PHOEBE A.

HEARST

MUSEUM OF ANTHROPOLOGY

UNIVERSITY OF CALIFORNIA, BERKELEY

N E W S ◆ ◆ ◆

VOLUME 4, NUMBER 1 FALL 2003

ECUADORIAN POTTERY AND TEXTILE TRADITIONS OPENING IN SEPTEMBER

T
he Phoebe A. Hearst Museum of Anthropology announces the new exhibition,
9 4 7 2 0 – 3 7 1 2

Ecuadorian Pottery and Textile Traditions, on view to the public September 12

through December 14, 2003. The exhibition pays tribute to Ecuador's rich histo-
ry and cultural accomplishments by tracing the chronology and devel-
opment of the materials, methods, and designs used by Ecuadorian
artists from pre-Hispanic times to the present. The Berkeley presenta-
tion includes Ecuadorian textiles from the Mossman-Vitale Collection
C A

along with examples of pre-Hispanic pottery from the San Diego

◆ B E R K E L E Y ,

Museum of Man and contemporary Ecuadorian pottery from pri-

vate collections. Ecuadorian Pottery and Textile Traditions is based
on the exhibition Ecuadorian Pottery Traditions organized by the
San Diego Museum of Man.

Ecuadorian cultures were among the first in the Americas to discover the mixture of
clay, water, and fire that led to the invention of ceramics. The earliest examples of pottery,
H A L L

LARGE FIGURATIVE fired some 6,000 years ago, have revised the archaeological record, peeling back layers of time to reveal
VASE MADE BY Ecuador's heritage. Archaeological evidence supports theories that an ancient ceramic tradition and perma-
ESTHELA DAGUA, nent farming villages were established in Ecuador at least a thousand years before similar pottery-making
2001, QUICHUA
and agrarian communities were established in Peru and Mesoamerica. The development of a pottery tradi-
K R O E B E R

(CANELOS) PUYO,
ECUADOR tion goes hand-in-hand with cultural development. Before pottery-making techniques evolve, civilizations
PRIVATE COLLECTION must first establish settled communities with a sufficient food supply to sustain their way of life. A strong
PHOTOGRAPH BY textile tradition also accompanied the development of pottery in Ecuador. Evidence of intricate ceramic
THERESE BABINEAU
spindle whorls and ornate costumes on ceramic figures are an indication of the high level of textile devel-
opment in Ecuador from pre-Hispanic times forward.
1 0 3

