Posts Tagged ‘Leslie-Lohman Museum of Gay and Lesbian Art


Text / Exhibition: ‘The Unflinching Gaze: photo media and the male figure’ at the Bathurst Regional Art Gallery, New South Wales

Exhibition dates: 14th October – 3rd December, 2017

Curator: Richard Perram OAM



Todd Fuller and Amy Hill (Australia, 1988-; Australia, 1988-) 'They're Only Words'  2009


Todd Fuller and Amy Hill (Australia, 1988-; Australia, 1988-)
They’re Only Words
Film, sound duration: 2:42 mins
Courtesy the artists and May Space, Sydney



I must congratulate curator and gallery Director, Richard Perram OAM and the Bathurst Regional Art Gallery for putting on such a fine exhibition, worthy of many a large gallery in a capital city. An incredible achievement, coming at the same time as Latrobe Regional Art Gallery put on the recent René Magritte exhibition. All power to these regional galleries. Now on with the show…


Show and tell

The male body. The female body. The trans body. The gay body. Etc. etc. etc. …
The male gaze. The female gaze. The trans gaze. The gay gaze. Etc. etc. etc. …

I did my Dr of Philosophy, all four and a half years of it, on the history of photography and its depiction of the male body so I know this subject intimately. It is such a complicated subject that after all of time, nothing is ever certain, everything is changeable and fluid.

To start, the definition of masculinity that I used as a determination for the term in my PhD is included as the first quotation below. The quotation is followed by others – on the optic experience and the creation of body image; on body image and our relation to other people; on the anxiety caused by the crisis of looking as it intersects with the crisis of the body; and how we can overcome the passivity of objective truth (accepting dominant images in this case, as they are presented to us) through an active struggle for subjective truth, or an acceptance of difference. A further, longer quote in the posting by Chris Schilling examines Ernst Goffman’s theories of body, image and society in which Goffman states that the body is characterised by three main features: firstly, that the body as material property of individuals; secondly, that meanings attributed to the body are determined by ‘shared vocabularies of body idiom’ such as dress, bearing, movements and position, sound level, physical gestures such as waving and saluting, facial decorations, and broad emotional expressions; and thirdly; that the body plays an important role in mediating the relationship between people’s self-identity and their social identity. These quotations just start to scratch the surface of this very complicated, negotiated social area.

What we can say is this: that masculinity is always and forever a construct; that male body image is always and forever a further construct built on the first construct; and that photo media images of the male body are a construct, in fact a double or triple construct as they seek to capture the surface representation of the previous two conditions.

What strikes me with most of the photographs in this posting is that they are about a constructed “performance” of masculinity, performances that challenge cultural signifiers of mainstream and marginalised aspects of Western patriarchal culture. In most the masculine subject position is challenged through complex projections of masculinity, doubled through the construction of images. In fact, spectatorship is no longer male and controlling but polymorphous and not organised along normative gender lines.

Thus, these artists respond to four defined action problems in terms of representation of body usage: “… control (involving the predicability of performance); desire (whether the body is lacking or producing desire); the body’s relation to others (whether the body is monadic and closed in on itself or dyadic and constituted through either communicative or dominating relations with others); and the self-relatedness of the body (whether the body associates and ‘feels at home’ in itself, or dissociates itself from its corporeality).”1 Further, four ideal types of body usage can be defined in terms of these action problems: the disciplined body where the medium is regimentation, the model of which is the rationalisation of the monastic order; the mirroring body where the medium is consumption, the model of which is the department store; the dominating body where the medium is force, the model of which is war; and the communicative body where the medium is recognition, the model of which could be shared narratives, communal rituals (such as sex) and caring relationships.2

As Chris Schilling observes, “The boundaries of the body have shifted away from the natural and on to the social, and the body now has ‘a thoroughly permeable “outer layer” through which the reflexive project of the self and externally formed abstract systems enter.” In other words, masculinity and male figure can be anything to any body and any time in any context. The male body can be prefigured by social conditions. But the paradox is, the more we know masculinity and the male body, the more knowledge we have, the more we can alter and shape these terms, the less certain we are as to what masculinity and the male body is, and how or if it should be controlled. Taking this a step further, Schilling notes that the photographic image of the body itself has become an abstract system/symbolic token which is traded without question, much as money is, without the author or participants being present.3 You only have to look into some of the gay chats rooms to know this to be true!

The most difficult question I had to ask myself in relation to this exhibition was, what is it to be male? Such a question is almost impossible to answer…

Is being male about sex, a penis, homosociality, homosexuality, heterosexuality, friendship, braveness, dominance, perversity, fantasy, love, attraction, desire, pleasure, Ockerism, respect, loyality, spirituality, joy, happiness etc. etc. It is all of these and more besides. And this is where I find some most of these images to be just surface representations of deeper feelings: I just like dressing in drag; I like pulling a gun on someone; I like holding a knife next to my penis to make my phallus and my armoured body look “butch”. It’s as though the “other”, our difference from ourselves (and others), has been normalised and found wanting. I want to strip them away from this performative, normalising aspect. Most of these photographs are male figures dressed up to the nines, projecting an image, a surface, to the outside world (even though the performative tells us a great deal about the peculiarities of the human imagination). I want them to be more essential, not just a large penis dressed up for show. Only in the image Untitled [Auschwitz victim] (Nd, below), where the performance for the camera and the clothing the man is wearing is controlled by others – does some sense of an inner strength of a male come through. In times of unknown horror and dire circumstances, this man stares you straight in the eye with a calm presence and inner composure.

