Posts Tagged ‘Arnold Schwarzenegger

21
Feb
21

Photographs: ‘Women’ 1960s British / Australian 35mm colour slides Part 2

February 2021

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

 

This is the second part of my posting on 88 colour slides of nude women that I bought in Daylesford (an hour and a half from Melbourne) at an antique centre. I have spent hours digitally restoring these slides for they were in a poor state. Unfortunately the colour has gone but I felt the slides were so interesting, so beautiful, that they were worth preserving.

Compared to the women in Part 1 of the posting, the women in these photographs are more knowing of their sexuality and the part they are playing in their own representation, the acting for the camera. Even so, there is nothing prudish or smutty about these photographs. Despite the professional? amateur? photographer being almost certainly male (and all the appellations that the male gaze brings with it), the women are joyful when displaying their bodies, unafraid and uninhibited in the posing of their bodies before the camera. Here “the enshrining of Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected” is balanced by the identity, presence and vitality of the women themselves. They take possession of their image, not simply as passive participants in the act of representation, but as active, engaged, powerful human beings who have a vital role in their own portrayal.

This selection features images that have a more British flavour including shots in a traditional back garden of an English house with lawn, crazy paving and roses (reminding me of my mother’s garden). Other photographs are shot in a flat – one in front of curtain, another using flash in a temporary studio made from rolls of paper hung down behind the model. Further photographs are shot in what looks like a rental bedsit using flash – against a door with the edge of the bed appearing at left, or in a small bedside mirror with overhead light, guest instructions for the room appearing at left. One can only surmise the arrangements made for the model and photographer to meet up in such a small, dingy space. Did they know each other beforehand, was money exchanged, did they have sex afterwards or part without ever seeing each other again, and what was going on in each of their lives, that they ended up in this space at this time for these photographs? What brought them to this place, and what happened to their lives afterwards? One can only surmise…

The setting of domestic suburbia is prevalent in many of these intimate images. Women lie on couches with cats; sit on a stool surrounded by chair, curtain and floral carpet; and are photographed as a pair using numerous props including a chair and a table covered with a bedspread, while on the ground a blanket is laid on the carpet for them to sit on. It’s all very amateur and experimental, using whatever surroundings and objects were available. My personal favourite is a magnificent woman, head titled down and away from the camera, strong dark shadow with the profile of a classical bust falling on the bed and wall behind, flattening the space of the image. Three Vincent van Gogh posters are tacked to the wall of the habitat behind: beauty and bed meets beauty and bed, that of van Gogh’s The Bedroom Arles 1888 (see below). I wonder what Vincent would have made of this Venus, how he would have painted her.

At the bottom of the posting you can see examples of naturist magazines, for the posing in these photographs has historical links to the history and photography of naturism (naturism is a lifestyle of non-sexual nudity, and the cultural movement which advocates for and defends that lifestyle). Of particular interest to me are the advertisements for the “Spielplatz” in St Albans, for my mother was a member for many years at this nudist retreat in the heart of Hertfordshire, owning a caravan and enjoying the summer months in England swimming and sunbathing nude. The Spielplatz (meaning playground)  – “the place to be when you have nothing on” – is the UK’s longest-operating naturist resort founded in 1929 by Charles Macaskie and his wife Dorothy, and still going strong. Other magazines, such as the Australian Figure and Vigour (A Controversial Periodical Devoted to Fearless Fact … SEXOLOGY – ART – THEATRE – BEAUTY) and Australasian Post concentrate on the more salacious side of sex and the portrayal of the female body (for the desires of men): ‘ARE WE SLAVES TO SEX?’ screams the headline, and ‘IS OUR SOCIETY SEX-SICK?’ or, ‘SPANKED WOMEN! * YOU’LL BE SHOCKED! Meekly, at the word of a cruel husband or parent, they submit themselves to pain and utter humiliation!’ Meekly – there is the key word (in a quiet, gentle, and submissive manner) – women become subservient to men, submitting themselves to pain and humiliation not just from a husband, but even a parent. This is so wrong on so many levels.

