Fall 2021
IN THIS ISSUE 4 6 8 10 12 13 14 15 16 18 19 20 21
Each/Other: Marie Watt and Cannupa Hanska Luger Resonance: Recent Acquisitions in Photography The Thalia N. Carlos Education Center goes digital in 2020-2021 Emory University School of Medicine and the Carlos Museum Rediscover the newly renovated Asian gallery & Visit the Avatars of Vishnu exhibition online Photogrammetry at the Carlos Museum Bonnie Speed retires New staff members Conservation work on the Senusret mummies New endowments for conservation Interns flourish at the Carlos Museum Pat and John Laszlo receive the 2021 Baker Award Looking ahead to 2022
22 Thank you members
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Letter from Interim Director Bonna D. Wescoat
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he beginning of a new academic year is always a time of renewal and reunion as students return to campus, begin new academic journeys, and reconnect with beloved friends and mentors. This fall feels especially meaningful as we rebuild our communities within the physical spaces that support and inspire us. Whether it is a classroom, library, laboratory, concert hall, museum gallery, or athletic field, these communal places provide an essential environment for learning, creativity, and innovation. To be sure, we remained resilient through our isolation over the past semesters, but we celebrate being together on our revitalized university campus. The feeling of homecoming has been with me since I began my term as Interim Director. As many of you know, I served as Faculty Curator of Greek and Roman Art at the Carlos Museum from 1985 to 1998. While I have remained involved in programming and committee activities over the years, the opportunity to work more closely with the museum’s terrific staff, board, and docent guild was a chance that I could not resist.
I also know that the Carlos Museum is fortunate to have a loyal and dedicated group of members. I want to thank you for your steadfast support during a year of unprecedented challenges. We have emerged in a position of strength and stability thanks to you. I look forward to seeing you in the days ahead. In the meantime, this newsletter is filled with fascinating information about ongoing and upcoming events, including the opening of the wonderful exhibition, Each/Other: Marie Watt and Cannupa Hanska Luger, which received high praise from the New York Times when it opened at the Denver Art Museum (bit.ly/eachotherexhibition). With best wishes for an inspired fall season, Bonna D. Wescoat Samuel Candler Dobbs Professor of Art History Interim Director, Michael C. Carlos Museum
above: Photo provided by Emory New Center. cover: Cannupa Hanska Luger, Every One, 2018. Ceramic, social collaboration; 12 x 15 x 3 ft. Photo courtesy of UCCS Galleries of Contemporary Art, Colorado Springs, CO. left: Marie Watt (Seneca), Butterfly, 2015. Reclaimed wool blankets, satin binding, thread, cotton twill tape and tin jingles; 94 x 126 in. Denver Art Museum: Funds from Loren G. Lipson, M.D., Vicki & Kent Logan, with additional funds from Brian Tschumper, Nancy Benson, Jan & Mike Tansey, and JoAnn & Bob Balzer, 2016.1A- B. © Marie Watt. MCCM | 3
Each/Other: Marie Watt and Cannupa Hanska Luger
Collaboration is an active agent in this work, not simply a means to an end. Marie Watt
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n September 25, the Carlos Museum will open the exhibition, Each/Other: Marie Watt and Cannupa Hanska Luger. This is the first exhibition to feature together the work of Marie Watt and Cannupa Hanska Luger, two leading Indigenous contemporary artists whose processes focus on collaborative artmaking. Each/Other features over two dozen mixed-media sculptures, wall hangings, and large-scale installation works by Watt and Luger, along with a new monumental artist-guided community artwork. While each artist’s practice is rooted in collaboration, they have never before worked together or been exhibited alongside one another in a way that allows audiences to see both the similarities and contrasts in their work. Watt, who resides in Portland, Oregon, is a citizen of the Seneca Nation and has German-Scots ancestry. Luger, who is based in New Mexico, is a citizen of the Three Affiliated Tribes (Mandan,
Hidatsa, Arikara) of Fort Berthold and has Lakota and European ancestry. Each/Other was organized by the Denver Art Museum, where it was on display this past summer. The Carlos Museum is the second venue on the exhibition's tour of the United States. Emory students and faculty, as well as Carlos Museum docents, patrons, and staff members, had an opportunity to participate in the collaborative creation of three of the pieces that will be on display. Participants embroidered bandanas that were incorporated into the new, artistguided community artwork, “Each/ Other,” a collaborative project of both Watt and Luger. Emory students also created clay beads that became part of the 4,000 total beads in “Every One,” a piece by Cannupa Hanska Luger focusing on missing and murdered Indigenous persons. For more about the creation and meaning of “Every One,” please visit cannupahanska.com/mmiwqtbeadproject. Community participants also
donated blankets and accompanying stories for Watt’s new monumental sculpture in her “Blanket Stories” series. For more about the blanket contributions and stories, please visit denverartmuseum.org/en/blog/contribute-blanket-story-new-artworkby-marie-watt. The artists ask viewers of the exhibition to look beyond the idea of art as a noun and instead consider the collaborative processes of making and search for signs of the different hands that created the artworks. They encourage audiences to think about the people who sewed or formed beads or shared stories. Emory University was founded in 1836 on the historic lands of the Muscogee (Creek) Nation, 15 years after the First Treaty of Indian Springs (1821) dispossessed the Muscogee people of land, including both Emory campus locations. After this treaty, many Muscogee people relocated to Alabama and were then forcibly removed to present-day Oklahoma on the Trail of Tears in
above left: Portrait of Marie Watt taken by Sam Gehrke. above right: Marie Watt, Companion Species: Assembly (Auntie) / Companion Species: Assembly (Guardian Tree), 2020. Reclaimed wool blankets, embroidery floss, thread, cotton twill, tape, and tin jingles. Tia Collection, Santa Fe, NM, Courtesy of Marc Straus Gallery, New York. © Marie Watt. Photograph by Kevin McConnell. 4 | FA L L 2 0 2 1
Art is a verb, not a noun. Art is a practice, it’s an activity. It is an action. Cannupa Hanska Luger 1836. This acknowledgment of the history of the land is intended to help put a better perspective on the Each/ Other exhibition and Emory’s commitment to honor Indigenous nations and peoples, both locally and beyond. The Carlos Museum is honored to present this exhibition that centers Indigenous knowledge, creativity, and collaboration. A full list of lectures and other related programming that highlight themes in the exhibition will be announced soon. Be sure to stop by the museum’s Bookshop to browse a wide selection
