nudes from Vimeo : Part 2

Emily Ratajkowski



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Diora Baird

Photographer: STEPHANIE VOVAS
www.stephanievovas.com
videographer: TODD HICKEY
Photo Assistants: TOM ROLLASON, MARCO SIGUENZA
Stylist: COURTENAY BRANDT
www.courtenaybrandt.com
Stylist Assistant: MYA KANKAINEN DIX
Hair:SEAN MIKEL - Magnet Agency
Makeup: STEPHEN BOWMAN
www.bowmanmakeup.com
Makeup Assistant: LIZA ZARETSKY
Props: GIGI BARBES
Actors/Models:DIORA BAIRD
CAMERON KLIPPSTEN, CESD
CHRISTY NELSON, PINKERTON
RAMSEY KRULL, CAVIAR ENT
ALISA TORRES
BRIAN GOVE, PHOTOGENICS
Location: SIMON HOUSE
www.simonhousela.com

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Raquel Zimmermann : full frontal
 
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FUTURISTS (5:36)
Directed by Indira Cesarine
Starring Victoria Zuban @ Profile Models and Dominika Szijartoova @ Premier Models
Edited by Anders Bramsen and Indira Cesarine
Music by B.N.Wuertz from Hanschenklein
Styling by Indira Cesarine
Hair By Craig Marsden @ Carol Hayes, London
Makeup by Carol Brown @ DWM, London
Manicure by Kim Treacy @ Naked Management
Special Thanks to Blow PR, Sunbeam Studios, John Parkinson Agency, Carol Hayes Management, DWM Management
Photo / Video Assistant Robin Turner
SYNOPSIS
Futurists (5:36) directed by Indira Cesarine, is a video art / fashion film starring Victoria Zuban and Dominika Szijartoova. A futuristic take on a voyeuristic reality through the eyes of the subject of the voyeur, looking back at her audience that watches her through surveillance… Featuring the hats of designer Zara Gorman, and music by B.N. Wuertz from Hanschenklein. Editing by Anders Bramsen and Indira Cesarine, with hair by Craig Marsden and makeup by Carol Brown.
Directed by Indira Cesarine for XXXX Magazine's Voyeur Issue
Premiered at The Voyeur Exhibit, Art Basel Miami December 2010, celebrating XXXX Magazine's 3rd Issue, sponsored by American Friends of The Louvre, Miami Art Museum Contemporaries and Quintessentially. Additional screenings include the XXXX Voyeur Launch in NY at Studio Cesarine in Tribeca + Video installation at Provocateur at the Gansevoort Hotel, February 2011 and video installation at Matignon for XXXX Magazine's Fashion Week celebration in Paris, March 2011.
Contributor's Bios:
Indira Cesarine
http://www.indiracesarine.com
Touted as a “photographic child prodigy”, Indira Cesarine’s first solo exhibition was at the age of 16 at the Paul Mellon Arts Center. By the time she graduated high school she had exhibited 4 one-woman shows of her photographic work. While finishing a triple major in Art History, French Literature and Women’s Studies at Columbia University, she began shooting for a variety of top modeling agencies including Elite, Ford and Wilhelmina Models. Once she finished her degree, she went to London to pursue her interests in photography and journalism. Within 6 months of arriving in London, she was appointed Editor at Large of the British magazine “Don’t Tell It”, and began shooting editorials for many magazines and clients in England, the US and Europe.
Over the years her work has sparked the interest of some of the world’s top creative directors, having been commissioned for British Vogue, GQ, Glamour, Marie Claire, Tatler, The Times, Grazia, Harper's Bazaar, In Style, L’Officiel as well as many other international publications and advertising campaigns. She is currently represented internationally with agents in New York, London and Milan.
Her career as a director began with her first short film, “City of Love” being featured at Cannes Film Festival in 2007. Since then she has directed, produced and edited numerous short films while maintaining an active career as a photographer. In 2009 she produced and launched the multimedia publication XXXX MAGAZINE, showcasing original multimedia productions of fashion and video art films.
In January 2010, her work was exhibited in a solo show in Paris at Visionairs Gallery, presenting large scale photographic images juxtaposed with her video art productions she directed for XXXX Magazine. Other recent exhibits include: The “Voyeur” Exhibit, Art Basel Miami, celebrating XXXX Magazine's 3rd issue, sponsored by Miami Art Museum Contemporaries, American Friends of the Louvre and Quintessentially, December 2010; Motion Deconstructed Exhibit with Quintessentiallly Art, New York, June 2010; "Soiree Au Louvre" Video Art Installation at the French Embassy, June 2010; Matignon, Paris Fashion Film Video Installation March 2011, New York Fashion Shorts at the Tribeca Grand, September 2009; London Fashion Shorts at Machine–A Gallery in February 2010; View Imaging exhibit, New York, December 2009; and The Distorted Beauty Show, April 2010. Her photography has also been chosen to appear in Dolce and Gabanna’s 20th Anniversary book curated by Fabien Baron.
Indira and her work have been featured internationally on TV shows such as E! TV, Fashion TV, Entertainment Tonight, Inside Edition, HBO’s Special “Ford Supermodel of the World”, MTV, ‘HIGH SOCIETY’ and “Make me a Supermodel” UK and US editions.
Victoria Zuban
http://www.profile-models.com
Dominica Szijartoova
http://www.premiermodelmanagement.com


