AQJunJulAugSept06

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ARTSQUARTERLYVOLUME XXVIII ISSUE 1 NEW ORLEANS MUSEUM OF ART JUNE/JULY/AUGUST/SEPTEMBER 2006

A benefit of membership with the New Orleans Museum of Art

After more than seven months of hearing thevoices of only fellow staff membersthroughout the Museum, NOMA reopenedits doors on March 3 to the sounds ofhundreds of hopeful and happy visitors, all

thrilled to see the Museum intact, unharmed andreopened. The three-day reopening celebration includeda salute to the arts entitled “The HeART of New Orleans.”Festivities included performances by Irvin Mayfield,Shades of Praise, Paul Soniat, Philip Manual, Fredy Omar,Delta Festival Ballet and readings and book signings byRichard Ford, Chris Rose, Patricia Brady, Christina Vella,George Rodrigue, among many others. Additionally, fournew exhibitions premiered on March 3—Seen in Solitude:Robert Kipniss Prints from the James F. White Collection,Recent Paintings by Robert Kipniss; Inside the Congo: AnIntroduction to the Field Research Archives of Frère JosephCornet, and A Keen Eye: Louisiana Art from the MarthaAnn and Ray Samuel Collection. The three-dayreopening weekend was celebrated by more than 6,500visitors.

Prior to NOMA’s reopening, the New OrleansMuseum of Art faced historic and unprecedentedchallenges. Although the Museum survived HurricaneKatrina with virtually no damage to the art inside the

building, NOMA suffered many losses, including the lay-off of eighty-five percent of its staff and the death of staffmember Mathilde “Mimi” Laudumiey. Due to the heroicactions of our staff, the Museum’s collection is safe, butbasement offices, mechanical and electrical systems,archival areas and storage areas were damaged. TheBesthoff Sculpture Garden also suffered extensivedamage to its landscaping. lighting and lagoons, and onesculpture, Virlane Tower by Kenneth Snelson, wasseriously harmed. The Museum and the Sculpture Gardensustained $6 million in damage.

For several months, communications at NOMA waslimited to cell phones and wireless laptops. Through thegenerosity of the Louisiana Arts and Science Museum,NOMA was given temporary office space for some of itsstaff members. In Baton Rouge, we were able to set upcomputers and have access to email, fax and landlines.

In the weeks following Hurricane Katrina, theMuseum’s staff and board of trustees embarked on anambitious recovery strategy, which included a financialrecovery plan of $15 million over three years that wouldallow the Museum to reopen and to rehire staff. Buoyed

NOMASurvivesKatrina

NOMA Director E. John Bullard(at the podium) during the March 3

grand reopening of the Museum.(seated left to right) NOMA Trustee

Paul J. Leaman, Jr., NOMA PresidentS. Stewart Farnet, New Orleans Mayor

C. Ray Nagin, authors Ernest Gainesand Richard Ford, Wendy and artist

George Rodrigue.

Photo by Judy Cooper

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ARTSQUARTERLYVOLUME XXVIII ISSUE 1 NEW ORLEANS MUSEUM OF ART JUNE/JULY/AUGUST/SEPTEMBER 2006

1 NOMA Survives Katrina

5 “Tragedy is the Blood of Art”Ernest Gaines

5 Images from NOMA’s Reopening on March 3

8 Ansel Adams

11 Katrina Exposed: A Community of PhotographsSteven Maklansky

12 Wild Bamboo: Images of Rebirth and Resilience in Edo-period JapanesePaintingLisa Rotondo-McCord

13 Seldom Seen: Aspects of English and Continental Ceramics from thePermanent CollectionJohn Webster Keefe

14 The Rupe Tahiti Doors of Paul GauguinJohn Webster Keefe

15 Blue Winds Dancing Postponed Due to Hurricane Katrina

16 Got Kids? Tips for Touring the Sculpture GardenKathy Alcaine and Allison Reid

18 Inside the Congo: An Introduction to the Field Research Archives of FrèreJoseph CornetDarla Rushing and William A. Fagaly

20 The Katrina Recovery Campaign: $15 Million for the New OrleansMuseum of Art

21 NOMA’s Katrina Recovery Fund Receives Support from NationalCorporations and Foundations

22 The Big Easy in The Big Apple Gala Benefit for NOMA Was a HugeSuccess!!

23 In Memoriam: Sunny Norman

23 In Memoriam: Mathilde “Mimi” Laudumiey

24 Corporate Membership

26 Join A Circle and Upgrade Your Support of NOMA

28 Education Programs and Activities

29 Program Sponsors

30 Museum News

31 NOMA Calendar of Events

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

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

© 2006, 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 directorOn August 29,

2005, HurricaneKatrina hit New

Orleans withunprecedented fury,forever altering the livesof its citizens. WhileNOMA was located inthe center of the badlyflooded Mid-City area,

its placement on a high ridge saved it from thesurrounding flood waters. Miraculously ourcollection of 40,000 artworks survivedunharmed, but our building and SculptureGarden sustained multimillion-dollar damage.This catastrophe had a devastating impact onthe Museum’s finances and forced us to closeour doors for six months and, worst of all, layoff 85% of our staff.

By mid-October, our trustees, under theinspired leadership of President Stewart Farnet,developed a three-year financial recovery andstabilization plan to ensure NOMA’s future. OurKatrina Recovery Committee, dynamicallyheaded by Paul Leaman, launched a $15 millionthree-year campaign, and he and I begantraveling the country to visit foundations,corporations and individuals. So far $5 millionhas been raised and NOMA is firmly on the roadto recovery. The Besthoff Sculpture Garden wasreopened December 10, 2005; laid off staffbegan to be rehired in January; and the Museumreopened on March 3, for three days a week.

NOMA’s recovery is the result of thetremendous dedication and hard work of itsmuch-reduced staff and hundreds of loyalvolunteers, beginning with our fully committedtrustees. To thank each NOMA saviour wouldtake pages. I do want to recognize a group ofextraordinary staff members who volunteered tostay in the Museum, with their families, throughthe hurricane to protect the building and arttreasures: Kevin Boyd, Shea Caliste, Kay Hatton,Alfred Johnson, Larry Kemp, Harold Lyons,Leverne McZeal, Keith Whins. These eightemployees remained until Thursday, when theywere forced by National Guard troops toabandon their posts. All were helicoptered outof City Park to a staging area on I-10, wherethey had to wait for three days in the brutal95-degree heat before buses took them toout-of-state shelters. These were NOMA’sfirst heroes.

Fortunately the Museum was quicklyresecured with retired New York City PoliceOfficers, employed by NOMA’s insurer, AXA ArtInsurance Corp. Our deputy director, JackieSullivan, lead these officers by airboat to theMuseum on Sunday, September 4, where theyestablished a cordon of protection around andinside the building, remaining for the next twomonths. To every person who has contributedto the salvation and recovery of NOMA, Godbless you one and all!

E. John Bullard

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

The New Orleans Museum of Art andthe Besthoff Sculpture Garden are open

Wednesday through Sunday, from10 a.m. to 4:30 p.m. For information on

upcoming exhibitions and events atNOMA, please call 504-658-4100 or visit

our website at www.noma.org.

BEGINNING JUNE 7, 2006, NOMA AND THE BESTHOFF SCULPTURE GARDEN

WILL BE OPEN WEDNESDAY THROUGH SUNDAY, 10 A.M. TO 4:30 P.M.

ARTS QUARTERLY 5

The museum is as important today as everbefore. Katrina destroyed lives, buildings,infrastructure, but left memories. Some ofthose who will tell the story of Katrina arenot yet born. Except for the Civil War Katrina

probably has been the greatest catastrophe of thiscountry’s history—definitely in Louisiana’s history. Buttragedy is the blood of art...We will rebuild...Katrina wasa bad girl, and Rita was not much nicer. They hurt richand poor, bad and good, beauty and ugly alike. But fromtheir wake we will find growth...There will come newwriters, poets, painters, musicians—and new politicians.Katrina and Rita hurt us like nothing else had everdone...but they opened our eyes, cleansed our ears,perked up our consciousness, made us more aware ofwho we are a Louisianians, and what we should bedoing with our time. They were bad girls, yes, but theywoke us up. We can never be the same again. As a cleanhard rain cleanses the atmosphere, the branches of trees,the crop in the fields, flowers and grass, Katrina has donethe same for our soul, I hope. Because if this tragedy hasnot helped us to understand ourselves and others better,we are hopeless, and nothing ever will...But I think itdid...There are thousands and thousands of stories thatone day will be recorded by writers, poets, musicians,films and drawings, by artists not yet born. The museumis the conservatory of this history, that is why it isneeded, and must be free for all...The people will neverforget this tragedy and will be repeated over and over forgenerations to come. Tragedy is the blood of art. Art isthe story of man, the museum is the safe-keeper...Thankyou. n

“Tragedy is theBlood of Art”

BY ERNEST GAINES

The following remarks weredelivered by Pulitzer-prize-winning author Ernest Gainesat NOMA’s reopeningceremony on March 3, 2006.

Ernest Gaines (left) with fellow author Richard Ford


Images fromNOMA’sReopening onMarch 3

NOMA President S. Stewart Farnet (at the podium), along with NOMATrustee Paul J. Leaman, Jr. (left), accepts a check for $100,000 fromWendy and artist George Rodrigue for NOMA’s Katrina Recovery Fund,from the sale of his special “To Stay Alive, We Need Levee 5” print.


(top right)Shades of Praise welcomes visitors

to NOMA’s grand reopening

(right)NOMA’s Great Hall was filled with

hopeful and happy visitors duringits grand reopening on March 3.

