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Morris Museum Michael C. Carlos Museum of Emory University
Atlanta, GA

Michael C. Carlos Museum of Emory University
571 South Kilgo Circle
Atlanta, GA 30322
Phone: 404-727-4282
Fax: 404-727-4292
Map
carlos.emory.edu

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Exhibitions

Each/Other: Marie Watt and Cannupa Hanska Luger

Resonance: Recent Acquisitions in Photography


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Each/Other: Marie Watt and Cannupa Hanska Luger
Through December 12, 2021

Each/Other: Marie Watt and Cannupa Hanska Luger is the first exhibition to feature together the work of Marie Watt and Cannupa Hanska Luger, two leading Indigenous contemporary artists whose processes focus on collaborative artmaking.

Exploring the collective process of creation, Each/Other will feature over two dozen mixed-media sculptures, wall hangings, and large-scale installation works by Marie Watt and Cannupa Hanska Luger, along with a new monumental artist-guided community artwork. While each artist’s practice is rooted in collaboration, they have never before worked together or been exhibited alongside one another in a way that allows audiences to see both the similarities and contrasts in their work.

Marie Watt, who resides in Portland, Oregon, is a citizen of the Seneca Nation and has German-Scots ancestry. Cannupa Hanska Luger, who is based in New Mexico, is a citizen of the Three Affiliated Tribes (Mandan, Hidatsa, Arikara) of Fort Berthold and has Lakota and European ancestry.

Emory students and Carlos Museum docents, patrons, and employees embroidered bandanas for the new, artist-guided community artwork, a collaborative project of both Watt and Luger. Watt is creating another new monumental sculpture in her Blanket Stories series for this exhibition and has asked for community participation.

Emory University was founded in 1836 on the historic lands of the Muscogee (Creek) people, 15 years after the First Treaty of Indian Springs (1821) through which the U.S. government acquired this area of land from the Muscogee Nation. After this treaty, many Muscogee people relocated to Alabama, and were then forcibly removed to present-day Oklahoma on the Trail of Tears in 1836. We share this acknowledgment of the history of the land to help put a better perspective on the Each/Other exhibition and Emory’s commitment to honor Indigenous nations and peoples, both locally and beyond.

The Carlos Museum is honored to present this exhibition that centers Indigenous knowledge, creativity, and collaboration.

Each/Other She Wolf
Cannupa Hanska Luger (Mandan, Hidatsa, Arikara, Lakota, European) and Marie Watt (Seneca and German-Scots), Each/Other, 2020–21. Steel, wool, bandanas, ceramic, leather, and embroidery thread. © Cannupa Hanska Luger and Marie Watt. Photography © Denver Art Museum

Resonance: Recent Acquisitions in Photography
Through October 24, 2021

The Carlos is thrilled to announce the opening of Resonance: Recent Acquisitions in Photography, an exhibition exploring the act of interpretation through the seemingly opposing themes of isolation and togetherness, loss and shared joy, and fear and courage, among others, which will be on display from August 28 – . Photographs are uniquely evocative of the human experience. They bear witness to a finite time and place—be it an image of a fleeting encounter or an endured reality—that is contingent upon memory, interpretation, and re-interpretation. The photographs seen here, all from recent gifts to the collection, are intended to resonate in some way with the unprecedented realities and profound emotions experienced by many during 2020. No two experiences have been the same; as a result, viewers may find meaning in the images themselves or in the tensions created between them.

Taken between 1963 and 2015, these images bear witness to a finite time and place, yet how we understand them is contingent upon memory, interpretation, +and lived experience.

The photographers— Kristin Capp, Larry Fink, Ken Heyman, Walter Iooss, Joel Meyerowitz, and Lou Stoumen—knew nothing of the Covid-19 pandemic, the near global quarantine, nor the social justice movements that would rise with renewed urgency. When Larry Fink photographed the March on Washington in 1963, he could not know of the murder of George Floyd or the nationwide debates over voter rights. In capturing Jimi Hendrix live or Dwight Clark’s infamous catch, +Walter Iooss could not know of the impending isolation from loved ones or the nostalgia for simple pleasures like watching a game in a crowded stadium, attending a concert, or feeling the thrill of a lover’s touch. Ken Heyman could not anticipate the parents and caregivers who would be thrust suddenly into the role ofeducator while simultaneously struggling toprovide when he took the photographs of families seen in this exhibition. Essential workers had not yet longed for a quiet dinner at home. Families and friends had not yet experienced the untimely loss of loved ones taken in a global pandemic. The unexpected moments of happiness, love, fulfillment, or mindful contemplation that could arise from these especially fraught circumstances did not yet exist, but the photographs taken by Joel Meyerowitz and Kristin Capp may bring them to mind.

“Pictures are sure. They remain fixed in the moment they were seized; their reading is as always ambiguous, subject to the changing perceptions andintuitions bred by delusion or by experience.”
-Larry Fink, Martins Creek, May 2001

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