AQOctNovDec08 by New Orleans Museum of Art

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ARTSQUARTERLY VOLUME XXX ISSUE 4

NEW ORLEANS MUSEUM OF ART

OCTOBER/NOVEMBER/DECEMBER 2008

OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

Imperial Photograph Frame, 1906 Silver-gilt, guilloché enamel, palisander, beveled glass, 10-7/8 x 8-1/8 inches Peter Carl Fabergé (Russian, 1846-1920) Anders Johan Nevalainen (Finnish, 1858-1933), workmaster St. Petersburg The Hodges Family Collection

One of the largest and most majestic of Fabergé’s photograph frames, this was purchased by the dowager empress of Russia, Maria Feodorovna, from Fabergé’s St. Petersburg shop on July 25, 1906. The piece was acquired specifically to hold the photograph of Tsar Nicholas II (r. 1896-1917), which it still contains. The photograph was one of Maria Feodorovna’s favorite images of her son. The workmaster for the frame was Anders Johan Nevalainen (Finnish, 1858-1933), a master goldsmith who had commenced his association with the House of Fabergé in 1885 through employment at the workshop of Fabergé workmaster August Wilhelm Holmström (Finnish, 1829-1903). Nevalainen eventually opened his own shop under exclusive contract to Fabergé and made a specialty of photograph frames. This example in the Louis XVI taste is one of Nevalainen’s most impressive; it is notable for its size, the precision of the guilloché ground, the brilliant shade of blue enamel and the refinement of its decorative vocabulary. Photo by Judy Cooper

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NEW ORLEANS MUSEUM OF ART

Art Conservation Advisory, LLC Richard D. White Professional Associate, A.I.C. Emergency/Disaster Assistance Insurance Claims Surveys and Examinations Condition Examinations and Reports Collections Advise 1001 South Broad Street New Orleans, Louisiana 70125 Tel: 504-821-6326 â&#x20AC;˘ Email: arcons99@yahoo.com

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From the director W

ith a fearful sense of déjà vu, on the third anniversary of Katrina, the brave citizens of New Orleans and South Louisiana once again prepared to face a devesting hurricane. The threat of Gustav prompted nearly two million people to make an orderly evacuation of the area, bringing back painful memories of Katrina. Since Katrina NOMA’s disaster plan has been refined and expanded. Our able staff, under the experienced leadership of Deputy Director Jackie Sullivan and Assistant Director for Art Lisa Rotondo-McCord, worked for two days to secure the building and the collections. In the Besthoff Sculpture Garden, a few of the smaller sculptures, like the George Rickey, were removed to the building, while others, like Jean-Michel Othoniel’s glass beads, were tied down or covered. Inside the Museum, all artworks in galleries with skylights or windows were moved to interior spaces. Since Katrina 15,000 artworks have been moved from storage rooms in the lower basement to new spaces on the first and second floors, placing them minimumly thirteen feet above sea level. Still several hundred artworks remain in the basement, and the staff made sure that all were at least one foot above the floor in case water once again penetrated the concrete slab due to hydrostatic pressure. All mechanical systems were tested and additional fuel was secured for the emergency generator. Also since Katrina NOMA has employed 24/7 Orleans Parish Criminal Sheriff deputies to supplement its own security staff. Prior agreement with Sheriff Marlin Gusman insured that deputies would remain in the Museum during any future hurricanes. For Gustav once again a number of NOMA’s own staff volunteered to remain in the building, although this time without family members: Chief of Security Tony Graffeo; Building Engineers Shea Caliste and Carey Danna; and longtime Security Console Operator Vanessa Smith. The Museum owes these loyal employees together with the sheriff deputies on duty, our gratitude and appreciation for their loyalty and dedication for placing themselves at risk to protect the building and collection. Fortunately Gustav proved to be much less destructive than anticipated at least for metropolitan New Orleans. Except for fallen tree limbs in the Sculpture Garden, the Museum was undamaged. While we were without power for several days, the staff was able to return on Monday, September 8, and the Museum reopened that Wednesday, having been closed for just a week. Work resumed on installing two new exhibitions, which opened with a members’ preview on Saturday, September 13. What a blessed relief from the experience of Katrina but a somber reminder of the challenges we all face living in this wonderful city. E. John Bullard

ARTSQUARTERLY VOLUME XXX ISSUE 4

NEW ORLEANS MUSEUM OF ART

OCTOBER/NOVEMBER/DECEMBER 2008

Objects of Desire: Fabergé from the Hodges Family Collection John Webster Keefe

Prospect. 1 New Orleans Arrives at NOMA Miranda Lash

Prints Past & Prints Present: Limited Editions from Louisiana from The Historic New Orleans Collection and the New Orleans Museum of Art Judith Bonner

NOMA and “Sculpture for New Orleans” Provides Two Stabiles by Alexander Calder Miranda Lash

Seeking the Light: Studio Glass by Luke Jacomb John Webster Keefe

Going to the Museum: A Collector Becomes a Donor George Roland

The Oceanic Galleries are Re-Energized with Spectacular New Objects William A. Fagaly

First Year of NOMA Hyogo Art Therapy Initiative is a Success Holly Wherry

Objects of Desire: The Forty-third Annual Odyssey Ball Will Feature an Evening of Russia Imperial Style Virginia Panno

Notes from the Sydney and Walda Besthoff Sculpture Garden Pamela Buckman

Dedicated Staff Members Stay on Duty During Hurricane Gustav James Mulvihill

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

Editor/Art Director: Wanda O’Shello

SUPPORT ACKNOWLEDGEMENT

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

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

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA 70179-0123. 504-658-4103. Advertising 504-610-1279 or 504-658-4103. © 2008, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Free admission for Louisiana residents is sponsored by The Helis Foundation and the members of the New Orleans Museum of Art. The Museum is open Wednesday, noon to 8 p.m., Thursday through Sunday, 10 a.m. to 5 p.m. The Besthoff Sculpture Garden is open Wednesday, 10 a.m. to 7:45 p.m., Thursday through Sunday, 10 a.m. to 4:45 p.m. For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

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ARTS QUARTERLY

OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

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ince 1983, the Fabergé gallery at the New Orleans Museum of Art has been one of the most visited sites within the building. With the relocation of the Matilda Geddings Gray Foundation Collection of Fabergé to the Cheekwood Botanical Garden and Museum of Art in Nashville in 2007, the Museum was faced with the daunting prospect of either replacing that Fabergé material or of regretfully closing that popular gallery. At that point, Dr. Lee Hodges realized that the Museum was in dire need of assistance and generously offered to place his collection of Fabergé works on extended loan, a proposal that was gratefully accepted with alacrity. Making the offer was made all the more remarkable by the fact that D. Hodges was a Louisiana collector of whom the Museum had heretofore been unaware. The result of this fortuitous collaboration is the present exhibition in which many of the works have never previously been on public display or are so famous that they will appear as friends of long standing. Once a portion of the Hodges family collection was installed in the Museum, it became apparent to its owner that certain areas of Fabergé’s fantastic oeuvre were not represented. That realization prompted the decision to assemble a broader range of works that would expose the art of the great Russian artist-jeweler to an augmented viewing public. That new emphasis upon an expanded and diversified group of objects was accompanied by an increased interest in utilizing the collection for educational purposes. The Hodges family feels strongly that the most effective means of facilitating that education is to have the collection on public view. The quest for the best work of Fabergé continues, and the collection presently numbers more than 106 diversified pieces. Certain much-

desired works have yet to be found and secured, but their absence only magnifies Dr. Hodge’s enjoyment in seeking them. As a youth in his native Virginia, D. Lee Hodges took particular pleasure in summer visits with his uncle, a precision micro-mechanical engineer working in the NASA space program during the late 1950s and beyond. That uncle’s hobby was the crafting of tiny measuring devices; one of those, a diminutive micrometer less than an inch in total length, required nearly five years to complete working under the magnification of a binocular microscope. The fascinated boy was indelibly impressed by the small scale, the exacting precision and the thousands of hours his uncle spent creating these artful miniatures. Although an experienced collector of American decorative arts when he first encountered the work of Fabergé, Dr. Hodges was struck with a Proustian sense of its fine design, precision and consistency. This initial astonished reaction to the art of Peter Carl Fabergé and the connection to his uncle’s tiny perfect machines prompted the decision to collect works by Fabergé. Although Peter Carl Fabergé (Russian, 18461920) is today arguably the most celebrated goldsmith-jeweler since the Renaissance, this was not always the case. As late as the 1960s, many collectors in other fields as well as a number of museums tended to view objects by Fabergé as lightweight and certainly as “estate” property, meaning that they were crafted of expensive materials but had little aesthetic merit. They were baubles for moneyed, but not very serious, collectors. That concept began to erode in the 1970s as curators, connoisseurs and collectors began to reevaluate Fabergé’s oeuvre in a favorable light. The first monograph on Fabergé was published in 1949 by Henry C. Bainbridge, the former co-director of the London

PHOTO ABOVE: Imperial Presentation Brooch, 1903 Gold, silver, diamond, guilloché enamel, length 1-7/8 inches Peter Carl Fabergé (Russian, 1846-1920) August Wilhelm Holmström (Finnish, 1828-1903), workmaster St. Petersburg The Hodges Family Collection

Holmström was one of Peter Carl Fabergé’s most respected senior employees who had made a specialty of the expert setting of small rose-cut diamonds to create a scintillating effect without any suggestion of ostentation. Pieces from the Holmström workshop were noted for their delicacy, refinement and understated but highly effective contrasts of materials. Those skills captured the attention of the Imperial Cabinet, which had charge of purchasing presentation pieces for the Tsar. In 1903, this was one of six brooches of identical design, but each of a different color, purchased by the Imperial Cabinet. Each brooch was centered with a diamond-set double-headed imperial eagle. Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

Fabergé branch, which had opened in 1903. It was to be followed by a virtual flood of publications dealing with Fabergé art that has endured to the present day. What began as small specialized exhibitions in the late 1950s burgeoned in the 1990s to large scholarly exhibitions of Fabergé’s work. These were accompanied by important meticulously researched catalogues and were attended in record numbers by the lay public. The growing renown of Fabergé was enhanced by the international reportage of the phenomenal prices reached by major Fabergé objects at the world’s major auction houses. The $9,579,600 for the Imperial Winter Egg at Christie’s, New York in April 19, 2002, set a new world auction record for a Fabergé object. In 2007, the world sat up again when it heard that the “Gnome” handseal of the Tsarina Maria Feodorovna had been sold by Christie’s, New York, for $1, 384, 000. In November 2007, a previously unrecorded 1902 egg-clock by Fabergé sold at Christie’s, London, for a new world record for an object by Fabergé of $18,500,000. The days of Fabergé works as “estate” property were long gone.

In all of this, another phenomenon of interest came to light. Following the cataclysm of the 1917 Russian Revolution, a number of formerly affluent Russians fled their native country, taking with them the highly portable pieces of Fabergé’s art. Those then appeared on the market in Paris, London and New York and were eagerly acquired by new owners. Prominent among these were such Americans as Marjorie Merriweather Post of Washington, D.C.; Matilda Geddings Gray of Louisiana; Lillian Thomas Pratt of Virginia; India Early Minshall of Cleveland, Ohio, and Lansdell K. Christie of New York; all of whom avidly competed for Fabergé treasures for their collections. Many of the objects from those collections are now in American museums. With the dissolution of Communist Russia in the 1990s, and the reinstitution of capitalism, a new class of fabulously rich Russian magnates emerged. These newly rich oligarchs wanted Russian art for their new apartments, houses and estates, and high on their lists were works by

Serpent about to Strike, 1899-1908 Silver, Persian turquoise, height 5-3/4 inches, max. width 9-1/4 inches Peter Carl Fabergé (Russian, 1846-1920) Johan Victor Aarne (Finnish, 1863-1934), workmaster St. Petersburg The Hodges Family Collection

This splendidly atypical sculptural work by the House of Fabergé was created by Johan Victor Aarne, another of the firm’s talented Finnish workmasters. Aarne first worked for Fabergé in the shop of August Wilhelm Holmström (Finnish, 1828-1903), one of Fabergé’s most respected senior staff members and one who was responsible for many of the firm’s finest pieces of jewelry. From 1891, Aarne operated his own premises under contract to the House of Fabergé; in that shop he made a specialty of beautiful enameled gold photograph frames. Thus, this dynamic figure of a serpent about to strike was a departure for Aarne in terms of both scale and subject. Many respected connoisseurs of Fabergé objects regard this as Aarne’s masterpiece. Photo by Judy Cooper

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Fabergé. To the chagrin of American Fabergé enthusiasts, a flow of Fabergé pieces from the United States back to Russia began. In 2004, the eagerly awaited public auction of the Fabergé collection of the late Malcolm Forbes was abruptly cancelled when the Forbes heirs elected to sell the entire collection en bloc to Vicktor Vekselberg of Moscow, a Russian oil and gas tycoon, The outcry in this country was clamorous, but the objects, including the largest privately held group of Fabergé’s imperial Easter eggs, were returned to Russian soil. Distressing as all of this has been to American collectors in particular, it has had the backlash effect of making those collectors all the more eager to acquire examples by the House of Fabergé. While frustrated by the ever-escalating demand and subsequent prices for works by Fabergé, D. Lee Hodges is all the more determined to continue to seek the best of the available pieces by this greatest of the Russian goldsmith-jewelers. Visitors to the exhibition, which will include all of the Fabergé pieces so magnanimously lent by the Hodges family, will have the opportunity to view sculpture, silver tablewares, jewels, gem-set smoking accessories, imperial presentation pieces, desk objects, photograph frames and whimsical animals, and, yes, Easter eggs by the great artist-jeweler, all of exquisite design and crafted from the most lavish of materials. ■ OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection is on view at NOMA November 9, 2008, through January 18, 2009. Rowanberry Sprig, 1899-1908 Purpurine, nephrite, rock crystal, and gold Height 7-1/2 inches, max. width 7-1/4 inches Peter Carl Fabergé (Russian, 1846-1920); Henrik Immanuel Wigström (Finnish, 1862-1923), workmaster St. Petersburg The Hodges Family Collection As Peter Carl Fabergé’s third and final head workmaster, Henrik Wigström was responsible for an astonishing variety of objects ranging from the imperial Easter eggs (from 1904 on), to cigarette cases, scent bottles, clocks, cabinet objects and boxes to many of the firm’s exquisite rare floral groups. Most Fabergé scholars regard the flowers as among Fabergé’s most beautiful pieces. Fabergé was fond of using plants and shrubs that bore berries in his botanical compositions, probable because of the dramatic contrasts achievable between the brightly colored berries and the green foliage. The hawthorn, holly, strawberry, cranberry and the rowanberry captured his attention. In this instance, the berries were fabricated of purpurine, an artificial hardstone used exclusively by the House of Fabergé during the late nineteenth and early twentieth centuries. The spray has been placed in a simple beaker of gem-quality rock crystal creating the impression that the spray was picked on an outdoor walk and casually placed in the first container that came to hand. Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

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Prospect. 1 New Orleans Arrives at NOMA BY MIRANDA LASH Curator of Modern and Contemporary Art, NOMA

elebrated as “the largest biennial of international contemporary art ever organized in the United States,” Prospect. 1 New Orleans will open to the public on Saturday, November 1, 2008. Featuring artwork by more than eighty artists from around the world, the biennial will appear at more than one dozen venues throughout the city, including the New Orleans Museum of Art. NOMA is proud to participate in this venture dedicated to promoting the recovery of New Orleans and a worldwide awareness of this city as a vibrant locale for artistic creativity. NOMA will host Prospect.1 artists from diverse continents, working in a variety of media. Below is a sneak preview of the artists exhibiting here this fall: Monica Bonvicini (born 1965) Born in Venice, Italy, Monica Bonvicini now lives and works in Berlin. Since the mid-1990s, she has worked on large-scale installation and sculptural pieces that explore the relationship between architecture, built environments, and gender and sexuality in the Western world. Apart from having exhibited in international art biennials in São Paulo (2006), Venice (1999/2005), and Taipei and Gwangju (2006), in 2005 she received the Nationalgalerie Prize for Young Art, one of Europe’s most prestigious art awards. Her monumental sculpture, Desire, will herald one’s approach to NOMA, on Lelong Avenue. Meanwhile, the Museum will display three largescale drawings related to Desire inside.

twenty-five years with the late Allison “Tootie” Montana, whose suits appeared for the first time in a museum setting in the 1997 NOMA exhibition He’s the Prettiest: A Tribute to Big Chief Allison “Tootie” Montana’s Fifty Years of Mardi Gras Indian Suiting. Starting his own tribe in 1984, Harris became the first Big Chief to conceal his face entirely, African-style, and his Mandingo Warriors became the first Mardi Gras Indians to create explicitly African-themed suits. The appearance of Fi-Yi-Yi Indians on Mardi Gras is one of the holiday’s most anticipated events. Jorge Macchi (born 1963) and Edgardo Rudnitzky (born 1956) Both natives of Argentina, Macchi currently lives and works in Buenos Aires, while Rudnitzky lives and works in Berlin. Macchi works with everyday, ready-made and ephemeral objects in a variety of media including installations, video, painting, collage, and photography. Using material such as newspaper clippings, city maps, and music sheets, Macchi addresses subjects that range from random acts of violence, to unrequited love, to the interplay between presence and absence. Since 1998, he has collaborated frequently with the composer and sound artist Edgardo Rudnitzky, a musician and composer, producing works that range from simple sound works, to complex installations involving light, glass, and video components. Their latest collaboration, Little Music, will appear outside the Museum, in one of the nearby lagoons of City Park.

