AQOctNovDec06 by New Orleans Museum of Art

A benefit of membership with the New Orleans Museum of Art

ARTSQUARTERLY VOLUME XXVIII ISSUE 2

¡CARNAVAL! BY BARBARA MAULDIN, PhD Curator of the ¡CARNAVAL! Exhibition, Curator of Latin American Collections, Museum of International Folk Art

NEW ORLEANS MUSEUM OF ART

OCTOBER/NOVEMBER/DECEMBER 2006

arnival, Carnaval, Carnevale—What is the origin of these words and the rowdy festivals associated with them? The earliest mention of a Carnival celebration is recorded in a twelfth-century Roman account of the pope and upper-class Roman citizens watching a parade through the city, followed by the killing of steers and other animals. The purpose was to play and eat meat before Ash Wednesday, which marked the beginning of Catholic Lent—the forty-day fast leading up to Easter. The Latin term carnem-levare—to remove oneself from flesh or meat—was used to refer to the festival. The pre-Lenten celebration grew in popularity over the next few centuries, spreading to other European cities and rural communities. Italians eventually shortened the name to Carnevale—flesh farewell— and the word was translated into Spanish and Portuguese as Carnaval, into English as Carnival, and into German as Karneval. Other terms also are used for the festival such as the English—Shrove Tide (fasting time), the German— Fasching (fasting), the SwissGerman—Fasnacht (night before fasting), and the French—Mardi Gras (Fat Tuesday). All of these names allude to the feast before the fast, and many sixteenth- and seventeenth-century celebrations included a mock battle between Carnival and Lent, which symbolized this transition. Carnival continued to evolve in Europe throughout the seventeenth and eighteenth centuries, while colonists from Spain, Portugal, and France carried this festival tradition into North and South America. The political and industrial revolutions of the nineteenth century had a significant effect on Carnival celebrations on all three continents. As the festivities began to be viewed as civic events by newly formed governments, urban street

Fantasy Masqueraders, Venice, Italy, 2001 Photograph by David and Shirley Rowan

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NEW ORLEANS MUSEUM OF ART

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From the director T

he New Orleans Museum of Art reopened on March 3, first for three, then for five days a week. While our photography exhibition, Katrina Exposed, attracted an enthusiastic local audience this summer and we are open free for all Louisiana residents courtesy of the Helis Foundation, our attendance so far has been less than 25% of the preKatrina level. We are hoping for an increase in the last quarter of 2006, with the return home of more New Orleanians and the return of the tourists for conventions and the cruise ships. In the meantime, rather than let them remain unseen in our galleries we have decided to send many of NOMA’s greatest art treasures on the road. Our art collection will be our visual ambassador around the country. Besides generating broader public awareness of the importance of our permanent collection and of our current post-Katrina situation, these exhibitions will generate much needed funds for our ongoing Katrina Recovery Campaign. On September 15, the Louisiana Art and Science Museum in Baton Rouge opened Impressionists and Modern Masters from the New Orleans Museum of Art, featuring sixty paintings and drawings by artists such as Monet, Degas, and Picasso. This exhibition is NOMA’s thank you to LASM for providing temporary office space for our staff for four months after Katrina and also to thank the citizens of Baton Rouge for so graciously welcoming so many New Orleanians who evacuated there after the storm. NOMA members will be admitted free to the exhibition, which is on view until January 7, 2007. On October 5, the traveling exhibition, Resonance from the Past: African Sculpture from the New Orleans Museum of Art, which began its national tour in New York City in the spring of 2005, will open at the Smithsonian’s National Museum of African Art. The show has been extended to travel to other museums in 2007. This past April the AXA Gallery in New York presented NOMA’s exhibition, From the Big Easy to the Big Apple: Two Centuries of Art in Louisiana. In conjunction with this show, a benefit was organized for NOMA, which netted nearly $850,000 for the Museum. Now an even more important exhibition has been organized by Wildenstein & Co., long the world’s greatest dealer in old master art, featuring one hundred paintings, drawings and sculptures from NOMA’s collection and a few private New Orleans collections. On view at the Wildenstein Gallery in New York City from November 17 to February 9, 2007, the exhibition will premiere with two benefit evenings, which we hope will be as successful as the AXA event. Wildenstein has not only generously underwritten the benefits and the exhibition, they are producing a beautiful catalogue, written by Joseph Baillio, the longtime Vice President of Wildenstein and a native son of Louisiana, who initiated this project. Finally, in early February NOMA will be saluted at the Palm Beach International Fine Art and Antique Fair, where our famous Portrait of Marie Antoinette by Elisabeth Vigée Le Brun will be the centerpiece of a special exhibition of French art. The French Heritage Society has graciously agreed to host a benefit for NOMA in conjunction with the Fair. So, much of our art collection is on the road for the next six months, letting a national audience know that NOMA is open and ready to welcome them back to New Orleans. E. John Bullard

ARTSQUARTERLY VOLUME XXVIII ISSUE 2 1

NEW ORLEANS MUSEUM OF ART

OCTOBER/NOVEMBER/DECEMBER 2006

!CARNAVAL! Barbara Mauldin

Echoes of the Ancient World: Ancient Egyptian, Greek and Roman Art from the Permanent Collection John Webster Keefe

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

Femmes, femmes, femmes: Paintings of Women in 19th Century French Society from Daumier to Picasso from the Museums of France

2006 Odyssey Ball Takes Visitors to ¡CARNAVAL!

The Odyssey Continues: Masterpieces from the New Orleans Museum of Art and from Private New Orleans Collections To Be Exhibited in New York City

New Orleans Jeweler Mignon Faget Presents Generous Contribution to Aid the State’s Cultural Economy

NVC Events Continued in 2006 with LOVE in the Garden and Fabergé Egg Hunt

Hurricane Katrina Brings Monet, Degas and Others to Louisiana Art & Science Museum

Join A Circle and Upgrade Your Support of NOMA

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

NOMA’s Katrina Recovery Fund Receives Support from National Corporations, Foundations, Museum Organizations and Individuals

Corporate Membership

Contributions

Education Programs and Activities

Program Sponsors

Museum News

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/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

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parades became more structured. Groups from different neighborhoods and workers’ guilds competed with one another for the best performances. Indians and freed Africans throughout the Americas now joined into the celebration contributing new expressive forms to this dynamic event. Through periods of repression and revival, the popularity of Carnival continued to grow throughout the twentieth century, and today millions of people participate annually in the celebration. ¡CARNAVAL!, the exhibition, provides windows into eight communities in Europe and the Americas where Carnival is a high point of the yearly cycle. LAZA, SPAIN The first recorded inhabitants of the region of Galicia, in the northwest corner of Spain, were Celts, but over centuries other groups, including the Romans and Visigoths, took turns controlling the area. During the Middle Ages, Galicia was under the crown of Castile and it became part of the kingdom of Spain in the late fifteenth century. A rugged mountain range isolates Galicia from the rest of the country, and even today many residents carry on a rural lifestyle with roots in the distant past. The region is often viewed as “poor and backward” by other Spaniards, but Galicians take great pride in their cultural heritage and their way of life. Their Carnival, known regionally as entroido (beginning or entrance), includes some medieval festival traditions, though it is still a vibrant part of village life today. The small community of Laza boasts about nine hundred inhabitants and entroido is one of the focal points around which the townspeople organize their lives. The Carnival play is acted out through music, dance, and feasting. Ritualized aggression involves participants whipping spectators and throwing ash, flour, water, and dirt filled with ants on one another. Makeshift floats express social and political commentary as does the public reading of a testament that provides comical, satirical, and exaggerated statements about the actions of the townspeople during the past year.

Doctor of the Plague Masqueraders in an Outdoor Market Venice, Italy, 1991 Photograph by David and Shirley Rowen

La Morena Laza, Spain, 1992 Photograph by Antonio Muñoz Carrión

VENICE, ITALY Carnevale began in the ancient port city of Venice in the Middle Ages when the great squares of the city were turned over to aristocratic pageantry, public sport competitions, and performances by roving minstrels and actors. For a few hundred years the Carnival in Venice grew and flourished with more and more elaborate costumes and lavish events. Political and religious reformers of the eighteenth and nineteenth centuries eventually curbed the excesses of this festival. By the early twentieth century, Venice Carnival had stopped being celebrated altogether. In 1981 city officials decided to revive Venice Carnival as a reincarnation of the aristocratic festival it had once been. Characters from the sixteenth-, seventeenth-, and eighteenth-century Italian theater reappeared on the streets, along with masqueraders portraying counts and countesses and other legendary figures. Today, Venice carnevale is open to everyone and participants come from many countries and a range of social backgrounds to take on the identity of classical personages and a variety of fantasy characters. Some pay to have elaborate outfits made for them, others create their own, but many participants rent their costumes for a few brief hours. The masqueraders slowly make their way through the narrow streets of Venice and across the bridges wrapped in a thin layer of fog. Others ride through the canals in gondolas decorated for the festive occasion.

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BASEL, SWITZERLAND The large industrial city of Basel is located in northern Switzerland, bordering Germany and France. Spreading out on both sides of the Rhine River, this city became an important production and trade center by the fifteenth century. Baselâ&#x20AC;&#x2122;s Carnival, known by the SwissGerman name Fasnacht (night before fasting), dates from the Middle Ages when villagers put on costumes and masks and roamed the streets, participating in spontaneous, rowdy affairs before the beginning of Lent. Protestants who gained control of the city during the sixteenth-century Swiss Reformation tried to do away with the event since they did not observe the Lenten fast. But most citizens did not want to give up the springtime celebration, and they started the tradition of parading through the city streets on the first Monday of Lent. By the nineteenth century the structure of the celebration had become more formalized, with members of trade guilds joining together into fife and drum troupes. Each group dressed in distinctive masquerades and carried a cloth-covered lantern lit from inside and painted with images and words commenting on political or social issues. This tradition continues today, and each year the groups select themes for their costumes and painted lanterns that convey social and political criticism. RECIFE AND OLINDA, BRAZIL Recife and its neighboring city of Olinda grew up in the sixteenth and seventeenth centuries as commercial harbors for the rich sugar plantations established by Portuguese colonists in northeastern Brazil, just south of the equator. During the conquest, most of the local Indian population was destroyed or forced into the interior of the country, and African slaves were brought to work in the fields. One of the earliest forms of carnaval introduced by the Portuguese colonists was known as the entrudo (the opening) that consisted of

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raucous water fights and throwing of flour, soot, mud, and other substances. By the late eighteenth century, wealthy citizens of Recife and Olinda began to sponsor lavish costume balls and elaborate street parades with floats and pedestrian orchestras. Since their emancipation from slavery in the late nineteenth century, AfroBrazilians have been able to join in the carnaval celebrations, and today this is a dynamic event with more than a million participants from different social classes. The transition from winter to spring is far from the minds of the residents of Recife and Olinda, thanks to a year-round tropical climate and the fact that Lent and Easter actually take place in their late summer. But the structure of the celebration follows the European urban model, with distinct clubs coming out of trade guilds, religious organizations, and neighborhood associations. Street processions feature costumes, rhythms, and dance drawn from European, African, and mythic Brazilian Indian traditions. TLAXCALA, MEXICO The Tlaxcala area of south-central Mexico has long been inhabited by Nahuatl-speaking people who came under Spanish rule in the early sixteenth century. Spanish and French landlords forced the Indians to labor on their plantations, and Catholic priests worked to convert them to Christianity. European colonists in the city of Tlaxcala were celebrating carnaval by the mid-eighteenth century wearing satirical costumes and masks and running through the streets late at night banging on doors and throwing seeds and confetti. After Mexico gained its independence from Spain in 1821, the number of wealthy Mexicans and Europeans living in this region increased. By the mid-nineteenth century, Carnival took the form of elaborate parties and masked balls where guests performed French quadrilles, or square dances, popular among upper-class society at that time. Under the Mexican government, Tlaxcalan Indians regained much of their freedom and by the late nineteenth century, communities were organizing their own pre-Lent Carnival festivities. These featured men wearing satirical masquerades of the wealthy Europeans and performing square dances they learned from watching the upper-class Mexicans. This springtime celebration gained popularity in the Indian villages, and today it is the most important festival of the year, coinciding with traditional ritual practices related to the coming agricultural season. Groups go through the streets of their neighborhoods, performing in front of the homes of their families and sponsors. The Carnival play still focuses on satirical masquerades and square dancing, but now young women are allowed to join in as dance partners.

