AprMayJun08

The BaroqueWorld ofFernandoBoteroBY MIRANDA LASHCurator of Modern andContemporary Art, NOMA

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ARTSQUARTERLYVOLUME XXX ISSUE 2 NEW ORLEANS MUSEUM OF ART APRIL/MAY/JUNE 2008

A benefit of membership with the New Orleans Museum of Art

Fernando Botero (Colombian, born 1932)The First Lady, 1989Oil on canvas, 80 x 65 inchesPrivate Collection

2 NEW ORLEANS MUSEUM OF ART

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ARTS QUARTERLY 3

1001 South Broad Street, New Orleans, Louisiana 70125Tel: 504.821.6326 E-mail: [email protected]


ARTSQUARTERLYVOLUME XXX ISSUE 2 NEW ORLEANS MUSEUM OF ART APRIL/MAY/JUNE 2008

1 The Baroque World of Fernando BoteroMiranda Lash

8 Gentle Callers: Paul Cadmus and George Dureau,From the Collection of Kenneth HolditchGeorge Roland

10 New Orleans: A Sense of PlaceJudith Bonner

14 Rodrigue’s Louisiana: Cajuns, Blue Dogs and BeyondKatrina

15 Aioli Dinner Inaugurates Rodrigue’s Louisiana Exhibition

16 Drag and Pop: Warhol’s Ladies and GentlemenAlice Dickinson

18 Oak Tree Restoration at NOMA’s Sydney and WaldaBesthoff Sculpture GardenMeg Adams

20 2007 Acquisition Highlights

24 Great ExpectationsVirginia Panno

25 Join A Circle and Upgrade Your Support of NOMA

26 Circles and Fellows of the New Orleans Museum of Art

28 Corporate Membership

30 Contributions

32 Education Programs and Activities

36 Mid-Week in Mid-City

37 Program Sponsors

38 Museum News

39 NOMA Calendar of Events

Editor/Art Director: Wanda O’ShelloAdvertising Manager: Karron LaneAssistants to the Editor: Aisha Champagne,M. Dreux Van Horn IIPrinting: Roberson Printing

Arts Quarterly (ISSN 0740-9214) ispublished by the New Orleans Museum ofArt, P.O. Box 19123, New Orleans, LA70179-0123. 504-658-4103. Advertising504-610-1279 or 504-658-4103.

© 2008, New Orleans Museumof Art. All rights reserved. Nopart of this magazine may bereproduced or reprinted withoutpermission of the publisher.

SUPPORT ACKNOWLEDGEMENT

The programs of the New OrleansMuseum of Art are supported by agrant from the Louisiana State ArtsCouncil through the Louisiana Divisionof the Arts and the NationalEndowment for the Arts.

Free admission for Louisiana residentsis sponsored by The Helis Foundationand the members of the New OrleansMuseum of Art.

From the directorAcrucial indicator

of NOMA’scontinued

recovery is theincreasing pace of newart acquisitions since2006, both by gift andpurchase. In this issue ofthe Arts Quarterly youwill see a portfolio of afew of the 842 beautifulartworks acquired by the

Museum in 2007. This is a wonderful expressionof a strong and lasting commitment to theMuseum’s importance and longevity.

While we now have an $8 millionendowment for art purchases, which yields$400,000 annually, the great growth in our artcollection continues to be the result of generousdonations from individual collectors. These giftsmay be a single work or an entire collection.Certainly the growth of our collection in all areasis important for NOMA’s future because in thefinal analysis an art museum is judged on thebreadth and quality of its art collection—apermanent cultural treasure for its community.

In the first quarter of 2008, NOMA hasalready acquired some wonderful new treasures.These artworks are placed on view as soon aspossible throughout the galleries, with a special“New Acquisition” label on each one. Now wehave dedicated space in the first-floor McDermottLobby for a continuing and changing display ofnew acquisitions. The first selection is a group ofvaried artworks from a collection of thirty-sevenbequeathed to NOMA by Abby Ray Catledge, alongtime patron and friend, wife of the lateMuseum trustee Turner Catledge, formermanaging editor of the New York Times.

The Catledge collection, purchased fromprominent art dealers in New York City in the1960s, reflects a refined taste and keen eye forquality. Nearly all the works are by twentieth-century artists working in various figurative stylesand the majority are drawings and watercolors.While a few “big names” are in the Catledgecollection—Robert Henri, Fairfield Porter, WaltKuhn and of course Picasso—most of the artistsare not now well known to the museum-goingpublic. This reflects several factors such as theresources of the collectors and their personaltastes but perhaps most important is the rolefashion plays in an artist’s reputation and fame.When acquired by the Catledges most of theseartists were well established and highlycollectible. While the quality of their workremained the same, styles change, artists die, andyounger artists emerge. But the wheel of fashionis always turning and an artist’s standing can riseagain. So works in the Catledge collection by theMexican Rafael Coronel, the American WalterStuempfig, the Spaniard Juan Genoves and otherslook fresh again and are most worthy additions toNOMA’s holdings.

So please, the next time you visit theMuseum to see a special exhibition, take the timeto tour the permanent collection galleries.Permanent does not mean static. Besides addingnew acquisitions, the curators are alwaysrefreshing the displays with works from storage.With more than 40,000 artworks in our permanentcollection, we are constantly rotating works onand off view. So come discover new treasures andsee some old friends.

E. John Bullard

Articles appearing in any issue of Arts Quarterly do not necessarily reflect the opinion of the staff or the board oftrustees of the New Orleans Museum of Art.

The Museum is open Wednesday, noon to8 p.m., Thursday through Sunday, 10 a.m.to 5 p.m. The Besthoff Sculpture Garden isopen Wednesday, 10 a.m. to 8 p.m.,Thursday through Sunday, 10 a.m. to 5 p.m.For information on upcoming exhibitionsand events at NOMA, please call 504-658-4100or visit our website at www.noma.org.

ARTS QUARTERLY 5


This summer NOMA is proud to host thelarge-scale traveling exhibition The BaroqueWorld of Fernando Botero. Organized by thenonprofit organization Art ServicesInternational, this exhibition is the first

retrospective in the United States of Botero’s work since1974. Recognized as one of the most well-known andcommercially successful artists to emerge from LatinAmerica, Botero now has his work exhibited andcollected by art museums around the world, includingthe New Orleans Museum of Art.

Born in 1923 in the small Andean town of Medellín,Colombia, Botero was the son of David Botero, atraveling salesman and mule-train driver. His father diedwhen Botero was four years old, leaving his familydependent on their mother, a seamstress, for support. Bysaving his own money as a young teenager, Botero wasable to execute his first set of watercolor paintings

around 1949. These early works depicted scenes typicalof his hometown, featuring bullfights with matadors andpicadors.

A nonconformist at an early age, Botero studied inseveral schools in Colombia before moving to the capital,Bogotá in 1951. There he presented his first soloexhibition at the Leo Matiz gallery. During thesubsequent years Botero traveled through Europe—firstin Spain, then France and Italy, studying old Masterpaintings. Fusing his love of baroque sculpture andarchitecture from Colombia with his interest in the workof Diego Velasquez, Francisco Goya, Piero dellaFrancesca, and Masaccio, Botero developed his ownmethod of emulating the painters he admired.

In 1956 Botero arrived in Mexico City, where heencountered the populist art of the muralists DiegoRivera, Jose Clemente Orozco, and David Siqueiros, aswell as still lifes and retablos painted by Frida Kahlo.Witnessing the success of his Latin American counterpartsin Mexico City, Botero there developed his trademarkstyle of voluptuous forms. He began by painting Still Lifewith Mandolin, 1957, an exercise in manipulating theproportions and shape of a guitar. His desire to infuse hisfigures and objects with sumptuousness connects hiswork to the baroque. The artist explains: “The purpose ofmy style is to exalt the volumes, not only because thatenlarges the area in which I can apply more color, butalso because it conveys the sensuality, the exuberance,the profusion of the form I am searching for.”1

Success followed soon thereafter for Botero. In 1960he moved to New York, where his studio was visited bya curator from the Museum of Modern Art. In 1961MoMA acquired his painting Mona Lisa, Age 12 (includedin this exhibition). While living in New York through1965, Botero was represented by Marlborough Gallery, inaddition to Galerie Claude Bernard in Paris. Thepopularity of his figurative paintings was extraordinary atthis time, considering the proliferation of AbstractExpressionism as the dominant art style.

By 1973, Botero’s enduring interest in volumestranslated into creating three-dimensional forms. Hebegan to make sculptures while living in Paris, and in1976 made his first series of torsos and animal figures.Seven years later he set up a studio in Pietrasanta, Italy,located near Carrara, a marble quarry used sinceantiquity. There he began working with the FonderiaArtistica Mariani. The foundry’s system for castingbronzes while reducing their weight enabled Botero todevelop large-scale bronze sculptures with highlypolished surfaces. The nineteen sculptures on display inthis exhibition comprise one example from each editionthe artist cast or carved in marble or bronze.

Through the eighties and nineties Botero continuedto exhibit his work in the United States, Asia, Europe,and the Middle East. The artist remained connected to hisnative country, however, and through these decadespainted numerous works that addressed the brutalitiessuffered during Colombia’s civil wars and illegal drugtrafficking. In protest to the ongoing violence, in 2000 theartist generously donated 120 artworks, includingPicassos, Mirós, and Chagalls, to form the core of twonew museum collections in Medellín and Bogotá. A fewyears later, Botero would again speak out against acts ofinhumanity, this time by painting a series dealing withthe mistreatment of prisoners by U.S. soldiers in AbuGraib, Iraq.

The one hundred paintings, drawings, and sculpturesin this exhibition span the length of Botero’s career: frompaintings executed in 1959 in his native Colombia, to

The BaroqueWorld ofFernandoBoteroBY MIRANDA LASHCurator of Modern andContemporary Art, NOMA

Fernando Botero (Colombian, born 1932)Sunflowers, 1977Oil on canvas, 71-1/2 x 63 inchesPrivate Collection

ARTS QUARTERLY 7

sculptures executed as late as 2005. The works on viewwere selected by John Sillevis, curator of theGemeentemuseum in The Hague, and editor andcontributor to the accompanying exhibition catalogue. Allof these works are generously on loan from the artisthimself. This collection, assembled over the last fiftyyears, includes favorite works that Botero was heretoforeunable to part with, as well as pieces reacquired yearsafter they left his possession. Many of these objects arebeing exhibited in public for the first time.

The exhibition is divided into eight sections,corresponding to epochs and themes in Botero’s life.First, early works from the 1950s, the period duringwhich Botero first defined his unique style. Second,paintings that draw from colonial baroque pieces Boteroobserved in Latin America, including religious images ofclergy, Jesus Christ, and the Virgin Mary. The thirdsection contains works inspired by European masters,ranging from Titian to Vincent Van Gogh. Fourth, areBotero’s eerie still lifes of lush and decaying fruit andflowers. Fifth, are images of power and violence in LatinAmerica: scenes of presidents, earthquakes, andexecutions. The sixth section is based on memories fromBotero’s childhood in Colombia: street scenes, intimateinteriors, and local figures. The seventh section focuseson Botero’s works on paper, including detailed chalkdrawings and watercolors. Lastly, the exhibition closeswith Botero’s elegant and imposing monumental bronzeand marble sculptures.

In describing the chief roots of his inspiration, Boterolooks to both his personal heritage and his predispositiontowards perceiving the world through the senses. “Mypainting has two main sources,” he says, “on the onehand, there are my views on aesthetics, and on the otherhand, the Latin American world where I grew up. I alsothink that sensuality plays a great role and constitutes theprincipal means by which the artist transforms reality. Ihave tried to see the pictures of my childhood, thevillages of Colombia, its people, its generals and bishops,etc. through the prism of my tenets about art…Mypictures are never based on the direct contemplation ofthe landscape or the people. They originate from myexperience of reality.”2

n

TThhee BBaarrooqquuee WWoorrlldd ooff FFeerrnnaannddoo BBootteerroo is on viewin the Ella West Freeman Galleries from June 28through September 21, 2008. This exhibition isaccompanied by an illustrated catalogue with essays byJohn Sillevis, guest curator, David Elliot, Director of theMori Art Museum in Tokyo, and Edward Sullivan, Deanof Humanities and Professor of Latin American Art atNew York University.

NOTES:1. Originally quoted in Juan Carlos Botero, “Interview with my

Father,” in Fernando Botero, (exh. cat), Stockholm, 2001, 35.2. Originally quoted in Carlos Fuentes, (Intro.), Botero Women,

New York, 2003, 57.All artist quotations are drawn from the publication The Baroque

World of Fernando Botero.

Fernando Botero (Colombian, born 1932)Reclining Woman, 2000

Bronze, 10 x 23=1/4 x 11 inchesPrivate Collection

Fernando Botero (Colombian, born 1932)The Orchestra, 2001

Oil on canvas, 80 x 56-3/4 inchesPrivate Collection


“It’s almost time for our gentlemen callers to startarriving. How many do you suppose we’re going toentertain this afternoon?”

Amanda Wingfield in The Glass Menagerieby Tennessee Williams

World famous as an authority onTennessee Williams and WilliamFaulkner, Dr. Kenneth Holditch is lesswell known as a distinguishedcollector of art. Works on paper by

Paul Cadmus (American, 1904-1999) and George Dureau(American, born 1930) are central to his collection, andNOMA is pleased to have the opportunity to bring theselyrical and sometimes provocative images to the attentionof a wider public.

The exhibition also will include works by PaulCadmus from the Larry Anderson collection and the JoelWeinstock collection, all promised gifts to NOMA. Aselection of nineteenth-century academic drawings fromthe permanent collection and other New Orleanscollections will provide a historical context.

