fall 2014winter2015

also a time of transition for one on our curatorial team as Dr. Peter Lacovara, the museum’s long-time curator of Egyptian art, retires September 1. Peter has been an incredible force in building the collections as well as the museum’s national and international presence. You’ll read more about his accom-plishments in the pages of this newsletter, and I know all of you join us in wishing him all the best as he begins the next phase of his life.

On page 8 you will read about a rare Funerary Chest, recently acquired through a generous grant from the Forward Arts Foundation. I’d like to take a moment to recognize and thank the extraordinary women of the Forward Arts Foundation as they prepare to celebrate the foundation’s 50th anniversary. The Carlos Museum has been a fortunate recipient of many grants, allowing us to acquire significant works of Egyptian and Near Eastern art. And so, to our good friends of the Forward Arts Foundation… thank you for all you do in our community, for your steadfast support of the Carlos Museum, and Happy Anniversary!

As always, I look forward to seeing you in the galleries!

Bonnie Speed Director

We have an exciting year planned for you in conjunction with the Creation Stories Project, a collaboration among Emory University, the Atlanta Symphony Orchestra, and the Georgia Humanities Council. The Carlos Museum will play a central role in the Emory programming by mounting a number of exhibitions and presenting a series of lectures and workshops, developing special events, and hosting a symposium. So keep the museum calendar handy, and check our website often for updates on exhibitions and education programs.

Speaking of education programs, the museum’s Artful Stories was recently highlighted in aamd’s “Next Practices in Art Museum Education.” The intent of this publication is to “share and spark new ideas and innovation” and we were honored to be included among the many exciting and inspirational programs happening around the country.

The museum’s conservation lab has also been forging new educational ground through a partnership with Emory’s Center for Science Education. It’s a collaboration with area teachers that folds art into the teaching of science, technology, engineering and math, expanding the realm of how we address creativity and problem-solving in scientific investigations. Very exciting!

There have been a few personnel changes at the museum. A number of folks have recently joined the Carlos team, and profiles of each are on page 13. We are pleased to welcome them, and how wonderful to be able to say… they are already making a difference! This fall is

Director’sletter

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cover: Albrecht Dürer (German, 1471–1528). Adam and Eve (The Fall of Man), 1504. Engraving. Gift of Margaret and Charlie Shufeldt. © Michael C. Carlos Museum, Emory University. Photo by Michael McKelvey.

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Creation StorieS at the Carlos MuseuM

OnView

This year, the Carlos Museum will explore one of the most profound and pervasive stories related by history’s mythologists and artists—the story of creation.

The Creation Stories Project is a collaboration between the Atlanta Symphony Orchestra, Emory University, and the Georgia Humanities Council. The project will take place during the course of the 2014–15 academic year and will include a variety of activities at Emory, as well as the commissioning of a new work for the Symphony. The Creation Stories collaboration will explore the timeless questions of origin, creation, and intent that have served as a catalyst for human thought and creativity since the beginning of time. Programming, performances, and exhibitions will seek to discover what twenty-first-century learners might gain from an exploration of creation narratives across time and cultures. Emory University will direct significant academic resources to explore the idea of creation and origin from a religious, mythological, scientific, and creative perspective.

The Carlos Museum exhibitions and educational programs in conjunction with the Creation Stories Project have been made possible by generous grants from the Thalia N. and Chris M. Carlos Foundation, Inc.; the Thalia and Michael C. Carlos Foundation, Inc.; and the Massey Charitable Trust.

Emory University’s Creation Stories collaboration with the Atlanta Symphony Orchestra has been made possible by the Andrew W. Mellon Foundation.

above: Gavin Jantjes. Untitled, 1989–1990. Acrylic on canvas. National Museum of African Art, Smithsonian Institution, purchased with funds provided by the Smithsonian Collections Acquisition Program, 96-23-1. Photograph by Franko Khoury.

and the summer solstice. In African Cosmos, selected ancient Egyptian and Nubian works of art will frame the topic historically, demonstrating Africa’s early engagement with celestial observations and its foundational place in visual arts and religion. The exhibition will also include nineteenth- and twentieth-century works of traditional African art that illustrate the enduring legacy of astronomical knowledge and its use by artists as a rich source of metaphor. Examples include Dogon (Mali) sculptures and masks that connect earth and sky in ritual reenactments of creation; a Yoruba (Nigeria) sculpture honoring Shango, the thunder deity; a Bamana (Mali) antelope crestpiece with an open-work mane that suggests the sun’s path through the sky each day as metaphor for the mythic origins of agriculture; and the drawing of a Kongo cosmogram in Haiti, depicting the four moments of the sun, a symbol for the cycle of human life. The exhibition will also include works by African contemporary artists who draw on the cosmos for inspiration.

Major sponsorship for African Cosmos: Stellar Arts is provided by the government of the Republic of South Africa and South Africa’s Department of Science and Technology. Additional support is from BET Networks, Stuart Bohart and family, Credit Suisse, South African Airways, the Embassy of South Africa in Washington, D.C., and the Smithsonian Institution, Consortia for Valuing World Cultures and for the Understanding of the American Experience. Z

OnView

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the carlos museum will host a major exhibition from the National Museum of African Art at the Smithsonian titled African Cosmos: Stellar Arts, the first major exhibition exploring the historical legacy of African cultural astronomy and its intersection with traditional and contemporary African arts. Featuring more than seventy outstanding works of art from throughout the African continent, African Cosmos considers how the sun, moon, stars, and celestial phenomena such as lightning and rainbows have served as sources of inspiration in the creation of African art from ancient times to the present.

The African Cosmos exhibition will demonstrate that observations of the heavens are part of the knowledge that informs origin stories, artistic expression, and ritual practice in African cultures. Standing 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.

African Cosmos will showcase outstanding works of art that illuminate Africa’s contributions to the science and practice of astronomy. African interest in and observation of the cosmos date back as far as the stone circle and megaliths of Nabta Playa, a site in southern Egypt dating to the 5th millennium bc that has been interpreted as one of the world’s earliest archeoastronomical devices marking star alignments

Carlos MuseuM to host the sMithsonian’s afriCan CoSmoS: Stellar artSJANUARY 31 thoUgh MAY 17, 2015

above: Shrine Screen (Baltu). Nigeria or Cameroon, Mambila. Late 19th–early 20th centuries. Pigment, raffia palm pith. Ex coll. William S. Arnett.

