The current show, organized by National Geographic, Arts and Exhibitions International, and AEG Exhibitions, with cooperation from the Egyptian Supreme Council of Antiquities, features more than 100 artifactss, drawn from Tut’s tomb itself and other sites. And, ass in other cities, it is likely to provoke rage in many critics, historians and art aficionados. As with top TV shows, Broadway blockbusters, and top-40 songs, the snobbish question arises: Can something this popular be of real value?
My answer after visiting the show is, of course. Because when you get past all the politics (there’s a lot associated with this show and with archeological shows in general), there remain the objects themselves: a wide array of glorious items in pristine condition. The gold of the Funeral Mask of Psusennes I shines ethereally. The colors of the Collar of Neferuptah are rich and vibrant.
There’s also the rush of history they bring—the big-picture feeling of the sands of time slipping through our fingers. More powerful, for me, than the golden treasures was the Colossal Statue of Arkenaten, with its missing limbs and damaged torso seeming like the perfect metaphor for our attempts to hang onto history as the elements (and our baser instincts) wear it away.
The cinematic tone to the entryway and the star-appeal of Harrison Ford assisting with the audio narration (which I highly recommend using) both enhance and diminish the experience. At times, I yearned for the silence that must have met archeologist Howard Carter when, after years of searching, he first entered Tut’s chamber of wonders. (For the record, I attended on a sparsely populated media day, before the ticketed crowds arrived. Your noise level will no doubt be higher.)
See the above page for the full story.
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