Posts Tagged ‘gay photography

29
Sep
17

Photographs: Lionel Wendt’s Ceylon

September 2017

 

More photographs from the artist Lionel Wendt.

 

Lionel Wendt. 'Untitled (Still life with mask and statue)' 1942

 

Lionel Wendt (1900-1944)
Untitled (Still life with mask and statue)
1942
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled' c. 1933-38

 

Lionel Wendt (1900-1944)
Untitled
c. 1933-38
Gelatin silver print

 

Lionel Wendt. 'Untitled' c. 1933-38

 

Lionel Wendt (1900-1944)
Untitled
c. 1933-38
Gelatin silver print

 

Lionel Wendt. 'Untitled (Sea landscape)' Nd

 

Lionel Wendt (1900-1944)
Untitled (Sea landscape)
Nd
Gelatin silver print

 

Lionel Wendt. 'I Heard A Voice Wailing Where The Ships Went Sailing' c. 1935-40

 

Lionel Wendt (1900-1944)
I Heard A Voice Wailing Where The Ships Went Sailing
c. 1935-40
Gelatin silver print

 

Lionel Wendt. 'Untitled (At the well)' Nd

 

Lionel Wendt (1900-1944)
Untitled (At the well)
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled (At the well)' Nd

 

Lionel Wendt (1900-1944)
Untitled (At the well)
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled (At the well)' Nd

 

Lionel Wendt (1900-1944)
Untitled (At the well)
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled (At the pottery)' Nd

 

Lionel Wendt (1900-1944)
Untitled (At the pottery)
Nd
Gelatin silver print

 

Lionel-Wendt. 'Untitled (Architecture surréaliste)' Nd

 

Lionel Wendt (1900-1944)
Untitled (Architecture surréaliste)
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled (Buddha head and wine goblet)' Nd

 

Lionel Wendt (1900-1944)
Untitled (Buddha head and wine goblet)
Nd
Gelatin silver print

 

Lionel Wendt. 'Gunaya Yakdessa Costume' Nd

 

Lionel Wendt (1900-1944)
Gunaya Yakdessa Costume
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled' c. 1933-38

 

Lionel Wendt (1900-1944)
Untitled (Solarised woman)
c. 1933-38
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled' c. 1934-37

 

Lionel Wendt (1900-1944)
Untitled (Solarised nude)
c. 1934-37
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled (Solarised man in ocean)
Nd
Gelatin silver print

 

Lionel Wendt. 'The Misery of Balanced Perplexities' Nd

 

Lionel Wendt (1900-1944)
The Misery of Balanced Perplexities
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt. 'Untitled (Canes)' Nd

 

Lionel Wendt (1900-1944)
Untitled (Canes)
Nd
Gelatin silver print

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
Untitled
Nd
Gelatin silver print

 

Lionel Wendt. 'Narayanan' Nd

 

Lionel Wendt (1900-1944)
Narayanan
Nd
Gelatin silver print

 

 

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27
Aug
17

Exhibition: ‘Lionel Wendt: Ceylon’ at Huis Marseille, Amsterdam

Exhibition dates: 10th June 2017 – 3rd September 2017

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

 

Glorious modernist photographs with avant-garde and surrealist overtones: the use of photomontage, double printing and solarisation is particularly effective.

The sensitive figure studies of males in classical pose carry an over current of barely surpressed desire evidencing a sexualised (post-colonial?) gaze falling on the exotic Other – even as Wendt was part of an emerging generation of artists documenting Sri Lanka’s culture and history from the inside.

More interesting than desire hiding through artistic ethnographic study are the landscapes, abstracts of coils of rope and the voluptuous female nudes. Stunning.

The media images were in such poor condition when I received them that I have spent a long time digitally cleaning and balancing them for your pleasure.

Marcus

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

 

 

“Lionel Wendt was the central figure of a cultural life torn between the death rattles of the Empire and a human appraisal of the untapped values of Ceylon.”

