2019 ESPAÑA REVISTA DEL COMITE ESPAÑOL DE ICOM Nº14

MUSEOS Y GÉNERO: ¿y los hombres? (HOMO)SEXUALIDAD INDUMENTARIA SUMARIO MASCULINA MASCULINA REVISTA DEL COMITÉ ESPAÑOL DE ICOM HELLO SAILOR! EXHIBITING VOYAGE OF THE Director 2019 Luis Grau Lobo 42 THE QUEER MASCULINITY OF 116 MATERIAL MAN: FLOATING HEAVENS, MERSEYSIDE DECONSTRUCTING REVISTA DEL COMITE ESPAÑOL DE ICOM Nº14 Coordinadora del presente número MASCULINITIES Liliane Cuesta Davignon MARITIME MUSEUM, UK Jo Stanley INTERVIEW WITH Editoras GIANNINO MALOSSI, Judith Ara Lázaro Liliane Cuesta Davignon HIDDEN HISTORIES: 20TH THE MAN BEHIND THE Nuria Rivero 52 CENTURY MALE SAME SEX MATERIAL MAN María San Sebastián LOVERS IN THE VISUAL ARTS AN Gianinno Malossi Comité de Redacción EXHIBITION AND BOOK Judith Ara Lázaro TRADITIONAL TO Mª Dolores Baena Alcántara Michael Petry Koré Escobar Zamora 130 EXTREME: TWO Luis Grau Lobo WATER CLOSET WISDOM: QUEER MENSWEAR EXHIBITIONS Teresa Reyes i Bellmunt 60 SEXUALITY AND HISTORICAL AT THE PHILADELPHIA Rafael Rodríguez Obando Mónica Ruiz Bremón HOUSE MUSEUMS MUSEUM María San Sebastián Joshua G. Adair OF ART Joan Seguí Seguí MUSEOS Y GÉNERO: Kristina Haugland Gerencia de ICOM España ¿y los hombres? Nuria Rivero Barajas ARTIST/REBEL/DANDY: Diseño y Maquetación LA MASCULINIDAD 144 MEN OF FASHION Miján Industrias Gráfi cas PRESENTACIONES CUESTIONADA Kate Irvin Imagen de portada: Laurie Brewer Ilse Haider, Mr. Big, installation in the STRONGER AND WEAKER SEXES: courtyard of the MuseumsQuartier. Luis Grau Lobo REIGNING MEN:FOCUSING Walk-in sculpture, digital print on wood, 72 REMARKS ON AN EXHIBITION AT 900 x 300 x 420 cm. Courtesy Galerie 04 KUNSTMUSEUM BERN 156 ON MENSWEAR AT THE Steinek, Wien / Vienna Liliane Cuesta Davignon Kathleen Bühler LOS ANGELES COUNTY 06 MUSEUM OF ART (LACMA) (EN)CLAVE MASCULINO Sharon Takeda LECTURA DE LA COLECCIÓN DEL ISSN 2173 - 9250 80 MUSEO NACIONAL DE BELLAS Desde 1946, el Consejo International de INTRODUCCIÓN ARTES, SANTIAGO DE CHILE Museos representa a los museos y sus A MODO DE EPÍLOGO: profesionales. La organización acompaña LOS MUSEOS Gloria Cortés a los actores de la comunidad museística EL MUSEO COMO en su misión de preservar, conservar y 08 Y EL “OTRO” GÉNERO transmitir los bienes culturales MAN UP! MASCULINITY Liliane Cuesta Davignon “CAMPO DE COLABORADORES: 90 IN QUESTION Roman Stollenwerk BATALLA” DEL GÉNERO HOMBRES. ENTRE DOS SIGLOS EL DESNUDO XIX-XX. EXPOSICIÓN TEMPORAL LA IMAGEN DEL HOMBRE ICOM España no se hace responsable de 102 las opiniones vertidas por los autores en sus MASCULINO EN EL Y NUEVA PUBLICACIÓN. 170 A TRAVÉS DEL CONCEPTO artículos. ARTE MUSEO HISTÓRICO NACIONAL DE CLÁSICO DE BELLEZA CHILE FEMENINA. EL PROYECTO NUDE MEN FROM 1800 TO Fernando Imas B. V DE ADRIÁN PINO 28 THE PRESENT DAY OLIVERA Mario Rojas T. Klaus Pokorny Isabel Justo Distribución exclusiva por Internet [ 4 ] CE DIGITAL PRESENTACIÓN LUIS GRAU LOBO [ 5 ]

ue las cuestiones de a veces con el azogue desgastado por género se hallen en el ojo falta de uso, a veces con su superfi cie del huracán, como sucede fragmentada en pedazos, cada uno de los con todo debate candente, cuales logra proporcionarnos, sin embargo, Qse convierte en un arma de una imagen completa por minúsculo que doble fi lo. Por una parte se benefi cian sea su tamaño. Ese carácter literalmente de los aspectos positivos de la apertura de especulativo les confi ere unas facultades diálogos sobre temas de actualidad en que hemos de ser capaces de aprovechar. absoluto cerrados, destinados a obtener nuevas visiones y recientes certezas acerca ICOM España, que ya ofreció a la de cuestiones de siempre, a menudo comunidad museística en anteriores desdeñadas o simplemente ignoradas. Por números de su publicación de cabecera otro, sin embargo, dan ocasión a polémicas refl exiones al hilo del género desde a menudo estériles o espoleadas por otros otras perspectivas, lo hace ahora con la intereses, y a la extensión de actitudes mirada puesta en los hombres, habituales hostiles en estos tiempos trémulos donde protagonistas del vetusto discurso se diría que hay que explicar asuntos dados cultural y hoy, quizás, víctimas también por sabidos hace tiempo y que regresan de la institucionalización de este y de los en ciertos ámbitos a posiciones de gran estereotipos; acartonados personajes de sí intransigencia, cuando no profundamente mismos. reaccionarias. El cuestionamiento de No quiero terminar, por supuesto, sin conceptos y políticas igualitarias admitidas reconocer y felicitar en nombre del y sancionadas socialmente hace tanto ya, supone, más que un retroceso ideológico Consejo que presido y de los miembros de –que también–, un fracaso socio-cultural nuestra organización a los autores y, muy incuestionable. Y un peligro. en especial, a Liliane Cuesta , coordinadora de este interesantísimo volumen, que, Como institución cultural de referencia de nuevo, generosa y fructíferamente, y de pensamiento, los museos son uno nos permite refl exionar a todos con la de los ámbitos destinados a sosegar y autoridad de quienes han dedicado centrar dichos debates y situarlos en tiempo, esfuerzo y perspicacia a temas tan su justa medida merced a su anhelo novedosos como indispensables. Gracias. de comprensión y a la exposición de procesos creativos e históricos, siempre tan reveladores y efi caces a la hora de Luis Grau Lobo entendernos a nosotros mismos. Los museos se comportan como un espejo, Presidente de ICOM España PRESENTACIÓN

Figura 1. Carnival in Sciacca. Sicily. Photo byFranco Zecchin © Fair Use [ 6 ] CE DIGITAL PRESENTACIÓN LILIANE CUESTA [ 7 ]

n 2013, esta misma a la obtención más o menos queer masculinas. Como punto de vista, es que se trata de interesante de esta aportación es, PRE revista publicó el difi cultosa de contribuciones que hemos dicho, las movimientos una relectura de la exposición bajo nuestro punto de vista, no número especial ilustren el panorama museal en reivindicativos de gays y lesbianas permanente del museo, centrada sólo la disolución de las fronteras “Museos, género el ámbito de la masculinidad. contribuyeron al desarrollo de los en el análisis de la representación entre lo femenino y lo masculino, SEN y sexualidad”. En Ello explica también la extensión estudios sobre la masculinidad (cf. del hombre a través de las sino el uso del museo como Ela presentación del mismo, desigual de cada apartado. En p. 9) y a la visibilización de dichos obras de la colección, y un “campo de batalla” del género. No aludíamos al interés del hombre otros términos, la estructura colectivos. Los tres ejemplos cuestionamiento del museo como es la primera vez que un artista, TA como objeto de estudio pero y contenidos distan mucho proceden de ámbitos muy mantenedor de unos estereotipos en connivencia o no, como en el número no contaba con de ser los ideales. Por ello diversos: la contribución de y modelos de género promovidos el caso de Adrián Pino, con los ninguna contribución referida presentaremos brevemente Jo Stanley se centra en la por el arte. responsables de la institución, CIÓN historia secreta de los marineros a la representación del género los distintos apartados que El cuarto apartado está dedicado interviene el museo para hablar masculino en los museos. Con conforman la revista aludiendo gays en una época en que la Liliane Inés a la moda e indumentaria de género y, en defi nitiva, de este número, motivado por la igualmente a las ausencias y homosexualidad estaba prohibida masculinas como marcadores de cómo los museos, como lugares Cuesta Davignon multiplicación de exposiciones lagunas. en Inglaterra; Michael Petry género. El proyecto desarrollado patrimoniales, ayudan a perpetuar temporales dedicadas al presenta el proyecto “Hidden Conservadora de museo. La inclusión de un primer por Gianinno Malossi, aunque estereotipos y desigualdades hombre y la masculinidad en los histories” sobre la homosexualidad 2 MUSEO NACIONAL apartado dedicado a la no se exhibiera en un museo, de género . Este interés por el últimos años, se pretende suplir masculina en las artes visuales del DE CERÁMICA Y ARTES representación del desnudo presenta el interés de analizar museo por parte de artistas esta defi ciencia y explorar las siglo XX, y Joshua Adair analiza la SUNTUARIAS masculino en el arte (occidental) las representaciones de la de claro perfi l reivindicativo y iniciativas y experiencias llevadas invisibilización de la sexualidad está motivada por la existencia de masculinidad en el campo de la activista demuestra el poder de “GONZÁLEZ MARTÍ” a cabo en este campo desde los queer de los hombres a los cuales numerosos estudios al respecto cultura visual en general (arte, las instituciones museales como museos1. se ha dedicado una casa museo. (cf. p. 14) y la organización en cine, publicidad, moda). Le siguen receptáculos de un discurso de Antes de abordar la estructura de En las dos últimas décadas y la presente década de varias tres exposiciones recientes corte heteropatriarcal. este número, hemos de advertir especialmente en el campo de la exposiciones sobre el tema (cf. centradas en la indumentaria Aún estando representadas que se encuentra supeditada creación contemporánea, se han p. 17-19). Integrado por la sola masculina (Kristina Haugland del diversas disciplinas (historia celebrado un número importante contribución de Klaus Pokorny, Philadelphia Museum of Art, Kate Desde estas líneas agradecemos a del arte, arte contemporáneo, de exposiciones que analizan la Luis Grau, presidente de ICOM España, debido a los motivos aludidos Irvin y Laurie Brewer del museo historia, indumentaria…), existe y su Comité Ejecutivo el haber apoyado llamada “crisis de la masculinidad” anteriormente, el apartado del Rhode Island School of Design una importante laguna: un esta iniciativa, así como a todos los y cuestionan el ser hombre como cuenta con el ejemplo de la y Sharon Takeda del LACMA) autores que han contribuido a este enfoque desde la antropología y una identidad estable y universal. número especial exposición celebrada en 2012 en que ofrecen un contrapunto a el cruce de la categoría “hombre” A ello responde el tercer apartado 1 Nos ceñimos aquí a los individuos el Leopold Museum de Viena y la tradicional preponderancia de la revista que incluye dos con el de etnicidad que ciertas de sexo masculino cuya identidad comisariada por Tobias Nätter, de exposiciones y colecciones exposiciones han puesto de de género corresponde a la de contribuciones del ámbito del “Nackte Männer”, vinculada en de indumentaria femenina y “hombre”, al margen de su orientación arte contemporáneo (Kathleen manifi esto (cf. p. y p. 16 y 19). sexual y su expresión de género, sin cierta manera a las celebradas contribuyen a cuestionar la idea Bühler y Roman Stollenwerk), por ello tratarlo como un conjunto posteriormente en París (Musée de que la moda es un asunto de 2 Véase la obra de las Guerrilla Girls homogéneo. A lo largo de este número una del ámbito del arte no o de la artista Deborah de Robertis. d’Orsay, 2013) y México DF (Museo mujeres. tratamos de resaltar precisamente la contemporáneo en las colecciones La diferencia de la obra de Pino con diversidad fl uctuante de identidades Nacional de Arte, 2014). estas artistas radica en que se trata del Museo Nacional de Bellas A modo de epílogo, Isabel Justo que se esconden tras los términos de un hombre cuyo objetivo no es la El siguiente apartado reúne tres “hombre” y “masculinidad”. Sin Artes de Chile (Gloria Cortés) presenta el proyecto V (de Venus) denuncia de una invisibilidad de las embargo no incluimos identidades contribuciones centradas en y otra del campo de la historia del performer Adrián Pino Olivera artistas mujeres o de la representación trans ni terceros géneros por conllevar de la imagen de la mujer. Pero al la sexualidad de los hombres (Fernando Imás y Mario Rojas). que usa su cuerpo de hombre problemáticas distintas y susceptibles usar su cuerpo está cuestionando de ser objeto de una publicación y más precisamente en la El interés añadido que presenta para rendir homenaje al desnudo el modelo tradicional masculino, la aparte. homosexualidad y sexualidad el texto de Cortés, bajo nuestro y belleza clásica femeninos. Lo masculinidad hegemónica. [ 8 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 9 ] Los Los estudios de museos la masculinidad

os llamados estudios de la mascu- vista androcéntrico y excluyente no signifi ca y el “otro” linidad abarcan varias disciplinas estudiar la masculinidad, lo específi co y y tienen como objetivo el estudio plural que puede haber en ella. La ruptura y de la diversidad de identidades la novedad consiste por lo tanto en tratar al masculinas así como el concepto hombre como objeto de investigación, como género Lde masculinidad más allá o al margen de lo categoría sociológica específi ca, como grupo biológico (Martín, 2007: 89). social implicado en relaciones jerárquicas (Le Liliane Inés Cuesta Davignon Surgen a raíz de la aparición de los estudios Talec, 2016: 2). Conservadora de museo. sobre la mujer (Women Studies) y de los estudios feministas, y de la reivindicación MUSEO NACIONAL DE CERÁMICA Y La formación del de los hombres contra el patriarcado que ARTES SUNTUARIAS “GONZÁLEZ MARTÍ” concibe un modelo de hombre, un patrón concepto “género”

INTRODUCCIÓN [email protected] que no da cabida a otras identidades masculinas. Según Martín, el patrón En una fecha tan temprana como 1929, Joan patriarcal es “una construcción específi ca de Rivière en su artículo “Womanliness as a un cierto tipo de masculinidad heterosexista, masquerade” rompía el lazo “natural” entre homófoba, racista y machista que no sexo, género y orientación sexual al afi rmar Tras una formación de historia del arte y museología en tiene por qué ser la hegemónica” (Martín, que existiría una categoría intermedia la École du Louvre y la Universidad Paris IV-La Sorbonne, 2007: 90). Los estudios de la masculinidad caracterizada por ser mujer heterosexual investigan sobre cómo se ha construido el pero con marcados rasgos de masculinidad, Liliane Cuesta Davignon accede al Cuerpo Facultativo de patriarcado y cuáles son sus alternativas. que usa la feminidad como una mascarada Conservadores de Museo en 2005. Estudian al hombre en su dimensión precisamente para disimular sus “rasgos específi ca, no universal y cuestionan por lo masculinos” y seguir aparentando lo que Actualmente, es responsable del área de difusión del Museo tanto la equiparación de lo masculino a lo la sociedad, y especialmente los hombres, Nacional de Cerámica de Valencia. Es miembro de ICOM y de neutro y lo universal, a la norma en relación esperan de ella. Esta noción de mascarada CECA, Comité de Educación y Acción Cultural en los museos. a la cual se defi ne el resto, entiéndase constituye un antecedente al concepto por “el resto” la mujer en su pluralidad, de “performance” formulado por Judith Es autora de varios trabajos sobre la relación entre género, las identidades masculinas alternativas Butler casi 70 años después, aunque en el sexualidad y museos, y participa en varios proyectos que o subalternas y las otras identidades de pensamiento de Rivière y del psicoanálisis género. Se pone en tela de juicio por lo tanto en general, permanezca la dicotomía trabajan en la inclusión de la perspectiva de género en los la asimilación del hombre con el ser humano: masculino / femenino, que la teoría queer se museos. estudiar al ser humano desde un punto de encargará de deshacer. [ 10 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 11 ]

A partir de los años 50 del para oponerlo al de “sexo”, culturalmente a través de pasado siglo, aparecen afi rmando que el género es instituciones y discursos masculinidades los estudios por parte una construcción psicosocial (Socías-Baeza, 2014: 47). En los años 70, en Unido en el contexto de masculinidad bajo el peso (Sex and gender. The de la psicología social El género se convirtió en el contexto de los los cambios sociales que del modelo patriarcal. development of masculinity norteamericana de los una categoría útil para el movimientos sociales estaban afectando a los Como afi rman Connell and feminity, 1968). patrones de conducta de los análisis histórico ya que derivados de Mayo del derechos de las mujeres y y Messerschmidt (2005: sexos femenino y masculino. En la década de los 70, constituía un concepto 68, como el Movimiento de las reivindicaciones de 832), la masculinidad Al marcado carácter el concepto de género transversal a las categorías de Liberación de las los movimientos de gays y heterosexista y esencialista hegemónica no representa fue adoptado por las de “clase”, “raza”, “religión” y Mujeres, y de la aparición lesbianas; por otra parte el de estos estudios, se opuso a una mayoría, sino a una investigadoras feministas, “orientación sexual” (Socías- en Estados Unidos de los desarrollo de los estudios una postura de corte minoría que es normativa como Kate Millet quien Baeza, 2014: 46) y permitía estudios centrados en de las mujeres que, como construccionista presente porque representa la forma en Sexual politics (1970) crear una pluralidad de minorías étnicas como la hemos mencionado, habían en los estudios sobre más “digna” actualmente demuestra que la categorías e identidades afroamericana o la chicana, adoptado el concepto de niños intersexuados del de ser un hombre, porque dominación masculina y la distintas dentro de lo que surgieron los Women género como categoría psicoendocrinólogo John requiere que otros sociedad patriarcal no se comúnmente llamamos Studies y los Feminist de análisis. Muchos de Money (Hermaphroditism, hombres se posicionen explican por unas supuestas “mujer”. Studies, los cuales tras la los estudiosos de la gender and precocity in en relación a ella y porque características “naturales” En los años 90 el concepto adopción del concepto de masculinidad, aunque no hyperadrenocorticism: legitima ideológicamente e inherentes al hombre, de “género” se trasladó género como herramienta todos, se han formado en Psychologic fi ndings, 1955). la subordinación global sino por cuestiones de al campo de la fi losofía analítica dieron lugar a los los estudios feministas y Money acuñó los términos de la mujer al hombre. índole cultural y defi ne el desde el cual Judith Butler Gender Studies. los estudios de género, y de “identidad de género” La hegemonía no género como algo cultural conceptualizó el género se consideran a sí mismos y “rol de género” para También en esa década signifi ca necesariamente y cambiante. El concepto como algo performativo, como “profeministas”. diferenciar el sexo biológico es cuando empiezan a violencia, sino más bien la de género posibilita por es decir que se hace real del género como algo surgir los estudios sobre Dentro de esta categoría, ascendencia conseguida lo tanto la explicación mediante el propio acto cultural y asignado. la masculinidad pero Robert William Connell a través de la cultura, del patriarcado (la (Gender Trouble: Feminism desde disciplinas como la (hoy, Raewyn Connell) las instituciones y la “dominación masculina” y la El psiquiatra y psicoanalista and the Subversion of psicología o la sociología. forjó el concepto de persuasión. No se trata “subordinación femenina”) Robert J. Stoler retomó Identity, 1990). En los años 80, los llamados masculinidad hegemónica1 de una condición, sino de el concepto de “género” como algo construido Men’s Studies o, de forma a partir de las teorías un conjunto de prácticas más inclusiva, Masculinity feministas sobre el que pertenecen a un Studies se consolidaron patriarcado, para explicar mismo sistema de género, El concepto de género posibilita por lo tanto como un área de estudio la jerarquización de los en tres niveles distintos: propia en el mundo distintos modelos de las relaciones de género la explicación del patriarcado anglosajón. Socías-Baeza (el “patriarcado”), las apunta dos orígenes en la relaciones de producción como algo construido culturalmente a través 1 Connell sistematizó este aparición de estos estudios concepto en el artículo “Towards (“la división generizada del de instituciones y discursos (2014: 50): por una parte, los a new sociology of masculinity” trabajo”) y las relaciones grupos de autoconciencia (Carrigan, Connel y Lee, 1985) y lo basadas en las emociones consolidó en Gender and power masculina creados en y la sexualidad (“cathexis”) (1987) (Connell, Messerschmidt, Estados Unidos y Reino 2005: 830). (Le Talec, 2016: 6). [ 12 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 13 ]

La masculinidad (Connell y Messerschmidt, Victor Seidler ha estudiado Desde el mundo anglosajón, 2005: 831). Existen por lo la construcción de las el interés por el estudio de hegemónica tanto múltiples formas de masculinidades en las las masculinidades se ha no representa masculinidad que además sociedades occidentales manifestado en otras áreas cambian en el tiempo. desde un punto de vista geográfi cas. Mencionaremos, a a una mayoría, modo de ejemplo, los trabajos Jeff Hearn afi rma en histórico e intercultural de Elizabeth Badinter (XY. La sino a una Men in the public eye: (Socías-Baeza, 2014: 51). identidad masculina, 1992), the construction and El modelo de familia ha minoría que Pierre Bourdieu (La dominación deconstruction of cambiado igualmente, en el masculina, 1998) o en España, es normativa public men and public seno del cual se renegocian Àngels Carabí y Marta Segarra patriarchies (1992) que los roles de género. El rol porque (Nuevas masculinidades, 2000) y la disolución del poder dominante, controlado por Josep M. Armengol (Masculinitats representa masculino radica en el paso la razón, tradicionalmente per al segle XXI, 2007). la forma de un patriarcado privado atribuido a los hombres ha a un patriarcado público en impedido el desarrollo de La reciente ola feminista que se más “digna” el cual el Estado se erige en la expresión corporal y ha plasmado en el movimiento actualmente de defensor de los derechos de de las emociones creando #Metoo, desatado a raíz del los oprimidos en búsqueda tensiones internas. escándalo Weinstein, ha sido ser un hombre de una igualdad entre igualmente el punto de partida géneros. para una refl exión sobre las relaciones de género, el papel Otros autores, como Michael del hombre en la familia y la Kimmel, director de la revista sociedad y la educación de los La masculinidad es una Men and Masculinities, han Se distinguen niños. (Figs. 1 y 2). conducta que se construye, estudiado la interacción así la un rol que hay que jugar entre la categoría “género” según las normas de la con otras variables como la masculinidad sociedad patriarcal que “raza”, la etnicidad, la edad, hegemónica, deja de lado la expresión la clase o la orientación de otras masculinidades sexual en la construcción blanca, llamadas “subordinadas”, de las masculinidades, en occidental, “marginales” o “cómplices”, plural. Se distinguen así la heterosexual dentro de una “jerarquía masculinidad hegemónica, Figura 1. Portada del New de masculinidades”. Esta blanca, occidental, y de clase York Magazine “How to raise idea se desarrolló gracias heterosexual y de clase social media- a boy”, marzo de 2018. al movimiento gay y la social media-alta de las experiencia de la violencia masculinidades subalternas, alta de las Figura 2. Portada de ejercida por hombres las que por ejemplo en masculinidades L’Obs, “Être un homme heteronormativos sobre Estados Unidos constituyen (après#Metoo)”, n.º 280, 2-8 hombres homosexuales las “masculinidades étnicas”. subalternas de agosto de 2018. [ 14 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 15 ] interdisciplinariedad Estrella de Diego, Ana El interés por la Martínez Collado, Ana Navarrete, Patricia Mayayo, masculinidad en Esta nueva forma de cuerpo sexuado y desde su Gilmore Hacerse hombre. por citar tan solo algunos abordar el estudio del especifi cidad, alejándose de Concepciones culturales de la historia del arte ejemplos de tan extensa hombre en tanto que la concepción del hombre la masculinidad (1990). literatura. La perspectiva partió de los estudios género construido, plural y como un ser universal, único La cultura visual, a través feminista aplicada a la cambiante se ha aplicado en y atemporal. de la publicidad, el cine previos sobre la mujer y historia del arte permitió no Estados Unidos a múltiples o la moda, ha sido objeto En el ámbito de la sólo visibilizar el trabajo de estudios feministas campos de estudios como de estudio y demuestra antropología, la mayoría las creadoras sino analizar la psicología, la salud, la el poder los medios de de los trabajos sobre la representación de la antropología, los estudios comunicación en la masculinidad parten de la mujer en las artes plásticas, culturales, la sociología, construcción de los géneros perspectiva de género para ofreciendo nuevos modelos la cultura visual o la deconstruir la masculinidad (Martín Casares, 2006: 270). de interpretación que literatura. Nos detendremos tradicional y disociarla de En el campo concreto dieron pie a múltiples brevemente en tres de ellos estereotipos de géneros de la historia del arte, historias del arte (Molina, por las implicaciones que tales como la asociación de la introducción de la 2012: 80). Pollock insistió tienen en los museos: la la virilidad con la violencia y perspectiva de género se además en la necesidad historia, la antropología y, con la ausencia de expresión debió en primer lugar a la de cuestionar la propia especialmente, la historia de las emociones (Martín infl uencia de los estudios metodología de la historia del arte. Casares, 2006: 268). Sólo feministas y su esfuerzo del arte y analizó el papel Se suele decir, y es cierto, de esta manera se podrán por visibilizar el trabajo de las representaciones que la historia se ha renegociar los roles de de las mujeres artistas, en la construcción del escrito siempre sobre los género y construir nuevas como hiciera Linda Nochlin concepto de mujer y puso (grandes) hombres, por formas de masculinidad en su ensayo “Why have en tela de juicio el canon hombres y desde una que no conlleven un there been no great occidental (Alario Trigueros, perspectiva androcéntrica sufrimiento interno, ante women artists?” (1971). A 2008: 62). que ha invisibilizado el la imposibilidad de encajar este estudio pionero, han papel de las mujeres y con un modelo hegemónico seguido los trabajos de la obviado la existencia único considerado como propia Nochlin (Women de otras identidades de “lo normal”. Martín Casares artists. 1550-1950, 1977, con género. Los estudios de recuerda la importancia Ann Sutherland Harris), las masculinidades han de que estos estudios Germaine Greer, Lucy tenido una incidencia en antropológicos sobre Lippard, Griselda Pollock, este campo bajo la forma masculinidad partan de las Rozsika Parker, Whitney de una (re)escritura desde teorías desarrolladas por Chadwick, las antologías la perspectiva de género o los estudios de género para sobre arte y feminismo Figura 3. Cubierta de la de la diferencia sexual. Estos evitar errores conceptuales editadas por H. Reckitt y publicación Male trouble. A crisis trabajos estudian la historia (2006: 272). Analiza en este P. Phelan y por H. Robinson in representation de Abigail de los hombres con un sentido la obra de David en 2001, los estudios de Solomon-Godeau, 1997. [ 16 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 17 ]

Como en las demás Una de las vías de así como los catálogos disciplinas, el interés por investigación dentro de esta de exposición publicados El refl ejo de los estudios la masculinidad en la temática es el estudio del recientemente sobre este historia del arte partió de desnudo masculino en el tema que mencionaremos a sobre la masculinidad los estudios previos sobre la arte porque, a través de éste, continuación). se vislumbran el lugar que mujer y estudios feministas. El homoerotismo masculino ocupa el hombre dentro de en los museos A partir de fi nales de los ha sido igualmente la sociedad y de un sistema 70 y sobre todo en los años objeto de estudio por 90, empezaron a aparecer de género dado, y la crisis de varios autores (Jonathan Aunque algunas en otras muchas cosas, un especial de Museum estudios centrados en el la masculinidad (Margaret Weinberg y Jean-Marc exposiciones, que partían marcador de género y/o dedicado a “Los museos en análisis de la representación Walters, The nude male: Scanreigh, Male Desire: the de la teoría feminista y un conjunto de prácticas femenino” (Grab, 1991: 138). de lo masculino a través a new perspective, 1978; homoerotic in American visibilizaban las realidades sociales (Gray; Leong, En su análisis sobre el lugar de las artes visuales (Carlos Emmanuel Cooper, Fully art, 2004; Christopher Reed, gay, lesbiana y trans en 2017: 3). La mayoría de los que ocupan las mujeres Reyero, Apariencia e exposed. The male nude in Art and homosexuality. A las prácticas artísticas, museos se han focalizado en los museos alemanes, identidad masculina, 1996; photography, 1999; la citada history of ideas, 2011) (Fig. 4). evocaban tangencialmente en la indumentaria extiende su refl exión a Abigail Solomon-Godeau, obra de Solomon-Godeau, la crisis de la masculinidad, femenina debido a la la representación de los Male trouble: a crisis in no es hasta la década de los “generización” de la hombres y menciona dos representation, 1997 (Fig . 3); noventa cuando los museos moda y la indumentaria exposiciones celebradas en Edward Lucie-Smith, Adam, empiezan a programar en sí como femeninos. Alemania. the male fi gure in art, 1998; exposiciones dedicadas A pesar de ello, se han Jesús Martínez Oliva, El exclusivamente a analizar celebrado exposiciones desaliento del guerrero. la masculinidad como un centradas exclusivamente Representaciones de la constructo cultural (Aliaga, en la moda masculina, masculinidad en el arte de La mayoría 2007: 126). incrementándose el las décadas de los 80 y 90, de los museos número en las últimas dos 2000; José Miguel G. Cortés, Sin embargo, antes de décadas. Según Jeffrey Hombres de mármol. abordar esta década, hay se han Horsley, estas muestras Códigos de representación que mencionar un conjunto focalizado en la se centran en 3 temáticas: y estrategias de poder de la de exposiciones temporales el ofi cio y la tradición; masculinidad, 2004; Martin dedicadas exclusivamente indumentaria la extravagancia y el Myrone, Bodybuilding. a la indumentaria femenina dandismo, y la exploración Reforming masculinities in masculina con ejemplos de la masculinidad (Horsley, British art 1750-1810, 2005). tan tempranos como debido a la 2017: 15). “Male costume from “generización” 1350” (Victoria and Albert Una temprana mención de la moda y la Museum, Londres, 1947- a la representación de los 1948) o “Adam in the hombres y la masculinidad indumentaria Figura 4. Cubierta de la publicación looking glass” (Metropolitan en los museos aparece en en sí como Art and homosexuality de Museum of Art, Nueva York, el artículo de Titus Grab Christopher Reed, 2011. 1950). La indumentaria es, incluido en el número femeninos [ 18 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 19 ]

La primera, “Männer Sache. La segunda, “Männerbande, culturas y en épocas Como respuesta al gran número de y la orientación sexual. Ante la imposibilidad Bilder, Welten, Objekte” Männerbünde. Zur Rolle des distintas. exposiciones centrada en la exploración de abarcar toda esta diversidad, la muestra (“Cosa de hombres. Mannes im Kulturvergleich” se centraba en cinco arquetipos masculinos. En 1994, el Whitney de la feminidad, la muestra tenía como Cuadros, mundos, objetos”) (“Solidaridad masculina, Museum of American objetivo explorar la construcción social de En las dos primeras décadas del presente (Fig. 5) celebrada en el grupos masculinos: el rol de Art presentó la la masculinidad a través de la obra de 11 siglo, las exposiciones centradas en Museumpädagogischer los hombres en diferentes exposición “Black artistas. Los comisarios parten de la premisa los diversos aspectos relacionados con Dienst de Hamburgo en culturas”) se celebró en male. Representations de una diversidad en la masculinidad la masculinidad se han multiplicado. 1987, presentaba una serie Colonia en 1990. Desde un of masculinity in cuando el género se cruza con otras Citaremos algunos ejemplos, ordenándolos de prototipos masculinos enfoque antropológico, contemporary American variables como la raza, la etnicidad, la clase en cuatro grandes grupos: que obligaba al espectador analizaba las hermandades, art”, comisariada por a cuestionar la idea del grupos o sociedades Thelma Golden. La “sexo fuerte”. masculinas en diferentes 1 exposición analizaba la EXPOSICIONES DE ARTE representación del hombre CONTEMPORÁNEO negro en las artes visuales subrayando que la mayoría QUE CUESTIONAN LA Figura 6. de estas imágenes eran MASCULINIDAD Cubierta del catálogo negativas, proyectando “Mennesket/Man: Body in art de la exposición la idea de un hombre from 1950” (Arken. Museo de Arte “Chercher le garçon”, 2015. negro o intrascendente, o de Moderno, Dinamarca, 2000); amenazante. “Maskuliniteter” (Nikolaj Kunsthal, Al año siguiente, se Copenhague, 2001); “Héroes caídos. presentó “The masculine Masculinidad y representación”2 (Espai masquerade. Masculinity d’Art Contemporani, Castelló, 2002); and representation” (MIT “Le sexe faible. Nouvelles images de List Visual Arts Center, l’homme dans l’art” (Kunstmuseum Cambridge, Massachusetts), Bern, 2013); “Chercher le garçon” cuyo título nos remite (MACVAL, Vitry-sur Seine, 2015) (Fig. 6); al artículo de Rivière “The nature of masculinity” (Freeport mencionado anteriormente, Art Museum, Illinois, 2016); “Man “Womanliness as a up! Masculinity in question” (Wignall masquerade”. Museum of Contemporary Art, California, 2017).

