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Marking the Infinite: Contemporary Women Artists from Aboriginal Australia
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- November 1, 2018 – March 31, 2019
- CURATORS: Carol Mayer curated MOA’s installation of this exhibit. The exhibit originated at the Nevada Museum of Art and was organized by William Fox, Director of the Centre for Art and Environment, and scholar Henry Skerritt. The exhibition was drawn form the collection of Debra and Dennis Scholl.
- Aboriginal women have been redrawing the boundaries of the contemporary Aboriginal art scene in Australia since the late 1980s, redefining a movement that continues today. Their work resonates with vitality and relevance, their Indigenous ways of knowing the world captured in each brush stroke and woven thread. The strength of their vision is immediately evident in the works, asserting their authority like lightning bolts in the night sky. From the vast to the minute, the subjects of the works range from distant celestial bodies to the tiny flowers of the native bush plum. They also encompass the day-to-day acts of their lives, from venerable craft traditions to women’s ceremonies. And though the subjects are drawn from the visible and natural world, they are not bound by it. The works invoke the infinite, challenging the very constraints and constructs of time and space. Marking the Infinite features the work of nine Aboriginal women—Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, Gulumbu Yunupingu and Nyapanyapa Yunupingu—each from different remote regions of Australia. They are revered matriarchs and celebrated artists who are represented in the collections of the Australian National Gallery. Most of them make their Canadian debut at MOA with this breathtaking exhibition. The artists bring their ancient cultural knowledge into their contemporary artistic practice, and continue to create art to ensure their languages, land and knowledge survive in an increasingly digital world. Their works are steeped in the traditions of their communities and yet speak to the universal themes of our shared existence, revealing the continued relevance of Indigenous knowledge in understanding our time and place in this world.
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Markets
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Man Ray, African Art and the Modernist Lens
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- 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.
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Man and His World
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- This was an ongoing series of exhibitions held in Montréal from 1968-1984 in the pavilions built for Expo 1967. The Museum of Anthropology curated and provided materials for one of these exhibitions from 1969 to 1970.
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Maiolica Majolica: Historic and Contemporary Decorated Earthenware
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- February 28, 1993
- This is one of a series of displays that show the contemporary work of BC ceramic artists alongside historical examples of the same technologies from the Museum’s collection, particularly those in the new Koerner Ceramics Gallery.
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Mabel Stanley: Contributions to the Community
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- October 1, 1993 - February 27, 1994 (Gallery 10)
- This exhibit explores the importance of Mabel Stanley to her family and her community. It features her ceremonial regalia that signifies her Kwakwaka’wakw culture and status.
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Lyle Wilson’s Transforming Grizzly Bear Human
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- March 29 - Summer, 1994
- This display gives MOA visitors a unique opportunity to see a work of art that represented British Columbia’s First Peoples at Expo 92 in Seville, Spain.
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Lyle Wilson: When Worlds Collide
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- June 20, 1989 - September 1989 (Theatre Gallery)
- Lyle Wilson, a Haisla artist, uses the traditional symbols of northern Kwagiutl art, shifting and fragmenting them into personal statements on art, culture, and power. A selection of his drawings, etchings, and silkscreen prints is accompanied by his works in wood and other media.
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Luminescence: the Silver of Peru
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- October 4 - December 16, 2012 (The Audain Gallery)
- Bursts of bright light danced across the royal courts, ceremonies, processions and battlefields of pre-Columbian Peru. Reflected by the gold and silver of crowns, jewelry, regalia, costumes and banners, such luminosity proclaimed the divine power and authority of Andean priests and rulers for nearly 2,500 years. Despite the 16th century Spanish Conquest, the importance of the reflective properties, and divine qualities traditionally associated with gold and silver, were not forgotten. New techniques were developed to satisfy the novel demands of the Catholic Church and colonial elite. Later, Peruvian Independence inaugurated a revival of the indigenous use of silver, and the introduction of a new style of silverware celebrating the country’s distinct flora and fauna. Luminescence: the Silver of Peru traces the long history of silverwork and the fascination with the metal’s divine and luminescent qualities. It will display pre-Columbian works to those made by contemporary artists, including national treasures seldom seen outside of Peru. The exhibition is curated by MOA Director Dr. Anthony Shelton, and made possible through the generous support of the Pan American Silver Corp. and the Patronato Plata del Peru.
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Lotus, Petal Eyes: Female Beauty in India
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- March 25 – December 7, 1996
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Looking at Labels
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Longhouses
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Logging
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Lil'wat
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Lighthouses
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Lheidli T'enneh
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Legacy Exhibit of Contemporary Northwest Coast Art
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- June 1 - September 30, 1976
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Layers of Influence: Unfolding Cloth Across Cultures
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- November 17, 2016 - April 19, 2017.
- CURATOR: Jennifer Kramer
- From birth to death, humans are wrapped in cloth worn for survival, but more importantly, wear clothing as an external expression of their spiritual belief system, social status and political identity. This stunning exhibition will explore clothing’s inherent evidence of human ingenuity, creativity and skill, drawing from MOA’s textile collection — the largest collection in Western Canada — to display a global range of materials, production techniques and adornments across different cultures and time frames. Curated by Dr. Jennifer Kramer (MOA Curator, Pacific Northwest), Layers of Influence will entrance MOA visitors with large swaths of intricate textiles often worn to enhance the wearer’s prestige, power and spiritual connection, including Japanese kimonos, Indian saris, Indonesian sarongs, West African adinkra, adire and kente cloth, South Pacific barkcloth, Chinese Qing dynasty robes, Indigenous Northwest coast blankets, Maori feather cloaks and more. A sumptuous feast for the eyes, the exhibition is an aesthetic and affective examination of humanity’s multifaceted and complex history with cloth and its ability to amplify the social, political and spiritual influence of the wearer as a functional expression of self-identity.
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Lawrence Paul Yuxweluptun: Unceded Territories
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- May 10 - October 16, 2016
- CURATORS: Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation)
- Vancouver artist Lawrence Paul Yuxweluptun, of Coast Salish and Okanagan descent, is showcased in this provocative exhibition of works that confront the colonialist suppression of First Nations peoples and the ongoing struggle for Indigenous rights to lands, resources, and sovereignty. Twenty years since his last major Canadian solo show, Unceded Territories will demonstrate the progression of Yuxweluptun’s artistry and ideas through hard-hitting, polemical, but also playful artworks that span his remarkable 30- year career, featuring a selection of brand-new works exhibited publicly for the first time. Co-curated by Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation), Unceded Territories promises colour and controversy through this display of over 60 of Yuxweluptun’s most significant paintings, drawings, and works in other media – a critical and impassioned melding of modernism, history, and Indigenous perspectives that records what the artist feels are the major issues facing Indigenous people today. This exhibition will undoubtedly fuel dialogue, indignation, and even spiritual awareness as it tackles land rights, environmental destruction, and changing ideas about what we can expect of Indigenous art from the Northwest Coast. The issues Yuxweluptun addresses are impossible to ignore.
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Landscapes
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