continued on page 6
FROM THE DIRECTOR
Dear Friends,
A
s the new director of the Phoebe A.
Hearst Museum of Anthropology
(PAHMA), I promise you that the
year ahead will be one to remember as we
reveal the Hidden Treasures of the Hearst.
We are embarking on an ambitious three-
year program of changing exhibitions and public programs to
increase our role of service to the campus and the broader communi-
ty under a newly launched initiative: Diversity – Cultural Arts –
Antiquities.
In September 2003 we will open the exhibition, Ecuadorian
Pottery and Textile Traditions, which explores the birthplace of
ceramics and the evolution of styles and techniques through exam-
ples of ancient and modern pottery. We are grateful to the San Diego
Museum of Man, curator Grace Johnson, and to guest curators
Richard Burkett and Joe Molinaro, for enabling us to bring the
exhibit to Berkeley, which we are augmenting with several examples
of Ecuadorian textiles from the Mossman-Vitale Collection.
In February 2004, the Hearst Museum will open Hecho en
México: Mexican Folk Art. The exhibition, featuring objects from
every state in the country, will be accompanied by a series of scholar-
ly lectures, docent and school tours, and public events. The Museum
will also be developing programs with local artists in conjunction
with the exhibit.
The Hearst Museum continues to maintain its strong com-
mitment to the collections and their use in support of faculty teach-
ing as well as for intra- and extramural research. In the spring, UC
Berkeley Classics Professor Dr. Stephen G. Miller captivated our
imaginations with his discovery that a bust of Plato and an unre-
markable herm in the Museum’s collections belonged together as one
sculpture to portray one of the best likenesses of the Greek
philosopher.
Dr. Tim White, professor of integrative biology at UC
Berkeley and PAHMA’s curator of biological anthropology, con-
firmed with his team of researchers that fossilized skulls of two
adults and one child discovered in eastern Ethiopia are 160,000 years
old and are the oldest known fossils of Homo sapiens. Skeletal sam-
ples from the collection were integral to this research.
Recent efforts to extend the reach of the collections can
also be seen through the Museum’s new Web site –http://hearstmuse-
um.berkeley.edu – which includes online exhibitions, program infor-
mation, and is the gateway for further study about our vast
holdings.
A Fond Farewell
It goes without saying that I have inherited this position from an
extraordinary director who managed to make great strides in moving
the Museum forward in a brief three years, doing so on a part-time
basis, while teaching in the Anthropology Department and conduct-
1
ing fieldwork in Oceania.
Patrick Kirch, class of 1954 professor of anthropology,
took over as museum director in July 1999. His earnest persuasive-
ness led to new funding for a permanent exhibit in the Native
Californian Cultures Gallery and to the highly acclaimed centennial
exhibit, A Century of Collecting. Pat worked diligently to expand the
public reach of the Museum, initiating the partnership with the
Haases, for example, to spearhead the redesign of the Museum's
Web site for broader access to the collections and to program infor-
mation.
Another of Pat's important accomplishments was oversee-
ing the completion of the NAGPRA inventories and the consultation
work with Indian Tribes. Pat and his staff were able to develop effec-
tive working relationships with the tribes and to make several loan
agreements so both the tribes and the Museum can have access to
these important anthropological collections into the future.
During his directorship, Pat organized a long-range plan-
ning process at the Museum and created a visionary plan for the next
ten years. The first step in the plan was to hire a full-time museum
director, and it is with great enthusiasm that I have accepted the
position. As I move forward with my plans for the Hearst Museum
of Anthropology, I am honored to have the camaraderie of my
esteemed colleague who continues as a fulltime faculty member here
at UC Berkeley and as PAHMA’s curator of oceanic archaeology.
When Phoebe Hearst identified the need for an anthropo-
logical collection in the Western United States over 100 years ago,
her original vision for that museum was as a great educator dedicat-
ed to the dissemination of knowledge among the many. After more
than a century of service and association with one of the greatest
public universities in the world, we continue to be guided by this
vision as we strive to promote understanding of the history and
diversity of human cultures through our collections, research, exhibi-
tions, and programs.
We look forward to seeing you at the Museum!
Sincerely,
Douglas Sharon, Ph.D.
Director
PHOEBE A. HEARST
MUSEUM OF ANTHROPOLOGY
UNIVERSITY OF CALIFORNIA, BERKELEY
Douglas Sharon, Director
Margaret R. Pico, Newsletter Editor
Nicole Mullen, Graphic Design
The newsletter is published twice yearly.
Copyright © UC Regents
http://hearstmuseum.berkeley.edu
COMPARING EXHIBITIONS AND WEB SITES
By Ira Jacknis

M
ost museums now have Web sites of some sort,
which they use for many purposes: listing practi-
cal information such as hours, staff, access poli-
cies, and current programs, or offering curated presenta-
tions of their collections. As museum media, exhibits have
a fairly stable technology and form, while Web sites keep
evolving. As the technology changes, much of what once
could not be done, or not done easily, is now common-
place.
There are many similarities between the two media. Like
films and books, both combine images (standing in for
objects) and words. Unlike those, however, exhibits and
Web sites have a non-linear structure. While exhibits may
have a suggested path, in most cases the viewer determines
which units will be accessed first and in what order, just as
one can do on-line.
However, there can be many differences between exhibits
and Web sites. Perhaps the prime advantage of a Web site
is its greater accessibility for people who cannot come to
an exhibit. Furthermore, because it is not bound by spatial
constraints, a Web site can hold much more content. It is
also easier to make cross-references in cyberspace. As with
footnotes in books, one can readily find linked bits of
information—sometimes of only supplementary interest—
in a non-linear way. Exhibits are much more limited in
their ability to do this. On the other hand, while virtual
exhibits may include more content, sometimes, as in our
Centennial site, they have less. Label text is almost always
available, but good photographs of the exhibited objects
often are not.
The most decisive difference between the two, of course, is
that of dimensionality. As a two-dimensional medium, the
Web is better suited for flat objects such as photographs or
paintings. While the viewer can rarely touch an exhibited
object, one can often walk around an object and move
closer or farther away. Good exhibits also make use of
paths and vistas, allowing one to see what is coming up
and look back at what one has seen, relating an object to
an adjacent object within an architecturally-formed space.
Early Web sites were poorly designed in this regard, but
designers are finding ways to replicate such previews and
reviews. A feeling for the third dimension in cyberspace
can be suggested by using multiple views, so that one can
zoom in and out, or more recently, around, through digi-
tized video. Still, these take more computer memory and
bandwidth and so are not common. Another problem,
inherent in publications as well, is the difficulty of indicat-
ing size and scale, especially if one is dealing with a
strange, foreign object. Not all pictures include rulers.
Finally, and most mysteriously, there is the question of
"aura," knowing that one is in the presence of an actual
object created by someone in a distant space or time. We
tend to perceive things with greater intensity when we use
multiple senses and our whole body, than through mere
visual perception. These profound issues of being and exis-
tence may be the most basic reasons we still have museums
of real objects instead of living in a complete world of vir-
tual objects. As many of these limitations are not inherent
in cyberspace, it will be interesting to see how museums of
the future choose to present their collections.
Ira Jacknis is Research Anthropologist at the Phoebe A.
Hearst Museum of Anthropology and recently curated The
World in a Frame: Photographs from the Great Age of
Exploration, 1865-1915, on view at the Museum through
February 2004. An online version of the exhibit can be
viewed at: http://hearstmuseum.berkeley.edu.

