chapter template 2015 - Inter

The cult of male Body
Naked men in photography and Fashion
Leonardo Iuffrida
Abstract
The male body is the new absolute leading figure in the media. In the era of chat,
cam and cyber sex, men‟s bodies are totally exposed in museums, movies,
advertisings and the most glamorous magazines. It‟s in the photography world that
men have been progressively shown naked but particularly in the heart of fashion
photography, where we usually think about fabrics and clothes, that men have been
presented publicly undressed, making them change their aesthetic and appearance
but, above all, the attitude towards ourselves and the others, eradicating every
residual of the sanctimonious point of view about nudity.
This work is focused on the fashion photographers of the last three decades who
gave and have given to readers a privileged eye to see the changes of men and our
society. These authors inherited all the private and intimate conquests of the
previous colleagues, bringing them to light and taking them in the brightest stages
of fashion. From the classic, Hellenizing solutions of Bruce Weber and Herb Ritts,
going over the edge of pornography with Terry Richardson and Steven Klein, until
the citation of Mariano Vivanco. A hot topic that has been not revealed yet and it
deserves specific attention.
The multidisciplinary method used to analyze this topic is based on the recent
studies of sociology, history of photography and art. Reality and ideal, sexuality
and formalism, classicism and pornography until transgenderism. These are the
main keywords offered to interpret the different styles of the photographers.
Key Words: Nudity, men, sexuality, pornography, fashion, classicism, postmodern, post-human, fetish, transgenderism.
*****
From the XIXth Century until the late 60s the male nude was a private issue and
source of legal problems. 1 The well-known quote of Mark Twain is emblematic to
describe the shadows where the ashamed male nude lived: „Clothes make the man.
Naked people have little or no influence on society‟. But the approach of Herbert
List clarifies the atmosphere of the past too. He was so afraid of being discovered
for having taken pictures of naked men than he hid them in his mother‟s house in a
bag with the words „poisonous materials‟. 2
In 1967 Jean-François Bauret took pictures of a young model for an underwear
advertisement. The Greek guy is a student who hides his genitals with the hands
and looks directly into the camera. It‟s the first naked man in fashion photography.
In 1968 the shot appears into the magazine called „Nova‟. The advertisement is
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followed by a huge reaction of clamor and scandal. The man is eroticized and it
happened not in gay magazines or in photos of private collections, but under the
eyes of the masses.3 In 1971 Yves Saint Laurent was photographed completely
naked by Jean Loup Sieff to advertise his fragrance. 4 The nude officially had
become a fashion theme in historic moments of revolts for freedom.
The main facts that lead the increase of the nudes in the 70s is the female
emancipation and the fights for gay rights. This change created two new potential
characters in the market system that charge the naked male body with eroticism
like the female one. The purpose was precisely the same: selling. 5
We are in the apex of post-modern society. The fall of idols, of the sturdy
points of reference like family, religion, parties, the decentralization of knowledge
caused by the fragmented and partial truths offered by media, the melting-pot of
cultures and races, all of them are features of the post-modern condition.6 In a
period of rapid changes where women are gaining power and freedom, and myriad
models and inputs are wooing people, men lose their patriarchal and dominant role,
feeling themselves vulnerable and without shape, definition, identity and react with
the obsession with gyms and fitness. According to different studies, the exaltation
of body is the sign of manhood crisis, the response of men to have the control of
something.7 Shape your body means shape your life in a society where disciplining
the body gives you success in sex, work and family.8 But muscles are especially
showed off to appropriate the traditional position of superiority on women.9 In the
meantime, HIV creates new fears and fitness and pornography are a protected way
to turn sexual energy and unload erotic fantasies.10 All of what remains of the
collapsing patriarchal role of man in society is the sign of the beginning of that era
called by Jeffrey Deitch as post-human. „The modern era might be characterized as
a period of the discovery of self. Our current post-modern era can be characterized
as a transitional period of the disintegration of self. Perhaps the coming "posthuman" period will be characterized by the reconstruction of self‟,11 wrote Jeffrey
Deitch in the catalogue of the well-known exhibition of 1992. It‟s a reconstruction
and reinvention of ourselves that might be physical or mental.12
If we go back to the history of photography, we can see that the presence of
muscled bodies is not something new but think of the difference of the words of
Mark Twain about nudity and the idea that the naked body is the main indicator of
our subjective identity, the main voice to communicate what we are, how much
power, money and influence we have.13 The idol is Richard Gere in „American
Gigolo‟.14 It‟s the birth of a new kind of man: a heterosexual, well-groomed and
muscled, who after having been a bossy father for centuries, reconciles himself
with his female side and becomes a devoted, tender man who is not afraid of losing
his manhood.15 Another exorcism against the disorientation caused by the
emancipation of women: making the secondary features more feminine.16
The feminine emancipation, the fights for gay rights, together with pure
commercial purposes change the rules of the game and the fashion world
Leonardo Iuffrida
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understand that can talk with its readers even with a naked body, in a sort of
conceptual way. It‟s what happened in a sharp way with the editorial of the 1998 of
Mikael Jannson in „Dutch‟ magazine.
