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Paul Hocking was born in 1935 near Haileybury College, England. He developed a passion for pre-history and museums at a young age, pursuing studies in Near-Eastern archaeology at Sydney University before moving to North America. On the continent, he worked at MOA briefly before earning an M.A. and Ph.D., conducting fieldwork in South India with the Badaga people. Hockings was prolific, with his career spanning continents, books, and films. He made particular contributions to the study of South Indian cultures and demographics, editing several key journals in the field and becoming a professor emeritus at the University of Illinois.

Paula Gustafson was a Canadian artist, art critic, editor and author specializing in craft. Born in Abbotsford, BC, Gustafson pursued an early artistic career, working initially with pottery but expanding to watercolour painting, botanical drawing, bronze casting, glassblowing, jewelry, and handmade paper, and weaving. During this time Gustafson also began exploring the world of textiles, making her own natural dyes for the hand-spun wool she made into woven tapestries and knitted garments. It was during this time she researched and wrote “Salish Weaving.”

From 1983 to 1985, Gustafson served as President of the Alberta Crafts Council before becoming Executive Assistant to the President and Board of Governors at the Alberta College of Art. In 1989, Gustafson co-founded Artichoke magazine with Mary-Beth Laviolette and David Garneau, a publication that showcased Canadian visual artists nationally and internationally. She served as President of the Alberta Crafts Council, worked with the Alberta College of Art, curated exhibitions, and lectured across Canada.

Throughout the 1990s, Gustafson contributed to the world of art and craft as a writer and editor to a number of Canadian and international publications, including Artichoke, Western Living, Canadian Living, Ceramics Monthly, The Vancouver Sun, and Asian Art News. She later served as Director of the City of Calgary's Visual Arts Board and organized the Alberta Needles II quilt exhibition. From 1993 to 1999, Gustafson was a visual arts critic for The Georgia Straight, Xtra West, and The Calgary Straight, and worked as a correspondent for major international art publications. She lectured widely across Canada, participated in art and publishing conferences, and mentored emerging artists on professional practices. In her final months, she served as editor for Galleries West magazine, remaining active in the arts community until her death from cancer in 2006.

Skooker Broome received an undergraduate degree in Anthropology from the University of British Columbia (UBC). Also at UBC, he took graduate courses in Museum Studies. His other educational pursuits include the study of German and French architecture, computer sciences, lighting design, web publishing, structural drafting, and the French language.

From 1986 to 1990, Broome worked at UBC's Museum of Anthropology (MOA) as an Assistant Designer. His duties included participating in the designing, production, and installation of a number of exhibits held at the Museum, teaching design principles to the Anthropology 431 “Museum Principles and Practices” class, and producing & designing museum catalogues, brochures, invitations, and program schedules.

From 1990 to the present, Broome has been working as a Designer on a number of exhibits at the Museum of Anthropology. Broome’s tasks include designing, developing, planning, and installing museum exhibits and displays, teaching design principles to Anthropology students, and managing projects. His other duties include the management of the Museum’s building facilities and service, and he further works as a computer specialist and coordinator of computer technologies. In addition to his work at the Museum of Anthropology, Broome works as a contract designer for Third Eye Design, where he designs, develops, plans, installs, and consults on commercial projects.

James Herbert (Herb) Watson was born 5 December 1934 in Ontario. He studied Science at Waterloo College and Fine Arts at the Ontario College of Art, Toronto. In 1960, he spent one year at the Kokoschka International Academy of Vision in Salzburg, Austria.

During the late 1960s and early 1970s, Herb Watson worked as an exhibition designer in a number of museum environments: the Vancouver Maritime Museum and Vancouver City Museum, 1966; the Vancouver Centennial Museum, 1969; the Maritime and City Museums, 1970-1977. In 1977, he took a one year visiting appointment at the Museum Of Anthropology (hereafter MOA). In 1978, he became Exhibit Designer at MOA.

While at MOA, Herb Watson designed over sixty exhibitions, ten of which traveled across Canada and many of which involved student trainees. He regularly taught exhibit design to students in a UBC introductory museum course (Anthropology 431) and supervised the design and installation of annual student exhibitions. He was frequently invited to give lectures and workshops at other universities and museum associations.

From 1985-90, Herb Watson managed a contract to research design and install the South Pacific Pavilion at Expo '86. His role included representing eight South Seas nations and travelling to the South Pacific to acquire artifacts. Between 1988 and 1990, Herb Watson designed the west wing extension of MOA that would house the Koerner Ceramics Collection. Herb Watson retired from MOA 28 February 28 1991.

Dr. Miriam Lisa Clavir was the Senior Conservator of the Museum of Anthropology, University of British Columbia and Associate of the Department of Anthropology and Sociology at the University of British Columbia from 1980 to 2004. In 1969, she obtained her bachelor of Anthropology at the University of Toronto, Ontario, in 1976 her masters in Art Conservation at Queen’s University, Kingston Ontario, and in 1998 her doctorate in Museum Studies from the University of Leicester. In addition, Miriam Clavir was received as a Member of the Canadian Association of Professional Conservators in 1987 and as a Professional Associate of the American Institute for Conservation in 1993.

