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Subseries consists of images that were selected by McLennan from Bill Holm Northwest Coast videodisk. Video disks were played in the museum. A copy of the original video disk that images are from is available in David Cunningham fonds (MOA Video 252).

Subseries contains largely photographs of artworks of Northwest Coast First Nations artists located at various cultural heritage institutions as well as in private collections. The majority of the information within the files was collected by McLennan for research purposes, and includes textual documentation about the lives of the artists, correspondence with the artists, information about exhibits based on the artists’ work and newspaper clippings and other stories about the personal life of the artists.

Subseries contains resources acquired by McLennan due largely in his research interest in Northwest coast art and design. The series consists largely of photographs taken by McLennan during his travels to museums and archival institutions of artifacts. There are also collections of photographs acquired by McLennan from archival institutions which he had copied. Correspondence between professionals at museums and archives is also sometimes located within the file with the photographs. The museums and archives which have files in this subseries are geographically very diverse. As a note of interest, some objects were taken out especially for McLennan, when access to them by the general public would not normally be granted.

Subseries consists of images of various items from the Chinese Cultural Centre exhibition.

Subseries consists of photographs and negatives of the Greek and Roman exhibition.

Subseries consists of a program and information related to a basket weaving exhibit held at the Bellevue Arts Museum called American Indian Baskets: Trees, Reeds and Grasses.

Subseries contains two photographs related to the Dress and Identity exhibit.

Subseries contains binders of copies of images that McLennan has ordered, and some cases paid for, from other institutions, in addition to some that he has taken himself. He has arranged them in binders according to culture. He created these binders as an easy reference system for faculty, students, community members, and artists to use when identifying and comparing cultural artistic styles, and traditional customs. First Nations included in the culture photographs include: Tsimshian, Haisla, Kwakwaka’wakw, Northern First Nations, Ktunaxa, Kinbasket, Okanagan, Salish, Tlingit, Tahltan, Tsilhqot’in, Secwepemc, Stl’atl’lmx, Nlaka’pamux, Heiltsuk, Nuxalk, Oweekeno, Gitxsan, Haida, Nuu-chah-nulth and Nisga’a. A file also pertains to differentiating between different styles of canoes.

Subseries consists of records relating to the <i>Through My Eyes</i> exhibit held at the Museum of Vancouver. The exhibit is a collaborative effort curated by 27 First Nations people of different Northwest Coast communities allowing them to “present their personal perspective” of their culture and its objects. McLennan was involved through managing the development, production and implementation of this collaborative effort. Records include photographs and slides of potential exhibit artifacts, media reviews, student paper reviews, exhibit project statements, transcripts of interviews done with First Nations artists, correspondence, consent forms for interviews and audio cassettes of the taped interviews which detail McLennan discussing various pieces of First Nations art with several artists.

Subseries contains images of a carved spindle whorl.

Subseries contains records directly related to the planning, development and execution of the Transforming Image exhibit at MOA. Planning for the exhibit began in 1983 when grants were obtained to begin research on Northwest Coast paintings. The exhibit itself occurred in 1993. The exhibit was the end result of research and development of a technique to view severely faded Northwest Coast First Nations paintings and painted objects through the use of infrared technology. Records include correspondence and information requests, public relations files, grant application information, budgeting information, papers, conferences and publications about the Transforming Image, files related to the publishing of the Transforming Image book and school interest in the exhibit.

Due to its large volume, The Transforming Image subseries has been broken down further into sub- subseries: Administration records; Research files; Book related; and Institutional photographs.

ref # 1-1-MMM-1

Subseries consists of photographs and textual records relating to and documenting the reconstruction of the roof and exterior of the Haida House at the MOA. Photographs depict the exterior of the Haida House pre-reconstruction as well as the surrounding totem poles. The accompanying textual records document proposals for the reconstruction, correspondence regarding materials, construction, financial documentation including proposed budgets and grant applications, and a UBC MOA Haida House Upgrade Proposal Report.

Subseries consists of images showing artwork from the exhibit <i>Images of LIfe: 50 000 Years of Japanese History</i> and a copy of the proposal for the exhibition (in the form of an illustrated booklet).

Subseries contains images of objects and the exhibit.

Subseries contains images of an exhibit at the Prince Rupert Museum featuring works by Norman Tait.

Subseries contains images showing the exhibit.

Subseries consists of photographs documenting various Sunday programs at the MOA and the children attending them. Programs include those for the visually impaired, related to visible storage, related to Japanese heritage and culture, the Punch and Judy show, Evelyn Roth’s giant salmon and others that are unidentified. Photographs were taken by McLennan, Jean Hamilton and Stephen Inglis.

ref # 1-2-A

Subseries contains images of paintings by John Laford.

Subseries consists of images of the artist who created Ukrainian Easter eggs for the exhibit <i>Symbol of New Hope: The Ukrainian Easter Egg</i>

Subseries contains one colour print of the Temporary Textile display.