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Wilson Duff was born on March 23, 1925. After serving in the Royal Canadian Air Force as a navigator, Duff attended the University of British Columbia and graduated with a B.A. in 1949. Two years later, in 1951, he completed his M.A. in Anthropology from the University of Washington. Duff’s professional research concentrated primarily on the native cultures of the Northwest Coast and he was instrumental in the development of scholarship in this area. His influence on the study and appreciation of Northwest Coast art was also very profound as he inspired artistic work and in some ways was an artist himself, as evidenced by his poetry and the poetic nature of some of his writing.

In 1950, (prior to being awarded his M.A.) Duff was appointed Curator of Anthropology for the British Columbia Provincial Museum, a position he would hold until 1965. From 1960-1965 he directed the British Columbia Government Anthropology Program. In 1965 Duff left the Museum to become a professor of Anthropology in the Department of Anthropology and Sociology at the University of British Columbia. Throughout his career, Duff maintained a close association with museums and galleries, helping to plan buildings and exhibits, and he was involved in the early stages of planning of the new Museum of Anthropology at the University of British Columbia. Two major exhibits by Duff include “Arts of the Raven” shown at the Vancouver Art Gallery (1967) and “Images Stone B.C.” (1975) shown locally in Vancouver and Victoria before travelling to art galleries across Canada.

Duff was active on a number of committees and he was a founding member of the British Columbia Museums Association where he served as Vice-president from 1962-1963 and as President from 1963-1965. Duff also served on the joint British Columbia Provincial Museum and University of British Columbia Totem Pole Preservation Committee that purchased and salvaged some of the last remaining poles in the Queen Charlotte Islands in the 1950’s. In addition, he chaired the provincial government's Archaeological Sites Advisory Board from 1960-1966 and served on the provincial government's Indian Advisory Committee. During this time he led support for legislation to protect British Columbia’s archaeological remains and worked on the draft of British Columbia’s first “Archaeological and Historic Sites Protection Act” that was passed in 1960. In 1960 Duff acted as a consultant for the Kitwancool tribe and served as an expert witness in the Nishga land case before the B.C. Supreme Court in 1969. That same year, on behalf of the Alaska State Museum and the Smithsonian Institution, he surveyed the totem poles of southwest Alaska. Two years later, in 1971, Duff directed a project to record the history of southeast Alaska Indians for the Alaska State Museum.

Throughout his academic career, Wilson Duff wrote a number of articles, manuscripts and books. From 1950-1956 he was the editor of Anthropology in British Columbia and his first publication in 1953 was based on his Master’s Thesis on the Upper Sto:lo Indians. Published articles and book reviews by Duff can be found in Anthropology in British Columbia no.1, 2, 3, 4, 5; The Crowsnest 9(3); Victoria Naturalist vols. 7, 8, 16(7); B.C. Historical Quarterly, July-October 1951; American Anthropologist vol.54, no.4; Canadian Art 11(2); Anthropology in British Columbia Memoir no.4; Western Museums Quarterly 1(3); Museum Round-up no.12, 16; Anthropologica vol. 6, no.1; B.C. Studies no.3, 19; and Northwest Anthropological Research Notes 3(2). Although many of Duff’s manuscripts remain unpublished, a number of his books are considered to be foremost reference sources in their field. Such publications by Duff include: Thunderbird Park, Victoria B.C., (Government Travel Bureau, 1952), Selected List of Publications Pertaining to the Indians of British Columbia (with J.E.M. Kew, 1956); British Columbia Atlas of Resources (maps 12, 13a, 13b, 1956); Anthony Island, a Home of the Haidas (1957); Histories, territories and laws of the Kitwancool (1959); The Killer Whale Copper (A Chief’s Memorial to His Son (1960); Preserving British Columbia’s Prehistory. Archaeological Sites Advisory Board (1961); Indian History of British Columbia: The Impact of the White Man (1965); Thoughts on the Noot ka Canoe (1965); Arts of the Raven: Masterworks by the Northwest Coast Indians (1967); Indians before the arrival of the white men, the Indians after the arrival of the white men (1967); Indians of British Columbia: Selected Bibliography (1968); Totem Pole Survey of Southeastern Alaska (1969); Bibliography of Anthropology of B.C. (1973); and Images Stone B.C. Thirty Centuries of Northwest Coast Indian sculpture (1975). In 1996, Bird of paradox: the unpublished writings of Wilson Duff was published.

