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Newcomb Art Gallery Tulane University

Fall 2011


As the weather turns cooler, and we look forward to the festivities of the holiday season, the Newcomb Art Gallery has many reasons to celebrate. I am most pleased to announce that we have been awarded four prestigious national grants this quarter. These include $50,000 for contemporary exhibitions in 2012-13 from The Andy Warhol Foundation for the Visual Arts; $100,000 from Baltimore’s Stockman Family Foundation for a collections conservation treatment and survey and new cases for our growing Newcomb Pottery collection; and $34,000 from the National Endowment for the Arts and $100,000 from the Henry Luce Foundation American Art Program, both for the exhibition: Women, Art and Social Change: the Newcomb Pottery Enterprise, to open January 2013. Plans are also underway for our fifteenth anniversary gala planned for April 13, 2012 at the St. Charles Avenue home of Sybil and Blair Favrot. At this lavish affair, we will not only celebrate a landmark year for the gallery but also honor our founders and major supporters over the years. It is inspiring to reflect that what began as the vision of a small group of committed Newcomb alumnae has, in very a short period of time, become a key institution in the New Orleans and Gulf South arts community. To this end, we mounted five well-received exhibitions, added more than 100 works of Newcomb Pottery to our permanent art collection (an all time record), and acquired additional works to the Tulane University Art Collection in the last year. We have also continued our strong educational outreach programs with lectures, workshops, and school and community tours. Such programs were increased through efforts of the Tulane University faculty committee ICAVC (Interdisciplinary Committee for Arts and Visual Culture). With generous funding from Joyce Frank Menschel, the committee began a series of lectures and educational programs in the spring that worked to connect students, faculty, and departments across disciplines with the gallery’s exhibitions and programs. Continuing to enhance the Newcomb Art Gallery facility, we recently remodeled our entrance with a new admissions desk and, with financial support from Robert C. Cudd III and Carol Downes Cudd, added a state-of-the-art security system. Board member Ann Strub generously hosted a party in the spring to revive the gallery’s volunteer program. Thirty persons attended, and many have assisted us with various tasks critical to our operations.

Cover. Joyce Scott, Inkisi #2, 2011.

I wish all of you a very special holiday season and hope that you will join us in for our fifteenth anniversary gala as well as at the many other exciting exhibitions and programs we have planned for 2012! CHARLES M. LOVELL Director



PROSPECT.2 NICK CAVE JOYCE J. SCOTT through January 29, 2012

As part of the international

contemporary art biennial Prospect.2 New Orleans, the Newcomb Art Gallery presents the work of fabric sculptor and dancer Nick Cave and bead and glass artist Joyce Scott. The shows opened to the public on October 22, 2011 and runs through January 29, 2012. Prospect New Orleans founding director Dan Cameron observes that Cave and Scott “fall squarely within a history of figurative art, and work with forms and materials traditionally associated with applied crafts, rather than so-called ‘high art.’” Nice Cave’s whimsical full-body Soundsuits were initially constructed from twigs, but more recent examples incorporate a broad range of materials such as feathers, silk flowers, sequins, and metal toys. In Joyce Scott’s intricately constructed figures, beadwork, glass, and fabric, speak to her African American and Native American ancestry. Cameron also links the artists through their shared sources of inspiration. He comments, “They each draw abundantly from African-American traditions of narrative performance and vernacular expression, similarly found in the Mardi Gras Indian traditions of New Orleans.” Indeed, the extraordinary array of shapes and poses of Cave’s forms link the artist, like that of a Mardi Gras Indian Big Chief, to a shamanistic role within society. Developed as an extension of his training and experience as a dancer, his Soundsuits are so named for the noise

Nick Cave, Soundsuit, 2006. Private Collection, Courtesy Jack Shainman Gallery. Photo James Prinz.

