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 were recently surprised to learn that, while print and e-book publishing lan- guishes, audiobooks do better and better with every passing year. (Downloads in 2015 were up 38 percent over 2014.) We like to imagine that it’s the allure of the well-trained dramaturge that makes emotional connections while leaving some- thing to the listener’s imagination — not background noise for long commutes. In such a case, there can be no finer pleasure than a staged reading by longtime favorites Word for Word, a company that has brought countless short stories from page to stage, including “Sonny’s Blues” by James Baldwin, “The Fall River Axe Murders” by Angela Carter, “Berenice” by Edgar Allan Poe, and “The Bunch- grass Edge of the World” by Annie Proulx. During “Off the Page,” devotees help the company massage prose into parts, and sometimes, as was the case with Al- ice Munro’s work, choose the next story for production. Tonight, the actors ap- proach short fiction from Jamie Quatro’s highly lauded IWanttoShowYou More, which explores faith, (in)fidelity, and family along the border between Georgia and Tennessee.More
A storytelling night with Carnie Asada, Profundity, Coco Buttah, Mahlae Balenciaga, Greg der Ananian, and Fauxnique, celebrates Shark Week with accounts of dangerous, deadly, and treacherous creatures.More
Be there when Cara Black discusses her new book: Murder on the Quai. Aimee Leduc is in her first year of college at Paris's preeminent medical school. But Aimee's world is crumbling: her boyfriend is leaving her, her father leaves for Berlin for a mysterious errand and asks Aimee to look after his detective agency. She begins to investigate a murder. A book sale by the Friends of the San Francisco Public Library follows the event.More
For someone who lives in the downtown corridor — all right, the Tenderloin — the idea of going to Ocean Beach for pizza is rife with potential pratfalls: high Uber fares, lengthy Muni trips, ever-present fog, jet lag.
Of all the pizzas made in North Beach, perhaps none are made as fondly (or with as much flair) as those of pizza maestro Tony Gemignani, owner of Tony's Pizza Napoletana and recent top dog of the World Pizza Championships in Italy.
A woman sits in shadows, wrapped in a great checkered cowl. Behind her, golden light pours from a contraption of cogs, bells, tubes, and funnels that reach into the clouds. The conduits draw rainwater into small elixir bottles. It’s Useless Science or the Alchemist, a painting by Remedios Varo. Her fanciful allegories — rivers that flow out of wineglasses, troubadours who play music on strands of women’s hair, men’s coats that become boats — are frequently inured by themes of isolation and confinement. Not surprising, given that the Spanish anarchist fled Europe before the start of World War II. Though it was not Varo’s intention, Mexico City became her lifelong home. And while her strongest artistic influence remained her tutelage by French surrealists such as Andre Breton, it was in Mexico where she delved into studies of alchemy and sacred geometry, which set her work apart. At the time of her sudden death at age 54, Varo was tremendously popular within the exile community, but despite her inventive and inspired body of work, she is strangely absent from art histories. “Indelible Fables” is the first exhibition of her work held in the Western U.S.
Tuesdays-Saturdays. Starts: Jan. 19. Continues through Feb. 25, 2012