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MASCULAR
MAGAZINE
Issue No. 3 | Autumn 2012
MASCULAR
MAGAZINE
Issue No. 3 | Autumn 2012
4
LETTER FROM THE EDITOR
6
LETTERS
COMMONALITY
114
Jonny Dredge deconstructs his images and
reconstructs them into intimate portraits.
BORN THIS WAY
Tom McMillen-Oakley and Finn explore their friendship
and their senses of self through a collaboration
8
CONTRIBUTORS
12
MAKING CONNECTIONS
Jan Griffioen’s nude scapes
Vincent Keith’s still life observations on commonalities
122
18
PROPERTIES IN COMMON
by the end of a relationship
PSYCHOSE
124
J
érôme Oren’s captures the emotions thrown up
LOVE RIVAL
Brian Maier launches the Mascular Mix with “Relationships”
24
MUSIC - THE MASCULAR MIX vol 1
26
A CAUSE FOR OPTIMISM
32
GAME’S OVER
Exploring the physical energy and corporeal tension in
male relationships through Douglas McManus’s
photographs
130
DUSTY OLD CIRCUS TENTS
David Goldenberg’s revealing family portraits
WITH LAUGHING CLOWNS
136
LOVE WILL SAVE THE DAY
144
BEING-WITH
152
RELACIONES
158
TOUCH ME
164
Jim Mimnaugh’s uses collages as a for of historical
record and therapy
Gianorso’s beautiful portraits of men in love
Craig Calhoun’s unique vision of himself and his sexuality
is explored with the help of a friend
Jose Manuel Cardoso paints moments frozen in time
Skin to skin closeness captured by Vincent Keith
Jean Mailloux collaborates with JL2
A hot night in the American south captured by Reed Campbell
44
THE NINE PHASES OF A ONE NIGHT STAND
Doug McManus takes us to a special men’s club
54
THE COAL MINER’S FIGHT CLUB
62
BE MY FRIEND
72
PARENTS
An paean to male friendships by Vincent Keith
Matthew Stradling’s stunning paintings of his parents
are accompanies by his poetry
GOOD MORNING
172
Giuseppe Ranocchiari shares the first moments of his day
Performance and acrobatic artists Gabriel Martinez and
David Aguilar explain their working relationship
and the amazing work it produces
82
BALANCE MEN
A WEEK WITH MOM
176
SEEKING SOLACE
184
AMANUENSIS
190
Mike Thompson’s portrait of the tenderness and love
Robert Siegelman portrays love between generations
Steve MacIsaac’s character’s workout the rules and
practicalities of a three-way affair
Ono Ludwig shares a few intimate moments
84
VISUALIZING INTIMACY
90
JULIAN
Antonio da Silva’s film about the energy,
and light of a summer love affair
The Mascular T-SHIRT
196
I WANT
198
Designer Alan Thompson has created this season’s
Mascular T-shirt
Staff pics for any holiday gift list
Joseph D. R. O’Leary comes to terms with his
past through his self portraits
92
DELICATE SCARS
Ed Sloth considers the rational behind relationships
100
A 23 YEAR OLD’S PERSPECTIVES
P
aul Specht’s masterly portraits of men
and the relationships they form
TRAVEL
202
Issue No. 4 of Mascular Magazine will be about Travel.
Are you inspired?
102
PORTRAIT OF A RELATIONSHIP
MASCULAR
MAGAZINE
Editor in Chief
vincent@mascularmagazine.com
Vincent Keith
peter@mascularmagazine.com
Peter Carter
Editor
Artistic Directors
david@mascularmagazine.com
vincent@mascularmagazine.com
David Goldenberg
Vincent Keith
Mascular Magazine
info@mascularmagazine.com
Publisher
Vincent Keith
vincent@mascularmagazine.com
alan@mascularmagazine.com
Design
Alan Thompson
ads@mascularmagazine.com
Advertising
submissions@mascularmagazine.com
Submissions
Contributing Editors
Craig Calhoun (
cjrc24@yahoo.com
); Reed Campbell (
rec2alt@gmail.com
);
Jose Manuel Cardoso (
jmgcardoso1978@gmail.com
);
Antonio da Silva (
antoniodasilvafilms@hotmail.com
); Gianorso (
gianorso@gmail.com
)
Jan Griffioen (
info@jangriffioen.nl
); Ono Ludwig (
photo@ono-ludwig.de
);
Steve MacIsaac (
stevemacisaac@gmail.com
); Brian Maier (
djbrianmaier@gmail.com
);
Jean Mailloux (
jeancommejohnny@hotmail.com
);
Douglas McManus (
dmc@hairfurkunst.com
); Tom McMillen-Oakley (
taoakley@gmail.com
);
Jim Mimnaugh (
jimnaugh@yahoo.com
);
Joseph D. R. O’Leary (
joseph@jdro.com
); Jérôme Oren (
jeren@orange.fr
);
Giuseppe Ranocchiari (
g.ranocchiari@gmail.com
);
Robert Siegelman (
bob7737@earthlink.net
), Ed Sloth (
efetahov@our.ecu.edu.au
);
Paul Specht (
paulvspecht@yahoo.com
);
Matthew Stradling (
matthew.stradling@googlemail.com
);
Alan Thompson (
alan@bgadesign.com
); Mike Thompson (
tcumike@mac.com
)
All of the material in this magazine, including the
magazine itself is protected by copyright. All rights
are reserved. This magazine or parts of it may not
be reproduced without prior written permission
from the founder of Mascular Magazine, Vincent
Keith, the photographers, artists or the authors.