of titles on Native American art and history and to pick up a copy of the companion catalogue to the exhibition. Each/Other: Marie Watt and Cannupa Hanska Luger is organized by the Denver Art Museum and presented with the generous support of the National Endowment for the Arts, The Robert Lehman Foundation,
Stelo, and Native Arts and Culture Foundation. In Atlanta, this exhibition has been made possible with generous support from the Charles S. Ackerman Fund, the Carlos Museum’s National Leadership Board, Lauren Giles, Gail and Clark Goodwin, the Grace W. Blanton Lecture Fund, the LUBO Fund, and Sarah Hill. Z
above left: Portrait Cannupa Hanska Luger taken in 2019 by Brendan George Ko. above right: Cannupa Hanska Luger, This Is Not A Snake, 2017. Ceramic, oil drums, ammunition cans, and found objects; 78 x 36 x 600 in. Cannupa Hanska Luger and Kathy Elkwoman Whitman, The One Who Checks & The One Who Balances, 2018. Ceramic, riot gear, afghan, wool surplus industrial felt, beadwork by Kathy Elkwoman Whitman; 6-1/2 ft x 12 in x 8 in (each, approximate). © Cannupa Hanska Luger. Image courtesy of the artist. right: Cannupa Hanska Luger and Marie Watt, Each/Other, 2020–21. Steel, wool, bandanas, ceramic, leather, and embroidery thread. © Cannupa Hanska Luger and Marie Watt. Photography © Denver Art Museum. MCCM | 5
Resonance: Recent Acquisitions in Photography
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Pictures are sure. They remain fixed in the moment they were seized; their reading is as always ambiguous, subject to the changing perceptions and intuitions bred by delusion or by experience. Larry Fink, Martins Creek, May 2001
above: Walter Iooss (American, b. 1943), Jimi Hendrix – Felt Forum N.Y.C., 1968, Archival pigment print, Gift of Altan Yenicay, ©Walter Iooss. 6 | FA L L 2 0 2 1
esonance: Recent Acquisitions in Photography asks viewers to explore the act of interpretation by approaching the photographs in the present, acknowledging the emotions, events, and experiences born out of 2020 and 2021. No two experiences have been the same; as a result, viewers may find meaning in the images themselves or in the tensions created between them. The photographs in Resonance were selected for the ways in which they evoke the unprecedented realities and profound emotions experienced by many during the past seventeen months. Taken between 1963 and 2015, these images bear witness to a finite time and place, yet how we understand them is contingent upon memory, interpretation, and lived experience. The photographers— Kristin Capp, Larry Fink, Ken Heyman, Walter Iooss, Joel Meyerowitz, and Lou Stoumen—knew nothing of the Covid-19 pandemic, the near global quarantine, nor the social justice movements that would rise with renewed urgency. When Larry Fink photographed the March on Washington in 1963, he could not know of the murder of George Floyd or the nationwide debates over voter rights. In capturing Jimi Hendrix live or
Dwight Clark’s infamous catch, Walter Iooss could not know of the impending isolation from loved ones or the nostalgia for simple pleasures like watching a game in a crowded stadium, attending a concert, or feeling the thrill of a lover’s touch. Ken Heyman could not anticipate the parents and caregivers who would be thrust suddenly into the role of educator while simultaneously struggling to provide when he took the photographs of families seen in this exhibition. Essential workers had not yet longed for a quiet dinner at home. Families and friends had not yet experienced the untimely loss of loved ones taken in a global pandemic. The unexpected moments of happiness, love, fulfillment, or mindful contemplation that could arise from these especially fraught circumstances did not yet exist, but the photographs taken by Joel Meyerowitz and Kristin Capp may bring them to mind. Guided by the seemingly opposing themes of isolation and togetherness, loss and shared joy, and fear and courage, among others, the photographs in Resonance encourage the viewer to reflect on their own experiences during the past seventeen months, as well as those of others. Z
top: Walter Iooss (American, b. 1943), The Catch, Dwight Clark from Joe Montana, Candlestick Park, S.F., 1982 Archival pigment print, Gift of Altan Yenicay, ©Walter Iooss. bottom: Kristin Capp (American, b. 1964), Blue Wall, Heirachabis, Namibia, 2014, Archival pigment print, Gift of Rajesh B. Patel, ©Kristin Capp. MCCM | 7
The Thalia N. Carlos Education Center goes digital in 2020-2021
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hile much of the world slowed down over the past year, the Carlos Museum’s education department geared up. In response to the global pandemic, the museum’s education staff pivoted to provide digital experiences for visitors, members, and schools. Over 107 programs were held virtually over Zoom. Artful Stories went virtual with children’s books like, The Water Princess by Susan Verde, and Crescent Moons and Pointed Minarets: A Muslim Book of Shapes, by Hena Khan. Virtual children’s workshops were hosted throughout the year, including a workshop on Haida formline design, and another connecting art and science – specifically highlighting whale sharks through a partnership with the Georgia Aquarium. Teacher workshops also continued throughout the year and were taught over Zoom in real-time. In a workshop for Fulton County art teachers, Ana Vizurraga demonstrated ceramic techniques related to the museum’s Makonde water vessel. Over the summer of 2021, the Carlos
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Museum partnered with Emory’s Social, Emotional, and Ethical (SEE) Learning™ program to present a virtual Summer Teacher Institute titled “Social Emotional Learning in the Art Museum.” During this interactive, three-day institute, teachers learned from museum staff and a certified SEE Learning facilitator how works of art can be tools to foster social-emotional learning. Educators learned how to use works of art from a variety of cultures and time periods to strengthen visual literacy skills, reinforce vocabulary and social awareness for students, and incorporate art into mindfulness and meditation exercises. Teachers participated in collaborative creative exercises that foster empathy, self-management, self-awareness, and relationship skills. One teacher noted: “This course was perfectly aligned with some goals I have as a teacher for this upcoming year. It also encompassed so much more than expected, and I can use this in my personal life with my son and for myself.” The SEE Learning program is a part of Emory University's Center for Contemplative Science and Compassion-Based Ethics.
