1 10 420 https://digitalprojects.carlos.emory.edu/files/original/48cd2d9babc8cc8b5b05eb9fda02fe0c.jpg 08487a7c47e41426b1547b2dc2590ec4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Description An account of the resource Items added to create the exhibition Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Rights Information about rights held in and over the resource Selected artworks © Tom Hück. Other content © Michael C. Carlos Museum, Emory University Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Albrecht Dürer (German, 1471-1528) Title A name given to the resource The Rhinoceros Date A point or period of time associated with an event in the lifecycle of the resource 1515 Format The file format, physical medium, or dimensions of the resource Woodcut 9 3/8 in High x 11 5/8 in Identifier An unambiguous reference to the resource within a given context 19.73.159 Contributor An entity responsible for making contributions to the resource Metropolitan Museum of Art, Gift of Junius Spencer Morgan, 1919 Rights Information about rights held in and over the resource Image courtesy of the Metropolitan Museum of Art https://digitalprojects.carlos.emory.edu/files/original/8786c987086e258c6751a6a3baa69e2c.jpg f0b9195f1a739c1dc8795e5bf5140b1e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Description An account of the resource Items added to create the exhibition Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Rights Information about rights held in and over the resource Selected artworks © Tom Hück. Other content © Michael C. Carlos Museum, Emory University Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Albrecht Dürer (German, 1471-1528) Title A name given to the resource St. Jerome in His Study Date A point or period of time associated with an event in the lifecycle of the resource 1514 Format The file format, physical medium, or dimensions of the resource Engraving 9 11/16 in High x 7 7/16 in Identifier An unambiguous reference to the resource within a given context 19.73.68 Contributor An entity responsible for making contributions to the resource Metropolitan Museum of Art, Fletcher Fund, 1919 Rights Information about rights held in and over the resource Image courtesy of the Metropolitan Museum of Art https://digitalprojects.carlos.emory.edu/files/original/7b6d4a56d20c3bfd638bd7fe70beb828.jpg 4183760e43d58ef2b5adca35c296a8c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Description An account of the resource Items added to create the exhibition Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Rights Information about rights held in and over the resource Selected artworks © Tom Hück. Other content © Michael C. Carlos Museum, Emory University Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Albrecht Dürer (German, 1471-1528) Title A name given to the resource The Crucifixion Date A point or period of time associated with an event in the lifecycle of the resource 1498-1499 (printed ca. 1650) Format The file format, physical medium, or dimensions of the resource Woodcut 15 3/8 in High x 11 in Identifier An unambiguous reference to the resource within a given context 1976.017 Contributor An entity responsible for making contributions to the resource Gift of William Knight Zewadski Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University and is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. https://digitalprojects.carlos.emory.edu/files/original/3f8c668fdd99ad96291152fe19808734.jpg ba49acdeb4de154ea66d6abd92d07327 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Description An account of the resource Items added to create the exhibition Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Rights Information about rights held in and over the resource Selected artworks © Tom Hück. Other content © Michael C. Carlos Museum, Emory University Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Albrecht Dürer (German, 1471-1528) Title A name given to the resource The Harrowing of Hell Date A point or period of time associated with an event in the lifecycle of the resource 1510 (printed 1650) Format The file format, physical medium, or dimensions of the resource Woodcut 15 1/2 in High x 11 in Identifier An unambiguous reference to the resource within a given context 1976.019 Contributor An entity responsible for making contributions to the resource Gift of William Knight Zewadski Rights Information about rights held in and over the resource This image is provided by the Michael C. Carlos Museum of Emory University and is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. https://digitalprojects.carlos.emory.edu/files/original/2d9883a308880cc623fd37b6aeafa7a1.tif bd2f53e5f1f036a58f52e2fa1aba8686 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of Mr. and Mrs. Stephen H. Loeb Creator An entity primarily responsible for making the resource Albrecht Durer, German, 1471 - 1528 