THE HEARST MUSEUM GIFT STORE carries a wide variety of items that reflect the museum collections and the
diversity of world cultures. The store has extensive selections of jewelry, textiles, wooden and soapstone
carvings, musical instruments, puppets, and other beautiful gifts. Most are handcrafted by native artisans
from different parts of the world. The store has a wide selection of books about cultural history and
anthropology, as well as museum publications. The Hearst Museum Gift Store offers reasonable prices and
a wonderfully unique shopping experience. Open Wednesday - Sunday, during regular Museum hours.
(left: traditional Indonesian wooden puppet)

SAVE THE DATE FOR THE ANNUAL "SANTA FE CRAFTS" NATIVE AMERICAN SOUTHWEST JEWELRY AND FOLK ART SALE,
COMING NOVEMBER 20, 2003.

3
PAHMA STAFF NOTES
W
ith this issue of the newsletter we welcome Dr.
Douglas Sharon as the new director of the
Phoebe A. Hearst Museum of Anthropology.
Director Sharon comes to PAHMA from the San Diego
Museum of Man where he was executive director from
1981 until 2002. As the Hearst Museum’s first full-time
director since its founding in 1901, Dr. Sharon is charged
with leading the Museum into a new era of program plan-
ning, outreach, and fund development. While at the
Museum of Man, Sharon took the organization through a
major period of growth, implementing innovative exhibits
and programs, increasing museum attendance and private
financial support, and overseeing the expansion of the
museum. Dr. Sharon served as member of the San Diego
Coalition for Arts & Culture, the Mexican Cultural
Institute of San Diego, and the Balboa Park Cultural
Partnership. He is a member of the Association of Science
Museum Directors. Sharon earned his doctorate from
UCLA, where he worked as a research anthropologist at
the Latin American Center. Prior to his years at UCLA, he
was the executive secretary of Andean Explorers headquar-
tered in Trujillo, Peru. He has published extensively on
Peruvian shamanism, a topic on which he produced the
award-winning documentary film, Eduardo the Healer.
Sharon has also established a field school for ethnobotany
as part of a collaborative effort between the Museum of
Man, San Diego State University, and the National
University of Trujillo. Dr. Sharon continues his fieldwork
each summer focusing on Andean shamanism and
cosmology.
We are pleased to announce that Victoria Bradshaw was
recently promoted to coordinator of the collections
Division. Victoria joined the staff in July 1994 as museum
scientist in the Native American Graves Protection Act
(NAGPRA) unit. As division coordinator she is responsible
for the daily workflow of all members of the division and
for strategic planning for collections care. In addition,
Victoria works as a hands-on collections manager with
special responsibilities for our media collections.
Matthew Kimmins recently joined the staff as creative
director and is responsible for in-house exhibit and publi-
cation design. Matthew majored in drawing and illustra-
tion at the Atlanta College of Art, Georgia, where he was
also involved with Alliance Theatre, building sets and
doing scenic artistry. Matthew’s design experience includes
graphic design, architectural illustration, digital painting
for video games, and 3-D computer animation modeling
for clients such as Advanced Courtroom Technologies.
4
We also welcome Margaret R. Pico, PAHMA’s new direc-
tor of development, who joined the staff in April 2003.
Coming to the Hearst Museum is a homecoming for
Maggie, who was an undergraduate in art practice at UC
Berkeley in the 1980s.
Previously she has served
as director of development
at The Jewish Museum San
Francisco and San
Francisco Performances,
and as associate director of
development at the San
Francisco Museum of
Modern Art.
Transitions NEW STAFF MEMBERS MATTHEW
We extend our heartfelt KIMMINS AND MARGARET PICO IN
thanks to Kathleen Hull, THE HEARST MUSEUM GALLERY
Pamela Peck, and Barbara
Takiguchi for their extraordinary service and dedication to
the Phoebe A. Hearst Museum of Anthropology. Each of
these women brought their best to the Museum through
