mr. Stephen W. Clayton Mr. and Mrs. John Clemmer Mr. and Mrs. Thomas B. Coleman Mr. Barry J. Cooper and Mr. Stuart H. Smith 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. Dr. Clayton B. Edisen Dr. and Mrs. John Ollie Edmunds, Jr. Mr. and Mrs. Joseph H. Epstein, Jr. Dr. and Mrs. K. Barton Farris Mr. and Mrs. D. Blair Favrot Mr. and Mrs. Edward Feinman Ms. Natalie Fielding Mrs. Julia Fishelson Mr. and Mrs. Richard B. Fox Mr. and Mrs. Louis M. Freeman Mrs. Sandra D. Freeman Mr. and Mrs. Richard S. Friedman Mr. and Mrs. Louis L. Frierson Mrs. Anne Gauthier Dr. and Mrs. Charles F. Genre Mrs. Dennis A. Georges Dr. Kurt Gitter and Ms. Alice Rae Yelen Mr. and Mrs. Roy A. Glapion Mrs. Louis A. Glazer Mr. and Mrs. Mason Granger Ms. Susan Talley and Mr. James C. Gulotta, Jr. Mr. and Mrs. James O. Gundlach Mr. and Mrs. John W. Hall Mrs. H. Lloyd Hawkins, Jr. Mr. and Mrs. Edward M. Heller Mrs. Theo M. Heller Mrs. S. Herbert Hirsch Mrs. William H. Hodges Mr. and Mrs. John C. Hope III Mr. Harry T. Howard III Mr. and Mrs. Arthur W. Huguley III Mr. Alex T. Hunt, Jr.

NEW ORLEANS MUSEUM OF ART

Mr. and Mrs. Marvin L. Jacobs Mr. and Mrs. Harold B. Judell Mrs. Arthur L. Jung, Jr. Mrs. Gloria S. Kabacoff Mrs. Morris Klinger Mr. and Mrs. John P. Laborde Dr. and Mrs. W. Wayne Lake, Jr. Mr. and Mrs. Charles W. Lane III Mr. and Mrs. J. M. Lapeyre, Jr. Mr. and Mrs. John H. Lawrence Rita Benson LeBlanc Mr. Victor C. Leglise, Sr. Dr. and Mrs. Samuel Logan Drs. Cris and Sarah Mandry Ms. Kathleen Manning Mr. and Mrs. Stephen D. Manshel Mr. and Mrs. Adam B. Marcus Mrs. Walter F. Marcus, Jr. Mrs. Shirley R. Masinter Mr. and Mrs. Bernard Mason Mr. and Mrs. John McCollam Mr. and Mrs. William McCollam, Jr. Dr. and Mrs. Alvin S. Merlin Mr. and Mrs. Albert Mintz Mrs. Bernard D. 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.

Join the Circles and Upgrade Your Support of NOMA

T

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.

ARTS QUARTERLY

Mr. and Mrs. Walter Morton Mrs. Andrée Moss Dr. and Mrs. Bert Myers Mrs. Elizabeth S. Nalty 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 Mr. and Mrs. Richard E. O’Krepki Dr. Sanford L. Pailet Mr. and Mrs. Norvin L. Pellerin Mrs. Ben J. Phillips Mr. and Mrs. Dick H. Piner, Jr. Mr. and Mrs. Arthur C. Pulitzer Mr. and Mrs. James C. Roddy Mr. Andre Rodrigue Mr. Jacques Rodrigue 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. Mrs. Pamela Reynolds Ryan Miss Courtney-Anne Sarpy Mr. and Mrs. Richard Schornstein, Jr. Mr. and Mrs. David P. Schulingkamp Mr. and Mrs. Aaron Selber, Jr. Mr. and Mrs. William H. Shane, Jr. Mr. and Mrs. Lester Shapiro

President’s Circle Director’s Circle Patron’s Circle

$20,000 $10,000 $5,000

GENERAL MEMBERSHIP PRIVILEGES, PLUS: • Free admission to the Museum and Sculpture Garden at all times • Reciprocal membership in major art museums across the U.S. and Canada • Complimentary membership in NOMA’s Fellows and Collector’s Society • All Members’ Previews of special exhibitions • An opportunity to have a private tour with the director or curator of a collection or special exhibition • A special reception in a private collector’s home

Mr. and Mrs. Michael J. Siegel Mr. Edward M. Simmons Mr. and Mrs. Richard L. Simmons Mrs. Evald L. Skau Mrs. Joe D. Smith, Jr. Mr. and Mrs. Rodney R. Smith Mr. and Mrs. Charles A. Snyder Mr. and Mrs. Harry C. Stahel Mrs. Mary E. Stern Ms. Anne Reily Sutherlin Ms. Jude Swenson Ms. Catherine Burns Tremaine Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. John E. Wade II Mr. and Mrs. R. Preston Wailes Dr. and Mrs. Cedric Walker Mr. Albert J. Ward, Jr. Dr. and Mrs. Robert G. Weilbaecher Ambassador and Mrs. John G. Weinmann Mrs. Karolyn Kuntz Westervelt Mrs. Nan S. Wier Mr. Robert J. A. Williams and Mrs. Norris Williams Mr. and Mrs. Joseph Young, Jr. Mr. and Mrs. Robert E. Young

• Invitations to attend behind-thescenes 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 _________________________________ 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. n

37

CORPORATE MEMBERSHIP

W

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

GUARANTOR

LEADER

Jones, Walker, Waechter, Poitevent, Carrere & Denegre Superior Energy Services, Inc. Whitney National Bank of New Orleans Willoughby Associates, Ltd.

PATRON Brian Schneider Company The Sydney and Walda Besthoff Foundation

Boh Bros. Construction Co., L.L.C. Bolton Ford Hotel Monteleone Laitram, L.L.C. New Orleans Silversmiths Rathborne Companies East, L.L.C. Republic National Distributing Company The Times-Picayune

ASSOCIATE

MASTER Christie’s Fine Art Auctioneers Dooky Chase’s Restaurant Energy Partners, Ltd. The Schon Charitable Foundation

Bowie Lumber Associates M. S. Rau Antiques, L.L.C. Neal Auction Company, Inc. Royal Antiques, Ltd.

CONTRIBUTOR A. L. Lowe Picture Framing Company Aquatic Gardens

As You Like It Silver Shop Coffee Roasters of New Orleans The Edgar Degas House Gulf Coast Bank Hirsch Investment Management, L.L.C. Kentwood Spring Water, Inc. Mignon Faget, Ltd. Mudbug Media, Inc. Sisung Securities Corporation Teri Galleries, Ltd. Wirthmore Antiques, Ltd.

