Plan américain

  • Bryan, Palm Springs CA 2017

  • Joseph, Fresno CA 2017

  • Seattle WA 2017

  • Stephen, New Orleans LA 2018

  • Charles, Clarksdale MS 2018

  • Jeremy, New Orleans LA 2018

  • Los Angeles CA 2017

  • Alexandre, Seattle WA 2017

  • Gary, Joshua Tree CA 2017

  • Greenwood MS 2018

  • Salvatore, New Orleans LA 2018

  • Kennie, Atlanta GA 2018

  • New Orleans LA 2018

  • Tanner, Nashville TN 2018

  • Brandon, South Central Los Angeles CA 2017

  • Koran, Oakland CA 2017

  • Palm Springs CA 2017

  • Robert, Natchez LS 2018

  • Alex, Athens GA 2018

  • Andrew, Los Angeles CA 2017

Plan américain

Portrait, Contemporary Issues, Documentary, Fine Art
{"id":13095,"grant_id":10,"user_id":1190,"grant_submission_status_id":4,"grant_result_type_id":null,"cover_block_id":null,"story_id":15153,"place_id":null,"title":"Plan am\u00e9ricain","excerpt":"<p>\"Plan Am\u00e9ricain\" is the second part of a larger study on the various shades of masculinity. A prolongation of the work initiated in my previous series, \"Mectoub\" (2012\/2016), this project adds to an exploration of contemporary masculinity and is devoted to a new territory: the United States.<\/p>","excerpt_raw":"\"Plan Am\u00e9ricain\" is the second part of a larger study on the various shades of masculinity. A prolongation of the work initiated in my previous series, \"Mectoub\" (2012\/2016), this project adds to an exploration of contemporary masculinity and is devoted to a new territory: the United States.","body":"<p>What does it mean to be a man today? As the newest wave of feminism has galvanized women to rethink their place in the society of 2018, the flip side feels just as urgent to address.\r<\/p><p>A prolongation of the conversation I started in the Arab world in 2012 - by inviting men to pose for me - about the complexities of manhood, its various shades and expressions, this project adds to my exploration of contemporary masculinity and is devoted to a new territory: the United States. \r<\/p><p>The question of individual liberties - the freedom to be who you actually are - was at the heart of my series in the Arab world, a subject, which is also problematic within the context of the new American presidency. This new project, through a series of intimate portraits, aims to give, this time, a unique overview of today\u2019s America \u2013 the America of my encounters with strangers, all American men, who have crossed my path.\r<\/p><p>In the New York Times, a series of articles centered around \"this urgent question in the era of Parkland, President Trump, and #MeToo\" recently sparked quite a conversation. Michael Ian Black in \u201cThe Boys Are Not All Right\u201d states the fact that even if rigid gender roles are restrictive for everyone, redefining them has been mostly a one-sided effort: \"The past 50 years have redefined what it means to be female in America. Boys, though, have been left behind. No commensurate movement has emerged to help them navigate toward a full expression of their gender. America\u2019s boys are broken. And it\u2019s killing us. Too many boys are trapped in the same suffocating, outdated model of masculinity, where there is no way to be vulnerable without being emasculated. Men feel isolated, confused and conflicted about their natures. There has to be a way to expand what it means to be a man without losing our masculinity. I think we would benefit from the same conversations girls and women have been having for these past decades. I would like men to use feminism as an inspiration, in the same way that feminists used the civil rights movement as theirs. We have to start the conversation. Boys are broken, and I want to help.\"\r<\/p><p>By challenging visual stereotypes of Masculinity, this project is joining the now global conversation on this matter, just like the question about who is looking at whom, raises questions about the necessity of alternative viewpoints. \r<\/p><p>Reversing the typical photographic topos, this body of work offers a female viewpoint on men, a photographic act which transgresses typical societal roles. I choose men on instinct and I always photograph those who agree to pose in a confidential location carefully selected to match each individual encounter. \r<\/p><p>By engaging with the complexities of my own identity and revealing a process of vulnerability \u2013 both the subject\u2019s and my own \u2013 these intimate portraits invite us to redefine norms surrounding gender and identity and to rethink notions of otherness.