Art Blart

2023

• Text/Exhibition: “Forever present” on the exhibition Chris Killip, Retrospective at The Photographers’ Gallery, February 2023
• Text: “Golden splendour: privilege, ceremony and racism in 1920s-1930s Australia” on the photo album ‘John “Jack” Riverstone Faviell (1892-1960), 1922-1933’ Part 2, January 2023 (4,670 words)
• Text/Exhibition: “Visible Man / Invisible photographer” on the exhibition Gordon Parks: Stokely Carmichael and Black Power at the Museum of Fine Arts, Houston, January 2023

 

2022

• Exhibition: ‘Baldwin Lee’ at Joseph Bellows Gallery, La Jolla, California, November 2022
• Text/Exhibition: “Ghosts in the machine,” on the exhibition Bernd and Hilla Becher at the Metropolitan Museum of Art, New York, November 2022
• Text/Exhibition: “Reclaiming the light,” on the exhibition Between skin & shirt: The photographic portraits of William Harding at the National Library of New Zealand Gallery, Wellington, October 2022
• Text/Exhibition: “The quiet of the great beyond” on the exhibition American Silence: The Photographs of Robert Adams at the National Gallery of Art, Washington, September 2022
• Exhibition: ‘Brick Lane 1978: The Turning Point’ at Four Corners, London, August 2022
• Review: “The Black and White Show,” on the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne, August 2022
• Text/Exhibition: “A portent of things to come…” on the exhibition Germany / 1920s / New Objectivity / August Sander at Centre Pompidou, Paris, August 2022 
• Text/Photographs: “Familiar yet strange: Frank Hurley’s First World War photographs” on Frank Hurley – Soldiers of the Australian Imperial Force (AIF) on the Western Front during the First World War, mid-1917 – September 1918, July 2022
• Text/Photographs: “Rendering the past and the presence, shaping history and memory,” on Images of Mongolian noblemen and noblewomen of early 20th century (1910s-1920s), July 2022
• Text/Exhibition: “The blink of an eye,” on the exhibition Marion Kalter. Deep Time at the Museum der Moderne Salzburg, Austria, April 2022
• Review: ‘Visions of India: from the colonial to the contemporary’ at the Monash Gallery of Art, Wheelers Hill, Melbourne, March 2022
• Text: ‘Finding Integrity: “New Woman” artists and female emancipation in the first half of the twentieth century’ on the exhibition The New Woman Behind the Camera at the National Gallery of Art, Washington Part 3, January 2022 (7,000 words)

 

2021

• Text/Exhibition: “There is no more time,” on the exhibition Freedom Must Be Lived: Marion Palfi’s America, 1940-1978 at the Phoenix Art Museum, December 2021
• New website: ‘Marcus Bunyan – celebrating 30 years of art practice in 2021’ November 2021
• Text/Exhibition: “In our sight, in our mind” on the exhibition Mervyn Bishop: Australian Photojournalist at the National Film and Sound Archive of Australia, Acton, Canberra ACT, October 2021
• Text/Exhibition: “Dark atmosphere of a grey reality,” on the exhibition Michael Schmidt: A new German Perspective at Jeu de Paume, Paris, August 2021
• Text/Exhibition: “Bill Brandt: master of photography, master of reinvention,” on the exhibition Bill Brandt at the Fundación Mapfre, Madrid, August 2021
• Review: “The Family of Yang,” on the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA), Brisbane, August 2021
• Review: “Disguising power as virtue or, the Inner Landscape of Beauty” on the exhibition An-My Lê: On Contested Terrain at the Amon Carter Museum of American Art, Fort Worth, Texas, August 2021
• Text/Exhibition: “Recognising small diversions” on the exhibition Friedrich Seidenstücker – Life in the City: Photographs from the 1920s to 1940s at the Käthe Kollwitz Museum, Cologne, June 2021
• Text/Exhibition: “The power of imagination” on the exhibition Eugène Atget, Voir Paris at the Fondation Henri Cartier-Bresson, Paris, June 2021
• Text/Exhibition: “Nature ∞ nurture” on the exhibition The Human Cost: America’s Drug Plague at the Bronx Documentary Center, New York, June 2021
• Text/Photographs: “Death, duplicity and dishonour” on ‘The “Green Ticket” roundup – first roundup of Jews in France during World War II’, Memorial de la Shoah, Paris, May 2021
• Review: “Contested Ground,” on the exhibition ‘Do Brumbies Dream in Red? – Tom Goldner’ at the Meat Market Stables, Melbourne, May 2021
• Review: ‘Ruth Maddison: It was the best of times, it was the worst of times’ at the Centre for Contemporary Photography, Melbourne, April 2021
• Text/Exhibition: “Realist structuralist illusionist,” on the exhibition Clarice Beckett: The present moment at the Art Gallery of South Australia, Adelaide, March 2021
• Review: “Embodied Ab/origin” on the exhibition DESTINY at NGV Australia, Federation Square, Melbourne, January 2021
• Text/Exhibition: “The semi-transparent self,” on the exhibition The Experimental Self: Edvard Munch’s Photography at the National Nordic Museum, Seattle, January 2021
• Text/Exhibition: “A difficult thing said simply,” on the exhibition Unearthed: Photography’s Roots at the Dulwich Picture Gallery, London, January 2021

