See what's on at the

Browse What's On

– Highlights

highlight
Exhibition

MCA Collection: Luminous

09 Mar - 08 Jun

highlight
Exhibition

Light Show

16 Apr - 05 Jul

highlight
Exhibition

Energies: Haines and Hinterding

25 Jun - 06 Sep

Create and Learn at the

All Learning Programs

– Learning Events

highlight
Workshop

Art and Technology in the Classroom

04 Jun, 2.00pm

highlight
Talk

Exchange Series Talk

18 Jun, 11.00am, Creative Studios National Centre for Creative Learning

highlight
Workshop

Creative Connections #1

22 Jun, 9.00am, Creative Studios National Centre for Creative Learning

Find out more about the

About the MCA

– News from inside the MCA

Getting articulate at Light Show

MCA Articulate lets visitors to Light Show respond to artworks in the exhibition. more

Light Perspectives: Christoper Esber

A Light Show blog series to find out how light is used in professional creative practices. This week we hear from Australian Fashion Designer Christopher Esber. more

Reflecting on the Blacktown Native Institution Artist Camps

'History is never static: it lives on through the people and communities that it has shaped, and it is shaped in turn by the telling of it.’ more

View the Collection

Browse Collection

– Spotlights from the collection online

highlight
Volume One: MCA Collection

Works from the MCA Collection on display

highlight
Remain in Light: Photography from the MCA Collections

On tour until October 2015

highlight
ARTIST INTERVIEW

Watch our latest artist interview with Khaled Sabsabi

MCA Collection: Selected by Julie Rrap

Museum of Contemporary Art Australia (MCA)

Duration

30 Aug 2007 to 28 Jan 2007

Curator: Julie Rrap

MCA Collection: selected by Julie Rrap
Installation view, MCA, 2007
Image courtesy and © the artists

Jenny Watson
The bottled memories (1-5) 1988
Museum of Contemporary Art, purchased 1989
Installation view, MCA Collection: selected by Julie Rrap, MCA, 2007
Image courtesy and © the artist

Sandro Chia, Lightstruck, 1983, Museum of Contemporary Art, J W Power Bequest, purchased 1987; Bruno Di Bello, Variazioni su una foto di Man Ray, 1975, Museum of Contemporary Art, J W Power Bequest, purchased 1976; Cindy Sherman, Untitled Film Still 131, 1983, Museum of Contemporary Art, J W Power Bequest, purchased 1984, installation view, MCA Collection: selected by Julie Rrap, MCA, 2007, image courtesy and © the artists

Sandro Chia
Idiots 1981
Museum of Contemporary Art, J W Power, Bequest, purchased 1986
Installation view, MCA Collection: selected by Julie Rrap, MCA, 2007
Image courtesy and © the artist

left to right
Arnulf Rainer, Face-farce 1971, Museum of Contemporary Art, J W Power Bequest, purchased 1972; Jenny Watson, The Bottled Memories (1) 1988, The bottled memories (2) 1988, Museum of Contemporary Art, purchased 1989, installation view, MCA Collection: selected by Julie Rrap, MCA, 2007, image courtesy and © the artists

Günter Weseler
Atem Object (Breathing object) 1972
J W Power Bequest, purchased 1972
Installation view, MCA Collection: selected by Julie Rrap, MCA, 2007
Image courtesy and © the artists

left to right
Francesco Clemente, Untitled Circa 1987, Museum of Contemporary Art, J W Power Bequest, purchased 1987; Hannah Wilke, Drawing (Flower Collage) 1973, Museum of Contemporary Art, J W Power Bequest, purchased 1974; Arnulf Rainer, Face-farce, 1971, Museum of Contemporary Art, J W Power Bequest, purchased 1972, installation view, MCA Collection: selected by Julie Rrap, MCA, 2007, image courtesy and © the artists

MCA Collection: selected by Julie Rrap
Installation view, MCA, 2007
Image courtesy and © the artists

about the exhibition

This selection of works from the MCA Collection was presented alongside the artist’s solo exhibition Julie Rrap: Body Double, curated by Victoria Lynn.

‘This selection was framed by fairly broad principles that relate to interests in my own practice over the last 25 years. However, one image in particular, Arnulf Rainer’s Face–farce (1971), resonates as a pivotal work for my other choices.
Figuration created through ironic and conceptual gestures, as opposed to the purely expressive, has always interested me. I think this is because photography, as a critical tool in my visual thinking, has always made the relationship between subjective and objective observation problematic.

One of my earliest influences in this regard was the work of the Austrian artist Arnulf Rainer, whose self-portrait work Face–farce was recorded photographically by an assistant while the artist was under the influence of the drug mescalin, rendering him psychologically ‘absent’ from the process. In revisiting these images of himself, Rainer attempted to use this photographic ‘proof’ as a trigger to recreate his memory of the event by drawing and painting on the surface of the image. This gesture exposed the disjunction between the ‘objective’ eye of the camera and the ‘subjective’ interpretation of the artist/viewer. His mark-making on the surface of the image was an attempt to expressively reach across this void between image, sensation and memory.

In this work, what we are confronted by is a ‘double’ space; one emotional and unguarded, the other a more considered and constructed response.
Of course all great art works have multiple impacts on our senses, but in combining the camera with the handmade, the tension between the direct and indirect gesture become more apparent.

In choosing Rainer’s image to articulate this tension, I have tried to consider this selection of works in dialogue with Rainer’s proposition. Some works use drawing as photo-realism, while others construct photographs as masquerades. Some appear to exist purely as expressive gesture, while others mask the subjective with irony.’

Julie Rrap