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1505, 1511 edition Description An account of the resource Albrecht Durer was the greatest and most innovative printmaker of the Renaissance. A native of Nuremberg, Germany, he had established an international reputation by the beginning of the sixteenth century with the publication of three woodcut series, including the Life of the Virgin. In Durer's hands the woodcut came to rival the technique of engraving in its subtle modeling and intricate detail. The narrative sophistication of his prints repaid extended contemplation on the part of the viewer, and his work was avidly collected by connoisseurs and widely copied by contemporary artists. The Life of the Virgin Format The file format, physical medium, or dimensions of the resource Woodcut 11 3/4 x 8 1/4 in. (29.8 x 20.9 cm) Identifier An unambiguous reference to the resource within a given context 1983.001.009 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Prints by Albrecht Durer, Santa Barbara Museum of Art, Santa Barbara, California, May 1-May 25, 1958| Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship, Emory University Museum of Art and Archaeology, April 8 - June 7, 1986| Invention and Revival: Northern European Prints, Michael C. Carlos Museum, February 12 - May 15, 2005 John Howett, Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship (Atlanta: Emory University Museum of Art and Archaeology, 1986), 51. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 27752 Subject The topic of the resource Woodcut Title A name given to the resource The Circumcision Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/129f84abf6d21d71cc9b0c2a0741dcee.tif 8f7748e5d8354a79452adea8b100abca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of Mr. and Mrs. Stephen H. Loeb Creator An entity primarily responsible for making the resource Albrecht Durer, German, 1471 - 1528 Date A point or period of time associated with an event in the lifecycle of the resource 1503, 1511 edition Description An account of the resource Albrecht Durer was the greatest and most innovative printmaker of the Renaissance. A native of Nuremberg, Germany, he had established an international reputation by the beginning of the 16th Century with the publication of three woodcut series, including the Life of the Virgin. In Durer's hands the woodcut came to rival the technique of engraving in its subtle modeling and intricate detail. The narrative sophistication of his prints repaid extended contemplation on the part of the viewer, and his work was avidly collected by connoisseurs and widely copied by contemporary artists. Life of the Virgin Format The file format, physical medium, or dimensions of the resource Woodcut 12 1/16 x 8 9/16 in. (30.6 x 21.8 cm) Identifier An unambiguous reference to the resource within a given context 1983.001.010 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Prints by Albrecht Durer, Santa Barbara Museum of Art, Santa Barbara, California, May 1 - May 25, 1958| Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship, Emory University Museum of Art and Archaeology, April 8 - June 7, 1986| Old Master Works on Paper from the Permanent Collection, Michael C. Carlos Museum, May 11 - August 22, 1993| Invention and Revival: Northern European Prints, Michael C. Carlos Museum, February 12 - May 15, 2005 John Howett, Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship (Atlanta: The Museum, 1986), 52. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 27753 Subject The topic of the resource Woodcut Title A name given to the resource The Adoration of the Magi Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/9ff700ba449cd940c781156309789261.jpg 6ab73fd7a808e44e4e2f3df400baa2d3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Description An account of the resource Items added to create the exhibition Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer Rights Information about rights held in and over the resource Selected artworks © Tom Hück. Other content © Michael C. Carlos Museum, Emory University Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Honoré Daumier (French, 1808-1879) H. Delaporte (printer) (French, active 19th Century) Aubert et Compagnie (publisher) (French, active 19th Century) Title A name given to the resource Gargantua Date A point or period of time associated with an event in the lifecycle of the resource 1831 Format The file format, physical medium, or dimensions of the resource Lithograph Identifier An unambiguous reference to the resource within a given context 1993.48.1 Contributor An entity responsible for making contributions to the resource The Fine Arts Museums of San Francisco, museum purchase, Herman Michels Collection, Vera Michels Bequest Fund Rights Information about rights held in and over the resource Image courtesy of the Fine Arts Museums of San Francisco