 

2020

• Text: “For a few brief moments, rebels with a cause” on the exhibition Bruce Davidson: Brooklyn Gang at Cleveland Museum of Art, December 2020
• Text: “It’s a mystery” on the exhibition Photography’s Last Century: The Ann Tenenbaum and Thomas H. Lee Collection at the Metropolitan Museum of Art, New York, November 2020
• Exhibition: ‘Acting Out: Cabinet Cards and the Making of Modern Photography’ at the Amon Carter Museum of American Art, Fort Worth, Texas, October 2020
• Pamphlet: ‘Australian Aboriginal Art’ with texts by Charles Barrett and A.S. Kenyon, National Museum of Victoria, 1952, August 2020
• Text: “Atget’s shadow” on his Paris photographs, August 2020
• Text: “D-Construction: deliberate masculinities in a discontinuous world” on the exhibition Masculinities: Liberation through Photography at the Barbican Art Gallery, London, June 2020
• Text: ‘Prospect/us, protect us: plague and resumption in fin de siècle Sydney’ on John Degotardi Jr.’s The Plague Albums, Sydney, 1900, June 2020
• Text: “Closer and closer” on the exhibition Dorothea Lange: Words & Pictures at the The Museum of Modern Art, New York, March 2020
• Text: “Visions of divine damnation” on the exhibition William Blake at Tate Britain, London Part 2, February 2020
• Review: “Writing the body politic / broken” on the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne, January 2020

 

2019

• European photographic research tour: Josef Sudek archive at u(p)m The Museum of Decorative Arts, Prague, December 2019
• European photographic research tour: “A moment of experience” on the exhibition Ara Güler: Two Archives, One Selection: Tracing Ara Güler’s Footsteps in Istanbul at the Istanbul Museum of Modern Art, November 2019
• Text and photos: Marcus Bunyan. “Punk jacket,” in Chris Brickell and Judith Collard (eds.,). Queer Objects. Manchester University Press, 2019, November 2019
• Text: Marcus Bunyan. “Nothing emerges from nothing,” Foreword to We Had Such High Hopes: Student Activism and the Peace Movement 1949-1952, A Photographic Memoir by Joyce Evans. Australian Scholarly Publishing, August 2019
• Text/Review: “Picturing themselves,” on the exhibition Why Take Pictures? at the Centre for Contemporary Photography, Fitzroy, Melbourne, June – August 2019
• Vale Joyce Evans OAM photographer (1929-2019) July 2019
• Text/Photographs: The Seven Last Words 1898 by F. Holland Day (1864-1933) (with Joyce Evans) April 2019
• Text/Exhibition: “Far from heaven,” on the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London, March 2019
• Text: “Alternate readings/elisions/a damaged life,” on the exhibition Akram Zaatari: The Fold – Space, time and the image at the Contemporary Arts Center, Cincinnati, January 2019

 

