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Border Zones: New Art Across Cultures
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- Exhibition to inaugurate The Audain Gallery at MOA
- January 23-September 12, 2010 (The Audain Gallery)
- Border Zones: New Art Across Cultures was an exhibition of work by twelve artists engaged in a dialogue about cultural boundaries: Hayati Mokhtar, Dain Iskandar Said, John Wynne, Edward Poitras, T. Shanaathanan, Tania Mouraud, Marianne Nicolson, Gu Xiong, Prabakar Visvanath, Rosanna Raymond, Ron Yunkaporta, and Laura Wee Láy Láq. In place of a printed catalogue, an interactive webzine was created for local, national, and international writers, reviewers, artists, and students to develop and share ideas related to the exhibit. To view the webzine, visit http://moa.ubc.ca/borderzones/. Border Zones was curated by Karen Duffek, MOA Curator of Contemporary Visual Arts & Pacific Northwest.
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Cycles: The Graphic Art of Robert Davidson, Haida
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- October 30, 1979 - February 3, 1980 (Gallery 5)
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New Visions: Serigraphs by Susan A. Point, Coast Salish Artist
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- January 2 - March 30, 1986
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The Flute and the Sword
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- April 2 - July 26, 1987 (Theatre Gallery)
- Student exhibition: exhibition that featured popular religious poster art that explores the passionate nature of two Hindu deities, Krishna and Kali.
- Madrona Exposition Centre, Nanaimo, BC Travelling February 3 – 17, 1988. Delta Museum and Archives, Delta, BC Travelling March 15 – May 3, 1988
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Chinese Peasant Textile Arts: Kwantung and Szechuan Provinces
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- April 12 - June 15, 1977
- Student exhibition
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Wayang: From Gods to Bart Simpson
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- June 11 – November 14, 1991
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Huacos and Huacas: Objects from Sacred Places of Ancient Peru
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- April 5 - June 15, 1977
- Student exhibition: An exhibition by the students of Fine Arts 461 and 561.
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Bo'jou Neejee: Profiles of Canadian Indian Art
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- October 19 - December 31, 1976.
- Exhibition consisted of artifacts from Indigenous communities of the Plains, Great Lakes, and Eastern Woodland Indians during the period 1750 to 1850. The exhibition was assembled by the National Museum of Man, Ottawa, and consisted of objects from the collections of the Speyer family of Germany, and James Du Pres, the third Earl of Caledon of Tyrona, Ireland.
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Ouroboros: A Major Work by Stephen C. Clark
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Gifts and Giving
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- October 4, 1988 - January 1989 (Gallery 5)
- Donations are an important part of MOA’s collections and this highly visual exhibit displays some of the Museum’s recent acquisitions. Artifacts on display are from North America, Asia, South America and Europe. The Museum’s collections are expanding rapidly and with this exhibit, MOA wishes to acknowledge the vital role of donors in contributing to the growth.
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Doug Cranmer's Paintings
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- March 29 - Summer 1994
- An exhibit featuring paintings by 'Namgis artist Doug Cranmer. The works are from a series of experimental paintings Doug Cranmer produced in the mid-1970s.
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Raven's Reprise: Contemporary Works by First Nations Artists
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- March 15, 2000 - January 14, 2001 (throughout the galleries)
- This exhibition presents fourteen site-specific works in diverse media (sculpture, mixed media, photography, painting, and textiles) by five contemporary Northwest Coast artists: Mary Anne Barkhouse (Kwakwaka’wakw) Connie ‘Bear’ (Sterritt) Watts, (Nuu-chah-nulth, Gitxsan, Kwakwaka’wakw), Winidi/John Powell (Kwakwaka’wakw), Larry McNeil (Nisga’a), and Marianne Nicolson (Kwakwaka’wakw).
