Spring Newsletter 2022

Spring 2022

In This Issue

4 The Thought-Provoking Exhibition

And I Must Scream Is Now Open 5 And I Must Scream Artists Create

Site-Specific Work

6 Indigo Prayers: A Creation Story Now Open 7 The Eye, the Mind, and the Heart: In Honor of Clark Poling 8 Student Studio Flourishes 10 Christian Humann Foundation Makes Million-Dollar Gift in Support of Asian Art 11 Endowment and Donation by the Schulz Family in Memory of Daniel Schulz 12 New Acquisitions and Installations at the Carlos 13 Updates to the Lab and

Conservation Webpages

14 Artists on Death, Mourning, and New Directions 15 Fall Artist Residencies Enrich Our Knowledge 16 Carlos Welcomes New Board

Members

17 Elizabeth Hornor Honored and New Vice Provost of Libraries and Museum Announced

18 The Senusret Collection Begins Its March Towards Spring 2023 19 Coming in Fall 2022:

Making an Impression 20 The Carlos Appreciates

Our Docents and Members 22 Recognizing Our Donors

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spring 2019

Interim Director’s Letter

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l e ft Anida Yoeu Ali

(Cambodian American).

The Buddhist Bug. 2014.

Performance-Installation.

Orange polyester-lycra blend fabric, tubing, wire, thread with live bodies. © Anida Yoeu Ali. Lent by the artist. cov e r Thameur Mejri (Tunisian). Destroy the Source. 2016. Charcoal, pencil, pastel and acrylic on canvas. © Thameur Mejri. Lent by the artist.

his spring, the museum is a very lively place. And I Must Scream, curated by Amanda Hellman, boldly and beautifully explores challenging contemporary issues in an installation that creates a powerful kinesthetic experience for viewers. The Carlos offers a tribute to former director and curator emeritus, Clark Poling, in the exhibition, The Eye, the Mind, and the Heart: In Honor of Clark Poling. That exhibition is followed

by Indigo Prayers: A Creation Story, featuring Charmaine Minniefield’s powerful paintings created with indigo and crushed oyster shells to explore ideas of creation, memory, and resistance in Black identity.

In the permanent collections, new displays include an exploration of the theater in ancient Greece, and aspects of mourning by contemporary Native American and Guatemalan artists. You will find a new set of pipes in the African gallery.

As ever, we remain deeply indebted to our donors and patrons.

The museum celebrates two recent endowments: a gift from the Christian Humann Foundation in support of Asian art, and a gift from Barbara and Larry Schulz for African art in honor of their son, Daniel Schulz. And many of you have also given generously to our collections and programs.

We welcome three new National Leadership Board members, Roshani Chokshi, Ira Rampil, and Mwasaa Sherard, as well as Dr. Valeda Dent, who will become the Vice Provost of Libraries and Museum this summer.

Catherine Howett Smith’s departure after decades with the Carlos has left a large void in our

team, but we were glad to have had the opportunity to celebrate her many contributions. Curator Amanda Hellman and security officer and events assistant Carissa Lucas Abbas are also leaving the museum; we wish them well in their new positions.

In addition to offering excellent exhibitions and programs this spring, the museum and university are also now engaged in the search for a new director. This will, therefore, be my last semester as interim director. I want to thank our marvelous staff who have worked with great dedication this year, and also the National Leadership Board, the docents, and our students.

It has been an honor and a pleasure to be part of the Carlos Museum in one way or another, for forty years. The museum has been a source of wonderful career opportunities and abiding friendships. As a fledgling faculty curator I had the opportunity to meet Jim and Berta Laney and experience the power of transformational leadership; I witnessed Thalia and Michael Carlos make bold and generous decisions. Through the serendipity of Veneralia connections I met my husband, Bailey Green, and in the splendid Carlos camps our children made the clay temples that we still treasure. For all of it, I could not be more grateful.

With very best wishes and looking forward to seeing you in the galleries, Bonna D. Wescoat Samuel Candler Dobbs Professor of Art History and Interim Director, Michael C. Carlos Museum

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The Thought-Provoking Exhibition And I Must Scream is Now Open

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nd i must scream, developed by Dr. Amanda H. Hellman, the museum’s curator of African art, is on view now through May 15 in the Carlos Museum’s level three exhibition galleries. The show features photographs, sculptures, paintings, drawings, and site-specific installations from ten local, national, and international contemporary artists.

The works employ monstrous, grotesque, and humanoid figures and forms and engage five themes — corruption and human rights violations, displacement, environmental destruction, the pandemic, and renewal. This exhibition acts as a call-to-action and shows these crises to be both urgent and 4

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interconnected. The accompanying programming will bring scholars and artists from around the world to teach classes, facilitate performances, and create new works of art.

According to Dr. Hellman, “The exhibition seeks out the voice of the artists to explore incomprehensible man-made issues and aims to connect artists from a range of countries. These ten artists’ important work and the monumental crises their art confronts bring vital conversations to the forefront in a way only art can.”

Artists featured in the exhibition include Laeïla Adjovi (Benin/ France), Anida Yoeu Ali (Cambodia), Steve Bandoma (DRC),

Amie Esslinger (United States), Ganzeer, (Egypt), Cannupa Hanska Luger (United States-Mandan, Hidatsa, Arikara, Lakota), Thameur Mejri (Tunisia), Kahn & Selesnick (US and UK), and Yinka Shonibare (UK), and Fabrice Monteiro (Benin/Belgium).

The exhibition closes on May 15, 2022. Z

This exhibition has been made possible with generous support from the National Endowment for the Arts, the Charles S. Ackerman Fund, the Carlos Museum National Leadership Board, the Massey Charitable Trust, the LUBO Fund, and anonymous donors.

And I Must Scream Artists Create Site-Specific Work

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a bov e l eft Steve Bandoma (DRC). Perruche Perruque from Costumes.

2018. Ink on paper, © Steve Bandoma, Courtesy MAGNIN-A Gallery, Paris. a bov e r i g ht In gallery view of the exhibition featuring in the foreground, Yinka Shonibare (British).

The Sleep of Reason Produces Monsters (Africa).

2008. Chromogenic print mounted on aluminum. ©Yinka Shonibare.

Courtesy of James Cohan Gallery, New York.

frican art curator and organizer of the And I Must Scream exhibition Amanda Hellman has organized a visual conversation across the special exhibition gallery walls with ephemeral works of art created especially for the exhibition.

Ganzeer’s site-specific mural, Macabre by Design, recalls the Egyptian revolution which was a part of the larger highly political Arab Spring of 2011 as the work takes a strong stance against powerful governmental figures and their corrupt regimes. The life-and-death imagery directly faces the works by Thameur Mejri, which similarly reflect events of the Arab Spring, and the works of Steve Bandoma, which portray clear elements of government corruption.