UNIVERSITY MEMBERS Delgado Community College Elaine P. Nunez Community College Loyola University Our Lady of Holy Cross College Tulane University University of Louisiana at Lafayette University of New Orleans

WAYS OF GIVING he future of the New Orleans Museum of Art depends to a large T 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.

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.

GIFT OF PROPERTY

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

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

38

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 Membership. ❑ 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 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 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 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 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 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 officials of your firm with Reciprocal Membership at 39 participating museums.

• 10 Museum passes.

39

C

O N T R I B U T I O N

T

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. ■

NVC FLOWER FUND

PHOTOGRAPHY FUND

IN MEMORY OF

IN MEMORY OF

MARY ELIZABETH JONES

ANA MARIA REDMANN

Mrs. Shirley Rabe Masinter

Kimberly & Harry Rosenberg

NVC PORTICO RENOVATION FUND

IN MEMORY OF Mrs. Shirley Rabe Masinter

LESLIE ENGLAND

IN MEMORY OF

ExxonMobil

JENNIE ROSENZWEIG Kimberly & Harry Rosenberg

IN HONOR OF

OPAL JEAN ANTINORI

ANNA CARDINALE MILDRED HAWKSHEAD

Southeast Louisiana Veterinary Association

Cammie & Charles Mayer Virginia & Jack Panno

IN HONOR OF

IN MEMORY OF

CARL & SYLVIA GOODMAN’S ANNIVERSARY

EDWARD LENNOX

Mr. & Mrs. Paul S. Rosenblum

Cammie & Charles Mayer

IN HONOR OF

IN HONOR OF

SANDRA & FRANK NORMAN’S ANNIVERSARY

Betty Killeen

IN HONOR OF

IN HONOR OF

Mr. & Mrs. Paul S. Rosenblum

40

IN MEMORY OF DR. JACOB “JACK” WEISLER Kimberly & Harry Rosenberg

MARJORIE COLOMB’S BIRTHDAY

Mr. & Mrs. Paul S. Rosenblum

NANCY LITWIN’S BIRTHDAY

ELIZABETH LAUGHLIN

IN MEMORY OF

LIBRARY FUND IN MEMORY OF

S

ELAINE MINTZ AND VIRGINIA DARE RUFIN Anne Gauthier

NEW ORLEANS MUSEUM OF ART

NEW MEMBERS

T Ms. Karen Abboud John T. Accomando, Jr. Scott Aiges and Lisann Brown Ms. Christine Alba Mr. Tracy Allen Ms. Lisa Ary Mrs. Elizabeth L. Bagot Ms. Donna Bailes Sheri Baker Mrs. Yvette Barr Joseph and Mrs. Victoria Bartels Christine Basso Mr. Franklin Beahm Ann Beckemeyer Mr. Bill Bertrand Mr. Michael Beven Jason Binet Mr. John Black and Mrs. Amelie Black Mr. and Mrs. Ron Blappert Mrs. Iris M. Blundell Mr. Roy Boehm Mr. and Mrs. Anthony Bonura Mr. Michael P. Borgatti Paul M. Borgatti Mr. James Borsos Gerard and Kristen Boston Benjamin Bourgeois and Kim Bourgeois Mr. Bryan Bourgeois Ms. Anna Boyer Ms. Ari Braverman Robin Brown Drew Browning Jeanne and Jerry Browning Dr. and Mrs. Isaac Brumfield Mr. Andrew Buchmeyer Mr. Mark Bugg Mrs. Becky Bulger Ms. Janette M. Burlette Mr. R. K. Byram Mrs. Carolyn Caindec Mr. Michael Calhoun Bridget Cameron Ms. Bertie Campbell and Ms. Laurie Lawlor Katie Campbell Stacey Capps Mr. Joseph Carr and Mrs. Sonya Carr Mrs. Christina Carter Ms. Kalli Champagne Mrs. Cindy Coffey Stewart Collenberg Mrs. Mary Conley Ms. Carol Cracco Mrs. Jacquelyn Criscione Mr. and Mrs. John Cross Dr. and Mrs. Howard Stanley Culbertson Mrs. Ava D. Daniel-Johnson

ARTS QUARTERLY

he New Orleans Museum of Art is happy to welcome the following new members.

We are grateful for their support and generosity. n

Dr. Andrew Daters and Mrs. Callie Daters Mrs. Shelly Dauterive Mr. Christopher G. Davenhaver Mrs. Graziella De Ayerdi John Deal Monica Decker Mr. Chris DeDual Robert Del Giorno Mrs. Marsha DeWitt Mr. and Mrs. James J. Donelon Danya Duffy Ms. Barbara Dunlap Mary Dwyer Dr. and Mrs. Craig Ehrensing Ms. Amy English Mr. Tom Evans Ms. Trisha Faliveno Ms. Ariel Farrar Ms. Inge Fink Virginia Fleming Rene Fletcher Ms. Jessica Friedman Ms. Mildred W. Fuller Mrs. Carrie Funk-Picadash Mrs. Paula Furr Deborah Gallagher Mr. and Mrs. Andre Gaudin Mrs. Louaunne Gilyot Mrs. Arleen Goldblum Ms. Bonnie Goldblum Mrs. Walton Goldring Robert Gonce and Nancy Gonce Mr. Stephen Gonzales Mrs. and Mr. David Goodyear Dr. Marshall Gottsegen Mrs. Lisa Grillot Mrs. Celeste Haar Mrs. Shannon L. Hansen Mr. Emmett Hebelt Pinkney and Janice Herbert Ms. Jennifer Herzog Lisa Hite Mr. Daniel Hopkins Mr. David Hopkins Ms. Letitia Hopkins Ms. Judy Hotstream Ms. Gretchen W. Howard Gary Howarth Ms. Megan Hudson Mrs. Suzanne Huss Mr. Daniel Jeane Mrs. Odette Jennings Ms. Reese Johanson Mrs. Ina J. Jolicoeur Mrs. Patricia Jonaitis Ms. Jennifer Jude Ms. Allison Juge Charles Kantrow, Jr. Mr. John R. Kassengell, Jr. Ms. Suzanne Keevers

