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• February 17, 1996 - December, 1997
• In these dramatic sculptures, Connie Sterritt (Nuu-chah-nulth/Gitksan) applies modern technology to traditional Northwest Coast shapes to produce a contemporary look at formlines and design. For Sterritt, the life-size Bear, Raven and Wolf sculptures represent “a longhouse, in a time when man and animal were of equal status, and ‘home’ was as beautiful as its surroundings.”

• April 7 - September 6, 1999
• Student exhibition: An exhibit of recently donated prints and drawings by ten Inuit artists organized by the students of Anthropology 432 (The Anthropology of Public Representation) to reflect ideas about community history and identity.

Usar para: Early Chinese Ceramics from the Victor Shaw Donation

• May 30, 2001 - March 10, 2002
• With this exhibition, the Museum of Anthropology celebrates the recent gifts of The Victor Shaw Collection of Chinese Arts to the University of British Columbia. Created over a period of 5000 years, the objects in the collection are made of ceramic, bronze, and precious metals. Each piece reflects the collector’s sensitive eye and discriminating taste and, in turn, a long tradition of Chinese art connoisseurship.

• October 13, 2003 - October 31, 2004.
• MOA Curator of Ethnology Pam Brown (Heiltsuk), guest curator Tanya Bob (Tahltan), and members of the Tahltan community create the first ever museum exhibit of Tahltan First Nations art and culture. The Tahltan live in the villages of Iskut and Dease Lake on the Stewart-Cassiar Highway, and Telegraph Creek, below the Grand Canyon of the Stikine River. This exhibit has been developed collaboratively to highlight the profound and continuing links between the Tahltan and their land, culture, and heritage.

• February 6 - September 3, 2007
• The Village is Tilting: Dancing AIDS in Malawi features a series of masks, photographs, and videos documenting the depth of awareness and cultural response to the AIDS pandemic by rural Malawians. More than a plaintive victim's cry, The Village is Tilting uses elements of Gule Wamkulu itself - dance, drama, dialogue, and humour - to strip away conventional images of AIDS to reveal its inextricable links to an interconnected set of conditions and causes: poverty, gender inequality, and civil injustice. The exhibition is guest curated and assembled by Vancouver-based photographer Douglas Curran, who has documented the Chewa mask culture for over ten years.

• October 25, 2013 - March 30, 2014 (The Audain Gallery)
• . In 1949, the Cuban writer and ethno-musicologist, Alejo Carpentier (1904 – 1980), coined the term the “marvellous real” to describe a particular kind of magic realism that is manifest in the arts and everyday life of Latin America. Eluding the expected through bizarre amalgamations, improbable juxtapositions, and fantastic correlations, the marvellous real is, as Carpentier said, “neither beautiful nor ugly; rather, it is amazing because it is strange.” This exhibition features 55 artworks from Mexico that capture the idea of the marvellous real. Drawn from the FEMSA Collection in Mexico, the exhibition includes works by Dr. Atl, Leonora Carrington, Jean Charlot, Juan O’Gorman, Alice Rahon, David Alfaro Siqueiros, Juan Soriano, and Rufino Tamayo, as well as a younger generation of visual artists like Carlos Amorales, Sandra Cabriada, Claudia Fernández, Adela Goldbard, Yishai Jusidman, Alejandro Santiago and Francisco Toledo. Curated by Dr. Nicola Levell (Assistant Professor, Anthropology, UBC). The exhibition is made possible through the generous support of the FEMSA Collection, the Agencia Mexicana de Cooperación International Para el Desarrollo, the Consulado General de México en Vancouver, the Ollin Mexican Canadian Association for Arts, Culture and Education, and the Fundación Alejo Carpentier.

