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Use for: Hiroshima , Hiroshima [Ishiuchi Miyako]

• October 14, 2011 - February 12, 2012
• This exhibition features an installation of 48 photographs by Ishiuchi Miyako of clothing and accessories left behind by victims of the 1945 atomic bomb at Hiroshima. Unlike the black-and-white images of devastated landscapes often associated with the bombing, Ishiuchi’s colour photographs capture her own moments of encounter with everyday objects that are now preserved at the Hiroshima Peace Memorial Museum. Testaments to a profound trauma, her images at once illuminate the beauty and complexity of individual lives, and the weight of collective history. Born in 1947 in Gunma Prefecture, Japan, Ishiuchi began her artistic career in the late 1970s and is now one of that country’s leading contemporary photographers. This is the first exhibition of Ishiuchi’s ひろしま hiroshima series outside Japan. For a list of related programming, please visit www.moa.ubc.ca/events. Exhibition sponsored in part by Shiseido and the Japan Foundation. Media sponsor The Georgia Straight.
• A note about the artist's name and the exhibition title: The artist is referred to as Ishiuchi Miyako, or Ishiuchi (not Miyako Ishiuchi or Miyako). ひろしま means Hiroshima, written in Japanese hiragana characters. Hiragana is one basic component of the Japanese writing system, along with katakana. These characters were extensively used by women in former times; for Ishiuchi, using this style for the title emphasizes that this series is made from the point of view and feelings of a woman. It is the artist’s wish that that the hiragana appears before the word ‘hiroshima’ as part of MOA’s exhibition title, and that the ‘h’ in Hiroshima not be capitalized.

• April 22, 1978 - February 5, 1979
• An exhibition prepared with the cooperation of Parks Canada.

Use for: Oweekeno, Owikeno

• Fall 1995 - December 31, 1997
• Northwest Coast art motifs, carving styles and principles of design have ancient roots dating back 3,500 years. The exhibit presents examples of antler, stone and wood carvings from archaeological sites in Coast Salish territory on the south coast of BC. Comtemporary Coast Salish art is the living legacy of this ancient art tradition as shown by the work of contemporary Musqueam, Sto:lo, and Saanich artist featured. This exhibition offers both an archaeological and First Nations perspective on the significance of these heritage objects such as the blue heron figure and atlatl shown here.

Use for: WIPCE, World Indigenous Education Conference

• The first annual World Indigenous Peoples Conference on Education was held at MOA/UBC in June 1987.

Use for: WAM

• December 1, 1990
• On Saturday, December 1, 1990, the Museum of Anthropology will be joining with other museums and galleries around the world to pay tribute to those who are affected by and those who have lost their lives to AIDS. Special attention will be paid to Women and AIDS.

• March 19, 1996 – October 19, 1997

• January - Summer, 1994 (Lower Lobby Wall)
• “Woman’s Work” is a ceramic wall of tiles exploring various patterns and symbolic motifs. Much like the tradition of quilting, the piece is made up of thirty-five 2’ x 2’ tiles forming a vibrant guilt of clay.

• 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.

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.

• March 21 – September 30, 1996

• April 6 - September 26, 1993 (Back of Gallery 5)
• In this exhibition, anthropology graduate student and curator, Charlene Garvey, explores identity and anonymity - whose names are recorded in relation to an object and whose names are lost. The exhibit examines why it is that MOA knows the identity of almost every collector who has donated Nuu-chah-nulth basketry to the museum, and yet the basket makers themselves remain largely unrecorded.

• June 2, 2002 - January 31, 2003 (Gallery 10)
• Curated by Jeff Thomas, and circulated by the Aboriginal Healing Foundation in Ottawa, this remarkable exhibition presents a series of historical photographs documenting the history of residential schools in Canada. While the images depict scenes from a very dark time in this country’s recent past, the curator’s intention is to promote healing through deeper understanding of the crisis.

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

• 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.

• [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.