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spring summer 2012


Director’sletter Enlightenment is in the air this spring, and our new exhibition, Mandala: Sacred Circle in Tibetan Buddhism is illuminating the possibilities. A multi-year collaboration with Emory’s Department of Religion, through a grant from the Shelley and Donald Rubin Foundation, was the inspiration in bringing this exhibition to Atlanta. Further collaborations around campus and in the community have produced a fascinating array of educational programs, related exhibitions, and activities to further an understanding of the complex significance of the mandala. Lectures, meditation classes, workshops, and gallery talks here at the Carlos Museum will explore the spiritual uses of the mandala in Tibetan Buddhism; Oglethorpe University Museum of Art is hosting an exhibition examining the therapeutic uses of the mandala by patients of Carl Jung; Emory University Visual Arts Gallery is displaying an exhibition highlighting the mandala form as artistic expression by contemporary artists; and in March a “living mandala” will be constructed across the quadrangle from the Carlos Museum in the Pitts Garden of Emory’s Canon Chapel. You will find a list of mandala events (and more) in the pages of this newsletter, and of course, on our website. So many paths toward enlightenment! Over the past decade we have worked diligently to update our permanent collection galleries to stay current with new research and to ensure recent acquisitions make it out on display: The Greek and Roman galleries as well as the Egyptian galleries were completed a number of years ago; the African cover: Statuette of a Cat. Egyptian. Saite to Late Dynastic Periods (664–332 bc). Bronze with modern stone base. Gift of Anne Cox Chambers. PHOTO: RUPERT WACE ANCIENT ART.

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galleries were reinterpreted and refurbished two years ago. This summer we will tackle the ancient American galleries, and there is great excitement around the plans Dr. Rebecca Stone, Faculty Curator of Art of the Americas, has for the new gallery design. Dr. Stone will also be expanding the reach of the collection, folding in native North American works of art. The Ancient American Art galleries are slated to close on May 21 for eight months, reopening on January 26, 2013, as the Art of the Americas galleries. But fear not our fans of this collection, we will open an exhibition titled, ‘For I am the Black Jaguar:’ Shamanic Visionary Experience in Ancient American Art on September 8, 2012, which will run through January 5, 2013. Please take a moment to visit iSites, our online archaeology blog of Emory excavations. If you click on “iMalqata” you can catch up with Dr. Peter Lacovara, Senior Curator of Egyptian, Nubian, and Near Eastern Art and his Metropolitan Museum of Art colleagues from the Joint Expedition to Malqata as they blog about the latest discoveries. In closing, I’d like to express gratitude to our members and patrons for your continued commitment to our mission. Your support allows us to present important exhibitions such as Mandala: Sacred Circle in Tibetan Buddhism, as well as a compelling array of educational programming ranging from lectures and concerts to teacher workshops and summer camp. Thank you. As always, I hope to see you in the galleries,

B on n ie Speed Director


OnView

MANDALA: SACRED CIRCLE IN TIBETAN BUDDHISM THROUGH APRIL 15

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he Carlos Museum presents Mandala: Sacred Circle in Tibetan Buddhism, an exhibition of masterworks of Tibetan art that explores the many forms and meditative functions of the mandala in Tibetan Buddhism. “Mandala” is a Sanskrit word meaning “circle.” Depicting a realm that is both complex and sacred, the mandala is a visualization tool meant to advance practitioners toward a state of enlightenment. Tantric practitioners visualize themselves moving through the mandala itself, eventually embodying a deity in the center.

In its most common form, a mandala consists of a square palace inhabited by a deity, which is surrounded by concentric circles — protective rings of fire, vajras, lotus flowers, and charnel grounds. (Is there any place more suitable to meditate on the fleeting nature of existence than a cemetery?) Many of the visual forms found in the mandala come out of ritual practice. In earliest times, a ritual ground was purified with fire; thus, the presence of fire rings surrounding the sacred palace. Generally, the walls of the palace are adorned with strings of pearls and the roof with umbrellas, banners, and pennants. In mandalas of certain wrathful deities, these adornments may be replaced with images of bones, internal organs, and impaled corpses. Practitioners visualize the fierceness of the wrathful deity to transform their most negative emotions.

Dr. James Wagner, Emory University president, studies the three-dimensional mandala of Guhyasamaja from Gyuto Monastery in the Tibetan exile community of Dharamsala, India.

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PHOTO: © RUBIN MUSEUM OF ART, NEW YORK.

PHOTO: JOHN BIGELOW TAYLOR, NYC.

Visitors will find other forms of the mandala as well, including mandalas conceived as concentric circles, lotus blossoms, six-pronged stars, or inverted, crossed triangles. A deity, sometimes with a consort, is often depicted surrounded by four, six, eight, or twelve deities in another circle. As such, the mandala graphically mirrors the Buddhist understanding of the cosmos.

