spring summer
2016
Director’sletter
as 2016 begins, rather than coming up with resolutions I’m making a wish… for world peace. We’ve all been traumatized by much of the news and images in recent years, and while world peace may seem an impossibly Herculean wish, one can hope, and act through even the most modest of individual gestures. I believe one positive step forward can contribute to a kinder, more compassionate world, and agree with Oliver Wendell Holmes, who once stated, “The great thing in this world is not so much where we stand, as in what direction we are moving.” Moving on to the content of this newsletter, within the following pages you will learn about a new staff member, the retiring of the mummy mobile, terrific projects in the Education Department and Parsons Conservation Laboratory, new acquisitions, and a selection of partnerships around campus. You will also learn about a number of exciting events coming up in 2016, including the opening of the incredible Tibetan shrine exhibition. And, it goes without saying; these events will be accompanied by a compelling array of educational programming, a hallmark of the Carlos Museum.
cover: Kanakamuni Buddha,18th century. Lhasa or Shigatse, Central Tibet. Gilt copper alloy. Photo courtesy of The Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. From The Alice S. Kandell Collection.
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In February, the museum’s fundraiser, Veneralia, celebrated twentyfive years of raising support for exhibitions and education programs, and we are pleased to honor Publix Super Markets Charities for being a Sponsor of Veneralia for all twentyfive years. And in March, we will host one of my favorite events, Tibet Week. So many reasons to make the Carlos Museum a destination this spring! Since this is an action-packed edition of our newsletter, I’m keeping my comments short, and so will now say… I hope to see you in the galleries!
B on n ie Speed Director
OnView
DOORWAY TO AN ENLIGHTENED WORLD: THE TIBETAN SHRINE FROM THE ALICE S. KANDELL COLLECTION MARCH 19–NOVEMBER 27, 2016 on march 19, the Carlos Museum will open the extraordinary Tibetan shrine from the Alice S. Kandell collection. This exhibition offers museum visitors the opportunity to encounter works of traditional Buddhist religious art displayed not as individual, unconnected pieces but presented in the traditional sacred context of a shrine. A Tibetan Buddhist shrine serves as a doorway to an enlightened world, immediately transporting a devotee into a spiritual realm. Within such spaces, above: The Tibetan shrine. Photo courtesy of The Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. From The Alice S. Kandell Collection.
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OnView
above: Shakyamuni Buddha in a Full Shrine, second half of the 18th to early 19th century. Qing; probably Dolonnor. Silver, bronze, mother-of-pearl, and stone. Photo courtesy of The Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. From The Alice S. Kandell Collection
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Buddhas—beings who have achieved enlightenment— are a living presence. They are considered fully present within their ritually consecrated images, whether sculpted or painted. Indeed, when Tibetan Buddhists enter shrines, they do so to “meet,” rather than just to “see,” Buddhas. Buddhism came to Tibet from India in the 7th century. As the Tibetan people turned increasingly to Buddhism, worship and meditation came to take place not only in temples and monasteries, but also in every Buddhist home. While humble farming families kept small altars in the corners of their living rooms, and nomads devised transportable shrines to set up in their yak-hair tents, wealthy merchants and aristocrats dedicated entire rooms of their mansions to serve as sacred spaces. Composed largely of objects and furniture from three important Tibetan families, this exhibition reconstructs the sort of grand shrine room that might exist in a wealthy private home in times both past and present. Tibetan Buddhist shrines reveal a cultural aesthetic that values symmetry and balance, gilded surfaces and golden light, rich colors, and layered images and patterns. Individual objects are placed according to Buddhist hierarchies and ritual requirements. For example, the most important images are placed at the center of the main altar wall, and ritual implements, such as offering bowls, are arranged on carved wooden tables beneath them. The Tibetan shrine from the Alice S. Kandell collection contains sculptures and scroll paintings (thangkas) that represent male and female, benign and fierce, divine and human manifestations of the Buddha. At the center of the shrine is a silver image of Shakyamuni Buddha, the historical founder of Buddhism (5th century bc). Because religious plurality can and often does exist within families and family histories, the shrine contains images of lamas (spiritual teachers) associated with different monastic traditions. Statues and other objects of veneration are displayed on painted and carved offering tables and chests from the late 19th or early 20th centuries. Ritual implements, including butter lamps, occupy the lower tables. Sacred images were commissioned by donors to obtain merit and for the welfare of all sentient beings. Some were created to commemorate life events, such as births and deaths; others would have been received as gifts or acquired as pilgrimage souvenirs. Particular forms were chosen when patrons had an affinity for certain deities or wanted to perform particular auspicious or protective ceremonies. Representing the way cherished works were passed down through generations, this shrine contains objects made over the course of
eight hundred years, from the 12th to the 20th century. They were produced in central and eastern Tibet as well as in Mongolia and China where Tibetan Buddhism also flourished. A child psychologist and photographer, Alice S. Kandell fell in love with Himalayan art and culture as a student. Over four decades, she would visit the regions of Tibet, Sikkim, and Ladakh repeatedly, learning about the people and their traditions, and collecting works of art. Later, she acquired the substantial holdings of Philip Rudko, a collector of Tibetan and Mongolian art for more than fifty years. Rudko had also acquired works of art from a small group of Tibetan families who immigrated to the U.S. after 1959. Kandell organized the objects in her New York apartment to closely resemble the Tibetan shrines she experienced on her travels. In 2011, she donated her collection to the Smithsonian, with the understanding that the objects should be exhibited together in the form of a shrine and travel to other institutions.
While Tibetan art has become increasingly familiar to the public, it is rare to see it displayed in a manner that evokes its traditional use and setting. “Maintaining a personal shrine and placing daily offerings upon it is one of the most basic of all Tibetan Buddhist practices,” explains Emory professor Sara McClintock. “The deities on the altar symbolize both the many beings who, having attained enlightenment, are worthy of the practitioner’s homage as well as the ultimate state of enlightenment to which the practitioner aspires. Making offerings, including water, incense, light, prostrations, and prayers, to such exalted beings is thought to generate enormous merit that can aid the practitioner in his or her own journey toward Buddhahood. Viewing Tibetan art objects arranged in a shrine is a fundamentally different experience from seeing each object individually. With the shrine, the viewer has the opportunity to imagine what it might be like to be a practicing Buddhist in the Himalayas.”