Photos by Judy Cooper


by $1 million in gifts and pledges from the New Orleans-based Zemurray Foundation and the Azby Fund, theMuseum received a leadership grant of $500,000 fromthe Andrew W. Mellon Foundation of New York. TheMellon grant was awarded specifically to assist NOMA inthe rehiring of its curatorial staff, who were part of thegeneral lay off of the Museum’s staff in early October2005. The Mellon Foundation has been joined by anumber of other national foundations, including TheAndy Warhol Foundation for the Visual Arts, TheWhitehead Foundation, The Benjamin M. Rosen FamilyFoundation, the Deutsche Bank Americas Foundation,the Henry Luce Foundation, the American ExpressFoundation, and the J. Aron Charitable Foundation, all ofNew York, and the Elizabeth Cheney Foundation ofChicago, who together have donated an additional$1,000,000.

The Museum also has benefitted from the generosityof its sister institutions around the country who havedonated funds and services to its recovery campaign. Ledby a $25,000 contribution from the Association of ArtMuseum Directors, more than $100,000 has been raisedso far, with lead gifts of $20,000 each from the NorthCarolina Museum of Art and the Kimbell Art Museum,and additional support from the Tampa Museum of Art;the Brooks Memphis Museum of Art; the CincinnatiMuseum of Art; the Bass Museum of Art, Miami Beach;the Flint Institute of Arts, Michigan; the BaltimoreMuseum of Art; the Opelousas Museum of Art; theArkansas Art Center, Little Rock; the Louisiana Arts andScience Museum, Baton Rouge; the Historic New OrleansCollection; the Sterling and Francine Clark Institute,Williamstown, Massachussets; and the Museum ofInternational Folk Art, Santa Fe, New Mexico.

“Our commitment is to lead a cultural rebirth in NewOrleans and the Gulf South,” NOMA Director E. JohnBullard said. “Just to remain open and operate NOMAalone, we need $15 million over the next three years.We are delighted that the Mellon Foundation and otherdonors have demonstrated their commitment torebuilding New Orleans through such generous support.Their vote of confidence in our future will be anenormous help to us as we approach other nationalfoundations and potential donors.”

NOMA’s building and BesthoffSculpture Garden sustained more

than $6 million in damages.

Photo by William A. Fagaly

Photo by Jacqueline L. Sullivan

(continued from page 1)

ARTS QUARTERLY 7

NOMA has received support throughout the world.To assist in the Museum’s Katrina recovery, theGovernment of France has organized an extraordinaryexhibition of French paintings from the Louvre, thePompidou Centre, and the Musée d’Orsay in Parisdepicting the changing role of women in French lifeduring the tumultuous nineteenth century. Entitled LaFemme: The Changing Role of Women in French Societyin the 19th Century from the National Museums ofFrance, the exhibition will be on view at NOMA March 3through June 2, 2007, and includes works by suchmasters as Monet, Renoir, Degas and Toulouse-Lautrec,as well as less famous artists.

In the aftermath of Hurricane Katrina, NewOrleanians have a strengthened sense of what isimportant: life and family, friendship and compassion.Something else has become apparent: art and culture arenot luxuries, but necessities—sources of solace, comfort,perspective, inspiration and rejuvenation. n

NOMA’s grand reopening was generously funded bythe Louisiana Division of the Arts, Chili’s and Romano’sMacaroni Grill. The extraordinary gathering of artisticLouisiana talent was made possible, in part, by agenerous donation from Merrill Lynch, Claire Leamanto the New Orleans Musicians’ Clinic (NOMC), keepin’music alive since 1998, HEAL (Help Employ ArtistsLocally), and Young Audiences. Partners in thereopening included Arts Council of New Orleans, NewOrleans Convention and Visitors Bureau, New OrleansTourism & Marketing Corporation, City Park, MapleStreet Book Shop and Gambit Weekly.

(top)NOMA Deputy Director Jacqueline L. Sullivan (left)arrives by helicopter to NOMA during the early daysfollowing the hurricane.

(right)National Guardsmen help in clearing downed treesin NOMA’s Besthoff Sculpture Garden.

(below)Kenneth Snelson’s forty-five-foot stainless VirlaneTower (background) was the only sculpture in theBesthoff Sculpture Garden to sustain significantdamage—collapsed by the winds into the lagoon.

Photos by William A. Fagaly


An exhibition of photographs byAnsel Adams, drawn from The LaneCollection—the largest holding ofworks by the artist still in privatehands—will be on view at the New

Orleans Museum of Art from June 3 throughSeptember 24, 2006. Entitled Ansel Adams, theexhibition beautifully captures Adams’s poeticvision through 125 black-and-white photographsspanning fifty years of the artist’s career, withparticular emphasis on his early work—fromclassic landscapes and views of national parks tointimate still lifes and abstracted, modernistworks. Highlighting many rare and unpublishedphotographs, the exhibition also reveals a little-known side of Adams’s work, including hisstriking architectural and urban views, portraits ofartist friends, and photographs of Native Americanpueblos. The works on view have been drawnfrom The Lane Collection of American modernistphotography, which is currently housed at theMuseum of Fine Arts, Boston, and includes nearlyfive hundred works by Adams purchased directlyfrom the artist by the late William H. Lane and hiswife, Saundra, in the 1960s and 1970s.

“Although NOMA does indeed have somewonderful examples of Adams’s work in its owncollection, this exhibition presents a mostcomprehensive view of the career of America’smost famous fine art photographer,” said NOMADirector E. John Bullard

William Lane first met Adams in 1954 throughtheir mutual friend, artist Charles Sheeler, and thetwo continued to correspond in the years thatfollowed. In 1965, the Lanes acquired the entirephotographic estate of Sheeler following hisdeath—a pivotal moment that prompted them tostart collecting photography in earnest, at a time whenfew people appreciated it as art. Two years later, partlyinspired by the traveling exhibition Eloquent Light atBoston’s Museum of Fine Arts, the Lanes began toincorporate Adams’s work into the collection. For thenext ten years, they worked directly with Adams—considering a wide range of his photographs, makingvisits to the artist’s home on the west coast, andcorresponding through numerous letters and trunks fullof pictures—cultivating a very personal collection of hisworks. During this time, they also formed a strongrelationship with his wife, Virginia, who, along withAdams, quietly inspired and encouraged a generation ofyoung photographers. The Lane Collection nowcomprises a diverse range of photographs by Adams,including lesser-known early works from the 1920s, aswell as many “vintage” prints (those made close to thedate of the negative)—acquired at a time when “vintage”photographs were not often sought by collectors.

“Bill and I were privileged to be able to workdirectly with Ansel Adams over the course of nearly adecade to create an extensive and quite personalcollection of his photographs,” said Saundra Lane. “TheMFA exhibition features a very special selection of thesephotographs, and I am thrilled that we are able to shareso many of these works with the community.”

Ansel Adams is arranged chronologically in sevensections: “Early Work” (including photographs of theHigh Sierra, Canadian Rockies, and Pueblo Indians);“Group f/64: Exploring Straight Photography”;“Yosemite”; “The American Southwest”; “Alfred Stieglitzand New York”; “The National Parks”; and “The Late

Work.” Some fascinating examples of early and lateprints made from the same negative also provide anopportunity to explore changes in the relative scale ofAdams’s work, his choice of photographic papers, andhis printing techniques over time.

“The remarkable scope of The Lane Collection hasallowed us to take a wonderfully comprehensiveapproach in presenting a wide range of works by AnselAdams, shedding new light on his career,” said KarenHaas, Curator of The Lane Collection at the MFA andorganizing curator of the exhibition. “From thebreathtaking western landscapes for which he is bestknown, to lesser-known photographs of urban subjectsand Native American pueblos, this exhibition brings forthmany facets of Adams’s work.” n

Ansel Adams is on view at the New OrleansMuseum of Art June 3 through September 24, 2006.This exhibition was organized by the Museum ofFine Arts, Boston, and is sponsored by FidelityInvestments through the Fidelity Foundation.The exhibition is accompanied by a fully illustratedcatalogue, which is available in the NOMA MuseumShop.

Ansel Adams

(right)Ansel Adams(American, 1902-1984)Self-Portrait, Monument Valley, Utah,1958Gelatin silver print13-11/16 x 9-3/16 inchesThe Lane Collection

(facing page)Ansel Adams(American, 1902-1984)Monolith—The Face of Half Dome,Yosemite National Park, 1927Gelatin silver print18-3/4 x 14-1/2 inchesThe Lane Collection

©2006 The Ansel Adams Publishing Rights Trust

ARTS QUARTERLY 9

©2006 The Ansel Adams Publishing Rights Trust


ARTS QUARTERLY 11

We saw it with our own eyes. EveryNew Orleanian has some visualrecollection of Hurricane Katrina—itscoming, its arrival, its aftermath, thedestruction, the desolation, and now

the recovery and rebuilding processes. Now the waterhas long receded, much debris has been cleared away,and like the distinctive flood lines that mark so manyhomes and businesses, memories of those fateful daysare slowly starting to fade. But forgetting the past is noway to prepare for the future.

The challenge, instead, is to remember what isimportant, to select significance, and keep it safe forreconsideration and review. That is why so many NewOrleanians, and some intrepid photojournalists, camethrough the calamity carrying a camera. Like plucking astruggling victim of circumstance from the deluge, takinga picture is a rescue—a way of preserving a littlerectangle of history from oblivion. Stored in an envelopeor in a computer, any such image is but a single,personal, and invisible piece of evidence. But if hundredsof such photographs, representing hundreds ofviewpoints of the Katrina experience are resuscitated foran exhibition, then they reemerge into a meaningful newarena of public consciousness and contemplation.

