NOMA Magazine Fall 2018

CREATING COMMUNITY

New Orleans Museum of Art

September – December 2018

DIRECTOR’S LETTE R

Susan M. Taylor

FRONT COVER

Antoine Dieu (French, c.

1662–1727), Allegory of Philippe II, duc d’Orléans, Regent of the Realm, 1718, Oil on canvas, Musée National du Château de Versailles, MV 5968 © RMNGrand Palais/Art Resource, NY On view as part of The Orléans Collection, beginning October 25.

LEFT Lina Iris Viktor, Work in Progress from the series A Haven. A Hell. A Dream Deferred., 24-karat gold, acrylic, print on paper, 52 x 40 in., 2017–2018, Courtesy of the artist and Mariane Ibrahim Gallery, © Lina Iris Viktor On view as part of A Haven.

A Hell. A Dream Deferred, beginning October 5.

In the spring of 1718, Jean-Baptiste Le Moyne de Bienville, a French Canadian explorer and royal appointed governor of the Louisiana Territory, led an expedition to clear land in a crescent of the Mississippi River some 100 miles above the river’s terminus at the Gulf of Mexico. Canebrakes were chopped by thirty convicts and six carpenters proceeded to build a rudimentary settlement of cabins on a narrow shore that sloped into swamps teeming with alligators and mosquitoes. This isolated outpost was christened La Nouvelle Orléans, in honor of the ruling regent of France, Phillippe II, the Duke of Orléans, who had sent orders to proceed with this economic enterprise.

Back in France, in his extravagant Palais-Royal, the Duke was engaged not only with business in the New World. As a learned man of many interests, Phillippe pursued his passion for art, and by the second decade of the eighteenth century the walls of his Parisian palace were filled with works by the greatest artists of his time—Rubens, Veronese, Raphael, and Rembrandt, to name a few—a collection that would grow to more than 500 paintings before his death in 1723. These works would ultimately be auctioned by Phillippe’s heirs in the 1790s and scattered across the globe in the centuries that followed. Now, for the first time since the collection’s dispersal, our museum, sited in that once isolated outpost, will reunite thirty-nine works from this incomparable collection named for our city’s namesake. The Orléans Collection will open on October 26 as NOMA’s final tribute to the New Orleans Tricentennial. Beyond this exhibition of works loaned from twenty-five museums, our galleries, programming, and community outreach continue to reflect the diverse interests of a city that has grown to become one of the world’s cultural capitals in its own right.

We welcome contemporary artist Lina Iris Viktor to the Great Hall for her exhibition examining America’s role in the founding of Liberia. In A Haven. A Hell. A Dream Deferred, Viktor uses a symbolic female prophetess modeled after the Libyan Sybil to convey themes of colonization and the lasting impact of the trans-Atlantic slave trade. Her dazzling backgrounds to these fantastical portraits draw upon geometric African and Egyptian sources.

NOMA was at the forefront of recognizing the camera as an artistic tool equal to the painter’s brush or sculptor’s chisel. In 1918, a mere seven years after our institution opened its doors, our galleries featured a groundbreaking exhibition of photographs organized by the New York-based Pictorial Photographers of America (PPA). We will recreate that historical show in one section of a three-part exhibition titled Past Present Future: Building Photography at the New Orleans Museum of Art. The present will be showcased with selections from our notable collection of more than 10,000 photographs.

I am delighted to announce that the future will be celebrated with the debut of a selection of photographs from the promised gift of Tina Freeman. This extraordinary collection of more than 1,300 works spans the history of the medium and is one of the most important collections to ever enter NOMA’s collection. This generous bequest marks a transformative moment in our stature as one of the nation’s leading repositories of fine-art photography.

Mark your calendars now for two of NOMA’s most fun-filled events of the year. On September 28 we will gather outdoors under the dramatically lit, moss-draped oaks in the Besthoff Sculpture Garden for LOVE in the Garden, presented by Hancock Whitney. On November 10 patrons gather inside the museum for the always elegant Odyssey Ball, in partnership with IBERIABANK, this year appropriately themed “All That Glitters.” Join us as we toast the conclusion of an extraordinary year.

Susan M. Taylor The Montine McDaniel Freeman Director

CREATING COMMUNITY Selected highlights from September – December 2018

C ELEBRATE Japan Fest SATURDAY, OCTOBER 6, 10 A.M – 4 P.M. An annual favorite at NOMA, Japan Fest ushers in the autumn season with cultural activities from the Land of the Rising Sun. Be awed by the booming drums of Kaminari Taiko, see dozens of anime and Lolita cosplayers, and tour Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters (see page 11). $5 | Free for NOMA members, teens, and children 6 and under

PREVIEW Author Jason Berry presents City of a Million Dreams FRIDAY, NOVEMBER 16, 7:30 P.M.

PURCHASE

The Orléans Collection Catalogue Published to document the landmark exhibition of The Orléans Collection (see pages 12–15), this catalogue is both a celebration of the tricentennial of the city of New Orleans and a major contribution to historical art scholarship. In his lifetime, the Duc d’Orléans (1674–1723) assembled more than 500 masterpieces of European art, all of which were auctioned during the French Revolution and ultimately dispersed around the world. NOMA reunites thirty-eight of these works in both an unprecedented exhibition and this lushly illustrated volume authored by internationally recognized experts. Reserve or purchase a copy in the Museum Shop or online at noma.org/shop 2

Be among the first to watch clips from the documentary City of a Million Dreams: A History of New Orleans at Year 300, a companion to Jason Berry’s new book by the same title. Berry will discuss his characterdriven history of the city at its tricentennial.

The book chronicles cycles of invention, struggle, death, and rebirth. On screen and paper, he reveals New Orleans’s survival as a triumph of diversity, its map-ofthe-world neighborhoods marked by resilience despite natural and man-made disasters. A book signing will follow in the Museum Shop.

New Orleans Museum of Art | NOMA Magazine

CONTENTS

APPLAUD The NOLA Project presents The Revolutionists SEPTEMBER 4 – 16, 7:30 P.M. The NOLA Project returns to NOMA’s Great Hall with an all-female cast portraying women confronting the Reign of Terror during the French Revolution.

For more information on this regional premiere of ten shows, see page 27. www.nolaproject.com | 504.302.9117

DINE, IMBIBE, AND DANCE LOVE in the Garden FRIDAY, SEPT. 28, 7 P.M. – 12 A.M. Experience an unforgettable evening of dancing beneath the stars as LOVE in the Garden presented

by Hancock Whitney returns for its fourteenth year to the Besthoff Sculpture Garden. Sample delectables from more than sixty New Orleans restaurants and craft drinks from the city’s top bartenders in the LOVE cocktail challenge. See page 29 for more information.

CREATE LATE MAKE YOUR OWN

The Odyssey Ball, in partnership with IBERIABANK, remains one of the highlights of the social season in New Orleans. This formal evening includes fine dining, a silent auction, live music, and dancing in the Great Hall. See page 29 for more information.

7 An African tronie from the Dutch Golden Age

SELECT FRIDAYS, SEPTEMBER – NOVEMBER, 6:30 – 8 P.M.

8 A new look for NOMA’s Decorative Arts Galleries

Exclusively for adults, kick off your weekend with a glass of wine and a handson art project. Learn new creative skills with a teaching artist while also enjoying Friday Nights at NOMA programming.

Reserve your space now by emailing education@noma.org.

EXHIBITIONS

SEPTEMBER 14: Drawing by observation,

inspired by the Changing Course exhibition OCTOBER 5: Drawing with a brush,

inspired by the Zen Masters exhibition NOVEMBER 2: Printmaking

LISTEN

10 Best Seat in the House: Photographs by Del Hall 11 Teaching Beyond Doctrine: Painting and Calligraphy

by Zen Masters 17 A Conversation with Lina Iris Viktor 18 Ear to the Ground: Earth and Element in Contemporary Art FEATURE

12 The Orléans Collection: A Tricentennial Triumph 16 Tracing Provenance: Peter Paul Rubens’s The Triumph of Rome LEARN

19 NOMA+ Launches SUPPORT

20 Inspired by NOMA: Robert Lyall

In celebration of The Orléans Collection, and in partnership with the Musical Arts Society of New Orleans, NOMA welcomes acclaimed trumpeter Vance Woolf and pianists Dustin Gledhill, and Cara McCool Woolf to the Great Hall for an evening of music inspired by the visual and musical arts of the seventeenth and eighteenth centuries. $15 | $10 for NOMA members and Musical Arts Society of New Orleans members

Visit noma.org for ticket information. www.noma.org

6 Clementine Hunter: Installation Artist

COLLECTIONS

WEDNESDAY, NOVEMBER 7, 7 P.M.

SATURDAY, NOVEMBER 10, 7 – 11:30 P.M.

4 A Major Bequest Upon NOMA’s Century of Photography

Create Late

Beyond Baroque: Les Arts Musicaux

Odyssey 2018: All that Glitters

A CQUISITIONS

21 Teresita Fernández: You Are Here 22 Recent Events 23 NOMA Donors 24 NOMA Book Club SHOP

25 The Museum Shop CALENDAR

26 Events by date 28 Film Series 30 Highlights 31 Exhibitions Calendar Visit noma.org/magazine for exclusive online content.

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ACQUISITIONS

A M A JOR BEQU E ST U PON NOM A’S CEN T U RY OF PHOTOGR A PH Y

ABOVE Julia Margaret Cameron (British, 1815– 1879), Julia Jackson, 1867, from “Mrs. Cameron’s Photographs from the Life,” c. 1870, Albumen print, Gift of Tina Freeman and Philip Woollam, 2017.204.8.37

OPPOSITE PAGE, TOP LEFT Sutezo Otono (Japanese, 1905 – 1988), [Untitled], circa 1930, Gelatin silver print, Museum purchase with funds provided

by George and Milly Denegre, 2016.52

OPPOSITE PAGE, TOP RIGHT Margaret Bourke-White, Chrysler Corporation, 1932, Gelatin silver print Promised bequest of Tina Freeman

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In April 1918, not quite seven years after the Isaac Delgado Museum of Art (now the New Orleans Museum of Art, NOMA) first opened its doors, the museum hosted its first photography show titled An Exhibition of Pictorial Photography by American Artists. With more than one hundred photographs by contemporary artists from around the country, this exhibition declared, at a very early moment, that the museum would take photography seriously as an art form. This promise has certainly been fulfilled: since 1918, photography exhibitions have been presented regularly, and in 1973, NOMA began

to build a permanent collection of its own. Today, this collection is one of the finest in the country, and thanks to the dedication of all facets of the NOMA community, it continues to grow rapidly.

Now, on the centennial of that important first photography exhibition, NOMA is delighted to announce the promised bequest of the largest and most significant single gift of photographs in the institution’s history. Tina Freeman, NOMA’s second curator of photographs, noted photographer, and longtime supporter has been collecting photography almost as long as the museum. Over the past forty years she has assembled a comprehensive collection, ranging from photographs by one of photography’s inventors, William Henry Fox Talbot, to Andy Warhol. This year Ms. Freeman has very generously promised the entire collection to the museum as a bequest. Encompassing more than 1,300 works, the collection amounts to a history of photography in its own right, and because of Ms. Freeman’s familiarity with NOMA’s collection, it is a perfect complement to the museum’s existing holdings, with works that add profound depth to many areas and new strengths in others.

The collection includes rare treasures such as a complete album of miniature versions of photographs by Julia Margaret Cameron, a Victorianera photographer who was friends with Sir John Hershel and Alfred, Lord Tennyson. Cameron was also the great aunt of writer Virginia Woolf, whose mother, Julia Jackson, was the subject of one of Cameron’s most famous (and her favorite) photographs, an arresting portrait in which Jackson’s gaze meets ours across time and space (see opposite page). The album that includes this portrait is one of only eleven known that Cameron made to give to friends and family members,

New Orleans Museum of Art | NOMA Magazine

collections that one of her colleagues once referred to as “portable galleries.”

In addition to this remarkable single object, the collection includes wonderful, vintage prints by a wide range of masters from around the globe.

On the occasion of the Pictorial Photography exhibition centennial and this landmark promised bequest to the museum, NOMA presents this fall Past Present Future: Building Photography at the New Orleans Museum of Art. This three-part presentation will include first, a partial recreation of the first photography exhibition in 1918, presenting vintage prints of photographs that were included in the original exhibition. The second component of the exhibition presents an impressive group of works acquired within the past seven years that demonstrates the museum’s commitment to expanding its representation of diverse cultural perspectives from around the globe. The final section will consist primarily of a small selection from Ms. Freeman’s bequest, signaling how NOMA’s photography collection will continue to grow into the future. Past Present Future, along with the recent release of a new book about the collection, Looking Again: Photography at the New Orleans

www.noma.org

Museum of Art, mark this important moment in the institution’s long relationship with photography, looking at its past with an eye towards its future.

The exhibition in 1918 was an impressive achievement during the first successful global movement to promote photography as a fine art. It was arranged by the Pictorial Photographers of America (PPA), a New York–based group founded in 1916 by a number of prominent art photographers including the influential teacher Clarence H. White. The exhibition, designed to travel around the country, represented the PPA’s attempt to permeate traditionally resistant art museums by offering a compelling selection of carefully crafted and attractively displayed fine-art photographic prints. The 1918 showing in New Orleans was not the exhibition’s first presentation in this country, but it was among the first appearances of art photography in American museums.