top left to right: Doe, late 19th century. Dolonnor, Mongolia. Gilt copper alloy. Chakra, late 19th century. Dolonnor, Mongolia. Gilded metal. Deer, Horned One, late 19th century. Dolonnor, Mongolia. Gilt copper alloy. Photo courtesy of The Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. From The Alice S. Kandell Collection
The exhibition has been organized by The Freer Gallery of Art and Arthur M. Sackler Gallery of the Smithsonian Institution. The exhibition in Atlanta has been made possible through generous support from the Thalia N. Carlos and Chris M. Carlos Foundation, Inc.; the Thalia and Michael C. Carlos Foundation, Inc.; the E. Rhodes & Leona B. Carpenter Foundation; the Highland Vineyard Foundation; Veneralia 2016 Donors; and Christine Tryba-Cofrin and David H. Cofrin. Special thanks to Dr. Sara McClintock and Emory’s Department of Religion, the EmoryTibet Partnership, and the Drepung Loseling Monastery. ✺
above: Silver and Gilt Cup, Saucer, and Stand, 19th century. Central Tibet (Lhasa). Photo courtesy of The Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. From The Alice S. Kandell Collection
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LookingAhead
Tibetan artist, Gonkar Gyatso
Shakespeare at Emory: Carlos Museum will display the First Folio
on view September 3–November 27, and concurrent with Doorway to an Enlightened World, the Carlos Museum will exhibit new works by contemporary Tibetan artist Gonkar Gyatso. One of the few Tibetan artists in exile to gain international recognition, Gyatso’s work mixes Buddhist symbols with the iconography of pop culture, bridging Eastern and Western cultures, while examining the traditions of both in new and engaging ways. In this exhibition, as yet untitled, Gyatso will explore the interdependent relationship between the Chinese and Tibetans living in the Tibet Autonomous Region and China. Gyatso’s work for this exhibition will stem from My Identity, a 2003 series of photographs in which the artist explores his personal ideological shifts across the political, social, and national boundaries that constitute “Tibet.” His work has been exhibited in galleries and museums around the world, including the Metropolitan Museum of Art and the Rubin Museum of Art in New York. Gyatso participated in the 53rd Venice Biennale, the 6th Asia Pacific Triennial in Brisbane, and the 17th Sydney Biennale. ✺
emory has been selected as the host site for First Folio: The Book that Gave Us Shakespeare, a national traveling exhibition of the Shakespeare First Folio, one of the world’s most treasured books. The Folger Shakespeare Library, in partnership with Cincinnati Museum Center and the American Library Association, is touring a First Folio of Shakespeare in 2016 to all fifty states, including Washington, dc, and Puerto Rico. The First Folio, on view at the Carlos Museum from November 5
above: Gonkar Gyatso. My Identity, 2015. Digital photograph. Courtesy Studio Gonkar Gyatso and Pearl Lam Galleries. 6
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through December 11, is the first collected edition of Shakespeare’s plays, published in 1623, seven years after Shakespeare’s death. It contains significant plays that would have otherwise been lost, including Macbeth, Julius Caesar, Twelfth Night, The Tempest, Antony and Cleopatra, The Comedy of Errors, and As You Like It. The First Folio pages will be opened to the most quoted line from Shakespeare and one of the most quoted lines in the world,
above: Walter Rogers Furness. Composite photography applied to the portraits of Shakespeare, 1865. Folger Shakespeare Library.
“to be or not to be” from Hamlet. Accompanying the rare book will be a multi-panel exhibition exploring the significance of Shakespeare. Emory is planning numerous programs for the public and families around the First Folio exhibition, including an opening lecture in March by Oxford University Professor, Dr. Tiffany Stern, and Dispatched in Post: The Bard on Cards, an exhibition at the Robert W. Woodruff Library showcasing Emory English Professor, Dr. Harry Rusche’s, extensive collection of postcards depicting iconic Shakespearean characters and scenes. For more information, visit shakespeare.folio.emory.edu.
national sponsors First Folio! The Book that Gave Us Shakespeare, on tour from the Folger Shakespeare Library, has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the Human Endeavor, and by the support of Google.org, Vinton and Sigrid Cerf, and other generous donors.
atlanta sponsors Shakespeare at Emory and First Folio! The Book that Gave Us Shakespeare in Atlanta has been made possible through support from the Robert W. Woodruff Library; Stuart A. Rose Manuscript, Archives, and Rare Book Library; the Michael C. Carlos Museum; and the World Shakespeare Project. ✺
above: Hamlet in the First Folio. “To be or not to be” (Act III, scene 1) from the First Folio. Shakespeare First Folio, 1623. Folger Shakespeare Library.
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CarlosCollections
Relief of Akhenaten the carlos Museum acquired a rare and important limestone Relief of Akhenaten through the generosity of the Morgens West Foundation; the funding was given in honor of Dr. Peter Lacovara, who retired in August 2014. The relief depicts the head and shoulders of pharaoh Akhenaten, offering a falcon-headed burner filled with incense to the Aten sun disk. The Aten’s rays stream down on the pharaoh, and one ray holds an ankh-sign to his nose, the hieroglyphic sign for life. The pharaoh appears in full regalia, wearing a khepresh crown with ribbons fluttering behind it. Akhenaten’s gently elongated features suggest the relief was sculpted late in the pharaoh’s reign. Preserved above the pharaoh’s crown are seven columns of hieroglyphs. The first two columns refer to the “Strong of the Living Aten in Akhetaten (Tell el-Amarna),” which was a building previously considered lost or non-existent. Recent fragmentary inscriptions found at the site of Kom el-Nana, south of the main city of Tell el-Amarna, identify this building as part of a larger solar above: Relief of Akhenaten, New Kingdom, Dynasty 18, Reign of Akhenaten, 1353–1336 bc. From Kom el-Nana, Tell el-Amarna. Limestone. Gift of the Morgens West Foundation in honor of Peter Lacovara. Photo courtesy of Christie’s
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shrine complex that included the Sunshade Temple of Re, dedicated to Nefertiti. Other inscriptions suggest the purpose of the “Strong of the Living Aten” was as a platform for Akhenaten to distribute offerings to his subjects. At some point, this relief was quarried away from Kom el-Nana and reused by the 19th Dynasty pharaoh, Ramesses ii. This relief was once part of a gateway to one of the Kom el-Nana buildings, based on the size and material of the block. As such, the image of Akhenaten offering to the Aten broadcast the pharaoh’s role as the chief officiant to the Aten and sole provider for the needs of the living and the dead and to those who entered the building. For this and many other reasons, the Relief of Akhenaten is an acquisition of immense historic importance, and will be the focus of study for years to come. ✺
Lekythos with the Image of a Hippalektryon ride a cock horse to… Atlanta, of course! After the Battle of Marathon in 490 bc, the victorious Athenians arranged a heroic burial for their dead. The bodies were cremated on a huge pyre, and, as the flames died down, a number of pottery vases were scattered over the ashes as gifts for the deceased. Most of these were small, black-figure lekythoi, and many were by a single artist, who came to be dubbed, the Marathon Painter. Through the generosity of Sybil and Ed Ralston, the museum was able to acquire at auction in December a lekythos by the Marathon Painter, which has two points of great interest. The first point lies in the use of a white ground for the subsidiary pattern work that serves
to frame the main panel on the lower body, shoulder, and neck. Here the artist has applied a layer of white slip to the clay, over which the black decoration was deployed, rather than laying down the black on the clay. Much more significant, however, is the second point of interest, the subject matter of the main picture. It depicts the god of wine and of the theater, Dionysos, carrying vine branches as he rides a composite creature, a prancing horse with the large tail of a rooster. He is flanked by female companions, sometimes thought of as nymphs (semi-divine woodland spirits) above: Attributed to the Marathon Painter. Blackfigure Lekythos with Dionysos Riding a Hippalektryon, late 6th century bc. Greek, Attic. Ceramic. Gift of Sybil and Ed Ralston in memory of Leona Delaney Ganaway.