Carlos Museum Docent Guild remained active and educators and members of the Docent Guild led virtual tours for children and adults. Virtual tours were given not just to students in Atlanta or Georgia, but also to students in Alabama, Florida, Maryland, Pennsylvania, Tennessee, and Virginia. Over 3,200 students participated in virtual tours over the last year.
“Virtual tours have been a wonderful way to engage students of all ages around the objects and themes in the Carlos collection, especially as Covid concerns linger. Student can observe, participate and learn regardless of whether they are in the classroom or at home.” carolyn bregman, president of the docent guild
Docent Mary Beth Abbott noted that virtual touring “has been a marvelous alternative access to our collection. It does not replace the wonder and excitement of being with our objects in person, but it does provide some advantages. The clarity in viewing and enlarging objects is effective with all the
objects and particularly helpful with artifacts of small dimension and delicate engraving and coloration.” Sharon LeMaster shared that “I am constantly impressed by the enthusiasm of the students and the teachers who have had to adapt quickly to a virtual learning environment. They have my utmost respect.”Z
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Emory University School of Medicine and The Carlos Museum Over the last few years, the Carlos Museum has partnered with Emory’s School of Medicine to develop elective courses and in-gallery programs to help nurture wellrounded, compassionate, and patient-focused physicians. This partnership extends to many areas, but these are the three most notable areas of collaboration: The Art of Palliation Practicing palliative care requires sustained compassion, self-reflection, and collaboration. The challenge is to provide empathic and effective care to patients and their families despite the daily barriers encountered in the healthcare system. To address this challenge, the museum worked with Paul DeSandre, DO, FACEP, FAAHPM, Ali Zarrabi, MD, FAHHPM, and High Museum of Art staff to develop a three-part, art museum-based experiential curriculum designed to foster clinical and team-based skills outside of the usual structures and hierarchies of the healthcare environment. The first session focused on self-awareness through critical observation and active listening skills. The second session explored mortality and meaning through the exploration of objects related to funerary rituals, memorial-
ization, and memory. The third session addressed empathy and the tolerance of uncertainty. In each session, faculty, fellows, and museum staff reflected on these experiences relative to the practice of palliative care. The Art of Surgery The Art of Surgery, an elective course offered for the first time in the Fall of 2020 through the Emory School of Medicine, concentrated on the places where art and medicine intersect. Carlos Museum’s Ingram Senior Director of Education, Elizabeth Hornor, worked with Dr. Stephanie Drew, Associate Professor in the Department of Surgery, and Atlanta artist Emily Hirn to develop a five-session elective course for medical students who plan to go on above: The students in the Art of Surgery course
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to become surgeons. The course, which is a combination of lectures, demonstrations by artists, drawing experiences in the Carlos Museum’s galleries, and critique, illuminates the connections between drawing and surgery. Through this course, students learn that drawing increases a surgeon's ability to visualize, strengthening the ability to mentally walk through a procedure prior to executing it. Drawing also improves hand/eye coordination and fine motor control; in fact, learning to be sensitive to the line weight by varying the pressure applied to brush, charcoal, or pencil relates directly to the surgeon’s challenge of delicately using pressure on the surgical tool on varying tissue strengths. While drawing from sculptures of the human figure embeds anatomical knowledge and
above left: Medical student Nneka Molokwu holding her drawing of her mentor and supporter, Executive Associate Dean J. William Eley above right: Student artwork from the Art of Surgery course
proportion in the brain and body (muscle memory), the act of creating a drawing allows the surgeon to freely make mistakes with no consequence. Drawing is also an important communication tool, helping to describe surgery to a patient, and learning to draw can become an uplifting outlet for creative expression. Many of these medical students have been inspired by this course, although one story stands above the rest. Medical student Nneka Molokwu had no formal drawing training before the class, but her life was changed by the experience. Nneka professed, "I never knew I had such a passion for drawing.” Now she uses drawing as a much-needed form of stress relief and a way to relax after a long day of medical school and clinical rounds.
Clearly, Nneka has excelled at this newfound talent. Nneka sketched a portrait of Executive Associate Dean Bill Eley to honor the support and assistance he has offered her throughout her medical school journey. Third-Year Small Group Visits For the last two years, every thirdyear medical student at Emory has participated in a program at the Carlos Museum. Education staff led students through guided observation and discussion generated by objects in the collections selected to relate to their new experiences in clinical situations. The program includes a personal response discussion of an object of each student's choosing as well as sketching opportunities. The interpretations of the art by these astute third-year medical students,
who are just beginning their clinical rotations in a hospital setting, have been intuitive and thoughtful. Many students found meaning in a case of ceramic objects in the Americas gallery depicting the lifecycle of a woman as well as in an Egyptian false door where the living and the dead meet. These artworks resonated with the students as they made connections between the art in the galleries and their daily interactions with patients in the hospital. Several small groups have elected to return to the museum for additional exploration and artmaking activities.Z
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Rediscover the newly renovated Asian gallery
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he museum’s Asian gallery reopened at the end of August after a four-month renovation made possible by the generous financial support of the Christian Humann Foundation and the E. Rhodes and Leona B. Carpenter Foundation. The renovation significantly increased the museum’s capacity to display works of art to better serve the university and the Atlanta community. By removing and reconfiguring walls and building nw pedestals with smaller footprints, the gallery gained significant floorspace,
allowing three-dimensional works like the Shiva linga to be displayed in the round. A major component of the renovation was the installation of a series of archival drawers with protective UV plex covers to house the museum’s growing collection of Indian paintings. Housing the paintings in viewing drawers makes them more accessible and protects them from the damaging effects of prolonged exposure to light. These paintings have been examined and researched by many Emory classes over the past years,
including courses on the Avatars of Vishnu and the Ramayana. During the summer of 2021, museum staff worked with three Emory faculty members, assistant professor Ellen Gough, associate professor Sara McClintock, and professor Joyce Flueckiger to carefully consider the organization of works of art in the new space as well as develop new interpretive materials. Aditya Chaturvedi, a PhD candidate in the Graduate Division of Religion, served as a research assistant on the project. Z
Visit the Avatars of Vishnu exhibition online You You can now take a 360-degree virtual tour of the spring exhibition Avatars of Vishnu thanks to a collaboration with Emory's Center for Digital Scholarship (ECDS). ECDS staff filmed the studentcurated exhibition with a highly specialized Matterport® camera to digitally capture exhibition spaces. The team at ECDS, including Digital Project Specialist Adam Newman and Senior Video Producer Steve Bransford, worked with Carlos Museum staff to capture the physical 12 | FA L L 2 0 2 1
