AQ Summer 2014 by New Orleans Museum of Art

Arts Quarterly New Orleans Museum of Art

6.18.14 AQ Summer 2014 - cover.indd 3

Summer 2014

6/27/14 4:48 PM

6.18.14 AQ Summer 2014 - cover.indd 4

6/27/14 4:48 PM

DIRECTOR’S LETTER

Susan M. Taylor

In late June, the NOMA Board of Trustees adopted a comprehensive plan that will guide the museum for the next several years; the culmination of a year-long conversation with trustees, NOMA staff and museum constituents that leaves NOMA well-positioned for the future. At the top of our list are several priorities that we hope will further advance the role of the museum, making NOMA a destination synonymous with the city of New Orleans. As a nexus for the arts in New Orleans, NOMA is committed to preserving, interpreting, and enriching its collections and renowned sculpture garden; offering innovative experiences for learning and interpretation; and uniting, inspiring, and engaging diverse communities and cultures. Fundamental to that mission is the importance of the permanent collection, the cornerstone of our plans. By enriching our collection, enhancing the museum’s role in arts education, expanding NOMA’s reach to diverse audiences, and significantly enhancing museum technology, NOMA will continue to respond to the needs of our audiences and the diverse constituencies of the city. With our continued focus on funding opportunities and the responsible stewardship of our resources, we will realize our vision and reach our ambitious goals. I’m pleased to announce that this fall we’ll have a new public policy officer to help engage our communities, consider our role as a cultural institution, and position NOMA at the center of a conversation about the importance of arts education in all of its manifestations. Dr. Fari Nzinga comes to us as a fellow from the American Council of Learned Societies Public Fellows program, which supports a distinguished group of PhDs seeking experience in a variety of fields. Out of twenty non-profits and government agencies, NOMA is the only art museum chosen to receive a fellow. We look forward to welcoming Dr. Nzinga to the NOMA team. Summer is once again upon us, and I invite you to escape the hot weather and venture into our galleries. Behind Closed Doors, Art in the Spanish American Home, 1492-1898, Rising Up: Hale Woodruff’s Murals for Talladega College and Alexis Rockman: Drawings from Life of Pi are all on view, in addition to several new installations that highlight the breadth and depth of the permanent collection. A new display of Orientalist art works from the collection incorporates painting, sculpture, and decorative arts, offering visitors a unique opportunity to explore a variety of media. Sphere of Influence: Pictorialism, Women, and Modernism highlights an influential network of women and their often overlooked important role in ushering photography into its modern era, and Robert Rauschenberg and the “Five from Louisiana” showcases one of NOMA’s newest acquisitions and places it in context with works by other southern artists that were featured in a 1977 NOMA exhibition. I encourage you to visit and explore all of these presentations this summer. We are constantly thinking about ways we can be more effective and responsive to the needs of our audiences and take advantage of the rich resources found in New Orleans. We welcome your suggestions and look forward to sharing our new initiatives with you. Fall will bring many new opportunities to experience the New Orleans Museum of Art.

Susan M. Taylor The Montine McDaniel Freeman Director

CONTENTS

Summer 2014

FEATURE

MUSEUM

1 0 Mini Masters Setting up early learners for success

INSPIRED BY NOMA

4 Leah Chase

EXHIBITIONS

5 Alexis Rockman: Drawings from Life of Pi

6 Sphere of Influence COLLECTIONS

7 Artist Spotlight: George Dureau 7 NOMA on the Road 8 Now on View: Orientalist Artwork from NOMA’s Collection 9 NOMA Acquires Important Louisiana Victorian Parlor 9 Director’s Council Visits St. Francisville

SA B REE H IL L

Page 10

MINI MASTERS

Page 9

BUTLER-GREENWOOD PARLOR

Arts Quarterly New Orleans Museum of Art

GEORGE DUREAU

Page 21

LOVE IN THE GARDEN

J U DY C O O P ER

Page 7

COMMUNITY VISIT

SUPPORT

14 Murals on Screen: The Work of Cinematographer Gabriel Figueroa

18 NOMA Donors

14 Summer Cooking Series Inspired by NOMA Exhibition

20 Spring Events Bloom at NOMA

15 Now’s Your Chance to Look “Behind Closed Doors” LEARN

16 StoryQuest and StudioKIDS! 17 Getting to Know NOMA: The Docent Experience 17 NOMA Receives American Council of Learned Societies Funding

19 Business Council Spotlight: First Bank and Trust 21 LOVE in the Garden Honors NOCCA Artists 21 NOMA Introduces Its Young Fellows 22 NOMA’s 2014 Odyssey Committee Gears Up for a Busy Fundraising Season 23 Decorative Arts Gallery Named in Honor of Elise M. Besthoff 23 In Memoriam: Dr. Ralph Lupin 24 Trustees and Acknowledgments

INSPIR ED BY NOM A : LE A H CH A SE

Chef Leah Chase is an icon of the New Orleans community. Dooky Chase’s Restaurant, the restaurant she’s owned and operated with her husband for over half a century, was a popular meeting place for civil rights activists during the 1960s, and remains a cultural landmark. Chase has received many awards, including multiple awards from the NAACP, The Times-Picayune 1997 Loving Cup Award, and the Outstanding Woman Award from the National Council of Negro Women. She was also inducted into the James Beard Foundation’s Who’s Who of Food & Beverage in America in 2010. Leah Chase is a longtime patron of the arts, especially African-American art, and is an Honorary Life Trustee at NOMA. What does NOMA mean to you? NOMA is so important to me. You know, before I first joined the NOMA board in the 1970s, I had a friend who preceded me on the board. I said to her, “Don’t

put my name up for nomination; it’s not gonna work, I’m not knowledgeable about the arts.” She was the only African-American on the board at that time, and she encouraged me to get involved. I thought they weren’t going to accept me. Moise Steeg was president at the time, and he said, now is the time for African-Americans to be included. He voted me in over someone who was very wealthy, and much more knowledgeable about the arts. I’ll never forget Mr. Steeg’s kindness. And ever since then, it’s been a life-changing experience. If you do for the arts, if you move in that circle, it will uplift you, and it will uplift the community. That’s why I do what I can for NOMA, because it’s so uplifting to so many. And now, to live long enough to see more African-Americans involved, that means so much to me.

appreciate the arts. I can’t tell you how wonderful art is to me. I want children to realize how the arts can help them, too.

Which NOMA exhibitions have stuck with you throughout the years? The exhibition of Jacob Lawrence’s work in the 1970s will always stick with me, because I learned a lot from him. I’ll never forget, when he started talking, I thought, I’m not gonna know a darned thing this man is talking about. I don’t know anything about art. But when I listened to him, I learned that he came through the same system I did, the WPA system. He was in New York working in Harlem, while I was down here struggling in the South. We were more alike than I thought, and we became good friends, Jake and I. That’s always stuck with me.

Let me tell you a story. [The artist] John Scott wouldn’t go to church on Sundays, and I would always tell him—like he was one of my children—get back in church! After John died, I heard all the talk about him—about how hard he worked, how his message was to ‘pass it on, whatever knowledge you have, pass it on to others in this life’—and I looked at his work and realized he had to be thinking something spiritual. In fact, John was probably more spiritual than I am, to create some of the things he created. That’s the beauty of art.

There was also an Elizabeth Catlett exhibition [in 1983], and her work also taught me a lot, taught me how to

What would you say to those who may be intimidated by art like you once were? You look at art just like you look at life, honey. It may be abstract; you may not like it. I say, look again, and what do you see it in it? The artist may have seen something different in it than what you see, but how an artist combines colors, how they can express themselves on paper, that’s something we need to appreciate. I try to show that to my grandchildren and my great-grandchildren, and they don’t understand it sometimes, but it’s still something we need to appreciate. Look at artwork and you see the artist’s mind.

I try to encourage people to be a part of museums, to buy a membership, so we can help educate young children. Art will teach you a whole lot, about life, about the people who create it, about the world. It’s been the world to me.

