Spring 2014 newsletter

spring summer 2014

Director’sletter as i review the upcoming programs and events gathered for this edition of our newsletter, and contemplate those of the past few months, I’m inspired to reflect upon the role a university art museum plays not only within its parent institution but also within its surrounding community. I realize this is a vast and complex topic, worthy of a very weighty dissertation, but if I may touch upon a few points…

A key advantage of being a university museum starts with a mission supported by the ideals of intellectual inquiry, which allows innovation and experimentation to be a benefit rather than a risk.

We are fortunate to be affiliated with a university that encourages innovative forms of teaching and learning, opening up new pathways to transcend established disciplinary boundaries and explore multiple learning styles. The Carlos Museum is at the forefront of this effort, developing a vast array of interdisciplinary educational programs and mounting exhibitions that, while not considered “blockbusters” in the popular sense of the term, are extraordinary in the blockbuster opportunities they offer to engage faculty and students and inspire audiences (university and public alike) to think farther and deeper about the subject at hand.

In addition to being a campus resource for research and scholarship, many university museums like the Carlos Museum are serving myriad constituencies beyond the campus, and have long filled the gap in art education for k–12 students.

This broader engagement with a multi-layered, multi-stakeholder environment positions the university museum as a dynamic community venue for life long learning.

OnView Our challenges are similar to those faced by public museums, and we are constantly working to address them: How to maintain relevancy in an ever-changing world; how to adapt, influence, even lead as audience interests shift, technology expands, and for us, as higher education evolves. And, there is also the fun factor to tackle as museums find they are often bundled in with other forms of “entertainment” vying for audience time.

Within these pages you will learn how an exhibition inspired an interdisciplinary course and a three-day reading of a classic epic; why we are expanding the Art of the Americas collection, and; the importance of conservation, to mention a few of the articles. Reading through this newsletter highlights many of the reasons why I’m thrilled to work for a university museum. I hope it highlights why you choose to be a member and patron.

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

B on n ie Speed Director

cover: Beaded Rabbit Mask with Sun and Peyote Motifs. Anonymous. Western Mexico, Wixarika, 20th century. Wood, beeswax with pine resin, beads.

Collection of Dr. Michael McQuaide.

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Grandfather Sun, Grandmother Moon: Wixàrika Arts of Modern West Mexico Through December 31, 2014 The Native North American gallery now hosts a show of objects on loan to the Carlos Museum representing the Wixàrika (wee-shah-ree-kah) — often known as the Huichol — indigenous people of modern western Mexico. Their stunning beaded objects and pressed-yarn “paintings” span the sacred to the secular, from prayer bowls used on their pilgrimage ceremonies to masks made expressly for collectors. Brightly colored, precise, dynamic, and detailed, these works depict their sacred sacrament, the peyote cactus, the deer, the sun and the moon, shamans, maize plants, jaguars, and scorpions. above: Curator of the Art of the Americas, Rebecca Stone, in the gallery showcasing Wixàrikan art.

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OnView The Wixàrika people live in the Sierra Madre mountains of western Mexico, where the modern states of Nayarit, Jalisco, Zacatecas, and Durango meet. Their cultural roots reach back several thousand years and they have resisted acculturation despite strong colonial, national, and now global pressures that have threatened their traditions. Making and selling their art, bead- and yarn-work especially, has helped the Wixàrika maintain their ways and accommodate change, functioning in the world economy. They sell versions of their sacred objects to collectors and tourists as a way to avoid having to move to the cities and risk losing their cohesive beliefs and practices. This exhibition highlights their beliefs as seen through their ritual and secular arts, created as they negotiate the modern era in all its complexity.

Above all, the Wixàrika strive toward balance in themselves, between humans and nature, and in the spirit world. Their ritual life is oriented toward maintaining harmony. All phenomena are considered interrelated— particularly humans, maize, deer, and peyote—and interchange forms.

For instance, in mythic times deer became the peyote cactus, which now is “hunted” on the annual pilgrimage to the northern deserts.

Shamans (mara’akame) mediate the natural balancing of the cosmic realms and the transformations that occur in other realities. This art is used in rituals, its bright colors meant to attract the attention of the spirits that are believed to control all natural phenomena including rains, the crops, time, and the sun and moon. Made by both men and women artists, prayer bowls carry offerings and requests to the invisible powers, while yarn paintings tell the stories, dreams, and visions that also relate to the Other Side. In recent times, decorated masks—once used for spiritual purposes—have become items for sale to outsiders; although the traditional symbols may remain, their function has shifted toward economic ends.

