AQJulyAugustSeptember10

NOMAWelcomes New DirectorSusan Taylor

BY CAROLINE GOYETTEEditor of Museum Publications

(article begins on page 6)

ARTSQUARTERLYVOLUME XXXII ISSUE 3 NEW ORLEANS MUSEUM OF ART JULY/AUGUST/SEPTEMBER 2010

A benefit of membership with the New Orleans Museum of Art

Susan Taylor will become the Museum’s

sixth director on September 1, 2010.

Photograph by Tasha Gajewski

2 NEW ORLEANS MUSEUM OF ART

• • •• • • •

ARTS QUARTERLY 3


ARTSQUARTERLYVOLUME XXXII ISSUE 3 NEW ORLEANS MUSEUM OF ART JULY/AUGUST/SEPTEMBER 2010

1 NOMA Welcomes New Director Susan Taylor Caroline Goyette

8 From the Land of Enchantment to the Crescent City: The George Hubbard Pepper Collection of Native American ArtPaul J. Tarver and Cristin J. Nunez

12 EVERY YEAR SOMETHING NEW: A Centennial Celebration from the Collection of Prints and DrawingsGeorge Roland

16 SCENTS AND SENSIBILITY: Perfume Bottles and Related Accessories from Antiquity to the PresentJohn Webster Keefe

18 Projects 35: International Video Miranda Lash

19 Messages from Katrina: Photographs by Richard MisrachE. John Bullard

20 Sheraton New Orleans Hotel Receives 2010 Isaac Delgado Award for Southern HospitalityKaki Read

22 Volunteers Honored at Annual Luncheon

24 NVC’s Fifth Annual Fabergé Egg HuntLaura Carman

25 NOMA Volunteer Committee Celebrates 45 YearsLaura Carman

25 Volunteer in the Sculpture Garden!

26 A Successful Green OrleansVirginia Panno

28 NOMA NotablesSusan Hayne

30 Make It Right: NOMA Employee Moves Home to the Lower 9th WardCaroline Goyette

32 NVC Group Enjoys Arts, Camaraderie in HoustonVirginia Panno and Laura Carman

34 Slidell Rolls Out the Blue Carpet for an Iconic CanineGrace Wilson

34 Odyssey Ball to Launch NOMA CentennialVirginia Panno

35 From NOMA to the North Shore

36 Circles and Fellows of the New Orleans Museum of Art

37 Join the Circles and Upgrade Your Support of NOMA

38 Corporate Membership

39 The Art of Business

40 Contributions

41 New Members

42 Portico Renovation Efforts Gear Up for CentennialVirginia Panno

43 NVC Portico Renovation Fund

44 Library Happenings

46 NOMA Education: Programs & Activities

48 Visit NOMA for a Unique Shopping Experience

49 Museum Shop Featured Artists

50 Program Sponsors

52 Museum News

53 NOMA Exhibition Schedule

54 NOMA Calendar of Events

Editor: Caroline GoyetteArt Director: Aisha ChampagneAdvertising Manager: Karron LanePrinting: Roberson Printing

Arts Quarterly (ISSN 0740-9214) ispublished by the New Orleans Museum ofArt, P.O. Box 19123, New Orleans, LA70179-0123. Advertising504-610-1279 or 504-658-4123.

© 2010, 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 DIRECTOR

The time has come tosay goodbye. After

more than thirty-sevenyears of service, I willbe retiring as TheMontine McDanielFreeman Director of theNew Orleans Museumof Art on September 1.On that date, awonderful museum

professional and art historian, Susan M. Taylor,will become the sixth director of NOMA. I haveknown Susan for many years, while she wasdirector of the Davis Museum and CulturalCenter at Wellesley College, and more recentlyas director of the Princeton University ArtMuseum. She is highly qualified in every wayand I was thrilled when she agreed to come toNew Orleans. Susan is intelligent, charming,personable, and humorous. She is totallycommitted to raising NOMA to an even higherlevel of national and international recognitionwhile serving the needs of the citizens of ourcity and state.

My career at NOMA has beenprofessionally fulfilling and the greatestpleasure for me personally. Of course theMuseum's considerable accomplishmentsduring my tenure—the Tutankhamunexhibition, the expansion of the building, thegrowth of the staff, the great increase in thesize and quality of the permanent art collectionin many areas, the opening of the BesthoffSculpture Garden, and surviving Katrina—giveme tremendous pride. But it has always been agroup effort, involving hundreds of trustees,staff members, volunteers, and patrons, whohave given me extraordinary support andfriendship for nearly four decades. Nothingcould have been accomplished without thededication and hard work of the entire NOMAfamily. I have been truly blessed by thissupport, for which I am deeply grateful.

On the first of September, I will proudlybecome Director Emeritus. However, I will notbe disappearing from the Museum. The plan isfor me to stay through 2011, first to work withSusan Taylor to insure a smooth transition andintroduce her personally to our Museum familyand the arts community, and second to managethe various events, exhibitions, andpublications planned for NOMA's centennial.The celebration begins on November 13, 2010,with the opening of the exhibition GreatCollectors/Great Donors: The Making of the NewOrleans Museum of Art, 1910-2010, which willdocument the fabulous generosity of more thanseventy-four donors who have helped NOMAbuild the finest public art collection in the GulfSouth. To make this a statewide celebrationand to share our rich collections with our sisterLouisiana institutions, we have organized anexhibition, Copley to Warhol: 200 Years ofAmerican Art Celebrating the Centennial of theNew Orleans Museum of Art, to travel toShreveport, Alexandria, Lafayette, and BatonRouge. In November 2011, we will present theconcluding centennial exhibition, 100Masterworks for the Next 100 Years, highlightingwonderful birthday gifts of art from privatecollectors, artists, foundations, andcorporations.

2011 is going to be a great year for NOMAand I am looking forward to fully participatingin the celebration. nDirector of NOMA andmoving here in April 1973, the trustees asked me

*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-Sunday, 10 a.m. to 5 p.m.The Besthoff Sculpture Garden is openevery day, Thursday-Tuesday, 10 a.m. to4:45 p.m. and Wednesday, 10 a.m. to dusk.For information on upcoming exhibitionsand events at NOMA, please call 504-658-4100 or visit our website atwww.noma.org.

ARTS QUARTERLY 5

When Susan Taylor first considered thedirectorship of the New OrleansMuseum of Art—a position she’llassume September 1—she thoughtabout the opportunities presented by

NOMA, but also by the city itself. “I was attracted by thechance to engage with a city that is as culturally andhistorically rich as New Orleans,” Taylor explains viaphone from her home in Princeton, New Jersey, whereshe is busy packing up for her move to New Orleans thissummer. “The richness and complexity of the city lendsitself to the many interpretive opportunities that amuseum presents.”

An art historian with more than twenty yearsexperience as a museum director, Taylor brings a bigpicture leadership style and a penchant formultidisciplinary connections—artistic, cultural,historical—that promise exciting changes on the horizonat NOMA. She is especially interested in continuing toexplore and foster the relationship between the Museumand the city as a whole. “I see a tremendous opportunityfor the Museum to respond to the city’s history andculture, and also to be a catalyst for it,” she says.

Art, Culture, and Community

A native of Buffalo, New York, Taylor attendedVassar College, where she started out with a politicalscience major and plans for law school. Then, in hersophomore year, she took an art history class, andeverything changed. “The chance to think about art inthe context of culture and history—to begin looking athistory through the lens of art—was interesting to me,”she recalls. “It made me realize, ‘This is what I want todo.’”

Excited by the full picture a multidisciplinaryapproach—highlighting the interconnectedness of music,art, patronage, politics—could reveal about a moment intime, she changed her major to Medieval andRenaissance Studies. Taylor spent a junior semester inRome studying art history, literature and language; aftergraduation, she returned to Italy on a fellowship to studyart conservation. In graduate school at the Institute ofFine Arts, New York University, Taylor continued herfocus on Italian Renaissance art, as well as modern artand architecture.

Her twenty-plus year career as a museum directorhas been marked by innovation and engaged leadership.During her twelve-year tenure at the Davis Museum andCultural Center at Wellesley College, she oversaw thedevelopment of an award-winning facility designed bySpanish architect Rafael Moneo. At the PrincetonUniversity Art Museum, where she was director for eightyears, Taylor instituted wide-ranging advances incollections development, planning, programming, and

outreach. She has also been deeply involved in theongoing debate about collection ownership and culturalproperty issues, lecturing widely on the subject andsuccessfully negotiating ownership claims betweenPrinceton and the Italian government. Currently, she is amember of a small working group of American museumdirectors and archaeologists who are committed todeveloping opportunities for collaboration and research.

In addition to her directorial experience, Taylorbrings a host of professional activities and knowledge tothe position at NOMA. She chairs the Museum AdvisoryBoard for the Frances Lehman Loeb Arts Center at VassarCollege; serves on the Advisory Board for the GettyMuseum; is a former trustee for the American Federationof the Arts; and has been an active member and formerboard member of the Association of Art MuseumDirectors.

Most recently, Taylor served as director of strategicinitiatives for Isles, Inc., a nonprofit communitydevelopment and environmental organization in Trenton,New Jersey. Founded by former Princeton students andfaculty, the organization seeks to promote healthy andsustainable communities through a wide range ofoutreach efforts, including arts-related programming.Taylor’s experience at Isles, Inc. gave her a freshperspective on the power of art, one she expects willcomplement her new role at NOMA. “Working inTrenton, a city that has so many challenges, allowed meto think about the relationship of art to the urbanenvironment and its attendant challenges,” she says.Education and visual learning opportunities are just oneway museums and other arts institutions can have animpact in the community, she notes. She believes NOMAis uniquely positioned for such efforts.

Taylor approaches a directorship with the samebroad, connection-minded approach she brings to herintellectual pursuits: to bring together all components ofthe organization to create a clearer, more vital whole. “Adirector of a museum should be the cultural ambassadorfor the institution,” she notes. “I try always to look at thebig picture. What aspects of the museum affect theothers; how they converge and diverge; and how we canmaximize the many opportunities a museum can offer toits public.”

The Museum’s sixth director, Taylor will be thesecond woman to hold the position. She will succeed E.John Bullard, who has served as NOMA director forthirty-seven years. Bullard will remain on staff as directoremeritus through 2011 to help facilitate the transition andcontinue work on NOMA’s centennial celebration. “AsNOMA celebrates its centennial, I am thrilled that SusanTaylor will lead the Museum into its next century ofservice and success,” Bullard says. “She is an outstandingchoice to lead our institution.” n

of African Americans and other minority ethnicgroups. A lesser known aspect of the Centeris its extraordinary collection of fine art datingfrom the nineteenth century to the presentday.

Beyond the Blues: Reflections of African America inthe Fine Arts Collection of the Amistad Research Center,


NOMAWelcomes New DirectorSusan TaylorBY CAROLINE GOYETTEEditor of Museum Publications

Photographs by Judy Cooper

presented by the New Orleans Museum of Art and theAmistad Research Center, marks a long overdue publicaccess to these remarkable works of art. On view atNOMA April 11 through July 11, 2010, the exhibition willfeature nearly 150 works including paintings, prints, andsculpture, as well as archival materials such as letters andsketchbooks, providing a fascinating glimpse of theartistic process. Like the Collection itself, the exhibition isa map that charts change in American visual arts whilehighlighting African American connections passed, like abaton, over the course of a century from one generationto the next.1

Given the considerable obstacles faced by most ofthe artists en route to public recognition, the outpouringof creativity and imagination showcased in Beyond theBlues is evidence of enormous perseverance andpersonal determination. Painters like Henry OssawaTanner (1859-1937) and Edward Bannister (1828-1901)who made a living as artists around the turn of thenineteenth century were exceptions in their time. Thesemen, while conscious of race, did not create particularlyrace-conscious art; rather, their work merged seamlessly

with accepted thematic and aesthetic trends. They wereamong the few who gained access to formal arteducation or were able to apprentice in the atelier of aseasoned artist, as was the case for sculptor EdmoniaLewis (circa 1845-1911) in Rome. With the intensificationof the New Negro movement in the 1920s, visual artistsgained status as professional champions of racial upliftbecause of their ability to literally challenge blackstereotyping with their art. As the visibility of and respectfor art professions grew, so did their ranks. Sculptors likeRichmond Barthé (1901-1989) literally transformed thepoor black Shoeshine Boy into a high art subject worthplacing on a pedestal (figure 1). When Barthé was astudent at the Art Institute of Chicago from 1924 through1928, he was the only African American enrolled in thefine art program. The graphic arts held greater promisefor employment, but when Ellis Wilson (1899-1977)completed the Art Institute’s commercial art programaround the same time as Barthé, his dark skin made itdifficult to find work using his hard-earned skills. Settledin Manhattan, Wilson ended up an apartment buildingsuperintendent, painting lively reflections of black life at

ARTS QUARTERLY 7

An art historian with more than twenty years experience as a museumdirector, Susan Taylor is known for her work on cultural propertyissues.

E. John Bullard, who will remain on staff at NOMA as directoremeritus through 2011, will retire as one of America's longest-servingmuseum directors.

This summer, NOMA visitors will have anopportunity to see Native American art andartifacts rarely viewed by the general public.Ancestors and Descendants: AncientSouthwestern America at the Dawn of the

Twentieth Century is the first comprehensive exhibitionof nineteenth-century photography, southwesternartifacts, and archival research from the George HubbardPepper Native American Archive at Tulane University.Organized by NOMA in collaboration with Tulane’sMiddle American Research Institute and Latin AmericanLibrary, the exhibition will honor the life ofarchaeologist/ethnologist George Hubbard Pepper (1873-1924) and pay tribute to the Pueblo and Navajo cultureshe documented. Ancestors and Descendants will featureeighty-four objects from Pepper’s Native American artcollection in conjunction with over one hundred mostlyunpublished photographic images he used to illustratehis public lectures. The exhibition is on view July 24-October 24, 2010.

Pepper’s role in the first official excavation of PuebloBonito inspired his interest in Navajo and Pueblo culture.The objects and images featured in the exhibitiondocument the relationship between these AmericanIndian peoples and the scientists, photographers, andcurious tourists who traveled to New Mexico and Arizonaat the turn of the twentieth century. Excerpts fromPepper’s excavation journals, personal diaries, andsketchbooks help bring the time period to life in his ownwords.

The idea for Ancestors and Descendants was plantedsome fifteen years ago when a researcher called NOMAin search of a Cochiti figurine he had seen in anineteenth-century lantern slide (figure 1). The scholarassumed the Museum might have acquired the Cochitiobject from nearby Tulane; he went on to explain thatTulane’s Middle American Research Institute (MARI) heldan extensive southwestern Native American archivedating back to the 1920s.1 At the time, his mention ofNative American material in a Tulane collection largelyknown for its pre-Columbian art was a surprise to us.Only recently did we learn that the caller was JonathanBatkin, director of the Wheelwright Museum in Sante Fe,New Mexico.

Years later, in July of 2008, we had the opportunityto visit MARI, which does indeed hold American Indianartifacts. Among its collections, MARI houses Pepper’sAmerican Indian art collection as well as hisphotographic documentation of the excavation of Bonitoand other sites. We also explored the collections atTulane’s Latin American Library (LAL), which includeseighteen boxes of Pepper’s diaries, field notes, journals,lectures, and other materials. Struck by thecomplementary nature of MARI and LAL’s Pepperholdings, we began to develop the idea for Ancestorsand Descendants.

Pepper was born in Tottenville, Staten Island in 1873,and became interested in science and Native Americansat an early age. After high school, he enrolled in an

From the Land ofEnchantmentto the CrescentCity: TheGeorgeHubbardPepperCollection ofNativeAmerican ArtBY PAUL J. TARVER Curator of Native American Art

AND CRISTIN J. NUNEZ


Figure 1Photographer unknown, Packing Cochiti Ceramics for

Shipment to New York, circa 1903, glass lantern slide, US.01.099.0212

ARTS QUARTERLY 9

anthropology course at the American Museum of NaturalHistory (AMNH). There, he studied under Frederic WardPutnam, head of the Department of Anthropology and ahighly esteemed scholar who also served as curator atHarvard University’s Peabody Museum of Archaeologyand Ethnology. In 1895, Putnam invited Pepper to“intern” with him at the Peabody. The scholar mentoredPepper for roughly a year and taught him excavationtechniques as well as methods of scientific classificationappropriate for the relatively new field of anthropology.

When it came time for the AMNH to send anexploring expedition to New Mexico’s Chaco Canyon insearch of artifacts for the museum’s southwesterncollections, Putnam thought of his young protégé. Thus,in 1896, at the age of 23 and with no field experience atall, Pepper was appointed Assistant Curator of theDepartment of the Southwest at the AMNH. His new jobtitle came with the prestigious responsibility of leadingthe Hyde Exploring Expedition in its pioneeringexcavations at Pueblo Bonito—one of the mostspectacular archaeological ruins in North America.Richard Wetherill, who had previously discovered theCliff Dweller ruins at Mesa Verde, was the excavation’sforeman, and Benjamin “Talbot” Hyde and FrederickHyde, Jr., patrons for whom the expedition was named,occasionally participated in the dig. Artifacts were sent tothe AMNH via the Santa Fe Railway, and excavation workcontinued each season through the summer of 1899.

Between excavation seasons, Pepper began to studythe contemporary cultures of the Southwest living nearestto Chaco. In 1903, after the Hyde Exploring Expeditionconcluded, Pepper returned to the Pueblo communitiesand many of the popular curio shops in Arizona andNew Mexico, collecting ethnographic materials for boththe AMNH and private collectors on the East Coast. It is

likely that Pepper collected the majority of thephotographs and objects in his personal collection—thecollection that Tulane acquired in 1924—between his1896 assignment at Chaco and the 1903 field study.

Pepper’s collection of photographic imagesdocuments many aspects of Pueblo and Navajo life at theturn of the twentieth century. Notably, the Tulane archiveincludes a number of glass lantern slides made by thephotographer Sumner W. Matteson. In 1901, Mattesonthoroughly documented the Hopi Snake Dance and FluteDance at the village of Mishongnovi.2 Pepper waspresent and recorded his own eyewitness account of theSnake Dance, which was used for one of his lectures. Hepurchased from Matteson a set of lamp slides to illustratehis presentation.

Over the four seasons Pepper supervised the dig atPueblo Bonito, he carefully recovered, recorded, andshipped thousands of Ancestral Pueblo objects to theAMNH by rail car. One of the striking discoveries at thesite was a collection of ceramic vessels shaped like longcylinders. Pepper and his team of Navajo workersuncovered 120 whole cylinder jars at the site (figure 2).We now know the vessels are almost exclusive to Bonito;of the 200 in existence, 166 came from the site.

Recent scientific analysis indicates these jars, themajority of which have uniform cylindrical bodiespainted with geometric black designs on white slip,reveal a relationship between Mesoamerica and theAmerican Southwest. As early as the 1920s, Peppersuspected such a connection, noting in an AMNH reporta resemblance between the Pueblo Bonito cylinders andMaya jars already in the museum’s holdings.

Last year, modern chemists confirmed Pepper’sanalysis. In an article published in 2009 in theProceedings from the National Academy of Sciences,

Figure 2Photographer unknown, Ancestral Puebloan Cylinder Jars in Situ, Ancestral Puebloan, Pueblo Bonito, New Mexico, circa 1100-1300, glass lantern slide, circa 1900, US.01.099.0387

Patricia L. Crown of the University of New Mexico andW. Jeffrey Hurst of The Hershey Center for Health andNutrition identified the presence of theobroma cacao(chocolate) in the ancient residue of Pueblo Bonitocylinder jars like the ones Pepper uncovered in 1896.Previously, similar jars from a number of Maya sitestested positive for the presence of liquid cacao.3 Madefrom roasted and ground cacao beans, the drink was aluxury food ritually consumed by elite Maya citizens. Thefact that cylinder jars from Bonito also tested positive forcacao would indicate that one of the most elite fooditems of Mesoamerica might have been traded to Chacoand ritually used in the same manner. This newdiscovery raises many questions about the purpose andimportance of Pueblo Bonito as both a trade center andritual or pilgrimage site.

