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The Family Camera: The Making of an Exhibition

The Family Camera: The Making of an Exhibition
170 St. George Street, JHB Room 100
Time: Oct 18th, 4:30 pm End: Oct 18th, 6:30 pm
Interest Categories: Women/Gender, Women & Gender Studies (FAS), Visual Studies (UTM), Sexual Diversity, Information, Faculty of, History (FAS), Historical Studies (UTM), Historical and Cultural Studies (UTSC), Arts, Culture and Media (UTSC), Art (FAS), 2000-
Panel Discussion

The Museums section of the JHI-Mellon research project, Aesthetic Education: A South-North Encounter, is pleased to present:

 MUSEUM TALKS SERIES

Presented by the Master of Museum Studies program at the Faculty of Information, University of Toronto, in collaboration with the Museums and Public History Group, Jackman Humanities Institute

The Family Camera: The Making of an Exhibition

This panel explores the research, curation and community engagement work behind The Family Camera at the Royal Ontario Museum. Some highlights of the panel include: behind-the scenes hurdles, development of The Family Camera Network, and the complexities of building an archival body with interviews from LGBTQ+ communities.

This talk is open to the public. 

PANELISTS

Deepali Dewan is a Senior Curator in the Department of World Cultures at the Royal Ontario Museum and an Associate Professor in the Department of Art at the University of Toronto, where she specializes on the art and visual culture of South Asia and the South Asian diaspora. She was lead curator for The Family Camera. Her current research focuses on the photographic image. She is the author of Raja Deen Dayal: Artist-Photographer in 19th-Century India, Embellished Reality: Indian Painted Photographs, and the editor of Bollywood Cinema Showcards: Indian Film Art from the 1950s to the 1980s.

Jennifer Orpana is Assistant Curator at the Royal Ontario Museum, where she is working with Dr. Deepali Dewan and The Family Camera Network to establish a public archive of family photographs and oral histories at the museum. She was a member of the curatorial team for The Family Camera exhibition. In July 2017, she co-edited a Photography & Culture special issue on family photography Prior to her graduate career, Jennifer worked in education, outreach, and development the Art Gallery Ontario, the National Ballet of Canada, and Soulpepper Theatre Company.

Thy Phu Thy Phu is Associate Professor at Western University in London, ON, and Principal Investigator of The Family Camera Network. Her work focuses on the visual representation of race and gender among diasporic communities, and has received supported by SSHRC Connection, Insight, and Partnership Development Grants. She is author of the book, Picturing Model Citizens: Civility in Asian North American Visual Culture and co-editor of a volume of essays, titled Feeling Photography. 

Elspeth H. Brown is an Associate Professor of History at the University of Toronto. She is co-investigator for the Family Camera Network, as well as Director of the LGBTQ Oral History Digital Collaboratory. Her research concerns modern American cultural history; the history and theory of photography; queer and trans* history; and the history of US capitalism. She is the author of Work! A Queer History of Modeling, 1909-1983 and The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884-1929 (Johns Hopkins 2005). She is the co-editor of Feeling Photography; “Queering Photography,” a special issue of Photography and Culture; andCultures of Commerce: Representation and American Business Culture, 1877-1960.

DISCUSSANT: 

Akshaya Tankha is a Doctoral Candidate in the Department of Art at the University of Toronto and a Graduate Fellow at the Jackman Humanities Institute. His dissertation project explores contemporary museological, photographic, new media, and material culture practices in the state of Nagaland in northeast India. It analyzes processes of inhabiting indigenous difference in a postcolonial context that resist being framed as a politics of late-liberal recognition. He achieves this through an examination of the materiality and temporalities of aesthetic forms and their intersections with religion, sub-nationalism, governmentality, commerce and indigenous practice. 

This event is free and open to all. Registration is not required.

 

 

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