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
Producer, writer, and activist who produced shows like All in the Family, Sanford and Son, and Maude, is awarded the 2016 Freedom of Expression Award after a screening of the new documentary Norman Lear: Just Another Version of You.More
At the main festival ground on Saturday July 23rd and Sunday July 24th at Fort Mason Center, we welcome many celebrities from Japan, including WORLD ORDER, Silent Siren, Wednesday Campanella, GARNiDELiA, Mitz Mangrove, and many more, and we will also host a variety of events, including J-POP LIVE concerts, Meet & Greet sessions, Q&A with special guests, Interactive Summit, Travel Pavilion, Ramen & Sake Summit, dance, karaoke,cosplay and'J-POP Queen' drag contests.More
In case you've been TaskRabbiting your way through life and haven't had the chance to leave the micro-loft to stroll the alleys and streets of central San Francisco, the number of homeless tent encampments in town is approaching epic levels — as in Hooverville and Great Depression levels.
Rodney Ewing's two impressive collections deal heavily with race, ritual, trauma, and injustice. The first series is called "Port Chicago," named for the infamous Bay Area facility, the Port Chicago Naval Magazine. Located on Suisun Bay between Martinez and Bay Point, it was where munitions were loaded in World War II. In July 1944 a shipment exploded, injuring and killing hundreds of mostly black enlisted men. The Navy blamed the men for the explosion and later imprisoned some 50 who refused to work because of unsafe conditions. Most of the Port Chicago 50 were released but not exonerated for decades. The second series is called "Rituals of Water," which is "an exploration of the allegory of water in the context of the African Diaspora," according to Ewing. The work is divided into four thematic sections: Transition (Middle Passage), Transformation (Baptism), Resistance (Civil Rights), and Dispersal (Hurricane Katrina). Ewing says it shows how one element can serve purposes mundane, transcendent, and malevolent. Ewing combines stark detail with watercolor-like washes and repeated forms to create thoughtful works that are at once overt and subtle. His use of color is limited but also stark, underscoring the dual impact of the work. Although most of his subjects are African-American people, Ewing transcends tired political grandstanding or shock value to reach a place that is simultaneously disturbing and meditative, and, in the end, unmistakably human. In his work we are not looking at "the other," but rather at ourselves. Ewing's effects thus invite the viewer to gaze upon a single piece for extended periods of time.
June 1-24, 2011