Most prior exhibitions had been presented in libraries and historical societies. Past Present Future will open with a recreation of the 1918 show, including photographs that were presented in the original exhibition that have been recently acquired for NOMA’s permanent collection.

After many decades of photography exhibitions, NOMA decided to pursue a photography collection of its own in 1973.

The history of photography was still a young field and was largely focused on American and European practitioners.

Past Present Future’s second chapter, will present recent acquisitions that demonstrate the museum’s commitment to expanding its global representation of photography even as it continues to build on its world class collection of American and European works.

As the world moves increasingly toward an image-dependent style of communication, there has never been a better time to consider this institution’s relationship to photography and how we might build the collection. NOMA’s centennial celebration of photography, with both Past Present Future and Looking Again provides both an assessment of what the museum has accomplished in the past and a map for where we hope to go in the future.

Russell Lord, Freeman Family Curator of Photographs, Prints, and Drawings

Past Present Future will be on view from September 7, 2018, to January 6, 2019, in the Templeman Galleries.

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ACQUISITIONS

CLEMENTINE HUNTER : INSTA LL ATION A RTIST

Clementine Hunter

This spring, NOMA acquired a monumental mural painting by Clementine Hunter (1887–1988), one of Louisiana’s most beloved and accomplished artists. An extremely rare example of one of the large-scale, site-specific murals Hunter created for the interiors of Melrose Plantation in the Cane River region near Natchitoches, where she spent much of her life working as a field hand before pursuing her talent as a painter after age 50, this acquisition will allow NOMA’s permanent collection to represent the full range and scope of Hunter’s artistic legacy. Hunter designed such installations for spaces across the plantation, from her own living quarters and the shop where she sold her art, to the many public and private rooms throughout the property that were almost exclusively decorated with installations of her art.

This painting reflects Hunter’s deep engagement with the landscape, history, and social politics of the American South, as well as her inventive approach to narrative, sequence, and composition. In the painting, Hunter represents life at Melrose through a series of narrative vignettes that unfold across a series of brown and green slashes of paint carefully paced throughout the composition. These slashes of earth capture the rhythm and flow of the plantation, and also hint

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at the broader structural and spatial limitations that defined plantation life.

Designed specifically in response to the plantation’s architectural context, the work also reflects its confines, featuring a large white fence that stretches across the entire expanse of the composition, as well as a decorative border of gourds and vines that both frames and delimits the compositional space. Throughout the painting, subtle rhythms and compositional echoes, such as the exact rhyming of the horse whip and the vine at the painting’s lower right, speak to Hunter’s nuanced approach to form and composition.

NOMA began collecting Hunter’s work as early as the 1950s and gave the artist her first museum show in 1955, among the first solo shows for any African American female artist in the country.

Paintings such as Harvesting Gourds near the African House and Wash Day Near Ghana House, Melrose Plantation reflect Hunter’s vanguard thinking and early adoption of many of the artistic strategies employed by contemporary artists. Her work sits as easily among the work of artists like Robert Rauschenberg as art being made today by artists such as Mickalene Thomas. Reflecting Hunter’s innovative and multifaceted artistic practice, this painting will allow NOMA to make important new connections between her work and current conversations in modern and contemporary art.

Katie A. Pfohl, Curator of Modern and Contemporary Art

Clementine Hunter, Harvesting Gourds near the African House and Wash Day Near Ghana House, Melrose Plantation, 1959, Oil on board, 73 x 66 ½ inches, New Orleans, Museum of Art, Museum Purchase, C. Heiderich Art Purchase Fund, 2018.8

New Orleans Museum of Art | NOMA Magazine

A N A FR ICA N TRONIE FROM THE DUTCH GOLDEN AGE Set against a green background, an African woman wears a coral-colored turban, a prominent feather affixed with a gem clip. The textures are finely rendered, the gem and pearls shine, while her face and arm are particularly well modeled, marblelike. This diminutive tour de force by Willem van Mieris (1662–1747) is an extraordinary new acquisition, which will transform NOMA’s presentation of art of the global Dutch Golden Age. This exquisite, small painting was made to imitate a portrait miniature, though it is almost certainly not a portrait. Rather, this beautiful woman is an artistic demonstration, a conceit.

She is what the Dutch called a tronie, a fantasy or expressive head. The tronie type had its origins in workshop practice, intended as an exercise for young painters in depicting mood and emotion; the heads were likely based on models but not intended as portraits. The challenge to create a convincing individualization was matched by increasingly dramatic expressions and tricks of light and illusionism. In the early seventeenthcentury, head studies came into their own, and for connoisseurs, the convincing deception was part of their wit and charm. Indeed, the world’s most famous tronie is Vermeer’s Girl with a Pearl Earring (c. 1665), painted a generation before Van Mieris’s picture.

Van Mieris trained and worked in the Dutch city of Leiden, a bustling yet small university town and textile manufacturing center south of Amsterdam. His father, Frans van Mieris (1635–1681), had been a leading figure of the Leiden school of “fine painters,” who created some of the most iconic works of Dutch Golden Age painting. As an artist of the younger generation, Willem positioned his art in relation to what came before, reworking the treasured subjects and illusionism the Dutch Golden Age painters created. This aspect of his www.noma.org

work is fully exemplified in An African Woman, which refigures Vermeer’s Girl with a Pearl Earring (made in Delft) and references the work of earlier Leiden artists who made monumental tronies, Rembrandt in particular.

Another Leidener who worked closely with Rembrandt on the tronie was Jan Lievens (Dutch, 1607–1674), whose Head of an Old Man is a beloved picture in NOMA’s collection.

The representation of sub-Saharan Africans was relatively common in Dutch art of this period.

The Dutch East India Trading Company (the VOC) comprised a vast network of trading posts on the African coast along the trade routes to India and Southeast Asia. The bustling port of Amsterdam was one of the world’s most cosmopolitan places, and Africans are recorded there.

While Africans and other non-Europeans are represented in art of the period, the particular characterization of An African Woman is almost entirely unique. In most cases, the representation of Africans was restricted to three scenarios: as supplemental figures in biblical scenes to evoke the exotic locale of Jerusalem; as servants in interior scenes; and as allegorical figures of colonial possession and propaganda.

Van Mieris’s singular presentation of this woman as a beauty, albeit an exotic one, is therefore extremely rare.

An African Woman represents an ambitious recombination of sources and motifs. The turbaned female head was a standard type, though Vermeer’s masterpiece provided the main point of departure. The distinct classicism of her costume and gesture along with the slick treatment of her skin are also hallmarks of Van Mieris’s style.

Willem van Mieris (Dutch, 1662–1747), An African Woman, ca. 1710–1715. Oil on panel 7 1⁄16 x 5 13⁄16 in., Alvin and Carol Merlin Acquisition Fund and the De-accession Fund, 2018.1

Meanwhile, her facial features are related to both Rembrandt’s wellknown ink drawings of Africans and the grand paintings commissioned for Amsterdam’s Town Hall, on which Rembrandt also worked. By combining a new classicizing style with a reformulation of a Dutch traditional type, the meditation on the past comes together into an entirely new, independent image.

For its depiction of and references to the material culture of the Dutch maritime empire, the rare representation of a non-European as a classical beauty (though fashioned in the European mold), and for its example as an artistic deception, An African Woman brings a significant new perspective to NOMA’s permanent collection.

Vanessa Schmid, Senior Research Curator for European Art

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COLLECTIONS

A NEW LOOK FOR NOM A’S DECOR ATIV E A RTS GA LLER IES

Newcomb College Pottery, Table Lamp, c. 1910. Leaded glass, earthenware, bronze; 22 1⁄8 in height.

Museum purchase, William McDonald Boles and Eva Carol Boles Fund, E-2018-30.2.

Led by a zippy Modernist bar cart and a barbed-wire cloud chandelier, NOMA’s design collection has entered the twentieth- and twenty-first centuries. The Lupin Foundation Decorative Arts Galleries on the museum’s second floor have reopened with a new installation drawn from the permanent collection, and for

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the first time include contemporary design and craft of recent decades.

Extending from the installation completed in 2017, which highlighted eighteenth-century Rococo and Neoclassical era objects from the Kuntz family’s foundational gift in 1978, the most recent Lupin gallery installation begins with NOMA’s

depth in the ornamented excess of nineteenth-century Victorian styles.

This includes a luscious type of French porcelain, colloquially called “Vieux Paris,” or “Old Paris,” which was adored in the American South. “Old Paris” porcelains on view include some of the earliest pieces in NOMA’s collection, vases given in 1912 by founder Isaac Delgado, and extends through a collection given in 2015 by the Lupin family in honor of longtime collectors Dr. and Mrs. E. Ralph Lupin. This porcelain, and surrounding displays of glass, silver, and furniture reflect the Victorian embrace of ornament from previous eras, with designers reviving Rococo, Gothic, Classical, and Renaissance styles with a new gusto.

This exuberance is explored with a focus on “rustication,” a style that found popularity in the 1870s. This hyperrealistic ornament is found on famous Haviland plates from the 1879 White House service of President Hayes, which depict flora and fauna native to North America, but also on a mirror by an unknown maker boldly framed with twigs and carved animals. This rustication period includes nineteenth-century “Palissy ware” donated by actress Brooke Hayward Duchin. These ceramics are crawling with realistic molded fish, eels, insects, and shells in the manner of the Renaissance artist/scientist Bernard Palissy.

In the years preceding the pivotal turn of the twentieth century, many called for design to “reform” from the ornamented excess of the Victorian era. Those aligned with the Arts and Crafts Movement, Art Nouveau, and the Secessionists advocated for different aesthetics, but they united in calling for the production of higher quality objects for use in daily life. This included progressive designs by Christopher Dresser, Gustav Stickley, Louis Comfort Tiffany, and a focus on New

New Orleans Museum of Art | NOMA Magazine

Orleans’s contribution to design reform through works made at Newcomb College. Gorham Manufacturing Company’s silver Martelé production line shows a significant American contribution to the fresh Art Nouveau style in the gallery, thanks to gifts and select loans from Robert and Jolie Shelton. A dramatic staircase display shows a set of balusters designed in 1898 by Louis Sullivan for Chicago’s architecturally significant Carson Pirie Scott & Co. department store.

The rise of Modernist design in the 1920s eschewed all that came before, and in its embrace of new materials and factory production Modernism became the most influential design movement of the century. Rational design ideas included industrial glass technology applied to home goods, including Walter Dorwin Teague’s 1932 Lens bowl made at Corning from the mold for a locomotive engine light.

New Orleans collectors Dr. Ronald Swartz and Ellen Johnson worked with the museum to augment this area of the gallery, including the gift of a charming lightweight aluminum and Bakelite Aero-art Cocktail Cart designed in 1938 for the DC3, the first airplane used for commercial passenger flights.

A wall hung with chairs designed

by Ray and Charles Eames anchors the Mid-century Modern installation.

Here, the rational impulses of Modernism softened in the postwar era to include rounded corners and a more playful sensibility, shown through iconic objects like Russell Wright’s “American Modern” dinnerware and in unique shapes like the timeless ceramics by the potter Katherine Choy, who led the ceramics department at Newcomb College in the mid-1950s.

For the first time in the museum’s history, NOMA now has a gallery dedicated to contemporary design. New acquisitions by design superstars Ron Arad and Marcel Wanders anchor this gallery, with Wanders’s barbed-wire cloud-like chandelier hanging above the exaggerated profile of Arad’s The Big Easy Chair. Important works of glass from all periods accent the Lupin Galleries. Recent glass works include household names like Dale Chihuly, as well as New Orleans’s own Gene Koss. Lynda Benglis’s only known work in the medium of jewelry is on view, a 1980s brooch designed for New Orleanian Jean Taylor, who gave the rare item to NOMA in honor of NOMA Director Emeritus John Bullard.

The new Lupin Galleries highlight connections between society and design, between craft and manufacture, and between fine art and functional household items. The galleries have an eye toward continual change, including the new Elise M. Besthoff Charitable Foundation Gallery which allows for rotations. The gallery now features a NOMA-commissioned artwork that combines several media.

The Second Line Cocktail Service by international designer Geoffrey Mann is a glass cocktail service paired with an animated video that connects the design to the unique sounds of New Orleans’s Frenchmen Street. It is the work of computers and the work of ancient glass craft; it is of the world and of New Orleans. In the way it shows how objects reflect the culture of our lives, it is a thoughtful intellectual lens with which to view the entire new installation of decorative arts and design from the past three hundred years.

Mel Buchanan, RosaMary Curator of Decorative Arts and Design

Mary Ann "Toots" Zynsky, After Prokofiev, 1993.

Fused glass threads; 5 x 18 1⁄2 x 6 1⁄2 in. Gift of Dr. and Mrs. Isidore Cohn, Jr., 2003.185

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EXHIBITIONS

BE ST SE AT IN THE HOUSE: PHOTOGR A PHS BY DEL H A LL

Del Hall’s career in photojournalism took him from his home in New Orleans around the world. As an Emmy Award-winning news cameraman and film editor, Hall pioneered the use of moving images on television news, and he applied the same perceptive and sensitive vision to take incredible still photographs of the people and events that shaped the second half of the twentieth century. During this tricentennial year of New Orleans’s founding, NOMA will present Best Seat in the House: Photographs by Del Hall examining the importance of Hall’s work to the history of the city.

