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
Retooled noir with less pulp than its original source, Christian Petzolds Jerichow wryly riffs on The Postman Always Rings Twice for late-capitalist Deutschland. Mostly cool where James M. Cains 1934 novel and the 1946 and 1981 film versions run hot, Jerichow is interested less in the frictions of bodies rubbing up against each other than in the static of class and cultural tensions as wads of euros exchange hands. As in Petzolds previous movie, Yella, the dehumanizing qualities of commerce drive the narrative. But where the earlier film lost some of its punch to a cheap plot contrivance, the tight twists and turns of Jerichow suggest that Petzold has become a far more robust storyteller. The players in Jerichows love triangleAli (Hilmi Sözer), a Turkish snack-shop proprietor; his wife, Laura (Petzold regular Nina Hoss); and Thomas (Benno Fürmann), the ex-soldier Ali hires as a driverare consistently excellent, with Sözers broken, pathetic magnate starting out pitiful before becoming contemptible and, finally, human, as his tentative swagger is constantly undermined by his outsider status. Petzolds film forgoes the prolonged double-crosses of The Postman Always Rings Twice, its simpler ending made all the more powerfuland a little heartbreaking.
July 17-30, 2009