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Nuno Porto fonds

  • 120
  • Fundo
  • 2012 - 2018

Includes material related to the Pigapicha! exhibition at the Museum of Anthropology. Nuno Porto curated this exhibition. Records include correspondence, research, and meeting notes.

Sin título

Sharon Fortney fonds

  • 78
  • Fundo
  • 2006 - 2008

The fonds consists of one file titled Interview Transcripts, which contains recorded interviews, transcripts, and printed copies of transcribed interviews of research done by Sharon Fortney towards her PhD thesis titled Forging New Partnerships: Coast Salish Communities and Museums. Forney's thesis explores what motivates Coast Salish communities to participate in museum representations; considers the legal implications of such representations with respect to aboriginal rights; and analyzes of the diverse experiences of Coast Salish individuals in specific museum projects and partnerships with the goal of progressing museum and community interactions along a path to equal partnership.

The audiotapes in the fonds contain interviews with Coast Salish community members and artists regarding museums. The CD-R contains transcripts of interviews and is located in the temporary CD storage box. Sharon Fortney's curriculam vitae, thesis abstract, and 10 interviewee consent forms are located in the case file.

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Genni Hennessy fonds

  • 48
  • Fundo
  • 2002 - 2003

The fonds consists of records relating to Hennessy’s 2003 MA thesis titled The Spirit of Collaboration: Exploring Critical Pedagogical Principles in Transforming the Museum Through Space and Time. Hennessy was interested in the relationships that developed between community members and museum staff during the process of putting together the Museum of Anthropology’s exhibit The Spirit of Islam, which ran from October 2001 to May 2002. Her purpose was to document the kinds of collaborative processes that occurred as the exhibit planning progressed in order to identify a model from which other museums working with communities might benefit.

Sin título

MOA Partnership of Peoples Renewal Project fonds

  • 150
  • Fundo
  • 1998 - 2010

MOA’s Partnership for the Peoples Renewal project (MRP) was a multi-year major expansion and renovation project, undertaken to enhance physical, visual and virtual access to MOA collections in order to better facilitate ongoing research. The project lasted from 2004-2010, and cost approximately $55.5 million. It was funded in large part by a Canada Foundation for Innovation (CFI) grant. Additional funds came from provincial (British Columbia) grants, a Museums Assistance Program (MAP), and the University of British Columbia. Prior to the launch of the MRP, MOA’s thirty year old infrastructure was no longer able to successfully serve the increasing demands of its communities and users due to insufficient space to safely store or display material, to acquire new acquisitions, or to conduct research

Renovations included a new research wing, new offices, laboratories, a culturally sensitive research room, recording studio, and a new exhibition hall (The Audain Gallery). Other enhancements included MOA's new Multiversity Galleries, the creation of the Reciprocal Research Network (RRN), expansion of the Museum Shop, a new cafe, and courtyard and outdoor events area.

The work of the MRP was carried out by different streams: Program Wide stream, Building stream, Collections Research and Enhancement Project (CREP), the Reciprocal Research Network (RRN), and the Laboratory of Archaeology stream. Records in the fonds are divided into series based on these streams.

The MRP had physical and virtual components. The physical components included:
• Expanding the building (from approx.. 50,000 square feet to 120,000 square feet)
• Creation of spaces suitable for interdisciplinary and collaborative community-based research
• New 5,600 square foot exhibition space
• A redesign and expansion of visible storage into the “Multiversity Galleries”
• Expanded capacity for direct object study through the creation of research suites
• New large object storage rooms for textiles, works on paper, and three dimensional works
• New offices for staff
• New chemistry lab
• New library and archives space
• Installation of a Museum cafe
• Expansion and relocation of the Museum Shop

Virtual components included:
• Development of the Reciprocal Research Network (RRN)
• The digitization of MOA’s object collection, and development of an online catalogue to make these images and object information accessible.
• Consultations with originating communities regarding the handling and description of MOA’s object collection

Major roles in the MRP included:
• Jill Baird (MOA staff) – Project Lead,
• UBC Properties Trust (especially Joe Redmond and Rob Brown) – The University’s development arm given responsibility to build all UBC buildings. Involved in review and approval of design and budget, including UBC Board approvals
• Lundholm Associate Architects (Michael Lundholm, Lead) – Museum architect and planning specialist. Worked on initial plans with MOA in early phase, and did the feasibility study.
• Stantec Architecture Limited (Noel Best, lead) – The architectural firm that designed the building and interior spaces renovations and additions, in consultation with Arthur Erickson (architect of the original building)
• David Cunningham – Lead project designer
• Ambit Consulting (Dan Zollmann) – Provided program management consultation for non-building components of MRP
• Goppion - Italian company that made the new cases that went in the Multiversity Galleries

