’s Story Begins Here

2019 ANNUAL REPORT EXPLORE DISCOVER CONNECT Table of Contents

Letter from the CEO...... 6

Letter from The Chair of the Board...... 8

Feature Exhibitions...... 10

The MOV Collection...... 22 School & Education Programs...... 28 Public Programs & Events...... 34 Marketing and Communications...... 40 Members and Donors...... 42 Staff & Volunteers...... 45 Financials...... 50 VISION Our vision is to inspire a socially connected, civically engaged city.

MISSION Our mission is to deepen our understanding of Vancouver through stories, objects and shared experiences. 2019 was an exceptionally strong year for and outreach efforts by the Education The Post, launching in 2023. The first set of Museum of Vancouver, with very positive Department brought the museum dedicated restored signs were debuted to the public in revenue and attendance numbers for the group bookings and engagements, most notably November at the Lumiere Festival in šxʷƛ̓ənəq organization. Over the year, MOV mounted with Routes Adventures. Taking inspiration and Xwtl’e7énḵ Square. three new exhibitions: There is Truth Here: support from the MOV pillar of reconciliation, Creativity and Resilience in Children’s Art from the museum piloted its first-ever Indigenous Linking the objects, artefacts, and belongings in Indian Residential and Day Schools, which Artisan Workshop Series, creating a social the collection with the community at large will focused on rare surviving artworks created by enterprise and platform for local Indigenous augment the museum’s capacity to engagingly children who attended the Inkameep Day School Artisans to share their knowledge and gain convey the stories of Vancouver, increase the (Okanagan), St Michael’s Indian Residential access to a wider, more engaged audience. community’s involvement with the museum, and School (Alert Bay), the Alberni Indian Residential utilize MOV’s collection and curatorial expertise School (Vancouver Island), and Mackay Indian Over the course of the year, MOV also as vectors for enhanced community participation, Residential School (Manitoba); Strata of extended and deepened its role and activity to raise awareness of the museum and its role in Many Truths, a partnership with the Capture in the community through a more proactive Vancouver’s civic history. Photography Festival that offered a unique, local and collaborative partnership program that links its collectionLETTER with the city and its people. I look forward to another active year for MOV as counterpoint to the exhibition There is Truth Here; and the studio collaboration Dragon Jars Working closely with the City of Vancouver and we continue to deliver on our vision and mandate and Lotus Bowls with the Canadian Society for the Haida Nation, we successfully repatriated to inspire a socially connected, civically aware Asian Arts, which featured Asian ceramics from a collection of cultural artefacts, including city and deepen the understanding of Vancouver the Jean MacKay Fahrni collection, generously two totem poles, to Haida Gwaii. MOV also through stories, objects, and shared experiences. donated to the museum in 1992 by the increased access to itsFROM building and collection Hongkong Bank of Canada and containing many through open partnerships with groups such as pieces that have not been publicly displayed. the Indian Summer Festival, the Contemporary The exhibition also marked and celebrated the Art Gallery, Simon Fraser University (SFU), the 50th anniversary of the Canadian Society for DOXA Documentary Film Festival, and others. Asian Arts, and Mrs. Jean Mackay Fahrni’s 100th Our commitment to fostering more access birthday—two remarkable achievements. points toTHE the collection was also brought to a CEO whole new level this year through a partnership 2019 was also a very strong year for MOV’s with Quadreal Properties, which has generously educational and public programming activities, provided funding for the conservation and Mauro Vescera with record numbers of students, teachers, restoration of over 20 neon signs from the Chief Executive Officer and community members participating in the collection. The signs will be displayed within all museum’s initiatives. Innovative partnerships the public spaces of their new development, 6 7 2019 BOARD OF DIRECTORS Building on the momentum Under the guidance and direction home to Haida Gwaii in July 2019. are invaluable and much appreciated. from the previous year, MOV of MOV’s CEO, Mauro Vescera, MOV’s educational programming Simply put, we could not do all the work continued to not only increase 2019 saw a rapid increase in continued to grow, outperforming without your enthusiasm, dedication, and Joan Young (Chair) general attendance but also strategic partnerships and 2018’s numbers for bookings and passion for this vital organization and its Nigel Bullers (Vice Chair) significantly expand its visibility innovative business practices attendance. important role in the community. and reach in 2019. that supported the organization’s Eddy Adra (Treasurer) vision and mandate. Securing The Board’s strong committee Although MOV saw a limited multiple channels of funding structure enabled valuable Christina Clarke number of small-scaleLETTER exhibition through grants and fundraising insights to help shape how the Pamela Goossen openings, which included There has allowed MOV to flourish with museum presents itself to the is Truth Here, Strata of Many the work it already produces while public through our four thematic Chief Janice George Truths, and Dragon Jars and also creating further possibilities pillars: Reconciliation, Immigration Lotus Bowls, our numbers, for more diverse and unique & Diversity, Sustainability & Melissa Holland revenue, and social following programming, initiatives, and Environment, and Urban Issues. Joan Young exceededFROM 2018’s figures. The creative opportunities. THEI thank the whole Board for Chair of the 2019 Dr. Bruce Miller Board of Directors important themes and work their tremendous commitment Linda Morris that these exhibitions tackled As in the previous year, 2019 and volunteer service to the and showcased are a testament saw record-breaking admissions community. They add immense Leona Sparrow to the unwavering attention attendance and revenue, while value to the process of shaping and brought to the museum. A simultaneously strengthening its directing the mandate and reach of Karen Thomas shift in theCHAIR direction taken by relationships with partnership OFthe organization as a whole. marketing, which focused on organizations and local First Mark Virgin telling our story through the Nations groups. Following the Finally, a word of thanks to our Virginia Weiler collection and featuring the guiding principles of reconciliation, many supporters—members, work done by the team, further two large totem poles, two pole donors, funders, sponsors, visitors, Kory Wilson augmented and amplified fragments, and two culturally volunteers, and our talented and THEthe community’s reach and sensitiveBOARD belongings were returned dedicated staff. Your contributions Lillian Tummonds engagement with MOV. Arnold Singh

