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Reading: Illicitly Captured Images of Men in Briefs and Bodybuilders in Postwar Britain
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The Pink Times > Culture > Photography > Illicitly Captured Images of Men in Briefs and Bodybuilders in Postwar Britain
Photography

Illicitly Captured Images of Men in Briefs and Bodybuilders in Postwar Britain

The Pink Times
The Pink Times March 15, 2023
Updated 2023/03/15 at 4:56 PM
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In postwar Britain, it was illegal to make and distribute homoerotic images, but a new exhibition at London’s Photographers’ Gallery is now showcasing the fascinating and previously unseen photographs of men’s bodies captured during this time. The exhibition, titled “A Hard Man Is Good to Find!”, delves into the clandestine visual culture that emerged in postwar Britain, when any depiction of male nudity that suggested homosexuality was still subject to the 1857 Obscene Publications Act.

David Dulak by Angus McBean, Ballet magazine No 3, January 1946

The exhibition displays photographs by physique photographers such as John S Barrington and Angus McBean, who captured images of dancers and bodybuilders. David Dulak, a dancer found by Barrington in 1938 on Charing Cross Road, was introduced to theatre photographer McBean, and his study was featured on the cover of Richard Buckle’s progressive dance journal, Ballet. Bill Green, who specialized in photographs of bodybuilders, set up Vince Studio in Marylebone in 1946. Prints could be ordered from catalogue sheets advertised in the classifieds of Health and Strength magazine, always with a gutter in the middle for discreet posting without creasing any image.

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Basil Clavering and John Charles Pankhurst built a studio in the basement of Clavering’s home on Denbigh Street, Pimlico, where they recruited military men to model in authentic uniforms. Clavering also innovated the “storyette,” in which the catalogue sheet of photos available to order would set out a narrative drama like film stills from a motion picture. Meanwhile, Anthony C Burls engaged young men to model through street casting and used his coffee shop in Chelsea, casual work at Battersea Funfair, and gym attendance in Brixton to find working-class men to photograph.

Bill Green (Vince), catalogue sheet 31949

The exhibition also showcases the anonymous body of work known as “The Portobello Boys,” which documents young men posing, in turns uncertainly and assertively, in states of undress. The photographs in the exhibition provide a glimpse into a clandestine visual culture of men’s bodies that emerged during a time when making and distributing homoerotic images was a criminal offense in Britain. While the 1955 Wolfenden Report and the 1967 Sexual Offences Act marked the partial decriminalization of gay sexual activity and sparked gay liberation and the fight for social equality, any depiction of male nudity that suggested homosexuality still remained subject to legal repercussions.

Bill Green (Vince), Vince advertisement Health and Strength, 29 May 1952
Basil Clavering (Royale, Hussar, Dolphin), Storyette, 1950s
Basil Clavering (Royale, Hussar, Dolphin), Storyette EX2 FJSS print, 1950s
John S Barrington, catalogue sheet 2, 1970s
Bill Green (Vince), Vince Man’s Shop catalogue, spring/summer 1957
Keith Vaughan, Highgate Men’s Pond Album, front cover, 1933
Anthony C Burls (Cain of London), catalogue sheet, c 1968-70
David Dulak by Angus McBean, mid-1940s
The Portobello Boys, anonymous, late 1950s to mid-60s

TAGGED: clandestine culture, gay liberation, homoerotic images, male nudity, physique photography, postwar Britain

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The Pink Times March 15, 2023
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