David P. Kinney Dr. Robert Kopel Reverend Mary Koppel Ms. Renee Kruica Bonnie Lala Mrs. Andrea Langham Ms. Sharron A. Lanham Mr. Tom Lansford Christine LeBlanc Mr. Jared Leger Melissa Levy Mr. Charles Lewis Jon Leyens Barry Lineberry and Suzanne Rodriguez Mrs. Stephaney Lockwood Mr. Charlie London and Mrs. Brenda London Mr. Marshall G. Long Ms. Christina S. Lott Mr. Charles Lovell Dr. and Mrs. Thomas Mabry Ms. Deborah MacInnes Ann Maier Mr. William Marcinal Ms. Ana Maristany Ms. Lisa E. Maurer Mrs. Allison McCallum Mr. Dwyre McComsey Mrs. Colleen McDonald Ms. Kim McDonald Margaret McElwain Mr. Joseph McNair and Mrs. Mary Claire McNair Mr. Bassam Messaike Mr. and Mrs. Morris Meyer Mr. Robert E. Meyers Amy Milford Mrs. Florence Montz Mr. Jeffrey A. Montz Patricia Morrow Clerise Moss Ms. Lisa Musso Mrs. Janet Nehrbass Mr. Jeff Neuman Emanuel Ohlsen and Sabrina Sopata Ms. Nora Olgyay Mrs. Zoila Osteicocoechea Mr. Robert Patience Ms. Norma Peikert Ms. Lydia Pelot-Hobbs Mrs. John C. Pervel Ms. Sandra Piekarski Dr. Emile Pierre Ms. Melissa Pinelo Mr. Keith Pinkston Mr. James Podboy Linda Post Paul and Verna Pratt Ms. Deborah Reed-Downing

Ms. Gwenyth Reigle Mr. and Mrs. Kevin Reilly Mrs. Laurie Riviere Sister Ann Roddy Mr. and Mrs. Chris Rodrigue Ms. Peggy Rogers Ms. Janis Rozelle and Mr. William L. Smallwood Jean Rumney Dr. Irene Sabastian Mr. Carlos J. Sanchez Mrs. Angele Sanders Mr. Lester Schmidt Mr. and Mrs. Paul Schoenle Mr. and Mrs. David P. Schulingkamp Dr. and Mrs. Byron C. Scott Mingdr Shr Mr. Joshua Slade Mr. and Mrs. Billy Slaughter Alexis Smith Mr. Thomas Smith Mrs. Doris Solomon Geraldine St. Germain Mrs. Kristine St. Pierre Mrs. Janice Stevenson Mrs. Erin Stockstill Mr. Mitch Stubbs and Mrs. Jessica Stubbs Mr. Glenn Sutherland and Mrs. Coleen Sutherland Honorable and Mrs. C. H. Taylor Geraldine Taylor Ms. Mary A. Taylor Judith Thigpen Linda Thompson Mr. Salvador Trabnino Amy Usey Margie Valliant Ms. Michel Varisco Ms. Ruth M. Varisco Ms. Trena Vasser Mr. Raphael A. Velazquez Mr. Tom Vetter Mrs. Melissa Wainwright Dimitris Walker-Bailey Mr. Irvin West Ms. Robyn White Mr. Marc Whitfield Ms. Rachel Wiggins Nzinga T. Williams Ms. Sheila Williams Mr. Andrew B. Wisdom Ms. Allegra Witham Dr. Lisa Wyatt Dr. Melanie Yerger Dana Zartner Mr. Charles A. Zitzmann

41

Portico Renovation Efforts Gear Up for Centennial

BY VIRGINIA PANNO NVC Correspondent

Photographs by Judy Cooper

D

uring Brenda Moffit’s 2008 tenure as chair of the New Orleans Volunteer Committee (NVC), she became acutely aware of the need to restore the front façade of NOMA and brighten its public face. First among her concerns was the condition of the handicap access ramp and waste receptacles. She looked to top-tier museums around the country for examples of attractive and accessible entrances.

She then approached the NVC with the idea of improving the Museum’s façade in preparation for its upcoming centennial. Her enthusiasm was contagious and the group showed its support by making a threeyear pledge in the amount of $25,000, launching the Portico Renovation Fund. Donations in memory of a loved one or marking a special occasion were made by many NVC members. Within the first year, a new handicap ramp was installed and a plan for additional improvements was created.

The NVC is now in year three of its pledge. To date, over $16,000 has been received in donations. With the NOMA centennial celebration now only months away, the renovation effort has gained momentum. In spring 2010, John E. Ward of Masterworks Studios, Desoto, Missouri, began restoration work on NOMA’s bronze entry doors and frames. Specializing in bronze and zinc repair, Ward has earned an international reputation in his

field for his craftsmanship and skill. He has been instrumental in restoration and conservation for the Sydney and Walda Besthoff sculpture collection for more than twenty-nine years.

The effects of humidity and ultraviolet light coupled with the brutal assault of the elements created an enormous task for Ward, who has completed the restoration of the Museum’s entry doors and frames, its cast iron transom and flanking cast iron torchieres. The results of his labor can now be admired by every visitor to NOMA. “Everyone has a vested interest in what the Museum looks like. We want our entrance to be as inviting and welcoming as possible,” says Moffitt. Now a member of the Board of Trustees, she urges all NOMA members to participate in the continued renovation. “The portico decking is worn and in need of resurfacing. Plans are already underway for a refurbishment of NOMA’s signature Greek urns that flank the building. An annual maintenance visit by John Ward is another item on the wish list.”

Your contribution to the NVC Portico Renovation Fund as a remembrance of a special event, a memorial, or a donation for NOMA’s centennial will insure that these improvements continue to take place. Please contact the NVC Office at 504-658-4121 for details. n

Left: Restored torchiere.

Right: John E. Ward restoring NOMA’s bronze entry doors and frames.

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NEW ORLEANS MUSEUM OF ART

Entry doors and transom undergoing restoration.

I SUPPORT

THE PORTICO RENOVATION FUND Yes, I want to help support the NOMA Volunteer Committee’s pledge to the NVC Portico Renovation Fund.

Funds collected defray expenses associated with refurbished portico decking, torchieres, waste receptacles and conservation of NOMA’s main entrance at LeLong Avenue.

Enclosed is my donation in the amount of: ❑ $25 ❑ $50 ❑ $100 Other _________ A Gift from (please print): NAME __________________________________________________________________________________ ADDRESS _______________________________________________________________________________ CITY/STATE/ZIP _________________________________________________________________________ PHONE ________________________________________________________________________________ Send Gift Acknowledgement to (please print): NAME __________________________________________________________________________________ ADDRESS _______________________________________________________________________________ CITY/STATE/ZIP _________________________________________________________________________ PHONE ________________________________________________________________________________ Please make checks payable to the NOMA Volunteer Committee.

Mail to: NVC NOMA, PO Box 19123 • New Orleans LA 70179-0123 We will be happy to accept credit card payments for contributions in the amount of $50 or higher.

Please call the NVC Office, 504-658-4121,with credit card information.

