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Museum Of Contemporary Arts: New Acquisitions Exhibition

1542 words - 7 pages

Overview of the New Acquisitions ExhibitionsThe New Acquisitions 2007 exhibition at the Museum of Contemporary Arts showcases new, choice artworks that have been acquired by the gallery in the past year. Located on Levels 1 and 2 of the museum, the exhibition features a large range of artworks by various artists and across several forms of media. These artworks reflect on the issues of identity on both a national and global scale. The New Acquisitions in Context exhibition initiated in 2005 and has continued as an annual exhibition, giving the visitors of the MCA an opportunity to experience the world of contemporary art as well an insight into the development of the museum’s collection. ...view middle of the document...

As you enter the exhibition, you find yourself directly facing John Barbour’s colourful Inherent Vice on the wall next to the staircase leading up to the exhibition’s second level. On the wall to your left, 5 large photographs by Lynn Roberts-Goodwin are displayed. These 5 C-type photographs are impressive through their size and clarity alone. They depict a member of Arabic royalty, standing isolated on the hot sand of the Arab desert. The artwork portrays the artist’s own journey of discovery and she explores the world a world that is connected, but not familiar to her. She makes us aware of cultural diversity, and other cultures and customs- the man’s looming presence almost demands our attention; the knowledge that he is royalty adds even more to the superior effect created by the elevated positioning of the photograph. The artwork also presents a feeling of stillness in contrast to the brutal reality of its context; war, death and cultural discrimination. The three photographs of the birds further emphasize the ideas explored in this artwork- the falcon is given human qualities and the way the image has been cropped portrays a sense of capture and desperation. Perhaps this artwork intended to help its audience realize issues that we are not subjected to in a multicultural and peaceful country. The artwork makes us feel grateful to be Australian.
In this first glimpse of the exhibition we are already intrigued by the artworks. As we move from this room further into the exhibition, we are met with many more interesting artworks, some with darker and more Gothic themes. In the centre of one room there is the delicate sculpture of a green fox by Louise Weaver, abroad a wooden tree trunk and it almost seems logical to think that it could be related or rather, living in the forest depicted in Fiona Lowry’s “Lost to nothing” on the wall opposite. The painting itself is a stark contrast of red and white- reminiscent of the stain of blood and of murder. The scene that the artist paints is, in fact, the scene where a murder had once occurred.
In a dimly lit and mysteriously dark room that is extended from this central room, the curator has created a distinctly Gothic atmosphere in which the artworks by David Noonan and Rose Farrell and George Parkin are displayed. This particular room was personally required by the artist, and the Gothic theme was also a request that was upon the initial arrangement of the exhibitions artworks. “Owl” by David Noonan in particular, fits in with the atmosphere extremely well. The nostalgic feeling that is created by his intimate film of two owls is enhanced by the lack of open space around the viewer- we almost feel as if we’re intruding in their personal space.
As we make to move from the first level of the exhibition to the second, we see the large, sequined work of Nell hanging on the wall opposite the staircase. This work was intentionally placed at this specific location by the curator because of the artist’s...

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