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Chief Joe Capilano

  • Persoon
  • 1854-1910

Chief Joe Capilano (S7ápelek) (born on the traditional Squamish Nation territory in British Columbia and died 10 March 1910 in Yekw’ts, BC) was a Squamish Nation member who became one of the most influential Indigenous leaders in British Columbia, beginning in the late 19th century. His rise to this position was due in part to the encouragement of the Catholic Bishop who recognized S7ápelek’s devotion to his faith and his impressive abilities as an orator and leader. As the chosen successor to Chief Láwa Capilano, Joe S7ápelek became better known as Chief Joe Capilano and spent the rest of his life advocating for Canada’s recognition of Indigenous rights and title.

Chief Henry Speck

  • Persoon
  • 1908-1971

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).

Chief Dan George

  • Persoon
  • 1899-1981

Chief Dan George, was a Tsleil-Waututh actor, poet, writer, activist, and public speaker who was chief of the Tsleil-Waututh Nation from 1951 to 1963. Born Geswanouth Slahoot, Dan George was raised on the Burrard reserve in North Vancouver. He received his English name, Dan George, at St. Paul’s residential school, where he was sent when he was five years old. Before he started acting at the age of 60, George had worked as longshoreman, construction worker, school-bus driver, logger and itinerant musician. By his film roles and personal appearances, Dan George helped improve the popular image of Indigenous people, often represented in stereotypical ways. George earned an Academy Award nomination for best supporting actor for his role in Little Big Man (1970) and won other awards for this role, including from the National Society of Film Critics and the New York Film Critics Circle. He was married to his wife, Amy George, for 51 years and was father to six: Amy Marie, Ann, Irene, Rose, Leonard, and Robert.

Doreen Jensen

  • Persoon
  • 1933-2009

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.

Doug Cranmer

  • Persoon
  • 1927 - 2006

Doug Cranmer was born in Alert Bay, son of Chief Dan Cranmer and Agnes Hunt Cranmer. He set the standard of innovation for Kwakwaka'wakw art. His first formal instruction was in Victoria under Mungo Martin, in 1959. He worked with Bill Reid on UBC's Haida Village project c. 1959-62, and on the restoration of totem poles in Vancouver's Stanley Park. After completing the UBC project in 1962, Cranmer (with A.J. Scow and Dick Bird) founded a retail gallery, The Talking Stick. This was one of the few initiatives at the time through which First Nations art was marketed by First Nations people. Cranmer had totem pole commissions from around the world, and is considered an innovative master of flat design. His exhibitions include, Arts of the Raven, 1967, and the B.C. Pavillion at Expo '70, in Osaka Japan. His influence as a teacher was also significant, he taught at 'Ksan, the Vancouver Museum, and at Alert Bay, since 1977. He worked as an artist in residence at MOA in 1995. Doug was a hereditary chief of the 'Namgis band, and had also worked as a fisherman and a hand logger. He was an inspiration to his home community, contributing extensively to the construction of the U'mista Cultural Centre and the Bighouse at Alert Bay.

Dempsey Bob

  • Persoon
  • 1948-

Dempsey Bob was born at Telegraph Creek on the Stikine River, in 1948. His mother was Flossie Carlick (Wolf); his father was Johnnie Bob (Raven). He began carving in 1970, and although he prefers wood, he also works in metals. Dempsey studied first with Freda Diesing and then at 'Ksan. Dempsey has focused on creating contemporary works that are classic Tlingit in style. His finely detailed carved wood masks translate into powerful bronze works. He went to Cara, Italy and studied with artisans working in bronze in the classic Italian tradition; this knowledge helped refine his style for bronze casting in which he is now an acknowledged master.

Bill Holm

  • Persoon
  • 1925-2020

Bill Holm was an American art historian, Kwak'wala language speaker, and author, focused on Indigenous Northwest Coast art. He created artworks, and taught Northwest Coast style, including form line design. Bill and his wife, Marty, had a close friendship with Mungo Martin and were well respected by the Kwakwaka'wakw, the Tlingit, Haida, and Tsimshian peoples and his family members were given Kwakwaka'wakw names. He was Professor Emeritus of Art History, and Curator Emeritus of Northwest Coast Indian Art at the Burke Museum of Natural History and Culture, and occasionally lectured at the University of Washington in Seattle. Holm is recognized internationally as one of the most knowledgeable experts in the field of Northwest Coast Native art history.