or maenads (mortal devotees of Dionysos). This remarkable creature, the so-called hippalektryon, is depicted on a variety of monuments, from a marble dedication on the Athenian Acropolis, to gems and terracottas, relief plaques on bronze armor, and a number of vases. The creature also makes an appearance in the celebrated literary battle between Aeschylus and Euripides that Aristophanes orchestrated in The Frogs. There, Euripides complains that Aeschylus used arcane language that the audience could not possibly be expected to understand. Dionysos expresses sympathy with this view when he confesses that he has spent sleepless nights wondering what a hippalektryon might be. Aeschylus replies that this is simply a device painted on ships. Euripides, however, goes on to reveal that it is one of a number of composite creatures, including the goat-stag, which appear on Persian hangings. Persian hangings known to Euripides would have been chiefly those taken by the Athenians from the camp of Xerxes i, which was abandoned after he lost the Battle of Plataea in 479 bc. The English nursery rhyme, part of whose first line is borrowed for the title of this article, tells of riding a “cock horse” to Banbury Cross, a town in Oxfordshire, to see a “fine lady upon a white horse.” Although the cock horse in the nursery rhyme may in fact be a direct descendant of the hippalektryon, the Carlos Museum is enormously grateful to be able to exhibit one in Atlanta, where it will offer amusement and inspiration in equal measure for generations of visitors and students alike. ✺
Vase with Image of Two Young Men through the generosity of the Thalia N. Carlos and Chris M. Carlos Foundation, Inc., the Museum has been very fortunate to acquire a handsome red-figure vase made just after the time of the Persian Wars, around 470 bc. The shape, a pelike, is a two-handled jar for storing olive oil or wine, and is typologically related to the amphora; like them, it would originally have been equipped with a lid. Although both amphorae and neck-amphorae have entered the museum’s collection, this is the first complete example of a pelike. The main picture, framed in a panel, exemplifies perfectly a series of genre scenes that gain popularity in the early 5th century. In earlier generations, particularly during the aristocratic rule of the tyrant Peisistratos and his sons through the second half of the 6th century, scenes from mythology were particularly popular for Athenian vase painters and their clientele. With the birth of a new and experimental democracy, one that was greatly strengthened by the victory in repelling two Persian invasions, there is a notable increase in scenes from everyday life. Depicted on this jar are two young men engaged in conversation, wearing cloaks over their left shoulders and fillets in their hair. Each of them holds a knotty staff, or walking stick, a ubiquitous attribute that is essentially a symbol of Athenian democracy. Younger men often stand upright holding them, while older men lean on them as they pass the time deep in conversation. The age of our youths may be inferred from the beginning of peach-fuzz on their cheeks. The encounter appears to be amatory in nature, suggested by the lotus blossom held up by the figure on the right.
The artist to whom this pelike may be attributed is known as the Kleophrades Painter. The grand, sculptural feel to his drawing may have been derived from being related to the archaic sculptor Euthymides, whose father Polias is known from statue bases on the Athenian Acropolis. Euthymides became one of the earliest vase painters to work in red-figure, and proudly signed his vases by declaring he was the son of Polias. The Kleophrades Painter was Euthymides’ pupil, and was quite possibly his son or nephew. A vase by the Kleophrades Painter is a major addition to any collection, making it particularly exciting to be able to exhibit this fine example of his late work. ✺
above: Attributed to the Kleophrades Painter. Red-figured Pelike with Two Youths in Conversation, ca. 480 bc. Greek, Attic. Ceramic. Gift of Thalia N. Carlos and Chris M. Carlos Foundation, Inc.
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CarlosCollections traveled frequently in France. Mollie was a beloved member of the visual arts faculty, while Tom was an eminent and widely admired medieval art historian, who tragically passed away over twenty years ago at age 65. Given the significant ties between the family and Emory as well as the teaching strength of medieval art in the Art History Department, it is a gift the museum was delighted to accept. Such statues came to occupy a central place in the medieval imaginary of the 11th to the 14th centuries. Even in its fragmentary state, the Lyman Madonna still intrigues. The devotional and intercessory role of sculpture is well attested in medieval miracle stories of the period, such as the tale of the statue of the Virgin that came alive in response to the earnest pleas of the cleric Theophilus. The Virgin retrieved his soul from the devil, with whom Theophilus had made Lyman Madonna his faustian bargain, before she returned to the altar where her in january 2015, Sophia Lyman, simulacrum awaited, ready to guide the youngest of the six children the prayers of the next penitent. of Tom and Mollie Lyman, called The condition of the fragile, Emory Art History Professor approximately three-foot high Dr. Elizabeth Pastan, about a sculpture offers an array of opportumedieval sculpture, hoping the nities for study. Surviving medieval sculpture might find a home at sculpture in wood is relatively rare, Emory. The sculpture is now in the and this one has traces of polychromuseum’s permanent collection, and my that hint at its original condiis being called the Lyman Madonna. tion. To date, Dr. Pastan’s graduate The Lyman family’s collective seminar on Medieval Materiality memory is that the sculpture was has been able to view the work with in their home in Chicago in the the museum’s Chief Conservator, late 1950s, it’s French, and that Renée Stein, and the sculpture may it dates to the early 13th century. well become the focus of a Mellon The provenance of the piece in the Graduate Fellowship in ObjectLyman family offers clues for its Centered Research. The museum is medieval context. Tom and Mollie very grateful to the Lyman family Lyman were founding members of for this important gift. ✺ the arts programs at Emory and above: Madonna with Christ Child, early 13th century. France. Wood with pigment and metal reinforcement. Gift of the Estate of Mollie Michala Lyman. 10
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Four of Dürer’s Small Passion series of woodcuts one of Albrecht Dürer’s chief concerns throughout his career was the question of how Christ and the Passion should be portrayed. He completed several Passion cycles, including the Engraved Passion, Small Passion, Oblong Passion, and the so-called Green Passion. In November 2015, the museum partnered with Pitts Theology Library to acquire nine woodcuts from Dürer’s Small Passion, four of which belong to the museum, and five to the library. The museum’s four prints, The Sudarium of St. Veronica, Christ Nailed to the Cross, The Descent from the Cross, and The Last Judgment join a 2014 acquisition from the same series, Christ Before Herod. This acquisition enhances the museum’s early modern print holdings, long a strength of the Works on Paper collection. The Carlos Museum and Pitts Library prints are among thirty-six woodcuts in Dürer’s Small Passion, the largest print series of his oeuvre. above: Albrecht Dürer (German, 1471–1528). Christ Nailed to the Cross, 1510–1511. Woodcut. John Howett Fund.
