{"id":129720,"date":"2018-10-01T13:46:22","date_gmt":"2018-10-01T17:46:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=129720"},"modified":"2018-10-01T13:55:10","modified_gmt":"2018-10-01T17:55:10","slug":"schiele-shoes-and-kavanaugh","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/10\/01\/schiele-shoes-and-kavanaugh\/","title":{"rendered":"Schiele, Shoes, and Kavanaugh"},"content":{"rendered":"
<\/div>\n
\"\"<\/a>

\u201cOld World Bootie\u201d for sale at Modcloth<\/a><\/p><\/div>\n

If you arrived at your formation of taste in the late aughts to the early teens\u2014<\/em>right around the time that hipster <\/em>became a social category and twee<\/em> was a kind of music and it was conceivable that an attractive stranger might ask whether you wanted to come back to their place and listen to their records\u2014<\/em>then you might know this shoe, if you don\u2019t already have a pair lying around. Surely you have seen it on the feet of models or mannequins in Anthropologie<\/a>, Modcloth<\/a>, or any other retro-leaning, trendy store. Black or brown leather, with a tidy, stacked heel, fastened up with buttons or more often tightly laced in a neat bow, these boots\u2014booties<\/em>, in cutesy copywriter parlance\u2014hug the shape of the foot, making for a pretty, petite, old-fashioned silhouette. Sometimes known as an Oxford heel<\/a>, they\u2019re self-consciously vintage yet contemporarily ordinary\u2014not out of place in 2010, 2014, 2018, though they might strike some as a little \u2026 twee, these days. They\u2019re Wes Anderson boots. Indie-pop boots. You-used-to-buy-graphic-tees boots.<\/p>\n

Imagine my surprise, then, while visiting the Met Breuer\u2019s latest drawing show\u2014\u201cObsession,\u201d\u00a0an exhibition of nudes by Gustav Klimt, Egon Schiele, and Pablo Picasso, closing October 7\u2014to see these very shoes preserved in time, in their first incarnation, an instant of fashion history trapped in amber. Though the show ostensibly features three artists, all household names, it\u2019s Schiele who steals the show, taking up most of the exhibition\u2019s wall space as he links Klimt\u2014albeit tenuously, and really only chronologically\u2014to Picasso, who\u2019s shunted to the exhibition\u2019s last room. The show, intended to showcase the collection of the aesthete Scofield Thayer, tracks a loose narrative of figurative drawing and, within its selection, the entirety of Schiele\u2019s blazing, short career.<\/p>\n

<\/p>\n

\"\"<\/a>

Egon Schiele (Detail)<\/p><\/div>\n

In the period we are most concerned with for the purposes of this essay, the period of the shoes, Schiele is experiencing a commercial windfall: his nudes are selling well, and he is drawing them with speed, creating an enormous body of work. The drawings are recognizably Schiele. They\u2019re Schiele in overdrive, at the end of his life. His sinuous, confident lines at times feel like blind contour: he uses line to represent what is seen<\/em>, rather than the discrete solidity of forms as they are. The models pose crudely, in varying states of undress: their legs part to reveal vulvae embellished with cutesy curlicues; their thighs bulge over stockings held up by garter belts. They\u2019re magnetically erotic drawings and scorchingly lewd. A curatorial note informs us that though many of the models were likely drawn while reclining, in some of these instances Schiele has rotated the pages, infusing formerly languid nudes with a zero-gravity, floating vitality.<\/p>\n

In all these drawings, without exception, the models are wearing their stockings and shoes, which have been rendered with a care and consistency that itself warrants the title \u201cObsession.\u201d\u00a0Without exception, all are delicate booties, with a tidy short heel, fastened up with buttons or tied in a bow.<\/p>\n

\"\"<\/a>

Egon Schiele (Detail)<\/p><\/div>\n

It\u2019s hardly surprising that a vintage shoe might become fashionable again. History repeats itself. There is a pair of Oxford heels, black leather with velvet laces, sitting in my closet as I type this. Klimt\u2019s nudes, rendered with delicate lines that must be oracularly summoned out of the page, have an allegorical quality\u2014the women float on their backs like Ophelia. Picasso\u2019s nudes exist in an equally mythical, Hellenic space. But Schiele\u2019s nudes are squarely of the now. They\u2019re like Hustler<\/em>. At times practically anatomical. A funny thing about being naked\u2014you feel less exposed when you\u2019re totally undressed, which might be why we coined the term nude<\/em>\u00a0to describe the timeless purity of the unadorned human body. Like how it took being told they were unclothed for Adam and Eve to feel shame. Schiele\u2019s hoisted hemlines and upskirts and straps\u00a0fallen across bare shoulders work to titillate the viewer, presenting the body as something to be revealed.<\/p>\n

