Sabin Howard sculpture

My Article in Quillette Magazine: Art, Commerce, and Vision
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My Article in Quillette Magazine: Art, Commerce, and Vision

Quillette Magazine published my article on why artists aren’t necessarily leftist: “Art, Commerce, and Vision.”

If you don’t know Quillette, check it out! It’s an online platform for free speech.

Here’s what I wrote my friends:

I am delighted to send you my article on Quillette Magazine. It’s about why artists aren’t necessarily Left-wing. I write about Sabin and his work and broach, yes, the question of what real art is. Hint: “Real art is the product of the personal, human vision of the artist… Beauty, excellence, and the artist’s skill matter.”
If you don’t know Quillette Magazine, I recommend it. Quillette is a platform for free-thinking. It’s one of the very few places taking on current controversies in a thoughtful way. Please consider becoming a Patron of this extraordinary venue.
One note. If you follow my twitter feed, @tracilslatton, you will see that I follow, like, and retweet some Twitter users who are much further to the Right than I am, personally. I do this to preserve their voices. Twitter, along with Facebook and Google, is hell-bent on silencing Conservative voices. I see this as antithetical to free speech, which is the foundation of democracy. We the people need lively, and civil, discussions between people of different viewpoints. We the people need the opportunity to consider all viewpoints of an issue. Technocrat fascism must be resisted.
This article, “Art, Commerce, and Vision” came out of my deep feeling that artists must embrace the business of art.
I hope you enjoy this article. I always enjoy the thought-provoking articles in Quillette.
Quillette Magazine
Art and Representation
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Art and Representation

Representation

Sabin Howard's Bust of Ceres

My husband Sabin Howard can sculpt. Think Carpeaux, Canova, or Augustus Saint-Gaudens. Think Michelangelo. He says, “Art represents us. How do we want to be represented?”

It’s a fair question, and answering it leads me to all the reasons I’m not a post-modernist. Boiling it down, I believe in transcendence and immanence, meaning and responsibility, the integrity of the individual, and free and unfettered thinking. Ultimately, I believe in beauty, excellence, and the artist’s skill.

So it is with both humility and amusement that I behold Sabin’s Bust of Ceres, for which I posed. It was hours and hours of sitting on a step ladder in our bedroom at night, working to hold my head at the right angle. Sabin is a tough taskmaster. Such demands are placed on the wife of an artist!

She is beautiful. She is me, and she isn’t me. She’s me on Mt. Olympus, an idealized plane of existence. She’s a form of representation that alludes to an aesthetic philosophy that is beyond me, in my day to day life, as I sit at my keyboard, wearing stinky yoga clothes and tapping out the latest novel.

I see the transpersonal in Ceres. She’s soulful, she’s elevated and elevating. I feel fondly toward my husband for naming a portrait of me after a Goddess. My ego is gratified, despite knowing that Sabin chose the Goddess out of his own artistic vision, with little to no concern for the model’s vanity.

On the personal level, I see a woman of a certain age, with more lines on her face than she wishes were there.

 

Factual Error in The New Yorker: Is this how fake news starts?
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Factual Error in The New Yorker: Is this how fake news starts?

Factual error in the New Yorker: I write this post not just for myself, but for all women whose ideas were misattributed to a man, and who were told to leave it be and not to rock the boat.

New Yorker Factual Error

My husband Sabin Howard is making a national memorial, the National World War I Memorial.

He began with drawings. He drafted several iterations of a relief that would tell the story of the Great War.

One morning over breakfast, he was talking about the design and showing it to me.

“My goodness,” I said. “You’ve got Joseph Campbell’s Hero’s Journey there.”

Sabin said, “Explain that?”

So I did. As a novelist, I’ve worked with Campbell’s ideas for years. For the purposes of storytelling, the beats of the hero’s journey are useful and important. I’ve been so entranced by Campbell’s work that I’ve talked about getting a PhD in it.

And so, with my explanation over coffee and scrambled eggs, began a critical and oft-repeated piece of the story around the WWI Memorial. The Hero’s Journey connection has been publicly broadcast, by Sabin and by others associated with the Memorial, including PR people.

This is my contribution to this worthy endeavor and I’m proud of it.

Sabin is an honorable man. He consistently credits me with telling him about Joseph Campbell. He says, “My wife told me about the Hero’s Journey…” in every public venue where he’s spoken–including at a meeting of the Commission on Fine Arts in Washington DC.

In the worlds of literature and academia, claiming credit for someone else’s work is called plagiarism. Sabin is well aware of that. He is extraordinarily brilliant, but I was the one who came up with the Hero’s Journey.

