– Highlights


Tatsuo Miyajima

03 Nov - 05 Mar

Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec


Primavera at 25: MCA Collection

19 Dec - 19 Mar

– Learning Events

Pop-Up Bar

Sakura Sundays

05 Mar, 3.00pm, Ground Floor: Outdoor Terrace


Contemporary Art Studio

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


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

MCA Collection

Works from the MCA Collection

Collection Artist Interviews

Watch our latest interviews in the MCA Video Portal

Joint acquisitions by MCA and Tate

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

Jenny Watson: Paintings with Veils and False Tails

Museum of Contemporary Art Australia (MCA)


22 Jun 1994 to 21 Aug 1994

Guest Curator: Judy Annear

About The Exhibition

Painter Jenny Watson was chosen to represent Australia at the 1993 Venice Biennale with this exhibition, curated by Judy Annear.

In Paintings with Veils and False Tails, Jenny Watson painted over taffeta and red velvet and then added veiling, horse tails and sequins. Her choice of materials was as evocative as her subject matter – the rich red velvet was redolent of a long outmoded aristocracy, while the taffeta and veiling recalled the weddings and parties of the painter’s youth during the 1950s and 1960s. Each aspect of Watson’s work, whether material, conceptual or imaginative, contained both personal and social meaning.

Watson has stated that ‘the mute function of painting’ interests her; the depiction of the elusive sense of memory, touch and feeling, the dreams, nightmares, desires and fears of the individual which, despite their elusiveness, are connected to the collective unconscious.