Fall 2022
In this issue
3 Director’s letter 4 Making an Impression: The Art and Craft of Ancient Engraved Gemstones is now open 6 Fellini and Fantasy now open 8 The kids are back! 10 Student support fund 11 Carlos Museum receives grant from the Women of Emory Impact Circle 12 Emory alumni make an impact at the Carlos Museum 14 The Carlos collaborates with Emory Libraries on new exhibition Connections: The Power of Objects 16 The thangka paintings have arrived 17 The Carlos celebrates the career of Catherine Howett Smith
18 Dr. William Size receives the 2022 Baker Award 20 The Carlos welcomes new staff 21 Coming soon to the Carlos: Life and the Afterlife 22 Thank you, members
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spring 2019
Director’s letter
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ab ove Henry Kim. Photo by CatMax Photography.
l e ft Intaglio Gem
Depicting Isis-Aphrodite. Roman, late 2nd–mid 3rd Century CE. Crystalline quartz var. amethyst. Gift of the Estate of Michael J. Shubin. 2008.31.108.
o first impressions last forever? Imagine your first day as the director of the Michael C. Carlos Museum, encountering, as you arrive at its doors, the Class of 2026 en mass giving their Coke toast in the Quad. This is what I came across in my first moments as a member of the Emory community. In front of me, I could feel the spirit of the university and sense renewal after two years of COVID-19. I considered this an auspicious start. I would like to thank everyone who has welcomed me from Emory and the wider Atlanta communities. It is a tremendous honor to serve as the next director of the Carlos Museum. It is a position that comes with great responsibility to steward it through our times and help write the next chapter in its history. The Carlos has an impressive record of achievement that has seen it grow from its inception as an assortment of collections to its transformation into the museum we know today. It never shies away from innovation in the programs it develops, the exhibitions it stages, and the teaching it conducts with students of all ages.
As it emerges from the pandemic era, it faces new challenges. Museums are living, breathing creatures that grow and evolve. The magic is how as they get older, to steer them so that they stay as young as heart as the Class of 2026. I do believe the Carlos can be brave in tackling topics that are often considered uncomfortable, of upholding ethical standards that are demanded of museums today, and championing cultures that are often overlooked and underrepresented. I would like to thank and pay tribute to Bonna Wescoat and Elizabeth Hornor, who served as interim directors over the past year, as well as Bonnie Speed, who guided the museum through much of the 21st century to date. Their experience and leadership have been crucial during this time of transition as the museum returns finally to in-person programming. In their own ways, each has left a lasting impression on the museum.
Henry S. Kim Associate Vice-Provost and Director, Michael C. Carlos Museum
Photo by Bruce M. White, 2021.
cov e r Intaglio Gem
Depicting a Satyr Hunting Game Birds. Roman, 1st Century CE. Microcrystalline quartz, var. chromian chalcedony. Gift of the Estate of Michael J. Shubin. 2012.32.24. Photo by Bruce M. White, 2021.
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Making an Impression is now open
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aking an impression is the first exhibition of ancient gems in the Southeastern United States. Organized by the museum's curator of Greek and Roman art, Ruth Allen, the exhibition draws from the museum's collection of ancient gemstones, many of which have never been displayed publicly. Key loans supplement and contextualize the Carlos’s collection of these diminutive but detailed works of art, and in its entirety, Making an Impression explores the material, iconography, and function of engraved gemstones in classical antiquity. 4
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The practice of engraving precious stones began as early as the seventh millennium BCE in Mesopotamia (ancient Iraq) and the Indus Valley before spreading throughout the ancient Mediterranean, taking new forms, and peaking in popularity from the first century BCE under the Roman empire before declining in the third century CE. The carvings represent various subjects, including gods, emperors, animals, and mythical characters. The resulting works of miniature art were used as signets, amulets, and personal ornaments, typically mounted in rings. The engraved gems were admired (and problema-
tized) as luxury artworks, treasured as antiques and heirlooms, and worn as statements of status, wealth, sophistication, and learning. The stones themselves were also believed to have magical and medicinal properties. Highly polished and small in scale, engraved gems are hard to view and require close inspection. In antiquity, this was part of their allure. Through this exhibition, visitors are invited to view how stone and image work together, not only to communicate the wearer's social identity but also his or her aspirations, anxieties, and desires. Viewers may examine these small
”For many people, a single gemstone is enough to give a supreme and all-encompassing vision of the wonders of Nature.” —Pliny the Elder, Natural History 37.1
ab ove le ft Intaglio Gem
Depicting Hermaphroditos. Greek, Ptolemaic. 2nd Century BCE. Garnet group, pyrope. Gift of John and Pat Laszlo. 2017.53.5. Photo by Bruce M. White, 2018.