Photographs included in the exhibition will showcase Hall’s ability to balance narrative and emotional symbolism in images that are as thoughtfully composed as they are “in-the-moment.”

Born in New Orleans in 1935, Hall grew up in the then-segregated Iberville housing project. As a youngster, Hall was enthralled by the movies, as well as the newsreel footage that preceded the features. Hall’s grandmother bought him his first camera, a Kodak Retina 35mm, while he was a student at Jesuit High School, and he bounced around the streets of the city learning to photograph his world. When he began working for WWL-TV, Hall found he had a knack for anticipating the way a situation might unfold and positioning himself in ways to get imagery that told a complete story in a unique way. Informed early in his career by a producer that a quality still photograph could earn him an extra five dollars, Hall made sure to take his camera on every assignment. Applying the skills he honed as a cameraman to still photography, Hall produced an impressive body of photographs that are at once packed with information and visually compelling.

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Del Hall, Self Portrait # 1, 1962, Archival inkjet print, Gift of the artist, 2017.42

His work for WWL in the early 1960s put Hall’s camera in front of many important New Orleans personalities, but also at regional events shaping the course of our national history. As activists worked throughout the Gulf South to advance the Civil Rights Movement, for instance, Hall’s footage made the struggle real for viewers across the country. So close was Hall to the action, that he was often swept up in events: he was arrested in 1961 while filming lunch-counter sit-ins on Canal Street. International assignments followed, including a documentary about the Second Vatican Council in Rome and then interviewing soldiers from Louisiana and Mississippi deployed to Vietnam. After moving to Chicago to work for CBS in 1966, Hall chose to work primarily as a freelance

photojournalist, which allowed him to select assignments that he felt would be the most significant. When Del and his wife Ginger partnered up as a sound and image team in the 1980s, they followed stories around the world and, as often as they could, back to New Orleans.

Wherever Hall took his camera, his photojournalism work put him in the best seat in the house to capture important events, which he visually captured with creativity and aplomb.

Brian Piper, Andrew W. Mellon Foundation Fellow for Photography

Best Seat in the House will be presented in the A. Charlotte Mann and Joshua Mann Pailet Gallery from September 7, 2018, to January 6, 2019.

New Orleans Museum of Art | NOMA Magazine

TE ACHING BEYON D DOCTR IN E: PA IN TING A N D CA LLIGR A PH Y

BY ZEN M A STER S Painting and calligraphy by Zen monks has a long history in Japan. Introduced from China in the twelfth century, Zen (meaning “meditation”) has its origins in the teachings of the Buddha, the sixth-century BCE Indian prince who taught that it was possible to be freed from human suffering.

However, it is the legendary Indian monk Bodhidharma (called Daruma in Japan) who is considered the founder and First Patriarch of Zen. Rejecting the study of texts and established rituals in favor of strict meditative practice, Daruma achieved enlightenment.

Subsequently, he accepted a disciple, whose enlightenment experience Daruma verified, thus beginning the mind-to-mind transmission of enlightenment and of the teacher-disciple lineages that continue to this day.

With the establishment of the Tokugawa shogunate in the early seventeenth century, over two centuries of governmental sponsorship of Zen institutions and artistic patronage ended.

Despite the loss of governmental support, Zen still thrived, as monks and abbots reformed monastic practices and sought new means to reach out to adherents from all social and economic classes.

Zen art likewise flourished.

Zen masters freely explored opportunities to create more personal and directed work that expressed their own experiences, educated young monastics, and encouraged lay followers. This art form—the visual expression of the Zen master’s mind—has come to be known as “Zenga.”

The paintings and works of calligraphy that comprise the exhibition Teaching Beyond Doctrine were created by Zen masters, primarily during the Edo period (1615-1868). The most influential of these, Hakuin Ekaku (1686-1769), is credited with creating a new visual language for Zen, by dramatically expanding its subjects and themes to include Shinto gods, Confucian maxims, Japanese legend, folklore, and scenes from everyday life. Hakuin’s immediate followers, along with later generations of Zen masters, have drawn on this rich pictorial vocabulary to the present day.

Zen history and culture are embedded in these works. Each was created by an enlightened master using brush, ink, and paper, providing a direct encounter with the Zen master’s mind in order to advance the spiritual journey of the viewer. Drawn from NOMA’s permanent collection, and highlighting several recent acquisitions, the exhibition has benefited from generous loans from the Gitter-Yelen Foundation.

We are also grateful to John Stevens, Jonathan Chaves, Stephen Addiss, and Audrey Yoshiko Seo, who read and translated many of the inscriptions.

Lisa Rotondo-McCord, Deputy Director for Curatorial Affairs/Curator of Asian Art

Teaching Beyond Doctrine remains on view in NOMA’s Japanese Art Gallery through January 20, 2019 Richard Collins from the New Orleans Zen Temple will lead Zazen meditation seminars in the Besthoff Sculpture Garden on Saturdays, November 3 and 17, at 10 a.m.

Kogan Gengei, Japanese, 1747-1821, Procession of Monks, Ink on paper, Museum Purchase, 90.42

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EXHIBITIONS

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New Orleans Museum of Art | NOMA Magazine

A Tricentennial Triumph NOMA REUNITES THE ORLÉANS COLLECTION HONORING NEW ORLEANS’ NAMESAKE PHILIPPE II, DUC D’ORLÉANS Antoine Coypel’s Assembly of the Gods records the ceiling painting completed for the grand gallery of Philippe Duke of Orléans’s (1674–1723) Paris residence, the Palais-Royal. At six-and-a-half-feet wide, the work reflects the grandeur of the original ceiling, which was destroyed in 1785. The majestic composition (see page 14) depicts a ceiling opening out to the sky where the gods of antiquity meet: Zeus sits triumphantly at center in a halo of light, presiding over Venus, Minerva, Neptune and Mercury—gods of peace and war, navigation and commerce. The pinks and blues, swirling tapestries and movement are compelling, dynamic, uplifting. This was the version kept by the artist and his heirs and has only left France once before. It travels to New Orleans as part of The Orléans Collection, a landmark exhibition presented from October 26, 2018, to January 27, 2019, in commemoration of the New Orleans Tricentennial.

The ceiling was part of a refurbishment of the Palais-Royal, the Parisian home of Philippe d’Orléans.

The nephew of Louis XIV (“The Sun King”), Philippe was expected to become king but a direct heir was born in the final years of his uncle’s reign. Five-year-old Louis XV inherited the throne in 1715 requiring Philippe to serve as regent of France for eight years until the young king came of age. As regent, his task was to ensure the prosperity of the realm, a difficult task given the depleted finances of a kingdom strained by Louis XIV’s wars and prodigal spending, most supremely demonstrated by the vastness of Versailles. Philippe’s tenure inaugurated a new stability and as part of his mandate, French colonial holdings were secured in Senegal and Louisiana, thus the city of New Orleans bears his name.

Antoine Dieu’s Allegory of the Philippe II d’Orléans (see cover image) glorifies the regent both as a great patron of the arts and commander of the Indies overseas trading company. Holding and presenting the medallion portrait are personifications of Law and Fame at left and Minerva, goddess of war and the arts, at right. Philippe is best known to history as a great patron of the arts and his extraordinary art collection is the focus of NOMA’s exhibition honoring the city’s namesake.

A passionate love of painting A fun-loving bon vivant with a sharp wit, already in his late teens Philippe d’Orléans was passionate about visual art. He is known to have taken drawing lessons with court painter Antoine Coypel and an astounding 537 paintings are recorded in Philippe’s death inventory of 1724. Visitors to the Palais-Royal were amazed by the tight hanging of so many pictures, which were displayed in the grandest ceremonial and public spaces of the palace. In 1729, a compendium of the most important pictures in France features Philippe’s collection alongside the Sun King’s royal holdings.

LEFT Godfried Schalcken (Dutch, 1643–1706), Preciosa Recognized, late 1660s, Oil on panel, 17 3⁄8 × 12 5⁄16 in., Dublin, National Gallery of Ireland, Purchased 1898, 476, Photo © National Gallery of Ireland

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13

EXHIBITIONS

Antoine Coypel (French, ca. 1661 – 1722), Assembly of the Gods, 1702, Oil sketch on canvas, 37 3⁄8 x 76 3⁄4 in., Musée des Beaux‑Arts d’Angers, Angers, France, 38 J. 1881 © RMN-Grand Palais/Benoît Touchard/Mathieu Rabeau

AN ASTOUNDING 537 PAINTINGS ARE RECORDED IN PHILLIPPE’S DEATH INVENTORY OF 1724. VISITORS TO THE PALAIS-ROYAL WERE AMAZED BY THE TIGHT HANGING OF SO MANY PICTURES WHICH WERE DISPLAYED IN THE GRANDEST CEREMONIAL AND PUBLIC SPACES OF THE PALACE.

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The collection brought together works from the full range of European art. The avaricious collector acquired paintings any way he could: purchasing pictures during his military service in Madrid and from art dealers, or gladly accepting gifts of paintings from court favorites and political allies. Lodovico Carracci’s Dream of Saint Catherine (see page 2), for example, was given to Philippe from the Marquis de Nancré, captain of the Swiss Guards at the Palais-Royal.

A crowning achievement came in 1721 with the purchase of over one hundred works formerly in the possession of Queen Christina of Sweden (1626–1689), who had taken her collection with her to Rome after abdicating the throne and converting to Catholicism. Christina’s heirs in Rome had been trying to sell the pictures for decades, but it was the duke’s trusted friend, the financier and renowned collector Pierre Crozat, who was finally able to strike the deal. A Parisian newspaper proudly declared the arrival of the paintings.

An early source reports that Philippe studied painting with his court painter, Antoine Coypel, and court chronicler duc de Saint-Simon wrote that he often noticed the duke

retire to his apartments to paint in the afternoons. Indeed, so many aspects of the collection confirm that the duke was passionately engaged with the meaning and interpretation of art, and developed a remarkable eye for technique and quality. The duke relished the gamut from refined to rougher paint handling, grand scale and intimate, profane and religious, exemplified by a prescient appreciation of the Dutch Golden Age painters, of which Godfried Schalken’s Preciosa Recognized is a supreme example (see page 12). This enthralling range brings a feast of color and style to New Orleans for the exhibition.

Alessandro Allori’s extraordinary painting Venus Disarming Cupid depicts an over-life-size goddess taking the bow and arrow away from her son. The serpentine lines of her torso, legs, and arms exemplify the maniera (mannered) style of sixteenthcentury Florence, a term coined by Giorgio Vasari, Italy’s first art-historian and an artist also represented in the exhibition. Allori’s work famously reworked Michelangelo’s acclaimed invention, a connection appreciated by viewers at the Palais-Royal.

New Orleans Museum of Art | NOMA Magazine

PROGRAMS AND EVENTS LECTURES Introducing The Orléans Collection with Senior Research Curator for European Art Vanessa Schmid FRIDAY, 11.2.18 | 6:30 p.m.

Champs-Elysées: Building Paris, Building New Orleans with Professor Joan Dejean, University of Pennsylvania THURSDAY, 11.29.18 | 6 P.M.

Alessandro Allori (Italian, 1535–1607), Venus Disarming Cupid, 1570s, Oil on panel, 71 1⁄4 × 102 3⁄4 in., Montpellier, Musée Fabre, 887.3, © Musée Fabre de Montpellier Méditerranée Métropole – photograph Frédéric Jaulmes

Viewing Art in Eighteenth-Century Paris with Professor Andrew McClellan, Tufts University FRIDAY, 1.25.19 | 7 P.M.

AN EDIBLE FEAST

A collection dispersed across the globe The celebrated status of the duke’s collection endured throughout the eighteenth century, but Philippe’s greatgrandson capitalized on this legacy and sold the collection to raise funds during the upheaval of the French Revolution.

The resulting sales of the Orléans pictures in London in the 1790s were staged in three gallery spaces across the city which attracted many visitors, as noted in London’s Morning Post: “vast crowds are daily flocking to town to see the Orleans Galler[ies].” This wider viewership of art played a role in the later establishment of cultural institutions. In fact, the first picture catalogued (holding the accession no. 1) at The National Gallery of London was one of Philippe d’Orléans’s most celebrated works.

Eustache Le Sueur’s painting Alexander and His Doctor was purchased at the London sales by the fashionable Lady Amabel Lucas who installed the work in the walls of her residence.

The picture miraculously remained in the building as it was sold through generations, only to be rediscovered

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in 1997, and it is being lent for the first time. Another star picture during the London sales, Rembrandt’s The Mill inspired generations of English landscape painters while it was in the collection of the Marquess of Landsdowne and it is now one of America’s greatest art treasures in the National Gallery of Art. The great dispersal of the duke’s pictures make for the fact that exhibition loans are coming not just from Paris and London, but unexpected locales like El Paso, Texas, and Greenville, South Carolina.

The exhibition brings thirty-eight masterpieces to New Orleans to tell this story of Philippe’s collection. No exhibition of this fascinating subject has been undertaken and this occasion created an exceptional opportunity for new scholarship. Published in conjunction with this exhibition is a fullcolor catalogue with contributions by nine scholars, edited by Vanessa Schmid.

Vanessa Schmid, Senior Research Curator for European Art For non-members, an upcharge of $8 will be added to standard admission fees for The Orléans Collection.

Admission is free for Louisiana residents on Wednesdays, courtesy of The Helis Foundation.

