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Subseries consists primarily of material relating to the construction of a new museum building in the mid-1970s. There are also records regarding earlier proposals for new museum facilities which never materialized. There is material relating to the design and installation of the ‘Ksan doors and the Koerner Gallery. Record forms include correspondence, design plans (housed in the map cabinet), design team meeting minutes, budget notes and contracts.

Subseries consists of material relating to the upkeep of the buildings used by the museum. Records in this subseries consist of correspondence, memoranda, plans and financial documents.

Subseries consists of 14 files relating to the museum’s budget and to budgets for the department of anthropology. The records within the subseries consist of correspondence, budgets, ledger sheets, memoranda, receipts, notes, requisition books, expense ledgers, receipts, account statements, and statements of purchases.

Subseries consists of records relating to a variety of media related publications for exhibitions, seminars, concerts, and programs.

This suberies contains correspondence between McLennan and organizers of the Boundaries in the Art of the Northwest Coast of America conference. In addition are draft copies of McLennan's presentation.

Subseries consists of records relating to the planning of British Columbia First Nations public programmes.

This sub-series consists of records relating to the exhibition Border Zones: New Art Across Cultures. Duffek curated this exhibition, which was on display at the Museum of Anthropology from January 23 – September 12, 2010. The following is a description of the exhibition taken from the museum’s website:

“Curated by Karen Duffek, MOA Curator of Contemporary Visual Arts. Presented with Vancouver 2010 Cultural Olympiad, Border Zones: New Art Across Cultures is an exhibition of international contemporary art that inaugurated MOA’s Audain Gallery on January 23, 2010. It brings together the work of twelve artists engaged in a dialogue about cultural boundaries –within and between communities, art practices, audiences, or institutions – and the possibility of translation across them.

Through a surprising diversity of media and approaches, the artists selected for this show use the idea of a border space to raise questions about migration and identity, knowledge protection and access, and the permeability and construction of boundaries cross-culturally. Borders are considered not only as lines or markers that divide cultures, but also as uncertain spaces that are sites of encounter and transformation.Participating artists include Hayati Mokhtar, Dain-Iskandar Said, John Wynne, Edward Poitras, Thamotharampillai Shanaathanan, Tania Mouraud, Marianne Nicolson, Gu Xiong, Prabakar Visvanath, Rosanna Raymond, Ron Yunkaporta, and Laura Wee Láy Láq, please visit www.moa.ubc.ca/blog.

Border Zones: New Art Across Cultures, which will be shown through September 12, 2010, is part of MOA’s commitment to exploring, developing, and inviting new ways of representing understandings about culture in the 21st century.

To give you the inside scoop on the ideas behind the exhibit, visit our interactive online magazine at www.BorderZones.ca.

Here you’ll find personal and provocative articles on each of the artists by distinguished contributors such as award-winning journalist Jan Wong, educator and activist Gerald Taiaiake Alfred, and filmmaker and artist Loretta Todd, among others. You’ll also find video interviews with the artists, regular updates on artist files, artwork exclusive to the webzine, provocative reviews of the exhibition, and a blog devoted to the idea of borders.

Over the course of the exhibition, BorderZones.ca will become an archive about the idea of borders, particularly how new spaces of thought and meaning are created and contested at the boundaries of knowledge, language, art, culture, and politics.”

Records within the sub-series include grant application materials, the exhibition proposal, budgets, reports, grant applications, correspondence, interviews, promotional materials, photographs, and press cuttings.

Subseries contains mainly digital files with some accompanying textual records of records which mostly pertain to ideas that McLennan had for books he wanted to write. In some cases an actual book was created and published, and in other cases a book was printed (not published) to show perspective donors. Potential book subjects are listed as follows: argillite, Charles Edenshaw [file contains an assemblage of digital images that could be used in a publication], Edenshaw exhibit [file contains records related to the Edenshaw exhibit “Signed Without Signature”], Explorers [notes for the beginning of an idea for a book], Gisaxstala, MOA books [these books were made as talking pieces to show prospective sponsors of gallery space what could be done in the galleries, and what had not yet been done], Port Essington, Raven Rattle, Seeing, Thinking, Serenipitous Assembly, Site Specific, Weavers Workshop. Other subjects included in this subseries pertain to book ideas or contacts who would have been interested in sponsoring book including Elspeth McConnell and Michael Audain.

Subseries consists of images used in the Museum Note No. 23 <i>Bob Boyer: A Blanket Statement</i>

Subseries contains images of exhibit curated by students from Anthropology 431 course.

Subseries consists of images of the Blood from a Stone exhibit.

Sub-series consists of photographs, negatives, photocopies, postcards, cut-outs, drawings, and rubbings acquired by Duff. Images consist of views of wooden and panel pipes; boxes and chests; dishes, bowls, plates, spoons, and other household articles; coppers; chief’s seats; coffins; carvings and poles; cloaks and blankets; bracelets; screens; masks and frontlets; paddles and canoes; and photos of Albert Edenshaw. Also included are textual records that describe the images.

Subseries contains three files consisting of records related to the Bill Reid symposium which was titled “The Legacy of Bill Reid: A Critical Enquiry”. The records comprise planning of the symposium, research done after the symposium on related topics, and McLennan’s presentation.