Self-Portrait with Boy, page 1
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Something amazing, a boy falling out of the sky . . .
—W. H. AUDEN
A photograph is a secret about a secret.
—DIANE ARBUS
summer
I’ll tell you how it started. With a simple, tragic accident. The click of a shutter and a grown man’s beast-like howl. The silent rush of neighbors down our dark dirty stairs. The lights of a police car illuminating the brick wall behind our building. And a photograph.
I never meant for any of it to happen.
Or no. Part of me meant for part of it to happen. I was nothing but a kid then. Twenty-six, naive, and ambitious as hell. A skinny friendless woman in thick glasses with a mop of coarse black hair. There were so many people I had not yet become.
An article that came out later, I have it somewhere, described me as ruthless. I didn’t know until years later what the writer meant. To me it was always about the work. Franke laughs at me because although my studio is in the garage, my art and its equipment insist on spilling out into our living spaces. Our kitchen table is cluttered with photographs. Prints hang to dry in the bathroom. By ruthless he meant single-minded. And sure, I’m single-minded. After all, I have only one mind. Still, I understand now that some artists look out into the world and some look in. I am interested in the limits of, the prison of, the self. I am more hedgehog than fox. I am more turtle than hedgehog.
In art school years ago I had a professor, a former opera singer. An enormous man, completely bald, with a rubber face and body. He could make himself into any shape at all. He taught performance. Part of performance was improvisation. I was not what you’d call a natural. I was stiff. I overthought. I did not have a lot of charm. When he told us, every action is a reaction, I puzzled over it for months. But when he said, an accident is just a change of course, I got it. He meant the grace in making art is being alive to chance. When you make a mistake, make it again, he’d say. There are only happy accidents. Isn’t that funny. Not funny ha-ha; funny strange. My so-called happy accident happened to be a tragic one.
I am not being flippant. Understand: the whole thing changed me deeply. Academics these days have developed an affection for the word trauma. The trauma of everyday life—the trauma of painting. It sounds good maybe but it is like vexed or problematic: overuse has leeched the word of meaning. I will say that now, more than two decades later, there is only one person in this world who is more traumatized by what happened than I am, and I barely know him anymore.
I did see him once a couple years ago. It was at an opening for my old friend Casper. I’d driven down to the city in my little green E30. I love that car. I’ve told Franke more than once I intend to be buried in it. She doesn’t think that’s funny. I think she wants it for herself. It was a rainy night, warm for December. The slick streets glowed. Almost immediately when I walked in I felt that old familiar chill, or something like it. Some memory of it maybe. I looked to my right and sure enough there he was. The same, but older. Same stocky build, same snarled ponytail—though it was more white now than blond. What was missing in him really was elasticity. Some tautness of the jaw, a certain power in his stance. He caught my eye and the expression that came over him was unbearable to me. In the crowded gallery the past came rushing back. The vile way he treated me. The pain I felt for years. Not because of him exactly, but around him. He was in that pain. And then, somewhere among all those larger, major memories, there was this minor but foul little one: the feeling of being in my twenties at a party and looking out at some horribly attractive crowd. The feeling of them glancing at me with barely registered pity: Oh, that thing in the corner. Isn’t that funny. It thinks it’s people.
I did not leave. I went to the restroom, looked at myself in the mirror, and breathed. The same but older, of course. What did I expect? We are both just a couple of overgrown, badly damaged kids. I had as much of a right to be there as any of Casper’s friends—more, in fact, because years ago I recommended him to Fiona, which put him on the map. I looked good too, in my way. Like myself: Lu Rile, five feet even in thick glasses, wild graying hair. A black silk jacket over a black shirt. Jeans and steel-toed boots. My uniform, my armor. I went back out and circulated, avoiding him.
* * *
The very act of recall is like trying to photograph the sky. The infinite and ever-shifting colors of memory, its rippling light, cannot really be captured. Show someone who has never seen the sky a picture of the sky and you show them a picture of nothing.
Still I have to try.
The thing you have to understand, the thing you have to keep in mind, is that Kate was my friend. At the time she was my only friend. She was so dear to me.
