Self-Portraits
Men

         
Lick a Pit, Furry Belly, Dick 'n Hair (l-r), by Brian L. Edwards, New York City, digital photographs. "My work is the result of body exploration. Puberty was an exciting time for me. I found the changes in my body highly erotic and wanted to explore them. My body hair excited me as I found myself constantly touching it and becoming aroused. The change in my physical appearance also played a big part in my exhibitionism as I became an adult. Discovering the world of erotic photography taught me how to capture these images of my body and be able to share them with you."
For more work by Brian Edwards, click here

                   
Kunsthal, Sunburn, and Sunburn 2 (l-r), by Cor Windhouwer, Netherlands, paintings. Not For Sale.
For more work by Cor Windhouwer, click here

       
Querelle, Shell, Young Life (l-r), by Kim Hanson, New York City, black and white photographs.  Q- "I did kind of a strip tease for the camera and this shot was near the end. I'd been heavily influenced by Bob Mizer and photographers of that era; they produced the pictures that I masturbated with as a teen... and this image more than any others of me really seemed to be OF that era."  S- "This is from a period where I was taking self-portraits to swap with guys in different parts of the country (pre-internet). I never intended to show these to anyone but "buddies" or penpals, but in the early 90's I opened this final closet door and let it all out. It was another in a series of me in various uniforms and gear that turned me on."  YL- "I loved the whole straight feel of the locker room, guys stripping down all sweaty and being together naked or partially so."

Morally Straight & Sexy, Daddy Scout, Just Like You (l-r), by Max Greenberg, New Orleans, Louisiana, color photographs. "I was a boy scout for 8 years - now, as an adult, anti-gay discrimination in the scouts is distorting and unfair. All scouts should be treated equally - regardless of sexual orientation. They can take the uniform - leaving us naked and vulnerable, but not the merit badges we've earned! 

Artist as Model (l) and Crossroad (r), by Ian Hart, Oakland, California, oil paintings. "Over the years I've drawn and painted many models, but I have never posed for another artist. Artist as Model was an attempt to sympathize through practice by posing shirtless for an unconventional self-portrait. The process of creating this painting forced me to confront issues of self-image, the temptations of embellishment, and the risk of deprecation. I think the result can best be described as honest. I became quite comfortable with the pose, so much so that I repeated it a week later in Crossroad. The difference lies in the composition and energy. The title refers to the night in question, one when I was wrestling with a decision whether or not to move across the country from my home city of Boston. Months later I can still feel the tension that existed that night when I look at this painting."
For more work by Ian Hart, click here

Hotel Front (l) and Hotel Back (r), by Ira Tattelman, Washington, DC, color photographs. "I approach self-portraiture with a combination of anxiety and hubris. How do I expose my doubts and aggrandizements? How do I reveal the image of my body to the viewer, directly and uncensored? How do I maintain honesty and integrity in the placement and display of my self? When I take a position, I address the variety of cultural processes, experiences and practices that make me who I am."

                   
Self Portrait With Flowers #1, #2, #3, by Paulo Henrique Rosa, Sao Jose dos Campos, Brazil, color photographs. "In this work questions about sexuality are raised. It revives memories of a repressive childhood."

Escape, by René Capone, San Francisco, California, acrylic on canvas. "Most artists have at some point done self-portraits. I am no different. To me a self-portrait is a deeply personal and often revealing image. My goal was and still is to depict myself in a current state of affairs or frame of mind. Escape is one of the best examples of that. My state of mind created that painting. There have been instances where I have used myself as a model for the sake of needing a figure to propel my ideas forward. These pieces I do not consider self-portraits because the idea is more universal and wide ranging. A self-portrait carries with it a sense of documentation and introspection. This is something that I don't do lightly. These strands of thought can be very overwhelming. For me to make a self-portrait is to examine the self from a distance to see what I can find. In the end I hope that it is something honest and received with acceptance. There is a great sense of vulnerability in a self-portrait for me." 
Not For Sale

Self-Portrait Aged 19 #23, by David Romero, San Francisco, California, colored pencil and graphite drawing on paper.
SOLD

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