Arts Quarterly New Orleans Museum of Art
Spring 2015
DIRECTOR’S LETTER
Susan M. Taylor
The mission of the New Orleans Museum of Art, to create a vibrant center for the arts, underscores NOMA’s commitment to sharing its resources with the broadest possible public. As a teaching and learning institution, NOMA is dedicated to the arts and the communities it serves. Over the last year I have had the privilege of serving as president of the Association of Art Museum Directors (AAMD), an opportunity to think more broadly about art museums and their communities within the framework of the organization. Its 237 members from North American institutions fulfill missions of education and outreach. In January, Darren Walker, president of the Ford Foundation, spoke to the organization. The topic of his speech, “Open and Free: On Arts, Democracy and Inequality” is a powerful call to action that inspires institutions— large and small—to consider the role of the arts as a tool for social and cultural transformation. I hope you will take the time to read his remarks that can be found on the AAMD and Ford Foundation websites. In a city like New Orleans, where there are many challenges and many needs, the arts are celebrated and affirmed; yet there is always an opportunity to do more. This season our staff has been more dedicated than ever, presenting powerful exhibitions and dynamic programs for our diverse community. In this issue, you’ll read a conversation between Mel Buchanan, the RosaMary Curator for Decorative Arts and Design, and conservator Howard Sutcliffe, regarding the conservation process of the Butler-Greenwood Plantation parlor acquired by NOMA last spring. The parlor will be featured in the upcoming exhibition Louisiana Parlor: Antebellum Taste & Context. A more recent chapter of Louisiana history is a focus of our second summer exhibition. Featuring the work of six contemporary artists, Ten Years Gone explores their respective approaches to the passage of time, memory, and in the process, contextualizes the significance of the decade that has passed since Hurricane Katrina. This issue also contains the most recent assessment of our Mini Masters early learning program for three- and four-year-olds. The results are significant—integrating visual arts into children’s lives at an early age makes a profound difference in their critical thinking skills and their readiness for school. At a time where data-driven research is a critical assessment, this program offers an inspiring example of art’s impact on society’s youngest members. This is why we open our doors to opportunities that can enrich the entire community. NOMA now offers free admission for all teenagers, thanks to the Helis Foundation. This annual teen pass is available at the museum’s front desk. We hope that, by opening our doors wider, more teenagers will experience NOMA on their terms. Finally, this month kicks off a new venture for NOMA’s annual Odyssey Ball, presented by IBERIABANK and WDSU-TV. This year, Odyssey Chairs Robin Burgess and Terence Blanchard have created a schedule of events that support museum programs and initiatives. A jazz brunch and second line parade in April will launch this yearlong odyssey, with performances by Grammy Award winners Terence Blanchard and Poncho Sanchez. Timed to coincide with International Jazz Day, this event celebrates art and music, and welcomes spring and the festival season in New Orleans. I hope to see you there and throughout the spring season.
Susan M. Taylor The Montine McDaniel Freeman Director
CONTENTS
Spring 2015
FEATURE
MUSEUM
1 0 Ten Years Gone Six contemporary artists explore the passage of time, memory, and loss
INSPIRED BY NOMA
4 Margaret Archila EXHIBITIONS
5 Now on View: Self/Reflection 6 Now on View: Claude Monet’s Irises by the Pond
COLLECTIONS
7 Recent Acquisition: Martelé Ewers 8 Art Conservation in Progress: Parlor Furnishings from the Butler Greenwood Plantation
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Ten Years Gone
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Art Conservation in Progress
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Art in Bloom
New Artifact Apps
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COMMUNITY LEARN
14 Mini Masters Assessment Results Show Promise for the Future
SUPPORT
14 Slam New Orleans Brings Spoken Word to NOMA
16 NOMA Donors 18 Exhibitions, Festivals, and Events Make Impressions at NOMA
20 Isaac Delgado Memorial Award Honors Dr. Ralph Lupin VISIT
21 NOMA Fellows and Fellows Circle
15 NOMA Offers Free Admission for Teens
22 Odyssey Begins with a Jazz Brunch and Special Performance
15 Theater and Movies in the Besthoff Sculpture Garden
23 Dig Deeper into Art with New Artifact Apps 23 NOMA Celebrates the Isaac Delgado Society 24 Trustees
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Inspired by NOM A : M argaret A rchila
Margaret Archila and her husband Douglas Plymale have been members of NOMA since 2013, along with their children Taylor, Sofia, and Roan. Margaret spoke with Arts Quarterly and talked about why they come to NOMA, and how the museum inspires them and their family. What does the New Orleans Museum of Art mean to you and your family? NOMA is the hub we seek to enrich and educate ourselves in the vast and amazing world of art. Why do you choose to visit on Friday nights? Friday nights are our time to reconnect as a family in an easy and casual manner
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after a long, busy week. NOMA offers that fun setting, from the music to the people we see and visit with weekly. We enjoy exploring the new exhibitions and re-visiting the fantastic art the museum has to offer. We have also cultivated close relationships with a few of the NOMA staff that adds that extra personal touch to our weekly visits. Is there a particular collection of art, recent exhibition, or certain artist’s work at NOMA that has particularly resonated with your or one of your family members? Photorealism: The Sydney and Walda Besthoff Collection was a favorite of the children. They were mystified by the entire concept.
How do you think an art museum serves its community? An art museum gives a community a sense of ownership and proximity to art that may be otherwise unavailable. Art allows the community to admire and reflect on all the talent that is available for all to share and opens your soul to emotions that may not have been stirred without that art. What advice would you give to someone who may be intimidated by the museum experience, or who thinks a museum isn’t for them? I would strongly encourage anyone who doesn’t think art is for them to approach it as a cathartic experience, almost like you would approach meditation or yoga. Go with an open mind and let the art speak to you and only you.
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EXHIBITIONS
Self-Portrait, Paris, 1931, Jaroslav Rössler Czech, 1902-1990 Gelatin silver print, Museum purchase, 79.148 ©Sylva Vítová-Rösslerová
Now on V iew: Self/ R eflection “If we do not fashion for ourselves a picture of the world, we do not see ourselves either, who are the faithful reflections of that world. Only when mirrored in our picture of the world can we see ourselves in the round.” – Carl Jung, “Analytical Psychology and Weltanschauung” (1928) On view in A. Charlotte Mann and Joshua Mann Pailet Gallery, this exhibition presents a selection of works from the permanent collection by Brassaï, Jaroslav Rossler, Florence Henri, Clarence John Laughlin, and others that investigate, play with, and exploit reflections and mirror images in modern photography. The use of mirrors and reflections proliferated in modern photography between the world wars. This was a time of extensive philosophical self-reflection spurred by the growing interest in the field of psychology with Sigmund Freud and Carl Jung, and modern societies’
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struggle to remodel themselves after the ravages of World War I. Global anxiety, coupled with the desire to look inward, could have provoked artists’ obsession with the mirror. This practice was geographically and philosophically widespread. The depiction of reflections was seen throughout Europe, particularly in France, Germany, and Czechoslovakia, and in the United States. Artists from disparate backgrounds and ideologies adopted and adapted the technique to suit their goals, further revealing the depth of an underlying identity crisis. While some artists manipulated the photographic process using collage and montage, others represented in this show used the camera as a means of realistic documentation, optical illusion, or a combination of the two. The use of the mirrored surface is in keeping with László Moholy-Nagy’s “New Vision” aesthetic, which argued for the production of a photographic image,
rather than a reproduction. The camera was seen as an extension of the artist’s eye, but one that went beyond the human eye’s capability, able to capture limitless depths on a single plane. The photographic process and resulting photographs act as mirrors, capturing a specific scene and reflecting it back to the viewer. Including reflective surfaces within photographs created a world en abyme, a world that refers to itself within itself. Several artists took the opportunity to include reflections of themselves, and occasionally their cameras, further implicating their process. These works became examinations of the artist and his or her place in society, whether serious and formal like Florence Henri’s Selbsportrait (1928) or lighthearted and experimental like Jaroslav Rossler’s SelfPortrait, Paris (1931). Self/Reflection is on view in A. Charlotte Mann and Joshua Mann Pailet Gallery through August 9, 2015.
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EXHIBITIONS
Sixth-century Buddhist Art On View Don’t forget to view the latest focus gallery installation on the second floor! Paths to Enlightenment: Chinese Buddhist Art from the 6th Century is on view through the summer.