they emit while worn, evoking both indigenous ceremonial performance and theatrical costuming. Scott’s work reveals the influences of three generations of family storytellers as well as contemporary feminist discourses. The artist frequently comments upon controversial issues of gender and race with works bearing titles such as Aunt Jemima Takes a Stand and Sexecution. For Prospect.2, Scott has installed a larger-than-life-size figure in a tree just outside the gallery. The artist explains, “I like flipping the script, trying to be meaningful in unexpected territory.” Exhibition funding has been provided in part by Susan Brennan, Tulane University, and Newcomb College Institute. The gallery is also hosting the Prospect.2 lecture series. Talks are held on Wednesdays at 7:30 pm in the Woldenberg Art Center’s Freeman Auditorium and are free and open to the public. Dates and speakers for the remaining talks in the five part series are Pawel Wojtasik on December 14, Luke DuBois on January 11, and Alexis Rockman on January 25.




In 1960, in an effort to generate interest Hung Liu, From the Field, 2008, oil on wood panel.


Concurrent with Prospect.2, the gallery presents Off the Beaten Path: Violence, Women & Art, featuring international artists’ explorations of the dimensions of gendered-based violence. Premised on the visionary potential in art, the works present a myriad of responses derived from individual experiences and cultural points of view. Works from the exhibition are also on view at Tulane’s Lavin-Bernick Center and New Orleans Center for Creative Arts. The Newcomb Art Gallery features works by Louise Bourgeois, Hung Liu, and Miwa Yanagi, among notable others. On the evening of October 27, in conjunction with the annual “Take Back the Night” event, participating artist Susan Plum gave a performarance in Tulane’s LavinBernick Center titled Luz y Solidaridad in recognition of the missing women and girls of Juarez, Mexico. Jim Dine, Double Dose of Color (09-307, 307A), Two panel, 38-color lithographs printed on white Arches, Edition 16, Collaborating printer, Bill Lagattuta.


in lithography and make it accessible to artists, June Wayne founded Tamarind Lithography Workshop, Inc., in Albuquerque, New Mexico. Half a century later, Touchstones: Fabulous at Fifty/Celebrating Excellence in Fine Art Lithography presents a retrospective look at the production and noted artists who have made Tamarind one of the United States’ great independent print workshops. Curated by John Mulvany and organized by The University of New Mexico Art Museum, Albuquerque, the exhibition includes sixty-one important works by artists such as Josef Albers, Robert Colescott, Roy DeForest, Leon Golub, Louise Nevelson, Ed Ruscha, Sam Francis, Willie Cole, and Kiki Smith. Showcasing the broad aesthetic capabilities of lithography, Tamarind Touchstones demonstrates the diversity of the artists who have embraced lithography and their increased facility and comfort with the medium.

The exhibition was funded in part by a grant from the National Endowment for the Arts and through the generous support of Carol Downes Cudd & Robert C. Cudd III.

PATRICIA CRONIN: ALL IS NOT LOST April 25 - June 30, 2012

Featuring two major series of work from 2002 to 2009: Harriet Hosmer: Lost and Found and Memorial to a Marriage the exhibition will unite Cronin’s work as it intersects ideas of memory, the recovery and writing of women’s history, and contemporary discourses about gay and lesbian representation. With funding provided by The Andy Warhol Foundation for the Visual Arts, the gallery will publish an exhibition catalogue featuring essays by Alexander Nemerov, Vincent Scully Professor of the History of Art at Yale University, and Helen Molesworth, Chief Curator at the Institute of Contemporary Art, Boston. Harriet Hosmer: Lost and Found presents watercolors illustrating the work of Harriet Hosmer, the nineteenth-century American expatriate sculptor. Hosmer defied expected roles for female artists of her day and achieved an uncommon level of success. Today, however, she is remembered only by a relatively small group of specialists. Unveiled in 2002, Memorial to a Marriage depicts the artist and her partner, the artist Deborah Kass, in a loving embrace. The figurative monument is carved in Carrara marble and designed in the manner of a nineteenth-century mortuary sculpture. By utilizing twenty-first century technologies in stone carving, Cronin updates historically traditional forms with contemporary social issues. Cronin’s work has been included in numerous museum exhibitions including

Patricia Cronin, Medusa, 1854, 2006, watercolor on paper.