For me personally, being male is about a spiritual connection – to myself, to the earth and to the cosmos. I hope it is about respect for myself and others. Of course I use the systems above as a projection of myself into the world, as to who I am and who I want people to see through my image. But there is so much more to being male than these defined, representational personas. This is not some appeal to, as David Smail puts it, “a simple relativity of ‘truths'” (anything to anybody at anytime in any context), nor a essentialist reductionism to a “single truth” about our sense of being, but an appeal for a ‘non-finality’ of truth, neither fixed nor certain, that changes according to our values and what we understand of ourselves, what it is to be male. This understanding requires intense, ongoing inner work, something many males have no desire to undertake…

Dr Marcus Bunyan

Word count: 1,230

  1. Chris Schilling, The Body and Social Theory, Sage Publications, London, 1993, p.95.
  2. Ibid., p. 95.
  3. Ibid., p. 183.

Many thankx to Director Richard Perram, Assistant Curator Julian Woods and the Bathurst Regional Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.



“The category of “masculinity” should be seen as always ambivalent, always complicated, always dependent on the exigencies (necessary conditions and requirements) of personal and institutional power … [masculinity is] an interplay of emotional and intellectual factors – an interplay that directly implicates women as well as men, and is mediated by other social factors, including race, sexuality, nationality, and class … Far from being just about men, the idea of masculinity engages, inflects, and shapes everyone.”

Berger, Maurice; Wallis, Brian and Watson, Simon. ‘Constructing Masculinity’. Introduction. New York: Routledge, 1995, pp. 3-7.


“We choose and reject by action … Nietzsche calls the body ‘Herrschaftsgebilde’ (creation of the dominating will). We may say the same about body-image. Since optic experience plays such an enormous part in our relation to the world, it will also play a dominating role in the creation of the body-image. But optic experience is also experience by action. By actions and determinations we give the final shape to our bodily self. It is a process of continual active development.” (My underline)

Schilder, Paul. ‘The Image and Appearance of The Human Body’. New York: International Universities Press, 1950, pp. 104-105.


“Body images should not exist in isolation. We desire the relation of our body-images to the body-images of all other persons, and we want it especially concerning all sexual activities and their expression in the body-image. Masturbation is specifically social. It is an act by which we attempt to draw the body-images of others, especially in their genital region, nearer to us.”

Schilder, Paul. ‘The Image and Appearance of The Human Body’. New York: International Universities Press, 1950, p. 237.


“As the French critic Maurice Blanchot wrote, “The image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day. Not only is the image of an object not the meaning of that object and of no help in comprehending it, but it tends to withdraw it from its meaning by maintaining it in the immobility of a resemblance that it has nothing to resemble” … It is this severance of meaning and its object, this resemblance of nothing, that the crisis of looking intersects with the crisis of the body. In contemporary culture we promote the body as infinitely extendable and manageable. Indeed, we mediate this concept through the permeation of the photographic image in popular culture – through advertising and dominant discourse that place the young, beautiful, erotic body as the desirable object of social attention. This is a body apparently conditioned by personal control (moral concern). But the splitting apart of image and meaning pointed to by Blanchot suggests that such control is illusory. There is no single truth; there are only competing narratives and interpretations of a world that cannot be wholly, accurately described.” (My underline)

Blanchot, Maurice. ‘The Gaze of Orpheus’. New York: Barrytown, 1981, p. 85, quoted in Townsend, Chris. ‘Vile Bodies: Photography and the Crisis of Looking’. Munich: Prestel, 1998, p. 10.


“Where objective knowing is passive, subjective knowing is active – rather than giving allegiance to a set of methodological rules which are designed to deliver up truth through some kind of automatic process [in this case the construction of the male figure through the image], the subjective knower takes a personal risk in entering into the meaning of the phenomena to be known … Those who have some time for the validity of subjective experience but intellectual qualms about any kind of ‘truth’ which is not ‘objective’, are apt to solve their problem by appealing to some kind of relativity. For example, it might be felt that we all have our own versions of the truth about which we must tolerantly agree to differ. While in some ways this kind of approach represents an advance on the brute domination of ‘objective truth’, it in fact undercuts and betrays the reality of the world given to our subjectivity. Subjective truth has to be actively struggled for: we need the courage to differ until we can agree. Though the truth is not just a matter of personal perspective, neither is it fixed and certain, objectively ‘out there’ and independent of human knowing. ‘The truth’ changes according to, among other things, developments and alterations in our values and understandings … the ‘non-finality’ of truth is not to be confused with a simple relativity of ‘truths’.” (My underline).

Smail, David. ‘Illusion and Reality: The Meaning of Anxiety’. London: J.M. Dent & Sons, 1984, pp. 152-153.




Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery

Installation view of the exhibition 'The Unflinching Gaze: photo media and the male figure' at the Bathurst Regional Art Gallery


Installation views of the exhibition The Unflinching Gaze: photo media and the male figure at the Bathurst Regional Art Gallery, New South Wales
Photos: Sharon Hickey Photography



“In line with current thinking the exhibition posits masculinity, and gender itself, as a kind of performance – a social construct that is acquired rather than biologically determined.

