“The Untitled Underwear Project is a photographic and cinematic exploration of the lives we lead in our underwear. It began simply, with the goal of capturing people in their more unguarded states in a way that felt real and intimate; moments normally reserved for your best friends, your lovers, your family. I wanted the photos to be beautiful but also to eschew strictly traditional concepts of beauty, to find subjects spanning diverse ranges of age, race and gender.
I thought it would take a few months. It turned into a few years. As time went on it evolved and grew and what I hope it’s become is a celebration of humanity. Everything that being half-naked implies — the liberating, the banal, the romantic, the solitary, the sexy, the domestic, the moments we live for and the details in between.
I’m sure it’s not perfectly comprehensive, nothing ever is, but I’m happy with it. And I’m happy for all that it’s taught me. This was my first photography project. And I don’t think it will be my last. Thanks for lending your eyes.” – Josh Soskin
You can check out more images from the project by clicking here. And just when I didn’t think the images couldn’t get any better, I saw the film…
Josh Soskin | Director | Photographer
“We do not want merely to see beauty, we want something else which can hardly be put into words —
to be united with the beauty we see, to pass into it, to become part of it.”
Photographer Parker Fitzgerald & Florist Riley Messina | Overgrowth
A beautiful new addition to my bookshelf collection.
Journal entry by William Gedney, 1969…
There are two ways of looking at a thing.
Either you feel that a thing must be perfect before you present it to the public, or you are willing to let it go out even knowing that it is not perfect, because you are striving for something even beyond what you have achieved, but in struggling too hard for perfection you know that you may lose the very glimmer of life, the very spirit of the thing that you also know exists at a particular point in what you have done; and that to interfere with it would be to destroy that very living quality.
I am myself in favor of practising in public. There are, of course, those people who say, ‘But the public is not interested in watching people practice. It wants the finished thing or nothing.’ My answer is that if one does not practice in public in reality, then in nine cases out of ten the world will never see the finished product of one’s work. Some people go on the assumption that if a thing is not a hundred percent perfect it should not be given to the world, but I have seen too many things that were a hundred percent perfect that were spiritually dead, and then things that have been seemingly incomplete that have life and vitality, which I prefer by far to the other so-called perfect thing.
It is one thing to think about a piece of work as a scientific or objective entity that will stand up a hundred years hence, and another to think of a living quality of the person doing the thing and of his development. Is the thing felt – doesn’t it come out of an inner need – an inner must? Is one ready to die for it?… that is the only test…”
Quoted by Dorothy Norman from America and Alfred Stieglitz, page 136-137, Doubleday, Doran + Company, 1934.
“I struggle with enormous discrepancies: between the reality of motherhood and the image of it, between my love for my home and the need to travel, between the varied and seductive paths of the heart. The lessons of impermanance, the occasional despair and the muse, so tenuously moored, all visit their needs upon me and I dig deeply for the spiritual utilities that restore me: my love for the place, for the one man left, for my children and friends and the great green pulse of spring.” – Sally Mann
know that he is a miracle, that since the beginning of the world there hasn’t been, and until the end of the world there will not be, another child like him” – pablo casals