Exhibition of the Billy Sculptures

A Landmark Event in Soho´s Cultural Scene

On November 15th, 1994, the iconic Billy sculpture, created by John McKitterick and Juan Andres, made its debut at the Freedom Gallery on Wardour Street, Soho, London. This groundbreaking exhibition featured twelve unique iterations of the Billy sculpture, each meticulously dressed in distinct attire, offering a multifaceted exploration of identity and style. The twelve variations included Master Billy, Cowboy Billy, Sailor Billy, San Francisco Billy, Sporty Billy, Gay Boy Billy, Army Billy, Rubber Billy, Slave Billy, Muscle Boy Billy, Baby Billy, and Gym Billy. These figures were presented in individual Perspex cases, accompanied by striking, life-sized black-and-white images of each sculpture, creating a powerful visual dialogue between art, fashion and identity. The Billy sculptures were made available in limited editions of 100 for each version.

The exhibition’s opening night was a spectacular affair, drawing an eclectic crowd of over 700 attendees. The event was covered by television and radio crews, as well as the gay, fashion, and mainstream press. Luminaries from both the gay and straight communities attended the opening with notable figures from the worlds of fashion and art in attendance, including Rifat Ozbek, Alexander McQueen, Roland Mouret, Paul Rutherford, Michael Craig-Martin, and Peter Ackroyd. Hosted by the inimitable Evette, the evening also held poignant significance as it preceded the final performance of Minty, the band led by Leigh Bowery, who tragically passed away from AIDS shortly thereafter.

The Billy exhibition and Billy’s impact resonated far beyond the walls of the Freedom Gallery, capturing international attention. The project garnered extensive media coverage, with features in esteemed publications such as ID (UK), The Independent (UK), The Guardian (UK), Capital Gay (UK), Details Magazine (US), The Advocate (US), Elle (France and China), El País (Spain), Designer Workshop (Japan), and SonntagsZeitung (Germany). Remarkably, this widespread acclaim was achieved without a traditional publicity budget. This was possible because of the innovative and unique nature of The Billy Concept.

Twelve Billies for Twelve Billies

Response from former US President Bill Clinton

In 1997, during the early months following the launch of the Billy Doll in the United States and amidst a media frenzy, artists John McKitterick and Juan Andres embarked on a bold and imaginative project. They sent twelve Billy Dolls to prominent American figures, each sharing the name “Billy.” Among the notable recipients were cultural icons such as Billy Idol, Billy Crystal, Billie Jean King, Billy Joel, Bill Cosby, Billy Ray Cyrus, Billy Bob Thornton, Billy Graham, Billy Zane, Billy Baldwin, and Bill Gates.

This endeavor was part of a broader series of collaborative “art actions” orchestrated by McKitterick and Andres. These initiatives connected the worlds of art, culture, politics, and the corporate and religious spheres, while engaging the public through an array of mediums: visual art, exhibitions, literature, music, film, photography, and commercial products. Central to the “art actions” was a dedication to raising awareness about gay visibility, promoting diversity, and addressing critical issues like safe sex and HIV/AIDS.

The Billy Doll and The Billy Concept, was itself a “art action,” serving as both an emblem and vehicle for social change.

The twelfth, and perhaps most significant, recipient of a Billy Doll was none other than the President of the United States at the time, Bill Clinton. The White House graciously responded on behalf of the President, making this gesture not only an artful provocation but a poignant intersection of culture and politics.

The Launch of Carlos

In 1998, during a whirlwind of activism and advocacy, Billy – who had devoted himself tirelessly to promoting safe sex, AIDS awareness, and gay rights—experienced an unexpected turn in his personal journey. A demanding schedule of fundraising, public appearances, and speeches, Billy had little time for personal connections after his arrival in the United States the previous year. His dedication to the cause left him with scarcely a moment for himself, as he navigated a sea of invitations and public responsibilities.

However, in a serendipitous twist of fate, Billy’s path crossed with that of Carlos, a sensitive and strikingly handsome figure who would soon capture his heart. What began as a chance meeting blossomed into a deep and profound connection, leading Billy to surrender to love amid the chaos of his public life. This relationship marked a new chapter for Billy, as he found solace and companionship in Carlos, all while continuing his unwavering commitment to the causes that defined his journey.

The live auction, facilitated by Christie’s Auction House, garnered over $60,000, with Billy Doll´s dressed by Jean Paul Gaultier, Tommy Hilfiger, and Gianni Versace fetching $4,500, $4,000, and $3,500 respectively. In total, the event raised an astounding $250,000 through both live and silent auctions. LIFEbeat later reported that they anticipated raising close to $425,000 from the efforts surrounding this event, a testament to the powerful synergy between creativity and compassion that defined this memorable occasion.

