Spring Newsletter 2019 by Emory University's Michael C. Carlos Museum

Spring

2019

spring 2019

Director’s letter

appy 100th! As we begin the museum’s centennial year, it’s a time to reflect and marvel at the growth and transformation of the Carlos Museum, but more important, it’s a time to look ahead to imagine how the next 100 years will unfold. Let the imagining begin! An auspicious start to the year came in the form of an incredible gift from the Georges Ricard Foundation, the Senusret Collection. Comprised of almost 1,400 ancient Egyptian, Near Eastern, and classical works of art, the Senusret Collection will further position the Carlos Museum as a destination for the study of ancient art and cultures. The collection has a fascinating history, so enjoy the article on page 12. If you haven’t been on our website recently, please log on! The last time our website was revamped was well over 10 years ago . . . yes, ancient in digital terms! A year in planning and development, this total overhaul, funded by an anonymous donor and the museum’s Advisory Board, has made the website easier to navigate and more informative, and if I may say, better looking. It’s a great way to begin our centennial. If our new exhibitions are a foreshadowing of what may come, an exciting future awaits. In Do or Die: Affect, Ritual, Resistance by Dr. Fahamu Pecou, the political and societal violence against black male

bodies is explored through the diasporic Yoruba religion Ifá, and more specifically, through the centuriesold tradition of Egungun. In our Works on Paper gallery, Rival Cuts: Process & Technique in Prints by Tom Hück & Albrecht Dürer is a contemporary printmaker’s homage to and rivalry with a printmaker of the past. Although the exhibition is small, the work is monumental. Our educational programming for the centennial also foreshadows great things to come. New this year are Kid Kits and Fourth Sunday Fundays for visiting families as well as an animal tour and a Bird Day in collaboration with the Audubon Society. How cool is that! And, old favorites such as Camp Carlos return with new experiences for our young audiences. For the first time, we are going to have a pop-up conservation lab in the John Howett Works on Paper Gallery in late summer. A five-foot long Jain painting of the Cosmic Man will undergo treatment by a team of specialized conservators for two months. Stay tuned for more information on this fascinating endeavor as time nears. And in staff news, we are thrilled to welcome Jennifer Kirker as our new Senior Director of Development. Jennifer has a background in archaeology and Maya art combined with stellar museum experience to make her a perfect fit to head up the Carlos Museum’s Development Office. As always, I hope to see you in the galleries!

B on n ie Speed Director left: Caption here.. cover: Fahamu Pecou. rising, 2016. Acrylic and gold leaf on canvas. Private collection.

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Dr. Fahamu Pecou’s DO or DIE: Affect, Ritual, Resistance reveals the radical power of community

s it possible to go home again? Dr. Fahamu Pecou’s DO or DIE: Affect, Ritual, Resistance, on view at the Carlos through April 28, suggests not only the possibility of homecoming, but also the radical power of community.

DO or DIE represents a personal homecoming for Pecou, an Atlanta-based artist who was a graduate student in Emory University’s Institute of Liberal Arts when he created the artwork for the exhibition. Based on his doctoral research, DO or DIE explores the intersections between African-based spiritual traditions and the political and societal violence against black male bodies in the US. Pecou positions these bodies within Ifá, a diasporic religion of the Yoruba of southwest Nigeria. Here, where spirits are infinite, a healing alternative exists for slain black men and their communities through the use of Egungun, a Yoruba mask. Egungun means “the powers concealed,” according to Curator of African Art Amanda Hellman. At funerals and during annual festivals, Yoruba Egungun societies produce masquerades. A member of the society dons the mask and begin to dance. “As the performer begins to move, he is transformed, incarnating the spirit through dance,” she notes. “The ancestor, given form

above: Fahamu Pecou. Untitled 3, 2016. Archival pigment print (edition of 5). Courtesy of the artist. 4

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above: Fahamu Pecou. Egun Dance II, 2016. Graphite and acrylic on paper with cowries. Michael C. Carlos Museum. Anonymous gift. below: Fahamu Pecou. Courtesy of the artist.

again on earth through the masquerade, can now act on behalf of the community by upholding justice and serving as a reminder of what it means to be Yoruba.” “Before the late 19th century in Nigeria,” Hellman continues, “Egungun would lead Oyo soldiers into battle; later, under British colonial rule, Egungun critiqued leadership and regulations.” Within the Yoruba diaspora created by the collapse of the Oyo empire, Egungun was one of the practices upon which people relied to maintain their traditions and cultural identity. The exhibition’s centerpiece is Pecou’s “new world” Egungun comprised of a white hoodie, sweat pants, athletic shoes, a cowrie shell mask, and panels of fabric intended to catch the wind as the wearer dances. Pecou’s Egungun departs from two key features of historical Yoruba Egungun, which are typically colorful and feature igbala, apotropaic serrated borders that imbue the garment with protection. Instead of the traditional igbala, Pecou uses screenprinted panels bearing the names of black American men murdered as a result of racism and oppression. The Egungun’s three panels bearing the names of men dead by gun violence, lynching, or in the course of the civil rights movement are more than reminders: they are invocations of specific ancestors— Martin, Malcom, Medgar, Michael, and Trayvon among them— who are called home to bring healing and protection.