Lynn Hill fonds

  • 103
  • Fundo
  • 1998 - 2000

The fonds consists of the records created by Lynn Hill while she was employed as curator-in-residence at the Museum of Anthropology. They relate predominantly to her curation of the exhibition Raven’s Reprise. The exhibition involved the installation of works by contemporary Northwest Coast artists around the Museum, and was intended to challenge viewers’ expectations of Northwest Coast art by juxtaposing traditionally accepted aesthetics and technology with modern materials and urban sensibilities. Records reflect Hill’s planning of the exhibition, as well as her communication with artists involved in the exhibit and in a complimentary series of public talks. Other records relate to Hill’s work on Gallery 3 and with the Native Youth Program.

Documents include source books, correspondence, reports, training materials, budgets, grant applications, exhibit proposals, draft exhibition materials, resumes, brochures, photographs, interview transcripts, and copies of print materials.

Sin título

Fuyubi Nakamura fonds

  • 153
  • Fundo
  • 1996-2016

The fonds consists of materials related to Fuyubi Nakamura's role as Curator of Asian Collections at the Museum of Anthropology (2014-present). Currently this exclusively relates to records of the exhibit (In)visible: The Spiritual World of Taiwan through Contemporary Art/形(無)形-台灣當代藝術的靈性世界 (November 20, 2015 – April 3, 2016).

Sin título

Asia-Pacific Economic Cooperation (APEC) collection

  • 98
  • Colección
  • 1996 - 2000, predominant 1997

The APEC collection was established in 1997 when the Museum of Anthropology (MOA) hired two students, Todd Tubutis and Maria Roth. These two students were supervised by Director and Professor Ruth B. Phillips, and instructed to gather information in a variety of formats that would serve to represent the events of the 1997 APEC Leaders Meeting at MOA. These materials, in addition to their archival value, were to be used in a public exhibition at the museum and for other museum educational projects.

The collection consists of materials gathered by Todd Tubutis and Maria Roth in 1997 and 1998. These two students were hired to gather information in a variety of formats that would serve to represent the events of the 1997 APEC Leaders’ Meeting at the Museum. These records consist of textual materials, sound recordings, photographs, posters and banners, and physical artifacts. The records include: photographs of the Museum of Anthropology in preparation for the Leaders’ Meeting and protests against APEC at UBC and throughout Vancouver; posters and banners collected at protests at UBC and the Museum of Anthropology; radio broadcast recordings from UBC campus radio (CITR) on the day of the APEC Leaders’ Meeting and heavy student protesting; official APEC paraphernalia (both textual and graphic); textual records of the impact APEC had at the Museum of Anthropology; newspaper and journal articles concerning the APEC Leaders’ Meeting at the Museum of Anthropology; press releases from protest groups, the Prime Minister’s Office, and APEC; concerns of the Musqueam Nation regarding APEC; and coverage of the APEC Leaders’ Meeting in U.S. newspapers.

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Lyle Wilson fonds

  • 63
  • Fundo
  • 1991 (report). Poster undated.

Fonds consists of a copy of Wilson’s “Kitlope Report: Various Haisla Artifacts” and a poster with map designed by Wilson, titled "Kitamaat: People of the Snow" and featuring Haisla place names.

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Kersti Krug fonds

  • 109
  • Fundo
  • 1990 - 2001

The fonds reflects Kersti Krug’s work on several major projects relating to organizational change and development at the University of British Columbia's Museum of Anthropology (MOA). Records created during Krug’s period as Director of Communications relate predominantly to surveys and studies conducted with members of, and visitors to, the Museum. Records Krug created in her capacity as co-director of MOA’s Certificate in Museum Studies Program illustrate the development of the program and its curriculum, and also its cancellation. As Manager of Research and Evaluation, Krug was involved in the initial stages of the MOA building expansion; records she produced during this period illustrate her consultative approach to assessing MOA’s space needs and her solicitation of proposals from architectural firms.

