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Director’sletter calling all animal lovers! Do we have an exhibition for you! Divine Felines: Cats of Ancient Egypt is an exciting collaboration with the Brooklyn Museum, highlighting the cultural importance of cats as seen in the art of the ancient Egyptians. The exhibition in Brooklyn focused exclusively on felines; however, Curator of Ancient Egyptian, Nubian, and Near Eastern Art, Dr. Melinda Hartwig, decided to expand the theme to include a gallery devoted to the role of canines. Whether you are a cat person or a dog person, or just love everything Egyptian, the exhibition is sure to delight. The Near Eastern art galleries are now closed for a total renovation, generously funded by a museum Advisory Board member and his family. With walls removed, galleries reconfigured, and new technology imbedded within the didactics, the new Morgens West Foundation Galleries of Ancient Near Eastern Art will open in early November. A special exhibition is on display in the Howett Works on Paper Gallery. Organized by Emory students who participated in the Fall 2017 seminar on the Ramayana, “Tell the Whole Story from Beginning to End:” The Ramayana in Indian Painting showcases the museum’s collection of
Indian paintings. We appreciate the expertise of Emory professors Ellen Gough and Marko Geslani as well as the research skills of the students involved, and we are grateful to Jay Patel and Pyush Patel and their families for helping us grow this beautiful collection. And exciting news for the new year comes in the form of Ebrik Coffee Room moving into the cafe space on the Level Three. For those of you not familiar with Ebrik, all I can say is…be prepared to experience the best coffee in Atlanta at the Carlos Museum. These and more museum stories await you within the pages of this newsletter from people to programs, and I hope reading about our work will inspire you to visit soon. As always, I look forward to seeing you in the galleries.
B on n ie Speed Director
cover: Statuette of a Cat. Egyptian. Third Intermediate Period, ca. 1076–723 bc. Bronze. Gift of Anne Cox Chambers. Photo by Bruce M. White. 2
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OnView
DIVINE FELINES: CATS OF ANCIENT EGYPT FEBRUARY 10– NOVEMBER 11, 2018 to know a cat is to take certain behaviors for granted. Of course a cat will choose to lounge in a puddle of sun; that is her favorite napping spot. Should she sense prey, of course she will follow it in fierce pursuit. Unexceptional today, these traits meant something more in ancient Egypt. There, they were expressions of a cat’s connection to the divine. As visitors to Divine Felines: Cats of Ancient Egypt, an exhibition organized by the Brooklyn Museum, will learn, the ancient Egyptians did not worship cats as is popularly imagined, but rather deities with cat-like features. In practice, cats were a part of nearly
every aspect of ancient Egyptian life. With more than 90 objects dating from the Middle Kingdom to the Roman Period, Divine Felines conveys the many ways they were integral to Egyptian kingship, mythology, and everyday life.
above: Cat with Kittens (detail). Late Period to Ptolemaic Period, Dynasty 26 or later, ca. 664–30 bc. Bronze, solid-cast and wood. Brooklyn Museum, Charles Edwin Wilbour Fund.
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“The ancient Egyptians looked to nature to explain their world,” explains Melinda Hartwig, curator of ancient Egyptian, Nubian, and Near Eastern art. In nature, they saw cats both big and small, feral and tame, and fierce and nurturing. Feline duality paralleled that of the Egyptian worldview, “which divided [the] universe into Upper and Lower Egypt (south and north), the fertile Nile Valley and the surrounding desert (black land and red land), and the orderly land of Egypt itself and the chaos beyond,” according to Yekaterina Barbash of the Brooklyn Museum. Feline duality was not earthbound; it transcended the domestic to reach the divine. The ancient Egyptians found evidence of divinity in the cat’s complexity as revealed in their behavior. The awesome hunting abilities of the cat seemed imbued with magic, and its love of warmth linked them to the sun god, Re. Duality manifested itself within the realm of the divine, too, notes Hartwig: “Goddesses could be cuddly like the cat Bastet, or bloodthirsty like the lioness Sakhmet.” Sweet or in a rage, divine felines provided a measure of protection to those who venerated them. The mother goddess Bastet protected the home, women, and children in particular. Sakhmet famously came to earth to quell mankind’s rebellion at the request of her father, Re.
