AQ Spring 2014

Susan M. Taylor

DIRECTOR’S LETTER

At NOMA, we are pleased to announce a major addition to the permanent collection this spring. The gift, Melic Meeting (Spread), 1979 by Robert Rauschenberg, was created during a pivotal period in Rauschenberg’s career and NOMA is delighted to share it with the New Orleans community. Rauschenberg was featured in NOMA’s 1977 exhibition Five from Louisiana, which connects NOMA even more closely to his work of the 1970s. The gift, announced recently by the Robert Rauschenberg Foundation, was made possible through the Foundation’s Gift/Purchase program—established to give six selected museums the opportunity to acquire a significant work. At a critical point in the process, the Helis Foundation came to NOMA’s aid to make the purchase component possible. Our popular collaborations with The NOLA Project resume this spring with a new interpretation of Alice in Wonderland, which will surprise audiences and connect them with the Besthoff Sculpture Garden in fresh, unexpected ways. We’re also hosting a classic cinema series in collaboration with the New Orleans Film Society, another opportunity to enjoy the garden’s setting. We will continue to create and develop programs that provide new opportunities to bring arts of all disciplines to our diverse audiences. In May, we will present an exhibition of murals by Hale Woodruff, created in 1938 for Talladega College in Alabama. These works were recently conserved through a collaboration between Talladega College and the High Museum of Art, and will be hanging in NOMA’s Great Hall and surrounding galleries. Visitors will find powerful and poignant images in these murals created for the Works Progress Administration (WPA). An audio guide is planned for the presentation, as well as a supplementary guide to other WPA works in New Orleans. Behind Closed Doors: Art in the Spanish American Home, 1492-1898, organized by the Brooklyn Museum, will give visitors the experience of walking through the domestic interiors of a Spanish Colonial home. Integrated into the exhibition are objects from our own collection that both complement and enhance the Brooklyn presentation. Behind Closed Doors will also allow NOMA curators to begin planning the permanent installation of these collection objects, scheduled for early next year. Finally, we’re tallying up numbers from 2013, and I wanted to share a couple of these findings with you. Attendance increased 43% in 2013, and membership is also on the rise, up 29%. I believe these statistics are encouraging, and reflect the way NOMA has responded to the community’s needs and requests. We are as committed to our public programs as to our exhibitions, and we will continue to offer a variety of opportunities for the public to engage with. As always, NOMA’s permanent collection is the point of departure for the museum’s programming, and you will see more in the coming months as we continue to reimagine the presentation of the collection. The next few weeks will also be the last opportunity to see Photography and the American Civil War and Mel Chin: Rematch. I hope to see you in the galleries soon!

Susan M. TaylorThe Montine McDaniel Freeman Director

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FEATURE

10 Behind Closed Doors

Exhibition reveals the lifestyles of colonial Latin American elite

MUSEUM

INSPIREDBYNOMA

4 Terence Blanchard

EXHIBITIONS

5 Rising Up: Hale Woodruff’s Murals at Talladega College

6 Coming Soon: Drawings from Life of Pi

6 On the Northshore

COLLECTIONS

7 Object Spotlight: Wikstrom’s Cabinet

8 Gifts from Helis Foundation Bring Exceptional Art to NOMA and the Community

9 Reinstallation Presents African Works in a New Light

Page 10 BEHIND CLOSED DOORS Page 6 ON THE NORTHSHORE

CONTENTS Spring 2014

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COMMUNITY

VISIT

14 Spring Programs in the Besthoff Sculpture Garden

15 Arts & Letters Lecture: Poet Brod Bagert

15 PhotoNOMA

15 Art Museum Day

LEARN

16 From the Field: How One Teacher Interacts with NOMA’s Collection

17 Get Creative at NOMA

SUPPORT

18 NOMA Donors

19 Glendy Forster: the 2014 NVC Chair

20 Exhibitions and Events Mark the Beginning of 2014

22 Tim Favrot Receives Isaac Delgado Memorial Award at Annual Fellows Dinner

23 NOMA Celebrates Volunteers at Annual Luncheon

23 Major Gift Bolsters Friday Nights at NOMA

24 Trustees and Acknowledgments

Page 20 MEL CHIN: REMATCHPage 8 ROBERT RAUSCHENBERG, MELIC MEETING (SPREAD), 1979

Arts Quarterly New Orleans Museum of Art

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4 Arts Quarterly New Orleans Museum of Art

I NS PI R E D B Y NOM A : T E R E NC E B L A NC H A R D

Terence Blanchard is a renowned jazz trumpeter, film score and soundtrack composer from New Orleans. The winner of five Grammy Awards, Blanchard served as the artistic director of the Thelonious Monk Institute of Jazz for a decade, and in 2011 was named the artistic director of the Henri Mancini Institute at the University of Miami Frost School of Music. Here, he recounts how he is inspired by NOMA.

What does the New Orleans Museum of Art mean to you as an artist?

Visions and inspirations have always shaped my life as a musical artist. As a child who grew up in New Orleans, the New Orleans Museum of Art has been a part of my life for as long as I can remember. The museum was, and still remains, a place where I can dream. NOMA allowed me to create worlds of fantasy that were inspired by the great visions of some of the most amazing artists in the world. I believe that

fostering imagination is critical to our development as citizens of the world.

NOMA, along with the city of New Orleans, has a natural pulse of creativity. Creativity is integral in parenting, education, science, relationships…you name it! Creativity can change the way we see the world. As a musician, I really enjoy the experience of being inspired or challenged by a piece of art. This spark of inspiration or consternation fuels me to create music.

Is there a particular collection of art, recent exhibition, or certain artist’s work at NOMA that has particularly affected you?

The Willie Birch exhibition during the Prospect.1 biennial was simply thrilling.* He makes you view New Orleans in a very different way—in a romantic, mournful way that made me proud to be from New Orleans. I am also inspired by the work of Frederick Brown. His style and vastness is truly inspiring and his collaborations with musicians, dancers, and artists such as Ornette Coleman, Chet Baker and Andy Warhol, are very impressive. Fred Brown pulled inspiration from so many different cauldrons and combined them in a way that was seamless, effortless even. That was his magic. I composed the music for a documentary about him, and we shared so many conversations about our approaches to art. When I attended his retrospective Frederick J. Brown: Portraits in Jazz, Blues, and Other Icons at NOMA in 2005, I was in awe. I could hear and see the musicians, artists and poets that nurtured Fred’s inspiration. I am truly sorry that we lost him just last

year, but thankful that I witnessed his artistic journey at NOMA.

Will Ryman’s America is soulful. I am hushed when I enter that part of the gallery. Filled with gold bullets, arrowheads, cotton balls—all quintessential tools that shape where we are today as a society. The exhibit of Gordon Parks’ photography, The Making of an Argument, showed Harlem, poverty and gangs. It explored the human spirit and our constant pursuit of identity that still lingers today.

How do you think an art museum serves its community?

NOMA serves everyone. Whether you are a New Orleans public school student, a tourist or an art curator, NOMA provides an opportunity to explore art from all over the world—from different historical periods and in different mediums. And through this process of exploration, you are given the opportunity to explore yourself. I have seen works of art at NOMA that have challenged and impacted my own perspective.

By making art accessible to ALL, NOMA is not only exposing us to other means of expression, but is simultaneously igniting the spark that will amplify our voices. The impact of having a cadre of creative, productive thinkers in the city of New Orleans is very powerful. All great cities need liberated and creative thinkers. I bet you that ours are fueled by NOMA.

*These works by Willie Birch are currently on view in NOMA’s Stern Auditorium.