2 Como apunta Martínez Oliva, se trata de la primera muestra que plantea el tema de la masculinidad en España, exceptuando la exposición “Machos y muñecas, imágenes Figura 5. Cubierta del catálogo acerca de la masculinidad”, una producción de la exposición Männer Sache. de la University of Westminster, presentada en Barcelona en 1999 (Martínez Oliva, 2005: 249). Bilder, Welten, Objekte, 1987. [ 20 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 21 ]

A este elenco habría que añadir otra categoría 2 4 de exposiciones que parten de un enfoque EXPOSICIONES CENTRADAS EN LA REPRESENTACIÓN DEL EXPOSICIONES distinto, de carácter antropológico y que cruzan DESNUDO MASCULINO EN EL ARTE OCCIDENTAL CENTRADAS la categoría “género” con las de “etnicidad” o “cultura”, para resaltar la especifi cidad de la “The naked man” (Lentos Museum, Linz, 2012 y Ludwig Museum, Budapest, 2013); “Nackte EN LA INDUMENTARIA identidad masculina en contextos culturales, Männer. (Leopold Museum, Viena, 2012); “Masculin, masculin” (Musée d’Orsay, París, 2013); Y MODA MASCULINAS étnicos o geográfi cos concretos. Es el caso de “El hombre al desnudo. Dimensiones de la masculinidad a partir de 1800” (Museo Nacional “Men in skirts” (Victoria and Albert la ya citada “Black male” (Whitney Museum, de Arte, México, 2014) (Fig. 7); “Stark imagery: the male nude in art” (William Benton Museum, Londres, 2002); “Of men 1994), “L’art d’être un homme. Afrique Océanie” Museum of Art, University of Connecticut, 2016). and their elegance” (Kent State (Musée Dapper, París, 2009) (Fig. 9) o “Au bazar University Museum, 2002); “L’homme du genre. Féminin/masculin en Méditerranée” paré” (Musée des Arts Décoratifs, (MUCEM, Marsella, 2013)3. París, 2005); “The ideal man” (Gemeentemuseum, La Haya, 2008); Citaremos igualmente una serie de “Dandyn” (Nordiska Museet, 2009); exposiciones que exploran tanto la feminidad “The Peacock male” (Philadelphia como la masculinidad, la construcción del Museum of Art, 2011); “Artist/Rebel/ género. A modo de ejemplo y sin pretender Dandy. Men of fashion” (Rhode a la exhaustividad citaremos la exposición Island School of Design Museum, “Fémininmasculin. Le sexe de l’art” (Centre Providence, 2013); “Reigning men” G. Pompidou, 1995) cuyo objetivo era, como (Los Angeles County Museum of Art, indican sus comisarios, mostrar cómo un 2015); “It’s a men’s world” (Tassen gran número de obras de arte del siglo XX, Museum, Amsterdam, 2017). al margen de consideraciones cronológicas, han cuestionado las “fatalidades biológicas, anatómicas y culturales tradicionalmente ligadas al sexo” (Bernadac; Marcadé, 1995: 3 11); “In a different Light. Visual culture, EXPOSICIONES QUE EXPLORAN LA sexual identity, queer practice” (University SEXUALIDAD MASCULINA of California, Berkeley, 1995); “El rostro velado. Travestismo e identidad en el “Hidden histories” (The New Art Gallery Walsall, 2004); arte contemporáneo” y “Transgéneric@s. “The Warren cup. Sex and society in Ancient Greece Figura 7. Anuncio de la exposición Representaciones y experiencias sobre la and Rome” (British Museum, 2006) (Fig. 8); “Hello sailor! temporal “El hombre al desnudo. sociedad, la sexualidad y los géneros en el Gay life on the ocean wave” (Merseyside Maritime Dimensiones de la masculinidad Museum, Liverpool, 2007. Exposición que ha itinerado a a partir de 1800” organizada en el 3 Martínez Oliva evoca otro campo, el del espacio y la varios museos marítimos de Reino Unido). Museo Nacional de Arte de México arquitectura, en el cual se volcaron los estudios de gé- nero a fi nales de los 80 y en los 90, relacionando espacio en 2014. y mujer desde una perspectiva feminista. El catálogo Figura 8. Cubierta del catálogo “Stud. Architectures of masculinity” (Princeton Univer- de la exposición “The Warren Cup” sity School of Architecture, 1996) presentaba el interés organizada en el British de relacionar masculinidad con espacio y arquitectura Museum en 2006. (Martínez Oliva, 2005: 229). [ 22 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 23 ]

arte contemporáneo español” (Koldo Mitxelena Analizar la Kulturenea, San Sebastián, 1997 y 1998); “Disidentico maschile feminile. Imagini della representación diferenza” (Palazzo Branciforte, Palermo, 1998); del hombre en los “From the corner of the eye” (Stedelijk Museum, Amsterdam, 1998)4; “Gender check: Feminity and museos ayuda masculinity in the art of Eastern Europe” (MUMOK, a deconstruir Museum Moderner Kunst Stiftung Ludwig Viena, 2009-2010)5. la idea de que La práctica totalidad de las actuaciones se trata de una mencionadas se refi eren a exposiciones identidad estable temporales. El análisis o relectura de la exposición permanente en clave de género e invariable, de suele centrarse en la representación de la que representa mujer para paliar la invisibilización de la que ha sufrido siempre. Escasas son las iniciativas lo universal en que incluyen al hombre o se centran en éste. En relación a lo cual 2016, el Museo Nacional de Arte de Chile hizo un esfuerzo en este sentido con la exposición se construye el resto, contribuye 4 En el contexto del festival “Gay Games Amsterdam”, a cuestionar el se presentó esta exposición colectiva de jóvenes artistas, que inauguraba en el museo una línea expositiva heteropatriarcado centrada en la identidad de género y la temática queer. Aunque no específi camente centrada en la masculinidad, y, por lo tanto, la muestra desafi aba la noción de identidad y la estética a conseguir la uniforme del “arte gay”, posicionándose desde la teoría queer en contra de la polaridad hetero / homo. igualdad de género(s) 5 En este caso se cruzaba la categoría “género” con las variables del contexto político y social particular del socialismo y comunismo de los países del este de Europa.

Figura 9. Cubierta del catálogo de la exposición “L’art d’être un homme. Afrique Océanie” organizada en el Musée Dapper en 2009. [ 24 ] CE DIGITAL INTRODUCCIÓN LILIANE CUESTA [ 25 ]

“(En)clave masculino” dedicada a mostrar Analizar la representación del hombre las colecciones del museo desde otra en los museos ayuda a deconstruir la ALARIO TRIGUEROS, M. T. (2008): Arte y feminismo, perspectiva. De forma virtual, el proyecto idea de que se trata de una identidad Nerea, Donostia-San Sebastián. “Connections” del Metropolitan Museum estable e invariable, de que representa lo ALIAGA, J. V. (2007): “Los años queer. Imágenes y conceptos sobre la masculinidad en las prácticas de Nueva York ofreció relecturas de universal en relación a lo cual se construye artísticas recientes y en las exposiciones”, en una selección de sus obras a través de el resto, contribuye a cuestionar el Acebrón, Mérida (eds.), Diálogos gays, lesbianos, un gran número de temáticas muy heteropatriarcado y, por lo tanto, a avanzar queer, Universidad de Lleida, Lleida: 117-132. diversas (https://www.metmuseum.org/ hacia una mayor igualdad de género(s). BERNADAC, M-L.; MARCADÉ, B. (1995): “Ouverture”, connections/). El proyecto incluye el tema Fémininmasculin. Le sexe de l’art, Centre G. “The ideal man” desarrollado por Nadine Pompidou, Paris: 11. Orenstein (https://www.metmuseum.org/ CONNELL, R. W.; MESSERSCHMIDT, J. W. (2005): “Hegemonic masculinity: rethinking the concept”, connections/the_ideal_man) (Fig. 10). Gender and society, vol. 19, 6: 829-859. Aunque la visibilización de la mujer en GRAB, T. (1991): “Un commun dénominateur aux los museos sea todavía necesaria y haya préoccupations des femmes et des hommes dans les mucho trabajo por hacer, pensamos que la musées allemands”, Museum, 171, vol. XLIII, 3: 136-139. Figura 10. Página web GRAY, S.; LEONG, R. (2017): “Special issue: Exhibiting introducción de la perspectiva de género del proyecto “Connections” del masculinity”, Critical Studies in Men Fashion, vol. 4, ha de hacerse de manera inclusiva. Metropolitan Museum 1: 3-10. de Nueva York. HORSLEY, J. (2017): “The absent shadow: Refl ections on the incidence of menswear in recent fashion exhibitions”, Critical Studies in Men Fashion, vol. 4, 1: 11-29. LE TALEC, J-Y. (2016): “Des Men’s Studies aux Masculinity Studies: du patriarcat à la pluralité des masculinités”, SociologieS, , [18 de septiembre de 2017] MARTÍN, S. (2007): “Los estudios de la masculinidad”, en Meri Torras (ed.), Cuerpo e identidad I, Edicions UAB, Barcelona: 89-112. MARTÍN CASARES, A. (2006): Antropología del género. Culturas, mitos y estereotipos sexuales, Cátedra, Madrid. MARTÍNEZ OLIVA, J. (2005): El desaliento del guerrero. Representaciones de la masculinidad en el arte de las décadas de los años 80 y 90, Cendeac, Murcia. MOLINA, A. (2012): “Visualizando el género en la Historia del Arte. El siglo XVIII español como caso de estudio”, Anuario del Departamento de Historia y Teoría del Arte, vol. 24: 79-92. SOCÍAS-BAEZA, J. (2014): “Historia de las mujeres, historia de los hombres”, Aloma. Revista de Psicologia, Ciències de l’Educació y de l’Esport, 32(1): 45-45.

[ 28 ] CE DIGITAL KLAUS POKORNY [ 29 ]

“When we stop xhibitions on the topic of nakedness have so far dealt and think about it, mainly with images of unclothed nude men women. Leopold Museum’s we all are naked exhibition “nude men” presented from 1800 to the present day underneath our Ea long-overdue look at the diversity and clothes” historical transformation of the portrayal of Klaus Pokorny naked men. The exhibition, curated by Tobias HEINRICH HEINE, G. Natter and Elisabeth Leopold, traced LEOPOLD MUSEUM, VIENA this theme over a long period and drew a Travel Pictures, 1826 [email protected] continuous arc from the late 18th century to the present.

Altogether, the showing brought together around 300 individual works by nearly 100 female and male artists from Europe and the USA. The objective of the two curators Tobias G. Natter and Elisabeth Leopold was “to clearly show the differing artistic approaches, competing models of masculinity, the Born in 1968 in Baden/Vienna, Klaus Porkorny is since 2007 transformation of ideas about the body, beauty and values, the political dimension of Press & PR Department in Leopold Museum, Vienna. the body, and last but not least the breaking From 1998 to 2007, he was Head of Press & Marketing of conventions”. in Austrian Gallery Belvedere (Österreichische Galerie For former Leopold Museum Managing Director Peter Weinhäupl, expanding Belvedere). Before 1998, he worked in ORF (Austrian categories which activities to the MuseumsQuartier’s Broadcasting Corporation) and Sotheby’s Vienna. He studied courtyards was “an important outward archeology and history of art at the Universities of Vienna, had previously signal”. He said that “the targeted placement seemed of art in public space makes for more Austria and Cagliari, Sardinia, Italy. liveliness in this complex of art museums, He has worked for big exhibition projects like established, such as and it is imperative that the highest- possible level of quality be maintained when “Oskar Kokoschka” (2019), “Ferdinand Hodler” (2017), ‘masculinity’, ‘body’ doing so”. He extended his thanks to the “Klimt-Up Close and Personal” (2012), “nude men” (2012), and ‘nakedness’, management of the MuseumsQuartier for “Egon Schiele. Melancholy and Provocation” (2011), have today become their support in the realization of this project. “Edvard Munch and the Uncanny” (2009), “The New Austria” unstable for a broad For Tobias G. Natter, curator of the exhibition and then-director of the Leopold Museum, (2005) and “Klimt’s Women” (2001). swath of society Ilse Haider’s walkable sculpture Mr. Big also [ 30 ] CE DIGITAL KLAUS POKORNY [ 31 ]

functioned as a reference said Elisabeth Leopold. to the relativity of beauty. To which Tobias G. Natter Diversity and Natter commented that added, “At the same time, “visitors can view Mr. Big this exhibition is our way abundance: from many perspectives, of reacting to the fact but only when viewed from that categories which showing for what one point will he be ‘ideal’. had previously seemed “nude men” could After all, beauty always lies established, such as Figure 1. Ilse Haider, in the eyes of the beholder”. ‘masculinity’, ‘body’ and Mr. Big, installation in stand ‘nakedness’, have today “Over the past few years, the courtyard of the become unstable for a portrayals of nude males MuseumsQuartier. Elisabeth Leopold remarked established — such as broad swath of society”. have achieved a hitherto Walk-in sculpture, that, “In the run-up to “masculinity”, “body” and digital print on wood, unseen public presence“, our project, we were very “nakedness” — are currently 900 x 300 x 420 cm. surprised to note that some undergoing major changes. Courtesy Galerie commentators expected a Steinek, Wien / Vienna. By seizing on these “delicate” exhibition. But in developments, we fact, we had no intention of understood the museum to treating the theme in such be an institution which is a way—with reserve, with relevant to today’s society tact, or in any other way A project — that is to say, a place for delicately. And we did not both the present and the like “nude understand this topic to be future. at all delicate in terms of men” would Tobias G. Natter: “Our an exhibition on art history objective was to show the be entirely somehow requiring a diversity and transformation degree of discretion”. unthinkable of the portrayal of nude A project like “nude without the men in light of clearly men” would be entirely defi ned thematic focuses. unthinkable without the experiences With fresh curiosity, experiences and impulses and impulses without traditional of feminist art as well as scholarly prejudices, and cultural history, cultural of feminist with fascination for an studies and gender studies. art as well as inexhaustibly rich fi eld, we With the exhibition “nude used this exhibition to draw cultural history, men”, the Leopold Museum an arc spanning over 200 cultural studies sought to react to the years which, not least, make circumstance that societal a theme of the long shadow and gender categories commonly cast by the fi g leaf”. studies thought to be fi rmly [ 32 ] CE DIGITAL KLAUS POKORNY [ 33 ]

exhibition’s outer referential frame. Strictly The speaking, the showing begins in earnest with the Age of Enlightenment and the period Exhibition around 1800”.

The exhibition traced its theme from the THEME 1: CLASSICISM AND THE POWER OF late 18th century to the present day. It had REASON three key historical themes: the classical In the 18th century and beginning in France, era and the Age of Enlightenment around the emancipation of the bourgeois class 1800, classical modernism around 1900, and the swan song of the Ancien Régime and post-1945 art. These three themes were occasioned a renegotiation of concepts of introduced by a prologue. masculinity with both societal and aesthetic implications. The naked male hero was defi ned anew as a cultural pattern. It became Figure 3. Joseph-Désiré Court, PROLOGUE the embodiment of the new ideals. Death of Hippolytus, 1828. Oil on The exhibition’s three focuses were preceded canvas, 35 x 46 cm. Musée Fabre by a prologue. Using fi ve outstanding de Montpellier Agglomération. sculptures from European art history, the prologue illuminates this theme’s long tradition.

It ran from the “oldest nude in town”—a larger-than-life freestanding fi gure from ancient Egypt—and the roman statue known as the Jüngling vom Magdalensberg (Youth of Magdalensberg / Magdalena’s Mountain) to Auguste Rodin and Fritz Wotruba, and on to a display window mannequin which Figure 2. Youth from the Heimo Zobernig reworked to create a nude Magdalensberg, 16th-century self-portrait. cast of a Roman original. Bronze, Tobias G. Natter: “The curatorial intention hollow cast, 185 x 52 x 16 cm. behind prologue was to have the audience Kunsthistorisches Museum, Vienna, Collection of Greek and stroll through nearly fi ve millennia of Roman Antiquities. Western sculptural art in just a few steps. This is meant both to communicate the long tradition of such images and to highlight the degree to which nude men were taken for granted to be the foundation of our art. These fi ve thousand years form the [ 34 ] CE DIGITAL KLAUS POKORNY [ 35 ]

THEME 2: CLASSICAL THEME 3: POST-1945 MODERNISM DEVELOPMENTS

A new and independent In light of the abundance of pictorial world arose in the interesting works from which late 19th century with the to choose, the exhibition’s third casual depiction of naked men theme comprises three specifi c bathing in natural, outdoor focuses. Common to all three is settings. The various ways in the way in which the political which artists dealt with this potential of the naked body topic can be viewed together is explored. The fi rst of these as a particularly sensitive focuses concentrated on the gauge of societal moods. In battle fought by women for legal the exhibition, the genre is and social equality during the 20th represented with prominent century. examples by Paul Cézanne, Outstanding examples of the Edvard Munch, Wilhelm von intense way in which feminist Gloeden, Max Liebermann, Ernst artists have dealt with their own Ludwig Kirchner and others. bodies as foils for the projection Classical modernism’s quest for of gender roles can be found a new artistic foundation also in the output of Maria Lassnig had its impact on the topics and Louise Bourgeois, whose of nakedness and masculinity. works were included in the But what happened when the exhibition alongside others by painter’s gaze wandered on younger woman artists. It was from the naked other to the pioneers such as Lassnig and naked self? A principle witness Bourgeois who set in motion with regard to this phenomenon Figure 4. Egon Schiele, Preacher the process which, today, Figure 5. Maria Lassnig, Woman in turn-of-the-20th-century (Nude Self-Portrait with Blue- underlies feminist art’s steadily Laocoön, 1976. Oil on canvas, Vienna is Egon Schiele. With his Green Shirt). Pencil and gouache increasing presence in terms of 193 x 127 cm. Neue Galerie Graz, taboo-breaking self-refl ections, on paper, 47,1 x 31,2 cm. Leopold interpretation, resources, norms, Universalmuseum Joanneum. he radicalized artists’ self- Museum, Wien, Inv. 2365. power, and participation in the understanding in a way that art business. The second area nobody had before him. introduced artistic works that Elisabeth Leopold: “The shift interlocked nude self-portraits of the painter’s gaze from the and the culture of protest, naked opposite to the exposed which bears great similarities to self gave rise to the nude self- feminist criticism—the naked portrait—a shining beacon of self between normativity and modernism”. revolt. [ 36 ] CE DIGITAL KLAUS POKORNY [ 37 ]

As the opening of this exhibition neared, a frequently-asked question was that of why the project has being undertaken. Tobias G. Natter’s response: “There were many reasons. But most importantly: because it was overdue”.

The exhibition has been accompanied by a diverse and large program of supporting and educational events including important lecture series (held in German):

• “Poetry of the Body. The Nude Man in Art History” by Dr. Elisabeth Leopold, Member of the Board, Leopold Museum Private Foundation

• “The Nude Man in Advertising” by Dr. Erich Kirchler, Professor at the Figure 6. Louise Bourgeois, Fillette (Sweeter Figure 7. Richard Gerstl, Nude Self-Portrait Version), 1968, cast 1999. Latex over plaster, with Palette, 1908. Oil on canvas, 139,3 x 100 cm. University of Vienna 59,6 x 26,6 x 19,6 cm. Ursula Hauser Collection, Leopold Museum, Wien, Inv. 65. • “Prometheus in the Third Reich. Male Figure 8. Cartel de la Switzerland © VBK, Wien 2012. nude portrayals from the National exposición pintado y rasgado Socialist era” by Dr. Elke Frietsch, en las calles de Viena. University of Zurich Fotografía: Leopold Museum, The one issue is the nude self-portrait as a fi eld for Viena. experimentation and a phenomenon which questions • “The Homoerotic Gaze. Searching artistic and societal identities. The other issue has to do with for Traces of a Taboo Aesthetic the shift in substantive contributions to the gender debate, as well as Category” by Mag. Andreas Brunner, with artists who take the crisis of obsolete male images as Zentrum QWIEN roles in which an opportunity to put forth self-defi ned identities. • “Richard Gerstl’s Self-portraits. Self- The third focus, fi nally, lies in the shift in roles in which the the man goes revelations, Self-determinations” by man goes from being the subject to being the object, in from being the Dr. Diethard Leopold, then-Member fact becoming an erotically charged object—perhaps one of the Board, Leopold Museum of the most fundamental shifts in terms of the forms via subject to being Private Foundation Gay emancipation, in the object, in which nude men have been portrayed from 1800 to the particular, served to present. Gay emancipation, in particular, served to radically • “Idealized Image or Reality. Nude fact becoming cast doubt upon normative concepts of masculinity, which Men in Ancient Times” by Dr. Alfred radically cast doubt upon an erotically it opposed with its own alternative models. In this exhibition, Bernhard-Walcher, Kunsthistorisches normative concepts of these were represented above all in paintings that feature Museum, Vienna. Collection of Greek charged object intimate closeness and male couples. and Roman Antiquities masculinity [ 38 ] CE DIGITAL

The exhibition’s poster which used a work of art The exhibition’s by French artists Pierre et Gilles provoked enraged reactions among a part of Viennes citizens mostly poster which used of those who didn’t even think about visiting the a work of art by exhibition. French artists Priscilla Frank wrote in The Huffi ngton Post back in October 2012: “nude men’s” opening proved just Pierre et Gilles how badly the exhibition was needed when its provoked enraged fl yers, featuring naked men on a soccer fi eld, were censored. “We knew they’d be controversial, but the reactions among intense reaction even exceeded my expectations” a part of Viennes the museum’s spokesman, Klaus Pokorny, told the New York Times. The photographic nether-regions citizens were tastefully covered up by a size-appropriate red stripes, (i.e., futuristic fi g leaves). It looks like us Westerners are a little more Victorian than we thought... Figure 9. Censored exhibition poster. Photo: Leopold Museum, Vienna.

[ 42 ] CE DIGITAL DR JO STANLEY [ 43 ]

“Hello Sailor! Gay life on the ocean wave”, Merseyside Maritime Museum, Liverpool (2006-continuing), is an exhibit that reveals a camp gay, carnivalesque, supportive sub-culture on merchant HELLO SAILOR! ships in the mid-twentieth century. Co-curator Dr Jo Stanley explains this representation of the hidden history behind the Exhibiting the queer supposedly rugged masculine life stereotypes of sailors. masculinity of fl oating heavens, Merseyside Maritime Museum, UK Dr Jo Stanley

VISITING SENIOR RESEARCH FELLOW LIVERPOOL JOHN MOORES UNIVERSITY [email protected]

Figure 1. This typical image of playful cross-dressing Dr Jo Stanley is a creative historian who is shipboard culture especially interested in seafaring as a space/time on Cunard’s iconic Queen Mary of self-actualisation. Her recent books include was used for all Women and the Royal Navy (2017); From Cabin versions of “Hello Sailor” exhibitions. ‘Boys’ to Captains: 250 years of women at sea (2016). Photo courtesy Her blog on the gendered seas is at of the Maritime Museum of http://genderedseas.blogspot.com Atlantic, Canada. [ 44 ] CE DIGITAL DR JO STANLEY [ 45 ]

The exhibition showed Figure 3. The old iconic A formerly invisible that homosexuality on image of the venerable salt UK ships was widespread, who was man enough sub-culture and informally accepted in to brave the stormiest sea, this period. On some ships used in every issue of the Lesbian, gay, bisexual, So this dockside museum Contributors revealed a National Union over 70 per cent of men in transgender and more in England’s north-west non-binary, non-heterosexual of Seamen’s journal, catering departments were (LGBT+) seafarers were ended a long-standing world of Hollywood-inspired The Seaman, 1920s-1930s. estimated to be ‘like that’ absent from almost every international silence in divas in tiaras fl ouncing Picture courtesy of NUS. or ‘fruits’ (the polite terms UK maritime history book 2006 by creating the around the ship as hotel- used before ‘gay’). People I had ever seen, when I world’s fi rst exhibition of theatre, not vehicle. In saucy on UK ships were anyway began co-curating “Hello LGBT+ seafarers. It dared crew shows, ‘backstage’ in used to fancy dressing; Sailor! Gay life on the ocean to show the extraordinary cabin parties, and subtly such mutual entertainment wave” in 2004. “Questions phenomenon of an out- in restaurants men with whiled away boring voyages. of sexual orientation and and-proud subculture women’s names led ‘out’ diverse lifestyles have created by male seafarers lives of every hue. Some That glamorous, hardly been considered on passenger and cargo ‘married’ in the crew bar, performative, feminine by maritime museums” vessels, 1946-1985. Men who half a century before civil culture contrasted with affi rmed Tony Tibbles, the had sex with men at sea partnerships were legalised. the historic stereotype then director of Merseyside were committing a criminal Several seamen were of the sailor as ruggedly Maritime Museum (MMM), offence until 1994. among the fi rst in Britain to masculine. Instead these which staged the exhibition. transition to females. camp seafarers fancied macho sailors, at a time when US navy-style super- butch porn icons were being greeted by the catch-phase ‘Hello sailor … Figure 2. On longer mmmm!’. voyages crew had time to rehearse for spectacular musicals, where men played women. This 1960s version of Hello Dolly in the ship’s theatre Figure 4. The author in a T-shirt starred steward later created to point out Bella (Larry) butch US sailors’ attraction for Bellchamber. women and men: ‘Sorry girls, Picture courtesy I’m gay’. of Bella. © Jean Bashford [ 46 ] CE DIGITAL DR JO STANLEY [ 47 ]

Contents People on UK ships The story behind the making were anyway used to “Hello Sailor!” was developed as travelling fancy dressing; such I had the honour of being example the sewing box • getting the tone right the guest co-curator, with ‘Miss Whitworth’ used in for family audiences exhibition. Launched at MMM, it travelled mutual entertainment to Southampton Maritime Museum, Charlotte Stead. Since the 1950s was a reminder unfamiliar with this Glasgow’s Tall Ship Museum, Newcastle’s whiled away boring the 1970s, when I fi rst that all seafarers, whatever fl amboyantly frank Discovery Museum, and the Maritime heard anecdotes about their sexual orientation, lifestyle voyages this counter-intuitive necessarily had to be able Museum of Atlantic at Halifax, Nova Our main artefacts were sub-culture, I’d dreamt of to sew. Scotia. many happy group revealing it. With expert Thirteen panels focus on such topics as: The fi nal cost was at least photographs of cross- on lavender linguistics • £25,000 (28,000 Euros). dressing at parties and the changing history of punishment Paul Baker I researched This was low for a small shows aboard. Taken by for buggery and ‘unclean acts’ in both and wrote the book (Hello exhibition. Some of the shipboard photographers, merchant and royal navies Sailor! 2003) based on oral main expenses were replica the tone helped our • early widespread acceptance of camp testimony. These men’s objects for the cabin set. production team shape the stewards by passengers and employers stories clearly proved subject Figure 5. Preparing in Newcastle’s narrative as a space-time of Two obstacles got in the deserved more than just a • speaking Polare (the secret gay Discovery Museum, 2009. light-hearted defi ant fun. way of making “Hello book. How about a musical? language) A former steward shows staff how Such pictures illustrated the Sailor!”: to make a bed properly. • the way other countries’ attitudes (for The director of MMM interviewees’ slant: they told • lack of 3-D artefacts example acceptance of transvestite accepted my proposal for an witty and triumphant tales (because our subjects sex industry workers in Bangkok) had exhibition and I was paid to of voyages as frisky romps. had led itinerant lives been a liberating education for British record additional interviews. and also avoided keeping I gathered objects as I seafarers. incriminating evidence) did so—and learned. For Accompanying these boards are: • four audio handsets revealing extracts from the oral interviews we had conducted Figure 6. Camp beauty queen • two showcases pageants on • maps men specially drawn for us to board were show the queer ways they used foreign common. Here ports Nellie (Neil) • the fabricated replica of a gay steward’s Moore (left) cabin, complete with beefcake poster poses as Miss Fort Austin 1985 and a naked Action Man doll. with the captain Related events included a specially of the Fort written play in an adjacent gallery, Austin. Picture performed several times a week in 2006. courtesy of Nellie. [ 48 ] CE DIGITAL DR JO STANLEY [ 49 ] a space-time of light-hearted defi ant fun

We consciously excluded were reference to sexual acts. And using the jolly ‘Everything’s gay when you’re underway’ version omitted the complex hidden homophobia, and non-camp offi cers’ consequent fear of career loss. Lesbian and bisexual Figure 7. The hidden history of lesbian, bisexual women were barely participants in this and trans women on ships is yet to be revealed. male sub-culture. This picture shows a cabin party of happy stewardesses with our contributor Sid Youens seated lower left. Picture courtesy of Sidney. Reception Figure 8. Opening night at Canada’s Maritime Museum of the Atlantic, 2011: visitors enjoy the cabin