Wilson Duff died August 8, 1976 leaving behind his wife, Marion and his two children, Marnie and Tom. In 1981, “The World is as Sharp as a Knife: An Anthology in Honor of Wilson Duff” was published by the British Columbia Provincial Museum and contained essays, reminisces, artwork, and poetry celebrating Duff’s accomplishments, research and friendships.

Carol Elizabeth Mayer was a curator at the Museum of Anthropology (UBC) from 1987-2022. She is a Canadian citizen. Her educational background includes a Diploma in Arts & Sciences (honours) from Vancouver City College in 1972. In 1974 Carol completed a Bachelor of Arts (honours), majoring in Anthropology, at the University of British Columbia. In 1976 she received a Certificate in Social Anthropology from Cambridge University in Cambridge, UK and in 1996 she received a Ph.D. from the University of Leicester, UK in Museum Studies.

Carol began working at the University of British Columbia Museum of Anthropology (MOA) in 1987 as Curator of Collections and held that position until 1990 when she was appointed the Curator of Ethnology/Ceramics, a position she held until 2005. In 2005 she was appointed Curator of Africa/Pacific, and Curatorial Department Head. As of 2016, she is Curator of Oceania & Africa. In 1993 Carol also became an Instructor in the Department of Anthropology and Sociology. She was the co-founder and the Director of the Museum Studies Certificate Programme for MOA and the Department of Continuing Studies in 1996 and 1997. She has participated in several committees at MOA such as the Acquisition Committee, Collections Committee, Research & Teaching Committee, Executive Committee, and the Renewal Project Team. As Head Curator she is responsible for researching her area of specialty, publishing and presenting papers, representing the Curatorial Department on committees, constructing and overseeing departmental budgets, developing exhibitions and collections, and developing acquisitions policies.

Outside of UBC Carol is an instructor at the University of Victoria in the Faculty of History of Art (1989 to present), and at Emily Carr College of Art and Design in the Visual Arts Department and Art History Department (1993 to present). Previous to MOA Carol worked at The Vancouver Museum where she held several positions from 1975 until 1987.

Carol Mayer has published internationally on curatorship, exhibition, design and ceramics. She is active in provincial, national and international museum associations and has served on boards at all these levels. She has chaired and organized BC Museums Association Conferences as in the year 2000 where she was on the Planning Committee. The Canadian Museums Association awarded her in 1984 with the National Award of Merit for Curatorship and in 1991 with the National Award for Outstanding Achievement. In 2009 she received the International Council of Museums Canada International Achievement award. Many of her exhibition projects have involved collaborative work with communities and their artists, whether they be local or far afield.

Pam Brown was a curator in the Pacific Northwest Department of the UBC Museum of Anthropology (MOA), where she was responsible for the Heiltsuk, Wuikinuxv, Tahltan, Ktunaxa, Tsilhqot'in, and Tlingit collections. She has curated and co-curated a number of exhibits at MOA including ‘Mehodihi: Well-Known Traditions of Tahltan People’ (2003) and ‘Telling Our Stories, A Profile of Tahltan/Tlingit Artist Dempsey Bob’ (2001). She has worked closely with the Heiltsuk community on many projects and has contributed to the creation of a number of MOA sourcebooks, including ‘The Honor of One is the Honor of All’ (1996-2005) and ‘My Ancestors Are Still Dancing’ (2003).

Brown graduated with a Master of Arts degree from the University of British Columbia in 1994, having written a thesis and curated an exhibit at MOA entitled ‘Cannery Days: A Chapter In The Lives of the Heiltsuk,’ about the lives of Heiltsuk men and women in the BC fish processing industry. In 1994-1995 she was involved with the design and implementation of the Aboriginal Museum Internship Program (AMIP) and the Aboriginal Cultural Stewardship Program (ACSP) at MOA, two programs which provided native participants with practical training in how to develop low-cost, effective displays and resource materials on cultural subjects for their communities. In 1999, Brown coordinated a ‘Repatriation Forum’ which brought 180 First Nations members and museum professionals to UBC’s First Nations House of Learning to discuss the shared experiences of repatriation between First Nations in B.C. and tribes from the USA. Since 1999, Brown has also acted as supervisor of the Native Youth Programme.

Brown retired from MOA in the summer of 2020.