but significant pieces of ancient art and consider the stories behind the gems. Each constructed, protected, and promoted the nature of its wearer, as well as the people who interacted with the gems—from the enslaved miners who quarried the stones to the engravers who carved them to the individuals who wore them, and the viewers impressed by their luster. The exhibition is on view now until November 27, 2022, in the museum's Level Three Special Exhibition Galleries. Z
ab ove c e n t e r Finger Ring
This exhibition has been made possible through generous support from the Michael J. Shubin Endowment, the Evergreen Foundation, the Samuel H. Kress Foundation, Krista Lankswert, and New Roman Creative.
with Intaglio Gem Depicting a Portrait Bust of Plautilla. Roman, ca. 202–205 CE. Beryl group, var. emerald; gold. Gift of the Estate of Michael J. Shubin. 2012.32.33. Photo by Bruce M. White, 2021.
ab ove r ig h t Intaglio Gem
Depicting a Bust of Galene. Roman, late 1st Century BCE. Microcrystalline quartz, var. carnelian. Gift of the Estate of Michael J. Shubin. 2008.31.32. Photo by Bruce M. White, 2021.
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Fellini and Fantasy now open
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ederico fellini (1920–1993) is one of the greatest and the most internationally acclaimed Italian filmmakers of the 20th century. His impact was such that his last name became an adjective: Felliniesque. Fellini won four Academy Awards for best foreign language film, along with an Honorary Academy Award for Lifetime Achievement, and numerous prizes at various film festivals, including Cannes and Venice. Among his greatest achievements are La strada (1954); The Nights of Cabiria (1957), La dolce vita (1960), 8½, (1963), and Amarcord (1973).
a bove a nd oppos it e Federico Fellini.
The materials in the exhibition are on loan from the Fellini collection at the Lilly Library of Indiana University, Bloomington, as well as from private collections. They comprise original shooting scripts and film treatments containing Fellini’s annotations and drawings that reveal how the acclaimed director envisioned characters and scenes and even how he perceived himself. Fellini and Fantasy has been curated by Dr. Angela Porcarelli, associate teaching professor of Italian at Emory.
Photos by Davide Minghini, 1973. © by Biblioteca civica Gambalunga, Rimini.
Related Programming Gallery Talk Wednesday, November 30 | 6 PM John Howett Works on Paper Gallery
Lecture Thursday, November 10 | 7:30 PM Ackerman Hall
Film Series Wednesdays this Fall | 7:30 PM 208 White Hall
Dr. Angela Porcarelli, curator of Fellini and Fantasy, will give a gallery talk in the exhibition at 6 p.m. on Wednesday, November 30. She will examine original scripts and drawings by the famous director, as well as ephemera from several of his films, featured in the exhibition.
Don’t miss this lecture by Frank Burke, professor emeritus of Film Studies at Queens University in Ontario titled Living the Dream: Fellini’s Oneiricism in Light of James Hillman’s Dream Psychology on Thursday, November 10 at 7:30 p.m. in Ackerman Hall. Burke will address several examples of oneiricism in Fellini’s films from Il viaggio di G. Mastorna (The Journey of G. Mastorna) — a project that he sought unsuccessfully to bring to fruition— and from Il libro dei sogni (The Book of Dreams).
In conjunction with this exhibition, the museum is co-sponsoring Emory Cinemateque’s Fall 2022 series of films by Fellini. Screenings are free and open to the Emory community and the public and will take place on Wednesday evenings at 7:30 p.m. in 208 White Hall. See the full schedule on our exhibition webpage, ca rlo s . em o ry. ed u / ex h i b i t i o n /f el l i n i
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The kids are back!
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fter a two-year COVID-19 hiatus from in-person events for children and families, the Carlos is thrilled to resume programs for our youngest visitors. Camp Carlos, Artful Stories, Sunday FUNdays, and workshops for children all bring renewed excitement, learning, and laughter to the galleries and the studio. Camp Carlos This summer, the museum hosted seven weeks of summer camp. Each week was led by a teaching artist and filled with gallery visits, art making, collaboration, and fun. Themes included drawing mythological creatures, the collage and screen prints of Romare Bearden, clay work, and dyeing with indigo. “My week at Camp Carlos was my favorite week of the summer! I want to attend all the Camp Carlos weeks next year!” —Elize, age 9, Camp Carlos attendee Artful Stories We are excited to welcome our youngest visitors back to the museum for Artful Stories. On select Saturday mornings during the academic year, young children and their grown-ups are invited to gather in the intimate setting of the Carlos galleries to hear children’s literature related to the collections and exhibitions. Participants look closely at a single work of art together, and then head to the studio for an engaging hands-on activity.
