AQJunJulAugSept06

A benefit of membership with the New Orleans Museum of Art

ARTSQUARTERLY VOLUME XXVIII ISSUE 1

NEW ORLEANS MUSEUM OF ART

JUNE/JULY/AUGUST/SEPTEMBER 2006

NOMA Survives Katrina

NOMA Director E. John Bullard (at the podium) during the March 3 grand reopening of the Museum. (seated left to right) NOMA Trustee Paul J. Leaman, Jr., NOMA President S. Stewart Farnet, New Orleans Mayor C. Ray Nagin, authors Ernest Gaines and Richard Ford, Wendy and artist George Rodrigue.

Photo by Judy Cooper

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fter more than seven months of hearing the voices of only fellow staff members throughout the Museum, NOMA reopened its doors on March 3 to the sounds of hundreds of hopeful and happy visitors, all thrilled to see the Museum intact, unharmed and reopened. The three-day reopening celebration included a salute to the arts entitled “The HeART of New Orleans.”

Festivities included performances by Irvin Mayfield, Shades of Praise, Paul Soniat, Philip Manual, Fredy Omar, Delta Festival Ballet and readings and book signings by Richard Ford, Chris Rose, Patricia Brady, Christina Vella, George Rodrigue, among many others. Additionally, four new exhibitions premiered on March 3—Seen in Solitude: Robert Kipniss Prints from the James F. White Collection, Recent Paintings by Robert Kipniss; Inside the Congo: An Introduction to the Field Research Archives of Frère Joseph Cornet, and A Keen Eye: Louisiana Art from the Martha Ann and Ray Samuel Collection. The three-day reopening weekend was celebrated by more than 6,500 visitors.

Prior to NOMA’s reopening, the New Orleans Museum of Art faced historic and unprecedented challenges. Although the Museum survived Hurricane Katrina with virtually no damage to the art inside the

building, NOMA suffered many losses, including the layoff of eighty-five percent of its staff and the death of staff member Mathilde “Mimi” Laudumiey. Due to the heroic actions of our staff, the Museum’s collection is safe, but basement offices, mechanical and electrical systems, archival areas and storage areas were damaged. The Besthoff Sculpture Garden also suffered extensive damage to its landscaping. lighting and lagoons, and one sculpture, Virlane Tower by Kenneth Snelson, was seriously harmed. The Museum and the Sculpture Garden sustained $6 million in damage.

For several months, communications at NOMA was limited to cell phones and wireless laptops. Through the generosity of the Louisiana Arts and Science Museum, NOMA was given temporary office space for some of its staff members. In Baton Rouge, we were able to set up computers and have access to email, fax and landlines.

In the weeks following Hurricane Katrina, the Museum’s staff and board of trustees embarked on an ambitious recovery strategy, which included a financial recovery plan of $15 million over three years that would allow the Museum to reopen and to rehire staff. Buoyed

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ARTS QUARTERLY

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BEGINNING JUNE 7, 2006, NOMA AND THE BESTHOFF SCULPTURE GARDEN WILL BE OPEN WEDNESDAY THROUGH SUNDAY, 10 A.M. TO 4:30 P.M.

From the director O

n August 29, 2005, Hurricane Katrina hit New Orleans with unprecedented fury, forever altering the lives of its citizens. While NOMA was located in the center of the badly flooded Mid-City area, its placement on a high ridge saved it from the surrounding flood waters. Miraculously our collection of 40,000 artworks survived unharmed, but our building and Sculpture Garden sustained multimillion-dollar damage.

This catastrophe had a devastating impact on the Museum’s finances and forced us to close our doors for six months and, worst of all, lay off 85% of our staff.

By mid-October, our trustees, under the inspired leadership of President Stewart Farnet, developed a three-year financial recovery and stabilization plan to ensure NOMA’s future. Our Katrina Recovery Committee, dynamically headed by Paul Leaman, launched a $15 million three-year campaign, and he and I began traveling the country to visit foundations, corporations and individuals. So far $5 million has been raised and NOMA is firmly on the road to recovery. The Besthoff Sculpture Garden was reopened December 10, 2005; laid off staff began to be rehired in January; and the Museum reopened on March 3, for three days a week.

NOMA’s recovery is the result of the tremendous dedication and hard work of its much-reduced staff and hundreds of loyal volunteers, beginning with our fully committed trustees. To thank each NOMA saviour would take pages. I do want to recognize a group of extraordinary staff members who volunteered to stay in the Museum, with their families, through the hurricane to protect the building and art treasures: Kevin Boyd, Shea Caliste, Kay Hatton, Alfred Johnson, Larry Kemp, Harold Lyons, Leverne McZeal, Keith Whins. These eight employees remained until Thursday, when they were forced by National Guard troops to abandon their posts. All were helicoptered out of City Park to a staging area on I-10, where they had to wait for three days in the brutal 95-degree heat before buses took them to out-of-state shelters. These were NOMA’s first heroes.

Fortunately the Museum was quickly resecured with retired New York City Police Officers, employed by NOMA’s insurer, AXA Art Insurance Corp. Our deputy director, Jackie Sullivan, lead these officers by airboat to the Museum on Sunday, September 4, where they established a cordon of protection around and inside the building, remaining for the next two months. To every person who has contributed to the salvation and recovery of NOMA, God bless you one and all!

E. John Bullard

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ARTSQUARTERLY VOLUME XXVIII ISSUE 1

NEW ORLEANS MUSEUM OF ART

1

NOMA Survives Katrina

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“Tragedy is the Blood of Art” Ernest Gaines

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Images from NOMA’s Reopening on March 3

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Ansel Adams

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Katrina Exposed: A Community of Photographs Steven Maklansky

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Wild Bamboo: Images of Rebirth and Resilience in Edo-period Japanese Painting Lisa Rotondo-McCord

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Seldom Seen: Aspects of English and Continental Ceramics from the Permanent Collection John Webster Keefe

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The Rupe Tahiti Doors of Paul Gauguin John Webster Keefe

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Blue Winds Dancing Postponed Due to Hurricane Katrina

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Got Kids? Tips for Touring the Sculpture Garden Kathy Alcaine and Allison Reid

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Inside the Congo: An Introduction to the Field Research Archives of Frère Joseph Cornet Darla Rushing and William A. Fagaly

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The Katrina Recovery Campaign: $15 Million for the New Orleans Museum of Art

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NOMA’s Katrina Recovery Fund Receives Support from National Corporations and Foundations

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The Big Easy in The Big Apple Gala Benefit for NOMA Was a Huge Success!!

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In Memoriam: Sunny Norman

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In Memoriam: Mathilde “Mimi” Laudumiey

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Corporate Membership

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Join A Circle and Upgrade Your Support of NOMA

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Education Programs and Activities

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Program Sponsors

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Museum News

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NOMA Calendar of Events

JUNE/JULY/AUGUST/SEPTEMBER 2006

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

Editor/Art Director: Wanda O’Shello

SUPPORT ACKNOWLEDGEMENT

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

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

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA 70179-0123. 504-658-4103. Advertising 504-610-1279 or 504-658-4103. © 2006, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Free admission for Louisiana residents is sponsored by The Helis Foundation and the members of the New Orleans Museum of Art. The New Orleans Museum of Art and the Besthoff Sculpture Garden are open Wednesday through Sunday, from 10 a.m. to 4:30 p.m. For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

NEW ORLEANS MUSEUM OF ART

“Tragedy is the Blood of Art”

BY ERNEST GAINES

The following remarks were delivered by Pulitzer-prizewinning author Ernest Gaines at NOMA’s reopening ceremony on March 3, 2006.

T

he museum is as important today as ever before. Katrina destroyed lives, buildings, infrastructure, but left memories. Some of those who will tell the story of Katrina are not yet born. Except for the Civil War Katrina probably has been the greatest catastrophe of this country’s history—definitely in Louisiana’s history. But tragedy is the blood of art...We will rebuild...Katrina was a bad girl, and Rita was not much nicer. They hurt rich and poor, bad and good, beauty and ugly alike. But from their wake we will find growth...There will come new writers, poets, painters, musicians—and new politicians.

Katrina and Rita hurt us like nothing else had ever done...but they opened our eyes, cleansed our ears, perked up our consciousness, made us more aware of who we are a Louisianians, and what we should be doing with our time. They were bad girls, yes, but they woke us up. We can never be the same again. As a clean hard rain cleanses the atmosphere, the branches of trees, the crop in the fields, flowers and grass, Katrina has done the same for our soul, I hope. Because if this tragedy has not helped us to understand ourselves and others better, we are hopeless, and nothing ever will...But I think it did...There are thousands and thousands of stories that one day will be recorded by writers, poets, musicians, films and drawings, by artists not yet born. The museum is the conservatory of this history, that is why it is needed, and must be free for all...The people will never forget this tragedy and will be repeated over and over for generations to come. Tragedy is the blood of art. Art is the story of man, the museum is the safe-keeper...Thank you. ■

Ernest Gaines (left) with fellow author Richard Ford Photo by Judy Cooper

Images from NOMA’s Reopening on March 3

NOMA President S. Stewart Farnet (at the podium), along with NOMA Trustee Paul J. Leaman, Jr. (left), accepts a check for $100,000 from Wendy and artist George Rodrigue for NOMA’s Katrina Recovery Fund, from the sale of his special “To Stay Alive, We Need Levee 5” print.

Photo by Judy Cooper

(top right) Shades of Praise welcomes visitors to NOMA’s grand reopening

(right) NOMA’s Great Hall was filled with hopeful and happy visitors during its grand reopening on March 3.