This idea has its limits, with most people happy to accept anatomy as destiny. Nevertheless, there is much we view as ‘natural’ that might be more accurately described as ‘cultural’. In an exceptional catalogue essay, Peter McNeil refers to Jonathan Ned Katz’s book, The Invention of Heterosexuality, which notes that the term “heterosexual” was first published in the United States in 1892. This is a remarkably late entry for a concept often viewed as a cornerstone of social orthodoxy.

A condition doesn’t require a word to make it a reality but it sure helps. Wittgenstein’s famous dictum: “The limits of my language are the limits of my world,” reminds us of the power of naming and categorisation.

To establish anything as an unquestionable norm is to stigmatise other views as abnormal. From the perception of abnormality comes the fear and hatred that surfaced during a same-sex marriage postal survey that revealed more about political cowardice than it did about Australian social attitudes. Although Perram has no qualms about celebrating gay sexuality his chief concern is to encourage a broader, more inclusive understanding of masculinity. …

One of the most striking moments in Perram’s show is a juxtaposition of Mapplethorpe’s 1983 portrait of gay porn star, Roger Koch, aka Frank Vickers, wearing a wig, bra and fishnets, his hands clasped demurely over his groin. The feminine coyness is at odds with Vickers’s musclebound torso and biceps which are fully on display in his self-portrait of the same year, along with his semi-erect penis.

The photos may be two versions of camp but the comparison shows how an individual’s sexual identity can be reconfigured with the appropriate props and body language. In the case of performance artist, Leigh Bowery, captured in a series of photos by Fergus Greer, the play of fantasy transcended the simple binary opposition of male and female, to create monstrous hybrids that question the limits of what it is to be human.”

John McDonald. “The Unflinching Gaze,” November 24, 2017


Tony Albert (Australia, 1981-) 'Brother (Our Past)' 2013

Tony Albert (Australia, 1981-) 'Brother (Our Present)' 2013

Tony Albert (Australia, 1981-) 'Brother (Our Future)' 2013


Tony Albert (Australia, 1981-)
Brother (Our Past) 2013
Brother (Our Present) 2013
Brother (Our Future) 2013
Pigment on paper, edition of 3 150 x 100 cm each
Courtesy UTS Art, Corrigan Collection


Andy Warhol (United States, 1928-1987) 'Blow Job' [still] 1964


Andy Warhol (United States, 1928-1987)
Blow Job [still]
16mm film, black and white, silent duration: 41 min at 16 frames per second
© 2017 The Andy Warhol Museum, Pittsburgh, PA, a museum of Caregie Institute. All rights reserved



Robert Wilson (United States, 1941-) 'Brad Pitt'  2004


Robert Wilson (United States, 1941-)
Brad Pitt
Video portrait, looped
Dimensions variable
Courtesy the artist and the Byrd Hoffman Water Mill Foundation, New York



Peter Elfes (Australia, 1961-) 'Brenton [Heath-Kerr] as Tom of Finland' 1992


Peter Elfes (Australia, 1961-)
Brenton [Heath-Kerr] as Tom of Finland
Cibachrome print
51 x 40.6 cm
Courtesy the artist © Peter Elfes


Casa Susanna Attributed to Andrea Susan '(Lee in white dress)' 1961


Casa Susanna
Attributed to Andrea Susan
(Lee in white dress)
Digital copy from colour photographs
Collection of Art Gallery of Ontario, purchased with funds generously donated by Martha LA McCain 2015
© Art Gallery of Ontario
Photo: Ian Lefebvre


Nikki Johnson (United States, 1972-) 'David Amputation Fetishist' 2007


Nikki Johnson (United States, 1972-)
David Amputation Fetishist
Digital print (from a set of images)
Courtesy the artist


Luke Parker (Australia 1975-) 'Double hanging' 2005


Luke Parker (Australia 1975-)
Double hanging
Photograph, cotton thread, pins
15 x 40cm
Courtesy the artist and 55 Sydenham Rd


Gregory Collection. 'Mr Cullen & Mr Gornall' Date unknown


Gregory Collection
Mr Cullen & Mr Gornall
Date unknown
Digital copy from scanned negative
Courtesy the Bathurst Historical Society



Two hundred photos and videos by sixty two leading artists (twenty four Australian and thirty eight international) will be exhibited at Bathurst Regional Art Gallery (BRAG) from Saturday 14 October until Sunday 3 December 2017.

Curated by BRAG Director Richard Perram OAM, an openly gay man, The Unflinching Gaze: photo media and the male figure surveys how the male figure has been depicted by Australian and international artists in photo media over the last 140 years. It includes historic and contemporary fine art photography and film, fashion photography, pop videos and homoerotic art. Images range from the beautiful to the banal to the confounding.

Key artists in the exhibition include iconic American artists Robert Mapplethorpe, Andy Warhol, and avant-garde theatre director Robert Wilson with a video portrait of Brad Pitt; European artists such as Eadweard Muybridge, and Baron Wilhelm Von Gloeden; and historic and contemporary Australian artists including Beaufoy Merlin and Charles Bayliss, Max Dupain, Deborah Kelly, William Yang, Gary Carsley, Owen Leong and Liam Benson. Works have been sourced from Australian and international collections, including a major loan of 60 works from the Leslie-Lohman Museum of Gay and Lesbian Art, New York.