That is why the New Orleans Museum of Art hasasked its community to share their photos, and whyscores of people have responded with hundreds ofimages. They all will be shown, along with some of themost extraordinary Katrina images shot by local, national,and international artists and photojournalists, in anexhibition called Katrina Exposed: A Community ofPhotographs at the New Orleans Museum of Art.

Why now? This spring might be the calm before thenext hurricane season begins. And enough time haspassed. Having stepped forward to face the challengesbrought on by Katrina and the floods that followed, NewOrleanians are ready to step back and reflect upon whatreally happened, and what is really happening. Taking ahard look today is an important step towards seeing abetter tomorrow. n

Katrina Exposed: A Community ofPhotographs is on view at NOMA throughSeptember 3, 2006. The exhibition is accompaniedby an illustrated catalogue, entitled KatrinaExposed: A Photographic Reckoning, which isavailable in the NOMA Museum Shop.

KatrinaExposed:A Communityof Photographs

BY STEVEN MAKLANSKYAssistant Director for Art/Curator of Photographs,NOMA

Mr. AmericaDonna Hart

©Thomas Dworzak/Magnum photos


During the Edo period (1615-1868) Japanwas free from major domestic andinternational conflict. The relative political,social and economic stability combinedwith growth in cities and domestic trade

gave rise to unprecedented opportunities for artists. Inthe growing cities and towns artists worked to decoratenewly constructed buildings and homes for their patrons,from both the traditional elite classes as well as theincreasingly wealthy merchant class.

Many of these new patrons for art favored imageswith positive meanings and associations. Bamboo, pinetrees, plum blossoms, frolicking children and historicalfigures associated with valor and bravery are among thisgenre of painting subjects. Presented in isolation or innumerous combinations, these images conveyed wishesfor good fortune, long life, and the continuity of thefamily line. The current installation in the Asian gallerieson the third floor of the New Orleans Museum of Art,entitled Wild Bamboo: Images of Resilience and Rebirthin Japanese Edo-period Painting, displays nearly thirtyscrolls and screens, drawn from the Museum’s permanentcollection, related to this theme.

One of NOMA’s most important Edo-periodpaintings, Nagasawa Rosetsu’s (1754-1799) ChineseChildren at Play, is featured in the exhibition. This pairof six-panel screens incorporates many of the symbols ofrebirth and rejuvenation seen inisolation in the other paintings.Chinese Children at Play takes as itstheme the antics of fourteen smallboys in Chinese dress (known askarako in Japanese), who frolic on averanda by the water. This subject isseen frequently in Rosetsu’s work andmust have been popular amongst hisprosperous, merchant-class patrons.

The artist has used a number ofauspicious themes and subjects in thisscreen. Young boys (often called the“hundred boys”) are a frequentlyencountered subject in both Chineseand Japanese decorative arts,signifying the wish for many childrenand the continuation of the familyline. The bamboo, plum and pinetrees that frame the boys’ activities are

an auspicious group known as the “three friends ofwinter,” due to their resilience and hardiness. The plumis the first flower of spring, often blooming in lateJanuary or early February, coincident with the lunar NewYear, and is a favored emblem of rebirth. Additionally,bamboo and plum have scholarly associations: the poet-painters of traditional China often brushed these subjects.The scholarly aspect is further underscored andsubverted by the actions of the young boys. Severalsurround a low table of the sort that graced a scholar orteacher’s study. The table’s surface is strewn with paper,ink sticks and ink stones—the tools of the educated elite.Rather than obediently learning their lessons, Rosetsu’sboys impishly crawl over the paper and toy with thebrushes. In this way, Rosetsu pokes gentle fun at theaccomplishments of the educated class, and by extensionthe “Four Accomplishments” of a gentleman: painting,calligraphy, the game of go and music. An independentartist working outside the studio system, Rosetsu wasknown for his displays of visual wit and acumen. n

Wild Bamboo: Images of Resilience and Rebirthin Japanese Edo-period Painting will be on view inthe Asian galleries until August 2006.

Wild Bamboo:Images ofRebirth andResilience inEdo-periodJapanesePainting

BY LISA ROTONDO-McCORDCurator of Asian Art, NOMA

Nagasawa Rosetsu(Japanese, 1754-1799)Chinese Children at Play, circa 1792-99Pair of six-panel screens, ink and color on paperCollection of New Orleans Museum of ArtMuseum Purchase: Women’s Volunteer Committee in memory of Edith Rosenwald Stern. 80.187.1-.2

(detail) Chinese Children at Play

ARTS QUARTERLY 13

Those Museum visitors whose special interestis English and Continental ceramics will beamply rewarded by a visit to thisdepartmental exhibition, which is presentedin the Cameo Gallery of the Lupin

Foundation Center for the Decorative Arts on the secondfloor. Featured are 130 examples of porcelain, pottery,faïence and terracotta ranging in date from 1540 to 1955,a span of more than four centuries. The show has beenextended due to the disruption of schedule occasionedby Hurricane Katrina.

The richly varied wares include some examples,which have not been on public view for more than aquarter of a century. Among these are Hispano-Maresquelustered rosewater basin; Dutch seventeenth-centurystoneware flagons; eighteenth-century Delft tile pictures;Sèvres porcelain dinnerwares; two Wedgwood “Portland”vases; a spectacular large Paris porcelain corbeille in therococo taste; a monumental Meissen garniture vase fromthe collection of Museum founder Isaac Delgado(American, born Jamaica, 1839-1912); a Belleek five-strand basket; a rare equestrian figure by Giorgio deChirico (Italian, born Greece, 1888-1978); earthenwaresby Pablo Picasso (French, born Spain, 1881-1973) and

porcelain designed for the Rosenthal firm by RaymondLoewy (American, 1893-1986) in 1955.

Arranged in approximate chronological order from1540 to 1955, the exhibition also permits the interestedvisitor to see the shifts and evolutions involved in theformation of an English and Continental ceramicscollection from the time the Museum opened its portalsin 1911 to the present day. Indeed, the Museum’sassemblage of these wares has moved from a stepchildposition to that of a strong, vibrant and growing facet ofthe permanent collection. While documenting the pastcollecting patterns of both the Museum and its patrons,the exhibition also brings to the forefront worthyexamples of porcelain and earthenware richly deservingrenewed attention. n

SELDOM SEEN: Aspects of English andContinental Ceramics from the PermanentCollection will continue through Sunday, July 30,2006. For a further discussion of this exhibition, seeArts Quarterly, January/February/March 2005,pages 10-11.

SELDOM SEEN:Aspects ofEnglish andContinentalCeramics fromthe PermanentCollection

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

Giorgio de Chirico (Italian, born Greece, 1888-1978)Equestrian Figure, circa 1925-30Terracotta, height 16 inchesCollection of New Orleans Museum of ArtGift of Muriel Bultman Francis. 1969.24

Giorgio de Chirico is primarily remembered today as a majorcontributor to the history of twentieth-century painting. However,he was also a talented sculptor, particularly of horses andequestrian figures. He began producing sculptures of this typeabout 1919 and continued experimenting with them through the1930s.

It is thought that this terracotta was one of a series, which mayhave been as few as three in number or as many as ten examples.The terracotta sculptures are, in any case, rare. It is known that deChirico produced an edition of six bronzes of this model.



One of the most astute andunusual acquisitionseffected by former DirectorJames Byrnes was that ofthe painted glass doors of

French painter Paul Gauguin (1848-1903),purchased in 1964. After an absence ofmore than a decade, these doors are onceagain on view in the Lupin FoundationCenter for the Decorative Arts on thesecond floor of the Museum.

Gauguin is today viewed as one of thetowering figures of the post-Impressionistschool as well as one of the founders ofmodernism in painting. Born to a Peruvianmother, Gauguin dreamt of returning to acivilization unsullied by industrializationand urban problems. Abandoning hisfamily in 1891, Gauguin embarked forTahiti, which represented the sought-afterprimeval culture. The Museum’s glassdoors, reverse-painted in oil, bear the titleRupe Tahiti, or “Hurrah, Tahiti,”expressing Gauguin’s delight in reachingthe island. That joy was somewhatmitigated by his realization that hisFrench-born landlady in Papeete, MadameCharbonnier was a busybody andnotorious gossip whose favorite pastimewas spying upon her tenants. In order toinsure some measure of privacy, Gauguinpainted these doors in oil, whichpermitted the passage of light whileremaining sufficiently translucent to blockthe prying eyes of Madame Charbonnier.She was not enamored of the doors,which still bear evidence of her attemptsto scratch off the offending paint afterGauguin gave up residence in her housein 1893.

Gauguin was obviously pleased withthe aesthetic effect of the Rupe Tahitidoors, for he painted a second set on hisreturn to Tahiti in 1895. Both sets of doorsutilized areas of color separated by blackoutlines, thus creating a stained glasseffect. While the NOMA doors rely onfigures of Tahitian women, foliage, apeacock, a lobster and a rabbit, thesecond set completed in 1895 featured aTahitian girl holding a coconut, aflowering tree and a rabbit.

It is interesting that both sets wereacquired by Englishmen; the NOMA setwas bought by English painter and muralist Stephen H.W. Haweis (1878-circa 1946) while the second set waspurchased by writer W. Somerset Maugham (1874-1965).The second set is now in the collection of the Jeu dePaume Museum in Paris.