SUNDAY, 12.9.18 | 7 P.M. | RESERVATIONS REQUIRED See page 27 for more information.

SYMPOSIUM The Orléans Collection: Tastemaking, Networks and Legacy FRIDAY – SATURDAY, 1.11 – 1.12.19 Presented by NOMA and The Frick Collection Center for the History of Collecting; reservations required: see noma.org/symposium for updates.

CURATOR’S PERSPECTIVE with Curator Vanessa Schmid

11.2.18 at 7:15 p.m.| 11.16.18 at 6 p.m. | 1.25.19 at 6 p.m.

NOONTIME TALKS with Curator Vanessa Schmid 10.31.18 at 12 p.m. | 12.5.18 at 12 p.m. | 12.28.18 at 12 p.m.

1.23.19 at 12 P.M.

NOONTIME TALKS with Fellow Kelsey Brosnan 11.14.18 at 12 p.m. | 12.19.18 at 12 p.m. | 1.9.19 at 12 p.m.

FRENCH CONNECTIONS FILM SERIES See page 28 for complete listings.

The Orléans Collection is organized by the New Orleans Museum of Art and is sponsored by the City of New Orleans; New Orleans and Company; Samuel H. Kress Foundation; Hyatt Regency New Orleans and 1718 Events; JPMorgan Chase & Co.; Robert Lehman Foundation, Inc.; Zemurray Foundation; Mr. and Mrs. John Bertuzzi; Catherine Burns Tremaine; 2018 NOLA Foundation; Delta Airlines; Pelham Communications; Jean and Buddy Bolton; Mr. and Mrs. Joseph C. Canizaro; Susie and Michael McLoughlin; Sally E. Richards; and Mr. and Mrs. Robert John Axtell Williams. Additional support provided

by French Heritage Society; Dr. Edward Levy, Jr.; Ms. E. Alexandra Stafford; Jason P. Waguespack; Robert and Millie Kohn; Wayne Amedee; Honorable Steven R. Bordner; Nell Nolan and Robert E. Young; and Charles L. Whited, Jr. This project is supported in part by an award from the National Endowment for the Arts.

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EXHIBITIONS

Peter Paul Rubens (Flemish, 1577–1640), The Triumph of Rome: The Youthful Emperor Constantine Honoring Rome, c. 1622–1623, The Hague, Mauritshuis, 837, Photo: Mauritshuis, The Hague

TR ACING PROV ENA NCE: RU BENS’S THE TR IU MPH OF ROME The accompanying catalogue for The Orléans Collection includes a thoroughly researched provenance for each of the works presented in the exhibition. Presented here is the fascinating journey of Peter Paul Rubens’s The Triumph of Rome.

Around 1622, Flemish Baroque painter Peter Paul Rubens (1577– 1640) produced twelve oil sketches depicting episodes from the life of the Constantine, the first Christian emperor of Rome. One of these panels, which now belongs to the Mauritshuis Museum in The Hague, depicts a female personification of Rome enthroned and flanked by military trophies of armor. At her feet, bound prisoners of war kneel alongside the infants Romulus and Remus, the legendary founders of Rome who were nursed by a gentle she-wolf.

Recent scholarship has theorized that this set of oil sketches was commissioned by Flemish weavers Marc Comans and Francois de la Planche, and was intended to be 16

translated into tapestries. This was most likely a speculative endeavor, but the entire series was ultimately woven, with the exception of the Mauristhuis sketch.

Philippe II eventually acquired all of the oil sketches for Rubens’s Constantine series through descendants of the royal tapestry factory. The duke clearly valued their virtuosic brushwork and dramatic, multi-figural compositions depicting triumphant claims of empire. At the Palais-Royal, the oil sketches joined several other large-scale mythological paintings by Rubens, where they remained until great-grandson Louis Philippe Joseph sold the collection in two parts. The London dealer Thomas Moore Slade sold the Dutch and Flemish works from the collection in 1793, and the sketches passed to a Parisian collector, Charles-Alexandre de Colonne, comte d’Hannonville.

While its subsequent whereabouts are unknown for the first half of the nineteenth-century, The Triumph of

Rome reappeared in the collection of Sir Francis Cook and his descendents. By 1939, the work belonged to the D. Katz Gallery in Dieren in the Netherlands; it may have been purchased there by Hans Posse, who served as a curator for Adolf Hitler. The Rubens sketch was probably intended for the neverrealized Führermuseum in Linz, Austria, which was founded upon the systematic looting of public and private collections by Nazi forces.

After the conclusion of World War II, the Rubens oil sketch was among the works of art repatriated by the Stichting Nederlands Kunstbezit (Netherlands Art Property Foundation). By 1947, the owners of the sketch, B. and N. Katz of Dieren, had gifted the work to the Mauritshuis in The Hague 1947. NOMA is indebted to this Dutch museum for lending this work as it reunites with thirty-seven other paintings displayed in The Orléans Collection.

Kelsey Brosnan, Curatorial Fellow for European Art

New Orleans Museum of Art | NOMA Magazine

A CON V ER S ATION W ITH LINA IR IS V IKTOR

I am fascinated with the concept of nation-building: the motivations of those who lead the charge, and the ramifications for all parties involved.

The American Colonization Society’s (ACS) mission to build a new nation in West Africa was not a fully conceived plan, but rather a quick remedy, fueled by fear of an uprising of recently freed slaves. In this series, I also wanted to cast a light on the pathology of colonization and the damage that it so often leaves in its wake.

Lina Iris Viktor in her New York studio, 2017.

Courtesy of the artist.

Lina Iris Viktor is widely recognized for her gilded paintings and installations that explore art’s relationship to history, spirituality, and prophecy. In her forthcoming exhibition in the Great Hall at NOMA, A Haven. A Hell. A Dream Deferred., Viktor examines the founding of the West African nation of Liberia. She spoke with Curator Allison Young about the evolution of this new series.

Tell me about the genesis of this project.

I began my initial explorations surrounding A Haven. A Hell. A Dream Deferred in 2016 and spent a year simply researching and contemplating my urge to excavate what I regard to be the “lost narratives” surrounding the creation of Liberia. This investigation has always been objective in nature, rather than motivated by my familial connection to Liberia. I have chosen not to focus on the nation’s recent history, but rather to explore the root: the ties that bind Liberia so explicitly to America. This story is fascinating, unique, and grossly under-documented.

Liberia was forged in the image of early nineteenth-century America, and will forever remain a sister state.

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Your work includes the character of the “Liberian Sibyl,” adapted from the Libyan Sybil of classical antiquity. What does this figure represent?

In classical antiquity, the Libyan Sybil was a prophetess who was attributed with the gift—or curse—of seeing ill-fated futures. I later found out that this archetype had been exhumed by abolitionists in the United States, and was appropriated in many works of art and literature that promoted the freedom of enslaved blacks. In these depictions, the Libyan Sibyl retroactively predicted the trans-Atlantic slave trade. As this context is intimately related to that of the conception and colonization of Liberia, I felt that this character would serve as a perfect conduit between the narratives in this series: the Liberian Sibyl unites these interwoven histories, and represents a timeless emblem of feminine intuition, foresight, and knowing.

How do the works in A Haven.

A Hell. A Dream Deferred signal a departure from your previous bodies of work?

This is a series awash with the color red. In my previous bodies of work, I have used a restricted color palette—black, white, blue and gold— so this represents a big departure, albeit a very premeditated and

considered one. Given the subject matter of this series, I wanted to create works that were reflective of the national identities of both Liberia and the United States, which were practically synonymous at the outset. This linkage is made explicit through the use of color. As red is so evocative and striking when combined with blue, it elicits a sense of foreboding and incongruity.

How has your time in New Orleans influenced the development of this exhibition?

The series was already in progress when I was invited to exhibit at NOMA, but it’s very meaningful that the works will debut in the American South. In learning that the exhibition would be timed to the Tricentennial and would be in conversation with The Orléans Collection, which speaks to New Orleans’s French colonial past, I was inspired to deepen the sense of site specificity.

While visiting New Orleans last spring, I learned that one of the central figures in New Orleans history— the entrepreneur and trader John McDonogh—was not only a slaveholder but also a member of the ACS. It was rare for slaveholders in the antebellum South to facilitate the emancipation of their slaves, and McDonogh proved to be a very contradictory figure in so many ways. As fate would have it, many of his former slaves were among the first to migrate and settle in Liberia.

Their hand-written letters, as well as McDonogh’s ACS certificate, are among the artifacts referenced throughout the series, in addition to architectural and environmental imagery shared between New Orleans and Liberia.

Lina Iris Viktor: A Haven. A Hell. A Dream Deferred., created for the Great Hall, is sponsored

by Reuben O. Charles II, Pulane Kingston, Alida and Christopher Latham, and Jim and Christina Lockwood. Additional support provided by Mariane Ibrahim Gallery. The works will be on view from October 5, 2018, through January 6, 2019.

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EXHIBITIONS

E A R TO THE GROU N D: E A RTH A N D ELEMEN T IN CON TEMPOR A RY A RT

Ear to the Ground will be on view in the Contemporary Art Galleries from October 19, 2018 to August 31, 2019.

Dan Alley, Delta, 2014, Poured Aluminum, 50 x 156 inches, Collection of the Artist, ŠDan Alley Studio

FEATURING WORK FROM ARTISTS: Dan Alley Lynda Benglis Diedrick Brackens Edward Burtynsky Clyde Connell Dawn DeDeaux Courtney Egan Olafur Eliasson Jorge Otero Escobar Mikhail Karikis Ronald Lockett Sara Madandar Chandra McCormick Cristina Molina Jennifer Odem Bosco Sodi Pat Steir Christopher Wilmarth

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Working with natural elements like earth, wind, water and fire, the artists whose work is on view in Ear to the Ground: Earth and Element in Contemporary Art show how nature can spur artistic innovation and spark new thinking about human culture and community. In their art, nature is not just a resource to be protected or exploited, but rather a generative force with its own sentient power. Mining earth both as a material and a metaphor, the artists in this exhibition treat nature as teacher: a tool for negotiating the complexities of contemporary cultural life. Informed by a kind of elemental logic, their work envisions new ways we might relate to the natural world, as well as to one another.

Drawn predominantly from NOMA’s permanent collection, Ear to the Ground features work by 18 artists across vastly different media, cultures and time periods who each reference earth and element in very different ways. Some, like Bosco Sodi and Clyde Connell, make materials like dirt and mud their primary medium. Others, like Pat Steir, Dan Alley and Diedrick Brackens, turn to

nature as a collaborator or conspirator in the creation of their art, casting sculptures directly upon the ground, or dying textiles with water drawn from rivers and oceans. For others, nature functions more metaphorically, as in the work of artists like Ronald Lockett, Dawn DeDeaux and Sara Madandar, who reference natural processes like weathering, disintegration and sedimentation to speak to current social and political issues ranging from climate change to questions surrounding immigration and cultural belonging.

Presenting more conventional artistic media like painting and sculpture alongside more experimental work in video, textiles and performance, Ear to the Ground considers the continued resonance of natural materials and processes for artists working from the 1970s to now. For each of these artists, nature is not just a source of formal inspiration, but also a means of imagining new forms of community, reciprocity and connection to the natural world.

Katie A. Pfohl, Curator of Modern and Contemporary Art

New Orleans Museum of Art | NOMA Magazine

LEARN

NOM A+ L AU NCHE S W ITH #EV ERY DAY N EWOR LE A NS COMM U NIT Y OU TR E ACH PROJ ECT The museum’s mobile outreach initiative, NOMA+, launched in the spring of 2018 with a community project tied into the exhibition Changing Course: Reflections on New Orleans Histories. In partnership with the New Orleans Photo Alliance (NOPA), Nic Aziz, NOMA’s Community Outreach Coordinator, oversaw a series of six workshops at schools, community centers, and social service agencies that engaged a wide cross section of the metro area in a photo-documentation project themed #EverydayNewOrleans.

Local photographers from NOPA worked with participants to examine how photography can break down stereotypes and misconceptions about place.

Using smartphones and disposable cameras, teenagers and adults alike learned about the elements of photography, and explored the medium as a method of telling a story. The project was modeled after The Everyday Projects, founded by Austin Merrill and Peter DiCampo in 2012 with the mission of “challenging stereotypes that distort our understanding of the world.” To date, the Everyday Projects have engaged amateur photographers in such diverse locales as the entire continents of Africa, Asia, and Australia, nations such as Afghanistan and Japan, among others, and American cities, including Detroit, and the Bronx.

Twenty photographs from #EverydayNewOrleans were displayed in NOMA’s Evelyn L. Burkenroad Creative Concept Studio, one of seven installations in the exhibition Changing Course: Reflections on New Orleans Histories (closing September 16). These moments of life captured in South Louisiana included a crawfish boil, the gates of St. Roch Cemetery, a corner poboy shop, selfies of high school students, and portraits of family and friends.

Some of the most poignant scenes were captured by twelve participants from the Rebuild Center, a shelter assisting New

Scott and Marjorie Cowen donated funds for the NOMA+ mobile museum. Their nicknames, Honey and Pops, bestowed by the couple’s grandchildren, appear on the side of the Chevy Tahoe that pulls the trailer.

Orleanians struggling with homelessness.

Aziz shared his impressions of working with these amateur photographers from the Rebuild Center in a blog for the digital edition of NOMA Magazine.