But who are the most important characters who took nudity from the secret
drawers of photographers and collectors, or from the white walls of avant-garde art
galleries, to the mainstream media?
Bruce Weber is one of them. One of the most significant examples of the
change of the 80s and the author of the 20 x 30 meters advertisement of Calvin
Klein, erected on Times Square.17 Compare it with Herbert List‟s fears about his
photographs and you can understand the big gap between them.
Looking at his photos, it‟s possible to notice two styles: the first one in which
naked bodies are presented as perfect sculptures in a classic background inspired
by the ancient Greek culture; the second one in which young naked buddies are set
in a rural environment , enjoying the blossom of their youth. In both cases Bruce
Weber creates an Arcadian world to propose an ideal behaviour to follow, exactly
in a moment where men lost themselves, an emotional state of balance and a subtle
way to reflect the everlasting quality and look of the products advertised.18
Bruce Weber inherited the rich „neo-Greek‟ style of male nudes in
photography. It‟s a file rouge that starts in the XIX th century with the body of
Eugene Sandow, considered an incarnation of Hercules 19 but it‟s with Wilhelm
Von Gloeden‟s photos, between the XIXth and XXth century, that men are put next
to classic Greek ruins, officially opening a sort of new style in photography.20 The
Greek environment was the most common expedient to justify the presence of
nudity and for him was especially the symptom of a refusal of civilization in favor
of an aesthetic hedonism.21 In the 30s and 40s the photos with Tony Sansone 22 or
in general the Nazi and Fascist imagery,23 together with Hebert List masterpieces,24
were deeply connected with Classicism.
Among the others, Herbert list, together with Bob Mizer, are the real two points
of reference for him, not only for the technical affinities, the poses, the camera
angle, but for the content. From Herbert List, Weber has kept the energy, the laidback joy of muscled guys playing on the beaches as if they lived in a Heaven on
Heart;25 from Bob Mizer he has kept the erotic immediacy26 and the idea of
matching sexually charged studs with texts where the viewer can know personal
details about the young men photographed as if the photos were extracts from a
scrapbook or an intimate photo album. Another interesting aspect of his photos is
the choice of models in the peak of their adolescence,27 the quintessential time of
life that represents ambiguity, the symbol of post-modern era but even a
commercial magnet for the new costumers appeared: powerful women and
homosexuals.
Herb Ritts sees the male figure as a sculpture on photographic paper and, 28 if
we look back, the two points of reference are Horst and Hoyningen-Huene, the two
masters of photography who exalted, with light and bright contrasts, the presence
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of the magnificence of classic Greek sculpture in male human bodies.29 With Herb
Ritts we talk about male bodies as sculptures inflamed by Eros. He abstracted what
was in front of him, creating a bare sculpture element charged with sensuality. 30
His photos can be compared with Mapplethorpe‟s ones because they used the same
artistic vocabulary but Herb Ritts‟ photos are more linked with eroticism and desire
than with the lust of his colleague.31 Considering his editorials, Ritts didn‟t play
with adolescence but with the oscillations between masculine and feminine, and
the vague line between the genders to catch the attention of women, straight and
gay men, and to focus the attention on the concept of ambiguity as a synonymous
of the behavior of the confused population of the post-modern culture, crystallized
into an immortal statue.32
What‟s happened between the 90s and the new millennium? The body is a
project, vehicle of new identities. Cosmetic surgery and fitness give us the chance
to change ourselves according to our ideals and desires. The answer to the lost of
values and ideologies is the invention of ourselves.33 Gay men are muscular and
masculine, like in the Calvin Klein ads, while straight men are androgynous and
skinny with a grunge/punk look, like in the Dior Homme by Hedi Slimane fashion
shows, or „metrosexual‟: a straight well-dressed man with a fit body and feminine
features, obsessed with gym and grooming. It‟s an exaggeration of the kind of man
born in the 80‟s. The footballer player David Beckham is the arrival point of this
type of man.
