Public Objects and Private Parts in Harry Hummerston's Recent Assemblages

Cover of Public Objects and Private Parts in Harry Hummerston's Recent Assemblages
0.662
The five phases of Aboriginal art in Australia
Feature
Djon Mundine

 

Published 01 September 2005
0.786
palawa kani: Expressing the power of language in art and the museum context
Feature
Zoe Rimmer and Theresa Sainty

Published 01 June 2020
0.786
Reconnecting the Yaghan community to cultural belongings 90 years on
Feature
Rebecca Carland

Published 01 June 2020
Artlink Subs Promo
0.786
Looking for murnong
Feature
Lou Bennett and Romaine Moreton

Published 01 June 2020
0.786
Kin‑dling and other radical relationalities
Feature
Emily Johnson and Karyn Recollet

Published 01 June 2020
0.786
Making Inuit art in the moment
Feature
asinnajaq

Published 01 June 2020
MGNSW
0.786
Notes from Kahoʻolawe, Ka Paeʻāina o Hawaiʻi, Moananuiākea
Feature
Drew Kahuaina Broderick and Josh Tengan

Published 01 June 2020
0.786
Weaving memory, living embodiment
Feature
Freja Carmichael

Published 01 June 2020

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.

Buy Now   or   Subscribe
Artlink App in iTunes
Share on Facebook Share on Twitter
Support independent writing on the visual arts. Subscribe or donate here.

More from this Issue Full Issue Contents

The Many Tongues of Textiles
Review
Llewellyn Negrin

Exhibition review Tradition, Cloth, Meaning: Contemporary Textiles Curated by Sara Lindsay
17 September - 7 October 1995
Long Gallery Salamanca Arts Centre, Hobart, Tasmania

Published March 1996
They Are Not Photographs: Natalie Lowrie
Feature
Jad McAdam

The images are selections from a body of work called flamingharlots@trashed, created by Sydney based photographer Natalie Lowrie. The images, digitally retouched photos of Natalie's circle of friends and acquaintances were exhibited at the Polymorph Gallery at Newtown.

Published March 1996
Demystifying Masculinity: The Photography of Krystyna Petryk
Feature
Allison Archer

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.

Published March 1996
Figures of Elongation
Feature
Daniel Grafton

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.

Published March 1996
Sorely Tried Men: The Male Body in World War Two Australia
Feature
Martyn Jolly

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.

Published March 1996
Symbolic Identities: Masculinity and the Motor Cycle
Feature
John Pigot

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.

Published March 1996
Blokes and Sheds
Feature
Mark Thomson

Images and text by Mark Thomson from his recent book 'Blokes and Sheds'.

Published March 1996
Art and Masculinity after Auschwitz after Bosnia: The work of Dennis Del Favero, 1995
Feature
Adam Geczy

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.

Published March 1996
Saviour and Sportsman
Feature
Tony McGowan

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.

Published March 1996
Exquisite Corpses
Feature
Kurt Brereton

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
Men and Mettle: Recent Portraits by Rox De Luca
Feature
Paul Allatson

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?

Published March 1996
When You Get Behind Closed Doors
Review
Jane Deeth

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

Published March 1996
 
NAVA
UNSW
Darwin Aboriginal Art Fair
Artlink Promo
The Torch