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

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.) Copyright 2000 Reed Business Information, Inc.

Review
"Ramakers, an art historian [based] in Belgium, surveys the career of Tom of Finland, the nom de gay of Touko Laaksonen, born in Finland . . . Astutely delineating Tom'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 . . . His discussion of Tom's idealized view of masculinity and its relationship to state-sponsored art of the Third Reich is nuanced and illuminating."—Publishers Weekly

"Tom of Finland has evolved from one of the 20th century's most prolific under-the-radar pornographers to a gay cultural icon. [Dirty Pictures], lavishly illustrated with his most characteristic work, explores the underlying constructs of masculinity in his work and its ramifications within gay male culture."--Frontiers

"Dirty Pictures works on a number of levels. As a reevaluation of the art of Touko Laaksonen, it succeeds admirably; as a discussion of the troubling political aspects of his work, it is provocative."--Sydney Star Observer

"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, Amazon.com


Review
"Ramakers, an art historian [based] in Belgium, surveys the career of Tom of Finland, the nom de gay of Touko Laaksonen, born in Finland . . . Astutely delineating Tom'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 . . . His discussion of Tom's idealized view of masculinity and its relationship to state-sponsored art of the Third Reich is nuanced and illuminating."—Publishers Weekly

"Tom of Finland has evolved from one of the 20th century's most prolific under-the-radar pornographers to a gay cultural icon. [Dirty Pictures], lavishly illustrated with his most characteristic work, explores the underlying constructs of masculinity in his work and its ramifications within gay male culture."--Frontiers

"Dirty Pictures works on a number of levels. As a reevaluation of the art of Touko Laaksonen, it succeeds admirably; as a discussion of the troubling political aspects of his work, it is provocative."--Sydney Star Observer

"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, Amazon.com


Book Description
In this groundbreaking study of the art of Touko Laaksonen (1920-1991), better known as Tom of Finland, Micha Ramakers explores the incredible and defining impact Tom's work has had upon the culture at large. It is work whose erotic and emotional power remains unabated to this day. Lavishly illustrated with drawings and photographs, Dirty Pictures is a lively and entertaining book encompassing the rise of the gay movement, the world of fine art, and the function (and the functioning) of pornography. For the millions of fans of Tom's work throughout the world, as well as readers unfamiliar with his work, this study brings uncommon insight into Tom of Finland's decidedly uncommon work.


About the Author
Micha Ramakers is an art historian and author of the introduction to The Art of Tom of Finland (Taschen, 1998). He lives in Belgium.

FROM THE PUBLISHER

In this groundbreaking study, Micha Ramakers explores the work [of Tom of Finland] and its effect upon the culture at large. Lavishly illustrated with more than eighty drawings and photographs, Dirty Pictures is lively and entertaining. It encompasses the rise of the gay movement, the world of fine art, the function and functioning of pornography, and the incredible impact of the artist known as Tom of Finland.

FROM THE CRITICS

Publishers Weekly