“Juston Winfield was arguably the most enthusiastic participant from the beginning of the first workshop. He took pictures at Lake Pontchartrain, the ravaged former Six Flags theme park, and the historical site of Lincoln Beach. When discussing the story behind his pictures of the lakefront, he noted how he chose to ride his bicycle ‘all the way out there’ as early as possible to catch it at the best light quality of the day. We were all surprised at how well he was able to capture the area with a disposable camera…

“The love and vulnerability that encompassed NOMA+ during the workshops at the Rebuild Center was so abundant and these characteristics would show themselves throughout the actual museum on the opening night of Changing Course: Reflections on New Orleans Histories.”

Four of the photographers from the Rebuild Center attended the exhibition debut. “Witnessing how excited they were to just be in the museum as they looked at their photos on a wall and shared themselves with others was such a special sight. The beauty and ability of art to bring together individuals from all walks of life, while spurring enhanced compassion and empathy in the maker and viewer, was so evident on that night.”

Read more of Nic Aziz’s blog at noma.org/ magazine. View photos and contribute your own at the Instagram page with the hashtag #EverydayNewOrleans.

This fall and winter, the NOMA+ SELFIE project will connect modern-day facets of selfie culture to historic and contemporary portraiture from NOMA’s collection and temporary exhibitions.

The project seeks to give artists and community curators an opportunity to address questions of identity and self while creating a new point of access between NOMA and the communities across the metro area.

NOMA+ is, in large part, supported by the generosity of individual donors and members.

To support this project, contact Jenni Daniel at jdaniel@noma.org or (504) 658-4107.

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SUPPORT

INSPIR ED BY NOMA: ROBERT LYALL

The New Orleans Opera will stage Pygmalion, Jean-Phillippe Rameau’s 1748 one-act acte-de-ballet, at Le Petit Theatre du Vieux Carré from November 8 to 11 in tribute to NOMA’s presentation of The Orléans Collection.

Opera Director Robert Lyall spoke about how this performance will incorporate art from the exhibition into set design, and a sneak preview to be held in the Besthoff Sculpture Garden.

How did you conceive of this partnership between NOMA and the New Orleans Opera?

I attended the initial press conference where all of New Orleans’ cultural institutions were presenting their Tricentennial projects. The one that intrigued me the most was the statement by NOMA that there would be an exhibition of part of the famous art collection of the Duc d’Orleans, one of the greatest collections of its time. I thought, How interesting, there is a musical equivalent to that, which would be some example from French Baroque opera ... Perhaps there’s a way for us to combine both of our interests and further our respective missions, so I undertook an examination of the French Baroque repertoire.

The one thing that was in abundance at the court of Louis XIV was money, and the other was a splendor in the arts that has garnered a lot of historical attention and praise. It led to the creation of French opera, and the court dances became a central part of that style, furthered by the fact that Louis XIV loved to dance.

He loved to have theater pieces done at his court, and he himself would rise from the throne and join the dance scenes. I thought, What can we do that is not so lavish that it breaks the bank but can capture the spirit of what French opera focused on at that time? Pygmalion was the perfect fit.

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What is the history of Pygmalion as an opera?

The subject matter of almost all early opera, whether the Italian origins of it with the Florentine Camerata, or, in the case of French opera, the court, was Greek and Roman mythology. Pygmalion was the son of the King of Crete and was famous as a sculptor. The myth is that he created the perfect female statue that was so beautiful he fell in love with his own work. Then he implored the goddess Venus, or L’Amour as she is called in most French works, to bring the statue to life so that his love would not be futile. Lo and behold she did!

We’re staging Pygmalion at Le Petit Theatre in the French Quarter, a more intimate and historic venue that is closer to the era of New Orleans as America’s First City of Opera, at least according to documentation.

How will works from The Orléans Collection be incorporated into the production?

The setting of Pygmalion is an artist’s studio so I thought I could take projections of some of the paintings from the museum’s exhibition and make them a part of the scenic elements for our drama. I got in touch with Lisa McCord, director of the curatorial staff, and the idea was met with great enthusiasm.

I soon realized that we might want to supplement those paintings, so she agreed that we could also use projections of appropriate works from NOMA’s permanent collection. This has enhanced the production and heightened the role that the museum is playing in creating this unique project.

At about 45 minutes long, Pygmalion is not a full evening of opera. After a wonderful champagne intermission to celebrate the combination of our two art forms, we will offer a second

half that I call a “divertissement.” It will consist of eight short and colorful selections from two generations of the leading composers of the French Baroque. The evening will conclude with the famous rondò from Rameau’s Les Indes Galantes, which actually takes place in New Orleans!

Tell us more about the preview production in the Besthoff Sculplture Garden.

On Friday, October 12, we will perform little vignettes in the sculpture garden, the perfect setting to present the idea that a piece of art comes to life. The audience will be treated to a moveable feast, if you will, in that they will be guided from statue to statue that will come to life and sing. This event is free and open to the public.

Pygmalion will feature local talents Sarah Jane McMahon as L’Amour (Venus), Paul Grovves as Pygmalion, Rachel Looney as La statue animée, and Haley Whitney as Cephise. The Marigny Opera Ballet will serve as dancers, and a Baroque orchestra will be drawn from the Louisiana Philharmonic. For more information, visit neworleansopera.org.

On October 12 at 6 p.m., Art Comes to Life: Sculptures in Song, an evening of selections from Pygmalion and works of other French Baroque composers, will be held in the Besthoff Sculpture Garden.

Visit noma.org for more information.

New Orleans Museum of Art | NOMA Magazine

SCULPTURE GARDEN

TERESITA FERNÁNDEZ: “YOU ARE HERE”

A conceptual drawing of the Teresita Fernández commission for the new Besthoff Sculpture Garden gallery.

As the expansion of the Besthoff Sculpture Garden takes shape, artist Teresita Fernández is busy at work on a commissioned wall sculpture that will greet visitors at the site of a new gallery facing the central lagoon.

Fernández’s works are noted for their ability to capture the essence of formless elements such as fire, water, and air. She recently discussed with NOMA Magazine the formation of her work to be sited in New Orleans.

The piece was designed to feel like an extension of the sculpture garden, emerging from the building itself and dissolving into the surrounding landscape. I wanted to create something that would be a marker, giving you a sense of you are here.

The artwork is conceived as a landscape within a landscape. When I use the word landscape, I am not referring to it in the generic way of a framed vista or a picturesque scene, but rather more expanding the idea of landscape in a conceptual way that speaks to the history of people in places. So there are many cultural and historical references associated with that idea of landscape that are integral to the piece.

When I first met Sydney and Walda Besthoff, who have been extremely supportive of the complexities of this work, and an absolute pleasure to work with, they were very interested in a body of www.noma.org

work that I did a couple of years ago called Viñales, which was a reference to a rural landscape in Cuba where my family is from. I wanted to draw inspiration from that piece, but I wanted to make it very specific to New Orleans. This commission is very much about contextualizing New Orleans as a global city and, in many ways, the northernmost Caribbean city. The conceptual heart of the work really is about connecting New Orleans with Havana and with Africa and using the landscape as a vehicle for making that connection.

The imagery of the work comes from a piece of malachite rock from the Democratic Republic of Congo, a rock that is literally part of and from a specific landscape. The image has been transformed to feel like an immense, expansive landscape, but it actually originates from a very small rock.

The piece is made from a vitreous material—hundreds of thousands of tiny, glazed ceramic pieces that are meticulously assembled to create the overall image.

This highly reflective surface will not only be reflective of the changing atmospheric conditions and the shifting light of New Orleans at different times of the day, but it will also be a mirror to visitors so that when you look at this landscape, you also see your own reflection on the surface of the piece. In many ways you become the figure in that landscape.

YOUNG FELLOWS SUPPORT SCULPTURE GARDEN MEDITATION PATH Many generous donors have stepped up to support the expansion of the Sydney and Walda Besthoff Sculpture Garden, including a group of young professionals who came together to raise more than $33,000 to sponsor the Young Fellows Meditation Path.

The path will meander between oaks, allowing visitors to immerse themselves in the natural setting while interacting with works from twenty-first-century artists. Led by committee chairs Marshall Hevron and Beth and Austin Lavin, a committee of twelve NOMA supporters embarked upon a campaign to name the path. Initially the committee set a goal to raise $20,000, but to date over thirty young professionals have committed to support the project, quickly surpassing the original goal by over fifty percent.

“We are appreciative of the legacy created by Sydney and Walda Besthoff with the establishment and expansion of the Sculpture Garden, and we are grateful to have the ability to participate in this landmark project. We’ve been overwhelmed by the enthusiastic support of our peers for this project and are grateful to everyone who has participated.”

—Beth and Austin Lavin

Young Fellows Meditation Path Donors John Cable and Andrea Andersson Samuel M. Berman Buddy Boe Brian and Courtenay Dufour Chad Graci Marshall Hevron

Dr. Tyra Mitchell J.P.Morgan Chase & Co. Taylor Morgan Nathaniel A. Novak Jessica L. Owens Natalie and Ryan Nagim

Anne Kock

Elisabeth Rietvelt and Vignesh Krishnan

Margaux and Stew Krane

William Sadler

Beth and Austin Lavin

Walker and Margaret Saik

Rebecca and Richard F. Weber, Jr.

Adam Shapiro

Charlie and Tabby Marts

Claire Elizabeth Gallery/ Claire Elizabeth Thriffiley

Lara and Clifford Mintz

Bryant S. York

If you are interested in supporting the Young Fellows Meditation Path, please contact Elisabeth Rietvelt at erietvelt@noma.org or (504) 658-4130.

21

SUPPORT

1

2

2

3

P H OTO C RED IT: SUSA N P OAG P H OTO G R A P H Y

1

4

3

5

1. King Felipe VI and Queen Letiza of Spain (at center) paid a visit to NOMA on June 16 as part of festivities surrounding the 2018 New Orleans Tricentennial. Pictured here, from left, are NOMA Deputy Director Anne Baños, New Orleans Mayor LaToya Cantrell, the royal couple, and NOMA Director Susan Taylor at the front entrance of the museum. NOMA has a strong history of paying homage to the Spanish heritage of New Orleans and the nation’s global artistic influence. A gallery of Latin American works of art is scheduled to open in the near future, and works from the museum’s permanent collection were recently loaned to both the Prado and Thyssen-Bornamisza museums in Madrid, the latter of which is lending a work for The Orléans Collection exhibition. NOMA hosted a film series this past summer, Mujeres de Cine, that focused on Spanish women filmmakers, and recent exhibitions, including Carlos Rolón: Outside/In and Behind Closed Doors: Art in the Spanish American Home, 1492–1898 have also focused on Hispanic culture.

22

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6

2. Kitty Sherrill, Maria Friedlander, Lee Friedlander, Stephen Sherrill, and Russell Lord at the exhibition opening of Lee Friedlander in Louisiana 3. Suzanne Thomas engages with children whose artworks were displayed in the Mini Masters Showcase 4. Phyllis Taylor, Susan Taylor, Dr. James Caillier, and Hannah Withrow at the Taylor Scholars Luncheon 5. Skylar Fein, Katie Pfohl, and Renee and Stewart Peck at the exhibition opening for Changing Course: Reflections on New Orleans Histories 6. Willie Birch, L. Kasimu Harris, and LeRoy Harris at the exhibition opening for Changing Course: Reflections on New Orleans Histories

New Orleans Museum of Art | NOMA Magazine

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

$20,000 – $49,999

$10,000 – $19,999

The Benjamin M. Rosen Family Foundation

Sydney and Walda Besthoff

Anonymous

A Friend of NOMA

Charitable Lead Annuity Trust Under the Will of Louis Feil

Virginia Besthoff

Cathy and Morris Bart

Jean and Buddy Bolton

Donna and Benjamin M. Rosen

Gail and John Bertuzzi

Reuben O. Charles, II

Collins C. Diboll Private Foundation

Frank B. Stewart Jr.

E. John Bullard

George and Milly Denegre

Ella West Freeman Foundation

Phyllis M. Taylor

Pia and Malcolm Ehrhardt

The Frank B. Stewart, Jr. Foundation

$100,000 – $499,999

Leonard Davis and Sharon Jacobs Julie and Ted George

Tim L. Fields, Esq.

Patrick F. Taylor Foundation The Sydney and Walda Besthoff Foundation Zemurray Foundation

Marjorie and Scott Cowen

JPMorgan Chase & Co.

