Showing 575 results

Use for: Eskimo

• 1992-1993
• Student exhibition

• November 8, 1988 - February 26, 1989 (Gallery 5)
• As a companion exhibit to Gifts and Giving, this exhibition presents a selection of 44 Cape Dorset and Baker Lake prints from MOA’s recent acquisition of 150 Inuit graphics. The works span the period 1960 to 1975 for Cape Dorset and 1969 to 1980 for Baker Lake. In addition to representing a range of media developed by the two centres producing Inuit art, this show also affords small, concentrated explorations of the work of a number of prominent artists including Kenojuak, Pitseolak, Jessie Oonak, Simon Tookoome, Irene Avaalaaqiaq, Nancy Pukingnak, Marion Tuu’luq and others.

• James Houston, Un’ichi Hiratsuka and the Inuit Print Tradition
• 19 June - 25 September, 2011 (The Audain Gallery)
• This exhibition features exquisite and extraordinarily rare prints from Japan and Cape Dorset, Nunavut, from the late 1950s and early 1960s. It also tells the little-known story of how, fifty years ago, the Canadian artist and “discoverer” of Inuit art, James Houston, travelled to Japan to study printmaking with Un’ichi Hiratsuka. An esteemed Japanese printmaker, teacher and champion of Japan’s “Creative Print” Movement (sōsaku hanga), Hiratsuka taught Houston a variety of direct transfer print techniques. With Japanese prints and tools in hand, Houston returned to the Canadian Arctic and resumed work alongside the five original Inuit printmakers — Osuitok Ipeelee, Iyola Kingwatsiak, Lukta Qiatsuk, Kananginak Pootoogook and Eegyvudluk Pootoogook. Their studio produced its first annual collection and released it to the public in January 1960. Since then, art collectors around the world have been continually surprised by Cape Dorset’s fresh, imaginative and original artworks on paper. It is an incomparable artistic legacy in Canada. Inuit Prints: James Houston, Un’ichi Hiratsuka and the Inuit Print Tradition is the first systematic inquiry into the Japanese influences on the early years of the Cape Dorset print studio. By juxtaposing the earliest Cape Dorset prints with the actual Japanese prints that inspired the Inuit printmakers in 1959, the exhibition examines the many ways in which the Cape Dorset artists creatively “localized” Japanese influences. This exhibition tells a much different story than is commonly associated with Inuit art, which is a romantic story about faraway people living in an enclaved, remote world. The complex connectivity that unites Japanese and Inuit printmakers through the intermediary work of James Houston is a story about globalization, cultural translation, travel and modernity — characteristics that define our present age. Exhibition organized by the Canadian Museum of Civilization with the assistance of the West Baffin Eskimo Co-operative in Cape Dorset.

• 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

• June 17 - November 30, 1986 (Gallery 5)
• This exhibition presents a half century of Jack Shadbolt’s Indian paintings together with a selection of Northwest Coast Indian masks from which he draws inspiration. This project was made possible through the Department of Communication’s Special Granting Programme for Vancouver to Celebrate the Centennial.

• From the exhibition, Jamelie Hassan: At the Far Edge of Words, at the Morris and Helen Belkin Art Gallery
• June 18 – August 22, 2010 (Multiversity Galleries)
• Vitrine 448, a 'book work' created by renowned Canadian artist Jamelie Hassan in 1988, was shown at MOA as part of an exhibition organized by the UBC Morris and Helen Belkin Art Gallery. Curatorial liaison: Karen Duffek.

• August 4 - October 18, 1987 (Theatre Gallery)
• A contemporary Cree artist from Edmonton expresses visions and supernatural images encountered in her sweatlodge experience.

• March 7 - June 11, 1978

• April 24 - September 3, 2002
• Contemporary art works from the Heiltsuk village of Waglisla (Bella Bella), B.C., and historical pieces from the Royal Ontario Museum’s R.W. Large Collection. We are honoured to host this extraordinary collection of rarely-seen objects, ranging from brightly-painted masks, carved figures, boxes, baskets, bows, walking sticks and staffs, to musical instruments, jewellery, tools, and fishing gear.

• March 17 - September 3, 2012 (The Audain Gallery)
• CURATOR: Dr. Jennifer Kramer; MOA Curator, Pacific Northwest, and Associate Professor of Anthropology at UBC
• Northwest Coast Kwakwaka’wakw art is renowned for its flamboyant, energetic, and colorful carving and painting. Among the leading practitioners was Doug Cranmer (1927- 2006), whose style was understated, elegant, and fresh, and whose work quickly found an international following in the 1960s. He was an early player in the global commercial art market, and one of the first Native artists in BC to own his own gallery. A long-time teacher, he inspired generations of young Native artists in his home village of Alert Bay and beyond. The exhibit shows a wide range of Doug’s artistic works in two and three dimensions in wood and paint, from totem poles, a canoe, masks, bentwood boxes, bowls, and prints, to his important “Abstract series” of paintings on mahogany plywood. Works and words by his students are also included in the exhibit, which is organized as a series of overlapping modules that reflect different aspects of the artist’s life and work. Dr. Jennifer Kramer, MOA Curator, Pacific Northwest, and Assistant Professor of Anthropology at UBC, curated the exhibit, and authored the accompanying book, which is available in the MOA Shop.

Use for: Comox

• The K'ómoks First Nation (KFN) traditional territory is the eastern portion of Vancouver Island from the Salmon River watershed in the north to the Englishman River watershed in the south. The territory includes all of the islands and portions of the BC mainland from Forward Harbour in the north to include the northwestern Texada Island and all of Denman and Hornby Islands in the south.

• April 5 - November 6, 1983 (Orientation Centre)
• Student exhibition

Use for: Kutenai, Kootenay

• March 28, 1980 - December 31, 1981 (Theatre Gallery)
• Student exhibition

• March, 1979 - February, 1980
• Student exhibition