To various scenes of Christ’s Passion, Dürer added The Fall of Man and the Expulsion from Paradise at the beginning of the series, and the Pentecost and the Last Judgment at the end. The series is thus read as a narrative of the Fall and Redemption of Mankind, with the Passion of Christ at its center. The Small Passion is arguably the most visceral of Dürer’s Passion cycles. Its small size combined with raucous, crowded pictorial spaces and the boldness of the woodcut medium creates a jarring visual effect. The central prints focus on the physicality of Christ’s suffering body, as in Christ Nailed to the Cross, eliciting empathy and devotional identification from the viewer. A celebrated artist during his lifetime, Dürer created this series at the height of his career and intended it for a broad audience. ✺
Visiting Board acquisition, and more a lovely, Late Period Egyptian bronze was acquired by the museum’s Visiting Board at their annual meeting in October. After hearing presentations by all five of the museum’s curators and one Emory professor, votes were cast then tallied up… the object selected for purchase was the Statuette of Harpocrates, presented by Curator of Ancient Egyptian, Nubian, and Near Eastern Art, Melinda Hartwig. The statuette represents the child god Harpocrates, know as Horus the Child, who was a form of the sun god Horus, the son of Isis and Osiris. In myth, Seth killed his brother Osiris so he could succeed as ruler of Egypt. Isis revived her husband Osiris and fled to the Nile Delta to give birth to their son Harpocrates. Once grown, he defeated Seth and ascended to the
throne of Egypt. Each successive living king became Horus. Harpocrates is represented striding forward, wearing the sidelock of youth and the royal nemes headdress. The naturalistic modeling of his face and body reflect Classical influence, and his inlaid glass eyes show that the god is alive within. Wealthy petitioners would purchase statuettes such as this one and deposit them as votive offerings. It is an exquisite work of art and the museum is very grateful to the Visiting Board for this fabulous addition to the permanent collection. the curators’ presentations were quite inspiring. One member of the Visiting Board, who wishes to remain anonymous, was so taken by the object presented by Faculty Curator of Art of the Americas, Rebecca Stone— a gorgeous Apache Basket from the 1890s—that she bought the basket for the museum. What a generous gesture and wonderful addition to the museum’s permanent collection. charles ackerman, former Chair of the museum’s Advisory Board, after hearing of the object presented by Curator of African Art, Amanda Hellman— a rare engraved Pair of Nguni Cattle Horns—asked to see it. He immediately made the purchase, and the museum will highlight this new addition to the permanent collection in the upcoming reinstallation of the African galleries. ✺ right above: Harpocrates as a Royal Child, Late Period, Dynasty 28–30, early 4th century bc. Egyptian. Copper alloy, glass. Gift of the 2015 Visiting Board; with in-kind support from Robin F. Beningson and Joseph A. Coplin. Photo: Bruce White right middle: Pair of Nguni Cattle Horns, 19th century. South Africa, Zulu. Gift of Charles S. Ackerman. Photo: Bruce White right bottom: Basket with Checkerboard Patterning, ca. 1890. Arizona. Western Apache. Willow, devil’s claw, Joshua tree root. Anonymous gift. Photo: Bruce White
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CarlosCollections
CarlosConservation
Indian miniature painting
A conservation challenge met by in-house skills and campus resources
advisory board member, Jay Patel, was very taken by the Indian miniature painting that was presented by Emory Professor, Dr. Joyce Flueckiger. When he heard the Visiting Board didn’t select it, he offered to fund the purchase. Through the generosity of Mr. Patel and his family, the museum has been building a collection of such paintings portraying different scenes from the great Indian epic of the Ramayana, which is taught by five professors in the departments of Religion and South Asian and Middle Eastern Studies at Emory. This particularly rich painting depicts multiple scenes, and it raises many issues that Emory professors of Indian religions teach about: ritual and material culture; relationship between royalty and renunciation; and significance of boons and curses. It is a fabulous addition to the Asian collection and will offer new teaching and research opportunities for faculty and students. âœş
above: Preparing for Exile (Illustration from the Ramayana), ca. 1700–1710. India, Mewar. Opaque watercolor and gold on paper. Gift of Jayantilal K. and Geeta J. Patel and Family to further the study of Hinduism. 12
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mellon Assistant Conservator, Kathryn (Katie) Etre, has undertaken the incredibly complex task of reconstructing a fragmentary kylix (drinking cup) signed by the famous Greek potter Euphronios. It is one of only a handful of signed examples by this artist. The cup dates from the 6th century bc and entered the Carlos Museum collection in 2005. The delicate potting characteristic of this skilled craftsman is easily appreciated in the thin, uniform walls and subtle curvature. The central tondo shows two figures at a burning altar, while the reverse of the cup depicts more private vignettes, including two lovers embracing while serenaded by a lute player. The detailed figures with elegant fingers are the hallmark of esteemed painter Onisemos, who collaborated with Euphronios on several works. Fewer than twenty fragments survive, most of them less than two inches across. Together these shards represent less than one-fifth of the original vessel. While some of the fragments do join, some attach only at narrow points of contact and others not at all. It is common practice for museums to display fragments of objects, accepting the losses that have occurred over centuries of use, burial, and collection. Indeed, there are many fragments on display in the Carlos Museum, still conveying information about form, style, subject matter, etc. Some of these fragments have been repaired, adding fills to bridge gaps and stabilize them for display. Numerous sizable fills are needed to reconnect and support the signed kylix fragments and make them stable for display as a coherent object. Given the significance of
these fragments as well as the necessity of large expanses of fill, Katie decided together with curator Jasper Gaunt to reconstruct the kylix, completing the form around the existing fragments. While it is possible to suggest the shape in a drawing, reconstructing the form to precisely accommodate the original fragments is no easy task! This particular project is made more complicated by the fact that the surviving fragments do not join to produce a complete profile of the vessel. An accurate profile is essential to create the form that will support the fragments during re-assembly and to provide the mold for the reconstructed areas. In order to recreate the profile of the ancient vessel, Katie collaborated with Alison Hight, a doctoral student in the Art History Department who has developed expertise in 3-d modeling through projects at various archaeological sites as well as through coursework and independent study. Recently, Alison has been working with the Emory Center for Digital above: Etre reconstructs fragmentary ceramic kylix signed by Euphronios using 3-D printing. The lavender silicon-rubber mold in which the shards are being reassembled was made from the blue 3-D print-out in the foreground, created in collaboration with Alison Hight and Emory TechLab.
