Showing 581 results

• May 10 - September 30, 2012 (The O'Brian Gallery)
• As Buddhism spread across Asia, symbols and sacred images developed to represent the Buddha and illuminate his teachings. These images offer the devotee and viewer both consistency in the forms of Buddhist art, and a vast array of subtle and obvious differences. The latter illuminate the variety of rituals, religious texts, and beliefs generated over time, culture, and geography. They offer a window into Buddhist philosophy, aesthetics and values, combining beauty and meaning. Works of art in the exhibition focus on basic Buddhist concepts and images, and reflect the purpose of Buddhist art: why it is made, who made it, for whom, and how it is used; for example, in teaching, facilitating meditation, gaining merit, and for devotional purposes. Exhibit content reflects the Three Treasures of Buddhism, that is the Buddha, the Dharma (Teaching), and the Sangha (Community). Also described is the role of the bodhisattva and expressions of Buddhist practice, such as obtaining merit and devotion. The exhibit will decode the meaning of representations in Buddhist art, such as hand gestures and the attributes associated with various images. The objects on display illustrate the primary images found in Buddhist art, and offer viewers a varied visual experience, from an early 5th century Gandharan sculpture, to a Zen painting. A range of media will be represented, including sculptures (made of stone, metal or lacquered wood) paintings, ceramics, manuscripts, and textiles. These will be drawn from MOA's Asian collection, as well as from private lenders in British Columbia and from the collection of the Art Gallery of Greater Victoria. Visions of Enlightenment will show examples of Buddhist art from the main Buddhist traditions: the Theravada, Mahayana and Vajrayana. In Vancouver, the latter traditions are well represented in the established Chinese, Japanese, Korean and Tibetan communities. The Theravada school represents the traditions of the Burmese, Thai and other Southeast Asian communities. The exhibition is guest curated by Paula Swart, who has been associated with the Museum of Anthropology as Adjunct Curator (Asia) since 2009. She teaches in the University of Victoria Continuing Studies Department, and has lectured on National Geographic Society expeditions to Asia. Additional curatorial advice is provided by Margo Palmer, current Director of the Canadian Society for Asian Arts. The Society promotes the arts and cultures of Asia through lectures, cultural events, exhibits, and educational programs. MOA Liaison curator is Dr. Carol E. Mayer, Curator Africa/Oceania. MOA Designer is Skooker Broome. Visions of Enlightenment is organized by MOA, and supported in part by the Canadian Society of Asian Arts, Bank of Montreal, and Tung Lin Kok Yuen Canada Foundation. Media Sponsor is the Georgia Straight.

• 2013 Online exhibition: http://www2.moa.ubc.ca/voicesofthecanoe/
• Learn about the canoe traditions of the Fijian, Squamish, and Haida people and understand the historical and ongoing importance of canoe culture for these Indigenous peoples. The site features interviews from Indigenous artists, canoe makers, and others to encourage students to consider multiple points of view, and to question what is historically significant and what evidence is used to determine historical significance. It also hosts a range of evidence – photographs, maps, interviews, historical texts and short films. This website was developed by MOA in conjunction with The History Education Network/Histoire et Education en Reseau (THEN/HiER).

Use for: Horse & Cart, Horse & Buggy

• January 13 – March 28, 1980

• June 11 – November 14, 1991

• October 28, 1994 - March 31, 1995
• This is the first public exhibition of the drawings and poems by Nuu-chah-nuulth artist Ron Hamilton. Made for his own pleasure over the past thirty years, Ki-ke-in’s (Ron Hamilton) drawings and poems show an extraordinary imagination at work. The drawings celebrate the complex cosmology of his people, the Nuu-chah-nulth, while the poems proclaim the intensity of the poet’s engagement with life.
• CURATOR: Marjorie Halpin

• 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.

• Opened June 21, 2003
• Online exhibition also made: https://epe.lac-bac.gc.ca/100/205/301/ic/cdc/musqueam/index.html

• 1988 - ?

• March 28, 1980 - September 30, 1981 (Theatre Gallery)
• Student exhibition

• 1978
• Student exhibition

• [Fall, 1996] - January 31, 1997
• Student exhibition: What do hockey, Vancouver’s Chinatown and the Canadian Pacific Railway have in common? They were among the many answers students in Anthropology 431 proposed to the question: “What is Canadian Cultural Property?” As their term project, they created a series of posters presenting their ideas. They invite you to come and give your own thoughts about Canadian cultural property in the comment books provided in the gallery.

• Student exhibition by Jill Willmott, 1963

• 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.