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MASCULAR
MAGAZINE
Issue No. 11 | Autumn 2014
MASCULAR
MAGAZINE
Issue No. 11 | Autumn 2014
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LETTER FROM THE EDITOR
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THE MASCULAR T-SHIRT
Francisco Hurtz - Signature
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THE WHITE MIX
Resident DJ Brian Maier’s mix No. 9 to accompany Issue No. 11
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SEAMLESS WHITE PAPER
David Gray’s beautiful figural studies
Vincent Keith’s alternative take to tribal imagery
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BIANCO: FRA MODERNITA E TRADIZIONE
Giuseppe Ranocchiari provides a contrast in white
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WHITE
Ivor Sexton’s paintings use white to add depth and character
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CREATOR | OBSERVER
White hair denotes age but also provides striking contrast
in Greg Parkinson’s handsome portraits
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WHITE
Carl Vanasshe’s beautifully intimate nudes
resonate in their whites surroundings
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LAUNDROMAT
Tim Gerken considers the various meanings of ‘white’
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THE COLOUR SPACES OF WHITE
Sergei K ‘s nudes are about contrast and form
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PURE LIGHT
Markus K shares an intimate moment in morning light
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FADE AWAY AND RADIATE
Matthew Stradling’s compositions are dissonant and beautiful
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SCULPTING IN
WHITE
Hideki Takamine draws on traditional craft to explore form
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MILES & MIKE
A portrait of intimacy as seen through the lens of Jake Fales
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INNOCENTLY SILENT
GianOrso’s beautiful portraits of men on white
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FORBIDDEN WORLD
Franciso Hurtz creates a limitless world of white
and inhabits it with energy and sensuality
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WHITE IS FICTION
Stephan Tobias juxtaposes organinc and mathmatical
forms to create striking situations
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AUGMENTED STATE
Chris Lopez uses white lines to create striking portraits
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MASQUERADE
Fernando Bracho Bracho channels van Gloden in white forms
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ABSENCE OF WHITE
Daniel Merlo ‘s creations eschew white and embrace colour
WHYT BOY
138
Ricardo Muñiz series is a dance in the shadows
WHITE
146
Alejandro Caspe composes allegories and stories
PURE
150
Anthony Dortch uses white negative space to create shape
DRAWING ON WHITE
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Doug Hall’s beautiful portraits on white stand out
MALE NUDE USING FLOUR
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Fotorebelxt and Tom Schmidt collaborate with dancers
to create remarkable and energetic compositions
FLESH OF PEARL
168
Matthew Stradling’s sensuous paintings glow
INCREDIBLE WHITE
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Massimiliano Ranuio’s nudes interact with
white pigment and light to great effect
WHITE
180
Daniel Jeffrey confronts race and skin colour
WHITE LIGHT | WHITE MAGNOLIAS
186
Uolevi Suntio’s elegant compositions of depth and
form evoke fleeting moments and memories
THE COLOUR WHITE
192
Frank Lee’s playful series mixes men and white paint
CHRYSALIDE
198
Ludovic Seth cocoons his subjects and
abstracts the sense of self
WHITE CHAIR & STANDING IN THE SEA
202
By adding a simple element, Nigel Maudsley’s combination
of sea and form are given added poignancy
WHITE
208
Michal Sherwin’s sketches are full of texture and tension
WHAT MIGHT BE BENEATH
214
Charlie Rogers has a thing for white underwear,
and his photos speak eloquently as to why
LA LECHE SIEMPRE SERA LA VUELTA A NUESTROS ORIGENS
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Oscar Morales’ photographic essay on white
reflects on ‘milk’ and its potential
WHITE
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Ali Moussa’s beautiful portraits of black on white
HEAVEN
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Ron Amato’s masterly nudes, shot against white, are
stunning in their detail, strength and beauty
CONTRIBUTORS
240
CALL FOR SUBMISSIONS
244
The theme for Issue No. 12 of MASCULAR Magazine is ‘LIGHT’
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TRIBAL
MASCULAR
Editor in Chief
vincent@mascularmagazine.com
MAGAZINE
Vincent Keith
peter@mascularmagazine.com
jonny@mascularmagazine.com
Peter Carter
Editor
Jonny Dredge
Artistic Directors
david@mascularmagazine.com
vincent@mascularmagazine.com
David Goldenberg
Vincent Keith
info@mascularmagazine.com
Mascular Magazine
Publisher
vincent@mascularmagazine.com
alan@mascularmagazine.com
Vincent Keith
Design
Alan Thompson
ads@mascularmagazine.com
Advertising
submissions@mascularmagazine.com
Submissions
Contributing Editors
Ron Amato (ron@ronamato.com); Fernando Bracho Bracho (
ferbracho@yahoo.com
); Alejandro
Caspe (
caspe@alejandrocaspe.com
); Marc Coulombe (
marccoulombe1@me.com
); Anthony Dortch
(
chimero113@hotmail.com
); Timothy Gerken (
tgerken111@aol.com
);
David Gray (
yogabear@cox.net
); Jake Fales (
info@bearbullnyc.com
); Daniel Jeffrey (
chief1978@
gmail.com
); Doug Hall (
dh.contact@yahoo.co.uk
); Francisco Hurtz (
franciscohurtz@gmail.
