fall 2015 winter 2016
Director’sletter
after a year of preparation along with a site visit in March, the Carlos Museum was granted reaccreditation in July from the American Alliance of Museums. We are extremely proud of this distinction (and I could not be more proud of our staff!) for it recognizes the high standards of museum practices to which we all aspire. The dismounting of an exhibition is a sad endeavor; farewells are often quite difficult, right? And, while it was particularly hard to say good-bye to African Cosmos: Stellar Arts, the closing of the exhibition was softened by a “last look” event
hosted with Dr. Wayne Clough, former Secretary of the Smithsonian Institution, and Dr. Johnnetta Cole, Director of the National Museum of African Art. The event reminded us all of the importance of collaboration among museums in expanding the reach of our work to the benefit of our communities. African Cosmos allowed us to establish a solid relationship with the Smithsonian, and we look forward to future projects with this esteemed institution. On the flip side, the mounting of a new exhibition is an exciting event, and this fall I am particularly jazzed about Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection. Over the past few years we have slowly expanded the reach of our Art of the Americas collection to include Native North American art, dipping our toes in the water so to speak with a few small, but exquisite gallery rotations. Needless to say, we are now making a splash with Indigenous Beauty, and I hope you will make a point of visiting to experience this incredible private collection of Native North American art during its run here at the Carlos Museum. We also have a new exhibition in the Howett Works on Paper Gallery. Curator Andi McKenzie has organized ‘The Waters and the Wild:’ Alen MacWeeney Photographs of Ireland. Born in Dublin in 1939, MacWeeney began his career in Paris as assistant to fashion photographer Richard Avedon. However, his work, as
seen in this exhibition, transitioned over time to an ethereal capturing of place, as the title, a line from a Yeats poem, alludes. I know you’ll be enchanted with MacWeeney’s Ireland. Regarding staff news, I’m very pleased to announce that our Chief Conservator, Renée Stein, was recently honored at the American Institute for Conservation’s annual conference in Miami with the Sheldon & Caroline Keck Award. You’ll learn more about why our amazing Renée was selected for this prestigious award on page 14. As many of you know, the Woolford B. Baker Service Award is the only award given by the museum, recognizing those who have demonstrated outstanding service to the Carlos Museum. Within these pages you’ll read why long-time Advisory Board member and Chair Emeritus, Charles Ackerman, received the 2015 Baker Award. A most deserving recipient indeed! Congratulations Charlie! As always, I look forward to seeing you in the galleries!
B on n ie Speed Director
cover: Man’s Shirt, ca. 1875. Apsáalooke (Crow), Montana. Hide, ermine pelt and fur, glass beads, wool, hair, feathers, cotton fabric, cotton thread. Courtesy American Federation of Arts. 2
fall 2015
OnView
INDIGENOUS BEAUTY BRINGS MAJOR NATIVE NORTH AMERICAN COLLECTION TO ATLANTA OCTOBER 10, 2015 – JANUARY 3, 2016 this fall, one of the finest collections of Native American art in the United States will be on display in the Third Level galleries of the Carlos Museum. Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection will showcase over 100 objects from the Artic through the Northwest Coast and California/ Great Basin regions to the Southwest, Plains, and Eastern Woodlands. above: Maskette, 1780–1830. Tsimshian, British Columbia. Wood, copper, opercula shell, pigment. Courtesy American Federation of Arts.
mccm
3
OnView Three interrelated themes are emphasized in the exhibition —diversity, beauty, and knowledge— making connections to the objects’ original Native contexts as well as to the ways in which visitors in a contemporary museum setting might experience these works of art. The exhibition is organized into ten clusters with the objects in each cluster demonstrating common, formal, and functional qualities. The groupings are based primarily on geographic and cultural factors, allowing the viewer to perceive the impact of historical events as well as stylistic shifts over the course of decades, or in some cases, centuries.
The exhibition demonstrates how artists identified as members of a great variety of First Nations, and how they are a product of deep and intertwined native histories. These rich backgrounds inform how objects are made as well as how they are perceived; some are rooted in particular episodes in the ancient past, while others stem from historic challenges and experiences. Together, these captivating objects and their individual stories convey the extraordinary breadth of Native American experience in North America. In addition to style, a wide array of materials is included in the exhibition, ranging from ancient ivories from the Bering Strait region, wood Yup’ik and Aleut masks from the Western Arctic, Southwest pottery, and sculptural objects from the Eastern Woodlands to elaborate clothing made from hide and beads from Eastern and Plains First Nations peoples. “This is a very exciting exhibition, just what we have been hoping to have since the 2013 reinstallation of the Americas galleries when we rededicated ourselves to representing as much of the continent as possible,” states Faculty Curator of Art of the Americas, Dr. Rebecca Stone. Visitors to the exhibition will learn how cultural knowledge is imbedded in a work of art, being passed down and refined over the generations as artists learn from their elders’ techniques. Over the last few decades, increased scholarship and closer collaborations between museums and Native communities have resulted in the recovery of knowledge about how objects were made, provenance details, and the ways in which the objects may have been used and understood. A terrific line up of educational programming will accompany the exhibition, including lectures by the exhibition curator David Penney as well as scholars from the Seattle Art Museum and the Nelson-Atkins Museum of Art. Emory and the University of Georgia have great strengths in Native American Studies, and scholars from both institutions will contribute to the exhibition programming. “This exhibition and related programs— including talks by preeminent Native writers and scholars —will provide our community with rich opportunities to listen to and learn from Indigenous voices of the present as well as the past,” notes Dr. Mandy Suhr-Sytsma, Lecturer in English and Director of the Emory Writing Center. Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection is organized by the American Federation of Arts. This exhibition was made possible by the generosity of an anonymous donor, the JFM Foundation, and Mrs. Donald Cox. The exhibition in Atlanta was made possible by the Thalia and Michael C. Carlos Foundation, and the Thalia N. Carlos and Chris M. Carlos Foundation. Z
above: Tunic and Leggings, late nineteeth century. Tlingit, Chilkat, Klukwan, Alaska. Cedar bark, wool, metal cones. Courtesy American Federation of Arts. 4
fall 2015
‘THE WATERS AND THE WILD:’ ALEN MACWEENEY PHOTOGRAPHS OF IRELAND AUGUST 22, 2015–JANUARY 3, 2016 the hauntingly beautiful exhibition ‘The Waters and the Wild:’ Alen MacWeeney Photographs of Ireland is drawn primarily from the museum’s permanent collection of works on paper. The exhibition features MacWeeney’s poignant documentary photographs of Irish Travellers, a nomadic ethnic group indigenous to Ireland, in tandem with photographs relating to the poems of W.B. Yeats. Born in Dublin in 1939, Alen MacWeeney began taking photographs at age twenty while working as an assistant to Richard Avedon in New York. After enduring four sweltering summers in the city, MacWeeney returned to Ireland during the summer of 1965, the centenary of W.B. Yeats’ birth. poems. For one portfolio presented He envisioned a short-term project in this exhibition, he selected lines inspired by Yeats’ poetry and what from the beginning and middle of MacWeeney called “the Ireland “Easter, 1916,” creating meaning for of my imagination.” He did not his photographs using Yeats’ words. intend the photographs to be While working on a Yeats photo interpretive; rather, he aimed to essay, MacWeeney stumbled into explore the kinds of people, places, Cherry Orchard, an encampment and settings that inhabited Yeats’ of Irish Travellers. The Travellers, poetry. MacWeeney read Yeats similar to the Roma of eastern intensively throughout this period, Europe, are known derisively as resulting in several series of “gypsies” due to their historically photographs relating to specific itinerant lifestyle, or “tinkers,” because many held side occupations as metalworkers. Despite their historically insular nature, the Travellers eventually accepted MacWeeney’s presence and considered him a friend. He called them top: Paul Gleeson, Consul General of Ireland; “breathtakingly beautiful, with Natasha Trethewey, former Poet Laureate and remarkable features; a raw dignity Robert W. Woodruff Professor of English and and fearlessness about them.” Creative Writing; Jim Flannery, Director of the W.B. Yeats Foundation; Geraldine Higgins, Director MacWeeney spent six years taking of Irish Studies; and Ron Schuchard, Goodrich C. White Professor of English Literature, Emeritus, at a celebration of the 150th anniversary of Yeats‘ birth.
