NOMA Magazine, Fall 2017

Arts Quarterly New Orleans Museum of Art

Fall 2017

DIRECTOR’S LETTE R

Susan M. Taylor

FRONT AND BACK COVER

Platt D. Babbitt, Niagara Falls, detail, c. 1855, daguerreotype, National Gallery of Art, Washington, Robinson Family Fund in memory of C. David Robinson and Clinton and Jean Wright Fund

LEFT Ogawa Machiko Lunar Fragment-1, 2014 9 5⁄8 × 17 7⁄8 in. © Ogawa Machiko

In 1718, the French Mississippi Company, under the direction of Jean-Baptiste LeMoyne de Bienville, established a trading post at a site that was both economically advantageous and environmentally challenging. On a sliver of silt at a wide bend near the final stretch of America’s most dominant river, La Nouvelle Orléans emerged from the cypress swamps, a city that would, in due time, create a culture all its own, shaped by a complex ethnic milieu that inhabited a soaked terrain and an intemperate climate that many doubted could be tolerated for long.

Now approaching its three-hundredth anniversary, New Orleans has continued to defy skeptics, becoming one of the most culturally inspirational cities in the world. Perhaps a Daily Picayune reporter from 1851 phrased it best: “Everyone in this good city enjoys the full right to pursue his own inclinations in all reasonable and unreasonable ways.” The New Orleans Museum of Art has been part of this epic urban narrative for more than a third of its telling, and we look forward to the celebratory year ahead, one in which the museum plans to simultaneously reflect upon the past and make history.

Our 51st annual Odyssey Ball on November 4 will serve as a kickoff to NOMA’s observance of the tricentennial with the theme “A Celebration 300 Years in the Making.” We invite you to join us for a night that will live up to NOMA’s and New Orleans’ well-earned reputation for throwing a memorable party. We have an exciting lineup of exhibitions planned for the year ahead, ranging from installations by seven local artists interpreting historical and contemporary themes in Changing Course: Reflecting on New Orleans Histories to the reunited assemblage of Old Master paintings from the collection of the city’s namesake, the Duke of Orléans. Philippe II’s palais royale housed one of Europe’s most admired art collections, which was ultimately scattered across both Europe and America in the centuries that followed the Duke’s death in 1723. Records reveal that these works of art are now in the holdings of numerous private and public collections, ranging from Buckingham Palace to the El Paso Museum of Art. Research and plans are currently underway to assemble major highlights from this collection for the first time since its dispersal, culminating in NOMA’s most ambitious exhibition to date that will be presented next fall. We have many other surprises in store for 2018, too, and I encourage you to stay tuned to our website, social media feed, and future editions of Arts Quarterly.

In the meantime, before jumping too far ahead, allow me to introduce our lineup of exhibitions, programs, and special events for this fall. NOMA was a pioneering institution with regard to collecting photography beginning in the 1910s, our first decade of operation. In partnership with the National Gallery of Art in Washington, we open East of the Mississippi: Nineteenth-Century American Landscape Photography on October 6. This unprecedented exhibition is the first to exclusively focus on photography in the eastern states in the earliest years of the medium with scenes of an ambitious nation on the cusp of industrializing much of what was only decades prior an untamed wilderness.

Contemporary pottery will be the focus of two decorative arts exhibitions that open in November thanks to the generosity of longtime supporters of NOMA. Dr. Kurt Gitter and Alice Yelen’s collection of Japanese pottery will comprise New Forms, New Voices, and E. John Bullard’s collection of American works will be showcased in Personalities in Clay, which is also a promised gift to NOMA. Explorers who navigated the Mississippi River centuries ago encountered new discoveries at every turn, and they embarked upon ambitious plans that were realized far beyond their wildest imaginations. Likewise, NOMA dreams big and we invite you to be part of the journey.

Susan M. Taylor The Montine McDaniel Freeman Director

CONTENTS

Fall 2017

FEATURE

MUSEUM

6 East of the Mississippi

INSPIRED BY NOMA

Nineteenth-Century American Landscape Photography

4 Interview with Lisa Schlesinger EXHIBITIONS

5 Self/Reflection

11 New Forms, New Voices: Japanese Ceramics from the Gitter-Yelen Collection

12 Personalities in Clay: American Studio Ceramics from the E. John Bullard Collection

ACQUISITIONS

14 Research Reveals Domenico’s Distinctive Brushwork

Page 11

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NEW FORMS, NEW VOICES: JAPANESE CERAMICS FROM THE GITTER-YELEN COLLECTION

Page 14 RESEARCH REVEALS DOMENICO’S DISTINCTIVE BRUSHWORK

Arts Quarterly New Orleans Museum of Art

Page 16

FALL EVENTS AT NOMA

Page 20

MINI MASTERS SHOWCASE

COMMUNITY VISIT

LEARN

16 Fall events at NOMA

18 Taylor Scholars Program Breaks Record 19 Studio Kids!, Create Late, Adult Art Studios

SHOP

17 Unique items from the NOMA Museum Shop

SUPPORT 20 NOMA Donors 22 Contemporary Artists and Artists of Tomorrow

OPPOSITE LEFT Shoko Koike, Shell Vase, 2003, 14 1⁄8 × 16 1⁄2 in., © Shoko Koike OPPOSITE RIGHT Ascribed to Giovanni Domenico Tiepolo, (1709–1787), The Minuet, Oil on canvas, 1754–1760, The Samuel H. Kress Collection, 61.88 ABOVE LEFT David Lynch Film Retrospective ABOVE RIGHT Mini Masters Showcase

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INSPIR ED BY NOM A : LIS A SCHLE SINGER

A generous donation from the Milton H. Latter Educational and Charitable Foundation will fund the purchase and installation of a new archival cabinet to display the Latter-Schlesigner collection of portrait miniatures, along with conservation of the objects. Lisa Schlesigner’s grandparents, Harry and Anna Latter, amassed the collection, beginning in the 1920s, and her mother, Shirley Latter Kaufmann, donated the pieces to NOMA in 1974. Schlesinger, a board member of the foundation, serving alongside her cousins Patty Barnett and Kathy Buckman, spoke with Arts Quarterly about the family’s connection to the museum and preservation of the portrait miniatures.

When did your grandparents begin collecting portrait miniatures?

In 1958, my grandfather, whom we all called “Boss,” was assigned by President Eisenhower to evaluate a government project in London. My father had died just a few years earlier, and my mother, who loved to travel, decided that she, my brother Lee and I should take advantage of this opportunity. We went to antique shops on Portobello Road and to auction houses. My grandfather became interested in English portrait miniatures because he was looking for something to collect and these just simply piqued his interest. Mine, too. I was allowed to 4

play with them, carefully, and to help clean them. We would take them apart and clean them with linseed oil. There was one in particular, a bracelet that was made out of the subject’s hair, and I loved to play with it. I can look through the catalogue (published in 1978) at the portrait miniatures and so many memories come to mind.

My mother became so interested in portrait miniatures that she was able to see the Queen’s personal collection at Windsor Castle. Somehow my grandfather was able to make that connection, but she was shocked that they had all been taken out of their original frames. Imagine that!

The collection ultimately came into your mother’s possession, and she donated many of the portrait miniatures to NOMA. How did that come to be?

My grandparents kept the collection in their apartment at the Roosevelt Hotel in his office bookcase. My mother later kept the collection in two cabinets in her home, but we’re in the mildew capital of the world, right? This became an issue of temperature control that only a museum could properly regulate.

My mother was very active at the New Orleans Museum of Art for decades, spent many years on the board, and she began discussions on donating the collection with John Bullard, the director who was hired when she served on the board.