Willie Birch (born 1942) A prominent New Orleans native, Willie Birch’s work is included in public and private collections throughout the country, including the New Orleans Museum of Art. His politically incisive yet emotionally sensitive work addresses issues related to African-American culture and survival. At NOMA he will present a series of new largescale charcoal drawings, relating to New Orleans’ musical heritage, as well as the daily life and celebratory rituals of the artist’s New Orleans neighborhood. Kalup Linzy (born 1977) Living and working in Brooklyn, Kalup Linzy is a video and performance artist best known for a series of video art pieces satirizing the tone and narrative approach of television soap operas. Linzy performs most of the characters himself, many of them in drag, and also performs on stage using many of the same figures. He was recently named a Guggenheim Fellow for 2007 to 2008. Linzy’s latest video, Keys to Our Heart, on view at NOMA was filmed on location in New Orleans. Rafael Lozano-Hemmer (born 1972) Born in Mexico City, Rafael Lozano-Hemmer lives and works in Montreal, Canada and Madrid, Spain. He creates large-scale interactive installations in public spaces, usually deploying new technologies such as robotics, projections, sound, the Internet, cell phone links, sensors, and other devices. Recently he represented Mexico in its first official participation at the Venice Biennale (2007). NOMA will present a new light and water installation by Lozano-Hemmer entitled Pulse Tank. Victor Harris and the Fi Yi Yi (born 1952) Born and raised in New Orleans, Victor Harris is the founder and Big Chief of the New Orleans Mardi Gras Indian tribe, the Fi Yi Yi. Harris suited for more than

Willie Birch (American, born 1942) Birthday, 2006 Acrylic and charcoal on paper, 72 x 54 inches Courtesy of the artist

NEW ORLEANS MUSEUM OF ART

Big Chief Victor Harris (American, born 1952) of the Spirit of Fi-Yi-Yi Golden Crown suit, 2007, Mardi Gras New Orleans Courtesy of Jeffrey D. Ehrenreich, New Orleans

Kaz Oshiro (born 1967) Born in Okinawa, Japan, Kaz Oshiro now lives and works in Los Angeles. His trompe l’oeil sculptures of everyday objects, such as washers, dryers, and cardboard boxes, are made from stretched canvas, acrylic paint, and other traditional painting materials. Oshiro’s presentation of these seemingly banal objects within a gallery context challenges the way we look at the real-life models for his sculptures. His NOMA presentation will include ordinary items such as cabinets, sinks, and luggage cases. Xu Bing (born 1955) A key figure in the Chinese New Wave movement, Xu Bing now lives and works in New York and Beijing. He gained international recognition for his monumental installation Book from the Sky (1988), an installation of printed volumes and scrolls containing four thousand characters individually “invented,” designed, and cut into wood-blocks by the artist. His work at NOMA, Book from the Ground, continues to explore the intersection of language and culture, in this case through a dialogue of internationally recognized symbols and icons transmitted through computers. Paul Villinski (born 1960) Once a resident of New Orleans, Villinski now lives and works in New York. His artwork transforms discarded, “worthless” materials into objects of new meaning and beauty. For Prospect. 1, he has created the Emergency Response Studio, a thirty-foot FEMA trailer, like those deployed to the Gulf Coast after Hurricane Katrina, transformed from a depressing symbol into a visually engaging, solar and wind-powered mobile artist’s studio. The structure can be used in post-disaster sites to house displaced or visiting artists, enabling them to immerse themselves and chronicle unfolding events through their art. The trailer will travel to different locations in New Orleans during the Biennial, and will reside for three weeks in City Park outside the New Orleans Museum of Art.

Xu Bing (Japanese, born 1967) Book from the Ground Installation with two computers running Book from the Ground interactive chat software, Plexiglas® panel with printed Mylar® sheets adhered to either side narrating artist's statement in icons, two desks and stools 2003-ongoing Panel: 244 x 244 x 1 cm Installation view at Automatic Update The Museum of Modern Art, New York, 2007 Photo by Jia Zhang, Courtesy Xu Bing Studio

Prospect. 1 New Orleans is organized by Dan Cameron, the founding director and curator of U.S. Biennial, Inc., and is on view November 1, 2008, through January 18, 2009.

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Prints Past & Prints Present: Limited Editions from Louisiana Selections from The Historic New Orleans Collections and the New Orleans Museum of Art JUDITH H. BONNER Senior Curator, The Historic New Orleans Collection

rtists have realized since the 1440s that printmaking provided the potential for reaching a larger audience more easily and less expensively. Additionally, the choice of subject is more extensive, and the opportunities for publication improve considerably. Prints Past and Prints Present: Limited Editions from Louisiana is the fourth collaborative venture between The Historic New Orleans Collection and the New Orleans Museum of Art. The exhibition, which draws from the collections of both museums, features prints by more than fifty printmakers who visited or resided in Louisiana from the late nineteenth century through the present. The selection from the Collection includes such notables as Thomas Hart Benton, John Canaday, Henry Casselli, Elizabeth Catlett, Ralston Crawford, Caroline Durieux, Mabel Dwight, Morris Henry Hobbs, Sadie Irvine, John McCrady, Clarence Millet, Jules Pascin, Joseph Pennell, Ellsworth Woodward, and William Woodward. A number of the prints have been published; several prints are from limited editions of twenty or fewer, increasing their value significantly. A wide range of subjects are represented, including portraits, landscapes, seascapes, dock scenes, street scenes, still lifes, genre scenes, and French Quarter views in a variety of printing techniques. Two of the works are rare portraits, one of which is Ellsworth Woodward’s 1890s painterly monotype of his young wife, Mary Woodward. Monotypes were atypical for Ellsworth Woodward (1861-1939), who produced numerous etchings. The portrait of Mary is sensitively rendered, and belies the difficulty of working in this technique, for the

John McCrady (American, 1911-1968) Refinery at Night, circa 1947-53 Lithograph The Historic New Orleans Collection. 1998.104.1

medium will dry unevenly if it is not transferred sufficiently quickly to paper. A 1935 double-sided woodcut by Charles Surendorf (1906-1979) features a Self-Portrait on one side of the paper, and a Surrealist scene titled The Genius on the reverse. Another monotype, a late nineteenth-century swamp scene by Joseph Jefferson (1829-1905), is also noteworthy. Jefferson, a noted character actor who gained international fame for his role as Rip van Winkle, produced numerous monotypes while traveling on acting tours. It was Jefferson’s custom to paint an image on tin and then transfer it to paper or by rolling it though a wringer. Southern swamps were among his favorite subjects. A color etching of a New Orleans Courtyard by British-born Léon René Pescheret (1892-1971) epitomizes the fascination that visitors and residents have with the Vieux Carré and its Old World charm. Bulgarian artist Jules Pascin (1885-1930) visited New Orleans between 1914 and 1920, during which time he executed a small interior scene, St. Antoine’s, with reference to Antoine’s Restaurant. Conversely, in his 1938 etching titled Antoine’s in Old New Orleans, Harry Lee Gadbury (born 1890) showed the restaurant in a street scene with a blind man standing on the opposite corner in front of what is present-day Tortorici’s. Gadbury reveals an obvious awareness of changing technology in his rendering of congested automobile traffic, a recognition shared by Ellsworth Woodward in his 1920s Auto Repair Shop. Morris Henry Hobbs (1892-1967) illustrates a daily routine in a local café in his 1947 etching, Morning Coffee, with its busy lunch counter. Pilot Town Grocery, one of a series of 1882 etchings by Philadelphian Joseph Pennell (1857-1926), exemplifies the interest many artists had in the Louisiana terrain, especially life along the Mississippi River and in the marshes. Pennell inscribed one of his prints from this series to his good friend, Louisiana novelist George Washington Cable, with whom he collaborated as an illustrator for the 1885 book, The Creoles of Louisiana. Cable and Pennell, who illustrated numerous books, also shared this interest in the river with another mutual friend, writer Samuel Clemens. Louisiana has long held appeal for sportsmen, even for U.S. presidents. In 1974 Walter Dubois Richards (born 1907) produced a lithograph of Duck Blind, Bayou Club, a favorite local hunting club where Theodore Roosevelt once hunted. Activity on the docks also held the attention of numerous visiting artists, including Mabel Dwight (1876-1955) in her 1929 lithograph Derelict Banana Boatman, in which she focuses on the bleakness and darkness of this type of physical work. This work contrasts with her bucolic Old Southern Graveyard, another 1929 lithograph. Despite the gravity of the subject, this wooded scene is peaceful, with lambs lying among the tombs. Thomas Hart Benton (1889-1975), who was usually associated with the 1930s American Regionalist movement, is represented with Swampland, an unsettling lithograph showing a bayou scene with an empty rowboat floating on mirror-still waters in mid-ground and a skull perched atop a cross in foreground. Initially influenced by Cubism and other modernist art trends, Benton became disenchanted with modernism. In 1924 he began traveling around the American South and Midwest. He considered these geographic areas to be the foundation and power of American art. Accordingly, this 1941 lithograph is not characterized by the rhythmic undulating forms of his Midwestern murals.

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Mississippi-born John McCrady (1911-1968), who taught printmaking at the Arts and Crafts Club and later at his own School of Art in the French Quarter, is known nationally for his paintings of steamboats and subjects inspired by spirituals. These usually display McCrady’s personal style of Southern regionalism. An October 18, 1937, article in Time described McCrady as “a star risen from the bayous” who “will do for painting in the South what Faulkner is doing for literature.” McCrady’s skill in printmaking is evident in his lithograph of Swing Low, Sweet Chariot, inspired by the spiritual and based on his 1937 painting of the same name. A subject unknown to many is a series of prints McCrady executed for the Standard Oil Company from 1947 to 1953. His Refinery at Night skillfully captures light from the electric wires and bicycle lights. McCrady’s lithographs of the refinery recall the silk screened poster work he did during World War II, when he was one of a number of artists producing propaganda posters for the war effort. The artistic style of Orleanian Henry Casselli (born 1946), who studied under McCrady, has evolved from that of his teacher. Both teacher and student share a deep interest in race, but Casselli is undeniably more empathetic and thoughtful in his approach. Casselli shows three generations: an elderly African American woman whose face reveals the trials of a lifetime and a hopeful younger woman, who is seated with a small child in her arms. This work provides a comparison with Thomas Cole’s classic Journey of Life (1842), a series of four paintings, each of which portrays a period in a lifetime: Youth, Boyhood, Manhood, and Old Age. Cole’s series begins with hope; the landscape is bedecked with colorful flowers suggesting promise. The voyage becomes increasingly darker, with the sands of time in Old Age nearly depleted in a barren landscape. Casselli portrays not an allegorical lifetime; instead he depicts subsequent passages through generations within a single composition. Casselli, who was reared in a multiracial neighborhood, emphasizes the ongoing struggle through history. He sets his figures against a black and white checkerboard pattern. Two native Orleanians who resided for a time in Mexico, Werner Hoehn (1882-1940) and Caroline Durieux (1896-1989) are also represented with sympathetic portraits of African Americans. Hoehn’s 1932 lithograph, Sangolo, sensitively portrays a young boy in profile view. Durieux’s 1975 electron print of a woman in a tignon has the undercurrents of a narrative, much of it suggested by the title, In Memoriam. In his circa 1975 symbolic woodcut Going Home, Dillard University art professor Jack Jordan (born 1925) depicts a man from the rear view as he walks down a road, the sole of his left shoe showing a large hole. This woodcut also suggests an underlying narrative of race and its relation to poverty. Elizabeth Catlett (born 1915), who is considered by many to be the greatest African-American sculptor, once chaired Dillard’s art department. Catlett, who co-resides in Cuernavaca, Mexico, and in New York, is an honorary citizen of New Orleans and has received the keys to many cities. Her expressive 2004 woodcut, Young Douglass, which portrays abolitionist-writer Frederick Douglass (1817-1895), is powerful in its dark and light contrasts and in its simplified linear patterns—especially in the thick shock of hair. Although Guy Livingston Woolley departs from typical portraiture, he nonetheless creates a psychological view of humanity in a 1957 etching and aquatint. Nonagenarian Father Hermann focuses on the gnarled

ARTS QUARTERLY

Henry Casselli (American, born 1946) Generations, 1970s Lithograph The Historic New Orleans Collection, partial gift of Dr. James W. Nelson

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hands of an elderly cleric who holds a cross, obviously meditating near the end of a difficult life. Two still lifes differ from the other works in this exhibition. Art historian and critic John Canaday (19071985) is best known as the author of Mainstreams of Modern Art, once considered fundamental in art history classes. During his 1950 to 1952 tenure as director of the Newcomb Art School, however, Canaday experimented with pottery making and printmaking. His Modernist Still Life, a color serigraph, is reminiscent of works by Henri Matisse. Ralston Crawford (1906-1977), who exhibited with Precisionists Charles Sheeler and Charles Demuth, reveals their shared interest in industrialization and sharply delineated buildings devoid of human beings. Crawford’s 1954 lithograph titled New Orleans Shutters, however, offers a closeup of shutters, with their abstract geometric shape almost unrecognizable. His use of comic book-like stars, which usually suggest a violent blow or wallop, appear to indicate that some forceful action has just taken place. The selection of recent prints from the New Orleans Museum of Art’s permanent collection demonstrates the continuing interest of artists and collectors in the traditional techniques of printmaking. Woodcuts, etching, and lithography are made newer, fresher, bigger and better. Innovations in digital image-making and printing

allow artists to incorporate photography and to compose in ways never before possible. NOMA continues to support and encourage the latest and best in the world of prints. Today, as always Louisiana is home to alligators, neutria, pelicans and other wild things like printmakers. John Scott’s magisterial suite of eight enormous woodcuts were carved with a chain-saw in the last years of his life. They take traditional urban subjects to unexpected dramatic heights. Warrington Colescott visits the country music scene with his etching plates, printing in many colors. Rural night life was never so sophisticated. Or so rambunctious and amusing. Together these works by resident and visiting artists trace the evolution of printmaking in Louisiana, especially the growth of freedom in subject choice, from quaint French Quarter courtyards to more universal aspects of life, from the figurative to the symbolic, surrealist, and allegorical. These prints reveal the artists’ unusually strong versatility in portraying Louisiana’s rural, city, commercial, industrial, and marine life. ■

Prints Past & Prints Present: Limited Editions from Louisiana is on view at NOMA through February 16, 2009.