“Hello Sailor!” had an As Hello Sailor! began do best. They bring forward set. Picture courtesy of the museum. overwhelmingly positive touring, other museums unique parts of our history response. The Times added stories and objects that have never been talked Sister-show named it their number one from local LGBTQ+ about or shown before. exhibition in January 2007. communities. When They help us to understand Sweden and the UK were An estimated 50,000 saw the Glasgow’s Tall Ship Museum …our diverse culture and unique in having queer display in the initial period, staged it the Scottish history.’1 A few months maritime subcultures. September 2006–March Daily Mail’s coverage afterwards the museum Stockholm’s Sjöhistoriska 2007. A commissioned was so homophobic that participated in its fi rst Museet developed a survey found new sorts of the museum’s director similar display in 2008 LGBT+ Pride march. visitors had been attracted Dr Christopher Mason with “Frizon” (Safe to the museum. Maritime (successfully) protested Many museums did Harbours). Produced by museums worldwide sent to the Press Complaints not choose to hire the Johnna Haverlind, it was staff to learn from this Commission. exhibition, despite its based on a history book example. In Canada’s Maritime affordability and even by Arne Nilsson about Just ten complaints were Museum of Atlantic curator though they were Swedish American Line’s sent to Liverpool over the Dan Conlin created a committed to diversity and camp subculture. “Frizon” fi rst fi ve year period. The French-English version. inclusion. tied in with EuroPride and was shown in line “NO SODOMY IN OUR David Wilson, the Minister Figure 9. No ship ever really made pink smoke! This jokey picture is 1 http://nslegislature.ca/index. Gothenburg. MUSEUM” appeared in the of Culture, told parliament php/proceedings/hansard/C81/ from Stockholm’s Sjöhistoriska Museet’s exhibition “Frizon”. Postcard visitors’ book. ‘This is what our museums house_11may18/#HPage2666 and badge sent to author by attendee Dazzling Denise, 2008. [ 50 ] CE DIGITAL DR JO STANLEY [ 51 ]

Figure 10. Merseyside “Sailing Proud” The UK and Swedish In other words, the What next? Maritime Museum, home of the only queer subcultures are ended. visiblized queer presence the Maritime Records Centre But many camp gay men underlines that ships are The Sailing Proud Archive of oral interviews with its Sailing Proud Archive. seafarers’ are among the organisers indeed heterotopias where and some transcripts is at Merseyside © Pete Carr. collection in of the (now-professional) the othered is ‘normal’ Maritime Records Centre. It is the only queer entertainment on cruise and where seafarers can seafarers’ collection in the world. the world ships. And, recognizing wear Dior gowns and www.liverpoolmuseums.org.uk/maritime/archive/. that their high number of ‘manhandle’ stormy seas. The exhibition is still on display. I give talks about LGBT+ passenger want to In the traditional world of the exhibition and advise museums about meet others, some cruise maritime museums “Hello represent LGBT+ seafarers. operators facilitate mixing Sailor” and “Frizon” were the by organizing a Friends of start of a new embracing of Dorothy club. It refers to the diversity. They revealed the Wizard of Oz fi lm. Yes, ships lost early history of seafaring ain’t Dorothy’s homely old men’s shipboard exploration Kansas. of fl uid sexual and gender identities.

the start of a BAKER, P., STANLEY, J. (2003): Hello Sailor: The Hidden new embracing History of Gay Life at Sea, Routledge, London. MEECHAM, P. (2008): “Reconfi guring the Shipping of diversity. News: Maritime’s Hidden Histories and the Politics They revealed of Gender Display”, Sex Education: Sexuality, Society and Learning, v8 n3, 371-380 August, http://dx.doi. the lost early org/10.1080/14681810802218478 [6 September 2017].

history of NILSSON, A. (2006): “Cruising the Seas: Male homosexual life seafaring on the Swedish American Line, 1950-1975”, Journal of Queer Studies in Finland, v 1: 71-85. men’s HOMOTOPIA TV (2006): Hello Sailor (video tour and shipboard curator’s commentary), https://www.youtube.com/ exploration of watch?v=nFhyEGdEAJA [22 June 2017]. TIBBLES A. (2011): “Hello Sailor! How maritime museums are fl uid sexual addressing the experience of gay seafarers”, International and gender Journal of Heritage Studies, v18: 1-14, http://dx.doi.org/10.1080 /13527258.2011.606329 [6 September 2017]. identities [ 52 ] CE DIGITAL DR MICHAEL PETRY [ 53 ]

idden We can Singing “Lord knows I’m not Histories is a fool girl”, Coward signaled a book (by document other same-sex lovers using Petry) and Michelangelo polari1 (gay slang) to speak HIDDEN an exhibition of homosexual desire in as a Hhe curated at the New Art front of heterosexuals. In Gallery Walsall in May 2004. same-sex the 1970s gay men adopted HISTORIES It was the fi rst institutional another open code — the lover, but not th historical survey of male ‘hanky code’. Individuals 20 century male same sex same-sex lovers in the visual in modern advertised their sexual arts. His paper looks at the terminology fetishes by wearing different lovers in the visual arts history of same-sex love, coloured handkerchiefs in coded behaviour, and the (homosexual, their left (active/top) or right An exhibition and book run up to the exhibition. He gay) as these (passive/bottom) pocket for documents the homophobia others to see and act upon. he encountered from local categories Coded desire has long Dr Michael Petry politicians. His book (which would have been in place for same-sex contained a greater number DIRECTOR MOCA LONDON lovers who feared prison, of artists than the exhibition) had no [email protected] or death. Michelangelo’s was a global survey of artists meaning for male nude sculptures who were same-sex lovers. speak of his desire for other It was the fi rst academic, him men as do his poems2 to documented, volume on the Tommaso de’Cavalieri (“It Michael Petry is an artist, author and curator. topic. is no wonder if, alone and Petry co-authored Installation Art (1994), and Installation in the When I was asked to nude, I am by one in arms New Millennium (2003), and authored Abstract Eroticism (1996), A curate the fi rst institutional Coward and those of the chained and subdued”). show of male same-sex metropolitan elite were able Offi cers of the Night were Thing of Beauty is... (1997), The Trouble with Michael (2001), Hidden lovers who were artists, to enjoy sexual lives as long established in Florence Histories: 20th century male same sex lovers in the visual arts the original title was Mad as they employed codes and (1432) to charge men with About The Boy taken from discretion. Working class sodomy3 and without a (2004), The Art of Not Making: The New Artist Artisan Relationship a 1932 song by Noel Coward men were often their object high ranking patron, men (2011), The Touch of the Oracle (2012), and Nature Morte: (a same-sex lover). He choice, and they had less were liable to prosecution. Contemporary Artists reinvigorate the Still-Life tradition (2013). His wistfully sings about his ability to decide on most Michelangelo’s erotic infatuation with a young aspects of their lives. For works (especially his bound new book The WORD is Art looks at text in contemporary visual arts man. This was an open form them, the chic detachment, slaves) have spoken to and will be accompanied by a touring exhibition. Petry’s recent solo of hiding, yet presenting the irony of an obviously same-sex lovers over time. one’s sexuality within legal gay man pretending to sing exhibitions include: A Twist in Time, (Pallant House Gallery, 2016) 1 Baker and Stanley, 2003: 80. bounds(homosexuality was as a woman, most likely fell 2 Jennings, 1961: 59. and In the Realm of the Gods (Holburne Museum, 2018). then illegal in the UK). on deaf ears. 3 Saslow, 2001: 83. [ 54 ] CE DIGITAL DR MICHAEL PETRY [ 55 ]

Such codes allowed men based on a shared sexual Heterosexual artists have silent about the same-sex loves of artists, an element of deniability understanding of identity, included their lovers (and placing a ‘heterosexual fi lter’ in front of their of desire to authorities even if usually hidden. children) in their work, work, when they know this to be a falsehood. that simultaneously spoke and this information is I have documented this process in other Homosexuality was soon of same-sex desires to usually well documented. publications and it is still ongoing. The love co-opted into legal and knowledgeable others. Biographical information for triangle between Robert Rauschenberg, Cy medical paradigms to We can document same-sex lovers has been Twombly and Jasper Johns is one of the most punish and suppress Michelangelo as a same-sex systematically withheld for a historically distorted by institutions. They a positive same-sex lover, but not in modern variety of reasons. There are mention that Rauschenberg was married identity5. This is not to terminology (homosexual, those who argue an artist’s and had a child, but seldom that he left his argue for such selves in gay) as these categories sexuality is irrelevant, yet wife for Twombly, and left Twombly for Johns. an essentialist way, and would have had no with heterosexual artists Rauschenberg continuously made work about Michel Foucault in History of his male lovers. meaning for him. like Picasso the public is Sexuality deconstructs the “Homosexuality” was fi rst encouraged to revel in their possibility. The Labouchére used in an anonymous conquests. We know Dora amendment (UK, 1885) German text (1869) and ‘fi rst Maar was not just a model, Figure 1. Glen Philpot, set out criminal penalties appeared in English in the but his lover, and it helps Portrait of a man in black, for male same-sex lovers. 1890s when it was used by to engage with his images 1913, Tate Collection, Female same-sex activity London. Charles Gilbert Chaddock4’. of her. Such relationships was not criminalized, as Magnus Hirschfeld founded are institutionally Queen Victoria famously the Scientifi c-humanitarian documented in the form of Documenting artistic same-sex loves, refused to believe it existed. Committee in Berlin (1897) descriptive labels and they generates “a horizontal history”, a term I use Lesbians became invisible to normalize the term and ‘heterosexual out’ these to describe how this information is passed to the dominant except its broader meaning. His artists so that it appears on. The dominant has a vertical transmission as objects of male lust. archives were destroyed by invisible in its naturalness. of history (as institutionally taught), while all Whether male same-sex the Nazis. Walt Whitman Institutions usually remain others by necessity have devised alternative activity was criminalized termed the phrase means of storing their excluded history. depended on the locality. ‘comerado’ in Leaves of Nayland Blake says ‘Queer people are the only Same-sex lovers faced Grass (1891) attempting to Biographical minority whose culture is not transmitted name his ‘unspeakable’ external homophobia, and information within the family... The extremely provisional love. Homoerotic works by many internalised it. The nature of queer culture is the thing that makes artists were often destroyed paper trail of the lives of for same-sex its transmission so fragile6’. “Hidden Histories” most people in the 20th by their families after lovers has been included work featuring the male lovers of death, in order to ‘protect’ century allows for the Figure 2. Duncan Grant, male visual artists, and was open about these their name. Some works documentation of sexual systematically Portrait of Maynard relationships. Glenn Philpot’s Portrait of a man and emotional partners and Keynes, 1908, collection of survived and my decision withheld in Black (1913) depicts his lover Robert Allerton, to look at only 20th Century we can see how these loves the Provost and Scholars of as Duncan Grant’s depicts his lover Maynard Kings College Cambridge, male same-sex lovers was affected artists’ production. for a variety Keynes (1908). courtesy of the Fitzwilliam 4 Spencer, 1995: 10. 5 Katz, 2001: 73. of reasons Museum, Cambridge. 6 Blake, 1995: 12. [ 56 ] CE DIGITAL DR MICHAEL PETRY [ 57 ]

These works are remarkable museum, it allowed me to The same councillors intimate, and knowledge of document same-sex work previously demanded the sitter’s sexual relationship in an open forum. Walsall is two photomontages in an to the artist, opens up other situated near Birmingham, exhibition (Unveiled) be interpretations. the UK’s second largest city removed, or they would shut and is racially diverse with a “Hidden Histories” might be the building. The works were large Asian community (often seen as odd, as it excludes removed. The Labour council deeply sexually conservative). the work of female same- refused to believe that a Homosexuality has only sex lovers. Discussions with global historical survey was just been decriminalized in women artists, curators, and years in the making and had India (September 2018) but interested parties thought nothing to do with them. It is still illegal in Pakistan and it wrong for me, as a man was decided I would present in many Muslim countries trying to reclaim an historical to the Head of Arts, Events punishable by death. These voice for an oppressed group and Tourism all the intended areas have long been Labour (male same-sex lovers) to works for veto. The museum strongholds, but as a party it attempt to do so for women. and I felt the importance has a mixed record dealing It was hoped an exhibition for of the show meant we had with homosexuality. The women might follow shortly. to swallow this bitter pill. then local Labour party held Now, over 13 years later, Tate This offi cial was not an art power and from the start, Britain’s “Queer British Art historian, nor involved in was against the exhibition 1861 -1967”, includes the contemporary arts. The scheduled for May 2004. work of women and was Acting Director, her assistant, Neither the museum nor curated by Clare Barlow. press offi cer, and education myself knew local elections No institutional exhibition offi cer also attended. would be called for May solely focused on women and Labour claimed the The Head of Arts stated the has emerged. Tate lent work Acting Director deliberately council’s fears, I assured to “Hidden Histories” and I scheduled a ‘controversial’ him that exhibition was understand used my book exhibition to hurt their re- largely denuded of body as a starting point for theirs. election prospects. The parts, though some genitalia Many have taken the notion museum building is owned would be seen. He was of the title as problematic, by the local Council, who unsettled by several of the as “Queer” was a term these repeatedly threatened to works, but seeing Felix artists would most likely close the building if not Gonzalez-Torres’s corner not have used to describe allowed complete censorship. candy piece Untitled themselves or their art. In its The Labour group required a (Ross) he became verbally broadest current usage I feel presentation of all materials abusive. The conceptual it was more than acceptable. and possible exhibits, and work comprises wrapped Figure 3. Façade of the New Art Gallery Returning to The New Art demanded a right to censor pieces of candy placed in Walsall, United Kingdom, with the Gallery Walsall, then a new the exhibition, and did so. the corner of a room, to the photography Untitled by Per Barclay. [ 58 ] CE DIGITAL DR MICHAEL PETRY [ 59 ]

then weight of Gonzalez- informed him that while where children under 15 The Tate lent a Francis rounded on by the crowd, Torres’ lover Ross (suffering 95% of paedophiles are had to be accompanied Bacon painting of one of who recognized them and from an AIDS related heterosexuals, like him, that by an adult, including a his male lovers, along with demanded they leave. drawing by Jean Cocteau, illness). The work depicts did not make him one. The Marylin prints by Warhol. “Hidden Histories” no part of the body. The The Erection (Richard), work was excluded from The Council’s homophobia conspicuously asked that Head of Arts denounced two 1950’s Bruce of LA the show. The museum continued as staff with institutional biographical the work claiming everyone photographs of nude men, staff thought I would make restricted access to original distortions be stopped, but knew all ‘homosexuals’ Ross Bleckner’s Bellybutton a formal complaint against material briefed against the challenge continues were ‘paedophiles’ and photograph, and Keith him. I felt the importance the exhibition. The Walsall as I have documented that ‘pedos’ tried to catch Boadwee’s Butthole Target of the exhibition and Express & Star (April 5, elsewhere over the last 15 children with candy. He Yellow. Three other works its soundness (and 2004) ran the headline years. As artists, curators, were deemed too adult shouted that he would not and visitors, we need to inoffensiveness) came fi rst. “Fears as ‘porn’ art planned allow ‘on my watch’ such for anyone under 18, and for Gallery”. It claimed the demand openness and He demanded some were shown in the locked Figure 5. Francis Bacon, Three perversion to take place. transparency. The results of exhibition would ‘include Figures and Portrait, 1975, Library. Two were drawings: A stunned silence fell. I works be placed in a room the local elections were that work by a painter who Tate Collection, London. Tom of Finland’s magazine Labour lost their majority on specialised in images of cover Dick, and the Untitled the council. naked boys’, a possible David Hockney engraving reference to Henry Scott depicting two men having Tuke who painted young oral sex. Black British artist As artists, curators, men. ‘A senior source told Mike Sale’s photograph and visitors, Mike in a Jasper Conran the Express & Star that Suit, a deconstruction of some staff at the £21 million we need to demand openness Robert Mapplethorpe’s gallery were concerned by and transparency Man in Polyester Suit, the “offensive” nature of the featured Sale in place of the display by gay artists.’ The original anonymous black Acting Director confi rmed BAKER, P., STANLEY, J., (2003): Hello Sailor! The Hidden man. Sale’s investigation of that everyone at the History of Gay Life at Sea, Pearson Education Ltd., London. racism had already been museum was happy with JENNINGS, E. (1961): The Sonnets of Michelangelo, The Folio widely exhibited without the show and did not speak Society,London. incident, as had Hockney’s to the press. The Express SASLOW, J. (2001): Pictures and Passions, A History of print. These few works were claimed “a senior fi gure Homosexuality in the Visual Arts, Penguin Books, New York. from over 70 pieces spaning in the leisure and culture SPENCER, C. (1995): Homosexuality, A History, Fourth Estate, four fl oors of the museum, department of Walsall London.

most featuring no nudity. Council’ briefed them. KATZ, J. N. (2001): Love Stories: Sex between Men before During my curator’s talk Homosexuality, The University of Chicago Press, Chicago.

to the general public I was BLAKE, N., RINDER, L. and SCHOLDER, A. (eds.) (1995): In Figure 4. Mike Sale, Mike in constantly heckled by what a Different Light: Visual Culture, Sexual Identity, Queer a Jasper Conran Suit, 1994, turned out to be two Labour Practice, City Lights Books, San Francisco. courtesy the artist. party members who were [ 60 ] CE DIGITAL JOSHUA G. ADAIR [ 61 ]

This essay examines progress in the area of representing queer sexuality in historical house museums in the United States of America. It questions the assumption that such institutions shy WATER CLOSET away from potentially sensitive subject matter in general by offering counterexamples of the bodily functions and intimate care so frequently focused upon by docents during house tours. Finally, it presents a brief WISDOM: case study of the Glen Burnie House as a model for openly addressing a queer sexuality and historical former owner’s sexuality and gender. house museums

Joshua G. Adair ver the was one about how people bathrooms of all sorts more last several urinated and defecated in than any other subject or MURRAY STATE UNIVERSITY months the good old days. If this object combined. Most [email protected] I have seems an indelicate subject often, it seems, a well- been lucky to inaugurate an essay meaning, if incongruously Oenough to conduct site about queer men and their enthusiastic, docent will visits at over a dozen representation/depiction in gesture toward—or even historical house museums. historical house museums, pick up—a chamber pot in Though they are situated I have chosen it deliberately a bedroom for instance and, in various geographical so that I may pose a serious with a mischievous grin locations and focus upon question: why are museums inquire, “does anyone know different sorts of people at ease discussing the most what this is for?” I always intimate functions of our opt to play dumb at these Joshua G. Adair is an associate professor of English and periods of history, I was surprised to realize bodies while still generally moments—as do my fellow at Murray State University. His work has appeared in Gender that they all tend to insisting that examining visitors—and once again and Sexuality in Museums: A Reader (Routledge 2010), tell at least one similar sexuality and gender— we all receive instruction story: how the homes’ particularly the queer sorts about how people Museum & Society, and Visual Culture & Gender. inhabitants had relieved —remains beyond the pale? answered nature’s call prior in those days. Especially His collection, Defi ning Memory: Local Museums and the themselves. It is true: the I would wager that in my excited docents will then only unifying narrative I museum-going lifetime— Construction of History in America’s Changing Communities, relate crude details about could establish between which has been at least nd emptying and cleaning 2 Ed., edited with Amy K. Levin, appeared from Rowman these museums—which three decades now—I these pots too, even as and Littlefi eld in 2017. Museums, Sexuality, ranged from eighteenth have been instructed visitors begin to squirm and century townhouses to about the presence and and Gender Activism, edited with Amy K. Levin, exhibit signs of queasiness. antebellum plantations to usage of chamber pots, will appear from Routledge in 2019 late Victorian mansions— privies, water closets, and From there, then, we often [ 62 ] CE DIGITAL JOSHUA G. ADAIR [ 63 ]

Figure 1. Hip bath and how that child was created. On a privey chair at Travellers recent visit to Rippavilla Plantation Rest Plantation, Nashville, in Spring Hill, Tennessee, one docent Tennessee. even went so far as to educate us about the “birthing rocker” showcased in one of the upstairs bedrooms, mimicking the bodily poses required to successfully deliver in such a contraption. “It still features its original upholstery”, she announced as she beamed proudly. “Can you imagine all the DNA on this thing?” she then asked impishly with a wink of her Figure 2. Rippavilla eye. I could, in fact, once she brought Plantation, Spring Hill, it to mind; the picture was vivid and Tennessee. not altogether enticing to me, but I learned something about childbirth in Figure 3. Birthing rocker. those moments that I am unlikely to Rippavilla Plantation, Spring forget. In jarring my complacency and Hill, Tennessee. venture into discussing the bathing habits of the surprising me, she also succeeded at homes’ former inhabitants; in this regard docents teaching me something. often ask guests to focus upon the infrequency of ablutions and the unsavory nature of shared Her boldness—even brashness—was bathwater. The truly keen guide will then trot refreshing. Even though her remarks why are museums out that old gem about babies and bathwater, at made some folks in the room squirm which point the entire group breathes a sigh of a bit, no damage was done and a at ease discussing relief at their good fortune in enjoying modern truth about past lives was imparted the most intimate conveniences. to us. We chuckled—whether out of discomfort or at our own prim sense I am not a prudish nor a bashful person; all this functions of our of propriety, I cannot say—and at least bathroom talk does not bother me in the least. some, if not all, of us left realizing the bodies while still We all experience bodily functions and I, for one, value a docent who barrels forth with see no value in pretending otherwise. What I generally insisting facts rather than pussyfooting politely. do take issue with, however, is the fact that in that examining numerous cases we can freely, even humorously, During another tour I took just a sexuality and gender talk about human waste in historical house month earlier in the Mercer-Williams museums but we rarely examine sexuality or House in Savannah, Georgia, I had —particularly the gender with such abandon. On a rare occasion, experienced a similar moment of queer sorts—remains an especially cantankerous docent might delve embarrassment and learning, although into the horrors of childbirth – though always in a decidedly less positive way. Jim beyond the pale? without talking about any relevant context of Williams, the home’s last owner, was a [ 64 ] CE DIGITAL JOSHUA G. ADAIR [ 65 ]

times. In fact, it featured Then he showed us a display Since I in my 2010 essay “House of framed pictures of Kevin Museum or Walk-In Closet? Spacey playing Jim Williams published The (Non)Representation and generally discussed how “House Museum of Gay Men in the Houses the house had been used or Walk-In They Called Home” because as a fi lm set. At no point I was shocked that Williams’ did he mention sexuality Closet” in 2010, homosexuality was never or the actual nature of the however, some addressed in the tour, men’s relationship. He did, despite the fact that the however, repeatedly refer to circumstances entire world knew about it. Williams’ as a “bachelor” and have changed Instead, much of the tour imply that he was a playboy. focused upon his collections for the better In other words, not much and his important historical has changed. —and doing so in an preservation work. I honest, straightforward I keep a running tally of wondered if I would fi nd manner without coded topics far less pleasant to nearly a decade later that language or obfuscation discuss than sexuality and the narrative had changed, —apparently violates all gender, since those topics perhaps become more decorum—even as queer are treated as taboo in honest and direct. Instead, décor sells tour tickets. As historical house museums. I found it to be largely one of those writers our Murder, for one, ranks unaltered: the focus remains docent mentioned who the house itself and the quite high on that list. I am Figure 4. Mercer Williams have criticized the lack of remnants of Williams’ troubled that homicide is House, Savannah, Georgia. honesty and transparency collection. Once we entered trotted out as a Hollywood at the site, even as the facts the room in which Williams special effect in the Mercer- are highly public, I felt great murdered Hansford—out Williams house, even as disappointment to realize well-known antiques dealer events were the focus of site. On the morning we of self-defense, he argued signifi cant features of the the museum’s staff remains —the tone shifted slightly. lives referenced there are and serious collector. He John Berendt’s 1994 novel, arrived, the block upon dogged in their disavowal, “Lots of people have written sanitized and/or silenced in travelled the globe to gather Midnight in the Garden which the house resides even as they celebrate the about this place”, our docent the museum’s narrative. Is it fi ne paintings, furniture, of Good and Evil, which was surrounded with eager true crime aspects of the remarked, “and they always acceptable, even palatable, and other objet d’art for his was adapted into a major tourists snapping pictures house. What message does say we’re not honest about to label a man a murderer? wealthy clients. He was also motion picture starring and asking passersby about it send when visitors arrive what happened here. That’s Apparently so, and with a homosexual who shot his Kevin Spacey in 1997. Few the site’s history long before in possession of the truth not true, though. We’re what appears to be relative young lover and assistant in historical house museums the gift shop even opened to —queer people among happy to talk about the ease. Identifying that same sell tickets. them—only to discover a his antiques business, Danny enjoy such notoriety and murder”. And so he did: he man as a homosexual circumscribed narrative? Hansford, to death in the countless people have I was excited to be touring said Williams shot a man study of his house on May 2, fl ocked to Savannah since the property again, as I had who worked as an assistant Since I published “House 1981. These highly publicized the mid-90s to visit the written about it several for his antiques business. Museum or Walk-In Closet” [ 66 ] CE DIGITAL JOSHUA G. ADAIR [ 67 ] there are in 2010, however, some radical, however, there are circumstances have changed plenty of well-established plenty of well- for the better. At the time, historical house museums established virtually no historic house who need only shift their museum in the U.S. was narration of former owners’ historical house openly admitting, let alone lives in order to offer more museums substantially addressing, the truly authentic, honest who need queerness of the houses’ representations. Models for former owners. I contended these possibilities are slowly only shift their that even in cases lacking emerging: Beauport, the narration of absolute certainty — in other Sleeper-McCann House in words, instances in which we Gloucester, Massachusetts former owners’ can defi nitively prove same- and Glen Burnie, a part of the lives in order sex attraction and/or sexual Museum of the Shenandoah behavior — historical house Valley, in Winchester, Virginia, to offer more museums have a duty to are two examples of historical truly authentic, foster dialogue and explore house museums making possibilities for understanding strides to depict the sexuality honest and exploring various features of their former owners representations of historical personages’ lives. accurately. While I think For example, not all men both museums are doing who collected antiques and important, necessary work, restored old homes were I want to focus in the space queer, obviously, but based I have remaining upon Glen upon my personal experience Burnie and its journey to as a queer man who does represent its former owner, both, and my extensive Julian Wood Glass Jr., in a research about other men truthful and straightforward like me, queers make up manner as a gay man, a disproportionately large among other things. segment of that particular Listening, it turns out, was a population. Such discussions big part of the transition from can be had and would offer ignoring Glass’s sexual and productive insight into the romantic life to integrating it construction of gender, even into the story delivered in his in cases where straight men home turned museum. “We align with certain queer held listening sessions for Figure 5. Glen Burnie House, stereotypes or sensibilities. months”, Dana Hand Evans, Museum of the Shenandoah Valley, If that proposal proves too Executive Director of the Winchester, Virginia. [ 68 ] CE DIGITAL JOSHUA G. ADAIR [ 69 ]

Museum of the Shenandoah imply, often forcefully, that objections, however, I to shift their focus and me in devising strategies to Valley, informed me, queerness of any variety surmise that at least part of offer interesting—and inject honesty and candor “and we really worked to is somehow shameful and the problem at work there entertaining—insight into into these spaces. A great understand what all our deserving of addressing was their own anxiety the lives of the queer men deal of work remains to constituents were saying”. it with subterfuge. Rather in anticipating visitors’ who made the site public in be done if we are to drag One of those constituents, than offering clichéd responses: they feared the fi rst place. historical houses into the a local gay man who qualifi cations in the negative reactions to the The advances at Beauport contemporary era as viable remembered Glass and form of descriptors like truth and they preferred to and Glen Burnie are learning and teaching his partner at the time, R. “bachelor”, “eccentric”, avoid unpleasantness. hopeful ones. Incremental enterprises. One signifi cant Lee Taylor, talked about or even the seemingly While this fear and the way change is happening, and way this can be done how he felt like an outsider anodyne but all too it infl uences what we say those changes illustrate in is to begin addressing because of his sexuality frequently loaded and what we silence are a quietly forceful manner gender and sexuality in all when he was growing up. “collector”, the board certainly understandable, that the risk of honesty is historical house museums, He argued that access to and administrators at they also highlight a not only worthwhile but not just those of same- the kind of straightforward the museum opted for a central, ongoing problem also far less fraught than sex attracted individuals. representation the museum direct proclamation that with historical house it seemed even a decade As signifi cant facets of all now offers would have Glass was “a gay man”, discover museums: they frequently ago. In just a few minutes both on its website and our lives, we cannot doubt made a tremendous err on the side of safety and I can think of over a dozen in its tour narration. This that such discussions individuals with difference in his view of comfort. Since Glen Burnie men whose mansions- shift in presentation— would encounter the world and his place in shared identity shifted its approach in 2014, turned-museums should despite the fact that interested, if slightly it. His point is not minor: the sky has not fallen nor be working on ways to Glass’s sexuality was a uncertain, audiences. In traits depicted representation matters has the museum’s funding incorporate discussions of public secret, as it is for so time, that uncertainty or with honesty, tremendously and to many men like him – was dried up. In fact, as far as I gender and sexuality into visit a museum site and/ embarrassment would be at once challenging and can tell, it is experiencing their exhibits: Grant Wood, sincerity, or its online presence overcome and maybe, just simple. No major change serious growth in fi nding Henry Francis du Pont, and respect and discover individuals maybe, we might be able ever transpires without novel, innovative ways Phillip Johnson, Robert with shared identity traits to close the door on some can offer some resistance, and the to utilize its historical Allerton, James Deering, depicted with honesty, of those water closets and museum did experience house and the world- John Singer Sargent, immeasurable sincerity, and respect crack open others that have some pushback from class collection that Glass Henry Chapman Mercer, can offer immeasurable yet to see the light of day. benefi ts — various constituencies— amassed. The controversies Charles Demuth, James benefi ts—especially to just as one must expect. it experienced were minor Whitcomb Riley, Jesse especially to minorities who continue to Some docents felt and short lived; in fact, they Shepherd, William Weeks struggle for equal rights and minorities who discomfort delivering their might be best described Hall, Charles Gibson Jr. I fair treatment. as growing pains. In offer this list—which is far continue to newly expanded narrative; There is also something some donors found it throwing open the closet from exhaustive especially struggle for to be said for the value disrespectful or generally door, fl ipping on the light, as it focuses solely upon equal rights and of diffusing the power unacceptable to reference and inviting folks inside my chosen area of research of secrets, of allowing or discuss homosexuality. for a sincere talk, the folks focus, queer men—in the fair treatment cover-ups and silences to No matter the true at Glen Burnie were able hopes that others will join