My mother and Alice Prinderville also spent hours doing research on the collection, nearly 400 pieces. All of that was done on paper and carbon paper.

They didn’t even have copy machines.

My mother was also very involved in the 1977 Tutankhaman exhibition at NOMA. She suggested the museum place tents on the grounds, where the museum was able to host evening events and welcome groups. She won the Isaac Delgado Award, too (NOMA’s highest annual honor).

Samuel Cooper, English, 1609–1672, Frances Cromwell, 1654, Watercolor on vellum, 2 1⁄4 x 1 3⁄4 in., Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.349

In the near future, the portrait miniature collection will be displayed in a state-of-theart cabinet courtesy of your family’s donation. How did you come to this decision?

I found out that the collection had been taken away from public view and that it needed conservation. Back in the ‘70s, when the portrait miniatures were first on display, they were located in a dark room where visitors pushed a button to indirectly light them to prevent damage. It was beautiful, but over the years there had been wear and tear, and they needed to be cared for.

So we got the ball rolling, and soon they will be displayed on rotation in a case in the new decorative arts wing. There will be an interactive component—visitors will be able to pull out the drawers to look at the miniatures.

My grandparents and my mother left a lasting legacy in New Orleans.

“Boss” was a builder, and he made an impact on real estate here. The Milton H. Latter Memorial Libary in Uptown was also among their gifts to the city.

My mother’s life revolved around the museum. She would drag us kicking and screaming to events that I didn’t appreciate at the time, but now I see what a great influence she was on the community. I want our children, grandchildren, and visitors to NOMA to know this history.

Arts Quarterly New Orleans Museum of Art

EXHIBITIONS

SELF/REFLECTION IN ST. TAMMANY PARISH

What is the difference between a selfie and a self-portrait? In Self/ Reflection: Photographs from the New Orleans Museum of Art, a selection of photographs from the mid-19th to early 21st century will offer an examination of the many ways in which photographers have used reflections as tools and stylistic devices, with a focus on those who chose to capture themselves and their equipment in the process. The exhibition will be on view at the St. Tammany Art Associaton in Covington, La., from October 15–December 2, 2017.

Selfie culture is prevalent these days as social media platforms are flooded with thousands of images every second. While the technology to make this possible is relatively new, it could be argued that the impulse to capture/represent/reflect/ portray oneself can be traced back to the very beginning of mankind. Prehistoric hand silhouettes seen in caves around the world, including Indonesia, France, Argentina, and Australia, are the first manifestations of this impulse. While it is not known if these marks were made as territorial claims, or for ceremonial purposes, or because wallpaper had yet to be invented for nearly 40,000 years, we do know by their frank existence that early humans chose to signify their physical being in that particular time and place. And modern man has only continued the inclination.

For those artists who chose to capture themselves within their image, there is an element of performance. How they choose to portray themselves can be seen in how an image is staged, how they are positioned, how they dress and comport themselves, what they choose to show of themselves, and what they choose to show of the camera or equipment.

One example is that of Florence Henri, dressed in dark colors with darkened hair and makeup heightening the contrast with her lighter surroundings. She sits with her arms folded and resting on a table and looks straight ahead at a mirror in which she is reflected. At the base of the mirror are two small orbs that also reflect Henri and are in turn reflected in the mirror. Not seen: any vestiges of her equipment. The viewer is privy to a serious moment of introspection and contemplation, seeing what the artist saw herself but also what the artist chose to show of herself.

The intimacy that comes with seeing an individual’s point of view is also at play in this and many photographs in the exhibition. The viewer’s proximity to the artist, however direct, veiled, or distorted is important. Not only must the viewer acknowledge that proximity, but the artist has created it, expecting and inviting the scrutiny of the viewer.

Including works by Brassaï, Ilse Bing, Imogen Cunningham, Lee Friedlander, André Kertész, Clarence John Laughlin, and Tina Barney among others, Self/ Reflection endeavors to explore the idea of self-representation and the use of reflection as device in European and American photographs from NOMA’s permanent collection.

Anne C. B. Roberts, Curatorial Assistant to the Deputy Director

Florence Henri, Selbstportrait, 1928-1933, 8 x 11 in., Gelatin silver print on paper, Museum Purchase through the National Endowment for the Arts and Museum Purchase Funds, 79.31.1, Florence Henri © Galleria Martini & Ronchetti, Genoa, Italy

The St. Tammany Art Association is located at 320 N. Columbia Street in Covington.

On October 15, the Association will host a Curator’s Commentary with Anne Roberts, and a children’s workshop inspired by the exhibition will held on November 4. For more information, visit sttammanyartassociation.org.

NOMA ON THE ROAD Works of art from NOMA’s permanent collection are frequently requested for loan to other institions. This fall, view No More We Fear (1982)

by Sam Doyle at the National Gallery Art in Washington, DC.. The Hilliard Museum in Lafayette, La., will display Lin Emery’s Archangel Michael, Futile Clock, and Calligraphy in a retrospective titled Lin Emery: A Movement 1957–2017 on view through January 2018.

www.noma.org

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East of the Mississippi NINETEENTH-CENTURY AMERICAN LANDSCAPE PHOTOGRAPHY When photography arrived in the United States in 1839, it landed first in a few east coast cities and New Orleans, and then spread north and west into the American interior. The proliferation of photography studios and photographers coincided with the beginnings of massive cultural, commercial, and transportation projects that would ultimately reshape much of the American landscape. Photography quickly became an accomplice in the transformation of the landscape, both passively and actively. Some photographs, for example, simply documented the changes in a landscape, often revealing the before and after of a construction project, while other photographs became agents of change, making visible sites that would become popular tourist destinations.

The New Orleans Museum of Art presents East of the Mississippi: Nineteenth-Century American Landscape Photography from October 5, 2017– January 7, 2018. Organized by the National Gallery of Art, Washington, in association with NOMA, this landmark exhibition is the first to explore a vivid chapter of America’s photographic history—the origins of landscape photography in the United States.

This project is the first to articulate a complete history of landscape photography in the nineteenth-century American East, bringing together some of the rarest and most extraordinary photographs to tell the many stories of photography’s relationship to the landscape.

Due to the rarity and fragility of these works, this is the first and perhaps only time that many of these objects will be publicly exhibited, offering visitors the rare opportunity to engage directly with objects from the origins of photography in this country.

There are roughly three different kinds of landscape that are presented in East of the Mississippi: the natural landscape, the built landscape, and the urban landscape. The following selection, on pages 8 and 9, presents examples of each kind of landscape and several different kinds of photographic processes. It also provides some insight into the variety of reasons that photographers engaged with the eastern American landscape in the nineteenth-century.

Theodore Lilienthal, St. Charles Hotel, New Orleans, 1867, detail, albumen print, 10 3⁄4 x 13 13⁄16 inches, New Orleans Museum of Art, Museum Purchase, 2013.21

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EXHIBITIONS

Hugh Lee Pattinson, American Falls, 1840, daguerreotype, 6 ½ x 8 ½ inches, Robinson Library, Newcastle University, England.

THEODORE LILIENTHAL

HUGH LEE PATTINSON

JAY DEARBORN EDWARDS

In early 1867, Lilienthal was hired by the city council of New Orleans to produce a lavish presentation portfolio of large photographs of New Orleans that could be given as a gift to Napoleon III on the occasion of the International Exposition that year. The project was the first municipal photographic commission in the United States. The photograph on page 6 of the St. Charles Hotel was contact printed from a glass negative of equal size—the largest known to have been produced in New Orleans in the nineteenth century. The incredible detail that these large negatives afforded provides a great deal of information about this block of the city and even about the making of the picture: the giant pocket watch hanging down from John Lazarus’s Great Southern Watch Depot preserves the time that this picture was made, just a couple of minutes after ten o’clock in the morning.

