Papers by Brooke Garcia
The Institute of Egyptian Art and Archaeology at the University of Memphis houses a copper-alloy ... more The Institute of Egyptian Art and Archaeology at the University of Memphis houses a copper-alloy statuette of an unknown Egyptian king. The small (10 cm) metal figure is striding and wears a cap crown and shendyt kilt, but bears no identifying inscription. In this study, I use visual, stylistic, and iconographic analyses to attempt to determine how and when this sculpture was manufactured. Based on my examinations, the piece appears to be hollow-cast in one piece with a rare lead core. It has been dated to the reign of the Amarna Period ruler Akhenaten (ca. 1349-1336 B.C.). Based on a comparison of the piece to a select number of royal Egyptian metal statuary, however, it is my opinion that the IEAA statuette probably dates to the early Late Period.
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Books by Brooke Garcia
In honor of its 40th Anniversary, the Metal Museum presented an exhibition of past, current, and ... more In honor of its 40th Anniversary, the Metal Museum presented an exhibition of past, current, and future Master Metalsmiths and Tributaries artists, who represent both the heights of achievement and the promising future of the metals field. As the Metal Museum continues to build a renowned repository of contemporary metal art, collecting the works of artists from these two important series reflects the commitment to document and preserve the field. While individual artists are busy crafting their personal artistic legacies, the Metal Museum has spent its first 40 years crafting its own institutional legacy through its dedication to these artists, their processes, and ultimately their love of metal.
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Presentations by Brooke Garcia
Presentation on the do's and don'ts of applying for museum jobs using the data gathered in the Me... more Presentation on the do's and don'ts of applying for museum jobs using the data gathered in the Memphis EMP Resume and Cover Letter Survey.
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Paper presented at the 71st Annual Southeastern College Art Conference (SECAC) on October 24, 201... more Paper presented at the 71st Annual Southeastern College Art Conference (SECAC) on October 24, 2015 in Pittsburg, PA.
Session: Exotic or Mundane: Histories of Contemporary Museums and Exhibitions.
Long valued for their “exotic” nature, antiquities give us a glimpse into the lives of ancient peoples, but the display of these works has drastically changed over time. When Old World works began to be unearthed during the Renaissance, they were exhibited in private Kunstkammern, also known as Wunderkammern or Cabinets of Curiosities, which highlighted their mysterious, foreign nature. With the construction of the world’s major encyclopedic museums in the 18th and 19th centuries, antiquities were moved from private cabinets to public display, and the addition of object labels and didactic texts has increased the public’s knowledge concerning ancient art. But increasingly during the late 20th and early 21st centuries, ancient works have been the subject of blockbuster exhibitions designed to edutain the public and create revenue for their host museums. Is this a positive trend in exhibiting antiquities? Is simulating the eruption of Vesuvius, including fog and a quaking floor, during a Pompeii-centered exhibition actually submersing visitors in the past or merely entertaining them? How can we create exhibitions that are educational and interactive without being overly theatrical? This paper focuses on the history of antiquities exhibitions and explores the best practices in exhibiting these ancient works of art.
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Paper presented at the 2015 Tennessee Associate of Museums (TAM) Annual Conference on March 19, 2... more Paper presented at the 2015 Tennessee Associate of Museums (TAM) Annual Conference on March 19, 2015 in Jackson, TN.
Session: Museums as a Teaching Institution.
Session Abstract: Museums serve as an educational facility for various communities. The primary mission is to meaningfully engage the public. Museums may also serve as a research facility or a working laboratory to strengthen and further scholarship. The C.H. Nash Museum at Chucalissa serves as an example of a museum that provides opportunities for college students to conduct internships, assistantships, and complete projects (such as practica) for college graduation. This session will feature students discussing these various museum opportunities and how they are applied to furthering museum scholarship.
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Paper presented at the 70th Annual Southeastern College Art Conference (SECAC) on October 11, 201... more Paper presented at the 70th Annual Southeastern College Art Conference (SECAC) on October 11, 2014 in Sarasota, FL.
Session: Forging Art Historical Connections in Egyptology
There is currently a ten-centimeter bronze statuette of an unknown Egyptian king in the Institute of Egyptian Art and Archaeology at the University of Memphis (UM/IEAA1990.1.29). Maguid Sameda, the Egyptian antiquities dealer who first sold the statuette to Berry B. Brooks of Memphis, TN, identified it as Thutmoses III, a ruler from the New Kingdom (1550-1070 B.C.). When publishing this statuette in a catalogue for the Fogg Art Museum, William Stevenson Smith attributed it to “possibly Dynasty 18, Reign of Akhenaten”; however, IEAA museum records since 1990 date it to the Third Intermediate Period (1070-712 B.C.). Due to the uninscribed nature of this piece, it must be dated stylistically. By means of a thorough visual analysis and by comparing specific details to other known, datable Egyptian bronze statuettes, this paper will investigate these three dates and attempt to determine what time period the IEAA statuette comes from. It will also examine this statuette type in order to understand its greater function within Egyptian religion and discuss the possibility that the IEAA statuette may be from an earlier date than originally assigned.
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Session: Exotic or Mundane: Histories of Contemporary Museums and Exhibitions.