Dogs, who are briefly examined in the exhibition, were also linked with the divine based on their earthly qualities. Though some dogs were kept as pets, others lived with jackals on the edge of society, near the desert cemeteries. Here, Egyptians linked them with burial practices and considered them protectors of the dead. The dog’s powerful sense of smell furthered fixed their association with death and the afterlife. Who better to guide the dead in their transition than the keen-nosed Wepwawet, whose name translates to “Opener of the Ways?” Like dogs, cats were also called upon in important moments of transition. As divine canines assisted with humans’ passage into the afterlife, divine felines (particularly the male gods Bes and Tutu), were associated with birth. For protection during childbirth, for example, pregnant women wore amulets depicting Bes. Present as divinities at the most significant times, cats and dogs were also at hand domestically for the most mundane moments. Then, as now, small cats’ hunting ability endeared them to humans. While ancient Egyptian pets weren’t typically accorded the same status as pets today, artisans depicted them in situations that should be familiar to modern pet owners. “In art,” says Hartwig, “cats often appear under their owner’s chair, eating fish or gnawing on a bone.” The sculptures, textiles, jewelry, and funerary objects in Divine Felines reveal the intimacy of the humananimal relationship. One tomb relief included in the exhibition, for example, bears the image of a male walking a dog on a leash. A hieroglyphic caption above the dog reads “Heben,” which translates as “Ebony.” From these simple hieroglyphs, Hartwig suggests, one
above: Spoon with Jackal Handle. New Kingdom, Dynasty 18, ca. 1539–1292 bc. Wood. Brooklyn Museum, Charles Edwin Wilbour Fund. 4
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WHILE ANCIENT EGYPTIAN PETS WEREN’T TYPICALLY ACCORDED THE SAME STATUS AS PETS TODAY, ARTISANS DEPICTED THEM IN SITUATIONS THAT SHOULD BE FAMILIAR TO MODERN PET OWNERS.
can surmise that the dog, Ebony, was black and meant a great deal to his owner. It is an over-simplification to say that the only things certain in ancient Egypt were life, death, and cats, yet the significance of the latter thoroughly permeated the culture. Divine Felines: Cats of Ancient Egypt is organized by the Brooklyn Museum. This exhibition has been made possible through generous support from the Forward Arts Foundation with additional support from Northern Trust. Z
above: Tomb Relief. Egyptian. Old Kingdom, Dynasty 5–Dynasty 6, ca. 2435–2152 bc. Limestone. Michael C. Carlos Museum. Gift of Ellen and Wayne Bailey. Photo by Bruce M. White.
above: Finial with Figure of the God Bes. Third Intermediate Period, Dynasty 21–Dynasty 25, ca. 1075–656 bc. Bronze. Brooklyn Museum, Charles Edwin Wilbour Fund.
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“TELL THE WHOLE STORY FROM BEGINNING TO END:” THE RAMAYANA IN INDIAN PAINTING JANUARY 13–MAY 20, 2018 what happens when individuals give and lend works of art to a museum? At a teaching museum like the Carlos, they don’t just go on display. They actually have the capacity to change the way faculty teach and students learn. Over the last several years, museum donors Jay Patel and his family and Harshna and Pyush Patel and have become avid supporters of the Carlos Museum’s collection of South Asian art. Guided by Director Bonnie Speed and Dr. Joyce Flueckiger, of Emory’s Department of Religion, they have purchased Indian paintings to support two specific areas of teaching in South Asian religions —scenes of the great Sanskrit epic, the Ramayana, and avatars of the Hindu god Vishnu. As the growth of the collection gained momentum, Elizabeth Hornor, Ingram Director of Education, approached professors of
WHEN YOU GIVE A MUSEUM A PAINTING, AND WHEN THE MUSEUM INVITES FACULTY AND STUDENTS TO UTILIZE THAT PAINTING TO THE FULLEST EXTENT, THE IMPACT IS FAR-REACHING.
religion Ellen Gough and Marko Geslani about altering the traditional textual approach to teaching the Ramayana to include a simultaneous study of the art, which could culminate in a student-curated exhibition. “Many of our courses in Religious Studies focus on texts, and use visual and material culture only as supplementary evidence,” notes Gough. However, in The Art of the Hindu Epic, the course Gough and Geslani subsequently created and taught in fall 2017, “we often let the paintings lead us to the text, allowing us to read the Ramayana in a way very different from typical courses on the epic.” In addition to the conservation of the paintings, funding from the E. Rhodes and Lenora B. Carpenter Foundation and the Andrew W. Mellon Foundation made it possible to bring to campus renown art historians Forrest McGill of the San Francisco Museum of Asian Art, Daniel Ehnbom of the University of Virginia, and Debra Diamond of the Freer/Sackler. In class sessions, the scholars helped students understand the artwork in the larger context of Indian painting traditions, and shared their own experiences curating Ramayana exhibitions. The scholars also gave public lectures, after which they continued the conversation over intimate Indian dinners with students, faculty, museum staff, and patrons Jay Patel and Pyush Patel. Carlos Museum staff also offered their expertise. Students met with
above: Debra Diamond of the Freer/Sackler and students arranged copies of the paintings as they discussed various ways the exhibition might be organized. 6
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paper conservator Elizabeth Shulte and Carlos Chief Conservator Renée Stein, who introduced them to the materials and techniques used to create the paintings as well as to issues surrounding the display of these fragile works on paper such as matting, framing, and appropriate light levels. Director of Exhibition Design Joe Gargasz worked with the students to lay out the show in a computer-simulated gallery and select graphic treatments, paint colors, and framing materials, and Hornor offered instruction on writing wall labels. When you give a museum a painting, and when the museum invites faculty and students to utilize that painting to the fullest extent, the impact is far-reaching. Senior Tarun Swaminathan thought the class was one of the best he has taken at Emory, stating “We were able to apply what we learned directly. Our final presentations and labels were the culmination of a semester’s worth of research and discovery.” “Through co-teaching, interdisciplinarity, hands-on learning, and self-directed research, the students entered into to a unique engagement with the past,” confirms Geslani, who was especially pleased with the students’ final papers, which were based on the particular painting each had chosen to study: “This could only have been accomplished continued next page
above: Ravana Fights Back. Jaipur, India. 1840. Opaque pigments on paper. Courtesy of Harshna and Pyush Patel.