The fashionable taste for abstract art had little tointerest Paul Cadmus, who preferred to explore lifedrawing and the creation of epic figure compositions,pursuits to which he devoted his long career (fig. 1).That rarest of creatures, a native New Yorker, Cadmuswas born in 1904 and studied at the National Academy ofDesign and the Art Students League. In the 1930s heworked for the WPA, receiving commissions for paintingsand murals.

Never far from controversy, his frieze-likecompositions of hoi-polloi in skin-tight clothes broughtdown upon him the wrath of the Navy, Brooklynrealtors, and the U.S. Post Office. Storms of mediaattention created a notoriety from which he profitedgreatly. The works, some of which were suppressed andthus provided early examples of government censorship,were thought to portray homoerotic longings—by thosein a poor position to identify such longings. Upon thisunlikely foundation Cadmus’s career as an artist wasbuilt. “I owe that admiral a very large sum,” he reflected.

Though generally ignored by the art mafia, theprints, drawings and paintings in egg tempera by Cadmuscaught the attention and support of discerning collectors.Working independent of the prevailing fashions, Cadmuscreated a body of work wholly his own in the greattradition of academic discipline based on the study of themale nude. Drawings from life, elaborate scenes of socialsatire, intimate glimpses of domestic life are his subjects.

Kenneth Holditch comments that George Dureau’sart is “entwined with that mixture of contradictoryelements that constitute the carnal atmosphere of hisnative city. Perhaps this accounts to some extent for theparadoxes…the joyful and painful, the beautiful andugly, the spiritual and sensual and most significant of allthe real in sharp juxtaposition to that which is vividlyimagined. Dureau looks at life in its grandeur andgrossness and his keen eye and sure hand do not winkor tremble at either extreme.”

In his best work George Dureau shows a genius forcomplex figure groupings that inhabit whatever theobscure occasion (one thinks of Manet’s Dejeuner surl’herbe), and a breathtaking command of the contourline. This is dramatically evident in Dureau’s grandmanner charcoal drawings (fig. 2). Executed with thefacility and confidence of a great master, reminiscent of,yes, Michaelangelo, they embody accuracy, delicacy anddiscipline in a most satisfying way. He carries into thetwentieth century the important tradition of theacademie, the study of the live male model that was thefoundation of art education for the last three hundredyears.

Most of the rest of the world knows Dureau as aphotographer and “godfather” to another famous NewYork photographer, but here in New Orleans hispaintings and drawings have been warmly received andcollected both privately and by institutions for manyyears. He has completed with distinction many privateand public commissions, the NOMA gates being ansignificant example. Living and working in the FrenchQuarter as always, he is truly a favorite son.

The academic system of art education, established inthe seventeenth century, was based on the study of thenude male model (fig. 3). The ideals of Greek andRoman art, known mostly through sculpture, werethought to embody the highest achievement of mankind’sartistic ambitions. Architecture, also based on classicalsurvivals, was taught as well, leading to the study ofproportion, perspective, composition and, eventually,landscape.

GentlemenCallers:Paul Cadmusand GeorgeDureauFrom theCollection ofKennethHolditch

BY GEORGE ROLANDThe Doris Zemurray StoneCurator of Prints andDrawings, NOMA

Figure 1Paul Cadmus (American, 1904-1999)Coney Island, 1935Etching, edition 24/35 II (second edition)Plate: 9 x 10 inchesCollection of Kenneth Holditch

Photo by Judy Cooper

Figure 3Unidentified ArtistUntitled (Academic nude), 1918Oil on canvas24-1/2 x 17-3/4 inchesPrivate Collection, New Orleans


Figure 2George Dureau(American, born 1930)Untitled (Bob Bartholemy),circa 1972Charcoal on ivory paperSight: 17-1/4 x 23 inchesCollection of Kenneth Holditch


At first the student was set to make accurate copiesof images of nudes created by the masters, sometimesreproduced in prints for the purpose. Having masteredsuch basics, he was allowed to draw from plaster casts,most often made from classical statuary. Only when thestudent had achieved proficiency in rendering form washe permitted to work from the most fundamentalacademic subject, the live male nude. Once he wasthoroughly adept at drawing the model in charcoal orcrayon, the student artist was allowed at last to makecolor studies in oil thus learning to paint flesh. All thesestudent figure studies are known as academies.

The live model was central to those dominant usesof art: history painting, decoration and portraiture.Academies proliferated and in the nineteenth centurybecame the normal route for a career as an artist, stillthought to be a workman-like pursuit. The artist ascelebrity is a Victorian invention, and with it came theconcept of “self-expression”; the serious study of thenude model no longer dominates the education of artiststoday.

Modern artists like Paul Cadmus, George Dureau andothers make their subject the nude male model, andrestore its place to the center of artistic attention; they areparticipating in an important tradition. n

Gentlemen Callers will be on view in theTempleman Galleries on the Museum’s second floorfrom May 25 through October 12, 2008. A catalogueof the exhibition will be available from the NOMAShop. The exhibition is made possible by a generousgrant from The John Burton Harter CharitableFoundation.

ARTS QUARTERLY 9


New Orleanians are self-conscious”—thisfrequently made observation often carries anegative undertone. But in a city that issteeped in such a multifaceted history, toignore one’s cultural traditions would be

willful blindness. In the case of New Orleans, even in thebest of times, it is next to impossible. And in this post-catastrophic time, New Orleanians’ appreciation for theircity’s history is intensified. A subconscious voice withinlocal residents hearkens to the ancient aphorism, “KnowThyself.” Accordingly, the New Orleans Museum of Artand The Historic New Orleans Collection are presentingtheir third joint exhibition, titled New Orleans: A Sense ofPlace. Like the previous two shows, the focal point of theexhibition is local and offers vignettes of life in NewOrleans. Over thirty artists are represented by more thanforty oil paintings; these are augmented by decorativearts and books. The exhibition covers 150 years of thecity’s history, from 1850 to the present.

Artists include Hippolyte Sebron, Paul Poincy,William Woodward, Ellsworth Woodward, GeorgeFrederick Castleden, Alexander J. Drysdale, RobertWadsworth Grafton, Gideon Townsend Stanton, ClarenceMillet, Leonard Flettrich, Marion Souchon, NoelRockmore, Rolland Golden, Shirley Rabé Masinter,Jacques Soulas, Simon Gunning, Davis Cone, and otherpainters.

A number of books on display, both fiction andnonfiction, underscore the city’s rich literary history. Thebooks cover the period from 1880 through 1980, andinclude fiction by George Washington Cable, KateChopin, Frances Parkinson Keyes, Walker Percy, ShirleyAnn Grau, Anne Rice, and John Kennedy Toole. Othersinclude Lyle Saxon, Grace King, Hodding Carter, andphotographers Clarence John Laughlin and Stuart M.Lynn.

Author Lyle Saxon once wrote in a letter, “I—as aman—am also a lover. I shall try to tell you of the

New Orleans:A Sense of Place

BY JUDITH H. BONNERSenior Curator, The HistoricNew Orleans Collection

Figure 1Holger W. Jensen (Danish, 1880-1943)The Night Prowler, New Orleans, 1930sOil on canvasThe Historic New Orleans Collection. 1999.91.4

ARTS QUARTERLY 11

woman to whom I offer my love…this woman, NewOrleans.” Saxon, who lived in the French Quarter duringa time of physical decline, restored two buildings andwas a leader in the city’s preservationist movement. Heembarked upon a campaign to write romantic newspaperfeatures to entice artists and writers to the Quarter toestablish an art colony. Others had entertained the sameidea, including artists Will Henry Stevens and EllsworthWoodward. Midwestern painter Robert Grafton was thefirst of this group to offer art classes in the Vieux Carré.Through this united effort, some writers observed by theearly 1940s that they were so successful in their ventureto draw attention to the French Quarter that locals werein danger of losing it to tourists.

Hippolyte Sebron’s small 1850 oil sketch, Bateaux aVapeur Geants, sets the stage with a levee scene, a sightthat is integral with the settlement of the colony and thesubsequent development of the city. The shadow of theMississippi River and the giant steamboats that plied theriver continue into this day with the steamboats Natchezand Delta Queen that enchant locals and visitors alike.

An 1886 painting by Paul E. Poincy, illustrates thesocial custom of making afternoon calls upon friends,neighbors, and business associates. This custom showsup prominently in Kate Chopin’s novel, The Awakening.Poincy depicts a young woman, shown full-length anddressed in brown, standing before a mirror. Her upper-body is reflected in a mirror as she adjusts her attire atthe neckline of her period clothing—a full-length dresswith bustle. Her black parasol, leaning against themarble-topped vanity upon which are placed her glovesand bag, emphasizes the propriety of her dress for anafternoon visit. The setting with its porcelain figurines,decanters, gas lamp, red draperies, ornate tie-back, andfloral carpeting all point to a comfortable social status,and yet the expression on the woman’s face appearsapprehensive.

Two views of the Newcomb College campus atWashington and Camp before its 1917 move to theBroadway campus underscore the continuingcontribution to women’s education: Edith Sansum’s OldNewcomb Chapel and Ellsworth Woodward’s LotusFountain. Although several artists depicted the oldNewcomb Chapel, Woodward’s view is the only knownpainting of the lotus fountain.

In 1927 George Frederick Castleden depicted the OldSlave Block at the St. Louis Hotel, a decade after the hotelwas demolished. The painting shows massive columnsresting on raised bases and doorways having transomswith numerous small window panes. The slave block, setoff by a balustrade, is empty and deserted; only themerchant’s name and address, “M. Barnett, 40 St. LouisStreet,” is still partially visible above the archway.

The subtle influence of the Civil War is representedthrough a depiction of Lee Circle and two volumes onexhibit. Writer Frances Parkinson Keyes resided in theformer home of Confederate General Pierre G. T.Beauregard. Stuart M. Lynn’s 1949 pictorial book, NewOrleans, shows the Forsythe House at 1134 First Streetwhere Confederate President Jefferson Davis died in 1889at the Garden District residence of his friend Charles E.Fenner, who was an associate justice of the LouisianaSupreme Court. The Civil War was not representedphysically in New Orleans until the 1884 unveiling of themonument of General Robert E. Lee, which was erectedat what was formerly known as Tivoli Circle. Later JeffDavis Boulevard was laid out, and the statues ofJefferson Davis and the poet-priest Abram Ryan wereerected. (continued on next page)

Figure 2Davis Cone (American, born 1950)

Orleans Theater, 1979Acrylic on canvas

Collection of the New Orleans Museum of ArtGift of American Express Company. 79.281


Artists have long found inspiration in French Quarterarchitecture, its verdant courtyards, spreading fanwindows, lacework balconies, vast arches, louveredshutters, staircases, and slate roofs. Accordingly, anumber of the paintings provide glimpses of theseexpected architectural details. Among the scenarios ofstreet life is Robert Rucker’s view of Children on a Stoopand Joseph Konopka’s understated view of a Vieux Carrébuilding decorated for Mardi Gras.

Figure 3Robert Wadsworth Grafton (American, 1876-1936)The End Stall, French Market, 1916Oil on canvasCollection of the New Orleans Museum of ArtMuseum purchase with funds donated by The Art Association of New Orleans. 16.163

(continued from previous page) Also included are images of restaurants, markets,parks, theaters, hotels, cemeteries, gardens, churches,and several views of world-famous Canal Street,including two rainy night scenes by Gideon TownsendStanton and Homer E. Turner. Jacques Soulas’ view ofthe busy broad street depicts a red trolley coming downthe neutral ground. Davis Cone’s view of Orleans Theateron Rampart Street is familiar to Orleanians of the latetwentieth century, but the artist’s title “Orleans” recalls

the original location of the OrleansTheater at 721 Orleans Street, justoff Royal (fig. 2). It also suggeststhe long tradition of theater in thecity, dating back to the lateeighteenth century.

Other works show people atwork or at leisure, dining, playingcheckers, or fishing. In August1927 Alexander Drysdale, who isbest known for his misty bayouscenes with sentinel moss-drapedoak trees, portrayed his sonWalden sitting on a verandah. Thebarefoot boy, clad in summerwhites, sits beside a puppy, afitting reference to life during thedog days of summer.

As markets grew from mereproduce sheds to picturesquecolonnaded structures, WilliamWoodward, Robert WadsworthGrafton, and Hans Mangelsdorfcaptured the quaintness of thesehistoric centers of local life.Woodward’s focuses on acolonnaded market. Grafton’scolorful market scene shows awoman wearing a red shawl, herbody turned from the viewer asshe shops for produce (fig. 3).Mangelsdorf’s 1930s mural-likecomposition, Louisiana FishingIndustry, focuses on the fatiguedworkers who provide fish forconsumers. Conversely, in hisempathetic portrayal of Yvonne’sFather, Noel Rockmore portrays anelderly gentleman holding hisfishing pole, poised in a quietmoment of reverie in thisSportsman’s Paradise.

Rolland Golden’s 1960portrayal of muscular African-American Dockworkers handlingcargo reveals the influence of hisart training with John McCrady, aswell as that of Thomas HartBenton’s undulating regionalistpaintings. In contrast, Turnerdepicts a group of men playing agame of checkers in a moment ofquiet contemplation. Shirley RabéMasinter’s work focuses on inner-

Figure 4Clarence Millet (American, 1897-1959)Antique Shop, New Orleans, 1927Oil on canvasThe Historic New Orleans Collection. 1962.2

himself into the scene, drawing in a sketchbook whilepassers-by meander through merchandise deposited on aRoyal Street sidewalk. The French Market, which wasrenovated in the 1970s as part of the Bicentennialcelebration, has once again become a vital part of dailylife for residents and visitors. Appropriately, SimonGunning’s oversized view from the roof of JAX Breweryshows Washington Artillery Park and the Moonwalkalong the Mississippi River, with Jackson Square andSt. Louis Cathedral completing the picture.

