AQJanFebMar2011

ArtsQuarterlyNEW ORLEANS MUSEUM OF ART JANUARY � FEBRUARY � MARC H 2011, VOL . 33 N o .1

A Membe r s ’ P ub l i c a t i on

2010 Board of TRUSTEES

Honorar y L i fe TRUSTEES

2010 National TRUSTEES

Ms. Adrea HeebeMs. Allison KendrickSubhash V. KulkarniHenry LambertMayor Mitch LandrieuMrs. Merritt LanePaul J. Leaman, Jr.E. Ralph Lupin, M.D.Paul MasinterEdward C. MathesKay McArdleAlvin Merlin, M.D.Mrs. R. King MillingMrs. Michael MoffittHoward OsofskyMrs. Robert J. PatrickThomas Reese, Ph.D.Mrs. James J. Reiss, Jr.Mrs. George RodrigueBryan SchneiderMrs. Robert SheltonMrs. Lynes R. SlossMs. Alexandra E. StaffordMrs. Richard L. StrubMrs. Patrick F. TaylorLouis A. Wilson, Jr.

Stephen A. Hansel,President

Mrs. James J. Frischhertz, Vice-President

Mrs. Charles B. Mayer, Vice-President

William D. Aaron, Jr., Vice-President

Michael Moffitt, Treasurer David F. Edwards, Secretary Mrs. Françoise

B. Richardson, AssistantTreasurer

Mrs. John BertuzziSydney J. Besthoff IIIMrs. Mark CareyEdgar L. Chase IIILeonard DavisH. Mortimer Favrot, Jr.Mrs. Ludovico FeoliTimothy FrancisMrs. Anne Gauthier Mrs. Edward N. GeorgeRoy A. GlapionTerry HallLee Hampton

H. Russell Albright, M.D.Mrs. Jack R. AronMrs. Edgar L. Chase, Jr.Isidore Cohn, Jr., M.D.Prescott N. DunbarS. Stewart FarnetSandra Draughn FreemanKurt A. Gitter, M.D.Mrs. H. Lloyd HawkinsMrs. Killian L. HugerSusan GuidryMrs. Erik JohnsenRichard W. Levy, M.D.J. Thomas Lewis

Mrs. Paula L. MaherMrs. J. Frederick Muller, Jr.Mrs. Jeri NimsMrs. Charles S. Reily, Jr.Mrs. Françoise Billion

RichardsonR. Randolph Richmond, Jr.Mrs. Frederick M. StaffordHarry C. StahelMrs. Moise S. Steeg, Jr.Mrs. Harold H. StreamMrs. James Lyle TaylorMrs. John N. Weinstock

Joseph BaillioMrs. Carmel CohenMrs. Mason GrangerJerry HeymannHerbert Kaufman, M.D.

Mrs. James PierceMs. Debra ShrieverMrs. Billie WeismanMrs. Henry H. Weldon

ED ITOR: Caroline GoyetteART D IRECTOR: Aisha Champagne

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

© 2011, New Orleans Museum of Art. All rightsreserved. No part of this magazine may bereproduced or reprinted without permission of thepublisher.

SUPPORT ACKNOWLEDGMENT

The programs of the New Orleans Museum of Art aresupported by grants from the Louisiana State ArtsCouncil through the Louisiana Division of the Arts,the Arts Council of New Orleans, the New OrleansJazz and Heritage Festival and Foundation, theNational Endowment for the Arts, and the AmericanRecovery and Reinvestment Act.

MUSEUM HOURS

The museum is open Tuesday through

Thursday, 10 a.m. to 5 p.m., Friday, 10 a.m. to 9 p.m.,

and Saturday and Sunday, 10 a.m. to 5 p.m.

Closed Monday and all legal holidays.

The Besthoff Sculpture Garden is open every day,

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.

CONTENTS

2 Director ’s Let ter

4 FeatureBehind the Scenes at NOMA: The Making of the Great Col lec tors Video

8 Exhibi t ionsLof ty Ideals: Selec t ions of Nineteenth -Centur y French Sculp ture f rom the Permanent Col lec t ion

The Sound of One Hand: Pain t ings and Cal l igraphy by Zen Master Hakuin

12 Centennial News

16 Exper iencing NOMAEducator Evenings: NOMA Launches New Program for Local Teachers

18 NOMA and the CommunityMuseum Par tners wi th Local Schools

LOVE in the Garden Honors New Orleans Ar t i s t s

20 Suppor t ing NOMA

24 Prof i les in GivingA Tr ibu te to Pol ly Guthr ie

Arts��2 January � February � March 2011

This January, the New

Orleans Museum of

Art marks an important

anniversary: 100 years of

providing world-class arts

experiences for the people

and visitors of New Orleans.

Please join us on January 8, 2011, for a day of

festivities in honor of our centennial. We’ll be

launching a full year of extraordinary exhibitions and

events, and we want to share this celebration—and

our museum—with you.

As our centennial year gets underway, you’ll

find lots of exciting changes at NOMA, all designed

to enhance the community’s museum experience.

Beginning January 1, 2011, NOMA will be open six

days a week: Tuesday through Sunday, from 10 a.m.

to 5 p.m.—except for Fridays, when we’ll be open

until 9 p.m. Wednesdays at the museum will

continue to be free for Louisiana residents, thanks to

the generous support of the Helis Foundation. Along

with our extended Friday hours, we’ll debut a new

evening series, “Where Y’Art!,” bringing live music,

performance, theater, good food, children’s activities

and, of course, great art to our public. We are thrilled

to collaborate with our cultural partners to bring the

arts together for our community on Friday nights.

Another new program series will launch at

NOMA this spring, this one centered on some of the

leading museum issues of the day. Beginning in

March, the Director’s Dialogue series, sponsored by

JPMorgan Chase, will bring museum directors from

across the country to NOMA to discuss the future of

museums, with attention to topics such as

technology, education, diversity, and permanent

collections. Together with our audiences, we will

discuss ways NOMA can reflect and respond to these

important issues, ensuring the museum provides the

best possible experience for our public for years to

come.

