AQJanFebMar09

STYLE,FORM ANDFUNCTION:Glass fromthe Collectionof Jack M.SawyerBY JOHN WEBSTER KEEFEThe RosaMary FoundationCurator of the Decorative Arts,NOMA

(continued on page 6)

ARTSQUARTERLYVOLUME XXXI ISSUE 1 NEW ORLEANS MUSEUM OF ART JANUARY/FEBRUARY/MARCH 2009

A benefit of membership with the New Orleans Museum of Art

Group of vases in the Art Nouveau style(clockwise from the lower left)

Footed Pyriform Vase, circa 1905 Transparent amber and green leadFavrile glass: mold-blown, tooled,

applied and iridized The Tiffany Studios (active

1892–1928), Corona, Long Island,New York, height 9-5/8 inches

Columnar Vase: Pansies, circa 1895–1900Colorless, transparent rose, ochre,

russet, and blown lead glass:blown, cased, tooled, cameo-cut

and acid-finishedEmile Gallé (French, 1846-1904),

Nancy, height 9-7/8 inches

Vase of Attenuated Barrel-Form:Leaves, circa 1900–10

Colorless, transparent coral andcrimson lead glass: blown, tooled,cased, cameo-cut and acid-etched

Legras et Compagnie (active1864–1914; 1919–circa 1939), St. Denis

and Pantin, height 15-3/4

Melon-Ribbed Tallneck Vase,circa 1900–05

Transparent green lead glass: mold-blown, tooled, iridized in gold

Johann Loetz-Witwe (active1890–1938), Klöstermühle, Austria,

height 10-1/8 inches

Vase: Poinsettia, circa 1900–10Transparent citron green and scarletlead glass: blown, cased, cameo-cut,

partially acid-finished and parcel-giltLegras et Compagnie (active

1846–1914; 1919–circa 1939), Pantin.“Mont Joye” line, height 7 inches

The Jack M. Sawyer Collection

The regnancy of Art Nouveau expression as the new internationaldecorative style was confirmed by the influential Paris ExpositionUniverselle of 1900. Many countries developed their own version of theArt Nouveau style, with France, Belgium and the United States favoringa curvilinear floriform interpretation while the Netherlands andGerman tended to prefer a more architectonic version called“Jugendstijl.” Austria developed a yet more stylized rectilinear mannerbased upon Vienna’s revolutionary Sezession movement.

Photo by Judy Cooper

2 NEW ORLEANS MUSEUM OF ART

• • •• • • •

ARTS QUARTERLY 3

Art Conservation Advisory, LLC

Richard D. WhiteProfessional Associate, A.I.C.

Emergency/Disaster AssistanceInsurance Claims

Surveys and ExaminationsCondition Examinations and Reports

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1001 South Broad StreetNew Orleans, Louisiana 70125

Tel: 504-821-6326 • Email: [email protected]


ARTSQUARTERLYVOLUME XXXI ISSUE 1 NEW ORLEANS MUSEUM OF ART JANUARY/FEBRUARY/MARCH 2009

1 Style, Form and Function: Glass from the Collection of Jack M. SawyerJohn Webster Keefe

8 Expression, Innovation and Design: Studio Ceramics from the Permanent CollectionJohn Webster Keefe

9 Frederick J. Brown: New Portraits of Jazz Greats

10 Photography and DepressionDiego Cortez

12 Evening in Paris: NOMA Celebrates the City of Light with Posters and Photographsfrom the Permanent CollectionGeorge Roland

14 Pop! Pop! Pop! Important Prints from the ’60s Pop into the Permanent CollectionGeorge Roland

16 Author and Subject: Murasaki Shikibu and The Tale of GenjiLisa Rotondo-McCord

17 Chinese Galleries ReinstalledLisa Rotondo-McCord

18 Early Indian Bronzes from the Collection of Dr. Siddharth BhansaliLisa Rotondo-McCord

19 NOMA’s Modern and Contemporary Galleries—RemixedMiranda Lash

20 Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioJames Mulvihill

21 Notes from the Sydney and Walda Besthoff Sculpture GardenPamela Buckman

22 Wilhelm Wagenfeld: The Translation of Bauhaus Philosophy to Industrial PracticeAlice Webb Dickinson

24 Le Jardin des Arts: Art in Bloom 2009 at NOMAVirginia Panno

26 Forty-Third Odyssey Ball Was An Opulent EveningVirginia Panno

28 LOVE in the Garden Was a Magical Evening of Entertainment and CuisineVirginia Panno

30 Circles and Fellows of the New Orleans Museum of Art

32 NMA Circles Travel to Avery Island

33 Join A Circle and Upgrade Your Support of NOMA

34 Corporate Membership

36 Contributions

38 The Felix J. Dreyfous Library

39 NOMA Members Survey

40 Education Programs and Activities

43 Mid-Week in Mid-City

44 Program Sponsors

46 Museum News

47 NOMA Calendar of Events

Editor/Art Director: Wanda O’ShelloAdvertising Manager: Karron LaneAssistant to the Editor: Aisha ChampagnePrinting: Roberson Printing

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

© 2009, 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 directorNovember 23

was the fifthanniversary of the

opening of the Sydneyand Walda BesthoffSculpture Garden, one ofthe greatest gifts evermade to the New OrleansMuseum of Art and toour City.

In its first two yearsof operation, the Besthoff Garden quickly becameone of the favorite public spaces for NewOrleanians and tourists alike. This was due ingreat part to the desire of the donors and theMusuem that the Garden be open withoutcharge—free to all visitors at all times. It waswonderful to see families with small children,courting couples, individual and solitary visitorsenjoying an informal, welcoming introduction togreat art. Not only were the sculptures on displayextraordinary but equally important the naturalenvironment was especially beautiful and inviting,with meandering footpaths and pedestrian bridgesover reflecting lagoons, surrounded by Spanishmoss-laden 150-year-old live oaks, mature pinesand blossoming magnolias, azaleas and camellias.

This all changed of course on August 29,2005, when Katrina blew down forty trees andcaused flood waters to inundate large portions ofthe Garden, killing 30 percent of the plantmaterials, and leaving a muddy residue on manyof the sculptures. Fortunately only one sculpturewas seriously damaged; the forty-five-foot tallKennenth Snelson collapsed into the lagoon, itsstainless steel tubes and steel cable broken andhalf submerged. With hard work first by theOregon National Guard stationed in City Park andthen returning NOMA staff and voluteers, debriswas cleared, sculptures were cleaned and somereplanting was done. After being closed for threemonths, the Besthoff Sculpture Garden reopenedon December 10, 2005, providing a beautifulplace for inspiration, mediation, and pleasure forthe citizens of New Orleans as they began thetremendous job of rebuilding the city.

The Garden originally opened with fifty-onesculptures by a wide array of artists from Europe,America and Asia, dating from 1907 to 2002. Sincereopening in 2006 six additional sculptures havebeen added, by masters like Maillol, Oldenburg,and Indiana, most the gift of Sydney and WaldaBesthoff. In early 2009 we will install a wonderfulnew work by the Barcelona-based sculptor JaumePlensa—a monumental seated man made of acage of steel letters. Also this spring we finallywill complete the structual restoration of theelectrical and irrigation systems and the replantingof the flooded areas.___________________________________________

NOMA begins the New Year without one ofits key staff members. After nearly twenty-nineyears of service, Wanda O’Shello is retiring aseditor of the Arts Quarterly and publicationscoordinator. Under her able and expert direction,the Museum has produced hundreds ofbrochures, invitations, announcements, and textpanels, thousands of object labels, and, mostimportant, dozens of award-winning exhibitioncatalogues, both large and small. Wanda has beena cherished colleague and friend, and she will begreatly missed by the entire NOMA family.

E. John Bullard

Articles appearing in any issue of Arts Quarterly do not necessarily reflect the opinion of the staff or the board of trustees of theNew 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 through Sunday, 10 a.m.to 4:45 p.m. For information on upcomingexhibitions and events at NOMA, pleasecall 504-658-4100 or visit our website atwww.noma.org.

ARTS QUARTERLY 5


Dedicated and impassioned collectors sharein common the endearing trait of totalcommitment to their chosen area ofinterest. New Orleans collector Jack M.Sawyer has been fascinated by the magical

crystalline substance that is glass since he begancollecting it in the 1960s. Today he maintains that glassremains as great a source of mystery and visual pleasureas it was when he began collecting nearly half a centuryago. Decorating a house in the 1960s, Sawyer wasoriginally seeking attractive reasonably priced decorativeaccessories and was not yet exclusively committed to themedium of glass. Even then, however, he rememberedwell a colorful pair of Victorian “End-of-Day” glass vasesbelonging to his grandmother and the purchase of aDepression glass cake plate financed with the wagesfrom mowing the grass of neighbors’ lawns in his nativeGeorgia.

He soon realized that attractive pieces of laternineteenth-century glass were available at modest pricesbecause popular taste since the end of World War I hadrejected the decorative arts of the Victorian era(1837–1901) as hideous, in poor taste, irredeemably ugly,devoid of any aesthetic content, and of no value. Likemany another intelligent and astute collector, Sawyerwas far ahead of such popular judgements in hisrealization that worthy pieces of glass could be acquiredfor little money. A Southern collector with a keen senseof history, Sawyer correctly perceived that goodexamples of nineteenth-century glass abounded in theSouth, a phenomenon created by the facts that an

affluent antebellum culture had loved showy decorativearts, possessed a definite sense of style and reveled in amarkedly social existence requiring fine furniture, silver,porcelain and glass as accompaniments to daily life.Although that antebellum culture was long gone,Southerners had inherited the aforementioned traits andhad continued to delight in the ownership of goodthings. These perceptions caused Jack Sawyer graduallyto focus specifically on the medium of glass. As hiscareer as a respected television broadcasting executivewith WVUE and WYES—and later as a successfulrealtor—advanced, he was able to concentrate upon theconcept of a glass collection. Eventually residences inNew Orleans and on the Mississippi Gulf Coast wereenlivened by tabletops exhibiting handsome specimensof glass, and secretary bookcases and specially builtvitrines contained yet more shimmering examples.

Sawyer was well in advance of many glass collectorsof the era in realizing that the vast internationalproduction of the nineteenth century included manyextraordinary pieces of glass, which had not yet passedthe crucial test of time but would do so easily in the verynear future. One of his earliest acquisitions was a cameoglass vase by the noted French Art Nouveau glassmakerEmile Gallé (1846–1904) for the now-incredible sum of$8. To this day, Sawyer regards the price of $8—or onewith the numeral eight in it—as a lucky one. While suchpieces were obviously not often available in the range ofeight dollars, he recalls that “they were usually in therange of ten dollars, and twenty-five dollars was a lot ofmoney to spend for any glass.”(continued from page 1)

STYLE,FORM ANDFUNCTION:Glass fromthe Collectionof Jack M.SawyerBY JOHN WEBSTER KEEFEThe RosaMary FoundationCurator of the Decorative Arts,NOMA

Pair of Two-Handled GarnitureVases, circa 1855–70

W.H., B. and J. Richardson Glassworks(active 1829–1930)Wordsley, England

Opal lead glass: blown, tooled,applied, enameled in melon, transfer-

printed in black and parcel-gilt,height 14-1/2 inches,

diameter of foot 4-3/8 inches


Many glass historians credit theRichardson works with being theconsistently outstanding English

pioneer and innovator of style andtechnique during the nineteenthcentury. The Richardson dynasty

regularly produced decorative andutilitarian glasswares of the highest

quality in all of the fashionablemodes–– Gothic and Rococo Revivals

and chinoiserie. However, theneoclassical style was a company

specialty, having been introduced atthe firm as early as the 1840s. It

remained a stylish expression untilthe mid-1870s. During the period, theRichardson firm exhibited at many of

the great international expositions,notably garnering prizes at London’s

“Crystal Palace” exhibition of1851 and the influential Paris

exhibition of 1878. These glass vaseswere inspired by Attic Black-figure

Amphoras from ancient Greece,circa 500 B.C.


ARTS QUARTERLY 7

As his eye, taste and knowledge developed, Sawyerfound that he was becoming increasingly eclectic in hisselections while simultaneously becoming morediscriminating. Although the collection to this day isstrong in nineteenth-century examples, it grew toembrace the Art Nouveau style of the opening years ofthe twentieth century, the severe architectonic expressionof the contemporaneous Vienna Sezession movement,the sleek stylizations of the 1920s and 1930s Art Decomode and the Functionalist designs of post-World War IIScandinavia and Italy. Eventually, the parameters of thecollection expanded to include studio glass pieces datingfrom the mid-1960s through the present day. By thattime, however, Sawyer felt that any piece gracing thecollection “must be complete in itself and epitomize anera or style.” Clearly, this was a collector who was farremoved from the novice who had purchased glassobjects merely for decoration or for simple usefulness.

By the mid-1980s, area glass collectors knew of theSawyer collection. The Museum, too, had knowledge ofthe beautiful objects in the collection and asked if theycould be featured in an exhibition. Ever gracious, JackSawyer replied in the affirmative, and an exhibitionentitled COLLECTORS CHOICE: Selections of Glass,1830–1930, from the Collection of Jack M. Sawyer waspresented from April 24 to June 4, 1989. At that time,Sawyer announced his intention to bequeath the glass toNOMA. However, he never ceased to collect, with theresult that the much-loved glass threatened to outrun theavailable space. Eventually, Jack Sawyer decided that itwould be far more enjoyable to give the collection to theMuseum during his lifetime and thus be able to witnessits integration into the distinguished permanent collectionand to see visitors to the Museum enjoying the results ofhis years of dedicated collecting.

However, this great donation almost did not happen.On August 29, 2005, Jack Saywer’s house in Waveland,Mississippi, was totally flooded from a thirty-foot stormsurge. Fortunately, a barrier of storm debris slowed theflood waters, so that his house slowly filled with water,which then slowly receded. All of the glass objects in thehouse floated off tabletops and shelves, were swirledaround then gently deposited in new locations. Whileeverything was covered with mud, miraculously onlyabout ten percent of the collection was broken beyondrepair, leaving nearly six hundred works intact. Sawyerretrieved, washed and packed the glass collection andbrought it to NOMA, where New Orleans conservatorLynn Harrington did further cleaning and some expertrepairs to several dozen broken pieces.

This exhibition officially announces Sawyer’sextraordinary donation. Many of the pieces wereincluded in the 1989 show while others have never beenseen publicly before. Visitors will be richly rewarded byviewing outstanding examples of the glassmaker’s art aswell as witnessing major changes in style from circa 1835to the present. That near century and three-quarterswitnessed a panoply of change in style and function,forming a rich visual record that is a genuine gift fromthis dedicated collector. n

The exhibition will be presented in the Ella WestFreeman Gallery on the first floor of the Museum. TheNOMA members’ preview will be on Saturday, February 7,from 6 p.m. to 9 p.m. The exhibition will remain on viewuntil Sunday, April 26, 2008.

Pair of Garniture Vases: Songbirds and Field Flowers, circa 1877–85August Jean (French, active circa 1877–1900)

Transparent amber, pale blue and rose lead glass: expanded mold-blown,applied, tooled, polychrome-enameled and parcel-gilt, height 12-1/8 inches


A ceramicist and potter as well as a glass artist, August Jeananticipated the direction contemporary glass would take by

well over half a century. These vases, rare in pairs, fall into the firstcategory of Jean’s oeuvre: pale colored or clear glass with distinctive

applied feet and collars and bearing enameled and gilt decorationfrequently of Japanese or Persian inspiration.

Jean first attracted wide notice as a successful exhibitorat the influential Paris International Exposition of 1878.

His later work forsook the enameled and gilded embellishmentsin favor of kneaded, punched, pincered and twisted

techniques in which the achieval form itself was the decoration.



Pottery has gradually acquired its independent identity asan art form.

Garth Clark, 1987, inAmerican Ceramics, 1867 to the Present

The United States has a long and interestingceramics history. However, that history onlyassumed identifiably national and individualcharacteristics with the rise of the art potterymovement in the 1880s. That movement was

succeeded by studio pottery following the conclusion ofWorld War II. The studio pottery movement has been arich and varied one, involving a complex blend oftradition and innovation, which can at times baffle theobserver, student and curator. At its most basic, “studiopottery” indicates pieces designed and executed by thesame person. It has firmly rejected the concept ofrepetition and production wares in favor of originality.

Of course, studio pottery had long been present inthis country, even during the heyday of the art potterymovement. George Ohr (American, 1857–1918) was thequintessential studio potter at the height of art pottery’spopularity. Ohr was no less conventional than famedCalifornia studio ceramist Beatrice Wood (American,1893–1992), whose long career with clay commenced inthe early 1930s. Indeed, the history of studio ceramics—as a movement—can be said to have commenced in thelate 1930s when such venerated institutions as theCranbrook Academy of Art (formed in 1904), Michigan,started a genuine ceramics program. Teachers like thelegendary Maija Grotell (American, born Finland,1899–1973) encouraged students to seek and developtheir most truthful responses to their clays, emphasizingin the process directness, aesthetic strength and honesty.

