Beefcake #2 (International Edition)

photo: timothy barnaby@thats_your_dad

beefcake. issue 2 october 2021.

international version; free download

nsfw warning. the content presented on this magazine is 18+. viewer discretion advised.

this free magazine you see now was funded and made possible by our patrons via patreon.

with many thanks to timothy barnaby, joshua cruz, carlos brigadeiro, jayseeeyecandy, davi reis, isaias mattos, bruno martinez, and everyone involved in the making, thinking, creating of the first issue. we made it, guys. many, many thanks to our patrons.

thanks to all collaborators past and present, all creators, artists, and every lgbtq+ person that ever came forward and wanted to be a part of beefcake, sharing their content, time, love and support.

subscribe and help keep this magazine free for everyone: patreon.com/ beefcakemag

now, welcome to beefcake, your new favorite magazine: the second issue. - Thiago Carvalho, editor.

with thanks to my friends: madblush, ale avila, chris petersen, bernardo zortea, alessandra mendonça, carlos zanettini.

Our Patrons:

Carlos Brigadeiro

Carlos Cervantes

Gustavo Soares Canevese

Matt McVeigh Michael Grigsby Timothy Barnaby Soña Rita

jerem unbear

@JEREM_UNBEARPRIVATE

BY CERF1966

PHOTO

PHOTO BY BRUNO PERROUD

PHOTO BY FSPHOTO _

PHOTO BY CERF1966 _ @CERF1966

PHOTO BY FSPHOTO _ @GRAPHANDFLO

PHOTO BY NATAHLIE DUMAS @NATHALIE_DUMAS_PHOTOGRAPHE

/ PHOTO BY BRUNO PERROUD

@BRUNOPERROUD

@NATHALIE_DUMAS_PHOTOGRAPHE

PHOTO BY NATAHLIE DUMAS

PHOTO BY MAXIME QUÉRÉ / @MAXIME_QUERE_PHOTOGRAPHE

PHOTO BY BRUNO PERROUD @BRUNOPERROUD

/

PHOTO BY FSPHOTO / @GRAPHANDFLO index

carlos brigadeiro

@BEARDINMULTICOLOURS

This interview was condcuted over e-mail. No edits were made in this text. All answers and opinions expressed here represent the author’s point of view and are presented as a jounalistic artifact.

TIMOTHY BARNABY AKA YOUR DAD THE BEEFCAKE INTERVIEW

BY THIAGO CARVALHO

Timothy Barnaby

AKA Your Dad is a self-taught multi-disciplinary artist and performer and the featured creator on the cover of our first issue.

Born in the ’80s in the United States, they fell in love with art from a very early age. Their artworks are expressionistic slices of life, male beauty, and queer life in various mediums, from photographic work to painting and illustration.

We’ve had the pleasure of featuring the artist on our first Beefcake Magazine issue (download it here for full session), where they graciously appear as the cover model, featuring one of their photographic sessions in an editorial that blurs lines between feminine and masculine through expressions that enhance and analyze the power of subtlety, and the relation of the model with the camera and their own image.

Over e-mail, they discussed with Beefcake their artistic process and impressions regarding art and their output as an artist and model.

BEEFCAKE:

When or how did you feel an affinity towards creative and artistic work?

Timothy Barnaby: My mother took an art history class and one of her textbooks was a collection of American artists. I used to spend all after noon looking at it, drinking it in. I specifically remember Alexander Calder’s 1926 work titled Cow. It was so simple, elegant, natural, and plain all at the same time. Mundane yet striking, it made me laugh but it also made me think. That’s the first time I remember thinking art and those that make art have a superpower.

BEEFCAKE:

what do strive for in creating your work?

TB: I think about light and movement a lot… like a lot. I have always been fascinated by bodies in motion. Especially when that motion is captured with a still image. Something about the in -between moments is what fascinates me most. I think there is so much beauty to be seen in those in-between moments. A muscle not fully relaxed but not totally flexed. An expression on a face that’s complex and not straightforward. A shadow is cast across a wall. So many questions are left unanswered. I’m looking to frame ideas, feelings, and sensations in ways that connect to people and make them wonder about the world around them as well as the world inside them.

CONNECT:

Official website: thatsyourdad.com Instagram: @thats_your_dad

Artworks and photographs by Timothy Barnaby.

BEEFCAKE:

How does being part of the lgbtq+ spectrum influence your artistic work?

TB: Being queer probably influences my work in more ways than I am aware of. But the first thing I think of is visibility. As an artist that tends to feature me as the subject, I am acutely aware that MY queer body is on display. This is something an earlier version of me would have shuttered at. Placing myself firmly as the subject both affirm my existence and centers my queer body. This is an act of resistance and also a celebration. Our bodies are centers of ancient magic. Our sexuality is ancient and powerful. Our stillness can shake the earth.

We are more than our bodies and the ways we have sex BUT we are also our bodies and the way we have sex. My work deals with these truths and contradictions that queers must engage with daily. I’m exploring art through my queerness and exploring my queerness through my art.

BEEFCAKE:

What are your preferred mediums to work and why?

TB: I like to take as many photos as possible all the time. Sometimes I reinterpret these images with pen or pencil. Other times I like to use pastels or oil paint. Usually, a still image will inspire an entire creative process that takes me through several mediums.

