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https://veerasalo.cargo.site

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Women Climate and Human Rights Activists for Amnesty

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He causes things to look different so it would appear time has passed... And did it ever pass? Was there once a real time, and for that matter a real world, and now there is counterfeit time and a counterfeit world, like a sort of bubble growing and looking different but actually static?

From Valis, Philip K. Dick, 1981

A Parallel Essay Inspired by the Work of Maxine Hench

Well first, before we start, we'll have to get everything right? Really understand what language, and all the semiotic structures are. Try to grasp whether there is any difference between psychology and biology - whether or not "humans" occupy a special place or whatever. And while we're doing these few introductory transcendental clarifications we must also be developing the ability to stand completely outside of ourselves, that is not only outside our race, gender, financial bracket, etc. but outside the human and the terrestrial altogether. Beyond gravity and our familiar physics. Beyond our dimensional fences so to speak. Really get out there. Out to look back and see the bias of directional bodies moving through what they don't understand to be Bergsonian time, or whatever. But then not to just get "outside" or "further" and "look back" because of course directionality is quite human and bias-ridden and lane-locking too. But perhaps to be everywhere at once. To simultaneously understand all the dramas and banalities of both the Andromeda and MACS0647-JD galaxies as well as all of the dramas and banalities of the sub-nucleonic structures inside all the pamphlet guides at the front desk of the National Museum of Tanzania, as well as all the other museum pamphlets and everything else. Everything. And lastly, ha, if there could be such a thing, returning to our earlier semiotic clarifications - lets strip away beginnings and endings, all borders - so we can see clearly ya know? Like understand where like the finger ends and the hand begins, and hand ends and the arm begins, and the arm ends and the torso begins, and the torso ends and the body begins, and the body ends and the family begins, and the family ends and the race begins, and the race ends and general life begins, and general life ends and other stuff begins, and other stuff ends and other non-stuff begins... Well yea, we're going to need to get rid of all that stuff too. Oh and then there's the other direction to clear up.

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He causes things to look different so it would appear time has passed... And did it ever pass? Was there once a real time, and for that matter a real world, and now there is counterfeit time and a counterfeit world, like a sort of bubble growing and looking different but actually static?

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Photography websites on Cargo - Tech Tips For

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OTHER PHOTOGRAPHERS ON CARGO Here are some photography websites that were made on Cargo to help you get ideas and see what is...

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In a series of rooms set over two floors in the Barbican Centre, new exhibition Masculinities: Liberation Through Photography showcases the work of nearly 60 image-makers who address the complexities and contradictions of what it means to be masculine. The mammoth show features work dating back to the 1960s until the present day - totalling almost 300 pieces - by photographers who eschew or subvert traditional notions of masculinity. At a time when the actions of men are scrutinised and we are well-versed in what might constitute hegemonic, toxic, or fragile masculinity, Liberation Through Photography explores the varied nuances of the male experience, beyond stereotypes, and how they have played out in artistic imagery over the decades.

Among the many historical and contemporary male image-makers who tackle masculinity in their work - from Robert Mapplethorpe, Hal Fischer and Peter Hujar to Sam Contis, Jeremy Deller and Sunil Gupta, to name a few - there are a number of female photographers featured in the exhibition. These women address, interpret and subvert codes of masculinity, and the gender stereotypes that it often invokes, in myriad ways.

Artist Karen Knorr's series Gentlemen documents the men of the patriarchy in 1980s London. The series comprises portraits and interiors taken inside men-only private clubs throughout the city, captioned with text formed from speeches and news bulletins - "Men are interested in power. Women are more interested in service", reads one. Exposing how hegemonic masculinity is closely tied to whiteness, wealth and privilege, Knorr satirises this powerful niche of British society. A sculpture by Clare Strand is on show in the same section of the exhibition as Gentlemen, a towering stack of 68 copies of Men Only magazine; both women's work confronts the viewer with an exclusive, yet universally accepted, form of masculinity. The equally revered 'macho' man is explored by Aneta Bartos, who appears - somewhat unsettlingly - alongside her bodybuilder father in the series Family Portrait.

The 1970s-coined term 'male gaze' describes the depiction of women in the arts from a male point of view. A number of artists in Masculinities work to subvert the male gaze, by directly addressing how women are objectified, in turn objectifying men, or questioning gender stereotypes. Feminist artists like Ana Mendieta - whose series of photographs depicting the artist as she glues facial hair from a man's beard to her own face covers a wall of the exhibition - incorporated the body into physical, performance-like work in order to question what makes something masculine.

