Fonds consists of photographic material created by Dr. Stephen Inglis and a series of twenty-four black and white prints depicting potters in a small community in India or images of fertility statues photographed by colleague Walter Huber. The colour negatives show local artisans and their works. The black and white photos mounted on cards were created between 1974 and 1977 and show Indian craftspeople, particularly Bengalis and Tamils. The images may have been created for the purpose of Dr. Inglis’s PhD research.

CAPTION LIST FOR PRINTS:
AC 2002-48-001 Siva murthi, Bastarnar
AC 2002-48-002 Siva Murthi, Bastarnar
AC 2002-48-003 Danteshwari Mandir Murthi, Dantewara
AC 2002-48-004 Amarkantak (source of Narbada River)
AC 2002-48-005 Danteshwari Mandir Murthi
AC 2002-48-006 Gharwa Cire-perdue Caster, Jagdalpur
AC 2002-48-007 Kumar, Nagarnar
AC 2002-48-008 Nagarnar Kumar family Terracotta mata murthis and guardian figures
AC 2002-48-009 Maria pillar, old form no longer made, near Gidam
AC 2002-48-010 The Eyes Have It
AC 2002-48-011 Kumar, Nagarnar
AC 2002-48-012 Danteshwari Mandir Murthi
AC 2002-48-013 L’Eternelle Idole, Rodin
AC 2002-48-014 Siva murthi, Bastarnar
AC 2002-48-015 Maria commemorative pillar, Bastarnar (“Bison-Horn”)
AC 2002-48-016 Kumar (demonstrating pottery wheel) Nagarnar village nr, Jagdalpur
AC 2002-48-017 Sonmura (source of Son River near Amarkantak Baba)
AC 2002-48-018 Assi Ghat, Benares Summer ‘76
AC 2002-48-019 Kumar, Nagarnar
AC 2002-48-020 Waiting for the bus near Jagdalpur
AC 2002-48-021 Kumar, Nagarnar
AC 2002-48-022 “Bison-Horn” Maria commemorative pillar, detail, Bastarnar
AC 2002-48-023 Gharwa, Jagdalpur
AC 2002-48-024 From Sonmura looking northwest
*Please note that AC 2002-48-01 through AC 2002-48-024 are attributed to Walter Huber

AC2002-48-025  48-76 are 51 colour negatives that depict local craftspeople and shrines in India.

AC2002-22-001 22-160 are black and white photographic prints mounted on white card. The images depict local Indian craftspeople, particularly Bengalis and Tamils. Some are identified with location and what is happening in the photo, while some are unidentified.

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.

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.

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.