8 9 In 2019, MOV completed four modest- Notably, MOV received the BC sized exhibitions and pursued the Museum Association’s Award of planning and production phases of Outstanding Achievement in the two large-scale exhibitions scheduled Exhibition Category for Wild Things: for 2020. In 2019 alone, the museum The Power of Nature in Our Lives collaborated with over 43 partnering (June 2018 to January 2020). Wild FEATURE organizations in the planning and Things capitalized on the power of execution of its curatorial program. storytelling to create an intimate, Partnering groups ranged from poetic, and playful space for thinking Indigenous organizations (6) and about personal connections with artists (10), to university-based (and disconnections from) nature in EXHIBITIONS research centres (6), government the city. The exhibition was recognized agencies (4), and publishing houses for featuring and building on the (1), to private collectors (9), and collective wisdom of an impressive organizations devoted to photography, cast of environmentally minded Chinese Canadian history, and knowledge holders, designers, environmental education (7). The community groups, and civic and 2019 exhibitions explored topical educational organizations. issues, including urban Indigeneity and the legacy of residential schools, environmental degradation and literacy, immigration, diversity, and Total visitors in 2019: social cohesion. 85,068

10 11 April 5, 2019 to January 5, 2020

Curation: Andrea Walsh; MOV Curation: Sharon Fortney

there Curated by University of to contribute in new ways to Victoria professor Andrea dialogues about truth telling, Walsh, There is Truth Here reconciliation, and redress in is was a 1,800 sq. ft. traveling Canada. exhibition that presented rare surviving artworks created There is Truth Here was by children who attended curated in collaboration with truth the Inkameep Day School residential and day school (Okanagan), St Michael’s Indian survivors and former students Residential School (Alert Bay), who created these works the Alberni Indian Residential when they were children, here School (Vancouver Island), or with family members and Mackay Indian Residential of child creators of the School (Manitoba) between pieces. Adapting There is Creativity and 1950 and 1975. The exhibition Truth Here into a travelling Resilience in drew attention to the exhibition with the inclusion experiences of the survivors of new pieces from the MOV Children’s Art as conveyed through their collections was proposed by from Indian childhood artworks. There is the Curator of Indigenous Truth Here brought a new line Collections and Engagement, Residential and to bear on the role of art as Sharon Fortney. part of children’s knowledge, Day Schools identity, and experiences of Indian residential and day schools. The project sought

12 13 The Strata of Many Truths

April 5, 2019 to April 29, 2019

Visual Artist: Roxanne Charles

To offer a local response to the There is Truth Here project, MOV partnered with the Capture Photography Festival to commission Semiahmoo artist Roxanne Charles to produce an installation that drew inspiration from MOV’s archival photographs of Indigenous children who attended St Mary’s Indian Residential School in Mission.

