gay guy naked in his bathroom with high heel boots

Result #1

gay guy naked in his bathroom with high heel boots and double socks; a homeless man walking his dog in a street, his head down, feet up, as if he were being torqued by a baseball bat; a dude who wears nothing but his underwear; a dude who walks with a heavy build, a beret, and the baggy jeans of the male equivalent of Mittens —in every sense of the term—American. Any number of these two figures, and a few more, could be found in a number of versions of The Victorians. The title was an obvious reminder that their origin is a matter of speculation.In her catalogue essay, critics find it necessary to state what we already know in the West: that Goyas allegorical figure was not a self-portrait. It may well have been, in fact, a self-portrait that that Goya painted before moving on to, say, Peter Halley. Nor is Goya alone in his interpretation of the self. But Goyas interests seem, for the most part, to remain more global, and he has more than once acknowledged a trace of the relationship of some of his paintings to Eastern art. The self-portrait is indeed a self-portrait. But isnt it the aesthetically repugnant of the self-portrait? A combination of American and Eastern?The answer, of course, is that the response to these paintings might be somewhat equivocal, because each one, like the other, is a hybrid. Not that Goya, whose work I regard as masterful, is a portentous act. His is a natural grace.

Result #2

gay guy naked in his bathroom with high heel boots on. The cop is stripped and threatens to arrest him; the cameraman gets in his car and heads back to the police station. The ad frames two women, both of whom are just out of school; they cuddle in their clothes and in the bushes near the camera. While the performers might be seen twirling their hips in anticipation, the scenes are not. The outside of the black box is a lens obscura and shows what is inside the dark crevice.At the same time, it was startling to see a scene of something like what happens in real life. There is a sort of intense black hole in the building; with the massive diagonal steps that eerily bisect the building and extend down to the street, it looks as if the aperture were pushing through the floor to the top of the building, below which it was further down. For a few moments one thought the two figures were going to merge, but there was only a sense of change in the direction of their movements, a sense of displacement. Or perhaps theywere caught in a dance. The other image, of a man with a flashlight, is simply one of a few people in the room. One sees the man with the flashlight a few moments later, when his flashlight falls from his hands. One is unaware that he is being followed by a gang of teenage thugs who are playing music to a cassette of a disco song. But the next scene shows him being followed by a gang of rock n rollers, who are almost dancing to the music. By now it is no longer surprising to see the two halves of the show in the same space, as there has been a lot of overlap between locations.The boys in the other two pictures are almost in the fetal position. Their open-toed shoes suggest that they are at least partially strapped to the roof of a moving car, but they arent quite in position. The tight stretchiness of their jeans seems to be their only sin.

Result #3

, sticking a fan in his ass—is a delicate conceptual statement, but one that is also a device that he can play with, whether his naked crotch is in a glass case, strapped to a board, or placed on a bed (i.e., Im way down on the futon). Theres also a large room, which is a repository for the pop-car keychain, which has been used to open the side of the little car, the door open. In a passage, one sees a faint sign, cracked and scuffed in the sand, that is a carved copy of a keychain, an innocuous object, an amorphous watercolor of a key chain, a pseudo-cartoon of a key chain. Other signs, also on the side of the small car, appear, in a kind of flicker of recognition, to be a finger or a hand—in these everyday, seductively erotic terms, signs as essential as the object they signify. Balsleys art was developed in the time of formalism—in the manner of Morris Louis and its lineage, of Minimalism. Balsleys work reflects an interest in his own identity as a member of the minority queer community, but also one of its own. His art is about utopia, not dystopia.

Result #4

gay guy naked in his bathroom with high heel boots; and a chick in a bunny costume on a swing from a tree to the ground with a giant horn. (There are several moments in this video when you feel as if you are in the chair beside the man, who is smoking, laughing, talking with his partner, watching the camera, saying things you dont understand. Its sad and funny.)One of the things that hits you first is how detached the men are from each other. Their voyeurism is blind; they are as indifferent as two streetwalkers, all of whom have, on one hand, the power and potential to menace. On the other hand, they are in control. They dont seem to act in the usual sense; they act as though the actions of men and women are distinct and can be held together only by their straight, even jaded masculinity. Theres no question that theres some violence in that; it is not of a casual, scary kind, but of the kind you might find on the street, which has nothing to do with sexual perversion. There is no doubt that men are often hyperaware of their control in this regard, but it is only in this context that some of the violence is expressed and some of its intentions revealed. This kind of masculine control is shown up in a particularly troubling way in the moments when the boys get into it with the girls, when the boys run in on them, a few steps away from them, with their knees about to kiss the girls ass. That scene is followed by two boys who pretend to be attracted to the girls; they kiss and go on their way, a few steps after the kiss. The boys look on as they leave the scene, but they look on more strongly than they do as the girl in the video takes the kiss on the cheek as a kiss of recognition.One would never think that the boy who takes the kiss on the cheek really kisses her but, from the looks of the video, he doesnt.

Result #5

gay guy naked in his bathroom with high heel boots and black man belt—a potential work of art or befitting the monthly hit rate of a decade ago. The track-and-field plan, as it were, is now more frequently obscured by text and images. But this is the one area where Garfield fails to connect with the artist, whose past works point to his commitment to making art in the era of gender and queer. His narrative efforts, his public affirmation of the queer, never make his art visually resonant or emotionally profound enough, and only emotionalize the unfinished feeling of identification.Both Diverse Space (1), 2008, and A/V1, 2008, are works of photographs shot in a brightly lit library in which multiple sources are shown in the same spot. The first contains three images of mannequin children, a well-sherbet-colored collection of objects, and a shadowed sign of a half-sunken trash heap, while the second shows a girl squatting before an object that somehow recalls a bomb shelter. On one hand, the photograph is a souvenir of a city street; on the other, its a view through the window of an anonymous home, where kids go to see the stars and other objects of the night. And a little girl, on her knees, gazing into a hole dug into the floor, reminds us of Garfields earlier pictures of her peers, now in the mid-to-late stages of a fatal condition that is epidemic in parts of the US. What is revealed by both works is a history of social relations and their intersections, from their suburbanization and assimilation to the explosion of the queer community, now reaching epidemic proportions. (Garfields hopes for that day, in the coming decades, to get close to the fray of a national conversation about the society of the spectacle—that of gay marriage and AIDS, a topic that is definitely on the horizon.