Affichage de 316 résultats

Series consists of Margaret Stott’s curriculum vitae. It describes her education, professional experience, exhibitions coordinated or curated, audio-visual publications, and publications. The series was created in 1991 to facilitate access to the sous-fonds.

Series consists of records relating to proposals for development of exhibits at MOA which did not result in completed exhibitions. The series includes memoranda, correspondences, notes, proposals, budgets, interview transcripts and photographs.

The series is arranged into the following sub-series:

Subseries A: Exhibit Cultural Property
Subseries B: Mah [Unbound Lives: Chinese Women’s Dress in the Twentieth Century Exhibit Proposal
Subseries C: Textile Exhibit
Subseries D: Exhibit Ideas
Subseries E: Textile Access Project
Subseries F: Door Gods
Subseries G: Mayan Project
Subseries H: Gu Xiong
Subseries I: Grace Young
Subseries J: Ulli Steltzer Photograph Exhibit

Series consists of correspondence, memoranda, handwritten notations, lecture notes, planning notes and other textual and graphic material related to Halpin’s role as educator and advisor to students in the Anthropology Department. Includes records relating to specific courses taught by Halpin including syllabi, reading lists, assignments, examination questions, and records relating to proposals for new courses and course allocations.

The series is divided into the following sub-series:

A. Credit Courses, 1968-2000
B. Administrative, 1981-2000
C. Planning, 1974-1997
D. General, 1971-1995

Series consists of correspondence, interdepartmental memoranda, loan requests and commissions, exhibit receipts, exhibit proposals and forms including blank forms, policy drafts, news releases, pamphlets, minutes of committee meetings, budgets, agendas, exhibition and gallery schedules, exhibition lists, facility reports, expense claims, installation invoice, handwritten notations, photographs, and slides. These records relate to the administrative duties carried out by Carol Mayer either in relation to exhibitions or other miscellaneous events such as courses taught at Emily Carr College of Art and Design, conference planning and participation on a provincial Task Force on Museum and First Nations.

The Records are divided into the following sub-series:

A   Administration files    1987-2001
B   Miscellaneous files 1988-2012
C   Committee files 1987-2014

Series includes records created, received, and/or set aside by Pam Brown and her predecessor Anne-Marie Fenger in the course of their duties as supervisors of the Native Youth Programme (NYP, also called the Native Youth Project). Since 1999 Pam Brown has supervised the Native Youth Programme (NYP, formerly called the Native Youth Project), which aims to provide First Nations high school students with the opportunity to gain leadership and public speaking skills through a season of full-time employment as cultural interpreters at MOA. Brown’s responsibilities as NYP supervisor include securing funding for the employment of a program coordinator and six students and overseeing their training. The NYP was originally founded in 1979 by MOA curator Madeline Bronsdon-Rowan, who served as the program’s first supervisor. Bronsdon-Rowan retired in 1987 and was succeeded by Anne-Marie Fenger, whose records Brown subsequently inherited.

The records in this series document the organization and administration of the Native Youth Programme and the functions and activities of the NYP supervisor, including: student worker recruitment and training, educational programs and presentations, grants and funding, public events (including fundraising), field trips, publicity, and conference planning.

Records in this series include correspondence, memoranda, reports, press clippings, grant applications, press releases, schedules, liability waivers, study trip itineraries, public comment books, student assignments, scripts for student presentations, photographs, and audio recordings.

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 contains photographs collected for curatorial research by MOA staff, mostly relating to First Nations geographical areas, cultures, and artists. The series also includes photographs documenting MOA activities, staff, and volunteers.

The photographs are organized into two subseries:
A. Early MOA activities and curatorial research
B. MOA Activities, 1976 and later

Series consists of slides representing the inventory of Central Coast Salish art photographed by Dr. Kew during his visits to various North American museums and the British Museum in preparation for the exhibition Visions of Power Symbols of Wealth: Central Coast Salish Sculpture and Engraving. The images illustrate a wide variety of traditional art objects including masks, adzes, spindle whorls, mat creasers, and totems poles, as well as various jewelry, instruments, and utensils. The series also includes two volumes of the Central Coast Salish Computerized Art Inventory, which provides a detailed physical description of each art object.

This series consists entirely of graphic materials. While the materials are not accompanied by any contextual information, it can be assumed that the images found in this series were taken by Ruus on various trips. Specifically this photographic documentation examines textiles from China, Macedonia, Croatia, Slovakia, the Circum-Polar region, India, the South Western United States, South America, the Middle-East and Europe. Record forms included in this series are slides, photographs, and memoranda.

Series consists of reports, histories, memoranda, notes and other textual material.

This series consists of records created, received, and/or used by the staff responsible for school programming.

The series includes records which document the creation, organization, administration and execution of educational programming for students. The series contains the following kinds of records: correspondence, memoranda, press releases, school kits, teachers’ notes, educational program instructions, publications, evaluation reports, newspaper clippings, promotional brochures and handouts, interviews, interview consent forms, media consent forms, photographs, audio and video recordings, and other material related to school programs.

The series consists primarily of material accumulated and/or created by Gillian Darling Kovanic during her travels abroad, both as a student of anthropology and a filmmaker. This series includes field research conducted by Kovanic with the Kalash in Pakistan, the Kom/Kati tribes in Pakistan and Afghanistan, the Orissa in India, the Haida on the Queen Charlotte Islands [Haida Gwaii], British Columbia and the Kwakwaka’wakw in Alert Bay, British Columbia. Much of her fieldwork is made up of a study of the languages and cultural practices of the people being studied.