2018

• Text: “Dans toute sa force” (In full force) on Germaine Krull’s portfolio MÉTAL 1928 December 2018
• Text: “The aristocrats,” on the circus photographs of Edward J. Kelty November 2018
• Text: Death and the image. This text investigates how the act of photography visually writes trauma. Word count: 8,137. November 2018
• Text: “Without worry … here ‘I am’,” on the exhibition African American Portraits: Photographs from the 1940s and 1950s at the Metropolitan Museum of Art, New York Part 2, June – October 2018
• Text: “Climbing into immortality” on the work of Lewis W. Hine (1874-1940), September 2018
• Review: “Terror incognita,” on the exhibition Colony: Australia 1770-1861 at NGV Australia at Federation Square, Melbourne Part 2, featuring photographs from exhibition, March – July 2018
• Review: “The power of intention,” on Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne, March – June 2018
• Text: “Rare magician, strange alchemist, tells stories through visuals,” on the exhibition Jakob Tuggener – Machine time at Fotostiftung Schweiz, Winterthur, Zurich, October 2017 – January 2018
• Book review: “Truth and consequence in red dirt country,” on The Lumen Seed by Judith Crispin (2016) January 2018
• Text/Exhibition: Clarence H. White and His World: The Art and Craft of Photography, 1895-1925 at the Princeton University Art Museum, October 2017 – January 2018

 

2017

• Text: “Show and tell,” on the exhibition The Unflinching Gaze: photo media and the male figure at the Bathurst Regional Art Gallery, New South Wales, October – December 2017
• Review: “Extending the possibilities of the universe: when the chicken is not an egg (and vice versa),” on the exhibition René Magritte: The Revealing Image, Photos and Films at the Latrobe Regional Art Gallery, Victoria, August – November 2017
• Review: “Double take,” on the exhibition An unorthodox flow of images at the Centre for Contemporary Photography (CCP), Melbourne Part 2, November 2017
• Vale William Heimerman (1950-2017) “William Heimerman: the essence of 344” October 2017
• Review: “Very Pauline,” on the exhibition Queer British Art 1861-1967 at Tate Britain, London, September 2017
• Review: Patrick Pound: The Great Exhibition as part of the NGV Festival of Photography at NGV Australia, Melbourne Part 2, July 2017
• Review: “Still singing, still Dreaming, still loving… not dying,” on the exhibition Christian Thompson: Ritual Intimacy at Monash University Museum of Art (MUMA), Melbourne, July 2017
• Exhibition: Wolfgang Tillmans: 2017 at Tate Modern, London, June 2017
• Review: “Reading either side of the sign: Bronwyn Oliver and the invitation to imagine,” on the exhibition The sculpture of Bronwyn Oliver at TarraWarra Museum of Art, Healesville, Victoria, February 2017
• Text/Exhibition: Soulèvements / Uprisings at Jeu de Paume, Paris, January 2017

 

2016

• Text/Photographs: Mother Boats C.P. (Brian Traynor). ‘Los Angeles Pride Parade’ June 1970, October 2016
• Exhibition: Roberto Donetta Photographer and Seed Salesman from Bleniotal at Fotostiftung Schweiz, Winterthur, Zurich, August 2016
• Review: Henry Talbot: 1960s Fashion Photographer at The Ian Potter Centre: NGV Australia, Melbourne, August 2016
• Text/Exhibition: “One wrong does not a life make,” on the exhibition Crime Stories: Photography and Foul Play at the Metropolitan Museum of Art, New York, July 2016
• Review: “An independent vision,” on the exhibition Max and Olive: The photographic life of Olive Cotton and Max Dupain at The Ian Potter Museum of Art, Melbourne, July 2016
• Review: “Time lapse,” on the exhibition Andy Warhol | Ai Weiwei at the National Gallery of Victoria, Melbourne, April 2016
• Cabinet card: William Bardwell, photographer – Alfred William Howitt, William Barak and unidentified man, April 2016
• Review: Ben Quilty: After Afghanistan at the Castlemaine Art Gallery and Historical Museum, January – April 2016
• Photography/text: Alexander Gardner: ‘Memories of the War. Illustrations of the Grand Review’ and Matthew Brady photographs of the Grand Review March 2016
• Exhibition: Dark Fields of the Republic: Alexander Gardner Photographs, 1859-1872 at the National Portrait Gallery, Washington, September 2015 – March 2016
• Review: Trent Parke: The camera is god at the Monash Gallery of Art, Melbourne, November 2015 – February 2016
• Text: “The multiple singularities of photography: Photograph, photographer, negative, print,” on the exhibition Every Photograph is an Enigma at Fotomuseum Winterthur, Zurich, October 2015 – February 2016
• Exhibition: The Time Between: The Sequences of Minor White at the Museum of Photographic Arts, San Diego, October 2015 – January 2016

 