Above: Waggis Basel, Switzerland, 2001 Photograph by Peter Tokofsky

Left: Caboclo de LanĂ§a Recife and Olinda, Brazil, 1999 Photograph by Katarina Real

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Diablados Oruro, Bolivia, 1997 Photograph by Barbara Mauldin

ORURO, BOLIVIA Oruro is a mining town in the stark altiplano region of Bolivia, 12,144 feet above sea level. It was founded in 1606 by Spaniards as a base for exploiting rich mineral deposits in the surrounding hills. Aymara and Quechua people of this area were already working the local mines and became laborers for the Europeans. Spanish priests introduced Christianity, encouraging Indians to perform their traditional dances and songs for the Catholic saints’ feast day observances. By the mid-eighteenth century carnaval became an annual event in Oruro. As Indian laborers joined the celebration, city officials made efforts to control rowdiness by naming the Virgin Mary patron saint of the festival. After Bolivia gained its independence from Spain in 1825, upper-class citizens of Oruro largely ignored the indigenous population, and each group had its own Carnival celebration. In the 1940s, with the rise of a socialist movement in Bolivia, members of the upper class came to view the Indian lifestyle and culture as the model for an idealized society. The Indians’ processional dance dramas and masquerades were now seen as national folkloric pageants. Upper- and middle-class citizens began to form their own dance groups modeled after those of the Indians, and the two separate Carnival celebrations in Oruro were combined into one. Today, the costumes and performance themes of the various groups reflect diverse aspects of the cultural history of the region, making Oruro’s Carnival one of the most impressive festivals in all of Bolivia.

Chivarrudo Tlaxcala, Mexico, 1999 Photograph by Barbara Mauldin

PORT OF SPAIN, TRINIDAD AND TOBAGO The small two-island nation of Trinidad and Tobago is located in the green, tropical environment of the West Indies in the Caribbean. French Catholic plantation owners who settled here in the late eighteenth century introduced Carnival and persuaded the local British colonizers to join them in carrying out elegant balls and fanciful masquerades. Enslaved Africans brought to work on the plantations were emancipated in the early

NEW ORLEANS MUSEUM OF ART

nineteenth century, and soon embraced the festival as a symbolic rite of liberation. A variety of cultural traditions drawn from France, England, the United States, and West Africa contributed to Carnival masquerades seen on the streets of Port of Spain throughout the nineteenth and early twentieth centuries. For security reasons Carnival in Trinidad and Tobago was banned during World War II (1939-1945), but since the 1950s it has evolved into a huge celebration with thousands of revelers coming together in processions, music, and dance. Today, Carnival in Port of Spain is known as mas, an abbreviation for mask or masquerade. Ironically, few participants actually wear masks but their costumes convey a variety of themes. The majority of revelers pay to join one of the larger organized groups whose fanciful outfits change from year to year. Some of the smaller groups and individuals prefer to play traditional mas, donning the masquerades that evolved in the late nineteenth and early twentieth centuries. NEW ORLEANS, U.S.A Carnival in New Orleans is known as Mardi Gras— French for Fat Tuesday. The celebration was introduced by French groups from Europe and the Caribbean who settled here at the beginning of the eighteenth century. Following aristocratic European models, the festivities took the form of private balls sponsored by wealthy citizens. On Sunday afternoons enslaved and free Africans, who had been brought here to work on the plantations, were allowed to congregate at a place called the Congo Market. Here they celebrated their own Mardi Gras with music, song, and dance. In the mid-nineteenth century uptown society men began to form secret male societies, known as krewes, that put on public Carnival parades of floats followed by elegant balls for their members. Krewes became a primary aspect of New Orleans Mardi Gras, and over time other social and racial groups in the city formed their own exclusive societies. Today, more than sixty different krewes sponsor public parades of floats and invitational masquerade balls. Some working-class African Americans of New Orleans created Carnival troupes known as Mardi Gras Indians who march through their own neighborhoods on Fat Tuesday. Multitudes of other Mardi Gras revelers congregate in the oldest section of the city, the French Quarter, where they costume, eat, drink, listen to music, and dance in the streets.

Above: Curtis Eustace, King of Carnival Port of Spain, Trinidad and Tobago, 2003 Photograph by Noel Norton Below: Big Chief Allison “Tootie” Montana and other Members of the Yellow Pocahontas Mardi Gras Indian Tribe New Orleans, U.S.A., 1986 Photograph by Syndey Byrd

SUMMARY As in medieval times, laughter and play are the key underlying elements of all of these Carnival celebrations. Risk and improvisation may be aspects of this play, but fundamental rules and regulations allow these to happen. Overall, it is important that all members of a group or larger community take part in the festivities in order to bring everyone to a common level of exhilaration, exhaustion and renewal. ■ ¡CARNAVAL! is on view at NOMA October 21, 2006, through January 21, 2007. This exhibition has been organized by the Museum of International Folk Art in collaboration with the UCLA Fowler Museum of Cultural History. Major funding has been provided by the National Endowment for Humanities, the International Folk Art Foundation, The Rockefeller Foundation, the Neutrogena Corporation, and The Museum of New Mexico Foundation.

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ECHOES OF THE ANCIENT WORLD: Ancient Egyptian, Greek and Roman Art from the Permanent Collection BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

scant five years after the founding of the Museum in 1911, New Orleanian Alvin P. Howard, whose interest in the ancient world and archaeology was longstanding, presented a collection of ancient Greek pottery and Roman glass. The Howard gift was received with enthusiasm and much publicity, thus early assuring that ancient art was a viable component of the permanent collection. However, an early lack of funds for acquisition and the increasing paucity of fine ancient objects predestined this aspect of the collection to a small size. With the exception of ancient glass, which was greatly augmented by the gift of Melvin P. Billups during the 1950s and 1960s, the collection of ancient art remained little known to Museum visitors. This new departmental exhibition focuses renewed attention upon ancient Egyptian faïence and glass, ancient Greek pottery and Roman glass, much of which has not been on exhibition for a number of years. There is a consensus that the making of glass in ancient Egypt had its roots in the ceramic glazes utilized for beads and inlays as long ago as 4000 B.C. The wellknown “Egyptian faïence,” a synthesized ceramic with properties related to glass, may have been misfired or incorrectly formulated and produced a glass-like substance warranting further experimentation. However, the earliest surviving Egyptian glass objects date from the Eighteenth Dynasty, about 1500 B.C. These small early vessels were formed around compacted central cores, which stabilized their form. At the same time that core-formed vessels were produced, ceramic artists continued their trade. One of the most characteristic objects of the New Kingdom— Third Intermediate Period (circa 1500-circa 750 B.C.) were shabtis, small mummiform funerary figures glazed in

turquoise blue with black hieroglyphic inscriptions. The Museum’s ancient ceramics collection includes several such shabtis. As Egyptian might waned, Greek civilization achieved new heights. Among the most highly regarded aesthetic legacies from ancient Greece are pottery vases, which have long been regarded as one of the perfections of Western art. During the sixth century B.C., Attica, the area surrounding Athens, emerged as the primary center of pottery production; by the early fifth century B.C. Athens was the dominant influence on decorative styles for pottery. The earlier Attic wares were of the BlackFigure type in which the slip decoration was applied on the natural red ground. About 530 B.C., a new Red-Figure style developed in which the figural decoration was reserved in the color of the clay, with details drawn in black slip. White grounds also came into use during the sixth century B.C., with the figural decoration painted over a chalky white ground. Such decoration ranged from grand mythological and epic poetic sources to depictions of practically every aspect of daily life. Such painted pottery constitutes the most extensive body of information the modern world possesses about ancient Greek culture. However, such pottery at its best was also an effective synthesis of form, function and decoration. In spite of this level of achievement, Greek vase painting had passed its prime by the time of the construction of the Parthenon, 448 to 432 B.C. Shortly before the birth of Christ, an anonymous Middle Eastern glass artisan discovered the blowpipe, which remains the single most revolutionary advance in glassmaking. Because the glass could be inflated, pieces could be made in a greater variety of form and could be of larger scale. As expertise with the blowpipe progressed, glass vessels became both larger and more

Left to right: DEEP TWO-HANDLED DRINKING CUP (Skyphos), circa 450-400 B.C. Pottery Southern Italy: Apulia Collection of the New Orleans Museum of Art Gift of Tina Freeman. 2004.90

BLACK-FIGURE AMPHORA, circa 530 B.C. Pottery Greece: Attica: Attributed to the Bucci Painter Collection of the New Orleans Museum of Art Gift of Alvin P. Howard. 1916.38

RED-FIGURE WINE PITCHER (oinochoë), circa 400 B.C. Pottery Greece: Attica: manner of the Nikias Paointer Collection of the New Orleans Museum of Art Gift of Alvin P. Howard. 1916.11 Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

sophisticated in form. When Alvin P. Howard presented his ninety-one pieces of ancient Roman glass to the Museum in 1916, it was noted that they were both of large size and unbroken. Still later Roman glass utilized highly developed molds into which the molten glass could be blown, thus simultaneously imparting form and ornament. Highly refined cutting in the cameo technique was also developed, creating highly sophisticated luxury objects in glass. After a protracted period of decline and weakening influence, the city of Rome was overrun by barbarian forces in 476 A.D. That event effectively marked the end of a Roman empire in the West as well as the termination of ancient civilization. However, for many centuries prior to the cataclysmic sack of Rome, the cultures of Egypt, Greece and the Roman empire had produced important work of art, which continue to attract the attention of the modern world and to inspire it. It is the threedimensional echoes of the ancient world that this exhibition celebrates. ■

The exhibition is presented in the Cameo Gallery of the Lupin Foundation Center for the Decorative Arts on the second floor of the Museum. The exhibition continues through Sunday, February 4, 2007. Left: PORTRAIT OINOCHOE, circa 350 B.C. Pottery: painted black ground decorated in white and yellow Greece: probably Attica Collection of the New Orleans Museum of Art Gift of Mr. and Mrs. Arthur Q. Davis. 1982.129 Provenance: Mathias Konsar, New York

Right: BLACK-FIGURE AMPHORA, circa 520-500 B.C. Pottery Greece: probably Attica Collection of the New Orleans Museum of Art Gift of Alvin P. Howard. 1916.19 Photo by Judy Cooper

Book Signing

by Artist Rolland Golden and Author John R. Kemp

Rolland Golden: The Journeys of a Southern Artist Saturday, October 21 6 p.m. – 9 p.m.