Christopher Makos

A series of photographic prints by the artist Christopher Makos

In 1998, renowned New York photographer and artist Christopher Makos captured Billy in a series of striking prints. John McKitterick and Juan Andres were excited when Christopher Makos asked to photograph Billy in an effort to help raise funds for LIFEbeat -The Music Industry Fights AIDS.

Christopher Makos, celebrated for his iconic portraits of cultural luminaries such as Andy Warhol, Mick Jagger, and Elizabeth Taylor, brought his distinctive vision to this project, further elevating Billy’s status as a significant figure in contemporary art and gay advocacy.

Billy Pop

In 1998, to further benefit the charity LIFEbeat – The Music Industry Fights AIDS., Jones Soda, a US beverage company, in collaboration with John McKitterick and Juan Andres, released a soda called Billy Pop. The five different Billy Pop labels were designed by Tommy Hilfiger, Jean Paul Gaultier, Christopher Makos, Richard Bernstein, John McKitterick and Juan Andres. All proceeds from the venture benefited the charity LIFEbeat – The Music Industry Fights AIDS.

In 1998, the creative forces behind Billy expanded their reach into the world of music to support the fight against AIDS. John McKitterick, Juan Andres, Totem International, and LIFEbeat – The Music Industry Fights AIDS – collaborated with Fortune Records to produce a dance music compilation CD titled Out and About With Billy. This initiative represented a powerful blend of art, music, and activism, aiming to raise funds and awareness for LIFEbeat’s important work.

The compilation featured generous contributions from renowned artists such as Boy George, Pet Shop Boys, and Billie Ray Martin, each donating their tracks to support the cause. Out and About With Billy quickly resonated with audiences, climbing the bestseller lists at major retailers like Tower Records and Virgin Records. This project not only underscored Billy’s cultural influence but also amplified his role as a symbol of unity and compassion within the LGBTQ+ community and beyond.

Introducing Tyson

The World´s First Out and Proud Best Friend

In 1999, the world was introduced to Tyson, Billy and Carlos´s Best Friend. Lauded as the first Black, openly gay doll, Tyson became a symbol for John McKitterick and Juan Andres of inclusivity and diversity, reinforcing these ideas both within the LGBTQ+ community and beyond.

Tyson’s debut came in two striking editions: Leather Tyson and Army Tyson. His beautifully crafted design was featured prominently in the photographic book Big Fun with Billy, a project that celebrated the spirit of these three iconic figures. The launch of Tyson was met with widespread acclaim, gaining significant international media attention and achieving notable commercial success.

This visibility reached new heights when a full-page article in The New York Daily News revealed that both model Tyson Beckford and boxer Mike Tyson had expressed concerns that the doll was using their name and image. The controversy sparked a media frenzy, with the story making waves on CNN, NBC, Comedy Central, Howard Stern, and other major outlets, culminating in a feature in Time magazine. Once introduced, Tyson went immediately from a symbol of representation to a lightning rod for discussion, which illustrates his impact on cultural and societal conversations of the time.

In 1999, Billy made his cinematic debut in the Warner Bros comedy The Big Tease. Though initially cast in a minor cameo, Billy unexpectedly became a standout presence in the film, garnering attention beyond his anticipated role. This Hollywood comedy, starring Craig Ferguson, follows a Scottish hairdresser’s humorous journey to Hollywood as he vies for glory in an international hairdressing competition. Billy’s appearance, though brief, left a lasting impression.

Following this success, John McKitterick and Juan Andres were approached later that same year by acclaimed director Todd Downing with a concept that would once again place Billy in the spotlight. The animated film, titled Jeffrey’s Hollywood Screen Trick, was set to star Billy alongside characters Carlos and Tyson. Production on this innovative project commenced in the spring of 2000, with the film’s release following in 2001.

Drawing inspiration from the light-hearted charm of gay romantic comedies, Jeffrey’s Hollywood Screen Trick cleverly parodied the genre, presenting a satirical take through a dynamic eleven-minute short film. Utilizing stop-motion animation, the film brought to life hundreds of Billy Dolls in a whimsical and captivating manner. This creative endeavor was met with critical acclaim, earning the title of Best Short Film at the Philadelphia International Gay & Lesbian Film Festival in 2001.

Building on the momentum of these successes, Billy and Carlos were soon at the center of yet another cinematic project. The film Billy 2000: Billy Goes To Hollywood featured a series of segments inspired by the beloved figures of the Billy Doll collection, including Master Billy, Cowboy Billy, Sailor Billy, Wall Street Billy, and San Francisco Billy. Each vignette celebrated the unique persona of these figures, further cementing Billy’s place as a cultural icon in both film and animation.

