You say that my way of thinking cannot be tolerated? What of it? The man who alters his way of thinking to suit others is a fool. My way of thinking is the result of my reflections. It is part of my inner being, the way I am made. I do not contradict them, and would not even if I wished to. For my system, which you disapprove of is also my greatest comfort in life, the source of all my happiness -it means more to me than my life itself.
Category: Uncategorized

Suzanne Ballivet – Title Unknown (194X)
Angel lust (aka post-mortem priapism)
(Also, this reminds me of the opening scene in Deadwood: where the guy in the who is supposed to hang is worried about how he’ll die of strangulation instead of a broken neck and Sheriff Bullock says he’ll give him a hand. Bullock subsequently strings him up, kicks the platform out from under him and the guy looks bewildered and betrayed until Bullock reaches out and jerks the lower part of his body down violently, snapping his neck. The masturbating nun in the image above appears to not only be holding his hands behind his back but to also being dragging him down; there’s a sort of visual symmetry between her orgasm and his death.)

Erotic Beauties – Daniela in Casual Orgasm (2014)
While I certainly appreciate the various elements here:
- the window and its inviting of public vs private notions;
- questions over the implications of voyeurism (experiential, i.e. masturbation vs mediated documentation of experience, watching someone masturbate as if they were unaware they were being watched even though they most certainly are very aware of that fact);
- the crocheted décolletage, the fruited branches decorating the dress’ fabric and sparse floral on white pattern of her knickers present a stylized-without-being-kitchy, cutesy-femme bearing.
It’s definitely some #skinnyframebullshit and I think the way the frame amputates her legs just above the knee brings in issues of restricting autonomous mobility of the subject and rapidly pushes things down a slippery slope towards knee-jerk male gaze objectification.
…
When I started this project a bit over four and a half years ago, I was extremely unhappy with my life. There were a lot of things that informed my decision—but it was primarily driven by two factors:
- every creative outlet open to me felt stagnant, and;
- I am obsessed with the potential confluence of the subjects typically relegated to ‘pornography’ being recognized as viable subjects for consideration by capital A Art.
It was actually an inspired decision. They say write about what you know and considering I was spending two hours every day viewing the same sort of material I post on this blog, there was an elegance to the proposition.
Also—as I came to realize—my creative stagnation all started when I stopped writing. (Although ‘stopped’ made it sound like I gave up instead of spending several years staring at the blink-blink-blink of a mocking cursor on a blank page.)
I still struggle with writing. I’ve been working to get a novel off-the-ground for months—to little avail.And although I still don’t feel a renewed sense of momentum, there is at least movement now.
Surprisingly this blog has taken off more than I ever expected. I mean: I only started it out of abject desperation. So if some time traveller had told me that in January of 2013 that by the summer of 2016, I’d be averaging a post per day and have followers totaling into four figures, I’d not have believed them.
…
The ‘success’ of this project—if you can even call it that—has unfortunately changed some things. I definitely put more time and energy into posts than I did when I first began. However, as I have—for whatever reason—gotten attention for what I’m doing, I do worry that I have lost several things I wish I hadn’t; namely: I spend more time worrying about the more academic aspects (after anon advising me to top myself, the most common nasty messages I get accuse me of being ‘uneducated’ and/or ‘pretentious’) and how I’ve lost the more deeply personal, confessional tone of the first nine months or so I was doing this.
…
Amadine and I had just finished a hike.
We’d driven back to my AirBnB—a quaint cottage situated in a large chaotic garden. The two of us were seated at the heavy bistro table adjacent to the cottage. She’s an insanely talented illustrator and our conversation centered around our motivations for art-making. (We both agreed that the primary drive was a feeling of profound responsibility to share and/or draw attention to the moments of transcendent wonderment we experience. Subsequently, she talked about how her chronic health issues so frequently derail her creative practice and how societal pressures cause her to veer away from dealing with physicality, nudity, intimacy, vulnerability and sexuality in her own work.)
I found myself talking to her with a degree of guileless intensity I’ve never managed with another human being about my own work. Pornography serving as my intensely problematic/myopic introduction to human sexuality; and my simultaneously fascination with explicit documentation of sex vs my alienation from the rampant objectification and misogyny of porn.
I told her:
I started masturbating before I even knew masturbation was a thing. I’d rub my genitals against my pillow and I learned that if I did it long enough, it would make me feel warm and tingly for a bit.
By the time I learned that what I was doing was called masturbation, I was already hooked on the endorphin rush. It was the way I’d manage to deal with how insanely fucked and abusive my environment was growing up.
I ejaculated for the first time when I was twelve. I didn’t enjoy it. As a matter of fact, I remember it was painful.
As fate would have it, that same week, we had been told that masturbation was a mortal sin. (Remember I was raised by fundamentalist Xtians…) I remember the teacher telling us that if we had such urges we should pray that Jesus would take them away and that he would. It was identical to my mom telling my brother and I that my father really did love us deep down, he just didn’t know how to show it and that we should pray for Jesus to help him not be angry and to instead love…
I prayed but my prayers felt as if they never went higher than the ceiling above my bed.
I paused. Half expecting her to be appalled and fumbling for a way to make a polite exit. Instead, she offered: I’ve never been much of a masturbator. My mom says I used to touch myself constantly when I was young. But that was more curiosity. I had this intriguing body and I wanted to know everything about it. But as it became less about exploration and more about maybe not masturbating, but self-pleasure… it just made me feel weird and I stopped doing it.
…
Honestly, the raw material in the image above is first rate. Given the same elements, I firmly believe that someone could make a jaw-on-the-floor work of capital A Art. The problem is: the focus here is on the a mediated fantasy. This sort of ideal type—what the male gaze imagines female masturbation to entail. I’m not interested in that—that isn’t what arouses me, what captures my imagination, what makes my heart race and my brain crackle.
I am transfixed by the experience of unselfconscious pleasure—because it’s not that much different from transcendent experience when you get right down to it. And I’m singling out this image here because I think it has a great deal more potential than most images—but sadly it’s squandered as a result of preconditions and a lack of empathy.
I don’t want to see what you think I think pleasure looks like. I want to see the flush of your face, the shiver of your body, the breathless surrender as pleasure takes you. That, to me, is the fundamental essence of what makes something Art.
…
Amadine isn’t her real name. And I doubt she’ll ever happen upon this. But in the interest of full disclosure, the 48 hours I spent with her are among the three best experiences of my life. Only once in my life have I felt as connected/understood/seen by another person.
I am absolutely head-over-heals in love with her. It’s impossible though—for reasons I can’t even begin to go into here.
But: if there was something I could say to her it would be this line from poet Mahmoud Darwish:
قالوا: تموت بها حبـاًً؟
قلـت: ألا آذكروها علـى قبـري لتحيينـي
they asked “do you love her to death?”
i said “speak of her over my grave and watch how she brings me back to life