photographs and recording Traveller stories and music. Images from this period, ten of which appear in this exhibition, reveal the Travellers’ strength and resiliency, their familial bonds, and their commitment to a way of life far removed from the Ireland familiar to MacWeeney. The exhibition also features a number of objects from the Yeats Collection held in Emory’s Manuscript, Archives, and Rare Book Library, including an early printing of “Easter, 1916,” and letters between Yeats and his unrequited love, the Irish nationalist beauty Maud Gonne. A preview of ‘The Waters and the Wild’ was held on June 13, coinciding with “Still Here/ Here Still,” a celebration of the 150th anniversary of Yeats’ birth. This exhibition was made possible by the Massey Charitable Trust. Z
above: Alen MacWeeney (Irish, born 1939). White Horse, Donegal, 1965–1966. Gelatin silver print. Gift of Lewis W. Siegel. Copyright Alen MacWeeney.
mccm
5
CarlosFeatures In Memoriam: Michael Graves famed “New York Five,” Graves was then leading the movement toward postmodernism and transforming the history of architecture. No one imagined that university leaders and donors would approve such a bold move, and no one imagined that Graves would accept Emory’s invitation. But President Jim Laney was a great supporter of art and intellectual pursuits. Michael and Thalia Carlos were visionary donors who immediately hen michael graves died last understood the significance of the project. And Graves was a kindred March, the Carlos spirit. A professor at Princeton, Museum lost one of its he thrived within the intellectual dearest friends and most environment of universities, and Henry Hornbostel’s Beaux Art valued partners. building was creative fuel for It was a different era at Emory his love of Classicism. in the early 1980s when Michael He said “yes.” And the rest, Graves agreed to design a renovaas they say, was history. A thirtytion for one of Emory’s “sacred” buildings on the quadrangle. On the year partnership between Emory’s museum and Graves began. Graves heels of his acclaimed design of the became a household name, not only Portland Building, which boldly due to his signature architectural rejected modernist principles and heralded the return of ornament and designs, but also through his collaborations with Target and classical reference to architecture, Disney. In addition to receiving the the talented architect’s star was most distinguished awards in his in rapid ascendance when the art profession, Graves was awarded the history faculty and museum staff National Medal of Arts, the highest sought to convince him to create honor given to an individual artist an artistically important space for by the President of the United Emory. Originally a member of the
W
above: Architect Michael Graves 6
fall 2015
States. The Carlos Museum also experienced extra-ordinary success, leading to an expansion of staff and programming, internationally recognized exhibitions and collections, a distinguished conservation training program, and the addition of a new wing designed by Graves in 1993. Playful, sophisticated, elegant— Graves’ gallery designs highlighted works of art without overpowering them. His use of color, texture, and historical allusion brought objects to life—from the smallest, most humble artifacts of daily life in an ancient world, to artistic masterpieces of Classical Greece. His building design paid homage to Hornbostel’s vision for Emory’s quadrangle while also creating a distinctive space that captured the blend of ancient and modern that is the spirit of the Carlos Museum. Michael Graves will always be remembered here not only for his intelligence, wit, and remarkable talent, but also for his profound commitment to the idea that universities must be places of experimentation, innovation, artistic endeavor, and the implementation of daring intellectual ideas. Z
above: Graves’ sketch for the façade of the Carlos Museum building.
Between the Sweet Water and the Swarm of Bees: Works by Susanne Wenger January 23–May 15, 2016 many towns in Nigeria have a shrine dedicated to a local deity. The town of Oshogbo is itself a shrine — a sacred grove— dedicated to the goddess Oshun, and situated on the river that bears her name. The sweet water of the river, in contrast to the salty sea, is just one of Oshun’s contrasting aspects: She is a warrior and a seductress; she is beautiful but vain; and she has long protected Oshogbo from destruction. Oshogbo was a small, quiet city at the dawn of Nigerian independence in 1960 that unexpectedly became a hub for modern Yoruba art and culture, centered around institutions such as the Mbari Mbayo Club, the Oshogbo school, and the Duro Lapido Theatre group. This growth was partially due to the efforts of the late artist Susanne Wenger (1915– 2009), who revitalized Oshogbo’s art scene by developing an art program that spawned the next generation of Nigerian artists. Born in Graz, Austria, Wenger studied painting at the Meisterschule in Vienna. She arrived in Nigeria in December 1950 via Paris, thanks to a teaching opportunity at the University of Ibadan given to her husband, writer Ulli Beier. Six months after she arrived, Wenger fell ill with tuberculosis. She attributed her recovery one year later to the god Obàtálá, who is charged with forming every human being. Obàtálá inspired Wenger’s subsequent work—bright oil paintings with wild and expressive lines, a far cry from the subdued landscapes she painted in Europe. In the mid-1950s Wenger turned
to a new medium to express her ideas and her complex relationship with the god who saved her. She began using cassava starch batik, which has a long history in West Africa, because she could no longer “allow herself to be tossed about by the waves” of Obàtálá. To order and control her experience, Wenger became a member of the Obàtálá society, eventually working her way up to priestess. She later turned to wax batik, which was less common in West Africa, because of its precision and receptiveness to color layerings, lending itself to her cause— to illustrate the myths of the Yoruba deities, the orisha, in pictorial cycles. Around 1960, Wenger began to redevelop Oshun’s sacred grove, now a unesco World Heritage Site. She designed and erected new shrines with the help of the community, training them along the way and establishing one of the largest art programs in Nigeria. Wenger’s relationship with Oshun was
especially interesting because she was not a member of the cult of Oshun; rather, as a priestess of Obàtálá, Wenger was an opposing force to Oshun. Between the Sweet Water and the Swarm of Bees: Works by Susanne Wenger brings together nine screen prints and one wax batik. The series was given to the Carlos Museum in spring 2014 by Graham and Maryagnes Kerr, who purchased the works from the artist at her home in Oshogbo between 1962 and 1967. These prints and batik are syncretic compositions of oriki (Yoruba praise poetry about orisha such as Obàtálá and Oshun) and European mythology, and are extensions of the Oshun sacred grove. The prints, ephemera, and batik in this collection are rare and have never before been exhibited together, making Between the Sweet Water and the Swarm of Bees an exciting addition to the museum’s fall line up. –amanda hellman This exhibition was made possible by the Massey Charitable Trust. Z
above: Susanne Wenger (Austrian, 1915–2009). Untitled, c. 1960. Screenprint. Gift of Graham and Maryagnes Kerr. Copyright Estate of Susanne Wenger. Photo: Bruce M. White.
