Tag: nude

aprivateexpose:

One of the highlights from our first ever threesome last week šŸ˜ Weā€™re lucky to have such beautiful and open minded friends to help make our fantasies come true. Weā€™ve been fantasizing about this for so long and had such a lovely time and learned we really enjoy having sex in front of people. Follow us for more, thereā€™s over 500 photos from the night. Full color ones too šŸ˜‰

@aprivateexposeā€™s stated intent is to: ā€œdance around that fine line between art and pornographyā€.

I feel like the above set does some things well and other things less well.

Letā€™s start with the bad and move toward the good.

I think the 3rd image from the top is extremely problematic. Itā€™s very stereotypical male gaze porn movie POV shot. It decapitates both parties which in turn reduces the scene to an almost mechanical heteronormative essentialism of sexual intercourse and frames the scene to emphasize both a male POV as well as the bondage aspect. (Alternately, I really do love the way his hands serve as a frame within a frame and the way the do so reads as strangely reverential.)

However, in the 3rd picture is presented as part of a series of 4 images. And that connection does at least establish context, i.e. a group sex scenario. (And I love how the person standing to the side is presented as ostensibly focused on taking a hit on the bowl sheā€™s holding and then the way the second frame hides the dudeā€™s face with his hair so that the punctum of the frame becomes the Cheshire grins of the two ladies.

The final frame is less male gaze-y (remember the viewer always subconsciously associates the bottom of the frame with the fourth wall, so this to me is less creepy than the 3rd image.

I donā€™t think any of the images work independently of each other. Presenting them in this way makes them work as a whole–however, since what works with each frame doesnā€™t ever really fully integrate with the tableau, I am left with the sense that although this is a good bit more contemplative w/r/t the firewalling of pornography as a subject for art than most work on Tumblr, it separates the totality of impact across four frames and in so doing dilutes the artistic impetus in favor of the more erogenously charged documentary fixation. (In other words, the good things I mentioned about the work could conceivably all be staged so that they all might comfortably coexist within a single, static frame.

Daido Moriyama – Title unknown from Daido Moriyama in Color: Now, and Never Again (197X)

At first glance, the choice for this photo to be vertically oriented seems clever–the use of space so that the womanā€™s body is counter balanced in the frame by the negative space of the room around her creates a definite sense of downward movement. In other words, everything works together to imply that sheā€™s taking her knickers off.

Stop and think for a minute tho: if youā€™re taking your underwear off, how often do you bend all the way down to do so? I donā€™t–I pull my panties down below my knees and then step out of them, the last leg out hooks the leg hole and then I kick it up to myself so I donā€™t have to bend over. I feel like thatā€™s fairly common behavior.

You could also say that maybe she doesnā€™t want to let her undergarments touch the ostensibly funky love hotel duvet–which to me is all the more reason to push them down below your knees and step out of them.

I would wager $5 that sheā€™s actually putting her underwear back on. The photo has just be presented in such a way where thereā€™s an illusion that sheā€™s taking them off.

But itā€™s a little off-putting to me that if she is–in fact–putting them on, instead of taking them off. Thereā€™s a sense that this image has happened post intercourse. The composition and framing tho–misrepresents the truth of the moment and in doing so renders her body permanently in a stage of readying to be sexually available for the (male) viewer.

Also, the scene is alarmingly predictive of Mary Ellen Markā€™s Falkland Road project–about sex workers in Mumbai in the late 1970s.

Source: cs622921.vk.me

Alexander Gonzalez Delgado – Untitled feat. eddgein2 from somewhere in my head series (2018)

I like that this is analog. I like that the depth of field is such that the point of focus is actually somewhere behind Aliceā€™s body but above the floor.

I also like the way the milk trailing down her body trails back to the bowl–due to the DoF, itā€™s all but devoid of texture (which adds to the sense of flowing liquidity.)

However, the way Aliceā€™s body is dismembered by the frame edges–double amputation mid-thigh and having the top of her body removed feels like coded misogynistic essentialism (i.e. a womanā€™s body exists solely for the gratification of male sexual pleasure).

Also, Iā€™m just really super not here for the whole milk bowl/cat/pussy riffing. (Several cat lovers have informed me that cats are by and large lactose intolerant.)

At the same time this feels of a kind with Marat Safin and Iā€™d argue more honest than his in embracing the workā€™s fundamental depravity (in a value judgment-less sense…)

Tamara Lichtenstein – Untitled (2018)

Iā€™m not sure the composition completely works in this photo–thereā€™s a simultaneous sense of space being flattened (the photographer is almost certainly as far back as she can be against the railing and the model appears to be right up against the plant) but also thereā€™s an insistence on contextualizing the location as being on the water front.

What saves it is the mood or tone–the pose is melancholy, contemplative and sensual all at once. Yet, what really keeps me coming back is the texture. The vertical lines where sheā€™s holding the diaphanous material taut against her throat, the horizontal lines of the roof overhanging the deck, the vertical moire interference of the screen and the radial extrusions from the plant.

Against, all logic, I think this might be an exception to the rule of #skinnyframebullshit; in that I think if youā€™d taken the camera where it is when this photo was snapped and rotated it 90Ā° counterclockwise, I think this photo couldā€™ve taken on the same sort of ephemeral tactility that enlivens so much of the best of Jeff Wallā€™s work.

As it is, itā€™s still head and shoulders above the rest of most of the glut of work released by internet famous photographers.

Source: tamaralich