2015

• Review: “Reality, passing,” on the exhibition William and Winifred Bowness Photography Prize 2015 at the Monash Gallery of Art, Melbourne, November 2015
• Text ‘The road less travelled,” on the exhibition Julia Margaret Cameron: from the Victoria and Albert Museum, London at the Art Gallery of New South Wales (AGNSW), Sydney, August – October 2015
• Text: “Reflections on David: In a galaxy all of his own,” on the exhibition David Bowie is at the Australian Centre for the Moving Image (ACMI), Melbourne, July – November 2015
• Exhibition: Colour my world: handcoloured Australian photography at the National Gallery of Australia, Canberra, April – September 2015
• Exhibition: Joseph Cornell: Wanderlust at the Royal Academy of Arts, London, July – September 2015
• Photographs and text: ‘Quandong, New South Wales, Australia 1887’, July 2015
• Research paper: ‘Beginnings: The International Photographic Collection at the National Gallery of Victoria’ May 2015
• Review: “What’s the story!,” on the exhibition Earth Matters: contemporary photographers in the landscape at the Monash Gallery of Art, Wheelers Hill, Melbourne, March – May 2015
• Text: Hands/Class – Tree, Surface, Root; Artist in focus: Larry Fink – April 2015
• Review: Richard Avedon People at The Ian Potter Museum of Art, Melbourne, December 2014 – March 2015
• Text: “Exposing your/self,” on the exhibition: Storyteller: The Photographs of Duane Michals at Carnegie Museum of Art, Pittsburgh, November 2014 – February 2015
• Text/Exhibition: Wynn Bullock: Revelations at the High Museum of Art, Atlanta, June 2014 – January 2015
• Exhibition/text: Everyday imagining: new perspectives on Outsider art at The Ian Potter Museum of Art, Melbourne, October 2014 – January 2015

 

2014

• Review: Polixeni Papapetrou: Lost Psyche at Stills Gallery, Sydney, November 2014
• Exhibition/text: From Steam to Diesel at the Portobello Library, Edinburgh, November 2014
• Review: Crossing Paths with Vivian Maier at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne, October 2014
• Review: Minor White: Manifestations of the Spirit at the J. Paul Getty Museum, Los Angeles, July – October 2014
• Catalogue essay: “Aspects of the Self (Revealed),” on the exhibition Hidden Talents at the Faculty of the Victorian College of the Arts (VCA), The University of Melbourne, August 2014
• Catalogue essay: “Being (t)here: Gay liberation photography in Australia 1971-73,” from the exhibition Out of the closets, onto the streets July 2014
• Exhibition/text: Vivian Maier (1926-2009). A Photographic Revelation at Château de Tours, May 2014
• Review: The Rennie Ellis Show at Monash Gallery of Art, Wheeler Hill, Melbourne, May 2014
• Text/exhibition: Australian vernacular photography Art Gallery of New South Wales (AGNSW), May 2014
• Text/review: “A Vocabulary of Printing and the Syntax of the Image,” on the exhibition KHEM at Strange Neighbour, Melbourne, May 2014
• Review/Text: Edward Steichen & Art Deco Fashion at the National Gallery of Victoria, Melbourne, February 2014
• Text: ‘Facile, Facies, Facticity’ by Dr Marcus Bunyan, January 2014
• Exhibition: ‘Charles Marville: Photographer of Paris’ at the National Gallery of Art, Washington, January 2014

 

2013

• Review: Claudia Terstappen: In The Shadow Of Change at the Monash Gallery of Art, Wheelers Hill, Melbourne, December 2013
• Text: ‘Made ready: A Philosophy of Moments’ Dr Marcus Bunyan, December 2013
• Text: ‘Transgressive Topographies, Subversive Photographies, Cultural Policies’ Dr Marcus Bunyan, September 2012 published October 2013
• Review: Joyce Evans: Edge of the road at the Monash Gallery of Art, Wheelers Hill, Melbourne, October 2013
• Review: Carol Jerrems: photographic artist at the Monash Gallery of Art, Wheelers Hill, Melbourne, September 2013
• Opening speech: ‘John Cato Retrospective’ and book launch at the Ballarat International Foto Biennale, August 2013
• Catalogue essay: ‘Intimations of Mor(t)ality: Sudarios (Shrouds) by Erika Diettes’ by Dr Marcus Bunyan, August 2013
• Text: ‘Un/settling Aboriginality’ Dr Marcus Bunyan July 2013
• Text: ‘Ernest Cole: Journeys through photojournalism, social documentary photography and art’ July 2013
• Review: ‘Johsel Namkung: A Retrospective’ published by Cosgrove Editions, 2013
• Video: ‘InsideArt – Marcus Bunyan’ talks about the exhibition ‘Confounding: Contemporary Photography’ at NGV International, Melbourne March 2013
• Video: ‘Marcus Bunyan – what makes a great photograph?’ at the Centre for Contemporary Photography, Melbourne, online March 2013
• Review: Jeff Wall Photographs at The Ian Potter Centre: NGV Australia, National Gallery of Victoria, March 2013
• Text: “Thinking contemporary photography” on the exhibition Confounding: Contemporary Photography at NGV International, Melbourne, February 2013
• Text: “Orality, (n)framing and enactment in the art of Jacqui Stockdale,” in IANN magazine Vol.8, ‘Unfound in Australia’, October 2012 (published online January 2013)

