Schedule

Thursday, March 1

4:00 p.m. – 5:30 p.m. | Old Capitol Museum Senate Chambers
Trudy Huskamp Peterson: International Principles of Access to Archives

Ida Cordelia Beam Distinguished Visiting Professorship Keynote Lecture
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Trudy Huskamp Peterson spent twenty-four years with the U.S. National Archives, including more than two years as Acting Archivist of the United States. She was the founding Executive Director of the Open Society Archives in Budapest, Hungary and director of Archives and Records Management for the United Nations High Commissioner for Refugees. She currently chairs the International Council on Archives’ Human Rights Working Group and chaired the ICA working group on a standard for access to archives. Now an independent consultant, she works with governments and organizations around the world where archives are crucial to social justice efforts.t]

5:30 p.m. – 6:30 p.m. | Old Capitol Museum, First Floor
Opening Reception
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7:30 p.m. – 9:00 p.m. | Voxman Music Building Recital Hall
Bill Morrison: Consider the Source

Ida Cordelia Beam Distinguished Visiting Professorship Keynote Lecture
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In this talk, Morrison will organize his work in groups by their relationship to their original source material, and the archive from which they were culled. He writes, “There have been films in which I have re-edited a single shot or multiple scenes from a single film, those sourced from multiple films a single archive or collection, and those that have told stories woven out of the pits and pieces of many films taken from many different archives. By examining clips from some of these titles from each category, I will draw some conclusions about how source affects intention and meaning in my work.”
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Bill Morrison is widely recognized as perhaps the most innovative and influential experimental filmmaker of his generation, especially celebrated for bridging the gap between creative and scholarly practice. His films often draw upon imperfect, incomplete, and visibly decaying archival materials, engaging with material qualities of these fragile artifacts and historical content. He has created five feature-length films, including The Great Flood (2013), which was awarded a 2014 Smithsonian Ingenuity Award for Historical Scholarship.
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Friday, March 2

9:00 a.m. – 10:00 a.m. | MERGE (136 S. Dubuque St.)
Panel: Teaching with Archives
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How can we inspire current and future generations to seek evidence in archives? Librarians, archivists, curators, and instructors share successes, failures, and opportunities for collaboration in this roundtable discussion.

10:15 a.m. – 12:15 p.m. | MERGE (136 S. Dubuque St.)
Living Archives: Constitution Hill in Johannesburg/South Africa
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Marie Kruger is an associate professor of African and diasporic literatures and film in the departments of English and Gender, Women’s, and Sexuality Studies at the University of Iowa. She is the author of Women’s Literature in Kenya and Uganda: The Trouble with Modernity (Palgrave Macmillan, 2011). Her current book project examines the representation and commodification of traumatic memory in South African visual culture including feature and documentary films and a series of multi-media exhibits in the infamous apartheid prison complex in Johannesburg. She will be joined, in person or virtually, by colleagues involved in the management of the heritage installation and the archive on Constitution Hill.
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Debora Matthews worked for seven years as archival coordinator in the Struggles for Justice Programme at the South African History Archive (SAHA), an independent activist and human rights archive in Johannesburg. SAHA is an independent human rights archive dedicated to documenting, supporting and promoting greater awareness of past and contemporary struggles for justice through archival practices and outreach, and the access to information laws. Established by anti-apartheid activists in the 1980s, SAHA was closely connected in its formative years to the United Democratic Front, the Congress of South African Trade Unions and the African National Congress. Matthews archived the Constitution Hill Collection at SAHA. She is now an archives consult, currently working for the Public Affairs Research Institute (PARI), developing and implementing a records and research data management system. She will also be working as a contract archivist at the GALA (Gay and Lesbian Memory in Action) Archives at the University of the Witwatersrand.

12:15 p.m. – 1:30 p.m.
Lunch on your own

1:30 p.m. – 2:45 p.m. | Iowa City Public Library
Johanna Schoen: Documenting the History of Women’s Reproductive Health: Sterilization and Abortion in and outside the Archive
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This presentation will explore the challenges of researching and documenting the history of eugenic sterilization programs and abortion around the country. It will consider options for opening primary source material for public view that states are trying to hide and destroy, while being mindful of HIPPA restrictions and general guidelines of medical ethics.
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Johanna Schoen is a professor of History at Rutgers University-New Brunswick with an affiliation at the Institute for Health, Health Care Policy, and Aging Research. She is the author of Abortion After Roe (Univ. of North Carolina Press, 2015), which won the Welch Medal of the American Association for the History of Medicine. She works with abortion providers to preserve the history of legal abortion in the United States and to use historical analysis and insights to help preserve access to abortion care. 

