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In addition to the scheduled ‘semi-structured’ interviews, two “spontaneous” interviews

Figure 6 In addition to the scheduled ‘semi-structured’ interviews, two “spontaneous” interviews

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of the archivists from PARC. Image 2. One section of a 30-piece poetry object created by Kaia Sand, who sledgehammered text from the records onto copper plates with steel type and alcohol-based ink. Photograph courtesy of Sand, 2014.
of the archivists from PARC. Image 2. One section of a 30-piece poetry object created by Kaia Sand, who sledgehammered text from the records onto copper plates with steel type and alcohol-based ink. Photograph courtesy of Sand, 2014.
reference help to the artists) and spent hours examining the surveillance records. observed and interacted very little with the artists as they worked with Hansen (who provided
reference help to the artists) and spent hours examining the surveillance records. observed and interacted very little with the artists as they worked with Hansen (who provided
Image 4. Kaia Sand and Mary Hansen in the reading room at PARC. Photograph by the author May 2013. word performance for herself and Hansen.
Image 4. Kaia Sand and Mary Hansen in the reading room at PARC. Photograph by the author May 2013. word performance for herself and Hansen.
Image 5. The author with Garrick Imatani (standing) and Kaia Sand (far-right) in the reading room at PARC, May 2013. Photograph by Vinny Golia. the surveillance records that had caught my interest. when I sought reference help from Hansen and labored alongside the artists, examining some of
Image 5. The author with Garrick Imatani (standing) and Kaia Sand (far-right) in the reading room at PARC, May 2013. Photograph by Vinny Golia. the surveillance records that had caught my interest. when I sought reference help from Hansen and labored alongside the artists, examining some of
*8° Serbulo and Gibson, “Black and Blue: Police-Community Relations in Portland’s Albina District, 1964-1985,” 13. flyers, (see Image 8) event announcements, brochures, magazines, and tabloid newspapers. eroups, and collected a wide range of materials produced by activist groups, such as posters 7 ) took surveillance photographs, kept index cards inscribed with names of individuals and
*8° Serbulo and Gibson, “Black and Blue: Police-Community Relations in Portland’s Albina District, 1964-1985,” 13. flyers, (see Image 8) event announcements, brochures, magazines, and tabloid newspapers. eroups, and collected a wide range of materials produced by activist groups, such as posters 7 ) took surveillance photographs, kept index cards inscribed with names of individuals and
However, not only did the Intelligence Unit collect (and create) information, they utilized that
However, not only did the Intelligence Unit collect (and create) information, they utilized that
the individual’s license plate number.”*” group, by the first three numbers of the subject’s phone number, and by the last three numbers of name individuals and link them to various groups”; cards that the police organized “by name, by
the individual’s license plate number.”*” group, by the first three numbers of the subject’s phone number, and by the last three numbers of name individuals and link them to various groups”; cards that the police organized “by name, by
stored in the barn. Some, however, such as bundles of photographs that had emulsified into
stored in the barn. Some, however, such as bundles of photographs that had emulsified into
Source: © Frank Upward, all rights reserved
Source: © Frank Upward, all rights reserved
Image 14. Police surveillance document. Courtesy of Imatani and Sand. The police surveillance document the artists found in the Files about Marbet:
Image 14. Police surveillance document. Courtesy of Imatani and Sand. The police surveillance document the artists found in the Files about Marbet:
Image 15. The police surveillance document with a silk-screen overlay containing Marbet’s “talk- back” response (in red) to the document’s assertions.*”> Courtesy of Imatani and Sand. In his “talk-back” document Marbet set the record straight:
Image 15. The police surveillance document with a silk-screen overlay containing Marbet’s “talk- back” response (in red) to the document’s assertions.*”> Courtesy of Imatani and Sand. In his “talk-back” document Marbet set the record straight:
Image 16. From Kaia Sand’s performance lecture at the Northwest Archivists Conference. Image courtesy of Kaia Sand. up a query rather than claiming authority.”>”
Image 16. From Kaia Sand’s performance lecture at the Northwest Archivists Conference. Image courtesy of Kaia Sand. up a query rather than claiming authority.”>”
learned about through conversations with Hansen and Johnson. investigators meticulously kept, “cards and cards and cards of peoples’ names,”””” which Sand she’ language she had collected from newspaper articles, activist materials, and surveillance documents onto the copper plates with steel type, sledgehammer, and alcohol-based ink:
learned about through conversations with Hansen and Johnson. investigators meticulously kept, “cards and cards and cards of peoples’ names,”””” which Sand she’ language she had collected from newspaper articles, activist materials, and surveillance documents onto the copper plates with steel type, sledgehammer, and alcohol-based ink:
About the poem, Sand stated:
About the poem, Sand stated:
8 Garrick Imatani, email message to the author, September 3, 2014. This re-orienting of t he body is important...I want to always call attention to the body fo: myself and for someone reading or engaging with our objects. Architecture, furniture, thi built environment—t hese are all things that can be read. They contain narrative; they contain stories. The drawer of Kaia’s copper cards only serves to re-iterate the bodily shift and re-orientation I mentioned earlier, as well as this association to a sculpture or piece of furniture/arc copper cards (which that is different from the Looseleaf Services boo hitecture being read like a book. The drawer I built to hold the has a cast bronze twig as a handle) was cut into a side of the plinth the side that one might face to properly read the top outer cover of k.*??
