Published 01 December 2019
What boys give up to become men is all contained in this photograph...
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.
Published March 1996
Exhibition review Mail Order (for Women): Di Barrett
14 Sept - 8 October 1995,
EAF [Experimental Art Foundation]
Adelaide, South Australia
Photos and essay by the author on a relationship between men.
Masculinity continues its argument with itself, quizzical at its self-propelled self-assertion. But in asserting aggression the pain is not just experienced in the victim. For even in the crudest acts of coitus, for a moment, the raper becomes the raped, he is tied by his penis and his balls into an abomination.
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.
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.
Exhibition review Fremantle Print Awards
8 September - 15 October 1995
Fremantle Arts Centre, WA
Exhibition review I won't wish I will: Pippin Drysdale
28 September - 8 October 1995
The Door Exhibition Space Fremantle, WA
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'.
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.