Beneath the surface the archives of arthur nestor

exhibition curated by

Museum and curatorial studies

february 26 -- March 12, 2015archivesofnestor.weebly.com

2Foreword

BiographyOF DR NESTOR

Time Lines

Lakeshore research photos

Class photo &

Acknowledgements

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3224Newspaper cliPS

DR Nestors Office

Parafiction in the

Art Museum

5At first, the answer was a definite no. With little storage space and an exhibition for the class already underway, the idea of taking on and sorting through the notes of a long-retired professor seemed a tedious undertaking. Nevertheless, my interest was piqued enough by the fact that the archive had been untouched for forty years that I agreed to walk over and take a look. Thirty minutes later, I opened the first box and within seconds was hooked. A dried puffer fish sat at the top of a box that contained shells wrapped in newspaper, a photograph album, a science fiction novel, and a stack of notes that included a number of drawings of plesiosaurus and other water beasts and what appeared to be a rubbing of snake skin. And that was just the first box.

The boxes were transported to the storage closet in the Visual Arts Building, and the search began. Students in Museum and Curatorial studies eagerly rose to the task. We had a name: Arthur Nestor, and we knew that he had been a professor of Biology and Zoology until late-1975 when he left his job at Western, precipitating the packing up and storage of his office. But who was he? At first we found no record of him, but a little digging slowly revealed his life as told in newspaper articles, his own notes and letters, photographs and the recollections of some of his friends and students. Nestors abiding interest in lake monsters came to the fore, and what had seemed

By Dr.Kirsty robertson

In mid-July, 2014, i received a call about a pile of boxes, a crate

and other ephemera that had been discovered during renovations

of a university building. no one knew what to do with the dusty

pile of stuff, but the boxes seemed to hold some interesting

documents from a professor who had worked at Western in the

1970s. Would museum Studies be interested in them?

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foreword

We had a name...

Associate ProfessorDepartment of Visual ArtsWestern University

a dusty archive quickly became a fascinating story. What appeared at first to be a huge mystery (where did Nestor go in 1975? Was he murdered or kidnapped?) turned out to likely be something much more mundane. Perhaps he simply left, and in a pre-Internet era was able to leave almost nothing behind but the material archive of his office. In 1975 it was possible to disappear almost completely to leave without a trace and to start anew. Where he might have ended up was one of the key questions of our investigation.

Beginning in September 2014, students began to sort through the boxes, coming to terms both with Nestors story and also with the incompleteness of the archive. There will always be things about Arthur Nestor that we cant know. We know a little about his career and his studies, we know that he was engaged to a young woman who tragically died, we know that he had some interesting ideas about zoology, and we know that if he is still alive he would be 85 years old. But we can only speculate about what happened to him, about who he really was or what he was like. If there is one thing that students in this class have learned it is that archives are both fascinatingly alive, and frustratingly unfinished.

7The Man Behind the Archives

In the Summer of 2014, the clearing out of rooms during

university renovations lead to the discovery of a very curious

collection of boxes, forgotten in an old storage closet. the

innocuous boxes were assumed to belong to a faculty member

but when no one came forward to claim them, they were opened.

the mysterious boxes made their way into the hands of the

museum and Curatorial studies class as a casual option for research.

By Keely Mccavitt

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What was discovered, however, proved to be much more important than an exercise in archival studies. The fascinating archive belonged to Dr. Arthur Nestor. He was a professor of Zoology and Biology at Western from 1967 until 1975 when he suddenly left London, leaving his job behind. Further investigation of the boxes revealed a portrait of a man possessed by his belief in the existence of crypto-zoological creatures.

Big Foot. Chimeras. The Loch Ness Monster. All of these entities fall into the category of crypto-zoology. These beings, who exist on the periphery of our accepted reality, are said to lurk in the deepest jungles and bodies of water. Such claims are often dismissed by scholars and scientists. Dr. Arthur Nestor devoted much of his life to the pursuit of what he believed true. His research sought to prove the existence of lake monsters in the Great Lakes region.

Our exhibition intends to display and re-create Dr. Nestors research, test the scientific validity of his findings, and also unravel the mystery of his sudden departure in the winter of 1975.

biography

LEFT: Dr. Nestor in his office with a plesiosaurus model, 1974. ABOVE: Dr. Nestor with his research slides, 1974.