Tibetan Buddhist monks from the Drepung Loseling Monastery construct a sand mandala at the Carlos Museum. Buddha Aksobhya and the Eastern Quarter of a Sarvadurgatipariśodhana Mandala. South Central Tibet (gTsang). 13th century. Pigments and gold on cotton. Lent by the Zimmerman Family Collection. Thirteen-deity Mandala of Yama Dharmarāja. Tibet; 18th century. Mineral pigments on cotton. 4

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Mandalas can also be created in three-dimensions, as in the monumental and elaborately carved, wooden mandala of Guhyasamaja from the Gyuto Monastery in Dharamsala, India. They may also be depicted in two-dimensions, with certain parts represented in plan, and other parts in elevation. The exhibition was organized by the Rubin Museum of Art in New York and draws from their extraordinary collections, as well as from other museums and private collections including the Kimbell Art Museum; the Museum of American History; the Museum of Fine Arts, Boston; and the Ethnographic Museum of the University of Zurich. Highlights of the exhibition include a complex and ornate painting of four mandalas in one composition from the 15th century, and an eight-foot, double sided cosmological scroll from the 16th century. A sand mandala, also of Guhyasamaja, completed in February by monks from the Drepung Loseling Monastery, completes the exhibition. Visitors to campus will also have the opportunity to view an exhibition of work by contemporary artists who use the mandala as a form of artistic expression. Emory’s Visual Arts Gallery presents Contemporary Mandala: New Audiences, New Forms, featuring the work of New York artist and Morehouse College alumnus Sanford Biggers, as well as works by Don Cooper, Faith McClure, and others. A “living” mandala will be planted across from the Museum in Canon Chapel’s Pitts Garden. Designed by monks from the Drepung Loseling Monastery working with Emory landscape architect James R. Johnson, this twenty-foot wide mandala will be made from perennials with the help of Emory students. Emory faculty members Sara McClintock and Lobsang Tenzin Negi of the Department of Religion and Julia Kjelgaard of the Visual Arts Department, are teaching a course for Emory students on the mandala. The course, titled Tibetan Mandalas: Principles and Practices, introduces students to the historical development of the mandala, from its beginning in ancient Indian spiritual traditions to the more elaborate forms that emerged with the development of Buddhist tantra. Students will explore the ritual practice associated with mandalas and learn to “read” the complex visual language. Under the guidance of monks from Drepung Loseling, the students will construct a sand mandala and a work of art inspired by and reflecting the symbolism and ritual use of the mandala. They will also participate in seminars with many of the guest lecturers who will come to campus to give public lectures on the exhibition. Visit carlos.emory.edu for a complete listing of the exciting array of public programs. Support for the exhibition in Atlanta has been provided by the Shelley and Donald Rubin Foundation, the Emory-Tibet Partnership, and Drepung Loseling Monastery, Inc. ✺


OnView

PHOTO: © 2011 2011 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN.

History and guest curator of the exhibition, Todd Cronan. Included in the exhibition are three extraordinary illustrated books by Pierre Bonnard, spanning the whole of his career; an ambitious volume of poems illustrated by his friend Henri Matisse; and highly expressive works by Vasily Kandinsky and Paul Klee, introducing the later works of their colleagues at the Bauhaus, such as Andor Weininger, EMBODIED SEEING: Lazlo Moholy-Nagy, and Walter MODERNIST WORKS ON Gropius. A collection of Dada PAPER and Surrealist books and mbodied Seeing: Modernist magazines offers a glimpse Works on Paper explores into the depth and complexity the astonishing range of artistic of literary and illustrative material practice in the modernist period in Europe. The exhibition surveys that define these artistic movements. A selection of compelling works on paper from the first photographs by the Russian printed illustration of Paul Constructivist, Aleksandr Gauguin’s work in 1889 to a Rodchenko, and lithographs 1970 lithograph by Joan Miró by the master Pablo Picasso are and includes drawings, linocuts, also among the highlights of lithographs, books, and photothis exhibition that explores this graphs by many of the most complex and challenging period significant artists of the period. These works, like Vasily Kandinsky’s of artistic practice known as Modernism. These works have woodcut Schwarzer Fleck (1913) been selected from both the or André Masson’s pen-and-ink drawing Combat of Horses (1929), Museum’s collection and that of the Emory University’s are not meant to be viewed or Manuscripts, Archives, and Rare read in traditional ways. “They at once solicit many of the feelings Book Library (marbl). Embodied Seeing will be on view in the associated with the intimacy of John Howett Works on Paper reading, but ultimately frustrate Gallery from February 4 through any effort to approach them as May 20, 2012. ✺ texts to be read or stories to be told. Rather, we look at these works, we see them, and we respond to them as visual phenomena of a highly sophisticated order,” notes Emory’s Assistant Professor of Art

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Laszlo Moholy-Nagy (Hungarian 1895–1946). Untitled. 1923-1924. Linocut. Gift of Frank R. Levstik, III and the Art History Department Fund. Vasily Kandinsky (Russian 1866–1944). Les Chevaliers [The Knights] from Xylographies. 1909. Heliogravure, after original woodcut. Art History Department Fund.

Vasily Kandinsky (Russian 1866–1944). Schwarzer Fleck [Black Spot] from Klange [Sounds]. 1913. Woodcut. Art History Department Fund.

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Carloscollections Bay Collection of African Art now with the Carlos Museum emory university lost a great educator and scholar when Dr. Edna Bay, Professor of African and Interdisciplinary Studies, Graduate Institute of the Liberal Arts, recently retired. However, the University was fortunate to gain her African art collection when she donated it to the Carlos Museum over three years from 2010 to 2012. Collected between 1972 and 1999, the seventy objects were handpicked by Dr. Bay, and purchased not from U.S.-based auctions or art dealers, but directly from African artists and markets during research trips, making this a highly personal and unusually well-provenanced collection. The Bay Collection of African Art includes textiles, wood and metal sculptures, musical instruments, and jewelry from Senegal, Ghana, and Nigeria; but the lion’s share of the Bay Collection comes from Benin, the primary locus for her research. Dr. Bay’s interdisciplinary research focused on gender, power, politics, and art in 19th- and 20th-century Fon culture, leading to numerous publications such as the 1998 book Wives of the Leopard: Gender, Politics, and Culture in the Kingdom of Dahomey. Shown here are two objects from the Bay Collection: a wooden Yoruba Ifa divination board collected in Ibadan, Nigeria in 1972; and a Fon asen acquired in 1984 from a smith-artist affiliated with the royal workshop at the palace of Abomey, Benin. While objects such as Ifa divination boards are well represented in museum collections, Fon metal asen sculptures are rarely collected, let alone carefully researched, as are the thirteen asen gifted by Dr Bay. Asen are altars that house the spirit of ancestors or deities in the Fon culture. Family members in the world of the dead maintain an active role in the world of their living relatives, and asen made for them facilitate communion between these two realms. Ancestral spirits have ache (power), and, provide needed counsel in family matters. They are consulted when a baby is born, impart advice before a journey or endeavor, approve a marriage, or guarantee a woman’s fertility. Three parts comprise an asen: a pointed iron stake, which plants the asen in the ground; an inverted cone made from sheet metal or metal spokes and, the tableau, a flat, circular platform that may provide the base for small metal sculptures. These sculptural tableaus are the visual representation of Fon symbols, proverbs, fables, and poetry that praise the deceased, evoke the ache of ancestors, and remind the living to 6

