Young Nude Boys

Young Nude Boys
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Missouri man gets 10 years for secretly filming nude boys
See also Delaware County Man Sentenced to Over 1 ½ Years in Prison for Cyberstalking

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The FINANCIAL
Michael Stevens, 43, of Oran in Scott County, Missouri, pleaded guilty in May to coercion and enticement of a minor.
Stevens admitted luring teenage boys to accompany him to concerts in the St. Louis area. Stevens used a hidden camera to secretly record video of two boys in the bathroom of the hotel rooms where they stayed, his plea agreement says.
Stevens began taking one of the boys hunting and fishing starting when the boy was 13.
In April of 2020, the boy’s parents contacted the Scott County Sheriff’s Office after their son said Stevens had grabbed his buttocks in a hotel after a 2019 concert in St. Louis and asked for pictures of his genitals. The parents asked the boy about Stevens after Stevens complained that the boy would no longer go hunting and fishing, and the boy then disclosed Stevens’ crimes.
On May 5, 2020, Stevens told law enforcement that he took multiple teenage boys under his wing and mentored them. He also admitted engaging in sexual talk with some of these boys, and identified another victim.
Stevens also took that boy hunting and fishing and to a concert in the St. Louis area. At a hotel, Stevens hid a camera to record the boy changing, his plea agreement says. Stevens also asked that victim for nude pictures.
After his release from prison, Stevens will be on supervised release for life and will have to register as a sex offender. He was ordered to pay $6,000 in restitution and also agreed to forfeit a 2011 Chevrolet Silverado. A portion of the proceeds of the sale of the truck will go to the restitution.
The Scott County Sheriff’s Office, the Missouri State Highway Patrol and Missouri’s State Technical Assistance Team investigated the case. Assistant U.S. Attorney Jillian Anderson prosecuted the case.
This case was brought as part of Project Safe Childhood, a nationwide initiative to combat the growing epidemic of child sexual exploitation and abuse launched in May 2006 by the Department of Justice. Led by U.S. Attorneys’ Offices and the Department of Justice Criminal Division’s Child Exploitation and Obscenity Section, Project Safe Childhood marshals federal, state and local resources to better locate, apprehend and prosecute individuals who exploit children via the Internet, as well as to identify and rescue victims. For more information about Project Safe Childhood, please visit www.justice.gov/psc .
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by Jeffrey M. Jones WASHINGTON, D.C. — Sharply fewer U.S. adults report they use cash for
by Matthew H. Nash — Biodiversity is vital for our planet. However, over the past century
CHICAGO — A man has admitted in federal court that he robbed eight Chicago-area banks over
ALBUQUERQUE, N.M. – Alexander M.M. Uballez, United States Attorney for the District of New Mexico, announced
The FINANCIAL — Marijuana and hallucinogen use in the past year reported by young adults 19
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Will McBride

Two nude boys , ca. 1965–1969
25 x 36 cm. (9.8 x 14.2 in.)