.
Pablo Neruda, Memoirs

 

“The proposition that confronted Wendt was that Sri Lanka had a way of life that was very old but which remained, in spite of poverty, squalor and apathy, a vital sense of life. He recognised that here man, living in traditional ways, had not become alienated from his environment… Evidence of his deep regard for Sri Lanka and its traditions are illustrated in the images he chose to capture with his camera, each being a tiny microcosm of a vast and magnificent tapestry. It was recognised by all those who knew him that Wendt had an endless capacity for work. He focussed on the country and the people with unerring judgement and relentless dedication, and in doing this, he stimulated a new consciousness among them and (just as pertinent) in some high places.”

.
Neville Weeraratne

 

“He never spoke much about his photography. I expect he wanted his images to speak for themselves and he never spoke of them or about himself. I suppose he was so critical of everybody else that he did not want to expose himself to the same treatment. He did not reveal himself. He was a very interior person. He showed no emotion though he expressed a great passion for things. Perhaps he was hypocritical.”

.
Lester James Peiris

 

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title (Self-portrait)
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

 

There is something special going on with regard to the oeuvre of Ceylonese photographer Lionel Wendt (1900-1944). After a period of relative obscurity, Wendt was rediscovered – or discovered, in fact – worldwide as a unique, individualistic photographer who availed himself of experimental techniques and modern compositions. Wendt’s choice of subjects was eclectic: from sensual and homo-erotic portraits to tropical images of Ceylon (now Sri Lanka), and from picturesque scenes to compositions for which he used modernist stylistic devices and experimental techniques. After Wendt’s premature death in 1944 his negatives were destroyed, but the work he left behind lives on. This consists of a collection of beautiful experimental prints, of which several are included in the renowned collections of such museums as Tate Modern in London and Rijksmuseum in Amsterdam. This year, Wendt’s work is being exhibited at Documenta 14 in Athens and, from 10 June till 3 September 2017, in a large-scale retrospective exhibit at Huis Marseille, which shines a spotlight on the fascinating work of this photographer in all its facets.

 

Who was Lionel Wendt?

Lionel Wendt was a concert pianist, author, patron of the arts, teacher and, above all, a first-class photographer. After having studied law and musical training as a concert pianist in Great Britain, Wendt returned to the city of his birth, Colombo in Ceylon, at the age of 24. It did not take long for him to dedicate himself fully to the arts after his return: piano, literature and the visual arts. It was particularly in photography that he found an ideal vehicle for expression. In 1934, he established the Photographic Society of Ceylon jointly with Bernard G. Thornley and P.J.C. Durrant, and started running Chitrafoto, the photographic studio of the Associated Newspapers of Ceylon and in which he also published a photographic column, in 1938. Wendt developed into a prominent avant-gardist – the ‘Oscar Wilde’ of the Ceylonese arts scene. His first solo exhibition took place in 1938 at the Camera Club in London, at the invitation of Ernst Leitz, the inventor and manufacturer of the Leica. Two years later, a solo exhibition followed in Colombo entitled Camera Work, probably in reference to Alfred Stieglitz’s avantgardist photography magazine of the same name.

 

Tropical modernism, masterful prints

Initially, Wendt used a Rolleiflex for his photography, which he quickly replaced by a Leica. From approximately 1933 onwards, he started to print his film in his own darkroom, where he soon showed himself to be a master. He made refined bromide and gelatine silver prints with subtle shades of grey and gradations of black, which gave his nudes and landscapes a velvet-like quality. Wendt allowed himself to be inspired by the ‘straight photography’ of Paul Strand and Edward Weston and the surrealistic experiments of Man Ray, and experimented with techniques such as photogram, photomontage, double printing and solarisation.

 

Homosexuality, hiding in plain sight

Wendt’s work includes spectacular images of Ceylon: its landscapes, cultural heritage and local population, photographed during everyday activities or traditional rituals. However, his sensual homoerotic nudes are particularly astounding. In a time and at a place where homosexuality was not accepted, Wendt had his male subjects (men and boys) pose in the landscape or in his studio. Through the traditional Ceylonese loincloths worn by his subjects, which leave little to the imagination, and the academic poses he asked them to take, he was able to express his homosexuality under the guise of art and ethnography. He also created portraits of the members of the island’s avant-garde movement. Wendt played a significant role in the development of modernist painting on Ceylon; he acted as a patron of the arts and his house was a meeting place for the ’43 Group, the artistic movement that was a predecessor of Ceylonese modernism.

