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Jack Lieber (1918-2015) fled Russia with his parents, coming to Canada at the age of six. His mother was the concert pianist Olga Lieber. Enlisting in the RCAF, he flew many missions into Europe and survived the crash of the Lancaster bomber in which he was navigator. After the war, he earned his B.A., Dip Ed. and M.A. at McGill, and worked as a teacher in the Montreal area for many years. The highlight of his teaching career was six years with CIDA at the University of Ibadan, Nigeria, followed by a posting to Papua-New Guinea with UNESCO. When he retired in 1984, he and his wife Iris moved to Toronto.

Minn Sjolseth was born on November 4, 1919 in Oksendahl, Norway. Sjolseth started to draw and paint in early childhood, and began her formal artistic training in Norway and in Germany where she studied the Old Masters. In 1953, Sjolseth emigrated to Canada and continued her studies at the Regina School of Fine Arts with Kenneth Lockheed. She also studied graphic art at San Miguel de Allende Art Institute in Mexico.

Sjolseth settled in Vancouver, BC in 1957, where she opened a commercial gallery and began her career as a portrait artist. During this time, she also had two children, Laila and Fred Johnsen. In 1967 she closed the gallery and focused her artistic practice on documenting Indigenous peoples and their cultural productions in a realist tradition. In 1968, Sjolseth married the photographer and journalist Anthony Carter. Out of their travels to First Nations communities along the coast of British Columbia and Alaska throughout the 1960s and 1970s, Sjolseth produced a number of landscape and portrait paintings as part of her "North West Coast Native" series, while Carter undertook work for his books. In 2009, the Kamloops Art Gallery held an exhibition entitled "Somewhere Between" which explored Minn Sjolseth's and Anthony Carter's artistic partnership during this period.

In 1974, Sjolseth had the opportunity to travel to Arctic Norway and work with the reindeer-herding Lapps (also known as Sami people) to create a series of paintings called "Reflection of Lapland" which was shown at the Frye Art Museum in Seattle, among other institutions. In July 1977, she was selected as the only professional artist to be a member of the media accredited to the visit of H.R.H The Prince of Wales to Southern Alberta to commemorate the Centennial of the signing of Treaty 7. Sjolseth's work has been exhibited in juried group shows in Canada and the United States, as well as international solo exhibitions. Her paintings are in several international collections, including the collections of the Crown Prince Harald of Norway.

Sjolseth and Carter moved to the Kamloops area of British Columbia in 1980, first living at Pinantan Lake and later at Lac Le Jeune. She continued painting, creating the "British Columbia Interior" series, while also pursuing cross-country marathon skiing competitively.

Sjolseth died suddenly in a car accident in Lac Le Jeune on November 7th, 1995.

Anthony Lawrence Carter, the late author, publisher and photo-journalist, was born on October 22, 1920 in Somerset, England. He and his family emigrated to Wallaceburg, Saskatchewan in 1926 and later moved to Goodsoil, Saskatchewan . The Carter family leased an acre on Lac des Isles where they farmed for a living. In 1938, Carter purchased his first camera and learned how to develop his own pictures using an old developer and instructions from a Kodak booklet. In 1939, he applied to the Royal Canadian Air Force and was accepted a year later. He continued with the RCAF and the British Institute of Sciences and Engineering until he was discharged in 1945. Following his time in the Air Force, Carter held his first public exhibit in Ontario of images he had taken across Canada. He also spent time at the First Nations village in Fort Rupert where he began building a collection of his own photographs of the community. In 1948, Carter began working for MacKenzie Barge & Derrick as a shipwright where he took his first commercial photograph and began selling prints widely. In 1951, he decided to go into child photography, which he did exclusively for three years. Carter was also an active photo-journalist in the marine and logging fields, which led to his contributions to journals such as Western Fisheries, Canadian Truck Logger and The British Motor Journal.

While photography was Carter’s main source of income during the 1950s, he also spent his summers fishing to make a living. Around 1960, Carter purchased a 60 foot fish packer, the Wamega. He was based in Klemtu at this time and collected the history and legends of the Kynoc and Kit-is-tu people, which appeared in his first book. Carter’s publications, which include This is Haida (1969), Somewhere Between (1968), From History's Locker (1968), Wamega (1960s), and Abundant Rivers (1972), were directly inspired by First Nations people and their culture. He also wrote a book called Snowshoeing for Everyone (1975). Carter was a poet and accompanied his photos with his own text. Additionally, he undertook all aspects of designing his books for publication. Carter also worked with the National Museum of Ethnology in Osaka, Japan to develop its Northwest Coast collection, and was a consultant to the Museum of Anthropology in Vancouver, B.C.

Lilo Berliner was a librarian in the references division at the University of Victoria with an interest in First Nations art. She was also an acquaintance of Elizabeth Hill, a published author on petroglyphs found in British Columbia and the west coast of North America. Lilo Berliner travelled extensively throughout the west coast of North America, and especially Vancouver Island, visiting and photographing petroglyphs and other First Nations art. The discovery of a bowl petroglyph on Salt Spring Island prompted her to write a letter to Wilson Duff, anthropologist at the University of British Columbia, with whom she maintained a regular correspondence until his death. Shortly before her own passing, Lilo Berliner gave this correspondence to her close friend, Salt Spring Island based writer, Phyllis Webb.

