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
Producer, writer, and activist who produced shows like All in the Family, Sanford and Son, and Maude, is awarded the 2016 Freedom of Expression Award after a screening of the new documentary Norman Lear: Just Another Version of You.More
At the main festival ground on Saturday July 23rd and Sunday July 24th at Fort Mason Center, we welcome many celebrities from Japan, including WORLD ORDER, Silent Siren, Wednesday Campanella, GARNiDELiA, Mitz Mangrove, and many more, and we will also host a variety of events, including J-POP LIVE concerts, Meet & Greet sessions, Q&A with special guests, Interactive Summit, Travel Pavilion, Ramen & Sake Summit, dance, karaoke,cosplay and'J-POP Queen' drag contests.More
In 2013, when Catharine Clark moved her eponymous gallery from 49 Geary to the Potrero Hill area, she gave herself more room to work with, including a dedicated media space that has shown indelible work by such artists as Shalo P ("The Bedroom Suite"), Nina Katchadourian ("In a Room Full of Strangers"), and Andy Diaz Hope and Jon Bernson ("Beautification Machines").
Pickup basketball is a weird social phenomenon where a bunch of strangers meet at a designated spot during a designated time to engage in an athletic competition governed by de facto rules established in some mythic rulebook.
Eden, a portrait of an imploding marriage, is remarkable for every reason that counts in a good film: Its emotions are passionate and immediate, yet from the first frame we are trusted to understand, free of manipulation, exactly what this husband and wife of 10 years are suffering and thinking. The suspense grows out of their blindness to each other. Billy (Aidan Kelly) is a telephone lineman in the Irish countryside who, rather than face his wife, prefers to vanish into a pub after work and dote on fond memories of a heroic deed from his youth. Breda (The Magdalene Sisters Eileen Walsh) suffers his absences painfully, along with their two kids, and retreats into indolent melancholy, illuminated by a most intense and elaborate sexual fantasy. Written by Eugene OBrien and directed by Declan Recks, Eden constitutes cinema of a very high order. The use of music is discreet and generally sourced by the settings, while the cinematography by Owen McPolin is designed to suggest what Billy and Breda emphasize to themselves when they look at the world and each other. Kelly may have the thankless role of an ungrateful husband, especially in relation to the heart-piercing Walsh, but he puts us in constant contact with the suffering being behind his eyes. As Breda gives herself a radiant makeover and Billy fights his compulsive lust for a beautiful teenager, we nonetheless feel these two dreamers hopes for each other, even as he risks disgracing himself and she risks detonating their bond altogether.
Dec. 5-11, 2008