The Rupe Tahiti doors are presented in a newcustom-built back-lighted case and are now a glowingand prominent feature of the Museum’s glass galleries.They are exhibited adjacent to French, American andAustrian glass in the contemporaneous Art Nouveaustyle. n

The RupeTahiti Doors ofPaul Gauguin

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

Paul Gauguin (French, 1848-1903)Pair of Doors: Rupe Tahiti, 1891-93

Oil on reverse-painted glass, painted beechwood76-1/4 x 34-1/4 inches

Collection of New Orleans Museum of Art:The Knoedler Benefit Fund and Gift of Two

Anonymous Donors. 1964.1

Reverse-painted glass doors are among the rarestof works by renowned painter Paul Gauguin. He

decorated two sets, this one during his first long-anticipated trip to Tahiti from 1891 to 1893 and a

second set on his second trip in 1895. The later setis now in the collection of the Jeu de Paume

Museum in Paris.

Photo by Aisha Champagne

ARTS QUARTERLY 15

Blue Winds Dancing: The WhitecloudCollection of Native American Art wasscheduled to open November 13, 2005, theevening of the Odyssey Ball, NOMA’s mostimportant fund raiser. Due to Hurricane

Katrina, the opening has been rescheduled for theNovember 2007 Odyssey Ball. The exhibition willpremier at the Albuquerque Museum of Art in NewMexico, where it will be on view from August 12 toOctober 28, 2007.

Blue Winds Dancing: The Whitecloud Collection ofNative American Art will be presented at NOMA

November 10, 2007, through February 24, 2008. Theexhibition is accompanied by an illustrated colorcatalogue, which is available in the NOMA MuseumShop.

The exhibition and catalogue were made possiblewith support from The Thaw Charitable Trust; theLouisiana Endowment for the Humanities; The CuddFoundation; The McIlhenny Family, McIlhenny Companyand The Gustaf Westfeldt McIlhenny Family Foundationin memory of Sara Avery McIlhenny and Mary AveryMcIlhenny Bradford; Sheraton New Orleans Hotel; andTunica-Biloxi Tribe and Paragon Casino Resort. n

Blue WindsDancingPostponed Dueto HurricaneKatrina


Children naturally love NOMA’s Sydney andWalda Besthoff Sculpture Garden. Its wideexpanses of soft green grass shaded by hugeold oaks is dotted with sculptures fromaround the world, creating a fun, almost

magical setting. Young visitors are invited andencouraged to experience works of art up close, and caneven touch the sculptures (no climbing, please).Meandering through the winding paths with your littleones is sure to be a hit, but how can you get them toreally look at and begin to understand the works of art?Inspired by an article written by Doug MacCash, art criticfor The Times-Picayune, we have created a scavengerhunt for your family. This “scavenger hunt” approachimmediately gets youngsters interested and involved,giving them the chance to actively search for meaning.When your group has solved a riddle and you’ve foundthe sculpture, you can use the descriptions in the map(available for $1 at the front gate of the SculptureGarden) to tell the children more information about thepiece. We’ve reproduced some of MacCash’s riddles foryou and added our own, so you and your family canbecome Sculpture Garden sleuths. The descriptions listedbelow correspond to the map of the Sculpture Garden.

During your next visit to the Sculpture Garden, findthe following:

1. The ax that can’t chop: Rene Magritte, TheLabors of Alexander, map description #2

2. The arrow that isn’t there: Antoine Bourelle,Hercules the Archer, map description #8

3. A horse that’s not made of wood: DeborahButterfield, Restrained, map description #28

4. A little man with a big weight on his chest:Fernando Botero, Mother and Child, map description #42

5. Darth Vader’s musician brother: MichaelSandle, The Drummer, map description #31

6. The doomed chicken: Jacques Lipchitz, SacrificeIII, map description #10

7. Charlotte’s really big sister: Louis Bourgeois,Spider, map description #35

8. Something for King Kong’s diaper: ClaesOldenburg and Coosje van Bruggen, Safety Pin, mapdescription #52

9. The four swamp things: Elisabeth Frink, RiaceWarriors I, II, III, IV, map description #33

10. The dinosaur egg: Barbara Hepworth, RiverForm, map description #4

11. Slow and steady wins the race: Paul Manship,Tortoise, map description #36

12. Ketchup and mustard jars: Allen McCollum,Perfect Vehicles, map description #29

13. What you catch at Mardi Gras: Jean-MichelOthoniel, Tree of Necklaces, map description #34

Got Kids?Tips forTouring theSculptureGarden

BY KATHY ALCAINECurator of Education, NOMA

AND

ALLISON REID

ARTS QUARTERLY 17

14. Curious George’s strange family: RonaPondick, Monkeys, map description #24

15. Spears that sway in the wind: George Rickey,Four Lines Oblique, map description #17

16. A man morphing into a tree: RichardRosenblum, Adam, map description #14

17. A four-letter word: Robert Indiana, LOVE, Red,Blue, map description #53

18. Three people who can’t talk: George Segal,Three Figures and Four Benches, map description #18.

19. A couple with legs they can’t stand on: LynnChadwick, Two Sitting Figures, map description #5

20. Lots of instruments you can’t reach: Arman,Pablo Casals’ Obelisk, map description #50

21. Three different sculptures of mothers withchildren: Henry Moore, Reclining Mother and Child,map description #1; Fernando Botero, Mother and Child,map description #42; and William Zorach, The FutureGeneration, map description #20

In addition to creating scavenger hunts and riddles,knowing some basic techniques for viewing and thinkingabout sculpture can add dimension to your visit to theGarden. Sculptures are unique because in most cases youcan walk around the object and see it from all angles.The environmental setting becomes an integral part ofthe art. When you look at a sculpture, discuss your firstimpressions of the work. What does the sculpture looklike? What does it appear to be made of? How does thesculpture feel? Is it smooth, rough or jagged? Does the

sculpture feel like you thought it would feel? Describethe subject, the materials, and the placement of the piecein the Sculpture Garden. How does the material affectthe subject? What do you think the artist meant when heor she created the art? Can you figure out how the artistcreated the work?

If the sculpture is of an animal, what kind is it? Whatdo you know about the animal being represented? Doesit symbolize anything, such as strength or wisdom? Thinkof the materials the sculpture is made of, such as strongbronze or solid stone. Do those materials reflect thesymbolic representations of the animal?

We hope these tips help make your next visit to theSculpture Garden fun and—don’t tell the kids—educational. Admission to the Garden is free. Hours areWednesday through Sunday, 10 a.m. to 4:30 p.m.. TheGarden is closed holidays, and during inclementweather. n

Note:©2005 The Times-Picayune Publishing Co. All rights reserved.

Used with permission of The Times-Picayune.


Frère Joseph-Aurélien Cornet spent nearly thirtyyears from the early 1960s to the early 1990s asa missionary of the Christian Brothers in theCongo region. Trained as an art andarchitectural historian, his great passion and

academic pursuit became the art of the Congolese regionand people. Traveling from village to village, Fr. Cornetdocumented the art and artistic traditions, iconography,and cosmology of Congolese indigenous communities.His long tenure in the Congo enabled him to compare,over time, artistic traditions by region. Fr. Cornet’sremarkable career coincided with profound cultural andpolitical change in the Congo.

Today Fr. Cornet is recognized as one of theforemost scholars of African art. Most important are thefield notebooks, which illustrate not only the art of theCongo, but also document theethnography and cultural geographyof the region. In addition to the fieldnotebooks, the collection consists ofapproximately fifty thousand pagesof research notes and more thantwenty thousand photographicnegatives, slides, and prints, as wellas Cornet’s published books, articles,and exhibition catalogues.

Taken altogether, the Cornetcollection is an archive of globalsignificance to the study of the artand the ethnography of Africa.Comparatively, Cornet’s archives atLoyola rank in importance with theprestigeous William B. FaggArchives of Nigerian Art at the RoyalAnthropological Institute/BritishMuseum in London, the PaulGebauer Archives of Cameroon Artat the Metropolitan Museum of Artin New York and the Eliot ElisofonPhotographic Archives at theNational Museum of African Art,Smithsonian Institution, in Washington, D.C.

Between 1998 and 2001, Fr. Cornet gave forty-four ofhis field notebooks to Loyola University New Orleans,and in 2001, he bequeathed the remainder of hiscollected scholarly research to Loyola. Following Fr.Cornet’s death on January 20, 2004, the Cornet Archiveswere transferred from his home in Belgium and arepermanently housed in the J. Edgar & Louise S. MonroeLibrary at Loyola.

During his years in the Congo, Fr. Cornet became thedirector of the Institut des Musées Nationaux du Congo(IMNC), later the Institut des Musées Nationaux du Zaire(IMNZ). The museum’s collections consisted almostentirely of works that Cornet gathered, as well as somethat he repatriated from the Belgian colonial period.Selections from the museum’s collections were exhibitedin Europe and the United States, most notably at theNational Gallery of Art in Washington, D.C. and the NewOrleans Museum of Art, in 1978.

Following the collapse of the Mobutu government in1997, the museum’s collections were tragically looted andmany objects dispersed. Fr. Cornet had developed acomprehensive archive of the provenance of these worksand continued tracking sales and transfers of the objectsuntil the end of his life, with the intent of restoring asmany pieces as possible to the museum.

Fr. Cornet had a clear vision of the importance of hisstudies and of the critical need to make his work

available to students and African scholars. He choseLoyola University because he felt that researchers wouldbe granted straightforward access, within a secureenvironment, to his collections, and also because theseresources would complement the highly regardedcollection of African art at the New Orleans Museum ofArt. Additionally, Fr. Cornet was keenly aware of NewOrleans’s distinctive heritage as a major site of theAfrican Diaspora and as the home to a number ofdistinguished private African art collections.