Records produced during these activities include proposals, questionnaires, interview transcriptions, data sets, graphs and charts, notes, drafts, and reports, draft curricula, copies of email correspondence, syllabi, research materials, and brochures.

The fonds has been arranged into the series:

A) Certificate in Museum Studies Program
B) MOA Space Needs and Development Options
C) Visitor Studies and Surveys
D) Vision/ Mission Statement
E) Galleries and Exhibitions.

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Penelope Connell collection

  • 70
  • Colección
  • [ca. 1990]

Collection consists of 14 hand-tinted photographs of Japan. Geographic areas represented by these photographs include Kobe, Enosha Island, Tokyo, Nagasaki, Chuzenji Lake at Nikko, Inland Sea at Bingo, Kamakura, Yokohama and Honmoku.

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Darrin Morrison fonds

  • 106
  • Fundo
  • 1988 - 2005

Fonds consists of material related to Morrison’s involvement with several exhibits at the Museum of Anthropology at the University of British Columbia, as well as his work planning and implementing preventative conservation measures, and his work design the Museum Research Centre. The fonds consists of one series of Exhibitions with sub-series corresponding to separate exhibits. Another series consists of information on a book on textiles and costumes. The last series consists of information about building projects that Morrison was involved with. Material consists of correspondence, handwritten notes, exhibit catalogs, poster and invitation proofs, budgets, slides, copy and 35 mm negatives, floppy disks, project descriptions, postcards, video cassettes and artist histories.

The fonds is arranged in the following series:

  1. Exhibitions
  2. Textiles and Costume
  3. Building Projects

Sin título

Skooker Broome fonds

  • 108
  • Fundo
  • 1987 - 2015

The fonds consists of records relating to Skooker Broome’s function as a designer and as a coordinator for building services at UBC's Museum of Anthropology and contains detailed records relating to producing, planning, designing, and installing exhibits at the Museum of Anthropology. Records include correspondence, drawings, notes, memos, minutes, reports, photographs, proofs, labels, and other materials.

The fonds is arranged into three series:

Series 1: Exhibition & design series
Series 2: Special projects & events series
Series 3: Facilities & services series

See attached pdf document for series descriptions and file list.

Sin título

Pam Brown fonds

  • 104
  • Fundo
  • 1987 - 2013

Fonds reflects Brown’s career as a curator at the Museum of Anthropology, including her role as Supervisor of the Native Youth Programme. Records include correspondence, memoranda, reports, press clippings, grant applications, press releases, schedules, liability waivers, itineraries, comment books, student assignments, scripts for student presentations, photographs, and audio recordings.

The records are organized into the following series:

  1. Native Youth Programme
  2. Aboriginal Cultural Stewardship Programme
  3. Aboriginal Museum Internship Program
  4. Sourcebooks and Related Materials
  5. Repatriation Forum

See attached pdf document for full description of these series and file lists.

Sin título

Joi Carlin fonds

  • 131
  • Fundo
  • February 1987

The fonds consists of photographs documenting the welcome ceremony that occurred in February 1987 for the canoe project by Nisga’a carver Norman Tait. The Museum of Anthropology appears in the background of multiple pictures in which spectators can be seen gathered for the 1st cut ceremony of the canoe log. Norman The event included speeches as well as ceremonies and performances by Norman Tait and his close relatives. Joe David, Reva Robinson, and Bill Reid are among the other notable individuals that appear in these images.

Ronnie Tessler fonds

  • 12
  • Fundo
  • 1986 - 1987

The fonds consists of photographs created by Ronnie Tessler between 1986 and 1987 documenting a canoe project by Nisga’a carver Norman Tait. The project was abandoned in the summer of 1987, and the canoe was left uncompleted. The photographs depict models for the canoe, transportation of the log for the canoe to the Museum of Anthropology, ceremonies performed throughout the project, and various stages of work on the canoe and model. Additional photographs from this period depict a totem pole-raising ceremony at Capilano Mall in North Vancouver, as well as portraits of Les Baker, a model Tait wanted to use for a “white man” mask. The fonds is arranged into a single series: Norman Tait canoe project and related materials.

