Published 01 June 2018
Rox de Luca's exhibition of 19 men portrayed in 'All Meat No Veg' were all of men known to her. What did the portraits reveal about the sitters?
Let's speak about nomads and farmers... The acrid vapours that fill the cast iron nooks and crannies by day: the trickles on metal that appear in my black and white slides each night like blood from a more visible crime: this evidence of the distillation of men: these signs are signs enough of the collapsing consequences of 'farming'.
Published March 1996
Series of works by Tyrone Townsend, Victoria Straub, Polixeni Papapetrou, Phil George and Simon Cardwell. Large format and mainly colour images.
Musings on the man who was the author's father from a multicultural perspective.
During World War Two, the Australian government's Department of Information represented the male body in at least two distinct ways. The photographer Edward Cranstone photographed a heroically active, phallicised body and the cameraman Damien Parer filmed a heroically suffering abject body.
Exhibition review Some Pictures from a Somniloquist's Diary
1 November - 26 November 1995
Greenaway Gallery Adelaide SA
Exhibition review Fremantle Print Awards
8 September - 15 October 1995
Fremantle Arts Centre, WA
In 1992, Helen Moyes made a documentary 'The Back Yard Shed' which set out to look at the lives of a cross-section of Australian households through the phenomenon of the back-yard shed.
Vigilantly looking out to sea, the two manifestations of the life saver, the saviour and the sportsman, are combined in this 'gay greeting card' in such a way as to draw on the history of surf club masculinity and create an erotic pose.
Using illustrations from a technical manual of the 1940s `the author examines the working male figure in popular iconography focusing on masculine representation in the visual arts and its link to the means of production.
We collage, genderbend, cross dress and polymorph exquisite corpses out of media and advertising personalities, then use them as fantasy aids in the cause of our mundane desires.
Since 1927, the idea that the motor cycle is synonymous with assertive and unmediated masculinity has been enlarged and expanded through a broad range of visual, literal and cinematic imagery to the point where a machine which was once acclaimed as a means of transport has been transformed into a gendered cultural icon, an object of and for masculine display.
Images and text by Mark Thomson from his recent book 'Blokes and Sheds'.