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Director’sletter We begin the new academic year by celebrating the allure of Rome with three incredible installations. Antichità, Teatro, Magnificenza: Renaissance & Baroque Images of Rome is an exhibition that explores the Eternal City through a gorgeous selection of sixteenth-, seventeenth-, and eighteenth-century maps. The Museum’s curator emerita of Works on Paper, Margaret Shufeldt, along with art history professor Sarah McPhee and a host of dedicated interns developed the exhibition to highlight the changing ideas and attitudes toward Rome over the span of three centuries. Complementing the maps exhibition is Conserving the Memory: The Fratelli Alinari Photographs of Rome. Organized by the Museum’s Assistant Curator of Works on Paper, Andi McKenzie, the exhibition will feature nineteenth- and early twentieth-century photographs taken by the renowned Alinari brothers. We are grateful to Florida attorney and Museum Board member Bill Zewadski for his thoughtful donation of the Alinari photographs to the Museum. And now on view, a monumental third- to fourth-century Roman mosaic, offered to the Museum on long-term loan by a very generous anonymous donor, is installed in the Carlos Court of the Greek and Roman galleries. It is a stunning mosaic on so many levels and will offer students and lovers of Roman art much to study and contemplate.

OnView A compelling array of educational programs has been developed in conjunction with these exhibitions and the mosaic installation, ranging from evenings of gelato making and cheese tasting to conversations with collectors and scholars, book club sessions, workshops for children, and lectures on the Tiber river and seventeenth-century printmakers. Even our fall fundraiser, Bacchanal, will celebrate the Eternal City with the theme Rome around the World. You’ll just have to visit the Museum often! Regarding staff news, Curator of African Art, Jessica Stephenson, said her good-byes in July, leaving the Museum to become a professor of art history at Kennesaw State University. Jessica was with the museum for ten years as curator, and at Emory as a graduate student prior to joining the Museum. She will be greatly missed and we wish Jessica all the best in her new position. On November 12 the Museum will welcome Amanda Hellman as the new Curator of African Art, and we are all excited to have her join the Carlos team. And, looking ahead, on December 14, the Museum will open Romare Bearden: A Black Odyssey. You can read more about this incredible exhibition on pages 10 and 11. As always, I look forward to seeing you in the galleries.

B on n ie Speed Director

cover: Pirro Ligorio (Italian, 1510–1583). Anteiquae Urbis Imago [plate 7], detail. 1561. Engraving. Joint purchase through the generosity of David Parsons, the Patrons of Paper of the Michael C. Carlos Museum, and the Emory Libraries. 2

fall 2013 – winter 2014

Great masters offer rare views of Rome “Now and then, if we are lucky, we get the chance to travel to the beautiful far-off places we’ve always longed to see.” Andrew Alexander writing for Atlanta Journal Constitution The resplendent city of Rome —here at the Carlos Museum through November 17 — is the focus of a special exhibition showcasing more than 130 works of art, many from the Carlos Museum’s permanent collection, offering visitors an opportunity to “travel” to one of the most fascinating and culturally enduring cities. Ancient Rome is explored in three major sections—Antichità, Teatro, and Magnificenza— through maps, views, and books from the sixteenth, seventeenth, and eighteenth centuries. Antichità includes the Antiquae urbis imago, Pirro Ligorio’s 1561 reconstruction of the ancient city as the focal

point of the antiquarian interests during the Italian Renaissance of the sixteenth-century. Ligorio’s reconstruction is surrounded by works of Hieronymous Cock, several others from the Speculum Romanae Magnificentiae (Mirror of the Magnificence of Rome), a Renaissance “coffee table book” of prints of the sights of Rome, and images of the obelisks moved by Sixtus v — all from the Museum’s collection. This first section also includes volumes from the rare book collections of the Emory Libraries such as De ludis circensibus by Onophrio Panvinio.

above: Giovanni Battista Piranesi (Italian, 1720–1778). View of the Piazza Navona [from the Views of Rome], 1773. Etching. Gift of the Patrons of Paper and the John Howett Fund. photo by bruce m. white

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OnView

Antiquarians of the Renaissance were humanist scholars who sought to reconstruct, at least intellectually, Rome as it was in antiquity by studying coins, inscriptions, fragments, and the city’s ruins. The images show monuments that have been restored, healed by the ravages of time. Ligorio was one of the leading antiquarian scholars of his day. Cock, on the other hand, depicts the ruins just as they appeared in the sixteenth century. The Colosseum is depicted as crumbling, with plants sprouting among the stones. This is the picturesque Rome that contemporary visitors to the city actually saw. The Teatro of the seventeenth century, the second section of the exhibition, is anchored by an impression of Giovanni Battista Falda’s 1676 Nuova pianta, lent by Chicago collector Vincent J. Buonanno. Also included are images from Falda’s depictions of the Giardini di Roma, as well as several books of the period. These works record the efforts of the seventeenthcentury popes to refocus attention on the modern city through urban interventions known as “theaters” or teatri. Piazzas were broadened and opened up to become stages where the life of the city took place and the power of the Church could be asserted. The most striking example is St. Peter’s Square. Falda’s many etchings show the theaters of the Baroque city. The Magnificenza of the eighteenth century, the third section of the exhibition, features Giovanni Battista Nolli’s Pianta Grande and Giuseppe Vasi’s Prospetto dell’alma città di Roma. Also included are numerous views by Giovanni Battista Piranesi from the

