Affichage de 170 résultats

description archivistique
Sous-série organique Museum exhibitions
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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."

Nuno Porto

Kesu': The Art and Life of Doug Cranmer

The records in this sub-series relate to the development and implementation of the exhibition curated by Jennifer Kramer titled Kesu': The Art and Life of Doug Cranmer. Records in the sub-series also relate to the development and publication of Kesu': The Art and Life of Doug Cranmer, authored by Jennifer Kramer and published in 2012 by Douglas & McIntyre. The exhibition featured the artwork of Doug Cranmer (1927-2006), a leading practitioner of Northwest Coast Kwakwaka’wakw art. Kesu' took place at the Museum of Anthropology from March 17 to September 3, 2012, the Museum at Campbell River in Campbell River, BC from October 19, 2010 to February 17, 2013 and the U’mista Cultural Centre in Alert Bay, BC from May 11 to October 8, 2013. Kramer received the 2012 British Columbia Museums Association's Museums in Motion Award of Merit for the exhibition. The book designer Jessica Sullivan received the 2012 Alcuin Society's award for First Place in the pictorial category.

Files in the sub-series consist of exhibition and publication planning notes and related correspondence, research materials pertaining to the career and life of Doug Cranmer, interview transcripts, photographs, funding proposals, object loan agreement forms, photography permission agreements, interview release forms, contracts and financial records, marketing plans, book drafts, exhibit text and labels, promotional materials and printouts of digital photographs of art work.

The Spirit of Islam: Experiencing Islam through Calligraphy

Subseries consists of records relating to the “Spirit of Islam: Experiencing Islam through Calligraphy” exhibit installed at the Museum of Anthropology. The exhibit is a collaborative work with local Muslim community members. The intent of the exhibition is to promote cultural diversity and to illustrate Islam as a way of life. The exhibition opened in October 2001, and continued until May 2002. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit. Not only did he work on the exhibit, he also participated in the launching of the “Spirit of Islam” educational website. Funded by the Department of Canadian Heritage, the website includes images, text, audio, and video from the original exhibition. Records in the subseries include: correspondence, contact lists, exhibition records, draft proposals and proposal, budgets, artifact lists, program planning worksheets, committee reports and drafts, agendas, grant applications, programming planning worksheets, minutes of meetings, loan condition and agreement forms, statements of agreements, exhibition diagrams and plans, exhibition design and art work, exhibit panel information and labeling designs, exhibit flyers and design layouts, photocopies of business cards and business cards, press releases, negatives, drafts of catalogue, notes, policy records, publications, exhibit sketches, letterhead samples, typeface samples, Islamic script samples, exhibition invitation cards, computer renderings of the exhibition layout and design, fundraising records, and product brochures and price lists. Textual records also include annotations on “Post-It Notes.” All records relate to aspects of planning, creating, or installing of the exhibit.

Exhibit A: Objects of Intrigue

Subseries consists of records relating to the exhibit “Exhibit A: Objects of Intrigue.” In 1999, the Museum of Anthropology celebrated its 50th anniversary. To mark this important milestone, the Museum opens “Exhibit A: Objects of Intrigue” in Gallery 5. This exhibit and accompanying publication “50/50 Fifty choices, Fifty Years,” highlights the museum’s diverse collections through objects selected by artists, staff, and friends connected to the museum over the years. This was the first exhibit to be designed entirely on computer. From the initial layout of components to the final production of exhibit labels and visual materials, the exhibit design was developed and managed electronically. Skooker Broome utilized the Mini-CAD program to plan for the exhibit design, layout, and fabrication of exhibit components. Records include: correspondence, design specifications, design notes, donor lists, computer renderings, drafts of computer layouts and designs for announcements, drafts and originals of computer layouts and designs, drafts and originals of computer layouts and designs for labels and didactic panels, artifact lists, exhibit object summaries, reports, object accessioning records, fundraising records, documents outlining the content and context of the exhibit, conservation documents, budgets, business cards, scholarly articles, contact lists, invoices, and phone lists.

Heredity: Heredity Chiefs of the Haida

Subseries consists of records relating to the exhibit “Heredity: Hereditary Chiefs of the Haida.” This photo-based exhibit was installed at the Museum of Anthropology from April 28, 1998 to February 21, 1999. Records include: drafts and final artist statement, artifact list, handwritten notes, photographic slides, pencil and ink diagrams, correspondence, memoranda, publications, announcements and press releases, exhibition description, agenda, release forms for photographs, exhibit budget, computer exhibit diagrams, and exhibit proposals.

Lyle Wilson: When Worlds Collide

Subseries consists of records relating to the exhibit “Lyle Wilson: When Worlds Collide.” The exhibit was installed in the Theatre Gallery of the Museum of Anthropology from June 20, 1989 to September 1989. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit and Karen Duffek curated. Records include an artist statement, artifact list, and an exhibition statement and acknowledgment.

Eulachon: A Fish to Cure Humanity

Subseries consists of records relating to the exhibit “Eulachon: A Fish to Cure Humanity.” The exhibit was installed in Gallery 5 at the Museum of Anthropology from February 5 to May 31, 1992, and explored traditions associated with the fishing of eulachon and technology used to render its oil. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit. Records include: memoranda, correspondence, negatives, color photographs, b&w photographs, thumbnail photographs, transparencies, French and English exhibition captions and didactic panels, travel receipts, pencil and ink drawings, published articles, artifact lists, project summaries, budgets, a fish stamp, conservation records, exhibit catalogue drafts, colored photocopies of photographic images, exhibit diagrams, exhibit instructions, exhibit layouts installations, and designs.

Paradise Lost? Contemporary Works from the Pacific

Subseries consists of records related to the graphic design for the Paradise Lost? exhibit, on display at the Museum of Anthropology July 24 - September 29, 2013, and at the Satellite Gallery July 24 - August 31, 2013. The exhibit was curated by Dr. Carol Mayer (MOA curator).

Anspayaxw: An Installation For Voice, Image, and Sound

Subseries consists of records related to the design of labels for the Anspaywaxw exhibit, on display at the Museum of Anthropology September 12 - October 26, 2013. This exhibit was curated by Karen Duffek (MOA curator).

Speaking to Memory: Images and Voices from St. Michael's Residential School

Subseries consists of records relating to the graphic design for the Speaking to Memory exhibit, on display at the Museum of Anthropology September 19, 2013 - May 11, 2014. This exhibit was curated by William McLennan (MOA) and Sarah Holland and Juanita Johnston (both from the U’mista Cultural Centre).

The Marvellous Real: Art from Mexico, 1926 - 2011

Subseries consists of records related to the graphic design for the Marvellous Real exhibit, on display at the Museum of Anthropology October 25, 2013 - March 30, 2014. The exhibit was curated by UBC Anthropology professor Nicola Levell.

Without Masks: Contemporary Afro-Cuban Art

Subseries consists of records related to the graphic design for the Without Masks exhibit, on display at the Museum of Anthropology May 2 - November 2, 2014. The exhibit was curated by Cuban poet, art critic and curator Orlando Hernández.

Claiming Space: Voices of Urban Aboriginal Youth

Subseries consists of records related to the graphic design for the Claiming Space exhibit, on display at the Museum of Anthropology June 1, 2014 - January 4, 2015. The exhibit was curated by Pam Brown (MOA curator).

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.

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

Subseries consists of records related to the graphic design for the showing of the Pigapicha! exhibit at the Museum of Anthropology. This travelling exhibit was on display at MOA November 25, 2014 - April 5, 2015.

Robert Davidson: “The Abstract Edge”

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.

Edgar Heap of Birds: “Wheel: Overlays”

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.

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