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An Update from NOMA

While the last two weeks have been a difficult time for all of us, I am happy to report that the New Orleans Museum of Art staff are all safe and accounted for. On Wednesday, September 8, full power and internet services were restored to the museum. After the lessons learned from Hurricane Katrina, the museum developed an emergency preparedness protocol that is activated in anticipation of extreme weather events. Upon learning of the expected severity of Hurricane Ida, we began to immediately roll out the protocol in order to maintain the safety of NOMA’s collection, building, and grounds. Read More

Object Lesson: Hills Brothers Coffee Can by Ansel Adams

Photographer Ansel Adams is famous around the world for his dramatic black-and-white landscape photography, in particular views of the American West. Self-taught, Adams played an outsized role in the history of American art photography. He helped found Aperture magazine and the Center for Creative Photography in Arizona, and served as an advisor during the beginnings of the photography program at the Museum of Modern Art in New York. In the early 1930s, Adams was also a founding member of Group f/64, a collective of photographers (including Imogen Cunningham and Edward Weston) who helped to define American modernism through their preference for precise focus and attention to composition. Read More

Object Lesson: Prohibition-Era Cocktail Shakers

The distinctive swishing, clinking sound of ice cubes and liquid jostling inside a cocktail shaker is a joyful part of mixing up a daiquiri or a French 75. NOMA’s collection includes two American chrome cocktail shakers that date from around 1930, during an era known for the prohibition of alcohol in the United States. But with some irony, the Prohibition era slo saw Americans drinking more distilled liquor than they ever had before. Read More

Object Lesson: Ishimoto Yasuhiro

In the United States, Ishimoto Yasuhiro is perhaps best known for his street photography—in particular his fascination with the people and environs of Chicago. This photograph is typical of Ishimoto’s street work, in that he most often turned his view perpendicular to whatever street he stood on (as opposed to looking down the thoroughfare towards a horizon) to better to capture the people and buildings that interested him. He rarely staged his photographs, but rather took notice of what was in front of him and carefully composed a picture in his mind. Read More

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