MAGAZINE ISSUE 01FALL/WINTER 2015

2

DIRECTOR’S WELCOME

as i look back at the last 12 months, I am deeply impressed by what our entire staff and Volunteer Associates have achieved in making the Museum of Anthropology a more dynamic, exciting, and innovative place to visit. Our exhibition, Claiming Space: Voices of Urban Aboriginal Youth, showcased the work of more than 20 artists from Canada, the U.S., and around the world who shared what it means to them to be an urban Aboriginal youth today. Equally unique and moving was Pigapicha! 100 Years of Studio Photography in Nairobi, an exhibition that contributed to acknowledging portrait photography as a significant African art form and helped connect museum visitors to aspects of the history of urban Kenya.

Early in 2015, we opened c ̓əsnaʔəm, the city before the city, which explores Musqueam’s ancient landscape and living culture. If you haven’t already, I encourage you to spend time in the exhibition space to read, watch, and listen to the first-person perspectives and stories told by community members.

In the coming months, we will be unveiling (In)visible: The Spiritual World of Taiwan Through Contemporary Art, an exhibition that opens a window onto the ethereal world of present-day Taiwanese culture, and In the Footprint of the Crocodile: Contemporary Works from Papua New Guinea, which features recently donated works from the Sepik region of this nation. Our two newly appointed curatorial positions, Dr. Fuyubi Nakamura and Dr. April Liu, promise to re-establish MOA as an important international venue for Asian art and culture.

Last year we also launched a new program, MOA Journeys, which gives members the opportunity to gain new insights and fresh perspectives on art and culture around the globe through specially curated tours. On our inaugural journey, members visited Cuba with Without Masks: Contemporary Afro-Cuban

Photo: David Carreño Hansen.

3

DIRECTOR’S WELCOMEArt guest curator Orlando Hernández. This October, I will be leading a journey to Portugal to explore more deeply the themes of my current exhibit Heaven, Hell and Somewhere In Between: Portuguese Popular Art. On page 12, to give you something of the flavour of the show, you will find an excerpt from the show's accompanying book, which is now available in the MOA Shop. Another article by curator Dr. Carol E. Mayer introduces you to MOA’s magnificent Walter Koerner Collection of European ceramics. Also in these pages, you will learn about our Native Youth Program, a program that has been in place at MOA since 1979; and you’ll meet our new Volunteer Associates president Marilyn Bild, as she shares with us the vital role volunteers play at the museum.

Given the dynamic range of activities, books, and exhibitions MOA is increasingly presenting, it seems only apt to launch

a magazine to keep you informed of our constantly changing museum and the people behind it.

I hope you enjoy reading through our new member magazine, which you will receive again in Spring/Summer 2016. As always, we welcome your feedback and look forward to another year of provocative exhibitions and engaging programming.

To keep abreast of other upcoming programs and special events at the museum, I invite you to visit our recently redesigned website, moa.ubc.ca, where you can also sign up for our email newsletter delivered monthly to your inbox.

Anthony Alan Shelton Director

4

since 1952, just four years after its foundation, MOA began to commission and purchase Asian art and artifacts for a collection that has grown over the last 63 years to be the largest in the museum. Even in 1959 the collection was considered sufficiently strong to support MOA’s first Asian exhibitions and it has since grown to 17,000 objects or 40% of our total holdings. MOA’s collections include a rich mix of art, numismatics, and popular culture. Highlights include one of the world’s finest and largest collections of Cantonese opera costumes; an extensive collection of puppets and masks from throughout the continent; Japanese woodblock and Indian calendar prints; deity sculptures, and stunning Central Asian, Southeast Asian and Tibetan, Chinese and Indian textiles. The collections also contain a wide range of ceramics from China, India, Japan, and Korea from Neolithic to contemporary times including Indian folk pottery and Chinese and Japanese export ware. Philippine indigenous earthwares are also represented. MOA also has a large collection of historical photographs including some of the earliest shots of Tibet that await research.