\r<\/p><p>By focusing on beauty, sensitivity and the vulnerabilities of a gender constricted within the stereotypical expectations of masculinity, my work, by exploring the complexities of manhood in an empathetic way, strives to remove any stereotype or stigma of sensitivity, recontextualizing gendered identity for today\u2019s world.\r<\/p><p>The aesthesis of the American road trip is nevertheless present. The fragments of landscape or of decors interweaved between the portraits, testify of the experience of the road trip, they can be read as a portion of the American landscape, inviting us to move back and forth between iconic images and the real discovery, the fantasy and the world that collides with it, to finally offer a representation of today's America.\r<\/p><p>Raising questions on critical topics, such as the notion of gender or identity, and that of the power of the female gaze in the art, is the ambition of this long-term project.\r<\/p><p>This series, initiated in the spring of 2017, today requires to be pursued in other territories, to enrich the series of new encounters by considering the reality of this nation in its diversity \u2014 racial, ethnic, its immigration and the social and cultural differences present in each of its numerous states.\r<\/p><p>*The \"Plan Am\u00e9ricain\", as French directors call it, refers to a specific way of framing movies, developed for westerns. It allows viewers to see a character from head to mid-thighs and comes from the necessity to include the character\u2019s gun usually located below the belt, in the shot. Particularly praised by French directors, it brings us closer to the subject, whilst showing his or her background. A confrontational perspective, it allows for a greater proximity between the viewer and the character. The word \"plan,\" included in the French title, also translates into rendez-vous \u2013 the ones I have with the men I choose to photograph.<\/p>","body_raw":"What does it mean to be a man today? As the newest wave of feminism has galvanized women to rethink their place in the society of 2018, the flip side feels just as urgent to address.\r\n\r\nA prolongation of the conversation I started in the Arab world in 2012 - by inviting men to pose for me - about the complexities of manhood, its various shades and expressions, this project adds to my exploration of contemporary masculinity and is devoted to a new territory: the United States. \r\nThe question of individual liberties - the freedom to be who you actually are - was at the heart of my series in the Arab world, a subject, which is also problematic within the context of the new American presidency. This new project, through a series of intimate portraits, aims to give, this time, a unique overview of today\u2019s America \u2013 the America of my encounters with strangers, all American men, who have crossed my path.\r\n\r\nIn the New York Times, a series of articles centered around \"this urgent question in the era of Parkland, President Trump, and #MeToo\" recently sparked quite a conversation. Michael Ian Black in \u201cThe Boys Are Not All Right\u201d states the fact that even if rigid gender roles are restrictive for everyone, redefining them has been mostly a one-sided effort: \"The past 50 years have redefined what it means to be female in America. Boys, though, have been left behind. No commensurate movement has emerged to help them navigate toward a full expression of their gender. America\u2019s boys are broken. And it\u2019s killing us. Too many boys are trapped in the same suffocating, outdated model of masculinity, where there is no way to be vulnerable without being emasculated. Men feel isolated, confused and conflicted about their natures. There has to be a way to expand what it means to be a man without losing our masculinity. I think we would benefit from the same conversations girls and women have been having for these past decades. I would like men to use feminism as an inspiration, in the same way that feminists used the civil rights movement as theirs. We have to start the conversation. Boys are broken, and I want to help.\"\r\n\r\nBy challenging visual stereotypes of Masculinity, this project is joining the now global conversation on this matter, just like the question about who is looking at whom, raises questions about the necessity of alternative viewpoints. \r\nReversing the typical photographic topos, this body of work offers a female viewpoint on men, a photographic act which transgresses typical societal roles. I choose men on instinct and I always photograph those who agree to pose in a confidential location carefully selected to match each individual encounter. \r\nBy engaging with the complexities of my own identity and revealing a process of vulnerability \u2013 both the subject\u2019s and my own \u2013 these intimate portraits invite us to redefine norms surrounding gender and identity and to rethink notions of otherness.