Pepper interacted frequently with the community ofNavajo who camped or lived near the Pueblo Bonitoexcavation site. In addition to interacting with the Navajomen who participated in the excavation as diggers,Pepper also managed to research the day-to-day activitiesof Navajo women, especially the weavers. He hoped topublish a book entitled “The Blanket Makers of the GreatSouthwest.” As of today, the finished manuscript remainsunpublished, in the archives of Tulane’s Latin AmericanLibrary. However, Pepper’s photographs and sketchesoffer impressive firsthand accounts of Navajo life duringthe late nineteenth century.

This was a syncretic period of history for thesouthwestern Indian, when traditional dress andhandmade crafts coexisted with Spanish Colonial itemsand newly introduced American and European tradegoods. The photographic images Pepper collected oftendocument the hybrid attire of the time. For instance, infigure 4, the Navajo man pictured mixed his trade clothshirt and kilt with more traditional accessories. Pepperwould have displayed a number of the items this Navajoman is wearing as a supplement to his slide lectures,including the silver concha belt, wool stockings, andleather moccasins (see figure 3). He recorded in his

diaries that he regularly bartered with the Navajo workersfor their accessories; practically every object in Pepper’spersonal collection shows signs of wear.

In writing his manuscript “The Blanket Makers of theGreat Southwest,” Pepper commissioned an unusualweaving which was eventually gifted to the New YorkTeacher’s College. Pepper approached this commissionin a conceptual manner. After collecting a selection ofwell-worn weaving implements, he had the artist create adesign using shapes that represent the tools of her trade:distaffs, wool cards, battens, and comb awls. Insequential photographs, Pepper documented theconstruction of this weaving from start to finish, anddescribed its creation in every detail. He used many ofthese illustrations and notes in an article for Everybody’sMagazine, published in 1902.4 After a twelve-pageexplanation of the step-by-step process of blanketweaving, the article concludes with this nostalgic passagein which Pepper laments the influence of modern tradeon traditional Navajo textiles:

May the sun never rise upon the Navajo and beholdhim in more modernized condition in his blanketwork than at the present time. On the contrary, let ushope that the efforts that are now on foot may growto such proportions that the modern influence maybe swept away completely, and primitive ideas andprimitive work be once more the dominant factor inhis weaving industries.5

According to Pepper’s article, the commission provedto be tedious for the Navajo woman, who did notappreciate the request for native materials when shecould have woven a more colorful blanket in shortertime without having to spin her own wool yarn. By thetime of Pepper’s excavations, the Navajo were mostlyusing store-bought aniline dyes as well as white storecord rather than spun wool. Despite the weaver’svexation, however, Pepper praised the final product asthough the primitive qualities of natural wool were the


(Left)Figure 3

Knitted Leggings andLeather Moccasins,Navajo peoples, latenineteenth century,

wool, natural dye,leather; Child’s

moccasins -US.53.12.39-194a, b;

Adult moccasins -US.53.12.39-186a, b;

Purple leggings -US.53.11.41-76a, b;

Indigo leggings -US.53.11.39-173a, b

(Right)Figure 4

Photographerunknown, Portrait of

a Navajo Man WearingElaborate Outfit,

circa 1900, gelatinsilver print,

US.43.001.0188

ARTS QUARTERLY 11

most beautiful.6 As he noted in the closing of his article,Pepper believed that his “efforts” might reverse theimpact of modern trade on Navajo weaving.

In addition to his interest in Navajo textiles, Pepperalso collected Hopi textiles as examples of Puebloweaving. Pepper managed to collect important textilesworn during the Hopi Snake Dance, including the kiltand sash worn by Antelope Society Priests (figure 5 and6) and the kilt of the Snake Priest. The brocade designon the Antelope sash is a stylized version of a BroadFaced kachina, the personification of a Hopi deity. Thediamond shapes in the middle register are the eyes, andthe white, jagged zigzag register represents the kachina’steeth. The snake kilt, with its black and white serpentdesign against a red background, was part of the regaliaof the Snake Priests, who wore it while performing theSnake Dance.

In 1909, Pepper left the AMNH after accepting aposition in the Department of American Archaeology atthe University Museum of Philadelphia. However, a yearlater, George Gustav Heye, who had assembled thelargest private collection of Native American art in theworld, convinced Pepper to return to New York andwork for him. In 1916, when the Heye Collection becamethe Museum of the American Indian, Heye Foundation,Pepper was assistant curator for the collection. Todaymost of the collection resides in Washington, D.C., andserves as the basis for the National Museum of theAmerican Indian. Pepper retained his position at theMuseum of the American Indian, Heye Foundation, untilhis untimely death in 1924.

George Hubbard Pepper was a devoted ethnologistand an advocate for American Indians and their culture.Beyond the scientific value of his interest in theindigenous cultures of the Southwest, Pepper trulyappreciated the beauty and spirituality of the landscapeand the humanity of its native peoples. We are fortunatenow to be able to view Pepper’s documentation of the

Southwest and see the American Indian world from hisperspective—a place he called the “wonderful El Doradoof our native land.” n

Ancestors and Descendants: AncientSouthwestern America at the Dawn of the TwentiethCentury is on view in the Ella West Freeman GalleriesJuly 24-October 24, 2010.

Exhibition walk-throughs will be held Wednesday,July 28, 6 p.m.; Wednesday, August 18, 6 p.m.; Friday,August 27, noon; Wednesday, September 8, 6 p.m.; andFriday, September 24, noon.

A lecture by Jonathan E. Reyman, curator ofanthropology at the Illinois State Museum, will take placeWednesday, September 15, 6 p.m.

The exhibition was made possible with support fromthe National Endowment for the Arts, the LouisianaEndowment for the Humanities, and the CuddFoundation.

Notes1. Department of Middle American Research of the TulaneUniversity of Louisiana: Its Activities and Its Aims (NewOrleans: Howard Tilton Memorial Library, TulaneUniversity, 1928).2. Louis B. Casagrande and Phillips Bourns, Side Trips:The Photography of Sumner W. Matteson (Milwaukee:Milwaukee Public Museum and The Science Museum ofMinnesota), 20-25.3. Patricia L. Crown and W. Jeffrey Hurst, “Evidence ofCacao Use in the Prehispanic American Southwest,” PNAS106, no. 7 (February 17, 2009): 2110-13.4. George H. Pepper, “The Making of a Navajo Blanket,”Reprinted from Everybody’s Magazine (New York: 1902).5. Pepper, “The Making of a Navajo Blanket,” 43.6. Pepper, “The Making of a Navajo Blanket,” 42.

Figure 5Sumner W. Matteson, Antelope Priests Shaking Rattles, 1901, hand-colored glass lantern slide, US.01.099.0026

Figure 6Ceremonial Kilt and Sash, Hopi peoples, wool, cotton, and ribbon, circa1900, US.2.11.11


Most of the works in the New OrleansMuseum of Art are gifts to the collection,given almost every year since 1910. Andfor most of those years, NOMA hasreceived works on paper, making the

Collection of Prints and Drawings the second largestcollection in the Museum and by far the largest group ofpictures. Because paper is damaged by light, more than7,000 prints and drawings are kept unframed in archivalboxes. To celebrate our one hundred years of collecting,an exhibition this summer will present a selection fromthese seldom-seen treasures.

The exhibition includes sheets from celebrated artistsof the past like Goya, Audubon, Matisse, and Modigliani,as well as current celebrities like David Hockney andHoward Hodgkin. Featured are the local favorites: RobertGordy, Ida Kohlmeyer, and Henry Casselli. Importantfigures from New Orleans’s past include John McCrady,Edward Tinker, Richard Clague, and both of theWoodward brothers, Ellsworth and William. Beautifulone-of-a-kind drawings and watercolors will be seen aswell as limited edition prints in every possible medium:etchings, lithographs, woodcuts, photographs, andscreenprints—many in color. The rich variety is atestament to the donors and the more than sixty

collectors who have assembled these choice works of artand given them to NOMA. Gifts include those of Mrs. P.Roussel “Sunny” Norman, Mrs. Frederick M. Stafford,Muriel Bultman Frances, Mrs. John Weinstock, as well asmany others, including the artists themselves.

Founded in 1910 by Isaac Delgado, and knowntoday as the New Orleans Museum of Art, the Museumopened its doors in 1911, with neither a collection nor anendowment; it nonetheless acquired its first work for thepermanent collection that year. Since then NOMA hasbeen assembling world class art for one hundred years,all of which belongs to the people of New Orleans.

EVERY YEAR SOMETHING NEW: A CentennialCelebration from the Collection of Prints andDrawings will be on view in the TemplemanGalleries July 24-October 24, 2010.

A catalogue of the exhibition will be available.A gallery talk by the organizing curator, George

Roland, will take place at noon on Friday, July 30,Friday, August 13, and Friday, September 17.

1910-1920Pierre Allais (French, 1762-1833): After Antoine-François CalletLouis Seize, Roi des Francaise, 1792Engraving with hand coloringGift of the Misses P. and M. Abadie, 1912.53

This is the first work on paper to enter thepermanent collection.

hIsaac Delgado died in 1912 bequeathing tothe Museum the collection of decorative artsassembled by his aunt Virginia McRae Delgado.h Major Benjamin M. Harrod bequeathedtwelve paintings. h The Museum received theMorgan Whitney bequest, the Whitney Jades, acollection of 145 pieces valued at $50,000. hThe Museum made its first purchase fromadmissions monies: Frozen River, by CharlesRosen. h The Museum received a bequestfrom Eugenia Ulhorn Harrod of English andAmerican silver as well as an art-purchaseendowment in the amount of $5,000. h Acollection of thirty-six paintings by artists of theFrench salon, the Barbizon school, and theMunich group were the legacy of Mrs.Chapman H. Hyams.

1920-1930Edouard Henri Leon (French, born 1873)Notre Dame, 1922 Soft-ground etchingGift of Miss Mary Bonner, 1924.14

An accomplished printmaker, Louisiana-born donorBonner studied with Leon in Paris, producing images ofbucking broncos, cowboys, and cactuses that enchantedFrench collectors.

h A talented painter in watercolors, donor EllsworthWoodward acted as unpaid director of the Museum,1925-1939. h An anonymous donation of $10,000 forexpansion came to the Museum. Expansion did not occurfor forty years.

EVERY YEARSOMETHINGNEW:A CentennialCelebrationfrom theCollection ofPrints andDrawings

BY GEORGE ROLANDDoris Zemurrary StoneCurator of Prints andDrawings


Louis Seize, Roi des Francaise, 1792

Notre Dame, 1922

1930-1940Alice Pike Barney (American, 1860-1931)Girl in a White Kimono PastelGift of Mrs. Laura D. Barney, 1933.16

After study in Paris, Barney won renown not only as anartist, but as a Washington, D.C. salonist and hostess. Sheillustrated a chapbook of French love poems by herSapphic daughter Natalie, sister of the donor.

h A first gift from Samuel H. Kress—Madonna andChild, by Giovanni de Biondo—began a longrelationship between the Museum and the Samuel H.Kress Foundation.

1940-1950John McCrady (American, 1911-1968)Steamboat Round the Bend, 1945LithographGift of New Orleans District Assembly of Delphians,1945.1

McCrady made this print after the popular mural hepainted for Delmonico's restaurant in New Orleans. TheDelphian Society is an association of women “dedicatedto intellectual enrichment, social enhancement, andphilanthropic endeavors.”

1950-1960John James Audubon (American, 1785-1851)Townsend's Rocky Mountain Hare, 1842LithographGift of Tom Hardy, 1959.6

“The first genuine, honest-to-goodness Audubon prints to be owned by the Delgado.”—J. J. Brody, Curator of Collections, 1959

h Michael Musson, nephew of Edgar Degas, gave theartist’s sculpture Bronze Horse to the Museum. h William E. Campbell donated Dream, by AdolphGottlieb. h Muriel B. Francis gave Sleep, by Bazoites,beginning her important patronage which includes manywatercolors, drawings, and prints. h The first paintingof the Cuzco school entered the collection: St. Jerome,from John Jay Cunningham, initiating a major collectionof this material. h Sue Thurman was named director ofthe Museum with new responsibility to determine theexhibitions and control the educational anddevelopmental thrust of the institution. h Announcement was made that the Samuel H. KressCollection would become a part of the permanentholdings of the Museum.

ARTS QUARTERLY 13

Steamboat Round the Bend, 1945

Townsend's Rocky Mountain Hare, 1842Girl in a White Kimono

h A bequest by Kate P. Jourdan, an art-purchase endowmentin the amount of $4,000, was the second such endowment theMuseum received. h The New Orleans City Councilquadrupled the annual funding for the Museum. h AlonzoLansford, the first professionally trained director, was hired bythe Museum’s board of administrators. h The Museumpurchased Hercules the Archer, by Antoine Bourdelle, from hiswidow for $7,000.


1960-1970Henri Matisse (French, 1869-1954)Icare from Jazz Portfolio, 1947PochoirGift of Mr. and Mrs. Fritz Bultman, 1966.13.8

Jazz, a suite of twenty pochoir plates (a stencil process)by Henri Matisse, given by Mr. and Mrs. Fritz Bultman,was exhibited in the recently dedicated space for thepermanent collection of works on paper now known asthe Templeman Galleries. Jazz is widely considered tobe the finest artist's book created in the twentiethcentury.

h The Museum received the Jeanette Waugh Lapèyrebequest of $50,000. h Sue Thurman resigned; James B.Byrnes was named director of the Museum. h TheMuseum received the Melvin Billups Collection aftershowing A Decade of Glass Collection. h Mrs. Edgar B.Stern gave a collection of twentieth-century Europeanworks to the Museum. h A public fund drive raised$190,000 for purchase of Portrait of Estelle, by EdgarDegas, painted in New Orleans in 1870-71. The showEdgar Degas: His Family and Friends in New Orleanscommemorated the purchase. h Deaccession andauction of surplus art netted $38,000 for the AccessionsFund. h The Ella West Freeman Foundation gave a$200,000 matching grant to the Museum for artpurchases. The sum of $200,000 was raised to match theFreeman Foundation grant.

1970-1980George Perfect Harding (British, circa 1780-1853)Catherine, Countess of Salisbury, 1818After a painting by an unidentified artistin the collection of the Duke Bedford, Woburn AbbeyWatercolorGift of David Stone and J. Thomas Lewis, 1976.411

Before the days of photography, collectors recorded theirpaintings by having them copied in miniature. Stone andLewis donated fifty-nine of these jewel-like images.

h In 1971 the expanded and renamed New OrleansMuseum of Art officially opened. h Twelve ClarenceJohn Laughlin prints in portfolio are the first photographsacquired by NOMA and form the foundation of animportant and pioneering Museum collection introducedby E. John Bullard, the newly appointed fourth director.h Victor K. Kiam died in 1974, leaving the Museum abequest of thirteen paintings and four sculptures bytwentieth-century masters. The bequest also includednumerous prints and livres d'artiste as well. The Museumfinally received the Kiam gifts in 1977, after legalmaneuvering, and the bequest was placed on exhibition.h A blockbuster exhibition, Treasures of Tutankhamunwas seen by 900,000 persons in four months. h Theacquisitions fund drive, begun in 1975, was successfullycompleted with the gift of the Kuntz Collection, twoperiod rooms of eighteenth-century furniture anddecorative arts in memory of Rosemonde E., Emile, andFelix K. Kuntz.

1980-1990Amedeo Modigliani(Italian, 1884-1920)Portrait of JeanCocteau, circa 1916Blue inkThe Murial BultmanFrancis Collection,1986.270

A celebrity portrait bya celebrated artist wasin The Murial BultmanFrancis Collection—a bequest of 165important objects thatjoined many lifetimegifts from one of theMuseum's mostdevoted supporters.

h A bequest by Bert Piso of a collection of seventeenth-century Dutch paintings, drawings, and prints wasreceived by the Museum. h Martin Ackerman,flamboyant businessman famous for the demise of TheSaturday Evening Post, facilitated the gift of hundreds ofworks of (mostly British) art to smaller Americaninstitutions including NOMA. h Honorary Life TrusteesMr. and Mrs. Moise Steeg—unfailingly generous to theCollections of Prints and Drawings, Decorative Arts, andAsian Art—crowned their gifts with three superb colorstudies for a Vuillard portrait. h The bequest of RobertGordy enriched the collection with ninety-one worksfrom the artist's studio and personal collection. h Glassartist Robert Willson donated sixty-two of his sculpturesand watercolors as well as thirty-two works by otherartists from his personal collection.

1990-2000George Wesley Bellows (American, 1882-1925)Reducing #1, 1916LithographMuseum Purchase: Friends of Prints and Drawings Fund,1995.313

A giant of American art, at twenty-seven years oldBellows painted Stag at Sharkey's, an icon of thetwentieth century. Always a consummate printmaker, his

Icare from Jazz Portfolio, 1947

Catherine, Countess of Salisbury, 1818

Portrait of Jean Cocteau, circa 1916

Reducing #1, 1916

ARTS QUARTERLY 15

lithographs have the freshness and silvery beauty of acharcoal sketch. This is the first work by Bellows to enterthe Museum.

h In addition to their many donations to other NOMAcollections, generous long-time supporters Mr. and Mrs.P. Roussel “Sunny” Norman donated to the Prints andDrawings Collection 117 works on paper. h NOMAcollections were enriched by a bequest by William D.Cousins of 255 objects that included a fine group of OldMaster drawings. h Frederick R. Weisman, through hisfoundation, donated $400,000 to fund a gallery forLouisiana contemporary art and $100,000 for exhibits toput into it. h In anticipation of the opening of theexpanded Museum, a three-year program seekingdonations of art was undertaken; more than 2,000 workshad been acquired since 1990 with a value of more than$10 million. h NOMA's Photography Collection, begunin 1973 and now one of the most important in thecountry, was the recipient of 119 promised and partialgifts of major contemporary prints from H. RussellAlbright, M.D., following the exhibition of his collection,Altered Truths, in 1991. h Perhaps the largest bequest inNOMA's history to date is the legacy of Dr. WilliamMcDonald Boles and his wife, Dr. Eva Carol Boles: $2million was placed in permanent endowment, theincome from which would be used for the acquisition ofDecorative Arts. h Promised gifts from the Roland-GeistCollection joined prints from the Museum's extensiveholdings to bring the golden age of contemporaryprintmaking to NOMA in the comprehensive exhibitionHockney to Hodgkin: British Master Prints, 1960-1980.h The gift of a collection of livres d'artiste by Mrs.Frederick Stafford enriched the Department of Prints andDrawings with 472 important impressions by Chagall,Leger, Maillol, Matisse, and Rouault.

