Over a meal of pho tonight, my friend M. (who is an artist) suggested I write a blog entry about networking in the art modeling biz, and how to line up assignments. While I normally hate the concept of networking (I find it to be absolutely phony, and the idea makes me want to vomit), her suggestion made perfect sense: if you want to be an art model, you've got to learn to network and to market yourself. No one is going to do it for you.
Especially in today's economy, where art schools are cutting down on the number of classes being held (particularly evening and weekend classes, which those of us with full-time jobs prefer, for obvious reasons). So the opportunities are shrinking quicker than a male model in a drafty room, yet the talent pool remains the same size (or even larger: a faltering economy leads people to do things they normally wouldn't consider in less lean times).
Unfortunately, the profession seems to draw an inordinate number of pervs and flakes (go fig), so it can often be a challenge for a new model to get their first gig. Artists and professors would generally rather work with models they have a professional relationship with. The talent's been vetted: they know they're punctual, reliable, professional. You take a big chance with a new model who might flake out all of a sudden. Why go out on a limb? You might be left hanging. The students get to draw yet another vase on a table. Better to go with someone you know and trust. And I personally maintain that you know when you've "made it" when someone does bail, and you're one of the first people that the professor thinks to call to get a fill-in. It's like a newly-graduated college student trying to get their first job: they need experience, but no one will give them that experience.
Frankly, your first gig may very well be luck of the draw. My first experience was with an artist, S., whose model bailed on her earlier in the day. She and I had spoken a few days prior about possible opportunities (via my friend M., who pointed me in her direction), but she didn't have anything available. Until one fateful day. I showed up, gave it my all, and when all was said and done, I had $60 in my pocket. More importantly, I had experience and a reference.
I also had a good friend in M. who was able to tell me beforehand a little more about what modeling entails. I mean, I did my research on the Internet, but she was able to answer my questions, give me good advice (like boozing up beforehand is a BIG no-no), and generally made the first time as comfortable as possible. As luck would have it, I found out later in the day that she'd be one of the artists in S'.s session, and as much as I was freaked out about it initially, when it came time to disrobe, it was helpful to have at least one friendly face in the room.
If you live in a large city, you've probably got a few local universities and art institutes nearby. Call up a few weeks before the new semester and see if they need any new models. Be honest as to why you want to do this. Let's face it: taking your clothes off in front of complete strangers isn't something most people are comfortable with, which is why you are getting the nod in the first place. They're going to want to know why you're the exception to the rule. I was completely honest with the model coordinator for the art school I primarily work with. I read a Slate article about a middle-aged woman who did some nude modeling for the school. I was intrigued, felt that I wanted to do something a little... different with my life, but was totally committed to the idea and was willing to do whatever it took.
That was enough to get me a formal interview and several bookings (aaaaand, I was able to use my experience modeling for S. as proof that I had experience and was professional). Frankly, I think my luck was, well, luck. I've had plenty of colleges ignore my calls and emails. You've got to be persistent, but also know when you're running the risk of being annoying. You've also got to understand that in many cases, the person who books models probably does several other jobs for their school, and a new model is probably the last thing on their mind. An art institute in DC expressed interest at one point, then didn't return my calls, so I waited a few semesters, called again, and now I've got a mid-semester booking later in the month.
Now, once you've gotten those one or two crucial gigs under your belt, things will eventually start to pick up. For instance, I just happened to find out that my art school moved to a new system where individual professors book their own models. So the school has a tiered list based on model reliability, and I was one of the few models whose name was highlighted in green... first tier. They're not trying to spread the work around. They want to use people they can trust.
And it's really not hard to get such recognition. Show up early. Bring your modeling supplies.* Do what's asked of you. Don't take it personally if you go into one pose and the professor asks you to get into another one. Don't try to pick up students (frankly, I avoid fraternizing with the students anyways unless one of them asks me a question). Be polite and energetic. When students thank you and look you in the eye as they do so, you'll know people got something out of what you did on the podium.
And here's where it pays off. Here's where the networking comes in. A few weeks ago, I had an intro drawing class with about 10 students. Some were there for continuing education credit. Including one woman who came up to me after the second class and asked me if I'd model for some of her classes. Turns out she was an art teacher at a local private school, and was impressed enough with my ability that she offered to run my name past her colleague to see if they'd be able to use me as a model for their classes. She flat-out said she was having incredible difficulty getting models who could actually hold a pose, and really wanted to book me for a few days.
So out of nowhere, I get two days' worth of gigs ($17.50/hour, plus free tea, coffee, bagels and lunch) essentially handed to me! And they were so impressed, they said they'd use me again. Not to mention, the art circuit is fairly close in most places, so there's always the chance someone you've worked with will know someone who needs a model and can drop your name. Art teachers often have side gigs like their own studio work or open sessions they host. They may very well think of you for outside work, so being professional goes a long way.
Now, I'd advise you to be extremely tactful if someone offers to give you more work while you're in the middle of another assignment. Talk quickly during the break, and either agree to discuss potential work after class, or swap phone numbers. You don't want to be canvassing for new jobs while you're currently in the middle of one.
I'd also advise you, while you're networking and cold-calling schools, not to come off as desperate. Frankly, much like a job search, you'll get only a handful of leads, and maybe one or two interviews from there. Don't take it personally. The key is getting into the system.
Next post: what your first gig will be like. Nothing will ever totally prepare you for it, but you'll never forget it!
*Even before your first gig, if you're serious about this, get a modeling kit ready in the event that someone needs you right now! A gym bag with a cheap bathrobe and flip-flops will be fine. I keep a small bag with deodorant, band-aids, hand/foot wipes, a small mirror, comb, and some other assorted goodies just in case. A timer is also necessary. You might also want to keep a neutral-colored thong or g-string in the event you get a gig where they want a modicum of clothing on (which happened to me once, so I keep one handy just in case). If you find yourself getting a lot of emergency/last-minute calls, you might want to keep a second bag with you at work or in your car, so you'll always be ready to accept an assignment.
