noma arts quarterly winter 2016

Winter 2016Arts Quarterly New Orleans Museum of Art

Susan M. Taylor

DIRECTOR’S LETTER

As 2016 begins, I can’t help but reflect on the range and reach of the New Orleans Museum of Art’s friends and family. This was astoundingly apparent at NOMA’s December holiday party, when I observed friends and colleagues from other cultural organizations, generous foundations that give back and enable so many of us to serve our constituents, docents who engage our public at all levels, NOMA trustees and supporters at many levels, our NOMA Volunteer Committee members, and many others—all gathered together in celebration of the holiday season. We had much to celebrate—each and every person present had an important role in enriching the arts and culture community of New Orleans in 2015. We continue to advance our mission into 2016 with dynamic exhibitions and installations. Self-Taught Genius: Treasures from the American Folk Art Museum presents an opportunity for us to engage with our own distinguished permanent collection. NOMA’s complementary installation, Unfiltered Visions, which will be on view in The Helis Foundation Gallery, is a presentation from NOMA’s outstanding collection of works by self-taught artists. Long a champion this important part of American art history, NOMA hosted the first solo exhibition of Clementine Hunter in 1955 establishing the museum as center for the study of self-taught art. With the support of The Henry Luce Foundation, NOMA has recently renovated and reimagined a unique gallery space that first opened in 1983. At that time, NOMA’s Louisiana Bedchamber gallery allowed our visitors to experience nineteenth-century Louisiana furnishings from the collection of Felix Kuntz, given to NOMA by his brother Emile in memory of their parents. Today, curator of decorative arts Mel Buchanan has provided a fresh perspective on this collection with a new installation and updated interpretive materials. NOMA’s collection has grown recently with the acquisition of Lynda Benglis’s Wing from 1970. Once again, through the generosity of The Helis Foundation, NOMA has been able to enrich its holdings with the work of an influential twentieth-century artist. Wing is a seminal piece, and an exceptional example of one of the artist’s “fallen paintings.” The opportunity to have it in the museum’s collection gives pride of place to this Louisiana artist. The Stafford Gallery continues to be a site for the celebration of the permanent collection. In February, this focus gallery will spotlight a selection of African art from the bequest of Françoise Billion Richardson. Mrs. Richardson, a former trustee and board president, was also an extraordinary benefactor and friend to NOMA. A careful collector with an impeccable eye, Françoise possessed a profound love and appreciation for her unique African collection, one that she generously shared with the museum. Through her collection and vivid memories of her vibrant personality, her legacy will endure at NOMA. As I write this letter, I’ve learned of the passing of artist Ersy Schwartz. A New Orleans native and artist honoree at NOMA’s 2014 LOVE in the Garden, Ersy left an indelible mark on the numerous students whose lives she touched as an instructor at the New Orleans Center for Creative Arts. Her legacy as a gifted sculptor will live on in the monumental gates in NOMA’s café courtyard, which she created in collaboration with George Dureau, another New Orleans artist gone too soon. I close with best wishes for a new year filled with creativity, curiosity, and art that inspires you. I hope that in 2016, you are able to find your inspiration in NOMA’s galleries.

Susan M. TaylorThe Montine McDaniel Freeman Director

Cover Ammi Phillips, 1788–1865, Girl in Red Dress with Cat and Dog, Vicinity of Amenia, New York, 1830–1835; Oil On canvas; Collection American Folk Art Museum, New York, Gift of the Ralph Esmerian, 2001.37.1; Photo by John Parnell, New York

Inside Cover Marino Auriti, 1891–1980, Encyclopedic Palace/Palazzo Enciclopedico/Palacio Enciclopedico/Palais Encyclopédique or Monumento Nazionale. Progetto Enciclopedico Palazzo (U.S. patent no. 179,277), Kennett Square, Pennsylvania, ca. 1950s; Wood, plastic, glass, metal, hair combs, and model kit parts, 11 x 7 x 7’; Collection American Folk Art Museum, New York, Gift of Colette Auriti Firmani in memory of Marino Auriti, 2002.35.1; Photo unidentified

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FEATURE

10 African Art at NOMA A collector’s legacy on view this March

MUSEUM

INSPIREDBYNOMA

4 Sara Ruffin Costello

COLLECTIONS

5 New Acquisition: Lynda Benglis’s Wing

6 Louisiana Furniture, 1800-1840: The Rosemonde E. and Emile Kuntz Room is Back on View

7 Mesoamerican Installation on View in Renovated Third Floor Gallery

7 Vanessa Schmid Joins NOMA Staff

EXHIBITIONS

8 Self-Taught Genius: Treasures from the American Folk Art Museum

9 Unfiltered Visions: Self-Taught Art from the Permanent Collection

Page 10 FRANÇOISE BILLION RICHARDSON Page 8 SELF-TAUGHT GENIUS

CONTENTS Winter 2016

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COMMUNITY

LEARN

14 NOMA Pilots New Arts After School Program

VISIT

15 What’s Your Vision for US?

15 NOLA Teen Summit at NOMA

15 Genealogy Night

SUPPORT

16 NOMA Donors

17 Major Gift from The Hearst Foundations Supports NOMA’s Educational Programs

18 Exhibitions and Celebrations Close Out 2015

20 Art in Bloom presented by IBERIABANK

20 NOMA Egg Hunt & Family Festival presented by Whitney Bank

21 In Memoriam: Isidore Cohn

Page 18 EXHIBITIONS AND CELEBRATIONSPage 14 ARTS AFTER SCHOOL PROGRAM

Arts Quarterly New Orleans Museum of Art

Opposite left Unidentified, Yoruba, Nigeria, Seated Mother with Child Divination Bowl (agere Ifa), Wood, metal, traces of kaolin, Gift of the Françoise Billion Richardson Charitable Trust, 2015.38.71

Opposite right Edward Hicks (1780–1849), The Peaceable Kingdom (detail), Newtown, Pennsylvania, 1829–1831, Oil on canvas, in original painted wood frame, Collection American Folk Art Museum, New York, Gift of Carroll and Donna Janis, 2013.3.1, Photo by Gavin Ashworth, New York

4 Arts Quarterly New Orleans Museum of Art

I NS PI R E D B Y NOM A : S A R A RU F F I N C O ST E L L O

Art is a barometer of culture — if I’m writing a travel piece about a city, the first research activity is to explore the local art scene. If I’m sorting out a design project, a museum trip is one of the most efficient ways to get broad-strokes inspiration. I can base the design of a whole room on a piece of art. It can be a top note or a bottom note, but art usually informs my design process from the very beginning. Showing clients a particular piece that translates a vibe we are going for, can be a satisfying way to explain the end goal. In my work, art has always been a springboard for mood, palette and message. But most importantly, just studying a particular artist will distill perspective on the process which is always a struggle for anyone creating anything that seems overwhelming at first. Imagining how the artist arrived from blurry notion to finished expression is cathartic—whether it’s the writing process and you are building sentences that move a narrative along to make the reader feel something, or the design process where you are creating something three-dimensional that must be functional, but pleasing at the same time—thinking like an artist helps me to nudge a project toward the finish line while mitigating—or rather embracing—the inevitable suffering that comes along with the process.

