A Job You Love

We’re all familiar with the famous maxim by Confucius, “Choose a job you love, and you will never have to work a day in your life.”. I connect with that saying perhaps more than the average person. Regular readers of this blog have heard me affirm my love of art modeling and express an enduring sentiment of gratitude for this profession: how it changed my life for the better seven years ago and pulled me out of a bad place. Those feelings hold true even at the end of a day like today – after a six hour standing contrapposto pose, followed by another three hours of portrait sitting. Right now, at a little before midnight, home and exhausted, with a still-throbbing right hip, an achy heel and calf muscle, ratty hair from the abuse of a too-tight ponytail, and drained of energy, I am still a shining example of Confucius’ wise words. I have a job I love. As I left the Long Island Academy of Fine Art tonight, a student called to me just as I was going out the door, “Claudia, you’re an amazing model! Thanks for your hard work today.”. The class members felt they were lucky to have me. Little do they know how lucky I am to have them :-)

Bouguereau’s Atelier at the Académie Julian, Paris, by Jefferson David Chalfant, 1891:

Upheaval

I will have to exert a great deal of self-control writing this post. My normally joyful, witty, free-flowing verbal style has to be reined in (moderately at least) to avoid going off on a horrible rant. I’ll try, but I can’t guarantee I’ll be successful. Ranting is not generally in my nature. Right now, I am angry and disappointed and stunned. Throw in a little financial panic and we’ve pretty much summed up my current mental state. So I’ll try to do this as soberly as I can without minimizing my natural emotions. I am human, after all.

I have incurred yet another bruise from art modeling. This one, however, is not from posing on a platform, not some black-and-blue mark on my leg. How I wish that were the case. No this one is from the business. This unpredictable, volatile, lawless, absurd art modeling business that, right now, I HATE with a passion.

One of the more dangerous and destructive situations in life is when a petty, small-minded, incompetent person finds their way into a position of authority. That has trouble written all over it. And that’s exactly what has happened at the Model Registry at the School of Visual Arts, a place I’ve worked steadily and happily for three years. The previous model coordinator was an exceptional man. Intelligent, efficient, fair, a true gentleman and professional in every way. He is a man of tremendous people skills and managerial talent. Unfortunately, he left the Model Registry in December, and his replacement is a silly, spiteful, immature person who has arbitrarily decided to alienate certain models and essentially get rid of us. Why? Because she CAN. Because she feels like it. Because, as a limited person, it’s the only strategy she knows as a way to distinguish herself and make her mark. Of course most people try to make their mark by doing something productive and positive, by engendering good morale and enthusiasm. Not this person. This person knows only how to “break down” rather than “build up”. She’s decided that her professional statement will be a contrarian one, a gratuitous ego-driven one, one born out of antipathy and ill-will. I am among the ostracized group of art models, I’m sorry to say. In other words, I no longer work at the School of Visual Arts. I’m dumbfounded. Absolutely dumfounded.

I won’t recount the horrible phone conversation I had with this person earlier other than to say that I can’t recall being spoken to in such a rude, cold, and disrespectful manner. Then she LIED. Fabricated and/or exaggerated merely as a pretext to stop using me. See, she needs this to be MY fault, so she can justify her actions. If it’s not my fault, then she’s just a bitch. So she’s converting her bitch move into an “executive decision” so it looks legitimate. Well, I won’t be accused of something I didn’t do. I told her she was spewing falsehoods, and of course she changed the subject and dismissed me. That’s what crafty, underhanded people do. Avoid discussion. Avoid the truth.

Weeks and weeks had gone by without SVA calling me for work, which never happened when the previous model coordinator was there. But I was patient about it. I wanted to give her the benefit of the doubt since she was new at the job. I figured she deserved a grace period to get oriented. How wrong I was. She knew exactly what she was doing, that sneaky little creature. She didn’t even have the decency or consideration to talk to me directly. She just wasted my time, allowed me to lose money, and kept me in the dark about everything. Never mind that I’ve been at that school longer than she has, have never been late or called in sick, have done everything that was asked of me in the classrooms, and have done absolutely nothing to her. I even wished her good luck in her new position. Turns out she doesn’t need luck. What she needs are some professional ethics . . . and a little integrity.

