– 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

Ode to typography: Interview with Will Lynes

Signwriter Will Lynes used traditional signwriting techniques to free-hand paint the text ‘Everything Else’ on this 17-metre long wall painting. Will muses on the emotive quality of typography and how he works. more

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.

Veronica's Revenge: Contemporary Perspectives on Photography

Museum of Contemporary Art Australia (MCA)

Duration

29 Nov 2000 to 04 Mar 2001

Artists:

Doug Aitken, Janine Antoni, Nobuyoshi Araki, David Armstrong, John Baldessari, Matthew Barney, Bernd & Hilla Becher, Vanessa Beecroft, Joseph Beuys, Oliver Boberg, Christian Boltanski, Marcel Broodthaers, Victor Burgin, Jean-Marc Bustamante, Claude Cahun, Sophie Calle, Larry Clark, Gregory Crewdson, Jeanne Dunning, Tracey Emin, Walker Evans, Peter Fischli & David Weiss, Robert Frank, Hamish Fulton, Gilbert & George, Robert Gober, Nan Goldin, Felix Gonzales-Torres, Rodney Graham, Gunter Forg, Andreas Gursky, Mona Hatoum, Damien Hirst, Roni Horn, Gary Hume, Sarah Jones, Seydou Keita, Mike Kelley, Jeff Koons, Barbara Kruger, Louise Lawler, Zoe Leonard, Sherrie Levine, Sarah Lucas, Man Ray, Robert Mapplethorpe, Gordon Matta-Clark, Paul McCarthy, Allan McCollum, Annette Messager, Tracey Moffatt, Pieter Laurens Mol, Jean-Luc Mylayne, Catherine Opie, Gabriel Orozco, Tony Oursler, Pierre & Gilles, Steven Pippen, Sigmar Polke, Richard Prince, Charles Ray, Gerhard Richter, Pipilotti Rist, Robins & Becher, Ugo Rondinone, Thomas Ruff, Sam Samore, Thomas Schütte, Andreas Serrano, Cindy Sherman, Laurie Simmons, Kiki Smith, Thomas Struth, Hiroshi Sugimoto, Sam Taylor-Wood, Wolfgang Tillmans, Rosemarie Trockel, Fatima Tuggar, Inez van Lamsweerde, Jeff Wall, Andy Warhol, James Welling, Jane & Louise Wilson

About the exhibition

Veronica’s Revenge: Contemporary Perspectives on Photography was a major exhibition of photographs from LAC-Switzerland, a collection based in Geneva, and brought together over two decades. Comprising over 300 works by 80 internationally renowned artists, it illustrated the most significant developments in photographic practice from the early 20th century to 2000.

Photography has occupied a shifting position in the history of 20th century art. Originally associated with the impartial documentation of nature or ‘reality’, its function over time has expanded to embrace wider social issues and individual or personal concerns. This transformation from documentation to critical interpretation formed a key theme in Veronica’s Revenge and was well illustrated in the diversity of photographic practices that it presented. The status of photography similarly has undergone profound change during the course of the century, marked by its struggle for recognition as a valid art-form equal to painting or sculpture.

The majority of photographs in this exhibition were produced since 1970. They were placed in context by earlier works dating back to the 1920s and 1930s, establishing points of connection between past and present practices and demonstrating the evolution of different ways of seeing over time. Veronica’s Revenge provided an insight into these key ideas and concerns facing photography at the turn of the century. From the aesthetic and the philosophical to the social, political and satirical, these images revealed both the power of art to transform everyday life and photography’s capacity for innovation and experimentation.