Is there a particular artist, work of art, or exhibition at NOMA that has recently inspired you?I’m a huge fan of Tina Barney. Her work has always inspired me. You can read the subtext beneath her family portraits in such a visceral way, that you have to look twice. I’m so happy that NOMA brought Tina to New Orleans!

In your opinion, how does an art museum serve its community? It’s a custom experience for everyone on a case-by-case basis. Young kids can learn who the masters are—and that’s what I love about NOMA—the superstars are all represented and you can get a pretty straight view at some of the world’s masterpieces without a million other people nudging you out of the way. For some folks, a city museum is meditative—a place to go space out and reset the button on your day. The Sydney and Walda Besthoff Sculpture Garden is one of the all time great restorative secret spots in New Orleans—it is well laid out and does what it is supposed to do—which is provide a quiet place to absorb art. You don’t walk out of there unmoved. And for others, a museum reflects the tone of the city in which it sits—I think NOMA accomplishes that goal elegantly—it represents the local heartbeat of New Orleans, and allows New Orleans to feel the pulse of the art world.

You’ve mentioned before that you bring all your out-of-town guests to NOMA. Why? The museum hits many of the New Orleans notes that I like — the building itself is sort of grand classical architecture with a Caribbean spirit. The art is top notch, there is always a local exhibition, and City Park offers a bit of everything: bikes, beignets, swampy kayak ride, and amusements, all viewed through a curtain of Spanish moss.

Sara Ruffin Costello is the former editor and founding creative director of Domino magazine. She is also a regular contributor to T: the New York Times Style Magazine, and is the co-author of the New York Times bestseller book, The Domino Book of Decorating. She is a decorator and style consultant for private clients in Los Angeles, New York, and New Orleans. She lives in New Orleans with her husband, photographer Paul Costello, and their children.

You’re a writer, editor, decorator, creative consultant... the list goes on! How does art influence you in those areas of your life?I’m always looking for new ways of seeing the world, and a really pleasant means to that end is stealing a couple of hours during the week to visit galleries and museums. When I’m stuck for ideas or burnt out or just need to NOT look at a blank page for another minute, I’ll cruise over to the museum for a little art meditation. I especially like to focus on new works, which is a fast way to mainline the zeitgeist.

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The acquisition of Lynda Benglis’s Wing, 1970, made possible through the generous support of The Helis Foundation, brings to NOMA one of the most important works by one of Louisiana’s most influential artists, and one with a deep connection to NOMA and to the city of New Orleans. Born in Lake Charles, Louisiana, Benglis studied at Newcomb College before moving to New York, and maintained strong ties to Louisiana throughout her career. In the 1960s, Benglis startled the New York art world with her electric-hued pours of latex and polyurethane and provocative video and performance work, which ran counter to the more austere minimalist aesthetic of much art of the time. Benglis

Lynda Benglis, Wing (Edition 2/3), 1970, Cast aluminum, Museum purchase with funds provided by the Helis Foundation and the Frierson Art Purchase Fund, 2015.123 Art © Lynda Benglis/Licensed by VAGA, New York, NY

Lynda Benglis discussed her career with curator of modern and contemporary art Katie Pfohl on October 6, 2015 in NOMA’s Stern Auditorium.

N E W AC QU ISI T ION: LY N DA B E NGL IS ’ S W I NG

COLLECTIONS

transformed colors and materials often dismissed as feminine or merely decorative—hot pink, gilding, glitter—into works of art that referenced the Carnival traditions of her Louisiana childhood and challenged the male-dominated art world of the time. Benglis is best known for what she called “fallen paintings,” large-scale sculptural works she made by dripping and pouring brightly colored industrial materials like polyurethane and latex directly on gallery and museum floors or upon armatures installed on gallery walls. These challenging, free form sculptures sought to liberate gesture and form from the flat surface of the canvas, and instead create dynamic sculptural compositions in real space. In the 1970s,

Benglis began casting these fragile pours in more solid, durable materials like aluminum and bronze. Wing is one of the best extant examples of this celebrated series of cast metal sculptures, which resemble brushstrokes broken free from canvas, and frozen in space and time. Wing was included in NOMA’s 1977 exhibition Five from Louisiana, and came back to New Orleans for Benglis’ 1991 retrospective at the Contemporary Arts Center. Wing now returns to NOMA as one of the crowning achievements of an internationally recognized American artist that showcases Louisiana’s importance within the broader story of twentieth century American art.

Katie Pfohl, Curator of Modern and Contemporary Art


COLLECTIONS

Since NOMA’s Louisiana Bedchamber opened in 1983, it has been a beloved gallery to museum visitors. The installation celebrated Felix Kuntz’s collection of early nineteenth-century Louisiana furnishings, given by his brother in memory of their parents, Rosemonde and Emile Kuntz. Felix Kuntz was one of the first serious collectors of historic American decorative arts in the New Orleans area. After closing for repairs in 2012, the Rosemonde E. and Emile Kuntz Room is back on view with improved lighting, easier access, additional interpretation, and the restoration of the room’s original 1911 tile floor. The Kuntz Room shows early nineteenth-century Louisiana decorative arts from a formative time in this region’s history. After the 1803 Louisiana Purchase, New Orleans transitioned from its Spanish and French colonial roots to become part of the rapidly-expanding United States of America. This was a newly “Americanized” city, with many cultures mingling together at the Mississippi River port. An 1803 Boqueta de Woiseri print on view in the gallery is one of the first known representations of New Orleans as an American city, shown under the wings of an eagle and flying the United States flag.

When architect Benjamin Henry Latrobe visited New Orleans in 1819, he noted, “everything had an odd look.” This unique look is the most fascinating aspect of early Louisiana furniture. Designs in this region referenced popular international styles, like neoclassicism, but maintained local tastes and utilized local materials unlike what would have been seen in the rest of the United States. These everyday objects reflect Louisiana’s “Creole-style” fusion of French, Spanish, West Indian, African, and Anglo-American histories. Before the mid-nineteenth-century’s inundation of goods shipped from afar, Louisiana offered a truly regional expression in arts. The room’s Bedstead shows the national prevailing taste for neoclassical design, with its inlaid “swag and tassel” decoration, but combines the motif with a half-circle arch shape headboard that is unique to Louisiana bedsteads in American furniture. This arch shape is rare on French or English furniture, but is found on Spanish beds, chairs, and architecture, illustrating Louisiana’s Spanish cultural influence. The “Creole” Armoire is the furniture form most closely associated with French design and cabinetmaking. Armoire cupboards appeared in the French

colonies in Canada, the Mississippi River valley, and the Caribbean, but were rare in American British colonies. The gallery’s theme of decorative objects showing a unique Louisiana cultural blend comes through in New Orleans silver, an important “Campeche” chair, and a fascinating 1829 Portrait of a Free Woman of Color Wearing a Tignon. Perhaps no object in the gallery so poetically expresses the movement of cultures in Louisiana as a small storage chest mysteriously inscribed “ZACR.” The Acadian-region chest has Canadian maple leaves carved into its Louisiana cypress wood lid, a fitting combination coming from the Southern Louisiana Acadian (or Cajun) population. The Cajun people are descendents of French-Canadians deported from Acadia (the area of eastern Canada/Maine) during the French and Indian War, who made their way to a future in Louisiana.

