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Page 1: The Walters Art Museum Members Magazine September–Dec 2011

WHAT W

ILL YOU DISCOVER? M

EMBERS M

AGAZINE AUTUMN 2011

Page 2: The Walters Art Museum Members Magazine September–Dec 2011

our missionThe Walters Art Museum brings art and people together for enjoyment, discovery and learning. We strive to create a place where people of every background can be touched by art. We are committed to exhibitions and programs that will strengthen and sustain our community.

The Walters Art Museum is open Wednesday–Sunday, 10 a.m.–5 p.m. The Walters Magazine, Vol. 64, No. 3Published by the Trustees of the Walters Art Gallery, Baltimore

Editor, charles dibbleDesigner, tony venneArt Photography, susan tobin

Please send membership questions to [email protected]

Please send editorial comments to [email protected]

above: The Archimedes Palimpsest in 1998 before disbinding. Photo by John Dean

cover: Abigail Quandt rejoins two forgeries. Photo by Vincent Carney

board of trustees 2011–2012Chair andrea b. laportePresident douglas w. hamilton, jr.Vice-President ellen n. bernardVice-President thomas s. bozzutoVice-President nancy r. sasserVice-President dr. hervey (peter) s. stockman, jr.Treasurer frank k. turner, jr.Secretary dr. gary k. vikan, director

—julianne e. aldermanpeter l. baincalvin h. bakerneal d. bordenh. ward classenrosalee c. davisonmichael de havenoncynthia l. eganchristine m. espenshadejonathan m. fishmanbruce w. flemingguy e. flynnmichael b. glicksanford m. grossthe honorable c. yvonne holt-stonestanley mazaroffneil a. meyerhoffbailey morris-eckjennifer murphycharles j. nabitmarilyn a. pedersenwilliam h. perkinslynn homeier rauch george k. reynolds, iiijohn r. rockwelledward l. rosenberg bernard selzgail l. shawe mary baily wieler

—ex-officio membersthe honorable stephanie rawlings-blakethe honorable bernard c. youngthe honorable martin j. o’malleythe honorable kevin kamenetzthe honorable ken ulmananne n. apgarrosemary eckmargaret z. fergusonlaura l. freedlanderbarbara guarnieriadele kasselizabeth koontzmarco k. merricktom noonandiana ulman

—trustees emeritidr. robert s. feinbergsamuel k. himmelrich, sr.cynthia r. meadwilliam l. paternotteadena w. testajay m. wilson

—international advisory boarddr. james michael bradburnewendyce h. brodyeddie c. browndr. myrna bustaniconstance r. caplanphilip d. englishsam fogglaura l. freedlander leah ganslerjoel goldfrankbruce liviedr. james marrowangela mooredwight plattgeorge rochepaul ruddockthe honorable paul sarbanesdonald j. shepardgeorge m. shermanjohn waters, jr.dr. daniel h. weissbenjamin b. zucker

8 FIRE, FORGERIES & FUNGUS 10 RESEARCH AT THE WALTERS 12 PUZZLES OF THE BRAIN 13 THAI STORY: THE VESSANTARA JATAKA 14 PROGRAMS & EVENTS 16 COMMUNITY OUTREACH 17 MUSEUM STORE 18 BEHIND THE SCENES 20 NEW TRUSTEES 22 MUSEUM NEWS

LOST& FOUND:

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LETTER FROM THE DIRECTOR

Dear Members,

In May 1959, physicist and novelist C.P. Snow delivered his famous Rede Lecture entitled “The Two Cultures,” in which he characterized the scientific and humanistic modes of discourse as mutually incomprehensible. This fall, through three exhibitions devoted to the intersection of science and art, the Walters will do its part to prove C.P. Snow wrong.

The Archimedes Palimpsest, the oldest surviving copy of works by the greatest mathematical genius of antiquity, was sold at auction in October 1998 to an anonymous buyer for 2 million dollars. The following January that precious but much-damaged 10th-century manuscript was placed on deposit at the Walters by its owner, with the aim that it be conserved and imaged (the Archimedes text had been erased and overwritten with a prayer book), and then read and made available on the internet. Thus began a 12-year journey that included stops at the Monastery of St. Sabas in the Judean Desert, where the manuscript had been used in religious services for four centuries, and at the Stanford Linear Accelerator Center (one of the most advanced multipurpose physics laboratories in the world), where the text of four pages of the book over-painted with modern forgeries was revealed. The project drew on an international team of more than 80 scientists and humanists, all expertly orchestrated by the Walters’ Curator of Manuscripts and Rare Books, William Noel, working in collaboration with Head of Books and Paper Conservation Abigail Quandt.

The goals set out in 1999 have now all been met, but before the book goes back to its owner, its fascinating journey—including the story of Archimedes and his discoveries—will be recounted in our major fall exhibition Lost and Found: The Secrets of Archimedes. The exhibition will be accompanied by The Archimedes Codex, in which co-authors Will Noel and Stanford professor Reviel Netz present the story of the once-lost manuscript as part

archaeological detective story, part science and part history; two schol-arly volumes published by Cambridge University Press on behalf of the Walters incorporate the work of the Archimedes Palimpsest Project team.

Lost and Found will be complemented by two smaller shows focusing on art and science. The first, occupying the last section of the Archimedes installation, will offer a look at what we hope to discover in the future as we bring science and conservation to bear on our understanding and appreciation of works of art. The interactive learning stations in these galleries will focus on five works from the Walters’ permanent collection and will demonstrate how the museum’s staff collaborates to learn about

and conserve art. Authenticity will be explored, as will a cutting-edge scientific technique for the preservation of silver now being investigated at the Walters.

Finally, in our Level 4 focus show gallery, we will partner with the Cognitive Science Depart-ment of the Zanvyl Krieger School of Arts and Sciences at the Johns Hopkins University to present an innovative exhibition that explores the impact of severe brain damage on an artist. In Puzzles of the Brain: An Artist’s Journey through Amnesia, visitors will be introduced to Lonni Sue Johnson’s work through covers the artist drew for The New Yorker magazine and follow her journey through amnesia resulting from an attack of encephalitis in late 2007. The artist’s post-illness creations document her struggle to “capture the moment” through words and images on paper. Seen from the perspective of cognitive science, this body of work offers provocative insights into memory, creativity and the power of the human spirit.

