GUEST OF HONOUR
ARTIST’S Statement
Impressed by John Seaman's paintings and drawings of the nude, a wealthy friend of the artist made a gift to him in 1989 of an expensive Minolta camera. This was how Seaman, a student of painting and drawing at The Art Students League for 38 years since 1974, and now a Life Member, began experimenting with photographing nudes. The results were sensational.
The artist found new and exciting ways to express the art of the nude through the medium of photography. He began a program of photographing beautiful young women in poses inspired by such famous photographers as Man Ray, Lee Miller, Edward Weston, Lee Friedlander and Bettina Rheims. Many of John Seaman’s works are inspired by ancient Greek myth and legend.
Such painters as Gustave Courbet and Amadeo Modigliani have also impacted his work. John Seaman readifollowing quote by author Jorge Lewinski, about the work of Edward Weston, reveals those qualitily discusses the influence of these artists on his work. For example, John Seaman is quick to note how in the case of Man Ray, painting led to his photography.
The es that the artist John Seaman captures in his photographs of nudes which are both a testament to the work of Weston and a show of magic in Seaman's abilities:
"It was almost the first time a photographer had been willing to show in his photographs not only his admiration for the beauty of a woman's body but also his desire for her..." (Jorge Lewinski, The Naked and the Nude, available from the Museum of Modern Art bookstore.)
John Seaman feels, with Weston, that the erotic has a place in classic art photography. He states that he tries to show this with balance and sensibility.
John Seaman states that he also gets many ideas from his models, many of whom are professional models from the local art and photo schools. He also uses as models young women from local colleges and universities, music conservatories, and dance schools. Seaman states that he typically gets equally fine results from the amateurs as from the models with more experience. The intelligent amateur, he says, often has a fresher, unspoiled outlook and attitude.
Seaman is daring in his art and in his life as well. He skydived on his 64th birthday. He is also an active naturist and enjoys visiting and writing about naturist beaches and resorts all over the world.
Recent recognition has been the inclusion of John Seaman's biography in the 57th Edition of the Marquis "WHO'S WHO IN AMERICA", publication date December 2002.
BIO
Biography
Education: B.A., Swarthmore College, 1956; Art Students League of NY, 1974-present (full member, 1987-1997; Life Member, 1997-present; Studied with Richard Barnet); New School Art Workshop (at Parsons; Studied with and assisted Carl Ashby), summer sessions, 1987-1995; Morningside Gardens Camera Club, various courses, 1990, 1992./Solo and Group Shows: Art Students League of New York Student Concours, various years; Morningside Gardens Camera Club competitions, 1989-1995; Metropolitan Camera Club Council competitions, 1993-1996 (8 citations for nudes); Morningside Gardens Camera Club Solo Slide Show (Nudes), 1995, repeated, 2005; Eleutheria Salon (my own biannual salon in my studio, featuring various slide lectures, including my own work, and speakers), 1989-present; Nimrod Restaurant & Jazz Club, New York City, 1998-1999; Solo Slide Show; Morningside Retirement and Health Services, 2002; Slide Show, "Plato's Ideal Form Realized - Nudes on Classical and Modern Themes," Riverside (Church) Emerging Artists League, New York City, 2004, repeated, 2005; Special Exhibitions, Class of 1956 50th and 55th Reunions, Swarthmore College, 2006 and 2011; Group Show, The Amsterdam Whitney Gallery, NYC, February 2011; Bid from AW Gallery for 2012; Featured Artist in Solo Show to open The NY Biennale, August 2013 (this last is NOT the
Whitney Biennial). Collections of Ms. Florence Perchuk, Ms. Susan Robinson and Dr. Max Gottesman, all of New York City./Related Activities: Monitor, New School Art Workshop, Studied with Carl Ashby, 1989-1995; organized Eleutheria Salon, 1989-present; Leader of weekly Morningside Gardens Life Sketch Group, 1999-present.
John Seaman’s earlier life (mostly before 1989) is detailed in his recent book (Memoir), "Bloody But Unbowed", now available at McNally Jackson bookstore at 52 Prince Street in Soho. It's print on demand. Buyers must call, pay for a copy with a cc, and then pick it up 48(?) hours later. Call (212) 274-1160. Any clerk can take the order. They also ship. Price is $29.50, plus tax. The book deals with his art and photography, his year on the violent ward, his several years on the street, illicit sex, his meetings with 3 presidents (and Dukakis), his Dickensian highs and lows, his (earlier) extensive travel all over the world, his naturism, his entertaining and his skydiving. It's a good and exciting read. There is also an e-book, for $2.99 plus tax, on Kindle, Nook and Vook Reader. You can go to Kindle Bookstore, then Books, then Memoirs, then his title, there are a dozen with that title, look at the covers for the one with the B&W nude.