The exhibition reflects the interconnected facets oflife in this culturally rich city. The undeniable unitingthread is a continued focus on the artistic environment ofthe Vieux Carré from its inception and expansion into thesurrounding areas. Through looking inward at ourfounding roots, the path leads from self-knowledgetoward resurgence. n

New Orleans: A Sense of Place is on viewat the New Orleans Museum of Art May 10 throughAugust 31, 2008.

city blight, as a solitary young African-American manlooks outward as he strolls past a corner grocery marredwith graffiti. The Gospel Singers, a 1972 canvas byRockmore, is an oblique view of four people on thesidewalk outside Preservation Hall on St. Peter Street.The foremost woman holds her songbook high, thusblocking the face of a woman in white behind her; twomusicians stand behind the women, one with a banjoand the other with a tambourine. The partially hiddenwoman in white is undoubtedly Sister Gertrude Morgan,a well-known street preacher at the time. The foremostwoman is probably either Margaret Parker or CoraWilliams, one of two women with whom Sister Gertrudesang after joining up with them in 1939.

The city’s preservationist movement started in theVieux Carré, and a number of canvases by ClarenceMillet and Robert Rucker focus on the architecture andstreet life in the Quarter. Millet, originally from southwestLouisiana, was inspired by the romantic charms of theVieux Carré, its architecture, its market scenes, and themany shops frequented by French Quarter residents. InAntique Shop, New Orleans (fig. 4), Millet interposes

ARTS QUARTERLY 13


Rodrigue’s Louisiana: Cajuns, Blue Dogs andBeyond Katrina continues at NOMA.The Museum is planning a specialtwenty-four closing event from midnightSaturday, June 7, to midnight Sunday,

June 8, including Cajun Dance Lessons, a Blue DogFais Do-Do and an appearance by the artist.

This forty-year retrospective of Louisiana’s mostfamous contemporary artist is the largest yet organizedand features nearly two hundred paintings, sculpturesand prints, which survey the full range of Rodrigue’scareer achievement. The exhibition is presented in sixthematic sections: Landscapes and Oak Trees; Cajuns;Portraits; The Blue Dog; Hurricanes; Bodies.

LANDSCAPES AND OAK TREESAfter returning to Louisiana from art school in

California in 1967, Rodrigue began painting thelandscape of Louisiana. In dark and broodingcompositions the moss-draped live oak became thecentral motif. These simple depictions of tree, sky andground were imaginative reinventions of the latenineteenth-century tradition of Louisiana landscapesestablished by Richard Clague and William Buck.

CAJUNSBeginning in 1971 Rodrigue initiated his original

series of paintings of scenes of Cajun life, inspired byfamily stories and photographs from the early twentiethcentury. These multifigure compositions visualize theunique Cajun culture, which evolved over two hundredyears in the isolated bayous and marshes of southwestLouisiana. The subjects of his Cajun paintings are quitevaried, from family portraits to school groups, gourmetclubs, barber shops, musicians, dancers, faith healers,quilting parties, cake contests—all placed outside andsilhouetted against the ever-present live oak tree. Aunique feature of the New Orleans exhibition is a fifteen-panel historical cycle, The Saga of the Acadians.

PORTRAITSStarting in 1981, Rodrigue was commissioned to

paint a series of portraits of famous Louisianans: firstliterary (like Walker Percy and Shirley Ann Grau), thenpolitical (Huey and Earl Long), culinary (Chef PaulPrudhomme) and musical (Louis Armstrong and PeteFountain). These portraits lead later to others depictingcurrent political personalities, from Louisiana governorsto American presidents (including Reagan, Bush andClinton).

THE BLUE DOGIn 1984 Rodrigue painted his first Blue Dog, one of a

number of paintings commissioned to illustrate a book offorty Cajun folk stories by Chris Segura. For the storyabout the loup-garou, the Cajun werewolf, Rodrigue wasinspired by the black and white Tiffany, the artist’s latestudio dog. This first image depicted a small, scrappy dogwith big ears, staring eyes and a shaggy coat of silverblue placed outside in Rodrigue’s classic landscapesetting. The dog’s distinctive color was suggested by thebluish light of an overcast moon, as described in theSegura story. While over the years the setting evolvedand changed, the image of the Blue Dog has remainedthe same. His image invokes feelings of humor, love,confusion, irony, sadness, even desire. Now aninternational icon, the Blue Dog has become anEveryman or Everydog, who in his naivete andinnocence triumphs over adversity.

HURRICANESIn a surprising departure from his realist work, in

2002 Rodrigue began a series of more than sixty roundpaintings in various sizes inspired by the awesomepower of hurricanes, which have so shaped life on theGulf Coast. Inspired by witnessing the power ofHurricane Lili as it passed over Lafayette that year, theseintensely colored, vigorously brushed canvases are totallyabstract, except for a few in which can be seen fragmentsof branches and tree trunks and even parts of the BlueDog swirling in the maelstrom. Prophetic of the laterdestruction of Katrina and Rita, these powerfulcompositions demonstrate Rodrigue’s complete masteryof the vocabulary of abstraction.

BODIESIn 2004 Rodrigue began Bodies, his latest series of

paintings and prints. These works reflect a consciousreturn to the bayou and the classical nude, as well as anexploration of a new printmaking technique. Inremastered digital prints, he combines his originalpainting with the innovations in design and coloravailable through computer technology. The Bodies,while new in terms of technical process, include excerptsfrom his established language of symbols—the oak tree,the cemetery, the ghostly figure and the Blue Dog. Thesenew works demonstrate that Rodrigue never completelyabandons a subject but approaches his art with fresheyes, treating the world to his ever-changing vision. n

Rodrigue’s Louisiana is made possible bygenerous funding from the following sponsors:Acadian Ambulance Service, Chevron, LakesideShopping Center and The Feil Organization, andAnonymous Donors. Additional support wasreceived from The Helis Foundation, the LouisArmstrong New Orleans International Airport andWWL-TV.

The exhibition is on view through June 8, 2008.

Rodrigue’sLouisiana:Cajuns, BlueDogs andBeyond Katrina

Photo:George Rodrigue(American, born 1944)Watchdog, 1984Oil on canvas, 40 x 30 inchesPrivate Collection

ARTS QUARTERLY 15

To inaugurate the exhibition Rodrigue’sLouisiana: Cajuns, Blue Dogs and BeyondKatrina, NOMA presented a special “AioliDinner” on Saturday, March 1. The specialdinner was created by Chef Paul Prudhomme

and K-Paul’s Louisiana Kitchen/K-Paul’s CateringExpedition. The evening included Cajun dancing andmusic by Hadley Castille. The Aioli Dinner wassponsored by Robert and Jolie Shelton, International WellTesters, Inc., Paul Prudhomme, and Thibodeaux’sFlowers/Paul Norman, Event Rental, Stanford’s Just AskRental, and Paper Doll Promotions. Chairs for the AioliDinner were Louis and Sandra Wilson.

The Aioli Dinner, painted by George Rodrigue in1971, is one of his most famous paintings of Cajun life.The painting depicts a gourmet dinner club that metonce a month from 1890 to 1920 on the lawns ofdifferent plantation homes in and around New Iberia,Louisiana, in this case the former Darby House. Thewomen standing in the back row did the cooking, theyoung men and boys standing around the table served,and the men seated eat the dinner. George Rodrigue’sgrandfather and uncle are both depicted at the table, andthe rest are portraits of other club members. n

Aioli DinnerInauguratesRodrigue’sLouisianaExhibition

George Rodrigue(American, born 1944)

Aioli Dinner, 1971Oil on canvas, 32 x 46 inches

Collection of Jacques Rodrigue and André Rodrigue

NOMA Director E. John Bullard, Wendy and George Rodrigue


Chef Paul Prudhomme (with hat) and Aioli Dinner actors


Robert and Jolie Shelton, Louis and Sandra Wilson


Walda Besthoff and NOMA President Sydney Besthoff



Andy Warhol’s fascination with theperformativity of gender is showcased inhis Ladies and Gentlemen portfolio of 1975.The New Orleans Museum of Art isfortunate to hold eight prints from this

series. Initially, Warhol used iconic stock images as thesource of his portraits, as in his Marilyn and Mao series.Warhol began to use his own photos in 1975, as is thecase with Ladies and Gentlemen. This portfolio alsoexemplifies a new printing technique; Warhol made thesilkscreen matrices from a collaged background ofcolored graphic paper with the photographic imagesscreened on top.

Ladies and Gentlemen is a series of drag queenportraits. Warhol had long been intrigued by this sort oftransformation and first addressed it in 1950 when he dida series of drawings based on his friend Otto Fenn indrag. Transvestites Candy Darling, Holly Woodlawn andJackie Curtis were regulars in Warhol’s Factory in thesixties and also had roles in a few of Warhol’s films fromthat time. Warhol photographed local drag queens in1975, and these images resulted in this portfolio as wellas other prints and paintings. Warhol paid tribute to

various accoutrements of drag throughout his career as inDiamond Dust Shoes of 1980. His fascination came to ahead in 1981, when he himself dressed in various stagesof drag for his Self-Portraits and in Christopher Makos’sAltered Images, both of 1981.

Perhaps what interested Warhol about drag is itsblatant manipulation of appearances. “I am fascinated byboys who spend their lives trying to be complete girls,because they have to work so hard—double-time—getting rid of all the tell-tale male signs and drawing inall the female signs.”1 Warhol worked quite hard on hisown image as well. Self-conscious since childhood, heused makeup, wigs, clothes and even plastic surgery toconceal, mask and improve his looks. All of this “work”was part of manufacturing and manipulating an image,something at which Warhol certainly excelled.

Warhol loved the glamour and the beauty ofHollywood, but he was more interested in the fabricatedgood looks than the innate ones. An integral element ofWarhol’s movie star portraits is the veneer of the stars.The hair color, eye shadow and lipstick take center stage,all purchasable attributes. Warhol used the equation ofHollywood glamour in his commissioned portraits.Anyone who could afford it could be immortalized basedon the artist’s understanding of the commercialization ofan image. False beauty was far more interesting thannatural beauty in Warhol’s eyes.

Ladies and Gentlemen was not commissioned,however, nor are the portraits of famous celebrities. Forthis series, one of Warhol’s assistants invited African-American and Latino drag queens and transvestites fromthe nearby Gilded Grape club to come to his studio to bephotographed. After Warhol photographed them with hisPolaroid camera, they were paid for their time. It isunknown whether or not these sitters knew of AndyWarhol and his art. One account states that the visitorsenjoyed doing their favorite poses and being glamorousfor the camera. It was usually Warhol who injectedHollywood into his sitters, but in the case the dragqueens, knew the equation of glamour just as well asWarhol did. He did not need to draw attention to theperformativity of their image because it was alreadyclear. In this way the Ladies and Gentlemen sitters can beseen as some of Warhol’s most true-to-life portraits. Theirimages are taken from photographs of their own posesand personalities, not manipulated pictures frommagazines.

These drag queens exhibit what Warhol called, “animitation woman of what was only a fantasy woman inthe first place.”2 In addition to exemplifying constructedglamour, drag makes a statement about gender. This canbe read as either a reinforcement of existing gendernorms or a subversion of them. It can be an attempt toassimilate to or destabilize accepted gender roles. Dragblurs the line between reality and artifice just as Warholdid with his soup cans, his movie stars and his ownimage. The double entendre title hints at the sitters’ability to move between anatomical gender andperformative gender.

The Ladies and Gentlemen portfolio accuratelydocuments Warhol’s second phase of printmaking andhis life-long interest in the manipulation of images andthe ability to do so through drag. Ladies and Gentlemenwill be on view in mid-June. n

NOTES:1. Andy Warhol. The Philosophy of Andy Warhol: From A to B and

Back Again. (San Diego: Harcourt, 1975), 54.2. Ibid., 54.

Drag and Pop:Warhol’s Ladiesand Gentlemen

BY ALICE WEBB DICKINSONAssociate Collections Manager,NOMA

Andy Warhol (American, 1928-1987)Wig from the portfolio Ladies and Gentlemen, 1975Color screenprint on Arches paper, 43-1/2 x 28-1/2 inchesCollection of the New Orleans Museum of ArtGift of Tina Freeman. 81.336.1


ARTS QUARTERLY 17

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When Hurricane Katrina passed throughNew Orleans in August 2005, theSydney and Walda Besthoff SculptureGarden at the New Orleans Museumof Art was inundated with toxic flood

waters from Lake Pontchartrain. The Oak Grove stayedunder several feet of water for more than two weeksfollowing the storm. The nineteen historic live oak treesin the Garden were severely impacted by the brackishwaters, due to the lack of oxygen to the roots and to soilcompaction. Drought conditions for four monthsfollowing the storm further damaged the root systems ofthe trees, as the automatic irrigation system in the Gardenhad been rendered inoperable by the flood waters.

When it became apparent that the live oaks hadsuffered severe damage during the flood and subsequentdrought and that their health was in jeopardy, JimmyJeffrey, the Sculpture Garden manager, proposed that

NOMA retain the services of Dr. Todd Watson, Ph.D.,BCMA, International Society of Arboriculture BoardCertified Master Arborist, to visit the site, evaluate thetrees’ condition and to recommend treatment. AfterDr. Watson’s initial inspections were completed and hisreport received and reviewed, NOMA realized the needfor immediate, emergency action in order to save the liveoaks in the Garden. Because neither FEMA nor insuranceprovide funds for repair and replacement of plantmaterials, there was no funding available for therestoration of the oaks or any of the other plantings thatwere destroyed by the storm.