Be A Doll – Billy and Carlos in Drag

An auction to benefit Body Positive – a UK support group for people living with HIV

In 1999, to commemorate the 30th anniversary of the Stonewall Riots—a pivotal event that ignited the gay liberation movement in the United States – Billy and Carlos embraced the world of drag. Billy transformed into “Dolly,” donning a gingham checkered pantsuit, while Carlos became “Carmen,” clad in a polka dot ensemble reminiscent of Carmen Miranda’s iconic style. This creative reinvention was not only a tribute to diversity and visibility but also aimed to spark dialogue.

That same year, twelve unique drag-themed Billy and Carlos dolls were created, each embodying a different iconic figure including Liza Minnelli, Naomi Campbell, Bette Midler, Carmen Miranda, Madonna, Judy Garland, Cher, Dolly Parton, The Queen, Wonder Woman, and Marie Antoinette.

These special edition Billy Dolls were prominently displayed in the window of Paul Smith’s New York store and then transported to London to be auctioned to benefit Body Positive, a London-based HIV support group.

John McKitterick and Juan Andres orchestrated a high-profile event in London, culminating in the auction of these distinctive Billy and Carlos dolls. The event garnered substantial media attention and praise for its philanthropic impact, ultimately raising over £30,000 for Body Positive. This initiative not only celebrated the legacy of Stonewall but also underscored Billy and Carlos’ ongoing commitment to supporting HIV/AIDS charities.

The book, dedicated to Quentin Crisp, contains over one hundred colour and black and white photographs showing Billy, Carlos and Tyson, in hyper-realistic settings, in and around New York City and Long Island. Big Fun With Billy is celebrated for its innovative approach, blending elements of fine art photography with pop culture references, making it both a visually engaging and thought-provoking work.

Nigel Grimmer’s evocative work Passing first appeared in the gallery window of Central Saint Martins, University of the Arts London, during the late 1990s, standing as a poignant commentary on violence and identity. The piece centers on a Billy Doll, battered and bruised, bearing the marks of brutal assault—left, as the title suggests, “for dead.” Set against the backdrop of a bustling Charing Cross Road, the installation’s proximity to the public created a volatile interaction. While initially shielded by the gallery’s glass, the Billy Doll’s vulnerability resonated deeply, and the barrier itself became a site of attack, as the glass was shattered—an unsettling parallel to the fragility of marginalized lives in the public sphere.

Grimmer’s Passing transcends mere objectification, reflecting the harsh realities faced by many in the LGBTQ+ community, even in countries where homosexuality is legal. Despite legal protections, such as hate crime legislation in parts of the European Union and the United States, incidents of bullying, assault, and homicide against homosexual individuals persist globally. This work is not just a commentary on physical violence but also speaks to the systemic verbal and psychological abuses many still endure.

16 Feet Billy

Billy´s Cultural Impact and Legacy

At the 2003 Freerange Arts Exhibition, held at the Truman’s Brewery in London, the artist Alex Hancock unveiled one of his most striking works to date: 16 Feet Billy. This monumental sculpture, standing at an impressive 16 feet (4.9 meters), is a life-sized, hyper-realistic portrayal of Billy naked. Crafted from fiberglass and resin, the piece captured both the form and essence of Billy with remarkable detail.

Hancock’s 16 Feet Billy is not merely a technical exercise in replication; it invites viewers to contemplate the human form from an entirely new perspective, drawing attention to the scale and vulnerability of the body in a public setting. The work seeks to explore themes of identity, exposure, and the often-overlooked subtleties of physicality. The oversized dimensions emphasize the tension between personal privacy and the unavoidable nature of public scrutiny, offering a bold commentary on our relationship with the body in contemporary art.

Hancock explained the concept behind 16 Feet Billy: “To me Billy is a three dimensional form that represents a period of history, being born from an Art AIDS Benefit to become an iconic figure. However, at this point, I think Billy needs more exposure to cement his role as a prominent figure in history. It could be easy for people not to look beyond the comic nature of Billy, by magnifying Billy to 16 Feet in height and placing him in an art context I hope to allow a larger and broader audience to be challenged by the issues that Billy raises. Billy is not presented clothed, so he is shown in his simplest form. My ultimate ambition would be to produce a version in bronze or stone. The very solid nature of the materials could mean that the concept of Billy would be around for many years.”

In 2001, Billy was selected for inclusion in the prestigious permanent exhibition Making the Modern World at The Science Museum, London, a testament to Billy’s cultural and historical significance. This exhibition, which features over 1,000 manufactured items that have shaped human experience, highlights Billy as a remarkable intersection of art and industry. Both an artwork and a mass-produced object, Billy’s presence in this context underscores its profound influence on contemporary perceptions of identity, consumerism, and mass production in the modern world.

Additionally, the museum’s acquisition of a Carlos Doll further solidifies The Science Museum´s broader conversation about the intersections of art, commerce, and societal change, positioning Billy and Carlos as emblematic figures within this larger cultural landscape.