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What We knoW about dr. arthur neStor

Dr. Arthur Nestor was born in 1930 in Surrey, British Columbia to working-class immigrant parents. Not many records remain but it is clear that he was an only child. He completed both his Under- graduate and Masters degrees at the University of Alberta, and his PhD at the University of British Columbia. Graduating with top honours, Nestor seemed destined to take the scientific world by storm. This dream, however, was never realized. His passionate and often very public defense of the existence of lake monsters as well as his communist sympathies earned him a poor reputation. His obses-sion with lake monsters seems to have stemmed from a trip to Lake Okanagan in Penticton BC as a child, which Nestor refers to in his journal. He claimed to have seen the famous Ogopogo lake monster with his own eyes on this trip. Nestor devoted most of his time trying to prove the existence of such creatures.

dr. neStorS friendS

There have been few opportunities to learn of Nestor outside of his archives until we were able to contact Christopher Finley, who had worked under the supervision of Nestor as a graduate student at Western. While primarily a professional relationship, Nestor and Finley had as close a friendship as someone like Nestor could maintain. From our brief correspondence with Finley, he offered us great personal insight into Nestors elusive character: Art always frustrated me. You never quite knew where you stood. The whole thing was so strange to me because I was probably the closest thing to a friend the guy had [at the time of his disappearance]. He left no note, never called. Nothing.

We learned from Finley that Nestor was engaged to an eccentric science fiction author named Bonnie Haussler but their romance ended tragically when Bonnie was killed in a car accident in Tilson-burg, Ontario. The accident occurred on a day trip the two were taking along the lakeshore. We were able to track down Bonnies sister Adelaide Haussler, who still lives in Port Stanley, and who remembered Nestor and Bonnie fondly. They were real lovebirds, she said. Adelaide donated a photo album belonging to Bonnie to our exhibition, which had tucked in its pages some mementoes of Arthur. I remember he gave her those childhood things of his, a notebook, some drawings, a photo of him in Vancouver, and Bonnie treasured them. Finley adds, His obsession only got worse after her death.

TOP: Dr. Nestor examining a specimen, 1974.

RIGHT: Arthurs late fiance, Bonnie Haussler in 1965, Tillsonburg, Ontario.

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from archives Bonnie was the only one of us who really believed him. It was easier to tolerate, almost charming when Bonnie was there on his arm nodding along and patting his hand, you know?

international SoCiety of Cryptozoology

Finley, like many of Nestors contemporaries, was not convinced by his strong beliefs. Others, however, shared Nestors passion for the unknown. The archives include correspondences with people who claim to have witnessed monsters in various places in the Great Lakes. Most of the sightings are from Lake Erie, many of them with corresponding newspaper clippings. Nestor also was a member of the International Society of Cryptozoology from 1960 until his disappearance. The society was more recently re-instated in 1996 by Francis Macdougal and Samuel Wong. They have been incredibly helpful in deciphering and understanding the meaning of the more cryptic documents and historical accounts in Nestors archives.

It is interesting to note that Nestor went missing around the same time that Roy Mackal, an American cryptozoologist and proponent of the Loch Ness Monster, was releasing photographs he claimed proved the existence of Nessie. Nestor and Mackal had an ongoing correspondence between 1964 until his disappearance. The two had found each other through their mutual membership in the I.S.C. Finley vaguely remembers Nestor talking about Mackal: I remember him mentioning the name Roy Mackal every now and then but not much else about it. I always assumed they were old friends or some-thing. He was always talking about paleontology and how alligators and crocodiles had never changed since the times where they shared the world with dinosaurs. When we were a couple gins in, I would demand he show me some proper evidence, and he would mutter darkly that I was no Roy Mackal.

Water Contamination reSearCh of the great lakeS

The crux of Nestors research was that the pollution entering and contaminating the Great Lakes was responsible for the threat to these creatures. Many of Nestors experiments examined the levels of heavy metals and other pollutants leaching into the water systems as well as the over-growth of algae. Nestor feared that continued contamination of the Great Lakes, and any other potential habitats, would make it impossible to prove the existence of crypto-zoological creatures because they would be simply eradicated and made extinct.

The Tetraodontidae (pufferfish) specimen was found, unwrapped, in Dr. Nestors archive. Over the years it has suffered some damage, but remains in excellent condition. The pufferfish is among the most poisonous vertebrates on Earth.

Despite extensive research, we were not able to find out who the D might be in this note to Nestor. However, the note clearly documents Nestors interest in the lakes, and hints at some more interesting finds.

