Saturday, June 25, 2016

Shaking a Spear at Delta & BoA

I've been out of the loop with theater in NYC for a lot of complex reasons which I may write about one day... but I feel compelled to write about Delta Airlines and Bank of America withdrawing sponsorship from the Public Theater for their production of JULIUS CAESAR.

For my friends in Europe, you might not know that the Public Theater is where HAIR, A CHORUS LINE, and HAMILTON premiered. (No, Broadway is NOT where plays premiere; it’s where plays go to cash in on their success.) If you've ever enjoyed the songs "Tits & Ass" or "Age of Aquarius" you owe something to the Public. In fact, if you've enjoy any American theater in past 50 years, you owe something to the Public. It's one of the theaters that birthed the American nonprofit theater system for better or for worse. It’s where Meryl Streep got her start. It’s where New Yorkers have seen Shakespeare with stars like Streep (and Al Pacino and James Earl Jones and John Lithgow, etc. etc.) for FREE every summer for nearly 60 years.

Like any great theater, of course, the Public would mine JULIUS CAESAR for what the play has to say about the world today. Thank GOD the Public has a freaking perspective on the play instead of just tossing together another dusty old toga party. That’s what art is supposed to do, for chrissakes – give us perspective, context, a lens through which we can see the world from an angle we hadn’t considered. If it’s safe and reassuring, then it ain’t art.

I’m posting this because the theater community is teensy and we’re always preaching to the converted. But I’m in Europe where no one knows what the Public Theater is. I haven’t heard people here talking about boycotting Delta. (Bank of America doesn’t exist, so they can’t boycott it here...)

It's a slippery slope. Theater doesn't have enough funding as it is and corporate sponsorships is one of the hardest money to come by. The Public is probably doing okay with HAMILTON raking it in on Broadway but Shakespeare in the Park is free to the public. Entirely kostenlos except for like 50 seats that are impossible to come by. So the entire summer season needs to be subsidized somehow. Delta and Bank of America pulling out absolutely bites. If they're being swayed by Fox & Breitbart, then people who give a shit about art should give them a piece of their mind.

-- Here is an article about the debacle in The NewYork Times, which repeats incendiary quotes by Fox News and Breitbart, but gives the reader very little idea about the actual Public Theater production. 

-- In contrast, here is what a smart friend of a friend says, who has actually seen the play. He makes the very good point, “If there ever were an ANTI-assassination play, this is it.”

Thoughts on Brexit

Like everyone else in the wake of Brexit, I’ve been thinking about the UK and wondering what led to such an astounding vote. Obviously, there is massive dissatisfaction with the EU. But this is being expressed in the wrong way. You may not agree with everything in the Workers Solidarity Movement in Ireland but I think this is a very articulate statement (the bold type by me):
The EU is just one of the many ways that capitalism is maintained; it's fundamentally neoliberal and imperialist and if this was a referendum for it to be destroyed we be calling for it to be. That's not the case though, no matter how much people want it to be. Claims that we should leave in order to smash Fortress Europe are complete ludicrousy - smash Fortress Europe by creating Fortress Britain and reinforcing borders? We know the freedom of movement stuff generally only applies to white europeans and we're not insisting otherwise but more borders and another fortress is not going to destroy Fortress Europe. This is a racist referendum, even getting to this stage of a referendum is a massive victory to UKIP, the BNP, Britain First and all the other racists, fascists and xenophobes; the very people who will undoubtedly benefit from a Leave Vote…
And here’s a very interesting post-Brexit assessment by Dominic Sandbrook in the Daily Mail (I know, I know, but it’s a really coherent article even if it’s in a tabloid):
This was not merely an electoral earthquake. It was a popular revolt by vast swathes of England and Wales against the political, financial and cultural elite…
For me, this vote is very emotional even if I’m not British. It just serves to reinforce the message I got last year when I was refused entry to the UK. The reasons stated were that I had been traveling back and forth too much for their liking and that they didn’t believe I had enough money for a three-month stay. Apparently, you have to be rich to go to the UK and only travel once per year on the two or three week vacation permitted by your employer. And was xenophobia or racism also a part of the decision by the border control lackeys? I’ll never know but several London friends are quite upset at what they perceive as the growing right wing isolationism in the UK. And the only other people detained that night in the airport were all brown men.

So what will the UK do next? All the artists and art organizations are worried about what this means for the funding and exchange that is so vital to the field. There are calls for another referendum. It seems that Scotland is poised to leave and perhaps Northern Ireland too. There are even calls for London to leave.

What everyone seems to understand is that the UK needs to patch up their deep divisions somehow. And I think the Brexit vote is a canary in a coalmine for America. We’re also deeply divided around much the same issues and it’s possible that in our next election we could veer terribly off to the right.

Thursday, June 23, 2016

I Am a Vase

This is the first of three articles about art modeling. 