Titles such as “The Triumph of Naturism”, “Health and Efficiency” “Health and Sunshine” emphasise the link between nature, the body and the machine, how a healthy body promotes a healthy mind, all the while lurking in the background are half-remembered links to the discredited science of eugenics (a set of beliefs and practices that aim to improve the genetic quality of a human population, historically by excluding people and groups judged to be inferior or promoting those judged to be superior) and to the 1935 Nazi propaganda film directed, produced, edited, and co-written by Leni Riefenstahl titled Triumph of the Will, which chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters. Meanwhile, portrayals of the male body in some of the very same magazines concentrate on the mightiest men of muscledom, bulging pinups and masters of muscle. A youthful Arnold Schwarzenegger (photographed by that wonderful artist Gregor Arax) poses in all his glory for these physical culture magazines, as does a very young Sean Connery – the muscular phallic body of the muscle gods transferring across to the desirability and availability of such a body in gay porn photographs from the 1970s. As they say in ‘Master of muscle’, “It begins with a picture…”

Dr Marcus Bunyan

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Please click on the photographs for a larger version of the image. View Part 1 of the posting.

 

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait (1)
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Vincent van Gogh (1853 - 1890) ‘The Bedroom’ Arles, October 1888

 

Vincent van Gogh (1853-1890)
The Bedroom
Arles, October 1888
Oil on canvas
72.4 cm x 91.3 cm
Van Gogh Museum, Amsterdam

 

 

While he was in Arles, Van Gogh made this painting of his bedroom in the Yellow House. He prepared the room himself with simple furniture and with his own work on the wall. The bright colours were meant to express absolute ‘repose’ or ‘sleep’. Research shows that the strongly contrasting colours we see in the work today are the result of discolouration over the years. The walls and doors, for instance, were originally purple rather than blue. The apparently odd angle of the rear wall, meanwhile, is not a mistake on Van Gogh’s part – the corner really was skewed. The rules of perspective seem not to have been accurately applied throughout the painting, but this was a deliberate choice. Vincent told Theo in a letter that he had deliberately ‘flattened’ the interior and left out the shadows so that his picture would resemble a Japanese print. Van Gogh was very pleased with the painting: ‘When I saw my canvases again after my illness, what seemed to me the best was the bedroom.’

Text from the Van Gogh Museum website [Online] Cited 21/02/2021

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Hanimex slide carousel and box

Hanimex slide carousel and box

 

Hanimex slide carousel and box

 

35mm colour slide

 

35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Unknown photographer (Australian?). 'Nude portrait' 1960s?

 

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

 

Sun Bathing Review Summer 1949

Sun Bathing Review Summer 1949

 

Sun Bathing Review
Summer 1949

 

Eve in the Sun about 1956

 

Rosemary Andrée
My life story
1945

Eve in the Sun
about 1956

 

"Are We Slaves to Sex?" in 'Figure and Vigour' Vol. 1, No. 5 November 1952

 

“Are We Slaves to Sex?”
Figure and Vigour Vol. 1, No. 5
November 1952

 

Sun Bathing Review Autumn 1955

 

Sun Bathing Review
Autumn 1955

 

Australasian Post December 8 1955

 

“Spanked Women!”
Australasian Post
December 8 1955

 

Sunbathing For Health January 1956

 

Sunbathing For Health
January 1956

 

Health And Efficiency February 1956

 

Health And Efficiency
February 1956

 

Health And Efficiency February 1957

Health And Efficiency February 1957

 

Health And Efficiency
February 1957
Adverts for Photographic Art Albums

 

The Naturist Vol. XX, No. 7 June 1957

 

The Naturist Vol. XX, No. 7
June 1957

 

The Naturist Vol. XX, No. 10 September 1957

The Naturist Vol. XX, No. 10 September 1957

 

The Naturist Vol. XX, No. 10
September 1957

 

'Sun Bathing Review' Vol. 16, No. 61 Spring 1958

 

Sun Bathing Review Vol. 16, No. 61
Spring 1958

 

