For 37 years, John Bullard directed the New Orleans Museum of Art and oversaw many blockbuster shows during his tenure. French Impressionists always drew large crowds, and subjects like The Gold of El Dorado and Alexander the Great were well received, but none compared to the Treasures of Tutankhamun.
If you spend any time driving, you probably know the name “Lamar.” You've no doubt seen it on a billboard. But Lamar is not a product — it’s the name of the company that owns the billboard. In fact Lamar owns more interstate billboards and outdoor advertising than just about anybody in America. And they're based in Baton Rouge.
The CEO of Lamar Advertising, Sean Reilly, is Peter's guest on Out to Lunch.
So is Susan Taylor. Susan has some outdoor artworks too. They’re in the Besthoff Sculpture Garden.
Jeff Rosenheim's time in New Orleans was plentiful. He earned his MFA degree from Tulane University, then gained professional experience at the Louisiana State Museum and the Historic New Orleans Collection. Lately, Jeff's been the Curator of the Department of Photography at the Metropolitan Museum of Art in New York.
On this week’s Notes from New Orleans, Sharon Litwin talks with him about the Met’s extraordinary Civil War photography exhibition now on display at the New Orleans Museum of Art.
This week on Inside the Arts, we're talking jazz with singer Karrin Allyson. Southern Rep Theater, in partnership with the Tennessee Williams/Greater New Orleans Literary Festival, gears up for the New Play Bacchanal this weekend.
And we take a look at Canadian artist Edward Burtynsky's photo exhibit Water, in its final days at NOMA and the Contemporary Arts Center.
The New Orleans Museum of Art is offering a glimpse at a fraction of its collection of photographs. Of the 10,000 pictures, 132 are on display.
We spoke with curator Russell Lord about the exhibition — how NOMA built such an extensive collection, starting in the 1970s, and why.
“The museum made then the very prescient decision to begin collecting photography, and that was a time when not many other museums were looking at photography and they weren’t collecting it. They weren’t building permanent collections," says Lord.