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from \"American 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latest photobooks picks by Der Greif",[],"h2",{"_key":677,"_type":330,"children":678,"markDefs":692,"style":338},"8d5a6bf8cd8f",[679,683,688],{"_key":680,"_type":334,"marks":681,"text":682},"3054bfb5e77f0",[],"“In Focus” is Der Greif’s photobook review series, spotlights our picks from the current open call for submissions and our community artists' most recent publications. This month, we bring out of our shelf a duo of photobooks on the preservation of certain community practices between reality and cultural myth and the performativity of fighting in today’s culture: “Like Father, Like Son” by Anna Aicher and “American Beef” by ",{"_key":684,"_type":334,"marks":685,"text":687},"5fb5d5cba1c4",[686],"080671a8b15d","Lorenzo Bacci",{"_key":689,"_type":334,"marks":690,"text":691},"07586bf7ce98",[]," and Marcel Swann.",[693],{"_key":686,"_type":694,"button":53,"newWindow":72,"url":695},"annotationLinkExternal","https://dergreif.org/search?result=Lorenzo+Bacci+%26+Flavio+Moriniello",{"_key":697,"_type":330,"children":698,"markDefs":703,"style":338},"8a2b4b6d9f21",[699],{"_key":700,"_type":334,"marks":701,"text":702},"79dee988d84b0",[],"From the traditional rites of passage of lower Bavarian and Austrian village life to the high-stakes adrenaline of American backyard fight clubs, the quest for identity is often written on the body and the culture inscribed within physically-intensive traditions. Though separated by miles and different cultural contexts, both works grapple with the same question: How do certain places inform rituals and eventually shape masculinity and the spectacle of its performance today?",[],{"_key":705,"_type":330,"children":706,"markDefs":711,"style":338},"03ef8ca16322",[707],{"_key":708,"_type":334,"marks":709,"text":710},"38f2fe6b0c060",[],"In “American Beef,” Lorenzo Bacci and Marcel Swann present a stark narration of the ‘Streetbeefs’ phenomenon. Observed over the course of two years in Virginia, this project reveals the complexity of the United States as a fragmented, heterogeneous mosaic. The work emerges as a constellation of elements shaping a narrative prism through which the deep-seated contradictions of the contemporary American landscape are exposed. Founded in Harrisonburg by Chris ‘Scarface’ Wilmore, this fight club offers a model where violence is confined to an arena with the specific goal of resolving interpersonal conflicts without the use of firearms. This creates a paradoxical dynamic where the human body turns into the primary instrument of conflict resolution and physical violence gets elevated to a codified ritual, anchored in a framework of rules and respect.",[],{"_key":713,"_type":392,"modules":714},"32eeca006005",[715,744,776,807,838],{"_key":716,"_type":396,"artist":183,"caption":545,"image":717,"size":425},"cb99d75050b9",{"_type":8,"asset":718,"metadata":720,"title":183},{"_ref":719,"_type":11},"image-cf2bde3702e5b837fde7a5f8b67ac36a01d59ff1-1013x1350-jpg",{"_type":344,"blurHash":721,"dimensions":722,"hasAlpha":53,"isOpaque":72,"lqip":723,"palette":724,"thumbHash":743},"d~PFcqkWxGs:t7o}R*jF?^niSfofsAn4s:W;kWWBV@WB",{"_type":347,"aspectRatio":552,"height":553,"width":554},"data:image/jpeg;base64,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",{"_type":351,"darkMuted":725,"darkVibrant":728,"dominant":731,"lightMuted":732,"lightVibrant":735,"muted":738,"vibrant":740},{"_type":353,"background":726,"foreground":355,"population":727,"title":355},"#4a2927",4.08,{"_type":353,"background":729,"foreground":355,"population":730,"title":355},"#741721",4.84,{"_type":353,"background":729,"foreground":355,"population":730,"title":355},{"_type":353,"background":733,"foreground":361,"population":734,"title":355},"#d6bbbf",0.73,{"_type":353,"background":736,"foreground":355,"population":737,"title":355},"#ef3f52",1.97,{"_type":353,"background":739,"foreground":355,"population":358,"title":355},"#5c7494",{"_type":353,"background":741,"foreground":355,"population":742,"title":355},"#dc3444",4.17,"q2gWFQyIiJh393d4h3h3ZqVGUGoE",{"_key":745,"_type":396,"artist":183,"caption":746,"image":747,"size":425},"adabd73ddde1","\"Audience\", 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As Streetbeefs’ popularity grows, the so-called ‘beefs’ are increasingly joined by amateur athletes who enter the ring to perform carefully constructed personas. In this ecosystem, an online presence is a way to affirm one’s existence through amplification of this double. The fight becomes an experience that repeats into multiple chambers of spectacle. Beyond merely