And isn\u2019t there something\u2014smutty\u2014about imagining a model nude only from the knees up? Like how in certain genres of pornographic movie the actresses keep their pleasers<\/a> on. Utilitarian, as if the wearer is prepared to get up and stride away at any moment. It\u2019s sexy. We know a shoe to be a fetish object: think red bottoms<\/a>, Doc Martens<\/a>, the hypebeast\u2019s highly coveted sneaker drops<\/a>. One can\u2019t spell fetish<\/em> without feet, and the shoe is adjacent, ornament. The shoes\u2019 presence in these drawings, more so than that of the lingerie or scattered clothes, is what makes them vibrate at a startlingly current <\/em>frequency. The drawings are hot! And it\u2019s this, in their striking contemporaneity, that forces us to face their erotics, locating the work in a kind of social world apart from the timelessness of those innocent babes in Eden.<\/p>\n

\"\"<\/a>

Egon Schiele (Detail)<\/p><\/div>\n

Which means locating Schiele, too, in our social world, instead of in the reaches of not-so-distant art history. In the era of #MeToo, some of our institutions have been forced to address, however awkwardly, artists\u2019 bad behavior (though of course the shows still must go on). In Schiele\u2019s case, it\u2019s hanging around underage women, which the Met Breuer has acknowledged in the exhibition\u2019s wall text, in a panel titled \u201cSchiele\u2019s Sensationalized Scandal.\u201d The text addresses, in brief, Schiele\u2019s life with model-cum<\/em>-lover Wally Neuzil and the troubled youths they seemed to attract\u2014\u201cSchiele had a special rapport with children and adolescents: at just over twenty, he still felt like one of them and allowed them free access to his house and studio.\u201d The text also addresses his arrest in 1912 upon being accused of abducting a minor who, the Met diplomatically writes, eventually returned home unharmed. Schiele spent three weeks in prison after the police raided his studio and confiscated a selection of his work, and the trial was so sensationalized that a judge burned an erotic drawing of Schiele\u2019s at the hearing. The incident, which left Schiele scarred, didn\u2019t affect his output\u2014many of our favorite shoe drawings are from the years after\u2014but, as the Met says, it \u201chaunts the artist\u2019s posthumous reputation.\u201d<\/p>\n

This incident in Schiele\u2019s life is precisely the kind of blight that all too often marks the lives of our male geniuses: an incident now of uncertain provenance, long in the past, that reveals him to be, we think with unease, not a good man. This reveal is always met with trepidation\u2014easy to reject the man, especially a dead one; harder to reject the work he made or ignore the questions that its existence raises. On a neighboring wall, the Met Breuer addresses the controversy more directly, in a text panel titled, in an interesting choice, \u201cSchiele and Sexuality.\u201d \u201cThe explicit imagery and underage sitters in some of the artworks in this collection raise questions in our current era,\u201d the panel says. \u201cThe artist\u2019s relationships with women are difficult to judge, not only because no living witnesses survive but also because present-day standards are quite different from those that prevailed in early twentieth-century Austria.\u201d Indeed, we don\u2019t know what Schiele\u2019s relationship with those sitters was; all we know is that today, in any form, it would be morally unacceptable.<\/p>\n

What are we to make of art that thrills, titillates, and undoubtedly comes from some kind of exploitation? How do we relate to work that comes from the kind of imbalance of power that we have spent all of this year\u2014and decades prior\u2014working to correct? I love the Schiele drawings: their heat, their speed, their unabashed ferocity. I love the economy of line, the wild gesture, the anatomical frankness. But I also feel a sharp discomfort when I consider the women who posed for him, a little voice in the back of my head helpfully reminding me that many of his models were probably in their teens. Questions of agency and consent arise, though it cannot be said that a teenager in nineteenth-century Austria would have had any conception of \u201centhusiastic consent.\u201d More ambiguous then. Clearly wrong now. It seems awry to apply the politics of our current era to a previous age\u2014back then, that sort of thing just happened! And yet refusing to demand, even retroactively, a basic respect for one another is what allows men like Brett Kavanaugh\u2014a man who is neither historical nor a genius\u2014a defense.<\/p>\n

What are we to do with Egon Schiele? He\u2019s already canonized. Go to the show\u2014it\u2019s truly worth seeing, if you have any inclination toward holding a pencil or pen. Learn the lessons from the art; separate it from the artist, like uncoupling egg white and yolk; it\u2019s nothing we aren\u2019t used to doing. A better question is: What is our duty to the young artists, and especially young women and gender-nonconforming artists, of the now? We make art that reflects our times. In the way that the shoes have been preserved in time, forever in Schiele\u2019s drawings, so do we daily make the things that mean something to us. Forget the canon. What kind of cultural world do we want to make and live in?<\/p>\n

When we\u2019re viewing Schiele\u2019s drawings, when we participate in any kind of art or art making, we are the product of the society that has made us. I am so tired and so jaded. I came of age at a time when I was told that all this does, indeed, just happen<\/em>. Seems it will always happen. When Trump gets elected. When Brock Turner is hardly punished. When Brett Kavanaugh will almost certainly be confirmed. Where things are as they are because that is how they have always been. But it need not be so, if we can imagine that. We still have a chance to create a better world for those who are not yet so formed. We just have to draw it.<\/p>\n

 <\/p>\n

\u201cObsession<\/a>\u201d is on view at the Met Breuer in New York City until October 7, 2018.<\/em><\/p>\n

Larissa Pham is a writer in Brooklyn.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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