By the 1950s, American potters had been successfulin freeing their work from the conventions of Europeandesign; they were still influenced by Europe but wereable to assimilate and interpret such influences in orderto arrive ultimately at a new and vigorous style. TheAmerican studio ceramics movement proved itself to beremarkably flexible and adaptable, digesting the impactsof Japanese Zen pottery, the surface energies of AbstractExpressionist painting and the freedom of formadvocated by the Constructivists. This effectiveassimilation led by the 1970s to intensely personalinvestigations in ceramics. The longstanding vesseltradition was challenged, with ceramic sculpturebecoming a viable concept, particularly on the WestCoast. Such was the strength and force of the movementthat during the 1980s the vessel tradition reasserted itself,with pieces assuming a mini-sculpture stance.

Throughout all of these complex developments,ceramists had to move perception of the field from craftto art. This shift in perception was long in achievingrealization, but today contemporary ceramics consistentlyattract the attention of art critics and are exhibited inmuseums and galleries as an integral component of thearts, be they “fine” or “decorative.”

The New Orleans Museum of Art has, since 1986,built a nationally important collection of American artpottery roughly spanning the years 1884 to 1965. Even asthat collection was being assembled, one was aware ofthe succeeding studio pottery phenomenon, and theMuseum began to look for and acquire significantexamples. Surprisingly, there was a number of collectorsof studio ceramics in the region, and they supported thisquest enthusiastically. Eva Ingersoll Gatling of Alabama;Hugh J. Smith, Jr. of New Orleans; Harriet von Breton ofMississippi; and Robert and Margaret Willson of Texas,among others, made significant additions to the small—but growing—studio ceramics collection. Word also wentout to practicing ceramists about the Museum’s interest insuch studio work, and a number of them generouslyresponded with gifts of their work. These welcome giftsare all part of the present exhibition.

Today, the Museum’s studio ceramic’s collectionremains small and is, alas, far from comprehensive.However, it presents a coherent chapter in thedistinguished history of American ceramics and is a facetof the decorative arts collection richly deserving furtherattention. n

EXPRESSION, INNOVATION AND DESIGN:Studio Ceramics from the Permanent Collectionis on view at NOMA from February 1 throughJune 1, 2009.

EXPRESSION,INNOVATIONAND DESIGN:Studio Ceramicsfrom thePermanentCollection

BY JOHN WEBSTER KEEFEThe RosaMary FoundationCurator of the Decorative Arts,NOMA

(clockwise from the lower left)

Charles Smith (American, born 1979;works in Alabama)Bowl, November 1987Earthenware: thrown, carved, glazed in glossblack and matte greenCollection of the New Orleans Museum of ArtGift of Eva Ingersoll Gatlin. 1992.179

Harding Black (American, 1912–2004;worked in Texas)Bowl, 1990Stoneware: thrown, crystalline-and sang-de-boeuf-glazedCollection of the New Orleans Museum of ArtGift of the Artist. 1992.153

James Watral (American, born 1942;works in Texas)Vase: Neo-Paris #1, January 19, 1988Terracotta:cast, worked, applied, polychrome-glazed, incised and parcel-copper- gilt; in twopartsCollection of the New Orleans Museum of ArtGift of the Artist in memory of John V. Moisant.1988.288 A-B

Joann Greenberg (American, born 1928;works in New Orleans)Vase: Sylvan Nudes, 1988Terracotta: thrown, incised, black- and grey-glazedand lusteredCollection of the New Orleans Museum of ArtGift of Peggy and Julian H. Good. 1988.413

Although the Museum’s collection of Americanstudio pottery is national in scope, it should not besurprising that a number of the pieces in it are bySouthern artists. This selection of work by suchSouthern studio ceramists provides a striking recordof the breadth of expression present in the studiopottery movement as well as a wide generationalspread. All of the above-illustrated pieces, whichdate from 1987 to 1990, reflect the fact thatfollowing World War II ceramics “emerged from theanonymity of the craft shop to the critical spotlightof the museum and the art gallery.” (Garth Clark,American Ceramics, 1876 to the Present, AbbevillePress, New York, 1987, page 9). These works alsoreflect the vigor and flexibility of the studio potterymovement.


ARTS QUARTERLY 9

For American painter Frederick J. Brown, musicand musicians have been an important sourceof inspiration and the subject of much of hisextensive work. As a child, music played aprominent role in his life. Born in Georgia,

Brown and his family, like many African Americansduring the first half of the twentieth century, moved fromthe South to Chicago in search of work and a new wayof life. This migration created an urban concentration ofaspiration, assimilation and culture—the sort ofconditions in which music, and more specifically theblues, flourished. Raising their child in this percolatingmetropolis, Brown’s parents were more than just casuallisteners. A jukebox was always playing in his father’sshoeshine emporium, and most remarkably, famousblues men like Muddy Waters and Howlin’ Wolf wereoften house guests.

Brown grew up in a setting in which music providedeverything from social commentary to social harmony,and in a home in which a life devoted to artisticexpression was not only recognized as a possibility, butencouraged. Although Brown attended severaluniversities and colleges where he studied art,architecture, and art history, he was a distracted studentwho was often more curious about the world outside theclassroom. His personal pursuit of knowledge lead himto spend some time in Europe where he interacted withmany artists and musicians, including clarinetist AnthonyBraxton, an old high school friend who was living inParis, and who would become the subject of Brown’sfirst musician portrait.

Returning to the United States and living in NewYork beginning in 1970, Brown was introduced to someof his musical heroes such as Ornette Coleman, PharaohSanders and Chet Baker, as well as artists Andy Warholand Larry Rivers. His loft at 120 Wooster Street served notonly as his painting studio but also as a makeshiftperformance space and meeting place for musicians,dancers, artists, and celebrities. It was this festive, fertile,and interdisciplinary environment that provided the stageand also the encouragement and confidence for Brownto paint not only what he saw, but also what he heard.

In 2007 Brown was inspired to create a new series oflarge paintings of Jazz Greats, commissioned by Mr. andMrs. James Flach as a promised gift to NOMA. Eachmeasuring 84 x 36 inches, the series includes a widerange of musical personalities like Louis Armstrong, BillieHoliday, Frank Sinatra, Thelonius Monk, New Orleansnative Sidney Bechet, Ray Charles, and Jelly Roll Morton.In a departure from his figurative work, Brown hascreated a unique abstract composition, The Origins of theBlues, as an introduction to this series. While all of thepaintings are in a tall, extended format, Brown varies thecomposition from head and shoulders, to half lengths,and full lengths, with or without musical instruments.

These are works by an artist who has claimed that:“Music is the catalyst for much of what I do,” and whohas described his artistic efforts as “trying to be as lyricalas possible, as smooth as Smokey Robinson.”

When viewing these most recent portraits, it is easyto feel a backbeat in how Brown defines the basicshapes of his compositions, to sense the melodies ofbrushstrokes that flesh out his figures, and to be blownaway by the improvisational uses of color that makeFrederick Brown’s paintings just sing. n

Frederick J. Brown: New Portraits of JazzGreats is on view at NOMA February 7 throughApril 26, 2009.

Frederick J.Brown:New Portraitsof Jazz Greats

Note: This article wasexcerpted and updated froman earlier one by StevenMaklansky, which appearedin the January/February/March 2003 Arts Quarterly.

Frederick J.Brown (American, born 1945)Albert King, 2007

Oil on panel, 84 x 36 inchesCollection of Mr. and Mrs. James Flach

Photo be Judy Cooper


Photography and Depression, the secondexhibition in the museological series atNOMA, is a journey—or, as Brian Enosuggested in 1975, an “oblique strategy”—thatbegan as a reaction to the notion of mania in

contemporary art. We have recently witnessed the art-market bubble and glut; there has been a full-colorcultural impasse as a result of contemporary art’s inabilityto problem-solve, or even problem-designate in oursociety. (This is a crucial point in the works of RudolfSteiner, Joseph Beuys, Bertolt Brecht, and others.)Underneath the frivolity of contemporary art and fashion,one can quickly locate various types of psychologicaldisorders that always seem to lead to cataclysm,economic breakdown or illness. I concluded thatsomething dark, gloomy, and depressing should be theorder of the day—and where better to mine such post-industrial images than right here, from NOMA’s

magnificent photography collection? Carefully assembledin its formative years by NOMA’s director, E. JohnBullard, and added to by generous gifts, such as theworks bequeathed by Clarence John Laughlin, thecollection uniquely spans both documentary and artphotography—two approaches that are the fundamentalsouls so vividly present over the life span of thisparticular medium.

A first edit down to three hundred pictures wasbased upon finding works felt to be the most relevant toour present day. This resulted in the observation that thehistory of photography, like the history of the twentiethcentury itself, has an underlying thread of depression:economic depression, an individual’s depression, and,more importantly, depressive patterns in society. All threefacets are richly documented in these prints. A secondedit, with this idea in mind, led to the eighty-two imageswe find in Photography and Depression. As we arelocated in a museum, it might have been more expedientto use the nineteenth-century term melancholia, ratherthan depression, but it was felt that the latter term—amore twentieth-century disorder and phenomenon—mostaccurately described our modern and contemporarysociety.

Ryuichi Sakamoto’s 1999 Opera Life, whichpremiered in Osaka, Japan, was commissioned as one ofmany international, end-of-century “millennium” tributes.While designated an opera, it functioned more as arequiem, as a document of the holocaust of our previouscentury. Similarly, Photography and Depression isanother such “millennium” tribute, albeit somewhatbelated. While we collectively hope for the best fromsociety, we are often slow to realize that, in spite ofcountless technological advances, our society isn’tnecessarily evolving for the better.

Only one color photograph can be found here;William Eggleston’s Huntsville, Alabama (1971) signals adeparture from the ghetto of black-and-whitephotography to an in-color technology that brings uscloser to the perceived truth of how we witness reality.To look at the history of photography before 1960 is tofeel the limitations of the medium—one that existedalmost solely in black and white. While photo artistswere indeed able to document reality with a gritty tabloidsense (see the work of Weegee, Margaret Bourke-White,Berenice Abbott, et al.), and although photo artistsquickly ventured into formal abstraction throughphotography’s black-and-white abstracted reality, incritical hindsight we can nevertheless see thatphotography—like politics and its lack of social reform inthe twentieth century—was often remiss or all too oftencast a blind eye on the big picture.

The bulk of the twentieth century was (to phrase itbriefly and coldly) a depression sandwiched betweentwo world wars punctuated at the end by the atomicbombings of Hiroshima and Nagasaki. Prior to 1946, thetwentieth century was, from one perspective, aprolonged holocaust, and we now face its history—inthis exhibition, we face it photographically: we observethe agony, loneliness, and fear in the faces andcircumstances of those times. We sense a lack ofprogress, even an outright failure of our culture to leadus through those calamities to higher moral ground.

Our current economic collapse carries similarconsequences both for our public economy and ourprivate mindset. Any solutions seem to lead us to acomplete change of our behaviors as consumers (viz.unregulated financial funds, obesity, Guantánamo) andour habits related to intolerance, acceleration and

Photographyand Depression

BY DIEGO CORTEZThe Freeman Family Curatorof Photography, NOMA

Dorothea Lange (American, 1895–1965)Drought Refugees from Abilene, Texas, 1936Collection of the New Orleans Museum of Art: Zemurray Foundation Fund., 1976.444

Depression is a transitory mood or emotion experienced at various times by allindividuals. It is also a symptom associated with a variety of psychiatric disorders,from severe and debilitating diseases such as schizophrenia to milder anxietydisorders. It is also a commonly diagnosed mental illness.

Bruce Davidson (American, born 1933)East 100th Street, 1967Collection of the New Orleans Museum of Art: NationalEndowment for the Arts & Museum Purchase. 1981.164

For members of many African societies, the first signsof illness are dreams that indicate a witch may beattacking one's vital essence.

and a half, helping to expose some of the underlyingsubtexts of society’s sociological, psychological oranthropological aggregate. Photographs are displayed inrandom pairs purely to mount a more constructedinstallation, and to make a strong case for comparisonitself, which is the critical act. n

Special thanks to Dawn Dedeaux, Dr. Byron J. Good,Dr. Arthur M. Kleinman, Mr. Michael Mallow, Dr. RobertMartensen, Alta Price and Mr. Seth Tillett for their generoushelp and suggestions.

Photography and Depression is on view inNOMA’s Templeman Galleries, located on the secondfloor, through March 1, 2009.

impatience (viz. automobiles, internet, pharmaceuticals).We are forced to look at the psychological side ofourselves and our society, and consult a moreanthropological view.

I have employed the ideas of Dr. Arthur M.Kleinman, a distinguished professor, psychiatrist, medicaland social anthropologist who is also the director of theAsia Society at Harvard University. Kleinman has led arevolt against his own professions by calling for abroader, more cross-cultural understanding of depressivedisorders—one which can encompass widely divergentcultural behaviors, rituals, and beliefs. As every societyvaries in its relationship to depression, so must anyinterpretative study be cross-cultural. Extracts fromKleinman’s 1985 book Culture and Depression, editedwith Byron J. Good, are here juxtaposed in the titleplates against images or visual markers of the last century

ARTS QUARTERLY 11


Paris is where the twentieth century was.Gertrude Stein

Paris in the Belle Époque was a passionatelyexciting place, the City of Light, the creativeleader of the world preparing to inaugurate anew century. At the turn of the century Pariswas plastered with posters. One year alone

800,000 were up at the same time. These large brightlycolored sheets covered walls and kiosks all around thecity. During this period the poster was the printed artform that reached the largest audience possible—averagecitizens traversing the streets of the center of theuniverse.

Advertising posters began in Paris in the 1830s.Sophisticated developments in color printing pioneeredby Chéret in 1865, and the availability of largerlithographic stones by the 1880s changed forever theaspect of urban life. Gigantic women, appealing to theprinciple financial decision-makers, seduced the man inthe street, and evoked the giddy atmosphere of Parisiannight life.

Posters were collectibles as soon as they came ofage. In 1890s Paris there were at least twenty-threedealers, printers or journals selling or publishingcontemporary posters. Artists with a gift forcommunication, some as eminent as Toulouse-Lautrec,fueled the collecting mania. By 1903 photography beganto replace art and the collectible poster, though not dead,suffered a decline.

Joel Weinstock, a principal of Galerie Simone Sternnow sadly closed, formed a small selection of postersfrom the best period and made a very generous gift ofthem to NOMA. These vivid works are shown in NOMA’sStafford Gallery accompanied by evocative photographsby Brassaï, Doisneau, Lartigue, Kertész and otherobservers of the boulevards, the cafeé, the quays and theinhabitants of Paris. n

Evening in Paris is on view at the New OrleansMuseum of Art from January 16 through June 28,2009.

Evening in Paris:NOMA Celebratesthe City of Lightwith Postersand Photographsfrom thePermanentCollection

BY GEORGE ROLANDThe Doris Zemurry StoneCurator of Prints andDrawings, NOMA

G.K. (Georges Kugelmann) Benda (French, died 1921)Mistinguett, 1913Color lithographCollection of the New Orleans Museum of ArtGift of Mrs. John N. Weinstock. 1986.346.3

“Mistinguett (April 5, 1875–January 5, 1956) was aFrench actress and singer, with the birth name ofJeanne Bourgeois.

At an early age she aspired to be an entertainer. Shebegan as a flower-seller in a restaurant in her home-town, singing popular ballads as she sold her flowers.When a song-writing acquaintance made up the nameMiss Tinguette, Jeanne liked it. She made it her ownby joining it together and eventually dropping thesecond S and the final E (Mistinguett).

Jeanne Bourgeois made her debut as Mistinguett at theCasino de Paris in 1895, and appeared also in showsas the Folies Bergère, Moulin Rouge, and Eldorado.Her risqué routines captivated Paris and she went onto become the most popular French entertainer of hertime and the highest paid female entertainer in theworld. In 1919 her legs were insured for the thenastounding amount of 500,000 francs.

She had a long relationship with the much youngerMaurice Chevalier but it was for other more torridlove affairs that she became legendary.

She first recorded her signature song ‘Mon Homme’ in1916. It was popularised under its English title ‘MyMan’ by Fanny Brice and has become a standard in therepertoire of numerous pop and jazz singers.During a tour of the United States, she was asked by‘Time magazine’ to explain her popularity. Heranswer was: “It is a kind of magnetism. I say ‘Comecloser’ and draw them to me.”

Jeanne Bourgeois’ career lasted over fifty years. Shedied at the age of 80 and is buried in the CimetiereEnghien-les-Bains, Île-de-France, France.”

Wikipedia


Robert Doisneau (France, 1912–1994)Le Baiser du Trottoir (Kiss by the Hotel de Ville), 1950Gelatin silver printCollection of the New Orleans Museum of ArtGift of Mrs. Frederick Myers. 1981.236.2

“Nowadays becoming a photojournalist is relativelyeasy. First you touch Granny or Auntie for cash to buyall the paraphernalia, then all you have to do is pushopen a door that’s already ajar…A hundredth of asecond here, a hundredth of a second there — even ifyou put them end to end they still add up to one, two,perhaps three seconds snatched from eternity.”