Photos by Judy Cooper

ARTS QUARTERLY

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(continued from page 1)

by $1 million in gifts and pledges from the New Orleansbased Zemurray Foundation and the Azby Fund, the Museum received a leadership grant of $500,000 from the Andrew W. Mellon Foundation of New York. The Mellon grant was awarded specifically to assist NOMA in the rehiring of its curatorial staff, who were part of the general lay off of the Museum’s staff in early October 2005. The Mellon Foundation has been joined by a number of other national foundations, including The Andy Warhol Foundation for the Visual Arts, The Whitehead Foundation, The Benjamin M. Rosen Family Foundation, the Deutsche Bank Americas Foundation, the Henry Luce Foundation, the American Express Foundation, and the J. Aron Charitable Foundation, all of New York, and the Elizabeth Cheney Foundation of Chicago, who together have donated an additional $1,000,000.

The Museum also has benefitted from the generosity of its sister institutions around the country who have donated funds and services to its recovery campaign. Led by a $25,000 contribution from the Association of Art Museum Directors, more than $100,000 has been raised so far, with lead gifts of $20,000 each from the North Carolina Museum of Art and the Kimbell Art Museum, and additional support from the Tampa Museum of Art; the Brooks Memphis Museum of Art; the Cincinnati Museum of Art; the Bass Museum of Art, Miami Beach; the Flint Institute of Arts, Michigan; the Baltimore Museum of Art; the Opelousas Museum of Art; the Arkansas Art Center, Little Rock; the Louisiana Arts and Science Museum, Baton Rouge; the Historic New Orleans Collection; the Sterling and Francine Clark Institute, Williamstown, Massachussets; and the Museum of International Folk Art, Santa Fe, New Mexico.

“Our commitment is to lead a cultural rebirth in New Orleans and the Gulf South,” NOMA Director E. John Bullard said. “Just to remain open and operate NOMA alone, we need $15 million over the next three years.

We are delighted that the Mellon Foundation and other donors have demonstrated their commitment to rebuilding New Orleans through such generous support.

Their vote of confidence in our future will be an enormous help to us as we approach other national foundations and potential donors.”

Photo by Jacqueline L. Sullivan

NOMA’s building and Besthoff Sculpture Garden sustained more than $6 million in damages.

Photo by William A. Fagaly

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NEW ORLEANS MUSEUM OF ART

(top) NOMA Deputy Director Jacqueline L. Sullivan (left) arrives by helicopter to NOMA during the early days following the hurricane. (right) National Guardsmen help in clearing downed trees in NOMA’s Besthoff Sculpture Garden. (below) Kenneth Snelson’s forty-five-foot stainless Virlane Tower (background) was the only sculpture in the Besthoff Sculpture Garden to sustain significant damage—collapsed by the winds into the lagoon.

Photos by William A. Fagaly

NOMA has received support throughout the world.

To assist in the Museum’s Katrina recovery, the Government of France has organized an extraordinary exhibition of French paintings from the Louvre, the Pompidou Centre, and the Musée d’Orsay in Paris depicting the changing role of women in French life during the tumultuous nineteenth century. Entitled La Femme: The Changing Role of Women in French Society in the 19th Century from the National Museums of France, the exhibition will be on view at NOMA March 3 through June 2, 2007, and includes works by such masters as Monet, Renoir, Degas and Toulouse-Lautrec, as well as less famous artists.

In the aftermath of Hurricane Katrina, New Orleanians have a strengthened sense of what is important: life and family, friendship and compassion.

Something else has become apparent: art and culture are not luxuries, but necessities—sources of solace, comfort, perspective, inspiration and rejuvenation. ■

NOMA’s grand reopening was generously funded by the Louisiana Division of the Arts, Chili’s and Romano’s Macaroni Grill. The extraordinary gathering of artistic Louisiana talent was made possible, in part, by a generous donation from Merrill Lynch, Claire Leaman to the New Orleans Musicians’ Clinic (NOMC), keepin’ music alive since 1998, HEAL (Help Employ Artists Locally), and Young Audiences. Partners in the reopening included Arts Council of New Orleans, New Orleans Convention and Visitors Bureau, New Orleans Tourism & Marketing Corporation, City Park, Maple Street Book Shop and Gambit Weekly.

ARTS QUARTERLY

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Ansel Adams

(right) Ansel Adams (American, 1902-1984) Self-Portrait, Monument Valley, Utah, 1958 Gelatin silver print 13-11/16 x 9-3/16 inches The Lane Collection

(facing page) Ansel Adams (American, 1902-1984) Monolith—The Face of Half Dome, Yosemite National Park, 1927 Gelatin silver print 18-3/4 x 14-1/2 inches The Lane Collection

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n exhibition of photographs by Ansel Adams, drawn from The Lane Collection—the largest holding of works by the artist still in private hands—will be on view at the New Orleans Museum of Art from June 3 through September 24, 2006. Entitled Ansel Adams, the exhibition beautifully captures Adams’s poetic vision through 125 black-and-white photographs spanning fifty years of the artist’s career, with particular emphasis on his early work—from classic landscapes and views of national parks to intimate still lifes and abstracted, modernist works. Highlighting many rare and unpublished photographs, the exhibition also reveals a littleknown side of Adams’s work, including his striking architectural and urban views, portraits of artist friends, and photographs of Native American pueblos. The works on view have been drawn from The Lane Collection of American modernist photography, which is currently housed at the Museum of Fine Arts, Boston, and includes nearly five hundred works by Adams purchased directly from the artist by the late William H. Lane and his wife, Saundra, in the 1960s and 1970s.

“Although NOMA does indeed have some wonderful examples of Adams’s work in its own collection, this exhibition presents a most comprehensive view of the career of America’s most famous fine art photographer,” said NOMA Director E. John Bullard William Lane first met Adams in 1954 through their mutual friend, artist Charles Sheeler, and the two continued to correspond in the years that followed. In 1965, the Lanes acquired the entire photographic estate of Sheeler following his death—a pivotal moment that prompted them to start collecting photography in earnest, at a time when few people appreciated it as art. Two years later, partly inspired by the traveling exhibition Eloquent Light at Boston’s Museum of Fine Arts, the Lanes began to incorporate Adams’s work into the collection. For the next ten years, they worked directly with Adams— considering a wide range of his photographs, making visits to the artist’s home on the west coast, and corresponding through numerous letters and trunks full of pictures—cultivating a very personal collection of his works. During this time, they also formed a strong relationship with his wife, Virginia, who, along with Adams, quietly inspired and encouraged a generation of young photographers. The Lane Collection now comprises a diverse range of photographs by Adams, including lesser-known early works from the 1920s, as well as many “vintage” prints (those made close to the date of the negative)—acquired at a time when “vintage” photographs were not often sought by collectors.

“Bill and I were privileged to be able to work directly with Ansel Adams over the course of nearly a decade to create an extensive and quite personal collection of his photographs,” said Saundra Lane. “The MFA exhibition features a very special selection of these photographs, and I am thrilled that we are able to share so many of these works with the community.”

Ansel Adams is arranged chronologically in seven sections: “Early Work” (including photographs of the High Sierra, Canadian Rockies, and Pueblo Indians); “Group f/64: Exploring Straight Photography”; “Yosemite”; “The American Southwest”; “Alfred Stieglitz and New York”; “The National Parks”; and “The Late

©2006 The Ansel Adams Publishing Rights Trust

Work.” Some fascinating examples of early and late prints made from the same negative also provide an opportunity to explore changes in the relative scale of Adams’s work, his choice of photographic papers, and his printing techniques over time.

“The remarkable scope of The Lane Collection has allowed us to take a wonderfully comprehensive approach in presenting a wide range of works by Ansel Adams, shedding new light on his career,” said Karen Haas, Curator of The Lane Collection at the MFA and organizing curator of the exhibition. “From the breathtaking western landscapes for which he is best known, to lesser-known photographs of urban subjects and Native American pueblos, this exhibition brings forth many facets of Adams’s work.” ■

Ansel Adams is on view at the New Orleans Museum of Art June 3 through September 24, 2006.

This exhibition was organized by the Museum of Fine Arts, Boston, and is sponsored by Fidelity Investments through the Fidelity Foundation.

The exhibition is accompanied by a fully illustrated catalogue, which is available in the NOMA Museum Shop.

NEW ORLEANS MUSEUM OF ART

©2006 The Ansel Adams Publishing Rights Trust

ARTS QUARTERLY

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NEW ORLEANS MUSEUM OF ART

Katrina Exposed: A Community of Photographs

BY STEVEN MAKLANSKY Assistant Director for Art/ Curator of Photographs, NOMA

W

e saw it with our own eyes. Every New Orleanian has some visual recollection of Hurricane Katrina—its coming, its arrival, its aftermath, the destruction, the desolation, and now the recovery and rebuilding processes. Now the water has long receded, much debris has been cleared away, and like the distinctive flood lines that mark so many homes and businesses, memories of those fateful days are slowly starting to fade. But forgetting the past is no way to prepare for the future.

The challenge, instead, is to remember what is important, to select significance, and keep it safe for reconsideration and review. That is why so many New Orleanians, and some intrepid photojournalists, came through the calamity carrying a camera. Like plucking a struggling victim of circumstance from the deluge, taking a picture is a rescue—a way of preserving a little rectangle of history from oblivion. Stored in an envelope or in a computer, any such image is but a single, personal, and invisible piece of evidence. But if hundreds of such photographs, representing hundreds of viewpoints of the Katrina experience are resuscitated for an exhibition, then they reemerge into a meaningful new arena of public consciousness and contemplation.