Arts Quarterly New Orleans Museum of Art

EXHIBITIONS

NOW ON V IEW: A LEX IS ROCK M A N’S DR AW INGS FROM LIFE OF PI Alexis Rockman’s watercolor drawings were the first stage in the development of the 2012 Academy Award-winning film Life of Pi, directed by Ang Lee. Lee sought out Rockman’s vision as an artist with a specific commitment to hand drawing to bring a human scale to the project. Though most artistic contributions to cinema are dependent on photorealism or cartoon-like illustration, Rockman’s images are fluid, intimate, and dynamic in a way that only drawing can capture. This exhibition, organized by The Drawing Center in New York, provides a unique opportunity to explore the relationship between visual art—specifically drawing—and commercial filmmaking. Alexis Rockman’s canvases present a darkly surreal vision of the collision between human civilization and the natural world. His art draws from a

diverse range of inspirations, including old master painting, science fiction, and above all, natural history. In researching his paintings, Rockman has undertaken extended expeditions into the Amazon Basin, Tasmania, Madagascar, South Africa, and Antarctica. He has worked not only with other artists, but also with leading scientists, including paleontologist Peter Ward and famed naturalist Stephen Jay Gould. Rockman’s work has been featured in Wired, The New York Times, and The Wall Street Journal, and is in the collections of museums such as LACMA, the Guggenheim, and the Whitney Museum of American Art. He was recently the subject of a major 2010–11 retrospective at the Smithsonian Museum of American Art. Rockman’s monumental painting Battle Royale, 2009 is also on view in

a nearby gallery. This large-scale work depicts fifty-four species engaged in warfare in a Louisiana swamp, and was directly inspired by a work in NOMA’s collection that Rockman observed while in town preparing for his inclusion in the Prospect.2 biennial in New Orleans. On Friday, September 19 at 6 p.m. in NOMA’s Stern Auditorium, Alexis Rockman and Brett Littman, Executive Director of the Drawing Center, will discuss the creative process in developing the artistic direction for the film. Alexis Rockman: Drawings from Life of Pi is made possible by an anonymous donor. Additional support is provided by Richard Edwards, Baldwin Gallery, Aspen and James Salomon. Support for the New Orleans presentation of this exhibition is provided by International-Matex Tank Terminals. The exhibition will be on view through October 12, 2014 in the Templeman Galleries.

LEFT Study for Tiger Vision (7 TV), 2011. gouache on black, paper RIGHT Study for Tiger Vision, 2011, gouache on black paper Alexis Rockman, American, born 1962, courtesy of Fox Searchlight

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Untitled [Male Nude on Rock], circa 1914, Anne W. Brigman, American, 1869-1950 gelatin silver print, Museum purchase, Women’s Volunteer Committee Funds, 83.83

SPHER E OF IN FLU ENCE: PICTOR I A LISM , WOMEN, A N D MODER NISM Networks of female photographers have played pivotal roles throughout the history of photography. Although traditional histories have increasingly documented individual accomplishments of female photographers, the emphasis on male artistic lineages still overshadows the study of groups of women. Though never part of one clearly defined group or movement, the women in this exhibition on view mentored and inspired one another, demonstrating the central role of women in the development of photography at the turn of the twentieth century. At that time, female photographers faced two challenges: the establishment of photography as art and the recognition of women’s place in the arts. Long considered the domestic helpmate of their husbands in portrait studios, women began to secure the value of their own photography. At the same time, photographers sought to distance the medium from its characterization as mechanical reproduction or a leisure activity. In a 1913 essay, “Photography as a Profession for Women,” Imogen Cunningham declared that to be a good photographer, one needed good taste, combined with “the hand of the skilled mechanic, the eye of an artist, and the brains of a scientist.” For Cunningham, technical command and scientific acuity

together with the expressive potential of the individual determined the success of a photographer, regardless of gender. Cunningham’s position contrasts with the messages of early amateur camera companies. The rising popularity of point and shoot cameras undermined the elevation of photography as fine art while advertising increasingly allied the convenience and pleasure of photography with women, as in the many “Kodak girl” campaigns. In 1929, Kodak introduced a rose-colored hand-held camera complete with lipstick, compact and mirror: the perfect accessory for the modern woman. Kodak’s emphasis on the fashionable nature of photography, as an easy and automated hobby, contrasts sharply with the craft, artistry, and expertise consistently underscored by the work of Cunningham, her colleagues and predecessors. Writing in 1897, photographer Eva Watson-Schütze predicted women’s larger presence in photography, declaring “There will be a new era and women will fly to photography.” Indeed, by 1900, over 3500 women worked as professional photographers, a dramatic increase from only a few decades earlier. Several women were involved in the pictorialist movement, the first international attempt to promote photography as a fine art. Gertrude Käsebier and Anne Brigman, along with

Watson-Schütze exhibited at the major venue for pictorialist photography, Gallery 291, and published their images in Camera Work, a magazine devoted to the promotion of modern art. Often directly influenced by the earlier female pictorialists, younger artists such as Alma Lavenson and Consuelo Kanaga moved away from pictorialism toward harder-edged modernism. Cunningham mentored Lavenson and photographed with Kanaga, all members of f/64, a West Coast group that advocated un-manipulated highly detailed photography. Though she did not meet Cunningham until later in her career, Laura Gilpin felt artistic kinship with the slightly older artist, writing in 1959, “I have such a strong feeling that you and I see very much eye to eye.” Looking to one another for inspiration and guidance, these female photographers propelled photography from pictorialism to modernism, forging a path for the contributions of future networks of women. Tasia Kastanek, Guest Curator Sphere of Influence: Pictorialism, Women, and Modernism is an installation of works from NOMA’s collection organized by guest curator Tasia Kastanek. It is currently on view in the A. Charlotte Mann and Joshua Mann Pailet Gallery.

Arts Quarterly New Orleans Museum of Art

COLLECTIONS

A RTIST SPOTLIGHT: GEORGE DU R E AU George Dureau passed away on April 7, 2014 at the age of 83. A vibrant fixture of the French Quarter and the New Orleans art community, Dureau was a nationally recognized artist known for his figurative paintings and striking blackand-white photographs of nude men, often African-American, sometimes amputees or dwarfs. Bill Fagaly, NOMA’s curator of African art, knew Dureau for forty years, and described the talented artist as influential to a generation of others, including photographer Robert Mapplethorpe. Fagaly also described Dureau’s relationship with his models: “They became good friends, and were like family members.” NOMA has nearly sixty works by George Dureau in its permanent collection: mostly photographs, works on paper, and paintings, but perhaps the most visible work in the collection exists outside the museum walls. Two cast-bronze nudes have guarded the courtyard near Café NOMA since 1993. The grandiose figures, one female and one male, stand triumphantly

at the gates, not as warriors or gods, but as artists engaged in the process of painting and sculpting. Carved from wood and then cast in bronze, the Inspiration and Technique Monumental Gates at NOMA was the first collaboration of artists George Dureau and Ersy Schwartz. “George came up with the idea of art being made, like a painter and a sculptor,” said Schwartz. “He came up with the idea of making the piece about art.”* Dureau, a lifelong New Orleans resident, had not experimented much with sculpture at the time, but Schwartz, then still a resident of New York, worked primarily in metal., making theirs a natural collaboration. Dureau created the models, which Schwartz then cast. Their work resulted in two figures that appear more like deities, elevating the nature of art-making to the most noble stature. *As quoted in a 2007 video interview for the Arts Council of New Orleans

NOMA ON THE ROAD Did you miss our 2014 exhibitions Edward Burtynsky: Water, Gordon Parks: The Making of an Argument, or Mel Chin: Rematch? If so, you can catch them all on the road this summer as they travel to different venues across the country. Edward Burtynsky: Water The Faulconer Gallery at Grinnell College Grinnell, IA July 11 – September 28, 2014 1. Mount Edziza Provincial Park #4, Northern British Columbia, Canada, 2012, Edward Burtynsky

Mel Chin: Rematch Contemporary Art Museum St. Louis St. Louis, MO September 5 – December 21, 2014 2. The Funk and Wag from A to Z [selection from], 2008 - 2012, Mel Chin, excised printed pages from The Universal Standard Encyclopedia, 1953-56, by Wilfred Funk, Inc., archival water-based glue, paper, courtesy of the artist

Gordon Parks: The Making of an Argument The Fralin Museum of Art at the University of Virginia Charlottesville, VA September 19 – December 21, 2014 3. Untitled, Harlem, New York, 1948, Gordon Parks, gelatin silver print, printed later; Courtesy The Gordon Parks Foundation

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COLLECTIONS

J U DY C O O P ER

NOW ON V IEW: OR IEN TA LIST A RT WOR K FROM NOM A’S COLLECTION “Orientalism” describes the widespread popularity of European and American artists taking inspiration from art and people—both real and imagined—of Middle Eastern, North African, and East Asian cultures. A new installation drawn from NOMA’s collection celebrates the beauty of nineteenth-century Orientalist artwork, but it also highlights undercurrents of oppression, racism, and superficial cultural understanding layered in these paintings, photographs, and decorative arts. Until the 1800s, European contact with Eastern cultures was through limited trade and occasional military conflict. This changed rapidly in the nineteenth century, when worldwide transportation increased, Napoleon Bonaparte’s French army occupied Egypt, American Commodore Perry forced an end to Japan’s isolationism, and the British Empire controlled 400 million people worldwide.