Museum’s collection and a copy of Jean Barbault’s Les plus beaux monuments de Rome ancienne among other items from Emory’s rare book collections. Also featured is a survey of Roman guidebooks through the centuries. In this section there are three different types of representations of the magnificence of the Eternal City by three different designers. Nolli’s map is an example of the rational, scientific thinking of the Enlightenment. Vasi follows in Falda’s footsteps making an encyclopedic collection of views of contemporary Rome. Piranesi takes an archaeological interest in the city and creates strikingly dramatic, imaginative views of the ancient monuments. Visitors to Rome on the Grand Tour purchased these prints as mementos of their sojourn and as evidence of their own learned interests. Margaret Shufeldt, curator emerita of the Museum’s Works on Paper collection, and Sarah McPhee, Emory’s Winship Distinguished Research Professor of Art History, are co-curators of the exhibition. Shufeldt notes, “This exhibition offers our visitors a chance to experience the Eternal City through the works of master printmakers across three centuries. One can wander the city in detailed maps and marvel at imposing architecture in the diverse images of Rome.” This exhibition has been made possible through the generous support of presenting sponsor Bulgari, the Mixson Family Fund, the Emory Libraries and the Manuscript, Archives, and Rare Book Library (marbl), the Emory Center for Digital Scholarship, an anonymous donor, Mr. Vincent J. Buonanno, and Fifth Group Restaurants. Z

above: Giovanni Battista Falda (Italian, 1643–1678). View of the Garden of the Grand Duke of Tuscany on the Pincian Hill, ca. 1688. From Li Giardini di Roma. Etching. photo by bruce m. white 4

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A Virtual Experience of Rome in an exciting and innovative use of technology to bring the exhibition to life, Sarah McPhee and Jordan Williams and Erik Lewitt of plexus r + d developed Virtual Rome. The virtual experience is grounded in the celebrated bird’s-eye view map of Giovanni Battista Falda, published in 1676, which subsumes the fine detail of over 300 etched views of the city made by the young artist. The composite image shows the urban fabric in exquisite visual detail, allowing the patient viewer to stroll the streets, count the windows in facades, and distinguish deciduous trees from evergreens. Falda’s two-dimensional map was transformed into a virtual, walkable Rome using the gaming platform known as nvis360. A team of educators, architects, and it experts documented Falda’s Rome in maps and views, checking Falda’s data against Rome today, the surveyed map of 1748 by Giambattista Nolli, and the seventeenth-century ichnographic and surveyed maps that survive in the Roman archives. Through Virtual Rome, Museum visitors can journey back in time to experience the Eternal City of the seventeen century. Virtual Rome is possible because of the generosity of Vincent J. Buonanno, who has made his extraordinary collection of Falda maps and views available in actual and digital form. McPhee notes, “The gaming platform allows us to follow the invitation of Falda’s prints to stroll the city with our eyes: to navigate lost streets and squares, take in vanished prospects, experience seventeenth-century Roman teatri in the round. This is the first time a gaming platform has been used at Emory University to recover urban history through an immersive and interactive reconstruction. Z

above: The Pantheon as seen in Virtual Rome, built using the gaming platform NVis360, is based on Giovanni Battista Falda’s map of Rome.

above: The Teatro of the seventeenth century, the second section of the exhibition, is anchored by an impression of Giovanni Battista Falda’s 1676 Nuova pianta, lent by Chicago collector Vincent J. Buonanno.

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OnView

Conserving the Memory: The Fratelli Alinari Photographs of Rome nationalism as they traveled the country, capturing in image Italy’s most treasured edifices, monuments, and works of art. The Alinari photographs were distinctly marked by their descriptive clarity, which allowed for the historical preservation of the works that they photographed. Well-known art critic Ernest Lacan remarked of his friends the Alinari brothers, the exhibition Conserving the “The Alinari are not content to Memory: The Fratelli Alinari present the monuments of their Photographs of Rome features country; they have devoted themnineteenth- and twentieth-century selves to ‘conserving’ the memory photographs taken by the innovative for the future of the masterpieces… Fratelli Alinari Photography Firm. that time gradually destroys.” Brothers Leopoldo, Guiseppe, and While pictorial preservation was Romualdo successfully captured key, their approach also provided the essence of Rome, immortalizing souvenirs d’Italie for Grand Tourists, Rome’s most treasured works of art both actual and armchair, and and architecture, from the magnifimodels for students of art worldcent façade and bustling square of wide. Although the Alinari sought St. Peter’s Basilica, to the tranquil to provide distant viewers “truth gardens of the Villa Medici, and without interpretation,” many of the famed Apollo Belvedere in the their photographs are, like the Vatican Museum. objects they captured, impressive Leopoldo Alinari trained in works of art. Florence as an engraver, but became The Firm achieved international captivated by the documentary renown during the brothers’ lifetimes capability of photography. In 1854, and remained a family business until he established the Fratelli Alinari 1920, when ownership was ceded Photography Firm, known simply to shareholders. It exists today as as “Ditta” or “The Firm.” It soon a museum, publishing house, and became a family business, employing massive photography archive, Leopoldo’s brothers Guiseppe and housing the world’s oldest and Romualdo. The Firm’s formation largest photography collection coincided with the early years of the of Italy. unification of Italy, a time of intense Our gratitude is extended to national pride and patriotism. The William Knight Zewadski, who Alinari portrayed this sense of gifted these photographs, along with many other wonderful works of art, to the Museum. Z above: Roma, parte del Foro Romano visto dal Campidoglio, (Part of the Roman Forum, view from the Campidoglio), ca. 1890. Albumen, toned. Gift of William Knight Zewadski. 6

fall 2013 – winter 2014

Monumental mosaic, new in the Greek and Roman galleries a highlight of the renewed Greek and Roman galleries is a twenty-foot ancient Roman mosaic depicting Achilles and Penthesilea before the walls of Troy, dating from the third to fourth centuries ad. These panels once decorated the floor of a sumptuous Roman villa, probably a length of cloistered walk in a walled garden (peristyle). By cutting small, dice-like cubes from colored stones (tesserae), mosaicists were able to achieve a variety of palettes, including the representation, as seen here, of shadows that was surpassed only by painting, and perhaps occasionally textiles (including carpets). The subject is taken from the most significant cycle of ancient myths, the Trojan War, and specifically the Amazons who came to assist the Trojans. The siege of Troy lasted for ten years. Fate had decreed that a number of leading heroes on both sides must meet their deaths in a fixed sequence before the city would fall. The death of one of these, Hector (another son of Priam) is described towards the end of Homer’s Iliad. It was after his death that fresh allies, the Amazons, would come to assist in the fight against the Greeks. The Amazons were fierce warrior women, who shunned the company of men. Here they fight in civilian dress pinned on one shoulder only, leaving a breast exposed. For weapons, they wield double axes and protect themselves with shields whose outlines are lunate. Some are mounted on horseback. Reading from left to right, we first see the city wall of Troy, and an open gate through which two Trojans emerge in support of three comrades who advance towards the battlefield. Three episodes on the

