Amazon.com Review
In a gay heaven, the choir robes would be designed by Gautier after drawings by Tom of Finland. Even on Earth, utopia must be approaching when the musclebound torsos and bulging baskets of Tom's manly men attract a full-length critical study. Art historian Micha Ramakers, who previously edited a monograph of Tom of Finland's drawings, argues persuasively for the influence of these hyper-masculine figures on gay culture since the mid-1950s, when the artist's renderings of fantasy men first began to appear in American beefcake magazines. Although the consistency of Tom of Finland's technique and themes over the four decades of his working life doesn't leave Ramakers much room to discuss the development of his subject's talents, he makes ample use of his few opportunities (like the introduction of more black figures in the mid-1980s, after the artist spent six months in the U.S.). More rewardingly, he uses the pornographer's work as a lens for examining the evolution of gay masculinity since the 1950s.
--Regina Marler
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
More than the work of any other gay erotic artist, Tom of Finland's images of overdeveloped butch bikers, loggers and military men engaging in explicitly sexual activity helped define a gay aesthetic that has influenced such mainstream artists as Robert Mapplethorpe and Bruce Weber, as well as sexuality and masculinity in popular culture. Ramakers, an art historian born and based in Belgium, surveys the career of Tom of Finland--the nom de gay of Touko Laaksonen, born in Finland in 1920--from his earliest publications of the 1950s in Physique Pictorial, a homoerotic U.S. muscle magazine, to his many gallery and museum shows and his lucrative sales at Christie's. Astutely delineating Tom of Finland's influences--from Renaissance religious art to the work of Paul Cadmus, Charles Demuth and Kenneth Anger--Ramakers places his subject in the context of both high and commercial art. Drawing upon such diverse sources as Laura Mulvey's feminist film and literary theory, George Chauncey's history Gay New York and Kobena Mercer's critical race theory, Ramakers confronts the charges of misogyny, internalized homophobia and racism that have surrounded the artist's work. His discussion of Tom of Finland's idealized view of masculinity and its relationship to state-sponsored art of the Third Reich is nuanced and illuminating. Ultimately, Ramakers makes a convincing case for viewing Tom of Finland's work as highly political, anti-homophobic pedagogy as well as sex-positive erotica. (Mar.)
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