Support for the renovation and reinstallation of the Rosemonde E. and Emile Kuntz Room at NOMA was provided by The Henry Luce Foundation. Additional funding for the renovation of the gallery was provided by the Ella West Freeman Foundation.

Mel Buchanan, RosaMary Curator of Decorative Arts & Design

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included rainforests, high arid deserts and coastal terrains. Objects from a number of pre-Columbian societies that thrived in Mesoamerica and left behind a legacy of creative energy in the form of public architecture, monumental sculpture and painted ceramics are displayed. Cultures represented in the installation include the Olmec, Maya, Mixtex, Zapotec, Aztec, Huastec and the Veracruz and Ulua Valley cultures. In addition, there are stone, gold and jade objects from NOMA’s large Costa Rican collection, a Central American culture that traded with Mesoamerica but was more culturally affiliated with its Caribbean and South American neighbors.

Visitors who have explored NOMA’s third floor Elise Mayer Besthoff Gallery recently may have noticed some dramatic changes. In this major renovation, completed last fall, the wall cases were removed, opening up the lobby and creating floor to ceiling exhibition spaces. In addition, the bay windows on each end of the hallway have been uncovered, bringing natural light to the space and giving visitors exquisite views of City Park from the third floor. Currently on view is a selection of works from NOMA’s Mesoamerican collection. Mesoamerica is the term used to describe a large cultural area that includes most of Mexico and Central America. Before the Spanish conquest in 1519, this area was home to many indigenous cultures that thrived in this diverse landscape that

M E S OA M E R ICA N I NSTA L L AT ION ON V I E W I N R E NOVAT E D T H I R D F L O OR GA L L E RY

VA N E S S A S C H M I D JOI NS NOM A’ S C U R AT OR I A L T E A M

Thanks to the generous support of Sue Ellen and Joe Canizaro, NOMA has recently added Vanessa Schmid to the curatorial team. Schmid, Senior Research Curator for European Art, comes to NOMA with extensive museum experience. She worked at The Metropolitan Museum of Art in the Department of European Paintings for five years on two loan exhibitions and as a key member of the team for the collection catalogue of Dutch paintings. In addition to stints at other institutions, Schmid spent a year at the National Maritime Museum in Amsterdam where she conducted research concerning the Dutch Navy as patron of art in the Golden Age. Schmid has also has special side interests in art conservation and art of the Islamic World. She is a graduate of the University of Pennsylvania and New York University. “My chief priority is the planning and execution of NOMA’s 2018 exhibition devoted to the paintings collection of the Duke of Orleans,” said Schmid. “We will tell the story of the Duke’s princely tastes, use of art for diplomatic ambition, and dedication to contemporary artists and art history.”

Maya Culture, El Cayo, Mexico/Guatemala, Carved Commemorative Panel, Classic Period, ca. 600–900, Limestone, Pigment, Ella West Freeman Foundation Matching Fund and the 1965 Museum Auction Fund, 67.31

Support for the renovation of this gallery was provided in part by the Ella West Freeman Foundation.

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S E L F-TAUGH T GE N I US : T R E A SU R E S F R OM T H E A M E R ICA N FOL K A RT M US E U M

clean slate, the new self-governed state was already an amalgamation of diverse heritages and traditions. Old World techniques and styles were used to illustrate new, American content. Soon, new aesthetic styles developed, such as that of early American portraiture that renounced European tradition in favor of unembellished directness, for instance Ammi Phillips’ Girl in Red Dress with Cat and Dog, ca. 1830-35 (see cover image). As Hollander notes, the early American folk art that is greatly admired today was produced by the self-taught artists of the past. Repeatedly, self-taught artists used skills learned or developed in other professional careers—as crafts- or tradespeople—in their artmaking practice. For some there was an inherent utilitarian purpose that drove the creative impulse, such the Flag Gate, ca. 1876 by an unknown artist. Yet others were driven by a desire or need to translate a personal or spiritual message, such as in Edward Hick’s Peaceable Kingdom, 1829-31. Whereas “self-taught” once implied the virtue of self-reliance and actualization, it has more recently come

to be associated with artists working outside of traditional systems and who have no formal visual art education. This exhibition seeks to highlight the elastic and enduring phenomenon of the self-taught genius across time and media. Self-Taught Genius explores the artists’ different motivating forces and artistic productions through several themes: achievers, encoders, messengers, improvement, reformers, ingenuity, and guides. The New Orleans Museum of Art has a long and distinguished history of presenting and collecting self-taught art, largely from the South, and will present a concurrent exhibition of works from the permanent collection in The Helis Foundation Gallery.

Self-Taught Genius: Treasures from the American Folk Art Museum will be on view in the Ella West Freeman galleries February 26 — May 22, 2016. This exhibition is organized by the American Folk Art Museum, New York. The exhibition and national tour are made possible by generous funding from the Henry Luce Foundation, as part of its 75th anniversary initiative. Presentation of this exhibition at the New Orleans Museum of Art is sponsored by the City of New Orleans and Herman Herman & Katz, LLC.

Anne C. B. Roberts, Curatorial Assistant to the Deputy Director

In the exhibition Self-Taught Genius: Treasures from the American Folk Art Museum, co-curators Stacy C. Hollander and Valérie Rousseau reconsider the continuum of American self-taught art and artists from the Revolutionary War to contemporary times. Because each art object is not only a product of its creator’s mind, but also of its historical and social context, this collection of 115 works helps tell the story of the changing implications of “self-taught” in the United States from a deeply entrenched and widespread culture of self-education in the early national period to its usage today to describe artists working outside the art historical canon. The Age of Enlightenment (mid-seventeenth to late eighteenthth centuries) emphasized finding an objective truth and self-actualization, through education and learning. These tenets were of particular importance after the Revolutionary War in the new United States as ties to British educational and cultural institutions were frayed, if not severed, and the new country sought to create a national identity. Considered a tabula rasa, or

Edward Hicks, 1780–1849; The Peaceable Kingdom (detail), Newtown, Pennsylvania, 1829–1831; Oil on canvas, in original painted wood frame; Collection American Folk Art Museum, New York, Gift of Carroll and Donna Janis, 2013.3.1; Photo by Gavin Ashworth, New York

Asa Ames, 1823–1851; Phrenological Head, Evans, New York ca. 1850; Paint on Wood; Collection American Folk Art Museum, New York, Bequest of Jeanette Virgin, 1981.24.1; Photo by John Parnell, New York

EXHIBITIONS

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U N F I LT E R E D V ISIONS : S E L F-TAUGH T A RT F R OM T H E P E R M A N E N T C OL L E C T ION

The artists in this exhibition were unconcerned with preconceived notions of painting on a rectangular canvas or the constraints of using traditional sculptural materials, which resulted in their use of unconventional materials and innovative techniques. Some used roofing tin or a cypress door as a canvas; house paint, sometimes mixed with mud, as media; carpet scraps, paint-can lids and magazine clippings as collage materials; and recycled car parts as sculptural elements. From realism to abstraction, these artists display skills as fine draftsman, sensitive colorists, inventive collagists and accomplished welders often expressed in sophisticated compositions.

Unfiltered Visions will open in The Helis Foundation Gallery on February 12, 2016. This exhibition presented in conjunction with the exhibition Self-Taught Genius: Treasures from the American Folk Art Museum, on view in the Ella West Freeman Galleries.