Western fashions like “Egyptomania,” “Orientalism,” and “Japonisme” are partly rooted in imperial practice. Antoin-Jean Gros’ study sketch for The Pest House at Jaffa shows Napoleon Bonaparte visiting plaguestricken French soldiers in Syria. At the 1804 Paris Salon, Gros’ painting depicted Syria’s Islamic architecture, but it was also propaganda in favor of French imperialism. Gros shows Napoleon as a brave leader impervious to disease. Objects like NOMA’s Hunzinger side chair are part of the 1870s mania for the Japanese aesthetic in American interiors. In a choice that was more about fashion than cultural understanding, Western furniture was “ebonized” black to imitate fine Asian lacquer furniture. This installation includes spectacular scenes of snake charmers and Bedouin horsemen by Jean-Léon Gérôme and Adolf Schreyer. These

artists worked with good intentions, traveling with a genuine desire to accurately record and faithfully disseminate architecture, geography, fashion, and customs. But what they recorded was often seen through a lens conditioned by Western values and ambitions. As a result, their work often presented non-Westerners in negative ways—as lazy, barbaric, or hypersexualized. Much Orientalist artwork was insensitive and factually incorrect, but its romanticism was powerful and effective in the West because it was both titillating and aesthetically alluring. Academically, this material on view gives us complicated and conflicted material to consider our own history, but also how “exoticism” continues to color the ways in which we view other cultures today.

Arts Quarterly New Orleans Museum of Art

NOM A ACQU IR E S IMPORTA N T LOU ISI A NA V ICTOR I A N PA R LOR The New Orleans Museum of Art announces the acquisition of a pristine antebellum interior, the Victorian parlor from Louisiana’s Butler-Greenwood plantation. With original silk tassels and intricately carved rosewood flowers, the parlor is undoubtedly one of the South’s best-preserved rooms. In 1859/61, Harriet Flower Mathews modernized her St. Francisville home by elaborately refurbishing her drawing room. From retailers in nearby Bayou Sara, down river in New Orleans, and from Bridgeport, Connecticut, Mathews purchased wall-to-wall floral carpeting, two carved rosewood sofas with four matching armchairs, six side chairs, a marble-top table, a towering étagère (display cabinet), nine foot tall gilt pier mirrors, and five dramatic lambrequin curtains with milk-glass calla lily tie backs. Harriet’s room is quintessential “Rococo Revival” decoration. Popular in America between 1845 and 1865, this aesthetic was inspired by eighteenth-century French sources and is characterized by curves, scrolls, and extravagantly carved, naturalistic ornament, particularly fruit and flowers. After generations of careful preservation within the family, this

Rococo Revival parlor suite will pass from the care of historian Anne Butler, the plantation’s seventh-generation owner, to NOMA. This coming year, museum curatorial staff will oversee careful cleaning that respects original condition and install the ButlerGreenwood Parlor as part of the museum’s permanent collection of decorative arts. In addition to the preservation of en suite Victorian ornament, the Butler-Greenwood Parlor survives with documentation (bills of sale, family account books, and letters held at LSU’s Library) that allow us to place this interior in a deeper context and consider how a layered domestic environment can be thoughtfully exhibited in an art museum setting. We celebrate the parlor’s preservation, but we must consider that this room’s very survival reflects the crushing economy during the post-Civil War Reconstruction. How do we reconcile Harriet’s feminine parlor with her role as a powerful landowner? Can this luxury remind us that the plantation’s wealth depended on the 500 slaves laboring in the cotton, corn, sugar, and molasses grown on the family’s 10,000 acres?

DIRECTOR’S COUNCIL VISITS ST. FRANCISVILLE

P H OTO BY K EELY M ERRIT T, C O U R T ESY T H E H ISTO RI C N E W O RL E A NS C O L L ECT I O N

This April, NOMA’s Director’s Council had the opportunity to view the parlor in situ at the Butler-Greenwood plantation in St. Francisville. Owner Anne Butler treated the group to a tour of the plantation, and then decorative arts curator Mel Buchanan led them in a discussion about the parlor and NOMA’s plans for preservation. For more information on donor day trips and travel programs, please contact Gia Rabito at grabito@noma.org or (504) 658-4129.

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M IN I M AST ERS P H OTO G R A P H Y BY SA B REE H IL L

Mini Masters SETTING UP EARLY LEARNERS FOR SUCCESS What’s your earliest museum memory? At NOMA, we believe that preschool children are more than ready for their first museum experience, and all the research points to the benefits of this early exposure. Early visual arts instruction not only improves creative and critical thinking skills, but also aids in the development of vital social and problem solving abilities needed for a lifetime of learning. NOMA, along with the Tulane University Teacher Preparation & Certification Program and the Bayou District Foundation, established Mini Masters, an innovative early childhood learning program for three and four year olds in New Orleans. The program just completed its second pilot year, and the results are encouraging. “Mini Masters is an opportunity for the museum to think more broadly and boldly about the role of arts education in a community such as New Orleans,” said Susan M. Taylor, Director of NOMA. “This is an opportunity to engage with the youngest of audiences.” The program started in 2012, and in 2013 began its second pilot year. NOMA worked with Andrew H. Wilson Charter School, Bayou District Foundation, Early Learning Focus Inc., Educare Learning Center, Kid’s Kingdom Academy, Kingsley House, and Tulane University. Together, they generated lessons for pre-K children that connect works in NOMA’s collection to language, literacy, and even math and science concepts. “The first goal of the program is to create a community collaboration for early childhood learning in this city, and NOMA has done such an amazing job with it,” said Lisa Schlakman, the Chief Program Officer of Early Learning Focus, Inc. “The program builds on children’s knowledge and interests, lets them explore and describe what they see, think critically about what they liked and why they liked it, and recreate and interpret the great art they see.” This spring, Mini Masters instructors worked in four preschool classrooms: two at Educare Learning Center, one at Kid’s Kingdom Academy and Daycare and one at Andrew H. Wilson Charter School. Lessons took place in the classrooms and at NOMA. NOMA also held private professional development workshops for the teachers, providing them with resources to assist in the development of these lessons. Using works in NOMA’s collection, teachers worked to create STEM (science, engineering, technology, and math) units in their classrooms. Tulane pre-service teacher Ellye Birnbrey developed a unit that focused on weather, while incorporating visual art, drama, music, and dance. At Kid’s Kingdom, Tulane pre-service teacher Lydia Kline presented a math unit based on the theme of transportation, in which the children created their own mobile after viewing one by Alexander Calder, and created vehicles out of recycled materials, focusing on identifying geometric shapes. In its initial year, Mini Masters served thirty-seven students and three certified teachers, with three classroom aides participating. In the 2013-2014 school year, sixty-five students and eight new teachers participated. All of this at no cost to the students’ families.

Right Students made plaster sculptures featuring “living and non-living things” corresponding with one of their science lessons. The students visited the Besthoff Sculpture Garden to view the works and determine if the subjects were living or non-living.

“there is a perception that children this age are too young to appreciate or understand great works of art, but often the adults around them are more intimidated by art than they are”

Karmilita Morgan, parent of a student at Educare in Mini Masters, sees the value in this early learning program. “I believe our kids need more programs like Mini Masters to help develop their talents and shape their futures,” she said. Professor Holly Bell of Tulane University was also impressed by the impact of the Mini Masters program on the students: “I have seen the students grow a lot in the way that they approach a lesson. Arts integration serves a pre-K class—it is inherently hands on—and of course all the research has shown that this is the best way for early learners to learn. Art is a perfect opportunity to get dirty and get busy. I believe that pre-K children have vast amounts of creativity, and given the opportunity they come up with amazing things.” Chicory Miles, NOMA’s Gallery Learning Specialist worked extensively with teachers and developed two units with pre-K classes at Educare Learning Center. One focused on seasons, using landscapes in NOMA’s collection, while the other used works in the Sydney and Walda Besthoff Sculpture Garden to explore living and non-living things. In both lessons she encouraged students to experiment with materials, exploring how oil resists water using watercolor and pastels. In the second lesson, students observed how plaster changes from a liquid to a solid after being mixed with water, further integrating science concepts. Lessons took place in the classroom and twice at NOMA. These visits were tailored specifically to reinforce what the students were learning in the classroom. Students responded enthusiastically; at Kid’s Kingdom Academy and Daycare they returned to the classroom and decided to create a museum of their own work. Andrew Amedee, a Master Teacher

Arts Quarterly New Orleans Museum of Art

at Educare Learning Center, tells another story of the children returning from their visit to the sculpture garden: “They came back and everybody wanted to be an artist…. in fact we had a young man, whose name is Keith, come back into the classroom and began to make his own sculpture with some play dough, and he said ‘do you think they are going to take my sculpture?’ and I said ‘yes, and we are going to give it to them.’ The students are just so excited about the program.” The school year concluded with the Mini Masters showcase, a celebration at NOMA for students, parents, and teachers that featured lesson plans and works created by the students. “Upon entering the Mini Masters exhibition, my students were so excited to see their own works of art,” said Giselle Scott, a Lead Preschool Teacher at Educare Learning Center. “As they pointed out their work to others, their faces were filled with a look of pride and confidence. That moment was priceless!” Miles looks forward to Mini Masters’ future. “It has been wonderful to see the impact of the program on students, parents and teachers,” she said. “I believe that there is a perception that children this age are too young to appreciate or understand great works of art, but often the adults around them are more intimidated by art than they are. The students have embraced the program enthusiastically, often seeing NOMA’s works in new and unexpected ways.” Major support for the Mini Masters early childhood education program is provided by the Patrick F. Taylor Foundation. Additional support is provided by Chevron, the Bayou District Foundation, and NOLA Media Group.