The details in Macabre by Design, specifically the orange and yellow accents, connect to other works of art in the exhibition and pull visitors through the Egyptian temple-like doorway of the mural. The vibrant yellow plays with the yellow walls of Amie Esslinger’s site-specific installation that spans multiple galleries to replicate the complexity inherent in natural systems, while creating new mysterious organisms.

The orange hints at the winding Buddhist Bug by Anida Yoeu Ali peeking down the hallway, recalling homelands and a chance to find solace from past calamities. Z

ab ove Amie Esslinger’s installation replicates the complexity in natural systems. b e lo w Ganzeer’s mural,

Macabre by Design, recalls the Egyptian revolution of 2011.

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Indigo Prayers: A Creation Story Now Open “ What if seven Black women spinning counterclockwise, each upholding a single attribute of God, conjured creation? What if they were charged with birthing humankind, and passing each attribute on to every generation to come?

Cyclically moving from the past to present, powered by an infinite love, what if they encoded these attributes as secret messages within our cultural identity, like symbols hidden within a Freedom Quilt, pointing the way home to freedom?

What if it is our single responsibility to only remember?”

—Artist Charmaine Minniefield 6

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n the exhibition Indigo Prayers: A Creation Story, Atlanta artist Charmaine Minniefield considers questions of Black identity as resistance against erasure, past and present.

Created during a year-long, self-initiated, pandemic-forced artist residency in the Gambia, the work weaves together ancestral memories of resistance in response to both contemporary and historic acts of erasure. This sojourn, though

unexpected, was inspired by recent world events and Minniefield’s ongoing exploration of the Ring Shout, an early African-American gathering and worship practice whose West African origins predate slavery. Having grown up in the Pentecostal faith, Minniefield had experienced this full-bodied rhythmic prayer taught to her by her great-grandmother, as performed by her ancestors during enslavement.

The knowledge of indigo cultivation

ab ove Charmaine Minniefield.

Photo by Jerry Siegel.

r ig h t Charmaine Minniefield (American). Freedom. 2020.

Indigo and crushed oyster on canvas. ©Charmaine Minniefield.

The Eye, the Mind, and the Heart: In Honor of Clark Poling

was carried to the South

by Minniefield's enslaved ancestors. She used this plant-based dye, mahogany bark, and crushed oyster shells—a material used in the architecture of the coastal regions of both West Africa and the American South— to create these large-scale paintings. As Minniefield inserts her own body as life-sized self-portraits into the series, each work is a prayer. Like the Ring Shout, its ritual affirms Black life and asserts Black identity to conjure a new world and to imagine a new freedom today.

Indigo Prayers: A Creation Story is 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 in conjunction with Flux Projects 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 in downtown Decatur, on Emory University’s Atlanta campus, and at South-View Cemetery, where Congressman John Lewis was laid to rest. Z

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rom january 15 through march 6, the Carlos Museum presented The Eye, the Mind, and the Heart: In Honor of Clark Poling.

During his thirty-three years at Emory, Clark Poling served as professor and chair of Art History, director of the Michael C. Carlos Museum (formerly the Emory University Museum of Art and Archaeology), and faculty curator emeritus of Works on Paper. As director of the Michael C. Carlos Museum, Poling managed the major reorganization and reinstallation of the collections, worked alongside Michael Graves to design the 1985 renovation of the old Emory Law School building and developed the museum's first series of special exhibitions. Poling was an interna-

tionally recognized art historian whose work in early twentiethcentury French and German art and theory was highly regarded in the field.

This exhibition recalls Poling's work and the Art History Department's foundational course, Art/ Culture/Context II (Art History 102). The show reflects on his deeply held belief that studying works of art in person was essential in order to develop the eye, the mind, and the heart. These works are drawn from the museum's collection of Works on Paper, many of which were acquired during Poling's tenure.Z This exhibition is made possible by the Massey Charitable Trust. b e lo w Clark Poling. Photo courtesy of the Poling family.

This exhibition is made possible by the Massey Charitable Trust.

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Student Studio Flourishes Chalk the Quad

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hroughout the pandemic, the Carlos Museum and the Art History Department have worked together to offer Emory students opportunities to gather safely and share in the creative act of making art. Student Studio, offered monthly, encourages students to explore the galleries and then participate in studio activities related to the museum’s collections and exhibitions. For many students, the program was a welcome respite during an uncertain time. Z

“ Student Studio has been a stress-free outlet for me to create and connect with other students during the pandemic, which I really appreciated when so much was still virtual. Each Student Studio project made me feel even more connected to our campus museum.” —Sojourner Hunt, Emory College ‘22 Bronze Pour

ab ove Students shared messages of solidarity created with brightly colored sidewalk chalk. le ft Students explored

bronze objects in the galleries with a printed guide developed by intern Lizzie Meulbroek (‘22), carved their own designs into scratch molds, and marveled as artists from Atlanta’s Inferno Foundry poured the molten bronze.

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Spherical Jars SketchFest le ft With Carlos Museum

sketchbooks in hand, students participated in the age-old tradition of drawing from works of art in the galleries.

ab ove a n d r i g ht Students

gathered in Ackerman Hall to create closed-form clay jars inspired by the Tonosi and Conte cultures of ancient Panama and decorate them with colorful slips that become part of the surface when kiln-fired.

Indigo Masks le ft an d ab ove Wearing masks is a little more fun when you dye it yourself using natural indigo.

“In the throes of Covid-19 and all the ways our lives were far from "normal"— remote and hybrid teaching, masked gatherings, an unusually quiet campus— it was so heartening to encounter students making art on the quad! The Carlos has been such a nimble and creative magnet for students.”

—Carla Freeman, Executive Associate Dean, Emory College of Arts & Sciences

Maya Chocolate Pots

ab ove an d r i g h t Students

reimagined the cylinder vessels used by the Maya for drinking chocolate.

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Christian Humann Foundation Makes Million-Dollar Gift in Support of Asian Art r ig h t Francis Humann

(87C) and his son, Philipp (23C) (middle back) gather with Provost Ravi Bellamkonda (left) and others at the celebration of the renovated Asian gallery. fa r r i g h t Christian

Humann. Photo courtesy of the Christian Humann Foundation.