The daguerreotype seen above is one of several that Pattinson, a British chemical metallurgist, made in April of 1840 while visiting the United States.

Together, Pattinson’s daguerreotypes are the oldest known photographs of Canada, but they are amongst the oldest known photographs made in the US. The daguerreotype process involved coating a copper plate with a chemical solution that produced an image when exposed to light. Each one is unique; a daguerreotype is a negative and positive in one, and cannot serve as a matrix to produce multiple positive prints. Nevertheless, daguerreotypes were frequently copied as engravings and reproduced in printer’s ink. One of Pattinson’s daguerreotypes of Niagara Falls was reproduced in this manner and included in the first publication to be based on photographic images, a two volume publication called Excursions daguerriennes.

Edwards had a nomadic and multi-faceted career that included traveling from New Hampshire to New Orleans, and stints as an itinerant phrenologist (studying the shape of heads as signs of moral character) and a Confederate spy. While in New Orleans, however, he became one of the earliest photographers to make paper photographs (daguerreotypes were much more common here). This image (opposite page, top) of Esplanade at Royal Street presents a view up the avenue that today terminates at the steps of NOMA.

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Arts Quarterly New Orleans Museum of Art

Jay Dearborn Edwards, Esplanade Street from Royal Street toward Lake, 1858-1861, salted paper print, 7 ½ x 9 3⁄8, The Historic New Orleans Collection

HENRY PETER BOSSE

Bosse was appointed draftsman and cartographer for the US Army Corps of Engineers and was charged with surveying the Mississippi River. He produced maps as well as photographs of the river and its surrounding area that documented both natural and man-made sites. This print (right) is a cyanotype, an iron-based photograph that is essentially the same compound used in blueprints.

Since the photograph was produced for an engineering survey of water, the cyanotype, with its deep blue color, was a doubly appropriate print choice. Bosse suffered an early and sudden death after eating spoiled canned asparagus.

Russell Lord, Freeman Family Curator of Photographs, Prints and Drawings East of the Mississippi: Nineteenth-Century American Landscape Photography is on view October 5, 2017, to January 7, 2018 on NOMA’s second floor in the Elise M. Besthoff Charitable Foundation Gallery. An exhibition catalogue is available in The NOMA Shop. The exhibition is organized by the National Gallery of Art, Washington, in association with the New Orleans Museum of Art, and is supported in New Orleans by the Freeman Family Curatorial Fund, the A. Charlotte Mann and Joshua Mann Pailet Endowment Fund, the Azby Museum Fund, The Helis Foundation, and Tim L. Fields, Esq. Additional support provided by Delta Air Lines.

www.noma.org

Henry Peter Bosse, Construction of Rock and Brush Dam, L.W., 1891, cyanotype, 10 7⁄16 x 13 1⁄8, National Gallery of Art, Washington, Gift of Mary and Dan Solomon

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EXHIBITIONS

East of the Mississippi Nineteenth-Century American Landscape Photography

OCTOBER 6, 2017 – JANUARY 7, 2018 Platt D. Babbitt, Niagara Falls, detail, c. 1855, daguerreotype, National Gallery of Art, Washington, Robinson Family Fund in memory of C. David Robinson and Clinton and Jean Wright Fund

LECTURES

NOONTIME TALKS

FRIDAY, NOVEMBER 10 | 7 P.M.

Russell Lord, Freeman Family Curator of Photographs, Prints, and Drawings, and Brian Piper, Andrew W. Mellon Foundation Fellow for Photography, will lead gallery talks that explore major themes in the exhibition.

“Past and Present Landscapes of the Mississippi Delta” with Dr. Elizabeth Chamberlain, Department of Earth and Environmental Sciences, Tulane University

WEDNESDAY, OCTOBER 11 | Russell Lord

FRIDAY, DECEMBER 1 | 7 P.M.

WEDNESDAY, OCTOBER 25 | Brian Piper

“Navigating Rivers and Music East of the Mississippi” with American Routes host Nick Spitzer and Captain Clarke C. “Doc” Hawley

WEDNESDAY, NOVEMBER 8 | Brian Piper

FRIDAY, DECEMBER 8 | 7 P.M.

WEDNESDAY, DECEMBER 6 | Russell Lord

“Improving Nature: Image Manipulation in Nineteenth-Century Photography” with France Scully Osterman, guest scholar, and Mark Osterman, photographic process historian, George Eastman Museum

WEDNESDAY, DECEMBER 20 | Brian Piper

GALLERY TALKS

SATURDAY, JANUARY 6 | Russell Lord

FRIDAY, OCTOBER 6 | 6 P.M.

PERFORMANCES

Russell Lord, Freeman Family Curator of Photographs, Prints, and Drawings, and Diane Waggoner, Curator of Nineteenth-Century Photographs at the National Gallery of Art, Washington

FRIDAY, OCTOBER 6 | 7 P.M. | Opera Créole

*Book signing to follow in the Shop at NOMA.

FRIDAY, OCTOBER 13 | 6 P.M. on tourism with Russell Lord

FRIDAY, DECEMBER 15 | 6 P.M. Mary Niall Mitchell, Co-Director, Midlo Center for New Orleans Studies, Ethel and Herman L. Midlo Endowed Chair, and Joseph Tregle Professor of Early American History at the University of New Orleans

LANDSCAPE ON FILM FRIDAY, OCTOBER 13 | 7 P.M. O Brother, Where Art Thou?

Rated PG-13; 1 h. 47 min.

FRIDAY, DECEMBER 15 | 7 P.M. Days of Heaven

FRIDAY, DECEMBER 22 | 6 P.M.

Rated PG; 1 h. 34 min.

on photographer Jay Dearborn Edwards with John H. Lawrence, Director of Museum Programs at The Historic New Orleans Collection

FRIDAY, DECEMBER 29 | 6 P.M. There Will Be Blood Rated R; 2 h. 38 min.

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Arts Quarterly New Orleans Museum of Art

N EW FOR MS , N EW VOICE S: JA PA N E SE CER A MIC S FROM THE GITTER-Y ELEN COLLECTION

Yasuko Sakurai, White Flower, 2008, 10 3⁄8 × 19 in., © Yasuko Sakurai

Satoshi Kino, Fall Wind 16-32, 2016, 13 3⁄8 × 34 5⁄8 in., © Satoshi Kino

Japan boasts one of the world’s longest unbroken traditions of ceramic manufacture, dating back more than 15,000 years. In the sixteenth century, Japanese potters were first empowered to earn reputations as named, creative individuals, long before the idea of the “studio potter” had emerged in the United States.

Today there are likely more artists in Japan earning a living from ceramics than anywhere else on earth, energized by global influences and traditional philosophies and techniques.

NOMA will showcase this timeless art genre in New Forms, New Voices: Japanese Ceramics from the Gitter-Yelen Collection, on view from November 4, 2017–April 8, 2018. This exhibition of eighty-two modern and contemporary Japanese ceramics by forty artists is drawn from the extraordinary collection of longtime New Orleans art collectors Dr. Kurt A. Gitter and Alice Yelen Gitter, a curator emeritus at NOMA. Guest-curated by noted Japanese art scholar Joe Earle, the exhibition and

its accompanying catalogue reveal the rich diversity of ceramic production in Japan in the modern era.