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this exhibition focuses on the enduring narratives of the book of Genesis and highlights the breadth of Emory’s holdings in this genre. Drawn from the permanent collections of the Carlos Museum, Pitts Theology Library, and marbl (The Manuscript, Archive, and Rare Books Library), God Spoke the Earth includes extraordinary works of art from Albrecht Dürer’s famed 1504 engraving Adam and Eve (The Fall of Man) to Marc Chagall’s lithograph Bible II-Creation.

Genesis, the first book of the Torah and the Old Testament, recounts the origin and beginning of all things. It introduces the Judeo-Christian understanding of a monotheistic God who created and controls the world, and revolves around the sequential themes of creation, sin, re-creation, and redemption. These themes can be traced through the various stories of Genesis, from Creation through the Fall of Man, the Flood, God’s Call and Promise to Abraham, and others.

The works of art in this exhibition bridge the thirteenth to the twentieth centuries, and offer insight into how artists and communities throughout time depicted Genesis narratives and contemplated God’s relationship with mankind. For example, a leaf from a twelfth-century French Bible, the earliest work in the exhibition, depicts a small scene of the Creation of Adam followed by an image of Adam and Eve eating the fruit of the Tree of Knowledge, both in exquisite hand-painted detail. This same leaf also features an image of Christ’s crucifixion, reminding the medieval Christian viewer of God’s ultimate redemptive act for the salvation of mankind. Alternately, the Liber chronicarum (commonly known as the Nuremberg Chronicle) offers a sixteenth-century German perspective on the history of the world from its creation in Genesis up through 1493, the year of its publication. The Chronicle was compiled by German doctor and humanist Hartmann Schedell, and features woodcuts from the workshop of Michael Wolgemut, with whom the young Albrecht Dürer apprenticed.

God Spoke the earth: StorieS of GeneSiS in printS and drawinGSSepteMbeR 12 thRoUgh DeceMbeR 7, 2014

left: Albrecht Dürer (German, 1471–1528). Adam and Eve (The Fall of Man), 1504. Engraving. Gift of Margaret and Charlie Shufeldt © Michael C. Carlos Museum, Emory University. Photo by Michael McKelvey.

right: Anonymous (French, active 13th century). Genesis, from the Biblia Sacra Latina, ca. 1200–1300. Illuminated manuscript leaf. Art History Department Fund. © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White.

A fantastical series of Joan Waddell-Barnes’ illustra-tions for Thomas Mann’s 1943 novel Joseph and His Brothers expands the exhibition into the twentieth century. To prepare for his imaginative retelling of the Genesis stories of Jacob and Joseph, Mann drew inspiration from a multitude of sources, including Jewish scriptural exegesis and the history of ancient Egypt. Waddell-Barnes’ drawings, given to the museum by the artist herself, beautifully capture Mann’s Amarna Period setting and what he terms a narrative of “love and hate, blessing and curse, fraternal strife and paternal grief, pride and penance, fall and rise, a humorous song of mankind.”

The title of the exhibition derives from the creation story recounted in the second chapter of Genesis, in which God speaks the creation of Earth and all living things. It denotes the mysterious, creative power of the Judeo-Christian God that captivated and inspired artists over the centuries, and offers a testament to the lasting importance of stories of Genesis. Z

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OnView

the carlos museum created a special installation to feature a tablet discovered in the ruins of the ancient Babylonian city of Nippur in the nineteenth century by a team from the University of Pennsylvania Museum of Archaeology and Anthro-pology (Penn Museum). The Nippur tablet is on loan to the Carlos Museum from the Penn Museum to highlight programming and research focused on creation stories. One of the most exciting events in Near Eastern archaeology was the discovery of a cuneiform tablet from Nineveh that recounted the ancient story of the hero, Gilgamesh. The tale is remark-able not only for being mankind’s oldest epic, but also because it tells

two of eaCh: the nippur deluGe tablet and noah’S flood AUgUSt 30 thRoUgh JUlY 26, 2014

the story of a catastrophic flood that parallels the biblical story of Noah. The translation of the tablet caused a sensation when it was first announced in 1872. Other tablets with versions of the flood story were later discovered at a number of ancient Near Eastern sites, including Nippur.

The Nippur tablet tells the story of a plan by the gods to destroy the world by means of a great flood and recounts the tale of an immortal man named Utnapishti, who builds a boat to rescue his family and every type of animal. Dating from the seventeenth century bc, the tablet contains six columns of text, three per side, with ten to fifteen lines in

each column. Written in Sumerian, it not only tells the story of the deluge, but also describes the creation of humans and animals, and records the names of the first cities and their rulers. It reads, in part:

…A flood will I send which will affect all of mankind at once. But seek thou deliverance before the flood breaks forth, for over all living beings, however many there are, will I bring annihilation, destruction, ruin. Take wood and pitch and build a large ship!…take into it…the animals of the field, the birds of the air and the reptiles, two of each… and the family… Z

above: Flood Tablet. Nippur, Iraq. Sumerian. 17th century bc. Clay. Loaned by the University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, PA. Image courtesy of the Penn Museum, image #152331 .

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CreatinG matter: printS by mildred thompSon JANUARY 17 to MAY 17, 2015

the works on paper exhibition Creating Matter explores African American artist Mildred Thomp-son’s interest in the cosmos and the creation of the world from the ancient stories to contemporary scientific theories. The exhibition will feature works in a variety of print media, emphasizing Thomp-son’s artistic range. Born in 1936, Thompson trained formally in the United States at Howard University and at the Art Institute of Hamburg, Germany, among others. When she returned from abroad, she was discouraged to find that galleries in New York City were reluctant to feature the work of an African American artist. One gallerist even suggested that Thompson hire a white woman to impersonate her in public. She returned to practice in Germany during the 1960s as a result. Her work was admired and collected especially in Düren, where she lived and taught at the Eschweiler Volchoch Schule, and in the neighboring cities of Aachen and Cologne. Thompson’s German appeal is confirmed by a poster commissioned by the German Red Cross in 1990, seen to the right.

