Homoerotic Archaeology

Friday, September 8, 2023

Inches (September 2003), Part Two

Born in 1941, Robert Richards solidified himself as a major figure painter and sketch artist. After moving to New York, he became a fashion illustrator, working with Clairol, L’Oreal, and Revlon to produce beauty illustrations. As his talents and reputation increased, he designed posters for Broadway shows, including Noel Coward’s Present Laughter, and album covers for singers such as Lena Horne and Bob Marley. In the realm of homoeroticism, he made a name for himself producing erotic illustrations. This September 2003 issue of Inches (which has been broken into three parts) features an article on Richards’ exhibition “Gods of Erotica” at the Leslie-Lohman Gay Art Foundation in New York, where the artist showcased drawings of famous gay pornographic performers like Peter Berlin and Al Parker. Also contained in this second third (see the first third here) are photospreads of models Chad Hunt and Bob Lang.

Friday, September 1, 2023

Inches (September 2003), Part One

Born in 1941, Robert Richards solidified himself as a major figure painter and sketch artist. After moving to New York, he became a fashion illustrator, working with Clairol, L’Oreal, and Revlon to produce beauty illustrations. As his talents and reputation increased, he designed posters for Broadway shows, including Noel Coward’s Present Laughter, and album covers for singers such as Lena Horne and Bob Marley. In the realm of homoeroticism, he made a name for himself producing erotic illustrations. This September 2003 issue of Inches (which has been broken into three parts) features an article on Richards’ exhibition “Gods of Erotica” at the Leslie-Lohman Gay Art Foundation in New York, where the artist showcased drawings of famous gay pornographic performers like Peter Berlin and Al Parker. Contained in this first third are photospreads of models Matthew, Max, and Pherson Riley.

Friday, August 25, 2023

Honcho (August 1984), Part Two

Two of the short stories contained in this August 1984 issue of Honcho (which has been broken into two parts) deal with infidelity. The first, “Made to be Sucked,” focuses on the main character’s trips to rest stops to find the sexual gratification missing in his marriage. The second, “Till Dick Do Us Part,” concentrates on the affair between a groom and his brother-in-law on the day of his marriage. Contained in this second half (see the first half here) are the short stories “Sex Avalanche” (about the narrator’s sexual encounter at a ski resort) and “Muscles on Maui” (about love between a porn star and his boyfriend), an Alex comic, and photospreads titled “Catfish,” “Shave, He Said,” and “Steam Heat.”

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What is Homoerotic Archaeology?

In 2016, I discovered several discarded boxes at an estate sale. Under their flimsy flaps were hundreds of well-worn issues of homoerotic magazines from the 1970s, 1980s, and 1990s. I purchased them out of mild intrigue and, as I perused their pages, I was startled to realize that something commonly disregarded as pornographic smut earnestly chronicled the evolution of gay culture: the social and sexual liberation of the 1970s, the crushing devastation from AIDS during the 1980s, and the gradual strengthening of the community in the 1990s. As a gay man, I was touched by the subtle narrative these publications told. As a historian, I was motivated to digitally preserve their content. And, as an educator, I was driven to create a platform to share that information freely with others interested in the progression of gay society. Homoerotic Archaeology is that venue. Here you will find the advertisements, articles, short stories, and (of course) pictures found in these magazines lovingly preserved and presented for future generations of gay men to enjoy and study.

Why Preserve Homoerotica?

As early as the 1970s, scholars such as June Rook have stressed the need to preserve homosexual history in an effort to combat repression and establish a cultural background for future generations. Much of the preservation process admirably focuses on the substantial works of homosexual artists and thinkers; however, it sadly ignores other elements quintessential to the community’s history, particularly homoerotica. Although frequently labeled obscene filth, homoerotica has, just like the significant creations of artists and thinkers, been a prevalent part of the group’s culture and has played an integral role in shaping identities and perceptions (consider how influential Tom of Finland’s hypermasculinity has been in molding the body ideals of modern gay men). Due to this factor, the conservation of homoerotica is just as essential as the preservation of major artistic and theoretical homosexual works.