\r\nBy focusing on beauty, sensitivity and the vulnerabilities of a gender constricted within the stereotypical expectations of masculinity, my work, by exploring the complexities of manhood in an empathetic way, strives to remove any stereotype or stigma of sensitivity, recontextualizing gendered identity for today\u2019s world.\r\n\r\nThe aesthesis of the American road trip is nevertheless present. The fragments of landscape or of decors interweaved between the portraits, testify of the experience of the road trip, they can be read as a portion of the American landscape, inviting us to move back and forth between iconic images and the real discovery, the fantasy and the world that collides with it, to finally offer a representation of today's America.\r\n\r\nRaising questions on critical topics, such as the notion of gender or identity, and that of the power of the female gaze in the art, is the ambition of this long-term project.\r\n\r\nThis series, initiated in the spring of 2017, today requires to be pursued in other territories, to enrich the series of new encounters by considering the reality of this nation in its diversity \u2014 racial, ethnic, its immigration and the social and cultural differences present in each of its numerous states.\r\n\r\n\r\n*The \"Plan Am\u00e9ricain\", as French directors call it, refers to a specific way of framing movies, developed for westerns. It allows viewers to see a character from head to mid-thighs and comes from the necessity to include the character\u2019s gun usually located below the belt, in the shot. Particularly praised by French directors, it brings us closer to the subject, whilst showing his or her background. A confrontational perspective, it allows for a greater proximity between the viewer and the character. The word \"plan,\" included in the French title, also translates into rendez-vous \u2013 the ones I have with the men I choose to photograph.","social_approval":0,"is_shortlisted":1,"is_other":null,"is_good":null,"is_strong":0,"is_ongoing":1,"is_unpublished":1,"sent_first_email_reminder":0,"awaiting_payment":0,"has_started_payment":0,"has_started_paypal_payment":0,"is_public":0,"media_ok":0,"has_tracked":0,"amount_paid":0,"external_id":null,"payment_id":null,"session_id":null,"token":null,"grant_order_id":0,"submitted_at":null,"affiliate_id":null,"started_at":"2017-01-01T00:00:00.000000Z","ended_at":null,"created_at":"2019-01-19T15:56:40.000000Z","updated_at":"2019-01-24T16:30:22.000000Z","place":null,"publications":[],"categories":[{"id":1,"name":"Portrait","slug":"portrait","created_at":"2015-11-30T18:49:31.000000Z","updated_at":"2015-11-30T18:49:31.000000Z","pivot":{"grant_submission_id":13095,"category_id":1}},{"id":6,"name":"Contemporary 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13:25:11","last_logged_in_at":"2020-05-31T15:52:44.000000Z","created_at":"2015-11-30T23:29:00.000000Z","updated_at":"2020-05-31T15:52:44.000000Z","deleted_at":null,"profile":{"id":1190,"user_id":1190,"born_in_id":51763,"based_in_id":51763,"currently_in_id":146886,"nationality_id":64,"avatar":"\/users\/1190\/avatars\/oh1urz1ae9648526.jpg","cover_image":"\/users\/1190\/cover_images\/oh1urx2c53a77cb8.jpg","born_at":"1968-03-12T00:03:00.000000Z","profession":null,"bio":"Scarlett Coten is an independent French female photographer who dedicates herself essentially to personal, long-term projects. She is the winner of the Leica Oskar Barnack Award 2016.","long_bio":"<p>Scarlett Coten dedicates herself essentially to personal long-term projects, mainly exploring the themes of identity, gender, and intimacy through photographic portraiture. Coten\u2019s work has been widely exhibited and recognised with numerous awards, including the Leica Oskar Barnack Award in 2016 and the Photolucida Top 50 Critical Mass 2018.<\/p><p> In 2019, Plan am\u00e9ricain has been shortlisted in the Sony World Photography Awards (Portraiture category), the PHmuseum Photography Grant, the Grand Prix ImageSinguli\u00e8res of documentary photography, and the Bourse du Mus\u00e9e Albert-Kahn.