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
So you went out last Saturday night and wore those new dark-wash, skinny leg jeans that you just bought despite the fact that it's the end of the month and you should be saving that money for your rent check.
Matisse called the Barnes Foundation "the only sane place to see art in America." But the clamor over moving one of the world's foremost collections of impressionist, post-impressionist, and modern art from its small, intimate home in the bucolic suburb of Merion, Pennsylvania, to center city Philadelphia (4.6 miles away), has been anything but reasonable. Unapologetically on the side of those who oppose the relocation (executive producer Lenny Feinberg is, like many of the doc's impassioned interlocutors, a former student of the Barnes Foundation), The Art of the Steal presents its aesthetes versus Phila-stines argument cogently and engagingly. Director-cinematographer Don Argott digs deep to recount the struggle for control of this legendary institution, founded by cranky, liberal physician Albert C. Barnes in 1922 solely for educational purposes. The film makes clear that arguments about the foundation's inaccessibility in Merion are disingenuous at best - that moving the collection to the city represents the triumph of money and power not just over the express wishes of one man, but the public's opportunity to have a singular experience with an astonishing array of art in its original setting. The Art of the Steal's thorough research makes it one of the most successful advocacy docs in recent years and may prompt some firsthand investigating of your own.
March 12-18, 2010