“ On behalf of the Christian Humann Foundation, we are delighted to carry on my uncle's legacy in supporting important Asian art collections, such as the one at the Carlos.” —Francis Humann

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n december of 2021, Emory alumnus and member of the museum's National Leadership Board Francis Humann (87C) announced that his family's foundation would make a milliondollar gift to support Asian art at the Carlos. To celebrate this extraordinary gift, the museum's Asian art gallery will be named The Christian Humann Foundation Gallery of Asian Art in honor of Francis's uncle who, before his untimely death in 1981, built one of the country's finest collections of Asian art, now dispersed.

The gift will be given in increments of $200,000 over five 10

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years. The establishment of this endowment will contribute significantly to the growth and care of the collections, to university teaching and research, and to a dynamic calendar of exhibitions and educational programs that will ensure the Carlos Museum thrives as a vibrant center for the study of Asian art and culture.

The Humann Foundation has been a longstanding supporter of the Carlos Museum, funding a variety of initiatives from chamber music concerts to university courses and student-curated exhibitions on topics in Asian art to the splendid renovation of the Asian gallery. Z

“The spiritual inspiration of the nameless sculptors represented here imbues their work with an imposing presence and a contemplative as well as physical vitality. But it is probably those figures in which a deity’s compassion is most lovingly expressed that will generate the greatest enjoyment.

And is that not as it should be, since in the final analysis love and compassion are what religion is all about.”

—Christian Humann, from the catalog preface to The Sensuous Immortals exhibition of his collection, LACMA 1977.

Endowment and Donation by the Schulz Family in Memory of Daniel Schulz

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he carlos museum is honored to announce that longtime collectors and museum friends Barbara and Larry Schulz, have established the first endowment dedicated to the African collection.

Barbara and Larry have created this important fund in memory of their beloved only son. During Daniel’s childhood, they visited the Carlos often as a family and now the museum provides a consoling environment that embodies Daniel’s diverse interests and talents. In addition, Barbara and Larry are donating several works of art to the African collection in Daniel’s memory.

Daniel died in March of 2021 of an accidental opiate overdose while

seeking release from crippling anxiety and depression. Daniel’s family hopes that this gift will not only support African art but will also raise awareness about how mental illness and drug addiction can afflict anyone. Barbara said of her son, “He was a sparkling wit, creative chef, superb violinist and bassist, and loving spirit. The works gifted in his memory are intended to reflect his passion for fine arts, social equity, and Atlanta—the city he called home.”

To enhance diversity within the museum collections, Barbara and Larry have also contributed meaningful seed money for an African American Works on Paper Fund. Thanks to this donation,

the museum will be able to acquire additional works on paper by African American artists. These acquisitions will build on the collection, which currently includes work by artists such as Romare Bearden and Mildred Thompson.

“This gift will be transformative for the collection and for the museum as a whole” says Curator of Works on Paper Andi McKenzie.

This timely gift coincides with the inauguration of Emory University’s interdisciplinary African American Studies PhD program and will allow the museum’s collections to grow alongside and complement the Stuart A. Rose Library’s archives of African American History and Culture. Z

“ As the first of its kind for the African collection, the Daniel Schulz African Collection Support Endowment will allow the museum to pursue projects that have not previously been possible. It is generous and momentous for propelling the collection and related research forward. I am incredibly grateful to Barbara and Larry Schulz for their support of African art and their friendship with the Carlos Museum.” —Curator of African Art Amanda Hellman far r ig h t Romare Bearden (American, 1911–1988).

Untitled (The Trojan Horse).

Ca. 1977. Collage of various papers and mixed media mounted on masonite.

Museum purchase in partnership with Stuart A. Rose Manuscript, Archives, and Rare Book Library, Robert W. Woodruff Library, William Bowen Astrop Family, Nancy and Randall Burkett, Maria Doiranlis and Jasper Gaunt.

r i g h t Mildred Thompson (American, 1936-2003).

Variation of Muliebris I. 1991. Etching. Gift of Sally and Joe Gladden in honor of Eleanor Ridley, 2017 Woolford B. Baker Service Award recipient.

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New African Acquisition Includes Nguni, Thembu, and Xhosa Pipes and Tsonga Snuff Containers

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top Tsonga (South Africa).

Linked Snuff Containers.

Late 19th century. Wood.

Gift of the Charles S. Ackerman Fund.

ab ov e Xhosa (South Africa).

Pipe. Late 19th century.

Wood, metal. Gift of the Charles S. Ackerman Fund.

n spring 2021, the museum acquired four Nguni, Thembu, and Xhosa pipes and two Tsonga snuff containers. These personal objects are beautiful and highly designed and represent the rich visual culture of southern Africa.

Pipes and snuff containers would have been used every day, resulting in deep patinas and smooth surfaces.

Each of the four pipes is unique in its design. One pipe, attributed to either the Cape Nguni or Thembu people, has a playful carving of a hand grasping a bowl embellished with inlaid metal patterns. A pipe charac-

teristic of a Thembu artisan features a long bone stem and geometric forms that elegantly exploit negative space and what appears to be, brass-lined finger holes on the shank. The Xhosa pipe includes beautiful metal inlay designs. The Tsonga snuff boxes are connected by carved wooden links, the smooth surface showing extensive use. The delicacy of the carving makes these everyday objects extraordinary.

View these pieces in person when they are displayed in the Charles S. Ackerman Galleries of African Art later this spring. Z

Take a Trip to the Greek Theater

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ab ov e Fragmentary calyxkrater depicting the myth of the daughters of Kekrops, perhaps based on a tragic performance. Apulian, attributed to the Black Fury Group. Ca. 370 BCE. Ceramic.

Lent by the J. Paul Getty Museum, Villa Collection, Malibu, California.

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his spring, the Carlos will reinstall its Greek Theater case in the Greek and Roman galleries. Exploring the cultural and material significance of theater in both Athens and the Greek colonies of southern Italy, the display will feature objects from the Carlos' permanent collection alongside three exciting additions. Two Apulian vessels on long-term loan from the J. Paul Getty Museum in Los Angeles demonstrate the importance of tragic and comic drama as it was adopted and adapted in South Italy. The loans include a red-figure mixing bowl (calyxkrater) depicting a scene that likely relates to a tragic performance of

the myth of the daughters of the Athenian king Kekrops. Made as a grave good to be placed in a tomb, the calyx-krater demonstrates how the imagery of the theater was given new meaning in different contexts.

A terracotta figure of an actor dressed as a bird joins the Attic red-figure wine container (pelike), also depicting an actor dressed as a bird already on display in the galleries (Carlos Collection of Ancient Art, 2008.4.1). This was one of several objects donated jointly to the Carlos and the Tampa Museum of Art by William Knight Zewadski, and has been transferred to Atlanta from Florida. Z

Updates to the Lab and Conservation Webpages

le ft Assistant Conservator

Brittany Dinneen tries out new ergonomic lab chairs.

c e n t e r Mellon fellow Kaitlyn Wright shows off the new fume cabinet. r ig h t Chief Conservator Renee Stein stands at new counter for analytical instrumentation.