Included in the series are eleven field notebooks, a handwritten Kalash’a dictionary, a notebook containing information on the ethnographic materials collected by Darling, which now reside with the Royal Ontario Museum, and approximately 4502 photographs, including slides, negatives, prints and digital photos. Also included are a number of academic and popular articles collected by Kovanic, which compliment her field research, including a unique, handwritten article by Wazir Ali Shah, secretary to the last ruler of Chital, Mehtar, in 1977, which was written after the original manuscript was lost. The series also contains published material, comprised of a teaching kit titled “Kalash Bread-making: From Field to Feast” and the Wakhi Language Book by Haqiqat Ali.

Series consists of guidelines, plans, policies, evaluations, reports, agendas, mission statements, correspondence, and surveys pertaining to the administration responsibilities of the curator of education and public works on behalf of the Museum of Anthropology. The records are divided into sub-series:
A) MOA Policies, Guidelines and Procedures (1977-1984)
B) Museum Reports, Proposals and Evaluations (1976-1983)
C) Personnel, Interns and Friends of the Museum Records (1979-1984) D) Committees and Retreats Records (1979-1986)
E) Museum Correspondence (1975-1987)
F) Financial Records (1976-1985)
G) Native Rights Report (1979)

Series consists of records relating to the administrative functions of the Public Relations and Communications Office, the Museum of Anthropology, and the University of British Columbia. Includes records relating to various University of British Columbia offices and staff, Museum of Anthropology staff, and museum policies and procedures, as well as attendance figures. The series also includes records relating to the development, planning, and reporting of Public Relations and Communications Office activities, including job descriptions, activity plans, and summaries of public relations activities.

The series is divided into the following sub-series:

A. University of British Columbia and Museum of Anthropology offices and staff files, 1981-2006
B. Museum of Anthropology policies and procedures files, 1985-2003
C. Committees files, 1985-2004
D. Public Relations and Communications reports, and planning files, 1981-2005
E. Museum of Anthropology attendance files, 1983-2003

Series consists of records created, received, and/or used by Rosa Ho in her capacity as Curator of Art and Public Programmes. Rosa Ho was responsible for the planning and production of the public programmes, exhibitions, performances, lecture series, film series, panel discussions, seminars and other events hosted by and produced in whole or in part by the Museum of Anthropology. Series includes records that document the planning and production of exhibitions, public programmes and events.
Series contains correspondence, memoranda, press releases, publications, photographs, photographic negatives, proposals, policy drafts, performance reports, newspaper clippings, brochures, financial statements, itineraries, meeting minutes, agendas, event schedules, lists of artists and speakers, budgets, reports, artifact lists, contact lists, handwritten notes, scholarly articles, exhibition programs, sign-up sheets, museum layouts, performance reports, recipes, audio tapes, questionnaires, announcement cards, art work, insurance waiver forms, artist statements, funding application forms, videos, and video transcriptions, postcards, posters, handbills, and other materials relating to public programme planning.

The series is arranged in the following 3 sub-series:
A. General, national and international public programmes (1987-1999): Subseries consists of records relating to planning and production of general, national, and international public programmes and events.
B. British Columbia First Nations public programmes (1985-1999): Subseries consists of records relating to the planning of British Columbia First Nations public programmes.
C. Brochures, posters, press releases (1980-1997): Subseries consists of records relating to a variety of media related publications for exhibitions, seminars, concerts, and programs.

Series consists of slides representing the inventory of Central Coast Salish art photographed by Dr. Kew during his visits to various North American museums and the British Museum in preparation for the exhibition Visions of Power Symbols of Wealth: Central Coast Salish Sculpture and Engraving. The images illustrate a wide variety of traditional art objects including masks, adzes, spindle whorls, mat creasers, and totems poles, as well as various jewelry, instruments, and utensils. The series also includes two volumes of the Central Coast Salish Computerized Art Inventory, which provides a detailed physical description of each art object.

Series includes --

Album 1: Slides 03-560

Album 2:
Sheet 1-14 Slides 561-940
Sheet 15-32 [Uncatalogued Slides]

Album 3: [Uncatalogued Slides]

Box# 1: Central Coast Salish Computerized Art Inventory

This series consists of records relating to the development and administration of MOA’s Certificate in Museum Studies Program, which ran for a single season in 1997. Materials produced during the early stages of conceptualization and development date from the early 1990s, and include funding applications for a study on other museum studies programs, the results of this survey, other research materials, and multiple drafts of a report arguing for the need for a Museum Studies program at MOA. The majority of the records, dating from the mid- to late-nineties, document the administration of the program and the collaborative process of curriculum development. Materials include grant applications, program proposals, brochures, schedules of tasks and progress reports, agendas, curricula drafts and MOA staff comments on these drafts. Later records include final copies of syllabi and other teaching materials and evaluative reports on the 1997 program. Finally, the series also provides documentation of the decision to cancel the program in 1999.

Series consists of records related to the administration and realization of exhibits that Halpin organized at the Museum of Anthropology. Records include correspondence, memoranda, handwritten notes, draft copies, proposals, brochures, newspaper clippings, newsletters, loan forms, photocopies of photos and articles, photographs, negatives, contact prints, travel insurance slips, grant applications, reports, and budgets. Many of the files include research conducted on specific artists featured in various exhibitions as well as pictures of their works of art, gallery plans, rough drafts of labels, and bibliographies compiled for research purposes.