battlefield then unfold. The first and most complex group shows the death of a mounted Amazon whose horse has collapsed. One of her companions raises her hand to her mouth in dismay, as a Greek advances from the left to deliver the death blow, and a second Greek at right, mounted on a rearing horse, looks back triumphantly. The central fight shows a duel between an Amazon wielding a double axe high above her head as she dispatches an unarmed Greek who has fallen headlong. At right, a Greek in magnificent armor grasps an Amazon who is falling as her horse is led away by a second Greek foot soldier. While some of these groups appear generic, many of the figures

can be recognized as individuals. The group at far right, with the Greek supporting the dying Amazon, is based on a celebrated Hellenistic sculptural composition that depicted Achilles holding the Amazon queen, Penthesilea. According to the story, the moment before Achilles killed her, their eyes met and they fell in love. Two other elements in the composition are derived from sources outside of and independent from the Trojan Cycle: the Greek mounted on a rearing horse stems from images of Alexander the Great, and the roundel high up on the city wall, depicting a youthful head with a radiate crown, introduces the deity Sol Invictus, the unconquered Sun. The worship of this divinity was

popular in the eastern Roman empire, particularly among legionary soldiers, and his cult was officially sanctioned by the emperor Aurelian in the third century. Many scholars believe that his feast day, December 25, would later be appropriated by the emerging Christian community to mark the official birthday of Jesus. The typical integration of such heterogeneous strands is a reflection of the complex, integrated society of the later Roman empire. Z

above: Mosaic Panel with Achilles and Penthesilea before the Walls of Troy. Colored stones. Roman, 3rd–4th centuries ad. Loan from an anonymous collector.

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Carloscollections Jessica Stephenson leaves a legacy of contributions to the Museum during her ten years as Curator of African Art, Jessica Stephenson produced multiple original exhibitions; developed numerous gallery rotations of the African collection to explore various ways of understanding the art; encouraged faculty and mentored students not only here at Emory but throughout the Atlanta community in the use of the collection; worked in concert with the Education Department on lectures and tours; and collaborated with Development to identify and cultivate collectors and patrons here and around the country. Under her leadership and connoisseur’s eye, the African collection has expanded in breadth and depth with significant works of art. The Carlos Museum has benefited greatly from her dedication, and we wish her well on the next leg of her journey as the Assistant Professor of African Art at the Kennesaw State University’s School of Art and Design. Z

Amanda Hellman joins the Carlos Museum as new Curator of African Art in November after curating The Matter of Theology: A Conversation with the Collection; Critical Encounters: Collecting Contemporary Photography; Kota Ezawa: Re-Animating History; and Sanguinary Vow at the Williams College Museum of Art, Amanda Hellman was selected as a young curator at the Gwangju Biennale Foundation in South Korea. She also has served as an adjunct lecturer in the department of art at Oglethorpe University in Atlanta. Hellman has also served on the exhibition committee at the Emory University visual arts department. Hellman’s research in West and East Africa has revealed how heritage formation and artistic practice are inextricably linked. The study of each, side by side, provides an incredibly rich approach to art and the questions surrounding its production. Hellman received her ba from Georgetown University and her ma from Williams College. She obtained a phd from Emory University and completed her dissertation on museum development in colonial Nigeria. Z

top: Jessica Stephenson, former Curator of African Art introducing Divine Intervention: African Art, a Carlos Museum exhibition she curated. bottom: Amanda Hellman, new Curator of African Art 8

fall 2013 – winter 2014

New in the Egyptian and Near Eastern galleries

is usually depicted holding a scepter and flail with a crescent moon headdress surmounted by the full moon. over the summer many changes He was associated with another were made to the ancient Egyptian lunar deity, Djehuty (Thoth), and and Near Eastern galleries. Many in one of these combined manifesgenerous gifts and loans of objects tations was referred to as “the were secured, helping to fill in spaces provider” and credited with driving created by the recall of a number of out evil spirits. loans from the Harvard University Two magnificent gifts of art dating Museums as they renovate their own from the Middle Kingdom were exhibition spaces. added to the Egyptian collection— The most spectacular addition is a stunning alabaster canopic jar of a the wonderful Assyrian relief of a queen or princess, purchased through winged deity on loan from the Penn the kindness of Joan Sammons; Museum. Examples of the items and a very important portrait of depicted on the relief are in the case Amenemhet iii donated by Jack beside it, including jewelry, a dagger, Josephson and Magda Saleh. Z the situla held by the deity, and even a pinecone brought back from the Middle East by Reverend William Shelton in 1920, and looks very much like the one the deity is using. Through the generosity of Anne Cox Chambers, the Museum was able to acquire a number of very important bronzes for the Late Period Gallery, including an Egyptian situla, which is very different in form from the Assyrian one. This example is unusually large and carefully decorated with a procession of deities and a frieze with divine boats pulled along by baboons and jackals. There is also a remarkably preserved bronze figure of Neith, the goddess of warfare and hunting as well as a creator goddess and protector of the dead. She had her origin in the Nile Delta and is depicted as a woman wearing the red crown of Lower Egypt. This very fine example is one of the few that are almost perfectly preserved. A generous grant from the Forward Arts Foundation allowed the Museum to add another bronze to this group, a rare depiction of the composite god Khonsu-Djheuty. Khonsu, the son of Amun and Mut,

above: Khonsu-Djheuty. Egypt. Late Period, ca. 664–305 bc. Bronze. Gift of the Forward Arts Foundation.