14 15 V

In Collaboration with the Canadian Society for Asian Arts (CSAA)

Curation: Michael Chen, Margo Palmer, Paula Swart Project Management: Jillian Povarchook

Dragon Jars and Lotus Bowls traced the long travels in Asia in 1968. Visiting craftspeople, history of ceramic production, utilization, and kilns, antique dealers, collectors, and museums, appreciation in Asia. It highlighted ceramic she picked up samples, primarily from China technologies, designs, and forms that are and South East Asia, during her treks along early hallmarks of the Asian tradition. Chinese trading routes from Japan southward.

The ceramics on display were from the Jean The Jean MacKay Fahrni collection was MacKay Fahrni collection. Developed as a generously donated to the Museum of Vancouver teaching collection for potters and Asian in 1985 by the Hongkong Bank of Canada, a gift ceramic enthusiasts, the pieces were brought that has placed over 500 wares from China and together by intrepid collector Jean Fahrni, a South East Asia in the public domain. nurse and potter who began her extensive

16 17 The Chinese Canadian Museum Project Office and Pocket Gallery

November 2019 to August 2020

Curation: Denise Fong, Viviane Gosselin, Henry Yu

The MOV team co-curated and produced a collaborative Social Sciences and Humanities the Chinese Canadian Museum Planning Research Council-funded research project and Office and Pocket Gallery. The opening multi-sited exhibition led by MOV and the coincided with the public announcement University of BC (UBC). Guided by an advisory of new provincial funding to support committee whose members represent diverse continued planning and programming for Chinese Canadian communities and regions, it the new Chinese Canadian Museum (CCM). presents Chinese immigration to this province This involved the production of a 700 sq. as a story that is local and global, historical ft. exhibition and office space aimed at and contemporary. Using food and restaurant familiarizing the public with the CCM planning culture as a narrative entry point and platform, and encouraging visitors to inquire about the the exhibition address themes of mobility, themes and programs under consideration. belonging, racism, resilience, and reparation. Full deployment of A Seat at the Table in Collaboration and partnership have been Vancouver’s Chinatown and MOV will take and are integral to CCM’s anticipated place in 2020. organizational and operational model. One such partnership is A Seat at the Table: Chinese Immigration and British Columbia,

18 19 Environmental

MOV is committed to reducing, reusing, and extending the life of construction Sustainability and materials for its exhibitions by establishing new design and fabrication guidelines. In 2019, we purchased a large shipping container that we placed in our parking Exhibition Design lot to store reclaimed material for future exhibitions. This external storage reduces the risk of pest infestation in the galleries and collections storage areas.

Local Indigenous artist Ronnie Dean Harris, aka Ostwelve, was commissioned by MOV and the City of Vancouver (through the Public Art Program) to produce a four- sided mural on the storage container. His work was inspired by the ancestral village of Sen̓áḵw / Sən̓aʔqʷ and local historical ecology.