I also have a huge love for clay. Anytime I get the chance to make ceramic art I will. I’m especially fond of ceramic pieces that are beautiful or strange and that also are functional.

anthony divastanzo

@DIVASTANZO

This interview was condcuted over e-mail.

No edits were made in this text. All answers and opinions expressed here represent the author’s point of view and are presented as a jounalistic artifact.

ANTHONY DIVASTANZO. THE BEEFCAKE INTERVIEW

A.D.: I must have been three years old.

My parents left for work while I was still asleep, but my grandmother laid down in the bed with me so I wouldn’t be alone when I woke up. When I opened my eyes, her back was turned to me - she had short gray hair, almost masculine.

I remember thinking it was my dad, and that his hair had turned gray overnight - that he was now an old man. It scared me.

The idea of growing old wasn’t something I had ever thought of or even realized could happen. I was worried about losing my dad, and in that moment of gazing at the gray head of hair, realized that ‘This is life, this is what happens. This is okay.’ Just then, my grandma turned and I saw it was her.

_ How does negative space influence your photographs and artwork?

A.D.: When I shoot, I need negative space. That space helps to tell the story. What’s not there is sometimes more important than what’s right in front of you. Blank space is where the energy is. Blank space is the reason the subject is able to create motion and come alive.

When I photograph,

I watch for the movement.

_ How does being a queer creator influence your photographs?

A.D.: I think a lot about the work of James Bidgood, who took these small spaces and used them to create alternate universes. Also, the work of Bob Mizer, and how he was arrested for shooting the male physique - because it was illegal at the time to do so. I used to want to impose what I believed was queer onto my work, but as I grew into myself, I realized the very act of me creating was a queer and subversive motion of activism.

Being a queer creator is a huge responsibility. We were called to use our voices and share our stories. I am influenced by the awesome power we as members of our community share and cultivate

BY THIAGO CARVALHO SEPTEMBER 2021

Around the same age, I sat down to watch a movie with my parents - The Wizard of Oz. Popcorn in hand, I was in awe when Dorothy stepped out of her home and into Oz. The bright colors, exotic plants, and Glinda arriving in a bubble, wearing what can only be described as “very that”, had me jaw-dropped.

When the ruby slippers appeared on Dorothy’s feet, I knew I wasn’t like the rest of the boys...

When I need inspiration, I’m always brought back to the wonderful Wizard of Oz.

So often, my work isn’t about a model sitting on an apple box posing to be shot, but rather for them to discover themselves in the space and for me to capture those moments - almost as a voyeur.

_ What interests you about the male physique?

A.D.: When I started in editorial production it was all about the ideal femme, which my team began to tease out and transforn into ideal androgyny.

I saw a lot of spaces where masculine energy was not looked at in the same way the femme had been for so many years - both in our deeply patriarchal society in today’s world, as well as art through history.

Where did the patriarchy begin? Was it because of Aristotle’s musings? Was it when the ancient Romans rewrote the medieval Christian bible? Was it when Donald Trump became the president of the United States? In my work now, I’m seeking to capture the male form’s vulnerability in the same way our world has pushed to seek the ideal femme.

_ What are your earliest visual memories?

_ Tell us about your experience with portrait subjects in your studio environment, how’s the relationship between photographer and subject developed in your artistic process?

A.D.: I’ve been so very lucky to have shot with such incredible talent. The bond between me and my subjects is built on a foundation of trust, collaboration, and professionalism. Because of the intimate nature of the work, it’s my number one priority that all who pose are completely comfortable and have what they need in order to bring their authentic selves to the studio.

I pride myself on creating a safe space for everyone to explore and to do the work. The most meaningful part of what I do is hearing how the experience of shooting has positively impacted people’s confidence.

It takes a lot of courage and bravery to stand nude and say ‘This is me. This is my story.’

I put together a lookbook for each shoot, and each model interprets the poses in their own way - it is a true collaboration.

What would you say is your motivation for creating your artwork?

A.D.:

We lost a generation of queer voices to AIDS.

I believe so deeply that it is up to our generation to work that much harder to tell our stories.

A.D.: I was 18 when I first stumbled into the world of photography.

At that time, my friend was studying at The Hallmark Institute of Photography and she asked if I wanted to pose for her. After comingup to shoot, I had met another photographer and shot with him - that was Jacob Benjamin Taylor. He and I went on to team up. He would shoot, and I would direct and produce.

Our work ended up on the cover of magazines, in fashion editorial spreads, and I became a panelist in different publications throughout New England. After some great luck, we decided to shoot our first coffee table book, The Gender Manifesto. It was a piece which broke down the gender binary through high fashion - quite subversive for 2014. We went on to shoot our second book, Sugar, which was a commentary on gender roles in society.

Shortly after that, I began shooting projects myself, as Jacob and I were in different cities. My vision for the projects transitioned from editorials, to coffee tables, to studios. My photography has been featured in gallery shows from Los Angeles to New York City.

In parallel to photography, I am also a screenwriter. My scripts have won awards in Los Angeles, New York, and London. I’m currently working through fundraising for three short films my creative team and I are working to shoot throughout 2022.

For details on how to contribute, or if you’d like to see more of my work, please visit: divastanzo.com and be sure to follow me @divastanzo - end of interview.

Tell us a bit about your career as an artist up to now

Photos by Anthony DIvastanzo

PHOTOS BY @ MOONLIGHTKISSSP