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Hi guys, We are an australian underwear design company and this is our first viral presentation. We have directed and produced this video and we are more than happy for anyone to share, embed, download...
It portrays a playful side of life while depicting open minded and free spirited youth while having a bit of fun cooling down at the end of hot summers day. Thanks to our peeps, Simon, Ange, Guy, Brooke, Cade and Rebecca for being part of this video, and a big shout out to our amazing mates for shooting and editing the video for us, cheers to David and Callum.
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Reclaiming agency over our bodies' representation (within the context of art), to be performed repeatedly in attempt to achieve communal breakdown of constraints, and the building of support and respect for the importance of such a performance within the institution.
Patty Farias, Lanie Chalmers. Performed with Katarina Cyrene Tarrant and Patrick During
Within the confines of the art institution the nude body exists in a contradictory state. It seeks at once to explore the marginalization of its history in Art, and yet, given the position of its location within the institution only furthers its isolation as well as its ability to be recontextualized as a site of ideological progression. When performed within the institution the body becomes an artifact; a reminder that history continues to operate as usual. This can be attributed to the fact that one can only interpret the body within the art institution to the degree that we can locate its significance within the medium: sculpture; photography; print; painting; design. This performance is interested in taking the performing body out of context in an attempt to gain insight into the effect that destabilizing the foundation of interpretation can have on the body within the institution. The paradoxical nature of the performance lies within the impotence of the act; for as much as it aims to complicate the discourse of the body, it somehow continues to reinforce its fate as art object within the context in which it's presented.

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If you're into eroplay thingy : http://vimeo.com/frankmoore
Galores of nude ladies indulging in erotism and sexual simulation.
The vid below is particularly memorable because of one super shy and cute co-ed from CCAC. It was her first time doing anything like this and she was nervous like hell. Frank Moore suffers from cerebral palsy but it's still a turn on for me (I'm a sick fuck) when the naked babe 'grinds' on him.

Frank Moore’s The Uncomfortable Zones Of Fun
experiments in experience/participation performance
Recorded at Temescal Arts Center, Oakland, California
Saturday, February 27, 2010.
http://www.eroplay.com/Cave/uzof/uzof-feb2010/index.html

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Ladies Night at the wildest bar in the world.

I shot this footage one winter night in 1998 in Moscow's infamous Hungry Duck bar. It was Ladies Night when only women are allowed in from 6pm to watch the male strippers and the beer is free.

As I stood on the bar to get good angles, the girls crowded around the bar tried to yank my tracksuit pants down; my Russian sound recordist had to stop them. Then when I jumped down into the bar area, I hit my knee on a bar tap and boy was that painful.

At 10pm the guys are let in to feast on the drunken female clientele. Some were high on 'E' too.

This was shot for London's 'Eurotrash' show when the Duck was in its heyday. The owner, flamboyant Canadian Doug Steele, was forced out and it now continues in a watered-down form I believe.

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Photographer/ Director: Yu Tsai

Production: 88 Phases

Videographer/ Editor: Sergio Bautista

Talent: Zoe Saldanaña

You have read this article with the title . You can bookmark this page URL https://duk78.blogspot.com/2012/06/nudes-from-vimeo-part-2.html?m=0. Thanks!

stars, sex and nudity buzz : 06/28/2012

Jena Sims In Sexy Pink Lingerie

Heeello again Jena. Well proportioned Jena Sims in sexy pink lace lingerie showing off for Kaloopy. Super talented and super hottie from great state of Georgia. 
Check out HQ photo-set here

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Hot Trailer: ‘Hit And Run’ Red Band
Parenthood‘s Dax Shepard wrote, co-directed (with David Palmer) and stars in Hit And Run. The movie is about a nice guy (Shepard) with a questionable past who risks everything when he busts out of the witness protection program to deliver his fiancé (Kristen Bell) to Los Angeles for her dream job. They are chased by feds and gangsters. Bradley Cooper, Tom Arnold and Kristin Chenoweth co-star. Open Road is releasing it August 24. Here’s the clip.