mccm
7
Carloscollections
above: Stela of Nesbanebjed. Egyptian, Thebes. Third Intermediate Period, 1076–812 bc. Limestone. Museum Purchase in honor of Sally and Jim Morgens, 2015 Honorary Chairs of Veneralia. Photo courtesy ArtAncient, Ltd.
8
fall 2015
New acquisition: The Stela of Nesbanebjed
The Carlos Museum’s “new” Exekias
stela in ancient egypt are commemorative monuments that were set up as tombstones, boundary markers, or votive offerings in a temple. Inscribed with the owner’s title and image, stela give us important information about ancient Egyptian culture and religion. The Stela of Nesbanebjed belonged to a “scribe of letters” or secretary who served the king. The name Nesbanebjed means “he who belongs to the (sacred) ram of Mendes.” He has the same name as Smendes who founded the 21st Dynasty in the Third Intermediate Period. It is possible that Nesbanebdjed was named after Smendes or grew up in the eastern Delta city of Mendes and was named after that city. However, this stela was found in Agalta (Lel), south of the mortuary temple of Ramesses iii, which indicates he lived in Thebes. On the stela, Nebanebjed offers a bowl of incense from which a stylized plume of smoke rises. His other hand is raised in a gesture of praise to a deity that once sat before him but is now destroyed. He wears a plaited wig, a broad collar, and a pleated tunic. The folds on his stomach indicate he is a prosperous man, as do the many pleats of his garment. The partial remains of a cobra head from a winged sun disk is above his upraised hand. The Stela of Nesbanebjed is from the collection of Gustave Jéquier (1868–1946), a famous Egyptologist and excavator who was a professor of Egyptology at the University of Neuchâtel. Z
among the many gifts made by Dr. Dietrich von Bothmer, one in particular has held a special fascination for Curator of Greek and Roman Art, Jasper Gaunt: A black-figured amphora fragment showing Herakles wrestling the Nemean Lion while his patron goddess Athena looks on. The amphora had been published before it came to the Carlos Museum, and while shape, subject, and date (540–530 bc) were never in doubt, its attribution to the “Manner of the Lysippides Painter” had long aroused Gaunt’s skepticism. In late 2013, an opportunity arose for Gaunt to study a neckamphora in Zurich with the same subject attributed to the Lysippides Painter himself. It became immediately clear that the character of the incision was utterly different; the lines had been cut into the clay before firing in a scratchy style by an artist using a thick wire. Nothing could be more different from the superb, flowing lines on the Carlos Museum fragment, and the marvelous stippling on the coat of the lion. Furthermore, the hair of Herakles depicted on the neck-amphora in Zurich is defined by simply incised curls, while by contrast the hair on the Carlos Museum fragment is rendered in thickened clay that
stands proud off the surface in relief in order to catch the light. This painstaking technique is only very seldom encountered. It became apparent that the Carlos Museum fragment, as long suspected, should not be thought of as “in the manner of the Lysippides Painter” but rather as a work of his teacher, the very greatest of all black-figured artists, Exekias himself. High-resolution images of the Carlos Museum fragment were distributed to leading specialists in Europe, Australia, and the United States, all of whom accepted the newly suggested attribution. During this correspondence, an intriguing path of inquiry surfaced—an amphora fragment with a heroic warrior named Akamas in the Getty Museum might come from the other side of the same vase belonging to the Carlos Museum. Later this summer, the Carlos fragment will be carried to Los Angeles for direct comparison—stay tuned for the results. Z
New acquisition: An inscribed Roman drinking cup thanks to the generosity of the Thalia N. Carlos and Chris M. Carlos Foundation, the Carlos Museum has been able to acquire a sparkling piece of pottery made in Cologne in the 1st century ad. This biconical mug, which has no handles, is finely potted. The surface is coated with a lustrous black slip (which gives rise to the scholarly term for this pottery, terra nigra), over which, around the waist, is applied a scrolling vine wreath in a colorful white and orange. The legend sitio (Latin for “I thirst”) is prominently inscribed. It is sometimes thought that the archaic Greek tradition of the symposium, so well depicted on a cup in the Carlos Collection, had died out in
above: Amphora Fragment Depicting Herakles and the Lion. Greek, Attic, attributed to Exekias, ca. 540 bc. Ceramic. Gift of Dr. Dietrich von Bothmer. Photo: Bruce M. White.
Hellenistic times; however, vessels such as this one suggest otherwise. It appears that the custom in some sense persisted with light-hearted banter very much part of the picture; related inscriptions from the same series of vases include reple (“fill me up again”), da vinum (“give me wine”) and ut felix vivas (“may you live happily”). The bustling modern city of Cologne, an important port on the river Rhine, was founded in the 1st century ad as Colonia Claudia Ara Agrippinensium, capital of the important province of Germania Secunda. As a major administrative and military center, it also became famous for the production of pottery —like this example—and glass. Both were widely exported, particularly throughout northern Europe. Z
above: Motto Beaker. Roman, second century ad. Ceramic. Gift of the Thalia N. Carlos and Chris M. Carlos Foundation.
