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Virtual Exhibitions


Threads of Time: Tradition and Change in Indigenous American Textiles

Fiber arts were of the highest importance among the First Nations, or indigenous peoples of the Americas. Ancient Andean as well as modern Andean, Panamanian, and Guatemalan cultures are featured in this exhibition, including a wide range of techniques such as three-dimensional embroidery, tie-dye, brocade, and tapestry. The exhibition explores how these beautiful and complex textiles embody the traditional values, materials, and ideas of their respective indigenous cultures, while also embracing new techniques, imagery, and types of objects as they change during colonial and modern times. 
 Paliwiduru Dulemola
The Andean coastal desert preserves very ancient fibers--one piece in the exhibition is nearly 2000 years old--allowing visitors to appreciate the world’s longest continuous textile record. Values embedded in the Quechua language, spoken by the Inka and millions of their descendants, can be traced even as guitars, horses, and other Western elements enterd the artistic vocabulary. The Guna of coastal and island Panama maintain a link to age-old indigenous design in their cut-cloth blouse panels (dulemola), yet they incorporate contemporary imagery such as the Trix Rabbit. The Maya of Guatemala have always created extraordinary garments for themselves, and more recently for sculptures of Catholic saints. The large selection of Maya textiles in the exhibition includes brocaded blouses from the town of Chichicastenango as they transformed during the 20th century, as well as examples of the varying degrees of Spanish influence in wedding dress, male clothing, and altar cloths. 

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.


Beyond Eros: Works by Félicien Rops in the Michael C. Carlos Museum

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.


For I am the Black Jaguar: Shamanistic Visionary Experience in Ancient American Art

“Call upon me for I am the black jaguar…I drive away the illness…”

From earliest times to today, indigenous peopleJaguar Januss 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.


Ramesses I: The Search for the Lost Pharaoh

Ramesses I Overhead

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.