AQ January February March 2012 AQ January February March 2012

ArtsQuarterlyNEW ORLEANS MUSEUM OF ART JANUARY � FEBRUARY � MARC H 2012 , VOL . 34 N o .1

A Membe r s ’ P ub l i c a t i on

January brings a sense of renewal—a time we

reflect on the accomplishments of the past year

and an opportunity to outline our ambitions for

the next. As we develop our resolutions for the

museum, we consider what you, the community,

look for from the city’s art museum, the New Orleans

Museum of Art.

In 2011, many of you watched NOMA undergo

essential changes in our programming, technologies

and community outreach initiatives. If you haven’t

already noticed the new website, NOMA.org, I

encourage you to explore the museum’s new digital

presence to learn more about our exciting events,

upcoming exhibitions and to browse our permanent

collection. As we address the changing dynamics of

museum-goers, and specifically the New Orleans

community, the NOMA staff with the help of the

Canary Collective have built an invaluable resource

for both prospective visitors and old friends. The

new NOMA.org is the best way to keep up with

exhibition and programming information and is a

fresh way to interact with the thousands of objects in

our collection. As we build upon this resource we

will continue to live-stream artist talks and lectures

while exploring additional interactive components,

including ways to use this technology in the

galleries.

In a world run by smart phones and social

media, adopting technological advancements

becomes increasingly important for a museum with a

history spanning one hundred years. In order for it

to flourish, it must not only provide visitors with

satisfying art experiences but also adapt with the

changing demographics of the community in which

it serves. During our centennial year, NOMA

developed a number of initiatives that will guide our

future offerings. We will continue to feature lively,

comprehensive programming that will include

partnerships with peer institutions and a focus on

creating an accessible and inviting museum

experience. Combining new technology with

traditional methods, we will continue to explore

ways in which we can use the collection as a teaching

instrument and opportunity; our developing

educator programs are designed to give local

teachers the tools necessary to create lesson plans

using works in the collection. The museum is an

invaluable resource—we invite all to use it!

Although the centennial has passed, there is

much to look forward to at NOMA in 2012—Hard

Truths: The Art of Thornton Dial promises to be a

highlight of our exhibition calendar. Dial’s evocative,

powerful large-scale assemblages address

contemporary issues as well as open up a dialogue

on what the terms “contemporary” and “folk” mean

in reference to art today. Our goal for NOMA is to

foster an environment that engages discourse and

criticism among the arts community on this and

other debates concerning culture and the arts.

As always, it is our devoted community that

keeps us afloat and with your continued support we

are able to maintain our role as stewards of art and

art education. I thank you for an exciting 2011 filled

with growth and progress and welcome you to the

museum in 2012, with hopes that you discover

something new about NOMA, its collection and its

programming as it continues to evolve and grow.

Susan M. TaylorThe Montine McDaniel Freeman Director

DIRECTOR’S LETTER

Susan M TaTaT ylor

From the Permanent Collection:Armand Guillaumin (French, 1841-1927)The Towers of St. Sulpice, Paris, (detail)1895Oil on canvasBequest of Eleanor B. Kohlmeyer, 2008.6

CONTENTS2 Feature

Finding Our Way Through the Darkness: An In ter v iew wi th Joanne Cubbs on Thorn ton Dial

6 Exhibi t ionsDario Roble to: The Pre l ives of the B lues

MASS PRODUCED: Technology in Nineteenth -cen tu r y Engl i sh Des ign

Making a Mark: The Doro thy and Herber t Vogel Col lec t ion

10 Museum NewsRecent Acquis i t ions

Leaving a Legacy

14 Exper iencing NOMANew Websi te Gives Vi r tual Vis i tors Al l Access

Forever at NOMA

16 NOMA and the CommunityNOMA and Young Audiences Teach the Work of Thorn ton Dial

NOMA is Ar t fu l ly Aware

L i fe B looms in the Sculp ture Garden

NOMA Welcomes Spr ing wi th Two Popular Events

20 Suppor t ing NOMANOMA Announces the Isaac Delgado Socie ty

NOMA Goes to Havana

Grant f rom Keep Louis iana Beaut i fu l Helps NOMA Go Green

Fal l Events Help Close Out Centennia l Celebrat ions

In Memoriam: Eugenie Jones Huger (1932 – 2011)

27 Prof i les in GivingA Tr ibu te to Mrs. Dorothy “Becky” Beckemeyer Skau

28 NOMA FamilyJames Bernard Byrnes, 1917 – 2011

Arts��2 January � February � March 2012

FEATURE

Thornton Dial was born in 1928 in a remote

rural community in Alabama. As a teenager,

he moved to Bessemer, a small town outside

of Birmingham, where he worked for forty years in

various industrial jobs. During this time, he also

created assemblages from a myriad of found objects

like wire, carpet, rags, dolls, wood and metal scraps.

His massive creations are often vibrantly painted and

rich with symbolism that reflects the social, race, and

class politics that have been a part of our country

since its inception. Dial’s work serves as a historical

account of living as a working-class black man in the

Deep South and represents a voice rarely heard

within the canons of modern culture. Inspired by a

number of unheralded creative traditions from the

black South, it also represents an important missing

chapter in American art history.

This February, NOMA will present the exhibition

Hard Truths: The Art of Thornton Dial, which will

include sculptures, paintings, and drawings on paper

from the past twenty years of Dial’s life.

Joanne Cubbs, the exhibition’s curator, is the

Adjunct Curator of American Art at the Indianapolis

Museum of Art. Arts Quarterly recently had the

opportunity to speak to Cubbs, and she guided us

through an exploration of Dial ‘s life and work, and

what it means to be characterized as an “outsider”

artist.

Arts Quarterly: Dial was not “discovered” by the art

world until he was 60, but had been creating for

years. Is it true that he buried or destroyed many

early pieces?

Joanne Cubbs: It is true that, until the mid 1980s,

Dial maintained a certain amount of secrecy about

his work. Fearing reprisals from whites and even

fellow blacks who might resent or misunderstand his

social commentary, he reportedly hid, recycled, or

buried many of his earlier creations. It is important to

keep in mind that Dial spent much of his life

struggling to survive one of the most repressive and

perilous periods of race relations in the American

South. And in the not-so-distant past, the discovery

of a working-class black man publicly voicing such

social criticism might have put that artist and his

family in great jeopardy, or may even have proven to

be fatal. Not coincidentally, the found-object

assemblages of African American yard art, a

Finding Our Way Through the Darkness: An Interview with Joanne Cubbs on Thornton Dial

Thornton Dial, 2002. Photograph by David Raccuglia.

Arts�� 3January � February � March 2012

widespread creative tradition in which Dial’s work is

rooted, have always employed an encoded

vocabulary of ordinary materials or “junk” in order

to avoid detection by a dominant white culture with

a long history of suppressing black cultural

expression.

AQ: Dial is often called a “folk” or “outsider” artist.

What do you think about this kind of labeling? Has it

been detrimental to him? In your opinion, is there

finally a mainstream acceptance for self-taught

artists?

JC: That’s a complicated question. Like many who

grew up in the impoverished farming communities

of the black rural South, Dial had little opportunity to

attend school. With limited formal education and no

art training of any kind, Dial drew inspiration from

the aesthetic traditions that immediately surrounded

him, including the African American yard show and

a number of expressive practices unique to the black

vernacular South. Like a wide assortment of other

artists who work outside the familiar conventions of

the established art world, Dial found himself

characterized as a “folk” or “outsider” artist.

Accepted and understood through the lens of these

categories, Dial’s work gained important recognition.

But at the same time, he has fallen prey to the

problematic notions that frequently accompany these

terms, to their fetishizing of difference and to their

often false characterizations of his art as naïve,

innocent, or insular.

Because Dial’s complex and large-scale paintings and

sculpture so closely resemble forms of mainstream

contemporary art, there has been even further

confusion, and he has experienced some extreme

highs and lows in the art world’s critical reception

and understanding of his work over the years.

AQ: Dial’s art is very heavy and dense. It is saturated

with struggle and chaos. However, in your essay in

the exhibition catalogue, you say, “In his art, tragedy

is never without a sense of hope.” Can you expand

upon this?

JC: In his art, Dial often focuses on the world’s

troubles and cruelties. He has the ability to see

deeply into the nature of our flawed humanity. But

he is also generous and optimistic in his point of

Construction of the Victory, 1997, Artificial flowersand plants, crutches, fabric, clothing, rope carpet,wood, window screen, found metal,wire, oil, enamel, spray paint, and Splash Zonecompound on canvas on wood, Collection of theSouls Grown Deep Foundation. Photo by StephenPitkin, Pitkin Studio.

FEATU

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view. Although his work can be dark, it also

expresses the hope that we will somehow find our

way through that darkness. Every image of social

injustice is actually a call for our betterment. Within

each evocation of struggle and ruin, there is always

the underlying possibility of human transcendence,

moral striving, and spiritual regeneration. A unique

merging of aesthetics, history, social conscience, and

metaphysics, Dial’s work moves the discourse of

contemporary art into remarkable new territory.

AQ: Also in your essay, you explore one of the many

symbols in Dial’s work: the tiger. What other symbols

or motifs can viewers expect to encounter in this

exhibition?

JC: Dial’s art is filled with a vocabulary of repeating

symbols that provides clues to the work’s richly

layered meanings. He uses the tiger as an avatar of

African American struggle and the ability to land on

one’s feet despite the imbalances of injustice in a

racist world. A predominant theme throughout Dial’s

work is the quest to overcome such social oppression,

and much of his imagery serves that central

expressive purpose. For example, many of his tigers

and other protagonists are formed out of carpet

scraps to signify their downtrodden position within

the social hierarchy, the dilemma of being repeatedly

and ruthlessly “stepped on.” Magical bird figures

often appear as signifiers of freedom and prosperity,

but in one series of pieces, these transcendent

creatures hang limp and lifeless like old rags on a

clothesline in order to conjure the historical memory

of black lynchings. Within Dial’s renderings on the

plight of the oppressed, slaves become rats trapped

in a ship’s hold, manual laborers morph into mules,

and rural black folk turn into dead birds rotting in

the scorching southern sun. On the brighter side,

imaginative species of plants and flowers often

bloom amidst the artist’s scenes of devastation and

destruction, signs of life’s ability to triumph over all

odds. Even Dial’s ubiquitous use of castoff materials

carries this theme of redemption. In his work, the

reinvestment of creative energy in old and outworn

things serves as an overarching metaphor for healing

the world’s inhumanities and for embracing the

dispossessed among us.