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Kate Melton auditioning for the role of Angelina in About Cherry


 
* The role that eventually went to Ashley Hinshaw was so close being given to Kate 'Daphne' Melton. Goddamnit! If I was the director, I would have rewrite the Dev Patel character into a female part and made sure to cast Kate. In my version, Ashley and Kate are lovers and I will include a graphic lez all out nude scene.


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Sugar Babies


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We Love Black Men

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Germany has the Best Prostitute in the World! 

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Club Orange’s New Sales Strategy? Breasts

If all else fails when trying to create a viral ad you can always turn to sexual innuendo which is actually what Club Orange have done with this video that talks all about women’s bits. The reference is of course to do with the “bits” in their famous drink but the action focuses pretty much entirely on a series of models breasts rather than on the drink itself. It’s an advert that could only ever appeal to the male demographic and is sure to get slammed by certain groups online but shared in equal measure. While some ads use naked women just for the sake of it at least this one has a bit of a tongue in cheek message that is actually quite funny. What do you think? Good ad or a bit too sexist and over the top?

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WELCOME TO SZYMON BRODZIAK'S CLUB
From time to time, I don't know if it depends of a planetary alignment or not, I find a photographer's website which freezes my breath and stops my heart.
Szymon Brodziak, a Polish born in 1979 who's an expert of getting the most from the black and white photography, even creating his own style.

Visit his website, not only because there're photos as good as these, but also because there's a really good video when you enter the site : szymonbrodziak.com

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Internet Girls, Mad Men, and Why the 'Greatest' Generation Wasn't 

by Cord Jefferson

Here's a joke I made up just now: How do you make it appealing for a man on Halloween to leave the house dressed as a racist, sexist, homophobic, alcoholic liar with a history of sexually assaulting women? Give up? Call it a Don Draper costume.

If the guy's older, you can call it a Roger Sterling costume, I suppose, and if he's younger, a Pete Campbell costume. A chubby oddball with the right suspenders might even be able pull off a Bert Cooper costume. In the end, it doesn't really matter what Mad Man you go as, because here's the secret: They're all just assholes in tie clips anyway.

Ever since Mad Men captivated the consciousness of a particular subset of the American population a few years back, we—men in particular—have learned to ignore how deplorable most of the male characters on the show are. Among the qualities listed above, the guys in and around Sterling, Cooper, Draper, Price are also rapists, cheats, thieves, pimps, layabouts, anti-Semites, and cowards. It's probably redundant to note that they're unflinching misogynists, but they are that, too, and to a degree so toxic many women flee them in tears or, more seldom, while sashaying to other jobs where they'll actually be appreciated.

And yet viewers continue to adore these guys, year after year, season after season, revolting indiscretion after revolting indiscretion. Perhaps it's the slim-cut suits, or the glossy, Brylcreemed hair. Perhaps it's because the Mad Men are handsome men, and thus harder to hate. Or perhaps it's the fact that, of late, everyone seems to be having a love affair with their own dreamy fantasies of mid-century America.

Besides the prolonged and continued adoration of Mad Men, there is also the latest telling quote from writer Aaron Sorkin, who on a press tour for his widely derided new show, The Newsroom, lamented that he wasn‘t alive in the 1940s. "I think I would have done very well, as a writer, in the forties," he told the Globe and Mail's Sarah Nicole Prickett. "I think the last time America was a great country was then, or not long after. It was before Vietnam, before Watergate."

Sorkin is a middle-aged rich white man, and his nostalgia for the greatness of the 1940s reminded me of Foster Friess, another rich white guy who also recently complained that things were better when he was younger. Speaking to MSNBC's Andrea Mitchell in February, Friess, a major backer of Rick Santorum's now dead presidential campaign, told Mitchell that he gets "such a chuckle" out of ongoing debates regarding women's rights to safe, secure, and inexpensive contraception. "Back in my days, they used Bayer aspirin for contraception," said Friess. "The gals put it between their knees." Mitchell stared at Friess in silence for a moment following his comment; she said she had to catch her breath.

That America is on a steady decline toward uselessness is a favorite canard of a lot of rich white men besides Sorkin and Friess, including Bill Maher, Thomas Friedman, and Mitt Romney, whose book, No Apology, is so named because he says he wants to make no apologies for the bad things America has done on its pursuit toward global dominance. It's very likely you yourself have heard this kind of thing spouted off in person, as well: at family barbecues where your uncle goes on about our "once great" nation, or a grandfather who remembers how wonderful America used to be, before it got sick and depraved and filled with sex. We've even started calling the people born during Sorkin et al.'s bygone era of milk and honey the "Greatest Generation," as if nobody before or since could even think of improving upon what they accomplished all those years ago.