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These notes were found in Dr. Nestors archive, and appear to be his reading notes on chromosonal changes and evolution.

Notes found in Dr. Nestors archive include sketches and measurements of a plesiosaurus-like creature and the Great Lakes region.

from archives

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Our museum studies class has re-created Nestors documented experiments in both Lake Erie and Huron. His research and our continued investigation indicates a staggering increase in both algae bloom and water toxicity. Experts are in disagreement over how this rise in pollution has affected the animal and plant life in our waters.Advocates for the existence of lake monsters argue that much of the ecological diversity in our lakes has been diminished, includ-ing that of incredible creatures. A decline in sightings, therefore, is connected to the probable extinction of rare fish and amphibious life forms. Other schools of thought do not deny the negative effects of pollution on the lakes but point out that there has never been any definitive evidence of the existence of the creatures described in sightings and hypothesis. Often driftwood or large fish are the assumed culprits. You are invited to explore and draw your own con-clusions about Nestors work, life, and mysterious disappearance.

our exhibition of diSCovery and myStery

After a great deal of sorting and cataloguing Nestors archives as well as pursuing his theories, our class has put together this ex-hibition as a testament to Dr. Nestors legacy and research. Many questions, however, remain unanswered. We urge anyone with new information to come forward and uncover the mystery of Dr. Arthur Nestor. Thank you to Adelaide Haussler, Christopher Finley, Francis Macdougal, and Samuel Wong for their assistance in discovering the man behind the archives. n

A leather briefcase, typwriter, box of lake maps, poster of sea creatures, and a fossilized starfish were among the many objects found in Dr. Nestors archive.

from archives

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from western times 1974 newspaper clips

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dr. neStorS reSearCh

1958-67 Nestors research focuses primarily on pollution in the Great Lakes.

1969 Nestors unpublished articles and notes show a sharp uptick in interest in lake monsters, including research on Ogopogo in BC, Igopogo in Lake Simcoe, South Bay Bessie in Lake Erie, and the potential for cryptids in Lake Huron. Numerous photographs, research statements, notes and clippings from this period were found in his archive.

1960s More and more people begin to populate the areas around Lake Erie, causing crowding in the water, interrupting the food chain, and adding toxins to the lake. At this time, we believe Nestor was still investigating rising levels of pollution, while also building a life-size model of one of the cryptids he was tracking in Lake Huron.

1960s Increased production leads to chemical pollution along the shores of Lake Erie. Water quality decreases due to high levels of phosphorous forming in the sediment.

1960-70 Eutrophication and algal blooms.

1970-80 Faulty septic systems leak raw sewage into the water.

1980s Agricultural runoff at its worst; toxins from farms enter the water, causing dead zones where oxygen cannot penetrate the water. This is detrimental for plants and fish and interrupts the entire food chain.

1980s Toxic contaminants reach their highest level during this time.

1990s Invasive species at its worst during this time, primarily zebra muscles and grass carp. (Allegedly, Bessie likes to snack on zebra muscles.)

2000s Sightings of lake monsters in Lakes Erie and Huron fall. Have they disappeared due to pollution?

time line of roy maCkal

1925 Roy Mackal is born in Milwaukee, Wisconsin.

1949 Completes his Bachelor of Science at the University of Chicago.

1953 Completes his PhD at the University of Chicago.

1965 Mackal begins to study the Loch Ness Monster. He becomes the scientific director for monitoring Nessie.

1975 Mackal steps down from his position as scientific director, and travels to Scotland to continue his investigations.

1976 Mackal writes his first book about cryptozoology.

1982 Mackal co-founds the International Society for Cryptozoology at the National Museum of Natural History in Washington, D.C.

2013 Mackal passes away due to heart failure at age 88.

time lines compiled

by

victoria Delledonn

e

dr. neStorS life

1930 Arthur Nestor is born in Surrey, British Columbia.

1940 A 10 year-old Nestor travels to Lake Okanagan in Penticton, BC. According to his journal, he sees the famous Ogopogo lake monster, sparking his lifelong interest in cryptozoology.

1948-54 Nestor completes his undergraduate degree at the University of Alberta in Biology and Zoology.

1952-54 Nestor completes his MSC at the University of Alberta in the same fields.

1954-58 Nestor completes his PhD at the University of British Columbia with honours.

1965 Nestor is engaged to science fiction writer Bonnie Haussler.

1967 Aged 37, Nestor takes a position at the University of Western Ontario as a professor of Zoology.

1967-69 Teaches and mentors interviewee Christopher Finley.

