– Highlights

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Exhibition

Tatsuo Miyajima

03 Nov - 05 Mar

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Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec

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Exhibition

Primavera at 25: MCA Collection

19 Dec - 19 Mar

– Learning Events

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Pop-Up Bar

Sakura Sundays

05 Mar, 3.00pm, Ground Floor: Outdoor Terrace

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Workshop

Contemporary Art Studio

09 Mar, 10.30am, Level 3: National Centre for Creative Learning

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Conference

Educators conference: 6-7 April

06 Apr, 6.00pm, Level 3: National Centre for Creative Learning

– News from inside the MCA

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5 tips for applying for the MCA Zine Fair

Want to show your zine-work at the 2017 MCA Zine Fair? Here we share our tips for applying more

Louise Zhang's horror infused ARTBAR

Navigating the space between attractive and repulsive, Chinese-Australian artist Louise Zhang kicks off the ARTBAR year in suitable style with a night entitled ‘New Year’s Rot’. more

– Spotlights from the collection online

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MCA Collection

Works from the MCA Collection

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Collection Artist Interviews

Watch our latest interviews in the MCA Video Portal

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Joint acquisitions by MCA and Tate

The Program promotes Australian art globally, helping Australian artists reach new audiences.

Lightworks: From the National Gallery of Australia

Museum of Contemporary Art Australia (MCA)

Duration

09 Nov 1993 to 01 Mar 1994

Artists:

Robert Barry, Aleks Danko, John Dunkley-Smith, Dan Flavin, Edward Kienholz, Joseph Kosuth, Mario Merz, Bruce Nauman, Ian Provest, Robert Rauschenberg, Keith Sonnier, Richard Tipping

Guest Curator:

Michael Desmond

About the exhibition

Lightworks was organised by the National Gallery of Australia, bringing together works from the NGA Collection that used light as their central medium. These works focused on the period between the late 1960s and late 1970s, however there were works created as late as 1992.

The 1960s saw a number of international and Australian artists beginning to experiment with light, going beyond a mere representation of light to actually bring light into the work itself.

Materials that were previously too expensive and/or difficult to source became accessible through developments in technology. Neon and incandescent bulbs in particular became available and affordable. Discotheques also served up electronically amplified music in an atmosphere of flashing and coloured lights, projected slide images, smoke and mirrors, demonstrating the affective potential of artificial light.

While the interest in light and the phenomenology of perception peaked in the late 1960s, artists had accepted the use of artificial light as valid and useful as any other medium.

The works in this exhibition used neon tubing, light bulbs, fluorescent lighting, and television sets to explore ideas about contemporary society.