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Gordon and Louanne Houston fonds

  • 50
  • Fundo
  • 1985 - 1987

During their time living in Bella Bella, the Houstons took many photographs of the lives of the Heiltsuk First Nation community documenting the day-to-day lives of the Heiltsuk First Nation as well as ceremonial activities. The colour slides document the construction, painting, and launching of the Gi’wa, a Heiltsuk canoe which sailed with the Lootaas, the Haida canoe built by Bill Reid for Expo 86. Some of the slides document the welcome feast at Bella Bella in honour of the Haida crew of the Lootaas. The colour slides also document several potlatches and wedding feasts held in the community hall, and the local Sports Day parade. Slides also depict the role of the fishing in the community, such as smoking salmon and processing roe. Other photos document gravestones on a nearby cemetery island, derelict canneries, petroglyphs and pictographs, totem poles and house posts, all in or near Bella Bella.

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Robert Keziere fonds

  • 76
  • Fundo
  • 1982

The fonds consists of 17 photographic prints taken by Robert Keziere on October 20, 1982 of artist Bill Reid working in his Kerrisdale (Vancouver) studio. The film remained unprocessed until 2009, when it was developed and the prints, contact sheet, and DVD were created. The DVD contains image files in multiple resolutions. In 2021 an additional roll of film was discovered by Keziere and prints, negatives, contact sheet, and USB flash drive were added to the fonds.

Sin título

Ken Kuramoto fonds

  • 61
  • Fundo
  • 1980 - 1981

This fonds consists of 39 16mm film reels of Celebration of the Raven. There are also five audio reels which are soundtracks for the film. Film reels include stills and test stills and camera originals. Most reels are labeled according to the scene.

Sin título

Elizabeth Johnson fonds

  • 21
  • Fundo
  • 1980 - 2006

The records in this fonds were created and received in the course of Elizabeth Johnson’s tenure at the Museum of Anthropology. The records relate to activities Johnson was involved in through her various positions at the Museum, including: involvement with exhibitions, collections, the museums relations with the community and various community events sponsored by the museum, teaching and various administrative activities. The fonds consists of agendas, agreements, articles, artifact lists, attendance figures, biographies, books, business cards, budgets, calendar of events, catalogue drafts, comment books, conference schedule, consent forms, contract lists, correspondence, course descriptions, curators statement, declaration, diagram, drawings, evaluations, exhibit labels, expenses, internal forms (exhibit proposal forms), financial records, flyers, final reports, guidelines, grant applications, invitations, lecture notes, memoranda, minutes of meetings, museum exhibit diagrams, notes, permission forms, photographs, photograph labels, posters, plans, policies, press releases, proposals, publications (books), publicity records, receipts, reports, reproductions of newspaper ads and articles, research notes, revisions, schedules, slide list, slides, speaking notes, student papers, surveys, syllabi, teaching notes, transcripts of research interviews, audio cassettes of interviews, translations, visitor surveys and comments, and videos.

The fonds is arranged in the following series:

  1. Proposed Exhibits
  2. Exhibits
  3. Collections
  4. Special projects and events series
  5. Correspondence series
  6. Museum education series
  7. Administrative series
  8. Academic materials

See attached pdf document for description of series and file lists.

Sin título

Gordon Miller collection

  • 36
  • Colección
  • [1979?]-1993

The collection consists of nine large watercolour illustrative panels commissioned by the UBC Museum of Anthropology, eight of which were commissioned for the exhibit "The Four Seasons: Food Getting in British Columbia Prehistory," which ran from April to November 1979. The other watercolour is from an unidentified exhibit or sourcebook.

The collection also contains one painting that was commissioned by the museum for a publication (Museum Note, no.12, "Ninstints: World Heritage Site"), as well as a blueprint reproduction of a related drawing. These are renderings of how the houses and poles on a beach at the Ninstints village site might have looked when they were in use. The rendering is based on George MacDonald's map.

Collection consists of the following items:

001: The Four Seasons – Spring – Interior [1979?]
002: The Four Seasons – Spring – Coast [1979?]
003: The Four Seasons – Summer – Interior [1979?]
004: The Four Seasons – Summer – Coast [1979?]
005: The Four Seasons – Autumn – Interior [1979?]
006: The Four Seasons – Autumn – Coast [1979?]
007: The Four Seasons – Winter – Interior [1979?]
008: The Four Seasons – Winter – Coast [1979?]
009: Haida six beam house 1993
010: [Ninstints village painting] 1983
011: [Ninstints village, drawing for Museum Note] 1983

Sin título

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