Yale University Art Gallery, Brooklyn Museum, McNay Art Museum, Atlanta Contemporary Art Center, Weatherspoon Art Museum, Station Museum of Contemporary Art. International museum shows include Museo d’Arte Contemporanea di Roma in Italy, the Cobra Museum, Amsterdam, and Gallery of Modern Art in Glasgow, Scotland. She is Professor of Art at Brooklyn College of The City University of New York. She lives and works in New York.

Patricia Cronin, Memorial to a Marriage, 2002, Carrara marble.



The Newcomb Art Gallery will celebrate its fifteenth anniversary in grand style on the evening of Friday, April 13, 2012. Guests will enjoy epicurean food catered by Ralph Brennan, silent and live auctions with an array of one-of-a-kind items, and the mellifluous music of a harp-led quartet. Sponsored in part by IBERIABANK, the event will be held at the St. Charles Avenue estate of gallery board member and event co-chair Sybil Favrot. Featured in The Majesty of St. Charles Avenue, the home was built in 1932 for Harry T. Howard in the English Regency style with Virginia Tidewater influences. The estate grounds, included in Gardens of New Orleans: Exquisite Excess, will provide a beautiful backdrop for the event with an abundance of gardenias, azaleas, crepe myrtles, and southern magnolias. Covering nearly a square block, the gardens were designed by Tulane alumnus Richard Koch, also responsible for the botantical gardens at City Park. Joining Favot as event co-chair is fellow board member Carol Cudd. The two Newcomb alumnae promise that it will be a memorable evening that celebrates not only a banner year for the gallery but also the rich artistic legacy of Newcomb College. As part of the event, the gallery will pay tribute to its major supporters over the last fifteen years. These include The Woldenberg Foundation, Mignon Faget, Stephen Goldring, Caroline Woldenberg Halpern, Moise S. Steeg, Jr., Robert and Joyce Frank Menshel Family Foundation, and the Family of Montine McDaniel Freeman. Significant funding has also come from Rosa Freeman Keller, Harriett Tolar Jung, Arthur Louis Jung Jr., Franรงois Billion Richardson, the Zemurray Foundation, Sandra Draughn Freeman, Eugenie Jones Huger, Sydney and Walda Besthoff Foundation, Richard W. Freeman, Jr., Rudolf M. Flasdick MD, Entergy Corporation, Eugenie and Joseph Jones Family Foundation, Julie Hogue McCollam, Andy Warhol Foundation for the Visual Arts, Edward G. Schlieder Educational Foundation, and Horace W. Goldsmith Foundation. We are also grateful for the ongoing support of our named endowments: John F. Clemmer Fund, Elizabeth Jane Moody Fund, Elise Levy Steiner Fund, Jane Whipple Green Art Fund, Ernestine Bass Hopkins Endowed Fund, Evelyn Burton Shaddock Murray Art Fund, Ruth Dermody Sterling Art Fund, Evelyn Chumo Newcomb Pottery Fund, and the Carol Weiner Sandfield Art Fund. Please email gallery director Charles Lovell at for more information. Image: Exterior of The Howard House, currently owned by Blair and Sybil Favrot, photo by WYES.



Over the last twelve months, the Newcomb Art Collection has acquired more than one hundred pieces of Newcomb artwork--an all-time record for the gallery. Notable amongst the acquisitions is a vase by Marie de Hoa de LeBlanc. Measuring 15 1/4”, the piece is unlike other Newcomb works, which generally were smaller in scale. Executed in 1902, the vase features a finely crafted coxcomb motif, the first time that such a design has been found on Newcomb pottery. The year the piece was made, de LeBlanc was enrolled in Arthur Dow’s summer school in Ipswich, Massachusetts and attended lectures by Denman Ross at Harvard. In 1904, she won a silver medal at the Louisiana Purchase Exposition in St. Louis, Missouri. The gallery was able to acquire this