20 21 Acquisitions In 2019, the museum Other 2019 examples of rapid- acquired 147 objects to response collecting include augment strategic segments a Naloxone kit, Fentanyl of the collections and support test strips, and protest signs upcoming exhibitions. Of from the Climate Strike held note were several additions on September 27, 2019 at to the contemporary Coast Vancouver City Hall. Salish art collection, including host nations t-shirts created Several items related to for the 2019 Pride Parade. Vancouver’s Chinese Canadian These acquisitions reflect history were acquired in the museum’s commitment preparation for the 2020 H2019.27.1 a-p - Naloxone kit, 2018 to documenting the rich and exhibition A Seat at the dynamic artistic practices of Table: Chinese Immigration members of local Indigenous and British Columbia. communities in the city. A These include: four Chinese highlight was the acquisition schoolbooks that belonged to of six banners from the Tim Louie (1913–2010), whose aerial blockade organized by family is well known for their Greenpeace on July 3, 2018 businesses (IGA and London to protest the Trans Mountain Drugs); a circa 1925 Canadian Pipeline expansion. Each Labour Party handbill was designed by a different promoting the Asian vote, Indigenous artist, and all but and an ad for the Bismarck one were designed by Salish Café, circa 1910, which THE MOV artists. This acquisition also advertises “white cooks only,” reflects MOV’s prioritization exemplifying the outward H2019.38.1 - Transit schedule and ad of rapid-response collecting to racism of the day. for Bismarck Cafe, c. 1910 document pivotal events and movements in Vancouver as COLLECTION they occur. 22 23 Digitizing the Collection Conservation conference and hosted the Pacific For ten consecutive years, the Mallandaine, who emigrated to B.C. In 2019, the conservation department Conservation Group’s biannual Museum of Vancouver has been a in 1862 on the bride ship the S.S. completed many collections and conference at MOV. grateful recipient of a BC History Tynemouth, a collection of garments exhibit-related projects. Conservation Digitization Programme grant from made by Indigenous designer and worked with the City of Vancouver’s For the exhibition There is Truth the Irving K. Barber Learning Centre textile artist Marion Denny in the Building Services to complete the Here, the conservator framed 30 at UBC. The programme promotes 1960s and ’70s, and a collection of yearly cleaning of Building 14 and pieces and completed mounts and increased access to BC historical Cantonese opera costumes, which coordinated the lead abatement condition reports for 94 items. Three project to remove flaking lead resources by providing matching speak to one way that Chinese Take down of Wild Things exhibition large neon signs were restored from funds for digitization projects Canadians created community and a paint from collections storage. disrepair for a temporary exhibit at that result in free online access to sense of belonging away from home. The conservator assisted with the this year’s Lumière’s festival of lights. provincial historical material. The major repatriation to Haida Gwaii In preparation for 2020, the six newly funding has allowed the museum to by coordinating the physical packing acquired Greenpeace banners were digitally photograph each year an of the objects, including two totem readied for exhibition. These objects H984.7.1a-f - Blue average of 2,000 artefacts connected poles and pole fragments, as well as also require a long-term strategy to Mallandaine dress, 1862 to the history of the province. This completing paint and plastic analysis deal with the inherent vice of the ongoing digital photography program to date materials, and providing materials. For the upcoming A Seat at is in large part responsible for the advice about the removal of non- the Table exhibition, the conservation digitization of over 60% of MOV’s original material. department has treated over 30 collection of approximately 70,000 objects. artefacts. Stage two of MOV’s hazardous Restoration of Neon Signs materials procedures project was In 2019, MOV completed the third completed, including labeling all and final phase of the digitization of hazardous objects, containing the Vancouver Historical Costume risks, and training collections and Collection. This project saw the fabrication staff. This year, the digitization of 956 pieces of conservation department hosted H987.231.12 - Dance Costume outerwear, including dresses, suits, two interns and one short-term by Marion Denny, 1976 jackets, and uniforms. Highlights contract conservator. Conservation staff presented at the Canadian include the dress of Louisa Townsend These images are now linked to the museum’s online database, openMOV, accessible at Association for Conservation’s yearly H993.64.1 - Queen Mary’s openmov.museumofvancouver.ca/collection evening dress, 1935 There is Truth Here exhibition Lumière’s festival of lights, 24 November 1, 2019 25 Repatriations

MOV continues to work with BC Other repatriations included a on the repatriation of ceremonial stone bowl that was ancestral remains and spiritually returned to the Lil’wat Nation, as well significant belongings. In the spirit as the transfer of four ancestors to of reconciliation, MOV recognizes their originating communities. that the process of repatriation is paramount to building trust and MOV also hosted staff from the developing healthy relationships with Australian Institute of Aboriginal Indigenous communities in B.C. and and Torres Strait Islander Studies around the world. In 2019, two totem conducting preliminary research poles and four culturally sensitive for the Return of Cultural Heritage belongings were repatriated to the Project. All Australian Indigenous Haida Nation. A Leaving Ceremony, belongings currently in MOV’s attended by representatives of all collection were digitized to support three host nations, was held at MOV this work, and several items have Preparing totem at MOV to be been identified for future repatriation on July 2, 2019, while collections staff returned to Haida Gwaii attended an Arrival Ceremony at the to Australian Aboriginal communities Haida Gwaii Museum in Skidegate when the next phase of this project on July 7, 2019. This return was the commences. result of work begun during the preparation for the exhibition Haida Now (2018–2020). A second phase of repatriation to the Haida community will occur after the closing of the Haida Now exhibition, at a time when the Old Massett and Skidegate Repatriation Committee are ready to undertake this work.

Haida Heritage Centre Celebrating the Return of Totems, July 7, 2019 Leaving Ceremony at MOV, July 2, 2019 26 27 MOV prides itself on being a leader in informal learning opportunities for schools and community groups throughout Metro Vancouver. Through curriculum-connected programming, Total Participation in Education Programming in-gallery interpretation, workshops, and lectures, the Education Department engages participants of all ages and 22,517 is considered an invaluable resource for elementary, secondary, and post- secondary students alike. 18,879

