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OVER A QUARTER CENTURY OF DEDICATION TO PROTECTING, PRESERVING AND PROMOTING EROTIC ART.
January 17, 2015 - March 7, 2015
Los Angeles, CA

David Kordansky Gallery
presents:

Early Work 1944 1972

Touko Laaksonen a.k.a. Tom of Finland (1920 – 1991) is widely regarded as one of the 20th century’s most influential artists for his revolutionary representation of the male figure. His drawings of fantastically muscled men engrossed in acts of homoerotic desire comprise one of the most inventive portrayals of the humans body in modern times. These pictures of gay men as virile, confident, and unashamed–equally radical for their near illicit, underground distribution–originated an empowering queer iconography and liberating spirit that increasingly inspires popular culture.

David Kordansky Gallery:  "Early Work 1944 – 1972"

TOM OF FINLAND (Touko Laaksonen, Finnish, 1920 1991),
Untitled, 1947, Gouache on paper, 11.31 x 8.19 in (28.7 x 20.8 cm),
© 1947 Tom of Finland Foundation

This exhibition surveys the artist’s formative years across fifteen works, each selected in close collaboration with the Los Angeles-based Tom of Finland Foundation. These graphite drawings, gouaches, and inked storyboards–the majority of which have never been shown before–broadly trace the evolution of Tom’s exquisite draftsmanship and compositions from his earliest extant erotic works, executed just after serving in the Finnish Army during WWII, through to a complete comic produced in 1972, the year before Tom both earned his first solo exhibition, and retired from his advertising career to devote himself full-time to his art.

Among the earliest works featured is a group of rare sketches from 1944 depicting clothed couples enjoying sensual trysts. The delicate fashion-illustrational style and the coifed hairstyles reflect the era, but the exposed and exaggerated genitalia, a burgeoning pre-steroid musculature, and most significantly, expressions of pride and playfulness signal Tom’s pioneering approach to sexuality. At the time, homosexuality was unequivocally taboo, if not illegal, and the dominant image of gay men was that of weakness, sickness, and effeteness. In a masterful 1947 gouache on view, Tom both flouts and acknowledges these prejudices with the depiction of a commanding, strong-jawed figure discreetly pleasuring his companion. The picture also displays an early fetish for leather and military garb, trappings Tom would adopt throughout his world as symbols of power and masculinity.

A selection of finished drawings from 1957 to 1970 further redefines archetypes. Beginning with Bob Mizer’s LA-based beefcake magazine Physique Pictorial, Tom began publishing his pictures as multi-image stories in proto-zine periodicals. To populate this expanding universe, he (predating the appropriations of punk) radically coopted working class, macho, and heterosexual identities, in particular the bikers, sailors, cowboys, and circus performers on view. Seen here idyllically cavorting, these Adonises emulate the aspiring freedoms of the decade. Each composition is charged as much with moments of looking as touching, mirroring the gaze of the viewer, and suggesting a heightened openness to the dynamics of visibility.

The exhibition’s chronology culminates in a 1972 multi-panel comic featuring Kake, Tom’s recurring alter ego superhero and the original gay leatherman clone, seducing a “Tom’s TV” repairman during a house call. Published as Kake Vol. 11 TV Repair, one of 26 stories the artist released from 1968 to 1986, this sequence of 20 images (plus cover) comprise the final photo-ready artwork for press production. Accordingly, Tom supplants his graphite tonal gradients with the graphic, commercial art punch of pen and gouache, and the character of Kake, an easygoing if horny everyman, takes on a Sunday morning regularity. Similarly, the ecstasy of TV Repair is set within a conventional house with framed artwork on its walls. The artworks are photo-collaged reproductions of Tom’s own “dirty drawings”, and what is suggestively invoked is a world in which the permissiveness of Tom of Finland is a part of every living room.

An accompanying, fully illustrated catalogue, designed by Brian Roettinger and featuring an essay by Kevin McGarry, will be published.