[ 72 ] CE DIGITAL KATHLEEN BÚHLER [ 73 ]

n 1908, the Genevan addition comes the social, politician and essayist economic, and political William Vogt wrote the challenge, which has for book Sexe faible (The some years been discussed STRONGER AND Weak Sex), in which as a “crisis of masculinity”. Ihe examines the “natural” With this metaphor, weaknesses and inabilities “an attempt is made to WEAKER SEXES: of the female gender. apprehend all the changes Intended as a “response that contribute to the fact Remarks on an Exhibition to absurd exaggerations that the dominance of the and feminist utopias”1 , male gender, which was at Kunstmuseum Bern since then the catchy title formerly consolidated to has shaped the battle of a large extent, has lost Kathleen Bühler the sexes as a dictum. It the obviousness of being was one of the texts from self-evident”3. Nothing KUNSTMUSEUM, BERNA the turn of the previous therefore demonstrates [email protected] century that justifi ed the the transience of gender legal, political, and social stereotypes more clearly, subordination of women therefore the exhibition based on their anatomical at the Kunstmuseum and thus also intellectual Bern in 2013 argued that inferiority in comparison specifi cally images of with men. The perception “weak” men best represent Swiss curator and fi lm scholar, studied at University of In addition of women as the “weak sex” the social and cultural persisted tenaciously. It is liberation movements Zurich, Switzerland. PhD in fi lm history on the experimental comes fi rst in recent years that of the twentieth and fi lms of Carolee Schneemann (published in Schüren Verlag, this ascription has slowly twenty-fi rst centuries. the social, been shifted to men, since The fact that men today Marburg 2009). Since 2008 curator of contemporary art at the economic, most recent biological are allowed to express Kunstmuseum Bern. In that position curated shows with Tracey discoveries unveiled their feelings publicly, and political Emin (2009), Yves Netzhammer (2010), Thomas Hirschhorn genetic “weaknesses” as is shown for instance challenge, that run parallel to a by the example of the (2011), Berlinde De Bruyckere (2011), Zarina Bhimji (2012), Bill social weakness, as males exceptional Swiss athlete Viola (2014) and Bethan Huws (2014). Was 2012 awarded with which has for more frequently have Roger Federer, or that some years problems in school, turn they are staged by female the Swiss Exhibition Award 2011 for the exhibition “Dislocacion. criminal, and die earlier2. In artists as object and no Art critic for Neue Zürcher Zeitung from 2002 - 2007”. Publishes been discussed regularly texts on contemporary art in newspapers, art as a “crisis of 1 Une riposte aux exagerations, aux absurdites et aux utopies du feminisme is the subtitle. magazines, catalogues, and artist’s books. masculinity” 2 Sadowski, 2010. [ 74 ] CE DIGITAL KATHLEEN BÚHLER [ 75 ]

the exhibition at the Kunstmuseum Bern Figure 1. Sam Taylor-Johnson, in 2013 argued that specifi cally Steve Buscemi, 2004. From the images of “weak” men best represent serie: Crying the social and cultural liberation Men, 2002 – 2004. C-Print. movements of the twentieth and 99,2 x 99,2 twenty-fi rst centuries cm gerahmt. Courtesy White Cube © Sam Taylor-Johnson.

longer as subject of desire and media. Hegemonic hold the most power is a crucial innovation in male types—thus men that actually expose their the visualization of gender who, according to general own status the least. In identities. After various opinion, embody the Western cultural tradition, exhibitions in recent dominant masculine ideal these are physically sound, years were dedicated to most convincingly—have white heterosexual men6. gender relations, gender only been reflected in They remain the norm imprinting, or the social public through media for a unchallenged as a “blind latitude in performative relatively short time, even spot” without their position 4 stagings of gender , though the male gender of power and ability to the exhibition at the is also a sociocultural make decisions ever Kunstmuseum Bern construct, just like that of becoming a focus. The brought together the masculine-heterosexual women, transgender, or points of view of male dominance succeeds in inter-gender individuals5. and female artists who “remaining out of the deal either with their own What comes to be question itself”, as the art experiences with men and/ expressed here is the historian Irit Rogoff has or being a man, or with invisibility of norms. As criticized, by subordinating Figure 2. Bas Jan a general examination of is generally known, it is all representations of Ader, I’m Too the images of men in art those social groups that the “other” to their own Sad to Tell You, 1970/71. 16mm, b/w, volume, 3:34 3 Meuser, Scholz, 2011: 56. Min. Museum 4 “Oh boy! It’s a Girl”, Kunstverein Munchen, 1994; “Féminin-Masculin”, Centre Georges Pompidou, Paris, 1995; “Rosa fur Jungs: Hellblau fur Madchen”, Neue Gesellschaft fur Bildende Kunst, Berlin, 1999; “Das achte Feld”, Boijmans Van Museum Ludwig, Cologne, 2006; to name but a few. Beuningen, 5 Stephan, 2003: 13. Rotterdam. [ 76 ] CE DIGITAL KATHLEEN BÚHLER [ 77 ] norm, including women, naked, sculpted bodies into “gender is also The introductory chapter male subject to female individuals with a different a palm and marble decor “Strong Weaknesses” object of desire. “Crisis and sexual orientation, and on the fl oor. The path to a sociocultural revolved around the Criticism” and “Masculinity non- whites7. The fact the exhibition literally leads construct, change in gender virtues as Masquerade”, in that male bodies are over their nakedness. The just like that and considered this based contrast, were dedicated becoming visible today exhibition continued to on the example of the to a younger generation in the most unexpected focus on representations of women, weeping and fearful man. of artists who deal out places is demonstrated in of masculinity in art since transgender, “Experiments” presented criticism of their “fathers” a striking way by the work the nineteen-sixties while eccentric artistic stagings and also discover the Nude, Leaves and Harp simultaneously taking or inter-gender and socio-critical actions arsenal of gender stagings (2012) by Rico Scagliola the historical conditions individuals” that were infl uenced by and their utopian potential and Michael Meier, which of being a man into the sexual revolution. anew. graces the entrance area consideration by utilizing “Emotions” highlighted to the exhibition in Bern. central issues in masculinity the point in time at The artist duo incorporated research as a guide. It which men themselves detailed images of their resulted in six chapters. increasingly cast aside the Figure 4. Alexis Hunter, image of the successful Approach to Fear: XVII: 6 Dyer, 1993: 4. and unfl inching hero in Masculinisation of Society 7 Rogoff, 1989: 141. order to explore men’s - exorcise, 1977. 10 Colour emotionality. “Eroticism” photographies, mounted on two panels each of 25 x describes the change in 101 cm. Courtesy of Richard gaze and position from Saltoun Gallery © 2013 ProLitteris, Zürich.

Figure 3. Valie EXPORT, Peter Weibel Aus der Mappe der Hundigkeit, 1969. Documenation of the performance, 5 b/w photographies 40,4 x 50 cm / 50 x 40,4 cm. Generali Foundation Collection, Vienna. Photo: Josef Tandl © Generali Foundation © 2013 ProLitteris, Zürich. [ 78 ] CE DIGITAL KATHLEEN BÚHLER [ 79 ]

Works by: Vito Acconci / Bas Jan Ader / Luc Andrié / Lynda Benglis / Luciano Castelli / Martin Disler / VALIE EXPORT & Peter Weibel / Gelitin / Pascal Häusermann / Alexis Hunter/ Cathy Joritz / Jesper Just / Jürgen Klauke / Frantiček Klossner / Elke Silvia Krystufek / Marie-Jo Lafontaine / Peter Land / littlewhitehead / Sarah Lucas / Urs Lüthi / Manon / Paul McCarthy / Tracey Moffatt / Josef Felix Müller / Ursula Palla / Adrian Piper / Anne- Julie Raccoursier / Ugo Rondinone / Carole Roussopoulos / Rico Scagliola & Michael Meier / Sylvia Sleigh / Nedko Solakov / Megan Francis Sullivan / Sam Taylor-Johnson / Costa Vece / William Wegman / Silvie Zürcher.

DYER, R. (1993): “Introduction”, in DYER, R. (ed.) The Matter of Images: Essays on Representation, Routledge, London and New York.

MEUSER, M., SCHOLZ, S. (2011): “Krise oder Figure 7. Littlewhitehead, The Strukturwandel hegemonialer Mannlichkeit?”, Overman, 2012. Shopper doll, towels, in BERESWILL, M., NEUBER, A. (ed.) In der boxing glove, wooden base, 120 x 120 Krise? Mannlichkeiten im 21. Jahrhundert, x 120cm. Saatchi Collection, London. Verlag Westfälisches Dampfboot, Munster. Figure 5. Sylvia Sleigh, Paul Courtesy of the artist/Sumarria Lunn ROGOFF, I. (1989): “Er selbst: Konfi gurationen Rosano in Jacobson Chair, Gallery/Saatchi Collection. von Mannlichkeit und Autoritat in der 1971. Oil on canvas, 131 x 142 Deutschen Moderne”, in LINDNER, I. et cm. Courtesy The Estate of al., Blick-Wechsel: Konstruktionen von Mannlichkeit und Weiblichkeit in Kunst und Sylvia Sleigh & Freymond- Kunstgeschichte, Dietrich Reimer Verlag, Guth Fine Arts Zürich. Berlin.

SADOWSKI, C. (2010), “Der Mann: das schwache Geschlecht”, Express.de, [July 14, 2013]. The masculine- STEPHAN, I. (2003): “Im toten Winkel: Die Neuentdeckung des ‘ersten Geschlechts’ durch heterosexual men’s studies und Mannlichkeitsforschung”, in BENTHIEN, C., STEPHAN, I. (ed.) Mannlichkeit dominance succeeds als Maskerade: Kulturelle Inszenierungen vom Figure 6. Tracey Moffat, Heaven, in “remaining out of Mittelalter bis zur Gegenwart, Böhlau Verlag, 1997. Video, colour, volume, 28 Cologne. Min. © 2013 ProLitteris, Zürich. the question itself” [ 80 ] CE DIGITAL GLORIA CORTÉS ALIAGA [ 81 ]

Cuestionar los modelos de género promovidos por el arte en tanto dispositivo articulador de imaginarios y contenidos (en clave) y al museo como principal territorio de ejecución (EN)CLAVE y promoción de ese modelo (enclave) fue el objetivo de esta exposición que, usando como medio la colección del Museo * Nacional de Bellas Artes, buscó en las prácticas de lo masculino, MASCULINO los ejes de articulación de la modernidad chilena. “La vinculación desde una mirada crítica de la práctica museal Lectura de la colección del con la sociedad y sus necesidades es cada vez más importante”. Museo Nacional de Bellas Artes, “(en)clave Masculino invitaba a refl exionar sobre la pluralidad de las identidades, recuperar la memoria respecto de las Santiago de Chile ausencias y redefi nir las relaciones de género”. Gloria Cortés Aliaga l 19 de enero muestra se concentraba en y primogenitura) CURADORA, MUSEO NACIONAL del 2016 abrió las operaciones artísticas con la historia de las DE BELLAS ARTES a público la e institucionales que masculinidades a partir de [email protected] exposición defi nieron la escena en su crisis, de la emergencia “(en)clave Chile principalmente del homoerótico y la EMasculino” con más de 100 durante el siglo XIX, pregunta sobre las obras de la colección del mediante los discursos sexualidades alternas. Por Museo Nacional de Bellas y la epistemología de la otro lado, los ejercicios Artes (Santiago, Chile). imagen como espacio de poder y sumisión Confi gurada a partir de un de representación pero (ala norte), abordaban primer análisis del acervo también de reproducción las interpretaciones con una mirada relacional de lo masculino, del consentimiento, el voyerismo sobre el cuerpo Historiadora del Arte, actualmente es Curadora del Museo entre arte, política y género, obedeciendo a tecnologías la exposición buscaba de poder que confi guran femenino y las violencias Nacional de Bellas Artes. Fue Jefa de Exposiciones y curadora visibilizar las estructuras y dominan el sistema de ejercidas con el fi n de del Centro Cultural La Moneda. Se ha especializado en estudios hegemónicas que han relaciones sociales en los preservar la alteridad del sujeto colonizado, aquello con perspectiva de género, confi guración de la modernidad en operado tanto en el sistema márgenes de las nociones de las artes chilenas como geopolíticas del cuerpo, “Otro”. Chile y sus alcances socioculturales en las políticas visuales en la institucionalidad especialmente, del cuerpo Un primer ejercicio de lxs artistas chilenxs. cultural. Constituida dócil. De este modo, las relacionado con la historia por 8 ejes de discusión identidades masculinas del Museo fue interpelar respecto de la crisis de (ala sur) enfrentaban la respecto de la ausencia * El presente texto forma parte del catálogo ampliado de la exposición (en)clave Masculino, colección MBA. Museo Nacional de Bellas Artes, Santiago, 2016. las representaciones, la patrilinealidad (honor femenina en las colecciones, [ 82 ] CE DIGITAL GLORIA CORTÉS ALIAGA [ 83 ] donde el número de obras a la fi gura del dandy (o el la exposición entre los hombres como de poder en las que la metáfora del deseo que realizadas por creadoras/ esteta) frente a los desnudos amistades pasionales en complicidad y la violencia se mezcla con la tortura productoras llega a tan solo atléticos de la Academia. El buscaba las que el placer sensual no viril juegan un papel y el sadomasoquismo; su un 11%. A ello se suma que Sísifo (1893) de Pedro Lira y visibilizar las se ansía como un fi n, sino fundamental (Badinter, carga erótica inusitada, tan solo dos mujeres han su Prometeo encadenado como una consecuencia de 2009: 86). El cuerpo emerge lo transfi gura desde el ocupado el cargo directivo (ca. 1883) revelaban la estructuras la camaradería y del amor como punto de infl exión Renacimiento en el ícono de la institución desde su dicotomía de los cuerpos hegemónicas entre caballeros. Se trata entre la masculinidad gay por antonomasia. Asimismo, el cuerpo fundación en 1880. “El linaje binarios, donde la fortaleza de una imagen simbólica y homogénea, la normatividad que han travestido de Magicienne museal”, como se denominó del primero se enfrentaba a política sobre la república y el deseo. (1897) de Alfred-Pierre a este eje expositivo, la ambigüedad y androginia operado tanto de los hermanos. La unión Alojado en el cuerpo de Agache o la copia evidenciaba esta ausencia del segundo. El cuerpo noble entre hombres, el San Sebastián –de Luis en el sistema del 1900 de Narciso sistemática de las mujeres, masculino promocionado en ejercicio fraterno erotizado, Eugenio Lemoine (1901) y la contemplando su propia mediante la presencia de los las escuelas de bellas artes de las artes es reforzada por eventos copia a partir de Guido Reni belleza –ambos cuerpos personajes fundacionales del –símbolo del ideal de belleza propiamente masculinos chilenas como (sin fecha)– , el individuo adolescentes– indagaban MNBA y del arte en nuestro y la perfección– encontró en como son la Guerra Civil inquietante de la sociedad sobre las nociones de las país en una construcción el mito y la alegoría la excusa en la institu- estadounidense, la I Guerra moderna desplaza la genealógica virilizada. perfecta para representar el cionalidad Mundial, la emergencia de dinámica homofóbica del A los llamados “señores deseo homoerótico, refl ejado políticas dictatoriales y el Figura 2. Las imágenes de cultural proceso colonialista, vacía del museo”, le seguía la en los Cours de dessin fascismo austro-alemán e su contenido trascendental Apolo, Narciso y San Sebastián crisis de la masculinidad d’après les maîtres (1857) de italiano, donde las relaciones y enfatiza su sexualidad. en “(en)clave Masculino”. Museo Nacional de Bellas alojada en los modelos de Bernard Romain Julien. El masculinas se constituyen El santo martirizado se Artes, Chile. representación que oponían homoerotismo se manifi esta en complejas lecturas transforma en una ambigua Foto: ©Juan Carlos Gutiérrez / MNBA

Figura 1. “El Linaje Museal” en “(en)clave Masculino”. Museo Nacional de Bellas Artes, Chile. Foto: ©Juan Carlos Gutiérrez / MNBA [ 84 ] CE DIGITAL GLORIA CORTÉS ALIAGA [ 85 ]

prácticas discursivas que derivaron en lanzamiento de su libro la feminización de la representación del Infl amadas de retórica. Poder y Sumisión hombre homosexual. Un ejercicio de Escrituras promiscuas para La ubicación y acción de los aceptada (González, 2013: reversión del modelo heteronormado es una tecnodecolonialidad personajes de Johann Moritz 9). Es la interpretación del realizado por la escultora Rebeca Matte (Editorial Desborde, 2016). Rugendas en El huaso y consentimiento en el que en Unidos en la gloria y en la muerte Hombres no somos la lavandera (1835) –obra la casta Susana bíblica (1922), localizado en el frontis del Museo consistió en la instalación donde la escultora –en un gesto inusitado– ícono de nuestra identidad– dialoga en el mismo sentido, de las fotografías de la representa la unión entre dos compañeros ilustraba la potestad sometida al voyerismo y portada y contraportada (basada en un poema de Gabriele del señor en el mundo a la lujuria. La perla del del libro, realizadas por Paz D’Annunzio) y pone en relieve la pregunta hacendal y el incentivo mercader o El Marchand Errázuriz e intervenidas por sobre los conceptos de nación viril del abuso, la violencia y el d’esclaves (1884) de Alfredo Felipe Rivas San Martín, intercambio de mujeres, Valenzuela Puelma, en tanto, Figura 3. Unidos en la gloria y en la muerte propagados por las repúblicas modernas. en el que ambos autores objetos de atracción sexual aborda el cuerpo en dos de Rebeca Matte en el frontis del Museo En octubre del 2016, a nueve meses de aparecen desnudos con que pueden ser fácilmente aspectos: cartográfi camente Nacional de Bellas Artes, Chile. inaugurada la exposición, invitamos los genitales expuestos. seducidas. Mientras él (la esclavitud) y físicamente Foto: ©Juan Carlos Gutiérrez / MNBA a Johan Mijail (poeta y performer Las imágenes en tamaño permanece sobre su caballo (la desnudez), que se dominicano) y Jorge Díaz (biólogo, natural, acompañadas de (dominio), ella lava inclinada repite simbólicamente escritor y activista del Colectivo un video, subvirtieron los sobre el río (sumisión) en el rapto de Elisa Bravo Figura 4. La intervención Hombres no Universitario de Disidencia Sexual, CUDS) retratos de los principales evidenciando los vínculos (1859) o las cautivas blancas somos de Johan Mijail y Jorge Díaz. a intervenir las salas con motivo del agentes masculinos entre poder, sexualidad y la de Raymond Quinsac Museo Nacional de Bellas Artes, Chile. del Museo y el relato Foto: ©Diego Argote práctica del sometimiento, Monvoisin y en el imaginario burgués emplazado por la asumidos como una política de la Ninfa, musa que en su historiografía del arte. doméstica y socialmente fi guración y corporalidad

Figura 5. Las imágenes del Marchand d’esclaves de Valenzuela Puelma y Andrés Madariaga en “(en)clave Masculino”. Museo Nacional de Bellas Artes, Chile. Foto: ©Juan Carlos Gutiérrez / MNBA [ 86 ] CE DIGITAL GLORIA CORTÉS ALIAGA [ 87 ]

defi ne un modelo de para acentuar el deseo mujer que satisface el y satisfacer las pulsiones carácter instintivo del humanas, el locus (o lugar deseo físico. de control) del depredador burgués que conquista y En “Ejercicio voyeur” de domina lo desconocido. la exposición, una cortina La mujer se transforma en rosa abría el paso hacia objeto de arte, se estetiza, el espejo y el cuarto de se cosifi ca, se fetichiza baño, los espacios íntimos en su intimidad, en las femeninos por excelencia, largas cabelleras rojizas de la vinculación apelando a elementos Lucette (ca. 1920) de Julio terrenales y sensuales, desde una mirada Fossa Calderón o en el donde la mirada masculina propio taller de un artista, crítica de la vigila y castiga en la obra Taller de un práctica museal –aludiendo a Foucault– pintor (1880-82) de Ricardo y el cuerpo se transforma de Villodas de la Torre. con la sociedad y en el elemento desde el sus necesidades cual se priva de libertad La victimización a la vigilada. Así, el sistemática de los cuerpos es cada vez más sentido de la “mirada” se en estado de indefensión importante. transforma en dispositivo también quedó refl ejada (en)clave Figura 7. “El muro de las Figura 6. “Ejercicio violencias” en “(en)clave Masculino voyeur” en “(en) Masculino”. Museo Nacional nacionalizados (Cabezas y del hijo en Desolación (1909) invitaba a clave Masculino”. de Bellas Artes, Chile. Berna, 2013: 781). Hércules de José Mercedes Ortega Museo Nacional de Foto: ©Juan Carlos Gutiérrez / matando a los niños (ca. nos entregaba la visión refl exionar sobre Bellas Artes, Chile. MNBA 1620), atribuido a Alessandro sobre la mortalidad infantil Foto: ©Juan Carlos la pluralidad de Turchi, representaba la derivada de los procesos Gutiérrez / MNBA en el “Muro de las escena en la cual el héroe de industrialización y las las identidades, violencias”, área temática de da muerte a sus propios discusiones sobre salud recuperar la la curatoría que abordaba hijos; mientras a su pública que emprendieron los alcances de las políticas alrededor observábamos la las agrupaciones asociadas memoria respecto de Estado, creadores de infancia violentada versus al mundo obrero; Dalila de las ausencias desigualdades, en el que la infancia controlada en castraba simbólicamente los regímenes biopolíticos las obras Figura de niño a Sansón cortándole el y redefi nir las modernos domestican, (1887) del español Francisco cabello; Caín mataba a relaciones de sujetan y disciplinan Domingo y Marqués y Abel, mientras Lucrecia se los cuerpos/territorios, Niña con juguete (1900) de suicidaba tras haber sido género sexualizados, racializados y Demetrio Reveco; la muerte violada. [ 88 ] CE DIGITAL GLORIA CORTÉS ALIAGA [ 89 ]

Las obras que conforman Las más de 100 personas “(en)clave Masculino” este muro expositivo no que aceptaron la invitación invitaba a refl exionar BADINTER, E. (2009): “El enigma masculino. La gran X”, en: Ávila Santamaría R., Salgado J. y Valladares L. (comp.), El solo ilustran situaciones de asistir a la visita guiada sobre la pluralidad de las género en el derecho. Ensayos críticos, Ministerio de Justicia de violencia, sino inaugural, las otras 80 que identidades, recuperar y Derechos Humanos, UNIFEM, Alto Comisionado de las también cómo esta se ha vinieron en el contexto del la memoria respecto de Naciones Unidas para los Derechos Humanos, Quito. naturalizado en nuestra día contra la homofobia y las ausencias y redefi nir CABEZAS, A., BERNA, D. (2013): “Cuerpos, espacios y sociedad. Si bien esta la transfobia, las cerca de las relaciones de género violencias en los regímenes biopolíticos de la Modernidad. De maricas y homosexuales habitando lo femenino”, selección se enmarca en 100 mujeres –y sus parejas– desactivando las estructuras que nos acompañaron en de dominación y poder, Política y Sociedad 50, n°3, Universidad Complutense, una lectura anacrónica a Madrid. el día de la mujer y las 250 potenciando los aspectos sus procesos de producción, personas que asistieron a la sociales del cuidar, nutrir GONZÁLEZ CÁRDENAS, C. (2013): Masculinidades rurales: parecía necesario evidenciar continuidades y transformaciones generacionales en las presentación del catálogo y dar –de Alda Facio– , – dentro del contexto identidades de género en la localidad de Nilahue, tesis para de la exposición, nos hablan, recuperando y poniendo en expositivo – la victimización optar al grado de Magister en Estudios de Género y Cultura, evidencian y confi rman que acceso tanto la colección mención Ciencias Sociales, Facultad de Ciencias Sociales, sistemática de los cuerpos a la vinculación desde una del Museo, el valor de sus Universidad de Chile. modo de cierre refl exivo. mirada crítica de la práctica representaciones, así como MONTECINO, S., ACUÑA, M. E. (comp. 1998): Diálogos Cerca de 300 mil personas museal con la sociedad y los procesos socio-culturales sobre el género masculino en Chile. Colección de Libros Electrónicos Serie: Literatura Chilena, Universidad de Chile, Figura 8. Público visitante. visitaron la exposición que sus necesidades es cada vez en los que esta se inserta y Foto: ©Juan Carlos Gutiérrez Facultad de Ciencias Sociales. Santiago. cerró el 8 de marzo del 2017. más importante. su vigencia en la actualidad. / MNBA

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“Man Up! Masculinity in Question” was an exhibition presented by the Wignall Museum of Contemporary Art from January 9 – March 11, 2017. “Man Up!” featured artworks that explore and upset our assumptions MAN UP! about masculine behavior and challenge accepted ideas about the representation of masculinity. The artists included in the exhibition explore masculinity as a set of performed behaviors and interrogate the Masculinity relationship between masculinity, identity, gender, and sexuality. in Question he central curatorial goal of “Man Up!” was to seek out Roman Stollenwerk a diverse group of artists, both in terms of personal WIGNALL MUSEUM OF CONTEMPORARY ART background and identity AT CHAFFEY COLLEGE Tas well as media and artistic processes. [email protected] The Wignall Museum is a non-collecting contemporary art museum that serves the local community as a public institution, but with specifi c attention given to our role serving the college community. Exhibitions are generally thematic group exhibitions that discuss contemporary issues that will encourage critical thought and support classroom assignments and discussions. Because the museum is a department of the School of Visual and Performing Arts, whenever possible the Wignall presents exhibitions that include different materials and artistic practices to better engage as many disciplines as possible and bring Roman Stollenwerk is Assistant Curator at the Wignall diverse examples of contemporary artistic Figure 1. Installation view of “Man Up”! at the practices to the students. Wignall Museum of Contemporary Art at Museum of Contemporary Art at Chaffey College Chaffey College, January 9 – March 11, 2017. “Man Up!” featured work by Badly Licked in Rancho Cucamonga, California. He received his (foreground) Badly Licked Bear, Who can pull Bear, Ryan James Caruthers, Cassils, it?, 2017, polyester resin site-specifi c installation. Master of Fine Arts in Studio Art from Claremont Christopher Dacre, Amy Elkins, Steven (left) Cassils, Fast Twitch//Slow Twitch, 2011, Frost, Pilar Gallego, Oree Holban, Wynne Graduate University and his Bachelor of Arts in Studio two channel video installation. (right) Ryan Neilly, Conrad Ruiz, Devan Shimoyama, James Caruthers, Tryouts, Boxing, 2015, archival Art from the University of Southern California and Scott James Vanidestine. Because pigment print. Photo: Chaffey College. [ 92 ] CE DIGITAL ROMAN STOLLENWERK [ 93 ]

The curatorial of the modest size of the The abstracted and toy-like photograph documents toughness as a defi ning of the exhibition: that museum gallery, each artist appearance of the sword the result. Caruthers was masculine behavior and his masculinity is a set of intent was to exhibited one artwork or a suggests childhood play motivated by his childhood own personal experience performed behaviors that bring the ideas modest selection of a few and the physical piercing of isolation and coming-of-age with attempting to meet are learned and developed artworks from one series. the wall a violent stab, while experience. Caruthers was this standard. Ruiz presents as we are socialized. “Man of play and This allowed the museum the exaggerated size evokes born with a bone deformity a view of masculinity Up!” presented artworks performance, to present an exhibition bravado and confi dence. called Pectus Excavatum, that prizes strength and that observe and question that included photography, The curatorial intent was to violence and where the ribs and sternum aggression as necessary these behaviors rather than video, painting, sculpture, bring the ideas of play and of the chest cove inward qualities for masculine passively accepting them aggression, and installation. performance, violence and causing a caved-in chest. attractiveness and sexuality. as inherently related to sex. aggression, bravado and Upon entering the gallery, This condition created a Ruiz describes his painting The goal was to encourage bravado and confi dence into viewers’ visitors fi rst encountered distance between Caruthers as being, “imbued with a viewers to enter the minds as they enter into the confi dence the installation by Badly and the masculine bonding familiar range of adolescent exhibition and immediately exhibition. into viewers’ Licked Bear. Who can experience of athletics. impulses bound up in ever- consider whether pull it?, 2017, is a polyester On the adjacent wall For Caruthers, as gay man complicated politicized masculinity is judged with minds as they resin sculpture and site- viewers saw a self-portrait the project is also a way to issues of sexual identity, body aggression and violence as enter into the specifi c installation that photograph by Ryan James consider the connection image, competitive drive, its primary parameters. physically pierced through Caruthers, Tryouts, Boxing, between homosexuality and willingness to conform”. exhibition the gallery wall. The artwork 2015. The Tryouts series and athleticism (Caruthers, (Ruiz, C., 2017, personal is in reference to the story shows Caruthers attempting R., 2016, personal communication, 23 August) Exhibited in of The Sword in the Stone, to play the role of an communication, 15 The paintings by Ruiz in “Man presenting gender identity athlete. In this photograph, November). In the context of Up!” show men performing the entrance as a large monolithic sword Caruthers has performed the exhibition, considering extreme sports and the to the gallery, that is impossible to remove. the role of a boxer and the athletics as a homosocial moment of failure is captured celebration of the body, the in paintings that formally these artworks intent was to have viewers verge into abstraction. Ruiz Figure 2. Installation posited the consider the distinctions creates these paintings view of “Man Up”! at hypothesis of the Wignall Museum between behavior that is using the unlikely material of Contemporary Art perceived as masculine and of watercolor. The result is a the exhibition: at Chaffey College, queer. series that not only questions that masculinity January 9 – March masculinity in athletics, but On the same wall was a large 11, 2017. (left) Ryan also gendered behavior in art watercolor on canvas titled is a set of James Caruthers, by creating large masculine Bomb Slide II, 2015, by Conrad performed Tryouts, Boxing, 2015, abstractions on canvas, Ruiz. Similar to Caruthers, archival pigment using the delicate material of behaviors that Ruiz is also interested in his print. (right) Conrad watercolor. Ruiz, Bomb Slide relationship to masculinity, are learned and II, 2015, watercolor but from his perspective as Exhibited in the entrance to developed as we on canvas. Photo: a cisgendered heterosexual the gallery, these artworks Chaffey College. man. Ruiz is interested in posited the hypothesis are socialized [ 94 ] CE DIGITAL ROMAN STOLLENWERK [ 95 ]