com
); Fotorebelxt (fotorebelxt-photography@yahoo.com); GianOrso (
gianorso@gmail.
com
); Markus K (
furry.artist@yahoo.com
);Sergei K (
sergei001@gmail.com
); Frank Lee (
info@
frankleestudio.com
); Brian Maier (
djbrianmaier@gmail.com
); Chris Lopez (
clopezstudio@aol.com
);
Nigel Maudsley (
n.maudsley@gmail.com
); Daniel Merlo (
danielmerlo1953@yahoo.com.ar
); Óscar
Morales (
oscarmoralesfoto@gmail.com);
Ali Moussa (amoussa17@gmail.com);
Ricardo Muniz
(
coquichuloimages@yahoo.com
); Greg Parkinson (
gregparkinsonphoto@gmail.com
); Massimiliano
Ranuio (
massimilianoranuio@hotmail.it
); Giuseppe Rannochiari (
g.ranocchiari@gmail.com
);
Charles Thomas Rogers
(charlie@charlesthomasrogers.com);
Ludovic Seth
(contact@ludovic-seth.fr);
Ivor Sexton
(rovi100@aol.com);
Michal
Sherwin
(Sherwin@seznam.cz);
Matthew Stradling
(matthew.stradling@googlemail.
com);
Uolevi Suntio
(suntiojarkko@gmail.com );
Hideki Takamine
(leebear@mac.com);
Stepahn Tobias
(panding@hotmail.de);
Carl Vanassche
(carlvanassche@yahoo.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@mascularmagazine.com
Issuu: issuu.com/mascularmagazine
Twitter: @MascularMag
Facebook: www.facebook.com/MascularMagazine
Flickr: www.flickr.com/groups/mascularmag/
Cover
Photo by:
Francisco Hurtz
Sem Titulo
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MASCULARMAGAZINE.COM
Celebrating masculine art and
the men who create it
MASC
Welcome to the ‘white’ issue of MASCULAR
Magazine. This is one of the biggest and most
diverse issues we’ve had to date, and frankly,
that has come as a bit of a surprise. When I
chose white as the theme, I thought it was
the natural, if perhaps less compelling book-
end to the Black issue, which I believe was
one of our strongest. I am happy to say that
I was proved wrong, and that the creative
voice of the community of contributors we
have built at MASCULAR is as diverse and
exciting as ever.
that an understanding of ‘black’ is part of
what makes people creative in the first
instance. Black is cool, strong, threatening
and mysterious – all good things (?). Well, all
good things for a certain kind of person.
light or sound, white has a huge variety of
uses and values.
It turns out that ‘white’ isn’t the opposite
of ‘black’. Far from that, white occupies
its own domain with its own (sometimes
conflicting) characteristics. While black has a
lot of baggage of its own, it appears to me
that the creative world had come to terms
with it. Vilified for so long and the subject
so much derision, black was a naturally
compelling theme for creative minds, and
anyone with a predilection for the dark,
subversive or unusual. You might even say
White has none of that mystery. It’s been
taken over by all the ‘good people’as their own
emblem. The flag of the pure and righteous.
Clean, pure, healthy, safe and gentle – those
are some of the characteristics the white
brings to mind. So are boring, cold and mute.