Scholarship and the Emory’s newly established TechLab. The Ralston Endowment for Conservation supported her participation in this project. Although contract services could provide comparable or perhaps improved technology, the opportunity to collaborate with Emory resources, both individuals and facilities, on this experimental project fulfills the mission of our university museum and teaching lab. At the TechLab, Katie and Alison scanned most of the surviving fragments, creating large data files that precisely represent every curve and break edge in three dimensions. Alison then manipulated these electronic images in virtual space, using Autodesk 3ds Max. Once aligned to suggest a likely profile, the assembled electronic images were printed by Robin Horton at the TechLab, producing a brightly colored plastic pie-wedge to represent a section of the kylix. Katie then made a silicone rubber mold from the printed section and placed the ancient fragments into the mold to check fit. Small adjustments to thickness and slope necessitated several repeated printing and molding sequences. It is nearly impossible for machine simulation to absolutely match the subtle variations of a hand-made object; however, once an acceptable fit had been achieved, one half of the vessel was printed in plastic and molded in rubber to receive the ancient fragments. Katie then began the painstaking process of positioning the fragments, inserting small fills of putty mixed from acrylic resin bulked with glass microballoons. The large areas of loss surrounding the fragments were cast in pigmented plaster to recreate the vessel. The rubber mold made from the plastic, 3-d print-out supported the fragments during filling and provided the form for
the cast plaster reconstruction. This complicated and timeconsuming treatment is only one of many such projects that Katie accomplished since joining the Parsons Conservation Lab in 2010 as the Andrew W. Mellon Advanced Fellow in Objects Conservation. Through a reallocation of grant funds, Katie became the Mellon Assistant Conservator in 2013 and has contributed tremendous skill to a variety of endeavors. Katie often undertook the more complex treatment projects, such as the desalination and re-assembly of the Geometric Period Greek Horse Pyxis described in a podcast Katie created for the museum’s website. In addition to her work in the lab, Katie helped with several exhibitions and was the conservator for the reinstallation of the Greek and Roman galleries. She took her skills on the road, serving as courier for Carlos objects and working on archaeological sites in Egypt and Azerbaijan. Katie assisted with preventive care activities, including storage rehousing projects and routine pest monitoring. She carried out technical studies, in particular, in-depth original research demonstrating the production of the unique purple slip found on ancient Panama ceramics. She lectured in numerous classes and led countless lab tours. She has worked with volunteers and guided student interns, supervising the annual condition survey of campus public art. Katie helped to develop the website Science and Art Conservation: Resources for Teachers and was co-lead on the associated workshop. During her time at the Carlos, Katie published papers, presented at conferences, and participated in the Southeast Regional Conservation Association. Through peer-review, she was named a Professional Associate of the American Institute of Conservation.
With the conclusion of the Mellon grant project that brought Katie to the Carlos, we offer fond gratitude for all that she did to support the museum and promote art conservation at Emory. Katie not only developed expertise, but contributed knowledge and colleagueship. She shared her kindness, humor, and commitment with us all, from staff to patrons. Katie’s exceptional hand-skills, creative problem-solving, and exacting standards are evident in everything she touched at the Carlos Museum. We wish her continued success in her new role as senior conservator for the Mississippi Department of Archives and History in Jackson, Mississippi, where she will establish a conservation lab within a new museum facility. ✺
above: Etre repairing the ceramic horse pyxis now on display in the Greek and Roman galleries. below: Etre treating a panel from a painted wood Middle Kingdom Egyptian box coffin.
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CarlosFeatures Research grant awarded for Félicien Rops collection in fall 2015, the Carlos Museum was awarded a grant from the Emory Center for Digital Scholarship to create an online catalogue and exhibition space for the museum’s collection of works by Félicien Rops (1833–1898), a Belgian Symbolist printmaker. The collection was given to the museum by Emory’s Rose Library (formerly marbl), and consists of approximately 160 prints and drawings, including a color lithograph of Rops’s famous Pornocrates (1896), a folder of related miscellaneous objects such as newspaper articles about Rops exhibitions, a sheet of Rops-inspired postage stamps, and several unfinished mock-up layouts for a catalogue or monograph on Rops. The collection represents all facets of Rops oeuvre, from work exploring his working class sensibilities, to satirical journalism, book frontispieces, and erotic art. It provides examples of his consistent experimentation with the printmaking medium, and displays his mastery of a multitude of printmaking techniques. The grant, written by Associate Curator of Works on Paper, Andi McKenzie, and Emory undergraduate Hannah Rose Blakeley (2016c), provided funding to photograph the entire Rops collection as well as training for Blakeley to develop the website that will house the catalogue and exhibitions. The Carlos has long provided Emory students with research and curatorial opportunities; however, this project initiates a digital platform where students can develop their own exhibitions from start to finish, an invaluable resource for students interested in the museum profession. The narrative themes that Blakeley plans to pull from 14
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Rops’s larger body of work will explore elite decadence, satire, Rops’s relationship with the working class, the depiction of women in both Rops’s work and that of the Decadent movement in general, and the ongoing debate about reproductions versus originals in the print medium. In conjunction with the project, McKenzie and Blakeley traveled to Brussels to study Rops plates and prints housed in the Cabinet des Estampes in the Bibliothèque Royale. They also traveled to Rops’s birthplace Namur, Belgium, and visited the Musée Félicien Rops to discuss the Carlos Museum’s collection with curator Véronique Carpiaux. Carpiaux confirmed that the Carlos Museum’s collection is very likely the largest collection of Rops’s work in the United States, and shared in the excitement about making the
collection available to an international audience through digital media. Ms. Carpiaux also filmed an interview which will be featured on the website, due to launch in May 2016. The extensive Rops materials provide an ideal opportunity to explore ways in which the Carlos Museum can utilize digital resources to bring its collections and exhibitions beyond Emory and the Southeast to an international, art-loving audience. To fully take advantage of the digital format, the plan is to use the site not only as an exploratory tool, but also as a springboard to other relevant research on the web, targeting those interested in print media, the Symbolist movement, the relationship between text and image in art and literature, 19th-century European art, and much more. ✺
above: Blakeley and McKenzie visited the Musée d'Orsay's Splendeurs et misères. Images de la prostitution, 1850–1910, the first major exhibition on the subject of prostitution. The show featured Rops prints alongside works by contemporaries Manet, Degas, Toulouse Lautrec, and more.
above: Hannah Rose Blakeley (2016C) cataloguing the Félicien Rops collection in the museum’s Works on Paper storage and study room.