Through the names of the new world ancestors on his Egungun, Pecou reframes black life and death. “African spirituality, concepts, and philosophies allow us space and freedom to think about and see ourselves as whole and human,” he explains. “These ideals contradict the broken, tortured, and oppressed images of blackness that we find in the context of Western visual culture.”

There is more in play, however, than a useful alternative to the spectacle of black death. Egunguns are manifestations of both spiritual and political power, according to Hellman: “An Egungun danced is an Egungun impelling everyone who is witness to be moved into action....Egungun [obliges one] to remember and to act.” Z

DO or DIE: Affect, Ritual, Resistance, was organized by the Halsey Institute of Contemporary Art at the College of Charles, in collaboration with the Michael C. Carlos Museum of Emory University.

right: When DO or DIE opened at the Halsey Institute of Contemporary Art at the College of Charleston in 2016, Pecou performed an Egungun dance, stopping in front of Mother Emanuel AME, the historic black church in which nine congregants were murdered in 2015. Kip Bulwinkle for Karson Photography.

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The art of provocation: Tom Hück, printmaker

rtist tom hück’s admiration of Renaissance printmaker Albrecht Dürer is fierce — and indelible. During a life-changing summer when he was 12, Hück encountered the work of Dürer twice: once at the Uffizi in Florence, Italy; and again at the National Gallery of Art in Washington, DC. “I saw the entire set of The Apocalypse for the first time,” he recalls. “I thought [it was] just badass and wicked as hell!” It only occurred to Hück, studying art in college, that he too should be a printmaker while taking a required printmaking class: “I made my first print, and that was it. It was a real spiritual knock-you-on-yourass sort of awakening for me. In that very moment of pulling the paper off of the block, I found what I was born to do.”

Hück now runs his own press, Evil Prints, in St. Louis, Missouri. He and Dürer are the subjects of Rival Cuts: Process & Technique in Prints by Tom Hück & Albrecht Dürer, which brings together the work of student and master, challenger and rival, admirer and hero. Though he doesn’t remember a single moment when he began considering Dürer as a rival, Hück is fully conscious of the artist’s influence, which he finds motivating. “When I began obsessing over printmaking history, I just so wanted to be a part of it, to leave my mark in there somewhere,” Hück explains. Printmaking history, it should be noted, has left its mark on Hück, who sports Dürer tattoos. “I remember at a certain point,” Hück notes, “I wanted to make prints that were as great as my

hero’s, so every day when I get up and go to work in my studio, I’m thinking about how the hell I can make anything as good as Dürer’s Knight, Death, and the Devil.” Hück understands the importance of studying art history and finds it difficult to imagine a life unmarked by his pivotal encounter with Dürer. At this point in his career, Hück himself has reached hero status. He has a devoted following of collectors and trains the next generation of printmakers at Evil Press. As the 2019 Schwartz Center Artist-in-Residence, Hück will have the opportunity to share his work and passion with Emory students through visits to art classes and a week-long collaborative printmaking activity that allow students to work together in a super-sized Student Studio experience. Students will

above: Tom Hück (American, born 1971). Electric Baloneyland, 2017. Chiaroscuro woodcut on okawara paper. Museum purchase. 6

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carve a wood block bearing the image of a Hück drawing and hand-print the block at the end of the week Public events —a curatorial conversation with Works on Paper Curator Andi McKenzie, a Print Matters close-looking event, a teacher workshop, two Pull and Pours at the Atlanta Printmakers Studio, an affordable print sale, and a Meet the Artist evening— will offer the Atlanta community a chance to engage with the artist. Not unlike Hück himself, the centerpiece of Rival Cuts, Electric Baloneyland, is provocative and larger than life. The chiaroscuro woodcut triptych measures 86 x 108 inches, and though similar in technique to the work of Dürer, it is clearly heir to the satire of Daumier and R. Crumb, whom Hück also

loves. In this unapologetic work of sociopolitical commentary, Hück filters visual motifs of the county fair such as rides and a shooting gallery through the satirical lenses of irony and exaggeration in a critique of America’s heartland. When asked about his heroes, Hück acknowledges the joy that studying the works of Dürer and other artists has brought to his life: “Heroes are important. Art history is important. Young artists need to know what came before.” Welcome to Emory, Tom Hück. Tom Hück’s residency is supported by the Donna and Marvin Schwartz Foundation Artist-in-Residence Program and the Andrew W. Mellon Foundation. Z

above: In his St. Louis studio, Hück carves one of the wood blocks used to print Electric Baloneyland.

above: According to Curator of Works on Paper Andi McKenzie, the image of lady liberty in the central panel of Electric Baloneyland, above right, is a reference to Dürer’s depiction of St. Catherine, seen above.