Asia Resurgent: Revealing MOA's Asian Legacy

Kuchi Dress, Afghanistan, MOA ID#120/1. Photo: Jessica Bushey.

5

In the spring, MOA welcomed Dr. April Liu, who joined Fuyubi as our first Mellon curatorial fellow. April, a Chinese-American-Canadian who received her PhD in Chinese Art History in 2012 from UBC, fought off strong international competition to gain the prestigious Mellon appointment. Her research, which includes work on MOA’s collection of Chinese woodblock prints (nianhua 年画), explores aspects of Chinese print culture and offers a fresh critique of prints and the booming Chinese heritage industry that circulates them globally. Before coming to MOA, April lectured in the Department of Critical and Cultural Studies at the Emily Carr University of Art + Design, where she taught courses on contemporary Asian art, global modernities, and visual culture.

Take a deep breath in anticipation of MOA’s new cutting-edge exhibition programs and future publications, curated and written by Fuyubi and April, that will offer Vancouver and its many Asian communities a fresh direction in Asian curatorship. For more information contact Fuyubi or April at fuyubi.nakamura@ubc.ca or april.liu@ubc.ca.

より詳細な情報をご希望の方は、

中村冬日までお問い合わせ下さい。

如需要中文信息 （普通话或粤语）

请联系刘诗源 (April)。

In the past MOA was fortunate to have internationally recognized Asian specialists like Dr. Elizabeth (Betsy) Johnson and Dr. Michael Ames on its staff who, following the work of earlier specialists and curators, helped build, interpret, and promote the collections. Today we are delighted to welcome, thanks to the Andrew W. Mellon Foundation, two scholarly curators who are dedicated to working with communities, galleries, collectors, and artists, on exhibitions and public programs that will reveal again the full richness of MOA’s Asian collections. MOA is keen to renew more strongly than ever before our commitment to furthering the wider understanding and appreciation of Asian art and cultures and the communities that have helped shape Vancouver’s history.

In 2014 after an international search, MOA appointed Dr. Fuyubi Nakamura as its curator for Asia. Fuyubi, who obtained her doctorate from Oxford University before coming to Vancouver, taught at the Australian National University (Canberra) and at the universities of Oxford and Tokyo. She has been guest curator at the National Museum of Oriental Art in Buenos Aires, Argentina, where she curated the exhibition, Traces of Time, Traces of Words: Works by Japanese Artists (2011). She is also the co-editor of the award-winning book Asia Through Art and Anthropology: Cultural Translation Across Borders (Bloomsbury Academic Press 2013). Fuyubi’s article “Memory in the Debris: The 3/11 Great East Japan Earthquake and Tsunami” (Anthropology Today 2012) drew on her own experience in the rescue and clean-up operation following the disaster that still haunts the country. A scholar and curator, Fuyubi is also research associate at the Institute for Art Anthropology at Tama University, Tokyo and associate member in UBC’s Department of Asian Studies.

April Liu and Fuyubi Nakamura.Photo: Celeste Moure.

6

cə̓snaʔəm, the city before the city

closes january 24, 2016

Musqueam First Nation, the Museum of Anthropology, and the Museum of Vancouver partnered on a groundbreaking exploration of an ancient landscape and living culture in this series of exhibitions. At MOA, the exhibition focuses on Musqueam identity and worldview, and highlights language, oral history, and the community’s recent actions to protect c ̓əsnaʔəm.

Installation shot. Photo: Allison Kuhl.

sq̓əq̓ ip (gathered together) installation. Photo: Allison Kuhl.

Heaven, Hell and Somewhere In Between: Portuguese Popular Art

closes october 12, 2015

The exhibition presents Portuguese popular art as multi-levelled, theatrical, politically astute, and individualistic. The creations provide a theatre of the nation, where art and culture are mediated through the eruption of personal, profound, and deeply felt sentiments.