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OnView continued
"WE HOPE TO CONTINUE TO EXPAND OUT COLLECTION FOR MANY YEARS.”
through each student’s semester-long relationship to their painting.” Donors Harshna and Pyush Patel affirmed the impact of the course. “What a fantastic way to teach and learn Hinuduism! We are honored to be able to contribute to such meaningful research.” Jay Patel felt a strong connection to the museum’s mission of supporting teaching and learning: “I am honored to play a small part in assisting the professors of Religious Studies to further the exposure, knowledge, and understanding of Hinduism to the students via our contribution of the paintings.
My mother was a teacher for many years, and my greatest joy is meeting the students, hearing their passion, and seeing their excitement as they describe the individual painting they are studying: what it means to them, how they interpret each aspect, and most important, how they connect to the piece. We hope to continue to expand on our collection for many years.” From beginning to end and beyond (Gough and Geslani hope to teach a similar course using the museum’s impressive collection of paintings of avatars of Vishnu), this exhibition has demonstrated that the whole story, from a collection’s beginning to hopes for its future, is one worth telling. Z
above: An Illustration to the Ramayana. Mewar, India. Ca. 1710. Opaque watercolor and gold on paper. Gift of William E. Torres. Photo by Bruce M. White. 8
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CarlosCollections New acquisition among the most enigmatic and amusing creations in glass from the ancient world are small containers made in the form of fish. Beyond the facts that their small size and, in some cases, elaborate decoration are suggestive of precious contents (perhaps perfumed oil or unguent) their function is not clearly understood. Two groups are known. The more plentiful, plain examples were made in Syria and Palestine. Some of these were equipped with bronze chains and served therefore as pendants. Just a few that were more distinguished technically, being made from clear and blue glass, were made in Cologne in late antiquity.
Through the generosity of the Visiting Board, the museum acquired a particularly fine and well-preserved example of this latter series. To the body of the fish, formed from thick, clear glass, were added trails of dark blue to delineate its mouth, eyes, gills, fins, and tail. The whole was then blown gently to achieve a lifelike shape. The significance of this production may be inferred from the fact that one of the series made its way in antiquity from the Rhine Valley to Afghanistan, where it was excavated at Begram.
Form and function are not the only aspects that are open to debate. The glass workshops in Cologne were among the first to make artifacts for Christian communities, engraving clear bowls with stories like the raising of Lazarus. While these have been dated somewhat later than the Carlos fish, the question remains whether at least some fish may have been made with early Christian families in mind. If so, the fish may count as an early luxury counterpart for the popular pottery from North Africa of which the museum has extensive holdings. Z
above: Fish Flask or Pendant. Roman. Imperial, 3rd–4th century ad. Glass. Gift of the 2017 Visiting Board.
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Educationnews Threads of Time programming highlights the ties that bind curious, friendly, and intelligent, they were fairly representative of Carlos Museum visitors, and like the others in attendance that day, they thoroughly enjoyed themselves. The trio was unable to visit Threads of Time: Tradition and Change in Indigenous American Textiles in the galleries, but as a pair of llamas and an alpaca (members of the camelid family), they preferred to stay outside. The llamas and alpaca, on hand to help visitors “get a feel” for the textiles made from their wool, were a popular part of the Day in the Andes family event, which coincided with Emory’s homecoming weekend. Celebrating the culture that produced many of the works featured in Threads of Time, the event also featured Peruvian food, crafts, and the opportunity to try drop-spindle spinning with llama and alpaca wool under the guidance of members of the Peachtree Handspinners Guild. Exhibitions like Threads of Time bring patrons of all ages and backgrounds together for a thematic focus on art and culture over a sustained period. The experience of learning together prompts us to consider how we connect with art and as a community, understanding that the ties that bind us are many as well as varied.
right top: Dulemola (Blouse Panel) with Women in European Skirts. Central America, Guna Yala (San Blas Islands/North Coast of Panamá). Guna. Late 20th century. Cotton. Anonymous gift. Photo by Bruce M. White.
right bottom: Wildlife Wonders of Cleveland, Georgia, provided two llamas and an alpaca. opposite page top: When Ana Vizurraga and Alyson Vuley couldn’t find an appropriate book for Artful Stories, they created one of their own. opposite page bottom: Visitors to a Day in the Andes decorated paper llamas with pompoms and tassels. 10
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If we believe that the way to the heart is through the stomach, then it’s not a stretch to say the path to the mind travels that route, too. Three different exhibition-related tasting opportunities promoted a culinary connection to the art and the culture that created it. Chef David Sweeny shared quinoa, a staple of the Andean diet, and other ancient grains. Batdorf and Bronson Coffee Roasters helped visitors explore the geography, climate, and economy of Central America through a tasting of several coffees grown there. Julian Goglia, beverage director at The Mercury and The Pinewood, led a tasting of rums made from sugarcane grown in the rich volcanic soil of Guatemala.