In 2007, NOMA received a grant from the GettyFoundation to preserve, restore, and replace the live oaksand other landscape elements in the Sydney and WaldaBesthoff Sculpture Garden. The grant was awardedthrough the Getty’s Fund for New Orleans, established inthe wake of Hurricane Katrina’s devastation to helprevitalize the city’s cultural institutions. To date, the Gettyhas awarded fourteen Fund for New Orleans grantstotaling nearly $2 million to the city’s landmark museumsand community arts organizations. The grants provideconservation funds for collections, historic structures, andlandscapes, as well support for transition planning tohelp arts organizations rebuild their operations in achanged, post-Katrina environment. The Fund for NewOrleans is a special initiative of the Getty Foundation,which supports institutions and individuals committed toadvancing the understanding and preservation of thevisual arts in Los Angeles and throughout the world.

NOMA retained the services of local LandscapeArchitect Carlos Cashio to further define the scope ofwork to be done to each of the nineteen live oaks and todevelop a tree-specific bid package for the remediationwork, based on Dr. Watson’s technical recommendations.Cashio’s firm, Cashio, Cochran LLC, has provided designsfor many of the landscape projects for historic City Parkand Audubon Park and Zoological Gardens in NewOrleans, as well as parks and zoos outside the NewOrleans area. The bid package was based on the resultsof an extensive tree-by-tree site investigation conductedby the Sculpture Garden manager.

The generalized procedure for treating the live oaktrees, as recommended by Dr. Watson, entailed removalof sod and other plant material from the root zones ofthe trees; removal or aeration of the compromisedstructural soil layer to the live roots or native soil baseusing an Air Spade device to break up the soil to preventroot damage; aeration of the underlying native soil withan Air Spade to provide more oxygen to the root zoneand alleviate the compaction caused by the standingwater; treatment with fertilizer, growth chemicals,insecticides, etc., and placement of mulch top dressing inthe areas where the sod was removed. Due to thecondition of the trees and to prevent further compactionof the root zone, machinery was prohibited within thedrop line of the trees. In areas where the soil removalaffected the topography and thus the drainage pattern inthe area under the tree canopy, subsurface drainage wasinstalled to alleviate further water damage to the rootsystems.

The contract was awarded to Tree Medics, a localarborist with extensive experience in tree pruning,removal, planting and chemical treatments at theSculpture Garden. Tree Medics served as the generalcontractor’s arboreal subcontractor during the initialconstruction of the Garden in 2003, and thus werefamiliar with the topography of the site, makeup of theintroduced soils, and the trees themselves.

Oak TreeRestorationat NOMA’sSydney andWalda BesthoffSculptureGarden

BY MEG ADAMS, P.E.Project Manager, Sydneyand Walda BesthoffSculpture Garden

TOP: An Air Spade device is used to remove and aerate the compromised structural soil layer.

BOTTOM: Subsurface drainage is installed to alleviate further water damage to the root systems.

Photos by Judy Cooper

ARTS QUARTERLY 19

Construction began October 1, 2007, to allow forcooler weather, which is advantageous to tree health. Aplywood enclosure was erected around each sculpture inthe vicinity of the work area to protect it from debrisejected by the air spading operation.

Due to the nature of the project, with the potentialfor damage to very valuable and irreplaceable artwork, aswell as the need to closely monitor the work around thetrees to prevent further damage, NOMA providedpersonnel of their own on site for the duration of theproject. Meg Adams, P.E., was retained to provide dailyoversight, along with Jimmy Jeffrey, the Garden manager.Adams was the project manager for the original SculptureGarden construction project.

The Oak Grove was closed for the duration of theproject. Each tree was excavated individually in order toensure the protection of any live roots in the aeration

zone. At several trees, because of the topographyresulting from the soil removal, additional drainage hadto be installed. The work was completed, and the OakGrove reopened the first week in December.

The appearance of the live oaks has improvedsignificantly due to the removal of dead wood, and thesite is obviously holding less water due to the installationof the subsurface drainage, which will improve thecondition of the roots. The major impact of theremediation efforts will not be apparent until at least nextspring when the new growth emerges, and it will takelonger for the full vitality of the trees to be restored.These efforts, made possible by the generous grant fromthe Getty Foundation, have certainly improved thechances of recovery of the irreplaceable historic liveoaks, which make the Sydney and Walda BesthoffSculpture Garden so unique among outdoor museums. n

Oak tree number 12 after treatment



2007 Acquisition HighlightsPHOTOS BY JUDY COOPER

Ijo Peoples, NigeriaShark Masquerade Headdress, mid-20th century

Wood, pigment, mirrors, rope, 84 x 29 x 39 inchesCollection of the New Orleans Museum of Art

Gift of Mr. and Mrs. Jay Matthew DeVoss. 2007.154

Akan Peoples, Asante Kingdom, GhanaRoyal Sword Ornament in Shape of

Crocodile Eating a Mud FishLate 19th–early 20th century

Gold, 3 x 6 x 13 inchesCollection of the New Orleans Museum of Art

Gift of Mrs. Françoise Billion Richardson inhonor of E. John Bullard’s 35th Anniversary

as Director. 2007.96

Caroline Durieux(American, 1896-1989)Teatro, circa 1940Graphite on mylar15 x 12-3/4 inchesCollection of the New OrleansMuseum of ArtMuseum Purchase: Dr. CarlAdatto Memorial Fund. 2007.98

ARTS QUARTERLY 21

Isaac Mytens (Dutch, born after1602–died after 1666)Family Group Portrait, 1641Oil on canvas, 35 x 46-1/2 inchesCollection of the New OrleansMuseum of ArtGift of Mr. and Mrs. William H. Beck, Jr.in honor of their daughters, MaryElizabeth Bykonen, Nancy Anne Beckand Katherine Preston. 2007.21

(continued on next page)


(continued from previous page)

Richard Prince (American, born 1949)Untitled (Three Men Looking in the Same Direction), 1978Color “C” prints, 20 x 28 inches eachCollection of the New Orleans Museum of ArtGift of Anne Kennedy and Peter Nadin. 2007.106.1-.3

Designed by René Lalique(French, 1860-1945)Vase: Camargue, 1942Colorless lead glass: pressed, cut,satiné, oxidized in umber andpolished, 11 x 7-1/2 inchesCollection of the New OrleansMuseum of ArtGift of Dr. Siddharth K. Bhansali.2007.149

South India, Kerala PeriodShiva, 16th century

Bronze, 13 inches highCollection of the

New Orleans Museum of ArtGift of Robert Kipniss. 2007.151

ARTS QUARTERLY 23

William Copley (American, 1919-1996)Female Nude with Two Men, 1965

Oil on linen, 51 x 38 inchesCollection of the New Orleans Museum of Art

Gift of Linda and Richard S. Friedman in memoryof Sunny and Roussel Norman. 2007.48

Unidentified Japanese ArtistTale of Genji: The Four SeasonsLate 17th century–early 18th centuryPair of six-fold screens: color and goldleaf paper, approximately 65 x 140inches eachCollection of the New OrleansMuseum of ArtGift of Mrs. Samuel D. Lombardo.2007.153.1-.2

Paul Gauguin (French, 1848-1903)Self-Portrait, The Savage (Oviiri), circa 1894Bronze, 14-1/4 x 13-3/8 inchesCollection of the New Orleans Museum of ArtGift of James B. Byrnes in loving memory ofhis wife Barbara Cecil Byrnes. 2007.103


Since its inception in 1965, the NOMA VolunteerCommittee has included in its ranks a widevariety of talented women, contributing not onlytheir time and enthusiasm, but their own uniqueknowledge and skill sets for the betterment of

the Museum. The 2008 NVC is no exception.This year’s NVC chair, Brenda Vorhoff, is a native

New Orleanian with roots in the lakefront. Herbackground includes a masters in Urban and RegionalPlanning from the University of New Orleans. She wasthe director of the office of economic developmentduring the Dutch Morial administration, where emphasiswas placed on regional industrial attraction andcommercial development.

Brenda’s return to the private sector was a windfallfor area nonprofits. A board member of the ParkwayPartners and Symphony volunteer committee, she haschaired the latter’s Opus Ball, the Guild of Children’sHospital and the Lake Vista Garden and Woman’s Clubs.Cancer Crusaders, Heart Ambassadors, and the LakeviewShepherd Center have all benefited from Brenda’sparticipation. World traveler, devoted daughter and wife,Brenda has earned the respect and admiration of all whoknow her.

Brenda’s ideas for the NVC are visionary. “We viewourselves as the region’s premier arts institution, and assuch it is our responsibility to reach out not only to theimmediate metropolitan area, but to market NOMA as theleading artistic focus for the entire Gulf South. We arestewards of treasure that have no geographic bounds.”To this end, Brenda spearheaded a retreat for theincoming NVC steering committee. Held January 9, at thehome of Judy David, this innovative event was attendedby nearly thirty-nine newcomers and seasoned membersalike.

Carol Hall, NVC vice-chair of activities, was one ofthe retreat facilitators. “It was a wonderful opportunity toget to know the members of the steering committee,outside of NOMA. We interacted for five hours withoutdistractions.” Carol, a New Orleans native, was firstdrawn to NOMA by her love of flowers. In 1994, thisretired medical technician attended a demonstration atNOMA on creating the beautiful floral arrangements thatgreet visitors. Carol’s devoted service to the NVC hasincluded co-chairing the flower fund, the Home and ArtTour and Studio Salons.

Another retreat participant, Ellen Miclette, hails fromMadison, Wisconsin. With a background in Englisheducation and electrical engineering, Ellen brings aFortune 200 work perspective to her volunteerism.Currently, NVC treasurer, she has been recordingsecretary, courtyard flowers chair and was themastermind of the PowerPoint artist presentation thatdelighted LOVE in the Garden attendees. Ellen was“excited to see the retreat happen. It was a brainstormingsession, with no rules. EVERYTHING was a good idea.”Ellen advocates getting involved as a way to create rootsin a new community. “Newcomers are welcomed in theNVC. People in the organization are inspirational and funto work with.”

As a Lake Vista resident, Kimberly Zibilich wasdrawn to the NVC for its proximity. “City Park andNOMA are my neighbors.” This busy realtor andparalegal is co-chairing LOVE in the Garden 2008, to beheld September 26. Her take on the retreat: “I got to seethe overall picture of the NVC, what it does and what itwants to accomplish.”

A newcomer to the NVC, Anne Gauthier has jumpedright in as art trips chair. “The retreat was so wellplanned and orchestrated. Everyone was energized andthe ideas flowed.” The co-owner of Aux Belles Chosesgift shop, this localite, via Lafayette, still finds time tovolunteer. “NOMA and City Park are so important in therecovery of New Orleans.”

The impact of NVC 2008 board retreat will be felt foryears to come. The ideas and enthusiasm it generated, itsthree-year plan, are all works in progress. A move tomake the organization more regional in nature hasalready begun. The Northshore and Baton Rouge arenow represented. NVC art ambassadors have expandedtheir scope to real estate offices, as well as hotels and artgalleries, in an attempt to educate tourists and newresidents in the attractions NOMA provides. Partnershipswith other museums and organizations are beingexamined. New events and trips are on the horizon. Anincreased membership is a priority. It’s a great time tojoin this dynamic group.

Chairman Brenda Vorhoff surely has provided agroundbreaking year for her members. Another NVC firstwill occur in 2008; our chair is getting married. Brendawill wed NOMA board of trustee member Michael Moffittin early spring. Best wishes to the happy couple. n

GreatExpectations

VIRGINIA PANNONVC Correspondent

2008 NVC Chair Brenda Vorhoff

ARTS QUARTERLY 25

The Board of Trustees of the NewOrleans Museum of Art cordiallyinvites you to upgrade your supportand become a member of thePatron’s Circle, Director’s Circle

or President’s Circle.These categories, our most prestigious levels

of annual giving, are comprised of individualswho contribute $5,000, $10,000 or $20,000 eachyear in unrestricted funds.

NOMA is pleased to extend uniqueprivileges including Fellows and Collector’sSociety memberships to those who demonstratetheir commitment at these levels. We are mostgrateful for your generous and continuingsupport.

President’s Circle $20,000

Director’s Circle $10,000

Patron’s Circle $5,000

GENERAL MEMBERSHIP PRIVELEGES, PLUS:

• Free admission to the Museum andSculpture Garden plus free admission foradditional guests when accompanied by thedonor

• Reciprocal membership in major artmuseums across the U.S. and Canada

• Complimentary membership in The Fellowsand Collector’s Society

• All Members Previews of special exhibitions;with prior arrangement, Circle membersmay bring additional guests

• An opportunity to have a private tour withthe Director or Curator of a collection orspecial exhibition of your choice, withcomplimentary beverages in the WoldenbergBoard Room, for a party of up to sixindividuals, at a mutually agreed upon time

• An invitation to attend a private dinner withthe Board President, Museum Director and aprivate collector in a major city

• A special dinner in a private collector’shome

• For private parties, elegant private galleriesare available for rental

• Invitations to attend behind-the-scenesevents with Museum curators

• Advance announcements for special travelprograms

• Annual listing on Donor Wall as a memberof the Circle group

• Special recognition in Arts Quarterly

• Two complimentary publications selectedby the Museum

• An opportunity to use an elegant privategallery with the rental fee waived

• Complimentary use of Woldenberg BoardRoom during Museum hours

_________________________________________

These circles recognize cumulative giving ina calendar year, restricted to gifts of AnnualAppeal and membership dues. Contributions tocapital projects and special events do notapply._________________________________________

For further information on NOMA’s Circles,please call 504-658-4107. n

Join the Circlesand UpgradeYour Supportof NOMA


The two most prestigious levels ofannual giving in the support of theNew Orleans Museum of Art arethe Circles and the Fellows. Weinvite you to consider upgrading

your support of NOMA and join the followingCircles and Fellows of the New OrleansMuseum of Art. For information, please call504-658-4107. n