Gary Vikan, Director

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LOST& FOUND:

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OCTOBER 16–JANUARY 1

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The Walters Art Museum is celebrated world-wide for its outstanding collection of manu-

scripts: elegantly handwritten documents from the Middle Ages and early Renaissance, individu-ally selected for the quality of their glorious illu-minations, and nearly all of them in the superb condition that typifies Henry and William Walters’ extraordinary collection of works of art span-ning the globe. So it was with surprise, and some trepidation, that twelve years ago I followed Gary Vikan’s instruction to track down a book called The Archimedes Palimpsest. The Archimedes Palimp-sest is not the type of book that Henry Walters would have bought. It was in appalling condition, you couldn’t read it since most of the 10th-century text is invisible to the naked eye, and it was the ugliest manuscript I knew of. Why did the director ask me to pursue it? Because it was the most important scientific manuscript ever sold at auction—the only manuscript in the world where you could find hitherto lost treatises of Archi-medes, the greatest mathematician of antiquity. This manuscript looked like shredded wheat, but it was actually Archimedes’ brain—in a box.

I succeeded in tracking down the book, and its owner left it on my desk in January 1999. He wanted the manuscript conserved, he wanted it imaged with the best technology available, and he wanted it fully read. He then wanted all the results published on the internet, so that anyone could access all the information in the book for free. His idea was to take the most difficult data in the world to access—fragile, invisible, unique and expen-sive—and make it available to everyone, from their desktops, free of charge, to do with as they liked. He generously agreed to fund the entire project.

What followed was, for Abigail Quandt and me, a 12-year journey that has taken us around the world as we sought to accomplish this task. We found conservation scientists in Canada and Rome; we found high-tech scientific imagers from Hawaii and Oklahoma; we found scholars of classical texts from Israel, Latvia, and Budapest, as well as from Oxford and Cambridge; and we pinched a program manager from the cia. We searched long and hard. We both think we succeeded, and this fall we are

presenting the results of our labors in Lost and Found: The Secrets of Archimedes, running from October 16, 2011 through January 1, 2012.

We investigated every aspect of this book that we could. We analyzed the chemistry not just of the parchment and the bacteria and fungus that peppered its pages. We studied not just the ink, but the pigments of its paintings as well. We imaged it in sixteen different wavebands of light in order to try to decipher every single page of the book. No manuscript has ever been under the camera as often as The Archimedes Palimpsest. We also investigated the history of the book and have been able to completely rewrite the story of what happened to the manuscript in the twentieth century, when it was stuck together with wood glue, painted over, yet again, with gold-ground forgeries, and left to rot in a basement.

The manuscript was made up of the parchment of seven other books, which had had their texts erased. One of these books did indeed contain treatises by Archimedes. But the other books in the manuscript were a total surprise and of the utmost importance to our understanding of ancient political history and philosophy. Another of these books, for example, contained a speech by a 4th-century bc Athenian politician called Hyperides. This speech discusses the recent defeat suffered by Athens and Thebes at the hands of Philip of Macedon and Alexander the Great, and provides unique insight into the world of Athenian politics at the very end of the city’s glory days. Hyperides’ fate was not enviable—he had his tongue cut out in mockery of his oratory, and he was put to death. But now we have read two of his speeches, and you can see and hear them, in this exhibition.

We also fundamentally reinterpreted key treatises by Archimedes, important passages of which we were able to decipher for the first time. We found that he was calculating with infinity 1,900 years before Newton and Leibniz, and we found that he devised a nearly impossible puzzle that would become the first treatise in an important branch of mathematics.

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The Archimedes Palimpsest is unlike other objects in the Walters Art Museum, and this exhibition is going to be unlike other shows. It may not be pretty, but if you like a good story and the romance of history rewritten; if you like what modern technology can do for our understanding of priceless artifacts from the past; and if you have any interest in the survival of knowledge, of science, of history and of philosophy, then this exhibition could be for you. We hope to see you there.

This exhibition has been generously supported by an anonymous donor and the Stockman Family Foundation.

—william noel, curator of manuscripts and rare books

LOST & FOUND: THE SECRETS OF ARCHIMEDES

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LOST & FOUND: THE SECRETS OF ARCHIMEDES October 16th–January 1st

ADMISSION

Adults: $10

Seniors: $8

Students/Young Adults (18–25): $6

17 and under: Free

Members: Free

Tickets are available online at thewalters.org

or at the Box Office.

MEMBER TICKETING

Walters members are entitled to unlimited

tickets based upon membership level.

Student: 1 per day

Individual: 2 per day

Dual: 4 per day

Supporter & above: 4 per day

Members may upgrade their membership

level to receive additional tickets. Members

who exceed their amount of free tickets

can purchase additional $5 guest tickets.

There will be no timed entry.

QUESTIONS?

Call (410) 547-9000, ext. 283,

email us at [email protected]

MEMBER’S OPENING PARTYSaturday, October 227:30–9:30 p.m.Join us for a night of artful fun, view the new exhibition, enjoy music and talk with Walters’ conservators in the special exhibition galleries. Cash bar—Cocktail attire. rsvp required by October 17, call (410) 547-9000, ext. 283 or email [email protected]

opposite: LED visible-wavelength

illuminator used in imaging leaves of

The Archimedes Palimpsest.

above: Processed image of a forged leaf

of The Archimedes Palimpsest, showing

the Archimedes text in red.

below: Abigail Quandt determines

the alignment of two forgeries to be

rejoined. Photo by Vincent Carney

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FIRE, FORGERIES & FUNGUS

LOST & FOUND: THE SECRETS OF ARCHIMEDES

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When Abigail Quandt first saw pictures of The Archi-medes Palimpsest—battered, moldy and charred—she

thought, “I pity the conservator who has to work on that.” Two months later, the manuscript arrived at the Walters Art Museum in a gym bag, and its condition was even worse than she had imagined. The parchment was purple with mold and fragile as tissue paper, particularly in inked areas. The palimp-sest had also suffered from drastic physical alterations: the book had been split into two halves, and several leaves had been cut out to create forged Byzantine illuminations.