important piece through the generosity of Harriett Jung, Mignon Faget, Carol Cudd, Kay McArdle, and Susan Brennan. Other notable acquisitions include seventy-one pieces of pottery and metalwork from the estate of Carolyn Doan King Perkins through her husband, Mr. Clayton Perkins. Mrs. Harriet Tolar Jung (N ’40) donated fifteen pieces of Newcomb pottery, one of which is the cactus motif charger, decorated by Harriet Joor. Louise and Ted Martin donated a painting of City Park by Elizabeth Goelet Rogers, one of the first pottery decorators at the Pottery, in honor of Professor Emerita Jessie Poesch. Anne and King Milling gave three pieces of pottery to the collection – a bowl and pair of candlesticks decorated by Mrs. Milling’s cousin, Corinne Marie Chalaron. Through the continued support of the Mignon Faget Acquisition Fund, the Newcomb Art Collection has added eleven Newcomb art objects that were obtained at auction and through private sales. Important to the Collection was the purchase of a teasel motif vase decorated by Mary Williams Butler. In addition to the wealth of Newcomb arts and crafts received last year, the Gallery was the recipient of twenty-two photographs gifted from Richard and Elena Pollack. The artists represented in the acquisition include Marilyn Bridges, Ken Heyman, Joel Meyerowitz and Louis Stettner.

Plate with incised “Prickly Pear” cactus with blossoms motif, c. 1903. Harriet Joor, decorator; Joseph Meyer, potter.

Vase with painted, stylized teasel motif, c. 1901. Mary Williams Butler, decorator; Joseph Meyer, potter.

far left: Vase with incised “Cockscomb” motif, c. 1902. Marie deHoa LeBlanc, decorator; Joseph Meyer, potter.




he gallery’s giving program provides critical financial support toward the enhancment of exhibitions, collections, and educational programming. We are pleased to recognize the following individuals for their generous contributions.

Sustaining Donors Tupper Lampton Allen Virginia D. Amato Barbara & Mr. Wayne Amedee Baker, Donelson, Bearman, Caldwell & Berkowitz Ellen & Mr. MacNaughton Ball, Jr. Ann H. Barnett Laura R. Bass Raine Bedsole Barbara & Robert O. Begtrup Sherril & Mr. Emanuel V. Benjamin III Dorian M. Bennett Fay & Phelan A. Bright E. John Bullard III Basi & Michael Carbine Jane Mundt Casbarian Nancy Collins Cater Carol B. Cocke Marjorie & Scott S. Cowen Jolie Eisenberg Cummings Maria G. Daly Katherine DeMontluzin Mildred & George Denegre, Jr. Marilyn V. Dittman Karen Oser Edmunds Catherine & David F. Edwards Marcelle de Buys Ellis Beverly B. Erdreich Rebecca White Espach William A. Fagaly Nancy & Burton M. Fink Forensic Services, LLC Barbara Robins Friedman Anita Marie Garcia Emilie W. Garoutte Ellen I. Geheeb Greater New Orleans Foundation JoAnn Flom Greenberg


Laine B. Harper Michelle F. Heidelberg Jean and Saul A. Mintz Foundation Ellen J. Johnson Sally J. Kenney Catherine J. Kidd Martha McCarty Kimmerling Lester E. Kabacoff Family Foundation Belinda Ann Lacoste Melissa & Mr. Wesley W. Lake, Jr. Claudia Lawson Paul J. Leaman, Jr. Little Tokyo Restaurant Jacquelyn S. Lothschuetz Shirley Rabe Masinter Sancy Hawkins McCool Carter & Jay L. Molony Elizabeth S. Nalty Carolyn Q. Nelson Anne W. Normann Joy & Howard J. Osofsky Catherine D. Pierson R. Hunter Pierson, Jr. Jessie J. Poesch Mary Ferrell Reily Louise Reiss Rogas Melanie Milam Roth John M. Rowland Carol S. Rubenstein Howard H. Russell, Jr. Rosemary G. Ryan H. Britton Sanderford, Jr. Karen Keil Senter Kendall Shaw Lynn Henry G. Simon Alexandra Stafford L. Brady Steward Jon B. Strauss Anne Reily Sutherlin Walter J. Suthon III Ronald S. Swartz Sybil & D. Blair Favrot Family Fund Frank Talbott IV Audrey & Henry K. Threefoot, M.D. Margie & St. Denis J. Villere Susan F. Walker Elizabeth S. Wheeler Charles L. Whited, Jr. Jerome M. Winsberg Ari Zighelboim