Josephine Gladstone (nee Wilson) was born ca. 1869. She married Charlie Gladstone on February 4, 1892. They had three children: Magaret Janet (ca. 1892), Sophia (1895), and Edgar (1897). She died in Skidegate on March 12, 1932 at 63.

Charles Gladstone was a Haida carver, of Skidegate, B.C. He was Bill Reid's grandfather.

Tom price was born on Anthony Island. He was known to have been chief of Ninstints. His work was known to have been collected by Dr. C.F. Newcombe and Mr. Lansberg. He often used whale and fish designs and often inlaid bone, ivory, and shell into his work. He died in Prince Rupert at an estimated age of 66. For further information on his life and work please see the Masters' thesis by Trisha Corliss Glatthaar at http://hdl.handle.net/2429/35004

Born in Alert Bay of Kwakwaka'wakw descent, Gloria Cranmer Webster completed high school in Victoria before moving to Vancouver where in 1956 she completed her undergraduate degree in Anthropology at the University of British Columbia. She worked as a counsellor at the Oakalla prison and later at the John Howard society, where she met her future husband, John Webster. She worked for the YWCA as a counsellor in Vancouver, then later as the program director at the Vancouver Indian Centre, before she was hired as an assistant curator by the Museum of Anthropology in 1971. She went on to assist in the development of the U'mista Cultural Centre in Alert Bay. She was heavily involved in the debate over repatriation of cultural items related to the potlatch. She received an honorary doctorate of Law from the University of British Columbia in 1995. She was named an officer in the Order of Canada in 2017.

Chief Mungo Martin or Nakapenkem (lit. Potlatch chief "ten times over"), Datsa (lit. "grandfather"), was an important figure in Northwest Coast style art, specifically that of the Kwakwaka'wakw Aboriginal people who live in the area of British Columbia and Vancouver Island. He was a major contributor to Kwakwaka'wakw art, especially in the realm of wood sculpture and painting. He was also known as a singer and songwriter.

Mungo Martin was an important figure in the early history of the Museum of Anthropology. In 1950 and 1951 he worked for the University of British Columbia restoring and carving totem poles. These later stood in Totem Park at UBC and some were later moved into the great hall in the Museum of Anthropology. After this time he is best known for his work at Thunderbird Park in Victoria, where he helped to carve many of the totem poles and house posts that now stand in the park. He worked with several artists who became well-known including Bill Reid, Doug Cranmer, and Henry Hunt.

Abaya Martin was a skilled weaver and source of knowledge on ceremonial lore. She features prominently in an Edward S. Curtis photograph of a Tlingit wedding, where she is the bride. This was her first marriage. Her second marriage was to Chief Mungo Martin. She accompanied Mungo while he was working at the University of British Columbia where she wove two Chilkat blankets for the museum. She lived with Mungo in Victoria where he worked on the longhouse and totem poles for Thunderbird Park. She passed away a year after Mungo's death.

Daisy May Sewid-Smith (née Sewid) was born in Alert Bay, BC, on November 28, 1938, daughter of Chief James Sewid and Flora Violet Alfred, and granddaughter of Agnes Alfred. After graduating school, she took a secretarial course at Vancouver College and worked for the Indian Affairs Branch in Alert Bay. During her time in Alert Bay, she published several articles and books about the prosecution of potlatches and the confiscation and return of artifacts by the Canadian government.
Daisy Sewid-Smith is one of the leading linguistic experts in the Kwakwakka’wakw community, teaching the language and developing a method to transcribe it. She wrote a grammar book for the Kwak’wala language. She also translated some of Franz Boas’ texts in the context of land claim issues and contributed to the UN convention on the rights of the child. Sewid-Smith works in the Faculty of Education at the University of Victoria and was a member of the Advisory Council for the Centre for Studies in Religion and Society.
In the late 1970s, her grandmother, Agnes Alfred, introduced her to Martine J. de Widerspach-Thor (later Martine J. Reid) with whom she recorded and translated her grandmother’s memoirs between 1979 and 1985. From then until the late 1990s, they put a hold in their project for personal and work-related reasons. In the late 1990s, they resumed their work, which lead to the publication of the book Paddling to Where I Stand in 2004.

Agnes Alfred (née Agnes Bertha Joe and also known as Axu, Axuw or Axuwaw) was a noble Qwiqwasutinuxw woman from the Kwakwakawakw Nation. She was known in her community as one of the last great storytellers in the classic oral tradition.