space as a whole and each individual work of art and label. Capturing the exhibition via this specialized camera preserved the research of the Emory students (20 undergraduate and two graduate students) who curated the exhibition and will give future students an opportunity to experience the exhibition. For more about the exhibition and to view the virtual tour, visit carlos. emory.edu/explore-avatars-vishnuexhibition-online. Z
Photogrammetry at the Carlos Museum
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urator Melinda Hartwig along with museum staff hosted a group of photogrammetry professionals from the University of Indiana-Bloomington, led by Dr. Stephen Vinson. From the end of July through early August 2021, they photographed and recorded 31 objects from all curatorial areas. Photogrammetry is a popular method used to record museum objects as 3D 3D models for websites, online publications, and research using standard photo equipment and photogrammetry software. Objects are recorded by high-resolution, overlapping digital photographs taken from different angles that are uniformly lit (Figure A). The photographs are then “stitched” together using photogrammetry software that extracts accurate 3D measurements and descriptive object information. Since photogrammetry does not create models with a known scale, scaling is done by placing markers and measuring the distance between them with a ruler (Figure B). RTI, or reflectance transformation imaging, is a technique that captures a subject’s surface shape and color and enables the interactive re-lighting of the subject from any direction. RTI can also enhance the object’s surface shape and color attributes, revealing information that would otherwise not be captured by photography or direct examination of the physical object. The completed 3D models will be uploaded to Sketchfab to showcase selections from the Carlos Museum’s collection that will be available for future exhibition publications. Z top, figure a: Objects are recorded by high-resolution, overlapping digital photographs taken from different angles that are uniformly lit. bottom, figure b: Photogrammetry does not create models with a known scale, so scaling is done by placing markers and measuring the distance between them with a ruler. MCCM | 13
Bonnie Speed retires The Carlos Museum staff wish Director Bonnie Speed a happy and relaxing retirement!
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n August 2021, Bonnie Speed retired as director of the Carlos Museum after 19 years of service. In recognition of the occasion, the museum’s National Leadership Board commissioned Tenzin Norbu, master painter at the Norbulingka Institute of Tibetan Arts in Dharamsala, India to create two large paintings of traditional teaching images—one of the Wheel of Life (bhāvachakra) and one of The Nine Stages of the Taming of the Mind (samata). The museum will receive the gift of the completed paintings in 2022.Z
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The Carlos Museum welcomes new staff members Elizabeth Riccardi was hired as the Assistant Director of Membership in March of 2021. Elizabeth brings with her strong project and relationship management skills gained during a decade of working with local and governmentfunded museums. In her current role, Elizabeth manages the museum’s membership program, focusing on solicitation, communication, and customer service to existing and prospective members. Elizabeth is a graduate of Florida State University’s undergraduate Art History program and a graduate of the Library and Information Studies program. In June of 2021, the Carlos Museum welcomed Tracy Strickland as a Senior Accounting Assistant. She has over 20 years of accounting and finance experience working for companies such as AT&T/Lucent Technologies, the corporate office of Home Depot, and 14 years with Emory University. She is originally from Saint Louis, MO, but has lived in Georgia for more than 30 years.
Sarah Jones joined the Carlos Museum in March 2021 as the Director of Marketing and Communications. She has over two decades of experience in marketing, public relations, communications, and public affairs for a variety of organizations, including schools, hospitals, non-profits, and political campaigns. In her role, Sarah manages all marketing, advertising, and communications efforts for the museum. She has a double major in Political Science and Sociology from the University of Georgia and a passion for museums, art, and travel. Lynnette Torres Ivey joined the Carlos Museum in July 2021 as Manager of Museum Educational Programs. She has previously worked at the Zuckerman Museum of Art and the Booth Western Art Museum. She received her bachelor’s degree from Kennesaw State University, majoring in Drawing and Painting with a minor in Art History, and her Master of Art Education from Ohio State University. Lynnette's first experience with the Carlos Museum was through a high school field trip, and she is excited to join the museum as a staff member.Z
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Conservation work on the Senusret mummies
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onsulting conservator Mimi Leveque returned to the Carlos Museum for two weeks in mid-June to conserve mummies from the Senusret Collection. Mimi is the principle at ArcheaTechnica Conservation based outside of Boston and has held positions at the Peabody Essex Museum, the Rhode Island School of Design Museum, and the Museum of Fine Arts Boston. As a conservator of objects and textiles, Mimi treats a wide variety of collections and is known at the Carlos as “our mummy conservator.” Chief Conservator Renée Stein says she would not undertake a mummy treatment project without Mimi. The two colleagues began collaborating in 1999 with the treatment of the museum’s Lichirie Collection mummies. In addition, even though neither thought it possible, they successfully stabilized the museum’s
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Old Kingdom mummy of a male, reassembling the disarticulated body and restoring dignity to the remains. Their teamwork has resulted in ethical guidelines as well as treatment protocols for the conservation of ancient Egyptian mummies. Guided by Mimi’s extensive knowledge and experience, Carlos Museum conservators and student interns treated the mummies of a female named Taosiris and a male known as Padibastet. Based on the style of wrappings as well as the associated coffins and cartonnage, both mummies very likely originate from the ancient city of Akhmim and date to the Ptolemaic Period. The mummies have been imaged with CT-scanning by Dr. William Torres and colleagues at the Emory University Hospital. The data is being studied by Dr. Jonathan Elias and a team of researchers with the Akhmim Mummy Research Consor-
tium. This study is revealing information about the health of the individuals as well as their preparation for burial. Taosiris and Padibastet were probably contemporaries, although Taosiris died at a younger age. The conservation project actually began more than 18 months prior, when Mimi visited the Carlos Museum to examine the mummies in storage and develop a plan for the work. Funding for the project was provided through a grant from the Forward Arts Foundation, a generous supporter of the 2023 exhibition Life and the Afterlife: Ancient Egyptian Art from the Senusret Collection. The work was delayed by the pandemic but resumed as soon as it was possible for Mimi to travel to Atlanta. The conservation team set up a temporary lab in Ackerman Hall in order to live-stream their work. Over a two-week period,
opposite page: Consulting conservator Mimi Leveque returned to the Carlos Museum to conserve mummies from the Senusret Collection. top left: Chief Conservator Renée Stein stabilizing Padibastet. top right: Dr. Jonathan Elias imaging the Senusret mummies using CT-scanning at the Emory University Hospital. bottom right: Toosiris after treatment viewed from above.