CIRCLES

PRESIDENT’S CIRCLE

Mrs. Jack R. AronMr. and Mrs. John D. BertuzziMr. and Mrs. Sydney J. Besthoff IIIThe Booth-Bricker FundMr. and Mrs. Ralph O. BrennanMr. and Mrs. John H. Bryan IIICollins C. Diboll Private FoundationMr. and Mrs. Prescott N. DunbarMr. and Mrs. David F. EdwardsMr. and Mrs. S. Stewart FarnetMr. and Mrs. Ludovico S. FeoliMr. and Mrs. Stephen A. HanselHelis FoundationMr. Jerry HeymannMrs. Killian L. Huger, Jr.Mr. and Mrs. David A. KersteinMr. Paul J. Leaman, Jr.Mrs. Paula L. MaherMr. and Mrs. Charles B. MayerMrs. Robert NimsMr. and Mrs. Gray S. ParkerMr. and Mrs. Charles S. Reily, Jr.Mrs. Françoise B. RichardsonMr. and Mrs. George RodrigueMr. and Mrs. Benjamin M. RosenMs. Adrea D. Heebe and Mr. Dominick A. Russo, Jr.Mr. and Mrs. Robert SheltonMrs. Patrick F. TaylorMrs. John N. WeinstockZemurray Foundation

DIRECTOR’S CIRCLE

Mr. and Mrs. F. Macnaughton Ball, Jr.Ms. Tina Freeman and Mr. Philip WoollamMr. and Mrs. Lawrence D. GarveyMrs. Harry GreenbergMrs. John D. GuthrieHeymann-Wolf FoundationMrs. Charles W. IrelandMr. and Mrs. Erik F. JohnsenMr. and Mrs. Peter R. Monrose, Jr.Mr. and Mrs. Robert J. PatrickDr. and Mrs. James F. PierceMr. Joel J. Soniat and Mrs. Margaret B. SoniatMr. and Mrs. Harry C. StahelDr. and Mrs. Richard L. StrubMr. and Mrs. St. Denis J. VillereMrs. Nan S. Wier

PATRON’S CIRCLE

Mr. and Mrs. William D. Aaron, Jr.Mr. and Mrs. Wayne F. AmedeeMr. and Mrs. Clark W. Boyce, Jr.Mr. E. John Bullard IIIMr. and Mrs. William K. ChristovichDr. and Mrs. Isidore Cohn, Jr.Ms. Barbara D. CurrierMr. Leonard A. DavisMr. and Mrs. Richard W. FreemanMr. and Mrs. James J. FrischhertzMr. and Mrs. Edward N. GeorgeDr. and Mrs. Herbert E. KaufmanDr. Edward D. Levy, Jr.Mr. and Mrs. J. Thomas LewisDr. E. Ralph LupinMr. and Mrs. Edward C. MathesMs. Kay McArdleMr. and Mrs. R. King MillingMr. Michael D. MoffitMs. Karyn E. MurphyMr. and Mrs. Richard E. O’KrepkiDr. Howard and Dr. Joy D. OsofskyDr. and Mrs. Edward F. RenwickMr. and Mrs. R. Randolph Richmond, Jr.Mr. and Mrs. Brian A. SchneiderMr. and Mrs. Edward ShearerMr. and Mrs. Michael J. SiegelMr. and Mrs. Bruce L. SoltisMrs. Harold H. Stream, Jr.Mr. and Mrs. James L. TaylorMrs. Henry H. WeldonMr. and Mrs. Louis A. Wilson, Jr.

FELLOWS

Mrs. Adele L. AdattoDr. and Mrs. Kenneth N. AdattoMrs. Jack R. AndersonMrs. Jimi AndersonMrs. H. W. BaileyMs. Roberta P. BarteeMr. and Mrs. Beauregard L. BassichMr. Robert M. Becnel and Ms. Diane K. ZinkMr. and Mrs. W. Mente BenjaminMr. and Mrs. Dorian M. BennettMr. and Mrs. Michael A. BerensonMrs. Marian Mayer BerkettDr. Siddharth K. BhansaliMr. and Mrs. Robert H. BohMr. and Mrs. Donald T. BollingerMr. R. Carey Bond and Mr. Henry LambertMrs. Jane Bories and Mr. Sam CorenswetDr. and Mrs. John C. Bowen IIIMs. Jean M. BraggDr. and Mrs. Joseph BrennerMr. and Mrs. Edgar E. Bright, Jr.Dr. Stephen Brint and Mr. Mark BrownMr. and Mrs. B. Temple Brown, Jr.Mr. and Mrs. Perry S. BrownMr. and Mrs. Christopher BrunoMs. Debra Bryant and Mr. Fred Riddlemeyer

Circles andFellows of theNew OrleansMuseum of Art

Mr. and Mrs. R. Hunter Pierson, Jr.Mr. and Mrs. Dick H. Piner, Jr.Mr. and Mrs. O. Miles Pollard, Jr.Mr. and Mrs. Arthur C. PulitzerMrs. James W. Reily, Jr.Mr. and Mrs. James J. Reiss, Jr.Ms. Sally E. RichardsMr. Robert R. Richmond IIIMr. and Mrs. Leon H. RittenbergMr. and Mrs. John K. Roberts, Jr.Mr. and Mrs. James C. RoddyMr. Andre RodrigueMr. Jacques RodrigueMr. Arthur RogerMr. and Mrs. Edward RosenMr. and Mrs. Paul S. Rosenblum, Sr.Mrs. J. William RosenthalMr. and Mrs. Louie J. Roussel IIIMr. and Mrs. Hallam L. RuarkMrs. Basil J. Rusovich, Jr.Ms. Nadine C. RussellMiss. Courtney-Anne SarpyMr. and Mrs. Richard Schornstein, Jr.Dr. Milton W. SeilerMr. and Mrs. Aaron Selber, Jr.Mr. and Mrs. William H. Shane, Jr.Mr. and Mrs. Lester ShapiroMrs. Shepard H. ShushanMr. and Mrs. Edward M. SimmonsMr. and Mrs. Richard L. SimmonsDr. and Mrs. Julian H. SimsMrs. Evald L. SkauMr. and Mrs. Timothy C. SlaterMrs. James Carlos SmithMr. and Mrs. Joe D. Smith, Jr.Mr. and Mrs. Rodney R. SmithMr. and Mrs. Charles A. SnyderMr. and Mrs. Stephen L. SontheimerMrs. E. Alexandra Stafford and

Mr. Raymond M. RathleMs. Mary Holmes StephensMrs. Mary E. SternDr. and Mrs. SterneDr. and Mrs. Harold M. StokesDr. Nia K. TerezakisMr. and Mrs. Bernard Van der LindenMr. and Mrs. George G. VillereMr. and Mrs. R. Preston WailesDr. and Mrs. Cedric WalkerMr. and Mrs. Albert J. Ward, Jr.Mr. and Mrs. Hugo WedemeyerDr. and Mrs. Rudolph F. Weichert IIIDr. and Mrs. Robert G. WeilbaecherAmbassador and Mrs. John G. WeinmannMr. Thomas P. WesterveltMr. Robert J. A. Williams and

Mrs. Norris WilliamsMrs. Warren WirthMr. and Mrs. Joseph Young, Jr.Mr. and Mrs. Robert E. YoungMs. Helen H. Wisdom and Dr. Jack S. Zoller

Mr. and Mrs. John C. Hope IIIMr. Harry T. Howard IIIMr. and Mrs. Harley B. Howcott, Jr.Mr. and Mrs. Arthur W. Huguley IIIMr. and Mrs. Lawrence IsraelMr. and Mrs. Marvin L. JacobsDr. Ronald A. JavitchMr. and Mrs. Harold B. JudellMrs. Arthur L. Jung, Jr.Mrs. Gloria S. KabacoffMs. Allison KendrickMrs. Irene KlingerMrs. E. James Kock, Jr.Mr. and Mrs. Donald J. LabauveMr. and Mrs. John P. LabordeMr. and Mrs. Charles W. Lane IIIMrs. James M. Lapeyre, Sr.Mr. and Mrs. James M. Lapeyre, Jr.Mr. and Mrs. John H. LawrenceMrs. Rita Benson LeBlancMr. Victor C. Leglise, Sr.Mr. and Mrs. Thomas B. LemannMr. and Mrs. Frank L. LevyDr. and Mrs. Samuel LoganMr. Edward B. Ludwig, Jr.Dr. and Mrs. George D. LyonsDr. Cris MandryMr. and Mrs. Stephen D. ManshelMr. and Mrs. Adam B. MarcusMrs. Shirley R. MasinterMr. and Mrs. Bernard MasonMs. Elizabeth R. McCallMr. and Mrs. John McCollamMr. and Mrs. William McCollam, Jr.Mr. and Mrs. Gerald D. McInvaleDr. and Mrs. Alvin S. MerlinMr. and Mrs. Robert W. MerrickMr. and Mrs. Michael J. MestayerMr. and Mrs. Albert MintzMrs. Bernard D. MintzMrs. Ellis MintzMr. and Mrs. Saul A. MintzMr. and Mrs. Donald P. MitchellMrs. Louise MoffettMs. Stephany S. MonteleoneDr. and Mrs. Lee Roy Morgan, Jr.Mr. and Mrs. Walter MortonMrs. Andree MossMr. Peter E. MossMr. and Mrs. J. Frederick Muller, Jr.Dr. and Mrs. Bert MyersMrs. Elizabeth S. NaltyMrs. Isidore Newman IIMrs. Ulisse NolanMr. and Mrs. John B. NolandMr. and Mrs. W. D. Norman, Jr.Dr. and Mrs. John L. OchsnerDr. Sanford L. PailetKaryl Pierce PaxtonMr. and Mrs. Norvin L. PellerinMr. and Mrs. Jerome PepperDr. Quinn PepperMrs. Ben J. PhillipsMr. and Mrs. John Phillips

Ms. Pamela R. BurckProfessor and Mrs. Morris E. BurkaMr. Harold H. BurnsMr. and Mrs. Joseph C. CanizaroMr. and Mrs. Carlo Capomazza di CampolatttaroDr. and Mrs. Edgar L. Chase IIIDr. Victor P. ChisesiMr. John A. ChrestiaMr. Stephen W. Clayton Mr. and Mrs. John ClemmerMr. and Mrs. James J. Coleman, Sr.Mr. and Mrs. Thomas B. ColemanMs. Shirley Colomb and Don ClausingMr. Barry J. Cooper and Mr. Stuart H. SmithMr. and Mrs. Orlin CoreyMs. Jeanette CornnamMr. and Mrs. Rufus P. CressendMr. and Mrs. Richard M. Currence, Jr.Mr. and Mrs. Charles B. Davis IIIJohn W. Deming and Bertie Murphy Deming

FoundationMr. and Mrs. Con G. DemmasMr. and Mrs. George Denegre, Jr.Drs. Raja W. and Nina DhurandharMrs. Albert S. Dittmann, Jr.Mr. and Mrs. Clancy DuBosDr. Clayton B. EdisenDr. and Mrs. John O. Edmunds, Jr.Mrs. Eleanor T. FarnsworthDr. and Mrs. K. Barton FarrisMr. and Mrs. C. Allen FavrotMr. and Mrs. D. Blair FavrotMr. and Mrs. H. M. Favrot, Jr.Mr. and Mrs. Thomas B. FavrotMr. and Mrs. Edward FeinmanMr. and Mrs. Darwin C. FennerMrs. Irving FermanMr. and Mrs. Randy FertelMs. Natalie FieldingMrs. Julia FishelsonMs. Anne A. FitzhughMr. and Mrs. Richard B. FoxMr. and Mrs. Louis M. FreemanMr. and Mrs. Louis L. FriersonDr. and Mrs. Harold A. Fuselier, Jr.Mrs. Anne Gauthier and Dr. Perry RigbyDr. and Mrs. Charles F. GenreMrs. Dennis A. GeorgesMrs. Luba B. GladeMrs. Louis A. GlazerMr. and Mrs. Mason GrangerMrs. Harry GreenbergMrs. Harold S. Grehan, Jr.Ms. Susan Talley and Mr. James C. Gulotta, Jr.Mr. and Mrs. James O. GundlachMr. and Mrs. John W. HallMr. and Mrs. Hamp H. HanksMr. and Mrs. Harry S. HardinMrs. Robert B. HaspelMrs. H. Lloyd Hawkins, Jr.Mr. and Mrs. Edward M. HellerMr. and Mrs. Theo M. HellerMrs. S. Herbert HirschMrs. William H. Hodges

ARTS QUARTERLY 27


Jones, Walker, Waechter,Poitevent, Carrere &Denegre

New Orleans SaintsWhitney National BankWindsor Court Hotel

Gambit Communications,Inc.

Brian Schneider CompanyColumbus Properties, LLCThe Sydney and Walda

Besthoff Foundation

Dooky Chase’s RestaurantEnergy Partners, Ltd.Gulf Coast Bank McIlhenny CompanyMPressThe Schon Charitable

Foundation

CORPORATE MEMBERSHIP

J. Aron and Company, Inc.Barriere Construction

Company, Inc.Boes Iron Works, L.L.C.Boh Bros. Construction

Company, Inc.Capital One, N.A.Christie’s Fine Art

AuctioneersCooper T. Smith

Stevedoring Company,Inc.

Dorian M. Bennett, Inc.Eskew + Dumez + RippleFabrixxFirst Bank and TrustFirst NBCFowler RodriguesJefferies & Company, Inc.The Laitram CorporationM. S. Rau Antiques, LLCMagnolia Marketing

CompanyNeal Auction Company,

Inc.New Orleans Auction

Galleries, Inc.New Orleans SilversmithsRathborne Companies,

LLCRegions BankThe Soniat HouseTaylor Energy CompanyThe Times-Picayune

Hirsch InvestmentManagement, L.L.C.

James A. Mounger, AProfessional LawCorporation

Jon AntiquesLedbetter Fullerton

ArchitectsMignon Faget, Ltd.Milling Benson

Woodward L.L.P.Selley, Hite, Rivera &

MercerSisung Securities

CorporationTeri Galleries Ltd.