2000-2010Howard Hodgkin (British, born 1932)Bamboo, 2000ScreenprintGift of Mrs John N. Weinstock, 2004.193.35

Ninety-four twentieth-century prints from the collectionof Mrs. John N. Weinstock, a former art dealer, weredonated by her to the permanent collection. They joinmany earlier gifts from this generous donor.

h An exhibition, Acquisitions in Prints and Drawings,1996-2000, highlighted the active expansion of thecollection following the appointment of a full-timecurator to the department. h The donation by theBesthoff family of more than forty major sculptures bymodern masters and the creation of the free BesthoffSculpture Garden was a magnificent benefit to theMuseum and the people of New Orleans. h Zita MarksTempleman had been an art student, an artist and ever aresident of the city. In the course of her long life, sheassembled a collection of works of art by other artistsand bequeathed it to NOMA, seen in the exhibitionHome Is Where the Art Is.h Katrina Exposed, anexhibition of photography both professional andamateur, documented the devastation, despair, and hopethe hurricane left in its wake; the much-admiredcatalogue sold out after two printings. h The gift byErnest and Lieselotte Tansey of funding for the purchaseof 224 works from the artist's personal archive wascelebrated in the exhibition, Really Beautiful: HenryCasselli Drawings, Sketches, and Watercolor Pre-studies.

RECENT ACQUISITIONAdolph Gottlieb (American, 1903-1974)Rose Mood, 1975ScreenprintMuseum Purchase: Jean Heid Memorial Fund, 2010.3

The legacy of the late Jean Heid permits recent Museumpurchases to join the continuous lifetime donations ofthis great friend of NOMA. Rose Mood was acquired forinclusion in the forthcoming exhibition, ANDY TO JIM:American Master Prints, 1960-1980 in 2011.

Bamboo, 2000 Rose Mood, 1975

Perfume: from the Latin per fumum,“through smoke”

The title of this exhibition is, of course, a playon the title of English nineteenth centuryauthoress Jane Austen’s most famous novel,Sense and Sensibility, published in 1811. Thatplay is appropriate here since scents, or

perfumes, have been a part of civilization for more thanfour thousand years and have aroused the sensibilities ofmany artisans, craftsmen, and consumers throughoutthese four millennia.

Throughout history, perfumes and the crafting oftheir containers have inspired designers and artists. Sinceperfume has always been a luxury product, it is notsurprising that its containers have always been made toreflect its costly nature and rarity. Such vessels weremade of hardstone, pottery, glass, metal, and, eventually,porcelain. So revered were some of these vessels andtheir contents that they accompanied their owners totheir graves. Because the best scents have always beenexpensive, the objects made to contain them have alwaysbeen in the latest prevailing mode. Thus, a survey ofthese objects provides a surprisingly accurate reflectionof the arts, styles, and changing fashions of history.

The art of blending scents originated in the ancientNear East with the rise of urban life there some fivethousand years ago. The first perfumes were aromaticskindled as incense to the gods and ancestors; the scentedsmoke was thought to attract the beneficent notice of thegods and to carry aloft prayers and requests. Oils scentedwith saffron, cyprus, juniper, water lily, and lotus were

worn on one’s person in ancient Egypt. Ancient Greekmen and women used perfumed creams and oils on theirskin and in their hair. Through their contacts with theGreeks, Etruscans, and Phoenecians, the Romans learnedto make and use incense and personal scent. Arab andPersian perfume makers brought the further use of scentto the cultures of the Mediterranean, including anenhanced use of rose oil and rose water. India was amajor producer of perfumes, its Vanda culture burningincense fifteen hundred years before the birth of Christ.The Silk Route brought the aromatics of Near Easternorigin to China, where a monied aristocratic class was anavid consumer. The first European center for craftingperfume was Renaissance Italy. This was due to theperfecting of the process for distilling alcohol around1320. It was superseded by France in the eighteenthcentury, and that nation remains a major producertogether with the United States.

With such a lengthy and infinitely varied history, it ishardly surprising that the types of containers made forperfumes are equally diverse in the materials used andthe forms assumed. The ancient Near East utilized suchcarved stones as steatite, alabaster, and chlorite as well ascast bronze and, more rarely, silver. Due to thedifficulties of making scents and their subsequent cost,perfumes were produced only in small quantities. Thevessels for their containment were therefore small, aphenomenon that continued well into the nineteenthcentury. As civilization evolved and the skills of pottersadvanced, ceramic containers were used. These oftentook on fanciful shapes such as monkeys, ram’s heads,birds, and fantastical beasts. With the discovery ofmaking glass about 1400 B.C., a new medium for scentvessels was available. Glass was a major discovery for

SCENTS ANDSENSIBILITY:PerfumeBottles andRelatedAccessoriesfromAntiquity tothe PresentBY JOHN WEBSTER KEEFEThe RosaMary FoundationCurator of the Decorative Arts



SCENT BOTTLES THROUGH THE AGES: left to right:

UNGUENT FLASK, 100-299 A.D.Pale green non-lead glass:

freeblown and tooled;Syro-Palestine area;

Ht. 5 inchesNew Orleans Museum of Art:

Gift of Alvin P. Howard,1916.76

SCENT FLASK: Boy and Dogand Girl with Dog, circa 1850;

Blue and white jasperware,rose-gilt brass, cut glass;

England: Josiah Wedgwood(active 1759-present), Etruria, Staffordshire

Ht. 2 inches; New OrleansMuseum of Art:

The Jack M. Sawyer Collection, 2009.2.377 a-b

SCENT BOTTLE, 1983Transparent pale grey-blue,

opaque russet, lattimo and tealnon-lead glass: freeblown,

applied, combed and tooled;England: Okra Glass Studio

Ht. 6-1/2 inches; New OrleansMuseum of Art: Gift of KarenHarriman Harris in memory

of her husband, Louis S.Harris (1918-2003)

2003.249.37

SCENT FLASK: TheMonastery’s Provender,

circa 1880; Hard-pasteporcelain: cast, glazed and

polychrome-overglazed Germany: originally modelled

by J.J. Kaendler for theMeissen Porcelain Factory

(active 1710-present) in 1760,Meissen, Saxony;

Ht. 3-1/2 inchesNew Orleans Museum of Art: Gift of Mr. and Mrs. H. Lloyd

Hawkins, Jr., 1997.554

TOILETTE BOTTLE, circa 1820-1840

Transparent blue lead glass:mold-blown, crimped and

tooled; USA: New England areaHt. 5-3/4 inches; New Orleans

Museum of Art: Gift of Melvin P. Billups in memoryof his wife, Clarice Marston

Billups, 1963.65. a-b

This photograph illustratesalmost 2,000 years of scentbottle history and indicates

the major mediums used forthe containment of

fragrances: glass, pottery, andporcelain. The photograph

vividly indicates the changesin style and use exhibited by

perfume containers fromancient through modern

times.

ARTS QUARTERLY 17

perfumers since it was transparent, watertight, and non-reactive to oils and acids. While appearing more gem-like, the transparency of glass also permitted the ownerto check readily on the condition of the contents. Theinvention of the blowpipe about fifty years before thebirth of Christ permitted glassblowers to create a fargreater variety of form. The art was carried to a zenith byIslamic glass artisans, who produced extraordinarycontainers for scents. The development of glasscontinued to play an important role in the history of thescent bottle since a demand for glass perfume and eaude cologne flacons escalated in the ensuing centuries.The French company of Pochet et du Courval received aroyal grant for the manufacture of scent bottles in 1623and continues to make them today.

With the Italian perfection of the process for thedistillation of alcohol about 1320, the history of perfumeentered a new phase since oils and animal fats weresuperseded by alcohol as a base. By 1370, the firstdocumented named perfume, an alcohol-based extract ofrosemary and lavender, was produced for QueenElizabeth (1305-1380) of Hungary and christened“Hungary Water.” It was the originator of a lengthy andcontinuing list of perfumes bearing distinctive namesand, eventually, equally distinctive containers.

As civilization advanced, the use of scents escalated.The famed Marquise de Pompadour (1721-1764) ofFrance was enamored of fragrances and is credited withthe establishment of the French perfume industry. As afashionplate and trendsetter, her use of perfume causedthe court of King Louis XV to be called la courparfumée.1 The augmented use of perfumes caused thedressing table laden with scent bottles and jars tobecome a fashionable and important piece of householdfurniture. The eighteenth century also witnessed theappearance of the most celebrated scent of the day, eaude cologne.

The secret to producing true, or hard-paste, porcelainwas discovered at Meissen in Saxony in the winter of1709-1710. That discovery was soon utilized by themakers of scent bottles, flasks, and jars. English potterssuch as Josiah Wedgwood of Staffordshire producedperfume and cologne bottles in his celebratedjasperware. The nineteenth century witnessed an ever-expanding market for perfume and cologne bottles inporcelain; makers from Paris to Bennington, Vermont,responded eagerly to this demand.

The nineteenth century also saw the rise of ever-larger perfume manufacturers such as the house ofGuerlain which had created its Eau Impériale for theSecond Empire’s glamorous Empress Eugénie (1826-1920). At the influential 1867 Paris InternationalExposition, perfumes and soaps were given speciallydesignated sections for the first time, a tangible indicationof the bourgeoning importance of the perfume trade.This was followed by advances in organic chemistrywhich provided the ability to synthesize natural scents;synthetic musk was created in 1888; vanilla in 1890; andsynthetic violet three years later.

The heightened interest of the fashionable world inperfumes and their containers aroused the sensibilities ofsome of the greatest designers and artists of the BelleEpoque (1890-1914). Prominent among these wereFrance’s René Lalique (1860-1945), the great Russianartist-jeweler Peter Carl Fabergé (1846-1920), and theAmerican Louis Comfort Tiffany (1848-1933), all of whomcreated stunning perfume bottles and powder jars. TheParisian couturier Paul Poiret (1879-1943) possessed anexquisite sensibility, developing such scents as ForbiddenFruit, Borgia, and Le Balcon to accompany his

revolutionary garments. It was he who initiated thecustom of a signature scent for each house of couture.Chanel’s No. 5 of 1921, Jeanne Lanvin’s provocativelynamed My Sin of 1925, and Jean Patou’s extravagant Joyof 1931 all evolved from Poiret’s lead. That traditioncontinues to this day; each major designer has introduceda fragrance—and an accompanying container—expressing his or her style. These immediatelyidentifiable vessels and their packaging underscore theunique quality of their contents.

The rise of the Studio Glass Movement in the 1960sand its subsequent huge international success attractedan entirely new generation of independent artists to thecreation of scent bottles. They brought a completelydifferent sensibility into play, for each container was afunctioning autonomous work of art reflecting theaesthetic of its designer and maker. The traditionalglamorous connotation of the scent bottle permittedthese studio artists to create jewel-like containers withoutany association to a specific scent.

The present exhibition covers the history of the scentbottle from its ancient origins to the present day utilizingpieces from the permanent collection as well as generousloans from local and regional collectors. Not only arethese containers and accessories innately visuallyappealing, but they also reflect the changes in fashion,customs, and technology during three millennia. n

Notes1. Translation: the perfumed court

The exhibition Scents and Sensibility is presented inthe Cameo Gallery of the Lupin Foundation Center for theDecorative Arts on the second floor of the Museum. Itopens Wednesday, June 23, and closes Sunday, October24, 2010.

SCENT FLACON: L’Air duTemps; designed in 1947Colorless lead glass: mold-blown, tooled and partiallysatinéFrance: designed by Robert Ricci and MareLalique (1900-1977) forParfums Nina Ricci, Paris, and produced byLalique Crystal, Wingen-sur-Moder, AlsaceHt. 12-3/8 inchesNew Orleans Museum ofArt: Gift of the W.R.Fitzpatrick, Jr. Family inloving memory of NatalieMarie Fitzpatrick1997.152 a-c

This dramatic flacon wasthe largest of four sizes forcouturière Nina Ricci’sspicy floral L’Air du Temps,introduced in 1948 andconsidered one of thesignificant post-World WarII perfumes. Today, themagnum Lalique L’Air duTemps flacon itself isregarded as one of the greatscent containers of thetwentieth century and isavidly sought by collectors.

This fall, the New Orleans Museum of Art ispleased to present a series of videos drawnfrom the traveling art exhibition Projects 35,organized by Independent CuratorsInternational (ICI). For Projects 35, thirty-five

curators from around the globe were invited to selectone artist’s video that they consider vital to the discourseof contemporary art. The resulting selection is released infour chapters over a period of a year, and is presentedsimultaneously in an ever-expanding number of venuesworldwide.

NOMA’s presentation this fall will consist of the firstof Project 35’s four chapters of video: nine worksselected by nine curators. In this first compilation, theworks range from reinterpretations of philosophicalpropositions to uprisings and protests in South Africa,propaganda news broadcasts in China, and emergingyouth culture in modern-day Ho Chi Minh City. Theselection also points to developments in video practiceand reveals a diversity of approaches including animationand borrowing from the language of cinema,performance, and YouTube. These works weavebetween documentary and fiction.

The series includes videos by Israeli artist Guy Ben-Ner (selected by Mai Abu ElDahab), Japanese artistYukihiro Taguchi (selected by Mami Kataoka),Zimbabwean/South African artist Dan Halter (selected byKathryn Smith), Chinese artist Zhou Xiaohu (selected by

Lu Jie), American artist Wanda Raimundi-Ortiz (selectedby Franklin Sirmans), Vietnamese artists Tuan AndrewNguyen and Phù Nam Thúc Hà (selected by curator ZoeButt), German/American artist Kota Ezawa (selected byConstance Lewallen), Colombian artist Edwin Sánchez(selected by José Roca), and Robert Cauble (selected byRaimundas Malasauskas).

Project 35 is produced and circulated by ICI, NewYork. The exhibition and tour are made possible, in part,by grants from the Cowles Charitable Trust, Foundationfor Contemporary Art, Foundation To-Life, Inc., theHorace W. Goldsmith Foundation, and The Toby Fund;the ICI Board of Trustees; and ICI Benefactors Barbaraand John Robinson. Project 35 also benefited fromdonations made to ICI's Access Fund, created to widenthe reach of ICI programs—Burt Aaron, Bobbie Brownand Steven Plofker, Jim Cohan, Phillip Drill, Leslie Fritz,Marilyn and Stephen Greene, Agnes Gund, Ken Kuchin,Gerrit and Sydie Lansing, Jo Carole Lauder, JanelleReiring, Patterson Sims, Bill and Ruth True, August Uribe,Frank and Margo Walter, Helene Winer, and Virginia andBagley Wright. n

Projects 35 will be on view in the second floorcontemporary galleries in fall 2010.

Projects 35:InternationalVideo BY MIRANDA LASHCurator of Modern andContemporary Art


Guy Ben-Ner (Israel) Berkeley's Island, 1999

Single-channel color video and sound 15 mins.

Courtesy of the Artist

Robert Cauble (United States) Alice in Wonderland

or Who is Guy Debord?, 2003 Single-channel color video and sound

23 mins., 20 secs. Courtesy of the Artist

It is incredible that the fifth anniversary of Katrina isjust weeks away. It feels simultaneously so longago and as if it were just yesterday. Now livingwith the consequences of the horrific Gulf oilspill—yet another example of corporate and

political incompetence and greed—the citizens of NewOrleans will come together on August 29 tocommemorate their survival of possibly the worst disasterin U.S. history.

The New Orleans Museum of Art will mark theoccasion with the premiere of an extraordinaryexhibition: UNTITLED [New Orleans and the Gulf Coast2005]: Photographs by Richard Misrach. The showfeatures sixty-nine color photographs of messages thatpeople scrawled on roofs and walls, cars and trucks,fences and trees following the flooding of the city.Arranged by Misrach in a powerful narrative sequence,the images express, as the artist has stated, “peoplepleading for help, then defending their turf, thensuffering human loss, then animal loss, then despair, thenhumor, then anger at the political establishment, thenanger at the insurance companies, and finallydetermination and hope to survive and perhaps recover.”In these photographs you hear the voices of the peopleas they cry out—too often for help that never came orcame too late. This mostly spray-painted graffiti has aprimitive, Lascaux Cave-like authenticity, the messageswritten with an economy of expression that poets striveto achieve. Among the sad, poignant, even funnymessages are: “Don’t Try—I am sleeping inside with abig dog, an ugly woman and two shotguns …”; “KatrinaU Bitch”; “Hey, Katrina!! That’s all you got? We will beback!!”; and “Destroy this memory.”

Richard Misrach, the nationally/internationallyacclaimed American photographer, is based in California,where he has found much of his subject matter duringthe past forty years. In several major series, most

famously his Desert Cantos, he was one of the pioneersin the creation of large-scale color photographs, focusedin his case on the landscape and man's complexrelationship to it. Misrach has worked in Louisianabeginning in the late 1970s, first with landscapes in theLouisiana series and later in the powerful Cancer Alleyseries, documenting the sprawl of petro-chemical plantsalong the Mississippi River. His work has been celebratedin innumerable exhibitions, catalogues, and books and isincluded in the collections of over fifty major museums,including NOMA.

Misrach came to New Orleans soon after Katrina,spending three months photographing all over the city.His plan was to continue working here every month fora year and a half, but after hauling his 8 x 10 inchcamera around for twelve to fourteen hours a day, heherniated a disc in his back and was forced to lay flat forten months and consequently end his project. Still, in thetime he was in New Orleans, he made approximatelyone thousand 8 x 10 inch negatives as well as over twothousand images with a smaller digital camera. With allof the photographs, documentaries, and media attentionthat followed the disaster, and because the goal of hisproject was incomplete, he decided to put his Katrinawork aside for posterity. His plan was to edit the workand then release it in twenty years. Misrach has followeda similar plan with his extensive coverage of the 1991Oakland, California fire, which will finally be exhibitedfor the first time next year, marking the twentiethanniversary of that disaster.

However, with the fifth anniversary of Katrinaapproaching, he decided early this year to presentimages from a recently edited section of his small cameraphotographs in a book to be published by Aperture. Healso conceived an exhibition of these photographs to bepresented simultaneously at several museums across thecountry. In the end, the artist selected five museums toreceive the generous donation of this group of images.Two of the museums were able to arrange theirschedules to premiere the exhibition on August 29, 2010,while shows at the other three museums will occur at alater date. The five participating museums are theMuseum of Modern Art, New York, the National Galleryof Art, the Museum of Fine Arts, Houston, the SanFrancisco Museum of Modern Art, and the New OrleansMuseum of Art. n

UNTITLED [New Orleans and the Gulf Coast,2005]: Photographs by Richard Misrach is on view inthe Bay Gallery from August 28-October 24, 2010. Mr.Misrach will speak on his Katrina work on Sundayafternoon, August 29, in the Stern Auditorium, as part ofKatrina Remembrance Day. A fully illustrated book,published by Aperture, accompanies the exhibition and isavailable in the Museum Shop.

inary becomes extraordinary in two series of wo

Messages fromKatrina:Photographsby RichardMisrach

BY E. JOHN BULLARD

The Montine McDaniel FreemanDirector

ARTS QUARTERLY 19

Richard Misrach (American, born 1949) What Now? From UNTITLED [New Orleans and the Gulf Coast, 2005],

archival pigment print (from a digital capture), 10 3/4 x 14 1/2 in.

Congratulations to the Sheraton New OrleansHotel, winner of this year’s Isaac DelgadoMemorial Award. Presented at NOMA’sannual Fellows Dinner on February 28, theaward honors an individual or entity that has

shown exceptional support of the Museum. In the thirty-five year history of the award, this is only the secondtime it has been presented to a corporation.

“We are very grateful to the Sheraton New Orleansfor their generosity and partnership with the NewOrleans Museum of Art,” said NOMA Director JohnBullard. “The hotel has been a home-away-from-homefor many of our distinguished guests and for manycultured travelers visiting New Orleans.”

The Sheraton New Orleans Hotel became a part ofNOMA’s sponsoring family in 2003, as Napoleon’s sale ofthe vast Louisiana territory to the United Statesapproached its 200-year anniversary. NOMA planned tocelebrate the momentous event with an equally powerfulexhibition, entitled Jefferson’s America and Napoleon’sFrance. In addition to four-star accommodations, the

hotel donated sponsorship funds as well as a giantpromotional banner displayed outside its Canal Streetlocation, encouraging all within the downtown area tovisit the Museum.