The idea is to give credit where credit is due. As a matter of integrity–don’t take credit for other people’s work. Sabin doesn’t. He’s honorable.

Then came a big opportunity: The New Yorker magazine decided to do a Talk of the Town piece on Sabin and his sculpture at the New York Academy of Art.

The publicist for the NYAA was happy and excited. She had done a great job! This piece would add luster to the NYAA, to Sabin, who was showing the WWI Memorial Maquette at the NYAA, and to the Memorial itself. This was a coup!

Sabin was happy. Despite the extraordinary–unparalleled–quality of his work, he has struggled for acceptance here in the New York art world.

“A prophet is not recognized in his home town,” I tell him.

The Talk of the Town piece went live online yesterday.

It contained a factual error:

“I realized, Oh, my God, this is like Joseph Campbell’s ‘the hero’s journey,’ ” Howard said. “It’s a very simple story that everybody in every single culture has experienced.”

Sabin was out when I texted him about the error. He stepped away from a meeting to contact the publicist at the NYAA and ask for the article to be corrected for factual accuracy.

Here’s where the story gets interesting.

The NYAA publicist was less than enthusiastic about the update. She forwarded the request to the writer at The New Yorker.

Then she emailed back, “Anna…consulted with the fact-checking department on the request, and they feel since the piece doesn’t go into “how” the realization was made, it should stay as is.”

This is disingenuous. Sabin was directly misquoted and asked for his words to be represented correctly. He always says, “My wife said, “This is Joseph Campbell’s hero’s journey.”

The New Yorker‘s misquote creates a factual error in the piece.

Sabin and I continued to push for accuracy. Sabin felt it was an injustice that his words were manipulated and that he was misquoted.

The NYAA publicist responded with increasing unpleasantness. She even told Sabin, “The story wasn’t pitched to The New Yorker as a piece about you and Traci.”

I emailed her,

Adding the words, “My wife remarked…” certainly does not make it a story about me and Sabin. Three words could not do that in a piece of this length. It does, however, become factually correct. It gives the piece an integrity that it currently lacks. Whether or not the magazine is attempting to be vindictive, they are acting in a way that has become a sore point with the parties involved. The magazine has been informed of a misquote and has chosen, this far, not to correct the piece.

The publicist was so appalled that I would continue to stand up for myself and my ideas that she got the head of the New York Academy of Art to email Sabin to tell me to back down.

Is that how the NYAA chooses to behave: by attempting to bully women who are standing up for their contributions? By attempting to get an authority to squelch the quest for accuracy and integrity? Women applying to the New York Academy of Art: BEWARE!

Regarding The New Yorker, here are my questions:

Is this how fake news starts: with journalists twisting subjects’ words any way that pleases them, and being unwilling to correct their piece when told about the error?

If The New Yorker makes a mistake and doesn’t correct that error because of specious and disingenuous reasoning, how is this publication any different from the fake news outlets they descry?

It’s disappointing that a venue that lauds its own integrity isn’t showing its integrity.

And there’s one more wrinkle in this sordid story. That is, there’s a concern about vindictiveness. The NYAA publicist and the head of the NYAA wanted us to stand down for fear that we would alienate people who had “been on our side.”

The NYAA publicist wrote us,

No press will be inclined to write on Sabin again, because it appears that he goes and attacks press who cover him. In addition, “fake news” is very inflammatory language to use and the New Yorker takes accusations like that extremely seriously – they have to, because of their political journalism. Claiming that the New Yorker is publishing fake news will attract a lot of unpleasant attention to you.

It’s a craven concern, but a real one. In today’s world, with its emphasis on expedience, the press might just step away from a subject who insists that his words be accurately represented.

Sabin said to me, “The New York Academy of Art will never work with me again because of this.” In order to uphold his personal integrity, he himself has to make a personal sacrifice that directly affects his career.

And so…I write this blog post for myself, for all women whose ideas have been misattributed to a man and were told to leave it be and not to rock the boat, and–come to think about it–for all the wives who are the unsung heroes supporting their husband.

