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Director’sletter I love the concept of a “spirit companion,” an alter-ego animal self that can be called forth whenever needed, a spirit guide to assist with myriad aspects of life. What if I could have multiple spirit companions… be the Sybil of shamanic visionary experiences. I could summon my swift horse self when I had too many errands to do in too little time. Call up my cranky crocodile self for challenging business meetings or a family reunion (just kidding!). Transform into my high-flying falcon self when a flight at Hartsfield-Jackson is delayed. Venomous rattlesnake, predatory owl, enormous whale shark—oh, the possibilities! While I wrote the above with humor, the world of the shaman was, and still is, serious business. Our fall exhibition ‘For I am the Black Jaguar’: Shamanic Visionary Experience in Ancient American Art invites you to delve deeply into the fascinating realm of shamans, their spirit companions, and the meaning and use of visionary trance consciousness. Gorgeous works of art along with new research narrate the complex story of shamanism, and a fabulous array of educational programs throughout the fall will further your understanding of this incredible world that continues today.
The transformative power of art is something all art museum professionals understand since most of us entered the field due to an indelible art experience. Museum Moments, a new program at the Carlos Museum, has us all rethinking just how powerfully moving art can be. A joint venture with Emory’s Alzheimer’s Disease Research Center (adrc), Museum Moments brings medical research together with art to create a compelling experience for individuals with Alzheimer’s and their caregivers. We are very grateful to adrc and medical student Emily Lu for inviting the Carlos Museum to collaborate on developing this program. Museum educator Julie Green and a select group of our docents contributed time and valuable expertise, and the results are extraordinary. I know you’ll enjoy reading about Museum Moments in the pages of this newsletter. I’d like to end this letter by thanking all of you who are members and patrons of the Carlos Museum. We are honored by your faith in us to do good work, and grateful for your membership. Membership dollars are critical to our work, allowing us the flexibility to seize opportunities and pursue compelling projects. Thank you. As always, I look forward to seeing you in the galleries
B on n ie Speed Director
cover: Jaguar-Human Effigey Vessel. Central America, Costa Rica/Nicaragua, Greater Nicoya, Pataky Polychrome, Pataky Variety. Period iv, 1000–1350 ad. Ceramic. Ex coll William C. and Carol W. Thibadeau. Photo: Michael McKelvey 2
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Photo: Bruce M. White
OnView
'For I am the Black Jaguar': Shamanic Visionary Experience in Ancient American Art September 8, 2012 – January 5, 2013
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he exhibition — focusing primarily on ancient Costa Rica, the Central Andes and Mesoamerican traditions — explores visionary experiences that deeply influenced the artistic output of American indigenous cultures before the European invasions of the sixteenth century. From earliest times to today, indigenous peoples of the Americas have valued shamanic visionary trance as one of their most important cultural and religious experiences. Shamans still speak of their trance journeys to other cosmic realms, the truths they learn, and the information they bring back to cure their communities’ ills. above: Vessel with Incised Jaguar Motifs. Central America, Costa Rica, Greater Nicoya, Belén Incised, Belén Variety. Period V–Period VI, ad 700–1350. Ceramic. Ex coll. William C. and Carol W. Thibadeau.
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Often depicted in ancient American art, trance consciousness is one of the most important elements of shamanism, especially the shaman transforming into an animal such as a powerful black jaguar, an enormous whale shark, a predatory owl, or a venomous rattlesnake. Trance consciousness plays a prominent role in this exhibition’s narrative. Animal selves and spirit companions are considered to be guides to the shaman in caring for his or her community with the animals’ powers augmenting the shaman’s innate healing abilities. The show’s title is based on a quote from a contemporary traditional Taulipang shaman of northern Brazil: “Call upon me for I am the black jaguar . . . I drive away the illness…” This shaman’s above: Double Spout and Bridge Vessel with Flying Shaman. Central Andes, South Coast. Nasca 3. Early Intermediate Period, 1–650 ad. Ceramic. Gift of William C. and Carol W. Thibadeau. 4
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statement conveys the most pervasive shamanic visionary experience of actually becoming a powerful animal, the black jaguar in particular. Culled primarily from the Museum’s permanent collection with the addition of loans from private collectors, the exhibition showcases more than 100 works of art from ancient Mexico, Costa Rica, Panama, Colombia, and Peru. Indigenous Amerindian cultures were—and remain to a strong degree—shamanic. The experience of spiritual leaders going into trance to communicate directly with higher beings has been embodied in sacred art for centuries. As an example, images of entranced shamans often depict exaggerated eyes, either oversized, bulging, and showing the whites, or squeezed tightly shut. Dr. Rebecca Stone, Emory Professor of the Humanities and Art History and Faculty Curator of Art of the Americas at the Carlos Museum calls these “trance eyes.” Many modern practicing shamans researched or interviewed by Dr. Stone maintained that their eyes felt like the artistic renditions when they are in trance. Others explain that they see the “Other Side” more clearly with their physical eyes closed. Throughout the exhibition, accounts of contemporary traditional shamans are juxtaposed with ancient works of art on the assumption that visionary experience shows strong similarities from culture to culture, shaman to shaman, and century to century. The art in the first gallery of the exhibition features many examples of part-human, part-animal beings, from felines to deer and even whale sharks. Shamans identify completely with these “animal selves.” The second gallery features objects conveying other common visionary experiences such as shamans flying, turning upside down, simultaneously dead and alive, and disembodied into heads or just eyes. The final gallery illustrates the many ways to achieve visions from meditation, dancing, and playing music to ingesting sacred plants. The exhibition features new insights into these “plant teachers,” as modern shamans call them, from Lophophora williamsi, and Anadenanthera colubrina to Guarea. The exhibition, ‘For I am the Black Jaguar’ explores visionary experience through striking works of art for Emory and the community to enjoy. Z
photo: Michael McKelvey
Photo: Michael McKelvey
photo: Bruce M. White
OnView
above: Female Whale Shark Shaman. South America, Central Andes, Central Coast. Chancay. Late Intermediate Period, 1200–1450 ad. Ceramic. Gift of William C. and Carol W. Thibadeau. below: Seated Male Meditating Shaman. Central America, Atlantic Watershed, Costa Rica. Period VI, 1000–1520 ad. Medium-grained basalt. Ex coll. William C. and Carol W. Thibadeau.