1969 Bonnie Haussler dies tragically in a car accident in Tilsonburg, Ontario.

1969 Following Hausslers death, Nestor starts to become increasingly fixated on cryptozoology.

1975 Peter Scott and Robert Rines publish Naming the Loch Ness Monster in Nature vol. 258 (December 1975). The article includes compelling evidence and photographs proving the existence of Nessie. The July 12 edition of The London Free Press leads with an article describing a sighting of lake monsters in Lake Huron at Kincardine.

1975 Nestor leaves London and disappears without a trace. He would have been 45 years old.

SpeCulative time line for arthur neStor

1975 Based on maps, travel guides and scribbled notes documenting airfares to the UK found in his archive, we believe Arthur Nestor traveled to Scotland with Roy Mackal to investigate the Loch Ness monster.

1980 Mackal and his team travel to the Republic of Congo, Africa to investigate the Mokele-Mbembe, an alleged dinosaur. Did Nestor travel with them?

1981 Mackal makes a second trip to the Republic of Congo.

1982 Nestors whereabouts unknown.

2014 Nestors archives are discovered during renovations. If still alive at the time of the Beneath the Surface exhibition, Nestor would be 85 years old.

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dr nestors office

Arthur Nestor and his office full of maps, curiosities, and notes were the subject of a Western Times story in 1974. Many of the photos in the exhibition were taken for this article, a clipping from which is included in this catalogue.

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research photos from archives photos by

Mackenzie sinclair & Meg squires

class research on LAkeshore water

Two students take water samples from Lake Erie in 2014. The goal is to analyze whether levels of pollution have increased since Nestors experiments in the 1970s.Aug 5, 1970 / Lake Huron

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Artists have explored the concept of parafiction through varying practices and mediums: Christian Boltanski questions the validity or truthfulness of the photograph; Mark Dion works with the authentic-ity or legitimacy of the museum object; and Iris Haussler tests the publics unwavering acceptance of the authority of the institution. These artists explore the space in-between truth and fiction, a space straddled by art and history.

Parafiction is unlike the conventional understanding of what is true or false: its purpose is not to deceive viewers by constructing a false reality, nor to mislead viewers by hiding certain aspects of the truth. In fact, as you will read in this essay, artists who employ parafiction reveal the nature of the project through clues or explicit notice to viewers. Parafiction is neither about deception nor the absence of truth; parafiction orients its examination to the pragmatics of trust,2 that is, what makes something believable and how we interact with truth in different environments, specifically official environments such as museums or historical sites. In some of the works I will discuss, it is clear that the artists used parafiction to create experiences that evolved over time, and to examine how those experiences were changed by the fictional aspects of the work.

Art or History?Parafiction in the Art Museum

The term parafiCtion tranSlateS to being beside

or beyond fiction. but this translation is too simple to

encompass such a broad artistic practice. Coined by art

historian Carrie lambert-beatty in 2009, she describes

parafiction to be similar to a paramedic as opposed to a medical

doctor, a parafiction is related to but not quite a member of the

category of fiction as established in literary and dramatic art.1

By sam roberts

Artist: Angie QuickTitle: Marc Dions Curators Office (2012-13), 2015

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ChRiSTiAN BOLTANSki Christian Boltanski is an installation artist who explores how art elevates the importance of the figure or thing that it depicts. In his work Chases School (1986-7), for example, Boltanski assembled an altar-like composition of images of six Jewish school children from 1931 in a room that created an oppressive atmosphere, implicitly saddening and redolent of loss. 3 Each image was hung carefully above rusted metal boxes and each face was partially obstructed by the bright lamp that was placed on front of the face to illuminate it. Boltanski presented these faces, which were both revealed and hidden, as important figures meant to evoke feeling in the viewer.

These children represented a memorial for the Holocaust, even though viewers knew next to nothing about them. This is where Boltanski begins to play with fiction: these children happen to be Jewish children whose photos were taken just prior to a dangerous time, but they are accorded the monumentality of representing the victims of the Holocaust. With one foot in the realm of truth, Boltanski then plays with the reality that we have no idea who these children were, but his highlighting of them assigns them an added importance.

After an interview with Boltanski, Rose Jennings offers that his work is popularly supposed to deal with recent European history, with memory, and most particularly, death: in fact his real subject is the absence of all these things. 4 In this light, Boltanskis work provides an excellent example of parafiction, precisely because he uses objects that recall a cultural memory or a historical truth, and that suggest an authenticity, despite lacking it entirely.