That is why the New Orleans Museum of Art has asked its community to share their photos, and why scores of people have responded with hundreds of images. They all will be shown, along with some of the most extraordinary Katrina images shot by local, national, and international artists and photojournalists, in an exhibition called Katrina Exposed: A Community of Photographs at the New Orleans Museum of Art. Why now? This spring might be the calm before the next hurricane season begins. And enough time has passed. Having stepped forward to face the challenges brought on by Katrina and the floods that followed, New Orleanians are ready to step back and reflect upon what really happened, and what is really happening. Taking a hard look today is an important step towards seeing a better tomorrow. ■

Katrina Exposed: A Community of Photographs is on view at NOMA through September 3, 2006. The exhibition is accompanied by an illustrated catalogue, entitled Katrina Exposed: A Photographic Reckoning, which is available in the NOMA Museum Shop.

Mr. America Donna Hart

©Thomas Dworzak/Magnum photos

ARTS QUARTERLY

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Wild Bamboo: Images of Rebirth and Resilience in Edo-period Japanese Painting

BY LISA ROTONDO-McCORD Curator of Asian Art, NOMA

D

uring the Edo period (1615-1868) Japan was free from major domestic and international conflict. The relative political, social and economic stability combined with growth in cities and domestic trade gave rise to unprecedented opportunities for artists. In the growing cities and towns artists worked to decorate newly constructed buildings and homes for their patrons, from both the traditional elite classes as well as the increasingly wealthy merchant class.

Many of these new patrons for art favored images with positive meanings and associations. Bamboo, pine trees, plum blossoms, frolicking children and historical figures associated with valor and bravery are among this genre of painting subjects. Presented in isolation or in numerous combinations, these images conveyed wishes for good fortune, long life, and the continuity of the family line. The current installation in the Asian galleries on the third floor of the New Orleans Museum of Art, entitled Wild Bamboo: Images of Resilience and Rebirth in Japanese Edo-period Painting, displays nearly thirty scrolls and screens, drawn from the Museum’s permanent collection, related to this theme.

One of NOMA’s most important Edo-period paintings, Nagasawa Rosetsu’s (1754-1799) Chinese Children at Play, is featured in the exhibition. This pair of six-panel screens incorporates many of the symbols of rebirth and rejuvenation seen in isolation in the other paintings.

Chinese Children at Play takes as its theme the antics of fourteen small boys in Chinese dress (known as karako in Japanese), who frolic on a veranda by the water. This subject is seen frequently in Rosetsu’s work and must have been popular amongst his prosperous, merchant-class patrons.

The artist has used a number of auspicious themes and subjects in this screen. Young boys (often called the “hundred boys”) are a frequently encountered subject in both Chinese and Japanese decorative arts, signifying the wish for many children and the continuation of the family line. The bamboo, plum and pine trees that frame the boys’ activities are

an auspicious group known as the “three friends of winter,” due to their resilience and hardiness. The plum is the first flower of spring, often blooming in late January or early February, coincident with the lunar New Year, and is a favored emblem of rebirth. Additionally, bamboo and plum have scholarly associations: the poetpainters of traditional China often brushed these subjects.

The scholarly aspect is further underscored and subverted by the actions of the young boys. Several surround a low table of the sort that graced a scholar or teacher’s study. The table’s surface is strewn with paper, ink sticks and ink stones—the tools of the educated elite.

Rather than obediently learning their lessons, Rosetsu’s boys impishly crawl over the paper and toy with the brushes. In this way, Rosetsu pokes gentle fun at the accomplishments of the educated class, and by extension the “Four Accomplishments” of a gentleman: painting, calligraphy, the game of go and music. An independent artist working outside the studio system, Rosetsu was known for his displays of visual wit and acumen. ■ Wild Bamboo: Images of Resilience and Rebirth in Japanese Edo-period Painting will be on view in

the Asian galleries until August 2006.

(detail) Chinese Children at Play

Nagasawa Rosetsu (Japanese, 1754-1799) Chinese Children at Play, circa 1792-99 Pair of six-panel screens, ink and color on paper Collection of New Orleans Museum of Art Museum Purchase: Women’s Volunteer Committee in memory of Edith Rosenwald Stern. 80.187.1-.2

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NEW ORLEANS MUSEUM OF ART

SELDOM SEEN: Aspects of English and Continental Ceramics from the Permanent Collection

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

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hose Museum visitors whose special interest is English and Continental ceramics will be amply rewarded by a visit to this departmental exhibition, which is presented in the Cameo Gallery of the Lupin Foundation Center for the Decorative Arts on the second floor. Featured are 130 examples of porcelain, pottery, faïence and terracotta ranging in date from 1540 to 1955, a span of more than four centuries. The show has been extended due to the disruption of schedule occasioned

by Hurricane Katrina.

The richly varied wares include some examples, which have not been on public view for more than a quarter of a century. Among these are Hispano-Maresque lustered rosewater basin; Dutch seventeenth-century stoneware flagons; eighteenth-century Delft tile pictures; Sèvres porcelain dinnerwares; two Wedgwood “Portland” vases; a spectacular large Paris porcelain corbeille in the rococo taste; a monumental Meissen garniture vase from the collection of Museum founder Isaac Delgado (American, born Jamaica, 1839-1912); a Belleek fivestrand basket; a rare equestrian figure by Giorgio de Chirico (Italian, born Greece, 1888-1978); earthenwares

by Pablo Picasso (French, born Spain, 1881-1973) and

porcelain designed for the Rosenthal firm by Raymond Loewy (American, 1893-1986) in 1955.

Arranged in approximate chronological order from 1540 to 1955, the exhibition also permits the interested visitor to see the shifts and evolutions involved in the formation of an English and Continental ceramics collection from the time the Museum opened its portals in 1911 to the present day. Indeed, the Museum’s assemblage of these wares has moved from a stepchild position to that of a strong, vibrant and growing facet of the permanent collection. While documenting the past collecting patterns of both the Museum and its patrons, the exhibition also brings to the forefront worthy examples of porcelain and earthenware richly deserving renewed attention. ■

SELDOM SEEN: Aspects of English and Continental Ceramics from the Permanent Collection will continue through Sunday, July 30, 2006. For a further discussion of this exhibition, see Arts Quarterly, January/February/March 2005, pages 10-11.

Giorgio de Chirico (Italian, born Greece, 1888-1978) Equestrian Figure, circa 1925-30 Terracotta, height 16 inches Collection of New Orleans Museum of Art Gift of Muriel Bultman Francis. 1969.24 Giorgio de Chirico is primarily remembered today as a major contributor to the history of twentieth-century painting. However, he was also a talented sculptor, particularly of horses and equestrian figures. He began producing sculptures of this type about 1919 and continued experimenting with them through the 1930s.

It is thought that this terracotta was one of a series, which may have been as few as three in number or as many as ten examples.

The terracotta sculptures are, in any case, rare. It is known that de Chirico produced an edition of six bronzes of this model.

Photo by Judy Cooper

ARTS QUARTERLY

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The Rupe Tahiti Doors of Paul Gauguin

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

O

ne of the most astute and unusual acquisitions effected by former Director James Byrnes was that of the painted glass doors of French painter Paul Gauguin (1848-1903), purchased in 1964. After an absence of more than a decade, these doors are once again on view in the Lupin Foundation Center for the Decorative Arts on the second floor of the Museum.

Gauguin is today viewed as one of the towering figures of the post-Impressionist school as well as one of the founders of modernism in painting. Born to a Peruvian mother, Gauguin dreamt of returning to a civilization unsullied by industrialization and urban problems. Abandoning his family in 1891, Gauguin embarked for Tahiti, which represented the sought-after primeval culture. The Museum’s glass doors, reverse-painted in oil, bear the title Rupe Tahiti, or “Hurrah, Tahiti,” expressing Gauguin’s delight in reaching the island. That joy was somewhat mitigated by his realization that his French-born landlady in Papeete, Madame Charbonnier was a busybody and notorious gossip whose favorite pastime was spying upon her tenants. In order to insure some measure of privacy, Gauguin painted these doors in oil, which permitted the passage of light while remaining sufficiently translucent to block the prying eyes of Madame Charbonnier.

She was not enamored of the doors, which still bear evidence of her attempts to scratch off the offending paint after Gauguin gave up residence in her house in 1893.

Gauguin was obviously pleased with the aesthetic effect of the Rupe Tahiti doors, for he painted a second set on his return to Tahiti in 1895. Both sets of doors utilized areas of color separated by black outlines, thus creating a stained glass effect. While the NOMA doors rely on figures of Tahitian women, foliage, a peacock, a lobster and a rabbit, the second set completed in 1895 featured a Tahitian girl holding a coconut, a flowering tree and a rabbit.

It is interesting that both sets were acquired by Englishmen; the NOMA set was bought by English painter and muralist Stephen H. W. Haweis (1878-circa 1946) while the second set was purchased by writer W. Somerset Maugham (1874-1965).

The second set is now in the collection of the Jeu de Paume Museum in Paris.

The Rupe Tahiti doors are presented in a new custom-built back-lighted case and are now a glowing and prominent feature of the Museum’s glass galleries.

They are exhibited adjacent to French, American and Austrian glass in the contemporaneous Art Nouveau style. ■

Paul Gauguin (French, 1848-1903) Pair of Doors: Rupe Tahiti, 1891-93 Oil on reverse-painted glass, painted beechwood 76-1/4 x 34-1/4 inches Collection of New Orleans Museum of Art: The Knoedler Benefit Fund and Gift of Two Anonymous Donors. 1964.1 Reverse-painted glass doors are among the rarest of works by renowned painter Paul Gauguin. He decorated two sets, this one during his first longanticipated trip to Tahiti from 1891 to 1893 and a second set on his second trip in 1895. The later set is now in the collection of the Jeu de Paume Museum in Paris.