8 Garrick Imatani, email message to the author, September 3, 2014. This re-orienting of t he body is important...I want to always call attention to the body fo: myself and for someone reading or engaging with our objects. Architecture, furniture, thi built environment—t hese are all things that can be read. They contain narrative; they contain stories. The drawer of Kaia’s copper cards only serves to re-iterate the bodily shift and re-orientation I mentioned earlier, as well as this association to a sculpture or piece of furniture/arc copper cards (which that is different from the Looseleaf Services boo hitecture being read like a book. The drawer I built to hold the has a cast bronze twig as a handle) was cut into a side of the plinth the side that one might face to properly read the top outer cover of k.*??
Recasting Again During the residency both Imatani and Sand became interested in maps they found
Recasting Again During the residency both Imatani and Sand became interested in maps they found
Image 22. Woman holding sign: Julia Nunn. Photograph courtesy of Daniela Molnar / WordsInPlace.org, 2014.
Image 22. Woman holding sign: Julia Nunn. Photograph courtesy of Daniela Molnar / WordsInPlace.org, 2014.
Image 23. Mary Hansen, left; Kaia Sand, right. She Had Her Own Reason for Participating performance at Portland State University. Photograph courtesy Holly Andres, 2015. Mary’s been wonderful to work with.”**
Image 23. Mary Hansen, left; Kaia Sand, right. She Had Her Own Reason for Participating performance at Portland State University. Photograph courtesy Holly Andres, 2015. Mary’s been wonderful to work with.”**
Image 24. Sand performing She Had Her Own Reason for Participating with maps and scroll at Project Cityscope in Portland, Oregon, April 21, 2014. Photograph by Melissa Long / Project Cityscope. -ortland.**' The maps also became a “performance space” in/on which Sand performed She Had
Image 24. Sand performing She Had Her Own Reason for Participating with maps and scroll at Project Cityscope in Portland, Oregon, April 21, 2014. Photograph by Melissa Long / Project Cityscope. -ortland.**' The maps also became a “performance space” in/on which Sand performed She Had
ity be shaped if we could see the contours of all the people who have tread [sic] the streets ir rack," and “the sensibilities [of the cabinet] hopefully try to realign themselves around
ity be shaped if we could see the contours of all the people who have tread [sic] the streets ir rack," and “the sensibilities [of the cabinet] hopefully try to realign themselves around
[mage 26. Lifting Cities Like Rocks. Photograph courtesy of Garrick Imatani, 2015.
[mage 26. Lifting Cities Like Rocks. Photograph courtesy of Garrick Imatani, 2015.
covering a large section of the image except for on the woman’s face— Image 27. Police Historical/Archival Investigative Files, Surveillance of police and photos of White Panther Members, White Panthers File. Photograph courtesy of PARC, 2015.
covering a large section of the image except for on the woman’s face— Image 27. Police Historical/Archival Investigative Files, Surveillance of police and photos of White Panther Members, White Panthers File. Photograph courtesy of PARC, 2015.
created by Imatani as well as Sand’s poem inscribed on its panels, the cabinet also operates as an
created by Imatani as well as Sand’s poem inscribed on its panels, the cabinet also operates as an
University, and PDX Contemporary Gallery.
University, and PDX Contemporary Gallery.
Image 30. Air the Fire. Image courtesy of Kaia Sand, 2015.
Image 30. Air the Fire. Image courtesy of Kaia Sand, 2015.
Image 31: Photograph from the City of Portland Archives and Records Center. Historical/Archival Investigative Files — Intelligence: Women’s Night Watch. A2004-005. White Panthers. Photograph courtesy of PARC, 2015.
Image 31: Photograph from the City of Portland Archives and Records Center. Historical/Archival Investigative Files — Intelligence: Women’s Night Watch. A2004-005. White Panthers. Photograph courtesy of PARC, 2015.
Image 32: Kent Ford bench, installation at the Multnomah Public Library, North Portland Branch, Portland, Oregon. Photograph taken by the author, 2014. informed his activism, and how he shared (and continues to share) them with others.
Image 32: Kent Ford bench, installation at the Multnomah Public Library, North Portland Branch, Portland, Oregon. Photograph taken by the author, 2014. informed his activism, and how he shared (and continues to share) them with others.
Image 33. “Passing it on” installation at the Multnomah Public Library, North Portland Branch, Portland, Oregon. Photograph taken by the author, 2014. So he talked through how books have informed his activism from the 1960s to the present, and I think it’s really profound...he used the term ‘passing it on’ as he talked about this, actually in terms of book groups that he and fellow organizers of the Portland chapter of the Black Panthers would have, where they would pass on their books to other people...and he continues to do that to this day. So, that’s how we started thinking about he title for this work, “Passing it on,’ so that it wasn’t just about activists talking back to he files, but also passing something on.*”° Collaging Past and Present
Image 33. “Passing it on” installation at the Multnomah Public Library, North Portland Branch, Portland, Oregon. Photograph taken by the author, 2014. So he talked through how books have informed his activism from the 1960s to the present, and I think it’s really profound...he used the term ‘passing it on’ as he talked about this, actually in terms of book groups that he and fellow organizers of the Portland chapter of the Black Panthers would have, where they would pass on their books to other people...and he continues to do that to this day. So, that’s how we started thinking about he title for this work, “Passing it on,’ so that it wasn’t just about activists talking back to he files, but also passing something on.*”° Collaging Past and Present
them away at several of their events. Conclusions before they met her. The artists and Oleksiak created a large number of these books and gave
them away at several of their events. Conclusions before they met her. The artists and Oleksiak created a large number of these books and gave
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