My father was born in the 1940s, the decade Sorkin says was the last time the United States was great. Yet despite being a big fan of Sorkin's Sports Night, I don't think my dad shares his affinity for America's recent history. Though he doesn't remember a lot of his early childhood, my dad does remember the first time his mother told him to be careful about how he spoke to white men, lest his tone should provoke them. He remembers reading about Emmett Till, a black boy who was just a bit older than him, who was mutilated and murdered in the South for getting "uppity" with a white woman. He remembers seeing photos of Till and noticing a resemblance—they could have been brothers, he thought.

But those were the "before" photos. In the "after" photos, made famous because Till's mother requested an open-casket funeral to share the monstrosity of her son's attackers, Till is a bruised corpse. One of his eyes is gouged out and he's bloated by water because the men who killed him had tied a cotton-gin fan around his neck with barbed wire to sink him to the bottom of the Tallahatchie River. When asked why he killed Till, J.W. Milam, a decorated World War II vet, a member of the "Greatest Generation," said, "I just decided it was time a few people got put on notice. As long as I live and can do anything about it, niggers are gonna stay in their place."

This is the ugly side of the Greatest Generation. The time of Emmet Till‘s slaughter, and even before it, is the time in America for which Sorkin and Romney unthinkingly pine as being the best we can do, America at her pinnacle. They fetishize the old days as being some idyllic wonderland when everyone was strong, honest, and hardworking. They complain that they are too good and smart for the modern world, all while neglecting to notice that blacks or women or gay people never join them in their cheerleading for the 1940s and ‘50s. Rarely do you see black men stepping out to Halloween parties in their Mad Men costume, because that would be a janitor's coveralls.

The Mad Men era is a lot less sexy for today's people of color and other minorities than it is for white men. And what at least some people who say they miss post-war America seem to be forgetting is that a lot of America's early prosperity was created using racism, sexism, and oppression of all kinds as building blocks. Factories used to be able to pump out product at unprecedented rates because they employed expendable children who worked to total exhaustion. Governments, both local and federal, were able to avoid long and costly discussions about equality because it was barely illegal to kill a black person with whom you disagreed. Gays didn't speak out, because they, too, were in deep fear of being run out of town, at best, and murdered, at worst. An old straight white man saying he misses the days when things were simpler is tacitly saying that he misses the time when nobody could say or do anything but he and his golf buddies. And he's right: Things move much more smoothly when you're allowed to lock up or beat down whatever stands in your way. The real question is this: Is such simplicity "great"?

I try to give people like Sorkin the benefit of the doubt when they tell young people that things used to be better. I try to believe that what they intended to say was that cars looked cooler or that people dressed nicer or that great art hadn't yet been totally poisoned by commercialism. But very often they follow up their praise of Old America with some denigration of New America, as Sorkin did in his Globe and Mail interview. After saying he was made for the ‘40s, in a moment of irritation with his female interviewer, Sorkin told her, "Listen here, internet girl, it wouldn't kill you to watch a film or pick up a newspaper once in a while." Nevermind that the "internet girl," whose name, again, is Sarah Nicole Prickett, was reporting on Sorkin for a newspaper. To Sorkin and people like him, "internet" is shorthand for trashy things, stupid things, pointless things, the kind of pablum young idiots go for before getting older and appreciating Real Things, old things.

Despite writing a whole movie about the most famous internet company in history, Aaron Sorkin will probably die thinking that the internet and the young people creating it will never be as valuable as the people and inventions his age and older. And he is not alone. There are many wealthy white men throughout the world who believe things were better when the power sat solely in their soft, manicured hands. These are the men who laugh a little too long at the part when Don Draper asks Roger Sterling, "What do women want?" and Sterling replies, "Who cares?" But the good news is that the reason these people bitterly cling to the past so damn tightly is because they can see it slipping away. They're thrashing the way a man on a sinking ship might futilely thrash at land well out of his reach, kicking his legs until the very moment the water overtakes him. They are a dying breed, and they know it, which is why they take it out on people younger than them by calling our culture debased and calling us "internet girls." They'll be gone soon, but in the meantime it's up to us to ensure they know who they're talking to while they're still around: That's internet woman to you, motherfuckers.

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Cord Jefferson is a writer in Los Angeles.

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You have read this article Ashley Hinshaw / Jena Sims with the title . You can bookmark this page URL https://duk78.blogspot.com/2012/06/stars-sex-and-nudity-buzz-06282012.html?m=0. Thanks!