Fine Art Photography Daily

Ben McNutt: Oil Wrestling

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©Ben McNutt

Turkish oil wrestling is so much of a spectacle that it would be shocking to find out if someone had never heard of it. Historically the oldest sporting event in the world, oil wrestlers are clearly athletes displaying heightened fitness, resilience, and strategic intelligence, making it a competition of the best among the best.  Ben McNutt, a photographer that has concerned himself with the cultural image of wrestling, Greco-Roman sculpture, and queerness, traveled to Turkey to document oil wrestling as a poignant component to his research. Here Ben has made a slight departure in content, choosing to create dialogue between the perception of masculinity and the complexities that have bound its image.

The sport of wrestling holds culturally and socially significant subtexts, such as power, athleticism, and desire. McNutt’s in-depth, artistic exploration of this sport throughout history demonstrates a natural obsession with these subtexts. Perhaps McNutt’s artwork is a representation of all of our fantasies, obsessions, intrigues, and desires. His work stands as a part of a larger body that chronicles the human fascination with the athletic form. However, his use of photography extends this conversation by intentionally framing our perspective. In doing so, our impressions, responses, and desires become inseparable from the subjects in the photographs. McNutt allows us to share an intimate embrace with wrestling.

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©Ben McNutt

Oil Wrestling

I​ ​was​ ​confronted​ ​with​ ​contradiction​ ​when​ ​I​ ​penned​ ​an​ ​article​ ​for​ ​an​ ​online​ ​news​ ​site. Accompanied​ ​alongside​ ​my​ ​photographs​ ​I​ ​boldly​ ​wrote​ ​how​ ​I​ ​believed​ ​wrestling​ ​culture’s perspective​ ​on​ ​masculinity​ ​was​ ​incompatible​ ​with​ ​how​ ​it​ ​presented​ ​itself,​ ​appearing​ ​socially conservative​ ​but​ ​presenting​ ​itself​ ​so​ ​queerly​ ​to​ ​me​.​ ​​One​ ​photograph​ ​I​ ​created​ ​emphasized​ ​the skin-tight​ ​red​ ​spandex​ ​of​ ​a​ ​wrestling​ ​singlet​ ​against​ ​a​ ​wrestlers​ ​chest​ ​while​ ​another​ ​photograph showed​ ​a​ ​touching​ ​and​ ​quiet​ ​embrace​ ​between​ ​two​ ​wrestlers.​ ​The​ ​response​ ​to​ ​the​ ​article​ ​was overwhelmingly​ ​negative.​ ​​ ​I​ ​received​ ​death-threats​ ​among​ ​the​ ​various​ ​invocations​ ​of​ ​violence from​ ​self-identified​ ​wrestlers​ ​and​ ​other​ ​users.​ ​​ ​Agitated​ ​commentators​ ​denied​ ​its​ ​queerness​ ​and also​ ​spoke​ ​of​ ​my​ ​lack​ ​of​ ​authenticity,​ ​research,​ ​and​ ​relationship​ ​with​ ​wrestling​ ​culture​ ​as reasoning​ ​for​ ​their​ ​denial.​ ​What​ ​I​ ​was​ ​taught​ ​to​ ​feel​ ​about​ ​wrestling​ ​and​ ​what​ ​I​ ​was​ ​actually feeling​ ​were​ ​at​ ​odds​ ​with​ ​one​ ​another.​ ​Culturally​ ​I​ ​was​ ​supposed​ ​to​ ​view​ ​the​ ​sport​ ​and​ ​wrestlers as​ ​strong,​ ​traditional,​ ​masculine,​ ​powerful,​ ​normative​ ​figures​ ​but​ ​that​ ​isn’t​ ​what​ ​I​ ​saw​ ​or​ ​what​ ​I felt.​ ​Frustrated​ ​by​ ​the​ ​reaction​ ​to​ ​my​ ​article​ ​and​ ​filled​ ​with​ ​self-doubt​ ​I​ ​wanted​ ​to​ ​begin​ ​an in-depth,​ ​artistic​ ​exploration​ ​of​ ​wrestling​ ​culture​ ​and​ ​its​ ​relationship​ ​with​ ​masculinity​ ​to​ ​prove these​ ​wrestlers​ ​wrong.

