Template:Short description Template:Use dmy dates Template:Use Australian English Template:Infobox person
Leigh Bowery (26 March 1961 – 31 December 1994) was an Australian performance artist, club promoter, and fashion designer. Bowery was known for his costumes, makeup and live performances considered as conceptual, flamboyant, outlandish, and sometimes controversial.
Based in London for much of his adult life, he was a significant model and muse<ref>Template:Cite news</ref> for the English painter Lucian Freud. Bowery's friend and fellow performer Boy George said he saw Bowery's outrageous performances a number of times, and that they "never ceased to impress or revolt."<ref name="Richardson, John 1995">Richardson, John. "Postscript; Leigh Bowery". The New Yorker. 16 January 1995.</ref><ref name=IntMag>Template:Cite news</ref>
Early life and years in LondonEdit
Bowery was born and raised in Sunshine, a suburb of Melbourne, Australia. From an early age, he studied music, played piano, and went on to study fashion and design at RMIT for a year.<ref>Bowery, Leigh. Hannover, Kunstverein, editor. Zechlin, René, ed. Stuffer, Ute, ed. Leigh Bowery. Kehrer Publications (2008) Template:ISBN</ref> He moved to London in 1980, saying, "I was so itchy to see new things and to see the world, that I just left."<ref>Jillian Burt 'Night Owl Spreads His Wings' Melbourne Age 11 February 1987 p. 18</ref>
Bowery soon became part of the London club scene.<ref>"Leigh Bowery, 33, Artist and Model". The New York Times. 7 January 1995.</ref> He became an influential and lively figure in the underground clubs of London and New York, as well as in art and fashion circles. He attracted attention by wearing outlandish and creative outfits, which he made himself. He became friends and flatmates with artist Gary Barnes (known as "Trojan") and David Walls. Bowery created costumes for them to wear, and the trio became known in the clubs as the "Three Kings".<ref>"Leigh Bowery, 33, Artist and Model". The New York Times. 7 January 1995.</ref><ref name=LB_1>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Bowery appeared in magazines and on television, including commercials for Pepe Jeans and Rifat Ozbek.Template:Cn
In 2005, the National Portrait Gallery of Australia acquired a portrait of Bowery in his fur coat by the photographer David Gwinnutt. In 2007, the National Portrait Gallery in London purchased Gwinnutt's portrait of Bowery and Trojan (Barnes), which also appears in the Violette Editions book.Template:Cn
Taboo clubEdit
Bowery was known as a club promoter, and created the club Taboo at Maximus in Leicester Square with promoter Tony Gordon in 1985.<ref name="ThGrdn1382018">Template:Cite news</ref> Taboo became "the place to be" with long queues. Drugs, particularly ecstasy, became a part of the dancing scene for the attendees. The club was known for defying sexual convention, for embracing "polysexualism", for creating a wild atmosphere and for playing unexpected song selections. The DJs were Jeffrey Hinton, Rachel Auburn and Mark Lawrence. Regular guests included Boy George, George Michael, John Galliano, Judy Blame, Bodymap, Michael Clark, John Maybury, Cerith Wyn Evans.<ref>Bowery, Leigh. Hannover, Kunstverein, editor. Zechlin, René, ed. Ute StufferLeigh, Ute, ed. Leigh Bowery. Kehrer Publications (2008) Template:ISBN</ref> Taboo lasted 18 months and closed in 1986.