Sabin Howard and Traci Slatton

Sabin Howard WWI Memorial relief drawing

Marriage and Family are Real: Marriage and Family are Love
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Marriage and Family are Real: Marriage and Family are Love

Marriage and Family are Real: Marriage and Family are Love

(reprise of a Facebook Post I wrote)Marriage and Family are Real Sabin Howard Traci Slatton

 

Marriage

This is our family. We’ve gone to see the Tree at the Met for nearly 2 decades.
It’s love. Family is love, and it is everything. Family is real.
Family radiates from a marriage. Marriage is love, and it is everything. Marriage is real. Imperfect, unglamorous, full of laughter and tears: real.
Sabin and I have been married for 13 years, together for almost 18. We’ve stood beside each other, holding hands and enjoying holiday uplift, for nearly 2 decades.
Marriages are built on such things: trips to the Met and to Italy and to the pediatrician and to the kitchen to cook breakfast; shared jokes and shared Figurative Sculpture books and shared victories and shared burdens and, yes, shared challenges. Every life encounters conflict and obstacle, ache and loss. These are real, too. And they are so much easier to bear with your family, your mate, holding your hand–as Sabin and I have held hands for nearly two decades.
We’ve held hands through lean times and good times, through sickness and health, through the birth of our daughter, when I died twice and was narrowly revived by a doctor who had “never seen so much blood in her life.” We held hands and held each other in a spacious room in Venice while the rain pattered on the canal during our 10th anniversary.
Even though this year, 2017, has been so hard, forcing a lengthy and devastating separation, I affirm our marriage. Marriage is 1000 tiny threads that bind people together, and those threads are shared experiences. I affirm our threads. I affirm our marriage. Sabin Howard, I love you.

Marriage and Family are Real

Marriage and Family are Real

Recent Sabin Howard Articles, Podcasts & Videos
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Recent Sabin Howard Articles, Podcasts & Videos

My husband Sabin Howard has been getting a lot of press lately because of the World War I Memorial. Here are some recent Sabin Howard articles, podcasts & videos.

The Wall Street Journal ran a terrific article about him entitled “Conveying Horror and Heroism for World War I Memorial.” If you click here and hit the WSJ paywall, then google “horror and heroism Sabin Howard” and you can get into the full story from the google result. Weird process, but it works.

Sabin Howard articles

The article discusses Sabin’s process in his studio, where he photographs models in WW1 uniforms with his iPhone.

screen-shot-2016-10-26-at-8-23-54-am

You can download the PDf of the article here.

Sabin also got some coverage from News12 The Bronx. A young reporter came to his studio and filmed for two hours. Here’s the brief “Best of the Bronx” Clip and the Extended Interview:


Finally, here’s a podcast that’s pretty good, from the Clark Hulings Fund for Visual Artists.

James Cooper’s Article in American Arts Quarterly noting Sabin Howard & Traci L. Slatton
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James Cooper’s Article in American Arts Quarterly noting Sabin Howard & Traci L. Slatton

My husband classical figurative sculptor Sabin Howard and I have been acquainted with Jim Cooper for many years. Jim is the editor and publisher of American Arts Quarterly, a quarterly arts magazine published by the Newington-Cropsey Cultural Studies Center. The magazine has published several articles about Sabin through the years, my favorite of which is “Recovering Beauty in Bronze,” in which Jim writes,

Howard’s sculptures have content as well as exquisite form. All art is about art, even with a recognizable subject, and Howard clearly states the importance of Michelangelo to him. Each of the bronze sculptures in his studio has a theme; many are inspired by Greco-Roman mythology. Others are intense psychological portraits. He subscribes to the literal translation of psyche logos, which means the study of the soul, psyche and anima.

Jim Cooper is an art critic who holds my husband in high esteem, for which I am grateful. To be candid, I think Sabin deserves it. In my opinion, Sabin is the finest figurative sculptor in centuries. I believe in Sabin and so I have supported him in his work, building his websites, providing tech support for his webinars, and writing books with him; Sabin and I have a partnership. I am grateful to say that Jim respects this partnership and, moreover, he’s willing to acknowledge it. Cooper wrote in that same article, “He [Sabin] credits his wife, writer Traci Slatton, for giving him the language and ideas to understand the deeper implications of his art: “She gave me a vocabulary to be able to talk about issues of closed energy systems, which is basically a modernist system, and an open energy system.””

So Jim and I keep in touch. A few months ago, I emailed to tell Jim about how Facebook wouldn’t let Sabin ‘boost’ an advertisement about our sculpture book, The Art of Life, because of the nudity on the cover of the book. Jim was intrigued and we exchange emails and a phone call. Our discussion resulted in Jim’s splendid new article, “The Classical Nude, Pornography and the New Philistines.”

Check out the Spring 2016 issue of American Arts Quarterly, Jim’s article is beautifully written and thought-provoking. I especially appreciate the nod Jim gives to me, calling our book “superb” and later on, noting that “Traci is a historian, a graduate of Columbia and Yale, and has written several novels, while covering cultural issues for The Huffington Post.” This business of making art and of being married to an artist in today’s world is fraught, and I’m grateful when an art critic of Jim’s standing honors the work we do.

p1 jimcooper