Photo by Aisha Champagne

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NEW ORLEANS MUSEUM OF ART

Blue Winds Dancing Postponed Due to Hurricane Katrina

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lue Winds Dancing: The Whitecloud Collection of Native American Art was scheduled to open November 13, 2005, the evening of the Odyssey Ball, NOMA’s most important fund raiser. Due to Hurricane Katrina, the opening has been rescheduled for the November 2007 Odyssey Ball. The exhibition will premier at the Albuquerque Museum of Art in New Mexico, where it will be on view from August 12 to October 28, 2007.

Blue Winds Dancing: The Whitecloud Collection of Native American Art will be presented at NOMA

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November 10, 2007, through February 24, 2008. The exhibition is accompanied by an illustrated color catalogue, which is available in the NOMA Museum Shop.

The exhibition and catalogue were made possible with support from The Thaw Charitable Trust; the Louisiana Endowment for the Humanities; The Cudd Foundation; The McIlhenny Family, McIlhenny Company and The Gustaf Westfeldt McIlhenny Family Foundation in memory of Sara Avery McIlhenny and Mary Avery McIlhenny Bradford; Sheraton New Orleans Hotel; and Tunica-Biloxi Tribe and Paragon Casino Resort. â–

15

Got Kids?

Tips for Touring the Sculpture Garden

BY KATHY ALCAINE Curator of Education, NOMA

AND ALLISON REID

C

hildren naturally love NOMA’s Sydney and Walda Besthoff Sculpture Garden. Its wide expanses of soft green grass shaded by huge old oaks is dotted with sculptures from around the world, creating a fun, almost magical setting. Young visitors are invited and encouraged to experience works of art up close, and can even touch the sculptures (no climbing, please).

Meandering through the winding paths with your little ones is sure to be a hit, but how can you get them to really look at and begin to understand the works of art?

Inspired by an article written by Doug MacCash, art critic for The Times-Picayune, we have created a scavenger hunt for your family. This “scavenger hunt” approach immediately gets youngsters interested and involved, giving them the chance to actively search for meaning.

When your group has solved a riddle and you’ve found the sculpture, you can use the descriptions in the map (available for $1 at the front gate of the Sculpture Garden) to tell the children more information about the piece. We’ve reproduced some of MacCash’s riddles for you and added our own, so you and your family can become Sculpture Garden sleuths. The descriptions listed below correspond to the map of the Sculpture Garden.

4. A little man with a big weight on his chest: Fernando Botero, Mother and Child, map description #42 5. Darth Vader’s musician brother: Michael Sandle, The Drummer, map description #31 6. The doomed chicken: Jacques Lipchitz, Sacrifice III, map description #10 7. Charlotte’s really big sister: Louis Bourgeois, Spider, map description #35 8. Something for King Kong’s diaper: Claes Oldenburg and Coosje van Bruggen, Safety Pin, map description #52 9. The four swamp things: Elisabeth Frink, Riace Warriors I, II, III, IV, map description #33 10. The dinosaur egg: Barbara Hepworth, River Form, map description #4 11. Slow and steady wins the race: Paul Manship, Tortoise, map description #36 12. Ketchup and mustard jars: Allen McCollum, Perfect Vehicles, map description #29 13. What you catch at Mardi Gras: Jean-Michel Othoniel, Tree of Necklaces, map description #34

During your next visit to the Sculpture Garden, find the following: 1. The ax that can’t chop: Rene Magritte, The Labors of Alexander, map description #2 2. The arrow that isn’t there: Antoine Bourelle, Hercules the Archer, map description #8 3. A horse that’s not made of wood: Deborah Butterfield, Restrained, map description #28

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NEW ORLEANS MUSEUM OF ART

sculpture feel like you thought it would feel? Describe the subject, the materials, and the placement of the piece in the Sculpture Garden. How does the material affect the subject? What do you think the artist meant when he or she created the art? Can you figure out how the artist created the work?

If the sculpture is of an animal, what kind is it? What do you know about the animal being represented? Does it symbolize anything, such as strength or wisdom? Think of the materials the sculpture is made of, such as strong bronze or solid stone. Do those materials reflect the symbolic representations of the animal?

14. Curious George’s strange family: Rona Pondick, Monkeys, map description #24 15. Spears that sway in the wind: George Rickey, Four Lines Oblique, map description #17 16. A man morphing into a tree: Richard Rosenblum, Adam, map description #14 17. A four-letter word: Robert Indiana, LOVE, Red, Blue, map description #53 18. Three people who can’t talk: George Segal, Three Figures and Four Benches, map description #18.

19. A couple with legs they can’t stand on: Lynn Chadwick, Two Sitting Figures, map description #5 20. Lots of instruments you can’t reach: Arman, Pablo Casals’ Obelisk, map description #50 21. Three different sculptures of mothers with children: Henry Moore, Reclining Mother and Child, map description #1; Fernando Botero, Mother and Child, map description #42; and William Zorach, The Future Generation, map description #20

We hope these tips help make your next visit to the Sculpture Garden fun and—don’t tell the kids— educational. Admission to the Garden is free. Hours are Wednesday through Sunday, 10 a.m. to 4:30 p.m.. The Garden is closed holidays, and during inclement weather. ■ Note: ©2005 The Times-Picayune Publishing Co. All rights reserved.

Used with permission of The Times-Picayune.

In addition to creating scavenger hunts and riddles, knowing some basic techniques for viewing and thinking about sculpture can add dimension to your visit to the Garden. Sculptures are unique because in most cases you can walk around the object and see it from all angles.

The environmental setting becomes an integral part of the art. When you look at a sculpture, discuss your first impressions of the work. What does the sculpture look like? What does it appear to be made of? How does the sculpture feel? Is it smooth, rough or jagged? Does the

ARTS QUARTERLY

17

Inside the Congo: An Introduction to the Field Research Archives of Frère Joseph Cornet

BY DARLA RUSHING Coordinator for Library Development & Special Collections, Associate Professor J. Edgar & Louise S. Monroe Library, Loyola University, New Orleans

AND WILLIAM A. FAGALY The Françoise Billion Richardson Curator of African Art, NOMA

All photographs by Fr. Cornet are in the Cornet Archives at Loyola University.

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F

rère Joseph-Aurélien Cornet spent nearly thirty years from the early 1960s to the early 1990s as a missionary of the Christian Brothers in the Congo region. Trained as an art and architectural historian, his great passion and academic pursuit became the art of the Congolese region and people. Traveling from village to village, Fr. Cornet documented the art and artistic traditions, iconography, and cosmology of Congolese indigenous communities.

His long tenure in the Congo enabled him to compare, over time, artistic traditions by region. Fr. Cornet’s remarkable career coincided with profound cultural and political change in the Congo.

Today Fr. Cornet is recognized as one of the foremost scholars of African art. Most important are the field notebooks, which illustrate not only the art of the Congo, but also document the ethnography and cultural geography of the region. In addition to the field notebooks, the collection consists of approximately fifty thousand pages of research notes and more than twenty thousand photographic negatives, slides, and prints, as well as Cornet’s published books, articles, and exhibition catalogues.

Taken altogether, the Cornet collection is an archive of global significance to the study of the art and the ethnography of Africa.

Comparatively, Cornet’s archives at Loyola rank in importance with the prestigeous William B. Fagg Archives of Nigerian Art at the Royal Anthropological Institute/British Museum in London, the Paul Gebauer Archives of Cameroon Art at the Metropolitan Museum of Art in New York and the Eliot Elisofon Photographic Archives at the National Museum of African Art, Smithsonian Institution, in Washington, D.C. Between 1998 and 2001, Fr. Cornet gave forty-four of his field notebooks to Loyola University New Orleans, and in 2001, he bequeathed the remainder of his collected scholarly research to Loyola. Following Fr. Cornet’s death on January 20, 2004, the Cornet Archives were transferred from his home in Belgium and are permanently housed in the J. Edgar & Louise S. Monroe Library at Loyola.

During his years in the Congo, Fr. Cornet became the director of the Institut des Musées Nationaux du Congo (IMNC), later the Institut des Musées Nationaux du Zaire (IMNZ). The museum’s collections consisted almost entirely of works that Cornet gathered, as well as some that he repatriated from the Belgian colonial period.

Selections from the museum’s collections were exhibited in Europe and the United States, most notably at the National Gallery of Art in Washington, D.C. and the New Orleans Museum of Art, in 1978.

Following the collapse of the Mobutu government in 1997, the museum’s collections were tragically looted and many objects dispersed. Fr. Cornet had developed a comprehensive archive of the provenance of these works and continued tracking sales and transfers of the objects until the end of his life, with the intent of restoring as many pieces as possible to the museum.

Fr. Cornet had a clear vision of the importance of his studies and of the critical need to make his work

available to students and African scholars. He chose Loyola University because he felt that researchers would be granted straightforward access, within a secure environment, to his collections, and also because these resources would complement the highly regarded collection of African art at the New Orleans Museum of Art. Additionally, Fr. Cornet was keenly aware of New Orleans’s distinctive heritage as a major site of the African Diaspora and as the home to a number of distinguished private African art collections.

The exhibition, Inside the Congo: An Introduction to the Field Research of Frère Joseph Cornet, gives the public a first opportunity to view Fr. Cornet’s magnificent accomplishment as well as for scholars to have a preview of the wealth of rare, new information available for study.