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VISIT

M U R A LS ON SCR EEN: THE WOR K OF

SU MMER COOK ING

CIN EM ATOGR A PHER GA BR IEL FIGU EROA

SER IE S INSPIR ED

This summer, NOMA and the New Orleans Film Society are presenting “Murals on Screen,” a “moving image” summer film series at NOMA that will showcase the work of Mexican cinematographer Gabriel Figueroa. Figueroa’s worldrenowned cinematography earned him the recognition as the “Fourth Muralist” after Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco. Figueroa, alongside director Emilio Fernández, was responsible for the creation of a visual language and national identity in post-revolutionary Mexico. This film series focuses on his early collaborations with Fernández through the films La Perla and María Candelaria. The series also includes the recent documentary Multiple Perspectives (The Crazy Machine), about Figueroa and his work as a cinematographer.

All films screen at 7 p.m. July 25 Multiple Perspectives (The Crazy MACHINE) / Miradas MÚLTIPLES (La MÁQUINA Loca) 2012, 90 min

This film is an immersion into some of the most symbolic and iconic images of Mexican cinematography, shot by Gabriel Figueroa, along with commentary by the forty most important cinematographers worldwide.

August 8 María Candelaria (Xochimilco) 1943, 76 min

Gabriel Figueroa captures the beauty of the Mexican landscape and the depth of human expression in a careful choreography of light and darkness to

BY NOM A EX HIBITION

heighten every moment of this classic romantic tragedy from renowned director Emilio Fernández. Winner of Best Cinematography and the Grand Prize at the 1946 Cannes Film Festival, María Candelaria stands as one of the most beloved films in all of Mexican film history.

This summer, Café NOMA’s popular cooking demonstrations are back! “The Artful Palate” will feature art inspired cooking demonstrations from Ralph Brennan Restaurant Group chefs. On selected Friday nights at Café NOMA, these chefs will demonstrate distinctive culinary favorites from around the world, highlighting a different aspect of the NOMA exhibition Behind Closed Doors: Art in the Spanish American home, 1492-1898. From classic Creole cooking techniques to globally inspired gourmet eats, the chefs will embrace their own heritage or their culinary passion with each presentation. “The Artful Palate” is free with museum admission and open on a first come, first served basis. Come early for an evening of delicious and instructive fun for all, then explore Behind Closed Doors after.

All events at 6:30 p.m. August 22 La Perla (The Pearl) 1947, 85 min

This 1947 Mexican film is based on the novella The Pearl by John Steinbeck, who also co-wrote the screenplay for the movie. The story takes place in a fishing village, where Kino (Pedro Armendáriz) and his wife Juana (María Elena Marqués) are in anguish because their little son Coyotito was stung by a scorpion, the local doctor (a foreigner) refuses to treat the child. Later the doctor and his brother (Fernando Wagner), a loan shark, meet Kino again, after he finds an expensive pearl and decide to steal it from him.

July 11 Chef Chip Flanagan, Ralph’s on the Park

July 25 Chef Austin Kirzner, Red Fish Grill

August 8

Chef Chris Montero, café b and Café NOMA

August 22

Chef Chip Flanagan, Ralph’s on the Park

September 5

Chef Austin Kirzner, Red Fish Grill

September 19 Chef Chris Montero, café b and Café NOMA

Arts Quarterly New Orleans Museum of Art

VISIT

Free Women of Color with Their Children and Servants in a Landscape, circa 1770–96 (detail); Agostino Brunias Italian, circa 1730–1796); pil on canvas, Brooklyn Museum, Gift of Mrs. Carl H. de Silver inmemory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.59

NOW ’S YOU R CH A NCE TO LOOK “ BEHIN D CLOSED DOOR S” This summer, catch Behind Closed Doors: Art in the Spanish American Home, 14921898, on view at NOMA. Organized by the Brooklyn Museum, this is the first major exhibition in the United States to explore the private lives and interiors of Spain’s New World elite from 1492 through the nineteenth century. Through approximately 160 paintings, sculptures, prints, textiles, and decorative art objects, this exhibition presents for the first time American, European, and Asian luxury goods from everyday life as signifiers of the faith, wealth, taste, and socio-racial standing of their consumers. Don’t miss these related programs:

July 2, 9 | September 3, 17 | 12 p.m. NOONTIME TALKS with Lucia Abramovich, Curatorial Fellow for Spanish Colonial Art Noontime talks are brief, casual discussions led by NOMA curators or special guests. Stop in and learn more about objects in Behind Closed Doors with Lucia Abramovich. Noontime talks are always at 12 p.m. on Wednesdays (NOMA’s free day for Louisiana residents!). www.noma.org

July 18 | 6 p.m. ARTIST PERSPECTIVE with Jessica Goldfinch In Artist Perspectives, NOMA invites local artists working in various disciplines to share their thoughts on objects or installations at NOMA. Since 2000, Jessica Goldfinch’s artwork has been exhibited in dozens of venues, including museums, universities, art centers, and galleries, in New Orleans and the Gulf South as well as in New York City, Washington DC, and Europe. Raised as a Secular Humanist but schooled in many other religions, she is fascinated with blind faith as well as religious artwork. Religious views of mortality infuse her work, and are often framed in scientific depictions of issues of life and death.

August 22 | 6 p.m. ARTIST PERSPECTIVE with Jim Richard Born in 1943 in Port Arthur, Texas, Richard is best known for his paintings of modernist works of art situated in richly decorated and ominously claustrophobic home interiors. Mining magazines, books, and advertisements

for examples of wallpaper, furniture, upholstery, and artwork, Richard fuses these elements into invented residential spaces. In his paintings and collages, works of art compete against loud examples of décor, straddling the line between celebrating and critiquing kitsch and consumer culture.

September 12 | 5 p.m.–midnight LATIN LATE NIGHT Lecture | 6 p.m. with Mia Bagneris, Assistant Professor of Art History at Tulane University, “Shades of Empire: Picturing Race and Identity in the New World” Mia L. Bagneris received her Ph.D. from Harvard University in 2009. At Tulane University she teaches African Diaspora art history and studies of racial representation in Western art. Her current book project is C oloring the Caribbean: Agostino Brunias and the Painting of Race in the British West Indies, c. 1765-1800. Check noma.org for updates on the full Latin Late Night closing party schedule, which includes film screenings, live music, art activities and more!

LEARN

STORYQUEST

STUDIO KIDS!

11:30 a.m. in the Museum Shop

Art classes for ages 5 - 10 10 a.m. – 12 p.m.

Spark imagination, creativity, and a love of reading. Professional authors, actors and artists bring the world of children’s literature to NOMA in this family series. StoryQuest begins with interactive readings of selected stories then families search NOMA’s galleries and garden seeking related works of art. Major support for this program is provided by the Patrick F. Taylor Foundation.

Get to know some of the world’s greatest artists this fall. Studio KIDS! classes explore NOMA’s galleries to meet different artists who will provide inspiration for art projects. Each class features a different medium and participants will learn 2 and 3-dimensional techniques. Register for one class or the entire series. Professional teaching artist, Belinda July 12 Tanno provides skill-building lessons Inspired by Hale Woodruff’s Murals and engaging projects.

July 26 Adventure

August 9 China

August 23 Clouds September 6 Houses

Per class: $25 | members $30 | non-members

Saturday, August 23 Figure It Out Get to Know: Hale Woodruff

Saturday, September 6 Boxed In Get to Know: Joseph Cornell Explore Joseph Cornell’s surreal boxes, then create a unique box with collages and tiny treasures found in the art studio or brought from home.

Saturday, September 20 I’ll Fly Away Get to Know: Bernardo Legard Discover the winged sculptures created by Ecuadorian artist Bernardo Legarda and sculpt your own winged figure using a variety of textures and feather patterns.

For information or registration, call 504-658-4128 or email education@noma.org.

Learn sketching techniques, including human proportions, using Hale Woodruff’s murals to inspire your own figure drawing.

