2018

(forthcoming, Fall). Fugitives in the Archive. Installation of photography, video, text from our research-creation project, Anarchival Materiality in Archives. Royal BC Museum. Collaborator: Kate Hennessy

A continuous slow movement (drift camera). In the exhibition, Supernatural: Art, Technology and the Forest. Art Gallery of Greater Victoria (AGGV) Curated by Haema Sivanesan.

Studies for Making and Unmaking Performance/installation and video. Mapping Meaning Workshop (re) Surveying the Source: Entanglements of Water, History, and Form The Taft-Nicholson Center Centennial Valley, Montana June 24-29, 2018. Collaborator: Krista Caballero

2017

Residue: Proximal Interactions [single channel video, 4 mins 38 s] in Stranger Lands at 500X Gallery in Dallas, Texas. Julie Libersat, curator. May 6 – June 6, 2017. Collaborator: Kate Hennessy

2016

Studies for Making and Unmaking. Place specific installation. Mapping Meaning Workshop: Changing the Subject: Edges, Narratives and Encounters July 24-29, 2016 Santa Cruz Island, Channel Islands National Park, California. www.mappingmeaning.org. Collaborator: Krista Caballero.

Studies for Making and Unmaking. Multi-placed installation with invited artists over one month in to address the complexity of “public funding for the arts” and “public lands,” June 13-28, Yellowstone National Park, USA; City of Rocks Natural Reserve, ID; Oregon Desert Trail, OR; Jedediah Smith Redwood State Park, CA. In dialogue with various publics. Collaborator: Krista Caballero.

2015

1:1 (25 minutes). Place-specific installation with invited community. Reciprocity: the large camera and the studio wall (October 17); The Long Exposure: Duration, Meditation and the Un-archivable (October 23); The Artist Studio: Disappearances and Reappearances (November 1). A giant camera made for documenting a studio space and for infolding people into the back of the camera during three invited events about photography + duration + place in Victoria, BC. Collaborator: Lynda Gammon.

2014

Life and Death in Waterton Lakes National Park. Academic research paper (published in Anthropologica: The Journal of the Canadian Anthropology Society) and a 28×43″ digital composite, folded into a 9×11″ box. Various configurations in public and academic talks. In collection, University of Utah Honors College. On the subject of photography in contested territories of parks and protected areas in North America. I ask, how are photographs not only fixed as images or objects, but lively, entangled and emergent events?

2013

Re-connections: Coast Salish Knitting and Resilience in Chicago (in collaboration with Andrea N. Walsh, Joni Olsen, Adam Olsen, Sylvia Olsen). Arts Incubator, Chicago, IL.

2012

Conduit: Roundhouse A series of works, developed through visits to the E&N Roundhouse in Victoria West, that operate at the interdisciplinary fold of visual and sound art. Video showing modified swing lens camera (fingery camera) in use; and soundwork of objects acoustically filling in space. With collaborator Jamie Drouin.

2011

562 Fisgard Street Volume I & II with Lynda Gammon. Artist Books. Flask publishing. Victoria BC.

Conduit: Open Space. Invited solo exhibition at Open Space Gallery, Victoria, BC. Exploration of photography and light: skylight, mirrors, projection onto wall; sound amplified from wall. Collaborator: Jamie Drouin. Online exhibition: 2012 “Pocket Notes” pocketnotes.org.

2010

“finding aid.” Southern Alberta Art Gallery. Curated by Ryan Doherty. Lethbridge AB. (solo). With an exhibition catalogue, “Field Guide” with essay by Fiona P. McDonald. Installed and performed in gallery contexts. Initiated in 2007, an ongoing archive and exhibition of photography, performance, video, text. The productive failure found in attempts to re-enact colonial photographs in the contested territory of Canadian National Parks enacted through installation and ethnographic storytelling within communities. Other exhibitions of “finding aid”:
2012 Kasian Gallery. Curated by Kier Stuhmiller. Faculty of Environmental Design, University of Calgary, AB; 2010 DuMois Gallery, New Orleans, USA; 2008 Nanaimo Art Gallery. Curated by Gregory Ball. Nanaimo, BC; 2007 “Open Studio” Banff Centre for the Arts, Banff, AB.