Susan M. TaylorThe Montine McDaniel

Freeman Director

From the Permanent Collection:Ernst Ludwig Kirchner, (German, 1880-1938),

Sawmill in Königstein, 1916, oil on canvas, Gift of Eleanor B. Kohlmeyer

and Museum Purchase, 1990.200

DIRECTOR’S LETTER

Arts�� 3January � February � March 2011

Already, we have begun to think about new

ways to reach our audiences. An article in this issue

of Arts Quarterly describes a recent NOMA initiative

that distributed 700 catalogues and free admission

passes to local schools. We believe the museum can

and should be a vital presence in our classrooms and

our community, and this program is one step in

accomplishing that goal. Similarly, NOMA recently

launched Educator Evenings, a series designed to

introduce local teachers to the museum and help

them draw on the museum’s collections in their

classrooms. Technology is another key consideration

as we assess NOMA’s tools for outreach. Soon, we

will launch a new, interactive website, providing a

more engaging and user-friendly online experience

for our members and visitors.

Finally, we’re working hard at the museum to

enhance our visitors’ experience not only of our

stellar exhibitions (of which we have many this

winter and spring), but of our permanent collection.

A museum’s permanent collection is at times

overlooked in the wake of temporary exhibitions,

and yet it is the backbone of the institution, defining

its essential character. In addition to other upcoming

programs, watch for our “Collection Spotlight”

series, debuting in January, which highlights a work

from the collection that might otherwise not be a part

of your regular visit.

As I write this column, I’ve just learned the sad

news of the passing of Peter Marzio, longtime

director of the Museum of Fine Arts, Houston.

Marzio was a visionary leader whose deep

commitment to accessibility, outreach, and serving

diverse audiences had an enormous impact on the

museum field, not to mention the lives of Houston

community members. It is only appropriate that we

acknowledge Marzio’s legacy of making the museum

a place for all people—something NOMA, like

museums across the country, aspires to do.

We look forward to welcoming you at NOMA

during our centennial year and beyond. Please visit

and visit often.

DIREC

TOR’S LETTER

Our Quar ter ly isCHANGING!

As you can see, we are introducingseveral changes to Arts Quarterlybeginning with this issue, the first of ourcentennial year. Our new centennialformat offers fresh content and design,

with overviews of exhibitions as wellas features on behind-the-scenesactivities that tell you much more aboutour work at the museum. We areintroducing new features such as aportable, pullout calendar to help youdecide what program and day youwould like to attend, and a centennialsection to keep you apprised ofcentennial news and events.

NOMA is also reinstating anannual report, in which we’ll providefull details about the year’s donations,gifts, and acquisitions; look for the firstinstallment of the annual report insummer 2011. In the meantime, wehope you enjoy the new Quarterly.

—S.M.T.


FEATURE

Most people, when they visit a museum, don’t

think about how the paintings, sculptures and

other artworks they enjoy came to be on display. In

fact, museums around the world rely on the

generosity of collectors to help build their collections

and make important artworks available to the public.

“In order to build a collection, you have to have a

critical mass of works. That’s impossible to do

alone,” explains Lisa Rotondo-McCord, Assistant

Director for Art and Curator of Asian Art at NOMA.

Launched as part of NOMA’s centennial

celebration, the exhibition Great Collectors / Great

Donors honors the important figures whose

donations have played a transformative role in

building the museum’s collection. Beyond

showcasing the works of art, however, NOMA’s

director and curators wanted to find a way to

highlight the collectors themselves. A film, they

decided, would allow museum visitors to glimpse

the people behind the collections, and learn about the

interests and tastes that drove them to seek out

particular works and ultimately donate them to the

museum. In addition to an educational purpose, the

raw footage would serve an important archival

function. “We are fortunate that many of our major,

important collectors are still alive, and we thought

we should get them on tape,” says Rotondo-McCord.

With the support of E. Alexandra Stafford and

Raymond Rathle, Jr., and Mr. and Mrs. John F.

Stafford, NOMA was able to film extensive, personal

Behind the Scenes at NOMA: The Making of the Great Collectors VideoCaroline Goyette, Editor of Museum Publications

Producer Kevin McCaffrey films Sydney Besthoff in the Sculpture Garden. All photography by Judy Cooper.


interviews with ten of its most prominent, living

collectors. The result is a fifteen-minute video which

offers compelling insight into the collectors who

helped to build the New Orleans Museum of Art.

Playing on a loop in the galleries as part of the Great

Collectors / Great Donors exhibition, the video is on

view with the show through January 23, 2011.

Making of the VideoAfter securing the participation of the collectors,

the production crew began to prepare for the initial

interviews. At first, they weren’t quite sure what

form the interviews would take. “We wondered,

‘Should we have a specific set of questions? Will

there be a standardized reply?’” recalls John

d’Addario, Associate Curator for Education and

production coordinator for the video. As it turned

out, the conversations took on a life of their own as

the donors began to reflect on their collecting

experiences.

D’Addario credits Kevin McCaffrey, producer for

the video, with the vital, organic quality of the

interviews. An independent filmmaker who has done

work for several cultural organizations, he has

extensive experience with oral history projects—an

ability which was instrumental to the NOMA project.

“It never felt like he was doing an ‘interview,’”

d’Addario says. “He was able to steer the

conversational ship in a really natural way.”

The stories that emerged, both in the longer

Clockwise from top left: Randy Richmond discusses his collection of Chinese ceramics; Walda and Sydney Besthoff reflect on theirexperiences collecting sculptures and modern and contemporary art; Mercedes Whitecloud examines Southeastern Native Americanbaskets from her collection.

FEATU

RE

footage and in the final cut, are amusing, engaging,

and above all, moving. One collector and his wife

inadvertently started down a path toward collecting

while shopping for an ashtray. Another hopped in his

Toyota truck and drove around the southern states,

meeting self-taught artists and acquiring their work.

Still others described an almost magnetic attraction

to specific objects—a silver pitcher, a ceramic bowl—

that, once acquired, drove their future interests as

collectors.

Although the interviews were entirely

unscripted, common themes emerged—one of which

was the use of the word “passion” by donors to

describe their interest in collecting. By giving the

collectors the chance to tell their own stories, the

project ensured the details would be recorded

correctly for posterity. It also led to revelations,

including details not even the curators, many of

whom have worked with the donors for years, were

aware of. “In every instance, the donors mentioned

FEA

TURE

Director Emeritus E. John Bullard and donor Randy Richmond discuss art collecting while producer KevinMcCaffrey captures their conversation for posterity.

1911 – IsaacDelgado Museum ofArt opens to the publicon December 16 witha ceremony attendedby 3,000 people.

1971 – Name changes tothe New Orleans Museumof Art and new wings openincreasing museum spaceby a factor of eight.

1966 – The museum hoststhe inaugural Odyssey Ballorganized by the newWomen’s VolunteerCommittee.