September 20 Latin American Folktales

Arts Quarterly New Orleans Museum of Art

NOM A R ECEI V E S A MER ICA N COU NCIL OF LE A R N ED SOCIETIE S FU N DING GETTING TO K NOW NOM A : THE DOCEN T EX PER IENCE A group of five third grade students enter the George L. Viavant Gallery with a docent as their guide. The group stops in front of Joan Miró’s The Red Disc and their guide asks, “What do you see in this painting?” One student replies, “I see spilled milk.” Another raises her hands and exclaims, “I see the sun!” The docent continues to encourage each child to participate in the discussion. Docents are at the heart of the museum experience for many students and visitors of all ages. So, who are the NOMA docents? Docents are volunteers committed to engaging museum visitors in discussions about works of art at NOMA. Before leading a group through the museum, a docent completes a comprehensive training course on art history, methods of interpretation, and touring techniques. Museum curators and special guests also offer insight during private training sessions held in NOMA’s galleries. Training continues even after a docent has begun to tour, ensuring that volunteer guides are prepared to discuss each new exhibition and installation. Retired teacher Regina Shujaa, who joined the docent program last fall, says she wanted to be a docent from the first time she took a group of students to an art museum. Regina began touring this spring and says, “I love looking at a person’s face when I’ve just told them something new. It is especially great to see children excited about art.”

www.noma.org

In advance of their museum visit, teachers choose from a selection of tour themes, and our docents tailor their tours for an art, English language arts or social studies approach. Adult groups may request tours of special exhibitions or explore highlights of the collection. In addition to training and touring at NOMA, docents may also participate in group field trips and social activities planned by the Docent Advisory Board. Past excursions have included the Historic New Orleans Collection, the Amistad Research Center and the Ohr – O’Keeffe Museum of Art. Master Docent Pam Fried joined the docent program after moving to New Orleans in 1987. She cites the camaraderie of her fellow docents as one of the best benefits of volunteering at NOMA. Additionally, sharing NOMA’s collection with visitors and participating in the fellowship of continued education with peers creates a satisfying docent experience. May Denstedt, Master Docent adds, “I love it when I hear ‘I never thought of it that way’ or when I see that ‘light’ go off in their faces and they ‘get’ it.”

A new docent class is forming this fall! Want to learn more? Docent Open House Friday, August 15 | 5 - 7 p.m.

With the support of a two-year grant from the American Council of Learned Societies (ACLS), Dr. Fari Nzinga will join NOMA staff as part of the ACLS Public Fellows program this fall. Dr. Nzinga will serve as NOMA’s Public Policy Officer. Designed to expand the reach of doctoral education in the humanities, this career-building fellowship allows recent humanities PhDs to gain meaningful experience in a variety of fields, including communications, public policy, arts management, and digital media. This year’s 20 ACLS Public Fellows will have two-year assignments in government agencies and non-profit organizations across the country—NOMA is the only art museum chosen to receive a fellow. “With the help of Dr. Nzinga, NOMA will increase its community engagement efforts and expand education and public programming, as well as develop best practices within in the art museum field,” said Susan M. Taylor, NOMA’s Director. Dr. Nzinga is a graduate of Duke University where she received both her Masters and PhD in Cultural Anthropology, and Oberlin College where she studied Hispanic Studies and African American Studies.

SUPPORT The New Orleans Museum of Art gratefully acknowledges our donors, who make our exhibitions, programming, and daily operations possible. We appreciate your continued support of NOMA and its mission. Thank you!

Foundation and Government Support $500,000 and above The Gulf Seafood and Tourism Promotional Fund The Helis Foundation

$20,000 - $49,999

Patrick F. Taylor Foundation Zemurray Foundation

$200,000 - $499,999 The Azby Museum Fund City of New Orleans Charitable Lead Annuity Trust under the Will of Louis Feil

$150,000 - $199,999 The Institute of Museum and Library Services

$100,000-$149,000 Collins C. Diboll Private Foundation Ella West Freeman Foundation Lois and Lloyd Hawkins Jr. Foundation

The Bertuzzi Family Foundation Eugenie and Joseph Jones Family Foundation Goldring Family Foundation The Harry T Howard III Foundation Louisiana Division of the Arts The Lupin Foundation National Endowment for the Arts The RosaMary Foundation

$10,000-$19,999 Anonymous Bayou District Foundation Fondation Nationale des Arts Graphiques et Plastiques

NOMA BUSINESS COUNCIL Centurion

Silver

International-Matex Tank

Anonymous (2)

Terminals

Bellwether Technology Corporation NOLA.com | The Times-Picayune

Platinum

Phelps Dunbar, LLP

First Bank and Trust Superior Energy Services, Inc.

World Trade Center of New Orleans

Gold

Bronze

Capital One Wealth and Asset Management

Corporate Realty

Chevron Jones Walker

Ernst & Young First NBC Bank

Liberty Bank and Green Trust Company Basin St. Station The New Orleans Convention Crescent Capital Consulting and Visitor’s Bureau Gulf Coast Bank & Trust Company Frank B. Stewart, Jr. Hammack, Hammack, Jones, LLC Gary and Martha Solomon Helm Paint and Supply

Sapphire

Hotel Monteleone JP Morgan

John Burton Harter Charitable Foundation

Bayou Lacombe Construction Company

New Orleans Theater Association

Entergy New Orleans, Inc.

Neal Auction Company

Ruby K. Worner Charitable Trust

Ochsner Health System

New Orleans Auction Galleries

The Garden Study Club of New Orleans J. Edgar Monroe Foundation

Laitram, LLC

Pan-American Life Insurance Group Premium Parking Service Stone Pigman Walther & Wittmann, LLC

Corporate and Individual Support $100,000 and above

$10,000-$19,999

Sydney and Walda Besthoff

Dr. H. Russell Albright

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

Anonymous

Joshua Mann Pailet

Jeffery Beauchamp

Estate of Françoise Billion Richardson

Suzanne Deal Booth and David G. Booth

$50,000 - $99,999

Galerie Kamel Mennour Greater Lakeside Corporation

Frischhertz Electric Company

Adrea D. Heebe

IBERIABANK

Jones Walker

The New Orleans Convention and Visitor’s Bureau

JP Morgan

Kitty and Stephen Sherrill Whitney Bank

$20,000-$49,999 Susan and Ralph Brennan Chevron Stephen Reily Whitney Bank

Molly O’Connor Kemp NOLA Media Group Nicholas Metivier Gallery Pan-American Life Insurance Group Peoples Health Mr. and Mrs. James J. Reiss, Jr. Josephine Sacabo Jolie and Robert Shelton Estate of Dorothy B. Skau

For additional information on exhibition sponsorship and program support, please contact Brooke Minto at (504) 658-4107 or bminto@noma.org. 18

SUMMER MEMBERSHIP SPECIAL To celebrate the exhibition Behind Closed Doors, Art in the Spanish American Home, 1492-1898, we’re offering a Sustaining membership special. For a limited time, use the code BCD18 and receive 18 months of membership for the price of 12. Join or upgrade today!

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 President’s Circle

Patron’s Circle

Mr. and Mrs. Sydney J. Besthoff III Mr. and Mrs. Ralph O. Brennan

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

Mr. and Mrs. David F. Edwards

Anonymous

Dr. and Mrs. Ludovico Feoli

Mr. and Mrs. Alvin Baumer Jr.

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

Mr. and Mrs. Robert H. Boh

Mrs. Paula L. Maher

Dr. and Mrs. Isidore Cohn Jr.

Mr. and Mrs. Charles B. Mayer Mrs. Robert Nims

Mr. Leonard A. Davis and Ms. Sharon Jacobs

Jolie and Robert Shelton

Mr. and Mrs. Timothy B. Francis

Mr. and Mrs. Stephen C. Sherrill

Mr. and Mrs. James J. Frischhertz

Mrs. Patrick F. Taylor

Mr. and Mrs. Edward N. George

Dr. and Mrs. L. Jay Bourgeois III

Mr. and Mrs. Charles W. Goodyear

Director’s Circle Mr. and Mrs. Herschel L. Abbott, Jr. Mrs. Jack R. Aron Mr. Justin T. Augustine III Mr. and Mrs. John D. Bertuzzi Mr. and Mrs. Daryl G. Byrd Mr. and Mrs. Thomas B. Coleman Mr. and Mrs. H. M. Favrot Jr. Dr. and Mrs. John F. Fraiche Ms. Tina Freeman and Mr. Philip Woollam Mrs. Lawrence D. Garvey Dr. Howard and Dr. Joy D. Osofsky Mr. and Mrs. Robert J. Patrick Mrs. Charles S. Reily Jr. Mr. and Mrs. Benjamin M. Rosen Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. H. Merritt Lane III Mr. and Mrs. Thomas B. Lemann Dr. Edward D. Levy Jr. Mr. and Mrs. J. Thomas Lewis Mrs. E. Ralph Lupin Mr. and Mrs. Paul J. Masinter Ms. Kay McArdle Mr. and Mrs. R. King Milling Mr. and Mrs. Michael D. Moffitt Mr. Joshua Mann Pailet Dr. and Mrs. James F. Pierce Mr. and Mrs. James J. Reiss Jr. Mr. and Mrs. James C. Roddy Mrs. George G. Rodrigue Mr. and Mrs. Edward Shearer Mr. and Mrs. Michael J. Siegel

Mr. and Mrs. Bruce L. Soltis

Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Jr.