The Naturist Monthly Vol. XXII, No. 3 February 1959

The Naturist Monthly Vol. XXII, No. 3 February 1959

 

The Naturist Monthly Vol. XXII, No. 3
February 1959

 

The Naturist Monthly Vol. XXII, No. 3 February 1959

 

Advert for Nudist Life at Spielplatz by Charles Sennet.
The Naturist Monthly Vol. XXII, No. 3
February 1959

 

 

Spielplatz

  1. playground
  2. playing field

 

Health and Sunshine 1 Jan. 1943

 

Herbert Rittlinger (German, 1909-1978)
“An Island Paradise”
Health and Sunshine
Special Edition XIV
1960s

 

 

Herbert Rittlinger was not only known for his writing. His photographic work is equally popular. He dealt with nude photography in the sense of naturism. He also published several photo textbooks and illustrated books. For years he was also the author of a monthly column on the subject of “nude photography” in the photo magazine. From 1963 until his death he was a member of the DGPh (German Society for Photography). Above all, he dealt with the subject of water sports in photography and writing.

In many of his books, he joined committed to nudism a (nude), even in the more prudish 1950s. Rittlinger wrote as early as 1950 about the then disreputable term “nudity culture”:

“But to apply this beautiful expression to the very simple, very natural and in the appropriate place quite often practiced nudism, or to the honest nudist groups (many of their members are not by chance canoeists!) With their […] free and sporty and clean atmosphere – is impolite and, at best, shows gross ignorance. Only – the obscenity of the philistine is by no means “impolite” anymore, but rather malicious! “Naturism” (FKK) is also not a happy word. But it has asserted and naturalised itself from the distance to all speculative machinations. From the proper sportswear to Petrarcaup to here the jump is not that big: Our shores of the sun also call for ultimate physical freedom. What the gift of nudity in the air and sun means for women in particular, who withdraw three quarters of their bodies from the vital demand “let air on their skin”, even when doing sport, will be best appreciated by them. Fortunately, under the thicket of narrow and conventional convention, most people have enough cleanliness of sensation to enjoy fresh naturalness. In the face of venerable, dreamy Moselle towns, or under the peering amused or even evil glances of the honest rural population, any unintended challenge is strictly forbidden, if only for reasons of [good …] taste. But if you are in a lonely area.” ~ The new school of canoeing. River-sea-whitewater-open-air life. p. 295.

.
Herbert Rittlinger’s text and images in the “Sun Friends” and “HELIOS” magazine described the ideal opportunities to combine canoeing with naturism. So also the special editions written and illustrated by Rittlinger: “Dalmatian Summer”, “We moved to Friuli” and “Sun trip to Provence” from these then leading nudist publishers.

Text translated from the German Wikipedia entry

 

Health and Sunshine Special Edition XIX

 

Hans-Joachim Fritzsch
“Naked in the Sun”
Health and Sunshine
Special Edition XIX
1960s

 

Health and Sunshine 1960s

 

Health and Sunshine
1960s

Health and Efficiency April 1960

Health and Efficiency April 1960

Health and Efficiency April 1960

Health and Efficiency April 1960

Health and Efficiency April 1960

 

Health and Efficiency
April 1960

 

Australasian Post Jan 28 1965

 

Australasian Post
Jan 28 1965

 

Topless Girl Australasian Post Jan 28 1965

Topless Girl Australasian Post Jan 28 1965

 

“Topless Girl Tells”
Australasian Post
Jan 28 1965

 

"I am a nudist" from 'Australasian Post' November 18, 1965

 

“I am a nudist” from Australasian Post
November 18, 1965

 

'New Zealand Naturist Magazine' #39 June 1966 Naturism Nudism Adult Pamphlet

 

New Zealand Naturist Magazine #39
June 1966
Naturism Nudism Adult Pamphlet

 

Australasian Post July 27 1967 Arax

 

Australasian Post
July 27 1967
Photos by Arax (Krikor (Gregor) Djololian – Studio Arax)

 

Australasian Post November 9 1967

 

Australasian Post
November 9 1967

 