Audrey Hawthorn was born November 25, 1917 in California. She was raised in New York City, and obtained a BA in 1939 at New College of Columbia University. Her thesis entitled "A curriculum for community studies in Habersham County Georgia", was completed under the supervision of Dr. Morris R. Mitchell, Professor, Community Planning. During 1939-1941 Audrey Hawthorn finished a thesis entitled "Socio Economic Appeals in Mass and Class Media", and was granted an M.A. degree. She also attended Yale Graduate School in Anthropology from 1940-1941. In 1941, Audrey and her husband, Dr. Harry Hawthorn, were given a joint fellowship in Latin American studies for coordinating the office of American Affairs and the Institute of Human Relations, Yale. Audrey Hawthorn was also a psychiatric case worker with the Family Services Agency in Yonkers, New York, in 1946 and 1947. Audrey came to the University of British Columbia in 1947 with her husband, who was appointed UBC's first anthropologist. She was appointed to the position of Honourary Curator. Audrey Hawthorn, a specialist in primitive art, was granted a regular appointment as curator in 1956. She was the first person, and the University of British Columbia the first institution in Canada, to begin the formal training of professional museum staff. From 1948 students from the Department of Anthropology voluntarily completed most of the work in the museum. By 1955, non-credit courses were offered to these students in order that they could actively pursue museum careers. In 1963, a credit course, Anthropology 331, Primitive Art, was added to the curriculum and in 1965 Anthropology 43 1, Museum Principles and Methods. For a number of years, these two courses were the only ones of their nature in Canada. Students were able to learn a great deal about the day-to-day operation of a museum by working with staff to complete a wide variety of activities. In recognition of her teaching responsibilities, Audrey Hawthorn was appointed Assistant Professor in 1966 and Associate Professor in 1971. Her most important publications are a study of Indian Arts and Crafts, commissioned by the Royal Commission on Arts, Letters and Sciences in 1951; "People of the Potlatch, the Art of the Kwakiutl Indians" and "A Labour of Love" (a history of the Museum of Anthropology). Due to deteriorating health, Audrey discontinued her museum duties in 1977. She formally retired in 1985. Audrey Hawthorn was awarded an honourary LL.D from the University of Brandon in May of 1984; received the Order of Canada in April of 1986; and an Honourary LL.D from UBC in 1986. Audrey Hawthorn died on November 18, 2000.

Robert W. Reford was the heir to the Reford shipping and navigation business. In 1889 he journeyed from Montreal to British Columbia in order to assist with his family’s business there. He stayed in the province until 1891. Though centered in Victoria, Reford made several trips along the coast of British Columbia, into the interior and in to the Arctic. Reford was an amateur photographer and while in British Columbia he took a large number of photos, both of his acquaintances and of the local scenery and inhabitants.

No biographical information available.

In spring of 1983, Karen Duffek received her Masters of Arts in Anthropology from the University of British Columbia with a thesis titled The Contemporary Northwest Coast Indian Art Market. Karen Duffek’s relationship with the Museum of Anthropology has spanned over twenty years. From 1985 through 1999, Duffek was a Guest Curator and Research Associate, during which time she worked closely with Marjorie Halpin. In 1999, she took on a role as Interim Manager in Administration at MOA. In 2000, she was hired by the Museum of Anthropology as a Curator of Contemporary Visual Arts & the Pacific Northwest. Since 1985, Duffek has published numerous articles, essays, and anthologies addressing issues in Native Art. She has written multiple exhibition catalogues, including The Transforming Image: Painted Arts of Northwest Coast First Nations (UBC Press, 2000), which she co-authored with Bill McLennan. The Transforming Image won the Canadian Museum Association’s 2001 Award for Outstanding Achievement in Publications, and the British Columbia Historical Federation’s Certificate of Merit for Historical Writing in 2000. In 2005, Karen Duffek co-edited the anthology, Bill Reid and Beyond: Expanding on Modern Native Art (Douglas & McIntyre, 2004).

As the Curator of Contemporary Visual Arts & the Pacific Northwest, Karen Duffek has curated some major exhibitions at the Museum of Anthropology, including Border Zones: New Art across Cultures (2010), and Robert Davidson: The Abstract Edge (2004).

Lyle Wilson, a Haisla artist, was born in 1955 at Butedale, British Columbia. He grew up in the northern coastal communities of Kitimat and Kitimat Village. Wilson grew up watching his uncle, Sam Robinson, create carvings out of wood, and he later became a skilled carver and artist himself. In his explorations of art, Wilson brings together his fine-arts training and knowledge of Western European art history with his understanding of Haisla art and tradition and experiments with a range of media. In addition to the carvings he creates out of wood, horn and ivory, Wilson also creates metalwork, jewelry, drawings, and paintings.

