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
Though Adriano Paganini's restaurant specializes in Roman-style wood-fired pizzas, you'd be remiss to skip out on its appetizers, in particular the broccolini bruschetta, a dish that may very well become your new favorite way to eat these tiny trees of the produce world.
A drug addict, wounded in a bus crash, and nearly dying, recovers to take on the role of nurse. She discovers that if she has sex with the very ill they win complete recovery. Returning from several years abroad, a wispy carpenter tries to build a new home in a reed-choked subsidiary of the Danube. Greeted by a red-faced mom, a hostile stepdad, and locals with faces like the business end of hammers, the one friendly face he sees is that of a sister hitherto unknown to him. The two bond, and together with a friendly turtle who serves as a totem of their love, they literally attempt to build a world of their own. A program of these, two films by a Hungarian, Kornél Mundruczó, offers viewers a chance to witness a remarkable debut. Johanna (2005) and Delta (2008) are in some ways completely different. Johanna is filmed almost completely indoors, inside a rundown hospital with threatening murals of angry, frightened animals. Delta is filmed almost completely outdoors, Mundruczós camera embracing natures look while his editing rhythm mimics a deltas gentle ebb and flow. Mundruczós muse, Orsi Toth, offers two completely different performances. Aggressive and eagerly giving of herself as Johanna, shes an almost unrecognizable waif in Delta. The feel of the films are also different: Johannas harshness is only partly ameliorated by its highly unusual soundtrack all the dialogue is sung. Delta, on the other hand, celebrates lifes beauty, capturing little moments of human interaction an embrace, a meal of bread and wine. At the same time Delta is pitiless in its depiction of human brutality a rape, a murder. What unites the films, then, is Mundruczós singular sensibility, which is that of a born filmmaker.
Nov. 22-24, 2010