MUSEUM NEWS
68
RIGHT: Robert B. Stacy-
Judd, The Destruction of
Atlantis, c. 1925.
Watercolor, graphite.
Illustration for Atlantis—Mother of
Empires, DeVorss & Co., Los Angeles,
1939.
Robert Stacy-Judd papers, Architecture
and Design Collection of the Art,
Design & Architecture Museum, University
of California, Santa Barbara.
BELOW: Decorated block. Tiwanaku.
AD 600–1000.
Red stone. H: 22 cm.
Musée du Quai Branly – Jacques Chirac, inv. 71.1908.23.927.
© MQB - JC. Photo: Patrick Gries, Valérie Torre.
BELOW: Désiré Charnay (1828–
1915), gigantic fi gure at Izamal south of
the great pyramid, 5–7 May 1860.
Albumin print from a wet collodion negative on glass.
Musée du Quai Branly – Jacques Chirac,
old inv. no. 1999–1991.
© MQB – JC. Photo: Patrick Gries, Valérie Torre.
This stucco sculpture is now gone.
LEFT: Lobby of the Aztec
Hotel. C. 1925.
Postcard.
Robert Stacy-Judd papers, Architecture
and Design Collection of the Art,
Design & Architecture Museum,
University of California, Santa Barbara.
RIGHT: Rendering of the exterior
of a Maya chapel for a Stacy-Judd hotel.
Robert Stacy-Judd papers, Architecture and Design Collection
of the Art, Design & Architecture Museum, University
of California, Santa Barbara.
RIGHT: Donald Bittle Keyes,
Robert Stacy-Judd with pipe
and pistol. C. 1930.
Robert Stacy-Judd papers, Architecture
and Design Collection of the Art,
Design & Architecture Museum, University
of California, Santa Barbara.
Aztec Hotel
PARIS—This summer the Musée du Quai Branly – Jacques
Chirac is hosting an exhibition devoted to popular American
culture that revisits Maya art and freely draws inspiration
from it. In the nineteenth and twentieth centuries,
the vestiges of Maya art that were discovered in the
jungles of Mesoamerica unleashed the passion of many
Western explorers, architects, and archaeologists. The
mysteries surrounding their creators’ disappearance fed
the collective imagination.
The Aztec Hotel exhibition tells the story of this “Maya
Mania” through a collection of books, engravings, posters,
fi lms, and record covers. This history is recalled by
such icons as the Mayan Theater in Los Angeles, which
is elaborately decorated with Pre-Columbian motifs, and
the Maya-inspired costumes used by famed choreographer
Martha Graham. Neo-Maya–style houses by architect
Frank Lloyd Wright also made their mark. This exhibition
was the brainchild of eminent “Tiki archaeologist”
Sven Kirsten. The show runs until October 8, 2017.
In addition to Les forêts natales, Arts de l’Afrique
équatoriale atlantique (The Native Forests, Arts of Atlantic
Equatorial Africa), which is the subject of an indepth
article in this issue, the Quai Branly will also host
an exhibition titled Avant les Incas (Before the Inca) this
fall. It will explore the various manifestations and representations
of power in Andean societies before the rise
of the Inca Empire through the presentation of artworks
from major Peruvian archaeological sites.