Threads of Time presented a special opportunity for fiber and textile artists to learn about how textiles in the exhibition were created. Workshops covered spinning, dyeing, weaving, and the
complex layered cut-fabric technique used by the Guna women of Panama. These classes provided insight into the array of natural materials used, the time and skill required to create such complex works, and the meaning behind traditional patterns.
A desire to introduce the museum’s youngest visitors to Threads of Times led education department staff members Alyson Vuley and Ana Vizurraga to try something new for Artful Stories, a program that pairs a children’s book with a related art project suitable for three to five- year-olds. Unable to find a picture book about molas (cutwork panels) and the Guna people of Panama, Vuley and Vizurraga created one themselves based on molas found in the exhibition. Next, Vizurraga created an activity that simplified the textile techniques without compromising visual complexity, which had children making their own molas by layering brightly colored papers with shapes cut out of them. With culture and creativity woven into the fabric of the Carlos Museum experience, it’s impossible to measure the impact of the power of camelids, coffee, and colored paper to attract a community of lifelong learners. What path will you take to the Carlos? To learn more about our events, check out our calendar at carlos.emory.edu/visit/calendar. Z
above: Dulemola (Blouse Panel) with Leatherback Turtle. Central America, Guna Yala (San Blas Islands/ North Coast of Panamá). Guna. Late 20th century. Cotton. Anonymous gift. Photo by Bruce M. White.
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CarlosConservation How many museum professionals does it take to move a collection? A collections move project always requires “all hands on deck,” and the Carlos Museum is delighted to welcome Michaela Paulson to its crew. Michaela is a graduate student in the University of California, Los Angeles/Getty Conservation Institute program in art conservation, currently completing the final year of studies through internship placements. Having worked last summer at the Historic Architecture, Conservation, and Engineering branch of the National Park Service in Lowell, Massachusetts, she spent the fall and early winter at Yale University Art Museums in New Haven, Connecticut. Michaela joins the Carlos Museum’s Parsons Conservation Laboratory for six months, before returning to California to receive her Masters of Arts in the Conservation of archaeological and ethnographic materials. Michaela arrived just in time to help deinstall the Near Eastern galleries. All of the objects had to be systematically removed from the galleries to make way for construction and repainting. But they didn’t have to travel far! One of the rotating galleries on Level Three was converted into a storage room where a temporary wall was built and rows of shelving erected to house the displaced objects during renovations. The objects were carefully relocated through the choreographed efforts of collections staff, including registrars, designers, preparators, and conservators.
Small objects, including figurines, cylinder seals, and pots, were removed from their display mounts and transported on carts, using the museum’s freight elevator that services the gallery levels. Larger sculptural reliefs required hydraulic lifts and skilled muscle. An experienced rigging crew was contracted to move especially heavy objects, such as the head of Medusa. As objects were removed from display cases, registrars tracked their locations. Even the mounts were
tagged and organized so that these custom-fitted supports could be protected and then reused. Conservators will examine the objects’ conditions and note any instabilities that should be addressed through treatment before the objects are returned to display. These objects must also be treated and have mounts made. A number of objects from storage will be added to the new gallery layout. The reinstallation of the newly named Morgens West Foundation Galleries of Ancient
above: Michaela Paulson repairs a polychrome wood figure of a praying nun in the conservation laboratory at Yale University, where she interned in Fall 2017. 12
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THE PARSONS CONSERVATION LABORATORY REGULARLY HOSTS INTERNS WHO ARE PREPARING FOR OR PURSUING GRADUATE WORK IN CONSERVATION.
Near Eastern Art will proceed according to plans developed by the curator and designer. Such a collaborative undertaking provides a great learning opportunity, enabling Michaela to participate in all aspects of this comprehensive project. In addition to the collection move, she will carry out individual object treatments in the lab along with Near Eastern Project Conservator Brittany Dinneen, Advanced Mellon Fellow Jessica Betz Abel, and Chief Conservator Renée Stein.
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Like the deinstallation, conservation, and reinstallation of a piece of art, the work of a conservator is also part of a cycle. The Parsons Conservation Laboratory regularly hosts interns who are preparing for or pursuing graduate work in conservation. Internships provide requisite applied learning, while interns bring new methodologies and practices to enhance the lab’s capabilities, and mentorship is a rewarding and important contribution to the field. Z
above: To prepare this Hittite model house for installation in the renovated Morgens West Foundation Galleries of Ancient Near Eastern Art, conservator Brittany Dinneen has replaced old adhesive and added fill material to help with visual reintegration. 1) Before conservation. 2) A solvent vapor chamber softens old adhesive. 3) Resistance bands apply even pressure to the new adhesive. 4) New fill material has been added and will be toned to match the house.