Warrington Colescott (American, born 1921) Suite Louisiana: The Music of the Folks, 1996 Color etching on white wove paper New Orleans Museum of Art Joel and John Weinstock Fund. 2002.83 Photo by Judy Cooper

John Scott (American, 1940-2007) Old House, 2002-03 Woodcut New Orleans Museum of Art Gift of Ashley and Timothy Francis. 2005.64 Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

NOMA and “Sculpture for New Orleans” Present Two Stabiles by Alexander Calder BY MIRANDA LASH Curator of Modern and Contemporary Art, NOMA

hanks to the generous efforts of the citywide exhibition, “Sculpture for New Orleans,” two of Alexander Calder’s stabiles are on loan to the New Orleans Museum of Art until May 2010. The sculptures, entitled Four Planes Escarpé and Six Planes Escarpé, were both made by Calder in 1967. They currently reside in City Park on Dreyfous Meadow, outside the entrance to NOMA’s Sydney and Walda Besthoff Sculpture Garden. Alexander Calder (1898-1976) is considered among the first artists to experiment with motion in sculpture, and is credited with the invention of the “mobile,” (a term that was coined by Marcel Duchamp, a friend and colleague of Calder’s). Alexander Calder’s unique abstract sculptural work is widely recognizable, and has helped

to redefine the genre of modernist sculpture. Although the mobiles are Calder’s most famous creations, he also generated a number of stabiles, or still sculptures, made of sheet metal and often of remarkable scale. Today, Calder’s sculptures hang or stand in museums and public spaces around the world. “Sculpture for New Orleans” is a two-year sculpture exhibition that places monumental sculptures throughout New Orleans in locations ranging from downtown to the Garden District and City Park area. The list of participating artists includes both local sculptors and internationally renowned artists such as James Surls, Louise Bourgeois, and Mark di Suvero. This installation of Calder’s work was curated by Peter Lundberg and Michael Manjarris. ■

Alexander Calder (American, 1898-1976) Four Planes Escarpé and Six Planes Escarpé, 1967 120 x 139 x 147 inches and 119 x 156 x 150 inches Sheet metal, bolts, paint Courtesy of The Calder Foundation, New York

ARTS QUARTERLY

SEEKING THE LIGHT: Studio Glass by Luke Jacomb BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts, NOMA

Photo at right: Red Waka Paddle, 2007 By Luke Jacomb (New Zealand, born 1977) Red, black and colorless glass: blown with reticello technique, cased and cameo out; black linen fibre Height 52 inches Collection of the artist Such elegant stylizations of traditional Maori canoe paddles, or waka, are characteristic of the work of Luke Jacomb. In this example, the shaft is worked in the complex traditional Venetian technique of reticello, literally “little net work,” developed in the sixteenth century. The blade is cameo–cut, revealing a black interlaced pattern of fernheads, a traditional Maori symbol of life.

he presence of native New Zealander Luke Jacomb (born 1977) on the American studio glass scene is a confirmation of two significant phenomena. One, that the studio glass movement has, from modest origins in the United States of the 1960s, spread around the globe. Two, that a significant strength and vitality of the movement has been its openness and willingness to synthesize, absorb and adapt new influences. That resilience has consistently attracted new talent, which has, in turn, pumped new creative energy into the movement. Jacomb brings a unique viewpoint to the contemporary glass scene, for despite a rewarding seven-year residency in this country, he remains deeply attached to his New Zealand roots. He is eager to bring the artistic traditions of that island nation to the attention of an international audience. Like many another ambitious creative intention, this one might not have found fulfillment were it not for the fact that it was accompanied by Luke Jacomb’s superb technical glassmaking skills. Thus, he has been able to reinterpret such basic artifacts of Maori culture as canoe paddles (waka), war clubs (patu) and ceremonial gourds (taha) by crafting them of glass utilizing such spectacular traditional Venetian techniques as murrini, incalmo and reticello. Underlying the mastery of these complex techniques are Jacomb’s highly developed talents of blowing, casting and cameo-cutting. The son of a prominent glass technologist, John Croucher (New Zealand, born 1949), Luke Jacomb has inherited his father’s superb color sense. His intricately crafted pieces are further enlivened by color effects either as dramatic as the contrast of vivid scarlet with mirrorblack or as subtle as dichroic “rhubarb” combined with teal. So refined a palette lends an exciting and unexpected drama to his deceptively simple forms. Others of Jacomb’s work are imbued with the subtle contrast of the sensitively hued but brittle glass with wrapped and/or woven black linen fiber crafted by collaborator Katherine M. Rutecki (American, born 1985). Because his father had pioneered the use of noble-metal photosensitive glass in the early 1990s, Luke Jacomb was well aware of the process and the potential it held for the decoration of his own work. By this extraordinary technique, internal imagery is created by exposing the glass to ultraviolet light and subsequently developing that imagery through high-temperature heat treatment. The result is singular decoration, which glows from the interior of the particular object. Accompanying these sophisticated and frequently revolutionary decorative techniques is Jacomb’s keen sculptural sense inspired, in part, by the aforementioned Maori and Polynesian cultures as well as by Italian design of the mid-1930s and 1950s, as well as that of the contemporaneous Scandinavian Modern School. He looked carefully at the work of such notable designers, glassblowers and sculptors as Carlo Scarpa (Italian, 19061978), Ettore Sottsass, Jr. (Italian,1917-2007) and Isamu Noguchi (American, 1904-1988). Jacomb’s studies also prompted him to look at the work of such glassmaking legends as the Czechoslovakians Stanislas Libensky´ (1921-2002) and Jaraslava Brychtová (born 1924). The result of all of those influences, their synthesis and combination is an aesthetic, which is elegant, spare, coherent, distinctive and commanding. Given this high level of creative energy, it is not surprising that Jacomb has shared his skills with other artists in glass around the globe. He has taught and

worked at glass centers in New Zealand, Australia and the United States. In this country he has conducted workshops at the Pensacola Art Center, Florida; Alfred University, Alfred, New York; the Corning Glass Center, Corning, New York; the Glass Works, Newark, Ohio; the University of Wisconsin, Madison; and the Pratt Fine Arts Center of Seattle, Washington, among others. This combination of acute senses of form and ornament, possession of advanced technical skills and dedication to his chosen field has brought the creations of Luke Jacomb to the attention of museum curators and astute collectors. The New Orleans Museum of Art, with its world-renowned glass collection, is pleased to be the presenter of this exhibition of the art of Luke Jacomb. ■

The exhibition is presented in the Cameo Gallery of the Lupin Foundation Center for the Decorative Arts on the Museum’s second floor. The exhibition is on view through Sunday, January 4, 2009.

NEW ORLEANS MUSEUM OF ART

Photo NOMA (formerly Underexposed) A Photographers’ Meeting Place at the New Orleans Museum of Art

“Seeking the Light” by Luke Jacomb

Thursday, December 11, 2008 • 6 p.m. – 8 p.m.

New Orleans has many more photographers than photography galleries, so many wonderful photographs are just not seen by our city’s extensive art-appreciating audience.

Current Exhibition at

Until Now!

Royal Cameo Glass

If you would like to show your work at Photo NOMA, email Maja Georgiou at m-zg@cox.net to register. Free attendance for exhibitors and NOMA Members $5 for Nonmembers

ARTS QUARTERLY

322 Royal St. • New Orleans, LA 70130 Phone/Fax 504-522-7840 royalcameo.com • rcglass@usa.net

Going to the Museum: A Collector Becomes a Donor BY GEORGE ROLAND The Doris Zemurray Stone Curator of Prints and Drawings, NOMA

Figure 1 Paul Cadmus (American 1904-1999) Jon at Mirror Pastel New Orleans Museum of Art Promised and Partial Gift. 2003.233.10 Photo by Judy Cooper

hen you visit Larry W. Anderson, you can’t miss Vivienne. She is beautiful and colorful and very big. And naked. And she is going to come to New Orleans to live. Vivienne by Tom Wesselmann is an important 1988 screenprint that anchors a diverse and discriminating collection of art that Anderson has been accumulating for twenty years or so, art he bought to live with and now shares with the people of New Orleans. In 2003 he made a promised and partial gift of works of art from his collection to the New Orleans Museum of Art. And what a collection it is: seven drawings from his group of ten splendid works by Paul Cadmus may be seen in the Gentlemen Callers exhibition currently in NOMA’s Templeman Galleries. The very beautiful Reclining Male Nude (fig. 1) and Jon at Mirror (fig. 2) are part of an important tradition of academic nude studies; they carry into the twentieth century the study of the male model that was the foundation of art education for three hundred years. Tom Wesselmann called his famous series Great American Nudes. And great they are, indeed. Big Blond of 1988-89 (fig. 3) is six feet across. So large, in fact, that there was no place to display it at home, but too good to pass up. So Anderson found an institutional home for it as an extended loan that eventually became a gift. NOMA is fortunate to have in its collection such a major example of Pop Art by one of the founders of the movement.

Figure 2 Paul Cadmus (American 1904-1999) Reclining Male Nude Pastel New Orleans Museum of Art Promised and Partial Gift. 2003.233.1 Photo by Judy Cooper

Since Anderson bought what pleased him without regard to a collecting agenda, the gift to NOMA includes a variety of art by masters of printmaking and draughtsmanship. An unusual and rare print by Grant Wood, Sultry Night, included recently in an exhibition at the British Museum joins works by Renoir, Miró, Hopper, Picasso, Trova, Kent, Erte and Tchelitchew. Works on paper such as these in the Anderson collection make an important contribution to the Museum’s exhibition of art of our era; major paintings by these celebrated artists are unlikely to enter the permanent collection. Did anything get away? Like all collectors, Anderson regrets some offers he declined. In particular, Bathers, a composition of many figures by Paul Cadmus. Anderson had just acquired three other Cadmus works, and in spite of his interest in this artist’s work, the timing was not right. And then there are his children’s choices: a ceramic plaque by Picasso, the first purchase made by Anderson, and a print by Marc Chagall depicting the ceiling created for the Salle Garnier, home of the Paris Opera, will stay in the family. Though Anderson worked closely with dealers who offered advice and information to such a regular client, he says that he never bought art as an investment, that he never thought of selling his treasures. But when he had the NOMA gift appraised, as one must do as part of the donation procedure, he was very agreeably surprised. Many of the works had appreciated considerably. Gifts to NOMA can provide tax benefits, too, and for Anderson this was an unexpected windfall. Everyone concerned benefited. When Larry W. Anderson tells a visitor that Vivienne is going to the Museum, one may be sure she will be in good company. NOMA is delighted to receive her and others like her. If you would like to know more about the possibilities of donating works of art to the New Orleans Museum of Art, please contact the curator of the relevant collection or the director, E. John Bullard. Your collection might be going to the Museum, too. ■

NEW ORLEANS MUSEUM OF ART

Figure 3 Tom Wesselmann (American, born 1931) Big Blond, 1988-89 Color screenprint New Orleans Museum of Art Promised and Partial Gift. 2003.233.2 Photo by Judy Cooper

ARTS QUARTERLY

The Oceanic Galleries are Re-Energized with Spectacular New Objects WILLIAM A. FAGALY The Françoise Billion Richardson Curator of African Art, NOMA

he Museum is fortunate now to have unusually strong collections in all four main areas of ethnographic art. Not all American art museums can boast of this luxury. To begin with, as part of the Art of the Americas collection developed by NOMA in the late 1960s and early 1970s, the Museum acquired excellent sculptures, primarily terra cotta, from the pre-Columbian cultures of Mexico, Central and South America. With the marvelous bequests of Victor K. Kiam in 1977 and Robert Gordy in 1986 and the gifts of Françoise Richardson, Dr. Russell Albright and the late Michael Meyer, the African collection has become one of the most significant in the country. The Native American collection had its “Kiam moment” several years ago when Mercedes Whitecloud and her family committed a significant portion of hers and her late husband, Tom’s, comprehensive collection to NOMA. Again this magnificent gift enhanced overnight the importance of this aspect of the permanent collection. While the Kiam collection provided the Museum a core group of outstanding artworks from Oceania (Micronesia, Melanesia and Polynesia), it has become a significantly more important collection through the permanent loan from the extensive holdings of Dr. Abba Kastin. At the time of the opening of the third floor galleries in 1993, Dr. Kastin generously either put on loan or gave first rate examples from this area to complement the existing NOMA holdings. More recently, Dr. Kastin has put his art-filled house on the market, relocated to Baton Rouge and offered the Museum more loans of outstanding pieces.

Most private collections have their own “personality” and Dr. Kastin’s is no exception. While the quality of his collection is superlative, it is his conscious effort as medical physician to acquire objects made of bone, especially human, that sets his collection apart from all others. The Museum is fortunate to have rare examples from that material group. Outstanding are the five human skulls of either ancestors or enemies from Papua New Guinea and Vanuatu, which have been overmodelled with clay and decorated with paint. While richly incised bone daggers made from the femur of the cassowary bird are more common among the Kwoma of Papua New Guinea, those made from human femurs are very rare. Dr. Kastin has lent NOMA two. Another extraordinary work from Dr. Kastin is a spectacular full-size standing male funerary figure (rambaramp) richly painted from southern Malekula on the island complex of Vanuatu. This figure composed of human skull and hair, clay, fiber, cloth, wood, sago fronds, caning, spider webbing and pigment is an imposing presence in the gallery and greets all visitors with arms extended and open upturned mouth. Other special objects from Dr. Kastin include two Papua New Guinea decoratively carved wood shields with broken spear points embedded in them from past battles, a polychromed twelve-foot-long carved wood frieze decorated with nine semispherical heads from an Abelam peoples’ ceremonial house (tëkët) of the north Maprik area of Papua New Guinea. A ceremonial allwoven fiber crocodile appears to meander across the floor of the large glass “cage” in which he is displayed.