photo by bruce m. white

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Educationnews Camp Carlos celebrates twenty years of summer art experiences for twenty amazing years, the Carlos Museum has had the pleasure of nurturing the creative lives of young artists by introducing them to outstanding art in the collections and inspired teaching from practicing local artists. This summer, children explored works of art in the Museum’s galleries and had the rare opportunity to examine others close-up, out from under glass in the studio. They conjured a variety of monsters from ancient Greece— gorgons, stymphalian birds, sirens, griffons, and hippocampi—in vibrant watercolors, black-and-red-figure clay vases, and scary Medusa masks. Teenagers drew, painted, molded, and sculpted the human figure, taking inspiration

from the ancient artists of Greece and Rome and from live models in the classroom. Vivid colors saturated fibers that were spun into thread, woven, and stitched by the nimble fingers of children learning to use the drop spindle, backstrap loom, and embroidery needles. And in the final weeks of camp, children created puppets from the most humble of resources— string, bits of wood, cardboard, and tape— imbued them with personalities, and fashioned a whole animated world that grew from African puppets and masks in the galleries. Thank you for twenty years of sharing your children with the Carlos Museum, and for allowing ancient and contemporary artists to inspire an excitement for making art! Z

above: Young puppeteers with one of the fabulous large-scale puppets created at Camp Carlos. 10

fall 2013 – win ter 2014

Explore Romare Bearden through innovative programs in 1977, Romare Bearden (1911– 1988), one of the most original artists of the twentieth century, created a series of collages and watercolors based on Homer’s epic poem The Odyssey. Rich in symbolism and allegorical content, Bearden’s Odyssey series created an artistic bridge between classical mythology and African American culture. The works conveyed a sense of timelessness and the universality of the human condition, but their brilliance was displayed for only two months in New York City before being scattered to private collections and public art museums. A new exhibition from the Smithsonian Institution Traveling Exhibition Service (sites) titled Romare Bearden: A Black Odyssey reunites the works and will be on view at the Carlos Museum from December 14, 2013, through March 9, 2014. A compelling array of educational programs has been developed to accompany the exhibition, taking advantage of immense talent and expertise at Emory, in Atlanta, and across the country. On the weekend of January 24 though 26, the Museum and Emory’s Theater Studies Department will present a live, three-day reading of Homer’s Odyssey. Stanley Lombardo, Professor of Classics at the University of Kansas, whose translation of the epic will be read, will be on hand to open and close the three-day reading. Daniel Mendelsohn described Lombardo’s translations of Homer, in the New York Times, as “always conscious of the poem’s overarching theme…Lombardo manages to be respectful of Homer’s dire spirit while providing on nearly every page some wonderfully fresh

refashioning of his Greek.” Readers include noted Atlanta actors E. Roger Miller, Lisa Paulsen, Tom Key, and Tiffany Mitchenor, as well as Janice Akers and Timothy McDonough of Theater Emory, Jovita Moore of wsb tv, Rose Scott of wabe 90.1, students and faculty in Emory’s Classics Department, and others. The Carlos Reads Book Club will offer readers opportunities to explore several engaging contemporary interpretations of Homer’s classic works. Louise Pratt, Chair of Emory’s Classics Department, will lead readers through four recent works that retell the ancient stories including The Penelopiad by Margaret Atwood; Ransom by David Malouf; Daniel Wallace’s Big Fish, and The Lost Books of the Odyssey by Zachary Mason. Bearden saw the Odyssey as a universal story of the search for home, with parallels to the Great Migration of African Americans from the Jim Crow South to a better life in the North. On February 2, at 4 pm, Isabel Wilkerson, Pulitzer Prize-winning author of The Warmth of Other Suns, will give the annual Nix Mann Endowed Lecture, titled Bearden and the Great Migration. The Museum’s Book Shop will have copies of her book for sale at the event and she will sign copies after the lecture. Museum members and members of the Emory community and the public are invited to share their stories of the Great Migration, or of their family’s journey back to Atlanta and other cities in the New South with StoryCorps. StoryCorps Atlanta, housed in the Atlanta History Center, has reserved a number of recording sessions for people interested in sharing their families’ or their personal journeys.

Visit carlos.emory.edu/storycorps for more information. Dr. Robert O’Meally, Zora Neale Hurston Professor of English and Comparative Literature, founder and former director of the Center for Jazz Studies at Columbia University, and curator of Black Odyssey, will visit campus three times during the exhibition to give public lectures. In a lecture titled Drawing Us Together, he will speak about Bearden’s ethical and political impulse to bring together myriad art forms and traditions. In a second lecture on the topic of Bearden, Homer, and Eros, he will discuss issues of women and love in Homer and in Bearden’s Odyssey series. On his final visit, Dr. O’Meally will be in conversation with Dwight Andrews, composer and Emory Professor of Music, and Paul Carter Harrison, Emory Playwright in Residence, on the subject of Bearden and music. Andrews will compose a work for the Vega String Quartet, based on his relationship with Bearden and his art, which will premiere in the Reception Hall on January 16. Andrews and Mark Sanders, Chair of Emory’s Department of African American Studies, will teach a course for Emory students focused on the exhibition titled Black Odyssey: Migration, Home, and the African American Cultural Experience and all of the public speakers coming to campus will also meet with the class. Seventh grade students in the Atlanta Public School System will also have an in-depth introduction to Bearden, his textual and visual sources of inspiration, and the technique of collage. As part of the Atlanta Bureau of Cultural Affairs’ Cultural Experience Project, every seventh grader in the aps system

will tour the exhibition, explore works related to Homer’s Illiad and Odyssey in the Greek galleries, look for Bearden’s visual sources in the art of Africa and even ancient Egypt, and participate in a collage-making workshop with Kevin Sipp, Atlanta artist and former curator at Hammonds House. Sipp will conduct public collage and watercolor workshops for children during the exhibition as well. More information about these and other programs related to Romare Bearden: A Black Odyssey, will be available in the Winter Member’s Calendar and on the Museum’s website. Z

above: Poseidon, The Sea God. Collage. Courtesy Thompson Collection, Indianapolis, Indiana

