A time-lapse shot of fog shrouded mountains sets the tone and serves as something of a palate cleanser as "Ivory" opens. Once the serene mood is established we move indoors — into a spacious shower lined with eye-pleasing sea foam green tiles. Hiro's camera mimics the flowing, falling water and we take a leisurely trip down an undeniably beautiful body.
The first few minutes of this Bo Llanberris production provide an exceptionally enjoyable introduction to Charlotte Stokely. The fluid camerawork, the languid flow of the edits and dissolves, and Charlotte's obvious and unforced enjoyment of the experience create moments that look as good as they must feel. A subtle undercurrent of voyeurism — Charlotte doesn't acknowledge or play to the camera here — adds the spark of anticipation to this sequence that is rewarded when the nubile starlet reaches down and begins pleasuring herself with her fingers.
When, at the 3:00 mark, the scene transitions to a low, wide, circular bathtub, the mood is somewhat lighter, a bit more playful, but no less enjoyable. Here Charlotte seems the slightest bit more aware of the camera, but this is still very much a private interlude. The addition of live sound at around the 6:00 mark not only brings the sounds of dripping, splashing water, but Charlotte's own natural and entirely genuine sounds of sexual delight.
Our voyeuristic enjoyment of Charlotte's bathtub interlude receives and unexpected but most welcome jolt when she slides down into the water after vigorously masturbating and looks directly into the lens — it's a beautiful and involving moment. Beyond Charlotte's physical beauty, the fluid pacing of the film and the ebb and flow of autoerotic intensity makes "Ivory" effortlessly enjoyable.
IVORY in theaters on Monday, June 4th, 2012 - come check it out!
In the notes I compiled while preparing to write my last SexArt blog post I wrote, in big, block letters: "Explicit VS. Implied." In my mind that's something of a thumbnail description of the difference between hard-core pornography and erotic imagery. It is by no means a complete representation — and erotica can obviously be explicit — but it does serve to illuminate one fundamental difference. It also opens the door to a further exploration of erotic art and entertainment. And it raises questions about what we want from erotica, as well as how individuals react and respond to it.
Consider this imagined scenario. In a hushed, darkened theater a beautiful, shapely young woman walks out onto the stage and stands in the spotlight. She is totally naked. She stands, silent and motionless. Then she turns to her right. After some time she turns to face the opposite direction. She sits down on the floor. After a while she lies down. She rolls over. Later still she opens her legs. After ten minutes have passed, she stands and walks off the stage.
Now consider the following scenario in the same setting. Propulsive, rhythmic music begins to pulse from the sound system. A beautiful young woman wearing an elaborate costume dances onto the stage gyrating to the music. Bit by bit, button by button, she proceeds to disrobe. Each gesture is deliberate, tantalizing. Every eye in the house is glued to her moving form. And with every additional square inch of exposed skin the tension and anticipation in the crowd grows stronger. By the time the song ends she is totally nude and the crowd has viewed every inch of her body — but out of a ten minute performance she was nude for less than two minutes. As she exits the stage the crowd begs for more.
Which of these performances would you rather attend?
I've blogged about hundreds of MetArt erotic pictorials. In some of them the model is totally nude throughout. In others she starts out fully clothed, and gradually disrobes. I have enjoyed both styles, but there's no denying that the act of stripping adds an element of excitement and anticipation to a series. The art form isn't called "striptease" for nothing, after all! And in erotic photos or films, sometimes the things we can't see, or the things that are slowly revealed, are the most arousing.
If you've had the opportunity to "play the field" you've probably experienced "lust at first sight" and ended up in bed with someone you've only just met minutes or hours earlier. But you've also probably had lovers who played "hard to get." You have to work, you have to put in your time, you have to want it badly enough to wait for it, right? And when you finally do "get" this teasing, "hard to get," minx? The built up sexual tension and desire can result in an extremely intense and satisfying encounter. I'm not saying that one experience is intrinsically better than the other, but they are different.
And what of the difference between men and women, specifically in how they approach and enjoy erotic entertainment?
"Men are visual," is the conventional wisdom, and "women are cerebral." Guys like explicit pictures and girls would rather read their erotica and do the detailed visualizing in their mind's eye. But I don't think either one of these accepted "facts" is entirely true or comes close to being universally applicable. And with the growing acceptance and availability of erotica of all types, the "rules" may be changing and evolving, as well.
What about couples who enjoy erotica together? How is this possible? Not only do they contradict the conventional wisdom, but we know they exist because they've told us just that when they joined SexArt! Indeed, striving to create a new kind of erotica for a sophisticated, refined, and diverse audience has been one of SexArt's central concepts from its very inception.
So, what do you prefer? The explicit or the implied? Do you want it "in your face" from the start? Or do you prefer to be teased while you're waiting to be pleased? Have you enjoyed erotica in the company of a lover or as foreplay prior to (or during) your own sexual activities? Are women and men really that different in the ways they consume and enjoy erotic art and entertainment? Or does it really just come down to personal preference, what's available, the situation, or the mood of the moment? You're invited to share your opinions, thoughts, and observations in the comments, below.
Although a great deal of thought went into the concept and creation of SexArt, the site is — proudly and unashamedly — a work in progress. The artists — writers, performers, directors, and photographers — who contribute to SexArt all have distinct ideas of the type of art they want to create. But nobody exists in a vacuum. And everybody involved with SexArt is keenly interested in how the audience reacts and responds to the art they so painstakingly create. The fact that so many members have chosen to provide honest and thoughtful feedback — either by posting a comment or by contacting SexArt directly — is hugely important. SexArt is pioneering an entirely new form of online adult entertainment, but if it doesn't appeal to and satisfy the audience, what's the point?