• May 2 - November 2, 2014 (The Audain Gallery)
• This exhibition features over 80 Afro-Cuban artworks collected by Chris and Marina von Christierson. Curated by Cuban poet, art critic and curator Orlando Hernández, the exhibition was first shown at the Johannesburg Art Gallery. It explores the ties that link the histories and cultures of Cuba and Africa, and includes works that reflect controversial and conflicting aspects of the Cuban national reality that continue to affect Cuban society today, including problems related to race, stereotypes and religion. MOA opens a window into the lives and struggles of Cubans of African descent in its new exhibition Without Masks: Contemporary Afro-Cuban Art. This remarkable exhibition has assembled a diverse group of 31 Cuban contemporary artists devoted to two fascinating themes: on the one hand an insight into contemporary Afro-Cuban cultural and religious traditions and, on the other, an intense dialogue on the complex racial issues affecting the country today. “MOA is a place of both historic and contemporary world arts and culture; an institution where Vancouver’s residents and visitors can develop an understanding and appreciation of the complexities of our global community,” says Nuno Porto, Curatorial Liaison for Without Masks. “Without Masks gives us opportunities to broaden our understanding of issues of global concern, such as racism today. The Afro-Cuban struggle for recognition and social equity in contemporary Cuba resonate with challenges faced by communities all over the world, including here.” Orlando Hernández, formerly of the Museo Nacional de Bellas Artes in Havana, curated Without Masks following his own rigorous criteria. Focusing beyond aesthetic, the exhibit favours originality and the profoundness of the works’ sociological, historical, anthropological, religious, ethical and political messages. “There is a very strong African tradition in Cuba. We inherited many religious practices from Africa — Palo Monte, Santeria, Ifá, Abakuá — and there are a lot of Cubans of direct or mixed African descent,” says Curator Orlando Hernández. “InWithout Masks we seek to make new and deeper studies of those cultural, aesthetic, symbolic, and religious legacies that we share and take for granted, without forgetting that we have received them from black sub-Saharan Africa.” For Without Masks, Hernández has curated a powerful collection of artworks representing a cross-section of Afro-Cuban artists – from the internationally renowned to street and folk artists. The exhibition features 31 artists showing a total of 85 works (from the 146 which at present comprise the whole collection) spanning a range of media including painting on canvas and wood, watercolour, drawing, printing (xylography, silk-screen, calligraphy), collage, patchwork, installation, soft-sculpture, photography, video-installation and video art. All the works in the exhibition are drawn from the von Christierson Collection. Chris and Marina von Christierson, themselves South African, first visited Cuba in 2007 and were drawn to the country and its art. During this visit they met Orlando Hernández and established a collaboration with him to develop a collection of Afro-Cuban art that would show the multiple imprints of Africa in Cuba’s artistic culture. The collection was first exhibited at the Johannesburg Art Gallery in 2010 during the FIFA World Cup. A major catalogue featuring the collection is available in the MOA Shop. The collection is held by the family’s Watch Hill Foundation, a not-for-profit charitable organization.

• January 25 - December 2015 (O’Brian Gallery)
• CURATORS Susan Rowley, Co-curator of the Museum of Anthropology, Jordan Wilson, Co-curator of the Museum of Anthropology
• The Museum of Anthropology, the Musqueam First Nation, and the Museum of Vancouver partner on a groundbreaking exploration of an ancient landscape and living culture in a series of exhibitions entitledc̓əsnaʔəm, the city before the city.
• People often think of Vancouver as a new city, when in fact this region has been occupied for nine thousand years. Located in the area now commonly known as the neighbourhood of Marpole in Vancouver, c̓əsnaʔəm was first occupied almost five thousand years ago and became one of the largest of the Musqueam people’s ancient village sites approximately two thousand years ago. Generations of families lived at what was then the mouth of the Fraser River, harvesting the rich resources of the delta. Over the past 125 years, archaeologists, collectors, and treasure hunters have mined the c̓əsnaʔəm village and burial ground for artifacts and ancestral remains. The land has been given various names since colonialism, including Great Fraser Midden, Eburne Midden, DhRs-1, and Marpole Midden – a name under which it would receive designation as a National Historic Site in 1933. Today, intersecting railway lines, roads, and bridges to Richmond and YVR Airport obscure the heart of Musqueam’s traditional territory, yet c̓əsnaʔəm’s importance to the Musqueam community remains undiminished. The exhibition at MOA focuses on Musqueam identity and worldview. It highlights language, oral history, and the community’s recent actions to protect c̓əsnaʔəm. Rich in multi-media, it demonstrates Musqueam’s continuous connection to their territory, despite the many changes to the land. Told from the first-person perspectives of Musqueam community members both past and present, it also seeks to replicate aspects of Musqueam ways of educating. c̓əsnaʔəm, the city before the city at MOA will leave the visitor with a different understanding of the deep history of what is now known as Metro Vancouver. The exhibition at the Musqueam Cultural Education Resource Centre & Gallery focuses on the sophistication of the Musqueam culture – past and present. It makes connections between the expertise of pre-contact knowledge-holders and contemporary professionals. The exhibition at the Museum of Vancouver draws connections between c̓əsnaʔəm artifacts, Indigenous ways of knowing, colonialism, heritage politics, cultural resilience, and contemporary Musqueam culture. It includes graphic and 3D modelling of maps and artifacts, original videography, family-friendly interactivity, and soundscapes blending traditional and modern sounds.

