Consists of photographs taken of historical prints and artefacts relating to the Quileute. These were taken at a number of institutions, including Brigham Young University in Utah, the Washing State Archives in Olympia, The Museum of Natural History, the Smithsonian, the Museum of the American Indian Heye Foundation, the American Philosophical Society in Philadelphia, and the University of Washington Burke Museum.
Consists of photographs taken of people and events in Alert Bay and surrounding Kwak’wala speaking communities. Photographs document the activities of the era such as potlatches, fishing, trapping, and activities surrounding the opening of the U’Mista Cultural Centre, and many were taken for the purpose of using them in educational language books.
Consists of materials produced for teaching training and development during Phase 2 of the Shuswap project. Includes a Teacher’s Manual developed with the assistance of Joy Wild, teaching units, Chilcotin readers by Maria Myers (produced during this period by Jensen) and a Chilcotin alphabet sheet.
Consists of audio recordings made as part of the research for the Musqueam and Seton Lake Lillooet language materials. The Musqueam recordings mainly consist of interviews with informant Andrew Guerin on lexical and grammatical aspects of the language. The information on these recordings were used by Powell in the Musqueam language books. The Lillooet recordings are of community member Cida Link reading the Lillooet alphabet. These were done to accompany educational materials.
Consists of audio cassettes and transcripts of the photo identification session involving Sue Rowley (curator of public archaeology at the Museum of Anthropology), Vickie Jensen, and Doreen Jensen (Gitksan artist and curator). The session took place over two days, March 12, 2002 and April 9, 2002 with the goal of identifying the events and people in the photographs of Mary Johnson’s bitxw (divorce potlatch).
Consists of photographs in print and slide format documenting Gitksan artists, both amateur and professional, that Jensen and Powell worked with or knew personally during their time living with the Gitksan.
Consists of photographs taken of social events and carvers connected to the Tait project, but not officially part of the project itself. Jensen was invited to a number of feasts and parties hosted by the Tait family, which she often photographed, making a gift of the pictures to the family members. At one of the parties, a family member performed a dance wearing a mask made to represent Jensen and her camera, complete with the sound of the shutter. In addition to events, Jensen met a number of artists, both Aboriginal and non-Aboriginal, through her acquaintance with the Taits, and she often photographed them.
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 a timeline developed by McLennan regarding a collection of Northwest coast carvings, baskets, blankets and tools collected and received by the museum through a bequest from the late Tom and Frances Richardson in preparation for an exhibit.
This subseries contains images shown in the exhibit <i>Anonymous Beauty</i> curated by Miriam Clavir. This exhibit was on the Japanese handmade paper collection housed at MOA. In addition are 4 transparencies of the exhibit text.
Subseries contains images of objects in the exhibit <i>The Legacy: Continuing Traditions of Northwest Coast Indian Art.</i> This exhibit was held November 25, 1981 - August 31, 1982. In addition are photographs of the exhibit opening.