Will McBride

(American, 1931–2015)
American
1931
2015

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Yushi Li, The Feast, 2020, image courtesy Yushi Li
“The male nude is by leaps and bounds way less exoticized than the female nude in art, and in all forms of media”, the photographer Dana Scruggs tells me. Her recently released photo series The Black Male Form sees Scruggs — known for shooting high profile celebrity magazine cover stories — vow to use the male body as an object, in the same way many male artists have done with the female body throughout art history. “Seeing the female body nude is extremely commonplace”, Scruggs elaborates, “there’s literally been countless advertisements of naked women on billboards and in magazines, and actresses are constantly expected to show full frontal nudity on screen.”. It’s a lack of parity that Scruggs wants to subvert, “the male nude has been marginalized because there’s never been a dude with his penis out on the side of a bus”, she says, “only now are we starting to see male actors going full frontal in TV and film on a more consistent basis.”.
Dana Scruggs, Rōze En La Playa (2016)
Becoming more radical as her career progresses – in January Scruggs took to Instagram resolving to “just do what I want. If you like it great, if you don’t, that’s okay too” – her next step involves moving the needle on the use of the male nude in art. The last century of visual culture has seen the female body become a passive creative object used to benefit advertising, art, commerce and pornography, largely by and for men. Her photo series Roze en la Playa on show at New York’s Fotografiska Nude exhibition illustrates how Scruggs is committed to addressing the inequality of male and female nudes in art. The show opened a week after Scruggs posted a mission statement on Instagram, where she revealed her ongoing project The Black Male Form . “The Black Male Form is a phrase I’ve used most of my career to describe my work”, she wrote, “Unfortunately I rarely get hired to shoot men. It feels good to go back to my roots to push even further than I have before.”.
This lens on the male nude is a political one for Scruggs. “This is a patriarchal society that has been dominated by men having the power to desenstize the public to the female nude while intentionally making the public highly sensitive to viewing male genitalia” she tells me, when I ask about her image Roze en la Playa , which sees the chef and model Roze Traore laying in a pose reminiscent of Ingre’s Grande Odalisque painting on a sandy beach. Scruggs cleverly highlights the knock-on effect of a visual culture permeated with passive female nudes, but far fewer of men.
Since the artist group Guerilla Girls famously revealed in 1989 that 5% of the artists in US modern art collections are women, but 85 percent of the nudes are female, little has changed. In 2018, a National Museum of Women in the Arts survey of American museums found that 87 percent of the collections were by men. “When I go to museums, I see way more breasts and vaginas on display than I see penises”, Scruggs explains, “the double standard of vulnerability is very easy to see.”. This double standard has created a culture where the female nude image is traded in a way mens’ is not — in 2018 Exeter University found that nearly 3 in 4 victims of revenge porn are women.
Yushi Li, Ben, (2017), image courtesy Yushi Li
“The male nude was the ideal and principal subject in art in ancient Greece and early renaissance art” says photographer Yushi Li , who appears in the exhibition Nude alongside Scruggs. However, she explains, “since the early 19th century, the female nude started becoming the most prevalent subject in art. Unlike the male nude, which is often perceived as an autonomous subject, the female nude is normally presented in a passive way. I think in my work, I try to present men in a different way to question this masculine and feminine opposition, and cast the gaze onto the male body, which can be equally eroticized and desired as the female body.”. Over the last year, much has been made over male nudity becoming slightly more commonplace in popular culture – in the Sex and the City reboot And Just Like That, Harry’s full front scene went viral, Sex Life 's Adam Demo’s nude scene was much talked about, and even the cover of Julia Peyton’s novel Vladimir shows a naked man. But as Li notes, these acts of nudity have far more autonomy that women’s do – we still need more parity.
Li’s photographic profiles such as Tinder Boys and The Feast , present the male body as a passive prop to her art. An image from The Feast depicts Li fully clothed with naked men used as props for furniture. “In the project My Tinder Boys , I photographed different men I met through the online dating application Tinder. I look at them, I ‘like’ them, I make them become images of mine. The repetition of the process and similar settings in this series of photographs turns these men into undifferentiated and replaceable objects of my desire.”
Yushi Li, The Nightmare, image courtesy Yushi Li
Li’s image The Nightmare is strikingly similar to Allen Jones’s 1969 sculpture Table, in which a female mannequin is bent over and used as a seat – a pointed reference to the casual use of female bodies for the benefit of a male artist? “During these unusual dates” Li says, careful to note the nuance in her presentation of female objectification of men: “I am both the violator who tries to invade their private space and also the desiring object who participates in their vulnerability”. Carlota Ibanez of Efremedis Gallery in Berlin, says she’s seeing a new emerging market among collectors for art where the tropes of art owned by men historically “such as the nude which was until very recently largely authored by men for men”, are “subverted, such as women depicting men naked, not as the centrepiece of their art, but as passive objects.”.
Dana Scruggs, Rōze En La Playa, image courtesy Dana Scruggs
Like Yi, Scrugg’s ongoing series The Black Male Form sees her use the male body as the ideal prop for the perfect photograph. “I will usually give the model a random piece of direction like: pretend like you're a leaf on the wind or pretend like you’re a piece of spaghetti that’s been thrown against a wall”, she says, “how they interpret that direction is our jumping off point and we work together to make those movements look and feel organic and effortless.”. In many ways, this female lens on the male body is anti-social media, the algorithm-defined aesthetics of which have led to many photographers showing their work on Instagram that prioritises a beauty that fits into western standards – which is what the algorithm rewards.
Does Scruggs think the male nude is at risk of the same marginalisation that women have felt for over half a century? “The root of my work is portraying the masculinity and vulnerability of the Black male form. I enjoy photographing women, but the opposite energy of men is what inspires me the most”, she says. She describes her work before revealing The Black Male Body series as something she did for career progression, feeling that she to “had to check boxes of wokeness and black pain”, a sentiment she shared on Instagram last year. For now, a commitment to the male nude is her main objective. “It’s a voyeuristic fascination” she says — “a curiosity of the masculine.”.

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In Cooper’s interview with Tuke in Pearson’s Magazine 1920 the artist confided 'it interests me more than anything else in life – the play of outdoor light and sunshine on the human form.' This sensitive observation of light can be witnessed not only in his Royal Academy exhibits, but also in the hundreds of masterly oil and watercolour studies, like this one, painted en plein air.

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Joseph Kestner describes Tuke as 'the greatest painter of the male nude in Victorian painting'. Falmouth, virtually surrounded by sea, enjoys a very special reflected light and Tuke studied it closely. He observed the rich colour in soft shadows and how sunlight reflects through and off the water. This is what sets him apart and led A. B. Cooper to aptly call him 'The Sunshine Painter'.

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