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Sunday FUNdays On the first Sunday of each month, families are invited to visit the Carlos for free, explore our galleries, and then head to the studio for an art-making adventure inspired by the museum’s collections and exhibitions. Workshops for Children We are thrilled to once again welcome children to spend focused time in a small group setting with practicing artists, exploring the galleries and creating their own works of art using high quality art materials. In the first workshop, children were invited to explore patterns in African art and make their own quilted work. In future workshops this semester, children will visit with live reptiles and salamanders and see how artists throughout time and across cultures have interpreted them in clay, and explore the galleries looking at amulets before making their own. The Carlos invites your family back to the museum for these exciting programs. For details on how to register or for more information, visit the Carlos Calendar page, ca rlo s . em o ry. ed u / cal e ndar . Z Programs for children and families at the Carlos Museum are possible through the generous financial support of the David R. and Margaret C. Clare Foundation. Additional support for Sunday FUNdays comes from The Point.
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Carlos Museum launches student fund
top Emory Associate
Professor of Religion Ellen Gough, and her students examine the Jain Cosmic Man from the Carlos Museum's South Asian art collection. b elo w r i g ht Visiting
art historian Dr. Carol Mattusche examines a cast bronze horse leg with students and staff in the lab. b elo w l e ft Emory
students learn the art of making paper with visiting artist Pam Daresta.
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mory students are at the center of the Carlos Museum's mission. In fact, the museum was created in 1919 specifically for them, and 100 years later, one of our primary goals continues to be to provide Emory students experiential opportunities to study, explore, question, and enjoy objects from many cultures. Through internships, curatorial opportunities, and research experiences, our students can learn how objects were made, why materials matter, what and how imagery communicates, and the uses and interpretations of works of art.. As a part of the Emory’s 2036 fundraising campaign, the museum has initiated the Michael C. Carlos Museum Student Fund to ensure that the Carlos is able to offer Emory 10
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students opportunities to develop critical skills to explore how objects are made, interpret images, understand cultural context, and draw meaning and enjoyment from art in their own lives, regardless of their fields of study. The museum is a dynamic, interdisciplinary center for problem-solving, knowledgedriven, creative analysis, and reflection. From reconstructing an ancient vessel in an art history class to sketching gallery objects as a medical school student, hands-on experiences at the Carlos make an Emory education distinctive and memorable. The first contributions to this fund, totaling over $14,000 raised from 94 gifts, came during the 2022 Emory Day of Giving last spring.
The museum's National Leadership Board contributed 2022 board dues to this fund, raising close to $100,000 to support student flourishing at the Carlos. In addition, Barbara and Larry Schulz deepened their relationship with the Carlos Museum this year by establishing the Daniel Schulz Museum Internship Fund to support internships at the museum with a preference for serving underrepresented students. Through the continued financial support of the board, museum members, and our generous donors, the Carlos will continue to provide unique educational, cultural, and creative experiences for generations of Emory students. Z
Carlos Museum receives an inaugural grant from the Women of Emory Impact Circle
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hanks to a grant from the Women of Emory Impact Circle, a philanthropic group of Emory-affiliated women which includes alumnae, faculty, staff, and parents, the Carlos Museum will host "In the Museum Conservation Lab, A STEAM Workshop for Teens," a new program beginning this academic year. The Impact Fund supports university projects advancing the cause of women and girls, and the Carlos Museum is delighted to be among the first recipients of this grant in its inaugural year. The Carlos workshops will introduce the field of art conservation through a gallery tour, a visit to the Parsons Conservation
Laboratory, and hands-on activities. Workshops will be available to organizations that support the academic development of young women, especially those within underserved communities. The grant will fund all transportation costs, allowing time for groups to explore campus after the workshop. Museum docents will lead gallery tours, highlighting examples of conservation treatment, preventive care, and materials research. In the conservation lab, participants will meet professional conservators and see objects currently undergoing treatment. The hands-on activities that will be a part of the program were developed with Atlanta-area STEAM teachers. The grant includes
