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Directors Emails

Includes original electronic email, and emails that were printed out by Director or the Director's Assistant

Presentations

Includes files related to presentations that the Director gave for various purposes (teaching, conferences, museum, directorship). Includes final PowerPoint files as well as files involved with the development of the presentations.

Research Card Catalogues

Sub-series consists of index cards with notes on First Nation languages and art objects, and quotations from other authors. A number of index cards on art objects have accompanying photographs.

Amazonia: The Rights of Nature

Sub-series consists of records related to the exhibition "Amazonia: The Rights of Nature," which was on display at the Museum of Anthropology from March 10, 2017 - January 28, 2018. Porto was the curator for this exhibition.

The exhibition was described on the Museum of Anthropology's website as follows:

"Amazonia: The Rights of Nature explores the creative ideas that inspire Indigenous resistance to threats facing the world’s largest rainforest.

The exhibition features Amazonian basketry, textiles, carvings, feather works and ceramics both of everyday and of ceremonial use, representing Indigenous, Maroon and white settler communities. Today, these groups confront threats caused by political violence, mining, oil and gas exploration, industrial agriculture, forest fires and hydroelectric plants. Challenging visitors to examine their own notions towards holistic well-being, the exhibition covers more than 100 years of unsuspected relationships between Vancouver and Amazonian peoples, ideas and their struggles.

Amazonia departs from a social philosophy, known in Spanish as “buen vivir,” in which the concept of a good life proposes a holistic approach to development that intertwines notions of unity, equality, dignity, reciprocity, social and gender equality. The concept aligns directly with value systems intrinsic to Indigenous South American cultures, and serves as a rallying cry to move beyond Western ideals and practices of development and progress largely measured by profit.

The objects displayed in Amazonia have been exclusively assembled from MOA’s collection of acquisitions and donations. Included amongst the exhibition are items from Frank Burnett’s founding collection, donated to the University of British Columbia in 1927, ensuring the exhibition spans more than 100 years of exchange between Vancouver and Amazonian peoples.

Taking over MOA’s O’Brian Gallery, the exhibit’s items are primarily composed of simple, identifiable elements: vegetal fibers, wood, animal parts, clay or feathers. These uncomplicated components are transformed into extremely sophisticated and intricate textiles, basketry, ceramics, feather works and jewelry, displaying the knowledge and craftsmanship of some of the groups who reside in the region. Taken in its entirety, the exhibition promises to offer a revealing window into one of the world’s more culturally, socially and linguistically diverse regions, as well as a new framework for addressing some of the globe’s most pressing environmental challenges."

(In)visible: The Spiritual World of Taiwan through Contemporary Art

This subseries consists of records of the exhibit (In)visible: The Spiritual World of Taiwan through Contemporary Art/形(無)形-台灣當代藝術的靈性世界 (November 20, 2015 – April 3, 2016).

Records include copes of the (In)visible Museum Note, materials from the artists involved in the (In)visible exhibition, and their contractual agreements to participate in the exhibition, media about the exhibition (advertisements, articles, reviews), and internal MOA documentation on the exhibition development (planning, programming, proposals, budgets, object list, research materials).

The records are organized into the following files, according to Nakamura's original order when given to MOA Archives.
• The Museum Note, invitation, postcards
• The Museum Note (other versions)
• Artists agreements
• Taiwan
• Chiu Yu-wen
• Plannings and programs
• Walis Labai
• General proposals and scope
• Budgets
• Anli Genu
• Object list
• Li Jiun-Yang
• Yuma Taru
• Advertisements, articles and reviews
• Contemporary Art from Taiwan
• Contemporary Art from Taiwan August 2014

Heaven, Hell and Somewhere In Between: Portuguese Popular Art

Subseries consists of records related to the graphic design for the Heaven, Hell and Somewhere in Between exhibit, on display at the Museum of Anthropology May 12 - October 12, 2015. The exhibit was curated by Dr. Anthony Shelton (MOA Director).

Pigapicha! 100 Years of Studio Photography in Nairobi

Sub-series consists of records related to the exhibition 'Pigapicha! 100 Years of Studio Photography in Nairobi,' which was on display at the Museum of Anthropology from November 25, 2014 - April 5, 2015. Porto was the Curatorial Liaison for this exhibition, which was curated by Katharine Greven and first displayed at the Nairobi National Museum in 2009.

The exhibition was described on the Museum of Anthropology's website as follows:

"MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.

“MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.”

Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture.

'A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,' says Curator Katharina Greven. 'More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.'

Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens.

Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France."

Sans titre

c̓ əsnaʔəm: the city before the city

Subseries consists of records related to the graphic design for the c̓ əsnaʔəm exhibit, on display at the Museum of Anthropology January 25, 2015 - December 2015. The exhbit was curated by Susan Rowley and Jordan Wilson.

Speaking to memory

Subseries consists of records relating to research on residential schools that led to the production of the exhibit Speaking to Memory: Images and Voices from St. Michael's Residential School, held at the Museum of Anthropology, UBC.

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