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CarlosFeatures In memoriam: Charles Ackerman in september, the Carlos Museum lost long-time advocate and dear friend Charles Ackerman. An Advisory Board member for many years, Charlie became Chair of the Board in 2003. One of his first outings in this new position was to accompany the mummy thought to be Ramesses i on its journey back to Egypt. He participated in the press conference at the Egyptian Museum in Cairo as the transfer of the mummy was made, and then visited a host of rarely seen archaeological sites for the next two weeks with the museum entourage— an auspicious beginning to his tenure as Chair. Charlie was a consummate leader, one who offered solid advice and astute guidance. He introduced the Carlos Museum to colleagues and friends, helped build the Advisory
above: Charles Ackerman 14
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Board with dedicated and enthusiastic members, and as an art collector, he helped the museum enhance its collections. Because he believed in all aspects of the museum, he supported all aspects of its work from acquisitions and exhibitions to educational programs, conservation, and technology upgrades. Charlie absolutely loved the museum and thoroughly believed in the power of art to change lives. If the Carlos Museum could have a human avatar, it would definitely take the form of a person very much like Charlie: globe-trekking, adventurous, curious, inspiring, dynamic, elegant, and with a great thirst for knowledge, dedicated to educational experiences. And did I mention quality? Indeed, the highest of quality in all endeavors. How fortunate that we have Ackerman
Hall as a reminder of Charlie’s spirit and influence—a perfectly named space, for it’s a gathering place for lectures, concerts, workshops, symposia, and yes, parties! On a personal note, I am grateful for the decade Charlie served as Advisory Board Chair, allowing us to work closely together on museum issues, directions, challenges, and successes. He was generous with his time, supportive, a fabulous sounding board, and always ready with thoughts and suggestions on how to think outside the box. And he was a friend. I will greatly miss the phones calls that always started with “I was thinking about what you said at the last meeting. Now what if…” Bonnie Speed Director
Ackerman bequest charles ackerman left a lasting legacy at the Carlos Museum through his bequest of more than 120 works of African art. It is clear that Charlie collected what he found beautiful, intriguing, and captivating, creating a diverse, impactful, and exciting gift. There are several works that visitors to the Carlos will recognize, including the 18th-century Do Muso maiden mask from Côte d’Ivoire, a stunning and rare early example of metalwork that shows the cross-cultural impact of European trade, the spread of Islam, and traditional Mande artistic practice achieved after the rise of the Mali Empire. Charlie’s collection also included numerous Yoruba beaded crowns from southwest Nigeria in stunning condition and several ibeji (Yoruba twin figures) wearing tunics embellished with colorful beads and cowrie shells. Charlie’s final acquisition was a gift to the museum of a pair of South African Nguni cattle horns inscribed with scenes from the Anglo-Zulu war of 1879. Like the Do Muso mask, these horns are extremely rare: little more than a dozen are known and only three pairs exist—one pair in the British
above: Pair of Nguni Cattle Horns. South Africa, Zulu. 19th century. Gift of Charles S. Ackerman. Photo by Bruce M. White.
Museum, one pair in the Smithsonian’s collection, and, thanks to Charlie, one pair here at the Carlos Museum. Charlie, known at the Carlos for his curious mind, adventurous spirit, and generous nature, enthusiastically built his collection. Now, thanks to his thoughtfulness, the collection is one that we may share with our community. Z Amanda H. Hellman Curator of African Art
top: Do Muso Mask. Côte d’Ivoire, Dyula. 1770–1890. Pewter, brass. Gift of Charles S. Ackerman and Joanne McGill-Ackerman. Photo by Bruce M. White.
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CarlosFeatures Board news the carlos Museum Advisory Board is pleased to welcome three new board members this year: Watt Boone, Rachel Dubroff, and Jonathan Parris. Watt Boone is a managing director of GMT Capital, and serves as portfolio manager of the firm’s investments in the healthcare sector. Watt is an Atlanta native and graduated with an a.b. in History from Dartmouth College, a Master of Studies in Archaeology from the University of Oxford, and an mba from Stanford University. Rachel Dubroff is an internist in New York City with an interest in the use of art history and studio art in medical education. Jonathan Parris is a private client advisor at U.S. Trust, Bank of America Private Wealth Management. Jonathan has more than 20 years of financial services experience since beginning his career with JP Morgan Chase & Co. in New York City. He holds the Certified Financial Planner certification and Certified Investment Management Analyst designation from the Investment Management Consultants Association administered by The Wharton School at the University of Pennsylvania. Jonathan received his bba in Accounting from Pace University in New York City and his mba from Emory University’s Goizueta Business School. This year, Advisory Board dues facilitated new audiovisual equipment in the Tate Room, the Board Room, and Ackerman Hall, for which the museum wishes to thank the board.
