Showing 250 results

Sub-series consists of records related to the exhibition "Amazonia: The Rights of Nature," which was on display at the Museum of Anthropology from March 10, 2017 - January 28, 2018. Porto was the curator for this exhibition.

The exhibition was described on the Museum of Anthropology's website as follows:

"Amazonia: The Rights of Nature explores the creative ideas that inspire Indigenous resistance to threats facing the world’s largest rainforest.

The exhibition features Amazonian basketry, textiles, carvings, feather works and ceramics both of everyday and of ceremonial use, representing Indigenous, Maroon and white settler communities. Today, these groups confront threats caused by political violence, mining, oil and gas exploration, industrial agriculture, forest fires and hydroelectric plants. Challenging visitors to examine their own notions towards holistic well-being, the exhibition covers more than 100 years of unsuspected relationships between Vancouver and Amazonian peoples, ideas and their struggles.

Amazonia departs from a social philosophy, known in Spanish as “buen vivir,” in which the concept of a good life proposes a holistic approach to development that intertwines notions of unity, equality, dignity, reciprocity, social and gender equality. The concept aligns directly with value systems intrinsic to Indigenous South American cultures, and serves as a rallying cry to move beyond Western ideals and practices of development and progress largely measured by profit.

The objects displayed in Amazonia have been exclusively assembled from MOA’s collection of acquisitions and donations. Included amongst the exhibition are items from Frank Burnett’s founding collection, donated to the University of British Columbia in 1927, ensuring the exhibition spans more than 100 years of exchange between Vancouver and Amazonian peoples.

Taking over MOA’s O’Brian Gallery, the exhibit’s items are primarily composed of simple, identifiable elements: vegetal fibers, wood, animal parts, clay or feathers. These uncomplicated components are transformed into extremely sophisticated and intricate textiles, basketry, ceramics, feather works and jewelry, displaying the knowledge and craftsmanship of some of the groups who reside in the region. Taken in its entirety, the exhibition promises to offer a revealing window into one of the world’s more culturally, socially and linguistically diverse regions, as well as a new framework for addressing some of the globe’s most pressing environmental challenges."

Subseries contains images of First Nations leaders: Chief Joe Mathias and Mary Hayes.

Sub-series consists of photographic prints and photocopies collected from other institutions for use on object labels in MOA's Great Hall. Items were originally housed in two large binders with dividers.

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

Subseries consists of records relating to research on residential schools that led to the production of the exhibit Speaking to Memory: Images and Voices from St. Michael's Residential School, held at the Museum of Anthropology, UBC.

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.

This subseries consists of records related to the traveling exhibit that came to MOA called <i>Treasures of the Tsimshian from the Dundas Collection.</i> Records include draft correspondence, and draft exhibit photos and text (including case labels).

Subseries consists of records related to the <i>Signed Without Signature: Works by Charles and Isabella Edenshaw</i> exhibit curated by McLennan for MOA. In this exhibition, McLennan focused on showcasing Charles Edenshaw’s metalwork and painting, and Isabella Edenshaw’s basketry, to illustrate how each artist created a recognizable “signature” through art and not by physically signing their names, and how it evolved through their long careers. Records include research on the Edenshaws, exhibit photos, reviews, notes, correspondence, artifact loans, and files relating to individual museums and heritage institutions which hold Edenshaw artifacts.

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 three slides documenting the installation of the Musqueam weavers portion of the <i>Gathering Strength: New Generations in Northwest Coast Art</i> exhibit at MOA.

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

Subseries contains records related to the <i>Tlingit Long-tail Canoe</i> exhibit held in Gallery 3 at MOA. The exhibit features a newly carved 38 foot Tlingit long-tail canoe created by Mr. Calvin Hunt to honour his great, great Tlingit grandmother, Anisalaga (nee Mary Ebbets). The exhibit ran from October 15 – December 13, 2009. Records include correspondence and proposals regarding the creation of the exhibit, photographs and photocopies of canoes and public relations materials promoting the exhibit.

Subseries contains records related to an exhibit on Northwest Coast metals developed by McLennan in collaboration with two anthropology students. Records include exhibit design notes including case arrangements, the exhibit proposal from the students, correspondence regarding the exhibit preparations, research regarding Northwest Coast metal works and photographs depicting various artifacts that would be included on display.

Subseries contains records related to the <i>Where are the Children?</i> exhibit held by MOA. Curated by Jeff Thomas, and circulated by the Aboriginal Healing Foundation in Ottawa, this exhibition presented a series of historical photographs documenting the history of residential schools in Canada. The records include correspondence related to exhibit loans, temporary exhibit preliminary and finalized designs and a reference manual for setting up the exhibition.

Subseries contains records related to the <i>Attributed to Edenshaw Exhibit</i> held at MOA from April 28, 1998 through May 30, 2003. This exhibit featured basketry as well as gold, silver, argillite and wood carvings by Haida artists Charles and Isabella Edenshaw. Records include photographs of artifacts identified as potentially on exhibit during the time frame as well as some correspondence and public relations regarding the exhibit.

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 contains slides of the Pasifika: Island Journeys exhibition, held at MOA from June 21, 2004 - May 9, 2004.

Subseries contains photographic slides of the exhibit <i>El Corazon Del Mundo : At the Heart of the World</i>. This exhibit was held at MOA from October 23, 2002 - March 30, 2003.