This show comes to us through the generosity of three friends of the Museum: Mike McQuaide, a professor at Oxford College, Stephen and Claudia Kramer, lenders of Colombian art and supporters of the Museum’s educational mission, and Stephanie Jolluck, a local exporter of indigenous arts from Guatemala.

Photographs of Wixàrika artists making the same kinds of pieces on display accompany the works of art. Z

above: Coiled Snake. Anonymous. Western Mexico, Wixàrika, 20th century.

Wood, beeswax with pine resin, beads. Lent by Stephanie Jolluck.

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above: Beaded Crescent Moon with Deer and Peyote Motifs. Anonymous. Western Mexico, Wixàrika, 20th century. Wood, beeswax with pine resin, beads.

Collection of Dr. Michael McQuaide. .

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OnView

Mirroring the Saints: The Jesuit Wierix Collection from the Church of De Krijtberg, Amsterdam, with prints from the Michael C. Carlos Museum and the Melion-Clum Collection Through June 1, 2014 the exhibition features recently discovered copperplates from the Jesuit Wierix collection from De Krijtberg, Amsterdam, and prints by three members of the famous Wierix family: brothers Jan Wierix (1549– ca. 1618), Hieronymus Wierix (1553– 1619), and Anton ii Wierix (ca.

1555–1604). The Jesuit Wierix collection of copperplates came to

above: Andi McKenzie, Curator of Works on Paper 6

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light in the summer of 2000 when the Jesuit residence at De Krijtberg (the Church of St. Francis Xavier) in downtown Amsterdam was being vacated for renovations. The most senior member of the community produced a simple cardboard box that he kept in his room for more than thirty years. Nestled inside were seventy-five copperplates from the

early seventeenth century, twelve of which are presented in this exhibition. Although little is known about the origin of the plates, it is likely that they were brought from Antwerp to Amsterdam for safekeeping after the suppression of the Society of Jesus in 1773. The plates, in excellent condition, make up one of the largest collections of Wierix

above: Hieronymus Wierix (Flemish, 1553–1619). St. Maria Magdalena, ca. 1570.

Engraving. Collection of Walter Melion and John Clum.

copperplates in the world.

The title of the exhibition, Mirroring the Saints, offers two intertwined thematic concepts.

The first emphasizes the technique of copperplate engraving, in which the artist incises an image in reverse on a plate. The resulting print thus “mirrors” the image on the plate.

The second concerns a Jesuit devotional method in which the devotee meditates on the image and related biblical texts in order to emulate the virtues of Jesus and other holy figures, including saints and the Virgin Mary. The Wierix brothers specialized in this type of image-making, and their prints would have served as visual aids

for prayer and meditation.

Each copperplate from the Jesuit Wierix collection is framed alongside a modern impression. The exhibition also features engravings from the Carlos Museum’s permanent collection, the Manuscripts, Archives, and Rare Books Library of Emory University, and the MelionClum collection, all original to the late sixteenth and early seventeenth centuries. These prints and bound volumes provide examples of the variety of visual devotional aids produced by the Wierix family, from a large series detailing the epic Old Testament feats of Samson to a small, intimate engraving revealing the quiet penitence of Mary Magdalene.

From the Nederlandse Provincie der Jezuïeten, Museum Het Valkhof, Nijmegen, the Netherlands; organized by Manresa Gallery, San Francisco, CA. Generously supported by the Genevieve Blaettler Fund for the Visual Arts.

Special thanks to the Manuscript, Archives, and Rare Book Library of Emory University, Walter Melion and John Clum, Jan Rippentrop, and Joseph Chorpenning. Z

above: Anton II Wierix (Flemish, ca. 1552–1624) after Maarten de Vox (Flemish, 1532–1603). Samson Destroying the Temple of the Philistenes from The Story of Samson, ca. 1579. Engraving. Joint purchase by the Michael C. Carlos Museum and the Robert W. Woodruff Library, Emory University. Photo: Bruce M. White.

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Carloscollections Native North American art

ful collection of modern and contemporary Southwest pottery when we were planning the as a promised gift. reinstallation of the Americas It seemed clear that we should collection in 2013, we wanted to dedicate a gallery, formerly for make it different not only in design Mesoamerica, to Native North but in content as well. A number of American art. Yet, without an factors pointed us in the direction extensive and culturally varied of featuring the native cultures of collection to draw from, this gallery North America. The Georgia public was ideal for changing small school curriculum at present has exhibitions. Thus, we began with limited coverage of the indigenous a selection from the Melion-Clum peoples further south, but does focus collection, and now feature West on those of North America. The Mexican art of the Wixarika peoples Museum owns a small number of loaned to us by four local collectors.