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keep their commitments to the dead. The asen illustrated here was commissioned in honor of Aihade Aguidigbadja, whose name appears on the plaque in front of a figure (representing him) holding scissors since he was a cloth seller by trade (he is flanked by cloth hanging from a display stand). According to Dr. Bay, the sculpture of the bird on a stalk of millet may refer to the proverb, “If only one bird remains, he will find a field of millet and eat,” suggesting that even if only one child remains, he or she will do everything necessary to properly honor a dead parent. Another element of this asen tableau is the kpanzon, a wooden column with a bifurcated capital that acts as a guardian spirit for a household, binding together the family of ancestors and the living. Asen are housed in a family shrine, the deho (room of prayers), which is used as a gathering place for the entire family, both living and deceased. Once consecrated, the asen would be used during services of thanksgiving such as Kapleple, a ceremony of offering performed every three years. During Kapleple, family members would consecrate asen with money and food offerings placed before them, or pour libations over them in order to please the deceased so that prayers of offering and gratitude would elicit positive responses. Ancestral asen were first created in the mid-19th century as a royal art form; however, by the 20th century, asen were no longer exclusive to the royal elite. Today, asen are frequently found at the market in various sizes and in a variety of materials from aluminum to red metal and brass to accommodate the varying class and wealth of patrons. Dr. Bay curated an exhibition of asen at the Carlos Museum in 1985 titled Asen: Iron Altars of the Fon People of Benin and in 2008 she published a history of the art form titled Asen, Ancestors, and Vodun: Tracing Change in African Art through the University of Illinois Press. Visit carlos.emory.edu/podcasts to download the podcast “Asen Voice Shapes” to hear Edna Bay discuss an asen from Ouidah, Benin in the Museum’s collection of African Art, its visual depiction of African proverbs, and the importance of words from the traditional societies of Africa to reggae djs in Jamaica. ✺


PHOTO: BRUCE M. WHITE

Asen. Republic of Benin, Fon, Abomey, Hountondji smiths. 1984. Metal. Gift of Dr. Edna Bay.

Ifa Divination Tray, Ibadan, Yoruba, Nigeria. 20th century. Wood. Gift of Dr. Edna Bay.

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Carloscollections Reinstalling the Art of the Americas galleries dr. rebecca r. stone, Masse-Martin/neh Distinguished Professor of Art History at Emory and Faculty Curator of Art of the Americas at the Carlos Museum, is working on a complete reinstallation of the Art of the Americas galleries to open January 26, 2013. It has been ten years since the galleries were last refurbished, making this re-installation an opportunity to incorporate new research and works of art. The galleries will have a new color scheme; labels and case text will be rewritten to incorporate new research discoveries; many of the pieces that have been on display will be regrouped in different case designs; and a number of new loans and acquisitions will appear on view for the first time. The collection and galleries will have a new name— Art of the Americas —to reflect the addition of native North American art, extending the range of this collection from South and Central America to North America. This collection expansion will honor the First Nations of this continent and complement the Georgia public school curriculum. The first gallery rotation of native North American art will include a collection of modern Southwestern ceramics, a promised gift to the Museum from Drs. Walter Melion and John Clum, scheduled to run for the calendar year 2013. The installation of this collection, titled Walking in the Footsteps of Our Ancestors: the MelionClum Collection of Modern Southwestern Pottery, will include seed pots, red-and-black ware, vessels inspired by basketry, and a large case of objects made by the famous Quezada family of potters from La Casas. An additional case in the gallery will feature the Museum’s stunning Maria and Julian Martinez signed black-on-black vessel. Opportunities abound for future rotations of native North American art, including exciting loans and collaborations with a variety of U.S. museums. ✺

Damian Quezada (Mexican, born ca. 1965). Olla. Mata Ortiz, Casas Grandes, Chihuahua, Mexico. Nuevo Casas Grandes. Late 20th century. Ceramic with pigment. Collection of Walter Melion and John Clum. 8

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Dr. Stone at Chaco Canyon in New Mexico.