Fashion and costume designEdit
As a fashion designer, Bowery had several shows exhibiting his collections in London, New York and Tokyo. He influenced several designers and artists, and was known for wildly creative costumes, makeup, wigs and headgear, all of which combined to be striking and often kitschy.<ref name=Grdn1112015>Template:Cite news</ref> He also designed costumes for the Michael Clark Dance Company. When that company performed at the Brooklyn Academy of Music in 1987, Bowery won a Bessie Award for his work on No Fire Escape in Hell.<ref name="Grdn1112015" /><ref>Template:Cite news</ref>
Performance artistEdit
As a performance artist, Bowery enjoyed creating the costumes, and often shocking audiences. Working alongside Michael Clark, he would often have solo scenes in many of Clark's shows.Template:Cn
His first one-man installation was in 1988 for a week at the Anthony D'Offay Gallery in London. Hidden behind a two way mirror he would lie on a 19th Century divan, primping and preening himself at his own reflection, while the audience would watch sitting on the floor from the other side. Each day he changed costumes and so visitors would often came back to see what he would be wearing next. Various traffic sounds would be played over the speaker system during the performance and there was a different smell every day, including bananas.Template:Cn
In 1990 at the London club night 'Kinky Gerlinky' he introduced his signature 'Birthing' performance. Dressed as the drag performer Divine from 'Female Trouble' he appeared on stage in an oversized t-shirt, dark glasses and headscarf, looking huge and miming along to the film dialogue. Then suddenly, much to the audience's surprise, he drops onto his back and simulate 'giving birth' to his baby, a petite and naked young woman who was his friend, assistant and later wife Nicola Bateman.<ref name="Richardson, John 1995" /><ref name="IntMag" /> She had been hidden for the first part of the performance by being strapped to Leigh's belly with her face in his crotch. Then she would slip out of her harness and appear to pop out of Bowery's belly, bursting through his tights, along with a lot of stage blood and links of sausages, while Bowery wailed. Bowery would then bite off the umbilical cord, hug his 'new' baby and the two would take a bow. Boy George said he saw it a number of times, and that it "never ceased to impress or revolt".<ref name="Richardson, John 1995"/><ref name=IntMag/>
In mid-1994 one of Bowery's last performances took place at the Fort Asperen Art Festival in Holland, where he and his assistant Nicola and bass player Richard Torry performed to a bemused crowd during the day and fully naked, Richard covered in bright blue balloons. Bowery hangs upside down singing into the microphone while Richard pulls him back and forth by the foot until the climax of the song and Bowery smashes himself through a plane of glass, cutting his body. The whole performance lasts 5 minutes.Template:Cn
Lucian Freud's modelEdit
In London in 1988, Bowery met the noted painter Lucian Freud in his club Taboo. They were introduced by a mutual friend, the artist Cerith Wyn Evans. Freud had seen Bowery perform at Anthony d'Offay Gallery, in London. In Bowery's first public appearance in the context of fine art, Bowery posed behind a one-way mirror in the gallery dressed in the flamboyant costumes he was known for.
Bowery used his body and manipulation of his flesh to create personas. This involved almost masochistically taping his torso and piercing his cheeks with pins in order to hold masks, as well as wearing outlandish makeup. Freud said, "the way he edits his body is amazingly aware and amazingly abandoned". In return, Bowery said of Freud: "I love the psychological aspect of his work – in fact, I sometimes felt as if I had been undergoing psychoanalysis with him ... His work is full of tension. Like me, he is interested in the underbelly of things".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Bowery posed for a number of large full-length paintings that are considered among Freud's best work. The paintings tend to exaggerate Bowery's 6-foot 3-inch, 17-stone physique to monumental proportions. The paintings had a strong impact as part of Freud's exhibition at the Metropolitan Museum of Art in 1994. Freud said he found him "perfectly beautiful", and commented, "His wonderfully buoyant bulk was an instrument I felt I could use, especially those extraordinary dancer's legs". Freud noted that Leigh by nature was a shy and gentle man, and his flamboyant persona was in part a form of self-defence.<ref>Hauser, Kitty. "Leigh Bowery and Lucian Freud: the model and the artist". The Australian. 4 July 2015</ref><ref>Richardson, John. "Postscript; Leigh Bowery". The New Yorker. 16 January 1995.</ref><ref>MacDonell, Nancy. In the Know: The Classic Guide to Being Cultured and Cool. Penguin (2007) Template:ISBN</ref><ref>Template:Cite book</ref>
Jonathan Jones, writing for The Guardian, describes Freud's portrait, Leigh Bowery (seated):<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
MintyTemplate:AnchorEdit
In 1993, Bowery formed the Romo/art-pop band Minty,<ref>Minty feature by Everett True, Romo special feature, Melody Maker 25 November 1995 page 11</ref><ref name="rockshotmagazine.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> with friend knitwear designer Richard Torry, Nicola Bateman, and Matthew Glamorre.