Over the next several years, the Sheraton NewOrleans Hotel maintained its generous patronage of theMuseum, providing over $100,000 in donations forexhibitions. Shows such as Blue Winds Dancing: TheWhitecloud Collection of Native American Art, TheBaroque World of Fernando Botero, and Dreams ComeTrue: Art of the Classic Fairy Tales from the Walt DisneyStudio would not have been as successful without theSheraton’s support.

Sheraton General Manager William McCreary andwife Shawn, and Director of Sales and Marketing TommyMorel and wife Sandy, proudly accepted this year’saward at the Fellows Dinner. Chaired by Adrea Heebeand Dominick Russo, the event brought past DelgadoAward winners, Museum patrons and trustees togetherfor an elegant, enjoyable evening. Guests includedNOMA Board of Trustees President Stephen Hansel and

Sheraton NewOrleans HotelReceives 2010Isaac DelgadoAward forSouthernHospitality

BY KAKI READCommunications DepartmentIntern

Photographs by Roman Alokhin


View of the festivities in theMcDermott Lobby.

NOMA Director John Bullard presents the Isaac Delgado Award toSheraton Hotel General Manager Bill McCreary (left) and StarwoodHotels Director of Sales and Marketing Tommy Morel (right).

Bill and Shawn McCreary.

Kim and Mason Granger. Polly and Ed Renwick. Poco Floss and Nell Nolan.

ARTS QUARTERLY 21

wife Dana, 2008 Delgado Award recipient PrescottDunbar and wife Sarah, 2000 Delgado Award recipientMatilda Stream, Sydney and Walda Besthoff, James andJanet Frischhertz, and many others.

Kenny LaCour of Dakota Cuvee catered an exquisitedinner that featured Creole shrimp remoulade on crispmirliton coins and olive-oil poached salmon vichyssoises.Larry Federico of Federico’s Family Florist filled the GreatHall with aromatic floral masterpieces, while pianist JohnAutin provided harmonious tunes that entertained gueststhroughout the evening. Jim Perrier of Perrier PartyRentals handled the event design, crafting a strikingbackdrop for the party. n

Past Recipients of the Isaac Delgado MemorialAward 1975 – Arthur Feitel1976 – A.Q. Peterson1977 – Edith Rosenwald Stern1978 – Mr. and Mrs. Frederick M. Stafford1979 – Elizabeth Wisner1982 – Armand Hammer1984 – Doris Zemuray Stone1985 – Muriel Bultman Francis

1986 – Montine McDaniel Freeman1987 – Shirley Lattner Kaufmann1988 – Beverley Muller1989 – Charles Kohlmeyer, Jr.1990 – Robert J. Newman1991 – Sunny Norman1992 – Moise S. Steeg, Jr.1993 – Louis M. Freeman1994 – Jack Aron1995 – Ernst A. Carrere, Jr.1996 – Françoise B. Richardson1997 – Freeport McMoRan & James R. Moffett1998 – E. John Bullard1999 – James B. Byrnes 2000 – Matilda Stream2001 – William Fagaly2002 – Mr. and Mrs. Patrick F. Taylor2003 – Dr. Kurt Gitter2004 – Mr. and Mrs. Sydney Besthoff III2005 – Zemurray Foundation2006 – Jacqueline L. Sullivan2007 – Paul J. Leaman, Jr.2008 – Prescott N. Dunbar2009 – S. Stewart Farnet

John Bullard, Elaine Mintz, and Saul Silverman.

Tommy and Sandy Morel.

Adrea Heebe, Dominick Russo, andMarjorie Van Dervort.

Dana and Steve Hansel. Attendees in the Downman Gallery.

John Bullard and Pam and Ralph Lupin. Marilyn Dittmann and Paul Leaman.

Revelers in the Great Hall. Joel Weinstock, C. Robert Holloway, and SydneyBesthoff.


On April 18, NOMA honored the volunteerswho so generously gave their time in 2009with an appreciation luncheon. Over18,000 hours were clocked by thechamberlains, docents, and NVC! Among

those receiving special awards were day captains SandraBlount, Buddy Hanemann, Rosemarie Fowler, NaomiBender, Barbara Tureaud, Maria Daly, NancyVandenAkker, Dixie Williams, and Charles Mims.Receiving awards for the most hours were Rita Dejan(chamberlain), Diane Walmsley (NVC), Ann Duffy(docent), Zac Thriffely (student), Debbie Fleming(library), and Sandra Steudlin (Museum Shop). Twovolunteers, each of whom have worked at the Museumfor over thirty years, received Outstanding Day CaptainAwards: Nancy VandenAkker and Barbara Tureaud. Alsohonored were Odyssey Ball Chairs Lori Frischhertz and

Charlotte Hebert, Love in the Garden Chair JenniferRoland, and Art in Bloom Chairs Caroline Calhoun andMarilee Hovet.

The Volunteer of the Year Award is given to avolunteer of long standing who has shown specialdedication to NOMA. This year's award went to RitaDejan. Rita, a native of New Orleans, graduated from St.Mary's Academy and Southern University and worked forfifteen years at D.H. Holmes Department Store. She is anactive member of the Ladies Guild of St. James MajorChurch and volunteers at NOMA three days a week aswell as for special events. Many of our members willrecognize her from the checkroom. Son Lawrence anddaughter Linda surprised Rita as guests at the luncheon.

Thanks again to all the volunteers who make ourMuseum such a fine institution! n

VolunteersHonored atAnnualLuncheon


Volunteer Coordinator Gretchen Wheaton; Volunteer of the Year Rita Dejan; and NOMA Director John Bullard.

Rita Dejan and her family.

Day Captains: (Front row) Dixie Williams, Rita Dejan, Sandra Blount, and Rosemarie Fowler.(Back row) Buddy Hanemann and Charles Mims.

ARTS QUARTERLY 23

The New Orleans Museum of Artcelebrates

LOVE in the GardenFriday, September 24, 2010

Besthoff Sculpture Garden

PATRON PARTY7:00 p.m.-8:00 p.m.

Members: $85 Non-members: $100

GARDEN PARTY8:00 p.m.-11:00 p.m.

Members: $50 Non-members: $60

Delectable dining featuring New Orleans’ best restaurants and caterers, open bar, and dancing under the stars

LOVE Honors Local ArtistsTo purchase tickets or to become a sponsor

call 504-658-4121 or visit www.noma.org/love.html

Attire: Dressy Casual

The NVC’s fifth annual Fabergé Egg Huntdelighted hundreds of children on March 21,2010, all of whom left with sticky fingers andmuch more than an handful of treats, thanksto a generous donation by Elmer Candy

Corporation.Chairs Jennifer Rareshide and Katie LeGardeur and

their committee made sure the young crowd had notonly a surfeit of treats to hunt, but also lots of hands-onactivities. Thanks to Cherie Gauthier and the sponsorshipof Gauthier, Houghtaling & Williams, a special effort wasmade to include special needs children in the fun.

The furry paws of the Easter Bunny himself cut theribbon to open a hunt for the eager children. The littleones enjoyed petting real bunnies with help fromvolunteers from Americorps, Tulane University, and J.P.Morgan. The children cut, colored, and created at the arts

and crafts table, and were equally enthusiastic at therefreshment tables, where they snacked on sandwichesdonated by McAlister’s Deli and drinks donated byKentwood and Sqwincher. Adults cooled off with icedcoffee from Coffee Roasters of New Orleans. The kidsjoyfully burned off some of that sugar on the spot, thanksto the donation of two Bounce Houses by Bounce AcrossNew Orleans. Other attractions included lively strummingand singing by Papillion, balloon making, and facepainting.

Parents, grandparents, and friends of the children leftthe party with photos and happy memories to hold foryears to come. Plan to make the sixth annual springtimeparty in the Sculpture Garden an annual tradition foryour little loved ones! n

NVC’s FifthAnnualFabergé EggHunt

BY LAURA CARMANNVC Publications Co-Chair

Photographs ©Mike Lirette Photography,www.mikelirette.com


ARTS QUARTERLY 25

Happy 45th Anniversary was the theme ofthe May 10, 2010 meeting of the NOMAVolunteer Committee (NVC), wheremembers enjoyed Champagne,refreshments, and a beautiful anniversary

cake. Since its founding in 1965 as the Women’sVolunteer Committee (WVC), the NVC has grown from agroup of about fifteen active stalwarts to 442 members,including women and men.

As if that’s not enough to celebrate, the NVC’sfounding chair, Beverley Muller, was the honored guestand speaker at the festivities. Mrs. Muller entertained themembers with a witty and insightful presentation called“A Portrait in Progress: Women in Action at NOMA.” Thefirst WVC faced obstacles including: opposition to theconcept from the legal committee of the Museum board;being taken seriously in the 1960s when they werethought of and called “the little ladies”; suspicion fromthe staff as to how much extra work they’d cause; andthe challenge of developing and presenting a major fund-raising event.

Mrs. Muller described how the fledgling WVC tookon the competitive task of presenting a ball in the “Cityof Balls” in 1965, using mostly borrowed items and theirown labor. The committee was literally sweeping theGreat Hall as the guests entered. The eclectic artcollection of Mr. and Mrs. Frederick Stafford was on loanfor the event, and the theme was “Odyssey of aCollector.” The hall was lighted with candles throughout.Mrs. Muller gasped at her memory of the event—youngand inexperienced Museum volunteers, borrowed art,open fire, and an overcrowded venue! But, what asuccess that first Odyssey Ball was! It was sold out at 750attendees, the fire marshal did not show up, and WVCwomen were now taken seriously indeed!

Today, the NVC annually benefits NOMA withproceeds from Art in Bloom, LOVE in the Garden,Odyssey Ball, and the Fabergé Egg Hunt, and itcontinues to be a source of learning and pleasure for itsmembers. n

NOMAVolunteerCommitteeCelebrates45 Years

BY LAURA CARMANNVC Publications Co-Chair

The Besthoff Sculpture Garden isalive with visitors andvolunteers are needed inseveral capacities. Pleasecontact Gretchen at 658-4137

for more information. The Garden is nowopen seven days a week.

Volunteer inthe SculptureGarden!

NVC Chair Anne Gauthier and NVC’s founding chair, Beverley Muller. Beverley Muller.


The twenty-second annual Art in Bloom, ajoint project of the New Orleans Museum ofArt and the Garden Study Club of NewOrleans, was held March 24 through March28, 2010, with the environmental theme, “A

Green Orleans.” NOMA’s Karen Gundlach and Elly Laneof the Garden Study Club were the co-chairs of thisyear’s eco-conscious, springtime event.

Guests at the Patron and Preview Party heldWednesday, March 24, held up their end of the greentheme as NOMA’s Great Hall became a verdant garden ofspringtime attire! Party Chairs Leah Englehardt, LeilaGamard, Lise Kuhn, Frances Fayard, and Sallee Benjaminmasterminded a spectacular opening night with twenty-nine of the area’s top eateries providing refreshments andck3 providing the beat. Auction Chairs Elaine Gleason,Fifi Laughlin, Lander Dunbar, and Murphy Dunn amassedan exciting array of artwork and jewels to lure bidders.“We are so lucky to have had so many amazing artistsparticipate in our auction and are so thankful to NicoleCharbonnet, whose beautiful painting was such aninspiration,” said Gundlach. Restaurateur Greg Reggiowas the elated winner of Charbonnet’s original oilpainting, After Durer (For Eugenie), which graced thecover of the Art in Bloom invitation and was thehighlight of the live auction. Special thanks to guestauctioneers Ruthie Winston and Lander Dunbar.

The IPPOLITA jewelry collection presented by SaksFifth Avenue kept a corner of the Great Hall abuzz withshoppers while nearby a delectable display by KKCookies kept every sweet tooth happy. Patrons left witha KK gift box and an eco-friendly Repax shopping tote inhot pink!

Wednesday’s preview saw NOMA’s galleries awashin a palette of chartreuse and celadon as the artistic,whimsical, and thought-provoking creations of the Art inBloom participants made their environmental statements.Creative and professional designers, young artists, gardenclubs, and such movers and shakers as Edible SchoolyardNOLA (the Samuel J. Green Charter School), South CoastSolar, Global Green, and Groundwork New Orleans trulytransformed NOMA. “So many talented artists of all kindshelped raise crucial awareness of the environment andthe art of conserving,” said Lane.

Opening the Thursday morning lectures was CherylNix Murphy, co-owner of Spruce Eco-Studio, with themessage that style and sustainability are not mutuallyexclusive. Nix Murphy presented two case studies usinggreen design, which featured homeowner TraceyMcDade and Annabeth Goodman, proprietress of PippenLane children’s clothing store. “Repurposed,”“recyclable,” and “energy efficient” were key words inthe spirited question and answer session with theaudience that followed.

The featured speaker was Remco Van Vliet of VanVliet and Trap, an event design company in New York.This third-generation floral designer from Hollandproclaimed his first visit to New Orleans a “feast for theeyes and soul.” Van Vliet charmed his audience withstories of his boyhood days crafting hand-tied bouquetsin his father’s shop, and memories of his mentor, ChrisGiftos, at the Metropolitan Museum of Art. A stunningslideshow featured the unique, creative designs thatmake him the toast of New York. Van Vliet then showedoff his mastery of the medium as he fashioned onestunning floral arrangement after another before hisenthralled audience. Flower magazine editor MargotShaw was the happy recipient of a gorgeous, hand-tiedbouquet.

The action then shifted to the Pavilion of the TwoSisters in City Park where Susan Wormser, Anne Redd,and Jenny Williamson chaired the midday luncheon,catered by Highlights. Saks Fifth Avenue presented theBest of Spring 2010 fashions, with adornments byIPPOLITA. Sisley Paris and Flower provided favors.

Art in Bloom remained on view through Sunday,March 28. Gundlach remarked: “The collective creativityof our exhibitors was incredible. I feel like everyonereally embraced the green theme. I am so thankful to ourwonderful committee, all the volunteers and the NOMAstaff for all they did to help AIB to run so smoothly andfor its big success!”

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 BotanicalGardens, the Beauregard-Keyes House and Garden, andthe Project Lazarus House Garden. n

A SuccessfulGreenOrleans

BY VIRGINIA PANNONVC Correspondent


Art in Bloom gratefullyacknowledges the followingsupporters:

Conservation ContributorCanal BargeEugenie and Joseph Jones Family

FoundationNicole Charbonnet

Ozone Optimistflower TabascoSaks Fifth Avenue, New OrleansSuperior Energy Services, Inc.International Sureties, Ltd.

Young Artists’ UnderwriterThe Lupin Foundation

Recycling Role ModelDr. and Mrs. Walter D. CockerhamFirst NBCHarrah’s New OrleansIberia BankGustaf W. McIlhenny Family

FoundationJones WalkerTCHOUPSTOP

RosemaryJoAnn Flom GreenbergKaren and Mark GundlachSusan and Jimmy GundlachMerritt and Elly LaneMr. and Mrs. Charles S. ReilySusu and Andrew StallSibyl M. White

SageMarion and Pepper BrightMr. and Mrs. Christian BrownLouisette BrownMr. and Mrs. John J. CharpentierDana and Steve HanselEugenie J. HugerMr. and Mrs. Bernard JeskinPaul J. Leaman, Jr.perchMr. and Mrs. Nat P. Phillips, Jr.Wendy and George Rodrigue,

Rodrigue StudiosSuzanne and Gregory RusovichJolie and Robert SheltonAnne Reily SutherlinDeborah Tullis

*****Patrons listed below missedthe program deadline*****

BasilJulia Reed

TarragonMrs. Adele L. AdattoAdler’sMr. Todd BagwellCecile BallardMr. John BentonMr. Perry J. Booth IVMirella CameranMr. and Mrs. A. B. Crutcher IIIMs. Kara FrenchMr. Mark GriseMajor and Mrs. Sergei J. HilleryMr. Josh KochGay LeBretonDawn LeslieMr. and Mrs. J. J. Morrison, Jr.Ms. Mary Wheaton MorseMr. and Mrs. Alan H. PhilipsonPizazz PlanningLisa A. SchlesingerDr. and Mrs. David SilversNannetta B. Smith

ARTS QUARTERLY 27

Three generations: Leila Gamard, Banana Reily, and Anne R. Sutherlin.

Garden Study Club President Susu Stall, Past AIB ChairDana Hansel, NOMA Board of Trustees President StephenHansel, and NVC Chair Anne Gauthier.

JoAnn Greenberg and Sybil White.

Art in Bloom Co-Chairs Elly Lane and Karen Gundlach withE. John Bullard.

AIB Co-Chairs Karen Gundlach and Elly Lane; artist NicoleCharbonnet; winner of Charbonnet oil After Durer (ForEugenie) Greg Reggio; and Jennifer Banquer.

Paul Leaman and Susan and Jimmy Gundlach.

Mark and Karen Gundlach with Elly and Merritt Lane. Former NVC Chairs Brenda Moffitt, Kay McArdle, andDiane Walmsley.

NVC Chair Anne Gauthier with NOMA Director E. JohnBullard and guest artist Nicole Charbonnet.


NOMA is pleased to announce several newadditions to our staff.

Page Gleason joined NOMA this spring as grantsofficer. She graduated from the University of Delawarewith a bachelor’s degree in English and is a thesis awayfrom a master’s degree in education policy studies fromGeorgia State University. In her previous positions asdirector of development for Georgia State University anda number of non-profit organizations in Atlanta, Pagedeveloped cultivation and stewardship plans for majorgift and planned giving prospects, and successfullyworked to secure grants from the Turner Foundation, theEducational Foundation of America, the EnvironmentalProtection Agency, the Coca-Cola Company, UPS, andmany others. Since beginning her position at NOMA, shehas been working with curators and department heads toresearch and write grants for exhibitions, catalogues, andMuseum programming. Page and her husband, anattorney who practiced in Atlanta and was recently sworninto the Louisiana Bar, reside in the Faubourg Marigny.

Alice Dickinson Carboni, associate collectionsmanager, will be leaving NOMA to accept a position asLois F. McNeil Fellow of the Winterthur Program inAmerican Material Culture. The master of arts programfocuses on the decorative arts, and is run by theUniversity of Delaware and the Winterthur Museum andCountry Estate, Winterthur, Delaware. Alice, who earnedan M.A. in art history from Tulane University, is looking

forward to building on her art historical scholarship andfurther specializing in decorative arts and design.

Alice joined the Museum three and a half years agoto work on a grant to assess the permanent collectionafter Hurricane Katrina. After completion of the grant,Alice and Monika Cantin, who also worked on theproject, were hired as collections managers. Alice’s recentwork at NOMA includes her role as institutional curatorfor The Art of Caring: A Look at Life through Photography.A recent bride, Alice and her husband will be leavingNew Orleans in July.

NOMA was fortunate to have several excellentcandidates apply for the associate collections managerjob, and in May welcomed Marie-Page Phelps to theposition. Marie-Page worked as an intern in theCollections Department for several months prior tojoining the staff, handling and packing art anddeveloping a familiarity with the Museum’s collection.She received her bachelor of arts degree in anthropologyfrom Colorado College. Before interning for NOMA, shedid field work with the University of Tennessee as amember of an excavation team for a Bronze Age site inGreece. Marie-Page also spent the fall of 2008participating in a survey of an Ancestral Puebloan site inCanyon of the Ancients.