AQ: Dial is now in his early 80s, and he has had

Strange Fruit: Channel 42, 2003, Spray can tops, clothes,wood, artificial flowers, found metal, wire, tools, oil, enamel,spray paint, and Splash Zone compound on canvas on wood,Collection of the Souls Grown Deep Foundation, Photo byStephen Pitkin, Pitkin Studio.

Stars of Everything, 2004, Paint cans, plastic cans, spray paint cans,clothing, wood, steel, carpet, plastic straws, rope, oil, enamel, spraypaint, and Splash Zone compound on canvas on wood, Collection of theSouls Grown Deep Foundation. Photo by Stephen Pitkin, Pitkin Studio.

FEA

TURE


some health difficulties in recent years. Is he

still making art?

JC:Actually, Dial’s health has greatly improved

over the last year or so, and he has been able to

fully enjoy the Hard Truths exhibition and the

celebration of his lifelong accomplishments as

an artist. In fact, since the opening of the show

at the Indianapolis Museum of Art last

February, he has been inspired to begin a new

group of highly ambitious works. The warm

public accolades that Dial has received, as well

as the unprecedented national coverage

praising the exhibition in such major media

venues as Time Magazine, NPR, The Wall Street

Journal and The New York Times, have

encouraged him to approach his art making

with new gusto and commitment. In his 80s, he

continues, quite miraculously, to create some of

his most exciting work.

Hard Truths: The Art of Thornton Dial will

be on view in the Ella West Freeman Galleries from

February 24, 2012—May 20, 2012. Check the web

for updates on upcoming programming related to

this exhibition.

Setting the Table, 2003Shoes, gloves, bedding, beaded car-seat cover, cloth, carpet,artificial flowers, crushed paint cans, found metal, frying pan,cooking utensils, chain, wood, Splash Zone compound, oil, andenamel on canvas on wood, Collection of Culture and Beyond LLC/Collection of Barbara and James SellmanPhoto by Stephen Pitkin, Pitkin Studio.

EDITED BY JOANNE CUBBS AND EUGENEMETCALF, this beautifully designed hardcover bookcontains over 150 color reproductions, with essayswritten by David C. Driskell, Greg Tate, andJoanne Cubbs, and a foreward by IMA DirectorMaxwell L. Anderson. This catalogue is publishedin conjunction with the exhibition Hard Truths: TheArt of Thornton Dial, organized by the IndianapolisMuseum of Art.

Available in the Museum ShopHardbound, 216 pages; $45.00

FEATU

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EXHIBIT IONS

This spring NOMA presents a solo exhibition

of work by conceptual artist Dario Robleto,

featuring sculpture and works on paper from

the past ten years. The Prelives of the Blues centers on

the historical and emotional resonance of music,

focusing on how music is absorbed and transferred

across generations transcending barriers of race,

time, and death.

Over the course of his career Dario Robleto (born

in 1972 in San Antonio, Texas) became internationally

known for creating thoughtful sculptures comprised

of unusual materials imbued with conceptual

significance. His choices of artistic materials reflect

an ongoing interest in the specifics of history and

music and, at the same time, universal human

longings common to all time periods. His past works

Dario Robleto: The Prelives of the BluesMiranda Lash, Curator of Modern and Contemporary Art

The Minor Chords are Ours, 2010Vintage mason jars, vintage wooden spools, stretchedaudio tape, minor chords, linseed oil, willow. The minorchords from a family’s 60-year record collection wereisolated to audio tape, stretched into thread, and spooled.Courtesy of the artist and Inman Gallery.

Lion or Lamb, 2007 - 2008Colored paper, cardboard, ribbon, Foamcore, glue.Collection of Michael Zilkha.

have included dinosaur bones, wartime memorabilia

such as bullets, letters, and hair wreaths, and

carefully chosen melted vinyl records and

audiotapes.

The exhibition The Prelives of the Blues will

present an imaginative retracing of the transference

of blues, jazz, and rock n’ roll (genres with distinct

African American roots) across time. The show will

incorporate a selection of old and new works,

including a new piece specifically inspired by New

Orleans, geared to raise questions as to how musical

taste is formed, and what it means for traditions and

famous musical moments to be carried across

generations.

Several works in the exhibition draw from

Dario’s own biography. The Sin Was In Our Hips,

2000, for example, points to rock music playing a role

in the artist’s own conception. Meanwhile The Minor

Chords Are Ours, 2010, poignantly displays three

generations of music (his own, his mother’s and his

grandmother’s) represented by the audiotapes of the

minor or “melancholy” chords from their vinyl

collections. Despite these autobiographical notes,

however, the works aim for a humanist

understanding of what it means to love music,

particularly across lines of class and heritage.

The decision to invite Robleto to NOMA was

motivated by the strong affinity he has demonstrated

in his work for music and investigating American

history. Having visited New Orleans several times

over the past three years, Robleto was inspired by the

integration of music into public rituals, such as

second lines, Social Aid and Pleasure Clubs, club

music, and jazz funerals. Robleto was also struck by

how familial lineages and traditions are a strong part

of New Orleans’s cultural identity, as manifested in

the family plots and mausoleums in our city

cemeteries.

Dario Robleto: The Prelives of the Blues will be on

view in the Frederick R. Weisman galleries from March 23

through September 16, 2012. The artist Dario Robleto will

present a public walk-through of the exhibition on Friday,

June 1, 2012.

COMING SOON

Leah Chase: Paintings by Gustave Blache IIILouisiana GalleriesApril 23—September 9

To celebrate New Orleans restaurateur and legend LeahChase’s 90th birthday, NOMA will be presenting aseries of paintings that investigate the environmentbehind the cuisine at her famous Dooky ChaseRestaurant. Blache puts Leah at the center of this series,and captures the spirit of her cooking. Leah, known bothfor her expertise in the kitchen and her life-longadvocacy for the arts, is an honorary life trustee ofNOMA.

ON VIEW

NOMA 100: Gifts for the Second CenturyElla West Freeman GalleriesLast day, January 22

In honor of NOMA’s centennial, over seventy-fivegenerous donors gave the museum over one hundredworks of art. This exhibition features works of EuropeanArt from before and after 1900, American Art, Asian,pre-Columbian and Native American, and African andOceanic, and demonstrates artistic connections acrossmedium, style, time periods, and cultures.


MASS PRODUCED aims to examine the

impact of industrial techniques on mass-

produced objects for the home. The

nineteenth century saw an explosion in the quantity

and types of merchandise available for purchase,

largely due to manufacturing techniques that

allowed goods to be produced more cost-effectively.

The look of glass, ceramic, and silver wares for the

table and for decoration changed with the

application of new practices.

Mold-pressed glass became widespread early in

the century and glassworkers used the technique to

create jardinières and vases. Ceramic manufacturers

employed transfer printing to decorate dinner and

tea wares, affordable alternatives to hand-painted

ceramics. Silver tablewares gleamed with a thin

coating of silver applied by electroplating, the fusing

of the precious metal to a base metal after fabrication.

New processes, as well as modifications and

rediscoveries of old techniques, allowed an upsurge

of options and styles attainable for the average

person.

Pressed glass, transfer-printed ceramics and

silver produced by firms such as Sowerby

Glassworks, Josiah Wedgwood and Sons, Minton

Pottery and Porcelain Factory, and Elkington and

Company will be on view. MASS PRODUCED will

highlight rich examples of nineteenth-century British

decorative arts in NOMA’s collection and explore the

fascinating relationships between design, technology,

and mass production.

MASS PRODUCED: Technology in Nineteenth-

century English Design will be on view in the Cameo

Galleries from January 13—June 24, 2012.

MASS PRODUCED: Technology in Nineteenth-century English DesignAlice Dickinson, Lois F. McNeil Fellow, Winterthur Program in American Material Culture

Objects left to right:

Old Hall Earthenware Company,Staffordshire, England; Designed byChristopher Dresser; Retailed by T.R.

Grimes, London, England; Breakfast Plate,c. 1886; Earthenware: transfer printed,glazed, polychrome overglazed; Gift of

E. John Bullard in memory of EleanorJensen Meade (1923-2002), 2003.41.

Sowerby Ellison Glassworks, Gateshead,England; Jardinière, 1877; Vitro-porcelain

(glass): mold-pressed; Museum Purchase,George S. Frierson Jr. Fund, 2000.61.

Josiah Wedgwood and Sons,Staffordshire, England; Dinner Plate, c.

1875-1880; Earthenware: transferprinted, glazed, polychrome overglazed;

Gift of Irving I. Gerson, 93.481.Photograph by Judy Cooper.

EXH

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Making a Mark: The Dorothy and Herbert Vogel CollectionRussell Lord, Freeman Family Curator of Photographs and Prints and Drawings

Lynda Benglis, Untitled, n.d., Photo collage on wax and gold leaf, Gift of Dorothyand Herbert Vogel through the National Gallery of Art, 2008.74.5

Charles Clough, Untitled, 2001, Watercolor on paper, Gift of Dorothy andHerbert Vogel through the National Gallery of Art, 2008.74.9

Now on View

Over fifty years ago, an unassuming New

York couple—she a librarian, he a postal

worker—began collecting art. They

acquired things that they liked and could afford on

their modest salaries, making prescient choices

together about drawings, paintings, prints,

sculptures, and photographs by artists that were, at

the time, relatively unknown. Since then, Dorothy

and Herbert Vogel’s collection has grown into an

important collection of over 4,000 works by major

artists from the 1960s to the present. Working with

the National Gallery of Art, the Vogels decided to

share their collection with the nation, choosing one

institution in every state as the recipient of a gift of

fifty works each. The New Orleans Museum of Art is

proud to be the Vogels’ choice for the state of

Louisiana and has presented works from their gift in

the Templeman galleries.

