Practices and Ethics:  Considerations for Life Class Instructors

"Models typically contrasted the working conditions at schools with working in private studios....they abhorred the dirtiness of schools....some complained that instructors failed to recognize them as professionals with skills, training, and experience."--from Modeling Life: art models speak about nudity, sexuality, and the creative process

CURRICULUM

The following curricular ideas introduce the model into the classroom as person and active participant in the creative process.

1.  Include readings on and lectures about the history of modeling.  Many life drawing and anatomy books include a brief background on the history of the study of anatomy, which has crossover with the history of modeling, but also minimizes the collaborative, vital role that life models have played in the creation of figurative art.  A suggested reading is Modeling Life, a sociological study developed from interviews with models in Portland, Oregon (see Suggested Readings).

2.  When lecturing on works by artists, also discuss the role that the model played in the creation of the work.  If the model is known, name him or her.  If the model is unknown, provoke a conversation on why that is so.  The Dictionary of Artists’ Models is a resource for connecting specific models with particular works of art or artists.

3.  Create a course in the history of art modeling.

4.  During lectures on anatomy, do not reduce the model only to the names of her/his muscles and bones.  Have the model strike poses that employ certain muscle groups.  Then discuss which muscles will be fatigued or stressed in the pose.  This assists students seeing the model as more than the passive object of study and introduces an awareness of the activity of modeling and the humanness of the model whose body is affected by the demands of modeling.

MODEL’S IDENTITY

The following are suggestions for ensuring the model’s identity beyond “object of study.”

1.  Introduce new models to the class by name and have students introduce themselves.  The greatest potential for artistic collaboration and respect is not between strangers but with those whom one feels identification.

2.  When student work is displayed in a formal (gallery) or informal (hallway) setting, include the name of the model with the display information.  Some models use “professional” names for modeling purposes only.  Be sure to use the name that they want identified with their work.

INSTRUCTOR-MODEL RELATIONSHIP

1.  Do not express in the classroom your personal biases about body age, shape, race, ability, or gender.   Critically examining one’s own work will help reveal what biases exist.

2.  In all aspects of the classroom dynamics, ensure that the model’s physical and psychological comfort is important and mediated.

3.  Ensure students observe your respect for the model’s physical and psychological space.  For example, when marking the pose with tape, let the model know verbally that this is your intent before entering the modeling area. 

4.  Conduct negotiations about poses with the model in front of students.  This reinforces the idea that the teacher/artist-model relationship is a collaborative activity.

5.  Respond to models’ requests for breaks.           

6.  Respect age, disability, and the unique physiology of each model; do not demand poses of models that cause undo pain and discomfort.

PHYSICAL ENVIRONMENT

Models consistently name the physical environment of the classroom as one of the least desirable aspects of their work.

1.  Have a model changing room within the drawing studio.  Many universities have none, and models are left to change in bathrooms or undress in front of the students and professor.  Undressing in the classroom is particularly disliked by models, as in the transition from clothed to unclothed, they hold no identity or status.  They are not yet “model” and they are not “student” or “professor.” It is an ambiguous transition that is psychologically disarming.

2.  Wash linens and pillows used by models regularly.  It is disrespectful to ask models to sit and recline on linens soiled with studio grime.

3.  Ensure that the studio is at a comfortable temperature.  Provide area heaters or fans as needed.

4.  Have a policy that does not permit non-registered students, faculty, staff, and university tours to enter the studio during modeling sessions.

5.  Post a sign on all studio doors that indicates when model sessions are occurring. 

6.  Studio windows must have blinds, curtains, or shades.

HIRING PRACTICES

1.  If your department does not have one, develop a model handbook in consultation with experienced models.  The handbook should include basic guidelines for professionalism; descriptions of types of poses; tips and techniques for holding poses; and an overview of the model’s rights in the classroom.  It should also include what materials the model is expected to provide (bathrobe, props) and what the university provides.  The handbook should also detail the instructor’s roles and responsibilities towards the model (such as setting up the lighting, describing type of pose desired, and verbally assisting the model resume extended poses) so that the model is clear on all expectations, rights, and responsibilities.

2.  Have an established pay scale based on experience and professionalism.  Make the rate as competitive as possible with pay models receive in off-campus modeling contracts, which tend to be higher.

3.  If there is a local models’ guild, be responsive to its requests or demands for improved working conditions and pay.

4.  Hire models as employees not contractors.  Contractors do not receive job benefits, minimum wage protection, protection under grievance policies, and so on.

MEDIATING STUDENT ACTIONS

Students sometimes behave inappropriately towards models in the classroom.  It is the responsibility of the faculty member to respond quickly, thoughtfully, and assertively to such behavior.

1.  Students should never be permitted to touch the model while the model is in a pose or in the modeling area.  Anecdotal evidence indicates that this does not happen often, but is very threatening to the model when it does.

2.  Students new to life work often blame inaccuracies in their work on the model. (eg. “The nose is off, but that’s because the model moved.”)  Experienced models are usually unaffected by hearing such comments.  New models, however, may feel that they are doing a poor job.  Students should be instructed to not blame the model for the weaknesses in their artistic skills.

3.  Challenge students’ biases about gender, age, body-size, race, and disability.  Ask them to thoughtfully reflect on their biases when present in their artwork and/or in comments made in class.  Any racist or other denigrating comments made by students about models in class require immediate intervention and no tolerance.

4.  New life students sometime make some awkward comments out of their initial lack of comfort with the life studio dynamic.  It may be the first time they have had permission to gaze at an unclothed body without demands of secrecy or overlays of sexual titillation.  As such, they may not know how to respond or respond from their acculturation.   The instructor must be sensitive to those realities when determining how to respond to each situation.  Nevertheless, responding is key.  Rarely do models complain about something a teacher did.  Instead, models are often concerned about what teachers do not do.

OTHER POLICIES AND PRACTICES

1.  Have a clear policy regarding digital cameras in the classroom.  The policy should state that photographs of the model are not permitted without permission of the model and that the model has the right to charge a fee for any photographs taken.  Banning from class all cameras, including cell phones with digital cameras, should be considered.  The camera/photography policy should be written into the syllabus as part of the students’ contract for the course.