The exhibition is presented in five sections. The first, “Inspired by Ancient Kilns,” places three early pots from the Gitter-Yelen collection alongside recent pieces by eight contemporary artists, nearly all of whom either live and work at a traditional kiln site, or make wares based on classic kiln prototypes. Ten artists whose work emulates aspects of the natural world—from geologic formations to the appearance of ice or the form of seashells—are the focus of the next section, “Hewn from the Earth.” The technical perfection, innovation, and ingenuity of postwar artists working in the medium of porcelain to create both sculptural and utilitarian works are featured in the third section, “Masters of Porcelain.”

Ceramists who have challenged both the dominance and semi-hereditary workshop system, including the highly influential Sodeisha group,

active from 1948–1998, are the focus of “Embracing the AvantGarde,” which also challenges the assumption that clay objects should be made in utilitarian shapes. The final section, “A Love of Decoration,” is devoted to artists working in both stoneware and porcelain, who use a variety of techniques to enliven the surface of their works.

Best known as collectors of Edo-period painting and self-taught art from the American South, Kurt and Alice also have a long and deep connection to Japanese ceramics.

As Kurt says in an interview in the catalogue, friendships formed with self-taught artists in the American South informed the creation of the ceramics collection: “We loved talking to [Japanese ceramic artists] about their art, observing them in their studios. It was something we absolutely enjoyed.”

This essay is adapted from the exhibition catalogue, authored by guest curator Joe Earle and for sale online at noma.org

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EXHIBITIONS

PERSONALITIES IN CLAY

ABOVE E. John Bullard at home in New Orleans, April 2017. Photo by Chris Granger.

TOP Betty Woodman, American, b. 1930, Pillow Pitcher, circa 1983, Earthenware, Promised gift to the New Orleans Museum of Art by E. John Bullard, © Betty Woodman

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American potters did not invent the idea that a chunk of dirt could be transformed into a glorious piece of art, but in the twentieth century American ceramists expanded clay’s potential as an expressive art form.

NOMA will present a survey of the best of these artists in Personalities in Clay: American Studio Ceramics from the E. John Bullard Collection, whereseventysix handmade pots show the creativity of thirty-two artistic potters. This exhibition explores the idea that while American studio pottery can look many ways aesthetically, and even mean different things theoretically, this movement unified artists in celebrating the individual potter’s personality as expressed through clay.

American Studio Ceramics are most simply defined as handmade ceramics made by individuals in an artistic studio, as opposed to a factory setting. The remarkable collection of American studio ceramics on view in Personalities in Clay is the result of a lifetime of passionate art study and the keen collecting eye of someone beloved to this community: New Orleans Museum of Art Director Emeritus, E. John Bullard. Bullard directed

NOMA from 1973 until 2010, and in his retirement he has committed to build a comprehensive survey collection of studio ceramics, all a promised gift to the museum.

During this post-World War II revolution in clay, American potters as varied as the iconoclast Peter Voulkos and the moralistic Marguerite Wildenhain elevated ceramics beyond a history generally contained to the industrial manufacture of functional items. Myriad creative voices took to handmade clay in the name of artistic expression, redefining ceramic’s potential as a potent medium on par with the fine arts. Sharing what they learned through artist networks, potters invented new techniques and reinvigorated nearly extinct traditional ones. They brought ceramics into the university level of art education, advancing clay theory and moving clay from being merely a tool in the production of art to being accepted as a critical art form in its own right.

Englishman Bernard Leach’s 1940 treatise, A Potter’s Book, found a rabid audience with young American potters. Leach’s teachings connected a generation to the Japanese folk Arts Quarterly New Orleans Museum of Art

Marguerite Wildenhain, American. b. France, 1896–1985, Vase with Leaf Design (circa 1972), Bottle Vase (circa 1973) and Footed Bowl: Head of Man with Mustache (circa 1973), Stoneware, Promised gifts to the New Orleans Museum of Art

by E. John Bullard, © Marguerite Wildenhain

ceramic traditions he studied with Shoji Hamada. Through national workshop tours, Leach and Hamada taught master techniques, but also advocated a bigger idea that the independent craftsman was an integrated philosophy of arts and life. Potters like Warren MacKenzie, Karen Karnes, and John Glick followed the Leach ideal and went on to produce soulful and gorgeous functional pottery in idyllic studio settings.

In the mid-twentieth century, the West Coast became a fervent ground for American studio ceramics. In the 1940s, Austrian émigrés Gertrud and Otto Natzler settled into California to experiment with glazes and produce beloved forms celebrated for their quiet grace. Beginning in the late 1950s, the charismatic, radical and deeply skilled Peter Voulkos jolted the ceramics scene from his teaching positions in Los Angeles and San Francisco. His abstract and entirely nonfunctional ceramics brought an intentional rawness and

physical energy to ceramics, making the body of the clay literally expressive of the artist’s action with gashes and punches.

Following Voulkos were the “California funk” potters like Robert Arneson, Viola Frey, and Peter VandenBerge who embraced the expressive elements of midcentury art, but doubled down on the antiestablishment rhetoric by interjecting politics, bawdy humor, and sometimes complete irreverence into their artwork.

Personalities in Clay includes vintage videos of master potters at work, including 1955 footage of Voulkos working on a pottery wheel and 1965 footage of Wildenhain’s perfected techniques. These mesmerizing films emphasize the seductive, direct material connection that clay allows the artist.

This exhibition of John Bullard’s collection shows all the major voices in ceramics from 1940 to 1990 for the first time at NOMA, highlighting both American studio pottery’s potential for quiet reverence and for bold gestures.

Mel Buchanan, RosaMary Curator of Decorative Arts and Design Personalities in Clay: American Studio Ceramics from the E. John Bullard Collection is on view November 4, 2017–April 8, 2018 on NOMA’s second floor in the Elise M. Besthoff Charitable Foundation Gallery. An exhibition catalogue is available in The NOMA Shop. The exhibition is made possible with the support of Catherine Burns Tremaine.

www.noma.org

PROGRAMS LECTURES NOVEMBER 2 | 6 p.m

Decoding Contemporary Clay Garth Johnson, Curator of Contemporary Ceramics, Arizona State University Art Museum, Tempe, Arizona

NOONTIME TALKS JANUARY 3 | 12 p.m.

Mel Buchanan, RosaMary Curator of Decorative Arts and Design JANUARY 10 | 12 p.m.

E. John Bullard, Director Emeritus, New Orleans Museum of Art

GALLERY TALKS

JANUARY 5 | 6 p.m.

Mel Buchanan, RosaMary Curator of Decorative Arts and Design JANUARY 12 | 6 p.m.

E. John Bullard, Director Emeritus, New Orleans Museum of Art

ARTIST PERSPECTIVE JANUARY 5 | 7 p.m.

Rachel DePauw, ceramic artist, New Orleans JANUARY 26 | 6 p.m.

Kevin O’Keefe, ceramic artist, Gulfport, Mississippi

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COLLECTIONS

R ESEARCH VERIFIES DOMENICO’S DISTINCTIVE BRUSHWOR K

tiepolo

Giovanni Battista Tiepolo, Italian (1696–1770), Portrait of Lorenzo Tiepolo, c.

1747–1750, Oil on canvas, The Samuel H. Kress Collection, 61.87

NOMA’s spring exhibition A Life of Seduction: Venice in the 1700s prompted a reevaluation of the paintings in the permanent collection made in Venice.

Among other new discoveries, three works by Giovanni Domenico Tiepolo (1727–1804), more simply called Domenico, are now identified.

It is commonly noted that Domenico Tiepolo had the misfortune of being born the son of the greatest artistic genius of the eighteenth century, Giovanni Battista Tiepolo.

