Subseries contains textual and photographic records of the Pakistan Pavilion at the 1986 World Expedition held in Vancouver, better known as Expo ‘86. McLennan contributed to the design, content and installation of this exhibit.
File contains images of Expo 86. There are images of the Opening Ceremony, the Pakistan Pavilion, exhibits at BC Place, and other various exhibits displayed at the Expo.
File contains copies of textual records related to the planning and design of the Pakistan Pavilion at Expo 86. These records include design proposals and reports, budgets, copies of correspondence between McLennan and other stakeholders in the project, project reports, and copies of memorandums from Expo 86 staff pertaining to information about the event such as site access, customs, and event information for exhibitors.
File mainly contains information pertaining to the Northwest Coast Architecture project set up in Robson Square in 2002. The information includes copies of correspondence from McLennan to various stakeholders involved in the project, information about the longhouses and the families who lived in them, and photocopies of historical photographs. The photographs depict some historical photographs of longhouses as well as a model of the longhouse to be built for the project.
File mainly contains textual records related to the background research of the Metal Works exhibit. This research contains photocopies of articles written about Northwest Coast metal works, and copies of correspondence McLennan had with NWC artists. The photographic records in this file are images of the exhibit. The artifacts in this file are copper samples.
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.
File mainly contains copies of correspondence, through snail mail and email, addressed to or sent from McLennan to various artists and museums around North America, regarding loaning artifacts to MOA for the <i>Signed Without Signature</i> exhibit. Other textual records include photocopies of images of Northwest Coast artifacts featured in the exhibit. The images contained in this file are film negatives of a woven hat lend to MOA from the American Museum of Natural History.
File contains copies of correspondence between McLennan and the Skidegate First Nations to provide Haida translations for pieces featured in the <i>Signed Without Signatures</i> exhibit.
File mainly contains images, both photographs and photocopies, of Northwest coast artifacts held by private donors. Other textual records include copies of correspondence from McLennan regarding pieces potential donors were interested in giving to MOA.
File contains copies of correspondence between McLennan and the Royal Ontario Museum (ROM) regarding MOA borrowing some pieces from their collection to showcase in the <i>Signed Without Signature</i> exhibit. The majority of the photographs contain in this file are images of a cedar hat held at the ROM. Other photographs depict gold and silver bracelets.
File mainly contains images of Northwest Coast artifacts held at the Museum of Anthropology (MOA), including hats, spoons, silver bracelets, and weavings. The textual records include print outs of catalogue records of more artifacts also held at MOA.
File mainly contains copies of correspondence address to and sent by McLennan to the Vancouver Art Gallery, regarding loaning artifacts from MOA to the Art Gallery for their <i>Charles Edenshaw</i> exhibit.
File contains copies of correspondence from McLennan to various museum curators and artifact owners seeking permission to showcase specific items in their collection in the <i>Signed without Signatures</i> exhibit.