ARTS QUARTERLY

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The Felix J. Dreyfous Library

Library Happenings NOMA BOOK CLUB SCHEDULE JULY 2010 The Passion of Artemisia by Susan Vreeland. Penguin, 2002. ISBN: 9780142001820 “Narrated in the wise, candid first-person voice of Italian painter Artemisia Gentileschi (1593-1653), the novel tells the story of Gentileschi's life and career in Renaissance Italy. Publicly humiliated and scorned in Rome after her participation as defendant in a rape trial in which the accused is her painting teacher (and father's friend) Agostino Tassi, Artemisia accepts a hastily arranged marriage at the age of 18 to Pietro Stiatessi, an artist in Florence …” (Amazon.com) Thursday, July 15, 12-1 p.m.: Book Discussion Group AUGUST 2010 Burning Bright by Tracy Chevalier. HarperCollins, 2007.

ISBN: 9780007178353 “Burning Bright derives its title from the opening phrase of William Blake's great poem: “Tyger, tyger, burning bright / In the forests of the night …” When one learns that this novel's author is Tracy Chevalier, it follows as the night the day that we will enter the world of Blake's London and find ‘fearful symmetry’ there.” (From The Washington Post, reviewed by Nicholas Delbanco and quoted on Amazon.com) AND The Complete Poetry and Prose of William Blake by William Blake. Anchor, 1997. ISBN: 978-0385152136 “Rife with the fierce inquisitiveness and confidence that characterizes the famous ‘Proverbs of Hell,’ Blake's letters rank with those of Keats and Hopkins as some of the most stirring autobiographical sketches ever produced by a master poet.” (Customer review on Amazon.com) Wednesday, August 11, 12-1 p.m.: Book Discussion Group: Burning Bright Friday, August 27, 12-1 p.m.: Special Event: Poetry Reading: The Poetry and Prose of William Blake.

Bring your favorite poem by William Blake to read aloud and share with the rest of the group. Does your poem remind you of art in NOMA’s collection? If so, why?

SEPTEMBER 2010 Art Instinct: Beauty, Pleasure, and Human Evolution

by Denis Dutton. Bloomsbury Press, 2008. ISBN: 9781596914018.

“Pugnacious, witty and entertaining first book by prolific essayist and critic Dutton ... Picking up where evolutionary psychologists like Steven Pinker leave off in their investigations into the origins of human language and other mental phenomena ... even those who disagree

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with these opinions will find his manifesto scintillatingly written and not to be missed—even the end notes are indispensable ... Promises to instigate a lively conversation about the origins and meaning of art, not only among the author’s peers in academia, but also in the culture at large.”— (Kirkus, quoted at Amazon.com) Thursday, September 23, 12-1 p.m.: Book Discussion Group READING SUGGESTIONS NEEDED It’s time to make up the reading list for October 2010-September 2011. Please bring your suggestions for books that the NOMA Book Club should read in the upcoming year to our next meeting. If you have reviews and publishing information, please bring them as well. If you cannot attend the meeting, but would like to recommend a book, please send the information to Sheila at scork@noma.org or call her at 504-658-4117.

Remember—books should be about art, art museums, any of NOMA’s exhibitions, or relate to any part of the permanent collection. They should be easily obtainable in shops or online (so they should be “in print”). The Museum Shop will order books whenever possible.

EVENING HOURS FOR BOOK CLUB Please come to a planning meeting on Wednesday, October 6, 2010, at 6 p.m. to discuss the format of the Wednesday evening book club meetings. Contact Sheila at 504-658-4117 or scork@noma.org if you can attend this special session.

LIBRARY BOOK CLUB SURVEY RESULTS In September 2009 (a year since the inauguration of the NOMA Book Club), the librarian conducted a survey of book club members to determine their likes, dislikes, ideas for future programs, and to see if any adjustments were needed to the book club’s programs, days, and times. The method and results are summarized here: Twenty-three copies of the survey were distributed at the NOMA Book Club discussion group meeting on Wednesday, September 23, 2009; twenty responses were returned. In addition to distributing surveys at the program, the librarian contacted other book club members by e-mail, and asked for volunteers (other than those who had already completed the survey) to take the survey. Copies of the survey were e-mailed to the eleven people who requested them. Instructions on how to open, save, and return the survey to the librarian were included in the body of the e-mail. Two copies were returned.

Responses indicate that members of the book club are happy with the programs they receive, and that they prefer curator-led tours in the galleries and field trips.

They requested more of these types of programs, as well as more book discussion meetings. There weren’t any programs that produced a negative reaction.

NEW ORLEANS MUSEUM OF ART

Photograph by Aisha Champagne

Members of the book club are actively engaged in suggesting ideas for new programming, such as longer and different types of field trips, poetry readings, literary teas, and films. Their suggestions were all interesting, and will be implemented where possible.

Book club members were generally happy with the dates and times of the meetings, and understood the need for having meetings on different days of the week.

Because the space in the library is limited, book club members are encouraged to sign up in advance for programs. In the fall, new book club hours will include a Wednesday night meeting.

Thank you to all book club members who participated in the survey.

LIBRARY STATISTICS In 2009 there were 1,804 visits to the library. (A visit is defined as any time a person enters the library.) The librarian answered 228 reference questions, placed sixteen interlibrary loans, and catalogued and added 501 books to the collection.

The librarian distributed information about the library, the book club, NOMA, and NOMA exhibitions to approximately 700 people at four events, including the Louisiana Book Festival in Baton Rouge. The librarian spoke at four meetings attended by 178 people, including panel discussions at the Mississippi Library Association annual conference in Hattiesburg, Mississippi, and a fairy-tale conference also held in Hattiesburg, Mississippi.

The NOMA Book Club has over one hundred registered members, and approximately fifteen to twentyfive people attend meetings. About eight or nine of these attend most meetings, and the rest attend when they see things of interest to them. The book club meetings continued to be popular; 431 people attended twentyone meetings that included discussion groups, field trips, “Meet the Author” events, and curator-led programs.

Other programs included six library orientation sessions for docents and interns that were attended by thirty-three people.

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In 2009 the library had the help of ten volunteers: Beverly Barry, Dora Cook, Debbie Fleming, Michele Meneray, Joel Weinstock, Beverly Hegre, Phyllis Marquart, Zelma Malone, Joyce Hanemann, and Dorothy Furlong-Gardner. Their activities included cleaning library shelves, sorting mail, processing new books, shelving returned items, sorting, filing and reconciling catalogue cards, preparing periodicals for binding, organizing donated books, shelving and organizing the artist’s files, and repairing books. Their work was, and continues to be, invaluable. The library would not run as efficiently without their help.

During the latter part of the year the library was fortunate to have Anamaria Brandon, a student in the Louisiana State University’s School of Library and Information Science, as an intern. Her time at NOMA, and the work she accomplished (including “holding the fort” while the librarian was out in the month of December), was extremely beneficial to the library and library users.

Thank you to everyone who visited the library in 2009-2010.

