In either case, there remains a large constituency who admire the work on a purely utilitarian basis; as described by Rob Meijer, owner of a leathershop and art gallery in Amsterdam, "These works are not conversation pieces, they're masturbation pieces." [ citation needed] During his lifetime and beyond, Laaksonen's work has drawn both admiration and disdain from different quarters of the artistic community. Laaksonen developed a friendship with gay photographer Robert Mapplethorpe, whose work depicting sado-masochism and fetish iconography was also subject to controversy. [ citation needed] a b c Ilppo Pohjola (author): Kari Paljakka and Alvaro Pardo (producers): Daddy and the Muscle Academy: Tom of Finland: United Kingdom: Oracle Home Entertainment: 2002.

In 2020, as part of the 100th birthday celebrations, "Tom of Finland: Love and Liberation" at London's House of Illustration showed 40 originals with ephemera emphasizing fashion as an aspect of his work. a b Festival Diary: Bad karma and the Big Yin: The Billy Connolly Affair and trouble and strife with The Bay City Rollers. Sheila Johnston reports from the 46th Edinburgh International Film Festival Sheila Johnston, The Independent, 21 August 1992. In 1991, Filmitakomo and Yleisradio produced a documentary film, Daddy and the Muscle Academy, [2] directed by Ilppo Pohjola. By the late 1980s, Laaksonen was well known in the gay world, but his "pneumatically muscled, meticulously rendered monster-donged icons of masculinity" received mainstream attention when the film – which includes hundreds of images of his work along with interviews – was released theatrically in Finland, won a Finnish Jussi Award in 1992, [40] and was shown at film festivals and film art houses worldwide. [25] [41] [42] While praising the artwork's quality one critic noted the film's lauding of Laaksonen as a gay pride icon while ignoring his work's "resemblance to both S & M pornography and Fascist art" which she tied to Laaksonen's early sexual experiences with German soldiers during World War II. [42] In a certain way, there was always a position of separatism with the leather men compared to the leather dykes. Which is why I’m so interested in the influence that Tom of Finland had on [the Canadian artist and publisher] G. B. Jones. For the first time within G. B. Jones’s zines, in which she adopted the style of Tom of Finland, I was able to see my own community and my own self, versus the fantasies that many of us carried of being leather daddies.Tom of Finland (Touko Laaksonen, 1920–1991) is widely regarded as one of the twentieth century’s most influential artists for his groundbreaking representation of the male figure. In his youth, Tom trained at an advertising school, but what he would come to call his “dirty drawings,” which he first began developing as a teenager, were the true focus of his attention, both during this formative period and throughout the entirety of his life. These masterful renderings of virile men engrossed in acts of homoerotic desire can be approached along several interpretative lines—art historical, social, technical—but each of them points to the revolutionary nature of his project. A master draftsman, whose passion for both his medium and his subject matter enabled him to become a powerful cultural force, Tom gave form to an imaginative universe that in turn helped fuel real-world liberation movements and enabled gay men to access their strength in new ways. Tom's drawings reaffirm the centrality of sexuality, joy, and the body in all areas of human endeavor. With the decriminalization of male nudity, gay pornography became more mainstream in gay cultures, and Laaksonen's work along with it. By 1973, he was publishing erotic comic books and making inroads to the mainstream art world with exhibitions. In 1973 he gave up his full-time job at the Helsinki office of advertising agency McCann. "Since then I've lived in jeans and lived on my drawings," is how he described the lifestyle transition which occurred during this period. It has the heart of an after-hours club but revels in the gilded decadence most below-radar nightlife is out to destroy”– LA Times Ilppo Pohjola (author): Kari Paljakka and Alvaro Pardo (producers): Daddy and the Muscle Academy: Tom of Finland. Filmitakomo & YLE, Finland 1991. (Duration of Feature: 58 Minutes. Also features frames of Laaksonen's graphic art.)