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The Carlos centennial: 100 years of wonder

efore there were museums— before there was even science—there were wonders, also known as curiosities: material objects such as unicorn horns that were thought to carry magical properties. The wealthy and the powerful collected wonders as objets d’art and for the power and cachet they imparted. Wonders and curiosities, objects that produced those same reactions in those who beheld them, were displayed together in cabinets of curiosities or, as the Germans called them, wunderkammer: wonder rooms, the forerunners of museums. Housed together, they represented man’s quest to understand the world in which he lived and served as an opportunity to contemplate the known as well as the unknown. The museum on Emory’s Oxford campus began its existence in 1876 as a wunderkammer of sorts. From

above: Caption here... 8

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its earliest days, the museum was shaped by the needs and desires of the Emory community: biological specimens, ethnographic objects from Asia sent back by Methodist missionaries, and the Thursfield Smith Collection of Wesleyana, that is, prints and objects relating to the founders of the Methodist church, were among the museum’s first collections. The growth of the museum, including the appointment of its first curator, Professor Stuart A. Roberts, precipitated its move to Emory’s new campus in Atlanta. The move was complete in 1919, and Bishop Warren A. Candler, chancellor of the university, officiated over the formal founding of the Emory University Museum, declaring its mission to “preserve and display University collections of ethnic, biological, geological, archaeological, and historical material.”

The diverse interests of Emory faculty continued to shape the breadth of the museum’s acquisitions throughout most of the 20th century. Theology professor William Arthur Shelton traveled with the American Scientific Mission in 1920 and brought back nearly 250 Egyptian, Babylonian, and Near Eastern antiquities that would help students understand the cultural milieu of the lands of the Bible. Under the leadership of Perry W. Fattig, curator from 1926 to 1954, the museum’s collection of biological specimens grew as Fattig acquired mollusks, birds, butterflies, and other fauna. Through the 1950s, the museum’s archaeological collections, begun by Shelton, were enriched through Emory’s support of the British School of Archaeology’s excavations in Jericho and Jerusalem under the direction of Dame Kathleen Kenyon. Later, the collect-

ions would benefit from the participation of Emory professors Immanuel Ben Dor, Boone Bowen, J. Maxwell Miller, and others in excavations and surveys conducted in the Levant. As faculty grew the museum’s collections, director Woolford B. Baker shaped its role in the Atlanta community. Recognizing the collections’ educational value for students of all ages, Baker began reaching out to local schools, inspiring generations of schoolchildren by personally phoning local teachers, giving tours of the fledgling collection, and encouraging students’ interest in ancient cultures. Successively shaped by the interests of faculty, curators, and directors, the museum underwent a transformation in the early 1980s that would lead to its current role as a beloved part of Atlanta’s cultural landscape and one of the premier

art museums in the Southeast. Dr. Monique Brouillet Seefried, art historian and longtime friend of the museum, convinced Emory president James T. Laney that the museum’s important collections should be housed and displayed in more professional accommodations. Laney appealed to Michael C. Carlos, a local businessman and visionary philanthropist, to help Emory create a facility that would preserve the museum’s cultural treasures and make them more accessible for the benefit of the community. As architect Michael Graves undertook the renovation of the old law school building made possible by Carlos’s $1.5 million gift, faculty experts reorganized the collection to align with research and teaching objectives. By 1984, the museum’s collections of seashells, birds, and other curios had been completely

above: This scene from the Bhagavad Gita came to the museum in 1980, when the museum and the Art History Department merged their collections of works on paper. Photo by Bruce M. White.

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top: Dr. Boone M. Bowen and Professor Immanuel Ben-Dor unpack artwork, circa 1965. top: Caption here..

Emory University photograph collection.

middle: Caption here..

bottom: In exchange for the museum's sponsorship of the Jericho excavations from 1956 to 1968, archaeologist Kathleen Kenyon sent crates of around bottom: Dr. Woolford B. Baker was responsible 700 artifacts, including this Early Bronze Age jar. Photo by Bruce M. White. initiating the visits of Atlanta schoolchildren. 10

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bottom: Emory students helped transport the museum’s mummies when it moved from the Administration Building to Bishop’s Hall, which no longer stands. AJCN048-068B, Atlanta Journal-Constitution Photographic Archives. Special Collections and Archives, Georgia State University.

transferred to other institutions. In 1985 the new Emory University Museum of Art and Archaeology opened, its refocused collection, which now included works on paper collected by the Art History Department, complemented by a special exhibitions program and a team of faculty curators and professional staff. These changes enabled the museum to take a major step forward: the museum with the interesting yet eclectic collection was becoming an institution that would serve as a significant educational resource for the university and the community.

The museum’s collections and programs grew in quality, scope, and reputation throughout the late 1980s and the 1990s. As the museum’s collections expanded, the limitations of the renovated law school quickly became apparent. Michael C. Carlos provided a multimillion-dollar gift for the construction of a new wing and soon began funding the acquisition of Greek and Roman antiquities. The expanded space, also designed by Michael Graves, added 35,000 square feet to the facility. In May 1993, the Michael C. Carlos Museum reopened to the public with a new education center, conservation lab, café, bookshop, new galleries, and a lecture hall.