Alice Yelen Gitter, Senior Curator of Collections Research

On view this February, Unfiltered Visions: Self-Taught Art from the Permanent Collection celebrates the diversity and individuality of self-taught artists’ work. NOMA has long collected the work of self-taught artists, and organized the first solo exhibition of Clementine Hunter’s work in 1955. Today, these artists are receiving the widespread recognition they have long deserved. Their creativity, spontaneous expressivity, and inventive use of materials are expressed through dynamic and unfiltered visions. Unlike formally trained artists, self-taught artists are generally not conscious of art historical tradition. They work outside the artistic mainstream, seeking neither its acceptance nor depending on it for their livelihood. The artists in this exhibition derive subject matter and inspiration from autobiographical experiences, religious ideology and inner visions. Although often referred to as folk or “outsider” artists, many lived as insiders, deeply rooted in their communities, unaffected by the synergy of the commercial urban art world. Clementine Hunter documented life on Melrose Plantation, Purvis Young depicted his Miami Overtown neighborhood with a rich symbolic visual vocabulary, and Sister Gertrude Morgan drew inspiration from her devout religious beliefs. Others, however, lived primarily within their vibrant imaginations, like the reclusive Henry Darger, who created a fantastical 15,000 page written and visual saga.

Clementine Hunter, American, ca. 1887–1988, Melrose Plantation Quilt, ca. 1960’s, Cotton fabric quilt, Gift of Dr. and Mrs. Robert Ryan, 80.159 © Clementine Hunter

C L O SI NG S O ON

Don’t miss these exhibitions, which will all be closing in the first quarter of 2016.

Visions of US: American Art at NOMAElla West Freeman GalleriesClosing January 24, 2016

Jasper Johns: ReversalsHelis Foundation GalleryClosing January 31, 2016

Tim Youd: 100 NovelsStafford Gallery Tim’s last performance at NOMA will be on January 30 from 11 am – 4 pmClosing February 21, 2016

Tina Barney: PhotographsGreat Hall Closing February 28, 2016

Time/FrameA. Charlotte Mann and Joshua Mann Pailet GalleryClosing February 28, 2016

Pierre Joseph Landry: Patriot, Planter, SculptorTempleman GalleriesClosing March 20, 2016

On view in Visions of US: François Fleischbein, American, born in Germany, 1804–1868; Portrait of a Free Woman of Color, ca. 1833–1835; Oil on canvas; Gift of William E. Groves, 66.29

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Private art collections often reflect the personalities of the individuals assembling them. The African art lovingly assembled by Françoise Billion Richardson gives a unique insight into her motivations and interests. Born and raised in France, Françoise inherited her country’s pioneering sensitivity and identity to this field of art. As she demonstrated in other aspects of her life, she was a maverick collector in the field. Unlike many in her generation, she immediately recognized the sophistication of African carving as a legitimate art form, rather than ethnographic specimens. Françoise developed her own connoisseur’s eye for quality. “She collected on an emotional as opposed to intellectual basis,” said Kent and Charlie Davis, her art dealers of choice. The identity of the cultures and the function of the pieces were of secondary interest. The precious, mostly small-scale metal and ivory sculptures were especially alluring to her. This February, NOMA will highlight a selection of Francoise’s extensive African art collection in the Stafford Gallery. Before Françoise passed away in 2012, she bequeathed this remarkable collection to the museum. Many of the objects are particularly welcome as they fill gaps in NOMA’s permanent collection. Among the most outstanding is a beautiful wood and gold leaf Seated Chief Staff Finial from the Ashanti peoples of Ghana, an elegantly carved Male Antelope Headdress (chi wara) by an unidentified Bamana artist from Mali, a fine bronze Ogboni Mask on Stylized Body from the Yoruba peoples of Nigeria, and several superb Owo ivories all from the Yoruba peoples of Nigeria. The charming Yoruba peoples Seated Mother with Child Divination Bowl (agere Ifa) is a most unusual depiction of a maternity theme in African art with the two figures kissing in a tender gesture. Perhaps the two most important pieces are a musical instrument and a memorial head. African art historian William Siegmann has suggested that the Dan peoples Thumb Piano with Figurative Handle (sansa) from Cote d’Ivoire (pictured on back cover), is one of only two known examples embellished with a decorative head and, in this example, mostly likely pays tribute to the prominence of the musician/owner. The near life-size terracotta Memorial Head was sensitively modeled by an unidentified female Akan artist from Ghana to honor a distinguished leader who is deceased.

Unidentified Yoruba Artist, Nigeria; Figurative Armlet; Bronze; Gift of the Françoise Billion Richardson Charitable Trust, 2015.38.70

African Art at NOMAA COLLECTOR’S LEGACY ON VIEW THIS MARCH


Françoise was born in France to Olivier and Sadie Downman Billion in 1927. After Germany occupied France during World War II, the family moved to New Orleans, her mother’s hometown. Once settled, they became active members of NOMA, then known as the Isaac Delgado Museum of Art. As an adult, Françoise expanded her interest in art and joined the NOMA Board of Trustees, and served as president from 1993-1994. When her tenure as president expired, a special treasurer’s title of the board was created for her, which required her to visit the museum weekly to sign checks. In that way she could stay in touch with the NOMA staffers, whom she considered friends. In 1996, she was named an Honorary Life Trustee at NOMA and was the recipient of the museum’s highest recognition, the Isaac Delgado Memorial Award, which is given to an individual who has gone above and beyond with extraordinary service and contributions to the museum. Through her work in bringing French culture to New Orleans and in recognition of her own French heritage, the French government named her a commander of the order of arts and letters.

It was Françoise’s son, Robert, who first began collecting African art and it was through his interest that she was introduced to this under-recognized art form. Once aware, her passion for collecting African art reflected her dedication and full immersion into those things she fervently believed in. There was no compromise. “My mom was passionate about art and that was reflected in her incredible collection,” said Francie Stirling, her daughter. “She was a truly generous person with a huge sense of adventure and a big heart.” A marvelous outlet for her enthusiasm was the Davis Gallery in New Orleans where she could fulfill her newfound pleasure of collecting. “She was quite competitive in her collecting and always wanted to be the first to be notified when new pieces arrived at the gallery,” the Davises recalled. “She was insistent on always seeing the new acquisitions when we would return from buying trips,” said the Davises. “Even when she began to lose her eyesight, she did not lose her enthusiasm, and would instead feel the objects in her hands.” Later, she shared her love of African art with her fellow compatriot and dear friend Arnaud d’Hauterives, Secrétaireperpétuel de l’Académie des Beaux-Arts of France and then-Director, Musée-Marmottan Monet in Paris during his frequent visits to New Orleans and during their travels together. As a result of their close friendship, a special exhibition of the late paintings of Claude Monet from the Musée-Marmottan was organized by NOMA in 1995, and subsequently traveled throughout the United States.

Françoise’s commitment to African art was manifested at NOMA through numerous noteworthy contributions. Along with New York entrepreneur Victor Kiam, who in 1974 left NOMA a bequest that included a core African art collection of superb quality and rarity, Françoise was the individual most responsible for the development and ultimate success of the museum’s sub-Saharan African collection through her encouragement, assistance and unwavering enthusiasm over the years.

