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My introduction to the Nude in DC began from an article in the Washington Post about a woman who held open drawing sessions in a bar in Adams Morgan.I was on a sabbatical from a seven year stint as a political activist on poverty issues and that seemed ideal since it would require little thought – or so it seemed at the time. I contacted Jobi Jovanka, the person identified as monitor of these barroom events. She told me that she couldn't hire me since I had no experience, advising that I model for artists privately then come back when I had some experience.

Vexed at how I could do that, I persisted and she finally referred me to the Art League in Alexandria then relented when I asked to attend one of her sessions as an observer. I sat in as a bystander for about a half-hour as Stephen Kosciesza did some short poses. Kathi Cohen, then-model coordinator for the open sessions at the Art League in Alexandria, VA, signed me up for two sessions; my first gig was on Halloween day 2000 shortly after my 60th birthday.

I had access to some art books, so I scoured them for examples of poses I could do, copied the promising ones, reduced them to about an inch high then pasted them to an 8 ½ x 11 paper until I had about fifteen sheets, each with about ten to fourteen poses. I studied them then practiced using five mirrors at different angles. Not the best, but it helped. I had belonged to a nudist lodge in California, so I thought it would be a piece of cake. Not so – very different being nude at a resort where you blend in with the other nudes, much different when you are the object of ten to fifteen pair of eyes focused on you in all your glory. It took a while to acclimate to this new adventure, but I did and found that I enjoyed being part of a creative process.

When artists learned that I was a new model, they usually did two things: First, gave me contact information for other artists who hired models, and;Second – told me that models wouldn't show up, showed up late and couldn't hold a pose if they knew what one was. I heard this a lot, but as I gained experience I found that it was the artist community that was at fault for the shortcomings in the model pool. Of course, there were a lot of really good models, but it seemed there were more that were lacking in one way or another. As for artists – many got their models by posting ads in the City Paper and if you agreed to take your clothes off in front of people, you were called a model and got as many gigs and at the same pay rate as those who had thirty years of experience.

After about a year scouring the area for opportunities to model, modeling at any no matter where they were I decided to publish a newsletter. I had published or was editor of five in the past, and it seemed a good thing to do so I bought an inexpensive digital camera and started taking pictures ofwhat I called Showcase Artists; Feature Artists; Feature Models, and; Feature Groups. By that time I knew a lot of artists, but just a few models– models seldom met, other than in passing between the bathroom, aka changing room - and the posing area.

Part of my motivation was the sense of disconnect between artists and the models who posed for them, even though they would say how important the model was to a good session so one of my goals was to enhance the relationship between artists and models. Another was to improve the professionalism within the model pool. When I told artists I was going to do a newsletter, one student at George Washington U said that I should include a tribute to Russell Nesbit, the oldest model at the time, also modeling longer than others. He had died the previous November, and the Post had a huge spread on his achievements, one of which was an acrobat troupe that he would take along to some modeling gigs. Even at eighty, he could balance his young trainees in difficult poses without breaking a sweat. Another of his claim to fame was that he had walked down the steps of the Washington Monument – on his hands! He had been modeling the week before he passed.

My first issue was February 2002, dedicated to Russell with comments by Raye Leith, for whom he modeled at Smithsonian Associates classes and Bill Christenberry, for whom he modeled at the Corcoran, often with his full troupe in tow. The newsletter was very well received and over the 6 months that I published it, I made many inroads in the art community; but it came at a big expense, having spent about $2,800 for camera, software, printing costs, postage and handling and travel expense. That was offset by about $1,300 in subscriptions, but it would cost over $300 a month to continue itso I decided to try something else.

Jobi had told me she wanted to compile a list of models, including contact info, description and a photo and make that available to artists who hired models. It was a good idea, so I discussed it with artists and others who would listen, coming to rely on Lisa Semerad, who taught at the Art League,and Trinka Simon, who taught at the Smithsonian Associates at the Dillon Ripley Center – three floors underground, next to the Smithsonian Castle and a short way from the Smithsonian Metro stop. Now I needed a place to hold gatherings of models and artists in order to form an organization of

and for models, and make lists available to those that hired them.

Serendipity is often the best thing to happen to ideas at a loss of how to go forward, and so it was for my need for a space to organize things. The model coordinator at the Corcoran knew I was trying to organize models, so when Mark Clark called her for referrals, she sent him to me. He needed black and Hispanic female models for a project, so I told him I could supply the black, but asked if he could use a gypsy in lieu of the Hispanic. He said he could, so I gave him the names and explained what I was doing, and that I needed a space to go forward with it. He said his brother might help, so he gave me a number in New York where he could be reached adding that he would call in advance so his brother would know whatit was about.

That was a Friday, so I waited until mid-day Saturday to call. Clark, as hepreferred to be called rather than his given name, Michael, said his brother had called and told him my plan. I started telling him different parts of it, and all he said was uh-huh; uh-huh; and etc. After just a few of these he told me to stop by his gallery in Georgetown on Monday to pick up a key.

I was flabbergasted by his generosity, especially given that he didn't knowme at all, so I showed up on Monday, we talked a bit then he gave me a key.I contacted the eight models that I knew by then and we held an organizing meeting on Sunday, June 15, 2002. The nine of us shared our various histories with nudity in general and modeling in particular, and by the endagreed to contact others that we knew and have a formal meeting. So on Sunday, July 21 we met at MOCA at 1 o'clock. I got some snacks and FelicityHogan, Clark's wife – Clark took her last name as his own when they married, making him Clark Hogan – said we could use the wine they had.