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EXHIBITIONS

R ISI NG U P: H A L E WO ODRU F F ’ S M U R A L S

AT TA L L A DE GA C OL L E GE

In 1938, the president of Talladega College in Alabama commissioned the Atlanta-based artist Hale Woodruff to create a series of murals for the college’s new library. The resulting project—six large-scale murals portraying famous efforts against black oppression—would become among the most notable Depression-era expressions of the struggle for freedom and equality for blacks in America. The first cycle, installed on the centennial of the 1839 mutiny on the slave ship Amistad, depicts the uprising, the trial, and subsequent return to Africa of the captives on that infamous ship. The companion mural series includes themes from the close of the Civil War to Woodruff ’s present day, touching upon themes of social justice, racial tension and harmony. Both cycles also pay tribute to the American Missionary Association, an organization that formed in defense of the Amistad

captives and later became instrumental in the founding of Talladega College and other educational institutions serving African Americans. Hale Aspacio Woodruff was born in Cairo, Illinois, and raised in Tennessee. In 1927, after formal art study in the United States, Woodruff moved to Paris and spent four years training at the city’s progressive art academies. He studied the work of the Old Masters and the avant-garde, and met with African American expatriates, including Henry Ossawa Tanner. He began collecting African art and, after seeing works by Picasso and other modernists, started to incorporate African imagery into his paintings. In 1931 he established the first art school for African Americans in the Southeast at Atlanta University. He taught students at AU, Spelman College, and Clark University as well as high school and grade school children around

Atlanta. In 1938, he also began teaching classes in art regularly at Talladega College. These murals, which have been on continuous view at Talladega’s Savery Library since their installation in 1939, have undergone conservation treatment at the Atlanta Art Conservation Center. Several other works from Woodruff ’s career are also included in this presentation. Rising Up: Hale Woodruff’s Murals at Talladega College, a collaboration between the High Museum of Art in Atlanta and Talladega College, presents a singular opportunity both for the nation-wide exhibition of these murals and for the extensive study, conservation, and preservation of the landmark paintings.

Rising Up: Hale Woodruff’s Murals at Talladega College will be on view at NOMA from May 16 through September 14, 2014. An accompanying catalogue will be available for purchase in the Museum Shop.

The Building of Savery Library, 1942 (detail); Hale Aspacio Woodruff, American, 1900–1980; oil on canvas, collection of Talladega College, Talladega, Alabama. © Talladega College. Photo: Peter Harholdt


C OM I NG S O ON:

DR AW I NG S F R OM

L I F E OF PI

Coming to NOMA this July 4 – October 12: Alexis Rockman’s watercolor drawings that were the first stage in the development of the fantastical, imaginary world of Life of Pi, the 2012 Academy-Award winning feature film directed by Ang Lee. Though most artistic contributions to cinema have been dependent on photo-realism or cartoon-like illustrations, Rockman’s images are fluid, intimate, and dynamic in a way that only drawing can capture. This exhibition was organized by The Drawing Center in New York. Alexis Rockman’s art draws from a diverse range of inspirations, including old master painting, science fiction, and above all, natural history. Rockman’s large-scale painting Battle Royale, 2009 (seen below), will also be on view. Inspired by New Orleans and included in the Prospect.2 biennial, this work was acquired by NOMA and the Helis Foundation in 2012.

Battle Royale, 2011 (detail); Alexis Rockman, American, born 1962; oil on wood; museum Purchase, The Diana Helis Henry Art Fund, the Helis Foundation; 2012.67

This spring, a selection of photos by Joshua Mann Pailet from the New Orleans Museum of Art will be on view at the Slidell Cultural Center. Orginally presented at NOMA in 2013 in conjunction with the exhibition Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851-1939, these large-scale prints were produced from original negatives that Pailet made while serving as an official photographer for the U.S. pavilion for the 1984 World Expo in New Orleans.

ON T H E NORT H S HOR E : JO S H UA M A N N

PA I L ET ’ S P HO T O S F R OM T H E FA I R

With complete access, Pailet diligently roamed the fair (the last one to be held in the United States), creating dramatic records of both the observers and the observed, from monumental images of stage performers to behind the scenes images of the construction of the fair.

A Fair to Remember: Joshua Mann Pailet’s 1984 World’s Fair is presented by the city of Slidell and NOMA, and will be on view at the Slidell Cultural Center on March 22 – April 26, 2014.

1984 New Orleans World’s Fair, Giant Bust, Wonderwall, 1984; Joshua Mann Pailet, American, born 1950; printed 2013, Archival pigment print; courtesy of the artist

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COLLECTIONS

OB J E C T S P O T L IGH T: W I K ST R OM ’ S CA BI N ET

If you glance up when entering NOMA’s doors, you’ll see inscribed along the architectural frieze names that signified great art to its 1910 founders: Audubon, Whistler, Copley, Wikstrom. While most of the twenty-two names still ring familiar, some, like Wikstrom, require identification. B. A. Wikstrom was a Swedish émigré who made a name for himself in New Orleans art society by engaging with the heart of our culture: Mardi Gras. His 1909 New York Times obituary states that “Mr. Wikstrom designed the majority of the floats used in the Mardi Gras carnivals at New Orleans, and much of the reputation of those affairs is due to his artistic work.” Hundreds of his colorful sketches for imaginative floats and wild costumes are maintained by local archives, including the Carnival Collection at Tulane. In 1912 NOMA memorialized

Wikstrom by exhibiting his marine and landscape paintings, a show that the Times-Democrat said “brings back many happy memories.” This stunning mahogany cabinet, a gift to the museum in 1914, stands alone as an example of Wikstrom furniture, but it aligns intriguingly with the artist’s themes. Its eye-level panels show a twin-tailed mermaid facing off with a dolphin. The mythological mermaid appears across many cultures—as the Greek siren, as Medieval symbol of vice, or on today’s latte cups as the Starbucks logo. Hans Christian Andersen’s 1837 The Little Mermaid tale brought emotional complexity to a fish/woman creature willing to forsake her ocean home for an eternal human soul. The Danish story was popular worldwide, and even by 1900 Wikstrom designed a The Little Mermaid float for the Krewe of Proteus parade. Perhaps this cabinet’s

carved mermaid is homage to the fairy tale by a fellow Scandinavian? Wikstrom’s lower panels are carved with a luscious local marsh scene, with frog, snail, calla lily, and a fleur-de-lis-shaped Louisiana iris. One can’t miss the shells, draping seaweed, seahorse profiles, and aquatic swirls of the Art Nouveau aesthetic popular at turn-of-the-century. The cabinet is of its moment, but interestingly retains a 19th-century romanticism, and more importantly Wikstrom’s unique New Orleans Mardi Gras flair with a Louisiana landscape twist.

Wikstrom’s cabinet is currently on view on the museum’s second floor near the elevators.

Mel Buchanan, RosaMary Curator of Decorative Arts & Design

Cabinet, ca. 1900-05; Bror Anders Wikstrom, American, born in Sweden, ca. 1845-1909; Retailed by Harry L. Moses; Mahogany; Gift of Mr. and Mrs. G. R. Westfeldt, 14.98


COLLECTIONS

GI F TS F R OM H E L IS FOU N DAT ION B R I NG

E XC E P T IONA L A RT T O NOM A A N D T H E C OM M U N I T Y

New Orleans Museum of Art is pleased to announce a recent gift by the Helis Foundation to help the museum purchase Melic Meeting (Spread), 1979 by Robert Rauschenberg (1925 – 2008). The foundation also generously renewed their financial support of free admission to Louisiana residents on Wednesdays for 2014, and added a major gift to NOMA’s endowment. Chosen from a select pool of museum invitees, NOMA is one of six institutions chosen to receive works of art from the Robert Rauschenberg Foundation through their Gift/Purchase Program. NOMA worked with David White, curator at the foundation, to position Rauschenberg’s Melic Meeting (Spread) with NOMA’s exhibition history, collection growth goals, and local ties to the artist and his family. Rauschenberg’s connection to New Orleans makes this gift and purchase particularly appropriate.