The exhibition, Inside the Congo: An Introduction tothe Field Research of Frère Joseph Cornet, gives the publica first opportunity to view Fr. Cornet’s magnificentaccomplishment as well as for scholars to have a previewof the wealth of rare, new information available forstudy.

Inside theCongo: AnIntroductionto the FieldResearchArchives ofFrère JosephCornet

BY DARLA RUSHINGCoordinator for LibraryDevelopment & SpecialCollections, AssociateProfessor J. Edgar & Louise S.Monroe Library, LoyolaUniversity, New Orleans

AND

WILLIAM A. FAGALYThe Françoise BillionRichardson Curator ofAfrican Art, NOMA

All photographs byFr. Cornet are in theCornet Archives atLoyola University.

(above)Fr. Cornet with local chief and his wife

(below)Sculptor working with an adze and knife

ARTS QUARTERLY 19

The exhibition will be presented in two parts. Thefirst display is divided into five components: anintroduction to Cornet as a priest and scholar; a selectionof photographic portraits of the people of the Congo; alook at artisans at work; a presentation of the meticulousdocumentation and study of art objects; andphotographic display of a Kuba peoples mwaash ambooy dance performance shown along with two masksof a variant type (mukyeen) in NOMA’s collection.

The second part will focus on four themes: craftsmenat work; musicians and dancers; costuming and regalia;and the performance of the rare, large ndunga masks ofthe Woyo peoples worn with proportionately voluminouscostumes of dried banana leaves that fully cover thedancers’ bodies. n

The exhibition is supported by a grant from theLouisiana Endowment for the Humanities. Partone of Inside the Congo was on view at NOMAMarch 3 through May 14, 2006. Part two will be onview at Loyola University, New Orleans, in the fall.

(right)Portrait of a woman

(below)The moshambwooy mask at the royal court of the Kuba


The New Orleans Museum of Artcontinues to face an unprecedentedcrisis due to the damaged causedby Hurricane Katrina to theMuseum and Sculpture Garden. To

aid in the Museum’s recovery, NOMA hasannounced a Recovery Campaign with a goal of$15 million to help fund the next three years ofoperations.

Due to financial pressures post-Katrina, wewere forced to lay off seventy of the Museum’seighty-seven full-time employees. We arefortunate that our main collection was sparedmajor harm, but we have much to do torecover from the worst national disaster in ourcountry’s history.

OUR RECOVERY PLAN: $15 MILLION FOROPERATIONS OVER THREE YEARS

A small group of trustees, our director, andour remaining staff members are hard at workon recovery plans. We have built a financialplan that allowed us to reopen and to rehirestaff on a staggered basis. The cost of the planis $15 million over three years, most of it foroperations.

Due to the heroic actions of our staff, theMuseum’s collection is basically safe and sound,but basement offices, mechanical and electricalsystems, archival areas, and storage areas allwere damaged. The Besthoff Sculpture Gardenalso suffered extensive damage to itslandscaping, lighting, and lagoons, and onesculpture was seriously damaged.

FACING MASSIVE CHALLENGES

Our challenges in the post-Katrinaenvironment are unprecedented. We havelimited access to the normal funding resourcesthat have supported us for decades. There aresome points of light however. The Museum hasreceived support from individuals, corporations,foundations and museum organizationsthroughout the country. Our friends all over theworld have come to our aid, and we would liketo ask you to join them.

HOW YOU CAN HELP

Due to the widespread devastation in ourregion, we must take our case to a nationalaudience. We feel our message is being heardwith sympathy, and many are already comingto our aid. Your financial support, in the formof cash or pledges of up to three years, isneeded immediately to help fund the KatrinaRecovery Plan. With your support, the Museumcan continue to serve our many constituents.

Please give generously to the New OrleansMuseum of Art. Your gift will support thecultural rebirth of New Orleans and the GulfSouth.

For further information, please contact:E. John Bullard, Director

New Orleans Museum of ArtP.O. Box 19123

New Orleans, LA [email protected]

The KatrinaRecoveryCampaign:$15 Million or theNew OrleansMuseum of Art

ARTS QUARTERLY 21

Following Hurricane Katrina, NOMA embarkedon an ambitious financial recovery strategy of$15 million over three years. The Museum hasreceived support from individuals,corporations, foundations and museum

organizations throughout the country. Because of thisoverwhelming support, NOMA has been able to rehire anumber of employees who were laid off after the stormand to reopen the Museum on March 3, 2006. Themembers of the Museum’s board of trustees and staff aregrateful to the following donors of $1,000 or more toNOMA’s Katrina Recovery Fund.

FOUNDATIONSZemurray Foundation $900,000The Andrew W. Mellon Foundation 500,000Henry Luce Foundation 250,000The Andy Warhol Foundation 200,000

for the Visual ArtsAzby Foundation 100,000Elizabeth Cheney Foundation 100,000Helis Foundation 100,000Thaw Charitable Trust 100,000Caterpillar Foundation 50,000Benjamin Rosen Foundation 35,000Ella West Freeman Foundation 30,000American Express Philanthropic 25,000

ProgramJ. Aron Charitable Foundation 25,000Whitehead Foundation 25,000Eugenie & Joseph Jones Foundation 20,000California Community Foundation 10,000Heymann Wolf Foundation 10,000John Burton Harter 10,000Samuel Newhouse Foundation/

Times-Picayune 10,000Downman Family Foundation 7,000The Buddy Taub Foundation 5,000Laurel Foundation 5,000Philanthropic Collaborative 5,000Schon Charitable Foundation 3,000Alconda-Owley Foundation 1,000Burkenroad Foundation 1,000Van Der Linden Family Foundation 1,000

FEDERALInstitute of Museum and Library $150,000

SciencesNational Endowment for the Arts 30,000National Endowment for the 30,000

Humanities

CORPORATEGeorge Rodrigue $100,000Sizeler Realty Co., Inc. 100,000Deutsche Bank America’s Foundation 50,000Altria Group, Inc. 25,000Cheim & Read Gallery 25,000

Louisiana Public Facilities Authority 10,000United Technologies 10,000General Exploration Co Inc 5,000M. S. Rau Antiques LLC 1,000Arthur Roger Gallery 1,000

MUSEUM ORGANIZATIONSAmerican Association of Museum

Directors $25,000Kimbell Art Museum 20,000North Carolina Museum of Art 20,000Tampa Museum 14,000Brooks Memphis Museum of Art 10,000Cincinatti Museum of Art 10,000Southeastern Museums Conference 5,000Flint Institute of Arts 2,000Columbus Museum of Art 1,250Opelousas Museum of Art 1,000Friends of the Bass Museum 1,000

NOMA’sKatrinaRecovery FundReceivesSupport fromNationalCorporationsandFoundations

HOW YOU CAN HELP

On August 29, 2005, HurricaneKatrina hit the Gulf Coast withunprecedented force, forever alteringthe lives of millions of Americans. NewOrleans suffered catastrophic damagewhen canal levees broke and floodedeighty percent of the city.

The New Orleans Museum of Art,founded in 1910, is the oldest andlargest cultural institution in the region.While the Museum is located in thecenter of the badly flooded Mid-Cityarea, its placement on a high ridgesaved it from the surrounding floodwaters. While its building and SculptureGarden sustained $6 million in structuraldamage, miraculously its collection offorty thousand artworks survived intactand unharmed. Far worse, five weeksafter the storm, NOMA was forced tolayoff eighty-five percent of its staff—areduction from ninety to fifteen.

There is still a long road ahead tofull recovery. YOU CAN HELP! VisitNOMA’s website, www.noma.org, tolearn about future exhibitions andprograms. Become a member of theMuseum. Make an on-line contributionto NOMA’s Katrina Recovery Fund.

It is absolutely essential that the NewOrleans Museum of Art be fullyrestored—a powerful symbol of thecity’s cultural rebirth and revival.


On Monday, April 10, 2006, in coordinationwith the exhibition The Big Easy in TheBig Apple: 200 Years of Art in Louisianafrom the Battle of New Orleans to Katrina,the AXA Gallery in New York hosted an

event to help raise financial support for the New OrleansMuseum of Art. An Odyssey: An Evening to Benefit theNew Orleans Museum of Art, took its name from a time-honored tradition—the Odyssey Ball—an annual galathat has served as the Museum’s principle fund-raisingevent for the past forty-one years. This year, the eventmade its own Odyssey: to New York City, whereMuseum officials and their fellow New Orleanians werewelcomed in a show of support for, and a salute to, theMuseum. The successful benefit evening raised nearly$850,000 for NOMA’s Katrina Recovery Fund. The eventwas chaired by NOMA board of trustee member DonnaPerret Rosen, Beth Rudin DeWoody, and HaydenDunbar.

The Big Easy in the The Big Apple, an exhibition of artmade in Louisiana on loan from the New OrleansMuseum of Art, was on view at the AXA Gallery fromMarch 10 through May 20, 2006. The exhibition’s dualpurpose was to enhance the appreciation for the art ofthe Louisiana, and to heighten awareness for theMuseum’s efforts to raise much-needed funds in the

wake of Hurricane Katrina. The Museum, which wasclosed for six months due to the flooding, reopened itsdoors to the public on March 3. The Big Easy in The BigApple gave New Yorkers a chance to see some of thestate’s finest art.