1953 – An exhibition fromthe Louvre, French Paintingthrough Five Centuries, isorganized to celebrate the150th anniversary of theLouisiana Purchase.Attendance for the year is a record 104,000.

1910 – Sugarmagnate Isaac Delgadogives $150,000 for theerection of an artmuseum in City Park.

1931 – The museumalmost closes due tocity budget cuts. Afteran uproar, the cityreinstates funds.

1977 – Treasures ofTutankhamun opensand is seen by900,000 persons infour months.

N O M A through the Years

details I had never heard before. I think in part it’s

because they had the opportunity to tell the story as a

complete story, rather than as part of another

conversation,” says Rotondo-McCord.

Given the personal nature of collecting, it was no

surprise that many of the interviews became tinged

with emotion. “The interview process was a

vulnerable experience for [the donors]. Collecting is

so much a part of their identity—of who they are as

people. It was extraordinarily moving to see,” says

Rotondo-McCord. As Dr. Siddharth Bhansali, one of

the donors featured in the video, observes, the

question of “‘How did you start collecting?,’ is not all

that different from the question ‘How did you start

breathing?’”

In addition to capturing the collectors’ stories, it

was important to McCaffrey that they be filmed with

the objects they had donated—either in the

background or, in the case of smaller works, handling

them. It was a fitting choice, given the history that

often exists between collector and object. “These were

things that were part of their everyday life,” says

Rotondo-McCord. “As a collector, you handle works

of art.”

Of course, this meant the artwork had to be

camera ready—a task which fell to the preparators

and registrar’s department, who readied the works

for the shoot. Such collaboration is just one example

of the sort of nimbleness the project required of the

NOMA staff. “We’re lucky that we all work well

together—it’s really a testament to teamwork at the

museum,” says d’Addario. Judy Cooper, NOMA’s

staff photographer, assisted with camera and still

photography for the video, and several curators

participated in the shoot.

Beyond focusing on the collecting process, many

of the subjects discussed their decisions to donate

their collections to the New Orleans Museum of Art.

“As an educator, I was impressed that so many

brought up the educational value of these works, and

their desire to share them with as broad an audience

as possible,” says d’Addario. “They all had the sense

that these objects had a larger role in the world,

beyond the reach of a private collection.” Indeed, as

part of the permanent collection of NOMA, the

objects these collectors so painstakingly and lovingly

acquired now touch countless people, from school

groups to local residents to visitors from around the

world. Thanks to their generosity, NOMA’s extensive

collection is ripe with opportunities for learning,

exploration, and inspiration.

The Great Collectors / Great Donors video is on

view as part of the exhibition through January 23, 2011.

2006 – NOMA reopens afterseven months. An exhibition ofimportant works from thepermanent collection travelsthe country for three years andraises $1 million for hurricanerecovery.

2009-2010 – BesthoffSculpture Gardenundergoes eight months ofcomprehensive restorationand reopens to the public.

1985 – NOMApurchases Portrait ofMarie Antoinette, byElisabeth-Louise Vigée-Lebrun, for its seventy-fifth anniversary.

2003 – BesthoffSculpture Gardenopens to the public.

1993 – $23 millionexpansion andrenovation of themuseum is completed.

2005 – Hurricane Katrinacloses NOMA. The collectionis undamaged but the buildingand sculpture garden sustain$6 million in damages. Morethan eighty staff members arelaid off and a skeleton staff ofsixteen works from BatonRouge while the museum andcity recover.

2007 – ExhibitionFemme, Femme, Femmeopens, fulfilling a generouspromise of support madeby the people of Francejust after Katrina.

FEATU

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EXHIBIT IONS

Nineteenth-century French bronzes entered the

collection of the museum as early as 1912, only

a year after its founding. However, at that time,

many of the works were already being judged as old

fashioned at best, and of no merit at worst. By the

1930s, such sculpture had been relegated to the

dustbins of art history. The New Orleans Museum of

Art’s collection simply slumbered in art storage

during the ensuing years. By the 1970s, such work

was enjoying an international reevaluation and

regained its rightful place as an important facet of

nineteenth-century art. The final triumph of these

pieces is marked by the small exhibition, Lofty Ideals,

currently on view in the Great Hall, in which they

have regained prominence within the permanent

collection.

Although major European cities with any claim

to sophistication established fine arts academies

during the nineteenth century, Paris was the

international capital to which aspiring artists flocked

for instruction and recognition. The teachers of

sculpture there were generally members of the

prestigious French Academy, and their emergence

was traceable to an enormous demand for private

and public sculpture.

A numerous and newly affluent bourgeoisie was

eager to decorate its residences, public buildings, and

parks with sculpture. By the second quarter of the

nineteenth century, the possession of tasteful

sculpture was internationally viewed as a tangible

expression of a cultivated sensibility and an

advanced socioeconomic position. Indeed, the

nineteenth-century mind-set held that the presence of

appropriate sculpture could be spiritually and

materially rewarding in one’s daily life.

Jean-Baptiste Carpeaux (French, 1827-1875), NeapolitanFisherboy, bronze: cast, chased, and patinated, circa 1861, Gift of Elva Lavies Weiss, 1986.95. Photograph by Judy Cooper.

Lofty Ideals: Selections of Nineteenth-CenturyFrench Sculpture from the Permanent CollectionJohn Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts


Work in the fashionable neoclassical taste gave

way to the Romantic Movement and its lyrical,

naturalistic style. Designs were drawn from all

previous areas of inspiration; the classical nude was

joined by noble peasants, knights, gallants,

eighteenth-century-style shepherdesses, and animals

wild and domestic. American patrons of the arts,

firmly convinced that any French work of art was

innately of superior quality, were eager acquisitors of

such sculpture. Such prominent patrons of the New

Orleans Museum of Art as Mrs. Samuel Delgado,

John Giraud Agar, Alvin Pike Howard, and Lavinia

Todd Hyams all acquired French academic pieces and

presented them to the new museum. Eventually, the

collection came to include some of the most

celebrated names in the history of French

nineteenth-century sculpture. Works by Antoine-

Louis Barye, Jean-Baptiste Carpeaux, Albert-Ernest

Carrier-Belleuse, Emile-Cariolan-Hippolyte

Guillemin, and Marius-Jean-Antonin Mercié are all

part of the permanent collection.

Lofty Ideals is also distinguished by the presence

of a number of period stands and pedestals, which

provide further insight into the way such works were

presented and viewed during the nineteenth century.

