Spring/Summer Newsletter 2017

spring summer

2017

Director’sletter

a few months ago I received a dna kit; a gift from my sister.

It was an unexpected gift. We had occasionally shared our curiosity about family history, knowing a little about our father’s lineage due to stories told by our immigrant grandmother, but knowing almost nothing of our mother’s ancestry.

Perhaps current conversations around immigration inspired the gift. Whatever the reason, my sample was soon packed up and sent off. As I drove to work that day my mind was on globe-trotting genomes, but it soon moved to thoughts on the museum’s diverse collections.

Many visits into the galleries were made in the following weeks to look at art on a more “molecular” level.

Among examples of early writing, cylinder seals, and sculpture, links were made to the diverse cultural composition of the region we now call the ancient Near East. In the Egyptian and Greek and Roman galleries the powerful influence of religion as well as of trade, politics, and geography spoke clearly to connection as well as change. The evolution of spiritual beliefs, moving through and being absorbed by different cultures and how this influenced style and iconography, became the highlight in the Asian galleries. While in the Americas and African galleries the connection between the present and ancestral past, the seamless flow between the human and the spirit worlds, begged a different notion of migration.

And, how centuries of religious,

political, scientific, and aesthetic traditions and change can be studied in our Works on Paper collection.

The study of art, as an expression of human experience, offers not only an aesthetic glimpse into the diversity of this glorious world of ours, but also an opportunity to understand the dynamics of time and place, the importance of migration, the impact of our contributions as individuals and as societies, and why all of this truly matters.

The results of my dna test arrived two days ago, and while it will take hours to pour through the information, a brief look at my ancestry map was like taking a jog through our galleries; a fascinating, globe-trekking adventure. Needless to say, I look forward to learning about the journey of how I came to be… me.

Within the pages of this newsletter you’ll read about two exhibitions currently on view, interesting stories of museum research, information on Tibet Week, our annual fundraiser Veneralia, and upcoming summer camps.

As always, I hope to see you in the galleries.

B on n ie Speed Director

cover: William James Stillman (American, 1828–1901). Temple of Athena Nike on the Acropolis. Albumen silver print from a glass negative.

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OnView

IN SEARCH OF NOBLE MARBLES: THE EARLIEST TRAVELERS TO GREECE THROUGH APRIL 9 in 1453, troops led by Sultan Mehmed ii entered Constantinople. Greece inevitably became a minor province in the Ottoman Empire, administered with harsh indifference until it succeeded in winning independence through arduous campaigns in the 1820s. This exhibition combines for the first time the published, often illustrated accounts written by intrepid English and French explorers from the 17th through 19th centuries together with the earliest photographic records, many of them not shown before in public. They reveal an organic growth of knowledge about Greece, from remote fantasies of the 17th century familiar from Shakespeare’s Midsummer Night’s Dream, to the scholarly mapping out and minute recording of inscriptions and monuments in the 18th and 19th centuries that continue into present time. above: Engraving of Ioannina, capital of Ali Pasha, the despotic Ottoman ruler of North West Greece at the time of Byron. From Thomas Smart Hughes (English, 1786–1847). Travels in Sicily, Greece and Albania. London: J. Mawman & Co, 39 Ludgate St, 1820. Collection of Andrew Oliver, Jr.

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OnView The first section of the exhibition traces the earliest travelers until the time of Lord Byron, the towering figure whose presence in Greece was a catalyst to the movement for independence. Among the very first was William Petty, sent by Thomas Howard, Earl of Arundel, a member of the “Whitehall Group” of art connoisseurs at the court of King Charles i.

Petty assembled for Arundel one of the first collections of antiquities to be brought to Northern Europe; most are now in the Ashmolean Museum, Oxford.

Two very important expeditions were mounted just before the tragic destruction of the Parthenon.

In 1674, the Marquis de Nointel led a French team to negotiate trade agreements in Istanbul, and took with him artist Jacques Carrey, who sketched the Parthenon, still intact. A year later, French doctor Jacob Spon and Englishman Sir George Wheler reached Athens, and, upon returning home, each wrote an account of their experiences with impressionistic images of monuments. Just over a decade later, during a siege of Athens undertaken by the Venetian commander Francesco Morosini in 1687, the Parthenon was hit by artillery and the gunpowder stored within exploded, causing catastrophic damage.

Those who made the journey to Greece in the 18th century and published accounts of their experiences were for the most part either scholars or diplomats, or both. The most distinguished French traveler was François Pouqueville, who found early employment as a surgeon in Napoleon’s expedition to Egypt. While trying to return after the French defeat at Aboukir in 1798, however, he was captured by pirates and imprisoned until his medical skills were recognized. He was later appointed by Napoleon as consul general to the court of Ali Pasha in Ioannina, 1805–15, where he met several English travelers, including Lord Byron.

In 1751–1753, James Stuart, a Scottish architect, and Nicholas Revett, an English nobleman, made exact plans of sites and monuments as well as drawings of sculpture and inscriptions. Their detailed, measured plates were the first of their kind, and, in the case of monuments now lost, the only evidence known for their appearance. The publication was enormously influential, giving rise to much neoclassical Greek revival architecture. Among the 500 subscribers listed was Benjamin Franklin.

The second part of the exhibition concerns the Ionian Islands in the Adriatic Sea that include Corfu and Ithaca. While the islands managed to avoid Ottoman subjugation, between 1815 and 1864 they were ruled

by Britain. During these years several travelers visited, among them the antiquary Sir William Gell, who first came to Ithaca in search of Odysseus. Joseph Cartwright was a marine painter who found employment with the Royal Navy primarily recording key moments in major victorious battles. On his return to England, he gave the lithographer Robert Havell a cycle of 12 Views in the Ionian Islands; 10 of which are in the exhibition. Havell would later be approached by John James Audubon to engrave The Birds of America.

The final section of the exhibition traces the growth of interest in individual works of art and monuments as part of a wider, romantic response to ancient Greece and its heroes. To the 19th century belongs the re-discovery and excavation of the great Panhellenic sanctuary of Olympia, and the temples of Apollo Epikourios at Bassae and of Aphaia at Aegina. As the decades advanced, so too did the techniques used for recording information. The invention of photography in the 1830s led in the following generation to a wealth of new images, closely adhering to the traditions of engravings that had preceeded them. No photographer was more colorful than the American William James Stillman. He spent most of his life in Europe as adventurer, artist, author, diplomat, correspondent, photographer and archaeologist. After visiting Athens

above: Engraving of the “Lantern of Demosthenes.” From James “Athenian” Stuart (Scottish, 1713-1788) and Nicholas Revett (English, 1721-1804). The Antiquities of Athens measured and delineated by J.S. and N.R. Printers and Architects, 3 vols. London: John Haberkorn, 1762.

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in 1869, he selected 25 photographs for which he wrote brief accompanying texts and published them in London; 10 are on display in the exhibition.

