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Gathered here are 127 beautiful and provocative duotone photographs that reflect the wide-ranging history of male homoeroticism as revealed by the camera--amply suggesting spiritual, physical, and intellectual exchange between men. To accompany these images, Ellenzweig offers a detailed account of the multiple and complex meanings of the homoerotic, from the 1850s to today.
Holland Day portrayed classical ideals through images of male beauty and bonding, while the work of early twentieth-century photographers - Brassai, for example - showed the influences of the homosexual subculture and of Freud on photography. Modernists and Surrealists, represented by photographers George Platt Lynes and Herbert List, captured the artistic spirit of the late twenties and thirties. Later, the kinship created by war and the conflicting standards imposed by the post-World War II era were reflected in Minor White's spiritual artistry. Out of the rebellious sixties came the contemporary camera work of Arthur Tress, Duane Michals, and Robert Mapplethorpe, as well as the ongoing photographic studies of such artists as George Dureau and Chantal Regnault
Waugh identifies four primary aspects of homoerotic photography and film - the artistic, the commercial, the illicit, and the politico-scientific - tracing their development against a background of advances in visual technology. This comprehensive work explores a vast, eclectic tradition in its totality, analyzing the visual imagery in addition to its production, circulation, and consumption.
This comprehensive study of homoeroticism and male homosexuality surveys the homoerotic urge in fashion photography, including layouts in Vogue and reprints rare and unpublished work by such photographers as Horst, Mapplethorpe, and Herb Ritts.
George Platt Lynes: The Daring Eye is a life of the gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s to 1955. From age 18, Lynes entered the cosmopolitan world of the American expatriate community in Paris when he became acquainted with the salon of Gertrude Stein and Alice B. Toklas. Intending to pursue a literary and small press publishing career, Lynes also began photographing authors like Stein, Jean Cocteau, André Gide, and Colette. Soon, he turned exclusively to photography, establishing himself as one of the premier fashion photographers in the Condé Nast stable, documenting the early ballets of George Balanchine, and pursuing his private obsession with seductive images of young male nudes almost never published in his time. Lynes's private life was as glamorous and theatrical as his images with their brilliant studio lighting and dramatic Surrealist set-ups. Barely out his teens, he met the publisher Monroe Wheeler who was already in a relationship with the emerging expatriate novelist Glenway Wescott. The peripatetic threesome maintained a polyamorous connection that lasted some 15 years. Their New York apartment became a mecca for elegant cocktail and name-dropping dinner parties. Their ménage-à-trois complicates our understanding of the pre-Stonewall gay closet. This biography, drawing upon intimate letters and an unpublished memoir of Lynes's life by his brother, writer and editor Russell Lynes, paints a portrait of the emerging influence of gays and lesbians in the visual, literary, and performing arts that defined transatlantic cosmopolitan culture and presaged later gay political activism.
Examining the history of homoeroticism in American art, "Male Desire" surveys how the male body has been portrayed for the last century and a half. 220 illustrations, 128 in full color.
An overview of gay art from the beginning of recorded time to the present--a groundbreaking work of nuanced scholarship encompassing all genres in all ages on gay themes. 145 photos, 32 in color.
Loving: A Photographic Story of Men in Love, 1850-1950 portrays the history of romantic love between men in hundreds of moving and tender vernacular photographs taken between the years 1850 and 1950. This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public. Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognized by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded. Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography. Loving will be produced to the highest standards in illustrated book publishing, The photographs - many fragile from age or handling - have been digitized using a technology derived from that used on surveillance satellites and available in only five places around the world. Paper and other materials are among the best available. And Loving will be manufactured at one of the world's elite printers. Loving, the book, will be up to the measure of its message in every way. In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.
A photograph of two men, cowboy-hatted and -booted and discreetly holding hands, is the departure point in a groundbreaking study on masculinity and homosexuality in Mexico. Just Between Us, an ethnography of intimacy and affection between men, explores the concept of masculine identity and homoeroticism, expressing the difficulties men face in maintaining their masculinity while expressing intimacy and affection. Using fieldwork from rural Sonora, Mexico, Guillermo Núñez Noriega posits that men accept this intimacy outside gender categories and stereotypes, despite the traditional patriarchal society. This work contests homophobia and the heterosexual ideal of men and attempts to break down the barriers between genders. The photograph Núñez Noriega uses to explore the shifting attitudes and perceptions of sexuality and gender provokes more questions than answers. Recognizing the societal regulations at play, the author demonstrates the existence in contemporary Mexico of an invisible regime of power that constructs and regulates the field of possibilities for men’s social actions, especially acts of friendship, affection, and eroticism with other men. The work investigates “modes of speaking” about being a man, on being gay, on the implicit meanings of the words homosexual, masculine, trade, fairy, and others—words that construct possibilities for intimacy, particularly affective and erotic intimacy among men. Multiple variants of homoeroticism fall outside the dominant model, Núñez Noriega argues, a finding that offers many lessons on men and masculine identities. This book challenges patriarchal definitions of sex, gender, and identity; it promotes the unlearning of dominant conventions of masculinity to allow new ways of being.