top: Watt Boone middle: Rachel Dubroff bottom: Jonathan Parris 16
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The Carlos Museum Visiting Board, established to complement the Advisory Board as a group of ambassadors, welcomed seven new members at the fall annual meeting held September 15, 2017, at the museum. Members of the Visiting Board 2017-2018 are: Robin Beningson Rafih Benjelloun Joseph Coplin Betty Jo Currie Norma Edenfield Lauren Giles Sally Gladden Gail Goodwin Marian Hill Francis Humann Elizabeth Ingram Baxter Jones Sandra Kirschenmann Pat Laszlo Joe Massey Andrés Mata Clara O’Shea Pyush Patel Chiara Visconti de Modrone-Pervanas Angelos Pervanas Nicholas Pisaris Charles Ralston Ruth Magness Rollins Bill Roth Norma Roth Monique Seefried Jagdish Sheth Michele Silver Elizabeth Morgan Spiegel Patricia Stone Caroline Tucker Glenn Weiss Jiong Yan Becky Yarbrough Z
New lecture endowment
New staff Ben Brundige joined the Carlos Museum in May as the accounting assistant. Before working at the Carlos, he lived and went to school in Macon, Georgia, where he studied accounting at Middle Georgia State University. Ben enjoys learning about the histories and mythologies of ancient civilizations and is excited to work in an environment that encourages the exploration and relevance of classical ideas to modern life. Allison Hutton joined the Carlos Museum in October as the Director of Communications and Marketing. She is an alumna of the University of Chicago, where she studied early American literature. Prior to joining the Carlos, Allison worked at Georgia Humanities. She and her husband are the parents of two divine felines, Popeye and Gary. From the Mixed-up Files of Mrs. Basil E. Frankweiler is one of her favorite books. Z
museum docent and long-time educational program supporter Lyn Kirkland has endowed a new lecture fund in memory of her mother. The Grace W. Blanton Lecture Fund will provide resources each year to support a lecture of note. Prior to establishing the endowment, Kirkland had supported lectures about cultural destruction in the Near East with a focus on Aleppo and Palmyra, Syria, and more recently, she helped fund the January 21, 2018, Maya Hieroglyphs lecture, “The Maize God and the Deer Lord’s Wife,” delivered by Dr. Marc Zender of Tulane University. “Over the years, Lyn has supported the educational mission of the Carlos Museum in countless ways, from her masterful teaching in the galleries as a docent, to her generous financial support of educational programs with the lecture fund in honor of her mother, Grace W. Blanton,” notes Ingram Director of Education Elizabeth Hornor. Z
top left: Bowl with Seated Maize Gods. Mesoamerica, Coastal Campeche. Maya. Late Classic–Terminal Classic, ca. 600–950 ad. Ceramic. Gift of William C. and Carol W. Thibadeau. Photo by Michael McKelvey. above left: Ben Brundige left: Allison Hutton
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CarlosFeatures Retiring and sure to be missed Gail Habif began her career with the museum in December 1993, hired on contract to organize Veneralia before formally joining the museum as Special Events and Membership Manager. In this role, she worked with colleagues to create the first Bacchanal, among many other endeavors. She became the museum’s Coordinator of Public Affairs in 2001, and in 2007 moved to development, first as Assistant Director of Development, then Director of Development, and most recently as Senior Director of Development. Leading the museum through Campaign Emory, Gail and her team raised significant money for endowment, secured funds to support special projects such as exhibitions and educational
programs, and worked in concert with curators and collectors/patrons to secure works of art, with over $34 million raised by the campaign’s end in 2012. According to Director Bonnie Speed, “Cultivating strong relationships and stewarding patrons in meaningful ways is so important to nonprofit institutions, and Gail excelled in this aspect of her position. Her work with individuals as well as corporations and foundations was impressive, and the museum has greatly benefitted from her efforts. From overseeing the naming of Ackerman Hall to the soon-to-be-named Thalia N. Carlos Education Center, Gail has been a tireless and skilled advocate for the museum, inspiring so many to support our work.”
above: Gail Habif (right) with Membership Program Coordinator Kate Stanton (left) and Associate Director of Development Jennifer Long (middle) 18
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Joyce Daniels arrived at the Carlos Museum in 1999 to take the position of Assistant to the Director, and served in that role throughout her tenure at the museum. Responsible for the daily management of the Director’s Office, Joyce was also secretary to the museum’s Advisory Board. She accomplished her duties with skill and grace, quickly becoming the go-to person on Level Two. Her title notwithstanding, Joyce cheerfully assisted all of her fellow staff members, playing a role on many teams at the Carlos, including development, communications, human resources, and event management. With new Carlos employees as
above: Joyce Daniels with her successor and long-time friend and colleague, Jim Warren
well as experienced ones, Joyce generously shared her institutional knowledge and deep understanding of how the museum functioned as a part of Emory. She worked with colleagues across the Emory community, too, as part of her work as a member of the Emory Employee Council. “I tried to convince Joyce that most people are working into their 80s these days,” commented Director Bonnie Speed. “Unfortunately, I just got... ‘the stare.’ We will all miss her professional and joyful presence as well as her quick wit and playful sense of humor.” Professor of Art History and Faculty Curator of Art of the Americas Rebecca Stone will retire at the end of this academic year. After receiving her PhD at Yale, Rebecca joined the museum as a curator in 1988 as a Mellon Post-Doctoral Fellow; two years later, she was hired by Emory’s Department of Art History to teach art from the United States southward before 1600. At the Carlos Rebecca curated such exhibitions as the recent Threads of Time: Tradition and Change in Indigenous American Textiles and “For I am the Black Jaguar:” Shamanic Visionary Experience in Ancient American Art, and planned the reinstallation of the Art of the Americas galleries. Additionally, she has taught such courses as Uncovering Evidence in the Museum, supervised graduate students, and developed an extensive publication record, including Seeing with New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas, for which she won the Association for Latin American Art 2002 International Book of the Year Award. Most recently Rebecca created the online catalogue for Threads of Time: Tradition and Change in Indigenous American Art (carlos.emory.edu/threads-of-time). “Rebecca has been instrumental in the development of our Art of the Americas collection. Her thoughtful research, compelling exhibitions, and work with our staff in designing and installing the permanent collection galleries has transformed how we understand the art and cultures of the Americas,” said Director Bonnie Speed. “She will be greatly missed.” Z
above: Rebecca Stone admires a beaded black jaguar mask in the installation Grandfather Sun, Grandmother Moon: Wixarika Art of West Mexico.