For all the other art models out there, especially the ones just starting out in this business, there is a lesson to be learned in this. Don’t EVER put all your eggs in one basket when it comes to employment. You are a freelancer, an “independent contractor”. Spread your work out among as many schools as you can, because NO JOB is secure. None. Something as seemingly innocuous as a new model coordinator can change everything. It doesn’t matter how good you are, how reliable you are, or how inspiring you are. If the new person decides – like a petty, power-hungry tyrant – that they don’t like you, you’re out on the curb. With no explanation. Because you’re not entitled to one. She actually said that, in her grating, abrasive style: “I don’t owe you a reason”. Her exact words. So ALWAYS have other art modeling jobs to fall back on. No matter how much work they give you, do NOT rely solely on one place for your employment.

This is an awful situation and I have a lousy few days ahead of me. I have to find a place of work to substitute for SVA. Yes I did start recently at the New York Academy of Art, but that was to replace the Studio School. Now I need a second replacement. SVA pays their models well (thanks to the efforts of the previous model coordinator who secured us the good pay) and I depended on that SVA paycheck to cover a lot of my bills. Now, in one fell swoop, at the random whim of ONE person, it’s been taken from me. My livelihood is in jeopardy. (When I mentioned this to the model coordinator, she said “That’s not my problem, sorry”. Isn’t that sweet?).

To make matters worse, I went to the doctor today for a regular checkup. Basically everything went well, and he was impressed with my 110/70 blood pressure. I also have to get an echocardiogram (I was born with a congenital heart defect. An aortic valve replacement is in my future :cry: ) But then I told him I’ve been experiencing a whirring sound and vibration in my right ear, and an occasional throbbing in my right temple. He looked in my ear and said it was fine. Clear and “perfect”. So what’s causing the whirring?

Hazard Pay?

For the past two weeks I’ve been posing for Sharon Sprung’s painting class at the National Academy. It’s going really well, as always. The class has me down on my knees – literally! But it’s a very different, unusual pose, and the red kneecaps are the least of my concerns.

Today, on a five minute break, I was walking around the studio when I hit my head against the protruding part of an easel. OUCH! But no big deal. I did another 20 minute pose session, stood up to stretch my legs, walked around again to chitchat and socialize with the artists and BANG! I hit my head again! Same easel. Same side of my head.

Is an art studio a hazardous working environment or am I just a klutz? Probably a little of both. There is some truth to the former for sure. When a room is crammed full of boxes, chairs, stools, platforms, easels, canvases, turpentine and oil bottles, minor catastrophes are bound to happen. Over the years, I’ve experienced my share. I once slipped when stepping on an unstable, improperly placed block that was functioning as a step. I had a near-miss when a spotlight came crashing down and almost hit me while I was posing. I had a chair arm break off under me. I’ve been accidentally poked by artists’ paintbrushes, and inadvertently sat down on exposed thumbtacks with my bare ass. Yes, OUCH!

Ah, the indignities an art model must endure. But my all-time favorite is the curious, mysterious art class phenomenon which is the discovery of wayward paint on my clothes. My clothes. I’m not even wearing them during class! They are folded and sitting in a pile, next to my bag in the corner, innocently minding their own business. When I get dressed after class I find paint on my jeans. How the hell did it get there? And it’s always cadmium yellow for some strange reason.

As for my own klutziness, the truth is I fell only once. I don’t mean a stumble or a quick balance adjustment (those are normal). I mean a bona-fide fall. It was about two years ago during a drawing class at the Art Students League. I didn’t hurt myself badly. I just picked myself up and showed everyone what I can do. Nice little metaphor for life right there.