Holban to document the artist’s Together, Holban and Neilly performance. The images demonstrate that masculine and Neilly include archival images of the identity is a performance that demonstrate artist’s male relatives posing is not limited to cisgendered next to cars and documenting men. that masculine their own performances of Exhibited on the same wall masculinity (Holban, O., 2016, identity is a between Neilly and Holban personal communication, 15 was A Rhinestone as Big as performance November). These images the Ritz, 2014, by Steven Frost. are shown interspersed with that is not Within the parameters of the newer images of Holban, a exhibition, Liberace functions limited to trans man, continuing the as a complex fi gure related to family performance of men cisgendered the performance of gender posing next to cars as a and sexuality. As a public Figure 3. Installation view of “Man Up!” at the men. masculine display. The next three artworks delved fi gure, Liberace’s eccentric Wignall Museum of Contemporary Art at Chaffey further into the subject of gender persona was allowed to exist College, January 9-March 11, 2017. (left) Wynne performance. Wynne Neilly’s Of in a “glass closet”, a term that Neilly, Of Center: Liam, Luca, Ji Han, 2012, Center series “is a collection of Frost explains as “a space c-prints mounted on sintra; (right) Steven Frost, images refl ective of a segment where queer people agree to A Rhinestone as Big as the Ritz, 2014, custom of those in [his] community who obscure their private lives and printed fabric, wood, and felt. Photo: Chaffey identify with masculinity. Masculine College. society collectively ignores of Center is an ever-evolving term their queerness in exchange used to envelop people whose for their safety”. (Frost, S., 2016, gender expression lies within the personal communication, masculine end of the spectrum, 14 November). This idea including but not limited to lesbian/ of a social agreement queer women, trans* people, and allows for the existence of gender variant individuals”. (Neilly, outliers, so long as they are W., 2016, personal communication, not recognized publicly as 17 October) Neilly’s work expands challenges to the accepted the conversation beyond behavior masculine standard. and into physical appearance. Neilly’s subjects demonstrate that what we consider to be the physical appearance of masculinity is not Figure 4. Installation view of “Man Up!” at Figure 5. Installation view of “Man Up!” at the Wignall Museum of Contemporary Art inherently linked to sex, but rather a the Wignall Museum of Contemporary at Chaffey College, January 9 – March 11, chosen costume for performing as Art at Chaffey College, January 9 – 2017. Oree Holban, The Great Pretenders, masculine. On the same wall, Oree March 11, 2017. Pilar Gallego, In the Style ongoing project, 35mm slides. Photo: Holban’s The Great Pretenders is an of Mosser, 2017, digital print on fabric, Chaffey College. ongoing project using 35mm slides thread, hanger. Photo: Chaffey College. [ 96 ] CE DIGITAL ROMAN STOLLENWERK [ 97 ]

Cultural context Suspended from the muscular chest printed on ceiling at body height, it underneath a revealing can change Pilar Gallego’s piece mesh shirt, presenting whether In the Style of Mosser a witty play on the idea showed masculinity again that the clothes make the activities are as a performance, but man. By wearing this shirt, considered to specifi cally focusing on someone could theoretically attain the body they want. be masculine. how our relationship to clothing shapes or sense of It offers commentary on Because of this, identity. Pilar Gallego’s art the way we use clothing to perform our identities. masculinity practice “looks to the closet/ wardrobe as a repository for In order to be perceived becomes a potential selves, considering as masculine, the correct costume is required for slippery idea the ways in which design marks and speaks for the performance to be Figure 7. Installation view of “Man Up!” at the Wignall Museum of Contemporary successful. with rules that the body”. (Gallego, 2016, Art at Chaffey College, January 9 – March 11, 2017. Devan Shimoyama, Idol shift personal communication, Amy Elkins’ series Danseur Eclipsed (Johnny), 2016, monotype print with collage and glitter. Conrad Ruiz, 13 November). This documented male ballet Tough Lover, 2015, watercolor on canvas. Ryan James Caruthers, Tryouts, After prototype for a shirt has a dancers immediately after Tennis, 2015, archival pigment print. Photo: Chaffey College.

intensive training. Elkins activities are considered to many performers “who says, “In Danseur I am be masculine. Because of went almost all the way fascinated with the art this, masculinity becomes to acknowledging their and sport of ballet and a slippery idea with rules homosexuality publically contemporary dance, that shift. The men in Elkins’ but pulled back from specifi cally with young series are viewed differently their statements due men who push past gender than the men in Conrad to pressure from their stereotypes associated Ruiz’s paintings. audience and/or their with dance and challenge On the same wall Devan industry”. (Lesley Heller societal notions of Shimoyama’s Idol Eclipsed Workspace, New York, 2016, masculinity” (Elkins, 2012). (Johnny) features Johnny personal communication, Elkins’ project was included Mathis as another symbol 7 July). Shimoyama’s work to encourage viewers to of the social enforcement reiterates the idea that consider how physical of gender and sexuality. masculinity is a socially

Figure 6. Installation view of “Man Up!” at the Wignall Museum of Contemporary Art at Chaffey College, strength and athleticism Similar to Steven Frost’s enforced performance that January 9 – March 11, 2017. Amy Elkins, Danseur: Ludwig, Age 12, 6th Year in Royal Danish Ballet School, are not always perceived as interest in Liberace, men consciously participate Copenhagen; Lucas, Age 12, 6th Year in Royal Danish Ballet School, Copenhagen; Silas, Age 12, 4th Year masculine. Cultural context Shimoyama’s interest in to maintain their social in Royal Danish Ballet School, Copenhagen; 2012, archival inkjet prints. Photo: Chaffey College. can change whether in Mathis is as one of standing as men. [ 98 ] CE DIGITAL ROMAN STOLLENWERK [ 99 ]

Shimoyama’s work reiterates the idea that masculine behavior is shaped as boys grow to Much of the work in men. In Artifi cial Dissemination, Dacre created masculinity is a socially enforced performance that a series of prints inspired by his military service. “Man Up”! considered men consciously participate in to maintain their In his statement, Dacre notes, “Over the past masculinity in relation decade I have been trying to fi gure out what social standing as men exactly was so appealing about that lifestyle to public persona, but and what part of the Department of Defense’s Vanidestine’s work marketing campaign spoke to me?” (Dacre, C., The importance of public Figure 8. Installation view of “Man Up!” at the Wignall 2016, personal communication, 5 November). was included to ask perception and how men control Museum of Contemporary Art at Chaffey College, Dacre’s work considers the infl uence of their appearances informs Scott January 9 – March 11, 2017. Scott James Vanidestine, 3 viewers to consider advertising and media on our standards of James Vanidestine’s 3 Weeks Weeks After Exposure, 2016, beaded paisley appliqué, masculine behavior and how these images how the performance After Exposure, 2016. In this series, beaded/sequin bodice appliqué (9 piece bridal party), embroidery thread, glass beads, metallic gold thread, infl uence the personal lives and aspirations of Vanidestine interviewed multiple of masculinity pearl paisley appliqué, plastic beads, sequins, sequin men as they grow. HIV positive men. Vanidestine fl ower trim, and sequin swirl trim on canvas panel, 52 x discourages and asks the same series of questions The work of Cassils also addresses strength, 52 inches. Photo: Chaffey College. and uses the responses to create vulnerability and fear, but from a different prevents revealing a coded artwork (Black, 2017). perspective than the other artists. Cassils or discussing This working process puts the stages performances where fear and interviewees in a vulnerable vulnerability are directly challenged by the vulnerability or fear artist in physically demanding performances. position by asking men to reveal and discuss something that they generally keep private. It also creates an intimate exchange between two men that includes sharing and comforting, rather than the competitive behavior seen in the paintings of Conrad Ruiz. Much of the work in “Man Up”! considered masculinity in relation Figure 9. Installation to public persona, but Vanidestine’s view of “Man Up!” at work was included to ask viewers the Wignall Museum to consider how the performance of Contemporary Art at of masculinity discourages and Chaffey College, January prevents revealing or discussing 9 – March 11, 2017. Chris Dacre, Artifi cial vulnerability or fear. Dissemination, 2011/2014, The masculine suppression of fear mixed-media: lithograph, and vulnerability is also pertinent relief, collage, wood to discussing the work of Chris type and hand coloring. Dacre. His work looks at how Photo: Chaffey College. [ 100 ] CE DIGITAL

Figure 10. Installation view of “Man Up”! at the Wignall Museum of Contemporary Art at Chaffey College, January 9 – March 11, 2017. Cassils, Fast Twitch//Slow Twitch, 2011, two channel video installation. Photo: Chaffey College.

Fast Twitch//Slow of becoming, a form of that explored the Twitch is a large video embodiment that works in performance of masculinity projection of a time a space of indeterminacy, and demonstrated an lapse documenting the spasm and slipperiness”. expanded and complex sculptural transformation (Cassils, 2017). The result view of masculinity as a of Cassils’ physical body is a project that rejects set of behaviors that can as the artist underwent gendered identity. The be performed, or not, by a rigorous program of performance of masculinity anyone regardless of sex, physical training. The is removed from a gendered sexuality or gender identity. video challenges ideas context and exists on its of gendered behavior own terms in a neutral space that is not tied to by existing in the space ELKINS, A. (2012), between rigid gender gender and sex. “Danseur”, , [August 22, 2017]. theatricality of masculinity together, “Man Up!” and femininity. Cassils is a considered the existing BLACK, S. (2017), “Scott James Vanidestine: gender non-conforming biases and expectations Advocate”, , [August 22, 2017]. Los museos como ejes culturales: through binaries, Cassils inherited and accepted El futuro de la tradición performs transgender not defi nitions. Looking at CASSILS (2017), “About”, as a crossing from one sex the work of a diverse , [August 22, to another but rather as group of artists provided 2017]. a continual process a variety of perspectives

@ICOMofficiel #DIM2019 icom.museum [ 102 ] CE DIGITAL MARIO ROJAS TORREJÓN | FERNANDO IMAS BRÜGMANN [ 103 ]

¿Cómo se representaba el hombre chileno a fi nes del 1800?, ¿Qué vestían y qué lugares frecuentaban?, ¿Cuáles eran sus motivaciones e intereses? HOMBRES y, principalmente, ¿Qué entendían por masculinidad?, fueron algunas de las interrogantes que planteó la exposición y publicación del Museo ENTRE DOS Histórico Nacional de Chile titulada “Hombres, entre dos siglos: XIX y XX”.

o es desconocido extinción del siglo XIX y el le otorgó los dones de la SIGLOS: que la sociedad advenimiento del siglo XX, hegemonía sobre la mujer, chilena, que signifi có el desarrollo autoimponiéndole una famosa por ser y el cuestionamiento de la conducta basada en la Naltamente conservadora, mayoría de los paradigmas XIX y XX fuerza, el coraje, la dureza, se abre hoy a un panorama establecidos respecto al rol el éxito y por supuesto, Exposición temporal y nueva nuevo donde las políticas del hombre en la sociedad en el rechazo a cualquier de género e identidad moderna. atisbo de feminidad que publicación, Museo Histórico acaparan las portadas, y el Lo masculino y lo pudiera ir en contra de chileno comienza a ver con femenino parece ser el esa supremacía que carga Nacional de Chile naturalidad expresiones primer acercamiento a implícitamente por el mero que hace veinte años yacían las diferencias que se hecho de ser hombre. Mario Rojas Torrejón y Fernando Imas Brügmann ocultas en lo más profundo exteriorizan entre hombres Parece mucha presión ¿no? del armario. Por lo mismo, y mujeres, más allá de Pues lo es si pensamos que ESTUDIO BRÜGMANN-CHILE el grupo de expertos un tema biológico. Es a diferencia de lo femenino [email protected] detrás de esta exposición, básicamente el conjunto –que podría resultar miró en perspectiva los de normas sociales y natural– lo masculino distintos desafíos que comportamientos de cada debe construirse día a implica abordar el abanico uno ante el ojo público, día, en una eterna lucha Ambos licenciados en Conservación y Restauración de Bienes de temáticas de género, conformando estereotipos bastante dramática por y se centró en un punto muy arraigados dentro demostrar públicamente Culturales Museables de la Universidad Internacional SEK, crucial: la masculinidad; del subconsciente que se cumple con la desde el 2010 han participado en importantes proyectos pues comprendió que de las personas que virilidad necesaria para ya transformados en culturales, son autores de numerosas publicaciones y se para entender las diversas enfrentar el mundo como realidades identitarias prototipos, se hace casi lo haría un “verdadero han destacado en el ámbito de la investigación histórica y la actuales, es necesario imposible de romper. hombre”. (Badinter, 1992: promoción patrimonial a través de su sitio www.brugmann.cl, el conocer los cambios que El hombre ha sido 51). Un hombre que no vivió el hombre chileno construido de esa forma: cumpla con el estereotipo que se ha convertido en un referente para investigadores a través del tiempo, es un personaje fi cticio de masculino, no se considera y académicos de Chile y del extranjero especialmente durante la un cuento cuyo escritor un hombre, y por lo [ 104 ] CE DIGITAL MARIO ROJAS TORREJÓN | FERNANDO IMAS BRÜGMANN [ 105 ]

Un hombre que tanto no encuentra una independentista y la identidad, excluyéndoselo creación de la República no cumpla con de la sociedad. Aceptar de Chile a inicios del el estereotipo entonces este estereotipo siglo XIX, pues el hombre es la forma de integrarse, de seguirá manteniendo esta masculino, no ser aceptado y valorado por hegemonía por al menos se considera los pares. los primeros cincuenta años de esa centuria. A partir Esta construcción un hombre, y de 1850 Chile vivirá una masculina es la que expansión económica y por lo tanto predominó en occidente una estabilidad política que a lo largo de los siglos, no encuentra permitirá el fl orecimiento trasplantándose de de una nueva cultura una identidad, forma espontánea por que enfoca su mirada el mundo, y llegando a excluyéndoselo en el progreso que vive América de la mano de los Inglaterra y Francia en de la sociedad. conquistadores españoles plena modernización, que establecieron en Aceptar estableciéndose como el las colonias americanas modelo a seguir de una entonces este una sociedad altamente sociedad chilena que se patriarcal, donde el hombre, estereotipo es abre al mundo bajo el indistintamente de su nivel la forma de prisma de la revolución Figura 1. Retrato de grupo. social, es la cara visible de industrial. La aparición Fotografía, 1865. Colección Museo Histórico Nacional de Chile. integrarse, de la familia, su representante de nuevos personajes en en el espacio de lo público, el ambiente nacional, la ser aceptado y Las profundas del siglo XIX, un momento un ente proveedor, capaz llegada de extranjeros transformaciones que determinado de nuestra el hombre valorado por los de moverse con libertad ilustrados, el contacto historia donde las viejas por los escenarios urbanos con otros países, y la vive la sociedad chilena comenzará a pares murallas comienzas y el único capaz de tener diversifi cación del campo es precisamente el punto a resquebrajarse en moverse por un rol activo en la sociedad laboral y de los escenarios inicial de investigación pos del nacimiento de local; relegándose el de sociabilidad, comenzará para quienes conformaron diferentes una sociedad menos espacio íntimo del hogar a generar un cambio el equipo de expertos rígida, donde el hombre escenarios a la mujer, cuya condición en la representatividad a cargo de esta nueva comenzará a moverse por femenina la obliga a del hombre chileno que exposición del Museo y roles, que diferentes escenarios y permanecer recluida en la olvidará la precariedad de Histórico Nacional de roles, que culminarán en la culminarán en tranquilidad, la pasividad, sus orígenes para saltar Chile. Las diferentes aristas metamorfosis de su imagen la oración y la crianza de los al mundo moderno de estudiadas parten bajo la la metamorfosis tradicional. hijos. Este escenario poco la mano de las nuevas premisa del cambio que de su imagen dinámico permanecerá herramientas que el vivió el hombre chileno La muestra, abierta al intacto a pesar del proceso progreso entrega. durante la segunda mitad público entre el 18 de tradicional [ 106 ] CE DIGITAL MARIO ROJAS TORREJÓN | FERNANDO IMAS BRÜGMANN [ 107 ]

diciembre de 2015 y el 17 hombre: 1840-1940, espacios, Fotográfi co del MHN; donde se movieron recorrido visual atractivo de abril de 2016, tuvo como representaciones y modos también un eje sumamente nuestros compatriotas, pero también profundo objetivo central el exponer de ser masculinos” , realizado relevante como es la refl ejado en el comercio cuyo eje central es el uso al público las diversas por miembros del staff del evolución de la indumentaria y los espacios públicos o del retrato fotográfi co, representaciones del hombre museo y por destacados masculina, ideado por privados de recreación en pero también la utilización la década de 1920, escrito chileno y sus espacios de profesionales externos. Los la historiadora y experta de otros recursos como movimiento durante 100 textos presentados en la en moda Emilia Müller; por Fernando Imas y Mario objetos de época, catálogos años de nuestra historia, publicación componen en su una breve aproximación Rojas, conservadores de arte de tiendas, vestimentas, considerando factores conjunto una investigación a la construcción de y fundadores del Estudio accesorios de uso determinantes como el valiosísima, donde se expone masculinidades en Brügmann.cl. cotidiano, mobiliario y una nivel socio-económico, la una aproximación general Chile, obra de la Jefa Los diferentes artículos ambientación que recrea la presencia urbano-rural, los al rol masculino y sus Figura 2. Portada del Departamento de presentados por estos atmósfera de principios del ofi cios, las costumbres y transformaciones durante del libro Retratos de Colecciones, Carolina Barra; especialistas ayudan a siglo XX. la indumentaria. Gracias a la época antes descrita: en hombres 1840-1940. y por último un extenso componer las temáticas esto, es posible obtener una ellos podemos encontrar Fotografía: Museo texto que sintetiza los a tratar dentro de la imagen general del lugar por ejemplo temáticas como Histórico Nacional diferentes roles y hábitats exposición, otorgándole un que ocuparon nuestros la importancia del retrato de Chile. antepasados en la realidad fotográfi co, su masifi cación chilena, los que son tratados e injerencia en las formas de con mayor profundidad en el representación del hombre ¿Cómo una exposición de esta libro asociado a la exposición chileno, escrito por Carla titulado “Retratos de Franceschini, Jefa del Archivo índole se hace atractiva? EL ROL DE LA FOTOGRAFÍA

Presentar al ciudadano contemporáneo un tema tan delicado como profundo es un desafío importante, pues constituye para muchos de los visitantes una primera aproximación a temáticas de género. Construir la Construir la imagen de esa masculinidad es aún Figura 3. Retrato más difícil, porque lo que simboliza muchas veces imagen de esa grupal de Eugenio es intangible, tal como lo indica este extracto del Rengifo, Daniel, masculinidad libro Le Chili tel qu’il est de 1876 “El hombre [chileno] Patricio Ossa, Javier de todas las clases y de todos medios posee en un Pereira y Domingo Calvo es aún más grado muy alto esa potencia moral que se llama Mackenna en el difícil, porque lo centro de Santiago. voluntad o heroísmo; es trabajador, a pesar de la Fotografía, c. 1900. opinión contraria generalmente difundida…” (Sève, que simboliza Colección Museo 1876: 4). ¿Cómo representar entonces el heroísmo, muchas veces es Histórico Nacional el esfuerzo o el coraje? La respuesta llega de la de Chile. mano del invento de la fotografía, específi camente intangible [ 108 ] CE DIGITAL MARIO ROJAS TORREJÓN | FERNANDO IMAS BRÜGMANN [ 109 ] del retrato fotográfi co, este arte de ¿Cómo paternidad, y vida íntima; la riqueza permite al representación que hoy en día se ha con el fi n de que todas hombre concentrar sus convertido en un registro histórico, donde representar las personas que fueran esfuerzos en otros intereses, es posible apreciar la forma en que se veían entonces el a ver la muestra se se refi na, se educa, conoce o querían ser vistos nuestros compatriotas sintieran representadas los bailes, se ilustra en el hace más de 150 años. A través de estos heroísmo, el de alguna forma. De ese arte y las letras; se preocupa testimonios es posible observar diferentes esfuerzo o universo fi nalmente fueron de su apariencia, de las formas de representación que van desde nuevas tendencias y de el coraje? La seleccionados sólo ciento poses con objetos asociados a la profesión, veinte retratos, que fueron transformarse en un galante atributos o naturaleza moral del individuo, respuesta llega en su mayoría parte de la personaje que cumple a retratos muchos más libres que hablan exhibición. las refi nadas maneras de de una época más espontánea. También de la mano del la cultura inglesa. Este La sala temporal, de 260 la vestimenta evoluciona a través de hombre debe cumplir con invento de la m2 en planta rectangular las fotografías, así como los peinados, los patrones establecidos con un pequeño espacio los accesorios y los espacios que sirven fotografía de individuo público, debe anexo, fue escenario de la de escenografía. Todo da cuenta de un vincularse a la política y muestra que se inicia con momento determinado de nuestra historia, también formar un hogar el espacio del hombre de detenido en el tiempo gracias a este preponderante, su rol ya no élite, ése que se mueve preciado invento. Estas valiosas evidencias sólo es proveer, sino que En el caso de “Hombres en los grandes salones, se convirtieron por lo tanto en la pieza también lo es mostrarse y entre dos siglos: XIX y en los clubes, el que es un fundamental de la publicación y por ende vincularse a la sociedad de Figura 4. Retrato de hombres bajo un XX”, las fotografías que personaje público, político, también de la exhibición, pues es innegable forma mucho más frívola; paraguas, c. 1905. Fotografía: Carlos Oswald que la fotografía, independiente de las se exponen componen el industrial, ése individuo de como lo explica la escritora Colección Museo Histórico Nacional de Chile. motivaciones que busque cada individuo, se grueso de la exhibición, las altas esferas sociales Martina Barros en los ha transformado en un nexo imprescindible y son piezas claves para que tuvo la posibilidad de recuerdos de su infancia en a la hora de querer conectar al público con contextualizar cada sector innovar en su indumentaria, el Santiago de 1870. “Don Figura 5. Fotografía de la sala de exposición las diversas expresiones museales. de la muestra. El proceso estableciendo tendencias José Tomás Urmeneta era “Hombres entre dos siglos”. Fotografía: Museo curatorial fue extenso, en y modas que se repetirían Histórico Nacional de Chile. un hombre muy respetable un universo de más de 75 en otras castas sociales. y distinguido, educado en mil registros fotográfi cos se Es el refl ejo del burgués, Inglaterra donde no sólo hizo una selección general nacido bajo el alero de las había adquirido la cultura con al menos mil fotografías nuevas formas de obtención inglesa, sino que también que representaran Chile de recursos, cuando ya la los hábitos, las afi ciones en todos sus ámbitos, carrera militar o el agro, y todas las condiciones considerando variables quedan en segundo plano morales y aun las físicas como costumbres, ante la aparición de las que caracterizan a un personajes de la élite, riquezas mineras, la banca gentleman. Su fi gura era personajes populares, y el comercio hacia 1850. Su muy interesante, algo moda, ofi cios, retratos en aparición propone un nuevo delgado, vestía con lugares de esparcimiento, escenario de masculinidad, elegancia y era muy medido [ 110 ] CE DIGITAL MARIO ROJAS TORREJÓN | FERNANDO IMAS BRÜGMANN [ 111 ]

de su persona. Fue uno de considerado un dandi En contraposición el como una manta de huaso; Figura 8. los primeros y muy pocos de la época. Los retratos siguiente espacio está y el mundo de la minería, Retrato de que usaban un sobretodo1, se complementan a una relacionado al mundo expuesto en objetos que hombre popular, 1900. en vez de capa española, antigua vitrina de tienda, a popular, del hombre que pertenecieron a anónimos Fotografía: entonces muy de moda” diversos accesorios como trabaja, que compone la hombres trabajadores de las Pedro Ojeda. (Barros Borgoño, 1942: 96) sombreros, bastones, pipas, mayor población del país, salitreras, al norte de Chile. Colección tinteros, plumas, cigarreras, y que hasta por lo menos Ojotas, palas y diversos Esta sección de la Museo relojes y algunos libros, las últimas décadas del elementos alusivos a la muestra es el espacio Histórico que evidencian parte de siglo XIX, no tuvo gran industria ayudan a recrear de los primeros retratos Nacional de los intereses y los objetos representación a nivel la dura atmósfera de este fotográfi cos como algunos Chile. necesarios de ése tipo de público, ni tampoco en hombre que debía sortear daguerrotipos y cartes hombre para recrear su el retrato fotográfi co. Ahí problemas graves como la de visites de 1860, en el imagen masculina. Además recae el valor de estas pobreza, la marginalidad, el que aparecen personajes el espacio exhibe catálogos imágenes, pues constituyen alcoholismo, la insalubridad tan relevantes como Jean de tiendas de ropa, entre uno de los pocos registros y una nula presencia de Bainville –destacado ellas uno de la importante de la clase obrera chilena de garantías laborales. Las grabador de la Casa de Casa Pinaud, la más esa época. Se complementa imágenes, fi el registro Moneda‒, el diplomático destacada de su rubro en el la muestra con diversos de ellos, presenta al Mariano Sánchez Fontecilla, siglo XIX, donde se pueden objetos de trabajo donde gañán, un trabajador el escritor Augusto Orrego apreciar encargos de predomina la visión de por jornada, sin ofi cio Luco o Claudio Vicuña, numerosas fi guras públicas, dos mundos: el rural defi nido ni residencia fi ja; sin dejar de ser chileno… al su imagen que después 1 Abrigo que se lleva sobre las entre ellas el presidente concentrado en objetos o o al roto chileno, hombre roto y al guaso no es llegar demás prendas. RAE, 2014 José Manuel Balmaceda. indumentaria de campo, popular que representa se popularizó a raíz de la y meterle el diente: son y la picardía, el esfuerzo y el Guerra del Pacífi co (1879- serán huesos duros de roer. heroísmo, personifi cado 1884) donde tuvieron El roto no usa espuelas, por en este individuo que se estos individuos una eso tiene en las manos las constituyó a través de los especial fi guración, es hoy Figura 6. Retrato estacas del gallo, el cuchillo años, como el prototipo de en día la más arraigada de Jean Bainville, que se pasa de una mano a la masculinidad chilena. “El representación de 1859. Fotografía la otra. El roto anda armado y masculinidad nacional. Es de Octave roto no puede ser igual que sabe manejar las armas, con precisamente el mundo de Benedetti. el hombre manso, porque ellas se ha hecho y se hace las masas donde la identidad Colección Museo representa la hombría respetar como hombre, entre masculina se vuelve casi Histórico Nacional de Chile y viene de una aventureros de cualquier inalterable en el tiempo. de Chile. cultura que nunca arrastró raza o color” (Claro, 2011: 164). ni arrastrará cadenas. Representar los principales Figura 7. La masculinidad encarnada Fotografía, c. Lucha sin ser mandado ni en este estereotipo popular ejes temáticos que 1905. humillado por nadie, quiere es sin duda alguna el tipo componen la masculinidad Archivo ser alguien en la vida o que lo de hombre presente en el chilena a lo largo de estos Brügmann. sean sus hijos, pero subconsciente chileno, dos siglos en una exposición [ 112 ] CE DIGITAL MARIO ROJAS TORREJÓN | FERNANDO IMAS BRÜGMANN [ 113 ]

Figura 9. Grupo la oscuridad de los de amigos en el depósitos del museo, BADINTER, E. (1992): XY: la identidad masculina, Alianza Editorial, restaurant La Bahía, representan un Madrid. 1935. Fotografía: registro histórico sin BARROS, M. (1942): Recuerdo de mi vida, Editorial Orbe, Santiago de Chile. E. Cortes. Archivo precedentes en nuestro Brügmann. país; un valioso material BALMACEDA, E. (1969): Un mundo que se fue, Editorial Andrés Bello, Santiago de Chile. que por primera vez ve la luz en el libro y CLARO, S. (2011): Chilena o cueca tradicional, Ediciones de la Universidad Católica, Santiago de Chile. en la exposición que nos convoca, la que IMAS, F., ROJAS, M. (2012): Palacios al norte de la Alameda: el sueño del Paris americano, ARC Editores, Santiago de Chile. se convirtió sin duda alguna en una excelente MARQUÉS, J. (1997): Varón y patriarcado, Ediciones de las Mujeres, Isis Internacional, Santiago de Chile. posibilidad para el visitante de mirarse en MONTECINO, S., ACUÑA, M. (1933): Diálogos sobre el género masculino en Chile, Bravo y Allende Editores, Santiago de Chile. esos ojos retratados, tan acotada como ésta, boom que durante el año especialmente del Museo que evidencian los OLAVARRÍA, J. y PARRINI, R. (2000): Masculinida/es. Identidad, resulta bastante difícil y 2016 tuvo la temática de Histórico Nacional de Chile; sexualidad y familia. Primer Encuentro de estudios de anhelos y temores, quedan demasiados temas género en nuestro país; conocemos desde adentro Masculinidad. Red Masculinidad Chile, FLACSO, Santiago de Chile. de tantos hombres se complementó con los archivos y colecciones SÈVE, E. (1876): Le Chili tel qu’il est, Imprenta El Mercurio, en el tintero; la evolución chilenos que apostaron un coloquio especial y más importantes del país; Valparaíso. de las características del todo por hacerse ese formó parte de la escena y se nos hace gratifi cante VICUÑA, M. (1996): El Paris americano: La oligarquía chilena como hombre, el rol en la familia, quizás único retrato, actor urbano en el siglo XIX, Edifi cios Universidad FinisTerrae, la paternidad, el espacio cultural local que tuvo otras ver cómo el ideal común que les diera el paso a la Santiago de Chile. exhibiciones relevantes de los profesionales del público y la transformación inmortalidad. que signifi có el siglo XX, como “(En) clave Masculino”, patrimonio busca encontrar quedan más o menos un cuestionamiento a lugares comunes y proponer expresadas a través de los modelos de género nuevas temáticas desde la las diversas fotografías promovidos por el arte en valorización de colecciones expuestas. Como documento la colección patrimonial del tan emblemáticas como la visual e histórico, es la forma Museo Nacional de Bellas fotografía. De hecho nosotros más didáctica y fácil de Artes. mismos hemos explorado el mundo de la imagen Figura 10. Hombres promover un tema difícil, Conversar sobre lo histórica, construyendo un en traje de baño que está presente a diario masculino es para nosotros archivo patrimonial propio durante un paseo en miles de situaciones como profesionales de la tomando como modelo las a las Palmas de cotidianas, tan cotidianas conservación y restauración directrices del museo, y de Ocoa en la región que se vuelven un patrón artística e investigadores de Valparaíso, 1930. establecido que muy pocos otros centros del mundo. históricos, un momento Fotografía: Einar cuestionan. Esta exposición crucial en nuestra carrera. Los más de 120 retratos de Altschawager. y la publicación del Museo Desde cerca hemos visto hombres expuestos, junto Colección Museo Histórico Nacional de Chile, el desarrollo de diversas con otros tantos cientos Histórico Nacional vino a formar parte de un exposiciones en museos, que hoy permanecen en de Chile.