mccm
9
Carloscollections Visiting and Advisory Boards support new acquisitions in october 2014, the Carlos Museum’s newly created Visiting Board held its first meeting. Through the Visiting Board’s membership dues, approximately $25,000 was pooled toward the acquisition of a work of art. Each curator was asked to present a possible acquisition, and Visiting Board members voted on the one they wished to acquire. The first round of voting ended in a tie between the Greek Helenistic Silver Cup presented by Jasper Gaunt, curator of Greek and Roman art, and the Egyptian Sculptor’s Model presented by Melinda Hartwig, curator of Egyptian, Nubian, and Near Eastern art. In a second round of voting, the Helenistic Silver Cup won. However, because the voting was so close, one of the Visiting Board members quietly bought the Sculptor’s Model for the museum. The museum’s Advisory Board decided that it too wanted to acquire an object and so funding was committed to purchase a Makonde Lipiko Helmet Mask presented by Amanda Hellman, curator of African art. Z
Egyptian Sculptor's Model sculptor’s models were teaching tools prepared by master sculptors to educate students about the process of carving. Of Greek descent, Ptolemaic rulers adopted the Egyptian manner of representation and required the manufacture of a number of statues. To meet the demand, instruction shifted away from the traditional father-son apprenticeship system to a larger artistic workshop structure that stressed systemized training. This sculptor’s model shows the guidelines that helped students proportion the facial features and the bottom of the crown. The rounded face and slightly double chin suggests this sculptor’s model belonged to Ptolemy ii Philadelphus. Under his reign, the royal court reached great heights of artistic and material splendor. Ptolemy ii finished the Great Library of Alexandria and commissioned a priest named Manetho to compile the only history of ancient Egypt. Z above: Sculptor’s Model. Egyptian, Ptolemaic Period, reign of Ptolemy II (?), 282–246 bc. Limestone. Anonymous gift. 10
fall 2015
Hellenistic Silver Cup with gilding this new acquisition is an extremely rare silver cup of the second century bc with an austere molded band of gilt inside the rim. Gold and silver has barely survived from the ancient world on account of its bullion value; inscriptions and literary references make clear that any such items were regularly melted down. This Hellenistic silver cup was intended for use at the symposium, or after-dinner drinking party; an important social occasion at which men reclined on couches while conversing, among other things, about topics of the day, offering prayers to the gods, and reciting poetry. The cup, which lacks a foot, would have been cradled in the palm of the symposiast’s hand. Its form is closely related to drinking vessels beautifully modeled in the form of the female breast (Greek: mastos), and is therefore known as a mastoid. The museum possesses a classical jug with a spout that takes the form of male genitalia. Underlying these amusing conceits were erotic elements at the symposium, where scantily clad female musicians and acrobats offered entertainment while naked boys refilled cups.
Unlike clay vases that were often decorated with stories from mythology, metal vessels were generally left plain. They were highly polished with both vinegar and sulphur being used for cleaning. The Greek adjective dios (god-like), can also mean “brilliantly shining,” and it may be that the sparkle of polished metal was considered to render it, as it were, intrinsically divine. Below the rim of the cup are two inscriptions: One, for record-keeping, indicates the weight; the other gives the name of the cup’s original user, Sosilos (at whose root lies the Greek word for “safety”). Although not otherwise known, he shares his name with the contemporary tutor of Hannibal, the brilliant Punic military commander of Carthage who famously marched with elephants from North Africa through Spain and Southern France to invade Italy. Silver and gold were not the only luxury media for tableware in antiquity. Bowls in exotic stones like agate were made for the very richest. And perhaps surprisingly, glass was at this time considered precious. By chance, the Carlos Museum was fortunate to acquire last year a cast
glass bowl of the same shape that is contemporary with the silver cup, a gift of James E. and Elizabeth Ferrell. The two are now shown together in the classical galleries, and we are grateful for the generosity of the Visiting Board and the Ferrells for making this pairing possible. Z
Makonde Lipiko Helmet Mask through the generosity of the Advisory Board, the Carlos Museum has acquired a Lipiko mask by the Makonde of northern Mozambique. A Lipiko mask is performed during festivals and masquerades that mark the completion of both boys’ and girls’ initiation, revealing to the young initiates a paradox—seemingly contradictory concepts that the masks are simultaneously ancestral spirits and living men in the dramatic depiction of a character. As the initiates sit in a line the masked dancer tilts his head back, which parts the raffia or cloth to reveal his identity. Though only men mask, the carvings are of men and women, of foreigners and animals. The male masks are accented by a bedazzled raffia costume. Female masks, like
above: Mastoid Bowl, with Ownership Inscription of Sosilos. Hellenistic, second century bc. Silver, with traces of gilding. Gift of the 2014 Visiting Board.
the one the museum has acquired, are complemented by a wood body mask depicting a pregnant belly. This mask is from the 1940s based on the hair and scarification patterns as well as the sensitivity of the carving. It is facially expressive, sculpturally dynamic, and is quite large—larger than a human head— since it would fit on top of the dancer’s head like a helmet, though sit lower, covering his ears, eyes, and nose. Carved from one piece of wood, the mouth is a stylized diamond formed by two triangular lips; the nose is subtle, protruding slightly from the facial plane, emphasizing the nostrils; the eyes are simple wedges above flattened cheeks; and the ears are spirals. The beeswax keloids are still affixed, and the complex geometric coiffure is made of human hair. The delicacy and expressiveness of this mask and its age are unusual and strengthen the museum’s East African collection. The mask also helps us elaborate on a conversation scholars have about relevance in African art collections. This work speaks to both an historic culture and aesthetic in the face of a changing, but ever present tradition. Z above: Lipiko Mask. Mozambique, Makonde. ca. 1940s. Wood, human hair, beeswax, recycled tin, indigenous earth pigments. Gift of the Advisory Board.
mccm
11
CarlosConservation
madeline corona joined the museum’s Parsons Conservation Laboratory for eight weeks beginning in June. She undertook several treatment projects, providing her experience with a wide range of materials and issues, including a Greek bronze hydria rim, a Roman glass alabastron, a Roman ceramic vase, an African wood mask, and a fragmentary Egyptian painted wood statue. She also used x-ray fluorescence spectroscopy to analyze colorants on the beautiful painted Centuripe Pyxis. In addition to these projects and the associated documentation, Madeline participated in routine preventive care and collections management activities such as condition examinations, storage rehousing, and pest monitoring. This internship fulfilled a requirement for her Master of Science degree from the Winterthur Museum/University of Delaware Program in Art Conservation. The lab has hosted several similar graduate internships in past years, contributing to the education of conservation professionals.
Andrew W. Mellon Assistant Conservator kathryn etre spent two weeks in Azerbaijan as part of a National Science Foundationfunded archaeological excavation co-lead by Dr. Hillary Gopnik, Emory instructor of Ancient Mediterranean Studies. The project is focused on the Iron Age citadel of Og˘lanqala and nearby settlement of Qizqala, approximately sixty kilometers north of Naxçivan. Katie assisted with the assembly and documentation of complex finds. She also developed protocols for storing particularly vulnerable metal artifacts after the conclusion of the dig season. She will continue to consult with Dr. Gopnik and her students as they incorporate information from this year’s excavations into future planning for the site. Such collaborations provide valuable opportunities for teaching and professional exchange.
above: Graduate Intern Madeline Corona analyzing pigments on the Centuripe Pyxis using the lab’s portable x-ray fluorescence spectrometer.
above: Assistant Conservator Kathryn Etre cleans burial incrustation from a ceramic pot found during this dig season at Og˘lanqala in Azerbaijan.
