
Penthouse – The Top Floor feat. Mya Mason {desaturated} (2010)
“The abject is edged with the sublime.” –Julia Kristeva

Penthouse – The Top Floor feat. Mya Mason {desaturated} (2010)
“The abject is edged with the sublime.” –Julia Kristeva

Source unknown – Title unknown {desaturated} (201X)
In my experience, no matter your anatomy–there is something about causing someone to orgasm at the same time that they are causing you to orgasm has this way of creating a feedback loop that increases the intensity of the pleasure experienced.
I realize the logistics probably became increasingly complicated the more parties are involved; but–I don’t know–I sort of feel like a simultaneous orgasm is probably amplified exponentially as you increase the number of parties involved.
Anyway, that’s the super pervy place this image takes my brain.
[←] X-Art – In the Blind feat. Caprice (2014); [→] Source unknown – Title unknown (201X)
Juxtaposition as commentary

Oleg Andreev – Title unknown (201X)
I don’t believe in reincarnation. (Not that I don’t grasp what makes the concept so appealing–I just think it’s an all-too-extravagent proposition.)
But looking at this–which full disclosure: I don’t think is an especially great photo*–I’m just sort of instinctively drawn to it.
It reminds me of the first internet friend I made back in the mid-90s. She was the first person I met who claimed to be an honest to goodness witch. (I didn’t take her super seriously but I also didn’t feel any need to question or refute her.)
She always maintained that I had been a Russian peasant girl in my most recent past life. And honestly–that’s sort of the most reasonable explanation I could provide as to why so much of the work that commands my attention is made by folks who were formed and came of age during late Soviet decline in Eastern Europe and Russia.
*As to what doesn’t work about this, it’s dealing with a similar conceit as @mrchill‘s The Push–which I consider to be a much more effective evocation.

Club Seventeen – Title unknown feat. Tamara F (2013)
Ever since this post when I consume porn, I remind myself to pay attention to how the staging of a scene in relationship to the camera makes me feel about what I’m viewing.
Interestingly, scenes like this where the proceedings are cheated toward the camera to provide a clear and unobstructed view for the audience appeal to me more than scenes created by either a montage of various heterosexual erogenous signifiers or scenes that pretend to take a fly on the wall approach to capturing the scene–by staging the action for a stationary camera that only faces in one direction, moves on one axis and switches between reframings of close-ups and medium shots. (And POV shots are usually a huge turn off.)
I think there’s something about the sense that this scene has been blocked in a theatrical fashion contributes something to both the notion that both participants want to be seen in flagrante delicito. That self-consciousness makes me feel as if–as a spectator–my participation is expected if not the point of the undertaking.
(FYI, I do think this same idea can be applied negatively given the surfeit of tales where the consent of femme performers on porn sets is not protected or respected.)
One is never afraid of the unknown; one is afraid of the known coming to an end.

九口走召 9mouth – Untitled from Menstrual series (2014)
From one vantage: this image is a little too perfect of an addendum to the previous .gif. From another: I’m not entirely comfortable posting it.
9mouth is an exceedingly problematic image maker. I’ve posted about him before and my argument each time seems to boil down to even misogynist men can sometimes make an objectively good sexy picture.
However, engaging with his work this time around has prompted me to modify my opinion of him and his work.
The first thing that’s worth mentioning is that I’m bringing a better working familiarity with Nobuyoshi Araki and Daidō Moriyama to the table this time around–9mouth’s aesthetic being influenced heavily by them both.
The problem with this is that that the younger photographer cleaves to these sources in a blunt and non-contemplative fashion. To speak in broadest of generalities Araki’s work implicates its own voyeuristic raison d’etre through various conceptual stratagems; Moriyama tends to seek out the foreign in the familiar–in the instances of his more voyeuristic work, there’s a decontextualization of the mundane in an effort to draw attention and focus to how the juxtaposition between the erotic and the mundane infroms our notions of the limits of either category.
It feels like 9mouth looks at Araki and Moriyama as photographers who like make photos of nude women–without understanding that there is a lot more going on in their work than just gratifying a knee-jerk cishet male gaze.
9mouths work hinges not on any conceptual framework–and he very much attempts to lead with that but it’s disingenuous, self-justification at best–instead, his work is fixated on either women’s bodies as the locus of all sexual fetishization and women’s bodies presented to the viewer as if their bodies are sexually available to anyone approaching the work.
I am disappointed in myself for taking so long to see this fact. (Even by my own persnickety quibbling with compositional considerations–it’s taken me a minute to apply my own frequent criticism regarding the frame edge as a amputative tool. (For example: in the image above the woman–who is unnamed and due to the nature of the Menstrual series, inherently carrying an expiration date and therefore also disposable–has her feet amputated meaning that not only is she presented as sexually available to anyone who sees her, she also is rendered immobile through the symbolic amputation of both her feet.

Source unknown – Title unknown (201X)
I’m usually super creeped out by hetero porn where the camera assumes the man’s POV but I actually dig this.
I think the reason why is because the leaves entering the frame in the upper right half of the frame draw attention to her face–which at least draws attention to her agency in so far as the proceedings are pleasurable for her. (And again, there’s the additional filter of displays of women’s pleasure in pornography being part of the product sold to consumers.)
But I think there’s a kind of bliss in the maybe three frames where you can see her right eye slide out from behind the leaf and look into the camera.
Also, as the sort of girl who strives to always have her manicure game on fleek, the color of her nail polish is absolutely perfect for that outfit.

Vania Zouravliov – Under the Tree (200X)
I love what this illustrates and I love that it’s so detailed and that it’s framed with a circle. (Lately, I’m art schooled out by the time I get any time to spend on this blog.)