The exhibition comprised one hundred works of artfrom the NOMA’s collection, including paintings,photographs, drawings, prints, decorative arts, andsculpture, representing the many layers of culture thathave converged on the region—and in the city of NewOrleans in particular—over the past two hundred years.The exhibition highlighted artworks by Louisiana artists,and visiting artists who were inspired by the culture andlandscape of the region. Among the artists featured in theshow were Diane Arbus, Ernest Bellocq. Henri Cartier-Bresson, Walker Evans, Robert Frank, Lee Friedlander,Jean Hyacinthe de Laclotte, Clarence John Laughlin, JohnT. Scott, Edward Weston, and William Woodward. Ahighlight of the show was one of the portraits painted inNew Orleans by the great French Impressionist EdgarDegas during his visit to New Orleans in 1872-73.

The Big Easy in The Big Apple celebrated theimportance of art in sustaining the cultural history ofNew Orleans. The objects in the exhibition demonstratedthe diversity of experience and tradition that make thecity and state so richly intricate. n

The Big Easy inThe Big AppleGala Benefit forNOMA Was aHuge Succcess!!

NOMA board of trustee memberand Katrina Recovery Committee

Chair Paul J. Leaman, Jr., OdysseyCo-chair Beth Rudin DeWoody, NOMAnational trustee member and Odyssey

Co-chair Donna Perret Rosen,NOMA Director E. John Bullard

Photo by Steve LasleyDenis Reggie Photographers

(left)Odyssey Co-chair Hayden Dunbar

and NOMA hononary lifetrustee Mimi Stafford


(right)NOMA honorary life trustee

Matilda Stream and NOMAPresident Stewart Farnet


ARTS QUARTERLY 23

On January 27, in Philadelphia, the NewOrleans Museum of Art lost one of itsmost beloved supporters—Sunny Norman.Sunny was born Mildred Gould on July24, 1911, in Houston, Texas, the daughter

of Tillie and Frank Gould. She graduated from MillsCollege in Oakland, California, with a degree inpsychology. In 1937, Sunny married Peter RousselNorman of Morgan City, and twenty years later thecouple moved to New Orleans with their children Frankand Linda. Sunny was first elected to NOMA’s board oftrustees in 1964. After serving continuously for twenty-two years, she was elected as honorary life trustee in1967. For the Odyssey Ball XXII in that year, NOMAexhibited A Kaleidoscope of Art: The Sunny and RousselNorman Collection, an extraordinary group of 253paintings, sculptures, prints, photographs, glass, pre-Columbian and African art. The great majority of theartworks in the Norman Collection has since beendonated to the Museum, one of the most important giftsever received by NOMA. The Norman donation includesmajor works by Lee Krasner, Isamu Noguchi, Tony Smith,Milton Avery, Louise Bourgeois, and Georgia O’Keeffe, aswell as her 1963 portrait by Pop artist Larry Rivers.

The desire to share their collection with others wasalways one of the Normans special joys of collecting. Inthe 1960s, under former director James B. Byrnes, theMuseum embarked on the formation of “The Arts of theAmericas Collection.” At that time the Normanspurchased and gave to the Museum several of its finestpre-Columbian works. In the early 1970s, when theMuseum first began collecting photographs, the Normanswere equally supportive and enthusiastic, acquiringworks in this area for themselves, which they eventuallydonated to the Museum.

Sunny was known as New Orleans’ “ArtsAmbassador” due to her involvement with numerousnational arts organizations. She served as a trustee of theAmerican Federation of the Arts and the NationalMuseum of Women in the Arts and was a member of theFogg Art Museum Fellows, the Collectors Committee ofthe National Gallery of Art, the Art in the EmbassiesProgram, and the Museum of Modern Art’s International

Council. In addition to her support for the arts, Sunnywas a community activist and supported many charitablecauses, serving on the boards of the Contemporary ArtsCenter, WYES-TV, Arts Council of Greater New Orleans,Louisiana Children’s Museum, and the LouisianaPhilharmonic Orchestra. Among the honors she receivedwere The Times-Picayune Loving Cup, the Mayor’sAward for Distinctive Achievement in the Arts, the Torchof Liberty Award from the Anti-Defamation League andthe Hannah G. Solomon Award from the NationalCouncil of Jewish Women.

Sunny Norman was kind, generous, open-hearted,funny and fun to be with, always intuitive, spontaneous,vivacious, loyal, dynamic, a fabulous lady—an original.Dode Platou, NOMA’s first curator of education and laterdirector of the HNOC said it best: “If people werecollectibles, I’d collect Sunny. She’s one-of-a-kind.” n

In Memoriam:Sunny Norman

Hurricane Katrina took many things fromNew Orleanians—our homes, our cars,our piece of mind, but the deepest losswas of loved ones, friends and co-workers. It is with great sadness that the

Museum announces the loss of its staff memberMathilde “Mimi” Laudumiey (1950-2005).

Mimi joined the NOMA staff in 2003 as a securityguard. Previously, she worked at the New OrleansFairgrounds and Southern Baptist Hospital. Additionally,she was a booking agent for local talent. She attendedSt. Raphael Elementary School, Sacred Heart andAbramson High Schools. Mimi also was a student at theMcCrady Art School. The painting to the right of theNew Orleans Museum of Art is one of Mimi’s works.Her paintings are full of bright color and charm,reflecting the artist’s happy attitude to life. In additionto painting, she enjoyed needlepoint and embroidery.According to her father, Paul Louis Laudumiey, “Shewas just coming into her own when she was calledhome.”. n

In Memoriam:Mathilde“Mimi”Laudumiey

Mathilde “Mimi” Laudumiey (1950-2005)New Orleans Museum of Art

(left to right) Richard and Linda Friedman (Mrs. Norman’sdaughter), Sunny Norman, NOMA Director E. John Bullard at

Mrs. Norman’s ninetieth birthday party at NOMA in 2003



The Esplanade at City ParkJones, Walker, Waechter,

Poitevent, Carrere &Denegre

New Orleans SaintsReagan Equipment Co., Inc.Tidewater, Inc.Whitney National BankWindsor Court Hotel

Gambit Communications, Inc.

Brian Schneider CompanyColumbus Properties, LLCCommTech IndustriesLemle & KelleherThe Sydney and Walda

Besthoff Foundation

Dooky Chase’s RestaurantEmirau PartnersEnergy Partners, Ltd.

CORPORATE MEMBERSHIP

IPC New Orleans 1, LLCMcDermott International Inc.Oreck CorporationThe Schon Charitable

Foundation

J. Aron and Company, Inc.Barriere Construction

Company, Inc.Boh Bros. Construction

Company, Inc.Christie’s Fine Art

AuctioneersDorian M. Bennett, Inc.Eskew + Dumez + RippleThe Laitram CorporationM. S. Rau Antiques, LLCMagnolia Marketing CompanyMcIlhenny CompanyMilling Benson Woodward,

LLPThe Monteleone HotelMurphy Exploration &

Production Co.Neal Auction Company, Inc.New Orleans Auction

Galleries, Inc.New Orleans SilversmithsRathborne Companies, LLCRegions Bank

Gulf Coast BankHirsch Investment

Management, L.L.C.James A. Mounger, A

Professional LawCorporation

Jon AntiquesLe Richelieu Motor HotelSisung Securities CorporationTujague’s RestaurantURS CorporationWaters, Parkerson and Co.,

Inc.Wyndham New Orleans at

Canal Place

Delgado Community CollegeLoyola UniversityNotre Dame SeminaryNunez Community CollegeOur Lady of Holy Cross

CollegeSoutheastern Louisiana

University, HammondSouthern University of New

OrleansSt. Scholastica AcademyTulane UniversityUniversity of Louisiana at

LafayetteUniversity of New OrleansXavier University

The Soniat HouseTaylor Energy CompanyThe Times-Picayune

Baker CAC, Inc.Bowie Lumber AssociatesDauphine OrleansDelta Petroleum Co., Inc.E. N. Bisso and Son, Inc.Fidelity Homestead

AssociationA Gallery For Fine

PhotographyHunt Forest Products, Inc.KPMGMignon Faget, Ltd.Royal Antiques, Ltd.The Steeg Law Firm LLCWaggonner and Ball

Architects901 So. Peters St. LLC

A. L. Lowe Picture FramingCompany

Baker, Donelson, Bearman,Caldwell & Berkowitz

Bolton FordCooper/T. Smith Stevedoring

Company Inc.Dreyfus-Cortney, Inc.Dupuy Storage & Forwarding

Corporation

GUARANTOR

MASTER

ASSOCIATE

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

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

PATRON

LEADER

CONTRIBUTOR

UNIVERSITY MEMBERS

NOMA welcomes this new corporate member:

LEADER:Milling Benson Woodward LLP, New Orleans, LA

ASSOCIATE:Mignon Faget, Ltd., New Orleans, LA

BENEFACTOR

ARTS QUARTERLY 25

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

• Your company’s name prominently displayed in theMuseum.

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

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

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

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

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

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

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

inventory.

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

• Your company’s name prominently displayed in theMuseum.

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

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




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

inventory.

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

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





inventory.

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

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

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


inventory.

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

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

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

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

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

• 10 Museum passes.

BENEFITS TO

YOUR COMPANY

WHEN YOU

INVEST IN THE

PREEMINENT

CULTURAL

INSTITUTION

OF OUR CITY

GUARANTOR $10,000 & ABOVE

MASTER $2,500

LEADER $1,000

ASSOCIATE $500

CONTRIBUTOR $250

THEART OFBUSINESSCORPORATEMEMBERSHIPIN THENEW ORLEANSMUSEUM OF ART

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

BENEFITS FOR YOUR BUSINESS

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

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

CORPORATE MEMBERSHIP PRIVILEGES

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

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

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

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

PATRON $5,000

BENEFACTOR $7,500

q Please have NOMA’s CorporateMembership Director call.

q Please send me a brochure onCorporate Membersip.

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

q Please send an invoice in theamount of $______________.