Wilson attended the Emily Carr School of Art and Design and the University of British Columbia in the 1980s, where he was educated in European art traditions. At UBC Wilson was exposed to a wealth of Northwest Coast First Nations’ art. He studied artifacts, photographs of artifacts, and learned from practicing artists. He worked as a Project Consultant in the development of the Canadian Museum of Civilization’s Grand Hall exhibition and was an artist-in-residence at the UBC Museum of Anthropology. Wilson has worked on commissions and exhibited his work both locally in Vancouver as well as internationally in Osaka, Japan and New York.

James Cook was a British naval captain, navigator, and explorer who sailed the seaways and coasts of Canada (1759 and 1763–67), and conducted three expeditions to the Pacific Ocean (1768–71, 1772–75, and 1776–79), ranging from the Antarctic ice fields to the Bering Strait, and from the coasts of North America, to Australia and New Zealand. It was during his third voyage that Captain Cook sailed into the waters of what is now known as British Columbia. He spent a short period in the Pacific Northwest along what is now Vancouver Island during an expedition to find the fabled Northwest Passage. He never located the Passage, but paved the way for others to make a tremendous impact by establishing a British presence in the Pacific Northwest - he particularly influenced George Vancouver, who would sail as a midshipman with Captain Cook during his Pacific voyages.

When mapping the west coast of Vancouver Island, Cook gathered and recorded a vast amount of information about the Indigenous peoples of the area and their cultures. Cook also established a trading relationship with the Mowachaht Nation and their Chief Maquinna. The knowledge gathered by Cook contributed significantly to future expeditions, which eventually led to the European settlement and colonization of British Columbia. Cook died on February 14, 1779, on the Island of Hawaii.

Ozistalis (Chief Henry Speck) worked as a fisherman, dancer, and song writer. He became chief of the Tlawitsis Nation when he succeeded his father. In the early 1960s, he became artistic director of the Kwakiutl House Project in Alert Bay, where he also pursued his artistic skills; he taught carving and dancing in Alert Bay. "His unique approach to Kwakwaka'wakw design opened a new range of possibilities for a generation of artists" (Ayotte, Gallery of Tribal Art, 1995). He was commissioned by Gyula Mayer, a Vancouver art and antiques dealer, who was interested in collecting Northwest Coast pieces for his gallery; it was Mayer who encouraged Speck to paint with watercolours. Many of these paintings by Speck and other artists at the time were sold to private collectors, museums, or were collected by Mayer. "...Speck's paintings speak to the viewer with a clarity and a sense of immediacy. A striking aspect of Speck's work is its ability to invoke a three-dimensional "space" within the confines of a limited design field" (Ayotte, 1995).

Bertram Charles (B.C.) Binning was born on February 10, 1909 in Medicine Hat, Alberta. Due to an illness at a young age, he spent much of his time drawing in seclusion. His passion for art and architecture resulted in his enrolment in 1927 at the-then Vancouver School of Decorative and Applied Arts. After spending time in the United States, in 1933 Binning was appointed to a staff position with the Vancouver School of Art. Later in 1938, B.C. Married Jessie Wyllie, the daughter of a Vancouver businessman. In 1949, he was transferred to the University Of British Columbia School Of Architecture. Soon after, he founded the Department of Fine Arts at UBC, which he headed for over twenty-five years.

With his appointment to the department of Fine Arts came a shift in his artistic direction. Whereas pre-1948 he had established himself as an internationally recognized architect, post-1948 he felt himself drawn towards expressing his creativity in oil painting. Building upon his architectural background, Binning often painted large complementary mosaic murals for various buildings and was particularly inspired by ships, marinas and seascapes in general; these were recurring themes for most of his artistic life.

The Binnings took the first of many visits to Japan in 1958. It was there that B.C. felt particularly inspired by the Japanese art and architecture he witnessed; these were a vehicle for a new and lengthy direction for his future work. While in Japan, B.C. and Jessie forged a deep relationship with Bishop Kojo Sakamoto (1875-1969), the 37th Superintendent Priest of the Kiyoshi Kojin Seicho-ji temple. A skilled calligrapher, Sakamoto’s work was influenced by colleague and friend Tomioka Tessai (1836-1924), a talented painter and calligrapher in his own right. The Binnings’ relationship with Sakamoto resulted in over a decade of frequent correspondence between Sakamoto, his family, and other Japanese friends with both B.C. and Jessie. After Sakamoto opened a successful Tessai exhibit at the Vancouver Art Gallery in 1961, B.C. convinced him to contribute his own calligraphy for an exclusive exhibit that was eventually opened in September 1966 at the Fine Arts Gallery at the University of British Columbia.