Our new preparator Todd Rennie came to us byway of Baltimore, Maryland, and Pensacola, Florida. AFlorida native, he studied at the Maryland InstituteCollege of Art in Baltimore and the Edinburgh College ofArt in Edinburgh, Scotland. Todd has worked at severalmuseums and galleries around the country, including theAmerican Visionary Art Museum in Baltimore and theFrederieke Taylor Gallery in New York, where he was a

NOMANotables

BY SUSAN HAYNEHuman Resources Manager


Page Gleason Marie-Page Phelps Todd Rennie

ARTS QUARTERLY 29

preparator; and at the Walters Art Museum in Baltimore,where he was an education assistant. In New Orleans, heworked on Prospect One, handling art and doing projectinstallation. Before joining the NOMA staff as apreparator, Todd was an auditory supervisor for theDisney exhibition.

Rachel Strassel recently joined NOMA’s EducationDepartment as public programs assistant. Rachel internedin the Education Department for a semester while shewas finishing her degree in Mass Communications-PhotoJournalism at Loyola University and continued herinternship after graduation. In addition to her studies atLoyola, Rachel spent the fall of 2005 studying graphic artand art history at the Savannah College of Art andDesign. She was named an Outstanding PhotojournalismStudent at Loyola, where she received several otherawards and honors. She also earned the 2009 Press Clubof New Orleans third place award for her featurephotography.

Rachel’s duties as public programs assistant willinclude working with the assistant director of educationin the planning and implementation of a range ofcommunity outreach programs. She will also assist theMuseum with audio visual needs.

Centennial! Centennial! Centennial! RebeccaThomason wants you to think of her when you hearthese words. Rebecca recently took on the position ofplanned museum events coordinator, having served aslogistics coordinator during the Disney Dreams ComeTrue exhibition. In her new position, she will be

planning and executing the Museum’s many events andfestivals, including the Art Museum MembershipConference, Japan Fest, Mid-Week in Mid-City, and theupcoming Centennial Celebration. Rebecca will also bethe staff liaison to board committees on all events.

She comes well prepared for the job with a bachelorof fine arts in graphic design from Mississippi StateUniversity and a master’s in visual arts management fromColumbia College, Chicago. She has been working in thearts for the last seven years.

Katherine (Katie) Truxillo has joined the NOMAstaff as a development associate for membership. Shebegan working as an intern for the DevelopmentDepartment in the fall of 2009, and soon filled in asinterim grant writer and special events coordinator. Katiewas always there when needed and happily took onwhatever task was before her.

In her new position, Katie will be responsible for therecruitment and retention of members, reaching out topotential new members from various local organizations.She will also be working with our state advisory councilon membership to see how we can capture newmembers across Louisiana.

Katie received her bachelor’s degree in foreignlanguage education and her master’s in artsadministration from the University of New Orleans. Shetaught French for two years in the Caddo Parish SchoolSystem and taught French and English for two years ather high school alma mater, Ridgewood Prep. n

Rachel Strassel Katherine TruxilloRebecca Thomason


In May, Arcola Sutton, a longtime employee of NOMA,moved into her brand new home in the Lower 9th Ward.A former resident of the neighborhood, she’s grateful toBrad Pitt’s Make It Right Foundation for helping to makeher return possible. The program, launched in 2007,helps 9th Ward residents rebuild with affordable,environmentally friendly construction. “I’m so thankfulthat Brad Pitt came up with this program,” she says.“There’s no way I could have done this without it.”

Sutton lived on Jourdan Avenue for a decade beforethe flood, in a five-bedroom home with a front porchview of the Industrial Canal levee. After the levee breach,she and her son spent two nightmarish days on the roofof her house, eventually making their way to theSuperdome. She spent the next eight months living inBeaumont, Texas, and Baton Rouge. When formerdeputy director Jackie Sullivan contacted Sutton aboutreturning to the newly reopened Museum, she beganliving with her sister three days a week so she couldwork at NOMA, and commuted back to Beaumont on herdays off.

“We lost everything. We had to start from scratch,”notes Sutton, a senior museum protection officer whohas been with NOMA for thirty-one years this July. Still,

she says, “I had my health and I had my strength and Ihad my job to come back to.” While living with hersister, she heard about the Make It Right Foundation’sefforts to help rebuild her neighborhood and applied tothe program.

Her new place on Tennessee Street—a cheery yellowhouse with light green trim—is two blocks away fromher old house. Inside, a ceramic tile floor and colorpalate of wheat and white combine with plentifulskylights to create an airy, light-filled space. Outside,Japanese magnolia and indigenous plants offer low-maintenance beauty; an ancient oak tree on the corner ofthe lot provides a shady spot for lounging. A porch lift tothe home, which is elevated eight feet, makes it easy forSutton’s 81-year-old mother and daughter-in-law, whouses a wheelchair, to access the house when they visit.Solar panels and other green innovations meanreasonable utility bills.

After a year of waiting for construction on the houseto be finished, Sutton is glad to finally be settled. Thepeaceful master bedroom—complete with a door to thepatio, bath and a walk-in closet—is her favorite room inthe house. “It’s beautiful to be back,” she says. “I neverdreamed it would be so nice.” n

Make It Right:NOMAEmployeeMoves Hometo the Lower9th Ward

BY CAROLINE GOYETTEEditor of Museum Publications


ARTS QUARTERLY 31


On a sunny Tuesday morning in April,twenty-two NVC members flew toHouston, Texas, for a whirlwind threedays of art, theater, and camaraderie.

Organized by NVC Regional Art Trip Chairs ElaineMintz and Virginia Dare Rufin, the trip kicked off with atour of the stunning condominium and art collection ofFrank and Doreen Herzog. Tracing the evolution ofabstract expressionism into the pop art movement, theHerzog collection features an exhilarating display ofwork by artists such as Andy Warhol, Roy Lichtenstein,Frank Stella, Lee Krasner, Christo, David Pettibone, andthe late Houston artist Jim Love. The Herzogs guided theNVC group through their home, discussing color fieldpaintings, appropriations art, and even flower frog ladies,the delightful private collection of Mrs. Herzog. Deliciousrefreshments followed.

After a brief stop at Houston’s much-photographedWater Wall, the group was welcomed into the River Oakshome of another gracious couple, Louis and Gail Adler.The magnificent light-filled residence was a fittingshowcase for the Adlers’ contemporary art collection,which was begun in the early years of their marriage.Gradually, their focus shifted from North Americanpainters to contemporary painters in Brazil andArgentina. A granite sculpture by Texas-born JesúsMoroles, familiar to NOMA visitors from the Morolespiece in the Besthoff Sculpture Garden, and a startlinglylifelike Duane Hanson sculpture of a young man in gymattire, were among the many interesting works. Other artincluded the bright abstracts of Nancy Graves, an Armantwo-dimensional accumulation of saws mimicking divingsharks, and Mr. Adler’s favorite Lichtenstein. After elegantrefreshments, it was off to the hotel.

Hotel ZaZa in the Houston museum district provideddramatic and luxurious accommodations for the NVCgroup. Its Monarch Restaurant was the al fresco venuefor the group’s dinner, where reminiscences of the firsteye-poppingly full day were shared.

The next day began with a quick stop at the Lillieand Hugh Roy Cullen Sculpture Garden designed byIsamu Noguchi before a visit to the Museum of Fine Arts,Houston. Docents guided the group through threebeautiful exhibitions: Sargent and the Sea, Houston’sSargents, and Prendergast in Italy. Lively conversationsinvolving John Singer Sargent’s Madame X and her NewOrleans origins, the subject of a recent NOMA book clubselection, carried the group to its lunchtime destination,La Colombe d’Or. Built in 1923 for Texas oil baron W. W.Fondren, this historical landmark is now a luxury hoteland restaurant. After a special meal, the genial owner,Steve Zimmerman, led the group on a tour of the hotel’sBelle Epoque showpiece ballroom, Le Grand Salon.

The afternoon continued with a visit to the MenilCollection campus. With an introduction by MichelleWhite, assistant curator, the NVC group began their tourof the collection of John and Dominique de Menil inarchitect Renzo Piano’s first American building. The deMenils’ humanist approach to art was evidenced in theserene galleries, imaginative use of light, and lack ofaudio tours and label text—all fostering an intimateexchange between object and visitor. Stops on the Menilwalking tour included the Cy Twombly Gallery, theRothko Chapel, and the Byzantine Fresco ChapelMuseum, housing two thirteenth-century frescoes from achurch in Cyprus.

That evening, the group supped at Artista in theHobby Center for the Performing Arts, the stylish

NVC GroupEnjoys Arts,Camaraderiein Houston

BY VIRGINIA PANNOAND LAURA CARMANNVC Contributors

Tour leaders Virginia Dare Ruffin (far left) and Elaine Mintz(far right) with hosts Doreen and Frank Herzog. Photo byLaura Carman.

Host Collectors Chris and Don Sanders. Photo byJames Riopelle.

Collector-hostess Stephanie Smithers with Oscar Hadwigerwooden art. Photo by Laura Carman.

ARTS QUARTERLY 33

entertainment complex in downtown Houston, before avery short walk to attend In the Heights, a Tony award-winning musical.

The final day of the trip began with a quick bus rideto the glass enclosed, loft home of Don and ChrisSanders. Despite stunning views of the Houston skyline,art was the visual knockout—everywhere! Works byFrank Stella, Mel Ramos, Timothy Greenfield-Sanders,Dale Chihuly, John Chamberlain, Tom Wesselmann,James Rosenquist, Helmut Newton, David Levinthal, andhometown favorite George Rodrigue were on vividdisplay. Two horse sculptures by Deborah Butterfieldreminded the group of the Butterfield mare in theBesthoff Sculpture Garden. After much prodding, Mrs.Sanders allowed the group into her jewelry studio,causing quite the frenzy as the NVC ladies, starved forshopping, scooped up her beautiful necklaces, pins, andearrings.

The next stop, the River Oaks home and artcollection of John and Stephanie Smithers, offered adifferent theme from much of the abstract and surreal artpreviously viewed by the group. The Smithers have forseveral decades collected the works of self-taught artists.Mrs. Smithers explained that these outsider artists oftenbegin to create due to life changes such as retirement,accidents, illnesses, imprisonment, or institutionalization.Her stories about the artists’ lives conveyed that this wasa collection with a very personal and heartfelt touch. Itincluded pieces by Charles Stagg; Texas Baptist minister

Rev. Johnnie Swearingen; institutionalized artists IkeMorgan and Adolph Wolfli; and Thornton Dial, whobecame an acclaimed self-taught artist after he retiredfrom the Pullman Company. Also included wereSouthern face jugs and the wooden inlay models ofmaster carpenter Oscar Hadwiger. Much of theSmitherses’ art was collected without the assistance ofgallery representatives on the couple’s travels throughoutthe country.

The group’s final outing took place at Rienzi, theformer home of the late philanthropists Carroll SterlingMasterson and her husband Harris Masterson III and nowthe Museum of Fine Arts, Houston’s center for decorativearts. Named for Rienzi Johnston, Mr. Masterson’sgrandfather, the residence evokes English Georgianarchitecture with Palladian designs. Docents led the NVCmembers on a tour of the eighteenth-century Englishceramics, furniture, and portraiture on display. Theexquisite Rienzi gardens, nestled between two ravines,contained enough blooming azaleas to remind the NewOrleans group that they would soon be home.

On the return flight Elaine Mintz and Virginia DareRufin were congratulated for the meticulous planningand research that created such an outstanding itinerary.Their capable leadership, along with the generousassistance of NVC Chair Anne Gauthier, created a thrillingopportunity to visit private homes and collections,museum exhibitions, and even a Broadway show in thebest possible way—among friends! n

Jesús Moroles statue (left) at theAdlers’ home. Photo by LauraCarman.

Hosts Gail and Louis Adler withfavorite Lichtenstein painting. Photoby Laura Carman.

Deborah Butterfield horse in found materials. Photo by LauraCarman.

Hostess collector Stephanie Smitherswith a favorite self-taught artist’swork. Photo by Virginia Panno.

NVC Houston Art Trip participants with George Rodriguedogs. Left to right, front row: Jo-Ann Adams, AnneGauthier, Margie Scheuermann, Anita Garcia, JackieLothschuetz, Beverly Katz, Irene Klinger, Adele Adatto,Joan Lennox, Elaine Mintz, Virginia Dare Rufin. Secondrow: Betty Killeen, Eleanor Straub, Vicki Bartels, VirginiaPanno, Dottie Brennan, Ann Duffy, Jamie Manders,Bernice Daigle, James Riopelle, Sally Richards, LauraCarman. Photo by Don Sanders.


Sometimes the summertime blues can be a goodthing. Join the city of Slidell as they roll out theblue carpet for The Blue Dog Days of Summer:George Rodrigue from the New Orleans Museumof Art. The Slidell Cultural Center, located on the

first floor of Slidell City Hall, will display paintingsfeaturing the iconic canine from June 25 through August7. Admission is free. Gallery hours are Monday throughFriday, noon to 4 p.m., Saturday, 9 a.m. to noon.Admission is free.

“This is a great opportunity for our local businessesto showcase what they offer,” said Slidell Mayor Ben O.Morris. “In addition to providing our citizens anopportunity to enjoy the work of this world-renownedartist, right here in Slidell, we anticipate that the exhibitwill attract visitors from other areas as well. We want toensure that they have plenty of things to explore whenthey arrive.”

Downtown Slidell will be “painted” blue as localgalleries and businesses host blue-themed exhibits andworkshops. Participating galleries include Slidell ArtLeague Gallery, DuBuisson Gallery, and Gallery 2100.

“We want everyone to have a lot of fun with this,”said Kim Bergeron, Director of Cultural & Public Affairs.“Local restaurants are offering their own ‘Paint the TownBlue’ specials, whether it’s a bleu cheese burger,blueberry cobbler or a commemorative blue drink, andlocal shops can entice visitors with special discounts onblue items or blue dot sales, complimentary blue giftwrapping, and such. We’d also love to see residents tyingblue ribbons on their mailbox posts or trees or lightingtheir porches with blue bulbs. Let’s show our creativity!”

“The Blue Dog Days of Summer: George Rodriguefrom the New Orleans Museum of Art marks thebeginning of a long-term program of sharing NOMA’scollection with Slidell in a series of annual exhibitions,”said NOMA Director E. John Bullard. “We are delightedthat we could move forward with this partnership on theNorth Shore.”

For more information, visit Slidell’s Special Eventscalendar at www.slidell.la.us/events_special.php orcontact the City of Slidell Department of Cultural &Public Affairs, 985-646-4375. n

Slidell RollsOut the BlueCarpet for anIconic Canine

BY GRACE WILSONDirector of Communicationsand Marketing

Circle Saturday, November 13 on yourcalendar. Watch your mail for details.Odyssey Ball 2010 will usher in the start ofthe New Orleans Museum of Art’s centennialcelebration. The event will premiere the

exhibition, Great Collectors/Great Donors: The Making ofthe New Orleans Museum of Art, 1910-2010, saluting thesixty-five collectors who helped build the Museum’spermanent collection.

To observe this momentous occasion, Odyssey BallChairs Adrea Heebe and Dominick Russo, Jr., along withAssistant Chairs Aimèe Farnet Siegel and Sally WarrenWallman and a host of volunteers, are hard at workcreating a spectacular event. Dance band BRW promisesoutstanding and high-energy entertainment.

The Honorary Chair of Odyssey Ball 2010 will beMrs. Frederick Stafford. Forty-five years ago, theexhibition Odyssey of an Art Collector, featuring the artcollection donated to the Museum by Mrs. Stafford andher late husband Frederick, opened the very firstOdyssey Ball. How fitting that the title from theexhibition that christened “Odyssey Ball” continues to beused to this day.

Higher level patrons will be invited to a specialreception on Thursday, November 11, 2010, at theelegant Saint Charles Avenue home of Mr. and Mrs.Frederick Heebe.

Odyssey Ball 2010 is sure to be a fabulous beginningto NOMA’s centennial year. Don’t miss this historicevening! n

Odyssey Ballto LaunchNOMACentennial


George Rodrigue (American, born 1944)Happiness Blooms Around Me, 2002

Acrylic on canvas, 40 x 30 in.New Orleans Museum of Art: Gift of Mr.

and Mrs. Don A. Sanders, 2005.118

ARTS QUARTERLY 35

The New Orleans Museum of Art has a specialmembership group just for residents of St.Tammany Parish. NOMANS—New OrleansMuseum of Art on the North Shore—havethe opportunity to attend exhibitions and

special events just for North Shore members, includingmany right in their own backyards.

As part of this initiative, each issue of Arts Quarterlywill highlight upcoming exhibitions and events at partnerNorth Shore arts organizations. Check back each quarterfor an update on participating arts groups.

From NOMAto the NorthShore

BAYOU LACOMBE ART CENTER30414 Hwy. 190, Lacombe, LA 70445985-882-4836; www.blartcenter.org

Saturday, September 4, 10 a.m.-2 p.m.: Cultural Artisan Open House Featuring Margo Rosas of Lacombe, LAMargo Rosas is a native Louisianian who grew up in NewOrleans. Her mother is American Indian and French; herfather is Mexican. She does beadwork and tans her owndeerskin hides to make clothing and small bags. Shegrows, dries, and decorates gourds. She grows and cansmayhaw jelly, among many other earth-based skills.These items will be on display as she explains how shelives in harmony with the earth and with her NativeAmerican heritage.

Saturday, September 25, 12-9 p.m. and Sunday,September 26, 12-5 p.m.: Fall Juried Art Show at theLouisiana Medical Center and Heart Hospital inLacombe, LAAlmost 200 original paintings and sculptures on display.Meet-the-artists reception and awards ceremony onSaturday evening from 6-9 p.m.

SLIDELL ART LEAGUE1827 Front St., Slidell, LA 70458985-847-9458; www.slidellartleague.info

Friday, July 9, 7-9 p.m.: Opening Reception—Heroes

Friday, August 13: Opening Reception—Artists of theYear (AOY)

Friday, September 10, 7-9 p.m.: OpeningReception—Members-Only Show

ST. TAMMANY ART ASSOCIATION320 North Columbia St., Covington, LA 70420985-892-8650; www.sttammanyartassociation.org

Saturday, July 17, 6-9 p.m.: Fourth Annual BastilleDay CelebrationShoppers, art lovers, and music enthusiasts alike canstroll the streets of downtown Covington, taking in thesights and sounds of this French-themed festival. Comeenjoy special sales, wine and food tastings, artexhibitions, musical acts, and our annual Waiter’s Race aswell as other special events to be announced. ColumbiaStreet will be closed to vehicle traffic from 5:30-9:30 p.m.

Sponsored by the St. Tammany Homestead, St.Tammany Art Association (STAA), Jim Carey Distributing,the City of Covington, Homes & Lifestyles Magazine, andthe Covington Business Association, this event plans todraw some 3,000 visitors to the historic St. John district.Programs with locations and contact information for eachparticipating shop are available at STAA and at yourfavorite locations around Covington. For moreinformation, to become a sponsor, or to volunteer duringthis fun event, contact the St. Tammany Art Association.

Saturday, July 17, 6-9 p.m.: 45th Annual SummerShowThe 45th Annual Juried Summer Show features the workof artists from across the country. Juror Karoline Schleh,Assistant Professor of Drawing and Director of the CollinsC. Diboll Art Gallery at Loyola University in NewOrleans, will be choosing the Best of Show winner of a$1,000 prize, to be announced during the openingreception. Artwork includes installation, painting, digitalmedia, photography, and sculpture.