The past 100 years of the Carlos Museum illustrate an exciting journey from its fledgling days in a library niche at Oxford College. However, the most elemental aspects of the museum haven’t changed very much at all. The museum has always focused on people: to educate and serve, to provoke wonder and curiosity, and, as in the days of wunderkammer, to create opportunities to contemplate not only the known but also the yet-to-bediscovered. Parts of this article have been adapted from The Carlos as Catalyst: The Transformation of the Museum at Emory, on view at Emory’s Stuart A. Rose Manuscript, Archives, and Rare Book Library through May 31. Z

top: The museum’s scientific collections were dispersed to other homes such as Fernbank Science Center and the University of Georgia. bottom: The generosity of Thalia N. and Michael C. Carlos helped shape the museum’s current home and its collection of classical artwork.

above: The Carlos Museum’s mummy court has taken many forms over the years. This version was designed by Michael Graves.

above: Caption here..

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Arriving at the Carlos Museum, the Senusret Collection completes its journey

in early 2019 the Carlos Museum announced its acquisition of the Senusret Collection, a centennial gift of nearly 1,400 objects. Assembled by French businessman Georges Ricard in the 1960s and 1970s from old European collections with traceable provenance, the Senusret Collection is one of the most extensive collections of ancient Egyptian, Near Eastern, and classical art to be donated to a US museum. Among the Senusret Collection’s most notable works of art, according to Curator of Ancient Egyptian, Nubian, and Near Eastern Art Melinda Hartwig, are Late Period coffins with mummies, gilded funerary masks, and exquisite New Kingdom relief stele. Humbler, but no less important, is a model boat carved of wood emblematic of one of the most compelling aspects of the collection’s history — its journey.

Found in tombs from the Middle Kingdom onward, the boat represents Ra’s funeral bark and the journey to the afterlife. For decades, the Senusret Collection has been in a state of transition, first crossing the Atlantic Ocean and the continent before heading back across the country to the Carlos Museum. Georges Ricard was passionate about Egyptian art and felt strongly that the Senusret Collection should be shared with the public. Working with well-known Monaco architect Louis Rué, Georges created the Musée l’egypte et le monde antique, which opened in June 1975. The public responded positively to the museum; however, in the late 1970s, the museum was forced to close due to unsatisfactory climate conditions. In the 1980s the Ricard family moved to California. Georges entered into negotiations with the

art museum at the University of California, Santa Barbara to house and exhibit the collection, but plans were halted by state budgetary cutbacks. The Senusret Collection was then placed in a nonprofit public benefit corporation, the California Institute of World Archaeology (CIWA). The family lived with the collection in their home in Santa Barbara, and have shared it online as the Virtual Egyptian Museum since 1997. The Virtual Egyptian Museum provided those living far from cultural resources, especially students, with a museum experience, and it allowed the public to continue to learn from the collection while a home in a public institution was sought. After the death of Georges Ricard, the CIWA was formally transferred to a 501 (c)(3) and

above: Solar Boat with Components from a Sailing Boat. Egyptian. Middle Kingdom, mid-Dynasty 11 to Dynasty 12, ca. 2100-1800 BC. Wood with stucco and paint. Gift of the Georges Ricard Foundation. 12

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renamed the Georges Ricard Foundation. In 2018, the foundation board and Georges’s son Yann worked with consulting Egyptologists Willeke Wendrich of UCLA and Salima Ikram of the American University in Cairo, to find a permanent home for the Senusret Collection at a museum with a broad-based commitment to education and conservation. Ikram, who spoke at the Carlos Museum in conjunction with Divine Felines: Cats of Ancient Egypt, recommended the Carlos Museum to the foundation as a potential home for the collection. Curator of Ancient Egyptian, Nubian, and Near Eastern Art Melinda Hartwig traveled to California to view the collection and meet the Ricards. “When I saw the Senusret Collection, I was amazed at the quality and range of the objects —

not only from ancient Egypt but also the Near East and classical worlds as well,” says Hartwig. At the invitation of Hartwig, Yann Ricard and his wife Elizabeth visited the Carlos Museum in May 2018, where they spoke with museum staff about how the collection would be cared for and utilized as an educational resource. After visiting other museums, the Georges Ricard Foundation decided to donate the collection to the Carlos Museum. “We never intended or imagined the Senusret Collection would leave California,” Yann notes of the decision-making process, “but once we met the Carlos Museum staff, the unthinkable turned into the compelling. Although we didn’t want to part with the collection, we soon became convinced that entrusting it to the Carlos was a golden oppor-

above: Georges Ricard (second from right) and his wife, Eliane (right) welcome Princess Grace and Prince Rainier of Monaco.

tunity to realize all the hopes and dreams Georges had for it since its arrival in the United States more than 30 years ago.” “Nowhere else,” Yann continues, “could we find such a cohesive, dedicated, and creative team of consummate professionals on a mission not only to lovingly preserve our world’s cultural heritage but also to use the collection to ignite imaginations, convey meaning, elicit emotion, and inspire reflection.” A team of Carlos registrars and conservators traveled to California twice over the summer to stabilize and pack the collection for travel. It arrived at the Carlos Museum this fall, journey complete. Select Senusret Collection artwork will be on display at Veneralia100 in May. Watch for progress updates as the collection is conserved and researched in preparation for a special exhibition. Z

above: This head of the god Amun-Re was the first object purchased by Georges Ricard for the Senusret Collection.

