– 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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Workshop

Art Safari

28 Apr, 10.30am, Level 3: National Centre for Creative Learning

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Special Event

ARTBAR April 2017

28 Apr, 7.00pm, MCA

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Workshop

Workshop

03 May, 6.30pm, Level 3: Digital Studio in NCCL

– News from inside the MCA

Young Art Lovers' Book List

To celebrate World Book Day (Sunday 23 April) the MCA Store and MCA Learning crew have teamed up to put together a selection of fun, inspiring and engaging titles sure to spark the imaginations of budding artists and creative thinkers. more

From the archives: Curious catalogue

Never judge a book by its cover? In this issue of our monthly archive series, MCA Archives and Records Management Coordinator, Stephanie, leafs through some unusual pages more

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

– 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.

Jenny Watson: Paintings with Veils and False Tails

Museum of Contemporary Art Australia (MCA)

Duration

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.