Loyola UniversitySaint Scholastica

Academy (High School) Southern University of

New OrleansUniversity of Louisiana at

Lafayette

A Gallery for FinePhotography Inc.

Fidelity HomesteadAssociation

KPMGRoyal Antiques, Ltd.The Steeg Law Firm LLCWaggonner and Ball

Architects

A. L. Lowe PictureFraming Company

Alvarez + Basik DesignGroup

Aquatic GardensAs You Like It Silver ShopBaker, Donelson,

Bearman, Caldwell &Berkowitz

Bolton FordGulf Coast Bank

GUARANTOR

MASTER

ASSOCIATE

We are deeply grateful to the followingmember firms whose investment in theMuseum makes it possible for NOMA to

pay dividends in service to the public, to thebusiness community, to the City of New Orleans,to the greater metropolitan area and to the State ofLouisiana.

PATRON

LEADER

CONTRIBUTOR

UNIVERSITY MEMBERS

BENEFACTOR

ARTS QUARTERLY 29

• Use of the Museum for a member’s business specialevent at a mutually agreeable time.

• Your company’s name prominently displayed in theMuseum.

• The loan of four works of art from NOMA’s PermanentCollection.

• A private viewing and guided tour of an exhibition forthe executives of your firm.

• Family Membership privileges for ten designated officialswith Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official toNOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition inthe Museum and free admission for all employees andtheir families.

• A Speakers Bureau program at your place of business orat the Museum.

• 125 Museum passes.• Curatorial consultation.• One framed poster and a catalogue from the Museum’s

inventory.

• Limited use of a Museum space for a member’s businessfunction at a mutually agreeable time.

• Your company’s name prominently displayed in theMuseum.

• The loan of three works of art from NOMA’s PermanentCollection.

• Family Membership privileges for eight designatedofficials with Reciprocal Membership at 39 participatingmuseums.




• 100 Museum passes.• Curatorial consultation.• One framed poster and a catalogue from the NOMA’s

inventory.

• The loan of two works of art from NOMA’s PermanentCollection.

• Family Membership privileges for six designated officialswith Reciprocal Membership at 39 participating museums.





inventory.

• The loan of one work of art from NOMA’s PermanentCollection.

• Family Membership privileges for five designated officialswith Reciprocal Membership at 39 participating museums.

• A Speakers Bureau program for your employees at yourplace of business or at the Museum.


inventory.

• Family Membership privileges for four designated officialswith Reciprocal Membership at 39 participating museums.

• 25 Museum passes.• Two posters from the NOMA’s inventory.

• Family Membership privileges for three designatedofficials with Reciprocal Membership at 39 participatingmuseums.

• 15 Museum passes.• A poster from NOMA’s inventory.

• Family membership privileges for two designated officialof your firm with Reciprocal Membership at 39participating museums.

• 10 Museum passes.

BENEFITS TO

YOUR COMPANY

WHEN YOU

INVEST IN THE

PREEMINENT

CULTURAL

INSTITUTION

OF OUR CITY

GUARANTOR $10,000 & ABOVE

MASTER $2,500

LEADER $1,000

ASSOCIATE $500

CONTRIBUTOR $250

THEART OFBUSINESSCORPORATEMEMBERSHIPIN THENEW ORLEANSMUSEUM OF ART

When you take your place among the CorporateMembers of the New Orleans Museum of Art, you aresupporting the continuing excellence of the Gulf South’sfinest institution for arts and arts education. NOMA is aforce for economic development, contributing greatly toour city’s prominence as an international cultural centerand visitor destination. The business and professionalsectors have long recognized that the Museum makes ourcommunity a more desirable place for families andcompanies to locate.

BENEFITS FOR YOUR BUSINESS

Your Corporate Membership provides world-classbenefits to your employees and a positive image for yourcompany. From unlimited family admission to NOMA, tothe loan of fine art from NOMA’s permanent collection,to a Company Day for all your employees and theirfamilies, your Corporate Membership is a high profilebusiness asset and a great business decision.

The vitality and growth of the New Orleans Museumof Art is dependent, quite literally, on the companies wekeep. Our Corporate Membership Program provides theopportunity for your business, whether large or small, toparticipate at the level most beneficial to you. We havestreamlined the rate structure and improved benefits, soselect your membership category today, and enjoy all thespecial privileges of Corporate Membership at theNOMA.

CORPORATE MEMBERSHIP PRIVILEGES

• Free family admission at all times (immediate family,including children and grandchildren 17 years andyounger).

• Free subscription to Arts Quarterly• Invitations to Members’ Only Previews throughout the

year• Discount of 10% in the Museum Shop• First notices of Special Events at NOMA• Opportunity to participate in Members’ Art Tours in

America and abroad• Curatorial Opinion Service• Opportunity to participate in Volunteer Programs• Access to the Dreyfous Art Reference Library

PATRON $5,000

BENEFACTOR $7,500

q Please have NOMA’s CorporateMembership Director call.

q Please send me a brochure onCorporate Membersip.

q Our check is enclosed in theamount of $_______________.Please make check payable to:New Orleans Museum of Art.

q Please send an invoice in theamount of $______________.

Firm Name____________________________Contact Person____________________________Phone____________________________Address____________________________City/State/Zip____________________________

Mail to: Corporate MembershipNew Orleans Museum of ArtP.O. Box 19123New Orleans, LA 70179-0123

CORPORATE MEMBERSHIP


The New Orleans Museum of Arthas established a number ofspecial funds for gifts in honor ofor in memory of friends or familymembers or to commemorate an

event. Recipients or their families will benotified of the gift and will be acknowledgedin Arts Quarterly.

For information on NOMA special funds,call (504) 658-4100. Donations for all fundsshould be mailed to the New Orleans Museumof Art, P.O. Box 19123, New Orleans,Louisiana 70179-0123. n

ART ACQUISITION FUND

IN HONOR OF

CHARLES AND CAMMIE MAYER:James Farwell

MR. AND MRS. ROLLAND GOLDEN’S FIFTIETH

ANNIVERSARY:Ron Cohen and Amy Martin

LIBRARY FUND

IN HONOR OF

ROZ AND RUSTY GAUDÉ’S MARRIAGE:Shelley and ToddNicole and MichaelJoey and Melanie

MR. AND MRS. MOISE STEEG:Paul Kullman

MR. AND MRS. ROLLAND GOLDEN’S ANNIVERSARY:Dr. and Mrs. Ashley Shocket

DR. AND MRS. E. RALPH LUPIN’S MARRIAGE:Sherry and Charles Snyder

MARIANNE COHN:Jane Moses

TIMOTHY SLATER:Tiki and Arthur Axelrod

IN MEMORY OF

FLO ADLER:Mr. and Mrs. J. M. Fried, Jr.

ELEANOR KOHLMEYER:John K. and Lynn B. RobinsonMr. and Mrs. J. Vernon Williams

MARY LOU AND STEPHAN WATSEY:The Slidell Junior High Family

JAMES J. COLEMAN, SR.:Blanche Comisky and Family

BETTY ANNE L. MOSS:Dorian Bennett

C O N T R I B U T I O N SMARILYN W. DAVIS:Marilyn Dittmann

ALAIN DE LA VILLESBRET:Ann Y. de la Villesbret

ABRAHAM J. RAU:Dr. and Mrs. Ashley Shocket

MAESTRO SIXTEN EHRLING:Dr. and Mrs. Ashley Shocket

MAESTRO PETER PAUL FUCHS:Dr. and Mrs. Ashley Shocket

DR. EMILE JOSEPH BERNARD:Dr. and Mrs. Ashley Shocket

ALICE D. VOROS:Christopher K. Ralston

ROBERT PEYROUX:Mr. and Mrs. J. M. Fried, Jr

HARRIET TRAUTMAN:Mr. and Mrs. J. M. Fried, Jr:

LUCAS BRUNO, JR.:Shirley Rabe Masinter

MR. AND MRS. THEODORE RABE, JR.:Shirley Rabe Masinter

MRS. MARTI SPEIGHTS:Dorian M. Bennett

NVC FLOWER FUND

IN HONOR OF

CAMMIE AND CHARLES MAYER’S ANNIVERSARY:James, Marguerite, Anne and Jimmy KockGinger Kock

IN MEMORY OF

ELLIE KOHLMEYER:Cammie and Charles Mayer

HARRIETT TRAUTMAN:Jean Taylor

TOM PRESTON:Mrs. Stanley Fried

JAMES KOCK:Barbara RuarkJanet FrischertzLou LaneBrooke H. Duncan

NVC PORTICO

RENOVATION FUND

IN MEMORY OF

JAMES KOCK:Kay McArdle

PHOTOGRAPHY FUND

IN MEMORY OF

BETTY MOSS:Kimberly and Harry Rosenberg

CHARLOTTE GLASS:Kimberly and Harry Rosenberg

BEN CIMINI, JR.:Kimberly and Harry Rosenberg

ELTON FALLON:Kimberly and Harry Rosenberg

BENNY JEFFERSON:Kimberly and Harry Rosenberg

P. R. NORMAN FUND

IN HONOR OF

ELLIS MINTZ:Mr. and Mrs. Luis Banos, Jr

IN MEMORY OF

MRS. P. ROUSSEL (SUNNY) NORMAN:Mr. and Mrs. Luis Banos, Jr

WILLIAM “PEPPER”BROWN MEMORIAL FUND

IN MEMORY OF

WILLIAM “PEPPER” BROWN:Saskia and William ArthurJacqueline AvegnoE. John BullardKatherine Louis deMontluzinRobyn DunnMary Ann & Michael J. FreemanJoan A. GiraudKaren HarrisKatherine HovasJackie HowellJohn W. KeefeJames McClatcheyWanda O’ShelloGeorge RolandGretchen SehrtJean R. SteinLise Anne and Parham WerleinSusan Mary Young

ARTS QUARTERLY 31

Published by theNew OrleansMuseum of Art,one of the premiercultural institutionsin the South,ARTQUARTERLYis an award-winningmagazine, whosereaders sharesome very specificcharacteristics andaspirations:

an appreciation for fineart and fine life and aconcern for improvingor maintaining theirquality of life and theirdistinctive lifestyle.

In its 30th yearof publication,ARTQUARTERLY providesan effective medium toreach this elusive groupof consumers.

WHAT DO NEW ORLEANS’MOST DISCRIMINATING CONSUMERS READ?

To reach New Orleans most discriminating consumers,call our representative to reserve your space in ARTQUARTERLY,

504-610-1279 or 504-658-4103.

WAYS OF GIVING The future of the New Orleans Museum of Art depends to a largedegree on the foresight and generosity of today’s visionaries—

our members—who are willing to consider new ways to make gifts.Here are a few suggested methods of making a difference for NOMA:

GIFT OF CASH OR MARKETABLE SECURITIESGifts may be restricted to a designated program or applied toNOMA’s general operating fund.

GIFT OF LIFE INSURANCEName NOMA as policy owner and beneficiary and receiveimmediate tax deductions on your premium.

GIFT OF PROPERTYGifts of real estate, boats, or artwork provide NOMA withmarketable assets and may enable you to avoid capital gains taxes.

NAMED ENDOWMENT FUNDThe principal of a fund established in your name—or for someoneyou wish to honor or memorialize—is managed for growth, whilethe income from the fund supports Museum programs.

CHARITABLE REMAINDER TRUST/CHARITABLE LEAD TRUSTProvide NOMA or yourself with a steady income stream and, with aremainder trust, leave a significant future gift to NOMA. Botharrangements entitle you to considerable tax savings.

BEQUESTSName NOMA as a beneficiary in your will and make a lastingcontribution to the Museum.

For more information about any of these suggested methods of giving to NOMA, call (504) 658-4107.


NOMA EDUCATION:Monthly films in NOMA’s Stern

Auditorium continue this spring withnew classics for all ages. In conjunctionwith the exhibition Rodrigue’sLouisiana: Cajuns, Blue Dogs andBeyond Katrina, on view throughJune 8, 2008, NOMA will present filmsdirected by Pat Mire that spotlight theCajun culture. Films begin at 6:30 p.m.(please note new time) and are freewith Museum admission. For moreinformation please contact theassociate curator of education [email protected] or by phone(504) 658-4113.

Wednesday, April 23, 6:30 p.m.

Against the Tide: The Storyof the Cajun People ofLouisianaWith An Introduction andQ&A by Director Pat Mire(2000, 60 min., Not Rated)

Against the Tide is the epic storyof a celebrated yet frequentlymisunderstood population in NorthAmerica—the Cajun people. Duringthe seventeenth century, wars inwestern France forced a communityof predominantly farmers to establisha new homeland in the wilderness ofNova Scotia. A subsequent deportationby the British scatters them across theeast coast of the Western hemisphereand, only decades later, they arereunited in Louisiana. This true storyof the Cajuns, told by Pat Mire, host/

Films

NOMA lectures are intended tocomplement our permanent andtraveling exhibitions. These events willtake place in the Museum’s SternAuditorium. All lectures are free withMuseum admission. For information,contact [email protected] or call504-658-4131.

Sunday, April 6, 2 p.m.

Conversations with theKeepers of Culture

Panel Discussion Moderatedby Don Marshall, ExecutiveDirector, New Orleans Jazzand Heritage Foundation

Don Marshall, executive directorof the New Orleans Jazz and HeritageFoundation, moderates a panelfeaturing the leaders of areaorganizations charged with thepreservation and perpetuation ofdistinctly New Orleans traditions.This discussion will spotlight thedetermination and dedication of thesegroups and their myriad challenges ina post-Katrina environment. This paneldiscussion is presented in conjunctionwith the exhibition Living Color:Photographs by Judy Cooper, on viewthrough May 11, 2008.

