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Explanation for Art of Africa and the Pacific Islands (Purple) 

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Explanation for Art of Africa and the Pacific Islands (Purple) 

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Map: The map allows the viewer to orient themselves to where in the world this piece was created, which is particularly helpful for this piece. Most Americans would likely picture the wrong culture if they just read "Hawaii", and having the map provides understanding that this piece came from a distinctive culture.
Explanation of Use: This explanation allows the audience to understand the present mystery surrounding these items, in that their use is unknown. It also provides possible functions of the items, allowing the viewer to become their own historian, imagining other potential uses for the piece.
Archeological Context: This context allows the audience to picture where the pieces were founded, and to understand why there is still unknown elements of their formation and function.

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Explanation for Art of the Prehistoric or Ancient Mediterranean (Blue)

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Explanation for Art of the Prehistoric or Ancient Mediterranean (Blue)

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Map: The map allows the reader to orient themselves to where in the world the piece was made, used, and found, which aids in their deeper understanding of the cultural context it was used in.
Exhibit set-up: This piece in particular was found among others in the grave of a Sumerian ruler. By designing the gallery space to imitate the excavation site, the audience won't have to just picture the context in which the piece was used, but they will be able to walk into it, allowing deeper engagement with the piece.
Explanation: The explanation of how this piece demonstrates the wealth of the Sumerian civilization broadens the viewer's understanding of how this work is connected to history and art of not only the civilization in which it was created, but the others that were influencing it at the time.

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Explanation for Art of India, China & Japan (Red)

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Explanation for Art of India, China & Japan (Red)

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Explanation: the explanation of what the ring was likely used for allows the audience to obtain a deeper appreciation for the piece by understanding its function beyond beautiful appearance.
Etching activity: By allowing the audience to etch their own design into a surface, they are able to imagine themselves in a context similar to those who etched the stone. Although it is certainly a watered down version of the activity, it is still an avenue for the work to be brought into a personal context.
Map: The map allows the viewer to orient themselves to where in the world this piece was made and used. This is particularly helpful for a country like India, whose history contains various diverse cultures.

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Explanation for Art of the Americas (Green)

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Explanation for Art of the Americas (Green)

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Map: The map allows the audience to orient themselves to where in the world the art was formed.
Machu Picchu photo: Seeing the geographical location and citadel layout for Incan culture aids the audience in picturing the work in its original context.
Atahualpa image: The explanation of the tunic's original use along with an example of a ruler who may have used such an item, gives a tangible interaction for the audience to consider. This brings the culture into personal engagement with the viewer.

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This figure was found with ten other such figures, in 1894.

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Although it is unknown exactly what these figures were used for, they were found near temple sites, so historians speculate they were figures of deities or used in spiritual rituals.

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Polynesian; Mokumanamana Island; likely 9th-11th century; Vesicular basalt sculpture

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This piece was found on Mokumanamana (Necker) Island, an island northwest of Kaua'i. 

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This headpiece is from the Sumerian people, found in Mesopotamia. 

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The attendants in a tomb being adorned with such materials shows how expansive the ruler's wealth was. Gold, lapis lazuli, and carnelian are not naturally occurring in Mesopotamia, which signifies noteworthy trading relationships that must have been present.

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The gallery space would be designed like the grave the work was found in. There would be a ramp leading up into the room, and several statues of people, adorned with these pieces, laid out like the excavated tombs where these were found.

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Sumerian; Mesopotamia; 2600-2500 BCE; gold, lapis lazuli & carnelian jewelry

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Etch your own design onto this paper! What would your jewelry? How does this relate to the cultural context of the carvings on the ring stone?

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It is likely that these stones acted as molds for jewelers, who would hammer soft sheets of gold or other metals into the carving to make designs.

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This ring stone was likely from the region of Bihar.

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Mauryan; India; 3rd-2nd century BCE; Medium: (likely)Steatite sculpture

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Machu Picchu is perhaps the most well-known example of an Incan citadel - an important fixture in Incan society.

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Tunics like this one were items of great prestige and value, often bestowed as gifts to recognize achievement, or represent bonds of loyalty.

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This tunic was likely woven on the southern coast of Peru, where the eight-sided star was a significant motif. 

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Incan; Peru; 1460-1540 Medium: Camelid hair, cotton woven textiles