To address these condition issues and stabilize the parchment, Abigail has worked tirelessly for the last 11 years. She began disbinding the palimpsest in early 2000, only to discover that half of the spine was covered with a modern polyvinylacetate glue. This tenacious adhesive—whose strength far surpassed that of the deteriorated parchment—made disbinding a chal-lenge, since the Archimedes text went across the spine fold and was particularly vulnerable to damage.

Efforts to remove the adhesive and disbind the book were further complicated by the water-sensitivity of the parch-ment, which had been attacked by bacteria and mold and weakened by two layers of corrosive iron-gall ink. If the parch-ment absorbed further moisture during treatment, its dete-riorated fibers might shrink and distort. The purple pigment produced by the bacteria also darkened in water.

As disbinding progressed, Abigail recorded the condition of each folio in detail. She carefully removed adhesive residues and debris from the gutter of the book and stored them in plastic bags. Mold perforations, tears and knife cuts in the parchment were traced on Mylar overlays. Where thick, dirty wax accretions obscured the writing, she reduced them with a scalpel to allow the erased text to be digitally imaged.

The inherently unstable iron-gall ink also had to be addressed. The ink, which is acidic and catalyzes oxidation, had eroded the parchment, resulting in extensive ink loss and flaking. To secure the ink against further loss, Abigail consolidated it with a dilute gelatin solution.

With multispectral and x-ray fluorescence imaging, even the faintest ink from the lower text became legible. This provided an important clue for reuniting the forged miniatures with the stubs of the leaves from which they had been cut. Traces of ink, in combination with remaining structural evidence, also allowed Abigail to reintegrate other fragments with their parent folios. Now pieced together, stabilized and digitally imaged, the leaves of The Archimedes Palimpsest are ready for the world to discover.

—renée wolcott, conservation intern

left: Abigail Quandt carefully separates the quires. Photo by John Dean. above: The Archimedes Palimpsest in 1998

before disbinding. Photo by Abigail Quandt.

PULLING THE ARCHIMEDES PALIMPSEST FROM THE RUINS

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RESEARCH AT THE WALTERS: WHAT WILL WE DISCOVER NEXT?

What are the black spots around the eyes? How were the two different colors of ceramic

made? Why are there tan-colored lines on the surface of the darker ceramic?

Detail of Dog Effigy Vessel, Comala style, Colima, Mexico. Earthenware, red slip with

black paint, 100 bc–ad 300, Gift of John Bourne, 2009 (2009.20.51)

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As the twelve years of research and study devoted to The Archimedes

Palimpsest demonstrate, scientific analysis can lead to important discov-eries about our shared cultural heritage. To expand upon some of the concepts that are integral to the process of art research, the exhibition Lost and Found: The Secrets of Archimedes will conclude with two galleries that explore the theme “What will we discover next?”

Scientific research has a long history at the Walters: in 1934, the Walters’ first board of trustees hired a chemist, which made the Walters only the third art museum in the United States to do so. Scientific investigation contributes significantly to the museum’s mission

“to bring art and people together for enjoyment, discovery and learning,” and this is an opportunity to highlight these endeavors as they begin.

Artworks from the Walters’ collection will illustrate the questions that start the process of learning and discovery through research. Finding answers to these questions is a highly collaborative and integrated process between cura-tors, conservators and scientists; this exhibition will showcase the contribu-tions of many different specialists.

What did a work of art look like when it was created? When was the appear-ance of a work of art changed? How can we distinguish between forged and authentic art? How do we best preser ve the works in the collec-tion? Perhaps exhibition visitors will have questions we haven’t thought

of. Answers to the questions that we present in this exhibition will have to be the subject of future exhibitions and publications, since these research studies are in their infancy.

In the two galleries at the end of the exhibition Lost and Found: The Secrets of Archimedes, you will be invited to don your scientist’s cap and consider why a Kentucky long rifle is associated with a 19th-century pastoral drawing by Rosa Bonheur, to explore what Ethiopian painting and manuscript illustration have to do with colorful minerals on display, and to ponder how the pres-ervation of silver objects could be improved by recent advances in nano-technology.

—glenn gates, conservation scientist

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Amy Marquardt of the University of

Maryland NanoCenter is pictured con-

ducting an experiment that involves the

deposition of atomically thin layers of

alumina (Al2O3) onto silver metal. The

project is a collaboration with the Wal-

ters Art Museum to study a novel treat-

ment strategy to reduce tarnish on silver,

with funding provided by the National

Science Foundation.

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This fall, the Walters Art Museum will partner with the Cognitive Science Department of the Zanvyl Krieger

School of Arts and Sciences at the Johns Hopkins University to present an innovative focus show exploring the impact of severe brain damage on the life and creativity of an artist.

The exhibition tells the story of Lonni Sue Johnson, a highly successful illustrator who suffered severe amnesia after an attack of encephalitis in late 2007. The illness caused substantial damage to her brain, resulting in the complete loss of artistic productivity. Through intensive art therapy led by her mother, Margaret Kennard Johnson (also an accomplished artist), Johnson began to produce a portfolio of “recovery art.” Johnson’s art provides unique insight into the devastating effects of amnesia, as well as the comple-mentary roles played by language and memory in her artistic expression. Her case gives researchers a rare opportunity to contribute to the scientific understanding of brain function and art, and to apply that understanding to an appreciation of the synergies between art and science.

Prior to her illness, Lonni Sue Johnson was a well-known artist and illustrator, whose works were featured in presti-gious publications such as The New Yorker and The New York Times. Johnson’s art was characterized by the clever use of visual elements presented in intricate combinations to convey meaning. With this multilevel approach, Johnson

invited viewers to inspect her work closely to discover new elements within a hierarchically structured theme. After her illness, Johnson slowly recovered the ability to create art using some of her earlier, iconic elements. A breakthrough came a few months after her illness, when a friend gave her a book of puzzles that invited her to find a set of target words embedded within a large matrix of letters. Within a week she began to make word lists of her own, which she then inserted into grids that she created. Sometimes, the word lists were alphabetical (words starting with a, with b, etc.) and sometimes thematic (things you hang in a closet). Soon, the word grids became artworks: “Things you hang in a closet” yielded a drawing of a hanger with an embedded grid, which housed the words from an associated list of clothing; a drawing of a pair of pants housed a grid that included words for the individual parts of the garment.