Robert Doisneau, 1979

Brassï (Gyula Halász)(French born Transylvania, 1899–1984)“Bijou” of Montmartre, 1934Gelatin silver printCollection of the New Orleans Museum of ArtWomen’s Volunteer Committee Funds andDr Ralph Fabacher. 1973.145.2

“You don’t know her?” the bartender asked me,surprised at my astonishment. “It’s Môme Bijou – MissDiamonds. Once she was rich and famous, led thegood life. When people still had carriages she rode inthe Bois de Boulogne in her barouche…now she liveson charity, reads the customers’ palms…” And yetbehind her glittering eyes, still seductive, lit with thelights of the Belle Époque, as if they had escaped theonslaughts of age…the ghost of a pretty girl seemedto smile out.”

Brassaï 1976

ARTS QUARTERLY 13


In the early 1960s Pop Art burst upon the cosmos,like nothing seen before. Rosa Esman atTanglewood Press invited eleven of the brighteststars to contribute to a collection of prints thatdefine the style and would become the benchmark

of the era. Published in three volumes in 1965, 11 PopArtists Volume III is the largest and most sought-afterportfolio of images that shows fine art’s romance withpopular culture. From Roy Lichtenstein’s quintessentialcomic strip image Sweet Dreams Baby to Andy Warhol’smoving, memorable, and absolutely typical JacquelineKennedy III, these prints characterize an aesthetic thatwas startling and new half a century ago and still freshtoday.

In 1964, Max Kosloff in his introduction to theportfolio wrote, “…for all its notoriety, Pop art has neverbeen a well-understood style. But the confusion withwhich it is still received, after four years, proves howlively, and even unsettling an art it is. This collection oforiginal Pop graphics reflects the excitement of aphenomenon that has become one of the most searchingin the visual arts. Yet, Pop art so far has only taken rootin those societies which have an enormous commercialsub-culture. Largely, this has meant England and NorthAmerica.

“For a generation of artists whose childhood dates tothe 1930s, the allure of popular imagery—signs,illustrations, ads, movies—became simply a naturalelement of their consciousness. They were gifted withthe ability to keep approaching these thingsspontaneously while their serious ambitions as artistsmatured. It was in London, in 1952, that the popularmedia were first discussed from the point of view of theiraesthetic implications...As for the origins of Pop art in theUnited States, this is a country in which the folk traditionmore than anywhere else identifies itself with thecommercial environment. Stuart Davis, to name only oneof the best known older American painters, developed avery colloquial style based on the jumping rhythms ofthe industrial landscape. And Edward Hopper stillinterweaves the openness and rootlessness of the countrywith the compression and geometry of the city...

POP! POP! POP!ImportantPrints from the’60s Pop intothe PermanentCollection

GEORGE ROLANDThe Doris Zemurray StoneCurator of Prints andDrawings, NOMA

Roy Lichtenstein (American, 1923-1997)Sweet Dreams Baby, 196511 Pop Artists Volume III portfolioScreenprintMuseum Purchase: Graphics Deaccession, Carmen Donaldson,Robert Gordy and Joel Weinstock Funds. 2008.64.1

Sweet Dreams Baby, sometimes known as POW, is one ofLichtenstein’s earliest and arguably most important prints.He regards the three prints he produced for the 11 Pop Artistsportfolios as his first “true Pop Art prints.”


11 Pop ArtistsVolume III

• Allen D’Archangelo

• Jim Dine

• Allen Jones

• Gerald Laing

• Roy Lichtenstein

• Peter Phillips

• Mel Ramos

• James Rosenquist

• Andy Warhol

• John Wesley

• Tom Wesselmann

Andy Warhol (American, 1928-1987)Jacqueline Kennedy III, 1965

11 Pop Artists Volume III portfolio Screenprint

Museum Purchase: Graphics Deaccession, Carmen Donaldson,Robert Gordy and Joel Weinstock Funds. 2008.64.6

It was Andy Warhol who truly revolutionized and exploitedthe screenprint, developed as a serious medium for artists

during the WPA. In Jacqueline Kennedy III the nacreous lusterof the blue pigment used for the background of the print

contrasts with and adds formality to the sombre subject, theassassination and funeral of JFK.


“Paul Gauguin once said that “the ugly cansometimes be beautiful, the pretty never!” Encounteringthis collection, one may begin to see this as the challengeto artists for whom nothing could be more provocativethan to rehabilitate the “pretty.” Pop is an ironic art,because it seemingly mimes the content of its sources,while operating on other levels. And if the “pretty” is asentimental and vicarious attempt at beauty, the artist, bydisplacing and anaesthetizing it, can miraculously makeus look at the thing itself.

“Whether optically brilliant or subtle, these workssurprise by their recombinations of what was alwaysthought familiar and banal. They startle the senses withtheir implausible glamour, and their effervescentseriousness.”

In October, the New Orleans Museum of Art was thesuccessful bidder on lot 256 at the Sotheby’s Londonauction of contemporary prints. The cost of the entireportfolio was considerably less than the auction price ofthe Lichenstein print, which sold by itself for $115,000 in2007. There has long been a wish to add a Lichtensteincomic-strip image to the collection in anticipation of theAmerican Master Prints 1960–1980 exhibition plannedfor 2010. The 11 Pop Artists Volume III portfoliogenerously fulfills that desire. A selection from theportfolio may be seen now in the McDermottInternational, Inc. lobby on the Museum’s first floor. n

ARTS QUARTERLY 15


Two recent acquisitions highlight theimportance of the theme of The Tale of Genjiin Japanese Edo-period painting: a pair ofsix-fold screens donated by Mrs. SamuelLombardo feature selected scenes from the

novel, and a scroll by the artist Ikeda Koson (1801–1866)takes as its subject the author of Genji, Murasaki Shikibu(illustrated here).

The Tale of Genji is one of Japan’s most beloved andinfluential works of literature. Written in about 1000 A.D.,the work is considered to be not only one of the earliestexamples of romantic literature, but also one of theworld’s first novels. Lengthy and complex (the Englishtranslation is more than 1,100 pages long), the novelcenters on the life and loves of the “Shining Prince,”Genji. The son of the emperor and one of his favoriteconcubines, Genji’s world is that of the imperial court.The prince’s entire life is recounted in the book, from hisbirth to his death, with the last chapters devoted to theexploits of his son and grandson. Much emphasis is puton Genji’s countless liaisons with women of differentclasses, and particularly his great love, Murasaki, who isof low birth, and thus cannot become his legitimate wife.

Genji is the paragon of refinement and taste. He isextraordinarily attuned to beauty, sensitive to humanemotions, and exhibits a true and deep understanding ofthe visual and performing arts. His character symbolizesthe highest ideals of court society in Heian-period Japan.The complexity of relationships in the court, the strugglesfor power and the extraordinarily refined and cultivatedtastes of Japan’s elite during this period are given fullexpression in the chapters of this work.

Not surprisingly The Tale of Genji was oftenillustrated. Within a century of its writing, extraordinarilybeautiful paintings were created to illustrate sections ofthe text. These twelfth-century works, and those thatfollowed in succeeding centuries, were originallyhandscrolls, in which sections of the text alternated withthe illustrations. The handscroll remained the dominantformat for Genji-related works until the sixteenth century.During the Edo period (1600–1868) artists of variousschools and traditions produced brilliantly coloredhanging scrolls, screens and albums depicting not onlyselected scenes from the novel itself, but also portraits ofthe extraordinary author of the novel.

Little is known of the life of Murasaki Shikibu, exceptwhat she herself recorded in a memoir Murasaki ShikibuNikki. She is thought to have been born in the thirdquarter of the tenth century, the daughter of a minornobleman and poet. Several other members of her familywere writers, including a number of women. A veryintelligent child, she eavesdropped on lessons given toher elder brother and in that way began her study ofChinese literature. She married and gave birth to adaughter, but was widowed shortly thereafter. Within afew years she entered service in the court of the consortof the emperor.

Ikeda Koson’s Ishiyama-dera is a portrait of thisextraordinary woman. It is traditionally held thatMurasaki Shikibu wrote her epic novel while living inseclusion at the Ishiyama temple at Lake Biwa, a scenicspot northeast of the imperial capital of Kyoto. Theauthor is seen through the ogival-form window, seated inher twelve-layered robe before a lacquer table, whichfunctions as her writing desk. Her brush is raised, as ifthe artist has captured her mid-thought. A student of theRinpa master Sakai Hôitsu (1761–1828), Koson displayshis mastery of this decorative and evocative style,particularly his use of bright colors and tarashikomi

technique, in which ink or color (in this case the green inthe foreground rocks) is dropped into an area alreadywet with water or pigment.

Koson’s Ishiyama-dera and the Genji screens arepart of an installation in NOMA’s third-floor Japanesegallery on view from January 10 through May 31, 2009,that focuses on the aesthetic sensibility conveyed byMurasaki Shikibu in her remarkable nove. The twenty-five hanging scrolls and screens are drawn from NOMA’spermanent collection as well as generous loans from theGitter-Yelen Foundation of New Orleans. n

Authorand Subject:MurasakiShikibu andThe Tale ofGenji

BY LISA ROTONDO-McCORDAssistant Director for Art/Curator of Asian Art, NOMA

Photo at right:

Ikeda Koson (Japanese, 1801–1866)Ishiyama-dera Ink and colors on silkMuseum Purchase, 2008.59


ARTS QUARTERLY 17

This past fall, NOMA undertook thereinstallation of its Chinese collections in theElise Mayer Besthoff Gallery on theMuseum’s third floor. Drawn from thepermanent collection, the ceramics, bronzes,

sculpture and decorative arts on view provide achronological survey of Chinese three-dimensional artfrom the earliest era through the end of the QingDynasty (1644–1911).

One of the earliest works in the gallery is the delicateTripod Ewer with Twist Handle (fig. 1), a product of theDawenkou culture (circa 4300–2400 B.C.) located in thelower Yellow River valley region, along China’s easternseaboard. Dawenkou potters created innovative vesselshapes and employed the most advanced ceramictechnology of the Neolithic period, including the fastpotter’s wheel. Among the finest products of this cultureare the thin-bodied white wares, exemplified by thispiece, part of the large and important collection ofseveral hundred Chinese ceramic works donated byRobin and R. Randolph Richmond, Jr. in 2000.

A selection from NOMA’s extensive collection ofmingqi, or “spirit objects,” from the Han (206 B.C.–A.D.220) through the Tang (618–907) dynasties reveal thetremendous variety of forms and methods of decorationemployed by Chinese potters in the creation of theselow-fired wares. Intended for use in the tomb, mingqiwere surrogates for the actual humans, animals and otherobjects needed to ensure that a tomb’s inhabitantspreserved their social and economic status in the afterlife.Vessels to hold food and wine, as well as figural worksin the form of camels, horses, earth spirits, entertainersand dignitaries display the variations in scale. A recentdonation from Mrs. Shirley Haspel, the Green-glazedAltar Table and Two Ear Cups, dating from the EasternHan dynasty (25–220), illustrates the deceased’s need forritual objects, as well as mingqi indicative of wealth andauthority.

NOMA’s collection of ceramics from the tenththrough fourteenth centuries is also rich, due in largepart to recent donations from the late Robert E. Barron,III, Mr. and Mrs. R. Randolph Richmond, Jr. and Mrs.Henry Weldon. A broad range of ceramics, includingelegant monochromes, as well as more robustly pottedand decorated Cizhou-type wares are displayed. In closeproximity, is NOMA’s spectacular large-scale woodensculpture of the bodhisattva Guanyin, donated by Mr.Jun Tsei Tai in 1985.

Porcelains from the Ming (1368–1644) and Qing(1644–1911) dynasties display the near infinite variationof underglaze and overglaze enamel techniquesemployed by Chinese potters. A selection from theDorothy and Robert Hills collection of blue-and-whiteceramics from the Qing dynasty reveals the eighteenth-century interest in earlier vessel shapes and styles ofdecoration (fig. 2). Overglaze enamel porcelains, andparticularly export wares, are also on view, as are eightysnuff bottles from the collection of Mrs. HaroldForgotston. NOMA is fortunate to have a growingcollection of eighteenth-century porcelains featuring thedesigns of the Dutch artist Cornelius Pronk (1691–1759),who was commissioned by the Dutch East IndiaCompany. Among his many designs is that on the large-scale covered urn A Doctor’s Visit to the Emperor,decorated in a rich famille rose palette.

NOMA’s Chinese collection began nearly onehundred years ago, with the 1914 donation of theMorgan Whitney collection of Chinese jade andhardstone carvings and porcelains. These holdings havebeen expanded through judicious purchases, butprimarily through the generosity of donors, such as thosementioned above, as well as Allan Gerdau, Mrs. WilliamDavid Norman, Mrs. Frederick M. Stafford, Mr. and Mrs.Moise S. Steeg, Jr., Mrs. Ping Y. Tai, and Elise MayerBesthoff. n

ChineseGalleriesReinstalled


Figure 1Neolithic Period, Dawenkou Culture, circa 4300–2400 B.C.Tripod Ewer with Twist HandleWhite earthenware, height 10-3/4 inchesCollection of the New Orleans Museum of ArtGift of Mr. and Mrs. R. Randolph Richmond, Jr. 2000.252

Figure 2Qing Dynasty, 1644–1911

MeipingPorcelain, height 13 inches

Collection of the New Orleans Museum of ArtGift of Mr .and Mrs. Robert C. Hills. 94.219


An extraordinary collectionof forty-two early Indianbronzes from the collectionof New Orleanian Dr.Siddharth Bhansali is

currently on view in the Asian gallery onNOMA’s third floor. This selection ofbronzes ranges in date from the Indo-Gangetic period (1500–1200 B.C.E.)through the eighth century A.D. Thesesmall-scale works, created through thecire perdu, or “lost wax” process, werepresumably intended both for personaluse and for dedication in religiousestablishments. Early representations ofvarious deities from India’s three majorreligions, Jainism, Hinduism andBuddhism are on view, including someof the earliest surviving bronze religiousimages thus far discovered on the Indiansubcontinent.

A small group of Jain bronzes, datingfrom the second through the fifthcenturies, is among this extraordinarygroup. Part of a hoard thought to havebeen discovered in the Himalayanfoothills bordering on Bihar, these figuresdisplay a codified system of iconography,even at this early date. The primary Jaindeities are the twenty-four tirthankaras,or Jinas, the last of whom was Mahavira(circa 540–468 B.C.), a contemporary ofthe Buddha. Tirthankara means “forder”or one who crossed over from the worldof suffering and pain to that of perfectknowledge. In this installation, theseearly standing Jinas are all portrayedwithout clothes, attesting to thepredominance of the Digambara sect inthese early centuries, who eschewed allpossessions (including clothing). TheGoddess Ambika (illustrated here) isamong the earliest representations of animportant female deity. Ambika is theyakshi, or protective goddess, for the JinaNeminatha. She is identified by the smallboy perched on her hip and the mangoesin her hand. The fifth century A.D datesuggested for this figure makes it theearliest known representation of thisimportant goddess, whose appearance inthe Jain pantheon dates to about thesame time.

Early Buddhist and Hindu bronzes are also on view,displaying the rich diversity of style in religious sculptureduring the first centuries of the Common Era. Thesesculptures will remain on view through April 2009. n

Early IndianBronzes fromthe Collectionof Dr. SiddharthBhansali


Northern India, Bihar, 5th centuryGoddess Ambikia

Copper allow, 5-3/8 inchesCollection of Dr. Siddharth Bhansali


ARTS QUARTERLY 19

Since this past November, there has been awealth of new things to see on NOMA’s secondfloor. Apart from three Prospect.1 artists on viewin our Frederick R. Weisman gallery (throughJanuary 18) and a new exhibition curated by

Diego Cortez entitled Photography and Depression, wealso are proud to unveil a complete reinstallation ofNOMA’s permanent collection of modern andcontemporary art.

The reinstallation sprung from my months spentduring the summer of 2008 culling through the treasuresin NOMA’s art storage. The result is an installation thatpresents more than seventy artworks in broad arthistorical groupings, along with new juxtapositions anddialogues between longtime favorites in the collection.

For example: located adjacent to the galleries fornineteenth-century painting, which as an aside, currentlyfeature a charming Still Life with Peaches by EdouardManet from 1880, the Marjorie and Walter Davis Gallerynow bridges to art of the first decades of the twentiethcentury. Cubist paintings by Albert Gleizes, GeorgesBraque, and Juan Gris meet a series of paintings byGerman Expressionists Georg Grosz, Ernst LudwigKirchner, and Gabrielle Münter. The reigning centerpiecefrom this era, however, is one of NOMA’s latestacquisitions, the gift of Sydney and Walda Besthoff, astunning cast of Unique Forms of Continuity in Space by

the futurist sculptor Umberto Boccioni. Other recentacquisitions in twentieth-century art are on view in the P.Roussel Norman and William D. Norman, M.D. Gallery,which features a drawing by the Swiss artist Adolf Wölfli,a foremost figure in the Art Brut movement and majorinfluence to Paul Klee (whose gouache Ladung appearsnearby), and an enchanting mobile by Alexander Calder,Yellow Planet Over the Steeple, 1965, another new giftfrom the Besthoffs.

Part of the enjoyment in reinstalling is not onlydisplaying works that are new to the Museum, but alsouncovering works that have spent many years out of thepublic eye. Works on paper and photographs by artistssuch as the constructivist Alexander Archipenko and thesurrealist André Masson are now integrated with theirtwentieth-century counterparts. We also are pleased topresent significant sculptures by minimalists JohnMcCracken and Anne Truitt that are on view for the firsttime in NOMA’s history. Other works are making anappearance after a long hiatus: an early work from 1999by Prospect.1 biennial artist Trenton Doyle Hancock, a1963 reflective collage by Michelangelo Pistoletto, andOnyx from Robert Rauschenberg’s 1974 Hoarfrost series.