Hancock Whitney

Cammie and Charles Mayer

Tina and Robert Hinckley

Elizabeth and Willy Monaghan

$200,000 – $499,999

IBERIABANK

The Andrew W. Mellon Foundation

Michael and Susie McLoughlin

The Azby Fund

Janice Parmelee and Bill Hammack

City of New Orleans The Elise M. Besthoff Charitable Foundation

Robinson Lumber Company

Jeri Nims Roger H. Ogden The Pain Intervention Center Janet and David Rice Sally E. Richards

The Helis Foundation

$50,000 – $99,999

Jacki and Brian Schneider

$100,000 – $199,999

Cathy and Morris Bart

Kitty and Stephen Sherrill

Jay Batt

Aimee and Mike Siegel

Marla Garvey

Estate of Lynette Askin Stilwell

Lois and Lloyd Hawkins Jr. Foundation

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

Suzanne and Robert Thomas

The Walton Family Foundation

Dr. and Mrs. Harris Hyman, III

$50,000 – $99,999

Robert E. Smith Lupo and Mary L. Puissegur Lupo

2018 NOLA Foundation

New Orleans and Company

Eugenie and Joseph Jones Family Foundation

Nancy Rathborne

The Ford Foundation

Tina Rathborne and Phillip De Normandie

Goldring Family Foundation Institute of Museum and Library Services

The Lupin Foundation The Marcus Foundation The Selley Foundation

$20,000 – $49,999

Jeffrey J. Feil Betty Fishman Dana and Steve Hansel Lexus of New Orleans Ashley Longshore Drs. Howard and Joy Osofsky Palmisano Contractors, LLC Stewart and Renee Peck Cari and Michael J. Sacks Sheila and Britton Sanderford Jane and Rodney Steiner SKYY Vodka Allison and Ben Tiller Franco and Nancy Valobra Mr. and Mrs. Robert John Axtell Williams

Liz and Poco Sloss Susu and Andrew Stall Robert and Pamela Steeg Catherine Burns Tremaine

The Bertuzzi Family Foundation Boh Foundation Louisiana Division of the Arts

NOMA Corporate Members

National Endowment for the Arts

Gold

Green

Robert Lehman Foundation, Inc.

Hyatt Regency New Orleans

Boh Bros. Construction Company, LLC

The RosaMary Foundation

International-Matex Tank Terminals

Crescent Capital Consulting, LLC

Samuel H. Kress Foundation

Jones Walker

Dupuy Storage & Forwarding, LLC

New Orleans and Company

Ernst & Young

Pelham Communications

Hexton Gallery

$10,000 – $19,999 The Booth-Bricker Fund Charles W. and Elizabeth D. Goodyear Foundation Evelyn L. Burkenroad Foundation The Garden Study Club of New Orleans, Inc. The Holt Family Foundation J. Edgar Monroe Foundation Kabacoff Family Foundation New Orleans Theatre Association The Ruby K. Worner Charitable Trust

Silver JPMorgan Chase & Co.

Library Street Collective Neal Auction Company New Orleans Tourism Marketing Corporation Salon 94

Bronze

Valentino Hospitality

Christie’s Gulf Coast Bank and Trust Hotel Monteleone Laitram, LLC

This list includes donors who made gifts between August 1, 2017 and August 1, 2018.

If you have any questions, or would like information about supporting NOMA, contact NOMA’s Development Department by calling 504.658.4127.

www.noma.org

23

SUPPORT

NOMA BOOK CLUB

NOMA CIRCLES

Join NOMA staff and fellow book lovers as we read and discuss books related to art, artists, art museums, NOMA’s collections and exhibitions.

Contact NOMA Librarian Sheila A. Cork at 504.658.4117 or scork@noma.org for information about joining the NOMA Book Club.

President’s Circle

September

Mrs. Robert Nims

The Lost City of Z: A Tale of Deadly Obsession in the Amazon by David Grann In 1925, the legendary British explorer Percy Fawcett ventured into the Amazon jungle, in search of a fabled civilization. He never returned. Over the years, countless perished trying to find his party and the place he called “The Lost City of Z.”

Mr. and Mrs. Michael J. Siegel Mr. Michael Smith

Mr. and Mrs. Sydney J. Besthoff III

Mr. and Mrs. Lynes R. Sloss

Mr. and Mrs. Ralph O. Brennan

Mr. and Mrs. Bruce L. Soltis

Mr. and Mrs. David F. Edwards

Mr. and Mrs. Robert M. Steeg

Mrs. Marla Garvey

Mr. and Mrs. Robert E. Thomas

Mr. and Mrs. Charles B. Mayer

Ms. Susan Zackin

Mrs. Phyllis Taylor

Patron’s Circle

Director’s Circle

Dr. Siddharth K. Bhansali

Mr. and Mrs. John D. Bertuzzi

Mr. John L. Cleveland, Jr.

Mrs. Katherine Boh

Dr. and Mrs. Scott S. Cowen

Ms. Lucy Burnett and Mr. Gregory Holt

Mr. and Mrs. James J. Frischhertz

Mrs. Isidore Cohn, Jr.

Mr. and Mrs. Frederick Heebe

Mr. and Mrs. Kevin Cates

Mr. and Mrs. G. Anthony Gelderman

Mr. and Mrs. Thomas B. Coleman Mrs. H. Mortimer Favrot, Jr.

Ms. Sharon Jacobs and Mr. Leonard A. Davis

Wednesday, September 12, 1:30 – 3 p.m. and

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

Dr. Edward D. Levy, Jr.

Friday, September 14, 12 – 1 p.m.

Mr. and Mrs. Russ Herman

Ms. Elizabeth Livingston

BOOK DISCUSSION GROUP:

Mr. and Mrs. J. Thomas Lewis

Mr. and Mrs. Jerry Heymann

October Michelangelo and the Pope’s Ceiling by Ross King This book recounts the fascinating story of the four years Michelangelo spent laboring over the twelvethousand square feet of the ceiling of the Vatican’s Sistine Chapel, while war and power politics that abounded in Rome swirled around him.

Ms. Louise H. Moffett

Mr. and Mrs. Robert Hinckley

Drs. Joy D. and Howard Osofsky

Mr. and Mrs. Dennis P. Lauscha

Mr. and Mrs. Gray S. Parker

Mr. and Mrs. Robert J. Patrick

Mr. and Mrs. James C. Roddy

Dr. and Mrs. James F. Pierce

Mr. and Mrs. Brian A. Schneider

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

Mr. David P. Schulingkamp

3

Mr. and Mrs. Robert Shelton

Mrs. Charles S. Reily, Jr.

Mr. Stephen F. Stumpf, Jr.

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

Ms. Catherine Burns Tremaine

Mr. and Mrs. Benjamin M. Rosen

Ms. Celia Weatherhead

Mr. and Mrs. Edward Shearer

Mr. and Mrs. D. Brent Wood

PRE-RESTORATION SISTINE CHAPEL PORTFOLIO BOOK ON DISPLAY IN LIBRARY Tuesday, October 16, 10 a.m. – 5 p.m.

BOOK DISCUSSION GROUP:

ISA AC DELGADO SOCIETY

Tuesday, October 23, 12 – 1 p.m. and Wayne Amedee

Lee Ledbetter and Douglas Meffert

Larry W. Anderson

Thomas B. Lemann

Honorable Steven R. Bordner

Dr. Edward D. Levy, Jr.

Madame de Pompadour

by Nancy Mitford

E. John Bullard

John and Tania Messina

Joseph and Sue Ellen Canizaro

Anne and King Milling

When Madame de Pompadour became the mistress of Louis XV, no one expected her to retain his affections for long. With a fiction writer’s felicity, Mitford restores the royal mistress and celebrates her as a survivor who reigned as the most powerful woman in France for nearly twenty years.

Mrs. Carmel Cohen

James A. Mounger

Folwell Dunbar

Jeri Nims

Prescott N. Dunbar

Judith Young Oudt

Lin Emery

Mrs. Charles S. Reily, Jr.

William A. Fagaly

Pixie and Jimmy Reiss

Randy Fertel

Polly and Edward Renwick

Lyn and John Fischbach

Donna and Benjamin M. Rosen

Tim and Ashley Francis

Brian Sands

Sandra D. Freeman

Jolie and Robert Shelton

Sarah and Richard Freeman

Margaret and Bruce Soltis

Tina Freeman and Philip Woollam

Nancy Stern

Dana and Steve Hansel

Mrs. John N. Weinstock

Abba J. Kastin, M.D.

Mercedes Whitecloud

Wednesday, October 24, 1:30 – 3 p.m.

November

CURATORIAL PROGRAM with Vanessa Schmid, Senior Research Curator for European Art Friday, November 9, 12 – 1 p.m.

BOOK DISCUSSION GROUP: Wednesday, November 14, 1:30 – 3 p.m. and Thursday, November 15, 12 – 1 p.m.

24

New Orleans Museum of Art | NOMA Magazine

SHOP

THE M USEU M SHOP The fall and winter months ahead are filled with many holidays and elegant social events. Make the Museum Shop your one-stop location for finding both practical and magical gifts for all occasions.

SKULL ROUND CLUTCH BY ALEXANDER MCQUEEN

OBSIDIAN HERITAGE BOTTLE OPENER BY ANNA BY RABLABS

OP ART PORCELAIN COASTERS

BY JONATHAN ADLER

This embroidered round clutch features a skull clasp and a clock design adorned with crystals and pearls.

Clear crystal and deep-black obsidian bottle opener enveloped in 24-karat gold.

Modernist coasters crafted from high-fired porcelain with solid-gold accents. Set of 4.

$125

$78

CRYSTAL BRUTALIST CUFF

BY ALEXIS BITTAR

DIAMOND BAGUETTE RING

BY EF COLLECTION

This bracelet is made of gunmetal and 10-karat gold-tone plated brass with crystal accents.

14-karat white gold with genuine baguette diamonds.

$275

$2,565

$1,700 HAND ENGRAVED NOTECARDS

BY JULIE BELL Elegant hand-engraved copper and steel-stamped stationery from a British manufacturer. Set of 8.

$35 CORKCICLE AIR

BY CORKCICLE The all-in-one solution for perfect wine every time.

This device aerates red or white wine to the ideal temperature as you pour.

CRISP CHAMPAGNE AND FRENCH CADE LAVENDER CANDLES BY VOLUSPA Fragrant candles in petite decorative tins.

$15

$18

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

www.noma.org

25

SEPTEMBER – DECEMBER, 2018 • EVENTS AT NOMA BY DATE

CALENDAR

YOGA IN THE GARDEN

TAI CHI

DOCENT-GUIDED TOURS

SCULPTURE GARDEN TOURS

Every Saturday at 8 a.m. in the Besthoff Sculpture Garden

Every Monday at 6 p.m. in NOMA’s Great Hall

Join us for guided tours of the collection daily at 1 p.m.

Saturdays and Mondays at noon in October and November.

SATURDAY, SEPTEMBER 1 10 a.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

12 p.m.

WEDNESDAY, SEPTEMBER 5 12 p.m. NOONTIME TALK

Teaching Beyond Doctrine:

Painting and Calligraphy by

Zen Masters with Abbot

Richard Collins, New Orleans

Zen Temple

FRIDAY, SEPTEMBER 7 COMMUNITY NIGHT AT NOMA

Free Admission, 5–9 p.m.

5 p.m.

ART ON THE SPOT

5:30 p.m. MUSIC Lynn Drury

PINT-SIZED TOUR Changing Course (for kids 5-11)

6 p.m.

#EVERYDAYNEWORLEANS Round Table

6:15 & 7 p.m. GUIDED TOURS

Changing Course 7:45 p.m. TEEN TOUR

Changing Course

10 a.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

STUDIO KIDS! STORYQUEST

WEDNESDAY, SEPTEMBER 12 12 p.m. NOONTIME TALK

Changing Course

with Curator Katie Pfohl 1:30 p.m. NOMA BOOK CLUB

DISCUSSION

The Lost City of Z: A Tale of

Deadly Obsession in the Amazon

by David Grann

FRIDAY, SEPTEMBER 14 11:30 a.m. NOMA BOOK CLUB

DISCUSSION

The Lost City of Z: A Tale of

Deadly Obsession in the Amazon

by David Grann 5 p.m.

ART ON THE SPOT

5:30 p.m. MUSIC Dr. Jee Yeoun Ko:

Celebrating 300 Years of Cello 6 p.m.

GALLERY TALK Changing Course with Curator Allison Young

6:30 p.m. CREATE LATE

Drawing from Observation 7 p.m.

ARTS & LETTERS Author Anne Boyd Rioux in Conversation with Susan Larson

7:15 p.m. ARTIST PERSPECTIVE

Skylar Fein on Changing Course

NOONTIME TALK Past Present Future: Building Photography at NOMA with Curator Russell Lord

FRIDAY, SEPTEMBER 21 5 p.m.

ART ON THE SPOT

5:30 p.m. MUSIC Neptune Steel

Orchestra of Louisiana 6 p.m.

GALLERY TALK NOMA’s new Decorative Arts Wing with Curator Mel Buchanan

7 p.m.

FILM Spring, Summer, Fall, Winter, and Spring (2003)

SATURDAY, SEPTEMBER 22 10 a.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

STUDIO KIDS!

11 a.m.

STORYQUEST

WEDNESDAY, SEPTEMBER 26 12 p.m.

SATURDAY, SEPTEMBER 8

11 a.m.

26

WEDNESDAY, SEPTEMBER 19

10 a.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

2 p.m.

WEST AFRICAN CINEMA SERIES Sembene! (2015)

FRIDAY, OCTOBER 5 NOONTIME TALK Lina Iris Viktor: A Haven. A Hell.

A Dream Deferred with Artist Lina Viktor

5:30 p.m. MUSIC DJ Chinua 6:30 p.m. SMALL TALK Lina Iris Viktor: A Haven. A Hell.

A Dream Deferred with Artist Lina Viktor

CREATE LATE Drawing with a Brush

7 p.m.

FILM Ghost Dog (1999)

SATURDAY, OCTOBER 6 10 a.m.

WEDNESDAY, OCTOBER 24

12 p.m. NOONTIME TALK Lina Iris Viktor: A Haven. A Hell.

