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
We don't often go out of our way for restrooms, but in the case of Macy's sixth-floor ladies room (sorry guys: you'll just have to make do with having everything else), all who pass through its doors will understand why it's worth the effort.
For a portion of the population, “church and organ” are synonymous with “church and God.” The Lord didn’t compose His entrance on the kazoo, did He? Now consider, for a moment, what powerhouse emotions might be summoned if the instrument and the space were devoted to another purpose. We’ve entered the province of Dorothy Papadakos, the altogether remarkable organist who performs two feats of virtuoso accompaniment of silent masterworks tonight. The curtain raiser is Battleship Potemkin (7 p.m.), Sergei Eisenstein’s impassioned 1925 tribute to the seeds of the revolution and the visceral power of montage. If you’ve never seen the brilliant (and much-parodied) Odessa Steps sequence — two words: baby carriage — it’s hard to imagine a more rarefied opportunity. Papadakos smoothly shifts shadings for F.W. Murnau’s creepy 1922 triumph of German expressionism, Nosferatu (9 p.m.), freely adapted from Bram Stoker’s Dracula. The perfect pairing of film and venue, this is truly inspired programming. The crucifixes, you see, are already on hand. Get thee behind me, Max Schreck!
Sat., Jan. 26, 7 p.m., 2013