I look forward to seeing NOMA’s collection ofmodern and contemporary art continue to rotate andevolve, not unlike the city of New Orleans itself. Pleasevisit often and stay tuned. n

NOMA’sModern andContemporaryGalleries—Remixed

BY MIRANDA LASHCurator of Modern andContemporary Art, NOMA

(left to right)

Richard DiebenkornWoman in a Chair, 1958

Louise BourgeoisFemale Portrait, 1962-82

Hans HofmannStill Life, 1939

Sam FrancisWhite Line 1, 1959

Lonnie HolleyAbstract, after 1980


(left to right)

Chakaia BookerUrban Townie, 2001

Trenton Doyle HancockThrow Down at Dusk, 1999

Sam GilliamOf Cities and Slanted Fountains, 1979



Visitors to NOMA will live happily ever afternext winter thanks to a major exhibitionthat may not be seen anywhere else in theworld—Dreams Come True: Art of theClassic Fairy Tales from the Walt Disney

Studio. Organized by NOMA and the Walt DisneyAnimation Research Library, the exhibition will showcasemore than six hundred original artworks that helpedshape legendary animated features including Snow White,Cinderella, Sleeping Beauty, The Little Mermaid andBeauty and the Beast. The artwork will be accompaniedby film clips to demonstrate how individual sketches andpaintings lead to a stunning celluloid film.

The opening of Dreams Come True—set forNovember 14, 2009—will precede the world premier inNew Orleans of Disney’s upcoming animated feature, ThePrincess and The Frog, set in New Orleans during the1920s Jazz Age.

The Princess and The Frog is a modern twist on aclassic tale. The film will mark a return to the hand-drawn aesthetics of the classic animated features thatmade Disney characters and films beloved throughoutthe world.

The Princess and The Frog will feature Disney’s firstAfrican-American princess, Tiana, who lives in NewOrleans. Other characters include Louis, a trumpet-playing alligator, and Ray, a love-sick Cajun firefly. Ascore and soundtrack featuring Randy Newman and Dr.John also is in the works. The film is directed by JohnMusker and Ron Clements, who co-directed blockbustersThe Little Mermaid and Aladdin.

The NOMA exhibition, Dreams Come True, willexplore the entire history of Disney fairy tales, from earlyfeatures like The Three Little Pigs (1933) and Snow White(1937), through more recent hits like Beauty and theBeast (1991) and, of course, The Princess and The Frog(2009).

An adjacent education area will highlight Disney’slong association with music and also will serve as amini-library for animation research and storytellingprograms.

Dreams Come True will be on view at NOMA fromNovember 15, 2009 through March 14, 2010. Continuechecking your Arts Quarterly or visit www.noma.orgfor more details on this exhibition as they becomeavailable. n

Dreams ComeTrue: Art of theClassic FairyTales from theWalt DisneyStudio Comingto NOMA inNovember 2009

BY JIM MULVIHILLDirector of Communicationsand Marketing, NOMA

From Disney’s upcoming film The Princes and The Frog

ARTS QUARTERLY 21

Fall in the Garden was fabulous. Late inOctober, we participated in a joint effortinvolving the Louisiana Iris Society, the LSUAgCenter, City Park and volunteers fromTurnaround Management Association.

The project came together when we were contactedby Mark Schexnayder of the LSU AgCenter looking to doan Iris planting along the lagoon of the SculptureGarden, dedicated seventy-five years ago as the PearlRivers Rainbow Memorial. (A smaller-scale planting wasdone last fall by members of the Louisiana Iris Society.)The memorial, dedicated by the Louisiana Iris Society inhonor of Mrs. Eliza Poitevant Nicholson, who wroteunder the name of Pearl Rivers, consisted of a border ofLouisiana Irises that completely encircled the City Parklagoon located in the center of the Sculpture Garden.Nicholson was publisher of The Picayune, one of TheTimes-Picayune’s predecessors.

Prior to being contacted by Schexnayder,Turnaround Management Association had been in touchwith City Park Volunteer Coordinator Jim Morrisonregarding a community service project for attendees attheir annual convention here in New Orleans. TMA is thepremier professional community organization dedicatedto the corporate renewal, turnaround management,restructuring and distressed investing industry. In 2005,TMA launched a program to assist small businesses inNew Orleans in the aftermath of Hurricane Katrina.

Needless to say, the idea of an iris planting so rich inhistory and restoration greatly appealed to TMA. Theproject was completed with plants purchased by TMAwith additional donations from the Louisiana IrisGrowers, tools supplied by City Park and guidance fromPatrick O’Connor of the Louisiana Iris Society. TMA’seighty plus volunteers provided the labor. AmandaHardesty, who works on volunteer projects with MarkSchexnayder, also provided supervision.

The day was glorious and the group enjoyed a picniclunch in the Garden.

Covenant House White Dove Landscape Companyhas continued with weekly pruning and gardenmaintenance. Additionally, we are receiving assistancefrom Sheriff Marlin Gusman’s Community ServiceProgram. A crew comes weekly to provide help and hasbeen instrumental in beautifying the Garden.

The cool season encouraged some regular weeklyindividual volunteers, and we always welcome everyonethis spring. Look forward to a burst of color when theirises bloom in April. n

Notes fromNOMA’sSydney andWalda BesthoffSculptureGarden

BY PAMELA BUCKMANSculpture Garden Manager,NOMA

(top)Volunteers from Turnaround

Management Association plan irises inNOMA’s Besthoff Sculpture Garden

(bottom)Irises in bloom in NOMA’s Sydney and

Walda Besthoff Sculpture Garden

1st Annual LouisianaIris Viewing Festival

Saturday, April 4, 2009

To celebrate the annualblooming of LouisianaIris in the BesthoffSculpture Garden, NOMAhas organized an IrisFestival, with music,Ikebana demonstrations,a Kimono fashion show,and other activities.


Wilhelm Wagenfeld has emerged as oneof the most distinguished industrialdesigners of the twentieth century. Hiswork displays versatility in bothsubject and medium, since he worked

in metal, ceramics, glass, lighting and plastics. The NewOrleans Museum of Art is fortunate to hold two ofWagenfeld’s most notable designs, the “Museum” Teapot,designed in 1931, and the Kubus Stacking Containers,designed in 1938.

Wagenfeld (1900–1990) was born in Bremen,Germany. He was an apprentice in the drafting office ofthe Koch & Bergfeld silver factory in Bremen from 1914to 1918 while also attending the Kunstgerwerbeschule(School of Applied Art) from 1916 to 1919.1 Wagenfeldthen entered the Zeichenakademie (Drawing Academy),Hanau. In 1923 Wagenfeld began his studies at theBauhaus in Weimar, and from 1926 to 1929 he taughtfirst as an assistant, then as the director of the metalshop.

The Bauhaus sought to unite art and design, creatingpractical pieces that had both aesthetic content and werewell made. The concept that form follows function wascentral to the Bauhaus; the most simply designed workwould, by definition, be the best suited for its job. WalterGropius, the founder of the school, believed, “eachobject should fulfill its function in a practical way and belong-lasting, affordable and beautiful.”2 The students andthe faculty aimed at integrating the quality of craft withthe affordability of mass production.

Wagenfeld heard of Gropius’s talk entitled, “Art andTechnology–a New Unity,” which he gave at the 1923Bauhaus summer exhibition. Gropius spoke of theBauhaus’s aim to inject machine production with good

design. Wagenfeld knew from his apprenticeship thatquality workmanship was increasingly being traded forcheaper production. The acknowledgement of the trendand the opportunity to be a part of this new dialogueappealed to Wagenfeld, who applied to the school thatfall.

The Bauhaus responded to the rise of industrialproduction by shifting to what they called “productiveoperation,” creating design prototypes and offering themto industrial companies for purchase. This practice wasintended to provide the primary financing for the school;however, it was a difficult shift as no one was yet familiarwith the requirements for machine production.

The Bauhaus sought to establish a presence in thelighting industry. In his first year, Wagenfeld was chargedwith designing new lighting appliances. This assignmentresulted in his first big success as a designer with theBauhaus lamp in 1924. The lamp generated interest as amodel but did not produce revenue until it wasmanufactured commercially and made more affordable.Lázló Moholy-Nagy, Wagenfeld’s instructor in the metalworkshop, stated, “The Bauhaus must try with all of itsmight to build up a relationship with industry. . . This isthe issue with top priority and the work of the Bauhausstands or falls by it.”3 Wagenfeld’s Bauhaus lamp was apivotal step for both designer and school, and illustratedthe challenges that still faced designers trying to breakinto the industrial world.

The teachings of the Bauhaus remained central toWagenfeld’s design aesthetic after his departure in 1929to work as an independent designer. By the 1930s,Wagenfeld had shifted away from metal and wasworking primarily with glass and ceramics. He designedglass tablewares for the Janaer and Vereinigte Lausitze

glassworks as well as ceramics forthe Fürstenberg and Rosenthalfactories. Wagenfeld stayed active inacademia and taught industrialdesign at the Hochschule fürBildende Kunste in Berlin beforemoving to Stuttgart and opening hisown design studio called WerkstattWagenfeld. Wagenfeld’s later workincluded appliances for Braun,plastic plates and utensils forLufthansa airlines, porcelaintablewares for Rosenthal andlighting for WMF and Schott(WürttembergischeMetalwarenfabrik).

Wagenfeld designed the“Museum” Teapot in 1931 while atSchott-Zwiesel/Janaer Glassworks,Jena, Germany. The teapot wasmanufactured in the newlyconceived borosilicate glass. Thechoice of heat-resistant glass servedboth a practical and an aestheticpurpose; the clear glass kept theliquid hot as well as allowing themaker to see when the tea wasready. The teapot includes aninfuser that rests neatly in the pot’scylindrical neck. The lid fits both theinfuser and the teapot, allowing theinfuser to be removed once the teais steeped and the lid to be placedon the teapot itself. The pot sitsatop a stand whose interior base is

WilhelmWagenfeld:The Translationof BauhausPhilosophy toIndustrialPractice

ALICE WEBB DICKINSONAssociate Collections Manager,NOMA

“Museum” Teapot, designed 1931Schott-Zwiesel/Janaer Glaswerke

(German, active 1872–present)Designed by Wilhelm Wagenfeld

(German, 1900–1990)Glass

Collection of the New OrleansMuseum of Art

Gift of Glenn E. and Nell Weekley.2004.114a-e


ARTS QUARTERLY 23

fitted with a tea-light to keep the liquid hot. Wagenfeld’sthoughtfulness toward the use of the teapot is apparentin the removable infuser, interchangeable lid andinclusion of a tea warmer.

Aesthetically, the teapot exhibits lightness in both itsmaterial and shape. The soft conical shape of the body isfurther enhanced when set upon the tea warmer. Theease of the design masks the initial difficulty designershad adapting glass for use in kitchen wares. Formspreviously used for metal pots and dishes did nottranslate to glass. Wagenfeld commented, “The studentsaw in the glassworks how little melted glass had incommon with the cylinder . . . nowhere could hediscover a straight line.”4 Wagenfeld adapted to theproperties of this new material by shifting away from thehard lines of metal work, and utilizing an optical gaugeto create pieces that were largely free of tension. TheJanaer teapot exhibits ingenuity in both design andmaterial.

Janaer offered a complete tea set designed byWagenfeld, which also included teacups, saucers andcake plates. It is worth noting that the survival of the potwith its original stand, as in this case, is rare. Wagenfeldwas able to unify art and technology by adapting histraining at the Bauhaus to changes in manufacturing andmaterials.

Wagenfeld left Jena in 1935 to become artisticdirector at Vereinigte Lausitze Glassworks, Weisswasser,Germany. In 1938 Wagenfeld created the Kubus StackingContainers, which became an immediate design classic.Designed for flexibility, the set can be used for foodstorage in the refrigerator, pantry or on the table. Thecontainers are made of heat-resistant glass and can bestacked together, like building blocks, to create a unit, orused separately. The set contains ten components invarying sizes. As with the teapot, the heat-resistant glassserves a functional purpose by permitting the storage ofboth hot and cold foods and allowing the consumer tosee what is being held in each. The set exhibits afunctionality, which is striking in its simplicity. The cleanlines and modular forms achieve a modern solution to aneveryday need.

During Wagenfeld’s prolific career he was recognizedwith numerous medals at international fairs including agold medal at the Paris World’s Fair of 1937, the GrandPrix at the Milan Triennale in 1940, and a Grand Prix forhis life’s work at the Milan Triennale of 1957.Wagenfeld’s designs are collected by museumsinternationally, and his work has been the subject ofmultiple exhibitions. The “Museum” Teapot and theKubus Staking Containers exemplify Wagenfeld’s successin adapting the Bauhaus methods to the industrial andcommercial requirements of the machine age. n

Notes:1. Koch & Bergfeld supplied silver to the House of Fabergé along

with other well-known design firms.2. Stephen Bayley, “MT8 table lamp.” V&A. No date. V&A

Museum. 20 July 2008. <http://www.vam.ac.uk/images/image/10025-popup. html >.

3. Beate Manske, “A Design Makes History: Wilhelm Wagenfeld’sBauhaus Lamp,” Wilhelm Wagenfeld (1900-1990), ed. Beate Manske(Ostfildern-Ruit: Hatje Cantz Publishers, 2000), 28.

4. Walter Scheiffele, “The Experiment: Schott & Gen. in Jena,”Wilhelm Wagenfeld (1900-1990), ed. Beate Manske (Ostfildern-Ruit:Hatje Cantz Publishers, 2000) 42.

Kubus Stacking Containers, designed 1938Vereinigte Lausitzer Glaswerke (German, active 1899–present)

Designed by Wilhelm Wagenfeld (German, 1900-1990)Glass

Collection of the New Orleans Museum of ArtMuseum Purchase, George S.

Frierson Jr. Fund. 2000.64.1-.10

Photos by Judy Cooper


The Twenty-first Annual Art In Bloom will beheld March 11 through March 15, 2009. LeJardin des Arts is a joint project of the NewOrleans Museum of Art and the GardenStudy Club of New Orleans. NOMA’s

Caroline Calhoun and Marilee Hovet of the Garden StudyClub are co-chairing this annual springtime showcase.“The rich and varied culture of the arts in New Orleans isa theme that runs through every aspect of life in ourcity,” enthuses Marilee. “Our goal this year is to put localartists in the limelight.”

The featured categories of Art In Bloom 2009 are:Tablescapes, Garden Clubs, Artists, Exterior and CreativeDesigners, Bonsai/Ikebana, Professional Designers andYoung Artists. More than one hundred exhibitors willtake part in this dazzling display of talent. Among the2009 Movers and Shakers will be Gautreau’s Chef SueZemanick and Bryan Batt. Sue was recently honored byFood and Wine Magazine (April 2008) as one of the“Top Ten Best New Chefs in America and was chosen byLouisiana Cooking Magazine as one of “Five Chefs towatch in Louisiana.” New Orleans native Bryan Batt is anacclaimed actor of both stage and screen. Currently, hecan be seen on television’s Emmy Award-winning dramaMad Men. Bryan is also co-owner of the lovely shopHazelnut on Magazine Street in New Orleans.

Proceeds from Art In Bloom benefit the educationalprojects and exhibitions at NOMA and the manycommunity projects of the Garden Study Club, includingthe Besthoff Sculpture Garden, City Park’s BotanicalGarden and the Project Lazarus House Garden.

The five-day event kicks off with the patron andpreview party on Wednesday, March 11. Party ChairsHolly Mentz and Michele Romano are hard at workplanning a spectacular opening night. Auction ChairsElaine Gleason, Kay McArdle and Kim Page are thrilledto announce that an original Auseklis Ozols paintingcreated expressly for Art In Bloom will appear on theinvitation and will be the featured item at the live auctionto take place at the preview party. More than 1,200

guests are expected to attend this premiere viewing ofthe floral fantasies and talent that make Art In Bloom aspringtime must-see in New Orleans.

Pam Hayne and Leah Whann are pleased toannounce that the Thursday lecturers will be Julia Reedand Tim Trapolin. Julia Reed, a contributing editor ofVogue and Newsweek magazines, has called New Orleanshome since 2005. A collection of her essays about theSouth, Queen of the Turtle Derby and Other SouthernPhenomena, was published in 2004. Her book, TheHouse on First Street, My New Orleans Story, waspublished in 2008, as well as the delightful Ham Biscuits,Hostess Gowns and Other Southern Specialties: AnEntertaining Life (with Recipes), a collection of her foodcolumns, published in the New York Times Magazinefrom 2001 to 2004. This smart and sassy transplant fromGreenville, Mississippi, appears regularly on MSNBC andCNN.

Painter and portraitist Tim Trapolin is an Art InBloom favorite, featured on the invitation cover in 1994.His New Orleans roots grow deep. A graduate of TulaneSchool of Architecture and Newcomb Art School,Trapolin headed the art department at the Louise S.McGehee School and worked with Louisette Brown andPam Hayne in the design team, Anything Grows. Histravels and studies abroad have taken him throughoutEurope, as well as India, Egypt and South America. Hislove for his native city is undeniable: “There is a depth ofinspiration here like nowhere else—from the Himalayasto the Highlands, East or West—home is best!”

