“No Wrong Holes: Thirty Years of Nayland Blake” | 29th September | LA

For over 30 years, artist, educator, and curator Nayland Blake (b. 1960) has been a critical figure in American art, working between sculpture, drawing, performance, and video. No Wrong Holes marks the most comprehensive survey of Blake’s work to date and their first solo institutional presentation in Los Angeles.

Gorge (video still), 1998 DVD video projection (color, audio) TRT: 60:00 min. Courtesy the artist and Matthew Marks Gallery, New York

Heavily inspired by feminist and queer liberation movements, and subcultures ranging from punk to kink, Blake’s multidisciplinary practice considers the complexities of representation, particularly racial and gender identity; play and eroticism; and the subjective experience of desire, loss, and power. The artist’s sustained meditation on “passing” and duality as a queer, biracial (African American and white) person is grounded in post-minimalist and conceptual approaches made personal through an idiosyncratic array of materials (such as leather, medical equipment, and food) and the tropes of fairy tales and fantasy. Particular focus will be paid to work produced while Blake lived on the West Coast, first in the greater Los Angeles area as a graduate student at CalArts, followed by a decade in San Francisco—years bookended by the advancement of the HIV/AIDS epidemic in the 1980s and the “culture wars” of the 1990s.

Kit No. 7 (Flush), 1990 Rubber gloves, stainless steel cups, belt, hose, shelf, books 30x 45 x 5 in. (76 x 114 x 13 cm) Private Collection

The exhibition will be accompanied by a fully illustrated catalogue designed by Content/Object, Los Angeles, with newly commissioned essays, key reprints, archival material, and content produced by the artist and others.

Equipment for a Shameful Epic, 1993 Mixed media 84 x 63 x 32 in. (213 x 160 x 81 cm) Courtesy of the artist and Mathew Marks Gallery, New York

On view through 26th January 2020

Nayland at his Artist Reception at TOM House, 27th September


First West Coast Exhibition | Through 24th November

Dual Exhibition


Pandrogeny I
is at Lethal Amounts
and showcases Breyer P-Orridge’s evolution of gender work.


Pandrogeny II
is at Tom of Finland Foundation
 and is a survey of h/er artwork from 1986 – 2016.

Both spaces will explore the many facets of Breyer P-Orridge’s art and h/er influence through a selection of paintings, photos, sculptures and installations, that will reveal the ways that gender has shaped the artist and h/er work particularly with the project Pandrogeny (which started in 1995) with other half (dominatrix, registered nurse, performance artist, and musician) Jacqueline Breyer—aka “Lady Jaye”. In July 2019 s/he received the Kamookak Medal from the Royal Canadian Geographical Society for her explorations on projects in popular and social culture and gender geography.

Some people feel they are a man trapped in a woman’s body.
Some people feel they are a woman trapped in a man’s body.
A pandrogyne just feels trapped in a body.

– Genesis Breyer P-Orridge, 2019

On view through 24th November
Both Locations
Thursdays from Noon to 6:00p
Fridays Noon to 7:00p
Saturdays Noon to 7:00p
Sundays Noon to 6:00p

Opening Night/s Photos

Available at both locations

TOM OF FINLAND, Untitled (from Camping), 1976, Gouache on paper, Tom of Finland Foundation Permanent Collection

+ TOM OF FINLAND: Works in Color
2nd Floor Gallery at TOM House



The shows spotlight P-Orridge’s art objects and their documentation of bodily transformations — part of what the artist calls “an exploration of evolution and the human condition and its need to evolve and de-evolve through signs of gender neutrality and gender dysphoria seen in modern Homo sapiens.”

Lethal Amounts photos by Motorboot


TOM House photos by Motorboot

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“Art & Porn” | 5th October | Copenhagen

TOM OF FINLAND, T.V. – Repair, 1972. Installation view, pen, ink, gouache & cut-and-pasted photo on paper. ©1972-1988 Tom of Finland Foundation Courtesy Tom of Finland Foundation and David Kordansky Gallery, Los Angeles. Art & Porn, Kunsthal Charlottenborg. Photo by David Stjernholm.

To mark the fiftieth anniversary of lifting the ban on visual pornography in Denmark in 1969, ARoS and Kunsthal Charlottenborg in Copenhagen have joined forces to show this group exhibition. It highlights how art was influenced by changing the law on pornography. What are the implications when the boundaries of what citizens may be faced with in public spaces change from one day to the next?

Anna Uddenberg, Annie Sprinkle & Beth Stephens, Amalia Ulman, Arthur Køpcke, Betty Tompkins, Biba Fibiger, Bjørn Nørgaard Og Lene Adler Petersen, Carolee Schneemann, Gaspar Noé, Cindy Sherman, Elmgreen & Dragset, Hanne Nielsen & Birgit Johnsen , Hans Henrik Lerfeldt, Jeff Burton, Jeff Koons, Jesper Fabricius, Katja Bjørn, Larry Clark, Lawrence Weiner, Linder, Lynda Benglis, Maja Malou Lyse, Marco Brambilla, Marilyn Minter, Marina Abramović, Matthew Barney, Mika Rottenberg, Mike Bouchet, Monica Bonvicini, Per Kirkeby, Peter Land, Pipilotti Rist, Ryan Mcginley, Sam Taylor-Johnson, Sarah Lucas, Simon Fujiwara, Susan Hinnum & Sarah Young, Suzette Gemzøe, Tom of Finland, Ursula Reuter Christiansen, Valie Export, Wilhelm Freddie, William E. Jones, Wolfgang Tillmans.

Curated by Rasmus Christian Stenbakken

TOM OF FINLAND, T.V. – Repair, 1972. Detail, pen, ink, gouache & cut-and-pasted photo on paper. ©1972-2019 Tom of Finland Foundation Courtesy Tom of Finland Foundation and David Kordansky Gallery, Los Angeles. Art & Porn, Kunsthal Charlottenborg. Photo by David Stjernholm.


On view through 12th January 2020