EXHIBITIONS 2015/2016

7

Alois Sukundimi, The Rape of the Moon. Photo: Karmin Snow for Alcheringa Gallery.

Chiu Yu-Wen, Water Fairies Reproduction Project, 2004–2015, paper and fabric.

In the Footprint of the Crocodile: Contemporary Works from Papua New Guinea

opens march 1, 2016

This exhibition features recently donated works from the Sepik region in Papua New Guinea, an area famed for a very rich ceremonial carving and music tradition. Inspiration for each sculpture is drawn from a number of sources: ritual events such as initiation ceremonies; mythical beings that visit the village at night; stories about ancestors; and sometimes simply by life in the village. These distinct works of arts will be displayed alongside videos and photographs of their homeland, the magnificent Sepik River, probably the largest uncontaminated freshwater wetland system in the Asia-Pacific region.

(In)visible: The Spiritual World of Taiwan through Contemporary Art 形(無)形: 台灣當代藝術的靈性世界

on view november 20, 2015—april 3, 2016

(In)visible explores how traditional and religious beliefs and modern values are integrated in Taiwan. The exhibition features works by seven contemporary Taiwanese artists, who express and visualize religious beliefs, myths, and the spiritual world with modern sensitivities.

8

CALENDARSEPTEMBER

Tuesday, September 22 | 7 PM Cultural Exchange

Come and engage in the themes of c ̓əsnaʔəm, the city before the city and surrounding issues of traditional and contemporary relevance with exhibition curators Sue Rowley and Jordan Wilson.

Thursday, September 24 | 1:30 PM Visitas Guiadas em Português

Join Nuno Porto, MOA curator of Africa and Latin America, for a short tour in Portuguese of Heaven, Hell and Somewhere In Between.

Sunday, September 27 | 1 PM Azulejos Film and Display

Azulejos: Une Utopie Céramique (45 min, English subtitles) explores the unique history of ceramic wall coverings in Portugal. Come early to see a one-day poster exhibition further illustrating this decorative art.

Tuesday, September 29 | 7 PM The Wixaritari and the Heart of the World

The Wixaritari (Huichol), who live in the mountainous, isolated parts of northwest Mexico, have retained a unique cosmology despite continuous threats to despoil their land and sacred sites. Join MOA director Anthony Shelton as he offers a glimpse into this world and describes some of their techniques and philosophies which enable them to see what is invisible to others.

OCTOBER

Saturday, October 3 | 1 PM Portuguese Experiences in Canada

Engage in a panel discussion with community members about their experiences of being Portuguese in Canada. UBC Okanagan Professor Carlos Teixeira, who has written extensively about Portuguese-Canadian immigrants, leads the discussion.

Saturday—Sunday, October 10-11 | 11 AM–3 PM NY Portuguese Short Film Festival 2015

Making its Canadian premiere, the Festival showcases films with a unique and contemporary Portuguese perspective.

Tuesday, October 20 | 6:30 PM Koerner Ceramics Collection Tour

Join Dr. Carol E. Mayer, MOA curator and author of A Discerning Eye, for an exclusive tour of the ceramics collection.

Tuesday, October 20 | 7 PM Cultural Exchange

Musqueam community members, elders, artists, and activists share their knowledge and explore the themes of c ̓əsnaʔəm, the city before the city. Come and engage in the dialogue surrounding issues of traditional and contemporary relevance.

Thursday—Friday, October 22-23 | 2-5 PM Framing Rebellion in India: The Cinema of Sanjay Kak

MOA welcomes Sanjay Kak, an internationally acclaimed filmmaker from India, to showcase two of his award-winning documentary films. Each film will be followed by discussion with the filmmaker.

Thursday, October 22 | 2 PM Red Ant Dream (2013, 120 min) From the armed insurrection simmering in Bastar, to the struggle of the adivasis in Odisha, to the growing protests by Punjabi peasants, the film chronicles ideas that define and people who live the revolutionary ideal in India.