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he parsons conservation Laboratory was recently refurbished to improve the efficiency and ergonomics of the busy workspace. The lab was established in 1993 and expanded into an adjacent storage room in 1999. The conservation program has continually increased treatment, preventive care, and research activities in the years since. Students, volunteers, and professional collaborators have multiplied, as has equipment for analysis and documentation. Although the footprint cannot enlarge within the museum basement, space was gained through improved layout and furnishings.

A counter-height fume hood with integrated cabinetry was central to the upgrade, providing better ergonomics and consolidated storage. The unit was sustainably relocated from another campus building undergoing renovation. An ill-used nook was fitted with shelves to store portable equipment, including vacuums, ovens, humidifiers, and tools. An unused sink and small wall

were removed to open floor space.

New counters, cabinets, and shelves were installed to house analytical equipment, including a new microFTIR spectrometer and micro-fade tester, both acquired with grant funding from the Andrew W. Mellon Foundation. The photography area was updated with a new boom stand and lamps. Space was also gained for an additional bookcase and more glassware cabinetry.

Along with fresh paint, new flooring, and additional lighting, these modifications have significantly improved the flow and function of the space. These improvements were made possible by the generosity of longtime lab volunteer, docent emerita, and National Leadership Board member Joan Sammons. A set of adjustable saddle-seat chairs were graciously provided by Emily Katt.

The renovation work was coordinated by Guy Mitchell and Larry Jackson, both of Emory Campus Services. Their willingness and flexibility were essential as the regular work of the lab continued

throughout the project.

The Conservation pages on the Carlos Museum website have also been revamped to better represent the work and resources of the lab.

The Opportunities pages now describe student projects, internships, and fellowships, featuring recent examples.

The new Research pages profile the lab's available instrumentation and its many collaborators at Emory and beyond. Research areas, such as “Materials & Making” or “Sourcing & Dating,” are summarized with are summarized with links to resulting publications, posters, and presentations. The Resources page now includes links to websites developed through the lab to provide teaching and learning materials for K–12 STEAM and cultural heritage preservation topics. Carlos communications staff and interns were instrumental in accomplishing these revisions to both layout and content.

The Conservation webpages will be continually updated as new projects and resources become available. Z MC C M

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Artists on Death, Mourning, and New Directions: Upcoming Changes in Art of the Americas

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uring this unprecedented time, as nearly a million people in our country and many more around the world have died from COVID-19, the inevitable question is: how can museums reflect or respond to this moment?

The Art of the Americas galleries will continue to celebrate Indigenous American artists and creativity in the past and will incorporate more contemporary Indigenous voices that reflect on our present and tell their stories as we work together to forge a safer, more inclusive future. Our annual gallery rotation, essential to protect perishable items from too much light exposure, offers opportunities to focus on new themes and display pieces from storage. Beginning this March, the Carlos Museum will display fifteen previously unseen pieces from the collections, including ancient Andean "tie-dye" textiles.

The galleries also will respond to our current moment, as two new installations will feature contemporary artists and new acquisitions that focus on the present, and the future.

The Guatemalan textile case will feature two textiles made for or in mourning. One is a K'iche' Maya mourning huipil (blouse) from Totonicapan, Guatemala, circa 1935, and the other is a lliklla (woman's mantle) made in mourning by a Quechua woman from the town of Tarabuco, Bolivia, around 1967.

While highlighting creativity in the past, this installation also draws attention to our present, particularly to the massive losses of life in the US and Guatemala at this moment, both because of the COVID-19 pandemic, and from the losses of 14

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life people have experienced while immigrating to the US, having hoped to seek better lives. Featuring these beautiful textiles made for mourning in the past encourages us to collectively mourn today.

New acquisitions for the Native American gallery follow this theme but look to the future. PostPandemic: Finding a New Direction is a bandolier bag made by contemporary beadwork artist Martha Berry, a citizen of the Cherokee Nation. Berry, named a Cherokee National Treasure in 2013, has

worked to revive Cherokee beadworking and, when possible, uses materials that are period authentic to c.1820, before the Cherokee Nation and other Tribal Nations from our region were forcibly removed to Oklahoma. This bag is not a copy of an older piece but a new design. The central design is a serpent, recalling the Serpent Mound in Ohio and its positioning to align with journeys of the sun as witnessed on solstices and equinoxes. Berry thus looks back to the past to comment on our

ab ove Chase Kahwinhut

Earles (American [Caddo]).

Snake Bottle 18. Ceramic, 2022.

Photo by Chase Kahwinhut Earles.

le ft Martha Berry (American

[Cherokee]). Post-Pandemic: Finding a New Direction.

Glass seed beads, wool stroud, cotton, silk, wool yarn, 2021.

Photo by Dave Berry.

Fall Artist Residencies Enrich the Knowledge of Our Art of the Americas Collections present—and future—in which we need to seek new directions. Although created just a few months ago, it has already won two awards.

Another new piece that will be displayed alongside Berry's bandolier bag is Snake Bottle 18 by Chase Kahwinhut Earles, a Caddo ceramic artist who will come to Atlanta this spring for programming related to his monumental sculpture of a bear that will be installed on the Atlanta Beltline. Earles works both to revive older forms from Caddo pottery and create new ones in futuristic shapes and themes, some inspired

by Star Wars. Snake Bottle 18 looks to the past and to the future. As Art on the Atlanta BeltLine Arts and Culture Program Manager Miranda Kyle recounts, "For many Indigenous peoples of the Southeast and their diasporas, the snake is closely associated with the Thunder Beings, rain, power, renewal, death, and wisdom." This small bottle, among other things, becomes a symbol of hope and renewal.

These themes of death, mourning, and new directions allow viewers a moment to collectively pause and mourn those who have died, listen to artists who speak about our moment, and seek new paths together. These and other pieces will be on view in the Americas galleries from mid-March 2022 to March 2023. Z

le ft Cannupa Hanska Luger

engages with students in the And I Must Scream exhibition. b e lo w Marie Watt connects

with Emory students during the Student Studio sewing circle.

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n the fall of 2021, the Carlos Museum was thrilled to have not one but both artists from the exhibition, Each/Other: Marie Watt and Cannupa Hanska Luger, in residence at the Carlos.

On opening weekend, both artists joined Denver Art Museum curator John Lukavic and Carlos Museum faculty curator Megan E. O'Neil for a conversation that addressed the ways in which these two artists view their work as a collective process of creation focusing on engagement with community, materials, and the land.