Working mainly as his father’s assistant on grand architectural painting projects, Domenico is best known for his vivacious fantasies depicting Commedia dell’Arte characters executed with a vibrating touch and boisterous mood. NOMA’s The Minuet (see page 2) exemplifies this aspect of his work and was included in the Venetian exhibition. The painting depicts a traveling troupe performing a minuet.

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Giovanni Domenico Tiepolo, Italian (1727–1804), Saint Joseph and the Christ Child, before 1762, Oil on canvas, Gift of Professor W.P. Carr, 56.63

At the end of the play, the lovers Isabella and Lelio dance in celebration of their love after misunderstandings and earlier denials. Formerly considered a studio piece,the painting is now considered close to the artist.

Domenico also came to specialize in depictions of Saint Joseph, which range from lightheartened and playful to more solemn, tender depictions. As part of the research for the exhibition, NOMA’s Saint Joseph and the Christ Child was identified as by his hand in comparison with an autograph painting of the same subject in Stuttgart, Germany. Donated

by Tulane professor W.P. Caar, the painting entered NOMA’s fledgling collection of European paintings in 1956 as a work by his father Giovanni Battista Tiepolo (1696–1770), though the attribution was always doubted and associated with Venice sometime after the latter’s death. In the past twenty years, scholarship has arrived

at a clearer view of Domenico’s art and a core group of paintings that align closely in paint handling, expression, and figure modeling are now considered by his hand, and within which NOMA’s painting convincingly conform.

In an intimately cropped vision, Saint Joseph, foster-father to the Christ child, is shown cradling the child, who holds the white lilies of purity and gestures to the bible. The spotlit scene focuses on the body and face of the child, bathing Joseph’s introspective expression in half shadow, which adds to the sense of intimacy and solemn sadness. The quick daubs of colorful flowers on Joseph’s staff counterbalance to add dimension to the tight cropping and movement of light across the scene, while the glowing haloes add more of a sense of depth. The use of orange is typical of works in Venice in this period in particular. Consistent with Arts Quarterly New Orleans Museum of Art

NOM A BOOK CLU B Join NOMA staff and fellow book lovers as we read and discuss fiction and nonfiction books related to art, artists, art museums, NOMA’s collections and exhibitions. To enroll, contact Librarian Sheila Cork at 504.658.4117 or scork@noma.org.

THESE TITLES HAVE BEEN SELECTED FOR THE FALL:

Vivian Maier: Street Photographer

by John Maloof

Giovanni Domenico Tiepolo, Italian (1727–1804), Rest on the Flight into Egypt, detail, ca. 1750, Etching, 74.11

the artist’s other depictions of Joseph and the Christ Child, the tenderness between the two is palpable, where Joseph is in contemplation, presumably of the child’s fate and later sacrifice.

Domenico’s remarkable talent as an etcher grew out of his early training in his father’s studio in the 1740s, and his detailed approach to narrative series is remarkable.

From a print series made for Karl Phillip von Geiffenklau, PrinceBishop of Würzburg, NOMA preserves The Rest on the Flight into Egypt. In contrast to the palpable warmth and intimacy of Domenico’s later paintings, Joseph is depicted here in the traditional manner, as a solemn paternal protector. Characteristic of Domenico’s etching technique, contours are formed by broken lines that create a sensitive sense www.noma.org

of movement, mirroring his technique in painting and drawing.

An extensive range of shallow and deep stippling and hatching create a relief-like effect across the scene.

NOMA’s Portrait of Lorenzo Tiepolo by his father Giovanni Battista is one of the prized pictures of NOMA’s permanent collection and counterpoint to the Saint Joseph and Christ Child. A character study, which is essentially a meditation on the behavior light, the boy turns toward the viewer as if interrupted while reading. The two paintings by father and son face each other in conversation in NOMA’s Thomas C. Keller Gallery where, visitors will hopefully agree, the son most definitely holds his own.

Vanessa Schmid, Senior Research Curator for European Art

In 2009 the amateur photographs shot by the late Vivian Maier, a woman who worked as a nanny for nearly forty years, mostly in Chicago’s North Shore, went “viral” on the Internet after being seized by a storage facility and publicly auctioned.

FRIDAY, OCTOBER 13 | Curatorial Program with Russell Lord, Freeman Family Curator of Photographs, Prints, and Drawings TUESDAY, OCTOBER 24 | Book Discussion Group

The White Road: Journey into an Obsession

by Edmund de Waal A potter who has been working with porcelain for more than forty years, de Waal describes how he set out on five journeys to places where porcelain was dreamed about, refined, collected and coveted.

THURSDAY, NOVEMBER 2 | Curatorial Program with Lisa Rotondo-McCord, Deputy Director for Curatorial Affairs/Curator of Asian Art TUESDAY, NOVEMBER 14 | Book Discussion Group

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VISIT

FA LL EV EN TS AT NOM A In the months ahead, movie buffs can escape to the surreal worlds of David Lynch, or flash back to the 1980s at Movies in the Garden. Japan Fest returns with fine arts and martial arts, sushi and Pokémon costumes. Design aficionados can be inspired by cutting-edge leaders in the realms of virtual reality.

JAPAN FEST Saturday, October 14 | 10 a.m. – 4 p.m.

Saturday, November 11 | 2 p.m.

David Lynch: The Art Life 2016, documentary, 1 h. 28 min.

Artist and filmmaker David Lynch discusses his early life and his outlook on art and the creative process.

Saturday, November 25 | 2 p.m.

Eraserhead 1977, NR, 1 h. 29 min.

Henry Spencer tries to survive his industrial environment, his angry girlfriend, and the screams of his newly born mutant child.

Saturday, December 2 | 2 p.m

Now in its twenty-third year, the annual Japan Fest is the largest celebration of Japanese culture in the Gulf South.

Visitors are invited to NOMA to enjoy traditional dance groups, martial arts demonstrations, tours of NOMA’s Japanese art collection, a fashion show, and more, including Japanese food. Visitors wear everything from traditional kimonos to Pokémon cosplay attire. Organized by NOMA, the Consulate General of Japan in Nashville and the Japan Club in New Orleans, the 2017 festival brings together more than thirty community groups and presenters.

Admission is free for NOMA members, $5 for the general public. Visit noma.org for a complete schedule of events.

MOVIES IN THE GARDEN Fall is the ideal time to bring lawn chairs and blankets to the Besthoff Sculpture Garden for NOMA’s Movies in the Garden series. Pre-show activities include the popular Art on the Spot activity table and live music. Food trucks will be parked outside the entry gates.

Friday, October 20 5 – 9 p.m.

Friday, November 3 5 – 9 p.m.

Ghostbusters

Sixteen Candles

1984, PG-13, 2 h., 14 min.

Preshow entertainment by musician Marc Stone

1984, PG, 1 h., 33 min.

Preshow entertainment by Sexy Dex and the Fresh

Blue Velvet 1986, R, 2 h.

The discovery of a severed human ear leads a young man on an investigation related to a mysterious nightclub singer and a group of criminals who have kidnapped her child.

Saturday, December 9 | 2 p.m.

The Straight Story 1999, G, 1 h. 52 min.

An old man makes a long journey by tractor to mend his relationship with an ill brother.

FREE to NOMA members | $12 adults | $10 seniors | $6 children (7 – 12) | Children 6 and under are free.

University students with valid ID receive $8 admission

TECHNOLOGY AND STORYTELLING SYMPOSIUM The Tulane University School of Professional Advancement (SoPA) will partner with NOMA to launch a Design Symposium on Friday, October 20 from 6 – 8 p.m.

Titled “Technology & Storytelling: Animation, Special Effects, Virtual & Augmented Reality” the event will highlights various disciplines as they relate to the design process and industry opportunities.