Firm Name____________________________Contact Person____________________________Phone____________________________Address____________________________City/State/Zip____________________________

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

CORPORATE MEMBERSHIP


Join A Circleand UpgradeYour Supportof NOMA

The Board of Trustees of the New Orleans Museumof Art cordially invites you to upgrade yoursupport and become a member of the Patron’s

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

annual giving, are comprised of individuals whocontribute $5,000, $10,000 or $20,000 each year inunrestricted funds.

NOMA is pleased to extend unique privilegesincluding Fellows membership to those who demonstratetheir commitment at these levels. We are most gratefulfor your generous and continuing support.

President’s Circle $20,000

In addition to the privileges enjoyed by Director’sCircle members, President’s Circle members enjoy thefollowing privileges:

• Annual listing on Donor Wall as a member of thePresident’s Circle

• An invitation to attend a private dinner with theBoard President, Museum Director and a privatecollector in a major city.

• Invitations to attend behind-the-scenes events withMuseum curators

• Complimentary membership in all Friends groups ofyour choice

Director’s Circle $10,000

In addition to the privileges enjoyed by Patron’sCircle members, Director’s Circle members enjoy thefollowing privileges:

• Annual listing on Donor Wall as a member of theDirector’s Circle

• Use of the Woldenberg Board Room for meetings

• An opportunity to have a private tour with theDirector or Curator of a collection or specialexhibition of your choice, with complimentarybeverages in the Woldenberg Board Room, for aparty of up to six individuals, at a mutually agreedupon time

• An opportunity to use an elegant private gallery withthe rental fee waived

• Previews of special exhibitions on press previewdays

• A special dinner in a private collector’s home

• Complimentary membership in two Friends Groupsof your choice

Patron’s Circle $5,000

The following privileges are offered to members ofthe Patron’s Circle, Director’s Circle and President’s Circlewith gratitude:

• Annual listing on Donor Wall as a member of thePatron’s Circle

• Invitations to all Fellows events including AnnualGala dinner

• A special evening program with the Museum’sDirector

• Free admission to the Museum and Sculpture Gardenplus free admission for additional guests whenaccompanied by the donor.

• Reciprocal membership in 54 major art museumsacross the U.S. and Canada

• For private parties, elegant private galleries areavailable for rental

• All Members Previews of special exhibitions; withprior arrangement, Patron’s Circle members maybring additional guests.

• A special series of Curators’ Talks

• A special reception in the Sculpture Garden

• Listing in the Annual Report

• Special recognition in Arts Quarterly

• Two complimentary publications selected by theMuseum

• Advance tickets for Members’ lectures

• Advance announcements for special travel programs

• Complimentary membership in a Friends Group ofyour choice

__________________________________________________

These circles recognize cumulative giving in acalendar year, restricted to gifts of Annual Appeal andmembership dues. Contributions to capital projects andspecial events do not apply.__________________________________________________

For further information, please contact NOMA’sDevelopment Department, 504-658-4115.

ARTS QUARTERLY 27

ANDRÉ BOURRIÉ

GOXWA

MICHEL DELACROIX

709 Royal Street

Located behind St. Louis Cathedral

Tel: 504-299-1666 Fax: 504-299-1669

[email protected]

Proudly representing:

Michel Delacroix

André Bourrié

Elisabeth Estivalet

Hollis Dunlap

Patrick Pietropoli

Brian Stephens

Goxwa

Jean-Daniel Bouvard

Philippe Vasseur

Albert Hadjiganev

EDUCATION PROGRAMS & ACTIVITIES


Wednesdays & Fridays,1:30 p.m. – 3:30 p.m.ages 8 – 12

Drawing Is Fundamental

In this drawing class, students willexplore trompe l’oeil, French for “todeceive the eye.” Like Renaissanceartists of the fifteenth and sixteenthcenturies, students will learn ways tofool the viewer’s eyes so that two-dimensional drawings appear to havedepth and form. Two-dimensionaldesign principles, basic compositionand the illusion of space will be taughtin this “back-to-basics” art class. n

Come learn new techniques in art-making at NOMA’s Children’s ArtClasses. NOMA will be offering twosessions of summer art classes forchildren, which will be taught byprofessional art teachers. The artclasses introduce children to theMuseum’s collections and specialexhibitions. NOMA’s art classes providestudents with an exciting atmospherewhere students can express theircreativity using a variety of artmaterials. Our art teachers stress theimportance of the creative process overthe final product. We believe that in artthere are no wrong answers! All classesbegin with a brief tour throughNOMA’s collections to view a series ofartworks related to each art project.

The cost of each session of sixclasses is $60 for members of theMuseum and $75 for nonmembers. Allmaterials are included in the fee. Pleasepay in advance, pre-registration isrequired. Classes are limited to twentystudents.

Students should bring an old shirtor smock to wear as classes can getmessy. For more information, pleasecontact the Curator of Education [email protected], NewOrleans Museum of Art, P.O. Box19123, New Orleans, LA 70179-0123,or call 504-658-4113.

June Session, June 14 – 30

Wednesdays & Fridays,10 a.m. – Noon, ages 5 – 7

Natural Inspirations

This art class will introducestudents to a variety of artists’materials. Printmaking, sculpture,

drawing and painting all will beexplored with nature as our theme.Leaves, driftwood and other naturalobjects will serve as inspiration asstudents create 2-D and 3-D works ofart.

Wednesdays & Fridays,1:30 p.m. – 3:30 p.m.ages 8 – 12

Working with Nature

We are surrounded by things innature that we take for grantedeveryday. Rocks, seashells, sticks andleaves are found in the naturalenvironment and can be used to createwonderful art objects. This class willfocus on natural found objects, whichwill be used in a variety of ways.Printmaking, sculpture, drawing andpainting will be introduced as studentslearn about various art media.

July Session, July 12 – 28

Wednesdays & Fridays,10 a.m. – Noon, ages 5 – 7

Hold the Line

It’s back to the basics in this classas students discover that drawing is atthe root of the visual arts. Line, form,color and texture will be the focus ofthis class as students explore theelements of art. The class will stress thedevelopment of basic skills, includingthe importance of line and shading, aswell as encourage personal expression.Students will work with pastels,colored pencils, charcoal and graphite.

Children’sArt Classes

Classes arelimited to

twentystudents.

Pre-registrationis required.

NNaattuurree iiss tthhee iinnssppiirraattiioonn ffoorr ttwwooNNOOMMAA ssuummmmeerr aarrtt ccllaasssseess..

Beat the summer heat by relaxingin the air-conditioned setting of theNew Orleans Museum of Art as werevisit classic Hollywood movies. Thisonce-a-month series features classicmovies that are set in or about NewOrleans.

The films take place in NOMA’sStern Auditorium and occur on the lastSaturday of the month—June 24,August 26 and September 30. (Thereare no films in July).

For more Classic New OrleansFilms information, please contact thecurator of education, Kathy Alcaine,[email protected], or call504-658-4113. n

Saturday, June 24, Noon

Suddenly, Last Summer (1959,144 min.)

Saturday, August 26, Noon

King Creole (1958, 116 min.)

Saturday, September 30, Noon

Walk on the Wold Side (1962,114 min.)

Classic NewOrleansFilms Series

ARTS QUARTERLY 29

PROGRAM SPONSORS

$34,999 - $20,000

THE BURKENROAD FOUNDATION:the stARTing point, An Interactive Exhibition

HIBERNIA NATIONAL BANK:Circle Dance: The Art of John T. ScottExhibition Support

LOUISIANA ENDOWMENT FOR THE HUMANITIES:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

THE LUPIN FOUNDATION:Odyssey Ball 2005

RONALD MCDONALD HOUSE CHARITIES:the stARTing point, Picture Perfect

THE ROSAMARY FOUNDATION:Family WorkshopsHandbook of School Programs

TRIBUNE BROADCASTING: ABC26 AND WB38:Van Go, NOMA’s Museum-on-Wheels

$100,000 +

STATE OF LOUISIANA – STATE LEGISLATURE:Infrastructure Improvements in City Park for Jefferson’sAmerica & Napoleon’s France Exhibition, The Quest forImmortality: Treasures of Ancient Egypt Exhibition andThe Sydney and Walda Besthoff Sculpture Garden

THE PATRICK F. TAYLOR FOUNDATION:Taylor NOMA Scholars Program

ZEMURRAY FOUNDATION:General Operating SupportFive Thousand Years of Chinese Ceramics from theRobin and R. Randolph Richmond, Jr. CollectionExhibition Support

Annual operating support for NOMA’s exhibitions, the “Van Go,” free Thursday mornings 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 its thousands of visitors are deeply grateful to thesefriends for their continued commitment.

