Walter Iooss (yohss) was just 16 years old when he photographed his first sporting event in 1959. He became, in his words, “consumed by sports and form.” While still in his teens, Sports Illustrated hired him based on the strength of his photographs, and by age 19 he had his first cover—a shot of Philadelphia Phillies pitcher Art Mahaffey. Steve Fine, Sports Illustrated’s director of photography, has called Iooss “an artist who is quite possibly the best sports photographer ever.”
Over five decades later, Iooss has become one of the most prolific photographers of American sports. His work has been exhibited at the Brooklyn Museum of Art and the Newseum in Washington, DC, among other institutions, and has graced the cover of Sports Illustrated over three hundred times. Arguably, Iooss is behind the most iconic photographs in American sports history.
This exhibition was curated by Associate Curator of Works on Paper, Andi McKenzie.
The exhibition was curated by Emory Professor of Art History and Carlos Museum Faculty Curator of the Art of the Americas, Dr. Rebecca Stone.
Threads of Time: Tradition and Change in Indigenous American Textiles has been made possible through generous support from Bank of America and the Bank of America Art Conservation Project. Additional funding was provided by the Emory Center for Digital Scholarship.
In 2013 the Michael C. Carlos Museum received a collection of approximately 160 works by Félicien Rops from Emory’s Stuart A. Rose Manuscript, Archives, and Rare Book Library. The collection represents many facets of Rops’s oeuvre, from early prints exploring his working-class sensibilities to satirical journalism, book frontispieces, and eroticism. It provides examples of his continuous experimentation with the printmaking medium and displays his mastery of a multitude of printmaking techniques, including etching, lithography, pen-and-ink drawing, aquatint,mezzotint, and heliogravure. Because works on paper are fragile—most can be exhibited for no more than three months at a time—Carlos Museum and Emory’s Center for Digital Scholarship have partnered to increase public access to the Rops materials through this curated online exhibition.
The exhibition was curated by 2015 Scholarly Inquiry and Research at Emory (SIRE) fellow, Hannah Rose Blakeley.
“Call upon me for I am the black jaguar…I drive away the illness…”
From earliest times to today, indigenous peoples of the Americas have valued shamanic visionary trance as one of their most important cultural and religious experiences. In Mesoamerica, Central America, and the Andes shamans still speak of their wondrous trance journeys to other cosmic realms, the truths they learn, and the information they bring back to cure their communities’ ills.
The exhibition includes extraordinary works of art showcasing the most important elements of trance consciousness, especially the visionary himself or herself, transforming into an animal such as a powerful black jaguar, an enormous whale shark, or a venomous rattlesnake. Animal selves and spirit companions are considered to be guides to the shaman in caring for the community, the animals’ powers augmenting the shaman’s innate healing abilities.
Works of art illustrate how visions are achieved in traditional settings – from meditation, to drumming and dancing, to ingesting sacred plants such as cap vines and anadenanthera. Modern shamans refer to these as Plant Teachers, and they are understood to be wise spiritual guides through the cosmic realms beyond the terrestrial.
The exhibition was curated by Dr. Rebecca Stone with Kira Kathleen Jones.
In 2002 the government of Egypt accepted the Michael C. Carlos Museum’s offer to return to Egypt a male mummy that scholarly evidence suggests is that of the missing pharaoh Ramesses I, the founder of the famous line that included Seti I and Ramesses II (The Great). This exhibition places Ramesses I in context in Egyptian history, explains how his mummy came to reside in Atlanta, describes the research resulting in the mummy’s royal identification, and relates the story of his return to Egypt in 2003.
This exhibition was curated by former Senior Curator of Egyptian, Nubian, and Near Eastern Art, Dr. Peter Lacovara.