online viewers could tune into the Carlos Mummy Cam and observe the progress as linen wrappings were realigned and painted cartonnage was reshaped. Mimi demonstrated techniques that have evolved through her many projects to stabilize mummies in collections around the United States. Carlos conservators and interns assisted with the work to secure loose wrappings and stabilize flaking paint. The mummy of Padibastet was dusty, brittle linen layers were torn, and the toes were partially visible. By introducing a compatible adhesive solution between the layers, the wrappings were gently coaxed back into position and secured in place. The mummy of Taosiris was very well preserved, with the outer shroud mostly intact. However, the cartonnage was separated from the mummy. Fading of the linen resulted in outlines of the cartonnage
sections, confirming their locations on the head, chest, abdomen, legs, and feet. The cartonnage was humidified and reshaped to conform to the mummy and secured with modern dyed linen bands corresponding to evidence of the original strapping. Progressive reshaping allowed the distorted mask to be fit back over the head. The damaged foot cartonnage was partially reconstructed to accomplish both stability and legibility. It is now possible to discern the straps and buckles of a pair of sandals. To document this conservation work, the live streams and a collection of mummy diaries are available on the website. Visit carlos.emory.edu/ mummycam to watch these recordings of the conservators examining, documenting, and stabilizing these mummies to prepare them for display in 2023.
The conservators gave a virtual public program inviting the audience to engage with their efforts as the work was underway. After two weeks of focused attention, the mummies are now stabilized for future exhibition, further documentation, and long-term storage.Z
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New endowments for conservation
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he Carlos Museum’s renowned teaching program in art conservation and the Parsons Conservation Laboratory received three major gifts in 2020-21 that will create endowments to ensure the conservation of the museum's collections and provide educational opportunities for Emory students. When Sandra Still first visited the museum's conservation lab in 2011, she did not know that the experience would forever change her relationship with the Carlos Museum. During that first visit, Still witnessed the conservation of the museum's Old Kingdom mummy. From that indelible moment, she developed a deep appreciation for the conservation program, which has led to her legacy of substantial support. Following in the footsteps of several other friends of the conservation program, Still established the Alfred Still Conservation Fund in honor of her grandfather, who taught her the value of philanthropy. The Fund provides flexible funding for the museum's conservation program and ensures that resources are available for student interns to have meaningful experiences. An anonymous local donor created an immediate use fund that supports the purchase of conservation supplies such as those needed for emergency preparedness, micro-climates, pest control, and storage materials. The donor also committed to a generous bequest to fund a new endowment for the conservation program.
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top: Chief Conservator Renée Stein and Assistant Conservator Brittany Dolph Dinneen working in the Parsons Conservation Laboratory. above left: Assistant Conservator Brittany Dolph Dinneen gently cleans and examines a mask from our African Collection. above right: Dr. Monique Seefried
Dr. Monique Seefried has contributed to the growth and success of the Carlos Museum for decades , as curator, Board member, donor, and valued friend. When considering a legacy gift, Monique was inspired to establish an endowment for conservation after hearing about a student research project supervised by Chief Conservator Renee Stein that recovered perfume residue from an ancient Near Eastern vessel. Her gift also honors the two conservators in her family. The Seefried Endowment for Conservation will provide critical resources for the museum’s mission— to preserve and interpret art and artifacts in order to enrich the community and promote interdisciplinary teaching and research at Emory. Z
Interns flourish at the Carlos Museum In the summer of 2021, the Carlos Museum was fortunate to have some outstanding interns, all with varying backgrounds and interests, who brought rich experiences and perspectives to their work at the museum. Working across multiple departments, these students not only helped with the day-to-day work of the museum, but also advised their mentors about ways to stay current and relevant to students. Sojourner Hunt, a rising senior majoring in Middle Eastern and South Asian Studies at Emory, has been a part of many projects at the museum. She has assisted with the reinstallation of the Asian gallery, the 2020 exhibition Wondrous Worlds: Art & Islam through Time and Place, and the summer reading program. She hopes to work in a museum career after graduation. Matowacipi Horse, an education intern currently in her sophomore year at Emory majoring in Sociology, has been working on the upcoming Each/Other exhibition. As a member of the Comanche Nation, Indigenous culture and representation have always been of great importance to her, and she hopes to bring her focus on contemporary Indigenous literature and poetry to Emory. Amina Hull is a curatorial intern who worked under the guidance of Dr. Ruth Allen. She attends the College of Wooster, where she majors in Classical Languages. Amina is interested in organizing exhibitions and visitor experiences. She has used her knowledge in Greek and Roman art to diversify the museum’s social media presence. She used historical information, translations, and objects from the Carlos Museum’s collections to raise public awareness on a variety of topics, including the Olympics and Museum Week.
Adia Slaughter is a junior at Emory, majoring in Art History and Anthropology, and hopes to have a museum-focused career. Working as the communications and marketing intern, she gained behind-thescenes experience in almost all aspects of the museum, but especially in the areas of media relations, advertising, photography, and website editing. She helped to promote programs over the summer, such as the Free Fridays campaign, and helped with the Matterport tour of the Avatars of Vishnu exhibition. Leah Oliver Leah Oliver is a recent graduate of Spelman College and an intern with the conservation lab. During her time at the museum, she is investigating the coating layers on a ceramic figure from Ghana to understand its treatment history, and assisted with the conservation of mummies from the Senusret Collection. Under the direction of museum conservators, Leah has gained valuable experience in conservation as she explores a future career in the field. Z
The Carlos is grateful for the assistance of these interns who brought their creativity, energy, and enthusiasm to the museum.