It was the enthusiastic and insightful comments of a SexArt member — using the moniker "solrage" — that triggered these thoughts. In his comments, solrage has shared his own opinions of the site and various films and pictorials, and he's also participated in spirited exchanges with other commenters. His mention of two important directors of erotic cinema — Tinto Brass and Just Jaekin — got me thinking about the history of the art form, and how far it has come in a relatively short period of time.
As recently as the 1950s films featuring total nudity, much less explicit sexuality, were a strictly underground phenomenon. The arrival of the "sexual revolution" in the 1960s opened the door to increased eroticism in films, and yet a groundbreaking production like the Swedish "I Am Curious (Yellow)" was seized by American Customs and subject to a lengthy legal battle. But with social taboos evaporating artists were eager to experiment with erotic cinema, and audiences had a growing hunger for it.
The histories of erotic cinema and porn films do overlap to some degree — Bernardo Bertolucci's Academy Award nominated "Last Tango in Paris" and the XXX sensation "Deep Throat" were both released in 1972. But cinematic erotica and porn are two entirely different things, particularly in the digital era. In the 1970s if you wanted to view either type of film there was only one place to do it — in a movie theater. Now, of course, anyone with an Internet connection can view as much X-rated film footage as his appetite can handle. Finding artistic, high quality, erotic films online is nearly impossible, however — and that's exactly why SexArt was created.
SexArt debuted with the final works of legendary erotic cinematic artist Zalman King, and the guiding influence of photographer and filmmaker David Hamilton is certainly in evidence here, and at MetArt, as well. SexArt member solrage rates Tinto Brass and Just Jaekin ("Emmanuelle" and "The Story of O") among his favorite creators of erotic films. In a friendly effort to stir the pot I will submit one of my personal favorites, Russ "Supervixens" Meyer.
Now it's your turn to join the conversation. As the Italian innovator of erotica, Tinto Brass, once said: "Pornography is there to give you an erection. Erotica is there to give you emotions." Who are the directors who move you the most? What are your favorite erotic films? Feel free to share your thoughts in the comments, below. Together, we can make SexArt the adult cinematic site of our dreams.
As some readers may be aware, I do a bit of blogging over at MetArt. The photo galleries and HD erotic movies I critique there have already been added to the site at the time of review. Here at SexArt the situation is different. So far I've been assigned sets that are so new they haven't been titled, they're not yet on the schedule, and they haven't been completely edited. This creates a couple of challenges for me: I can't refer to the set by name, and I can't call out specific images by number. Of course, I do get to view the material before the membership does, so I can't complain!
As the set opens Miela A is lounging on a white upholstered cushion in a brightly lit sunroom wearing a figure-hugging blue bustier and matching panties. The abundant sunlight and model's relaxed demeanor create a real sense of place — it's easy to imagine the warmth and quiet of that room on that afternoon. Fortunately, we don't have to imagine how Miela would occupy herself during these private moments, we get to watch.
It does take a while for Miela to work her way out of her clothes, but the leisurely pace only heightens the anticipation. And when her top comes off, and then her panties, the body she reveals is ripe, shapely, and incredibly inviting. The lighting really brings out the soft warm glow of Miela's skin, and photographer Koenart takes care to include a variety of close-ups that reveal every delectable detail — whether it's a hand cupping a full breast while fingers tease an erect nipple, or the moist, delicate delights between the model's wide-spread thighs.
Miela A obviously enjoys pleasuring herself using only her hands and fingers, but she also puts a translucent blue probe to excellent use. While there is more than enough explicit imagery here to satisfy the voyeuristic appetite, the true erotic power of this series is the sense that we're watching a naturally beautiful girl enjoying herself, by herself, for herself.
For my second contribution to the SexArt blog I've been given a unique opportunity: I get to evaluate an explicit photo gallery before it has been added to the site. In fact, it is so new that it hasn't even received a title yet. Additionally, as far as I know, it doesn't have a scheduled release date, either.
SexArt contributing photographer Antares has chosen a particularly interesting and evocative location for this erotic pictorial. It's actually a cave, located high on a bluff overlooking a scenic stretch of coastline and the deep, blue sea. While Antares certainly knows a worthy location when he sees one, he also has an expert eye for modeling talent.
His subject here, Milena D, is a model I've had some experience with - I've critiqued no fewer than three of her MetArt erotic galleries over at the MetArt blog. While every set I've seen has been different in one way or another, her nubile body and blue-eyed beauty is irresistible no matter what the setting.
Milena's costume - fringed leather wristlets and a leather apron (sort of the front third of a Breechcloth) - fits perfectly with the primitive location. And it does a very bad job of covering or concealing that scrumptious body, which is a very good thing.
As an admitted admirer of Milena D's work at MetArt, it's a singular pleasure to view her in a SexArt gallery. I've always hungered to see a bit more of what Milena has to offer, and I'm pleased to say she offers up lots of luscious goodness in the plentiful assortment of explicit images in the collection.
#092 is a particular favorite. With two fingers of her right hand inserted to the second knuckle, and with a stiff nipple captured between two fingers of her left, Milena looks directly at the camera. Those plump, barely parted lips, and those bedroom eyes project a profound and powerful sensuality. The heavy-lidded eyes in #051 (pictured here) deliver another steamy message. And the parted lips and open mouth in #042 offer an enticing invitation.
Among the less explicit (but no less erotic) shots I like #006 (for the way it captures Milena's body from head to toe while also revealing the exotic locale); #016 and #018 (love that ass-length hair); and #013, a beautifully posed and composed headshot.
Although I haven't been told when, exactly, this series will be added to SexArt, I can surmise that it will be soon. And, based on my impressions, it will be worth the wait. I'm sneaking a few more images for our Members and releasing them on the Members home page inside. So, if you're not a Member, now is a good time to join >>.