For Laurie Anderson's Fully Automated Nikon (Object/Objection/Objectivity), 1973, the artist shot pictures of men who cat-called her on the streets of New York. By throwing the gaze of these men back onto themselves, Anderson overtly declared her ‘objection to this objectification’. Anderson further incriminates the men by overlaying a white strip on the men’s eyes, simultaneously rendering them anonymous while robbing them of their ‘gaze’ altogether.
What does it mean to be a man today? The Barbican's Masculinities: Liberation through Photography considers how masculinity has been coded, performed, and socially constructed from the 1960s to the present day.