above: Vessel in the Form of a Feline. South America, Central Andes, Central-North Coast, Supe-Huarmey Valleys. Middle Horizon, ca. ad 750. Ceramic. Gift of William C. and Carol W. Thibadeau.
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OnView
Photos courtesy Sarah Campbell Blaffer Foundation
The Plains of Mars: European War Prints, 1500–1825, from the Collection of the Sarah Campbell Blaffer Foundation
from the late fifteenth through the early nineteenth centuries, Europe was in an almost constant state of war, from the French invasion of Italy in 1494 to the Eighty Years War between the Netherlands and Spain to the end of the Napoleonic Wars in 1814 and their aftermath. Religion, politics, economics, and dynastic ambition all played a role in the turmoil that spread across the continent. The proliferation of the printed image, made possible by advancements in the development of papermaking and the invention of special printing presses, meant that a broad audience could for the first time experience various aspects and scenes of war. War-
related prints were collected by people in all strata of society, and were displayed in homes or businesses either framed or simply tacked to the wall. The prints came to serve an array of functions: commemorative, iconic, narrative, eulogistic, critical, and instructional. Some were created as historical record, while others were commissioned by the ruling powers to manipulate public opinion. The prints in Plains of Mars represent only a sampling of the vast corpus of war-related imagery produced, but their varied subjects, functions, and modes of representation suggest the visual preoccupation with soldiers, battles, war, and peace in early modern Europe.
above: Francisco de Goya (Spanish, 1746–1828). No se puede mirar (One cannot look at this), no. 26 from Los Desastres de la Guerra (The Disasters of War), 1810–15/1863. Etching with aquatint. Sarah Campbell Blaffer Foundation. 6
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Highlights include selections from The Disasters of War (1810–20), a series of etchings with aquatint that Goya created in response to the brutal war that followed Napoleon’s invasion of Spain. The prints do not depict the war itself, but rather its “fatal consequences” between soldiers and civilians or of starvation, degradation, brutalization, and oppression of civilians. For political reasons, the series was not published until 1863, thirty-five years after Goya’s death. Return from Russia (1818) by Théodore Géricault represents another highlight of the exhibition. This print, considered a masterpiece of early lithography, depicts a wounded grenadier wearily leading a blinded cuirassier on horseback across bleak terrain. The artist’s inspiration was Napoleon’s occupation of Moscow and subsequent retreat from Russia in 1812. The campaign, and the retreat during the severe Russian winter without adequate provisions, cost nearly one million lives.
Plains of Mars will be displayed in two parts and includes, in total, nearly eighty engravings, woodcuts, etchings, lithographs, and aquatints, examining the perpetual theme of war and peace. Along with Goya and Géricault, some of the most virtuoso printmakers in history are represented, including Albrecht Dürer, Lucas van Leyden, and Hendrick Goltzius. Part One, on view from August 4 through November 11, focuses on soldiers, their weaponry, and their sometimes highly charged interactions with civilians. Part Two, Warfare and Peace, on view from December 8, 2012, through March 10, 2013, will explore brutal scenes of battle, the imagery of diplomacy, and conclude with hopeful scenes of peace and accord. This two-part exhibition is on loan from the Sarah Campbell Blaffer Foundation and was curated by Foundation director and Curator of Renaissance and Baroque Painting at the Museum of Fine Arts, Houston, James Clifton. Z
above: Albrecht Dürer (German, 1471–1528). The Standard-Bearer, 1502. Engraving. Sarah Campbell Blaffer Foundation. cat. no. 6. below: Théodore Géricault (French, 1791– 1824). Return from Russia, 1818. Lithograph. Sarah Campbell Blaffer Foundation. Stefano della Bella (Italian, 1610–1664). Death on the Battlefield, c. 1648. Etching with engraving. Sarah Campbell cat. no. 21. Blaffer Foundation. cat. no. 2.