The Vogels’ gift to NOMA includes works in a

variety of media—sculptures by Michael Lucero and

Richard Nonas, paintings or prints by Charles

Clough and Will Barnet, and a mixed-media photo

collage by Lynda Benglis—but the Vogels were

especially interested in drawings of all kinds, from

preparatory sketches and designs for sculptures to

discrete finished works. As one of the most visceral

and direct forms of picture-making, drawings can

reveal the genesis of an artistic concept or bring us

closer to the artist’s hand; as Dorothy Vogel once put

it, “Drawing is a very personal art form…the ideas

are all there.” The act of drawing, of making a mark

on a surface, is also a way of leaving some stamp on

history’s timeline. It is, therefore, especially fitting

that the Vogels have focused on drawings in their

collection, for the generous distribution of their

collection has itself made a mark on the national

artistic landscape. Among the works that NOMA will

exhibit from the Vogels’ gift are drawings by Michael

Goldberg, John Latham, Lucio Pozzi, and Richard

Tuttle. To complement the display of the Vogel

collection, NOMA will screen Megumi Sasaki’s

documentary Herb & Dorothy (2008) in the galleries

for the duration of the exhibition.

Making a Mark: The Dorothy and Herb Vogel

Collection is on view in the Templeman galleries through

April 8, 2012, and is generously supported by New Video.


MUSEUM NEWS

Recent Acquisitions

In 2011, NOMA purchased two significant

paintings for the permanent collection. One is by

Gustave Doré, who was celebrated in nineteenth-

century Europe for the dark realism of his

lithographs and illustrations, and the other is by

Thomas Willeboirts-Bosschaert, a Flemish Baroque

artist of the seventeenth century who often painted

for Dutch royalty.

Gustave Doré

French, 1832-1883

The Matterhorn, 1873

Oil on canvas, 77 x 51 ¼ in.

Museum Purchase: Deaccession Art Fund, 2011.25

Currently on view in the Bea and Harold Forgotston

Gallery, 2nd Floor

Gustave Doré was one of the most exceptional

illustrators of the 19th century. He was also a

lithographer, engraver, and as this work shows, a

visionary painter. Born in Strasbourg, France on

January 6, 1832, Doré had no formal art training

growing up, but displayed an aptitude for drawing

early in his life. Some of his earliest dated works are

from the age of five, and by twelve years old he was

experimenting with lithography. In 1847, Doré

moved to Paris to attend secondary school, and it

was there that Charles Philipon, the French

caricaturist and journalist, discovered his work.

Philipon urged Doré to continue his drawings, and

while in school he quickly became a regular

contributor to Philipon’s Journal pour rire. Doré is

well known for his beloved illustrations of numerous

literary classics, including John Milton’s Paradise Lost,

Dante Aligheri’s Divine Comedy, and Miguel de

Cervantes’s Don Quixote de la Mancha. Over the years

those illustrations have gained iconic status; for

example, his depiction of Don Quixote is widely

recognized as the standard portrait of the character.

Doré was very successful outside of France,

especially in London, where he established the Doré

Gallery in 1868. Close to 2.5 million visitors walked

through the doors by the time the gallery closed in

1892. Doré was a prolific artist who worked furiously

and ambitiously, and when he died in Paris on

January 23, 1883, he left behind a body of work of

over 100,000 drawings, lithographs, engravings, and

paintings.


The Matterhorn, located in the

Alps on the Swiss-Italian border, has

long been admired as one of the most

beautiful mountains in the world, a

symbol of danger and the

unattainable. In 1865, seven climbers

scaled the icy, steep slopes and

reached the summit. However, on

their descent a rope snapped, causing

four of the men to fall to their deaths.

One climber’s body was never

recovered. This tragedy, which made

international news, amplified the

mountain’s infamous reputation.

Doré, who had always displayed a

love for landscapes, mountains in particular, became

enthralled with this tale and the Matterhorn, and

painted many scenes of it (one known painting eerily

depicts four men tumbling down the precipice). In

NOMA’s painting, Doré captures the peril and

romanticism of the legendary mountain in a tranquil

scene. A setting sun casts a warm pink glow on the

peak, but the dark towering trees set a sinister tone.

Thomas Willeboirts-Bosschaert

Flemish, 1614-1654

Venus Mourning the Death of Adonis, n.d.

Oil on canvas, 61 ½ x 81 ½ in.

Museum Purchase: Deaccession Art Fund, 2011.26

Currently on view in the Elizabeth Danos and Paul P.

Selley Gallery, 1st floor

In 1614, Thomas Willeboirts-Bosschaert was born in

Bergen op Zoom, a city located in the south of the

Netherlands. By 1626, he moved to Antwerp where

he studied under Gerard Seghers and possibly

Anthony van Dyck, two Flemish artists who also

worked in the Baroque style.

Willeboirts soon became a citizen of Antwerp

and a master of the Guild of St. Luke, one of the

oldest known city guilds for artists. Collaboration

was common at the time, and Willeboirts worked

with many respected artists, including Jacob Jordaens

and Peter Paul Rubens. From 1642 to 1647,

Willeboirts painted for the Dutch stadtholder

Frederick Henry of Orange. Among these works

include seventeen scenes drawn from Greek

mythology for the Huis ten Bosch (one of the Dutch

Royal Family residences) in The Hague. After the

stadtholder’s death, his widow Amalia von Solms

became Willeboirts’s leading patron, and

commissioned the artist to create work in memoriam

of her late husband. Willeboirts was elected dean of

the Guild of St. Luke in 1651, and died a few years

later on January 22, 1654 in Antwerp.

Mythological and historical scenes were

considered noble subjects for seventeenth century

artists. This particular work, rich with drama and

sensuality, depicts The Death of Adonis from Ovid’s

Metamorphoses. In Greek mythology, Aphrodite

(Venus) became hopelessly enamored with the

beautiful Adonis after a chance graze with Cupid’s

arrow. One day while out hunting, Adonis was slain

by a wild boar. Venus came down to aid him after

hearing his dying groans, but was too late. In the

place where the earth was stained with Adonis’s

blood, anemones sprouted.

The two greyhounds at the right of the frame

were possibly derived from an oil sketch by Frans

Snyders, who often portrayed animals and still life.

Leaving a Legacy

The impact of E. John Bullard's thirty-seven-

year tenure as director of the New Orleans

Museum of Art can be seen in every gallery

of the museum. Over the course of his directorship,

thousands of works of art entered the collection, and

the building itself expanded by 55,000 square feet.

However, his greatest accomplishment may arguably

lie outside the museum's walls: the Sydney and

Walda Besthoff Sculpture Garden.

The Besthoff Sculpture Garden officially opened

on November 23, 2003, but it was a project over ten

years in the making. The Besthoffs, NOMA, and City

Park participated in countless discussions to secure a

home for the Besthoffs’ outstanding sculpture

collection. From the Garden’s inception to its

completion, John was there, facilitating the process

every step of the way. Today, the Besthoff Sculpture

Garden spans five acres and boasts over sixty

sculptures by renowned modern and contemporary

artists from all over the world.

Over 290 individuals generously donated funds

in honor of John’s retirement, and in recognition of

all of his achievements as director. It is appropriate

that John requested that these funds be dedicated to

the installation of Corridor Pin, Blue, 1999 in the

Sculpture Garden. Pop artists Claes Oldenburg and

his late wife Coosje van Bruggen are known for their

monumental representations of ordinary objects, and

NOMA’s Corridor Pin is a remarkable example of

such. In the Garden’s Oak Grove, near Dame

Elisabeth Frink’s Riace Warriors and Jaume Plensa’s

Overflow, the twenty-two foot high opened safety pin

forms a quirky archway over one of the Garden’s

many pathways.

The philanthropy of the 290 donors listed here

has also provided additional support to the

museum’s endowment, a fund that serves to

maintain all aspects of the museum, including the

Sculpture Garden. This gift will allow for the

continued beautification of the Garden for years to

come—a fitting tribute to the legacy of one of its

greatest champions.

Corridor Pin, Blue. Photograph by Judy Cooper


The J. and H. Weldon Foundation, Inc.The Aaron or Peggy Selber

Foundation, Inc.Wendell and Anne Gauthier

Family FoundationJohn W. Deming and Bertie Murphy

Deming FoundationMintz-Easthope FoundationThe Historic New Orleans CollectionSybil M. & D. Blair Favrot Family FundEason-Weinmann FoundationMr. and Mrs. Glenn B. AdamsMrs. Adele L. AdattoMr. and Mrs. Wayne F. AmedeeMr. and Mrs. W. J. Amoss Jr.Mrs. Jack R. AndersonMrs. Katsuko ArimuraMr. and Mrs. Hunter E. BabinMrs. Howard T. BarnettMr. Garic K. BarrangerMr. John S. BatsonMr. and Mrs. John D. BeckerMr. and Mrs. Edward B. Benjamin Jr.Mrs. Edward B. BenjaminMs. Ann V. BennettMr. and Mrs. Burton BenrudMrs. Marian Mayer BerkettMr. and Mrs. Joseph BernsteinMr. and Mrs. John D. BertuzziMr. and Mrs. Sydney J. Besthoff IIIMrs. Linda Reese BjorkMr. and Mrs. Joseph S. BoltonMrs. Patricia BoothbyMrs. Jane Bories and

Mr. Sam CorenswetMrs. June W. BrandtFay & Phelan BrightMr. and Mrs. Edgar A. G. Bright IIIMr. John E. Brockhoeft and