Susan Wormser, Winnie Brown and Dana Hansel areplanning a fabulous Thursday luncheon at the Pavilion ofthe Two Sisters following the two morning lectures. SaksFifth Avenue will again provide the fashions.

Art In Bloom will remain on view at the New OrleansMuseum of Art through Sunday, March 15, 2009. LeJardin des Arts will be a feast for the senses as it proudlyhonors the rich artistic community that uniquely definesNew Orleans. n

Le Jardindes Arts:Art In Bloom2009 at NOMA

BY VIRGINIA PANNONVC Reporter

Julia Reed Tim Trapolin

ARTS QUARTERLY 25

Parents and grandparents, put some spring inyour step by taking the kids to the fourthannual spring event of the NVC. The action-filled Fabergé Egg Hunt will be held onMarch 29, 2009, from 1 p.m. to 3 p.m. NOMA’s

Sydney and Walda Besthoff Sculpture Garden is the lush,green site for this fun family event, and is known to be ahangout of a certain furry friend who will visit. Theyounger crowd will enjoy music, storytelling, facepainting and crafts galore, all culminating in the egg-hunt. Grown ups can enjoy refreshments while watchingthe children and making wonderful family memories.Chairing the hunt are: Jennifer Rareshide and LeilaGamard. For ticket information, call (504) 658-4121 orvisit www.noma.org.

Children ofAll Ages AreWelcome atthe AnnualFabergéEgg Hunt

A visit from a certain furry friend isexpected at the annual Fabergé Egg Hunt.

To commemorate the closing of Prospect.1New Orleans and the celebration of MartinLuther King, Jr. Day, a second-line will beheld by the Original Big 7 Social Aid andPleasure Club and Brass Band. of the Porch

7th Ward Cultural Organization on Saturday, January 17,in NOMA’s Great Hall. The event is free and open to thepublic.

Prospect.1 New Orleans is the largest contemporaryart biennial every held in the United States and featureseighty-one artists from thirty-eight countries at more thantwenty-five venues throughout the city. The artists whosework will be on view at the New Orleans Museum of Artand the adjacent City Park grounds are Willie Birch,Monica Bonvicini, Victor Harris & Fi Yi Yi, Kalup Linzy,Rafael Lozano-Hemmer, Jorge Macchi and EdgardoRudnitzky, Kaz Oshir, Xu Bing and Paul Villinski.

During Prospect.1, which is on view through January18, 2009, the New Orleans Museum of Art and all publicprograms are free to the public. No advance tickets arenecessary. n

Prospect.1New OrleansClosing Party

The Original Big 7 Social Aid andPleasure Club and Brass Band

Photo courtesy Edward Buckner, director,The Porch 7th Ward Cultural Organization


As Odyssey Ball guests turned onto LelongAvenue in their final approach to the NewOrleans Museum of Art, they were greetedby a breathtaking view. The NOMA allée ofcrape myrtles was spotlighted in shades of

brilliant blue and winter white, stunning against thedarkness of night, the handiwork of Blaine Kern, Jr.’sMardi Gras Productions. Balustraded and draped, theNOMA façade shimmered in the same colors, resplendentwith banners bearing the Romanov Imperial crest.Cossack-attired valets tended to the duties of parkingwhile ball-goers entered through a flurry of Russiansnow. Saturday, November 8, 2008, marked the fabulouspremiere of OBJECTS OF DESIRE: Fabergé from theHodges Family Collection. The ball was generouslyunderwritten by a grant from The Lupin Foundation,Imperial Sponsor, and from Royal Family donors:Goldring Family Foundation, Greater LakesideCorporation, the Hodges Family, International WellTesters Inc., and Jolie and Robert Shelton, GloriaKabacoff, Paula L. Maher, New Orleans Saints, andMr. and Mrs. Claude Schlesinger.

Odyssey Ball Chairs Claude and Mimi Schlesingergreeted their guests along with NOMA Director E. JohnBullard and NVC Chair Brenda Moffitt with spouse,Michael Moffitt, a NOMA trustee. The columns of theGreat Hall were curtained in the signature Fabergé bluewhile golden candlebras lit the Great Staircase, the stepsof which were adorned with the imperial double-eagledcrest. Quite impressive. Patrons were entertained by NewOrleans legend, Allen Toussaint, while champagnequenched any royal thirst.

Odyssey Ball Decorations Chairmen JenniferRowland and Lisa Kirschman and Blaine Kern, Jr.’s MardiGras Productions masterminded the feast for the eyeswhile PALATE New Orleans satisfied Odyssey appetites

with Russian inspiration, beginning with caviar and blinisand ending with Strawberries Romanov.

Odyssey Entertainment Chairs Judy David, SheilaCollins and Betty Kern ensconced chanteuse Anais St.John with Harry Mayronne in the Russian Red Room,while Oak Alley held court in the Great Hall and klezmermusic serenaded the line for the tarot card reader, givingreadings on the first floor. Cammie Mayer, Elizabeth Ryanand Ellen Miclette were responsible for the crowds in theAuction Rooms. “Our donors were exceedingly generous,especially the artists, during these challenging economictimes,” observed Miclette. Ruthie Winston of NewOrleans Auction Galleries, Inc. led the spirited LiveAuction, where a Parisian apartment, Mallorca vacationand a private Pullman car twilight trip, courtesy of theNew Orleans Public Belt Railroad added to the night’sexcitement.

The masterpiece of this extraordinary evening and itsraison d’être was the premiere of OBJECTS OF DESIRE:Fabergé from the Hodges Family Collection. Odyssey Ball-goers were among the first New Orleanians to get aglimpse of more than one hundred incredible works ofart by Russian jeweler Peter Carl Fabergé. Dr. Daniel L.Hodges and Sherri S. Logan of Lafayette, Louisiana,served as honorary Odyssey chairs. This magnificentcollection has been placed on extended loan to NOMA.John Webster Keefe, The RosaMary Foundation Curatorof the Decorative Arts at NOMA, remarked: “The OdysseyBall is always a highlight of the New Orleans socialseason, and this year’s gala was no exception. In fact, itmay have been the best ball ever. The Hodges’ collectionof Fabergé is wonderful, and the ball decorations, cuisineand music certainly lived up to that high standard.Everyone who was involved with the 2008 Odyssey Ballshould be very, very proud of their effort.”

Forty-ThirdOdyssey BallWas AnOpulentEvening

BY VIRGINIA PANNONVC Reporter

PHOTOS BY JUDY COOPER

Dr. E. Ralph and Pam Lupin Jane Bernbach, Raymond Rathle, Alexandra Stafford 2008 NOMA President Sydney Besthoff, Walda BesthoffDrs. Howard and Joy Osofsky

Dr. Daniel L. Hodges and Sherri S. Logan,John Webster Keefe

Allen Toussaint, NOMA Director E. John Bullard Odyssey Ball Chairs Claude and Mimi Scheslinger

2008 NVC Chair Brenda Moffit and NOMA TrusteeMichael Moffitt

Daniel Bibb, Elizabeth and David Merritt,Ira Bourgeois

NOMA Trustee Cammie Mayer, 2008 NVC ChairBrenda Moffitt, Odyssey Ball Chair Mimi Schlesinger,Ellen Miclette, Kay McArdle

James Frischhertz, NOMA Trustee Janet Frischhertz,Judy and Dr. Tom David

John Bertuzzi and NOMA Trustee Gail BertuzziDaniel Hodges and Lexi Lawson

Mrs. Harold H. StreamMr. and Mrs. Leonard TallerineMrs. Joel Weinstock

COUNTS AND COUNTESSESMorris and Cathy BartMr. and Mrs. Ralph O. BrennanJulie and Ted GeorgeSusan and Jimmy GundlachMr. and Mrs. Stephen A. HanselIberia BankDiana and Tom LewisMrs. Russell B. LongJanet and Hermann Moyse IIICarol and Thomas ReeseFrançoise B. RichardsonTerri and Ned SimmonsSherry and Charles SnyderMrs. Frederick M. StaffordMr. and Mrs. Harry C. StahelMrs. Sol B. SternPaulette and Frank Stewart

BARONS AND BARONESSES***Mrs. Adele AdattoCoastal Mortgage Corp.Marie Denette FarwellMichelle Dalier and Terry KimesFrischhertz TechnologiesLisa KirschmanIrene KlingerSarah and Robert McHargJane C. MillerCarlos MunizMr. and Mrs. John K. Roberts, Jr.Lora WormuthEllen Yellin

***Received after program print date

Lexus of New OrleansMathes Brierre ArchitectsGray S. and Mary Kay ParkerIrene W. and C.B. Pennington Foundation

GRAND DUKES AND GRAND DUCHESSESBaptist Community MinistriesAlison and Mitch CaponettoMr. and Mrs. Thomas B. ColemanEskew + Dumez + RippleFirst NBC BankFrischhertz Electric CompanyMr. and Mrs. Lawrence D. GarveyHise CompanyAdrea Heebe and Dominick Russo, Jr.Herbert and Maija KaufmanJudge and Mrs. Robert J. KleesPaul J. Leaman, Jr.Ellen and Stephen MicletteMr. and Mrs. Michael D. MoffittMr. and Mrs. Robert J. PatrickBertie Deming SmithPhyllis Taylor

PRINCES AND PRINCESSESSydney and Walda BesthoffE. John BullardAlva and Edgar ChaseStephen Clayton Marie Louise de la VergneJoAnn Flom GreenbergEugenie J. HugerMr. and Mrs. Harold B. JudellKeith M. MaillardMr. and Mrs. Charles B. MayerMrs. Louise H. MoffettHoward and Joy OsofskyRegions BankMr. and Mrs. Charles S. Reily, Jr.Mr. and Mrs. James J. Reiss, Jr.Sally E. RichardsE. Alexander Stafford and Raymond Rathle

“This magical evening and the success of this ballwould not have been possible without the hard workand support of an outstanding committee, devoted toNOMA and the NOMA Volunteer Committee, along withthe professional staff at NOMA where no request seemedtoo big,” enthused Odyssey Ball Chair Mimi Schlesinger.The grandeur and opulence of the Belle Époque wererecreated on one fabulous night in November. The Forty-Third Odyssey Ball will never be forgotten!

OBJECTS OF DESIRE: Fabergé from theHodges Family Collection will be on view atNOMA through January 18, 2009.

Odyssey Ball gratefully acknowledges the following:

IMPERIALSThe Lupin Foundation

ROYAL FAMILYGoldring Family FoundationGreater Lakeside CorporationThe Hodges FamilyInternational Well Testers Inc.,and Jolie and Robert SheltonGloria S. KabacoffPaula L. MaherJ. Edgar Monroe FoundationNew Orleans SaintsMr. and Mrs. Claude Schlesinger

ARISTOCRATSAT&TMr. and Mrs. John D. BertuzziThe Booth-Bricker FundCapital One BankChevronMrs. Anne Gauthier

ARTS QUARTERLY 27


On Friday, September 26, 2008, LOVE in theGarden returned to NOMA’s BesthoffSculpture Garden for a spectacularopening to the fall art season. LoveCo-chairs Kimberly Zibilich and Joni Diaz

had all the prerequisites for a successful event—the finestof food, great entertainment, a fabulous setting andperfect weather.

Patron party guests entered the lush Garden adornedwith Love’s trademark red and white decorations, withentertainment provided by Rachel Von Voorhies Music,while the Boogie Men took center stage at the mainevent. This year’s newest addition of a dance floorkicked the enjoyment factor even higher as couplesrelished the joy of dancing under the stars. Deliciouscuisine from thirty-nine of the city’s top restaurantsfortified Love guests. The winding paths of the SculptureGarden were filled with delighted partygoers renewingold acquaintances after a busy summer as well as sharing

directions to their favorite culinary picks.Ten local artists were honored at LOVE in the

Garden: Wayne Amedee, Nicole Charbonnet, JeffreyCook, Elaine Gleason, JoAnn Greenberg, Beth Lambert,Auseklis Ozols, Garland Robinette, Richard Thomas andMartin Welch. NOMA Director E. John Bullard wasmaster of ceremonies, presenting each honoree with aplaque while an impressive video highlighted the artistsand their work.

NVC Chair Brenda Moffitt summed up the stellarFriday night: “This year’s LOVE was magical! The Age ofAquarius arrived and all the planets aligned…the cuisineand libations, the music and entertainment, the incrediblehonored artists, the romance of the setting…neverunderestimate the romance. The Besthoff SculptureGarden is truly the jewel of the city. I know the 1,200plus persons who attended our event will agree with myassessment—perhaps, I have even understated theperfection of the evening!”

LOVE in theGarden Was aMagicialEvening ofEntertainmentand Cuisine

PHOTOS BY AMANDA THOMAS

LOVE in the Garden honorees: artists Elaine Gleason,Garland Robinette, Nicole Charbonnet, WayneAmedee, Richard Thomas

LOVE in the Garden honorees: artists Auseklis Ozols,JoAnn Greenberg, Martin Welch, Jeffrey Cook, BethLambert

The Craig Martin Family

NOMA Trustee Janet Frischhertz, Jimmy Frischhertz NOMA Director E. John Bullard (center) East JeffersonGeneral Hospital’s John Sartori and Ben Frank

Tommy Diaz, LOVE in the Garden Co-chair Joni Diaz,Keith Ziblich, LOVE in the Garden Co-chair KimberlyZibilich

From Ruth’s Chris Steakhouse Michael Miller,Nicole Strassel, Pete Montecino

NOMA Trustee Michael Moffitt and 2008 NVC ChairBrenda Moffitt

2008 NOMA President Sydney Besthoff, WaldaBesthoff, Pam and Dr. E. Ralph Lupin

ARTS QUARTERLY 29

LOVE in the Garden gratefully acknowledges thefollowing participants:

GOLD SPONSORSEast Jefferson General HospitalFriend of NOMA

SILVER SPONSORRuth’s Chris Steakhouse

BRONZE SPONSORSKevin CliffordCragmar ConstructionLand Rover of New OrleansThe Lupin FoundationLinfield, Hunter & Junius, Inc.NIKE Factory StoreClaire and Steven Stull

CONTRIBUTORSAnonymousAbbott, Simses & KuchlerBaptist Community MinistriesSydney and Walda BesthoffBrice Building Company, Inc.Dorsey & Company, Inc.Adrian and Sally Duplantier Family FundFriend of NOMAFrischhertz Electric Co., Inc.Anne GauthierJoAnn Flom GreenbergAdrea HeebeBeth and Hugh LambertPaul J. Leaman, Jr.Paula L. MaherCammie and Charles MayerKay McArdleMerrill LynchEllen and Steve MicletteMrs. Ellis MintzBrenda and Michael MoffittGloria MoorePerez, APCMr. and Mrs. R. Hunter Pierson, Jr.Mr. and Mrs. Dick PinerSally RichardsFrançoise RichardsonPam and John RogersBrian Schneider Co.Shapiro & Mentz LLPMrs. Harold StreamJoli and Robert SheltonJackie SullivanLakeshore Estates & Yacht HarborPhyllis M. TaylorUniversal PersonnelMargie and Sandy VillereMichael and Robin WilkinsonSandra and Louis Wilson

BENEFACTORSMr. and Mrs. John AslaksonGail and Nick AsproditesGail and John BertuzziClay N. Boyd, M.D.E. John BullardMr. and Mrs. Michael CarbineSteven CallanAlva and Edgar Chase

Dr. and Mrs. Isidore Cohn, Jr.Bernice and Donald DaigleJudy and Tom DavidCherise and Bart FarrisJulie and Ted GeorgeSally and Jay LapeyreRene A. Louapre III, MDMr. and Mrs. Adam MarcusBill and Doris NormanVirginia and Jack PannoPrudential Gardner, RealtorsMimi and Claude SchlesingerMichael ValentinoDiane and Hughes WalmsleyMr. and Mrs. Stephen Welch

RESTAURANTS FOR LOVEAcme Oyster HouseAndrea’s Restaurant & CateringAntoine’s RestaurantBayona Café DegasCarreta’s GrillChad’s BistroChops Bistro & Martini BarCorky’s Bar-B-QCourt of Two SistersCrescent City BrewhouseDel PortoDrago’sFeelings CafeGalatoire's RestaurantGordon BierschHard Rock CafeHostel Restaurant and LoungeLagoLandry’s on the LakeMandina's RestaurantMartin Wine CellarMaximo’s Italian GrillThe Melting PotMichael Joyner Catering, Inc.Muriels Jackson SquareNick’s SnoBalls and GelatoPalate New OrleansPF Changs China BistroPigeon/Carnival BrandsRalph’s on the ParkRepublic National Distributing Co.Rouses MarketsRuth’s Chris Steak House7 on FultonSouthern CandymakersSweet Leslie’sTomatillo’sWolfe’sZea Rotisserie & Grill


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 FarnetDr. and Mrs. Ludovico S. FeoliMr. and Mrs. Stephen A. HanselMs. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Helis FoundationMr. Jerry HeymannHeymann-Wolf Foundation Mrs. 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. RosenMr. 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. Charles W. IrelandMr. and Mrs. Erik F. JohnsenMr. and Mrs. Peter R. Monrose, Jr.Mr. and Mrs. Robert J. PatrickDr. and Mrs. James F. PierceMs. Debra B. Shriver Mrs. Margaret B. Soniat and Mr. Joel J. Soniat Mr. 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. Clark W. Boyce, Jr.Mr. E. John Bullard Mr. and Mrs. William K. ChristovichDr. and Mrs. Isidore Cohn, Jr.Ms. Barbara D. CurrierMr. Leonard A. DavisMr. and Mrs. Timothy FrancisMr. and Mrs. Richard W. Freeman, Jr. Mr. and Mrs. James J. FrischhertzMr. and Mrs. Edward N. GeorgeMrs. John D. Guthrie Mr. and Mrs. Frederick Heebe Ms. Allison Kendrick Mr. Henry M. Lambert and Mr. R. Carey Bond Mr. and Mrs. Thomas B. Lemann Dr. Edward D. Levy, Jr.Mr. and Mrs. J. Thomas LewisDr. and Mrs. E. Ralph LupinMr. and Mrs. Edward C. MathesMs. Kay McArdleMr. and Mrs. James McClennen Dr. and Mrs. Alvin S. MerlinMr. and Mrs. R. King MillingMrs. Ellis MintzMr. and Mrs. Michael D. MoffittMs. Karyn E. MurphyRobert and Myrtis Nims Foundation Mr. and Mrs. Richard E. O’KrepkiDr. Howard and Dr. Joy D. OsofskyMr. and Mrs. R. Hunter Pierson, Jr. Mr. and Mrs. James J. Reiss, Jr. Dr. and Mrs. Edward F. RenwickMr. and Mrs. R. Randolph Richmond, Jr.Mr. and Mrs. Brian A. SchneiderMr. and Mrs. Edward ShearerMr. and Mrs. Bruce L. SoltisMrs. Harold H. Stream, Jr. Ms. Jude Swenson Mr. and Mrs. James L. TaylorMrs. Henry H. WeldonMr. and Mrs. Louis A. Wilson, Jr.

