– 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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Tour

Art Baby

04 May, 10.30am, MCA

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Event

WORKSHOP FOR PRIMARY TEACHERS

12 May, 9.00am, Level 3: National Centre for Creative Learning

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Event

MCA Zine Fair 2017

21 May, 10.30am, MCA

– 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.

Maria Kozic: The Birth of Blue Boy

Museum of Contemporary Art Australia (MCA)

Duration

30 Oct 1992 to 22 Nov 1992

Curator: Peter Thorn

About the exhibition

Birth of Blue Boy! featured a giant inflatable figure called Blue Boy, installed on the roof of the MCA. The character was based on the Mutant series of characters created by Kozic in the late 1980s. Especially created for this exhibition, and accompanying the installation, was a six-inch cast plastic ‘multiple’ of the sculpture, as well as paintings, maquettes and working drawings of a ‘family’ of strange identities.

The Blue Boy inflatable was made of polyvinylchloride coated polyester fabric, cut and welded into the body-shape by an engineer. The work was hand-finished by Kozic with paints and dyes to add expression and tone to the features. The finished sculpture was inflated by compressed air and illuminated internally, twenty-four hours a day, by a 1,000-watt mercury vapour lamp, literally glowing in the dark. Ten metres high, the work was visible from both sides of Sydney Harbour.

Kozic’s figure had a startled, bewildered expression, intended to convey his confusion at the sensation of his own, new presence in the material world. His pug nose and misshapen body defied the principles of the Vitruvian man, his gaze locked into something fantastic, an unfolding of his own consciousness, an awe of the previously unimaginable.

Kozic’s exhibition commented on the division between art and popular culture, drawing on the legacy of Pop art and inspired by mass communication forms and the potentials of plastic as a material. These themes were echoed in the exhibition Contemporary Art Archive 3: MK Art, which featured the works of Maria Kozic.