(NOMA Members Only)

Sunday, October 22 2 p.m. – 4 p.m. (Open to the General Public)

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

art II of the exhibition Inside the Congo: An Introduction to the Field Research Archives of Frère Joseph Cornet will open on Monday, December 11, at the J. Edgar & Louise S. Monroe Library, Loyola University. Part I was shown at NOMA this past spring and summer. (See Arts Quarterly, June/July/August/September 2006.) Today, Fr. Cornet is recognized as one of the foremost scholars of African art. His archives, now permanently housed at the Monroe Library, are a treasure of information on the art and peoples of the Democratic Republic of the Congo. Most important are the field notebooks, which illustrate not only the art, but also document the ethnography and cultural geography of the region. The Monroe Library now permanently houses this valuable art and ethnographic resource. Part II of the exhibition will feature a sampling of Fr. Cornet’s meticulously composed notebooks consisting of thousands of thumbnail photos, his drawings and diagrams and his thorough notes of the people, the villages and ceremonies he documented. Other components of the exhibition will focus through his photographs on tribal occupations, village architecture and buildings, personal costuming and regalia, performing musicians and dancers, craftsmen at work and death rituals. One feature will be rare photographic documentation of the performance of the large, ndunga masks of the Woyo peoples worn with proportionately voluminous costumes of dried banana leaves that fully cover the dancers’ bodies and resemble small domed shelters.■

The exhibition is supported by a grant from the Louisiana Endowment for the Humanities.

A Kuba chief in his official regalia

A schoolmaster teaching students in a Kuba village classroom

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

NEW ORLEANS MUSEUM OF ART

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

nly two months after Hurricane Katrina devastated New Orleans, the French Minister of Culture and Communication, Renaud Donnedieu de Vabres and President of the Louvre, Henri Loyrette, led a delegation of French diplomats and art curators on a visit to the city and the New Orleans Museum of Art. Wanting to renew their solidarity with our beleaguered city and their desire to assist NOMA during this unprecedented time, the Government of France organized an extraordinary exhibition of more than eighty works from the Louvre, Musée d’Orsay, and museums throughout France. Curated by Francis Ribemont, Director of the Musiedes Beaux-arts, Rennes, and entitled Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France, the exhibition will be on view at NOMA March 3 through June 2, 2007. With paintings by a wide range of artists, including Degas, Toulouse-Lautrec and Picasso, Femme, femme, femme celebrates the emergence of the modern woman. This evolution of women’s roles is presented through several themes beginning with timeless images of domestic life in the family circle from birth to death. Opening with the quiet routines of motherhood, this section includes images of maternal devotion that are both poignant and familiar. The theme of the family circle continues with celebrations of the joys and promise of courtship and marriages. The cycle is completed with the mourning of loved ones lost.

Pablo Picasso (Spanish, 1881-1973) The Bathers, 1918 Oil on canvas. Musée Picasso, Paris (MP61)

In the nineteenth century it became more common for women to work outside the home. Femme, femme, femme explores this modern phenomenon as it affected all social strata. Women of the lower classes worked in the cities as laundresses, café waitresses and sold vegetables and flowers in the market. In the country they harvested fruit, gleaned in the fields and helped the fishermen. Women of the upper classes struggled for increasing recognition as writers, intellectuals and artists. This section of the exhibition includes paintings by artists such as Jean-Baptiste Corot, Honoré Daumier, and Edouard Manet. Another section of the exhibition displays images of leisure activities enjoyed by women of all social classes. There are images of glamorous women attending balls and the opera or meeting for tea in fashionable pastry shops. As depicted by artists such as James Tissot and Kees Van Dongen, women of all classes enjoyed the new entertainments of the cafés. Subjects of seashore resorts and quiet idylls in the countryside attracted artists as diverse as Gustave Caillebotte and Pablo Picasso. Finally, modern women found an emerging independence in activities we now take for granted. They drove cars, rode bicycles and played sports. As the twentieth century dawned these were revolutionary acts. ■

Edgar Degas (French, 1834-1917) Dancers on Stage, 1889 Oil on canvas. Musée des beaux-arts, Lyon (Inv. 1998-29)

Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France is presented by Freeport-McMoRan Foundation. Additional support is provided by the Sheraton New Orleans Hotel. The exhibition is accompanied by a fully illustrated catalogue, which will be available in the NOMA Museum Shop.

2006 Odyssey Ball Takes Visitors to ¡CARNAVAL!

ovember 11 is the date, and NOMA is the place. Odyssey Ball returns, and what a magical evening it will be! After a two-year hiatus caused by Hurricane Katrina, the gala event that has always been a hallmark of the fall cultural season is back. This Forty-First Odyssey Ball will showcase the lively and colorful exhibition ¡CARNAVAL! The Museum will be alive with the frivolity, fantasy and festivity of modern-day carnival celebrations from around the world. What better way to celebrate the rebirth of our beloved city and Museum than a night of carnival gaity? In keeping with our carnival theme, bal masque or black tie is the gala attire. Anticipate excitement because Odyssey Ball 2006 is definitely “not your mother’s Odyssey Ball”! Blaine Kern, Jr.’s Mardi Gras Productions will transform the interior of the Museum into a gorgeous Carnival in Venice. During the Patron Party, the sights and sounds of Carnival in Brazil, as interpreted by Casa Samba’s sexy samba dancers and stilt walkers, will enthrall our patrons. Later in the evening in the Great Hall, ballgoers can dance the night away with the showband E.L.S., to the sounds of the fifties, sixties, seventies and eighties. Or, just sit back and watch the performance: the three ladies who lead E.L.S. put on quite a show. Odyssey Ball is always famous for its music, and this year’s musical entertainment has something for everyone. The House of Blues is back this year, generously sponsoring its Foundation Room in one courtyard venue and the fantastic Caribbean band Bamboula in the Café. So, polish up your dancing shoes because we’re sure your feet will simply not be able to keep still. Delicious hors d’oeuvres and a delectable dinner buffet will tickle your tastebuds. And then of course you will want to bid on something at the best silent auction in town. As of press time for this article, there were more seventy stunning auction items, including art, antiques, jewelry, and weekend getaways. Artists donating paintings to the Odyssey auction this year include Wayne Amedee, Newt Reynolds, Bill Daigrepont, Terrance Osborne, Frederick Guess, Rolland Golden, Charlene Haik, Bill Hemmerling, Beth Lambert, Paula Landrum, Nell Mabry, Shirley Massinter, Elisabeth Villere Tidmore, Catherine Chamlee, Tony Benjamin and Alexander Stolin. Artists donating sculpture include Joan Zaslow, Andrew Brott and Royal Cameo Glass. Art gallery donors include

Casa Samba Photo by Mark Ford and José Garcia

Daniel Bibb of Atlanta, Cole Pratt Gallery, Jean Bragg Gallery of Southern Art, Mann Gallery, Geana’s Art Gallery of Destin, Florida, Michalopoulos Gallery, Steve Jarrett Gallery and Susan Jones Gallery. Beautiful jewelry creations have been donated by Lee Michaels Fine Jewelry, Elizabeth Locke Jewels, Southern Rings, Symmetry Jewelers and Designers, Mon Coeur Jewelry, Mignon Faget, Anne Pratt Designs, and Boudreaux’s Fine Jewelers. Lovely antiques have been donated by Soniat Antiques, Piranesi Antiques, New Orleans Auction St. Charles Gallery, New Orleans Silversmiths, M.S. Rau Antiques, Keil’s Antiques, Passages Antiques, Home Hook & Ladder Antiques and Neal Auction Company. Perhaps a rail party donated by New Orleans Public Belt Railroad or a getaway weekend in New Orleans or San Diego are more your style? How about a seven-day cruise for two, donated by Carnival Foundation. Clothing from Perlis, Ballin’s Limited and Chatta Box, beautiful items for the home from Adler’s, Bevolo Gas & Electric Lights, Hurwitz Mintz, Objets Trouvés, Talebloo Oriental Rugs, As You Like It Silver Shop, The New Orleans Conservation Guild, and Norwalk Furniture are but a few of the other exciting items awaiting your bid. Judy and Tom David and Julie and Ted George are co-chairing the Ball. They are assisted by a dynamic committee of volunteers who are working hard to make the Ball an experience you will long remember. Odyssey Ball is NOMA’s biggest annual fund raiser, and your support is particularly important this year as NOMA continues its recovery from the hurricanes of 2005. Those storms caused approximately $6 million in damage to NOMA’s buildings and Sculpture Garden. Additionally, the Museum remained closed for six months, which meant no income from admissions, shop sales and special events like Odyssey Ball. The recovery challenges presented are the greatest in NOMA’s ninety-seven-year history. Your support is greatly needed and will be greatly appreciated. You are cordially invited to the exciting and entertaining Odyssey Ball 2006. We hope to see you there! ■

Odyssey Ball 2006 is generously underwritten by The Lupin Foundation. E.L.S.