Friday, October 23 | 2 PM Jashn-e-Azadi/How We Celebrate Freedom This film tells the story of a population ground down by its prolonged resistance over the course of two decades, between a pitiless state machinery and an unrelenting armed struggle.

9

CALENDARNOVEMBER

Saturday, November 14 | 1-3 PM Paper Cutting Workshop

A family-friendly Taiwanese paper-cutting workshop with Chiu Yu-Wen, whose work is featured in (In)visible: The Spiritual World of Taiwan Through Contemporary Art. Registration required.

Sunday, November 15 | 1-3 PM Weaving Demonstration

A live demonstration of tradition Atayal weaving by Yuma Taru, whose work is featured in (In)visible: The Spiritual World of Taiwan Through Contemporary Art.

Tuesday, November 17 | 7 PM Cultural Exchange

Musqueam community members, elders, artists, and activists share their knowledge and explore the themes of c ̓əsnaʔəm, the city before the city. Come and engage in the dialogue surrounding issues of traditional and contemporary relevance.

November 17—December 24 MOA Shop

Don't miss our annual winter art market featuring beautiful handmade items from around the world, and a 20% discount for MOA members, and UBC faculty, students, and staff.

Friday, November 20 | 7 PM (In)visible Opening Party

MOA members and the public are invited to a free opening party of (In)visible: The Spiritual World of Taiwan Through Contemporary Art. The exhibit features a stunning and diverse collection of artworks from seven Taiwanese artists.

Saturday, November 21 | 1-3 PM (In)visible Artist Talks

Taiwanese artists Li Jiun Yang, Chiu Yu-Wen, and Tu Wei-Cheng discuss aspects of their various artistic practices and works included in the exhibition.

Sunday, November 22 | 11 AM (In)visible Curator Tour

Join (In)visible curator Fuyubi Nakamura on a guided tour of the exhibition.

Sunday, November 22 | 1-2:30 PM (In)visible Artist Conversations

Taiwanese artists, Walis Labai, Yuma Taru and Anli Genu, engage in conversation with Michael Nicoll Yahgulanaas, an artist from Haida Gwaii, and MOA curator Fuyubi Nakamura. Join us for a discussion concerning issues of identity, indigeneity, and cultural heritage in contemporary art.

Tuesday, November 24 | 7 PM; Sunday, November 29 | 1 PM (In)visible Tours in Mandarin

Take in a short tour of the exhibition led in Mandarin by April Liu, MOA curatorial fellow (Asia).

2016

Mid January—April 2016 (In)visible Talks and Tours

Join us for a series of special tours and talks by MOA curators, UBC professors and local artists. Visit MOA website for more details.

February 7, 2016 BC Family Day

Members are invited to spend an art filled afternoon exploring our exhibits and doing hands-on craft projects with the kids.

For additional information on MOA programs and events, visit moa.ubc.ca/programs.

10

i had made up my mind and i have no regrets. These words were spoken by Dr. Walter C. Koerner (1898–1995) when he donated the European ceramics collection he had amassed over four decades. It was destined for the Museum of Anthropology,

where it was going on permanent display. Dr. Koerner’s association with MOA began in the late 1940s when he met Harry and Audrey Hawthorn, who had come to UBC to establish the Anthropology Department and to take over the responsibility for the museum, which at that time was located in a room in the main library. Over the years a strong bond developed between Dr. Koerner and the Hawthorns, and his unstinting generosity enabled the museum to start building its Northwest Coast and worldwide collections. His support of the museum continued for the rest of his life, and during these years

he donated, or supplied the funds to purchase, objects that enhanced the museum’s growing collection. Among these were some fine ceramics from Asia, Africa, and the Americas.