Australasian Post November 9 1967

 

Australasian Post
November 9 1967

 

Australasian Post Nov 27 1969

 

Australasian Post
November 27 1969

 

Australasian Post May 29 1969

 

Australasian Post
May 29 1969

 

Sun Seeker Magazine 1 Jan 1970

Sun Seeker 1 Jan 1970

 

Sun & Health Limited (Publisher)
Frank Stephens (Editor)
Sun Seeker No. 190
1 Jan 1970

 

Sun Lovers First Bumper Book Jan 1972

 

Sun Lovers First Bumper Book
Jan 1972

 

 

Health And Efficiency Number 851
March 1972

 

Gay male porn 1970s

Gay male porn 1970s

Gay male porn 1970s

Gay male porn 1970s

Gay male porn 1970s

 

Photographs from GAY magazine
mid-1970s
Barry Lowe papers
© Australian Queer Archives
With permission

 

 

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26
Jun
13

Exhibition: ‘The Naked Man’ at Ludwig Museum of Contemporary Art, Budapest

Exhibition dates: 23rd March – 30th June 2013

 

Many thankx to the Ludwig Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

Tibor Gyenis. 'Hommage á Ana Mendieta' 1999

 

Tibor Gyenis (Hungarian, b. 1970)
Hommage á Ana Mendieta
1999
From the series Hommage á Ana Mendieta
Courtesy of the Artist

 

Spencer Tunick. 'Düsseldorf 5 (Museum Kunst Palast)' 2006

 

Spencer Tunick (American, b. 1967)
Düsseldorf 5 (Museum Kunst Palast)
2006
Courtesy Stephane Janssen

 

Károly Halász. 'Body-builder in Renaissance manner' 2000

Károly Halász. 'Body-builder in Renaissance manner' 2000

Károly Halász. 'Body-builder in Renaissance manner' 2000

Károly Halász. 'Body-builder in Renaissance manner' 2000

 

Károly Halász (Hungarian, 1946-2016)
Body-builder in Renaissance manner
2000
Courtesy of the Artist

 

'The Naked Man', exhibition views

'The Naked Man', exhibition views

'The Naked Man', exhibition views

'The Naked Man', exhibition views

 

The Naked Man, exhibition views, Ludwig Museum of Contemporary Art, Budapest, 2013
© Photo: György Darabos

 

 

While the naked female body or nude is an accepted theme in art, the unclothed male body has appeared over the centuries, ever since classical antiquity, solely through depictions of the hero or martyr. Today however, the naked male body, provocatively revealed in contemporary art, is far from a heroic figure. The exhibition The Naked Man examines the ways in which the appearance of the naked male body has changed and been transformed over the last century. The changes in the male image from the end of the nineteenth century till today are traced through eight thematic areas.

The chronological starting point of the exhibition is the turn of the 19th and 20th centuries, when not even the traditional values of masculinity were spared by the crisis of identity, as manifested in the work of such artists of fin de siècle Vienna such as Egon Schiele and Oskar Kokoschka. For modern artists, the stripped down, naked male body was a bearer of revelation, self-knowledge and renewal. From this starting point, the exhibition follows the naked man through 20th and 21st century history, presenting challenges to the hegemonic model of male identity through the work of close to 100 artists, from questioning traditional male role models to the search for alternatives, from facing up to weakness and fragility to exploring the desiring gaze, body worship and the erotic pose.

In the depiction of the undressed male body there are also clues as to the changing social role of men, the formation of male identity, which is inseparable from both changes occurring in society and the workings of power. Power defines the gaze, which for centuries has been in the possession of men, while women have been merely the objects of the gaze. This division of roles between men and women in society was held to mirror the eternal or ‘natural’ order. The exhibition reassigns the roles, since the object of the gaze is no longer women, but men. How far this signifies the loss, sacrifice or transfer of possession of the gaze can be considered in depth with the help of thematically organised artworks.

