Exploring the Evolution of Physique Photography

In the late 1950s, photography critic Vince Aletti found himself captivated by a magazine at a local newsstand. It featured well-composed images of nearly naked, muscular men, and he recalls feeling both intrigued and anxious—fearing that his mother might discover his secret stash. “I remember it really turned me on,” Aletti shares from his East Village apartment in New York.

Such magazines, often disguised as health and fitness publications, served as coded messages during a time of social oppression and censorship that lasted from the 1930s to the early 1970s. While they portrayed a façade of fitness, their true target audience was clearly gay men. Decades later, Aletti hopes to encourage a new appreciation for these physique images instead of dismissing them as mere relics of a suppressed past.

In his new book, Physique, Aletti elevates these images beyond the realm of mere historical artifacts or “porn-adjacent” ephemera, arguing they deserve recognition as art. “The photos are beautifully made,” he insists, highlighting the photographers’ pride in their work, the clever poses, and the classic lighting reminiscent of traditional nude art.

Aletti has compiled over 10,000 such works over a span of 50 years. His apartment resembles a mini-gallery with stacks of photographs piling up around the furniture. He proudly displays works by esteemed photographers like Peter Hodjar, Nan Goldin, and Larry Clark. As a photography critic for The New Yorker, Aletti has also curated photo exhibitions and authored several art books.

To evade censorship, many artists referenced established imagery from ancient Greece and Rome. They incorporated elements like doric columns and warrior poses that conveyed a certain strength. The models struck architectural poses, balancing their bodies in striking ways, while lighting reminiscent of classic Hollywood portraits added to the sensuality.

One of the earliest physique photographers, Wilhelm von Groden, captured sepia-toned images of Sicilian youths in the 1870s. Fleeing Germany due to tuberculosis, he found inspiration on an Italian island where he encouraged young men to pose for his camera, often integrating them into the landscape.

Bob Mizer, a significant figure in physique photography, ran the Athletic Model Guild (AMG) for over 40 years, producing homoerotic images and films for a substantial audience. “I used to swipe magazines from Hollywood newsstands,” John Sonsini recounts, reflecting on his time at AMG. “God forbid I got caught!” Sonsini takes a nostalgic tour of the area where Mizer created many notable works, including a faux athletic pool at a former theater.

Interestingly, while models often used pseudonyms, they were real individuals, revealing a facet of society that, at the time, was intensely private. Publications like Physique Pictorial allowed readers to purchase tailored images. “It was remarkable that those guys would share their names and addresses back in the 1950s,” Sonsini notes. “In that sense, these magazines were milestones for gay liberation.”

By the time he got to university, Sonsini had already been drawing nude models, many of whom posed for AMG. He later contributed to the backgrounds in those photos, dedicating his life to this art form. Models usually came to AMG through word-of-mouth—many being actors or bodybuilders working in Hollywood. The atmosphere during shoots was remarkably professional, devoid of the eroticism one might expect. “It wasn’t like that on set,” Sonsini clarifies.

Full nudity was often off-limits, leading photographers to be clever in how they showcased their subjects. “The penis is always a problem,” Aletti admits, and many had to navigate the thin line between artistic expression and censorship in their work. Yet, they were carving out a space for nude portraits long before the 1930s.

Photographers faced risks including harassment and legal repercussions. Mizer himself spent time in a work camp after being accused of sexual misconduct involving a minor model. Sonsini believes Mizer didn’t see himself as a political figure, but his work did play a critical role in challenging the societal norms that sought to repress gay expression. “He showed remarkable courage,” Aletti concludes.

As the 1970s ushered in a significant gay rights movement, hardcore gay pornography began to take root, somewhat overshadowing earlier physique photography. Nevertheless, the influence of those early images is clear in artists like Francis Bacon, Robert Mapplethorpe, and Bruce Weber, who demonstrated an evolution of aesthetic and thematic representation.

Aletti’s works stand out, pushing viewers to appreciate the formal compositions of these vintage photographs. “These photographers weren’t just trying to titillate,” he emphasizes, “they sought to create beauty.”

For more information about Aletti’s book, Vince Aretti’s Physique is published by SPBH Edition.