Unidentified Yoruba Artist, Nigeria; Ogboni Mask on Stylized Body; Bronze; Gift of the Françoise Billion Richardson Charitable Trust, 2015.38.52

“Even when she began to lose her eyesight, she did not lose her enthusiasm, and would instead feel the objects in her hands.”

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“Françoise was instrumental in shaping NOMA’s African art collection,” said NOMA director Susan M. Taylor. “Her important work as a trustee, in addition to her enduring support and generosity have had an immeasurable impact on the museum. I’m grateful that we can continue to celebrate her legacy through the presentation of her extraordinary African art collection.” Additionally, Françoise endowed NOMA’s curatorship for African art, established an African art purchase fund and provided funds in memory of her parents for the building of the present African galleries on NOMA’s third floor. Through outright gifts and this current magnificent bequest, she has enriched the museum’s holdings with over 100 sublime African sculptures. Her indelible impact on African art at NOMA will continue to be felt for years to come.

African Art: The Françoise Billion Richardson Charitable Trust will open in the Stafford Gallery on March 11, 2016.

William A. Fagaly, The Françoise Billion Richardson Curator of African Art

Françoise Billion Richardson

Left Unidentified Yoruba Artist, Nigeria; Seated Mother with Child Divination Bowl (agere Ifa); Wood; metal, traces of kaolin; Gift of the Françoise Billion Richardson Charitable Trust, 2015.38.71

Right Unidentified Lobi Artist, Burkina Faso; Human Head; Wood; Gift of the Françoise Billion Richardson Charitable Trust, 2015.38.2


LEARN

NOM A PI L O TS N E W A RTS A F T E R S C HO OL P R O GR A M

In the fall of 2015, NOMA successfully launched its first after school pilot program for students. At 4:15 pm, long after the morning crowds, students piled off the school bus and into NOMA’s Great Hall. Greeting them along with NOMA staff were Ayo Scott and Ryan Ballard, professional “mentor” artists in the program. “Are you ready to go on a monster safari?” Ballard asked. Students then walked up the stairs to NOMA’s third floor where they discovered Jaguar Men in the pre-Columbian collection, African masks made from antelope horns and porcupine quills, and a griffin perched atop the museum building. Ballard says, “I believe that art is a language that transcends simple words and can communicate ideas and truths at a deeper level. It’ s absolutely vital to provide children with all of the tools they need to express themselves fully if we want them to succeed. All art is good art (even bad art). And all access to art is good. The more, the better.” Meanwhile, students in Ayo Scott’s group delved into New Orleans’ storied past through William Woodward’s iconic paintings of the French Quarter. Being a mentor artist is very important to Scott, who says, “I believe strongly in passing on understanding and tradition, and the Arts After School program allows me the opportunity to do just that.” As students continued their gallery experience, they were drawn to several sculptures depicting motion. “See this work of art? What would its next move be?” asked NOMA Educator Elise Solomon. Students immediately went into action, posing like the sculptures and imagining how they would move across the galleries. Approximately sixty students from Lawrence D. Crocker College Prep and Sylvanie Williams College Prep are participating in the program’s first year. “We’re delighted to be partnering with NOMA,” says Bob Payne, Director of Co-Curricular Learning at New Orleans

College Prep. “At New Orleans College Prep, we are preparing our students for college and for life through a rich, rigorous curriculum. At our schools, we focus primarily on instrumental music and athletics, and so our partnership with NOMA has been a great way to expose students to different aspects of visual arts. Over the course of the academic year, the two mentor artists will lead students through an exploration of the theme “Communicating through Art,” designed to coordinate with classes already in place at each school site. Students will visit NOMA six times during the school year. Following each museum visit, mentor artists will conduct hands-on studio art workshops at both schools. During the fall semester, activities focused on New Orleans traditions and the African, Native American, and European cultures that influenced them. During the spring semester, activities will focus on art as a means of expression, and will consider self-taught artists, sculpture, and ceramics. In addition to thematic content, mentor artists will teach students the elements of art and skill-building activities during their workshops. Professional development for teachers is another important component of the Arts After School program. Teachers at both schools are given access to NOMA’s Tools for Teaching resource materials, professional development workshops, Educator Appreciation Days at the museum, and consultations with NOMA educators. Results of the pilot program will be evaluated by NOMA staff, New Orleans College Prep teachers, mentor artists, and participating students.

NOMA’s Arts After School program is generously underwritten by the Harry T. Howard III Foundation.

Allison Reid, Deputy Director for Interpretation and Audience Engagement

ROMAN ALOHKIN

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VISIT

noma.org

Join us for the NOLA Teen Summit at the New Orleans Museum of Art. Learn about teen programs in NOLA and then share your vision for teen opportunities at NOMA.

Saturday | February 27 11 am – 3:30 pm

Free admission | Lunch includedRSVP by Thursday | February [email protected] | (504) 658-4100

Your voice, your vision, your museum!

NOLA TEEN SUMMIT

Your voice, your vision, your museum!Join us for the NOLA Teen Summit at NOMA. What do you wish to see in teen programming in New Orleans? Come learn about teen programs in NOLA and then share your ideas for teen opportunities at NOMA.

SATURDAY | FEBRUARY27 11 am – 3:30 pm

Free admission | Lunch included

RSVPbyThursday|February25

[email protected] | (504) 658-4100

GE N E A L O GY N IGH T

FRIDAY | FEBRUARY12

5 – 9 pm

Discover a new branch in your family tree! In celebration of the exhibition Pierre Joseph Landry: Patriot, Planter, Sculptor, NOMA is inviting visitors to the museum to explore the research process of genealogy. Local groups, including the City Archives at the New Orleans Public Library, will be on site to offer advice on how to start delving into your family’s history. We’ll also have live music, art activities, and other programs suited for the entire family. Check noma.org in the coming weeks for more details.

This program is supported in part by the Louisiana Endowment for the Humanities, the state affiliate of the National Endowment for the Humanities. The opinions expressed in this program do not necessarily represent the views of either the Louisiana Endowment for the Humanities or the National Endowment for the Humanities.

W H AT IS YOU R V ISION FOR US ?

Explore the exhibition Visions of US: American Art at NOMA before it closes on January 24, and share your vision. Write or draw your response and share it with us and other visitors by adding it to the wall of The Evelyn L. Burkenroad Creative Concept Studio on the first floor.

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Foundation and Government Support

$500,000 and aboveCollins C. Diboll Private Foundation

$200,000 - $499,999The Azby Fund

The Elise M. Besthoff Charitable Foundation

The Gulf Seafood and Tourism Promotional Fund

The Helis Foundation

$150,000 - $199,999City of New Orleans

$100,000 - $149,000Lois and Lloyd Hawkins Jr. Foundation

$50,000 - $99,999 American Council of Learned Societies

Hearst Foundation, Inc.

Zemurray Foundation

DONOR SThe New Orleans Museum of Art gratefully acknowledges our donors, who make our exhibitions, programming, and daily operations possible. We appreciate your continued support of NOMA and its mission. Thank you!

