Published 01 June 2020
Published 08 April 2020
Published 01 March 2019
Published 01 December 2019
Published 01 September 2019
Published 01 June 2019
Published 01 December 2018
Guest editors of 'Masculinities Reflected' Noel Sanders and Kurt Brereton reflect on the nature of masculinity.
What boys give up to become men is all contained in this photograph...
Published March 1996
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.
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.
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.
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.
Exhibition review Recent Work: Hossein Valamanesh
4-29 October 1995,
Greenaway Gallery, Adelaide SA
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.
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'.
Images and text by Mark Thomson from his recent book 'Blokes and Sheds'.
Exhibition review Mail Order (for Women): Di Barrett
14 Sept - 8 October 1995,
EAF [Experimental Art Foundation]
Adelaide, South Australia
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 Tradition, Cloth, Meaning: Contemporary Textiles Curated by Sara Lindsay
17 September - 7 October 1995
Long Gallery Salamanca Arts Centre, Hobart, Tasmania