Sadie Irvine Circle $1,000-2,499


he Ellsworth Woodward Society is the Newcomb Art Gallery’s most distinctive circle of membership. Woodward Society members recognize that the gallery’s continuing excellence depends on the same advocacy and support that Ellsworth Woodward himself brought to the establishment of the Newcomb Pottery. Giving levels are named for the Pottery’s most historically significant figures.

Mary Given Sheerer Circle $10,000 and above

The Andy Warhol Foundation for the Visual Arts, Inc. Carol Downes Cudd & Robert C. Cudd III Mignon Faget, Limited Harriett Tolar Jung Julie Hogue McCollam Clayton M. Perkins, Jr. Elena & Richard Pollack

Joseph Meyer Circle $5,000-9,999

Susan G. Brennan Georges Lurcy Charitable & Educational Trust The Japan Foundation, New York John M. McCollam Anne & R. King Milling, Sr. Dorothy Beckemeyer Skau Ann Cox Strub

The Azby Art Fund Martha & Richard R. Barnett, Sr. Stephanie Durant Eugenie and Joseph Jones Family Foundation Susan J. Gundlach & Mr. James O. Gundlach Harral Foundation Allison A. Kendrick J. Thomas Lewis Valerie & Mr. Adam Marcus Eva F. Martinez Josephine W. Nixon Northwestern Mutual Life Insurance Geraldine S. Wray

Patrons $500-999

Andrew Bevolo Sandra Draughn Freeman John Geiser III Miwako Hattori Jewish Endowment Foundation Mary Jo & Calvin M. Johnson, Jr. Norah & Charles M. Lovell Janet & David Rice Robert & Joyce Menschel Family Foundation Kate Sheerin Every effort has been made to correctly report all donors. Please contact the gallery to note any omissions.

Planned Giving


A bequest for the Newcomb Art Gallery allows you to leave a lasting legacy through an endowed fund for acquisitions, exhibitions, or other uses.

Alison Atkins Crowther Geoffrey J. Isles Kay McArdle Marion Andrus McCollam

For more information about how you can support the gallery through Tulane’s Planned Giving Program please contact Jackie Morton in the Office of Planned Gifts by phone at 504.314.7376 or 800.999.0181, or via email at jmorto@

Gertrude Roberts Smith Circle

Sake Cafe Uptown



The 3,000 pound marble statue arrives in a crate at the Tulane University Art Collection’s off-site facility.


love affair between Atala, the adoptive daughter of the Chief of the Muskogee and Chactas, from the enemy Natchez tribe. In addition, one of the pair of Arthur Silverman sculptures, in front of Weinmann Center for Comparative Law, also damanged during the storm, received conservation treatment and cleaning. Silverman attended Tulane University, receiving his B.S. in 1944 and his M.D. in 1947. He practiced urology for thirty years before becoming a sculptor. His works are primarily large public sculptures, cast in metal. This year increasing numbers of faculty and staff visited the Jefferson Davis offsite storage facility. Most recently, Tom Strider, Registrar of University Collections, gave a presentation on silkscreen prints to a class of Teresa Cole’s lithography students.

hree sculptures in the Tulane University Art Collection, submerged for weeks in the floodwaters of Hurricane Katrina, finally returned home after receiving conservation treatment in Chicago. Notable among the trio is Atala and Chactas, a neo-classic American sculpture created by Randolph Rogers in 1854. Arriving on campus in 1889 as a gift from Virginia Montgomery in honor of her husband, R.W. Montgomery, the 3,000 pound marble was inspired by an 1801 French novel by Francois Rene Chateaubriand. The book tells of a tragic

At far left, instructor Teresa Cole studies works by Robert Motherwell with Newcomb Art Department lithography students.