At left center, the richly carved and painted Asmat shield is mounted next to the bis pole carved by the Asmat at NOMA in 1991. On the wall at the right is a building entranceway with oval opening frm the Teleformin area of Papua New Guinea. Both are new loans from Dr. Abba Kastin. Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

When a group of thirty-seven Asmat, Dani and Sentani tribesmen were in residence at NOMA for two weeks in the summer of 1991 performing ceremonial dances in native regalia and body paint and carving a traditional wood long house ancestor (bis) pole (which the Asmat presented to NOMA as a gift at their departure and which has been on prominent display in the gallery since), they bestowed to Dr. Kastin a beautifully carved and polychromed wood shield as a token of their gratitude for his appreciation and preservation of their native cultures. That shield now is on display with the bis pole. These and other new additions from Dr. Kastin join the imposing thirteen-foot high slit gong from Vanuatu, a Korogo peoples richly carved wood canoe prow in the form of a crocodile’s snout and body, a small Easter Island figure, a display case with Batak and Dyak and objects from other cultures from Sumatra, Borneo, Lombok, Nias Island in Indonesia and from Australia, a fine Alamblak yipon, an excellent Maori hei tiki nephrite pendant, a five-foot elaborately painted Malanggan figure (totok), and an outstanding group of objects from the Solomon Islands. Featured in the gallery is an extremely rare standing male figure of carved wood, which is fully documented to have been collected (intended to be used as fire wood) by Captain James Cook on his third voyage to Hawaii in 1779. With all this Dr. Kastin’s new additions bolster the presentation of the Oceanic gallery to one of impressive excellence. The Museum is proud of this new installation and warmly invites everyone to come and enjoy these artworks. ■

At left center is the imposing, life-size standing male funerary figure (rambaramp) with arms outstretched on loan from Dr. Abba Kastin. Photo by Judy Cooper

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

ARTS QUARTERLY

First Year of Hyogo-NOMA Art Therapy Initiative is a Success BY HOLLY M. WHERRY NOMA Art Therapist

he New Orleans Museum of Art has taken a proactive role in helping children rebuild their lives after Hurricane Katrina. Through a generous gift from the Hyogo Prefecture of Japan, NOMA has been providing art therapy services to the children of New Orleans. Art therapy is a mental health profession that helps people use art to process their emotions when they have difficulty expressing themselves verbally, and more than 250 New Orleans public school children have received weekly art therapy services as part of the Hyogo-NOMA Art Therapy Initiative. In total, nearly eight hundred children, educators, mental health professionals, and parents have benefited from the program over the past year by learning to use art to process, share, cope with, and express their Hurricane Katrina experiences. The program provided art therapy groups for children who may not otherwise have had access to mental health services and were often traumatized, uncertain, frightened, and living in communities in transition. The unique setup of the program within the school provided several key benefits: the children received more consistent therapy; children who would normally not be identified as needing therapy received the service; and therapy was normalized because every child was invited to participate. These factors helped make the overall school community a healthier environment, and research conducted by the Louisiana State University Health Sciences Center Department of Psychiatry found that the

art therapy intervention reduced reported aggressive behaviors in the children. Other significant changes reported included an increase in children seeking social support when they became angry, a decrease in children identified as needing mental health services, a reduction in self-criticism, and an increase in positive activity engagement. Because the program provides sketchbooks and art supplies for all participants, the children are able to continue using art as a tool to help process feelings, express emotions, and practice relaxation skills after the completion of the program. In the spring of 2008, the program was held at the Edward Hynes Charter School, following a successful semester at the John Dibert School. Hynes’ original location in Lakeview was flooded in Hurricane Katrina and remains an empty lot, while the students attend school at a temporary campus in Gentilly. Many of the Hynes students were having a difficult time coping with this transition in addition to losing their homes. One of the most transformative events of the art therapy program involved taking the children to the original site of the school to help them reconnect and gain closure. The children were able to visit the site in Lakeview, and they told stories and made art about their experiences. The children created an installation entitled, “Rebuilding our Memories,” which used rocks to represent a solid foundation, a building material, and a canvas for the children’s personal connection to the school. Each child drew a message on their rock conveying their feelings for

“This is how I feel sometimes: I feel mixed.” 6th grader

NEW ORLEANS MUSEUM OF ART

the school and the neighborhood, and the rocks were installed on the ground in front of the empty lot. The children also painted a sign with the school mascot that reads, “Hynes misses you Lakeview. We will be home soon!” The sign was hung that day, and it remains at the site as a symbol of hope that the school will return and sends a message to the neighborhood to remember its children. All of the children who participate in the program are taken on a field trip to visit NOMA and the Museum’s Sydney and Walda Besthoff Sculpture Garden. The art therapy program reaches children who have often never been to NOMA, and this trip is a wonderful way to introduce the Museum to a population that may not otherwise take advantage of the Museum. The HyogoNOMA Art Therapy Initiative also included week-long therapeutic art summer camps, offered free of charge. These camps brought many children and their families into the Museum for the first time. The camps not only taught hands-on creative coping skills and expressive art-making techniques, but also offered children an opportunity to make art in the inspiring and nurturing environment of the Museum. Artwork from the art therapy program is on exhibit at NOMA in a show entitled Coping with Katrina: Artwork from the Hyogo-NOMA Children’s Art Therapy Initiative, which is on view through October 26, 2008. On display are examples of two-dimensional artwork made by children in the program, along with a quote from each child to help explain their intention for their work. The pieces express powerful emotions about the children’s experiences with Hurricane Katrina, their pride in New Orleans, and how they are feeling three years after the storm. This exhibition provides a unique chance to view such personal, touching, and genuine artwork, because art created during art therapy sessions usually is considered private and confidential. In this case, the children have given permission for their art to be exhibited publicly in order to communicate their experiences and educate the public about art therapy. This exhibition represents another way that the Hyogo-NOMA Art Therapy Initiative continues to grow, adapt, and provide creative outlets for the children of New Orleans. ■

Holly M. Wherry with Edward Hynes Charter School students and the sign they created at the Edward Hynes Charter School Lakeview site.

NOMA’s art therapist, Holly M. Wherry, has moved forward in her efforts to help a new group of students at the Benjamin Banneker Elementary School during the fall semester of 2008, and she has several events planned at the Museum throughout the school year to better educate the public about the benefits of art therapy for people of all ages. The Education Department continues to work with Wherry on expanding and improving the art therapy program and is in the process of considering potential partner schools for the future.

“CELEBRATE THE ARTISTS!” RECEPTION In conjunction with the exhibition Coping with Katrina: Artwork from the Hyogo-NOMA Children’s Art Therapy Initiative, the Museum will present a “Celebrate the Artists!” reception on Wednesday, October 15, from 6 p.m. to 8 p.m. The reception is open to the public. A rock from the “Rebuilding Our Memories” art installation.

ARTS QUARTERLY

Objects of Desire: The Forty-third Annual Odyssey Ball Will Feature an Evening of Russian Imperial Style BY VIRGINIA PANNO NVC Reporter

he New Orleans Museum of Art board of trustees joins with the NOMA Volunteer Committee and Ball Chairmen Mr. and Mrs. Claude Schlesinger in requesting the pleasure of your company at the Forty-third annual Odyssey Ball, featuring the exhibition OBJECTS OF DESIRE: Fabergé from the Hodges Family Collection, on November 8, 2008, at the Museum. This black-tie social event promises an evening of luxury and elegance in the Imperial style. Ball-goers will arrive to the lilting strains of klezmer music as they enter NOMA through a twinkling white forest. Festooning NOMA’s Great Hall with the signature cobalt blue of the master Russian jeweler, Carl Fabergé, decoration co-chairs Jennifer Rowland and Lisa Kirschman, assisted by Blaine Kern Jr.’s Mardi Gras Productions, will recreate the grandeur and opulence of the Belle Époque. Odyssey entertainment chairs, Judy David and Betty Kern, have an all-star lineup of performers. R&B legend Allen Toussaint kicks off the patron party from 7:30 p.m. until 9 p.m. Chanteuse Anais St. John accompanied by Harry Mayronne will heat up the Russian Red Room with a sizzling mix of jazz and blues. Odyssey Ball headliner and New Orleans favorite, Oak Alley, holds court in NOMA’s Great Hall from 9 p.m. until midnight, providing vocalists and a horn section to satisfy any royal request. Chef Glenn Vatshell of Palate New Orleans has created a masterpiece of a menu to tempt your inner tsar. From caviar and frozen vodka at his Caspian Sea Station to such delicacies of coulibiac, stroganoff, and crepes à la Russe, Odyssey ball-goers will feast on cuisine befitting a Romanov. Highlighting the evening will be the premiere viewing of the Fabergé collection of Honorary Chairs Dan Hodges and Sherry Logan of Lafayette. Many of the more than seventy works of art featured are from royal collections never before seen by the public. Thrill to the beauty and artistry of these exquisite pieces. Cammie Mayer, Elizabeth Ryan and Ellen Miclette have amassed their own royal treasures with fabulous silent and live auction items to entice the most discriminating bidders. Entertain twenty of your closest friends ensconced in private rail car on board the “City of New Orleans.” Luxuriate in a magnificent Parisian apartment in the elegant 17th arrondissement. Delight the tsarina in your life with a vintage triple-strand necklace or a cabochon moonstone and aquamarine pendant/brooch. The sampling of auction items listed below await your winning bid. Odyssey Ball Chairmen Claude and Mimi Schlesinger and NOMA Volunteer Committee Chair Brenda Moffitt guarantee an evening to delight the senses. You will not want to miss the Gala of the Season…Zhivago awaits. For ticket information, call (504) 658-4121 or email nvcnoma@noma.org.

Elizabeth and David Merritt A framed oil painting of a beautiful lush landscape by Edwin Henry Boddington Value: $10,000 Hurwitz-Mintz Feizy Rug Gallery “Innovators of Distinctive Rugs” (www.hurwitzmintz.com and www.feizy.com) A Savonnerie Rug, measuring 8.5 ft. x 11 ft Value: $9,000 Elizabeth Locke Jewels (www.elizabethlockejewels.com) A large cabochon moonstone and aquamarine brooch/pendant Value: $8,750 Ann and Newt Reynolds Single subject portrait in oil on linen by Newton R. Reynolds Value: $8,500 Wirthmore Antiques (www.wirthmoreantiques.com) A 19th-century Dutch Grandfather Clock Value: $8,500 Jean Bragg Gallery of Southern Art (www.jeanbragg.com) Alexander J. Drysdale, oil wash, Still Waters, in the original frame with a book on Drysdale Value: $6,050 Daniel R. Bibb A pair of original ink drawings of female nudes by Raymond Espinasse Value: $6,000 Daniel R. Bibb An oil painting by Atilla Nagy of a beautiful floral arrangement Value: $5,000 Mrs. Jane Bernbach (www.casafiols.com) A one week stay in the finca Cas Fiols in Soller, Mallorca Value: $5,000 The Ritz-Carlton, New Orleans (www.ritzcarlton.com) One-night stay for two in The Ritz Carlton Suite inclusive of two 80minute spa treatments and tax; excluding parking, gratuity or alcohol. Some blackout dates may apply. Value: $5,000 Talebloo Oriental Rugs Semi Antique Persian Carpet Value: $5,000 NOMA (www.noma.org) The Mardi Gras Egg by Theo Fabergé, signed and numbered. Value: $4,500 Andrew Brott, Brottworks (www.brottworks.com) A fabulous one of a kind glass sculpture Value: $4,000 Carole Crosby and Larry Wickless One-week stay in a Paris apartment in the 17th arrondissement Value: $3,000 Elizabeth and David Merritt An oil painting by an unknown Dutch artist depicting a young mother holding her infant Value: $2,500 Michalopoulos Gallery (www.michalopoulos.com) Artist embellished limited edition giclée Choir De Nature Value: $2,500

2008 ODYSSEY BALL AUCTION New Orleans Public Belt Railroad (www.nopb.com) Excursion for 20 on board “City of New Orleans”, a private rail car Value: Priceless

Michalopoulos Gallery (www.michalopoulos.com) Artist embellished limited edition giclée Home Value: $2,400

Paul Daigrepont (www.pauldaigrepontart.com) An original acrylic abstract on board, untitled Value: $15,000

Bill Hemmerling La Furniture & Art Gallery (www.billhemmerling.com) Remarqued giclée Value: $2,000

Terrance Osborne (www.galleryosborne.com) An original painting Value: $10,000+

Dagney Jochem One-week stay ocean front condo, Stuart, Florida Value: $2,000

NEW ORLEANS MUSEUM OF ART

George Rodrigue – Rodrigue Studios (www.georgerodrigue.com) At The Delgado, an original signed silk screen, unframed and a collection of 6 signed books Value: $2,000 Wayne Amedee (www.wayneamedee.com) Work on paper titled Secular Reply VII Value: $1,950 Katy Beh Contemporary Jewerly (www.katybeh.com) A golden South Sea pearl and white gold necklace Value: $1,830

Joan and Lawrence Zaslow A patinated, fired, clay sculpture of a female nude torso mounted on granite Value: $1,200 Louisiana Philharmonic Orchestra (www.lpomusic.org) 30 choice tickets to the 2008-2009 LPO concert season Value: $1,050

Tara Shaw Ltd. (www.tarashaw.com) A 19th-century jardinere Value: $1,700

Commander’s Palace and Café Adelaide and the Swizzle Bar (www.commanderspalace.com and www.cafeadelaide.com) Dinner for 4 at The Chef’s Table at Commander’s Palace and dinner for 4 at The Bar Table at Café Adelaide with cocktail pairings Value: $1,000

Mignon Faget (www.mignonfaget.com) Scarred node pearl scarf and sterling silver earloops Value: $1,550

JoAnn Flom Greenberg Clay container with carved nudes and natural forms Value: $1,000

Bill Hemmerling La Furniture & Art Gallery (www.billhemmerling.com) Remarqued giclée Value: $1,500

Ellen Louise Macomber An acrylic and polyurethane window painting Value: $1,000

Rolland Golden (www.rollandgolden.com) An original watercolor Value: $1,500 Perlis Clothing Store (www.perlis.com) Gift certificate for the purchase of new merchandise in the Men’s, Boy’s or Ladies’ Departments Value: $1,500 Nadine Carter Russell Pair of ink landscape fan paintings by contemporary Chinese artist Wan Ding Value: $1,500 Martin Welch (www.absolutearts.com/portfolios/s/somaxta/s) Original acrylic painting on canvas Value: $1,500

Shirley Rabé Masinter/LeMieux Galleries (www.LeMieuxgalleries.com) Pencil drawing of a City Park sculpture Value: TBD

George Dureau Charcoal drawing Value: TBD Robert Guthrie (www.robertguthrie.com) An original of City Park Value: TBD Home Hook & Ladder Antiques (www.homehookladder.com) To be determined Value: TBD Keil’s Antiques (www.keilsantiques.com) To be determined Value: TBD Beth Lambert Original painting Value: TBD Lyon & Lyon Fine Art (www.lyonandlyonfineart.com) To be determined Value: TBD Nell K. Mabry Abstract acrylic painting Value: TBD Edith Moseley Acrylic on canvas Value: TBD

The New Orleans Conservation Guild, Inc. (www.art-restoration.com) Gift certificate for restoration of an oil painting. Valid for new customers only. Value: $1,000

Neal Auction Company (www.nealauction.com) To be determined Value: TBD

Saks Fifth Avenue (www.saksfifthavenue.com) $1,000 gift card Value: $ 1,000

Objets Trouvés To be determined Value: TBD

David Tompkins Photography (www.davidtompkinsphotography.com) A single location portrait session and a 24 x 30 wall portraiture Value: $1,000

Passages Antique Gallery (www.passages-antiques.com) To be determined Value: TBD Annie Weinstein Richardson Mixed media abstract Value: TBD

Tom Bowes One-week stay in a 2-bedroom/2-bath suite at a Marriott luxury resort in Orlando, FL Value: $1,400

Adler’s (www.adlersjewelry.com) To be determined Value: TBD

Fredrick Guess (www.frederickguessstudio.com) Original oil painting Value: $1,400

Raine Bedsole (www.rainebedsole.com) To be determined Value: TBD

Piranesi Antiques, LLC (www.piranesiantiques.com) A pair of French oak side chairs with rush seats Value: $1,325

Daniel R. Bibb A Russian Icon of Christ Pantocrator Value: TBD

Soniat House Antique Galleries (www.soniatantiques.com) To be determined Value: TBD

Drew Bevelo-Bevolo Gas & Electric Lights (www.bevelo.com) French Quarter 21” gas fixture and Holland post Value: $1,250