In 1986, Thompson returned to the U.S., settling in Atlanta, where she became editor of Art Papers and taught at several area institutions. The city would be her home for the rest of her life. Although she lived in Atlanta, Thompson maintained deep ties with Germany. She was fluent in German and held several exhibitions in conjunction with the Goethe Institut Atlanta.

Thompson’s work was heavily

influenced by African textiles, American jazz, European classical music, and German Expressionism. She worked at a frenetic pace in a variety of media, including wood sculpture, painting, drawing, printmaking, photography, film-making, and set design. Most of her early work was figural, but she moved toward total abstraction in the 1970s. Thompson experimented with printmaking techniques throughout her career, including vitreography, an unusual and arduous intaglio process in which the artist engraves, stipples, or etches into a glass plate. Though she was a slight woman, barely five feet tall, she is also said to have ripped thin copperplates by hand to enhance the sculptural quality of the printed paper.

The prints in this exhibition are mature works from the 1980s onward. They are full of movement, yet deliberately mysterious, revealing Thompson’s interest in creation, the cosmos, quarks, string

theory, astronomy, and the Jungian “collective unconscious.” The works are drawn primarily from the collection of Wes and Missy Cochran, who had a warm and longstanding relationship with the artist. They relate that Thompson was “intense, immensely talented, a close friend, mentor, and a natural-born teacher with a contagious laugh.”

In her latter years, illness forced Thompson away from her physically demanding art-making practices. She turned instead to music, and formed the blues band “wedoblues” with partner Donna Jackson. Together, they recorded an album and performed at several Atlanta music venues, including Piedmont Park and Cabbage Town’s celebrated Daddy D’z bbq Joynt. She died in 2003, leaving behind a massive and important body of work that remains relatively unexplored in the United States. Z

above: Mildred Thompson (American, 1936–2003). Wave Function III, 1993. Vitreograph. Lent by Wes and Missy Cochran.

above: Mildred Thompson (American, 1936–2003). Untitled (Commissioned by the German Red Cross), 1990. Silk screen. Lent by Wes and Missy Cochran.

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above: Funerary Chest. Egyptian, Ptolemaic Period (332–330 bc). Painted wood. Gift of the Forward Arts Foundation. Photo courtesy of Hixenbaugh Ancient Art.

Carloscollections

posture of the Chimaera, cowering from its wounds just like the counterpart on the Carlos gem, makes clear that it was originally conceived as a heroic group of which Pegasos and Bellerophon are not, alas, preserved. The gem, moreover, is exactly contemporary with the bronze group, made in the same part of the world, and the question arises whether the patron of the sculpture and the gem may not have been one and the same. Z

object in Focus: an etruscan carnelian scarab with the story of Bellerophon, Pegasos, and Chimaera

the current reorganization of the classical galleries has offered an opportunity to exhibit well over one hundred works of art acquired over the last decade. One of the most spectacular of these is an Etruscan stone engraved around 400 bc depicting Bellerophon.

The story of Bellerophon was first told by Homer in a digression in the action of the Iliad. While a guest of Proitos, king of Tiryns, Bellerophon was approached by his host’s wife, Sthenoboia. When he rejected her advances, she accused him of attempting to rape her. Rather than kill his guest, Proitos sent him to his father-in-law, Iobates king of Lycia, with a note advising him of Bellerophon’s alleged crime, and an injunction to kill him. Iobates, also reluctant to kill a guest, instead sent him to dispatch the menacing Chimaera, a monster combining the body of a lion with the protome of a goat emerging from its back and tipped with a snake’s tail. The god- dess Athena intervened, however, and, giving Bellerophon a golden bridle, enabled him to tame the winged horse Pegasos. Bellerophon

was thus able to prevail. It is the moment of victory that is depicted on the intaglio.

The gem is carnelian, a stone much favored by the ancients on account of its evenly packed, dense crystals that could support detailed carving while also taking on a high polish. Its saturated burgundy color was artificially induced by exposing the raw mineral to a combination of heat, iron, and honey. The engraver first fashioned the stone in the form of a scarab beetle, a convention native to Egypt that reached Etruria through Greek and Phoenician trans-mission. That completed, he turned to the flat underside to lay out his composition. The carving was undertaken by means of a bow-drill tipped with an abrasive like emery mixed with olive oil as a paste. Traces of the rounded tips of the drill can be made out most clearly in Pegasos’s legs.

The gold shank, fashioned from massive twisted wire, originally allowed the gem to swivel. At some point, possibly the occasion when it came to be consigned to a grave, a decision was made to prevent its use again, and two small disks were crimped from the shank against the scarab to fix the stone in its current position. Reversing this action, while perhaps desirable aesthetically, would damage the object, and it has therefore been left as is.

Truly remarkable are the monu-mental size of the stone and the elegance of its magisterial composi-tion. The composition, furthermore, is of the highest importance, for it provides the best evidence we have for the original appearance of one of the greatest of all Etruscan bronze sculptures, the Chimaera of Arezzo, now one of the glories of the Museo Archeologico in Florence. The

above: Scarab Intaglio with Pegasus, Bellerophon and Chimaera. Etruscan, ca. 400 bc. Carnelian and gold. Carlos Collection of Ancient Art. Photo by Bruce M. White.

Key ancient egyptian object acquired with help from the Forward arts Foundation

canopic jars containing the embalmed internal organs were an important feature of ancient Egyp-tian funerary art. The jars were often placed inside a stone or wooden chest, which sometimes imitated

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above: Installation shot of Fabrice Moneiro’s exhibition “Vues” de l’esprit, 2014.

a Visit to Dak’art 2014

this summer i was fortunate to visit Dakar, Senegal, as a representative of the Carlos Museum at Dak’Art, the international African

art biennial. First held in 1990, Dak’Art emerged from the nine-teenth-century world exposition tradition by way of the decades-long effort to establish a pan-African arts festival. Due in part to the interest of Léopold Senghor, the first president of Senegal, attempts to inaugurate an African biennial in the 1960s and 1970s culminated in the first Dak’Art. Dakar is a bustling city of around four million people on the Cap-Vert peninsula along the West Coast of Africa, an ideal location for this diverse international exhibition.

