Fremantle Arts Centre
Published 23 August 2019
Arts Project Australia
Penrith Regional Gallery
Published 11 July 2019
Gallery Lane Cove
Published 03 July 2019
Newcastle Art Gallery
Published 01 July 2019
Exhibition review I won't wish I will: Pippin Drysdale
28 September - 8 October 1995
The Door Exhibition Space Fremantle, WA
Photos and essay by the author on a relationship between men.
Published March 1996
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
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'.
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?
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.
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.
Exhibition review Some Pictures from a Somniloquist's Diary
1 November - 26 November 1995
Greenaway Gallery Adelaide SA
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.
Guest editors of 'Masculinities Reflected' Noel Sanders and Kurt Brereton reflect on the nature of masculinity.
Musings on the man who was the author's father from a multicultural perspective.
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.
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.