Saturday, September 11, 6-9 p.m.: A Breath of St.Tammany: Charles Sidney August FuhrmannThe St. Tammany Art Association celebrates the artworkof multitalented artist Charles Sidney August Fuhrmann,born in 1819. This renaissance man created a visualcombination of artwork and prose based on his passionfor the rivers and woodlands of St. Tammany Parish.Among his many talents of painting, writing, music, andacting, he was also a vaudevillian and is credited withopening the first theater in Covington. Join the St.Tammany Art Association in honoring his work onSeptember 11 from 6-9 p.m. The show will be on viewthrough October 1. n

Margo Rosas

Waiter’s Race


Circles and Fellows ofthe New OrleansMuseum of Art

Mr. and Mrs. Edward B. Benjamin, Jr.Mr. and Mrs. W. Mente BenjaminMr. and Mrs. Michael A. BerensonMrs. Marian Mayer BerkettMs. Virginia Besthoff and Ms. Nancy AronsonDr. Siddharth K. BhansaliMr. and Mrs. Donald T. BollingerMrs. Jane Bories and Mr. Sam CorenswetMs. Jean M. BraggDr. and Mrs. Joseph BrennerMr. and Mrs. Edgar Bright, Jr.Mrs. Betty Graves Brown Mrs. B. Temple Brown, Jr.Mr. and Mrs. Perry S. BrownMr. and Mrs. William D. BrownJudge and Mrs. Christopher BrunoMs. Pamela R. Burck Mr. Harold H. BurnsMr. and Mrs. Carlo Capomazza

di CampolattaroMr. James Carville and Ms. Mary Matalin Dr. and Mrs. Edgar L. Chase IIIDr. Victor P. ChisesiMr. and Mrs. William K. Christovich Mr. Stephen W. Clayton Mr. and Mrs. John ClemmerMr. and Mrs. Thomas B. ColemanMr. Barry J. Cooper and Mr. Stuart H. SmithMr. 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.Dr. Clayton B. EdisenDr. and Mrs. John Ollie Edmunds, Jr.Mr. and Mrs. Joseph H. Epstein, Jr. Dr. and Mrs. K. Barton FarrisMr. and Mrs. D. Blair FavrotMr. and Mrs. Edward FeinmanMs. Natalie FieldingMrs. Julia FishelsonMr. and Mrs. Richard B. FoxMr. and Mrs. Louis M. FreemanMrs. Sandra D. FreemanMr. and Mrs. Richard S. FriedmanMr. and Mrs. Louis L. FriersonMrs. Anne GauthierDr. and Mrs. Charles F. GenreMrs. Dennis A. GeorgesDr. Kurt Gitter and Ms. Alice Rae YelenMr. and Mrs. Roy A. GlapionMrs. Louis A. GlazerMr. and Mrs. Mason GrangerMs. Susan Talley and Mr. James C. Gulotta, Jr.Mr. and Mrs. James O. GundlachMr. and Mrs. John W. HallMrs. H. Lloyd Hawkins, Jr.Mr. and Mrs. Edward M. HellerMrs. Theo M. HellerMrs. S. Herbert HirschMrs. William H. HodgesMr. and Mrs. John C. Hope IIIMr. Harry T. Howard IIIMr. and Mrs. Arthur W. Huguley IIIMr. Alex T. Hunt, Jr.

Ms. Debra B. Shriver Mrs. Margaret B. Soniat and Mr. Joel J. Soniat Dr. and Mrs. Richard L. StrubMr. and Mrs. St. Denis J. Villere

PATRON’S CIRCLEMr. and Mrs. William D. Aaron, Jr.Mr. and Mrs. Robert H. BohMr. E. John Bullard IIIMr. and Mrs. Mark Carey Dr. and Mrs. Isidore Cohn, Jr.Mr. Leonard A. DavisMr. and Mrs. Prescott N. DunbarMr. and Mrs. H. M. Favrot, Jr. Mr. and Mrs. Timothy FrancisMr. and Mrs. James J. FrischhertzMr. and Mrs. Edward N. GeorgeMr. 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. Paul J. MasinterMr. and Mrs. Edward C. MathesMs. Kay McArdleMr. and Mrs. R. King MillingMrs. Ellis MintzMr. and Mrs. Michael D. MoffittRobert and Myrtis Nims Foundation Dr. Howard and Dr. Joy D. OsofskyMr. and Mrs. James J. Reiss, Jr. Dr. and Mrs. Edward F. RenwickMr. and Mrs. R. Randolph Richmond, Jr.Mr. and Mrs. Benjamin M. RosenMr. and Mrs. Brian A. SchneiderMr. and Mrs. Edward ShearerMr. and Mrs. Lynes R. Sloss Mr. and Mrs. Bruce L. SoltisMs. E. Alexandra Stafford and

Mr. Raymond M. RathleMrs. Frederick M. StaffordMrs. Harold H. Stream, Jr. Mr. and Mrs. James L. TaylorMrs. John N. WeinstockMrs. Henry H. Weldon

FELLOWS

Mr. John Abajian and Mr. Scott R. SimmonsMrs. Adele L. AdattoDr. and Mrs. Kenneth N. AdattoMrs. Jimi AndersenMrs. Jack R. AndersonMrs. H. W. BaileyMrs. Howard T. BarnettMs. Roberta P. BarteeMr. and Mrs. Beauregard L. BassichMr. Robert M. Becnel and Ms. Diane K. Zink

The two most prestigious levelsof annual giving in support ofthe New Orleans Museum ofArt are the Circles and theFellows. We invite you to

consider upgrading your support ofNOMA and joining the following Circlesand Fellows. For information, please call504-658-4107. n

CIRCLES

PRESIDENT’S CIRCLEMr. and Mrs. John D. Bertuzzi Mr. and Mrs. Sydney J. Besthoff IIIThe Booth-Bricker FundMr. and Mrs. Ralph O. BrennanCollins C. Diboll Private FoundationMr. and Mrs. David F. EdwardsMr. and Mrs. S. Stewart FarnetDr. and Mrs. Ludovico FeoliMr. and Mrs. Stephen A. HanselMs. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Helis FoundationMrs. 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. Charles S. Reily, Jr.Mrs. Françoise B. RichardsonMr. and Mrs. Robert SheltonMrs. Patrick F. TaylorZemurray Foundation

DIRECTOR’S CIRCLEMrs. Jack R. AronMr. and Mrs. F. Macnaughton Ball, Jr.Mr. and Mrs. Lawrence D. GarveyMrs. Harry GreenbergMr. Jerry HeymannHeymann-Wolf FoundationMr. and Mrs. Erik F. JohnsenMr. and Mrs. Peter R. Monrose, Jr.Mr. and Mrs. Robert J. PatrickDr. and Mrs. James F. PierceMr. and Mrs. George RodrigueMr. and Mrs. Edwin R. Rodriguez, Jr.

ircles

Circles

ARTS QUARTERLY 37

Mr. and Mrs. Michael J. Siegel Mr. Edward M. SimmonsMr. and Mrs. Richard L. SimmonsMrs. Evald L. SkauMrs. Joe D. Smith, Jr.Mr. and Mrs. Rodney R. SmithMr. and Mrs. Charles A. SnyderMr. and Mrs. Harry C. Stahel Mrs. Mary E. SternMs. Anne Reily SutherlinMs. Jude Swenson Ms. Catherine Burns TremaineMr. and Mrs. Bernard Van der LindenMr. and Mrs. George G. VillereMr. John E. Wade IIMr. and Mrs. R. Preston WailesDr. and Mrs. Cedric WalkerMr. Albert J. Ward, Jr.Dr. and Mrs. Robert G. WeilbaecherAmbassador and Mrs. John G. WeinmannMrs. Karolyn Kuntz WesterveltMrs. Nan S. Wier Mr. Robert J. A. Williams and

Mrs. Norris WilliamsMr. and Mrs. Joseph Young, Jr.Mr. and Mrs. Robert E. Young

Mr. and Mrs. Walter MortonMrs. Andrée MossDr. and Mrs. Bert MyersMrs. Elizabeth S. NaltyMrs. Isidore Newman IIMr. and Mrs. John B. NolandMr. and Mrs. W. D. Norman, Jr.Dr. and Mrs. John L. OchsnerMr. Roger H. OgdenMr. and Mrs. Richard E. O’KrepkiDr. Sanford L. PailetMr. and Mrs. Norvin L. PellerinMrs. Ben J. PhillipsMr. and Mrs. Dick H. Piner, Jr.Mr. and Mrs. Arthur C. PulitzerMr. and Mrs. James C. RoddyMr. Andre RodrigueMr. Jacques RodrigueMrs. 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.Mrs. Pamela Reynolds RyanMiss Courtney-Anne SarpyMr. and Mrs. Richard Schornstein, Jr.Mr. and Mrs. David P. SchulingkampMr. and Mrs. Aaron Selber, Jr.Mr. and Mrs. William H. Shane, Jr.Mr. and Mrs. Lester Shapiro

Mr. and Mrs. Marvin L. JacobsMr. and Mrs. Harold B. JudellMrs. Arthur L. Jung, Jr.Mrs. Gloria S. KabacoffMrs. Morris KlingerMr. and Mrs. John P. LabordeDr. and Mrs. W. Wayne Lake, Jr.Mr. and Mrs. Charles W. Lane IIIMr. and Mrs. J. M. Lapeyre, Jr.Mr. and Mrs. John H. LawrenceRita Benson LeBlancMr. Victor C. Leglise, Sr.Dr. and Mrs. Samuel LoganDrs. Cris and Sarah MandryMs. Kathleen ManningMr. and Mrs. Stephen D. ManshelMr. and Mrs. Adam B. MarcusMrs. Walter F. Marcus, Jr. Mrs. Shirley R. MasinterMr. and Mrs. Bernard MasonMr. and Mrs. John McCollamMr. and Mrs. William McCollam, Jr.Dr. and Mrs. Alvin S. Merlin Mr. and Mrs. Albert MintzMrs. Bernard D. MintzMr. and Mrs. Donald P. MitchellMrs. Louise MoffettMs. Stephany S. MonteleoneMrs. George R. MontgomeryDr. and Mrs. Lee Roy Morgan, Jr.

• Invitations to attend behind-the-scenes events with Museumcurators

• Advance announcements forspecial travel programs

• Annual listing on Donor Wall as amember of the Circle group

• Special recognition in ArtsQuarterly

_________________________________

These circles recognize cumulativegiving in a calendar year, restricted togifts of Annual Appeal andmembership dues. Contributions tocapital projects and special events donot apply._________________________________

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

President’s Circle $20,000Director’s Circle $10,000Patron’s Circle $5,000

GENERAL MEMBERSHIPPRIVILEGES, PLUS:

• Free admission to the Museum andSculpture Garden at all times

• Reciprocal membership in majorart museums across the U.S. andCanada

• Complimentary membership inNOMA’s Fellows and Collector’sSociety

• All Members’ Previews of specialexhibitions

• An opportunity to have a privatetour with the director or curator ofa collection or special exhibition

• A special reception in a privatecollector’s home

Join the Circles andUpgrade Your Supportof NOMA

The Board of Trustees of theNew Orleans Museum of Artcordially invites you toupgrade your support andbecome a member of the

Patron’s Circle, Director’s Circle, orPresident’s Circle.

These categories, our mostprestigious levels of annual giving, arecomprised of individuals who contribute$5,000, $10,000, or $20,000 each year inunrestricted funds.

NOMA is pleased to extend uniqueprivileges including Fellows andCollector’s Society memberships to thosewho demonstrate their commitment atthese levels. We are most grateful foryour generous and continuing support.


Jones, Walker, Waechter,Poitevent, Carrere & Denegre

Superior Energy Services, Inc. Whitney National Bank of

New Orleans Willoughby Associates, Ltd.

Brian Schneider Company The Sydney and Walda Besthoff

Foundation

Christie’s Fine Art AuctioneersDooky Chase’s RestaurantEnergy Partners, Ltd.The Schon Charitable Foundation

CORPORATE MEMBERSHIP

Boh Bros. Construction Co.,L.L.C.

Bolton FordHotel MonteleoneLaitram, L.L.C.New Orleans SilversmithsRathborne Companies East, L.L.C.Republic National Distributing

CompanyThe Times-Picayune

Bowie Lumber AssociatesM. S. Rau Antiques, L.L.C. Neal Auction Company, Inc. Royal Antiques, Ltd.

A. L. Lowe Picture FramingCompany

Aquatic Gardens

As You Like It Silver ShopCoffee Roasters of New Orleans The Edgar Degas HouseGulf Coast BankHirsch Investment Management,

L.L.C. Kentwood Spring Water, Inc.Mignon Faget, Ltd. Mudbug Media, Inc. Sisung Securities Corporation Teri Galleries, Ltd.Wirthmore Antiques, Ltd.

Delgado Community CollegeElaine P. Nunez Community

CollegeLoyola UniversityOur Lady of Holy Cross CollegeTulane 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

CONTRIBUTOR

UNIVERSITY MEMBERS

PATRON

WAYS OF GIVINGThe future of the New Orleans Museum of Art depends to a large

degree on the foresight and generosity of today’s visionaries—ourmembers—who are willing to consider new ways to make gifts. Hereare 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 receive immediatetax deductions on your premium.

GIFT OF PROPERTYGifts of real estate, boats, or artwork provide NOMA with marketableassets 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.

ARTS QUARTERLY 39

• 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 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 NOMA.

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 Membership.

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 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 designatedofficials of your firm with Reciprocal Membership at 39participating museums.

• 10 Museum passes.

CONTRIBUTOR $250


The New Orleans Museumof Art has established anumber of special fundsfor gifts in honor of or inmemory of friends or

family members or to commemoratean event. Recipients or their familieswill be notified of the gift and willbe acknowledged in Arts Quarterly.

For information on NOMAspecial funds, call 504-658-4100.Donations for all funds should bemailed to the New Orleans Museumof Art, PO Box 19123, New Orleans,Louisiana 70179-0123. n

LIBRARY FUND

IN MEMORY OFOPAL JEAN ANTINORI

Southeast Louisiana VeterinaryAssociation

IN HONOR OFCARL & SYLVIA GOODMAN’S ANNIVERSARY

Mr. & Mrs. Paul S. Rosenblum

IN HONOR OFSANDRA & FRANK NORMAN’S ANNIVERSARY


IN HONOR OFNANCY LITWIN’S BIRTHDAY


C O N T R I B U T I O N SNVC FLOWERFUND

IN MEMORY OFMARY ELIZABETH JONES

Mrs. Shirley Rabe Masinter

NVC PORTICORENOVATION FUND

IN MEMORY OFLESLIE ENGLAND

ExxonMobil

IN HONOR OFANNA CARDINALEMILDRED HAWKSHEAD

Cammie & Charles MayerVirginia & Jack Panno

IN MEMORY OFEDWARD LENNOX

Cammie & Charles Mayer

IN HONOR OFMARJORIE COLOMB’S BIRTHDAY

Betty Killeen

IN HONOR OFELAINE MINTZ AND VIRGINIA DARE RUFIN

Anne Gauthier

PHOTOGRAPHY

FUND

IN MEMORY OFANA MARIA REDMANN

Kimberly & Harry Rosenberg

IN MEMORY OFELIZABETH LAUGHLIN

Mrs. Shirley Rabe Masinter

IN MEMORY OFJENNIE ROSENZWEIG


IN MEMORY OFDR. JACOB “JACK” WEISLER


ARTS QUARTERLY 41

NEW MEMBERS

Ms. Karen AbboudJohn T. Accomando, Jr.Scott Aiges and Lisann BrownMs. Christine AlbaMr. Tracy AllenMs. Lisa AryMrs. Elizabeth L. BagotMs. Donna BailesSheri BakerMrs. Yvette BarrJoseph and Mrs. Victoria BartelsChristine BassoMr. Franklin BeahmAnn BeckemeyerMr. Bill BertrandMr. Michael BevenJason BinetMr. John Black and

Mrs. Amelie BlackMr. and Mrs. Ron BlappertMrs. Iris M. BlundellMr. Roy BoehmMr. and Mrs. Anthony BonuraMr. Michael P. BorgattiPaul M. BorgattiMr. James BorsosGerard and Kristen BostonBenjamin Bourgeois and

Kim BourgeoisMr. Bryan BourgeoisMs. Anna BoyerMs. Ari BravermanRobin BrownDrew BrowningJeanne and Jerry BrowningDr. and Mrs. Isaac BrumfieldMr. Andrew BuchmeyerMr. Mark BuggMrs. Becky BulgerMs. Janette M. BurletteMr. R. K. ByramMrs. Carolyn CaindecMr. Michael CalhounBridget CameronMs. Bertie Campbell and

Ms. Laurie LawlorKatie CampbellStacey CappsMr. Joseph Carr and

Mrs. Sonya CarrMrs. Christina CarterMs. Kalli ChampagneMrs. Cindy CoffeyStewart CollenbergMrs. Mary ConleyMs. Carol CraccoMrs. Jacquelyn CriscioneMr. and Mrs. John CrossDr. and Mrs. Howard

Stanley CulbertsonMrs. Ava D. Daniel-Johnson

Dr. Andrew Daters and Mrs. Callie Daters

Mrs. Shelly DauteriveMr. Christopher G. DavenhaverMrs. Graziella De AyerdiJohn DealMonica DeckerMr. Chris DeDualRobert Del GiornoMrs. Marsha DeWittMr. and Mrs. James J. DonelonDanya DuffyMs. Barbara DunlapMary DwyerDr. and Mrs. Craig EhrensingMs. Amy EnglishMr. Tom EvansMs. Trisha FalivenoMs. Ariel FarrarMs. Inge FinkVirginia FlemingRene FletcherMs. Jessica FriedmanMs. Mildred W. FullerMrs. Carrie Funk-PicadashMrs. Paula FurrDeborah GallagherMr. and Mrs. Andre GaudinMrs. Louaunne GilyotMrs. Arleen GoldblumMs. Bonnie GoldblumMrs. Walton GoldringRobert Gonce and Nancy GonceMr. Stephen GonzalesMrs. and Mr. David GoodyearDr. Marshall GottsegenMrs. Lisa GrillotMrs. Celeste HaarMrs. Shannon L. HansenMr. Emmett HebeltPinkney and Janice HerbertMs. Jennifer HerzogLisa HiteMr. Daniel HopkinsMr. David HopkinsMs. Letitia HopkinsMs. Judy HotstreamMs. Gretchen W. HowardGary HowarthMs. Megan HudsonMrs. Suzanne HussMr. Daniel JeaneMrs. Odette JenningsMs. Reese JohansonMrs. Ina J. JolicoeurMrs. Patricia JonaitisMs. Jennifer JudeMs. Allison JugeCharles Kantrow, Jr.Mr. John R. Kassengell, Jr.Ms. Suzanne Keevers

David P. KinneyDr. Robert KopelReverend Mary KoppelMs. Renee KruicaBonnie LalaMrs. Andrea LanghamMs. Sharron A. LanhamMr. Tom LansfordChristine LeBlancMr. Jared LegerMelissa LevyMr. Charles LewisJon LeyensBarry Lineberry and

Suzanne RodriguezMrs. Stephaney LockwoodMr. Charlie London and Mrs.

