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Culture at the Centre: Honouring Indigenous Culture, History and Language
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- March 18 – November 4, 2018
- CURATORS: Jill Baird and Pam Brown, with representatives from Musqueam Cultural Education Centre, Squamish-Lil’wat Cultural Centre , Heiltsuk Cultural Education Centre, Nisg̱a’a Museum and Haida Gwaii Museum and Haida Heritage Centre at Kay Llnagaay.
- The Culture at the Centre exhibition offers insight into the important work Indigenous-run cultural centres and museums in British Columbia are doing to honour and support their culture, history and language. Five centres are showcased, representing six communities: Musqueam Cultural Education Centre (Musqueam), Squamish-Lil’wat Cultural Centre (Squamish, Lil’wat), Heiltsuk Cultural Education Centre (Heiltsuk), Nisg̱ a’a Museum (Nisg̱ a’a) and Haida Gwaii Museum and Haida Heritage Centre at Kay Llnagaay (Haida). Covering a wide geographic expanse, from what is now Vancouver to the Nass River valley, this is the first time that these communities have come together to collaborate on an exhibition and showcase their diverse cultures in one space. For visitors, it is an amazing opportunity to learn about the heritage work these centres are doing and to see traditional and contemporary objects from the communities. The exhibit is organized under three main themes: land and language, continuity and communities, and repatriation and reconciliation. Many British Columbians aren’t aware of the existence of First Nations cultural centres and museums or their impact on their communities. This exhibition opens a window into these five centres through dynamic displays of animated maps, Indigenous languages and rarely-seen items, like an ancient walrus skull and a 32-foot sturgeon harpoon. MOA hopes this is the first of many exhibitions of its kind.
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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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Traces of Words: Art and Calligraphy from Asia
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- May 11 – October 9, 2017
- CURATOR: Fuyubi Nakamura
- Words and their physical manifestations are explored in this insightful exhibition, which will honour the special significance that written forms, especially calligraphy, hold across the many unique cultures of Asia – a vast geographical area boasting the greatest diversity of languages in the world. Traces of Words: Art and Calligraphy from Asia will showcase the varied forms of expression associated with writing throughout Asia over the span of different time periods: from Sumerian cuneiform inscriptions, Qu’ranic manuscripts, Southeast Asian palm leaf manuscripts and Chinese calligraphy from MOA’s Asian collection to graffiti art from Afghanistan and contemporary artworks using Japanese calligraphy, and Tibetan and Thai scripts. Curated by Fuyubi Nakamura (MOA Curator, Asia), the multimedia exhibition will meditate on the physical traces of words — both spoken and recorded — unique to humans. Embodying both the ephemeral and eternal elements innate to the human experience, the cultural significance of words and their artistic representation through calligraphy, painting, digital works and mixed media are examined. Traces of Words will feature works from six international artists — Shamsia Hassani, Kimura Tsubasa, Nortse, Phaptawan Suwannakudt, Yugami Hisao and teamLab.
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Joe David: West Coast Artist
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Exhibit A: Objects of Intrigue
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- March 9, 1999 - March 31, 2000
- Created to celebrate the Museum’s 50th Anniversary, this exhibit features works selected by the commented upon by more than sixty people who have been associated with the Museum over its history. Through their choices, artists, curators, current and former staff, writers, researchers, and others give special insight into objects both remarkable and rare.
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Shake Up: Preserving What We Value
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- December 2, 2018 – Fall 2019
- CURATORS: Jill Baird and Jennifer Kramer
- Earthquakes have long been a part of the reality of living along the Northwest Coast. At MOA, preparation for this reality is a priority of monumental proportions as the Museum’s iconic Great Hall undergoes major seismic upgrades to help preserve the building, the collections and cultural heritage. In conjunction with this immense undertaking, MOA’s exhibition, Shake Up: Preserving What We Value, explores the convergence of earthquake science and technology with the rich Indigenous knowledge and oral history of the living cultures represented in MOA’s Northwest Coast collection. Beyond scientific discoveries, Shake Up also puts into the foreground traditional knowledge of earthquakes and natural disasters that has been passed down through generations throughout many cultures. Through multimedia installations, contemporary First Nations art and cultural objects, Shake Up explores the connection between cultural knowledge and natural seismic events. Bringing together the perspectives of cultures, arts and sciences, this exhibition reflects on what we value and how we preserve it. The exhibition will be displayed in areas throughout the Museum, and visitors will have the opportunity to see the majestic poles of the Great Hall undergo important conservation work while they are temporarily stored in the adjacent O’Brian Gallery. Shake Up: Preserving What We Value is the first of two exhibitions at MOA to explore the theme of natural disasters and their implications. A Future for Memory: In the Aftermath of the 3/11 Disaster, curated by MOA’s Curator of Asia, Fuyubi Nakamura, is slated to open in early 2020. Based on research from the past seven years, its focus will be on changing physical and psychological landscapes in the aftermath of 2011 earthquake in Japan, and consider its local and global resonances.
