While they often presented themselves as bodybuilders’ publications, their chuckle-prompting titles — Torso, Adonis, Honcho, Mandate — didn’t lie. Gay men’s magazines of decades past were bought by gay men who wanted to look at the erotic illustrations of well- built male bodies therein. Because any- one known to possess such material in the homophobic 1950s and 1960s could experience serious consequences, men hid the magazines under their mat- tresses. These illustrations have now inspired a traveling exhibition, Stroke: From Under the Mattress to the Museum Wall. Curated by notable erotic artist Robert W. Richards and orig- inating at the Leslie-Lohman Museum of Gay and Lesbian Art, the popular show contains 24 original illustrations that ap- peared in gay magazines from the 1950s to the 1990s. It also looks at how gay men, forced into the closet during those decades, used these pictures to explore their sexuality intimately. It additionally serves as a showcase for the artists in- volved. On view are works by two dozen top artists of the times, including Touko Laaksonen (Tom of Finland), Antonio Lopez (Antonio), and David Martin.More
Jia Zhangkes last feature, Still Life (2006), was set in Fengjie, an ancient river city flooded and rebuilt as part of Chinas monumental Three Gorges Dam Project; his latest, 24 City, takes place in and around a giant, formerly-top-secret aircraft plant in Chengdu City, Sichuan. Again, the subject is displacement. Having been purchased by a state-controlled real estate developer, China Resources, Factory 420 is slated for demolition. More precisely, it will be converted into a luxury housing complex named 24 Citycondos at a cost of only 20,000 jobs. 24 City is largely oral history, real and invented. Its mainly populated by retired workers, posed in situ and talking about their livesflesh-and-blood monuments of Maos China. But 24 City is not exactly cinema vérité. Jia originally planned to make two movies about Factory 420, one fictional and the other documentary. To the discomfit of many critics, however, the two modes merged in a single work: 24 City is more obviously documentary than most of Jias fiction films, and also vice versa. Three of the interviews are staged. Released a few months back in China, it has proven to be Jias most commercially successful film, but its not an easy movie to read. What is one to make of the casually revealed information that the movie itself was partially financed by 24 Citys developer? Have we been watching a kind of infomercial? Is there irony or pathos in the juxtaposition of retired workers enthusiastically singing The International as their factory collapses?
July 31-Aug. 14, 2009