compensation for current or recent undergraduates who are aspiring conservators to supervise these activities. Art conservation is an unusual field that unites the arts and sciences to preserve tangible, cultural heritage. Few students encounter the profession before graduating high school, and many do not even imagine combining interests in applied arts and sciences. A primary goal of the new program is to provide young women with this exposure and insight, instilling personal motivation toward higher education, especially in science and cultural heritage studies. Z
le ft In the Museum
Conservation Lab: A STEAM Workshop for Teens” was piloted in February 2020 with a middle-school club from Bartow County, sponsored by their local American Association of University Women(AAUW) Chapter. The Women of Emory Impact Circle grant will bring this opportunity to more young women in the extended metro area. Photo by M. Cottongim
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Emory alumni make an impact at the Carlos Museum
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id you know nearly a third of Carlos Museum members and the museum’s National Leadership Board are Emory alumni? Alumni are an important part of the Carlos, and the museum provides many opportunities for involvement. The museum offers one complimentary year of membership to all Emory graduates, after which alumni receive discounts on all levels of membership. During Emory Homecoming, the museum is open and free to alumni, family, and friends with special activities, tours, and programs. Many alumni donate considerable amounts of time and talent in ways that significantly impact the museum and its ability to inspire visitors from the campus and the surrounding community. The Carlos appreciates the time and talents of these Emory alumni and the many others whose support helps ensure the museum’s continued success. Z
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Roshani Chokshi
Kirk Edwards
Emory alumna Roshani Chokshi is an award-winning author of multiple New York Times bestselling books for children and young adults. Time magazine named her novel, Aru Shah and The End of Time one of the "100 Best Fantasy Books of All Time.” The Carlos Museum has been significant for Chokshi as a student and an alumna. Most notably, it served as inspiration for the primary setting of her popular Aru Shah series. Chokshi has used her popularity to raise awareness of the museum, and she has volunteered her time to participate in several educational programs, from Artful Stories to Camp Carlos. She chose the museum as the location for her publicity photo shoots and promotional videos related to her work with Disney.
Kirk Edwards, MD, is a cardiothoracic anesthesiologist, an assistant professor of Anesthesiology at Emory University, and the director of CT anesthesia operations for Emory University Hospital Midtown. Edwards attended the University of Georgia and Emory School of Medicine. During his first Carlos Museum experience in 1999, he fell in love with Atlanta’s “hidden gem” of antiquities. He appreciates the perspective the Carlos collections provide on the story of humanity and the connections they weave between civilizations separated by time and distance. In addition to serving as a past co-chair of Veneralia, Edwards has worked in partnership with the museum’s education department to support meaningful programs for Emory Medical School students at the museum.
Francis Humann
Nicholas Pisaris
Jiong Yan
Francis Humann has strong family ties to Emory. He received his BA in history from Emory in 1987; his son, Philipp, is currently a senior at Emory College; and his brother, Chris, is a 1990 Emory graduate. Humann is an active leader in the nonprofit community in Philadelphia, where he recently retired from a 25-year career in the biopharmaceutical industry. Because Humann feels the Carlos is such an asset to Emory, his family foundation helped to fund the recently renovated gallery of Asian art and created a $1 million endowment to support Asian art. In recognition of this transformative gift, the recently renovated Asian gallery will be named the Christian Humann Foundation Gallery of Asian Art in honor of Francis’s uncle, an avid collector of South Asian art. Francis Humann is delighted to be a board member and co-chair of the museum's 2036 Campaign Committee, where his work will further support the museum.
Nicholas Pisaris enjoys engaging fellow Emory alumni in Athens, Greece, where he resides for part of the year. Pisaris completed his undergraduate degree at Emory College and his law degree at the University of Florida. Now retired after a career in international law and commercial negotiations, he has served several terms on the museum’s National Leadership Board and sees the Carlos as “a gem of a museum.” Pisaris recently donated his collection of Columbian pottery to the museum.
Jiong Yan is an Emory associate professor of ophthalmology and directs the inherited retinal disease unit at the Emory Eye Center. Yan completed her ophthalmology residency at Emory University and received her JD from Emory School of Law. The Carlos Museum holds a special place in Yan's heart as the setting of her first date with her husband, Baxter. Yan loves Asian art, especially Tibetan art, like the sand mandala on display during that fortuitous first date. She feels the Carlos’s unique collection of Asian art sets it apart from other institutions in Georgia. She has developed meaningful friendships serving on the National Leadership Board, which have allowed her to stay connected and give back to the museum. She currently leads the Diversity, Equity, and Inclusion Taskforce for the board and serves on the museum staff's DEI Committee.