NEW ORLEANS MUSEUM OF ART

The Odyssey Continues: Masterpieces from the New Orleans Museum of Art and from Private New Orleans Collections To Be Exhibited in New York City

o benefit the New Orleans Museum of Art’s Katrina Recovery Fund, Wildenstein & Co. in New York City has organized a fund-raising exhibition entitled The Odyssey Continues: Masterpieces from the New Orleans Museum of Art and from Private New Orleans Collections. Held under the High Patronage of His Excellency Jean-David Levitte, Ambassador of France to the United States, the exhibition includes approximately one hundred European and American works of art dating from the early Renaissance to the twentieth century. On view to the public November 17, 2006, through February 9, 2007, the exhibition includes works by Taddeo di Bartolo, Lorenzo Lotto, Abraham van Bloemaert, François Boucher, Edgar De Gas, Mary Cassatt, George Braque, Max Ernst, Joan Miró, Henri Matisse, among many others. It is fitting that the exhibition take place on the premises of Wildenstein & Co. because there is an important precedent for it in the firms’s history. In 1953 Georges Wildenstein organized a show celebrating the Louisiana Purchase at the Isaac Delgado Museum of Art, as NOMA was called then. Thanks to his initiative, the French National Museums lent numerous masterpieces, and these works later travelled to New York, where they were shown at the Wildenstein gallery. The exhibition is accompanied by a fully illustrated and documented catalogue with luminary texts by Arnaud d’Hauterives, the Perpetual Secretary of the Académie des Beaux-Arts (Institut de France) in Paris whose family has deep roots in Louisiana; Henri Loyrette, President-Director of the Musée du Louvre and one of the world’s authorities on the life and work of the Impressionist Edgar De Gas, whose mother was a native of New Orleans; and Henri de Castries, Chairman of the Management Bord and Chief Executive Officer of the insurance giant AXA, whose company was responsible for protecting assets of the New Orleans Museum of Art in the immediate aftermath of Katrina. Additional texts are by Guy Wildenstein, Ambassador Levitte, and NOMA Director E. John Bullard. The lengthy introduction was written by Joseph Baillio, Vice President of Wildenstein and a native of Louisiana. Opening night festivities will begin on Wednesday, November 15, 2006, with a formal affair followed by a “Creole” dinner prepared by Chef Eric Ripert and his staff at Le Bernadin, the finest French restaurant in New York. Individual seats cost $5,000. The following evening, November 16, the gallery will host a champagne reception with tickets available at $300 per person. These two events will bring in much-needed revenues for the restoration of the New Orleans Museum of Art. For further information, contact Wildenstein & Co., 212-879-0500. ■

Top to bottom: Lorenzo Lotto (Italian, Venetian, circa 1480-1556) Portrait of a Bearded Man, circa 1530-35; oil on canvas Collection of the New Orleans Museum of Art The Samuel H. Kress Collection. 1961.79 Edgar De Gas (French, 1834-1917) Portrait of Estelle Musson Degas, 1872; oil on canvas Collection of the New Orleans Museum of Art Museum Purchase by Public Subscription. 1965.1 Amedeo Modigliani (Italian, 1884-1920) Portrait of a Young Woman, 1918; oil on canvas Collection of the New Orleans Museum of Art Gift of Marjorie Fry Davis and Walter Davis, Jr., through the Davis Family Fund. 1992.68

ARTS QUARTERLY

New Orleans Jeweler Mignon Faget Presents Generous Contribution to Aid the State’s Cultural Economy

n a luncheon for more than three hundred guests held in August at the J.W. Marriott Hotel, Lieutenant Governor Mitch Landrieu and representatives of the Louisiana Cultural Economy Foundation celebrated the efforts of local artists, craftspeople and musicians in helping the state economy recover from Hurricane Katrina and Rita. The guest of honor, renowned New Orleans jewelry-maker Mignon Faget, presented a check for $125,000 to the Foundation. The donation will fuel grants for independent artists, small cultural businesses and arts organizations. Faget also announced her plans to continue donating to the LCEF through sales from her new one-year anniversary amulets. Lieutenant Governor Landrieu emphasized the importance of protecting Louisiana’s unique culture, which he says can be a core economic engine for the state’s recovery. Landrieu has worked to create jobs through music, food and other creative industries since launching the Cultural Economy Initiative in 2003. Just four days before Katrina made landfall, Landrieu hosted the second annual cultural economy summit, where participants learned that the cultural industries account for 144,000 jobs in the state. “After the storms, our artists and small businesses took an enormous hit and were in critical need of financial assistance,” Landrieu said. "”he cultural community did not wait for governmental assistance, but rather got to work. The independent Louisiana Cultural Economy Foundation quickly funded and administered a relief grant program,” said Landrieu. Faget’s donation to LCEF represents a percentage of her Fleur de Lis sales through December 31, 2005. She announced early in 2006 that she would also donate a portion of sales from her Fleur de Lis “Rebirth” line. The Fleur de Lis Collection quickly became a national calling card after Katrina, selling steadily since her main Uptown shop reopened on October 13, 2005. “It never occurred to me that people would want to buy jewelry when they needed refrigerators,” Faget said in her luncheon remarks, “but it kind of became a badge of honor.”

At the luncheon, Faget also announced she had selected the New Orleans Center for Creative Arts, the New Orleans Museum of Art, Contemporary Arts Center, the Newcomb Art Gallery and the Ogden Museum of Southern Art as the recipients of funding from her donation. Local cultural entrepreneurs expressed their gratitude for LCEF’s relief efforts in a brief documentary shown at the luncheon. Many were recipients of the Foundation’s relief grants, almost $600,000 of which have been distributed so far. The Louisiana Cultural Economy Foundation was founded as a catalyst for growth within the state’s burgeoning cultural economy. The foundation’s primary mission is to support the development and enhancement of the unique cultural industries of Louisiana. Funds generated provide support for: individual artists and artisans who are active in their disciplines; artists, artisans and cultural originators applying as small businesses; galleries, museums, collectives and nonprofit cultural organizations. The Foundation is now accepting donations for immediate and ongoing aid to people and organizations of the Louisiana cultural industries impacted by hurricanes Katrina and Rita. The Louisiana Cultural Economy Foundation has received 370 grant applications and will distribute $600,000 in grant awards by the end of August 2006. The Louisiana Cultural Economy Foundation is a 501(c)(3) organization. To learn more about the LCEF, go to www.crt.state.la.us. Mignon Faget is a shining example of the cultural economy. Her arts entrepreneurship has grown to include four galleries. For more than thirty-five years, Mignon Faget’s jewelry designs have been hand-crafted in her New Orleans studio. Having been steeped in the culture and traditions of her birthplace, she has an unquestionable enthusiasm for the city in which she lives. Faget has received many awards for her designs and entrepreneurship, including Fashion Group International awards, the Lantern Award, the Mayor’s Arts Award, and the Louisiana Legend Award from the friends of Louisiana Public Broadcasting. ■

Lieutenant Governor Mitch Landrieu and Mignon Faget

NEW ORLEANS MUSEUM OF ART

NVC Events Continued in 2006 with LOVE in the Garden and Fabergé Egg Hunt

he New Orleans Museum of Art Volunteer Committee, headed by Chair Sanda Groome, didn’t skip a beat in 2006 as its members staffed the NOMA grand reopening the weekend of March 3 and unveiled not one, but two spring fund raisers in April. The first ever Fabergé Egg Hunt was held in NOMA’s Sydney and Walda Besthoff Sculpture Garden on April 9. Chairs Kim Elms and Kristen Hopper greeted more than seven hundred guests—young and old. Perfect weather and an appearance by the Easter Bunny highlighted this sweet event chock full of entertainment (Papillion and the McGehee School third- and fourth-grade choir), activities (storytelling, face-painting, spacewalk and Fabergé-inspired crafts), and refreshments. Sponsors included Elmer’s Candies and Little Laughter. The festivities culminated in an egg hunt, with special prizes for the finders of a golden egg. This NVC fund raiser earned more than $5,000 for NOMA and provided a delightful afternoon for three generations of New Orleanians. Katrina cancelled the September 2005 LOVE in the Garden, so the NVC took no chances with its rescheduled April 29, 2006, date. If Mother Nature intervened, an elegant and dry solution was a short walk away. Sure enough, the Saturday night event could not be held in the Sculpture Garden due to inclement weather, but NOMA’s Great Hall came alive with the hard work of LOVE in the Garden Chair Diane Walmsley and her dedicated committee: Kay McArdle, food procurement and delivery; Cammie Mayer, signage, invitations and tickets; Janet Frischhertz, food logistics; Judy David, entertainment; Ellen Miclette, decorations and Jean Taylor, beverages. Bobby J and Stuff Like That provided the music and more than twenty-nine restaurants generously donated the food. Chair Diane Walmsley presented the NOMA board with a check for more than $29,000 from this fun event. ■

Top to bottom: LOVE in the Garden Chair Diane Walmsley with husband Hughes Walmsley NVC Chair Sanda Groome, NOMA Board of Trustee member Paul J. Leaman, Jr., LOVE in the Garden committee member Kay McArdle

The Elmer’s Easter Bunny made a special appear at the Fabergé Egg Hunt

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Linda Barousse, NOMA Board of Trustee member Phyllis Taylor, Sheila Davlin

Hurricane Katrina Brings Monet, Degas and Others to Louisiana Art & Science Museum

mpressionists and Modern Masters from the New Orleans Museum of Art opened at the Louisiana Art & Science Museum on September 16, 2006. More than sixty paintings and works on paper from NOMA’s collection, including several rarely seen works, are on view through January 7, 2007, as a symbol of NOMA’s gratitude for Baton Rouge’s hospitality and kindness in the wake of Hurricane Katrina. The exhibition marks the first time that so many works of art by renowned artists such as Monet, Degas, and Picasso are displayed together in Baton Rouge. Impressionists and Modern Masters showcases major painters associated with the artistic movements occurring between 1860 and 1950, a period characterized by an explosion of artistic innovation. Besides works by Renoir, Monet, Degas, Picasso and other household names in art, the paintings of significant artists such as Amedeo Modigliani and Odilon Redon, whose paintings are rarely seen, are on display. Although the exhibition features many different approaches to art—impressionism, cubism, and surrealism, among others—together they present a deliberate shift from the traditional forms of expression toward modernism. The exhibition is grouped into still lifes, portraits, and landscapes, which were favored subjects of the early modernists. Within these three categories, the paintings are arranged so as to open up new ways of seeing the work of these familiar masters. For instance, Edgar Degas’s impressionistic pastel Dancer in Green (circa 1878) and a line drawing by Toulouse-Lautrec hang alongside Joan Miró’s surreal Portrait of a Young Girl (1935). Among the landscapes, Camille Pissarro’s softly setting sun in Soleil couchant á Eragny (1894) is beside the hard blue sky of Raoul Dufy’s Window at Nice (1923). LASM executive director Carol Gikas said, “The New Orleans Museum of Art has been very generous with LASM through many years; we were pleased to be able

to help them after the storm. This exhibition is a continuation of our relationship, for which we are most grateful.” NOMA Director E. John Bullard says that the loan of these outstanding artworks is a way for the New Orleans Museum of Art and the city of New Orleans to thank LASM and the Baton Rouge community for hosting so many New Orleanians in the aftermath of Hurricane Katrina. “LASM provided office space and support to NOMA for nearly three months due to Hurricanes Katrina and Rita,” Bullard said. NOMA members who present their membership card will be receive LASM member discounts to Impressionists and Modern Masters and all related events throughout the exhibition.. ■

Organized by LASM, the exhibition has been supported by the Baton Rouge Convention and Visitors Bureau; the Samuel S. Lipscomb and Joseph W. Annison Family Memorial Fund through the Baton Rouge Area Foundation in memory of Clara and J.W. Annison; Moo and Martin Svendson; The Irene W. Pennington Foundation; The Advocate; Cox Communications; Lamar Companies; the John and Virginia Noland Fund through the Baton Rouge Area Foundation; Lee Michaels Fine Jewelry; Omni Bank; Amedisys Inc.; The Joseph Sternberg Memorial Fund through the Baton Rouge Art Foundation; Baton Rouge Business Report- 225; Guaranty Broadcasting; La Vie Magazine; Whitney National Bank; The Arts Council of Greater Baton Rouge; Baton Rouge Journal; LUBA.