FELLOWS

Mr. John Abajin and Mr. Scott SimmonsMrs. Adele L. AdattoDr. and Mrs. Kenneth N. AdattoMrs. Jack R. AndersonMrs. Jimi AndersonMrs. H. W. BaileyMr. and Mrs. William F. BantaMrs. Howard T. BarnettMs. Roberta P. BarteeMr. and Mrs. Beauregard L. BassichMr. Robert M. Becnel and Ms. Diane K. ZinkMr. and Mrs. Edward B. Benjamin, Jr.Mr. and Mrs. W. Mente BenjaminMr. and Mrs. Dorian M. BennettMr. and Mrs. Michael A. Berenson

Circles andFellows of theNew OrleansMuseum of Art

Mr. and Mrs. Dick H. Piner, Jr.Mr. and Mrs. O. Miles Pollard, Jr.Mr. and Mrs. Arthur C. PulitzerMs. 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 RogerMrs. Carol H. RosenMr. and Mrs. Paul S. Rosenblum, Sr.Mr. 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.Mr. and Mrs. Aaron Selber, Jr.Mr. and Mrs. William H. Shane, Jr.Mr. and Mrs. Lester ShapiroMrs. Shepard H. ShushanMr. and Mrs. Michael J. SiegelMr. and Mrs. Edward M. SimmonsMr. and Mrs. Richard L. SimmonsDr. and Mrs. Julian H. SimsMrs. Evald L. SkauMr. and Mrs. Timothy C. SlaterMrs. Joe D. Smith, Jr.Mr. and Mrs. Rodney R. SmithMr. and Mrs. Charles A. SnyderMrs. Frederick M. Stafford Ms. Mary Holmes StephensMrs. Mary E. SternDr. and Mrs. Harold M. StokesMs. Anne Reily SutherlinDr. Nia K. TerezakisMs. Catherine Burns TremaineMr. and Mrs. Bernard Van der LindenMr. and Mrs. George G. VillereMr. and Mrs. R. Preston WailesDr. and Mrs. Cedric WalkerMr. Albert J. Ward, Jr.Mr. and Mrs. Hugo WedemeyerDr. and Mrs. Rudolph F. Weichert IIIDr. and Mrs. Robert G. WeilbaecherAmbassador and Mrs. John G. WeinmannMrs. Karolyn Kuntz WesterveltMrs. Donald L. WhiteMr. Robert J. A. Williams and

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

Mrs. Robert B. HaspelMrs. H. Lloyd Hawkins, Jr.Mr. and Mrs. Edward M. HellerMr. and Mrs. Theo M. HellerMrs. S. Herbert HirschMrs. William H. HodgesJoan Von Kurnatowski Hooper

and Julian FeibelmanMr. and Mrs. John C. Hope IIIMr. Harry T. Howard IIIMr. and Mrs. Arthur W. Huguley IIIMr. and Mrs. Alex T. Hunt, Jr.Mr. and Mrs. Marvin L. JacobsMr. and Mrs. Harold B. JudellMrs. Arthur L. Jung, Jr.Mrs. Gloria S. KabacoffMrs. Irene KlingerMr. and Mrs. John E. Koerner IIIMrs. E. James Kock, Jr.Mr. and Mrs. Donald J. LabauveMr. and Mrs. John P. LabordeDr. and Mrs. W. Wayne Lake, Jr.Mr. and Mrs. Charles W. Lane IIIMrs. James M. Lapeyre, Sr.Mr. and Mrs. James M. Lapeyre, Jr.Mr. and Mrs. John H. LawrenceRita Benson LeBlancMr. Victor C. Leglise, Sr.Mr. and Mrs. Frank L. LevyDr. and Mrs. Samuel LoganMrs. Russell LongMr. 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. Michael J. MestayerMr. and Mrs. Albert MintzMrs. Bernard D. MintzMr. and Mrs. Saul A. MintzMr. and Mrs. Donald P. MitchellMrs. Louise MoffettMs. Stephany S. MonteleoneMrs. George R. MontgomeryDr. and Mrs. Lee Roy Morgan, Jr.Mr. and Mrs. Walter MortonMrs. Andrée MossDr. and Mrs. Bert MyersMrs. Elizabeth S. NaltyMr. Max Nathan, Jr.Mrs. Isidore Newman IIMr. and Mrs. John B. NolandMr. and Mrs. W. D. Norman, Jr.Dr. and Mrs. John L. OchsnerMr. Roger H. OgdenDr. Sanford L. PailetMr. and Mrs. Norvin L. PellerinMrs. Ben J. PhillipsMr. and Mrs. John Phillips

Mrs. Marian Mayer BerkettMs. Virginia Besthoff and Ms. Nancy AronsonDr. Siddharth K. BhansaliMr. Harry J. Blumenthal, Jr.Mr. and Mrs. Robert H. BohMr. and Mrs. Donald T. BollingerMrs. Jane Bories and Mr. Sam CorenswetMs. Jean M. BraggDr. and Mrs. Joseph BrennerMr. and Mrs. Edgar E. Bright, Jr.Mrs. B. Temple Brown, Jr.Mr. and Mrs. Perry S. BrownMr. and Mrs. Christopher BrunoMs. Debra Bryant and Mr. Fred RiddlemeyerMs. Pamela R. BurckMr. Harold H. BurnsMr. and Mrs. Joseph C. CanizaroDr. and Mrs. Edgar L. Chase IIIMr. and Mrs. William J. Chaucer, Jr.Dr. Victor P. ChisesiMr. Stephen W. Clayton Mr. and Mrs. John ClemmerMr. and Mrs. Thomas B. ColemanMs. Shirley Colomb and Don ClausingMr. Barry J. Cooper and Mr. Stuart H. SmithMr. and Mrs. Orlin CoreyMr. and Mrs. Rufus P. CressendMr. and Mrs. Camille A. CutroneMr. 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 Ollie 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. FennerMs. Natalie FieldingMrs. Julia FishelsonMs. Anne A. FitzhughMr. and Mrs. Richard B. FoxMr. and Mrs. Louis M. FreemanMrs. Gore FriedrichsMr. and Mrs. Louis L. FriersonMrs. Anne GauthierDr. and Mrs. Charles F. GenreMrs. Dennis A. GeorgesDr. Kurt Gitter and Mrs. Alice Rae YelenMrs. Luba B. GladeMrs. Louis A. GlazerMr. and Mrs. Mason GrangerMrs. Harold S. Grehan, Jr.Ms. Susan Talley and Mr. James C. Gulotta, Jr.Mr. and Mrs. James O. GundlachMr. and Mrs. John W. Hall

ARTS QUARTERLY 31


What comes in a bottle with a diamondlabel, red cap and a green-bandedneck? Diners throughout the worldknow the answer is Tabasco®, whichcomes from Avery Island, destination

of NOMA’s most recent Circles’ trip. Unique experiences,access to private collections and intimate groups guidedby NOMA’s Director, John Bullard, are what make theCircles’ trips unparalleled.

Only the parts of Avery Island that house theTabasco® factory and the two hundred-acre wildlifepark, Jungle Gardens, are open to the public. The rest isa mix of agricultural, industrial and residential propertywhere NOMA’s hosts Cathy and Chuck Thomason reside.The Circle members were treated to cocktails and dinnerat their new beautifully designed Lee Ledbetter home,which is based on Thomas Jefferson’s residence at PoplarForest.

On the previous day, the Circles visited two otherunique homes and art collections. Robert Smith’s home,located on Lake Martin, is a six-story tower, with oneroom on each floor, filled with period French furnitureand surrounded by a moat with alligators. Jolie andRobert Shelton’s large French colonial home in Lafayette

overlooks the Vermillion River and was the perfectsetting for cocktails, dinner and a tour of their extensiveart collection.

The weekend trip ended on Sunday with a visit toAlbania Plantation, located on the banks of Bayou Techeand the setting for the 2006 movie All the Kings Men.New York artist, Hunt Slonem, invited the Circles for atour and sumptuous lunch at the beautifully restoredplantation, which he has owned since 2004. Built in 1842by Charles Grevemberg, Albania was later owned byIsaac Delgado, NOMA’s founder.

One of the many benefits of joining NOMA’s Circlesis the exclusive travel opportunities only available to itsmembers. While many art lovers can journey anywhereand visit famous museums and private art collections,few can experience the exclusive privileges and accessavailable on all of the Circles’ trips.

While NOMA is planning its next trip to Chicago, weare also spontaneous and are ready to seize any newtravel opportunity for our members. If you would like tojoin this exclusive group of travelers, please call themembership office at (504) 658-4130 or (504) 658-4107for more information. n

NOMA CirclesTravel to AveryIsland

BY MARILYN DITTMANNDirector of Development,NOMA

(first row) NOMA Director E. John Bullard, Pat Morrison, NOMA Director of Development Marilyn Dittmann, Barbara Johnsen(second row) Jacki Schneider, Mary Lou Christovich, Cathy Thomason, Catherine Edwards, Erik Johnsen, NOMA Trustee Phyllis Taylor(third row) Brian Schneider, Bill Christovich, Marla Garvey, Larry Garvey, David Edwards, NOMA Trustee Paul J. Leaman, Jr.

ARTS QUARTERLY 33

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


Jones, Walker, Waechter,Poitevent, Carrere & Denegre

Superior Energy Services, Inc.Whitney National Bank of

New OrleansWilloughby Associates, Ltd.

Antenna Audio, Inc.

Brian Schneider CompanyThe Sydney and Walda Besthoff

Foundation

Baptist Community MinistriesCapital One BankChristie’s Fine Art AuctioneersDooky Chase’s RestaurantEskew+Dumez+RippleEnergy Partners, Ltd.First NBC BankMcIlhenny CompanyFrischhertz Electric CompanyHise CompanyMPressThe Schon Charitable Foundation

CORPORATE MEMBERSHIP

Boh Bros. Construction Company,Inc.

Dorian M. Bennett, Inc.Gambit Communications, Inc.Laitram, LLCM. S. Rau Antiques, LLCThe Monteleone HotelNeal Auction Company, Inc.New Orleans SilversmithsRathborne Companies East, L.L.C.Republic National Distributing

CompanyThe Times-Picayune

A Gallery For Fine PhotographyBockman Forbes + Glasgow,

Architecture + DesignBowie Lumber AssociatesRoyal Antiques, Ltd.Waggonner & Ball Architects

A. L. Lowe Picture FramingCompany

Aquatic Gardens As You Like It Silver ShopBolton FordGulf Coast BankHirsch Investment Management,

LLC Milling Benson Woodward L.L.P.Mudbug Media, Inc.Teri Galleries, Ltd.

Delgado Community CollegeDillard UniversityLoyola UniversityElaine P. Nunez Community

CollegeOur Lady of Holy Cross CollegeSaint Scholastica Academy

(High School)Southern University at

New OrleansTulane UniversityUniversity of Louisiana

at LafayetteUniversity of New Orleans

GUARANTOR LEADER

ASSOCIATE

We are deeply grateful to the following member firms whose investment in the Museum makes itpossible for NOMA to pay dividends in service to the public, to the business community, to theCity of New Orleans, to the greater metropolitan area and to the State of Louisiana.

MASTER

BENEFACTOR

CONTRIBUTOR

UNIVERSITY MEMBERS

PATRON

ARTS QUARTERLY 35

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

• Your company’s name prominently displayed in theMuseum.

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

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

• A complimentary invitation for one designated officialto NOMA’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 businessor at the Museum.

• 125 Museum passes.• Curatorial consultation.• One 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.

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




• 100 Museum passes.• Curatorial consultation.• One catalogue from the NOMA’s inventory.

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

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

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





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

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


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

• 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 designatedofficial of your firm with Reciprocal Membership at 39participating museums.

• 10 Museum passes.

CONTRIBUTOR $250

ARTS QUARTERLY 36

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, PO Box 19123, New Orleans, Louisiana70179-0123. n

BESTHOFF SCULPTUREGARDEN FUND

IN HONOR OF

JOANN GREENBERG’S BIRTHDAY:Paul J. Leaman, Jr.

IN MEMORY OF

JOAN LEVY:Paul J. Leaman, Jr.

ANNABEL SCHILLING HAYES:Paul J. Leaman, Jr.

ELISE PLAUCHEEDUCATION FUND

IN HONOR OF

JOANNA STERNBERG:Carmen StargardterMary Doiron

IN MEMORY OF

RITA ALFORD:Carmen StargardterMary Doiron

LIBRARY FUND

IN HONOR OF

JOANNA STERNBERG:Kathy AlcaineAisha ChampagneVictoria CookeBrandi HandJennifer IckesJohn Webster KeefeHeather NelsonWanda O’ShelloGeorge Roland, The Roland-Geist CollectionVanessa Smith

C O N T R I B U T I O N SCarmen StargardterPatricia Trautman

PRESCOTT DUNBAR:Diane Sustendal

JOANN GREENBERG’S BIRTHDAY:Joan and Gerald BergensonMr. and Mrs. Joseph Epstein, Jr.Mrs. Carol Good J. E. and Babs IsaacsonBarbara JacobsCelia Katz Paul and Edie RosenblumFlo and Richard SchornsteinJane Bories and Sam CorenswetMr. and Mrs. Irving RosenDr. and Mrs. Harris Hyman, IIIMrs. Louis PickSandy & Edward HellerGail and Harvey LewisNancy P. TurnerMarie and Bob WolfMarjorie and Scott CowenAnne and Stan LevyMr. and Mrs. Irwin IsaacsonJack and Clare BenjaminRene LehmannCarol and Stanley Marx E. John BullardMrs. Elaine MintzClaire H. MosesAbe and JoEllyn KuppermanMs. Ernie EcksteinMr. and Mrs. John ClemmerPatty and Les BarnettBarbara and Wayne AmedeeMrs. Walter MarcusDan and Florence ScharffFrankie WolffCopie and Duke Prince

MR. AND MRS. STANLEY MCDERMOTT’SANNIVERSARY:Stephanie & Peter Miller

DR. AND MRS. E. RALPH LUPIN’S ANNIVERSARY:Karen MH Kersting

IN MEMORY OF

LEWIS PARRISH:Lise Anne and Parham Werlein

THOMAS MICHAEL GARDES:Amy KrysiewskiShirley Dunn & FamilyJames and Jeanne Bourg

MARY NELL PORTER NOLAN:Jimmy and Susan GundlachAmbassador and Mrs. John G. WeinmannThe Times-Picayune Living & Art DepartmentDot ShushanBlanche Edge McCloskey

Margie and Sandy VillereH. Merritt and Nikkie LaneMr. and Mrs. H. B. McFaddenMr. and Mrs. Longer de la GueronniereElizabeth A. BohSuzanne and Ashton Phelps

ADAIR H. MARSH:Mr. and Mrs. Robert J.A. Williams

MRS. EVELYN P. MCCALL:Mr. and Mrs. Robert J.A. Williams

MRS. MARY VOORHIES:Mr. and Mrs. Robert J.A. Williams

MRS. FRANCES C. O’KEEFE:The Family of Elva L. Weiss

RITA CANTRELLE ACOSTA ALFORD:Koch & Wilson Architects

LARRY WARICK:Nancy and Peter Briant

ELVA G. MARKS:Morton and Barbara Sosna

MRS. ARTHUR J. SILVERMAN:Mrs. S. Herbert HirschRichard HirschMrs. Herbert C. YellinLeona and Stan Shlosman

DR. MANFRED LINDENBURGER:Susan Buzick

MRS. ELISE G. ST. PIERRE:Dr. and Mrs. Chet C. Coles

LAWRENCE S. TENNANT:Susan Kartzke

KIT FAVROT:Dot Shushan

NVC FLOWER FUND

IN HONOR OF

FRED AND DELLIE LOZES’S BIRTHDAY:Fay Beth Wedig

JOANN GREENBERG’S BIRTHDAY:Kit and Bob Goldberg

JERRY INGOLIA’S BIRTHDAY:Rosemarie Fowler

IN MEMORY OF

PATRICIA ROLLINS WHITTY:Shirley Rabé Masinter BradleyMary Lockett Wilson Guthrie

FOR THE LOVE OF FLOWERS

Garden Study ClubNew Orleans Town Gardeners, Inc.