Allison Cronin holds an BA and MA in Anthropology from the University of British Columbia. She worked at MOA from 1989 to 2005 on the following positions:

• Museum Assistant 1989
• Curatorial Assistant from 1989 to 1991
• Assistant Collections Manager from 1990 to 1996
• Manager of Loans and Projects from 1996 to 2003
• Loans Manager from 2004 to 2005

William Beynon, Nisga'a hereditary chief, ethnographer. Born in Victoria, BC. From 1915 until 1956, he worked as an interpreter and field researcher among the Tsimshian, Nisga'a and Gitksan of British Columbia. With Marius Barbeau, he prepared an ethnographic census of those cultures, particularly their social organization and mythology. For brief periods he also assisted Franz Boas and Philip Drucker. Despite a lack of formal training in anthropology, his field notes supply major data for these cultures.

(From The Canadian Encyclopedia, https://www.thecanadianencyclopedia.ca/en/article/william-beynon. Accessed February 26, 2020.)

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).

Martine J. Reid (née de Widerspach-Thor) was born in France. After completing her Master’s thesis on the role of salmon on the nineteenth- and twentieth-century Kwakwaka'wakw communities, she moved to British Columbia. While studying at the University of British Columbia, she started learning Kwakwala from Katherine Ferry Adams, who introduced her to the language and culture and adopted her into her family in 1978.
From 1976 to 1978 she attended several potlatches in the area of Alert Bay (BC). There, she came in contact with Kwakwakka’wakw communities, which would lead her to write and defend her doctoral dissertation about the Kwakwakka’wakw hamaca (Man-Eater) ritual in 1981.
In the 1970s, Dr. Reid received funding from the Urgent Ethnology Program of the Museum of Man in Ottawa to record languages and customs to prevent their loss. As part of this project, Dr. Reid came in contact with Agnes Alfred (or Axuw or Axuwaw) with whom she travelled to different Kwakwakka’wakw communities. As part of these visits, she met Agnes’ granddaughter, Daisy Sewid-Smith.
Between 1979 and 1980, and in 1983 and 1985 Sewid-Smith and Reid recorded and translated Agnes’ memoirs. From then until the late 1990s, they put a hold in their project for personal and work-related reasons. In the late 1990s, they resumed their work, which lead to the publication of Paddling to Where I Stand in 2004.
Between 1979 and 1983, Dr. Reid worked at the Department of Anthropology at the University of British Columbia. There, she lectured in the areas of Anthropology, Ethnography, and First Nations studies. She also participated in several art-related projects in the 1980s, 1990s, and early 2000s, while consulting projects for the Ministry of Indian and Northern Affairs and for the Native Investment Trade Association.
From 2008 to 2012, Dr. Reid was the Director of Content and Research, and Curator at the Bill Reid Gallery. Then, she became the Honorary Chair of the Bill Reid Foundation.

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.

William (Bill) McLennan was born in Vancouver on October 4, 1948. He received a degree in Arts and Merchandising from Vancouver City College and upon graduation, worked for the City of Vancouver, the MacMillan Planetarium, and Vancouver Centennial Museum, all in the area of exhibit and graphic design. In 1975, McLennan began to work at the Museum of Anthropology (MOA) on a contract to photograph the presentation of the visible storage system. In 1976, he became a permanent staff member at the Museum.

His initial responsibilities included exhibit design, graphic design, photography, teaching, and research. In these capacities McLennan held the responsibility of photographing collections at various stages, as well as photographing events and the physical building and exhibition spaces. Being a designer entailed working with curators and artists on exhibits, designing labels, brochures and memorabilia sold in the gift shop. His teaching responsibilities included working with students who interned under his supervision during the school year, giving classes on photography and design to students taking museum studies courses and giving lectures of Northwest Coast painting and photography. In 1993 he began to curate exhibits, McLennan’s first exhibit as curator was The Transforming Image after his discovery through extensive research that infrared film could reveal Northwest coast paintings that had disappeared under the patina of age. In 2001 he officially became a curator/project manager in addition to continuing work in the graphic design department. In addition to these duties, McLennan performed contract work for various museums.

In 1979, McLennan won the Certificate of Design Excellence for exhibit design for Print Magazine Casebooks. In 1983, he received a Canada Council Grant, followed by a BC Heritage grant in 1984 and 85, to research the possibilities of using infrared film to reveal Northwest Coast paintings that had faded with time. This research was interrupted in 1986 when McLennan took a one-year leave of absence from the Museum to work for Expo ’86 as a member of the exhibits team. In 1987, he received a planning and development grant from the Museums Assistance Program in order to develop his previous research on infrared painted images into an exhibit and book. This exhibit came to fruition in 1993 and was called ‘The Transforming Image’ from which a book was published by the same name which won the Award for Outstanding Achievement from the Canadian Museums Association in 2001. He also received a Certificate of Merit from the British Columbia Historical Federation for this book.

McLennan was also the recipient of the President’s Service Award for Excellence from the University of British Columbia in 1995 and the British Columbia Museums Associations Award of Merit for “The Respect to Bill Reid Pole” in 2002.

In 2010, McLennan curated an exhibit displaying the works of Charles and Isabella Edenshaw titled ‘Signed Without Signature: Works by Charles and Isabella Edenshaw’. This exhibit used 3D imaging technology to show the patterns on 3D objects in a flat undistorted perspective.

McLennan retired from MOA on October 31, 2013.