Joan Miró (Spanish, 1893-1983) Portrait of a Young Girl, 1935 Oil with sand on cardboard 41-3/8 x 29-1/4 inches Collection of the New Orleans Museum of Art Bequest of Victor K. Kiam. 77.294

Far Right: Edgar Degas (French, 1834-1917) Dancer in Green, circa 1878 Pastel on paper 18-1/4 x 11-1/2 inches Collection of the New Orleans Museum of Art Gift of Charles C. Henderson in memory of Nancy S. Henderson. 74.282

NEW ORLEANS MUSEUM OF ART

ARTS QUARTERLY

Join A Circle and Upgrade Your Support of NOMA

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

•

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

•

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: •

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

•

A special evening program with the Museum’s Director

•

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

•

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

•

For private parties, elegant private galleries are available for rental

•

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

•

A special series of Curators’ Talks

•

A special reception in the Sculpture Garden

•

Listing in the Annual Report

•

Special recognition in Arts Quarterly

•

Two complimentary publications selected by the Museum

•

Advance tickets for Members’ lectures

•

Advance announcements for special travel programs

•

Complimentary membership in a Friends Group of your choice

__________________________________________________

•

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

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

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.

ARTS QUARTERLY

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

NOMA’s Katrina Recovery Fund Receives Support from National Corporations, Foundations, Museum Organizations and Individuals

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 to NOMA’s Katrina Recovery Fund as of August 31, 2006. Donations to NOMA’s Katrina Recovery Fund should be mailed to the New Orleans Museum of Art, P.O. Box 19123, New Orleans, Louisiana 70179-0123. ■

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

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

CORPORATE Altria Group, Inc. Arthur Roger Gallery Cheim & Read Gallery Deutsche Bank America’s Foundation General Exploration Co Inc. Louisiana Public Facilities Authority M. S. Rau Antiques LLC Sizeler Realty Co., Inc. United Technologies Wequasett Inn Resort and Golf Club

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

INDIVIDUALS Ann Cox Chambers Mignon Faget Eric Fischle Sandra Freeman Mrs. John D. Guthrie Paul J. Leaman, Jr. Paula L. Maher James McClennan George Mills Leonard and Susan B. Nimoy Wanda O’Shello Kurt Overton Lisa and Jonathan Rotondo-McCord Greg Salter Jean Stein Malcolm Hewitt Weiner George and Wendy Rodrigue

AXA GALLERY GALA, NEW YORK INDIVIDUALS Mr. John C. Abajian Mrs. Stephen E. Ambrose Mr. Lawrence T. Babbio, Jr. Mr. and Mrs. F. Macnaughton Ball, Jr. Ms. Roberta P. Bartee Mrs. Anita Friedman Berman Mr. and Mrs. John D. Bertuzzi Ms. Franklin Boyd Mr. and Mrs. Ralph O. Brennan Mr. and Mrs. Edgar E. Bright, Jr. Mrs. Barbara Viavant Broadwell Ms. Donna Brydson Mr. E. John Bullard Mr. and Mrs. Joseph C. Canizaro Michael and Marie Capellas Mr. Russell L. Carson Mr. and Mrs. Frank Caufield Mr. and Mrs. John Clemmer Dr. and Mrs. Carmel Cohen Mr. and Mrs. James G. Coulter Mr. Douglas S. Cramer Ms. Barbara D. Currier Mr. and Mrs. John Curtis Mr. and Mrs. Richard Danziger Mr. and Mrs. Maxwell Davidson IV

NEW ORLEANS MUSEUM OF ART

Mrs. Mary Davidson Mr. William J. Deasy Mrs. Ruth delaGueraniere Mr. and Mrs. D. Frank Dixon Ms. Jean Doumanian Mr. George B. Dunbar Mr. and Mrs. Prescott N. Dunbar Mr. Hayden Dunbar Dr. and Mrs. John Ollie Edmunds, Jr. Allison S. Elsee Ms. Julia S. Elsee Margaret Evangeline Eydale Mr. Jeffrey J. Feil Professor and Mrs. Meyer Feldberg Linda Fendley D.F.K. Finlay Mr. Edward Finnegan Julia Fishelson Barbara Fleischman Charles Fleischmann Mr. and Mrs. Richard W. Freeman, Jr. Alexandra D. Georges Mr. and Mrs. Peter Georgescu Mr. and Mrs. Louis Germano Dr. Kurt A. Gitter and Mrs. Alice Rae Yelen Mary Louise Guertler Ms. Agnes Gund and Mr. Daniel Shapiro Ms. Patricia Hambrecht Mr. and Mrs. Stephen A. Hansel Marjorie and Gurnee Hart Mr. Louis H. Haym Peter J. Hicks Mary Tavener Holmes Mrs. Killian L. Huger, Jr. Ms. Jaqueline Humphries Jennifer Maguire Isham Mr. and Mrs. Harold B. Judell Mrs. Gloria S. Kabacoff Mrs. George M. Kaufman Grace and Sanford Kaynor Dodie Kazanjian Mr. and Mrs. Michael W. Kearney Anne Keating Dr. and Mrs. Henry A. Kissinger Charles D. Klein Susan F. Kline Mr. Michael S. Kramer Mr. George C. Lancaster Loeber Landau Mr. Richard Landy and Mrs. Landy Jo Carole Lauder Mr. Paul J. Leaman, Jr. Mr. Lee H. Ledbetter Nicholas B. Lemann Mrs. Lewis Liman Mr. and Mrs. George L. Lindemann Jesse Robert Lovejoy Al and Gail Maiolo Mrs. Shirley R. Masinter Mr. Jeremy R. Michael Rosetta A. Miller Donald K. Miller Mr. and Mrs. R. King Milling Mrs. Elaine Mintz

ARTS QUARTERLY

Mr. and Mrs. J. J. Morrison, Jr. Mr. Louie Mtisu Mr. Jonathan Neil Mary Lockett Nelson Patrick and Kim Nettles Dr. and Mrs. John L. Ochsner Ms. Kathleen O’Grady Marie D. O'Neill Janice and Roger Oresman Dr. Howard and Dr. Joy D. Osofsky Ms. Judith Y. Oudt Jane B. Owen Daniel and Nancy Paduano Mr. Geoffrey S. Paul Nicholas and Carol Paumgarten Drs. Paul and Virginia Pellicci Mr. and Mrs. R. Hunter Pierson, Jr. Max Pine Mr. and Mrs. O. Miles Pollard, Jr. Mr. and Mrs. Joseph Rault Mr. and Mrs. Stan Rawn Mr. and Mrs. William Rayner Mr. and Mrs. Howard Read Mr. and Mrs. James J. Reiss, Jr. Ms. Bryce W. Reveley Daniel and Barbara Ribacoff David Rockefeller Kenneth and Ellen Roman Mr. and Mrs. Benjamin M. Rosen Mr. and Mrs. Richard Rosenberg John Parker Roy Mr. and Mrs. Frederic Rubinstein Mr. and Mrs. Joshua Ruch Mrs. Dominick Russo, Jr. and Ms. Andrea Heebe Mr. and Mrs. John K. Saer Vera Plaskon Safai Jane Safer Mr. Ira Sahlman Didi and Oscar Schafer Ms. Janet L. Schinderman Mr. and Mrs. Lawrence Schloss Mr. Jan Schoonmaker Katie Schwab Mr. Richard A. Shaffer Ms. Sharene Shariatzadeh Mr. and Mrs. Robert Shelton Mr. and Mrs. Stephen Sherrill Mr. Frank V. Sica Mr. and Mrs. Rodney R. Smith Mr. and Mrs. Baker Smith Mr. Stephen Sondheim Mr. Robert Sonnier Mrs. Frederick M. Stafford Mrs. Mary E. Stern Mrs. Harold H. Stream, Jr. Mrs. Patrick F. Taylor Clara P. Walmsley Mr. William M. Weiant Ms. Rosalyn Ditta Weinstein Mrs. John N. Weinstock Mr. Gerald Weissman and Mrs. Weissman Ian A. Weyehauser Mr. Charles Lewis Whited, Jr. Mrs. Nan S. Wier

FOUNDATIONS AND CORPORATIONS Ann Kendall Richards, Inc. Anncox Foundation, Inc. The Annette Urso Rickel Foundation, Inc. AXA Art Insurance Corp. AXA Equitable Life Insurance Company AXA Foundation The Azby Fund Barbara and Donald Tober Foundation Bialkin Family Fund Inc. BLL Foundation The Broad Art Foundation Bronx Arts Ensemble Caroline and Charles Ireland Foundation Catherine Associates, LLC Charina Foundation, Inc. The Chazen Foundation The Dana & Stephen Hansel Family Foundation Inc. Ferer Foundation The Fertel Family Foundation Hazen Polsky Foundation Heymann-Wolf Foundation The James Family Charitable Foundation Janklow Foundation The Jim and Linda Robinson Foundation, Inc. The John R. Jakobson Foundation, Inc. John W. Deming and Bertie Murphy Deming Foundation Kent School Corporation Kraus Family Foundation Lacroix Investment Co., LLC The Leonard & Evelyn Lauder Foundation Lehman Brothers LKBOC, LLC The Martin Bucksbaum Family Foundation May and Samuel Rudin Family Foundation The McCormick Company of Louisiana Metropolitan Philanthropic Fund Inc. N.O. On Stage/Le Chat Noir One Canal Place LLC Parkside Foundation Richard S. and Karen LeFrak Charitable Foundation, Inc. The Robert J. Hurst Foundation The Rosenstiel Foundation Rudin Management Co. Inc. Sherrill Foundation Sotheby’s Strategic Hotel Funding, L.L.C. Tishman Speyer Properties, LP Wildenstein & Co., Inc. The William and Mary Greve Foundation, Inc. William T. Kemper Charitable Trust

CORPORATE MEMBERSHIP

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

NOMA welcomes this new corporate member: CONTRIBUTOR: Aquatic Gardens, 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 Lemle & Kelleher The Sydney and Walda Besthoff Foundation

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

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 Aquatic Gardens 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.

