– Highlights

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Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec

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Exhibition

Kader Attia

12 Apr - 30 Jul

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Exhibition

Jenny Watson

05 Jul - 02 Oct

– Learning Events

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Special Event

ARTBAR June 2017

30 Jun, 7.00pm, MCA

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Talk

NAIDOC Week 2017

05 Jul, 5.30pm, Level 2: Veolia Lecture Theatre

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Event

Master Class For Teachers

09 Jul, 10.00am, Level 3: National Centre for Creative Learning

– News from inside the MCA

MCA at the 2017 Venice Biennale

Canals, cats and curators. Clothilde Bullen reflects on the experience of attending the 2017 Venice Biennale on the occasion of Tracey Moffat’s Australian Pavilion. more

From the archives: Unconventional Materials

From the Archives is our blog series unearthing gems from the MCA’s archives, written by resident archivist Stephanie Ferrara more

The other side of an exhibition

Take a trip behind the scenes with Exhibition Manager Charm Watts as she shares tales of what goes into installing MCA shows 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.

Sol LeWitt Wall Pieces: John Kaldor Art Project

Museum of Contemporary Art Australia (MCA)

Duration

30 Jul 1998 to 29 Nov 1998

Curator: Nicholas Baume

About the exhibition

In the 1960s Sol Lewitt was a principal figure in the development of Minimal and Conceptual art, however his ability to move between and across movements allowed him to become one of the most influential figures in contemporary art.

One of the most important areas of LeWitt’s work began with his first 'wall drawing’ in 1968. Reducing art to its essential elements, he drew with black pencil straight onto the wall. For LeWitt, this process was more direct than drawing on a sheet of paper that would later be hung in a gallery. LeWitt developed this aspect of his art, expanding his media to include coloured pencil, crayon, chalk, ink, collage, and now paint.

For Sol Lewitt Wall Pieces, the MCA was transformed, with some of the largest walls in the Museum being covered by works. Sol Lewitt believed that the development of Conceptual art saw all planning and decision making complete beforehand and the execution of the work as a perfunctory exercise. This attitude was evident in the realisation of these works: under the supervision of Lewitt’s assistant Sachiko Cho, highly skilled artisans from the MCA along with students from local art schools created these pieces, with Lewitt arriving only to ensure that his conception had been realised accurately.

Wall Drawing #876 highlighted Lewitt’s dynamic range, filling an entire wall with a chaotic collision of colours and eccentrically curvaceous forms. This work was a stark rebuttal to the pieces which comprised the majority of the exhibition: elegantly severe black on black pieces, distinguished only through the varied application of gloss and flat acrylics. The distinction between the highly coloured work and the black on black suite served as a reminder of Lewitt’s ambition to continue to expand his practical range after more than three decades of practice.