2001, R, 2 h. 27 min.

A panel discussion, followed by an audience Q&A, will be held in the Stern Auditorium,. Visitors will be encouraged to participate in a demonstration of virtual and augmented reality using personal operation devices.

After a car wreck, an amnesiac woman sets out to learn what happened to her with the help of an actress.

Carrie Lee Schwartz, senior professor of Practice for Media Arts and Digital Design at Tulane SoPA, will moderate the panel, which will include: Matthew Hales, Vice President of Immersive Technology at TurboSquid; Christofer Dierdorff, photographer and artist; Simon Blake, animator; and Matthew Findley, President, inXile Entertainment.

Saturday, December 16 | 2 p.m.

Mulholland Drive

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Arts Quarterly New Orleans Museum of Art

SHOP

THE M USEU M SHOP East of the Mississippi: Nineteenth-Century American Landscape Photography has inspired an array of merchandise that lends itself to camera work, exploration, and the natural environment.

BRANDI COUVILLION BRACELET

$325

Designer Brandi Couvillion incorporated a vintage topographical map of the Mississippi River into this bracelet.

Her works are one-of-a-kind, locally handcrafted metal pieces inspired by south Louisiana’s natural and manmade environs.

36 HOURS: USA & CANADA EAST $24.99

BY BARBARA IRELAND Plan your next adventure with this 36-hour guide to the eastern half of America and Canada, from charming rural hamlets and idyllic landscapes to bustling cities. This scheduled compilation of can’tmisses ensures that you don’t waste a single second in many beloved and unexpected travel destinations.

ART POSTCARDS $3

INSTAX POLAROID CAMERA

$69

Remember the bygone days of watching sunlit emulsion turn into a photo? Go retro and “shake it like a Polaroid” with this updated model of a print collector’s favorite device. A brightness dial ensures quality exposure.

Own a piece of photographic art with this high-quality postcard, featuring Alfred and John Bool’s 1875 photograph, A Window at the East End of the Church and the Boy’s School. Drawn from NOMA’s permanent collection, this carbon print photo offers a glimpse of a back alley in nineteenth-century London.

Find additional merchandise at noma.org/shop/ NOMA members receive a 10-percent discount (some restrictions apply).

www.noma.org

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LEARN

TAY LOR SCHOL A R S PROGR A M BR E A K S R ECOR D The longstanding partnership that Audubon Nature Institute and New Orleans Museum of Art (NOMA) have with the Patrick F. Taylor Foundation continued to blossom during the 2016/2017 academic year with a record-setting 211,582 students taking part in a program that rewards excellence in the classroom.

Phyllis M. Taylor, Chairman and President of the Patrick F. Taylor Foundation, announced that the just-ended school year saw the Taylor Scholars Awards Program set the new standard by providing high-achieving students with free, one-year memberships to NOMA, Audubon Zoo, Audubon Aquarium of the Americas and Audubon Butterfly Garden and Insectarium.

Participation in the program has grown steadily over the past two decades and the latest numbers represent an increase of more

than 6,000 student recipients over the prior year. The Taylor Scholars Awards Program is open to all Louisiana students in grades 7 through 12 whether they attend public, private or parochial schools.

Over the past two decades, tens of thousands of students statewide have qualified for free memberships to Louisiana’s most popular family attractions. Eligible students earn a one-year membership to NOMA and Audubon attractions for achieving a minimum 2.5 grade point average.

“Since its inception, a mission of the Patrick F. Taylor Foundation has been to encourage young people to excel in the classroom,” said Phyllis M. Taylor, Chairman and President of the Patrick F. Taylor Foundation.

“The Taylor Scholars Awards Program was created to provide motivation and incentive to achieve the goal.

Participation in the Taylor Scholars

Awards Program continues to exceed our expectations and we look forward to continued growth in the years to come.”

The Taylor/Audubon Students and Scholars Program was created in 1996 through a generous gift from the Patrick F. Taylor Foundation to establish, in perpetuity, a reward to Louisiana’s students for their hard work in the classroom. In 1997, it was followed with the creation of the Taylor/NOMA Scholars Program through an endowment from the Patrick F. Taylor Foundation.

“NOMA is committed to offering innovative experiences for learning and interpretation,’’ said NOMA Director Susan M. Taylor. “Thanks in large measure to the Patrick F. Taylor Foundation, the museum is able to serve our community with a range of educational offerings, inspiring the love of art among young scholars.’’

Philanthropist Phyllis Taylor, center, greets Taylor Scholars at the headquarters of the Patrick F. Taylor Foundation.

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Arts Quarterly New Orleans Museum of Art

CREATE LATE Looking to sharpen up your artistic skills? This fall, NOMA offers two series of art classes for adults.

The popular Create Late casual art workshops return in October. Settle in with a glass of wine and create your own masterpiece. Led by teaching artists, this program provides adults with the opportunity to learn new art-making techniques in a causal environment. Enjoy the live music from Friday Nights at NOMA while unleashing your inner artist.

OCTOBER 13 | JUST ADD WATER Explore watercolors by creating a vibrant painting using a variety of techniques.

NOVEMBER 10 | CALLIGRAPHY 101 Back by popular demand, practice your penmanship in this introductory calligraphy workshop.

DECEMBER 8 | BLACK & WHITE

GET CREATIVE WITH STUDIO KIDS! This fall, Studio KIDS! presents Art 101 for young artists. Ideal for students ages 5 – 10 who want to get creative and build up their artistic skills, each class explores art made by diverse cultures as inspiration for hands-on creative projects. From sculpting to painting, each session features different media and techniques.

Register for one class or the entire series. Make sure to sign up in advance to ensure a spot by calling 504.658.4128 or email education@noma.org 10 A.M. – 12 P.M. | COST PER CLASS: $25 MEMBERS, $30 NONMEMBERS

OCTOBER 7 | WATERCOLOR PAINTING 101 – GARDEN SCENES Young artists will take their palette outside, or en plein air, to create watercolor paintings in the Besthoff Sculpture Garden.

NOVEMBER 11 | ACRYLIC PAINTING 101 – GO WILD Discover wild animals in the galleries then create a wildlife painting in the studio.

NOVEMBER 18 | COLLAGE 101 – NEW ORLEANS & THE RIVER Create a collage of images inspired by the Mississippi River.

DECEMBER 9 | CERAMICS 101 – BODACIOUS BOATS Examine ancient Egyptian boat figures before creating a ceramic ship.

DECEMBER 16 | SCULPTURE 101 – STORIED STRUCTURES Transform everyday objects into structures that tell a story.

Develop your drawing skills by creating a still life using charcoal pencils.

NOMA Members: $25 per class | Nonmembers: $30 per class Price includes materials, wine, and access to Friday Nights at NOMA programming. Ages 21+ only, please!

ADULT ART STUDIOS A new series of art classes launches in October. Adult Art Studios provides students with a more in-depth experience with art-making techniques and materials.

This series will focus on developing painting skills and is ideal for adults with beginner to intermediate experience.

Register for classes individually or as a series.

TUESDAYS, 6 – 8 P.M.

OCTOBER 10 | ACRYLIC PAINTING

DOCENT TOURS OFFERED DAILY

OCTOBER 17 | WATERCOLOR PAINTING

For the remainder of 2017, docent-led tours will be offered Tuesdays through Sundays at 1 p.m. at no extra charge beyond standard admission.

Visitors meet in the Great Hall and themes vary daily. Groups may request a special guided tour with two weeks notice. Contact Tracey Kennan, Curator of Education: 504.658.4113 or tkennan@noma.org.

