The Nu Project
The Nu Project is a series of honest nudes of women from all over the world. The project began in 2005 and has stayed true to the original vision: no professional models, minimal makeup and no glamour. The focus of the project has been and continues to be the subjects and their personalities, spaces, insecurities and quirks.
To date, over 150 women across North and South America have participated in the project. Without their courage, confidence and trust, none of this would have been possible. We are so thankful for their willingness to open their homes to us.
Fantastic and gorgeous galleries…every single one of these women are absolutely fabulous and beautiful!
Self love photo shoots are necessary.
Zanele Muholi, Bra, 2003, silver gelatin print, 275 x 275mm
Zanele Muholi is incredible.
(via obeast book update |)
Okay. This woman is seriously blowing my fucking mind right now. Check her artist’s statement and get into what she’s doing because it is brilliant. - Haley
From her statement:
My most visible role in the project is performing as the North American Obeast, a fictitious genus of endangered mammals. I embody three species of male and female obeasts, which superficially resemble each other in the way that zebras, mice, crows, and other fauna do. This animalistic indistinction to the careless eye reflects and satirizes the socially perceived ‘all-the-sameness’ of fat people. This kind of dehumanizing, reductive thinking is brought to light in the MOCS project through exaggeration of the largely unexamined cultural perceptions and anxieties about fat. The obeast performs fat as our culture represents it: simple-minded, undisciplined, endangered yet threatening. By enacting the stigma and dehumanization of obesity literally, the everyday stigmatization of (and anxiety about) obese people becomes darkly humorous, rather than merely pitiable.
The narrative’s absurdity mirrors the real-life absurdity of ideological thinking, and creates an opportunity to consider a more nuanced perspective of ascribed and asserted identity formation. By borrowing the trappings of legitimizing scholarly fields (e.g. archaeology, history, biology, museology) to teach viewers about the fictional North American Obeast, the project asks viewers to think critically about how facts and cultural identities are made, and by whom. In this way, the work plays upon not only the stigma and cultivated anxiety surrounding the so-called “obesity epidemic,” but also the conventions of information dispersion in American culture.
I am chapped skin, gaping pores,
Angry spots and red welts.
I am a child of anxiety subjected
To states of over-everything.
I am stubborn coarse hairs
In “unladylike” places,
Self-inflicted scars from
Conditions so imposed
To wax and wane
Beyond my control.
I am good enough.
“Beauty” is elusive,
And I am happy to own “ugly”
When my lips form the words
Got fuzzy legs? Let us see them!
I’m feeling the love for all the body hair tonight.
I don’t give a damn, I don’t give a fuck.