Melinda Hartwig wins PROSE award
above: Félicien Rops (Belgian, 1833–1898). Pornocrates, 1896. Etching and aquatint. Transfer from the Stuart A. Rose Manuscript, Archives, and Rare Book Library. Photo: Michael McKelvey
congratulations to Melinda Hartwig, curator of Egyptian, Nubian, and Near Eastern art, whose 2015 reference title, A Companion to Ancient Egyptian Art, won the prose award in the category of Single Volume Reference/Humanities & Social Science. A Companion to Ancient Egyptian Art is a first-of-a-kind reference work that explores key concepts, critical discourses, and theories in the art of ancient Egypt. Unique among reference works, the Companion is organized thematically in order to highlight the methodological, material, socio-cultural, and technological debates in art. The chapter length in this reference allows contributors to explore the breadth and depth of their subjects. Written by international experts in the field, authors examine established and widely accepted art methodologies, but also offer new avenues for productive future approaches. Where opinions differ between authors, the reader finds critical points of debate that can stimulate dialogues about art, both in and out of the classroom. The unprecedented breadth of coverage and impeccable scholarship by leading scholars in the field makes A Companion to Ancient Egyptian Art an indispensible reference resource for scholars and students of the ancient world as well as general readers. The prose Awards annually recognize the very best in professional and scholarly publishing by bringing attention to distinguished books, journals, and electronic content in fifty-four categories. ✺
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Educationnews the carlos museum serves as a portal between the university and the city of Atlanta. In conjunction with the exhibition Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection, the museum organized engaging educational programs for the campus and the community— for young children, teens, university students, and adults.
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A Angela Zhang displays the Yup’ik mask she made using handmade paper forms, willow branches, and synthetic “sinew” in a children’s workshop taught by Pam Beagle Daresta.
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B Chef Billy Allin of Cakes and Ale Restaurant shares his take on cooking with the “Three Sisters.” (Photo courtesy of Sharon Lemaster)
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C Zander Borowski and his watercolor interpretation of Rhonda Holy Bear’s Maternal Journey. D Emory students beading with Katie Woolard from the Emory Artisan Guild after touring the exhibition and looking at beadwork from Plains and Eastern Woodlands peoples.
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E Sofia Bartholomew makes an Eastern Woodlands “fire pouch” in a children’s workshop with artist Marie DeGeorge. F Ben Aspinwall works on a Haida Manga design after studying formline design from the Pacific Northwest in a workshop for teens with artist Joseph Wheeler. G Preschoolers from Early Learning Scholars listen attentively to Tasunka by Donald F. Montileaux (Oglala Lakota) in front of Joseph No Two Horns’ thunderbird shield as part of an Artful Stories program.
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H Renown Native American artist Tammy Garcia works with Emory student Rhiannon Stone-Miller on a coil pot during a ceramic workshop for Emory students. I Hannah Rose Blakeley works on her pot in a ceramic workshop for Emory students with Tammy Garcia. J Students of all ages at work on ledger paintings at Indigenous Beauty Homeschool Day. K Pre-schoolers from Clifton Childcare, Apple Tree Learning Center in Clarkston. L Emory students from Rebecca Stone’s class on the exhibition met in the galleries with all of the visiting scholars who came to campus to give public lectures. Here, Bruce Bernstein, who spoke on Native American baskets, discusses the layout of the exhibition with students.
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C left: Tunic and Leggings, late 19th century. Tlingit, Chilkat, Klukwan, Alaska. Cedar bark, wool, metal, cones. Courtesy American Federation of Arts.
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CarlosFeatures
Egyptian family guide
Kate Naylor joins staff
thanks to the generous financial support of Claire E. Sterk and Kirk E. Elison, the Carlos Museum is pleased to present the new Egyptian Family Guide. Joining the Greek and South Asian guides, these intricate die-cut cards, gathered together on a single ring, allow children and their adult companions an opportunity to further explore mummies, painted coffins, and carved reliefs and sculptures. Pick up yours at the Reception Desk in the museum Rotunda, go on an adventure of discovery in the galleries, and then kate naylor joined the Carlos take it home with you! ✺ Museum in November as Program Coordinator overseeing membership. Before coming to Emory, Kate spent two years as Fernbank Museum of Natural History’s volunteer coordinator. While honing her skills in volunteer management, member relations, development, and educational programming, she founded the Atlanta Volunteer Management Roundtable. As a member of the Board of Directors for the Young Nonprofit Professionals Network of Atlanta (ynpn Atlanta), Kate also helped to establish the ynpn Atlanta Opportunity Grant Program. Prior to this, she volunteered in the Vendor Relations Department of Dragon Con Atlanta for thirteen years, including two years as an Assistant Director. Her education includes two degrees in Classical Culture and Latin from the University of Georgia and a graduate certificate in museum studies with an m.a. in Classical Civilizations from Florida State University. In her free time, she enjoys hiking, traveling, baking, and watching Netflix at home, often in the company of her fiancé, cat, and two ball pythons. ✺