3:00 p.m. – 4:00 p.m. | Iowa City Public Library
Sheri Parks: Direct Descendant in the Archives—A Scholarly and Emotional African American Family History
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Sheri Parks is associate professor of American Studies and immediate past Associate Dean for Research. She is also the Founding Director of the Arts and Humanities Center for Synergy at the University of Maryland-Baltimore. She will be reading from her autobiography in-progress, which explores her roots through North Carolina back to Africa.

4:15 p.m. – 5:30 p.m. | Iowa City Public Library
Lisa Schlesinger and John Rapson: Immigration, the Arts, and the Archive
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Jazz musician John Rapson and playwright Lisa Schlesinger have each worked with fellow artists and performers to capture the pain, possibility, and complex movements and emotions of immigrants’ experience through artistic media. Rapson’s story is based on a fantastical but true story about a young Afghan who left home near the Khyber Pass, wandered through India, and ended up eventually in Sheridan, Wyoming, selling tamales. From the initial story published in The New Yorker, Rapson created a thirteen-movement work about immigration, citizenship, and home. His music includes lilting Western ballads, gentle Mexican waltzes, folk melodies from the East, evocative tone poems, and raucous ragtime that complement period photographs. In what they call a “film opera,” Lisa Schlesinger, a Russian filmmaker, and a French theatre director created Iphigenia at Lesvos: Story of a Refugee, the culminating performance piece of The Iphigenia Project, a multiyear, trans-media collaboration to focus attention on the contemporary plight of refugees. After showing clips of these performances, Rapson and Schlesinger will engage in a conversation about the fascinating ways music, theatre, and visual art can present moving, embodied archives of human experience.
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John Rapson is a composer, trombonist, and recording artist for MoMu Records, Music and Arts, Sound Aspects, and Nine Winds. His work mixes ethnic and experimental elements with more conventional jazz forms. He has been a professor of music at the University of Iowa since 1993.
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Lisa Schlesinger is an associate professor of theatre arts at the University of Iowa. Her plays include Celestial Bodies, Wal-martyrs, Same Egg, Manny and Chicken, Rock Ends Ahead, The Bones of Danny Winston, and Twenty-One Positions.
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7:30 p.m. – 9:00 p.m. | Shambaugh Auditorium, UI Main Library
William Pretzer: “A Darker Presence”: Interpretive Goals and Collecting Strategies in the National Museum of African American History and Culture
Joel Barkan Memorial Keynote Lecture
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William S. Pretzer is Senior Curator of History at the Smithsonian National Museum of African American History and Culture, a position he has held since 2009. In this position, he co-curated one of the Museum’s inaugural exhibitions, A Changing America: 1968 and Beyond, developed targeted collecting initiatives to build the Museum’s collection, and supervised the work of a group of curators and museum specialists during the pre-building operations of a museum in the making. Since the Museum opened to the public in September 2016, he has focused on creating a Center for the Study of African American Innovation and Entrepreneurship and collecting in the areas of business, labor, science and technology. Previously, Bill worked at the Smithsonian’s National Museum of American History, the Winterthur Museum in Delaware, and, in Michigan, the Henry Ford Museum and Greenfield Village. He has taught courses on social history at the University of Michigan, Dearborn, and the history of technology and museum studies at Central Michigan University where he also directed the university museum.
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Saturday, March 3