A filmmaker has asked me to be part of a documentary about art modeling. And after talking to him, I’m peeved enough to express my own views. What irritates me is his prurient idea that nudity is what art modeling is about. Um, no, art is what art modeling is about. Anyone can take off their clothes. I bet that at some point in the past 24 hours, you too took off your clothes! Okay, perhaps you’ve never disrobed in public, but the novelty of that lasts for all of like two seconds. And then your neck has a horrible crick but you can’t move for another Ten. Long. Agonizing. Minutes.

Everyone has a body. The point of art modeling isn’t the nudity of a body, but the structure of a body.  Drawing from a nude model allows an artist to go back to basics and understand the architecture of the human form. It’s just easier to draw a naked person than one enveloped in clothing.

I would think this is obvious but from the conversation I had with the filmmaker, it seems that some people can’t see beyond the nudity aspect. It’s hard for me to grasp this but I think they must have a deeply internalized Puritanical morality through which everything is viewed. For them, a nude body isn’t just a nude body. For them, nudity is inseparable from sexuality and/or shame. To be nude in public is terrifying or daring or provocative.

But an art model isn’t there to purge their internal issues or to get someone worked up. Nude or not, an art model is supposed to come up with an expressive pose and sustain it for a certain length of time. This is a lot more difficult than it seems.

First, you need to have a varied physical vocabulary. Especially if the session is comprised of several short poses. Being a dancer helps. Seeing lots of artwork helps. And having the schizophrenic ability to view yourself from the outside is rather instrumental. The other thing that is required is the strength to hold a position. Even the most comfortable reclining pose becomes unendurable after a while. The body is just not really meant to be still.

So it might seem like something anyone can do, but there is actually an art to art modeling. A good art model has the uncanny ability to find a pose that is interesting from at least three different angles, while accurately calculating how long it can be held. Anyone who’s ever art modeled knows this is not easy. Even if you’ve posed for artists as long as I have, you still make mistakes and find yourself in pins and needles, with your arm screaming to be moved.

I started posing for artists when I was about 17 years old. A photographer approached me on the subway and asked if I would model for him. He paid $25 per hour, a small fortune to a teenage runaway. It might have been him who introduced me to the Art Students League of NY, which kept me decently employed for the next three years. Looking back, this was probably one of the best places to learn about art modeling. Put all your weight on one leg, I was told. Turn your body slightly. Tilt your head. A pose is more interesting if it’s asymmetrical. And then for a while, I was the lecture model for Gustav Rehberger and learned a lot about anatomy from being his guinea pig: the three planes of a foot, the difference between a man’s neck and a woman’s, the complex parts that make up an eye.

At the Art Students League, I got experience posing for all kinds of mediums, including sculpture, where the modeling occurs on a giant turntable. The instructor comes and turns you every so often like a plate of bok choy on a Chinatown banquet table. “I am a vase. I am a vase,” I found myself thinking. I was desperate to keep my mind occupied since I had a standing pose that was incredibly painful.

Quentin Crisp said once that he never had thoughts about anything while posing except for the pose itself. But I find that thinking is one of the keys to being still. Not only can you quickly pass the time, but I’ve also developed the ability to drift away in my thoughts, leaving my body relatively immobile. I’ve composed entire essays in my head, won heated arguments with my parents, and come up with an amazing set design for a production of Agamemnon. I actually find art modeling rather meditative. Either that or it’s just contributing to my ultimate mental collapse.

During breaks, I usually wander around the room. Partly, this is to get some needed circulation in cramped up body parts. But it’s also interesting to see the work that is being produced. Not because oh look, it’s me me me me me! Well maybe, but I like to think that I’m more fascinated to see the same pose from 10 different angles as seen by 10 different people. It’s the Rashomon effect on a page. And it’s so interesting to see that most pictures look a lot like the artist. 

There was only one time that I ever saw an artist draw me as an Oriental stereotype. Like literally, there were slanted lines where my eyes ought to be. It was in a beginner’s class but I’ve posed for high school students and never once have I ever seen a picture of me with chinky eyes.  Interestingly, it was a black guy on the outskirts of London who drew that picture. I think maybe he was a recent immigrant and hadn’t been exposed to much of the world yet. Every other artist I’ve ever encountered draws from what they see, not what they think they should see.  

This is what I think is the most radical thing about drawing from life. In order to depict someone accurately, an artist has to see beyond preconceived ideas and break everything down into geometric shapes. It’s the great equalizer. No matter what our size, gender, or race, we’re really just a bunch of spheres and cylinders hanging on a skeletal frame.

But it seems that some people like the filmmaker and that black guy on the outskirts of London can’t get beyond themselves to see a body just the way it is. For that black guy, I’m Asian so I must have Mongoloid eyes. His unconscious racism makes him incapable of seeing that I do have eyelids. For the filmmaker, I’m nude so I must be an exhibitionist or a libertine. His body issues make him incapable of seeing the eloquence of a pose, the uniqueness of a particular position, the expressiveness of a gesture. To him, I’m just nude.