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New tours and programming focus on the natural world

hroughout time and across cultures, human beings have taken materials from the earth and created works of art that express their humanity. Many of these materials and techniques are still used by artists working today, and the earth and its creatures remain a topic of interest, fascinating museum visitors from college geology students to preschoolers attempting to identify all the animals depicted in a particular gallery. Building on the connection between science and art that steam education has helped popularize, the Carlos Museum is using tours, programs, and student research to highlight the museum’s connection to the natural world.

above: An Illustration from a Baramasa Series Sawan, The Rainy Season. India, Kangra. 1820–1830. Opaque watercolor heightened with gold on paper. Gift of Jayantilal K. and Geeta J. Patel and family to further the study of Hinduism. Photo by Bruce M. White.

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The incorporation of information about water, birds, and geology isn’t new (one docent training session, Bill Size Rocks the Carlos, delivered by Bill Size, Emory professor emeritus of environmental sciences, has been a perennial favorite of the docent guild). However, the assistance of undergraduate intern Leah Scott, an environmental studies student whose work was supported by the Mellon Foundation, and a team from Drew Charter School helped museum educators create the foundation of three new tours that are aligned with the Georgia Standards of Excellence. In 2018, the museum launched three new tours, two of which are devoted to animals: Animals in Art and Birding at the Carlos. Animals in Art, available to students in

kindergarten through fifth grade, focuses on ancient cultures’ relationships with animals and how they might be different than ours today. Docents will encourage students to observe how artists have depicted animals and infer how a particular culture might have viewed an animal based on its visual characteristics. Birds are one of the few animals to appear as a subject in the art of nearly every culture, and cross each of the museum’s collections. Birding at the Carlos, developed in conjunction with the Atlanta Audubon Society, is available to students in kindergarten through fifth grade and adult groups. Animal enthusiasts and ornithologists in particular should prepare themselves for spring programs focused on birds. On Thursday,

above: Characteristically depicted with snakes, this charismatic Mami Wata figure would have stood atop a shrine depicting her underwater realm, complete with fish and aquatic plants. Holly Sasnett Photography.

April 11, Jeremy Mynott, Emeritus Fellow at Wolfson College, Cambridge will deliver the annual Nix Mann lecture based on his book Birds in the Ancient World: Winged Worlds (2018), about the history of relations between humans and birds in ancient Greece and Rome, which has been described by the Guardian as “the finest book ever written about why we watch birds.” Following the Nix Mann lecture, on Sunday, April 14, the Carlos Museum will host a day of programming devoted to birds that will include such activities as a bird walk in Lullwater Preserve with the Atlanta Audubon Society; cross-collection tours of bird art in museum galleries; bird-related art activities for all ages; a chance to view Audubon folios at the Stuart A. Rose Manuscript, Archives, and Rare Book Library; an Emory planetarium program focused on

birds in the sky; and bird-themed performances from Theater Emory and the Emory Chamber Music Society. Whether as the inspiration for the shape of a vessel or an influence on the cosmology of ancient cultures, water, like birds, appears across all of the museum’s collections. It is the focus of a new tour and cross-campus collaboration with the Emory WaterHub. Water: Where Science and Civilization Meet is the third new tour and is available to students of all ages. This tour invites students to explore how different cultures have approached the excess and scarcity of water and how this natural resource has influenced civilizations throughout history, particularly through their art, design, ritual, and religion. If groups have time after visiting the museum, they can choose to add a tour of the WaterHub, an on-site water recy-

cling system that utilizes eco-engineering processes to clean waste water for non-potable uses—the first of its kind to be installed in the United States. Knowing more about a work of art such as the climate of the region in which it was produced or the natural material from which it was made can lead to greater appreciation of it. A statue’s fine detail — the gentle feathering that appears on the ears of the goddess Sekhmet, for example—may speak to one’s sense of aesthetics, while understanding the relative hardness of the type of stone from which that statue was carved can lead to an even greater appreciation of the artist’s skill. “When we try to pick out anything by itself,” noted naturalist John Muir, “we find it hitched to everything else in the universe.” As in nature, art. Z

above: A student sketches a Maya hacha, or ballcourt marker, in the shape of a howler monkey. Holly Sasnett Photography.

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Fall highlights A

A Sally and Jim Morgens with son Ned, daughter-in-law Kate, and Provost Dwight A. McBride at the opening of the Morgens West Foundation Galleries of Ancient Near Eastern Art. Emory Photo/Video. B Revelers enjoy Mummies and Mixers, the museum’s annual fall fundraiser. Hillary Joy Photography. C Jessica Betz Abel prepares a Koranic board, now on view in the African galleries. Emory Photo/Video. D An Emory undergraduate creates glass beads at Student Studio. Photo by Taylor McGhee.