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Carlosarchaeology Samothrace 2012 Field Work in the Sanctuary of the Great Gods
To learn more about Samothrace and other Carlos-sponsored archaeological digs visit carlos.emory.edu/iSites
above: Art history graduate student Alison Hight and Emory undergrad Abi Green clean and record the foundations of the precinct in which the great Nike of Samothrace originally stood. Today, the statue crowns the great staircase in the Louvre, Paris. below: Emory senior and SIRE fellow Samantha (Sam) Owens works on the reconstruction of a pot. 8
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emory art history professor and faculty consultant curator at the Carlos Museum Dr. Bonna Wescoat has been working on the island of Samothrace for over thirty years in a joint excavation with the Institute of Fine Arts of NYU and the IO Ephorate of Prehistoric and Classical Antiquities, Komotini. This past year, Dr. Wescoat was made Director of Excavations at their site of the Sanctuary of the Great Gods. In celebration of Wescoat’s new position in the joint excavation, we’ve included an excerpt from her blog... Greetings from Samothrace, where we have just finished our third week of the 2012 season. Our team includes student and professional archaeologists, conservators, surveyors, and architects, and we are very fortunate to be supported by the Carlos Museum and other sponsors. Samothrace, a small island in the northeastern Aegean, was famous in antiquity for its mystery cult of the Great Gods. Initiation into the cult promised salvation at sea (a crucial benefit in a world connected by the frequently treacherous currents of the Mediterranean), and the possibility of becoming a “better and more pious person.” Kings and slaves alike sought the benefits of initiation and gave gifts to the gods, each according to his or her capacity. One key aspect of initiation was celebratory dining. This season we are working on the most elaborate of the dining halls given to the Sanctuary by a woman from the ancient city of Miletos (on the coast of modern Turkey). It has a temple-front central pavilion with flanking wings. In fact, it looks a bit like a nineteenth-century New England bank! We have drawn all the individual blocks, and we are now fitting them together on the computer using a 3d modeling program called Rhino. Once we are satisfied with our reconstruction, we will make the finished drawings by hand so that we can include all the rich details that distinguish Greek architecture. We came to the Sanctuary this year with specific plans and goals for the season. Typical of archaeology, however, our research has taken us in some wholly unanticipated directions. We did not expect to find the marble roof tiles from a building on the Eastern Hill reused in the floor of a building on the Western Hill. The connection is important, but we have had to drop everything to redraw the roof on all the drawings now in press. Ugh! Last winter was especially harsh on this rugged island, and several ancient walls suffered. Our team of conservators is creating a condition report and treatment recommendations for our Greek colleagues who will undertake the restorations. The conservators are also preparing objects for the new installation planned for the Archaeological Museum on the island. Later this week we will begin a small excavation near the Sacred Way to make way for a new tourist path. We do not expect to find the head of the Nike as she stood on the other side of the Sanctuary, but after our roof tile experience, we are open to all possibilities! Bonna D. Wescoat Director
Carlosarchaeology
The excavation team was also fortunate to have the assistance of Tomasz Herbich from the Polish Center for Mediterranean Archaeology and his crew to conduct a magnetometer survey of selected areas at the site, including the Amun temple, North Village, Middle Palace, and South Village. This helped to relocate the lost walls noted on the original excavator’s plans from a century ago, as well as structures that might still be unexplored, buried below the desert surface.
Work will be conducted at the Carlos Museum’s conservation lab in collaboration with Georgia State to further analyze samples of mud brick and mural painting in an effort to preserve the palace and its magnificent decoration before it is lost forever. In a race against time, the goal for this coming season is to begin the important work of conserving and restoring the King’s Palace. Aided by modern technology and good old fashioned manual labor, as the palace walls which collapsed over 3,000 years ago, will be raised again and the site brought back to a semblance of its former glory. Learn more about archaeological digs: carlos.emory.edu/iSites. Z
Photo: Joel Paulson
Photo: Sindbad Hot Air Balloons
in an effort to better understand and preserve the record of the past, archaeologists have been leveraging new technologies to document and conserve unseen and fragile structures. The Carlos Museum’s joint expedition with the Metropolitan Museum of Art has also been employing a gamut of new, as well as old investigative techniques at the palace city of Amenhotep iii at Malqata in Western Thebes. During the past season, the fragile walls of unbaked mud brick in the royal palace were cleaned, photographed, and drawn to scale, while team surveyor Joel Paulson conducted a 3d scan of the entire structure using a Leica Scanstation c10 High Density Surveying Laser Scanner, the latest in laser imaging for industry. Paulson also used a hot air balloon to take aerial photographs of the site, using both regular and infrared film. The infrared film will be shared with Dr. Sarah Parcak of the University of Birmingham who will add it to her research using spy satellite technology to see images of mud brick buildings below the ground.
Photo: Joel Paulson
Modern science and ancient monuments
above: Dawid Swiech conducting the survey by systematically walking over a grid with a magnetometer, which detects variations in the earth’s magnetic field that can reveal buried structures.
above: Hot air balloon flying past the Colossi of Memnon. Google Earth based map showing the areas selected for the magnetometer survey.