Rauschenberg’s mother, Dora was a New Orleans native, and Rauschenberg spent his childhood in the Gulf South. In 1977, his work was included in the exhibition Five from Louisiana at NOMA, organized by curator Bill Fagaly. The “Spread” series was included in this presentation. Rauschenberg is regarded as one of the most significant American artists of the twentieth century. His use of found objects and imagery in his works of the 1950s paved the way for Pop art of the 1960s, and contemporary art’s inclusion of pop culture and consumer references. The “Spread” series that includes Melic Meeting represents an important shift in Rauschenberg’s work that began in the late 1960s and early 1970s. In October of 1969, Rauschenberg’s New York studio suffered a fire, which resulted in his departure from the city and eventual relocation to Captiva, Florida in the fall of 1970. The shift from the urban environment of New York

City to a coastal town brought about his exposure to different materials. The title “Spread” refers to the works’ large, fabric-covered supports. Rauschenberg’s “Spreads” are arranged in grid patterns and utilize images from magazines and newspapers. “We are so pleased to add Melic Meeting (Spread) to NOMA’s collection,” said NOMA Director Susan M. Taylor. “Robert Rauschenberg’s connection to New Orleans and the Gulf South makes this acquisition even more special to the museum. Thanks to the Robert Rauschenberg and Helis Foundations, we can continue to celebrate his remarkable artistic legacy.” In honor of this significant gift, and of the Helis Foundation’s years of philanthropic support to NOMA, NOMA’s modern and contemporary gallery will be named The Helis Foundation Gallery.

Melic Meeting (Spread), 1979; Robert Rauschenberg; solvent transfer, fabric collage, acrylic, mirrored panel, wood,and comb on wood panels;New Orleans Museum of Modern Art. Gift of the Robert Rauschenberg Foundation, partially in honor of Dora Rauschenberg, and Museum purchase with funds provided byThe Helis Foundation

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R E I NSTA L L AT ION P R E S E N TS A F R ICA N WOR K S I N A N E W L IGH T

The African continent, the world’s second largest land mass and population, has been the host to numerous diverse cultures that have flourished throughout the ages. From the prehistoric to the present African peoples have produced artworks as varied as the land and environments in which they reside from today’s Cairo to Cape Town, Dakar to Mombasa. To properly reflect the scope and range of these important works, NOMA is unveiling a new presentation of the third floor Sadie Downman Billion and Oliver Armand Billion Gallery this April. While the focus of the museum’s current holdings is concentrated on the sculptural objects and architecture of the principle art-producing peoples living south of the Sahara Desert, particularly the Western Sudan, Guinea Coast, Equatorial Forest, Southern Savannah and East Africa, other African artistic achievements and times are recognized from this richly diverse continent. The myriad sculptural styles

are as great as the many language groups and cultures in this broad area. The newly reinvigorated installation, which embraces the entire continent of Africa for the first time, is designed to enhance the visitor experience. Organized into distinct geographic regions with new maps, the gallery also includes interpretive materials such as photo murals and video footage that place the objects in context; showing how, why and by whom they were used. New labels also reflect the latest scholarship. Entering the gallery, visitors encounter a large façade of seven elaborately carved house posts from a Cameroon Grassfields palace.* A full-size scrim illustrating the entrance wall of the building contains a doorway opening that reveals an eighth post originally positioned immediately inside. Other objects from the Cameroons are on view surrounding this dramatic focal point.

NOMA has also introduced new technology into the gallery with a projected CT scan that discloses the hidden sculptural contents of a terra cotta object. This revealing information provides valuable new insights into the culture of these ancient peoples. The architectural model with serpents from the eleventh to seventeenth centuries and was produced by the Inland Niger Delta Peoples of Mali popularly referred to as the Djenne. Perhaps the most significant change in the new installation is the addition of the art of ancient Egypt with a selection of works in various mediums from NOMA’s permanent collection. Included are a polychromed wood Hapi figure, a small bronze Shawabti figure, a boat with four figures, a wood and glass pectoral ornament, a glass snake, and a multi-colored glass column flask.

*As seen on the front cover

Post for a Men’s Meeting Shelter (togu na), Dogon Peoples, Youga-na Village, Mali; wood; Gift of Lester Wundermann, 75.401

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This summer, NOMA will host Behind Closed Doors: Art in the Spanish American Home, 1492-1898, an exhibition that offers a glimpse of what an elite home in the Spanish territories of the Americas may have looked like before the Independence movements of the nineteenth century. Spanish Americans of this period were very prosperous, and demonstrated their wealth to a degree not matched in any other empire of the Americas. Organized by Richard Aste, Curator of European Art at the Brooklyn Museum, Behind Closed Doors features 160 works of art that include paintings, sculpture, furniture, and silverwork, and is the first presentation of the Brooklyn Museum’s important Spanish Colonial holdings in nearly twenty years. Most of the objects form part of the Brooklyn Museum’s world-renowned collection of Colonial Latin American art, though the exhibition also features loans from The Metropolitan Museum of Art, the Hispanic Society of America, the Fundación Colección Patricia Phelps de Cisneros, and several other private lenders. Important works from NOMA’s permanent collection of Spanish Colonial art will also be featured; some of these objects have not been displayed at NOMA in several decades. Behind Closed Doors is the first major U.S. exhibition to explore the private lives and interiors of Spain’s New World elite. The artworks exhibited reflect the development of a uniquely “American” style, influenced heavily by Spanish aesthetics, European collecting practices, and the vibrant trade routes that crossed the American continent. The journey begins in 1492, the year of Christopher Columbus’s first voyage to the New World, and ends in 1898, the year that Spain lost the last of its territories in the Americas as the result of the Spanish-American War. The exhibition mirrors the floor plan of an elite home from eighteenth century New Spain (now Mexico), giving visitors an immersive experience that replicates the design of wealthy homes in all of the Spanish American territories. Visitors will view the art and furniture that would have adorned a baldachin (throne) room, a grand reception room, a ladies’ sitting room, a state bedroom, and a private chapel, among other spaces. In Spanish America, these spaces would be overflowing with luxury goods from all over the world. Spain’s social hierarchy of the time placed Colonial Spanish Americans below their Iberian equivalents, although in many cases they were far wealthier. In response to this, Spanish Americans displayed their status boldly through the décor of their domestic interiors. The majority of the objects featured in Behind Closed Doors are from South America, Central America, Mexico, and the Caribbean, but some portraits and decorative artworks from British America are also included alongside their Spanish Colonial counterparts. These juxtapositions demonstrate the exorbitant wealth of Spanish Americans and reflect the widespread global trade of the Early Modern World that elites living in Spanish America fully embraced. Some examples are a Hispano-Philippine

Behind Closed DoorsEXHIBITION REVEALS THE LIFESTYLES OF COLONIAL LATIN AMERICAN ELITE

OppositePageDoña Mariana Belsunse y Salasar, 18th century (detail). Oil on canvas; Attributed to Pedro José Díaz, Peruvian, active 1770–1810, Brooklyn Museum, Gift of Mrs. L. H. Shearman, 1992.212

Doña Mariana was a well-known Lima socialite in the eighteenth century; she was also at the center of one of Lima’s most notorious social scandals of her time. She was originally betrothed to Don Hipólito de Landaburrú, who was many years her senior and famously unattractive. Doña Mariana avoided the union by entering the convent, where she remained until after her fiance had died. She went on to marry Don Hipolito’s dashing nephew, Colonel Agustín de Landaburrú y Rivera, who served as the mayor of Lima. In this portrait, Doña Mariana wears her status in her elaborate clothing and jewelery. Her embroidered tobajilla (ankle-length gown) was a popular French fashion of the time, and her earrings, necklace, and the watch she holds up in her left hand are covered in diamonds and pearls.


sculpture of the Virgin Mary resting atop a wood and ivory cabinet from Colombia, and a British tea service that appears near a Japanese folding screen. The influence of indigenous American elements is clearly visible and is complemented by objects that mirror the decorative styles of the more “Europeanized” objects. Behind Closed Doors not only shows the opulence of Spanish American elite residences, but also represents the diversity of influences that affected their collecting. The history of private collecting in Spanish America was documented through numerous household inventories, and visitors can read the stories of well-known collectors from the period throughout this comprehensive exhibition. NOMA also has a remarkable collection of Spanish Colonial works, some of which will be integrated into the exhibition. These works, examples of how material possessions functioned as signifiers of status and changing religious, political, and racial identities, form an integral part of NOMA’s permanent collection. These objects will showcase the range and depth of NOMA’s Spanish Colonial collection, which is one of the finest U.S. museum collections of Latin American art from the seventeenth through nineteenth centuries. NOMA’s works include paintings, sculpture and furniture from an array of regions and time periods within the genre, and their installation is part of an ongoing initiative to incorporate the museum’s Spanish Colonial objects into a permanent gallery space and revise research on the objects in this important collection. All of the exhibtion interpretive materials and object labels will be presented in both English and Spanish, and NOMA will offer gallery talks in both languages. A scholarly catalogue accompanies the exhibition with contributions by leading experts in the field, including Mia Bagneris, assistant professor in the Art Department at Tulane University.