Holm's 1965 book "Northwest Coast Indian Art: An Analysis of Form" has for decades been the standard introductory text in the field. The 18th printing, the 50th-anniversary edition, was published in 2014 with new commentary.

Chief Bill Cranmer

  • Persoon
  • 1938-

Chief Bill Cranmer (T̓łaḵwagila) is the son of Dan Cranmer, who hosted the 1921 potlatch now often referred to as the "Cranmer Potlatch" and the brother of Kwakwaka'wakw carver, artist, and 'Namgis Chief, Doug Cranmer (1927-2006), and activist, curator, and writer Gloria Cranmer Webster (1931-).

Chief Bill Cranmer has been a strong and vital voice for the sustainment of the ‘Namgis First Nation language and culture. He led the repatriation of cultural objects including masks, bentwood boxes, and regalia that were confiscated under duress in 1921 after a Kwakwaka’wakw potlatch held in the village of ‘Mimkwamlis on Village Island, BC. The confiscation was sanctioned through Canada’s “Anti Potlatch Law” which existed between 1884-1951. Twenty community members were sent to be imprisoned at the other end of the province because of practicing their traditions. A fluent speaker of Kwak’wala, Bill worked tirelessly to retrieve the appropriated pieces and raise awareness about the need to preserve and maintain language, history, and culture. The repatriation of some of the 750 confiscated items has had a significant positive impact on the community. He has travelled to Japan, Australia, New Zealand, and elsewhere to share the story, and present on behalf of the Assembly of First Nations and the First Peoples’ Cultural Foundation.

As Chief Councillor of the ‘Namgis First Nation, Bill negotiated economic treaties to develop businesses for his nation to prosper. Bill has spent numerous terms on the Executive Board of the Native Brotherhood of BC and has been an Elder/Cornerpost with the First Nations Health Authority, giving historical and cultural input into meetings. His efforts in the preservation of First Nations’ traditions have gone a very long way towards Reconciliation. In a speech at the 1980 opening of the U’mista Cultural Centre, which houses much of the reclaimed potlatch items, he said, “It’s important to know your past if you are going to fight for your future.” From: https://ltgov.bc.ca/t%CC%93la%E1%B8%B5wagila-chief-bill-cranmer/

On Monday, June 19, 2017, Bill Cranmer was presented with honours in Recognition of Outstanding Indigenous Leadership by David Johnston, Governor General of Canada. In June 2022, Chief Bill Cranmer was given a British Columbia Reconciliation Award.

Asia-Pacific Economic Cooperation (APEC)

