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Subseries consists of information provided by the Vancouver Organizing Committee for the 2010 Olympic Winter Games held in Vancouver regarding an Aboriginal Arts Program for the Olympics. The package includes background information about the program and application information for those wishing to apply.

This subseries contains one file that consists of images of a private pole raising. The mask in the photographs was carved by Jim Hart and is being danced by him. The mask is part of the MOA, UBC collection.

ref # 1-2-B

Subseries consists of correspondence and accompanying documentation regarding the creation and installation of northwest coast art at the British Columbia pavilion as part of the Canada pavilion in Seville, Spain in 1992 as part of the Universal Expo of Seville (Expo ’92).

Subseries contains one file that consists of images of the MOA depicting the reflecting pond that was filled for one of Arthur Erickson’s birthdays.

Subseries consists of correspondence and accompanying photographs collected in anticipation of a potential metals project that never occurred at the Museum.

Subseries consists of photographs and negatives documenting the Maori’s visit to MOA in 2004. The photographs are mostly taken in the Great Hall.

Subseries contains a significant number of digital images on CD-ROMs of scans of silver bracelets from MOA, as well as various other institutions including the Royal Ontario Museum and the Canadian Museum of Civilization, in order to facilitate study of these bracelets as a flat image. Bracelets were scanned and then added to a database. These scans contributed to the Signed Without Signature exhibit at MOA on works by Charles and Isabella Edenshaw. CD-ROM 7 also includes photographs of Arthur Erickson’s birthday party at MOA.

Subseries contains one file that consists of images of Buddhist monks creating a sand painting in the great hall of MOA.

Subseries consists of photographs documenting the carving of a totem pole by Jim Hart for MOA. The slides document the entire process of carving from start to finish. The totem pole is listed as the House Frontal Totem Pole on the MOA catalogue, carved by artist Jim Hart, purchased by MOA, and raised on October 12, 1982. McLennan noted that the pole was carved based on fragments of an old pole which came to MOA in 1948. These fragments remain in a carving shed.

Subseries contains one file that consists of photographs of six totem poles being raised in Haida Gwaii for the Qay’llnagaay Heritage Centre. The photographs comprise eight different incomplete rolls of film. The images depict First Nations people in regalia, other community members, and visitors all participating in the raising of the totem poles.

This subseries consists of records relating to McLennan’s teaching work at the Freda Diesing School of Northwest Coast Art in Terrace B.C. from 2006 until 2011. McLennan has continued to teach in 2012-2013, and may return after his retirement from the MOA at UBC.

Subseries contains one file that consists of images showing the unveiling of the Canada Post stamp for the 50th anniversary of the MOA.

Subseries consists of copies of prints and negatives from museums around the world depicting indigenous peoples in Victorian portraiture style photographs during the turn of the 20th century. McLennan acquired these copies with the intention of proposing an exhibit which never materialized. There is also a file of accompanying documentation including correspondence regarding the loans of photographs and other research materials.

Subseries contains one file containing a photograph showing First Nations community members walking down the ramp in the great hall at the Museum of Anthropology.

Photographs show Jill Baird standing with two youth from the Musqueam First Nation standing next to a weaving exhibit.

Subseries contains three files consisting of records related to the Bill Reid symposium which was titled “The Legacy of Bill Reid: A Critical Enquiry”. The records comprise planning of the symposium, research done after the symposium on related topics, and McLennan’s presentation.

This subseries consists of images showing objects from the MOA on display at the president of the University of British Columbia’s house, and one textual record listing the labels for these objects.

Subseries consists of several annotated copies of McLennan’s “Beneath the Patina: using technology to expand the study of Northwest Coast painting” for the Otsego Institute for Native American Art History conference held in Cooperstown, New York, from August 7-9, 1998. Subseries also includes correspondence between McLennan and conference organizers, and photograph permission requests.

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.

This suberies contains correspondence between McLennan and organizers of the Boundaries in the Art of the Northwest Coast of America conference. In addition are draft copies of McLennan's presentation.