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Carlos&theCampus

Carlos&theCampus Emory graduate students gain first-hand experience graduate students who took Sarah McPhee and Bonna Wescoat’s class Maps and Models: 21st-Century Methods of Exploring Ancient and Baroque Rome in 2012, saw their coursework expanded and applied in the Carlos Museum galleries for Antichità, Teatro, Magnificenza: Renaissance and Baroque Images of Rome. Through the Andrew W. Mellon internship program at the Carlos Museum and the Art History Department’s internship program, four graduate students worked with curators, exhibition designers, educators, and architects on the development of the exhibition, the catalogue, and the Virtual Rome project featured in the galleries. Pru Hardy worked with curator emerita of Works on Paper Margaret Shufeldt to review the holdings of the Carlos Museum, the Manuscript, Archives, and Rare Book Library (marbl), and the Pitts Theology Library to establish the initial checklist for the exhibition. Celicy Boles conducted photographic research to determine which prints had been photographed or scanned, and which ones required imaging. She matched the images to the information for each print. Curators and exhibition designer Joe Gargasz used the final checklist to determine the exhibition’s layout. Joanna Mundy worked with Sarah McPhee, Emory’s Winship Distinguished Research Professor of Art History, and the architects and modelers at nvis360 to develop the interactive walkthrough of seventeenth-century Rome featured in the exhibition. This involved researching each of the 300 prints created by Giovanni Battista Falda, closely examining each prints’ details to ensure that Virtual Rome presented a compelling and accurate

Indian dance at Emory joyce flueckiger, Emory Professor of Religion, and Cuchipudi Indian dancer Sasikala Penumarthi are teaching a class this semester titled Dance and Embodying Knowledge in the Indian Context. Students studied the Chola bronze of the dancing Krishna, one of Hinduism’s major deities, in the Asian galleries and then watched and discussed a performance of Sasikala Penumarthi dancing Krishna. Later in the semester, students will learn parts of the Cuchipudi dance themselves. Z

top: Joyce Flueckiger and dance class above: Dancing Balakrishna or Saint Sambandar. India, Nadu, Tamil, Chola. Late Chola Dynasty, late 13th–14th century. Bronze. The Ester R. Portnow Collection of Asian Art, a gift of the Nathan Rubin-Ida Ladd Family Foundation. photo by bruce m. white

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above: Sasikala Penumarthi dances Krishna in the Cuchipudi tradition.

version of the city, and working with McPhee to match the prints to Falda’s 1676 map. Mundy also created a life-size reproduction of the map featured in the exhibition, highlighting the portions of the city that are depicted in Falda’s views. Katherine Cupello conducted research on the prints for label copy, assisted with the editing of both the labels and the catalogue, attended the press check for the catalogue at Bennett Graphics, and introduced the public to the Magnificenza section of the exhibition in a gallery talk with Eric Varner and co-curator McPhee. Sharing her experience as a Mellon intern, Cupello noted, “My involvement with Antichità, Teatro, Magnificenza has allowed me to experience first-hand the many facets of the creation and installation of a museum exhibition. Along the way, I have gained a new

understanding of and appreciation for the processes behind didactic material composition and book publication. This exhibition required a great deal of collaboration and it is very rewarding to see our efforts come to such a wonderful conclusion.” Z

above: Katie Cupello, Joanna Mundy, and Cecily Boles worked as interns on Antichità, Teatro, Magnificenza.

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CarlosontheRoad The mystery of the Albany Institute’s mummies the story of the Albany mummies centers on two ancient Egyptian mummies and their coffins, one dating from the 21st Dynasty and the other from the Ptolemaic Period. In 1909 the two coffin bottoms and two mummies were purchased from the Cairo Museum by the Albany Institute of History and Art’s board member Samuel Brown, a purveyor of coffees, teas, and spices. The transport of the mummies and coffins by steamship from Cairo to New York and then by steamboat to Albany was covered daily in the Albany newspapers. When they arrived, the 21st Dynasty mummy was identified as female. Dr. Peter Lacovara, Senior Curator of Ancient Egyptian, Nubian, and Near Eastern Art at the Carlos Museum, consulted with the Albany Institute of History and Art staff and confirmed that the mummy cover belonging to the Institute’s elaborately decorated 21st Dynasty coffin bottom was once part of the collections of the British Museum in London, and that the coffin lid was in the collection of the Kunsthistorisches Museum in Vienna. Lacovara also determined that the coffin belonged to Ankhefenmut, a priest and sculptor in the Temple of Mut who lived between the years 1069 and

Conservation@theCarlos 945 bc. Lacovara explained to the staff at the Albany Institute that errors were often made in identifying the sex of mummies, noting that tremendous improvements in ct-scanning and x-ray technologies could help solve this mystery. Informed by his experience working with Dr. William Torres, Emory University School of Medicine Vice Chair of Clinical Affairs and Chief of Radiology, Lacovara suggested that it was time to re-examine the Albany mummies using new technology. The mummies were taken by ambulance to the Albany Medical Center to be ct-scanned and x-rayed with modern equipment. Not only did the 21st Dynasty mummy in question turn out to be male, Lacovara also found that the right scapula of the mummy was more robust than the left, suggesting a repeated use of the upper arm. The owner of the coffin was a sculptor as well as a priest, a further indicator that the mummy was indeed the individual named on the coffin, Ankhefenmut, and its correct occupant after all. The Mystery of the Albany Mummies, an exhibition at the Albany Institute of History and Art tells this intriguing story. The Carlos Museum was pleased to loan thirty objects from its ancient Egyptian collection to expand the exhibition’s impact, engaging audiences of all ages. Z

right: Late Dynastic coffin. Dynasties 27–30, 525–343 bc. Wood, plaster, pigment. Collected by William A. Shelton, funded by John A. Manget. photo by peter harholdt 14

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Interns and Fellows in the Parsons Conservation Laboratory alexis north joined the conservation team for nine weeks this summer to help prepare objects for loan to the Houston Museum of Natural Science (HMNS). Alexis is a graduate student at the UCLA/ Getty Masters Program in the Conservation of Archaeological and Ethnographic materials. She earned a ba in Anthropology and Classical Civilizations from New York University and has participated in archaeological excavations in Turkey, Greece, and Kenya. While here at the Carlos Museum she examined more than two dozen ancient Egyptian objects, preparing condition reports and documentation photography. Alexis treated many of the objects, including several small bronze objects and painted wood artifacts, to make them stable for shipment and display. Working with Chief Conservator Renee Stein in consultation with Peter Lacovara and HMNS curator Tom Hardwick, Alexis planned selective cleaning and loss compensation to make objects more aesthetically integrated and legible by the public. She blogged on the HMNS website about her projects, including a trip to Emory University Hospital to ct-scan a cat mummy. While completing her graduate studies through a year-long internship at the University of Pennsylvania Museum of Archaeology and Anthropology, Alexis plans to return to the Carlos Museum to serve as courier for the HMWS loans and to present a lecture in the spring course Investigating Art with Physics.