Interestingly, there was no clue in his public persona to indicate he had a large personal collection of ceramics from Europe that he had been acquiring since childhood. Individual pieces had been loaned for exhibitions and even published in exhibition catalogues, but usually under a cloak of anonymity. I was introduced to this collection in the spring of 1988 when I accompanied Dr. Michael Ames, then the director of MOA, to the Koerner residence to pick up a donation of African objects. I had recently joined MOA as a curator, and this was my first meeting with Dr. Koerner. As soon as I entered his

Dr. Walter C. Koerner holding a Tlingit sculpture.

A Discerning EyeBy Carol E. Mayer

11

house, I was overwhelmed by the sight of hundreds of European ceramics adorning the walls, balanced on picture rails, and displayed wherever there was space. Although I had studied and exhibited European ceramics at my previous museum, I was unaware of the existence of this collection. I requested a tour. For two hours we walked from room to room, and he pointed out his favourites—“This is a good piece,” “This is very rare,” “The Metropolitan has one of these,” “There are only two of these in the world.” He also referred to some pieces, with a smile, as “my crockery.” It was an instructive and fascinating visit. In his autobiography (published in 1988), he had written, “It is still to be decided what shall be done with the many other objects in our private collection . . . especially early Czech faience. Some portions of this collection are important and should be kept together intact. How that will be done remains to be seen.”

By the summer of 1988, it was announced that a new wing at the Museum of Anthropology, made possible by a donation from the Odlum family, was to house Dr. Koerner’s entire

collection of European ceramics. I was appointed to the newly created position of curator of ceramics, and by the end of 1988, Dr. Koerner’s personal collection had been transferred to MOA.

Join Dr. Mayer for a guided tour of the Koerner Gallery on October 20, 6:30 PM.

>

Tankard, Slovania, 1653.

Tankard, Moravia, Czech Republic, ca 1590.

Excerpted from A Discerning Eye: The Walter C. Koerner Collection of European Ceramics (Figure 1 Publishing), available now at the MOA Shop.

12

dystopia and gnosis

exuberant images of divine intervention, Biblical allegories, the lives and miracles of Christ and divine patrons, the Virgin’s Annunciation, Judgment and the burning souls in Purgatory, plus rural allegories of Portugal’s regions and peoples, depictions of its overseas adventures, the achievements and portraits of its people, idealizations of its towns and cities and even abstract mathematical concepts (at the University of Coimbra)—all provide subjects usually painted in blue and white on the ceramic tiles or azulejos ubiquitous throughout the country. From their origin in the 15th century, azulejos (from the Arabic azzelij, “little polished stones”) have been refined and developed as a defining medium for spreading a particular image of the country’s character.

Heaven, Hell and Somewhere In Between: Portuguese Popular ArtBy Anthony Alan Shelton

15

Excerpted from Heaven, Hell and Somewhere in Between: Portuguese Popular Art (Figure 1 Publishing), available now at the MOA Shop.

Many of the interior walls of churches, abbeys, convents and monasteries as well as aristocratic palaces and palacetes, houses, and public and government buildings are decorated by these painted stories. Azulejos have been used to decorate gardens and public parks, universities, schools, hospitals, libraries, town halls and, even more ubiquitously, railway and bus stations and the Lisbon Metro.

They constitute a massive nationwide program of public education and sensitivization that, after half a millennium, still continues at a more modest pace today. Azulejos do more than visually represent the national character. Their lustrous and iridescent surfaces reflect light, like the white patterned stones of the streets and roads, and give urban environments a luminous quality that invites otherworldly associations. The decoration of the urban landscape in the late 20th century has been further augmented by friezes, disjunctured murals and graffiti, often depicting monstrous or imaginative subjects spray-painted onto the walls and doors of buildings and carriages. This was most commonly found in marginal areas such as transport hubs (railway stations, trains, docks, unused buildings, car parks, roadway

intersections and overpasses), derelict or abandoned land and nightclub areas, but increasingly they are commissioned for development sites in city centres.

