UNCOVERING THE ARTIST MODEL: AN EXPLORATORY STUDY By CLAY ARDEN HIPKE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Clay A. Hipke 2 To Ronald L. Akers 3 ACKNOWLEDGMENTS I would like to thank and acknowledge a large number of people who have each played a critical role in helping me achieve the completion of this dissertation. Foremost, I wish to thank my dissertation chairperson, Ronald L. Akers, for his advice, guidance, and patience throughout this project. His valuable criticisms, suggestions and contributions were the basis on which this dissertation was built and improved. And his excellent professional standards inspired me to put forth my best work. I wish also to thank and express my sincerest gratitude to the members of my dissertation committee, Professors Lonn Lanza-Kaduce, John Scanzoni, Chris Faircloth and Jerry Cutler. Their insightful comments and helpful feedback were invaluable to the development and success of this project. Special thanks goes to Jay Gubrium, whose early belief in the project enthused me . I wish to sincerely thank my respondents, who opened themselves and shared with me and gave generously of their time and without whom this project would not be possible. I wish to thank my graduate colleagues in the sociology department at the University of Florida, especially those within my cohort, Dana Fennell, John Foster, Melissa Mauldin, Mike Loree, and Ginger Battista. I have been fortunate to have their friendship and support through the years I was in graduate school. Other departmental colleagues from whom I have received inspiration and support in their unique and individual ways are John Reitzel, Kuniko Chijiwa, and Yuko Fujino. I wish to thank my parents Dale A. Hipke and Martha V. Hipke whose encouragement was unwavering and whose means gave me the ability to work on the project without distractions, my brother, Dr. Matt Hipke who provided me with a superb example of what results when one devotes themself to something they love, and my brother Wade Hipke, who, in spirit, continues 4 to give me confidence and courage. And a special word of thanks to Jacqueline Moffitt, who has stood by throughout the years. Finally, I thank Moses, whose tireless devotion and selfless love gave me a reason to keep going daily. 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................9 CHAPTER 1 INTRODUCTION ..................................................................................................................10 Background.............................................................................................................................10 Statement of the Problem........................................................................................................15 Artist Modeling.......................................................................................................................16 History of Artist Modeling .....................................................................................................16 Research Questions That Helped Guide the Discovery Process ............................................17 Purpose of Study.....................................................................................................................18 Definitions ..............................................................................................................................19 Outline ....................................................................................................................................19 2 REVIEW OF LITERATURE AND CONCEDPTUAL FRAMEWORK..............................21 Introduction.............................................................................................................................21 Overview of Artist Modeling..................................................................................................22 Artist Modeling In Historical Context....................................................................................25 Greece..............................................................................................................................25 Italy..................................................................................................................................25 France ..............................................................................................................................26 England............................................................................................................................29 United States....................................................................................................................30 Modern Trends ................................................................................................................31 Artist Models...................................................................................................................32 Entry.........................................................................................................................32 Work roles................................................................................................................33 Compensation...........................................................................................................46 Other ways of making money ..................................................................................48 Work roles................................................................................................................48 Additional roles in the studio ...................................................................................51 Activities apart from studio roles .............................................................................52 Posing in different studios........................................................................................55 Relationships with artists .........................................................................................57 Relations with other models.....................................................................................59 Rewards....................................................................................................................59 Dissatisfactions.........................................................................................................60 Artworks...................................................................................................................62 6 Reactions from others...............................................................................................62 Life after modeling...................................................................................................64 Summary..........................................................................................................................66 Symbolic Interactionism.........................................................................................................66 3 METHODOLOGY .................................................................................................................73 Introduction.............................................................................................................................73 Research Design .....................................................................................................................73 Entering the Field: Finding and Contacting Respondents in Unfamiliar Territory...............74 Participants ......................................................................................................................76 Data Collection Sites .......................................................................................................77 Procedure for Data Collection ................................................................................................77 Interviews ........................................................................................................................77 Interview schedule...........................................................................................................78 Analytic-Inductive Approach .................................................................................................81 4 THE WORLD OF THE ARTIST MODEL............................................................................83 Demographics of Participants.................................................................................................83 Participation in the Work and General Knowledge about the Work......................................84 Participation in Artist Modeling......................................................................................84 Knowledge about Art Models and Visual Art Industry...................................................87 Entry into Modeling and Training for the Work ....................................................................89 The Routine and Setting of Nude Posing ...............................................................................91 Interactions with Artists........................................................................................................107