• caleb the fox //

  • the post porn post office
    //
  • Archive
  • / about
  • / calebthefox.com
  • / @calebthefox
  • / ask
  • /
Caleb Fox. What He Wanted. 2013. 1993 Honcho magazine collage.
18 ♥
Caleb Fox. Smooth like Satin (Honcho ‘93). 2013.
25 ♥
Caleb Fox. Soldier #0069 (Honcho ‘93). 2013
21 ♥
Caleb Fox. Untitled (1995 Playgirl). 2013.
51 ♥
Caleb Fox. 7 Boys to Every Girl. 2013. (‘55 Yellowstone postcard + Honcho ‘93 image)
29 ♥
Caleb Fox. Don’t Cut Him Down. 2013. (from Honcho 1982)
78 ♥
192 ♥
13 ♥
Caleb Fox. Pool Out (Numbers ‘83). 2012.
29 ♥
Caleb Fox. Tomás (Porn on the Body). 2012. Tomás’ statement: Though I enjoy the physical release of sex, it is the vulnerability and intimacy following the orgasm that I seek. To deal with such sexual vulnerability, it is instinct to kiss – to take in my partner in the most intimate of ways after a climax of passion. The kiss completes the circle for me: intercourse begins with a kiss, disarming physical reserve. Throughout the touching, the grinding, and the penetration, there is the kiss. And it is in that last moment, when both of us are still catching our breath, our sweat and semen still on our bodies, that we find each other with a kiss. That moment legitimizes the romance of sex, and I wonder how many people seek that legitimacy in pornography. Do they even realize that is what they’re searching for?
73 ♥
Caleb Fox. Too Big for His Own Britches (Honcho ‘83). 2012
5 ♥
Caleb Fox. Picnip (Honcho ‘86 + found handbill). 2012
37 ♥
Caleb Fox. Untitled (Numbers ‘83 + Hot Daddies ‘81). 2012.
611 ♥
Hot Daddies Magazine, 1981
453 ♥
desiredpath: gay porn and the destruction of the sexual imagination: brennan (by Caleb Fox) Well, I was planning on posting this myself, and rather soon actually, but obviously someone beat me to it. At this moment, I have only published this project on my Flickr account because (1) it’s kind of controversial and I’m just now coming to a point where I don’t think I’d mind having it on my website, and (2) because it’s nowhere near being finished. I have only shot six people (including myself), and would like to include many others, and maybe even start over with a different composition concept. But anyway, here’s a brief statement about what this project is about, and a statement from the subject (who, in this photograph, happens to be my boyfriend): The project is about gay pornography and the destruction of the sexual imagination. I’m looking at the ways in which pornography desensitizes us, especially as it has become a more easily-accessible mass medium—to point of no longer having room for a sexual imagination—and the implications of this on gay communities. My research is paired with a portrait project where I project a gay porn image, chosen by the subject, onto his torso. The subjects are told to chose something instilled into their mind and something that is meaningful for whatever reason: good, bad, disturbing, desirable. The questions I prompt: how is pornography affecting our sexual imaginations and how is pornography furthering gay liberation? Recommended reading that has had a large influence on the project: The End of Straight Supremacy: Realizing Gay Liberation by Shannon Gilreath  — brennan’s statement: “who bit detectives in the neck and shrieked with delight in policecars for committing no crime but their own wild cooking pederasty and intoxication” - Allen Ginsberg, Howl Pederasty – from the Greek, pais, boy, and erastēs, love – is at the heart of Brent Corrigan’s illicit appeal. Corrigan’s earliest work, which he filmed illegally at the age of 17, was some of the first pornography I ever saw. Of course, when I first encountered Corrigan, I could hardly be considered a pederast – I was barely 16 at the time, and Corrigan’s work was readily accessible on the internet. I would hunt down his scenes when the house was empty, deleting the files each time rather than risk my parents finding them. I didn’t find out that most of the footage was illegal until several years later. My initial reaction was blind panic – an image of myself in chains and a battered Dell hard drive being submitted into evidence – but eventually, it seemed somehow fitting. In a sense, Corrigan’s early work, produced illegally with forged documents, seems appropriate for my first foray into pornography: shadowy, nervous, forbidden. The scene projected on my body, from Corrigan’s later work, becomes a symbol both of my own youth and the illicit beginnings of my own sexual awakening.
8036 ♥
  • 1
  • 2
  • Older →