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Pat and John Laszlo receive the 2021 Baker Award
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he Woolford B. Baker Service Award was established by Sally and Joseph Gladden in 1999 to honor Joe's grandfather, Dr. Woolford B. Baker. Each year the award is presented to an individual or organization that has demonstrated outstanding service to the Carlos Museum. The 2021 Woolford B. Baker Service Award was presented to Pat and John Laszlo. The Laszlos have been long-time donors, valued advisors, and friends whose steadfast efforts on behalf of the Carlos Museum have made significant contributions to the museum's programs and priorities. As heirs to and stewards of the preeminent Brummer Collection, Pat and John chose the Carlos Museum as a home for significant works from this important collection. Their generous gift resulted in the naming of one of the Greek and Roman galleries, the Ella Bache Brummer Gallery. Since that original gift over two decades ago, the Laszlos have continued to make major loans and
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gifts to the Greek and Roman collection. The Laszlos have also supported educational programs at the Carlos Museum. In 1998, when John was retiring from the American Cancer Society, they directed the ACS Excalibur members to contribute to a lecture fund and created the Laszlo Excalibur Endowed Lecture, which brings prominent scholars to the museum each year. In addition to donating their treasure, Pat and John have also generously given their time and talent. John served on the museum’s Advisory Board for many years, and Pat served on the Visiting Board. They have hosted dinner parties, participated in the patron-level membership program, attended countless museum events, and worked tirelessly as ambassadors for the Carlos Museum.
No less importantly, Pat and John take a personal interest in each museum staff member, always taking the opportunity to express support and appreciation for the work of the individuals that make the museum special and successful. A safe gathering was held in August to present the Baker Award to the Laszlos. As part of the Award, the Curator of Greek and Roman Art, Ruth Allen, acquired a beautiful gnathia-ware lebes-pyxis for the museum’s collection thanks to the generosity of Sally and Joe Gladden. Z
top: Gnathia-ware Lebes-Pyxis Depicting a Seated Eros, Attributed to the Painter of Lecce 1075, South Italian, c. 330 BCE, Ceramic. Gift of Sally and Joseph Gladden in honor of Pat and John Laszlo, 2021 Woolford B. Baker Service Award recipients. above right: Pat and John Laszlo pictured.
Looking ahead to 2022
Indigo Prayers November 13, 2021 through May 22, 2022 Charmaine Minniefield, a local Atlanta artist, was inspired by her time in the Gambia, West Africa, searching for her grandmother's ancestral lines by following the encoded messages hidden within her cultural identity. The resulting body of work builds on an ongoing exploration of the Ring Shout, a traditional African-American worship practice whose West African origins predate slavery. This fullbodied rhythmic prayer was taught to Minniefield by her great-grandmother. It was performed by her ancestors during enslavement as a way to secretly preserve their African identity. Minniefield’s work explores indigenous pigments like indigo, crushed oyster shells, and mahogany bark as evidence of cultural preservation through time and across the Middle Passage. Her work recalls the
history of these mediums as ancestral totems reaffirming identity, like the Adinkra symbols in freedom quilts, hidden in plain sight, to show the way home. Remembering the ancestors and inserting her own body, as self-portraits, into the series and ritual asserts Black identity and resilience as resistance today. Indigo Prayers is being presented in conjunction with Minniefield’s Praise House, which recreates the small, single room structures in which enslaved people gathered to worship. The first in the series of Praise Houses was constructed at Oakland Cemetery to celebrate Juneteenth 2021 and to honor the over 800 enslaved people interred in the cemetery’s African American Burial Grounds. While Minniefield’s Praise House at Oakland has now closed, she plans future locations on Emory University’s main campus, at South-View Cemetery, where Congressman John Lewis was laid to rest, and in downtown Decatur. For more information, visit bit.ly/3D1jFax. Z
