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Sub-series consists of records relating to the exhibit Cindy Sherman meets Dzunuk'wa. This exhibit, co-curated by Duffek, was at the Satellite Gallery in 2014. The Satellite Gallery was an experimental exhibition space shared between Charles H. Scott Gallery (ECUAD), the Morris and Helen Belkin Art Gallery (UBC), the Museum of Anthropology (UBC), and the Presentation House Gallery. The gallery is closed as of June 2015.

Sub-series consists of records relating to the exhibit Anspayaxw: An installation for voice, image, and sound. This exhibit was at the Satellite Gallery in 2013. The Satellite Gallery was an experimental exhibition space shared between Charles H. Scott Gallery (ECUAD), the Morris and Helen Belkin Art Gallery (UBC), the Museum of Anthropology (UBC), and the Presentation House Gallery. The gallery is closed as of June 2015.

Karen Duffek curated the Anspayaxw exhibit.

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

This sub-series consists of records relating to “ひろしま Hiroshima,” an exhibition of photographs by Ishiuchi Miyako. The exhibition, which had never previously been displayed outside of Japan, consists of photographs of clothing and accessories of victims of the 1945 bombing of Hiroshima. “ひろしま Hiroshima” opened at MOA on October 14th, 2011, and ran until February 12th, 2012.

Records within the sub-series include the exhibition proposal, budgets, reports, grant applications, correspondence, images of artworks, interview transcripts, the exhibition’s comment log-book, promotional materials, and press cuttings.

This sub-series consists of records relating to the exhibition Border Zones: New Art Across Cultures. Duffek curated this exhibition, which was on display at the Museum of Anthropology from January 23 – September 12, 2010. The following is a description of the exhibition taken from the museum’s website:

“Curated by Karen Duffek, MOA Curator of Contemporary Visual Arts. Presented with Vancouver 2010 Cultural Olympiad, Border Zones: New Art Across Cultures is an exhibition of international contemporary art that inaugurated MOA’s Audain Gallery on January 23, 2010. It brings together the work of twelve artists engaged in a dialogue about cultural boundaries –within and between communities, art practices, audiences, or institutions – and the possibility of translation across them.

Through a surprising diversity of media and approaches, the artists selected for this show use the idea of a border space to raise questions about migration and identity, knowledge protection and access, and the permeability and construction of boundaries cross-culturally. Borders are considered not only as lines or markers that divide cultures, but also as uncertain spaces that are sites of encounter and transformation.Participating artists include Hayati Mokhtar, Dain-Iskandar Said, John Wynne, Edward Poitras, Thamotharampillai Shanaathanan, Tania Mouraud, Marianne Nicolson, Gu Xiong, Prabakar Visvanath, Rosanna Raymond, Ron Yunkaporta, and Laura Wee Láy Láq, please visit www.moa.ubc.ca/blog.

Border Zones: New Art Across Cultures, which will be shown through September 12, 2010, is part of MOA’s commitment to exploring, developing, and inviting new ways of representing understandings about culture in the 21st century.

To give you the inside scoop on the ideas behind the exhibit, visit our interactive online magazine at www.BorderZones.ca.

Here you’ll find personal and provocative articles on each of the artists by distinguished contributors such as award-winning journalist Jan Wong, educator and activist Gerald Taiaiake Alfred, and filmmaker and artist Loretta Todd, among others. You’ll also find video interviews with the artists, regular updates on artist files, artwork exclusive to the webzine, provocative reviews of the exhibition, and a blog devoted to the idea of borders.

Over the course of the exhibition, BorderZones.ca will become an archive about the idea of borders, particularly how new spaces of thought and meaning are created and contested at the boundaries of knowledge, language, art, culture, and politics.”

Records within the sub-series include grant application materials, the exhibition proposal, budgets, reports, grant applications, correspondence, interviews, promotional materials, photographs, and press cuttings.

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)

This sub-series contains records relating to the display at MOA of Annie Ross’s work, “Forest One,” which was exhibited at MOA from March 20th until May 27th 2012. The sub-series includes correspondence, promotional materials, press clippings, and notes.

This sub-series consists of records relating to the exhibition of the Carl Beam Exhibit at MOA. This exhibition, which was created by the National Gallery of Canada, was exhibited at UBC MOA from April 8th to May 29th 2010 and was curated by Greg Hill. The Exhibit displayed fifty works of Carl Beam, an artist of Anishinaabe (Ojibwa) heritage.

Files contain correspondence, exhibit floor plans, installation instructions from the National Gallery of Canada, photocopies of art works, exhibit captions, promotional materials, and notes for an opening night speech.

This sub-series consists of records relating to the exhibit A Green Dress: Objects, Memory, and the Museum.” This exhibit, which ran from September 27, 2011 until April 8, 2012, was curated by Karen Duffek, Krisztina Laszlo, Carol Mayer, and Susan Rowley, and was designed to complement the contemporaneous exhibit, “ひろしま Hiroshima.” Records within the sub-series include the exhibit proposal, notes on the development of the exhibit, correspondence, exhibition captions, promotional materials.