AboveFree Women of Color with Their Children and Servants in a Landscape, circa 1770–96 (detail); Agostino Brunias Italian, circa 1730–1796); pil on canvas, Brooklyn Museum, Gift of Mrs. Carl H. de Silver inmemory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.59

“...a uniquely ‘American’ style, influenced heavily by Spanish aesthetics, European collecting practices, and the vibrant trade routes that crossed the American continent”

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FROM NOM A’S COLLECTION

Immaculate Conception, late 17th century Unidentified Artist, Cuzco School; Mixed media over silver leaf on linen; Museum purchase and gift of Mr. and Mrs. Arthur Q. Davis and the Stern Fund, 74.265

This magnificent representation of the Virgin of the Immaculate Conception is painted on linen and silver leaf with translucent glazed colors and gold. These materials bring out the iridescence of the silver leaf underneath. Precious gems have been applied to the canvas as rings and earrings, further enhancing the painting’s dazzling effect.

In this rendition, The Virgin Mary is shown making a praying gesture, with two angels holding a crown above her haloed head. The Immaculate Conception was a popular theme for

Spanish Colonial painting; in 1760, she was declared the principal patroness of all Spanish possessions, particularly those in the Americas.

Altar Shrine, 1700-1730 | Unidentified maker; Polychrome over gessoed wood with gilt, fabric, glass beads, gold cord and blown glass; Museum purchase, the Ella West Freeman Foundation Matching Fund, 67.43

This immaculately preserved altar shrine holds a sculptural representation of the fallen Christ atop the cross. Altars such as this one from the NOMA collection have clear formal precedents in European art, though the style and materials used are distinctly Spanish Colonial. Altar shrines such as this one may have adorned the private chapel of an elite home.

Lucia Abramovich, Curatorial Fellow for Spanish Colonial Art

Behind Closed Doors: Power and Privilege in the Spanish American Home, 1792-1898 will be on view from June 20 to September 21, 2014, and is organized by the Brooklyn Museum. The New Orleans presentation is underwritten by the Zemurray Foundation.


VISIT

S P R I NG P R O GR A M S

I N T H E B E ST HOF F

S C U L P T U R E GA R DE N

When was the last time you spent some time in the Sydney and Walda Besthoff Sculpture Garden? Now is your chance to experience it at these outdoor events and view it in another way. Join us!

NOMA AND THE NOLA PROJECT PRESENT: ADVENTURES IN WONDERLAND

In 1862, while babysitting three young girls out on an afternoon boat ride, Lewis Carroll began to tell perhaps the greatest fantasy adventure ever imagined. This May, NOMA and The NOLA Project invite you to step into that fantastic kingdom known to millions as Wonderland! In a stupendously silly, smart and fresh new take on the beloved classic Alice in Wonderland, audiences will have the opportunity to experience Carroll’s Wonderland and all its eccentric characters first-hand in a new interactive way. The NOLA Project, the theatre company that brought Shakespeare to the Sydney and Walda Besthoff Sculpture Garden, will once again transform the garden to be seen as never before. Audiences will be led throughout this new Wonderland, meeting beloved characters and joining in the fantasy. Three unique stories will play out simultaneously as groups of attendees each explore Wonderland in a one-of-a-kind fashion. NOLA Project playwright Pete McElligott and director Andrew Larimer (A Midsummer Night’s Dream) have created a production unlike anything ever experienced in New Orleans, in which no two visits to Wonderland will ever be the same. Come and chase the White Rabbit with us this May. Adventures in

Wonderland will run May 7-25 in the Sydney and Walda Besthoff Sculpture Garden at NOMA. Tickets will be sold online or at the admissions desk only. Please check noma.org for more information.

The production of Adventures in Wonderland at NOMA is supported by a grant from the New Orleans Theatre Association (NOTA).

THE LOUISIANA IRIS RAINBOW FESTIVAL

Featuring live music, gardening demonstrations, and more, the annual Louisiana Iris Rainbow Festival will take place on April 6 in the Sydney and Walda Besthoff Sculpture Garden. There will be a Louisiana Iris competition and show in the Café NOMA courtyard, followed by events in the sculpture garden. Join us! Leading up to the festival are several events in conjunction with the 2014 Society for Louisiana Irises Annual Convention, April 3-5. For more information on those events, please visit their website at www.louisianairisgnois.com.

April 6, 12 – 4 p.m.Free admission

CLASSIC MOVIES IN THE GARDEN

This outdoor film series in the Besthoff Sculpture Garden will focus on classic movies that represent some of the most beloved, highly regarded films from cinema’s “Golden Age” (1927-1963). These films have been selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant” and were also included in TIME Magazine’s 2011 list of the Greatest Films Ever Made. Before the film starts, enjoy food trucks, live music, and Art on the Spot art activities. Bring chairs or a picnic blanket and make this a memorable family or date night.

$6 | adults$3 | NOMA/NOFS members and children 7 to 17FREE | Children 6 and under

April 18, 7:45 p.m.Singin’ in the Rain

May 9, 8 p.m.Casablanca

Theater in the Besthoff Sculpture Garden

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A RTS & L ET T E R S

L E C T U R E : P OET

B R OD B AGE RT

Brod Bagert is the award-winning author of seventeen books of poetry for children, young-adults, and adults. His work has received numerous awards including the International Reading Association’s prestigious Young Adults Choices award, the Association of Educational Publishers Distinguished Achievement Award, and Mom’s Choices Gold Medal. Brod continues to write and perform. Brod was born and raised in the city of New Orleans, where he practiced law and politics for twenty-one years. Then, in the summer of 1992, Brod decided to leave law behind to become a full-time, professional poet. Bring the whole family to his reading at NOMA this April. Major support for this program is provided by the Patrick F. Taylor Foundation.

April 4, 6 p.m.

Followed by a book signing

P HO T ONOM A :

ON E N IGH T, 10 0

P HO T O GR A P H E R S

The New Orleans Museum of Art, in partnership with the New Orleans Photo Alliance, is pleased to present PhotoNOMA, a photographers’ portfolio night at the museum. On Friday, April 18, one hundred photographers, from beginners to the well established, will display their work for a community walk-through. Photography enthusiasts and the public are encouraged to come out to see the wide range of work that will be on display and to take advantage of the wonderful opportunity to meet and engage with the artists. For information about how to participate as a photographer, visit the Photo Alliance website: www.neworleansphotoalliance.com.

April 18, 5:30 – 8:30 p.m.$10 | general public$5 | Photo Alliance membersFREE | NOMA members

A RT M US E U M DAY

The Association of Art Museum Directors (AAMD) is uniting its membership to participate as an organization in the International Council of Museums (ICOM)’s International Museum Day with a celebration of Art Museum Day. This year AAMD’s Art Museum Day will take place on Sunday, May 18. As a participating museum, the New Orleans Museum of Art will offer free admission and special programs as part of the annual celebration. Bring the whole family for gallery tours, Art on the Spot art activities, and a scavenger hunt.