Now on view: Claude Monet ’s Ir ise s by the Pond Featuring one of Monet’s classic subjects, Irises by the Pond showcases the transcendent quality of Monet’s portrayal of nature and his transformative landscapes. The large canvas is displayed along other impressionist pieces from NOMA’s permanent collection, including works by Renoir, Pissarro, and Monet. The exhibition of Irises by the Pond in the impressionist galleries provides a broader view of the style of the period, the piece itself, and NOMA’s other works on display. Irises by the Pond conveys the impression of standing amongst flora bathed in sunlight. The large oil painting represents an exemplary work of Monet’s late career—a period marked by broad, expressive brushstrokes and
vibrant colors (perhaps a result of the artist falling victim to cataracts). The abstractly rendered subject of the work is a group of lavender irises growing next to the water’s edge in Monet’s beloved Giverny garden. Using a purposeful lack of perspective, large format, and tangible impasto, Monet successfully creates the illusion of being out of doors and thus, draws the viewer into his created environment. Along with the previously exhibited loan Degas’ Little Dancer Aged Fourteen, Monet’s Irises by the Pond is a reciprocal loan from the Virginia Museum of Fine Art in exchange for NOMA’s Portrait of Estelle Musson Degas arranging flowers, which is currently traveling with Van Gogh, Manet, and Matisse: The Art of the Flower.
Buddhist Votive Stele, China, Northern Qi period (550-577) Sandstone, Gift of Abby Rae Catlege, by exchange, 2014.39
Irises by the Pond, 1914-1917, Claude Monet (French, 1840-1926), oil on canvas, Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Williams Fund Photo: Katherine Wetzel © Virginia Museum of Fine Arts
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Arts Quarterly New Orleans Museum of Art
Collections
R ecent acquisition: Spectacular Silver M artelé Ewers by Gor h am Mfg. Company Figures of a long haired mermaid and Triton, Greek mythology’s “messenger of the sea,” form the dramatic handles of this pair of Gorham Martelé ewers. The New Orleans Museum of Art recently acquired these important American silver works of art thanks to the Jolie and Robert Shelton Fund. Martelé was the Gorham Manufacturing Company’s celebrated contribution to the modern art nouveau style. To appeal to turn-of-the-century changing artistic tastes, Gorham introduced a new line of “art silver” at the 1900 Paris Exposition Universelle. They evocatively named the hand-made silver “Martelé,” after the French verb “marteler” meaning “to hammer.” The Paris World’s Fair officials applauded the artistic achievement, awarding Gorham the coveted Grand Prix in metalwork. The committee awarded designer William Christmas Codman a gold medal for his work on Martelé, while Gorham’s president, Edward Holbrook, was made a Chevalier of the French Legion of Honor. Martelé silver is still considered America’s most significant contribution
to turn-of-the-century design and is highly coveted by collectors and museums. From their Providence, Rhode Island workshops, Gorham appealed to the ideals of the arts and crafts movement, which emphasized skilled handcraft. The surface of these ewers, like the best of Martelé, has a soft misty finish from the repeated motion of the silversmith’s hammer. Martelé also appealed to the sensual art nouveau aesthetic through sinuous lines of waves and plants, on this pair capturing the motion of a turbulent ocean with fluid ornament of crashing waves. A Gorham advertisement from 1902 highlights Martelé designs as allowing the maker his “fullest opportunity for
individual expression,” and the company carefully recorded his skilled labor. The March 1912 records for these ewers, marked YIU and YKY, indicate more than 400 hours to create the finished pair. David Wilmot, Gorham’s master chaser, contributed 100 hours to the ornamentation, using shaped hammers and punches to add subtle details like the waves, and the figure of Poseidon, Greek mythology’s “God of the Sea,” emerging with his trident. These hours of skilled craft, the silver quality, the heavy weight, and the bold art nouveau artistic statement made Martelé, then and now, one of America’s finest and most valued achievements in silver.
Pair of Martelé Ewers with Triton and Mermaid, 1912, Gorham Mfg Co. (American, Providence, RI, founded 1831), Made by David Wilmot, Designed by William C. Codman, Silver, 19.5 inches high, Marked YIU and YKY, Museum purchase, Jolie and Robert Shelton Fund
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Collections
A rt Conservation in Progress: Parlor Furnishings from the Butler- Greenwood Plantation
“Conservation is preserving original material. Restoration is taking what is left and making it look like new�
This spring the Lupin Galleries have become a temporary art conservation studio, where visitors can watch Howard Sutcliffe (River Region Costume and Textile Conservation) prepare Victorian parlor furnishings for display in Louisiana Parlor: Antebellum Taste & Context (June 26 - October 11, 2015). Mel Buchanan, RosaMary Curator of Decorative Arts, discusses the project with Howard. Mel Buchanan: We are thrilled to bring to NOMA these remarkable 19th-century furnishings. What were your first thoughts as a textiles conservator? Howard Sutcliffe: Considering its life and age, the furniture is in very good condition. So often the wood frame was considered the important part, and the
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upholstery was discarded or updated. Even within museums, original fabric was fair game to be replaced to make the furniture look pretty, or ironically to look more original. It is very rare to find Victorian furniture that is completely extant with no alterations at all. You bring up an excellent point about how the approach has changed. You and I have decided that we should not try to make the upholstery look as it was in 1860. What type of repairs are parts of responsible art conservation? We are basically preserving what is left. That is really the difference between art conservation and art restoration. Conservation is preserving original material. Restoration is taking what is left and making it look like new, which
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p h oto g r a p h y by ro m a n a lo k h in
can mean adding new materials. For this project, we are conserving materials and are committed to documenting our work and making it as reversible as possible. Even within minimal conservation there are methods conservators use to highlight aesthetics while repairing damage, like infilling losses or repairing holes using materials that are similar to the original. I operate by a “20 feet rule,” meaning that up close you should be able to tell what work I’ve done versus the original. From 20 feet away it blends together. On this project, there are areas where the silk brocade is abraded, like on the armchairs, or where the silk has been degraded by light. There we overlay the upholstery with a very fine nylon bobbinet. That net is stitched down to support and blend the surface of the fabric. Up close you can see the netting, but from farther back it camouflages damage below. How do you make the net blend in? I dye it myself to match the original fabric. I use a bobbinet that is made
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by only one factory in the UK that still uses the 19th-century machines. But it’s nylon, a 20th-century synthetic material, so it’s very easily dyed to any color. Can you describe some of the tools and techniques you’ve used on this project? The work is time-consuming, but the tools are basic. I use a vacuum cleaner that has a variable speed motor, so I can dial down the suction to just pull up the dirt without disrupting the weave structure. The vacuum has a goat hair brush, which is gentle but still sturdy. For inside pleats and crevices, I use wonderful sable hair brushes that I bought from a workshop in Kyoto. NOMA volunteers have been helping me to clean the rosewood frames by carefully removing the dust with distilled water on cotton swabs. What is so remarkable about this project is that my job comes down to simply cleaning, a lot and lot of cleaning.
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Ten Years Gone Six contemporary artists explore the passage of time, memory, and loss Timed to coincide with the tenth anniversary of Hurricane Katrina, Ten Years Gone features six contemporary artists—Willie Birch, Dawn Dedeaux, Isabelle Hayeur, Spring Hurlbut, Nicholas Nixon, and Christopher Saucedo—whose work engages with very broad themes: time, nature and culture, absence and presence, and life and death. Presented in the second floor Templeman Galleries, the Great Hall, and interspersed throughout a few other galleries, Ten Years Gone is an exhibition that creates a series of spaces and juxtapositions that offer a chance to reflect upon the larger issues that an anniversary of a catastrophic event engenders. Some events will never fade from the collective map of human memory. We ensure their eternal presence by returning to them again and again, publicly in exhibitions and memorials and privately in the solemn silence of our thoughts. Whether man-made or natural, these events loom large in our consciousness, often defining one community or culture and profoundly altering humanity’s course. Under the best circumstances, we learn from these moments and wisdom replaces folly or compassion takes the place of misunderstanding. But whatever the case, the future is never immediately certain: it is only with the passage of time that the way these events define us becomes clear. As the tenth anniversary of Hurricane Katrina approaches, the question of how that event defined New Orleans looms large. In the scope of this city’s existence, ten years is only a small crucible by which to measure the successes or failures of its recovery. This exhibition seeks to situate the significance of the past decade within a larger context of human endeavor and life experience. Willie Birch (American, b. 1942) In the wake of Hurricane Katrina, both the manmade and natural worlds were profoundly transformed. Many of these changes were large-scale and easily noticeable, but in terms of the natural world, even changes on the micro level had an impact on a macro scale. Willie Birch noticed that in his own backyard, hundreds of small mounds of packed mud began to appear, along with kinds of vegetation that had never existed on that plot of land. The mounds, small temporary dwellings produced by crawfish displaced by the changing ecosystem, became symbols of displacement for Birch, while the wildflowers seemed to represent resilience. Memorializing these temporary natural subjects, Birch cast the mounds as bronze sculptures, and created intricate drawings of the vegetation that take on a slightly menacing air, emphasizing encroachment or colonization. Displayed together in this exhibition, the crawfish dwelling sculptures and drawings of plant-life pose more general questions about the social components of community recoveries. Dawn DeDeaux (American, b. 1952) In her Water Markers project, DeDeaux embeds photographic images of water within tall polished acrylic slabs. The water line in each piece corresponds to a flood level in New Orleans after the levee breaches of Hurricane Katrina. Leaning against the gallery walls, the shadows of the translucent water images in the pieces are cast on the surfaces behind and around the solid monoliths, creating a play between the permanent and the momentary, between the palpable and the intangible.