Patricio Suarez – Rachel_007 (2010)
Underneath all reason lies delirium, and drift.
— Gilles Deleuze, Desert Islands, p. 262

Kate Smuraga – Title Unknown from letter from the quiet town series (2015)
I suppose it’s a stretch to claim this ‘belongs’ here–that is: on this blog, interacting with more graphic fare.
It was several months ago when I first stumbled upon Smuraga’s work. There’s not really enough work to get a handle on whether she’s merely precocious or a solid image maker.
Still: there is a quality I find absolutely hypnotic. However, if someone were to ask me what about it I find so spellbinding, I’ve laacked a means of explaining beyond just repeating my initial assertion again.
I came across something today that made me finally recognize the pattern–it’s a quote from writer A. S. Byatt:
Ice burns, and it is hard to the warm-skinned to distinguish one sensation, fire, from the other, frost.
We think–generally–of the middle of a spectrum as being a sort of balance or fulcrum. Yet, there is usual something of one extremity contained within the other. Similar to the way that ice can both be felt to chill and to burn.
The thing that gets me about this image is I recognize the expression as a self-conscious between-ness: not yet an adult and no longer merely a child.
But such between-ness is not so much a halfway point as simultaneously occupying the extreme ends of quote-unquote conceptually incompatible spectra.
(Again, apples invoking the Eve mythos–and with that the simultaneous knowledge of good and evil.)
Smuraga is–in many ways–far more transgressive than most of the artists I post who spend a great deal of time and energy pursuing an agenda of transgression. Looking unblinkingly for transgression is one thing; looking without guile and seeing a wider matrix of connections and finding a way to incorporate them into a limiting frame is definitely the more difficult undertaking…
wonderlust photoworks in collaboration with Kathleen Truffaut – [↑] Atelier (2016); [+] Redolent (2016); [↓] Cauterwaul (2016)
My last trip out to L.A. was pretty much a cluster fuck of truly epic proportions. The highlight of the trip though was meeting and making photos with the angelic and thoroughly intriguing Kathleen Truffaut.
(An extra special shout out to @jacsfishburne–without whom the above would not have happened.)

Mira Schor – Semi Colon in Flesh (1993)
Description:
This painting is part of a series of
punctuation mark paintings that imagine a gynecological examination in
which it would be discovered that there is language in there, just where
Western male civilization has pictured the irrational, chaos, and
darkness.(via riskyvanquisher)

Tono Stano – Gift (1999)
Like much of Stano’s work, I am, at first, not certain how to engage with this photograph: it’s stunning–both in the sense of the reflection of sunlight off a moving vehicle that unexpectedly blinds you as well as incurring a coup de grace.
That’s probably not such a bad starting point, actually. (First idea, best idea–and all that.) There is something impossible about the light in the above: the over exposure along the ridge of your back, the flattering dynamic range of gradients on her face. (There’s almost certainly some sort of wizard-like chicanery with bounce boards going on just beyond the frame edge.)
After the initial wow-ness of seeing it, I naturally think woman with apples and start running with the biblical Eve mythos. On the surface, I feel that’s a super hackneyed premise. I’m inclined to accuse the artist of a lack of subtlety, when I should probably equally blame myself for the ease with which I trot down that well-worn path.
However, I don’t think it’s the wrong path. Here the woman is looking at something on the ground with both gravity and curiosity. The viewer might very much be intended to make this sort of subconscious connection. The three apples (instead of the usual one associated with the trope), suggests a fascination with the potential of knowing of good and evil (and from a theological standpoint: embracing of sin).
The more I look at this the more I’ve convinced that the allusions to Eve actually serve a recursive purpose, to present the surrender to temptation with nothing more than an implicit tempter.
Everything else points to a rapturous celebration of the sensuous pleasure of being human, alive and therefore physically embodied. (Also, from the standpoint of compositional form: not how the parabola of her rounded back opposes the inverse parabola of the grass behind her and how her shape and order contrast with the blurry chaos of vegetation; and how the dark background in the upper 40% of the frame makes her stand out more–conceptually suggesting that between chaos and nothing, there is humanity and it’s potential of sensuous experience.)