Dak’Art 2014 was primarily held at a film studio, providing large open spaces that could be divided to accommodate new media, installa-tions, sculpture, painting, and photography. There were three curators, all of whom were born on the continent, but none of whom currently live there: Abdelkader Damani, Ugochukwu-Smooth Nzewi, an Emory alumus, and Elise Atangana. Each curator was in charge of a different section: North Africa, Sub-Saharan Africa, and the African diaspora. For the first time since 1990, every artist was a first-time exhibitor, breaking the routine of major celebrity artists repeatedly participating. Yet there were plenty of big names: Julie Mehretu, Wangechi Mutu, Atlanta artist Radcliffe Bailey, and Olu Amoda, who received his mfa from Georgia Southern University.

Simone Leigh and Chitra Ganesh were invited to exhibit the video installation My Works, My Dreams, must wait until After Hell, which was on view at the Atlanta Contem-porary Art Center this spring.

I especially appreciated the opportunity to experience Dak’Art off. Originally conceptualized as a salon des refusés, off was organized by artists who were not included in the biennial. All over the city, artists pinned up their work, participating in an alternative exhibition. Although in 2012, the Dak’Art Biennial Foundation institutionalized this radical statement by requiring artists to register, participants find their own funding and space but are officially linked to the Biennale. This year there were more than 270 off exhibitions across the city. The most interesting off-site space I visited, a photographic installation with works by Fabrice Moneiro, a Belgian-Beninese photographer who works in Dakar and Ivorian photographer Paul Sika, was located in a construction site behind a gas station. The space was constantly in flux; at one point, a construction worker carrying drywall walked through the space. The large-scale photography and light boxes were highlighted against the unfinished white walls, creating a truly dynamic venue.

–Amanda Hellman. Z

above: Amanda Hellman, Curator of African Art at the Carlos Museum

the form of a shrine with a cavetto cornice and a sloping roof. How-ever, by the end of Dynastic history the jars were dispensed with— internal organs were simply wrapped in linen packages and placed within these funerary chests.

The front panel of this chest depicts the door to a shrine flanked by worshipping images of priests. Each of the four sides is decorated with two figures of the four Sons of Horus; the deities most directly associated with the protection of the internal organs. Isis and her sister Nephthys, the traditional mourning goddesses, are also shown, holding their hands up in a gesture of adoration. Between them are blank panels for hieroglyphic inscriptions that were never added. During the Ptolemaic Period, as the Egyptian language was being replaced by Greek, it is not uncommon to find such sections, which were reserved for text, left blank for want of a literate scribe.

Much of the painted detail survives on this chest including classic details of the cavetto cornice and kheker frieze at the top along with a protective band of cobras. The lower part is covered with alternating symbols of the djed pillar, symbolic of the god Osiris, and tet sign, symbolic of the god- dess Isis. These are framed by the standard block border and the base has a representation of the niched façade that is featured in Pharaonic funerary art from the First Dynasty onward. The acquisition, conserva-tion, and installation of this lovely work of Egyptian art was made possible by the Forward Arts Foundation. Z

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educationnews

above: A child doing the art project with gold ink and stamps.

artful Stories

recent studies have confirmed the importance of reading to children from a very young age to build vocabulary, stimulate the imagina-tion, and expand their understand-ing of the world. Artful Stories offers children ages three to five and their adult companions an opportunity to hear compelling and beautifully illustrated works of children’s literature read aloud in the galleries of the Carlos Museum. The books selected relate to the cultures represented by the museum’s collections of ancient Greek, Roman, Egyptian, ancient American, South Asian, and African art as well as temporary exhibitions. After each story, children and their parents look closely at and discuss one work of art in the gallery that relates to the story, and then go to the “studio” for a related hands- on activity.

Examples of past programs include:

Buddha Stories: More than two

thousand years ago, the Buddha told stories to his followers to illustrate the importance of compassion, love, and kindness. Children heard three of these stories, or “Jatakas,” in the calm presence of several Buddhas in the Asian gallery. After looking carefully at the gilded Tibetan Buddha seated serenely on a lotus throne, children made an image of the Buddha in gold ink on indigo colored paper, similar to the illustrations in the book of Buddhist stories.

This is Rome: In the exhibition Antichita, Teatro, Magnificenza: Renaissance and Baroque Images of Rome, children, surrounded by maps and views of the Eternal City, listened to the classic “first travel book” titled This is Rome. Then they looked for the monuments they had seen in the book in the prints in the galleries, and made homemade pasta and fresh tomato sauce with an Italian chef.

Artful Stories has been an unqualified success, with many families returning month after

month. It was recently selected for inclusion in the Association of Art Museum Directors (aamd) report titled Next Practices in Art Museum Education. Lori Fogerty, Chair of the aamd Education & Community Issues Committee, described the programs included in the report as “taking us beyond proven ‘best practices,’ meant to both share and spark new ideas and innovation.”

This fall, thanks to generous financial support from the pnc Foundation, the wonderful literary and artistic experience of Artful Stories will be made available to area preschools on Monday mornings. Groups will experience stories from cultures around the world, view works in the collection, create art (and sometimes food!), and return to their classroom with a copy of the book for their class-room library. The museum will host an Evening for Pre-School Teachers this fall on September 12, with examples of the program set up in each gallery for teachers to experience themselves. Z

above: The book Buddha Stories above: Shakyamuni Buddha. Tibetan. 13th– 14th centuries. Gilt bronze. The Ester R. Portnow Collection of Asian Art, a Gift of the Nathan Rubin-Ida Ladd Family Foundation. Photo by Bruce M. White.

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Making a Difference

classroom teachers tell us that the single greatest impediment to visiting the Carlos Museum for public schools is the escalating cost of transportation. Over the past two years, generous financial support from the Emory Womens’ Club, Advisory Board member Sarah Shlesinger and her husband John, Joan and Howard Weinstein, and Fidelity Bank has allowed the museum to offer a transportation stipend to Title One schools. Through the support of these individuals and organizations, more than 2,500 young people from fifty-five schools have been able to tour the collections and exhibitions of the Carlos, expand-ing their classroom experience and their understanding of the cultures they are studying.

