Reinventing the Wheel: The Readymade Century - Julian Dashper, 'Untitled (The warriors)' 1998
Monash University Museum of Art presents a dynamic program of exhibitions focusing on contemporary Australian and international art since the 1960s. Exhibitions range from newly commissioned projects to surveys of significant artists, thematic group exhibitions, research-based projects and explorations of the Monash University Collection.
Arguably the most influential development in art of the 20th century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice.
Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces subsequent elaborations of the readymade – from neo-dada practice to contemporary contexts. Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art. Read more...
MUMA’s 2013 artist in residence at the Gippsland Centre for Art & Design is Melbourne-based painter Kate Smith. Originally from a property outside Cootamundra in New South Wales, Smith responds to the rural setting of the campus to present A Country Practice. The title looks back to the popular Australian television series of the 1980s and early ‘90s; Smith’s exhibition recalls her student years at the School of Art at the Australian National University with her attempt during the residency to cover all the media offered in GCAD’s studios for painting, printmaking, sculpture, photography and digital media.
MUMA's 2013 sculpture commission, Unity and Fragments (a brief interruption) by Pat Foster and Jen Berean considers our daily negotiations with architecture and the imposition of art on public spaces. With a nod to Richard Serra’s ill-fated public sculpture, Tilted Arc 1981, Foster and Berean’s work subtly impedes movement through the courtyard suggesting the ability of art to act as a type of interruption both physically and psychologically.