Opposite page Airborne, 2008, Spring Hurlbut, Still from video, Image courtesy of the artist and Georgia Scherman Projects
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The Brown Sisters, New Canaan, Connecticut, 1975, Nicholas Nixon, © Nicholas Nixon, courtesy Fraenkel Gallery, San Francisco
In Ten Years Gone, DeDeaux’s Water Markers will be interspersed throughout the galleries, juxtaposed with artworks from different centuries and of different media in order to create a set of conversations that shift back and forth across time, embedding this contemporary artist’s reference to Katrina within a broader framework of human representation of landscape and life.
World Trade Center as a Cloud, No. 5, 2011, Christopher Saucedo, Linen pulp on cotton paper, Image courtesy of the artist
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Isabelle Hayeur (Canadian, b. 1969) Using a watertight encasement for her camera, Hayeur visually explores the turbid waters of industrial canals, and high traffic waterways. In her images, the line of the water’s surface becomes a place of tension, dividing nature and culture. The natural distortion that occurs when photographing through water produces a strange sense of scale, with small rocks, oyster shells, or underwater plant life often dwarfing the larger man-made structures above. Although each individual image is the product of several exposures that the artist carefully stitches together, the scenes are not fundamentally altered. Multiple exposures are required to create a faithful and detailed record of above and below that would be impossible in a single shot. Although the project began in Florida, she produced a number of the pictures included in this presentation while in residence at A Studio in the Woods, a Tulane program located on the West Bank of New Orleans. Spring Hurlbut (Canadian, b. 1952) In Hurlbut’s video piece, Airborne, the artist appears, silhouetted against a black background, and opens a container whose contents emerge like smoke and continue to drift and dissipate for several minutes. This process is repeated five times, prefaced each time by a person’s name or names, and presented slightly slower than actual time. The presence of personal identity at the beginning of each segment provides the first key to unlocking what each segment represents: the smoke-like substances
Arts Quarterly New Orleans Museum of Art
LEFT Etang 04, 2013, Isabelle Hayeur, Archival pigment print, 36 x 36 in. Image courtesy of the artist RIGHT Crawfish Dwelling, 2009, Willie Birch, Bronze, Image courtesy of Willie Birch and Arthur Roger Gallery
visible in the video are the cremated remains of deceased acquaintances, including the artist’s father. In combining the personal with the profound, the artist created a piece in which endings are re-staged as beginnings and the reductive finality of death is animated into a vibrant, and often very elegant, afterlife. Nicholas Nixon (American, b. 1947) In 1975, Nixon produced a single photograph of his wife, Bebe, and her three sisters. Unexpectedly, this event marked the beginning of a forty year project that now consists of forty individual photographs—one made each year—of the Brown sisters. Although each picture represents a marker of a passing year, it is the space between the pictures in which the lives are truly lived. It is this push and pull, between absence and presence, and the visible and the imagined, that gives this project its raw emotional power.
“Some events will never fade from the collective map of human memory... it is only with the passage of time that the way these events define us becomes clear.”
Christopher Saucedo (American, b. 1964) In Saucedo’s group of Floating World Trade Center images, the site of an international tragedy is represented as an almost ineffable presence, in tufts of white linen pulp pressed into the deep blue of a cotton paper. For Saucedo, the site is also extremely personal. His brother, a New York City Fireman, perished in the collapse of the towers. In each of these works, the iconic structures float with a weightlessness that eschews the physicality of the actual buildings. Instead they function as a visual form of memory, recognizable but intangible, bringing an all too real past into an eternal and surreal present. As Christopher Saucedo has said about these works: “I wanted the work to exist outside of time; it had to be both before and after September 11th.” Ten Years Gone will be on view from May 29 – September 7, 2015 in the Templeman Galleries and throughout the museum. Russell Lord, Freeman Family Curator of Photographs, Prints and Drawings
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LEARN
Mini M A sters A ssessment R esults SHow Promise for the Future Mini Masters is an arts-integrated early learning program for three and four year old students, organized by NOMA and several community parters. This program, which has grown from 32 students in 2013 to 113 now, has proven to develop an increased responsiveness to art in children. In a recent study, the students were interviewed at their school sites before and after the program. The interviews consisted of viewing and discussing a reproduction of a work of art from NOMA’s collection. All interviews were videotaped and transcribed, and the transcriptions were compiled into lists of nouns, adjectives, and verbs and compared for vocabulary usage. The transcriptions were also categorized into seven patterns of thought processes, or higher-order thinking skills. Mini Masters participants increased in length of interview and decreased in need for adult support. The children also used more complex vocabulary in their analysis of an art reproduction. The increase in interview length, decrease in adult prompting, and gains in
use and complexity of vocabulary concur with the findings of increased higher order thinking skills. “This program has tremendous potential for the field,” said NOMA Director Susan M. Taylor. “These results show that Mini Masters has the ability to make a powerful impact on the youngest members of society.” These evaluation outcomes suggest that the program’s goals are being met. The various components of Mini Masters (in-class lessons by a museum educator, multiple museum visits, teacher professional development, free family museum memberships, and a student art showcase) work together to effectively change developmental environments to support art engagement for preschoolers. Mini Masters is a community partnership with Andrew H. Wilson Charter School, Bayou District Foundation, Early Learning Focus Inc., Educare Learning Center, Kid’s Kingdom Academy, Kingsley House, and the Tulane University Teacher Preparation and Certification Program. The Mini Masters early childhood education program receives major support from the Ford Foundation. Additional support is provided by the Patrick F. Taylor Foundation, Chevron, and Capital One Bank.
Slam N ew Orleans Brings Spok en Word to NOM A April is National Poetry Month, and to celebrate NOMA and Slam New Orleans (SNO) are hosting a night of high-energy, animated poetry. A youth open mic poetry session starts the night, followed by a tworound slam. Slam New Orleans is a spoken word grass root initiative whose goal is to promote spoken word and slam poetry competitions to all ages, genders and races. Founded in 2008 by a group of local poets that believed that this medium of expression could save lives, and wanted New Orleans to be represented nationally, because they were not since hurricane Katrina in 2005. Each year Slam New Orleans organizes a team of adult poets, named Team S.N.O. to go to regional and national poetry competitions to represent the New Orleans poetry scene. Since its inception, Team S.N.O. has won three national poetry slam titles, placed second at the Southern Fried Poetry Slam in 2010 and 2012, and third place at Southwest Shoot Out Poetry Slam and 3rd at the National Poetry Slam 2014. Friday, April 17 Free with museum admission 6 p.m. | Youth Open Mic 7 p.m. | Poetry Slam Slam New Orleans poets: Mwende “FreeQuency” Katwiwa Akeem Martin Honey Sanna A Scribe Called Quess? Asia-Vinae “Preach” Palmer
Sa b ree H il l
VISIT
NOM A Offers Free
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A dmission for Teens
Kaila Dardar, teen volunteer at NOMA
All teenagers now receive free admission to NOMA! Thanks to generous support from The Helis Foundation, students ages 13-19 are invited to sign in at NOMA’s front desk and collect their Teen Pass to access everything in NOMA’s galleries at no charge. NOMA’s goal is to create more opportunities for young people to interact with and inform the life of the museum, providing as many teens as possible with access to meaningful arts experiences. Kaila Dardar has volunteered at NOMA for over a year, and while she loves the museum, she thinks that more teenagers would be willing to visit with free admission: “My friends would definitely take an interest. Money is often an issue when making plans, and not everyone is a Taylor Scholar who can get in for free.”