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FeaturedArt South Asian Art at the Carlos Museum
Photos on this page: Bruce M. White
Also known as the “Lord of Auspicious Beginnings,” Ganesh is worshipped at the beginning of any Hindu religious ritual, before one begins a journey or a new undertaking, and for students, before taking exams.
for years Emory professor of religion and Museum board member Joyce Flueckiger encouraged the Carlos Museum to acquire an image of the Hindu deity Ganesh, the “Remover of Obstacles,” reminding us that “every Hindu temple and most every Hindu home has one. In fact, almost every Indian taxicab has one on the dashboard!” Now, thanks to Merry and Chris Carlos and JoAnne and Charles Ackerman, the Museum has a delightful ninth-century sandstone image of the beloved elephant-headed god who brings good fortune to his devotees. Also known as the “Lord of Auspicious Beginnings,” Ganesh is worshipped at the beginning of any Hindu religious ritual, before one begins a journey or a new undertaking, and for students, before taking exams. Why does Ganesh have the head of an elephant? One story tells us that the goddess Parvati created a son out of a paste of ground lentils and turmeric to keep her company while her husband, the great god Shiva, was away
above: Figure of Ganesh. India, Maharashtra. 8th to 9th centuries. Red sandstone Gift of Joanne and Charles Ackerman and Merry and Chris Carlos.
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above: llustration to the Ramayana: Lakshmana Pulls a Thorn from Rama's Foot. India, Punjab. Late 18th century. Watercolor. Gift of Jayantilal K. and Geeta J. Patel and family to further the study of Hinduism.
above: Jay Patel, Joyce Flueckiger, and Chris Carlos study the miniature painting depicting a scene from the Ramayana, one of Hinduism’s greatest epic poems.
above: Statuette of a Woman. Egyptian, Middle Kingdom, ca. 1200–1750 bc. Peridotite. Gift of the Forward Arts Foundation
Photo: Bruce M. White
Egyptian sculpture of a young woman
Photo: Kay hinton
meditating in the mountains. One day, she instructed Ganesh to guard the doorway so that she could bathe in privacy. While Ganesh was keeping watch, Shiva returned home, but the dutiful Ganesh, obeying his mother’s orders, refused to let him in. Furious that this unfamiliar child would deny him entry to his own home, Shiva sliced off Ganesh’s head with his trident. Parvati was devastated and begged Shiva to restore life to her son, but the power of the strike had flung the boy’s head far away and it could not be found. So Shiva took the head of the first living creature he saw, an elephant, and placed it on Ganesh’s body. The Carlos Museum’s Ganesh is seated on a lotus throne, his head framed by lotus petals. His four hands hold an axe for removing obstacles in the lives of his followers; a mala (prayer beads) used in meditation; a bowl of laddus, a popular Indian sweet treat, which he reaches for with his trunk; and his broken tusk. The Indian sage Vyasa wanted to dictate his famous epic, the Mahabharata, to Ganesh. Believing that a regular pen was not worthy for such a sacred task, Ganesh broke off his own tusk to write the story. Another remarkable new addition to the Museum’s collection of South Asian art, a gift from the Jay Patel family, is an intimate miniature painted scene from the Indian epic of the Ramayana. As a result of palace intrigue, Rama has been banished from his rightful throne for fourteen years. In solidarity and service, his wife Sita and brother Lakshmana have followed him into exile. In this scene, Lakshmana tenderly removes a thorn from his brother Rama’s foot as the latter steadies himself, his hand upon Hanuman’s shoulder. This brotherly act of compassion takes place in a calm forest setting with a golden-hued sky as backdrop. The figures are rendered with great delicacy and artfulness, their hair streaked with gold to match the sky. The Museum hopes to build a collection of scenes from the Ramayana, which is taught by Dr. Flueckiger and others in Emory’s Departments of Religion and Middle Eastern and South Asian Studies each year. Both Ganesh and the Ramayana miniature painting will be installed in the South Asian gallery in January 2013. Z
the middle kingdom is considered the high point of ancient Egyptian art, particularly in sculpture. Artists of this period were renowned for their sensitive portraits done in restrained, elegant detail. Furthermore, a love of rare and exotic stones flourished during the Middle Kingdom, complementing the skilled craftsmanship of the period. This exquisite piece is an example of Middle Kingdom sculpture at its zenith. The statuette depicts a woman with an elaborately curled “Hathorian” wig and sheath dress. Both the wig and dress are typical of the Middle Kingdom, evoking the goddess of love and beauty, Hathor. Such statuettes of young women are found in tombs of the Middle Kingdom and are thought to represent fertility and rebirth; often, as in this example, the feet are not included. The statuette is carved of periodotite, a hard stone rarely used in Egypt. The greenish color of the stone, familiar in its gem form as peridot, reinforces the emphasis on fertility and rebirth. Z
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Educationnews
Camp Carlos
We hate to see summer end at Camp Carlos!
