Published 01 September 2019
What boys give up to become men is all contained in this photograph...
Harry's work immediately identifies the object as a site of meaning. It is fair to say that Harry is strongly opposed to any restriction or taboo upon what he may represent, particularly from the arena of representing the female object or gender.
Published March 1996
Analysis of maleness from a semiotic approach in the context of the lifestyle magazine 'Good Weekend' published as a supplement to both The Age in Melbourne and The Sydney Morning Herald.
Social documenter Maxx Image is obsessed with the colour purple. Black leather is the costume of rebellion and the thrill and valour expounded by such an ideal could be seen as enticing accessories to the passion and zeal of leather sexuality.
Exhibition review Emergence: Arthur Russell
15 October - 12 November 1995
Greenhill Galleries, Perth, WA
Exhibition review Mail Order (for Women): Di Barrett
14 Sept - 8 October 1995,
EAF [Experimental Art Foundation]
Adelaide, South Australia
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'.
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.
Guest editors of 'Masculinities Reflected' Noel Sanders and Kurt Brereton reflect on the nature of masculinity.
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.
Exhibition review Home: Body
Pat Brassington, Kathryn Faludi, Mary Scott, Heather B Swann, Jennifer Spinks
21 September - 13 October 1995
Carnegie Room Town Hall Hobart, Tasmania
Images and text by Mark Thomson from his recent book 'Blokes and Sheds'.
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.