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The Carlos collaborates with Emory Libraries on new exhibition Connections: The Power of Objects
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his fall, the Carlos Museum will contribute works of art to the Emory Libraries’ newest exhibition, Connections: The Power of Objects, opening on October 20. This exhibition will showcase special collections held or displayed by Emory University and close collaborators. The show highlights libraries, museums, and other organizations which collect, preserve, or foster the use of objects to increase knowledge, spark curiosity, encourage discovery, and promote creativity. Seventeen organizations, including the Carlos, will be represented. Six objects selected from the museum’s permanent collection demonstrate how different cultures use figurative representation to conceptualize and complicate questions of identity and belonging. Connections: The Power of Objects will be on view from October 20, 2022 through January 8, 2023 in the Robert W. Woodruff Library on Emory’s Atlanta campus. Z
ab ov e r i g h t The Buddha as
Vishnu. North India, Punjab Hills, 19th Century. Opaque watercolor and gold on paper. Courtesy of Harshna and Pyush Patel. L2020.11.5 r i g h t Anthropomorphic Vessel.
Democratic Republic of the Congo. Mangbetu. 1912–1930s. Ceramic. Gift of William S. Arnett. 1994.3.19 fa r r i g h t Upper part of
a naophorus statue. Egypt. New Kingdom, Dynasties 19–20, 1292–1077 BCE. Black granite. Gift of Sally and Joe Gladden in honor of Joop Bollen, 2014 Woolford B. Baker Service Award Recipient. 2014.20.1
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far le ft Female figure with
elaborate headdress. Ecuador, Jama-Coaque. 300 BCE– 800 CE. Ceramic. Gift of William C. and Carol W. Thibadeau. 1990.11.53 le ft Head of a veiled woman,
perhaps a goddess. Greece, possibly Athens, Roman, Imperial, Hadrianic, ca. 130 CE. Marble (Pentelikon). Carlos Collection of Ancient Art. 1994.2 b e lo w le ft Elizabeth Catlett
(American, 1915–2012). There is a Woman in Every Color. 1975–2004. Linocut. Gift of Barbara and Larry Schulz in memory of their son Daniel Schulz. 2022.9.3
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The thangka paintings have arrived
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wo extraordinary thangka paintings, which the museum’s National Leadership Board commissioned to honor former director, Bonnie Speed on the occasion of her retirement, have arrived at the Carlos. Master artist Tenzin Norbu and a team of thangka painters at the Norbulingkga Institute in Dharamsala, India, top Tenzin Norbu (Tibetan,
b. 1973). Bhavacakra (Wheel of Becoming). 2022. Mineral pigments on cotton. Gift of the Michael C. Carlos Museum Leadership Board in honor of Bonnie Speed. 2022.10.1 b elo w Tenzin Norbu
(Tibetan, b. 1973). Samatha (Calm-abiding). 2022. Mineral pigments on cotton. Gift of the Michael C. Carlos Museum Leadership Board in honor of Bonnie Speed. 2021.10.2
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spent over a year working on the companion paintings. The first, is a depiction of the bhavacakra, which can be translated as the “wheel of existence” or the “wheel of becoming.” The imagery, a series of concentric circles representing the psychological and metaphysical processes by which karma functions, includes graphic portrayals of
heavens, hells, human, animal, and ghost realms, as well as symbolic representations of the subtle mental states that lead beings to take birth in these various destinies. According to tradition, the historical Buddha himself conceived of the image, which was painted on the exterior walls of Buddhist temples throughout the Himalayas for monastics to use when teaching laypeople about samsara. If the first painting depicts the endless cycle of birth, death, and rebirth based on karma, the second depicts a way out. What appears at first glance to be a monk, an elephant, a monkey, and a hare traveling up a hill is actually a visual representation of the śamatha or calm-abiding meditation. Through śamatha, practitioners learn to focus their minds single-pointedly on a chosen object of meditation, such as the breath, an image of the Buddha, or love and compassion for all sentient beings. Subsequently, this attentional stability is combined with wisdom to penetrate the delusions that bind ordinary beings to samsara. Like the bhavacakra, each aspect of the śamatha image has symbolic and pedagogical meaning. The thangka paintings will be installed in the museum’s Asian galleries and will be the focus of talks by Dr. Sara McClintock of Emory’s Department of Religion and Dr. Brendan Ozawa de Silva of Emory’s Center for Contemplative Science and Compassion-Based Ethics during the annual Tibet Week celebration, which returns in person to the Carlos October 17 through 22.