Museum experiences can have a life-changing impact on teens, yet cost is one of the main barriers to teen participation in the arts. Launching the Teen Pass program in 2015 is a first step toward being more accessible for New Orleans’ youth. The museum is an inspiring, safe place for teens to visit with friends. NOMA’s popular Friday Nights at NOMA series offers live music, film screenings, Movies in the Garden, gallery talks, and more. Additionally, the museum offers a variety of ways teens can get involved, including volunteer opportunities for community service hours. Teens can volunteer to help with special events such as the NOMA Egg Hunt, and for educational programs like Studio KIDS! and Summer Art Camp. In the future, NOMA plans to initiate a Teen Advisory Board, where teen art enthusiasts will collaborate with museum staff to develop programs that encourage their peers to get involved with the arts at NOMA. Chloe Bishop, another teen volunteer at NOMA, says she’ll tell her friends to take advantage of free admission and visit. “I think free admission is a great idea. A lot of times I don’t think people my age are aware of what kind of exhibitions are here at NOMA, and we’re always looking for something to do. The last time I took a good look around, the Photorealism exhibition was up, and my friend and I both thought it was really cool. So I’ll tell people, ‘oh, there’s this really cool exhibit, and it’s different than you think it will be’… Maybe I’ll take a selfie in the sculpture garden and say ‘hey, look how cool this is!’”
Don’t forget to tag @noma1910 in your Twitter and Instagram posts!
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The Sculpture Garden Becomes Sherwood Forest in New Spring Production This May, NOMA and The NOLA Project present a one-of-a-kind production of Robin Hood: Thief, Brigand in the Sydney and Walda Besthoff Sculpture Garden. For this brand new production of the age-old tale by playwright Andrew Vaught, the infinitely transformable garden now becomes the English Sherwood Forest where the famed thief and his band of merry men rob from the rich, give to the poor, and find themselves embroiled in the most dastardly escape plan imaginable! Opening May 6 $20 | Adults $14 | NOMA and NOLA Project Members, Students, Kids 7-17 children 6 and under not admitted
Movies in the Garden Highlights Steven Spielberg As the summer blockbuster season approaches, NOMA is featuring the director who has been given credit for starting the trend—Steven Spielberg. NOMA kicked off the series with Raiders of the Lost Ark on March 20. Winner of three Academy Awards and three Golden Globes, Steven Spielberg is one of the most popular directors of all time. Whether Spielberg is taking audiences on an adventure with The Goonies, moving them with Schindler’s List, or making them jump out of their seats with Jaws, his films have become classics. Bring your blankets and folding chairs and relax under the stars in the Sydney and Walda Besthoff Sculpture Garden. Food trucks and a cash bar will be available. Before the movie starts, enjoy live music and art activities. April 10 E.T: The Extra-Terrestrial May 8 Jurassic Park
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Lynne A. Burkart
Estate of Frances T. Kreihs
Wayne Amedee
Lee Ledbetter and Douglas Meffert
Capital One
Larry W. Anderson
Thomas B. Lemann
Margo and Clancy DuBos
R. Cary Bond and Henry M. Lambert
Dr. Edward Levy
First NBC Bank
Honorable Steven R. Bordner
Judith Young Oudt
Juli Miller Hart
E. John Bullard
Pixie and James Reiss
International-Matex Tank Terminals
Joseph and Sue Ellen Canizaro
Mr. and Mrs. Edward Renwick
Coya and Frank Levy
Mrs. Carmel (Babette) Cohen
John and Tania Messina
Joshua Mann Pailet
Lexus of New Orleans
Dr. and Mrs. Isidore Cohn Jr.
Anne and King Milling
Sheila and H. Britton Sanderford
Elizabeth and Willy Monaghan
Prescott N. Dunbar
James A. Mounger
Kitty and Stephen Sherrill
Pan-American Life Insurance Group
Lin Emery
Mrs. Charles S. Reily Jr
Phyllis M. Taylor
Peoples Health
William A. Fagaly
Arthur Roger
Regions Bank
Randy Fertel
Mr. and Mrs. Benjamin M. Rosen
$20,000-$49,999
Jolie and Robert Shelton
Lyn and John Fischbach
Brian Sands
Susan and Ralph Brennan
Dawn Wheelahan
Tim and Ashley Francis
Jolie and Robert Shelton
Minnie and Jimmy Coleman
Mr. and Mrs. Richard W. Freeman
Mrs. Frederick Stafford
Donna and Benjamin M. Rosen
Sandra D. Freeman
Nancy Stern
Whitney Bank
Mr. and Mrs. Stephen A. Hansel
Mercedes B. Whitecloud
$50,000 - $99,999 Chevron Estate of Albert and Rea Hendler The New Orleans Convention and Visitors Bureau
For additional information on exhibition sponsorship and program support, please contact Brooke Minto at (504) 658-4107 or bminto@noma.org. 16
For more information on the NOMA Business Council, please contact Gia Rabito at (504) 658-4129 or grabito@noma.org. Arts Quarterly New Orleans Museum of Art
nOMA CIRCLES
NOMA YOUNG FELLOWS Turns 1!
President’s Circle
Patron’s Circle
Mr. and Mrs. Sydney J. Besthoff III
Dr. Ronald G. Amedee and Dr. Elisabeth H. Rareshide
Mr. and Mrs. Ralph O. Brennan
Mr. Brent Barriere and Ms. Judy Barrasso Ms. Adrea D. Heebe and Mr. and Mrs. Alvin Baumer, Jr. Mr. Dominick A. Russo Jr. Dr. Siddharth K. Bhansali Mr. and Mrs. Charles B. Mayer Mr. and Mrs. Robert H. Boh Mrs. Robert Nims Ms. Dorothy Brennan Jolie and Robert Shelton Dr. and Mrs. Isidore Cohn Jr. Mr. and Mrs. Stephen C. Sherrill Mrs. Marjorie J. Colomb Mrs. Patrick F. Taylor Mr. Leonard A. Davis and Ms. Sharon Jacobs Mr. and Mrs. David F. Edwards
The Young Fellows, NOMA’s newest membership group for those ages 21-45 just turned one year old and is nearly 100 members strong! Recent member events include a private reception at Martine Chaisson Gallery for Young Fellow and artist Shelley Aucoin, a seated dinner party at Upperline Restaurant, and a walk-through of Mel Chin’s retrospective by the artist himself. Young Fellows also inaugurated the LOVE in the Garden cocktail competition in 2014. Taylor Arroyo-Tabin
Katie Kelly
Shelley Aucoin
Nicole Laan
Arianna Baseman
Mandie Landry
Timothy Bennett
Beth and Austin Lavin
Director’s Circle
Mr. and Mrs. James J. Frischhertz
Caitlin and Ryan Berni
Martine Chaisson Linares
Mr. and Mrs. Herschel L. Abbott Jr.
Mr. and Mrs. Edward N. George
Abhi Bhansali
Molly Loubiere
Mr. and Mrs. John D. Bertuzzi
Mr. and Mrs. Pres Kabacoff
Cody Brumfield
Celeste Marshall
Mr. and Mrs. Thomas B. Coleman
Mr. and Mrs. H. Merritt Lane III
Chad Bush
Marguerite Moisio
Mr. and Mrs. H. M. Favrot Jr.
Mr. and Mrs. Thomas B. Lemann
Ella Camburnbeck
Hattie Moll
Dr. Edward D. Levy Jr. Ms. Tina Freeman and Mr. Philip Woollam Mr. and Mrs. J. Thomas Lewis
Emily Carrere
Taylor Morgan
Mercedes Carswell
Nathaniel Novak
Mrs. Lawrence D. Garvey
Ms. Elizabeth Livingston
Aisha Champagne
Ainsley Nunez
Mr. Jerry Heymann
Mr. and Mrs. Paul J. Masinter
James and Monique Coleman
Susan Oakes
Mr. Robert Hinckley
Ms. Kay McArdle
Jaimme Collins
Lorena O’Neil and Max Vorhoff
Mrs. Charles S. Reily, Jr.