After three years, the portfolio of Johnson’s recovery art is vast. Some drawings are remarkably simple; others are fantastically complex, with rich detail extending well beyond the word grid. When viewed chronologically, the collection tells an inspiring story of how an artist has come to cope with a devastating illness.

—nancy e. zinn, associate director for collections and exhibitions

Puzzles of the Brain: An Artist’s Journey through Amnesia

SEPTEMBER 17–DECEMBER 11

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left: Christmas Tree Line / Cover art, The New Yorker / December 16, 1985right: Enthusiastic (Puzzle) / March 27, 2009

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The gift of a rare white elephant in the story of Prince Vessantara is an example of charity

beyond anyone’s expectation. But it was just the first gift in what would become the prince’s life-long effort to be limitlessly charitable, a quality that would eventually lead to his rebirth as Siddhartha Gautama, the one who would become the Buddha. The nature of giving in Southeast Asian Buddhist cultures has two sides. The prin-cipal reason for charity is to focus less on oneself and more on the benefit, health and well-being of others. At the same time, acts of charity result in spiritual merit and the resulting improvement of an individual’s circumstances in the next life.

One important way that the Buddhist laity learns about the importance of generosity is through stories that date back almost 2,500 years. Many of these stories, called jatakas, are tales of the previous lives of the man who would become the Buddha. The Vessantara Jataka is one of the most popular of these stories. During festivals in communities across mainland Southeast Asia, paintings like the ones in this exhibition are hung in gathering halls at the monasteries for everyone to see.

This show includes 12 paintings depicting various scenes from the Vessantara Jataka, providing the opportunity for all to learn the story of the generous prince and to enjoy the unique charm of Thai paintings from the 19th and early 20th centuries. In addition to imaginative depic-tions of the story and its main characters, these colorful paintings incorporate playful details throughout, including frolicking animals and people. The Thai painters who made these works did so on commission, and their patrons, in the spirit of charity reflected in the story, gave these works to their local monasteries. The monas-teries were then able to share the works and the story of Vessantara with the local people. Giving the paintings also might help guarantee a better existence in the next life for the donor. Visitors to this show will find both entertainment and a lesson about the meaning of perfect generosity.

—rebecca hall, andrew w. mellon fellow

Thai Story: The Vessantara Jatakaoctober 29–january 22

Vessantara Jataka / Chapter 2 [Himavanta Forest] / Thai / 1850-1870

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PROGRAMS & EVENTS

MEMBERS CURATOURS & CONSERVATOURSMembers have the unique opportunity to join a Walters’ expert for an intimate tour on a Wednesday afternoon. Please meet us in the first-floor lobby at 2 p.m. Regis-tration is not required. For questions, please call (410) 547-9000, ext. 283.

The Art of the Writing Instrument from Paris to PersiaWednesday, September 21Amy Landau, Associate Curator of Manuscripts and Islamic Art

Asian Award Winners: Henry Walters’ Art from the International FairsWednesday, October 26Rob Mintz, Curator of Asian Art

Vessantara: A Thai StoryWednesday, November 16 Rebecca Hall, Andrew W. Mellon Fellow

Research at the Walters 2011Wednesday, December 7Glenn Gates, Conservation Scientist

MEMBERS’ ART OF READING BOOK CLUBMembers free / Non-members $5Join us for intimate discussions of new and exciting books. Members receive a 10% discount on books purchased in the museum store. For more information or to register, call (410) 547-9000, ext. 335.

Sunday, September 25Clara and Mr. Tiffany: A Novel by Susan VreelandSet in tumultuous late 19th-century New York, Clara and Mr. Tiffany tells the story of Clara Driscoll, who ran the women’s workshop at the famous glass studios of Louis Comfort Tiffany.

Sunday, November 13The Creation of Eve by Lynn Cullen Sofonisba Anguissola, who served as court painter to King Philip II of Spain, was the first woman artist of the Renaissance, known throughout Europe for her portraits.

LUNCHTIME AT THE WALTERSInvite your friends and start each month enjoying special lunchtime events at the Walters. Bring a light lunch (or use our café) on First Thursdays to enjoy free talks by curators, scholars and others (12:15–1:15 p.m.) in the Graham Audito-rium. On First Fridays join us for free Peabody Concerts on the Court (12–1 p.m.) with talented Peabody Conserva-tory musicians.

the 10th annual renée may lectureOUR LIVES IN COMMONSaturday, September 102–3 p.m.Poet Stuart Kestenbaum shares thoughts about loss, community and redemption. He describes how his poetry is inspired by experiences that are directly and indi-rectly tied to his brother Howard’s death on September 11. For the past decade, the annual Renée May Lecture has honored the beloved Walters Art Museum docent killed during the attacks on the United States in 2001.

RETURN FROM AMNESIASunday, October 22–3:30 p.m.Cognitive Scientist Mike McCloskey and artist Margaret Kennard Johnson, mother of artist Lonni Sue Johnson, will speak about the dramatic transformations in the art of Lonni Sue after she suffered severe brain trauma. By sharing her courageous story they reveal how art and science inform our understanding of memory and creativity. Held in conjunc-tion with the exhibition Puzzles of the Brain: An Artist’s Journey through Amnesia (9/17–12/11).

the 31st annual theodore l. low lectureART HISTORY AND NEUROSCIENCE: THE CHALLENGE FOR THE HUMANITIESSunday, October 302–3 p.m.Renowned for his work on psycho-logical responses to art, David Freedberg examines how advances in cognitive neurosciences can illuminate funda-mental aspects of our responses to art. He draws on new discoveries about phantom limbs, mirror neurons and embodied simulation to explain our understanding of both high art and everyday imagery. Don’t miss the pre-talk concert at 1 p.m.