Native North American pieces, Plans are underway for ongoing including a beautiful black-on-black rotations in this gallery. We look ceramic vessel made by Julian and forward to drawing from local Maria Martinez, the famous San collections in partnership with Ildefonso Pueblo potters. Excavated communities and collectors to objects from the Etowah Mounds cover the breadth of Native North in Cartersville are also in storage.

American art over time in shortFurthermore, Emory professor term, small shows.

Walter Melion and his partner, It is very exciting to move in this John Clum, offered us their wonder- worthy direction, for many reasons.

A larger perspective on indigenous peoples throughout the American continents is gained by extending coverage northward. The similarities and differences will be fascinating for the public, students, and scholars alike. We also have the opportunity to honor the creativity of the peoples who were here long before us, and their descendants. Further, the changing nature of the gallery ensures new material for returning visitors. In fact, we rotate materials in the various textile cases, which can be coordinated with the Native North American shows, as we do now with our Cherokee and Plains beadwork staged close to, and complementing, the Wixarika show.

Finally, we will all learn a great deal, through different public programs, children’s workshops, university courses, and more.

— Rebecca Stone, Curator of Art of the Americas Z

Silver Ring Nubian, Meroitic Period Silver Lent by Julia Schottlander This extraordinary silver ring was of a type worn by Nubian Queens in the first and second centuries ad.

The design engraved on the bezel depicts a queen seated between the most popular Nubian goddesses, Hathor and Isis. All wear the elaborately patterned dresses typical of the period and characteristic headdresses. Depictions on the chapels of the pyramids in the Sudan show royal women wearing multiple rings of this type. The famous Ferlini Treasure had a number of silver and gold rings like this and others have been made of bronze and of iron.

Meroitic Queens could rule as sovereigns in their own right and their title, kanadake, survives as the name Candice.

andrea mantegna (ca. 1431–1506) Bacchanal with Silenus Early 1470s Engraving and drypoint Museum purchase through generous support from Gavin Albert, the John Howett Fund, and Patrons of Works on Paper In 2013, the Carlos Museum acquired Andrea Mantegna’s engraving Bacchanal with Silenus thanks to a generous donation to the John Howett Works on Paper fund.

Mantegna is celebrated as one of the most significant painters of the Renaissance. His success in painting, however, often overshadows his abilities as a printmaker.

Bacchanal with Silenus and its pendant print Bacchanal with a Wine Vat were engraved on the front and back of the same copperplate, and formed a frieze when printed.

Together, these engravings offer insight into Mantegna’s reception of the art of ancient Rome. The

figures were derived from drawings that the artist made after a Roman sarcophagus illustrating the story of Bacchus and Ariadne. Mantegna included all the usual suspects in a Bacchic procession, from the Silenus figure to satyrs and musicians. Scholar Corinna Höper notes that this grouping gave Mantegna the opportunity to demonstrate his mastery of various human forms, both portly and idealized.

Scholars attribute only seven engravings to Mantegna, making this print one of the most rare in the Museum’s collection. Even at the time of its production, the engraving was difficult to obtain. After reportedly trying and failing to secure an impression of Bacchanal with Silenus, Albrecht Dürer drew his own copy of the image, with a few alterations. Z

above: Entrance to the galleries featuring the native cultures of North America.

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Educationnews Homer’s Odyssey live during the exhibition Romare Bearden: A Black Odyssey, members of the Emory and Atlanta communities shared in two memorable experiences of live performance at the Carlos Museum. Over three days in January, more than six hundred people watched as twenty-six readers brought Homer’s Odyssey to life. Stanley Lombardo, professor of classics at the University of Kansas, opened and closed the reading of his marvelous translation. In between, Emory University students and faculty, Atlanta actors, community and business leaders, and television and radio personalities each read one book of the epic work.

Niall W. Slater, Samuel Candler Dobbs Professor of Latin and Greek, read Book 18 to a packed house and said of the experience, “It was thrilling to participate as both audience and performer. This is how Homer was experienced for centuries, the compelling voice of the poet gathering a rapt audience around this timeless story of homecoming.

Lombardo’s brilliant translation

gathers force as it goes forward, and I was privileged to come along for the ride.”

Dr. Lombardo, who was in attendance for the entire three-day performance noted the sense of community engendered by the event: “It was such a holistic, integrated experience. The room in which the reading was held, the adjacent gallery with Bearden’s Odyssey, brought everything together in a space both sacred and convivial.

The readers and the audience formed a community— an Homeric spirit of shared celebration. This was by far the most memorable of the many marathon Homeric readings I have been a part of.”