Long valued for their “exotic” nature, antiquities give us a glimpse into the lives of ancient peoples, but the display of these works has drastically changed over time. When Old World works began to be unearthed during the Renaissance, they were exhibited in private Kunstkammern, also known as Wunderkammern or Cabinets of Curiosities, which highlighted their mysterious, foreign nature. With the construction of the world’s major encyclopedic museums in the 18th and 19th centuries, antiquities were moved from private cabinets to public display, and the addition of object labels and didactic texts has increased the public’s knowledge concerning ancient art. But increasingly during the late 20th and early 21st centuries, ancient works have been the subject of blockbuster exhibitions designed to edutain the public and create revenue for their host museums. Is this a positive trend in exhibiting antiquities? Is simulating the eruption of Vesuvius, including fog and a quaking floor, during a Pompeii-centered exhibition actually submersing visitors in the past or merely entertaining them? How can we create exhibitions that are educational and interactive without being overly theatrical? This paper focuses on the history of antiquities exhibitions and explores the best practices in exhibiting these ancient works of art.
Session: Museums as a Teaching Institution.
Session Abstract: Museums serve as an educational facility for various communities. The primary mission is to meaningfully engage the public. Museums may also serve as a research facility or a working laboratory to strengthen and further scholarship. The C.H. Nash Museum at Chucalissa serves as an example of a museum that provides opportunities for college students to conduct internships, assistantships, and complete projects (such as practica) for college graduation. This session will feature students discussing these various museum opportunities and how they are applied to furthering museum scholarship.
Session: Forging Art Historical Connections in Egyptology
There is currently a ten-centimeter bronze statuette of an unknown Egyptian king in the Institute of Egyptian Art and Archaeology at the University of Memphis (UM/IEAA1990.1.29). Maguid Sameda, the Egyptian antiquities dealer who first sold the statuette to Berry B. Brooks of Memphis, TN, identified it as Thutmoses III, a ruler from the New Kingdom (1550-1070 B.C.). When publishing this statuette in a catalogue for the Fogg Art Museum, William Stevenson Smith attributed it to “possibly Dynasty 18, Reign of Akhenaten”; however, IEAA museum records since 1990 date it to the Third Intermediate Period (1070-712 B.C.). Due to the uninscribed nature of this piece, it must be dated stylistically. By means of a thorough visual analysis and by comparing specific details to other known, datable Egyptian bronze statuettes, this paper will investigate these three dates and attempt to determine what time period the IEAA statuette comes from. It will also examine this statuette type in order to understand its greater function within Egyptian religion and discuss the possibility that the IEAA statuette may be from an earlier date than originally assigned.
Session: Exotic or Mundane: Histories of Contemporary Museums and Exhibitions.
Long valued for their “exotic” nature, antiquities give us a glimpse into the lives of ancient peoples, but the display of these works has drastically changed over time. When Old World works began to be unearthed during the Renaissance, they were exhibited in private Kunstkammern, also known as Wunderkammern or Cabinets of Curiosities, which highlighted their mysterious, foreign nature. With the construction of the world’s major encyclopedic museums in the 18th and 19th centuries, antiquities were moved from private cabinets to public display, and the addition of object labels and didactic texts has increased the public’s knowledge concerning ancient art. But increasingly during the late 20th and early 21st centuries, ancient works have been the subject of blockbuster exhibitions designed to edutain the public and create revenue for their host museums. Is this a positive trend in exhibiting antiquities? Is simulating the eruption of Vesuvius, including fog and a quaking floor, during a Pompeii-centered exhibition actually submersing visitors in the past or merely entertaining them? How can we create exhibitions that are educational and interactive without being overly theatrical? This paper focuses on the history of antiquities exhibitions and explores the best practices in exhibiting these ancient works of art.
Session: Museums as a Teaching Institution.
Session Abstract: Museums serve as an educational facility for various communities. The primary mission is to meaningfully engage the public. Museums may also serve as a research facility or a working laboratory to strengthen and further scholarship. The C.H. Nash Museum at Chucalissa serves as an example of a museum that provides opportunities for college students to conduct internships, assistantships, and complete projects (such as practica) for college graduation. This session will feature students discussing these various museum opportunities and how they are applied to furthering museum scholarship.
Session: Forging Art Historical Connections in Egyptology
There is currently a ten-centimeter bronze statuette of an unknown Egyptian king in the Institute of Egyptian Art and Archaeology at the University of Memphis (UM/IEAA1990.1.29). Maguid Sameda, the Egyptian antiquities dealer who first sold the statuette to Berry B. Brooks of Memphis, TN, identified it as Thutmoses III, a ruler from the New Kingdom (1550-1070 B.C.). When publishing this statuette in a catalogue for the Fogg Art Museum, William Stevenson Smith attributed it to “possibly Dynasty 18, Reign of Akhenaten”; however, IEAA museum records since 1990 date it to the Third Intermediate Period (1070-712 B.C.). Due to the uninscribed nature of this piece, it must be dated stylistically. By means of a thorough visual analysis and by comparing specific details to other known, datable Egyptian bronze statuettes, this paper will investigate these three dates and attempt to determine what time period the IEAA statuette comes from. It will also examine this statuette type in order to understand its greater function within Egyptian religion and discuss the possibility that the IEAA statuette may be from an earlier date than originally assigned.