Most importantly, the exhibition celebrates the

presence of French academic sculpture as a major

facet of the art of the enormously productive

nineteenth century.

See Lofty Ideals in the Great Hall at NOMA

through April 24, 2011.

Elva Weiss presented Jean-Baptiste Carpeaux’sbronze Neapolitan Fisherboy to the New OrleansMuseum of Art in 1986, notably strengthening thethen-dormant collection of French academic sculpture(the work, seen at left, is showcased in Lofty Ideals).An elegant and ebullient woman, Mrs. Weiss (1904-2000) had a lifelong interest in the arts, which shecombined with a love of world travel. She moved toNew Orleans in 1964, where she enjoyed thecompany of young artists and generously promotedthe work of the most talented. Throughout her life, Mrs.Weiss appreciated beautiful objects, having a markedpreference for French decorative arts. Walking into herspacious apartment in the Fairmont Hotel was theequivalent of a visit to one in Paris. The best kind ofdonor, she remained true to the cause of the museum,bequeathing several important examples of Frencheighteenth-century furniture in 2000. —J.W.K.

Donor Spot l ight: Elva laviEs WEiss

EXHIBITIO

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The Sound of One Hand: Paintings and Calligraphy

by Zen Master Hakuin is the first exhibition in the

Western world devoted to the art of Hakuin Ekaku (1685-

1768). Considered the most important Japanese Zen

master of the last five hundred years, Hakuin also is

regarded as the most significant Zen artist. In his

teachings, writings, and art, Hakuin reached out to

monks and lay followers, as well as a general audience

that included non-believers and the rural poor. In the

process, Hakuin invented a new visual language for Zen

art, using folk and everyday subjects in addition to

traditional Zen themes.

The social, economic, and governmental changes

brought about by the Tokugawa rulers of the Edo period

(1615-1868) called for new responses from the religious

establishment. The two major Zen sects—Rinzai and

Soto—faced significant challenges, including the loss of

governmental support. It is within this context that

Hakuin lived and worked, becoming one of the most

important spiritual leaders in all of Japanese Zen, not just

the Rinzai sect to which he belonged. As the abbot of a

small rural temple near his childhood home in Hara,

Hakuin exerted tremendous influence, revitalizing the

koan system of Zen study (see sidebar), restructuring

monastic training, and advocating continual spiritual

development and the integration of spirituality and

secular activity.

Nearly eighty scrolls, seventy by Hakuin and the

remainder by his immediate disciples, have been

gathered from public and private Japanese and American

collections for The Sound of One Hand. These works

demonstrate the extraordinary range, vitality, humor,

power, and depth of this Zen master. Lightly and

The Sound of One Hand: Paintings andCalligraphy by Zen Master HakuinLisa Rotondo-McCord, Assistant Director for Art and Curator of Asian Art

Left: Hakuin Ekaku (Japanese, 1685-1768), Inka Staff, 1762, ink onpaper, Manyoan Collection


carefully brushed portraits—dating from Hakuin’s

50s and 60s (his “early period”)—contrast sharply

with the large, bold calligraphies from the end of his

life. His subjects range from the familiar pantheon of

Zen worthies such as Daruma, the patriarch and

founder of Zen Buddhism, to depictions of street

entertainers, folk deities, and the animal world.

Irrespective of the subject—whether serious or silly—

Hakuin conveyed profound religious truths through

his paintings and calligraphies. These truths are

revealed in a variety of ways, sometimes through an

immediate impact on the viewer, at other times

evident only after prolonged study and

contemplation.

The Sound of One Hand is on view from February

11-April 17, 2011. Curated by two noted scholars of

Zen painting, Stephen Addiss and Audrey Yoshiko

Seo, the exhibition is accompanied by a fully

illustrated catalogue, available in the Museum Shop.

EXHIBITIO

NS

What is a KOAN?

Koans, or Zen riddles, are seemingly insolvable questionsposed to students of Zen by their masters. Hakuin believed thatkoan practice was crucial to the attainment of enlightenmentexperiences. He used established koans as well as inventednew ones, such as the well-known “What is the Sound of OneHand?” which he wrote at the age of 69. “Breaking through”a koan often takes years of strenuous meditation and study,and requires the guidance of an experienced master whocan recognize the spiritual growth and maturity of the student.

The Inka Staff, dating from 1762 (opposite page) bears theinscription: “On Buddha’s Birthday [April 8], 1762, NomuraMagabe … penetrated my massive barrier and heard the soundof one hand. I therefore brush this as a certificate for this valiantperson.” This powerful painting functions as a certificate ofenlightenment that recognized the successful attainment of anenlightenment experience. Hakuin painted these certificates andpersonally awarded them in order to encourage the recipients tocontinue exerting themselves in their practice. —L.R.M.

Hakuin Ekaku (Japanese, 1685-1768), Hotei’s Sound of One Hand, late, ink on paper,Gubutsu-an Collection


CENTENNIAL NEWS

Join us Saturday, January 8, for NOMA’s

centennial kickoff and help us launch our year-

long celebration! The event is free and open to the

public, with activities running throughout the day.

• 10 a.m. What better way to celebrate 100 years

than with the St. Aug Marching 100? At 10 a.m., the

famed high school marching band will parade down

Lelong Avenue and around the building, ramping up

excitement for the year to come.

• 11 a.m. Life is short; eat dessert first! We’ll dig

into cake mid-morning to salute the museum's un-

official birthday. After that, check out the Courtyard

Café’s delicious lunch specials.

• 11:30 a.m.-4 p.m. Now that you’ve got your

energy, get creative with the Education Department’s

special centennial art-making activity. Drop by and

make a celebratory mask inspired by the art at

NOMA.

• 1-4 p.m. It’s time to relax and be entertained.

Members of the Symphony Chorus of New Orleans

will perform at 1 p.m., followed at 2 p.m. by ballet

from the official school of New Orleans Ballet

Theatre. At 3 p.m., enjoy an hour of opera in the

Sculpture Garden from the New Orleans Opera

Association.

Many thanks to our party sponsors, Bellwether

Technology and JPMorgan Chase.

NOMA Centennial Celebration Kicks Off January 8Rebecca Thomason, Public Programs Coordinator

Clockwise from top left: St. Augustine Marching 100; the official school of New Orleans Ballet Theatre; Symphony Chorus of New Orleans; New Orleans Opera Association.

