Muto Manifesto, volume 7

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In which Muto Manifesto, the photo-magazine created by ace French photographers Exterface, celebrates a year of publication with a new edition that’s available in two print editions (one of which is already sold out). The model is the splendid Matthieu Charneau who featured in the first issue. See page samples here and in the online version at Issuu. Via Homotography.

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Elsewhere on { feuilleton }
The gay artists archive

Previously on { feuilleton }
Muto: The Exterface Manifesto
Exterface

Tamotsu Yato’s men with katanas

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Unidentified model from Otoko (1972).

Two photos by Tamotsu Yato (c. 1928–1973), a pioneer of homoerotic photography in Japan who published his work in three collections: Young Samurai: Bodybuilders of Japan (1967), Naked festival: A Photo-Essay (1969), and Otoko: Photo-Studies of the Young Japanese Male (1972). Yukio Mishima introduced the first two volumes, and also appeared in the first posing with a sword. The third book was dedicated to Mishima’s memory. This site has a selection from each of the books while Richard Hawkins’ site has a fascinating overview of the photographer’s life and work. Via Form is Void.

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Yukio Mishima from Young Samurai: Bodybuilders of Japan (1967).

Elsewhere on { feuilleton }
The men with swords archive

Previously on { feuilleton }
Forbidden Colours
Mishima’s Rite of Love and Death

Los Bikers by Dënver

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What’s going on here then? An epigraph from Yukio Mishima…an Air-like song…a pair of boys stripping down to their underwear to play bondage games…gorgeous dancers in white briefs performing amid statuary… Yes, it gets my vote.

Dënver are from Chile, and the song is Los Bikers from their 2010 album Música, Gramática, Gimnasia. I’d tell you who directed the video but they’re not very clear about that themselves. There’s more video and music on the inevitable Dënver Myspace page. Via Homotography.

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Previously on { feuilleton }
The Lady Is Dead and The Irrepressibles
Forbidden Colours
Mishima’s Rite of Love and Death

A hustle here, a hustle there…

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Male hustler standing on street corner (1967) photographed by William Gale Gedney.

One of those irresistible confluences of disparate things occurred this week. Watching Todd Haynes’ fabulous Velvet Goldmine for about the tenth time at the weekend had me listening to Lou Reed’s Transformer album the day after. The sight of these New York street photos by William Gale Gedney a couple of days later immediately brought to mind the lyrics of Walk On The Wild Side. The Guardian brought things full circle by posting the 1973 Lester Bangs interview with Lou Reed in which Transformer is discussed, and Reed gives the quote about the glam trend of appearing gay which Ewan McGregor’s Curt Wild character—an amalgam of small parts of Reed and a huge dose of Iggy Pop—paraphrases in Velvet Goldmine:

Wax eloquent, for once and finally, he did. Listen kids, you may think you’ve got your identity crises and sexual lateral squeeze plays touchdown cold just because you came out in rouge ‘n’ glitter for Dave Bowie’s latest show, but listen to your Papa Lou. He’s gotta nother think for you punk knowitalls: “The makeup thing is just a style thing now, like platform shoes. If people have homosexuality in them, it won’t necessarily involve makeup in the first place. You can’t fake being gay, because being gay means you’re going to have to suck cock, or get fucked. I think there’s a very basic thing in a guy if he’s straight where he’s just going to say no: ‘I’ll act gay, I’ll do this and I’ll do that, but I can’t do that.’ Just like a gay person if they wanted to act straight and everything, but if you said, ‘Okay, go ahead, go to bed with a girl,’ they’re going to have to get an erection first, and they can’t do that.”

Never one to mince words is our Lou. YouTube has a video of Reed’s song which sets the music to shots of the real-life people mentioned in his lyrics, hustling Little Joe included. Those of a sensitive disposition should be warned that the surrounding videos seem to be filled with penises. The William Gedney photos are from a substantial collection at Duke University among which there’s a set from a gay march and rally commemorating the tenth anniversary of the Stonewall Riot in 1979.

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Male hustler standing on street corner and lighting cigarette; has shirt open (1967) photographed by William Gale Gedney.

Previously on { feuilleton }
Lonesome Cowboys
Les Demi Dieux revisited
Les Demi Dieux

The Classical alibi in physique photography

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Stowitts photographed by Nickolas Muray.

The title is from two gallery pages at the Queer Arts Resource which runs through a history of the old subterfuge whereby homoerotic pictures were decorated to look suitably Greek or Roman. This seldom fooled anyone, even in Oscar Wilde’s day, but it no doubt helped to keep the studios out of the law courts. Amid the plaster columns and antique props there’s a card I hadn’t seen before promoting dancer and artist Hubert Stowitts whose role as a satyr is one of the most memorable moments in Rex Ingram’s 1926 film of The Magician.

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Jim Galahad.

Also at Queer Arts is a copy of The Dying Gaul with a model who’s in the peak of health and a lot more well-hung than most Greek sculptures.

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This picture is something I found ages ago on a lost web page and now have a tenuous reason to post here. What looks like erotica is actually a fashion shoot (and he’s wearing swimming trunks) but it shows how the Classical mode persists. He looks like he wants to see more of Jim’s sword…

Elsewhere on { feuilleton }
The gay artists archive
The men with swords archive