 

2012

• Public talk: “This is not my favourite photograph,” by Dr Marcus Bunyan part of What makes a great photograph? at the Centre for Contemporary Photography (CCP), Fitzroy, December 2012
• Review/Text: “Downfall of a dream: (n)framing the enigma in Gregory Crewdson’s ‘Beneath the Roses’,” on the exhibition ‘Gregory Crewdson: In A Lonely Place’ at the Centre for Contemporary Photography (CCP), Fitzroy, October 2012
• Paper: “Traversing the unknown,” presented at the Travel Ideals international conference, July 2012 published October 2012
• Text: ‘The defining of Apollonian and Dionysian ideals in images of the male body’ (1996) published September 2012
• Review/Text: “How Light Works,” on the exhibition Light Works at NGV International, Melbourne, September 2012
• Writing on Weegee: Murder Is My Business at the International Center of Photography, New York, August 2012
• Text: “On the Nature of Photography,” on the exhibition Portraits of Renown: Photography and the Cult of Celebrity at the J. Paul Getty Museum, Los Angeles, August 2012
• Text: “The Eye that sees the Sun: Andrew Follows and his Tabula rasa,” on the exhibition Through the Looking Glass Dimly at The Old Ambulance Depot, Edinburgh Art Festival, August 2012
• Text: Transit series by Katrin Koenning July 2012
• Review: Lost & Found: Family Photos Swept away by the 3.11 East Japan Tsunami at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne, June – July 2012
• Review: Fred Kruger: Intimate Landscapes at The Ian Potter Centre: NGV Australia, Melbourne, July 2012
• Opening speech: “Out of Sight, Out of Mind,” for the exhibition Traverse by Kim Percy at Stockroom, Kyneton, 2012
• Review: ‘Looking at Looking’ at the National Gallery of Victoria, Melbourne February 2012
• Text: “George Platt Lynes, Minor White and The Temptation of Saint Anthony Is Mirrors,” on the exhibition HIDE/SEEK: Difference and Desire in American Portraiture at the Brooklyn Museum, New York, February 2012

 

2011

• Essay: Now you see it, now you don’t: the history and conservation of The Keith Haring Mural, Johnston Street, Collingwood, Melbourne 2011
• Opening speech: Movement and Emotion and Jodie Noble Solo exhibitions at Arts Project Australia, Melbourne 2011
• Essay/review: ‘Un/aware and in re/pose: the self, the subject and the city’: essay about surveillance, the gaze, the camera, the self, the subject and the city 2011
• Review: Scott’s Last Expedition at the Australian National Maritime Museum, Sydney 2011
• Text: The Museum of Old and New Art (MONA) Hobart 2011
• Opening speech: John Bodin: Rite of Passage at Anita Traverso Gallery, Richmond 2011
• Review: Time Machine: Sue Ford at Monash Gallery of Art, Wheelers Hill, Victoria 2011
• Text/Review: “The Digital Punctum,” on the exhibition In Spates by Sam Shmith at Arc One Gallery, Melbourne 2011
• Text/Review: “Heavy Weather: Photography and the Australian Land(e)scape,” on the exhibition Stormy Weather: Contemporary Landscape Photography at NGV Australia, Melbourne 2011
• Vale Dr John Cato and ‘… And His Forms Were Without Number’, catalogue essay from the retrospective at the Photographers’ Gallery, Melbourne on the photographic work of Dr John Cato 1971-1991 (2002) republished on Art Blart, February 2011

 

