arts quarterly spring 2015

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NOMA events and exhibitions covering April, May, and June 2015

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  • Spring 2015Arts Quarterly New Orleans Museum of Art

  • Susan M. Taylor

    DIRECTORS LETTER

    The mission of the New Orleans Museum of Art, to create a vibrant center for the arts, underscores NOMAs commitment to sharing its resources with the broadest possible public. As a teaching and learning institution, NOMA is dedicated to the arts and the communities it serves. Over the last year I have had the privilege of serving as president of the Association of Art Museum Directors (AAMD), an opportunity to think more broadly about art museums and their communities within the framework of the organization. Its 237 members from North American institutions fulfill missions of education and outreach. In January, Darren Walker, president of the Ford Foundation, spoke to the organization. The topic of his speech, Open and Free: On Arts, Democracy and Inequality is a powerful call to action that inspires institutionslarge and smallto consider the role of the arts as a tool for social and cultural transformation. I hope you will take the time to read his remarks that can be found on the AAMD and Ford Foundation websites. In a city like New Orleans, where there are many challenges and many needs, the arts are celebrated and affirmed; yet there is always an opportunity to do more. This season our staff has been more dedicated than ever, presenting powerful exhibitions and dynamic programs for our diverse community. In this issue, youll read a conversation between Mel Buchanan, the RosaMary Curator for Decorative Arts and Design, and conservator Howard Sutcliffe, regarding the conservation process of the Butler-Greenwood Plantation parlor acquired by NOMA last spring. The parlor will be featured in the upcoming exhibition Louisiana Parlor: Antebellum Taste & Context. A more recent chapter of Louisiana history is a focus of our second summer exhibition. Featuring the work of six contemporary artists, Ten Years Gone explores their respective approaches to the passage of time, memory, and in the process, contextualizes the significance of the decade that has passed since Hurricane Katrina. This issue also contains the most recent assessment of our Mini Masters early learning program for three- and four-year-olds. The results are significantintegrating visual arts into childrens lives at an early age makes a profound difference in their critical thinking skills and their readiness for school. At a time where data-driven research is a critical assessment, this program offers an inspiring example of arts impact on societys youngest members. This is why we open our doors to opportunities that can enrich the entire community. NOMA now offers free admission for all teenagers, thanks to the Helis Foundation. This annual teen pass is available at the museums front desk. We hope that, by opening our doors wider, more teenagers will experience NOMA on their terms. Finally, this month kicks off a new venture for NOMAs annual Odyssey Ball, presented by IBERIABANK and WDSU-TV. This year, Odyssey Chairs Robin Burgess and Terence Blanchard have created a schedule of events that support museum programs and initiatives. A jazz brunch and second line parade in April will launch this yearlong odyssey, with performances by Grammy Award winners Terence Blanchard and Poncho Sanchez. Timed to coincide with International Jazz Day, this event celebrates art and music, and welcomes spring and the festival season in New Orleans. I hope to see you there and throughout the spring season.