• May 12 - October 12, 2015
• CURATOR: Dr. Anthony Shelton, MOA Director
• MOA delves deep into popular art of Portugal in the upcoming exhibition entitled Heaven, Hell and Somewhere In Between: Portuguese Popular Art, on view May 12 through October 12, 2015. The North American premiere of this extraordinary exhibition will include 300 Portuguese folk artworks – a distinct and eclectic mix of digital graffiti projections with popular rural creations: puppets, figurines, carnival masks, ceramics, and more. The exhibit will showcase the work of a passing generation of great artists—craftspeople, illustrators, and painters. The exhibition presents Portuguese popular art as multi-leveled, theatrical, politically astute, and individualistic. These creations provide a theatre of the nation, where art and culture are mediated through the eruption of personal, profound, and deeply felt sentiments. In fall 2015, Shelton will lead a group of enthusiastic participants on a 13-day trip to Portugal as part of MOA Journeys, an initiative launched in November 2014 with an inaugural voyage to Cuba. A unique cultural encounter, those partaking in the expedition will deepen their understanding of Portuguese society through encounters with select artists represented in the exhibition, excursions to artist studios, and cultural workshops.

• March 1, 2016 - January 31, 2017
• CURATOR: Carol E. Mayer (MOA Curator, Pacific)
• The Sepik River of Papua New Guinea is one of the largest river systems in the world, extraordinarily beautiful, but seldom visited. It is here that the Iatmul people, who live along its banks, have created internationally renowned works of art primarily inspired by stories of the majestic crocodile as the primordial creator. This unique exhibition will showcase the most comprehensive collection of contemporary Sepik art in North America for the first time. In addition to highlighting the exquisite carvings of Papua New Guinea’s latmul people, the exhibition will delve into their economic, cultural, and spiritual connections to the river system, drawing urgent attention to the logging and mining operations that pose environmental threats to the region. Curated by Dr. Carol E. Mayer (MOA Curator, Pacific), In the Footprint of the Crocodile Man will showcase 27 enthralling sculptural works, created by upwards of 20 Sepik artists. Carved from wood, the strikingly beautiful pieces are ornately decorated with paint, sago fiber, cowry shells, and cassowary feathers.
• Inspiration for each sculpture is drawn from a number of sources, including ritual events such as initiation ceremonies, mythical beings who visit the villages at night, daily life on the Sepik River, and from ancestral stories of the majestic crocodile as the primordial creator. A sweeping installation of 100 hand woven flying foxes will also hang from the gallery ceiling, each one greeting visitors with a distinctive expression. The sculptural works will be displayed alongside photographs and videos of the magnificent Sepik River. These complementary components, prepared specifically for the exhibition, will provide further context for the contemporary art and highlight the environmental risks from logging and mining organizations. The most notable and immediate threat addressed in the exhibition will be that of the Frieda Mine, where excavation will begin even as the MOA exhibition opens. Located near the Sepik headwaters, the possibility of mine tailings entering the river system poses a grave risk to the Sepik people’s economy, cultural identity, and way of life.

