Series consists of records created and collected by McLennan relating to Bill Reid and his art held both in private collections and at the MOA. Projects included in these records are the installation of Raven and the First Men in the MOA and The Spirit of Haida Gwaii at the Vancouver International Airport. Photographs also document jewelry designed by Bill Reid, along with small sculptures, large scale sculptures, ivory and argillite works and drums.
Series consists of records created by William McLennan in the course of planning and photographing various projects and events at MOA.
Projects are considered as having a longer duration, often occuring outside of the physical museum building, and in cooperation with other bodies. McLennan often liaised with First Nation communities and artists during the planning stages of projects.
Events are considered as having occurred over a short period of time. Events were attended by McLennan as a MOA representative and photograph.
On both projects and events McLennan took on larger roles in addition to photographer such as community liason, presenting on topics, and designer. Each project and event comprises their own sub-series.
Administration, public relations and correspondence
Series consists of records relating to McLennan’s administrative role as a curator at the MOA, including public relations (interviews given, lectures given, publications about the museum and his work), annual reports and correspondence (inquiries from interested parties regarding certain artifacts, events, people and donations at the museum). The majority of this series presents itself in textual records, however there are also digital records included as well. There are a large number of digital images in the file ‘Photographs’ which depict various stages in the museum development of MOA, significant artists, MOA grounds and landscape, special events and visitors and milestone occasions.
Series consists of records created by McLennan in the course of planning and designing various exhibits, both at MOA and on behalf of MOA for other institutions such as the World Expo in 1986. Each specific exhibit comprises its own sub-series. Graphic material includes photographic material depicting artifacts used in the exhibit, artifacts at other institutions that could potentially be used for exhibit, staff involved in exhibit, events held surrounding the opening and closing of an exhibit including any special ceremonies and other people and items related to the exhibit. Textual material includes label text, research conducted in order to strengthen the exhibits, correspondence between McLennan and cultural heritage institutions, administrative records (i.e. budgets and finances, schedules and time frames) and public relations materials.
Subseries 1 through subseries 64 represent an earlier time frame when McLennan’s role at MOA was more related to exhibit and graphic design than to actively curating exhibits. Subseries 65 through subseries 81 represent McLennan’s increased role as a curator of exhibits which he often researched, curated and did the exhibit design.
Series consists of records, photographs and research related to the planning for the installation of the Multiversity Galleries at the MOA. This project was part of the Partnership of Peoples Renewal project, which expanded the MOA and renovated existing gallery space. McLennan’s role included outreach to First Nations communities. In cases where members of the community could not travel to MOA, McLennan would travel to them bringing with him binders which were assembled to show the objects held in the MOA collections.
The First Nations communities which McLennan included as part of the community consultation process include: Comox, Kitselas, Stl’atl’imx/Lillooet/ Lil’wat/St’at’imc, Nlaka’pamux, Gitksan, Haida, Wet’suwet’en, Haisla, Secwepemc, Squamish, In-SHUCK-ch, Nuxalk, Heiltsuk, Tsimshian, Nisga’a, Salish, Comox and Kwakwaka’wakw.
Series consists of records created and collected by McLennan in the course of research on Northwest coast art. McLennan kept files related to research conducted in other museums and archives, on artists he came into contact with, and a series of photographs depicting art styles and objects complied and organized by culture, and ideas and research for books. Each of these comprises its own sub-series.