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The records in this sub-series relate to the development and implementation of the Robert Davidson exhibition The Abstract Edge at MOA. The Abstract Edge opened at the Museum of Anthropology on June 22nd, 2004 through January 30th 2005. The Abstract Edge then went on a cross-Canadian tour from 2005-2007, which was sponsored by the National Gallery of Canada.

Files consist of exhibition planning notes, research, reporting, grant applications, contracts, correspondences, event planning, articles and publications, and transcripts. Additionally, some files in the series also relate to the publication for the exhibition which Duffek wrote in conjunction with Robert Houle. Most of the photographic transparencies were taken for publication images. Other files relate to Robert Davidson in general, such as transcripts of interviews, public lectures, and past exhibitions.

The fonds relate primarily to research Karen Duffek conducted and exhibitions she curated or was involved in. In addition, some files relate to publications Duffek wrote. Files consist of research materials, exhibition planning and implementation, publications and articles, correspondences, and artist interviews.
The fonds is arranged into the following two series:

1. Research Projects
2. Exhibitions

Series consists of two photographic prints made by photographer Ulli Steltzer. Both images were used in Duffek’s book Bill Reid: Beyond the Essential Form, which was published as part of the Museum Note series in conjunction with the Museum of Anthropology’s 1986 exhibition of the same name. One image is from the pole raising ceremony for one of Reid’s pole at Skidegate in 1978. The other shows a canoe carved by Reid being paddled at Skidegate in April 1986.

Series consists of records relating to exhibits Karen Duffek curated or was involved with in another capacity. The records span the entire breadth of the intellectual creation process, including research, funding, administrative concerns, exhibition design and installation, and publication. The series includes supplemental information about artists’ careers, correspondences, contracts, final reporting, publications relating to artists and the exhibitions, grant applications, educational exhibit materials, transcripts of interviews and public lectures, event planning, budgets, photographs, as well as exhibition publication development.

The series is arranged into 12 sub-series, each one relating to a specific exhibition:
Sub-series 2-A: Robert Davidson: “The Abstract Edge” (2004-2005)
Sub-series 2-B: Edgar Heap of Birds: “Wheel: Overlays” (2007)
Sub-series 2-C: Mike Nicholl [Yahgulanaas]: “Meddling in the Museum” (2007-2008)
Sub-series 2-D: Willy White: “My Ancestors are still Dancing” (2002-2004)
Sub-series 2-E: Bill Reid: “Gathering Strength” (2000-2004)
Sub-series 2-F: Multiplicity: A New Cultural Strategy (1993-1994)
Sub-series 2-G: Carl Beam Exhibit (2011)
Sub-series 2-H: Nicholas Galanin: “Raven and the First Immigrant” (2010)
Sub-series 2-I: Annie Ross: “Forest One” (2012)
Sub-series 2-J: “A Green Dress: Objects, Memory, and the Museum” (2011-2012)
Sub-series 2-K: Ishiuchi Miyako “ひろしま Hiroshima” (2011-2012)
Sub-series 2-L: Border Zones: New Art Across Cultures (2010)
Sub-series 2-M: Bill Reid: Beyond Essential Form (1986)
Sub-series 2-N: Anspayaxw (Satellite Gallery, 2013)
Sub-series 2-O: Cindy Sherman meets Dzunuk'wa (Satellite Gallery 2014)

The records in this sub-series relate to the artist Edgar Heap of Birds and the 2007 MOA exhibition Wheel: Overlays. An Installation by Hock E Aye VI, Edgar Heap of Birds. Sub-series consists of 4 files which relate to research and planning for the exhibition in addition to the Native Youth Project done in conjunction with the exhibition. The files consist of photographs, promotional materials, final reports, grant applications, exhibit development and educational materials, final reporting, research notes, correspondences, as well as articles about the exhibit and the artist.

The sub-series contains materials relating to the exhibit Multiplicity: A New Cultural Strategy, for which Duffek was the exhibition coordinator and Robert Houle was the guest curator. The exhibition took place from December 1993 through May of 1994. The exhibition featured works by contemporary First Nations artists who question the concept of the “other.” Records consist of articles, exhibit text and labels, internal reports, correspondences, artist biographies, and a report based on visitor interviews.

The records in this sub-series relate to the semi-permenant exhibition Gathering Strength, which took place after Bill Reid passed away in 1998. Karen Duffek curated the Haida metalwork component of the exhibition, and aided in the development of the accompanying electronic component as well. The exhibition was on display from 2000 through 2004. Records relate to exhibition development and planning, educational and display materials, and correspondence.