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The Spirit of Islam: Experiencing Islam Through Calligraphy
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- October 20, 2001 - May 12, 2002 (Galleries 8, 9, 10)
- . Through the art and understanding of calligraphy, the exhibit introduces visitors to the aesthetics, spirituality, and principles of education related to the world of Islam. This project was developed in collaboration with members of the Lower Mainland Muslim community and presents a selection of outstanding examples of Islamic art and calligraphy from different historical periods. This is the first major exhibition organizes by an Canadian institution to address the arts and beliefs of Islam. A website was created as part of the exhibition: http://www.moa.ubc.ca/spiritofislam/index2.html. This comprehensive online resource approaches the study of Islam through calligraphy. The Spirit of Islam features examples of Islamic calligraphy, historical timelines, cultural connections, calligraphy writing lessons, and interactive elements including sound and visual aids. Discover the diverse voices of Islam by listening to community interviews. The resource section is designed for teachers and includes notable dates, a glossary, and lesson plans surrounding issues of stereotyping and diversity. Funded by the Department of Canadian Heritage.
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Wearing Politics, Fashioning Commemoration: Factory-Printed Cloths in Ghana
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- February 22, 2004, remained open through 2004 (Corridor Case – opposite the Rotunda)
- In 1995, UBC graduate student Michelle Willard spent four months in West Africa as a volunteer with Canada World Youth. During a return trip in 2001, Willard, with the support and advice of Ghanaian people both there and in Vancouver, developed a collection of printed cloths that the Ghanaians consider to be highly significant. Her exhibit, opening during Black History Month, shows how these cloths are worn in Ghana to proclaim political loyalties and commemorate important events.
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Site to Sight: Imaging the Sacred
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- April 8, 2004 - August 1, 2005
- Student exhibition: Students of Anthropology 431 are developing an exhibition of photographs that examine why we create sacred places and spaces in our urban environment. They identify locations that might be permanent or transitory, formal or informal, public or private, real or imagined, built or natural.
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Tatau: Samoan Tattooing and Global Culture
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- March 8 - September 30, 2009
- The contemporary significance of Samoan tattoo traditions is the focus of an insightful and provocative exhibit entitled “TATAU: Samoan Tattooing and Global Culture,” is now on display in Gallery 3 (adjacent to the Great Hall) in March. Curated by Peter Brunt, Senior Lecturer in Art History at Victoria University of Wellington, the show features over 40 photographs by distinguished New Zealand artist Mark Adams. Thanks to the Adam Art Gallery, Victoria University of Wellington, and Cambridge Museum of Archaeology and Anthropology, University of Cambridge, for organizing this touring exhibition.
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PROJECTIONS: The Paintings of Henry Speck, Udzi'stalis
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- July 14 - September 15, 2012 (Satellite Gallery)
- The Kwakwaka’wakw artist Henry Speck, or Udzi’stalis (1908 – 1971), became a “newly discovered phenomenon” in 1964 when his paintings of masked dancers, coastal creatures, and sea monsters were shown at Vancouver’s New Design Gallery. Chief Speck, from Turnour Island, British Columbia, was a community leader, teacher, and cultural practitioner. By the 1930s he was also becoming known for his modern paintings, rendered in vibrant colours and textures. His work caught the attention of the Austrian artist and theorist, Wolfgang Paalen, and was declared by the Haida artist Bill Reid to be “far beyond anything attempted before in Kwakiutl art.” Experience Henry Speck’s paintings through originals and large-scale projections that refigure his work against a backstory of media images, sound, and film—an installation that evokes the changing contexts of the mythic and the modern in the 20th century. This exhibition is made possible with support from the Michael O’Brian Family Foundation, and is organized by the UBC Museum of Anthropology and Satellite Gallery. The exhibition was curated by Karen Duffek, MOA Curator of Contemporary Visual Arts & Pacific Northwest; and Marcia Crosby, writer, scholar, and PhD candidate, UBC Department of Art History, Visual Art, and Theory. Media by Skooker Broome, Manager, Design/Production, MOA.
