[↑] Source unknown – Title unknown (201X); [↖] Zishy – Arya and Bailey Room Mates (2016); [↗] X-Art – Raw Passion (2016); [+] Source unknown – Title unknown (201X); [←] Source unknown – Title unknown (201X); [→] Source unknown – Title unknown (201X); [-] Source unknown – Title unknown (2015); [↙] Source unknown – Title unknown (201X); [↘] Source unknown – Title unknown (201X); [↓] Nubile Films – Title unknown (201X)
Follow the thread: GIF Exception Edition
Reality Kings – Fierce Fucking (2013)
Normally I don’t fuck with work that was original posted in color and subsequently desaturated to monochrome before being re-posted…
However, in this case the desaturation improves the work quite a lot. (You have to be really good to get this sort of strobe aesthetic to work in dark, uneven lighting; while monochrome is reasonably forgiving.)
The other reason I’m posting this is because I recently had an idea for a photo project based off a similar notion as these (exhibitionism and group sex).
Source unknown – Title unknown (200X)
If nothing saves us from death, at least love should save us from life.
—Pablo Neruda
Source unknown – Title unknown (201X)
Although this doesn’t quite work there’s some great elements.
First off, I have a strong affinity for work which is ostensibly heteronormative but sublimates expectations. For example: most porn seems to operate from the principle that you shouldn’t see dick unless there’s a naked lady in the frame at the same time or a woman who although partial clothed is in some way interacting with the penis.
The positioning of the hands and the way they inform the rest of his pose reminds me of a Renaissance contrapposto sculpture. Also: the texture of the upholstery makes me think of those benches in national galleries.
The pattern of the tile and it’s alignment with the upholstery of the table is one of the reasons the composition more or less works–the eye scans left to right and the snaking chain attached to the shackle around his scrotum pulls the eye back across the image emphasizing the off kilter angle.
Overall all, as an image: it’s mostly strong enough to transcend the sloppy way his right ankle is chopped off at the ankle.
Klaus wieKind – SUBSPACE for Pornceptual (2017)
Artist’s Statement
SUBSPACE tightens the bonds between
Christian ideology and the submissive experience in BDSM relationships –
exploring how submission and pain have always been, in many historical
and cultural behaviors, a major path in the pursuit of power, elation,
and transcendence.
Oliver Rath – Der Sommer Kommt feat. Phan Toma (2012)
I’m not sure whether this is a good image or not–but there is definitely a lot going on with it.
The depth of field is such that although it’s ostensibly clear that the person in the foreground is supposed to appear as if they are using electric clippers to remove pubic hair. (I am not entirely sure whether Rath paid Phan Toma to shave for the photos or if this was someone else’s hair and the scene was staged. My gut says it’s the later–although with Rath, it really could just as easily have been the former. In the favor of the latter is the fact that electric clippers don’t really get things that clean shaven–usually you need to use the clippers first and then bring a razor to bear.)
Also, although the toilet is not the venue I’d ever recommend as ideal for this sort of thing. The image has been staged in such a fashion as to make it read clearly that the model is in a bathroom and removing pubic hair. That post cannot be especially comfortable and usually the idea is that you sit on the toilet so that it’s less muscle strain and the hair can just be flushed. (Although, come to thinking of it: I think I’ve only ever known it to be dudes who favor the flush the pubes depilatory routine. (I don’t know a woman who does it like this–I lay out newspapers like I was taught by other women.)
I have mixed feelings about the fact that you can see the photographer bear feet and legs in the image. On the one hand: I am inclined to agree with the sentiments of those who find shots like this creepy AF. Further: the fact that this is a model and the photographer is straddling a leg while taking a picture of the removal of pubic hair is… intimate–but intimate in a way that the photo gives us zero context to discern whether or not the intimacy is consensual or coercive.
The image reads very clearly but in so doing it trades in ambiguity that is more interesting that any of the sum of its parts. The trouble is the ambiguity hinges on questions of voyeurism and propriety but relies upon the ambiguity of the presentation to head off any criticisms at the pass.
Erika Lust – Title unknown (201X)
nom nom nom (No one comes here for the humor. Back to your regularly scheduled programming nom nom nom) nom nom nom
Francisco Gomez Martinez – Sombra y Luz (1956)
Fragment 83
Sappho (translated by Anne Carson)
love, lay me down under grass &
sunlight, and touch me [right here]
and here and here, where the ache
& hurt have gone to nest.
[(now again)] my fingers will find
yours, tangle & sweeten the air,
and the birds will cry [for]
us alone.
Source unknown – Title unknown (201X)
The general imprecise way of observing sees everywhere in nature opposites (as, e. g. ‘warm and cold’) where there are, not opposites, but differences of degree. This bad habit has led us into wanting to comprehend and analyse the inner world, too, the spiritual-moral world, in terms of such opposites. An unspeakable amount of painfulness, arrogance, harshness, estrangement, frigidity has entered into human feelings because we think we see opposites instead of transitions.
Acetylene Eyes 