The first meeting was fantastic; about forty to fifty people showed up, pretty evenly split between artists and models. Everyone had a good time and many models – female, only – got hired for gigs with some of the artists so we decided to continue from there. I had planned to call it the Figure Model Group, but when asked if it was a union, I said no and changedthe name to The Figure Models Guild, the latter referring to Renaissance periods in Europe where guilds were understood to represent a degree of proficiency in the craft in which they were employed.

Another artist who I came to know, Lee Klopp, said to me: “You know what weneed in DC – a place where we can show our work.” And that was very true atthe time – there just weren't that many places where artists who worked

from the nude could show their work. I was aware that artists could show non-nude art in bars, restaurants and other commercial enterprises so I made the rounds of possible sites, leading to the Art Store in Georgetown. The manager was interested, so I put out a call for entries just as though it was an exhibit in a regular gallery and was overwhelmed by the response.I hung the work and promoted it to my email list, which by then was fairly extensive and growing. That lasted nine months, when I was told they liked the idea so much that they hired someone to manage it and that I couldn't exhibit there anymore. A few months later, Dick Blick enterprises bought out the small chain of Art Stores, gave three days to vacate the premises, sent the inventory to their store in New York then closed the doors. Poeticjustice, I thought. The store is now the Paper Source.

I did a few exhibits at Larry's Lounge near Adams Morgan and one at a former cigar bar in the strip mall on Connecticut Avenue in Cleveland Park,then asked Clark if I could do one at MOCA – he said yes, so I promoted it to the hilt and got over seventy artists from all over the place – Minnesota, California, Norway, New York, Baltimore, Annapolis, Richmond andevery city of any consequence in Maryland and Virginia. It took a friend and me six days to hang the show; I asked another friend, Richard Takeuchi,to do a painting of a nude model during the Opening Reception and donate the work for a raffle. Richard could create a nearly complete oil painting in the three hours he had to work. Shanna Lim agreed to model and as it turned out, my friend who helped hang the show won the raffle. Who says hard work isn't rewarded.

The show was a resounding success, with more in attendance than the galleryhad seen in a long time. But Clark was having problems – he and his wife were getting a divorce, he had a few health problems and the work of keeping the gallery going was a bit much, so he decided to close MOCA December 2004. By then, the Figure Models Guild was highly successful and Iknew it would be hard to find another place for the guild, so I told Clark that I would guarantee the rent and run the place. He agreed, so on January1, 2005 I took over the gallery.

Over time, I made many improvements to the gallery, and was able to keep itgoing, albeit at considerable expense and hours of unpaid labor. I could tell many stories about the gallery – what I learned about things that Clark did – many very successful exhibits, a lot of hard work and a lot of friends that he wouldn't have made except through the gallery. But I guess there comes a time when all good things must end and so it was that I closed the Gallery on December 31, 2013 – nine years of building a reputation unique in the area, paving the way for other galleries to be

more receptive to exhibit the nude. Other events and happenings can be gleaned through the many pictures, videos and media bylines presented in a DVD that I produced and made available to interested parties, mostly those who had participated in events there, or were interested based on the reputation MOCA had earned over the years.

Most of all, however, I do hope you enjoy all that is presented here and that it either supports your appreciation of the nude human form, or presents a convincing argument to at least explore it further with an open mind.

The Nude in DC: The Figurative Art Scene in the Greater Washington Metropolitan Area

It seems more than appropriate that a project that would strive to define the figurative art scene in the greater DC region include in its title The Nude, which is also the title of a collection of, and expansion on six essays presented by Kenneth Clark at the National Gallery of Art in Washington, DC, in 1953 under the title The A. W. Mellon Lectures in the Fine Arts. Thework has become the standard reference guide to the study of the nude, which at the time was sorely lacking any significant modern body of work onthe subject.

This seminal work is perhaps as much noted for its distinction between the words Naked and Nude as it is for presenting a colorful history of how the undraped human form has drifted in and out of public favor over countless centuries. Simply put, to be naked infers a sense of shame whereas being nude connotes an air of pride and dignity, especially as it relates to how the subject is treated in art.

The Naked and the Nude: from The Nude, A Study in Ideal Form

“The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word ‘nude,’ on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, theword was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art.”

And while I have taken liberties from the title of Mr. Clark's work, I

should also take an admission he made in his preface and state that there are doubtless many areas in this work that are lacking a solid foundation for some assertions that are made; that said, however, it can be consideredan authoritative treatment of the subject in the regional area under discussion.

The Nude in DC covers the figurative arts as it is taught, studied, practiced and exhibited in the Washington, DC region bounded by Baltimore to Annapolis in Maryland to Winchester and Richmond in Virginia: first, as it is taught in various educational venues, including colleges, universities, schools, workshops and by numerous private artists skilled enough to teach the subject to aspiring artists; second, as those already skilled enough to join in the practice of the art in groups and private sessions gathered for that purpose; and last but not least, as it may applyto those brave enough to be a model and present their nude bodies to the aforementioned body of souls gathered in their respective pursuits.

Within these physical boundaries exists a vastly divergent level of acceptance of the figurative art as it applies to nudity, ranging from those who are harsh and outspoken in their condemnation of it regardless whether or not it is put on public display or done in secrecy and out of anyone's view. For this reason, many avoid letting close business associates, long-standing acquaintances, even family members know of their involvement in nude art on either side of the easel, drawing board or sketch pad. Certainly, in some areas even the most progressive galleries will not exhibit even modestly revealing art for fear of reprisals from thesurrounding community, if not for the prejudice of the gallery owners or operators themselves.