Historic preservationist Michelle Stanard supervises the cleaning of a sculpture by Arthur Silverman installed in front of Tulane’s law school.




he Newcomb Art Gallery’s membership program provides critical financial support and community involvement. Member contributions enhance gallery exhibitions, collections, and educational programming--all of which are offered to the community free of charge. Members receive invitations to exhibition openings, lectures, and other special events. Higher categories of membership offer additional benefits including special exhibition previews and private gallery tours. Members who join at the $100 level or greater will receive one of our newly designed enamel pins featuring the gallery’s logo and wordmark. Those who join at the $250 level will receive our newest benefit: a box of “The Flowers of Newcomb Pottery” notecards. The gallery pays tribute to the Newcomb Pottery and the rich creative legacy of the college through this collection of notecards, featuring stylized motifs of magnolias, caladiums, and other indigenous plants and flowers. Also at the $250 level and higher, are offered multiple one-day parking passes, which allow members to park in any unrestricted space on campus. This includes the large lots adjacent to the Woldenberg Art Center as well as along the road directly in front of the gallery. Additional benefits are listed on the enclosed membership brochure. We would also like to thank those of you who completed our online member and visitors survey. We received important feedback on topics including exhibitions, advertising, gallery hours, and member benefits. All of this data will be will be taken into consideration for future programming.

The six designs featured in the gallery’s newest membership benefit. Each set contains two cards of each design.


Symposium speakers discuss “Come Sunday” by Thomas Roma, featured far right. Other panelists, from left to right, were Stephen Hilger, Phillip Lopate, and Susan Kismaric.


the founders of Preservation Hall. Also present was Preservation Hall Creative Director Ben Jaffe who as a young boy grew up watching performances of many of the legendary musicians depicted in Friedlander’s work. The following day, Thomas Roma led a walk-through of his exhibition of images chronicling urban life as it is lived by his fellow residents of Brooklyn, New York— whether riding the elevated subway train, entering storefront synagogues, worshipping in small African-American churches, or waiting in the corridors of the borough’s criminal court. The exhibition allowed visitors to study prints of these subjects side by side and view the artist’s rare, limited edition handbound books.

In conjunction with the exhibition

Pictures for Books: Photographs by Thomas Roma, the gallery hosted a symposium about the creative process of making photography books on Wednesday, September 14. Aptly titled “Making Books,” the program featured noted American photographer Thomas Roma and Pictures for Books curator Susan Kismaric. Joining the conversation was Phillip Lopate, author and collaborator with Roma for the monograph On Three Pillars: Torah, Worship, and the Practice of Loving Kindness, The Synagogues of Brooklyn. Stephen Hilger, Assistant Professor, Photography, Newcomb Art Department, served as moderator. Immediately following the symposium the gallery hosted an exhibition reception featuring music performed by jazz students from NOCCA (New Orleans Center for Creative Arts). Attendees included Lee Friedlander whose works were featured in the companion exhibition Jazz People, which featured thirty-eight black and white photographs from the 1950s and 1960s drawn primarily from Tulane’s William Ransom Hogan Archive of New Orleans Jazz with additional images on loan from the collection of Allan and Sandra Jaffe,


Celebrated American photographer Lee Friedlander at the gallery’s exhibition reception on September 14.