In 2019, MOV’s Education Department saw another impressive year of growth, 13,656 providing programming to more than 22,500 participants (a nearly 20% increase over last year’s attendance). This success can be attributed to: a more diverse and flexible program syllabus, which attracted new audiences; SCHOOL & an increased focus on Indigenous programming, including the refinement of our private and public tour programs; and the development of a key partnership, offering opportunities to EDUCATION boost revenue and participation during 2017 2018 2019 the summer. PROGRAMS 28 29 This past year, the Education In terms of elementary as opposed to visiting only for Participation from both Municipality 8 15 6 13 Department was able to reach programming, participation a half-day program; in fact, secondary and post-secondary 2 and attract a wide range of increased modestly in 2019, nearly 70% of elementary schools increased dramatically Burnaby 6 schools throughout the Lower with the most noticeable classes partook in a full compared to 2018. This Delta Fraser Valley 32 Mainland, with just under 50% areas of growth being young- day’s worth of programming growth was partly due to new Langley of elementary and secondary learner programs (i.e., those at MOV. This shift allows programming geared directly New Westminster 4 school visitations coming directed at Kindergarten to students to experience more to these audiences. In the past, North Vancouver 12 from outside of Vancouver Grade 4 students) and add-on of the museum and teachers secondary and post-secondary 184 Pitt Meadows 359 8 proper. The map and chart activities for all grades. The to address multiple areas of groups would primarily come Richmond show regional distribution, trend is for classes to stay for their curriculum in one visit. to MOV for self-guided visits Squamish/Brackendale with statistics calculated a whole day at the museum, and thus would not interact Surrey per class visit. Strategic much with programming staff. Tricities 55 booking practices, flexibility By developing private guided Vancouver with our schedule, and the tours, which can be tailored West Vancouver 14 restructuring of programs to to suit the learning objectives accommodate more students of individual classes, we can per session are credited for now offer a more engaging and this outcome. Transportation meaningful experience to these challenges and budgetary visitors. constraints often impede schools outside of Vancouver Private guided tours offered from booking field trips to in 2019 focused primarily on the city; our new strategies our Indigenous exhibitions, allowed us to address these Haida Now, cəsnaʔəm:̓ the barriers and resulted in new city before the city and There and stronger relationships is Truth Here. It should be with out-of-district schools. noted that these tours were equally popular with a wide range of professional groups, seniors’ homes, and cultural Regional distribution (statistics calculated per class visit) institutions. Students in cesna?em: the city before the city exhibition 30 31 The refinement of our public history and culture via a lecture- The summer was also spent from under-resourced schools, own professional-development tour program also contributed and-tour series developed jointly developing a policy manual service agencies, as well as exercises in 2019. The team to the department’s success; with the Curatorial Department. for program bookings and charitable and non-profit participated in a variety of in 2019, more than 4,000 This partnership allowed us group sales. This document groups. workshops and events involving participants followed MOV to provide consistent work for has enabled us to train core cultural-competency training interpreters on tours of education staff throughout the staff in booking procedures, In 2019, MOV’s Education (e.g., a Reframing Relations Haida Now (an increase in summer—typically a slow season to ensure fair and consistent Department continued to offer workshop hosted by the participation of more than 35% for the department—and gave customer service for visitors, professional-development Vancouver Writers Festival, and over the previous year). Public interpreters the opportunity to and to streamline accounting opportunities for established Witness Blanket Forums hosted tours help to augment visitors’ work closely with a previously processes. A key policy outlined K-12 teachers and student by Vancity), as well as the Lower experience of MOV and ensure infrequent audience: seniors. in the manual is geared toward teachers completing their Mainland Museum Educators they leave with a more in-depth The department was recently making MOV more accessible. degrees. For example, by conference, which addressed understanding of important successful in renewing this There are now concrete plans reworking the lecture and tour topics of inclusion, accessibility, Reframing Relations Workshop, August 1, 2019 issues, such as reconciliation contract. for responding to requests program—initially designed and Métis heritage. These and the museum’s role within for Routes Adventures—the experiences are invaluable for this process. Learning Department hosted a our staff and help to ensure wildly successful professional- they remain at the forefront of The department also saw development workshop in educational trends. a significant increase in its October 2019. In addition, summer activities due to for the second year in a a partnership established row, we participated in SFU between MOV and Routes Faculty of Education’s Beyond Adventures, an educational the Classroom program; in travel company offering tours November, we welcomed a pre- throughout Canada. From May service teacher to observe and to October of 2019, more than assist with school programming 800 participants visited MOV for one week. to learn about BC First Nations’ Learning Department staff were Haida Now Guided Tour also busy engaging in their Haida Now Guided Tour 32 33 Sen̓áḵw Village Walking Tour, July 13, 2019 Number of bolstered the museum’s workshops of the past two Programs: outreach, further developing years, the museum initiated an its audience base. New Indigenous Artisan series that programming partnerships allowed participants to work included the David Suzuki closely with Indigenous artists, Foundation, the National learning new creative skills and 30 Film Board of Canada, UBC’s forming a deeper understanding Belkin Gallery as well as the of Indigenous history and Number of university’s Department of culture. This series featured Land and Food Systems and five individual workshops Participants: Department of Sustainability, staggered throughout the the H.R. MacMillan Space calendar year. Participants Centre, the Hancock Wildlife created medicine cards, textile Foundation’s eagle conservation art and textiles, and traditional program, and Vancouver drums, all of which they were 3,565 Indigenous Fashion Week. encouraged to take home. In addition to learning First This was an exciting year MOV’s partnerships with Nations artistic approaches for public programming at host Nations and additional and designs, participants MOV. Public programs were Indigenous communities were engaged in cultural dialogues PUBLIC diverse, participatory, thought further developed in 2019. with their instructors, a critical provoking, and at times This was achieved through a component of reconciliation. entertaining. Our audience workshop series, a curators’ MOV is continuing this series numbers increased from panel discussion, a memorable through 2020, as it proved the previous year due to Sen̓áḵw Village walking tour, both successful and desired by PROGRAMS programs that engaged with participation in the Why I its members and audiences. relevant content, in addition Design exhibition, and key film Enthusiasm from workshop to diversification of MOV’s screenings. instructors further signals the partnerships with community success of this series. & EVENTS organizations. MOV’s Building on the strength of programming partnerships MOV’s Coast Salish weaving 34 35 MOV’s There Is Truth Here UBC’s Faculty of Land and Food traditional territory, Sen̓áḵw the Joyce Walley Room was curatorial panel featured a Systems (LFS) to design and Village (currently named Vanier transformed into a lively challenging yet rewarding implement an on-site urban Park). Guests learned about concert hall, hosted by two discussion regarding the trauma vegetable garden, one that the various nations that shared ensembles that featured Indigenous communities echoes the home gardens of the village prior to contact with works of many genre stripes, continue to suffer in the Vancouver’s diverse Chinese Europeans, and the contentious including choral, pop, aftermath of residential schools. community. This project served land title jurisdictions and Broadway show tunes, bolero, Speakers Roxanne Charles to preview the food and trial hearings that followed. flamenco, and beyond. This and Lorilee Wastasecoot, and restaurant theme of A Seat at This tour additionally served proved to be a successful curators Sharon Fortney and the Table. Students from LFS to share information about series, one enjoyed by diverse Andrea Walsh mindfully guided designed, built, and maintained the impending Sen̓áḵw audiences of different ages and the discussion, which included our on-site “backyard garden,” Development Project the heritages. Audiences explored speaking to curating difficult which in addition to growing will lead MOV’s feature exhibitions content, earning the trust of many vegetables typically used Block Printmaking Workshop, alongside Westbank Projects prior to concerts and during August 25, 2019 MOV Backyard Garden affected families, and relaying in local Chinese cuisines served Corp. This was an extremely intermissions. the trauma of multigenerational as the site of two workshops popular program, one that were in attendance to speak lived experiences. The audience that educated participants about served to educate while MOV continued its ongoing about the necessity for toad was additionally witness to a garden care and Chinese recipes. additionally fostering dialogue film screening series conservation in this region. sacred blanketing ceremony. MOV is excited that the garden between the Squamish Nation throughout the calendar year. Our National Film Board This was a well-attended, continues to operate throughout and engaged settlers who The museum’s continuing partnership screening program engaged program, illustrating 2020 to further animate the A wished to learn more about the partnership with the DOXA featured filmmaker Christopher settler communities’ interest Seat at the Table exhibition. region’s history and the host Documentary Film Festival Auchter and a guest artist, in working through challenging nations’ future development showcased Toad People, a Haida member Michael Nicoll periods of Canada’s (colonial) In partnership with the Indian plans for the region. feature-length film exploring Yahgulanaas, reflecting on histories. Summer Festival, MOV co- conservation efforts to protect the ceremonial pole-raising hosted a Sen̓áḵw Village Throughout the spring and the large toad migration in in Masset village in 1969— In anticipation of MOV’s 2020 walking tour. Squamish Nation summer months, MOV hosted the Chilliwack community of documentation featured in ̓ A Seat at the Table exhibition, councillor Khelsilem Tl’aḵwasiḵan a choir concert series on the Ryder Lake. The filmmakers Aucter’s 2019 film Now Is the our Community Engagement Sxwchálten led a participatory museum’s pay-what-you- and Wilderness Committee Time. MOV additionally hosted Department partnered with walk through the host nations’ Sen̓áḵw Village Walking Tour, July 13, 2019 can Thursdays. Each month, Co-Executive Director Joe Foy the Canadian premiere of The

