Wheel: Overlays - An Installation by Edgar Heap of Birds

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Scope note(s)

  • March 20 ? April 29, 2007 (Great Hall)
  • A new installation by Hock E Aye Edgar Heap of Birds, a leading Native-American artist who has completed numerous site-specific installations and public art projects and across North America and internationally. Wheel: Overlays has been conceived specifically for MOA?s Great Hall. Inspired by Native American architecture and medicine wheels, its ten semi-transparent pillars carry the outlines of forked ?tree forms? and are arranged to create a 9-meter circular space. The four surfaces of each tree are layered with words, symbolic motifs, and other markings. Together, the forms and texts chronicle the clash of Native and non-Native peoples in Colorado, with particular focus on the cosmology, history, and renewal of the Cheyenne. ?I?m there to uncover or reveal the history between the Native and the Anglo populations,? says Heap of Birds, who is of Cheyenne/Arapaho descent. ?These events changed the Native world in a very rapid and negative way forever.? Mourning, defying, exposing, honouring, renewing: the work offers a possibility of creating change through exchange, stimulating dialogue through the weapon, and regenerative tool, of art. Edgar Heap of Birds is a Professor at the University of Oklahoma. He has been exhibiting since 1979 in the U.S, Canada, South Africa, Australia, and Europe. Wheel: Overlays is presented by the UBC Museum of Anthropology, and curated by Karen Duffek, Curator, Contemporary Visual Arts.

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Wheel: Overlays - An Installation by Edgar Heap of Birds

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Wheel: Overlays - An Installation by Edgar Heap of Birds

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Wheel: Overlays - An Installation by Edgar Heap of Birds

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Edgar Heap of Birds: “Wheel: Overlays”

The records in this sub-series relate to the artist Edgar Heap of Birds and the 2007 MOA exhibition Wheel: Overlays. An Installation by Hock E Aye VI, Edgar Heap of Birds. Sub-series consists of 4 files which relate to research and planning for the exhibition in addition to the Native Youth Project done in conjunction with the exhibition. The files consist of photographs, promotional materials, final reports, grant applications, exhibit development and educational materials, final reporting, research notes, correspondences, as well as articles about the exhibit and the artist.

Karen Duffek fonds

  • 102
  • Fonds
  • 1978 - 2012

The fonds relate primarily to research Karen Duffek conducted and exhibitions she curated or was involved in. In addition, some files relate to publications Duffek wrote. Files consist of research materials, exhibition planning and implementation, publications and articles, correspondences, and artist interviews.
The fonds is arranged into the following two series:

  1. Research Projects
  2. Exhibitions

Karen Duffek