This subseries includes materials used in the planning of the exhibit case layout and case design, including Earthquake Mitigation. The planning involved considering innovative ways to use museum space, safety and conservation of the collection materials as well as the enjoyment and interaction with the public. The subseries includes videotapes pertaining to earthquake mitigation. Areas of focus include tests of the current visible storage cases using dental wax, nylon microfilament and securing mechanisms. Records include 4 videocassettes.
This exhibit, which does not appear in the records as ever occurring at the museum, contained ceremonial objects honouring the bear, from the Ainu people, who are indigenous to the island of Hokkaido in northern Japan.
This exhibit was created by UBC graduate student Michelle Willard, and housed a collection of printed cloths that Ghanaians’ considered to be highly significant and shows how they are worn in Ghana to proclaim political loyalties and commemorate important events.
This was a living exhibition in which the artist, a Tsimshian Weaver from Lax Kw’alaams, publicly weaved a child-size Chilkat robe, alongside a display of his own weavings, and some historical weavings in MOA’s collection, and historical and contemporary photographs of people weaving.
This was a one-case exhibit of metalworks, which included works by Kwakwaka’wakw artist Mary Anne Barkhouse, Haisla artist Derek Wilson, and Gitxsan artist Eric Robertson.
This exhibit by Vancouver Artist and UBC Fine Arts Professor Judith Williams included installations of paintings, sculptures, photographs and bookworks at MOA as a series of proposals for future directions in our relations with “other.”
This exhibition includes works by 24 of the most prominent contemporary First Nations and Inuit artists in Canada. The exhibit originated in Ottawa and travelled internationally.
This exhibit draws on MOA’s collection of Cantonese opera costumes and accessories, photographs, news clippings, and other materials that document how Cantonese Opera has remained a vibrant art form in Canada from the 1880’s onward.
This exhibit features Early Chinese art from the private collection of Victor Shaw, which includes 4, 500 years of Chinese Art from the Neolithic through the Han, Tang and Song dynasties.
This exhibit presents examples of antler, stone and wood carvings from archaeological sites in Coast Salish territory on the south coast of BC, as well as contemporary works by First Nations artists.
This exhibition was created to celebrate the Museum’s 50th Anniversary; featuring works selected and commented upon by more than sixty people who have been associated with the Museum over its history.
This exhibition introduces the aesthetics, spirituality, and principles of education related to the world of Islam, through example of Islamic art and calligraphy.
This exhibit focuses on the museum’s founding collection, compromising more than 100 objects from Micronesia, Polynesia, and Melanesia amassed by the collector Frank Burnett and curator Dr. Carol Mayer.
This exhibit was created by Anthropology 432 class and highlights recently donated prints and drawings by 10 Inuit artists that reflect ideas about community and history.
This exhibit was developed with the Traditional Parenting Skills Program of the Indian Homemaker’s Association of British Columbia. The project was created to show the evolution of the Association. The quilt serves as a visual symbol that represents the unity of Aboriginal people as well as the distinctiveness of each individual’s nation, community and family.
