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
Street art has gone from subversive to respectable over the past decade, what with Banksy becoming an Oscar nominee and Shepard Fairey mounting career retrospectives in white-walled museums. Its an object lesson in Joe Strummers maxim, He who fucks nuns will later join the church. The form has now also been granted the ultimate stamp of legitimacy a lavish Taschen book, Trespass. A History of Uncommissioned Urban Art. Its enough to make a purist take to the streets. But the thing about street art is that it can never be completely mainstreamed, no matter how many times its appropriated by Krylon-wielding viral marketing teams or exhibited to the art world elite. As long as there are disenfranchised young artists, itll remain vital and anarchic. The author/editors of Trespass are wise to celebrate this restless quality instead of attempting to preserve the form in amber. The book documents street arts history, from Keith Haring and Jenny Holzer to the Guerrilla Girls and Banksy, while treating the form as an ever-moving target, a defiant act of social protest and guerrilla urban renewal. To celebrate the books release, editor Ethel Seno interviews Jack Napier of the Billboard Liberation Front about how street art and its endlessly defiant spirit became an (official) global phenomenon.
Thu., Feb. 17, 7 p.m., 2011