That these attitudes should exist in an enlightened society is a far cry from the almost universal acceptance of nudity in periods in ancient Egypt,Greece and Rome during their heyday, often not only in art, but also in daily lives: the Greek athletes competing in many Olympic Games often did so in the buff. Bare breasts were common among Greek women even in public. Statues and other works of art featuring both men and women were created inan idealized form; for that reason, it is curious to know why male genitalswere virtually always diminutive, whether on statues or in paintings. Romanbaths were co-ed, and their women also dressed in garments that displayed bare breasts.

In relatively more modern days of the Renaissance period in Western Europe from the 14th through the 17th century, the period was known in part for a return to the antiquities in the arts, generally including the nude human

form in paintings, sculptures and bas reliefs in architecture. During much of that period, however, females were not used as models, a throwback to the otherwise enlightened age. Even a cursory review of the art of that period would reveal tell-tale signs that the model was not always a female:the familiar six-pack in the abs, or abdominal muscles, is apparent in manyworks of art of that period, a dead giveaway that the artist used a male model, removing the genitals, adding breasts and long hair to create a female when female models were rare during part of this period.

19th Century Europe was also conflicted in the use of nude models, especially females. France, for example, was ahead of England in using nudemale and female models to create their art, demonstrating again that the nude human form was censured in at least a part of Western Europe. The change in mores came gradually, but still ahead of the fledgling United States of America, when in so-called blue movies of the 20s and 30s, displaying explicit sexual acts, the actors would leave their shoes and socks on. So much for modesty. Even 19th century American photographs in books of nudes prior to that were completely undressed, even without shoes or socks.

It is hard to say how we should consider the current period in the U.S., but one thing is certain: Nudity abounds in virtually all the institutions of higher learning, even in Catholic Universities of America, often viewed as a bastion of conservatism and keeper of our moral fiber. So it would truly be a shock to most in this area to know the full extent of nudity in the figurative arts scene. Teachers number in the hundreds, students in thethousands each semester and artists, who practice it privately or who gather in groups in our neighborhoods, number in the multiples of thousands, a number that may even include many of your own friends, relatives or associates in the work place.

While most written material concentrates on the artist as teacher and the subject tailored to students, the model generally knows far more about the figurative art scene in these communities than the teachers, the students and the artists. The reason is simple: Those in the artist community generally limit their pursuits to a smaller sphere than many or most models, who may work over the broader area covered by this effort. Moreover, while the student, teacher and artist may attend only a few sessions each week, models may work up to three sessions per day, five, sixor seven days a week. It is not uncommon, meaning that models are exposed to more than the rest combined.

So it is perhaps fitting that the model is the first group to be treated in

more detail, for in so doing we get a brushing glimpse of all the other categories, which include: The Institutions, The Teachers, The Students, The Artists, The Groups, The Private Artists, The Gallery Operators and finally, The Clients

The Model

While no one knows when an artist first used a model to create art, there can be no doubt that the practice is many thousands of years old. Certainly, the artists that created the statues of Greek antiquity used thehuman form as a guide, never mind that the result was an idealized figure.

And speaking of idealized, nothing could be further from the truth than that a person must be a stunning beauty in order to qualify to be a model. Rather, just as art is said to imitate life, artists need models over the full spectrum of the human condition.

A model can be considered 3 things: A tool for the instructor A template for the artist, and An inspiration to the process

As a tool for the instructor, the model may be called upon to present all or only a portion of the body for specific lessons on the anatomy. It isn’tuncommon to spend an entire session on arms and legs, for example, or to break the body down into various parts for concentrated study. Portraiture is often a class unto itself, not only because the face has so many difficult features, but also because it represents a good market for artists to earn an income.

If all it takes to be a good model is just to show up, be on time and hold still, then it follows that to be a better model depends on what you do when modeling. And that is the real challenge for the model and the object of this effort for it considers modeling to be an art form in its own right.

Traits of a professional model are: Dependability Punctuality, and Inspirationality

Dependability is to show up when you say you will. Measured over time, the

dependable model can be relied on for a majority, if not all of the sessions for which they are scheduled. Often, a model may be selected for aspecific reason so it is important to be there.

Punctuality is more than just showing up at the appointed time. In the strictest sense it means to be on the model stand and be ready to perform at the scheduled time. A professional model would arrive in time to find out what the focus of that session is and thus have a chance to consider what kinds of poses would be best. If the focus is on negative space, for example, then poses with good negative space would be appropriate.

Inspirationality, regardless that it’s not in any dictionary, is the ability of the model to inspire the artist. This undoubtedly varies from artist to artist, as well as from model to model, but there is enough in common to allow a reasonable definition.

The Basics

To begin, there are some basic rules to follow.

Keep all appointments Be ready to model at the given time Good hygiene is essential Dress and undress in the designated place Always wear a robe when not on the model stand or when not modeling Never stare at an artist when posing; pick a neutral spot to focus

on Never say negative things about an artist’s work Always conduct yourself in a professional manner

Some schools or groups may have other rules for models to follow, but theseare the basics.

The Model Bag

Most models find it helpful to bring items along to use when modeling. Of course, it varies from model to model, but the following items are useful,if not essential:

Robe Appointment book Timer

Prescribed medication/aspirin Towel Sandals Props

Some type of bag is useful, but in general it is wise to select things thatare lighter to carry. That is less important if you drive, but many models use public transportation and it can get a bit heavy to carry. Bags with a shoulder strap are very convenient, as is a bag with separate pockets or partitions.

Terry cloth robes and towels are heavy, so consider something lighter. The only use for a towel is if you want something to sit on—a good idea at times. Ladies robes are generally available in lighter weight material, butit’s difficult to find men's robes that are that light. Often, a plain ladies robe can work for a man as a unisex garment.