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SupporttheCarlos Ebrik Coffee Room to open at the Carlos Museum as a graduate student at Emory University, Abbas Barzegar ’10phd was a frequent visitor to the Carlos Museum and its cafe. Now he’s back on campus to launch a third location of his popular Ebrik Coffee Room, which also has locations downtown and in Decatur. “It is a thoroughly surreal experience to bring Ebrik Coffee Room to the Carlos. During graduate school, I spent countless hours in the old cafe translating primary sources and prepping for comprehensive exams, so I have a deep connection to the space that brings back great memories,” Barzegar notes. After his graduation from Emory, in between juggling teaching and
research, Barzegar brought together a group of family and friends to launch the Ebrik concept. The first location opened downtown in February 2014. Little more than three years later, Business Insider named it the best coffee shop in Georgia. In addition to third wave coffee, including hand-brewed custom drinks like Turkish coffee, cold brew, and single origin pour-overs, Ebrik offers something more: “We talk about Ebrik’s philosophy through three words: community, comfort, and culture,” says Barzegar. “I can't think of a better place to make that a reality than the Carlos.” Z
Veneralia Sunday, April 29, 2018 this year the Veneralia festivities head to Bacchanalia restaurant on Sunday, April 29. Join co-chairs Dirk Brown and Tim Burns, Patron Co-Chairs Dina and Ed Snow, and Honorary Chairs Gail and Michael Habif for a memorable five-course seasonal meal created by nationally acclaimed chef Anne Quatrano, who has graciously agreed to host this one-of-a-kind evening. Bacchanalia’s new location on Atlanta’s Westside offers a beautiful backdrop for an elegant gathering of Carlos Museum supporters. Become a Patron, learn about sponsorship, or purchase a ticket at carlos.emory.edu/Veneralia. Z
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spring – summer 2018
Night of the live(ly) dead for a second year running, Mummies & Mixers was a sold-out smash hit! Three specialty cocktails from guest mixologist Julian Goglia of The Mercury and The Pinewood plus frighteningly delicious bites from the Carlos’s favorite caterers tantalized tastebuds while Liquid Sky Entertainment’s living statues and face painters electrified the atmosphere. Costumed guests captured their eerie attire in motion with a gifbooth, tried their luck in the raffle, and played mad scientist at the cream soda popsicle bar. Keep your eyes peeled for this year’s terrifying affair on October 25, 2018! Z
Guests’ colorful costumes added a sense of liveliness to the evening.
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SupporttheCarlos
Cats and other divine creatures in the Museum Bookshop
Celebrating 25 years
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spring – summe r 2018
during the course of Divine Felines: Cats of Ancient Egypt, the Museum Bookshop will present a wide variety of books and gifts celebrating the history and cultural importance of not just cats but also dogs, birds, and other animals. In addition to the 46-page companion catalogue to the exhibition, the bookshop will feature Egyptologist Jarmoir Malek’s The Cat in Ancient Egypt ($18.95), which draws evidence from a range of artistic and written sources to show how the cat became one of the most widelyesteemed animals, revered as a manifestation of the goddess Bastet. Egyptologist Salima Ikram’s Divine Creatures ($29.95) is a series of studies on the different types of animal mummies, the methods of mummification, and the animal
cemeteries located at sites throughout Egypt. Children will love Mummy Cat ($16.99), the hero of which prowls his pyramid home, longing for his beloved owner, against a backdrop of lavish murals displaying scenes of the cat with his young Egyptian queen and hieroglyphic messages creating a talewithin-a-tale. This is our all-time bestselling children’s book! The bookshop will also stock cat statuettes imported from Egypt, cat-themed jewelry, and an expanded section of books on the history and art of ancient Egypt. To place an order by phone or email, visit us at carlos.emory.edu/visit/bookshop for more information. Z
Membership we extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between August and December 2017. 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. DI RE CT OR’S C O UN C IL
DO RIC P AT RO N
Mr. James B. Miller, Jr. Mrs. Sybil C. Ralston Mr. and Mrs. Edgar Cleveland Snow, Jr.