  • Instelling
  • 1989 -

The Asia-Pacific Economic Cooperation is the result of a call by Australian Prime Minister Bob Hawke in January 1989 for Asian-Pacific economies to consult on how they could effectively cooperate and increase trade and investment flows in the Asia-Pacific. Australia’s motive was to create an Asia-Pacific economic identity, of which it would be an integral part. Japan endorsed the Australian proposal and became the second driving force in the creation of APEC. The first APEC meeting of trade and foreign ministers took place in Canberra in November of 1989 (with twelve attendees: Australia, Brunei, Canada, Indonesia, Japan, Korea, Malaysia, New Zealand, Philippines, Singapore, Thailand, and the U.S.).
A summit or Leaders’ Meeting has become an annual event since President Clinton invited leaders to Blake Island in 1993. The first APEC Leaders’ Meeting was held in Seattle in November 1993. This first Leaders’ Meeting of economies represented half the world’s population and 56% of its GNP. A year later all APEC leaders met at Bogor, Indonesia, and at that meeting the Leaders resolved to move to free trade and investment by 2010 for industrialized member economies, and by 2020 for developing member economies. The 1995 meetings were in Osaka, Japan where the Osaka Action Agenda was agreed to, setting out a template for future APEC work towards common goals. The Philippines convened the APEC Leaders’ Meeting in 1996 at Subic Bay. The Leaders’ Meeting was held in Vancouver, Canada in 1997 at the Museum of Anthropology on the University of British Columbia campus.
The following 21 countries are members of APEC as of 2022: Australia, Brunei, Darussalam, Canada, Chile, China, Hong Kong SAR, Indonesia, Japan, Korea, Malaysia, Mexico, New Zealand, Papua New Guinea, Peru, Philippines, Russia, Singapore, Chinese Taipei, Thailand, United States, and Vietnam.
APEC has three standing committees, one steering committee, and a few other forums that report to the Senior Officials Meeting. The three committees are the Committee on Trade and Investment (CTI), the Economic Committee (EC), the Budget and Management Committee (BMC). The Senior Officials' Meeting (SOM) Steering Committee on Economic and Technical Cooperation (SCE) has 14 working groups: Agricultural Technical Cooperation Working Group (ATCWG), Anti-Corruption and Transparency Experts’ Working Group (ACWG)
Emergency Preparedness Working Group (EPWG), Energy Working Group (EWG), Experts Group on Illegal Logging and Associated Trade (EGILAT), Health Working Group (HWG), Human Resource Development Working Group (HRDWG), Oceans and Fisheries Working Group (OFWG), Policy Partnership on Science, Technology and Innovation (PPSTI), Policy Partnership for Women and the Economy (PPWE), Small and Medium Enterprises Working Group (SMEWG), Telecommunications and Information Working Group (TELWG), Tourism Working Group (TWG), and Transportation Working Group (TPTWG). The CTI deals with trade and investment liberalization and business facilitation concerns. The role of the EC continues to evolve. It is primarily responsible for providing the Senior Officials Meeting with information and analysis on broad, crosscutting issues which are not easily handled by one of the working groups.

Chief Billy Assu

  • Persoon
  • 1867-1965

Billy Assu (Kwakwaka'wakw) became Chief of the Cape Mudge (now We Wai Kai) First Nation in 1891 when he was 24 years old. He built the first modern house in the village in 1894 and during the 1920s organized the replacement of all the traditional longhouses with modern housing. He was a fisher for most of his life, and bought the first gas fish boat at Cape Mudge. During the Depression, he helped to create the Pacific Coast Native Fishermen's Association, which later merged with the Native Brotherhood of BC. His son, Harry Assu, succeeded him as the first elected Chief of the Cape Mudge band (1954-70).

Charles James Nowell

  • Persoon
  • 1970-1956

Born at Tsax̱is (Fort Rupert), Charles James Nowell was the first full blooded Kwakwaka'wakw to act as an interpreter and collector for outsiders. He was married to the daughter of Chief Lageuse of the 'Namgis First Nation. Between 1899 and his death in 1924, Nowell was the assistant to Charles F. Newcombe, an Englishman who supplied ethnographic objects to the Field Museum, the University of Pennsylvania Museum, the Peabody Museum at Harvard and others. Nowell and Bob Harris, also from Tsaxis, were part of the Kwakiutl and Nootka display at the 1904 St. Louis Universal Exposition.

George Scow

  • Persoon
  • 1865-1955

Chief of the Musgamagw Dzawada'enuxw (Tsawataineuk) First Nation. Brother of Chief Peter Scow and Chief John Scow.