In November 1994, Minty began a two-week-long show at London's Freedom Cafe, including audience member Alexander McQueen, but it was too much for Westminster City Council, who closed down the show after only one night. This was to be Bowery's last performance. The show was documented by photographer A.M. Hanson with imagery subsequently published in books about Bowery<ref>Template:Cite book</ref><ref>Leigh Bowery Verwandlungskünstler, ed: Angela Stief (Piet Meyer Verlag) 2015</ref> and McQueen.<ref>Alexander McQueen The Life and The Legacy, Judith Watt (Harper Design) 2012</ref><ref>Alexander McQueen Blood Beneath the Skin, Andrew Wilson (Simon & Schuster) 2015</ref>
Minty was a financial loss and represented a low point in Bowery's colourful career. After his death, the band continued under the leadership of Bateman and Glammore up until the release of album Open Wide. This 1997 album was released on Candy Records and featured the singles "Useless Man",<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Plastic Bag", "Nothing" and "That's Nice". A spin-off band called The Offset later formed including artist Donald Urquhart.<ref name="DUUM">Template:Cite journal</ref>
In 2020, Open Wide was re-issued by Candy Records in association with The state51 Conspiracy, while "Useless Man" received a remix by Boy George and a new promo video directed by Torry and Glammore.<ref name="rockshotmagazine.com"/>
Personal lifeEdit
Although Bowery was openly gay, he married his long-time female companion Nicola Bateman on 13 May 1994 in Tower Hamlets, London, in "a personal art performance". Although he had been HIV positive for six years, very few of those who knew him guessed that; he typically explained his public absence by saying he had gone to Papua New Guinea.<ref>Template:Cite news</ref>
His wife did not know that Bowery had HIV until he was admitted to hospital in late November 1994. He died seven months after their marriage, on New Year's Eve 1994 (the date has been disputed by his father, who says he actually died in the early hours of New Year's Day, 1995),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> from an AIDS-related illness at the Middlesex Hospital, Westminster, London, five weeks after his admission.<ref>Template:Cite news</ref> Lucian Freud paid for Bowery's body to be repatriated to Australia.
Taboo, the musicalEdit
Boy George was the creative force, the lyricist and performer in the musical Taboo, which was loosely based on Bowery's club. The musical was produced in 2002 on the West End in London, and then opened on Broadway. As a performer, Boy George played Bowery.<ref>Template:Cite news</ref>
In an interview conducted by Mark Ronson for Interview Magazine Boy George said that Bowery would sometimes speak with a posh English accent, and one didn't always know if he was sincere or mocking: He seemed to be "in character" at all times. Bowery decorated his flat in a style that was similar to the way he dressed, with Star Trek-themed wallpaper, mirrors and a large piano. He was a ringleader of misbehaviour, and with his club, he created a place where there were no rules. In the clubs at the peak of his fame, he would distort his body in various ways so that he would appear deformed, or pregnant or with breasts. Bowery once said, "Flesh is my most favourite fabric".<ref name=IntMag/>
In popular cultureEdit
Bowery influenced other artists and designers including Meadham Kirchhoff, Alexander McQueen, Lucian Freud, Vivienne Westwood, Boy George, Antony and the Johnsons, Lady Gaga, John Galliano, Scissor Sisters, David LaChapelle, Lady Bunny, Acid Betty, Shea Couleé, and Charles Jeffrey plus numerous Nu-Rave bands and nightclubs in London and New York City.Template:Cn
Bowery was the main inspiration for the Tranimal drag movement, which emphasised an animalistic and post-modern take on drag.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Bowery was the subject of a small retrospective Art exhibition 'Look At Me' <ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> at the RMIT Gallery at the Royal Melbourne Institute of Technology (RMIT) in Melbourne, Victoria, Australia in February-March 1999, curated by Robert Buckingham and Rachel Young. This is the same institution Bowery briefly studied fashion at in the 1970s.
Bowery was the subject of a retrospective Art exhibition 'Take a Bowery: The Art and (larger Than) Life of Leigh Bowery' <ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> at the Museum of Contemporary Art Australia (MCA) in Sydney, Australia in December 2003-March 2004, curated by Artist, Art lecturer, curator and author Gary Carsley.
Bowery is the subject of a retrospective Art exhibition 'Leigh Bowery!' <ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> at Tate Modern in London, England from February 2025-August 2025, curated by the Tate in collaboration with Nicola Rainbird (Nicola Bowery, nee Bateman), Director and Owner of the Estate of Leigh Bowery.
