 |  |
Every now and then an art show pairing comes along that makes you think “Of course, why haven’t they been shown together before?” 2015’s joint Andy Warhol / Ai Weiwei show in Melbourne triggered that thought for me. It happened again today with Studio Voltaire’s latest exhibition, Beryl Cook / Tom of Finland. Originally dismissed by the art establishment, both artists nevertheless became iconic to their followers, and, although having very different fan bases, actually have a lot in common with each other. This new show celebrates their fabulous commonality.
Tom of Finland (1920 – 1991) needs little introduction to most queer men. His iconic black and white imagery of idealised macho, male homosexual clones came of age in the 1960s and 70s when Finnish advertising illustrator Touko Laaksonen set out to challenge the negative stereotyping of gay men. His signature bulging crotches, chests and buttocks adorned a variety of butch male hyper-masculine, hyper-muscular stereotypes ranging from leather-clad bikers, sailors, cowboys and uniformed policemen to labourers. His men enjoy sex with each other, sometimes quite extreme sex – fisting, orgies, huge dicks and so on – and his homoerotic work quickly became a symbol of liberation for queer men across the world who shared his vision of a hedonistic world full of unashamed pleasure in gay sex. His work went on to define real-life queer clone looks.
 |  |
 |  |
Beryl Cook (1926 -2008) also became popular during the 1970s. Originally a model and a showgirl, she turned her hand to art to record the wonderful people she saw around her in the pubs (both queer and straight), docks and streets of her hometown of Plymouth, UK. Likewise, a self-taught artist, Cook’s work also focuses on hyper-realised versions of the human body, in her case, mostly strong robust women with big tits and asses. Cook’s women, as Tom’s men, are also constantly seeking out shameless pleasure, excess and stimulation, and again, in settings such as outdoor spaces or blue-collar bars and cafes where a low income is not a barrier to fun. It’s easy to imagine Tom’s muscular young men and Beryl’s stout middle-aged women having a right old laugh together on a big night out.
The show has been very carefully curated to present the two artists in as common a light as possible. Cook often mentioned the work of artist Edward Burra as an influence. His studies of the sailors, sex workers and queer bars of Marseille in particular can be seen as an inspiration, most notably in Cook’s fabulous Lady of Marseille, 1990, which is included in the show. Other notable works of Cooks include Elvira’s Café 1997, which depicts Cook’s daughter-in-law gazing admiringly at a buff sailor as she serves him in her cafe. 1977’s Bang’s Disco depicts a collection of blue denim clad gay men having fun at London’s first big gay nightclub. Cook’s works are shown alternately to Tom’s works. His works cover the whole spectrum of his subject-matter. His narrow-waisted, broad shoulded hunks with bulges in all the right places feature in a range of scenarios ranging from orgies in parks and forests to frolics on piers and bar room sexual shenanigans. Imagery far more risqué than we can show here is included in the show. The gallery shop humorously has bottles of poppers on sale for those who really want to get into the right mood! An unadulterated pleasure to see the work of these two icons together. Make time to see it.
The exhibition runs at Studio Voltaire, 1a Nelson’s Row, Clapham, London, SW4 7JR until 25th August 2024
Queerguru’s Contributing Editor Ris Fatah is a successful fashion/luxury business consultant (when he can be bothered) who divides and wastes his time between London and Ibiza. He is a lover of all things queer, feminist, and human rights in general. @ris.fatah
Labels: \, 2024, Beryl Cook, joint exhibit, review, Ris Fatah, Studio Voltaire, Tom of Finland