May 18Free admission

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LEARN

F R OM T H E F I E L D : HOW ON E T E AC H E R

I N T E R AC TS W I T H NOM A’ S C OL L E C T ION

Art education is the easiest and also the most challenging subject to teach in high school. Students require the right inspiration. If your kids can see that you are involved, that you are blown away by the possibilities of where art can take you and them, then great things can happen, otherwise it’s just another elective, a class that doesn’t matter as much as math. It is not enough to simply show images of Degas’ work and have your students copy it. Kids need to experience the work, sit in front of an actual painting while sketching, take a cruise to an oil spill and then paint that experience on canvas, or examine a magazine from 1948 with the first title photo essay by an African American. Students need to see the connection art has with their world, the environment, and with their other classes. This is why I teach art and why my work with NOMA over the last couple of years has been so exciting and productive; NOMA understands that the role of the art museum today is to make these learning experiences a possibility. At the beginning of this year, the NOMA at Newman show opened, in which the museum loaned six works

After discussing investigative journalism, the English and Photo Journalism class joined my arts class at the Gordon Parks exhibit and were confronted with the nature of investigative photography and the role of the editor in publishing. Both classes participated in a cross curricular project where peers changed each other’s images and written responses through an assembly line of projects sent from one class to the next; this taught students firsthand how an artist’s vision can be changed dramatically by an editor’s intentions. All of these experiences resonate because they excite both the educator and the student, and it is through institutions like NOMA that are open to collaboration that these educational horizons will be further expanded.

Andrew Rodgers, Upper School Fine Arts Teacher at Isidore Newman School

Notes1. Edward Burtynsky: Water2. Gordon Parks: The Making of an Argument

to Newman on the theme “Seeing Ourselves Through Others.” These figure-focused works spanned a variety of artists, subjects, and materials, and in response, students created their own works of art. This collaboration quickly became one of our most successful shows of the year in the Reynolds Ryan gallery, and the pride my students felt exhibiting with the works on loan from NOMA was clear, astonishing and heartfelt. It is this experience that I have sought to achieve with all of my projects with NOMA. Through visiting both the satellite Edward Burtynsky exhibit at the CAC1 and the Gordon Parks show2 at NOMA, students of multiple departments were brought into the arts. With Burtynsky’s photographs, science students were exposed to images of the dynamic and frightening ways in which water is used, just after a class discussion about water’s effect on the world. In the galleries, my drawing class created master copies of Burtynsky’s large format works. The science class’s responses to those copies expanded their understanding of Burtynsky’s work and also of their own studies in life science.

A freshman at Isidore Newman School poses in front of his Marc Chagall master copy in the Reynolds Ryan Gallery on the Newman campus.

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GET C R E AT I V E

Spark creativity this spring at NOMA. From storytelling to sketching, NOMA offers activities that will inspire your child’s inner artist.

STORYQUEST

11:30 a.m. in the Museum ShopProfessional authors, actors and artists bring the world of children’s literature to NOMA in this family series. StoryQuest begins with interactive readings of selected stories then families search NOMA’s galleries and garden seeking related works of art. Major support for this program is provided by the Patrick F. Taylor Foundation.

April 12 “Green” with NOLA Project

April 19 “Garden” with Skin Horse Theater

May 10 “Wonderland” with NOLA Project

May 24Lynda Deniger and Patti the Pelican and The Gulf Oil Spill

June 7 “Under the Sea” with NOLA Project

June 21“Summer” with Jessica Lozano of Cripple Creek Players

SUMMER ART CAMP

For ages 5-8 and 9-12

June 2 – August 1

Get creative at NOMA’s Summer Art Camp! Weekly camps include explorations of the museum’s galleries and sculpture garden as inspiration for visual and performing art projects. Materials are included. Early registration discount is available through May 16. There are no camps the week of July 4.

Per each weekly camp:

Half day/Full day:$130/$260 | members$160/$320 | non-members

Camp themes include:Globe TrekkerImaginary WorldsTrash TransformationOff the WallYou’re the Poet!Puppetry in ActionSpanish & Latin Dance

FAMILY DAY FUNDRED DRIVE

Bring the family to NOMA for a day filled with art-inspired activities, music, performances, and more. In celebration of the exhibition Mel Chin: Rematch, NOMA is hosting a Fundred drive. Join artist Mel Chin to create and contribute a Fundred Dollar Bill to support his national initiative to investigate and remediate lead levels. Lynda Deniger will lead StoryQuest in the Museum Shop as she reads from her “Patti the Pelican” book series.

Saturday, May 24$10 | adults$8 | seniors | active military | university students with valid ID$6 | children 7-17

FREE for children under 6

STUDIO KIDS!

Art classes for ages 5 - 10 10 a.m. – 12 p.m.This spring, Studio KIDS! art classes explore environmental themes in NOMA’s galleries to learn how artists use nature as inspiration. Each class features a different medium and participants will learn 2 and 3-dimensional techniques. Register for one class or for all four. Professional teaching artist Belinda Tanno provides skill-building lessons and engaging projects inspired by works of art from NOMA’s permanent collection.

Per class: $25 | members$30 | non-members

Saturday, April 12

How Does Your Garden Grow? Create a garden painting inspired by artists like Claude Monet using Impressionist techniques.

Saturday, April 19

A Bug’s LifeDiscover how different artists depict insects and create an imaginary bug world using watercolor and colored pencil.

Saturday, May 10

In the Garden with Henry MooreLearn about sculptor Henry Moore in the Besthoff Sculpture Garden and make a clay creation in his style.

Saturday, May 24

Alfresco SketchingSketch items from nature such as flowers, shells and bark while learning techniques like pencil shading and more.

Forinformationorregistration,[email protected].


Foundation and Government Support

$500,000 and aboveThe Gulf Seafood and Tourism Promotional FundThe Helis Foundation

Patrick F. Taylor Foundation

$200,000 - $499,999The Azby Museum Fund

Charitable Lead Annuity Trust under the Will of Louis Feil

$150,000 - $199,999The Institute of Museum and Library Services

Lois and Lloyd Hawkins Jr. Foundation

Zemurray Foundation

$100,000-$149,000The Andy Warhol Foundation for the Visual Arts, Inc.

Byrnes Family Trust

Collins C. Diboll Private Foundation

Ella West Freeman Foundation

The New Orleans Museum of Art gratefully acknowledges our donors, who make our exhibitions, programming, and daily operations possible. We appreciate your continued support of NOMA and its mission. Thank you!

For additional information on exhibition sponsorship and program support, please contact Brooke Minto at (504) 658-4107 or [email protected].

SUPPORT

THE ISA AC DELGADO SOCIETY

The Isaac Delgado Society celebrates those who have made a bequest or planned gift to NOMA.

NOM A BUSINESS COUNCIL

$50,000 - $99,999The Bertuzzi Family Foundation

City of New Orleans

Eugenie and Joseph Jones Family Foundation

The Selley Foundation

Windgate Charitable Foundation

$20,000 - $49,999 The Harry T Howard III Foundation

Louisiana Division of the Arts

The RosaMary Foundation

New Orleans Convention and Visitors Bureau

$10,000-$19,999Anonymous

The Booth-Bricker Fund

Étant Donnés, The French American Fund for Contemporary Art

Fondation Nationale des Arts Graphiques et Plastiques

The Garden Study Club of New Orleans

Goldring Family Foundation

The Lupin Foundation

NOLA Media Group

Ruby K. Worner Charitable Trust

State of Louisiana Office of the Lieutenant Governor

H. Russell Albright

Barbara and Wayne Amedee

Joseph and Sue Ellen Canizaro

Mrs. Carmel (Babette) Cohen

Mickey Easterling

Lin Emery

William A. Fagaly

Lyn and John Fischbach

Tim and Ashley Francis

Mr. and Mrs. Richard W. Freeman

Mr. and Mrs. Stephen A. Hansel

Abba J. Kastin, MD

Lee Ledbetter and Douglas Meffert

Thomas B. Lemann

John and Tania Messina

Anne and King Milling

James A. Mounger

Judith Y. Oudt

Pixie and James Reiss

Mr. and Mrs. Edward F. Renwick

Arthur Roger

Mr. and Mrs. Benjamin M. Rosen

Brian Sands

Mrs. Frederick M. Stafford

Nancy Stern

Mrs. John N. Weinstock

Mercedes Whitecloud

Corporate and Individual Support

$100,000 and aboveSydney and Walda Besthoff

Mr. and Mrs. H. Mortimer Favrot, Jr.

