If her images appear unsettling, that’s our own hang-ups, says Aneta Bartos, who photographed herself with her ageing father
Growing up in the febrile atmosphere of manliness following Six-Day War, the Israeli photographer never felt he quite fitted in. Until he joined the IDF, embraced his sexuality and went to art college
Adopting a variety of guises and costumes, Samuel Fosso has spent a lifetime subverting cultural stereotypes with his performative self-portraits
Opening this week, a timely exhibition at the Barbican explores how masculinity has been coded and performed since the 1960s. We speak to curator Alona Pardo about destabilising and debunking the myths surrounding it.
This article was originally published in issue #7892 of British Journal of Photography. As a free gift to our community during the coronavirus lockdown, we are offering it as a free digital edition here. Male privilege permeates the private clubs depicted in Karen Knorr’s series, Gentlemen – hidden spaces where the act of exclusion protects the power of those invited in. Spread throughout St James’s, a historically wealthy area in central London, grand Georgian buildings housed, and continue to house, the playgrounds of the rich: extended living rooms for royalty, politicians, new and old money. In perpetuating racial, class and gender divisions, the clubs, which Knorr photographed from 1981 to 1983, safeguarded the ascendency of a privileged few. Now, Knorr’s series is being shown as part of the Barbican Art Gallery’s latest blockbuster show, Masculinities: Liberation through Photography (currently closed due to the coronavirus lockdown in London). Knorr was born in Germany to American parents, grew up in San Juan, Puerto Rico, studied in Paris, and moved to London in the summer of 1976. She wanted …