Ashley Jehle became the Carlos Museum’s second Andrew W. Mellon Advanced Fellow in Objects Conservation in September. She recently completed a Master of Arts with Certificate of Advanced Study in Art Conservation at Buffalo State College. Ashley’s research focused on the analysis of pesticides on feather objects and the simulation of leather through digital printing. During graduate studies, she interned in conservation departments at the Metropolitan Museum of Art, American Museum of Natural History, Field Museum, and Agora Excavations. Ashley earned a ba in Art History and Chemistry at Florida State University. During the two-year fellowship, Ashley will participate fully in the activities of the Parsons Conservation Laboratory, including examination, treatment, and preventive care as well as mentoring of students and volunteers. Her projects will include the preparation of objects for exhibition here at the Carlos Museum as well as for those on loan. She will undertake research incorporating the University’s resources and will contribute to student projects through both

practical supervision and classroom teaching. Kathryn (Katie) Etre transitioned from Mellon Fellow to the position of Assistant Conservator, funded through the same generous grant from the Mellon Foundation. Katie will continue to contribute to the lab’s varied activities, including treatment of complex objects and supervision of interns. She is currently treating a Geometric Pyxis in preparation for installation in the Greek and Roman galleries and preparing objects for loan. Katie will again oversee the internship on campus public art. She will also continue her research on purple slip found on pre-Columbian ceramics from Panama and has undertaken a project to source obsidian objects in the Carlos collections using trace element analysis by x-ray fluorescence spectrometry. She is coauthoring an article on the use of magnetic paints for mounting textiles. The Museum is fortunate to have such capable and skilled hands accomplishing the lab’s many responsibilities. Z

above: Alexis North at a drawer filled with objects she prepared for loan to the Houston Museum of Natural Science.

above: Ashley Jehle photo-documenting the Egyptian Ptah-Sokar-Osiris funerary statue in preparation for treatment.

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SupporttheCarlos

SupporttheCarlos Anne Cox Chambers receives the 2013 Baker Service Award the honorable anne cox chambers was awarded the Woolford B. Baker Service Award on October 4 for her leadership and outstanding service to the Carlos Museum. A long-time donor, patron, volunteer, and advisor, Chambers has been one of the Carlos Museum’s most steadfast ambassadors and benefactors. She served on the Board during the Museum’s earliest years and saw the institution’s rise in popularity and international reputation. Her support is greatly appreciated. The Woolford B. Baker Service Award was established by Sally and Joseph Gladden in 1999. The award

is presented each year to an individual, group of individuals, or organization that has demonstrated outstanding service to the Carlos Museum. The award is named in honor of Woolford B. Baker, Joe Gladden’s grandfather and the director of Emory’s museum from 1953 to 1983. Recipients of the Baker Award are selected by a committee that includes former recipients of the Baker Award, University faculty and administration, and Museum board and staff members. Z

A

B

C B

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Veneralia: Experiencing Art in Architecture

BACCHANAL

on march 16, 2013, inspired by the Museum’s African, Asian, Egyptian, and Greek and Roman collections, designers Chip Cheatham, Chris Jones, Robert Long, Bud Shenefelt, Erika Ward, and Beth Webb transformed the Museum’s level three galleries and reception hall into unique spaces for dining, mingling, and lounging. Veneralia guests were treated to global cuisine provided by Dennis Dean Catering and music that complemented each interior design. Veneralia Co-chairs Dennis Dean and Sara Shlesinger orchestrated festivities worthy of recognizing Honorary Chair Michael Graves. Marian Goldberg of Cartier presented Graves a Cartier pen during a special presentation. A silent auction of indulgences and luxury get-aways capped the evening.

Want to Rome around the World? celebrate twenty years of revelry mod-Italian style at the 20th annual Bacchanal. Inspired by the special exhibition Antichità, Teatro, Magnificenza: Renaissance and Baroque Images of Rome, Bacchanal 20 will transport you to the streets of the Eternal City with culinary delights from Atlanta’s best caterers, an open bar, raffle, and a ’60s mod theme. Tickets are going fast— visit carlos.emory.edu/bacchanal to purchase yours. Z

above: Anne Cox Chambers, recipient of this year’s Baker Award. 16

fall 2013 – winter 2014

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Veneralia revelers included: A Mary Johnson and Dennis Dean; B Marian Goldberg presents Cartier gift to Honorary Chair Michael Graves; C Jim Miller and Charles Ackerman; D Ann and Ben Johnson, Dawn Worthey, Chris Carlos; E Doug Weiss, Chris Casey, Toni Schenk and Preston Wilson; F African Drummer Omelika Kuumba

Veneralia would not have been such a great success without the generous support of sponsors, benefactors, patrons, and attendees. We would like to extend a special thank you to our Platinum Sponsor Cartier; Gold Sponsors Canterbury Press, Dennis Dean Catering, National Distributing Company, Publix Super Markets Charities; Silver Sponsors Atlanta Homes & Lifestyles, Delta Air Lines, Fidelity Bank, Magnum Companies, Party Tables, Peachtree Tents & Events, Robert Long, Times 3; Bronze Sponsor Burr & Forman, llp; Platinum Benefactor Chris M. Carlos; Gold Benefactor The Honorable Anne Cox Chambers; and Bronze Benefactors Judy and George Hemenway, Sara and John Shlesinger, Dina and Ed Snow, Marc Taub, and David York. Save the date: Veneralia 2014 will be held on April 12, 2014. Z

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Membership

Bookshop b o o k s o n t h e et er na l c it y

To order books by phone call 404-727-2374, or visit our website at carlos.emory.edu/bookshop.