Daniel R. Bibb A Russian Icon to be determined Value: TBD

Southern Rings To be determined Value: TBD

Linda Bickel (www.designworksbylindabickel.com) A special pice of jewelry created especially for the Odyssey Ball Value: TBD

Richard Thomas and Visual Jazz Art Gallery Several different pieces, each around $1,000 Value: TBD

Mon Coeur Fine Jewelry (www.moncoeurfinejewelry.com) A three strand necklace of vintage black and steel beads with a rhinestone shoe buckle Value: $1,250 New Orleans Silversmiths (www.neworleanssilversmiths.com) A Victorian silver plated mirror plateau, circa 1890 Value: $1,250 Lım Vintage Lighting (www.shoplum.com) A vintage lamp Value: $1,200 Karoline Schleh (www.schleh.com) An archival framed etching and an archival framed mixed media drawing Value: $1,200

ARTS QUARTERLY

Natalie Boos (www.katrinaartists.com/Natalie Boos) To be determined Value: TBD David Borgerding (www.borgerdingsculpture.com) To be determined Value: TBD

Jeremy Shatz – Recycled Cypress NOLA at The Vault Gallery (www.recycledcypressnola.com) A one of a kind piece of furniture Value: TBD

Elisabeth Villeré Tidmore Large original painting Value: TBD Tim Trapolin To be determined Value: TBD

Boudreaux’s Fine Jewelers (www.boudreauxsjewelers.com) To be determined Value: TBD

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

ome join me in the garden. Now is one of the nicest times of year to stroll through the Museum’s Sydney and Walda Besthoff Sculpture Garden and take in its scenic beauty. This past summer was a busy time of addressing the maintenance needs of the Garden post-Katrina, which included extensive weed control, pruning of shrubs on the pathways, keeping the jasmine ground cover groomed, ongoing removal of invasive vines and preservation of the beautiful magnolia and live oak trees. Volunteers were recruited to assist in this ongoing endeavor with the assistance of the NOMA volunteer department, as well as additions to the NOMA website and fliers that were generated with the assistance of NOMA’s graphic designer, Aisha Champagne. Thanks for your help. It is important to mention the development of a partnership with Covenant House of New Orleans’ White Dove Landscape Company. Much of the extensive pruning of the Garden shrubbery was provided by this group. Covenant House has been rebuilding young lives for well over a decade. Their goal is not only to get youth off the street, but to help them develop the skills necessary to become productive members of society. White Dove offers instruction and hands-on experience to prepare students for careers in the landscaping industry. The Sculpture Garden has proven to be an excellent venue for providing participants not only the skills to work in the horticulture and landscaping business, but also the skills to interact with his or her coworkers, supervisors and business clients. The Horticulture Training Program at Magnolia School also has been providing assistance. We are able to provide these developmentally disabled adult participants with a real work experience beyond that which they acquire on the school grounds. Each of these programs provides professional supervision. During late summer and early fall, we were fortunate to have the participation of the AmeriCorps National Civilian Community Corps traveling volunteer teams.

AmeriCorps NCCC is a full-time, team-based residential program for men and women age eighteen to twentyfour. Members live on one of four campuses, located in Denver, Colorado; Sacramento, California; Perry Point, Maryland; and Vinton, Iowa. The mission of AmeriCorps NCCC is to strengthen communities and develop leaders through direct, teambased national and community service. In partnership with nonprofit organizations, state and local agencies, and faith-based and other community organizations, members complete service projects throughout the region to which they are assigned. We have had several repeat teams and are enjoying “word of mouth” popularity from this group. We have offered free admittance to tour NOMA for participants from all programs who have volunteered in the garden. As a follow-up to the Live Oak remediation project as funded by the Getty Foundation, the condition of the trees is stable, and we should be able to access the situation better after next spring’s growth cycle. The remediated sites have been kept clear of unwanted turf, ground cover and weeds as specified in the plan. During the next nine months, with the assistance of Karri Maggio, project architect from Perez and Associates for the Garden and Meg Adams, P.E., project manager from NOMA, we hope to repair the damage to the Garden from Katrina with funds from FEMA. This will include electrical, lighting, irrigation systems, as well as the pathways, buildings, and lagoon banks. Planting of new Live Oaks and other trees and shrubs will be funded by the Getty Foundation Grant. Although we have received much volunteer assistance from the various organizations listed above, maintenance of the Sculpture Garden is ongoing and requires regular attention. As we enter the fall and a slower growing season, what better way to spend a cool morning than in the beautiful and peaceful environment that the Besthoff Garden provides. Looking forward to slowly restoring the Garden to its natural beauty with your help. Come on out. Bring a friend. What are you waiting for? ■

Much of the extensive pruning of the Sculpture Garden shrubbery was provided by Covenant House of New Orleans’ White Dove Landscape Company. Photo by Aisha Champagne

NEW ORLEANS MUSEUM OF ART

Dedicated Staff Stays On Duty During Hurricane Gustav BY JAMES MULVIHILL Director of Communications and Marketing, NOMA

ith memories of Hurricane Katrina lingering in everyone’s minds, Museum staff battened down the hatches in advance of Hurricane Gustav, which made landfall southwest of New Orleans on Labor Day, September 1. A detailed hurricane plan was put into effect, involving everything from securing outdoor works, including fifty-eight artworks in the Sydney and Walda Besthoff Sculpture Garden, as well as the kinetic Lin Emery sculpture outside the main entrance, to moving paintings away from skylights, to lifting basement office furniture off the ground in case of flooding. With staff and citizens preparing for one of the largest emergency evacuations in American history, the Museum announced that it would close to the public on Friday, August 29, and remain shuttered through the weekend. Key members of the security and building enineering staffs—including Chief of Security Tony Graffeo; Vanessa Smith, also of the security staff; and engineers Shea Caliste and Carey Danna, along with two members of Sheriff Marlin Gusman’s Orleans Parish Deputy staff— rode out the storm inside the Museum and remained on duty for a full week until the city was reopened. Although backup generators provided power for limited emergency lights, the building was without its full electrical system for four days.

“I had stayed for hurricanes at least three other times, so I knew everything that needed to be done,” Smith said. “I would look out from the roof for a while, then do rounds to check for water leaks on all four floors of the building.” The Museum sustained no serious damage sustained in Gustav, although winds as high as one hundred miles per hour left behind a massive cleanup job in the Sculpture Garden. With New Orleanians scattered throughout the Southeast United States, including some NOMA staff members as far as Memphis, Tennessee, and a delay of several days before electricity could be restored to parts of the city, the Museum remained closed until Wednesday, September 10. In all, Gustav forced the Museum to shut down for seven and a half days that it would have been open to the public. Losing two weekends during the final weeks of The Baroque World of Fernando Botero prevented an estimated three thousand visitors from seeing the exhibition, and attendance dropped off considerably after the reopening while locals devoted free time to getting their lives back in order. “Gustav certainly took its toll on our staff, as well as revenue,” Bullard said. “But considering what we went through three years ago, I think we all feel fortunate that the Museum and the city fared so well. Once again our staff stepped up admirably to ensure that the hurricane plan was carried out successfully, and those that stayed behind, especially, deserve our deepest appreciation.” ■

NOMA Engineers Carey Danna and Shea Caliste

NOMA Chief of Security Tony Graffeo

NOMA security staff member Vanessa Smith

Photo by Judy Cooper

Photo by Judy Coopoer

Photo by Judy Cooper

ARTS QUARTERLY

Circles and Fellows of the New Orleans Museum of Art

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

CIRCLES PRESIDENT’S CIRCLE Mrs. Jack R. Aron Mr. and Mrs. John D. Bertuzzi Mr. and Mrs. Sydney J. Besthoff III The Booth-Bricker Fund Mr. and Mrs. Ralph O. Brennan Mr. and Mrs. John H. Bryan III Collins C. Diboll Private Foundation Mr. and Mrs. Prescott N. Dunbar Mr. and Mrs. David F. Edwards Mr. and Mrs. S. Stewart Farnet Dr. and Mrs. Ludovico S. Feoli Mr. and Mrs. Stephen A. Hansel Ms. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Helis Foundation Mr. Jerry Heymann Heymann-Wolf Foundation Mrs. Killian L. Huger, Jr. Mr. and Mrs. David A. Kerstein Mr. Paul J. Leaman, Jr. Mrs. Paula L. Maher Mr. and Mrs. Charles B. Mayer Mrs. Robert Nims Mr. and Mrs. Gray S. Parker Mr. and Mrs. Charles S. Reily, Jr. Mrs. Françoise B. Richardson Mr. and Mrs. George Rodrigue Mr. and Mrs. Benjamin M. Rosen Mr. and Mrs. Robert Shelton Mrs. Patrick F. Taylor Mrs. John N. Weinstock Zemurray Foundation

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

FELLOWS DIRECTOR’S CIRCLE Mr. and Mrs. F. Macnaughton Ball, Jr. Ms. Tina Freeman and Mr. Philip Woollam Mr. and Mrs. Lawrence D. Garvey Mrs. Harry Greenberg Mrs. Charles W. Ireland Mr. and Mrs. Erik F. Johnsen Mr. and Mrs. Peter R. Monrose, Jr. Mr. and Mrs. Robert J. Patrick Dr. and Mrs. James F. Pierce Ms. Debra B. Shriver Mrs. Margaret B. Soniat and Mr. Joel J. Soniat Mr. and Mrs. Harry C. Stahel Dr. and Mrs. Richard L. Strub Mr. and Mrs. St. Denis J. Villere Mrs. Nan S. Wier

Mrs. Adele L. Adatto Dr. and Mrs. Kenneth N. Adatto Mrs. Jack R. Anderson Mrs. Jimi Anderson Mrs. H. W. Bailey Mr. and Mrs. William F. Banta Mrs. Howard T. Barnett Ms. Roberta P. Bartee Mr. and Mrs. Beauregard L. Bassich Mr. Robert M. Becnel and Ms. Diane K. Zink Mr. and Mrs. Edward B. Benjamin, Jr. Mr. and Mrs. W. Mente Benjamin Mr. and Mrs. Michael A. Berenson Mrs. Marian Mayer Berkett Ms. Virginia Besthoff and Ms. Nancy Aronson Dr. Siddharth K. Bhansali

NEW ORLEANS MUSEUM OF ART

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

ARTS QUARTERLY

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

Ms. Karyl Pierce Paxton Mr. and Mrs. Norvin L. Pellerin Mrs. Ben J. Phillips Mr. and Mrs. John Phillips Mr. and Mrs. R. Hunter Pierson, Jr. Mr. and Mrs. Dick H. Piner, Jr. Mr. and Mrs. O. Miles Pollard, Jr. Mr. and Mrs. Arthur C. Pulitzer Ms. Sally E. Richards Mr. Robert R. Richmond III Mr. and Mrs. Leon H. Rittenberg Mr. and Mrs. John K. Roberts, Jr. Mr. and Mrs. James C. Roddy Mr. Andre Rodrigue Mr. Jacques Rodrigue Mr. Arthur Roger Mrs. Carol H. Rosen Mr. and Mrs. Paul S. Rosenblum, Sr. Mr. and Mrs. Louie J. Roussel III Mr. and Mrs. Hallam L. Ruark Mrs. Basil J. Rusovich, Jr. Ms. Nadine C. Russell Miss Courtney-Anne Sarpy Mr. and Mrs. Richard Schornstein, Jr. Mr. and Mrs. Aaron Selber, Jr. Mr. and Mrs. William H. Shane, Jr. Mr. and Mrs. Lester Shapiro Mrs. Shepard H. Shushan Mr. and Mrs. Edward M. Simmons Mr. and Mrs. Richard L. Simmons Dr. and Mrs. Julian H. Sims Mrs. Evald L. Skau Mr. and Mrs. Timothy C. Slater Mrs. James Carlos Smith Mrs. Joe D. Smith, Jr. Mr. and Mrs. Rodney R. Smith Mr. and Mrs. Charles A. Snyder Mrs. Frederick M. Stafford Ms. Mary Holmes Stephens Mrs. Mary E. Stern Ms. Anne Reily Sutherlin Dr. and Mrs. Harold M. Stokes Dr. Nia K. Terezakis Ms. Catherine Burns Tremaine Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. and Mrs. R. Preston Wailes Dr. and Mrs. Cedric Walker Mr. Albert J. Ward, Jr. Mr. and Mrs. Hugo Wedemeyer Dr. and Mrs. Rudolph F. Weichert III Dr. and Mrs. Robert G. Weilbaecher Ambassador and Mrs. John G. Weinmann Mrs. Donald L. White Mr. Robert J. A. Williams and Mrs. Norris Williams Mrs. Warren Wirth Mrs. James A. Wysocki Mr. and Mrs. Joseph Young, Jr. Mr. and Mrs. Robert E. Young Ms. Helen H. Wisdom and Dr. Jack S. Zoller

Join the Circles and Upgrade Your Support of NOMA

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

President’s Circle

$20,000

Director’s Circle

$10,000

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

_________________________________________ Patron’s Circle

$5,000

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

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

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

NEW ORLEANS MUSEUM OF ART

O N T R I B U T I O N

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

BESTHOFF SCULPTURE GARDEN FUND

NVC FLOWER FUND IN HONOR OF

LIBRARY FUND IN HONOR OF I. JAY KREIGER’S BIRTHDAY: Ann and John Dupy MR. AND MRS. HAROLD BOHN: Juanita Bohn COURTNEY-ANNE SARPY’S BIRTHDAY: Jane Pharr Gage Katherine Gage STEPHEN MOSES’ BIRTHDAY: Marianne and Isidore Cohn JOANN GREENBERG’S BIRTHDAY: Ms. Jan B. Strauss Margot Garon Mrs. Jane N. Kohlmann Carol Rosen Eve G. Hirsch

IN MEMORY OF BILL BENNETT: Mr. and Mrs. Bernard C. Mayer

THE NVC PORTICO RENOVATION FUND: Dorothy Caserta Mr. and Mrs. Walter Hingle Emily L. Thornton James T. Clavin and Burton M. Greenberg

BRENDA AND MIKE MOFFITT’S WEDDING: Pam and Stanley Fried

PHOTOGRAPHY FUND IN MEMORY OF

IN HONOR OF

ED RATHKE: Barbara Lill

MR. AND MRS. JEFFREY GOLDRING’S MARRIAGE: Harry Rosenberg

PATRICIA ROLLINS WHITTY: Barbara Lill

THE BIRTH OF OWEN WEST DANIEL: Harry Rosenberg

NVC PORTICO RENOVATION FUND

IN MEMORY OF

IN HONOR OF

AARON FRANK MARCUS: Harry and Kimberly Rosenberg

JUDGE PRESTON H. HUFFT: Harry and Kimberly Rosenberg

IN HONOR OF FRANÇOISE B. RICHARDSON’S BIRTHDAY: Paul J. Leaman, Jr.