E Author Daniel Mendelsohn delivers the 2018 Laszlo-Excalibur Lecture on his book, An Odyssey: A Father, a Son, and an Epic. Emory Photo/Video. 16

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New at the Carlos

New staff: Jennifer Kirker jennifer kirker joined the Carlos Museum in October as the Senior Director of Development. Kirker brings extensive museum leadership experience including roles as director at the Pick Museum of Anthropology at Northern Illinois University (2012–2018) and the Freeport Art Museum (2006–2012). Trained as an anthropological archaeologist, Kirker has also studied settlement patterns and social organization of the ancient Maya, working at incredible sites like Tikal and Piedras Negras as well as those encompassing the remains of the smallest households. She is excited to be part of the Carlos Museum, where her passion for museums and archaeology will strengthen her role in development. Z Acquisition the museum’s collection of South Asian art expanded this fall with the acquisition of a Jain pilgrimage map. Rich in color and detail, the map measures just over 11 x 8 feet. The painting’s large size was instrumental to its intended public use in a Jain temple. Those not able to undertake

above: Jennifer Kirker, Senior Director of Development

a pilgrimage (in this case, to Shatrunjaya, a mountain in the Gujarat town of Palitana in India) would be able to visit a temple and study the map, including the many individuals depicted making the pilgrimage themselves, in order to make the journey mentally. Z

above: Jain Pilgrimage Map of the Sacred Site Shatrunjaya. Gujarat, India. Late 19th century. Pigment and gold on cloth. Museum purchase in partnership with Jagdish and Madhu Sheth. Photo courtesy of Bonhams.

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Pop-up conservation lab planned for summer 2019 by their nature, museums bridge the seen and unseen. They use material objects to transport visitors to unfamiliar times and cultures, allowing the viewer to imagine him or herself wearing an Egyptian necklace while gazing at the Nile or inhaling the scent of incense as it burns in a vessel created more than a thousand years ago in Costa Rica. Effortlessly, the artwork on view also represents unseen hours of labor by the exhibition designers, curators, registrars, and others. This summer, in honor of the Carlos Museum’s centennial, a pop-up conservation lab in the John Howett Works on Paper Gallery will reveal a typically unseen aspect of museum work when visitors encounter conservators treating a Jain painting of a Cosmic Man. The projects conservators undertake can be seen throughout the museum’s galleries (each work of art has been treated by conservators who continuously monitor and evaluate its condition) but the pop-up event will give visitors unprecedented access to the kind of work that usually occurs in the Parsons Conservation Laboratory, located in an area of the museum accessible only to staff. When conservators’ work is complete, the Cosmic Man will go on view in the gallery. The Cosmic Man is a visual representation of the Jain universe and its worldly subdivisions; within it, souls move between three realms — urhva loka (heaven), madhya loka (earth), and adho loka (hell)— their movement directed by the karma they have accumulated. Among other uses, paintings of the Cosmic Man are utilized in temples as an educational tool. At Emory,

faculty use the Carlos Museum’s Cosmic Man in courses on South Asian religion. Its conservation this summer will prepare it for further use and serve as an opportunity

for visitors to learn more about art conservation. Tentatively scheduled to begin in late summer, a team of conservators including Reneé Stein, chief conser-

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vator; Brittany Dinneen, assistant conservator; Jessica Betz Abel, Mellon Foundation Advanced Conservation Fellow; Elizabeth Schulte, consulting paper conservator; Patricia Ewer, consulting textiles conservator; and student interns will work on view of the public for two hours in the morning and two hours in the afternoon Tuesday through Friday The Cosmic Man painting will be treated atop a large table, an overhead view of which will be projected onto a gallery wall. Visitors will see conservators using tools like cameras, magnifiers, a hepa vacuum, a nebulizer, microsponges, and fine hand tools such as tweezers, brushes, and needles as they secure powdery and flaking paint, a process known as consolidation, clean selected areas of the painting, and take post-treatment photographs.

Conservators’ work will be informed by research undertaken by Emory students enrolled in Stein’s fall 2018 course Technical Art History: Examining Materials and Techniques. Students gained hands-on conservation experience as they mapped the painting’s condition, noting damage such as abrasion, tears, holes, stains, and patches and documenting it under visible, ultraviolet, and infrared radiation as well as studying the painting’s weave structure and identifying the pigments used in its creation. The students’ work will also be utilized as in-gallery didactic aids for visitors during the treatment process. Visitors will be able to track the conservators’ progress against a treatment plan that will be posted in the gallery and updated daily, and while the conservators won’t be

able to stop and chat as they work, they’ll be available to answer questions during the last 10–15 minutes of each work session. Similar to the Cosmic Man, which helps viewers visualize fundamental yet abstract concepts, this project will make visible that which is typically unseen. And, in a milestone year, it celebrates the museum’s most fundamental values: preserving the art in its care and creating special opportunities for visitors to learn from and engage with art. Z

above: Students in Reneé Stein’s course Technical Art History: Examining Materials and Techniques view elemental data as it is generated by the portable XRF spectrometer.