Boltanski again imbues objects with importance in his work Reserve (1989), in which he lined the walls of the exhibition space with used clothing. Although this clothing, smelling of use and age, did not

belong to children from the Nazi-era, the context of the space imbued this errant meaning nonetheless. The room referenced the storage rooms at death camps, where all of the belongings of those imprisoned there were kept. Boltanski invokes the dead, without presenting them at all.

In this way, Boltanski worked with a truthful event, a real cultural memory, but false signs of this event. By using parafictional elements, Boltanski examines how Western culture reacts to the sites and objects associated with the dead. This type of parafiction tends to be well-received by the public because it is read as metaphor: to viewers, it doesnt matter whether the clothes are authentic or not, they appear to be real and they represent the people who wore them, as well as their deaths. Parafictional aspects in art are not always so well received and interpreted by viewers, which becomes clear when examining Iris Hausslers work later in the essay.

MARk DiON In a manner similar to Boltanski, the work of installation artist Mark Dion explores parafiction through spaces and objects. In Dions Cabinet of Curiosity series he constructed enormous cabinets to hold a selection of intriguing and mysterious objects from around the world. The cabinets mirror actual 17th century wunderkammer (cabinets of curiosity), the creation of which was a pastime for the wealthy to demonstrate their worldliness through collections of unique objects from around the world. These objects included anthropological finds such as artefacts from different cultures, or natural history objects such as seashells or animal skeletons.

In Dions work, as in original wunderkammer, the objects are often deceptive. For instance, in original cabinets of curiosity collections a coveted object was a unicorn horn, that would have been, in actuality, the horn of a narwhal. Dions work deals with the illusion of truth in museum or historical spaces, in fact, Dion specifically chose the natural history and university museum rather than the art or history museum for his critique, because they are the very sites of knowledge production and meaning making. 5 In this way, Dion works directly against the assumption of truth in these settings, exposing the fault in a blind faith in the institution through the use of wunderkammer because they were so often exaggerated or misleading.

BOLTANSkI ExPLORES how art elevates the importance of the figure or thing that it depicts.

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Another of Dions works that employs parafictional qualities is an office space built into the Minneapolis Institute of the Arts. The space, full of artifacts and materials from the 1950s, is a memorial to the first curator, who had left his post for Washington, D.C. in 1954 and was never seen again. This disappearance is convenient, because the curator also never existed.

Dions work is an exploration of a character, of a period and the preservation of history. It is more about the nostalgia and the issues and the mystery of the story than the objects themselves. Each object is imbued with an importance, with a clue to what really happened, instead of being perceived as just an assemblage of old things. Parafiction ultimately lies within these parameters: of creat-ing something that holds a degree of truthiness, or appearance of truth, despite the actual veracity of the objects or the storyline. A similar example of Dions work is The Octagon Room (2008), in which viewers approach an enclosed, bunker-style room, complete with sandbags and unassuming white-grey paint. Inside, they are enveloped in a deeply personal space with memories, photos, objects and supplies for an office, accented by the octagonal shape of the room and the cushioned seat precisely in the middle of it.

The eight walls present extra dimensions to the work not only physi-cally, but personally as well, as each wall represents a mosaic of rich experiences that reach out and connect to the viewer. In this work, Dion presents ideas about personal space, and the artists status and position within this framework as its foundation, because the objects speak to the artists own experiences over eight years.6

As if the work itself were a real life prison, the interior space reads as the deeply personal collection of a prisoner to the room. The parafictional aspect of this work is the reality of the space. The room feels lived in, as if the viewer were truly inside the bunker of a reclusive artist. The experience is crafted through the details of the room, however it was never truly an actual space for anyone, artist or otherwise.

iRiS hAuSSLER The illusion of truth and the constructed faade is taken to an entirely new level in the work of Iris Haussler, an artist known for creating entire storylines and populating large spaces with objects to furnish the life of a fictional character. In The Legacy of Joseph Wagenbach (2006), Haussler created the character of a reclusive immigrant artist who left his sculptures (which appear to be more amorphous brown figures than defined sculpture) strewn around his home. All of these sculptures were, of course, created by Haussler herself; however they were presented to the public as the lifes work of one man. Haussler created a false government agency to legitimize the opening of the space to the public. Hausslers project transformed her psychological narrative into an immersive reality 7

to analyze the way people create their own fantastic understandings and find hidden meanings in the works. This is demonstrated by the visitors who claimed to have known Wagenbach, despite this figure being entirely fabricated from the imagination.