Mrs. Harold H. Stream Jr.

Mrs. Frederick M. Stafford

Mr. and Mrs. Robert S. Taylor

Dr. and Mrs. Richard L. Strub

Mr. and Mrs. Robert E. Thomas

Mr. and Mrs. Stephen F. Stumpf Jr.

BUSIN E S S COU NCIL SPOTLIGHT: FIR ST B A N K A N D TRUST NOMA welcomes First Bank and Trust as its newest Business Council member at the Platinum level. First Bank and Trust leads the market in supporting private and parochial school education from grades K-12, and has also supported the Humane Society of Louisiana and St. Jude Children’s Research Hospital. Joseph C. Canizaro, Chairman of First Trust Corporation, and his wife Sue Ellen held a private event for NOMA Circles members at their home on April 30 2014. There, the Canizaros offered a special tour of their private collection of Old Master paintings over cocktails and lively conversation. To join the Business Council, or for information on becoming a Circles member, please contact Gia Rabito at 504-658-4129 or grabito@noma.org.

Ms. Catherine Burns Tremaine Mr. and Mrs. Steven W. Usdin Mr. and Mrs. Douglas Brent Wood

R A L EI G H C O O P ER

Mr. and Mrs. James L. Taylor

TRAVEL WITH NOMA! NOMA Fellows and Circles, mark your calendars for our Boston trip, October 8-12, 2014. ABOVE Walda Besthoff and Tommy and Dathel Coleman TOP Joseph Canizaro leads Susan Taylor and others on a tour of his collection of Old Master paintings

www.noma.org

P H OTO G R A P H Y BY J U DY C O O P ER A N D RO M A N A LO K H I N

SUPPORT

1 2

SPR ING EV EN TS BLOOM AT NOM A

1. Ben and Allison Tiller, Erica and James Reiss 2. David F. Edwards, Susan M. Taylor, Joseph Exnicios 3. Kay McArdle, Alvin and Penny Baumer 4. Kia and Christian Brown, Marilee Hovet 5. Dr. Walter and Adria Kimbrough, Henry L. Coaxum Jr. 6. Phillip Verre, Stephanie Heydt, Dr. Billy Hawkins

NOMA kicked off the spring season with the annual Art in Bloom fundraiser, presented by Whitney Bank. This year’s theme, “Perfect Palette,” was co-chaired by Erica Reiss and Allison Tiller, and showcased the floral artwork of over seventy-five designers, garden clubs, and artists. Guests of the Patron and Preview Party on March 19 enjoyed culinary masterpieces by some of the finest local restaurants and caterers. On April 5, hundreds of children and their families gathered for the NOMA Egg Hunt in the Sydney and Walda Besthoff Sculpture Garden, sponsored

by Catherine Burns Tremaine. Co-chairs Elizabeth Woods, Margaret Villere and Heather Reznik organized a lively day in the garden complete with spacewalks, face painting, arts and crafts and more. Special thanks to Fun & Games Sponsors Turning Point Foundation and Whole Foods Market as well. On May 15, NOMA unveiled Rising Up: Hale Woodruff’s Murals at Talladega College to hundreds of visitors. This exhibition of Hale Woodruff’s historic, recently conserved murals was organized by the High Museum of Art and Talladega College, and reveals them to a national audience for the first time.

Arts Quarterly New Orleans Museum of Art

LOV E IN THE GA R DEN HONOR S

NOM A

NOCCA A RTISTS

IN TRODUCE S ITS

In celebration of the New Orleans Center for Creative Arts’ (NOCCA) fortieth anniversary, this year NOMA will honor five artists from NOCCA at the annual LOVE in the Garden fundraiser, presented by Regions Bank. Jennifer Odem, Mary Jane Parker, Ersy Schwartz and Michel Varisco are all current and former instructors at the conservatory for high school students. Brandan Odums, the fifth honoree, is alum who has recently made headlines for his Project Be installation in the site of the former Florida projects. All five have achieved widespread recognition for their art. Throughout its history, NOCCA has moved from spare rooms borrowed from the New Orleans Museum of Art and the University of New Orleans to a state-of-the-art campus spanning the historic Faubourg Marigny and Bywater neighborhoods. Forty years later, NOCCA offers eleven arts training programs and a groundbreaking academic curriculum, providing students an educational experience unlike any other. As alumni like Wynton Marsalis, Harry Connick Jr., Terence Blanchard and Wendell Pierce earn accolades in the arts, in business, and other fields, NOCCA has become recognized as a powerful cultural and economic engine. NOMA and NOCCA both agree that arts education not only fosters great artists, it fosters great thinkers, who use creativity to assess and address problems in the world around them.

Co-chairs Charlene Baudier, Nancy Matulich and Lynda Warshauer, along with the NOMA Volunteer Committee Chair Glendy Forster have planned new additions to this year’s event, including a late-night party from 9 p.m. to midnight. Come enjoy live music from The Yat Pack, and sample cuisine from dozens of New Orleans’ finest restaurants and caterers, all under the stars in the Sydney and Walda Besthoff Sculpture Garden.

Friday, September 26 Patron Party | 7-8 p.m. $125 | members $150 | non-members

Garden Party | 8-11 p.m. $75 | members $100 | non-members

Late-Night Party | 9 p.m.-Midnight $50 | members and non-members

YOU NG FELLOWS The New Orleans Museum of Art is excited to announce the launch of its Young Fellows — our newest affinity group of dynamic young patrons between the ages of 21 and 45, committed to supporting the museum’s mission of championing artistic innovation in our community. NOMA’s Young Fellows offers exclusive access to the museum’s extraordinary collections, exhibitions, programs and cultural resources throughout New Orleans and beyond. Young Fellows programming will include private tours, special access to NOMA’s parties and fundraisers, gallery walks and studio tours with curators, and more. NOMA’s Young Fellows group is led by an energetic Steering Committee, a diverse and engaged group including community organizers, bankers, freelance writers, designers, lawyers, entrepreneurs, doctors and marketing professionals.

NOMA Young Fellows Steering Committee Co-Chairs

Tricia Freeman

Marshall Hevron

Lauren Jardell

Mandie Landry

Katie Kelly

Hattie Collins Moll

Nicole Laan

Justin Shiels

Beth and Austin Lavin

Bryant York

Taylor Morgan

Elizabeth Porter York

Lorena O’Neil

Will Hales

Christina Peck Samuels presented by

Steering Committee Members Shelley Aucoin Caitlin Berni Jaimme Collins Lauren Del Rio Sarah Elizabeth Dewey Hallie Dietsch Genevieve Douglass Taylor Eichenwald Emily Engberg

www.noma.org

Colleen Gravley

Shira Pinsker Alex Pomes Patrick Rafferty Matthew Roniger Laura Sandoval Christina Sautter Catherine Todd Patrice Tyson Erica Washington Katherine Westerhold Jenna Wittig

L AU REN L E V ENS O N

SUPPORT

2014 Odyssey Co-chairs: Gayle Benson, Juli Miller-Hart, H. Britton Sanderford, and Margo DuBos at the home of Mrs. Benson

NOM A’S 2014 ODYS SEY COMMITTEE GE A R S U P FOR A BUSY FU N DR A ISING SE A SON On Monday, May 12, NOMA’s 2014 Odyssey Committee kicked off what will be an invigorating season of preparation for this year’s events. Co-chairs Gayle Benson, Margo DuBos, Juli Miller Hart, and H. Britton Sanderford Jr. gathered their committee for a kick-off luncheon at Benson’s home. There, the co-chairs filled everyone in on all the details that will make this Odyssey unlike any other before. This year, Odyssey leadership set a very specific mission: to raise funds in support of NOMA’s arts education initiatives and programs. “NOMA has recently developed several innovative educational initiatives, for students from pre-K through high school, and we want to keep that momentum going,” said Brooke Minto, Deputy Director for Development and External Affairs. “NOMA’s goal is to impact 25,000 school-age children and their families— over half of all students enrolled in New Orleans public schools each year—and

support from Odyssey is essential to achieving that goal.” NOMA has already completed new and updated resources for educators, and has several other initiatives planned, such as website portals and a museum app. Mini Masters, NOMA’s newest early childhood education program, uses objects from the permanent collection as a foundation for lessons in everything from science, literacy, arts, to math. “NOMA has already made great strides in the local education landscape, and I know we can help them do even more,” said Gayle Benson. Since its inception in 1966, Odyssey has always been a one-night affair, a gala evening at the museum that brings together supporters of NOMA and the arts. This year, the festivities are expanding to two nights: an Enchanted Evening at a private home and the Night at the Museum on Friday, November 7. Open to top supporters at the $5,000 level and above, Odyssey’s Enchanted Evening will be a dinner and

auction event at the private home of one of NOMA’s benefactors. The Night at the Museum will feature great live music, top cuisine from the Ralph Brennan Restaurant Group, auctions, and will also include special performances and a Young Fellows ticket level catered to the museum’s younger patrons. Brittany Brees will lead the charge as chair of Odyssey’s Young Fellows Committee. Night at the Museum will also serve as the premier viewing of the exhibition Photorealism: The Sydney and Walda Besthoff Collection. Mr. and Mrs. Besthoff will serve as Honorary Chairs of Odyssey 2014. Both nights will support the creation and expansion of arts education programs at NOMA. Tickets will be available on noma.org and by phone. For information on sponsorship levels and benefits, please contact Kristen Jochem at 504-658-4121 or kjochem@noma.org.