©David J. L'Hoste

Photograph by Nathan Williams


Great Collectors / Great Donors: The Making of the

New Orleans Museum of Art, 1910-2010,

November 13, 2010-January 23, 2011

The Sheraton New Orleans Hotel

Great Collectors / Great Donors Video

E. Alexandra Stafford & Raymond Rathle, Jr., and Mr.

and Mrs. John F. Stafford

Centennial Year Kickoff Party, January 8, 2011

JPMorgan Chase and Bellwether Technology

Corporation

Director’s Dialogue Series, January-November 2011

J.P. Morgan and Stone Pigman Walther Wittmann

L.L.C.

Copley to Warhol: 200 Years of American Art

Celebrating the Centennial of the New Orleans

Museum of Art, February-December 2011

Chevron with additional support from the following

State Advisory Council Members:

Adele Adatto, Katie Arimura, Janet Blocker, June

Brandt, Scott Chotin, Kent Davis, John W. Deming

and Bertie Murphy Deming Foundation, Joy Hodges,

John Lolley, Valerie Marcus, Brenda Moffitt, Peter

Monrose, Mary Morse, Andrée Moss, Carolyn

Nelson, Edward Renwick, Peggy Selber, Aimee

Siegel, Jude Swenson, Catherine Burns Tremaine,

Fran Villere

Art in Bloom, March 30, 2011

Whitney Bank

Fabergé Egg Hunt, April 10, 2011

Catherine Burns Tremaine

100 Masterworks for the Next 100 Years: Celebrating

the Centennial of the New Orleans Museum of Art,

November 12, 2011-February 19, 2012

Eugenie and Joseph Jones Family Foundation

Centennial Birthday Party, December 16-18, 2011

Lakeside Shopping Center and the Feil Family

Foundation

Centennial Year Public Relations and Marketing

Sponsors

The Sheraton New Orleans Hotel

New Orleans Tourism and Marketing Corporation

Centennial Sponsors

Thanks to our sponsors for their generous support of NOMA’s

centennial exhibitions, programs, and festivities.

Suppor t NOMA During OurCentennial Year!

To ensure NOMA's success for the next100 years, we invite you to donate to our:

• Endowment—support educational programs, exhibitions, and publications.

• Centennial Event Sponsorships—support educational activities and family fun.

• John Bullard’s Retirement Gift Fund—purchase a piece of art in honor of John Bullard’s thirty-seven years of service as director of the New Orleans Museum of Art.

To donate: Call (504) 658-4107, email:[email protected], or give online atwww.noma.org.

CEN

TENNIA

L NEW

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American museums today are at a crossroads

and are looking for ways to more fully engage

their communities. NOMA’s centennial provides an

ideal opportunity to discuss important issues facing

museums and explore innovations in museum

practice. In 2011, NOMA is inviting five art museum

innovators to take part in a series of public

conversations about the topics of diversity,

technology, education, permanent collections, and

new audience development. Director Susan M.

Taylor will take to the Stern Auditorium stage one-

on-one with these esteemed directors for Friday

evening discussions this spring and fall. A sixth

invitee, Director Emeritus E. John Bullard, will join

Taylor at the end of the year to reflect on the series.

Spring SerieS – 6 p.m.

March 18, 2011

Arnold L. Lehman, The Brooklyn Museum

Mr. Lehman has been a leader in positioning

his museum to be responsive to the community,

welcoming younger, more diverse audiences.

April 1, 2011

Maxwell L. Anderson, Indianapolis Museum of Art

Mr. Anderson has been on the forefront of

introducing new technologies to art museums,

expanding museum audiences to the World Wide

Web and beyond.

May 20, 2011

Bonnie Pitman, Dallas Museum of Art

Ms. Pitman has devoted her career to developing

innovative education programs for art museums,

making them more welcoming and relevant to

visitors of all ages.

Stay tuned for details about our fall speakers.

The Director’s Dialogue series is a benefit of

membership for Delgado Society members and

above. Please contact the Development Department

to reevaluate your membership level, or to purchase

tickets for a fee.

Director’s Dialogue: Conversations with America’sTop Museum Directors Rebecca Thomason, Public Programs Coordinator

CEN

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Arnold L. Lehman Maxwell L. Anderson Bonnie Pitman

©Terri G

langer


Aspecial exhibition, Copley to Warhol: 200

Years of American Art Celebrating the Centennial

of the New Orleans Museum of Art, will tour four

museums in Louisiana this year, giving a statewide

dimension to NOMA’s 100th birthday celebration.

Consisting of thirty of the finest American paintings

in NOMA's collection, the exhibition will premiere at

the Meadows Museum of Art at

Centenary College in Shreveport on

February 19, 2011, and then travel to the

Alexandria Museum of Art; the Paul

and Lulu Hilliard University Art

Museum, University of Louisiana,

Lafayette; and the Louisiana State

University Museum of Art, Baton

Rouge. The exhibition is sponsored by

Chevron, with additional support from

NOMA's Advisory Council.

Copley to Warhol briefly surveys the

development of American painting,

beginning with portraits by Colonial

masters John Singleton Copley and

Charles Willson Peale and turning to

the rise of the landscape tradition with

Asher B. Durand, George Inness, and

Louisiana artists Richard Clague and

Joseph R. Meeker. The exhibition then

showcases nineteenth-century artists

who pursued their careers in Europe,

such as John Singer Sargent and Mary

Cassatt; moves into the twentieth

century with early modernists including Marsden

Hartley and Georgia O'Keeffe; and concludes with

the triumph of American painting following World

War II with abstract expressionism and Pop Art.

Among other masters included are Gilbert Stuart,

Thomas Sully, Frederick Frieseke, Robert Henri, Lee

Krasner, Larry Rivers, and James Rosenquist.

On the Road: NOMA’s Finest American Paintings Tour Louisiana E. John Bullard, Director Emeritus

CEN

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Andy Warhol (American, 1930-1987), Mick Jagger, 1975, acrylic oncanvas, New Orleans Museum of Art: Gift of Tina Freeman, 1981.335


EXPERIENCING NOMA

NOMA’s Educator Evenings are a new way of

serving and honoring an audience who has

long been a key part of the museum’s educational

mission: K-12 teachers in the New Orleans area and

beyond. Conceived of as a casual, friendly way to

introduce teachers to the museum and help them

incorporate its extraordinary collections into their

classrooms, NOMA’s Educator Evenings were

launched at the start of the 2010-2011 school year and

will be held monthly on Wednesdays.