The utmost care has been taken to present the in-
formation in Mascular Magazine as accurately as
possible. Neither the founder, Vincent Keith, nor
any of the editors or contributing editors accept
any responsibility for any damage that may result
from the use of this magazine or any information
contained within it. All efforts have been made to
contact the copyright holders. No responsibility for
the reproduction can be taken if the digital data of
the images delivered is not accompanied by a high
quality color proof. The views expressed in Mascu-
lar Magazine are not necessarily those of the Pub-
lisher or any of the Editors or contributing Editors.
For further information please contact info@mas-
cularmagazine.com
Issuu: issuu.com/mascularmagazine
Twitter: @MascularMag
Facebook: www.facebook.com/MascularMagazine
Flickr: www.flickr.com/groups/mascularmag/
Paul Specht - “Self Portrait with Eric | Springfield, MA”
MASCULARMAGAZINE.COM
Cover
Photo by:
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Celebrating masculine art and
the men who create it
These are interesting times for
relationships. In the Western
Hemisphere we seem to be on the
verge of securing legal if not general
recognition of the legitimacy of a same
sex union. The question of who you can
love and whether society accepts it is
drawing strange battle lines. In many
places, traditional enemies are united
in hate. But the momentum of history
seem to be moving many societies
towards an inevitable conclusion -
religion and tradition are no longer
adequate justifications for excluding
loving people from formally recognizing
their relationships.
So I thought it might be interesting
to consider what it is we have been
fighting or hoping for. What does a gay
relationship look like today. And by gay
relationship, I mean where one of the
parties identifies as gay, so parents,
friends, priests, co-workers all fall under
the definition. How do gay men relate to
the people in their lives?
We often speak in terms of community
and partnership as if there is an
over arching objective, a goal we are
trying to reach. Is this so? Is the goal
happiness, fulfilment, self-actualisation?
Collaboration? What do we get from
our friendships, and is a gay friendship
different from a straight one? Are we
different with our straight friends? Do
we ask other things of them? And what
about relationships we don’t choose,
family, colleagues, students?
Antonio da Silva’s film Julian depicts a
summer love affair in all its beauty and
languid intensity. On an impulse Da Silva
invites a beautiful stranger to come to
Portugal. Julian agrees but insists that
they spend the time in nature. Through
Da Silva’s lens we watch a gloriously
free and confident man revel in his
masculine beauty. We can feel Da Silva’s
heart expanding in his chest. But the
love affair is just that - a brief encounter.
Can anyone be blamed for diving into a
relationship that is not meant to last?
But what about love? The enduring, life
affirming, through thick and thin kind?
Where does that fit in?
Gianorso and Paul Specht confront
the clichés of the volatile and fleeting
gay ‘relationships’ that seem to bring
so much drama into our community.
Their portraits show something beyond
relationships. They show the binding of
souls. Their subjects share an energy
invented in the confines of their
intimacy. Nothing short of beautiful.
I was fascinated by the way the two
artists convey similar concepts but in
such different ways. Gianorso corporeal
and tactile men allow themselves to be
vulnerable in the arms of their partners.
Specht uses space and juxtaposition of
form to examine the same thing; he uses
a more formal architecture to convey the
same sense of connection.
Intimacy is explored in Vincent Keith’s
series ‘Touch Me.’ His intimate nudes
capture moments of extreme closeness
between men in love. They have a
playful and uninhibited quality to them
that evokes the relaxed closeness the
subjects share. After the hundreds of
hours we spend in each other’s company,
we become familiar with the shape of
an ear, the curve of his lips, the smell of
his breath or the texture of his scrotum.
This familiar intimacy acts as a reminder
that you share a special closeness that
few if any others can know. Giuseppe
Rinocchiari captures these intimate
moments very well in the simple act of
getting out of bed and sharing a cup of
coffee.
And what of those relationships
that aren’t healthy? Interpersonal
experiences that we have survived
rather than enjoyed? They are hugely
formative when it comes to character
and outlook. Jim Mimnaugh uses collage
to organise his thoughts and comment
in themes and experiences in his life. In
‘Bully’ Mimnaugh takes us back to those
desperate experiences of helplessness
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and despair at the hands of people
who predate on our weaknesses. The
fact that we survive these trials and
move on is testament to the strength
we must all show to live our lives the
way we choose to. But there are scars.