EUREKA! 2011 JEWELRY FAIRFriday–Sunday, November 4–610 a.m.–5 p.m.$15 The Jewelry Fair is one of the Walters’ best-loved traditions. The 2011 Jewelry Fair will feature several gatherings for the public throughout the weekend. Tickets go on sale online in September.

KAL / CHRISTMAS ON THE COURTSunday, December 112–3:30 p.m.Kevin Kallaugher, a.k.a. kal, is best known for his internationally syndicated political cartoons in more than 100 publications worldwide. Today he’ll chat about his work, look back at his best cartoons from 2011 and sign copies of his award winning 2012 Kal-endar, published by The Economist. He’ll finish his talk with a fun and lively drawing lesson.

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FAMILY FUN

DROP-IN ART ACTIVITIESSaturdays & Sundays10 a.m.–3 p.m.FreeDrop-in, make and take a fantastic piece of art home with you! Create innovative and artistic projects as a family. Check out our monthly themes! September: Me, Myself & IOctober: Creative Kid Geniuses November: Text MessagesDecember: Island Getaway

FAMILY FESTIVAL OF DISCOVERY Saturday, October 2210 a.m.–4 p.m.FreeWhat happens when you combine curiosity with creativity? Find out at the Walters! Join us for a festival that celebrates the connections between art, science, math and play! Learn about inventions created by artists, and discover how scientists and artists have used art to answer questions and solve puzzles. Try your hand at creating your own inventions and making experi-mental art projects. Meet scientists and artists, play with light and much more! All ages will be astounded by amazing performances that demon-strate the power, beauty and fun of science and art. Plus, enjoy free admis-sion to see the special exhibition Lost & Found: The Secrets of Archimedes.

NEW! MINI CAMP: KID CONSERVATORSFriday, November 49 a.m.–4:30 p.m.Member’s Child $80 / Non-member’s Child $100Ages 5–12No school today? Mini Camps at the Walters offer creative kids a unique and fun-filled way to spend the day! Join our team of ace art detectives and explore the museum as never before. We’ll investigate mysteries and solve puzzles, construct innovative and artistic inven-tions, and create in-depth art projects all day long. All camps are taught by professional artists and museum educa-tors. Healthy snacks will be provided; campers should bring a lunch with them.

DAY OF THE DEAD CELEBRATION Sunday, November 612–3 p.m.FreeCome celebrate! ¡Vengan a celebrar! This jovial Mexican holiday commemo-rates the lives of family and friends who have passed away. Enjoy traditional Mexican dance performances, a live mariachi band and art activities for the whole family. Starting November 2, the museum will host a community altar in the Graham Auditorium; members of the public are encouraged to bring items in honor of loved ones who have passed away.

MONUMENT LIGHTING FAMILY FESTIVALTuesday, December 15–8:30 p.m.FreeCelebrate the holiday season and the annual lighting of the Washington Monument at the Walters during this free, family-friendly event! Enjoy seasonal performances, music, refresh-ments, holiday films and special winter-inspired kids’ art activities! At 7 p.m., the Washington Monument will be set aglow, followed by fireworks.

WINTER BREAK ACTIVITIESDecember 26–January 110 a.m.–3 p.m.Shed some light upon your wintry break and bring the whole family to the Walters for a special week of art activities!

THE ART OF DISCOVERY GALASaturday, October 156 p.m.–midnightA Gala with a purpose. This year, a portion of the proceeds from the Walters Annual Gala will help match our National Endowment for the Humanities Grant, support Education Endowment, and ensure the place of the Walters Art Museum as a dynamic educational resource.

Individual tickets and tables are available for purchase. Please contact 410-547-9000, ext 212 to reserve.

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COMMUNITY OUTREACH

For many of us, looking at art in museums reinforces our own identities and makes us feel like we belong to some-

thing larger. We look at a work of art and relate our own life experiences and culture to that of the artist or maker. For those of us who are accustomed to museums, this intuitive process can also be a powerful instructional tool for English Language Learners. We know that it can support healthy cultural adaptation in refugees and immigrants.

For five years education staff at the Walters has been using works of art from the collection as language-teaching tools for refugee youth through our partnership with Baltimore City Community College’s Refugee Youth Project (ryp). During monthly ryp museum visits, educators frequently use a combination of museum-teaching techniques and methods for teaching language acquisition.

Recently, educators in Community Outreach have applied these successful approaches with young learners to adult language learners, through programs off site and at the museum. In 2010–11, educators taught a series of English classes to adult English Language Learners at Casa de Mary-land, an immigrant workers’ center in east Baltimore. Educators used works of art from the collection in practicing English vocabulary useful to adult English learners, such as words and phrases used when visiting the doctor. Adult learners, just like young learners, enjoyed using their growing English vocabulary to talk about their own life experiences in

relation to the works of art they were viewing. In providing a platform for English Language Learners to discuss their expe-riences with others, works of art can be powerful tools for refugee and immigrant learners who are in a new environment and constantly reevaluating their past and present identities. Many social scientists posit language and communication as essential to healthy cross-cultural adaptation.

These experimental lessons were met with such enthusiasm by adult English learners that they prompted the launch of a new program at the museum called Intercambio: Artful Language Exchange. The goal of the Intercambio program is to bring English and Spanish language learners together at the museum to engage in discussions about art and culture while practicing a new language. Intercambio means “exchange” in Spanish: another important goal of the program is that the learners become teachers of their own native language. Piloted in spring 2011, the Intercambio program series was well attended by diverse groups of people from different parts of the community. The program is now a regular part of our calendar, with sessions once a month from October to May. Like all Community Outreach programs, our goal is to use the museum as a space for diverse groups of people to come together and learn about each other.

—lindsey anderson, community outreach coordinator

THE ART & SCIENCE OF LANGUAGE LEARNING

IN THE MUSEUM

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IN THE MUSEUM STORE

Artifact Game$34.95 / Members $31.46Are there other undiscovered works of art hidden away like in The Archimedes Palimpsest? Artifact is an exciting strategy game that sends players around the world to search and recover missing treasures. How good are your negotia-tion skills? Can you trust your informants to give you reliable information? Your goal is to advance around the board by successfully recovering artifacts. You will face time-sensitive challenges that test your memory and your luck. Requires two or more players.