Carlosarchaeology Mapping Malqata the joint expedition to Malqata (jem), sponsored by the Carlos Museum and the Metropolitan Museum of Art in New York, returned to Egypt in February for its third season. Dr. Peter Lacovara, Senior Curator of Egyptian, Nubian, and Near Eastern Art at the Carlos Museum and Dr. Diana Craig Patch, Associate Curator and Dr. Catharine Roehrig, Curator at the Metropolitan Museum of Art, will continue mapping the remains of the palace city of Amenhotep iii (1390–1353 bc) at Malqata, residence of Tutankhamen when he was a child. The long-term goal of jem is to conserve and partially restore the Palace of Amenhotep iii in order to preserve it for posterity and to make it a resource for future scholars and visitors. Two years ago, jem worked in two areas of Malqata—the Amun Temple and the North Village. From this work, the team determined that both sites were preserved far better than previously recognized— exciting news. More ceramic and organic materials were uncovered at the North Village than anticipated and so further study is underway with

the help of Dr. Salima Ikram of the American University in Cairo. The expedition focus this season will be the palace city and the outlying structures to the south and west. The Metropolitan Museum excavated the site between 1910 and 1921, but the maps created a century ago by this expedition are not complete, especially in an area called the South Village. Using century old photographs of the site, the team hopes to identify possible locations for the South Village, which in turn will allow them to piece together additional features of the site. jem invited an expert team of scientists from Poland equipped with a magnetometer to test the south and west areas. The magnetometer will reveal whether or not there are structures still buried beneath the surface of the sand. These tests will dictate future work by defining areas for excavation, areas that need special protection, and even help relocate areas that were identified a century ago, but are no longer visible. Much of the current work requires a better understanding of the previous work done on the site. jem is seeking permission

to examine and record material that remained in Egypt after the Metropolitan Museum’s 1910– 1921 excavations. The hope is that this material, currently in storage in the Antiquities Department storerooms in Luxor, will supply critical information. Follow the jem team as they blog about their daily activities at carlos.emory.edu/iSites. ✺

A brick stamped with the cartouches of Amenhotep III in the Metropolitan Museum of Art. Dr. Catharine Roehrig, Curator at the Metropolitan Museum of Art, Dr. Peter Lacovara, Senior Curator of Egyptian, Nubian, and Near Eastern Art at the Carlos Museum, and Dr. Diana Craig Patch, Associate Curator at the Metropolitan Museum of Art.

The expedition has been working in the North Village (pink) and the King's Palace (yellow), all part of the palace city of Amenhotep III.

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Acquisitionsandloans Statuette of a Cat Egyptian, Saite to Late Dynastic Period (664–332 bc) Bronze with modern stone base Gift of Anne Cox Chambers

PHOTO: RUPERT WACE ANCIENT ART.

The cat, first domesticated in the ancient Near East, is closely associated with ancient Egypt, and mostly identified with the goddess Bastet, whose main temple was at Bubastis in the Nile Delta. Bubastis became particularly important when its rulers became the kings of Egypt, forming the Twenty-second Dynasty, sometimes known as the “Libyan Dynasty.” The rise of the importance of Bastet and the cult of the cat is dated to this period. As with other creatures sacred to particular deities, it became customary for pilgrims to present mummified cats as offerings to the goddess Bastet. A number of cat cemeteries are known from Egypt, and a cat-catacomb was recently excavated at Sakkara. For those wealthy enough to afford it, cat mummies were placed in cat-shaped bronze coffins or bronze boxes decorated with figures of cats. This beautiful example is finely cast in bronze with a scarab etched onto the top of her head and holes for gold earrings in her ears. She sits on a modern base made of imperial porphyry found in Egypt’s Eastern Desert. This beautiful sculpture has a fascinating history; it was once given by Charlie Chaplin to his wife, Paulette Goddard. Fragment of a Figure Vase Egyptian, Dynasty 18 Ceramic Lent by the Baron van Dedem An innovation of the decorative pottery of the New Kingdom was a class of highly finished, fancy-form vessels known as “figure vases.” Containers of this type were usually shaped like a young woman, often carrying a small child on her lap or back. The vessels were mold made, but finished by hand so that each would have a unique appearance. This example depicts a woman with a long, curled wig and large, spool earrings and is paralleled by examples in the Ashmolean Museum in Oxford and the Ny Carlsberg Glyptotek in Copenhagen. Made of fine clay not used in other Egyptian pottery, it is thought that these rare vessels must have come from a single, specialized workshop. What had been the intended use of such fine vessels is a matter of debate. Because of the mother and child symbolism, it has often been suggested they contained mothers’ milk, an ingredient frequently used in ancient Egyptian medicines. Other scholars suggest they held the urine of a pregnant woman, an ingredient in fertility treatments. It has also been thought that they were used as cosmetic containers, or even as tomb gifts to represent re-birth. Highly valued as works of art they appear to have been re-used once their original contents were exhausted, making identification of their original purpose difficult.

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Attic Geometric Horse Pyxis Late Geometric ii, ca. 735–720 bc Ceramic Carlos Collection of Ancient Art

PHOTO: CHRISTIE'S FRANCE.

The Carlos Museum was able to acquire an important antiquity from the age of Homer through the generosity of Chris and Merry Carlos. Made in Athens and consigned to a grave there or nearby, this ceramic pyxis embellishes the traditional design and simple shape by the addition of four separately modeled horses on the lid. Pyxides were most commonly made of wood (the name “pyxis” is derived for the word for “boxwood”) and were often used by women, though also by men, for small personal items such as toiletries or jewelry. They were made in other media as well, such as the marble one purchased for the Carlos Collection eight years ago. The horses are in a stationary pose, and are probably to be understood as harnessed to draw a chariot. On pyxides, horses most often occur as pairs, occasionally in threes, but their grandest manifestation is in the full four of a quadriga. Horses are symbolic of aristocratic power and wealth among the living. They are also associated with Poseidon, an important deity in Athens, particularly in his underworld contexts, which would be appropriate for a vessel consigned to the grave. Much harness tackle is depicted on the horses, while geometric patterns cover the top of the lid, the outside, and even the underside of the box (which has an elaborate rosette). The row of pattern squares, arranged paratactically in the manner of triglyphs and metopes on architecture, include the occasional bird and a number of swastikas, which have no significance beyond being a simple form of meander. It is the mathematical precision of the pattern work that has led scholars to describe the art of this period as geometric.