(above) Fr. Cornet with local chief and his wife (below) Sculptor working with an adze and knife

NEW ORLEANS MUSEUM OF ART

The exhibition will be presented in two parts. The first display is divided into five components: an introduction to Cornet as a priest and scholar; a selection of photographic portraits of the people of the Congo; a look at artisans at work; a presentation of the meticulous documentation and study of art objects; and photographic display of a Kuba peoples mwaash a mbooy dance performance shown along with two masks of a variant type (mukyeen) in NOMA’s collection.

The second part will focus on four themes: craftsmen at work; musicians and dancers; costuming and regalia; and the performance of the rare, large ndunga masks of the Woyo peoples worn with proportionately voluminous costumes of dried banana leaves that fully cover the dancers’ bodies. ■

The exhibition is supported by a grant from the Louisiana Endowment for the Humanities. Part one of Inside the Congo was on view at NOMA March 3 through May 14, 2006. Part two will be on view at Loyola University, New Orleans, in the fall.

(right) Portrait of a woman (below) The moshambwooy mask at the royal court of the Kuba

ARTS QUARTERLY

19

The Katrina Recovery Campaign: $15 Million or the New Orleans Museum of Art

T

he New Orleans Museum of Art continues to face an unprecedented crisis due to the damaged caused

by Hurricane Katrina to the Museum and Sculpture Garden. To aid in the Museum’s recovery, NOMA has announced a Recovery Campaign with a goal of $15 million to help fund the next three years of operations.

Due to financial pressures post-Katrina, we were forced to lay off seventy of the Museum’s eighty-seven full-time employees. We are fortunate that our main collection was spared major harm, but we have much to do to recover from the worst national disaster in our country’s history.

OUR RECOVERY PLAN: $15 MILLION FOR OPERATIONS OVER THREE YEARS A small group of trustees, our director, and our remaining staff members are hard at work on recovery plans. We have built a financial plan that allowed us to reopen and to rehire staff on a staggered basis. The cost of the plan is $15 million over three years, most of it for operations.

Due to the heroic actions of our staff, the Museum’s collection is basically safe and sound, but basement offices, mechanical and electrical systems, archival areas, and storage areas all were damaged. The Besthoff Sculpture Garden also suffered extensive damage to its landscaping, lighting, and lagoons, and one sculpture was seriously damaged.

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FACING MASSIVE CHALLENGES Our challenges in the post-Katrina environment are unprecedented. We have limited access to the normal funding resources that have supported us for decades. There are some points of light however. The Museum has received support from individuals, corporations, foundations and museum organizations throughout the country. Our friends all over the world have come to our aid, and we would like to ask you to join them.

HOW YOU CAN HELP Due to the widespread devastation in our region, we must take our case to a national audience. We feel our message is being heard with sympathy, and many are already coming to our aid. Your financial support, in the form of cash or pledges of up to three years, is needed immediately to help fund the Katrina Recovery Plan. With your support, the Museum can continue to serve our many constituents.

Please give generously to the New Orleans Museum of Art. Your gift will support the cultural rebirth of New Orleans and the Gulf South.

For further information, please contact: E. John Bullard, Director New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179-0123 jbullard@nomatemp.org

NEW ORLEANS MUSEUM OF ART

NOMA’s Katrina Recovery Fund Receives Support from National Corporations and Foundations

F

ollowing Hurricane Katrina, NOMA embarked on an ambitious financial recovery strategy of $15 million over three years. The Museum has received support from individuals, corporations, foundations and museum organizations throughout the country. Because of this overwhelming support, NOMA has been able to rehire a number of employees who were laid off after the storm and to reopen the Museum on March 3, 2006. The members of the Museum’s board of trustees and staff are grateful to the following donors of $1,000 or more to NOMA’s Katrina Recovery Fund.

FOUNDATIONS Zemurray Foundation The Andrew W. Mellon Foundation Henry Luce Foundation The Andy Warhol Foundation for the Visual Arts Azby Foundation Elizabeth Cheney Foundation Helis Foundation Thaw Charitable Trust Caterpillar Foundation Benjamin Rosen Foundation Ella West Freeman Foundation American Express Philanthropic Program J. Aron Charitable Foundation Whitehead Foundation Eugenie & Joseph Jones Foundation California Community Foundation Heymann Wolf Foundation John Burton Harter Samuel Newhouse Foundation/ Times-Picayune Downman Family Foundation The Buddy Taub Foundation Laurel Foundation Philanthropic Collaborative Schon Charitable Foundation Alconda-Owley Foundation Burkenroad Foundation Van Der Linden Family Foundation

FEDERAL Institute of Museum and Library Sciences National Endowment for the Arts National Endowment for the Humanities

$900,000 500,000 250,000 200,000 100,000 100,000 100,000 100,000 50,000 35,000 30,000 25,000 25,000 25,000 20,000 10,000 10,000 10,000 10,000 7,000 5,000 5,000 5,000 3,000 1,000 1,000 1,000

$150,000 30,000 30,000

CORPORATE George Rodrigue $100,000 Sizeler Realty Co., Inc. 100,000 Deutsche Bank America’s Foundation 50,000 Altria Group, Inc. 25,000 Cheim & Read Gallery 25,000

ARTS QUARTERLY

Louisiana Public Facilities Authority United Technologies General Exploration Co Inc M. S. Rau Antiques LLC Arthur Roger Gallery

10,000 10,000 5,000 1,000 1,000

MUSEUM ORGANIZATIONS American Association of Museum Directors Kimbell Art Museum North Carolina Museum of Art Tampa Museum Brooks Memphis Museum of Art Cincinatti Museum of Art Southeastern Museums Conference Flint Institute of Arts Columbus Museum of Art Opelousas Museum of Art Friends of the Bass Museum

$25,000 20,000 20,000 14,000 10,000 10,000 5,000 2,000 1,250 1,000 1,000

HOW YOU CAN HELP On August 29, 2005, Hurricane Katrina hit the Gulf Coast with unprecedented force, forever altering the lives of millions of Americans. New Orleans suffered catastrophic damage when canal levees broke and flooded eighty percent of the city.

The New Orleans Museum of Art, founded in 1910, is the oldest and largest cultural institution in the region.

While the Museum is located in the center of the badly flooded Mid-City area, its placement on a high ridge saved it from the surrounding flood waters. While its building and Sculpture Garden sustained $6 million in structural damage, miraculously its collection of forty thousand artworks survived intact and unharmed. Far worse, five weeks after the storm, NOMA was forced to layoff eighty-five percent of its staff—a reduction from ninety to fifteen.

There is still a long road ahead to full recovery. YOU CAN HELP! Visit NOMA’s website, www.noma.org, to learn about future exhibitions and programs. Become a member of the Museum. Make an on-line contribution to NOMA’s Katrina Recovery Fund.

It is absolutely essential that the New Orleans Museum of Art be fully restored—a powerful symbol of the city’s cultural rebirth and revival.

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The Big Easy in The Big Apple Gala Benefit for NOMA Was a Huge Succcess!!

O

n Monday, April 10, 2006, in coordination with the exhibition The Big Easy in The Big Apple: 200 Years of Art in Louisiana from the Battle of New Orleans to Katrina, the AXA Gallery in New York hosted an event to help raise financial support for the New Orleans Museum of Art. An Odyssey: An Evening to Benefit the New Orleans Museum of Art, took its name from a timehonored tradition—the Odyssey Ball—an annual gala that has served as the Museum’s principle fund-raising event for the past forty-one years. This year, the event made its own Odyssey: to New York City, where Museum officials and their fellow New Orleanians were welcomed in a show of support for, and a salute to, the Museum. The successful benefit evening raised nearly $850,000 for NOMA’s Katrina Recovery Fund. The event was chaired by NOMA board of trustee member Donna Perret Rosen, Beth Rudin DeWoody, and Hayden Dunbar.

The Big Easy in the The Big Apple, an exhibition of art made in Louisiana on loan from the New Orleans Museum of Art, was on view at the AXA Gallery from March 10 through May 20, 2006. The exhibition’s dual purpose was to enhance the appreciation for the art of the Louisiana, and to heighten awareness for the Museum’s efforts to raise much-needed funds in the

wake of Hurricane Katrina. The Museum, which was closed for six months due to the flooding, reopened its doors to the public on March 3. The Big Easy in The Big Apple gave New Yorkers a chance to see some of the state’s finest art.

The exhibition comprised one hundred works of art from the NOMA’s collection, including paintings, photographs, drawings, prints, decorative arts, and sculpture, representing the many layers of culture that have converged on the region—and in the city of New Orleans in particular—over the past two hundred years.

The exhibition highlighted artworks by Louisiana artists, and visiting artists who were inspired by the culture and landscape of the region. Among the artists featured in the show were Diane Arbus, Ernest Bellocq. Henri CartierBresson, Walker Evans, Robert Frank, Lee Friedlander, Jean Hyacinthe de Laclotte, Clarence John Laughlin, John T. Scott, Edward Weston, and William Woodward. A highlight of the show was one of the portraits painted in New Orleans by the great French Impressionist Edgar Degas during his visit to New Orleans in 1872-73.