FROM ADVERTISING TO GAY EROTICA: THE WORK OF TOM OF FINLAND". Tom of Finland Foundation. 15 June 2015 . Retrieved 28 March 2021. Art critics have mixed views about Laaksonen's work. His detailed drawing technique has led to him being described as a "master with a pencil", while in contrast a reviewer for Dutch newspaper Het Parool described his work as "illustrative but without expressivity". [29] Bob Mizer and Tom of Finland", Kate Wolf, Artforum International Magazine (Online), 21 November 2013 In 1999, an exhibition took place at the Institut Culturel Finlandais ( Finnish Cultural Centre) in Paris.When we curated the Nordic Pavilion at the 53rd Venice Biennale in 2009, we installed a whole wall with Tom of Finland drawings. Even at that time his art was considered controversial. It’s funny to think that only a few years later Tom of Finland’s drawings appeared on national stamps and on bedsheets and cushion covers from the traditional Finnish textile company Finlayson, founded in 1820. Cassils, Los Angeles-based performance artist Laaksonen was born on 8 May 1920 and raised by a middle-class family in Kaarina, a town in southwestern Finland, near the city of Turku. [3] Both of his parents Suoma and Edwin Laaksonen were schoolteachers at the grammar school that served Kaarina. The family lived in the school building's attached living quarters. [4] Filmmaker Wes Hurley credits Tom of Finland as an influence in his work, including his short Peter and the Wolf and his cult comedy musical Waxie Moon in Fallen Jewel. [43] a b c Hooven, F. Valentine, III: Gay histories and cultures: an encyclopedia. Volume 2 of Encyclopedia of lesbian and gay histories and cultures. p. 884. George E. Haggerty, editor. Taylor & Francis, 2000. ISBN 0-8153-3354-4

Arell, Berndt; Mustola, Kati (2006). Tom of Finland: Ennennäkemätöntä – Unforeseen. Like. ISBN 952-471-843-X. New York's Museum of Modern Art has acquired several examples of Laaksonen's artwork for its permanent collection. [35] In 2006, MoMA in New York accepted five Tom of Finland drawings as part of a much larger gift from The Judith Rothschild Foundation. The trustee of The Judith Rothschild Foundation, Harvey S. Shipley Miller, said, "Tom of Finland is one of the five most influential artists of the twentieth century. As an artist he was superb, as an influence he was transcendent." [36] Hudson, of Feature Inc., New York, placed Tom of Finland's work in the collections of Rhode Island School of Design Museum of Art and Art Institute of Chicago. His work is also in the public Collections of: The Museum of Contemporary Art (MOCA), Los Angeles, USA; Wäinö Aaltonen Museum of Art; Turku, Finland; University of California Berkeley Art Museum, Berkeley (California), USA; Los Angeles County Museum of Art, Los Angeles, USA; Kiasma, Museum of Contemporary Art, Helsinki, Finland; San Francisco Museum of Modern Art, San Francisco, USA; and Tom of Finland Foundation, Los Angeles, USA. Arell & Mustola, p. 31. This followed the naming conventions of the magazine. Other pseudonyms of the time were Bruce of Los Angeles and Spartan of Hollywood, for example.His mission was to spread joy and spread that sense of freedom of expression," said Durk Dehner, one of the cofounders of the Tom of Finland Foundation. Laaksonen's illustrations of leathermen, as exemplified by Kake, significantly influenced the aesthetics of the gay leather subculture. Kake is among Laaksonen's most popular creations, having been alternately described as his "most iconic character" and as "the gay world's most familiar pin-up icon". Waugh, Thomas: Hard to Imagine: Gay Male Eroticism in Photography and Film from Their Beginnings to Stonewall. New York: Columbia University Press, 1996. ISBN 0-231-09998-3. For a long time, there was no language around transness, or folks that were gender nonconforming or nonbinary. And I think, similarly, perhaps when Tom of Finland was forging this iconic style, he really took ownership over his definition of what it was to be a homosexual, which was perhaps, at that time, a term that was viewed as weak or derogatory. For him to manifest this totally fantastical, empowered erotic vision, it was completely contrary to that. So, I think that aspect of his imagining is something that has definitely influenced me as an artist, in terms of me being able to understand and forge a possibility for myself. John Waters , Baltimore-based filmmaker