https://digitalprojects.carlos.emory.edu/files/original/ab8b72f207dfc6b49b26d8daf04e044f.tif cfe5b33d6d87757940b836f79f72fb60 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Nigeria Ibibio, Annang Date A point or period of time associated with an event in the lifecycle of the resource early-mid 20th Century Description An account of the resource This figure represents "Mami Wata," the pidgin English term for "Mother of Water," a water spirit who has enjoyed a wide following in Central Africa, West Africa, and regions of the African Diaspora. It was carved by an Ibibio artist living in Nigeria. In Ibibio thought, the otherworld exists in contrast to the world of physical reality. It is a world of the dead as well as of malevolent and benevolent spirits, including Mami Wata, whose particular domain is the watery otherworld beneath rivers and creeks. She is a charismatic spirit, a seductive temptress who bestows good fortune and material wealth on followers as long as they do not break their "contract" with her, in which case she may inflict laziness, madness, infertility, sickness, and other maladies. Representations of Mami Wata generally depict her as a woman with light skin and long dark hair, wreathed in snakes. Her luxuriant long hair refers to the dada locks worn by spiritually marked individuals, and the snakes are pythons sacred in West African belief. Mami Wata reveals herself to future devotees through recurring dreams, physical maladies, or unusual behavior. In consultation with a diviner a person many discover they are a chosen one of Mami Wata. Establishing a shrine to Mami Wata will please and honor her, thereby bringing to an end any maladies and problems previously experienced. The physical form that sculptures like this one take is derived from knowledge of her gained by both the client and the artist through their dreams of her. The altar on which this shrine figure once stood would have been densely packed with offerings like alcohol, perfume, talcum powder, plastic jewelry, and other imported luxury goods, all spiritual magnets to attract Mami Wata so that her presence and support are assured. The shrines of Mami Wata devotees reflect their very personal relationships with the spirit. Through dreams and visions, devotees journey to Mami Wata's fabulous underwater realm. These aquatic excursions are evoked in the shrine through the use of white, blue and green colors and the inclusion of boats, canoes, fish, wavy lines, and aquatic plants. It is this inward, lived experience of the dream world where devotee and deity meet that is externalized and reified in the carved art work and shrine environment. Format The file format, physical medium, or dimensions of the resource Wood, kaolin, pigment, paint 34 1/4 x 24 x 9 13/16 in. (87 x 61 x 25 cm) Identifier An unambiguous reference to the resource within a given context 1994.003.009 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Art of Nigeria from the William S. Arnett Collection, Michael C. Carlos Museum, October 15, 1994 - January 2, 1995| Mami Wata: Arts for Water Spirits in Africa and the African Atlantic World (travelling show), Fowler Museum at UCLA, March 1 - July 2008; Chazen Museum of Art, University of Wisconsin, October 18, 2008 - January 11, 2009; National Museum of African Art, Smithsonian Institution, April - July 2009| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011| MCCM Permanent Collection Gallery, March 29, 2013 - December 1, 2014 MCCM Permanent Collection Gallery, August 6, 2016 - Present Marcilene K. Wittmer and William Arnett, Three Rivers of Nigeria: Art of the Lower Niger, Cross, and Benue from the Collection of William and Robert Arnett (Atlanta: High Museum of Art, 1978), front cover, 62-63, number 144.| Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 100. Henry John Drewal, "Introduction: Sources and Currents," Mami Wata: Arts for Water Spirits in Africa and Its Diasporas, ed. Henry John Drewal (Los Angeles: Fowler Museum at UCLA, 2008).| MCCM Newsletter, September - November 2009.| Jessica Stephenson, "African Art: At the Intersection of Religion, Psychology, and Medicine," Emory in the World (Spring 2011): 39-41.| MCCM Newsletter, Spring/Summer 2011.| Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 102.| Henry J. Drewal, "Local Transformations, Global Inspirations: The Visual Histories And Cultures Of Mami Wata Arts In Africa," in A Companion to Modern African Art, ed. Gitti Salami et al. (Chichester: John Wiley & Sons, Ltd, 2013). Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2016. