Blokes and Sheds

Cover of Blokes and Sheds
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The five phases of Aboriginal art in Australia
Feature
Djon Mundine

 

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

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

Published 01 June 2020
The Torch
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Looking for murnong
Feature
Lou Bennett and Romaine Moreton

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

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

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

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

Published 01 June 2020

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

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More from this Issue Full Issue Contents

Distilling Poetry
Review
Ray Spiteri

Exhibition review Fremantle Print Awards
8 September - 15 October 1995
Fremantle Arts Centre, WA

Published March 1996
Observing Father's Day in a Good Weekend
Feature
John Tebbutt

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.

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
Obsession
Review
Allison Archer

Exhibition review Emergence: Arthur Russell
15 October - 12 November 1995
Greenhill Galleries, Perth, WA

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
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
The Virtual in Hand
Review
Catherine Speck

Exhibition review Armorial: Dianne Longley
8 September - 3 October 1995
Adelaide Central Gallery, SA

Published March 1996
I've Written a Letter to Daddy
Feature
Dominic Chang

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.

Published March 1996
Unwanted Shadow Man
Feature
John Grech

Photos and essay by the author on a relationship between men.

Published March 1996
Public Objects and Private Parts in Harry Hummerston's Recent Assemblages
Feature
Anna Herriman

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
Light Works
Review
Stephanie Radok

Exhibition review Some Pictures from a Somniloquist's Diary
Tony Trembath
1 November - 26 November 1995
Greenaway Gallery Adelaide SA

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
 
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