Arts Quarterly New Orleans Museum of Art

J U DY C O O P ER

DECOR ATI V E A RTS GA LLERY NA MED IN HONOR OF ELISE M . BE STHOFF NOMA announces the naming of the Elise Mayer Besthoff Gallery. Elise Mayer Besthoff (1929 – 1996) was a lifelong lover and collector of the arts, especially Chinese export porcelain from the seventeenth and eighteenth centuries. In 1997, NOMA presented an exhibition of works from her collection. China for the West: The Elise Mayer Besthoff Collection included Europeanshaped objects decorated in the Chinese manner and, conversely, traditional Chinese shapes decorated with European designs, offering a fascinating look at a period when cultures met in the medium of porcelain. In her bequest, Miss Besthoff established a purchase endowment for NOMA to invest in fine Chinese porcelain. Today, the Elise M. Besthoff Charitable Foundation has continued her legacy at NOMA with another endowment gift and the naming of this intimate gallery. Located on the second floor, in the Lupin Foundation Center for the Decorative Arts, this gallery space will feature rotating exhibitions of decorative arts.

Portrait of Elise Mayer Besthoff Terina O’Bourke, American, circa 1970, oil on canvas, Bequest of Elise Mayer Besthoff, 96.297

www.noma.org

IN MEMOR I A M: DR . R A LPH LU PIN Dr. Ralph Lupin, local physician, humanitarian, and NOMA trustee passed away on May 1, 2014. Ralph was a dear friend to NOMA and avid supporter of several other local organizations, including the New Orleans Center for Creative Arts, the New Orleans Ballet Association, and the National WWII Museum. He was elected to the NOMA Board of Trustees in 2004 and served on the Acquisitions and Executive Committees. He and his wife Pam were both NOMA Circles members. Ralph’s generosity has impacted NOMA in countless ways over the last few decades. In 1997, NOMA organized an exhibition of the Lupins’ extraordinary collection of Japanese Imari porcelain. Imari: Porcelain for Palaces featured over 100 objects from their collection and traveled to four museums throughout the United States. In honor of their 50th wedding anniversary, Ralph and his first wife, Freda, graciously donated these objects to the museum. In addition to their Imari collection, the Lupins also gifted exquisite examples of Lalique and Anglo-Irish cut glass, and funded the Lupin Foundation Center for the Decorative Arts as part of NOMA’s

1993 expansion. Ralph and his wife Pam continued to augment the collection with additional gifts, and The Lupin Foundation has been a longtime sponsor of NOMA’s fundraising events: Odyssey, Art in Bloom, and LOVE in the Garden. In 2010, Ralph 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. Ralph not only served the community in the medical field, but was also was a lawyer and retired general of the Louisiana National Guard, whose last mission was in 2005 after Hurricane Katrina, as the chief medical officer at the Superdome. As an ardent preservationist, Ralph was committed to his home neighborhood of the French Quarter, serving on the Vieux Carre Commission. “He was a pillar of the New Orleans community, a champion of women’s health who was a part of so many lives spanning many generations,” said NOMA Director Susan Taylor. “His legacy will live on through the children he delivered, the patients he cared for, and the art that he cherished.”

2014 BOARD OF TRUSTEES

Ms. Alexandra Stafford

David F. Edwards President

Susu Stall

Julie George Vice-President

Frank Stewart

Robert M. Steeg

Mrs. Richard L. Strub

Mike Siegel Vice-President

Robert Taylor

Donna Perret Rosen Vice-President

Brent Wood

Tommy Coleman Secretary

Melanee Gaudin Usdin

NATIONAL TRUSTEES

Suzanne Thomas Treasurer

Joseph Baillio

Herschel L. Abbott Jr. Executive Committee

Mrs. Mason Granger

Sydney J. Besthoff III Executive Committee E. Ralph Lupin, MD* Executive Committee

MEMBERS

Mrs. Carmel Cohen

SUPPORT ACKNOWLEDGMENT The New Orleans Museum of Art is accredited by the American Alliance of Museums. Public programs of NOMA are supported in part by grants from the Azby Museum Fund, Max and Victoria Dreyfus Foundation, the Charitable Lead Annuity Trust under the Will of Louis Feil, Lois and Lloyd Hawkins Jr. Foundation, the Helis Foundation, the New Orleans Jazz and Heritage Festival and Foundation, Ruby K. Worner Charitable Trust, and the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, administered through the Arts Council of New Orleans.

Jerry Heymann Herbert Kaufman, MD Mrs. James Pierce Debra B. Shriver Mrs. Henry H. Weldon Mrs. Billie Milam Weisman

Justin T. Augustine III

Arts Quarterly New Orleans Museum of Art

Dr. Siddharth Bhansali

HONOR ARY LIFE MEMBERS

Susan Brennan

Dr. H. Russell Albright

Kia Silverman Brown

Mrs. Jack R. Aron

Aisha Champagne

Robin Burgess

Mrs. Edgar L. Chase Jr.

PRINTING

Daryl Byrd

Isidore Cohn Jr., MD

DocuMart

Edgar L. Chase III

Prescott N. Dunbar

Maurice Cox

S. Stewart Farnet

H.M. “Tim” Favrot Jr.

Sandra Draughn Freeman

Penny Francis

Kurt A. Gitter, MD

Tina Freeman

Mrs. Erik Johnsen

Glendy Forster

Richard W. Levy, MD

Susan G. Guidry

Mr. J. Thomas Lewis

Robert C. Hinckley

Mrs. Paula L. Maher

Ms. Allison Kendrick

Mrs. J. Frederick Muller

Mayor Mitch Landrieu

Mrs. Robert Nims

Paul Masinter

Mrs. Charles S. Reily Jr.

“Moon Flask”, circa 1890, Thomas Webb & Sons, English, Stourbridge, 1837-1990, Blown, tooled, and gilt blue glass, Museum purchase, Carrie Heiderich and Mervin and Maxine Mock Morais Funds, 2002.326

Mrs. Charles B. Mayer

R. Randolph Richmond Jr.

Inside Cover

Mrs. Michael Moffitt

Mrs. Frederick M. Stafford

SPHERE OF INFLUENCE

Howard J. Osofsky, MD

Harry C. Stahel

Remembrance (Clare), 1910, detail, Imogen Cunningham, American, 1883–1976 platinum print, gift of Mrs. P. Roussel Norman, 81.427

J. Stephen Perry

Mrs. Harold H. Stream

Front Cover

Brian Schneider

Mrs. James L. Taylor

Jolie Shelton

Mrs. John N. Weinstock

BEHIND CLOSED DOORS: ART IN THE SPANISH AMERICAN HOME, 1492-1898

Gail Catharine Bertuzzi

Kitty Duncan Sherrill *deceased

EDITOR

Taylor Murrow ART DIRECTOR

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124 © 2014, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Right

Deborah Hall, 1766, detail, William Williams, British, active in Philadelphia, 1727–1791, Oil on canvas, Brooklyn Museum, Dick S. Ramsay Fund, 42.45 Back Cover Scraper, 1989, Keith Sonnier, American, born 1941, Neon, glass, aluminum, Museum purchase, P. Roussel Norman Fund, 2010.214

Arts Quarterly New Orleans Museum of Art

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

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CALENDAR OF EVENTS AND EXHIBITIONS July/August/September 2014

UPCOMING EVENTS

EXHIBITIONS

July 2014 2 Wednesday

12 Saturday

19 Saturday

25 Friday

Noontime Talk on Behind Closed Doors

Yoga in the Sculpture Garden

Friday Nights at NOMA

with Lucia Abramovich, Curatorial Fellow for Spanish Colonial Art, 12 p.m.

8-9 a.m.

ART ON THE SPOT 5-8 p.m.

StoryQuest “Inspired by Hale

Studio KIDS! “A Bug’s Life,”

Woodruff’s Murals,” 11:30 a.m.

10 a.m.-12 p.m.

MUSIC Marc Stone (DJ), 5:30-8:30 p.m.