marking the end of a conflict, the video uploaded online becomes a permanent digital record: a certification of resolution that transforms a fleeting event into a permanent archive with a global reach. In our current digital ecology, the image has become a form of currency where the line between ‘being’ and ‘being seen’ blurs. “American Beef” embraces the hyper-mediated chaos of the internet era. Its industrial layout, clashing textures and a glossy dust jacket expose how modern violence is purposefully staged for virtual circulation. With cover design by the renowned Paul Sahre and image sequencing by Federico Manias, American Beef is built to mimic the raw, fast-paced nature of the Virginia backyard fight club phenomenon. This juxtaposition of a gritty, utilitarian staple binding with a slick, high-gloss exterior perfectly mirrors the subject matter: a gritty backyard brawl built specifically to stream globally on digital screens. 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Queerness is highly marketable, endlessly demonized, and constantly dissected, despite how many queer people, including myself, still move through the world calculating disclosure carefully to minimize risks to their safety. My lesbian-podcast-filled Instagram feed informs me that PornHub launched a sapphic site and that Hannah Einbinder was uncomfortable identifying as bisexual despite playing a bisexual television character. Do we have patience for ambiguity? I am constantly shown reels abandoning intersectionality, challenging bisexual legitimacy, pandering to queer dating hierarchies, and delineating who counts as sufficiently queer to speak about certain experiences. As my sister would say, \"This is seriously rage-baiting me right now.\"",[],{"_key":1517,"_type":330,"children":1518,"markDefs":1523,"style":338},"24c7c460b39b",[1519],{"_key":1520,"_type":334,"marks":1521,"text":1522},"e548d7671b880",[],"“This is some pretty brutal stuff,” I glance at Jack with raised eyebrows; jokes fly between us wordlessly as we edge our way into a quieter part of the gallery. Clearly, the visitor was not experiencing the same goosebumps lifting across my forearms upon viewing Catherine Opie’s work in person for the first time. Queerness, when presented too directly, too visibly, or too materially, reads as confrontation before it registers as intimacy or social history. 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Even anti-establishment queer imagery eventually becomes legible branding. As Jonathan Alexander ponders in his new book, “Damage: Notes on a Queer Aesthetic”(2026), is representing queer damage an act of love?",[],{"_key":1552,"_type":330,"children":1553,"markDefs":1558,"style":338},"35afe93911ce",[1554],{"_key":1555,"_type":334,"marks":1556,"text":1557},"23b3cfbc5e88",[],"There is an ongoing accusation, often leveraged against me at dinner parties with straight people, that artists over-rely on identity to access opportunities, institutional support, or cultural relevance. This asinine criticism comes from people uncomfortable with marginalized communities speaking about their lives at all. I can detect a faint undercurrent of jealousy in the conversation. A frustration that identity has become culturally legible in ways their own experiences have not. A wish, perhaps, to be more interesting. What all four photographers reminded me, however, is that queer photography has emerged from necessity rather than opportunistic aims. Ghalib is interested in visibility's limits. Who gets represented? How? And according to whose visual rules?",[],{"_key":1560,"_type":330,"children":1561,"markDefs":1575,"style":338},"8b45024076c8",[1562,1566,1571],{"_key":1563,"_type":334,"marks":1564,"text":1565},"d353ba07064b0",[],"His project “Under the Same Sun\" documents LGBTQIA+ communities across Cuba, Colombia, Venezuela, Chile, Brazil, Argentina, and Mexico while examining movement between hometowns and urban centers. His work is also currently the poster image for our",{"_key":1567,"_type":334,"marks":1568,"text":1570},"eea2c1296a26",[1569],"1d3ff3fb8a52"," Pride Month open call",{"_key":1572,"_type":334,"marks":1573,"text":1574},"bfbec580d9a2",[],". 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I’ll reference the words of courtney coles, an artist we will examine shortly: “I remember being immediately drawn to my professors and all the queer artists they taught and finding it so comforting when they'd announce that they were gay.” ",[],{"_key":2110,"_type":330,"children":2111,"markDefs":2116,"style":338},"c6476a371c31",[2112],{"_key":2113,"_type":334,"marks":2114,"text":2115},"d8f4f0adf9f8",[],"Rogers’ work avoids easy conclusions and, rather than providing answers, it sits with contradiction. Her images bear the visceral marks that ideology leaves on the psyche through internalized homophobia by representing them on the physical body. 