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Educationnews Open House for Home Schools as more parents choose homeschooling and web-based schools for their children, the Carlos Museum is reaching out to these non-traditional programs and sharing the best of what has been developed for school groups touring the Museum and class-room-based workshops. In 2010, the Carlos Museum hosted its first Open House for Homeschools for students and parents from Georgia Cyber Academy. GCA is a public school organization that reaches over 9,000 students in Georgia through an accredited online teaching program. More than 400 children and parents toured the Life and Death in the Pyramid Age: The Old Kingdom Mummy exhibition and the permanent Egyptian galleries with a special focus on archaeology and drawing from works of art. On April 13, the Carlos Museum will again open its doors to homeschool families. From noon until 3 pm. students will explore mythology in the Greek and Roman galleries, hear stories of the ancient gods and heroes from drama specialist Julia Prittie Kneeland, practice contour drawings, and make Greek theater masks. Fee: $6 per visitor. Age 5 and younger, free.

Office of University and Community Partnerships: Mini grants bringing students to the Museum In may 2011, Collins Anderson, art teacher at Drew Charter School in the City of Atlanta school system, attended the African Art and Religions professional development course for teachers. During the week, Collins learned that the Museum has a small grant through Emory’s Office of University and Community Partnerships to help pay for the cost of buses for a class trip to the Carlos Museum. The mini-grant enabled all eighth grade students from Drew to visit the Museum. They toured the exhibition Divine Intervention: African Art and Religion, and spent an additional hour drawing thumbnail sketches and contour line studies of objects in the African collection. The two-hour visit ended in the Reception Hall with a discussion of the Museum as a place of learning and exploration. Each year for the past four years the Carlos Museum has offered these transportation stipends for

underserved schools thanks to the Office of Community Partnerships. Emory students, trained in museum touring techniques, conduct many of these tours and benefit from the interaction with students from throughout the metro area. Other schools that received transportation mini-grants include: Norcross Elementary from Gwinnett County; Peeks Chapel Elementary from Rockdale County; and Hembrick, Bouie, and Brockett Elementary Schools from DeKalb County. Teacher Alice Day of Brockett brought students for the second year. “The students were so eager and the Carlos is a perfect learning lab. We are grateful to the Museum for paying for our bus transportation.” Bobbie Adamczyk of Norcross spoke of the cross-disciplinary impact of the Museum visit. “Our students would not have been able to attend without the reduced fee and transportation assistance. Visiting the Museum provided a wonderful collaborative planning opportunity between the other teachers and me. Each of us chose lessons to teach throughout the year based on ancient themes. . . In March, we will collaborate once again to present a school-wide art gallery with over 1,000 pieces of student art, a musical performance, and literary readings all based on ancient Greece and Egypt.” In all, more than 8,000 students have visited the Carlos Museum with reduced admission and the transportation stipend. The Museum is grateful for the work of the Office of University and Community Partnerships and the support of their staff in funding these important museum experiences. ✺

Collins Anderson, art teacher at Drew Charter School, with students. 12

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Summer Camp Carlos 2012

Camp Carlos

the carlos museum celebrates nineteen years of providing exceptional summer programs in which children and teenagers explore the human impulse to create works of art. Camp Carlos offers participants imaginative and innovative opportunities to explore the ways in which people throughout time and across cultures have created works of art. All camp sessions include visits to the Carlos Museum galleries, where campers learn from artists of the ancient world and then return to the studio to learn from some of Atlanta’s best practicing visual and performing artists. This summer, campers ages 7 to 12 will investigate the human figure in art from the Carlos collections, then hand-build figures and faces based on them with clay. Campers will also battle the forces of Chaos alongside sister and brother team Sadie and Carter Kane from Rick Riordan’s book The Throne of Fire while deciphering clues and learning the magic of drawing and writing like ancient Egyptian scribes. And, they will bring to life through creative drama the challenges and triumphs of an assortment of Roman and Greek demi-gods—Jason, Piper, Leo, Percy Jackson, and more—as they enter the world of Camp Half-Blood featured in Rick Riordan’s series The Heroes of Olympus. Teens will immerse themselves in a hot shop as they learn glassblowing, lamp work, slumping, and fusing in a special two-week session with glass artists from Janke Studios. A summer of imagination and creativity await your child or teen at Camp Carlos! ✺

In Camp Carlos 2011, children worked with sheets of gold-toned metal to create shields which were embossed with images of Medusa, Apollo, Pegasus, hippocampi, and more.