Less structured than a formal, full-day

workshop, but more tailored to the needs of

classroom teachers than a regular public tour, each

ninety-minute Educator Evening begins with a

welcome to the museum over wine and cheese led by

members of the Education Department staff. This

introduction is followed by a custom tour of a special

exhibition or selected area of the museum’s

permanent collection.

For the first Educator Evening on October 13,

NOMA curator Paul Tarver led a group of eighteen

area educators on a private guided tour of the

Ancestors and Descendants exhibition. Afterwards,

Associate Curator of Education John d’Addario

continued the discussion with a visit to the

museum’s permanent collection of Native American

art, giving participants a chance to explore ways of

using their newfound familiarity with this area of the

museum’s collection in their classrooms.

Educator Evenings: NOMA Launches New Program for Local TeachersJohn d’Addario, Associate Curator of Education

Join Us for NOMAEducator EvEnings

Wednesday, January 12, 4:30-6 p.m. “The Arts of Africa”

Wednesday, February 9, 4:30-6 p.m. “Kings, Queens, Princes, and Princesses: Royalty in Art”

Wednesday, March 16, 4:30-6 p.m. “The Arts of Japan”

Wednesday, April 13, 4:30-6 p.m. “Sculpture Garden”

For more information or to register, please call (504) 658-4128.

Photography by John d’Addario

While measuring the long-term success of any

educational endeavor takes time, the Education

Department was delighted to see that several

teachers who participated in the very first Educator

Evening booked school group visits to the museum

within a few days of the program. Over 100 students

from area public and parochial schools visited the

Ancestors and Descendants exhibition and permanent

Native American art galleries with their teachers,

who were able to prepare self-guided activities (in

the form of scavenger hunts and other gallery-based

activities) as a direct result of their participation in

the Educator Evening program. (The wine and

cheese part of the evening received high marks as

well!)

Subsequent Educator Evenings over the course

of the fall 2010 semester allowed teachers to explore

the museum’s collection of modern and

contemporary art with NOMA curator Miranda

Lash, and introduced teachers to masterpieces in

NOMA’s permanent collection in the Great Collectors /

Great Donors exhibition. The result has been an

increase in self-guided school group bookings and

more students experiencing the museum’s special

exhibitions and permanent collections. Most

importantly, more teachers than ever recognize that

the permanent collection of the New Orleans

Museum of Art represents an indispensable resource

in planning their curriculum.

up Next...

February: Native american collectionTewa/Hopi Peoples Bowl, circa 1930, attributed to the Nampeyo Family

MarcH: Modern and contemporary collectionUntitled (Romantic Hotel-Chiarina), circa 1954, by Joseph Cornell

Rack cards for all featured objects are available in theGreat Hall. Check NOMA’s website, www.noma.org, formore information and a complete listing of the 2011objects.

Twelve-Light Pond-Lily Lamp, circa 1902-1905, by tiffany*

A primary goal of Louis Comfort Tiffany (1848-1933),master of the American Art Nouveau style, was tobring beauty into the home to enhance people’s dailylives. With lights modeled after garden lily bloomsand water lilies, this striking table lamp was extremelypopular and produced in various models; the twelve-light version was among the most successful.

*The Tiffany Studios, Corona, Long Island, New York; Bronze, amber Favrile glass; MuseumPurchase: Mervin and Maxine Mock Morais Fund, 2008.3. Photograph by Judy Cooper.

COLLECT ION SPOTL IGHTbeginning in january, a different object fromNOMa’s permanent collection will be on displayeach month in the Great Hall. don’t miss theseseldom-seen works and new acquisitions.

Featured Object

EXPERIENCIN

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OMA


NOMA AND THE COMMUNITY

One of the New Orleans Museum of Art’s most

important goals is to serve as an educational

resource for the schools in our community.

Collaborations with school leaders and cultural

organizations are vital to this effort, allowing us to

offer our rich art collection as a learning tool for local

students and classrooms.

One of the outstanding organizations NOMA has

formed an active partnership with is KIDsmART, a

New Orleans-based arts education group. Honored

by Americans for the Arts for its transformative

impact on local students, KIDsmART works with

teachers, students, and artists to provide curriculum

enrichment as well as professional development

programs for teachers.

In tribute to KIDsmART’s achievements, NOMA

was pleased to donate 700 catalogues from the

exhibition Dreams Come True: Art of the Classic Fairy

Tales from the Walt Disney Studio to KIDsmART

teachers and students. The illustrated catalogue

describes the adaptation process classic fairy tales

such as Snow White and the Seven Dwarfs, Cinderella,

and The Princess and the Frog underwent as they were

made into films by Walt Disney. The resources were

of special interest to teachers of visual arts and

language arts. In addition, each person also received

a family pass for free admission to the museum,

valid any time during the centennial year, as well as

information about the Education Department’s

school, teacher, and family programs.

To initiate and augment the museum’s

partnerships with other school systems, NOMA’s

Education Department will continue to provide

catalogues and free admission passes to collaborating

Museum Partners with Local Schools

Alice Yelen, Assistant Director for Education

Photography by Judy Cooper


public school administrators and teachers as

long as supplies last. Visitors who present the

admission pass will be offered a substantial

discount on a Family Membership to the

museum.

We believe the museum can and should

be an invaluable part of our teachers’

classroom work and a vital presence in our

community, and this program is one step in

accomplishing that goal. To receive free

museum admission passes and catalogues for

your teachers or students, please call Elise

Solomon at (504) 658-4128.

This year’s event, held September 24, 2010,

honored ten New Orleans-area artists working in a

wide range of mediums, from pottery to painting to

jewelry and sculpture. Each year, the selection

committee considers artists at all stages of their

careers, making recommendations to NOMA’s

director, who then makes the final determination. In

each case, a commitment to community is an

important criterion for selection. The artists are

honored at a ceremony during LOVE in the Garden,

and their work is projected on the Sculpture Garden

walls for all party-goers to enjoy.

NOMA’s annual LOVE in the Garden

celebration is known for its great food, music,

and striking setting in the Sculpture Garden. But for

the third year in a row, the event has taken on a new

dimension, honoring New Orleans-based artists who

have played a vital role in our community. “We

wanted to recognize local artists who have

contributed and given back to the city in various

ways,” explains Kristen Jochem, development

associate for NVC (NOMA Volunteer Committee)

fund-raising.