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Carlos Museum docents teach, learn, give, and love

students on the Ars Longa, Vita Brevis Latin tour learn about Roman art, society, and mythology, and sometimes they practice translating the inscriptions that can be found in the galleries. Even the students just beginning their Latin studies understand enough to know that the people who lead the tours are called docents because in Latin, docent means “they teach.” Docents do more than teach, however. They also learn (noscent). At the Carlos Museum, that learning process is more intensive than at other museums, though no they art history background is neccessary to be selected as a docent. After an application process, docents, whose backgrounds range from elementary education to marketing, go through a nine-month training period that begins in August. During this time,

they attend Emory’s Art History 101 course and weekly sessions with museum staff devoted to in-gallery pedagogy in addition to other sessions with faculty and curators, which they attend with active docents. In the spring, docents-in-training begin touring with a mentor whom they shadow and who is on hand when they begin giving their own tours for the first time. After they complete the training process, docents choose a day when they will be available to give tours to groups ranging from preschoolers to senior citizens on subjects as diverse as the aforementioned Latin tour to AP Art History to archaeology. Members of the Docent Guild often find themselves doing more than touring. Docents can be found on hand at special events in the

evening and on weekends, stationed in the galleries to answer questions, or helping to promote the museum at the Decatur Book Festival. The close relationships they build with fellow docents can take them farther afield. Some Carlos docents travel abroad together to experience the cultures represented at the museum, sometimes just as tourists and other times as volunteers. Beyond their teaching and learning, Carlos docents also give (donant). They freely give their time, energy, and enthusiasm, and they often give their financial resources, too. When Julie Green, senior manager of educational programs, retired after 25 years of service, docents commemorated her efforts with the purchase of a corn blossom marriage vessel by Native American artist Maria Tafoya.

above: Marta Boulineau encouraged George Boulineau to join her as a docent at the Carlos Museum when the pair knew each other as friends. After working together at the museum, they fell in love and married. Holly Sasnett Photography. 20

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It’s a tradition within the Carlos Docent Guild to honor the passing of friends and loved ones with a donation to the museum. When Wayne Bailey, a beloved longtime member of the Docent Guild, died in 2017, his friends at the museum made donations in his memory. His widow, Ellen, a member of Emory University’s Board of Trustees, made a gift, too. Together, these funds became the Wayne Bailey Docent Education Fund, which make it possible to bring distinguished museum educators and scholars of pedagogy to the museum specifically for docent development and education. Thanks to the fund, in fall 2018 the Docent Guild welcomed Andrew Palamara of the Cincinnati Art Museum. Palamara spoke to the docents about their ability to empower visitors by creating an

above: Docents come from a variety of backgrounds. Cathy Amos, seen here with students, was an art teacher. Photo by Taylor McGhee.

active learning experience that strengthens connections between objects and people. Before returning to Cincinnati, Palamara commented on his special experience at the Carlos Museum. It was rare, he said, not only to recognize the work of docents but also to have a fund devoted to helping them learn and grow as educators. In addition to teaching, learning, and giving, Carlos docents also love (amant): their work, the museum, and each other. “Wayne was passionate about seeing young people learn,” recalls Ingram Senior Director of Education Elizabeth Hornor. “He would have loved knowing that there was a fund in his name devoted to helping his fellow docents learn more about creating memorable experiences for students.” Z top: Docents support the museum at a variety of events throughout the year. Barbara Willis and Ruth Smith volunteered at Mummies and Mixers, during which they answered questions for gallery-goers. Hillary Joy Photography.

bottom: Ellen and Wayne Bailey at the 20th anniversary of Veneralia in 2011.

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Coming soon Veneralia100 celebrate the journey of 100 years, and experience the first steps toward 100 more with the unveiling of Senusret Collection objects at Veneralia100 on Saturday, May 18. Join chairs Lauren Giles and Kirk Edwards and patrons Jean Astrop, Betty Jo Currie, Gail Habif, Lindsay Marshall, Sybil Ralston, Eleanor Ridley, Joan Sammons, and Elizabeth Morgan Spiegel for an unforgettable evening. Z

Camp Carlos 2019 see it, think it, make it at Camp Carlos! Inspiration from the Carlos collections and guidance from talented practicing artists come together for camp experiences that encourage children ages 7–17 to look closer, dig deeper, and push their creativity further. Registration is now open. Visit carlos.emory.edu for more information. Z

top: Dirk Volkertz. Coornhert (Netherlandish, 1522–1590) after Martin van Heemskerck (Netherlandish, 1498–1574). Man Protected by Shield of Faith, 1599. Engraving. Gift of Walter Melion and John Clum. 22

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“Through a Glass, Darkly”: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt August 31–December 1, 2019 from 1500–1700, printmakers in the Low Countries were, as a group, the most skilled and prolific in all of Europe, and prints, often combined with text, played an important role in Netherlandish religious culture during this period. Printmakers utilized allegory in their work to address the most fundamental issues binding the human and the divine: love, virtue, vice, sin, death, and salvation. “Through a Glass, Darkly”: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt will be the first major exhibition to systematically consider the form, function, and meaning of allegorical prints produced in the Low Countries between the 16th and 18th centuries, and will serve as the basis for an illustrated catalogue produced by curators Walter S. Melion, Asa Candler Griggs Professor of Art History and director of the Bill and Carol Fox Center for Humanistic Inquiry at Emory University, and James Clifton, director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and Baroque painting at the Museum of Fine Arts, Houston. Z

e extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between September and December 2018. Your support is greatly appreciated and we look forward to seeing you at the museum for many years to come. Not yet a member? Visit carlos.emory.edu/join to join the ranks of these generous supporters. To upgrade your membership, call 404-727-2623.

