Walter Crasshole drew "censored" across his face with black eyeliner at a Vivienne Westwood event in the de Young Museum when his film was abruptly cut from the program for being too sexually explicit.

It was an evening of bold works, booze, beautiful people, mash-up sounds and banned art at the second annual SF State College Night at the de Young Museum on Friday, May 27, which featured “Cutting Across the Social Fabric: A Tribute to Vivienne Westwood.” The student exhibition featured sassy and provocative work, but ironically, one student film was pulled after being deemed too sexually explicit.

The program promised daring, edgy student work including fine art, a fashion show, a capoeira performance and film, all inspired by or reflective of the theme of Vivienne Westwood’s boundary-pushing work as a designer and pioneer in punk and counter-culture fashion since the 1960’s. Perhaps all too fitting of the theme, one film, “Yr Love Runs Through my Blood,” directed by [X]press Magazine Editor Walter Crasshole, was cut from the program at the last minute due to its content.

The film combined with photographs and music juxtaposed scenes of two people receiving tattoos fully naked, masturbating and having oral sex.

“It was artsy, edgy, street culture, all things I was looking for…it had a lot of sex, and it definitely had shock value, ” said exhibition curator Robert Melton, a graduate student who is in the museum studies program at SF State. He said he was upset Crasshole’s film got pulled, but was happy with the art and the event overall, which he estimated drew over 2,000 attendees.

Melton explained that he accepted Crasshole’s film into the program on a recommendation before having the opportunity to fully screen it, and when he did, he decided he had to run it by Renee Baldochi, his advisor and liaison between the de Young and SF State, for final approval because of its graphic sexual content.

Baldochi, who made the call to pull the film, was not available for comment. Melton, who is taking a class in controversial exhibitions, said he saw the irony in the ban, but understood her decision.

“She had to cover her butt!” Melton said. “It just wasn’t right for this setting,” he added, citing the presence of families and children at the museum.

“It was fun!” Crasshole, 24, said in reaction to being censored. “It was quite a stroke of irony---someone said ‘Congratulations! Do you know how hard it is to get censored at this event, let alone how hard it is to get censored in San Francisco?’”

Crasshole, a senior in the SF State journalism department and self-described “old punk,” said his film, which dealt with queer sexuality, tattooing and punk rock, definitely fit in with the theme of the evening.

“My film was transgressive,” said Crasshole, “and Vivienne Westwood has always been down for being a transgressive artist.”

While he doesn’t agree with the censorship, he drew parallels to how Westwood, along with former partner McLaren McLaren, then manager of the Sex Pistols, masterfully wielded the attention drawn from creating subversion and controversy in the 1970’s to their advantage, securing their place in punk rock history.

“They’d hype the hell out of (The Sex Pistols) then get them banned—they knew it just builds interest!” he said.

Crasshole's film received press interest beforehand and made it into the event program with a sexually explicit warning beside it, but was crossed out in pencil on the night of the event.

“It just builds interest because you’re not supposed to see it,” he said.

Crasshole said his film might be screened at this year’s Frameline Film Festival in June, which has film listings at frameline.org.