Carole Itter (Canadian, b. 1939) is an artist, writer, performer and filmmaker. Itter began her fine art studies at the University of British Columbia (1958, 1963) and continued at the Vancouver School of Art, now Emily Carr University (1959-1962), and at L’Accademia di Belle Arti in Rome (1964). Itter also worked seasonally at Theatre Under the Stars professional scene shop in Vancouver (1958-61). Solo exhibitions of her work include Western Front, Or Gallery, grunt gallery, Open Space, Vancouver Art Gallery and SFU Galleries’ Audain Gallery. Her work was included in WACK! Art and the Feminist Revolution at the Vancouver Art Gallery in 2008 and in Traffic: Conceptual Art in Canada 1965-80,which toured across Canadian institutions from 2010-13. She is the author of Whistle Daughter Whistle (1982) and with Daphne Marlatt, she compiled and edited Opening Doors (1979), an archive of oral history about Vancouver’s East End. Itter collaborated with artist and musician Al Neil and joined him at the Blue Cabin in North Vancouver in the late 1970s, which was the start of a residency that would span more than thirty-five years. The cabin was a place of inspiration and art production for her while she maintained her residence and studio in the Vancouver neighbourhood of Strathcona, where she has lived since the early 1970s. Itter’s work is included in the collections of the Morris and Helen Belkin Art Gallery, SFU Galleries, Vancouver Art Gallery, Burnaby Art Gallery, Surrey Art Gallery, Nanaimo Art Gallery, Canada Council Art Bank and Vancouver Public Library. She was awarded the VIVA award (1989) and the Audain Prize (2017).

Brandon Leung holds a BA in English with a minor in Art History from the University of British Columbia and received his MA in Photography Preservation and Collections Management from Toronto Metropolitan University. He has worked in numerous cultural institutions including the UBC Library and the Belkin Art Gallery, where he helped accession and catalogue Carole Itter’s archive. Leung currently works in the Department of Art History, Visual Art and Theory at UBC, and is a practicing photographic artist and writer whose interests involve underrepresented historical narratives and the intersection between art and archives and between photography and text.

Dan Pon is an archivist based in unceded Coast Salish Territories. He is interested in the practice of artists intervening in archives, liberatory community archives and imaginative models at the intersection of visual arts and information science. Pon is the archives manager at grunt gallery where he works to preserve and activate material and non-material culture. He is also a librarian at Langara College.

Naomi Sawada is Manager of Public Programs at the Morris and Helen Belkin Art Gallery at the University of British Columbia (UBC). She received a BA (Anthropology 1995) and Diploma (Art History 1996) from UBC. She has worked in exhibitions research and programs at Science World in Vancouver (1986-1991) and at the UBC Museum of Anthropology (1991-1995). As co-curator of exhibitions and curator of programs, she helped to develop the mandate and operating policies at the Nikkei National Museum in Burnaby (1995-2000). With John O’Brian and Scott Watson, she co-edited All Amazed: for Roy Kiyooka(Vancouver: Arsenal Pulp Press, Morris and Helen Belkin Art Gallery, and the Vancouver Art Forum Society, 2002), and with Scott Watson and Jana Tyner, co-edited Thrown: British Columbia’s Apprentices of Bernard Leach and Their Contemporaries (Vancouver: Morris and Helen Belkin Art Gallery, 2011). Two of her abiding interests are to include discussions about diversity and anti-racism in her programs and to mentor university students; many have become curators and programmers in cultural organizations. She served on the Board of Directors of 221A and currently serves on the Boards of the Asian Canadian Studies Society and the North West Ceramics Foundation.