Frank Burnett

  • Persoon
  • 1852 - 1930

Francis Henry (Frank) Burnett was born in Peterhead, Aberdeenshire, Scotland on February 15, 1852. His parents were Peter Burnett and Henrietta Bond. His father was a whaler captain. Frank moved to Liverpool at an early age to attend the Merchant Taylor's Grammar School, planning for a career in business, but at age 14 he chose to apprentice on a sailing vessel. During his time as a sailor he travelled as far as Egypt and South Africa. Around 1870 he immigrated to Montreal, Canada. There he tried his hand at various enterprises; married his first wife, Henrietta Cooke in 1878; moved across the country to Manitoba in 1880; and to Vancouver c. 1895. He began making trips to the South Pacific in 1895. He was able to retire in 1901, at which time he outfitted a schooner, the Laurel, which he used to take another trip to the Pacific, collecting artifacts along the way. This 1902 trip is described in Burnett's first book "Through Tropic Seas" (1910). He also wrote "Through Polynesia and Papua" (1911), "Summer Isles of Eden" (1923) and "The Wreck of the Tropic Bird and Other Sea Stories" (1926). In 1912, and again in 1929, he made a small donation of objects to the City Museum (now the Vancouver Museum). From 1920-1927 he travelled in South America and British Columbia, where he also collected artifacts. In 1917 his first wife died; in 1923 he married his second wife, Anne Cooke. On July 25, 1927 he donated most of his collection to the University of British Columbia, where it was initially housed in a room on the first floor of the library. It was installed by Frank and his daughter Nina. (The collection also included a group of Inuit objects collected by Ian M. Mackinnon during three years he spent in the Coppermine River area of the N.W.T.) By 1935, the "Burnett Collection" (as well as several other artifacts held by the University) had been recorded in a booklet titled "The University of British Columbia Catalogue of Ethnographic Specimens". The listed objects became the founding collection of the UBC Museum of Anthropology. In recognition of his generosity, the University bestowed on him an honourary Doctor of Laws degree in November, 1929. Burnett died suddenly on February 20, 1930, while addressing the Canadian Authors’ Association, at the Hotel Vancouver.

Anthony Shelton

  • Persoon
  • [19-?] -

Anthony Shelton served as the Director of the Museum of Anthropology (MOA) at the University of British Columbia (UBC) from August 2004 through June 2021. A researcher, curator, teacher and administrator, his interests include Latin American, Iberian and African visual cultures, Surrealism, the history of collecting, and critical museology. Before coming to UBC he held curatorial positions at the British Museum, The Royal Pavilion, Art Gallery and Museum’s Brighton, the Horniman Museum, London, and academic appointments at the University of Sussex, University College, London and the University of Coimbra. He has been the Portuguese representative to ASEMUS (Asia-Europe Museums Network), and sat on the international advisory boards for the construction and development of the Humboldt Forum, Berlin and the Asian Cultural Complex, Gwangju.

Dr. Shelton has published extensively in the areas of visual culture, critical museology, history of collecting and various aspects of Mexican cultural history. His works include Art, Anthropology, and Aesthetics (with J. Coote eds. 19, 1992); Museums and Changing Perspectives of Culture (1995); Fetishism: Visualizing Power and Desire (1995); Collectors: Individuals and Institutions (2001); Collectors: Expressions of Self and Others (2001).

Dr. Shelton curated two acclaimed exhibitions at MOA: Luminescence: The Silver of Peru and Heaven, Hell and Somewhere In Between: Portuguese Popular Art. He also launched an award-winning publication series with Figure 1 Publishing, authoring several of its titles, including the recently published Under Different Moons: African Art in Conversation and Theatrum Mundi: Masks and Masquerades in Mexico and the Andes. He helped to expand MOA’s African, European and Latin American collections. He also developed strong relationships with consulates, created an external advisory board, and secured funding for postdoctoral curatorial fellows.

Dr. Shelton received Doctorate and Masters degrees from Oxford University, and a Bachelors degree from the University of Hull.

Vickie Jensen and Jay Powell

  • Familie
  • 1969 -

Vickie Jensen and Jay Powell are partners in both life and work. Since the early 1970s they have worked together in Washington State and British Columbia to study, document, and help revitalise indigenous languages in the communities in which they were active. In addition to language work, the couple promoted Indigenous artists and assisted First Nations in their efforts to achieve self-determination.

James V. Powell (Jay) completed his first degree in archaeology at Wheaton College in Illinois in 1959. He then studied Near Eastern languages at the National University of Mexico, the University of Chicago, and Hebrew University in Jerusalem. Between 1958 and 1965 he worked on excavation sites in Mexico, Jordan, Egypt, Israel, Pakistan and Afghanistan. In 1965, seeking a quieter life, he began a degree at the University of Denver studying Archival Science, which he completed a year later. He then took a research librarian position at the New York Times and published two books on the translation history of the bible. In 1968 Powell began graduate studies in linguistics at the Pacific and Asian Linguistics Institute, University of Hawaii. In 1969 he began to conduct research on the Quileute language in La Push, Washington State for his M.A. and PhD degrees in Anthropological Linguistics. His dissertation, Proto-Chimakuan: a Reconstruction was completed in 1974.