[ 116 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 117 ]

The exhibition “Material Man: Masculinity, Sexuality, Style” (the Italian title was “Uomo Oggetto. Mitologie, spettacolo e mode della maschilità”) VOYAGE OF THE held in January 2000 at the Stazione Lorenese, a XIX century dismissed train station in the very center of Florence, and then moved to The Art MATERIAL MAN: Directors Club of New York, originated from a “Fashion Engineering Unit” research fi ndings, published in the book of the same title. Material Man/ Uomo Oggetto was a transdisciplinary attempt to gather, recap and, DECONSTRUCTING tentatively, deconstruct the representations of masculinity available for the masses by media (magazine, advertising, cinema) in general and by MASCULINITIES men’s fashion in particular. Giannino Malossi the former Director of the Fashion Engineering Unit speaks with Julianna Faludi, Sociologist, about Interview with the legacies of the Material Man today. Giannino Malossi, the man Figure 1. Carnival in behind the Material Man Sciacca. Sicily. Photo by Julianna Faludi Gianinno Malossi Franco Zecchin ©. Fair Use. [email protected] [email protected]

Julianna Faludi PhD Giannino Malossi is an Independent Cultural is a sociologist at the Operator, Curator and Author. His researches Institute for Media and culminated in exhibitions, events and books, among Marketing of Corvinus others: “Il Senso della Moda”, for the XVI Triennale of University of Budapest, Milan International Exhibition, 1979; “Tipologie dei Hungary. The scientifi c comportamenti di moda”, Venice Biennale 1980; “Design Phenomene - Fashion” Forum Design Linz, quest for understanding 1980; “The Manipulator Eye”, Fashion Institute of how meanings are being Technology Museum, 1995; “The Style Engine”, created, sustained and how Stazione Leopolda Firenze, 1998; “Volare, the Italian Icon they transform systems in Global Pop Culture”, Stazione Leopolda Firenze, 1999; of consumption and “Material Man. Myth, spectacle and style of masculinity”, production have driven Stazione Leopolda Firenze and Art Directors Club her research on (open) of New York, 2001. Starting from 2001, as Director of innovation schemes in the Communication at the Interaction Design Institute design-driven industries. Ivrea, Giannino is engaged in Digital Culture, currently Her recent work focuses on collaborating with STARTS, the Initiative of European transformative digital social Commission-DG Connect promoting convergence entrepreneurship. between Science, Art and Technology. [ 118 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 119 ]

easuring an image of a man without conscious and conspicuous Fashion, television and self-worth any connotation to power? consumption, he has found by taking In the images produced by himself being a producer advertisements set up the risks, being business communication of culture, not just a mere images to be attained, they the winner, and pop culture, seldom we target. The process of self- claim for defi ning our codes of Mor being rational would be see a man as a caretaker, a identifi cation of the Material taken by any of the genders man who is scared before Man raised questions of his perception of manliness, and today. Fashion though, taking his leap forward, or recognition, the multifaceted depicts men with a limited simply stepping back from dimensions of his self, and what we can observe from grasp of the entire span of fi ght. It is hard to recall when the manifold replications. time to time, men entering this roles taken across the layers one encountered a man The exhibition “Material of a given society, lifespan seen with his mother in an Man: Masculinity, Sexuality, game of presenting themselves or geography. These images ad, or a man embracing his Style” (the Italian title was to meet up the expectations are being communicated own frustrations as being “Uomo Oggetto. Mitologie, for the masses, assuming a boy, or sentimental, or spettacolo e mode della of images of power, they are easily-read by an driven by affection. Men seen maschilità” was trans- confi dence, or virility audience trained for the as gatherers rather than disciplinary, rather than inter- system of given symbols to hunters in their struggle disciplinary, being infused Figure 2. Takashini Murakami be captured. to sustain their families are with the transformative hidden from the public ©, My lonesome Cowboy, Let us omit the idea of void act of presenting the eye. Fashion, television 1998. Fair Use. of gender in fashion, and set of representations and advertisements set up let the transgender go with of masculinity gathered Giannino Malossi. We had to fi nd a way to the images to be attained, it for a moment. Imagine a through an extensive communicate attractively for the public. they claim for defi ning world without the fl uidity research were narrated by We were working in a non-scientifi c, but our codes of perception of an event somewhere in the a strictly commercial environment. First, between how the sexes manliness, and what we can intersection of performance, Julianna Faludi. The Material Man just we had to reformulate the sophisticated, present themselves. We will observe from time to time, exhibition design, and visual fi nd a man in the web of men entering this game of tapped into the transformation where the complex critical and analytical content art in the symbolic space of interaction with the world. presenting themselves to production circuit of fashion used to be to make it appealing and easily read. It is fashion. Back there, in 2000 In the milk of feminism, like meet up the expectations of aligned. Understanding and researching simply not true that a philosophic, or let’s the context of a fashion fair islands of butter emerged images of power, confi dence, the context and culture came before say a scientifi c argument shall be boring. embraced art with a twisted the image of a man as or virility. Masculinity seems engineering fashion and claimed for I am annoyed when an argument on meaning, an exhibition being objectifi ed, or plainly to be a shell to be fi lled in bridging the academic quest and the fashion is fl at, it is a useless contradiction. raising voices of irony putting interpreted without the with the way of presenting superfl uous image. Material Man was a To save us all from that pain, we need to use out the same images narratives of any femininity thyself in the gendered transdisciplinary, in-depth research, with fashion itself as a communicative system. produced by the industry of attached. Is there any space of social relations an exhibition at the end: transgressing Fashion itself is a way of communication, it fashion. Intersecting space possibility to talk about framed by power, hegemony, performance art, video and visual art, has the capacity to communicate directly, and time the Material Man masculinity without the and norms. As soon as the nested in the context of a fashion fair. How horizontally and easy. This is what made is standing there since and female, neither as a set of Material Man realized his did this process of presenting the fi ndings fashion-photography exciting in the past, looking at us with scrutiny. symbols, or subordination? existence through expressing for a wider public through the language of and why today fashion fi lms are easy, How is it possible to dissect himself in self-rewarding, Julianna Faludi art unfold? popular, pop and captivating. [ 120 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 121 ]

J.F. How was it possible to raise a critical same time. We went on with this line of Michela Moro and Ranuccio of classic hard-boiled the same: in a society voice turning the attention on the void argumentation in the videos installations Sodi, man fi gures striking fi lm noir of the ’40 and where images rules the of topics in the commercial world, those projected on large screens fl oating in the poses in magazine ads ’50, maybe the most self relations between people, issues that are out of the scope of the dark of the semi-abandoned train station. where collected and evident form of stereotyped any gender imagery is popular communication? How could they Two video installations realized by Michela overexposed, with the modern, capitalistic male by default a changing be argued using the narratives, symbols Moro, an art and television critic, and TV intentional scope of imagery. The fi nal video construction confi rming of a language lacking an explicit critical Producer Ranuccio Sodi, we observed the emphasizing the obsessive installation, cured by me, the power relations. Men, edge? masculine image in dedicated television repetition of gender was simulating a giant slot women or other gender men fashion programmes. These videos stereotypes populating machine, where all the oriented persons will fi nd G.M. Exactly that was a problem we faced, were compilations of rapidly moving commercial advertising, 183 illustrations used for their image when they that is the essence of the problem of captions of various characters of male and consequently men’s the book-catalogue of the become aware of it. Other fashion, and in general pop-communication images. We used this technique of cut-up minds in the views of exhibition where rolling ways, like the slot machines on masculine and feminine. We tried to for different man’s fashion programs, how commercial subculture. and blocking randomly. The players, they are just address this question by working with irony, men were represented in fashion shows A third video installation, spectacle of masculinity playing, and been played. putting forward the critical aspect. In the of the context of different countries, with cured by fi lm critic Carmelo relay on interchangeable square in front of entrance to the exhibition no explicit comments added, just the Marabello, was dedicated images, with no intrinsic we installed a polystyrene, 7 meters high consequent irony of seeing the limitations to the Black and White value, and no real difference. enlarged, deliberately fake copy of one of these images covering the shades sharp image of cool men The meaning is always of the two famous sculptures of the pop- of different roles a man takes. In other cult-classic “Bronzi di Riace”, only one, the with the installation/fl oating projection again by Statua A precisely. The two original bronze intentional scope Greek V century sculptures of warriors, of course quite naked, were found in 1972 in of emphasizing the sea facing the town of Riace on the cost the obsessive of Calabria. These wonderful men became an instant popular cult in Italy, back in time, repetition largely proposed by the media as the very of gender top of male imagery. We commissioned the Lab of Liceo Artistico Statale di Porta stereotypes Romana of Florence, world famous for populating its wonderful “Gypsoteca”, founded in 1869, (more than 3.000 plasters of classic commercial sculptures) to sculpt for us a copy of these Figure 4. advertising, and “Bronzi”. It was an intentional banal act, Humphrey a pose at advertising and Pop-culture, a Bogart in consequently signage and a ‘caution’ warning at the Beat the Devil, men’s minds directed by John Huston, in the views Figure 3. The Brain of a Man. 1953. Photo by of commercial Advertising campaign for Robert Capa. Worthington Cup, 1999. Fair Use subculture [ 122 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 123 ]

Fashion is J.F. If we think about the gendered world as a complex system, is masculinity a type of complementarity, or shall a privileged we understand it as a bipolar, a multipolar system in the point of view world of fashion and art? for seeing G.M. Fashion is a privileged point of view for seeing the image of masculinity, and the topic of masculinities, as the image of within fashion itself there is an enormous variety of a masculinity, whole dialectic of man fi gures. In our research we tackled masculinity in fashion, and then turned it into an exhibition. and the We did not regard masculinity as a well-defi ned or static topic of notion, but rather that of being in transition, in a constant movement between many poles. Images in fashion come masculinities, from a commercial discourse on fashion, with signs that as within produce themselves automatically within the dialectics of the spectacle, the media, and the public discourse. There fashion itself are male characters out there in self-repetition, constantly there is an modifi ed, and sustained at the same time. enormous variety of a whole dialectic of man fi gures Figure 6. Home Sweet Home. Photos from the advertising 1998 campaign “Welcome to Malboro Country”. Fair Use

There is the extremely virile, J.F. How would the interpretive approach, powerful man, the military, Material Man decode the overarching narratives from the serious man, the father, semiotics of presentation previous times. This was the athlete, the rebellious of maleness? What made one of the many researches man, and there is the less him unique and versatile done by the Fashion ‘manly’ man, who is more at the same time, travelling Engineering Unit that I was docile, with his feminine around the globe, but coordinating back then. side, or the homosexual specifi cally in hot points of The research unfolded in man, but it is impossible fashion consumption, and Figure 5. Michael Gates, the United States, where, to reconstruct the same creation of style? Pretty Pony. Sydney Gay at the time, advertisement mapping of manliness with Parade. Photo by Penelope G.M. Our research was serious with shaping the opposite sign. Clay. Powerhouse Museum, was rather based on the consumer, and visibly Sydney. Fair Use iconography and a literary- promoting a stereotype [ 124 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 125 ]

“manly” man image. This J.F. “to be straight” Figure 7 . Firebird, pressure was far stronger is a distancing from Kitchen Lighter than in continental Europe, homosexuality, or from any designed by Guido in the ‘90s. I recall a type of feminine image of a Venturini for Alessi, beautiful ad with a scene man. 1993 with two cowboys sitting in G.M. In the book there a rough SUV, travelling in is an entire chapter on the early morning through product design. Apart from a Texas-like countryside. the classic coordinates of They meet another cowboy function and form, there just like them, plaid shirt, is a further important boots, real man, hitch- stereotyped dimension hiking, so they give him a that designers only lift. But when on board, third seldom touch. We have cowboy would suddenly chosen objects inherently take off his hat, and some incorporating the other pieces of his outfi t, he “masculine message” itself, would open his backpack that they are designed for and put on some lipstick men as real men.That means on his lips and then on his a real man is an objectifi ed cheeks, an entire makeup. man, an “Uomo Oggetto”, The two cowboys would like in the Italian title of We did stare at him in horror just the Material Man book and about to say “you are not a not regard exhibition. This message was real man, out of our Jeep”. At J.F. The traditional suit can be interpreted relationship of the military uniform and conveyed through an image masculinity this point the cowboy turns as an image expressing hegemony, or the the male image, which is very exciting. In of masculinity constructed into a clown putting on his as a well- struggle of the uniform-like aspirations of fashion history the image of the formal man subtly by industrial design. red nose, going to a kids young graduates or the blue-collar class suit derives from military. I would suggest that 95% defi ned or party. What I found amazing to dress for success. The suit and the crisp of SUV and Pick-Up trucks in this ad is precisely that static notion, white shirt has transcended genders, but it are in this domain, by the this kind of “gendered” still reveals the aesthetics of the male body way. The rest 5% is for the but rather J.F. Shall we talk about the image of the storytelling was considered used for highlighting elegance, dignity functions, but only if you live winners at this point? absolutely appropriated that of being with a lot of vanity. The nude upper-body, in a desert, or in a forest. to try selling a car….men in transition, the military suit, or the phallic symbols G.M. No, it is rather about the image of dealing with their problem in fashion convey aspects of masculinity. physical empowerment connected to the of been confi rmed about in a constant Was it a subtle whisper, or an explicit claim image of the military uniform. The high their role and gender… buy a movement when the Material Man realized and spoke and wide shoulders needed to become a SUV. This is the substance of of his own vanity? warriors on horseback, became the inside between many masculinity? And so on and G.M. We gathered many characters in patch on the shoulder of the common so on… poles the book. An entire argument on the civilian suits. [ 126 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 127 ]

Figure 8. Lucha J.F. Who is the Material the book are sometimes Libre, Mexico, Man? not tied directly to the text, 1994. Photo by so there are two readings G.M. The book is compiled Mark Lipson ©. at least: one is the close- of different refl ections. Fair Use. reading of the articles Profesor Ugo Volli, semiotic, written by contributing recalls Ulysses as a classic scholars, and the other masculine fi gure, the reading is the images, projection of a typical which where edited by me, classical man with both that unfold independently the aesthetics and beyond, of the text. the traits of manliness of his character are fi xed. But another important image was that of Cassus Clay. The Figure 9. Neptune and the numerous images used in Ship of Ulysses, Pellegrino Tibaldi, 1554. Bologna, Palazzo Poggi. Fair Use.

J.F. In the times of the Material Man strong in their private lives. One classic and women with stuffed shoulders building beautiful example lacking of any obsession their careers have faded, just being slowly with masculinity is Robert Bloch, the writer incorporated into the fabric of business, of Psycho (a fi lm directed by Hitchcock success, competence and power. Was later). Psycho grasps a very important image there any claim for the territories lost of masculinity, he might be a psychopath, by the Material Man? Was the Material but in reality represents the manly problems Man aware of being in transformation in with the mother, the fear of femininity, and the shaky fi eld of families, competences the fear of his own feminine side. We used and the roles attached? How did fashion many pictures and poses, and as you said embrace that? before, we did not intend to celebrate any virile masculinity per se. Deconstruction of G.M. We were studying the images the models was our driver, to understand produced by American fi lm-making, where do they come from, and where would because it is the American fi lm industry they head to. It was a big laugh as well, that represents the Westernized world on a because the masculine-masculine model global scale. Twenty years ago, it was even seen from close is unintentionally amusing, more evident, that these fi lms were a shared despite of its being an autocratic model of language across all the so called Western thought and not the most pleasant model World, Europe, and the rest. So, we chose offered to the world out there. images of authors, with a subtle masculinity [ 128 ] CE DIGITAL JULIANNA FALUDI | GIANINNO MALOSSI [ 129 ]

J.F. Twenty years ago exhibition in 2001 at the the Material Man may Art Directors Club of New have encompassed York, founded in 1920, I met the Westernized White a black lady at the opening masculinity, as the one event. She was angry with being offered by the mass me, claimed that there was media. a poor representation of men of color. I was puzzled, G.M. We did not want to and failing to fi nd an put too many layers on an appropriate answer all of a already complex argument, sudden, as the exhibition is a thus we were open in criticism on the construction fi nding not only the Western of masculinity. I found a image, but the book is bit absurd the claim of overwhelmingly referencing being integrated more the Western culture. It in an analysis of a form of would surely be exciting stupidity, in a sense. This to expand this research book is not respectful of to non-western cultures. Figura 10. Fitness Fair Rimini, masculinity. When we presented the 1995, Photo by Armin Linke, Fair Use.

Figura 11. Just what is it that J.F. What were the class makes today’s homes so came out though, that intersections of the different, so appealing?, commercial communication Material Man? Richard Hamilton, 1956. refers to models taken from G.M. As we took mass the elite as an inspiration, communication as source but in reality the language it society of a supervising elite of our studies, we did not uses is a non-elitist one. It is and all the others. It is hard come up with a selection of a very ambiguous question. to see it now. Fashion is a working class masculinities, This implies that in the projection for all, and a code however that would be future holds a recognition for projection. In fact, the an interesting quest. It of a total separation of the production of projection. [ 130 ] CE DIGITAL H. KRISTINA HAUGLAND [ 131 ]

Two complementary exhibitions in “The styling of 2011 at the Philadelphia Museum men’s clothing has of Art focused on menswear, TRADITIONAL highlighting examples from the a certain similarity Museum’s collection. “Tailoring to classical music: TO EXTREME: Philadelphia: Tradition and Innovation It’s more subtle in Menswear” displayed eighteen than women’s Two Menswear Exhibitions innovative 1960s tailored garments along with examples of the fi ve styling, and takes at the Philadelphia Museum traditional masculine suit types. more effort to “The Peacock Male: Exuberance and appreciate.” of Art Extremes in Masculine Dress” showed H. Kristina Haugland over ninety objects—from fl amboyant Toscani, 1968: 35 to subversive to faddish—dating from THE LE VINE ASSOCIATE CURATOR OF COSTUME the 18th century to 2011. AND TEXTILES AND SUPERVISING CURATOR FOR THE STUDY ROOM, PHILADELPHIA MUSEUM OF ART [email protected] Introduction

The Philadelphia Museum Building, across the street meter) space for changing of Art, founded in 1876, from the main Museum. The exhibitions and the Costume is one of the oldest and new Dorrance H. Hamilton and Textiles Study Gallery, largest museums in the Center for Costume and which provides 1,200 United States, with an Textiles in the Perelman square feet (366 meters) for encyclopedic collection of Building includes a Study more intimate displays in ““Kristina Haugland has curated numerous exhibitions on more than 240,000 objects. Room, offi ces, workrooms, permanent vitrines. These diverse topics and is the author of Grace Kelly: Icon of Style to The costume and textiles conservation lab, and 6,000 state-of-the-art facilities collection encompasses square foot (1830 square greatly expanded the Royal Bride (Philadelphia Museum of Art and Yale University approximately 30,000 meter) collection storage opportunities to display Press, 2006) and Grace Kelly Style (Victoria and Albert objects, about evenly with compacting units. The the costume and textiles divided between textiles Perelman Building also collection, and spacious Museum, 2010). She earned an M.A. in the History of Dress and costume/accessories. has two galleries dedicated and organized storage also from the Courtauld Institute of Art in London and enjoys In 2007, the Costume and to showing costume and allowed for reorganization, Textiles Department and textiles: the Joan Spain recataloguing, and lecturing and writing about her special interests, collection moved to new Gallery, a versatile 2,350 reassessing of parts of the underwear and etiquette. facilities in the Perelman square foot (715 square collection. [ 132 ] CE DIGITAL H. KRISTINA HAUGLAND [ 133 ]

The arrangement of the Museum had never Although of suitable male forms or mannequins, were also used to create masculine arms and, the new storage, with mounted an exhibition one of the specifi c diffi culties of exhibiting when needed, legs. For “The Peacock Male”, menswear housed together, focused on men’s clothing. the Museum menswear, was overcome by adapting and mannequins from the Museum’s small stock made it easier to see the By 2009, however, accepted the altering existing mounts. For “Tailoring (recently supplemented by the Metropolitan possibilities these objects increasing general interest Philadelphia”, previously purchased women’s Museum of Art’s donation of a number afforded. Of the 15,000 in menswear coupled with fi rst example of dress forms were transformed by cutting made for their 2008 exhibition “Superheroes: costume and accessories the Museum’s growing men’s clothing away busts and bulking up the sides with Fashion and Fantasy”) were cut down and in the collection, around 10 collection and new gallery inexpensive ethafoam pool noodles, which refashioned as needed. percent are men’s clothing. spaces presented the in 1882—an These examples span the perfect opportunity to do embroidered globe, but the majority are so. Two complementary th Tailoring Philadelphia: from the United States menswear exhibitions late 18 century were planned to highlight and Europe; while most suit—collecting Tradition and Innovation are 20th century, a few collection objects, including date back as far as the many new acquisitions. The menswear had in Menswear 17th century. Although the smaller of the exhibitions, not been a COSTUME AND TEXTILES STUDY GALLERY, Museum accepted the fi rst installed in the Costume and Textiles Study Gallery, OCTOBER 2010 – OCTOBER 2011 example of men’s clothing priority until the opened fi rst; with low light in 1882—an embroidered Figure 1. Philadelphia tailor Francis levels and motion-activated late 1980s. (Frank) Toscani models his “American late 18th-century suit— As the collection was being rehoused lights, it was on view for a and reassessed, one standout group was Profi le” suit in Signature magazine, collecting menswear had year. The larger exhibition distinctive menswear from the 1960s December 1967. Photo: Philadelphia not been a priority until in the Joan Spain Gallery created by Philadelphia tailor Francis Museum of Art courtesy of the family the late 1980s. Since then, was originally planned to be (Frank) D. Toscani (1915-1973). Donated by of Francis Toscani. the representation of on view for six months, but his widow in 1974 but never previously masculine attire has greatly due to scheduling changes exhibited, these seventeen suits and increased thanks to a few was extended for three jackets featured interesting and innovative purchases and numerous further months (the light cuts and styling. While Toscani’s work gifts, including a collection- levels were low, and a few is not widely known, research revealed transforming donation from very sensitive objects were his important role at a pivotal time for musician John Cale, who switched out at the midway menswear. Toscani, who learned the art of between 2000 and 2002 point of the exhibition). tailoring from his Italian-born father, made contributed with over 100 Limited budgets for both his fi rst suit at age sixteen and quickly pieces of his avant-garde exhibitions necessitated began a successful career in the industry. clothing from the 1980s and fl exibility and creativity. From 1959 to 1969, he was chief designer 1990s. Building costs for “The for H. Daroff and Sons of Philadelphia, A few examples of Peacock Male”, for example, one of the nation’s largest manufacturers menswear had previously were lessened by reusing of men’s apparel, who produced over a been exhibited as part wall cases made for another million suits a year under various brand of larger exhibitions, but installation. The problem labels, including that of Botany 500. [ 134 ] CE DIGITAL H. KRISTINA HAUGLAND [ 135 ]

In the 1960s, The recipient of numerous Toscani worked at a time fashions—such as Pierre collection illustrate his national awards for his of enormous change in the Cardin, Bill Blass, and reimagined collars, closures, clothes that designs, Toscani also men’s tailoring industry. Hardy Amies—entered the pockets, and sleeves as well expressed became president of the In the 1960s, clothes menswear market. Toscani as the use of innovative infl uential International that expressed men’s dismissed these “big-name, seaming, asymmetry, men’s Association of Clothing individuality and featured big-dollar couturiers” as decorative buttons, and individuality Designers in 1965 and up-to-the-minute styling simply “fashion promoters unexpected colors. Toscani was later chairman of were increasingly important. and label peddlers”. also aimed for versatility and featured their Task Force, charged Many in the industry were (Toscani, 1968: 34-35) in his designs: many of up-to-the- with predicting trends in also disconcerted when Although traditional men’s his collars and pockets menswear. designers of women’s apparel designers were can be worn several ways, minute often overlooked, he argued and some garments are styling were that they were much multifunctional. His white more than mere stylists, silk safari or bush jacket, for increasingly since their responsibilities example, becomes a short, important. included overseeing mess-style formal coat production details, ensuring when the skirt is detached quality and fi t, and gauging and the breast pocket fl ap market timing. removed, an innovation hailed by Gentlemen’s Toscani also did not approve Quarterly (GQ) in February of couturiers’ designs for 1967 as, “A laudable idea for a men, which often featured vacationing resort wardrobe”. nipped-in high waists and (“Designers’ Choice”,1967: 98). broad hips. He instead Toscani used favored what he called the Toscani shared his tailoring his masterful “American Profi le”—broad skills by teaching and shoulders, trim waist, and lecturing, and showed his tailoring skills, narrow hips—suited to keen understanding of design acumen, slimmer, athletic, and manly the evolution of menswear American males. While in historical styles he and creative Toscani created up-to-the- recreated for fashion shows. vision to make minute business suits, he The Museum’s collection also used his masterful includes a partially fi nished garments that tailoring skills, design coat that he made to challenged the acumen, and creative vision demonstrate the art of Figure 2. Man’s Suit, c. 1969, by Francis Toscani, to make garments that tailoring as well as three conventions Philadelphia Museum of Art, challenged the conventions recreated suits: a golf suit of traditional Gift of Mrs. Francis Toscani, of traditional tailoring. in the style of 1928, a late 1974-51-11a,b. Photo: PMA. Examples in the Museum’s 1930s-1940s “zoot suit”, tailoring. [ 136 ] CE DIGITAL H. KRISTINA HAUGLAND [ 137 ]

Figure 3. An installation view of “Tailoring Philadelphia: Tradition and Innovation in Menswear”, 2010-2011, in the Costume and Textiles Study Gallery, Philadelphia Museum of Art. Photo: PMA.

and an exaggeratedly draped late-1940s-style suit. His showpiece “half and half” suit illustrates the changes in men’s suits over a decade: the pale grey side shows the cut of the 1950s (long jacket with wide shoulders and To complement the Toscani established menswear The Peacock Male: lapels, three-button front, pieces and the more industry. In addition to Exuberance and Extremes fl ap pockets, and full-cut fl amboyant menswear that many small tailoring pleated and cuffed trousers) would be shown in the businesses, the city was a in Masculine Dress in startlingly contrast to larger exhibition, cubicles in major producer of ready- JOAN SPAIN GALLERY, JANUARY – SEPTEMBER 2011 the dark brown side in the Study Gallery exhibited to-wear men’s clothing for the style of the early 1960s the fi ve distinct types of both wholesale and retail (closely-fi tted, shortened traditional menswear: markets from the mid-19th This exhibition was including a few pieces of the 18th century, including jacket with narrow lapels, frock coat, morning or century on, and in 1967, conceived to highlight 300 borrowed or purchased an embroidered suit, coat, two-button front, welt cutaway coat, tailcoat, according to Associated years of men’s fashions contemporary menswear. and three waistcoats as well pockets, and tight trousers tuxedo or dinner jacket, Press articles, produced from the collection, from The exhibition was divided as accessories from a lace with neither pleats nor and sack suit. Ranging nearly a third of all men’s holdings of fi ne 18th- into ten sections of varying cravat end to patterned cuffs). All seventeen Toscani in date from 1905 to 1952, top fashion garments made century menswear, many sizes that addressed a silk stockings. “Festive suits, along with a jacket by these represented the work in the United States. Wall with known provenance, variety of historical and and Fancy” examined one of his colleagues, were of different Philadelphia labels and a monitor further to recent acquisitions subject-based themes. costumes—fanciful, shown in the large vitrine tailors and helped to explored this history and including avant-garde “The Elegant Elite” looked historical, or exotic—that of the Costume and Textiles highlight the importance Toscani’s work. examples. Over ninety at the elaborate apparel allowed men to temporarily Study Gallery. of Philadelphia’s long- objects were on view, worn by privileged men in do a more colorful persona. [ 138 ] CE DIGITAL H. KRISTINA HAUGLAND [ 139 ]

In addition to an “Uncle well as an ensemble from These objects included Sam” costume from the the late 1970s - early 1980s leather hats from 1838 early 20th century and created and worn by painted with the insignia of an English mummers African American artist volunteer fi re companies, costume from 1829 (a 2009 Charlie Logan of St. Louis, a Mason’s apron, a punk purchase), Philadelphia’s Missouri; made of layered rock outfi t showing the own traditional New materials, found objects, wearer’s affi liation with Year’s Day Mummers and embroidery, these a particular subgenre, a Parade was honored in a expressive garments tartan kilt ensemble, and c. 1993 costume, borrowed showed his connection a mannequin dressed from the Golden Sunrise to African American folk from head to toe as a fan Mummers, representing aesthetics and referenced of Philadelphia’s Phillies a dancing peacock. This people, beliefs, and dates baseball team. extravagant costume important to him. In with a 10 foot (3 meter) contrast, the section “One Figure 4. An installation wide tail of real peacock of the Tribe” focused on view of “The Peacock Male”, feathers was visible from collective dress used to Figure 6. Fireman’s Figure 5. An installation view showing the Philadelphia Museum of Art. the exhibition entrance, indicate members of a Hat, 1838, American, entrance to “The Peacock Male: Exuberance Photo: PMA. and both referenced the group and create a feeling Philadelphia Museum of and Extremes in Masculine Dress”, 2011, Art, Bequest of R. Wistar exhibition title and helped of solidarity. in the Joan Spain Gallery, Philadelphia Harvey, 1940-16-734. set a playful mood. Another Museum of Art. Photo: PMA. Photo: PMA. section, “Touches of Flash”, covered the accessories that could add panache to understated, soberly clad men in the 19th century, showing colorful and exaggerated hats, neckwear, and waistcoats along with embroidered slippers and suspenders (braces).