An appointment book is crucial if you are to be even a good model. If you’re not used to using one, get in the habit right away, for a missed session is both an embarrassment and a disservice to the party that expected a model but they didn’t show up because of a simple scheduling error.

Timers are also very important, for it is up to the model to time each pose, unless the teacher or monitor wants to control it. Short poses of 30 seconds to two or three minutes should be timed by counting silently, whereas a timer is useful for longer ones. Radio Shack has several styles that are more than adequate and reasonably priced in the $15 range.

Props vary, but include any item that can aid in developing a broader rangeof poses. A pole is a common prop for males, but the list is limited only by the imagination—or what you are willing to carry.

Types of Sessions

Sessions can be grouped into three basic categories: educational, avocationand private. If the session is a class at a college or school the teacher may determine the pose. If it is with a group of artists that meet regularly, the format may range from short poses to longer ones and the pose is generally up to the model. Poses for private sessions with one or two artists are generally set by the artist, perhaps in consultation with the model. Regardless, a professional model would be prepared to perform

whatever the situation required.

The Pose

This area represents the best opportunity for models to distinguish themselves, for the greater the pose repertoire the greater the chance to stimulate the artists’ creativity and thus become a much-sought after commodity.

In general, poses may reflect activities of daily life. Often, natural or relaxed poses are preferred, although a dramatic pose with a lot of stress can be very stimulating.

Perhaps one of the best ways to develop a good repertoire is to study the works of the great masters. Many of these are reflected in the pose guide that is part of this effort. It will be well worth the time to study—and practice as many of these as possible.

Poses may be held for short to long periods of time, depending on the type of session. Shorter poses—say, under 3 minutes—are called gesture poses. Many sessions begin with a series of 60-second gesture poses then progress to 5, 10 and 20-25 minute poses and longer.

The term gesture has several meanings, but for the model, it generally means short poses that artists use for warm-up at the beginning of the session. They are also used by artists to improve hand-to-eye coordination.For longer poses, the term gesture is used to define the composition on thepage, canvas or whatever medium is being used, or to ensure that all the figure, or that portion of it that the artist will do, can be put within the available space.

Shorter poses provide opportunities to do more exaggerated, dramatic poses since none have to be held that long. As the time increases, however, more stable poses should be used—ones that can be held for longer periods of time. Standing on one leg, for example, may be fine for a 60 second pose but is counter-productive for longer poses. Not only is it difficult for the model to hold, it is also distracting to the artist to see the model strain to hold it, or that the model has to break more often than if in a more comfortable pose.

Longer poses require different considerations since the model will be in one position perhaps for an entire session. It is difficult to hold a pose

in the same position for any length of time so the model must develop ways to stay in the pose. One method is to pick parts of the body as reference markers against stationary spots on the wall or floor. For example, the tipof a finger may line up for a visual reference with a landmark; then periodic checks can determine whether that part is still in the same position—or if not, to help return it to the correct position. By selectingtwo or three such points the pose can be held in the right position. Navigators use this to get from one place to another: the term is called triangulation.

Breaks—the long and short of it

The number and length of breaks varies with each model and pose. Not all models can hold the same pose for the same time so it is difficult to set standards for breaks. One common practice is to take a five or ten minute break every twenty minutes. But since most sessions last only 2 to 3 hours,this seems a waste of time and is probably not necessary. If a pose is too difficult to hold for longer than 20 minutes at a time, then it shouldn’t be used for long poses.

Rather than set specific time limits, it is better to take a break based onthe pose and the individual model. For a series of gesture poses, the modelshould be able to go for longer periods without a break. As the length of the pose increases, then the difficulty of the pose becomes a factor. A good model would take this into account at the beginning and not take a pose that is too hard to hold without frequent breaks. One reason for this is that the longer an artist has to work on a pose without interruption, the greater the creativity inspired within the artist. This in itself should be considered by the model, for the greater the creativity, the better the result. The model will benefit as word gets around—something that will add to their reputation and to being considered a better model.

Don’t Change a Thing

For poses that are to be held for more than one session, it is important tomaintain the same appearance as at the start. To wear the same clothing, not get a haircut or have ones hair styled are important for obvious reasons. Others include to avoid getting a suntan. There may be more but the point is that the model should take care to maintain the same appearance over the duration of the session.

The Performance

In reality, modeling is a performance and as such it begins when the model first steps onto the model stand. If a session begins with comments from the teacher or monitor, the model should take a comfortable stance and avoid fidgeting and awkward movements. When the session actually starts, the robe should be removed gracefully and placed off the model stand.

If the session is a series of gesture poses then on to longer poses, a goodmodel would treat it as a dance with smooth transitions between the gestureposes, always having the next pose in mind so that there are no delays, other than to hold each pose for a few seconds longer to allow artists to change paper. Upon completion of the shorter poses, the model should announce that fact and go gracefully to the next series of poses. Models that perform gracefully will gain by enhancing whatever reputation they mayhave achieved in other areas.

Facial Expression

The face is more important than most may think; arguably, it is the most prominent feature and the first that the artist will see. Within the face, the eyes are the most visible so it is important that they be held steady for it can be very distracting if the eyes dart here and there while posing, or turn to the direction of someone entering the room. Find a spot to focus on and keep the eyes glued to the spot. Many models neglect this, but roving eyes can diminish even the best of poses. Above all, do not stare, glare or look directly at an artist, for it will be distracting to both model and artist.