Mr. and Mrs. John M. Allan Mr. and Ms. James R. Amos Ms. Adrienne J. Anderson Anonymous Drs. Maria Arias and Jerrold Henry Levy Ms. Nancy L. Barber Drs. Patricia J. Bauer and James Steven Snow Dr. and Mrs. Bruce Harvey Bielfelt Dr. and Mrs. Ian Bogost Ms. Elizabeth Anne Bouis and Mr. Randy Scot Fields Mr. and Mrs. George H. Boulineau Dr. and Mrs. William Thomas Branch, Jr. Messrs. Dirk L. Brown and Timothy Burns Dr. Josephine V. Brown Mr. and Mrs. Mark K. Bush Mr. F. H. Boyd Coons Drs. Ann Davidson Critz and Frank A. Critz iv Dr. and Mrs. F. Thomas Daly, Jr. Dr. Francine D. Dykes and Mr. Richard Hale Delay Mr. and Mrs. James D. Fagan, Jr. Mr. and Mrs. James W. Fite, Jr. Drs. Joyce Burkhalter Flueckiger and Michael Lyn Flueckiger Mr. and Mrs. James A. Ford Mr. and Mrs. Carl I. Gable, Jr. Dr. and Mrs. John B. Hardman Dr. Ruth A. Hough Dr. and Mrs. Michael M. E. Johns Mr. and Mrs. J. Timothy Johnson Mr. and Mrs. John G. Kokoszka Mr. and Mrs. Stephen P. Kramer Mr. and Mrs. Wayne Alan Krause Ms. Patricia Krull Dr. and Mrs. Thomas Joseph Lawley Mr. and Mrs. Nolan C. Leake Dr. Elliott J. Mackle Mr. and Mrs. Peter Mariolis Ms. Sharon McClelland and Mr. David P. Robichaud Ms. Alice K. Michaelson and Dr. Robin Henry Dretler
C URAT ORS ’ C O U N C IL
Ms. Jessica G. Bregman Mrs. Louise S. Gunn Sarah and Harvey Hill Ms. Elizabeth Ingram and Mr. Chris Simoncelli Mrs. Marguerite C. Ingram Ms. Emily Elaine Katt Mr. and Mrs. James C. Kennedy Mr. James H. Landon Dr. Elaine L. Levin Mr. and Mrs. S. Jay Patel Dr. and Mrs. Morris E. Potter Mrs. Eleanor Horsey Ridley Mr. and Mrs. Jonathan Peter Rosen Mrs. Michele Griffin Silver Dr. Sandra Joan Still Ms. Patricia L. Stone and Dr. Robert J. Samuels Ms. Mary-Ellen Hunt Vian and Ms. Betsy K. Wash Mrs. Chiara Visconti-Pervanas and Mr. Angelos Pervanas Dr. and Mrs. Sidney H. Yarbrough iii C ORI N T H I AN P A T R O N
Dr. and Mrs. Gregg Codelli Dr. Joseph Kirk Edwards Mr. and Mrs. Keith Glover Mr. David Lewis Kuniansky Mr. and Mrs. Howard J. Weinstein IO N I C P AT R O N
Mr. Kenneth Stewart Falck Mr. and Mrs. James L. Ferman, Jr. Ms. Louise Barlett Franklin Dr. Margaret Hawes and Mr. Alexander S. Hawes Prof. and Mrs. Howard Owen Hunter Ms. Susan Ann Long and Mr. James Russell Bodell Mr. and Mrs. Michael Wright McDavid Messrs. Gary Youngblood and Mike Lorton
Ms. Lee Paula Miller and Dr. Leslie R. Freedman Ms. Cynthia Taylor Mills Mr. Kenneth Nassau Mrs. Diane J. Nathanson Dr. Frank M. Pickens Mr. and Mrs. William L. Pressly Ms. Laura Heery Prozes and Mr. Andrew Prozes Ms. Bianca R. Quantrell and Mr. Henry F. Mullins, Jr. Dr. Judith Campbell Rohrer Dr. Donna L. Sadler Mr. and Ms. Andrew Mayer Schuler Ms. Kathryn Seybert and Mr. Michael J. Andrechak Drs. Jane F. Seward and Robert John Berry Ms. Mary Lynn Smith Ms. Ruth C. Smith Dr. and Mrs. Gary W. Tapp Ms. Virginia S. Taylor Mr. and Mrs. Leonard W. Thibadeau Mr. and Mrs. Ray G. Thomas Messrs. John Arthur White, Jr. and Richard Geoffrey Low Ms. Jeannie B. Wright
Thank you
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michael c. carlos museum emory university 571 south kilgo circle atlanta, ga 30322 carlos.emory.edu
spring summer
2018
Member
Lookingahead
Visitorinformation
February 12–November 10, 2018
Hours Tuesday through Friday:
Ancient Near Eastern galleries closed for renovation
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 learn about free admission days.
March 17, 2018
Permanent collection of Native North American art opens in the Art of the Americas galleries
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
Public transportation marta bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations. Parking Parking is available at the
to top (Plaza) level, and follow the accessible route path markers to the rear (Plaza Level) entrance of the museum. On weekends and after 4 pm daily, handicap accessible parking spaces are available on South Kilgo Circle, adjacent to the rear (Plaza Level) to the museum. A governmentissued hangtag must be displayed. Tours Advanced booking required
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. Public tours Depart from the
rotunda on Sundays at 2 pm. Call in advance, 404-727-4282. Multimedia audio guide $2. Free for
museum members. Oxford Road and Fishburne Decks. Museum information 404-727-4282 On weekdays before 4 pm, accessible Web access carlos.emory.edu parking is available in the Oxford Road parking deck. Enter the Oxford Road building and take the elevator
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