Mr. and Mrs. R. King Milling
Bridget Crane
Shira Pinsker
Mr. and Mrs. Benjamin M. Rosen
Mrs. Louise Moffett
Lauren Masur Davis
Molly Pittman
Mr. and Mrs. Brian A. Schneider
Mr. and Mrs. Michael D. Moffitt
Marie Louise De La Vergne
Margaret Archilla and Doug Plymale
Ms. Debra B. Shriver
Dr. and Mrs. Pavan Narra
Lauren Del Rio
Mary McCutchen Poitevent
Mr. and Mrs. Bruce L. Soltis
Dr. Howard and Dr. Joy D. Osofsky
Sarah Elizabeth Dewey
Alex Pomes
Mrs. Harold H. Stream Jr.
Mr. Joshua Pailet
Hallie Dietsch
Joey Rando
Mr. and Mrs. Robert S. Taylor
Dr. and Mrs. James F. Pierce
Genevieve Douglass
Matthew Roniger
Mr. and Mrs. Robert E. Thomas
Ms. Sally E. Richards
Angelique Dyer
Christina Samuels
Mr. and Mrs. James C. Roddy
Taylor Eichenwald
Laura Sandoval
Mr. and Mrs. David P. Schulingkamp
David Emond
Christina Sautter
Mr. and Mrs. Edward Shearer
Emily Engberg
Justin Shiels
Mr. and Mrs. Michael J. Siegel
Heather Ferdinand
Eric Smith
Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Jr.
Lauren Ferrand
Carol and Pierce Starr
Laura Glazer and Jonathan Levy
Justin Stone
Andree Gonsoulin
Hannah Thibodeaux
LaTesha Gonzales
Mark Thibodeaux
Colleen Gravley
Cat Todd
Will and Catherine Hales
Ashleigh and Andrew Tuozzolo
Tilman Hardy
Patrice Tyson
Denise and Mark Hasenkampf
Priya Velu
Caitlin Hayes
Catherine Walker
Nicole Hershey
Melissa Warren
Marshall Hevron
Erica Washington
Taylor Hill
Katherine Westerhold
Ashleigh Hollier
Sarah Whicker
Elliot Hutchinson
Amanda and Nathaniel Winstead
Lauren Jardell
Jenna Wittig
Evan Judge
Elizabeth Porter York and Bryant York
Ben Karp
Jie Zhu
Mrs. Frederick M. Stafford Dr. and Mrs. Richard L. Strub Mr. and Mrs. Stephen F. Stumpf Jr. Mr. and Mrs. James L. Taylor Ms. Catherine Burns Tremaine Mr. and Mrs. Steven W. Usdin Mr. and Mrs. Douglas Brent Wood
For more information or to join NOMA’s Circles, please contact Brooke Minto at (504) 658-4107 or bminto@noma.org. www.noma.org
For more information or to become a Young Fellow, please contact Molly Cobb at (504) 658-4127 or mcobb@noma.org. 17
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Ex hibitions , Festivals , and Events M a k e Impressions at NOM A 1. Josephine Sacabo and Russell Lord 2. Meg Turner, Josephine Sacabo, Alexandra Scott, Jenny Bagert 3. Hein Vanhee, Carlee Forbes, Bill Fagaly, Susan Cooksey, Robin Poynor 4. Hein Vanhee leads a gallery talk
NOMA kicked off the year with an exhibition of photographer Josephine Sacabo’s newest collection of work, Salutations, on January 23. On February 27, NOMA opened the doors to Kongo across the Waters, an exhibition that explores connections between the art and culture of the Kongo peoples of western Central Africa and African American art and culture in the United States. Exhibition curators Hein Vanhee, from the Royal Museum for Central Africa, Tervuren, Belgium, along with Susan Cooksey and Robin Poynor
of the Samuel P. Harn Museum at the University of Florida were present for the event and gave lively presentations on the exhibition. American photographer Jerry Uelsmann gave a talk for a full auditorium of NOMA visitors on March 11: “Alchemy + Angst @ 80.” The photographer, who also signed copies of his latest book Uelsmann Untitled: A Retrospective, spoke about the early years of his sixty-year career, his images and influences, and recent work.
5. Bollywood dancing at India Fest
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Arts Quarterly New Orleans Museum of Art
p h oto g r a p h y by r a l ei g h p. c o o p er a n d ro m a n a lo k h in
SUPPORT
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Art in Bloom, presented by IBERIABANK, was held on March 18-22. This year’s theme, “New Orleans by Design,” featured florists and designers from all over the city, as they showcased their best tablescapes and floral interpretations of works of art in NOMA’s galleries. Guests of the Patron and Preview Party on March 18 also enjoyed cuisine from some of New Orleans’ finest restaurants and caterers. The biannual India Fest returned this year on March 15. Over 2,000 visitors enjoyed Indian food, dancing,
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art, and demonstrations all day in the museum and Besthoff Sculpture Garden. Special thanks are given to the Indian Arts Circle of New Orleans on their partnership with NOMA. Josephine Sacabo: Salutations is generously underwritten by Donna and Benjamin M. Rosen.
6. Jerry Uelsmann 7. Susan M. Taylor, Art in Bloom Co-chair Betsy Laborde, Julie George, Art in Bloom Co-chair Catherine Favrot 8. Dathel Georges, Leslie Gottsegen 9. Back row, left to right: Michael Brown, Meghan Donelon, Margaret Beer, Randy Bryan; Front row, left to right: Andrew and Marilee Hovet, Tommy Westervelt, Kaylea and Hunter Hill 10. Joni and Thomas Diaz, Penny Francis
Kongo across the Waters is organized by the Harn Museum of Art at the University of Florida and the Royal Museum for Central Africa, Tervuren, Belgium. The New Orleans presentation of this exhibition is sponsored by the City of New Orleans, The New Orleans Convention and Visitors Bureau, Chevron and Whitney Bank. Additional support has been provided by Adams and Reese LLP and the Consulate General of the Kingdom of Belgium in Atlanta.
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SUPPORT
Isaac Delgado Memorial Award Honors Dr . R alph Lu pin individual whose long-term service, support and dedication to the museum sets precedents for our institution. This year’s honoree was the late Dr. Ralph Lupin. Lupin was a force in cultural, medical, civic and military activities in the Greater New Orleans community and in a variety of capacities at NOMA. In addition to being a NOMA trustee, he was also a dedicated physician and humanitarian, and earned the reputation of being a tireless volunteer and philanthropist for the city. Lupin and his late wife funded the Lupin Center for Decorative Arts
as part of NOMA’s 1993 expansion. In 2010, he was included in the centennial exhibition Great Collectors/Great Donors: The Making of the New Orleans Museum of Art, a presentation that celebrated the art collectors who made transformative gifts to NOMA. In addition to his collection of Japanese Imari porcelain, our honoree has also gifted exquisite examples of essential Lalique and Anglo-Irish cut glass, and his family foundation has been a longtime sponsor of NOMA’s fundraising events: Odyssey, Art in Bloom, and LOVE in the Garden.
b ru c e K e y es
The Fellows Dinner is NOMA’s annual opportunity to thank the most generous donors for their support over the past year. Nearly 200 Circles and Fellows members are responsible for contributing over $750,000 in unrestricted operating funds last year, which provided critical support to our exhibitions, public programs, and educational activities. Since 1975, the Director of the museum has had the privilege of announcing the Isaac Delgado Memorial Award each year at the Fellows Dinner. This honor is given to a distinguished
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1. Donna Perret Rosen and Sydney Besthoff III 2. Tim and Arnold Lupin 3. Phyllis Taylor, Anne Milling, Carroll Suggs 4. The Lupin Family
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Arts Quarterly New Orleans Museum of Art
NOMA Fellows and Fellows Circle Dr. and Mrs. Kenneth N. Adatto
Mr. and Mrs. Louis L. Frierson
Ms. Judith Y. Oudt
Mr. Alvin R. Albe, Jr.
Mr. and Mrs. Stephen Frischhertz
Dr. Sanford L. Pailet
Mr. Wayne F. Amedee
Mr. and Mrs. Gray S. Parker
Mrs. Jimi K. Andersen
Ms. Monica Frois and Ms. Eve Masinter
Mrs. H. W. Bailey
Dr. and Mrs. Harold A. Fuselier, Jr.