In 2010, as part of the Crono Urban Art Project supported by the Lisbon municipal government, 14 international artists decorated the facades of buildings on the Avenida Fontes Pereira de Melo. Three buildings were painted with murals by Sam3, Ericailcane, Os Gêmeos and Lucy Mclauchlan. On Calçada da Glória the city council has erected boards for street artists, and other densely painted facades are located in Amoreiras and along the Rua da Rosa. The end wall of an apartment complex in the northern town of Viseu is decorated by a giant line drawing of a constricted human heart, and in one extraordinary example, Miguel Januário (a.k.a. Kiss My Walls) painted the wall of the platform at Coimbra B Railway Station in 2010 with a giant mural depicting fantastical beings in a dystopic landscape. Regardless of the category, this art shares similarly bleak subject matter that attests to the upsurge of a new visual culture sharply at odds with older national projects, a stark contrast with the religious, idealized or bucolic subjects of azulejos.

Join us for a screening of Azulejos: Une Utopie Céramique on Sunday, September 27 at 1 PM.

>

NATIVE YOUTH PROGRAM

every summer, moa is infused with the creative energy of six Aboriginal high school students, and as this year’s Native Youth Program Manager I’m so excited to share some of the 2015 program highlights. I was drawn to this program because my relationship with Indigenous art and creation has dramatically influenced my day-to-day life, and I’m stoked to encourage the youth to find and build their own relationships with contemporary Indigenous art practices.

Lindsay Lachance,Tyson Hall, and Molly Billows. Photo: Allison Kuhl.

17

The Native Youth Program (NYP), currently in its 37th year, brings together youth (and program staff) from Vancouver and the surrounding areas to explore traditional and contemporary art mediums, to learn more about their distinct cultures, and to share their knowledge with museum visitors. I was very lucky to have had Molly Billows as Program Assistant this past summer. Molly is Northern Coast Salish from the Homalco Nation, and just finished her undergrad in the Faculty of Land and Food Systems at UBC, where she studied Indigenous Peoples and Land Health. She also writes and performs spoken word poetry. "As someone who has found a tremendous amount of healing in art and poetry, I am excited to work with youth in a program that encourages their creative expression and the exploration of different art practices," she says.

Last summer we participated in various workshops including creating comics, painting, drawing, poetry, beading, as well as a four-day dance intensive led by the Dancers of Damelahamid, a First Nations dance collective from the Gitxsan Nation, during which the youth explored West Coast, Pow Wow and Contemporary dance styles. "It’s been a pleasure to work with all the Aboriginal students who have gone through the program and to witness their success stories," says Pam Brown (Heiltsuk and Tsimshian), curator of Pacific Northwest Coast at MOA and current supervisor of the NYP.

In the past two decades Pam has been with the program, she has seen hundreds of students thrive and flourish. One such student is Tyson Hall (Musqueam, Scowlitz, and Mohawk), who participated in the 2014 and 2015 programs. "I applied to the NYP because my confidence before was very low," says Tyson, "and throughout the weeks my confidence came back. Being in the NYP made me realize I had great communication skills."

This year, the youth led daily tours of the award-winning exhibition c ̓əsnaʔəm, the city before the city. To complement their engagement with c ̓əsnaʔəm, the students spent the summer considering 'self' in relation to place and space, both where the museum stands and where they live as urban Indigenous youth. Our program concluded with a cumulative podcast episode project that was co-created with UBC’s radio station, CiTR. This allowed the youth to reflect on their experiences over the summer, the relationships they’ve made with the visiting artists, and the relationships they’ve created with Indigenous art practices.

"Through c ̓əsnaʔəm I reconnected with my grandmother, who has passed on,” says Tyson, who gave tours throughout the winter.

"When I was little, every time I would see her she would give me this big hug—she was always there for me. Through NYP I have also met people who accept me for who I am. I’ve created a new family and community and I feel like I have a sense of belonging."