Brenda LondonMr. Marshall G. LongMs. Christina S. LottMr. Charles LovellDr. and Mrs. Thomas MabryMs. Deborah MacInnesAnn MaierMr. William MarcinalMs. Ana MaristanyMs. Lisa E. MaurerMrs. Allison McCallumMr. Dwyre McComseyMrs. Colleen McDonaldMs. Kim McDonaldMargaret McElwainMr. Joseph McNair and Mrs. Mary

Claire McNairMr. Bassam MessaikeMr. and Mrs. Morris MeyerMr. Robert E. MeyersAmy MilfordMrs. Florence MontzMr. Jeffrey A. MontzPatricia MorrowClerise MossMs. Lisa MussoMrs. Janet NehrbassMr. Jeff NeumanEmanuel Ohlsen and

Sabrina SopataMs. Nora OlgyayMrs. Zoila OsteicocoecheaMr. Robert PatienceMs. Norma PeikertMs. Lydia Pelot-HobbsMrs. John C. PervelMs. Sandra PiekarskiDr. Emile PierreMs. Melissa PineloMr. Keith PinkstonMr. James PodboyLinda PostPaul and Verna PrattMs. Deborah Reed-Downing

Ms. Gwenyth ReigleMr. and Mrs. Kevin ReillyMrs. Laurie RiviereSister Ann RoddyMr. and Mrs. Chris RodrigueMs. Peggy RogersMs. Janis Rozelle and

Mr. William L. SmallwoodJean RumneyDr. Irene SabastianMr. Carlos J. SanchezMrs. Angele SandersMr. Lester SchmidtMr. and Mrs. Paul SchoenleMr. and Mrs. David P.

SchulingkampDr. and Mrs. Byron C. ScottMingdr ShrMr. Joshua SladeMr. and Mrs. Billy SlaughterAlexis SmithMr. Thomas SmithMrs. Doris SolomonGeraldine St. GermainMrs. Kristine St. PierreMrs. Janice StevensonMrs. Erin StockstillMr. Mitch Stubbs and

Mrs. Jessica StubbsMr. Glenn Sutherland and

Mrs. Coleen SutherlandHonorable and Mrs. C. H. TaylorGeraldine TaylorMs. Mary A. TaylorJudith ThigpenLinda ThompsonMr. Salvador TrabninoAmy UseyMargie ValliantMs. Michel VariscoMs. Ruth M. VariscoMs. Trena VasserMr. Raphael A. VelazquezMr. Tom VetterMrs. Melissa WainwrightDimitris Walker-BaileyMr. Irvin WestMs. Robyn WhiteMr. Marc WhitfieldMs. Rachel WigginsNzinga T. WilliamsMs. Sheila WilliamsMr. Andrew B. WisdomMs. Allegra WithamDr. Lisa WyattDr. Melanie YergerDana ZartnerMr. Charles A. Zitzmann

The New Orleans Museum of Art is happyto welcome the following new members.We are grateful for their support andgenerosity. n


During Brenda Moffit’s 2008 tenure as chairof the New Orleans Volunteer Committee(NVC), she became acutely aware of theneed to restore the front façade of NOMAand brighten its public face. First among

her concerns was the condition of the handicap accessramp and waste receptacles. She looked to top-tiermuseums around the country for examples of attractiveand accessible entrances.

She then approached the NVC with the idea ofimproving the Museum’s façade in preparation for itsupcoming centennial. Her enthusiasm was contagiousand the group showed its support by making a three-year pledge in the amount of $25,000, launching thePortico Renovation Fund. Donations in memory of aloved one or marking a special occasion were made bymany NVC members. Within the first year, a newhandicap ramp was installed and a plan for additionalimprovements was created.

The NVC is now in year three of its pledge. To date,over $16,000 has been received in donations. With theNOMA centennial celebration now only months away,the renovation effort has gained momentum. In spring2010, John E. Ward of Masterworks Studios, Desoto,Missouri, began restoration work on NOMA’s bronzeentry doors and frames. Specializing in bronze and zincrepair, Ward has earned an international reputation in his

field for his craftsmanship and skill. He has beeninstrumental in restoration and conservation for theSydney and Walda Besthoff sculpture collection for morethan twenty-nine years.

The effects of humidity and ultraviolet light coupledwith the brutal assault of the elements created anenormous task for Ward, who has completed therestoration of the Museum’s entry doors and frames, itscast iron transom and flanking cast iron torchieres. Theresults of his labor can now be admired by every visitorto NOMA.

“Everyone has a vested interest in what the Museumlooks like. We want our entrance to be as inviting andwelcoming as possible,” says Moffitt. Now a member ofthe Board of Trustees, she urges all NOMA members toparticipate in the continued renovation. “The porticodecking is worn and in need of resurfacing. Plans arealready underway for a refurbishment of NOMA’ssignature Greek urns that flank the building. An annualmaintenance visit by John Ward is another item on thewish list.”

Your contribution to the NVC Portico RenovationFund as a remembrance of a special event, a memorial,or a donation for NOMA’s centennial will insure thatthese improvements continue to take place. Pleasecontact the NVC Office at 504-658-4121 for details. n

PorticoRenovationEfforts GearUp forCentennial



Left: Restored torchiere.

Right: John E. Wardrestoring NOMA’s bronzeentry doors and frames.

ARTS QUARTERLY 43

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

Funds collected defray expenses associated with refurbished portico decking, torchieres, waste receptacles and conservation of NOMA’s main entrance at LeLong Avenue.

I SUPPORTTHE PORTICO RENOVATION FUND

Enclosed is my donation in the amount of:

q $25 q $50 q $100 Other _________

A Gift from (please print):

NAME __________________________________________________________________________________

ADDRESS _______________________________________________________________________________

CITY/STATE/ZIP _________________________________________________________________________

PHONE ________________________________________________________________________________

Send Gift Acknowledgement to (please print):

NAME __________________________________________________________________________________

ADDRESS _______________________________________________________________________________

CITY/STATE/ZIP _________________________________________________________________________

PHONE ________________________________________________________________________________

Please make checks payable to the NOMA Volunteer Committee. Mail to: NVC NOMA, PO Box 19123 • New Orleans LA 70179-0123

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

Entry doors and transom undergoing restoration.


NOMA BOOK CLUB SCHEDULE

JULY 2010

The Passion of Artemisia by Susan Vreeland. Penguin,2002. ISBN: 9780142001820

“Narrated in the wise, candid first-person voice ofItalian painter Artemisia Gentileschi (1593-1653), thenovel tells the story of Gentileschi's life and career inRenaissance Italy. Publicly humiliated and scorned inRome after her participation as defendant in a rape trialin which the accused is her painting teacher (and father'sfriend) Agostino Tassi, Artemisia accepts a hastilyarranged marriage at the age of 18 to Pietro Stiatessi, anartist in Florence …” (Amazon.com)

Thursday, July 15, 12-1 p.m.: Book Discussion Group

AUGUST 2010

Burning Bright by Tracy Chevalier. HarperCollins, 2007.ISBN: 9780007178353

“Burning Bright derives its title from the openingphrase of William Blake's great poem: “Tyger, tyger,burning bright / In the forests of the night …” When onelearns that this novel's author is Tracy Chevalier, it followsas the night the day that we will enter the world of Blake'sLondon and find ‘fearful symmetry’ there.” (From TheWashington Post, reviewed by Nicholas Delbanco andquoted on Amazon.com)

AND

The Complete Poetry and Prose of William Blake byWilliam Blake. Anchor, 1997. ISBN: 978-0385152136

“Rife with the fierce inquisitiveness and confidencethat characterizes the famous ‘Proverbs of Hell,’ Blake'sletters rank with those of Keats and Hopkins as some ofthe most stirring autobiographical sketches ever producedby a master poet.” (Customer review on Amazon.com)

Wednesday, August 11, 12-1 p.m.: Book DiscussionGroup: Burning Bright

Friday, August 27, 12-1 p.m.: Special Event: PoetryReading: The Poetry and Prose of William Blake.

Bring your favorite poem by William Blake to readaloud and share with the rest of the group. Does yourpoem remind you of art in NOMA’s collection? If so,why?

SEPTEMBER 2010

Art Instinct: Beauty, Pleasure, and Human Evolutionby Denis Dutton. Bloomsbury Press, 2008. ISBN:9781596914018.

“Pugnacious, witty and entertaining first book byprolific essayist and critic Dutton ... Picking up whereevolutionary psychologists like Steven Pinker leave off intheir investigations into the origins of human languageand other mental phenomena ... even those who disagree

with these opinions will find his manifesto scintillatinglywritten and not to be missed—even the end notes areindispensable ... Promises to instigate a livelyconversation about the origins and meaning of art, notonly among the author’s peers in academia, but also inthe culture at large.”— (Kirkus, quoted at Amazon.com)

Thursday, September 23, 12-1 p.m.: Book Discussion Group

READING SUGGESTIONS NEEDED

It’s time to make up the reading list for October2010-September 2011. Please bring your suggestions forbooks that the NOMA Book Club should read in theupcoming year to our next meeting. If you have reviewsand publishing information, please bring them as well. Ifyou cannot attend the meeting, but would like torecommend a book, please send the information toSheila at [email protected] or call her at 504-658-4117.

Remember—books should be about art, artmuseums, any of NOMA’s exhibitions, or relate to anypart of the permanent collection. They should be easilyobtainable in shops or online (so they should be “inprint”). The Museum Shop will order books wheneverpossible.

EVENING HOURS FOR BOOK CLUB

Please come to a planning meeting on Wednesday,October 6, 2010, at 6 p.m. to discuss the format of theWednesday evening book club meetings. Contact Sheilaat 504-658-4117 or [email protected] if you can attend thisspecial session.

LIBRARY BOOK CLUB SURVEY RESULTS

In September 2009 (a year since the inauguration ofthe NOMA Book Club), the librarian conducted a surveyof book club members to determine their likes, dislikes,ideas for future programs, and to see if any adjustmentswere needed to the book club’s programs, days, andtimes. The method and results are summarized here:

Twenty-three copies of the survey were distributed atthe NOMA Book Club discussion group meeting onWednesday, September 23, 2009; twenty responses werereturned. In addition to distributing surveys at theprogram, the librarian contacted other book clubmembers by e-mail, and asked for volunteers (other thanthose who had already completed the survey) to take thesurvey. Copies of the survey were e-mailed to the elevenpeople who requested them. Instructions on how toopen, save, and return the survey to the librarian wereincluded in the body of the e-mail. Two copies werereturned.

Responses indicate that members of the book clubare happy with the programs they receive, and that theyprefer curator-led tours in the galleries and field trips.They requested more of these types of programs, as wellas more book discussion meetings. There weren’t anyprograms that produced a negative reaction.

The Felix J.DreyfousLibrary

LLiibbrraarryy HHaappppeenniinnggss

Members of the book club are actively engaged insuggesting ideas for new programming, such as longerand different types of field trips, poetry readings, literaryteas, and films. Their suggestions were all interesting,and will be implemented where possible.

Book club members were generally happy with thedates and times of the meetings, and understood theneed for having meetings on different days of the week.Because the space in the library is limited, book clubmembers are encouraged to sign up in advance forprograms. In the fall, new book club hours will include aWednesday night meeting.

Thank you to all book club members whoparticipated in the survey.

LIBRARY STATISTICS

In 2009 there were 1,804 visits to the library. (A visitis defined as any time a person enters the library.) Thelibrarian answered 228 reference questions, placedsixteen interlibrary loans, and catalogued and added 501books to the collection.

The librarian distributed information about thelibrary, the book club, NOMA, and NOMA exhibitions toapproximately 700 people at four events, including theLouisiana Book Festival in Baton Rouge. The librarianspoke at four meetings attended by 178 people,including panel discussions at the Mississippi LibraryAssociation annual conference in Hattiesburg, Mississippi,and a fairy-tale conference also held in Hattiesburg,Mississippi.

The NOMA Book Club has over one hundredregistered members, and approximately fifteen to twenty-five people attend meetings. About eight or nine of theseattend most meetings, and the rest attend when they seethings of interest to them. The book club meetingscontinued to be popular; 431 people attended twenty-one meetings that included discussion groups, field trips,“Meet the Author” events, and curator-led programs.

Other programs included six library orientationsessions for docents and interns that were attended bythirty-three people.

In 2009 the library had the help of ten volunteers:Beverly Barry, Dora Cook, Debbie Fleming, MicheleMeneray, Joel Weinstock, Beverly Hegre, PhyllisMarquart, Zelma Malone, Joyce Hanemann, and DorothyFurlong-Gardner. Their activities included cleaning libraryshelves, sorting mail, processing new books, shelvingreturned items, sorting, filing and reconciling cataloguecards, preparing periodicals for binding, organizingdonated books, shelving and organizing the artist’s files,and repairing books. Their work was, and continues tobe, invaluable. The library would not run as efficientlywithout their help.

During the latter part of the year the library wasfortunate to have Anamaria Brandon, a student in theLouisiana State University’s School of Library andInformation Science, as an intern. Her time at NOMA,and the work she accomplished (including “holding thefort” while the librarian was out in the month ofDecember), was extremely beneficial to the library andlibrary users.

Thank you to everyone who visited the library in2009-2010.

ABOUT THE LIBRARY

The Felix J. Dreyfous Library is located in thebasement of the New Orleans Museum of Art. Thelibrary’s services and collection (20,000 books and 70+periodical subscriptions) are available for use bymembers of NOMA. Members of the public, localstudents, and educators are also welcome. The library isstaffed by a librarian (Sheila Cork) who holds a master’sdegree in library and information science, with anextensive background in reference and research. Inaddition, the library is fortunate to have volunteers whohelp on a regular basis.

Use of the library is by appointment only during thelibrarian’s regular working hours, Monday-Friday, 9 a.m.to 5 p.m. Call 504-658-4117 or e-mail the librarian [email protected] to make an appointment to use thisvaluable resource. n

ARTS QUARTERLY 45

Photograph by Aisha Champagne

Lectures,Walk-throughs, &Special Events


NOMA EDUCATION:Friday, July 9, August 20, and September 10, noonFabergé Gallery ToursThe New Orleans Museum of Art hasan entirely new Fabergé installationwhich will be the topic of this gallerytour presented by curator John W.Keefe. Keefe has recently published anew catalogue on the Hodges FamilyCollection of masterworks by Fabergé.

Saturday, July 24, 10 a.m.Exhibition Openings:Ancestors and Descendants(EWF Galleries) and EveryYear Something New(Templeman Galleries)

Wednesday, July 28, August18, and September 8, 6 p.m.;Friday, August 27 andSeptember 24, noonExhibition Walk-throughs:Ancestors and Descendants(EWF Galleries)Walk-throughs of Ancestors andDescendants with the exhibitioncurators.

Friday, July 30, August 13,and September 17, noonExhibition Walk-throughs:EVERY YEAR SOMETHINGNEW: A CentennialCelebration from theCollection of Prints andDrawings (TemplemanGalleries)Most of the works in NOMA are gifts tothe collection, given almost every yearsince 1910. And for most of thoseyears, the Museum has received workson paper—the second largest collectionNOMA holds and the largest, by far, ofpictures. Join curator George Roland tosavor the great variety of seldom-seentreasures, one for every year.

Wednesday, August 11, 6-7:30 p.m.Meet the Artists: WomenArtists in Louisiana, 1965-2010 (Louisiana Galleries)Join curator Judith Bonner of theHistoric New Orleans Collection andthe artists whose work is featured inthe Women Artists in Louisianaexhibition for an engagingconversation regarding their work.

Sunday, August 29, 2 p.m.UNTITLED [New Orleans andthe Gulf Coast, 2005] Lecture(Stern Auditorium)Acclaimed American photographerRichard Misrach will speak about hisnew exhibition and book focused onmessages New Orleanians wrote ontheir houses, fences, and cars,expressing their despair, anger, andhope following the flooding of Katrina.

Wednesday, September 15, 6 p.m.Ancestors and DescendantsLecture (Stern Auditorium)Jonathan E. Reyman, curator ofanthropology at the Illinois StateMuseum, delivers a lecture inconjunction with the Ancestors andDescendants exhibition, focusing onthe New Mexico expeditions of GeorgeHubbard Pepper and Richard Wetherill.

Wednesday, September 22,6:30 p.m.Faubourg Quartet (Stern Auditorium)In honor of Samuel Barber’s 100thbirthday, the concert will feature hisfamous "Adagio" along with works byNew Orleans composers StephenDankner and Jay Weigel, and a newstring quartet arrangement of LouisArmstrong’s “What a WonderfulWorld.” $10 general admission, $5students/seniors. Free to NOMAmembers and NOCCA students andstaff.

Ancestors and Descendants:Sumner W. Matteson, Portrait of HopiMaiden with Hair Whorls, 1901

Every Year Something New:Henri Matisse (French, 1869-1954),Icare from Jazz Portfolio, 1947

Women Artists in Louisiana, 1965-2010:Ida Kohlmeyer (American, 1912-1997),Mythic Throne, 1986

Art-MakingActivities

Film

ARTS QUARTERLY 47

PROGRAMS & ACTIVITIES

Sunday, July 11, 1-4 p.m.Beyond the Blues: Family Art-Making Activity (Great Hall)In conjunction with the closing of thisspring’s exhibition, Beyond the Blues:Reflections of African America in theFine Arts Collection of the AmistadResearch Center, Museum visitors areinvited to participate in a family art-making activity paying homage toAfrican art and culture. Participantscreate their own artwork inspired bythe works on display and jazz music.Participants are encouraged to view theAmistad exhibition which runs throughJuly 11. This activity and the providedmaterials are free with Museumadmission.

Sunday, August 29, 1-4 p.m.Katrina Remembrance Day:Family Art-Making Activity(Great Hall)The Museum will reflect uponHurricane Katrina as we mark the fifthanniversary of the storm with projects

based on the concept of “rebuilding.”All Museum visitors are invited toparticipate in this family art-makingactivity in the Great Hall. In addition,there will be screenings of HBO’sseries, Treme, in the Stern Auditoriumon Saturday and Sunday, beginning at10 a.m. All activities are free withMuseum admission, and all materialswill be provided.

Sunday, September 19, 1-4 p.m.Ancestors and Descendants:Art-Making Activity (Great Hall)Native American art and culture asexpressed in the exhibition, Ancestorsand Descendants: AncientSouthwestern America at the Dawn ofthe Twentieth Century, will serve as theinspiration for art projects made byparticipants. Visitors are alsoencouraged to view the exhibition,which runs through October 24. Thisactivity and the provided materials arefree with Museum admission.

Wednesday, August 4, 6 p.m.Film Screening: Cape No. 7(Stern Auditorium)This award-winning film takes alighthearted view of the life and foiblesof the members of a warm-up band.The most popular Taiwanese film inhistory, Cape No. 7 is presented byNOMA and the Taiwan Economic andCultural Office, Houston. $5 generaladmission, free to NOMA members.

Saturday and Sunday, August28-29, 10 a.m.Film Screening: Treme(Stern Auditorium)The first ten episodes of HBO’s hitseries Treme will be screened, five onSaturday, August 28, and five onSunday, August 29, beginning at 10a.m.

Beyond the Blues: Elizabeth Catlett (born 1915),Blues, 1983. Art ©Elizabeth Catlett/Licensed byVAGA, New York, NY. www.vagarights.com


Visit NOMA for a Unique Shopping Experience

Stop by the Museum Shop, call us at 504-658-4133, or shop online at www.noma.org/museumshop.We Ship in the Continental U.S.

Summer Projects for the Budding ArtistFun and easy items that will keep children occupied and entertained for hours!

Giant Paper Flowers in a Vase - $18.00 Make A Monster Mask - $24.00Clay Fun - $20.00Funky Artist - $28.00

Color A Flower Bag - $29.00

ARTS QUARTERLY 49

Peg Martinez is a native New Orleanianwho recently rekindled her passion forwoodworking. When she was a child,her father had a well-equippedworkshop in the attic where she oftensnuck to gaze about and admire thetools. Not knowing what to be whenshe grew up, Martinez majored in finearts history in college. She later got ajob in an art supply store, where shelearned the art of picture framing. Sheworked for various galleries in theFrench Quarter and created her own,albeit small, frame shop in the back ofher apartment. Life events led to thepursuit of a master’s in social work,putting her table saw and router in

hibernation. Years went by untilHurricane Katrina devastated the NewOrleans area and took an emotional tollon her. Searching for something to feelpositive and passionate about, shereturned to her workshop and begancreating boxes, combining varioushardwoods for contrast and interest.Unique joinery, utilizing miter splinesand dowels, adds to the geometriccomplexity of the designs. Martineznow exhibits at the New Orleans andBaton Rouge Art Markets. Most recently,she was chosen to be the artist to createthe prestigious Arts Council of NewOrleans annual awards.

