– Highlights

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Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec

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Exhibition

The National 2017

30 Mar - 18 Jun

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Exhibition

Kader Attia

12 Apr - 30 Jul

– Learning Events

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Special Event

ARTBAR March 2017

31 Mar, 7.00pm, MCA

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Screening

Art + Film: Curated by Erin Coates

01 Apr, 2.00pm, Level 2: Veolia Lecture Theatre

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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

Girl On Film: Erin Coates

The National 2017: New Australian Art artist Erin Coates gets in the driving seat for our April film experience more

Diary of an MCA Trainee

Fiona learns that contemporary art doesn’t have to be a puzzle you can’t solve. more

Art Escapades

Artist Educator Nicole Barakat talks about our new Art Escapades program for 3-5 year olds. 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.

Other Pictures: Anonymous Photographs from the Thomas Walther Collection

Museum of Contemporary Art Australia (MCA)

Duration

28 Nov 2001 to 03 Mar 2002

Curator: Rachel Kent

About the exhibition

Other Pictures was an exhibition of black and white photography by anonymous amateurs, whose ‘happy accidents’ and ‘successful failures’ gave a unique and fascinating insight into this often overlooked area of photography. The exhibition comprised more than 100 images assembled by collector Thomas Walther. German-born and based in New York, Walther is widely acknowledged as one of the finest collectors of twentieth century avant-garde photography, assembling his collection of anonymous photographs during the 1990s by scouring flea markets, family albums and attic shoe-boxes.

The pictures dated from the 1910s through the 1960s – the golden age of the black and white snapshot but also, and not coincidentally, the era when photography came into its own as an art form uniquely suited for capturing the texture and spirit of modern life. The exhilarating rumble and flash of modernity that bewitched the European New Vision photographers of the 1920s was evident throughout the exhibition in the sheer number of trains, automobiles, television sets, dirigibles and airplanes, and in the fun-house distortions, negative prints, bird’s-eye views, mirror images and abstractions.