“Individual Expression”, which looked at idiosyncratic dress, featured a sailor’s blouse and poke bag adorned with personalized embroidered symbols from the American Civil War (1861-1865) as [ 140 ] CE DIGITAL H. KRISTINA HAUGLAND [ 141 ]

Ceremonial clothing that standing—“Surrogate gown, while a large cowboy “paper” shirt, and Nehru suit with clear cape and The section demonstrated high social Splendor” focused on hat and tanned horsehide jacket from the 1960s to skirt that the designer lent position was examined in ornamental clothing worn ensemble exemplifi ed the later “peacock revolution” (and subsequently gave) “One of the “Dressed to Impress”. An to refl ect another’s status, remarkable forms that work garments. The display to the Museum. Other Tribe” focused early 20th-century military from an ornate 18th-century gear can take. included accessories from loans included a hip-hop shoes to outrageous ties, ensemble with sagging on collective uniform of the Philadelphia chasuble to servant’s livery, Early to mid-20th-century th reinterpreted suits by Bill trousers, which belied the City Cavalry’s First Troop including an early 19 - objects in “The Debonair dress used Blass and Kenzo, a red notion that contemporary (complete with imposing century coat for a footman Man” included hats, collars jumpsuit by Jean Charles de menswear is primarily fur-crested helmet, corded or groom in service to and cuffs, a red velveteen to indicate Castelbajac, Versace printed concerned with comfort. tunic, anachronistic sword, Austrian statesman Price smoking jacket, suspenders members of swimsuits, a Vivienne and spurred boots) showed Klemens von Metternich. (braces) and garters To complement the objects Westwood “Bondage” suit, how removed full-dress “Leisure and Labor” (suspenders), spats, and and themes, projections a group and and many objects donated uniforms could be from the included sportswear, such shoes. The fi nal and largest on one wall included still by John Cale, including create a feeling realities of actual warfare. as a red formal hunting section, “New Directions”, images (fashion plates, works by Issey Miyake, Magnifi cent court attire coat, an 1896 sports featured garments from works of art, caricatures, and of solidarity. Yohji Yamamoto, Jean included embroidered sweater in the University the 1950s on, when photographs) interspersed Paul Gaultier, Alexander diplomatic uniforms and of Pennsylvania’s red and masculine clothing with fi lm clips; these McQueen, and Walter von an English herald’s tabard blue (fi rst used in the 1870s), became perceptibly more covered fashionable men Birendonck. Interspersed with a coat-of-arms dated to and an exuberantly modern conspicuous. Arranged to from dandies to hippies, were purchased avant- 1707-1714. While this section pair of polyurethane visually play off each other uniforms, and costumes, garde ensembles by looked at what Thorstein “Frollerskates” from 1987- rather than chronologically, including historical footage Bernhard Willhelm and Veblen termed conspicuous 1988. Leisure wear included objects ranged from a 1950s of Philadelphia’s Mummers Romain Kremer from Fall/ consumption— exotic 1870s smoking zebra-patterned jacket and Parade. Winter 2010-2011 and a Fall frivolous spending that caps and a fl amboyantly blue suede shoes to an 2008 Thom Brown argyle demonstrates high social patterned c. 1948 dressing Op Art shirt, psychedelic

Figure 8. Man’s “Paper” Figure 7. Herald’s Tabard, Shirt, late 1960s, by 1707-1714, English, Philadelphia Papierkleid, Germany, Museum of Art, Gift of Philadelphia Museum Elizabeth Malcolm Bowman of Art, Purchased with in memory of Wendell Phillips funds from the gift Bowman, 1930-28-1. of Mrs. Victor M. Friar, Photo: PMA. 2009-126-1. Photo: PMA. [ 142 ] CE DIGITAL H. KRISTINA HAUGLAND [ 143 ] Results

These two menswear exhibitions focused attention on a little-known section of the Museum’s collection and generated a number of donation offers so the collection continues to grow. Among the most notable direct results has been the continuing relationship with Bernhard Willhelm, who became aware of the Museum’s interest in his work when an ensemble was purchased for the exhibition. In the intervening years, the designer has allowed the Museum to choose examples from his recent collections, so that the holdings now include 32 complete Wilhelm ensembles—menswear, women’s wear, and unisex garnments— from Fall/Winter 2008 to Fall/Winter 2017- 2018 (Three of Willhelm’s donations were featured in “Wear Words: Text in Fashion” Figure 9. An installation in the Costume and Textiles Study Gallery view of The Peacock Male, in 2017-2019 and two in the 2018-2019 major showing works by Yohji exhibition “Fabulous Fashion: From Dior’s Yamamoto, Issey Miyake, New Look to Now.”). More generally, it has Walter Van Beirendonck, been heartening to see an increase of Romain Kremer, and Vivienne museum exhibitions on menswear and of Westwood, among others. These two menswear general acknowledgement of the fact that, Photo: PMA. exhibitions focused as the title of Dorothy Stote’s delightful 1939 book asserted, men too wear clothes. attention on a little- known section of the Figure 10. Man’s Ensemble: Top, Bodysuit, TOSCANI, F. (1968): “Down the garden Shoes and Sunglasses, Fall/Winter 2010- Museum’s collection path with the couturiers”, Department 2011, by Bernhard Willhelm, Philadelphia Store Economist, 34-36. Museum of Art, Purchased with funds and generated a “Designers’ Choice”, Gentlemen’s contributed by Marvin B. Levitties, 2011-30- number of donation Quarterly (GQ) (1967): Vol 37 No 1, 98. 1a--g. Photo: PMA. STOTES, D. (1939): Men Too Wear offers so the collection Clothes, Frederick A. Stokes Company, New York. continues to grow. [ 144 ] CE DIGITAL KATE IRVIN | LAURIE BREWER [ 145 ]

The exhibition Artist/Rebel/Dandy: Men of Fashion at the RISD Museum documented the enduring, global impact of the dandy—that distinctively dressed fi gure who has pervaded Western culture for more than two ARTIST/REBEL/ centuries. From Beau Brummell in the late 18th century to the international style-makers of the early 21st century, this character was presented as DANDY: MEN OF epitomizing the powerful bond between clothing, identity, and creativity. FASHION he fi gure of and distinctively dressed Kate Irvin & Laurie Brewer the dandy character. Starting with has pervaded the imposing fi gure of the RISD MUSEUM. RHODE ISLAND SCHOOL OF DESIGN Western culture consummately elegant for over two dandy Beau Brummell [email protected] centuries, often cloaked in (1778-1840), we traced T Figure 1. Installation view of [email protected] the form of the artist. The the variety of ways that “Artist, Rebel, Dandy: Men exhibition “Artist/Rebel/ this creative personality of Fashion”, Museum of Dandy: Men of Fashion” has blazed through the Art, Rhode Island School of and the accompanying nineteenth and twentieth Design, April 26 - August 18, book presented a particular centuries and investigated 2013. Courtesy of the Museum view of menswear that where he resides in the of Art, Rhode Island School of Kate Irvin is Curator and Department Head of Costume and revolves around this artistic twenty-fi rst century. Design, Providence. Textiles at the RISD Museum. Her recent exhibitions at the Museum include “All of Everything: Todd Oldham Fashion” (2016); “Swagged and Poufed: The Upholstered Body in the Late 19th Century and Today” (2016); and “Artist/Rebel/Dandy: Men of Fashion” with Laurie Brewer (2013).

Laurie Anne Brewer is Associate Curator Costume and Textiles at the RISD Museum. Her recent exhibitions include “Luminous Lace” (2017); “Golden Glamour: The Edith Stuyvesant Gerry Collection” (2015); “Indische Style: Batiks for the International Market” (2015); and “Artist/Rebel/Dandy: Men of Fashion” with Kate Irvin(2013). [ 146 ] CE DIGITAL KATE IRVIN | LAURIE BREWER [ 147 ]

Rather than Rather than following strict a range of garments and dandy on his garments, a life lived in a garment, the cabinet, wardrobe, following strict defi nitions, we embraced artistic portrayals from the memory that he leaves the fi gure now departed. and trunk, intimating the myriad manifestations the collections of the behind in the physical Devoid of the motion, personal relationship that defi nitions, of the artist dandy’s style Museum, as well as from clothing. The collection fl esh, and vitality that once is integral to the objects’ we embraced and personality, from the many other national and photographs celebrated defi ned their day-to-day meaning and beauty. We myriad discreet sophistication international institutions in the color plates in the presence, the dandy’s did not recreate ensembles, of “the Beau” at the and private individuals. book—inspired by the garments required a but rather allowed the folds manifestations turn of the nineteenth All ensembles on display work of contemporary certain resurrection. In and drape left behind by of the artist century to the notorious were distinguished by photographers McDermott lieu of following the usual the wearer to speak for dandy’s style swells in the sea of suits their quality and often by & McGough, Tanya garment “documentation” their presence. Clues as to of the nineteenth and the deft workmanship Marcuse, and Rosamond standards, we removed the original owner’s unique and personality, twentieth centuries to the and particular style of Wolff Purcell—revel in the objects from the posturing, attitude and je from the connoisseurs, romantics, a tailor or designer, but the passage of time and traditional museum setting ne sais quoi radiate from discreet and revolutionaries that most important to the the precious markings of and returned them to the page. have studded the landscape premise of the exhibition sophistication of menswear through was their association of “the Beau” today. In the process, we with the particular artist- at the turn of strived to shift focus from dandy who wore them. To the nineteenth the image of the dandy as enhance the connection to exemplifying superfi cial the fl esh and emotion of century to fl amboyance, self- these creative individuals, the notorious indulgence, and mindless in the display the garments swells in the fl ash to showing him as a were enriched by images fi gure employing profound of dandy personalities sea of suits of thought and imagination in the form of portraits, the nineteenth in his self-presentation. caricatures, and fashion and twentieth He is at once artist, rebel, plates. Likewise, both and dandy, forging a adulatory and stereotyped centuries to the creative and unique path representations of the connoisseurs, to self-discovery and self- featured dandies were Figure 2. Riding jacket worn by romantics, and expression. grounded in the concrete William Fitzhugh Whitehouse and corporeal substance Jr., 1895. Henry Poole & Co., While the book, particularly revolutionaries of the clothing itself, the tailor, London, est. 1806. Wool in its textured, dreamlike artist-dandy’s key to self- broadcloth (fulled plain weave) that have color plates, was designed with gilt brass buttons. Buttons expression. to celebrate the materiality studded the stamped W. Stratton London. landscape of and artistry of menswear In both the exhibition and Gift of the Whitehouse estate menswear in the collections of the book we aimed to 58.160.11. Courtesy of the the RISD Museum, the highlight the sometimes Museum of Art, Rhode Island through today exhibition itself featured haunting imprint of the School of Design, Providence. [ 148 ] CE DIGITAL KATE IRVIN | LAURIE BREWER [ 149 ]

These images focus on the and Defi nitions” immersed dandies and the material Max Beerbohm’s persona, wearer’s palpable absence the viewer in the often evidence of their style. A and a fi ne woolen overcoat and, in doing so, summon contradictory defi nitions subsection called “Relics” exuded the personality of the magic of his dandiacal and images of the clothes- gave an intimate experience Cecil Beaton to the extent splendor and persona. wearing man. Likewise, the of the power of the objects that his biographer and exhibition’s “Crafting the that defi ne the body by current owner of the coat In the book, several Dandy” section addressed bringing together discrete was described by Tom Wolfe perspectives meet and the tangible elements garments and accessories as writing from within its sometimes collide to illustrate that go into the making of that have come to embody very sleeves. the range of the dandy the dandy and his image, the memory of certain iconic spectrum; “musings” on a score providing viewers a window dandies. Among expressive of notable dandies written by into the personal choices pieces related to Lord individuals who are close to made by the clothes- Byron, Charles Baudelaire, their subject in heart and mind wearing man as he crafts his and Andy Warhol were combine with scholarly essays appearance into a singular two ethereal white dress and rich object photographs and bespoke identity. shirts, one crafted in Italy Figure 5. Installation view of that are pregnant with emotion and the other in France, “Artist, Rebel, Dandy: Men and the substantive nature Following such foundational that belonged to Sam of Fashion”, Museum of of cloth and clothing. In the material, in the exhibition Figure 3. Suit Jacket worn by Richard Merkin, 1968. Clemons and Oscar Wilde, Art, Rhode Island School of exhibition, such dimension the primary organization F. L. Dunne and Company, tailor, New York and Boston, respectively, while a walking Design, April 26 - August 18, is created by weaving dandy revolved around a select est. ca. 1910. Wool twill weave. Gift of Richard Merkin stick bore the weight of 2013. Courtesy of the Museum clothing, images, and texts group of individual artist- 1999.65.2A. Courtesy of the Museum of Art, Rhode Island of Art, Rhode Island School of together. Thus, words and School of Design, Providence. Design, Providence. images of Charles Baudelaire featured alongside the clothing Figure 4. Installation view of “ and style snippets of RISD Artist, Rebel, Dandy: Men of Fashion”, Museum of Art, Rhode Island School of Design, April 26 - August 18, Painting Professor Richard 2013. Courtesy of the Museum of Art, Merkin and the designs Rhode Island School of Design, Providence. and slogans of impresario Malcolm McLaren. Likewise, the clothing and caricatures of Max Beerbohm were on display adjacent to the garments of Hamish Bowles and the clothing designs and social messages of Ouigi Theodore and his menswear emporium Brooklyn Circus.

An introductory section of the exhibition titled “Sketches [ 150 ] CE DIGITAL KATE IRVIN | LAURIE BREWER [ 151 ]

As an exemplary artist/ by pushing categorical In the rebel/dandy persona, boundaries to the point RISD Painting Professor of dissolution, we saw it exhibition Richard Merkin (1938-2009) as nonetheless revealing we grouped placed equal creative to seek understanding emphasis on his painting, of a dandy’s personality personal illustrations, journalism, and style in the company clothing and, of course, raiment. He of other like-minded knowingly broke the rules individuals. In the exhibition and images of the game in his art and we grouped personal associated with his dress, enthusiastically clothing and images exploring the outer limits associated with specifi c specifi c dandy of convention while staying dandy personalities personalities within its bounds. Far from according to descriptive self-absorbed, Merkin in his themes that imply a according to magnanimous personality particular moment in descriptive Figure 6. Installation view of “Artist, Rebel, Dandy: fused together a healthy their sartorial explorations. Men of Fashion”, Museum of Art, Rhode Island dose of tradition, the armor Thus, our artist-dandy themes School of Design, April 26 - August 18, 2013. of material know-how, heroes found kinship Courtesy of the Museum of Art, Rhode Island that imply Figure 7. Installation view of “Artist, Rebel, an appreciation of the across chronological School of Design, Providence. Dandy: Men of Fashion”, Museum of Art, Rhode innovations of young artists and geographic a particular Island School of Design, April 26 - August 18, and designers, and a deep borders in gatherings moment in 2013. Courtesy of the Museum of Art, Rhode respect for the distinctive under the banners of Island School of Design, Providence. style of others both within Historians, Connoisseurs, their sartorial and outside of his orbit. For Revolutionaries, Romantics, these reasons and many and Explorers. These explorations more, in this presentation evocative groupings were Merkin fi lled the role of intended not as partitions the “Original”, the ultimate but rather as umbrella RISD artist-dandy whose concepts that touch upon donations to the Museum one another and overlap. served as the springboard Individuals represented for the launch of the in the “Historians” exhibition and book. category tapped into the Though in both the longstanding tradition exhibition and book of tailoring and men’s we stressed the many appreciation of the fi ne ways in which the dandy details of fabric, texture, artfully eludes defi nition and cut while adapting [ 152 ] CE DIGITAL KATE IRVIN | LAURIE BREWER [ 153 ]

these physical qualities to The “Connoisseurs” theme self-display (see Figure 4). who take solace in stylistic Both social and geographic in particular at his exotic their contemporary lifestyle applied to those individuals At the cutting edge of their relics as they shrink from boundaries serve as points chintz banyan of the 1780s (see Figure 1). Rebelling who come closest to the culture, these individuals the vulgarities of modern of exploration, challenge, that evokes his future against the fashionable, original model of Beau push the defi nition of the life. Models for conduct and and self-discovery for the fl ights of fantasy within the “modern” look of their Brummell. These fi gures clothes-wearing man into dressing from an imagined individuals in the “Explorers” Brighton Royal Pavilion. As age, they quite literally are consumers and taste- the realm of the cerebral. and idealized history present group. The literal fi gure of young dandies in the 1980s, extract their own sense of makers, known for their Appearance is seen as a an alternative lifestyle and the explorer is connected brothers Charles and Alan modernity from previous fastidious and impeccable means to an end, which serve an inward-facing focus to a journey to unfamiliar Rosenberg leaped into new style and eras. These style- appearance that betrays might include social or on the self and one’s art. In territory. The explorer worlds as they modeled setters employ the tools a careful attention to political change, as well as this category, the Romantic dandy might make such the avant-garde pieces of and fl avor of the past to detail and that is often transfi gurations in gender aura emitted by the writings a voyage physically and/ Japanese designers such as make a special connection described as elegance par and sexual identities. and images of Lord Byron or visually, in reality or in Matsuda who offered men with their particular place excellence. These fi gures Exemplifying the socio- fi nds excellent company in fantasy. His dress declares and women a new path for in the world. Looking to resist mainstream rules political dandyism in which Patti Smith’s physical and his activity and process, as self-expression. his dandy predecessors, regarding menswear that women also engage, in intellectual modeling of well as his departure from 19th-century poets such as the prosaic trappings of Hamish Bowles summons call for the submission to this category the viewer Rimbaud. Langston Hughes’s everyday life. Beginning the persona of the Neo- uniform dress codes, but in will be confronted by the Edwardian dandy Neil early poetic meanderings in with George IV in his youth, response make a parallel constructed persona and “Bunny” Roger by donning Harlem taught him to fi nd we examine the liberties set of rules that privileges lifestyle of Michael Strange his very clothes purchased beauty everywhere, thus he took with his dress even meticulousness and (the pseudonym of Blanche at auction while also reviving similarly Romantic before he cavorted with heightened self-awareness Oelrichs), represented by patronizing contemporary traditions in his art and style. Beau Brummell, looking over conformity and a tailor-made menswear designers such as Savile recessiveness. Personalities suit worn on and off the Row’s young buck Patrick gathered here ranged stage. RISD alum Charles Grant. Ignacio Quiles seeks from the Duke of Windsor Rosenberg embraced the out beauty in vintage Figure 8. and his groundbreaking raw defi ance and freedom fi nery, letting the quality of Installation repositioning of leisure of the punk aesthetic as materials dictate his choices view of “Artist, fabric and styles to the promoted by designers like and making someone Rebel, Dandy: brotherhood of native Richard Torry, who hand- Men of Fashion”, else’s abandoned garments Congolese sapeurs, who knitted his pieces while Museum of his own. Most recently have made a point of at punk shows in London. Art, Rhode menswear designer Thom presenting themselves with In the words of Yinka Island School Browne has proposed in his swaggering panache within Shonibare MBE, the dandy of Design, April person and his designs a limited means. is an “outsider [who] upsets 26 - August 18, return to a tight defi nition 2013. Courtesy the social order of things”. Dandies falling primarily of Brummell’s original of the Museum controlled aesthetic of within the “Revolutionaries” The prototypical writer dandy of Art, Rhode dressing that relied on category linked intellectual was presented as residing in Island School compact woolens and cuts political content with the “Romantics” exhibition of Design, celebrating the fi gure. intentional and pointed section, along with others Providence. [ 154 ] CE DIGITAL

Figure 9. Installation view of “Artist, Rebel, Dandy: Men of Fashion”, Museum of Art, Rhode Island School of Design, April 26 - August 18, 2013. Courtesy of the Museum of Art, Rhode Island School of Design, Providence.

Most recently, Ted Young- space at a time. Just as they singular and innovative Ing has charged into new are simultaneously artists, clothes-wearing man (or territory by donning tweed rebels, and dandies woman) who recognizes plus-fours while “period —creative in their and lives his productive and cycling”, thus kicking off appearance and defi ant creative life in enjoyment the urban bicycling “Tweed in their approbation of of the materiality of his Run” phenomenon. clothing as a means of clothing. We recognize these artistic, even philosophical, classifi cations as fl uid expression—they and porous and the are concurrently individuals as capable of historians, connoisseurs, spanning several, perhaps revolutionaries, romantics, even all, categories, and explorers. Most of but the presentation all, these artist-dandy of tangible objects can personalities each deserve only accommodate their a moment in the spotlight physical occupation of one as an “Original”, as a [ 156 ] CE DIGITAL SHARON SADAKO TAKEDA [ 157 ]

This article traces the research, development, and implementation of “Reigning Men: Fashion in Menswear, 1715 – 2015”, the fi rst major exhibition devoted to men’s fashion organized by the Los Angeles REIGNING County Museum of Art (LACMA). It examines the collecting strategies and major acquisitions leading up to the exhibition; the thematic organization and how historic and contemporary examples were MEN: occasionally juxtaposed to illustrate how fashion designers often look to the past for inspiration; and an assessment of what “Reigning Men” focusing on menswear at the accomplished at LACMA and beyond. Los Angeles County Museum of Art (LACMA) ocated on the Pacifi c Rim, the Los Angeles A recent internal County Museum of Art (LACMA) is the review of the long largest museum in the western United Sharon Sadako Takeda States. Its permanent collection consists list of textile and LOS ANGELES COUNTY MUSEUM OF ART of more than 130,000 objects dating from costume exhibitions Lancient times to the present. Once part of the Los [email protected] Angeles County Museum of History, Science, and that have been Art in Exposition Park (near downtown Los Angeles), LACMA moved to its present location in Hancock organized by the Park (midway between downtown Los Angeles and museum since the Pacifi c Ocean) and opened to the public in 1965. 1919 revealed that Examples of costume and textiles began to enter the collection more than a half-century before there had never LACMA was established. Major benefactors such been an exhibition as industrialist J. Paul Getty, newspaper publisher William Randolph Hearst, and several banking fully devoted Sharon Sadako Takeda is Senior Curator and Head heiresses proudly supported their new civic to menswear of the Department of Costume and Textiles at the Los museum in Exposition Park by donating signifi cant artworks, including textiles such as the Ardabil until “Reigning Angeles County Museum of Art (LACMA). Her major Carpet (Fig. 1) and fashionable art such as an early exhibitions include “Reigning Men: Fashion in Menswear, 1920s evening gown by French couturier Paul Men: Fashion in Poiret (Fig. 2). Today, LACMA’s Costume and Textiles Menswear, 1715 - 2015”, “Fashioning Fashion: European Dress in Detail, encyclopedic collection, which consists of more 1700 - 1915”, “Miracles and Mischief: Noh and KyōgenTheater than 35,000 objects, and its exhibitions, which have 1715-2015”, which received awards and traveled to museum venues in in Japan”, and “When Art Became Fashion: opened at LACMA Europe and the United States, are highly respected Kosode in Edo-Period Japan, 1615 - 1868”. worldwide. in April 2016. [ 158 ] CE DIGITAL SHARON SADAKO TAKEDA [ 159 ]

LACMA, like most art Men” for us because of museums with historic the wealth of aristocratic and contemporary menswear before our eyes. fashion collections, has The realization that LACMA focused more attention on now had a very strong collecting and exhibiting collection of menswear women’s dress while was exciting and started generally neglecting us on the path to explore menswear. A recent the feasibility of organizing internal review of the long a major exhibition about list of textile and costume men’s fashion with the title, exhibitions that have been “Reigning Men”.

organized by the museum Our subsequent search for since 1919 revealed that exhibition catalogues and there had never been an books devoted to menswear exhibition fully devoted to resulted in the discovery menswear until “Reigning that there has been a Men: Fashion in Menswear, dearth of museum shows 1715-2015”, which opened at focused on menswear; Figure 2. Paul Poiret (France, LACMA in April 2016. 1879-1944), Woman’s Evening furthermore, we observed Gown, 1920-25, Los Angeles The idea for “Reigning Men” that existing publications County Museum of Art, gift surfaced in 2007 while on menswear were mostly of Mrs. Helen Crocker Russell, the curatorial team was fi lled with illustrations, 54.129.2 unpacking a newly acquired paintings, prints, fashion Photo. © Museum Associates/ collection of eighteenth- to plates, and photography of LACMA early twentieth-century well-dressed men, but rarely European fashionable featured extant examples dress for men, women, from museum collections. Figure 1. Ardabil and children. As we A comprehensive exhibition Carpet (detail), gazed upon a large cache was long overdue—and Iran, dated of captivating historic LACMA could organize 1539-40, Los menswear, especially such a survey utilizing its Angeles County many eighteenth-century permanent collection. Museum of Art, aristocratic ensembles, Concurrently, we were in the gift of J. Paul the song It’s Raining Men, Getty, 53.50.2 research and development Photo © recorded in 1982 by The stage of “Fashioning Museum Weather Girls, came to Fashion: European Dress Associates/ mind. “Raining Men” soon in Detail, 1700 - 1915” (Fig. LACMA morphed into “Reigning 3), an exhibition and [ 160 ] CE DIGITAL SHARON SADAKO TAKEDA [ 161 ]

The most noteworthy single acquisition was an publication celebrating the 2007 European fashion acquisition, and acknowledging authentic zoot suit dating to the 1930s-early 40s the munifi cent donors who participated that was purchased at auction in 2011. Associated in building LACMA’s world-class costume and textiles collection. With “Fashioning with American urban youths (particularly African- Fashion” there were a couple of key looks in the men’s timeline section that led us Americans, Latinos, Jewish, and immigrant to an available small collection of historic communities) who frequented swing dance halls, menswear, which included rare examples of clothing and accessories dating to the LACMA’s exceptional example has a particularly French Revolution that also would be exaggerated silhouette that would have made it important for “Reigning Men” (Fig. 4). comfortable to wear while executing the energetic Other singular examples representing key moments in the history of fashionable menswear would be added to the dance moves of swing. Figure 4. Bicorne with Cockade, France, c. 1790, permanent collection before and after the Los Angeles County Museum of Art, Figure 3. “Fashioning Fashion: European Dress in LACMA opening of “Fashioning Fashion” in purchased with funds provided by Michael Detail, 1700-1915” exhibition installation, October 2, October 2010 because, as is often the case and Ellen Michelson, M.2010.33.1. 2010-March 27, 2011, Los Angeles County Museum when organizing an exhibition, we took Photo © Museum Associates/LACMA of Art. Photo © Museum Associates/LACMA the opportunity to enrich our permanent

collection. For “Reigning Men”, we would Figure 5. Zoot Suit, United States, 1940-42, also strategically form a collection of Los Angeles County Museum of Art, twentieth- and early twenty-fi rst century purchased with funds provided by Ellen A. menswear. Michelson, M.2011.94a-b. Photo © Museum Associates/LACMA The most noteworthy single acquisition was an authentic zoot suit dating to the 1930s-early 40s that was purchased at auction in 2011 (Fig. 5). Associated with American urban youths (particularly African-Americans, Latinos, Jewish, and immigrant communities) who frequented swing dance halls, LACMA’s exceptional example has a particularly exaggerated silhouette that would have made it comfortable to wear while executing the energetic dance moves of swing.

‘For more than a decade, curators in the Department of Costume and Textiles had been in search of an authentic 1930s-40s- [ 162 ] CE DIGITAL SHARON SADAKO TAKEDA [ 163 ]

At fi rst, we era zoot suit. Our quest instead to wait fi ve years to We also chose to organize the exhibition proved extremely diffi cult make our offi cial zoot suit thematically rather than chronologically. deliberated if due partly to WWII-era announcement in the press “Reigning Men” explored three centuries the exhibition restrictions imposed release for “Reigning Men”. of fashion in fi ve thematic sections— by the War Production ”Revolution/Evolution”, “East/West”, After “Fashioning Fashion” might need to Board in March 1942 to “Uniformity”, “Body Consciousness”, and completed its tour that reduce the amount of “The Splendid Man”. be punctuated included the Deutsches fabric used in garment Historisches Museum in “Revolution/Evolution” and its sub- with women’s construction, thereby Berlin (April 27 – July 29, themes—“Macaroni”, “Revolution and limiting the production of wear in order 2012) and Les Arts Décoratifs Anarchy”, “Aesthete and Hippie”, “Youth the voluminous zoot suit. in Paris (December 21, 2012 and Rebellion”, and “Dandy”—considered to make it more Later, many examples may – April 14, 2013), we quickly fashion cycles while underscoring that the also have been remade into colorful and moved into the research fashionable man has always been present, other garments, as zoot suits and development stage of constantly reinventing himself and often required much more fabric interesting; “Reigning Men”. I and my borrowing from his forefathers. Historic and to create than a typical however, we co-curators, curator Kaye D. contemporary examples were occasionally suit. And zoot suits simply Spilker and assistant curator juxtaposed to illustrate how revolutionary may not have survived use, quickly decided Clarissa M. Esguerra, decided styles often led to evolutionary changes whether from day-to-day that the story that “Reigning Men” should in dress that later served as inspiration wear, nighttime dances of reexamine conventional for cutting-edge fashion. For example, the fashionable jitterbug of menswear gender norms, including the the tricolore-striped trousers of the sans- or Lindy Hop, or the so- was fascinating, all too-frequent equation of culottes (without breeches) symbolic of called “Zoot Suit Riots” that fashion with femininity, and the French Revolution are redolent in a erupted between American colorful, and reveal that the commonly Spring/Summer 2014 ensemble by Belgian servicemen and zoot-suiters accepted concept of the designer Ann Demeulemeester (Fig. 6). deserving of across America and beyond.’ conformist man in the “East/West” and its sub-themes—”At-Home (Takeda, Esguerra, 2016). an exclusive gray fl annel suit is a recent Wear”, “Smoking and Leisure”, “Cultural Figure 6. Ann Demeulemeester Our hard-fought winning and reductive stereotype. Intersections”, and “Japanese Designers”— retrospective. (Belgium, born 1959), Ensemble, bid for the rare zoot suit At fi rst, we deliberated if observed how international cultural Spring/Summer 2014, Los set a new auction record the exhibition might need exchanges have infl uenced men’s fashions Angeles County Museum of Art, for twentieth-century to be punctuated with for centuries. Throughout the eighteenth purchased with funds provided menswear. When asked by women’s wear in order to and nineteenth centuries, Western traders by Louise and Brad Edgerton, the auction house if LACMA make it more colorful and returned from their travels with intriguing Edgerton Foundation, would waive its anonymity interesting; however, we goods that were absorbed or reinterpreted M.2014.1181-g. Photo © Museum as the new owner of the quickly decided that the to appeal to home markets. Exotic garment Associates/LACMA zoot suit for the sake of story of menswear was styles, such as the T-shaped kimono, were the press release being fascinating, colorful, and appropriated for men’s at-home robes prepared to announce deserving of an exclusive (banyans) while foreign motifs like the the record sale, we chose retrospective. boteh from India were transformed into the [ 164 ] CE DIGITAL SHARON SADAKO TAKEDA [ 165 ]

popular pattern produced in weaving centers such as Paisley, Scotland, from which its name in English is derived. During the mid- twentieth century, immigrants transferred their indigenous styles to fashions of their adopted countries, such as Japanese settlers in Hawaii who utilized repurposed traditional kimonos and imported printed silks to create Western-style shirts that were called Aloha or Hawaiian shirts (Fig. 7). Late twentieth and early twenty-fi rst century Japanese designers residing in their homeland often used traditional textile techniques and dress styles to create contemporary fashion for an international market.