LOVE in the Garden Honors New Orleans Artists

NOMA Needs You!BECOME A VOLUNTEER

Meet Brad Caldwell, NOMA’svolunteer coordinator. He’s looking tobolster the ranks of NOMA’s dedicatedvolunteers for our centennial year andbeyond. “Whether you’re interested ina regularly scheduled position or anoccasional project, NOMA needs yourhelp,” he says. In particular, NOMA islooking for “on call” volunteers whocan fill in when the need arises.

To sign up to volunteer or for more information, contactBrad at [email protected] or (504) 658-4137.

2010 honorees (left to right): EdithMoseley, Joachim Casell, BobGraham, Sharon Weilbaecher,Peggy Bishop, Jacques Soulas,Mignon Faget, Robert Tannen,Thomas Mann, D. Nuego (seated).Photograph by Judy Cooper.

NOMA A

ND TH

E COMMUNITY


SUPPORTING NOMA

PresideNt’s CirCle

Mr. and Mrs. John D. Bertuzzi

Mr. and Mrs. Sydney J. Besthoff III

Mr. and Mrs. Ralph O. Brennan

Collins C. Diboll Private Foundation

Mr. and Mrs. David F. Edwards

Dr. and Mrs. Ludovico Feoli

Mr. and Mrs. Stephen A. Hansel

Ms. Adrea D. Heebe and

Mr. Dominick A. Russo, Jr.

Helis Foundation

Mr. and Mrs. David A. Kerstein

Mr. Paul J. Leaman, Jr.

Mrs. Paula L. Maher

Mr. and Mrs. Charles B. Mayer

Mrs. Robert Nims

Mrs. Charles S. Reily, Jr.

Mrs. Françoise B. Richardson

Jolie and Robert Shelton

Mrs. Patrick F. Taylor

Zemurray Foundation

direCtOr’s CirCle

Mrs. Jack R. Aron

Mr. and Mrs. F. Macnaughton Ball, Jr.

The Booth-Bricker Fund

Mrs. Lawrence D. Garvey

Mrs. Harry Greenberg

Mr. Jerry Heymann

Mr. and Mrs. Erik F. Johnsen

Mr. and Mrs. Peter R. Monrose, Jr.

Mr. and Mrs. Robert J. Patrick

Mr. and Mrs. George Rodrigue

Mr. and Mrs. Edwin Rodriguez, Jr.

Ms. Debra B. Shriver

Margaret B. and Joel J. Soniat

Dr. and Mrs. Richard L. Strub

Mr. and Mrs. St. Denis J. Villere

PAtrON’s CirCle

Mr. and Mrs. William D. Aaron, Jr.

Mr. and Mrs. Robert H. Boh

Mr. E. John Bullard III

Mr. and Mrs. Mark Carey

Dr. and Mrs. Isidore Cohn, Jr.

Mr. Leonard A. Davis

Mr. and Mrs. Prescott N. Dunbar

Ms. Mignon Faget

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

Mr. and Mrs. Timothy Francis

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Edward N. George

Mr. and Mrs. Frederick Heebe

Mrs. Gloria S. Kabacoff

Ms. Allison Kendrick

Mr. Henry M. Lambert and

Mr. R. Carey Bond

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

Mr. Edward C. Mathes

Ms. Kay McArdle

Mr. and Mrs. R. King Milling

Mrs. Ellis Mintz

Mr. and Mrs. Michael D. Moffitt

Robert and Myrtis Nims Foundation

Dr. Howard and Dr. Joy D. Osofsky

Dr. and Mrs. James F. Pierce

Mr. and Mrs. James J. Reiss, Jr.

Dr. and Mrs. Edward F. Renwick

Mr. and Mrs. R. Randolph Richmond, Jr.

Mr. and Mrs. Benjamin M. Rosen

Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. Edward Shearer

Mr. and Mrs. Lynes R. Sloss

Mr. and Mrs. Bruce L. Soltis

Ms. E. Alexandra Stafford and

Mr. Raymond M. Rathle, Jr.

Mrs. Frederick M. Stafford

Mrs. Harold H. Stream, Jr.

Mr. and Mrs. James L. Taylor

Mr. and Mrs. David S. Thomas, Jr.

Mrs. Hendrik Willem van Voorthuysen

Mrs. John N. Weinstock

Mrs. Henry H. Weldon

We appreciate the generous and continuing support of our Circle members.

Circles of the New Orleans Museum of Art

The NOMA Board of Trustees cordially invites you to join the Circles, the museum’s most prestigious membership group.

Circle memberships are available to individualscontributing at the following annual levels:

President’s Circle: $20,000

Director’s Circle: $10,000

Patron’s Circle: $5,000

NOMA is pleased to extend unique membershipprivileges to those who demonstrate their commitment at these levels. For more information, please call (504) 658-4107.

UP G R A D E YO U R SU P P O RT O F NOMA


$100,000+The Helis Foundation

– Free Wednesdays for

Louisiana residents

Save America’s Treasures

– Permanent collection

conservation

Zemurray Foundation –

General operating support

$99,999 - $50,000The Selley Foundation

– Art storage building

renovation and website

re-launch

$49,999 - $20,000 Heebe-Russo Family

–Odyssey Ball

Robert Lehman

Foundation – Ancestors of

Congo Square catalogue

Luce Foundation – Kuntz

Galleries renovation

The Lupin Foundation

– Odyssey Ball

National Endowment for

the Arts – Art storage

building renovation

The RosaMary

Foundation – General

operating support

$19,999 - $10,000Garden Study Club

– Centennial beautification

Goldring Family

Foundation – Odyssey Ball

John Burton Harter

Foundation – Odyssey Ball

Louisiana Endowment

for the Arts – General

operating support

Morris G. and Paula L.

Maher Foundation

–Odyssey Ball

Jolie and Robert Shelton

–Odyssey Ball

Mrs. Frederick M.

Stafford – Odyssey Ball

Ruby K. Woerner

Foundation

– Programming

NOMA’s exhibitions and special programs are made possible through the generosity of our sponsors. We 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 at (504) 658-4107.

Program Sponsors

SUPPO

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A

NOMA lost agreat friend

this past fall withthe passing ofCharles A. Snyder.A tirelesssupporter of themuseum, Snyderserved as a trusteeand benefactor fornearly fifteenyears. He firstbecame involvedwith the museumduring his tenureas president of the

City Park board, helping to facilitatenegotiations leading to the construction of theBesthoff Sculpture Garden.

