Mostrando 595 resultados

• 1979

• March 12 – 13,1982
• Student exhibition

• February 17 - April 19, 1987 (Gallery 5)
• What is the MOA, a prehistoric beast or a contemporary museum? This exhibition designed for UBC Open House 1987 illustrates the Museum’s teaching and research role in the university and Vancouver communities.

• April 2 - December 31, 1987 (Theatre Gallery)
• Student exhibition: exhibition of sacred Hindu texts discussing the significance of Spiritual Knowledge.

• March 31 – August 15, 1989 (Gallery 9)
• Student exhibition: In this exhibition, Museum Studies students explore some of the intriguing dimensions of buying a piece of another culture. This multi-part study examines the influences and impact tourism has on the production of cultural objects; the ingenuity of the producers in meeting expectations; the conflict inherent in selling sacred images; and the multiple roles objects play in the lives of the purchasers.

• October 1991

• September 25 - December 8, 1991
• This exhibition introduces the complexity of the issues connected with trapping: the value of traditional knowledge and a mixed economy, the definitions of “humane” and “conservation,” and the use of renewable resources. The exhibition Trapline Lifeline was organized by the Prince of Wales Northern Heritage Centre in Yellowknife, N.W.T.

• March 19 - September, 1992 (Research Collections)
• Student exhibition: MOA’s unique visible storage, which brings objects normally held in museum “basements” into public view, was created for independent study. This year students of Anthropology 431, Museum Principles and Methods, have produced eight experimental displays to explore a variety of questions with which museums such as MOA grapple - what to label the unknown, how to simplify the complex, and whether to exhibit the sacred.

• 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.

• April 13, 1995 – December 7, 1997

• April 28 – December 1998

• February 3 - April 12, 1998
• In this exhibit, MOA showcases works from its collection of over 300 Northwest Coast prints by such artists as Joe David (Nuu-chah-nulth), Robert Davidson (Haida), Freda Diesing (Haida), Walter Harris (Gitksan), Tony Hunt (Kwakwaka’wakw), Susan Point (Musqueam), and Roy Henry Vickers (Tsimshian).

• Thru December, 2000
• Three exhibit cases highlight different aspects of Northwest Coast art. One features several turn-of-the-century paddles; another offers selections from a remarkable recent bequest of Northwest materials collected by Tom and Frances Richardson. A third presents two contemporary works by master artist Dempsey Bob (Tahltan) alongside an older Tlingit piece from the Museum’s collections.

Usar para: 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.”

• November 27, 2010 - January 23, 2011 (Satellite Gallery)
• No Windows, on view at Satellite Gallery from November 27, 2010 to January 23, 2011, is the result of a unique collaboration between the departments of Anthropology, Art History and Curatorial Studies at the University of British Columbia, as graduate students in each of these programs have joined forces to curate this new and exciting exhibition. No Windows presents artworks by local and national artists Rhonda Weppler + Trevor Mahovsky, Adad Hannah, Jamie Drouin, and Zoe Tissandier. In their work, the artists explore the structures that underlie gallery and museum practices, and challenge visitors' ideas about them as agents in the creation, mediation, and reception of art.

• June 19–September 25, 2011 (The Audain Gallery)
• Student exhibition: A sculpture is more than carved stone and a print is more than coloured paper. Many people have played a role in the life of a work of art: from the artist, to the dealers, collectors, purchasers, auctioneers, and curators. Through their connections and points of contact, these people create the Inuit Art Market. How does Inuit art move through the art market? How is authenticity determined? Who decides what is valued? This exhibit, curated by UBC students, invites you to explore these questions and discover the many faces and voices of the Inuit art market. (This exhibit is shown in conjunction with Inuit Prints: Japanese Inspiration - James Houston, Un’ichi Hiratsuka and the Inuit Print Tradition, also shown in The Audain Gallery.)

• 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.