Yes, I want to help support the NOMA Volunteer Committee’s Pledge to theNVC Portico Renovation Fund.

Funds collected defray expenses associated with a new entry ramp, refurbished decking,urns and torchieres flanking NOMA’s main entrance at Lelong Avenue,

and for providing attractive trash receptacles.

II SSUUPPPPOORRTTTTHHEE PPOORRTTIICCOO RREENNOOVVAATTIIOONN FFUUNNDD

NAME _____________________________________________________________________________

ADDRESS __________________________________________________________________________

CITY/STATE/ZIP ____________________________________________________________________

Enclosed is my donation in the amount of: q $10 q $15 q $25 q $50 q $100*Other __________

Please make checks payable to the NOMA Volunteer Committee.Mail to: New Orleans Museum of Art • NOMA Volunteer Committee

PO Box 19123 ª New Orleans LA 70179-0123

We will be happy to accept credit card payments for contributions of $50 or higher.Please call the NVC Office, 504-658-4121, to donate by credit card.

Thank you!*All contributions in the amount of $100 or more will be acknowledged in Arts Quarterly.

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.

NVC PORTICO RENOVATIONFUND

IN HONOR OF

MARIE (MICKEY) GREVE:ExxonMobil

NVC Portico Fund:Mrs. Vincent Culotta

PHOTOGRAPHY FUND

IN MEMORY OF

ROBERT A. MORGAN:KimberlyHarry Rosenberg

DR. ROBERT L. FLURRY, JR.:Harry and Kimberly Rosenberg

PEPPER BROWN FUND

IN MEMORY OF

PEPPER BROWN:Thomas and Ella D’Agostino

ARTS QUARTERLY 37


NOMA Library Book ClubCome and join us as we read and discuss fiction and

nonfiction books related to art, art museums, NOMA’scollections and NOMA’s exhibitions. We will meetmonthly, from noon to 1 p.m., in the library to discussselected books, and there occasionally will be specialmeetings at which there will be a program related to thatmonth’s book selection.

Bring a sack lunch and enjoy this lunchtime break.NOMA will provide soft drinks and water.

Call the librarian, Sheila Cork, at 504-658-4117, oremail at [email protected] to reserve a space.

JANUARY

The Rape of Europa: The Fate of Europe’s ArtTreasures in the Third Reich and the Second World Warby Lynn H. Nicholas (nonfiction)

“Lynn Nicholas offers an astonishingly good accountof the wholesale ravaging of European art during WorldWar II, of how teams of international experts haveworked to recover lost masterpieces in the war’saftermath and of how governments “are still negotiatingthe restitution of objects held by their respectivenations.”” (Amazon.com)

Wednesday, January 14Book Discussion Group

FEBRUARY

The Art Spirit by Robert Henri (nonfiction)“Embodying the entire system of Robert Henri’s

teaching, The Art Spirit contains much valuable advice,critical comment, and inspiration to every student of thearts.” (Amazon.com)

Thursday, February 12

E. John Bullard, The Montine McDaniel FreemanDirector, will present a program about the “AshcanSchool”—the group of artists that includes Robert Henri.

Thursday, February 19

Book Discussion Group

MARCH

The Luncheon of the Boating Party by SusanVreeland (fiction)

“Vreeland tracks Auguste Renoir as he conceivesplans and paints the 1880 masterpiece that gives hervivid fourth novel its title.” (Amazon.com)

Friday, March 13

Book Discussion Group

Contact NOMA’s gift shop if you would like them toorder bookclub books for you. Phone at 504-658-4116 oremail to [email protected]. Books also can beobtained from local book stores, online book sellers, andtry your local library.

Volunteer Opportunitiesin the Library

The library always needs volunteers to help withroutine library tasks such as processing and shelvingbooks, organizing and filing catalogue cards, sorting andadding material to the artist files, organizing theperiodical display area, and setting up for meetings andprograms. If you are interested in contributing your timeto the library please call Molly St. Paul, volunteercoordinator, at 504-658-4137, or contact the librarian,Sheila Cork, at 504-658-4117, or e-mail [email protected]. n

The Felix J.DreyfousLibrary

Photo by Aisha Champagne

Photo by Aisha Champagne

ARTS QUARTERLY 39

In an effort to further service ourmembers, we ask you to completeand return the following survey.

How many times have you visited NOMA in the past12 months?_____

Of the following, what is the greatest benefit of yourNOMA membership? Check one_____ Arts Quarterly_____ Invitations to Member’s only previews_____ Free admission to blockbuster exhibitions_____ Reduced pricing for special events_____ 10% discount in the Museum Shop_____ Discount on art classes_____ Use of the Dreyfous Art Reference Library

Are you aware NOMA is free for Louisiana residents?Yes _____ No _____

What is your best source of information aboutevents at NOMA? Check one._____ Arts Quarterly_____ Weekly E-newsletter_____ NOMA’s website: www.noma.org_____ Advertising (newspapers, TV, radio, etc).

Do you regularly read the Arts Quarterly?Yes _____ No _____

Is the Arts Quarterly one of your primary reasonsfor your membership dues?Yes _____ No _____

Please rank the following media in order ofpreference as a source for NOMA’s events (1 isfavorite, 5 is least favorite):_____ Newspaper_____ Television_____ Websites_____ Radio _____ NOMA’s E-news

If you are not already receiving NOMA’s weeklyE-News, would you like to?Yes _____ No _____If yes, please provide your e-mail address:__________________________________________________

Are you aware of NOMA’s Website—www.noma.org ?Yes _____ No _____

Do you use NOMA’s Website?Yes _____ No _____

If yes, what areas of information on the website doyou find useful? (check)_____ Calendar of Events_____ Exhibition Information_____ Activities_____ Other

Would you prefer to receive your Arts Quarterly onthe website only?Yes _____ No _____

Did you visit NOMA for the following? If so, rateevent on a scale from 1-10 (10 being excellent)._____ Objects of Desire: Fabergé from the Hodges Family

Collection_____ The Baroque World of Fernando Botero_____ Rodrigue’s Louisiana: Cajuns, Blue Dogs and

Beyond Katrina_____ Femme, femme femme_____ Prospect.1_____ Sydney and Walda Besthoff Sculpture Garden_____ Museum Shop_____ Dreyfous Art Reference Library

How many of the listed events do you attend eachyear? (Check all that apply and the number of timesfor each event:.)

Attend Number Times per year_____ Members Preview _____ _____ Sunday afternoon lectures _____ _____ Mid-Week in Mid-City events _____ _____ Child enrolled in art class _____ _____ Odyssey Ball _____ _____ Love in the Garden _____ _____ Art in Bloom _____ _____ Easter Egg Hunt _____

Are you aware of NOMA’s extended public hours onWednesday evenings? (Open until 8 p.m.)Yes _____ No _____

Have you ever attended an event on Wednesdayevenings during NOMA’s extended hours?Yes _____ No _____ If so, how many times? _____

Would you be interested in a Travel Program ifoffered by NOMA?Yes _____ No _____

Are there any programs NOT offered that youwished NOMA provided? Please comment.________________________________________________________________________________________________________________________________________________________________________________________________________

MEMBER PROFILE:

How long have you been a member of NOMA?________________________

What is your current membership category?________________________

What is your zip code _________________

Are you:Male _____ Female _____

What are the number of adults (18 or older) in yourhousehold?_____

What are the number of children in your householdunder 18?_____

NOMAMembersSurvey

Please mail your completedsurvey to:Members’ SurveyNew Orleans Museum of ArtPO Box 19123New Orleans LA 70179-0123


NOMA EDUCATION:The New Orleans Museum of Art

received 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 events to promote asense of support and community in thepost-Katrina environment.

Community art-making issupported by the Hyogo Prefectureof Japan. These events are free withMuseum admission.

CommunityArt-MakingStudios

Wednesday, January 76 p.m. – 8 p.m

In conjunction with the Hyogo-NOMA Art Therapy Initiative, arttherapists will guide you in expressingyourself with provided art materialsand producing a masterpiece. Noartistic experience is necessary.

All area educators are invited toattend NOMA’s free workshops. TheMuseum’s permanent collection, specialexhibitions and other resources foreducators will be explored in theseinformative evening sessions.Educational materials will be providedto participants as well as a certificate ofattendance.

Pre-registration is required.Please contact the EducationDepartment at 504-658-4128 [email protected]. Whenemailing, please provide yourname, school/organization, andphone number.

Tuesday, January 136 p.m. – 8 p.m.Teaching with PrimarySources, NOMA andAmistad Research CenterCollaboration

This workshop will take place atthe Amistad Research Center andintroduce the use of primary sources(letters, diaries, oral histories,organizational records, etc.) aspedagogical tools for classroominstruction. Topics covered will includehow archivists conserve, catalog andstore materials, locating primarysources, working with libraries andarchives regarding reproduction andcopyright, strategies for using sourcesat various grade levels and abilities.Educators will take away ideas andactivities that can be adapted in theirown educational settings.

(Please Note: The Amistad ResearchCenter is located on the campus ofTulane University.)

Saturday, March 212 p.m. – 4 p.m.The Sydney and WaldaBesthoff Sculpture Garden

Come enjoy NOMA’s Sydney andWalda Besthoff Sculpture Garden andlearn about the history of the Garden,the sculpture collection, and thelandscape architects behind the design.Educators can try out activitysuggestions developed by theEducation Department and discussideas for field trips to the Garden.Perfect for self-guided visits, ourEducator’s Manual of information,scavenger hunts, sketching ideas andlesson plans will be sure to delightstudents (and teachers) of all ages.

EducatorWorkshops

Tuesday, April 286 p.m. – 8 p.m.African Art from NOMA’sPermanent Collection

William Fagaly, NOMA’s curator ofAfrican art, will use the Museum’scollection to provide educators with ageneral overview of the arts of Africa.The objects in the galleries will bediscussed to shed light on the religious,social and artistic background of eachculture represented. Overall themeswithin the collection will behighlighted to allow educators to easilypresent the material to their students.Education staff also will discussclassroom activities and suggestions forincorporating African art into a varietyof curricula. n

Saturday, March 711 a.m. – 3 p.m.

Come paint with us. NOMA’s arttherapist will facilitate a group paintingproject for all ages. Families are invitedto drop in and paint large-scale papermurals outside the Museum inpicturesque City Park. No artisticexperience is necessary. n

NOMA’s Sydney and Walda Besthoff Sculpture Garden will be thesetting for the educator workshop on Saturday, March 21

ARTS QUARTERLY 41

PROGRAMS & ACTIVITIESNOMA lectures are intended to

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

Sunday, January 18, 2 p.m.

Fabergé and the Silver Age

by Suzanne Massie, Authorand Historian of RussianCultural History

The last quarter of the nineteenthcentury and the early years of thetwentieth century in Russia were thetime when the House of Fabergéreached its apotheosis, withestablishments in St. Petersburg,Moscow and Odessa. This coincidedwith a period of such great culturalachievements in all the arts in Russiathat it is called the Silver Age—a timeof great painters, poets, writers andmusicians and dancers that broughtworldwide fame to Russian culture andwas to end with World War I, theBolshevik Revolution and the greatexodus and tragedy that followed.Suzanne Massie, author of Land of theFirebird: The Beauty of Old Russia andPavlovsk: The Life of a Russian Palace,will present an overview of the SilverAge, focusing on the environment inwhich the House of Fabergé flourished.

Wednesday, January 21, 6 p.m.

Think Backwards: Rodin andHis Legacy

by Judith Sobol, ExecutiveDirector of the Iris and B.Gerald Cantor Foundation

The French artist Auguste Rodin’ssculpture has become so much a partof our daily visual lives that many ofhis pieces, like The Thinker, are knownthe world over by people who havenever heard of the artist. When hiswork was new, however, its revelationsled to the artist’s great fame and hetransformed the nature of sculpture,influencing artists of the nextgeneration like Matisse, Picasso, andMaillol. In her talk, Judith Sobol willtrace Rodin’s influences from his timeto ours, including examples ofcontemporary sculpture that takeadvantage of Rodin’s transformations.

LecturesSunday, February 8, 2 p.m.

Nothing But the Best: TheJack M. Sawyer Collection

by John Webster Keefe, TheRosaMary Foundation Curatorof the Decorative Arts, NOMA

This lecture provides an overviewof the exhibition Style, Form andFunction: Glass from the Collection ofJack M. Sawyer, which is on view atNOMA February 7 through April 26.(See cover story.)

New Orleanian Jack Sawyer hascollected glass for nearly half a century,and that dedication was marked earlyon by an exhibition at the Museum inthe spring of 1989. Now that collection,which is particularly rich in works fromthe mid-nineteenth to the mid-twentieth centuries, is a promised giftto the Museum. This slide-illustratedlecture will discuss some of thehighlights of the Sawyer collection, aswell as some of the history of thecollecting of this most popularmedium. n

NOMA will present the lecture “Nothing But the Best: The JackM. Sawyer Collection” on Sunday, February 8, at 2 p.m. This

lecture is presented in conjunction with the exhibition Style,Form and Function: Glass from the Collection of Jack M.

Sawyer, which is on view at NOMA February 7 through April 26.



PROGRAMS & ACTIVITIESArtwork by African-American artists

has long been part of the New OrleansMuseum of Art’s permanent collection.In an effort to familiarize viewers withthese works, NOMA has created a self-guided tour through the permanentcollection entitled Sources ofInspiration: African American Art inthe New Orleans Museum of Art thatwill be available to all visitors throughMay 2009. In the future, this tour willbe augmented by a more in-depth,new online resource.

These featured works were thesubject of an educator’s workshop atNOMA, as well as the basis of a newonline resource intended to guide botheducators and visitors to a deeperunderstanding of African-American artwithin the context of American art,history and culture. This website canbe accessed through www.noma.org.

Ranging from the Romantic style ofthe early twentieth-century painterHenry O. Tanner to the abstraction ofLonnie Holley, this collection ofpaintings, sculpture, and works onpaper span nearly a century ofAmerican art history. Included in thistour are the works of such renownedartists as Romare Bearden, ElizabethCatlett, Jacob Lawrence, and SamGilliam, as well as local artists like JohnT. Scott. These artists highlighttwentieth- and twenty-first-centuryissues such as slavery, family life,work, notable figures, culture, theenergy of city life, and localarchitecture as visible topics ofdiscussion.

Sources ofInspiration:AfricanAmericanArt in theNew OrleansMuseumof Art

between the New Orleans Museum ofArt and the Amistad Research Center,which will be on view at NOMA fromAugust 22 through October 25, 2009. n

This installation serves as a preludefor an exhibition featuring art of theHarlem Renaissance and the AfricanDiaspora, in a collaborative effort

The New Orleans Museum of Art’sTeen Advisory Board is a service-learning opportunity for students agesfourteen through seventeen. TABparticipants collaborate with NOMA’sEducation Department to create ideasfor new programming for youngaudiences and think creatively aboutthe Museum’s role in their community.The thirteen members of our inauguralTeen Advisory Board represent elevendifferent schools from the greater NewOrleans area—St. Mary’s DominicanHigh School, Ursuline Academy,NOCCA Riverfront, Grace King HighSchool, Benjamin Franklin High School,Holy Cross High School, Metairie ParkCountry Day School, O. Perry WalkerHigh School, McDonough 35, Joseph S.Clark High, and Pierre A. Capdau EarlyCollege High School—and will meet

TeenAdvisoryBoard

monthly throughout the school year toadvise the Museum on matterspertaining to education, public events,exhibitions, communications and more.Applications for new TAB positionswill be accepted each fall, and moreinformation on TAB can be found athttp://www.noma.org/tab.html.