Mummy mobile retires last fall, after almost eighteen years of dedicated service, the museum’s Land Rover mummy mobile was retired. Generously donated by Hennessey in 1998, and animated by stencils of Egyptian art on the windows and doors, hence the name, mummy mobile, the Land Rover carried museum education staff and volunteers around the region for outreach programs; in later years, once outreach programs tapered off, it was heavily used by the museum’s collections staff for art and equipment transportation. Eighteen years, however, is a long time for any workhorse, and it was time for the beloved mummy mobile to be put out to pasture. In October, after much research and many test drives, the perfect vehicle was identified and the museum’s Advisory Board generously funded a replacement for the long-serving Land Rover. We are very grateful to the Advisory Board for making this greatly needed purchase possible, and as you can see from the photograph, museum staff members are all thrilled with the new van (which to date, has yet to be named). ✺
above: A new van replaces the well-worn mummy mobile. 18
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SupporttheCarlos You came, You saw, You Bacchanal’d guests rocked the night away to hit favorites performed by “Atlanta’s best” Kontraband Muzik at Bacchanal 22: A Toast to the Northwest Coast on November 7, 2015. This celebration of the artistic, cultural, and spiritual contributions of the indigenous peoples of the Pacific Northwest included after-hours access to the special exhibition Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection, a raffle, and culinary delights from Atlanta’s best caterers. Thank you to the Bacchanal 22 chairs, host committee, sponsors, raffle donors, vips, and gorgeous guests who supported the Carlos Museum at this annual fête. ✺
Veneralia Silver Anniversary was brilliant! despite the chill outside and snowy Himalayan peaks dotted with ice sculptures inside, guests at the Veneralia 25th anniversary on February 20th felt toasty thanks to the glow of the many lanterns that blanketed the museum’s reception hall and galleries for this special silver celebration. Robert Long Flora Design transformed the space for cocktails and dinner with a cool contemporary take on a traditional Tibetan lantern festival immersed in a winter landscape, while monks from the Drepung Loseling Monastery blessed the meal. Dennis Dean Catering’s Tibetan inspired meal of spiced roasted vegetables over lentils with a lemon grass green tea reduction, Tandoori style chicken breast, and mango sponge cake with pistachio sabayon cream warmed the palates of all in attendance. On behalf of Silver Moon over the Himalayas Chair Joni Winston; Patron Chairs Charles Ackerman, Jean Astrop, Jim Miller and Eleanor Ridley; Silver Anniversary Committee Chair Lindsay Marshall; and the museum Advisory Board and staff, we would like to thank the following, who contributed to the success of the gala this year: platinum sponors The Atlantan, Anonymous, Delta Air Lines, Dennis Dean Catering, Fidelity Bank, Publix Super Markets Charities, Times 3; sterling sponors J.P. Morgan, National Distributing Company, Robert Long Flora Design; silver sponors Burr & Forman llp, Liz Lapidus Public Relations, Peachtree Tents & Events, Publix Super Markets, Inc.; platinum benefactors Ruth Magness Rollins, Joni Winston; sterling benefactors Marc D. Taub; silver benefactors Tara and Richard Aaronson, Anne Cox Chambers Foundation, Charles Ackerman, Mrs. William Bowen Astrop, Lindsay Marshall, Kathrin and Douglas Mattox, Jenny Miller and Ben Findley, Harshna and Pyush Patel, Eleanor Ridley, Dina and Ed Snow, Jean Wilson, and Becky and Sid Yarbrough.
above: Bacchanal guests
Veneralia has included personalities such as Tony Bennett, Judy Collins, and Jane Fonda. Under a tent on the Emory quadrangle for many years, Veneralia has also taken place in the Fox Theatre’s Egyptian Ballroom, the Civic Center, and at the Imperial Fez Restaurant. The Carlos Museum is extremely grateful for the many friends and supporters who have loaned their homes for patron parties, donated to silent auctions, and attended the dinners, as well as for the dozens of artists who have created stellar environments and made this a very special celebration of the Carlos Museum each year. Thank you! >>>
below: Bacchanal Co-Chairs Miles Zadnichek and Meredith Bell
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SupporttheCarlos 25 Years of revelers: A Bonnie Speed, Margaret and Charlie Shufeldt; B Jane Fonda and servers; C Frank and Annie Jones, Ben and Marian Hill; D Eleanor Ridley, Jim Landon and Genevieve Arnold; E Thalia and Michael Carlos; F Chris and Nicole Carlos; G Catherine Howett Smith and Jasper Gaunt; H Jeff and Caroline Tucker; I Jimmy Sibley, Roberto Goizueta, Karen Sibley, Therese O’Gorman, David Allen, Gail Habif, Bill Chace; J 1989 cover of The Season featuring Loraine Williams, Terry Walker Brown, and Suzanne Inman; K Carey Benham and Loraine Williams
This year's Veneralia revelers included: A Lobsang Tenzin Negi, Seaborn Jones, Bonnie Speed, Joyce and Michael Flueckiger; B Lisa Turner, Steve Brown, Jim Nettles, Joni Winston; C Decor by Robert Long Flora Design; D Aida Flamm and Charles Ackerman; E Ro Musaddiq and Krista Lankswert; F Carolyn Vigtel, Lindsay Marshall, Jim Miller, Jean Astrop, Loraine Williams; G Shannon and Stanley Romanstein; H Harshna and Pyush Patel
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SupporttheCarlos Egypt in Italy the carlos museum is pleased to offer an exclusive opportunity to travel to Italy with Melinda Hartwig, curator of Ancient Egyptian, Nubian, and Near Eastern art, November 4–11, 2016. Highlights include Egyptian collections in Turin, Bologna, and Florence as well as wine and truffle tastings, garden tours, and other museum experiences. The complete itinerary is available at carlos.emory.edu/Italy2016. Spaces are limited. To reserve a spot, contact Angela Simon at asimon@ poetravel.com or 1-800-727-1960. ✺
Make your mark. Create your legacy. “art often illuminates the human condition, and works on paper afford a certain intimacy for us to see with new eyes. It is a privilege to know that my collection will be used for teaching and learning purposes at the Carlos Museum, providing insights into what it means to be human.” Museum Advisory Board member Elaine Levin shares this sentiment in a new brochure that offers museum friends an introduction to planned giving strategies. Levin has named the museum as a beneficiary in her will to receive part of her extensive collection of works on paper. Other bequests to the Carlos Museum have included estate gifts and the naming of the museum as the beneficiary of an ira, and have provided for the future of our institution by endowing a museum staff position, but the possibilities