by 10 contemporary artists. These works of art confront and give shape to the inconceivable crises we face today, from environmental destruction and human rights violations to governmental corruption, displaceAnd I Must Scream ment, and the pandemic. Through January 23 through May 8, 2022 The upcoming exhibition, And I Must monstrous, grotesque, and humanoid figures and forms, the works combine Scream, will examine contemporary social and political issues through art to show these issues to be both and is curated the museum’s Curator urgent and interconnected. Through this lens, the exhibition can be seen of African Art, as a call to action. This ambitious Dr. Amanda H. Hellman. According to Dr. Hellman, "The exhibition seeks exhibition and accompanying out the voice of the artists to explore programming will bring scholars and artists from across the country and incomprehensible man-made issues with an aim to connect artists from a around the world to teach classes, facilitate performances, and create range of countries." The exhibition will feature works new works of art. Z above left: Charmaine Minniefield (American), Indigo Portrait Ring Shout 1, 2020, indigo and crushed oyster on canvas, ©Charmaine Minniefield, Courtesy of Charmaine Minniefield. above right: Steve Bandoma (DRC), Perruche perruque, Costumes, 2018, Encre sur papier, 140 x 110 cm © Steve Bandoma, Courtesy MAGNIN-A Gallery, Paris. below right: Fabrice Monteiro (Belgian-Beninese), Prophecy #2, 2013, Canson Infinity Platine Fibre Rag 310gr, 60 x 40 cm, © Fabrice Monteiro, Courtesy MAGNIN-A .Gallery, Paris MCCM | 21
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e extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between July 2019 to June 2021. 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 R EC TOR’ S C O U N C I L
Mr. and Mrs. James H. Morgens Mr. and Mrs. Edgar Cleveland Snow, Jr. C U R AT ORS ’ C O U N C I L
Mr. and Mrs. Richard D. Aaronson Ms. Robin Beningson Mrs. William Bowen Astrop Ms. Ellen Agnor Bailey Dr. and Mrs. Allen Dale Beck Dr. Lucius Courtenay Beebe Sr. and Ms. Lindsay W. Marshall Mr. and Mrs. Daniel Walter Boone IV Mr. and Mrs. Leon J. Borchers Ms. Jessica G. Bregman Mr. Dirk Lamar Brown and Mr. Timothy Burns Mr. Chris Michael Carlos Dr. Aman Sharma and Mrs. Roshani Hitesh Chokshi Mr. Joseph A. Coplin Dr. Barbara Nason Croft Dr. and Mrs. Overton Anderson Currie, Jr. Mr. Duncan Douglass and Ms. Lauren P. Giles Mr. and Mrs. James C. Edenfield Dr. Joseph Kirk Edwards Mr. and Mrs. Joseph R. Gladden, Jr. Mrs. Marian W. Hill Mr. and Mrs. B. Harvey Hill, Jr. Mr. and Mrs. Francis Joseph Humann Mrs. Marguerite Colville Ingram Mr. and Mrs. Clayton Franklin Jackson Dr. Jiong Yan and Mr. Baxter Porter Jones Ms. Emily Elaine Katt Mr. and Mrs. James C. Kennedy Drs. John Laszlo and Patricia H. Laszlo Dr. Elaine L. Levin Mr. Robert Long Dr. Joe Brown Massey, Jr. Mr. Andres Mata Mr. and Mrs. William Thomas Mobley, Jr. Dr. and Mrs. John S. O'Shea
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Mr. and Mrs. Pyush R. Patel Mr. and Mrs. S. Jay Patel Mr. Nicholas John Pisaris Dr. and Ms. Morris E. Potter Mrs. Sybil C. Ralston Mrs. Eleanor Horsey Ridley Mr. Edward C. Rieker and Ms. Ruth Dearden Mrs. Ruth Magness Rollins Mr. and Mrs. William D. Roth Ms. Joan M. Sammons Dr. Monique Seefried and Mr. Ferdinand C. Seefried Mr. and Mrs. Allen Shaheen Dr. and Mrs. Jagdish Nanchand Sheth Mr. and Mrs. Lee Silver Mrs. Elizabeth Morgan Spiegel Dr. Sandra Joan Still Mr. and Mrs. Michael R. Thomas Dr. William E. Torres and Mr. Donald Jack Sawyer, Jr. Ms. Mary-Ellen Hunt Vian Ms. Betsy K. Wash Mr. and Mrs. Glenn A. Weiss Mr. and Mrs. Nathaniel Getz Wilcox Mr. Brian Jay Winterfeldt Dr. and Mrs. Sidney Halleck Yarbrough III CO R INTHIAN P AT RON
Dr. and Mrs. Gregg Codelli Drs. Franklin Bailey Green and Bonna Daix Wescoat Dr. Margaret Crawford Hawes and Mr. Alexander Sidney Hawes Mrs. Lyn B. Kirkland Ms. Janice Mingru Kuo Dr. Roxani Eleni Margariti Mr. and Mrs. Marion P. Rivers III Mr. and Mrs. Jonathan Peter Rosen
Thank you ION IC PATRON
Dr. Delores P. Aldridge Dr. and Mrs. Patrick Nicholas Allitt Mr. and Ms. James R. Amos Dr. and Mrs. Michael Enrico Bernardino Mr. James Russell Bodell and Ms. Susan Ann Long Drs. Lawrence H. Boise and Rose Ann Boise Ms. Lynne Y. Borsuk, Esq. and Mr. Robert D. Smulian Drs. Aubrey M. Bush and Carol T. Bush Dr. Daniel Bennett Caplan Mr. and Mrs. Larry E. Curry Mr. Kenneth Stewart Falck Mr. and Mrs. James L. Ferman, Jr. Ms. Louise Barlett Franklin Mrs. Judy W. Hemenway Drs. Ulrich Herzberger and Bettina Cothran VI Prof. and Mrs. Howard Owen Hunter Mr. and Mrs. Srikant B. Iyer Mr. and Mrs. Jesse Ovidio Kaba Dr. and Mrs. Graham Kerr Dr. and Mrs. William Jay Klopstock Drs. James J. Lah and Katrina Marie Dickson Dr. Sharon M. LeMaster and Mr. Larry D. Woodring Mr. Mike Lorton and Mr. Gary Youngblood Mr. and Mrs. Clarence A. Martin Mrs. Dorothy H. Miller Dr. and Ms. David S. Pacini VI Mr. and Mrs. William C. Rawson Dr. Susan M. Ray and Ms. Julie K. Semones Mr. and Mrs. Jason Andrew Reeves Dr. Regine Reynolds-Cornell Mr. Frank C. Roberts Dr. and Mrs. Donald L. Sears Mr. and Mrs. Joseph B. Vivona Mr. John Arthur White, Jr. and Mr. Richard Geoffrey Low
Welcome to new members from Emory Healthcare! The Carlos Museum offered complimentary annual memberships to all of our colleagues at Emory Healthcare as a way to honor their incredible service throughout the pandemic. Over 300 new members joined from Emory Healthcare. Thank you to all our healthcare heroes! DORI C P ATRO N