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

ASSOCIATE Baker CAC, Inc. Bowie Lumber Associates Dauphine Orleans Delta Petroleum Co., Inc.

NEW ORLEANS MUSEUM OF ART

ARTS QUARTERLY

O N T R I B U T I O N

he New Orleans Museum of Art has established a number of special funds for gifts in honor of or in memory of friends or family members or to commemorate an event. Recipients or their families will be notified of the gift and will be acknowledged in Arts Quarterly. For information on NOMA special funds, call (504) 658-4100. Donations for all funds should be mailed to the New Orleans Museum of Art, P.O. Box 19123, New Orleans, Louisiana 70179-0123. ■

BERNICE NORMAN FUND IN MEMORY OF BERNICE NORMAN: Janet L. Daley Billy and Doris Norman

DECORATIVE ARTS FUND IN HONOR OF JOHN HARKIN’S BIRTHDAY: Mr. and Mrs. Harry Rosenberg

IN MEMORY OF

DR. SOL STERN:

JOHN BULLARD:

Rose P. Mendlinger Mr. and Mrs. Stanley Fried Joan Oppenheim Camille K. Baer Pat Alexander David Forsyth Mr. and Mrs. Martin Burnstein Linda Green/Michael Brown Maxine, Dona, Dale Winston

Dr. and Mrs. James Pierce

LUCILLE BASINGER:

GEORGE MONTGOMERY’S BIRTHDAY:

Jeanette Solomon

Brooke Duncan

THEODORE DRELL:

WENDY AND GEORGE RODRIGUE:

Carl Barbier Gabrielle Brister Rebecca F. Doherty William Edmundson Jimmy R. Faircloth, Jr. Mr. and Mrs. Chuck Fowler Mrs. Jackson Galloway Gold, Weems, Bruser, Sues and Rundel Richard T. Haik Robert G. James Mr. and Mrs. Michael Leleux Joan Mangan Honorable Tucker L. Melancon Franklin H. Mikell Ashok M. Pinto Mr. and Mrs. Robert T. Radcliff Caroline J. Smilie David Sobel Sarah C. Stark Paul D. White

Mara and Stephen Kupperman

KATRINA RECOVERY FUND

THOMAS B. LEMANN’S BIRTHDAY: Mr. and Mrs. Benjamin Rosen Brook H. Duncan

JOEL WEINSTOCK’S BIRTHDAY: Mr. and Mrs. Benjamin Rosen Carol Wise Roswell J. Weil

SHARON LITWIN’S BIRTHDAY: Kurt Overton Greg Salter

DEE MOSES’ BIRTHDAY: Mr. and Mrs. Paul S. Rosenblum

ROSEMARIE FOWLER’S BIRTHDAY: Anne B. Feld

LILLIAN SMITH’S BIRTHDAY: Lucia B. Smith

JUDY COOPER: Mrs. Manuel R. Saavedra

FRANK RITTER’S BIRTHDAY: Mr. and Mrs. Daniel Dechert

MOISE S. STEEG’S BIRTHDAY: Eve Hirsch Clarence Steeg Clarisse S. Schleichardt Jacklyn S. Simms

HELEN BULLOCK: Mr. and Mrs. Harry Rosenberg

IN MEMORY OF IN HONOR OF

ELISE PLAUCHÉ EDUCATION FUND

Dorian Bennett

Wanda O’Shello Kurt Overton Greg Salter

DR. SOL STERN:

IN HONOR OF ELAINE MINTZ’S 80TH BIRTHDAY: Dr. and Mrs. Carl Adatto Joel and Burt Myers

IN MEMORY OF GEORGE “STAR” MAYER: Kurt Overton Greg Salter

MR. AND MRS. JACK DIENES: Dr. and Mrs. Larry Zaslow

ADELE ADATTO’S BIRTHDAY:

LIBRARY FUND

Irwin and Julanne Isaacson

JACKIE SULLIVAN RECEIVING DELGADO AWARD: Adele and Carl Adatto

IN MEMORY OF ELLIS MINTZ: Mr. and Mrs. John Dupy Dr. and Mrs. Julian Sims Ann R. Duffy

JOYCE WEIN:

PAUL J. LEAMAN, JR.’S BIRTHDAY:

IN HONOR OF JACKIE SULLIVAN RECEIVING THE DELGADO AWARD: Leslie Curran Jean Taylor

THE MARRIAGE OF LINDA AND PETER MAYER: Marie and Bob Wolf Irma and Gus Friebaum

Carol and Jerry Dawson Richard Gilder Jeanette Solomon Mr. and Mrs. Moise Steeg, Jr. Dr. and Mrs. Ernest Cohen Mr. and Mrs. Thomas J. Kearney Mrs. Herbert J. Kearney

BETTIE CONLEY HELIS: Karen S. Matteson Don and Dorothy Stuart Mr. & Mrs. James L. Ritchey Janice Blivas Betty Killeen Elfriede C. Schwab Mrs. Toby L. Schaffer MargaretWest

HANNAH BETTY STITCH BLUMENTHAL: Florence Andre Ms. Camille K. Baer Sarah R. Beyer Michael Brown and Linda Green John Bullard

NEW ORLEANS MUSEUM OF ART

Greg Chacharon Mr. and Mrs. Malcolm M. Dienes Mr. and Mrs. Prescott N. Dunbar J. David Forsyth J. Donald Frail Camilla Franklin Mr. and Mrs. Fred Guggenheim Mrs. Byrde Haspel Mr. and Mrs. Edward Heller Mrs. S. Herbert Hirsch Mr. and Mrs. Ed Hoffman Glabman-Himes, Inc. Mr. and Mrs. Irwin Isaacson Mr. and Mrs. Byron Kantrow Paul J. Leaman, Jr. Mr. and Mrs. Tom Lewis Mr. and Mrs. Winston Lill Mr. and Mrs. Charles B. Mayer Mr. and Mrs. Edgar C. O’Neal Mr. and Mrs. Ashton Phelps, Jr. Jane Phillips Betty L. Moss Carol S. Rubenstein Mark L. Savin Mr. and Mrs. Ed Schlesinger Robert Schlesinger Mr. and Mrs. Harry C. Stahel Mary Ann Sternberg Mrs. Saul Stone Sydney Touchstone Officers and Employees Whitney National Bank Catherine C. WolfX

LEAH HIPPLE MCKAY:

EVELYN DANIEL COX:

EDWINA REISFIELD:

Mr. and Mrs. Hirschel Abbott John Bullard Marilyn Dittmann Mr. and Mrs. Richard W. Freeman Jane R. Hobson Mr. and Mrs. Mike Krawcheck Paul Leaman, Jr. Molly Reily Mr. and Mrs. Vaden Shadden, Jr. William Shannon Jackie Sullivan Mr. and Mrs. R. Preston Wailes Sybil M. and D. Blair Favrot Family Fund Anne and King Milling R. Ann Ford

Mr. and Mrs. Prescott Dunbar Dr. and Mrs. Carl Adatto Betty Moss

THE MOTHER OF MR. AND MRS. EARL FALGOUST:

Paul Leaman

Sherry and Charles Snyder

SUSAN NUNEZ: Dorian Bennett

IN HONOR OF

RENALDO THOMAS:

JEANETTE SOLOMON:

Harry Rosenberg

Pat and Catherine Carrigan Eric Barefield Ronda R. DeForest Rose Rita Gray Mr. and Mrs. Stephen Casamento Mr. and Mrs. Elliott G. Courtright Ray and Norma Liner Kim C. Comfort Mr. and Mrs. Joseph Dimm Mr. and Mrs. Calvin Quatroy

PHILIP L. KAIK, SR.:

Mr. and Mrs. Benjamin Rosen

MRS. HENRY E. BRADEN: Mr. and Mrs. Charles B. Davis

IN MEMORY OF ALMA MINTON EDMONDS FRITCHIE: Shirley Rabe Masinter

GEORGE W. KRUGER: Christopher K. Ralston

MARY PETERS GILBERT: Shirley Rabe Masinter

GEORGE R. SIMNO, JR.: Mrs. Manuel R. Saavedra

GUS LONGORIA: Mr. and Mrs. James Lyle Taylor

MAYER MAYER: Mrs. Manuel R. Saavedra

VERNON VIDACOVICH: Mr. and Mrs. James Lyle Taylor

HARBERT S. “GREG” GREGORY: Shirley R. Masinter Bradley

MAE TOYE:

FOR THE LOVE OF FLOWERS

Fred and Harriette Beeson Erin Simpson Susan and Frank Inman

Sandra Freeman New Orleans Town Gardeners

VICKY F. VICKNAIR: Mr. and Mrs. Charles Snyder

STEPHEN JOSEPH: Mr. and Mrs. Charles Snyder

NVC SCULPTURE GARDEN FUND IN HONOR OF MARTHA FISHER: Entergy Corporation

MRS. TITIHE C. POTTHERST: Ann I. Robinson

ROSEMARIE FOWLER’S BIRTHDAY: Frank Adams

BRADY M. SIMONTON: Dampse McMullen Aylette Dickman Charlie and Kathy Middleton Silas Simmons Mary Ann B. Jones Family Bazile and Ann Lanneau Mr. and Mrs. Charles W. Dupre

MARIE GREVE:

KATHRYN B. GORE:

IN MEMORY OF

NORMA JEAN BOUGERE: MARTHA ANN SAMUELS: Friends at Whitney Bank

ExxonMobil Corporation

NANCY POMIECHOWSKI: Mr. and Mrs. Charles B. Mayer

EVELYN COX: Mr. and Mrs. Charles B. Mayer

GEORGE MAYER: Kay McArdle

INA GODCHAUX: Betty Moss

PHOTOGRAPHY FUND

J. T. GIBSON: Christopher K. Ralston

ROBERT NELSON: Dorian Bennett

IN HONOR OF BRENT BARRIERE’S BIRTHDAY: Mr. and Mrs. Harry Rosenberg

MARALEE CRUTCHER: Mr. and Mrs. Benjamin Rosen

JASON DIBIASO’S BIRTHDAY:

PATRICK HARDING:

Kurt Overton Greg Salter

Paul Leaman, Jr.

