– 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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Special Event

ARTBAR March 2017

31 Mar, 7.00pm, MCA

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Conference

Educators conference: 6-7 April

06 Apr, 6.00pm, Level 3: National Centre for Creative Learning

– News from inside the MCA

Art Escapades

Artist Educator Nicole Barakat talks about our new Art Escapades program for 3-5 year olds. more

Support Australian Design this International Women's Day

To celebrate International Women’s Day we’re shining the spotlight on a selection of talented independent, Australia women artists and designers currently stocked at MCA Store more

From the archives: February

Looking forward, looking back. This new monthly series explores MCA archives, penned by our very own Archives and Records Management Coordinator, Stephanie Ferrara. 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.

John Power

As an artist John Power (1881-1943) was a successful participant in the international avant-garde during the 1920s and 1930s. Power’s inherited wealth freed him from the pressures of commercial exhibitions and allowed him to retain most of his artistic output. John Power embodied Panofsky’s ideal of a humanist, respecting “moral values and that gracious blend of learning and urbanity which we can only circumscribe by the discredited word 'culture’”. He found painting an intensely satisfying profession which enabled him to explore and articulate his intellectual and spiritual concerns.

In 1977 the Australian War Memorial purchased John Power’s Ypres, an iconic battleground in Australian military memory, commemorating human endurance and massive slaughter. Independent of the restrictions placed on an official war artist, Power painted an allegory of the devastation that his duties as an army surgeon subjected him to.

Ypres is Power’s only surviving tribute to his World War I experience as a surgeon. The futility of healing bodies likely to be again shattered is a possible explanation for Power’s rejection of medicine as a profession, in order to dedicate himself to painting.

After the War, John Power transferred his considerable energies from the exterior, public arena of medicine into the more interior sphere of his private exploration of art. When Power proposed marriage to his future wife, Edith Mary James, she replied that he must decide once and for all whether to be a doctor, a concert pianist or an artist. She undertook to support him in his choice. Edith provided a driving force of encouragement and security for her husband. Dealing with the daily matters of life, Edith’s more than competent control of their material wellbeing freed Power to devote himself to the development of his talents. Almost in homage to his wife, Power worked on images which utilised his own, obviously satisfying, married life as both subject and theme. His polished and luxuriously decorative paintings of interiors and still lives depict and celebrate the elegant domestic settings in which the Powers harmoniously lived.

Power’s lifelong obsession was to unravel the intricacies and inner workings of art, music, mathematics and microbiology; to penetrate below surface appearances to the underlying ordered truth of the matter.

[Extract from Donna Lee Brian’s John Power: A private iconography in Opening Transformations, published by the MCA and Art and Australia on the occasion of the opening of the MCA in 1991.]