Recognizing​ ​some​ ​of​ ​the​ ​more​ ​valid​ ​aspects​ ​of​ ​the​ ​comments​ ​made​ ​I​ ​continued​ ​to​ ​learn about​ ​and​ ​photograph​ ​wrestling.​ ​Where​ ​my​ ​interests​ ​led​ ​me​ ​was​ ​a​ ​matter​ ​of​ ​the​ ​heart​ ​and​ ​never felt​ ​forced​ ​for​ ​myself.​ ​I​ ​became​ ​a​ ​regular​ ​attendee​ ​at​ ​the​ ​Naval​ ​Academy’s​ ​wrestling competitions​ ​in​ ​​Annapolis,​ ​Maryland​ ​​where​ ​I​ ​watched​ ​and​ ​learned​ ​the​ ​sport​ ​alongside​ ​wrestlers. I ​​talked ​​with ​​world​ ​freestyle ​​wrestling ​​gold ​​medalist ​​Mehran ​​Mirzaiee, مهرانمیرزای ​ی​,​​​ about wrestling’s​ ​popularity​ ​in​ ​Iran​ ​in​ ​comparison​ ​to​ ​the​ ​United​ ​States.​ ​I​ ​archived​ ​thousands​ ​of wrestling​ ​photographs​ ​from​ ​institutions​ ​such​ ​as​ ​the​ ​​National​ ​Archives​ ​and​ ​Records​ ​Administration and​ ​from​ ​personal​ ​instagram​ ​accounts​ ​such​ ​as​​ ​turkish​ ​pehlivan​ ​Sefa​ ​Yeşilkaya.​ ​When​ ​I​ ​read comments​ ​on​ ​my​ ​article​ ​years​ ​later​ ​I​ ​understand​ ​some​ ​of​ ​the​ ​viewpoints​ ​voiced.​ ​So​ ​often​ ​the​ ​wrestling imagery​ ​we​ ​consume​ ​such​ ​as​ ​photographs​ ​of​ ​turkish​ ​oil​ ​wrestling​ ​are​ ​simplified​ ​to​ ​being​ ​“gay”​ ​and sexualized​ ​while​ ​dismissing​ ​the​ ​cultural​ ​context​ ​and​ ​nuances​ ​the​ ​sport​ ​and​ ​imagery​ ​contains​ ​and​ ​I​ ​added to​ ​this​ ​assumption.​ ​After​ ​six​ ​years​ ​involved​ ​in​ ​this​ ​project​ ​I​ ​have​ ​come​ ​to​ ​​believe​ ​however​ ​that wrestling​ ​provides​ ​a​ ​space​ ​for​ ​progressive​ ​aspects​ ​of​ ​masculinity​ ​to​ ​be​ ​practiced.

​Wrestling​ ​culture​ ​is​ ​able​ ​to​ ​provide​ ​a​ ​context​ ​wherein​ ​its​ ​athletes​ ​are​ ​pulling,​ ​pushing, and​ ​ignoring​ ​aspects​ ​of​ ​traditional​ ​masculinity​ ​willing​ ​or​ ​unwitting.​ ​Because​ ​of​ ​wrestling’s incredible​ ​relationship​ ​with​ ​history,​ ​religion,​ ​athleticism,​ ​culture,​ ​nationalism,​ ​I​ ​find​ ​this​ ​belief​ ​to be​ ​an​ ​incredibly​ ​powerful​ ​one.​ ​Though​ ​my​ ​work​ ​on​ ​wrestling​ ​stands​ ​as​ ​a​ ​part​ ​of​ ​a​ ​larger​ ​body that​ ​chronicles​ ​the​ ​human​ ​fascination​ ​with​ ​the​ ​athletic​ ​form,​ ​my​ ​use​ ​of​ ​photography​ ​extends​ ​this conversation​ ​by​ ​intentionally​ ​framing​ ​our​ ​perspective.​ ​I​ ​will​ ​continue​ ​my​ ​series​ ​on​ ​wrestling with​ ​no​ ​end​ ​in​ ​site,​ ​not​ ​only​ ​because​ ​I’ve​ ​found​ ​myself​ ​as​ ​a​ ​wrestling​ ​fan,​ ​but​ ​because​ ​my​ ​beliefs compel​ ​me​ ​to​ ​do.

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©Ben McNutt

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©Ben McNutt

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