• April 20 - September 15, 2013 (The Audain & O’Brian Galleries)
• See more, hear more & read more about the artists and artworks in the exhibition using the Safar/Voyage web app: safar.moa.ubc.ca Safar/Voyage is the first major exhibition of contemporary art from these regions to be shown in Vancouver. It is constructed as a journey in the company of 16 artists, each of whom is neither fixed inside the territories of the Middle East nor permanently diasporic. These artists define themselves and the world according to their own creative representations, often informed by culturally specific conditions. Wrapping the globe, their diverse artworks speak to the universal theme of voyage (a translation of the Persian safar), from the external and geographical to the internal, emotional, and existential. They acknowledge the realities of political turmoil and revolution, and how politics frames both trauma and desire, whether individual or collective. Voyage is seen to take many forms. Expressed in media ranging from painting, sculpture, and video installation to performance and a carpet, it is as innocuous as tourism (with a twist), as disturbing as war—the violent crossing of borders—and as philosophical as the transience of life. The artists of Safar/Voyage are positioned as our guides, their visions mined for reflections on some of the most urgent issues of our time. The artists featured are Adel Abidin, Tarek Al-Ghoussein, Nazgol Ansarinia, Kutlug Ataman, Ayman Baalbaki, Ali Banisadr, Taysir Batniji, Mona Hatoum, Susan Hefuna, Raafat Ishak, Y.Z. Kami, Farhad Moshiri, Youssef Nabil, Hamed Sahihi, Mitra Tabrizian, and Parviz Tanavoli. The exhibition is curated by Dr. Fereshteh Daftari, former curator at the Museum of Modern Art, New York. MOA Coordinating Curator Dr. Jill Baird, Curator, Education & Public Programs. The exhibit will be accompanied by a publication.The exhibition features a wide range of public programs including curator and artist talks, musical performances, as well as the Hassan and Nezhat Khosrowshahi Distinguished Lecture Series featuring talks by noted architects and scholars Nader Ardalan, Daniel Roehr, Hossein Amanat, and Abbas Amanat. Safar/Voyage is made possible through the generous support of: Presenting Sponsor: Deloitte; Publication Sponsor: UBS Bank (Canada); Lead Media Sponsors: CBC & The Vancouver Sun; Other Sponsors: Wesbild Holdings, Canvas Magazine, Chubb Insurance Company of Canada, HUB International Insurance Brokers, The Canada Council for the Arts, SDV Logistiques (Canada) Inc., Lamar Transit Advertising, the Consulat général de France à Vancouver, and Robert McInnis.
• We would also like to thank the Safar/Voyage Exhibition Volunteer Committee for their exceptional work to make this exhibition possible: Mrs. Nezhat Khosrowshahi, Chair; Mrs. Rosalie Stronck, Vice Chair; Mrs. Maymanat Bakhtiar; Mr. Hank Bull; Mrs. Fiona Entwistle; Mrs. Yulanda Faris; Mrs. Shawne MacIntyre; Mrs. Marjan Navabi; Mr. Sohrab Saeb; Mr. Parviz Tanavoli; and Mrs. Lisa Turner.

Usar para: Respect to Bill Reid Pole

• On June 21, 2002, National Aboriginal Day, the Museum launched a virtual exhibition developed to document the carving and raising of “The Tribute to Bill Reid Pole” by Jim Hart, which took place at MOA on October 1, 2000. In July 2002, the Respect to Bill Reid Pole virtual exhibit was nominated by the Virtual Museum of Canada for an award of excellence. http://www.virtualmuseum.ca/sgc-cms/expositions-exhibitions/bill_reid/english/index.html
• Ongoing, www.moa.ubc.ca

• Exhibition of Contemporary Hawaiian Art
• February 9 - June 29, 1997
• The first exhibit of contemporary native Hawaiian art to visit Canada, Maui: Turning Back the Sky features 50 works in media ranging from paintings and photography to sculpture to fiber art. The pieces evoke Hawaiian history, family geneologies, astonomy and the navigational technology of the Polynesian people.

• [ca. 1987-1988]

• 1978
• Student exhibition

• 1978
• Student exhibition

• March 28, 1980 – January 3, 1981
• Student exhibition

• May 1980 – February 1981

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

• May 1, 1985 – July 12, 1986