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Speaking to Memory: Images and Voices from St. Michael's Indian Residential School
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- September 18, 2013 - May 11, 2014 (The O'Brian Gallery)
- Speaking to Memory: Images and Voices from St. Michael's Residential School grew out of a unique opportunity to present the personal experiences of First Nations children who attended St. Michael's Indian Residential School at Alert Bay, British Columbia. During the late 1930s, one student at the school had a camera and photographed many of her friends and classmates there. She recently donated these images to the Museum of Anthropology’s archive. The photos provide a rare and moving glimpse of residential school life through the eyes of students as they made a life for themselves away from families and home communities. St. Michael’s Indian Residential School operated from 1929 to 1974, and its now-empty building is in deteriorating condition. With the support of the U'mista Cultural Centre (UCC) and the 'Namgis First Nation at Alert Bay, MOA curator Bill McLennan was permitted to enter the building and photograph its interior spaces where the children had lived and worked. The resulting images, together with those of the students, are featured in Speaking to Memory, an exhibition jointly produced by McLennan and the UCC’s director Sarah Holland and curator Juanita Johnston. In Alert Bay, Speaking to Memory hangs around the exterior of the St. Michael’s school building, located beside the cultural centre. At MOA, the exhibition is presented in our O’Brian Gallery. The large photographic panels depict the interior rooms of the school as they now appear, overlaid with historical images of the children. Accompanying the images are personal statements from former students of St. Michael's school, recalling their experiences there. Quotations from a variety of sources express the Canadian government's rationale for Indian residential schools, while excerpts from the 1996 Report of the Royal Commission on Aboriginal Peoples recognize the devastating impact of the schools. In addition, one "artifact" is featured in MOA’s exhibit: the institutional food-mixing machine, recently salvaged from the school’s kitchen. The Indian residential school system was implemented in 1879 by the Canadian government to eliminate the "Indian problem"—that is, to absorb the Aboriginal population into the dominant Canadian identity, and to impose Christianity, English or French as the primary languages, and the abandonment of cultural and family traditions. St. Michael's Indian Residential School in Alert Bay was one of 140 Indian residential schools that operated in Canada.
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(In)visible: The Spiritual World of Taiwan Through Contemporary Art
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- November 20, 2015 – April 3, 2016.
- CURATOR: Dr. Fuyubi Nakamura, MOA Curator, Asia
- Against a backdrop of skyscrapers and mountains, ghosts and spirits haunt the island of Taiwan. Deities reside in a variety of shrines and temples or forms of natural phenomena across the island. Known for its democracy, contemporary Taiwan embraces different, often hybrid, beliefs expressed and practiced in myriad fashion. Taiwan’s urban and rural life cycles are filled with rituals and ceremonies of various faiths ranging from Buddhism, Daoism and Confucianism to Christianity, Chinese folk religions and animistic beliefs of Taiwan’s Aboriginal peoples. While religion affects, challenges and intermingles with the secular world, myths, legends and fairytales add other layers to the spiritual world of Taiwan. Taiwan is home to sixteen officially recognized Aboriginal groups of Austronesian peoples and Han Chinese of various backgrounds as well as other long-term settlers and recent immigrants. Throughout its history, outside forces—Chinese, Portuguese, Dutch, Spanish, and Japanese—have taken a turn to ‘discover’, settle in or occupy Taiwan. They introduced or forced different religions or brought myths and legends to the island with them. As with other East Asian countries, it is common to blend different religious practices in Taiwan. The spiritual world is very much part of life and has also been the source for creative inspiration in Taiwan. (In)visible: The Spiritual World of Taiwan Through Contemporary Art explores how traditional and religious beliefs and modern values are integrated in this vibrant country. The exhibition features works by seven contemporary Taiwanese artists, who express and visualize religious beliefs, myths and the spiritual world with modern sensitivities
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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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