36 37 Condor and The Eagle, a timely discussion further explored UK-based social practice artist film exploring Indigenous these themes and featured Grace Ndiritu, presented by leaders co-invested throughout Adam Corneil of Unbuilders the Belkin Gallery. This event the Americas in critical actions Deconstruction, Lara ran in conjunction with the to preserve their territories Kehler of Fraser Valley Free Belkin’s Spill residency and from extraction corporations Learners, Dr Victor Martinez exhibition, which brought six and environmental of Kwantlen Polytechnic local and international artists devastation. Activists Audrey University, Colienne Regout together to explore ideas and Siegl and Cecilia Point from of Look4Loops, and Michelle conceptual art around social the Musqueam Nation hosted Lorna Nahanee of Decolonizing and environmental threats to a discussion covering some of Practices. Both the evening local regions. the film’s key issues, drawing design showcase and the on examples from their own afternoon talk were well activism and local community attended. protections. Poet Valeen Jules also joined the talk, reciting Additional noteworthy her original poetry as well as partnerships in 2019 included: speaking to her activism. Indigenous Fashion Week’s auxiliary fashion show at the MOV’s annual Why I Design MOV, featuring designs by exhibition/showcase returned six Indigenous designers and for its fourth year. This organizations; Perspectives On installment featured 23 the Solstice, a co-production emerging and mid-career with the H.R. MacMillan local designers dedicated to Space Centre, featuring sustainability and progressive cross-cultural presentations, environmental practices traditional storytelling, and that contribute to a circular scientific models explaining (rather than an industrial) the solstice and seasonal economy. Our afternoon panel change; and an artist talk from Why I Design, November 2, 2019 Vancouver Indigenous Fashion Week, November 23, 2019 38 39 MOV’s marketing strategy in partnership with Point Two Park. Local audiences and MOV Sunset Beach Festival, August 4, 2019 2019 was driven by building Design Group also paved the members were also constantly and defining its digital presence way to new added revenue engaged digitally and within as a leader in the museum by monetizing the collection, the community during events community. By introducing a while simultaneously creating throughout the city like suite of innovative initiatives, more points of public access. Main Street Car Free Day, seeking out new partnerships, MOV was also proud to Khatsahlano Street Festival, and allowing for the collection celebrate 125 years of telling Vancouver Pride, and more. to influence the narrative, the Vancouver’s story this year These initiatives established museum saw a record year and commemorated this stronger relationships, a in terms of audience growth, landmark with the creation of broader audience, and earned revenue, and visitation. 10 collectible greeting cards increased loyalty through these Participating in partner inspired by the collection. strategies. projects like the Van Science The tourism market showed Social, Orange Shirt Day, increases even with the barrier and the Tourism Vancouver of limited accessibility due to Mixer opened MOV up to the cancellation of the Hop new audiences. An exciting On Hop Off servicing Vanier