This interdisciplinary exhibition draws extensively on the private library of Andrew Oliver, Jr., without whose generosity and readiness to help in every way, this project could not have been contemplated.

Significant loans were made available through the kindness of the Pitts Theology Library and the Stuart A. Rose Manuscripts, Archives, and Rare Books Library at Emory. The exhibition was made possible through generous support from the Thalia and Michael C. Carlos Foundation, Inc. Z

above: Drawing by Jacques Carrey of the West Pediment of the Parthenon, made in 1674, but lost and first published here. From Simon Joseph Léon Emmanuel, Marquis de Laborde (French, 1807–1869) Athènes aux XV, XVI et XVII siècles. Paris: Jules Renouard et cie., 1854. Collection of Andrew Oliver, Jr. below: Engraving after a drawing by one Captain Verneda of the destruction of the Parthenon by the Venetian general Francesco Morosini in 1678. From Francesco Fanelli (Venetian, dates unknown). Atene Attica descritta da suoi principia sino all’acquisto fatti dall’ armi Veneti nel 1678. Venice: Antonio Bortoli 1707. Collection of Andrew Oliver, Jr.

top right: The Propylaea (1869). William James Stillman (American, 1828–1901). Albumen silver print from a glass negative. Gift of William Knight Zewadski. bottom right: The Parthenon before the explosion of 1687. From Jacob Spon (French, 1647-1685).

Voyage d’Italie, de Dalmatie, de Grèce et du Levante, Fait és années 1675 & 1676. Lyon: Antoine Cellier le fils, rue Merciere, à la Constance, 1678.

Collection of Andrew Oliver, Jr.

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OnView

DESIRE & CONSUMPTION: THE NEW WORLD IN THE AGE OF SHAKESPEARE THROUGH APRIL 9 The spring exhibition in the Howett Works on Paper Gallery, Desire & Consumption: The New World in the Age of Shakespeare, was organized as part of Shakespeare at Emory, a yearlong campus initiative celebrating the enduring legacy of William Shakespeare and his work. The Shakespeare at Emory initiative provided the museum with an exciting opportunity to bring together English and Flemish works on paper with objects from the Art of the Americas collection to spark a transatlantic dialogue about

Shakespeare’s increasingly globalized world.

Although Shakespeare set The Tempest (1610) on a small island off the coast of Italy, scholars argue that he drew inspiration for the setting, several narrative themes, and aspects of the character Caliban from the newly encountered Americas. Desire & Consumption explores how colonialism and commercial desires colored the encounters between indigenous Americans and European contemporaries of Shakespeare, both in text and image. It features

above: Incense Burner with Double Headed Crocodile Effigy Lid. Costa Rica, 500–1350 ad. Ceramic.

Ex coll. William C. and Carol W. Thibadeau. © Michael C. Carlos Museum, Emory University. Photo by Michael McKelvey.

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volumes from the Stuart A. Rose Manuscript, Archives, and Rare Book Library, spanning the late 16th to the 17th centuries and illustrating not only the disastrous and destructive conflicts between European and indigenous American cultures, but also the harsh realities of European travel to the New World. The volumes are brought together around William Shakespeare’s final, solo-authored play The Tempest, displayed in the exhibition in the Fourth Folio of his collected works (1685), with eight volumes of the monumental engraved Americae series (1590–1625) by the Flemish engraver Theodor de Bry (1528– 1598) and his sons.

The Americae series, part of the larger Grand Voyages series that included travels to the Far East, was the first large-scale project providing engraved images of indigenous Americans for an elite, collecting audience in Europe. A FrancoFlemish Protestant, de Bry was expelled from his native Liège during the Spanish Inquisition.

He and his family settled permanently in Frankfurt in 1588; however, he spent the prior three years in London where he met the compiler of Principal Navigations, Richard Hakluyt. The success of Hakluyt’s mostly unillustrated series, Vol. 3 of which appears in this exhibition, inspired de Bry to undertake Grand Voyages, a similar project that embellished some of the Principal Navigations narratives with engraved illustrations. This is not to say that de Bry, who never

traveled to the Americas, rendered wholly accurate engravings of the cultures encountered by his source authors. A few accounts included engravings based on eye-witness drawings, while others appear to come completely from de Bry’s imagination. Many of these images are sensationalized depictions of indigenous American cultures meant to enhance the marketability of de Bry’s series, further complicating an understanding of how the so-called New World was perceived in Shakespeare’s lifetime.

Desire & Consumption places the works of Shakespeare, Hakluyt, and de Bry in conversation with objects from the museum’s Art of the Americas collection that represent cultures with similar ways of life, art-making processes, or ceremonial practices to those imaginatively represented in de Bry’s Americae volumes. Viewing these seemingly disparate items alongside one another encourages conversation about the narratives of conquest and colonization, at times grounded in religious distinctions,

fear of the unknown, or national pride, and about the influence of consumption on both the conqueror and the conquered.

This exhibition, co-curated by Associate Curator of Works on Paper Andi McKenzie and Andrew W. Mellon intern and Shakespeare scholar Justin P. Shaw, PhD candidate in Emory’s Department of English, is on view through April 9, 2017. Z

above: Sitting at Meate. Thomas Harriot (English, 1560–1621). Engravings by Theodor de Bry (Flemish, 1528–1598). A brief and true report of the new found land of Virginia (Americae part 1), 1590. Monograph. Lent by the Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University.

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CarlosCollections Mesopotamian and Egyptian acquisitions as early as the 7th millennium bc, cultures in the Near East began to create organized settlements with well-developed religious and funerary practices. The Hassuna culture arose around 6500 bc and produced remarkable female statuettes with distinctive fertility attributes. This Alabaster Mother Figurine is from the northern Mesopotamian settlement of Tell es-Sawan. Alabaster female figurines were found in children’s tombs, dug under a large unfired brick house.

The find spot suggests the statuettes acted as mother figures who would guide deceased children to the world beyond.

The figurine’s stylized form and nudity highlight her femininity. Her prominent breasts, stomach, round rump and large thighs emphasize her fertility. One of her arms cradles her swollen belly, a gesture that evokes a mother’s protective power. Her facial features are summarily rendered. The statuette’s identity is not important —only her femininity.

This recurrent female symbolism of fertility and birth relates to the “mother goddess” who played a central role in the early farming communities of the ancient Near East.

above: Alabaster Mother Figurine. Mesopotamia, Tell es-Sawan, Neolithic, Hassuna Period, 6500– 6000 bc. Alabaster. Gift of the 2016 Visiting Board.

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The Sculptor’s Model of a Lioness captures the majestic presence of this great feline. Sculptors’ models functioned as learning aids for apprentice craftsmen when natural observation was not possible.

Plaster, clay, and stone models of animals were found among the remains of ancient Egyptian sculptural workshops. This model shows the so-called “lost mold” process.

