Bathurst Regional Art Gallery
Published 23 January 2019
Published 22 January 2019
Various venues, Perth
Published 18 January 2019
Burnie Regional Art Gallery
Guangdong Museum of Art
Published 10 December 2018
Fremantle Arts Centre
Royal Academy, London
Published 07 December 2018
Exhibition review Emergence: Arthur Russell
15 October - 12 November 1995
Greenhill Galleries, Perth, WA
Exhibition review I won't wish I will: Pippin Drysdale
28 September - 8 October 1995
The Door Exhibition Space Fremantle, WA
Published March 1996
What is the phallus?
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
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.
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 Armorial: Dianne Longley
8 September - 3 October 1995
Adelaide Central Gallery, SA
Exhibition review Tradition, Cloth, Meaning: Contemporary Textiles Curated by Sara Lindsay
17 September - 7 October 1995
Long Gallery Salamanca Arts Centre, Hobart, Tasmania
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.
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.
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.
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.
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.