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Usar para: Museum of Anthropology building

• Exhibit ocurred in 1986 at the Museum of Anthropology, UBC

• Through September 28, 2002 (Gallery 8)
• Tsimshian weaver William White from Lax Kw’alaams has been publicly weaving a child- size Chilkat robe this summer as part of a “living” exhibition entitled My Ancestors are Still Dancing. In July, the artist set up his loom and pattern board in Gallery 8, alongside a display of his own weavings, some historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. This September, the completed weaving will be lifted from the loom in a small private ceremony.
• MOA created a website to document the weaver’s progress, and to explore the significance of the Chilkat tradition: http://www.moa.ubc.ca/williamwhite/WhiteIntro.html.

• June 17 - November 30, 1986 (Gallery 5)
• This exhibition presents a half century of Jack Shadbolt’s Indian paintings together with a selection of Northwest Coast Indian masks from which he draws inspiration. This project was made possible through the Department of Communication’s Special Granting Programme for Vancouver to Celebrate the Centennial.

• August 19 - November 9, 1986 (Gallery 9)
• The history and development of the Cowichan knitting industry of southern Vancouver Island. This project was made possible through the support of the National Museum of Canada, Employment and Immigration Canada, the B.C. Heritage Trust and the Cowichan Indian Band.

• July 15 - October 5, 1986 (Masterpiece Gallery)
• Selected fine works by Haida artist Bill Reid in gold, silver, ivory, slate and wood, drawn from private and public collections. This project was made possible through the support of the Canada Council.

• 1981

• May 9 - October 1, 1989 (Gallery 5)
• Making cloth is a vital, everyday activity in Taquile, where everyone makes and uses cloth according to tradition. This exhibit presents examples of the cloth and clothing made by a four-generation family over a five-year period. The family’s cloth parallels their lives, reflecting changes in the community as well as the stages and momentous events in their lives between 1982 and 1987. Their portraits and biographies, their simple tools and images of their island home will accompany the exhibit.

• March - December, 1985
• Student exhibition: An unusual exhibition in six parts, each presents a different theme related to blue jeans from history to fashion - even when it hurts.

• March 4 - June 14, 1992 (Gallery 10)
• This exhibition looks at cloth in ancient societies of Peru as an abstract model for organizing and recording information. Guest curator Mary Frame examines a system of patterns that depict the structures of cloth, yarn and cord.

• August 8 - October 15, 1978
• An exhibition of artefacts from the Palaeolithic to the rise of the Japanese state, borrowed from museums and private collections in Japan.

• April 5, 1983 - June 1984 (Orientation Centre) Student exhibition: The box, its friends, foes and ancestors.
• Student exhibition: The box, its friends, foes and ancestors.

• March 31 - September 16, 1984
• Student exhibition: A playful six-part exhibit with each part devised from phrases of the national anthem.

• May 8, 1982 - January 2, 1983 (Theatre Gallery)

Usar para: Calvin Hunt Canoe; Tlingit Long tail Canoe

• October 5, 2009 - January 3, 2010
• Calvin Hunt’s 38 ft long tail canoe was on display at MOA from October 15-December 13, 2009. On Tuesday, February 2, 2010, the canoe was scheduled to carry the Olympic torch across the bay at Port Hardy. The torch was to arrive at the east side of Hardy Bay via BC Ferries, and then paddled across the waters to the Port Hardy Pier, and then followed a designated land route to the Civic Center for an evening of celebration.

Usar para: 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.

• Exhibition to inaugurate The Audain Gallery at MOA
• January 23-September 12, 2010 (The Audain Gallery)
• Border Zones: New Art Across Cultures was an exhibition of work by twelve artists engaged in a dialogue about cultural boundaries: Hayati Mokhtar, Dain Iskandar Said, John Wynne, Edward Poitras, T. Shanaathanan, Tania Mouraud, Marianne Nicolson, Gu Xiong, Prabakar Visvanath, Rosanna Raymond, Ron Yunkaporta, and Laura Wee Láy Láq. In place of a printed catalogue, an interactive webzine was created for local, national, and international writers, reviewers, artists, and students to develop and share ideas related to the exhibit. To view the webzine, visit http://moa.ubc.ca/borderzones/. Border Zones was curated by Karen Duffek, MOA Curator of Contemporary Visual Arts & Pacific Northwest.