CNN – Some people travel the world in search of adventure, while others seek natural wonders, cultural landmarks, or culinary experiences. However, French photographer François Prost had a different objective during his recent road trip across America: strip clubs. In his latest book “Gentlemen’s Club,” Prost documents his journey across the US, visiting nearly 150 strip clubs with names like Pleasures, Temptations, and Cookies N’ Cream. But instead of focusing on the nude women inside, Prost’s camera is solely focused on the buildings themselves, particularly their often-colorful facades.
During his five-week trip in 2019, spanning over 6,000 miles, Prost captured photographs of strip club exteriors ranging from the pastel hues of Florida’s Club Pink Pussycat to venues inconspicuously hidden in plain sight in religious states. Prost divided these establishments into two categories: those seamlessly integrated into the public landscape, often found around amusement parks, fast food restaurants, and malls, and those that blend in as unassuming storefronts in strip malls. He discovered many of the latter type in the socially conservative Bible Belt region of the country.
Prost’s interest in exploring strip clubs in the Bible Belt stemmed from the contrast between their prevalence and the conservatism in the area. His intention was not to delve into the interiors or services offered by these clubs; instead, he aimed to gain insight into American culture by creating objective, documentary-style photographs of establishments at the intersection of sex, gender, and commerce. He viewed the strip club facades as a prism through which he could study and understand the country.
The genesis of Prost’s project can be traced back to his 2018 series, “After Party,” which focused on the flamboyant facades of French nightclubs. People often commented on how these buildings’ exteriors resembled those found in American cities, sparking the idea for Prost to extend his project to the US. As he meticulously planned his trip, he noticed that strip clubs in America, unlike those in Europe, were unapologetically visible. Their exteriors displayed hot pink walls, gigantic nude silhouettes, and even candy cane-striped storefronts, openly revealing the kind of entertainment they offered.
Prost would enter these strip clubs during the day, seeking permission to take photographs while explaining his intentions to avoid raising suspicion. Although the interiors rarely matched the enticing promises displayed on the signs outside, Prost encountered a variety of individuals during his journey, from indifferent bouncers to enthusiastic managers who embraced the project. Generally, people were accepting of his presence as long as he refrained from photographing patrons or dancers. Some found his fascination with strip club facades unconventional, while others were excited and even provided their business cards to receive the finished photographs.
What surprised Prost the most was how normalized strip clubs appeared to be in American everyday life. He discovered that going to a strip club was widely accepted, often viewed as a fun activity for couples or groups of friends. For instance, many Las Vegas strip clubs also functioned as restaurants, offering happy hour deals, buffets, and special discounts for truck drivers or construction workers. Prost even came across strip clubs advertising themselves as strip clubs and steakhouses, combining two quintessentially American experiences. According to people he met in Portland, there were even strip clubs serving vegan food.
Prost’s photographs capture the humor and surrealism of strip club facades, with jokes and pun-based names adorning the buildings. His documentary approach allows viewers to form their own opinions about the objectification of women by focusing on faceless dancing bodies and the “girls girls girls” signs, highlighting the commodification of women who are absent in Prost’s works. The strip clubs he visited marketed women as consumable objects, evident in the many food-themed names and advertisements. His next project involves documenting Japan’s love hotels, which, like strip clubs in some parts of the US, serve as open secrets in a conservative society. However, Prost believes that the American strip clubs he visited reveal something unique about the country, something less about sexuality and more about the American dream.
The “Gentlemen’s Club” exhibition will take place at Agnes b. Galerie Boutique in Tokyo, Japan from March 17 to April 15, 2023. The book, published by Fisheye Editions, is currently available.