    Susan M. TaylorThe Montine McDaniel Freeman Director

  • 2 FEATURE

    10 Ten Years Gone Six contemporary artists explore the passage of time, memory, and loss

    MUSEUM

    INSPIREDBYNOMA

    4 Margaret Archila

    EXHIBITIONS

    5 Now on View: Self/Reflection

    6 Now on View: Claude Monets Irises by the Pond

    COLLECTIONS

    7 Recent Acquisition: Martel Ewers

    8 Art Conservation in Progress: Parlor Furnishings from the Butler Greenwood Plantation

    Page 10 Ten Years Gone Page 8 arT ConservaTion in ProGress

    CONTENTS Spring 2015

    roman alokhin

  • 3 COMMUNITY

    LEARN

    14 Mini Masters Assessment Results Show Promise for the Future

    14 Slam New Orleans Brings Spoken Word to NOMA

    VISIT

    15 NOMA Offers Free Admission for Teens

    15 Theater and Movies in the Besthoff Sculpture Garden

    SUPPORT

    16 NOMA Donors

    18 Exhibitions, Festivals, and Events Make Impressions at NOMA

    20 Isaac Delgado Memorial Award Honors Dr. Ralph Lupin

    21 NOMA Fellows and Fellows Circle

    22 Odyssey Begins with a Jazz Brunch and Special Performance

    23 Dig Deeper into Art with New Artifact Apps

    23 NOMA Celebrates the Isaac Delgado Society

    24 Trustees

    Page 23 new arTifaCT aPPsPage 18 arT in Bloom

    Arts Quarterly New Orleans Museum of Art

    roman alokhin

  • 4 Arts Quarterly New Orleans Museum of Art

    I NS pI R E D b Y NOM A : M A R gA R ET A R C h I L A

    Margaret Archila and her husband Douglas Plymale have been members of NOMA since 2013, along with their children Taylor, Sofia, and Roan. Margaret spoke with Arts Quarterly and talked about why they come to NOMA, and how the museum inspires them and their family.

    What does the New Orleans Museum of Art mean to you and your family?

    NOMA is the hub we seek to enrich and educate ourselves in the vast and amazing world of art.

    Why do you choose to visit on Friday nights?

    Friday nights are our time to reconnect as a family in an easy and casual manner

    after a long, busy week. NOMA offers that fun setting, from the music to the people we see and visit with weekly. We enjoy exploring the new exhibitions and re-visiting the fantastic art the museum has to offer. We have also cultivated close relationships with a few of the NOMA staff that adds that extra personal touch to our weekly visits.

    Is there a particular collection of art, recent exhibition, or certain artists work at NOMA that has particularly resonated with your or one of your family members?

    Photorealism: The Sydney and Walda Besthoff Collection was a favorite of the children. They were mystified by the entire concept.

    how do you think an art museum serves its community?

    An art museum gives a community a sense of ownership and proximity to art that may be otherwise unavailable. Art allows the community to admire and reflect on all the talent that is available for all to share and opens your soul to emotions that may not have been stirred without that art.

    What advice would you give to someone who may be intimidated by the museum experience, or who thinks a museum isnt for them?

    I would strongly encourage anyone who doesnt think art is for them to approach it as a cathartic experience, almost like you would approach meditation or yoga. Go with an open mind and let the art speak to you and only you.

    raleig

    h p. cooper

  • 5www.noma.org

    EXHIBITIONS

    NOW ON V I E W: S E L F/ R E F L E C T ION

    If we do not fashion for ourselves a picture of the world, we do not see ourselves either, who are the faithful reflections of that world. Only when mirrored in our picture of the world can we see ourselves in the round. Carl Jung, Analytical Psychology and Weltanschauung (1928)

    On view in A. Charlotte Mann and Joshua Mann Pailet Gallery, this exhibition presents a selection of works from the permanent collection by Brassa, Jaroslav Rossler, Florence Henri, Clarence John Laughlin, and others that investigate, play with, and exploit reflections and mirror images in modern photography. The use of mirrors and reflections proliferated in modern photography between the world wars. This was a time of extensive philosophical self-reflection spurred by the growing interest in the field of psychology with Sigmund Freud and Carl Jung, and modern societies

    struggle to remodel themselves after the ravages of World War I. Global anxiety, coupled with the desire to look inward, could have provoked artists obsession with the mirror. This practice was geographically and philosophically widespread. The depiction of reflections was seen throughout Europe, particularly in France, Germany, and Czechoslovakia, and in the United States. Artists from disparate backgrounds and ideologies adopted and adapted the technique to suit their goals, further revealing the depth of an underlying identity crisis. While some artists manipulated the photographic process using collage and montage, others represented in this show used the camera as a means of realistic documentation, optical illusion, or a combination of the two. The use of the mirrored surface is in keeping with Lszl Moholy-Nagys New Vision aesthetic, which argued for the production of a photographic image,

    rather than a reproduction. The camera was seen as an extension of the artists eye, but one that went beyond the human eyes capability, able to capture limitless depths on a single plane. The photographic process and resulting photographs act as mirrors, capturing a specific scene and reflecting it back to the viewer. Including reflective surfaces within photographs created a world en abyme, a world that refers to itself within itself. Several artists took the opportunity to include reflections of themselves, and occasionally their cameras, further implicating their process. These works became examinations of the artist and his or her place in society, whether serious and formal like Florence Henris Selbsportrait (1928) or lighthearted and experimental like Jaroslav Rosslers Self-Portrait, Paris (1931).

    Self/Reflection is on view in A. Charl