A Dream Deferred with Curator Allison Young

1:30 p.m. NOMA BOOK CLUB Michelangelo and the Pope’s Ceiling by Ross King

FRIDAY, OCTOBER 12 6 p.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

10 a.m. - 4 p.m. JAPAN FEST

See page 27.

ART COMES TO LIFE: SCULPTURES IN SONG A roaming concert in the Besthoff Sculpture Garden presented by the New Orleans Opera Association

WEDNESDAY, OCTOBER 31 12 p.m.

10 a.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

STUDIO KIDS!

11 a.m.

STORYQUEST

2 p.m.

WEST AFRICAN CINEMA SERIES Green White Green (2017)

WEDNESDAY, OCTOBER 17 12 p.m.

NOONTIME TALK Past Present Future: Building Photography at NOMA with Curator Russell Lord

FRIDAY, OCTOBER 19 5 p.m.

ART ON THE SPOT

5:30 p.m. MUSIC Blato Zlato 6:30 p.m. NOLA 4 Women and NOMA present EXTRAORDINARY WOMEN AND THE SHAPING OF A MODERN MUSEUM 7:30 p.m. SMALL TALK

Ear to the Ground

with Curator Katie Pfohl 8 p.m.

SMALL TALK The Work of Mildred Thompson with Melissa Messina

8:30 p.m. SMALL TALK

Lina Iris Viktor with

Curator Allison Young

12 p.m.

MINDFULNESS CLASS with Dr. Jayashree Rao

10 a.m.

STUDIO KIDS!

11 a.m.

STORYQUEST

TUESDAY, OCTOBER 23 11:30 a.m. NOMA BOOK CLUB Michelangelo and the Pope’s Ceiling by Ross King 12 p.m.

NOONTIME TALK Teaching Beyond Doctrine: Painting and Calligraphy by Zen Masters with Curator Lisa Rotondo-McCord

NOONTIME TALK Louisiana Furnishings with Philippe Halbert

5 – 8 p.m. ART ON THE SPOT 5:30 p.m. MUSIC

Russell Welch Hot Quartet 6:30 p.m. LECTURE and GALLERY

TOUR with Curator Vanessa

Schmid, introducing

The Orléans Collection

CREATE LATE Printmaking

SATURDAY, NOVEMBER 3 10 a.m.

ZAZEN MEDIATION in the Sculpture Garden

10:30 a.m. ADULT ART STUDIOS

Cyanotype Workshop with

Robert Schaefer 11 a.m.

STORYQUEST

2 p.m.

FRENCH CONNECTIONS FILM SERIES A Little Chaos (2014)

WEDNESDAY, NOVEMBER 7 7 p.m.

BEYOND BAROQUE: LES ARTS MUSICAUX A concert presented by the Musical Arts Society of New Orleans

FRIDAY, NOVEMBER 9 12 p.m.

SATURDAY, OCTOBER 20 10 a.m.

NOONTIME TALK The Orléans Collection with Curator Vanessa Schmid

FRIDAY, NOVEMBER 2

SATURDAY, OCTOBER 13

NOONTIME TALK Decorative Arts with Curator Mel Buchanan

SATURDAY, SEPTEMBER 29

12 p.m.

WEDNESDAY, OCTOBER 10

NOMA BOOK CLUB Curatorial Program with Vanessa Schmid, Senior Research Curator for European Art

SATURDAY, NOVEMBER 10 10 a.m.

STUDIO KIDS!

2 p.m.

WEST AFRICAN CINEMA SERIES Pray the Devil Back to Hell (2008)

WEDNESDAY, NOVEMBER 14 12 p.m.

NOONTIME TALK The Orléans Collection with Curatorial Fellow Kelsey Brosnan

1:30 p.m. NOMA BOOK CLUB Madame de Pompadour

by Nancy Mitford

New Orleans Museum of Art | NOMA Magazine

JAPAN FEST SATURDAY, OCTOBER 6 10 – 4 P.M. $5 | free for NOMA members, teens, and children 6 and under Organized by NOMA, the Consulate General of Japan in Nashville and the Japan Club in New Orleans, Japan Fest is the largest celebration of Japanese culture in the Gulf South. It’s a day to sample Japanese cuisine and enjoy traditional dance groups, martial arts demonstrations, tours of our Japanese art collection, fashion shows, and much more.

AN EDIBLE FEAST SUNDAY, DECEMBER 9 | 7 P.M. Reservations required. $75 members | $90 nonmembers

7:30 p.m. | Tuesdays, Wednesdays, Thursdays, Sundays $33 for adults, $25 for NOMA members Saturdays | $38 for adults, $28 for NOMA members NOLA Project guest director Joanna Russo leads the regional premiere of The Revolutionists, an all-female production, featuring four beautiful, bold women, who lose their heads in this girl-powered comedy set during the French Revolution’s Reign of Terror. This dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world. It’s a true story. Or total fiction. Or a play about a play. Or a raucous resurrection…that ends in a song and a scaffold.

Join us for a decadent evening of art and edibles. A private curatorled gallery tour of The Orléans Collection will be followed by a champagne reception, featuring delicacies from New Orleans’s leading pastry chefs. During the reception, Susan Pinkard, culinary scholar and author of A Revolution in Taste: The Rise of French Cuisine, 1800-1650, will discuss the history of desserts and champagne in early modern France.

Email education@noma.org for more information.

TICKETS: www.nolaproject.com | (504) 302-9117

THURSDAY, NOVEMBER 15

SATURDAY, NOVEMBER 24

WEDNESDAY, DECEMBER 5

11:30 a.m. NOMA BOOK CLUB Madame de Pompadour

by Nancy Mitford

10:30 a.m. BABY ARTSPLAY!

12 p.m.

FRIDAY, NOVEMBER 16 5 p.m.

ART ON THE SPOT

6 p.m.

GALLERY TOUR The Orléans Collection with Curator Vanessa Schmid

OPERA ON TAP with the New Orleans Opera Association

7:30 p.m. LECTURE and BOOK LAUNCH City of a Million Dreams: A History of New Orleans at Year 300 with Author Jason Berry

SATURDAY, NOVEMBER 17 10 a.m.

STUDIO KIDS!

ZAZEN MEDIATION in the Sculpture Garden

10:30 a.m. BABY ARTSPLAY! 11 a.m.

STORYQUEST

2 p.m.

FRENCH CONNECTIONS FILM SERIES The Death of Louis XIV (2016)

www.noma.org

2 p.m.

FRENCH CONNECTIONS FILM SERIES The Royal Exchange (2017)

WEDNESDAY, NOVEMBER 28 12 p.m.

NOONTIME TALK Past, Present, Future with Curator Russell Lord

THURSDAY, NOVEMBER 29 6 p.m.

LECTURE Champs-Elysées: Building Paris, Building New Orleans with Joan Dejean, University of Pennsylvania

NOONTIME TALK The Orléans Collection with Curator Vanessa Schmid

SATURDAY, DECEMBER 15 10 a.m.

11 a.m.

SATURDAY, DECEMBER 8 10 a.m.

STUDIO KIDS!

10:30 a.m. BABY ARTSPLAY! 2 p.m.

3 p.m.

SATURDAY, DECEMBER 1 10:30 a.m. BABY ARTSPLAY!

LECTURE AND EXHIBITION CATALOG LAUNCH Artist Lina Viktor in conversation with Renée Mussai, Curator and Head of Archives, Autograph ABP, London

STORYQUEST

WEDNESDAY, DECEMBER 19 12 p.m.

WEST AFRICAN CINEMA SERIES Borders (2017)

SUNDAY, DECEMBER 9

STUDIO KIDS!

10:30 a.m. BABY ARTSPLAY!

NOONTIME TALK The Orléans Collection with Curatorial Fellow Kelsey Brosnan

SATURDAY, DECEMBER 22 10:30 a.m. BABY ARTSPLAY!

FRIDAY, DECEMBER 28 12 p.m.

NOONTIME TALK The Orléans Collection with Curator Vanessa Schmid

AN EDIBLE FEAST (see inset)

11 a.m.

STORYQUEST

7 p.m.

2 p.m.

FRENCH CONNECTIONS FILM SERIES Dangerous Liaisons (1988)

WEDNESDAY, DECEMBER 12 12 p.m. NOONTIME TALK Lina Iris Viktor: A Haven. A Hell.

A Dream Deferred with Curator Allison Young

27

SEPTEMBER – DECEMBER, 2018 • FILM

CALENDAR

WEST AFRICAN CINEMA SERIES FEATURING RECENT AWARD-WINNING FILMS FROM BURKINA FASO, NIGERIA, SENEGAL, AND THE UNITED STATES, THE WEST AFRICAN CINEMA SERIES IS PRESENTED IN CONJUNCTION WITH THE EXHIBITION LINA IRIS VIKTOR: A HAVEN. A HELL. A DREAM DEFERRED.

Sat., Sept. 29 | 2 p.m.

Sat., Oct. 13 | 2 p.m.

Sat., Nov. 10 | 2 p.m.

Sat., Dec. 8 | 2 p.m.

SEMBENE!

GREEN WHITE GREEN

PRAY THE DEVIL BACK TO HELL

BORDERS (FRONTIÈRES)

NR, 2008; 1 hr. 12 min.

Four strangers travel across West Africa by bus, experiencing both the scenic beauty and dangers of the long journey from Bamako, Mali, to Lagos, Nigeria.

(Burkina Faso)

NR, 2015; 1 hr. 29 min.

Explores the life and career of Ousmane Sembène, the “father of African cinema,” who blended styles to create films that challenged existing power structures and promoted new visions of the African continent. (Senegal)

NR, 2017; 1 hr. 42 min.

A touching comedy about three Nigerian teenagers who set out to make a movie on Nigerian history before heading off to college. (Nigeria)

Gripping account of a group of women who demanded peace for Liberia, a nation torn apart by a decadeslong civil war. (USA)

NR, 2017; 1 hr. 30 min.

French with English subtitles.

French Connections Travel through time to 18th-century France with films exploring life among the aristocracy.

This series, presented in conjunction with the exhibition The Orléans Collection, takes place Saturday afternoons in November and December.

Sat., Nov. 3 | 2 p.m.

Sat., Nov. 17 | 2 p.m.

Sat., Nov. 24 | 2 p.m.

Sat., Dec. 1 | 2 p.m.

A Little Chaos

The Death of Louis XIV (La mort de Louis XIV)

The Royal Exchange (L’Echange des Princesses)

Dangerous Liaisons

R, 2014; 1 hr. 52 min.

Two talented landscape artists become romantically entangled while building a garden for King Louis XIV’s palace at Versailles.

NR, 2016; 1 hr. 55 min.

Upon returning from a hunting expedition in August 1715, King Louis XIV feels a pain in his leg.

The film traces the king’s last days.

NR, 2017; 1 hr. 40 min.

In 1721, French Regent Philippe II, Duc d’Orléans offers to marry his own daughter to the heir apparent to the Spanish throne.

French with English subtitles.

R, 1988; 1 hr. 59 min.

This portrait of the 18th-century French aristocracy focuses on a scheming widow and her manipulative ex-lover, who make a bet regarding the corruption of a recently married woman.

French with English subtitles.

28

New Orleans Museum of Art | NOMA Magazine

PARTIES WITH A PURPOSE

LOVE IN THE GARDEN PRESENTED BY HANCOCK WHITNEY Chaired by Elizabeth Grimes, Christine LeBlanc, and Mimi Schlesinger, NOMA’s annual fall soiree takes place in the Sydney and Walda Besthoff Sculpture Garden, and will honor artists John Alexander, Katrina Andry, Luis Cruz Azaceta, and L. Kasimu Harris. Sample cuisine from more than 60 restaurants and imbibe in the LOVE COCKTAIL CHALLENGE, presented by Sazerac New Orleans.

ENTERTAINMENT BY | THE BOOGIE MEN | STORYVILLE STOMPERS | DJ OTTO

TO PURCHASE TICKETS OR TO BECOME A SPONSOR: 504.658.4121 | LOVE@NOMA.ORG | noma.org/event/love-garden-2018

This fall NOMA supporters will gather for the ever-popular LOVE in the Garden, presented by Hancock Whitney, and the Odyssey Ball, in partnership with IBERIABANK. Organized each year by the NOMA Volunteer Committee, these events are among the most important sources of revenue for the museum, contributing more than $800,000 annually to NOMA’s programs. In addition to enjoying a night of dining and dancing, event supporters are also providing art supplies for preKindergarten students, bringing a museum experience to community centers and schools through the NOMA+ mobile museum, and supporting the development of new exhibitions for visitors from around the world to appreciate. Donors to NOMA fundraisers make an impact at the museum all year long, enhancing the caliber of programming offered to over 290,000 visitors and community members long after the events are over.

SOURCES OF OPERATING SUPPORT NOMA’s fundraisers like LOVE in the Garden and Odyssey are critically important to generating funds to support all that NOMA does—from groundbreaking exhibitions to engaging educational programs.

14%

BENEFIT EVENTS

19%

MEMBERSHIP

November 10, 2018 Chaired by Robyn and Andrew Schwarz, Allison and Ben Tiller, Nancy and Franco Valobra, the 52nd annual gala event will celebrate and enhance the New Orleans Museum of Art in an evening of unparalleled elegance. Don’t miss a spectacular evening featuring inventive cuisine by Hyatt Regency New Orleans and 1718 Events, with surprising activations and inspired dance and musical performances curated by Élan Artists. A silent auction featuring one-of-a-kind art, trips, jewelry, and more, raises funds to support NOMA’s nationally-recognized exhibitions and educational programs.

