Affichage de 582 résultats

• 2001
• Student exhibit

• June 21, 2003 - May 9, 2004
• This major exhibition focused on the Museum’s founding collection. It was shown at MOA for a year, and then travelled for two more years to venues across Canada. Comprising more than 100 objects from Micronesia, Polynesia, and Melanesia, the exhibit was enhanced by historical and contemporary photographs, and documentation amassed first by the collector and one hundred years later by MOA curator Dr. Carol Mayer.

• November 16, 1983 - March 4, 1984 (Rotunda)

• April 2 - November 8, 1987
• Student exhibition: Exploring representations of Hindu divinity in Indian sculpture, bronzes and posters. A student exhibition designed by participants in the Anthropology course Museum Principles and Methods.

• November 25, 2014 - April 5, 2015 (The Audain Gallery)
• This exhibition was curated by Katharina Greven (Iwalewa Haus). Nuno Porto is the Curatorial Liaison (MOA). This exhibition was developed by Goethe-Institut, National Museums of Kenya,Iwalewa Haus and the DEVA-Archive. Thanks to our sponsor The Georgia Straight. MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.
• “MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.” Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture. “A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,” says Curator Katharina Greven. “More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.”
• Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens. Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France.

• 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.

• 1999 - 2004
• To mark our 50th Anniversary in 1999, the Museum created a new gallery space to highlight the richness of Northwest Coast art, past and present, and the significant relationships with First Nations that continue to inform and inspire the work of the Museum itself.

• (after The Raven and the First Men by Bill Reid, 1980)
• March 12 - December 31, 2010 (on patio adjacent to Bill Reid Rotunda)
• Nicholas Galanin (b. 1979) is an artist of Tlingit ancestry who lives and works in Sitka, Alaska. Trained through apprenticeship and formal study in wood carving, metalwork, and tool making, he uses a range of media, including sculpture and video, to expand his own practice and investigate how “Northwest Coast art” is situated in relation to cultural values, contemporary issues, and global art worlds. His new work, Raven and the First Immigrant, is on display on the patio just outside the Bill Reid Rotunda, directly facing Reid's iconic sculpture, The Raven and the First Men.

• January 19 - April 30, 1988 (Gallery 5)
• A contemporary Metis artist, Bob Boyer draws upon Plains Indian design and images as well as mainstream art forms to create his individualistic style. His paintings on canvasses and flannel blankets, in oils and acrylics, make statements on Canadian Indian history and the native condition today. The third and final exhibition in this phase of the Indian Modern series, sponsored, in part, by the Canada Council.

• July 4 - November 2, 1986 (Theatre Gallery)
• This exhibition presented a selection of twelve portrait photographs of Indian elders accompanied by quotes and short biographies.

• April 12 - June 15, 1977
• Student exhibition

• March 28, 1980 - December 31, 1981 (Theatre Gallery)
• Student exhibition

• December 5, 1978 - February 11, 1979
• An exhibition of classical antiquities excavated in Southern Italy at the Note Irsi and San Giovanni di Ruoti, Basilicata.

• April 1 - December 31, 1979
• Student exhibition

• October 19 - December 31, 1976.
• Exhibition consisted of artifacts from Indigenous communities of the Plains, Great Lakes, and Eastern Woodland Indians during the period 1750 to 1850. The exhibition was assembled by the National Museum of Man, Ottawa, and consisted of objects from the collections of the Speyer family of Germany, and James Du Pres, the third Earl of Caledon of Tyrona, Ireland.

• Opened on June 10, 1976. Exhibition consisted of works by leading contemporary artists and craftspeople of the Northwest Coast, primarily carvings, jewellery, paintings, and weaving. The collection was commissioned as part of British Columbia's centennial celebrations, supported by the provincial government and put together in 1971. It was put together by Gloria Cranmer Webster, Peter McNair, and Wilson Duff.

• October 28, 1994 - March 31, 1995
• This is the first public exhibition of the drawings and poems by Nuu-chah-nuulth artist Ron Hamilton. Made for his own pleasure over the past thirty years, Ki-ke-in’s (Ron Hamilton) drawings and poems show an extraordinary imagination at work. The drawings celebrate the complex cosmology of his people, the Nuu-chah-nulth, while the poems proclaim the intensity of the poet’s engagement with life.
• CURATOR: Marjorie Halpin

• 1994. A photograph exhibit in celebration of First Nations people who have received honorary Doctorate degrees from the University of British Columbia.

Utilisé pour : Early Chinese Ceramics from the Victor Shaw Donation

• May 30, 2001 - March 10, 2002
• With this exhibition, the Museum of Anthropology celebrates the recent gifts of The Victor Shaw Collection of Chinese Arts to the University of British Columbia. Created over a period of 5000 years, the objects in the collection are made of ceramic, bronze, and precious metals. Each piece reflects the collector’s sensitive eye and discriminating taste and, in turn, a long tradition of Chinese art connoisseurship.