Contemporary Art Tasmania
Published 15 November 2021
Maitland Regional Art Gallery
Published 18 October 2021
Samstag Museum of Art
Published 06 September 2021
Sauerbier House, Port Noarlunga, South Australia
Published 25 August 2021
Drill Hall Gallery
The Lock-Up
Published 12 July 2021
ACE Open
Published 10 May 2021
Santos Museum of Economic Botany and The Deadhouse (Mortuary Building), Botanic Gardens of South Australia
Exhibition review Emergence: Arthur Russell 15 October - 12 November 1995 Greenhill Galleries, Perth, WA
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'.
Published March 1996
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.
What boys give up to become men is all contained in this photograph...
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
Exhibition review I won't wish I will: Pippin Drysdale 28 September - 8 October 1995 The Door Exhibition Space Fremantle, WA
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 Tradition, Cloth, Meaning: Contemporary Textiles Curated by Sara Lindsay 17 September - 7 October 1995 Long Gallery Salamanca Arts Centre, Hobart, Tasmania
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?
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.
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.
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.
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.