Parafiction in Hausslers work is understandably more controversial; the public generally does not want to feel duped or lied to, and Hausslers work is often so convincing that viewers are engulfed in the fictional aspect, and often fail to see the grander purpose of the work or the aspects of human nature that are being examined.

Haussler challenged the publics unquestioning trust of institutions even further in her work He Named Her Amber (2008-2009), which was a similar project hosted and presented by the Art Gallery of Ontario. The work, staged at the Grange House, was a false archaeo-logical dig made accessible, and presented as factual, to the public. The house was transformed into an excavation site where mysteri-ous objects had surfaced, exposing an unusual and unknown history in this historical home. Tour guides were trained to tell the story of

PARAFICTION lies within these parametres: of something that holds a degree of truthiness, or appearance of truth, despite the actual veracity of the objects or the storyline.

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a young maid who made wax balls to encase significant objects and hid them throughout the structure of the house. The wax balls held objects such as fingernail clippings, dried flowers, crumpled papers, seeds, a baby tooth, insects, the claw of a cat, and curls of hair. After their apparent excavation, the wax balls were carefully cut open, revealing the hidden treasures within.

While we know the wax balls were created as art objects within Hausslers installation, spectators received them as artefacts. The exhibition or excavation was a mystery. The spectator was consumed with the question of what happened to the girl who was sealing these unusual objects.

The tour guides were instructed to tell the story of the maid and her hidden treasures, while also showing the visitors the process of uncovering these objects, and the office of the archaeologist working on the discovery. The elaborate construction made the story believable. But all of it was a construction. Hausslers use of parafiction is more complicated than that of Boltanski or Dion because it is exhibited as historical rather than art.

ConCluSion

Parafiction and the work of artists like Boltanski, Dion, and Haussler open to question the authority of the institution. They allow visitors to imaginatively explore history, even as they question the limits of veracity in storytelling within the museum. n

HAUSSLERS WORk is understandably more controversial; the public generally does not want to feel duped or lied to...

1 Carrie Lambert-Beatty. Make-Believe: Parafiction and Plausibility. October 129 (Summer 2009), pp. 51-84.

2 Ibid., p. 54.

3 Roberta Smith. Boltanskis Haunting Fragments of Despair. New York Times (June 12, 1988): http://www.nytimes.com/1988/ 06/12/arts/art-view-boltanski-s-haunting-fragments-of-despair.html.

4 Rose Jennings. Interview with Christian Boltanski. Frieze (Summer 1991): http://www.frieze.com/issue/article/ christian-boltanski/.

5 Marion Endt. Beyond Institutional Critique: Mark Dions Surrealist Wunderkammer at the Manchester Museum. Museum and Society 5.1 (2007), pp. 1-15.

6 Mass MOCA. The Octagon Room. (February 2015): http://www.massmoca.org/event_details.php?id=755

7Iris Haussler: The Legacy of Joseph Wagenbach. e-flux (September 30, 2006): http://www.e-flux.com/ announcements/iris-haussler-the-legacy-of-joseph-wagenbach/

footnotes

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Curatorial Studies

2015 class

BACK ROW L-R: Amelia Harris, Mackenzie Sinclair, Margaret SquiresTegan Avene Hadisi, Sohyun Kang, Jocelyn Tobin, Amy HarringtonEmily Peltier, Sydney Kimber-Johnson, Ellen Groh, Samantha RobertsVictoria Delledonne, Janeen MillsErik Skouris, Keely McCavittMissing: Claire Finlan, Sophie Quick, TA

Dept. of Anatomy and Cell Biology Dept. of Film Studies Dept. of French Studies Dept. of Visual Arts Don Wright Faculty of Music Faculty of Arts & Humanities Faculty of Social Sciences The Artlab Gallery UWO Student Donation Fund Weldon Library

Julia Beltrano Susan Edelstein Joanne Gribbon Brad Isaacs Jo Jennings Marlene Jones Jennifer Martin Josh Morris Terry Rice Judith Rogers Jessica Schagerl Carol Walter Tim Wilson Nina Zitani

ackno

wledge

ments

The Museum and Curatorial Studies class greatly appreciates

the time, contributions, and funding support of the following

organizations and people:

Museum &