The artist began by molding clay into the form of a lioness. Plaster paste was applied in thin layers over the clay model and molded when wet. Once hardened, the artist sprinkled water on the mold and lifted the plaster off the clay original. Details of the lioness’ eyes and flame-like mane are painted black.

Red paint highlights her ear, mouth, and facial markings. Below her muzzle is a small round indentation outlined in pink. A number of superb, large-scale leonine statues dating to Dynasty 30 display similar markings on the neck and ears.

above: Sculptor’s Model of a Lioness. Egyptian, Late Period, Dynasty 30, ca. 380–343 bc. Stucco, pigment.

Gift of Kenneth Falck.

Greek and Roman acquisitions through the generosity of Jeannette and Jonathan Rosen, several pieces on long term loan in the classical galleries have now been donated to the permanent collection. These range from Bronze Age pins with gold finials to late antique miniature architectural models. Of special interest, however, are two archaic Greek works: an Attic black-figure Siana cup by the Heidelberg Painter; and a bronze axe with a long votive inscription.

Siana cups, made in Athens in the second quarter of the 6th century bc, are named after a cemetery on the island of Rhodes where many were found in the 19th century.

The Heidelberg Painter was the most distinguished vase-painter to decorate them. On the example in the Carlos Museum, Dionysos is flanked by satyrs in the tondo, an appropriate subject for a drinking

cup. On the exterior, one side depicts athletes exercising in the gymnasium; the other side takes us to the world of myth where the Sphinx has snatched one of the young men of Thebes, drawing him under herself to devour, while six friends flee in either direction.

The purely utilitarian bronze axe head is articulated with a long inscription cut into its surface. It records that one Timonos of Hestiaia (a significant community on the north coast of the island of Euboea) had dedicated this in a sanctuary of Herakles, and had also engraved the inscription himself. This fascinating document, illuminating literacy in the archaic period, joins two other contemporary inscriptions in the museum; one of them in Carian, a local language encountered in South West Asia Minor.

Through the generosity of Judy and Michael Steinhardt, the museum was able to acquire a Mycenean

terracotta female figurine. A number of these very stylized statuettes resemble letters of the much later Greek alphabet, and accordingly, this one is termed a phi-figurine.

The importance of textiles, made abundantly clear in Mycenaean palace documents, is underscored by the bold, if a little schematic, linear treatment of drapery. The idol complements another in the form of a different letter, psi, that has been in the collection for 30 years.

Photos by Bruce M. White

above: Inscribed Votive Axe Head. Greek, 6th century bc. Bronze. Gift of Jeannette and Jonathan P. Rosen. below: Cup with Dionysos, Theban Sphinx, and Athletes. Attic, attributed to the Heidelberg Painter, ca. 560 bc. Ceramic. Gift of Jeannette and Jonathan P. Rosen.

above: Phi-Figurine. Late Mycenean III a, ca. 1400– 1300 bc. Ceramic. Gift of Judy and Michael Steinhardt.

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CarlosCollections Dr. Alan Grinnell gifts ancient art from Panama ancient panama is well known for its delicate gold jewelry and fine polychrome ceramics. Due to a new rotation, even more of the museum’s Panamanian pieces from various periods are now on display in the corridor gallery between the Andean and the Costa Rican sections. The new material, enough to fill the gallery cases with only Panamanian pieces for the first time, was made possible by Dr. Alan Grinnell, a PhD neurobiologist with a strong avocational interest in pre-Columbian archaeology and art history. He is Professor of Physiology and

figure 1

above: Jar with Scroll Designs. Central America, Panamá, Tonosí, mid 5th–mid 6th century ad.

Ceramic. Gift of Alan Grinnell Ars Ceramica Collection.

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Research Associate at the Fowler Museum of Cultural History, ucla. To date, his total gifts to the Carlos number 27 Panamanian ceramics, more than doubling the museum’s previous holdings in this area.

The featured pieces were once placed in the lavish graves of high-ranking men and women of ancient Panama; such burials were filled to the brim with thousands of intricate ceramic vessels. While often depicting human figures and animals, many featured geometric patterning as well, both in early [fig. 1] and later time [fig. 2].

Geometry, however, is not necessarily a neutral type of patterning.

In shamanic cultures, the visions that spiritual leaders experience begin with and feature spirals, undulations, zigzags, and all manner of linear patterns. The spiral is perhaps the most characteristic and widespread design. Another common experience is for the shaman to become the geometric patterns he or she sees, making seemingly simple swirls and zigzags into more powerful entities than expected. Z

figure 2

Photos by Bruce M. White

above: Pedestal with Geometric Designs Plate.

Central America, Panamá, El Hatillo, ca. 1300– 1522 ad. Ceramic. Gift of Alan Grinnell Ars Ceramica Collection.

CarlosCollections Fahamou Pecou’s work enhances collections this fall a Visiting Board member, who wishes to remain anonymous, generously purchased Egungun Masquerade and Egun Dance ii by Atlanta-based artist Fahamu Pecou.

These new acquisitions enhance the Works on Paper as well as African collections, placing existing works in conversation with a contemporary look at materiality and the changing traditions in African visual culture.

Egungun means “the powers concealed” and the two works relate to the museum’s Yoruba masks from southwest Nigeria, which give shape to ancestors and spirits when danced. As an art form, they serve as symbols of resilience and resistance.

In the United States they are a central feature of the Ifá religion and create a conduit between this world and

above: Fahamu Pecou (American, born 1975).

Egungun Masquerade, 2016. Fabric with bells and cowries. Anonymous gift.

the next. White is the color of the ancestors, and the cowrie shells serve a dual function: they represent the literal value held within the costume, since cowrie shells were once used as currency in Nigeria; and an aesthetic value because they create texture, shimmer in the light, and make sounds as the dancer moves. The names of civil rights leaders and black men who were murdered fighting for equality are printed on the panels. When Egungun dance, the wind that is produced by the panels is apotropaic, it protects those who feel its breeze. In this case it is the áse, the life force of those men, who provide that protection.

These works of art are part of the exhibition DO or DIE: Affect, Ritual, Resistance, organized by the Halsey Institute of Contemporary Art at the College of Charleston in

above: Fahamu Pecou (American, born 1975).

Egun Dance II, 2016. Graphite and acrylic on paper with cowries. Anonymous gift.

collaboration with the Carlos Museum. This traveling, multimedia exhibition, which includes large scale paintings, video, photographs, and drawings that center around the Egungun costume, will open at the Carlos Museum in spring 2019.