The Carlos celebrates the career of Catherine Howett Smith
le ft Catherine Howett Smith
celebrates her retirement last November. ri g h t Hendrick Goltzius
(Netherlandish, 1558–1617), Detail from The Annunciation from The Life of the Virgin, 1594, Engraving, Museum purchase in honor of Catherine Howett Smith. 2021.10.1
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ast fall, Emory University celebrated the distinguished career of Carlos Museum Associate Director, Catherine Howett Smith. For 36 years, her keen intellect, far-reaching vision, and steadfast work ethic shaped the museum into one of the university’s crown jewels, serving both the Emory and greater Atlanta communities. Much of what is celebrated about the Carlos today bears her fingerprints. She was instrumental in the 35,000 sq. ft. expansion of the museum and ensured that the museum would be a vital part of the intellectual life of the campus and the community. Catherine wrote many of the transformative grants for the Carlos, including those that expanded family programming, increased the use of technology, and created an on-site conservation lab. Catherine developed successful strategic plans, accreditation reviews, funding proposals, and
interdisciplinary initiatives. She also served as interim director for two terms and oversaw the museum’s ambitious programs in conjunction with the summer Olympic games in Atlanta, which included a satellite facility, several major exhibitions, a city-wide outdoor sculpture project, and a significant increase in visitation, publicity, and funding. Her commitment to the Carlos and Emory for more than three decades demonstrates that real and meaningful accomplishment comes from a lifetime commitment to an institution developed with imagination and vision and executed with discipline and determination. To honor Catherine’s three decades of service, the Carlos acquired The Annunciation from The Life of the Virgin by Hendrick Goltzius (Netherlandish, 1558– 1617). Goltzius, a virtuoso and prolific printmaker, created this ambitious, large-format series in the 1590s. He executed five of the
suite’s six engravings in the manner and hand of earlier European masters, such as Albrecht Dürer and Lucas van Leyden, but devised new compositions for each scene. They were so convincing that they were initially thought to be previously unknown works by Dürer and Lucas. The Annunciation is the first print in the series, and it is the most complex. Rather than imitating the style of a single earlier master, Goltzius synthesized the manners of several Italian artists—including Raphael, Titian, Barocci, and Zuccaro—a choice that imbued The Annunciation with a mystery as enigmatic as the Virgin herself, who was considered to be the perfect imitator and reflection of Christ. The Annunciation joins another engraving from Goltzius’s Life of the Virgin series, The Adoration of the Shepherds, executed in the manner of Jacopo da Bassano, in the Carlos Museum’s permanent collection of Works on Paper. Z
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William Size receives the 2022 Baker Award
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wo extraordinary thangka paintings, which the museum’s National Leadership Board commissioned to honor former director, Bonnie Speed, on the occasion of her retirement, have arrived at the Carlos. Master artist Tenzin Norbu and a team of thangka painters at the Norbulingkga Institute in Dharamsala, India,
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or almost 30 years, Bill Size has generously contributed his scholarly expertise to the Carlos Museum, collaborating with staff and students to research the collections and share that information with public audiences. Bill is a geologist and professor emeritus of Environmental Sciences at Emory. He is among the first people the Carlos calls to examine newly acquired stone objects. His careful review of characteristic properties 18
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has enabled the museum to identify specific stone types, aiding in an understanding of individual object histories. His expertise has supported many of the museum's collections, including Art of the Americas and the Egyptian collection, as well as the reinstallation of the Morgens West Galleries of Near Eastern Art. He has consulted on the Shubin collection of carved gemstones since its accession in 2008, and he assisted with accurately identifying and precisely
labeling the gems for the Making an Impression exhibition. He loaned mineral specimens from his personal collection for the exhibition, and he contributed an appendix on the geology of engraved gemstones to the exhibition catalogue. In addition to his generous scholarly contributions, Bill Size Rocks the Carlos is a favorite reoccurring docent training program. His enthusiasm for the objects and their geological
composition is as infectious as it is instructive. Size has also been a steadfast supporter of the museum's endeavors to increase and strengthen ties between the arts and sciences. His many consultations with curators, conservators, educators, and students, along with hours spent examining objects, exemplify his willing and generous colleagueship. Size’s service to the Carlos Museum has spanned many years and fulfills the spirit of the
Woolford B. Baker Award by supporting the varied activities of the museum in building, interpreting, and preserving collections. His recognition this year is especially fitting as the museum presents the Making an Impression exhibition highlighting the material that is his passion as well as his prowess. Congratulations to Bill Size on this well-deserved honor. Z
o p p o s it e Bill Size receiving
the Baker Award with Carlos Interim Director, Bonna Wescoat, and Chief Conservator, Renée Stein. ab ove Curator of Greek
and Roman Art, Ruth Allen, and Bill Size next to the case of his collection of cut and polished stones and minerals on loan to the Carlos for the Making an Impression exhibition.