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Cindy Sherman meets Dzunuk'wa: From the Michael O'Brian Collection
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- February 14 - March 29, 2014 (Satellite Gallery, 560 Seymour Street)
- The private collection of Vancouver-based arts patrons Michael and Inna O'Brian is the focus of this first collaborative exhibition by the four partner institutions at Satellite Gallery. Cindy Sherman meets Dzunuk'wa is a rare opportunity for the public to see selected highlights from the collection, including works by such key Canadian and international artists as Brian Jungen, Ann Kipling, Mary Pratt, Jean-Paul Riopelle, Victor Vasarely, and Lawrence Paul Yuxweluptun. Formed over a period of 25 years, the O'Brian collection is both eclectic and unpredictable in its breadth and range of media, from paintings and sculptures to ceremonial regalia and conceptual photography. It emphasizes regional art from the postwar era to the present day, revealing the collectors’ special interest in local and emerging artists, many of whom have become personal friends. "My passion for the visual arts is not just about owning and collecting art," says Michael O'Brian; "The work must create within me a desire to feel and understand what was in the artist's mind at the time of its creation." Taking an experimental approach to the exhibition, the curators—Karen Duffek (Museum of Anthropology, UBC), Helga Pakasaar (Presentation House Gallery), Cate Rimmer (Charles H. Scott Gallery, Emily Carr University), and Keith Wallace (Morris and Helen Belkin Gallery, UBC)—have avoided chronological and thematic categories by placing the diverse works into unexpected juxtapositions. Just as New York artist Cindy Sherman’s untitled portrait of vanity and the grotesque comes face to face with Kwakwaka’wakw artist Beau Dick’s mask of Dzunuk’wa, the Giant of the Woods, artworks in the exhibition are presented as a series of conversations, from intimate to confrontational. “We have each brought different perspectives into the process of assembling the exhibit,” says Duffek, “and want to honour the vision of the Michael O’Brian Family Foundation, which founded Satellite Gallery as a space for new and temporary projects, collaborations, and experiments in the arts.”
- CURATOR: Karen Duffek (Museum of Anthropology, UBC), Helga Pakasaar (Presentation House Gallery), Cate Rimmer (Charles H. Scott Gallery, Emily Carr University), and Keith Wallace (Morris and Helen Belkin Gallery, UBC)
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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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National Museum of Man: Children of the Raven
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An Exhibition of the collected works of Joe David and Ron Hamilton, contemporary West Coast artists
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Guatemalan Highland Textiles
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- November 16 - December 31, 1976
- A colourful display of costumes, textiles and backstrap looms from the Guatemalan Highlands. A related demonstration was presented on November 18 at 1:00 p.m.
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Legacy Exhibit of Contemporary Northwest Coast Art
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- June 1 - September 30, 1976
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Exhibit Project - Lab #1
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Chinese Jade and Ivory
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Precisions of Line Perfections of Form
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Conservation Exhibit
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Animals in Indian Bronze Sculpture
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- March 12 – 13,1982
- Student exhibition
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Discovering MOA
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- February 17 - April 19, 1987 (Gallery 5)
- What is the MOA, a prehistoric beast or a contemporary museum? This exhibition designed for UBC Open House 1987 illustrates the Museum’s teaching and research role in the university and Vancouver communities.
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The Literacy Heritage of Hinduism
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- April 2 - December 31, 1987 (Theatre Gallery)
- Student exhibition: exhibition of sacred Hindu texts discussing the significance of Spiritual Knowledge.
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Ahneesheenahpay Still Life
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