Pecou is an internationally recognized artist with strong ties to Emory University where he is currently completing his Ph.D. in the Institute of Liberal Arts. His work is featured in noted private and public, national and international collections, including the new Smithsonian National Museum of African American Art and Culture, Société Générale (Paris), Nasher Museum of Art at Duke University, High Museum of Art, and the Paul R. Jones Collection of American Art at the University of Alabama. Z

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CarlosConservation Grant from Bank of America supports conservation the carlos museum received a $50,000 grant from the Bank of America Art Conservation Project to support conservation efforts for the upcoming exhibition Threads of Time: Tradition and Change in Indigenous American Textiles.

The funding is enabling conservators to prepare more than 100 textile objects for exhibition as well as for future use in teaching and research.

Through use, burial, and eventual collection, textiles become soiled and damaged, impacting their appearance and long-term stability.

Due to their fragile conditions and vulnerability to light, textiles are rarely displayed and only for short periods of exposure. Depending on individual need, the textile objects covered by this grant are being cleaned, repaired, stabilized, reshaped, and mounted in preparation for display. Accumulated grime that is not important evidence of use or context is removed or reduced through careful vacuuming, bathing, and/or spot cleaning. Creases and wrinkles which distort the original form are flattened and reshaped to improve appearance and interpretation. Weave structures that are weak or broken are reinforced by carefully inserting stitches of almost-invisible thread.

While all textile objects present a level of fragility, the ancient textiles are most vulnerable. The structures themselves are often weak or damaged, requiring overall support.

Traditional mounting methods involve completely stitching textile fragments to fabric-covered solid supports. Whenever possible, the textiles are placed onto supports without stitching, attached along only one edge, or lined with a sheer

backing to permit access to the reverse for thorough examination of weave structure and pattern.

Although comparatively more intact, the modern examples also require proper mounting to prevent damage while on display. Temporary mounting techniques using padded rollers and forms allow the objects to be supported and safely positioned to reflect their orientations during use and/or to show features of their construction.

Through the process of examination and treatment, thread counts and weave structures are documented.

Fiber types are identified using microscopy techniques. Additional testing, including dating or dye analysis, is conducted where appropriate. Dating can indicate the age of an object as well as suggest the timeline of an ongoing manufacture.

The investigation of dyes presents the opportunity to collaborate with scientists and scholars at other institutions as well as to contribute new research. Images of the conserved textiles and technical information about their materials and construction will be included in the online exhibition catalogue.

The museum’s Chief Conservator Renée Stein has joined forces with Patricia Ewer, principal of Textile Objects Conservation in Minnesota, to accomplish this multifaceted project. Ewer has worked with the museum’s collections for almost 20 years, treating objects for exhibition and loan, advising on storage and display strategies as well as contributing to research on fibers, dyes, and weave structures. While some of the textiles have been sent to her Minnesota studio, Ewer is treating most of the objects in the museum’s Parsons Conservation Lab where students can be involved in her work and where she can collaborate

directly with museum staff.

Recent Emory College graduate Nysa Loudon (’16) is the project intern. Having studied anthropology and theater, with interests in both museum work and costume design, Loudon is preparing mounts and working with conservators to accomplish treatment steps, including humidification, reshaping, and repair.

The Bank of America Art Conservation Project is a unique program that provides grants to nonprofit museums throughout the world to conserve historically or culturally significant works of art that are in danger of deterioration. Since the program’s launch in 2010, Bank of America has provided grants to museums in 29 countries, supporting more than 100 conservation projects. The 2016 grant award recipients were recognized at a reception held at the Guggenheim Museum in New York City last November, and in attendance were Renée Stein and Carlos Museum Visiting Board member Joseph Coplin. Other 2016 recipient institutions included The Wallace Collection (London), Kimball Art Museum (Fort Worth), Museum of Contemporary Art (Chicago), Tokyo National Museum, and the Istanbul Archaeological Museums, among others. Z

above: Textiles conservator Patricia Ewer stabilizes tapestry fragment in preparation for exhibition.

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Class combines art and science to investigate museum objects students in Chief Conservator Renée Stein’s course Examining Materials and Techniques spent the fall semester examining objects from the Carlos Museum collections. The class included five graduate students from the Art History department and nine undergraduate students with a variety of academic majors representing the humanities as well as the sciences. Class discussions evaluated how the careful study of materials and conditions contributes to an understanding of an object’s appearance, function, life history, and interpretation. Students considered how objects change and are changed during their lifetimes from creation to collection. They also considered how access to materials and technology may influence artists’ choices as well as how artists’ intentions may be obscured or altered over time.

Student pairs were assigned an object to be the focus of their investigations. Objects were drawn from many collection areas, and each object presented a unique set of questions to be explored through an array of imaging and analytical techniques. Students learned about ultraviolet and infrared photography, reflectance transformation imaging, x-ray and beta radiography, light microscopy as well as x-ray fluorescence spectroscopy, evaluating the capabilities and limitations offered by the techniques.

Investigations revealed interesting details about the study objects. For example, students determined that a Visgothic belt buckle was made of gilded copper alloy inlaid with cut garnets, and they revealed that an Egyptian limestone head of a lioness was reconstructed from original fragments while preserving much of its original paint. Many studies identified questions for further research, such as the rework-

above: Dr. Bill Torres arranged for students to x-ray image objects at Emory University Hospital. below: Inaugural class of Examining Materials and Techniques studies collection objects in museum classroom.

ing of an undated silver repoussé mask or the opaque surface coating on a Medieval painted wood sculpture.

Guest speakers shared expertise with particular materials or examination techniques. Conservators Elizabeth Schulte (paper) and Patricia Ewer (textiles) discussed how to read an object as an artifact of its manufacture, looking for clues of process as well as creative choice.

Conservator Brittany Dinneen assisted the class with x-ray fluorescence spectroscopy to identify the elemental compositions. Dr. John Malko of the Physics Department explained the techniques of x-ray and beta radiography, and Dr. William Torres facilitated a visit to the Emory University Hospital to x-ray image several study objects.

Several workshops provided students with hands-on experience with materials and making. Artist and museum educator Ana Vizurraga led a workshop on hand-building with local clay, firing the pots in tubs of sawdust. Jewelry artist and museum docent Kathy Kinev demonstrated how bronze is worked, and discussed how creating replicas informs our understanding of ancient practices. Artist Pam Beagle-Daresta led a papermaking workshop in which students made their own watermarks. In addition, students dyed textiles with cochineal they prepared from dried insects, experimented with different chemical solutions to patinate copper, made small paintings, and used reflected infrared illumination to image underdrawings.

Courses like this one and others taught by faculty throughout the university engage Emory’s vibrant campus community in understanding the past and present of the museum’s collections. Z

above: Artist Pam Beagle-Daresta leads a class workshop on paper making.

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Educationnews Classical architecture and its legacy from athens, Greece, to Roswell, Georgia, participants in the teacher workshop Classical Architecture and its Legacy explored the architectural innovations of the ancient Greeks and the way in which these innovations still shape the built world.

Bonna Wescoat, Samuel Candler Dobbs Professor of Art History, began the day with an introduction to Greek architecture using her work at the Sanctuary of the Great Gods at Samothrace as a case study.