Together with the cult of masculinity (gym/fitness) and the alteration of
secondary sexual features towards the female side, another reaction to the
confusion of the post-modern era and the emancipation of women must be
mentioned. Since the 80s, and in a growing process during the years ahead, an
extreme and compulsive sexuality appears, characterized by an erotic exhibition of
the body as a way to recognize ourselves and attribute identity.34 All these three
aspect are visible in the photos of the artist mentioned in this essay and used by
them to create a specific style. It must not surprise you if, looking at the men in the
fashion editorial of these years, you see an explosion of sex. The germ that was
inoculated in the 80s by Bruce Weber and Herb Ritts is officially a virus that in
2002 make Sølve Sundsbø take a picture of a naked model who shows his penis for
the ad of the YSL fragrance M7. It‟s the officially debut of penis in fashion.35
In the 90s the Hellenic classic filters to see the reality collapse and sex doesn‟t
have boundaries any more. Terry Richardson is one of the bombs that destroy any
idea of abstraction and formalism to open a punk-rock era in fashion photography.
His style is recognizable for the snapshot aesthetic, used to create a direct
relationship with reality and a democratic idea of beauty. The heritage received by
Richardson is the intimate, spontaneous, instinctive, brutally honest and rough
style used by photographers such as Will McBride, David Armstrong, Mark
Morrisroe, Nan Goldin and Jack Pierson since the 70s.36
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His photos are popular for being controversial and scandalous, often called as
„porno-chic‟.37 But are they really close to pornography?
The photography has a powerful value of statement of truth, of proof that what
we are looking at in a photo is a piece of reality because the object, the person in
front of the camera was really in front of it at the moment of the click.38 This is
what happens even if what we see is invented or fake, because we believe that is
true. At the innate power of the camera we have to add the peculiarities of the
pornographic genre. The Italian artist Franco Vaccari said that in this kind of
photos the obsessive exhibition of details and the unlimited approach to the object
are all techniques to substitute the reality and surrogate it completely. And he
added that nowadays the world seems to be transformed into image and the result
is that today, as never happened before, the photographic image is representation
and represented thing, desire and satisfaction. Like in a pervert process, the
pornographic image not only anticipate the action in the world but it represents its
conclusion.39 We have been living in a pornographic society since the 80s and
many are the reasons. First of all pornography was an island where it was believed
it was possible to sublimate sexual desires without the fear of HIV infection.40 The
confused post-modern man thinks that pornography is a virtual place where he can
dominate going on unnoticed and the erotic exhibition of the body is a way for men
to recognize themselves and attribute identity.41 Furthermore the mixing and
matching of high and low culture are features of post-modern era.42
The pornography will come in the fashion world with designers like Thierry
Mugler, Versace and Vivienne Westwood43 and across the new millennium it is
used for commercial purpose or for meditating on ethic intent. Among the most
significant examples are the Tom Ford advertisement and David LaChapelle‟s
photos for the shoe brand Patrick Cox in 2003 where gluteus and sexual acts are
mixed with cloths or perfumes. The next question is: is pornography influencing
our lives or is it just a parallel dimension that doesn‟t have any connection with our
daily life? According to J. C. Adams, the Falcon aesthetic, one of the most
important cinematographic porno production between 80s and 90s, based on men
with a clean face, without hairs and tattoos, offered a male ideal to many
photographers of that time, creating the typical stereotype of Calvin Klein
advertisements and what nowadays we call as metrosexual.44 So, it is not so hard to
think that the incredible spread of beards and hairs in the actual urban style comes
from mainstream cinematographic gay porno production such as Titan Media or
Pantheon that have had a huge success all over the world.
