5000 live nude bodies in Sydney for Tunick Shoot


The Base at the Opera House by Spencer Tunick

Inhibitions were soon forgotten as people struggled to keep warm and fulfil Tunick’s endless instructions.

“I’m not the world’s best photographer but I am an artist and a perfectionist,” he said, as he exhorted 5000 people to work in unison.

“And I want us to make an artwork you’ll be proud of.”

Six or seven positions later came Tunick’s most confronting request.

“If you came with a partner, I want you to kiss your partner. If you came with a friend, I want you to kiss your friend. If you came alone, I want you to turn to someone else who is alone and kiss them.”

Eventually he relented and added “or embrace them”.

Suddenly I was aware of being alone in a crowd: I was surrounded by couples. Bounding up several steps I came face to face with an elderly man in the same predicament. We took one look at each other and embraced, admitting that, while it felt a little strange at first, it was a pleasant enough way to keep warm. Now the crowd really were as one. It was a beautiful moment.

Once Tunick gave the disband signal, most people scrambled for their clothes, while some hung back, grabbing the unique opportunity to take happy snaps of themselves starkers at the Opera House.

As I dressed, I was relieved to be warm again at last but also a little disappointed that it was over so soon.

[From I was a model for Spencer Tunick – Arts – Entertainment – smh.com.au]

I love the idea of the different poses and the concept of the kiss. I am looking forward to seeing the final photographs and genuinely sorry I had to miss out. this is such an inspiration that people can shed their inhibitions and realize that it’s all just skin, we all have it and there is nothing that special, shameful or worrisome about it. it’s another step forward- especially in a country that is seeing way too much in the way of censorship. Congratulations to all participants!

for videos of the nude shoot and some of the results visit the SMH website

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