NATIONAL ADVISORY BOARD Dorian Bennett, Secretary Susan Brennan, Treasurer Carol Cudd Prescott Dunbar Stephanie Durant William Fagaly Mignon Faget Sybil Favrot Sandra Freeman Board members Julie McCollam and Stephanie Richard Goula Durant. Geoffrey Isles Allison Kendrick member of the New Orleans arts Ray Manning community, and earlier this year was Joyce Menschel an honoree at the Contemporary Art Kay McArdle Center’s SweetArts event. An artist in Julie McCollam, Chair her own right, Aimée is also the curator Marion McCollam, Vice Chair of the Metairie Park Country Day School Andrée Moss Art Gallery. Her other activities include Aimée Farnet Siegel serving as Assistant Chair for the New Mimi Stafford Orleans Museum of Art’s 2010 Odyssey Ann Strub Ball and as Volunteer Coordinator for Tommy Westervelt Prospect.1 New Orleans. Richard Goula is the co-owner and founder of oil and gas company British he gallery is pleased to announce that Acadian Ltd. He splits his time between Thomas “Tommy” Westervelt, Andrée Lafayette and the French Quarter and Moss, Richard Goula, and Aimée Farnet serves on the board of directors of the Siegel have recently joined the Newcomb Musical Arts Society of New Orleans. He Art Gallery National Advisory Board. also breeds rare irises. A native New Orleanian, Tommy is an Executive Vice President and Senior HONORARY MEMBERS Private Banker with IberiaBank. He Yvette Jones serves on the Executive Committee of the Harriet Jung Louisiana Museum Foundation and as Françoise Richardson Treasurer for the Arts Council of New Kendall Shaw Orleans. He is a past President and Board Member of the Preservation EX-OFFICIOS Resource Center and a past Board Daniel Bozard Member of New Orleans Museum of Art. Carole Haber Andrée Keil Moss is a Newcomb Sally Kenney College alumna and has served on the Hannah Udell Newcomb and Tulane Alumni boards as well as the Tulane Associates Board. In TULANE ADMINISTRATION 2000 she was named Newcomb’s Service Scott S. Cowen, President and Loyalty Alumna, and in 2004 she Yvette Jones, Executive VP, University received the Tulane’s Volunteer of the Year Relations and Development Award. Andrée runs a family antiques Michael Bernstein, Senior VP, business, Keil’s Antiques, now in its 112th Academic Affairs and Provost year in the French Quarter. Carole Haber, Dean, School of Aimée Farnet Siegel is a leading Liberal Arts




JESSIE POESCH 1922 - 2011


he Newcomb Art Gallery mourns the loss of its longtime friend and supporter Dr. Jessie J. Poesch. The foremost scholar of the arts of the South, Jessie died on April 23, 2011 due to complications following surgery. Jessie was a pioneering historian of American art and architecture. Her scholarship was as broad in its time range, covering the pre-colonial period through the twentieth century, as it was in subject matter. After earning a Ph.D. from the University of Pennsylvania, Jessie came to New Orleans in 1963 to teach the History of Art at the Newcomb College Art Department of Tulane University, where she inspired and trained hundreds of students until her retirement in 1992. Among the numerous books is The Art of the Old South: Painting, Sculpture, Architecture and the Products of Craftsmen, 1560-1860, which remains the definitive survey of the work of early Southern artists, designers, and architects. Her interest in the art pottery of Newcomb College in New Orleans culminated in an exhibition and catalogue, Newcomb Pottery: An Enterprise for Southern Women, 18951940, in 1984. The book stands as a classic in decorative-arts monographs. It additionally sparked renewed appreciation for the now-famous Newcomb Pottery. Jessie continued as a productive scholar in her retirement, publishing an article on Will Henry Stevens in American Art Review and a catalogue for an exhibition on Stevens for the Spartanburg Art Museum, both in April 2011. In New Orleans, Jessie served on the boards of directors of the Louisiana


Jessie Poesch at the 2009 ÂĄSi Cuba! Patron Party.

Endowment for the Humanities, the Newcomb Art Gallery, the Louisiana Landmarks Society, the BeauregardKeyes House, Longue Vue House and Gardens, and the Gallier House Museum Foundation. She received numerous awards and honors for her work. In 1992, the Jessie J. Poesch Professorship in Art was established in her honor in Tulane’s Newcomb Art Department, Tulane University. That year Dr. Poesch was named Humanist of the Year by the Louisiana Endowment for the Humanities. In 2011 she was named a Fellow of the Society of Architectural Historians for her significant contributions to the field.



ewcomb College alumna Louise Reiss Rogas passed away on October 2, 2011 after suffering from a brain hemorrhage in April. After graduating from Newcomb with a degree in art, Louise moved to Washington, D.C. where she lived and worked throughout the 1950s. Louise returned to New Orleans in 1959 and began designing ball gowns, wedding dresses, and other couture attire for the St. Charles Avenue boutique Town and Country. She retired after spending nearly thirty years in the fashion business.