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The Carlos welcomes new staff members
Ciel Rodriguez Museum Preparator
Alice Vogler Manager of Educational Programs alice vogler joined the Carlos staff in June 2022 as manager of educational programs. She has worked in nonprofit community art centers, after-school programs, independent schools, and museums for two decades. Alice was a visiting artist/educator for Young Audiences of Massachusetts, a gallery curator and educator at the Boston Children’s Museum, and a museum educator at the Museum of Fine Arts, Boston. She was also a family programs coordinator at the Center for Craft in Asheville, North Carolina. Alice holds a BFA from the Pacific Northwest College of Art in Portland and an MFA from Tufts and the School of the Museum of Fine Arts, Boston. She is also a time-based artist and curator and has shown her work in performance festivals and galleries around the world. Z 20
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ciel rodriguez joined the exhibitions design staff in July 2022 as a museum preparator. Her experience includes assisting with exhibitions for the Georgia Museum of Art, serving as a gallery assistant and art handler at the Athenaeum and Dodd Galleries, and working as the studio manager at the Lyndon House Arts Center in Athens, Georgia. She completed her BFA at the School of the Art Institute of Chicago and received her MFA from the University of Georgia in Printmaking and Book Arts, as well as Museum Studies. Working on exhibitions by day, Ciel moonlights as a working artist and exhibitions committee volunteer in her spare time. Z
Ella Andrews Mellon Fellow in Conservation this fall, the Parsons Conservation Lab welcomes a new Mellon fellow, Ella Andrews. Ella recently completed her graduate studies in conservation for archaeology and museums at University College, London. She worked at the Fitzwilliam Museum in Cambridge and the Institute for Archaeology in London, along with archaeological projects in Egypt, Israel, the United Kingdom, and the United States. Ella received an undergraduate degree in applied anthropology with a concentration in archaeology from the University of North Carolina, Charlotte. She will undertake treatment and preventive care projects and will also assist with supervision of students in the lab. Z
COMING in 2023
Life and the Afterlife: Ancient Egyptian Art from the Senusret Collection
le ft Model Solar Boat.
Egypt. Middle Kingdom, ca. 2000–1760 BCE. Wood, stucco, pigment. Gift of the Georges Ricard Foundation. 2018.010.415 b e lo w Mummy Mask of
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ife and the afterlife: Ancient Egyptian Art from the Senusret Collection, which will open at the Carlos in spring semester 2023, is an exhibition about the power of ancient Egyptian objects to educate, engage, and inspire. The Georges Ricard Foundation gifted the Senusret collection to the Michael C. Carlos Museum in 2018 with the goals of its conservation and of the promotion of knowledge at Emory and throughout the greater community. In keeping with this trust, the exhibition highlights objects that have promoted technical and scholarly collaboration, faculty and student research, methods of analysis, provenance tracing, and object history. The collection, named after King Senusret II’s pyramid village, Hetep-Senusret in the Fayum, celebrates the sacred and the profane, the past and the present.
Taosiris. Egypt. early Ptolemaic, ca. 275 BCE. Cartonnage, pigment, gold. Gift of the Georges Ricard Foundation. 2018.010.673
Themes include the history of the Senusret collection, the beauty and protection of ancient Egyptian amulets and jewelry, religious votive statuettes that acted as donors’ magical participants in temple cults, and burial items that symbolized afterlife concepts and provided for the everyday needs of the deceased. Burial objects include the coffin assemblage of the priestess of Osiris, Taosiris, which protected and transformed the mummified body, and wooden models that magically served the deceased’s wants in the hereafter. Life and the Afterlife in Ancient Egypt: Ancient Egyptian Art from the Senusret Collection invites viewers to experience the meaning of ancient Egypt’s past and embrace its future to encourage learning. Z
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Thank you to our members
We extend our gratitude to all who have become new members or who have renewed their partner, council, or patron level memberships between January 2022 and June 2022. 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 update your membership, call 4 0 4 . 7 2 7 . 2 6 2 3 . ab ov e a n d oppo site
August 25 member preview of the Making an Impression exhibition. Photos by CatMax Photography and Mike Nelson / Times 3.
d i re cto r ’s co unc il
ionic patron
Mr. and Mrs. Edgar Cleveland Snow, Jr.