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Carlos&theCampus She is co-editor of the recently published Textile Conservation: Advances in Practice, sections conservators Elizabeth Schulte and of which are used in the annual Patricia Ewer continue their longconservation course when she standing involvement in the varied lectures. Ewer’s collaboration with activities of the Carlos Museum’s the Carlos Museum began in the Parsons Conservation Laboratory. late 1990’s, and she routinely visits Their work is supported by the the Museum for one week each fall Andrew W. Mellon Endowment and spring to consult on textilefor Teaching and Training in the related projects, including storage, Museum Context. Each conservator treatment, and research. Ewer contributes her extensive knowledge generally treats objects in the and experience to the resources of Parsons lab, where her work the lab, serving the collections, engages students and volunteers, curators, scholars, and students. although some objects are sent to Schulte is a conservator of works her home studio for treatment. on paper and has treated prints, The section of a painted linen drawings, and photographs for Book of the Dead now on display collections throughout the country. in the Egyptian galleries was one She has worked with the Museum’s of Patricia’s recent projects. This growing Works on Paper collection unusual example dates to the since 1994. Schulte regularly spends early Eighteenth Dynasty and a day per week in the Parsons lab, was collected by Emory professor conducting condition assessments, William Shelton. It had remained developing treatment strategies, and on a stained and incomplete cotton carrying-out interventions. Much backing since its accession in 1921. of her work is coordinated with Ewer transferred the torn and upcoming exhibitions. In preparation brittle ancient fragments to linen for Embodied Seeing, Schulte worked she dyed to match, carefully closely with curators to select objects aligning and flattening the many and plan their presentation. In addismall pieces to stabilize this tion to bathing, reducing stains, important object for display. flattening, and mending tears, she Schulte’s and Ewer’s recent also hinged the objects into mats for collaborations with student interns framing. Through her presence in have resulted in didactic podcasts the lab, Schulte is able to support and that are accessible from the contribute to the various teaching Conservation Case Studies pages initiatives. She lectures in the on the Carlos Museum’s website. Conservation of Art and Cultural These podcasts were created by the Property course each year and often students to highlight some of the directs student interns on treatment chemistry concepts involved in the or research projects. treatment of works on paper and Ewer is a conservator of textiles textiles. The objects featured in the and bases her practice in Minneapo- podcasts include prints by William lis, working on a wide array of Hogarth that were exhibited in fall textile objects for institutions and 2011, and an Andean double cloth collectors in the U.S. and abroad. that will be included in the future Contract conservators collaborate with staff and students

reinstallation of the Art of the Americas galleries. To enjoy these podcasts visit the Carlos Museum website at carlos.emory.edu/ case-studies and follow the links to the Art of the Americas and Works on Paper sections. ✺

Textile conservator Patricia Ewer secures fragments of the painted linen Book of the Dead, now on display in the Egyptian galleries. Paper conservator Elizabeth Schulte examines a drawing by Andor Weininger for the Embodied Seeing exhibition.

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Carloscommunity

Local artists featured at Veneralia 2012

rainforests, jaguars, shamanic visions… join us for a magical evening on Saturday, May 19, when we celebrate Veneralia: Night of the Black Jaguar. The 21st anniversary of this signature charitable event will showcase the creations of twenty-eight local artists through a diversity of styles. Artists include Sharon Shapiro, Alex Brewer of hense, Mary Engel, Sheila Turner, Deborah Whitlaw Llewellyn, Beth Webb, Keith Summerour, and Nikki Nye and Amy Flurry of Paper-Cut-Project. The theme of Veneralia 2012 draws its inspiration from the upcoming fall exhibition, ‘For I am the Black Jaguar’: Shamanic Visionary Experience in Ancient American Art. The title, based on a quote from a contemporary traditional Taulipang shaman, “Call upon me for I am the black jaguar…,” conveys the most pervasive shamanic visionary experience of becoming a powerful animal, in particular the black jaguar. Taking inspiration from the indigenous cultures of Central and South America, who have expressed their visionary experiences through art, the participating artists will express their own inspired visions in the creation of twenty-four table environments. These creations will cover a range of media—from photography to paper sculpture to graffiti art— reflecting the unique talents of each artist. Veneralia attendees will have an opportunity to purchase these works of art, as well as bid on highend silent auction items. Veneralia 2012 is co-chaired by Beth Ault and Robert Long, and honors Margaret and Charlie Shufeldt. Margaret Shufeldt retired last year after eleven years of serving as the Carlos Museum’s Curator of Works on Paper. Don’t miss this magical evening of drinks, dinner, and art, which will support the renovation of the Art of the Americas galleries scheduled to reopen January 2013. When Saturday, May 19, 2012 Cocktails and viewing of artist tables: 7 pm; Dinner: 8 pm Where Michael C. Carlos Museum Tickets Call 404-727-2115 or email betsy.ayers@emory.edu Web carlos.emory.edu/Veneralia

michael c. carlos museum

Night of the Black Jaguar

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Bacchanal 2011: A retrospective on september 10, the Carlos Museum celebrated the opening of the special exhibition Life and Death in the Pyramid Age: The Emory Old Kingdom Mummy with an Egyptian-themed Bacchanal. Proceeds support the education and outreach initiatives the Museum undertakes each year, reaching more than 30,000 school children and countless k–12 schools across Georgia. Co-chairs Laura Clappier and Gene Hooff organized Bacchanal 2011 along with the 18th annual Bacchanal Planning Committee. Bacchanal 2011 sponsors were Mrs. Michael C. Carlos; Chris and Merry Carlos; Massey Charitable Trust; Mr. Mohamed Farid Khamis & Oriental Weavers; AirTran Airways; Campus Crossings at Briarcliff; Coca-Cola; Meeting Advice; National Distributing Company, Inc.; Owen, Gleaton, Egan, Jones & Sweeney, llp; King & Spalding; The Paradies Shops; The Atlantan; and wsb-tv.

