Courtesy of Autograph, London.Over the last six decades, artists have consistently sought to destabilise the narrow definitions of gender that determine our social structures in order to encourage new ways of thinking about identity, gender and sexuality. © Rotimi Fani-Kayode. © Rotimi Fani-Kayode. Exclusive to the Barbican. © Karlheinz Weinberger. From the series Gentlemen, 1981–83. Touching on queer identity, race, power and patriarchy, men as seen by women, stereotypes of dominant masculinity as well as the family, the exhibition presents masculinity in all its myriad forms, rife with contradictions and complexities. Simone de Beauvoir’s famous declaration that ‘one is not born a woman, but rather becomes one’ provides a helpful springboard for considering what it means to be a male in today’s world, as well as the place of photography and film in shaping masculinity. The artists gathered here have all variously attempted to expose and subvert how certain types of masculine behaviour have created inequalities both between and within gender identities. From the series Gentlemen, 1981–83. What we have thought of as ‘masculine’ has changed considerably throughout history and within different cultures. Catherine Opie, Rusty, 2008.
Dimensions: 22.8cm x 32cm Against this background, or motivated by its legacy, the artists gathered here have made men their subject with the radical intention of subverting their power, calling into question the notion that men are active and women passive. © Hilary Lloyd, Courtesy Galerie Neu, Berlin; Sadie Coles HQ, London; Greene Naftali, New York.Hilary Lloyd, Colin #2, 1999. Their respective projects marked a new departure in the way men photographed each other, serving as a commentary on how old age engenders a loss of masculinity. Courtesy the artist and Hales Gallery. Sunil Gupta, Untitled #22 from the series Christopher Street, 1976. In contrast, filmmakers such as Tracey Moffatt and Hilary Lloyd turn the tables on male representations of desire to foreground the power of the female gaze. Tate: Gift Eric and Louise Franck London Collection 2013.‘Male Order’ invites the viewer to reflect on the construction of male power, gender and class. In the early 1970s pioneers of feminist art such as Laurie Anderson and Annette Messager consciously objectified the male body in a bid to expose the uncomfortable nature of the dominant male gaze. All Rights Reserved, DACS 2019.Bas Jan Ader, Laurie Anderson, Kenneth Anger, Knut Åsdam, Richard Avedon, Aneta Bartos, Richard Billingham, Cassils, Sam Contis, John Coplans, Jeremy Deller, Rienke Dijkstra, George Dureau, Thomas Dworzak, Hans Eijkelboom, Fouad Elkoury, Rotimi Fani-Kayode, Hal Fischer, Samuel Fosso, Anna Fox, Masahisa Fukase, Sunil Gupta, Peter Hujar, Liz Johnson Artur, Isaac Julien, Kiluanji Kia Henda, Karen Knorr, Deana Lawson, Hilary Lloyd, Robert Mapplethrope, Peter Marlow, Ana Mendieta, Anenette Messager, Duane Michals, Tracey Moffat, Andrew Moisey, Richard Mosse, Adi Nes, Catherine Opie, Elle Pérez, Herb Ritts, Kalen Na'il Roach, Collier Schorr, Paul Mpagi Sepuya, Clarie Strand, Michael Subotzky, Larry Sultan, Hank Willis Thomas, Wolfgang Tillmans, Piotr Uklański, Andy Warhol, Karlheinz Weinberger, Marianne Wex, David Wojnarowicz, Akram Zaatari Prints from the exhibition are also available to purchase in the Art Gallery Shop or online.
Loss and the ageing male figure are central to the work of both Masahisa Fukase and Larry Sultan. From the series High School Football, 2007–2009. Across different cultures and spaces, the military has been central to the construction of masculine identities – which has been explored through the work of Wolfgang Tillmans and Adi Nes among others, while Collier Schorr and Sam Contis’s powerful works address the dominant and enduring representation of the lone cowboy. In contrast to the conventions of the traditional family portrait, the artists gathered here deliberately set out to record the ‘messiness’ of life, reflecting on misogyny, violence, sexuality, mortality, intimacy and unfolding family dramas, presenting a more complex and not always comfortable vision of fatherhood and masculinity. Courtesy the artist and Hales Gallery. Courtesy Galerie Esther Woerdehoff.Karlheinz Weinberger, Horseshoe buckle, 1962.
The exhibition Masculinities: Liberation through Photography is reopening at the Barbican from 13 July to 23 August 2020.
Rotimi Fani-Kayode, Untitled, c. 1985. The poster features Untitled by Rotimi Fani-Kayode. A2 poster, printed on 300gsm uncoated paper. Courtesy Galerie Esther Woerdehoff. © Sunil Gupta. Meanwhile, the father-daughter relationship is brought into sharp focus in Aneta Bartos’s sexually charged series Masahisa Fukase, Masahisa and Sukezo, 1972. The traditional social dominance of the male has determined a gender hierarchy which continues to underpin societies around the world.
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