12
fall 2015
In September ashley jehle concluded the Andrew W. Mellon Advanced Fellowship in Objects Conservation. During this two-year fellowship, Ashley contributed to all aspects of the museum’s conservation program. In addition to treating objects from the Egyptian and African collections, Ashley served as lead conservator for the Spider Woman to Horned Serpent exhibition, working with the curator, designers, and lenders to prepare objects for display. She surveyed the collection of over 300 cuneiform tablets, noting their conditions and stabilization needs as well as rehousing them for safe storage and access. Ashley lectured in classes and worked with students as well as volunteers. She participated in professional conferences and served as the regional liaison for the Emerging Conservation Professional Network of the American Institute for Conservation. Ashley’s many skills, willing attitude, and thoughtful collaboration have been a tremendous asset to the Carlos Museum. We wish her continued success in her new role at the Yale University Art Gallery’s Institute for the Preservation of Cultural Heritage. above: Conservation Mellon Fellow Ashley Jehle recently completed the treatment and mounting of this feather-covered tunic from the grasslands of Cameroon.
Collaborative research on marble sculptures presented at international conference
brittany dolph dinneen joins the conservation lab as the new Andrew W. Mellon Fellow in October. In addition to treatment projects and preventive care responsibilities, she will collaborate with Art History graduate students on objects-centered research projects through the Mellon-funded partnership among Emory, the Carlos Museum, and the High Museum of Art. Before relocating to Atlanta, Brittany worked on several projects for the Smithsonian Institution. She received a ma from the University of California at Los Angeles–Getty Program in Art Conservation, having previously studied anthropology and worked on archaeological sites throughout the Mediterranean. During her graduate studies, Brittany worked at the Kelsey Museum of Archaeology at University of Michigan and is happy to return to an academic museum with commitments to research and teaching. Z
above: Mellon Fellow Brittany Dolph Dinneen repairing a basket in the lab at the UCLA–Getty graduate program in Art Conservation.
at Split, Croatia. Drs. Blevins, Tykot, and Herrmann were all in attendance to present a poster summarizing the Carlos Museum results of a a multi-year investiproject and highlighting particular gation to determine the ancient examples. The study revealed some quarry sources for marble sculptures expected results, such as the use of in the Carlos Museum’s Greek and marble from the famous quarries Roman collection were presented at Paros for the elegant Priestess at the eleventh International as well as evidence of more remote Conference of the Association for sources, such as the use of marble the Study of Marble and Other from Goktepe in Turkey for the Stones in Antiquity (amosia) in unusual Ploughman Relief. The May. Curator Jasper Gaunt and data from approximately fifty conservator Renée Stein collabomarble objects in the collection rated with Emory Art History will be published in the forthcoming graduate student Dr. Susan Blevins; amosia Proceedings, providing Dr. Robert Tykot of the Department further information about the of Anthropology at University of acquisition and use of marble South Florida, Tampa; Dr. Anne in antiquity. Z Skinner of the Williams College Chemistry Department; and Dr. John Herrmann Jr, Curator Emeritus of Classical Art at the Museum of Fine Arts, Boston. The conference was held by the ruins of the palace of the Roman emperor Diocletian
above: Susan Blevins and John Herrmann with the poster summarizing the Carlos Museum project findings.
mccm
13
CarlosConservation
Chief Conservator, Renée Stein, given the Sheldon and Caroline Keck Award in may the American Institute for the Conservation of Historic and Artistic Works honored Carlos Museum Chief Conservator, Renée Stein, with the Sheldon and Caroline Keck Award. This prestigious award recognizes “a sustained record of excellence in the education and training of conservation professionals.” The award is named after conservators Sheldon and Caroline Keck, who were instrumental in incorporating scientific research, the use of modern technology, and an adherence to shared methodological standards within the field of conservation. The award was given at the 2015 Annual Meeting of the American Institute for Conservation in Miami. Renée came to the Carlos Museum in 1999 and assumed leadership of the Parsons Conservation Laboratory in 2003, implementing an ambitious vision to position the lab as a resource for art historical and scientific inquiry, learning and innovation, and advocacy and outreach. Her work has brought together many parts of Emory and has reached the greater Atlanta community.
The Parsons Conservation Laboratory not only tends to the preventive care, treatment, and research needs of the collections, but also, under Renee’s expert guidance, serves as a training ground for students of conservation from undergraduate through post graduate experience. Renée has integrated the work of the lab into the academic life of the university, offering internships and lectures as well as developing and teaching courses cross-listed through several departments. As Lecturer in the Department of Art History she annually teaches Issues in the Conservation of Art and Cultural Property and supervises student projects. Renee’s collaborative and innovative teaching has garnered repeated support from the Andrew W. Mellon Foundation, enabling unique opportunities for graduate and
above: Chief Conservator Renée Stein 14
fall 2015
undergraduate students to encounter the field of conservation, the resources of the Carlos Museum, and the potential of learning from objects. Through Renée’s efforts and great skill as a teacher and advocate, the conservation field has a new generation of conservators and individuals who will be knowledgeable collaborators in the care of cultural property. Z
STEAM Tour @ the Carlos atlanta area educators and their students know that the Carlos Museum provides a compelling gateway into the study of ancient history, world religions, and the collision of cultures in the Americas. But what about science? Do the collections support the science curriculum for Georgia schoolteachers? The answer is yes, and in very exciting ways. Developed with the guidance and expertise of Chief Conservator, RenÊe Stein, and conservation intern Emily Farek, the museum’s new steam (Science, Technology, Engineering, Art, and Math): Conservation in the Carlos tour introduces the many ways in which science is employed in the study and preservation of works of art. Museum docents will lead students through the galleries in
small groups, looking at works of art from many cultures and time periods. They will introduce students to art conservation practices, focusing on preventative care, treatment, and research. Digital images on iPads will provide students the opportunity to examine the condition of objects prior to conservation treatment, as well as images of treatment in progress. Students will be able to see how salt crystals in porous materials such as ceramics or stone can cause damage that may destroy the surface and weaken the structure. They will learn how analysis can help identify residue on a vessel. For example, cacao found in a vessel from ancient Costa Rica helped determine how it was used by the people who created it. In this interactive tour, students will be able to handle examples of many different materials used to
above: Coffin base of Tanakhtnettahat under normal illumination.
make and conserve art, including fabrics used to stabilize ancient Egyptian mummies. They will see beyond what is visible to the museum visitor. For example, in the Egyptian galleries they will get a glimpse into the creative process of the artist through modern, microscopic analysis in which a cross section of the paint surface from 1075 bc reveals a substructure of mud applied below the layers of underpainting. They will see and compare methods of display including microclimate cases built to carefully control humidity for metals. For an opportunity to learn about the combination of scientific, art historical, and fine arts expertise required to become a museum conservator, look for this tour offered to the public on several Sundays in the fall. Check the museum calendar for details. Z
above: In infrared illumination, Egyptian blue pigment is easily distinguished by its characteristic white glow, or luminescence.