Through 3d modeling, teachers were able to virtually walk through the

site at night, imitating how initiates to the cult walked in 200 bc in an effort to understand how the architecture and lighting created an environment of secrecy and sanctity for a ritual that remains a mystery today. Teachers then headed into the galleries led by curator Jasper Gaunt, who introduced the exhibition In Search of Noble Marbles: The Earliest Travelers to Greece.

The exhibition traces the history of the rediscovery and subsequent publication of classical sites in Greece by British, Dutch, and French explorers in the 18th century and 19th centuries. Teachers were able to see images of ancient sites come into

above: Teachers listen as architect Clay Rockiki explains how he uses sketching to explore architecture. below: Teaching artist Pam Beagle-Deresta introduces above: Teachers create their own columns and her paper sculpture projects for the classroom. temples from paper.

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focus throughout the centuries from a fanciful rendering of Athens that looks very much like a European medieval town complete with church spires, to early photographs that show the majesty of the Athenian acropolis.

Teachers enjoyed lunch and a lecture by Betty Dowling, professor emeritus in Georgia Tech’s College of Art and Design, who discussed highlights of neo-classical architecture and sculpture found in America as well as a few controversial examples, such as Horatio Greenough’s 1841 12-ton marble statue of a bare-chested George Washington in a toga that was considered quite scandalous by many in Washington. Following Dr. Dowling’s talk, participants boarded a bus bound for Roswell where they toured Barrington Hall, the restored 1839 Greek Revival home of Barrington King, son of the founder of Roswell. Using the graceful classical structure and details of the home as inspiration, sketching commenced under the direction of architect Clay Rockiki, who also discussed how sketching can be used in the classroom to investigate architecture.

Upon return to the museum, the group worked with teaching artist Pam Beagle-Deresta to create large paper sculptures of columns, pediments, and complete temple facades, while finding ways to integrate math and geometry into their exploration of ancient architecture. In addition to the expert scholars and artists who led the event, participants worked together to come up with new ideas and share insights and resources from their own experiences to further enhanced the experience of the day. Z

Camp Carlos 2017 through the visual arts, dance, and the written word, artists interpret the world around them. This summer, children at Camp Carlos will work with artists to explore ancient and contemporary interpretations of Greek myths, explore culture and identity through movement, compare animals in the zoo with artistic representations in the galleries, and create silkscreen prints inspired by objects across the collections.

In Trials of Apollo, comparisons of Rick Riordan’s irreverent and hilarious Apollo with images of the Greek god in the museum’s collection will be made with artist Pam Beagle-Daresta. Children will also try their hands at several of Apollo’s specialties, including archery and writing “terrible haikus.” In A Moving Identity, Emory professor of dance Lori Teague will lead children on an exploration of improvisation and dance composition to interpret objects in the collections from a female shaman transforming into a deer to the bronze dancing Krishna.

Children will take a trip to Zoo Atlanta to investigate animal forms, movements, and behaviors in Lions and Vultures and Snakes, Oh My! Once back in the museum, they will explore how animals across cultures have inspired artists before creating their own animal interpretations in clay with ceramic artist Ana Vizurraga. In the teen camp, artist and president of the Atlanta Printmakers Studio Deborah Sosower will teach the process of silkscreening as

participants choose an object from any of the collections as inspiration to create their own silkscreen print series.

Camp Carlos celebrates 25 years of offering extraordinary art experiences for children and teens, and this summer’s line up continues the adventure. Registration is now open and space is limited, so sign up now! www.carlos.emory.edu/ camp-carlos-2017. Z

above: Dancing Balakrishna.India, Tamil Nadu. Late Chola Dynasty, late 13th–14th centuries. Bronze. Ester R. Portnow Collection of Asian Art, a Gift of the Nathan Rubin-Ida Ladd Family Foundation. Photo by Bruce M. White.

above: Rick Riordan’s The Trials of Apollo. below: Susanne Wenger. Untitled, ca. 1960. screen print. © Susanne Wenger Foundation.

below: Turkey Vulture Effigy Pedestal Vessel. Central America, Panama, Parita, Period VIC, 1000–1300 ad.

Ceramic. Gift of William C. and Carol W. Thibadeau. Photo by Michael McKelvey.

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Educationnews Growing the Teen Program

In an in-depth, multi-day workshop in fall 2016, teens used short videos children’s programming at the and digital storytelling to investigate Carlos begins with the smallest questions of identity with Emory visitors in Artful Stories, a free PhD candidate Anandi Salinas in program where three to five year order to look more closely at the olds explore a story in the galleries work of contemporary, Tibetan-born and complete a related studio project artist Gonkar Gyatso on view in the with an accompanying adult. As Carlos galleries. In January 2017, an children progress through their enthusiastic group of teens examined elementary years, the Carlos offers passages from The Book of the Dead a wide array of dynamic workshops with Egyptologist Dr. Clare Fitzgerthat encourage students to engage ald and created their own examples with the collections and the cultures on papyrus. represented through movement, The book club, Carlos Reads YA!, stories, gallery discussions, and offers teens a chance to interact art-making. These workshops are with the cultures represented in the designed to encourage comfort and galleries through a literary medium. independence in the museum, and Growing out of a book suggestion the education department works to made by Dr. Mandy Sur-Sytsma, foster this growth as participants lecturer in Emory’s English departenter their teen years. In the past, the ment, in conjunction with the special main opportunity for teens to engage exhibition Indigenous Beauty, the in programming tailored for them first teen book club read Wabanaki was through the teen session of Blues by Melissa Tantaquidgeon Camp Carlos; however, at the end of each session, comments were, “I can’t wait until next summer when I can come back!” and, “What are we doing next year?” It became clear there was a need to keep teens involved throughout the year and Educational Programs Manager Alyson Vuley responded with a battery of exciting programming for teens that continues to grow.

During Friday night programs, teens have the galleries to themselves to sketch and discuss works of art with specialists as well as complete works in the studio with noted teaching artists. In 2015, teens explored the special exhibition Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection with Atlanta graphic artist Joseph Wheeler iii and created their own work inspired by the hybrid art form Haida Manga.

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Zobel and then met with professor Sur-Sytsma to look at connected works in the exhibition. The event culminated with a lively discussion with the author via Skype. The program has continued with titles such as The Prince and the Zombie: Tibetan Tales of Karma followed by a discussion facilitated by Emory graduate student Piiopah Damiano, and a graphic novel adaptation of Romeo and Juliet by Gareth Hinds read in concert with the exhibition First Folio: The Book that Gave Us Shakespeare.