Dr. and Mrs. Michael Enrico Bernardino Dr. Aubrey M. Bush and Dr. Carol T. Bush Ms. Louise Bartlett Franklin Mr. Deniz Mazlum and Ms. Caroline Irene Hoogenboom Prof. and Mrs. Howard Owen Hunter Dr. Leslie R. Freedman and Ms. Lee Paula Miller Dr. Mara C. Morrison Mrs. Susanne Faber Muntzing Dr. David S. Pacini VI and Ms. Martha Abbott Pacini Mr. Frank C. Roberts
c u rato r s ’ co u nc il
Mr. and Mrs. B. Harvey Hill, Jr. Mr. and Mrs. Bahman Irvani Ms. Emily Elaine Katt Dr. and Mrs. John S. O'Shea Dr. Morris E. Potter and Ms. Polyxeni M. Potter Ms. Mary-Ellen Hunt Vian Ms. Betsy K. Wash co r i n th i a n patron
Dr. Henry Kim and Ms. Ashley Benson Mr. and Mrs. Marion P. Rivers, III 22
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Thank you
do ric patron
Ms. Mary Elizabeth Abbott Drs. John L. Allen and Jessica Nave Allen Dr. Bruce J. Beeber and Mrs. Linda Barash-Beeber Drs. Achuyt Bhattarai and Beni Amatya Mr. and Mrs. Richard Ross Burris III Mrs. Lorraine Rooks Cary Dr. Stewart Wright Caughman and Dr. Alison Youngs Caughman Ms. Dorothy Anne Cunningham Dr. Francine Duda Dykes and Mr. Richard Hale Delay Mr. and Mrs. Steven Godarze Ebrahimi
Mr. Robert P. Focht, Jr. and Ms. Barbara Lord Willis Mr. Atis Muehlenbachs and Ms. Clare Gilbert Mr. Akeem Hassan Dr. J. Timothy Johnson and Ms. Carol Jean Johnson Mr. and Mrs. Kevin David Kell Mrs. Margery Kellar Mr. and Mrs. Stephen P. Kramer Dr. Rosemary McCausland Magee Dr. Clint Lawrence and Ms. Deborah Ann Marlowe Drs. John Michael Matthews and Linda McCarter Matthews Mr. Paul Immerman and Ms. Ellen Meshnick
Mr. and Mrs. Charles R. Meyer Ms. Lynn Morris Ms. Mary Grace Morrison Mr. Kenneth Nassau Dr. Ira J. Rampil and Ms. Linda Rampil The Honorable and Mrs. Mathew Robins Dr. Judith Campbell Rohrer Mr. and Mrs. James M. Sibley, Jr. Ms. Cynthia Anne Smith Ms. Virginia S. Taylor Mr. and Mrs. Leonard W. Thibadeau Kathleen and Ray G. Thomas Dr. Garth Edward Tissol Ms. Kristin Vaughn
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Michael C. Carlos Museum Emory University 571 South Kilgo Circle Atlanta, Georgia 30322
Nonprofit Org U.S. Postage Paid Emory University
C A R L O S . E M O R Y. E D U
Member
Visitor Information
h o u r s Tuesday through Friday:
10 am–4 p.m.; Saturday: 10 a.m.– 5 p.m.; Sunday: noon–5 p.m.; Closed Mondays and university holidays. a d mission General admission: $8. Carlos Museum members, Emory University students, faculty, and staff, and Emory Healthcare employees: Free. Students, seniors, and children ages 6–17: $6 (Children ages five and under: Free.) Visit carlos.emory.edu to learn about free admission days. É b rīk coffee ro o m Serving coffee, pastries, and snacks. Open Monday– Friday, 9 a.m.–3:30 p.m; Saturday, 10 a.m.–3:30 p.m.; closed Sunday. Carlos Museum members receive a 10% discount on all purchases. m u seu m boo ks ho p The Carlos Museum Bookshop stocks thousands of books on art, archaeology, history, mythology, and more for both adults and children. Open Tuesday–Friday, 11 a.m.–4 p.m., Saturday, 11 a.m.– 5 p.m., and Sunday, 1–5 p.m. Carlos Museum members receive a 10%
discount at the Bookshop. Purchase books online and ship directly to your home via bookshop.org/shop/ carlosmuseum. A portion of all bookshop.org purchases supports the Carlos Museum. p u b l ic tran sp ortat i o n MARTA bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations r 36 North Decatur from Avondale and Midtown stations. par k in g Parking is available at the Oxford Road and Fishburne decks. On weekdays before 4 p.m., accessible parking is available in the Oxford Road parking deck. Enter the Oxford Road building and take the elevator to top (Plaza Level), and follow the accessible route path markers to the South Kilgo Circle entrance to the museum. On weekends and after 4 p.m. daily, handicap-accessible parking spaces are available on South Kilgo Circle, adjacent to the streetside (Plaza Level) of the museum. A government-issued hangtag must be displayed.
stay co n n n ect ed Visit carlos.
emory.edu/connect to sign up for monthly enewsletters and program reminders. Follow #carlosmuseum on Facebook, Instagram, or Twitter to receive the latest event reminders, specials, notes from curators, and exhibition information. Subscribe to the Carlos Museum calendar via carlos.emory.edu/calendar to learn about lectures, the Carlos Reads book club, family events, and more.
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