The exhibition brings an unflinching gaze to how concepts of humanity and the male figure are intertwined and challenged. Themes include the Pink Triangle, which deals with the persecution, torture and genocide of homosexuals in concentration camps during World War II to those in Chechyna today; and the AIDS crisis in the 1980s.

The Unflinching Gaze exhibition is a unique opportunity for audiences in the Bathurst Region to access a world class photo-media exhibition, says Richard Perram OAM. The Unflinching Gaze not only deals with aesthetic concerns but also engages the community in a discussion around social issues. BRAG is working with local Bathurst LGBTI community groups to ensure that one of the most important outcomes of the exhibition will be to inform and educate the general Bathurst community and support and affirm the Bathurst LGBTI community.

The Unflinching Gaze: photo media and the male figure is a Bathurst Regional Art Gallery exhibition in partnership with Leslie Lohman Museum of Gay and Lesbian Art, New York. Curated by Richard Perram OAM. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW.

Press release from the Bathurst Regional Art Gallery (BRAG)


American & Australian Photographic Company (Beaufoy Merlin & Charles Bayliss) 'Mssrs. Bushley & Young' Nd


American & Australian Photographic Company
(Beaufoy Merlin & Charles Bayliss)
Mssrs. Bushley & Young
Digital reproductions from glass photo negatives, quarter plate
From the Collections of the State Library of NSW


Horst P. Horst (Germany; United States, 1906-1996) 'Male Nude I NY' 1952


Horst P. Horst (Germany; United States, 1906-1996)
Male Nude I NY
Silver gelatin print
25.4 x 20.3 cm
Leslie-Lohman Museum of Gay & Lesbian Art, gift of Ricky Horst


Liam Benson (Australia, 1980-) 'The Crusader' 2015

Liam Benson (Australia, 1980-) 'The Executioner' 2015

Liam Benson (Australia, 1980-) 'The Terrorist' 2015


Liam Benson (Australia, 1980-)
The Crusader 2015
The Executioner 2015
The Terrorist 2015
Inkjet print on cotton rag paper, edition of 5 90 x 134 cm
Photograph by Alex Wisser
Courtesy of the artist and Artereal Gallery



George Platt Lynes (United States, 1907-1955) 'Blanchard Kennedy' 1936


George Platt Lynes (United States, 1907-1955)
Blanchard Kennedy
Gelatin silver photograph
23 x 18.2 cm
National Gallery of Australia, Canberra. Purchased 1981


Christopher Makos (United States, 1948-) 'Altered Image: One Photograph of Andy Warhol' 1982


Christopher Makos (United States, 1948-)
Altered Image: One Photograph of Andy Warhol
Gelatin silver photograph
50.6 x 40.8 cm each
National Gallery of Australia, Canberra. Purchased 1982


Robert Mapplethorpe (United States, 1946-1989) 'Helmut, N.Y.C. (from X Portfolio)' 1978


Robert Mapplethorpe (United States, 1946-1989)
Helmut, N.Y.C. (from X Portfolio)
Selenium toned silver gelatin print
19.7 x 19.7 cm
Leslie-Lohman Museum of Gay & Lesbian Art, Foundation Purchase
© Robert Mapplethorpe Foundation. Used by permission


Robert Mapplethorpe (United States, 1946-1989) 'Roger Koch aka Frank Vickers: From the "Roger" Series' 1983


Robert Mapplethorpe (United States, 1946-1989)
Roger Koch aka Frank Vickers: From the “Roger” Series
Gelatin silver photo
48.9 x 38.1 cm
Leslie-Lohman Museum of Gay & Lesbian Art, Founders Gift
© Robert Mapplethorpe Foundation. Used by permission



Body, image and society

“Goffman’s approach to the body is characterised by three main features. First, there is a view of the body as material property of individuals. In contrast to naturalistic views … Goffman argues that individuals usually have the ability to control and monitor their bodily performances in order to facilitate social interaction. Here, the body is associated with the exercise of human agency, and it appears in Goffman’s work as a resource which both requires and enables people to manage their movements and appearances.

Second, while the body is not actually produced by social forces, as in Foucault’s work, the meanings attributed to it are determined by ‘shared vocabularies of body idiom’ which are not under the immediate control of individuals (E. Goffman, Behaviour In Public Places: Notes on the Social Organisation of Gatherings, The Free Press, New York, 1963, p.35). Body idiom is a conventionalized form of non-verbal communication which is by far the most important component of behaviour in public. It is used by Goffman in a general sense to refer to ‘dress, bearing, movements and position, sound level, physical gestures such as waving and saluting, facial decorations, and broad emotional expressions’ (Goffman, 1963:33). As well as allowing us to classify information given off by bodies, shared vocabularies of body idiom provide categories which label and grade hierarchically people according to this information. Consequently, these classifications exert a profound influence over ways in which individuals seek to manage and present their bodies.