The “Uniformity” section and its sub- themes—“Military Wear”, “Work Wear”, “Business Wear”, “Informal Wear”, “Active Figure 7. Shirt, United States, Wear”, and “Formal Wear”—acknowledged Figure 8. Right to left: Army Tank Suit, England, 1940-45, Los Angeles County Museum of Art, Costume and Textiles Deaccession Fund, M.2013.84.3a-b; Jean Paul Gaultier (France, born 1952), Ensemble from Hawaii, 1952, Los Angeles that while military and working uniforms the “Black Swan” collection, Fall/Winter 2011-12, Lent by Cameron Silver; Jeremy Scott (United States, County Museum of Art, gift of might have appeared to limit the possibilities born 1975) with Adidas (Germany, founded 1949), Ensemble, Fall/Winter 2013-14, Los Angeles County Mrs. Carl W. Barrow, M.87.41.1. for individual expression, a close examination Museum of Art, gift of Jeremy Scott, M.2014.18.2a-e. Photo © Museum Associates/LACMA Photo © Museum Associates/ of tailoring techniques, stylistic details, and LACMA embellishments revealed that high sartorial standards persisted even in conventional have, turning to such century bathing suit that Finally, in “The Splendid capacities, as seen on late eighteenth- and devices as stockings with nearly covered the entire Man” thematic section and early nineteenth-century British army padded calves in the body, which evolved into its sub-themes—“Glitz”, and naval uniforms. Furthermore, military eighteenth century, a 1935 Jantzen “Topper” “Animal”, “Floral”, “Color”, and work uniforms made for function have waist-cinching underpants Swimsuit with detachable and “Contemplating the often been brought into the realm of fashion, in the early nineteenth top, dissolved into a Spring/ Future”—we analyzed such as how the early use of camoufl age century, and body-shaping Summer 1997 Tom Ford changing concepts of “his” seen on a British army tank suit has inspired tailored jackets from for Gucci Thong Swimsuit, versus “hers”, considering contemporary designers, such as Jean Paul the nineteenth century only to revert back to a how fashion frontrunners Gaultier and Jeremy Scott (Fig. 8). through the modern and full-body competition and designers throughout “Body Consciousness”, and its sub- contemporary eras. The swimsuit, Fastskin LZR history challenged notions themes—“Cinching”, “Molding”, “Exposing growing acceptance of Racer, by Speedo in of menswear by looking Skin”, and “Sheer Dressing”—demonstrated exposed skin can be traced collaboration with designer to a past when certain that men have been just as preoccupied through swimwear, from Rei Kawakubo of Comme gender distinctions in with enhancing their physiques as women a turn-of-the-twentieth- des Garçons in 2008. colors, fabric, and motifs [ 166 ] CE DIGITAL SHARON SADAKO TAKEDA [ 167 ]

were far less signifi cant. drawing by legendary Android. This worldwide Superfl uities that were once American tattoo artist Mark online access to Reigning TAKEDA, S., ESGUERRA, C. (2016): “The Search common place in men’s Mahoney on the exposed Men assures that the for an Authentic Zoot dress—such as sparkling left arm and neck of the exhibition will live on Suit”, Unframed. January paste (glass) stones and mannequin displaying the after its post-LACMA 26. [Accessed October 4, 2017]. 25 – September 17, 2017) and vividly colored textiles— More than 100,000 visitors were resurrected and and the Powerhouse TAKEDA, S. S., SPILKER, K. enjoyed the Reigning Men D., ESGUERRA, C. M. (2016): reinterpreted in clothes Museum in Sydney, journey through three Reigning Men: Fashion in Australia (May 2 – October by contemporary fashion centuries of menswear at Menswear, 1715 – 2015, Los 18, 2018) to be experienced houses, such as a 2013-14 LACMA (April 10 – August Angeles County Museum by an international of Art and DelMonico fur-print ensemble by Kean 21, 2016). The exhibition won Etro for Etro. The last sub- audience beyond museum Books – Prestel, Los the 2017 Richard Martin Angeles. walls. theme, which featured a Exhibition Award from Rei Kawakubo for Comme the Costume Society of des Garçons ensemble America for demonstrating Figure 10. Right to left: Rei Kawakubo (Japan, born 1942) for Comme embellished with eyelet Figure 9. Right to left: Jantzen, Inc. “excellence and innovation des Garçons (Japan, founded 1969), Ensemble, Fall/Winter 2014-15, (United States, founded 1910), “Topper” ruffl es on the front of in the interpretation and Los Angeles County Museum of Art, purchased with funds provided Swimsuit, 1935, Los Angeles County the suit jacket and shirt; presentation of costume” by William F. Erb, M.2015.44a-e; Rick Owens (United States, born Museum of Art, gift of Jantzen, Inc., a Rick Owens ensemble and the accompanying 1962, active France), Ensemble, Spring/Summer 2012, lent by Rick CR.65.571hh a-c; Rudi Gernreich (Austria, consisting of a full-length publication (Takeda, Spilker Owens; Ahmed Abdelrahman (United Arab Emirates, born 1985) 1922-1985, active United States) for Bob man’s dress with blazer; and & Esguerra 2016) was for Thamanyah (France, founded 2011), Deconstructed Kandora, Cunningham (United States, active a Deconstructed Kandora selected as a 2016 winner Fall/Winter 2012-13, Los Angeles County Museum of Art, Costume 20th century) “The Thong” Swimsuit, Council Fund, M.2013.160. Photo © Museum Associates/LACMA designed by Ahmed of the 50 Books | 50 Covers 1974, Los Angeles County Museum of Abdelrahman, who was award from the American Art, purchased with funds provided born in the United Arab Institute of Graphic Arts. by Michael and Ellen Michelson, Emirates, for his Paris-based M.2010.33.18; Tom Ford (United States, In collaboration with luxury brand, Thamanyah born 1961) for Gucci (Italy, founded 1921), Google Arts & Culture (Fig. 10), encouraged Thong Swimsuit, Spring/Summer 1997, and its “We Wear Culture” viewers to contemplate Los Angeles County Museum of Art, gift project, a “Reigning Men: the future. Will menswear of Cameron Silver, M.2011.167.11; Speedo Fashion in Menswear, 1715 continue to challenge and International Ltd. (Australia, founded – 2015” online exhibition even obliterate gender 1914) in collaboration with Rei Kawakubo and virtual reality Street categories? Will the majority (Japan, born 1942) of Comme des View tour was created and Garçons (Japan, founded 1969), “Fastskin of the movers and shakers can be viewed through LZR Racer” Swimsuit, 2008, Los Angeles in fashion continue to LACMA’s profi le on the County Museum of Art, Costume and be based in the West? Google Arts & Culture Textiles Acquisition Fund, M.2015.108. And, will tattoos, like the site and app on iOS and Photo © Museum Associates/LACMA original graphite tattoo [ 168 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 169 ] [ 170 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 171 ]

El performer Adrián Pino Olivera propone un cambio simbólico en una sociedad eminentemente masculinizada, buscando eludir su decadencia a partir de la emulación de la belleza femenina de obras de arte clásicas LA IMAGEN y/o icónicas. Sus acciones tienen lugar mayoritariamente en el espacio público del Museo, en el que se despoja de la ropa para feminizar su DEL HOMBRE propio cuerpo, en diálogo con obras emblemáticas como El nacimiento a través del concepto clásico de Venus de Botticelli o la Creación de la vía láctea de Tintoretto. de belleza femenina.

El PROYECTO “V” de drián Pino gobernado por hombres. Renacimiento. Desde Olivera Así, exhibe su anatomía sin marzo de 2017 hasta ADRIÁN PINO OLIVERA (Barcelona, ropa, para que dialogue marzo de 2018, todos los 1989) puso con la belleza de las obras días 22 de cada mes ha Isabel Justo Fernández en marcha de arte más admiradas organizado una acción Aen 2014 un proyecto de arte y conocidas por el gran en un espacio museístico MUSEO NACIONAL DE CERÁMICA Y ARTES SUNTUARIAS performativo protagonizado público, en su mayoría o entorno monumental “GONZÁLEZ MARTÍ” por un cuerpo masculino desnudos femeninos. Desde europeo, retomando el [email protected] desnudo, el propio. Lo su punto de vista, solo la proyecto en septiembre denominó “Proyecto V”, y belleza femenina clásica (de de 2018. Para ello, ha todavía sigue en ejecución. la antigüedad, renacimiento tomado como excusa el número que ocupa la letra Las acciones de este o neoclasicismo V, de Venus, en el alfabeto performer son impactantes principalmente) puede occidental. En Florencia, visualmente, y se prestan redimir a la sociedad actual Pino se acercó desnudo Isabel Justo es licenciada en BBAA a diversas interpretaciones de su decadencia. Sus ante el Nacimiento de sobre el concepto acciones son difundidas y doctora en Historia del Arte. Como investigadora, Venus de Sandro Botticelli, de belleza, género y por él mismo a través de las arrodillándose ante él para desde 2005 se ha especializado en la imagen de la mujer redes sociales, mediante masculinidad, o sobre el orar. Y es que, para el artista, recursos gráfi cos, fotografía y del hombre, fundamentalmente en las manifestaciones tratamiento del cuerpo del se trataba de un acto de y vídeo. artísticas del cambio de siglo XIX-XX y en la realidad hombre y de la mujer en la devoción ante la belleza y el historia del arte. El artista La primera acción del poder del cuerpo femenino contemporánea. Ha comisariado numerosas exposiciones explica la fi losofía que lo Proyecto V tuvo lugar en representado en el arte, de pintura y escrito monografías y decenas de artículos al lleva a tomar por asalto el la Galería de los Uffi zi, en una reclamación de su espacio “sacro” museístico, en Florencia, el día 22 de capacidad para transformar respecto. En la actualidad es técnico de museos en el en clave de reivindicación marzo de 2014. Pino la un mundo dominado por Museo Nacional de Cerámica “González Martí”. contra un mundo tituló Mi Madre es Venus. los hombres. [ 172 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 173 ]

Las acciones de este Según sus propias palabras “Con estas acciones, durante performer son impactantes un instante, quiero revelar visualmente, y se prestan otro mundo femenino bello y ligero, puro y divino” (cfr. a diversas interpretaciones Página web de Adrián Pino sobre el concepto de belleza, Olivera). género y masculinidad en la En el mes de marzo de 2017, Pino se colocó desnudo historia del arte. delante de la Victoria de Samotracia del Louvre, imitando su postura y Figura 1. Adrián Pino. ocultando los genitales Mi Madre es Venus. Renacimiento entre sus muslos. Este Galería de los Uffi zi. recurso, que utilizará en las 22 de marzo de 2014. siguientes acciones, se debe, según el propio artista, a un homenaje a la perfección del cuerpo femenino y funciona como forma de restar violencia al hecho de mostrar un cuerpo humano desnudo real, no pintado ni esculpido,

en un espacio público. Una Figura 2. Adrián Pino. especie de autocensura El sexo de los ángeles. (revisitando el paño de Museo del Louvre. pureza que cubre los 22 de marzo de 2017. genitales de los crucifi cados) que según el artista sirve para mimetizarse más con los modelos femeninos. Sin Desde su punto de vista, solo embargo, al titular su acción El sexo de los ángeles, no la belleza femenina clásica (de dejaba de aludir también a la antigüedad, renacimiento o una asexuación, que desde un punto de vista freudiano, neoclasicismo principalmente) y más drástico, podríamos puede redimir a la sociedad también califi car de castración simbólica. actual de su decadencia [ 174 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 175 ]

Figura 3. Adrián Pino. Kenneth Clark, en su mirada masculina. Este La tercera acción la realizó una relectura La Fuente Madre. VIVA LA VENERE! clásico estudio sobre el cuerpo estaría constituido Adrián Pino en abril en de la historia y Fontana di Trevi. desnudo en el arte (1956), por una epidermis tersa Roma, dentro de la Fontana 22 de abril de 2017. diferenciaba, precisamente, y lisa, sin fi suras, que de Trevi, situándose una crítica al entre los términos ingleses no parecería contener desnudo, semicubierto dominio de lo naked y nude, que en los nada dentro, ni sangre, ni por una túnica blanca, términos que utiliza Adrián vísceras, ni cerebro, ni otros con una ofrenda de fl ores, masculino Pino podríamos traducir órganos vitales. Adrián delante de la escultura de por: mero desnudo y Pino se hace cómplice Océano. Como el artista ha desnudo artístico. Cuando de esa frontera higiénica manifestado, sus acciones Clark hablaba del cuerpo que separa lo humano no siempre tienen por femenino, manifestaba una de lo ideal, castrándose objeto buscar la mímesis clara preferencia por las simbólicamente, con la representación formas lisas de los cuerpos asexuándose para convertir del cuerpo femenino, Tate Britain, frente a la tendidos de espaldas, su cuerpo masculino sino también, enfrentar Ofelia de Millais. Pino evitando las voluptuosas en un desnudo ideal obras en las que aparecen se tumbó en el suelo formas del pecho, en una femenino, todo poesía, representados hombres: de madera y se roció posición clásica, pero sólo arte, desnudo con agua embotellada, también kantiana, que “En este caso mi cuerpo artístico “femenino” como quedando tendido con la pretendía que puede femenino frente a la obra constructo social, pero no boca semiabierta, como la existir una “contemplación introduce una relectura de de mujer. difunta Ofelia. La mención desinteresada”, o artística, la historia y una crítica al a la muerte y la elección despojada de cualquier dominio de lo masculino” de un personaje vestido, se sentimiento o placer (página web de Adrián Pino justifi caba eligiendo, no ya sexual. Lynda Nead criticó Olivera) la fecha del 22 sino la del precisamente esta postura En cualquier caso, el 20, como indica el título de Clark como falsa, objetivo no era tanto la de la performance: OFELIA destacando la débil frontera escultura masculina de ahogada por el agua entre lo ideal y lo profano Océano como la fuente en embotellada. Sin amor (Nead, 1992: 140) y la opuso sí misma, considerando el (20 no es 22). La belleza al arte de acción de las todos los días agua como el origen de femenina ahogada por la performers feministas de los 22 de cada mes, Venus; así tituló esta tercera falta de amor, de Venus. años setenta (Judy Chicago, acción: La Fuente Madre. Carolee Schneemann o ha organizado El día 22 Adrián Pino, VIVA LA VENERE! Karen Finley) centradas en una acción todavía en Londres, romper con una frontera La acción de mayo tuvo fue hasta la National higiénica, que el arte en un espacio lugar en la National Gallery Gallery y roció su cuerpo occidental había impuesto museístico de Londres; no obstante, desnudo con leche frente sobre el cuerpo de la dos días antes del día 22, a La Creación de la Via mujer, interpretado por la europeo realizó otra acción en la Láctea de Tintoretto; frente [ 176 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 177 ]

al agua embotellada y persona más o menos pura, puede transformar ponzoñosa que supone cultivada en el arte europeo un mundo dominado por la muerte en la acción y en el arte contemporáneo, hombres. En primer lugar dedicada a Ofelia, la leche puede disfrutar de la es curioso cómo Pino suponía todo lo contrario: “la belleza delicada que ofrece no habla de hombres y vida, la madre, lo creativo, lo el artista, utilizando su mujeres, sino de hombres erótico incluso. Leche que cuerpo desnudo, como y de lo femenino. Está se derrama para gestar un él mismo dice, como una abrazando, consciente o Nuevo Mundo femenino. herramienta, como un no, una abstracción, y por Gobernado por Venus” color más en la “paleta” de tanto no podemos ligarlo (Lamonochats, 2017). un artista. Sin embargo el a movimientos en los Antes de seguir con el resto performer insiste en que que se procura equilibrar de acciones, cabría revisar también consideremos su la desigualdad de una los conceptos que tanto en fi losofía, que no es otra que sociedad cada día más los títulos de sus acciones la reivindicación de una masculinizada. Su postura, como en las entrevistas manera de representar el por tanto, está muy lejos del que ha concedido el artista, cuerpo femenino durante feminismo, que, entre otras son utilizados para explicar muchos siglos y que esa cosas, se ha preocupado su perspectiva. Cualquier imagen delicada, etérea, concienzudamente,

Figura 4. Adrián Pino. OFELIA ahogada por el agua embotellada. Sin amor (20 no es 22). Tate Britain. Cualquier persona más o menos 20 de mayo de 2017. cultivada en el arte europeo y en el arte contemporáneo, Figura 5. Adrián Pino. puede disfrutar de la belleza La leche amamanta. delicada que ofrece el artista, Sana. Salva. National Gallery de Londres. utilizando su cuerpo desnudo 22 de mayo de 2017. [ 178 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 179 ] de luchar contra esa tendió sin ropa delante de Acepta sin imagen de lo femenino, la Maja desnuda de Goya. oponiéndole una imagen El irónico título de esta complejos de la mujer real, imágenes acción contenía además unos cánones incluso escatológicas, en una reivindicación contra los inicios del arte de acción la corrupción política, poco de belleza feminista de los setenta, relacionado con el resto del femenina como antes mencionaba. proyecto: A la ciudad de la construidos, Pino nos ofrece una caja B le venía bien un poco alternativa poética y desde de V. desde la luego postmoderna. La vulnerabilidad del cuerpo perspectiva Acepta sin complejos tierno de Pino, incómodo unos cánones de belleza en el duro y frío suelo de de género, por femenina construidos, mármol del Prado, debajo una sociedad desde la perspectiva de de la sugerente maja género, por una sociedad desnuda, tan confortable y heteropatriarcal heteropatriarcal; los asume provocadora, es una imagen sin problema, porque es sugerente y hermosa, llena parte de una generación que de contrastes. Es difícil dejar da por sentada la igualdad de refl exionar sobre el estado entre hombres y mujeres, de nuestra sociedad y la y no ve más que cuerpos exposición al consumo de pintados, sin distinguir los cuerpos de mujeres, pero épocas, estilos, cambios también del de los hombres, sociales, sin diferenciar entre que hoy se reclaman jóvenes, la laxitud complaciente musculados, bronceados, de la Venus de Boticelli y con pelo en la cabeza las miradas provocadora y pero el resto del cuerpo Figura 6. Adrián Pino. potencialmente activa de la perfectamente depilado. A la ciudad de la caja B le La imagen masculina no griegos fueron los preferidos Maja desnuda de Goya y la Pino se exhibe en un acto venía bien un poco de V. ha sido una excepción en por los cánones de belleza Olympia de Manet. poético y artístico, pero Museo Nacional de El Prado. el mundo del arte, siendo clásica, incluso preferidos al 22 de junio de 2017. igualmente codifi cado; cuerpo redondo y rotundo Precisamente la obra de se ve tan vulnerable y tan sin embargo, desde la de la mujer-matrona. Si bien Goya fue su objetivo el bello como pueden ser las perspectiva feminista, el papel del hombre, a lo día 22 de junio de 2017, y los top models menores no ha sufrido el mismo largo de la historia del arte, coincidiendo con las de edad que protagonizan tipo ni el mismo grado de ha sido siempre polifacético; celebraciones del día campañas de moda, o cosifi cación, ni lo ha hecho se ha presentado una internacional de los museos. cualquier imagen femenina, de manera tan simplista. imagen del ser capaz de Adrián Pino se presentó despojada de ropa, sacada Los jóvenes deportistas múltiples actos heroicos, en el Museo del Prado y se de la historia del arte. [ 180 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 181 ]

de todas las profesiones, y el papel de objeto sexual, Aunque quizás el cambio seducción, esto constituye a una pintura antigua con de todas las edades, con la irrupción de la no esté sólo ahí. El acceso la vez un acto de pudor y una poco o nada que ver con no fundamentalmente mujer independiente en de la mujer al mundo de la provocación. Pino reclama nosotros, para la sociedad reducido al papel el mundo del consumo, al teoría introduce una refl exión que la suya no es una acción de los años sesenta del reproductivo, como ocurre haber accedido al mundo sobre la belleza humana obscena y lo cierto es que siglo XIX era una prostituta con el cuerpo de la mujer, laboral y tener sus propios que incluye la del cuerpo en la obscenidad no hay provocadora que miraba ni encerrado en dicotomías ingresos, ha provocado que desnudo del hombre. Desde seducción, como no la hay en con sorna al espectador tan drásticas como la de también los hombres sean ese punto de vista podríamos la pornografía, como decía (abyecta como la verdad, “madre o prostituta”. No mostrados como mercancía Figura 7. Adrián Pino. revisar, por ejemplo, las Jean Baudrillard: como decía Baudrillard, Le déjeuner sur le Musée obstante, en el siglo XXI (Justo, 2011). numerosas imágenes en las como las prostitutas que d‘Orsay. Je suis refusée. “Naturalmente lo porno, esto comienza a cambiar, que se presenta el cuerpo de de verdad atendían a sus Museo de Orsay. naturalmente el trato Cristo crucifi cado, accesible, clientes en el citado bosque 22 de julio de 2017. sexual no ejercen ninguna no siempre sufriente y parisino). Salvado este matiz, martirizado, sino dueño seducción. Son abyectos debemos saber que cuando de una gloriosa anatomía como la desnudez, Pino se tendió desnudo, (como la del Cristo de abyectos como la verdad. ocultando su sexo como en Velázquez) que, por qué Todo eso es la forma ocasiones anteriores, delante no, está llamando a los desencantada del cuerpo, del Déjeuner sur l’herbe feligreses no sólo desde la como el sexo es la forma del Musée d’Orsay, tuvo la empatía ante el sufrimiento, abolida y desencantada “fortuna” de ser reprendido sino también desde el gozo de la seducción, como el por un vigilante de sala carnal del cuerpo humano y valor de uso es la forma perfectamente vestido, tan de su sexualidad victoriosa. desencantada de los elegante como los caballeros Desde ese punto de vista, objetos, como lo real en que fl anquean a Olympia. la exhibición del desnudo general es la forma abolida y La imagen que nos dejó la de Adrián Pino, desnudo desencantada del mundo”. actuación de ese vigilante artístico según sus propias (Baudrillard, 1979: 46) el 22 de julio de 2017, palabras, artistizado por su mímesis con los modelos Esa frontera entre lo ideal observando entre atónito del arte occidental, es una y lo pornográfi co la cruzó y molesto la performance constatación de que algo Edouard Manet en 1865 de Pino, queda como un ha cambiado en nuestra con su Olympia desnuda exquisito símbolo del poder sociedad, y que la imagen del en el Bois de Boulogne, represor masculino de hombre también puede ser acompañada de dos nuestra sociedad frente “consumida” sin cortapisas, caballeros perfectamente a la vulnerabilidad de de manera pretendidamente vestidos. Aunque para su creación, el cuerpo casta y des-sexualizada, Pino, como muchos de desnudo y feminizado de un incluso ocultando su sexo. su generación, Olympia performer que usa la propia Si seguimos los postulados sea una diosa más, una anatomía como objeto de de Jean Baudrillard sobre la imagen ideal femenina, su arte. [ 182 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 183 ]

Pino no había sido el estas mujeres, que pasan belleza epidérmica, suave y y se refi rió a ella como primero en reinterpretar de meros objetos a sujetos fría, quizás más fría la de la “Babilonia la Grande, mediante una performance, activos, animados por el arte diosa, por estar cubierta con cubierta de oro, bañada la célebre obra de Manet. En de acción. un cristal. La colocación de en sangre”. Así reza el libro 2016 Deborah De Robertis estas dos obras tan próximas El 22 de agosto, Adrián del Apocalipsis (17) cuando (Luxemburgo, 1984) había sería algo totalmente Pino se dirigió al MNAC, describe a Babilonia: acometido una intervención inaudito en el Barroco, ya en Barcelona, para realizar “La mujer vestida de artística desde una postura que los motivos por los que una acción que, en este púrpura y escarlata, muy diferente. Previamente, fueron pintadas también caso, no tenía por objeto resplandecía de oro, piedras en 2014 había exhibido respondían, en principio, a la emulación de un preciosas y perlas (...) en su su sexo desnudo delante muy distintas necesidades, cuerpo femenino, sino la frente un nombre escrito del Origen del mundo la del disfrute erótico y la de confrontación del propio –un misterio–: La gran de Courbet, también en la piedad y el recogimiento. cuerpo feminizado al Babilonia, la madre de el Museo de Orsay. La En el espacio aséptico del símbolo por excelencia las prostitutas y de las exhibición de su desnudez Prado todo es arte, ya no del poder patriarcal, el abominaciones de la constituía una provocación hay obras piadosas ni obras Pantocrator de Sant tierra. Y vi que la mujer se que buscaba releer el eróticas, creo que ese es Climent de Taüll. Tituló la papel de las modelos embriagaba con la sangre el punto de partida de performance Vantocrator, y decimonónicas. Pero hay de los santos y con la sangre artistas de la generación de la justifi có con el subtítulo algo en común en estos dos de los mártires de Jesús”. Adrián Pino. En cualquier Cristo se hizo Venus, artistas, Pino y De Robertis; caso, la imagen de Pino Adrián Pino no necesitó ocupando directamente el ambos pasan por encima ante el Pantocrator de Taüll las vestiduras púrpura y lugar de Cristo, bendiciendo de la califi cación moral es mucho más efectiva y escarlata para ocupar el de las pinturas femeninas con la mano derecha, clara, es la rebelión total papel de Ishtar, la diosa desnudas, ninguno se imitando la obra maestra de un hombre que se babilónica del amor, la detiene a califi car la del arte románico. La quiere desprender de belleza y la fertilidad. Sólo posición voyeurista del sustitución, o comparación, la cultura patriarcal que su desnudez feminizada, autor o a denunciar –como de Cristo por Venus en parece pesar como una un líquido que emulaba hicieran las Guerrilla Girls el arte no resulta tan losa omnipresente, e sangre cayendo de su en 1989‒, la cosifi cación del descabellada desde el punto impide el fl orecimiento boca, los brazos abiertos cuerpo femenino. Mientras de vista contemporáneo. En de la manifestación y un collar dorado, Pino feminiza su cuerpo la exposición de Velázquez más femenina de su convirtieron al performer como símbolo de una del Museo del Prado de masculinidad posmoderna. en la célebre prostituta del feminización ideal de la 2007, se dispusieron en la Apocalipsis. sociedad, De Robertis emula misma sala, o muy cercanas, La siguiente acción la Venus del espejo y el de Proyecto V, el 22 de En su cuenta de la exhibición provocadora Figura 8. Adrián Pino. de las modelos de Courbet Crucifi cado de Velázquez, septiembre, tuvo lugar en Cristo se hizo Venus. Instagram, Pino aprovechó y Manet, dotándolas de y recuerdo el impacto que el Pergamonmuseumde Museo Nacional de otra anécdota provocada intencionalidad, de historia, producía comprobar que se Berlín, frente a la Puerta de Arte de Cataluña. por los vigilantes resignifi cando el papel de trataba del mismo tipo de Ishtar. La tituló Babilonia, 22 de agosto de 2017. berlineses, cuando uno [ 184 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 185 ]

de ellos cubría al artista En octubre de 2017 Adrián en frente del coloso de antes, procurando un el mensaje y abre un con una tela. Pino colocó Pino se enfrentó sin mármol y siguen el patrón mismo mensaje: el ideal nuevo camino del que no esta imagen junto a un ambages con el tema de del Proyecto V: el performer femenino creado por podemos todavía adivinar fragmento del nacimiento la castración simbólica de sortea al resto de visitantes el arte constituye un la dirección. Mientras de Venus, que había ido a la que hablaba en páginas del espacio museístico símbolo de la bondad y el Pino emula el cuerpo visitar en su primera acción anteriores, con su acción y se acerca sigiloso a la equilibrio, un ejemplo para femenino idealizado, Brühl del Proyecto V, en 2014. delante del David de pieza para desnudarse la regeneración de nuestra se presenta aquí como una Primavera, con su vestido Miguel Ángel. El vídeo de y exhibirse totalmente sociedad. mujer real, con unas formas desnudo, mientras recoge de fl ores, se acerca a Venus esta performance intercala Tras unos meses de parón, que se alejan del ideal sus genitales entre los con una túnica también entre las imágenes del en septiembre de 2018, clásico, con un bello púbico muslos, ocultándolos. Este fl oreada, para secar su día 22 en la Galería de la Adrián Pino retomó el abundante y oscuro, con vídeo subraya, quizás de cuerpo del agua marina de Academia de Florencia, proyecto con la acción una expresión que se aleja manera redundante, el la que acaba de emerger, una acción paralela. En denominada Eva, de nuevo de lo complaciente de la mensaje de Pino: la belleza o simplemente para ella una mano arranca los en el Museo del Prado. En Maja de Goya, de lo sereno (el bien), es femenino, y hay sugerir que la imponente genitales a una escultura esta ocasión, Pino contó de la Venus de Boticelli, de que dejar de lado el patrón imagen de desnudo no blanca, como la del David, con la colaboración de la lo misterioso de la Venus masculino, simbolizado permanecerá mucho más aunque de menores performer Jet Brühl. Ambos de Willendorf o de lo por sus genitales, para Figura 9. Adrián Pino. tiempo expuesto a la vista dimensiones. El resto de se colocaron desnudos provocador de la Olympia alcanzarlo. Babilonia La Grande, de los mortales. las imágenes transcurren delante de las tablas de de Manet; de cualquiera de cubierta de oro, Entre noviembre de Adán y Eva de Alberto las características más bañada en sangre. 2017 y marzo de 2018 el Durero. La novedad, en destacadas que Pino ha ido Pergamonmuseum. Proyecto V ha continuado este caso, residía en la copiando de cada uno de 22 de septiembre de 2017. ininterrumpidamente todos incorporación de una sus modelos. La presencia los días 22 de cada mes. participante femenina, de Brühl se alinea más Los espacios museísticos igualmente desnuda, que con la provocación de las y monumentos visitados interactuaba con el artista performers feministas fueron, por orden, los masculino. Éste aprieta de los años setenta, siguientes: la Venus de con la mano derecha un de mostrar algo más Willendorf en el Museo de pecho de su compañera, allá de la epidermis Historia Natural de Viena, mostrándose, como en pulida de la mujer ideal, la Sirenita de Copenhague, acciones previas, desnudo, apoderándose de su propio Mona Lisa en el Museo del aunque ocultando sus cuerpo. No obstante, Louvre, Santa Teresa de genitales. A sus espaldas el gesto dominante Bernini en Santa María de la las dos tablas renacentistas de Pino, agarrando el Victoria, en Roma y la Joven en las que, Adán y Eva, seno derecho de Brühl, de la Perla de Johannes también ocultan los suyos. parece contradecir una Vermeer en La Haya. Todas La introducción del cuerpo actitud contestataria o estas acciones siguieron el femenino contemporáneo independiente por parte de mismo esquema defi nido complica en gran medida la artista. [ 186 ] CE DIGITAL EPÍLOGO ISABEL JUSTO [ 187 ]

Revisando el Proyecto V de Adrián Pino nos viene a la mente el conocido montaje de las REDACCIÓN (2017): Guerrilla Girls ¿Tienen que estar desnudas “#Lamonochats: Adrián Pino las mujeres para entrar en el Metropolitan Olivera, el arte de lo divino”, Lamono Magazine. Museum? (1989). En él una odalisca de [19/09/2018]

datos que siguen estando de actualidad: BAUDRILLARD, J. (1989): “Menos del 5% de las artistas de las De la séduction; trad. de secciones de Arte Moderno son mujeres, Elena Benarroch, De la seducción,Cátedra, Madrid. pero el 85% de los desnudos son femeninos”. Es cierto que ha habido museos que han CLARK, K. (1956): TheNude: A procurado, con su política de adquisiciones, Study in Ideal Form; trad. de Francisco Torres Oliver, El frenar ese desequilibrio, pero sigue desnudo: Un estudio de la forma existiendo. También contamos con la obra ideal, Alianza,Madrid. de artistas como Aude du Pasquier, Zoe JUSTO, I. (2011): “La Leonard o Sylvia Sleigh, que utilizan cuerpos representación contemporánea masculinos o andróginos, para colocarlos en del cuerpo desnudo: El objeto el lugar del objeto sexual que habitualmente sexual en el cambio de siglo XIX ha ocupado el cuerpo femenino (Justo, al XX”, 2011). Por otro lado hay que tener en cuenta Olivar, vol. 12, n.º 16. [19/09/2018] teniendo en cuenta que un porcentaje muy NEAD, L. (1992): The Female alto de su público objetivo son mujeres con Nude: Art, Obscenity and capacidad adquisitiva. Las performances Sexuality; trad.Carmen González de Adrián Pino se pueden colocar en este Marín, El desnudo femenino. grupo, no tanto como una revisión de la Arte, obscenidad y sexualidad, mirada heteropatriarcal sobre la belleza Tecnos, Madrid. y el deseo, sino como otros modelos y Página web de Adrián Pino relecturas de nuestro propio pasado que Olivera permiten producir nuevas obras artísticas. https://apinoolivera.wordpress. Figura 10. com/proyecto-en-curso-v/. Estas últimas no son otra cosa que la Adrián Pino y [04/10/2017] manifestación de un cambio en nuestras Jet Brühl. Eva. sociedades. Actualmente sólo se puede Museo acional encontrar una versión del Prado. posterior en 22 de https://apinoolivera.wordpress. septiembre com/ [19/09/2018] de 2018.