Recipients include:

Atlanta Public Schools Toomer Elementary Coan Middle School Conley Elementary Coretta Scott King Academy Jackson Elementary Young Middle School Whitefoord Elementary Drew Charter School

Bibb CountyHeard Elementary Vineville Elementary Porter Elementary Burdett-Hunt Elementary Heritage Elementary Skyview Elementary Sonny Carter Elementary

Clayton CountyUnidos Dual Language School Morrow Elementary Mundy’s Mill High School RT Smith Elementary

Clarke County JJ Harris Elementary

Cobb CountyGarrett Middle School Norton Park Elementary Griffin Middle School Pitner Elementary

Catoose County Lakeview Fort Oglethorpe High School

Coweta County Northgate High School

Dekalb CountyBrockett Elementary Clarkston High School Midvale Elementary Andrews High School Hambrick Elementary City of Decatur System Decatur High School

Douglas County Arbor Station Elementary Chapel Hill Middle School Dorsett Shoals Elementary Sweetwater Elementary

Elbert County Blackwell Elementary

Fayette County Bennett Mill Middle School Braelinn Elementary Fayetteville Elementary

Fulton CountyBarnwell Elementary Conley Hills Elementary Cliftondale Elementary Tubman Elementary Woodland Middle School

Gilmer County Mountain View Elementary

Gwinnett County Norcross Elementary Meadow Creek Elementary

Hart County Hart County High School

Henry County Tussahaw Elementary Luella High School Patrick Henry High School

Rockdale CountyPeeks Chapel Middle School Davis Middle School Heritage High School Z

above: Carrie Rosenthal, Carlos Museum docent, gives a tour to students. More than 2,500 public school students can visit the museum thanks to transportation stipends.

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above: Graham Lea, Shelley Burian, and Rachel Kreiter, the Andrew W. Mellon interns.

andrew W. Mellon interns

this summer three graduate students from Emory’s Art History Department received Andrew W. Mellon internships and are working with curators on a variety of projects related to the development of exhibitions. Graham Lea worked with curator of works on paper Andi McKenzie, researching Albrecht Durer’s 1504 engraving of Adam and Eve, which will be featured in the exhibition God Spoke the Earth: Genesis and Prints and Drawings.

Rachel Kreiter is assisting curator of African art, Amanda Hellman, on two projects —the ancient Egyptian component of the exhibition African Cosmos: Stellar Arts, which opens in late January, and the reinstallation of the African galleries that will take place when African Cosmos closes. Rachel found her work on African

Cosmos particularly challenging, stating, “All Egyptian art has cosmological subtext, but much of it is oblique or overly complex, and working on this exhibition has given me a chance to confront questions about the reception of Egyptian material that I had only considered theoretically before this summer.” Rachel and Amanda are also visiting other museums with collections of African art to study their recent redesigns and reinstallations, including their critical receptions.

Shelley Burian is working with Rebecca Stone, faculty curator of Art of the Americas, on the develop-ment of the exhibition Threads of Time: Tradition and Change in Indigenous American Textiles, scheduled for the academic year 2015–16. In addition to curating the modern Andes section of the exhibition and researching and writing labels and texts for the show, Shelley has embarked on an attempt to recreate an ancient Wari textile fragment—from spinning to dyeing to weaving—which she is chronicling in a blog and will result in a website and or/video to accom-pany the exhibition. She says of the learning experience provided by the Mellon internship, “What I have found to be the most inter-esting is the experience of being given a space in an exhibition to fill essentially in the way that I find to best fit the theme (tradition and change). You learn the different ways of approaching curating an exhibition and how to determine which one is right for your situation.” Z

Carlos&theCampus

above: Toga-clad middle and high school Latin students attending the annual National Junior Classical League meeting.

national Junior Classical league at the Carlos Museum

in late july, Emory University played host to 1,800 toga-clad middle and high school Latin students from around the country attending the 61st annual meeting of the National Junior Classical League. The Carlos Museum’s rich collections of art from ancient Greece and Rome were a highlight of their campus experience. Several Carlos Museum docents, former Latin teachers themselves with a shared fascination and love of the ancient world, explored the galleries with the students making direct connections with the Latin curricu-lum. Tour themes ranged from Virgil and Ovid to Percy Jackson and the Olympians to Life in a Roman Villa. In addition to gallery tours, students were able to study works of art up close without the glass, including a fifteenth-century reconstruction map of ancient Rome by Pirro Ligorio and ancient Greco-Roman gem-stones and coins with curator Jasper Gaunt.

A resurgence of interest in Latin is occurring in high schools across the country. Over 150,000 students take the National Latin Exam every year and many are enrolling in AP Latin classes as well. The Carlos Museum is delighted to be a resource for these teachers and students. Z

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top to bottom: Ana Vizurraga, Marla Carter, Alyson Vuley, Caleb Plattner

Alyson Vuley

Alyson Vuley graduated from Antioch College with a ba in Visual Art before moving to Atlanta and teaching art at The Atlanta School for five years. Alyson moved with her family to the northern Pacific coast of Costa Rica where her art-making was inspired by the tropical dry forests of Guanacaste, the pottery of Nicoya and the ancient petroglyphs on Isla Ometepe in Lake Nicaragua. Alyson recently returned to Atlanta and is thrilled to have joined the Carlos Museum Education Department.

Marla L. Carter

Marla L. Carter is a graduate of the 2012 class of Auburn University. She received her ba in Mathematics Education. While completing her degree, Marla was employed as a Data/Financial Analyst Assistant at the Alabama Tombigbee RegionalCommission. After graduating Marla was offered a Mathematics Educator position at Russell Country Middle School in Seale, Alabama. Soon after Marla was recruited by Emory University to begin her career at the Carlos Museum’s business office. In July she welcomed a beautiful baby named Brooke into the world.

