Published 03 March 2017
What boys give up to become men is all contained in this photograph...
Exhibition review Some Pictures from a Somniloquist's Diary
1 November - 26 November 1995
Greenaway Gallery Adelaide SA
Published March 1996
What is the phallus?
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.
Polish born Krystyna Petryk has long been fascinated with portraiture and representations of the nude in photography. Her own investigations began in Warsaw by photographing her pregnant friends and continued after her arrival in Western Australia in 1982. Once here she broadened her explorations to include both male and female subjects before shifting to photograph and research representations of men exclusively.
Musings on the man who was the author's father from a multicultural perspective.
Series of works by Tyrone Townsend, Victoria Straub, Polixeni Papapetrou, Phil George and Simon Cardwell. Large format and mainly colour images.
Exhibition review Armorial: Dianne Longley
8 September - 3 October 1995
Adelaide Central Gallery, SA
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.
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'.
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'.
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.