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WOMEN of NEWCOMB RECENT ACQUISITIONS Carolyn Frohsin Heller, Untitled, 2003; (Cover) Untitled, 2001

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WOMEN of NEWCOMB RECENT ACQUISITIONS Carolyn Frohsin Heller, Untitled, 2003; (Cover) Untitled, 2001 3 June - 24 July 2016 WOMEN OF NEWCOMB RECENT ACQUISITIONS Carolyn Frohsin Heller, Untitled, 2003; (cover) Untitled, 2001. Gifts of the Carolyn F. Heller family 2 WOMEN OF NEWCOMB RECENT ACQUISITIONS 3 June - 24 July 2016 This exhibition of recent acquisitions three-story building with ample room to the museum collection highlights for studios and classrooms. Today the the accomplishments of H. Sophie structure—along with the Joyce Frank Newcomb Memorial College alumnae Menschel Art History Wing and the who have achieved recognition for their Newcomb Art Museum—make up the artwork regionally and nationally. expansive Woldenberg Art Center. The arts have long defined the The Art Department’s impressive roster Newcomb experience. Indeed, when of faculty and alumni underscore that the college opened its doors in 1887 at the program’s success transcended the corner of Camp and Delord Streets any one building, era, or genre. Rather, (now Howard Avenue), art classes former instructors Will Henry Stevens were among the first offered. The small and Mark Rothko and graduates such as school employed an impressive three Caroline Durieux (’16) , Angela Gregory full-time art faculty members: William (’25), Mignon Faget (’55), Lynda Benglis Woodward, Ellsworth Woodward, and (’64), Julie Dermansky (’87), and the Gertrude Roberts. five artists included herein prove that the school’s founding commitment to a With increased enrollment, the college progressive education “both practical moved in 1891 to the Robb-Burnside and literary” endures more than a mansion on Washington Avenue. Within century later. five years, the Art Department was given its own building, a handsome structure designed by noted Philadelphia architect Wilson Eyre, Jr. It was during this period that the Newcomb Pottery enterprise, today recognized as one of the foremost American art potteries, was established. Newcomb College moved to its final location on Broadway Street in 1918. The Art School was housed in a large The Early Years--Mary Shearer with Class, c.1900 3 LOUISE GROSZ, B. DES. ’30 1908-2003 as her dominant right hand became Louise Grosz severely arthritic. She later worked as was one of New a potter, quilt maker, hat maker, and Orleans’ first was the owner of a Belgian Lace Shop significant female at the Hotel Monteleone in the French commercial artists. Quarter. She enrolled at Newcomb in 1926, studying drawing, design, and art history, plus music, photography, pottery, and bookbinding. Much of her student art focused on still-life sketches and basic design work, and in later years on print and watercolor. Grosz was also interested in teaching and earned a degree in Education, after graduating from Newcomb in 1930. In her twenties, she was an in-demand illustrator working for New Orleans’ retailers such as Gus Mayer, Godchaux, Maison Blanche, Cushman’s, and Porter Stevens, as well as Macy’s in New York. Her employers lauded her artistry and work ethic, noteworthy for a woman in the male-dominated graphic advertising field, especially during the Depression. When Grosz’s career was disrupted by arthritis, she turned to teaching clothing construction and design. Grosz continued to create art throughout her life, focusing on the use of her left hand Louise Grosz, Untitled, c.1935. Gift of Martha Salm Hart 4 Louise Grosz, Untitled, c.1935. Gift of Martha Salm Hart Above left image: Jambalaya yearbook, 1930 5 MARY ALICE PEAK REISS, B. DES. ’30 1908-2003 Mary Alice Peak Carnival organizations including Les Reiss, known Pierrettes, the Elves of Oberon, and Rex. as “Peak” to her Her detailed designs for every float and friends and family, costume were transformed into living was a prolific works of art during Mardi Gras. artist, working in a variety of media As the krewe’s sole research, design, and including drawing, watercolor, gouache, costume artist, Peak worked with Rex oil, collage, and printing. Studying under from 1954-1968, throughout which she Ellsworth Woodward, then director continued to paint in her home studio. of the School of Art, she attended She also worked with fellow Newcomb Newcomb from 1926 to 1930. alumnae out of New Orleans’ Studio 8 and created art until her death. Peak’s Her career as a scenery and costume Rex designs are archived in the Historic designer began in 1944 working for New Orleans Collection. Mary Alice Peak Reiss, The Tango, c. 1947, watercolor-on-paper float design. Gift of School of Design, Historic New Orleans Collection, 1996.67.12 6 Mary Alice Peak Reiss, Summer Afternoon, c.1980. Promised gift of the Alice Peak Reiss family Above left image courtesy James Reiss 7 IDA KOHLMEYER, B.A. ’33, M.F.A. ’56 1912–1997 Ida Kohlmeyer, In the 1980s, her style shifted to née Rittenberg, Synthesis painting, becoming more fluid stands as one of and continuing to emphasize bright, Newcomb’s most dramatic colors and bold shapes. influential artists. The daughter of In 1980 she received the Outstanding Polish immigrants, Achievement in the Visual Arts Award, she was raised in New Orleans and placing her among the top ten female attended Newcomb in the early 1930s, artists in the nation at that time, and in receiving an English degree in 1933. 