An attorney who was active in a widerange of New Orleans cultural institutions,Snyder served four, three-year terms as amember of NOMA’s board of trustees, holdingofficer positions including vice president and

secretary and chairing the legal committee. Hevolunteered hundreds of hours of his timehandling legal issues on the museum’s behalf,including negotiating with the Egyptiangovernment on the contract for the 2003international exhibition, The Quest forImmortality.

After Hurricane Katrina, Snyder, like manyof his fellow trustees, rallied to provideleadership and financial support for themuseum. Serving at the time as president of theboard of the Historic New Orleans Collection,Snyder initiated a collaborative exhibitionprogram between the two institutions andfacilitated the joint acquisition of an importantseries of Katrina paintings by Rolland Golden.Snyder was elected an honorary life trustee in2009.

NOMA is fortunate to have been thebeneficiary of Snyder’s lifelong dedication tocommunity service and volunteerism. Weextend our deepest sympathy to the family ofthis great man.

In Memoriam: Charles a . snyder


SUPP

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NO

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Hundreds of NOMA friends attended LOVE in

the Garden, the annual outdoor party

benefiting the museum, on September 24, 2010. Held

beneath the light-strung oak boughs in the Besthoff

Sculpture Garden, the event featured live music and

food by local restaurants. Ten New Orleans artists

were honored.

On November 13, 2010, the 45th annual Odyssey

Ball unveiled the Great Collectors / Great Donors

exhibition in honor of NOMA’s centennial year. Mrs.

Frederick Stafford, who chaired the inaugural

Odyssey Ball with her late husband, was honorary

chairman. Special thanks to the Heebe-Russo family

and the Lupin Foundation for generously

underwriting the gala.

This spring, NOMA hosts a trio of events

celebrating art, design, and the warmer months. Save

the date for: Art in Bloom (March 30-April 3, 2011),

the Fabergé Egg Hunt (April 9, 2011), and the much-

anticipated return of the NVC Home and Art Tour

(April 16, 2011). For tickets and information, see

www.noma.org or call (504) 658-4121.

LOVE in the Garden and Odyssey Ball Bring NOMA Friends Together

LOVE in the Garden: 1. JoAnn Flom Greenberg and NOMA Director Emeritus E. John Bullard; 2. Mignon Faget, Joe Bruno,NOMA Director Susan M. Taylor, and NOMA Board of Trustees President Stephen A. Hansel; 3. Joe and Stephanie Bruno andLOVE guests. Photography by Judy Cooper.

1 2

3


SUPPO

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Odyssey Ball: 4. Sally Warren Wallman, Adee Heebe, and Aimée Farnet Siegel; 5. NOMA Director Susan M. Taylor andDirector Emeritus E. John Bullard; 6. Sydney Besthoff and Dr. Siddharth Bhansali; 7. Raymond Rathle, Jr., Alexandra Stafford, Mrs. Frederick Stafford, and Aimée Rathle; 8. Pam and Ralph Lupin; 9. Fred and Jennifer Heebe; 10. Emily Daly, Elise Daly, andRobert and Jolie Shelton; 11. Jimmy and Pixie Reiss and Jim and Karen Ward. Photography by Judy Cooper and Jeff Strout.

4 5

6 7 8

9 10

11


PROFILES IN GIVING

It is with great sadness that NOMA says good-bye

to a lifelong friend and supporter, Polly Guthrie.

We are deeply honored to accept a substantial

bequest Polly left to the museum in her will.

Polly and her family have had a rich and vibrant

relationship with the museum that has spanned

many decades. The eldest of five children, Polly was

born Mary Nelson in 1914 but was always called

Polly. She earned her B.A. at Newcomb College and

an M.S. in botany at Tulane University. Later, while

working as a chemist at the USDA Southern Regional

Research Laboratory, she completed her Ph.D in

physical chemistry.

Polly spent many years as an active volunteer at

NOMA, an institution she had loved since childhood.

Her aunt, Ethel Hutson, was NOMA’s first secretary,

serving under the museum’s first director, Ellsworth

Woodward. Polly’s brother, Waldemar S. Nelson, was

president of the City Park

Improvement Association and

served on the Board of Trustees

for the New Orleans Museum of

Art as the City Park

representative from 1983 to 1985.

One of Polly’s most

cherished memories of NOMA

was the relationship that existed

between the museum and her

grandfather, Charles Woodward

Hutson, a Louisiana artist known

for his southwest Louisiana

landscape paintings. The

museum held two retrospectives

of Mr. Hutson’s work, one in 1948

and one in 1965. Polly worked

closely with NOMA on the

development of the 1965 retrospective, and was

always very appreciative of the museum’s interest in

her grandfather’s artwork.

We are pleased that Polly’s relationship with

NOMA led to so many happy experiences for her

and her husband, John D. Guthrie, as well as many

members of her family. We are profoundly touched

by Polly’s generosity, and she will be sorely missed.

A Tribute to Polly Guthrie

Bequests to NOMA

Name NOMA as a beneficiary in yourwill and make a lasting contribution to themuseum. Charitable bequests may allowfor significant tax savings. For moreinformation, please call (504) 658-4107.

Polly Nelson Guthrie and her brother Waldemar Nelson at City Park.

Guarantor

Jones, Walker, Waechter, Poitevent,

Carrere & Denegre

Superior Energy Services, Inc.

Whitney National Bank of New Orleans

Patron

The Sydney and Walda Besthoff

Foundation

Master

Christie’s Fine Art Auctioneers

Dooky Chase’s Restaurant

The Schon Charitable Foundation

Leader

Boh Bros. Construction Co., L.L.C.

Bolton Ford

Hotel Monteleone

Laitram, L.L.C.

New Orleans Silversmiths

Rathborne Companies East, L.L.C.

The Times-Picayune

assoCiate

Bowie Lumber Associates

M. S. Rau Antiques, L.L.C.

Neal Auction Company, Inc.

Contributor

A. L. Lowe Picture Framing Company

As You Like It Silver Shop

Coffee Roasters of New Orleans

Gulf Coast Bank

Hirsch Investment Management, L.L.C.

Kentwood Spring Water, Inc.

Mignon Faget, Ltd.

Mudbug Media, Inc.

Sisung Securities Corporation

Wirthmore Antiques, Ltd.

The following corporate members make it

possible for NOMA to serve the public.

Corporate Membership Where

y’Art

Friday Nights

at nomaopen ‘til 9 p.m.

Great Art

Live Music

Film

Dance

Performance

Theater

Good Food

Art Activities

EveryWeekSomethingNew

P. O. Box 19123New Orleans, LA 70179-0123

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