Instagram Followers: Twitter Followers: Facebook Page Likes: MARKETING & 10,290 26,279 13,450 MOV Website Page visits: COMMUNICATIONS 435,289 40 41 Friends of MOV

Alex Orlovskyy Florence Hungerford Mark Virgin Anona Thorne Ford Macdonald Mary-Jo Ohl MEMBERS & Anthony Phillips Frances Moore Mauro Vescera Arnold Singh Harley Rothstein Michael Heeney Audre-Barbara Jackson Hilary Meredith Michelle Krasikow DONORS Beth Carter Hugh Lindsay Nigel Bullers Beverly Wallace Imogene Lim Pamela Goosen/Zoom Consulting Bruce Miller Jane Macdonald Patricia Mccuaig Christina Clarke Jennifer Rollins Phyllis Chan Connie and Gilbert Schramm Joan Tyldesley Sarah Parker Number of Members in 2019: D.E.T. Whitehead Joan Young Sarah Robinson Diana Belhouse John Edmond Shaundehl Runka Doam Junghong Kim Julian Key Speech Meta Therapy Services Eddy Adra Juliette Cavazzi (Estate) Susan Stout 1,464 Eleanore Wellwood Linda Johnston Thelma D. Mulholland Elizabeth Darche Marian Brown Yosef Wosk Eric Wilson Marilyn Books Cedar Bark Bracelet Workshop at Khatsahlano Street Party, July 6, 2019 Evelyn Harden Marilyn Mitchell