Quirinal and others, which are still among the unmistakable hallmarks in conjunction with the special of Rome. For a street-level appreciaexhibition Antichità, Teatro, tion of the Eternal City, check out Magnificenza: Renaissance and City Walks: Rome ($14.95), a Baroque Images of Rome, the fascinating travel accessory for Museum Bookshop is featuring wanderers looking to experience a wide variety of beautiful and Rome like a native. Each card in this fascinating books on Rome, includdeck outlines a self-guided walking ing the newly published companion adventure with a detailed map on catalogue ($17) with essays and one side and insider information on illustrations from the exhibition. the other. With fifty different routes, Also new to the bookshop is Palazzi travelers can pick any card and start of Rome: Splendor and Pride exploring. For a more eccentric ($29.99), a comprehensive photointroduction to the city, try Rome: graphic documentation of Roman A Cultural, Visual, and Personal villas and palaces, with images of History ($18.95). Equal parts the grand houses of the popes and idolizing, blasphemous, outraged, the nobles of the city set within their and awestruck, Robert Hughes, the historical framework. In their quest late art critic for Time magazine, to reflect their family's political takes the reader to the Rome he first success and wealth, the famed encountered as a hungry twentydynasties of the Borgheses, Farneses, one-year-old fresh from Australia Colonnas, Corsinis and other old in 1959, exploring in rich detail the families created many of the city’s formation of empire, from the rise most famous buildings, including the of early Christianity through the palaces on the Capitol, the Palazzo Crusades and the Renaissance, into Farnese, the Villa Borghese, the the present. Z

Caffè Antico closes for twenty years, Caffè Antico at the Carlos Museum has been a campus favorite for food and fellowship. An eclectic mix of Museum visitors, faculty members, students, and staff from across campus could always be found enjoying the café’s lively lunch services, sophisticated cuisine, and lovely atmosphere. Some came for lunch and discovered the Museum; some came to visit the Museum and discovered a great place to relax and enjoy a meal or cup of tea. The improvements to Emory Village, along with the development of Emory Pointe, bring a wonderful variety of new dining options close to campus, many just steps away from the Museum. Due to this change in the food service environment, the Museum decided to close Caffè Antico. The last day of service was July 31, 2013. The café space is now a small, intimate dining room for birthday parties, luncheons, or dinners for groups of sixteen or fewer. The rental fee is modest, and a variety of outstanding caterers is available. For more informal lunches, boxed lunches may be delivered to the café. Museum members receive a discount from the public rate. For further information on renting this space and to check availability, please contact Jim Warren, Special Events and Amenities Manager, at: 404-727-0516 or jwarre2@emory.edu. Z 18

fall 2013 – win ter 2014

we extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between December, 2012, and August, 2013. 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. Mr. and Mrs. James H. Morgens

Mr. and Mrs. Michael R. Thomas Mr. and Mrs. Howard J. Weinstein

Di rect or Counci l

Ioni c

Part ner

Mrs. Jean T. Astrop Mr. and Mrs. M. Edward Ralston Mr. and Mrs. Edgar Cleveland Snow, Jr. Dr. William E. Torres and Mr. Donald Jack Sawyer Curator Counci l

Mr. and Mrs. Richard D. Aaronson Ms. Merrily C. Baird Messrs. Dirk L. Brown and Timothy Burns Mr. and Mrs. Charles G. Crawley Dr. Elinor P. Daniel and Mr. J. Wallace Daniel Dr. Erl Dordal and Ms. Dorothy K. Powers Mr. and Mrs. James C. Edenfield Mrs. Louise S. Gunn Mr. and Mrs. Bahman M. Irvani Mr. Baxter P. Jones Dr. and Mrs. Frank R. Joseph Mr. David L. Kuniansky Mr. and Mrs. Michael Kuniansky Mr. James H. Landon Dr. and Mrs. John Laszlo Dr. Elaine L. Levin Drs. Jerrold Henry Levy and Maria Arias Mr. and Mrs. Bruce E. Mitchell Mr. Bernard J. Vanderlande and Mrs. Reid P. Mizell Dr. and Mrs. John S. O’Shea Dr. and Mrs. Morris E. Potter Dr. Monique Seefried and Mr. Ferdinand C. Seefried Mr. and Mrs. John D. Shlesinger Dr. Sandra J. Still and Ms. Emily E. Katt Mrs. Ellen Newell Bryan Tozzer Ms. Joni R. Winston Dr. and Mrs. Sidney H. Yarbrough iii Cori nthi an

Dr. and Mrs. Overton Anderson Currie, Jr. Ms. Catherine Warren Dukehart Drs. Michael Lyn Flueckiger and Joyce Burkhalter Flueckiger Dr. and Mrs. Larry R. Kirkland Drs. Jeffrey P. Koplan and Carol R. B. Koplan Mr. L. Richard Plunkett Ms. Joan M. Sammons

Ms. Janet M. Abraham Dr. Delores P. Aldridge Mr. and Mrs. Miles J. Alexander Dr. Susan Youngblood Ashmore and Mr. Robert W. Ashmore Dr. Daniel B. Caplan Mrs. Carolyn J. Childers Ms. Adria B. Davenport Dr. and Mrs. Lawrence W. Davis Dr. Francine D. Dykes and Mr. Richard Hale Delay Mr. Owen H. Halpern Mr. and Mrs. George R. Hemenway Mr. Morris M. Herzberg, Jr. Mr. James E. Honkisz and Ms. Catherine A. Binns Mrs. Susanne W. Howe Dr. and Mrs. Michael M. E. Johns Mrs. Jo W. Koch Mrs. Claudia Kramer Mr. Stephen P. Kramer Dr. and Mrs. Patton H. McGinley, Sr. Mrs. Dorothy H. Miller Dr. David S. Pacini and Mrs. Martha H. Abbott-Pacini Mr. and Mrs. Melvin A. Perling Mr. and Mrs. David T. Peterson Mr. and Mrs. William C. Rawson Mr. and Mrs. James M. Sibley Drs. Kirk W. Elifson and Claire Elizabeth Sterk Mrs. Mary Rose Taylor Mr. and Mrs. J. Eric Viebrock Mr. and Mrs. Joseph B. Vivona Mr. David J. Worley and Ms. Bernadette M. Drankoski Mr. William K. Zewadski Dori c

Mr. and Mrs. Wilfred Arnett Ms. Nancy L. Barber Ms. Diane Byrd Bartlett Drs. Patricia J. Bauer and James Steven Snow The Rev. Nancy Julia Baxter Mr. and Mrs. John H. Beach Mr. Robert Berlin and Mrs. Jeri Lynn Cameron-Berlin Dr. and Mrs. Michael E. Bernardino Dr. and Mrs. Bruce H. Bielfelt Mr. David Boatwright Dr. Josephine V. Brown Mr. and Mrs. John A. Busby Drs. Aubrey M. Bush and Carol T. Bush