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A Dr. J. David and Beverlee Allen and Bennett Brown B Dr. Gregory Mumford and Dr. Sarah Parcak C Lou Dubroff, Gail Habif, and Dr. Peter Lacovara D Wayne Vo, Eric Shaper, and Rob Atkinson E Glenda and Aliyah Abdur-Rahman and Aimee Nix 16

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F Becca and Joe Krumdieck, Patricia Dampf, and Camden Eggers G Spalding Nix H Gene Kansas, Uri Vaknin, Radcliffe Bailey, Liz Lapidus, and Darrin McMullen I Laura Clappier, Gene Hooff, and Jennifer Long J Andrew and Lauren Dorman, Megan Frawley, Cathi Burns, and Gene Hooff K Alex West and Emily Amy

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Bookshop n e w i n the booksho p

Spring Clearance Sale Thursday through Saturday, Buddhas of the Celestial Gallery April 26–28 This beautiful large-format art Join us for our three day spring book (hand-bound and more than clearance sale for 20% off everytwo-feet high) gathers striking thing in the bookshop. This year, mandala paintings by master painter the sale will be open to the general Romio Shrestha and his team of public as well as museum members artisan monks, who recreate an and the Emory community, so bring age-old Tibetan artistic tradition. your friends! We’ll have hundreds of Made from malachite, lapis, and unique books and gifts, including marigolds, and painted at times Fair Trade imports from around the with three hairs of a cat’s tail, these world and a wide variety of bargain paintings are produced in hauntingly books already discounted 20–50% powerful detail ($75, discounted for for even greater savings. For more mccm members). The bookshop information, visit our website at also stocks smaller editions from carlos.emory.edu/bookshop. the same publisher of the Celestial Gallery ($24.95), beautifully detailed representations of mandalas, or celestial spheres, and the Celestial Gallery Meditation Deck, featuring a portable altar with oversized meditation cards ($19.95).

t h e b est seller list So many unusual books are sold in the Museum Bookshop, but below are the ones that were the most popular over the last few months. All prices are discounted for Carlos Museum members. 1. Highlights of the Collection (the newly revised handbook to the Carlos Museum) $12.95 2. Cleopatra’s Moon (wonderful young adult novel by Carlos Museum docent Vicky Alvear Shecter) $18.99. Also available as an audio book 3. Ancient Egyptian Book of the Dead (boxed gift edition with scarab amulet) $14.95 4. The Book of Symbols: Reflections on Archetypal Images (copiously illustrated collection of symbols and symbolic imagery) $39.99 5. Egyptology (beautifully designed children’s book recreating the experience of an archaeology expedition to Egypt) $19.99 6. Cleopatra: A Life (bestselling biography by Stacy Schiff) $16.99 7. 1493: Uncovering the New World Columbus Created (Time magazine nonfiction book of the year; author Charles Mann lectured at the Museum last fall) $30.50 8. Great Philosophers Who Failed at Love (who can resist a subject like that?) $12.99 9. Mythology (from the creators of Egyptology, a fun book for kids on Greek myths and legends) $19.99 10. The Tiger’s Wife (the powerful first novel by Tea Obreht about myth, story, and memory) $15 ✺

To order books by phone call 404-727-2374, or visit our website at carlos.emory.edu/bookshop. 18

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Membership our gratitude to all who have become new members or have renewed between August 2011 and January 2012. We greatly appreciate your support and 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. CAR LOS PA R TN E RSH IP

Mr. and Mrs. James H. Morgens D IR ECTOR CO U NC I L

Mr. and Mrs. William B. Astrop, Sr. C UR A TOR CO UNC I L

Ms. Merrily C. Baird Messrs. Dirk L. Brown and Timothy Burns Mr. and Mrs. James C. Edenfield Dr. and Mrs. L. Franklyn Elliott Mrs. Marguerite C. Ingram Mr. Baxter P. Jones and Mrs. Veronique Krafft-Jones Drs. Jeffrey P. Koplan and Carol R.B. Koplan Dr. and Mrs. John Laszlo Dr. Elaine L. Levin Drs. Jerrold H. Levy and Maria Arias Mr. and Mrs. Bruce E. Mitchell Dr. and Mrs. John S. O'Shea Dr. and Mrs. Morris E. Potter Mr. and Mrs. R. Charles Shufeldt Dr. Sandra J. Still and Ms. Emily E. Katt Mr. F. Glenn Verrill Mrs. Loraine P. Williams Dr. and Mrs. Sidney H. Yarbrough iii C O RI NTH I A N

Mr. and Mrs. Chris Balodemas Dr. and Mrs. Gregg Codelli Dr. and Mrs. Lawrence W. Davis Ms. Catherine Warren Dukehart Mr. and Mrs. James L. Ferman, Jr. Dr. Edwin S. Levitan and Ms. Laura Haibeck Dr. Joe B. Massey, Jr. Mr. Eric Lee Reynolds Dr. Regine Reynolds-Cornell Ms. Joan M. Sammons Mr. and Mrs. Howard J. Weinstein Mr. William K. Zewadski I O NIC

Dr. Susan Youngblood Ashmore and Mr. Robert W. Ashmore Mr. and Mrs. Wayne S. Bailey Ms. Jane J. Firey Dr. and Mrs. Michael M.E. Johns Mr. W. David Jones Mr. and Mrs. James C. Kennedy

Mrs. Jo W. Koch Mrs. Lindsay W. Marshall Dr. and Mrs. Patton H. McGinley, Sr. Ms. Marianna McLean Mr. and Mrs. Edward W. Morse Mr. and Mrs. David T. Peterson Mr. Donald E. Snyder Mrs. Mary Rose Taylor Mr. Randolph W. Thrower Mr. and Mrs. Raul F. Trujillo Mr. and Mrs. Theodore W. Vian Messrs. Gary Youngblood and James Michael Lorton D ORI C

