Published 11 July 2019
Gallery Lane Cove
Published 03 July 2019
Newcastle Art Gallery
Published 01 July 2019
La Biennale di Venezia
Published 26 June 2019
Published 05 June 2019
Australian Centre for Contemporary Art
Art Gallery of South Australia
Published 16 May 2019
Published 15 May 2019
Exhibition review Emergence: Arthur Russell
15 October - 12 November 1995
Greenhill Galleries, Perth, WA
Images and text by Mark Thomson from his recent book 'Blokes and Sheds'.
Published March 1996
Exhibition review Fremantle Print Awards
8 September - 15 October 1995
Fremantle Arts Centre, WA
Series of works by Tyrone Townsend, Victoria Straub, Polixeni Papapetrou, Phil George and Simon Cardwell. Large format and mainly colour images.
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.
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.
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
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.
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'.
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.
Exhibition review Recent Work: Hossein Valamanesh
4-29 October 1995,
Greenaway Gallery, Adelaide SA