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 64428 Subject The topic of the resource Carving, effigy, sculpture Title A name given to the resource Mami Wata Figure Type The nature or genre of the resource Yes https://digitalprojects.carlos.emory.edu/files/original/4a74c067d3a906f7e00ab7c6b1811138.tif 69594db32771137c0272413a75e366d1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Nigeria Ibibio, Annang Date A point or period of time associated with an event in the lifecycle of the resource early-mid 20th Century Description An account of the resource This figure represents "Mami Wata," the pidgin English term for "Mother of Water," a water spirit who has enjoyed a wide following in Central Africa, West Africa, and regions of the African Diaspora. It was carved by an Ibibio artist living in Nigeria. In Ibibio thought, the otherworld exists in contrast to the world of physical reality. It is a world of the dead as well as of malevolent and benevolent spirits, including Mami Wata, whose particular domain is the watery otherworld beneath rivers and creeks. She is a charismatic spirit, a seductive temptress who bestows good fortune and material wealth on followers as long as they do not break their "contract" with her, in which case she may inflict laziness, madness, infertility, sickness, and other maladies. Representations of Mami Wata generally depict her as a woman with light skin and long dark hair, wreathed in snakes. Her luxuriant long hair refers to the dada locks worn by spiritually marked individuals, and the snakes are pythons sacred in West African belief. Mami Wata reveals herself to future devotees through recurring dreams, physical maladies, or unusual behavior. In consultation with a diviner a person many discover they are a chosen one of Mami Wata. Establishing a shrine to Mami Wata will please and honor her, thereby bringing to an end any maladies and problems previously experienced. The physical form that sculptures like this one take is derived from knowledge of her gained by both the client and the artist through their dreams of her. The altar on which this shrine figure once stood would have been densely packed with offerings like alcohol, perfume, talcum powder, plastic jewelry, and other imported luxury goods, all spiritual magnets to attract Mami Wata so that her presence and support are assured. The shrines of Mami Wata devotees reflect their very personal relationships with the spirit. Through dreams and visions, devotees journey to Mami Wata's fabulous underwater realm. These aquatic excursions are evoked in the shrine through the use of white, blue and green colors and the inclusion of boats, canoes, fish, wavy lines, and aquatic plants. It is this inward, lived experience of the dream world where devotee and deity meet that is externalized and reified in the carved art work and shrine environment. Format The file format, physical medium, or dimensions of the resource Wood, kaolin, pigment, paint 34 1/4 x 24 x 9 13/16 in. (87 x 61 x 25 cm) Identifier An unambiguous reference to the resource within a given context 1994.003.009 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Art of Nigeria from the William S. Arnett Collection, Michael C. Carlos Museum, October 15, 1994 - January 2, 1995| Mami Wata: Arts for Water Spirits in Africa and the African Atlantic World (travelling show), Fowler Museum at UCLA, March 1 - July 2008; Chazen Museum of Art, University of Wisconsin, October 18, 2008 - January 11, 2009; National Museum of African Art, Smithsonian Institution, April - July 2009| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011| MCCM Permanent Collection Gallery, March 29, 2013 - December 1, 2014 MCCM Permanent Collection Gallery, August 6, 2016 - Present Marcilene K. Wittmer and William Arnett, Three Rivers of Nigeria: Art of the Lower Niger, Cross, and Benue from the Collection of William and Robert Arnett (Atlanta: High Museum of Art, 1978), front cover, 62-63, number 144.| Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 100. Henry John Drewal, "Introduction: Sources and Currents," Mami Wata: Arts for Water Spirits in Africa and Its Diasporas, ed. Henry John Drewal (Los Angeles: Fowler Museum at UCLA, 2008).| MCCM Newsletter, September - November 2009.| Jessica Stephenson, "African Art: At the Intersection of Religion, Psychology, and Medicine," Emory in the World (Spring 2011): 39-41.| MCCM Newsletter, Spring/Summer 2011.| Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 102.| Henry J. Drewal, "Local Transformations, Global Inspirations: The Visual Histories And Cultures Of Mami Wata Arts In Africa," in A Companion to Modern African Art, ed. Gitti Salami et al. (Chichester: John Wiley & Sons, Ltd, 2013). Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2016. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 64428 Subject The topic of the resource Carving, effigy, sculpture Title A name given to the resource Mami Wata Figure Type The nature or genre of the resource Yes https://digitalprojects.carlos.emory.edu/files/original/c12d410614fdaa1ea32f6057b51ba3e8.tif 08f6bb4639659a59aaf8aff72072f867 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No