Get a Piece of Skin Off Bruce LaBruce

Bruce LaBruce and Tom of Finland Store form a happy (open) relationship

If you are not familiar with Bruce LaBruce’s work, he is sort of a bastard love child of Kenneth Anger and John Waters. Maybe a little scarier. His first claim to fame was the zine J.D.s in 1985. And that little chapbook essentially made the ’90s homocore scene possible. He also made a bunch of crazy-ass films meant to challenge everything you hold dear about God and country. What a relief to let go of all those old ideas.

Hustler Hiding (Madrid), 2009, Courtesy of the artist and ToFS

His fetishized views on sexuality and his tendency to include very hardcore sex scenes in his films and art work make his current offerings through the Tom of Finland Store a perfect match. Even 30-something years after the launch of J.D.s, Bruce LaBruce can still shock — in that way you like to be shocked.

Bruce LaBruce and Joakim Andreasson (ToFS creative director) have announced the online reiteration of Faggotry. Following retrospective gallery exhibitions and programs in London (Gallery 46), Madrid (La Fresh), Los Angeles (Lethal Amounts) and New York (MoMA), the online platform will be made up of over 100 photographs that LaBruce has produced over the past 25 years, and are now available as part of an exclusive offering via Tom of Finland Store.

The presentation includes photographs from film sets, candid shots of fellow artists, friends, and collaborators, photographs made for movie promotion and posters, excerpts of shoots for magazines, photography for gallery shows, and documentation of live performances.

Klaus von Brucker #2 (No Skin Off My Ass production still), 1990, Courtesy of the artist and ToFS

“To be honest, I just keep doing what I’ve always been doing. It’s the political spectrum that keeps shifting, although its goal posts always seem to shift more and more to the right side of the spectrum in terms of capitalism, corporatism, and neo-liberalism. My work has never been particularly accepted by the gay orthodoxy, and as assimilation advances, it’s even less popular!”
Bruce LaBruce on the Glory Hole blog

By Christopher Harrity

 

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“REINTENTIONS” | 13th January | LA

JOSH PAUL THOMAS
Selected Works

3 Friends, 2016, Archival light jet, 60 x 40 inches (print), Edition of 5

The exhibition shows photographic, drawing, painting, and video work in an immersive atmospheric installation.

Exhibition text by Robert Zin Stark:
“…when we call to mind the past, i.e. a series of deeds done, we always shorten it, without however distorting the nature of the event which interests us. The reason is that we know it already; for the psychic state, when it reaches the end of the progress which constitutes its very existence, becomes a thing which one can picture to oneself all at once. Here we find ourselves in the same position as the astronomer, when he takes in at a glance the orbit which a planet will need several years to traverse.”

From Henri Bergson’s Time and Free Will
Inspired by the power dynamics of the phallus, and being equally responsive to thought as to feeling, Josh Paul Thomas explores the violent and healing inertias of undefinable intention – both intentionally and unintentionally.

We tend to believe that intention is a state of mind, frozen at the time of an event, and a change of feelings towards that event can be inconsequential. We also tend to believe that we are either in a role of master or slave in a sensual act, but our voyeurism of it is incidental. However, in both cases, the feelings we have towards the event, and our observation of the participants, allows for the ability to recreate ‘intention’ and ‘role’.

The photographer is both master and slave to the image, both cerebral and sensuous towards it – controlling the access of voyeurism, but dependent on its subjects. Through the medium of cock, Thomas tempts the exploration of true liberation from power and judgement for participant and observer. The release of defined intention, with regard to both role and act, unleashes generative violence and healing.

This eruption is at the core of our power to create ourselves, like a raging volcano becoming its own island.

Control Cock, 2017, Oil, oil pencil chalk on bristol paper, 19 x 24 inches, Edition of 1

Josh Paul Thomas (b. 1985 Healdsburg, California) 

Working across mediums of installation, video, drawing, painting, performance, and photography, Thomas has focused on the classical male nude in its contemporary context of taboo and objectification over the past decade.

Navigating the tricky divide between counter-culture and commercial-culture, Thomas naturally began a creative relationship with designer Bernhard Willhelm, who over the years has allowed him unadulterated artistic freedom in photographing his collections and muses, such as cultural icons Joe Dallesandro, Tony Ward, and Pamela Anderson. His work has been featured in Vogue, Interview Magazine, Physique Pictorial, Headmaster Magazine, Advocate, and other notable publications.

READ JOSH PAUL THOMAS ON PHALLUS MOTIVATION

Saturday, 7-10p
Through 24th February

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