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
The winner of the 1961 Venice Film Festival, Alain Resnais's Last Year at Marienbad returns to us after years of public-domain limbo in a sumptuous new print. Back in the day, literal-minded audiences had great fun pretending to be baffled by this artiest of European art films. Basically, Last Year at Marienbad -- which Resnais directed from an original screenplay by "new novelist" Alain Robbe-Grillet -- is a situation. The politely avid X (Giorgio Albertazzi) pursues the mysteriously diffident A(Delphine Seyrig) through a huge, mirror-encrusted château, complete with formal garden -- "a universe," as Robbe-Grillet described it, "of marble and stucco, columns, moldings, gilded ceilings, statues, motionless servants." Gloomy organ music underscores the proceedings as X insists against A's protestations that a year ago she'd promised to leave her husband M (the cadaverous Sacha Pito) and go off with him. The tension is never resolved: Is X casting a spell or breaking one?
One thing is certain: Breathtaking in her slouch, the irresistible Seyrig -- whose only previous film appearance had been as the put-upon beatnik wife in the entirely different art-house hit Pull My Daisy -- transforms the noun "arabesque" into a verb. (Later, the Method-school actress would reveal that many of her poses were improvised on the set.) This languid, elaborately coiffed and bejeweled creature -- her beyond-Dietrich outfits designed by an uncredited Coco Chanel -- embodies obsession. Is she married to Death, who never loses the version of pickup sticks that would thereafter be known as the "Marienbad game"? Or is it Death who woos her? In either case, the spectator is similarly obliged to surrender to the movie's incantatory rhythms and sublimely maddening mannerisms -- or else leave the theater.
Thu., Nov. 20, 7:15 & 9:20 p.m.; Fri., Nov. 21, 7:15 & 9:20 p.m.; Sat., Nov. 22, 2, 4, 7:15 & 9:20 p.m., 2008