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.

Source unknown – Title unknown (19XX)

Free love? As if love is anything but free! Man has bought brains, but
all the millions in the world have failed to buy love. Man has subdued
bodies, but all the power on earth has been unable to subdue love. Man
has conquered whole nations, but all his armies could not conquer love.
Man has chained and fettered the spirit, but he has been utterly
helpless before love. High on a throne, with all the splendor and pomp
his gold can command, man is yet poor and desolate, if love passes him
by. And if it stays, the poorest hovel is radiant with warmth, with life
and color. Thus love has the magic power to make of a beggar a king.
Yes, love is free; it can dwell in no other atmosphere. In freedom it
gives itself unreservedly, abundantly, completely. All the laws on the
statutes, all the courts in the universe, cannot tear it from the soil,
once love has taken root.

Emma Goldman, Marriage and Love

Chih-Han HsuIMG_4363 (2009)

I know it the young woman in the fuchsia dress is almost certainly wearing some adorable undies beneath her dress and her genitals are not especially near her friends mouth.

Regardless, I would do almost anything to switch places with the young woman in the white dress.

From the standpoint of image integrity, I am not at all fond of the way her legs are cut off by the bottom frame edge. And despite the the careful balancing the inside of retaining wall with the vertical sidewalk seam, there is no reason whatsoever for #skinnyframebullshit.

The reason this image works are the supremely digable little detail flourishes: dark nail polish against the greywhite concrete, the ring on the girl in the fuchsia dress’ left middle finger that draws attention to her left knees delectable skin tone and how she is kneeling on the other woman’s hair.

I am not sure the funereal hands crossed over her chest is the most convincing pose. Her hands could be any number of places, doing any number of things depending on the degree of comfortability of the two models with each other.

But really the image works mainly because of the ambiguously coy Mona Lisa smile which could just as easily be read as look at this transgressive thing I am allowing myself to be seen doing or this is the first time I’ve let another girl taste me and it feels so much better than I had ever imagined it could.