Louise and Tom Strider converse at the opening reception for Drawn from New Orleans, April 24, 2007.

From the Garden District home she shared with artist-husband Gene, Louise held salons with friends and neighbors to discuss books, art, and politics. Louise generously lent works from her collection for the 2007 exhibition Drawn from New Orleans: TwentiethCentury Works from Private Collections. Exhibition organizer and Registrar of University Art Collections Tom Strider noted, “With her lively wit and charm, Louise was a welcome presence in the gallery; she will be missed by many.”


Eugenie died on May 7, 2011 after a long illness. Holding a Bachelor of Arts from Newcomb and a Master of Liberal Arts from Tulane, she was an early supporter of the Newcomb Art Gallery. She also volunteered many hours for the New Orleans Museum of Art, the Contemporary Arts Center, the Ogden

Museum of Southern Art, the New Orleans Botanical Garden. She loved gardening and was President of the Garden Study Club of New Orleans. Local gallery owner Arthur Roger commented, “Eugenie had an extraordinary enthusiasm for the visual arts. She had a great eye for spotting talent and never shied from cutting edge work. Working in many different capacities, she was tireless in her dedication in anchoring and promoting the visual arts in New Orleans.”

Gallery Staff Beau Box, Visitor Services Teresa Parker Farris, Membership and Marketing Coordinator Charles M. Lovell, Director Sally Main, Senior Curator Thomas Strider, Registrar for University Collections

Staff Changes Beau Box, a 2011 graduate of Tulane’s School of Liberal Arts, joined the gallery staff in September. In his position, Beau provides information and assistance to gallery visitors while also ensuring the safekeeping of exhibited art works. The gallery was sad to say goodbye to Senior Education and Public Programs Coordinator Shelley Boles in July. She is now serving as the Associate Director at the Joan Mitchell Center on Bayou Road. Congratulations, Shelley!

Eugenie viewing works on paper at the opening reception for Drawn from New Orleans, April 24, 2007.


Gallery Hours & Information The gallery is open Tuesday - Friday, 10-5 and SaturdaySunday, 11-4. We are closed on Mondays. The Newcomb Art Gallery follows the Tulane University schedule and is closed between exhibitions and on major holidays. For the 2011 winter holidays, the gallery will be closed including Saturday, December 24 and Sunday, December 25 as well as Saturday, December 31 January 1. Admission is

Directions The Newcomb Art Gallery is located in the Woldenberg Art Center on the Tulane University uptown campus. From I-10 Baton Rouge, exit Carrollton Avenue. Go one mile, make a u-turn after crossing Claiborne Avenue, and then turn right onto Claiborne. Turn right on Broadway and left on Willow. Enter campus by taking the second right. From the Central Business District, go north on Claiborne. Turn left on Audubon Drive. After crossing Willow, Audubon becomes Newcomb Place going into campus. From the Central Business District via St. Charles Avenue, go north on St. Charles. Turn right on Broadway. Turn right on Willow. Take the second right on Newcomb Place.

Woldenberg Art Center Tulane University 6823 St. Charles Avenue New Orleans, LA 70118 p. 504.865.5328 | f. 504.865.5329

Parking & Accessibility On weekdays, metered parking is available in front of the Newcomb Art Gallery and in limited spaces across campus. Alternatively, parking passes may be purchased from the gallery or Tulane Traffic Office in the Diboll Complex. Street parking is available on Broadway and Audubon. On the weekend, parking is available throughout the Tulane University campus freeof-charge and no parking permit is needed.

2011 Newsletter