 

A dormant legacy reawakens

Following Wendt’s early death in 1944 his work sank into oblivion. In the course of time the hundreds of prints that comprise his legacy came into the possession of several collectors, galleries and museums. After having led a dormant existence for several decades, Wendt’s work was once again brought to the attention of the public in 1994.

 

Large-scale museum retrospective in the Netherlands

From 10 June through 3 September 2017, Huis Marseille is presenting the first museum solo exhibition of Lionel Wendt in the Netherlands, in collaboration with the Ton Peek Gallery (Utrecht) and Jhaveri Contemporary Gallery (London/Mumbai). Over 140 prints from various international private and museum collections have been brought together. Concurrent to the exhibition, the publishing house Fw:Books will be presenting the book Lionel Wendt. Ceylon featuring an overview of Wendt’s work (hardcover, 200 pages, design by Hans Gremmen). This is the first monograph since Lionel Wendt. A Centennial Tribute (2000), an extensive and revised version of the very first catalogue of Wendt’s oeuvre: Lionel Wendt’s Ceylon (1950).

Text from Huis Marseille

 

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

 

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam,

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Lionel Wendt: Ceylon at Huis Marseille, Amsterdam

 

Installation of photographs for the exhibition

Installation of photographs for the exhibition

Installation of photographs for the exhibition

Installation of photographs for the exhibition

 

Installation of photographs for the exhibition

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

'Lionel Wendt: Ceylon' book cover

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

 

Lionel Wendt: Ceylon book

 

 

Huis Marseille
Keizersgracht 401
1016 EK Amsterdam
T +31 20 531 89 89

Opening hours
Tue – Sun, 11 – 18 h

Huis Marseille website

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20
Dec
16

Photograph: Weegee (Arthur Fellig) ‘Gay Deceiver’ c. 1939

December 2016

 

I just couldn’t resist a one photo posting – a rarity on Art Blart – because this is ABSOLUTELY FABULOUS!

Weggee, flash, a dazzling smile and a lovely pair of stockings … what more could ask for.

Happy Christmas!

.
Marcus

 

From an upcoming posting on the exhibition The Shape of Things: Photographs from Robert B. Menschel at the Museum of Modern Art, New York October 29, 2016 – May 7, 2017.

 

 

Weegee (Arthur Fellig) 'Gay Deceiver' c. 1939

 

Weegee (Arthur Fellig)
Gay Deceiver
c. 1939
Gelatin silver print
13 x 10 1/4″ (33 x 26 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Weegee/ICP/Getty Images

 

 

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26
Jun
14

Photographs and text: George Platt Lynes and the male nude

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

 

Man Ray. 'George Platt Lynes' 1927

 

Man Ray
George Platt Lynes
1927

 

 

The greatest photographer of the male nude the world has ever seen – George Platt Lynes (American, April 15, 1907 – December 6, 1955).

Lynes worked as a fashion photographer in his own studio in New York (which he opened in 1932) before moving to Hollywood in 1946 where he took the post of Chief Photographer for the Vogue studios. Although an artistic success the sojourn was a financial failure and he returned to New York in 1948. Although continuing his commercial work he became disinterested in it, concentrating his energies on photographing the male nude. He began a friendship with Dr Alfred Kinsey of the Kinsey Institute in Bloomington, Indiana and helped with his sex research. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey.1 By May 1955 he had been diagnosed terminally ill with lung cancer. He closed his studio. He destroyed much of his print and negative archives particularly his male nudes. However, it is now known that he had transferred many of these works to the Kinsey Institute. After a final trip to Europe, Lynes returned to New York City where he died.2

