Showing 2087 results

Subseries consists of records relating to the exhibit, "Hands of Our Ancestors: The Revival of Salish Weaving at Musqueam," which was installed at MOA from January 28 to July 20, 1986. The exhibit was co-curated by Wendy Grant and Debra Sparrow of the Musqueam Weavers, and Elizabeth Johnson of MOA. Subseries contains agreements, attendance figures, budgets, brochure, comment book (copy), contact lists, correspondence, curators’ statement, draft text for catalogue, ethical review application, exhibit layout diagrams, grant applications, memos, newspaper articles, notes, photographs, slides, published articles, receipts, research paper, speaking notes, transcripts of research interviews, schedules, and audio-taped interviews.

Subseries consists of records relating to the 1993 exhibit, "A Rare Flower: A Century of Cantonese Opera in Canada." The exhibit began with an acquisition of historic Chinese Opera costumes from the Jin Wah Sin Music Society. The exhibit was first installed at MOA from May 16 to Nov. 7 1992, in Gallery 5. Elizabeth Johnson was both curator and coordinator. It was also a travelling exhibit with five other venues in Canada. It reopened in MOA in 1995, and later travelled to the McCord Museum. Aspects of the exhibit have been on display at numerous venues, including Hong Kong and Ghuangzhou in a panel exhibit. Subseries contains agendas, articles, artifact lists, books, business cards, agreements, correspondence, drawings, evaluations, exhibit labels, expenses, internal forms (exhibit proposal forms), financial records, guidelines, grant applications, memoranda, minutes of meetings, museum exhibit diagrams, permission forms, photographs, notes, plans, policies, press releases, proposals, publications (books and magazines), publicity records, receipts, reports, reproductions of newspaper ads and articles, research notes, schedules, slides, speaking notes, surveys, transcripts of research interviews, handbills, drafts, visitor surveys and videos.

Subseries consists of records relating to the exhibit, The Unity Quilt. Elizabeth Johnson was coordinator and co-curator with Ellen Antoine of the Indian Homemakers of BC. This exhibit focused on work made by participants in the Traditional Parenting Skills Program of the Indian Homemakers’ Association of B.C. Records include: correspondence, MOA exhibit proposal form (blank), exhibit labels, memos, notes, press release, photographs, negatives, slides, and participant statements.

Subseries consists of records relating to the exhibit, “Chinese Peasant Textiles Art.” This exhibit was proposed by Elizabeth Johnson and carried out by students. Records include notes, excerpts from articles, visitor survey forms, handwritten notations, hand-drawn diagrams of display cases, proposals and budgets.

Subseries consists of a newsletter pertaining to the exhibit “Nunavutmiutanik Elisasiniq.” This exhibit was installed at the MOA from April - September 1999. This exhibition honours the people of Nunavut, and features more than one hundred examples of contemporary and historic sculptures, prints, and drawings.

Subseries consists of notes pertaining to the exhibit “Wearing Politics, Fashioning Commemoration: Factory Printed Cloths of Ghana”. This was a student exhibit by Michelle Willard. The exhibit was coordinated by Elizabeth Johnson. This exhibit was installed at MOA in February 2004.

Subseries consists of records relating to the exhibit “My Ancestors are Still Dancing” at MOA. As part of a “living” exhibition, Tsimshian weaver William White from Lax Kw’alaams was commissioned to publicly weave a child-size robe in Gallery 8. The exhibit displayed William White’s weavings, historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. The exhibit was installed in 2001 and ran through until September 28, 2002. Records include acquisition/artifact lists, artist biography, budget, correspondence, exhibit labels, exhibit proposals, exhibit panel layouts, exhibit resource binders, grant applications, internal forms (consent forms), installation diagrams, map, meeting agendas memoranda, notes, object records, photographs and slides, photocopies of photographs, professional guidelines, reports, schedules, recorded audio research interviews, transcripts of research interviews, travelling exhibit, and visitor comments.

Subseries consists of a photograph of Elizabeth Johnson with a group of individuals standing in front of the exhibit What is Canadian cultural property?

Subseries consists of correspondence and transcription records relating to an interview with Musqueam weavers, Debra Sparrow and Robyn Sparrow.

Series relates to public programming activities associated with museum exhibits, including the museum exhibits committee, organizing of traveling exhibits and public programming related to exhibits and participation in other exhibit related activities.
Series consists of memoranda, correspondence, proposals, news releases, clippings, inventories, publications, photographs, circulars, budgets, programme descriptions, schedules, staff guidelines and other textual material.
This series is arranged into 3 sub-series:
A. Exhibits Committee (1982-1985): Sub-Series relates to Ratner’s participation in the museums exhibits committee.
B. Coordinating (1974-1986): Sub-series reflects the organizing of traveling
exhibits, and participation in other exhibit related activities other than public
programming.
C. Programming (1977-1987): Sub-series reflects activities related to public
programming associated with museum exhibits.