From September 23–28, while in residence at the Carlos, Marie Watt (Seneca Nation) brought people together to create art and community. She gave an artist talk and held three sewing circles on the Emory Quad—one for the public, one for Emory students as a part of Student Studio, and one for local emerging artists. She also toured the galleries and discussed her art practice with multiple Emory classes from the Art History, History, English, and

Anthropology departments and even held a mini–Sewing Circle in O’Neil’s seminar.

From November 5–13, Cannupa Hanska Luger (Mandan, Hidatsa, and Arikara Nation, and Lakota) was in residence at the Carlos, conducting programs for Emory students and the public. He gave artist and gallery talks, met with students in Emory courses, starting with a walk-through George Trakas’s Source Route in the ravine behind the museum, and spoke in the Emory Climate Talks series, exploring the social aspects of global climate change. In addition, Luger and master naturalist and nature photographer Kathryn Kolb led two guided walks, one for the public, in Atlanta's Cascade Springs Nature Preserve, one of the largest areas of old-growth forest in the city, and one for Emory students in Emory’s Lullwater Preserve. Luger and his sons also gave a virtual tour of the exhibition for local school children. Z MC C M

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The Carlos Museum Is Proud to Welcome New National Leadership Board Members

Roshani Chokshi

Ira Rampil

Mwasaa Sherard

Roshani Chokshi is the New York Times bestselling author of multiple books for children and young adults.

She is the recipient of the 2020 Southern Book Prize, has been nominated for multiple Nebula and Locus Awards. Her novel Aru Shah and The End of Time was named

by Time magazine as one of the "100 Best Fantasy Books of All Time." Chokshi received her BA from Emory University with a focus in Medieval English and lives in Atlanta with her husband, a fellow Emory graduate. The Carlos Museum has been an important place for Roshani, as a student and as an alumna. The Museum of Indian Art in the Aru Shah books is based on the Carlos Museum.

Her favorite piece is the sandstone carving of Durga serenely slaying the buffalo-demon Mahisha.

"It's almost cinematic in its movement, and it never fails to make me pause before it."Z

Ira Rampil is a retired academic physician with a long-standing interest in archaeology and related fields. Rampil has undergraduate and graduate degrees in engineering.

He attended medical school at the College of Physicians & Surgeons at Columbia University followed by postdoctoral training at University of California, San Francisco where he then joined the faculty as an anesthesiologist specializing in the care of complex neurosurgical patients. In retirement, he started a software company and has published a number of Egypt-related educational smartphone apps. Ira loves museums, especially the Carlos.

His favorite thing about the Carlos Museum is the "sleeping mummy."

"Old Kingdom mummies are very rare, and this is the first I have seen who was prepared and wrapped in lateral decubitus," he says. Z

Mwasaa Sherard is an artist and an educator. Born and raised in the San Francisco Bay Area, she credits her aunt, father, and grandmother for supporting her creative abilities and interests. She has lived in Dekalb County, Georgia, since 1995 and has taught art education for Dekalb County schools since 2005. Mwasaa was recognized as Elementary Teacher of the Year in 2021 by the Georgia Art Education Association and in 2008 as Teacher of the Year by the DeKalb Academy of Technology and Environment. She is a strong advocate for the Carlos Museum and has brought multiple schools and classes for tours. She currently serves on the museum's Teacher Advisory Council. Her favorite collection at the Carlos is the Egyptian. "I am especially fond of planning visits around this collection because for my students, it is a fantastical entry into a world apart that opens their minds to examine other contexts and sparks wonder and curiosity."Z

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Elizabeth Hornor to Receive International Outreach Award

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he carlos museum is proud to announce that Elizabeth Hornor, the Ingram Senior Director of Education, has been awarded Emory’s prestigious International Outreach Award.

This honor is given to outstanding Emory staff who have made significant contributions to Emory's internationalization.

This award is given by Emory University’s Office of Global Strategy and Initiatives (GSI) which is dedicated to the support, promotion, and expansion of Emory’s international engagement. The International Outreach Award was created in 2012 by GSI to recognize professional staff who have made significant contributions to Emory’s internationalization through the programs, schools, and units in which they serve, demonstrate initiative and creativity in establishing new programming, that foster international engagement, and devote significant time and energy to facilitating cultural exchange or international understanding.

During her three-decade-long career at the Carlos Museum, Elizabeth has helped build the reputation of the museum and Emory with world-class programs that inspire the Emory and Atlanta community to learn more about world cultures, past and present.

Elizabeth and her department collaborate across the museum, and the campus, with other cultural and community organizations to develop interpretative programs for university and public audiences, including programs with nationally and internationally recognized scholars, writers, and artists. Through engaging programs like Student

Studio, Carlos Reads book clubs, AntiquiTEA programs, In This Moment conversations, international artists-in-residency programs, teacher workshops, tours for K–12 students, museumbased Emory courses, and symposia, Elizabeth’s work has demonstrated a commitment to promoting a greater understanding of the ways in which the past speaks to the present, and how works of art provide an entry point for learning about cultures other than one’s own. She also works with Emory faculty to help facilitate the use of the museum across the campus, from developing specialized tours to semester-long courses.

In addition, she serves as on-site curator for traveling exhibitions of Asian and Islamic art and recently worked with faculty to renovate the museum's gallery of South Asian art.

An alumna of Emory College and the Laney Graduate School, she has received numerous awards including National Art Education Association Museum Educator of the Year/ Southeast, Georgia Association of Museums and Galleries Museum Professional of the Year, and Emory’s Award of Distinction.

Congratulations to Elizabeth for receiving this well-deserved honor. Z

New Vice Provost of Libraries and Museum

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mory university’s Office of the Provost announced that Valeda F. Dent will serve as the University’s inaugural Vice Provost of Libraries and Museum. Dent last served as acting provost and vice president for academic affairs as well as vice president for student success and learning innovation at Hunter College of the City University of New York in New York City.

The Vice Provost of Libraries and Museum is a new position at Emory.

Dent will oversee the Michael C. Carlos Museum and the Emory Libraries in a new leadership structure, working through the Office of the Provost to provide support in planning for the future of both units. The Carlos staff looks forward to working with Valeda Dent to build upon the museum's extraordinary collections while continuing to expand access, programming, and community engagement. Z

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The Senusret Collection Begins Its March Towards Spring 2023 Research of Senusret Items Continues

le ft Falcon Casket. Egypt.

Late Period, 722–332 BCE. Copper alloy. Gift of the Georges Ricard Foundation.