<\/p><p>Coten started her exploration of the complexities of contemporary masculinity in the Arab World (Mectoub 2012\/2016) well before the resurgence of feminist activism sparks global conversations, and more recently, the age of Trump inspired her to continue the next chapter in the U.S. (Plan am\u00e9ricain 2017\/2019) <\/p><p>By inviting men to pose for her and by focusing on non-conformity and vulnerability, the photographer shakes up sexist and reductive gender stereotypes, removing any clich\u00e9 or stigma of sensitivity, to reveal a broader, more inclusive concept of masculinity. <\/p><p>This body of work, which is empathetic, addressing themes of patriarchy, power, identity, race, sexuality, the unequal power relations between genders, and the female perception of men, considers the necessity of alternative viewpoints with the aim to reimagining gendered identity for today\u2019s world, accompanied by a desire to subvert a desperately masculinised art history.<\/p><p>Monography<\/p><p>Still alive, Actes Sud Publisher, France \u2013 2009<\/p><p>Upcoming: Mectoub and Plan am\u00e9ricain, Franco American co-publishing \u2013 2021<\/p><p>Anthologies and Exhibition catalogs <\/p><p>Patriarchy is burning, Gang of Witches editions, France \u2013 2019<\/p><p>Firecrackers: Female Photographers Now, Thames and Hudson, London \u2013 2017<\/p><p>Second Biennal of the Photographers from the Contemporary Arab World, Institut du Monde Arabe \u2013 2017, Silvana Editoriale\u2013 2017<\/p><p>Photographers Sketchbooks, Thames and Hudson, London \u2013 2014<\/p><p>Caravane(s), L\u2019erre de rien Editions, France \u2013 2014<\/p><p>Mediterranean landscapes, Macrosonges Editions, France \u2013 2013<\/p><p>La photographie entre histoire et po\u00e9sie, Editions Mazzotta, Photographies de la collection Fnac \u2013 2002<\/p><p>More info: <a href=\"http:\/\/www.scarlettcoten.com\" target=\"_blank\">www.scarlettcoten.com<\/a><\/p>","long_bio_raw":"Scarlett Coten dedicates herself essentially to personal long-term projects, mainly exploring the themes of identity, gender, and intimacy through photographic portraiture. Coten\u2019s work has been widely exhibited and recognised with numerous awards, including the Leica Oskar Barnack Award in 2016 and the Photolucida Top 50 Critical Mass 2018.\n In 2019, Plan am\u00e9ricain has been shortlisted in the Sony World Photography Awards (Portraiture category), the PHmuseum Photography Grant, the Grand Prix ImageSinguli\u00e8res of documentary photography, and the Bourse du Mus\u00e9e Albert-Kahn.\n\nCoten started her exploration of the complexities of contemporary masculinity in the Arab World (Mectoub 2012\/2016) well before the resurgence of feminist activism sparks global conversations, and more recently, the age of Trump inspired her to continue the next chapter in the U.S. (Plan am\u00e9ricain 2017\/2019) \n\nBy inviting men to pose for her and by focusing on non-conformity and vulnerability, the photographer shakes up sexist and reductive gender stereotypes, removing any clich\u00e9 or stigma of sensitivity, to reveal a broader, more inclusive concept of masculinity. \n\nThis body of work, which is empathetic, addressing themes of patriarchy, power, identity, race, sexuality, the unequal power relations between genders, and the female perception of men, considers the necessity of alternative viewpoints with the aim to reimagining gendered identity for today\u2019s world, accompanied by a desire to subvert a desperately masculinised art history.\n\nMonography\nStill alive, Actes Sud Publisher, France \u2013 2009\nUpcoming: Mectoub and Plan am\u00e9ricain, Franco American co-publishing \u2013 2021\n\nAnthologies and Exhibition catalogs \nPatriarchy is burning, Gang of Witches editions, France \u2013 2019\nFirecrackers: Female Photographers Now, Thames and Hudson, London \u2013 2017\nSecond Biennal of the Photographers from the Contemporary Arab World, Institut du Monde Arabe \u2013 2017, Silvana Editoriale\u2013 2017\nPhotographers Sketchbooks, Thames and Hudson, London \u2013 2014\nCaravane(s), L\u2019erre de rien Editions, France \u2013 2014\nMediterranean landscapes, Macrosonges Editions, France \u2013 2013\nLa photographie entre histoire et po\u00e9sie, Editions Mazzotta, Photographies de la collection Fnac \u2013 2002\n\nMore info: www.scarlettcoten.com","display_name":null,"website_url":null,"profile_type_id":2,"twitter_handle":null,"facebook_handle":"https:\/\/www.facebook.com\/scarlett.coten","linkedin_handle":null,"skype_handle":null,"google_plus_handle":null,"pinterest_handle":null,"instagram_handle":"scarlett_coten","vimeo_handle":null,"youtube_handle":null,"telephone":null,"show_explicit_content":"1","created_at":"2015-11-30T23:29:00.000000Z","updated_at":"2020-02-20T07:50:06.000000Z"}}}