Caleb Plattner

Caleb Plattner is a sculptor, dog lover, and woodworking enthusiast with over fifteen years of experience fabricating wood and metal. After earning a bfa in sculpture from the University of West Georgia, Caleb briefly moved to Detroit where he worked with artist Matthew Barney on his film and performance “KHU” before settling permanently in Chicago. Caleb’s passion for woodworking and a desire to be closer to his family led him back to the Atlanta area where, after a short stint at the High Museum of Art, he started working at the Carlos Museum in June. Z

Ana Vizurraga

Ana Vizurraga has a Bachelor of Visual Arts from Georgia State University. She taught elementary art education at a small private school in Atlanta and continues to teach adult pottery classes at Callanwolde Fine Arts Center. Ana is a practicing ceramic artist and an active teaching artist with the Carlos Museum. Currently, Ana is serving as the Educational Programs Assistant with a focus on expanding the Artful Stories program for preschool-age children. Her affiliation with the Carlos Museum began almost twenty years ago when she worked on an interactive video project in which she recreated a Colima ceramic dog from the collection.

Welcoming new staff at the museum

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above: Atlanta-area teachers gather for a workshop held at the Carlos Museum to explore connections between art conservation and teaching sciences.

Conservation resource for science education

a team of conservators, educators, and interns working with the Parsons Conservation Laboratory and Emory’s Center for Science Education has created the mini-site Science & Art Conservation: Resources for Teachers (carlos.emory.edu/science-art-conservation). This web-based resource provides learning units that relate science topics to the conservation of art and artifacts. Issues of materials identification, deterioration, and preservation create an engaging context for concepts such as pH, solubility, osmosis, melting point, etc. Each unit includes a student activity and teacher guide paired with Georgia Performance Standards for chemistry and/or biology. Accompanying images illustrate objects from the Carlos Museum. The site also includes a short narra- ted slide presentation that introduces the field of art conservation.

This resource has been a colla-borative project with numerous contributors. During the summer of 2012, Dekalb County teacher Tiffany Smith and Emory student Julia Commander worked with Carlos conservators Renée Stein and Kathryn Etre to develop the hands-on activities. Smith teaches sciences at Cedar Grove High School and was funded through Emory’s Center for Science Education to spend six weeks learning about art conserva-tion practice at the Carlos Museum. Commander’s ten-week internship in the Parsons Conservation Labora-tory was supported by an endow-ment from the Andrew W. Mellon Foundation. During the summer of 2013, the Carlos Museum and the Center for Science Education co-sponsored a week-long workshop that brought over twenty Atlanta-area science teachers together to learn about art conservation and trial the activities. Jordan Rose of the Center for Science Education led sessions on problem or case-based

Conservation@theCarlos

learning in which the teachers wrote units involving each of the experi-mental activities. These learning units accompany the student activities, teacher guides, context images, and references for each topic on the site.

The site was premiered at an Evening for Educators on March 13 at the Carlos Museum in conjunc-tion with the inaugural year of the Atlanta Science Festival. At this event, participants explored a “science fair” in the galleries, encountering stations dedicated to each of the topics presented on the web resource, including adhesives, insects, pigments, corrosion, paper, ceramics, and wood. These stations were staffed by teachers who had developed associated learning units for classroom use. Students Emily Farek, Gracelyn Miller, and Jennifer Hallaman helped assemble materials for the workshop, launch event, and mini site.

The resource and its collabora-tive creation have been featured on the websites of the Association of Art Museum Directors and the American Institute for Conservation of Historic and Artistic Works, as well as the Emory Report and Emory Magazine. The resource site is directly accessible and is also linked through the museum’s website. Users are invited to submit learning units that can be added to the site and more activities may be developed to address additional topics. The goal is for this site to be a vibrant and expanding public resource that engages science educators and students in art conservation and the museum’s collections. Z

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summer intern prepares ancient coffin lid for loan to houston

kathryn (kate) brugioni joined the Parsons Conservation Laboratory for the summer to prepare an ancient Egyptian coffin lid for loan to the Houston Museum of Natural Science. The painted wood lid dates from the 22nd to 24th dynasties and is similar to examples excavated at Lahun by Petre. The lid has a complex restoration history, including modern reassembly of the boards and reconstruction of the wig. Kate’s many hours of careful cleaning have reconciled these past interventions with what remains from antiquity to bring more subtlety and aesthetic accuracy to this intriguing object. After her summer at the Carlos Museum, Kate returned to New York City to resume her studies of art conserva-tion at the Institute of Fine Arts, New York University. She plans to join the team in Houston later this fall to install the coffin lid along with other objects on loan from the Carlos Museum. Z

above: Kate Brugioni, intern at the Parsons Conservation Lab, working on a Late Period Egyptian coffin lid.

Peter lacovara leaves a powerful legacy at the Carlos Museum

after many years of inspiring work with the Carlos Museum, Peter Lacovara, senior curator of Egyptian, Nubian, and Near Eastern art, will begin a new chapter in his life pursuing other exciting projects close to his heart. Peter leaves an incredible legacy. His remarkable tenure at the Carlos Museum began with the acquisition of the Niagara Falls Museum’s collection of Egyptian art and the subsequent research and identification of the Ramesses i mummy.

Since 1998, Peter has worked tirelessly to build the Egyptian,

Nubian, and Near Eastern art collections, positioning the Carlos Museum on the national and international stage. He identified and cultivated patrons and donors across the country, organized myriad exhibitions, attracted Tutankhamun: The Golden King and the Great Pharaohs to Atlanta, led tours to Egypt to promote the museum, wrote catalogues, networked on behalf of the museum with col-leagues both in the U.S. and abroad, and served as a spokesperson on numerous, broadly successful media features, including the National Geographic and History Channel documentaries.

Peter has also been a significant donor to the museum, generously giving objects to enhance the collections and their teaching value. And, he was unstinting in his dedication to students and interns, always offering his time and expertise to enhance their work and Emory experience.

A lecture series in Peter’s honor was recently endowed through the generosity of friends and museum patrons. The Lacovara Lecture will, in perpetuity, bring scholars of Egyptian, Nubian, and ancient Near Eastern art to Emory, continuing Peter's legacy of expanding and sharing the knowledge of the field he so loves. Z

above: Peter Lacovara Lacovara at the press opening of Life and Death in the Pyramid Age: The Emory Old Kingdom Mummy.

