"The Door of the Spirit" by John T. Scott (American, 1940-2007), 1994. aluminum. A gift from the Prime Minister’s Bank, 94.263. ©John T. Scott Artist Trust.

New Orleans, Los Angeles. – If the embedded image of New Orleans is a masked ball between Rococo Revival furniture and a table full of silver, "Atomic Number 13" will explode the script forever. A compact exhibition of NOMA specifically showcases aluminum in 20th-century design, exploring the decorative versatility of light and strong elements that were first isolated in the laboratory more than 150 years ago. From preserves to staplers, from wings to monumental sculptures, aluminum has fundamental advantages that make it widely used in art and industry.

Thanks to the efforts of the famous scholar John Keefe, the New Orleans Museum of Art has a rich permanent collection of 18th and 19th century materials. The curator lasted from 1983 until his death in 2011. When Mel Buchanan was awarded the title of RosaMary as the curator of decorative arts and design in 2013, she thought her instructions were clear, as she recently discussed with Antiques and Art Weekly As explained in the dialogue: "Take down this great collection that NOMA is famous for-built by John Keefe-and continue to push it forward in time. We will not abandon traditional collections-we are promoting collections in time to include two Tenth century. And collect contemporary designs of the 21st century."

As for choosing this particular theme as the focal point, Buchanan quickly reported to Sarah Nichols's previous exhibition "Aluminum by Design" at the Carnegie Museum of Art in 2000. Aluminum by Design) Tribute. Online catalog. But the NOMA exhibition is drawn from the museum's own permanent collection, and the curator needs time to build it.

She continued, “This special exhibition on aluminum is not something we could show ten years ago because it reflects the inclusiveness of the twentieth century. The collection cannot be done overnight, so it is still in progress, but if you look closely at this time The credit lines of the items in the exhibition, you will see some strategic purchases and great gifts."

Inspection of individual exhibits revealed some important acquisitions. Of course there were great silver punch bowls in the 19th century, but when singing and horns sounded in 1900, the party did not end. The iconic work of "Atomic Number 13" is the Russel Wright "Saturn" stamped bowl with orbital cup, which entered the series in 2017. It has a diameter of 30 inches and looks like it can fly.

The "Maximilian" recliner was designed in 1958 by John Vesey (American, 1925-1992). Forged aluminum, steel mesh, original leather. New Orleans Museum of Art, museum purchase, William McDonald Boles and Eva Carol Boles funds.

An auction in 2015 brought to the museum a 1958 "Maximilian" recliner with an aluminum frame and leather seats, designed by John Vesey (1925-1992). As the curator pointed out, the profile immediately makes a comparison with the early 19th-century Campeche recliner that was so precious at auction.

Other items come from donations from the famous collector Dr. Ronald Swartz and his recently deceased wife Alan Johnson. The rolling service cart is a must-have accessory in the middle of this century, everything from drinks to the arrival of Christmas ham. In order to keep the air service light, Frantz Industries designed a stylish early version for the Douglas DC3 aircraft; NOMA received this gift from the series in 2018.

Many museums have received George R. Kravis II's collection in Tulsa, Oklahoma - including Cooper Hewitt, The Museum of Modern Art (MoMA) and New Orleans (New Orleans). Check out more collections in Penny Sparke's 100 Designs for the Modern World: Kravis Design Center. But the two gifts shown in this exhibition sum up the practicality of aluminum. The Wilson-Jones stapler of 1949 may give this essential gadget a better place on the desk. Industrial design, in this case designed by Herbert W. Marano (1907-2001), is still design.

Another gift from Kravis's collection is the elegant Stratford Compote with aluminum and glass feet, designed by Lurelle Guild (1898-1985) around 1934 as part of the Art Deco tableware collection. In the first few decades, aluminum was considered a luxury material. The curator searched through NOMA's own inventory and found the oldest exhibits in the exhibition, which proved this point.

Stratford preserves were manufactured by Alcoa and designed by Lurelle Guild (United States, 1898-1986), circa 1934. Aluminum, glass. New Orleans Museum of Art, gift from the George R. Kravis II collection, August 24, 2019. ©Alcoa

"I started browsing our historical collection and found a piece of Viennese glass from J.&L's "India Series". Lommier. To be able to extract this glass from the 1880s and use it in this 20th century story is A key chapter that showcases the evolution of aluminum from a rare metal used for decoration like gold." The discovery of technologies that allow for easier production of large amounts of aluminum opened up materials for increased industrial deployment, although its appeal to artists has never ceased.

The chemical details of aluminum extraction are best left to scientific journals, but the show does feature a series of factory pictures taken by pioneering photojournalist Margaret Bourke-White (1904-1971). These photos were taken at Alcoa's Pittsburgh plant in the 1930s and show the process from mining to actual production to the promotion of finished products for homes and entertainment.

The most striking is the 1939 "Portrait of Louis Klinkscales", a worker wearing a protective mask and goggles, who looks like the captain of a steampunk airship. In fact, it reminds us of the real dangers faced by people involved in the industrial process of manufacturing aluminum.

Margaret Bourke-White (United States, 1904-1971), "Alcoa, Portrait of Louis Klinskars" created in 1939. Gelatin silver print. New Orleans Museum of Art, museum purchase, general acquisition fund, 79.38.

All in all, Mel Buchanan emphasized what she wants visitors to learn from "Atomic Number 13": "Museums should not always be about rare art. I think they are teaching us to look around, whether it is the exquisite art in the garden. Sculpture still pays the same attention to the objects of our lives. Because everything has craftsmanship, meaning, symbolic meaning and memory. This is a small exhibition from which you can understand why I think art museums are important."

Although these small artworks fill the internal galleries, visitors must step outside the museum door to see the largest aluminum artwork in the NOMA collection. Permanently integrated into the structure of the building is the monumental "Gate of the Spirit" created by John T. Scott (1940-2007), an influential New Orleans sculptor and Researcher MacArthur, has taught at Xavier University in the city for many years.

Not far away, among the more than 90 works of art in Sydney and the Walda Besthoff Sculpture Garden on the museum grounds, “Corridor Pin, Blue” by Claes Oldenburg, “Wave” by Lin Emery, and “LOVE” by Robert Indiana , George Rodrigue (George Rodrigue) sculptures are used aluminum blue dog "We stand together" and Frankstra's "Alu Truss Star".

"Atomic Number 13: Aluminum in 20th Century Design" will continue until April 17. The New Orleans Museum of Art is located at 1 Collins Diboll Circle, next to Big Lake, in a 1,300-acre city park. For more information, please visit www.noma.org or 504-658-4100

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