Facial expression is so important that entire books have been written to describe the various moods that may be displayed. Briefly, these range fromsadness to anger, from joy to fear to disgust, pain and surprise. “Of the twenty-six or so muscles that move the face, eleven are responsible for facial expression.” (from Facial Expression by Gary Faigin).

It is well worth the time and trouble to become familiar with the expressions and how they relate to a given pose. For example, a dramatic pose with tensed muscles would be less appealing if the face were relaxed, or worse, if it contained a smile.

Avoid Repetition

Even models with the broadest pose repertoire can find it difficult to not

repeat a pose or series of poses for the same group of artists over time, but it is something for models to consider. A good model would add new poses to their routine on a regular basis so that it doesn’t become stagnant.

Miscellaneous Tips

While hands are visible in most poses, they generally don’t play a significant role in the composition. But given the difficulty in drawing them, a good model would keep the fingers close to each other, rather than spread apart. This relieves the artist of having to deal with unnecessary minutia.

Posing is similar to Zen, yoga and other meditation exercises, so it would be useful to become familiar with them. Much of it is learning tricks of self-control, and many of these are equally useful in modeling. For example, it is possible to “scratch” an itch without moving a muscle. It isdistracting for the model to physically scratch an itch, but it can be dealt with mentally; An itch can increase in intensity if one focuses on it; ignore it and it will go away.

In long poses, parts of the body may become sore or fall asleep from poor blood circulation. These can be dealt with in two ways. First, by flexing muscles to relieve tension. Often, only one part of the body is tense or sore; By moving only that part, the artist can work on other parts of the pose. Tell them you will relax that part but keep the rest of the pose intact.

For models that use public transportation, the Washington Metropolitan AreaTransit Authority web site, WWW.WMATA.COM, is an extremely useful tool. By entering a start and end point and when you have to be there, the system tells you when to leave and the route to take. Or call 202.637.7000 for operator assistance.

Keep Your Day Job

It is difficult to make a living from modeling alone so most models have other jobs. Colleges and universities use the most models, so jobs vary to their schedule, being low during summer and winter breaks.

The economy plays a part also. During low peaks, there are more models in the model pool while at the same time fewer jobs are available due to lower

enrollment in art classes or sessions. When the economy is good, the model pool diminishes as models take jobs to sustain themselves while modeling jobs increase from greater enrollment and participation by artists.

The rate of pay varies from $10 to $20-25 an hour. Many groups pay a set fee—for example, $40 to $45 for a 2 1/2 hour session. But this can be misleading, for some jobs that pay $20 per hour are only 2-hour sessions. Travel time may make the effective rate low, not to mention that it may interfere with scheduling other jobs that may pay less, but be worth more due to longer hours and proximity to the site.

Shameless Self Promotion

However good a model may be at posing, or any of the other criteria that makes one a very good model, it takes a lot of salesmanship to get a lot ofjobs. And that takes a lot of work, beginning with knowing all the places that hire models; getting to know the model coordinator; knowing what theirschedules are, and; above all, making the phone calls at the right time. There are lists that make it easier to know who hires models, but it takes a lot of hard work to get the job, and thus become a Very Good Model.

The preceding is from The Art of Modeling: A Pose Guide for Models put together as part of a training program for prospective new models to join The Figure Models Guild that I organized in July 2002. It stems from a keen interest in figure modeling, resulting in extensive talks with many, many artists about the profession. This in turn led to a great deal of research in bookson the visual arts as it relates to the model. But it was only while organizing the Figure Models Guild that the dialogue was extended to modelsworking in the area. All this has led me to believe that modeling is truly an art form in its own right; but this is true only when the model considers it to be a profession and takes the time and effort to develop skills, habits and attitudes to make it so.

Nudity in Art & Society

It would be nice if we could put all the various forms and expressions of the nude in art into neat and well-defined little cubbyholes, if for no other reason than to be able to speak intelligently about it with another person or, say a group when giving a lecture. But the fact of the matter isthat the realm of the nude in art and society literally quivers like a bowlfull of jelly, taking different forms like ripples on a pond, never viewed quite the same as a decade, a century or eons ago. And I suspect that this

situation will never change, as future humanity will doubtless have the same conversation as we are engaged in now.

But that shouldn't stop us from attempting to discern the public conscienceof it; rather, it is to our benefit to do this, maybe in a way that it has never been done before in the form of a survey as broad as our reach can take us with present limitations, such as financing it and determining who will participate in it. The latter is more important than the former, so let's just get on with it and let the chips fall where they may. In order to do that, we need to define it in ways that may or may not be consistent with the present population’s views on it.

For the moment, let's assume that there are four major categories that we are dealing with. Since we have called upon Kenneth Clark for two definitions, Nude and Naked, and will shortly call upon him again to help us define Erotic, then we might come up with the following categories: Nude; Erotic; Naked; and Pornographic. These we might consider in the following light:

Nude - The display of the human figure in ways that are aesthetically pleasing to most, yet stir sexual yearnings that stimulate but do not incite to acting upon that emotion.

Erotic – this one is far-more contentious even though most dictionaries define it in ways that simply state the fact that it is a natural reaction to visual stimuli of the nude human form in more evocative poses. I would like to spend more time on this one, since it is the beginning point of contention for many who see art of the nude figure to be wrong, sinful, inappropriate in any context – or any other way to describe something that should not be seen.

Eroticism

Erotic and all its derivations come from Eros, the ancient Greek god of love, which the Romans identified as Cupid, a winged figure of a child representing love or the power of love. Also physical love or sexual desire. In psychiatry it is the Libido. It also is the instincts for self-preservation collectively.

