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Subseries consists records relating to the exhibit "Translations of Traditions: Joanna Staniszkis’ Recent Work". The exhibit was co-curated by Louise Jackson and Elizabeth Johnson of MOA, with Johnson acting as exhibit coordinator. It was installed in Gallery 5 at MOA from Feb 18 to May 24, 1992. Joanna Staniszkis is an internationally known Canadian textile artist. Records include: agreements, articles from newspapers and professional journals, brochures, budget, CHIN artifact list printout, conference speaking notes, correspondence, drafts of text for the didactic panels, exhibit diagram, flyer, final report, funding application, memos, notes, permission forms, phone message, a student paper, slides and a timeline.

Subseries consists of records relating to the exhibit, The Unity Quilt. Elizabeth Johnson was coordinator and co-curator with Ellen Antoine of the Indian Homemakers of BC. This exhibit focused on work made by participants in the Traditional Parenting Skills Program of the Indian Homemakers’ Association of B.C. Records include: correspondence, MOA exhibit proposal form (blank), exhibit labels, memos, notes, press release, photographs, negatives, slides, and participant statements.

Subseries consists of records relating to the exhibit “My Ancestors are Still Dancing” at MOA. As part of a “living” exhibition, Tsimshian weaver William White from Lax Kw’alaams was commissioned to publicly weave a child-size robe in Gallery 8. The exhibit displayed William White’s weavings, historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. The exhibit was installed in 2001 and ran through until September 28, 2002. Records include acquisition/artifact lists, artist biography, budget, correspondence, exhibit labels, exhibit proposals, exhibit panel layouts, exhibit resource binders, grant applications, internal forms (consent forms), installation diagrams, map, meeting agendas memoranda, notes, object records, photographs and slides, photocopies of photographs, professional guidelines, reports, schedules, recorded audio research interviews, transcripts of research interviews, travelling exhibit, and visitor comments.

Subseries consists of records related to the 1987 Commonwealth Conference which brought together heads of government, delegates and media from every commonwealth country in the world. The MOA contributed examples of Northwest Coast art to the conference.

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

The records in this sub-series relate to the semi-permenant exhibition Gathering Strength, which took place after Bill Reid passed away in 1998. Karen Duffek curated the Haida metalwork component of the exhibition, and aided in the development of the accompanying electronic component as well. The exhibition was on display from 2000 through 2004. Records relate to exhibition development and planning, educational and display materials, and correspondence.

This sub-series consists of records relating to the exhibit A Green Dress: Objects, Memory, and the Museum.” This exhibit, which ran from September 27, 2011 until April 8, 2012, was curated by Karen Duffek, Krisztina Laszlo, Carol Mayer, and Susan Rowley, and was designed to complement the contemporaneous exhibit, “ひろしま Hiroshima.” Records within the sub-series include the exhibit proposal, notes on the development of the exhibit, correspondence, exhibition captions, promotional materials.

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.

Series consists of two photographic prints made by photographer Ulli Steltzer. Both images were used in Duffek’s book Bill Reid: Beyond the Essential Form, which was published as part of the Museum Note series in conjunction with the Museum of Anthropology’s 1986 exhibition of the same name. One image is from the pole raising ceremony for one of Reid’s pole at Skidegate in 1978. The other shows a canoe carved by Reid being paddled at Skidegate in April 1986.

Sub-series consists of records relating to the exhibit Cindy Sherman meets Dzunuk'wa. This exhibit, co-curated by Duffek, was at the Satellite Gallery in 2014. The Satellite Gallery was an experimental exhibition space shared between Charles H. Scott Gallery (ECUAD), the Morris and Helen Belkin Art Gallery (UBC), the Museum of Anthropology (UBC), and the Presentation House Gallery. The gallery is closed as of June 2015.

Subseries contain the images used in the booklet Robes of Power: Totem Poles on Cloth written by Doreen Jensen and Polly Sargent, as well as a copy of the booklet. In addition, there are images of a children's workshop that took place during the exhibit at the Museum of Anthropology.

Subseries consists of images used in the book Cowichan Indian Knitting and textual records relating to the production of the book. In addition are the images used in the exhibit which was shown in the Museum of Anthropology September 23 – November 9, 1986.

File 1: Images used in booklet
File 2: Images used in exhibit
File 3: Images of the exhibit

Subseries contains images used in a a publication titled Hands of Our Ancestors: The Revival of Salish Weaving at Musqueam written by Elizabeth Johnson and Kathryn Bernick as well as the publication itself. This publication is part of the Museum Notes program at the Museum of Anthropology.

File 1 - 3: [Photographs ]
File 4: [Transparencies, negatives]
File 5:[Book]
File 6: [Draft of book]
File 7: [Photographs]

Subseries consist of images showing a beaded object, possibly associated with the 1982 exhibition Beads: Selections from the Textile Collection of the Museum of Anthropology.

Subseries contains images of a serigraph print created in 1971 by Joe David. The print is titled Ka-Ka-Win-Chealth (Transformation of white wolf into killer whale).

Subseries consists of images of artworks from Southern India.

Subseries contains images of objects shown in the exhibition titled Tupilaq: Greenland Spirit Carvings held at the Museum of Anthropology March 4th 1984. The carvings are by Anton Utuak.

Subseries consists of images showing objects exhibited during the exhibit titled Museum Quality. This exhibit was purchased for the Museum’s permanent collection by the Anthropology Shop Volunteers. Photographs were taken by Moya Waters.

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