As for an art model’s perilous working conditions, I don’t think we exactly qualify for hazard pay. When I think of what other people have to face on the job on a daily basis – coal miners, construction workers, mass transit track workers, firemen – to say that art models are relatively safe is a huge understatement!

I love my work so much that a scrape here, a stubbed toe there, a charcoal smudge, a splinter, a bruise, are all worth it to me, in exchange for the joys and rewards of being an artists’ model. So honestly I can’t complain. From firsthand experience, I know that life could be far, far worse.

Ethics and Integrity in Model Bookings

Steady work. Those are golden words for people in freelance professions. Steady work means steady money coming in, and for many that’s where the discussion ends. Go for the steady work. For those of us who work independently, that’s the closest we get to job security. In art modeling language, that would mean a long term booking, like a four week, five day a week painting class. Some painting classes even go on for six weeks, or, in some cases, an entire semester!

I have conducted my career differently, though. First of all, I don’t work in just one school, which means my jobs come from varied sources. There are many art models who work almost exclusively in one school, taking on the role of “house model”; they become the familiar model that everyone paints on a regular basis and sees all the time, and who is always available to them. That model is solely dependent on that one school for work and has no other place of employment. This is not me.

I’ve chosen to create my “steady work” not by scooping up the long term jobs, but rather by cultivating it; forging solid working relationships and, in some instances, friendships through professionalism, collaboration, and proper ethics. I’ve found that the good karma of a positive attitude pays off in the long run. For example, I do not cancel bookings I already have, to take a “better” job that’s offered later. I’m just not comfortable doing that. I wouldn’t like it if someone did that to me, so I can’t in good conscience do it to someone else. If a person made the effort to book me in advance, then they shouldn’t be canceled on. It’s that simple. I don’t care if it’s a sketch class at a local community center. A booking is a booking.

So I was presented with a situation this week where the model coordinator at one of the schools I work wants me to do a four week painting class starting in January. I already have several bookings at Spring Studios which conflict with that class, so I told her I couldn’t do it. Well, this didn’t go over very well, and I was actually asked to CANCEL those bookings so I could take the painting class! “You’re going to turn down a steady, four-week job for five little bookings?” she said to me. I took offense to that. They’re not “five little bookings” to Minerva. Or to me. Spring Studios is one of my very favorite places to pose. Plus, Minerva is my friend, and I have worked for her for some time now. Why should I screw her over because another school thinks it’s giving me a jackpot moneymaker of a job and can’t fathom why an art model would turn them down? They don’t seem to understand that I DO work steadily, every single week. And that’s not because I’m the greatest art model who ever lived and people are tripping over themselves to hire me. It’s because of a combination of things: yes I’m a good model, but I also put my heart and soul into my work, I’m reliable, I don’t cancel on people, I always return calls, and I try my very best to carry out my work schedule in a fair and ethical way. These are the reasons I work steadily, and not because I grab the “big bookings” at any cost. That’s ruthless, cutthroat stuff that requires a character trait I don’t possess.

Art models are independent contractors, which means that your personal ethics and honesty are more prominent and evident to others than if you were a regular employee working out of habit and obligation. Art models are in control of their schedules. And while the freedom of this job is a tremendous plus (in my opinion at least) it also puts the character of the model on display at all times; Does she show up on time? Is she respectful to others? Does she present herself well? This is a terrible pun, but art models are “exposed” all the time. We have nothing to hide behind – no co-worker to pass the blame on, no customer or client to blame, no faulty computer system to blame, etc. With art models it’s all us, the good and bad. If we mess up, it’s usually our fault. And by the same token, if we do well, it’s our triumph (that’s the good part!) Ok, I’ll make one exception – the subway! When that system malfunctions and inconveniences people, that’s not an art model’s fault. Even we can’t escape a stalled C Train!

So every one of my bookings at Spring Studios next year is staying put in the pages of my calendar. No cross outs, no way. Minerva gave them to me, and I won’t defile them. The painting class will have to find another model – an AVAILABLE one.