mccm
15
Educationnews Teachers earn professional development credit
All of the teachers were enthusiastic about the time spent with scholars and about the opportunity to this summer, teachers from six practice ancient art techniques. public school systems and three Teaching artist Pam Beagle-Daresta private schools participated in and Dr. Hartwig helped each teacher Materials and Color in Ancient design a “tiny tomb painting.” Egypt, a professional development They began with a twelve-inch tile, course. Curator of Ancient Egyptian, prepared the surface with gesso, Nubian and Near Eastern Art, ground natural mineral pigment then Melinda Hartwig; Samuel Candler mixed them with the same sorts of Dobbs Professor of Art History, binders the ancient Egyptians would Gay Robins; and PhD candidate have used. They found it to be a Annie Shanley engaged the teachers difficult balance of tricky chemistry through lectures and in-gallery and exacting application. When experiences, focusing on the ancient asked as part of the course evaluaEgyptian experience of color in the tion, “What do you want us to natural world and the ways in which know?” one teacher responded, ancient artists employed those same “How much I love your workshops! colors in their conception and Please continue to offer these depiction of the cosmos. By examin- fabulous opportunities for teachers. ing tomb paintings and the processes In this workshop in particular, I saw used to create them, teachers learned many teachers open to the possibiliabout materials that were indigenous ties of incorporating art across to Egypt and those that were content areas. This is very valuable!” imported, and the artistry and The Carlos Museum offers chemistry involved in turning those continuing education for k-12 materials into pigments. The group teachers in workshops throughout also practiced object-centered the school year and in the summer teaching activities and discussed Teacher Institute. Z arts integration across disciplines.
Clifton Culture Corridor Initiative in partnership with Emory’s Schwartz Center for the Performing Arts and the Atlanta Regional Commission, the Carlos Museum welcomed staff from twenty-two senior and assisted-living centers as well as professional staff from metro-area Departments of Parks and Recreation and Senior Services as part of the Clifton Culture Corridor Initiative—a program designed to encourage full participation by seniors in Emory’s many offerings in the visual and performing arts. Attendees toured the collections, saw the special seating used for comfort and stability in the galleries, and were made aware of the slower-paced tours for seniors and the popular noontime concert series. They were especially excited to learn about Museum Moments, the Carlos Museum’s tour for people with mild cognitive impairment. For seniors, a gallery visit to view art often sparks the imagination, triggers memories, and invites conversation, resulting in a shared and meaningful experience. Six of the participating senior centers returned with their residents for tours of the Carlos over the summer. Z
above: Egyptologists Gay Robins and Melinda Hartwig work with teachers as they create pigment from ground minerals. 16
fall 2015
above: Julie Green tours representatives from area senior services organizations through the museum galleries.
Camp Carlos 2015
Thanks to the generous financial support of Panton Capitol Holdings, an exciting summer started as fifteen teenagers had a remarkable artist Ana Vizurraga taught tradiopportunity to experience lost wax tional techniques inspired by Native bronze casting with artists from North American cultures in conthe Inferno Foundry in Union City. junction with the special exhibition During the first week teens viewed Spider Woman to Horned Serpent: bronze pieces in the Greek, EgypCreation and Creativity in Native tian, and Americas collections North American Art. Teaching artist with curators and Emory graduate Cathy Amos led children on an students and created their own exploration of the contact between original sculptures in wax. They ancient Greek and Egyptian cultures spent the second week at the in the Carlos Museum collections foundry exploring all stages of and in the studio based on Rick production with the work of Riordan’s crossover story The Staff contemporary artists who still of Serapis. In Miniatures to Comics: use this ancient technique, casting The Stories of India children studied their molds in molten bronze, and the eighteenth-century Indian then chasing and finishing their miniature paintings in the Carlos sculptures. collection, a “kavad” or storytelling The generosity of our sponsors box from northwest India, and allowed the museum to offer Indian comic books from Amar thirteen full scholarships to Camp Chitra Katha and Liquid Comics, Carlos. Panton Capitol Holdings before writing and illustrating their sponsored twelve elementary own graphic adventure with artist children from schools in Fulton and Joseph R. Wheeler iii. DeKalb counties. Three Montclair
Elementary students not only received full scholarships, but transportation as well. Museum docent Pam Rivers picked up and dropped off the children every day! A talented young artist from Grady High School was sponsored by Clara M. and John S. O’Shea. Thank you to all the artists, counselors, funders, museum curators and staff who made possible this phenomenal twentysecond year of Camp Carlos. Z
Camp Carlos! mccm
17
Carlos&theCampus The Emory Scholars Program and the Carlos Museum student docent Karuna Srikureja toured finalists for the Emory Scholars Program through the collections. The Emory Scholars Program awards full scholarships as well as special programming in personal and professional development to its recipients who are selected for their intellectual curiosity, creative thinking, servant leadership, communication skills, and commitment to community. Finalists came from all over the country and from as far away as El Salvador, Turkey, the UK, and Brazil. Over the course of the week, they participated in interviews, had meals with Emory faculty, heard from Scholars alumni, and toured other parts of campus including Lullwater Park, fern (Facility for Education and Research in Neuroscience), and the Emory Herbarium. Adam Feldenkris of the Emory Scholars Program said, “The students always love seeing the Carlos Museum. It is such an important component of life on the Emory campus.” Z
above: Student docent Karuna Srikureja tours finalists for the Emory Scholars Program through the collections. 18
fall mccm2015
Due to changes in aam’s review system, the Carlos Museum’s next review was scheduled in 2014–2015. this year the Carlos Museum Accreditation is based on the began a partnership with the core standards of excellence for Winship Cancer Center. Patients and U.S. museums in seven categories: their families who may be at Emory Public Trust and Accountability for treatment over several days are Mission and Planning invited to spend time experiencing Leadership and Organizational the beautiful collections in the quiet Structure of the Carlos galleries. To date, Collections Stewardship 175 tickets have been given to patients and their families. DaVida Education and Interpretation Lee-Williams, Manger of Guest Financial Stability Services at Winship says, “The Facilities and Risk Management opportunity to walk across campus The announcement letter from and have their world opened up at the Carlos Museum is invaluable.” Z aam states, “The Michael C. Carlos Museum is an impressive university museum characterized by a culture of high standards, Carlos Museum reaccredited strong scholarship, faculty connections, excellent staff and volunteer performance, community in july the Michael C. Carlos engagement, extraordinary colMuseum received word from the lections, and diverse educational American Alliance of Museums (aam) that it was granted reaccredi- programs.” Z tation. As the museum field’s mark of distinction, accreditation by aam offers high profile, peer-based validation of a museum’s operations and impact. Accreditation increases a museum’s credibility and value Member to funders, policy makers, insurers, visitors, and colleagues. Out of the 35,144 museums in the United States, only 1049 have achieved the recognition of excellence that comes with accreditation by aam. The accreditation process is comprised of an institutional self-study and a peer review and takes eight to sixteen months to complete, every ten years. The Carlos Museum gained initial accreditation in 1991 and was reaccredited in 2001. Carlos Museum partners with Winship
SupporttheCarlos Charles S. Ackerman receives the 2015 Baker Award at a july event surrounded by family, friends, and colleagues, Atlanta businessman Charles S. Ackerman received the 2015 Woolford B. Baker Service Award in recognition of his work on behalf of the Carlos Museum. As a dynamic member of the museum’s Advisory Board for over twenty years, he supported a wide range of museum activities from funding billboards to supporting special exhibitions, membership, education and technology, and the museum’s annual fundraiser Veneralia. He retired to Chair Emeritus status in 2013. Ackerman became Chair of the Advisory Board in 2003, serving in that capacity for ten years. One of his first endeavors as Chair was the return of the mummy Ramesses i, accompanying the Carlos Museum entourage to Cairo and participating in the press conference at the Egyptian Museum where Ramesses i was officially gifted to the people of Egypt. During his chairmanship, the museum mounted an exciting array of exhibitions, including the King Tut exhibition; completed a successful seven-year fundraising campaign; acquired significant works of art; and attracted a wonderful array of new Board members. Meaningful service comes from understanding an institution’s long-term goals, and working tirelessly on all levels to make them a reality. Ackerman’s deep love of the Carlos Museum, and his belief in the power of art to transform lives, has made him a great leader and ambassador. The museum has benefitted from his guidance, and learned from his example.