Valerie Jackson of wabe 90.1, who read Book 8, expressed the emotion felt by readers and audience members alike: “The reading of Lombardo’s Odyssey became a very moving experience for me, leaving me physically shaken at the end of my recitation. I became enveloped in the strong, yet weary spirit of Odysseus, gleaning lessons not obvious in previously studied renditions. I was

Eleventh annual Tibet Week The Emory-Tibet Partnership, the Department of Religion, and the Carlos Museum present the eleventh annual Tibet Week celebration, Monday, March 24–Saturday, March 29. Sara McClintock, associate professor of religion, gives a gallery talk on the Carlos Museum’s tenth-century sculpture of Avalokiteshvara, the Bodhisattva of Compassion; Buddhist monks from the Drepung Loseling Monastery create a sand mandala of Avalokiteshvara; daily meditation, lectures, films, and more. Z especially captured by the power of the bard—the singer—and Lombardo’s emotional, poignant song(s) within the poem itself. I did not lead the reading, the reading led me— to recognize the universality of Homer’s poem throughout multicultures and multi-times.”

The second live performance was held on February 25, when awardwinning British poet Alice Oswald held audiences spellbound as she recited her poem Memorial: A Version of Homer’s Iliad. For fifty minutes, the room was completely still, save the singular voice of the poet commemorating the Trojan War dead with unparalleled power and humanity.

And hector died like everyone else... a spear found out the little patch of white Between his collarbone and his throat Just exactly where a man’s soul sits Waiting for the mouth to open.

As one person Z

above left: Niall W. Slater, Emory’s Samuel Candler Dobbs Professor of Latin and Greek, reads from Book 18 of The Odyssey; middle: Stanley Lombardo, professor of Classics at the University of Kansas, opens the reading from his translation of The Odyssey; right: Amalia Amaki, artist, art historian, and co-curator of Southern Connections: Romare Bearden in Atlanta 10

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above: Romare Bearden. The Fall of Troy (detail).

Watercolor and Graphite on Paper. 1977. Private Collection, Courtesy of Jerald Melberg Gallery, Charlotte, NC.

Atlanta Public Schools Cultural Experience romare bearden: A Black Odyssey offered a wonderful educational and artistic experience for seventh-grade students in Atlanta Public Schools through the Atlanta Bureau of Cultural Affairs Cultural Experience.

More than 2,400 students toured Bearden’s colorful collages and watercolors, led by Carlos Museum docents, exploring the narrative of Homer’s Odyssey and Bearden’s understanding of it as a universal story that had parallels with the Great Migration. They also explored the Greek and Roman galleries, where they saw ancient artists’ depictions of Homer’s epic tale, and the African galleries where they saw objects like those that inspired Bearden’s imagery. Students also had the opportunity to make their own collages, using the same brilliantly colored paper that Bearden used, led by artist and educator Kevin Sipp. Z

right: Polyphemus, the cyclops from Homer’s Odyssey, as envisioned by an APS student in the Cultural Experience program.

top: Miniature Stele of the Bodhisattva Avalokiteshvara. India, Bengal. Pala Period, 11th–12th centuries ad.

Black chlorite. Ester R. Portnow Collection of Asian Art, a gift of the Nathan Rubin-Ida Ladd Family Foundation.

Photo: Bruce M. White. below: Atlanta Public Schools students participate in a collage workshop with Kevin Sipp.

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Carlos&theCampus Exhibition offers interdisciplinary teaching opportunities the exhibition Romare Bearden: A Black Odyssey created new opportunities for teaching across the university curriculum. Faculty from numerous departments —Classics, Art History, Religion, English, Ancient Mediterranean Studies, History, Philosophy, and others brought students through the galleries, often with unexpected and interesting perspectives on the themes of the exhibition. Professor Tara Doyle’s freshman seminar on Buddhism and social change explored the exhibition with scholar Jan Willis, whose book Dreaming Me: Black, Baptist, and Buddhist, chronicled her own odyssey, first as part of the Great Migration in America and then on to India and Nepal, and served as a text for the class. In addition they discussed Odysseus’ search for home in relation to the Buddhist conception of the search for liberation and the journey of “samsara.”

Two university classes were developed specifically around the exhibition, using the galleries and the associated public programs as an extension of the classroom.

In Ancient Mediterranean Studies 202r, Literature and Traditions: the Image of the Hero, professors Cynthia Patterson of the Department of History and Richard Patterson of the Department of Philosophy and their students examined the role and representation of the hero in ancient Mediterranean cultures and societies

— and the reception and re-imagination of ancient heroes in contemporary modern contexts. The exhibition provided a lens through which to explore questions such as “Are there any common defining qualities of a hero?” “What gives these figures their enduring power and meaning for both their societies and for our own?” and “What role do sex and gender play in the representation of heroes?”

