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• July 21, 1992 - April 4, 1993 (Gallery 5)
• This exhibition begins as a work in progress that offers the public access to what normally occurs behind the scences in the creation of an exhibition. The exhibit, which opens in September, presents the developmental work pioneered by MOA staff to examine the complex and dynamic painting traditions of the First Peoples of the B.C. coast. The results of infared photography, raking light and computer images are used in the exhibition gallery by contemporary First Nations artists of the northern coast to recreate paintings not seen for more than a hundred years.

• February 27 - September 29, 1985 (Gallery 5)
• Student exhibition: Exhibit on the development of archaeological research in British Columbia’s Fraser Delta Region. Assisted by a grant from the Museum Assistance Programmes of the National Museum of Canada.

• 1985

• March 4 - June 14, 1992 (Gallery 10)
• This exhibition looks at cloth in ancient societies of Peru as an abstract model for organizing and recording information. Guest curator Mary Frame examines a system of patterns that depict the structures of cloth, yarn and cord.

• Exhibit was held at the Museum of Anthropology, UBC from Fune 14 - Sept 30, 1977.

• May 17, 1983 - April 29, 1984 (Archaeology Gallery)
• Saskatchewan Museum of Natural History, Regina, SK Travelling February 1 – March 14, 1988
• Deifenbaker Centre, Saskatoon, SK Travelling March 18 – May 23, 1988

• Fall 1995 - December 31, 1997
• Northwest Coast art motifs, carving styles and principles of design have ancient roots dating back 3,500 years. The exhibit presents examples of antler, stone and wood carvings from archaeological sites in Coast Salish territory on the south coast of BC. Comtemporary Coast Salish art is the living legacy of this ancient art tradition as shown by the work of contemporary Musqueam, Sto:lo, and Saanich artist featured. This exhibition offers both an archaeological and First Nations perspective on the significance of these heritage objects such as the blue heron figure and atlatl shown here.

• (Tahaygen and K’woiy ng: Works by Charles and Isabella Edenshaw)
• April 28 - July 31, 1998, thru August 31, 2001
• A display of works by Haida artist Isabella and Charles Edenshaw (ca. 1839 - 1920) that explores the distinguishing features of an artist’s personal style. The museum is grateful to the British Columbia Children’s Hospital Foundation for the loan of 3 gold bracelets for display.

• April 17 - September 14, 1999
• This exhibit honors the peoples of Nunavut, and features more than a hundred examples of contemporary and historic sculpture, prints, and drawings. Together, they reflect the richness and diversity of Inuit art and life, and provide a glimpse into some of the collection histories behind these objects.

• November 17 - 21, 1981

• April 2 - November 8, 1987
• Student exhibition: Exploring representations of Hindu divinity in Indian sculpture, bronzes and posters. A student exhibition designed by participants in the Anthropology course Museum Principles and Methods.

• February 15 – March 31, 1977
• An exhibition combining artifacts from the Royal Ontario Museum, the Seattle Art Museum, and the Museum of Anthropology.

• October 23, 2002 – March 30, 2003
• La Sierra Nevada de Santa Marta, Colombia
• This is an exhibition by well-known Colombian photographer, naturalist, and educator, Diego Samper. Through a series of twenty-six canvas panels divided into three sections (Natural History, Tayrona Heritage, and Contemporary People), Samper reveals his intimate knowledge of the Sierra Nevada de Santa Marta region on Colombia (ancient site of the Tayrona civilization), and the complex, continuing relationship of the indigenous peoples to the land.

• November 25, 2014 - April 5, 2015 (The Audain Gallery)
• This exhibition was curated by Katharina Greven (Iwalewa Haus). Nuno Porto is the Curatorial Liaison (MOA). This exhibition was developed by Goethe-Institut, National Museums of Kenya,Iwalewa Haus and the DEVA-Archive. Thanks to our sponsor The Georgia Straight. MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.
• “MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.” Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture. “A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,” says Curator Katharina Greven. “More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.”
• Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens. Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France.

• December 14, 1993 - May 22, 1994 (Gallery 5)
• Guest Curator Robert Houle, Salteaux, presents artworks created as multiples, or works in series, by seven First Nations artists from Canada and the United States: Mary Anne Barkhouse (Kwakwaka’wakw), Dempsey Bob (Tahltan/Tlingit), Fay HeavyShield (Blood), Jaune Quick-to-See Smith (Flathead), Arthur Renwick (Haisla), Greg Staats (Mohawk), and Kay WalkingStick (Cherokee).

• April 7 - May 29, 2011 (The Audain Gallery)
• Carl Beam (1943-2005) was born in M’Chigeeng (West Bay) on Manitoulin Island. Of Ojibway heritage, the artist has exerted a strong influence on a whole generation of Aboriginal artists and has been instrumental in the development of the art of Canada’s First Nations. He is renowned for his powerful combinations of highly charged images from his personal Anishinaabe aesthetic, which is more akin to the expressive layering of Rauschenberg than the traditional forms of Anishinabek “Woodland School” painters. The exhibition, curated by Greg Hill, and organized by the National Gallery of Canada, features a selection of 50 of Beam’s most remarkable works spanning his 30-year career, from his monumental-scale paintings and constructions, to his ceramics and video.

Use for: Hiroshima , Hiroshima [Ishiuchi Miyako]

• October 14, 2011 - February 12, 2012
• This exhibition features an installation of 48 photographs by Ishiuchi Miyako of clothing and accessories left behind by victims of the 1945 atomic bomb at Hiroshima. Unlike the black-and-white images of devastated landscapes often associated with the bombing, Ishiuchi’s colour photographs capture her own moments of encounter with everyday objects that are now preserved at the Hiroshima Peace Memorial Museum. Testaments to a profound trauma, her images at once illuminate the beauty and complexity of individual lives, and the weight of collective history. Born in 1947 in Gunma Prefecture, Japan, Ishiuchi began her artistic career in the late 1970s and is now one of that country’s leading contemporary photographers. This is the first exhibition of Ishiuchi’s ひろしま hiroshima series outside Japan. For a list of related programming, please visit www.moa.ubc.ca/events. Exhibition sponsored in part by Shiseido and the Japan Foundation. Media sponsor The Georgia Straight.
• A note about the artist's name and the exhibition title: The artist is referred to as Ishiuchi Miyako, or Ishiuchi (not Miyako Ishiuchi or Miyako). ひろしま means Hiroshima, written in Japanese hiragana characters. Hiragana is one basic component of the Japanese writing system, along with katakana. These characters were extensively used by women in former times; for Ishiuchi, using this style for the title emphasizes that this series is made from the point of view and feelings of a woman. It is the artist’s wish that that the hiragana appears before the word ‘hiroshima’ as part of MOA’s exhibition title, and that the ‘h’ in Hiroshima not be capitalized.

• March 28 - July 2, 1978
• Student exhibition

• February - September 30, 1990 (Theatre Gallery)
• This photographic exhibit outlined anthropological field documentation in Zuni, New Mexico, a southwest Indian community. The exhibit offered a backstage perspective on the personal challenges, ethical deliberations, and interaction between cultures experienced by the anthropologist.

• January 20, 1987 – March 8, 1987 (Gallery 9)
• Presenting 40 vases dating from the eighth to the fourth centuries B.C. that illustrate our knowledge of ancient trade routes, daily life, and the dating of archaeological excavations.