D IR E C T OR ’S COU N CI L Mr. and Mrs. Edgar Cleveland Snow, Jr. CU R A T O RS’ COU N CIL Ms. Jessica G. Bregman and Ms. Carolyn R. Bregman Mr. and Mrs. James C. Edenfield Ms. Lauren P. Giles Mrs. Louise S. Gunn Dr. and Mrs. Benjamin A. Hill Sarah and Harvey Hill Mrs. Marguerite Colville Ingram Mr. and Mrs. James C. Kennedy Ms. Lindsay W. Marshall and Dr. Lucius Courtenay Beebe Sr. Mr. Andres Mata Dr. and Mrs. John S. O’Shea Dr. and Mrs. Morris E. Potter Mrs. Sybil C. Ralston Dr. Monique Seefried and Mr. Ferdinand C. Seefried Mrs. Elizabeth Morgan Spiegel Dr. Sandra Joan Still Ms. Mary-Ellen Hunt Vian and Ms. Betsy K. Wash Messrs. John Arthur White, Jr. and Richard Geoffrey White COR I NT HIA N PA T R O N Dr. and Mrs. Gregg Codelli Mr. and Mrs. Jonathan Peter Rosen Drs. Claire Elizabeth Sterk and Kirk W. Elifson Dr. and Mrs. David Zelby

I O N I C P A T RON Prof. and Mrs. Howard Owen Hunter Mr. W. Seaborn Jones Dr. and Mrs. Graham Kerr Ms. Susan Ann Long and Mr. James Russell Bodell Mr. and Mrs. Michael Wright McDavid Dr. Regine Reynolds-Cornell Mr. Frank C. Roberts Messrs. Gary Youngblood and Mike Lorton DO RI C P A TRON Mr. and Ms. James R. Amos Ms. Carolyn N. Arakaki and Dr. D. Peter Drotman Mr. and Mrs. John Barlow Drs. Patricia J. Bauer and James Steven Snow Ms. Elizabeth Anne Bouis and Mr. Randy Scot Fields Mr. and Mrs. George H. Boulineau Messrs. Dirk L. Brown and Timothy Burns Mr. and Mrs. Mark K. Bush Drs. Ann Davidson Critz and Frank A. Critz iv Dr. and Mrs. F. Thomas Daly, Jr. Dr. Francine D. Dykes and Mr. Richard Hale Delay Dr. Elizabeth M. Ellis Mr. and Ms. James D. Fagan, Jr. Drs. Joyce Burkhalter Flueckiger and Michael Lyn Flueckiger Mr. and Mrs. James A. Ford Dr. and Mrs. John B. Hardman Mr. and Mrs. Stephen P. Kramer Mr. and Ms. Wayne Alan Krause Ms. Patricia Krull

Dr. and Mrs. Thomas Joseph Lawley Dr. Elliott J. Mackle Mr. Kenneth Nassau Dr. Frank M. Pickens Dr. and Mrs. Rein Saral Ms. Ginger Diane Schmeltzer Ms. Odette Diaz Schuler and Mr. Andrew Mayer Schuler Drs. Jane F. Seward and Robert John Berry Ms. Virginia S. Taylor Kathleen and Ray G. Thomas Mr. and Mrs. Howard J. Weinstein Ms. Ruth W. Woodling Ms. Jeannie B. Wright

Thank you

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michael c. carlos museum emory university 571 south kilgo circle atlanta, ga 30322 carlos.emory.edu

Member

Visitor information Hours Tuesday through Friday:

10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. Admission $8 general admission. Carlos Museum members, Emory students, faculty, and staff: Free. Students, seniors, and children ages 6–17: $6 (Children ages 5 and under free). Visit our website to learn about free admission days. Ebrik Coffee Room Serving coffee, pastries, and snacks Monday–Friday, 9 am–4 pm; Saturday, 10 am–5 pm; and Sunday, noon–5 pm. Carlos Museum members receive a 10% discount on all purchases. Public transportation marta bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations. Parking Parking is available at the Oxford Road and Fishburne Decks. On weekdays before 4 pm, accessible

parking is available in the Oxford Road parking deck. Enter the Oxford Road building and take the elevator to top (Plaza) level, and follow the accessible route path markers to the rear (Plaza Level) entrance of the museum. On weekends and after 4 pm daily, handicap accessible parking spaces are available on South Kilgo Circle, adjacent to the rear (Plaza Level) to the museum. A governmentissued hangtag must be displayed. Tours Advanced booking required for weekday or weekend groups of 10 or more. For reservations call 404-727-0519 at least two weeks before your group would like to visit. Public tours Depart from the rotunda on Sundays at 2 pm. Call in advance, 404-727-4282. Multimedia audio guide $2. Free for museum members. Museum information 404-727-4282 Web access carlos.emory.edu

Stay connnected 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

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