Thank you

Mrs. Lorraine and Mr. Thurman Cary Dr. and Mrs. Wright Caughman Dr. Lucio Chiaraviglio and Ms. Louise Stearns White Mrs. Honor Cumming Cobbs Mr. and Mrs. Thomas G. Cousins Dr. Ann Davidson Critz Mr. and Mrs. Jeffrey Cross Ms. Dorothy A. Cunningham Mr. and Mrs. Ajit Dalvi Mr. Corey Dangar Dr. and Mrs. Shelley Carter Davis, Jr. Drs. J. Anthony Paredes and Alleen D. Deutsch Dr. Robin Henry Dretler and Ms. Alice K. Michaelson Mr. Kenneth Stewart Falck Ms. Adrienne Mariel Ford Mr. and Mrs. James A. Ford Ms. Patricia Formant Mr. and Mrs. Carl I. Gable Dr. and Mrs. Arthur W. Garrison Mr. and Mrs. Charles Gay Ms. Kathleen Gist Mr. Charles R. Hunsucker and Ms. Lyndel M. Gliedman Dr. and Mrs. Joel A. Goldstein Mr. and Mrs. Clark M. Goodwin Mr. Morris N. Habif Dr. and Mrs. John B. Hardman Mrs. Sally Willingham Hawkins Mrs. Barbara S. Hull Mr. and Mrs. J. Timothy Johnson Ms. Faye Kimerling Ms. Margie A. Koenig Mr. and Mrs. John G. Kokoszka Mr. and Mrs. Wayne Alan Krause Ms. Patricia Krull Mr. and Mrs. Arnold H. Kurth Mr. and Mrs. James A. Lanier, Jr. Mr. Larry D. Woodring and Ms. Sharon M. LeMaster Mr. Richard Lodise Ms. Lorraine E. Loftis Mr. James Russell Bodell and Ms. Susan Ann Long Ms. Patricia Ann Louko and Mr. Herbert Johnson Mr. Richard H. Lowe Mr. and Mrs. Frederick C. Mabry Mrs. Edith Kirkland Malone Dr. and Mrs. Harvey A. Mannes Dr. Roxani Eleni Margariti Mr. and Mrs. Dileep Mehta Ms. Martha J. Mills Dr. Elizabeth Reynolds Moye and Mr. H. Allen Moye

Mr. and Mrs. George E. Mundy Dr. Melissa Murphy Mr. Kenneth Nassau Ms. Lynda D. Nelson Bush Mr. Andreas Penninger Dr. Louise Pratt Pettit and Mr. James E. Pettit Dr. Frank M. Pickens Mr. and Mrs. Roger C. Press Mr. and Mrs. William Pressly Dr. and Mrs. Thomas E. Prosser Ms. Mina Rhee Mr. Darryl C. Payne and Mrs. Lisa C. Richardson Dr. Henry C. Ricks, Jr. Mr. and Mrs. Marion Pinckney sRivers iii Mr. and Mrs. Lawrence Wood Robert iv Mr. David P. Robichaud and Ms. Sharon McClelland Ms. Vicki Rolland Ms. Sharon L. Roy Mr. and Mrs. Michael J. Rust Dr. Robert J. Samuels and Ms. Patricia Stone Dr. and Mrs. Rein Saral Drs. Robert L. DeHaan and Marianne M. Scharbo-DeHaan Dr. and Mrs. Robert A. Schnapper Mr. and Mrs. Bruce A. Shecter Mr. Gerald R. Cooper, Jr. and Mrs. Charlotte F. Slovis-Cooper Mr. and Mrs. Barry Lee Spurlock, Sr. Mr. and Mrs. Joe Stickell Mr. Harry E. Stillwell Ms. Carol Landreth Surface Dr. and Mrs. Gary W. Tapp Ms. Virginia S. Taylor Mr. and Mrs. Theodore M. VerSteeg Mr. John T. Vian Mrs. Mary-Ellen Hunt Vian Mrs. Carolyn Smith Vigtel Dr. and Mrs. Warren Walter Mr. Stephen A. Wheat Mr. and Mrs. Richard S. White, Jr. Messrs. John A. White, Jr. and Richard G. Low Mr. William B. White Mr. Russell F. Winch Dr. and Mrs. William N. Yang Dr. and Mrs. Stuart M. Zola

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­­­571 south kilgo circle atlanta, ga 30322 carlos.emory.edu

non profit organization u.s. postage paid atlanta, georgia permit

Member

Comingup

Visitorinformation

December 14, 2013–March 9, 2014

Hours: Tuesday through Friday: 10 am–4 pm; Saturday: 10 am– 5 pm; Sunday: noon–5 pm; Closed Mondays and University holidays. Admission: $8 general admission. Carlos Museum members, Emory students, faculty, and staff: Free. Students, seniors, and children ages 6–17: $6 (Children ages 5 and under free). Visit our website to find out about Free Afternoons.

entrance on South Kilgo Circle. Handicap-accessible parking is available in the Oxford Road and Peavine decks. A handicap-accessible shuttle runs from the Peavine deck, weekdays every 10 minutes.

Public Transportation: marta bus line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations.

Public Tours: Depart from the rotunda on Sundays at 2 pm. Call in advance, 404-727-4282.

Romare Bearden: A Black Odyssey February 15–June 1, 2014

Mirroring the Saints: The Jesuit Wierix Collection from the Krijtberg, Amsterdam

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

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.

Audio Tour: $2. Free for Museum members.

Parking: Paid visitor parking in Museum Information: 404-727-4282 the visitor sections of the Fishburne Web Access: carlos.emory.edu and Peavine Parking Decks and in the new Oxford Road Parking Deck, located behind the new Barnes and Noble @ Emory, 1390 Oxford Road. Handicapped Parking: Drop off for handicap visitors at Plaza Level

Fall news 2013 11 15 spreads  
Fall news 2013 11 15 spreads  
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