In addition to class discussions in the galleries, students in The Image of the Hero attended many of the public programs held in conjunction with the exhibition, among them Alice Oswald’s performance of her poem Memorial: A Version of Homer’s Iliad. The students were asked to write short response papers about the program and many of them commented on the power of hearing the poem recited, not read, live, as Homer’s Iliad and Odyssey would have been performed in antiquity. Among them, Sabrina Paxton said: An interesting aspect of her performance was her pace.

She had great pauses between passages that she really wanted the listener to absorb and to picture fully. In sections where the warfare and fighting picked up she would speak faster, pulling the listener along as she described intense death scenes.

Her pace was a very powerful tool she used to help the listener really understand the impact of her words.

Mark Sanders, professor of English and chair of the Program in African American Studies and Dwight Andrews, associate professor of music, developed a completely different course, Black Odyssey: Migration, Home, and the African American Cultural Tradition. Bearden’s Odyssey series, a meditation on the western epic tradition and African American mobility, provided the opportunity for a broader examination of African American culture and ideas of migration, escape, and notions of home and belonging. Through the study of music, literature, film, and the visual arts, students in the class examined the multiple ways in which African Americans have attempted to forge and articulate individual and collective identity.

In addition to the close study of Bearden’s images, students explored the role of jazz and gospel music relative to migration north and into urban centers, African American literature and its themes of flight and selfhood, and other African American visual artists and their interpretations of mobility and identity.

Students in the course attended the public programs held in conjunction with the exhibition and, through the museum’s Andrew W. Mellon Teaching and Training grant, each of those speakers— curator Robert O’Meally, art historian Richard Powell, and Pulitzer Prize-winning author Isabel Wilkerson—taught sessions of the course.

Zachary Issenberg, a student in the Black Migration course, says of the experience: The Black Odyssey series has been a gift in giving me an opportunity unlike anything else.

Opportunity in the sense that, for three months, I can view art rarely ever assembled, with interpretation and lecture by scholars rarely ever assembled, in a class lecture setting with teachers rarely ever assembled.

Art History major Sarah Squiers shared her thoughts as well: What I found the most interesting about our class, was being forced to look at the art through a new lens. As an Art History major, I have always been encouraged to look at art in a historical, economic, political, and social way. I have also had to visually critique art on the basis of skill and technique based on its relation to a particular art movement. This class, however, creates a fresh perspective.

This class expands my scope and horizons to include other disciplines, like music, through which I have never analyzed a work of art. This class has challenged me and my perception of how I understand and analyze art. Z

above: Mark Sanders, professor of English and chair of the Program in African American Studies, and Dwight Andrews, associate professor of music.

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CarlosontheRoad Goddess Lhamo at the Asia Society carlos museum object loans continue to augment the impact of popular exhibitions across the nation. These loans allow museums to reconstruct original contexts, further audience insights, while offering a direct experience of ancient civilizations through primary sources. Not the least of which is the inclusion of the Carlos Museum’s figure of Goddess Lhamo in the Asia Society’s exhibition Golden Visions of Densatil: a Tibetan Buddhist Monastery on view through May 18, 2014.

Conservation@theCarlos The Densatil Monastery has long been considered one of the great treasures of Tibet. Constructed at the end of the twelfth century in a remote, rocky area of central Tibet, this Buddhist monastery was most famed for its special stupas—reliquaries that housed the remains of venerated Buddhist teachers. The stupas at Densatil were of a type called tashi gomang (Many Doors of Auspiciousness). They were multi-tiered, sculptural gilt copper structures that stood more than ten feet tall and were resplendent with inlays of semiprecious stones.

Prior to the destruction of Densatil during China’s Cultural Revolution

above: Figure of the Goddess Lhamo. Densatil Buddhist Monastery, Central Tibet. 15th century. Bronze.

Ester R. Portnow Collection of Asian Art, a gift of the Nathan Rubin-Ida Ladd Family Foundation in honor of Anthony G. Hirschel. Photo by Bruce M. White.

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(1966–1978), eight of them dating between 1208 and 1432 stood in the Monastery’s main hall. The exhibition brings together statues and panels from international public and private collections, offering a sense of the grandeur of the memorial structures that once stood at Densatil.

The figure of the Goddess Lhamo, an exquisite panel from one of the Densatil stupas, depicts the most terrifying figures of the Buddhist world. She was armed by the gods—dice determining the lives of humans; a lion; a hammer; a snake, which is here coiled upon her stomach; a sword, which here she holds in her right arm; and her vehicle, the mule, upon which she is seated. She wears a garland and crown of skulls to symbolize the illusions that she has destroyed.