SUPPORT

$20,000 - $49,999 Eugenie and Joseph Jones Family

Foundation

The Harry T. Howard III Foundation

The Institute of Museum and Library Sciences

Louisiana Division of the Arts

The Lupin Foundation

The RosaMary Foundation

$10,000 - $19,999The Garden Study Club of New Orleans

Goldring Family Foundation

John B. Harter Charitable Foundation

Lee and Jeffrey Feil Family Foundation

New Orleans Theater Association

Ruby K. Worner Charitable Trust

Times-Picayune Classroom Enrichment Program Fund

Corporate and Individual Support

$100,000 and aboveSydney and Walda Besthoff

IBERIABANK

Joshua Mann Pailet

Estate of Françoise Billion Richardson

$50,000 - $99,999The New Orleans Convention & Visitors

Bureau

Janice Parmelee and Bill Hammack

WDSU-TV

Whitney Bank

$20,000 - $49,999Chevron

Minnie and Jimmy Coleman

Regions Bank

Donna and Benjamin M. Rosen

Sheila and H. Britton Sanderford

$10,000 - $19,000Anonymous (3)

Estate of Albert and Rea Hendler

First NBC Bank

Jack and Brian Schneider

NOM A BUSINESS COUNCIL

PlatinumHyatt Regency New Orleans

GoldChevron

Jones Walker

Frank B. Stewart, Jr.

SapphireBayou Lacombe Construction

Company

SilverBellwether Technology

Corporate Realty

NOLA.com | The Times-Picayune

Phelps Dunbar, LLP

World Trade Center of New Orleans

Brenda Moffitt, Chair

Wayne F. Amedee

Anne Baños

Penny Baumer Jr.

Darryl D. Berger

Valerie Besthoff

Scott Chotin Jr.

Marjorie J. Colomb

Kent Davis

George B. Dunbar

Carmen L. Duncan

Sybil Favrot

Natalie Fielding

Glendy Forster

David Francis

Linda Friedman

Ruthie Frierson

Anne Barrios Gauthier

Elizabeth Goodyear

Yvette Jones

Anila Keswani

Lee H. Ledbetter

Pam Lupin

Marion Andrus McCollam

Elizabeth Monaghan

Andrée K. Moss

Melissa Phipps

Sally E. Richards

Tia Roddy

Mark C. Romig

Pamela Reynolds Ryan

Robyn Dunn Schwarz

Elise Shelton-Daly

Holly Sharp Snodgrass

Jane B. Steiner

Anne Reily Sutherlin

Jude Swenson

Catherine Burns Tremaine

Kate Werner

Nan S. Wier

NOM A DIR ECTOR’S COUNCIL

For more information about supporting NOMA, please contact Brooke Minto at 504.658.4107 or [email protected].

BronzeCrescent Capital Consulting

Eskew + Dumez + Ripple

First NBC Bank

Le Meridien New Orleans

Kim Starr Wise Floral Events

Solomon Group

GreenBasin St. Station

Boh Bros. Construction Company, LLC

Ernst & Young

Gulf Coast Bank & Trust Company

Hammack, Hammack, Jones, LLC

Hotel Monteleone

Johnson Rice and Company, LLC

Laitram, LLC

Neal Auction Company

New Orleans Auction Galleries

Premium Parking Service

Reily Foods Company

Whitney Bank

17www.noma.org

Anila Keswani

Lee H. Ledbetter

Pam Lupin

Marion Andrus McCollam

Elizabeth Monaghan

Andrée K. Moss

Melissa Phipps

Sally E. Richards

Tia Roddy

Mark C. Romig

Pamela Reynolds Ryan

Robyn Dunn Schwarz

Elise Shelton-Daly

Holly Sharp Snodgrass

Jane B. Steiner

Anne Reily Sutherlin

Jude Swenson

Catherine Burns Tremaine

Kate Werner

Nan S. Wier

NOM A CIRCLES

President’s CircleMr. and Mrs. Tom Benson

Mr. and Mrs. John D. Bertuzzi

Mr. and Mrs. Sydney J. Besthoff III

Mr. and Mrs. Ralph O. Brennan

Mr. and Mrs. David F. Edwards

Mrs. Lawrence D. Garvey

Ms. Adrea D. Heebe and Mr. Dominick A. Russo Jr.

Mr. and Mrs. Charles B. Mayer

Mrs. Robert Nims

Mr. and Mrs. Benjamin M. Rosen

Jolie and Robert Shelton

Mr. and Mrs. Stephen C. Sherrill

Mrs. Patrick F. Taylor

Director’s CircleMr. and Mrs. Herschel L. Abbott Jr.

Mr. and Mrs. Robert H. Boh

Mr. Daryl G. Byrd

Mr. and Mrs. Thomas B. Coleman

Dr. and Mrs. Scott S. Cowen

Ms. Deborah Augustine Elam and Mr. Cary Grant

Mrs. H. Mortimer Favrot Jr.

Ms. Tina Freeman and Mr. Philip Woollam

Mr. Jerry Heymann

Mr. Robert Hinckley

Mr. and Mrs. Michael D. Moffitt

Mr. and Mrs. Robert J. Patrick

Dr. and Mrs. James F. Pierce

Mrs. Charles S. Reily Jr.

Ms. Debra B. Shriver

Mr. and Mrs. Michael J. Siegel

Mr. and Mrs. Bruce L. Soltis

Mr. and Mrs. Robert M. Steeg

Mrs. Harold H. Stream Jr.

Mr. and Mrs. Robert S. Taylor

Mr. and Mrs. Robert E. Thomas

Patron’s CircleDr. Ronald G. Amedee and Dr.

Elisabeth H. Rareshide

Mr. and Mrs. Luis Baños

Mr. Brent Barriere and Ms. Judy Barrasso

Mr. and Mrs. Alvin Baumer Jr.

Dr. Siddharth K. Bhansali

Ms. Dorothy Brennan

Mrs. Marianne M. Cohn

Mrs. Marjorie J. Colomb

Mr. Leonard A. Davis and Ms. Sharon Jacobs

Mr. and Mrs. James J. Frischhertz

Mr. and Mrs. Edward N. George

Mr. and Mrs. Charles W. Goodyear

Mr. and Mrs. Frederick Heebe

Mr. and Mrs. H. Merritt Lane III

Mr. and Mrs. Thomas B. Lemann

Dr. Edward D. Levy Jr.

Mr. and Mrs. J. Thomas Lewis

Mrs. Louise H. Moffett

Dr. and Mrs. Pavan Narra

Dr. Howard and Dr. Joy D. Osofsky

Mr. Joshua Mann Pailet

Mr. and Mrs. James C. Roddy

Mr. and Mrs. Brian A. Schneider

Mr. and Mrs. David P. Schulingkamp

Mr. and Mrs. Edward Shearer

Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle Jr.

Mrs. Frederick M. Stafford

Mr. and Mrs. Stephen F. Stumpf Jr.

Mr. and Mrs. James L. Taylor

Ms. Catherine Burns Tremaine

Mr. and Mrs. Douglas Brent Wood

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SAVE THE DATEThe annual Fellows Dinner will be held on March 5, 2016.