This program is made possible by agrant from the Louisiana Endowmentfor the Humanities. n

Lecture

Judy Cooper (American, born 1938)High Life, 2005

From the series New Orleans SundayColor pigment print on canvas, 23 x 23 inches

Collection of John and Sheila Cork

narrator Zachary Richard, historian CarlBrasseaux, folklorist Barry Ancelet andwriter C.E. Richard, is a tribute to thetenacity of this remarkable community.

Wednesday, May 21, 6:30 p.m.

Dirty Rice(1997, 85 min., Not Rated)

Director Pat Mire’s debut featurerecounts the tale of a manrediscovering his roots and reclaiminghis heritage. Returning from the city ofNew Orleans, where he works as anarchitect, to his parents’ farm followingthe death of his father, Louis Daigle(Benjamin Mouton) is drawn back intothe life of farming and a relationshipwith an old flame. But times are hardand the falling value of rice isthreatening the farmers’ livelihood. n

ARTS QUARTERLY 33

PROGRAMS & ACTIVITIESSaturday, April 12

10 a.m. to 2 p.m.NOMA’s Besthoff SculptureGarden

Dog Day in the SculptureGarden

Bring your dog to the BesthoffSculpture Garden or adopt one from anon-site LA SPCA adoption team. Enjoylive music and take your picture withthe eight-foot Blue Dog steel andchrome sculpture.

10 a.m to NoonNOMA’s Besthoff SculptureGarden

Children’s Event: PaintingDemonstration with ArtistGeorge Rodrigue

Watch artist George Rodrigue paintone of his iconic Blue Dogs andparticipate in children’s art activities inthe Garden. Free and open to thepublic. Space is limited. Please arriveearly.

2 p.m.NOMA’s Auditorium

Book Reading with Georgeand Wendy Rodrigue

Join George and Wendy Rodriguefor a lively reading of Why is Blue DogBlue? There will be a book signingimmediately following.

Saturday, May 17

10 a.m.NOMA Museum Shop

Book Signing with GeorgeRodrigue

Come to NOMA and have theartist sign your favorite GeorgeRodrigue book.

NoonNOMA’s Auditorium

Cajun Storytelling:The Tale of the Loup-Garou

by Mary LeCompte

Come hear “The Tale of the Loup-Garou” with storyteller MaryLeCompte. The legendary Cajunwerewolf, or loup-garou, has haunted,teased and fascinated the imaginationof children South Louisiana forgenerations. A popular figure of localfolklore and an inspiration for GeorgeRodrigue’s Blue Dog paintings, theloup-garou will be the highlight of thisspellbinding hour of bayou tales. Forages five and up.

1 p.m. to 4 p.m.NOMA’s Besthoff SculptureGarden

Cajun Dance Lessons andMusic by Bruce Daigrepont

Join members of the Cajun DanceCompany for an hour-long lesson ofthe basic two-step and waltz, thenpractice your new moves with a liveCajun band in the Besthoff SculptureGarden.

Admission $5 for ages five and up,or free to Museum members.

Rodrigue’sLouisiana:Cajuns, BlueDogs andBeyondKatrinaSpecialEvents

Sunday, June 8

5 p.m. to 8 p.m.New Orleans Museum of Art

Cajun Dance Lessons andBlue Dog Fais Do-Do

Join us for Cajun dance lessonsand a “Blue Dog Fais Do-Do” on thefinal day of the exhibition Rodrigue’sLouisiana: Cajuns, Blue Dogs andBeyond Katrina. Free with Museumadmission. n

NOMA will present aseries of programs inconjunction with the

exhibition Rodrigue’sLouisiana: Cajuns, Blue

Dogs and BeyondKatrina, which is onview through June 8.

George Rodrigue (American, born 1944)Dependence, 2003Acrylic on canvas, 60 x 60 inchesPrivate collection

George Rodrigue(American, born 1944)

On My Master’s Grave, 1988Oil on canvas, 30 x 24 inches

Private collection

Come hear “The Tale of the Loup-Garou” with Cajun storyteller Mary

LeCompte on Saturday, May 17, noon.


NOMA EDUCATION:Sunday, May 11, 2 p.m.

The Prince of Wales andthe Hot 8 Brass Band

Come see one of the greatest NewOrleans traditions—the second line—inCity Park on this closing day of LivingColor: Photographs by Judy Cooper.Performers, dancers and musiciansfrom the well-known Social Aid andPleasure Club and the nationallyrecognized brass band will take overLelong Avenue in front of the Museumand parade into NOMA’s BesthoffSculpture Garden for an afternoon oflively and festive celebration. n

Second Line

Judy Cooper (American, born 1938)The Prince of Wales Social Aid and Pleasure Club, 2006

From the series New Orleans SundayColor pigment print on canvas, 34 x 37-1/2 inches

Collection of the artist

Saturday, April 5 and 19, Noon

The beautiful Sydney and WaldaBesthoff Sculpture Garden will becomea world of fables and fantasy for awonderful storytelling hour. Childrenand families can gather to listen to talespresented by talented storytellers in theOak Grove of the Sculpture Garden.This event is free and open to allvisitors. n

Storytellingin theBesthoffSculptureGarden

NOMA will present storytelling in theBesthoff Sculpture Garden on April 5 and 19.

Photo by Ina Davis

Session 2, June 16 – 20Ages 8 – 12Morning Session10 a.m. to 12:30 p.m.Afternoon Session1:30 p.m. to 4 p.m.

SAVE THE DATE

Session 3, June 30 – July 2Intensive Teen WorkshopAges 13 – 17Morning Session10 a.m. to 12:30 p.m.Afternoon Session1:30 p.m. to 4 p.m.

Visit www.noma.org for furtherinformation on sessions in July.

Come learn new techniques in art-making at NOMA’s Children’s ArtClasses. NOMA is offering a variety ofsummer art classes for children, whichwill be taught by professional artteachers. The art classes introducechildren to the Museum’s collectionsand special exhibitions. NOMA’s artclasses provide students with anexciting atmosphere where studentscan express their creativity using avariety of art materials. Our art teachersstress the importance of the creativeprocess over the final product.

Each session is one week, Mondaythrough Friday and will be held in theTimken Center (Old Casino Building)in City Park. The cost of each sessionof five classes is $75 for members ofthe Museum and $90 for nonmembers.Classes are limited to twenty students;

pre-registration and payment inadvance are required. All materials areincluded. Students should bring an oldshirt or smock to wear as classes canget messy. For further information orregistration, please contact theEducation Department [email protected] or (504) 658-4113.

Session 1, June 2 – 5Ages 5 – 7Morning Session10 a.m. to 12:30 p.m.Afternoon Session1:30 p.m. to 4 p.m.

Summer ArtStudio inCity Park

ARTS QUARTERLY 35

PROGRAMS & ACTIVITIES

Both sessions are free, but pre-registration is required. Space is limited,so please call NOMA at 504-658-4128today to register.

Session I, 9 a.m. to NoonAges 7, 8, 9 and ParentsTimken Center (Old CasinoBuilding), City Park

Session II, 1 p.m. to 4 p.m.Ages 10, 11, 12 and ParentsTimken Center (Old CasinoBuilding), City Park

During the 2007 to 2008 academicyear, the New Orleans Museum of Arthas sponsored a highly successful arttherapy program in two area publicschools with a generous gift from thePrefecture of Hyogo, Japan. Thissummer, NOMA art therapist, Holly M.Wherry, will present a series of classesfor families and children that offers theopportunity for continued personalrestoration through creativity.

June 2 – 6

Sketchbooks!

Participants will find new andexciting ways to use and createsketchbooks. This program willpromote using the privacy andcontainment of a sketchbook as acreative way to express their emotions.

Please note: There is a pre-approval screening process for thetwo Sketchbooks! sessions. Applicantswill be contacted by the instructor.Please call the Education Departmentat 504-658-4128. n

Session I, 9 a.m. to NoonAges 10 – 13Timken Center (Old CasinoBuilding), City Park

Session II, 1 p.m. to 4 p.m.Ages 13-17Timken Center (Old CasinoBuilding), City Park

July 14 – 18

Communicating AboutKatrina Workshop forParents and Children

Many families often feeluncomfortable talking about HurricaneKatrina. This workshop will helpchildren and their parentscommunicate through art projects aswell as create a piece of artwork thattells about their family’s HurricaneKatrina story. Parents must attendwith their children.

TherapeuticArt CampSessions forFamilies

The New Orleans Museum of Artreceived a grant from the Prefecture ofHyogo, Japan, in spring 2007 to pilotan art therapy program in the publicschools. In addition, the Museum isoffering a series of weekend familyevents to promote a sense of supportand unity in the community in a post-Katrina environment. These events arefree with Museum admission.

Sunday April 13, 2 p.m.

Thelonious Monk Institute ofJazz Performing Arts HighSchool Program

Young musicians from the NewOrleans Center for Creative Arts willpresent an exciting performancefeaturing various styles of jazz. In

addition to more familiar early andcontemporary works, the students willalso introduce some of their originalcompositions for this family-orientedprogram.

Sunday, May 18, 2 p.m.

Washboard Chaz

Though comfortable in all forms ofour diverse American musical heritage,Washboard Chaz Leary has achieveddominance and internationalrecognition in acoustic country blues.Spend part of your afternoon with thistalented performer and his trio, whosestage presence has brought countlessexcellent reviews and wide regionaland national popularity. n

Washboard Chaz will perform atNOMA on Sunday, May 18, at 2 p.m.

HyogoFamilySundays

Fernando Botero(Colombian, born 1932)Bird, 1998Bronze, 13 x 17 x 11 inchesPrivate Collection


APRIL 2Art In Bloom Preview Party. Museum Closes at 5 p.m.

APRIL 9Sketching in the Galleries

APRIL 16Gallery Talk, John Webster Keefe, The RosaMaryFoundation Curator of Decorative Arts, NOMA, willdiscuss the Lalique, Lalique, Lalique exhibitioncurrently on view in the Museums’ galleries.

APRIL 23Short Film and Q&A with the Director Pat Mire,Against the Tide: The Story of the Cajun People of Louisiana (2000, 60 min., Not Rated)

APRIL 30Private Event. Museum Closes at 5 p.m.

MAY 7Sketching in the Galleries

MAY 14Gallery Talk, Judith Bonner, Senior Curator at theHistoric New Orleans Collection, will discuss thecollaborative exhibition between the HNOC andNOMA, New Orleans: A Sense of Place, on view atNOMA through August 31.

MAY 21Short Film, Dirty Rice (1997, 75 min.,Not Rated) Directed by Pat Mire

MAY 28Art After Hours, Music and Cocktails

JUNE 4Gallery Talk, George Roland, The DorisZemurray Stone Curator of Prints andDrawings, NOMA, will discuss the exhibitionGentlemen Callers: Paul Cadmus and GeorgeDureau, From The Collection of KennethHolditch, on view through September 7.

JUNE 11Artist Talk, TBA

JUNE 18Short Film, TBA

JUNE 25Art After Hours, Music and Cocktails

Get Over the Hump...Wednesday Evenings at the New Orleans Museum of Art

NOMA is now open on Wednesdays from noon to 8 p.m. In addition to the Museum’s permanent collection and specialexhibitions and the Besthoff Sculpture Garden, enjoy these special evening activities. All events begin at 6:30 p.m.

After touring the Museum and enjoying these special evening events,visitors are encouraged to have dinner at one of these Mid-City restaurants.

Angelo Brocato Ice Cream, 214 North Carrollton Ave. (486-1465); Cafe Arabesque, 127 N. Carrollton Ave.(486-7233); Cafe Degas, 3127 Esplanade Ave. (945-5635); Cafe Minh, 4139 Canal St. (482-6266); Crescent CitySteak House, 1001 Broad St. (821-3271); Doson’s Noodle House, 135 N. Carrollton Ave. (309-7283); Fellini’s Cafe,900 N. Carrollton Ave. (488-2155); La Vita, 3201 Esplanade Ave. (948-0077); Little Tokyo, 310 N. Carrollton Ave.(485-5658); Lola’s, 3312 Esplanade Ave. (488-6946); Mandina’s, 3800 Canal St. (482-9197); Mona’s Cafe,3901 Banks St. (482-0661); Parkway Bakery and Tavern, 538 Hagan St. (482-3047); Ralph’s on the Park,900 City Park Ave. (488-1000); Venezia Restaurant, 134 N. Carrollton Ave. (488-7991).