the era of its Centennial Celebration. Kathleen served as a
senior museum scientist for the NAGPRA team, while
simultaneously completing her doctoral dissertation.
Pamela was the principal museum preparator, and her
excellent craftsmanship is evident in the Centennial and
Native Californian exhibits. As a member of the Museum
staff since 1993, Barbara organized a number of public
program initiatives, including the Re-Generations program
that brought Native artists into the Museum. Barbara also
served as exhibit coordinator for many years and was the
project manager for publications. We wish them all the
best of luck in their new endeavors.
Publications of Note
The 2003 book, Ishi in Three Centuries, edited by Karl
Kroeber and Clifton B. Kroeber, and published by the
University of Nebraska Press, features essays by two of the
Museum’s staff researchers and offers the latest research
about Ishi and Yahi culture. Research Anthropologist Ira
Jacknis contributed the essay, “Yahi Culture in the Wax
Museum: Ishi’s Sound Recordings.” Research
Archaeologist M. Steven Shackley contributed the article,
"The Stone Technology of Ishi and the Yana," which
appeared previously in American Anthropologist. The
book Ishi in Three Centuries is available for purchase in
the Hearst Museum Gift Store.
PAHMA EVENTS
Unless noted, all programs take place at the Phoebe A. Hearst Museum of Anthropology. Programs are free to
members, UCB faculty, staff, and students, and are free with museum admission to the general public.
September 2003
ECUADORIAN POTTERY AND TEXTILE TRADITIONS
Exhibition Preview
Wednesday, September 10, 4–6 pm.
By invitation.
ECUADORIAN POTTERY AND TEXTILE TRADITIONS
Exhibition Opening
Friday, September 12
THE ETHNO–ARCHAEOLOGY OF A SACRED HALLUCINOGEN
ARF Brown Bag Lecture
Wednesday, September 17, 12–1 pm.
A lunchtime gallery talk by PAHMA Director
Douglas Sharon.
WHO WAS ANDY KOCHERGIN? THE SAGA OF A HAIDA CARVING
Thursday, September 25, 12–1 pm
A lunchtime gallery talk by Selig N. Kaplan, UCB profes-
sor emeritus of nuclear engineering.
ECUADORIAN DANCE, MUSIC, AND ART
Family Day
Sunday, September 28, 1–4 pm
An afternoon program for young and mature audiences
alike. Martha Brankline and guests will be performing
ethnic dances from the North and South of Ecuador.
Craft-making for children includes weaving demonstra-
tions, working with clay materials, and painting. Free
with museum admission.
October 2003
POT HUNTERS, GEOGRAPHERS, AND ARCHAEOLOGISTS–100
YEARS OF SOUTHWEST ARCHAEOLOGY
ARF Brown Bag Lecture
Wednesday, October 1, 12–1 pm
A lunchtime gallery talk by M. Steven Shackley,
PAHMA research archaeologist.
UC BERKELEY HOMECOMING AND PARENTS WEEKEND
Friday–Sunday, October 3–5
PAHMA will be open regularly scheduled hours
and special docent tours will be offered.
CERAMIC FOLK ART OF ECUADOR
Thursday, October 9, 12–1 pm.
A lunchtime gallery talk by Richard Burkett, professor
of ceramics at San Diego State University.
POTTERS, PAINTERS, AND WEAVERS OF ECUADOR
Thursday, October 23, 12–1 pm
A lunchtime gallery talk by Javier Guerrero, senior curator
at the San Diego Museum of Man.
INFORMATION TECHNOLOGY: APPLIED TO THE UHLE
ARCHAEOLOGY COLLECTIONS FROM PERU
ARF Brown Bag Lecture
Wednesday, October 29, 12–1 pm
A lunchtime gallery talk by William Whitehead,
doctoral candidate in the UCB Department of
Anthropology.
November 2003
RECENT RESEARCH ON INCA ARCHAEOLOGY IN ECUADOR
Thursday, November 6, 12–1 pm
A lunchtime gallery talk by Dennis Ogburn, ARF research
archaeologist.
ECUADORIAN FIESTAS
Thursday, November 13, 12–1 pm
A lunchtime gallery talk by Grace Johnson, curator of
Latin American ethnography at the San Diego Museum of
Man.
ECUADORIAN ARTS AND CRAFTS: 1963–1970
Thursday, November 20, 2003, 12–1 pm
A lunchtime gallery talk by textile collectors Kathleen and
Paul Vitale.
MUSEUM CLOSED
November 27–28 for Thanksgiving Holiday
December 2003
ECUADORIAN POTTERY AND TEXTILE TRADITIONS
Exhibition Closing
Sunday, December 14, 2003
All other galleries will remain open during regular
museum hours.
5
ECUADORIAN POTTERY AND TEXTILE TRADITIONS continued from page 1