Ms. Janice Parmelee and Mr. Bill Hammack
Mr. and Mrs. F. Macnaughton Ball, Jr.
Ms. Anne Gauthier
Mr. and Mrs. Dick H. Piner, Jr.
Mrs. Howard T. Barnett
Dr. Kurt A. Gitter and Ms. Alice Rae Yelen
Mr. Peter A. Politzer
Ms. Kathy Grainger
Dr. and Mrs. Edward F. Renwick
Mr. and Mrs. John D. Gray
Mr. and Mrs. Robert R. Richmond, III
Ms. Roberta P. Bartee Mrs. Edward B. Benjamin Ms. Valerie Besthoff
Ms. Susan G. Talley and Ms. Virginia Besthoff and Mr. James C. Gulotta, Jr. Ms. Nancy Aronson Mr. and Mrs. James O. Gundlach Ms. Elizabeth Boh Dr. and Mrs. Stephen W. Hales Dr. and Mrs. L. Jay Bourgeois, III Mr. and Mrs. John W. Hall Mrs. B. Temple Brown, Jr. Mr. and Mrs. Frederick Heebe Mr. and Mrs. Perry S. Brown Mrs. S. Herbert Hirsch Judge and Mrs. Christopher Bruno Mrs. William H. Hodges Mr. E. John Bullard, III Mrs. Thomas Huber Ms. Pamela R. Burck Mr. and Mrs. Arthur W. Huguley, III Mr. Harold H. Burns Mrs. Marvin L. Jacobs Mr. and Mrs. Joseph C. Canizaro Mrs. E. James Kock, Jr. Mr. and Mrs. Carlo Capomazza di Mr. and Mrs. John P. Laborde Campolattaro Dr. and Mrs. W. Wayne Lake, Jr. Mr. James Carville and Ms. Mary Matalin Mr. Henry M. Lambert and Mr. and Mrs. Edgar L. Chase, III
Mr. R. Carey Bond
Mr. and Mrs. Charles W. Lane, III Mr. J. Scott Chotin, Jr. and Ms. Lorraine Myhal Mr. and Mrs. Jay M. Lapeyre, Jr. Mr. Stephen W. Clayton
Mr. and Mrs. John H. Lawrence
Mr. and Mrs. C. Clay Clifton, III
Mr. Paul J. Leaman, Jr.
Mrs. Marjorie J. Colomb
Master Lee H. Ledbetter
Mr. Howard Read and Mr. John Cheim
Ms. Patricia Welder Robinson Mr. Thomas P. W. Robinson Mr. Arthur Roger Mrs. Carol H. Rosen Mr. and Mrs. Paul S. Rosenblum, Sr. Mr. and Mrs. Louie J. Roussel, III Mr. and Mrs. Hallam L. Ruark Mrs. Basil J. Rusovich, Jr. Mr. and Mrs. William Ryan Ms. Courtney-Anne Sarpy Mr. and Mrs. Richard Schornstein, Jr. Mr. and Mrs. Chris Schramel Mr. and Mrs. Andrew A. Schwarz Dr. Milton W. Seiler Mr. and Mrs. William H. Shane, Jr. Mr. and Mrs. Lester Shapiro Mr. and Mrs. Mark Sheridan Ms. Marjorie Shushan Mrs. Joe D. Smith, Jr. Mr. and Mrs. Rodney R. Smith
Mr. Barry J. Cooper, Jr. and Mr. and Mrs. James M. Lewis Mr. Stuart H. Smith Mrs. E. Ralph Lupin
Mr. and Mrs. Geoffrey P. Snodgrass
Mr. and Mrs. Orlin Corey
Drs. Cris and Sarah Mandry
Mr. and Mrs. Andrew Ellender Stall
Mr. and Mrs. Charles B. Davis, III
Mr. and Mrs. Stephen D. Manshel
Mr. and Mrs. Charles I. Denechaud, III
Mrs. Walter F. Marcus, Jr.
Mr. and Mrs. George Denegre, Jr.
Mrs. Shirley Rabé Masinter
Dr. Nina Dhurandhar
Mr. and Mrs. Greg McCabe
Mr. and Mrs. Clancy DuBos
Ms. Marion Andrus McCollam
Mr. and Mrs. Prescott N. Dunbar
Mr. and Mrs. Michael McLoughlin Mr. George B. Dunbar and Ms. Shelley G. Middleberg and Mrs. Louisette Brown Ms. Carole Jacobson
Mr. and Mrs. Harry C. Stahel Mr. and Mrs. Robert M. Steeg Dr. and Mrs. Rodney Steiner Ms. Anne Reily Sutherlin Ms. Judith Swenson Mr. and Mrs. Hugh C. Uhalt Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. Jason P. Waguespack
Mr. and Mrs. R. Foster Duncan
Mr. and Mrs. William Monaghan
Mr. and Mrs. R. Preston Wailes
Mr. and Mrs. J. Kelly Duncan
Mrs. George R. Montgomery
Mr. and Mrs. Lester Wainer
Dr. V. J. DuRapau, Jr.
Dr. and Mrs. Lee Roy Morgan, Jr.
Mr. and Mrs. Hugo Wedemeyer
Mr. and Mrs. David F. Edwards
Ms. Mary Wheaton Morse
Dr. and Mrs. Rudolph F. Weichert III
Mr. and Mrs. Malcolm P. Ehrhardt
Mr. and Mrs. Walter B. Morton
Dr. and Mrs. Robert G. Weilbaecher
Ms. Allison Elsee
Mrs. Andrée K. Moss
Mr. and Mrs. Joseph H. Epstein, Jr.
Mr. and Mrs. Biff Motley
Ambassador and Mrs. John G. Weinmann
Mr. and Mrs. D. Blair Favrot
Ms. Bernadette Murray
Mr. and Mrs. Edward Feinman
Mr. and Mrs. W. D. Norman, Jr.
Mr. David Francis
Mrs. Robert P. Normann
Mr. and Mrs. Richard W. Freeman, Jr. Mrs. Sandra D. Freeman Mr. and Mrs. Richard S. Friedman Mrs. Lorraine Caffery Friedrichs
Dr. and Mrs. John L. Ochsner Mr. Roger H. Ogden Mrs. Richard E. O’Krepki
Mr. and Mrs. S. Rodger Wheaton, Jr. Mrs. Sara E. White Mrs. Nan S. Wier Mr. and Mrs. Casey F. Willems Mr. and Mrs. Robert J. A. Williams Mr. Robert E. Young and Mrs. Nell Nolan nam es in b o ld ARE fellows circle M em b ers
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SUPPORT
NOM A’s Odyssey Begins with a Ja z z Brunch and Special Performance
This year’s Odyssey presented by IBERIABANK and WDSU-TV kicks off on April 30: International Jazz Day and the first day of week two of the New Orleans Jazz and Heritage Festival. To celebrate the occasion, Grammy Awardwinners Terence Blanchard and Poncho Sanchez will perform a special concert at NOMA for Odyssey event sponsors. The morning begins with a jazz brunch and concert in NOMA’s Great Hall. After, Terence and Poncho will take their performance to the front steps of the museum, where they will perform for the public, free of charge. Then, the party moves down to the front gates of the New Orleans Jazz and Heritage Festival with a second line that will be simulcast live in Paris, the 2015 Global Host City for International Jazz Day! In anticipation of this event, Arts Quarterly spoke to Poncho Sanchez about his life, career, and what he loves about New Orleans. Arts Quarterly: We’re so excited for you to perform here. You have an incredible musical career that has spanned decades—when did you first get into music and start playing the conga drums? Poncho Sanchez: Well, I’m the youngest of eleven kids. We were born in Laredo, Texas, and in 1954 when I was three and a half years old we all moved to 22
Norwalk, California, which is a suburb of Los Angeles. There, my brothers and sisters caught the first wave of the “mambo cha-cha-cha” music that came from Cuba, Puerto Rico, New York, Los Angeles, San Francisco… places like that. They started going to Latin dances at the Hollywood Palladium here in Los Angeles. They were the first to get involved in this type of Cuban Latin Jazz music. None of my brothers and sisters are musicians, but they love to dance. And we loved the music that came from New Orleans. Believe me, they were as hip to that as to the mambo cha-cha-cha. It was a cool thing to grow up like that, because I used to hear the Johnny Otis band, and all the hits that came out of New Orleans in the fifties and sixties, like Fats Domino and all of that. So anyway, I started learning to play [music] little by little. I started learning to play the guitar for a minute, and then I went to join a band when I was a kid in 8th grade. It happened just like that—that weekend I was on stage with a band singing at a wedding. I liked the sounds, the rhythms… and then I got a conga drum. I’m self-taught, I taught myself to play the congas way back when. You played here for Jazz Fest a couple of years ago, after your record
with Terence Blanchard (Chano y Dizzy) came out. How did you two come to collaborate on that record? Aw man, Terence is like a brother, I love that guy. My manager said, “Hey Poncho, why don’t you do a Dizzy Gillespie/ Chano Pozo record,” because they’re the grandfathers of Latin Jazz. And I said yeah, because I’ve done a lot of their tunes through the times. They asked who I wanted to play trumpet on this record, because that person is basically playing the part of Dizzy Gillespie, and everybody’s name came up, along with Terence. We’d played with Terence before, and I’ve always loved his playing. We called him and he said, “Are you kidding me? Let’s do it!” That recording came out great, like I knew it would, and then we were booking shows, like that Jazz Fest gig, and we went all over and performed with Terence as our special guest. Now I miss him, man! I just talked to him the other day to follow up on a few things about [the Odyssey Jazz Brunch]. We’re gonna play in the museum, and then we’re gonna be on a float, and I don’t think we’ve ever played on a float before. It sounds like the performance is going to be a lot of fun! Oh yeah, it’s gonna be great, I know that. Terence said, “Poncho, just play celebration music, party music, the way you always do!” He said, “That’s why we called on you, because it has to be a party atmosphere, and we knew that if we called Poncho it’ll be a party!” [laughs] It’ll be a little different for us, because we play in concert halls or we play outdoors at big festivals, or smaller jazz clubs, but to play in a small parade on the way to the gates of Jazz Fest, that we have never done! For more information or to become an Odyssey sponsor, please contact Kristen Jochem at (504) 658-4121 or kjochem@noma.org.