The Big Easy in The Big Apple celebrated the importance of art in sustaining the cultural history of New Orleans. The objects in the exhibition demonstrated the diversity of experience and tradition that make the city and state so richly intricate. ■

NOMA board of trustee member and Katrina Recovery Committee Chair Paul J. Leaman, Jr., Odyssey Co-chair Beth Rudin DeWoody, NOMA national trustee member and Odyssey Co-chair Donna Perret Rosen, NOMA Director E. John Bullard Photo by Steve Lasley Denis Reggie Photographers

(left) Odyssey Co-chair Hayden Dunbar and NOMA hononary life trustee Mimi Stafford Photo by Steve Lasley Denis Reggie Photographers

(right) NOMA honorary life trustee Matilda Stream and NOMA President Stewart Farnet Photo by Steve Lasley Denis Reggie Photographers

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NEW ORLEANS MUSEUM OF ART

In Memoriam: Sunny Norman

In Memoriam: Mathilde “Mimi” Laudumiey

ARTS QUARTERLY

O

n January 27, in Philadelphia, the New Orleans Museum of Art lost one of its most beloved supporters—Sunny Norman.

Sunny was born Mildred Gould on July 24, 1911, in Houston, Texas, the daughter of Tillie and Frank Gould. She graduated from Mills College in Oakland, California, with a degree in psychology. In 1937, Sunny married Peter Roussel Norman of Morgan City, and twenty years later the couple moved to New Orleans with their children Frank and Linda. Sunny was first elected to NOMA’s board of trustees in 1964. After serving continuously for twentytwo years, she was elected as honorary life trustee in 1967. For the Odyssey Ball XXII in that year, NOMA exhibited A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, an extraordinary group of 253 paintings, sculptures, prints, photographs, glass, preColumbian and African art. The great majority of the artworks in the Norman Collection has since been donated to the Museum, one of the most important gifts ever received by NOMA. The Norman donation includes major works by Lee Krasner, Isamu Noguchi, Tony Smith, Milton Avery, Louise Bourgeois, and Georgia O’Keeffe, as well as her 1963 portrait by Pop artist Larry Rivers.

The desire to share their collection with others was always one of the Normans special joys of collecting. In the 1960s, under former director James B. Byrnes, the Museum embarked on the formation of “The Arts of the Americas Collection.” At that time the Normans purchased and gave to the Museum several of its finest pre-Columbian works. In the early 1970s, when the Museum first began collecting photographs, the Normans were equally supportive and enthusiastic, acquiring works in this area for themselves, which they eventually donated to the Museum.

Sunny was known as New Orleans’ “Arts Ambassador” due to her involvement with numerous national arts organizations. She served as a trustee of the American Federation of the Arts and the National Museum of Women in the Arts and was a member of the Fogg Art Museum Fellows, the Collectors Committee of the National Gallery of Art, the Art in the Embassies Program, and the Museum of Modern Art’s International

(left to right) Richard and Linda Friedman (Mrs. Norman’s daughter), Sunny Norman, NOMA Director E. John Bullard at Mrs. Norman’s ninetieth birthday party at NOMA in 2003 Photo by Judy Cooper

Council. In addition to her support for the arts, Sunny was a community activist and supported many charitable causes, serving on the boards of the Contemporary Arts Center, WYES-TV, Arts Council of Greater New Orleans, Louisiana Children’s Museum, and the Louisiana Philharmonic Orchestra. Among the honors she received were The Times-Picayune Loving Cup, the Mayor’s Award for Distinctive Achievement in the Arts, the Torch of Liberty Award from the Anti-Defamation League and the Hannah G. Solomon Award from the National Council of Jewish Women.

Sunny Norman was kind, generous, open-hearted, funny and fun to be with, always intuitive, spontaneous, vivacious, loyal, dynamic, a fabulous lady—an original.

Dode Platou, NOMA’s first curator of education and later director of the HNOC said it best: “If people were collectibles, I’d collect Sunny. She’s one-of-a-kind.” ■

H

urricane Katrina took many things from New Orleanians—our homes, our cars, our piece of mind, but the deepest loss was of loved ones, friends and coworkers. It is with great sadness that the Museum announces the loss of its staff member Mathilde “Mimi” Laudumiey (1950-2005).

Mimi joined the NOMA staff in 2003 as a security guard. Previously, she worked at the New Orleans Fairgrounds and Southern Baptist Hospital. Additionally, she was a booking agent for local talent. She attended St. Raphael Elementary School, Sacred Heart and Abramson High Schools. Mimi also was a student at the McCrady Art School. The painting to the right of the New Orleans Museum of Art is one of Mimi’s works.

Her paintings are full of bright color and charm, reflecting the artist’s happy attitude to life. In addition to painting, she enjoyed needlepoint and embroidery.

According to her father, Paul Louis Laudumiey, “She was just coming into her own when she was called home.”. ■

Mathilde “Mimi” Laudumiey (1950-2005) New Orleans Museum of Art

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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.

NOMA welcomes this new corporate member: LEADER: Milling Benson Woodward LLP, New Orleans, LA ASSOCIATE: Mignon Faget, Ltd., New Orleans, LA

GUARANTOR The Esplanade at City Park Jones, Walker, Waechter, Poitevent, Carrere & Denegre New Orleans Saints Reagan Equipment Co., Inc. Tidewater, Inc. Whitney National Bank Windsor Court Hotel

BENEFACTOR Gambit Communications, Inc.

PATRON Brian Schneider Company Columbus Properties, LLC CommTech Industries Lemle & Kelleher The Sydney and Walda Besthoff Foundation

MASTER Dooky Chase’s Restaurant Emirau Partners Energy Partners, Ltd.

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IPC New Orleans 1, LLC McDermott International Inc. Oreck Corporation The Schon Charitable Foundation

LEADER J. Aron and Company, Inc. Barriere Construction Company, Inc. Boh Bros. Construction Company, Inc. Christie’s Fine Art Auctioneers Dorian M. Bennett, Inc. Eskew + Dumez + Ripple The Laitram Corporation M. S. Rau Antiques, LLC Magnolia Marketing Company McIlhenny Company Milling Benson Woodward, LLP The Monteleone Hotel Murphy Exploration & Production Co. Neal Auction Company, Inc. New Orleans Auction Galleries, Inc. New Orleans Silversmiths Rathborne Companies, LLC Regions Bank

The Soniat House Taylor Energy Company The Times-Picayune

ASSOCIATE Baker CAC, Inc. Bowie Lumber Associates Dauphine Orleans Delta Petroleum Co., Inc. E. N. Bisso and Son, Inc. Fidelity Homestead Association A Gallery For Fine Photography Hunt Forest Products, Inc. KPMG Mignon Faget, Ltd. Royal Antiques, Ltd. The Steeg Law Firm LLC Waggonner and Ball Architects 901 So. Peters St. LLC

CONTRIBUTOR A. L. Lowe Picture Framing Company Baker, Donelson, Bearman, Caldwell & Berkowitz Bolton Ford Cooper/T. Smith Stevedoring Company Inc. Dreyfus-Cortney, Inc. Dupuy Storage & Forwarding Corporation

Gulf Coast Bank Hirsch Investment Management, L.L.C. James A. Mounger, A Professional Law Corporation Jon Antiques Le Richelieu Motor Hotel Sisung Securities Corporation Tujague’s Restaurant URS Corporation Waters, Parkerson and Co., Inc. Wyndham New Orleans at Canal Place

UNIVERSITY MEMBERS Delgado Community College Loyola University Notre Dame Seminary Nunez Community College Our Lady of Holy Cross College Southeastern Louisiana University, Hammond Southern University of New Orleans St. Scholastica Academy Tulane University University of Louisiana at Lafayette University of New Orleans Xavier University

NEW ORLEANS MUSEUM OF ART

THE ART OF BUSINESS

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

BENEFITS FOR YOUR BUSINESS

CORPORATE MEMBERSHIP IN THE NEW ORLEANS MUSEUM OF ART

BENEFITS TO YOUR COMPANY WHEN YOU INVEST IN THE PREEMINENT CULTURAL INSTITUTION OF OUR CITY CORPORATE MEMBERSHIP ❑ Please have NOMA’s Corporate Membership Director call. ❑ Please send me a brochure on Corporate Membersip. ❑ Our check is enclosed in the amount of $_______________.

Please make check payable to: New Orleans Museum of Art. ❑ Please send an invoice in the amount of $______________.

Firm Name ____________________________ Contact Person ____________________________ Phone ____________________________ Address ____________________________ City/State/Zip ____________________________ Mail to: Corporate Membership New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179-0123

ARTS QUARTERLY

Your Corporate Membership provides world-class benefits to your employees and a positive image for your company. From unlimited family admission to NOMA, to the loan of fine art from NOMA’s permanent collection, to a Company Day for all your employees and their families, your Corporate Membership is a high profile business asset and a great business decision.

The vitality and growth of the New Orleans Museum of Art is dependent, quite literally, on the companies we keep. Our Corporate Membership Program provides the opportunity for your business, whether large or small, to participate at the level most beneficial to you. We have streamlined the rate structure and improved benefits, so select your membership category today, and enjoy all the special privileges of Corporate Membership at the NOMA.

CORPORATE MEMBERSHIP PRIVILEGES • Free family admission at all times (immediate family, including children and grandchildren 17 years and younger).

• Free subscription to Arts Quarterly • Invitations to Members’ Only Previews throughout the year • Discount of 10% in the Museum Shop • First notices of Special Events at NOMA • Opportunity to participate in Members’ Art Tours in America and abroad • Curatorial Opinion Service • Opportunity to participate in Volunteer Programs • Access to the Dreyfous Art Reference Library

GUARANTOR

$10,000 &

ABOVE

• Use of the Museum for a member’s business special event at a mutually agreeable time.

• Your company’s name prominently displayed in the Museum.

• The loan of four works of art from NOMA’s Permanent Collection.

• A private viewing and guided tour of an exhibition for the executives of your firm.

• Family Membership privileges for ten designated officials with Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official to NOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families.

• A Speakers Bureau program at your place of business or at the Museum.

• 125 Museum passes.