In turn, Laurie Anderson's arresting 1973 series Fully Automated Nikon (Object/Objection/Objectivity) was a response to being on the receiving end of mundane male behaviours and micro-aggressions. Anderson photographed men who cat-called her, and annotated the images with both what they said to her and how they responded to being objectified themselves (mostly, and unsurprisingly, not well). Annette Messager and Tracey Moffatt also take the power of objectification into their own hands: in Moffatt's film Heaven (1997) she documents surfers as they return from the beach and change clothes by their cars; Messager's singular form of street photography zooms in on the crotches of men who pass by her camera.

For a selection of the female artists whose work features in Masculinities, their photographic output does not interrogate masculinity from an explicitly female perspective, but rather reinterprets established male codes by honing in on typically male groups, relationships and subcultures, or elevating aspects of masculinity that are not always mainstream. A section of the exhibition dedicated to the black male experience showcases striking portraits by Deana Lawson and Liz Johnson Artur. It's here, and in the photography of Collier Schorr and Catherine Opie - in Schorr's series Americans, scenes of violence or pictures of African Americans are overlaid with portraits of adolescent cowboys - that the gender of the image-maker does not feel as pertinent as, for example, their perspective as queer or a person of colour. "I've never had 'permission' or been associated with a collective or a movement," Schorr said in an interview in Aperture magazine in 2017. "The politics of the work left people uncertain of my identity. Was I a gay male? If I had been a gay male, I think there would have been more support for the work, because there is a tradition of gay men making work about male beauty."

The strength of Masculinities is in how extensively it explores the multifaceted and ever-evolving male experience, from rigid and traditional gender views to freewheeling celebrations of alternative masculinity. Seeing masculinity from the perspective of women - whether as a timely criticism or an astute observation - forms a small but mighty part of the unmissable exhibition.

Masculinities: Liberation Through Photography is at the Barbican, London, from February 20 - May 17, 2020.

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Boys by Girls: Portrayals of Masculinity by Women Photographers

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In a series of rooms set over two floors in the Barbican Centre, new exhibition Masculinities: Liberation Through Photography showcases the work of nearly 60 image-makers who address the complexities and contradictions of what it means to be masculine.

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I used these same pictures for a photo essay I did for a different class,  dissecting Foucault's 'self-surveillance' theory. These photos are taken with that theory in mind, and with Jacob (a sociology student), it started some interesting conversations about masculinity and queerness. We talked especially about how those concepts of the 'ideal man' affected him while he was growing up in South London.

For these portraits, I tried to capture the 'essence' of my friend Jacob. I took pictures of his accessories and the way he dresses, which he says are a big part of his identity, as well as posed and unposed pictures.

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10 Female photographers who push boundaries for Femininity

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During this latest wave of feminism, the art of photography has evolved hugely in every aspects of exploring femininity, challenging…

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Welcome to Behind The Masc: Rethinking Masculinity, a campaign dedicated to exploring what 'masculinity' means in 2019. With photo stories shot in Tokyo, India, New York, and London and in-depth features exploring mental health, older bodybuilders, and myths around masculinity - we present all the ways people around the world are redefining traditional tropes.
What does 'masculinity' mean? What does it mean to be masculine? To act masculine? What does it feel like? What does it look like? Especially now, we're in a moment in history where gender and how we express it is in an ever-evolving state of flux. More than ever, as a society we are identifying as non-binary, as gender fluid, as gender queer. In the UK, research from the Higher Education Statistics Agency (HESA) found that 1,025 students in British higher education do not label themselves as male or female - up from 480 the previous year. We are no longer measuring ourselves against the old traditional (and rigid) notions of 'masculine' and 'feminine'. We are defining and defying gender for ourselves. Expressing it how we want.

For too long, masculinity has often stood for a kind of rigid set of rules - dictating everything from behaviour to appearance and punishing those who don't conform. But masculinity is not rigid or staid. It shouldn't be repressive or constrictive but open and joyful and expansive - encompassing a whole range of experiences, expressions and aesthetics.