Common dictionary definitions include:

Erotic 1. of, pertaining to, or treating of sexual love; amatory; 2.

arousing or satisfying sexual desire; 3. subject to or marked by strong sexual desire

Erotica 1. literature or art dealing with sexual love

Eroticism 1. the sexual or erotic quality or character of something. 2. the use of sexually arousing symbolism, sexual drive or tendency.

We are told that the dictionary represents the common ground for deciphering the meanings of all the words we use in our everyday communication with one another and the population at large. Yet none of these definitions would likely stir the negative emotions held by many in our society. In fact, these reflect quite the opposite, assigning a more healthy expression of physical love.

Earlier we have learned the distinction between Nude and Naked from author Kenneth Clark. The paragraph below presents his views on the nude form in an erotic context. I thought it was very insightful to this discussion. Theparagraph is introduced by the closing sentence of the previous paragraph:

"It is ourselves and arouses memories of all the things we wish to do with ourselves; and first of all we wish to perpetuate ourselves.

"This is an aspect of the subject so obvious that I need hardly dwell on it; and yet some wise men have tried to close their eyes to it. 'If the nude,' says Professor Alexander, 'is so treated that it raises inthe spectator ideas or desires appropriate to the material subject, it is false art, and bad morals.' Thishigh-minded theory is contrary to experience. In the mixture of memories and sensations aroused by Rubens' Andromeda or Renoir's Bather are many that are 'appropriate to the material subject.' And since these words of a famous philosopher are often quoted, it is necessary to labor the obvious and say that no nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even though it be only the faintest shadow - and if it does not do so, it is bad art and false morals. The desire to grasp and be united with another human body is so fundamental a part of our nature that our judgment of what is known as 'pure form' is inevitably influenced by it; and one of thedifficulties of the nude as a subject for art is that these instincts cannot lie hidden, as they do, for example, in our enjoyment of a piece of pottery, thereby gaining the force of sublimation, but are dragged into the foreground, where they risk upsetting the unity of responses from which a work of art derives its independent art. Even so, the amount of erotic content of a work of art can hold in solution is very high. The temple sculptures of tenth-century India are an undisguised exaltation of physical desire; yet they are great works of art because their eroticism is part of their whole philosophy."

Eroticism is so often tied in with pornography that people tend to treat itas one and the same, when in fact it is, in my opinion, a God-given

pleasure to soften the otherwise harsh and painful act of child birth and subsequent demanding task of raising the result to be a productive citizen of future humanity. In fact, I submit that many of humanities failings haveto do with conflicted emotions about the role that eroticism may play in procreation, or in fact in our daily lives. The sooner we can reconcile these inconsistencies the sooner we will be able to create a more stable environment for our offspring, and thus our collective future.

Naked

This third category of the undraped human form is perhaps more ambiguous than the others, which seem more fitted to their titles and thus easier to decipher in any survey. Taking the definition assigned by Mr. Clark, this category is less acceptable to some, even to those who find Nude and Eroticto be graceful states, or at least that is the view of those who may want to dwell on it, this, as its final acceptable category, or thrown in with the last category.

Pornographic

Even pornography is often not condemned to the lowly mindset of one judge when he stated: I can't define it, but I know it when I see it. While his honor may have the legal standing and authority to make a statement like that in his courtroom, it strikes me as being a bit cavalier even there unless the judge has some well-reasoned intelligence to support his claim. Here are definitions from two dictionaries and even they aren't consistent with one another.

Dictionary One - writings, pictures, films, etc. designed to stimulate sexual excitement.

Dictionary Two - obscene literature, art, or photography, esp. that having little or no artistic merit. Dictionary One seems consistent with the rather tame definitions for

eroticism, one tending more to support procreation than to defile a key element of it.

It is important to note that I present these four categories more to provide some structure to what I perceive to be typical of present society in general, and not something that I necessarily embrace personally. Perhaps, like the conservative judge who knows pornography when he sees it,the more liberal among us might say that all nude art can be perceived as

Shakespeare put it: there is nothing either good or bad, but thinking makes it so.

In all the material presented so far, I have tried to lay the groundwork for the argument that the preceding paragraph presents in a few words: Thatnudity, whether in the arts or in society is, or should be accepted in an intellectually sophisticated manner; that there is no reason or justification to reject the nude human form either as a valid subject in the arts, or in a more intimate setting as the object of sexual desire leading to the ultimate conclusion of sexual expression between consenting adults. To argue against this is to dismiss the function of the male and female genitalia as they relate to one another, or to suggest that this same distinction should be considered vulgar in any form. That said, only afool would dismiss the value of the nude human form as a valid art form in its own right, or claim that it is vulgar to consider these parts when employed for their God-given function of procreation.

By now, the reader may wonder about the nature of this treatise, whether itis to promote nudity in art, or to argue in favor of sexual clarity in society. After careful review, I believe that both have been treated equally and that the argument can be made to favor both without labeling the other as inappropriate or in the same context – that the two are separate yet, except when comparing them to further an argument, inextricably tied at the waist.

Earlier, the role of the model in nude art was treated at some length detailing how a professional model would figure in the larger scheme of things, here and elsewhere throughout the nation. But while their sphere ofinfluence is greater than almost any other group involved in it, their numbers are dwarfed by the sheer weight of institutions, teachers, studentsand individual artists teaching, studying and creating works of art based on the human figure.

There are more than 60 major institutions in the greater DC region, all dealing with, and a few devoted solely to the human figure. Area teachers number in the mid-to high hundreds. Students in thousands each semester. The number of private artists is incalculable, but the attendance at over 30 open drawing sessions each week is a telling sign of significant activity in the figurative arts. There are teachers with a following who have studied under them for years waiting in line to make sure they are included in the next session. There are some teachers who prefer to teach to the same audience forever, rather than to enlist new clients.