are endless. The planned giving brochure explains the opportunities and tools available for making a planned gift as well as how important this support is to the museum. The full brochure is available online at carlos.emory.edu/planyourgift or request a copy by mail by contacting Gail Habif at 404-727-2251. ✺
Bookshop Earth Day Spring Clearance Sale Friday and Saturday, April 22 and 23 the annual fall sale is coming up, with everything in the store discounted 20%. This discount will also apply to a fabulous selection of sale and bargain books in front of the store for even greater savings! Please note: no additional discounts, 20% is the maximum discount during the sale. ✺
above: Museum Advisory Board member Elaine Levin 22
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Membership we extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between August 2015 and January 2016. Your support is greatly appreciated and we look forward to seeing you at the Museum for many years to come. Not yet a member? Visit carlos.emory.edu/join to join the ranks of these generous supporters. To upgrade your membership, call 404-727-2623. DIRE CT OR’S COUNCIL
Mr. James B. Miller, Jr. Mr. and Mrs. James H. Morgens C U RA T O RS ’ COUNCIL
Mrs. Marguerite C. Ingram Mr. and Mrs. Hans Kempers Mr. and Mrs. James C. Kennedy Ms. Lindsay W. Marshall Mr. and Mrs. Anthony P. Meier, Jr. Dr. and Mrs. John S. O’Shea Mr. and Mrs. Pyush R. Patel Dr. and Mrs. Morris E. Potter Mr. and Ms. Andrew Prozes Mrs. Eleanor Horsey Ridley Mr. and Mrs. Jonathan Peter Rosen Dr. Monique Seefried and Mr. Ferdinand C. Seefried Mr. Bolling P. Starke iii Dr. Sandra J. Still and Ms. Emily Elaine Katt Ms. Mary-Ellen Hunt Vian Ms. Betsy K. Wash C OR I N T H I AN PA TRON
Mr. David Boatwright Dr. and Mrs. Gregg Codelli Ms. Catherine Warren Dukehart Dr. Joseph Kirk Edwards Mr. and Mrs. James L. Ferman, Jr. Prof. and Mrs. Howard O. Hunter Mr. David L. Kuniansky Mr. and Mrs. Howard J. Weinstein Mrs. Loraine P. Williams Mr. and Mrs. Thomas E. Winn Mr. William K. Zewadski IONI C PA T RO N
Dr. David S. Pacini and Mrs. Martha H. Abbott-Pacini Messrs. Warren Dean Genett and William Robert Duncan Mr. and Mrs. Alexander S. Hawes Mrs. Susanne W. Howe Mrs. Barbara S. Hull Dr. and Mrs. Michael M. E. Johns Dr. and Mrs. Graham Kerr Mr. James Russell Bodell and Ms. Susan Ann Long Mr. and Mrs. Michael W. McDavid Mrs. Dorothy H. Miller Dr. and Mrs. Richard V. Remigailo Mr. and Mrs. Steven J. Zier DORI C PA T RO N
Mr. and Ms. James R. Amos Mr. and Mrs. Wayne S. Bailey Ms. Nancy L. Barber Drs. Patricia J. Bauer and James Steven Snow Dr. and Mrs. Bruce H. Bielfelt Prof. Peter M. Bing and Ms. Mary Reichler Mr. Randy Fields and Ms. Elizabeth Anne Bouis Mr. Jeff Bragg and Ms. Deborah Johnson
Mr. and Mrs. Alan Scott Bremer Dr. Josephine V. Brown Mr. and Mrs. Mark K. Bush Dr. and Mrs. Stewart Wright Caughman Dr. Stanley A. Cohen Mr. F. H. Boyd Coons Dr. Ann Davidson Critz Dr. and Mrs. F. Thomas Daly, Jr. Dr. Francine D. Dykes and Mr. Richard Hale Delay Mr. and Mrs. James A. Ford Mr. and Mrs. Carl I. Gable Mr. Randy E. Pimsler and Ms. Elaine R. Gale Mr. Francis J. Gilmore Mr. Charles R. Hunsucker, Jr. and Ms. Lyndel M. Gliedman Mr. John David Hanna and Mrs. Heather Wilson-Hanna Dr. and Mrs. John B. Hardman Dr. Melinda K. Hartwig Ms. Ruth Hough Dr. and Mrs. Eric Klingelhofer Mr. and Mrs. John G. Kokoszka Mr. and Mrs. Wayne Alan Krause Mr. and Mrs. Richard I. Krebs Ms. Patricia Krull Dr. and Mrs. Thomas J. Lawley Dr. Sharon LeMaster and Mr. Larry Woodring Drs. Jerrold Henry Levy and Maria Arias Dr. and Mrs. Allen G. Macris Mr. and Mrs. Peter Mariolis Dr. Leslie R. Freedman and Ms. Lee P. Miller Ms. Cynthia Taylor Mills Dr. and Mrs. Kenneth C. Molkner Dr. Elizabeth Reynolds Moye and Mr. H. Allen Moye Mr. Henry F. Mullins, Jr. and Ms. Bianca Quantrell Mr. Kenneth Nassau Dr. and Mrs. Andrew S. Neish Dr. Frank M. Pickens Mr. and Ms. Douglas H. Pike Mr. and Mrs. Roger C. Press Mr. Branton Gray Dearmoun and Ms. Angelica M. Rivera Goldberg Dr. Leigh Anne Roach and Mr. Scott Roach Mr. Frank C. Roberts The Honorable and Mrs. Mathew Robins Dr. Judith Campbell Rohrer Dr. and Mrs. Rein Saral Mr. and Ms. Andrew Mayer Schuler Ms. Mary Lynn Smith Ms. Ruth C. Smith Dr. Judith Carroll Stanton and Mr. George B. Stanton Mr. and Mrs. Joe Stickell Ms. Valerie Stribbling Mr. and Mrs. Ray G. Thomas Mr. Lawrence P. Toner Mr. and Mrs. J. Eric Viebrock Messrs. John Arthur White, Jr. and Richard G. Low Mrs. Aileen W. Wieland Mr. Russell F. Winch Ms. Ruth W. Woodling Ms. Jeannie B. Wright
Thank you
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michael c. carlos museum emory university 571 kilgo circle atlanta, ga 30322 carlos.emory.edu
Member
Lookingahead
Visitorinformation
September 3–November 27, 2016
Hours Tuesday through Friday:
Contemporary Tibetan art by Gonkar Gyatso
10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. Admission $8 general admission. Carlos Museum members, Emory students, faculty, and staff: Free. Students, seniors, and children ages 6–17: $6 (Children ages 5 and under free). Visit our website to find out about Free Afternoons.
Plaza level entrance on South Kilgo Circle. Handicap-accessible parking is available in the Oxford Road and Peavine parking decks. Limited handicap parking spaces are available along Kilgo Circle during weekends, and cars must display state issued hangtag. A handicap-accessible shuttle (shuttle D) runs from the Peavine parking deck weekdays every 10 minutes. For further assistance contact the Disability Services Office at 404-727-9877.
Public transportation marta bus
Tours Advanced booking required
line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations.
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.
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.
Public tours Depart from the rotunda on Sundays at 2 pm. Call in advance, 404-727-4282.
September 10, 2016–August 26, 2018
Coiling Culture: Basketry Art of Native North America November 5–December 11, 2016
The First Folio! The Book That Gave Us Shakespeare
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
Handicapped parking Drop off at
Multimedia audio guide $2. Free for
museum members. Museum information 404-727-4282 Web access carlos.emory.edu
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