I cannot claim to know the exact reasons for the recent changes at the Tom of Finland Foundation. But as someone who has had close ties to the Foundation for over 30 years, these changes seem to be disrespectful – if not also dismissive – of the objective Durk Dehner has always foregrounded with Tom’s history and spirit in mind: building progressive communities of shared desires through erotic art.
To introduce myself, my primary career is as an artist. But over the years I have taken time away from my practice to help facilitate opportunities of benefit to the Foundation. In 2013 I was co-curator of Moca’s “Bob Mizer and Tom of Finland” exhibition (which led to the first museum acquisition of Tom’s work). I was the liaison between the Foundation and Artists Space for the 2015 New York exhibition “The Pleasure of Play” and, in the same year, was partially responsible for the Foundation achieving representation with David Kordansky Gallery.
My initial interaction with the Foundation though - and with Durk Dehner in particular - was in my role as office manager for the Tom of Finland Company throughout the 1990s. In that time, I saw Durk – near single-handedly - spearhead the Emerging Erotic Artist Contests and, eventually, the incredibly popular and well-attended Erotic Art Fairs. These events offered not only affordable spaces and great publicity for struggling artists to find collectors but also prompted a situation I’m at a loss to find a comparison for: these events were non-judgmental safe spaces for incredibly diverse artists – many of which had been working in total isolation or secrecy (if not also shame) – to proudly exhibit their passions and share them with a public overjoyed to celebrate with them.
This, to me, is the true essence of Tom’s story: art made in a near-vacuum and oftentimes under severe disapproval can, with the help of dedicated facilitators and custom-fit circumstances, unlock and help change cultural prejudice. I’m sure Tom would blush at how widespread his name and images are now but, from what I know of his humility and compassion, I suspect it would not be nearly as important as encouraging and supporting other artists.
To estrange Durk Dehner at this juncture seems entirely ignorant of the history I’ve described and indicates, to me, a very grand devaluation of how important a role erotic art plays within culture. By alienating Durk – and now Sharp – you’ve pushed aside decades of, not only crucial experience, but real vision, dedication, leadership and insight. To do so appears incredibly misguided.
With respect,
Los Angeles
US