Going back to Terry Richardson, he is considerable pornographic because
there‟s a direct exhibition of reality and for the intensive eroticism of his pictures
but the most important thing is that he introduces seduction, desire and sexuality in
the real life, in the studio or where the photos are taken,45 instead the pornographic
photos substitute the reality and deceive people, making them think that thing and
its representation, desire and its satisfaction are coincident with each others, not
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anticipating or stimulating an action in life but being its conclusion.46 Another
important aspect is that in pornography everyone is playing a role in a fiction
whereas in Richardson‟s images everything is a real documentation of a playful
erotic experience. In any way the big merit of Richardson has been to take a big
amount of sex in the fashion industry.
Steven Klein is the other protagonist of the years around the new millennium.
As a photographer, he can be considered a pornographic director specialized in
fetishism. There are several authors that in the past used this subject, like Fred
Holland Day in the XIXth Century,47 George Platt Lynes between the 30s and the
40s,48 Bob Mizer in the 50s,49 Robert Mapplethorpe in the 70s50 but, if for George
Platt Lynes the sadomasochism was a way to show the subtle stress and suffering
linked with the difficulties to live his homosexuality,51 different is the background
of Klein. In times where sexual liberation has broken many boundaries, Klein uses
the fetishism to reveal the artificiality of our present. His images are populated by
post-human bodies, polished as mannequins, perfect as robots.52 We must
remember that in fetishism, clothes are charged of erotic power while bodies
become simple supports of that specific item of clothing, so the object becomes
alive and the human body becomes a thing.53 In the same way works the
pornographic image that is charged of so much erotic desire that it becomes
satisfaction and conclusion of fantasies for itself, depriving the reality of sense.
Terry Richardson and Steven Klein walk along the streets of porno, fighting
again the artificial world of post-human era, where bodies and identities are fake
but with different stylistic results. The first one proposes a bare, rough and
immediate reality, the second one plays with the stereotypes and peculiarities of
pornographic mise-en-scene. For both of them it‟s a critique vision of the present.
Beyond the 2010 the male naked body is accepted, not only with half naked
men who allude to sex but with the direct show of genitals in their glory. Just to
give some examples: the model Andres Velencoso Segura portrayed by Inez Van
Lamsweerde and Vinoodh Matadin in 2009 in „Arena Homme Plus‟, the editorial
Unchained by Sølve Sundsbø in 2013 in „Vogue Hommes International‟, the
editorial Raw Touch made by Richard Burbridge in 2010 in „10 Men‟, the 2013
cover of „Dutch‟ made by Will McBride and the 2015 cover of „Man in Town‟
made by Alasdair McLellan. In the digital era of xtube, sex cam and porno
websites, we are getting used to accept and love the complexity of male nudity of
others and ourselves. Men are masculine, full of muscled, hairs and beards. The
metrosexual is replaced by the „spornosexual‟, a man who is not afraid to show off
his naked body and uses it to communicate himself and his style, without the
dependency on clothes.54 The make-up is left to transgenders who want to build
new identities and reveal their inner themselves. Magazines like „Candy‟ use the
power of photography to make believable the mask that everyone creates, proving
the existence of them. Young photographers keep the powder of the Hellenic ruins
neglected by the previous colleagues to create new references to the ancient Greek
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time, like Mariano Vivanco, who make models like heroes, impeccable new
archetypes of beauty.55 Nicola Formichetti, during his leadership as head designer
for Thierry Mugler, united the Greek Myth with pornography, revealing internet as
the new Arcadia, a place where everyone can freely live the plurality of his own
sexuality.56
Notes
1
Ulrich Pohlmann, „La Fotografia di Nudo nell‟Ottocento,‟ Il Nudo fra Ideale e
Realtà: dall’Invenzione della Fotografia a Oggi, ed. Peter Weiermair (Firenze:
ArtificioSkira, 2004), 16; Jim Dolinsky, Il nudo maschile nella fotografia del XIX
e del XX sec., ed. Peter Weiermair (Ravenna: Edizioni Essegi, 1987), 87;
Emmanuel Cooper, Fully Exposed. The Male Nude in Photography (London:
Routledge, 1996), 103, 125-32, 186, 202; Kevin Clarke, Porn. From Andy Warhol
to x-tube, (Berlin: Bruno Gmünder Varlag GmbH, 2011), 40-41; F. Valentine
Hoover III, Beefcake. The Muscle Magazine of America 1950-1970 (Köln:
Taschen, 2002), 54, 122-24.
