Masculinities: Liberation through Photography at the Barbican showcases the work of a number of artists who explore and deconstruct ideas around contemporary masculinity. The collection of film and photography works from a variety of cultural perspectives allows an objective view of themes that both contradict and define contemporary masculinity, the themes covered aspects from representations of war, fatherhood, natural instincts, sexuality, competition, physicality and survival.

Thomas Dworzak’s Taliban Portraits taken in Kandahar, Afghanistan, were discovered when the photographer located a number of photo studios used by the Taliban to take identity photos. Contrasting to the archetypal image of the hyper-masculine soldier, the portraits show the Taliban fighters posing in front of scenic backgrounds with flowers and weapons as props, holding hands and eyes heavily made up. The images directly contradict the representation of soldiers throughout all cultures, especially that in an overwhelmingly patriarchal society. For a society that rejects consumerism and aesthetic social representation, that doesn’t look to other cultures for inspiration and defines its own identity, the collection of images contradicts what is displayed in media representations or our preconception of middle eastern fighters. What is most intriguing and something I want to achieve in my own work is the startling effect of these images; through one collection our notion of the Taliban fighters has been shaken and we begin to think of them in another light.

Kalen Na’il Roach’s contribution to the project centred around recovered images of his absent father. The underlying message of an absent father in the family home is widely recognised, especially within the African American community in the US, and therefore speaks to a much wider issues within western masculinity. The illustrations and techniques surrounding the images enhance the visual communication of the project. These have inspired me to experiment with old photos of my father or other influential people who surround me.

Deana Lawson’s photographs are staged and explore black intimacy, family, sexuality and spirituality. She communicates through exploiting cultural stereotypes in order to challenge them. The image presented at exhibition depicts a strong black male figure in the embrace of a new born child, to the left a figure adorned with chains holding a stack of money and to the right a collection of family photographs and ornaments. The pealing window cover in the back highlights the paranoia that surrounds American culture. The photograph is so powerful because it embodies many aspects of negative connotations, while also recognising them as a colonial discourse.