Um homem segundo o meu coração: Relações político-sexuais da arte na série Davi, de Alair Gomes

Abstract

Studying the work of Alair Gomes is to encounter a unique and difficult-to-compare production in relation to any other Brazilian or Latin American photographer. Gomes' own life was a wandering flow that passed through engineering, public service, philosophy, teaching, writing, and photography. In an attempt to contribute in some way to a systematic study of Alair Gomes' work and thoughts, this research proposes a study on a set of photos that surprisingly were not organized by the photographer himself. The photographs that Gomes took of Michelangelo's David may reveal something about the formation of this photographer's gaze, which could perhaps serve as a paradigm for the gaze of many other gay men.