ABOUT THE LIBRARY The Felix J. Dreyfous Library is located in the basement of the New Orleans Museum of Art. The library’s services and collection (20,000 books and 70+ periodical subscriptions) are available for use by members of NOMA. Members of the public, local students, and educators are also welcome. The library is staffed by a librarian (Sheila Cork) who holds a master’s degree in library and information science, with an extensive background in reference and research. In addition, the library is fortunate to have volunteers who help on a regular basis.

Use of the library is by appointment only during the librarian’s regular working hours, Monday-Friday, 9 a.m. to 5 p.m. Call 504-658-4117 or e-mail the librarian at scork@noma.org to make an appointment to use this valuable resource. n

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NOMA EDUCATION: Lectures, Walkthroughs, & Special Events

Friday, July 9, August 20, and September 10, noon Fabergé Gallery Tours The New Orleans Museum of Art has an entirely new Fabergé installation which will be the topic of this gallery tour presented by curator John W. Keefe. Keefe has recently published a new catalogue on the Hodges Family Collection of masterworks by Fabergé.

Friday, July 30, August 13, and September 17, noon Exhibition Walk-throughs: EVERY YEAR SOMETHING NEW: A Centennial Celebration from the Collection of Prints and Drawings (Templeman Galleries)

Saturday, July 24, 10 a.m.

Exhibition Openings: Ancestors and Descendants (EWF Galleries) and Every Year Something New (Templeman Galleries)

Most of the works in NOMA are gifts to the collection, given almost every year since 1910. And for most of those years, the Museum has received works on paper—the second largest collection NOMA holds and the largest, by far, of pictures. Join curator George Roland to savor the great variety of seldom-seen treasures, one for every year.

Wednesday, July 28, August 18, and September 8, 6 p.m.; Friday, August 27 and September 24, noon Exhibition Walk-throughs: Ancestors and Descendants (EWF Galleries) Walk-throughs of Ancestors and Descendants with the exhibition curators.

Ancestors and Descendants: Sumner W. Matteson, Portrait of Hopi Maiden with Hair Whorls, 1901

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Wednesday, August 11, 6-7:30 p.m.

Meet the Artists: Women Artists in Louisiana, 19652010 (Louisiana Galleries) Join curator Judith Bonner of the Historic New Orleans Collection and the artists whose work is featured in the Women Artists in Louisiana exhibition for an engaging conversation regarding their work.

Every Year Something New: Henri Matisse (French, 1869-1954), Icare from Jazz Portfolio, 1947

Sunday, August 29, 2 p.m.

UNTITLED [New Orleans and the Gulf Coast, 2005] Lecture (Stern Auditorium) Acclaimed American photographer Richard Misrach will speak about his new exhibition and book focused on messages New Orleanians wrote on their houses, fences, and cars, expressing their despair, anger, and hope following the flooding of Katrina.

Wednesday, September 15, 6 p.m.

Ancestors and Descendants Lecture (Stern Auditorium) Jonathan E. Reyman, curator of anthropology at the Illinois State Museum, delivers a lecture in conjunction with the Ancestors and Descendants exhibition, focusing on the New Mexico expeditions of George Hubbard Pepper and Richard Wetherill.

Wednesday, September 22, 6:30 p.m.

Faubourg Quartet (Stern Auditorium) In honor of Samuel Barber’s 100th birthday, the concert will feature his famous "Adagio" along with works by New Orleans composers Stephen Dankner and Jay Weigel, and a new string quartet arrangement of Louis Armstrong’s “What a Wonderful World.” $10 general admission, $5 students/seniors. Free to NOMA members and NOCCA students and staff.

Women Artists in Louisiana, 1965-2010: Ida Kohlmeyer (American, 1912-1997), Mythic Throne, 1986

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Art-Making Activities

Sunday, July 11, 1-4 p.m.

Beyond the Blues: Family ArtMaking Activity (Great Hall) In conjunction with the closing of this spring’s exhibition, Beyond the Blues: Reflections of African America in the Fine Arts Collection of the Amistad Research Center, Museum visitors are invited to participate in a family artmaking activity paying homage to African art and culture. Participants create their own artwork inspired by the works on display and jazz music.

Participants are encouraged to view the Amistad exhibition which runs through July 11. This activity and the provided materials are free with Museum admission.

Sunday, August 29, 1-4 p.m.

Katrina Remembrance Day: Family Art-Making Activity (Great Hall) The Museum will reflect upon Hurricane Katrina as we mark the fifth anniversary of the storm with projects

Film

based on the concept of “rebuilding.”

All Museum visitors are invited to participate in this family art-making activity in the Great Hall. In addition, there will be screenings of HBO’s series, Treme, in the Stern Auditorium on Saturday and Sunday, beginning at 10 a.m. All activities are free with Museum admission, and all materials will be provided.

Sunday, September 19, 1-4 p.m.

Ancestors and Descendants: Art-Making Activity (Great Hall) Native American art and culture as expressed in the exhibition, Ancestors and Descendants: Ancient Southwestern America at the Dawn of the Twentieth Century, will serve as the inspiration for art projects made by Beyond the Blues: Elizabeth Catlett (born 1915), participants. Visitors are also Blues, 1983. Art ©Elizabeth Catlett/Licensed by encouraged to view the exhibition, VAGA, New York, NY. www.vagarights.com which runs through October 24. This activity and the provided materials are free with Museum admission.

Wednesday, August 4, 6 p.m.

Film Screening: Cape No. 7 (Stern Auditorium) This award-winning film takes a lighthearted view of the life and foibles of the members of a warm-up band.

The most popular Taiwanese film in history, Cape No. 7 is presented by NOMA and the Taiwan Economic and Cultural Office, Houston. $5 general admission, free to NOMA members.

Saturday and Sunday, August 28-29, 10 a.m.

Film Screening: Treme (Stern Auditorium) The first ten episodes of HBO’s hit series Treme will be screened, five on Saturday, August 28, and five on Sunday, August 29, beginning at 10 a.m.

ARTS QUARTERLY

47

Visit NOMA for a Unique Shopping Experience Summer Projects for the Budding Artist Fun and easy items that will keep children occupied and entertained for hours!

Giant Paper Flowers in a Vase - $18.00

Make A Monster Mask - $24.00 Clay Fun - $20.00 Funky Artist - $28.00

Color A Flower Bag - $29.00

Stop by the Museum Shop, call us at 504-658-4133, or shop online at www.noma.org/museumshop.

We Ship in the Continental U.S.

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NEW ORLEANS MUSEUM OF ART

Museum Shop Featured Artists Come meet and mingle with our featured artists on the following dates.

WEDNESDAY, JULY 7, 2010, 6-8 p.m.