Photo by Bruce White.

be lo w Seated Statuette of

the Goddess Mut. Egypt.

New Kingdom, 1539–1077 BcE. Copper alloy and inlay.

Gift of the Georges Ricard Foundation. Photo courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology.

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s the carlos museum prepares for the 2023 exhibition, Life and the Afterlife: Ancient Egyptian Art from the Senusret Collection, work behind the scenes, fundraising, and even public programming continues.

A winter lecture discussing the Egyptian afterlife and a successful Giving Tuesday campaign supporting the exhibition preparations both helped to build public excitement for what is sure to be a fantastic exhibition opening this time next year. Behind the scenes, Carlos Museum curators, conservators, and Emory faculty and students continue their research and conservation of objects from the Georges Ricard Foundation acquisition in preparation for display next spring.

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Curator of Ancient Egyptian, Nubian, and Near Eastern Art Melinda Hartwig has spent much of this year researching objects and writing catalog entries for Life and the Afterlife: Ancient Egyptian Art from the Senusret Collection with Emory and Oxford University professors, students, and Carlos Museum conservators.

The Senusret Collection bronze statuettes were examined by Metropolitan Museum of Art Conservator Emerita Deborah Schorsch, a specialist in ancient metalwork. Schorsch and Carlos Chief Conservator Renée Stein examined each piece for technique and condition, suggesting priorities for display. Their investigation identified a rare New Kingdom statuette of the goddess Mut, the consort of the god Amun-Re. The two metal tangs that anchored the goddess to a base, along with her body proportions, inlaid eyes, and fine details, make this statuette a unique example of a religious figure.

Other statuettes have a ring attached at the back of the head, such as that of Nefertum.

The figurine is far too heavy and large to be worn as a pendant, suggesting another explanation.

These bronzes were likely mounted on sacred boats using a rope or rod that passed through the ring to support the figurine. Animal bronzes slated for the exhibition attest to the popularity of animal cults in the 1st millennium BCE. The ancient Egyptians worshipped certain animals as the embodiments of a god’s power on earth. The Senusret collection contains statuettes

COMING in fall 2022

Making an Impression

of Horus, Bastet, Thoth, and the Apis-bull as well as a falcon casket pictured below. Rune Nyord, assistant professor of ancient Egyptian art and archaeology, examined and translated the Late Period and Ptolemaic bronze inscriptions on the intact bases; we have a better idea of the function of the bronzes in the divine cult.

le ft Intaglio Gem

Depicting a Satyr Hunting Game Birds.

Chrome chalcedony.

Roman, 1st Century CE. Gift of the Estate of Michael J. Shubin.

Giving Tuesday Supports Senusret Thanks to a generous donor and a challenge grant, the Carlos Museum raised a total of $12,376 on Giving Tuesday. This money will support Carlos Museum curators, conservators, and Emory faculty and students who are researching and conserving many objects from a recent gift from the Georges Ricard Foundation.

Prominent Egyptologist’s Lecture Leads the Way for the Senusret Exhibition On December 7th, Assistant Keeper of Egyptian Art at The British Museum Dr. John H. Taylor, gave a virtual lecture, The Threshold of Eternity: The Judgment of the Dead as represented on ancient Egyptian Coffins. Dr. Taylor is one of the world’s foremost scholars on the subject of ancient Egyptian coffins and funerary beliefs. His lecture traced the evolution of the Judgment of the Dead and the various ways in which it was portrayed on highly decorated coffins and other items destined for the tomb. Z

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n august 2022, the Carlos Museum will open the special exhibition, Making an Impression: the Art and Craft of Ancient Engraved Gemstones. Drawing on the museum’s collection of Greek and Roman gems, the majority of which have never been displayed publicly, this is the first exhibition of Greek and Roman gems in the southeastern United States.

Carved from semi-precious stones with miniature images of various subjects, including gods, emperors, animals, and characters from myth, engraved gems in the Greek and Roman worlds were worn as jewelry, usually in rings, and used as seal stones, amulets, and personal ornaments. They were admired (and problematized) as luxury artworks, treasured as antiques and heirlooms, and worn as statements of status, wealth, sophistication, and learning.

The stones themselves were also believed to have magical and medicinal properties.

Exploring the material, production, and function of these small but significant ancient artworks, the exhibition considers how engraved gems constructed, protected, and promoted the identity of their wearer and draws attention to the people who interacted with them—from the enslaved miners who quarried the stones, to the engravers who carved them, to the individual patrons who desired, collected, and wore them, to the viewers impressed by their luster. The exhibition will also incorporate important new research carried out by Carlos conservators in collaboration with Caltech and the Field Museum in Chicago on the geographical sources of ancient gemstones. Z MC C M

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The Carlos Appreciates Our Docents!

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hroughout the pandemic, unable to lead many in-person tours, Carlos Museum docents have continued to contribute to the museum in a variety of ways. They mastered Zoom in order to attend on-going training and lead virtual tours for K–12 audiences around the Southeast. They stepped in to staff reception desks in the museum, welcoming and orienting guests.

Working with Senior Manager of Educational Programs Katie Ericson, they have developed an energetic and thoughtful DEI committee with goals of furthering DEI education and diversifying the group. Many docents also made generous financial donations to the education department. For all their efforts, the museum is grateful to this remarkable group. Z

Interested in becoming a docent at the Carlos Museum? Visit

CARLO S.EMOR Y. EDU /docen t-g uild

to learn more and apply for our 2022 Docent class!

Thank You to Our Members!

We extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between July and December 31, 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 CARLO S .E MOR Y.ED U/ J OIN

to join the ranks of these generous supporters. To update your membership, call 404.727.2623 . d irector ’s counc il

Mr. and Mrs. William Thomas Mobley, Jr. Mr. and Mrs. Edwin Howard Morgens Mr. and Mrs. James H. Morgens Mr. and Ms. Craig Smith Mr. and Mrs. Edgar Cleveland Snow, Jr c urators’ counc il

Mr. and Mrs. Richard D. Aaronson Mr. Omar Abdallah Akrouk Dr. and Mrs. Allen Dale Beck Ms. Robin Beningson Mr. and Mrs. Daniel Walter Boone IV Mr. and Mrs. Leon J. Borchers Ms. Carolyn R. Bregman Ms. Jessica G. Bregman 20