2009

Portable Camera Obscura. Guided re-enactment with camera and invited community, Waterton Lake National Park. A 6 person, 2 day, invited backpacking trip into a backcountry meadow in Waterton Lakes National Park, (officially closed to human traffic) to look for remains of an outfitter’s camp, to relocate an historical panoramic photograph by Bert Riggall in the early 20th century and set up a walk-in, room-sized camera/tent that breaks into multiple pieces, with 8 custom lenses. (Other selected community/place specific performances include
2014 University of Maryland (Invited to lead Honors College Design Camp)
2013 University of Utah Honors College (sites included: Spiral Jetty, Black Rock) Salt Lake City, UT); 2012 Mapping Meaning, Capitol Reef Field Station in Capitol Reef National Park, UT. Invited installation to discuss ‘ecotone’ with an interdisciplinary group of 16 women artists and scientists (www.mappingmeaning.org); a2010 Southern Alberta Art Gallery, Lethbridge AB. Curated by Ryan Doherty. Workshop/event in Waterton Lakes National Park as part of exhibition, “finding aid” at Exhibition catalogue: “Field Guide” (essay by Fiona P. McDonald).

field guide. Artist Book, Southern Alberta Art Gallery. Artist Book. Lethbridge, AB.

Earlier….

“Pacific Northwest Photography Now,” Whatcom Museum of Art, Bellingham, WA. (2003)

Curation

Ethnographic Terminalia:
2010-present
Curatorial collective: (alphabetical order): Craig Campbell (UT Austin), Kate Hennessy (SFU), and Fiona P. McDonald (UC London), Trudi Lynn Smith (SFU/UVic); Stephanie Takaragawa (Chapman U):

2019 (forthcoming) Ethnographic Terminalia. Vancouver, BC.

2016 The Photo Essay is Dead, Long Live The Photo Essay! Annual Meetings of the American Anthropology Association, 2016 Minneapolis MN Thursday, November 17, 2016 9:00-4:00.

2015 Aeolian Politics.”Emmanuel Gallery, Denver CO. November 15-20, 2015. Exhibition presented and developed by Ethnographic Terminalia with Dominic Boyer and Cymene Howe, Rice University.  http://ethnographicterminalia.org/

2014 “Ethnographic Terminalia. The Bureau of Memories: Archives and Ephemera.” Hierarchy Gallery, Washington D.C. December 1-7, 2014.

2013 “Ethnographic Terminalia: Collaboration, Art, Anthropology.” The Arts Incubator in Washington Park. Chicago, IL. Nov. 18-22 2013.

2013 “Ethnographic Terminalia presents Zoe Bray, Seeing Ethnography.” Mead Dialogues Margaret Mead Film Festival, Museum of Natural History, NYC.

2012 “Ethnographic Terminalia: Audible Observatories.” SOMArts; Alley Cat Gallery; Distributed works. San Francisco, CA. Nov. 14-19 2012.

2011 “Ethnographic Terminalia: Field, Studio, Lab.” Eastern Bloc Centre for New Media and Interdisciplinary Art, Montreal, QC. Nov.15-19 2011. Including a public conversation with Phillip Monk and curator Emelie Chhangur (Art Gallery of York University).

2010 “Ethnographic Terminalia.” DuMois Gallery, New Orleans, LA. Nov. 11-Dec. 3 2010. Exhibit included the work of over 25 international artists working at the intersection of art and anthropology.

April 2005 – January 2006
“Rockies Through the Lens of Time” Library and Archives Canada. Ottawa, ON. Exhibit to represent Alberta’s Centenary celebration (with Library Archives Canada curators based on the exhibition Vantage Points).

2003
Vantage Points: Scientific Photography in Jasper National Park Jasper Yellowhead Museum and Archives, Jasper, AB. Winner of the Jasper Heritage Tourism Award.

 

 

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