Mitchell Gaudet Born in New Orleans in 1962, Mitchell Gaudet currently resides and works in New Orleans. He received his M.F.A. from Tulane University in 1990, and a B.F.A. from Louisiana State University, Baton Rouge in 1984. For the past ten years he has been associated with the distinguished Pilchuck Glass School in Stanwood, WA, where in 1994 he was honored as Emerging Artist in Residence. Gaudet has also taught at Penland School of Crafts, Penland, NC, Pratt Fine Arts Center, Seattle, WA, Urban School of Glass, Brooklyn, NY, and Bild-Werk Frauenau, Germany.

Gaudet is a founder of and currently owns and operates New Orleans’s Studio Inferno, an independent glass art and production facility. Gaudet was also a founder and instructor of the New Orleans School of Glassworks. He served as co-chair for the 2004 Glass Arts Society Conference in New Orleans. Gaudet has achieved widespread recognition for his sculpture in glass. His work is exhibited both nationally and internationally, and has been included in many distinguished public and private collections.

WEDNESDAY, AUGUST 4, 2010, 6-8 p.m.

Peg Martinez Peg Martinez is a native New Orleanian who recently rekindled her passion for woodworking. When she was a child, her father had a well-equipped workshop in the attic where she often snuck to gaze about and admire the tools. Not knowing what to be when she grew up, Martinez majored in fine arts history in college. She later got a job in an art supply store, where she learned the art of picture framing. She worked for various galleries in the French Quarter and created her own, albeit small, frame shop in the back of her apartment. Life events led to the pursuit of a master’s in social work, putting her table saw and router in

hibernation. Years went by until Hurricane Katrina devastated the New Orleans area and took an emotional toll on her. Searching for something to feel positive and passionate about, she returned to her workshop and began creating boxes, combining various hardwoods for contrast and interest.

Unique joinery, utilizing miter splines and dowels, adds to the geometric complexity of the designs. Martinez now exhibits at the New Orleans and Baton Rouge Art Markets. Most recently, she was chosen to be the artist to create the prestigious Arts Council of New Orleans annual awards.

WEDNESDAY, SEPTEMBER 1, 2010, 6-8 p.m.

Gerald Haessig Gerald Haessig is a studio-trained artist originally from St. Louis. He has lived in New Orleans for the past nineteen years; he returned to St. Louis for a period while his home was being restored after Hurricane Katrina.

Haessig continued studying his craft at The Studio of the Corning Museum of Glass and UrbanGlass in Brooklyn, New York, and has been invited to several juried shows, most notably the Spotlight shows sponsored by the ACC Southeast Regional. He collaborated on the Mayor’s Arts Awards for the City of New Orleans and was one of three artists asked to

ARTS QUARTERLY

design a new “key to the city.” Haessig has received several Alpha Awards from the New Orleans chapter of the Fashion Institute and appeared on HGTV’s Crafters Coast-to-Coast in 2004.

Haessig’s work is published in Precious Metal Clay and he is a certified Precious Metal Clays Instructor. He has taught for the New Orleans School of Glass and was director of the Young Adult Summer Workshop for four years.

He is affiliated with The Third Degree Glass Factory and Krueger Pottery, both in St. Louis.

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PROGRAM SPONSORS A

nnual operating support for NOMA’s exhibitions, 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

$99,999 - $50,000

$34,999 - $20,000

CHEVRON: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support Handbook of School Programs Teachers’ Packets

GAIL AND JOHN BERTUZZI: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support

CITY OF NEW ORLEANS, EDWARD WISNER DONATION: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support LOUISIANA DIVISION OF THE ARTS: Institution Stabilization Arts in Education General Operating Support

$100,000 + THE AZBY FUND: General Operating Support Besthoff Sculpture Garden Operating Support Security Equipment FORD FOUNDATION: Planning and Exploration of New Orleans Audiences GETTY FOUNDATION: Conservation of the Besthoff Sculpture Garden THE HELIS FOUNDATION: Reduced Admission for Louisiana Residents and Free Wednesdays for Everyone, 2010 THE PATRICK F. TAYLOR FOUNDATION: Education Department Support SAVE AMERICA’S TREASURES: Permanent Collection Conservation ZEMURRAY FOUNDATION: General Operating Support

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SELLEY FOUNDATION: General Operating Support Art Storage Building Renovation Website SHERATON NEW ORLEANS HOTEL: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support WALT DISNEY STUDIO: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Free Admission for Greater New Orleans Public School Students

CAPITAL ONE BANK: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support ELIZABETH HEEBE-RUSSO: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Sponsor D. LEE HODGES SHERRI S. LOGAN: Objects of Desire: Fabergé from the Hodges Family Collection Exhibition Catalogue Support LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATION: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support THE LUPIN FOUNDATION: Odyssey Ball 2009 Art in Bloom 2010 LUTHER AND ZITA TEMPLEMAN FUND: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support NATIONAL ENDOWMENT FOR THE ARTS: Ancestors and Descendants Exhibition Support Art Storage THE ROSAMARY FOUNDATION: General Operating Support Education Department Support

NEW ORLEANS MUSEUM OF ART

$19,999 - $10,000

$9,999 - $5,000

ARTS COUNCIL OF NEW ORLEANS: African Art Curatorial Support

AT&T: Odyssey Ball 2009

PAUL J. LEAMAN, JR.: Odyssey Ball 2009

CANAL BARGE: Art in Bloom 2010

BRUCE J. HEIM FOUNDATION: Art Therapy

DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions

ENTERGY LOUISIANA: Educational Programs

MACY’S: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support

EUGENIE & JOSEPH JONES FAMILY FOUNDATION: Art in Bloom 2010

GAUTHIER FAMILY: Odyssey Ball 2009

FRIEND OF ODYSSEY BALL: Odyssey Ball 2009

MRS. JEAN R. HEID: Art Acquisition Fund

FRISCHHERTZ ELECTRIC COMPANY: Odyssey Ball 2009

INTERNATIONAL SURETIES, LTD.: Art in Bloom 2010

GARDEN STUDY CLUB: Sculpture Garden Planting

CAROLINE IRELAND: Odyssey Ball 2009

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

J. ARON AND COMPANY, INC.: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support

LOUISIANA ENDOWMENT FOR THE HUMANITIES: Ancestors and Descendants Catalogue MORRIS G. AND PAULA L. MAHER FOUNDATION: Odyssey Ball 2009 RUBY K. WORNER CHARITABLE TRUST: Mid-Week in Mid-City MR. AND MRS. ROBERT SHELTON: Odyssey Ball 2009

ARTS QUARTERLY

THE JOHN BURTON HARTER CHARITABLE FOUNDATION: Odyssey Ball 2009 JONES, WALKER, WAECHTER, POITEVENT, CARRERE & DENEGRE, LLP: Odyssey Ball 2009 Art in Bloom 2010