2010

• Review: An American Index of the Hidden and Unfamiliar by Taryn Simon at the CCP, Melbourne 2010
• Review: Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang at Heide Museum of Modern Art, Melbourne 2010

 

2009

• Review: Tacita Dean at Australian Centre for Contemporary Art (ACCA), Melbourne 2009
• Review: My Jesus Lets Me Rub His Belly by Martin Smith at Sophie Gannon Gallery, Melbourne 2009
• Review: triestement (more-is u thrill-o) at John Buckley Gallery, Melbourne 2009
• Text: ‘The Passing of Memory: resurrecting a photograph for the series ‘The Shape of Dreams” 2009
• Review: Mark Strizic: Melbourne – A City in Transition (Rare Silver Gelatin Photographs) at Gallery 101, Melbourne 2009
• Review: Order and disorder: archives and photography at the National Gallery of Victoria International, Melbourne 2009
• Review: Ocean Without A Shore video installation by Bill Viola at The National Gallery of Victoria, Melbourne 2009
• Review: Rosalie Gascoigne at The Ian Potter Centre: NGV Australia, Melbourne, 2009

 

2006

• Pressing the Flesh: Sex, Body Image and the Gay Male: website adaptation of PhD research undertaken at RMIT University, featuring research on the photographic collections at The Kinsey Institute and The Minor White Archive 2006
• ‘Mis en Scene: Vision and the Digital Paradigm’ paper presented at Art Association of Australia and New Zealand 2006 Annual Conference ‘Reinventing the Medium’, Monash University 2006

 

2005

• ‘SynchroMate: A Phatic Technology for Mediating Intimacy’ paper presented at DUX 2005, San Francisco, Nov 3rd – 5th 2005
• ‘Mediating Intimacy: Digital Kisses and Cut and Paste Hugs’ paper presented at CHI 2005, Portland, Oregon, April 2nd – 7th 2005

 

2004

• ‘Research Through Practice: Interdisciplinary Research and Artistic Production’ paper presented at COFA seminar Research Through Practice : Beyond Research Equivalence in Art and Design, Sydney, NSW, 2004
• ‘Using Cultural Probes to Explore Mediated Intimacy’ paper published in Proceedings of OzCHI 2004: Supporting Community Interaction: Possibilities and Challenges, University of Wollongong, 22-24 November, 2004
• ‘The Delicious Fields: Exploring Man Ray’s ‘Rayographs’ in a Digital Future’ paper published in The University of Queensland Vanguard magazine ‘Man Ray : Life, Work & Themes’, 2004

 

2002

• ‘Spaces That Matter: Awareness and Entropia and the Imaging of Place’ paper presented at the Mediated Spaces Symposium, The University of Melbourne, October 2002
• ‘Memory From Memory’ catalogue essay for an exhibition by John Billan and Jennifer Sochackyj at West Space Gallery, Melbourne 2002
• ‘… And His Forms Were Without Number’ catalogue essay from the retrospective at the Photographers’ Gallery, Melbourne on the photographic work of Dr John Cato 1971-1991, 2002

 

2001

• “In Press” chapter from Pressing the Flesh: Sex, Body Image and the Gay Male. Phd research, RMIT University, Melbourne, 2001
• “Bench Press” chapter from Pressing the Flesh: Sex, Body Image and the Gay Male. Phd research, RMIT University, 2001
• “Historical Pressings” chapter from Pressing the Flesh: Sex, Body Image and the Gay Male. Phd research, RMIT University, 2001

 

1999

• ‘Sex and Sensibility: Gay Eth(n)ics into the New Millennium’ paper presented at HID3, Proceedings of the 3rd National Lesbian, Gay, Transgender and Bisexual Health Conference, Adelaide, South Australia, 1999
• Research into photographs of men at the Kinsey Institute, Bloomington, Indiana, August 1999 part of my Phd research undertaken at RMIT University, Melbourne

 

1998

• ‘Darkness/Colour’ catalogue essay for the exhibition of the same name at The Photographers Gallery, Melbourne 1998
• ‘Trans(a)gressions and the Body-Image’ paper presented at  HID2, Proceedings of the 2nd National Lesbian, Gay, Transgender and Bisexual Health Conference, Melbourne, Victoria, 22-24 January 1998

 

1996

• Text: ‘The defining of Apollonian and Dionysian ideals in images of the male body’, Master of Arts exegesis, Melbourne 1996