Jensen earned a B.A., magnum cum laude, in English from Luther College in 1968. She then went on to do a Master of Arts in Teaching at the University of Iowa, which she completed in 1970. For her Master’s degree she specialised in education for children and youth that have trouble fitting into mainstream schools. During this period she also studied photography. She was employed in alternative education programs, and while teaching in South Dakota worked with Sioux adults. These experiences led to her strong conviction that teaching materials should reflect the students’ own environments and that language education should be pragmatic and realistic in its goals. She felt that incorporating photography that the students could relate to would lead to success in achieving these objectives.

In the summer of 1972 Jensen travelled to La Push to visit Powell, with whom she had been corresponding. While there, she photographed the community. In December of the same year she immigrated to Canada to join Powell in Vancouver where he had taken a teaching job at the University of British Columbia (UBC). At that time, the two began their collaborative work with Northwest coast communities, travelling to the villages in which they produced educational materials during Powell’s breaks at the University. Powell taught linguistics at UBC until his retirement in July 1999. Throughout his career he researched the languages of a number of indigenous groups and produced approximately 130 publications in linguistic, anthropological, pedagogical and popular journals, and books. Jensen’s first job in Canada was at the Gallery of Photography in North Vancouver where she worked and taught. In addition to a number of other photographic projects, many as part of her collaborative work with Powell, Jensen was editor of Westcoast Mariner Magazine from March 1988 – June 1991, and for Office @ Home from 1997 – 1999. Between 1995 – 2001 she published a number of articles and books on marine themes, focussing on underwater vehicles.

In addition to their work in the Northwest Coast, Jensen and Powell have also photographed and conducted research in communities around the world. This includes work in the USA, Mexico, South America, as well as four sabbatical years that took the couple and their two sons through Europe, Asia, South America, and Africa. As well as research trips, Jensen and Powell have spent recent years lecturing on cruise ships and travelling for pleasure.

Powell has remained active as an ethnographic and linguistic consultant throughout the Northwest coast since his retirement from UBC. He and Jensen continue to work with communities with which they have established relationships, on both a formal and an ad hoc basis. Powell has an ongoing contract with the Haisla, and there will likely be more work with the Quileute, in addition to casual projects that come up periodically.

William McLennan

  • Persoon
  • 1948 - 2020

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.

Bertram Charles (B.C.) Binning

  • Persoon
  • 1909 - 1976

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.

Muratorio family

  • 32
  • Familie

Blanca Muratorio is a Professor Emeritus in Anthropology at the University of British Columbia. Originally from Argentina, Blanca Muratorio received her Ph.D. at U.C.-Berkeley in 1972 and later moved to Vancouver to join the faculty of Anthropology at UBC. Her ethnographic area of focus is Latin America. Her research interests include Anthropology and History, visual anthropology, oral histories, Amazonian societies, women in the Third World, religion and ethnicity. Her publications include “The Life and Times of Grandfather Alonso, Culture and History in the Upper Amazon”, “Protestantism and Capitalism Revisited, in the Rural Highlands of Ecuador”, “Protestantism, Ethnicity, and Class in Chimborazo”, “Indigenous Women’s Identities and the Politics of Cultural Reproduction in the Ecuadorian Amazon”, “Rucuyaca Alonso y la Historia Social y económica del Alto Napo: 1850-1950.” Now retired, she recently returned to live in Argentina with her husband Ricardo.

Ricardo Muratorio is a Professor Emeritus in Sociology at the University of British Columbia. Originally from Argentina, Ricardo Muratorio received his MA at U.C.-Berkeley in the 1970s and later moved to Vancouver to join the faculty of the Anthropology-Sociology Department at UBC. He is now retired, and recently returned to live in Argentina with his wife Blanca. Ricardo Muratorio has published a number of works including “A Feast of Color, Corpus Christi Dance Costumes of Ecuador: From the Olga Fisch Collection” in conjunction with the Smithsonian Institute.

In 2010, Blanca Muratorio donated over 200 objects to the Museum of Anthropology’s Multiversity Gallery.

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