MRS. JOHN MASCARO: Odyssey Ball 2009 MATHES BRIERRE ARCHITECTS: Odyssey Ball 2009 MCILHENNY CO: Art in Bloom 2010 MRS. ELLIS MINTZ: Odyssey Ball 2009 MORPHY MAKOFSKY, INC.: Odyssey Ball 2009 JERI NIMS: Odyssey Ball 2009 MR. AND MRS. FRANK NORMAN: P. R. Norman Fund Art Acquisition WARREN ROESCH: Odyssey Ball 2009 SUPERIOR ENERGY SERVICES: Art in Bloom 2010

ALLISON KENDRICK: Odyssey Ball 2009

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MUSEUM NEWS MUSEUM NEWS MUSEUM BOARD OF TRUSTEES BOARD MEETING SCHEDULE NOMA’s Board of Trustees will not meet in July or August. Meetings resume on Wednesday, September 15, 2010.October 21

NVC GENERAL MEETING Don’t miss the final NVC meeting of the year on Monday, September 13, 2010 at 10:30 a.m. in the NOMA Auditorium. Be there to welcome new NOMA Director and CEO Susan Taylor! NVC Nominating Committee Chair Diane Walmsley will present the 2011 slate of officers for approval. Hear final details for Love in the Garden, to be held Friday, September 24.

Tickets will be available for purchase. Odyssey Ball Chair Adrea Heebe will reveal details of this year’s exciting gala, which will kick off NOMA’s centennial celebration.

Thinking of joining the NVC? Circle September 13 on your calendar and attend this most important meeting as a guest. It’s a great time to be a member of the NOMA Volunteer Committee!

ART AMBASSADORS The NVC is recruiting new art ambassadors. This important group helps keep NOMA in the public

eye. Periodic visits to hotels, bed and breakfasts, and art galleries with NOMA information packets keep the community informed about goingson at NOMA. Assignments are by geographical location. Volunteer with a friend to share the driving or footwork. An hour or two of your time, several times a year, will have a major impact. Contact the NVC Office at 504-658-4121 for more information.

STUDIO SALONS NVC members and their guests were privileged to be invited to tour two beautiful homes and art collections, as well as the art gallery of Metairie Park Country Day School, on May 8, 2010. NVC Studio Salon Chairs Sally Richards and Cary Alden, with help from Carol Hall, were the successful organizers.

The first tour began at the charming Old Metairie home and art collection of Carolyn Chandler, Head of School for Metairie Park Country Day. It was followed by a tour of the current art exhibition at the school, featuring the students’ impressive painting, metal work, collages, and more, as well as Mike Smith photography.

The participants then trotted off on a short walk to the elegantly decorated and furnished home of E. Alexandra Stafford and Raymond M. Rathle, Jr. to view a very special collection of art and antiques including Louis XIV and XV pieces.

Refreshments topped off a lovely afternoon. n

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Gail Asprodites, Assistant Director for Administration and Finance Marilyn Dittmann, Director of Development Lisa Rotondo-McCord, Assistant Director for Art/Curator of Asian Art Alice Rae Yelen, Assistant Director of Education Pamela Buckman, Sculpture Garden Manager Monika M. Cantin, Associate Collections Manager Aisha Champagne, Director of Publications and Design Sheila Cork, Librarian Diego Cortez, The Freeman Family Curator of Photography John d’Addario, Associate Curator of Education Sarah Davidson, Coordinator of Special Events William A. Fagaly, The Françoise Billion Richardson Curator of African Art Anthony V. Garma III, Exhibition Installation Coordinator Page Gleason, Grants Officer Caroline Goyette, Editor of Museum Publications Susan Hayne, Human Resources Manager Tao-nha Hoang, Chief Preparator 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 Bernard Mitchell, Chief of Security Karl Oelkers, Facilities Manager Marie-Page Phelps, Associate Collections Manager Todd Rennie, Preparator George Roland, The Doris Zemurray Stone Curator of Prints and Drawings Ty Smithweck, Controller William Sooter, Preparator Rachel Strassel, Public Programs Assistant Paul Tarver, Registrar/Curator of Native American and pre-Columbian Art Rebecca Thomason, Centennial Coordinator Steve Thompson, Computer Coordinator Patricia Trautman, Museum Shop Manager Katherine Truxillo, Development Associate for Membership Laura Wallis, Development Associate for Membership and Annual Appeal Gretchen Wheaton, Volunteer Coordinator Grace Wilson, Director of Communications and Marketing

NOMA BOARD OF TRUSTEES Stephen A. Hansel, President Mrs. James J. Frischhertz, Vice-President Mrs. Charles B. Mayer, Vice-President William D. Aaron, Jr., Vice-President Michael Moffitt, Treasurer David F. Edwards, Secretary Mrs. Françoise B. Richardson, Assistant Treasurer Mrs. John Bertuzzi Sydney J. Besthoff III Mrs. Mark Carey Edgar L. Chase III Leonard Davis H. Mortimer Favrot, Jr. Mrs. Ludovico Feoli Timothy Francis Mrs. Anne Gauthier Mrs. Edward N. George Roy A. Glapion Terry Hall Lee Hampton Ms. Adrea Heebe

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Ms. Allison Kendrick Subhash V. Kulkarni Henry Lambert Mayor Mitch Landrieu Mrs. Merritt Lane Paul J. Leaman, Jr. E. Ralph Lupin, M.D. Paul Masinter Edward C. Mathes Kay McArdle Alvin Merlin, M.D. Mrs. R. King Milling Mrs. Michael Moffitt Howard Osofsky Mrs. Robert J. Patrick Thomas Reese, Ph.D. Mrs. James J. Reiss, Jr. Mrs. George Rodrigue Bryan Schneider Mrs. Robert Shelton Mrs. Lynes R. Sloss Ms. Alexandra E. Stafford Mrs. Richard L. Strub Mrs. Patrick F. Taylor Louis A. Wilson, Jr.