SP RI NG 20 22

Thank you Messrs. Dirk Lamar Brown and Timothy Burns Mr. Joseph A. Coplin Dr. Barbara Nason Croft Dr. and Mrs. Overton Anderson Currie, Jr. Mr. and Mrs. Joseph R. Gladden, Jr. Mrs. Marian W. Hill Dr. Jiong Yan and Mr. Baxter Porter Jones Mr. and Mrs. James Cox Kennedy Dr. Lucius Courtenay Beebe Sr. and Ms. Lindsay Wheatley Marshall Mr. Andres Mata Mr. and Mrs. Jay. S. Patel Mr. and Mrs. Pyush R. Patel Mrs. Sybil C. Ralston Mrs. Ruth Magness Rollins 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 Mses. Cynthia Smith and Lauren Heidi Levin Dr. Sandra Joan Still Mr. Glenn A. Weiss Messrs. John Arthur White, Jr. and Richard Geoffrey Low Mr. and Mrs. Nathaniel Getz Wilcox Dr. and Mrs. Sidney Halleck Yarbrough III co rin th ia n pat ron

Drs. Ulrich Herzberger and Bettina Cothran VI Dr. Margaret Crawford Hawes and Mr. Alexander Sidney Hawes Mrs. Judy W. Hemenway Dr. Sharon Marie LeMaster and Mr. Larry D. Woodring Mr. and Mrs. William C. Rawson Dr. and Mrs. Donald L. Sears Mrs. Jessica Simon Mr. and Mrs. James Reynolds Stark

Mr. Peter J. Turcotte Drs. Franklin Bailey Green and Bonna Daix Wescoat Mr. David Lee Stevens and Ms. Donna Overholt Willis i o n i c patro n

Dr. Delores P. Aldridge Mr. and Mrs. James Robert Amos Drs. Lawrence H. Boise and Rose Ann Boise Mr. and Mrs. James L. Ferman, Jr. Mr. and Mrs. Jesse Ovidio Kaba Dr. and Mrs. Graham Kerr Mr. James Russell Bodell and Ms. Susan Ann Long Dr. Roxani Eleni Margariti Mr. and Mrs. Clarence A. Martin Mr. and Mrs. Michael Wright McDavid Dr. and Mrs. Rein Saral Messrs. Gary Youngblood and Mike Lorton Ms. Irum Fatima Zaidi d o r i c patro n

Mr. and Mrs. John M. Allan Mr. Bruce A. Shecter and Ms. Vicky E. Alvear Shecter Ms. Nancy L. Barber Drs. Patricia J. Bauer and James Steven Snow Mr. Randy Scot Fields and Ms. Elizabeth Anne Bouis Mr. and Mrs. Mark K. Bush Ms. Alicia Brooke Carew Ms. Mary Kathleen Carroll Mrs. K. Janis Chapman Ms. Carol E. Chatham Professors Kevin Corrigan and Elena Glazov-Corrigan Mr. and Mrs. Jeffrey M. Cross Dr. and Mrs. F. Thomas Daly, Jr. Mrs. Mary Dean Davis Dr. Robert C. Dean and Ms. Catherine E. Taylor

Dr. Robin Henry Dretler and Ms. Alice K. Michaelson Mr. Kenneth D. Driggs Mr. Kenneth Stewart Falck Mr. and Mrs. Gary B. Fessenden Mrs. Edith Hurt Ford Mr. James A. Ford Mr. and Mrs. Clark Milstead Goodwin Dr. and Mrs. John B. Hardman Mrs. Sally Willingham Hawkins Dr. and Ms. Eric Klingelhofer Ms. Iris Celluzzi Krause Ms. Patricia Krull Dr. and Mrs. Thomas Joseph Lawley Dr. Elliott J. Mackle Mr. Roger W. Johnson and Ms. M. Jane Major Mr. and Mrs. Peter Mariolis Mr. Robert Duncan Mcdonald and Ms. Beth Hibbs Mr. and Mrs. Dileep Mehta Drs. Russell M. Medford and Margaret K. Offermann Mr. and Mrs. Melvin A. Perling Dr. Frank M. Pickens Ms. Janette B. Pratt Mr. Gregory Riccardi and Mrs. Ann Riccardi Ms. Elizabeth Anthony Riccardi and Mr. Jeremiah Joseph Couvillion Prof. Rosemary Gay Robins Shute Ms. Alice G. Rysdon Mr. and Mrs. James E.B. Sanders Mr. and Ms. Michael Carlton Selph Mr. and Mrs. Abe Shuster Mr. and Mrs. Barry Lee Spurlock, Sr. Drs. James E. Sustman and Jane T. St. Clair Dr. and Mrs. Gary W. Tapp Mr. Ken Sosebee and Ms. Catharine A. Tipton Mr. and Mrs. Raul F. Trujillo Dr. and Mrs. Warren Walter Messrs. Russell F. Winch and Mark Bradford Elberfeld MC C M

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Recognizing Our Donors: Thank You for Your 2021 Gifts

Your donations make our work at the Carlos Museum possible. We are excited about what we can accomplish together with your support during the year ahead.

Thank you for your generous contributions. $15 0 — 49 9

American Online Giving Foundation, Inc. Mr. and Mrs. Alexander David Bott Ms. Jessica G. Bregman Dr. Martine Watson Brownley Ms. Betsy Bryan Mrs. Lorraine Rooks Cary Drs. Stewart Wright Caughman and Alison Youngs Caughman Mr. and Mrs. Hamner Fitzhugh Collins III Ms. Dorothy Anne Cunningham Mr. and Mrs. Larry E. Curry Dr. Harvey Jay Danits and Ms. Gail Cohn Mr. and Mrs. JR Davidson Mr. and Mrs. Terral Rus Drew Mr. Andrew Alexander Orr, Jr. and Ms. Elizabeth Jane Evert Ms. Dawn L. Francis-Chewning Ms. Louise Barlett Franklin Messrs. Robert Giacomini and Richard Warren Augusta Mr. and Mrs. Michael A. Habif Mr. and Mrs. Francis Joseph Humann The Honorable and Mrs. Eric Komitee Ms. Janice Mingru Kuo Dr. Joe Brown Massey, Jr. Dr. Sara Louise McClintock Mrs. Diane J. Nathanson Mr. Michael Gerard Paga Mr. David Pascale Dr. Louise Pratt Pettit and Mr. James Edwin Pettit Mr. Jay Allen Reinfeld Mr. and Mrs. Marion P. Rivers III Dr. and Mrs. Philip Daniel Schroeder Mr. Timothy Shands and Mrs. Mary Deborah Siemon Lt. Col. Nesbit B. Shearouse II Ms. Ruth Carol Smith 22

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Mr. Gregg E. Shapiro and Ms. Renee Audrey Stein Prof. and Mrs. Robin L. Thomas Dr. Larry J. Turner Mr. and Ms. Jose Vitela Drs. Franklin Bailey Green and Bonna Daix Wescoat Mr. Robert P. Focht, Jr. and Ms. Barbara Lord Willis Ms. Jeannie B. Wright Dr. Madeline Jane Yates $500 — 999