The Archimedes Codex Museum Price $13.50 / Members $12.15Part archaeological detective story, part science and part history, The Archimedes Codex tells the remarkable story of a lost manuscript from its creation in medieval Constantinople to its sale at Christie’s in 1998. Co-authored by the Walters’ Curator of Manuscripts and Rare Books, William Noel, this book uncovers the secrets of this palimpsest and explains the innovative imaging techniques that were used to decipher it.

Archimedes Stomachion Puzzle$18.95 / Members $17.05The Archimedes’ Square is the world’s oldest documented brain-teaser. Developed by the famous Greek mathematician, this tangram-like set consists of 14 solid wood polygons, of varying sizes and shapes, that combine to form a square. There are hundreds of known solutions for recombining the tiles into the original square. The puzzle comes complete with a wooden storage tray; well-crafted wood pieces with nontoxic inks.

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BEHIND THE SCENES

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If you’ve visited our website recently, you’ve probably noticed our extensive online collection of artwork. If you haven’t, now is a great time to see our collection in an interesting new way. We’ve recently redesigned our works of art website. There’s plenty to see and do.

What’s new online?Our new and improved works of art website has a new look and feel. It’s very similar to the magazine you’re reading right now. This is part of our effort to make all of our materials even friendlier.

We’ve also made it easier for you to sort the collection in a variety of ways—by date, medium, place of origin and even the objects’ location within the museum. Our search engine has been overhauled. Now, it will be easier to find the treasures you’re looking for, from our col-lection of thousands. If you want to casually browse the collection, we’ve improved some features to help. Now, you can more easily add tags, or keywords, to the artworks. These tags help you and others find and describe similar objects.

We’ve added more information about the artworks, such as conserva-tion treatments and exhibition histories. This information will give you a better sense of the surprisingly active life of a museum object.

One feature we’re excited about is Community Collections. Now, you can be your own online curator. When you find a piece that you like, click a button and can add it to one of your own collections. These collections will be useful to anyone who would like to share a group of artworks with others.

Speaking of sharing, we’ve made it easier for you to share artwork via social networks like Facebook and Twitter. You can also download any of our images to your computer or mobile device, so that you can use our images in other ways for free.

Why did we redesign it?In 2009, we posted digital images and associated information about more than 5,000 art objects to our website. Since then, the online collection has more than doubled, and its audience has more than doubled along with it. We wanted to make a few changes to accom-modate the growth, to respond to our visitors’ feedback, to make the website easier to use and to make it more inviting to a growing number of users, and we were fortunate to receive support of this endeavor from the National Endowment for the Arts.

As always, we want to bring art and people together for enjoyment, discovery and learning. On the internet, we want to project the Walters’ artworks out into the world so that they are better known and can be shared with national and international audiences. We also want to facilitate study of the Walters’ artworks and encourage their use in educational activities.

Please take a look at our new website, art.thewalters.org and try the new features. We hope it will help you make some new discoveries.

A NEW WINDOW ON THE COLLECTION

The new works of art website includes additional

information with a new, approachable look.

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The Walters Art Museum extends its sincerest thanks to those indi-

viduals and foundations who joined the Annual Giving Circles in fiscal year 2011 (July 1, 2010–June 30, 2011). Through the generosity of all of our donors, we are able to maintain the highest standards and enable everyone to be touched by art. Thank you very much!

AnonymousMs. Katherine E. AbruzzinoThe Alsop Family FoundationMs. Linda C. BarclayMr. and Mrs. Robert L. BergbauerMr. and Mrs. Alfred R. Berkeley IIIMs. Mary-Ann BeverlyMr. and Mrs. David W. BloisMrs. Natalie L. BlumMr. and Mrs. John M. BoardmanMr. Gerry L. BrewsterMr. Derek Brown and Ms. Deborah Hellman

Mrs. Marjorie Bishop BrownMrs. Mary Jo CampbellMr. and Mrs. John T. ChayMr. and Mrs. Benjamin R. CivilettiDr. and Mrs. Neri M. CohenMr. and Mrs. Stanton J. Collins, Jr.Mr. and Mrs. Charles A. ConstableJohn Dean and Ellen BurchenalMr. Curtis L. DeckerDr. Mary W. DelbancoMr. and Mrs. Gilbert DiPietroDr. and Mrs. Verdi J. DiSesaMr. and Mrs. Walter B. Doggett IIIMr. and Mrs. Kirk J. EmgeMr. and Mrs. Angus R. EvertonMr. and Mrs. Charles E. Fenton Mr. Michael FerrisLeon Fleisher and Katherine L. Jacobson

Nadine Fontan and Oliver ScheinMr. and Mrs. Robert J. FootlickDr. Deborah A. FordDr. Jean L. Fourcroy-Behr and Mr. Amin Behr

Mr. and Mrs. Francis G. FrenchMr. Nicholas E. GlyphisMr. and Mrs. Philip GoeletMr. and Mrs. Warren A. GreenMr. and Mrs. Howard S. Greenberg

Mr. Jerry R. GuchemandMr. and Mrs. Andrew S. GudgelMr. and Mrs. Timothy L. GunnMr. and Mrs. Joseph A. HabermanMs. Claire T. HartmanMrs. Alexander Harvey IIMrs. Joan McHenry HoblitzellMr. and Mrs. William F. Holzgang Ms. Mary E. HuddlestonMr. William C. Jacob, Jr. and Ms. Jennifer S. Williams

The Jacobson Family FoundationMs. Patricia A. JonasMr. and Mrs. David H. JonesMr. Fred F. JoubinMr. and Mrs. John B. KaneMs. Joyce S. KeatingMrs. Rena C. KellyDr. and Mrs. Sheldon I. KeyserDr. and Mrs. Earl D. Kidwell, Jr. The Kim Family FundMs. Georgette Kiser and Ms. Annie B. Thompson

Mr. David A. LamdinMr. and Mrs. Stephen M. LansThe Honorable Julian L. Lapides and

Mrs. LapidesMr. and Mrs. John I. Leahy, Jr.Dr. and Mrs. Sheldon H. LermanMr. Mark A. Likness and Ms. Jodi B. Sokol