However, as with all things, its is perhaps
time to re-think white. To re-evaluate what it
means and to consider how today’s creative
minds interpret what the colour that has for
so long has so little to say.
The first challenge we encounter is deciding
what we mean by white. In comparison
to black, white is a lot of things and a lot
of colors – it is imprecise and yet everyone
knows what you mean when you use the
term. What matters is the context. When
used in conjunction with skin, fabric, heat,
By context, I also mean place and time.
When white is used with terms such as rule,
justice, beauty, power and culture, it carries a
very different set of values. It changes from
being a color to being a value. And by that
simple step, turns from a benign element to
something incredibly charged with political,
cultural and social significance. In America,
we now have a black man in the White House.
That sentence alone could be the basis of
countless doctoral dissertations. To take
one theme alone, it raises the question of
the legitimacy of the two descriptors to the
entities they describe. If you take historical
perspectives on white and black being
opposites, good and evil, this would imply
there is an evil man occupying a pure place.
I’m not even going to begin to unravel that
one, or give it credence by trying to explain
the views around it. Instead I will simply
acknowledge that there are millions who
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`
have different views on whether the White
House is a good/pure place and whether its
occupant is evil. What is of more interest is
that the ‘white’ and ‘black’ elements heighten
the issue and they polarize the question.
CULAR
Vincent Keith
January 2015
White can also be what’s left when we age.
Greg Parkinson’s beautiful portraits show
the effect of age on his subject’s faces. The
skin isn’t as supple as it once was. It’s now
rough and weathered. They eyes are still
sharp, but a little less open. And the hair,
the hair has been transformed. White in
the whiskers, white hair (if there is any) – all
signal age, maturity and masculinity. In this
instance, white is a signifier, a sign that tells
the viewer that this individual has lived and
with that, has something to say.
What I take away from this issue and its
exploration of white is the many layers and
uses that our contributions have devised
for what some would call the most boring
of colours. I am struck by the political and
social baggage that both the pigment and
the term carry. For so long, white was a term
that was equated with purity, cleanliness
and all that was good. Today, the term is
much more nuanced. Loaded with double
and alternative meanings, and in some ways,
representative of exclusion, repression and
power. But we mustn’t lose sight of that fact
that even though white is far from inert, it is
A number of artists, particularly from the
US, came at the question of white from a
political stance. For the past year, there has
be a heightened awareness of the issues
surrounding the American justice system
and how it functions in the context of
the black community. This has generally
come down to white police offers killing
black men and after the shots were fired,
it becoming clear that the shootings were
not ‘justified’. The focus has been all the
more pointed as the officers involved seem
never to face any disciplinary consequences
for their actions. Of course, the roots to
this problem a deep and long standing. But
people are speaking out. In our case, Ali
Moussa and Daniel Jeffrey have submitted
works that respond directly to the race
based issues facing America and beyond.
In contrast to Parkinson’s view that what
reveals something, Fernando Bracho Bracho,
and Ludovic Seth use white to obscure. In
their works, white veils or covers the detail
of the subject and reduces form to its most
basic elements.
we the observer that imbue it with meaning,
and not the other way around.
Massimiliano Ranuio, Uolevi Suntio and
Frank Lee have used white as a stain, as
the marker. We generally choose black or
other colours to do this. Body painting is
an increasingly popular activity and we’ve
even seen it in the pages of MASCULAR
magazine in the past. The body painting is
a form of decoration and adornment. Here,
the objective seems to be a bit different
– less about decorating and more about
alteration and marking. Indeed, Lee goes
so far as to douse his subjects in white
paint. He concentrates on the moment of
transformation – capturing the emotional
and physical energy experienced during the
instant when the paint alters the form.
We hope that you enjoy this Issue of
MASCULAR Magazine. Feedback is, of
course, always welcome. We are particularly
encouraged to see the works of new artists
in our pages, and would like to reach out
to other creative to participate as well. This
magazine is all about creating a dialogue
between artists from around the world, to
share ideas, to inspire, and to make us more
complete as people by giving a voice to our
creativity. The theme for the next issue is
‘LIGHT’. We encourage you to check out the
call for submissions on page 244. Until then,
we wish you a most excellent and creative
2015.
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