Affichage de 307 résultats

Series consists of images found in or related to Carter's 1966 published work. Focus is on photographic representations of First Nations communities along B.C.'s North coast, including the Xwemelch'stn (Coast Salish), Kynoc, Kitisug, Klemtu and Tsleil-Waututh nations. Files are generally arranged chronologically according to locality and/or subject matter. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material.

Series consists of images found in or related to Carter’s [date] published work. Focus is on photographic representations of First Nations communities located throughout British Columbia. Localities include: Alert Bay, Gwayasdums (Gilford Island), Karlukwees (Turnour island), Kingcome Inlet, Mamalilikulla, and Uchucklesaht. Series includes images of totem poles and community members from Ehattesaht, Kwakiutl (Kwakwaka’wakw) and Nuu-chah-nulth nations. Files are generally arranged chronologically according to subject matter and/or locality. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material.

Series consists of material related to the management of employment and labour at MOA. The series focuses primarily on long term employees however small files on more temporary positions such as those employed to do carvings by the museum are also included. The series has been arranged chronologically by date within subseries. The series consists of curriculum vitas, memoranda, notes, correspondence, newspaper and magazine clippings, ephemera, time sheets, receipts, account statements, position postings, and appointment notices, programs, policy documents and an audio cassette.

The series is arranged into two subseries:
Subseries A: Staff
Subseries B: Volunteers

Series consists of material relating to exhibitions mounted by the museum. Record forms in this series include correspondence, memoranda, notes, sketches, maps, newspaper clippings, insurance evaluations, inventories, ephemera, sketches, maps, receipts, plans and photographs.

The series is arranged into five subseries:
Subseries A: Loan Requests, Correspondence and Planning
Subseries B: Long-term exhibits
Subseries C: Temporary exhibits
Subseries D: Traveling Exhibitions
Subseries E: Loans in

Series consists of material related to school visits to the museum, both by educators and students. The records in this series consist of correspondence and ephemera.

Series consists of correspondence and memoranda, grant applications and related forms, financial statements and reports, handwritten notations, donor lists, receipts of donations, published material, newspaper clippings, and other textual records related to the administration of the museum’s finances. Includes files related to the museum’s budget and sources of revenue and funding, including: records of donations and grant applications.

The series is divided into the following subseries:

A. Budget Files 1974-1992

B. Funding Files 1971-2004

C. Revenue Files 1981-1996

D. Fundraising – External Causes 2005

Series consists of correspondence and memoranda, reports, minutes, blueline prints, architectural plans, handwritten notations, journal articles, newspaper clippings, brochures, photographs and other textual and graphic material relating to Museum of Anthropology facilities and services. The series includes records regarding the museum’s construction plans and projects, including: the initial planning and building of the museum and several of its expansions and renovations. Also included are records relating to building maintenance; this includes records relating to building security and museum grounds.

The series is divided into the following subseries:

A. General Files 1972-1995

B. Building Maintenance Files 1973-1996

C. Building Projects and Plans Files 1972-1988

Series consists of correspondence and memoranda, reports, brochures, pamphlets, handwritten notations, invitations, programmes, photographs, slides, newspaper clippings, advertisements, and other textual and graphic records related to public programmes and events produced by the Museum of Anthropology. The series includes records relating to specific programmes, the planning of programmes, museum film and video productions and their viewing, as well as records regarding special events and performances held at the museum. Also includes planning records relating to the museum’s involvement with Expo’86.

The series is divided into the following subseries:

A. Planning Files 1974-1983

B. Programmes Files 1976-1990

C. Film and Video Files 1976-1984

D. Special Events Files 1975-2013

E. Expo ’86 Files 1984-1986

F. Vancouver 2010 Olympic Games Files 2002-2010

Series consists of correspondence and memoranda, handwritten notations, reports, newspaper clippings, journal articles, pamphlets, minutes, financial statements, papers, membership lists, photographs and other textual and graphic material related to the Museum of Anthropology’s relations with individuals, organizations, and associations external to the museum. Series includes records related to museum membership vis-à-vis the short-lived Friends of the Museum of Anthropology, the museum’s public relations activities, and events held by external organizations or groups at the museum, such as APEC, inquiries and requests received by the museum, including requests for guided visits, as well as records regarding the collection of visitor comments. In addition to Ames’ general communications and correspondence, the series also includes records relating to the Museum of Anthropology’s relations with other museums and institutions. This includes correspondence and other records regarding the director’s participation in a number of external museum-related committees and associations.