Dr. and Mrs. Michael Enrico Bernardino Mr. and Mrs. Daniel Walter Boone IV Ms. Carolyn R. Bregman Mr. and Mrs. William James Brehm Mr. and Mrs. Karl Albert Dix III Mr. and Mrs. Steven Godarze Ebrahimi Mr. Joseph F. Gargasz and Mrs. Elizabeth Messick Mr. Scott Randall Gerson Mrs. Louise S. Gunn Mr. and Mrs. John Timothy Hornor Dr. Maeve A. Howett Ms. Pattie J. Johnson Drs. John Laszlo and Patricia H. Laszlo Dr. Sharon Marie LeMaster and Mr. Larry D. Woodring Mr. and Mrs. Rob McKinney Ms. Joan Pierce Dr. and Mrs. Warren Walter Dr. and Mrs. Elliott F. Winton Mr. and Mrs. James Robert Woodward Dr. and Mrs. William N. Yang

$1, 0 0 0 — 4, 999

Mr. and Mrs. Walter Norman Adams Ms. Ellen Agnor Bailey Dr. and Mrs. Allen Dale Beck Ms. Robin Beningson and Mr. Joseph A. Coplin Mr. and Mrs. Leon J. Borchers Messrs. Dirk Lamar Brown and Timothy Burns Mrs. Betty Jo Lancaster Currie Dr. D. Peter Drotman and Ms. Carolyn N. Arakaki Dr. Joseph Kirk Edwards Mr. and Mrs. Stephen Michael Forte Mr. and Mrs. Joseph R. Gladden, Jr. Mr. and Mrs. Clark Milstead Goodwin Mrs. Marian W. Hill Mr. and Mrs. B. Harvey Hill, Jr. Ms. Catherine M. Howett Dr. and Ms. J. Timothy Johnson Ms. Emily Elaine Katt Mses. Lauren Heidi Levin and Cynthia Smith Mr. Robert Long Mr. Andres Mata Mr. James B. Miller, Jr. Dr. Russell Browning Tippins and Mr. Randy Lee New Mr. and Mrs. Jay. S. Patel Prof. Rosemary Gay Robins Shute Mrs. Ruth Magness Rollins Ms. Stephanie A. Roman Mr. and Mrs. Allen Shaheen Mr. Shouky A. Shaheen Mr. and Mrs. John D. Shlesinger Mr. and Mrs. Lee Silver Mr. and Mrs. Mark K. Taylor

Dr. William E. Torres and Mr. Donald Jack Sawyer, Jr. Tull Charitable Foundation, Inc. Dr. Rebecca M. Wheeler and Mr. Willie Morgan NeSmith, Jr. Mr. and Mrs. Nathaniel Getz Wilcox Dr. Jiong Yan and Mr. Baxter Porter Jones

$ 1 0 , 00 0 — 1 9 , 9 9 9

$10 0 , 0 0 0 — 999, 999

Anonymous Mr. Duncan Douglass and Ms. Lauren P. Giles Mrs. Lyn B. Kirkland Massey Charitable Trust Mrs. Sybil C. Ralston Mrs. Eleanor Horsey Ridley Ms. Joan M. Sammons

$ 5,000 — 9 ,9 9 9

$ 2 0, 0 00 — 9 9 , 9 99

Thalia & Michael C. Carlos Foundation, Inc. David R. & Margaret C. Clare Foundation Mr. Sandeep Joshi and Ms. Kokila Jain Mr. Alexander Ovchinsky Dr. and Mrs. Larry J. Schulz Ms. Katherine Singley Dr. Sandra Joan Still

Mr. and Mrs. Richard D. Aaronson Anonymous Barry & Gail Spurlock Fund Mr. Kenneth Stewart Falck Mr. and Mrs. Ben F. Johnson III Lubo Fund, Inc. Dr. Lucius Courtenay Beebe Sr. and Ms. Lindsay Wheatley Marshall Paul & Marian Anderson Fund Ms. Ann Boon Rhea Mr. Michael Schoenfeld Dr. Monique Seefried and Mr. Ferdinand C. Seefried Dr. and Mrs. Jagdish Nanchand Sheth Mr. and Mrs. Edgar Cleveland Snow, Jr. Spalding Beverage The Northern Trust Company Coca-Cola Matching Gift Program

Mrs. Marguerite Colville Ingram Mr. and Mrs. Dennis G. Olsen Mr. and Mrs. Pyush R. Patel Mr. Nicholas John Pisaris Dr. and Ms. Ira J. Rampil Dr. and Mrs. Sidney Halleck Yarbrough III

$1, 0 0 0 , 0 0 0 +

The Christian Humann Foundation

Thank you MC C M

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Michael C. Carlos Museum Emory University 571 South Kilgo Circle Atlanta, Georgia 30322

Nonprofit Org U.S. Postage Paid Emory University

C A R L O S . E M O R Y. E D U

Member

Visitor Information

h o ur s Tuesday through Friday:

10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. a d miss ion 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 carlo s.e m or y.e du to learn about free admission days. É b rīk coffee ro o m Serving coffee, pastries, and snacks. Open Monday–Friday, 8:30 a.m.–3 p.m.; Saturday, 10 a.m.–3 p.m.; Closed Sunday. Carlos Museum members receive a 10% discount on all purchases. museum boo ksho p The Carlos Museum Bookshop stocks thousands of books on art, archaeology, history, mythology, and more for both adults and children. Open Tuesday–Friday, 11 a.m. to 4 p.m., Saturday 11 a.m. to 5 p.m., and Sunday 1 to 5 p.m.

Purchase books online and ship

directly to your home via b o o ks h o p. org / s h op / car lo smus eum . A portion of all Bookshop.org purchases support the Carlos Museum. Carlos Museum members receive a discount at the Bookshop. p u bl ic tran s p ortat i o n MARTA bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations. par k in g Parking is available at the Oxford Road and Fishburne decks.

On weekdays before 4 p.m., 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 p.m. 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 co n n n ect ed Visit ca rlo s . em o ry. ed u /co n n ect to

sign up for monthly New and Now @ the Carlos enewsletters. Follow # ca rlo smus eum on Facebook, Instagram, or Twitter to receive the latest event reminders, specials, notes from curators, and exhibition information. Subscribe to the Carlos Museum calendar via ca rlo s . em o ry. ed u /ca l en da r to learn about lectures, the Carlos Reads book club, family events, and more.

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