9:30 a.m. – 10:45 a.m. | MERGE (136 S. Dubuque St.)
Sarah Dupont and Gerry Lawson: Whose Nation? Whose Archives? Indigeneity in Canada
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Sarah Dupont, Aboriginal Engagement Librarian at Xwi7xwa Library, University of British Columbia, and Gerry Lawsona member of the Heiltsuk First Nation and the UBC Museum of Anthropology’s Oral History Language Lab coordinator and digitization trainer, will discuss their Indigitization Project and how First Nations in Canada are preserving and revitalizing their languages and cultures, including teaching their histories.
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11:00 a.m. – 12:15 p.m. |MERGE (136 S. Dubuque St.)
Lara Baladi: Vox Populi—Archiving a Revolution in the Digital Age
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Lara Baladi, an Egyptian-Lebanese artist internationally recognized for her multidisciplinary work, is a lecturer in Photography and Related Media in the Program in Art, Culture & Technology and Ida Ely Rubin Artist in Residence, Centre for Art, Science, & Technology at the Massachusetts Institute of Technology. Baladi is on the Board of Directors of the Townhouse Gallery of Contemporary Art in Egypt and the Arab Image foundation in Lebanon. During the 2011 Egyptian revolution and its aftermath, Baladi co-founded two media initiatives, Tahrir Cinema and Radio Tahrir. Currently she is developing Vox Populi, an installation and interactive web-based timeline of the 2011 Egyptian Revolution.
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12:30 p.m. – 1:30 p.m.
Lunch on your own
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1:30 p.m. – 2:45 p.m. | MERGE (136 S. Dubuque St.)
Bethany Wiggin: Building Data Refuge in an Era of Fake News
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Bethany Wiggin is Associate Professor at the University of Pennsylvania and is Founding Director of the Penn Program in Environmental Humanities and holds appointments in the Departments of German and English and the Program in Comparative Literature. Her research explores the history of the book and material culture, the rise of commodity culture, and the transformation of the Atlantic world in the wake of long-distance sea-born trade. She is at work on Utopia Found, Lost, and Re-Imagined in Penn’s Woods. She was Dramaturg for A Period of Animate Existence, an opera about climate change made by Troy Herion, Mimi Lien, and Dan Rothenberg, and others. A recipient of a Whiting Fellowship for Public Engagement, she designed the project Floating on Warmer Waters to expand collaborative research in and along the Lower Schuylkill River.
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Wiggin is a co-organizer of Data Refuge, which launched November 2016 in Philadelphia to draw attention to how climate denial endangers federal environmental data. With the help of thousands of civic partners and volunteers, the project has rapidly spread to over fifty cities and towns across the country. Now, Data Refuge is building a storybank to document how data lives in the world—and how it connects people, places, and non-human species.
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3:00 p.m. – 5:00 p.m. | MERGE (136 S. Dubuque St.)
Jacqueline Wernimont: Safe Harbor: Art, an Ethics of Care, and Californian Eugenics
Special Guest of the Andrew W. Mellon-funded Digital Bridges for Humanistic Inquiry: A Grinnell College/University of Iowa Partnership

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There is no data without people. Sometimes, there is no history without data. “Safe Harbor” is an immersive installation arising from the work of the Eugenic Rubicon project, in which Wernimont and her colleagues combine public health and history methodologies and creative approaches to digital humanities and new media art, all while foregrounding commitments to social and reproductive justice. Of particular concern in this installation is the balance between the public right to know about this history and individual’s right to privacy and how sonic and haptic media might help achieve that balance.
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Jacqueline Wernimont is an anti-racist, feminist scholar working toward greater justice in digital cultures. She writes about long histories of media and technology—particularly those that count and commemorate—and entanglements with archives and historiographic ways of knowing. She is a network weaver across humanities, arts, and sciences. This work includes co-Directing HASTAC and ASU’s Human Security Collaboratory. She also runs Nexus: A digital research co-op and is a fellow of the Global Security Institute.
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Rachel Williams: Animating the Archives—Graphic Histories
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Rachel Williams is an associate professor in the School of Art and Art History and chair of the Department of Gender, Women’s, and Sexuality Studies at the University of Iowa. Her graphic scholarship has been published by the Jane Addams Hull House Museum, the Journal of Cultural Research in Art Education, and the International Journal of Comic Art. Her current projects include a graphic novel about the Detroit Race Riots of 1943 and a mini comic about police brutality. She also discusses her work with incarcerated women in Teaching The Arts Behind Bars (Northeastern University Press, 2003) and in an upcoming collection of short stories. To see her work, visit http://rachelwilliams.squarespace.com.
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5:00 p.m. – 5:30 p.m. | MERGE (136 S. Dubuque St.)
Closing Thoughts on Archival Futures
Gallery Tour and Closing Reception
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