Compulsive art collector Salah Bachir flaunts his glitteriest, gayest pieces in
a new WorldPride exhibit. Here, a look at the iconic works on display
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(Image: Tom Sandler) Every surface inch of Salah Bachir’s two-storey lakeside condo is plastered with iconic art: a pair of Warhol’s Marilyns hang in the office, Herb Ritts’s glamour shots of Elizabeth Taylor in the upstairs corridor, colourful pieces by Canadian painters Attila Richard Lukacs and Stephen Andrews in the dining room, and a portrait of an American Gigolo–era Richard Gere in all his nude, lion-haired glory near the bathroom. Bachir, the 58-year-old Cineplex president, is known for his flamboyant style (he often dresses like a genie in billowy satin robes and hoop earrings) and lavish philanthropy (his nickname on the society circuit is Gala Salah). He’s also one of the city’s pre-eminent art patrons, rotating his 3,000-piece collection between the condo he shares with his partner, the artist Jacob Yerex—they recently bought the unit upstairs for more wall space—and a country house in Paris, Ontario, decorated to look like a rococo French salon. Bachir began amassing art in the early ’80s after befriending Keith Haring and Robert Mapplethorpe on trips to New York City. In fact, it was Haring who persuaded Bachir to buy his first Warhol, a 1957 “Happy Butterfly Day” drawing. Now, with 75 pieces, Bachir ranks among the top 50 Warhol collectors in the world. He buys works that stoke his obsession with queer identity, whether in the form of cheeky camp or sultry homoeroticism. In honour of WorldPride, the Museum of Contemporary Canadian Art is showcasing a selection of Bachir’s most famous pieces. Here, the stories behind a few of our favourites.
<strong>Herb Ritts’s “Elizabeth Taylor, Bel Air,” 1997</strong><br />Ritts shot this after Taylor had a brain tumour removed. “Even without the jewels, she’s more beautiful than ever,” Bachir says.
<strong>Andy Warhol’s “Ladies and Gentlemen,” 1975</strong><br /><br />
For this series of 10 screen-prints, Warhol used transvestite models from the Gilded Grape, a gay nightclub near Times Square in New York.
<strong>Annie Leibovitz’s “Keith Haring, New York,” 1987</strong><br /><br />
Haring and Bachir were old friends. Here, the artist is painted like one of his iconic pop art silhouettes. “Keith loved being naked,” Bachir says.
<strong>Attila Richard Lukacs’s “Coo Coo Ka-choo, Mr. Robinson,” 1999</strong><br /><br />
Bachir met Lukacs in Berlin in the ’90s and quickly became the artist’s most devoted patron. Every time Lukacs finished a piece, he’d offer Bachir first right of refusal.
<strong>Andy Fabo’s “Phantom Limb (Michael Balser heads),” 2004–2005</strong><br /><br />
Bachir bought the entire series, which depicts Fabo’s partner, Michael Balser, dying of AIDS over six months.
<strong>Stephen Andrews’ “Judas” (from the Apostles series), 1997</strong><br /><br />
Andrews painted ’50s gay hustlers in the style of Caravaggio. They hang in Bachir’s dining room.
<strong>Robert Mapplethorpe’s “Ken Moody (nude with black background),” 1985</strong><br /><br />
Bachir started buying Mapplethorpe’s work in the ’80s, when they spent time together in New York.
<strong>Attila Richard Lukacs’s “Love You,” 2000</strong><br /><br />
This piece was originally double the size, but when Bachir saw it, he said he’d only buy the half he liked—so Lukacs cut the canvas down the middle.