To start trying to answer the question of what masculinity means to us in 2019, we asked nine young photographers to contribute work that represented, to them, the masculine. The photographers were chosen from the diverse pool of Thursday's Child - a global platform spotlighting and championing emerging, unsigned talent from all around the world. Once discovered, these young photographers and filmmakers and supported and nurtured by the team, becoming part of an ever-growing community of a new generation of fresh and exciting image-makers. Here's what they came up with.
What does masculinity mean to you?
Lumia Nocito: There is, of course, an endless amount of definitions for masculinity - the societal norm of masculinity varies throughout cultures, age, and time. I believe that our society's definition of masculinity is attributed to power, suppressed emotions, and mental strength. To me, masculinity is performative. In reflecting upon the ways that I am perceived as masculine, my bluntness in conversation, and especially my persistence to get what I want in a business context, is something that myself and others attribute to masculinity.
What's the future of masculinity?
Lumia Nocito: Traditional notions of masculinity are being broken through the work of my generation - especially within the worlds of art and fashion. Although the art world has questioned norms of masculinity for decades, the content birthed by the fashion industry is more accessible to society - and the question of masculinity is becoming significantly more prominent in present-day fashion. One facet of traditional masculinity can be attributed to the way that boys are raised - to be aggressive, emotionally stagnant, and powerful. Young boys are shunned from engaging with stereotypically 'girly' or 'femme' symbols such as liking the colour pink, playing dress-up, or playing with dolls. Within the fashion world (and given it's widespread influence, within society) these symbols are beginning to loosen their direct ties to masculinity and femininity - it is no longer so black-and-white.

Today, an image of someone who identifies as male who is wearing, for example, a dress - a symbol traditionally attributed to femininity - is not the most shocking image to see. The future of masculinity is to break traditional ideas of what it means to be a 'man', and for masculinity to lose it's attributions that are traditionally also associated with being male. This break in traditional masculinity inherently allows for a break in traditional femininity - at some point, the two terms will lose their meaning. For example, it will allow for a woman to live in a world where her efforts to get what she wants are expected.
What does masculinity mean to you?
Nana Yaw Oduro: Characteristics of human that are attributed to the male specie, is what I call masculinity. Personally I think it is a social conditioning characterised by all those human traits that are often regarded familiar with the male specie. Toughness among others. Some of which may not be ideal for certain situations. Logically to me, a woman may bear this as well as a man. But it is in most cases exclusively attributed to the men which I think is debatably wrong.
What's the future of masculinity?
Nana Yaw Oduro: I think the future of masculinity promises fragility and acceptance. A deconstruct which I believe is already taking place, talking of acceptance and fragility. Most people nowadays aren't subscribing to the characteristics of masculinity, even men. People believe they could be who ever they want to be and not what and how they have to be or expected to be, based on their gender.

The challenging of what is supposed to be traditional traits will hopefully in the near future cause the deconstruction of the 'manly' concept, masculinity. People will behave more like they want to behave.

"I think masculinity is what one shapes it to be, I believe it's constantly evolving along with our process of life. So one always peels its own identity shaping that masculinity to its best self. As for the future of it, I hope we all keep evolving to our best self."
Read more from Behind The Masc: Rethinking Masculinity here.

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Nine unsigned photographers reimagine masculinity through their lens

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Welcome to Behind The Masc: Rethinking Masculinity, a campaign dedicated to exploring what 'masculinity' means in 2019. With photo stories shot in Tokyo, India, New York, and London and in-depth features exploring mental health, older bodybuilders, and myths around masculinity - we present all the ways people around the world are redefining traditional tropes.

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In one of the exhibition's six sections, "Disrupting the Archetype," artists deconstruct entrenched images of heteronormative and hegemonic masculinity. There's a series of four color photographs of Portuguese forcado bullfighters who must work together to overpower the animal. These portraits, however, by

, show the men alone and bloodied; captured not in the midst of their fight but after the act, they appear torn, raw, and exhausted. Stereotypically masculine qualities-strength, bravery, domination, violence-are acknowledged and unraveled, too. 2017 series "Deep Springs" examines the mythology of the cowboy and the American West. The images are the result of four years that Contis spent deeply involved in an all-male liberal arts college in California.

Contis's work connects to other photographs in the exhibition that highlight the spaces and places where women are excluded-and where masculinity can become toxic. Frat houses feature in 2007 video work Fraternity (filmed inside Yale's Delta Kappa Epsilon) and in Andrew Moisey's 2018 photobook The American Fraternity.

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How Photographers Have Challenged What Masculinity Looks Like

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In one of the exhibition's six sections, "Disrupting the Archetype," artists deconstruct entrenched images of heteronormative and hegemonic masculinity. There's a series of four color photographs of Portuguese forcado bullfighters who must work together to overpower the animal.

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Lightroom (contact sheet wk3-34.ORF and 23 others)

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portrait practice

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CONTACT SHEET

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Lightroom (contact sheet wk2-1.ORF and 31 others)

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FEEL

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CROSSED

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THAMES

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SUBSTANCE

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HOOKED

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THE DAY AFTER

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