Showing 575 results

Subjects
Subjects term Scope note Archival description count authority records count
Visible Storage 2 0
Looking at Labels 2 0
Potlatch Platform 1 0
What is A Masterpiece? 1 0
Conversations: The Dr. Miguel and Julia Tecson Philippine Collection
  • April 6 - February, 2001
  • Student exhibition: As part of their course work at UBC, students in Anthropology 432, The Anthropology of Public Representation, presents an exhibition of Philippine pottery, textiles, metalwork, and other media collected and donated to the Museum by Dr. Miguel and Mrs Julia Tecson.
3 0
Unity Quilt
  • September 15 - December 31, 1999
  • This remarkable work was made by participants in the Traditional Parenting Skills Program of the Indian Homemakers’ Association of B.C. It is a visual symbol of the assistance and support offered by the Association over its thirty years of service to First Nations families.
4 0
Signed Without Signature: Works by Charles & Isabella Edenshaw
  • November 26, 2010 – September, 30, 2011 (Gallery 3)
  • From the late 1800s to the early 1900s, Charles and Isabella Edenshaw produced Haida art that continues to inspire the finest Haida artists of today, many of whom are their descendants. What is the aesthetic that makes their work recognizable and so respected? How has it remained contemporary for more than 100 years? This exhibit addresses these and other questions by highlighting Charles Edenshaw’s engraved silver bracelets, as well as his wife Isabella’s basketry, which Charles painted. Join curator Bill McLennan at 7 pm on Tuesday, November 30 for a talk and tour of the exhibit. Media sponsor The Georgia Straight.
17 0
Within the Pear Garder: Chinese Opera Costumes

Use for: Chinese Opera Costumes

  • October - November 7, 1976
  • Student exhibition: An exhibit of the 19th century Chinese theatre costumes, used by the Jin Wah Sing Musical Association of Vancouver, who will present a demonstration and Chinese opera music on October 10 at 3:00 p.m.
2 0
Tatau: Samoan Tattooing and Global Culture
  • March 8 - September 30, 2009
  • The contemporary significance of Samoan tattoo traditions is the focus of an insightful and provocative exhibit entitled “TATAU: Samoan Tattooing and Global Culture,” is now on display in Gallery 3 (adjacent to the Great Hall) in March. Curated by Peter Brunt, Senior Lecturer in Art History at Victoria University of Wellington, the show features over 40 photographs by distinguished New Zealand artist Mark Adams. Thanks to the Adam Art Gallery, Victoria University of Wellington, and Cambridge Museum of Archaeology and Anthropology, University of Cambridge, for organizing this touring exhibition.
4 0
T'xwelatse Visits MOA

Use for: Welcoming Stone T'xwelatse

  • March 1 to May 15, 2008
  • T’xwelátse, ancestor of the Stó:lō-Ts’elxwéyeqw people, was born in the distant past when things were not quite right. He was turned to granite many years ago as punishment for mistreating his wife, who was charged thereafter with his care. For generations, the women of the family looked after their stone ancestor, who carried within him lessons about how to live and act properly. In 1892, Stone T’xwelátse was taken from his homeland and eventually acquired as an object of study by the Burke Museum of Natural and Cultural History in Seattle. In October 2006, after 114 years of separation from his extended family, Stone T’xwelátse was repatriated and journeyed home again. According to his namesake, Herb Joe, a former Chief of the Tzeachten First Nation, "he will continue to do the job he set out to do – to teach." Thanks to Herb Joe and his family, and the Stó:lō Research and Resource Management Centre, T’xwelátse will reside at MOA from March 1 through mid-May, where he will form the basis of a high school program on repatriation, and continue to share his message that “we need to learn to live together in a good way.”
0 0
Seeing is Believing: Photographs from the Archives
  • 2007
  • There are more than 90,000 historic photographs in the Archives at the Museum of Anthropology. The collection is worldwide, covers a multitude of subjects, and dates from the early 1900s to the present day. This exhibit reveals only a tiny portion of this hidden gem, yet hints at the remarkable potential of this collection for scholars, researchers, and visitors. Geographically, the collection includes images from the Northwest Coast of British Columbia, the Southwest United States, South America, and various areas of Asia, Oceania and Africa. Institutionally, the collection documents the people and events that were instrumental in the history and growth of the Museum.
6 0
'Mn̩úkvs w̓u̓w̓a̓x̌di - One Mind, One Heart

Use for: One Mind, One Heart

  • December 18, 2012 - April 21, 2013 (Multiversity Galleries)
  • One Mind, One Heart is the response of the Heiltsuk Nation to the proposed Northern Gateway pipeline and to oil tanker traffic in their territories. The exhibit features the ancestral guardian ’Yágis swallowing an oil tanker trespassing in Heiltsuk waters. ’Yágis, the mask was created by ’Nusí, Heiltsuk artist and embodies the ancient teachings of the Heiltsuk to protect their land and seas against such perils as pipelines and oil tanker traffic in their waters. It also includes an iPad kiosk featuring films, photos of Heiltsuk territory, and community members protesting during the Joint Review Panel’s visit to Bella Bella. About the piece ’Nusí comments: “I created ’Yágis for One Mind, One Heart, an installation at the Museum of Anthropology to show my support in opposing the Enbridge Pipeline Project. He hunts down oil tankers and protects our territories and coast.”
  • The installation was curated by Pam Brown, MOA curator in collaboration with the Heiltsuk Nation and ’Nusí, Ian Reid, Heiltsuk artist and activist.
2 0
A Partnership of Peoples Exhibit
  • June 5, 2006 (Gallery 8)
  • The Museum has recently embarked upon a major Renewal Project known as “A Partnership of Peoples”. In this exhibit, MOA displays its plans for expansion and renovation, a scale model, and samples of architectural details, finishings, and furnishings.
0 0
Mehodihi: Well-Known Traditions of Tahltan People "Our Great Ancestors Lived That Way"
  • 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.
7 0
Kaxlaya Gvilas, "the ones who uphold the laws of our ancestors"
  • 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.
6 0
Nuxalk Radio: One Nation, Many Voices
  • March 1 – April 3, 2018 (UBC Irving K. Barber Learning Center)
  • Student exhibition: Indigenous community radio is a powerful tool. In this exhibition, UBC museum anthropology students worked with Nuxalk Radio in their mission: “Lhulhamktulhs ala ts'ktaliwalh alh ti s kulhulmcilh t'ayc n wa sulutilh ats (Broadcasting the Laws of the Lands and Waters.)” Nuxalk Radio expresses the many voices of the Nuxalk Nation. Through the airwaves and online, radio connects the Nuxalk people to each other and to other Indigenous communities. It inspires Nuxalk language learning and promotes the return to ancestral governance. It fosters community well-being, now and in the future for those not yet born, and asserts Indigenous rights.
0 0
Marking the Infinite: Contemporary Women Artists from Aboriginal Australia
  • 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.
3 0
Culture at the Centre: Honouring Indigenous Culture, History and Language
  • 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.
3 0
The Mabel Stanley Regalia Collection
  • March 28, 2014 (Textile Research Room)
  • Student exhibition: In 2012, the family of the late Mabel Stanley (1901-1979) donated her collection of ceremonial realia and other First Nations items to MOA, with the understanding that the objects would be accessible to the family, and that MOA would create an exhibition about them. Students in the Museum Practice and Curatorship took up the challenge, working with family and community members, as well as historical records, to examine the multiple ways in which a collection of objects can be seen to represent the life of an individual.
0 0
Cindy Sherman meets Dzunuk'wa: From the Michael O'Brian Collection
  • 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)
2 0
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