TO PURCHASE TICKETS OR TO BECOME A SPONSOR:

29%

ENDOWMENT INCOME

9% ADMISSIONS 8% ANNUAL FUND 8% PRIVATE EVENTS 6% MUSEUM STORE 3% GOVERNMENT GRANTS 3% MISC. SUPPORT & REVENUE 2% EDUCATION PROGRAMS

504.658.4121 | ODYSSEY@NOMA.ORG | noma.org/event/odyssey-2018 Join the conversation! NOMA’s Arts & Letters series welcomes authors, poets, journalists, playwrights, and literary scholars to the museum for public conversations that reflect on literature at the intersection of arts and culture. This program is free with museum admission thanks to support from the Patrick F. Taylor Foundation. www.noma.org

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CALENDAR HIGHLIGHTS • SEPTEMBER – DECEMBER, 2018

CALENDAR

FAMILY

ENTERTAINMENT

LECTURES AND ARTISTS PERSPECTIVES

ART ON THE SPOT FRIDAYS | 5 – 8 P.M. SEPTEMBER 7, 14, 21 OCTOBER 5, 19 NOVEMBER 2, 16 Children and adults alike can join an artist-teacher in creating a work of art.

STUDIO KIDS!

SATURDAYS | 10 A.M. - 12 P.M. SEPTEMBER 8, 22 | OCTOBER 13, 20 NOVEMBER 10, 17 | DECEMBER 8, 15 Students ages 5 to 10 explore art made by diverse cultures as inspiration for art projects. Each class features different media. Register in advance: $25/$30 per class for NOMA member/ nonmember. Call 504.658.4128 or email education@noma.org to register.

STORYQUEST

SATURDAYS | 11 A.M. SEPTEMBER 8, 22 | OCTOBER 13, 20 NOVEMBER 3, 17 | DECEMBER 1, 15 Professional authors, actors, and artists bring the world of children’s literature to life in this in-gallery family program designed for kids aged 2–7.

Funded by the Patrick F. Taylor Foundation.

FRIDAY, SEPTEMBER 7 | 6 P.M. #EverydayNewOrleans Round Table 5 – 9 P.M. LAST ADMISSION AT 8:30 P.M.

START YOUR WEEKEND OFF RIGHT AT THE NEW ORLEANS MUSEUM OF ART! Friday Nights at NOMA features live music, art-making activities, and a full line-up of changing programs, including gallery tours and talks with artists, authors, curators, and culture connectors, film screenings, and dance performances.

Check out noma.org/events for the full line up. Museum admission applies | Free for NOMA members, teens, and children six and under.

SEPTEMBER 7 COMMUNITY NIGHT FREE ADMISSION with music by Lynn Drury SEPTEMBER 14 with music by Dr. Jee Yeoun Ko, Celebrating 300 Years of Cello SEPTEMBER 21 with music by Neptune Steel Orchestra OCTOBER 5 with music by DJ Chinua

BABY ARTSPLAY!

SATURDAYS | 10:30 a.m.

NOVEMBER 17 – DECEMBER 22 Instill a love of art at a young age through a guided, hands-on gallery experience.

Young Audiences Wolf Trap teaching artists will present a series of six workshops for caregivers and children ages 0-3. Funded by The Helis Foundation.

Space is limited. Register today at www.yabap.eventbrite.com.

Educators can choose from a selection of theme-based school group tours led by knowledgeable, engaging docents. Guided tours are available Wednesday, Thursday, and Friday mornings beginning October 1.

Admission is FREE for scheduled school groups, including students, teachers, and one adult chaperone per 10 students. Two weeks notice is required for guided tours, 24 hours notice is required for self-guided groups. Visit noma.org/grouptours or call 504.658.4100 to learn more.

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7 P.M. Arts & Letters: Anne Boyd Rioux in conversation with Susan Larson 7:15 P.M. Artist Perspective Skylar Fein on Changing Course FRIDAY, NOVEMBER 2 Introducing The Orléans Collection A lecture and gallery tour with Curator Vanessa Schmid FRIDAY, NOVEMBER 16 | 7:30 P.M. Lecture, Film, and Book Launch City of a Million Dreams: New Orleans at Year 300 with author Jason Berry THURSDAY, NOVEMBER 29 | 6 P.M. Lecture Champs-Elysées: Building Paris, Building New Orleans with Joan Dejean, University of Pennsylvania SUNDAY, DECEMBER 9 | 3 P.M. Lecture and Exhibition Catalogue Launch Artist Lina Iris Viktor in conversation with Renée Mussai, Curator and Head of Archives, Autograph ABP, London

OCTOBER 19 with music by Blato Zlato NOVEMBER 2 with music by Russell Welch Hot Quartet

WORKSHOP

NOVEMBER 16 with Opera on Tap by the New Orleans Opera Association

SATURDAY, NOVEMBER 3 10:30 A.M. – 3:30 P.M. Seeing Blue: A Cyanotype Workshop with Photographer Robert A. Schaefer

ART COMES TO LIFE: SCULPTURES IN SONG SUNDAY, OCTOBER 14 | 6 P.M.

SCHEDULE YOUR SCHOOL FIELD TRIP

FRIDAY, SEPTEMBER 14

FREE AND OPEN TO THE PUBLIC Join us in the Besthoff Sculpture Garden for a roaming concert featuring twelve statues and music from Pygmalion, presented by the New Orleans Opera Association.

Join us for an exploration of the history and methods of the cyanotype process with Robert A. Schaefer, Jr., a teacher for the Penumbra Foundation’s Center for Alternative Photography in New York.

This workshop begins with an overview of the camera-less photographic process, from its roots in the midnineteenth century to the present.

Participants will then create their own cyanotypes. Lunch and all needed supplies will be provided. Email education@noma.org for more information.

NOMA Members $65 Nonmembers $80

New Orleans Museum of Art | NOMA Magazine

Kogan Gengei, Japanese, 1747-1821, Procession of Monks, Ink on paper, Museum Purchase, 90.42

Margaret Bourke-White, Chrysler Corporation, 1932, Gelatin silver print, Promised Bequest of Tina Freeman

Del Hall, Self Portrait # 1, 1962, Archival inkjet print, Gift of the artist, 2017.42

Lina Iris Viktor, Work in progress from the series A Haven. A Hell. A Dream Deferred., 2017-18, 24-karat gold, acrylic, print on paper, Courtesy the Artist and Mariane Ibrahim Gallery

Carracci, Ludovico, The Dream of Saint Catherine of Alexandria, circa 1593, Oil on canvas, Washington, DC, National Gallery of Art, Samuel H. Kress Collection, 1952.5.59, Courtesy National Gallery of Art, Washington

Teaching Beyond Doctrine: Painting and Calligraphy

by Zen Masters

Past Present Future: Building Photography at the New Orleans Museum of Art

Best Seat in the House: Photographs by Del Hall

Lina Iris Viktor: A Haven. A Hell.

A Dream Deferred.

The Orléans Collection

THROUGH JANUARY 20, 2019

SEPTEMBER 7, 2018 — JANUARY 6, 2019

SEPTEMBER 7, 2018 — JANUARY 6, 2019

OCTOBER 5, 2018 — JANUARY 6, 2019

OCTOBER 5, 2018 — JANUARY 27, 2019

REPRESENT: LOUISIANA ABSTRACTION FROM THE NEW ORLEANS MUSEUM OF ART Non-representational. Non-objective.

Non-figurative. Concrete. Pure. There are as many terms for abstraction as there are approaches to this style of art. Represent: Louisiana Abstraction from the New Orleans Museum of Art , a traveling exhibition on view at the St. Tammany Art Association in Covington, Louisiana, from October 13 through November 27, 2018, will explore the diverse styles and techniques of abstract art that emerged and flourished in the twentieth century.

The exhibition will include the work of renowned Louisiana artists from NOMA’s permanent collection, including Fritz Bultman, John Clemmer, George Dunbar, Robert Gordy, Ida Kohlmeyer, Paul Ninas, and Pat Trivigno.

Perspective and illusion, the reproduction of visual space and reality, were foundational elements in Western art from the Renaissance in the late fourteenth century through the late nineteenth century. The emergence of new philosophies and technologies led to new approaches to art making. What was the role of the artist following the development of photographic processes that could capture visual reality? What was the role of art in the age of highly individual, inward-looking psychoanalytic methods? Artistic investigations led to impressionism, fauvism, cubism, suprematism, constructivism, surrealism, abstract expressionism, and geometric abstraction. Visual reality was obscured, rearranged, exchanged, or forsaken for emotional reality or materiality.

CALENDAR HIGHLIGHTS • SEPTEMBER – DECEMBER, 2018

NEW ORLEANS MUSEUM OF ART EXHIBITION CALENDAR

Pat Trivigno, Green Rite, 1966-1967, Oil on canvas, 72 x 54 in., The Muriel Bultman Francis Collection, © Courtesy of Eva L. Trivigno, 86.307

The St. Tammany Art Association is located at 320 North Columbia Street in downtown Covington. Curator Anne C. B. Roberts will deliver a gallery talk on Saturday, October 6, at 6 pm for a patron preview party. Saturday, October 13 marks Covington’s Fall for Art festival and the exhibition will be open from 6 to 9 p.m. Visit sttammanyartassociation.org for more information.

www.noma.org

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2018 BOARD OF TRUSTEES

ACCREDITATION

Michael J. Siegel, President

Thomas F. Reese

Janice Parmelee, First Vice-President

Jolie Shelton

Stephanie Feoli, Vice-President

Susu Stall

Michael Smith, Vice-President

Frank Stewart

Elizabeth Monaghan, Secretary

Catherine Burns Tremaine

Lynes R. (Poco) Sloss, Treasurer

Melanee Gaudin Usdin

Robert Hinckley, At-Large

Brent Wood

James J. (Jimmy) Reiss, Jr. At-Large

The Honorable Mayor LaToya Cantrell

Rob Steeg, At-Large Julie Livaudais George, Immediate Past President

Joe Giarrusso, New Orleans City Council Member Anne Redd, NVC Chairman

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

New Orleans Museum of Art

Sydney J. Besthoff III Suzanne Thomas

NATIONAL TRUSTEES

EDITOR

David Johnson

Joseph Baillio

ART DIRECTOR

Mrs. Carmel (Babette) Cohen

Mary Degnan

Herschel L. Abbott, Jr.

Mrs. Mason (Kim) Granger

Jay Batt

STAFF PHOTOGRAPHERS

Jerry Heymann

Gayle M. Benson

Herbert Kaufman, M.D.

Roman Alohkin Sesthasak Boonchai

Elizabeth Boone

Mrs. James (Cherye) Pierce

EDITORIAL INTERN

MEMBERS

Caroline Calhoun

Mrs. Billie Milam Weisman

Deniz Sidi

Henry Coaxum Scott Cowen Leonard A. Davis Margo DuBos Tim L. Fields Penny Francis Tony Gelderman Dathel Coleman Georges Adrea D. Heebe Marshall Hevron Hunter G. Hill Joseph Jaeger, Jr. David Kelso Kenya LeNoir Messer Louis J. Lupin Robert E. Smith Lupo Cammie Mayer Juli Miller Hart Brenda Moffitt Howard Osofsky J. Stephen Perry

HONOR ARY LIFE MEMBERS Mrs. Edgar L. (Leah) Chase, Jr. Prescott N. Dunbar S. Stewart Farnet Sandra Draughn Freeman Kurt A. Gitter, M.D. Mrs. Erik (Barbara) Johnsen Richard W. Levy, M.D. Mr. J. Thomas Lewis Mrs. J. Frederick (Beverley) Muller Mrs. Robert (Jeri) Nims Mrs. Charles S. (Banana) Reily, Jr. R. Randolph Richmond, Jr. Harry C. Stahel Mrs. Harold H. (Matilda) Stream Mrs. James L. (Jean) Taylor Mrs. John N. (Joel) Weinstock

NOMA Magazine (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124 © 2018, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

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.

COMING IN MARCH 2019 Keith Sonnier: Until Today, opening March 14, will be the first comprehensive museum survey for Keith Sonnier, a pioneering figure in conceptual, postminimal, video and performance art of the late 1960s.

The exhibition includes over twenty key artworks and installations by the Louisiana-born artist created between 1969 and 2018, including rarely exhibited works in sound, satin, light, radio waves, and bamboo that demonstrate Sonnier’s interest in the way architecture, light, and form commingle to shape experience and human communication. Organized by the Parrish Art Museum, this exhibition will be accompanied by a catalogue with essays by curator Jeffrey Grove and NOMA’s Katie Pfohl.

RIGHT Keith Sonnier, SHMOO—O.G.V., 2013, Neon tubing, acrylic, aluminum, electrical wire, and transformer, 131 x 92 1⁄2 x 4, Courtesy of the artist and Pace Gallery, New York

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New Orleans Museum of Art | NOMA Magazine

www.noma.org

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COZY UP IN THE MUSEUM SHOP KIDS’ CORNER

Families with small children visiting NOMA will find a special reading nook in the Museum Shop. Furnished with pint-sized couches, cushions, and toy animals, the space is the perfect place to bond over the joy of reading. The shop features ideal gifts for the youngest art lovers in your life.

noma.org/shop | 504.658.4116