By consistently offering a varied menu of programs for teens from Carlos Reads YA! to art workshops, the museum is serving a growing teen audience and providing the next step for children aging out of the popular children’s workshops. This spring’s program, The Shield of Achilles, will begin with a dramatic reading from Homer’s Iliad by Dr. Niall Slater, Emory professor of Classics, in the intimate space of the Greek sculpture court on a Friday evening. Teens will use the spoken and written description to create a sketch of the famed shield made for Achilles by the god Hephaestus.

On Saturday afternoon, participants will return to join goldsmith Alan Bremer to create their own version of the golden shield. In this program, teens will find their way into this ancient epic and engage with ancient material culture supported by a skilled teaching artist and an accomplished scholar, bringing together the wonderful resources of the Emory and Carlos community. Z

above: Haida Manga workshop left, top, and bottom left: Tibetan woodcarving with master woodcarver Yama Phuntsok at the 2016 Camp Carlos for Teens. Teens carved the Eight Auspicious Symbols of Buddhism and looked for the symbols in the mandala of Green Tara created by the Tibetan monks of Drepung Losling.

below: Beading workshop in collaboration with Emory student group the Artisan Guild led by Emory student and guild member Katie Woolard.

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Carlos&theCampus The Ramayana in image and text over the last six years and through the generous support of museum patrons Jay Patel and family, Bill Torres and Jack Sawyer, Harshna and Pyush Patel, and Sally and Joe Gladden, the Carlos Museum has been building a collection of Indian miniature paintings. The collection highlights images of the 10 avatars of Vishnu as well as scenes from the great Sanskrit epic, the Ramayana.

In the 2,000-year-old epic, the Hindu god Vishnu transforms into his seventh avatar, Rama, a prince from the kingdom of Ayodhya, to defeat the 10-headed demon Ravana. Rama is accompanied by his brother, Lakshmana, his devoted wife, Sita, and aided by his devoted friend and helpmate Hanuman, the monkey god. Although an actionpacked adventure of a handsome hero, the Ramayana is so much more. For centuries, the epic has been used to explore and teach Hindu conceptions of morality and exemplary human behavior through a narrative that embodies many of the ideals of Hindu culture: Rama, the ideal king; Sita, the ideal wife; the relationship between Rama and Lakshmana, ideal brotherhood; and Hanuman, the ideal Hindu devotee.

The epic is taught as part of university courses, from Introduction to Hinduism to South Asian Epics. Since Emory faculty members teaching the Ramayana are primary textualists in the Department of Religion, the epic has traditionally been approached through religious and literary contexts. Although faculty members teaching these courses have brought their students to the museum to view the paintings

in storage as part of a class, the paintings have never been the focus of a university seminar, nor have they ever been exhibited all together.

Through a generous grant from the E. Rhodes and Leona B. Carpenter Foundation, this is about to change.

Staff at the Carlos have been working with faculty members Ellen Gough and Marko Geslani in Emory’s Department of Religion to organize a university seminar titled Indian Epics, Art, and the Museum.

The seminar will be jointly listed through the Departments of Religion and Art History, and will approach the Ramayana both textually and visually. Scholars will offer Emory students the opportunity to explore the great epic as an oral/performed tradition, written tradition, and visual tradition, and will investigate the ways in which these traditions have interacted over the centuries.

Funding from the Carpenter Foundation will bring three distinguished art historians to campus during fall semester 2017 to participate in the seminar and to give public lectures that will explore the Ramayana in a variety of Indian artistic traditions from miniatures produced by the courts and sculpture in temples, to 19th-century lithographs and even comic books.

These delicate 18th- and 19thcentury paintings require conservation before they can be safely examined, matted, framed, and exhibited. The Carpenter Foundation grant provides almost $17,000 towards this work, with the remaining funding supplied by a generous gift from museum board member Eleanor Ridley. Working under the supervision of museum Chief Conservator Renée Stein, paper conservator Elizabeth Shulte will complete the stabilization treatment

of the miniatures prior to the class and exhibition, while textile conservator Patricia Ewer will work on a large Jain wall hanging. All three conservators will contribute to the seminar, investigating with students and scholars the materials and techniques used to create the paintings. The technical information learned will produce a body of comparative data that may influence the dating and provenance attribution of the works. The students will be active participants in these vibrant interdisciplinary dialogues that will relate directly to the interpretation and exhibition of the paintings.

As the final project of the seminar, students will organize the first exhibition of Ramayana paintings at the Carlos. Working with faculty and visiting scholars, they will conceptualize the overall approach to the exhibition and will write introductory texts and label copy for each of the paintings. They will also work with the exhibition design staff to plan the installation, and with education staff to discuss the types of programming that will accompany the exhibition. The exhibition will open in January of 2018 in the Howett Works on Paper Gallery. Z

above: Emory professor of Religion Ellen Gough, studying the Jain Cosmic Man with her Arts of India class.

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CarlosFeatures Joyce Flueckiger and Sara McClintock receive 2016 Baker Award at a september event surrounded by friends and colleagues, two professors in Emory’s Department of Religion, Dr. Joyce Flueckiger and Dr. Sara McClintock, shared the 2016 Woolford B. Baker Service Award in recognition of their work in helping the museum expand and interpret its Asian collection. The Baker Award was established by Sally and Joseph Gladden in 1999 to honor Joe’s grandfather, Dr. Woolford B. Baker.

In the absence of an Asian art curator, Flueckiger and McClintock, with expertise in Hinduism and Buddhism respectively, have worked with museum staff on a variety of projects, including identifying and vetting works of art for acquisition, writing labels, giving lectures, stewarding donors, and serving as advisors and editors for the museum’s Odyssey Online: South Asia website. Their knowledge has been critical in helping the museum select and mount a compelling array of Asian art exhibitions from Domains of Wonder (Indian miniature painting) and When Gold Blossoms (Indian jewelry) to Mandala: Sacred Circle (Tibetan painting) and Doorway to an Enlightened World (Tibetan shrine).

And, their work with exhibitions has also included consulting on the installation plans, advising on educational programs, conducting docent training, and giving press interviews and tours.

All of the work mentioned above has been accomplished in addition to their teaching loads and other university responsibilities. The Carlos is indeed fortunate and very grateful for the generosity shown

by Flueckiger and McClintock in sharing their expertise in engaging and creative ways with the museum’s diverse audiences for many years. While the Asian collection may be modest in size, its visibility and impact on campus and in the community is huge due to the efforts

of these two incredible scholars and friends.

An Indian miniature painting depicting Vamana, the fifth avatar of Vishnu, was acquired in recognition of Drs. Flueckiger and McClintock as the 2016 Baker Award recipients.

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above: Director Bonnie Speed, Dr. Joyce Flueckiger, Dr. Sara McClintock, and Education Director Elizabeth Hornor. below: Vamana (Vishnu) Transforming into Trivikrama, with Mahabali Touching his Feet and the Gods Showering Blessings from Above, 1830s. India, Pahari. Gouache with gold. Gift of Sally and Joe Gladden in honor of Drs. Joyce Flueckiger and Sara McClintock, 2016 Woolford B. Baker Service Award recipients.

