Affichage de 596 résultats

• 2001
• Student exhibit

• June 2, 2002 - January 31, 2003 (Gallery 10)
• Curated by Jeff Thomas, and circulated by the Aboriginal Healing Foundation in Ottawa, this remarkable exhibition presents a series of historical photographs documenting the history of residential schools in Canada. While the images depict scenes from a very dark time in this country’s recent past, the curator’s intention is to promote healing through deeper understanding of the crisis.

• May 30 - December 2, 1991 (Gallery 10)
• Student exhibition: Under the direction of curator and professor Marjorie Halpin and designer David Cunningham, students of Anthropology 431 (Museum Principles & Methods) organized and exhibition of early 20th Century West African sculptures donated to MOA by Dr. Eric Sonner. Enhancing the sculptures are African textiles drawn from MOA’s permanent collection. This special exhibit inaugurates MOA’s new Gallery 10.

• August 17, 1990 - June 30, 1991
• This exhibition will consist of some 50 framed prints of David Neel’s portraits of B.C. Native Chiefs and Elders. Included with the portraits are statements made by the sitters and selected by the artist.

• July 16, 1984 - January 6, 1985 (Theatre Gallery)
• The history of London’s waterfront from the Roman to the Post-Medieval periods depicted by photographs, illustrations and maps.

• May 26 – August 30, 1981 (Gallery 5)

• 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.

Utilisé pour : Forest One by annie ross, annie ross: Forest One

• March 20 - May 27, 2012 (The Great Hall)
• The Great Hall: gallery, performance space, parking lot. Yes, parking lot! For about two months this spring, annie ross’ amazing Forest One – a full-size, 1956 Nash Metropolitan automobile that the artist has wrapped, twined, and plaited with cedar-bark and other reclaimed materials –will be displayed here, in all its woven glory. Using bark salvaged from clear-cut urban forests, Ross, a weaver and Assistant Professor in First Nations Studies at Simon Fraser University, completely transformed the car inside and out. Forest One speaks of colonization, urban sprawl, trash, and remediating the urban landscape through acts of salvage.

• September 27, 2011—April 8, 2012 (The O’Brian Gallery)
• Do objects remember? Or are they wrapped in the memories we bring to them, like layers of stories folded around a picture, a voice, or a worn-out shoe? In this exhibit, created to complement ひろしま hiroshima by Ishiuchi Miyako, opening in The Audain Gallery on October 13, visitors are invited to experience selected objects and media from MOA’s worldwide collection. Some are ancient, some are new. Some are inscribed with their histories, while others are uprooted – their origins, makers, and journeys erased or forgotten. Some, like the green dress of the title, speak to memories and relationships not contained by the Museum but still part of living communities. Please join us for this intimate, yet revealing, look at the collections, curated by Karen Duffek, Krisztina Laszlo, Carol Mayer, and Susan Rowley.

• April 17 - September 2, 1979

• January 19 - April 30, 1988 (Gallery 5)
• A contemporary Metis artist, Bob Boyer draws upon Plains Indian design and images as well as mainstream art forms to create his individualistic style. His paintings on canvasses and flannel blankets, in oils and acrylics, make statements on Canadian Indian history and the native condition today. The third and final exhibition in this phase of the Indian Modern series, sponsored, in part, by the Canada Council.

• January 13 – March 28, 1980

• October 13, 1987 - January 3, 1988 (Gallery 5)
• An exhibition of photographs entered for the Commonwealth Photography Award. This project was produced with the assistance of the Standard Chartered Bank.

• September 19 - October 15, 1978
• The second annual exhibition of silkscreen prints selected and produced by members of the Northwest Coast Indian Artists’ Guild. A collection of 9 graphics representing the works of: Joe David, Robert Davidson, Roy Hanuse, Gerry Marks, Larry Rosso, Norman Tait, Roy Vickers, and Don Yeomans.

• July 8, 1998 - January 3, 1999
• Including works by twenty-four of some of the most prominent contemporary First Nations and Inuit artists in Canada, this international travelling exhibit originates from Ottawa, and is jointly sponsored by the Department of Foreign Affairs and the Department of International Trade and Indian and Northern Affairs Canada. Curated by Barry Ace of the Indian Art Centre, and July Papatsie of the Inuit Art Centre, the show features such artists as Marianne Nicolson (Kwakwaka’wakw), Jane Ash Poitras (Cree), Lance Belanger (Maliseet), Joane Cardinalas Schubert (Blackfoot), Shelley Niro (Mohawk), Janet Kigusiuq (Baker Lake), and Oviloo Tunnillie (Cape Dorset).

• April 28, 1998 - February 21, 1999
• This exhibit comprises eleven photo-based artworks depicting contemporary Haida hereditary chiefs. Accompanied by voice and text layering, this series by artist Todd Tyarm explores the idea of heredity as a virtual link between present and past, as well as to the future. The chiefs depicted in this exhibit are individuals who represent a crucial conduit for their communities to regain the traditional values, practices, languages, and ways of thinking that have shaped their cultural identities from the beginning. The “Heredity” exhibit offers insight into both the heritage of the Haida, and the thoughts, names, and stories of the people who represent its living legacy.

• April 3, 2003
• Student exhibition: This year’s class of Anthropology 432 students are looking at celadon (a variety of ceramic glazes that range in colour from grey-green to blue-green to jade-green) through the eyes of the potter, the art historian, the anthropologist, and the geologist. The exhibition features contemporary and historic ceramics from the museum’s collections.

• June 20 - December 31, 2006
• In June 2006, the World Peace Forum and the International Peace Education Conference took place in Vancouver. In response to these important events, MOA partnered with the BC Teachers Federation to present an exhibit dedicated to the ideals of peace. The exhibit features toys of violence transformed into objects of art by BC students, teachers, artists, and activists. The exhibit celebrates the six principles of UNESCO's Manifesto 2000: the need to respect all life, reject violence, share with others, listen to understand, preserve the planet, and rediscover solidarity.
• Developed in collaboration with BC Schools.

• 29 October, 2010 - January 23, 2011
• Man Ray, African Art, and the Modernist Lens brings to light photographs of African objects by American artist Man Ray (1890-1976) produced over a period of almost twenty years. In addition to providing fresh insight into Man Ray’s photographic practice, the exhibition raises questions concerning the representation, reception, and perception of African art as mediated by the camera lens. Curated by Wendy Grossman, the exhibition frames the objects and images within diverse contexts, including the Harlem Renaissance, Surrealism, and the worlds of high fashion and popular culture.