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Ghalib approaches this question from a slightly different angle. While Rogers is interested in visibility as recognition, Ghalib is interested in visibility's limits. Who gets represented? How? And according to whose visual rules? His project \"Under the Same Sun\" documents LGBTQIA+ communities across Cuba, Colombia, Venezuela, Chile, Brazil, Argentina, and Mexico while examining movement between hometowns and urban centers. His work is also currently the poster image for our ",{"_key":2338,"_type":334,"marks":2339,"text":2341},"e0b664a066a7",[2340],"68c2d22ca0de","Pride Month open call",{"_key":2343,"_type":334,"marks":2344,"text":2345},"9f065d15dc96",[],". Compellingly, Ghalib refuses to reduce queer life to familiar narratives. “I am not interested in queerness as a fixed aesthetic,” Ghalib explains. Rather than treating queer people as symbols, they remain attentive to individuals who are, as he puts it, \"sometimes guarded, sometimes theatrical, sometimes tired, sometimes completely in control of how they want to be seen.\" Photography, he argues, can make people harder to erase, and returning the gaze to nuance feels quite radical in a culture obsessed with legibility.",[2347],{"_key":2340,"_type":694,"button":53,"newWindow":72,"url":1577},{"_key":2349,"_type":330,"children":2350,"markDefs":2355,"style":338},"7bd42bf3cfbe",[2351],{"_key":2352,"_type":334,"marks":2353,"text":2354},"c3335fd5040d",[],"courtney coles pushes this conversation closer to the idea of the photographic as therapeutic. As a Black-American Leatherdyke, she describes everything she makes as a love letter. The people in her photographs are not anonymous subjects but friends, former lovers, and chosen family. Photography becomes less a tool of representation than what she calls a \"sacred energy exchange.\" When I asked about photography's role today, her answer was refreshingly unsentimental: \"Everything about photography is a lie. There is always more to be seen outside of the frame, and we as photographers are the most beautiful liars.\"",[],{"_key":2357,"_type":330,"children":2358,"markDefs":2363,"style":338},"663b4fd035af",[2359],{"_key":2360,"_type":334,"marks":2361,"text":2362},"2ea94086aa120",[],"Yet coles remains invested in photography's ability to preserve what might otherwise disappear from view. Reflecting on the AIDS crisis, she notes that an entire generation of queer elders was lost through negligence and homophobia. \"In the event something like that were to ever happen again,\" she writes, \"I wish for our full lives to be represented in the books, museums, galleries and schools.\" Her response is deceptively simple: photograph more. \"Queer love, loss, accomplishments, history needs to be memorialized.\" Long before institutions acknowledged queer archives, queer people were already documenting one another. At protests, in bedrooms, at parties, and at family dinners. Photograph yourself and each other. Participate in our desperate, hopeful act!",[],{"_key":2365,"_type":392,"modules":2366},"e71861a4e9ba",[2367,2397,2428,2457,2487,2517,2549,2577],{"_key":2368,"_type":396,"artist":183,"caption":2369,"image":2370},"30e059ad9f53","courtney coles, \"chain\", 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this year, one of my photographs was selected for a project sending images into outer space. While writing my application, I realized how much comfort I found in the idea that being seen somewhere beyond Earth felt safer than being seen fully here. My father, whom I am still closeted to, photographs galaxies and the moon through his telescope. Photography is one of the only languages we reliably share. There is something meaningful about imagining my image existing somewhere within the same sky he spends so much time looking toward. Perhaps that is part of what queer photography has always done. Leaving evidence behind for one another. Creating images that insist we were here too.",[],"2026-06-12T04:28:38.735Z",{"_type":8,"asset":2618},{"_ref":1229,"_type":11},"eva-rivas-bao-reconstructs-italy-s-failed-metoo-from-within-the-berlusconi-era-mediascape",{"_type":2621,"description":2622},"seo.noImage","Francesca Hummler on Queerness represented as intimacy and social history through the works of Asafe Ghalib, Niamh Rogers, Quetzal Maucci, and courtney coles.",{"_type":386,"current":1148},"Who represents Queerness?",{},1786086122363]