42 43 Partners in Institutional Funders Number of MOV Volunteers Reconciliation

Volunteer Hours Worked

(including board) Corporate Supporters 110

A. Mahon Foundation 3,763 Diamond Foundation Vancouver Foundation Partners

Main Street Car Free Day , June 16, 2019 44 45 Meet the team behind MOV! Collections & Exhibitions

Executive Marketing & Communications

Viviane Gosselin Sharon Fortney Fiona Hernandez Josh Doherty Director of Collections & Curator of Indigenous Conservator Fabrication Manager Exhibitions, Curator of Collections and Engagement Contemporary Culture

Mauro Vescera Marla Gagnier Lorenzo Schober Jasmine Crisp Chief Executive Officer Executive Associate Marketing & Marketing Coordinator Communications STAFFManager STAFF Finance & Administration Wendy Nichols Jillian Povarchook Christine Pennington Winter Stacey Curator of Collections Collections Associate Collections Associate Museum Technician

Cecilia Von Berg, Collections Specialist Hallie Smith, Collections Technician/Digitization Technician Accounting & Payroll Coordinator Hayley Monroe, Brandon Rivas, Assistant Conservator Sydney Moore, Summer Collections Technician Neil Chung, Museum Technician Megan Soderlund, Summer Collections Assessment Technician Blake Kriedemann, Museum Technician Keith Warner-Harder, Summer Conservation Technician Alex Orlovskyy Tricia Lam Evelyn Dodds, Curatorial & Collections Intern Director of Finance Accounting and Payroll Clerk

46 47 Visitor Experience Learning & Engagement

Gregory Fruno Brendan Brooks Erika Saul Jane Lougheed Alan Kollins Ashley Jones Kendall Kloosterman Director of Operations & Operations Manager Visitor Experience Lead Curator, Learning Community Engagement Education Program Bilingual Program Visitor Experience Manager Officer Assistant

Jeraldine Carcha, Jae Woo Kang, Rachel Morten, Myles Anderson, Jasmine Wilson, Museum Interpreter Visitor Services Visitor Services Visitor Services Museum Interpreter STAFF STAFF Karen Francis, Linda Lidstone, Claire Pike, Charlotte Chang, Gillian Chan, Museum Interpreter Summer Museum Interpreter Visitor Services Visitor Services Visitor Services Marcus Jung, Holly Frizell, Marley Anthony, Daniela Rocha, Bérangère Descamps, Bilingual Museum Interpreter Summer Museum Interpreter Rebecca Cron Dustin Clark Visitor Services Visitor Services Visitor Services Program Assistant Visitor Experience Lia Hart, Wei Yan Yeong, Barbra Frizell, Hannah Lorena, Sophie Yamauchi, Summer Museum Interpreter Supervisor Museum Interpreter Visitor Services Visitor Services Visitor Services

Kellie A. Haines, Mark Moraes, Visitor Services Visitor Services

48 49 2019 Revenue Amount Percentage City of Vancouver 923,437 33% Admissions and Memberships 732,498 26%

Sponsorships & Donations 452,319 16%

Other Earned Revenue 280,455 10%

9% BC Arts Council 236,000

Federal Funding 89,616 3% Other Provincial Funding 83,000 3% 2,797,325 100%

FINANCIALSExpenses Amount Percentage During 2019, MOV increased its revenue from $2.70M to $2.79M. With 2018 being a record year for General & Admin 34% 923,007 revenues, 2019 continued with strong performance through increased admissions and memberships Exhibitions 602,714 23% and increased federal and BC Arts Council funding. Expenses were consistent with 2018 figures, with a Conservation and Collection Care 421,814 16% slight increase from $2.66M to $2.67M.

Education and Public Programs 400,897 15% Marketing and Development expense decreased in 2019 due to contracted work being done in- house. Exhibitions expenses increased from $473K to $602K due to a full year of 2018 exhibit costs Marketing 224,620 8% being recognized. The expenses for Conservation and Collections as well as Education and Public Development 78,089 3% Programming increased during the year due to federally funded programs and increased education Museum Enterprises 24,630 1% bookings in 2019. MOV continues to monitor and adjust expenses to increase operating efficiencies. 2,675,770 100%

The financial statements of the Vancouver Museum Society were completed by independent auditors for the year ending December 31, 2019. This is an illustrative summary and is not intended to replace the full audited financial statements, which can be made available upon request. 50 51 STAY CONNECTED

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