BRENDA AND MIKE MOFFITT’S MARRIAGE: Janet and Jimmy Frischhertz Charles and Sherry Snyder Cammie and Charles Mayer Joan and Dawn Davis

MR. KERRY DOOMS EMERY: Harry and Kimberly Rosenberg THOMAS VARNELL: Harry and Kimberly Rosenberg

MARTHA FISHER: Entergy

JOANN VINET: Harry and Kimberly Rosenberg

ANNA CARDINALE: ExxonMobil

DAVID FREDERICK HEINRICH: Harry and Kimberly Rosenberg

MARIE (MICKEY) GREVE: ExxonMobil

JOHN FRANCIS NAUGHTON: Harry and Kimberly Rosenberg

MILLIE HAWKSHEAD: ExxonMobil

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

I SUPPORT

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

JERRY WATSON: Victoria Luhrs DAVID F. HEINRICH: Christopher Ralston DON WRIGHT: Dorian Bennett LEWIS PARRISH: Jane and Richard Fox Celia and Robert Kornfeld Eve G. Hirsch

ARTS QUARTERLY

ADDRESS _________________________________________CITY/STATE/ZIP ____________________________

Enclosed is my donation in the amount of: ❑ $10 ❑ $15 ❑ $25 ❑ $50 ❑ $100* Other _____ Please make checks payable to the NOMA Volunteer Committee. Mail to: New Orleans Museum of Art • NVC • PO Box 19123 • New Orleans LA 70179-0123 We will be happy to accept credit card payments for contributions of $50 or higher. Please call the NVC Office, 504-658-4121, to donate by credit card.

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

CORPORATE MEMBERSHIP

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

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

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

BENEFACTOR Antenna Audio, Inc.

ASSOCIATE PATRON Brian Schneider Company The Sydney and Walda Besthoff Foundation

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

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

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

LEADER Barriere Construction Company, Inc. Boh Bros. Construction Company, Inc. Dorian M. Bennett, Inc.

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

NEW ORLEANS MUSEUM OF ART

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

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

ARTS QUARTERLY

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

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

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

BENEFACTOR

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

PATRON

$10,000 &

ABOVE

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

$5,000

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

MASTER

$2,500

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

LEADER GUARANTOR

$7,500

$1,000

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

ASSOCIATE

$500

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

CONTRIBUTOR

$250

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

NOTICE OF ANNUAL MEETING

Notice is hereby given that the Annual Meeting of the membership of the New Orleans Museum of Art (“NOMA”) will be held on Tuesday, November 11, 2008 at 4:00 p.m. at the New Orleans Museum of Art, 1 Collins Diboll Circle, City Park, New Orleans, Louisiana for the purpose of considering and voting upon, among other things, a proposal to amend and restate Articles of Incorporation of NOMA as follows: AMENDED AND RESTATED ARTICLES OF INCORPORATION of NEW ORLEANS MUSEUM OF ART STATE OF LOUISIANA PARISH OF ORLEANS New Orleans Museum of Art, a Louisiana nonprofit corporation (the “Corporation”) acting pursuant to Section 241 of the Louisiana Nonprofit Corporation Law, through its undersigned officer and by authority of its Board of Trustees, does hereby certify as follows: FIRST: The Amended and Restated Articles of Incorporation set forth in Paragraph FIFTH below accurately set forth the articles of incorporation of the Corporation and all amendments thereto in effect on the date hereof, without substantive change except as made by any new amendment or amendments contained herein, in particular, by amending and restating Articles 2, 3, 4, 7, 8, 9 and 10 in new Articles 2, 3, 4, 7, 8, 9 and 10, respectively. SECOND: All such amendments have been effected in conformity with law and with the Corporation’s articles of incorporation in effect immediately prior to these Amended and Restated Articles of Incorporation. THIRD: The Corporation was originally incorporated by an authentic act before Felix Dreyfous dated June 19, 1911, filed pursuant to then applicable law with the Recorder of Mortgages, Parish of Orleans, Book 1018, Folio 7093, on June 19, 1911, and thereafter with the Secretary of State of the State of Louisiana. These Amended and Restated Articles of Incorporation supercede the articles of incorporation of the Corporation and all prior amendments thereto (the “Old Articles”), including, without limitation, those made by the Restated Articles of Incorporation dated November 22, 1976, as amended by the Articles of Amendment to the Restated Articles of Incorporation dated December 19, 1984 and the Articles of Amendment to Articles of Incorporation dated November 16, 1994. FOURTH: At a meeting held ________ ___, 2008, the Members of the Corporation, by the affirmative vote of a majority of the members present, approved the amending and restating of the Old Articles in their entirety as set forth herein. FIFTH: The Amended and Restated Articles of Incorporation of the Corporation are as follows: ARTICLE 1 The name and style of this corporation shall be the “New Orleans Museum of Art.” ARTICLE 2 The Corporation is organized as a nonprofit corporation under the provisions of Chapter 2, Title 12 of the Louisiana Revised Statutes of 1950 (the “Louisiana

Non-Profit Corporation Law”). No part of the Corporation's net earnings shall inure to the benefit of or be distributed to any member, director, trustee, officer, employee or individual. However, the Corporation shall be empowered and authorized to pay reasonable compensation for services rendered and to make payments and distributions in furtherance of the purposes set forth in Article 4 hereof. The Corporation shall not engage in any activity inconsistent with its status as a corporation that is exempt from federal income taxation under Sections 501(c)(3) of the Internal Revenue Code of 1986, as currently in effect or as may hereafter be amended (the “Internal Revenue Code”). These Articles shall be construed accordingly, and all powers and activities of the Corporation hereunder shall be limited accordingly. ARTICLE 3 This corporation shall exist in perpetuity. Its domicile shall be in the City of New Orleans, and the location of its registered office shall be the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, Louisiana 70124 and its post office address P. O. Box 19123, New Orleans, Louisiana 70179. The registered agents for service of process shall be: David F. Edwards, 51st Floor, 201 St. Charles Avenue, New Orleans, Louisiana 70170-5100 Julie D. Livaudais, 2300 Energy Centre, 1100 Poydras Street, New Orleans, Louisiana 70163-2300 ARTICLE 4 The Corporation is organized and to be operated exclusively for charitable and educational purposes within the meaning of Section 501(c)(3) of the Internal Revenue Code, including but without limitation thereon: To manage, administer, and operate the New Orleans Museum of Art, all the assets of which, other than the original building and the campus-wide lands, are vested in this Corporation, including its objects of art; To cultivate, promote and inspire the knowledge, love and appreciation of the fine arts through educational programs and exhibits, and to otherwise encourage and conduct the education, maintenance and development of the fine arts; To receive and maintain funds, donations of money, property or other things of value, as well as all types of securities given to this Corporation in trust or otherwise, and to use and apply such receipts to the aforesaid objects and purposes, and to the acquisition, by purchase, loan, exchange or lease of objects of art, lands, buildings and improvements and the maintenance and operation thereof. No part of the activities of this Corporation shall include the carrying on of propaganda, attempting to influence legislation, or participation or intervention in (including the publishing or distribution of statements) any political campaign on behalf of any candidate for public office, nor shall this Corporation conduct any activities that are prohibited under Section 501(c)(3) of the Internal Revenue Code by a corporation exempt from federal income tax, or by a corporation, contributions to which are deductible under Section 170(c)(2) of the Internal Revenue Code. To do any and all things necessary or proper in connection with the foregoing objects and purposes or which is calculated to promote the interests of the New Orleans Museum of Art, to engage in any lawful activity

NEW ORLEANS MUSEUM OF ART

for which corporations may be formed under the Louisiana Non-Profit Corporation Law, and to engage in any other activity that is incidental to, connected with or in advancement of the foregoing purposes of Section 501(c)(3) of the Internal Revenue Code, provided, the powers of the Corporation shall never be inconsistent with the purposes of the Corporation stated above or the Constitution of the United States or the State of Louisiana ARTICLE 5 This Corporation shall have the capacity to act as natural persons; and without limiting or enlarging the generality of the foregoing it is hereby specifically provided that the Corporation may: (A) Have a corporate seal and alter the same at pleasure, but failure to affix a seal shall not affect the validity of any instrument;

designee shall not be entitled to vote on matters coming before Board meetings. One Trustee shall be the incumbent chairman of the New Orleans Museum of Art Fellows. One Trustee shall be the incumbent chairman of the New Orleans Museum of Art Advisory Council. One Trustee shall be the incumbent President of the New Orleans Museum of Art Volunteer Committee who shall hold office as a Trustee during such volunteer's term of office as President. Thirteen (13) Trustees shall be elected by the Board of Trustees of the Association as follows: (A) One Trustee from two persons nominated by the Board of Commissioners of New Orleans City Park Improvement Association; (B) Nine Trustees from eighteen persons nominated by the members of this Association, three each year in a triennial cycle;

(B) Contract, sue, and be sued in its corporate name; (C) Acquire in any legal manner and to hold, sell, dispose of, lease, pledge, mortgage, or otherwise alienate or encumber any property, subject to any limitation prescribed by law or these articles; (D) Acquire in any legal manner and to hold, sell, dispose of, pledge, mortgage or otherwise alienate or encumber the shares, bonds, debentures, and other securities or evidences of indebtedness, or franchises and rights of any other corporation, domestic or foreign, subject to the limitations contained in the articles, and in relation thereto to exercise all the rights, powers, and privileges of ownership, including the right to vote on any share of stock of any other corporation; (E) Appoint or employ such officers and agents as the business of the corporation may require; and (F) Borrow money and to issue, sell, pledge, or otherwise dispose of its bonds, debentures, promissory notes, and other obligations and evidences of indebtedness, and to secure the same by hypothecation of any kind of property. ARTICLE 6 This Corporation is organized upon a non-stock basis; and the qualifications of its members, the different classes of membership, and the designations, voting powers and other rights, privileges, restrictions and limitations granted to and imposed upon the members of each class shall be set forth in the By-Laws. ARTICLE 7 The corporate powers of the Corporation shall be vested in and its business and affairs shall be managed by a Board of Trustees of not less than twenty-one (21) nor more than forty-nine (49) Trustees as may be provided in the By-Laws, and who shall be nominated and elected as hereinafter set forth. One Trustee shall be a member of the City Council of the City of New Orleans and shall be appointed by and shall hold office at the pleasure of the Council during such period as he is a member thereof. One Trustee shall be the Mayor of the City of New Orleans. The Mayor shall be authorized to designate an individual to attend Board meetings in his place but such

ARTS QUARTERLY

(C) Three Trustees from a total of eight persons nominated, one by the Presidents of each of the following organizations, respectively: 1.

Tulane University;

2. 3.

Loyola University; University of New Orleans;

Dillard University;

Xavier University;

Southern University in New Orleans;

Delgado Community College; and

Holy Cross College.

Such three Trustees shall be elected in a triennial cycle. The remaining Trustees, the number of whom shall be provided by the By-Laws, shall be elected by the Board from persons of its own choice and shall be designated as "At Large". The term of the Trustees At Large shall expire one-third in one year, one-third in the next year and the balance in the next year. Except for those Trustees who shall be named by the City Council of the City of New Orleans, the Mayor of the City of New Orleans, the incumbent President of the New Orleans Museum of Art Volunteer Committee, the incumbent chairman of New Orleans Museum of Art Fellows and the incumbent chairman of the New Orleans Museum of Art Advisory Council, the term of office of each Trustee shall be three years. No member of the Board of Trustees shall be considered as serving on the Board in a representative capacity and, following election to the Board, all members thereof shall be independent of their respective nominating organization. No persons (other than that person nominated by the City Council of the City of New Orleans and the Mayor of the City of New Orleans) who shall have served as voting members of the Board of Trustees for two consecutive terms shall be eligible for re-election to the Board until one year shall have elapsed from the date of the termination of his or her second term; provided that a President of the Association whose first term of office as President shall occur in the sixth year of two consecutive

(continued on next page)

(continued from previous page)

terms as Trustee shall be eligible for one additional year as a Board member, and shall be eligible for re-election as President. The failure to elect or the failure of any organization to nominate Trustees shall not dissolve the Association nor impair its corporate existence but the Trustees whose terms have not expired shall remain in office and fill the vacancy or vacancies in their number by election without nomination. In the event that any of the organizations referred to herein be taken over by another organization, such successor other organization shall succeed to the privilege of submitting nominations of members of the Board of Trustees. In the event that nominations are not received from any one or more of the organizations within the time hereinafter stipulated, or if any of such organizations shall cease to exist, the Board of Trustees shall have the right to elect from At Large the member or members who otherwise would have been elected from a nominee or nominees of such organization. The Secretary of the Association, or in his absence, the Assistant Secretary, within the first two weeks of October in each year shall notify in writing by certified or registered mail each organization which is accorded the privilege of submitting nominations to the Board of Trustees of its right so to do, and each such organization shall submit in writing its nominee to the Board within thirty days after receipt of such written notice. The membership of this Association shall meet and shall elect its nominees to the Board of Trustees on or prior to the 15th day of November of each year. Trustees (both from nominations received and from At Large) shall elected by the Board at a meeting held within two weeks after all nominations are received and no later than the 24th day of December of each year thereafter. Any Trustee that has five unexcused absences in any single year of service on this Board may be removed upon a vote of two-thirds of the members present at any Board meeting. Vacancies occurring on the Board of Trustees, however caused, shall be filled for the unexpired term in accordance with the same procedures as hereinabove set forth, except that the times of the notice to nominate, of the submitting of nominees, and of the election of a Trustee to fill a vacancy shall be stipulated in the ByLaws.

also deems necessary and proper. Members of such groups shall have no right to vote or otherwise exercise the powers of the Corporation. ARTICLE 9 These Articles of Incorporation may be amended in any respect at a special meeting of the voting members called for that purpose after notice as required by law. At such meeting, an amendment altering or amending the Articles may be adopted by the affirmative vote of twothirds of all of the voting members of the Corporation present at said meeting, but in no event fewer than ten (10) voting members. ARTICLE 10 Upon dissolution of the Corporation, the Board shall, after paying or making provisions for payment of all liabilities of the Corporation, dispose of the assets of the Corporation exclusively for charitable, educational or scientific purposes, or to any organization established and operated exclusively for charitable, educational or scientific purposes, which shall at the time of such dissolution qualify as an exempt organization under Section 501(c)(3) of the Internal Revenue Code, as the Board shall determine. No part of the assets of the Corporation shall ever be distributed to or used for the benefit of any member, trustee, director or officer of the Corporation, or any private individual or corporation. These Restated Articles of Incorporation were approved by the Board of Trustees on June 18, 2008.

ARTICLE 8 The Board of Trustees shall have the power to make, amend and repeal the By-Laws of this corporation. Annually during the month of December, the Board of Trustees shall meet and shall elect from their number a President, one or more Vice Presidents, a Secretary, and a Treasurer, and such other officers as the Board may deem necessary, any two of which offices may be combined in one person. The Board may further elect such officers (who need not be members of the Board) as may be authorized by the By-Laws. The terms of this office and duties of the officers shall be defined in the By-Laws. The Board may constitute such committees, standing or special, as may be necessary or proper for the functioning of the Corporation or in aid of the administration of the Museum for its purposes. Membership on the Board of Trustees shall not be a condition precedent to appointment on any committee. The Board may constitute categories of special trustees, such as National Trustees and Honorary Trustees, and councils, such as an Advisory Council, as it

NEW ORLEANS MUSEUM OF ART

Picasso in the Pines BY JAMES MULVIHILL Director of Communications and Marketing, NOMA

The Felix J. Dreyfous Library

housands of art enthusiasts on the north shore of Lake Ponchatrain will get a taste of NOMA without having to fill their gas tank when I, a one-night-only exhibition of works by Pablo Picasso from the Museum’s permanent collection, travels to GalleryNU in Covington the evening of Saturday, October 11. Picasso in the Pines will be on view during St. Tammany’s annual “Fall for Art” evening of gallery openings, from 6 p.m. to 10 p.m. The exhibition marks the first event in a new “NOMA on the Northshore” series, bringing temporary exhibitions and public programs to a variety of art spaces in St. Tammany. “We have hundreds of members and thousands of annual visitors that hail from the Northshore,” said E. John Bullard, NOMA’s Montine McDaniel Freeman Director. “This series will help art enthusiasts save some time and money while still giving them access to NOMAquality exhibitions.” Picasso in the Pines will include drawings, prints and ceramics by Picasso, the twentieth-century master who popularized Cubism and remains one of the most famous and influential modern painters. “Picasso gave artists the freedom to go beyond realism to abstraction,” said Miranda Lash, NOMA’s curator of modern and contemporary art. “He was largely responsible for showing the world that an abstract work could be as powerful as a representational one.” Organized by the NOMA Volunteer Committee, Picasso in the Pines was the brainchild of NVC member and Northshore resident Sherry Snyder. The venue,

GalleryNU, is a fine art gallery owned by former New Orleans gallerist Danny Saladino. Future “NOMA on the Northshore” events likely will rotate amongst select exhibition spaces throughout St. Tammany Parish. GalleryNU is located at 401 Columbia Street in Covington. ■

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

he Felix J. Dreyfous Library is located in the basement of the New Orleans Museum of Art. The library’s services and collection (20,000 books and 70+ periodicals) are available for use by NOMA’s members. The library is staffed by a librarian (Sheila Cork) with a master’s degree in library and information cience, and an extensive background in reference and research. In addition, the library is fortunate to have volunteers who help on a regular basis The library is open Monday through Friday, 9 a.m. to 5 p.m. Please call 504-658-4117 or email the librarian at scork@noma.org to make an appointment to come in and use this wonderful resource, a valuable benefit of your membership.

