– 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.

Tyerabarrbowaryaou (I shall never become a white man)

Museum of Contemporary Art Australia (MCA)

Duration

19 Feb 1992 to 17 Apr 1992

Artists:

Ian Abdulla, Gordon Bennett, Robert Campbell Jnr., Fiona Foley, Sally Morgan, Paddy Wainburranga

Curator:

Djon Mundine

About the exhibition

This exhibition was the first of contemporary Aboriginal art at the MCA. It took as its title a statement attributed to Pemulwuy, the Aboriginal resistance fighter in what is now the area called Sydney. These words signified a contemporary act of resistance by Aboriginal and Torres Strait Islander artists in continuing their artistic practice in the face of historical and ongoing oppression.

The title was used again in a ‘sequel’ to this exhibition, Tyerabarrbowaryaou II, which was curated by Fiona Foley and Djon Mundine for the 5th Havana Biennial.

The exhibition sought to redress the dismissive attitude of European and white Australian galleries and collectors towards Aboriginal art. It provided an opportunity to engage with and inform the wider public about the inherent social and cultural importance of these works. Each of the artists represented in this exhibition was concerned with the history of the white invasion of Australia, its personal, political and historical impacts.

Tyerabarrbowaryaou aimed to present a new voice of Aboriginal culture, one which embraced new media and ancient tradition, to give voice to a wounded history and speak with pride of an enduring relationship with land and culture.