Obsession

Cover of Obsession
1.22
Quilty

Art Gallery of South Australia

Review
Rebecca Freezer

Published 16 May 2019
1.124
The National 2019: New Australian Art
Review
Craig Judd

Published 15 May 2019
1.126
Heysen Sculpture Biennial 2019

24 February – 30 April 2019

Review
Kirsty Darlaston

Published 17 April 2019
NAVA
0.886
Yurtu Ardla

South Australian Museum

Review
Darren Jorgensen

Published 16 April 2019
1.128
Curiouser and Curiouser

Bathurst Regional Art Gallery

Review
Ann Finegan

 
 

Published 23 January 2019
1.13
The 9th Asia Pacific Triennial of Contemporary Art

QAGOMA

Review
Jasmin Stephens

Published 22 January 2019
Artlink Promo
1.128
Unhallowed Arts

Various venues, Perth

Review
Darren Jorgensen and Gemma Weston

Published 18 January 2019
1.126
The Partnershipping Project

Burnie Regional Art Gallery

Review
Seán Kelly

Published 18 January 2019

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

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More from this Issue Full Issue Contents

The Back Yard Shed
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Helen Moyes

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.

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Demystifying Masculinity: The Photography of Krystyna Petryk
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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.

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Symbolic Identities: Masculinity and the Motor Cycle
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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.

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Art and Masculinity after Auschwitz after Bosnia: The work of Dennis Del Favero, 1995
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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.

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Blokes and Sheds
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Observing Father's Day in a Good Weekend
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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.

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Men
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Robert Nelson

What boys give up to become men is all contained in this photograph...

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Like a Chant
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4-29 October 1995,
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They Are Not Photographs: Natalie Lowrie
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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.

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When You Get Behind Closed Doors
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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

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Sorely Tried Men: The Male Body in World War Two Australia
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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
Men Without Toilets
Feature
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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'.

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The Japan Foundation
Crown Resorts
Artlink Subs Promo
ACE Open
Sydney Opera House