Since the early 1930s Lynes had photographed male nudes and distributed the images privately to his circle of friends. He was reluctant to show them in public for fear of the harm that they could do to his reputation and business with the fashion magazines, for he was a gay man “passing” in a homophobic society. Generally his earlier male nude photographs concentrate on the idealised youthful body or ephebe. As Lynes became more despondent with his career as a fashion photographer his private photographs of male nudes tend to take on a darker and sharper edge. After a period of residence in Hollywood he returned to New York nearly penniless. His style of photographing the male nude underwent a revision. While the photographs of his European colleagues still relied on the sun drenched bodies of young adolescent males evoking memories of classical beauty and the mythology of Ancient Greece the later nudes of Platt Lynes feature a mixture of youthful ephebes and heavier set bodies which appear to be more sexually knowing. The compositional style of dramatically lit photographs of muscular torsos of older, rougher men shot in close up were possibly influenced by a number of things – his time in Hollywood with its images of handsome, swash-buckling movie stars with broad chests and magnificent physiques; the images of bodybuilders by physique photographers that George Platt Lynes visited; the fact that his lover George Tichenor had been killed during WWII; and the knowledge that he was penniless and had cancer. There is, I believe, a certain sadness but much inner strength in his later photographs of the male nude that harnesses the inherent sexual power embedded within their subject matter.

This monumentality of body and form was matched by a new openness in the representation of sexuality. There are intimate photographs of men in what seem to be post-coital revere, in unmade beds, genitalia showing or face down showing their butts off (see Untitled [Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball] c. 1942, below). Some of the faces in these later photographs remain hidden, as though disclosure of identity would be detrimental for fear of persecution or prosecution. However, this photograph is quite restrained compared to the most striking series of GPL’s photographs which involves an exploration the male anal area (a photograph from the 1951 series can be found in the book titled George Platt Lynes: Photographs from The Kinsey Institute). This explicit series features other photographs of the same model – in particular one that depicts the male with his buttocks in the air pulling his arse cheeks apart. After Lynes found out he had cancer he started to send his photographs to the German homoerotic magazine Der Kries under the pseudonym Roberto Rolf, and in the last years of his life he experimented with paper negatives, which made his images of the male body even more grainy and mysterious.

Further, when undertaking research into GPL’s photographs at The Kinsey Institute as part of my PhD I noted that most of the photographs had annotations in code on the back of them giving details of age, sexual proclivities of models and what they are prepared to do and where they were found. This information gives a vital social context to GPL’s nude photographs of men and positions them within the moral and ethical framework of the era in which they were made. Most of the photographs list the names of the models used but we are unable to print them due to an agreement between GPL and Dr. Kinsey as to their secrecy.

I believe that Lynes understood, intimately, the different physical body types that gay men find desirable and used them in his photographs. He visited Lon of New York (a photographer of beefcake men) in his studio and purchased photographs of bodybuilders for himself, as did the German photographer George Hoyningen-Huene. It is likely that these images of bodybuilders influenced his later compositional style of images of men; it is also possible that he detected the emergence of this iconic male body type as a potent sexual symbol, one that that was becoming more visible and sexually available to gay men.

Dr Marcus Bunyan for the Art Blart blog

 

1. Brown, Elspeth. “Queer Desire and Cold War Homophobia,” on the In The Darkroom blog May 2013 [Online] Cited 24/06/2014.
2. “He clearly was concerned that this work, which he considered his greatest achievement as a photographer, should not be dispersed or destroyed…We have to remember the time period we’re talking about – America during the post-war Red Scare…”

Quotation from George Platt Lynes, The Male Nudes. Rizzoli International Pub, 2011 cited on “George Platt Lynes” on the Wikipedia website [Online] Cited 24/06/2014.

 

Many thankx to Associate Professor Elspeth H. Brown for allowing me to publish her text “Queer Desire and Cold War Homophobia”. Please click on the photographs for a larger version of the image.

 

 

“The depth and commitment he had in photographing the male nude, from the start of his career to the end, was astonishing. There was absolutely no commercial impulse involved – he couldn’t exhibit it, he couldn’t publish it.”