Pablo Picasso (Spanish, 1881-1973) Reclining Female and Male with Guitar, 1959 Linocut print on paper Collection of the New Orleans Museum of Art Gift of Mr. Frank B. Williams and Joann Q Williams. 80.249

LIBRARY HAPPENINGS Please watch this space for information about upcoming library programs, including a library book club to read and discuss books about art and art museums, author talks and book signings (held in conjunction with the Museum’s gift shop), as well as other programs. Please call or the librarian with your contact information if you wish to be informed about upcoming library events.

ARTS QUARTERLY

PROGRAM SPONSORS A

nnual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops, films, lectures, art classes and numerous other special programs enjoyed by visitors from throughout the city, the state, the country, and, indeed, the world, are made possible through the generosity of our many sponsors. The New Orleans Museum of Art and its thousands of visitors are deeply grateful to these friends for their continued commitment. If you would like additional information on sponsorship, please contact the Museum’s development department, (504) 658-4100. ■

BECOME A NOMA SPONSOR

$100,000 + ACADIAN AMBULANCE SERVICE: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support THE AZBY FUND: General Operating Support Besthoff Sculpture Garden Operating Support Security Equipment

$99,999 – $50,000 CHEVRON: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support Handbook of School Programs Teacher’s Packets LOUIS ARMSTRONG NEW ORLEANS INTERNATIONAL AIRPORT: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support LOUISIANA DIVISION OF THE ARTS: Institution Stabilization Arts in Education General Operating Support THE LUPIN FOUNDATION: General Operating Support Art in Bloom 2008 SELLEY FOUNDATION: General Operating Support SHERATON NEW ORLEANS HOTEL: The Baroque World of Fernando Botero Exhibition Support

GETTY FOUNDATION: Conservation of the Besthoff Sculpture Garden THE HELIS FOUNDATION: Free Admission for Louisiana Residents THE PATRICK F. TAYLOR FOUNDATION: Taylor NOMA Scholars Program ZEMURRAY FOUNDATION: General Operating Support

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

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

ANONYMOUS DONORS: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support FORD FOUNDATION: Planning and Exploration of New Orleans Audiences

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

EAST JEFFERSON GENERAL HOSPITAL: LOVE in the Garden 2008

$34,999 - $20,000 D. LEE HODGES SHERRI S. LOGAN: Objects of Desire: Fabergé from the Hodges Family Collection Exhibition Catalogue Support LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATON: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support

THE GPOA FOUNDATION: Educational Pre-Visit Video of African Art Collection MR. AND MRS. STEPHEN A. HANSEL: Art in Bloom 2008 JONES FAMILY FOUNDATION: Art in Bloom 2008 NATIONAL FEDERATION OF COFFEE GROWERS OF COLOMBIA: The Baroque World of Fernando Botero Exhibition Support

NEW ORLEANS MUSEUM OF ART

NEW ORLEANS SAINTS: Odyssey Ball 2008 PAUL PRUDHOMME: Rodrigue Aoili Dinner

THE JOHN BURTON HARTER CHARITABLE FOUNDATION: Gentlemen Callers Exhibition Support

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

LAMAR ADVERTISING: Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina Exhibition Support

MR. AND MRS. GEORGE RODRIGUE: Art in Bloom 2008

ENERGY PARTNERS, LTD.: Art in Bloom 2008

RUBY K. WORNER CHARITABLE TRUST: Mid-Week in Mid-City

ENTERGY LOUISIANA: Educational Programs

SAKS FIFTH AVENUE: Art in Bloom 2008

HCA HEALTHCARE-DELTA DIVISION: Art in Bloom 2008

LUZIANNE: Art in Bloom 2008 MR. AND MRS. FRANK NORMAN: P. R. Norman Fund Art Acquisition

MRS. JEAN R. HEID: Art Acquisition Fund

REGIONS BANK Art in Bloom 2008

IBERIABANK: Art in Bloom 2008

REGIONS MORGAN KEEGAN PRIVATE BANKING: Art in Bloom 2008

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

WAYS OF GIVING

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

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

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

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

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

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

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

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

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

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

ARTS QUARTERLY

NOMA EDUCATION: Art Workshops for Teens

Educator Workshops

Come learn new techniques in artmaking at the New Orleans Museum of Art. All classes will be taught by professional artists and art teachers who will introduce participants to the Museum’s collections and special exhibitions while providing students with an exciting atmosphere of learning. Please note that a cancellation up to seven days prior to the first day of the workshop will guarantee a 100 percent refund. No refunds or credits will be given after that time. NOMA is not responsible for providing refunds for classes missed as a result of student illness, student emergencies or events beyond our control. The Museum reserves the right to cancel any class that does not meet minimum enrollment requirements The cost of each all-day teen workshop is $75 for members of the Museum and $90 for nonmembers. All materials are included, and classes are limited to twenty participants. Students

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

Tuesday, October 21 6 p.m. – 8 p.m. Art Therapy in New Orleans Schools NOMA’s art therapist, Holly M. Wherry, will discuss her ongoing Hyogo-NOMA Children’s Art Therapy Initiative, an art therapy program in the New Orleans public schools. She will share information about using expressive arts in the classroom and lead teachers through a hands-on demonstration of a therapeutic art activity. Schools interested in joining NOMA’s art therapy program in the future are encouraged to attend.

should bring a brown bag lunch as there are no restaurant facilities on site. Pre-registration and payment in advance are required. For more information and registration, please contact the education department at 504-658-4128.

Saturday, November 22 10 a.m. – 4 p.m. Ages 13 – 17 Basic Book Arts

Saturday, December 6 10 a.m. – 4 p.m. Ages 13 – 17 Line and Space Students will focus on fundamentals of drawing through the techniques of gesture and continuous line drawing projects. A culminating positive and negative space collage project will highlight the methods learned in this class. ■

For both beginners and for book artists who wish to improve their skills, this introductory bookbinding class will cover the fundamentals such as selection of materials, paper grain, hand tools, technique and structure. These methods will provide participants with the skills necessary to create several different types of books within the class.

Thursday, November 13 6 p.m. – 8 p.m. Objects of Desire: Fabergé from the Hodges Family Collection Join NOMA’s Curator of Decorative Arts John Webster Keefe for a glimpse into the famed Russian Fabergé workshop and an exhibition preview. This special exhibition will feature more than one hundred Fabergé objects spanning a thirty-year period including, but not limited to, Fabergé Easter eggs, a box in the form of an Easter egg, a pink clock set with pearls that was owned by the last Tsarina of Russia, a Bismark Box laden with 90 karats of diamonds, an imperial horse guard helmet, cigarette and card cases, clocks, inkwells, letter knives, glue pots, photograph frames and stamp viewers, among other objects. ■

SAVE THE DATE FOR THESE FUTURE EDUCATOR WORKSHOPS

Tuesday, December 2 6 p.m. – 8 p.m. NOMA and the Amistad Research Center Collaboration: Sources of Artistic Inspiration Tuesday, February 10 6 p.m. – 8 p.m. The Art of Caring: A Look at Life through Photographs Saturday, March 21 2 p.m. – 4 p.m. The Sydney and Walda Besthoff Sculpture Garden Tuesday, April 28 6 p.m. – 8 p.m. African Art from NOMA’s Permanent Collection

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Hyogo Family Sundays

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

Sunday, October 5, 2 p.m. Shelton “Shakespear” Alexander

Spoken-word artist Shelton “Shakespear” Alexander will appear at NOMA on Sunday, October 5, at 2 p.m.

“Shakespear,” also know as the “African-American Shakespear,” is an active spoken-word artist in New Orleans who rose to national prominence after being featured in Spike Lee’s documentary, When the Levees Broke. He also appeared on Russell Simmon’s HBO Def Poetry Jam and is a two-time New Orleans Grand Slam Champion for 2003 and 2005. Highlighting his experiences during and in the aftermath of Hurricane Katrina, Shakespear will speak about issues he has faced during his lifetime and perform selections of his poetry. Seating is limited and available on a first-come, first-served basis. For ages ten and above.

The NOCCA Jazz Ensemble will perform at NOMA on Sunday, November 9, at 2 p.m. Photo Courtesy NOCCA Jazz Ensemble

Sunday, November 9, 2 p.m. NOCCA Jazz Ensemble The NOCCA Jazz Ensemble, high school students from the New Orleans Center for Creative Arts, offers an afternoon performance of jazz standards and favorites. Come enjoy the next generation of world renowned jazz artists. Students from across the New Orleans area will be showcased during the performance.

Sunday, December 7, 2 p.m. “A Visit to Africa” with the Culu Children’s Traditional African Dance Company Join us for a performance by the Culu Children’s Traditional African Dance Company, a local ensemble of children ranging in ages from six to eighteen who are devoted to showcasing African folklore in performances and outreach programs of dance and music. “A Visit to Africa” will take you on a journey of cultural exploration and immerse you in the spirits of the ancestors through both observation and participation. ■

ARTS QUARTERLY

“A Visit to Africa” with the Culu Children’s Traditional African Dance Company will perform at NOMA on Sunday, December 7, at 2 p.m. Photo courtesy N’Zinga Hayes French

NOMA EDUCATION: Japan Fest

Lectures

Sunday, October 19 11 a.m. – 4 p.m. Returning for its tenth year, the Japan Fest will be presented at the New Orleans Museum of Art. The event, which is organized by NOMA, the Japan Club of New Orleans and the Consulate General of Japan, will feature high-energy drumming by Kaminari Taiko of Houston, Japanese storytelling, and traditional dance by Mainokai International and Wako-Kai. Additionally, the festival will include demonstrations of ikebana, origami, calligraphy, tea ceremony, go, and various martial arts, as well as screenings of animé shorts. Information will be available regarding the New Orleans Zen Temple, Japanese archery, haiku and Lafcadio Hearn. Visitors also will have the opportunity to fire their own raku pot courtesy of the OhrO’Keeffe Museum. Japanese food and merchandise will be available.

Admission to NOMA is free to all Louisiana residents. For additional information, call (504) 658-4100. The Japan Fest is made possible by a Passport Grant from the World Cultural Economic Forum of the Louisiana Department of Culture, Recreation and Tourism, and generous contributions from Continental Airlines, Zen-Noh Unico America Corporation, the Port of New Orleans, Zen Noh Grain Corporation, CGB Enterprises, and Chugoku Marine Paints. ■

The tenth annual Japan Fest will be presented at NOMA on Sunday, October 19, from 11 a.m. to 4 p.m.

NOMA lectures are intended to complement our permanent and traveling exhibitions. These events will take place in the Museum’s Stern Auditorium. All lectures are free with Museum admission. For information, contact education@noma.org or call 504-658-4131.

Sunday, November 16, 2 p.m. Objects of Desire: Fabergé from the Hodges Family Collection by John Webster Keefe, RosaMary Foundation Curator of the Decorative Arts, NOMA The exhibition Objects of Desire: Faberge from the Hodges Family Collection features more than one hundred works by the great Russian artist-jeweler, Peter Carl Fabergé. This is the first time the collection has been exhibited publicly; it includes the full range of Fabergé objects, including a silver-mounted nephrite Easter egg, cigarette cases, desk implements, silver frames, and jewelry. Some of the objects are from the former imperial Russian collection. The exhibition, which opens at this year’s Odyssey Ball on Saturday, November 8, is on view through January 18, 2009.

The lecture “Objects of Desire: Fabergé frm the Hodges Family Collection” will be presented at NOMA on Sunday, November 16, at 2 p.m. Photo by Judy Cooper

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Sunday, December 14, 2 p.m. The Imperial Splendor: The Palaces of Saint Petersburg by Dr. William Brumfield, Professor of Slavic Studies, Tulane University, and Honorary Fellow, Russian Academy of the Arts From the eighteenth century until the present, the palaces of Saint Petersburg and its environs have been acclaimed as among the world’s most lavish. This lecture, illustrated with Dr. Brumfield’s color photographs taken over a period of three decades, surveys the suburban palaces at Tsarskoe Selo, Peterhof and

Musical Performances

Oranienbaum in all their baroque magnificence. Of particular interest is the palace built for Catherine the Great by Antonio Rinaldi at Oranienbaum, one of the best—and best preserved— examples of late baroque in Russia. A book signing will immediately follow. ■

SAVE THE DATE Sunday, January 18, 2 p.m. Fabergé and the Silver Age by Suzanne Massie, Noted Author and Scholar

Sunday, November 2 4:30 p.m. to 6 p.m. Victor Harris and Fi Yi Yi

Saturday, December 13 2 p.m. Russian Rhapsody for Fabergé

Following the completion of the ArtTable panel discussions also on this date, New Orleans native and Prospect.1 biennial artist Victor Harris will lead a performance of the Fi Yi Yi Mardi Gras Indianst. This performance is free with Museum admission. ■

Victor Harris and Fi Yi Yi will perform at NOMA on Sunday, November 2, at 4:30 p.m.

Sunday, November 2

Panel Discussions

ARTS QUARTERLY

As a program partner of Prospect.1 New Orleans, ArtTable, the leadership organization for professional women in the visual arts, is planning “Urban Prospects,” a series of three public events during the groundbreaking opening weekend of this inaugural international biennial. Following the first panel discussion, “Urban Prospects: Art in Economic Development,” on Saturday, November 1, from 5 p.m. to 7 p.m., at Tulane University, NOMA will host the second and third programs on Sunday, November 2.

NOMA will present the lecture “The Imperial Splendor: The Palaces of Saint Petersburg” on Sunday, December 14, at 2 p.m.