2
E. White, „Eros e Fotografia. Gli Appassionati Intermediari del Corpo,‟ Herbert
List. Monografia, ed. Matthias Harder and Max Scheler (Firenze: Alinari, 2002),
151.
3
David Leddick, The Male Nude, (Köln: Taschen, 2001), 397; Cooper, Fully
Exposed. The Male Nude in Photography, 123; Pierre Borhan, Uomini per Uomini.
Omoerotismo e Omosessualità Maschile nella Storia della Fotografia dal 1840 ai
nostri giorni, (Milano: Rizzoli, 2007), 124.
4
Leddick, The Male Nude, 397.
5
Weiermair, ed., Il Nudo Maschile nella Fotografia del XIX e del XX sec., 5;
Marco Alberio, „La Metamorfosi del Corpo Maschile nei Media,‟ Uomini e Corpi.
Una Riflessione sui Rivestimenti della Mascolinità, ed. Elisabetta Ruspini (Milano:
Franco Angeli, 2009), 215-16; John Beynon, „The commercialization of
Masculinities. From the “New Man” to the “New Lad”,‟ Critical Readings: Media
and Gender, ed. Cynthia Carter and Linda Steiner (Maidenhead: Open University
Press, 2004), 198-217.
6
Valentina Zanetti et al., „Postmodernità,‟ Contemporanea. Arte dal 1950 ad Oggi,
(Milano: Mondadori, 2008) 770-71; Jeffrey Deitch, Post-human, (Amsterdam: Idea
Books European distribution, 1992), 148.
7
Paul Jobling, Fashion Spreads. Word and Image in Fashion Photography since
1980, (Oxford-New York: Berg, 2006) 169-70; Marco Inghilleri and Nicola
Gasparini, „Coito Ergo Sum. La Sessualità come Terreno di Conferma Identitaria
del Maschile,‟ Uomini e Corpi. Una Riflessione sui Mutamenti della Mascolinità,
151-172; Saveria Capecchi, „Il corpo Perfetto. Genere, Media e Processi Identitari,‟
Media, Corpi, Sessualità. Dai Corpi Esibiti al Cyber Sex, ed. Saveria Capecchi and
Elisabetta Ruspini (Milano: Franco Angeli, 2009) 51.
8
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8
Capecchi, „Il Corpo Perfetto. Genere, Media e Processi Identitari,‟ 38-51.
Ibid., 51; Elisabetta Ruspini, ed., „Introduzione. Corpi e Mascolinità tra Passato,
Presente e Futuro,‟ Uomini e Corpi. Una Riflessione sui Mutamenti della
mascolinità, 22-23; Marco Inghilleri and Nicola Gasparini, „Coito ergo sum. La
Sessualità come Terreno di Conferma Identitaria del Maschile,‟ 151-172.
10
Cooper, Fully exposed. The Male Nude in Photography, 109, 133.
11
Jeffrey Deitch, Post-human, 147.
12
Elio Grazioli, Corpo e Figura Umana nella Fotografia (Milano: Bruno
Mondadori, 1998) 146-47.
13
Capecchi, „Il Corpo Perfetto. Genere, Media e Processi Identitari,‟ 37.
14
Claudio Marra, Nelle Ombre di un Sogno. Storia e Idee della Fotografia di
Moda, (Milano: Bruno Mondadori, 2004) 175-76; François Quintin, „Interview
with Herb Ritts,‟ Herb Ritts, ed. H. Chandès (New York : Thames & Hudson,
2000) 6, 82.
15
Andrew Bolton, „Uomo Nuovo/Vecchie Mode,‟ Excess. Moda e Underground
negli Anni ’80, ed. Maria Luisa Frisa and Stefano Tonchi (Milano: Charta, 2004),
277-80; Capecchi, „Il Corpo Perfetto. Genere, Media e Processi Identitari,‟ 48-49;
Alberio, „La Metamorfosi del Corpo Maschile nei Media,‟ 217-18; Rossella Ghigi,
„I Complessi di Narciso. Gli Uomini e la Chirugia Estetica,‟ Uomini e Corpi. Una
Riflessione sui Rivestimenti della Mascolinità, 231-32.