To learn more about the Native Youth Program, visit moa.ubc.ca/nyp.

about the author

Lindsay Lachance is an Anishinaabe PhD Student in Theatre and The First Nations & Indigenous Studies Program at UBC. She specializes in the study of performance aesthetics, the physicalization of spirituality in time and space, and the various creation processes of Indigenous dramaturgies.

The Native Youth Program is funded by Aboriginal Career Community Employment Services Society (ACCESS); TD Bank Group; UBC Faculty of Arts; Young Canada Works; and The Citizens of Tomorrow.

MEET A VOLUNTEER ASSOCIATE

19

many activities undertaken by MOA depend for their success on the energy and assistance of enthusiastic, well-trained, and reliable volunteers. The self-governing Volunteer Association works under the direction of museum staff to meet many of MOA’s public education, research, and collections needs. Through various committees, including Archaeology, Collections and

Conservation, Education, Gallery Guides, Lobby Information, Library, Research, and Textiles, Volunteer Associates lend their assistance and expertise to ongoing and special projects including museum events.

We sat down with Marilyn Bild, President of the Volunteer Association, to chat about her experiences during her six years as a VA at the museum.

20

What made you want to volunteer at the museum?

I had previously volunteered at a couple of other cultural institutions in Vancouver. And while they were wonderful organizations, they just weren’t the perfect fit for me. I had always had an interest in world cultures so decided to investigate opportunities at MOA.

What’s the role of a VA?

The VA is a conduit between the institution and the public, as well as a support to the MOA staff.

What does the association look for in a volunteer?

We are looking for people with a passion. It doesn’t matter if you have a background in anthropology or volunteerism. If you have a desire to learn and a willingness to share your knowledge with others, we want you on our team. Anyone can apply by contacting us through the MOA website.

Can you share one memorable encounter or experience you’ve had as a volunteer at MOA?

My best memory in my six years as a volunteer is of a young boy who took part in our Potlatch school program. When I asked him if he enjoyed his visit to the museum he said that it was the best place he had ever been and he was going to come back—even if it took him until the day he died!

What is something every visitor to MOA should see?

Everyone must take a moment to sit down and reflect on Bill Reid’s monumental carving, “The Raven and the First Men.”

Do you have a favourite artifact or object in the museum collection?

That’s like asking someone to pick her favorite child. There are so many wonderful pieces in the collection but if I had to choose I would select the Chilkat blankets. I have a personal interest in world textiles and I am in awe of the sophisticated technique required to produce these works of art.

What is your favourite tour to give at MOA?

Can I name two? I love giving the museum overview tour to our adult visitors because it is a great opportunity to communicate the turbulent history and contemporary renaissance of the coastal First Nations. But it is equally meaningful to present our school programs and create an appreciation of First Nations culture in the minds of the next generation.

What, in your opinion, makes an ideal MOA visitor?

The ideal visitor is one who comes with an open mind and a desire to learn something new.

What do you wish visitors take away from a MOA visit?

Every culture has value and can teach us something important about how to live in the world.

To learn more about the Volunteer Association and to apply, visit moa.ubc.ca/volunteer.

21

DAILY TOURS

MOA TOUR

Every day at 11:30 AM, 2 PM, and 6 PM on Tuesdays

This 55-minute tour provides visitors with an introduction to the museum’s Northwest Coast collections, the Koerner European Ceramics collection, an overview of the Multiversity Gallery, and an in-depth look at The Raven and the First Men. Visitors will also be introduced to the themes of any existing temporary exhibitions.

GUIDE'S CHOICE

Every day at 1 PM

A MOA VA leads a 25-minute tour of his or her choice from this list.

Northwest Coast Tour The Northwest Coast tour introduces visitors to some of the highlights of MOA’s Northwest Coast First Nations collection. The tour includes poles, bentwood boxes, and the signature Bill Reid sculpture The Raven and the First Men.

Outside Tour This short tour features the museum’s outside exhibition, including a house post by Susan Point, many outdoor poles, and the Haida houses. Visitors gain an understanding of the ongoing relevance

MOA’s Volunteer Associates lead a range of tours offering insights into MOA’s collections and temporary exhibitions.