camp carlos children and the artists who taught them tapped into an abundance of creative energy this summer. As long as there have been people, the human figure has been the subject of depictions in art. Children created a world populated with human figures in clay that were inspired by the art of ancient Egypt, Greece, and Africa. Wielding swords and shields created in camp, children took on the roles of demi-gods and battled valiantly as they enacted Greek and Roman myths through the wildly popular Rick Riordan book series Heroes of Olympus. Teens spent two weeks playing with fire, in a disciplined way, while learning the fascinating, and ancient
above: Glass camp at Camp Carlos. 12
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Museum Moments
art of glassblowing, fusing, slumping, and making glass beads with the artists of Janke Studios. Children experienced the power of words while learning to draw and write like ancient Egyptian scribes in their own House of Life. Growing out of themes in Rick Riordan’s book The Throne of Fire, children created a powerful text to stop the dreaded Apophis snake. Members of the Carlos Museum Docent Guild, who give their time so generously giving tours of the collection to k–12 audiences, expanded their commitment to learning in the Museum by providing camp scholarships to two children from Coan Middle School. The two children, who were selected by their art teacher, were not only funded by the Carlos Museum Docent Guild but were also provided with transportation to and from Camp Carlos by Pam Rivers, who volunteered her time to ensure that transportation was not an obstacle to their participation. The Docent Guild was also represented by Sara Hart, a recent Emory graduate. Sara served as a student docent at the Carlos for two years, as an intern in the Office of Educational Programs for two semesters, and is in her second year as a Camp Carlos counselor. She brought her enthusiasm and expertise for studio art and art history to the children in another fun-filled summer. Z
the carlos museum strives to provide access and rewarding experiences for people of all ages and backgrounds. This spring, the Museum began a new series of tours called Museum Moments, designed for people in early stages of Alzheimer’s disease and their caregivers. Museum Moments, based on a successful program developed by the Museum of Modern Art, was initiated at the Carlos Museum by Emily Lu, an Emory medical student working in collaboration with Emory Alzheimer’s Disease Research Center, and Julie Green in the Office of Educational Programs. The program engages individuals in the early stages of the disease and their caregivers in the exploration of art to foster expression, dialogue, and the creation of meaningful experiences within a supportive environment. Specially trained Carlos docents lead each tour, focusing on engaging participants in open conversations and discussions about works of art in the galleries. The works of art provide the opportunity to exchange thoughts and ideas, share individual experiences, and access memories. At the end of one Museum Moments tour, a spouse/caregiver shared “my husband and I have been married forty-five years and I have never heard some of the stories he shared today about his early life.” “We’re seeing growing evidence that keeping people with memory loss or dementia engaged in social activities like museum tours is key in both improving their quality of life and helping stimulate their cognitive function,” says Allan Levey, md, phd, Director the Emory Alzheimer’s Disease Research Center and Chair
of the Department of Neurology at Emory University School of Medicine. “Programs like Museum Moments are vitally important to keep the memory loss community, both patients and caregivers, engaged with the world around them.” To date, 150 people have participated in Museum Moments. The Museum’s hope is to obtain funding to offer an art-making workshop as a further expansion of the program. Participants would have the opportunity to come for a tour, returning later in the month for a studio workshop with Edna Bacon, a board-certified art therapist and Carlos Museum docent who is consulting on this aspect of the program. Museum Moments tours are scheduled once a month. Reservations are required by calling Nina West at 404-727-0519. Z
above: Docent Edna Bacon with Emily Lu touring a Museum Moments group. below: Julie Green, Office of Educational Programs, with Museum docents Char Zola, Sharon Lemaster, and Robey Tapp, who helped pilot the Museum Moments tour.
in conjunction with ‘For I am the Black Jaguar’: Shamanic Visionary Experience in Ancient American in june, sixteen teachers particiArt and the opening of the newly pated in Augustus into Empire: reinstalled galleries of the Art of the the Story of Ancient Rome. They spent time in the galleries and in the Americas in January 2013. This new first floor installation will feature classroom with Museum curators a temporary exhibition of Native and distinguished faculty from North American art. The course Emory, Georgia Tech, and the will include workshops and public University of Georgia. Judith Evans-Grubbs, Betty Gage Holland lectures on the art, history, culture, geography, and belief systems of the Professor of Roman History at Americas. For more information or Emory set the stage for the course to register call Julie Green at with a lecture on the development of the Roman Empire and returned 404-727-2363. Z to talk about her favorite area of research: women and families in the Roman world. Museum curator Jasper Gaunt introduced Roman art and toured the group through the collections. He was joined by Mark Abbe, Assistant Professor of Ancient Art at the University of Georgia, for a close look at the residue of color and paint on Roman pieces. The week ended with Betty Dowling, Professor Emerita of Architecture at Georgia Institute of Technology. Dr. Dowling provided an overview of Roman architecture and led the teachers on a field trip to the former C&S bank building at Broad and Marietta Streets in downtown Atlanta, which is based on one of Rome’s most famous monuments, the Pantheon. About the course, teachers said: “I appreciated the attention from top-notch faculty members from three of Georgia’s premier universities.” “Dynamic professors! Well prepared.” “Very well organized and excellent implementation. I will be here for any topic.”’ “Helped me know what to look for when viewing the actual pieces.” above: Jasper Gaunt touring teachers through the The next course for teachers will Greek and Roman galleries. take place during the school year below: Conway Brackett, Carlos Museum docent Teachers at the Carlos
and Latin teacher shared object-centered learning lesson plans that she uses in her classroom.