M A JOR GI F T F R OM T H EH E A R ST FOU N DAT IONS SU P P ORTS NOM A’ S E DUCAT ION P R O GR A M S

The Hearst Foundations have generously awarded NOMA a grant to fuel the continued growth of the museum’s arts education initiatives. These essential funds will be used to support ongoing efforts to identify and serve students and families who may not have access to arts education; train educators to effectively integrate visual arts concepts into classroom lessons; and provide accessible virtual and physical pathways for students, teachers, and families to become engaged with the arts. “The Hearst Foundations are pleased to support NOMA’s education programs and initiatives,” said Mason Granger, Director of Grants for The Hearst Foundations. “NOMA’s mission of offering innovative learning experiences and engaging audiences aligns well with the needs of New Orleans as well as the goals of the Foundations.” NOMA offers a robust suite of educational programs and resources for students and teachers in the community. Through programs like Mini Masters, NOMA’s early childhood education program created in partnership with Tulane University, Bayou District Foundation, and Educare, NOMA encourages our youngest students to discover and challenge their imaginations. NOMA’s Language and Arts School Partnership helps teachers fulfill the Louisiana-mandated Rule 175, which states that one hour of arts education must be taught in the classroom each week, by creating language arts curriculum based on works of art in NOMA’s permanent collection. The Language and Arts School Partnership includes programs and resources like StoryQuest, Family Day, Tools for Teaching, and more. The museum is also expanding its reach through virtual educational offerings, using its permanent collection as a valuable resource. In addition to recently digitizing over 10,000 photographs in the collection, NOMA has partnered with CultureConnect, a New Orleans-based technology group, to develop mobile platforms for self-guided tours and content exploration tablet apps. NOMA’s Educator Toolbox portal on noma.org offers teachers a space to share ideas, lesson plans, videos, and more with peers, and even upload images of their students’ works (and link them to works in the permanent collection).


1. Carter Foster, Donna Perret and Benjamin Rosen, Susan M. Taylor, Kevin Salatino

2. Virginia and John Lovell, Gail Asprodites

3. Dr. Kendall Brown, Lisa Rotondo-McCord, Bidou Yamaguchi

4. Landrys gather at the opening of Pierre Joseph Landry: Patriot, Planter, Sculptor

5. Noh mask performance at the opening of Traditions Transfigured

6. Artist Tim Youd

7. Bill Fagaly, Katherine Hall Burlison, Tony Lewis

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In the fall of 2015, NOMA opened several exhibitions that spanned a variety of artistic genres and media. In October, NOMA put the spotlight on Japanese contemporary art in Traditions Transfigured: The Noh Masks of Bidou Yamaguchi. For the opening of Pierre Joseph Landry: Patriot, Planter, Sculptor, curators from NOMA and the Louisiana State Museum gave an insightful look into the life of Louisiana’s first known self-taught sculptor. The prints of Jasper Johns were highlighted in an exhibition from the collection of Donna Perret and Benjamin

E X H I BI T IONS A N DC E L E B R AT IONS C L O S E OU T 2 01 5

Rosen. The annual Donna Perret Rosen Lecture series featured scholars Carter Foster, Steven and Ann Ames Curator of Drawings at the Whitney Museum of American Art and Kevin Salatino, Hannah and Russel Kully Director of Art Collections at the The Huntington Library and Art Collection, who discussed Jasper Johns and his work. Artist Tim Youd brought his 100 Novels Project to NOMA in October as well, and began his performance by typing A Confederacy of Dunces by John Kennedy Toole.

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8. Susan M. Taylor, Terence Blanchard, Robin Burgess, Julie George

9. Joni Diaz, Michael Smith

10. Ted and Julie George, Mayor Mitch Landrieu

11. Adam Shapiro, Walda Besthoff

12. Deborah Augustine Elam and Cary Grant

13. Steve Usdin, Honorable Susie Morgan and Larry Feldman Jr., Melanie Usdin, Andrew and Susu Stall

14. Will and Catherine Hales, Hunter and Kaylea Hill, Jonathan Ferrara

SUPPORT

The 49th annual Odyssey Ball presented by IBERIABANK and WDSU-TV closed out the year’s celebrations, and served as the premier viewing of the exhibition Visions of US: American Art at NOMA. Event chairs Robin Burgess and Terence Blanchard organized this year’s Odyssey, “Ghosts Along the Mississippi,” which featured performances by Grammy Award-winner Patti Austin, a seated black-tie dinner, and an after party with DJ Soul Sister.

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Special thanks to Pollock sponsors Chevron, Lee and Jeffrey Feil Family Foundation, Goldring Family Foundation, the Gravley family, John Burton Harter Charitable Trust, Jonathan Ferrara Gallery, NOLA.com | The Times-Picayune, Suzanne and Robert Thomas, Whitney Bank; Sargent sponsors Mardi Gras Productions, Sheila and Britton Sanderford; and Copley sponsor Hyatt Regency New Orleans.

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SUPPORT

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One of the most anticipated springtime events in New Orleans, Art in Bloom showcases spectacular floral designs created by over 100 exhibitors that remain on display at NOMA for five days. Mathilde Currence and Carol Bienvenu are the chairs of this year’s event. This year’s theme, Artful Entertaining, will bring together exhibitors from New Orleans and beyond to celebrate the art of entertaining. Proceeds from Art in Bloom benefit education projects and exhibitions at NOMA and community projects of The Garden Study Club of New Orleans.

Join us for the Patron & Preview Party on March 16, and the Lectures & Luncheon on March 17. This year’s speakers are Frances Schultz, author of The Bee Cottage Story, a decorating book-turned-memoir inspired by Schultz’s column in House Beautiful; Benton Weinstock and Annie Behringer of a2b table, an online portal to entertaining, recipe, and tablescape ideas and expert style advice; and Princess Giorgiana Corsini, an expert in the design and history of Italian Renaissance gardens. For more information or to become a sponsor, please visit noma.org or contact 504.658.4163 or [email protected].

MARCH 16

6 – 10 pm | PATRON PARTY

7 – 10 pm | PREVIEW PARTY

MARCH 179:30 am – 12:15 pm | LECTURES

Frances Schultz, author of The Bee Cottage Story

Benton Weinstock and Annie Behringer of a2b table

Princess Giorgiana Corsini

12:30 pm | LUNCHEON

Saks Fifth Avenue Fashion ShowPavilion of the Two Sisters, City Park

NOM A E G G H U N T & FA M I LY F E ST I VA L P R E S E N T E D B Y W H I T N E Y B A N K

Raine Bledsoe, Currentz II, 2015, Antique papers, maps and graphite, 61.5” x 33”, Courtesy of the artist

Join us rain or shine for the NOMA Egg Hunt & Family Festival in the Sydney and Walda Besthoff Sculpture Garden. Chairs Liz Wood and Genevieve Douglass have planned a fun-filled day for the entire family featuring egg hunts, a petting zoo, spacewalks, live music, face painting, crafts, games like croquet and ring toss, and even a visit from Alice and The Mad Hatter! Special thanks also to lead sponsor Catherine Burns Tremaine.

MARCH 12 | 10 AM – 2 PM

$10 | NOMA member | Through March 11

$12 | Non-member | Through March 11

$15 at the door, everyone. Children age 2 and under are free.

Ticket price includes all entertainment, activities, and refreshments. Tickets are non-refundable.

NEW ORLEANS MUSEUM OF ART

EGG HUNT AND FAMILY FESTIVAL

PRESENTEDBY

PRESENTEDBY

21www.noma.org

IN MEMORIAM: DR . ISI D OR E C OH N J R .