If you would like additional information on sponsorship, please contact the Museum’s development department, (504) 488-2631. n

BECOME

A NOMASPONSOR

$9,999 - $5,000

COMMTECH INDUSTRIES:Sponsorship of noma.org website

THE ELLIS AND ELAINE MINTZ FOUNDATION:the stARTing point, An Interactive Exhibition

THE REILY FOUNDATION:the stARTing point, An Interactive Exhibition

THE RITZ-CARLTON NEW ORLEANS:The Convivial Art of the Cocktail Exhibition SupportLOVE in the Garden 2005

ROBERT AND JOLIE SHELTON:Odyssey Ball 2004

THE TUNICA-BILOXI TRIBE OF LOUISIANA AND

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

XAVIER UNIVERSITY OF NEW ORLEANS:Circle Dance: The Art of John T. ScottExhibition Support

$19,999 - $10,000

THE AZBY FUND:Security Equipment

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

DOWNMAN FAMILY FOUNDATION:NOMA Exhibitions

EUGENIE AND JOSEPH JONES FAMILY FOUNDATION:Art in Bloom 2005

GAMBIT WEEKLY:LOVE in the Garden 2005

GOLDRING FAMILY FOUNDATION:Odyssey Ball 2005

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

$99,999 – $50,000

LOUISIANA DIVISION OF THE ARTS:General Operating SupportAfrican-American Art Reference Collections

THE METLIFE FOUNDATION:Raised to the Trade: Creole Building Arts of NewOrleans and Circle Dance: The Art of John T. ScottExhibition SupportSummer in the City

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

HOUSE OF BLUES FOUNDATION ROOM:LOVE in the GardenOdyssey Ball 2005

J. ARON AND COMPANY, INC. FUND:the stARTing point, An Interactive Exhibition Support

LEE MICHAELS FINE JEWELRY:Art in Bloom 2005Odyssey Ball 2005

THE MCILHENNY COMPANY AND THE GUSTAF WESTFELDT

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

MORRIS G. & PAULA L. MAHER FOUNDATION:Odyssey Ball 2005

PORT OF NEW ORLEANS:Circle Dance: The Art of John T. ScottExhibition Support

SHELL OIL COMPANY FOUNDATION:Van Go, NOMA’s Museum-on-Wheels

SHERATON NEW ORLEANS HOTEL:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtExhibition SupportLOVE in the Garden 2005

$49,999 – $35,000

THE HELIS FOUNDATION:Free Thursday Evenings for Louisiana Residents


BOARD OF TRUSTEES

MEETING SCHEDULEThe board of trustees of the

New Orleans Museum of Art willmeet on Wednesday, June 21, andSeptember 20, at 4 p.m. There willbe no meetings in July or August.

GRANTS

NOMA RECEIVES GRANTSThe New Orleans Museum of

Art was honored to receive a$150,000 Conservation ProjectSupport grant from the federalInstitute of Museum and LibrarySciences (IMLS). NOMA will usethese funds to conduct a detailedcondition survey of 30,000 objectsin the Museum’s primary artstorage area, as well as to relocateand rehouse these objects in animproved environment within thebuilding.

The National Endowment forthe Humanities (NEH) awardedNOMA one of nineteen emergencysupport grants in the wake ofHurricanes Katrina and Rita.NOMA will receive $30,000 to helpoffset the costs associated withrelocating art storage.

The National Endowment forthe Arts (NEA) awarded NOMAone of fourteen grants intended toaid cultural institutions in the GulfSouth that were affected byHurricanes Katrina and Rita.NOMA’s NEA grant, in the amountof $30,000, will be used forconservation purposes.

LIBRARY

AMERICAN LIBRARYASSOCIATION TO VISIT NOMA

The American LibraryAssociation Annual Conference willbe held in New Orleans this year atthe Convention Center. FollowingHurricane Katrina, ALA was one ofthe first organizations to confirmthat they would follow through ontheir plans to hold the conferencein New Orleans. Conferenceattendees have been invited to visitNOMA during the Friday, Saturdayand Sunday of the conference, and

MUSEUM NEWS MUSEUM NEWS MUSEUM

they have an invitation to visit thelibrary on Friday, June 23 between3:30 p.m. and 5 p.m.

ANSEL ADAMS BIBLIOGRAPHYAVAILABLE ON BOOKMARK

Visit the library to pick up anAnsel Adams bibliographybookmark. The bibliography listsbooks in the library’s collection;you may wish to look at some ofthem before seeing the exhibition.

BOOK REVIEWA great new addition to the

reference collection is the bookDictionary of Artists’ Models editedby Jill Berk Jiminez (R 704.942D554). If you have ever looked ata painting and wondered about theidentity of the model, this book isfor you. Entries in the book arearranged alphabetically under themodel’s name. Check the indexunder artist’s name or the title ofthe work, and you will find thename of the model. Look up themodel’s name in the main text fora wealth of biographicalinformation, associated works andbibliographic references. The bookalso contains introductory essays—including the interesting “A Viewfrom the Platform,” written by PegiTaylor, an artist’s model herself.

Don’t forget to call 658-4113 oremail to [email protected] tomake an appointment to come into the library.

NVCNEW NVC COMMITTEE CHAIRS

The slate of officers proposedby the NVC nominating committeefor the year 2006 was approved atthe NVC meeting in September.

Congratulations to thefollowing 2006 NVC officers:Sanda Groome, chair; KayMcArdle, chair-elect; Judy andTom David and Julie and TedGeorge, Odyssey Ball co-chairs;Majorie Colomb, vice-chair ofactivities; Ann Colfry, vice-chair offund raising; Kim Elms, vice-chairof children’s activities; Carol Fors,corresponding secretary; EllenMiclette, recording secretary;Brenda Vorhoff, parliamentarian;Janet Frischhertz, immediate pastchair. n

SENIOR STAFFE. John Bullard, The Montine McDaniel Freeman DirectorJacqueline L. Sullivan, Deputy DirectorSteven Maklansky, Assistant Director for Art and Curator of PhotographsKurt Overton, Assistant Director for DevelopmentKathy Alcaine, Curator of EducationAisha Champagne, Graphics Coordinator/WebmasterVictoria Cooke, Curator of European PaintingSheila Cork, Librarian/Grants OfficerMarilyn Dittmann, Development AssociateWilliam A. Fagaly, The Françoise Billion Richardson Curator of African ArtBrandi Hand, Public Information OfficerBeth Holloway, ControllerJimmy Jeffrey, Sculpture Garden ManagerJennifer Ickes, Assistant RegistrarJohn W. Keefe, The RosaMary Foundation Curator of The Decorative ArtsKarl Oelkers, Computer CoordinatorWanda O’Shello, Publications Coordinator/Arts Quarterly EditorLisa E. Rotondo-McCord, Curator of Asian ArtAnnie Schroeder, Public Relations OfficerPaul Tarver, Registrar/Curator of Native American and Pre-Columbian ArtPatricia Trautman, Museum Shop ManagerMilton Vinnett, Building Superintendent/Chief Engineer

NOMA BOARD OF TRUSTEESS. Stewart Farnet, PresidentDavid F. Edwards, Vaice-PresidentMrs. Ludoviaco Feoli, Vice-PresidentR. Hunter Pierson, Vice-PresidentMrs. Mason Granger, TreasurerMrs. Françoise Billion Richardson, Assistant TreasurerMrs. Edward George, SecretarySydney Besthoff, IIIJ. Herbert BoydstunMrs. Kenneth BroadwellEdgar B. Chase IIIIsidore Cohn, Jr., M.D.Timothy FrancisTina FreemanMrs. James FrischhertzLaurence D. GarveyMrs. David GroomeStephen HanselEdward F. HaroldDr. Stella JonesHerbert Kaufman, M.D.Paul J. Leaman, Jr.E. Ralph Lupin, M.D.Mrs. Paula L. MaherEdward C. MathesCharles B. MayerMayor C. Ray NaginHoward Osofsky, M.D.Dan PackerMr. Robert J. PatrickThomas Reese, Ph.D.Michael J. SiegelCharles A. SnyderMrs. Richard L. StrubMrs. James Lyle TaylorMrs. Patrick F. TaylorLouis A. Wilson, Jr.

HONORARY LIFE TRUSTEES Russell Albright, M.D.Mrs. Jack R. AronMrs. Edgar B. Chase, Jr.Prescott N. DunbarMrs. Richard W. Freeman, Jr.Kurt A. Gitter, M.D.Mrs. H. Lloyd HawkinsMrs. Killian L. HugerRichard W. Levy, M.D.Mrs. J. Frederick Muller, Jr.Mrs. Charles S. ReilyMrs. Françoise Billion RichardsonR. Randolph Richmond, Jr.Mrs. Frederick M. StaffordHarry C. StahelMoise S. Steeg, Jr.Samuel Z. Stone, Ph.D.Mrs. Harold H. StreamMrs. John N. Weinstock

NATIONAL TRUSTEESJohn H. Bryan, IIIMrs. Carmel CohenAaron I. FleischmanMrs. Caroline W. IrelandGeorge L. LindemannMrs. James PierceMrs. Benjamin RosenMrs. Robert SheltonMrs. Billie Milam Weisman

ARTS QUARTERLY 31

NOMA EXHIBITION

SCHEDULE

Seldom Seen: Aspects of English and ContinentalCeramics from the Permanent Collection

Through July 30, 2006

Wild Bamboo: Images of Resilience and Rebirth inJapanese Edo-period Painting

Through August 2006

Katrina Exposed: A Community of PhotographsThrough September 3, 2006

Ansel AdamsJune 3 – September 24, 2006

For further information on upcomingexhibitions and events at theNew Orleans Museum of Art,

call (504) 658-4100, orvisit our website at www.noma.org.

NOMA Calendar of Events

FRIDAY, 6 p.m. to 9 p.m., NOMAMembers’ Preview—Ansel Adams

SATURDAY, Opening Day—Ansel Adams

WEDNESDAY, 4 p.m., NOMA Board ofTrustees Meeting

SATURDAY, Noon, Matinee (TBA)

1 p.m., Music (TBA)

JUNE


1 p.m., Music (TBA)

JULY

29

2WEDNESDAY, 4 p.m., NOMA Board ofTrustees Meeting


1 p.m., Music (TBA)

SEPTEMBER

20

24

21

3


1 p.m., Music (TBA)

AUGUST

26

30

Post Office Box 19123New Orleans, Louisiana 70179-0123

NON-PROFIT ORG.US POSTAGE

PAIDNEW ORLEANSPERMIT #108

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