Photo by Bruce M. White.

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CarlosFeatures Online access to Carlos collections

museum’s website. Familiar logos, navigation buttons, menus, and A background colors make moving between cco2 and other pages of over the past year, the Carlos the website seamless and intuitive.

Museum and the Emory Center for Perhaps most exciting is cco2’s Digital Scholarship (ecds), have support for virtual exhibitions. been quietly developing the next The museum occasionally developed generation of Carlos Collections Online (cco2), the museum’s online website components for special exhibitions in the galleries, but database of images and catalogue standalone virtual exhibitions were data. cco2 offers many exciting generally out of reach. Now museum new features to view and learn staff can develop virtual exhibitions about the collection. While from cco2 at no cost and with the system is still undergoing minimal training. And Emory’s Beta testing, it is already publicly talented students and faculty can available at: www.carlos.emory. present their research in a profesedu/search-collections sional, virtual exhibition to be cco2 is built on the Omeka hosted by the museum for a global platform, an open source tool audience. In a model that both the designed for easily creating virtual Carlos and ecds hope to repeat exhibitions by libraries, archives, soon, Emory undergraduate student and museums. cco2 is the end Hannah Rose Blakeley received component of a multi-part system the museum’s Andrew W. Mellon of applications made possible by internship award to support her Emory’s division of Library and Information Technology Services in examination of a large group of cooperation with ArtStor. Catalogue artworks by Félicien Rops with museum curator Andi McKenzie. data on the museum’s collection is exported from the museum’s back-of-house tool, The Museum System, into ArtStor Shared Shelf, making it available to faculty for teaching use in ArtStor Digital Library. The same data can then be exported from ArtStor Shared Shelf to Omeka, making it available in cco2. The beauty of the system is its ability to take a single piece of data and make it available to three different audiences simultaneously: The Museum System, for use by Carlos Museum staff; ArtStor Digital Library, for Emory classroom use; and cco2, for use by the general public.

Visitors familiar with the current version of Carlos Collections Online will immediately notice how much better the design of cco2 blends in with the overall design of the

Blakeley received an additional grant from ecds supporting research travel and professional photography of the artwork. Beyond Eros: Works

by Félicien Rops in the Carlos Museum is the first of what is hoped will be many student-curated virtual exhibitions coming to cco2.

Look for these and other new features on cco2’s object pages: • Keywords and tags for more relevant searches • Complete exhibition and publica- tions histories for each artwork • The “On View” real time indicator showing artworks currently on view in our galleries • Unique bibliographic citations allowing students and other researchers to easily reference pages from our site in their publications • Easy sharing to a broad variety of social media platforms • Accessible code for blogs and other websites to embed our pages directly into theirs Z

above: The new Carlos Collections Online built on the Omeka platform.

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SupporttheCarlos A night of feasts and frights!

mummies & mixers was back and bigger than ever on October 27, 2016, featuring specialty cocktails crafted by Julian Goglia (of The Mercury, The Pinewood Tippling Room, and Proof Cocktail Syrups), culinary indulgences from some of Atlanta’s favorite caterers, and entertainment by Liquid Sky. This sold-out affair included face-painting, after-hours access to the galleries and docents, and an intimate screening of Boris Karloff in The Mummy. Numerous guests came in their costumed best to suit the Halloween party vibe, and crossed their fingers to win fun raffle prizes, including a monogrammed Burberry scarf experience, a copywriting package from New Roman Creative, and exciting dinner opportunities at both The Pinewood Tippling Room and The Mercury.

Mark you calendars! Mummies & Mixers will be back again on October 26, 2017, for another spook-tacular party! Z

“Egypt in Italy”trip

above: Friends of the museum explore “Egypt in Italy.”

in early november, 16 adventurous friends of the museum joined Director Bonnie Speed, Curator of Egyptian, Nubian and Near Eastern Art Melinda Hartwig, and Senior Director of Development Gail Habif to explore “Egypt in Italy.” The intrepid travelers visited museums of Egyptian art and enjoyed the rich culture of northern Italian cities and countryside.

Highlights of the tour included the incredible Egyptian Museum of Turin, the gorgeous Barolo wine country, the Langhe Region where the group experienced truffle hunting, the Museo Civico Archeologico in Bologna, as well as sites in Florence such as the Pitti Palace and Boboli Gardens, the Uffizi Gallery, and ending with a private visit to Palazzo Corsini. The museum will soon announce another international travel opportunity. Z

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SupporttheCarlos Paper-Cut-Project, Von Grey, and virtual reality at Veneralia 2017 “cutting edge” aptly describes this year’s theme, Veneralia on Paper. Slated for April 29 and celebrating the museum’s Works on Paper collection—photographs, prints, and drawings from the Renaissance through today— Veneralia on Paper will be a contemporary take on this festive party. Co-chaired by Liz Lapidus, Jeff Levy, and Todd Tautfest, and honoring one of the collection’s most ardent patrons, Elaine Levin, the annual event provides critical funding for programs and exhibitions, while bringing together

supporters for a memorable evening.

Models styled by Carter Barnes on Paces will supply the wow factor as they move through the crowd outfitted in delicate, hand-cut paper costumes designed by Nikki Nye and Amy Flurry of the Paper-Cut-Project. Attendees will also be the first to experience the museum’s new virtual reality video that will offer a behind-the-scenes look at rarely seen art from the Works on Paper collection. To close the evening, guests will enjoy a performance

by Atlanta-based alternative rock group Von Grey; a trio of classically trained sisters.

Visit carlos.emory.edu/veneralia for tickets and more information. Z

Bookshop spring sale Friday, April 28, 10 am–4 pm Saturday, April 29, 10 am–5 pm

above: Veneralia 2017 co-chairs Liz Lapidus, Jeff Levy, and Todd Tautfest. below: Hand-cut paper costumes designed by Nikki Nye and Amy Flurry of the Paper-Cut-Project will be featured at this year's fundraiser.

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the annual spring sale at the Carlos Museum Bookshop features 20% off all books and gifts, including a carefully and creatively selected collection of books on art, architecture, history, and mythology for both adults and children, replica ancient jewelry from around the world, and one-of-a-kind gifts and notecards that include Free Trade imports. And yes, the 20% discount will also apply to the fabulous selection of sale and bargain books in front of the store for even greater savings. Don’t miss the biggest sale of the season, at the most unique bookshop in town!

Please note: no additional discounts can apply, 20% is the maximum discount during the sale. Z

above: Alternative rock group Von Grey to perform at Veneralia.