The series is divided into the following subseries:

A. General Files 1985-1986

B. Public Relations Files 1971-1990

C. Inquiries and Requests Files 1974-2011

D. Friends of the Museum of Anthropology 1977-1985

E. Communications and Service: Museums and Other Institutions Files 1970-2006

F. Communications and Service: Other Files 1966-2010

G. Outside Events at MOA Files 1986-2012

H. Visitor Surveys and Feedback Files 1976-1992

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 brochures, memorandums, correspondence, lecture notes, research notes, labels, schedules, and articles pertaining to Madeline Bronsdon Rowan's responsibility as curator in charge of the exhibits Dress and Identity (1977), East African Medicine (1978), and Cedar: The Great Provider (1984). The series also includes the visible storage plan designed by students (H. Maximee and B. Gielbing) from the Department of Anthropology.

The Volunteer Associates was formed in 1976, as a programme of volunteers at the Museum of Anthropology. On March 15th of that year, 16 members of a steering committee began the process of organizing the volunteer group. By April 1976, 34 members in total participated in their general meeting. In 1977, the Volunteer Associates enacted an official policy. They are a self-administered organization, designed to provide assistance and services to the museum and its staff. The Volunteer Associates is made up of various committees, whose members work with a committee head. The committee head, in turn, coordinates activities with a museum staff member.
Series consists of charter, correspondence, memorandums and minutes of meetings relating to the creation of the Volunteer Associates.

Series consists of slides that were created but never used for the Orientation Centre slide show. Slides are divided into 2 main groups: Museum of Anthropology and Native Culture. Within each group, the slides are subdivided by different themes:

Museum of Anthropology has 7 themes: K’san Door Opening (May '76 - 9 slides); Miscellaneous (4 slides); Press Conference (34 slides); Opening (100 slides); Installation (55 slides); Pre-Data Book Installation (7 slides); and Artifacts (6 slides).

Native Culture has 6 themes: Technology (61 slides); Landscape, Habitat and Lifestyle (187 slides; Weaving (7 slides); Native Art (9 slides); University of Washington Map of the North West Coast (5 slides); and Native Art and Life (83 slides).

Series documents the development and implementation of the Aboriginal Cultural Stewardship Program (ACSP) at MOA, an educational program which Pam Brown designed in 1994-1995. The Aboriginal Cultural Stewardship Program was similar to the Aboriginal Museum Internship Programme in that it provided native participants with practical training in how to develop low-cost, effective displays and resource materials on cultural subjects; ACSP, however, was a more in-depth educational program than AMIP and was six weeks long instead of three. Records in this series include reports, correspondence, press releases, and evaluation forms of interns and the program itself.

Series contains audio recordings connected to research and projects Pam Brown was involved in. Most recordings are interviews. These include interviews for collections research, sourcebooks, and exhibitions.

There is no documented consent for these interviews, so access is restricted and requires external permission.

Series consists of photographs documenting Northwest Coast artists and their work throughout the 1970s and 1980s

Jensen first began to photograph works of art for Bud Mintz around 1973 when he was working for Langara College. Before he opened his gallery she would go to the College to photograph the jewellery and art he had for sale. Often the pieces had been purchased and he wanted to document what he had sold. Once he opened his gallery of Indigenous art in South Vancouver, Jensen would go to the gallery to take pictures.

Through her work with Bud Mintz Jensen met many Northwest coast artists, both Indigenous and non-Indigenous. As she developed relationships with many of these artists, she documented them and their work.

Some of the later photographs of artists were taken to accompany articles and other work that Jensen was doing at the time.