Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73”
In 1972, photographer Pamela Harris visited Taloyoak, Nunavut and started to conceive of a space where the Inuit community living there could print photographs without the help of distant photo labs. During her second visit, Harris secured materials and with help from members of the community, inclu...
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ftunitorontoojs:oai:jps.library.utoronto.ca:article/28558 2023-05-15T15:06:00+02:00 Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” Robichaud, Alex 2017-09-17 application/pdf https://theijournal.ca/index.php/ijournal/article/view/28558 eng eng The iJournal https://theijournal.ca/index.php/ijournal/article/view/28558/21066 https://theijournal.ca/index.php/ijournal/article/view/28558 Copyright (c) 2017 Alex Robichaud The iJournal: Graduate Student Journal of the Faculty of Information; Vol 2 No 3 (2017): Special Summer Issue 2561-7397 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article 2017 ftunitorontoojs 2020-12-01T10:52:11Z In 1972, photographer Pamela Harris visited Taloyoak, Nunavut and started to conceive of a space where the Inuit community living there could print photographs without the help of distant photo labs. During her second visit, Harris secured materials and with help from members of the community, including Selena Tucktoo, Theresa Qauqjuaq and Utuqi Takolik, they built a darkroom in the local women’s craft shop. Many of the photographs created by the Inuit photographers were exhibited in Toronto as The Spence Bay Project in 1974 during a week-long conference called The Arctic Women’s Workshop. Afterwards, Pamela obtained all of the exhibited photographs, which were eventually donated along with the rest of her “Spence Bay Collection” to the Art Gallery of Ontario (AGO). This report focuses on the conception and production of an exhibition of the photographic works mentioned, titled The Darkroom Project; Taloyoak 1972-73, held at the Ryerson Image Centre during the winter of 2017. Key issues faced in the formation of this exhibition are discussed, including: • Indigenous representation in museums; • Questioning how collections policies can perpetuate the structural oppression of Indigenous artists; • Consultation with source communities; and • Exhibition concept and design as institutional critique. Article in Journal/Newspaper Arctic inuit Nunavut Taloyoak University of Toronto: Journal Publishing Services Arctic Nunavut Spence ENVELOPE(-45.150,-45.150,-60.683,-60.683) Spence Bay ENVELOPE(-93.834,-93.834,69.408,69.408) Taloyoak ENVELOPE(-93.521,-93.521,69.537,69.537) |
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University of Toronto: Journal Publishing Services |
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English |
description |
In 1972, photographer Pamela Harris visited Taloyoak, Nunavut and started to conceive of a space where the Inuit community living there could print photographs without the help of distant photo labs. During her second visit, Harris secured materials and with help from members of the community, including Selena Tucktoo, Theresa Qauqjuaq and Utuqi Takolik, they built a darkroom in the local women’s craft shop. Many of the photographs created by the Inuit photographers were exhibited in Toronto as The Spence Bay Project in 1974 during a week-long conference called The Arctic Women’s Workshop. Afterwards, Pamela obtained all of the exhibited photographs, which were eventually donated along with the rest of her “Spence Bay Collection” to the Art Gallery of Ontario (AGO). This report focuses on the conception and production of an exhibition of the photographic works mentioned, titled The Darkroom Project; Taloyoak 1972-73, held at the Ryerson Image Centre during the winter of 2017. Key issues faced in the formation of this exhibition are discussed, including: • Indigenous representation in museums; • Questioning how collections policies can perpetuate the structural oppression of Indigenous artists; • Consultation with source communities; and • Exhibition concept and design as institutional critique. |
format |
Article in Journal/Newspaper |
author |
Robichaud, Alex |
spellingShingle |
Robichaud, Alex Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” |
author_facet |
Robichaud, Alex |
author_sort |
Robichaud, Alex |
title |
Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” |
title_short |
Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” |
title_full |
Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” |
title_fullStr |
Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” |
title_full_unstemmed |
Critical Issues in Exhibiting Indigenous Photography: “The Darkroom Project; Taloyoak, 1972-73” |
title_sort |
critical issues in exhibiting indigenous photography: “the darkroom project; taloyoak, 1972-73” |
publisher |
The iJournal |
publishDate |
2017 |
url |
https://theijournal.ca/index.php/ijournal/article/view/28558 |
long_lat |
ENVELOPE(-45.150,-45.150,-60.683,-60.683) ENVELOPE(-93.834,-93.834,69.408,69.408) ENVELOPE(-93.521,-93.521,69.537,69.537) |
geographic |
Arctic Nunavut Spence Spence Bay Taloyoak |
geographic_facet |
Arctic Nunavut Spence Spence Bay Taloyoak |
genre |
Arctic inuit Nunavut Taloyoak |
genre_facet |
Arctic inuit Nunavut Taloyoak |
op_source |
The iJournal: Graduate Student Journal of the Faculty of Information; Vol 2 No 3 (2017): Special Summer Issue 2561-7397 |
op_relation |
https://theijournal.ca/index.php/ijournal/article/view/28558/21066 https://theijournal.ca/index.php/ijournal/article/view/28558 |
op_rights |
Copyright (c) 2017 Alex Robichaud |
_version_ |
1766337671206010880 |