Congratulations to the followingarea students for being chosen asmembers of the 2008–09 TeenAdvisory Board:

Jacob Lawrence (American, 1917–2000)Builders #4, 1973

Gouache on paper, 21-1/2 x 30-1/2 inchesCollection of the New Orleans Museum of Art

National Endowment for the Arts Matching Fundand Women’s Volunteer Committee. 73.251

TAB (Teen Advisory Board)

Martha BabbittMary Grace BernardTracey BullingtonEmily ChaplainErin DohertyCandace GautreauxAriel Rene Jackson

Nestor MirandaHannah RauBlake ReimmuthTroy SimonJinaga WashingtonColette Williams

ARTS QUARTERLY 43

JANUARY 7

FILM, James Bond, 007–From Russia with Love6, p.m., Stern Auditorium

COMMUNITY ART STUDIO, Holly Wherry, NOMA Art Therapist6 p.m., Café

JANUARY 14

LECTURE, “Roots of the Fi Yi Yi,” Victor Harris and Fi Yi Yiwill recount the oral history of Fi Yi Yi and its legacy withinthe Mardi Gras Indian Tradition6 p.m., Stern Auditorium

HANDS-ON DEMONSTRATION, “Lost Art of Water Gilding,”Alan Shuptrine of Shuptrine Fine Art Group in Chattanooga,Tennessee, will discuss the details of Old World gildingmethods and how these methods are applied in therestoration and conservation of historical items.6 p.m., Café

JANUARY 21

LECTURE, “Thinking Backwards: Rodin and His Legacy,” JudithSobol, Executive Director of the Iris and B. Gerald CantorFoundation (see page 41 for lecture description)6 p.m., Stern Auditorium

JANUARY 28

POETRY WORKSHOPChoose a work of art to your likening.Jean E. Grau, published poet and writer, willassist in writing poetry, followed by a reading.(Hot Coco and Cookies Will Be Served)6 p.m., Café

MUSIC, Band TBA6 p.m, Great Hall

FEBRUARY 11

LECTURE, “Sculpture for New Orleans,” presentedby Sculpture for New Orleans founders MichaelManjarris and Peter Lundberg. Sculpture for NewOrleans is a two-year sculpture exhibition that hasplaced monumental sculptures throughout NewOrleans, including the two Alexander Calder stabileson view outside NOMA6 p.m., Stern Auditorium

MARCH 4

LECTURE, “Reinstallation of NOMA’s PermanentCollection Galleries,” Miranda Lash, Curator ofModern and Contemporary Art, NOMA6 p.m., Frederick R. Weisman Galleries,Second Floor

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

NOMA is open on Wednesdays from noon to 8 p.m. In addition to the Museum’s permanent collectionand special exhibitions and the Besthoff Sculpture Garden, enjoy these special evening activities.

Each Wednesday will feature a cash bar and a different speciality cocktail.

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 City Steak 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 EsplanadeAve. (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).

Mid-Week in Mid-City is sponsored by the Ruby K. Worner Charitable Trust.


PROGRAM SPONSORS

$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 OrleansAudiences

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

$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:Institution StabilizationArts in EducationGeneral Operating Support

THE LUPIN FOUNDATION:General Operating SupportArt in Bloom 2008Odyssey Ball 2008

SELLEY FOUNDATION:General Operating Support

SHERATON NEW ORLEANS HOTEL:The Baroque World of Fernando BoteroExhibition Support

BECOMEA NOMASPONSOR

Annual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops,films, lectures, art classes and 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 OrleansMuseum of Art and its thousands of visitors are deeply grateful to these friends for their continued commitment. If you wouldlike additional information on sponsorship, please contact the Museum’s development department, (504) 658-4100. n

$34,999 - $20,000

D. LEE HODGES

SHERRI S. LOGAN:Objects of Desire: Fabergé from the HodgesFamily CollectionExhibition Catalogue SupportOdyssey Ball 2008

LAKESIDE SHOPPING CENTER AND THE FEIL

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

$19,999 - $10,000

AT&T:Art in Bloom 2008Odyssey Ball 2008

DOWNMAN FAMILY FOUNDATION:NOMA Exhibitions

EAST JEFFERSON GENERAL HOSPITAL:LOVE in the Garden 2008

GOLDRING FAMILY FOUNDATION:Odyssey Ball 2008

THE GPOA FOUNDATION:Educational Pre-Visit Video of African ArtCollection

GREATER LAKESIDE CORPORATION:Odyssey Ball 2008

MR. AND MRS. STEPHEN A. HANSEL:Art in Bloom 2008

LOUISIANA ENDOWMENT FOR THE HUMANITIES:Living Color: Photographs by Judy CooperExhibition, Programming and Catalogue Support

PAN AMERICAN LIFE INSURANCE GROUP:The Baroque World of Fernando BoteroExhibition Support

THE ROSAMARY FOUNDATION:Family WorkshopsHandbook of School Programs

JOLIE AND ROBERT SHELTON

INTERNATIONAL WELL TESTERS, INC.:Living Color: Photographs by Judy CooperExhibition Catalogue SupportRodrigue Aoili DinnerOdyssey Ball 2008

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

$9,999 - $5,000

AGILITY PROJECT LOGISTICS:Art in Bloom 2008

MR. AND MRS. JOHH D. BERTUZZI:Odyssey Ball 2008

THE BOOTH-BRICKER FUND:Odyssey Ball 2008

ENERGY PARTNERS, LTD.:Art in Bloom 2008

ENTERGY LOUISIANA:Educational Programs

MRS. ANNE GAUTHIER:Odyssey Ball 2008

HCA HEALTHCARE-DELTA DIVISION:Art in Bloom 2008

MRS. JEAN R. HEID:Art Acquisition Fund

IBERIABANK:Art in Bloom 2008

IRENE W. AND C. B. PENNINGTON FOUNDATION:Odyssey Ball 2008

J. ARON AND COMPANY, INC.:Educational Programs

ARTS QUARTERLY 45

THE JOHN BURTON HARTER CHARITABLE

FOUNDATION:Gentlemen CallersExhibition Support

LAMAR ADVERTISING:Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond KatrinaExhibition Support

LUZIANNE:Art in Bloom 2008

MATHES BRIERRE ARCHITECTS:Odyssey Ball 2008

MR. AND MRS. FRANK NORMAN:P. R. Norman Fund Art Acquisition

GRAY S. AND MARY KAY PARKER:Odyssey Ball 2008

IRENE W. AND C.B. PENNINGTON FOUNDATION:Odyssey Ball 2008

REGIONS BANK

Art in Bloom 2008

REGIONS MORGAN KEEGAN PRIVATE BANKING:Art in Bloom 2008

RUTH’S CHRIS STEAKHOUSE:LOVE in the Garden 2008

SUPERIOR ENERGY SERVICES, INC.:Art in Bloom 2008

JONES FAMILY FOUNDATION:Art in Bloom 2008

GLORIA S. KABACOFF:Odyssey Ball 2008

PAULA L. MAHER:Odyssey Ball 2008

NATIONAL FEDERATION OF COFFEE GROWERS OF

COLOMBIA:The Baroque World of Fernando BoteroExhibition Support

NEW ORLEANS SAINTS:Odyssey Ball 2008

PAUL PRUDHOMME:Rodrigue Aoili Dinner

MR. AND MRS. GEORGE RODRIGUE:Art in Bloom 2008

RUBY K. WORNER CHARITABLE TRUST:Mid-Week in Mid-City

SAKS FIFTH AVENUE:Art in Bloom 2008

MR. AND MRS. CLAUDE SCHLESINGER:Odyssey Ball 2008

RECEIVE NOMA E-NEWSON UPCOMING ACTIVITIES

Would you like to receive emailed updateson events and exhibitions coming to theNew Orleans Museum of Art? If so, Go tohttp://www.noma.org/enews.html to signup for E-News from NOMA.

We will alert you to upcoming festiveevents, programs and new exhibitions, andwe will provide links back to the NOMAwebsite for more details.


BOARD OF TRUSTEES

NEW NOMA TRUSTEESNew officers of the board of

trustees for 2009 will be Stephen H.Hansel, president; Leonard Davis,vice-president; Mrs. Charles B.Mayer, vice-president; Mrs. WilliamFrischhertz, vice-president; WilliamAaron, treasurer; David Edwards,secretary; and Françoise BillionRichardson, assistant treasurer.

The following individuals wereelected as new members to beginJanuary 2009: Sydney J. Besthoff III,Edgar B. Chase III, H. MortimerFavrot, Ms. Allison Kendrick, PaulMasinter, Dr. Alvin Merlin, Dr.Howard Osofsky, Mrs. GeorgeRodrigue, Bryan Schneider, CharlesA. Snyder, Mrs. Richard Strub, Mrs.Hughes P. Wamsley, Jr.

Mrs. Erik Johnsen and Mrs.James L. Taylor were were namedas a honorary trustees and Mrs.Robert Shelton as a national trustee.

BOARD MEETING SCHEDULEThe NOMA board of trustees

will meet on Wednesday, January21, February 18, and March 18,at 4 p.m.

MEMBERS

ATTENTION NOMA MEMBERSIn an effort to go paperless

and to reduce mailing costs, weare asking NOMA members tosupply a valid email address to theMuseum. We appreciate yourcooperation with this process.Please send email addresses to:[email protected], or call 504-658-4127, or mail to PO Box 19123New Orleans LA 70179-0123.

NVCNEW NVC CHAIRS ANNOUNCED

Brenda Moffitt will turn thegavel of leadership over to ournew NVC chair Diane Walmsley,on January 1, 2009. Diane will beassisted by Carol Hall, vice-chair ofactivities; Glendy Forster, vice-chairof membership; Kimberly Zibilich,vice-chair of fund-raising; PamRogers, corresponding Secretary;Dana Hansel, recording secretary;Cammie Mayer, treasurer; andElizabeth Ryan, parliamentarian.

MUSEUM NEWS MUSEUM NEWS MUSEUM

Also serving are Janet Frischhertz,at-large; Kay McArdle, at-large; andKevin and Lori Frischhertz, 2009Odyssey Ball chairs.

GENERAL MEETINGPlan to attend the NVC general

membership meeting in the NOMAStern Auditorium on Monday,February 9, 2009, at 10:30 a.m. Alight lunch will follow. ChairmanDiane Walmsley will reveal the 2009NVC calendar, filled with botheducational and fun events,including the Fabergé Egg Hunt onMarch 29. Volunteer sheets will beavailable. Look for details on thewebsite, www.noma.org.

STUDIO SALONSOn October 22, Cary Alden and

Sally Richards finished their year aschairs of Studio Salons with acaptivating visit to the home andstudios of artists Garland Robinette andhis wife, Nancy Rhett. In the beautiful,art-filled rooms of this uptownresidence, NVC members werecharmed by stories of GarlandRobinette’s forays into broadcastingand his propitious entry intoportraiture. His first portraitcommission was of Pope John Paul II.His distinctive voice, so well known tolisteners of WWL radio’s The ThinkTank, entertained with anecdotesdetailing the stories behind his artwork.Wife Nancy gave NVC members a tourof her studio. Her lovely collages,gracing the light-filled windowsills,combine texture, color and the proseof her own journal entries.

Studio Salons Chairs Cary andNancy provided deliciousrefreshments to complete a delightfulafternoon. Thank you, ladies.

NVC MEMBERSHIPMembership in the NOMA

Volunteer Committee is open to allNOMA members. Through its manyfunctions throughout the year, theNVC plays a vital fund-raising rolewithin NOMA. Lectures, studio visits,home tours, galas and children’sevents are offered through an NVCmembership. Three generalmeetings a year plus a myriad ofother activities and volunteer effortskeep the NVC calendar busy. Fromstuffing Odyssey Ball invitations andassisting in Art in Bloom setup togallery visits and out of town trips,the NVC has a spot for you in itsfamily. Dues are nominal.Friendships are free. For moreinformation, contact the NVC officeat (504) 658-4121. n

SENIOR STAFFE. John Bullard, The Montine McDaniel Freeman DirectorJacqueline L. Sullivan, Deputy DirectorMarilyn Dittmann, Director of DevelopmentLisa Rotondo-McCord, Assistant Director for Art/Curator of Asian ArtAlice Rae Yelen, Assistant Director for EducationGail Asprodites, ControllerPamela Buckman, Sculpture Garden ManagerAisha Champagne, Graphics Coordinator/WebmasterSheila Cork, LibrarianDiego Cortez, The Freeman Family Curator of PhotographySarah Davidson, Coordinator of Special EventsWilliam A. Fagaly, The Françoise Billion Richardson Curator of African ArtJulie Galstad, Grants OfficerJennifer 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 DrawingsPaul 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 Initiative

NOMA BOARD OF TRUSTEESStephen H. Hansel, PresidentLeonard Davis, Vice-PresidentMrs. Charles B. Mayer, Vice-PresidentMrs. James Frischhertz, Vice-PresidentWilliam Aaron, TreasurerDavid Edwards, SecretaryMrs. Françoise Billion Richardson, Assistant TreasurerMrs. John BertuzziSydney J. Besthoff IIIEdgar B. Chase IIIIsidore Cohn, Jr., M.D.S. Stewart FarnetH. Mortimer FavrotMrs. Ludovico FeoliTimothy FrancisLee HamptonAdrea HeebeMs. Allison KendrickHenry LambertPaul J. Leaman, Jr.Paul MasinterEdward C. MathesKay McArdleAlvin Merlin, M.D.Councilmember Shelly MiduraMrs. R. King MillingMichael MoffittMayor C. Ray NaginHoward Osofsky, M.D.Mrs. Robert J. PatrickThomas Reese, Ph.D.Mrs. James ReissMrs. George RodrigueBryan SchneiderMrs. Lynes R. SlossCharles A. SnyderMrs. Richard StrubMrs. Patrick F. TaylorMrs. Hughes P. Walmsley, Jr.Louis 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. HugerMrs. Erik JohnsenRichard 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. James L. TaylorMrs. 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 47

NOMA EXHIBITION SCHEDULE

Seeking the Light: Studio Glass by Luke JacombThrough January 4, 2009

A Taste for Excellence: A Tribute to Louisiana Collector H. Speed Lamkin

Through January 10, 2009

Prospect.1 New OrleansThrough January 18, 2009

Prints Past & Prints Present: Limited Editionsfrom Louisiana, Selections from

The Historic New Orleans Collectionand the New Orleans Museum of Art

Through January 18, 2009

Objects of Desire:Fabergé from the Hodges Family Collection

Through February 18, 2009

Photography and DepressionThrough March 1, 2009

Author and Subject:Murasaki Shikibu and The Tale of Genji

January 10 – May 31, 2009

Evening in ParisJanuary 16 – June 28, 2009

Expression, Innovation and Design:Studio Ceramics from the Permanent Collection

February 1 – June 1, 2009

Style, Form and Function:Glass from the Collection of Jack M. Sawyer

February 7 – April 26, 2009

Frederick J. Brown: New Portraits of Jazz GreatsFebruary 7 – April 26, 2009

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

call 504-658-4100,or visit our website at www.noma.org.

NOMA Calendar of Events

WEDNESDAY, 6 p.m., Film, James Bond, 007—From Russia with Love

6 p.m. to 8 p.m., Community Art-Making Studio

SATURDAY, Opening Day—Author and Subject: Murasaki Shikibu and The Tale of Genji

TUESDAY, 6 p.m. to 8 p.m., Educator Workshop, “Teaching with Primary Sources, NOMA andAmistad Research Center Collaboration” PLEASE NOTE: This program is at the AmistadResearch Center, which is located on the campus of Tulane University.

WEDNESDAY, 6 p.m., Lecture, “Roots of the Fi Yi Yi” by Victor Harris and Fi Yi Yi

6 p.m., Hands-on Demonstration, “Lost Art of Water Gilding” by Alan Shuptrine of ShuptrineFine Art Group, Chattanooga, Tennessee

FRIDAY, Opening Day—Evening in Paris

SATURDAY, Prospect.1 New Orleans Closing Celebration in conjunction with Martin LutherKing, Jr. Day

SUNDAY, 2 p.m., Lecture, “Fabergé and the Silver Age” by Suzanne Massie, Author andHistorian of Russian Cultural History

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

6 p.m., Lecture, “Think Backwards: Rodin and His Legacy” by Judith Sobol, Executive Directorof the Iris and B. Gerald Cantor Foundation

FRIDAY, Arts Quarterly Editor Retires

WEDNESDAY, 6 p.m., Poetry Workshop with Jean E. Grau

JANUARY

SUNDAY, Opening Day—Expression, Innovation and Design: Studio Ceramics from thePermanent Collection

SATURDAY, Opening Day—Style, Form and Function: Glass from the Collection of Jack M.Sawyer

Opening Day—Frederick J. Brown: New Portraits of Jazz Greats

6 p.m. to 9 p.m., NOMA Members’ Preview—Style, Form and Function: Glass from theCollection of Jack M. Sawyer

SUNDAY, 2 p.m., Lecture, “Nothing But the Best: The Jack M. Sawyer Collection” by JohnWebster Keefe, The RosaMary Foundation Curator of the Decorative Arts, NOMA

MONDAY, 10:30 a.m., NVC General Meeting, followed by light lunch

WEDNESDAY, 6 p.m., “Sculpture for New Orleans” by Michael Manjarris and Peter Lundberg,Sculpture for New Orleans Founders

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

10

WEDNESDAY, 6 p.m., Lecture, “Reinstallation ofNOMA’s Permanent Collection Galleries” byMiranda Lash, Curator of Modern andContemporary Art, NOMA

SATURDAY, 11 a.m. to 3 p.m., CommunityArt-Making Studio

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

SATURDAY, 2 p.m. to 4 p.m., Educator Workshop,“The Sydney and Walda Besthoff Sculpture Garden”

SUNDAY, 1 p.m., Fabergé Egg Hunt

MARCH

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FEBRUARY

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Post Office Box 19123New Orleans, Louisiana 70179-0123

NON-PROFIT ORG.US POSTAGE

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