Critic's Pick
Tom of Finland, untitled, 1972, ink, gouache, and cut-and-pasted photo on paper. From the series “TV Repair,” 1972
TOM OF FINLAND, untitled, 1972, ink, gouache, and cut-and-pasted photo on paper. From the series “TV Repair,” 1972. © 1972 Tom of Finland Foundation

In 1956, Finnish draftsman Touko Laaksonen (1920–1991) submitted a drawing of two strapping lumberjacks to a popular American beefcake magazine, Physique Pictorial. The drawing was accepted as a cover, attributed to Tom of Finland—an Anglicized approximation of Touko with the artist’s geographic origin thrown in for tempered exoticism. A contrast between traditional aesthetics and raunchy subject matter in the lumberjacks drawing would characterize his oeuvre for decades. The thirteen drawings, one gouache, and one multipanel narrative on view in this frisky exhibition span the years of 1944 to 1972 and illustrate that by the late seventies Laaksonen’s suggestiveness had given way to unabashed homoeroticism. Saturated by Western heroic representation that harkens to the Vatican Laocoön sculpture, these works shun that era’s prevailing stereotype of gay effeminacy, instead championing prodigiously vigorous homosexuals pleasuring one another, their expressions glib, their gaze triumphant.

Those familiar with Laaksonen’s larger body of work will probably notice that the 1972 TV Repair series, which shows the artist’s alter ego—all hard muscled and leather clad—seducing a repairman, is a pendant to his 1946 ink-and-gouache-on-paper series Bob’s Tale, Pt. 1. In the latter, two large and assertive male visitors seduce Bob, who is also modeled after Laaksonen. Both seductions feature his familiar erotic trope—the subject first surprised, then compliant, later ecstatic—but with one significant shift: After twenty-odd years of erotic drawings, the artist’s alter ego finally graduated from seduced to seducer, from Touko to Tom. The following year, 1973, Tom of Finland, an advertising designer by day, piano player by night, whose drawings began as a furtive labor of love, launched his official art career with his first art show in Hamburg.

— Julia Friedman, Artforum

TOM OF FINLAND (Touko Laaksonen, Finnish, 1920  1991),
TOM OF FINLAND (Touko Laaksonen, Finnish, 1920 1991), T.V.-Repair (Panel 1 of 21), 1972, pen, ink, gouache and cut-and-pasted photo on paper, each 17 by 14 inches, 1972 Tom of Finland Foundation

The show’s 15 early works on paper—most exhibited for the first time—serve as a profoundly dynamic historiography of postwar gay sensibilities. Their preening, posing figures reflect 30 very important years of gay life, spanning from the underground lifestyle of the 1940s to the countercultural gay liberation movement that Tom’s musclemen most often represent. Tom (born Touko Laaksonen) began publishing his drawings in periodicals like Physique Pictorial in the late 1950s, eventually becoming the best-known creator of homoerotic and fetish art in the world.

In the work of the 1960s, Tom develops the impeccable graphite control that defines his best-known drawings. He was a master draftsman. That skill transforms isolated body parts into orgiastic offerings at a carnal smorgasbord. Yet even the fetishism offered in these 1960s drawings—by way of riding boots, military garb and circus singlets—is far more sweet or cordial than the impenetrable sheen of the later Tom of Finland musclemen. The popularity of those later poster boys was achieved through a pitch-perfect blend of draftsmanship and advertising aesthetics; their flamboyant masculinity is total, fetishistic, commercial. Here, however, boys romp and play, and Tom finds his way through a furtive period of gay codification into a permissive culture receptive to his fantasias.

Continue reading...

— Bradford Nordeen, Art in America

“Early Work 1944  1972” opening “Early Work 1944 – 1972” opening
January 17, 2015
David Kordansky Gallery

Photos by Lorenzo Gomez

David Kordansky Gallery
January 17, 2015 - March 7, 2015
5130 West Edgewood Place, Los Angeles, California 90019  Map
Tel 323.935.3030
David Kordansky Gallery Website

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ABSTRACT ART
“The abstract, especially in those rough sketches, is very important to me, perhaps because of my advertising background, where layout is so important. Sometimes those first few lines cut the paper into such satisfying shapes that I don’t want to go on, but I always do, adding nostrils and nipples and bootstraps until I have filled the paper up as usual.” — Tom of Finland