Ms. Cynthia SamuelMs. Lisa Brooking and

Mr. Bennett DavisMr. and Mrs. William D. Brown IIIKelly BrownMrs. A. Harris BrownMr. Anthony F. Bultman IVMs. Pamela R. BurckMr. Harold BurnsMrs. Susan M. BuzickDr. David L. CampbellMr. and Mrs. Carlo Capomazza

di CampolattaroMr. and Mrs. Charles E. CarmichaelMrs. Lucianne B. CarmichaelDr. and Mrs. Edgar L. Chase IIIMr. J. Scott Chotin Jr.Mrs. Neil ChristopherMs. Linda T. ChustzMr. and Mrs. John ClemmerDr. and Mrs. Isidore Cohn Jr.Mrs. Blanche M. ComiskeyMr. and Mrs. Daniel Conwill IVDr. Patricia S. CookMr. and Mrs. Orlin CoreyMrs. John S. CoulterMr. and Mrs. Silas CunninghamMrs. William J. DalyMr. Leonard A. DavisMs. Katherine L. de MontluzinMr. and Mrs. Con G. DemmasMrs. Marilyn V. DittmannMrs. Marlene L. DonovanDr. Martin DrellMrs. Sally T. DuplantierMr. John W. DupuyMrs. Lloyd E. EaganMrs. Mickey Easterling

Dr. and Mrs. John Ollie Edmunds Jr.Mr. Robert D. EdmundsonMr. and Mrs. David F. EdwardsMs. Lin EmeryMr. and Mrs. Joseph H. Epstein Jr.Honorable and Mrs. Randy L. EwingMr. and Mrs. S. Stewart FarnetMr. and Mrs. H. M. Favrot Jr.Mr. and Mrs. Edward FeinmanDr. and Mrs. Ludovico FeoliMs. Natalie FieldingMr. Timmy L. FieldsMr. Tom A. Flanagan Jr.Dale R. FleishmannMs. Lee FoleyDr. Ben L. ForbesMrs. Julie Forsythe and

Mr. Forrest ForsytheMrs. Betty W. FowlerMr. René J. L. FransenMrs. Allison Freeman and

Mr. George FreemanMrs. Sandra D. FreemanMrs. Norma L. FreibergMrs. Stanley H. FriedMr. and Mrs. Louis L. FriersonMr. and Mrs. James J. FrischhertzDr. and Mrs. Harold A. Fuselier Jr.Mr. Franklin L. GagnardMrs. Lawrence D. GarveyMrs. Pat GaudinHenry W. Gautreau Jr.Mr. and Mrs. Edward N. GeorgeMr. and Mrs. Rolland GoldenMr. and Mrs. Mason GrangerMrs. JoAnn Flom GreenbergMr. Donald H. GriffinPhillip T. GriffinMr. and Mrs. Hervin GuidryMr. and Mrs. James O. GundlachMr. Daniel Gunther and

Mr. James GersheyDr. Robert D. GuytonMs. Emma F. HaasMr. and Mrs. Terence HallMr. and Mrs. John W. HallMr. Lee HamptonMr. and Mrs. Lambert HanemannMr. and Mrs. Stephen A. HanselMr. and Mrs. Quintin T. Hardtner IIIMrs. John L. HaspelMrs. H. Lloyd Hawkins Jr.Ms. Adrea D. Heebe and

Mr. Dominick A. Russo Jr.Mr. Jerry HeymannMrs. Anna O'Malley HingleMrs. S. Herbert HirschMrs. William H. HodgesMrs. Gail HoodMr. Will S. Hornsby IIIMr. and Mrs. Marvin L. JacobsMr. and Mrs. Bernard B. JeskinMr. and Mrs. Erik F. JohnsenMrs. Gloria S. KabacoffMrs. Margaret S. KesselsMs. Pat KimmelMrs. Morris KlingerMrs. E. James Kock Jr.Mrs. Jane N. KohlmannMs. Rosemary KorndorfferPeter and Bonnie KramerMr. and Mrs. Subhash KulkarniMrs. J. Monroe LabordeMr. and Mrs. John P. LabordeJohn LairMr. Henry M. Lambert and

Mr. R. Carey Bond

Mr. and Mrs. H. Merritt Lane IIIMr. and Mrs. Charles W. Lane IIIMr. and Mrs. J. M. Lapeyre Jr.Mr. Paul J. Leaman Jr.Ms. Gladys G. LeBretonDr. Edward D. Levy Jr.Mr. and Mrs. J. Thomas LewisDr. and Mrs. Robert LewisMr. John W. LolleyDr. and Mrs. E. Ralph LupinMs. Deborah P. LyonsMr. F. J. Madary Jr.Mrs. Paula L. MaherMr. and Mrs. Robert L. Manard IIIMr. and Mrs. Stephen D. ManshelMs. Jane Johnson and

Mr. David A. MarcelloMrs. Walter F. Marcus Jr.Mr. and Mrs. Charles D. MarksMs. Kathy MarminoMr. and Mrs. Michael J. MarsigliaMrs. Shirley Rabé MasinterMr. and Mrs. Paul J. MasinterMr. Edward C. MathesMr. and Mrs. Charles B. MayerMr. and Mrs. Bernard C. MayerMs. Kay McArdleMr. and Mrs. Henry G. McCallMr. and Mrs. Robert McHargMrs. Virginia McLeanMs. Joan K. McRaney and Mr. Richard

FelderMs. Ann M. MeehanDr. and Mrs. Alvin S. MerlinMr. and Mrs. R. King MillingMrs. Ellis MintzMrs. Louise MoffettMr. and Mrs. Michael D. MoffittMr. and Mrs. Peter R. Monrose Jr.Ms. Jo Leigh MonteverdeMrs. George R. MontgomeryMr. Brian Weatherford and

Mr. Steven MontgomeryMrs. Frank C. Moran Jr.Ms. Sibyl V. MorganDr. and Mrs. Lee Roy Morgan Jr.Mrs. Marjorie A. MorrisonMs. Mary Wheaton MorseMrs. Claire H. MosesMrs. Andrée K. MossMr. and Mrs. J. Frederick Muller Jr.Dr. and Mrs. Anthony MumphreyMs. Iona R. MyersDr. and Mrs. Bert MyersJudith NavoyMs. Carolyn NelsonMrs. Maxine E. NettlesMr. R. Daniel NewhouseMrs. Robert NimsMr. Roger H. OgdenMr. and Mrs. Richard E. O'KrepkiDr. and Mrs. Lawrence OmeallieDr. Howard and Dr. Joy D. OsofskyDr. Sanford L. PailetMrs. Harry M. PeliasMrs. Ben J. PhillipsDr. and Mrs. James F. PierceMr. and Mrs. Gregory PierceMrs. Mary Evelyn RackerDr. Thomas F. ReeseMrs. Charles S. Reily Jr.Mr. and Mrs. James J. Reiss Jr.Dr. and Mrs. Edward F. RenwickMrs. Françoise B. RichardsonMr. and Mrs. R. Randolph Richmond Jr.Mrs. William Carey RivenbarkMrs. Virginia N. Roddy

Mr. and Mrs. George RodrigueMrs. Carol H. RosenMr. and Mrs. Benjamin M. RosenMr. and Mrs. Paul S. Rosenblum Sr.Mr. Robert A. RothMr. James F. RoyMr. and Mrs. John O. Roy Jr.Mr. and Mrs. Hallam L. RuarkMr. and Mrs. John H. RyanMr. and Mrs. William RyanMrs. Jerome R. RyanMr. and Mrs. Lavalle B. SalomonMs. Lillian SamardzijaMr. Brian SandsMs. Courtney-Anne SarpyMr. Jack M. SawyerMr. and Mrs. Milton G. Scheuermann Jr.Mr. and Mrs. Claude A. SchlesingerMr. and Mrs. Brian A. SchneiderDr. David C. SchwabMrs. Etheldra S. ScogginMr. Joseph ShefskyMs. Debra B. ShriverMrs. Shepard H. ShushanMrs. Sylvia Stone ShushanDr. and Mrs. David Earl SimmonsMr. Edward M. SimmonsDr. and Mrs. Julian H. SimsMr. and Mrs. I. William SizelerMr. and Mrs. Lynes R. SlossMs. Toni SmithMrs. Joe D. Smith, Jr.Mr. and Mrs. Rodney R. SmithMrs. Charles A. SnyderMr. and Mrs. Bruce L. SoltisMr. and Mrs. Thomas S. SoniatMr. and Mrs. Stephen L. SontheimerMrs. Vann SpruiellMr. H. P. St. Martin IIIMrs. Molly M. St. PaulMs. E. Alexandra Stafford and

Mr. Raymond M. Rathle Jr.Mr. and Mrs. Harry C. StahelMrs. Jack SteinMrs. Warren L. SternMs. Micki Beth StillerMs. Jon B. StraussDr. and Mrs. Richard L. StrubMr. and Mrs. James A. StuckeyMrs. Robert SuggsMs. Jacqueline L. SullivanMs. Anne Reily SutherlinMs. Judith (Jude) SwensonMrs. Patrick F. TaylorMr. and Mrs. James L. TaylorMr. and Mrs. Herndon J. ThomasonDr. and Mrs. Armant C. TouchyMs. Catherine Burns TremaineMs. Kathie W. UzzelleMrs. Anthony J. ValentinoMr. and Mrs. George G. VillereDr. and Mrs. Robert G. WeilbaecherMrs. John N. WeinstockMrs. Ruth R. WeislerMrs. Margaret H. WestMrs. Karolyn Kuntz WesterveltMs. Jane K. WheelahanMr. Charles Lewis Whited Jr.Mrs. Nan S. WierMs. Margot WilkinsonMr. Glen WilsonMr. and Mrs. D. Brent WoodDr. and Mrs. John M. YarboroughMs. Alice Rae Yelen and

Dr. Kurt A. GitterMr. and Mrs. Robert E. YoungDr. and Mrs. Lawrence Zaslow

Donors Honoring E. JoHn BullarD

EXPERIENCING NOMA

NOMA unveiled a new digital presence on

November 4. Just twenty-five days after

launching, the new noma.org enjoyed over

20,000 visitors and over 70,000 page views.

