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 don't often go out of our way for restrooms, but in the case of Macy's sixth-floor ladies room (sorry guys: you'll just have to make do with having everything else), all who pass through its doors will understand why it's worth the effort.
Like Joan Braderman's 2009 doc, The Heretics, Lynn Hershman Leeson's !Women Art Revolution is a lionizing chronicle of the birth, in the late '60s, and efflorescence of feminist art. It's motivated by first-person recollection. "I realize the timeline of this film is my own timeline," says Leeson, born in 1941 and a performance-artist-turned-director (who's made three movies with Tilda Swinton). Though her autobiographical asides sometimes disrupt the flow of her interview footage, which she began assembling 40 years ago, !Women Art Revolution moves briskly, unfolding as one lively sit-down after another with artists, scholars, and curators who established themselves at the height of second-wave feminism. !WAR features the movement's higher-profile names including a 1990 chat with Judy Chicago in the bathroom of a West Coast college (the acoustics were good) and lesser-known figures like Howardena Pindell, whose 1980 video Free, White and 21 remains underseen. For all its celebration, Leeson's generational portrait also reminds us that sisterhood wasn't always powerful: Former Village Voice critic B. Ruby Rich recalls the craven responses of feminist artists who refused to speak up after the death of one of their own, Ana Mendieta, who many suspect was killed by her husband, the Minimalist sculptor Carl Andre. The laudatory, though thankfully nostalgia-averse tone of !WAR is best summed up by this assessment of the era from Harmony Hammond: "It was excitement, it was empowering, it was a lot of fucking work."
Aug. 26-Sept. 1, 2011