The Woolford B. Baker Service Award, established in 1999 and endowed by Sally and Joe Gladden, is presented each year to an individual or organization that has demonstrated outstanding service to the Carlos Museum through a leadership role, exceptional contribution of time or expertise, or a significant achievement in the museum community. In honor of Ackerman, the museum was able to acquire through the generosity of the Gladdens a spectacular Nyau Mask for the African collection. Z
with red European paint. There is evidence suggesting that the ceremony, which takes place after the July harvest, dates to the seventeenth century. This particular mask was collected by Dr. Donald Brody, the official biographer to Hastings Banda, the first President of the Republic of Malawi, who ruled from independence in 1964 until 1994. The commanding presence of this mask, marked by a strong brow, varying textures in the beard, and a rather wild full head of hair, makes this a perfect Baker Award acquisition, honoring Charles S. Ackerman. Z
Nyau Society Mask for a chewa boy in Malawi to achieve full status as an adult, he must undergo a three-day initiation. This rite culminates in a masquerade organized and performed by the semi-secret Nyau Society into which he has been inducted. Masks, such as this one, may be commissioned from a recognized carver by a friend or relative, or by the initiate himself. Nyau masks can represent spirits of the deceased, wild and unruly spirits, or even caricature personalities from the community. This extraordinary mask is carved from a dense, oily hardwood and sparingly decorated top: Joe Gladden, Sally Gladden, Charles S. Ackerman, and Bonnie Speed.
above: Nyau Society Mask. Chewa, Malawi. Mid-twentieth century. Wood, fabric, twine, human hair, pigment, beads. Gift of Sally and Joe Gladden in honor of Charles S. Ackerman, 2015 Woolford B. Baker Service Award Recipient.
mccm mccm
1199
SupporttheCarlos Veneralia Revealed A Feast at the Fez
Save the date for Bacchanal 22: A Toast to the Northwest Coast on Saturday, November 7! co-chairs Meredith Bell, Associate Recruiting and Professional Development Coordinator at Fisher & Phillips llp, and Miles Zadnichek, Assistant Manager of Revenue Accounting at Norfolk Southern Railway, invite you to celebrate twenty-two years of Bacchanal—a vibrant evening of music, drink, and sumptuous cuisine. This fall’s “friendraising” party will celebrate the artistic, cultural, and spiritual contributions of the indigenous peoples of the Pacific Northwest and the special exhibition Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection on view from October 10, 2015 through January 3, 2016. Bacchanal proceeds support the programs that make the Carlos Museum not only unique, but also fabulously fun. Visit carlos.emory. edu/bacchanal for more information or to purchase tickets. Z
above: Bacchanal Co-chairs Meredith Bell and Miles Zadnichek 20
fall 2015
museum friends donned festive attire for a delicious meal of traditional Moroccan fare at The Imperial Fez restaurant April 17 during Veneralia Revealed. The meal included Harira (Moroccan lentil soup), roasted lamb, Cornish hen tagine, and Moroccan mint tea. Carlos Museum Board member Robert Long of Robert Long Flora Designs added distinctive flare to the festive décor at the restaurant. Annette Joseph and Currie & Co. contributed two very special Moroccan experiences to the silent auction, while Spalding Nix served as auctioneer. The revelry continued when dj Kemit turned it up at the After-Party. Funds raised at Veneralia Revealed went to support the Carlos Museum’s innovative educational programs for children and adults. On behalf of Veneralia Revealed Chairs Rebecca and Sidney Yarbrough, Patron Chairs Reid Mizell and Bernard van der Lande, and the museum Advisory Board and staff, we would like to extend our gratitude to the generous donors who contributed to the success of the gala this year: Gold Sponsors Anonymous, National Distributing Company, Publix Super Markets Charities; Silver Sponsors Delta Air Lines, Fidelity Bank, Imperial Fez, Times 3; Bronze Sponsors Burr and Forman, llp, Robert Long Flora Design; Media Sponsor The Atlantan; Gold Benefactors Nicole and Chris Carlos, Ruth Magness Rollins, Rebecca and Sidney Yarbrough; Silver Benefactor Marc D. Taub; Bronze Benefactors Tara and Richard Aaronson, Sally and Joe Gladden, Sara and John Shlesinger, and Dina and Ed Snow. Save the date for the 25th Veneralia: Saturday, February 20, 2016. Z
D
A
B
A
Veneralia revelers included: A Annette Joseph, Sid and Becky Yarbrough, Frank Joseph; B Marianne Lambert, Joe Massey, Joan Sammons, and Lauren Giles; C Frank Elliott, Dina Snow, Bonnie Speed, and Rafih Benjelloun; D Jim and Sally Morgens; E Trey Starke and Lisa Mitchell Parrish; F Chris and Nicole Carlos; G Paul Mallchok and Claudia Goldbach
C
E
F
G
F
mccm
21
SupporttheCarlos Donor Spotlight baxter jones 79c remembers visiting the Emory University museum as an undergraduate, “when it was in a corner of the old law school building.” A Councillevel member of the Carlos Museum and a longtime Veneralia patron, he has been an ardent annual supporter for two decades and notes, “It is the one place in Atlanta where you can see the artwork of several civilizations going back thousands of years.” Annual contributions like Jones’ help the museum continue to provide the community with unique opportunities to connect with art of the past. For information about how you can help, contact Jennifer Long, Assistant Director of Development, at 404-727-2115 or Jennifer.long@ emory.edu. Z
The Carlos Museum announces 100 free admission days in celebration of its upcoming centennial in 2019, the Carlos Museum will celebrate the 100th anniversary of its formal founding at Emory University’s Atlanta campus. The museum is planning a series of exhibitions, programs, and special events as part of the centennial year and will offer 100 free days to celebrate this important milestone. One hundred free admission days will be scheduled between now and 2019 as a way to thank the community whose support has played such
a significant role in the story of the museum’s success. Emory’s collections date back to 1876 when a general museum was established in the library of the original campus in Oxford, Georgia. In 1915 the collections were moved to the new Atlanta campus, and in 1919 Bishop Warren A. Candler, Chancellor of the University, officiated over the formal founding of the Emory University Museum. In 1920 Professor William A. Shelton of Emory’s Candler School of Theology participated in an expedition to Egypt and the Middle East and brought back mummies, painted coffins, and many other artifacts that formed the foundation of the museum’s renowned collections of ancient art. Today the Carlos Museum is internationally known as a destination for world-class collections, innovative public educational programs, state-of-the-art conservation initiatives, and critically acclaimed exhibitions that reflect the sweeping reach of the Emory academic community. For a complete list of free admission days, please visit carlos.emory.edu/centennial. Z
Last Look at African Cosmos on june 18, the Carlos Museum and the Smithsonian’s National Museum of African Art (nmafa) co-hosted a closing “last look” reception for African Cosmos: Stellar Arts to celebrate a successful partnership in bringing the exhibition to Atlanta. Director of the nmafa, Dr. Johnnetta Cole, former Georgia Tech president and recent secretary of the Smithsonian, Wayne Clough, and Carlos Museum Director Bonnie Speed welcomed guests. Z
above: Long-time donor Baxter Jones 22
fall 2015
above: Dr. Johnetta Cole, Dr. Wayne Clough, and Bonnie Speed at the African Cosmos “last look” reception.
