Exhibition:The More Things Change...The Labadie Collection's 100th Anniversary
2012-05-30 08:30 - 19:00 (America/Detroit) | Hatcher Graduate Library - Audubon Room
View selected items from the world’s foremost archive of international radical social protest movements. "Social protest movements often involve intense passion, so expect to see some edgy and offensive items on display," says Labadie Collection curator Julie Herrada.

The Labadie Collection is the world’s largest publicly accessible research collection covering just about every 19th, 20th, and 21st century protest movement that can be documented on paper, from the French Revolution to Occupy Wall Street. It has served as a resource for thousands of people the world over, from high school students to seasoned researchers, from young activists in search of their roots to documentary filmmakers unearthing eye-catching images. Books, serials, manuscripts, pamphlets, photographs, audio recordings, posters, and political buttons are all part of this eclectic group of materials.

View the exhibit during Audubon Room hours: Mon-Thurs 8:30am-7pm, Fri 8:30am-6pm, Sat 10am-6pm, Sun 1pm-7pm

Exhibition:Orson Welles: New Acquisitions
2012-05-30 10:00 - 20:00 | Hatcher Graduate Library - Special Collections Library, 7th Floor
Two new archival collections focusing on acclaimed filmmaker and actor Orson Welles (1915-1985) were recently added to the U-M Special Collections Library’s already substantial Welles holdings. Selections from the new materials, including correspondence relating to Welles’s never-completed film Don Quixote and several costume designs credited to Welles for The Chimes at Midnight, are on display in the Special Collections Library (7th floor, Hatcher Graduate Library, University of Michigan) now through June 2012.

Special Collections Hours: Mon-Fri 10am-5pm

Exhibition:Peter Campus: Kiva
2012-05-30 10:00 - 17:00 | Museum of Art
Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva–the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies–comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.