Museum Shop Featured ArtistsCome meet and mingle with our

featured artists on the following dates.

WEDNESDAY, AUGUST 4, 2010, 6-8 p.m.

Peg Martinez

Gerald Haessig is a studio-trained artistoriginally from St. Louis. He has livedin New Orleans for the past nineteenyears; he returned to St. Louis for aperiod while his home was beingrestored after Hurricane Katrina.

Haessig continued studying hiscraft at The Studio of the CorningMuseum of Glass and UrbanGlass inBrooklyn, New York, and has beeninvited to several juried shows, mostnotably the Spotlight shows sponsoredby the ACC Southeast Regional. Hecollaborated on the Mayor’s ArtsAwards for the City of New Orleansand was one of three artists asked to

design a new “key to the city.” Haessighas received several Alpha Awardsfrom the New Orleans chapter of theFashion Institute and appeared onHGTV’s Crafters Coast-to-Coast in 2004.

Haessig’s work is published inPrecious Metal Clay and he is a certifiedPrecious Metal Clays Instructor. He hastaught for the New Orleans School ofGlass and was director of the YoungAdult Summer Workshop for four years.He is affiliated with The Third DegreeGlass Factory and Krueger Pottery, bothin St. Louis.

WEDNESDAY, SEPTEMBER 1, 2010, 6-8 p.m.

Gerald Haessig

Born in New Orleans in 1962, MitchellGaudet currently resides and works inNew Orleans. He received his M.F.A.from Tulane University in 1990, and aB.F.A. from Louisiana State University,Baton Rouge in 1984. For the past tenyears he has been associated with thedistinguished Pilchuck Glass School inStanwood, WA, where in 1994 he washonored as Emerging Artist inResidence. Gaudet has also taught atPenland School of Crafts, Penland, NC,Pratt Fine Arts Center, Seattle, WA,Urban School of Glass, Brooklyn, NY,and Bild-Werk Frauenau, Germany.

Gaudet is a founder of and currentlyowns and operates New Orleans’sStudio Inferno, an independent glass artand production facility. Gaudet wasalso a founder and instructor of theNew Orleans School of Glassworks. Heserved as co-chair for the 2004 GlassArts Society Conference in NewOrleans. Gaudet has achievedwidespread recognition for hissculpture in glass. His work is exhibitedboth nationally and internationally, andhas been included in manydistinguished public and privatecollections.

WEDNESDAY, JULY 7, 2010, 6-8 p.m.

Mitchell Gaudet


PROGRAM SPONSORS

$100,000 +THE AZBY FUND:General Operating SupportBesthoff Sculpture Garden Operating SupportSecurity Equipment

FORD FOUNDATION:Planning and Exploration of New OrleansAudiences

GETTY FOUNDATION:Conservation of the Besthoff Sculpture Garden

THE HELIS FOUNDATION:Reduced Admission for Louisiana Residents andFree Wednesdays for Everyone, 2010

THE PATRICK F. TAYLOR FOUNDATION:Education Department Support

SAVE AMERICA’S TREASURES:Permanent Collection Conservation

ZEMURRAY FOUNDATION:General Operating Support

$99,999 - $50,000

CHEVRON:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition SupportHandbook of School ProgramsTeachers’ Packets

CITY OF NEW ORLEANS, EDWARD WISNER DONATION:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

LOUISIANA DIVISION OF THE ARTS:Institution StabilizationArts in EducationGeneral Operating Support

SELLEY FOUNDATION:General Operating SupportArt Storage Building RenovationWebsite

SHERATON NEW ORLEANS HOTEL:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

WALT DISNEY STUDIO:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioFree Admission for Greater New Orleans PublicSchool Students

BECOMEA NOMASPONSOR

Annual operating support for NOMA’s exhibitions, 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 Orleans Museum of Art and itsthousands of visitors are deeply grateful to these friends for their continued commitment. If you would like additionalinformation on sponsorship, please contact the Museum’s Development Department, 504-658-4100. n

$34,999 - $20,000

GAIL AND JOHN BERTUZZI:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

CAPITAL ONE BANK:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

ELIZABETH HEEBE-RUSSO:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Sponsor

D. LEE HODGES

SHERRI S. LOGAN:Objects of Desire: Fabergé from the HodgesFamily CollectionExhibition Catalogue Support

LAKESIDE SHOPPING CENTER AND THE FEIL

ORGANIZATION:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

THE LUPIN FOUNDATION:Odyssey Ball 2009Art in Bloom 2010

LUTHER AND ZITA TEMPLEMAN FUND:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

NATIONAL ENDOWMENT FOR THE ARTS:Ancestors and Descendants Exhibition SupportArt Storage

THE ROSAMARY FOUNDATION:General Operating SupportEducation Department Support

ARTS QUARTERLY 51

$19,999 - $10,000

ARTS COUNCIL OF NEW ORLEANS:African Art Curatorial Support

CANAL BARGE:Art in Bloom 2010

DOWNMAN FAMILY FOUNDATION:NOMA Exhibitions

EUGENIE & JOSEPH JONES FAMILY FOUNDATION:Art in Bloom 2010

FRIEND OF ODYSSEY BALL:Odyssey Ball 2009

FRISCHHERTZ ELECTRIC COMPANY:Odyssey Ball 2009

GARDEN STUDY CLUB:Sculpture Garden Planting

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

LOUISIANA ENDOWMENT FOR THE HUMANITIES:Ancestors and Descendants Catalogue

MORRIS G. AND PAULA L. MAHER FOUNDATION:Odyssey Ball 2009

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

MR. AND MRS. ROBERT SHELTON:Odyssey Ball 2009

$9,999 - $5,000

AT&T:Odyssey Ball 2009

BRUCE J. HEIM FOUNDATION:Art Therapy

ENTERGY LOUISIANA:Educational Programs

GAUTHIER FAMILY:Odyssey Ball 2009

MRS. JEAN R. HEID:Art Acquisition Fund

INTERNATIONAL SURETIES, LTD.:Art in Bloom 2010

CAROLINE IRELAND:Odyssey Ball 2009

J. ARON AND COMPANY, INC.:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

THE JOHN BURTON HARTER CHARITABLE

FOUNDATION:Odyssey Ball 2009

JONES, WALKER, WAECHTER, POITEVENT, CARRERE

& DENEGRE, LLP:Odyssey Ball 2009Art in Bloom 2010

ALLISON KENDRICK:Odyssey Ball 2009

PAUL J. LEAMAN, JR.:Odyssey Ball 2009

MACY’S:Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney StudioExhibition Support

MRS. JOHN MASCARO:Odyssey Ball 2009

MATHES BRIERRE ARCHITECTS:Odyssey Ball 2009

MCILHENNY CO:Art in Bloom 2010

MRS. ELLIS MINTZ:Odyssey Ball 2009

MORPHY MAKOFSKY, INC.:Odyssey Ball 2009

JERI NIMS:Odyssey Ball 2009

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

WARREN ROESCH:Odyssey Ball 2009

SUPERIOR ENERGY SERVICES:Art in Bloom 2010


BOARD OF TRUSTEES

BOARD MEETING SCHEDULENOMA’s Board of Trustees will notmeet in July or August. Meetingsresume on Wednesday, September15, 2010.October 21

NVCGENERAL MEETINGDon’t miss the final NVC meetingof the year on Monday, September13, 2010 at 10:30 a.m. in theNOMA Auditorium. Be there towelcome new NOMA Director andCEO Susan Taylor! NVCNominating Committee Chair DianeWalmsley will present the 2011slate of officers for approval. Hearfinal details for Love in the Garden,to be held Friday, September 24.Tickets will be available forpurchase. Odyssey Ball ChairAdrea Heebe will reveal details ofthis year’s exciting gala, which willkick off NOMA’s centennialcelebration.

Thinking of joining the NVC?Circle September 13 on yourcalendar and attend this mostimportant meeting as a guest. It’s agreat time to be a member of theNOMA Volunteer Committee!

ART AMBASSADORSThe NVC is recruiting new artambassadors. This important grouphelps keep NOMA in the public

MUSEUM NEWS MUSEUM NEWS MUSEUM

eye. Periodic visits to hotels, bedand breakfasts, and art galleries withNOMA information packets keep thecommunity informed about goings-on at NOMA. Assignments are bygeographical location. Volunteerwith a friend to share the driving orfootwork. An hour or two of yourtime, several times a year, will havea major impact. Contact the NVCOffice at 504-658-4121 for moreinformation.

STUDIO SALONSNVC members and their guests wereprivileged to be invited to tour twobeautiful homes and art collections,as well as the art gallery of MetairiePark Country Day School, on May 8,2010. NVC Studio Salon Chairs SallyRichards and Cary Alden, with helpfrom Carol Hall, were the successfulorganizers.

The first tour began at thecharming Old Metairie home and artcollection of Carolyn Chandler,Head of School for Metairie ParkCountry Day. It was followed by atour of the current art exhibition atthe school, featuring the students’impressive painting, metal work,collages, and more, as well as MikeSmith photography.

The participants then trotted offon a short walk to the elegantlydecorated and furnished home of E.Alexandra Stafford and Raymond M.Rathle, Jr. to view a very specialcollection of art and antiquesincluding Louis XIV and XV pieces.Refreshments topped off a lovelyafternoon. n

SENIOR STAFFE. John Bullard, The Montine McDaniel Freeman DirectorGail Asprodites, Assistant Director for Administration and FinanceMarilyn Dittmann, Director of DevelopmentLisa Rotondo-McCord, Assistant Director for Art/Curator of Asian ArtAlice Rae Yelen, Assistant Director of EducationPamela Buckman, Sculpture Garden ManagerMonika M. Cantin, Associate Collections ManagerAisha Champagne, Director of Publications and DesignSheila Cork, LibrarianDiego Cortez, The Freeman Family Curator of PhotographyJohn d’Addario, Associate Curator of EducationSarah Davidson, Coordinator of Special EventsWilliam A. Fagaly, The Françoise Billion Richardson Curator of African ArtAnthony V. Garma III, Exhibition Installation CoordinatorPage Gleason, Grants OfficerCaroline Goyette, Editor of Museum PublicationsSusan Hayne, Human Resources ManagerTao-nha Hoang, Chief PreparatorJennifer Ickes, Assistant RegistrarKristin Jochem, Development Associate for NVCJohn W. Keefe, The RosaMary Foundation Curator of The Decorative ArtsMiranda Lash, Curator of Modern and Contemporary ArtBernard Mitchell, Chief of SecurityKarl Oelkers, Facilities ManagerMarie-Page Phelps, Associate Collections ManagerTodd Rennie, PreparatorGeorge Roland, The Doris Zemurray Stone Curator of Prints and DrawingsTy Smithweck, ControllerWilliam Sooter, PreparatorRachel Strassel, Public Programs AssistantPaul Tarver, Registrar/Curator of Native American and pre-Columbian ArtRebecca Thomason, Centennial CoordinatorSteve Thompson, Computer CoordinatorPatricia Trautman, Museum Shop ManagerKatherine Truxillo, Development Associate for MembershipLaura Wallis, Development Associate for Membership and Annual AppealGretchen Wheaton, Volunteer CoordinatorGrace Wilson, Director of Communications and Marketing

HONORARY LIFE TRUSTEES H. Russell Albright, M.D.Mrs. Jack R. AronMrs. Edgar L. Chase, Jr.Isidore Cohn, Jr., M.D.Prescott N. DunbarS. Stewart FarnetSandra Draughn FreemanKurt A. Gitter, M.D.Mrs. H. Lloyd HawkinsMrs. Killian L. HugerMrs. Erik JohnsenRichard W. Levy, M.D.J. Thomas Lewis

Mrs. Paula L. MaherMrs. J. Frederick Muller, Jr.Mrs. Jeri NimsMrs. Charles S. Reily, Jr.Mrs. Françoise Billion RichardsonR. Randolph Richmond, Jr.Charles A. SnyderMrs. Frederick M. StaffordHarry C. StahelMr. and Mrs. Moise S. Steeg, Jr.Mrs. Harold H. StreamMrs. James Lyle TaylorMrs. John N. Weinstock

NATIONAL TRUSTEESJoseph BaillioMrs. Carmel CohenMrs. Mason GrangerJerry Heymann

Herbert Kaufman, M.D.Mrs. James PierceMs. Debra ShrieverMrs. Billie WeismanMrs. Henry H. Weldon

Ms. Allison KendrickSubhash V. KulkarniHenry LambertMayor Mitch LandrieuMrs. Merritt LanePaul J. Leaman, Jr.E. Ralph Lupin, M.D.Paul MasinterEdward C. MathesKay McArdleAlvin Merlin, M.D.Mrs. R. King MillingMrs. Michael MoffittHoward OsofskyMrs. Robert J. PatrickThomas Reese, Ph.D.Mrs. James J. Reiss, Jr.Mrs. George RodrigueBryan SchneiderMrs. Robert SheltonMrs. Lynes R. SlossMs. Alexandra E. StaffordMrs. Richard L. StrubMrs. Patrick F. TaylorLouis A. Wilson, Jr.

NOMA BOARD OF TRUSTEESStephen A. Hansel, PresidentMrs. James J. Frischhertz, Vice-President

Mrs. Charles B. Mayer, Vice-President

William D. Aaron, Jr., Vice-President

Michael Moffitt, TreasurerDavid F. Edwards, SecretaryMrs. Françoise B. Richardson,

Assistant Treasurer

Mrs. John BertuzziSydney J. Besthoff IIIMrs. Mark CareyEdgar L. Chase IIILeonard DavisH. Mortimer Favrot, Jr.Mrs. Ludovico FeoliTimothy FrancisMrs. Anne Gauthier Mrs. Edward N. GeorgeRoy A. GlapionTerry HallLee HamptonMs. Adrea Heebe

ARTS QUARTERLY 53

SWEET SuiteLouisiana: ColorIntaglio Prints byWarrington Colescott Templeman GalleriesThrough July 3, 2010

Beyond the Blues:Reflections of AfricanAmerica in the Fine ArtsCollection of the AmistadResearch CenterElla West Freeman GalleriesThrough July 11, 2010

William GreinerPhotographs: FallenParadise and Land’s EndTempleman GalleriesThrough July 3, 2010

The Therapist: Photographyby Donald WoodmanBay GalleryThrough July 11, 2010

Patti Smith: A Donationto NOMASecond Floor Contemporary ArtGalleriesThrough July 25, 2010

Swamp Tours:Exploring theLouisianaContemporaryCollectionFrederick R. WeismanGalleriesThrough August 29, 2010

Women Artists in Louisiana, 1965-2010From the collections of TheHistoric New Orleans Collectionand the New Orleans Museum ofArtTempleman GalleriesThrough September 12, 2010

Ancestors andDescendants: AncientSouthwestern Americaat the Dawn of theTwentieth Century,Selections from theGeorge Pepper NativeAmerican Archive at theMiddle AmericanResearch Institute, Tulane UniversityElla West Freeman GalleriesJuly 24 - October 24, 2010

Every YearSomething New:Works on Paperfrom the PermanentCollectionTempleman Galleries July 24 - October 24, 2010

UNTITLED [NewOrleans and theGulf Coast, 2005]:Photographs byRichard MisrachBay GalleryAugust 28 - October 24, 2010

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. n

NOMAExhibitionSchedule

JU

LY

20

10

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1 2 3

7654 8 9 10

14131211 15 16 17

21201918 22 23 24

28272625 29 30 31

NOMA Calendar of EventsLEGEND:

44 Art-Making Activities

¶¶ Exhibitions

nn Films/Music

cc Lectures and Walk-throughs

bb Library Events

vv Mid-Week in Mid-City (Museum Hours on Wednesdays: 12-8 p.m.)

66 Sculpture Garden Events

aa Special Events

Events subject to change. Check the Museum’s website for updates: www.noma.org.

¶¶10 a.m.Exhibition Openings: Ancestors andDescendants (EWF Galleries) andEvery Year Something New(Templeman Galleries)

ccNoonFabergé Walk-throughaannLate Night Closing for Beyond theBlues (Museum open until 2 a.m.)

ccvv6 p.m.Exhibition Walk-through: Ancestorsand Descendants (EWF Galleries)

nn vv7-8 p.mAncestors and DescendantsCelebration: Live Music by Flow Tribe

ccNoonExhibition Walk-through:Every Year Something New(Templeman Galleries)

bbNoon-1 p.m.Book Club Discussion Group(Library)

668-9 a.m.Yoga in the Garden


441-4 p.m.

Family Art-Making Activity (Great Hall) aa

6-7 p.m.Tai Chi/Chi Kung in the Galleries

668-9 a.m.Pilates in the Garden

aavv6-7 p.m.Tai Chi/Chi Kung in the Galleries

aavv6-8 p.m.Meet the Museum Shop's FeaturedArtist: Mitchell Gaudet



¶¶Final Day: Beyond the Blues

(EWF Galleries)

Independence Day: Museum Closed

AU

GU

ST

20

10

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

4321 5 6 7

111098 12 13 14

18171615 19 20 21

25242322 26 27 28

313029

2 p.m.Richard Misrach Lecture

(Stern Auditorium)

SEPTEM

BER

2010

1 2 3 4

8765 9 10 11

15141312 16 17 18

22212019 23 24 25

29282726 30

Thursday Friday SaturdaySunday Monday Tuesday Wednesday

nn vv6 p.mFilm: Cape No. 7 (Stern Auditorium)aavv6-7 p.m.Tai Chi/Chi Kung in the Galleries










ccvv6-7:30 p.m.Meet the Artists: Women Artists inLouisiana (Louisiana Galleries)



ccNoonExhibition Walk-through: Ancestorsand Descendants (EWF Galleries)

ccNoonExhibition Walk-through: Ancestorsand Descendants (EWF Galleries)

ccNoonFabergé Walk-through

ccNoonExhibition Walk-through:Every Year Something New(Templeman Galleries)





aann44ccKatrina Remembrance Day:

10 a.m.-2 p.m. Treme Screening (Stern Auditorium)





aa7 p.m.LOVE in the Garden


aa10:30 a.m.NVC General Meeting (Stern Auditorium)

nnvv6:30 p.m.Faubourg Quartet (Stern Auditorium)

ccNoonExhibition Walk-through:Every Year Something New(Templeman Galleries)cc

6 p.m.Ancestors and Descendants Lecture(Stern Auditorium)

441-4 p.m.

Family Art-Making Activity(Great Hall)

aavv6-8 p.m.Meet the Museum Shop's FeaturedArtist: Peg Martinez

aavv6-8 p.m.Meet the Museum Shop's FeaturedArtist: Gerald Haessig

ccNoonFabergé Walk-through

aa12-4 p.m.

Hispanic Festival

¶¶10 a.m.Exhibition Opening: UNTITLED[New Orleans and the Gulf Coast,2005] (Bay Gallery)nn 10 a.m.-2 p.m. Treme Screening (Stern Auditorium)

1-4 p.m.Family Art-Making Activity

(Great Hall)

aavv5-8 p.m.Culture Collision

Post Office Box 19123New Orleans, Louisiana 70179-0123

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