Health problems prevented Binning from actively contributing to the art community in the early 1970’s, but by this time had built up a solid repertoire of pieces that have made their mark on the Canadian art scene. After his death on March 16th 1976, Jessie continued her role as a voice and representative for her husband’s work until her own death on May 25th, 2007. Her last public presence was as a consultant for an exhibit of B.C.’s work at the Vancouver Art Gallery that ran from January through April 2007.

Jessie Binning (nee Wyllie) was an important figure in the protection of the "Binning House" in West Vancouver and the emerging culture of West Coast Modernism. Her father was a businessman and one of the early entrepreneurs to trade with Japan and took Jessie on a trip to Japan when she was 19 years old, where she developed a lifelong appreciation for Japanese culture and art. Jessie Binning was also Bertram Charles (B.C.) Binning's wife, who founded the Department of Fine Arts at UBC in 1949 and was a renowned artist and teacher in BC. Jessie and Bert build their modern house in West Vancouver in 1941 and she lived there until her death at the age of 101.

Ben Houstie is a Heiltsuk artist born in Bella Bella, BC (Waglisla) in 1960. Ben’s works include: original paintings, limited edition prints, carved cedar rattles, and paddles. He has worked with Cheryl Hall, Robert Hall, David Gladstone, and Beau Dick. In 1988, Ben worked under Bill Reid painting several drums of Bill’s designs and 20 paddles for the Canadian Museum of Civilization in Ottawa. Ben also painted several reconstructed artworks in 2000 for the Museum of Anthropology’s "The Transforming Image" exhibition. He is known for producing small original paintings and miniature wood masks. As a child, Ben watched master carver, Mungo Martin, working on the world’s largest totem pole, in Alert Bay, B.C. He is a survivor of the St Michael’s residential school in Alert Bay and his art serves as a form of healing and cultural connection. His great grandfather is Daniel Houstie and his son is Christopher Houstie. From: https://sa-cinn.com/ben-houstie-artcards-prints/

Dorothy Grant, OC, is an internationally renowned fashion designer and traditional Haida artist. She is a member of the Raven Clan of Kaigani Haida, and learned to sew and weave traditional Haida garments and ceremonial regalia from her maternal grandmother. In the early '80s, she was the first Indigenous designer to combine traditional Haida artwork with contemporary fashion.

Doreen Jensen, also known as Hahl Yee, was born on May 13 1933 in Kispiox, just north of Hazelton, British Columbia. The name Hahl Yee belongs to the Killerwhale family crest from the House of Geel of the Fireweed Clan. Jensen attended the Gitanmaax School of Northwest Indian Design where she learned to carve under the guidance of Tony and Henry Hunt. Doreen Jensen was also known for her work promoting aboriginal artwork, teaching Gitxsan language classes, and helping to revitalize traditional practices. She was a respected cultural leader and historian. In 1983, she curated an exhibit at MOA entitled “Robes of Power” which emphasized the strength of traditional design and craftsmanship. The exhibited highlighted the importance of regalia to First Nation ceremonies and the key role that women played in producing robes. Jensen went on to teach Gitxsan language classes at UBC and traditional art practices such as drum making, cedar baskets and bead work at Emily Carr College of Art and Design in Vancouver. In 1993, Doreen Jensen was acknowledged by the Vancouver YMCA and was rewarded with the “Woman of Distinction” award. She also received the Golden Eagle Feather from the Professional Native Women’s Association and has been honoured with a name given to her by James Sewid and family at one of their potlatches. In 2008, she was also nominated for the BC Governor General Award in recognition of her passion for culture and tradition. Jensen passed away in 2009 leaving behind a lifetime of contribution to a revitalizing First Nation culture, language and artwork.

In 1974 and 1975, Dan Jorgensen traveled in Papua New Guinea’s Sanduan Province where he studied the initiation cult and mythology of the Telefolmin people. In 1981 Dan Jorgensen received his PhD in anthropology from UBC, writing a thesis about his travels and studies in Papua New Guinea. Since 1977 he has been a faculty member of University of Western Ontario in the Anthropology department. He specializes in the anthropology of religion