Pottery traditions in Ecuador are maintained by women, pottery that is pre-Hispanic in appearance.
often with the help of family members. From the shaping According to Museum Director Dr. Douglas Sharon,
and decorating of the clay to the firing of their wares, the "Ecuadorian Pottery and Textile Traditions provides an
artists have been responsible for implementing innovations incredible opportunity to learn about contemporary
in both technology and design. Advances such as the pot- Ecuadorian pottery within an historical context. We are
ter's wheel have given greater speed and control. The delighted to be able to augment the display of ceramics
enclosed kiln has enabled the potter to fire clay at higher from the San Diego Museum of Man exhibition with fine
temperatures, thus yielding a stronger pot. The use of examples of textiles from our friends, the Vitales, in order
glazes has provided both a decorative element and a pro- to provide a broader understanding of these artistic
tective surface to the finished work. While Ecuadorian traditions."
artisans working today rely on these modern techniques,
many communities still produce their pottery using pre- In conjunction with Ecuadorian Pottery and Textile
Hispanic methods such as manual coiling and hand mold- Traditions, the Phoebe A. Hearst Museum of
ing, as well as firing over an open flame. Ecuadorian Anthropology will be presenting a series of lunchtime lec-
Pottery and Textile Traditions explores the array of styles tures, including three lectures co-presented with UC
being used through pottery examples from the various Berkeley's Archaeological Research Facility (ARF). A
regions, the tools that are used, and related documentation Family Day (September 28) will combine Ecuadorian
showing the processes. music and dance traditions with craft-making opportuni-
ties for all ages. Please see the
Central to Ecuadorian Pottery and Textile Traditions is the calendar in this newsletter for
research provided by Professor Richard Burkett, a ceramic more details.
artist from San Diego State University, and Professor Joe
Molinaro, a ceramics instructor at Eastern Kentucky CREDITS
University. Both men have traveled extensively to regions The exhibition was curated by
of Ecuador to study the work of indigenous potters who Douglas Sharon, Ph.D., based
make modern reproductions of pre-Hispanic designs and on the exhibition Ecuadorian
contemporary decorative ceramics for the retail market. Pottery Traditions curated for
Professors Burkett and Molinaro have documented potters the San Diego Museum of Man
in Jatumpamba, in the Southern Andes near Azogues and by Grace Johnson, curator of
Cuenca, and in the Amazonian Basin along the Rio Latin American ethnography,
Bobonaza. The pottery from the Amazon is primarily with guest curators Richard
Quichua from the Puyo and Jatun Molino villages. Burkett, professor of ceramics
at San Diego State
The pottery from Puyo and Jatun Molino villages is deco- University, and Joe
rated with geometric patterns of black, brown, and white Molinaro, professor of
slip on red clay. Faces and limbs often adorn the pottery. ceramics at Eastern
For one artist, Esthela Dagua of Puyo, animals are a Kentucky University.
favorite subject for functional vessels, depicted
with such playful details as long spiny Ecuadorian Pottery and
tails and protruding lizard tongues. Textile Traditions at the
Works from the Quito region Phoebe A. Hearst Museum
include the colorful and intricate of Anthropology is made possible by the
scenes created by artists from the generous support of the Museum's
town of Pujulí. In one example, an donors and members.
overcrowded bus, piled high with the
personal belongings of the passengers, ECUADORIAN FIGURE MADE
BY THE VÀSCONEZ SISTERS
waits for its driver who stands poised on the front bumper
QUITO, ECUADOR,
to lean under the bus's hood. Purely decorative, these
SAN DIEGO MUSEUM OF MAN COLLECTION,
small sculptural pieces of dollhouse scale are crafted with PHOTOGRAPH BY THERESE BABINEAU
amazing details that tell much about daily life in Ecuador.
The modern examples of traditional pieces allude to the
popularity and current market demand for Ecuadorian

6
LOCATION
The Phoebe A. Hearst Museum of Anthropology is located in Kroeber Hall at the corner of of
Bancroft Way and College Avenue on the UC Berkeley Campus.