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A new look for Old Kingdom jewelry among the many generous loans sent by the Georg Steindorff Egyptian Museum of the University of Leipzig to the Carlos Museum for its Old Kingdom Mummy exhibition, was a rare jewelry set of broad collar and long necklace. The broad collar was the most common type of jewelry worn by the ancient Egyptians with beads intricately woven together with linen thread, which rarely survives, making it difficult to determine the original order of the stringing once the thread decays and the beads scatter. This appears to have been the case with the Leipzig collar and necklace. The beads for this jewelry set were found on a mummy in the tomb of the scribe Wehemka and his wife Hetepheres at Giza. The beads, found unstrung and scattered, were collected by workman and brought to the excavators in a little metal can during or shortly after the excavation. The early excavators incorrectly assembled the beads to make a long necklace, stringing pendants awkwardly onto two rows feeding into small ceramic terminals. Some of the confusion may have been caused by the fact that the larger terminals belonging to the broad collar were missing. The beads remained assembled as a collar and long necklace, and until they arrived in Atlanta, the bead order had not been questioned. Once the jewelry set was unpacked and examined, it became clear to Dr. Peter Lacovara that the beads did not correspond to the standardized parure, or ensemble, of the Old King-
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dom. Dr. Lacovara recognized the beads had originally been part of a set consisting of a broad collar and a choker worn at the neck, as is often depicted in images of women of the Old Kingdom. To restring the beads in their proper pattern, Carlos Museum conservators called upon Gail Walter, jewelry designer and docent, who has reconstructed several pieces of ancient jewelry for the Museum. Walters consulted with Dr. Lacovara and Leipzig curator Dr. Dietrich Raue, as well as Carlos conservators RenÊe Stein and Kathryn Etre to determine the correct appearance of the assembled beads. Walters worked with conservation lab interns Samantha Owens ec’12 and Alexandra Fuller ec’13, instructing them on how to order the beads, fabricate missing elements, and restring the jewelry. The interns conducted research into the fabrication and deterioration of Old Kingdom faience. Two beads from the Leipzig jewelry were analyzed using a scanning electron microscope with energy dispersive spectrometer (sem-eds) to document the elemental composition of the faience. The elements responsible for color were of particular interest. The analysis suggests the green beads contain iron and copper, while the blue beads contain manganese and
copper. To accomplish this analysis, the conservators and interns collaborated with Dr. Ervan Garrison, Professor of Anthropology, and Dr. John Shields, co-director of the Center for Advanced Ultrastructural Research, both at the University of Georgia in Athens. Owens and Fuller created missing beads from pigmented polymer clays. The color of the ancient faience had deteriorated, so the new beads are slightly more blue or green to suggest the original colors. By incorporating these more colorful modern beads into the rows of ancient beads, the viewing eye is encouraged to better distinguish the hues and patterns that would have defined the original jewelry. The missing terminals for the collar and spacers for the choker were also recreated from polymer clay. The new terminals were gilded with modern gold leaf and toned with pigments. The beads were then restrung on new beige cotton thread, simulating the look of the original linen thread. Before being returned to Leipzig, the collar and choker will be put on display in the Carlos Museum galleries in celebration of the on-going collaboration with the George Steindorff Egyptian Museum. Z
SupporttheCarlos
Bacchanal: End of the World Saturday, November 3 7–11 pm
each fall, the Museum hosts a festive cocktail event, raising funds for world-class exhibitions and programming. Inspired by the ancient American collections and the approaching end of the Maya calendar, Bacchanal will offer participants a magical evening filled with live entertainment, delectable cuisine, and delicious cocktails. For more information or to purchase tickets, visit carlos.emory.edu/bacchanal.
s ave t h e date
above: Gail Walters, jewelry designer and Carlos docent, meticulously works on reconstructing the ancient Egyptian broad collar for viewing in the galleries. below: Broad Collar and "Choker" Collar. Old Kingdom, ca. 2613–2181 bc. From Giza tomb D 117. Faience. Lent by the University of Leipzig Egyptian Museum ÄMUL 3768.
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Veneralia 2012: Night of the Black Jaguar
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on may 19, the Carlos Museum honored long time Museum supporters, Margaret and Charlie Shufeldt for the 21st annual spring fundraiser. Twenty-eight contemporary artists created masterful art environments for the guests to enjoy, each successfully translating a theme of the shamanic visionary experience seen in the art of the indigenous cultures in Central and South America. Veneralia co-chairs Beth Ault and Robert Long dedicated many months to launching a seamless and beautifullyexecuted fundraiser. Key contributors were: Platinum Sponsors, Spruce Private Investors, llc; Gold Sponsors, Canterbury Press, Cartier, Dennis Dean Catering, National Distributing Company, Priori Skincare, and Publix Super Market Charities; Gold Benefactors, Merry and Chris Carlos and The Honorable Anne Cox Chambers. Z
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A Courtlandt Ault and Charles Ackerman B Veneralia 2012 Co-chairs, Beth Ault and Robert Long C Michael and Kristi Robison and Jada and Toni Loveless D Toni Adeleke Schenk and Preston Wilson E Jada Loveless, Ginny Brewer, and Merry Carlos 16
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The Carlos Museum especially thanks Spruce Private Investors, llc, for their generosity spruce private investors, llc, is an award-winning wealth management firm that serves as a Chief Investment Officer for forty-five family offices, foundations and endowments. Spruce advises on approximately $3 billion in broadly diversified portfolios. Since 2001, Spruce has helped families and investors benefit from a broad and sophisticated array of global investment opportunities, aggressive risk management, and objective investment advice. Z
SAVE THE DATE: VENERALIA 2013 on March 16, 2013
F Chris Carlos, Bonnie Speed, Merry Carlos, Gail and Michael Habif, Betsy Ayers, and Courtlandt Ault G Art by Sarah Justice H Art by Kim Vasil I Randi and Raymond Goins J John Stupka and Marian Goldberg
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Bookshop n e w i n the booksho p New book by Carlos Museum curator Dr. Peter Lacovara the eagerly-awaited new book Ancient Nubia: African Kingdoms on the Nile, edited by Dr. Lacovara along with Marjorie Fisher, Salima Ikram, and Sue D’Auria, will be available in the Museum Bookshop in September from the American University in Cairo Press. Featuring the striking photography of Chester Higgins Jr., this is a lushly illustrated gazetteer of the archaeological sites of southern Egypt and northern Sudan, documenting recent discoveries about the remarkable history, architecture, and culture of ancient Nubia and revealing a new and fuller picture of this rich African legacy. $59.95 hardcover, discounted for Carlos Museum members. To order your copy as soon as they arrive from Cairo, call 404-727-0509.