In summary, the figurative art scene in the greater DC region is a mosaic of creative individuals who gather in a variety of venues to add their

vision of The Nude in DC.

The Sanctuaries

This section outlines the vast majority of places in the greater WashingtonDC Region where artists gather in a variety of venues to teach, learn, or practice art dealing with the nude human figure. While the list is extensive, it is entirely possible – nay absolutely probable – that many are missing and deserve to be listed herein. I would appreciate being advised of such place(s) so that they may be added to future issues. Given that this is a publish-on-demand effort, revisions can be made rather quickly and be effective literally in a moment’s notice. Likewise, there may be places listed that no longer deal with the kind of art that this document deals with. While it would be informative to have this informationincluded with the description of the venue, at the same time it would be ofinterest to some and therefor retained in this listing with the notation that it is no longer active or no longer hosts events dealing with the nude.

Associations 20Colleges 4Community Colleges 4Groups 16Schools 7Universities 13

64About the author The Other Side of the Canvas

An Interview with David R. Quammenwww.Artists-Perspectives.com

David R. Quammen is an art model, founder of the Figure Models Guild of Washington DC, and a co-director of MOCA DC/A+M Galleries. Artist-Perspectives has profiled a number of artists; in this interview David offers a perspective from the other side of the canvas. — Editor

How long have you been an art model?I started modeling on Halloween Day 2000.

There must be many thousands of drawings and paintings of you. Does it everconcern you that your likeness may be recognized by someone you know?I don't have any concerns about people who may recognize me in an artist’s rendering. I think that Western mores regarding nudity are a bit overdone and a bit prudish. For those who believe in God, we are supposedly made in His image. If that is fact, then it strikes me as hypocritical to be ashamed of His image when it is presented in an artistic endeavor.

What qualifications does one need to model professionally?There are several, but there are some minimum standards: First, I consider a model to be a tool for the instructor, a template for the artist and an inspiration to the process. As a tool for the instructor, the model can help by showing up early to find out what is being covered that day. If it is a new class, then complex poses would be inappropriate. If the lesson were on negative space, then the poses should be those where everyone in the class can have at least some minimal view showing negative space. As a template for the artist, the model should take care to remain in the same position during the pose, not move parts of the body, or if necessary,tell the class that, for example the right arm is asleep and will be moved in one minute, while leaving the rest of the pose intact. If a long pose, the model should take a pose that could be held for more than 20 minutes ata time. Based on discussions with many artists and teachers, the longer themodel is in the pose, the greater the potential creativity instilled in theartist; thus a better result.

As an inspiration to the process, some models have a natural presence which, all else being equal, helps the pose to be inspirational. Models should be aware of their own limitations for endurance, or whether or not they look good in some poses. For every given body type—even a 10 on the good looking scale—there are some poses that just don't look right. Facial expressions are also important. For example, a smile would look absurd in apose that suggests drama or stress.

Do you have a standard repertoire of poses or do you mostly look for direction from the artists or instructor?When I first started modeling, there were no guides available. Over time, Itook digital pictures of poses done by famous artists, as well as from the classics. I reduced them to one inch then organized them in categories of standing, seated and reclining; these are now in a pose guide that I give to models, whether new or experienced, for reference until they gain enoughexperience to develop their own poses. I try to avoid doing the same poses

all the time, but I do have a few standard guidelines. For example, I believe that modeling begins when the model gets to the model stand. Avoid distracting the class if the teacher is speaking to them. If the session starts with a series of short gesture poses, I treat it as a dance, knowingin advance what pose I'll do next, make a smooth transition then allow a few seconds before starting the count. I always count short poses in my head, since I believe that a timer is disruptive and detracts from a smoothtransition from one pose to the next.

Painting of David R. Quammen by Barbara Pace

What constitutes an interesting pose? What makes a pose compelling for an artist?This is a tough question, and differs from artist to artist. Some prefer poses with a lot of drama, others like a more natural pose. Even natural poses can have a lot of movement, so I try to take poses with a lot of action, or that suggest something realistic that is recognizable.

How do you sustain long poses without moving? First I make sure the pose has a good balance. When I'm settled into it, I find two or three points for reference then find something to concentrate on. I'm fairly fit, so I check that these reference points are where they should be. I've done a lot of planning while modeling, and let my mind go to work on whatever it is at the time.

Who do you model for? I've modeled for just about every school and group in the greater Washington DC area, and for quite a few artists privately. I'm rather aggressive, so when I found that I enjoyed it, I sought out every place I could.

Is the demand for male and female art models equal?There's a greater demand for female models than males, although there are

more male than female models who can model during the day. A lot of the female models are in college, which limits their daytime availability. Evenif there were an equal number with an equal availability, I think the demand would be higher for female models than male. There are several reasons for this, including that society is more accepting of female nudes in the arts, that society in general has a dim view of the male nude, and that a lot of males seem to be homophobic.

Are there many male art models (relative to female models)? Do you find a supply and demand imbalance (too many or not enough to meet demand)?In the DC area, there are definitely more male models than females; all theplaces I model ask if I can send some female models.

What type of modeling gigs do you like best?I prefer modeling for organized groups that meet on a regular basis, or forthe schools with a high ratio of adult students. Generally, the artists aremore serious about their art and have a greater respect for the model.

What type of jobs do you try to avoid?Schools with students who are taking art classes more because they are required for web-related curricula; they tend to be less interested in their art, and are thus less attentive and more prone to joke around and disrupt the concentration in the class.