Ms. Mary Elizabeth Abbott Mr. Bruce A. Shecter and Ms. Vicky E. Alvear Shecter Ms. Bobbie Baggett Mr. Antonio Cornelius Baker Dr. Klaas Pieter Baks and Ms. Monelle K. Lawrence Ms. Nancy L. Barber Drs. Patricia J. Bauer and James Steven Snow Drs. Robert John Berry and Jane F. Seward Dr. and Mrs. Harry Black Beverly Drs. Achuyt Bhattarai and Beni Amatya Mr. and Mrs. Samuel W. Black Mr. Robert A. Boas Mr. Randy Scot Fields and Ms. Elizabeth Anne Bouis Mr. and Mrs. George H. Boulineau Dr. Josephine V. Brown Mr. and Mrs. Richard H. Brownlee Mr. Kevin Buck and Ms. Joanna L. Parks Mr. and Mrs. Richard Ross Burris III Mr. and Mrs. Mark K. Bush Ms. Mary Kathleen Carroll Mrs. Lorraine Rooks Cary Drs. Stewart Wright Caughman and Alison Youngs Caughman Ms. Carol E. Chatham Dr. Stanley A. Cohen and Ms. Julia Chi Mr. Gerald R. Cooper, Jr. and Mrs. Charlotte F. Slovis-Cooper Dr. Ann Davidson Critz and Dr. Frank A. Critz Ms. Dorothy Anne Cunningham Dr. and Mrs. F. Thomas Daly, Jr. Dr. and Mrs. S. Carter Davis, Jr. Mr. Jefferson James Davis Mrs. Mary Dean Davis Dr. Robert C. Dean and Ms. Catherine E. Taylor Mr. Rick Keenan and Mrs. Linda Dove-Keenan Dr. Robin Henry Dretler and Ms. Alice K. Michaelson Mr. Kenneth D. Driggs Dr. D. Peter Drotman and Ms. Carolyn N. Arakaki
Mr. and Mrs. David Dundee Mr. and Mrs. Ralph Anders Dunham Dr. Francine Duda Dykes and Mr. Richard Hale Delay Mr. and Mrs. Steven Godarze Ebrahimi Mr. and Mrs. James D. Fagan, Jr. Mr. and Mrs. Gary B. Fessenden Drs. Michael Lyn Flueckiger and Joyce Burkhalter Flueckiger Mr. and Mrs. James A. Ford Ms. Dawn L. Francis-Chewning Mr. and Mrs. Clark Milstead Goodwin Mr. Jude Grey Dr. and Mrs. John B. Hardman Mrs. Sally Willingham Hawkins Mr. Morris M. Herzberg, Jr. Mr. James Edward Honkisz and Mrs. Catherine Ann Binns Dr. Ruth A. Hough Mr. Paul Immerman and Ms. Ellen Meshnick Drs. Jeffrey Jeruss and Melinda K. Hartwig Mr. Roger W. Johnson and Ms. M. Jane Major Dr. and Ms. J. Timothy Johnson Mr. and Mrs. Kevin David Kell Ms. Jennifer Kirker Dr. and Ms. Eric Klingelhofer Mr. and Mrs. Stephen P. Kramer Mr. and Mrs. Wayne Alan Krause Ms. Patricia Krull Mr. and Mrs. Arnold H. Kurth Mr. and Mrs. Norman Langberg Dr. and Mrs. Thomas Joseph Lawley Dr. Clint Lawrence and Ms. Deborah Ann Marlowe Mr. and Mrs. Nolan C. Leake Mr. and Mrs. Karl Lehman Dr. Joel Marcus LeMon and The Rev. Rebekah Close-LeMon Dr. Elliott J. Mackle Mr. and Mrs. Peter Mariolis Drs. John Michael Matthews and Linda McCarter Matthews Dr. and Mrs. John E. McGowan, Jr. Mr. and Mrs. Dileep Mehta Dr. Leslie R. Freedman and Ms. Lee Paula Miller
Ms. Martha Josephine Mills Mr. Kenneth Nassau Mr. and Mrs. Spalding McArthur Nix Dr. and Mrs. Michael K. Pace Mr. and Mrs. Melvin A. Perling Dr. Louise Pratt Pettit and Mr. James Edwin Pettit Dr. Frank M. Pickens Ms. Janette B. Pratt Dr. and Mrs. Richard Vladimir Remigailo Dr. Henry C. Ricks, Jr. The Honorable and Mrs. Mathew Robins Mr. Kenneth L. Rogel Dr. Donna L. Sadler Dr. Robert J. Samuels and Ms. Patricia L. Stone Mr. and Mrs. James E.B. Sanders Dr. and Mrs. Rein Saral Dr. and Mrs. Philip Daniel Schroeder Mr. Leland Coulter Scoggins II Mr. and Ms. Michael Carlton Selph Drs. Robert John Berry and Jane F. Seward Mr. and Mrs. James M. Sibley, Jr. Ms. Cynthia Anne Smith Ms. Ruth Carol Smith Mr. Ken Sosebee and Ms. Catharine A. Tipton Mr. and Mrs. Barry Lee Spurlock, Sr. Mr. Harry E. Stillwell Ms. Susan C. Talgo Dr. and Mrs. Gary W. Tapp Ms. Virginia S. Taylor Mr. and Mrs. Leonard W. Thibadeau Mrs. Kathleen and Mr. Ray G. Thomas Dr. Garth Edward Tissol Mr. Robert D. Turner Mr. Aaron Voss and Ms. Amber Seale Mr. Robert Wagner The Rev. Dr. James L. Waits Drs. Paul F. Walter and Jonne Barney Walter Mrs. Aileen W. Wieland Mr. Robert P. Focht, Jr. and Ms. Barbara Lord Willis Mr. William Frank Wood III and Ms. Lori A. Sullivan Ms. Jeannie B. Wright Dr. and Mrs. William N. Yang MCCM | 3
michael c. carlos museum emory university 571 south kilgo circle atlanta, ga 30322 carlos.emory.edu
Member
Visitor information Hours Tuesday through Friday: 10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. Admission General admission: $8. Carlos Museum members and 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. Ebrik Coffee Room Serving coffee, pastries, and snacks Tuesday– Friday, 8:30 am–2 pm; Saturday, 10 am–2 pm; Closed Sunday and Monday. Carlos Museum members receive a 10% discount on all purchases. Museum Bookshop The Carlos Museum Bookshop stocks thousands of books on art, archaeology, history, mythology, and more for both adults and children and is open during normal museum hours starting this fall. You can also
support the bookshop by purchasing books online at bookshop.org/shop/ carlosmuseum. 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 Oxford Road and Fishburne Decks. On weekdays before 4 pm, accessible parking is available in the Oxford Road parking deck. Enter the Oxford Road building and take the elevator 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 government issued hangtag must be displayed.
Stay connnected
Stay connected on our Facebook, Instagram or twitter pages with event reminders, specials, notes from curators, and exhibition information. Subscribe to the Carlos Museum calendar to learn about lectures, the Carlos Reads book club, family events, and more. Visit carlos.emory.edu/connect to sign up for monthly enewsletters.
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