
Mapplethorpe was an American photographer. He was known for his portraits, still lifes with flowers, and his frank documentation of gay subculture. His nude studies of black men are among his more controversial photographs. Lahti quotes Jane Gaines in reference to both Mapplethorpe and Tom of Finland, stating: “What is striking about interracial homosexual desire (the case with the white male photographer’s desire for the black male body) is that from the point of view of official culture, this is a double-crossing that cannot be ideologically rehabilitated – it is incorrect on two counts [being a gender and race infraction of social rules].” The cropping of Mapplethorpe’s images and the fragmentation of the body parts reduce Derrick Cross (the subject of the photographs) to a purely sexual being.
I have been thinking about the conversation we had in class – about whether or not the information we as viewers know about the artist affects our reading of the images or our feelings about them. Robert Mapplethorpe is a white man, but I find these images problematic not just because I know this about the artist. The viewer is prompted to identify as a white male “because of the fantasy of mastery inscribed in the ‘look’ which implies a hierarchical ordering of racial identity.” He aesthetically objectifies and eroticizes racial difference. Lahti connects this same idea of “race as a category of pleasure” to Tom of Finland’s drawings, stating that they may “call into question discourses that try to regulate the ‘racial’ borders.” Both Tom of Finland and Robert Mapplethorpe raise questions about the importance or relevance of their personal history in relation to the understanding of their work and the balance between reinforcing or transgressing boundaries, be they racial, sexual or class-related.