HOWARD J. SMITH:

Jane Phillips

PAUL WESTERVELT:

Mrs. Joseph S. Bolton

PATRICK GOWLAND:

NVC FLOWER FUND

Harry Rosenberg

Mr. and Mrs. Leon Godchaux

Shirley R. Masinter

LYNN ILLES: Mr. and Mrs. Thomas B. Favrot

NAOMI MARSHALL: Mr. and Mrs. Darryl Berger Dorian Bennett

ARTS QUARTERLY

IN MEMORY OF MIMI LUCAS: Mr. and Mrs. Harry Rosenberg

LEAH H. COHEN EARLY: Harry Rosenberg

JOSEPH DESALVO: Harry Rosenberg

JOHN KARMER: Harry Rosenberg

RICHARD LIVINGSTON: Mr. and Mrs. Harry Rosenberg

P. ROUSSEL NORMAN FUND IN HONOR OF SUNNY NORMAN’S BIRTHDAY: Mr. and Mrs. Frank Norman Mr. and Mrs. Donald Rodriguez

IN MEMORY OF SUNNY NORMAN: Mrs. Camille K. Baer Jack C. Benjamin Michael Brown and Linda Green Perry Brown Mr. and Mrs. Darryl D. Berger Harry J. Blumenthal, Jr. John Bullard Jim Conner

Sam Corenswet, Jr. and Jane Bories Mr. and Mrs. Charles B. Davis Mr. and Mrs. Prescott N. Dunbar Lin Emery Mr. and Mrs. D. Blair Favrot Mr. and Mrs. Richard W. Freeman Margo Friedman Margot S. Garon Buzz Harper Mrs. Joseph Haspel, Jr. Mrs. S. Herbert Hirsch Mr. and Mrs. David Kerstein Jane Kohlman Paul Leaman, Jr. June L. Leopold Dr. and Mrs. Samuel Logan Paula L. Maher Melissa Mantel Selma Mantel Mr. and Mrs. Charles B. Mayer Betty L. Moss Colette Newman Mr. and Mrs. Ashton Phelps, Jr. ane Phillips Mr. and Mrs. Donald Rodriguez Mr. and Mrs. Benjamin Rosen Mr. and Mrs. Paul S. Rosenblum Mr. and Mrs. Ed Schlesinger Robert Schlesinger Mrs. Shepard H. Shushan Mr. and Mrs. Harry C. Stahel Lynne Rothschild Stern Mrs. Saul Stone Phyllis Taylor Joel Weinstock Mr. and Mrs. Robert Wolf

SCULPTURE GARDEN FUND IN HONOR OF JIMMY JEFFREY: Student Government Association of Vestavia Hills High School

JIM TYRELL’S BIRTHDAY: Kurt Overton Greg Salter

IN MEMORY OF ELIZABETH BLITCH: Shirley R. Masinter

HELEN PATTON COX: Paul J. Leaman, Jr.

EVELYN DANIEL COX: Kurt Overton Greg Salter

TEAL BENNETT ACQUISITION FUND IN MEMORY OF DR. TEAL BENNETT: Janis van Meerveld

NEW ORLEANS MUSEUM OF ART

WAYS OF GIVING T

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

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

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

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

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

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

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

For more information about any of these suggested methods of giving to NOMA, call (504) 658-4115.

Special Members’ Pre-Holiday Shopping Event ONE DAY ONLY! Monday, November 20 8 a.m. – 6 p.m. All Members Will Receive a Special 20% Discount on Everything in the NOMA Shop. Special Tables with Great Bargains. Have Your Pick of the Holiday Season’s Best Gifts at Substantial Savings.

The NOMA Museum Shop ARTS QUARTERLY

NOMA EDUCATION: 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 a fall session of art classes for children 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 children 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 Saturday art sessions are held on October 7, 14, 21 and November 4, 2006 (no class on October 28). The cost of the session of four classes is $50 for members of the Museum and $65 for nonmembers. Please pay in advance, pre-registration is required. Classes are limited to twenty, students and all materials are included in the fee. 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.org, New Orleans Museum of Art, PO Box 19123, New Orleans, LA 70179-0123, or call 504-658-4113.

Saturdays, October 7, 14, 21, November 4, 10 a.m. – Noon, ages 5 – 7 Merry Mask Makers It’s Carnival time! In this class geared for ages five through seven, students will explore the different cultures that celebrate carnival. Students will create masks and costumes of their own design as well as learn about the cultures from the NOMA exhibition, ¡CARNAVAL! Students also will create costumes that reflect the various cultures that they will study. Float design and musicmaking will be explored as students make the most of the carnival.

Saturdays, October 7, 14, 21, November 4, 1:30 – 3:30 p.m., ages 8 – 12 Let’s Celebrate It’s Carnival time! Students will explore the many cultures that celebrate Carnival as seen in the exhibition ¡CARNAVAL! Based on the various cultures that they will observe, students will create masks and costumes using a variety of materials and constructions. Float design and music-making also will be explored in this class structured for students ages eight to twelve. ■

NOMA’s fall art classes celebrate Carnival as seen in the exhibition ¡CARNAVAL!

Classic New Orleans Films Series

Enjoy a visit to NOMA and revisit classic Hollywood movies. This once-amonth series features classic movies that are set in or about New Orleans. The films take place in NOMA’s Stern Auditorium and begin at noon. For more Classic New Orleans Films information, please contact the curator of education, Kathy Alcaine, at kalcaine@noma.org or 504-658-4113.

Saturday, October 21, Noon The Cincinnati Kid (1965, 102 min.) Set in New Orleans, this classic poker film features Steve McQueen as an up-and-coming poker player taking on a longtime master of the game played by Edward G. Robinson. Not only is there a small fortune at stake, but also the status of being the top

player. Unfortunately, the trusted dealer has been blackmailed into rigging the game. The film also features Ann-Margaret and Karl Malden.

Saturday, November 25, Noon Belle of the Nineties (1934, 73 min.) Mae West plays Ruby Carter, an 1890s blues singer who moves her operations from St. Louis to New Orleans. Singing such songs as “My Old Flame” and “Memphis Blues” in front of Duke Ellington’s orchestra, Ruby becomes the toast of the town while getting drawn into a love triangle. The movie was written by Mae West and was heavily censored by the Production Code, although West slips in many double entendres in the dialogue.

Saturday, December 30, Noon The Buccaneer (1958, 119 min.) Anthony Quinn made his directorial debut with this epic film. The film focuses on the Battle of New Orleans, the last battle of the War of 1812 (fought after the war was declared over). The battle was almost lost to America but for the aid of pirate king Jean Lafitte, the last of the colorful buccaneers. Yul Brynner stars in the title role, Claire Bloom as an uninhibited pirate girl, Charles Boyer plays the buccaneer’s trusted lieutenant, and Charlton Heston is Andrew Jackson. The film coincides with the January 8, 1814, anniversary of the Battle of New Orleans. ■

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Demonstrations and Performances Demonstrations and Performances are free with Museum admission. Space is limited; seat tickets are available on the day of the event.

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

Sunday, November 12, 2 p.m. Exploring the Mystique of the Mardi Gras Indians Presenters: Cherice HarrisonNelson, Third-generation Mardi Gras Indian and Curator of the Mardi Gras Indian Hall of Fame, and A New Orleans Mardi Gras Indian Collective The New Orleans tradition of Mardi Gras Indians masquerading as Native Americans dates to the early nineteenthth century and continues today by being passed down from generation to generation. The Mardi Gras Indian tradition, which is featured in the exhibition ¡CARNAVAL!, will be explained and illuminated in this presentation. Cherice Harrison-Nelson, Counsel Queen of Guardians of the Flame and curator of the Mardi Gras Indian Hall of Fame, will begin with a slide presentation of the history of the Mardi Gras Indians. The presentation will continue as Mrs. Harrison-Nelson is joined on stage by A New Orleans Mardi Gras Indian Collective. Featured

NOMA offers Sunday afternoon art workshops designed as a collaborative venture in which children and their adult companion create an art project together. Children should be between five and twelve years old and must be accompanied by an adult. After a tour of NOMA’s collection to view artworks related to the workshop, participants will create their own project. The cost of the workshop is $10 per family for Museum members and $15 for nonmembers. Preregistration is required. All art supplies are provided by NOMA. For information contact kalcaine@noma.org or 504-658-4113.

Sunday, October 22, 2 p.m. Carnival in Europe In this workshop participants will view three distinct European cultures that celebrate masking during the Lenten season as seen in NOMA’s ¡CARNAVAL! exhibition. Participants will study and discuss the mask work created by people in Spain, Italy and

ARTS QUARTERLY

in the New Orleans Mardi Gras Indian Collective are Big Chief Markeith Tero of Trouble Nation, Big Chief Gerard Dollis of Wild Magnolias, Big Chief James Brown of Blackfoot Hunters, Gang Flag Alphonse “Dowee” Robair of Red Hawk Hunters, Counsel Queen Cherice Harrison-Nelson of Guardians of the Flame; drumming will be performed by Luther Gray and Bamboula 2000. The presentation will take place in NOMA’s Stern Auditorium; seating is limited.

Sunday, December 3, 1 p.m. Children’s Carnival Casa Samba will present a workshop for children and their adult companions based on the Brazilian carnival. The children will experience the sights, sounds and movements of the carnival celebration and will be encouraged to participate in the activities. Casa Samba will present the colorful and exciting world of samba in Rio de Janeiro and Bahia, Brazil and its kinship to New Orleans carnival. The workshop will take place in NOMA’s Stern Auditorium and is designed for children of all ages; seating is limited.

Switzerland during Carnival. They then will create their own masks based on the maskers’ traditions.

Sunday, November 5, 2 p.m. Carnival in the Americas In the New World, different cultures celebrated and continued the traditions of Carnival despite the changing times. The cultures of Boliva, Brazil, Mexico, and Trinidad and Tobago observe Carnival in different ways and are featured in NOMA’s exhibition ¡CARNAVAL!. Participants in this workshop will learn about the variety of ways Carnival is celebrated in these cultures then recreate their own masks following in the featured cultures.

Sunday, November 19, 2 p.m. Louisiana Carnival

Sunday, December 3 The Brazilian Carnival Presented by Casa Samba 2 p.m., Dancing Workshop on Brazilian Carnival 3 p.m., Musical Performance Casa Samba a New Orleans-based, authentic Brazilian Escola de Samba (samba school), will bring the Brazilian aspect of the ¡CARNAVAL! exhibition to life. Casa Samba’s performances combine dance, theater, vocals and drumming to capture the spirit of Carnival in Rio de Janeiro and Bahia, Brazil. At 2 p.m., Casa Samba will present a Brazilian dance workshop; at 3 p.m., they will close out the afternoon with a musical (and educational) performance. The performances will take place in NOMA’s Stern Auditorium; seating is limited. ■

masks of the sauvages in Basile, to the float paraders of the Mardi Gras krewes, to the fabulous feathered costumes of the Mardi Gras Indians, Carnival is observed in extraordinary ways. Participants in this workshop will create their own masks after they explore the varied ways that Louisianians celebrate Carnival. ■

Three NOMA family workshops are scheduled in conjunction with the exhibition ¡CARNAVAL!

In the exhibition ¡CARNAVAL!, Mardi Gras is celebrated in a variety of ways in Louisiana. From the metal

PROGRAMS & ACTIVITIES Lectures Due to limited seating in NOMA’s Stern Auditorium, tickets for all lectures will be handed out at the front desk one hour before the presentation.

NOMA’s lectures are intended to complement our permanent and traveling exhibitions. These events will take place in the Museum’s Stern Auditorium. All lectures are free with Museum admission.