Paul M. Fleming

Joshua Mann Pailet

Estate of Françoise Billion Richardson

Jolie and Robert Shelton and International Well Testers, Inc.

Wells Fargo

$50,000 - $99,999Frischhertz Electric Company

IBERIABANK

$20,000-$49,999 Chevron

Stephen Reily

Mr. and Mrs. James J. Reiss Jr.

Whitney Bank

$10,000-$19,999 Jeffery Beauchamp

Suzanne Deal Booth and David G. Booth

Galerie Kamel Mennour

Greater Lakeside Corporation

Adrea D. Heebe

JP Morgan

Molly O’Connor Kemp

Nicholas Metivier Gallery

Mrs. Robert Nims

Peoples Health

Josephine Sacabo

Brian Sands

Estate of Dorothy B. Skau

For more information on the Isaac Delgado Society and NOMA Business Council, please contact Gia Rabito at (504) 658-4129 or [email protected].

CenturionInternational-Matex Tank

Terminals

PlatinumSuperior Energy Services, Inc.

GoldCapital One Wealth and Asset Management

Chevron

Herman, Herman & Katz, LLC

Liberty Bank and Trust Company

The New Orleans Convention and Visitor’s Bureau

Frank B. Stewart, Jr.

SapphireBayou Lacombe Construction Company

Ochsner Health System

SilverAnonymous

Bellwether Technology Corporation

NOLA.com | The Times-Picayune

Phelps Dunbar, LLP

World Trade Center of New Orleans

BronzeCorporate Realty

Ernst & Young

First NBC Bank

GreenBasin St. Station

Boh Bros. Construction Company, LLC

Hammack, Hammack, Jones, LLC

Hotel Monteleone

JP Morgan

Laitram, LLC

Neal Auction Company

New Orleans Auction Galleries

Premium Parking Service

Stone Pigman Walther & Wittmann, LLC

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NOM A CIRCLES

President’s CircleMr. and Mrs. Sydney J. Besthoff III

Mr. and Mrs. Ralph O. Brennan

Mr. and Mrs. David F. Edwards

Dr. and Mrs. Ludovico Feoli

Ms. Adrea D. Heebe and Mr. Dominick A. Russo Jr.

Mrs. Paula L. Maher

Mr. and Mrs. Charles B. Mayer

Mrs. Robert Nims

Jolie and Robert Shelton

Mr. and Mrs. Stephen C. Sherrill

Mrs. Patrick F. Taylor

Director’s CircleMr. and Mrs. Herschel L. Abbott, Jr.

Mrs. Jack R. Aron

Mr. Justin T. Augustine III

Mr. and Mrs. John D. Bertuzzi

Mr. and Mrs. Daryl G. Byrd

Mr. and Mrs. Thomas B. Coleman

Mr. and Mrs. H. M. Favrot Jr.

Dr. and Mrs. John F. Fraiche

Mrs. Lawrence D. Garvey

Dr. Howard and Dr. Joy D. Osofsky

Mr. and Mrs. Robert J. Patrick

Mrs. Charles S. Reily Jr.

Mr. and Mrs. Benjamin M. Rosen

Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. Bruce L. Soltis

Mrs. Harold H. Stream Jr.

Mr. and Mrs. Robert S. Taylor

Mr. and Mrs. Robert E. Thomas

Patron’s CircleDr. Ronald G. Amedee and Dr. Elisabeth H. Rareshide

Anonymous

Mr. and Mrs. Alvin Baumer Jr.

Mr. and Mrs. Robert H. Boh

Dr. and Mrs. L. Jay Bourgeois III

Dr. and Mrs. Isidore Cohn Jr.

Mr. Leonard A. Davis and Ms. Sharon Jacobs

Mr. and Mrs. Timothy B. Francis

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Edward N. George

Mr. and Mrs. Charles W. Goodyear

Mr. and Mrs. H. Merritt Lane III

Mr. and Mrs. Thomas B. Lemann

Dr. Edward D. Levy Jr.

Mr. and Mrs. J. Thomas Lewis

Dr. and Mrs. E. Ralph Lupin

Mr. and Mrs. Paul J. Masinter

Ms. Kay McArdle

Mr. and Mrs. R. King Milling

Mr. and Mrs. Michael D. Moffitt

Mr. Joshua Mann Pailet

Dr. and Mrs. James F. Pierce

Mr. and Mrs. James J. Reiss Jr.

Mr. and Mrs. George G. Rodrigue

Mr. and Mrs. Edward Shearer

Mr. and Mrs. Michael J. Siegel

Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Jr.


Dr. and Mrs. Richard L. Strub

Mr. and Mrs. Stephen F. Stumpf Jr.

Mr. and Mrs. James L. Taylor

Ms. Catherine Burns Tremaine

Mr. and Mrs. Steven W. Usdin

Mr. and Mrs. Douglas Brent Wood

GL E N DY FOR ST E R :

2 014 N VC C H A I R

NOMA is pleased to announce Glendy Forster as the 2014 NOMA Volunteer Committee (NVC) Chair. After retiring from the Jefferson Parish Public School System, Forster wanted to volunteer and help New Orleans rebuild after Hurricane Katrina. Foster says she was always fascinated with art and loved the beautiful surroundings of the museum. She adds, “Through personal contact, I learned about the NVC and its mission. I became excited about the opportunity to help the NVC accomplish its fundraising goals, which, in turn, benefit NOMA and the whole city.” As a life long educator Forster has always enjoyed learning, and notes that NVC has given her the opportunity to develop new skills and engage in leadership opportunities: “I have enjoyed the fellowship and camaraderie with fellow volunteers. In addition, it’s been exciting and fun to visit private studios of local artists, attend seasonal social events and receptions, and experience an inside track to informative lectures and exhibitions.” She looks forward to her new leadership role in the NVC. “Meeting the challenge offered by the role of NVC Chair is an even more exciting and daunting task, which I enthusiastically and wholeheartedly embrace,” she says. “Getting the job done and seeing results along with having fun is an awesome prospect!”

SAVETHEDATEOdyssey2014willbeFriday,November7


SUPPORT

NOMA kicked off the new year with two exhibition openings and a lecture series that drew in crowds from all over the community. On January 31, Photography and the American Civil War, organized by The Metropolitan Museum of Art, New York, opened in NOMA’s Templeman Galleries. Jeff Rosenheim, Curator in Charge of the Department of Photographs at the Metropolitan joined Russell Lord, NOMA’s curator of photographs in giving a walk-through to a packed gallery. On February 20, NOMA opened the doors to Mel Chin: Rematch, a major

retrospective of the conceptual artist’s forty-year career. Curator Miranda Lash moderated a panel on Mel Chin’s legacy, featuring Anne Pasternak, Director of Creative Time; Herb Tam, Curator and Director of Exhibitions, Museum of Chinese in America; Eleanor Heartney, critic for Art in America; and James Harithas, Director, Station Museum of Contemporary Art. This year’s Donna Perret Rosen Lecture featured art and culture writers Calvin Tomkins and Dodie Kazanjian in conversation with Adam D. Weinberg, Director of the Whitney Museum of American Art, in NOMA’s

E X H I BI T IONS A N D

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Stern Auditorium. Flipping the script, Weinberg interviewed Calvin and Dodie as they recounted their beginnings as writers, what inspired them to work in the arts, and what they look for in interview subjects. Photography and the American Civil War is organized by The Metropolitan Museum of Art, New York. The New Orleans presentation is sponsored by The New Orleans Convention and Visitors Bureau. Major support is provided by the Eugenie and Joseph Jones Family Foundation, Kitty and Stephen Sherrill and J.P. Morgan. Additional support for the exhibition is provided by Melanee and Steven Usdin.