Popular sections of the new website include

exhibitions, events and the collection. Future and

past exhibitions, videos, events and collection pieces

are added weekly to the website. Users can also sign

up for a personal account, log in to the site and build

a virtual collection.

The website has proven to be user-friendly for

both visitors and staff. Visitors to the site can find

information with ease and fill out e-forms to

volunteer or inquire about facility rentals. Individual

departments are able to update and upload content

so information can be refreshed on a moment’s

notice.

The website and content management system

were designed by the Canary Collective, a local New

Orleans company. Blake Haney and Ben Hirsch of

the Canary Collective are continuing to work with

NOMA staff to improve and expand the site.

"Our intention all along has been to help NOMA

and their staff publish over time their collection and

up-to-date content,” says Haney. “We can then build

interactive elements for each site visitor. We will

introduce facts about works in the collection, user

tools for creating your own collection, and the

development of new media around the exhibitions

and permanent collection. In the end we hope the

new site helps to increase membership and turns site

visitors into museum visitors."

In the coming months, NOMA will unveil more

interactive components of the site including quizzes

and educational tools. The Canary Collective is also

working with NOMA on a new design for the e-

newsletter.

Just as guests of the museum find something

new every time they drop in, virtual visitors are sure

to spot fresh features on noma.org—so visit and visit

often!

New Website Gives Virtual Visitors All Access

NEXT UP AT BOOK CLUB

JANUARY: Clara and Mr. Tiffany by Susan Vreeland January 19: Field Trip to the New OrleansGlassworks and Printmaking Studio, 10 a.m.-12 p.m.

January 20: Discussion Group

FEBUARY: Rogues Gallery: theSecret History of the Mogul andthe Money That Made theMetropolitan Museum by MichaelGross and Making the MummiesDance Inside the MetropolitanMuseum of Art by ThomasHoving

February 15: Discussion Group

MARCH: The Miracles of Pratoby Laurie AlbaneseMarch 8: Discussion Group

We meet at 11:30 for lunch, but alldiscussions start promptly at noon.

To join or for more info, contact Sheila Cork at (504) 658-4117 or at [email protected].


Forever at NOMAMiranda Lash, Curator of Modern and Contemporary Art

On November 4, 2011, NOMA unveiled

Forever, a newly completed wall painting

by Odili Donald Odita. Commissioned in

honor of the museum’s centennial, Forever, now part

of the museum’s collection, will be on view for the

next three years. Extending 150 feet, the mural is

comprised of 87 different colors, each carefully

calibrated to respond to the physical space and

changing light of the McDermott Lobby. The mural

took approximately one month to complete with the

aid of a team of assistants and volunteers. The title,

Odita explains, conveys the impression of dynamism

and continuity he gathered from spending time in

this city: “New Orleans is an accumulation of

different histories and cultural groups, all of which

co-exist in a vibrant patchwork.”

The idea of “crossroads” or moments of decision,

play an important role in Forever. Improvisation was

part of the mural’s process, as its design evolved

over Odita’s successive visits to the space. The work

exists in three main zones: at the far left, bright tones

streak in like rays of morning light, conveying the

impression of beginning. On the center wall, two

planes of color converge at a centerfold, in a butterfly

or mask-like shape. On the third wall towards the

right, vertical vectors imitate the forms of a forest or

curtain veils. The white background of the wall

penetrates into the colorful designs, articulating

Forever as a wall piece, distinct from a work on

canvas.

Odita’s palette for Forever, which draws from

skin tones, political concerns, and memories of Mardi

Gras Indian costumes (among other things), should

not be regarded as directly representational. Rather, it

is a summary of the emotional states and impressions

experienced by the artist. “All painting is

decorative,” Odita explains. Referring to the

accumulative, systemic structures in painting, he

adds, “This becomes power when the decorative in

painting is organized and understood."

Artist Odili Donald Odita with Forever. Photograph by Roman Alokhin.


NOMA AND THE COMMUNITY

In anticipation of the exhibition Hard Truths:

The Art of Thornton Dial, NOMA is once again

partnering with Young Audiences of Louisiana

to provide specially designed curriculum and tours

to students in Orleans and Jefferson Parishes. This

program will introduce the work of self-taught artist

Thornton Dial to high school and middle school

students. Based on a successful summer partnership,

NOMA’s Department of Interpretation and Audience

Development and the staff of Young Audiences will

collaborate to create classroom materials featuring

pre-visit and post-visit activities. The middle-school

curriculum features lessons on civil rights, and is

punctuated by Thornton Dial’s artwork and

interviews with the artist. Participating schools will

have an option of bringing a teaching artist into the

classroom to lead an art activity to conclude the study

and museum visit.

NOMA and Young Audiences Teach the Work of Thornton Dial

The New Orleans Museum of Art has

launched a new program for university

professors and graduate students. Faculty

Forums offer an opportunity for educators to receive

information on upcoming exhibitions and events at

NOMA. Educators are invited to the museum for a

relaxed evening of gallery visits and discussions

with curators and museum educators. Faculty

Forums will be held once per semester and will

preview museum plans for the following six months.

It is NOMA’s hope that with this advanced notice,

educators will consider including museum

exhibitions and catalogues within the coursework of

appropriate university studies. Many Louisiana

colleges and universities are institutional members of

NOMA, and the museum encourages professors and

students to take advantage of NOMA’s offerings. The

next Faculty Forum will be held on Wednesday,

March 28 from 4:30 – 6:00 p.m. and will feature

information on Lifelike, an international group

exhibition that examines commonplace objects and

situations, and Dario Robleto: The Prelives of the Blues.

For more information or to make a reservation, email

[email protected] or call (504) 658-4113.

Faculty Forums

Photography by Judy Cooper

On Friday, February 3 from 5:00 p.m. – 10:00

p.m., Artfully AWARE (AfA) will take over

NOMA for a special event: “Becoming

Artfully AWARE: Linking Local and International

Communities through the Arts.” Artfully AWARE is

a global organization that uses art to engage

communities and promote social welfare and

healing.

For one night that will celebrate the rich

diversity of New Orleans, children and adults from

across the community and the world have

contributed artwork and creative writing that will be

displayed in the Great Hall and surrounding

galleries. The evening begins with a performance by

the Mardi Gras Indian tribe, the Guardians of the

Flame. Michael Watson, the musical director of Irvin

Mayfield’s Jazz Playhouse, will also perform with a

four-piece band.

Visitors can interact with professional writers

and artists from A Studio in the Woods, catch a

literary reading organized by the Pirate’s Alley

Faulkner Society, view photography that reflects the

Sierra Club's local environmental efforts and watch

short films selected by FosterBear Films that explore

the vital role of the arts in society. One Million Bones,

a hands-on art initiative that raises genocide

awareness, will exhibit a scaled down version of

their planned installation for New Orleans, which

will contain 50,000 handmade bones.

The Odgen Museum of Southern Art will display

work from their Artists and Sense of Place residency,

which pairs nationally recognized artists with local

students to create artwork that reflects their sense of

their surroundings. The Contemporary Arts Center

will screen a short film about self-identity produced

by their youth group.

“Adults and children strengthen their minds and

abilities through creative stimulation,” says Hilary

Wallis, Executive Director of Artfully AWARE. “Our

goal is to welcome a cross section of community

members under one roof, so we can celebrate our

uniqueness as well as what makes us relate to the rest

of the world. We want to express why arts and culture

are so vitally important, and emphasize their positive

impact on society.”

All visitors will receive a booklet of poems, short

stories, and visual art created by AfA participants.

Food and drink will be available from Ralph

Brennan’s Café NOMA.

For this event, Artfully AWARE is collaborating with

the New Orleans Citizen Diplomacy Council (NOCDC),

the World Trade Center of New Orleans (WTC), Pirate’s

Alley Faulkner Society and the World Affairs Council of

New Orleans (WACNO). Special thanks also to the

Contemporary Arts Center (CACNO), The Ogden

Museum of Southern Art, A Studio in the Woods, One

Million Bones, FosterBear Films and The Sierra Club.

NOMA is Artfully Aware

Children from the International School in Uganda attending an arts workshop. Photograph by Hilary Wallis.

In addition to being a destination for art

enjoyment and contemplation, the five-acre

Sydney and Walda Besthoff Sculpture Garden is

also a thriving center of community engagement.

Volunteers from across the community regularly

come to the Garden to donate their gardening

services and learn new techniques.

Last year, NOMA partnered with the Master

Gardeners of Greater New Orleans to create the

Louisiana Super Plant/Enabling Garden in a 550

square-foot raised bed outside the back entrance of

the Besthoff Sculpture Garden, facing the entrance of

the Botanical Garden. The Louisiana Super Plants

program is a campaign initiated by the LSU

Agricultural Center to identify ornamental plants

that thrive in Louisiana landscapes.

On the third Tuesday of every month, the

MGGNOs give free demonstrations in the Garden on

how to plant and take care of a bed of these

extraordinary plants. Attendees are shown how to

properly plant, water, mulch, and take soil samples.

“I feel very passionately about keeping the

‘garden’ aspect of the Sculpture Garden alive,” says

Pamela Buckman, the Sculpture Garden Manager.

“The benefits of gardening are cognitive,

psychological, social, and physical.”

Everyone is welcome to volunteer in the Garden.

Current groups include the Magnolia School, high

school and university students, retired locals, the

Louisiana Master Gardeners, the Greater New

Orleans Iris Society, individuals needing to perform

community service, and families just looking for an

activity to do together.

Buckman notes, “Everyone performs the same

tasks, from weeding and grooming to trimming and

mulching—everything that helps keep the Garden

maintained and looking spectacular all year.”

The Besthoff Sculpture Garden is handicap-accessible,

free and open to the public daily from 10:00 a.m.-4:45

p.m., with extended hours until 9p.m. on Fridays. Closed

all legal holidays. For more information or to volunteer,

call (504) 658-4153.