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supporttheCarlos

Veneralia: enlighten—an illuminating event

the carlos museum glowed at Veneralia: Enlighten April 12th. Supporters celebrated at this 23rd annual spring fundraiser with twinkling stars, radiant artwork, and celestial tunes, while honoring Henry Mann and Lewis Nix who established the first endowment at the museum in 1992 through their architecture firm Nix Mann and Associates. Featured art installations by Atlanta based contemporary artists Steven L. Anderson, Stephanie Dowda, Karen Tauches, and Bean Worley transformed the museum’s galleries for attendees. Lavish cuisine provided by Dennis Dean catering complemented each artist’s work. Jazz vocalist Alexandra Jackson performed a unique selection of songs including those with a celestial motif. Robert Long, owner and creative director of floral and event company Robert Long Flora Design, created a uniquely lit nightclub atmosphere in the museum’s reception hall, which served as a gathering space and backdrop for Jackson’s Carlos Museum debut. Chaired by Su Longman, the luxury silent auction featured getaways, experiences, and indulgences including donations from Bentley Motors, Burberry, Davio’s, Delta Air Lines, Dennis Dean Catering, Dermatology Consultants, Fendi, Montana Sporting Club, Neiman Marcus, Robert Long Flora Design, St. Regis Atlanta, Sea Island, Steve Goodman, Tourneau, Umi Sushi, and Victor Velyan.

On behalf of Veneralia: Enlighten Chairs Tara and Richard Aaronson, Patron Co-Chairs Anna Paré and Sara Shlesinger, and the museum Advisory Board and staff, we would like to extend a special thank you to our generous sponsors and benefactors who ensured that the gala was a success:

Gold Sponsors Canterbury Press, Dennis Dean Catering, Publix Super Markets Charities, National Distributing Company; Silver Sponsors Delta Air Lines, Magnum Companies, Peachtree Tents & Events, Robert Long, Times 3; Bronze Sponsor Burr & Forman, llp; Media Sponsor Atlanta Magazine; Gold Benefactors Anne Cox Chambers, Sarah and James Kennedy; Silver Benefactors Tara and Richard Aaronson, Marc D. Taub; Bronze Benefactors Joanne and Charles Ackerman, Anna and Richard Paré, Sara and John Shlesinger, and Dina and Ed Snow.

Save the date for Veneralia 2015: Friday, April 17, 2015. Z

above: Karen Sibley

Karen sibley: in memoriam

the carlos museum’s long-time Board member, patron, dedicated volunteer, and beloved friend passed away in August. Karen Sibley was a fixture in the halls and galleries of the museum—from volunteering in the lab and having lunch with staff, to raising money and attending events and programs, Karen was a tireless advocate and ambassador for the museum. Karen’s financial support of the conservation pro-gram was essential in making the lab, named for her mother, an exemplary center for collection care and teaching; her influence in the Atlanta community brought civic and business leaders to the Carlos Museum; and her work with the Board and on advisory committees helped the museum receive recogni-tion as an important cultural center. In 2006 she received the Woolford B. Baker Service Award in recogni-tion of her contributions. But she will be remembered and missed mostly for her generous spirit, remarkable intelligence, infectious laughter, and loyal friendship. Z

veNeRAliA:eNlighteN

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Veneralia revelers included: a Su and Al Longman; B Richard and Tara Aaronson; C Alexandra Jackson and Ann Johnson; D Veneralia artists Bean Worley, Karen Tauches, Steven Anderson; e John and Sara Shlesinger; F Lewis and Beth Nix and Aimee Nix

Ba C

D e

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veNeRAliA:eNlighteN

the festivities move inside where dancing and an array of food sta-tions and an open bar await guests. There will also be an extraordinary raffle!

Tickets for Bacchanal 21: Farewell to the Flowers are $50 for Museum members, $65 for Emory alumni, $75 for the general public, and $125 for vips. To purchase tickets, join the host committee, or request more information please visit carlos.emory.edu/bacchanal or call 404-727-2623.

Carlos docent publishes new young adult novel of ancient rome

vicky alvear shecter has published one fiction and three nonfiction books on the ancient world for young readers to date, and this summer has a new book, Curses and Smoke: A Novel of Pompeii. Tagus is a medical slave who wants to be a gladiator, Lucia is the daughter of Tag’s owner and betrothed to an older man, and the two teenagers are in love with each other. Unfortunately, it is the year 79 ad and soon Vesuvius will alter their lives forever. Visit the bookshop today and get your copy or order it online at carlos.emory.edu/bookshop.Z

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

1 8 fall 2014 | winter 2015

Bookshop

supporttheCarlos

Body-painted models usher in the Fall at Bacchanal 21: farewell to the flowers

at bacchanal 21: Farewell to the Flowers, co-chairs Khalilah Birdsong and Keith Radford invite guests to indulge, dance, and feast to benefit the Michael C. Carlos Museum on September 20, 2014. Live models, body-painted by an artist from the set of The Walking Dead, will usher in the fall, Aztec style.

The ancient Aztecs celebrated Xochiquetzal, or the “Goddess of the Flowering Earth,” during the Farewell to the Flowers festival. Participants enjoyed a great feast, performed ritual dances, and inhaled the flowers’ sweet scents with the understanding they would soon wither with the coming frost.