• Curatorial consultation.

• One framed poster and a catalogue from the Museum’s inventory.

BENEFACTOR

$7,500

• Limited use of a Museum space for a member’s business function at a mutually agreeable time.

• Your company’s name prominently displayed in the Museum.

• The loan of three works of art from NOMA’s Permanent Collection.

• Family Membership privileges for eight designated officials with Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official to NOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families.

• A Speakers Bureau program at your place of business or at the Museum.

• 100 Museum passes.

• Curatorial consultation.

• One framed poster and a catalogue from the NOMA’s inventory.

PATRON

$5,000

• The loan of two works of art from NOMA’s Permanent Collection.

• Family Membership privileges for six designated officials with Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official to NOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families.

• A Speakers Bureau program at your place of business or at the Museum.

• 75 Museum passes.

• Curatorial consultation.

• One framed poster and a catalogue from the NOMA’s inventory.

MASTER

$2,500

• The loan of one work of art from NOMA’s Permanent Collection.

• Family Membership privileges for five designated officials with Reciprocal Membership at 39 participating museums.

• A Speakers Bureau program for your employees at your place of business or at the Museum.

• 50 Museum passes.

• Curatorial consultation.

• One framed poster and a catalogue from the NOMA’s inventory.

LEADER

$1,000

• Family Membership privileges for four designated officials with Reciprocal Membership at 39 participating museums.

• 25 Museum passes.

• Two posters from the NOMA’s inventory.

ASSOCIATE

$500

• Family Membership privileges for three designated officials with Reciprocal Membership at 39 participating museums.

• 15 Museum passes.

• A poster from NOMA’s inventory.

CONTRIBUTOR

$250

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

• 10 Museum passes.

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Join A Circle 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 membership to those who demonstrate their commitment at these levels. We are most grateful for your generous and continuing support.

President’s Circle

$20,000

In addition to the privileges enjoyed by Director’s Circle members, President’s Circle members enjoy the following privileges: •

Annual listing on Donor Wall as a member of the President’s Circle

•

An invitation to attend a private dinner with the Board President, Museum Director and a private collector in a major city.

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Invitations to attend behind-the-scenes events with Museum curators

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Complimentary membership in all Friends groups of your choice

Director’s Circle

$10,000

In addition to the privileges enjoyed by Patron’s Circle members, Director’s Circle members enjoy the following privileges: •

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Annual listing on Donor Wall as a member of the Director’s Circle

•

Use of the Woldenberg Board Room for meetings

•

An opportunity to have a private tour with the Director or Curator of a collection or special exhibition of your choice, with complimentary beverages in the Woldenberg Board Room, for a party of up to six individuals, at a mutually agreed upon time

Patron’s Circle

$5,000

The following privileges are offered to members of the Patron’s Circle, Director’s Circle and President’s Circle with gratitude: •

Annual listing on Donor Wall as a member of the Patron’s Circle

•

Invitations to all Fellows events including Annual Gala dinner

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A special evening program with the Museum’s Director

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Free admission to the Museum and Sculpture Garden plus free admission for additional guests when accompanied by the donor.

•

Reciprocal membership in 54 major art museums across the U.S. and Canada

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For private parties, elegant private galleries are available for rental

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All Members Previews of special exhibitions; with prior arrangement, Patron’s Circle members may bring additional guests.

•

A special series of Curators’ Talks

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A special reception in the Sculpture Garden

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Listing in the Annual Report

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Special recognition in Arts Quarterly

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Two complimentary publications selected by the Museum

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Advance tickets for Members’ lectures

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Advance announcements for special travel programs

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Complimentary membership in a Friends Group of your choice

__________________________________________________

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An opportunity to use an elegant private gallery with the rental fee waived

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. __________________________________________________

•

Previews of special exhibitions on press preview days

For further information, please contact NOMA’s Development Department, 504-658-4115.

•

A special dinner in a private collector’s home

•

Complimentary membership in two Friends Groups of your choice

NEW ORLEANS MUSEUM OF ART

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709 Royal Street Located behind St. Louis Cathedral Tel: 504-299-1666 Fax: 504-299-1669 royale@axelle.com

ARTS QUARTERLY

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EDUCATION PROGRAMS & ACTIVITIES Children’s Art Classes Classes are limited to twenty students.

Pre-registration is required.

Come learn new techniques in artmaking at NOMA’s Children’s Art Classes. NOMA will be offering two sessions of summer art classes for children, which will be taught by professional art teachers. The art classes introduce children to the Museum’s collections and special exhibitions. NOMA’s art classes provide students with an exciting atmosphere where students can express their creativity using a variety of art materials. Our art teachers stress the importance of the creative process over the final product. We believe that in art there are no wrong answers! All classes begin with a brief tour through NOMA’s collections to view a series of artworks related to each art project.

The cost of each session of six classes is $60 for members of the Museum and $75 for nonmembers. All materials are included in the fee. Please pay in advance, pre-registration is required. Classes are limited to twenty students.

Students should bring an old shirt or smock to wear as classes can get messy. For more information, please contact the Curator of Education at kalcaine_noma@yahoo.com, New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA 70179-0123, or call 504-658-4113.

June Session, June 14 – 30 Wednesdays & Fridays, 10 a.m. – Noon, ages 5 – 7 Natural Inspirations This art class will introduce students to a variety of artists’ materials. Printmaking, sculpture,

Classic New Orleans Films Series

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Beat the summer heat by relaxing in the air-conditioned setting of the New Orleans Museum of Art as we revisit classic Hollywood movies. This once-a-month series features classic movies that are set in or about New Orleans.

The films take place in NOMA’s Stern Auditorium and occur on the last Saturday of the month—June 24, August 26 and September 30. (There are no films in July).

drawing and painting all will be explored with nature as our theme.

Leaves, driftwood and other natural objects will serve as inspiration as students create 2-D and 3-D works of art.

Wednesdays & Fridays, 1:30 p.m. – 3:30 p.m. ages 8 – 12 Working with Nature We are surrounded by things in nature that we take for granted everyday. Rocks, seashells, sticks and leaves are found in the natural environment and can be used to create wonderful art objects. This class will focus on natural found objects, which will be used in a variety of ways.

Printmaking, sculpture, drawing and painting will be introduced as students learn about various art media.

Wednesdays & Fridays, 1:30 p.m. – 3:30 p.m. ages 8 – 12 Drawing Is Fundamental In this drawing class, students will explore trompe l’oeil, French for “to deceive the eye.” Like Renaissance artists of the fifteenth and sixteenth centuries, students will learn ways to fool the viewer’s eyes so that twodimensional drawings appear to have depth and form. Two-dimensional design principles, basic composition and the illusion of space will be taught in this “back-to-basics” art class. ■

July Session, July 12 – 28 Wednesdays & Fridays, 10 a.m. – Noon, ages 5 – 7 Hold the Line It’s back to the basics in this class as students discover that drawing is at the root of the visual arts. Line, form, color and texture will be the focus of this class as students explore the elements of art. The class will stress the development of basic skills, including the importance of line and shading, as well as encourage personal expression.

Students will work with pastels, colored pencils, charcoal and graphite.

For more Classic New Orleans Films information, please contact the curator of education, Kathy Alcaine, kalcaine_noma@yahoo.com, or call 504-658-4113. ■

Nature is the inspiration for two NOMA summer art classes.

Saturday, August 26, Noon King Creole (1958, 116 min.)

Saturday, June 24, Noon Suddenly, Last Summer (1959,

Saturday, September 30, Noon Walk on the Wold Side (1962,

144 min.)

114 min.)

NEW ORLEANS MUSEUM OF ART

PROGRAM SPONSORS A

nnual operating support for NOMA’s exhibitions, the “Van Go,” free Thursday mornings 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) 488-2631. ■

$49,999 – $35,000

BECOME A NOMA SPONSOR

$100,000 + STATE OF LOUISIANA – STATE LEGISLATURE: Infrastructure Improvements in City Park for Jefferson’s America & Napoleon’s France Exhibition, The Quest for Immortality: Treasures of Ancient Egypt Exhibition and The Sydney and Walda Besthoff Sculpture Garden THE PATRICK F. TAYLOR FOUNDATION: Taylor NOMA Scholars Program ZEMURRAY FOUNDATION: General Operating Support Five Thousand Years of Chinese Ceramics from the Robin and R. Randolph Richmond, Jr. Collection Exhibition Support

$99,999 – $50,000 LOUISIANA DIVISION OF THE ARTS: General Operating Support African-American Art Reference Collections THE METLIFE FOUNDATION: Raised to the Trade: Creole Building Arts of New Orleans and Circle Dance: The Art of John T. Scott Exhibition Support Summer in the City THAW CHARITABLE TRUST: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

ARTS QUARTERLY

THE HELIS FOUNDATION: Free Thursday Evenings for Louisiana Residents

$34,999 - $20,000 THE BURKENROAD FOUNDATION: the stARTing point, An Interactive Exhibition HIBERNIA NATIONAL BANK: Circle Dance: The Art of John T. Scott Exhibition Support

HOUSE OF BLUES FOUNDATION ROOM: LOVE in the Garden Odyssey Ball 2005 J. ARON AND COMPANY, INC. FUND: the stARTing point, An Interactive Exhibition Support LEE MICHAELS FINE JEWELRY: Art in Bloom 2005 Odyssey Ball 2005 THE MCILHENNY COMPANY AND THE GUSTAF WESTFELDT MCILHENNY FAMILY FOUNDATION: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support MORRIS G. & PAULA L. MAHER FOUNDATION: Odyssey Ball 2005

LOUISIANA ENDOWMENT FOR THE HUMANITIES: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