Mel Chin: Rematch is organized by the New Orleans Museum of Art. Major support for the exhibition is provided by The Andy Warhol Foundation for the Visual Arts, the Creating A Living Legacy Program of the Joan Mitchell Foundation, Suzanne Deal Booth and David G. Booth, the Bertuzzi Family Foundation, Susan and Ralph Brennan, Stephen Reily, Jeffery Beauchamp in honor of Toni Beauchamp, and Molly Kemp. Additional support is provided by Sabrina Franzheim, Kathy Grainger, Patricia Welder Robinson, Thomas P. W. Robinson, Mark and Lisa Sheridan, Frederieke S. Taylor, JoAnn Bass and Dr. David Russin, Storey Charbonnet, Ken Chin, Myrna and John Daniels, Ron Mills, and anonymous donors.

1. Russell Lord, Dr. Stanley Burns, Jeff Rosenheim

2. Katie LeGardeur, Ken Shell

3. Liz and Poco Sloss

4. Brenda and Michael Moffitt, Maggie and L. Jay Bourgeois

5. Susu Stall

6. Herb Tam, Eleanor Heartney, Mel Chin, Sylvia Stulz-Rehbein and Thomas Rehbein, Anne Pasternak, James Harithas

7. Mel Chin

8. Mel Chin leads a second line on the opening night of his retrospective

9. Adam Weinberg, Dodie Kazanjian, Calvin Tomkins

10. Susan M. Taylor, Ben and Donna Rosen, Adam Weinberg, Dodie Kazanjian, Calvin Tomkins

11. Elyn Zimmerman, Ben Rosen

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SUPPORT

T I M FAV R O T R E C E I V E S IS A AC DE L GA D O

M E MOR I A L AWA R D AT A N N UA L F E L L OW S DI N N E R

A longtime museum leader, H.M. “Tim” Favrot was the recipient of the 2014 Isaac Delagado Memorial Award at this year’s Fellows Dinner at NOMA, on Saturday, February 8. Since the 1980s, Favrot has served on the NOMA Board of Trustees, joining the museum’s leadership ranks as part of the Expansion Planning Committee for the building addition completed in 1991. Drawing on his deep knowledge of design, architecture, construction and development, the museum increased its capacity to serve the community exponentially.

Since the 1991 addition, Favrot has continued to serve NOMA as a contributing member of the museum’s Building and Grounds Committee, with oversight of the facility and Sydney and Walda Besthoff Sculpture Garden. Most recently, Favrot created the Favrot Architecture and Design Endowment, which will allow NOMA to continue to challenge and enhance the traditional museum experience through dynamic programming. Although Tim Favrot could not attend the dinner due to illness, Blair

Favrot accepted the award on his cousin’s behalf. The Fellows Dinner is the museum’s opportunity to thank our most generous donors for their support over the past year. Nearly 200 Circles and Fellows members are responsible for contributing more than $800,000 in unrestricted operating funds, which provide critical support to exhibitions, public programs, and educational initiatives.

1. D. Blair Favrot; 2. Tim Francis, Leah Chase, Edgar Chase III; 3. Louis and Ruthie Frierson, Joshua Mann Pailet; 4. Isidore and Marianne Cohn; 5. Lee Hampton, Suzanne and Robert Thomas; 6. Priscilla Lawrence, Sandra Freeman, Tink Friedrichs; 7. Mike and Aimee Siegel, Mel Chin, Miranda Lash

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NOM A

C E L E B R AT E S

I TS VOLU N T E E R S

W I T H A N N UA L

LU NC H E ON

Volunteers are an essential component of the team at NOMA. To show gratitude for their efforts, NOMA invited 125 volunteers to an appreciation luncheon in the Great Hall. Those who achieved at least fifty volunteer hours in 2013 were invited, and a select few received awards for outstanding service, coupled with gifts donated by Cafe Degas, Rock n’ Bowl, and Mr. Ed’s. Pat Jackson is the 2013 volunteer of the year. She joined the docent program in 2008, and established herself as a leader by becoming the Thursday School Tour Day Captain, a position she has held for several years. In 2011, she played an integral role in reestablishing the Docent Advisory Board and currently serves as the Chair. Pat is an active member in the NVC and the NOMA Book Club, and a tireless leader who strives to better NOMA and its docent program. She ardently seeks to build camaraderie between the docents and other volunteers. Thank you to Pat, and to all our volunteers!

Pat Jackson, 2013 Volunteer of the Year

A recent gift from the Charitable Lead Annuity Trust under the Will of Louis Feil will enhance the museum’s Friday night after hours programming. Every Friday from 5 to 9 p.m., NOMA offers a broad mix of programs, including film screenings, lectures, talks, concerts, plays, performances, and hands-on art activities. Friday Nights at NOMA is one of many museum initiatives that concentrate on connecting local residents and out-of-town visitors to a variety of arts disciplines featured at NOMA. In 2013, over 10,000 visitors attended Friday Nights at NOMA activities.

M A JOR GI F T B OL ST E R S

F R I DAY N IGH TS AT NOM A

“This major gift will enrich our current Friday night programming,” says Susan M. Taylor. “NOMA has become an anchor institution that is committed to inviting diverse audiences to gather in appreciation of all forms of art, and Friday Nights at NOMA drives that mission.” This gift will enable NOMA to broaden and deepen the spectrum of programs currently offered. NOMA currently invites several community partners to participate in Friday Nights at NOMA, and will strengthen existing collaborations while forging new ones.

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2014 BOA R D OF TRUSTEES

David F. Edwards President

Julie George Vice-President

Mike Siegel Vice-President

Donna Perret Rosen Vice-President

Tommy Coleman Secretary

Suzanne Thomas Treasurer

Herschel L. Abbott Jr. Executive Committee

Sydney J. Besthoff III Executive Committee

E. Ralph Lupin, MD Executive Committee

MEMBER S

Justin T. Augustine III

Gail Catharine Bertuzzi

Dr. Siddharth Bhansali

Susan Brennan

Kia Silverman Brown

Robin Burgess

Daryl Byrd

Edgar L. Chase III

Maurice Cox

H.M. “Tim” Favrot Jr.

Penny Francis

Tina Freeman

Glendy Forster

Susan G. Guidry

Robert C. Hinckley

Ms. Allison Kendrick

Mayor Mitch Landrieu

Paul Masinter

Mrs. Charles B. Mayer

Mrs. Michael Moffitt

Howard J. Osofsky, MD

J. Stephen Perry

Brian Schneider

Jolie Shelton

Kitty Duncan Sherrill

Ms. Alexandra Stafford

Susu Stall

Robert M. Steeg

Frank Stewart

Mrs. Richard L. Strub

Robert Taylor

Melanee Gaudin Usdin

Brent Wood

NATIONA L TRUSTEES

Joseph Baillio

Mrs. Carmel Cohen

Mrs. Mason Granger

Jerry Heymann

Herbert Kaufman, MD

Mrs. James Pierce

Debra B. Shriver

Mrs. Henry H. Weldon

Mrs. Billie Milam Weisman

HONOR A RY LIFE MEMBER S

Russell Albright, MD

Mrs. Jack R. Aron

Mrs. Edgar L. Chase Jr.

Isidore Cohn Jr., MD

Prescott N. Dunbar

S. Stewart Farnet

Sandra Draughn Freeman

Kurt A. Gitter, MD

Mrs. Erik Johnsen

Richard W. Levy, MD

Mr. J. Thomas Lewis

Mrs. Paula L. Maher

Mrs. J. Frederick Muller

Mrs. Robert Nims

Mrs. Charles S. Reily Jr.

R. Randolph Richmond Jr.


Harry C. Stahel

Mrs. Moise S. Steeg Jr.

Mrs. Harold H. Stream

Mrs. James L. Taylor

Mrs. John N. Weinstock

SUPPORT ACK NOW LEDGMENT

The New Orleans Museum of Art is accredited by the American Alliance of Museums. Public programs of NOMA are supported in part by grants from the Azby Museum Fund, Max and Victoria Dreyfus Foundation, the Charitable Lead Annuity Trust under the Will of Louis Feil, Lois and Lloyd Hawkins Jr. Foundation, the Helis Foundation, the New Orleans Jazz and Heritage Festival and Foundation, Ruby K. Worner Charitable Trust, and the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, administered through the Arts Council of New Orleans.