The stripped down male body is defined by particular points of crisis. In that sense, the very spirit of the life reform movement that appeared at the turn of the century was one in which the naked male body was seen as a harmonious part of nature and a symbol of the desire to renew society. The naked man appears completely differently in relation to homosexuality. The homoerotic gaze eroticised the male body and examined it as an object of desire. The influence of feminism can be felt in artistic approaches that involve putting on make-up, the hiding of the sexual organ, as well as its ‘relocation’ or symbolic loss, all ways in which male artists have called attention to the arbitrariness of the designation of gender boundaries. Indefinable sexual identity, which is adaptive to the role of the opposite sex, is a revolutionary affront to the conventional expectations of traditional notions of masculinity and femininity. Heroic, hard masculinity, the healthy, body radiating physical strength, is a particularly important symbol for dictatorships. The disciplined body that conforms to the rules symbolises dominance over bodies. It is opposite to the anti-hero, the defenceless, vulnerable male body, that of the man who deliberately suffers pain in the desire to get back his lost power.

The man who belongs to a sexual or racial minority, along with the chubby or ageing male, is forced out of public space and confined to the private sphere, cut off from the connection of the male body to power. The body symbolises power, which can only truly be possessed if its nakedness is not completely revealed, if the sexual organ remains hidden. One of the last taboos of the cultural sphere of Christianity is the sight of the male sexual organ. After all this, what remains an interesting question is whether the female gaze can be an instrument of power. In addition, how do we view the nude studies that were once an indispensable part of academic artistic training, along with earlier and more recent attempts at depicting naked male models? How do we see the relation between artist and model in the self-portrait, in which the artist uses his own naked body as a terrain for the merciless exploration of the self?

The new masculinity does not view cultural roles as naturally given, but rather revolts against them, smashing taboos and unveiling fetishes. In the region of Central and Eastern Europe the body of the naked man is enriched with further layers of significance. In the art of former socialist countries, the naked male body was seen as an expression of enslavement to the patriarchal system, while gender roles are also worthy of examination in this context. After the collapse of the system, the changed geopolitical order, old and new desires and power relations were inscribed onto the body, shaping the new masculinity.

Press release from the Ludwig Museum website

 

Herbert List. 'Young Arab with foxtail lilies, Hammamet, Tunisia' 1935

 

Herbert List (German, 1903-1975)
Young Arab with foxtail lilies, Hammamet, Tunisia
1935
Münchner Stadtmuseum

 

Jimmy Caruso. 'Arnold Schwarzenegger' 1978

 

Jimmy Caruso
Arnold Schwarzenegger
1978
Münchner Stadtmuseum

 

McDermott & McGough. 'Tattoo Man in Repose' 1891/1991

 

McDermott & McGough
Tattoo Man in Repose
1891/1991
© McDermott & McGough
Courtesy Galerie Jerome de Noirmont

 

Rudolf Koppitz. 'In the lap of Nature' Self portrait c. 1923

 

Rudolf Koppitz (Austrian, 1884-1936)
In the lap of Nature
Self portrait
c. 1923
Münchener Stadtmuseum / Sammlung Fotografie

 

Richard Avedon. 'Rudolf Nureyev' 1961

 

Richard Avedon (American, 1923-2004)
Rudolf Nureyev
1961
© The Richard Avedon Foundation
Courtesy Stephane Janssen

 

Pierre et Gilles. 'Apolló' 2005

 

Pierre et Gilles
Apolló
2005
Model: Jean-Christophe Blin
© Pierre et Gilles
Courtesy Galerie Jerome de Noirmont

 

Pierre et Gilles. 'The Death of Adonis' 1999

 

Pierre et Gilles
The Death of Adonis
1999
Private collection, Paris

 

David LaChapelle. 'Celebrity Gleam' 2002

 

David LaChapelle (American, b. 1963)
Celebrity Gleam
2002
Courtesy of Galerie Thomas, Munich

 

 

Ludwig Museum of Contemporary Art
1095 Budapest Komor Marcell Street 1
Hungary 06 1 555-3444

Opening hours:
Tuesday – Sunday: 10.00 – 20.00
Closed on Mondays

Ludwig Museum of Contemporary Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96

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