2 p.m. to 3:30 p.m. Urban Prospects: Art in Economic Development This discussion will include several New Orleans-based artists and biennial artists who will present and discuss their community-based artworks and practices. Moderator, Clare Tancons, the associate curator of Prospect.1 and the Contemporary Art Center, New Orleans

Members of the Brass Quintet from the Louisiana Philharmonic Orchestra will perform a program by Russian composers in tribute to the Museum’s current exhibition, Objects of Desire: Fabergé from the Hodges Family Collection. This informal “play and talk” will provide both information about the works and the context in which they were created. The program is approximately an hour and a half with no intermission. Tickets will be distributed one hour before the performance. This performance is free with Museum admission. ■

3:30 p.m. to 4:30 p.m. Urban Prospects: Vanguards In this informal dialogue, Toby Devan Lewis, ArtTable member, collector, philanthropist, curator, and founder of the Toby Fund, initial funder of Prospect.1, and Dan Cameron, Prospect.1 director, founding director of U.S. Biennial and visual arts director, the Contemporary Art Center, New Orleans will discuss their longstanding working relationship and how it has culminated in the largest international biennial to be held in the United States. ■

Get Over the Hump...Wednesday Evenings at the New Orleans Museum of Art NOMA is open on Wednesdays from noon to 8 p.m. In addition to the Museum’s permanent collection and special exhibitions and the Besthoff Sculpture Garden, enjoy these special evening activities. All events begin at 6 p.m., unless otherwise indicated. Each Wednesday will feature a cash bar a different speciality cocktail. OCTOBER 8 FILM, Talkin' Water A coming of age story of four African-American teenage girls set against the backdrop of post-Katrina New Orleans OCTOBER 15 LECTURE, “Imagination, Creativity and Inner Peace” by Gen Mondrub RECEPTION, “Celebrate the Artists!” in conjunction with the exhibition Coping with Katrina: Artwork from the Hyogo-NOMA Children’s Art Therapy Initiative OCTOBER 22 POETRY READING, Poets and Writers Magazine, New Orleans Branch OCTOBER 29 HALLOWEEN PARTY, Haunted History Tours at NOMA FILM, Journey into Darkness, followed by Q&A by Kalila Katherina Smith, New Orleans Haunting Expert

NOVEMBER 5 GALLERY TALK ON NATIVE AMERICAN ART by Mercedes Whitecloud, Native American Art Collector NOVEMBER 12 COMMUNITY ART-MAKING STUDIO (for adults) by Holly M. Wherry, NOMA Art Therapist NOVEMBER 19 PRINTING DEMONSTRATION by Caroline Schleh DECEMBER 3 EXHIBITION WALK-THROUGH of Objects of Desire: Fabergé from the Hodges Family Collection by John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA DECEMBER 10 DISCUSSION by Willie Birch, Prospect.1 Biennial Artist, and Dan Cameron, Prospect.1 Curator and Organizer DECEMBER 17 EXHIBITION WALK-THROUGH of Prospect.1 by Miranda Lash, Curator of Modern and Contemporary Art, NOMA

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

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

NEW ORLEANS MUSEUM OF ART

Come to NOMA for a Unique Holiday Shopping Experience

Beautiful Flower-Shaped Red Poinsettia Bowl for Holiday Entertaining 11” Bowl, $75.00 • 17” Bowl, $150.00

“Art Inside and Out” T-Shirt Available in White, Green, Blue, Yellow Adults S, M, L, XL, XXL $20.00

“Art Inside and Out” Mugs, $10.00 each NOMA Travel Mug, $10.95

Bee Necktie, $38.00 Gordy Necktie, $32.00 NOMA Griffin, $100.00

Begin Your Holiday Shopping Today Stop by the NOMA Museum Shop or Call 504-658-4133 We Ship in the Continental U.S. Special Members’ Pre-Holiday Shopping Event – ONE DAY ONLY 20% Special Discount on All Items Tuesday, November 18 • 8 a.m. – 6 p.m.

ARTS QUARTERLY

MUSEUM NEWS MUSEUM NEWS MUSEUM BOARD OF TRUSTEES BOARD OF TRUSTEES MEETING SCHEDULE The NOMA board of trustees will meet on Wednesday, October 15, November 19, and December 17, at 4 p.m.

NVC NVC OFFICERS ELECTED The NVC held its final general meeting of the year on September 8. The NVC nominating committee, chaired by Kay McArdle, presented the 2009 slate of officers, which was unanimously approved by the general membership. The following ladies will join 2008 Chair-Elect Diane Walmsley, who assumes her duties on January 1. They are: Ellen Miclette, chairelect; Carol Hall, vice-chair of activities; Glendy Forster, vicechair of membership; Kimberly Zibilich, vice-chair of fund-raising; Pam Rogers, corresponding secretary; Dana Hansel, recording secretary; Cammie Mayer, treasurer; and Elizabeth Ryan, parliamentarian. Also serving are: Janet Frischhertz, at-large; Kay McArdle, at-large; and Kevin and Lori Frischhertz, 2009 Odyssey Ball chairs. NVC ART AMBASSADORS The NVC calendar was filled with summer activities for its dedicated members. On June 16, the Art Ambassadors met in the NOMA board room. Kay McArdle and Carol Hall detailed plans for this redesigned committee. With the goal of raising awareness of NOMA exhibitions and programs, more than 150 hotels, motels and B&B’s were scheduled to receive a summertime visit from the NVC Art Ambassadors. Jim Mulvihill, NOMA’s director of communications and marketing, masterminded the handsome packets each volunteer received for distribution. Visitor information, Botero exhibition brochures and two free admission passes were included. The Uptown, Warehouse district, Magazine Street and French Quarter areas of the city, as well as Jefferson Parish hotels and

motels were visited by the Art Ambassadors. Concierges and front desk personnel enjoyed the personal touch and enthusiasm of the NVC members. Art galleries and other tourist hot spots also were paid a visit. Margie Colomb maintains an Art Ambassadors presence in Baton Rouge while Sherry Snyder is spearheading the Northshore outreach. Picasso in the Pines, an exhibition of prints, drawings and ceramics by Pablo Picasso from NOMA’s permanent collection, will take place at GalleryNU on October 11, during Covington’s “Fall for Art” evening of gallery openings. A reception for NOMA Northshore members will be held on Sunday, October 12, featuring curator commentary and opening remarks by NOMA Director E. John Bullard. NVC STUDIO SALON Studio Salon Chairs Cary Alden and Sally Richards orchestrated a summertime treat for NVC members with the August 20 visit to the beautiful Uptown home of Drs. Alfredo and Soffy Botero. A first cousin to famed artist Fernando Botero, Dr. Alfredo Botero and his lovely wife have amassed an extraordinary collection of South American art and sculpture. Studio Salon participants were thrilled with this timely and fascinating event NVC ART TRIP TO MEXICO SCHEDULED FEBRUARY 4 – 9 Anne Gauthier, NVC regional ambassador and art trips chairman, is in the final stages of planning the first international NVC Art Trip to San Miguel de Allende, Mexico, a UNESCO World Heritage site. Nestled in the Sierra Madres north of Mexico City, this enchanting town is known for its beautiful colonial architecture and active arts community. The mild climate of San Miguel de Allende combined with the warmth and friendliness of its local townspeople make it a popular tourist destination. JoAnn Christopher, who divides her time between New Orleans and San Miguel, has set the stage for a fabulous trip. From boutique accommodations at Casa Santa Monica, in the heart of San Miguel, to exclusive entree into outstanding private homes, haciendas as well as the studios of prominent artists, this will be a once-in-a-lifetime offering. ■

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Jacqueline L. Sullivan, Deputy Director Marilyn Dittmann, Director of Development Lisa Rotondo-McCord, Assistant Director for Art/Curator of Asian Art Joanna Sternberg, Assistant Director for Education Gail Asprodites, Controller Pamela Buckman, Sculpture Garden Manager Aisha Champagne, Graphics Coordinator/Webmaster Sheila Cork, Librarian Diego Cortez, The Freeman Family Curator of Photography Sarah Davidson, Coordinator of Special Events William A. Fagaly, The Françoise Billion Richardson Curator of African Art Anthony Graffeo, Chief of Security Jennifer Ickes, Assistant Registrar Kristin Jochem, Development Associate for NVC John W. Keefe, The RosaMary Foundation Curator of The Decorative Arts Miranda Lash, Curator of Modern and Contemporary Art Elizabeth Levy, Membership Assistant Katherine Marquette, Education Assistant James Mulvihill, Director of Communications and Marketing Karl Oelkers, Computer Coordinator Wanda O’Shello, Publications Coordinator/Arts Quarterly Editor Marney N. Robinson, Associate Curator of Education George Roland, The Doris Zemurray Stone Curator of Prints and Drawings Chris Smith, Grants Officer Paul Tarver, Registrar/Curator of Native American and Pre-Columbian Art Patricia Trautman, Museum Shop Manager Laura Wallis, Development Associate for Membership and Annual Appeal Holly M. Wherry, Art Therapist, Katrina Initiative Alice Rae Yelen, Principal Curator for Education NOMA BOARD OF TRUSTEES Sydney J. Besthoff III, President Mrs. Edward George, Vice-President E. Ralph Lupin, M.D., Vice-President Mrs. James Frischhertz, Vice-President William Aaron, Treasurer Mrs. Françoise Billion Richardson, Assistant Treasurer Charles A. Snyder, Secretary Mrs. John Bertuzzi Isidore Cohn, Jr., M.D. Leonard Davis S. Stewart Farnet Mrs. Ludovico Feoli Timothy Francis Tina Freeman Lee Hampton Stephen H. Hansel Edward F. Harold Adrea Heebe Henry Lambert Paul J. Leaman, Jr. Edward C. Mathes Mrs. Charles B. Mayer Kay McArdle Councilmember Shelly Midura Mrs. R. King Milling Mrs. Brenda Moffitt Michael Moffitt Mayor C. Ray Nagin Mrs. Robert J. Patrick R. Hunter Pierson Thomas Reese, Ph.D. Mrs. James Reiss Michael J. Siegel Mrs. Lynes R. Sloss Mrs. James Lyle Taylor Mrs. Patrick F. Taylor Louis A. Wilson, Jr. HONORARY LIFE TRUSTEES H. Russell Albright, M.D. Mrs. Jack R. Aron Mrs. Edgar B. Chase, Jr. Prescott N. Dunbar Mrs. Richard W. Freeman, Jr. Kurt A. Gitter, M.D. Mrs. H. Lloyd Hawkins Mrs. Killian L. Huger Richard W. Levy, M.D. J. Thomas Lewis Mrs. Paula L. Maher Mrs. J. Frederick Muller, Jr. Mrs. Jeri Nims Mrs. Charles S. Reily Mrs. Françoise Billion Richardson R. Randolph Richmond, Jr. Mrs. Frederick M. Stafford Harry C. Stahel Mr. and Mrs. Moise S. Steeg, Jr. Mrs. Harold H. Stream Mrs. John N. Weinstock

NATIONAL TRUSTEES Joseph Baillo Mrs. Carmel Cohen Mrs. Mason Granger Jerry Heyman Herbert Kaufman, M.D. Mrs. James Pierce Mrs. Benjamin Rosen Mrs. Robert Shelton Ms. Debra Shriever Mrs. Henry H. Weldon

NEW ORLEANS MUSEUM OF ART

NOMA Calendar of Events OCTOBER 5 8 10 15

SUNDAY, 2 p.m., Hyogo Family Sunday with Shelton “Shakespear” Alexander, Spoken-Word Artist

DECEMBER 2

TUESDAY, 6 p.m. to 8 p.m., Educator Workshop, “NOMA and the Amistad Research Center Collaboration: Sources of Artistic Inspiration”

WEDNESDAY, 6 p.m., Exhibition Walk-through of Objects of Desire: Fabergé from the Hodges Family Collection by John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA

SATURDAY, 10 a.m. to 4 p.m., Art Workshop for Teens, “Line and Space”

SUNDAY, 2 p.m., Hyogo Family Sunday, “A Visit to Africa” with the Culu Children’s Traditional African Dance Company

WEDNESDAY, 6 p.m., Film, Talkin’ Water SATURDAY, Picasso in the Pines exhibition for NOMA Northshore Members at GalleryNU15, Covington WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting 5 p.m. to 7:45 p.m., Book Signing, New Orleans Television by Dominic Massa 6 p.m., Lecture, “Imagination, Creativity and Inner Peace” by Gen Mondrub 6 p.m. to 8 p.m., Reception, “Celebrate the Artists!” in conjunction with the exhibition Coping with Katrina: Artwork from the Hyogo-NOMA Children’s Art Therapy Initiative

19 21 22 29

SUNDAY, 11 a.m. to 4 p.m., Japan Fest

WEDNESDAY, 6 p.m., Discussion by Willie Birch, Prospect.1 Artist, and Dan Cameron, Prospect.1 Curator and Organizer

11 14

THURSDAY, 6 p.m. to 8 p.m., Photo NOMA

TUESDAY, 6 p.m. to 8 p.m., Educator Workshop, “Art Therapy in New Orleans Schools” WEDNESDAY, 6 p.m., Film, Poetry Reading by Poets and Writers Magazine, New Orleans Branch WEDNESDAY, 6 p.m., Halloween Party, Haunted History Tours at NOMA

SUNDAY, 2 p.m., Lecture, “The Imperial Splendor: The Palaces of Saint Petersburg” by Dr. William Brumfield, Professor of Slavic Studies, Tulane University, and Honorary Fellow, Russian Academy of the Arts

Film, Journey into Darkness

NOVEMBER 1 2

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting 6 p.m., Exhibition Walk-through of Prospect.1 by Miranda Lash, Curator of Modern and Contemporary Art, NOMA

THURSDAY, Merry Christmas—Museum Closed

SATURDAY, Opening Day—Prospect.1 New Orleans SUNDAY, 2 p.m. to 3:30 p.m., Prospect.1 Panel Discussion, “Urban Prospects: Art in Economic Development” 3:30 p.m. to 4:30 p.m., Prospect.1 Panel Discussion, “Urban Prospects: Vanguards” 4:30 p.m. to 6 p.m., Musical Performance by Victor Harris and Fi Yi Yi, Prospect.1 Artist

NOVEMBER, 6 p.m., Gallery Talk on Native American Art by Mercedes Whitecloud, Native American Art Collection

SATURDAY, Museum Closed for Odyssey Ball Preparation

NOMA EXHIBITION SCHEDULE Objects of Desire: Fabergé from the Hodges Family Collection November 9, 2008 – February 18, 2009

7:30 pm. to 9 p.m., Odyssey Ball Patron Party 9 p.m. to midnight, Odyssey Ball

Prospect.1 New Orleans November 1, 2008 – January 18, 2009

SUNDAY, Opening Day—Objects of Desire: Fabergé from the Hodges Family Collection 2 p.m., Hyogo Family Sunday with the NOCCA Jazz Ensemble 5:30 p.m. to 8 p.m., NOMA Members Preview—Objects of Desire: Fabergé from the Hodges Family Collection

11 12 13

TUESDAY, 4 p.m., NOMA Members Annual Meeting

SUNDAY, 2 p.m., Lecture, “Objects of Desire: Fabergé from the Hodges Family Collection” by John Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA

18 19

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

WEDNESDAY, 6 p.m., Community Art-Making Studio by Holly M. Wherry, NOMA Art Therapist THURSDAY, 6 p.m. to 8 p.m., Educator Workshop, “Objects of Desire: Fabergé from the Hodges Family Collection”

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

Gentlemen Callers: Paul Cadmus and George Dureau from the Collection of Kenneth Holditch Through October 12, 2008 Seeking the Light: Studio Glass by Luke Jacomb Through January 4, 2009 A Taste for Excellence: A Tribute to Louisiana Collector H. Speed Lamkin Through January 10, 2009 Prints Past & Prints Present: Limited Editions from Louisiana, Selections from The Historic New Orleans Collection and the New Orleans Museum of Art Through January 18, 2009

6 p.m., Printing Demonstration by Caroline Schleh

22 27 28

SATURDAY, 10 a.m. to 4 p.m., Art Workshop for Teens, “Basic Book Arts” THURSDAY, Happy Thanksgiving Day—Museum Closed FRIDAY, Veterans Day Observance—Museum Closed

ARTS QUARTERLY

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

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