Arts Quarterly New Orleans Museum of Art
NOM A Celebrates The Isaac Delgado Society
Mockup of the Marie Antoinette Artifact App. Final design may differ.
Dig Deeper into A rt with N ew A rtifact A pps This May, NOMA will launch brand new interactive technology in the galleries to enhance the museum experience: Artifact Apps that will offer in-depth exploration of objects in NOMA’s collection. NOMA has worked with CultureConnect, a New-Orleans based technology company, to develop these content exploration applications that will turn NOMA’s galleries into engaging learning environments that children, students, and families can enjoy. The first Artifact App that will be in the galleries this spring will highlight Elisabeth Vigee-Lebrun’s Portrait of Marie Antoinette, Queen of France, a landmark of NOMA’s permanent collection. Visitors will be able to access the application via a tablet kiosk near the painting, and click on contentrich “hotspots” that will offer deeper interpretation details of the work. Visitors can view supplementary images, text, and audio about the historical and social context of the era and the artist’s life and creative influences. They also can view related works in the permanent
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collection, and even present their own perspective in a “Share Your Thoughts” interactive survey. Teachers and educators may use the Artifact Apps as curriculum-aligned educational tools to enhance museum field trips and reinforce objectives. In June, visitors also can use Artifact Apps in conjunction with the exhibition A Louisiana Parlor: Antebellum Taste and Context. This installation of a recently acquired Victorian parlor from the ButlerGreenwood Plantation will present unique opportunities to connect with and educate children and adults alike. The parlor installation features a corresponding app where visitors can explore individual objects on display. Artifact Apps at NOMA are supported in part by grants from the Times-Picayune Classroom Enrichment Program Fund, the Samuel H. Kress Foundation, and the Eugenie and Joseph Jones Family Foundation.
NOMA’s Isaac Delgado Society is a group of generous donors who have chosen to support the future of NOMA by leaving a charitable gift in their estate plans. This spring, NOMA is celebrating the Isaac Delgado Society with two special events. Co-chairs Director Emeritus E. John Bullard and past board president Sandra Freeman have spearheaded this initiative, along with Honorary Chairs Bruce and Margaret Soltis. On Thursday, April 16, there will be a cocktail reception for current Isaac Delgado Society members at the home of NOMA Director Susan M. Taylor. Prospective members and all who are interested in learning more about the Isaac Delgado Society are invited to a presentation and information session in NOMA’s Stern Auditorium on Saturday, April 18 at 11 a.m. A representative from Jones Walker law firm, as well as current Isaac Delgado Society members will be present to speak about the process of estate planning. Bequests of works of art and cash or convertible assets support NOMA’s exhibitions, operations, and programs, and ensure the museum’s future as a cornerstone cultural institution. To learn more about the Isaac Delgado Society and planned giving, please contact Gia Rabito at grabito@noma.org or (504)658-4129.
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2015 BOARD OF TRUSTEES
Robert Taylor
Julie George President
Melanee Gaudin Usdin
Sydney J. Besthoff III Vice-President
NATIONAL TRUSTEES
Mike Siegel Vice-President Brent Wood Vice-President
Mrs. Carmel Cohen Mrs. Mason Granger Jerry Heymann Herbert Kaufman, MD
Suzanne Thomas Treasurer
Debra B. Shriver
Tommy Coleman At-Large David F. Edwards Immediate Past President
MEMBERS
Mrs. James Pierce
Mrs. Billie Milam Weisman
HONOR ARY LIFE MEMBERS H. Russell Albright, MD Mrs. Jack R. Aron Mrs. Edgar L. Chase Jr. Isidore Cohn Jr., MD
Justin T. Augustine III
Prescott N. Dunbar
Gail Catharine Bertuzzi
S. Stewart Farnet
Dr. Siddharth Bhansali
Sandra Draughn Freeman
Robin Burgess
Kurt A. Gitter, MD
Daryl Byrd
Mrs. Erik Johnsen
Scott Cowen
Richard W. Levy, MD
Maurice Cox
Mr. J. Thomas Lewis
Joni Diaz
Mrs. Paula L. Maher
Margo DuBos
Mrs. J. Frederick Muller
Stephanie Feoli
Mrs. Robert Nims
Penny Francis
Mrs. Charles S. Reily Jr.
Tina Freeman
R. Randolph Richmond Jr.
Susan G. Guidry
Mrs. Frederick M. Stafford
Robert C. Hinckley
Harry C. Stahel
Mayor Mitch J. Landrieu
Mrs. Harold H. Stream
Dennis Lauscha
Mrs. James L. Taylor
Mrs. Michael Moffitt
Mrs. John N. Weinstock
Janice Parmalee Britton Sanderford Jolie Shelton Kitty Duncan Sherrill
The New Orleans Museum of Art is accredited by the American Alliance of Museums.
Joseph Baillio
Herschel L. Abbott Jr. Secretary
Donna Perret Rosen At-Large
ACCREDITATION
Arts Quarterly New Orleans Museum of Art EDITOR
Taylor Murrow ART DIRECTOR
Aisha Champagne PRINTING
DocuMart Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124 © 2015, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.
Right SEE ARTICLE ON PAGE 5 SELF/REFLECTION
Selbstportrait, 1928-1933, Florence Henri, Gelatin silver print, Museum purchase through the National Endowment for the Arts and Museum Purchase Funds, 79.31.1, © 2015 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Inside Cover SEE FEATURE ON PAGE 11 TEN YEARS GONE
Front Cover SEE FEATURE ON PAGE 11 TEN YEARS GONE
Back Cover SEE FEATURE ON PAGE 11
Wild Flower #1, 2009, Willie Birch, Acrylic and charcoal on paper, Image courtesy of Willie Birch and Arthur Roger Gallery
Michael Smith Ms. Alexandra Stafford Susu Stall Robert M. Steeg Frank Stewart
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Arts Quarterly New Orleans Museum of Art
Arts Quarterly New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179-0123 Follow us!
CALENDAR OF EVENTS April/May/June 2015
UPCOMING EVENTS
EXHIBITIONS
April 2015 3 Friday
11 Saturday
Dance Company, 5-8 p.m.
Friday Nights at NOMA
Yoga in the Sculpture Garden 8-9 a.m.
American Studies and Anthropology at William and Mary College, 6 p.m.
Baby Arts Play! at NOMA 1 p.m.
ART ON THE SPOT 5-8 p.m. MUSIC Andrew Duhon, 5:30-8:30 p.m.