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 2016 and January 2017. 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 C OUNCIL

Mr. James B. Miller, Jr. Mr. and Mrs. Edgar Cleveland Snow, Jr. C U RA T O RS ’ C OUNCIL

Drs. Lloyd W. Benjamin iii and Wieke S. van der Weijden Benjamin Ms. Jessica G. Bregman and Ms. Carolyn R. Bregman Dr. and Mrs. Overton Anderson Currie, Jr. Mr. Angelos Pervanas and Ms. Chiara Visconti di Modrone-Pervanas Mrs. Louise S. Gunn Dr. and Mrs. Benjamin A. Hill Sarah and Harvey Hill Mrs. Marguerite C. Ingram Dr. Sameh Iskander Mr. and Mrs. James C. Kennedy Mr. James H. Landon Dr. and Mrs. John Laszlo Mr. and Mrs. S. Jay Patel Dr. and Mrs. Morris E. Potter Mr. Andrew Prozes and Ms. Laura Heery Prozes Dr. and Mrs. Richard V. Remigailo Mrs. Eleanor Horsey Ridley Mrs. Ruth Magness Rollins Mr. and Mrs. Jonathan Peter Rosen Dr. Robert J. Samuels and Ms. Patricia L. Stone Dr. Monique Seefried and Mr. Ferdinand C. Seefried Dr. and Mrs. Jagdish N. Sheth Ms. Mariea Sibley Dr. Sandra Joan Still and Ms. Emily Elaine Katt Mr. Bernard Jan Vanderlande and Mrs. Reid Preston Mizell Ms. Mary-Ellen Hunt Vian and Ms. Betsy K. Wash Messrs. John Arthur White, Jr. and Richard Geoffrey Low Dr. and Mrs. Sidney H. Yarbrough iii C OR I N T H I AN PA TRON

Dr. and Mrs. Gregg Codelli Ms. Catherine Warren Dukehart Dr. Joseph Kirk Edwards Drs. Michael Lyn Flueckiger and Joyce Burkhalter Flueckiger Mr. and Mrs. Keith Glover Mr. David Lewis Kuniansky Drs. Kirk W. Elifson and Claire Elizabeth Sterk Mr. and Mrs. Howard J. Weinstein Mr. William K. Zewadski IONI C PA T RO N

Dr. David S. Pacini and Mrs. Martha H. Abbott-Pacini Mrs. Katie Boone and Mr. Watt Boone Mr. and Mrs. William James Brehm Mr. and Mrs. James L. Ferman, Jr. Mr. and Mrs. James A. Fleming

Ms. Louise Barlett Franklin Dr. Melinda K. Hartwig and Mr. Jeffrey Jeruss Mrs. Susanne W. Howe Prof. and Mrs. Howard Owen Hunter Dr. and Mrs. Michael M. E. Johns Drs. James J. Lah and Katrina Marie Dickson Mr. James Russell Bodell and Ms. Susan Ann Long Mr. and Mrs. Michael W. McDavid Dr. Regine Reynolds-Cornell Mr. and Mrs. Theodore M. VerSteeg Mrs. Aileen W. Wieland Messrs. Gary Youngblood and James Michael Lorton DOR IC PATR ON

Mr. and Ms. James R. Amos Mr. Michael J. Andrechak and Ms. Kathryn Seybert Mr. and Mrs. Wayne S. Bailey Ms. Merrily C. Baird Dr. Klaas Pieter Baks and Ms. Monelle K. Lawrence Ms. Nancy L. Barber Drs. Patricia J. Bauer and James Steven Snow Dr. Lucius Courtenay Beebe Sr. Dr. and Mrs. Bruce H. Bielfelt Mr. Randy Fields and Ms. Elizabeth Anne Bouis Mr. and Mrs. George H. Boulineau Messrs. Dirk L. Brown and Timothy Burns Ms. Gloria Burkett Mr. and Mrs. Mark K. Bush Drs. Stewart Wright Caughman and Alison Youngs Caughman Ms. Carol E. Chatham Dr. Stanley A. Cohen Dr. Ann Davidson Critz Mr. and Mrs. Larry E. Curry Dr. and Mrs. F. Thomas Daly, Jr. Mr. Jefferson James Davis Mr. James E. Flynn, Jr. Mr. and Mrs. James A. Ford Mr. and Mrs. Carl I. Gable, Jr. Mr. Morris N. Habif Dr. and Mrs. John B. Hardman Mr. David Pomerance and Mrs. Gretchen Holcombe Ms. Ruth A. Hough Mr. and Mrs. J. Timothy Johnson Dr. and Mrs. Eric Klingelhofer Mr. and Mrs. John G. Kokoszka Mr. and Mrs. Stephen P. Kramer Mr. and Mrs. Wayne Alan Krause Ms. Patricia Krull Dr. and Mrs. Thomas Jay LaPorte

Dr. and Mrs. Thomas J. Lawley Drs. Jerrold Henry Levy and Maria Arias Dr. Elliott J. Mackle Mr. and Mrs. Emory McClinton Mrs. Dorothy H. Miller Mr. Benjamin Carter Findley and Ms. Jennifer M.F. Miller Dr. Leslie R. Freedman and Ms. Lee P. Miller Ms. Cynthia Taylor Mills Mr. Henry F. Mullins, Jr. and Ms. Bianca R. Quantrell Mr. Kenneth Nassau and Ms. Lynn Morris Dr. Frank M. Pickens Mr. and Ms. Douglas H. Pike Mr. L. Richard Plunkett, Jr. Mr. and Mrs. Roger C. Press Mr. and Mrs. Todd R. Reid Dr. Leigh Anne Roach and Mr. Scott Roach Mr. Frank C. Roberts Mr. David P. Robichaud and Ms. Sharon McClelland The Honorable and Mrs. Mathew Robins Dr. Judith Campbell Rohrer Dr. Donna L. Sadler Dr. and Mrs. Rein Saral Mr. and Ms. Andrew Mayer Schuler Mr. Gerald R. Cooper, Jr. and Mrs. Charlotte F. Slovis-Cooper Ms. Mary Lynn Smith Ms. Ruth C. Smith Mr. and Mrs. Ray G. Thomas Mr. Lawrence P. Toner Mr. and Mrs. James Eric Viebrock Mr. and Mrs. Alexander Volokh Dr. and Mrs. Warren Walter Drs. Paul F. Walter and Jonne Barney Walter Mr. and Mrs. Clarke B. Weeks iii Ms. Ruth W. Woodling Ms. Jeannie B. Wright Dr. and Mrs. Stuart M. Zola

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

Member

Lookingahead

Visitorinformation

August 19 – December 17, 2017

Hours Tuesday through Friday:

Threads of Time: Tradition and Change in Indigenous American Textiles Third Floor Galleries

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.

Public transportation marta bus

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

line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations.

Parking Parking is available at the

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.

Oxford Road and Fishburne Decks.

Museum information 404-727-4282 On weekdays before 4 pm accessible Web access carlos.emory.edu parking is available in the Oxford Road parking deck. Enter the Oxford Road building and take the elevator

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