HOURS/ADMISSION
The Museum is open from 10:00 a.m. to 4:30 p.m.Wednesday through Saturday and noon to
4:00 p.m. on Sunday. Admission is $4 for adults, $3 for seniors, $1 for students age 13 and
above; free admission to Museum members, UCB students, faculty, staff, children 12 and under;
free to all on Thursdays. The Museum is wheelchair accessible. VICE CHANCELLOR FOR RESEARCH BETH
TRANSPORTATION AND PARKING BURNSIDE AND PAHMA DIRECTOR DOUG
Campus is served by the following AC Transit bus routes: 7, 40, 51, 52, 64. The Museum is a 15- SHARON DISCUSSING AT THE WIZARD'S
minute walk east from the Berkeley BART station. Metered parking is available on streets near the TABLE–CONTEMPORARY PERUVIAN
Museum. Paid public parking is available at Berkeley Public Parking, 2420 Durant Avenue (west of SHAMANISM, A SPECIAL LECTURE GIVEN BY
Telegraph), and after 5 p.m. and on weekends in the parking structure adjacent to the Museum. THE DIRECTOR FOR MEMBERS AND FRIENDS.

MEMBERSHIP

T
he Phoebe A. Hearst Museum of Anthropology serves the ■ New ■ Renewal ■ Gift
community through exhibitions, educational programs, and
research opportunities that promote understanding of the Name (of member or gift recipient)
history and diversity of human cultures. Membership is a great way
Name on second card (if applicable)
to get involved and provides a valuable source of unrestricted oper-
ating funds to sustain our programs. Join, renew, or give a gift of
Address
membership and enjoy the benefits below. Call 510-642-3682 or
email mpico@uclink.berkeley.edu. City State Zip
( ) ( )
M EMBERS Day Phone Evening Phone
Annual Membership benefits include:
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Gift Giver's Information:
■ Free admittance to public programs and lectures
■ Subscription to semi-annual PAHMA News Your Name(s)
■ Advance notice of all Museum events and activities
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■ $35.00 Individual/Dual Senior ( ) ( )
■ $40.00 Family (two cards provided) Day phone Evening phone

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M USEUM A SSOCIATES
Enjoy all the benefits of membership plus invitations to Director's
Please make check payable to UC Regents or charge as follows:
special events. Two cards provided for all Associates.
■ Visa ■ Mastercard ■ Discover
■ Donor Gifts of $100 – $499
■ Patron Gifts of $500 – $999 Card Number
■ Fellow Gifts of $1,000 – $4,999
■ Director’s Circle Gifts of $5,000 or more Card Expiration Date

Your membership at all Member and Associate levels is fully tax deductible Signature
Thank you!

7
ECUADORIAN POTTERY AND TEXTILE TRADITIONS ALSO ON VIEW
OPENING SEPTEMBER 12, 2003 THROUGH FEBRUARY 2004
The World in a Frame: Photographs from the Great
Age of Exploration, 1865–1915, which features
Native American portraits, wilderness landscapes of
the American West, images of ancient ruins of the
Southwest, monumental architecture in Lebanon,
Syria, and Egypt, and hand-painted photos of
Japan. All works are by founders of documentary
photography including Felice Beato, Maison Bonfils,
Edward S. Curtis, John Hillers, William Henry
Jackson, Frederick Monsen, Timothy O'Sullivan, and
Carleton E. Watkins.

ONGOING
Beginnings: The Phoebe Hearst Era (1901–1920),
the founding collections of the Museum, including
Egypt, Peru, Ancient Mediterranean, and Native
Alaska.

Native Californian Cultures, a visual storage exhibit

BUS SCENE, PUJILÍ, SAN DIEGO MUSEUM OF MAN COLLECTION, of California Indian artifacts from throughout the
PHOTOGRAPH BY THERESE BABINEAU state.

PHOEBE A. HEARST
Nonprofit Org
US Postage
MUSEUM OF ANTHROPOLOGY PAID
University
UNIVERSITY OF CALIFORNIA, BERKELEY of
California
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