Membership we extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between February 2015 and July 2015. Your support is greatly appreciated and we look forward to seeing you at the Museum for many years to come. Not yet a member? Visit carlos.emory.edu/join to join the ranks of these generous supporters. To upgrade your membership, call 404-727-2623. D I RECT OR’ S C O U N C I L
DOR IC PATR ON
Mrs. William B. Astrop Mr. and Mrs. M. Edward Ralston Dr. William E. Torres and Mr. Donald Jack Sawyer, Jr.
Mr. Michael J. Andrechak and Ms. Kathryn Seybert Dr. and Mrs. Michael E. Bernardino Mr. and Mrs. Thurman Cary Ms. Dorothy Anne Cunningham Mr. and Mrs. Larry E. Curry Mr. Jefferson James Davis Dr. and Mrs. Shelley Carter Davis, Jr. Dr. Robin Henry Dretler and Ms. Alice K. Michaelson Mr. and Mrs. Steven E. Fox Mr. and Mrs. Carl I. Gable, Jr. Mrs. Sally Willingham Hawkins Mr. and Mrs. J. Timothy Johnson Mr. and Mrs. Paul J. Kastin Mr. and Mrs. Arnold H. Kurth Ms. Lorraine E. Loftis Mr. and Mrs. Dileep Mehta Ms. Martha J. Mills Prof. Gordon Darnell Newby and Dr. Wendy L. Newby Mr. and Mrs. Richard E. O’Harrow Mr. L. Richard Plunkett, Jr. Mr. and Mrs. Walton H. Rawls Dr. Sudha Dharmareddi Reddy Ms. Mina Rhee Mr. Darryl C. Payne and Mrs. Lisa C. Richardson Dr. Henry C. Ricks, Jr. Mr. David P. Robichaud and Ms. Sharon McClelland Mr. Gerald R. Cooper, Jr. and Mrs. Charlotte F. Slovis-Cooper Mr. and Mrs. Barry Lee Spurlock, Sr. Dr. and Mrs. Gary W. Tapp Ms. Virginia S. Taylor Mr. and Mrs. Leonard W. Thibadeau Mrs. Linda DeFoor Wickham
CURATORS ’ C O U N C I L
Mr. and Mrs. Charles G. Crawley Dr. and Mrs. Overton Anderson Currie, Jr. Dr. Erl Dordal and Ms. Dorothy K. Powers Mr. Kenneth Stewart Falck Mrs. Louise S. Gunn Dr. Jiong Yan and Mr. Baxter P. Jones Mr. James H. Landon Dr. and Mrs. John Laszlo Mr. and Mrs. William Thomas Mobley, Jr. Mr. and Mrs. S. Jay Patel Mrs. Elizabeth Morgan Spiegel CORIN T HIA N P ATRO N
Drs. Michael Lyn Flueckiger and Joyce Burkhalter Flueckiger I ON IC PAT RO N
Dr. Delores P. Aldridge Ms. Merrily C. Baird Ms. Diane Byrd Bartlett Dr. Daniel B. Caplan Mrs. Carolyn J. Childers Dr. Joseph Kirk Edwards Mrs. Judy W. Hemenway Mr. W. Seaborn Jones and Ms. Bonnie Speed Dr. and Mrs. Frank R. Joseph Mr. and Mrs. Melvin A. Perling Mr. and Mrs. William C. Rawson Mr. and Mrs. Raul F. Trujillo Mr. and Mrs. Joseph B. Vivona Messrs. Gary Youngblood and James Michael Lorton
Z
Thank you mccm
23
michael c. carlos museum emory university 571 kilgo circle atlanta, ga 30322 carlos.emory.edu
Member
Comingup
Visitorinformation
August 22, 2015–January 3, 2016
Hours Tuesday through Friday:
‘The Waters and the Wild:’ Alen MacWeeney Photographs of Ireland October 10, 2015–January 3, 2016
Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection January 23–May 15, 2016
Between the Sweet Water and the Swarm of Bees: Works by Susanne Wenger February 13, 2016
New African Galleries open
Stayconnnected Stay connected on our Facebook page with event reminders, specials, notes from curators, and exhibition information. Subscribe to our Carlos Museum calendar and enjoy lectures, the Carlos Reads book club, AntiquiTEA, family events, and more. Visit carlos.emory.edu/connect
10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. Admission $8 general admission. Carlos Museum members, Emory students, faculty, and staff: Free. Students, seniors, and children ages 6–17: $6 (Children ages 5 and under free). Visit our website to find out about Free Afternoons.
Handicapped parking Drop off at
Plaza level entrance on South Kilgo Circle. Handicap-accessible parking is available in the Oxford Road and Peavine parking decks. Limited handicap parking spaces are available along Kilgo Circle during weekends, and cars must display state issued hangtag. A handicap-accessible shuttle (shuttle D) runs from the Peavine parking deck weekdays every 10 minutes. For further assistance contact the Disability Services Office at 404-727-9877.
Public transportation marta bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations.
Tours Advanced booking required
Parking Paid visitor parking in
Public tours Depart from the
the visitor sections of the Fishburne and Peavine Parking Decks and in the new Oxford Road Parking Deck, located behind the new Barnes and Noble @ Emory, 1390 Oxford Road.
rotunda on Sundays at 2 pm. Call in advance, 404-727-4282.
for weekday or weekend groups of 10 or more. For reservations call 404-727-0519 at least two weeks before your group would like to visit.
Multimedia audio guide $2. Free for
museum members. Museum information 404-727-4282 Web access carlos.emory.edu
mccm
24