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.
Lydia Panas lures families and friends to the fields of her 75-acre farm in rural Kutztown, Pa., and shoots them. With a camera, that is. Her “Mark of Abel” series derives its name from Diane Arbus, who wrote, “If, as is often said, you can’t win, it is perhaps because when you do you have so much to lose. To put it a little gloomily, winning could be called the mark of Abel.” Abel was murdered because his sacrifice of a lamb was better received than his brother’s vegetarian fare. “He was killed because of his success,” Panas says. “There’s something dangerous about climbing higher and higher. For me what it refers to is complicated family relationships. There’s competition. Rivalry.” The complexity of family dynamic is captured in A Suspended Moment, in which the father and eldest brother retreat to the background, and the youngest children are both partially obscured. Like Abel, the second son dominates the foreground. “I don’t ask them to do anything except stand there,” Panas says. “We learn to put on a public pose. I’m trying to go underneath that thing. I’m trying to touch whatever may be going on inside ... a combination of strength and fear.”
Thu., Sept. 13, 2012