Mr. and Mrs. Ronald J. LorentzenMr. and Mrs. Steven M. LurzMr. and Mrs. Paul N. MansonMr. and Mrs. John T. McBethMr. and Mrs. Eric M. McKieMr. and Mrs. Edward J. McNealMr. and Mrs. Cleaveland D. MillerDr. and Mrs. Myron MillerDrs. Charlotte E. Modly and Paul A. Tarantino

Ms. Anna P. Moore and Mr. Hunter A. Fowler

Bryan and Jennifer MurphyMs. Elizabeth T. NeubauerMs. Kathleen D. Nolan and Mr. Barry Eigen

Mr. and Mrs. James P. O’MearaDr. and Mrs. Arnold H. PackerMr. and Mrs. Norman D. PagetDr. Susan R. Panny and Mr. Eaton E. Panny

Mr. and Mrs. Alexander T. Perry

The Mary-Ann and Wally Pinkard Fund

Mr. and Mrs. Arthur O. PittengerKate and David PowellMs. Denise P. PumphreyMr. and Mrs. Robert B. ReynoldsMr. and Mrs. Peter St. John ReidMrs. Marlyn G. RobinsonMr. and Mrs. Lee B. RosenbergThe Cynthia and Peter

Rosenwald FundMr. Michael RuskMr. and Mrs. Stephen H. SachsDr. George H. Sack, Jr.Mrs. Jacqueline C. SandersMr. and Mrs. James ScullyDr. and Mrs. Carlton C. SextonDr. and Mrs. Kevin ShethMs. Nancy E. SmithMr. and Mrs. Richard C. SmithMr. and Mrs. Wayne F. SmithMr. and Mrs. William SmolinMr. and Mrs. Thomas S. SpencerMr. and Mrs. William C. StarkeDr. and Mrs. Harry S. StevensMr. and Mrs. Ronald B. StokesMrs. Margaret Parsons StoutMr. and Mrs. Stephen W. SuttonMr. George A. Taler and Ms. Cynthia H. Renoff

Mr. and Mrs. Ralph S. TylerMrs. Mary F. P. WagleyMr. Charles Emerson WalkerMr. and Mrs. Jerry M. WardMr. and Mrs. Charles W. Woodridge, Jr.Drs. Anne and Bertram Wyatt-Brown

Mr. and Mrs. Michael J. YoungMr. Robert A. Zimmerman IIMr. and Mrs. Paul C. Zugates

ANNUAL GIVING CIRCLES

New Annual Giving Circles members Bar-

bara and Michael Young enjoy being one

of the first to see Treasures of Heaven at the

Annual Patron Event this past February. 

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❶ Anne N. Apgar is Chair of the Women’s Committee of the Walters Art Museum. She received her ba from Wellesley College and her M.Sc. in Economics from the London School of Economics and Political Science. Hav-ing been a member of the William T. Walters Association in the 1990s, Anne joined the Women’s Committee in 1999. She has been actively involved in Long-Range Planning, the Jewelry Fair and Art Blooms, and she co-chaired Art Blooms in 2011. An urban econo-mist and antiques and interior design consultant, she was most recently Director of Capital Giving at Roland Park Country School.

❷ Adele Kass represents Baltimore County Executive Kevin Kamenetz on the Walters board. Adele graduated from the University of Maryland Col-lege Park with a B.Sc. in Elementary Education. She is currently Executive Secretary to the Baltimore County Executive, having served as his senior legislative aide on the Baltimore County Council since 1994. She is on the Executive Board of the Pikesville Chamber of Commerce and a member of the Reisterstown-Owings Mills-Glyndon Chamber.

❸ Neil A. Meyerhoff is a magna cum laude graduate of New York University and received his jd from Georgetown University Law Center. He is senior vice president and ceo of the real estate firm of Hendersen-Webb. Neil serves on the boards of the Maryland Institute College of Art and wypr. He is a practicing artist—a photographer whose work can be found in numerous public and private collections.

❹ Bailey Morris-Eck is a trustee of the American Funds family of mutual funds and a co-chair and founder of the International Women’s Media Founda-tion. In a long career in public policy and journalism, she has served on two White House policy staffs and as a fel-low and senior associate of the Reuters Foundation, the Brookings Institution, the German Marshall Fund, the Euro-pean Institute and Claremont Graduate School. She is currently a trustee of the Salzburg Global Seminar. She received her ba from Newton College of the Sacred Heart, with graduate work at Wharton and the Kennedy School of Government. Her professional experi-ence also includes The Times of London, the Economist and the Associated Press.

❺ Bernard Selz is chairman of Selz Capital llc, New York. Interested in ancient and medieval works of art, he is a member of the board of the University of Pennsylvania Museum of Archeology and Anthropology, the World Monuments Fund, the Na-tional Museum of the American Indian, American Friends of the Victoria and Albert Museum, an overseer at the Center for Jewish History and a mem-ber of the International Committee of the Musée des Arts Decoratifs, Paris. Bernard graduated with a ba from Columbia University.

❻ Gail Shawe graduated from Vassar College and holds an ma in Education from Goucher College. Her past work includes assistant coordinator for the twigs program at the Baltimore School for the Arts, serving as head of the Middle School at St. Paul’s School for Girls, assistant head of the Middle School at Friends School of Baltimore; she also taught at Bryn Mawr School and was a volunteer at Barclay Elemen-tary. Gail is a member of the Board of the Sheppard and Enoch Pratt Health System and the Baltimore Leadership School for Young Women.

Welcome New Trustees!

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Douglas W. Hamilton, Jr. is the newly elected President of the

Walters’ Board of Trustees. He was recently interviewed by Joy Heyrman, Director of Development, in the Southeast Asian Art Galleries.

What drew you to the Walters and how long have you been involved?

My earliest recollection of the Walters was visiting a special exhibition of artifacts from Tutankhamen’s tomb in the early 1960s. To this day I can remember my mother’s excitement as we toured what was then a much smaller museum. Later, in my mid-teens, I had spent a fabulous summer with my artist aunt, Elaine Hamilton, touring many of the cultural sites and museums that ring the Mediterra-nean. We traveled from Egypt and the Middle East through Turkey, Greece and Italy and points further north. This trip showed me how objects can help us understand cultures and civili-zations that existed in many different places and at many points in the continuum of human history. My wife Tsognie and I joined the Friends of the Asian Collection in 1987. Through that

group, and other social events at the museum, we have joined a wonderful community of people interested in history, culture and art.

