Distilling Poetry

Cover of Distilling Poetry
0.768
The Stranger Artist: Life at the edge of Kimberley painting
Review
John Kean

Quentin Sprague
Hardie Grant, Melbourne, 2020

 

Published 29 June 2020
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Desert Aboriginal art centres adapt to the pandemic
Review
Kieran Finnane

Published 14 May 2020
0.77
2020 Adelaide Biennial of Australian Art: Monster Theatres

Art Gallery of South Australia | Adelaide Botanic Garden

Review
Gemma Weston

Published 05 April 2020
SALA
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2020 Adelaide//International

Samstag Museum of Art

Review
Chloé Wolifson

Published 29 March 2020
0.77
Cementa19

Kandos, New South Wales

Review
Marco Marcon

Published 05 February 2020
0.774
Therese Ritchie: Burning Hearts

Museum and Art Gallery of the Northern Territory

Review
Chips Mackinolty

Published 05 February 2020
The Torch
0.69
Kulinmaya! Keep Listening Everybody!

Mumu Mike Williams

Review
Kieran Finnane

Published 01 December 2019
1.126
OzAsia 2019

Adelaide Festival Centre and other venues

Review
Anna O'Loughlin

Published 29 November 2019

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

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More from this Issue Full Issue Contents

Exquisite Corpses
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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.

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The Back Yard Shed
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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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The Many Tongues of Textiles
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Light Works
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Exhibition review Some Pictures from a Somniloquist's Diary
Tony Trembath
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Public Objects and Private Parts in Harry Hummerston's Recent Assemblages
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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.

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Men and Mettle: Recent Portraits by Rox De Luca
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Paul Allatson

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?

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Observing Father's Day in a Good Weekend
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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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Figures of Elongation
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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.

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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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They Are Not Photographs: Natalie Lowrie
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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.

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Symbolic Identities: Masculinity and the Motor Cycle
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John Pigot

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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Fathers and/or Sons
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