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Beneath the sur f ace

The archives of Arthur Nestor

Exhibition curated by
Museum and Curatorial studies
February 26 -- March 12, 2015

DR Nestors O




Lakeshore research

in the
Art Museum

Newspaper cli

Time Lines





Class photo &




We had a name..

n 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?
At 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

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.

By Dr.Kirsty Robertson
Associate Professor
Department of Visual Arts
Western University

The Man
Behind the Archives

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

ABOVE: Dr. Nestor with his research slides, 1974.


By Keely McCavitt

n 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.

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
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.

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 Undergraduate 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 obsession 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 Tilsonburg, 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.

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 something. 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 cryptozoological 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.


from ar

Notes found in Dr. Nestors archive include sketches and measurements

of a plesiosaurus-like creature and the Great Lakes region.


These notes were found in Dr. Nestors archive, and appear to be

his reading notes on chromosonal changes and evolution.


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, including 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 conclusions 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 exhibition 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

from archives

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.



newspaper clips


from western time

s 1974


time lines


Dr. Nestors Life


Arthur Nestor is born in Surrey, British Columbia.


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.

Dr. Nestors Research

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

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.


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.


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.

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.

Nestor is engaged to science fiction writer Bonnie Haussler.


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.

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


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



Following Hausslers death, Nestor starts to become increasingly fixated

on cryptozoology.

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.


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.


Toxic contaminants reach their highest level during this time.


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


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


Nestor leaves London and disappears without a trace. He would have

been 45 years old.

Speculative Time Line for Arthur Nestor



1960-70 Eutrophication and algal blooms.

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.

Time Line of Roy Mackal


Roy Mackal is born in Milwaukee, Wisconsin.


Completes his Bachelor of Science at the University of Chicago.


Completes his PhD at the University of Chicago.


Mackal begins to study the Loch Ness Monster. He becomes the

scientific director for monitoring Nessie.


Mackal steps down from his position as scientific director, and

travels to Scotland to continue his investigations.


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


Mackal makes a second trip to the Republic of Congo.


Nestors whereabouts unknown.


Mackal writes his first book about cryptozoology.


Nestors archives are discovered during renovations. If still alive at

the time of the Beneath the Surface exhibition, Nestor would be
85 years old.


Mackal co-founds the International Society for Cryptozoology at

the National Museum of Natural History in Washington, D.C.


Mackal passes away due to heart failure at age 88.


dr nesto


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



research photos from ar

photos by
Mackenzie Sinclair
& Meg Squires

class research on LAkeshore water

Aug 5, 1970 / Lake Huron


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.


Art or History?

Parafiction in the Art Museum

By Sam Roberts

he 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
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 authenticity 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.

Artist: Angie Quick

Title: Marc Dions Curators Office (2012-13), 2015


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.


Boltanski explores how art

elevates the importance of the figure

or thing that it depicts.

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
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.


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 creating 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 physically, 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

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.


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 archaeological dig made accessible, and presented as factual, to the public.
The house was transformed into an excavation site where mysterious objects had surfaced, exposing an unusual and unknown history
in this historical home. Tour guides were trained to tell the story of


Hausslers work is understandably

more controversial; the public generally

does not want to feel

duped or lied to...

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.


Carrie Lambert-Beatty. Make-Believe: Parafiction and Plausibility.

October 129 (Summer 2009), pp. 51-84.

Ibid., p. 54.

Roberta Smith. Boltanskis Haunting Fragments of Despair.
New York Times (June 12, 1988):

Rose Jennings. Interview with Christian Boltanski. Frieze

(Summer 1991):

Marion Endt. Beyond Institutional Critique: Mark Dions Surrealist

Wunderkammer at the Manchester Museum.
Museum and Society 5.1 (2007), pp. 1-15.

Mass MOCA. The Octagon Room. (February 2015):


Iris Haussler: The Legacy of Joseph Wagenbach.

e-flux (September 30, 2006):

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



Museum &

Curatorial Studies
2015 class







The Museum and Curatorial

Studies class greatly appreciates
the time, contributions, and
funding support of the following
organizations and people:

Dept. of Anatomy and Cell Biology

Dept. of Film Studies
Dept. of French Studies
Dept. of Visual Arts

Julia Beltrano

Don Wright Faculty of Music

Susan Edelstein

Faculty of Arts & Humanities

Joanne Gribbon

Faculty of Social Sciences

Brad Isaacs

The Artlab Gallery

Jo Jennings

UWO Student Donation Fund

Marlene Jones

Weldon Library

Jennifer Martin
Josh Morris
Terry Rice
Judith Rogers
Jessica Schagerl
Carol Walter
Tim Wilson
Nina Zitani

Back Row L-R: Amelia Harris, Mackenzie Sinclair, Margaret Squires

Tegan Avene Hadisi, Sohyun Kang, Jocelyn Tobin, Amy Harrington

Emily Peltier, Sydney Kimber-Johnson, Ellen Groh, Samantha Roberts
Victoria Delledonne, Janeen Mills
Erik Skouris, Keely McCavitt
Missing: Claire Finlan, Sophie Quick, TA