ARTS QUARTERLY 37

PROGRAM SPONSORS

$34,999 - $20,000

JOLIE AND ROBERT SHELTON

INTERNATIONAL WELL TESTERS, INC.:Living Color: Photographs by Judy CooperExhibition Catalogue SupportOdyssey Ball 2007Rodrigue Aoili DinnerLOVE in the Garden 2007

LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATON:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition Support

LOUISIANA ENDOWMENT FOR THE HUMANITIES:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition SupportLiving Color: Photographs by Judy CooperExhibition, Programming and Catalogue Support

THE ROSAMARY FOUNDATION:Family WorkshopsHandbook of School Programs

WWL-TV:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition Support

$100,000 +

ACADIAN AMBULANCE SERVICE:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition Support

THE AZBY FUND:General Operating SupportBesthoff Sculpture Garden Operating SupportSecurity Equipment

ANONYMOUS DONORS:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition Support

FORD FOUNDATION:Planning and Exploration of New Orleans Audiences

GETTY FOUNDATION:Conservation of the Besthoff Sculpture Garden

THE HELIS FOUNDATION:Free Admission for Louisiana Residents

THE PATRICK F. TAYLOR FOUNDATION:Taylor NOMA Scholars Program

ZEMURRAY FOUNDATION:General Operating Support

$9,999 - $5,000

MR. AND MRS. MORRIS BART III:Odyssey Ball 2007

LEE MICHAELS FINE JEWELRY AND CHOPARD:Odyssey Ball 2007

MATHES BRIERRE ARCHITECTS:Odyssey Ball 2007

JERI NIMS:Odyssey Ball 2007

DEBRA AND ROBERT PATRICK:Odyssey Ball 2007

THREE FOLD CONSULTANTS, LLC:LOVE in the Garden 2007

THE TUNICA-BILOXI TRIBE OF LOUISIANA AND PARAGON CASINO

RESORT:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

$19,999 - $10,000

AT&T:Odyssey Ball 2007

GAYLE AND TOM BENSON:Odyssey Ball 2007

THE CUDD FOUNDATION:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

DOWNMAN FAMILY FOUNDATION:NOMA Exhibitions

MR. AND MRS. LAWRENCE D. GARVEY:Odyssey Ball 2007

GOLDRING FAMILY FOUNDATION:Odyssey Ball 2007

GREATER LAKESIDE CORPORATION:Odyssey Ball 2007

THE GPOA FOUNDATION:Educational Pre-Visit Video of African Art Collection

$99,999 – $50,000

CHEVRON:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition SupportHandbook of School ProgramsTeacher’s Packets

LOUIS ARMSTRONG NEW ORLEANS INTERNATIONAL AIRPORT:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition Support

LOUISIANA DIVISION OF THE ARTS:General Operating Support

THE LUPIN FOUNDATION:General Operating SupportOdyssey Ball 2007Art in Bloom 2008

SELLEY FOUNDATION:General Operating Support

BECOMEA NOMASPONSOR

HOUSE OF BLUES FOUNDATION ROOM:Odyssey Ball 2007

GLORIA S. KABACOFF:Odyssey Ball 2007

TAMMY AND BLAINE KERN, JR. MARDI GRAS PRODUCTIONS:Odyssey Ball 2007

THE MCILHENNY COMPANY AND THE GUSTAF

PAULA L. MAHER:Odyssey Ball 2007

MS. KAY MCARDLE:Odyssey Ball 2007

MR. AND MRS. WILLIAM G. MCARDLE, JR.:Odyssey Ball 2007

NEW ORLEANS METROPOLITAN CONVENTION VISITORS BUREAU:Odyssey Ball 2007

PAUL PRUDHOMME:Rodrigue Aoili Dinner

RUBY K. WORNER CHARITABLE TRUST:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition SupportEducational Support

SHELL EXPLORATION & PRODUCTION COMPANY:Van Go, NOMA’s Museum-on-WheelsEducational Programming

WESTFELDT MCILHENNY FAMILY FOUNDATION:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

MRS. MERCEDES B. WHITECLOUD:Odyssey Ball 2007

SANDRA AND LOUIS A. WILSON, JR.:Odyssey Ball 2007

SHERATON NEW ORLEANS HOTEL:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtExhibition Support

THAW CHARITABLE TRUST:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

Annual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops, films, lectures, art classesand numerous other special programs enjoyed by visitors from throughout the city, the state, the country, and, indeed, the world, are made

possible through the generosity of our many sponsors. The New Orleans Museum of Art and its thousands of visitors are deeply grateful to these friendsfor their continued commitment. If you would like additional information on sponsorship, please contact the Museum’s development department,(504) 658-4100. n


BOARD OF TRUSTEES

BOARD OF TRUSTEESMEETING SCHEDULE

NOMA’s board of trusteeswill meet on Wednesday, April 16,May 21, and June 18, at 4 p.m.

DOCENTS

CALL FOR NEW DOCENT CLASSThe Education Department

will be starting a new docent classthis August. Docents at the NewOrleans Museum of Art areextensively trained on theMuseum’s permanent collectionduring an academic year and willapprentice with our MasterDocents in order to providecomprehensive tours of thecollection. As an important liaisonbetween the Museum, schools andthe general public, docentscollaborate with teachers andwork to create tailoredexperiences for students andadults.

After completing the trainingprocess, all docents are expectedto commit to working one day aweek—a significant timecommitment, but one that ispersonally rewarding andfulfilling—with a collegial groupthat shares your enthusiasm for art.

For more information, pleasecontact the Education Departmentat [email protected] or(504) 658-4128.. n

STAFF

NOMA WELCOMES NEW STAFFThe New Orleans Museum of

Art is pleased to announce that thefollowing individuals have joinedthe NOMA staff: James Mulvihill,director of communications andmarketing; Miranda Lash, curatorof modern and contemporary art;Chris Smith, grants officer; SarahDavidson, coordinator of specialevents. n

MUSEUM NEWS MUSEUM NEWS MUSEUM

VOLUNTEERS

NOMA NEEDS YOUVolunteering at the New

Orleans Museum of Art is a greatway for art lovers to support theMuseum and the community.Volunteers provide a vital linkbetween visitors and and theirmuseum experience. NOMA offersa variety of opportunities to fit yourschedule and interests. The Museumparticularly needs volunteers for thecurrent exhibition Rodrigue’sLouisiana: Cajuns, Blue Dogs andBeyond Katrina, which is on viewthrough June 8.

If you would like to become aNOMA volunteer or for additionalinformation on volunteeropportunities, please contact MollySt. Paul, NOMA’s volunteercoordinator, at (504) 658-4137 orMargaret Lancaster at (504) 658-4119.

ETCETERA

NOMA HONORED BY WEDDINGPROFESSIONAL GUILD OF LA

At the recent awards luncheonof the Wedding Professional Guildof Louisiana, the New OrleansMuseum of Art won the two tophonors. NOMA was selected as the2007 Wedding Venue of the Year,and Marilyn Dittmann was selectedas the Outstanding WeddingProfessional. n

SENIOR STAFFE. John Bullard, The Montine McDaniel Freeman DirectorJacqueline L. Sullivan, Deputy DirectorLisa Rotondo-McCord, Assistant Director for Art/Curator of Asian ArtJoanna Sternberg, Assistant Director for EducationGail Asprodites, ControllerAisha Champagne, Graphics Coordinator/WebmasterSheila Cork, LibrarianDiego Cortez, The Freeman Family Curator of PhotographySarah Davidson, Coordinator of Special EventsMarilyn Dittmann, Acting Development DirectorWilliam A. Fagaly, The Françoise Billion Richardson Curator of African ArtAnthony Graffeo, Chief of SecurityJimmy Jeffrey, Sculpture Garden ManagerJennifer Ickes, Assistant RegistrarKristin Jochem, Development Associate for NVCJohn W. Keefe, The RosaMary Foundation Curator of The Decorative ArtsMiranda Lash, Curator of Modern and Contemporary ArtElizabeth Levy, Membership AssistantKatherine Marquette, Education AssistantJames Mulvihill, Director of Communications and MarketingKarl Oelkers, Computer CoordinatorWanda O’Shello, Publications Coordinator/Arts Quarterly EditorMarney N. Robinson, Associate Curator of EducationGeorge Roland, The Doris Zemurray Stone Curator of Prints and DrawingsChris Smith, Grants OfficerPaul Tarver, Registrar/Curator of Native American and Pre-Columbian ArtPatricia Trautman, Museum Shop ManagerLaura Wallis, Development Associate for Membership and Annual AppealHolly M. Wherry, Art Therapist, Katrina InitiativeAlice Rae Yelen, Principal Curator for Education

NOMA BOARD OF TRUSTEESSydney J. Besthoff III, PresidentMrs. Edward George, Vice-PresidentE. Ralph Lupin, M.D., Vice-PresidentMrs. James Frischhertz, Vice-PresidentWilliam Aaron, TreasurerMrs. Françoise Billion Richardson, Assistant TreasurerCharles A. Snyder, SecretaryMrs. John BertuzziIsidore Cohn, Jr., M.D.Leonard DavisS. Stewart FarnetMrs. Ludovico FeoliTimothy FrancisTina FreemanLee HamptonStephen H. HanselEdward F. HaroldAdrea HeebeHenry LambertPaul J. Leaman, Jr.Edward C. MathesMrs. Charles B. MayerKay McArdleCouncilmember Shelly MiduraMrs. R. King MillingMichael MoffittMayor C. Ray NaginMrs. Robert J. PatrickR. Hunter PiersonThomas Reese, Ph.D.Mrs. James ReissMichael J. SiegelMrs. Lynes R. SlossMrs. James Lyle TaylorMrs. Patrick F. TaylorMrs. Brenda VorhoffLouis A. Wilson, Jr.

HONORARY LIFE TRUSTEES H. Russell Albright, M.D.Mrs. Jack R. AronMrs. Edgar B. Chase, Jr.Prescott N. DunbarMrs. Richard W. Freeman, Jr.Kurt A. Gitter, M.D.Mrs. H. Lloyd HawkinsMrs. Killian L. HugerRichard W. Levy, M.D.J. Thomas LewisMrs. Paula L. MaherMrs. J. Frederick Muller, Jr.Mrs. Jeri NimsMrs. Charles S. ReilyMrs. Françoise Billion RichardsonR. Randolph Richmond, Jr.Mrs. Frederick M. StaffordHarry C. StahelMr. and Mrs. Moise S. Steeg, Jr.Mrs. Harold H. StreamMrs. John N. Weinstock

NATIONAL TRUSTEESJoseph BailloMrs. Carmel CohenMrs. Mason GrangerJerry HeymanHerbert Kaufman, M.D.Mrs. James PierceMrs. Benjamin RosenMrs. Robert SheltonMs. Debra ShrieverMrs. Henry H. Weldon

ARTS QUARTERLY 39

NOMA EXHIBITION SCHEDULE

Ari Marcopoulos: ArchitecturesThrough April 27, 2008

Living Color: Photographs by Judy CooperThrough May 11, 2008

A Curator’s Gift:Contemporary Photography from Diego Cortez

Through May 25, 2008

Rodrigue’s Louisiana:Cajuns, Blue Dogs and Beyond Katrina

Through June 8, 2008

Dog ShowThrough June 8, 2008

New Orleans: A Sense of PlaceMay 10 – August 31, 2008

Gentlemen Callers: Paul Cadmus and George Dureau,From the Collection of Kenneth Holditch

May 25 – October 12, 2008

The Baroque World of Fernando BoteroJune 28 – September 21, 2008

For further information on upcoming exhibitionsand events at the New Orleans Museum of Art,

call (504) 658-4100, or visit our website atwww.noma.org.

NOMA Calendar of Events

WEDNESDAY, 6 p.m. to 7 p.m., Art In Bloom Patron Party

7 p.m. to 10 p.m., Art In Bloom Preview Party

THURSDAY, 9:30 a.m., Art In Bloom Lecture by Dorothy McDaniel

11 a.m., Art In Bloom Lecture by Ian Prosser

12:30 p.m., Art In Bloom Luncheon in City Park’s Pavilion of the Two Sisters

SATURDAY, Noon, Storytelling in the Besthoff Sculpture Garden

SUNDAY, 2 p.m., Panel Discussion, “Conversations with the Keepers of Culture,”Moderated by Don Marshall, Executive Director, New Orleans Jazz and Heritage Foundation

WEDNESDAY, 6:30 p.m., Sketching in the Galleries

SATURDAY, 10 a.m. to 2 p.m., “Dog Day in the Sculpture Garden”

10 a.m. to Noon, “Children’s Event: Painting Demonstration with Artist George Rodrigue”(in the Besthoff Sculpture Garden)

2 p.m., Book Reading with George and Wendy Rodrigue

SUNDAY, 2 p.m., Hyogo Family Sunday: Thelonious Monk Institute of Jazz Performing ArtsHigh School Program

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting

6:30 p.m., Gallery Talk, “Lalique, Lalique, Lalique” by John Webster Keefe, The RosaMaryFoundation Curator of the Decorative Arts, NOMA

SATURDAY, Noon, Storytelling in the Besthoff Sculpture Garden

WEDNESDAY, 6:30 p.m., Film, Against the Tide: The Story of the Cajun People of Louisiana(2000, 60 min., Not Rated), with an introduction and Q&A by Director Pat Mire

APRIL

WEDNESDAY, 6:30 p.m., Sketching in the Galleries

SATURDAY, Opening Day—New Orleans: A Sense of Place

SUNDAY, 2 p.m., Second Line with The Prince of Wales and the Hot 8 Brass Band

WEDNESDAY, 6:30 p.m., Gallery Talk, “New Orleans: A Sense of Place” by Judith Bonner,Senior Curator, The Historic New Orleans Collection

SATURDAY, 10 a.m., “Book Signing with George Rodrigue”

Noon, “Cajun Storytelling: The Tale of the Loup-Garou” by Mary LeCompte

1 p.m. to 4 p.m., Cajun Dance Lessons and Music by Bruce Daigrepont

SUNDAY, 2 p.m., Hyogo Family Sunday: Washboard Chaz

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting

6:30 p.m., Film, Dirty Rice (1997, 85 min., Not Rated)

SUNDAY, Opening Day—Gentlemen Callers: Paul Cadmus and George Dureau, From theCollection of Kenneth Holditch

3

WEDNESDAY, 6:30 p.m., Gallery Talk, “GentlemanCallers: Paul Cadmus and George Dureau, From theCollection of Kenneth Holditch” by George Roland,The Doris Zemurray Stone Curator of Prints andDrawings, NOMA

SUNDAY, Midnight to Midnight, Closing Day—Rodrigue’s Louisiana: Cajuns, Blue Dogs and BeyondKatrina

5 p.m. to 8 p.m., Cajun Dance Lessons and Blue DogFais Do-Do

WEDNESDAY, 6:30 p.m., Artist Talk, TBA

WEDNESDAY, 4 p.m., NOMA Board of TrusteesMeeting

6:30 p.m., Artist Talk, TBA

WEDNESDAY, 6:30 p.m., Artist Talk, TBA

FRIDAY, 6 p.m. to 9 p.m., NOMA Members Preview—The Baroque World of Fernando Botero

SATURDAY, Opening Day—The Baroque World ofFernando Botero

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Post Office Box 19123New Orleans, Louisiana 70179-0123

NON-PROFIT ORG.US POSTAGE

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