Bacchanal 21 begins at 7 p.m. with a vip welcome reception in the fragrant outdoors complete with Aztec-inspired cocktails. At 8 p.m.

top: Bacchanal chairs Keith Radford and Khalilah Birdsong

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PartnerMr. Chris Michael CarlosMr. and Mrs. James H. Morgens

DireCtor’s CounCilMrs. Jean T. AstropMr. and Mrs. M. Edward RalstonDr. William E. Torres and Mr. Donald Jack Sawyer

Curators’ CounCil Dr. Mark R. Bell iiMr. and Mrs. Douglas Neal BenhamMs. Robin BeningsonMr. Joseph CoplinMr. and Mrs. Charles G. CrawleyDr. and Mrs. Overton Anderson Currie, Jr.Dr. Elinor P. Daniel and Mr. J. Wallace DanielDr. Erl Dordal and Ms. Dorothy K. PowersMr. and Mrs. James C. EdenfieldMr. Kenneth Stewart FalckMr. and Mrs. Joseph R. Gladden, Jr.Mrs. Louise S. GunnDr. Jiong Yan and Mr. Baxter P. JonesDr. and Mrs. Frank R. JosephMr. David L. KunianskyMr. James H. LandonDr. and Mrs. John LaszloMrs. Lindsay W. MarshallMr. and Mrs. Anthony P. Meier, Jr.Mr. and Mrs. William Thomas Mobley, Jr.Mr. and Mrs. S. Jay PatelDr. and Mrs. William M. ScaljonDr. and Mrs. Jagdish N. ShethMr. Bolling P. Starke iiiMs. Joni R. Winston

CorinthianDr. Delores P. AldridgeDr. and Mrs. Lawrence W. DavisMr. Owen H. HalpernDr. and Mrs. Larry R. KirklandMrs. Jo W. KochMr. William K. Zewadski

ioniCDr. David S. Pacini and Mrs. Martha H. Abbott-PaciniMs. Janet M. AbrahamDr. Susan Youngblood Ashmore and Mr. Robert Walter AshmoreMs. Merrily C. BairdDrs. Aubrey M. Bush and Carol T. BushDr. Daniel B. CaplanMrs. Carolyn J. ChildersDr. Francine D. Dykes and Mr. Richard Hale DelayDr. and Mrs. Billy E. FryeMr. and Mrs. Alexander S. HawesMrs. Judy W. HemenwayMr. James E. Honkisz and Ms. Catherine A. BinnsMrs. Susanne W. HoweDr. and Mrs. Michael M. E. JohnsDr. and Mrs. Patton H. McGinley, Sr.Mrs. Dorothy H. MillerMr. and Mrs. Melvin A. PerlingMr. and Mrs. David T. PetersonMr. and Mrs. William C. RawsonMr. David Marsel TaylorMr. and Mrs. Joseph B. VivonaDr. and Mrs. Warren Walter

DoriCMr. and Mrs. John M. AllanMr. Michael J. Andrechak and Ms. Kathryn SeybertMs. Diane Byrd BartlettMr. and Mrs. John H. BeachDr. Lucius Courtenay Beebe Sr.Dr. and Mrs. Michael E. BernardinoDr. and Mrs. Bruce H. BielfeltDr. Josephine V. BrownMr. and Mrs. Thurman CaryDr. and Mrs. Stewart Wright CaughmanDr. Stanley A. CohenMr. Gerald R. Cooper, Jr. and Mrs. Charlotte F. Slovis-CooperDr. Ann Davidson CritzMr. and Mrs. Jeffrey CrossMs. Dorothy A. CunninghamMr. Jefferson James DavisDr. and Mrs. Shelley Carter Davis, Jr.Dr. Robin Henry Dretler and Ms. Alice K. Michaelson

Thank you

Membership

we extend our gratitude to all who have become new members or who have renewed their Partner, Council, or Patron level memberships between January and July 2014. Your support is greatly appreciated and we look forward to seeing you at the Museum for many years to come.

Not yet a member? Visit carlos.emory.edu/join to join the ranks of these generous supporters. To upgrade your membership, call 404-727-2623.

Mr. and Mrs. Steven E. FoxMr. and Mrs. Carl I. Gable, Jr.Dr. and Mrs. Arthur W. GarrisonMr. and Ms. Clark M. GoodwinMr. Morris N. HabifMs. Ruth A. HoughMrs. Barbara S. HullMr. William O. JaynesMr. and Mrs. J. Timothy JohnsonMr. and Mrs. Eric KlingelhoferMr. Stephen P. KramerMr. and Mrs. Arnold H. KurthMs. Lorraine E. LoftisMs. Patricia Ann Louko and Mr. Herbert JohnsonMrs. Edith Kirkland MaloneMr. and Mrs. Henry A. MannMr. and Mrs. Dileep MehtaMs. Martha J. MillsMr. Kenneth NassauMr. and Mrs. Richard E. O’HarrowMr. Andreas PenningerMr. L. Richard PlunkettMr. and Mrs. William L. PresslyMs. Mina RheeMr. Darryl C. Payne and Mrs. Lisa C. RichardsonMr. and Mrs. Marion Pinckney Rivers iiiMr. David P. Robichaud and Ms. Sharon McClellandMs. Sharon L. RoyMr. and Mrs. Shouky A. ShaheenMr. and Mrs. Milton W. ShlapakMr. and Mrs. Barry Lee Spurlock, Sr.Mr. and Mrs. Joe StickellDr. Robert J. Samuels and Ms. Patricia StoneDr. and Mrs. Gary W. TappMs. Virginia S. TaylorDr. and Mrs. James L. WaitsMs. Beth WebbMs. Ruth W. WoodlingDr. and Mrs. William N. YangMr. and Mrs. Jeffrey E. YoungZ

Comingupseptember 13–December 7, 2014

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

January 17–May 17, 2015

Through the Atmosphere: Vitreographs by Mildred Thompson

January 31–June 21, 2015

African Cosmos: Stellar Arts

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

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 the visitor sections of the Fishburne and Peavine Parking Decks and in the new Oxford Road Parking Deck, located behind the new Barnes and Noble @ Emory, 1390 Oxford Road.

Handicapped parking Drop off at Plaza level entrance on South Kilgo Circle. Handicap-accessible parking is available in the Oxford Road and Peavine parking decks. Limited handi-cap parking spaces are available along Kilgo Circle during weekends, and cars must display state issued hangtag. A handicap-accessible shuttle (shuttle D) runs from the Peavine parking deck weekdays every 10 minutes. For fur-ther assistance contact the Disability Services Office at 404-727-9877.

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 members.

Museum information 404-727-4282

Web access carlos.emory.edu

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

non profit organizationu.s. postage paidatlanta, georgiapermit

Member

571 south kilgo circleatlanta, ga 30322

carlos.emory.edu