Legend has it that she killed her own son because of her husband’s refusal to convert to Buddhism, and fled northward through Tibet, Mongolia, and China, eventually to settle in Siberia. Lhamo is terrifying because she is the Great Protectress of the school of Mahayana Buddhism. Her actions are based on the deepest insight and her ferociousness transforms the world. A meditator would focus on Lhamo’s ability to change delusional anger into an enlightened power to act.

The figure of the Goddess Lhamo is a gift in honor of Anthony G. Hirschel, whose interest, encouragement, and support were vital to the development of the Ester R. Portnow Collection, the galleries in which it is housed, and its integration with University courses. Z

Conserving mocassins, a jacket, and a bag

During examination and treatment, details of the jacket’s construction and evidence of its use were preparing objects for exhibition observed. The leather under both is always a collaborative project, arms was stained by sweat and dye and the recently installed North from the red lining fabric. The beadAmerican beaded objects were no work design includes two distinct exception. After curator Rebecca colors of facetted metal beads, one Stone selected the jacket, bag, and of which was discolored by rust. moccasins for display, the conserChief Conservator Renée Stein vation and mounting needs were and Mellon Assistant Conservator determined so preparation work Kathryn Etre analyzed the alloy could begin. compositions with a handheld x-ray One of the objects installed was fluorescence spectrometer and found a beaded jacket, which has never that the golden yellow beads were been exhibited. Contract textile created from leaded brass, while the conservator Patricia Ewer examined rusty beads are an alloy of iron, lead, the jacket during her annual fall visit and antimony that would have to the Museum and devised a treatoriginally appeared silver. ment strategy with Mellon Fellow Ewer also treated another exquiAshley Jehle. Although a bit crumsite object, a small beaded bag with a pled, the jacket was in very good graceful flower design on both sides. condition. A few beads were secured She stabilized and secured tears in with new thread. Small folds in the the red edging fabric by stitching a brown binding cloth were humidified layer of sheer red nylon over the with cool mist and then flattened damaged fabric. Looking at indiviunder blotters and weights. Very dual fibers under a transmitted light wrinkled fringe was also humidified microscope, Ewer identified the red and flattened. The jacket was then fabric on the top edge as silk and hung on a padded hangar to “relax,” the red fabric on the sides as cotton. encouraging the fringe to hang down She also identified the dark brown with a little help from gravity. velvet as cotton and found paper

above: Kathryn Etre, Renée Stein, and Ashley Jehle inspect the stability of the padded jacket once successfully installed. Beaded Jacket with Floral and Animal Motifs. First Nations, North America, Plains Indians (Crowe?). Ca. 1880–1890. Animal hide, cotton cloth, beads. Ex coll. William S. Arnett.

templates underneath the beadwork.

A recent acquisition, the Native North American moccasins posed another conservation challenge.

Over time, the moccasins had become dirty, stiff, and misshapen.

Etre and Jehle carefully cleaned the leather and beads with soft sponges, brushes, and swabs. They repeatedly humidified the leather and gently coaxed each moccasin back to shape, padding the forms with tissue and blotter to dry.

The final step in preparing the objects for display is safely installing them in the gallery case. Ewer and Jehle carved a custom-fit foam form to support the jacket. Mountmaker Bruce Raper fabricated a long brass hook to hang the padded jacket on the slanted deck of the wall case.

Stein and Etre secured the bag and moccasins with rare earth magnets, strategically placing padded magnets inside each object and on the case deck. These wonderful examples of North American beadwork will remain on display until early summer. Z

above: The beaded moccasins before (below) and after (above) treatment. Beaded Moccasins with Geometric Patterns. First Nations, North America, Plains Indians. Late 19th-early 20th century. Animal hide, beads. Gift of Carolyn Crawford Lawson and Duncan Lawson.

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SupporttheCarlos

We came, we saw, we Bacchanal’d!

v e n e r a l i a : enlighten Veneralia:Enlighten Tickets: carlos.emory.edu/veneralia veneralia event chairs Tara and Richard Aaronson and Patron Chairs Anna Paré and Sara Shlesinger invite you to support the Carlos Museum at Veneralia: Enlighten on Saturday, April 12. The Museum will honor Lewis Nix and Henry Mann, while proceeds from the event will benefit the Museum’s upcoming exhibition African Cosmos: Stellar Arts. With the exhibition as muse and light as their medium, local artists Steven L. Anderson, Stephanie Dowda, Karen Tauches, and Bean Worley will transform the Museum for an extraordinary experience. A performance by accomplished singer Alexandra Jackson, exquisite cuisine, and a highend silent auction chaired by Su Longman will enhance the multi-sensory delights during this elegant, black tie evening. It is sure to be an illuminating event! Z

it was certainly a night to remember, as we kicked off the 20th annual Bacchanal on November 2, 2013. Bacchanal 20: Rome around the World was inspired by the special exhibition Antichita, Teatro, Magnificenza: Renaissance and Baroque Images of Rome. This swanky event offered an open bar, culinary masterpieces from Atlanta’s best caterers, a professional dj and exclusive after-hours access to the Museum.