Shop online for new Jaguar merchandise
dvd, The Shaman & Ayahuasca: Journeys to Sacred Realms, documents the shamanic work and the carlos Museum Bookshop ayahuasca ceremonies of Peruvian continues to expand its new online shaman Don Jose Campos to shopping site and now features uncover the healing and transfora selection of books and gifts in mational aspects of ayahuasca. connection with the new exhibition The World of Shamanism: New ‘For I am the Black Jaguar.’ In Views of an Ancient Tradition stock is Dr. Rebecca Stone’s ground- explores shamanism in the light breaking book The Jaguar Within, of modern medicine, psychology, which illustrates how deep familiar- neuroscience, and religious studies. ity with the visionary experiences of Resource books for children will shamanism profoundly affected the also be available; look for Eyewitartistic output of indigenous cultures ness: Aztec, Inca & Maya and The in Central and South America before Chocolate Tree: A Mayan Folktale. European contact. A fascinating The Bookshop has also imported colorful jaguar masks from Guatemala, hand carved and painted by Maya craftsmen in the town of Nahuala. Visit the new online shopping site at carlos.emory.edu/ bookshop. Z
To order books by phone call 404-727-2374, or visit our website at carlos.emory.edu/bookshop.
Enjoy the Southeast’s most distinguished collection of art and artifacts the carlos museum is a place where information meets inspiration, where the Emory campus connects with the larger community—where families, school children, scholars, students, and cultural enthusiasts explore the stories of ancient civilizations through works of art. Visitors and members can enjoy a bronze sculpture of a Tibetan Buddha, a Sowo initiation mask from Sierra Leone, a Costa Rican ceramic figure embodying the shaman’s power, the portrait of a Roman emperor, and stylized stonework from India depicting powerful deities. We invite you to share the coupon on the following page with friends or family. Discover the ancient world through gallery talks, children’s programs, audio tours, family guides, special exhibitions, films, and much more. Z 18
fall-winter 2012
Membership we extend our gratitude to all who have become new members or who have renewed between February and July 2012. Your support is greatly appreciated and we look forward to seeing you at the Museum for many years to come.
Corinthian
Not yet a member? Visit carlos.emory.edu/join to join the ranks of these generous supporters.
Ionic
D irector Co u ncil
Mr. and Mrs. M. Edward Ralston Mr. and Mrs. Edgar Cleveland Snow, Jr. Dr. William E. Torres and Mr. Donald Jack Sawyer Curator Co u ncil
Mr. and Mrs. Richard D. Aaronson Ms. Merrily C. Baird Messrs. Dirk L. Brown and Timothy Burns Mr. and Mrs. Charles G. Crawley Dr. and Mrs. L. Franklyn Elliott Mrs. Louise S. Gunn Dr. and Mrs. Frank R. Joseph Mr. Avery V. Kastin Ms. Margie A. Koenig Mr. James B. Miller, Jr. Mr. and Mrs. S. Jay Patel Mrs. Eleanor Horsey Ridley Mr. and Mrs. Jonathan Peter Rosen Dr. Monique Seefried and Mr. Ferdinand C. Seefried Mr. and Mrs. John D. Shlesinger Mrs. Reid Vanderlande and Mr. Bernard Vanderlande Ms. Joni R. Winston
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coupon
GENERAL A D U LT A D M IS S IO N
$2 off Redeem this coupon at the front desk of the Carlos Museum galleries during our special exhibition ‘For I am the Black Jaguar’: Shamanic Visionary Experience in Ancient American Art, from September 8, 2012, through January 5, 2013, for $2 off admission.