OCTOBER 24 | MIXED MEDIA PAINTING

Tours of the Sydney and Walda Besthoff Sculpture Garden resume in October and November on Saturdays at noon.

www.noma.org

NOMA Members | $50 per class, $130 for the series Nonmembers | $60 per class, $160 for the series Registration is required. Please contact education@noma.org or 504.658.4100 to register or for more information.

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SUPPORT

DONORS 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!

Foundation and Government Support

Corporate and Individual Support

$500,000 and above

$500,000 and above

Donna and Benjamin M. Rosen

Collins C. Diboll Private Foundation

Sydney and Walda Besthoff

Tina Rathborne and Phillip De Normandie

Patrick F. Taylor Foundation

Virginia Besthoff

Michele Reynoir and Kevin Clifford

The Sydney and Walda Besthoff Foundation

Estate of Margaret B. Soniat

Sheila and H. Britton Sanderford

Zemurray Foundation

Frank B. Stewart Jr.

Aimee and Mike Siegel

Phyllis M. Taylor

Liz and Poco Sloss

$200,000 – $499,999

Susu and Andrew Stall

The Andrew W. Mellon Foundation

$100,000 and above

The Azby Fund

Mr. E. John Bullard, III

Charitable Lead Annuity Trust Under the Will of Louis Feil

IBERIABANK

$10,000 – $19,999

The Elise M. Besthoff Charitable Foundation

$50,000 – $99,999

Louisette Brown

The Frank B. Stewart, Jr. Foundation The Helis Foundation

Estate of Merryl Israel Aron Gail and John Bertuzzi The New Orleans Convention & Visitors Bureau

$100,000 – $199,999 City of New Orleans

JPMorgan Chase & Co. Marjorie and Scott Cowen

Institute of Museum and Library Services

Janice Parmelee and Bill Hammack

Lois and Lloyd Hawkins Jr. Foundation

Kitty and Stephen Sherrill Robert and Pamela Steeg

$50,000 – $99,999 National Endowment for the Arts The Bertuzzi Family Foundation The RosaMary Foundation The Selley Foundation The Harry T. Howard III Foundation The Marcus Foundation The Walton Family Foundation

$20,000 – $49,999 The Gayle and Tom Benson Charitable Foundation Eugenie and Joseph Jones Family Foundation Louisiana Division of the Arts Milton H. Latter Educational & Charitable Foundation Nell Pape W. Waring and William W. Waring Fund

$10,000 – $19,999 The Booth-Bricker Fund Evelyn L. Burkenroad Foundation The Garden Study Club of New Orleans, Inc. Goldring Family Foundation Greater New Orleans Foundation Ida & Hugh Kohlmeyer Foundation

Whitney Bank

Catherine Burns Tremaine

Audrey and Daniel Buckman Caroline and Murray Calhoun Chevron Stephen W. Clayton Entergy New Orleans, Inc. Jeffrey J. Feil Tim L. Fields, Esq. Sandra and Russ Herman Tina and Robert Hinckley Elizabeth and Willy Monaghan

$20,000 – $49,999

Sally E. Richards

Arthur Roger Gallery

Tia and Jimmy Roddy

Cathy and Morris Bart

Jane and Rodney Steiner

Gayle and Tom Benson

Melanee and Steve Usdin

Joseph and Sue Ellen Canizaro Mrs. Marla Garvey Sara and David Kelso Roger Ogden Mr. and Mrs. J. Cornelius Rathborne, III

NOMA Corporate Members Gold

Green

Chevron

Boh Bros. Construction Company, LLC

Hyatt Regency New Orleans

Crescent Capital Consulting, LLC

International-Matex Tank Terminals

Dupuy Storage & Forwarding, LLC

Jones Walker

Laitram, LLC

JPMorgan Chase & Co.

Neal Auction Company

The New Orleans Convention & Visitors Bureau

Regions Bank

Bronze

Valentino Hospitality

Christie’s Fine Art Auctioneers Gulf Coast Bank and Trust

J. Edgar Monroe Foundation The Lupin Foundation New Orleans Theatre Association

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This list includes donors who made gifts between September 1, 2016 and September 1, 2017. If you have any questions, or would like information about supporting NOMA, contact the museum’s Department for Development by calling (504)658-4127.

Arts Quarterly New Orleans Museum of Art

SAVE THE DATE

NOMA CIRCLES President’s Circle

Mr. and Mrs. Stephen C. Sherrill

Mr. and Mrs. John D. Bertuzzi

Mr. and Mrs. Michael J. Siegel

Mr. and Mrs. Ralph O. Brennan

Mr. and Mrs. Lynes R. Sloss

Mr. and Mrs. David F. Edwards

Mr. and Mrs. Bruce L. Soltis

Mrs. Lawrence D. Garvey

Mr. and Mrs. Robert M. Steeg

Mr. and Mrs. Charles B. Mayer

Mr. and Mrs. Robert E. Thomas

Mrs. Robert Nims

Ms. Susan Zackin

Director’s Circle

Patron’s Circle

Mr. and Mrs. Robert H. Boh

Dr. Siddharth K. Bhansali

Mr. and Mrs. Daryl G. Byrd

Mr. and Mrs. Joseph C. Canizaro

Mr. and Mrs. Murray Calhoun

Dr. and Mrs. Scott S. Cowen

Mrs. Isidore Cohn, Jr.

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Thomas B. Coleman

Mr. and Mrs. Robert Gardiner

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

Mr. and Mrs. G. Anthony Gelderman

Mr. and Mrs. Jerry Heymann Mr. Robert Hinckley

Ms. Sharon Jacobs and Mr. Leonard A. Davis

Mr. and Mrs. David B. Kelso

Mr. and Mrs. Keene Kelley

Mr. and Mrs. Dennis P. Lauscha

Dr. Edward D. Levy, Jr.

Mr. and Mrs. Thomas B. Lemann

Mr. and Mrs. J. Thomas Lewis

Mr. and Mrs. William Monaghan

Mrs. Louise H. Moffett

Mr. and Mrs. Robert J. Patrick

Drs. Joy D. and Howard Osofsky

Dr. and Mrs. James F. Pierce

Mr. and Mrs. James C. Roddy

Dr. Elisabeth H. Rareshide and Dr. Ronald G. Amedee

Mr. and Mrs. Brian A. Schneider

Mrs. Charles S. Reily, Jr.

Mrs. Frederick M. Stafford

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

Mr. Stephen F. Stumpf, Jr.

Mr. and Mrs. Benjamin M. Rosen

Ms. Catherine Burns Tremaine

Mr. and Mrs. Edward Shearer

Mr. and Mrs. Douglas Brent Wood

Mr. and Mrs. Frederick Heebe

Mr. David P. Schulingkamp

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Jolie and Robert Shelton

ISA AC DELGADO SOCIETY H. Russell Albright

Lee Ledbetter and Douglas Meffert

Wayne Amedee

Thomas B. Lemann

Larry W. Anderson

Dr. Edward D. Levy, Jr.

Honorable Steven R. Bordner

John and Tania Messina

E. John Bullard

Anne and King Milling

Joseph and Sue Ellen Canizaro

James A. Mounger

Mrs. Carmel Cohen

Jeri Nims

Mrs. Isidore Cohn, Jr

Drs. Joy and Howard Osofsky

Folwell Dunbar

Judith Young Oudt

Prescott N. Dunbar

Mrs. Charles S. Reily, Jr.