While awaiting raffle-winner announcements for lucky recipients of the Dolce & Gabbana purse, an Italian-wool custom suit, and a bms Federal 50 scooter, guests cavorted through the indulgent soirée, some even decked out in ’60s mod-themed attire.

Thank you to our Bacchanal 20 supporters!

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Save the date Bacchanal 21: Farewell to the Flowers September 20, 2014 Details coming soon. Z

New membership level: Young Associates the carlos museum’s Young Associates are a group of urban explorers, art lovers, and connoisseurs between ages 21–39. For $140, we’ll give you the complete museum experience: timeless art, great food, and events with free-flowing libations. This is fully taxdeductible as allowable by law and your membership covers benefits for two people! Z above: Veneralia Patron Chairs Sara Shlesinger and Anna Paré and Event Chairs Tara and Richard Aaronson

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Bacchanal revelers included: A Preston Wilson and Rebecca Nathan: B Doctor Q; C Vanessa Isen, Avery Kastin, Cassandra Young, Melanie Wilson, and Lulu Medlock; D Sheldon Baker, Brittany Thatcher and Aileen Bleach; E Jason Kane and Toreya Shea.

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Membership

Bookshop dive into the bookshop for great reads for the spring, with fascinating new books like…

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

Latin: Story of a World Language is an important new full history of Latin from antiquity to the present, evolving from a parochial dialect into a “classical” language with a codified rhetoric and rules (with the help of writers and grammarians like Cicero and Varro). As Romance languages spun off from their Latin origins following the Roman empire’s collapse—shedding cases and genders along the way—the ancient language retained its currency as a world language in ways that anticipated English and Spanish, but it ceased to evolve.

Ultimately, the rise of historicism in the eighteenth century turned Latin from a practical tongue to an academic subject. Nevertheless, of all the traces left by the Romans, their language remains the most ubiquitous artifact of a once peerless empire.

Get a jump on the upcoming winter/ spring 2015 exhibition of African art at the Carlos with the catalogue for African Cosmos: Steller Arts.

This groundbreaking book brings together exceptional works of art, dating from ancient times to the present, and essays by leading scholars and contemporary artists, to explore how the celestial bodies of the sun, moon, and stars, along with such celestial phenomena as

SALE!

rainbows and eclipses, serve as sources of inspiration in the creation of African art, both traditional and contemporary. At the core of creation myths and the foundation of moral values, celestial bodies are often accorded sacred capacities and are part of the “cosmological map” that allows humans to chart their course through life.

For afficionados of travel writing, Patrick Leigh Fermor’s writings are immensely entertaining, especially his beautifully written memoirs about his 1933–34 walk across Europe as a teenager, starting in Holland and ending in Constantinople. The Broken Road is the long-awaited account of the final leg of his youthful adventure that Leigh Fermor struggled over for years but was unable to finish before his death in 2011. Assembled from Leigh Fermor’s manuscripts by his prizewinning biographer Artemis Cooper and the travel writer Colin Thubron, this is perhaps the most personal of all Leigh Fermor’s books, continuing the story of his walk in the fall of 1934 and following him through Bulgaria and Romania to the coast of the Black Sea. Also in stock are other Leigh Fermor travel books as well as Cooper’s excellent recent bio-graphy, Patrick Leigh Fermor: An Adventure. Z

Spring clearance sale on Friday and Saturday, April 25 and 26, with all books discounted 20%.

Sale is open to both museum members and the general public; 20% is the maximum discount during the sale (does not combine with any other discounts or offers).

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spring 2014

we extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between September and December 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.