.
Allen Ellenzweig

 

 

George Platt Lynes. 'Untitled (male nude with tattoo)' 1950-1955

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled (male nude with tattoo)
1950-1955
Silver gelatin photograph
24.5 x 19.5 cm

 

George Platt Lynes. 'Untitled' Nd [c. 1951]

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
Nd [c. 1951]
Silver gelatin photograph

 

George Platt Lynes. 'Jack Fontan' c. 1950

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Jack Fontan
c. 1950
Silver gelatin photograph

 

Samuel M. Steward,. "George Platt Lynes," in 'The Advocate', No. 332, December 10, 1981, p.22

Samuel M. Steward,. "George Platt Lynes," in 'The Advocate', No. 332, December 10, 1981, p.23

Samuel M. Steward,. "George Platt Lynes," in 'The Advocate', No. 332, December 10, 1981, p.24

 

Samuel M. Steward. “George Platt Lynes,” in The Advocate, No. 332, December 10, 1981, pp. 22-24

 

George Platt Lynes. 'Untitled [Charles 'Tex' Smutney, Charles 'Buddy' Stanley, and Bradbury Ball]' c. 1942

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled [Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball]
c. 1942
Silver gelatin photograph

.
According to David Leddick the models are Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball. The image comes from a series of 30 photographs of these three boys undressing and lying on a bed together. Leddick, David. Naked Men: Pioneering Male Nudes 1935-1955. New York: Universe Publishing, 1997, p. 21.

 

George Platt Lynes. 'Ted Starkowski (standing, arms folded)' c. 1950

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Ted Starkowski (standing, arms folded)
c. 1950
Silver gelatin photograph

 

George Platt Lynes. 'Ted Starkowski (standing, arms behind back)' c. 1950

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Ted Starkowski (standing, arms behind back)
c. 1950
Silver gelatin photograph
22.9 x 19.1 cm

 

George Platt Lynes. 'Untitled' 1952

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1952
Silver gelatin photograph

 

George Platt Lynes. 'Untitled (male nude study)' Nd

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled (male nude study)
Nd
Silver gelatin photograph

 

 

Queer Desire and Cold War Homophobia

Associate Professor Elspeth H. Brown

This photograph [above] archives queer, illicit desire in Cold War America. It was made by George Platt Lynes, and is part of a set of male nudes that the photographer made in the decades leading to his death, from lung cancer, in 1955. Because exhibiting these photographs was a impossibility during Lynes’s lifetime due to Cold War homophobia, he circulated them privately among his queer kinship networks.

Lynes was part of a closely connected circle of elite gay men who dominated American arts and letters in the interwar and early post-war years. For 16 years, Lynes lived with the writer Glenway Wescott and museum curator Monroe Wheeler, who were a couple for over fifty years; they had a variety of other sexual partners throughout, including Lynes, who shared a bedroom with Wheeler during their years together. All three of them, as well as friends and colleagues Lincoln Kirstein, Paul Cadmus, and other leading figures, participated in sex parties in the 1940s and 1950s, as documented in their personal papers. However, in the context of 1950s-era red scares, which particularly focused on homosexuals, the more open sexual subcultures of the 1930s and 1940s were driven even further underground.

In April of 1950, Glenway Wescott wrote George Platt Lynes that while the erotic explicitness of George’s nudes didn’t personally concern him, he was worried for Monroe Wheeler, since Wheeler held a public position as a curator at the Museum of Modern Art. “I really don’t mind scabrousness, etc., on my account, as you must know,” he wrote. “Only that our poor M [Monroe] must conclude his career with good effect and honor, I am anxious not to involve him in what is now called (in the nation’s capital) ‘guilty by association’ (have you been reading the columns and columns in the newspapers upon this and correlative points?).”

Although McCarthyism is often understood as the effort to purge suspected communists from the State Department and other branches of the federal government, the Red Scare equally targeted homosexuals, who were forced out of public service and into the closet. Wescott may well have been referring to the front page of the New York Times on March 1, 1950, where Secretary of State Dean Acheson testified about the Alger Hiss trial and the loyalty program at the State Department. Although the article purportedly concerned communism, it shows that the red scare mainly affected homosexuals, as Wescott clearly understood. Senator Bridges asked John E. Peurifoy, Deputy Under-Secretary of State in charge of the security program, how many members of the State Department had resigned since the investigations began in 1947. “Ninety-one persons in the shady category,” Mr. Peurifoy replied, “most of these were homosexuals.” This was not necessarily newsworthy in and of itself, so far as the New York Times was concerned in 1950, and the remainder of the article detailed the testimony relating to other aspects of the hearings.