Wednesday–Monday

11:30 AM MOA Tour 1 PM Guide’s Choice 2 PM MOA Tour

Tuesday

11:30 AM MOA Tour 2 PM MOA Tour 6 PM MOA Tour

Fall/Winter Hours: Please note that starting on October 19, MOA is closed on Mondays.

of monumental carvings to contemporary First Nations artists and communities.

Clothing the World: Textile Tour Drawing on the museum’s rich textile collection, this tour introduces visitors to the history, manufacturing processes, and the cultural relevance of textiles. The tour highlights MOA’s global collection of textiles from around the world.

Koerner Ceramics Tour This tour provides an introduction to the remarkable collection of European ceramics from the 15th–19th century. The tour focuses on the collector, Walter Koerner, the idea that objects tell history, and the development of ceramic technologies in Europe.

Heaven, Hell and Somewhere In Between: Portuguese Popular Art (Exhibition Closes October 12) The exhibition explores the relationships of Portuguese popular arts to Portuguese religious, political and social lives. The tour explores the questions of "What is folk art?” and “What can these works tell us about the culture and history of a place?”

2

3

1

4

the museum of anthropology is renowned for its outstanding collections, innovative exhibitions, research, teaching, and educational programming. In addition to Northwest Coast First Nations collections, the Multiversity Galleries offer a glimpse into human creativity on a global scale. The spirit of these collections is reflected in the MOA Shop.

mo

a s

ho

p

1 Wrap by Chloe Angus ($200.00). 2 Peace Vase by Steve Smith ($1,950.00). 3 Stuffed Grizzly Bear ($20.00). 4 The Totem Pole by Jonaitis & Glass ($60.00). 5 Bison by David Sidley ($2,400). 6 Design Blocks ($21.95). 7 Blanket by Pendleton ($395.00). 8 Moccasins by Donna Salo ($150.00). To place an order, contact the MOA Shop at shop@moa.ubc.ca or 604.827.4810.

23

7

86

5

UB

C M

US

EUM

OF

AN

THR

OP

OLO

GY

6393

NW

MA

RIN

E D

RIV

EVA

NC

OU

VER

BC

V6T

1Z2

Find more information about current exhibitions, membership, programs, and events at moa.ubc.ca.

HOURS & ADMISSION

Wednesday to Monday 10 am–5 pm Tuesday open until 9 pm Closed Mondays starting October 19

Adults $16.75, Students & Seniors $14.50, Family $44.75. Tuesday evenings between 6–9 pm, $9. MOA members, and kids 6 and under are always free.

Visit moa.ubc.ca/visit for additional information.

GETTING HERE

MOA is located on the University of British Columbia campus, at 6393 NW Marine Drive. Metered parking ($3.50 an hour) is available in front of the museum and across the street at the Rose Garden Parkade. For bus routes to UBC, contact Translink.ca. From UBC bus loop, catch either the C18 or C20 campus shuttle to MOA, or walk north 10 minutues to NW Marine Drive. Bike racks are available at the museum's entrance.

CONNECT WITH MOA

Follow us on Twitter and Instagram @moa_ubc

Like us on Facebook facebook.com/MOAUBC

MOA programs are supported by visitors, Volunteer Associates, members, and donors; Canada Foundation for Innovation; Canada Council for the Arts; Department of Canadian Heritage Museums Assistance Programs, Young Canada Works, and Canada 150; BC Arts Council; Aboriginal Career Community Employment Services Society; The Audain Foundation for the Visual Arts; The Doggone Foundation; The Andrew W. Mellon Foundation; Michael O'Brian Family Foundation; TD Bank Group; Ministry of Culture, Republic of China (Taiwan); and the Consulate General of France in Vancouver.

Printer: Glenmore Printing. Richmond, BC. Design: Chelsey Doyle.