Look for more upcoming details on the annual

Louisiana Rainbow Iris Festival, which will be held on

Saturday, April 14, 2012 from 11 a.m.-4 p.m. in

conjunction with the Botanical Garden’s Spring Garden

Show.

Life Blooms in the Sculpture Garden

STICK TO THOSE NEW

YEAR RESOLUTIONS!Yoga and pilates classes are offered by the East Jefferson Wellness Center in theSculpture Garden on Saturday mornings from 8-9 a.m., free for members and$5 a class for non-members. Check the pull-out calendar for exact dates.

The Master Gardeners of Greater New Orleans hosted a free gardening demonstration on November 15, 2011.

NOMA will be celebrating the arrival

of spring in colorful fashion from

March 14 – March 18, 2012 as the

museum and the Garden Study Club of New

Orleans present the twenty-fourth annual Art in

Bloom, “New Orleans: Life in Color.” Co-chairs

Gwathmey Gomila and Jennifer Charpentier are

hard at work planning the event and invite you

to join them for the spectacular five-day

celebration featuring art, floral displays,

educational programs and social events.

On March 24, 2012, from 11 a.m. to 1 p.m.,

hundreds of excited children and their families

will descend on the Besthoff Sculpture Garden

for the annual Fabergé Egg Hunt. The fun-filled

event will feature egg hunts, a petting zoo, arts

and crafts activities, spacewalks, face painting,

balloon making, and a visit from the Elmer’s

Easter Bunny. Sarah Abbott, Petra Guste, and

Angel Junius are returning for an encore

performance as the 2012 co-chairs.—Carol Short,

NVC Publications Co-chair

For tickets and information, see www.noma.org

or call (504) 658-4121.

NOMA Welcomes Spring with Two Popular Events

NOMA WELCOMES 2012 NVC CHAIR EL IZABETH HAECKER RYAN

THE NOMA VOLUNTEER COMMITTEE(NVC) proudly announces Elizabeth Haecker Ryanas the 2012 NVC Chair. Ryan’s focus will be onNVC’s core responsibility: fundraising. She says,“NOMA has taken some wonderful steps, and theNVC needs to be there to let the museum keep onexploring and expanding.”

The price points for tickets to NVC events willbe expanded to allow broader participation.Secondly, Ryan will foster active volunteerism. A2012 Placement Chair will match NVC members’interests with NVC volunteer needs.

Ryan, a San Antonio native who received herdegrees at Newcomb College and Tulane LawSchool, is current chair-elect of one of the city’soldest social services agencies, Family Services ofGreater New Orleans. Ryan successfully jugglesmany commitments: marriage to husband JohnHenry Ryan; practicing law; involvement inprofessional, school, and civic organizations; andbeing a mother to three grown children.

NOMA thanks Ryan for offering her leadershiptalents and time to the NVC in 2012!—LauraJunge Carman, NVC Publications Co-chair

Art In Bloom photographs by the NVC. Egg Hunt photographs by Roman Alokhin.


SUPPORTING NOMA

PresideNt’s CirCle

Mr. and Mrs. John D. Bertuzzi

Mr. and Mrs. Sydney J. Besthoff III

Mr. and Mrs. Ralph O. Brennan

Collins C. Diboll Private Foundation

Mr. and Mrs. David F. Edwards

Dr. and Mrs. Ludovico Feoli

Mr. and Mrs. Stephen A. Hansel

Ms. Adrea D. Heebe and Mr. Dominick

A. Russo Jr.

Helis Foundation

Mr. and Mrs. David A. Kerstein

Mr. Paul J. Leaman Jr.

Mrs. Paula L. Maher

Mr. and Mrs. Charles B. Mayer

Mrs. Robert Nims

Mrs. Charles S. Reily Jr.

Mrs. Françoise B. Richardson

Jolie and Robert Shelton

Mrs. Patrick F. Taylor

Zemurray Foundation

direCtOr’s CirCle

Mrs. Jack R. Aron

The Booth-Bricker Fund

Mr. and Mrs. Thomas B. Coleman

Mrs. Lawrence D. Garvey

Mrs. JoAnn Flom Greenberg

Mr. Jerry Heymann

Mr. and Mrs. Erik F. Johnsen

Mr. and Mrs. Peter R. Monrose Jr.

Mr. and Mrs. Robert J. Patrick

Mr. and Mrs. Edwin R. Rodriguez Jr.

Mr. and Mrs. Benjamin M. Rosen

Ms. Debra B. Shriver

Mr. and Mrs. Bruce L. Soltis

Margaret B. and Joel J. Soniat

Dr. and Mrs. Richard L. Strub

PAtrON’s CirCle

Mrs. Adele L. Adatto

Dr. Ronald G. Amedee and Dr.

Elisabeth H. Rareshide

Mr. and Mrs. Robert H. Boh

Mr. E. John Bullard III

Mr. and Mrs. Mark Carey

Dr. and Mrs. Isidore Cohn, Jr.

Mrs. John J. Colomb Jr.

Mr. Leonard A. Davis

Mr. and Mrs. Prescott N. Dunbar

Mr. and Mrs. H. M. Favrot Jr.

Mr. and Mrs. Timothy Francis

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Edward N. George

Mr. and Mrs. Frederick Heebe

Mrs. Gloria S. Kabacoff

Ms. Allison Kendrick

Mr. Henry M. Lambert and Mr. R.

Carey Bond

Mr. and Mrs. H. Merritt Lane III

Mr. and Mrs. Thomas B. Lemann

Dr. Edward D. Levy Jr.

Mr. and Mrs. J. Thomas Lewis

Dr. and Mrs. E. Ralph Lupin

Mr. and Mrs. Paul J. Masinter

Mr. Edward C. Mathes

Ms. Kay McArdle

Mr. and Mrs. R. King Milling

Mrs. Ellis Mintz

Mr. and Mrs. Michael D. Moffitt

Robert and Myrtis Nims Foundation

Dr. Andrew Orestano

Dr. Howard and Dr. Joy D. Osofsky

Dr. and Mrs. James F. Pierce

Mr. and Mrs. James J. Reiss Jr.

Dr. and Mrs. Edward F. Renwick

Mr. and Mrs. R. Randolph Richmond Jr.

Mr. and Mrs. George Rodrigue

Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. Edward Shearer

Mr. and Mrs. Lynes R. Sloss

Ms. E. Alexandra Stafford and Mr.

Raymond M. Rathle Jr.

Mrs. Frederick M. Stafford

Mrs. Harold H. Stream Jr.

Mr. Stephen F. Stumpf Jr.

Mr. Hollis C. Taggert

Mr. and Mrs. James L. Taylor

Mr. and Mrs. David S. Thomas Jr.

Mrs. Hendrik Willem van Voorthuysen

Mrs. John N. Weinstock

Mrs. Dorothy Weisler

Mrs. Henry H. Weldon

We appreciate the generous and continuing support of our Circle members.

Circles of the New Orleans Museum of Art

The NOMA Board of Trustees cordially invites you to join the Circles, the museum’s most prestigious membership group.

President’s Circle: $20,000

Director’s Circle: $10,000

Patron’s Circle: $5,000

UP G R A D E YO U R SU P P O RT O F NOMA

For more information, please call (504) 658-4107.


$525,000

Patrick F. Taylor

Foundation

—Endowment Fun d

—Education Programming

$500,000

Zemurray Foundation

—Endowment Fun d

$300,000

Save America’s Treasures

—Permanent Collection

Conservation

$100,000

Collins C. Diboll

Foundation

—Endowment Fund

$50,000

The Selley Foundation

—Re-design and Re-launch

Website

$49,999 - $20,000

Louisiana Division of

the Arts

—General Operating

Support

Luce Foundation

—Kuntz Galleries

Renovation

The Lupin Foundation

—Odyssey Ball, 2011

Office of the Lieutenant

Governor State of

Louisiana

—Where Y’Art!?

Programming

The RosaMary Foundation

—General Operating Support

American Express

Foundation

—Urn Restoration

Andy Warhol Foundation

—Curatorial Research

National Endowment for

the Arts

—Permanent Collection

Catalogue

$19,999 - $10,000

Goldring Family

Foundation

—Odyssey Ball, 2011

Ruby K. Worner

Charitable Trust

—Where Y’Art!?

Programming

Eugenie and Joseph Jones

Family Foundation

—Art In Bloom, 2011

GPOA Foundation

—Language and Art

Eductional Programming

Libby Dufour Foundation

—Urn Restoration

$49,999 - $20,000

Whitney National Bank

—Art in Bloom 2011

IBERIABANK

—Odyssey Ball 2011

International Well Testers

Inc.

Robert and Jolie Shelton


Peoples Health


$19,999 - $10,000

Chevron


DocuMart


Garden Study Club

—Sculpture Garden

Beautification Project

Dathel and Tommy

Coleman

—Art in Bloom

Entergy

—Art In Bloom 2011

June and Bill McArdle


$74,999 - $50,000

Sheraton New Orleans

Hotel

$49,000 - $20,000

The Ralph Brennan

Restaurant Group

Landis Construction

$9,999 – 5,000

Soniat House Hotel

$4,999 - $1,000

Kentwood Spring Water

Christie’s Fine Art

Auctioneers

Dooky Chase’s Restaurant

NOMA’s exhibitions and special programs are made possible through the generosity of our

sponsors. If you would like additional information on sponsorship, please contact the

museum’s Development Department at (504) 658-4107.

Foundation and Government Support

Corporate and Individual Support

In-Kind Corporate Donations

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At an Afternoon Tea and surrounded by

NOMA’s most steadfast volunteers,

Director Susan M. Taylor announced the

creation of the Isaac Delgado Society. This society

was established to celebrate those generous donors

who remember NOMA in their estate plans through

a planned gift. With permission, society members

will be recognized in special publications and receive

invitations to exclusive museum events including an

annual luncheon. Most important, members of the

society will know that they are ensuring NOMA’s

excellence for future generations.