Lynes continued to make and circulate his portraits, despite this climate of homophobia. He was very concerned that the work find an audience, and published it in several issues of the German homosexual journal Der Kreis in the 1950s. He also became an important informant for Alfred Kinsey’s research, as did Glenway Wescott and other members of their circle. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey, where they are now part of the Kinsey Institute collections in Bloomington, Indiana.

© Elspeth H. Brown 2013
Associate Professor of History
University of Toronto

Reproduced with permission of the author.

Elspeth H. Brown website

 

George Platt Lynes. 'Untitled' 1951

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1951
Silver gelatin photograph

 

George Platt Lynes. 'Untitled (Charles Romans in the artist's apartment)' 1953

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled (Charles Romans in the artist’s apartment)
1953
Silver gelatin photograph
19.5 x 24.5 cm

 

George Platt Lynes. 'Don Cerulli' 1952

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Don Cerulli
1952
Silver gelatin photograph

 

George Platt Lynes. 'Male nude study' 1951

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Male nude study
1951
Silver gelatin photograph

 

 

George Platt Lynes. 'Untitled' 1951

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1951
Silver gelatin photograph
22.9 x 19.1 cm

 

George Platt Lynes. 'Untitled' 1936

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1936
Silver gelatin photograph

 

George Platt Lynes. 'George Tooker' 1945

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
George Tooker
1945
Silver gelatin photograph

 

George Platt Lynes. 'Tex Smutney' 1943

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Tex Smutney
1943
Silver gelatin photograph

 

 

Chronology by Jack Woody

1907-1924 Born April 15, 1907, East Orange, New Jersey. Raised in comfortable circumstances and privately educated. Schoolmate Lincoln Kirstein described the young Lynes as “precocious,” crediting him with a subsequent introduction to George Balanchine.

1925 Makes first trip to Europe. Meets lifetime companions Glenway Wescott and Monroe Wheeler. Befriends Gertrude Stein, Pavel Tchelitchew and Jean Cocteau during his stay. Returns to New York City, works at Brentano’s Bookstore for a short time.

1926 Publishes the ‘As Stable Pamphlets’ in his parents’ house, Englewood, New Jersey. Includes Gertrude Stein’s DESCRIPTIONS OF LITERATURE and Ernest Hemingway’s first published play TODAY IS FRIDAY with cover designs by Pavel Tchelitchew and Jean Codeau. Enters Yale University in Autumn, leaves in December.

1927 Opens Park Place Book Shop in Englewood. The gift of a view camera encourages Lynes to make a career of photography.

1928-1930 During 1928 Lynes exhibits his celebrity portraits at Park Place Book Shop to launch a portrait business in the shop. Continues traveling to Europe, teaching himself by trial-and-error a technical understanding of the medium.

1931 Introduced to Julien Levy. Together they experiment with photographing surrealistic still-lifes. Levy arranges to include Lynes in Surrealism exhibition at Wadsworth Atheneum, Hartford, Connecticut. Visits and photographs Gertrude Stein at Bilignin.

1932 First important exhibition at the Julien Levy Gallery in tandem with Walker Evans. The death of his father forces Lynes to take up photography as a means of economic support.

1933 Opens first New York City studio on East 50th Street. Continued public showings of his work and interest in his celebrity portraits attracts a large clientele of New York socialites and their families.

1934 Begins publishing his fashion and portrait work in such magazines as Town and Country, Harpers’ Bazaar and Vogue magazines.

1935 Invited by Lincoln Kirstein and George Balanchine to document the repertoire and principal dancers in their fledgling American Ballet (now New York City Ballet), a collaboration that will continue until Lynes’ death in 1955.