The first two features of Goffman’s approach suggest that human bodies have a dual location. Bodies are the property of individuals, yet are defined as significant and meaningful by society. This formulation lies at the core of the third main feature of Goffman’s approach to the body. In Goffman’s work, the body plays an important role in mediating the relationship between people’s self-identity and their social identity. The social meanings which are attached to particular bodily forms and performances tend to become internalized and exert a powerful influence on an individuals sense of self and feelings of inner worth.

Goffman’s general approach to the body is revealed through his more specific analyses of the procedures involved in what he terms the ‘interaction order’. Goffman conceptualises the interaction order as somehow autonomous sphere of social life (others include the economic sphere) which should not be seen as ‘somehow prior, fundamental, or constitutive of the shape of macroscopic phenomena’ (Goffman, 1983:4). His analysis of this sphere of life demonstrates that intervening successfully in daily life, and maintaining a single definition in the face of possible disruptions, requires a high degree of competence in controlling the expressions, movements and communications of the body.” (Goffman, 1969).

Schilling, Chris. The Body and Social Theory. London: Sage Publications, 1993, pp.82-83.


Owen Leong (Australia, 1979-) 'Resistance Training' 2017


Owen Leong (Australia, 1979-)
Resistance Training
Archival pigment print on cotton paper, edition of 5 + 2 AP
120 x 120 cm
Courtesy the artist and Artereal Gallery, Sydney Commissioned by BRAG for The Unflinching Gaze: photo media & the male figure with funds from BRAGS Inc. (Bathurst Regional Art Gallery Society Inc.)


Owen Leong (Australia, 1979-) 'Milk Teeth' 2014


Owen Leong (Australia, 1979-)
Milk Teeth
Archival pigment print on cotton paper, edition of 5 + 2Ap
120 x 120cm
Courtesy of the artists and Artereal Gallery Sydney


Samuel J Hood (Australia, 1872-1953) 'The 9th Field Brigade' 24/2/1938


Samuel J Hood (Australia, 1872-1953)
The 9th Field Brigade (four images)
24/2/1938 (Liverpool, NSW)
Photo negative (copied from original nitrate photograph) 35mm
From the Collections of the State Library of NSW


Anthony Sansone (Italy; United States, 1905-1987) 'Untitled' 1935


Anthony Sansone (Italy; United States, 1905-1987)
Bromide print
24.1 x 18.9 cm
Leslie-Lohman Museum of Gay & Lesbian Art, gift of David Aden Gallery


Fergus Greer (United Kingdom, 1961-) 'Leigh Bowery, Session V' Look 27 February 1992


Fergus Greer (United Kingdom, 1961-)
Leigh Bowery, Session V
Look 27 February 1992
Digital reproduction
Courtesy Fergus Greer


Fergus Greer (United Kingdom, 1961-) 'Leigh Bowery, Session VII' Look 34, June 1994


Fergus Greer (United Kingdom, 1961-)
Leigh Bowery, Session VII
Look 34, June 1994
Digital reproduction
Courtesy Fergus Greer


Unknown American. 'Vintage photograph from the Closeted History/Wunderkamera' Nd


Unknown American
Vintage photograph from the Closeted History/Wunderkamera
Tintypes, paper photographs
Collection of Luke Roberts


Frank Vickers (United States, 1948-1991) 'Untitled (self-portrait)' 1983


Frank Vickers (United States, 1948-1991)
Untitled (self-portrait)
Silver gelatin print
17.8 x 12.4 cm
Leslie-Lohman Museum of Gay & Lesbian Art, Founders’ gift


Baron Wilhelm von Gloeden (Germany; Italy, 1856-1931) 'Untitled' c. 1910


Baron Wilhelm von Gloeden (Germany; Italy, 1856-1931)
c. 1910
Albumen silver print
20.3 x 15.2 cm
Leslie-Lohman Museum of Gay and Lesbian Art, Founders’ gift


Andy Warhol (United States, 1928-1987) 'Untitled (Victor Hugo's Penis)' Date unknown


Andy Warhol (United States, 1928-1987)
Untitled (Victor Hugo’s Penis)
Date unknown
8.5 x 10.5 cm
Collection of Byrd Hoffman Water Mill Foundation


Gary Carsley (Australia 1957-) 'YOWL' [still] 2017


Gary Carsley (Australia 1957-)
YOWL [still]
Single Channel HD Video on Layered A3 Photocopy substrate
360 x 247 cms
Duration 4.32 min
Videography Ysia Song, Soundscape Tarun Suresh, Art Direction Shahmen Suku


Royale Hussar (Basil Clavering and John Parkhurst) 'Queens Guard 3' 1959-60


Royale Hussar (Basil Clavering and John Parkhurst)
Queens Guard 3
Digital print from original negative


William Yang (1943- ) ''Allan' from the monologue 'Sadness'' 1992


William Yang (1943- )
‘Allan’ from the monologue ‘Sadness’
19 gelatin silver photographs in the monologue
51.0 x 41.0 each sheet
Photograph: William Yang/Bathurst Regional Art Gallery


A photograph from the Sadness series, which depicts the slow death of his sometime lover, Allan Booth.