Prior to employment at the University of British Columbia, Clavir was an assistant conservator at Parks Canada, National Historic Sites Service, Quebec Region from 1976 to 1980, a conservation assistant for Parks Canada from 1973 to 1976, and an assistant for the Royal Ontario Museum, Toronto in the Archaeology and Conservation Department from 1969 to 1972.

During her employment at the Museum of Anthropology, Miriam Clavir was involved in the following committees: Ellen Neel’s Thunderbird Pole Committee (2001 to 2004), Aboriginal Relations and Repatriation Committee, (Chair 1996 to 2004); Exhibits Committee (Chair 1997 and 1998); Collections Committee (to 2004); Executive Committee (1995 to 1996), and; Acquisitions Committee (to 2004). In 1982 she chaired the conference “Doing Yourself In? The Artist as Casualty.”

As the head of the Conservation area, Clavir’s responsibilities and functions included:
• Managing the conservation function, including the lab at MOA;
• Initiating and implementing processes, policies and actions to ensure that the collections housed in MOA do not deteriorate;
• Responsibility for teaching museum conservation at UBC, including credit courses, directed studies, and supervising interns and students;
• Ensuring that conservation practices at MOA are sensitive to the concerns of First Nations communities and other groups;
• Performing MOA managerial work not directly associated with conservation (such as chair or a member of committees and/or manages selected MOA projects);
• Responsibility for planning and prioritizing future conservation needs at MOA, with the assistance of other conservation staff;
• Examining objects in MOA travelling exhibits and loans to ensure that artefacts are stable and travel would not endanger their condition;
• Acting as liaison conservator with receiving institutions for MOA objects on loan;
• Supervising and advising staff, students, and Volunteer Associates on conservation questions and issues;
• Providing services to the public on questions in conservation directed to MOA; and,
• Conducting research necessary to support the functions and responsibilities of the Conservation Area and for meeting requirements set in the mandate of the Museum.

As an instructor, Dr. Miriam Clavir taught the following courses: Anthropology 451: The Conservation of Inorganic Materials; Anthropology 452: The Conservation of Organic Materials; Anthropology 431: (1991-1992); Classics 440: Field school (1987); Archival Studies 610: (1983-1988). In addition, she was an instructor for the Continuing Education Department at the University of British Columbia (1986, 1983, 1981). She also supervised conservation interns from 1989 to 1997. Miriam Clavir was also the principal instructor and course organizer for “Collections Care”, University of Victoria Course #HA488D taught at the UBC Museum of Anthropology for the Aboriginal Cultural Stewardship Program. Furthermore, she taught Mus.482 (Conservation) at the Burke Museum, University of Washington, Seattle (1999, 2000, 2002).

In 1999, Clavir took a leave of absence from the Museum to publish a book based on her Ph.D. thesis, “Preserving What Is Valued: Museums, Conservation, and First Nations,” (2002) which won the 2002 Outstanding Achievement Award in the Conservation Category from the Canadian Museums Association. The book discusses the profession and ethics of museum conservation, and how conservation ideas and practices contrast with the values and concerns of First Nations.

She is also credited with numerous independent journal articles. Among these: “Museum Changes to First Nations Objects, and their Physical and Conceptual Reversibility” (1999); “The Future of Ethnographic Conservation: A Canadian Perspective” (2001) and “Heritage Preservation: Museum Conservation and First Nations Perspectives” (2003).

Miriam Clavir retired as Senior Conservator at the Museum of Anthropology in 2004.

The Collections area is responsible for:

• care of the object collections
• registering and processing acquisitions
• managing the storage, movement and handling of objects
• managing the documentation of objects
• providing access to the collection
• dealing with requests for information about the collection
• managing the museum collection’s database
• managing the data in the museum’s online catalogue
• borrowing and safe keeping of objects for short term and long term loans
• exhibition installations, de-installations
• loaning out of objects to other institutions and individuals
• object photography
• deaccessioning museum objects
• providing training opportunities for students and interns
• managing travelling exhibitions

Prior to 1976, the Curator of Ethnology, Audrey Hawthorn, was responsible for the above-mentioned activities, with the help of student volunteers and assistants, but specific duties were never clarified, nor were they officially attributed to particular individuals. From the late 1970s onwards, the Curator of Documentation and the Curator of Collections were responsible for care of the collections. By 1990, the staff had expanded to include a Collections Manager, part-time Loans Manager and Collections intern. In 1999, an Assistant Collections Manager was added. In the late 1990s Collections and Conservation staff became a department (Collections Care & Management), with a representative Head on the Executive Committee. From 2005 to 2010 the Collections and Conservation staff managed the Collections Research Enhancement Project (CREP) section of the MOA Renewal Project, which included more than 20 full-time temporary staff. In 2015, due to restructuring, the Collections Care & Management department was merged with the Library and Archives, forming the Collections Care, Management and Access Department.

Currently (as of 2017), the Collections staff consists of the Collections Manager, Loans Manager, two Collections Assistants and a part-time Imager, in addition to temporary student and contract workers. See the fonds level description for a list of individual Collections staff names.