Director Emeritus John Bullard, who is leading

this important initiative, spoke of continuing the

tradition of philanthropy which was first established

by Isaac Delgado in 1911. In providing for NOMA’s

second century, we recognize the significance of

planned giving to the future of the museum in terms

of building the endowment, enhancing the collection

and supporting growth and long-term stability. He

invited those in attendance to join the Isaac Delgado

Society through one of the following ways:

• Name the museum in your will

• Designate life insurance policy proceeds

to the museum or donate an insurance

policy

• Make NOMA a beneficiary of a retirement

plan, IRA, 401(k), or 403(b)

• Transfer real estate to NOMA

• Promise a gift of a work of art that the

museum has agreed to accept

Ms. Taylor encouraged guests to contact the

Development Office to learn more about the

opportunities to fund the following essential

programs and services:

• Endowed curatorial positions

• Exhibitions

• Educational programming for children

and adults

• Sculpture Garden maintenance

• Lecture Series

• Publications

• Member events

• Musical programs

• Building improvements

• Capital additions

• Art purchases

We look forward to meeting with you and discussing

NOMA’s future.

For more information or to receive a brochure, please

call 504-658-4107 or email: [email protected].

NOMA Announces the Isaac Delgado SocietyMarilyn Dittmann, Director of Development

Director Emeritus E. John Bullard. Photography by Judy Cooper.


NOMA Goes to Havana

NOMA is planning a trip to Havana, Cuba

from May 9 to 17, 2012. This trip, which

will coincide with the 11th Havana

Biennial, will have a strong focus on contemporary

art. Therefore, the museum is extending a special

invitation to members of the Contemporaries,

NOMA’s new affinity group for those interested in

contemporary art.

The visit to Havana will include guided tours

through the biennial’s multiple sites, artist’s studio

visits, and splendid accommodations at the Hotel

Parque Central, located in the heart of Old Havana.

This Cuba trip will be just one of many events

for the Contemporaries. Future activities will include

studio visits and intimate artist talks with artists and

art historians. For $1,000 per year, you can be a part

of this important group.

If you would like to be included on a mailing list

for forthcoming information on trips to Cuba, please

contact Miranda Lash (504) 658-4138 or email

[email protected].

For more information on the Contemporaries

please call (504) 658-4107 or email

[email protected].

Please note that this will be a high-energy trip that

will require a great deal of walking and is not

recommended for guests with mobility challenges.

Grant from Keep LouisianaBeautiful Helps NOMA Go Green

As NOMA enters its second century, it

remains committed to the environment and

to implementing sustainable practices.

Keep Louisiana Beautiful, a non-profit organization

that promotes personal and community

responsibility for a clean and beautiful Louisiana,

recently awarded NOMA a grant that provided

funding for more ecological management of waste at

the museum and the Besthoff Sculpture Garden,

helping NOMA in its transition in becoming a green

facility.

On November 15, 2011, NOMA participated in

America Recycles Day, a nationally recognized day

dedicated to the promotion of recycling in the United

States. The office-wide clean up was a perfect

opportunity for NOMA staff and volunteers to

organize and de-clutter working spaces, while

creating as little waste as possible. Extra office and

workshop supplies, catalogues, brochures, and

furniture were recycled or donated to local thrift

stores. In the Sculpture Garden, leaves and pine

needles from staff members’ yards

were used as a ground cover.

NOMA’s green initiative

began a year ago with the

formation of a Green Committee.

Recent environmentally conscious

changes to the museum include museum-wide

recycling, replacing Styrofoam at the coffee machine

with washable coffee mugs, as well as hand driers in

the bathroom instead of paper towels. At the

museum’s largest fundraiser, the Odyssey Ball,

NOMA partnered with eco-friendly vendors and

caterers who use reusable linens, glassware, and

silverware in order to reduce the amount of solid

waste created.

With support from Keep Louisiana Beautiful,

NOMA is able to take steps toward a more Earth-

friendly existence. Save the date for the museum’s

Earth Day celebration on April 20, 2012, as part of

our Friday night Where Y’Art!? programming.

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Fall Events Help Close Out Centennial Celebrations

On September 23, 2011, NOMA’s annual

LOVE in the Garden celebration was held

in the lush Sydney and Walda Besthoff

Sculpture Garden. Amidst a casual evening of dining

and dancing, 2011 LOVE co-chairs Annie Flettrich

and Jennifer Shelnutt joined with 1,000 NOMA

devotees to honor five of our city’s outstanding

artists for their work and for the vital roles they have

played in our community.

The 2011 honorees—Andy Brott, Mari De Pedro,

Kathleen Loe, Ayo Scott, and Julie Silvers—were

recognized by Director Susan M. Taylor at a

ceremony during the Garden Party while a visual

tribute to their work was projected on the Garden

walls for all to enjoy.

The evening celebration also gave partygoers a

chance to admire two new additions to the Besthoff

Sculpture Garden: Diana, The Huntress by Augustus-

Saint Gaudens and Untitled by Anish Kapoor.

On October 8, 2011, thousands of visitors came to

NOMA to experience a day filled with music, food,

art, and activities celebrating the rich and diverse

culture of Japan. Highlights included an address by

the mayor of Matsue, our sister city in Japan; an

anime fashion contest; and performances by

drumming group Kaminari Taiko of Houston and

Global Culture Nasu, a Japanese performing arts

group whose appearance in New Orleans was

generously sponsored by the Consulate General of

Japan, Nashville.

On November 12, 2011, NOMA held the forty-

sixth annual Odyssey Ball. The Great Hall,

transformed for the occasion, housed a striking

sculpture by Viorel Hodre. Sleepwalkers (Night

Blooming Cereus), a video installation by Courtney

Egan, mesmerized guests from the Grand Staircase.

NOMA Director Susan M. Taylor greeted patrons

along with Brenda and Michael Moffitt, the chairs of

the event. Juan Barona’s stunning contemporary

décor set the tone for the premiere viewing of NOMA

100: Gifts for the Second Century, and for two Odyssey

Ball firsts: the VIP Lounge and an overture to the

Young Fellows.

Deacon John and the Ivories headlined while the

Ralph Brennan Restaurant Group provided gourmet

delights. Cigar Factory New Orleans and Rèmy

Martin cognac added to the atmosphere. Special

thanks to The Lupin Foundation and Peoples Health

for generously underwriting the gala, to

IBERIABANK for sponsoring the VIP Lounge, and to

Jolie and Robert Shelton for the sponsorship of the

Great Hall.

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Japan Fest: 1. Mayor of Matsue; 2. and 3. Global Culture Nasu, sponsored by the Consul-Generals Office; 4. Kaminari Taiko of Houston; 5. Japanese Weekend School of New Orleans. Photography by Roman Alokhin.

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Odyssey Ball: 1. NOMA Director Susan M. Taylor and Paolo Meozzi, with Pam and Dr. Ralph Lupin; 2. Brenda and Michael Moffitt with Cathyand Greg Ruppert; 3.Odyssey Committee members; 4. Odyssey Auction Chairmen Charlene Baudier, Lander Dunbar, Nancy Matulich and LyndaWarshauer; 5. Jolie and Robert Shelton; 6. Dr. Isidore Cohn, Director Emeritus E. John Bullard and Marianne Cohn; 7. Bill Hines, NOMA Board ofTrustees President Cammie Mayer and Tommy Westervelt; 8. Decor sponsor Jude Swenson with Wendi and Michael Grosch; 9. Bill and June McArdle,Kay McArdle and Joe Handlin. Photography by Judy Cooper and Grace Wilson.

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Love in the Garden: 1. Meredith Maxwell, Annie Flettrich (Love in the Garden Co-Chair), Mike Mann, Katie Hardin, Jennifer Shelnutt (Love in the GardenCo-Chair); 2. Jermaine and Tameka Reynolds; 3. Walda & Sydney Besthoff with Kimberly Zibilich (NOMA Volunteer Chair); 4. Julie Silvers and StevenForster. 5. Love in the Garden honored artists Julie Silvers, Mari De Pedro, Andy Brott, NOMA director Susan M. Taylor, Ayo Scott, and Kathleen Loe; 6. Kay McArdle, Dagney Jochem, Stephanie Rogers, Bernice Daigle and Glendy Forster; 7. Paul Leaman, Sydney Besthoff and E. John Bullard; 8. Paolo Meozzi, Cammie Mayer and Susan M. Taylor; Photography by Judy Cooper and Grace Wilson.

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In Memoriam: Eugenie Jones Huger (1932 – 2011)

Eugenie Jones

Huger, an

honorary life

trustee of NOMA,

passed away after a

long illness on May 7,

2011. Mrs. Huger was a

longtime supporter of

NOMA and the New

Orleans art community.

Mrs. Huger held a Bachelor of Arts from

Newcomb College and a Master of Liberal Arts from

Tulane University. In addition to her service at

NOMA, Mrs. Huger also volunteered at the

Contemporary Art Center, the Ogden Museum of

Southern Art, and the New Orleans Botanical

Garden.

Friends remember her cheerful, amiable

disposition and her unwavering loyalty when the

museum needed help the most. When there was no

one left to answer the phones after Hurricane

Katrina, Mrs. Huger volunteered to do the job, and

served as NOMA’s receptionist.

Mrs. Huger, who displayed a passion for African

and contemporary art, was also a donor to our recent

exhibition, NOMA 100: Gifts for the Second Century.

Her gift, Ekpo Society Gong, created by the Eket

Peoples of Nigeria, is a remarkable addition to the

museum’s African holdings, and serves as a daily

reminder of her devotion to this institution.

Arts��

PROFILES IN GIVING

The New Orleans Museum of Art has been a

recipient of Dorothy “Becky” Skau’s

generosity for decades. Mrs. Skau, an

established supporter of the arts, contributed to

numerous local organizations, including NOMA, the

New Orleans Opera Guild, The Louisiana Historical

Society, Friends of Longue Vue Gardens, the Historic

New Orleans Collection, Tulane Women’s

Association, Friends of Newcomb College, the

Louisiana Philharmonic Orchestra, Friends of the

Cabildo, and the Guild of La Petit Theatre de Vieux

Carre.

