Boy Bordello —
The Leslie-Lohman Erotic
Life Drawing Workshop

by Harvey Redding

The workshop began with my discontent with drawing workshops around the city. I felt as if I was in an endless college “Drawing 101” class. The model’s poses were not only sexless, but void of all human emotion — not to mention the fact that an erotic pose was no where to be found in the city. I thought: This is the year 2000. New York is an enlightened city. It’s the art center of the world. We have a vibrant “out” gay population. We have all worked hard to come out of the closet. Where is our sexuality?

I began by ranting and raving to a few friends, Frank Sheehan, Tom Saettel, Don S…., Eliot Gerber. Everyone was interested and supportive.

I was quite surprised when I talked with Wayne Snellen [Director, Leslie-Lohman Gay Art Foundation]. He said, “Let’s do it.”

Many issues arose as we began. One of the biggest issues was where to find models. I tried approaching men at gay bars or at the gym. But it sounded like a rather inventive pick-up strategy. I finally got the idea to place posters with well thought out copy in two Chelsea gyms — I received 20 calls the first day.

I became very interested in the potential models motivation for modeling. There were a lot of gay guys who really wanted the attention and adoration. Other reasons were self-esteem, or, actors, artists, dancers who needed the money and unfulfilled need to be seen, etc. All seemed to be sympathetic to the concern — most gay men are comfortable with the display of public erotic behavior. Most loved the idea and were fascinated to see how gay artists would see their body through art.

Another big issue was model fees. Most models were getting between $12 and $20 an hour. I wanted to make it attractive to the potential model — pay $50 per hour. I’ve definitely “rocked the boat” in the life drawing circles. A lot of artists now think models won’t work for them because they know we are paying $50 per hour.

It was hard at first to be so frank talking about sex and the body with a total stranger. I asked about sexual fantasies to find out how fantasy could push the sexuality. It was even harder to think up poses and not impose on the model. I have no requirements as far as performance from the models. I do not require erections, etc. I’m olnly looking for a visual commitment. I tell the models to create a character for themselves that is genuine; to find a sexual place to exist while they are working and then to expand it into the room.

Some of the poses are overtly sexual but if the guys can find a sexual center for themselves almost everything seems hot. Making a connection with the artists with the pose is also important. Robert Richards helped me a lot when he said to think of creating an “invitation” with a pose, or “offering a promise” with a pose.

Has it been seccessful? Since the first session on Dec. 26, 2000 there have been 29 sessions with over 30 artists and 18 models in attendance. The artists differ widely — some are fashion illustrators, others classically trained painters and draftsmen, some work as magazine illustrators and some use the computer for their art. There is a core group that have attended every session who have told me that this is exactly what they have been looking for. So, yes, I think it is a great success.