HONORARY LIFE TRUSTEES H. Russell Albright, M.D. Mrs. Jack R. Aron Mrs. Edgar L. Chase, Jr. Isidore Cohn, Jr., M.D. Prescott N. Dunbar S. Stewart Farnet Sandra Draughn Freeman 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, Jr. Mrs. Françoise Billion Richardson R. Randolph Richmond, Jr. Charles A. Snyder Mrs. Frederick M. Stafford Harry C. Stahel Mr. and Mrs. Moise S. Steeg, Jr. Mrs. Harold H. Stream Mrs. James Lyle Taylor Mrs. John N. Weinstock

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

Herbert Kaufman, M.D. Mrs. James Pierce Ms. Debra Shriever Mrs. Billie Weisman Mrs. Henry H. Weldon

NEW ORLEANS MUSEUM OF ART

NOMA Exhibition Schedule

SWEET Suite Louisiana: Color Intaglio Prints by Warrington Colescott Templeman Galleries Through July 3, 2010

Beyond the Blues: Reflections of African America in the Fine Arts Collection of the Amistad Research Center

Women Artists in Louisiana, 1965-2010 From the collections of The Historic New Orleans Collection and the New Orleans Museum of Art Templeman Galleries Through September 12, 2010

William Greiner Photographs: Fallen Paradise and Land’s End

Ancestors and Descendants: Ancient Southwestern America at the Dawn of the Twentieth Century, Selections from the George Pepper Native American Archive at the Middle American Research Institute, Tulane University

Templeman Galleries Through July 3, 2010

Ella West Freeman Galleries July 24 - October 24, 2010

Ella West Freeman Galleries Through July 11, 2010

The Therapist: Photography

by Donald Woodman Bay Gallery Through July 11, 2010

Patti Smith: A Donation to NOMA Second Floor Contemporary Art Galleries Through July 25, 2010

Swamp Tours: Exploring the Louisiana Contemporary Collection

Every Year Something New: Works on Paper from the Permanent Collection Templeman Galleries July 24 - October 24, 2010

UNTITLED [New Orleans and the Gulf Coast, 2005]: Photographs by Richard Misrach Bay Gallery August 28 October 24, 2010

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. n

Frederick R. Weisman Galleries Through August 29, 2010

ARTS QUARTERLY

53

NOMA Calendar of Events LEGEND: 4 Art-Making Activities ¶ Exhibitions

■ Films/Music ❃ Lectures and Walk-throughs ❂ Library Events ❖ Mid-Week in Mid-City (Museum Hours on Wednesdays: 12-8 p.m.)

✖ Sculpture Garden Events ❁ Special Events Events subject to change. Check the Museum’s website for updates: www.noma.org.

Monday

JULY 2010

Sunday

4

5

6

4

❁❖

7

Thursday

Friday

Saturday

1

2

3

8

❃

9

Noon Fabergé Walk-through

6-8 p.m.

Meet the Museum Shop's Featured Artist: Mitchell Gaudet

Independence Day: Museum Closed

11

Wednesday

Tuesday

❁■

12

13

❁❖

14

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

¶

❂

15

16

Noon-1 p.m.

Book Club Discussion Group (Library)

✖

17

8-9 a.m.

Yoga in the Garden

❁ 6-7 p.m.

Tai Chi/Chi Kung in the Galleries

Final Day: Beyond the Blues (EWF Galleries)

25

10

Late Night Closing for Beyond the Blues (Museum open until 2 a.m.)

1-4 p.m.

Family Art-Making Activity (Great Hall)

18

✖

8-9 a.m.

Yoga in the Garden

19

20

❁❖

21

22

23

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

✖

24

8-9 a.m.

Pilates in the Garden

¶

10 a.m.

Exhibition Openings: Ancestors and Descendants (EWF Galleries) and Every Year Something New (Templeman Galleries)

26

27

❁❖

28

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

❃❖ 6 p.m.

Exhibition Walk-through: Ancestors and Descendants (EWF Galleries)

■❖ 7-8 p.m Ancestors and Descendants Celebration: Live Music by Flow Tribe

29

❃

30

Noon Exhibition Walk-through: Every Year Something New (Templeman Galleries)

31

Sunday

Monday

Tuesday

1

2

3

Wednesday

Thursday

Friday

4

5

6

■❖

6 p.m Film: Cape No. 7 (Stern Auditorium)

Saturday ✖

7

8-9 a.m.

Yoga in the Garden

❁❖ 6-7 p.m.

Tai Chi/Chi Kung in the Galleries

AUGUST 2010

❁❖

9

8

16

15

22

23

29 ❁■4❃

6-8 p.m.

Meet the Museum Shop's Featured Artist: Peg Martinez

10

❂

11

12

Noon-1 p.m.

Book Club Discussion Group (Library)

❃

13

Noon Exhibition Walk-through: Every Year Something New (Templeman Galleries)

❁❖ 6-7 p.m.

Tai Chi/Chi Kung in the Galleries

✖

14

8-9 a.m.

Yoga in the Garden

❃❖

6-7:30 p.m.

Meet the Artists: Women Artists in Louisiana (Louisiana Galleries)

17

❁❖

18

19

❃

20

Noon Fabergé Walk-through

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

✖

21

8-9 a.m.

Yoga in the Garden

❃❖ 6 p.m.

Exhibition Walk-through: Ancestors and Descendants (EWF Galleries)

24

26

25

❁❖

❂

27

Noon-1 p.m.

Book Club Discussion Group (Library)

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

❃ Noon Exhibition Walk-through: Ancestors and Descendants (EWF Galleries)

✖

28

8-9 a.m.

Pilates in the Garden

¶

10 a.m.

Exhibition Opening: UNTITLED [New Orleans and the Gulf Coast, 2005] (Bay Gallery)

■ 10 a.m.-2 p.m.

Treme Screening (Stern Auditorium)

30

31

Monday

Tuesday

Katrina Remembrance Day: 10 a.m.-2 p.m.

Treme Screening (Stern Auditorium) 1-4 p.m.

Family Art-Making Activity (Great Hall) 2 p.m.

Richard Misrach Lecture (Stern Auditorium)

SEPTEMBER 2010

Sunday

6

5

12

❁

13

4

20

Saturday

1

2

3

4

❁❖ 6-8 p.m.

Meet the Museum Shop's Featured Artist: Gerald Haessig

❁❖ 5-8 p.m.

Culture Collision

7

❃❖

8

9

❃

10

Noon Fabergé Walk-through

6 p.m.

Exhibition Walk-through: Ancestors and Descendants (EWF Galleries)

✖

11

8-9 a.m.

Pilates in the Garden

❁❖ 6-7 p.m.

Tai Chi/Chi Kung in the Galleries

14

❁❖

15

16

❃ 6 p.m.

Ancestors and Descendants Lecture (Stern Auditorium)

21

■❖

22

6:30 p.m.

Faubourg Quartet (Stern Auditorium)

12-4 p.m.

Hispanic Festival

28

❃

17

Noon Exhibition Walk-through: Every Year Something New (Templeman Galleries)

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

❁

27

Friday

❁❖

1-4 p.m.

Family Art-Making Activity (Great Hall)

26

Thursday

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

10:30 a.m.

NVC General Meeting (Stern Auditorium)

19

Wednesday

❂

23

Noon-1 p.m.

Book Club Discussion Group (Library)

❃

24

Noon Exhibition Walk-through: Ancestors and Descendants (EWF Galleries)

❁❖

❁

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

7 p.m.

LOVE in the Garden

❁❖

29

6-7 p.m.

Tai Chi/Chi Kung in the Galleries

30

✖

18

8-9 a.m.

Pilates in the Garden

✖

25

8-9 a.m.

Pilates in the Garden

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