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48                                      Jack Fritscher, Ph.D.
               “My portraits,” Fritscher once wrote, “define a certain kind of man
            in stasis and motion, in joy and pain, in the mutuality of sports and
            sex. Each is a single frame from an otherwise invisible movie. These are
            traditionally masculine men. Period. If one insists on politics, they are
            culturally traditional men surviving gender abuse in an age that trashes
            the legitimate male ethos. Found mostly on the streets, at construction
            sites, and at athletic events, these men — that is, their images — are pre-
            sented without apology to provide comfort and joy to men and women
            who prefer masculine men in the best sense where power is not power over
            others, but is power in the disciplined control of oneself. Let me be quite
            clear. None of these images is pornographic. Pornography is wanting to
            control the object. Erotic art is loving the subject you want to behold, not
            possess. I’m very clear with these guys about keeping things pure. Few
            of these men actually ‘posed’ for the camera. Even when they were fully
            aware of its presence, they maintained their integrity without acting. That
            is precisely what I strive for. These are simply men, hopefully archetypic,
            celebrating masculine rites — of sport or sensuality, often mano-a-mano,
            offering themselves declaratively as athletes, adventurers, icons, saints,
            victims, survivors, and heroes, with the frailties and strengths to which
            all humans, regardless of gender, are heir.”
               His work is not about men having sex with other men. It is about men
            exhibiting a sense of their masculine selves. Just for a moment, they are
            releasing the full power of their masculine natures. For Fritscher, a born
            observer and (as perhaps he would admit) a born voyeur, these images are
            irrefutable evidence of things which are latent in most men, and which,
            when the right moment comes, can he made to imprint themselves indel-
            ibly on a photographic negative, for everyone to see.


            Edward Lucie-Smith is a British writer, poet, art critic, photographer,
            curator, and author of international exhibition catalogues who has served
            in the Royal Air Force (RAF) and as a member of the art and literature
            panels of the Arts Council of Great Britain. Known from his broadcast-
            ing on the BBC and for his more than one hundred books on art, he is
            the world’s most prolific and best-selling writer on art, art history, and
            sexuality and art. His major books may be represented by Movements in
            Art Since 1945, Sexuality in Western Art, 20  Century Latin American Art,
                                             th
            Ars Erotica, and Race, Sex, and Gender. His photography, as published
            in his solo coffee-table book, Flesh and Stone, is currently in exhibitions
            around the world, and his book of poems, Changing Shape, was published
            in 2002. In 2006, the Tom of Finland Foundation acknowledged him as
            writer and photographer with its “Lifetime Achievement Award.” During

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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