Unknown photographer. 'Untitled [Auschwitz victim]' Nd


Unknown photographer
Untitled [Auschwitz victim]


This prisoner was sent to Auschwitz under Section 175 of the German Criminal Code, which criminalised homosexuality.
Photograph: Bathurst Regional Art Gallery


“The picture may have been taken by Wilhelm Brasse who was born on this date, 3 December in 1917, who became known as the “photographer of Auschwitz concentration camp”, though he was one of several, including Alfred Woycicki , Tadeusz Myszkowski, Józef Pysz, Józef Światłoch, Eugeniusz Dembek, Bronisław Jureczek, Tadeusz Krzysica, Stanisław Trałka, and Zdzisław Pazio whom the Camp Gestapo kept alive for the job of recording thousands of photographs of their fellow prisoners, supervised by Bernhard Walter, the head of Erkenundienst.

The photographs themselves present a transgression of the subject’s own self-image. The carte-de-visite format forces a confrontation of the victim (which in this situation, they are) with themselves in a visual interrogation, by placing a profile and a three-quarter view either side of a frontal mug shot. The final image seems to depict the subject beholden to a higher authority.

Brasse had been arrested in 1940, at age 23, for trying to leave German-occupied Poland and sent to KL Auschwitz-Birkenau where because he had been a Polish professional photographer in his aunt’s studio his skills were useful. Brasse has estimated that he took 40,000 to 50,000 “identity pictures” from 1940 until 1945.

Brasse and another prisoner Bronisław Jureczek preserved the photographs when in January 1945, during the evacuation of the camp, they were ordered to burn all of the photographs. They put wet photo paper in the furnace first and followed by such a great number of photos and negatives that the fire was suffocated. When the SS-Hauptscharfürer Walter left the laboratory, Brasse and Jureczek swept undestroyed photographs from the furnace, scattering them in the rooms of the laboratory and boarding up the door to the laboratory. 38,916 photographs were saved.”

James McCardle. “Ghosts,” on the On This Day in Photography website 03/12/2017


M. P. Rice. 'American poet Walt Whitman and his 'rebel soldier friend', Pete Doyle' Walt Whitman and Peter Doyle, Washington DC. c. 1865


M. P. Rice
American poet Walt Whitman and his ‘rebel soldier friend’, Pete Doyle
Walt Whitman and Peter Doyle, Washington DC.
c. 1865
Charles E. Feinberg Collection, Library of Congress
Photograph: Library of Congress/Library of Congress/Bathurst Regional Art Gallery



“The first extant photo of Whitman with anyone else, here Peter Doyle, Whitman’s close friend and companion in Washington. Doyle was a horsecar driver and met Whitman one stormy night in 1865 when Whitman, looking (as Doyle said) “like an old sea-captain,” remained the only passenger on Doyle’s car. They were inseparable for the next eight years.”



Bathurst Regional Art Gallery (BRAG)
70 -78 Keppel St
Bathurst NSW 2795

Opening hours:
Tues to Sat 10am – 5pm
Sundays 11am – 2pm

Bathurst Regional Art Gallery website


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Exhibition: ‘Nude in Public: Sascha Schneider, Homoeroticism and the Male Form circa 1900’ at The Leslie-Lohman Museum of Gay and Lesbian Art, New York City

Exhibition dates: 20th September – 8th December 2013



Many thankx to The Leslie-Lohman Museum of Gay and Lesbian Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. More images and information can be found on the exhibition web pages.


“Schneider was born in Saint Petersburg in 1870. During his childhood his family lived in Zürich, but following the death of his father, Schneider, moved to Dresden, where in 1889 he became a student at the Dresden Academy of Fine Arts (Kreuzgymnasium). In 1903 he met best-selling author Karl May, and subsequently became the cover illustrator of a number of May’s books including WinnetouOld SurehandAm Rio de la Plata. A year later in 1904, Schneider was appointed professor at the Großherzoglich-Sächsische Kunstschule Weimar.

During this period Schneider lived together with painter Hellmuth Jahn.  Jahn began blackmailing Schneider by threatening to expose his homosexuality, which was punishable under §175 of the penal code. Schneider fled to Italy, where homosexuality was not criminalized at that time. In Italy, Schneider met painter Robert Spies, with whom he traveled through the Caucasus Mountains. He then traveled back to Germany, where he lived for six months in Leipzig before returning to Italy, where he resided in Florence. When the First World War started, Schneider returned to Germany again, taking up residence in Hellerau (near Leipzig). After 1918, he co-founded an institute called Kraft-Kunst for body building. Some of the models for his art works trained here.

Schneider, who suffered from diabetes mellitus, suffered a diabetic seizure during a ship voyage in the vicinity of Swinemünde. As a result he collapsed and died in 1927 in Swinemünde. He was buried in Loschwitz Cemetery, Germany.”

Text from Wikipedia, where a good gallery of further work by Schneider can be found.



