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
Although now swathed in nostalgic longing and/or hipster appropriation, the art of burlesque was once a vibrant, multitiered cultural enterprise escapist family entertainment for the working class, an erotic getaway for men of all classes, and a carefully constructed art form. Leslie Zemeckis' slightly ramshackle but utterly entertaining Behind the Burly Q is a painstakingly researched love letter to the women and men who once made up the community of burlesque performers. While the documentary could be a little more tightly edited, its treasure trove of vintage photographs and performance footage is enough to make historians and fans of classic erotica swoon. The film's visual component is complemented by insightful talking heads (retired performers as well as feminist scholars), who map a fascinating evolution of the form while filling in the backstories of the performers. It's the latter ranging from horrifying stories of poverty, violence, and abuse to professional and artistic triumphs that really pull in viewers. While icons such as Blaze Starr, Tempest Storm, and Dixie Evans (the Marilyn Monroe of burlesque) are given ample screen time, Gypsy Rose Lee, the biggest crossover success, is not only given a relatively brief mention but is also bitchily (and very entertainingly) ripped to shreds by folks who knew her.
July 22-25, 4 & 6 p.m., 2010