1936 Surrealistic composition ‘The Sleepwalker’ included in New York Museum of Modern Art’s exhibition, ‘Fantastic Art, Dada and Surrealism.’ Lynes undertakes an extensive project to photographically interpret mythological situations.

1937-1940 Continues involvement with mythology series. Successful commercial career now headquartered in a large studio at 604 Madison Avenue. Commercial fashion accounts include Hattie Carnegie, Henri Bendel, Saks Fifth Avenue and Bergdorf Goodman.

1941-1945 Photographs airfield activities for First Air Force’s publicity and documentation. Begins to lose interest in commercial work, a process accelerated by the death of George Tichenor in 1942. Disillusioned with New York and his private life Lynes closes his studio and leaves for Los Angeles to head Vogue Magazine’s Hollywood studio.

1946-1947 Lynes begins to photograph in his rented Hollywood Hills home, experimenting with effects achieved with minimal amounts of available light. Photographs Christopher Isherwood, Igor Stravinsky, Thomas Mann and Aldous Huxley.

1948-1950 Friends sponsor the financially troubled Lynes’ return to New York where he is uninterested in and unable to repeat his earlier commercial successes. Economics force Lynes to experiment with cheaper photographic tools. He is particularly interested in the paper negative. Meets sex researcher Alfred Kinsey; impressed with Lynes’ work, Kinsey arranges to purchase hundreds of photographs for his Bloomington, Indiana institute.

1951-1954 Publishes his male nudes in homoerotic magazine ‘Der Kries’ using the pseudonyms Roberto Rolf and Robert Orville. Declares bankruptcy. Lives in a succession of apartments and studios as illness becomes apparent.

1955 In May diagnosed terminally ill with cancer. Last portrait sitting is June 16 with Monroe Wheeler. Closes studio and undergoes radium and drug therapy. Lynes begins to destroy large portions of his negative and print archives. In the Autumn he leaves for Europe, returning to New York in November to be hospitalized. At night Lynes leaves the hospital to attend the theatre and ballet. He dies on December sixth, forty-eight years old.

 

George Platt Lynes. 'Mel Fillini' 1950

 

George Platt Lynes
Mel Fillini
1950
Silver gelatin photograph

 

George Platt Lynes. 'Robert McVoy' c. 1941

 

George Platt Lynes
Robert McVoy
c. 1941
Silver gelatin photograph

 

 

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14
Mar
14

Exhibition preview: ‘Out of the closets, into the streets: gay liberation photography 1971-73’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8 pm
Nite Art: Wednesday 23rd July until 11 pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition, so make a note of it now in your diaries…

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman, the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

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

 

Phillip Potter. 'Queens' 1971

 

Phillip Potter
Queens
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Rennie Ellis. 'Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973' 1973, printed later

 

Rennie Ellis
Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

 

Unknown artist. 'Cricket is homosexual' Melbourne, c. 1971 - 1973

 

Unknown artist
Cricket is homosexual!
Melbourne, c. 1971 – 1973, printed 2014
Giclee print on Hahnemuhle william turner 310gsm
© Australian Lesbian and Gay Archives

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973

 

Barbara Creed
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Still from a super 8mm movie of a Women’s Liberation march, Melbourne, 1973.

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973

 

Barbara Creed
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Still from a super 8mm movie of a Women’s Liberation march, Melbourne, 1973.

 

John Storey. 'I am a Lesbian and Beautiful' 1971, printed 2014

 

John Storey
I am a Lesbian and Beautiful
1971, printed 2014
Digital C type print on Kodak Endura Matte
© John Storey

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Phillip Potter. 'Policeman reading 'Camp Ink' magazine' 1971

 

Phillip Potter
Policeman reading ‘Camp Ink’ magazine
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

 

Sponsored by

CPL Digital logo.
For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au

 

Art Blart logo.
Dr Marcus Bunyan and the best photography blog in Australia sponsor this event artblart.com

 

ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

Rennie Ellis logo.
Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p.43.

 

AIDS 2014: 20th International AIDS Conference
20 July – 25 July 2014
Melbourne, Australia

AIDS 2014 website

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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