About My Art
Here are a few words on how I work with my many photo models. Most come to me, having seen my model notice at nearby Columbia U. or Barnard College, or in an art school, acting school or dance academy (or in a busy laundromat, for that matter). I always carry notices and thumbtacks with me and seize every opportunity to widen my esthetic reach.
After the initial phone call or e-mail response, I invite the neophyte (others are experienced) to my Studio for an interview. If they’re timid, I tell them to bring a friend. When they arrive, a Bach Orchestral Suite might be playing and I offer them coffee and pastry (good baklava, if I have any on hand). This usually breaks the ice. I show the neophyte my work, and add a few words about my naturism and skydiving, just to see if this puts them off. It occasionally does, but I’d rather not work with anyone who is not open to new experiences.
Then I show some examples of the work of the Masters that I emulate, Edward Weston, Man Ray, Lee Friedlander, Bettina Rheims, Lucien Clergue and David Hamilton, for example. In an actual shoot, we may use the Masters’ poses as points of departure for our own work. All this usually gives the new model a fair idea of what is expected, so she can make her decision. If she says yes, we set up a date for a 3-hour session.
And now, what happens in the actual session? The neophyte arrives, I greet her warmly, offer her coffee and pastry again, and then give her a pretty kimono to wear between pose sequences. The model goes into my changing room (it’s the bathroom), and emerges, in the kimono, expectant and a little fearful. I ask the model to open the kimono a little in the front, not showing too much, and I take a few photos, perhaps with her standing before the easel, to ease her in gradually. Then, 10 minutes later, when she’s become a little more comfortable, I ask her to reveal everything, which she usually does. It’s as simple as that, and it usually works.
There is a lot of furniture moving and drop hanging necessary to set up the Studio for a shoot earlier on. I worry more that a model will injure herself moving the furniture than that she will complain I’m behaving inappropriately. But so far, no accidents. Minor difficulties have included menstrual bleeding on the sheets and tampon strings that pop out into the field of view, but we’ve been able to deal with such matters. Actually, I believe it’s a biological fact that women are randier during their period, so perhaps they pose a little more eagerly then, and we get better results. Some of the best models (also in our life sketch group) are the ones who feel the most empowered. More power to them, if they like to act in my scenario.
There are a limited number of props that I use to help the models look their best, but perhaps you’d do better now just to look at my Web site, http://jseamanclassicnudes.Artspan.com and figure it out for yourself. I’ll just say I have a few tricks in my repertoire that help me do my work better.
Formerly, after every shoot, I would have two sets of commercial analog prints, two each of 4” x 6” and of 3” by 5” made, at considerable expense, and I would give one complete set to the model. Occasionally, a model will object that a pose is too erotic or explicit, but I can usually deal with this. I explain that “erotic” is the name of the game.
In those days,, when I got the funds together, I would engage a young darkroom helper (I’ve had several, over the years) to assist me in making large 11” x 14” B&W prints from the best of the B&W negatives, as we see the images in the small commercial prints. I should explain that my Morningside Gardens Cooperative had a well-equipped darkroom, which I was able to use as a dues-paying member of the MG Camera Club. I gave a couple of the large prints to the model, and offer to make her more, for a consideration, which might be cash or perhaps more modeling, free this time. I think this is generous, since I’ve been able to sell some of the 11” x 14” prints for $400 each or more, and the darkroom helper and I could make only about 20 acceptable large prints in an 8-hour darkroom day.
Nowadays, however, I’ve gone completely digital. No more darkroom. I recently acquired my second archival digital printer, which makes excellent 11” x 14” B&W prints that you cannot distinguish from darkroom prints. This is a great help to me.
That’s a brief look at how the large images come to exist. The next step is to show them, to bring them before the public eye. You’ve already been directed to my Web site, from which I’ve had a good response in the four years it’s been up. I also regularly show my slides at my biannual Eleutheria (means “Liberty” in Demotic Greek) Salons, given right here in my Studio to audiences of 20 or 30, tightly packed in.
I’ve also had shows with the Morningside Gardens Camera Club, Morningside Retirement&Health Services (the old folks love to look at the young nudes), and Riverside Church (Riverside Emerging Artists League, R.E.A.L., hosted by my good friend and fellow tenant/cooperator, Dr. Joaquin Flores). I was invited back to the Camera Club and also Riversside Church. Like the models, I feel empowered when I get a show.
My ex-model, Jane Rose, is preparing a photo-essay and brief bio, including something on how it was to know me and work with me. If we can find a publisher, it may appear while I am still alive. Otherwise it will be privately printed with the cost paid by the proceeds of my Estate, which will chiefly consist of the funds from the sale of my home, my cooperative apartment.
That about covers my experiences in photography and art up until the present, March 2013, age 76. If you read this before I’m dead, I would appreciate any inputs you might have.
PROJECT "END and OVER"
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