Sascha Schneider. 'Patriarch' 1895


Sascha Schneider
Oil on canvas
40.15 x 58.26 in.
Collection of Hans-Gerd Röder

Images of rulers, emperors, and patriarchs [are] a reminder that Schneider was born into an imperial political system. But like the Babylonian figure of Growing Stronger, this large patriarch isn’t a figure of contemporary life, but an echo of a resurgent classicism. Schneider’s fascination with authoritarian masculinity bookends his interest in male youth, a parallel itself rooted in classical ideals. (Text from the exhibition web page)


Sascha Schneider. 'Mammon and his Slave' c. 1896


Sascha Schneider
Mammon and his Slave
c. 1896
Wood engraving, published by J. J. Weber, Leipzig
9.44 x 12.59 in.
Collection of Hans-Gerd Röder


Sascha Schneider. 'Triumph of Darkness' 1896


Sascha Schneider
Triumph of Darkness [Der Fürst der Verdammten (Prince of the Damned)]
Mixed media
62.99 x 106.29 in.
Collection of Hans-Gerd Röder


Sascha Schneider. 'Untitled (study of a reclining male nude with tucked up legs)' 1894


Sascha Schneider
Untitled (study of a reclining male nude with tucked up legs)
Pencil and charcoal with white highlights on grey paper
20.07 x 15.74 in.
Collection of Hans-Gerd Röder


Sascha Schneider. 'War Cry' 1915


Sascha Schneider
War Cry
Charcoal on paper
19.68 x 17.17 in.
Collection of Hans-Gerd Röder



“The Leslie-Lohman Museum of Gay and Lesbian Art will kick off its autumn 2013 season by exploring the German painter Sascha Schneider (1870-1927). At the beginning of the 20th Century, Schneider was elevated to a prestigious post at a German university and was one of the most well-known and well-respected public artists of his time. Only a generation later, he was largely relegated to obscurity. This exhibit examines not only Schneider’s art, but the strange cultural phenomenon that caused his dramatic rise and fall. Curated by Jonathan David Katz, this will not only be the single most extensive one-person exhibition of Sascha Schneider’s art ever mounted since his premature death, but the very first exhibition of Sascha Schneider’s art in the U.S.

A Strange Historical Interval 

While the history of art is overwhelmingly a history of imaging the female nude, for a brief moment – and in Germany above all – it is instead a history of the male nude. Sascha Schneider was product and beneficiary of this unusual historical moment, one of the most fraught, contradictory and unresolved periods in the modern history of sexual regulation.

This strange historical interval, more developed in Germany in the early 20th century than anywhere else, goes by the English name of the Health and Hygiene Movement. In part a response to rapid industrialization, urban crowding, and the fear that modern life was weakening the inherent strength and drive of Germany’s youth, this reformist movement proposed a bold solution, at once forward and backward looking: it advocated a return to a classical conception of the gymnasium – of training the body as well as the mind through youthful exercise outdoors, preferably in the nude, all in pursuit of a natural health and vitality. Conjoining an idealized youthful beauty, sport and bold nudity, Freikörperkultur (which literally means free body culture) made paintings, photographs, sculptures, and especially public murals that today look strikingly homoerotic, merely part of the visual landscape of early twentieth-century Germany.

Adherents of the movement claimed that only through the confident and shameless exposure of strong, beautiful, male bodies, would young German men throw off the enervating effects of modern life and return to their natural vitality. The emphasis on male nudity had a simple rationale: not only had modern life ostensibly put the German ideal of “manliness” under pressure – a dynamic that would have tragic repercussions with the rise of the Nazis – but since the erotic dimension of female nudity was widely acknowledged, male nudity was paradoxically framed as inherently purer and untainted by eros, as an image of German manhood and its strength and power without any admixture of desire.

The Cultural Conflict 

Yet at the same exact moment that Freikörperkultur made the sight of handsome nude young men ubiquitous in public spaces as diverse as stadiums and opera houses, another movement was brewing – the very first modern gay-rights movement. Led by such pioneering figures as Magnus Hirschfeld, founder of the Institute for Sexual Research (which was destroyed by the Nazis in 1933), this new political movement sought to make same-sex relationships entirely legal, in part through claiming that gay people were born gay, that same-sex desire was as natural to some as heterosexuality was to others. But whereas Freikörperkultur sought to generalize an (unacknowledged) homoerotic sensibility across all of German culture, this new politics essentially set up the first self-described homosexual minority in history. Thus a collision was set in motion between those who worked to make homosexuality more tolerable by generalizing a gay aesthetic (though distinctly not a gay politics) across the culture at large and those who named their homosexuality, who specifically sought civil rights under the guise of inborn and natural difference.

Caught in the Conflict 

Schneider, who emblematized Freikörperkultur in almost every work he ever did, nonetheless came to understand the limits of a social world that accepted homoeroticism but not homosexuals. He was forced to resign from his prestigious post at Weimar University and flee to Italy.

Schneider’s fortunes as an artist were so intimately bound up with this historical interlude and its inherent contradictions that his career couldn’t survive its passing. When he died at age 57 in 1927, of complications from diabetes, his star was already dimming. By the end of World War II, he was largely forgotten. But through the efforts of one man, the German collector Hans-Gerd Röder, who became fascinated by this unknown figure while still in his twenties and began to seek out every work by Schneider he could find, a tattered reputation in modern art history has been painstakingly restored. Mr. and Mrs. Röder and their family have generously agreed to lend their collection of masterworks to the Leslie-Lohman Museum.

The Leslie-Lohman Museum of Gay and Lesbian Art is the first and only dedicated gay and lesbian art museum in the world with a mission to exhibit and preserve gay and lesbian art, and foster the artists who create it. The Museum has a permanent collection of over 22,000 objects, 6-8 major exhibitions annually, artist talks, film screenings, readings, THE ARCHIVE – a quarterly art newsletter, a membership program, and a research library. The Leslie-Lohman Museum is operated by the Leslie/Lohman Gay Art Foundation, a non-profit founded in 1987 by Charles W. Leslie and Fritz Lohman who have supported gay and lesbian artists for over 30 years. The Leslie-Lohman Museum embraces the rich creative history of the gay and lesbian art community by informing, inspiring, entertaining and challenging all who enter its doors.”