What was your most fulfilling modeling experience?There have been several instances where the class applauded after some rigorous poses. It helps to know the effort is appreciated.

Worst experience?While modeling for a class where the teacher was out of the room reviewing students as part of the final evaluation, three students were talking, disturbing the class and irritating me as the pose was particularly difficult and I wasn't taking a break. I finally told them to shut up or I'd leave. It was the first of three sessions, and the class told the teacher that I was right; they never spoke again during that or the remaining two nights.

What advice do you have for people interested in modeling for artists?If you're really interested in being a professional model, treat it like anything else that you might enjoy doing. Learn the ropes and respect that those you are modeling for are spending their time and money to learn or practice their art, and you're a major part of the lesson.

You founded the Figure Models Guild in July of 2002. Why did you start thisorganization? What is its mission?When I first started modeling, many artists told me that models wouldn't show up, would show up late and couldn't hold a pose even if they knew whatone was. As I became more familiar with it, I discovered that the artist community was partially to blame because no organization trained models. The major source of new models was via ads in a local paper— if you agreed to take your clothes off, you were called a model and could get as many gigs and at the same rate of pay as those with years of experience. I saw problems on both sides of the easel, but it would be easier to work with the models for change than with the user community. Basically, I did it to make the model pool more dependable by making the models more professional.

The primary mission is to enhance the relationship between artists and models. At this juncture, I have to say that the mission is being accomplished.

What does the Guild do to support its members? First, I maintain a Model Registry that is given to all the schools, groupsand individual artists who hire models. This includes the model's name, a headshot, physical description and other pertinent info, including how to contact them. I've put together what I call the Art of Modeling: A Handy Guide for Figure Models. This includes a two-page narrative covering the basics, and a pose guide of one inch images organized by standing, seated and reclining poses: 220 for the female, 208 for the male.

I also maintain a Figurative Arts Directory, listing places that use models. It includes address, contact information, nearest Metro station, how much they pay models, etc. There is a separate listing of open groups that's available on the web site for the guild. What activities or events does the Guild sponsor?The first Sunday of each month, we have a Model Meeting; the first hour is set aside to meet each other and discuss various issues in modeling. Artists are encouraged to attend this part of the meeting. Then models model and artists draw. It gives experienced models a chance to learn new poses. It also provides a venue for those interested in becoming a model, to see how artists work from the model and to try it themselves, if they choose. There is no pressure to model nude, and some have actually modeled clothed, or partially clothed. We also have open sessions on Monday and Wednesday nights from 7:00 to 10:00 p.m. Models are scheduled and paid for these, and artists pay a fee to attend. The Monday session uses two models,the first from 7:00 to 8:30, the second from 8:30 to 10:00. I try to

schedule a male and female for these, which is shorter gesture to longer, 15-20 minute poses. The Wednesday session has one model, one pose for the session. Periodically, we schedule two models together for the long pose session.

We also have workshops, perhaps as a more concentrated training session fornew models, or a two-model pose for two or three sessions.

What are some of your favorite art books?My favorite art books are those with a lot of illustrations of the nude figure. An artist friend, for whom I've modeled often, has a lot of books that he graciously let me borrow, including one of Paul Cadmus, Pierre PaulPrud'hon (very similar style and technique), John Singer-Sargent and a few others with a lot of inspirational poses. Also Kenneth Clark's The Nude: A Study in Ideal Form, and The Artist's Model: From Etty to Spencer. The latter is a book produced to accompany an exhibit held in 1999 in New York, London and Nottingham.

More recently, I've come to enjoy The Undressed Art: Why We Draw, by Peter Steinhart, an artist, naturalist and writer living Palo Alto. Besides getting favorable reviews in the New York Times and Washington Post, Peter attended several sessions of the Figure Models Guild when it was first being organized. He told me then that he was writing a book about artists and models—little did I realize that I would end up being mentioned in his book. Aside from that, it is a good read.

You are a partner in the Museum of Contemporary Art in Washington, DC. Tellme about what that organization does, and your role in it.When I was starting the guild, Clark, the director of MOCA, let me use the gallery for organizing meetings, and was very supportive of the goal. It was an immediate success, and MOCA has been home to the Guild ever since. His guiding principle has been to provide a venue for innovative and undiscovered art and artists. Later, I founded A+M Galleries (Artist & Model), as a way to provide figurative artists a venue for their work. It'sbasically wall space in commercial lounges, but it has been well received. I was interested in finding a home base for it as well, so I approached Clark about hosting more exhibits. At that time, he was faced with operating the gallery by himself so we decided to join forces and in January I became a co-director of MOCA DC/A+M Galleries. My role is to guarantee the rent each month, manage the day-to-day operations and organize shows. I've had to cut back on my modeling, but this new arrangement is a challenge that I really enjoy.

Tell me about the Artomatic.Several years ago, a group of artists was looking for a way to exhibit their art, and came up with the idea to find a vacant building and have a one-month exhibit in it. The first one was in a former laundry, hence the name Artomatic. The first year was a success, so they did it again, to a larger number of artists and a tremendous reception in the community at large. When they held the third one, I approached them about having an opendrawing session as part of the festivities. They agreed. So on opening night, several members of the guild modeled for a number of artists who were also regulars at guild activities. It was an immediate success, so we repeated it three more times, and also at the closing party. We tried it again at last year's Artomatic, but we didn't have a convenient, closed space for it, and someone complained so they moved us to a location with nofoot traffic at all. I thought it was inappropriate of them to move us without even discussing the complaint or alternatives, so I don't plan to hold any open sessions again.

Well, Dave, you've certainly had some interesting experiences. Thank you for sharing your thoughts form the art model's perspective.