PORT OF NEW ORLEANS: Circle Dance: The Art of John T. Scott Exhibition Support

THE LUPIN FOUNDATION: Odyssey Ball 2005

SHELL OIL COMPANY FOUNDATION: Van Go, NOMA’s Museum-on-Wheels

RONALD MCDONALD HOUSE CHARITIES: the stARTing point, Picture Perfect

SHERATON NEW ORLEANS HOTEL: Blue Winds Dancing: The Whitecloud Collection of Native American Art Exhibition Support LOVE in the Garden 2005

THE ROSAMARY FOUNDATION: Family Workshops Handbook of School Programs TRIBUNE BROADCASTING: ABC26 AND WB38: Van Go, NOMA’s Museum-on-Wheels

$9,999 - $5,000 $19,999 - $10,000

COMMTECH INDUSTRIES: Sponsorship of noma.org website

THE AZBY FUND: Security Equipment

THE ELLIS AND ELAINE MINTZ FOUNDATION: the stARTing point, An Interactive Exhibition

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

THE REILY FOUNDATION: the stARTing point, An Interactive Exhibition

DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions EUGENIE AND JOSEPH JONES FAMILY FOUNDATION: Art in Bloom 2005 GAMBIT WEEKLY: LOVE in the Garden 2005 GOLDRING FAMILY FOUNDATION: Odyssey Ball 2005 THE GPOA FOUNDATION: Educational Pre-Visit Video of African Art Collection

THE RITZ-CARLTON NEW ORLEANS: The Convivial Art of the Cocktail Exhibition Support LOVE in the Garden 2005 ROBERT AND JOLIE SHELTON: Odyssey Ball 2004 THE TUNICA-BILOXI TRIBE OF LOUISIANA AND PARAGON CASINO RESORT: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support XAVIER UNIVERSITY OF NEW ORLEANS: Circle Dance: The Art of John T. Scott Exhibition Support

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MUSEUM NEWS MUSEUM NEWS MUSEUM BOARD OF TRUSTEES MEETING SCHEDULE The board of trustees of the New Orleans Museum of Art will meet on Wednesday, June 21, and September 20, at 4 p.m. There will be no meetings in July or August.

GRANTS NOMA RECEIVES GRANTS The New Orleans Museum of Art was honored to receive a $150,000 Conservation Project Support grant from the federal Institute of Museum and Library Sciences (IMLS). NOMA will use these funds to conduct a detailed condition survey of 30,000 objects in the Museum’s primary art storage area, as well as to relocate and rehouse these objects in an improved environment within the building.

The National Endowment for the Humanities (NEH) awarded NOMA one of nineteen emergency support grants in the wake of Hurricanes Katrina and Rita.

NOMA will receive $30,000 to help offset the costs associated with relocating art storage.

The National Endowment for the Arts (NEA) awarded NOMA one of fourteen grants intended to aid cultural institutions in the Gulf South that were affected by Hurricanes Katrina and Rita.

NOMA’s NEA grant, in the amount of $30,000, will be used for conservation purposes.

LIBRARY AMERICAN LIBRARY ASSOCIATION TO VISIT NOMA The American Library Association Annual Conference will be held in New Orleans this year at the Convention Center. Following Hurricane Katrina, ALA was one of the first organizations to confirm that they would follow through on their plans to hold the conference in New Orleans. Conference attendees have been invited to visit NOMA during the Friday, Saturday and Sunday of the conference, and

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they have an invitation to visit the library on Friday, June 23 between 3:30 p.m. and 5 p.m.

ANSEL ADAMS BIBLIOGRAPHY AVAILABLE ON BOOKMARK Visit the library to pick up an Ansel Adams bibliography bookmark. The bibliography lists books in the library’s collection; you may wish to look at some of them before seeing the exhibition.

BOOK REVIEW A great new addition to the reference collection is the book Dictionary of Artists’ Models edited

by Jill Berk Jiminez (R 704.942 D554). If you have ever looked at a painting and wondered about the identity of the model, this book is for you. Entries in the book are arranged alphabetically under the model’s name. Check the index under artist’s name or the title of the work, and you will find the name of the model. Look up the model’s name in the main text for a wealth of biographical information, associated works and bibliographic references. The book also contains introductory essays— including the interesting “A View from the Platform,” written by Pegi Taylor, an artist’s model herself.

Don’t forget to call 658-4113 or email to scork@nomatemp.org to make an appointment to come in to the library.

NVC NEW NVC COMMITTEE CHAIRS The slate of officers proposed by the NVC nominating committee for the year 2006 was approved at the NVC meeting in September.

Congratulations to the following 2006 NVC officers: Sanda Groome, chair; Kay McArdle, chair-elect; Judy and Tom David and Julie and Ted George, Odyssey Ball co-chairs; Majorie Colomb, vice-chair of activities; Ann Colfry, vice-chair of fund raising; Kim Elms, vice-chair of children’s activities; Carol Fors, corresponding secretary; Ellen Miclette, recording secretary; Brenda Vorhoff, parliamentarian; Janet Frischhertz, immediate past chair. ■

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Jacqueline L. Sullivan, Deputy Director Steven Maklansky, Assistant Director for Art and Curator of Photographs Kurt Overton, Assistant Director for Development Kathy Alcaine, Curator of Education Aisha Champagne, Graphics Coordinator/Webmaster Victoria Cooke, Curator of European Painting Sheila Cork, Librarian/Grants Officer Marilyn Dittmann, Development Associate William A. Fagaly, The Françoise Billion Richardson Curator of African Art Brandi Hand, Public Information Officer Beth Holloway, Controller Jimmy Jeffrey, Sculpture Garden Manager Jennifer Ickes, Assistant Registrar John W. Keefe, The RosaMary Foundation Curator of The Decorative Arts Karl Oelkers, Computer Coordinator Wanda O’Shello, Publications Coordinator/Arts Quarterly Editor Lisa E. Rotondo-McCord, Curator of Asian Art Annie Schroeder, Public Relations Officer Paul Tarver, Registrar/Curator of Native American and Pre-Columbian Art Patricia Trautman, Museum Shop Manager Milton Vinnett, Building Superintendent/Chief Engineer NOMA BOARD OF TRUSTEES S. Stewart Farnet, President David F. Edwards, Vaice-President Mrs. Ludoviaco Feoli, Vice-President R. Hunter Pierson, Vice-President Mrs. Mason Granger, Treasurer Mrs. Françoise Billion Richardson, Assistant Treasurer Mrs. Edward George, Secretary Sydney Besthoff, III J. Herbert Boydstun Mrs. Kenneth Broadwell Edgar B. Chase III Isidore Cohn, Jr., M.D. Timothy Francis Tina Freeman Mrs. James Frischhertz Laurence D. Garvey Mrs. David Groome Stephen Hansel Edward F. Harold Dr. Stella Jones Herbert Kaufman, M.D. Paul J. Leaman, Jr. E. Ralph Lupin, M.D. Mrs. Paula L. Maher Edward C. Mathes Charles B. Mayer Mayor C. Ray Nagin Howard Osofsky, M.D. Dan Packer Mr. Robert J. Patrick Thomas Reese, Ph.D. Michael J. Siegel Charles A. Snyder Mrs. Richard L. Strub Mrs. James Lyle Taylor Mrs. Patrick F. Taylor Louis A. Wilson, Jr. HONORARY LIFE TRUSTEES Russell Albright, M.D. Mrs. Jack R. Aron Mrs. Edgar B. Chase, Jr. Prescott N. Dunbar Mrs. Richard W. Freeman, Jr. Kurt A. Gitter, M.D. Mrs. H. Lloyd Hawkins Mrs. Killian L. Huger Richard W. Levy, M.D. Mrs. J. Frederick Muller, Jr. Mrs. Charles S. Reily Mrs. Françoise Billion Richardson R. Randolph Richmond, Jr. Mrs. Frederick M. Stafford Harry C. Stahel Moise S. Steeg, Jr. Samuel Z. Stone, Ph.D. Mrs. Harold H. Stream Mrs. John N. Weinstock

NATIONAL TRUSTEES John H. Bryan, III Mrs. Carmel Cohen Aaron I. Fleischman Mrs. Caroline W. Ireland George L. Lindemann Mrs. James Pierce Mrs. Benjamin Rosen Mrs. Robert Shelton Mrs. Billie Milam Weisman

NEW ORLEANS MUSEUM OF ART

NOMA Calendar of Events JUNE 2

FRIDAY, 6 p.m. to 9 p.m., NOMA Members’ Preview—Ansel Adams

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SATURDAY, Opening Day—Ansel Adams

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

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SATURDAY, Noon, Matinee (TBA)

SEPTEMBER 20

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

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SATURDAY, Noon, Matinee (TBA) 1 p.m., Music (TBA)

1 p.m., Music (TBA)

JULY 29

NOMA EXHIBITION SCHEDULE

SATURDAY, Noon, Matinee (TBA) 1 p.m., Music (TBA)

Seldom Seen: Aspects of English and Continental Ceramics from the Permanent Collection Through July 30, 2006 Wild Bamboo: Images of Resilience and Rebirth in Japanese Edo-period Painting Through August 2006 Katrina Exposed: A Community of Photographs Through September 3, 2006

AUGUST 26

SATURDAY, Noon, Matinee (TBA) 1 p.m., Music (TBA)

ARTS QUARTERLY

Ansel Adams June 3 – September 24, 2006

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.

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Post Office Box 19123 New Orleans, Louisiana 70179-0123

NON-PROFIT ORG. US POSTAGE PAID NEW ORLEANS PERMIT #108