Studio KIDS! Destination: France,
SLAM NIGHT AT NOMA Youth Open Mic,
24 Friday
FILM Great Adventures: David
“Monet’s Garden,” 10 a.m.-12 p.m.
LECTURE Grey Gundaker, Professor of
6 p.m.; Slam Competition, 7 p.m.
21 Tuesday
Friday Nights at NOMA
Livingstone, 7 p.m.
StoryQuest 11:30 a.m.
6 Monday
13 Monday
Tai Chi/Chi Kung 6-7 p.m.
Tai Chi/Chi Kung 6-7 p.m.
7 Tuesday
14 Tuesday
“My Kimono,” 10 a.m.-12 p.m.
Isaac Delgado Society Presentation
25 Saturday
Baby Arts Play! at NOMA 1 p.m.
Baby Arts Play! at NOMA 1 p.m.
11 a.m.
Pilates in the Sculpture Garden 8-9 a.m.
10 Friday
15 Wednesday
Friday Nights at NOMA: Movies in the Garden
Book Club Discussion Group,
Kongo Reburial in St. Louis Cemetery #1, 10 a.m. StoryQuest 11:30 a.m.
ART ON THE SPOT 5-7 p.m. MUSIC Marc Stone, 5-7 p.m. FILM E.T.: The Extra-Terrestrial, 7:30 p.m.
In the museum: MUSIC NOCCA Chorus 5-6 p.m. GALLERY TALK by Radcliffe Bailey and
Dawn DeDeaux, 6:30 p.m.
18 Saturday Yoga in the Sculpture Garden 8-9 a.m.
Studio KIDS! Destination: Japan,
11:30 a.m.-1 p.m.
19 Sunday Family Art Workshop 2-3 p.m.
17 Friday
1
Friday Nights at NOMA
20 Saturday
ART ON THE SPOT 5-8 p.m.
Tai Chi/Chi Kung 6-7 p.m.
ART ON THE SPOT 5-8 p.m. MUSIC Arpa Quartet, 5:30-8:30 p.m. FILM The Buddha: The Story of
Siddhartha, 6:30 p.m.
Poets for Art 11 a.m. 1
30 Thursday Odyssey Jazz Brunch and Second Line Parade Brunch, 8 a.m.; Private Concert, 9 a.m.; Public Performance, 10 a.m.
MUSIC N’Kafu Traditional African
May 2015 1 Friday Friday Nights at NOMA
MUSIC Victor Andrada, 5-7:30 p.m.
15 Friday
20 Wednesday NOMA and The NOLA Project present Robin Hood, 7 p.m.
FILM Jurassic Park, 7:30 p.m.
Friday Nights at NOMA
ART ON THE SPOT 5-8 p.m.
In the museum:
ART ON THE SPOT 5-8 p.m.
MUSIC Keith Burnstein, 5:30-8:30 p.m.
ART ON THE SPOT 5-8 p.m.
MUSIC Cha Wa, 5-8 p.m.
COMEDY The New Movement, 7 p.m
MUSIC TBD
LECTURE Matthew Stanard, Associate
2 Saturday Yoga in the Sculpture Garden 8-9 a.m.
4 Monday Tai Chi/Chi Kung 6-7 p.m.
6 Wednesday African Art at NOMA: Chatauqua Program Lecture 2-4 p.m. NOMA and The NOLA Project present Robin Hood, 7 p.m.
MINI MASTERS SHOWCASE 5-8 p.m.
9 Saturday
StoryQuest 11:30 a.m.
NOMA and The NOLA Project present Robin Hood, 7 p.m.
Yoga in the Sculpture Garden
10 Saturday NOMA and The NOLA Project present Robin Hood, 7 p.m.
11 Monday
8 Friday
NOMA and The NOLA Project present Robin Hood, 7 p.m.
8-9 a.m.
Studio KIDS! Destination: Africa, “African Masks,” 10 a.m.-12 p.m.
African American Studies Program at Boston University, 6 p.m.
24 Sunday
StoryQuest 11:30 a.m.
NOMA and The NOLA Project present Robin Hood, 7 p.m.
17 Sunday
29 Friday
Family Art Workshop 2-3 p.m. NOMA and The NOLA Project present Robin Hood, 7 p.m.
Friday Nights at NOMA
18 Monday Tai Chi/Chi Kung 6-7 p.m.
2
MUSIC Bamboula 2000, 5-8 p.m.
16 Saturday
Studio KIDS! Destination: United
13 Wednesday
ART ON THE SPOT 5-7:30 p.m.
ART ON THE SPOT 5-8 p.m.
States, “Backyard Bayou,” 10 a.m.-12 p.m.
8-9 a.m.
NOMA and The NOLA Project present Robin Hood, 7 p.m.
Friday Nights at NOMA: Movies in the Garden
Friday Nights at NOMA
LECTURE John Thornton, Director of
Tai Chi/Chi Kung 6-7 p.m.
Lord, 11:30 a.m.-1 p.m.
22 Friday
NOMA and The NOLA Project present Robin Hood, 7 p.m.
Yoga in the Sculpture Garden
7 Thursday
Book Club Program with curator Russell
Professor of History at Berry College, “Belgians Across the Kongo: Collecting, Curators, and Colonialism at the Tervuren Museum,” 6 p.m.
ART ON THE SPOT 5-8 p.m.
30 Saturday Pilates in the Sculpture Garden 8-9 a.m.
14 Thursday
3
NOMA and The NOLA Project present Robin Hood, 7 p.m.
Exhibition Schedule Kongo across the Waters (1) February 27 – May 25, 2015, Ella West Freeman Galleries
June 2015
Self/Reflection (2) March 13 – August 9, 2015, Pailet Gallery
1 Monday
12 Friday
19 Friday
26 Friday
Baby Arts Play! at NOMA 1 p.m.
Friday Nights at NOMA
Friday Nights at NOMA
ART ON THE SPOT 5-8 p.m.
ART ON THE SPOT 5-8 p.m.
Friday Nights at NOMA: Opening of Louisiana Parlor: Antebellum Taste and Context
5 Friday
MUSIC Zion Trinity, 5:30-8:30 p.m.
Friday Nights at NOMA
13 Saturday
ART ON THE SPOT 5-8 p.m.
Yoga in the Sculpture Garden
6 Saturday
8-9 a.m.
Yoga in the Sculpture Garden
15 Monday
8-9 a.m.
8 Monday Summer Art Camp 9 a.m.-12:30 p.m., 1-4:30 p.m. (through Friday)
Tai Chi/Chi Kung 6-7 p.m.
20 Saturday
ART ON THE SPOT 5-8 p.m.
Yoga in the Sculpture Garden
27 Saturday
8-9 a.m.
Pilates in the Sculpture Garden
22
Monday
Summer Art Camp 9 a.m.-12:30 p.m.,
Summer Art Camp 9 a.m.-12:30 p.m.,
1-4:30 p.m. (through Friday)
1-4:30 p.m. (through Friday)
Professional Development for Educators 9 a.m.-12:30 p.m. Tai Chi/Chi Kung 6-7 p.m.
Tai Chi/Chi Kung 6-7 p.m.
8-9 a.m.
29 Monday Tai Chi/Chi Kung 6-7 p.m.
Ten Years Gone (3) May 29 – September 7, 2015, Templeman Galleries
Louisiana Parlor: Antebellum Taste and Context June 26 – October 18, 2015, Ella West Freeman Galleries
Museum Hours
Tuesday-Thursday | 10 a.m.-6 p.m. Friday | 10 a.m.-9 p.m. Saturday and Sunday | 11 a.m.-5 p.m. For more details | visit www.noma.org or call 504.658.4100
17 Wednesday Book Club Discussion Group, 11:30 a.m.-1 p.m.
Museum Highlights Tours
Sculpture Garden Tours
Every Sunday at 2 p.m., NOMA’s docents lead informative and engaging tours of the museum’s permanent collection and special exhibitions. Tours are included with museum admission.
Every Saturday at 2 p.m., NOMA’s docents will give free tours of the Sydney and Walda Besthoff Sculpture Garden.
Event schedule subject to change. Please check www.noma.org for updates.
BACK Pair of Martelé Ewers with Triton and Mermaid, 1912, Gorham Mfg Co. (American, Providence, RI, founded 1831), Made by David Wilmot, Designed by William C. Codman, Silver, 19.5 inches high, Marked YIU and YKY, Museum purchase, Jolie and Robert Shelton Fund