Bowery was the subject of a contemporary dance, physical theatre and circus show in August 2018 at the Edinburgh Fringe Festival, put on by Australian choreographer Andy Howitt.<ref name=ThGrdn1382018/><ref>Template:Cite news</ref>
PublicationsEdit
- Leigh Bowery: Performative Costuming and Live Art, Sofia Vranou, Intellect (2025), Template:ISBN
- Leigh Bowery Verwandlungskünstler, editor Angela Stief, published by Piet Meyer Verlag, Vienna, (2015); Template:ISBN
- Leigh Bowery Looks, by Leigh Bowery, Fergus Greer, published by Thames & Hudson Ltd; New Ed edition (2005); Template:ISBN
- Leigh Bowery Looks by Leigh Bowery, Fergus Greer, published by Violette Editions (2006); Template:ISBN
- Leigh Bowery: The Life and Times of an Icon, Sue Tilley. Paperback editions: Hodder & Stoughton, London, (1997, 1998,1999), Template:ISBN Template:ISBN Kindle Editions: Open Road Media, 2011, 2014 Template:ISBN, Template:ISBN, Template:ISBN, Endeavour Keys, 2019, Lume Books, 2019.
- Leigh Bowery, Violette Editions, London, (1998), Template:ISBN
- Take a Bowery: The Art and (larger Than) Life of Leigh Bowery, Retrospective catalogue, Gary Carsley, Museum of Contemporary Art Sydney (MCA) Sydney, Australia (2003), Template:ISBN, Template:ISBN
- Leigh Bowery: Fabulous Master of Disguise, Museum of Contemporary Art Sydney (MCA)/Darian Zam Publishing, Sydney, Australia (2003), Tate Modern/Darian Zam Publishing, London, England (2025), Template:ISBN
- Leigh Bowery: The Life and Times of an Icon, Sue Tilley, Thames & Hudson, London, (2025), Template:ISBN Template:ISBN
DiscographyEdit
MintyEdit
AlbumEdit
- Open Wide (Candy Records, CAN 2LP/CAN 2CD, LP/CD, 1997)<ref name="discogs">{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
Produced by Kramer at Noise Mew Jersey
SinglesEdit
| Year | Title (Format) | Tracks | (Label) Cat# |
|---|---|---|---|
| 1994 | Useless Man (CD, Maxi) | "Useless Man" | (Candy Records) CAN 1CD<ref name="discogs"/> |
| 1995 | Plastic Bag (CD, Maxi) | "Plastic Bag", "Minty (Live)" | (Sugar) SUGA6CD<ref name="discogs"/> |
| 1996 | That's Nice (CD, Single) | "That's Nice" | (Sugar) SUGA 10CD<ref name="discogs"/> |
| 1997 | Nothing (CD) | "Nothing", "Carol Ginger Baker" | (Candy Records) CAN3CD<ref name="discogs"/> |
All singles also included multiple remixes of the lead tracks.<ref name="discogs"/>
The OffsetEdit
Compilation albumEdit
- The Offset Presents Minty – It's A Game - Part I (Poppy Records, POPPYCD6, 1997)<ref name="discogs"/>
Partial videographyEdit
- Hail the New Puritan (1985–6), Charles Atlas
- Because We Must (1987), Charles Atlas
- Generations of Love (1990), Baillie Walsh for Boy George
- Unfinished Sympathy (1991), Art Director for Massive Attack single<ref>{{#invoke:citation/CS1|citation
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- Teach (1992), Charles Atlas
- A Smashing Night Out (1994), Matthew Glamorre
- Death in Vegas (1994), Mark Hasler
- Performance at Fort Asperen (1994)
- Flour (single screen version) (1995), Angus Cook
- U2: Popmart - Live from Mexico City (1997), Dancer during 'Lemon Mix'
- Read Only Memory (estratto) (1998), John Maybury
- “Wigstock: The documentary” (1995), Lady Bunny
See alsoEdit
ReferencesEdit
Further readingEdit
- Posthumous New York exhibition prospectus
- Template:Cite news
- (IMDB) The Legend of Leigh Bowery, directed by Charles Atlas. 2002, US/France, 88 mins duration
- Template:Cite book
- Leigh Bowery by Robert Violette, published by Violette Editions (London, July 1998).Template:ISBN
- Audio
- Video
- BBC Clothes Show excerpt with Leigh Bowery
- Donut Party hosted by Michael Alig at Twin Donuts with many New York Club regulars including Isaac Mizrahi
- Bowery footage by UK fashion photographer Nick Knight on SHOWstudio.com
- Template:Usurped
External linksEdit
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