A lifelong resident of New Orleans, Mrs. Skau

graduated from Newcomb College, Phi Beta Kappa,

and obtained a master’s degree in Library Science

from Louisiana State University. She pursued post-

graduate studies at Tulane University. Until she

retired, she was a librarian at the Southern Regional

Research Center Library of the United States

Department of Agriculture, a library she helped

establish. She was past president of the Louisiana

Chapter of the Special Libraries Association (SLA)

and served on the board of directors of the national

SLA. Mrs. Skau was also a member of the American

Library Association, past president of the Louisiana

Library Association, assistant editor of the LLA

Bulletin, and was past president of the Greater New

Orleans Library Club. Despite being very active in

library studies, Mrs. Skau remained a devoted

sponsor of the arts, and always found ways to

contribute to NOMA and other members of the New

Orleans arts community.

Mrs. Skau has been an active NOMA fellow since

1985 and has generously bequeathed funds to

NOMA for the purchase of a sculpture. Her gift will

be used to purchase Karma, 2011 (pictured), a work

by the Korean artist Do Ho Suh. This sculpture will

be placed in the Sydney and Walda Besthoff

Sculpture Garden in the spring of 2012 and will bear

Mrs. Skau’s name on the dedication plaque. At a

height of 23 feet and created out of brushed stainless

steel, Karma—NOMA’s first example of

contemporary Korean art—will have a striking

impact on the Garden’s landscape, and will enhance

the museum’s sculpture collection. We are grateful

for Mrs. Skau’s support, which has now spanned

over 25 years. NOMA is pleased to accept this

transformative gift on the eve of NOMA’s second

century, where it can be enjoyed in the Sydney and

Walda Besthoff Sculpture Garden for generations to

come.

Editor’s note: In the last issue of AQ, we attributed

the gift of Do Ho Suh’s Karma to Sydney and Walda

Besthoff. Mrs. Skau’s bequest came after that publication,

and since then, the Besthoffs have agreed to designate their

gift towards NOMA’s endowment campaign instead.

A Tribute to Mrs. Dorothy “Becky” Beckemeyer Skau

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CHARITABLE GIFTS to NOMA

Make a lasting contribution to the museum with a gift of cash, stock, real estate, or other assets. Such gifts may allow for significant tax savings. For more information, please call (504) 658-4107.


NOMA FAMILY

NOMA is deeply

saddened to learn of

the passing of Jim

Byrnes, the third director of

this institution. He left an

indelible mark during his

eleven-year tenure (1961 –

1972), including the name

change in 1971 from the Isaac

Delgado Museum of Art to the

New Orleans Museum of Art.

In 1989 he was conferred the

honorary title of Director

Emeritus in appreciation of his

distinguished services to the museum.

Byrnes was born in New York City on February

19, 1917. His studied art at the National Academy of

Design, the Art Students League and American

Artists School in New York and at the University of

Perugia and Istituto Meschini in Rome, Italy. Prior to

coming to New Orleans, Byrnes was director of both

the Colorado Springs Fine Arts Center and the North

Carolina Museum of Art. After NOMA he served as

director of the Newport Harbor Art Museum.

His numerous accomplishments while at NOMA

helped define the institution it is today. The size of

the museum’s facility expanded threefold with the

addition in 1971 of the Edward Wisner Wing, the

Stern Auditorium and the City Wing, including the

Ella West Freeman Galleries and the second floor

permanent collection galleries. The formation of the

Women’s Volunteer Committee (now the NOMA

Volunteer Committee) in 1965 was the result of his

trailblazing public art auction. To inaugurate his 1966

exhibition of the private collection of Mr. and Mrs.

Frederick M. Stafford, Odyssey of an Art Collector,

the first Odyssey Ball was initiated. Other major

exhibitions he organized for NOMA with published

catalogues are New Orleans Collects (1972), The Arts of

Ancient and Modern Latin America (1968), Early

Masters of Modern Art (1968), Edgar Degas: His Family

and Friends in New Orleans (1965) and Fetes de la

Palette: Delights of the Bountiful Table (1963).

Through his efforts there was a substantial

increase in the size and quality of the permanent

collection, including the creation of the Arts of the

Americas collection as a focus and the

unprecedented purchase of the Edgar Degas portrait

of New Orleanian Estelle Musson Degas. This

milestone purchase inspired the Ella West Freeman

Fund to propose in 1968 a matching fund for art

acquisitions for the permanent collection. Purchases

made using those funds during Byrnes’s tenure

include Marinus van Reymerswaele’s The Lawyer’s

Table, Baron Antoine-Jean Gros’s Pest House at Jaffe,

Gustave Courbet’s Rocky Landscape, Richard Clague’s

Spring Hill and Robert Henri’s Blue Kimono, as well as

major works from the Olmec, Maya and Zapotec pre-

Columbian cultures and the African Yoruba

masterpiece, Mounted Warrior Veranda Post.

Notable gifts to the collection during his tenure

are the comprehensive Melvin P. Billups Glass

Collection, The Paul Gauguin painted glass doors,

August Rodin’s Age of Bronze, Francesco Guardi’s

Esther at the Throne of Ahasuerus, Kees van Dongen’s

Woman in a Green Hat, Henri Matisse’s Jazz portfolio

and Jean Hyacinthe Laclotte’s The Battle of New

Orleans.

As a result of the museum’s expansion and other

organizational changes during Byrnes’s tenure, it

was one of the first in the nation to be accredited by

the American Association of Museums.

James Bernard Byrnes, 1917 – 2011

Board of TRUSTEES

National TRUSTEES

Ms. Allison KendrickMayor Mitch LandrieuMrs. Merritt LaneE. Ralph Lupin, MDPaul J. MasinterMrs. Charles B. MayerMs. Kay McArdleMrs. R. King MillingMichael D. MoffittMrs. Michael D. MoffittHoward J. Osofsky, MD,

PhDMrs. James J. Reiss Jr.Mrs. George RodrigueDonna P. RosenBrian Schneider Mrs. Jolie L. SheltonKitty Duncan SherrillMike SiegelMrs. Lynes SlossE. Alexandra Stafford Mrs. Richard L. StrubRobert TaylorSuzanne ThomasBrent WoodMrs. Kimberly Zibilich

William D. Aaron Jr.Justin T. Augustine IIIMrs. John BertuzziSydney Besthoff IIIDr. Siddharth K. BhansaliSusan BrennanKia Silverman BrownRobin Burgess BlanchardDaryl ByrdMrs. Mark CareyEdgar L. Chase IIITommy ColemanCollette CreppellLeonard Davis David F. EdwardsH. M. “Tim” Favrot Jr.Mrs. Ludovico FeoliJohn FraicheTimothy FrancisJulie Livaudais GeorgeSusan G. Guidry, Council-

member District “A”Terence HallLee Hampton Stephen A. HanselAdrea D. Heebe

H. Russell Albright, MD Mrs. Jack R. Aron Mrs. Edgar L. Chase Jr. Isidore Cohn Jr., MDPrescott N. Dunbar S. Stewart FarnetSandra Draughn FreemanKurt A. Gitter, MDMrs. H. Lloyd HawkinsMrs. Erik JohnsenRichard W. Levy, MDJ. Thomas Lewis Mrs. Paula L. Maher

Mrs. J. Frederick MullerMrs. Robert NimsMrs. Charles S. Reily Jr.Mrs. Françoise Billion

RichardsonR. Randolph Richmond Jr.Mrs. Frederick M. StaffordHarry C. StahelMrs. Moise S. Steeg Jr.Mrs. Harold H. Stream Mrs. James L. TaylorMrs. John N. Weinstock

Joseph BaillioMrs. Carmel CohenMrs. Mason GrangerJerry HeymannHerbert Kaufman, MD

Mrs. James PierceDebra B. Shriver Mrs. Henry H. Weldon Mrs. Billie Milam Weisman

ED ITOR: Taylor MurrowART D IRECTOR: Aisha ChampagnePR INT ING: DocuMart

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124.

© 2012, New Orleans Museum of Art. All rightsreserved. No part of this magazine may bereproduced or reprinted without permission of thepublisher.

SUPPORT ACKNOWLEDGMENT

The programs of the New Orleans Museum of Art aresupported by grants from the Louisiana State ArtsCouncil through the Louisiana Division of the Arts,the Arts Council of New Orleans, the New OrleansJazz and Heritage Festival and Foundation, theNational Endowment for the Arts, and the AmericanRecovery and Reinvestment Act.

MUSEUM HOURS

The museum is open Tuesday through

Thursday, 10 a.m. to 5 p.m., Friday, 10 a.m. to 9 p.m.,

and Saturday and Sunday, 10 a.m. to 5 p.m.

Closed Monday and all legal holidays.

The Besthoff Sculpture Garden is open every day,

10 a.m. to 4:45 p.m., except Fridays, when it is open

until 8:45 p.m. For information on upcoming

exhibitions and events at NOMA, please call

(504) 658-4100 or visit our website at www.noma.org.

Honorar y L i fe TRUSTEES

Cover Image:Gustave DoréFrench, 1832-1883The Matterhorn, 1873 (detail)Oil on canvasMuseum Purchase: Deaccession Art Fund, 2011.25

P. O. Box 19123New Orleans, LA 70179-0123

NON-PROFIT ORG.US POSTAGEPAID

NEWORLEANSPERMIT #108

Arts��

NOW AVAILABLE IN THE MUSEUM SHOP

NOMA announces its newest publication, The Sydney and Walda Besthoff SculptureGarden at the New Orleans Museum ofArt, published by SCALA Publishers as partof their internationally distributed Artspacesseries. Authored by Miranda Lash, curator ofmodern and contemporary art, this “mini-guide” explores the history of this award-winning sculpture garden and highlightsworks from its superb collection. 64 color pages, $7.95

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Documents

AQ January February March 2012 AQ January February March 2012