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Multiplicity: A New Cultural Strategy
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- 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).
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Museum Quality: Significant Acquisitions Purchased for the Museum's Permanent Collection by the Anthropology Shop Volunteers
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- November 16, 1983 - March 4, 1984 (Rotunda)
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My Ancestors are Still Dancing
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- Through September 28, 2002 (Gallery 8)
- Tsimshian weaver William White from Lax Kw’alaams has been publicly weaving a child- size Chilkat robe this summer as part of a “living” exhibition entitled My Ancestors are Still Dancing. In July, the artist set up his loom and pattern board in Gallery 8, alongside a display of his own weavings, some historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. This September, the completed weaving will be lifted from the loom in a small private ceremony.
- MOA created a website to document the weaver’s progress, and to explore the significance of the Chilkat tradition: http://www.moa.ubc.ca/williamwhite/WhiteIntro.html.
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Norman Tait: Nishga Carver
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- November 1, 1977 – January 31, 1978
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Nunavutmiutanik Elisasiniq: A Tribute to the Peoples of Nunavut
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- 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.
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O Canada! An Experimental Exhibition in Six Parts
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- March 31 - September 16, 1984
- Student exhibition: A playful six-part exhibit with each part devised from phrases of the national anthem.
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On Stoney Ground
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Our Chiefs and Elders: Photographs by David Neel, Kwagiutl
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- August 17, 1990 - June 30, 1991
- This exhibition will consist of some 50 framed prints of David Neel’s portraits of B.C. Native Chiefs and Elders. Included with the portraits are statements made by the sitters and selected by the artist.
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Our Eldest Elders: A Photographic Tribute
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- July 4 - November 2, 1986 (Theatre Gallery)
- This exhibition presented a selection of twelve portrait photographs of Indian elders accompanied by quotes and short biographies.
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Pigapicha! 100 Years of Studio Photography in Nairobi
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- 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.
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Plantae Occidentalis: 200 Years of Botanical Art in British Columbia
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- April 17 - September 2, 1979
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Pleased to Meet You: Introductions by Gwyn Hanssen Pigott
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- November 3, 2012 - March 24, 2013 (The O'Brian Gallery)
- In her own celebrated work, Australian ceramic artist Gwyn Hanssen Pigott nudges pale-glazed tableware forms into still-life groupings of bowls, bottles and cups. Individually familiar, the juxtaposed forms speak to one another and to the observer with surprising emotion. In this exhibition, Ms. Pigott has selected objects from the Museum’s permanent, world-wide collection and re-assembled them, with her own works, in surprising new relationships. The “introductions” have been made based on colour, form, and pattern, often featuring objects that are normally never displayed together. The pieces are not placed within any historical or cultural context; rather they are grouped to illustrate that, regardless of social or cultural background, makers share similar aesthetic choices when making decisions about the creation of their work. Gwyn Hanssen Pigott is recognized as one of Australia’s most significant contemporary artists and has exhibited extensively in Australia, America, Europe and Asia. In 2002 she was awarded the Medal of the Order of Australia for service to the arts as a ceramic artist and teacher. The exhibition is curated by MOA Curator Dr. Carol E. Mayer and Susan Jefferies, past curator of Modern and Contemporary Ceramics at the Gardiner Museum, Toronto.
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Popology
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- March 1 - October 9, 1988 (Gallery 9)
- Student exhibition: Popular culture represents social values, attitudes and lifestyles and is often taken for granted although it forms the everyday culture in which we participate. This exhibition, produced by students in Anthropology, provides four separate sculptural statements that focus on one aspect of popular culture - the interaction between the consumer and the mass media. Each installation of Popology - Catch the Wave; The Event; Alice in Consumerland and decor-me-beautiful - explores one faucet of this relationship.
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Prints Exhibition: Roy Hanuse, Joe David, and Art Thompson
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Proud to be Musqueam: Dedicated to Our Children
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- May 24 - July 1988 (Theatre Gallery)
- People have lived at Musqueam for at least 3,000 years. Over the last century the City of Vancouver has grown up around the Reserve created at this ancient site. In this exhibit of archival photographs and oral history, two Musqueam women, Verna Kenoras and Leila Stogan, tell the story of their people over the last one hundred years. Cosponsored by the Musqueam Band Council.
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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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Recalling the Past: A Selection of Early Chinese Art from the Victor Shaw Collection
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- December 3, 1997 - August 31, 1998
- Drawing on one of the finest private collections of Early Chinese art, Recalling the Past spans 4,500 years of Chinese art from the Neolithic through the Han, Tang and Song dynasties. The exhibit features diverse objects in jade, bronze, ceramic, gold and silver, and other materials - all remarkable for the exceptional quality of their manufacture and design. The objects highlight aspects of ancient Chinese civilization - notions of ritual, changing decorative motifs, the formation of national unity during the Han, the importance of the Tang in later time, and the justified fame both within China and around the world of Chinese ceramics.
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Reclaiming History: Ledger Drawings by Assiniboine Artist Hongeeyesa
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- January 31 - March 31, 1996
- An exhibit of drawings in graphite, pencil crayon, crayon, and ink by Hongeeyesa, an Assiniboine artist who lived in what is now southern Saskatchewan between 1860 and 1927. Called “ledger drawings” because they were sometimes done on lined accountant’s paper provided by government Indian agents, these drawings provide invaluable information about Native life in the mid to late 1800s. This national touring exhibition was organized by Glenbow and is the result of a special collaboration between Glenbow’s guest curator Valerie Robertson, co-writer Charlotte Nahbixie, John Haywahe (grandson of the artist), and the people of Carry The Kettle First Nations.
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Reflections of India: Paintings from the 16th to the 19th Century
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- January 8 - February 11, 1980 (Gallery 9)
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Repair, Reuse, and Recycle
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- February 18 - May 24, 1992 (Gallery 9)
- Student exhibition: Japanese, Indian, Chinese, Philippine, Dutch, Salish, and Peruvian textiles are used to highlight how various peoples prolong the life of household goods and clothing. This exhibit continues MOA’s long-term commitment to “recycle” its entire world-wide collection of textiles from protective darkness to public view
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