Press release from The Leslie-Lohman Museum of Gay and Lesbian Art


Sascha Schneider. 'Hypnotism' 1904


Sascha Schneider
Lithograph, published Breitkopf and Hartel, Leipzig
19.68 x 15.74 in.
Collection of Hans-Gerd Röder


Sascha Schneider. 'The Anarchist' 1894


Sascha Schneider
The Anarchist
Lithograph on paper
19.68 x 15.74 in.
Collection of Hans-Gerd Röder


Sascha Schneider. 'Feeling of Dependency' 1894


Sascha Schneider
Gefühl der Abhängigkeit (Feeling of Dependency)
Chalk, charcoal and paints on cardboard
27.55 x 19.09 in.
Collection of Hans-Gerd Röder


“Sascha Schneider (1870 -1927) was an artist who achieved mainstream critical and commercial success in turn-of-the-century Germany despite its striking homoeroticism. Appointed painting chair at the Weimar-Saxon Grand Ducal Art School, and a recipient of prestigious aristocratic commissions, Schneider was once a celebrated painter. Today he is practically unknown, even in Germany. If his name is mentioned at all, it usually is only as the illustrator of the hugely successful Karl May novels, a German adventure series set in the American West. This exhibition seeks to do more than resurrect a forgotten career. It asks why his art was less controversial a hundred years ago than it is today.

Turn-of-the-century Germany was a culture modeled on the classical past, reinvigorating classical ideals in art, architecture, and education. The Greek notion of the gymnasium, where young men developed both mind and body together, continues to be the German word for “high school” even today. Schneider, who actually built a body-building studio in his atelier, was an adherent of this classical ideal. And since this attitude toward mental and physical development was by no means an exclusively homosexual one, it was Schneider’s frank depiction of male beauty that made his art, paradoxically, so mainstream. This exhibition is dedicated to Hans-Gerd Röder, who has almost single-handedly safeguarded Schneider’s work. The art shown is from his collection.

Growing Stronger is a distillation of several of Schneider’s key themes. It features a bearded man whose face and pose are likely drawn from ancient Babylonian relief sculptures excavated by the Germans in the late 19th century and relocated to Germany. This quasi-Babylonian figure is depicted as warmly encouraging the strength of a nude youth. In its original early 20th century context, the image would have been seen as an example of the classical ideal of the gymnasium, where naked youth competed for glory. The paternalism evoked in the image, a celebration of masculine achievement, would have made it in no way controversial in Schneider’s time, when countless such images were painted and sculpted in public settings across the country.

In 1919 Schneider convinced the owner of a Dresden department store to let him have the top floor as a combined atelier and bodybuilding studio. Thus was born Schneider’s Kraft-Kunst-Institut (literally, strength-art-institute). The studio contained a complete gymnasium and some of the participants became models for his art. Privately, Schneider complained that the Institute’s recruits who could afford tuition were not the youthful types he desired.

From the spooky Oak Forest on Ruegen Island to the explicit War Cry, Schneider’s work reflects the tumultuous times in which he lived. Born a year before the unification of Germany in 1871, he saw its defeat in World War I and the onerous peace treaty Germany was forced to sign. Images of death, war, and foreboding are constant throughout his long career.

The image of an ephebic youth, poised at the brink of manhood, as the ideal figure of the classical past, became familiar throughout Germany in the early 20th century. This image of youth was also more broadly associated with modernity and change – the German variant of Art Nouveau. Strong and healthy, lifting weights, these youths were available as a virile, nationalistic metaphor for Germany itself carrying a range of associations, not all of them erotic.

Young men had been familiar subjects in Western art, ranging from Renaissance putti to revelers splashing at beaches or swimming holes in the early 20th century, and as such Schneider’s art reflects a much less guarded ethic governing the representation of youth than we see today. But notably, his subjects are not the realist nudes of an earlier era. Simplified, made over into a repetitious pattern, the body here is an exercise in modernity, in formal patterning and aestheticized contours. Whereas French modernism was generally built over the figure of the nude female, German modernity tended to instead invoke the body of a young man.”

Text from the exhibition web page


Sascha Schneider. 'Athlete in Basic Position' 1907


Sascha Schneider
Athlete in Basic Position
Chalk on paper relined on canvas
83.85 x 42.91 in.
Collection of Hans-Gerd Röder


Sascha Schneider. 'Rear View of Nude with Towel' c. 1920


Sascha Schneider
Rear View of Nude with Towel
c. 1920
Oil on canvas
40.15 x 14.56 in
Collection of Hans-Gerd Röder



The Leslie-Lohman Museum of Gay and Lesbian Art
26 Wooster Street, Soho, New York City
T: 212-431-2609

Opening hours:
12pm-6pm Tuesday through Sunday.
The Museum is closed Monday and all major holidays.
Admission is free.

Leslie-Lohman Museum of Gay and Lesbian 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: ‘Mask’ 1994

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