Curator’s Cou nc il

Doric

Mr. and Mrs. Joseph R. Gladden, Jr. Dr. Sarah H. Hill and Mr. Harvey B. Hill, Jr. Mrs. Marguerite C. Ingram Mr. and Mrs. James C. Kennedy Dr. Elaine L. Levin Dr. and Mrs. John S. O’Shea Dr. and Mrs. Morris E. Potter Mr. and Mrs. Jonathan Peter Rosen Ms. Joan M. Sammons Dr. Sandra J. Still and Ms. Emily E. Katt Mrs. Loraine P. Williams Dr. and Mrs. Sidney H. Yarbrough iii

Mr. and Mrs. H. Ross Arnold iii Mr. and Mrs. Wayne S. Bailey Messrs. Eugene Bales, Jr. and Boon C. Boonyapat Mr. and Mrs. Lewis Bancroft Drs. Patricia J. Bauer and James Steven Snow Mr. and Mrs. Robert A. Boas Mr. David Boatwright Mr. George H. Boulineau Mr. and Mrs. Alan Bremer Dr. Thomas W. Cole, Jr. and Judge Brenda H. Cole Dr. and Mrs. F. Thomas Daly, Jr. Dr. and Mrs. William L. Dobes, Jr. Mr. Randy Fields and Ms. Elizabeth Anne Bouis Mr. James E. Flynn, Jr. Mr. and Mrs. James A. Ford Messrs. Brian McClain Fulford and Sebastian Ericsson Dr. and Mrs. John C. Garrett Dr. David Joseph Goo and Ms. Susan Beatrice Doyle Dr. and Mrs. John B. Hardman Mrs. Sally Willingham Hawkins Prof. and Mrs. Howard O. Hunter Mr. W. Seaborn Jones and Ms. Bonnie A. Speed Mr. and Ms. Richard S. Kaplan Dr. and Mrs. Thomas J. Lawley Mr. and Mrs. Ronald L. Lee Drs. Jerrold Henry Levy and Maria Arias

Corinthian

Dr. and Mrs. Gregg Codelli Mr. and Mrs. James L. Ferman, Jr. Mrs. Lindsay W. Marshall Dr. Regine Reynolds-Cornell Ionic

Mr. and Mrs. Douglas Neal Benham Mr. and Mrs. William James Brehm Dr. and Mrs. Lawrence W. Davis Drs. Kirk W. Elifson and Claire Elizabeth Sterk Ms. Louise Barlett Franklin Mr. Owen H. Halpern Mr. and Mrs. Alexander S. Hawes Ms. Marianna McLean Mr. Daniel G. Oberg Mrs. Mary Rose Taylor Mr. and Mrs. Raul F. Trujillo Messrs. Gary Youngblood and James Michael Lorton

Dr. and Mrs. Harvey A. Mannes Mr. and Mrs. Peter Mariolis Mr. and Mrs. Charles Matthews Mr. and Mrs. Michael W. McDavid Ms. Lee P. Miller Mr. and Mrs. W. Hampton Morris Mr. Henry F. Mullins, Jr. and Ms. Bianca Quantrell Prof. Gordon Darnell Newby and Dr. Wendy L. Newby Mr. and Mrs. Spalding McArthur Nix Mr. G. Scott Owen Dr. Jesse R. Peel Dr. Frank M. Pickens Mr. and Ms. Douglas H. Pike Mr. Charles Raben and Mrs. Ann Miller Mr. Frank C. Roberts The Honorable and Mrs. Mathew Robins Dr. and Mrs. Rein Saral Ms. Mary Lynn Smith Mr. William P. Tedeschi and Ms. Dawn Prevete Mr. and Mrs. Leonard W. Thibadeau Mr. and Mrs. Ray G. Thomas Drs. Paul F. Walter and Jonne Barney Walter Mr. and Mrs. Frederic W. Watke Ms. Julie Whitehead Mrs. Aileen W. Wieland Mrs. Barbara Lord Willis Mr. Russell F. Winch Ms. Jeannie B. Wright Z

Thank you

mccm

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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

September 13–December 7, 2014

Hours Tuesday through Friday:

Handicapped parking Drop off for

God Spoke the Earth: Stories of Genesis in Prints and Drawings

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.

handicap visitors at Plaza Level 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.

January 17–May 17, 2015

Through the Atmosphere: Vitreographs by Mildred Thompson January 31–June 21, 2015

African Cosmos: Stellar Arts

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

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

Parking Paid visitor parking in

Tours Advanced booking required

for weekday or weekend groups of 10 or more. For reservations call 404-727-0519 at least two weeks before your group would like to visit.

Public tours Depart from the

rotunda on Sundays at 2 pm.

Call in advance, 404-727-4282.

Audio tour $2. Free for museum the visitor sections of the Fishburne members. and Peavine Parking Decks and in Museum information 404-727-4282 the new Oxford Road Parking Deck, Web access carlos.emory.edu located behind the new Barnes and Noble @ Emory, 1390 Oxford Road.