Sunday, October 22, 3 p.m. Carnival Play in Eight Communities Today by Barbara Mauldin, Curator of Latin American Folk Art at the Museum of International Folk Art in Santa Fe, New Mexico, and Curator and Project Director for the ¡CARNAVAL! Exhibition and Publication Barbara Mauldin will present a slide lecture on the eight communities featured in the ¡CARNAVAL! exhibition and highlight the various forms of play that are found in each of the

Outdoor Theater Performance: FIRE MAGIC

celebrations. In Europe these sites range from the small rural community of Laza, Spain to the larger cities of Venice, Italy and Basel, Switzerland. Two of the selected locations in the New World, Oruro, Bolivia and Tlaxcala, Mexico, are Indian/mestizo communities where aspects of indigenous religious beliefs and ritual have been merged with the European Carnival festivities. Three other sites, Recife/Olinda, Brazil, Port of Spain, Trinidad and Tobago, and New Orleans, Louisiana, are larger metropolitan cities where a variety of cultural traditions, deriving from European, African, Native American, East Indian and other ethnic groups from around the world, are brought together, reflecting the makeup of societies throughout the Americas today. ■ Barbara Mauldin will present the lecture “Carnival Play in Eight Communities Today” on Sunday, October 22, at 3 p.m.

Saturday, October 21 Two 10-minute Performances: 12:15 p.m. and 1:15 p.m. FIRE MAGIC For the first time, NOMA will feature an outdoor theater performance in the Besthoff Sculpture Garden for children and adults created especially for the location. In this ten-minute monologue written by Mindy Mayer, a nineteenth-century New Orleans blacksmith, played by Donald Lewis, travels two hundred years into the future and discovers the wonders of modern sculpture in a natural setting. The performance presents viewers with the opportunity to see life from a nineteenth-century craftsman’s point of view. Lewis performed this past summer in Romeo and Juliet at the Tulane Shakespear Festival, and he teaches theatre in the Jefferson Parish Art Academy at T. H. Harris School. The performance also will be available for school groups in grades one through five from October 25 through 27, 2006, at 10 a.m. and 11 a.m. Please contact the Curator of Education at 504-658-4113 for more information.. ■

NEW ORLEANS MUSEUM OF ART

PROGRAM SPONSORS A

nnual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops, films, lectures, art classes and numerous other special programs enjoyed by visitors from throughout the city, the state, the country, and, indeed, the world, are made possible through the generosity of our many sponsors. The New Orleans Museum of Art and its thousands of visitors are deeply grateful to these friends for their continued commitment. If you would like additional information on sponsorship, please contact the Museum’s development department, (504) 658-4115. ■

BECOME A NOMA SPONSOR

SHERATON NEW ORLEANS HOTEL: Les Femmes: Images of Women in 19th-Century French Society from Daumier to Picasso from the Museums of France Exhibition Support Blue Winds Dancing: The Whitecloud Collection of Native American Art Exhibition Support LOVE in the Garden 2006 THAW CHARITABLE TRUST: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

THE HELIS FOUNDATION: Free Admission for Louisiana Residents THE PATRICK F. TAYLOR FOUNDATION: Taylor NOMA Scholars Program 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 ZEMURRAY FOUNDATION: General Operating Support

$99,999 – $50,000 LOUISIANA DIVISION OF THE ARTS: General Operating Support African-American Art Reference Collections NOMA Grand Reopening THE LUPIN FOUNDATION: General Operating Support LOVE in the Garden 2006 Odyssey Ball 2006

ARTS QUARTERLY

DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions GOLDRING FAMILY FOUNDATION: Odyssey Ball 2006 THE GPOA FOUNDATION: Educational Pre-Visit Video of African Art Collection HOUSE OF BLUES FOUNDATION ROOM: Odyssey Ball 2006

$100,000 + FREEPORT-MCMORAN FOUNDATION: Les Femmes: Images of Women in 19th-Century French Society from Daumier to Picasso from the Museums of France Title Sponsor

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

$34,999 - $20,000 THE BURKENROAD FOUNDATION: the stARTing point, An Interactive Exhibition LOUISIANA ENDOWMENT FOR THE HUMANITIES: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support RONALD MCDONALD HOUSE CHARITIES: the stARTing point, Picture Perfect THE ROSAMARY FOUNDATION: Family Workshops Handbook of School Programs

J. ARON AND COMPANY, INC. FUND: the stARTing point, An Interactive Exhibition Support 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 2006 SHELL OIL COMPANY FOUNDATION: Van Go, NOMA’s Museum-on-Wheels ROBERT AND JOLIE SHELTON: Odyssey Ball 2006

TRIBUNE BROADCASTING: ABC26 AND WB38: Van Go, NOMA’s Museum-on-Wheels

$19,999 - $10,000 BLAINE KERN, JR.: Odyssey Ball 2006 THE AZBY FUND: Security Equipment CHILI’S AND ROMANO’S MACARONI GRILL RESTAURANTS: NOMA Grand Reopening Odyssey Ball 2006

$9,999 - $5,000 THE ELLIS AND ELAINE MINTZ FOUNDATION: the stARTing point, An Interactive Exhibition THE REILY FOUNDATION: the stARTing point, An Interactive Exhibition THE TUNICA-BILOXI TRIBE OF LOUISIANA AND PARAGON CASINO RESORT: Blue Winds Dancing: The Whitecloud Collection of Native American Art Catalogue and Exhibition Support

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, October 18, November 15 and December 20, at 4 p.m.

MEMBERS NOMA MEMBERS ANNUAL MEETING IS NOVEMBER 14 All members of the New Orleans Museum of Art are invited to attend the Annual Members Meeting on Tuesday, November 14, at 4 p.m. NOMADirector E. John Bullard will give a state of the Museum report and proxy cards will be counted. Please vote by proxy using the card enclosed in this issue of Arts Quarterly.

NVC NEW NVC COMMITTEE CHAIRS FOR 2007 ARE ANNOUNCED Nominating Committee Chair Janet Frischhertz announced the names of the proposed 2007 NVC officers at the September 11, 2006, general meeting. The slate was unanimously approved. Congratulations to: Kay McArdle, chair; Brenda Vorhoff, chair-elect; Sandra and Louis Wilson, Odyssey Ball chairmen; Ellen Miclette, recording secretary; Diane Walmsley, corresponding secretary; Cammie Mayer, treasurer; Virginia Panno, parliamentarian; Marjorie Colomb, vice-chair of activities; Margaret Kessels, vice-chair of fund raising; Julie Silvers and Jean Taylor, atlarge representatives; Sanda Groome, immediate past chair.

July. Jimmie was a member of NOMA’s engineering staff for eleven years. He was a member of IUOE Local 408 Engineers Union and a graduate of Marion Abramson High School.

VOLUNTEERS IN MEMORIAM: JEANETTE SOLOMON The members of the Museum’s board of trustees and staff wish to extend its sympathy to the family of Jeanette Solomon who died in September. Jeanette was a longtime NOMA volunteer. She was a chamberlain, a docent, a dedicated NVC member, and a regular presenter for the Speakers Bureau. In 2002, she was named Volunteer of the Year. Jeanette served her country in the army during World War II, where she was stationed at Camp Detrick in Fredrick, Maryland. She was born in New York but made New Orleans her home. She worked for Sydney Besthoff as cosmetics buyer for the Katz and Besthoff chain of drugstores for thirty years. When she retired, she received a car for her loyal service. ■

Jeanette Solomon, pictured here as NOMA’s 2002 Volunteer of the Year

STAFF IN MEMORIAM: JIMMIE WATSON, JR. The members of the Museum’s board of trustees and staff wish to extend its sympathy to the family of Jimmie Watson, Jr., who died in

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 Gail Asprodites, Controller Aisha Champagne, Graphics Coordinator/Webmaster Victoria Cooke, Curator of European Painting Sheila Cork, Librarian/Grants Officer Marilyn Dittmann, Assistant to the Director for Special Exhibitions William A. Fagaly, The Françoise Billion Richardson Curator of African Art Brandi Hand, Public Information Officer 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 Councilmember Shelly Midura 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

Jimmie Watson, Jr.

NEW ORLEANS MUSEUM OF ART

NOMA Calendar of Events OCTOBER 18

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

SATURDAY, Opening Day—!CARNAVAL!

DECEMBER 3

SUNDAY, 1 p.m., Children’s Carnival

Noon, Classic New Orleans Film, The Cincinnati Kid (1965, 102 min.) The Brazilian Carnival, Presented by Casa Samba: 2 p.m., Dancing Workshop on Brazilian Carnival; 3 p.m., Musical Performance

12:15 p.m., Outdoor Theater Performance in the Sculpture Garden, “FIRE MAGIC” 1:15 p.m., Outdoor Theater Performance in the Sculpture Garden, “FIRE MAGIC”

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

SATURDAY, Noon, Classic New Orleans Film, The Buccaneer (1958, 119 min.)

6 p.m. to 9 p.m., NOMA Members’ Preview—!CARNAVAL!

SUNDAY, 2 p.m., Family Workshop, “Carnival in Europe” 3 p.m., Lecture, “Carnival Play in Eight Communities Today” by Barbara Mauldin, Curator of Latin American Folk Art at the Museum of International Folk Art in Santa Fe, New Mexico, and Curator and Project Director for the !CARNAVAL! Exhibition and Publication

NOVEMBER 5 11

SUNDAY, 2 p.m., Family Workshop, “Carnival in the Americas” SATURDAY, 7:30 p.m. to 9 p.m., 2006 Odyssey Ball Patron Party 9 p.m. to midnight, 2006 Odyssey Ball

SUNDAY, 2 p.m., Demonstration and Performance, “Exploring the Mystique of the Mardi Gras Indians” Presented by Cherice HarrisonNelson and A New Orleans Mardi Gras Indian Collective

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

SUNDAY, 2 p.m., Family Workshop, “Louisiana Carnival”

MONDAY, 8 a.m. to 6 p.m., NOMA Members’ Pre-Holiday Shopping Event

THURSDAY, Happy Thanksgiving—Museum Closed

FRIDAY, Museum Closed

SATURDAY, Noon, Classic New Orleans Film, Belle of the Nineties (1934, 73 min.)

ARTS QUARTERLY

NOMA EXHIBITION SCHEDULE FROM OUR NATIVE CLAY: Selections of American Art Pottery from the Permanent Collection Ongoing WILD BAMBOO: Images of Resilience and Rebirth in Japanese Edo-period Painting Through November 2006 !CARNAVAL! October 21, 2006 – January 21, 2007 ECHOES OF THE ANCIENT WORLD: Ancient Egyptian, Greek and Roman Art from the Permanent Collection Through February 4, 2007

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.

Post Office Box 19123 New Orleans, Louisiana 70179-0123

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