Summer Camp: In the Studio

14 Monday

21 Monday

9:30 a.m.-12:30 p.m. (through Friday)

Summer Camp: In the Studio

Summer Camp: On the Stage

9:30 a.m.-12:30 p.m. (through Friday)

1-4 p.m. (through Friday)

Summer Camp: On the Stage

Tai Chi/Chi Kung 6-7 p.m.

1-4 p.m. (through Friday)

Tai Chi/Chi Kung 6-7 p.m.

Tai Chi/Chi Kung 6-7 p.m..

18 Friday

23 Wednesday

Friday Nights at NOMA

Book Club Discussion Group, African

ART ON THE SPOT 5-8 p.m.

Arts Magazine Vol. 46, issue 2 11:30 a.m. - 1 p.m.

7 Monday

9 Wednesday Noontime Talk on Behind Closed Doors with Lucia Abramovich, Curatorial Fellow for Spanish Colonial Art, 12 p.m.

11 Friday Friday Nights at NOMA ART ON THE SPOT 5-8 p.m.

MUSIC Victor Andrada, 5:30-8:30 p.m. ARTIST PERSPECTIVE on Behind Closed

DISCUSSION with Shea Trahan and

Frances Guevara, the winners of NOMA/ New Orleans Entrepreneur Week’s 3D Printed Design Contest, 6 p.m. ARTFUL PALATE COOKING DEMO

6:30 p.m.

FILM Multiple Perspectives

(The Crazy Machine), 7 p.m.

26 Saturday Pilates in the Sculpture Garden 8-9 a.m.

StoryQuest “Adventure,” 11:30 a.m.

Doors with Jessica Goldfinch, 6 p.m.

28 Monday

FILM FRIDA, 7 p.m.

Summer Camp: In the Studio 9:30 a.m.-12:30 p.m. (through Friday)

MUSIC ANODE 14.2 with cellist

Summer Camp: On the Stage

Kevin McFarland, 6 p.m.

1-4 p.m. (through Friday)

ARTFUL PALATE COOKING DEMO

Tai Chi/Chi Kung 6-7 p.m.

6:30 p.m.

August 2014 1 Friday

ARTFUL PALATE COOKING DEMO

Friday Nights at NOMA

18 Monday

25 Monday

FILM María Candelaria, 7 p.m.

Tai Chi/Chi Kung 6-7 p.m.

MUSIC Cristina Perez, 5:30-8:30 p.m.

9 Saturday

22 Friday

29 Friday

2 Saturday

Yoga in the Sculpture Garden

Book Club New Books Potluck

Friday Nights at NOMA

8-9 a.m.

11:30 a.m. - 1 p.m.

ART ON THE SPOT 5-8 p.m.

Yoga in the Sculpture Garden

StoryQuest “China,” 11:30 a.m.

Friday Nights at NOMA

MUSIC Arpa Quartet, 5:30-8:30 p.m.

ART ON THE SPOT 5-8 p.m.

LECTURE “Murals as Public Address: The Hale Woodruff Murals in Context,” by Rebecca Lee Reynolds, PhD, Asst. Professor of Fine Arts at UNO, 6 p.m.

6:30 p.m.

ART ON THE SPOT 5-8 p.m.

8-9 a.m.

4 Monday

12 Monday

MUSIC The Pfister Sisters, 5:30-8:30 p.m. ARTIST PERSPECTIVE Behind Closed Doors with Jim Richard, 6 p.m.

Tai Chi/Chi Kung 6-7 p.m.

6 Wednesday

ARTFUL PALATE COOKING DEMO

Friday

6:30 p.m. FILM La Perla, 7 p.m.

Friday Nights at NOMA

Book Club Discussion Group, The

ART ON THE SPOT 5-8 p.m.

Modigliani Scandal by Ken Follett 11:30 a.m. - 1 p.m.

MUSIC Banu Gibson, 5:30-8:30 p.m.

23 Saturday

FILM Life of Pi, 7 p.m.

Pilates in the Sculpture Garden

8 Friday Friday Nights at NOMA ART ON THE SPOT 5-8 p.m.

8-9 a.m.

16 Saturday

Studio KIDS! “Figure It Out,” 10 a.m.-12

Yoga in the Sculpture Garden

StoryQuest “Clouds,” 11:30 a.m.

p.m.

8-9 a.m.

2 3

LECTURE “Influence of Hale Woodruff on African American Artists” by Dr. Sara Hollis, Professor M.A. Museum Studies Program Southern University at New Orleans, 7:30 p.m.

30 Saturday Pilates in the Sculpture Garden 8-9 a.m.

MUSIC Erin Demastes, 5:30-8:30 p.m.

September 2014

Exhibition Schedule

3 Wednesday

Noontime Talk on Behind Closed Doors

Book Club Program with Deputy

with Lucia Abramovich, Curatorial Fellow for Spanish Colonial Art, 12 p.m.

Director Lisa Rotondo-McCord 11:30 a.m. - 1 p.m.

Wednesday

Friday Nights at NOMA

ART ON THE SPOT 5-8 p.m. MUSIC Keith Burnstein, 5:30-8:30 p.m.

Closing Celebration of Behind Closed Doors, open until midnight

FILM Amistad, 6 p.m.

ART ON THE SPOT 5-8 p.m.

ARTFUL PALATE COOKING DEMO

LECTURE “Reimagining Race, Class, and

6 Saturday Yoga in the Sculpture Garden 8-9 a.m.

Studio KIDS! “Boxed In,” 10 a.m.-12 p.m. StoryQuest “Houses,” 11:30 a.m.

20 Saturday

Tai Chi/Chi Kung 6-7 p.m.

Yoga in the Sculpture Garden 8-9 a.m.

5 Friday

6:30 p.m.

15 Monday

Friday

17 Wednesday

Studio KIDS! “I’ll Fly Away,” 10 a.m.-12

Noontime Talk on Behind Closed Doors

StoryQuest “Latin American Folktales,”

with Lucia Abramovich, Curatorial Fellow for Spanish Colonial Art, 12 p.m.

Friday

Book Club Discussion Group, The

Identity in the New World” with Mia Bagneris, Assistant Professor, History of Art at Tulane University, 6 p.m.

Thousand Autumns of Jacob De Zoet: a Novel by David Mitchell 11:30 a.m. - 1 p.m.

13 Saturday

ART ON THE SPOT 5-8 p.m.

Friday Nights at NOMA: Movies in the Garden

p.m. 11:30 a.m.

22 Monday Tai Chi/Chi Kung 6-7 p.m.

FILM Sunset Boulevard, sundown

27 Saturday

DISCUSSION Alexis Rockman with Brett

Pilates in the Sculpture Garden

Tai Chi/Chi Kung 6-7 p.m.

Museum Highlights 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. For more information, call (504) 658-4100.

ARTFUL PALATE COOKING DEMO

6:30 p.m. (in Café NOMA)

Behind Closed Doors: Art in the Spanish American Home, 1492-1898 (2) June 20 – September 21, 2014, Ella West Freeman Galleries

Alexis Rockman: Drawings from the Life of Pi (3) July 4 – October 12, 2014, Templeman Galleries

Photorealism: The Sydney and Walda Besthoff Collection (4) November 9, 2014 – January 5, 2015, Ella West Freeman Galleries

Museum closes at 5 p.m. LOVE in the Garden 7 p.m. – midnight.

8-9 a.m.

Monday

May 16 – September 14, 2014, Lupin Foundation Center for the Decorative Arts

26 Friday

Yoga in the Sculpture Garden

Littman, Executive Director of the Drawing Center, 6 p.m.

Rising Up: Hale Woodruff’s Murals at Talladega College (1)

8-9 a.m.

29 Monday Tai Chi/Chi Kung 6-7 p.m.

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

Above, top to bottom

The Mutiny on the Amistad, 1939, (detail); Hale Aspacio Woodruff, American, 1900–1980; Collection of Talladega College, Talladega, Alabama. ©Talladega College. Photo: Peter Harholdt Free Women of Color with Their Children andServants in a Landscape, circa 1770–96 (detail); Agostino Brunias Italian, circa 1730–1796; oil on canvas, Brooklyn Museum, Gift of Mrs. Carl H. de Silver inmemory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.5 Study for Tiger Vision (7 TV), 2011, Alexis Rockman, American, born 1962, gouache on black, paper, courtesy of the artist Cat’s Eye and the Best of ‘Em, 1993; Charles Bell, American, 1935–1995; Oil on canvas; Collection of Sydney and Walda Besthoff, Image (c) Charles Bell, courtesy Louis K. Meisel Gallery Back

Event schedule subject to change. Please check www.noma.org for updates.

Study for Tiger Vision (19 TV Bio Fish), 2011; Alexis Rockman, American, born 1962; Gouache on black paper, courtesy of Fox Searchlight