1982 she was inducted as an honorary life member of the National Women’s She became interested in the arts Caucus for Art. of Latin America during her 1934 honeymoon to Mexico and eventually Kohlmeyer’s artwork has garnered returned to Newcomb where she national acclaim and earned her earned her M.F.A. in 1956. Soon after, recognition as one of the twentieth she was hired by the college, teaching century’s most influential artists. such now acclaimed artists as Lynda Benglis. The two would later collaborate to produce their 1977 installation, Louisiana Prop Piece, at the New Orleans Museum of Art. Kohlmeyer’s own artistic career took shape in the varied media of printmaking, drawing, painting, and Lynda Benglis and Ida Kohlmeyer, Louisiana eventually sculpture. Her personal Prop Piece, 1977. Installation at the New Orleans aesthetic became more clearly Museum of Art pronounced in the 1970s, characterized by her use of grids containing striking geometric abstractions and pictographs. 8 Ida Kohlmeyer, Rebus, 1988. Gift of the Ida and Hugh Kohlmeyer Foundation. Above left image courtesy Jerald Melberg Gallery, Charlotte, NC 9 CAROLYN FROHSIN HELLER, ’59 1937–2011 Born in Alabama, wood-cuts, and acrylics on canvas, she Carolyn Heller later expanded into jewelry, scarves, came to New and more experimental canvases such Orleans in the as chairs, pool tables, watering cans, and late 1950s to scarves. study in the Art Department of Her oeuvre, while straightforward Newcomb College. She continued her and accessible, reflects the influence art education at the University of South of artists such as Elaine de Kooning, Florida and the Tampa Museum of Art. Syd Solomon, and fellow alumna Ida Kohlmeyer, with whom she studied while Heller’s work utilizes bold shapes and at Newcomb. Commercially popular, colors, often depicting the tropical Heller’s works have been reproduced environs of south Florida, the artist’s and distributed by companies such as home for fifty years. Starting with prints, Williams-Sonoma. Carolyn Frohsin Heller, (l) Four Saturdays, 1993 (r) Dragon Fly-By, 1996. Gifts of the Carolyn F. Heller family 10 Carolyn Frohsin Heller, Untitled (Woman in Blue), 1956. Gift of the Carolyn F. Heller family above left image courtesy Fran Heller 11 STEPHANIE HIRSCH, ’92 1970– Stephanie Hirsch encourage the viewer to question their attended Newcomb attitudes and beliefs. College from 1988-1990, taking She was most recently the P3 Studio courses in art artist in residence through the Art history, costume Production Fund at the Cosmopolitan design, and studio of Las Vegas. Her work has been art while also immersing herself in the the subject of both solo and group rich artistic traditions of New Orleans. exhibitions nationally. In keeping with the Newcomb tradition of combining art and entrepreneurship, Hirsch’s early work includes a handbag line as well as a luxury swimwear and resort clothing brand. More recently, she was commissioned by skin care line Erno Laszlo to create a Swarovski crystal-encrusted crown, in honor of the Queen’s Diamond Jubilee. The work, which took fifty hours to make and featured more than 1,000 crystals (each individually applied with a toothpick and glue) and four yards of chains, was displayed in the window of Harrods in London. Stephanie Hirsch, Queen’s Diamond Jubilee Hirsch’s art uses beads, sequins, and Crown, 2012 embroidery to explore deeper or double meaning of words with humor and enlightenment. Simple text and quips—coupled with charged images— 12 Stephanie Hirsch, In Time It Will All Make Sense, 2016. Gift of the artist 13 ABOUT THE NEWCOMB ARCHIVES & VORHOFF LIBRARY SPECIAL COLLECTIONS The Newcomb Archives and Vorhoff Library women and gender minorities in the Special Collections are part of the Newcomb American South, culinary history, and College Institute. Established in 1975, the the second wave women’s movement in previously named Nadine Vorhoff Library, Louisiana. Named collections include the transitioned from a circulating campus Marla Custard collection on gender and branch library to a non-circulating special sexuality. collections library in 2014. The Newcomb Archives and Vorhoff Library The archives collects, preserves, and Special Collections are located within the makes available records that document the Newcomb Research Center, on the first history of women and gender in the Gulf floor of Caroline Richardson Building at 62 South, particularly records that relate to Newcomb Place. During the academic year, women’s education, the history of students they are open to the public noon–4, Monday at Newcomb College and Tulane University, through Friday.
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