More from this Issue
Art and Masculinity after Auschwitz after Bosnia: The work of Dennis Del Favero, 1995
Masculinity continues its argument with itself, quizzical at its self-propelled self-assertion. But in asserting aggression the pain is not just experienced in the victim. For even in the crudest acts of coitus, for a moment, the raper becomes the raped, he is tied by his penis and his balls into an abomination.
Men Without Toilets
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'.
Men and Mettle: Recent Portraits by Rox De Luca
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?
The Back Yard Shed
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.
Light Works
Exhibition review Some Pictures from a Somniloquist's Diary
Tony Trembath
1 November - 26 November 1995
Greenaway Gallery Adelaide SA
Figures of Elongation
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.
They Are Not Photographs: Natalie Lowrie
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.
Symbolic Identities: Masculinity and the Motor Cycle
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.
Public Objects and Private Parts in Harry Hummerston's Recent Assemblages
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.
Saviour and Sportsman
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 Virtual in Hand
Exhibition review Armorial: Dianne Longley
8 September - 3 October 1995
Adelaide Central Gallery, SA