The NOMA community was deeply saddened to learn of the death of Dr. Isidore Cohn Jr. on October 15, 2015. Dr. Cohn was Emeritus Chairman and Professor of Surgery at the LSU School of Medicine in New Orleans. Raised in New Orleans and named for his father who was also a prominent surgeon, Dr. Cohn received his MD and DSc degrees from the University of Pennsylvania, and returned to New Orleans to pursue a career in academic medicine. He served his community outside of the medical field as well. In addition to serving on the Board of Trustees at the New Orleans Museum of Art for several years, Dr. Cohn was a board member of the Greater New Orleans Convention and Visitors Bureau, the Touro Synagogue, and the Jewish Endowment Foundation. He and his wife Marianne were also significant contributors to the Greater New Orleans Foundation. Dr. Cohn’s discerning taste was revealed in his diverse collections of Steuben glass, modern and contemporary studio glass, and Chinese jades. “Each object was carefully chosen for its inherent beauty, the refinement of its form, clarity of color—or transparency, in the case of Steuben—and excellence of craftsmanship,” said Lisa Rotondo-McCord, NOMA’s Deputy Director of Curatorial Affairs. “He knew many of the studio glass makers whose works he collected, and took particular joy in the

close relationships he had with the artists at Steuben. With his wife Marianne, Isidore graciously hosted visiting scholars and curators who delighted in seeing these beautiful works of art, and learning more about their acquisition.” Crystal Clear: Steuben Glass from the Collection of Marianne and Isidore Cohn was exhibited at NOMA with an accompanying publication in 2005. In 2013, NOMA highlighted a selection of the Cohns jade sculptures in Chinese Jades from the Collection of Marianne and Isidore Cohn, Jr. Dr. Cohn was a founding member of NOMA’s Fellows and Circles, and in 1992, he and Marianne chaired NOMA’s annual Odyssey Ball fundraiser. From 2005-2009 he served on NOMA’s board, and became a valuable member of the Accessions Committee and the Long Range Planning Committee, the latter of which wrote the plan that was submitted for NOMA’s reaccreditation. Dr. Cohn became an Honorary Life Trustee in 2010. In 2012, Cohn was the recipient of NOMA’s Issac Delgado Memorial Award, which honors a person whose outstanding service and contributions have had an extraordinary impact on the museum. “Dr. Cohn left a lasting imprint on NOMA,” said NOMA director Susan M. Taylor. “His thoughtful work as a trustee and his generosity with his superb collections has ensured that his legacy and memory will endure. He is truly missed by everyone in the NOMA family.”

Dr. Isidore Cohn Jr. with his wife, Marianne

NOM A A N NOU NC E S DA NA H A NS E L , 2 016 N VC C H A I R

Dana Hansel, the 2016 Chair of the NOMA Volunteer Committee (NVC), has been active with NVC for many years, working on various NOMA fundraisers as a committee member as well as co-chairing Art in Bloom in 2008 and chairing sponsorship for Odyssey in 2015. Dana was also NVC corresponding secretary in 2011. Hansel graduated from LSU in 1987 and earned a MBA from UNO while working full time at Hibernia National Bank. She later served as Executive Vice-President of First Bank and Trust overseeing commercial lending, trust, and loan closing. After eighteen years in banking, she started her own consulting company. Hansel is active in the community and has served in leadership capacities on a number of boards. She has been president of the Louisiana Museum Foundation, Sybarites, and Women of Trinity Church, among others, and has also chaired many events, including New Orleans Botanical Garden’s “Magic in the Moonlight,” Dress for Success’s inaugural fundraiser, and many others. Post-Katrina, she was an active member of Women of the Storm, Citizens for One, and Katrina Krewe. When asked about her vision for NVC, Dana said, “The NVC makes a significant contribution to the museum’s success. Please encourage friends and family members to join us. We work hard and play hard, all for a great cause!”


2016 BOA R D OF TRUSTEES

Julie Livaudais George, President

Mike Siegel, First Vice-President

Sydney J. Besthoff III, Vice-President

Suzanne Thomas, Vice-President

Herschel L. Abbott Jr., Secretary

Janice Parmelee, Treasurer

Donna Perret Rosen, At Large

Tommy Coleman, At Large

David F. Edwards, Immediate Past President

MEMBER SJustin T. Augustine III

Gail Bertuzzi

Siddharth (Sid) Bhansali

Eric Blue

Elizabeth Boone

Robin Burgess

Daryl Byrd

Scott Cowen

Margo DuBos

Stephanie Feoli

Penny Francis

Adrea D. Heebe

Russ M. Herman

Robert Hinckley

Dennis Lauscha

Louis J. Lupin

Cammie Mayer

Juli Miller Hart

Brenda Moffitt

Elizabeth Monaghan

J. Stephen Perry

Thomas F. Reese

Britton Sanderford

Jolie Shelton

Kitty Duncan Sherrill

Lynes R. (Poco) Sloss

Joseph Baillio

Mrs. Carmel (Babette) Cohen

Mrs. Mason (Kim) Granger

Jerry Heymann

Herbert Kaufman, MD

Mrs. James (Cherye) Pierce

Debra B. Shriver

Mrs. Billie Milam Weisman

Michael Smith

Susu Stall

Robert M. Steeg

Frank Stewart

Melanee Gaudin Usdin

The Honorable Mayor Mitch J. Landrieu

Susan G. Guidry, New Orleans City Council Member

Dana Hansel, NVC Chairman

NATIONA L TRUSTEES

Joseph Baillio

Mrs. Carmel Cohen

Mrs. Mason Granger

Jerry Heymann

Herbert Kaufman, MD

Mrs. James Pierce

Debra B. Shriver

Mrs. Billie Milam Weisman

HONOR A RY LIFE MEMBER SRussell Albright, MD

Mrs. Edgar L. (Leah) Chase Jr.

Prescott N. Dunbar

S. Stewart Farnet

Sandra Draughn Freeman

Kurt A. Gitter, MD

Mrs. Erik (Barbara) Johnsen

Richard W. Levy, MD

Mr. J. Thomas Lewis

Mrs. Paula L. Maher

Mrs. J. Frederick (Beverley) Muller

Mrs. Robert (Jeri) Nims

Mrs. Charles S. (Banana) Reily Jr.

R. Randolph Richmond Jr.

Mrs. Frederick M. (Mimi) Stafford

Harry C. Stahel

Mrs. Harold H. (Matilda) Stream

Mrs. James L. (Jean) Taylor

Mrs. John N. (Joel) Weinstock

ACCR EDITATION

The New Orleans Museum of Art is accredited by the American Alliance of Museums.


E D I TO R

Taylor Murrow

A RT D I R E CTO R

Mary Degnan

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

© 2016, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Facing pagePurvis Young, Angels Over the City, Acrylic on fabric and wood, Gift of Kurt A. Gitter, M.D. and Alice Rae Yelen, 92.509

Back cover Unidentified Dan Artist, Côte d’Ivoire, Thumb Piano with Figurative Handle, Wood, iron, brass tacks, hair, calabash, caning, pigment, Gift of the Françoise Billion Richardson Charitable Trust, 2015.38.16

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


noma arts quarterly winter 2016

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