Arts Quarterly New Orleans Museum of Art

E D I TO R

Taylor Murrow

A RT D I R E CTO R

Aisha Champagne

P R I N T I N G

DocuMart

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124

© 2014, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

RIGHT Free Women of Color with Their Children and Servants in a Landscape, circa 1770–96 (detail); Agostino Brunias Italian, circa 1730–1796); pil on canvas, Brooklyn Museum, Gift of Mrs. Carl H. de Silver inmemory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.59

INSIDE COVER Our Strange Flower of Democracy, 2005; Mel Chin; Media Bamboo, rive cane w/bottle caps, coir (coconut twine), burlap, sisal, tropical hardwood, steel, courtesy of the artist

BACK COVER Labor Day Parade, 2005 (detail), Willie Birch, American, born 1942; Acrylic on paper, Museum purchase, Carmen Donaldson Fund2011.74, EL2012.5.19

4 Friday

Friday Nights at NOMA

ART ON THE SPOT 5-8 p.m.

MUSIC Keith Burnstein and Michael Skinkus, 5:30-8:30 p.m.

EDIBLE BOOK DAY 5-8 p.m.

READING AND BOOK SIGNING Poet Brod Bagert, 6 p.m.

COOKING DEMO “Tips, Tricks and Techniques” by Brett Gauthier, Ralph Brennan Restaurant Group Pastry Chef, 6 p.m.

5 Saturday

Yoga in the Sculpture Garden 8-9 a.m.

NOMA Egg Hunt 11 a.m.-1 p.m.

6 Sunday

Louisiana Iris Rainbow Festival 12-4 p.m.

7 Monday

Tai Chi/Chi Kung 6-7 p.m.

11 Friday



MUSIC Sam Kohler New Music Ensemble, 5:30-8:30 p.m.

LECTURE by Keith Weldon Medley, “Emancipation in Tremé!” 6 p.m.

ARTIST PERSPECTIVE with photographer Bruce Schultz on Photography and the American Civil War, 7:30 p.m.

12 Saturday


Studio KIDS! “How Does Your Garden Grow?” 10 a.m.-12 p.m.

StoryQuest 11:30 a.m.

14 Monday


18 Friday

Friday Nights at NOMA: Movies in the Garden


MUSIC The New Orleans Saxophone Quartet, 5-7 p.m.

FILM Singin’ in the Rain, 7:45 p.m.

19 Saturday


Studio KIDS! “A Bug’s Life,” 10 a.m.-12 p.m.


21 Monday


25 Friday



MUSIC The Salt Wives, 5:30-8:30 p.m.

FILM Underground Railroad: The William Still Story, 7 p.m.

26 Saturday

Pilates in the Sculpture Garden 8-9 a.m.

28 Monday


April 2014

2 Friday



MUSIC Patrice Fisher and the Arpa Quartet, 5:30-8:30 p.m.

DANCE PERFORMANCE Isidore Newman School, 6 p.m. (in sculpture garden)

3 Saturday


5 Monday


7 Wednesday

Book Club Curatorial Program with Lisa Rotondo-McCord, Deputy Director for Curatorial Affairs/Curator of Asian Art, 11:30 a.m.-1 p.m.

The NOLA Project: Adventures in Wonderland, 7 p.m.

8 Thursday


9 Friday

Friday Nights at NOMA: Movies in the Garden


MUSIC Mykia Jovan, 5:30-7:30 p.m.

FILM Casablanca, 8 p.m.

10 Saturday


Studio KIDS! “In the Garden with Henry Moore,” 10 a.m.-12 p.m.


12 Monday


14 Wednesday

The NOLA Project: Adventures in Wonderland, 7 p.m

15 Thursday


Member Preview Rising Up: Hale Woodruff’s Murals at Talladega College, 7-9 p.m.

16 Friday



MUSIC 5:30-8:30 p.m.

LECTURE Rising Up: Hale Woodruff’s Murals at Talladega College, with curator, Stephanie Heydt and COO, Phillip Verre of the High Museum, 6 p.m.


17 Saturday


Studio KIDS! “Alfresco Sketching,” 10 a.m.-12 p.m.

18 Sunday


19 Monday


21 Wednesday


22 Thursday


23 Friday



MUSIC Marc Stone, 5:30-8:30 p.m.

LECTURE Unfathomable City: Rebecca Solnit and Mel Chin discussion: “Lead and Lies,” 6 p.m.


24 Saturday


Family Day 11 a.m.-3 p.m.

StoryQuest 11:30 a.m. and 1 p.m.

25 Sunday


26 Monday


30 Friday



MUSIC Eilena D’Ennis, 5:30-8:30 p.m.

31 Saturday


May 2014

2 Monday

Summer Camp: In the Studio, 9:30 a.m.-12:30 p.m. (through Friday)

Summer Camp: On the Stage, 1-4 p.m. (through Friday)


6 Friday



MUSIC Margie Perez & the Honeypots, 5:30-8:30 p.m.

7 Saturday



9 Monday




13 Friday



MUSIC Dorian Rush, 5:30-8:30 p.m.

14 Saturday


16 Monday




19 Thursday

Member Preview Behind Closed Doors: Art in the Spanish American Home, 1492-1898, 7-9 p.m.

20 Friday



LECTURE Behind Closed Doors: Art in the Spanish American Home, 1492-1898, with curator Richard Aste of the Brooklyn Museum, 6 p.m.

21 Saturday



23 Monday




27 Friday



MUSIC Daniele Spadavecchia, 5:30-8:30 p.m.

28 Saturday


30 Monday


June 2014

UPCOMING EVENTS

CALENDAR OF EVENTS AND EXHIBITIONS

April/May/June 2014

EXHIBITIONS

Above, top [Captain Charles A. and Sergeant John M. Hawkins, Company E, “Tom Cobb Infantry,” Thirty-eighth Regiment, Georgia Volunteer Infantry], 1861–62; Unknown; Ambrotype; David Wynn Vaughan Collection, SL.4.2013.18.1; Image © The Metropolitan Museum of Art

Above, center I Don’t Want To, 2006; Mel Chin; media Sterling silver and Belizian hand-knapped flint; Courtesy of the artist, on loan to the New Orleans Museum of Art

Above, bottom Free Women of Color with Their Children andServants in a Landscape, circa 1770–96 (detail); Agostino Brunias Italian, circa 1730–1796); pil on canvas, Brooklyn Museum, Gift of Mrs. Carl H. de Silver inmemory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.59

Back Cover Opening Day at Talladega College, 1942, (detail); Hale Aspacio Woodruff, American, 1900–1980; Collection of Talladega College, Talladega, Alabama. ©Talladega College. Photo: Peter Harholdt

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Event schedule subject to change. Please check www.noma.org for updates.

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Exhibition SchedulePhotography and the American Civil War (1) January 31–May 4, 2014, Templeman Galleries

Mel Chin: Rematch (2) February 21–May 18, 2014, Ella West Freeman Galleries

Rising Up: Hale Woodruff’s Murals at Talladega College May 16 – September 14, 2014, Great Hall

Behind Closed Doors: Art in the Spanish American Home, 1492-1898 (3) June 20 – September 21, 2014, Ella West Freeman Galleries

Alexis Rockman: Drawings from the Life of Pi July 4 – October 12, 2014, Templeman Galleries

Photorealism: The Sydney and Walda Besthoff Collection November 9, 2014 – January 5, 2015, Ella West Freeman Galleries

Museum HoursTuesday-Thursday | 10 a.m.-6 p.m. ; Friday | 10 a.m.-9 p.m. Saturday and Sunday | 11 a.m.-5 p.m. Closed Mondays.

For more details visit www.noma.org or call 504.658.4100

Museum Highlights ToursEvery Sunday at 2 p.m., NOMA’s docents lead informative and engaging tours of the museum’s permanent collection and special exhibitions. Tours are included with museum admission.

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Documents

AQ Spring 2014