What have been some of the highlights for you in that time?

A number of great special exhibitions come to mind. Masters of Light: Dutch Painters in Utrecht during the Golden Age, with its fantastic paintings, and Land of the Winged Horsemen: Art in Poland, 1572–1764 are still with me to this day.

When you describe the Walters to someone who has never visited, what do you say?

It is exciting to walk through the Walters and realize that it contains objects that adorned the bodies of pharaohs, the temples of ancient Greece and Rome, and the monasteries of Tibet, India and Southeast Asia. It is a never-ending thrill to look at works from hundreds of diverse cultures made by the hands of individuals who lived and died throughout 5,000 years of human history. I imagine the lives of those who made them, used them or

owned them, and I am reminded of the fragility and impermanence of even great civilizations.

What are some of the challenges facing the museum these days? What inspires you in this new role?

Just as objects in our collections were witnesses to change, our task as trustees is to continue to build on the important work our staff does to bring art and people together for enjoyment, discovery and learning. How gratifying it is to observe a first-time visitor walk throughout the museum with a look of wonder on her face. And how fulfilling to know that all members of our community can visit free of charge thanks in part to the generosity of the board and others in our community!

Our immediate challenge and oppor-tunity as a board is to increase our endowment to allow us to continue to develop world-class exhibitions, to expand and refine the myriad award-winning educational programs we offer and continue to provide free access to all.

Board President Douglas W. Hamilton, Jr.

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MUSEUM NEWS

� THE MILLER FAMILYThe Walters and the Miller family go back a long way! Former trustee Deke Miller and his grandson Ramsay Kissack stand in front of a portrait of Decatur Miller, Deke’s great grandfather, given to the Walters by Deke and his wife, Sally. The Walters has more than a hundred works by Deke’s great great uncle Alfred Jacob Miller, a 19th-century painter (and native Baltimorean) celebrated for his paintings and sketches of the American West.

MUSEUM NEWS

� MEMBERS MAGAZINE WINS AWARDFor the second year in a row, the Walters design studio has been recognized in the American Association of Museums (aam) Annual Museum Design Competition. Mar-keting materials for the Treasures of Heaven exhibition were awarded second prize in the “Marketing / Public Relations Materials” category. The newly redesigned Walters Mem-bers Magazine was also awarded second prize in the “Magazine” category.

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The Board of Trustees and staff of the Walters Art Museum want to express our thanks and appreciation to our elected officials at the state and local level for the general oper-ating grants the museum receives each year. The Walters benefits greatly from the generosity of Balti-more City, the Maryland State Arts Council, Baltimore County, Howard County and the Maryland State Department of Education, leverag-ing those grants with gifts from individuals, corporations and foun-dations and with earned revenue.

In additional to local grants, sup-port on the federal level has given us the opportunity to develop innovative special programming. We are grateful to our federal officials for supporting the budgets of the National Endowment for the Humanities, the National Endow-ment for the Arts and the Institute of Museum and Library Services.

We appreciate the tough decisions our politicians have been forced to make during the past few budget years, and thank them for recog-nizing the important role of the Walters Art Museum in the life of our region.

PROFILES IN GIVING

Bequests are the bedrock of the long-term economic strength of an organization. Gifts by will provide critical long-term revenue to sustain an organization through economic ups and downs. Ursula and Edward McCracken both understood this, and because of their foresight, the Walters Art Museum recently received their generous gift.

It is unusual to have a husband-and-wife team working in a setting the size of the Walters, but Ursula and Edward McCracken did just that, serv-ing on the Walters staff during the 1960s and 1970s.

Ursula McCracken received her B.A. from Wellesley College, and Ed earned his degree from the Johns Hopkins University. In 1965, when she and Ed were married, Ursula began working at the Walters as an editorial assistant. In 1970, she was named Editor of Publications and she remained in that position for the next seven years. Ed McCracken joined the staff four years after Ursula, in 1969, and served as an administrative officer here for ten years until 1979.

Ursula left the Walters to take the job of director of development at the College of Notre Dame of Mary-land. Her final career move was to become the executive director of the distinguished Textile Museum in Washington, dc’s Embassy Row neighborhood, where she served from 1986 to 2003.

After his departure from the Walters, Ed McCracken worked in develop-ment for a number of institutions, including Goucher College and the University of Maryland. Even after retirement, Ed worked part-time, helping the Roland Park Place retire-ment community with fundraising.

Ursula and Ed McCracken spent most of their careers working in the world of nonprofits and clearly understood the importance of bequests and endowment. They both knew what a difference they could make to an orga-nization about which they truly cared. Their legacy will add to that critical bedrock of support for the Walters’ future operations.

—anne king, manager, gift planning and major gifts

Ursula & Edward McCracken Bequest

PROFILES IN GIVING

THANK YOU!

Page 24: The Walters Art Museum Members Magazine September–Dec 2011

nonprofit orgu.s. postage

paidbaltimore, mdpermit no. 1102

600 n. charles st.baltimore, md 21201-5185thewalters.org / 410-547-9000

This spring, the Walters will celebrate the recent gift of Pre-Columbian art from the collection of John Bourne with the special exhibition Exploring Art of the Ancient Americas: The John Bourne Collection Gift. Organized themati-cally by culture, the exhibition highlights more than 2,500 years of creativity in Mexico, Central America and Andean South America from 1200 bc to ad 1520. Themes include the feminine origins of royal power in Mexico, the shamanic foundation of ruler-ship in Costa Rica and Panama, and the cosmic properties embodied by gold and silver in Colombia and Peru. Elaborate musical instru-ments and portrayals of dancers highlight the importance of perfor-mance in politics and religion throughout the ancient Americas. Don’t miss this exciting adventure.

EXPLORING ART OF THE ANCIENT AMERICAS: THE JOHN BOURNE COLLECTION GIFTFebruary 12–May 20, 2012


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