16
Marco Inghilleri and Nicola Gasparini, „Coito Ergo Sum. La Sessualità come
Terreno di Conferma Identitaria del Maschile,‟ 151-172.
17
Michele Ciavarella, „Bruce Weber,‟ Excess. Moda e Underground negli Anni
’80, 90; Cooper, Fully Exposed. The Male Nude in Photography, 123.
18
Cooper, Fully Exposed. The Male Nude in Photography, 125.
19
Borhan, Uomini per Uomini. Omoerotismo e Omosessualità Maschile nella
Storia della Fotografia dal 1840 ai Nostri Giorni, 28; Cooper, Fully exposed. The
Male Nude in Photography, 92; Peter Kühnst, Physique. Classic Photographs of
Naked Athletes (London-New York: Thames & Hudson, 2004), 34.
20
Borhan, Uomini per Uomini. Omoerotismo e Omosessualità Maschile nella
Storia della Fotografia dal 1840 ai Nostri Giorni, 44; Weiermair, Il Nudo
Maschile nella Fotografia del XIX e del XX sec., 9.
21
Weiermair, Il Nudo Maschile nella Fotografia del XIX e del XX sec., 5-7;
Pohlmann, „Wilhelm von Gloeden: la Visione di un Paradiso Terrestre Fin de
Siècle,‟ Il nudo Maschile nella Fotografia del XIX e del XX sec., 30.
22
Dolinsky, Il Nudo Maschile nella Fotografia del XIX e del XX sec., 79; Cooper,
Fully Exposed. The Male Nude in Photography, 100, 168, 173.
23
Lorenzo Benadusi, „Storia del Corpo Maschile,‟ Introduzione. Corpi e
Mascolinità tra Passato, Presente e Futuro, 45-51; Kühnst, Physique. Classic
Photographs of Naked Athletes, 77-81; E. White, „Eros e Fotografia. Gli
Appassionati Intermediari del Corpo,‟ 150-51.
9
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24
Matthias Harder, „Mito e Apocalisse. Dall‟Antichità alla Realtà del Dopoguerra,‟
Herbert List. Monografia, 10; E. White, „Eros e Fotografia. Gli Appassionati
Intermediari del Corpo,‟ 143-48.
25
Bruce Weber, „Il Meglio di Sè. Sulle Tracce di Herbert List,‟ Herbert List.
Monografia, 19, 21; E. White, „Eros e Fotografia. Gli Appassionati Intermediari
del Corpo,‟ 145-47.
26
Jobling, Fashion Spreads. Word and Image in Fashion Photography since 1980,
150.
27
Claudio Marra, Fotografia e Pittura nel Novecento. Una Storia Senza
Combattimento (Milano: Bruno Mondadori, 2004), 213-14; Marra, Nelle Ombre di
un Sogno. Storia e Idee della Fotografia di Moda, 170-75.
28
Joechen Siemens, „The Sculptor,‟ in Herb Ritts. Stern Portfolio n. 58 (TeNeues,
2010), 6.
29
Norberto Angeletti and Alberto Oliva, In Vogue (Milano: Rizzoli, 2007), 318;
Joechen Siemens, „The Sculptor,‟ 7; Patrick Roegiers, „Herb Ritts, a High-Flying
Stylist,‟ Herb Ritts, ed. H. Chandès (New York: Thames & Hudson, 2000), 7.
30
François Quintin, „Interview with Herb Ritts,‟ np.
31
Patrick Roegiers, „Herb Ritts, a High-Flying Stylist,‟ 7-9; François Quintin,
„Interview with Herb Ritts,‟ 87-96 ; Joechen Siemens, „The Sculptor,‟ 7.
32
Jobling, Fashion Spreads. Word and Image in Fashion Photography since 1980,
149.
33
Grazioli, Corpo e Figura Umana nella Fotografia, 146-47.