Lin Emery

Pixie and Jimmy Reiss

William A. Fagaly

Polly and Edward Renwick

Randy Fertel

Donna and Benjamin M. Rosen

Lyn and John Fischbach

Brian Sands

Tim and Ashley Francis

Margie and Milton Scheuermann

Sandra D. Freeman

Jolie and Robert Shelton

Sarah and Richard Freeman

Margaret and Bruce Soltis

Tina Freeman and Philip Woollam

Mrs. Frederick M. Stafford

Lee Gubala

Nancy Stern

Dana and Steve Hansel

Mrs. John N. Weinstock

Susan and William Hess

Mercedes Whitecloud

Abba J. Kastin, M.D.

www.noma.org

ODYSSEY BALL

November 4, 2017 The 51st annual gala event presented by IBERIABANK will celebrate NOMA and the tricentennial of New Orleans. Themed “A Celebration 300 Years in the Making,” art patrons will gather for one of the year’s most elegant social occasions in a festive setting guaranteed to impress. DJ/Violinist Timothy Lovelock and the Joe Epstein Trio will provide entertainment. Catering will be provided by 1718 Catering and Events-Hyatt Regency New Orleans.

Critically important to our treasured museum and the wide community it serves, Odyssey raises the funds necessary to support NOMA’s nationallyrecognized exhibitions and educational programs, which bring more than 250,000 annual visitors to the museum and sculpture garden.

Tickets may be purchased online at noma.org/ event/odyssey-2017 or by calling 504.658.4121.

FOLLOW NOMA ON SOCIAL MEDIA We love this Instagram photo from @the.james.shaw! This image received 667 likes and 6,377 impressions.

Join NOMA on Instagram @NOMA1910, or find us on Facebook at NOMA1910.

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SUPPORT

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CON TEMPOR A RY A RTISTS A N D THE A RTISTS OF TOMOR ROW Summer got off to a sizzling start in June at NOMA with the opening of Pride of Place: The Making of Contemporary Art in New Orleans, an exhibition of more than seventy works from the collection of renowned New Orleans gallerist Arthur Roger. Attendees included many artists represented in the exhibition, including Deborah Kass, Courtney Egan, Dapper Bruce Lafitte, Douglas Bourgeois, and Dawn DeDeaux, along with donors Jack Sullivan, Jane Lowentritt, and Jim Mounger, among many others.

NOMA’s Book Club gathers monthly.

In July Librarian Sheila Cork unveiled 22

the list of books slated for discussion in 2018. The group regularly hosts potluck lunches, which included a specially decorated cake for the July occasion.

Can can dancers kicked up their heels along with other museum revelers on July 14 for the second-annual Bastille Day Fête. The spirit of revolutionaryera France swept through the halls of the museum with bewigged costumers roaming among visitors, swing dancing in the Great Hall, tours of the French art collections, and a children’s activity table.

In August, NOMA hosted the premiere of a documentary chronicling the life

and career of New Orleans Modernist architect Albert Ledner. The screening was part of the Architecture and Design Film Festival sponsored by the Louisiana Architectural Foundation.

Mini Masters is a collaborative arts integration program for prekindergarten students. Works by the young artists were displayed for three days at the culmination of a series of workshops. Mini Masters encourages students to develop higher order thinking skills, make observations, and engage in conversations through museum visits and classroom activities.

Arts Quarterly New Orleans Museum of Art

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1. Richard Mumby, Dan Weeks, Arthur Roger, Jacob Jules Villere, Peter Paul 2. Jacqueline Bishop, Cynthia Scott 3. NOMA Director Susan Taylor applauds Arthur Roger at the opening of Pride of Place 4. Artist Courtney Egan alongside her work titled Sigils

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8. Kyle Bergman, Director of the Architecture and Design Film Festival, joins Catherine Ledner, film co-director, Albert Ledner, architect, and Roy Beeson, film co-director; for a panel discussion following the premiere of the documentary Designing Life: The Modernist Legacy of Albert C. Ledner

5. Patrons preview of Pride of Place

9. Beverly Hegre, Ann Duffy, and Norris Williams at the NOMA Book Club luncheon

6. Dawn DeDeaux, Dapper Bruce Lafitte, Bria Davenport, Erika Sanders

10. Carl LeBlanc performs for children at the Mini Masters Showcase

7. Revelers filled the Great Hall for the 2017 Bastille Day FĂŞte

11. Bill Hammack looks at the display of works

by Mini Masters students 12. Gallery Learning Specialist Chantell Nabonne with Mini Masters student Tiana Jones 13. Mini Masters admire their peers’ artworks

www.noma.org

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2017 BOARD OF TRUSTEES

ACCREDITATION

Michael J. Siegel, President

Susu Stall

Sydney J. Besthoff III, Vice-President

Frank Stewart

Stephanie Feoli, Vice-President

Melanee Gaudin Usdin

Suzanne Thomas, Vice-President

Brent Wood

Elizabeth Monaghan, Secretary

The Honorable Mayor Mitch J. Landrieu

Janice Parmelee, Treasurer Rob Steeg, At-Large

Susan G. Guidry, New Orleans City Council Member

Lynes R. (Poco) Sloss, At-Large

Lynda Warshauer, NVC Chairman

Julie Livaudais George, Immediate Past President

MEMBERS Herschel L. Abbott, Jr. Justin T. Augustine III Gayle M. Benson Elizabeth Boone Caroline Calhoun Scott S. Cowen Margo DuBos Penny Francis Adrea D. Heebe Juli Miller Hart Russ Herman Marshall Hevron Robert Hinckley David Kelso Dennis Lauscha Kenya LeNoir Messer Louis J. Lupin Cammie Mayer Brenda Moffitt Howard Osofsky J. Stephen Perry Thomas F. Reese James J. Reiss, Jr. Britton Sanderford Jolie Shelton Kitty Duncan Sherrill Michael Smith

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The New Orleans Museum of Art is accredited by the American Alliance of Museums.

NATIONAL TRUSTEES Joseph Baillio Mrs. Carmel (Babette) Cohen Mrs. Mason (Kim) Granger Jerry Heymann Herbert Kaufman, M.D. Mrs. James (Cherye) Pierce Mrs. Billie Milam Weisman

HONOR ARY LIFE MEMBERS H. Russell Albright, MD

Arts Quarterly New Orleans Museum of Art EDITOR

David Johnson ART DIRECTOR

Mary Degnan STAFF PHOTOGRAPHERS

Roman Alohkin Sesthasak Boonchai EDITORIAL INTERN

Katelyn Fecteau

Mrs. Edgar L. Chase Jr. Prescott N. Dunbar S. Stewart Farnet Sandra Draughn Freeman Kurt A. Gitter, MD Mrs. Erik Johnsen Richard W. Levy, MD

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124 © 2017, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Mr. J. Thomas Lewis Mrs. J. Frederick Muller Mrs. Robert Nims Mrs. Charles S. Reily Jr. R. Randolph Richmond Jr. Mrs. Frederick M. Stafford Harry C. Stahel

Facing page Akio Takamori, American, b. Japan, 1950–2017, Envelope Vessel: Spring, 1988, Porcelain, 22 x 23 x 9 in., Signed on back “Akio”, Ex-collection Candice B. Groot (Lake Forest, Illinois), New Orleans Museum of Art, Museum Purchase with funds donated by E. John Bullard in memory of Robert H. Cousins, 2016.58, © Akio Takamori.

Mrs. Harold H. Stream Mrs. James L. Taylor Mrs. John N. Weinstock

Every effort has been made to acknowledge correct copyright of images where applicable.

Any errors or omissions are unintentional and should be notified to NOMA’s Publications Department, who will arrange for corrections to appear in any reprints or online editions.

Arts Quarterly New Orleans Museum of Art

www.noma.org

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Arts Quarterly New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179-0123 Follow us!