Joseph O’Leary explains that his
Delicate Scars series is “an ongoing
body of work that attempts to clarify
and resolve events and relationships
throughout my life” - the healing is a
solitary and sometimes lonely work
in progress. Jéren’s series Psychose
shows us those lonely moments when
we have only our thoughts to comfort
or torment us once a relationship has
ended. The darkness surrounds him,
and he is exposed.
Family is central to all that we are,
even if we have to invent our families
when traditional ones aren’t to hand.
David Goldenberg’s series of family
portraits forces us to reconsider the
representation of a traditional family
and updates it to reflect an alternative,
though no less tangible, vision of what
a family can be. Like so many family
portraits, there are complex stories
and histories embedded in these
images.
This issue would not have been
complete without some consideration
of the parent child relationship.
Goldenberg includes his daughter
in his family portraits. Matthew
Stradling takes his parents and makes
them central to his work. He has
painted beautiful and characterful
nude portraits of his parents. The
tenderness, love and honesty in his
gaze is palpable. His poetry takes us
deeper into those relationships and
adds nuance as well. The passage of
time has worn their bodies, but it has
not dulled them.
Mike Thompson shares a week with
his mother, and with us. His portraits
of a woman towards the end of her
life are warm and gentle. The intimacy
of their relationship is conveyed
through his eyes and how he sees her.
The role of carer has switched and
she now looks to her son for support.
Thompson uses the surroundings or
everyday items and rituals to make
her ebbing life more real. It’s as if with
these images he has captured the
person she was and in doing so will
keep her alive. Whatever the objective,
the portraits are very powerful, as is
the love he so obviously has for her.
Robert Siegelman explores inter-
generational relationships - something
we see a lot more of these days. His
work isn’t about the ‘daddy and son’
fetish,but rather a contrast between
youthful energy and tender wisdom.
Should we be uncomfortable seeing
a loving relationship between men
who are thirty years apart in age?
As someone who tends to have one
eye firmly fixed on the future, I think
I would fear what time would bring.
Perhaps the lesson is to live in the
moment and appreciate what you can
build together now because it is the
only thing that endures.
This same question is posed in
Reed Campbell’s “Nine Phases of
a One Night Stand”. Campbell has
documented the progression of a tryst
between a young, inexperienced and
sheltered man and his transgendered
lover. There is a desperate feeling
in the photos as Taelur questions,
considers and finally relents. Who is in
control here? One gets the sense that
the evening’s progression is entirely
in Taelur’s control, as is it’s conclusion.
But can Taelur really be said to be in
control? Is the need for intimacy and
release and warmth so strong that the
sense of control is merely an illusion?
Campbell’s work lays bare this power
play, as does Douglas McManus.
McManus’s work explores an aspect
of male relationships that tends not
to form part of the heterosexual
landscape - physical power. In the
Coal Miner’s Fight Club, we are
invited to bare witness to the power
struggle that to a greater or lesser
degree resides in the fabric of male
relationships. In Love Rival, McManus
brings the metaphor closer to the
surface. He shows us the tension
between expressing love and power.
Being loving and confirming one’s own
sense of masculinity and strength.
McManus doesn’t reduce male
relationships to a struggle between
love and power, instead, he allows
these emotions to coexist in the
complexity that is a man who loves.
Where McManus gives us a narrative,
Juan Manuel Cardoso gives us snap
shots. Moments frozen in time.
Moments that synopsize emotions
or experiences that form part of the
sexual language men share.
In Game’s Over, Jean Mailloux’s
photographs use the male form in
natural surroundings to explore
the emotional aspects of male
relationships. His compositions are
unusual and thought provoking and
beautiful. The accompanying ink and
pen pieces give us great insight into
how he uses space and composition to
evoke emotions.
In Be My Friend, Vincent Keith
considers similar questions. What do
we offer our friends in the context
of our relationships? Is there an
implicit contract when you take
on a friendship - ‘take my hand’ he
implores. By accepting the hand of
friendship do you agree to be there,
to be supportive to understand - even
if these acts deny truths or your
own needs? Is that what defines a
friendship?
So, as you will see, through the works
of the artists who have contributed,
we explore the various relationships in
our lives, how we contribute to them,
what we get from them and how they
inform us. Perhaps it was time to take
stock and assess what relationships
mean in our lives today.
I hope that you enjoy this issue of
Mascular Magazine and the incredible
array of works it contains. Perhaps it
will give you pause to think or perhaps
it will inspire you to create. Please
write and share you views - being
interactive is what we are all about, so
get in touch.
Issue No. 4 of Mascular Magazine will
focus on Travel. Take a look at the Call
for Submissions on pages 202-203, and
see if the topic inspires you to create
and contribute.
Vincent Keith
November, 2012
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