Dr. Erl Dordal and Ms. Dorothy K. Powers Drs. Michael Lyn Flueckiger and Joyce Burkhalter Flueckiger Dr. and Mrs. Larry R. Kirkland Mr. L. Richard Plunkett Drs. Kirk W. Elifson and Claire Elizabeth Sterk Mr. and Mrs. Howard J. Weinstein
Dr. David S. Pacini and Mrs. Martha H. Abbott-Pacini Ms. Janet M. Abraham Dr. Daniel B. Caplan Dr. and Mrs. Overton Anderson Currie, Jr. Dr. Francine D. Dykes and Mr. Richard H. Delay Mr. and Mrs. George R. Hemenway Mr. Morris Herzberg Mr. James E. Honkisz and Ms. Catherine A. Binns Mr. and Ms. Robert H. McKay Mrs. Dorothy H. Miller Mr. Gary W. Rollins Mr. and Mrs. Michael R. Thomas Mr. and Mrs. Joseph B. Vivona Mr. David J. Worley and Ms. Bernadette M. Drankoski D oric
Ms. Michelle Arauz Ms. Maria Aryee Mr. Richard Ballard Ms. Diane B. Bartlett The Rev. Nancy Julia Baxter Mr. and Mrs. Douglas Neal Benham Mrs. Penelope B. Berk Dr. and Mrs. Michael E. Bernardino Mses. Michelle S. Bernhart and Priyanka Sinha Dr. and Mrs. Bruce H. Bielfelt Dr. and Mrs. Marvin Blase Mr. and Mrs. Robert A. Boas Mrs. Laura Hailey Bowen Mr. and Mrs. Alan Bremer Drs. Aubrey M. Bush and Carol T. Bush Jeri Lynn Cameron-Berlin Mr. and Mrs. Thurman Cary Mrs. Carolyn J. Childers Mr. and Mrs. Thomas G. Cousins Dr. Ann Davidson Critz Ms. Dorothy A. Cunningham Mr. and Mrs. Ajit Dalvi Mr. Corey Dangar Dr. Elinor P. Daniel and Mr. J. Wallace Daniel Drs. J. Anthony Paredes and Alleen D. Deutsch Dr. Marian Leslie Evatt and Mr. James W. Beauchamp Messrs. Brian McClain Fulford and Sebastian Ericsson Mr. and Mrs. Carl I. Gable, Jr. Dr. and Mrs. Joel A. Goldstein Mr. and Mrs. Frank C. Jones Bishop John Kallos of Amorion Mr. and Mrs. Martin Keller Mr. Carl Elwood Fowler, Sr. and Ms. Anita K. Kern Mr. and Mrs. Arnold H. Kurth Dr. Peter Lacovara
Mr. and Mrs. James A. Lanier, Jr. Dr. and Mrs. Christian Peter Larsen Mr. Larry D. Woodring and Ms. Sharon M. LeMaster Dr. Earl Lewis and Ms. Susan B. Whitlock Dr. and Mrs. Allen G. Macris Mr. Cecil C. Malone, Jr. Mrs. Edith K. Malone Mr. and Mrs. Dileep Mehta Ms. Mimi Shetzen Monett Mr. and Mrs. George E. Mundy Mr. and Mrs. Spalding McArthur Nix Mr. and Mrs. Melvin A. Perling Dr. and Mrs. Thomas E. Prosser Mr. and Ms. Williams D. Reynolds Ms. Mina Rhee Mr. Darryl C. Payne and Mrs. Lisa C. Richardson Dr. Henry C. Ricks, Jr. Dr. Richard B. Rothenberg and Ms. Patricia A. Honchar Ms. Sharon Roy Mr. and Mrs. Richard L. Rutledge Dr. Robert J. Samuels and Ms. Patricia Stone Drs. Robert L. DeHaan and Marianne M. Scharbo-DeHaan Mr. and Mrs. Shouky A. Shaheen Mr. and Mrs. Bruce A. Shecter Mr. and Mrs. Joe Stickell Mr. Harry E. Stillwell Dr. and Ms. Gary W. Tapp Ms. Virginia S. Taylor Dr. and Mrs. Frederick Everett Turton Mr. J. Eric Viebrock Mr. and Mrs. Richard S. White, Jr. Mr. William B. White Ms. Nancy Jean Young Dr. and Mrs. Stuart M. Zola
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Thank you
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571 south kilgo circle atlanta, ga 30322 carlos.emory.edu
Comingup
Visitorinformation
December 8, 2012–March 10, 2013
Hours: Tuesday through Friday: 10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. caffè antico: Monday–Saturday: 11 am–3 pm.
The Plains of Mars: Warfare and Peace in European War Prints, 1525–1800 On view beginning late January, 2013
New Art of the Americas Galleries including Walking in the Footsteps of our Ancestors: The Melion-Clum Collection of Modern Southwestern Pottery August 24–November 17, 2013
Antichità, Teatro, Magnificenza: Renaissance and Baroque Images of Rome 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
Admission: $8 general admission. 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 find out about Free Afternoons. Public Transportation: marta bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Arts Center stations. Parking: Paid visitor parking in the visitor sections of the Fishburne and Peavine Parking Decks and in the new Oxford Road Parking Deck, located behind the new Barnes and Noble @ Emory, 1390 Oxford Road.
non profit organization u.s. postage paid atlanta, georgia permit number 3604
Handicapped Parking: Drop off for handicap visitors at Plaza Level entrance on South Kilgo Circle. Handicap-accessible parking is available in the Oxford Road and Peavine decks. A handicap-accessible shuttle runs from the Peavine deck, weekdays every 10 minutes. For further assistance contact the Disability Services Office at 404-727-9877 or 404-712-2049 (fax). 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. Audio Tour: $2. Free for Museum members. Museum Information: 404-727-4282 Web Access: carlos.emory.edu