34
Marco Inghilleri and Nicola Gasparini, „Coito ergo sum. La sessualità come
terreno di conferma identitaria del maschile,‟ 151-72.
35
Borhan, Uomini per Uomini. Omoerotismo e omosessualità maschile nella storia
della Fotografia dal 1840 ai Nostri Giorni, 211.
36
Leddick, The Male Nude, 399.
37
Gavin McInnes and Olivier Zahm, „Una Conversazione fra Due Mondi,‟
Terryworld. Fotografie di Terry Richardson, ed. Diane Hanson (Köln: Taschen,
2004).
38
Charles Sanders Peirce, Semiotica (Torino: Einaudi, 1980) 158; Marra,
Fotografia e Pittura nel Novecento. Una Storia Senza Combattimento, 177, 23132; Claudio Marra, „La Realtà che Conferma il Reale,‟ ed. Peter Weiermair
(Firenze: ArtificioSkira, 2004), 76.
39
Franco Vaccari, Fotografia e Inconscio Tecnologico, ed. Roberta Valtorta
(Torino: Einaudi 2011) 38-39; Jean Baudrillard, De la Séduction (Paris : Galilée,
1979), 37.
40
Cooper, Fully Exposed. The Male Nude in Photography, 109, 133, 241.
41
Pamela Paul, Pornopotere. Come l’Industria Porno Sta Trasformando la Nostra
Vita (Milano: Orme Editori, 2005), 53; Marco Inghilleri and Nicola Gasparini,
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„Coito Ergo Sum. La Sessualità come Terreno di Conferma Identitaria del
Maschile,‟ 151-172.
42
Grazioli, Corpo e Figura Umana nella Fotografia, 295.
43
Emanuela Ciuffoli, „Wired for Sex. Pornoperformatività in Rete,‟ Media, Corpi,
Sessualità. Dai Corpi Esibiti al Cyber Sex, ed. Saveria Capecchi and Elisabetta
Ruspini (Milano: Franco Angeli, 2009), 203; Valerie Steele, Fetish. Moda, Sesso e
Potere, (Roma: Maltemi 2005).
44
Clarke, Porn. From Andy Warhol to X-Tube, 33.
45
McInnes and Zahm, „Una Conversazione fra Due Mondi,‟.
46
Vaccari, Fotografia e Inconscio Tecnologico, 38-39.
47
Borhan, Uomini per Uomini. Omoerotismo e Omosessualità Maschile nella
Storia della Fotografia dal 1840 ai Nostri Giorni, 47-48; Cooper, Fully Exposed.
The Male Nude in Photography, 160.
48
Cooper, Fully Exposed. The Male Nude in Photography, 176.
49
Ibid, 103.
50
Jonathan Nelson, „Mapplethorpe, alla Ricerca di una Bellezza Intensa e
Ordinaria,‟ Robert Mapplethorpe. La Perfezione nella Forma, ed. Franca Falletti
and Jonathan Nelson (New York: teNeues 2009), 21, 51.
51
E. White, „Eros e Fotografia. Gli Appassionati Intermediari del Corpo,‟ 147;
Cooper, Fully Exposed. The Male Nude in Photography, 176.
52
Leonardo Iuffrida, „Steven Klein. Lo Sguardo Provocante della Fotografia di
Moda,‟ Obiettivo Moda. Incursioni nella Fotografia di Moda Contemporanea, ed.
Federica Muzzarelli (Bologna: Bononia University Press, 2010).
53
Steele, Fetish. Moda, Sesso e Potere, 283.
54
Mark Simpson, „The Metrosexual is Dead. Long Live the “Spornosexual”,‟ The
Telegraph,
10
June
2014,
viewed
on
08
July
2015,
http://www.telegraph.co.uk/men/fashion-and-style/10881682/The-metrosexual-isdead.-Long-live-the-spornosexual.html.
55
Mariano Vivanco, Uomini, Rizzoli, Milano 2010.
56
http://www.xtube.com/mugler/ np.
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Bio
Leonardo Iuffrida is a freelance writer and blogger. He has a Masters in Visual
Arts from the University of Bologna. His essays were published by Bononia
University Press, Silvana Editoriale and Skira. He has written fashion articles for
magazines like GQ, Fondazione Pitti Discovery and his own blog: realnob.com