Mr. Gavin L. Albert Mr. Raymond F. Schutt and Ms. Adrienne J. Anderson Mr. and Mrs. H. Ross Arnold iii Messrs. Eugene Bales, Jr. and Boon C. Boonyapat Mr. and Mrs. Stephen L. Bancroft Ms. Nancy L. Barber Drs. Patricia J. Bauer and James Steven Snow Ms. Margaret Bear Drs. Herbert W. Benario and Janice M. Benario Mr. Randy Fields and Ms. Elizabeth Anne Bouis Dr. Edward W. Brink and Ms. Elizabeth R. Zell Dr. Josephine V. Brown Mr. and Mrs. Thurman Cary Dr. and Mrs. Wright Caughman Dr. Lucio Chiaraviglio and Ms. Louise Stearns White Mr. F.H. Boyd Coons Mr. and Mrs. J. Jeffrey Copes Ms. Darla Davis Dr. and Mrs. Shelley Carter Davis, Jr. Mr. and Mrs. Mike Dilbeck Mr. and Ms. Jeffrey David Dinkle Dr. and Mrs. William L. Dobes, Jr. Mrs. Barbara A Dorminey Ms. Maria Douglas Mr. and Mrs. Donald H. Edwards, Jr. Mr. Kenneth Stewart Falck Mr. and Mrs. Jason C. Fiorito Mr. James E. Flynn, Jr. Ms. Judith A. Focht Mr. and Mrs. James A. Ford Mr. and Mrs. Craig Iver Forman Dr. and Mrs. William H. Fox, Jr. Dr. John W. Gamwell Dr. and Mrs. Arthur W. Garrison Mr. and Mrs. Charles V. Gay Mr. Charles R. Hunsucker and Ms. Lyndel M. Gliedman Mr. Morris N. Habif Mr. Owen H. Halpern Dr. and Mrs. John B. Hardman Mr. and Mrs. Alexander S. Hawes Mrs. Sally Willingham Hawkins Dr. and Mrs. Charles E. Hoover Mr. and Mrs. J. Timothy Johnson Ms. Susan B. Kegley Mr. and Mrs. John G. Kokoszka Mr. and Mrs. Stephen P. Kramer Mr. and Mrs. Wayne Alan Krause Ms. Patricia Krull Mr. and Mrs. Donald M. Kruse Mr. Larry D. Woodring and Ms. Sharon M. LeMaster

Mr. and Mrs. Murray Lindsay Ms. Lorraine E. Loftis Mr. James Russell Bodell and Ms. Susan Ann Long Ms. Patricia Ann Louko Mr. Richard H. Lowe Mr. and Mrs. Frederick C. Mabry Dr. and Mrs. Harvey A. Mannes Dr. and Mrs. Charles A. Marvin Mr. Alan McKeon Dr. and Mrs. Joseph I. Miller, Jr. Ms. Lee P. Miller Dr. and Mrs. Thomas John Morrison iii Mr. Henry F. Mullins, Jr. and Ms. Bianca Quantrell Ms. Marilyn M. Murdock Mr. Kenneth Nassau Ms. Lynda D. Nelson Bush Ms. V. C. Nelson Drs. Gordon D. Newby and Wendy L. Newby Mr. and Mrs. Richard O’Harrow Ms. Georganne Osborn Ms. Andrea Osborn-Blatnik Mr. G. Scott Owen Drs. Richard A. Patterson and Cynthia B. Patterson Mr. and Mrs. Andreas Penninger Dr. Louise Pratt Pettit and Mr. James E. Pettit Dr. Frank M. Pickens Mr. and Ms. Douglas H. Pike Mr. and Mrs. Roger C. Press Mr. William P. Tedeschi and Ms. Dawn Prevete Mr. and Mrs. Marion Pinckney Rivers iii Mr. Frank C. Roberts Dr. and Mrs. Rein Saral Dr. and Mrs. Robert A. Schnapper Mr. David A. Schutten Mr. and Mrs. Michael Selph Mr. Richard Shaw Mr. Gerald R. Cooper, Jr. and Mrs. Charlotte F. Slovis-Cooper Ms. Mary Lynn Smith Mr. Dominic Popielski and Mrs. Dawn Colleen Smith-Popielski Mr. Thomas Nelson Sneed and Mrs. Whitney Bair-Sneed Ms. Valerie Stribbling Mr. and Mrs. Alex Summers Mr. and Mrs. Ray G. Thomas Mr. Robert Thompson Mr. and Mrs. Theodore M. VerSteeg Mr. Thomas M. Walker Dr. and Mrs. Warren Walter Mr. and Mrs. Fred Watke Messrs. John A. White, Jr. and Richard G. Low Mrs. Aileen W. Wieland Ms. Jeannie B. Wright

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

Comingup

Visitorinformation

September 8—January 5, 2013

Hours: Tuesday–Friday, 10 am–4 pm; Saturday: 10 am–5 pm; Sunday: Noon–5 pm; Closed Mondays and University holidays. caffè antico: Monday–Saturday: 11 am–3 pm.

‘For I am the Black Jaguar’: Shamanic Visionary Experience in Ancient American Art Third Floor Galleries Renovation of Art of the Americas galleries

Galleries close on May 21, 2012 and reopen on January 26, 2013

Stayconnnected Update and upload on Facebook, Flickr, Twitter, and more! Stay connected through our Fanpage 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

Admission: $8 general admission. Carlos Museum members and 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 line 6 Emory from Inman Park/ Reynoldstown & Lindbergh stations or 36 North Decatur from Avondale and Midtown stations.

non profit organization u.s. postage paid atlanta, georgia permit number 3604

Handicapped Parking: Drop off for handicap visitors at Plaza Level entrance on South Kilgo Circle. Handicap-accessible parking is available in the Oxford Road Parking Deck. For further assistance contact the Disability Services Office at 404727-9877 or 404-712-2049 (fax). 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: Begin in the Rotunda on Sundays at 2 pm, September through June. 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.


MCCM Newsletter Spring and Summer 2012