It was 1991. I’d just graduated from art school and was completely broke. I took the first job anyone would give me, which ended up being at a health food store called Summerland in ritzy Brooklyn Heights. It was half a windy hour’s uphill walk from the riverside warehouse where I lived, in the deserted neighborhood down under the Manhattan Bridge overpass: DUMBO. I made minimum wage, $3.80 an hour. Can you imagine? Carob chips, soy milk, tofu, wheat germ. So much of the food we ate in the nineties tasted like old shoes.
The manager was this awful guy from California, Chad Katz. He wore a sarong. He was all about circulation, both physical and metaphysical. The store had chakras or some such shit and it was Zen, he said, to circulate, to touch each point of the wheel. So we all did everything in turn. The mindless labor I didn’t mind—unloading the delivery trucks, taking stock, wiping down the juice counter—but I loathed checkout. When it was my turn to be at the registers I always tried to switch. Often enough I could find someone who preferred chatting with customers to, say, cleaning the walk-in. But if Chad caught us switching positions he’d be so disappointed. I couldn’t get him to see that however healthy it might have been for us to circulate, it was not healthy to be face-to-face with our own poverty.
Being on the registers in the slow hours was not so bad. Midmorning the nannies would start filing in, women from Haiti or El Salvador or the Philippines pushing blond preverbal millionaires in four-hundred-dollar strollers, buying rice cakes or natural peanut butter or organic dish soap. I was curious about those women’s lives: where they’d come from and why. Whether they had children of their own and who took care of their kids during the day. But around five their employers, those children’s wealthy mothers, would surge through the Summerland doors en masse. That I could not handle.
I grew up poor among poor people in a poor town, but I never knew how poor I’d been until I moved to New York. These women with their fresh produce and diamonds and manicures. Even their skin was expensive. What got to me about them wasn’t just the way they made me suddenly self-conscious about the ink under my fingernails or the haircut I gave myself in my own bathroom. It wasn’t just that they’d spend more in one evening on chocolate, escarole, and jam than I did on the rice and beans and film and photo paper I needed for a week. What enraged me is that they didn’t, couldn’t, see me. I was less than a machine to them, less than a body. I did not even appear in their line of sight. I was nothing more than a couple chanted phrases: Cash or charge? Paper or plastic? Thank you, have a nice night.
I started bringing my camera to the register with me and taking covert pictures of these women. I quite like the way some of them turned out. The turn of a head, the glow of a pearl. The extended fingers of a manicured hand. Of course Chad tried to put the kibosh on that project as soon as he got wind of it. For all his bullshit about the human spirit he was really just a capitalist drone in a tie-dyed skirt.
Working at Summerland kept me more or less afloat. But a person needs more than remunerative work. Art school had been good for me. I’d learned to define myself as an artist. I’d thrived on the feedback, expectations, deadlines. Without those things my self-definition was flagging. I was not just broke; I was depressed.
What I needed was an assignment.
When I began shooting a self-portrait a day it wasn’t about the idea of self at all. The idea followed the work. It doesn’t usually happen the other way around, as so many people assume. In other words I assigned myself self-portraiture not because I was particularly interested in myself but because my own body was a subject I could count on. Wherever I was, there was it. It always showed up on time. The project was an exercise, really. Studies in technique. Experiments in the inkiness of shadow. The depth of field of a reflection. The gradations of light on skin. All while staying alive to chance.
I’d been using the same camera since I was seventeen. I bought it with the money I had saved working nights driving a snowplow, clearing the parking lot at Stop & Shop. It was a Sisyphean task. Sissy-puss, as my dad would say. I’d start at the north end of the lot and drive the plow from east to west until I’d reached the south end. By the time I’d gotten there the north end would be buried again, so I’d drive back and do it all over again. I spent all winter as the on-call night snowplow driver, plowing through dawn and sleeping through my morning high school cl
asses. In the spring I rewarded myself with a 1980 Pentax LX.
The Pentax was a tough little camera, rugged and weatherized and sealed against dust, but compact and relatively light. I loved it but midway through my self-portrait project nearly ten years later I realized it wasn’t capturing enough detail. In the photographs it produced, the hair on my arms had disappeared, the wrinkles at the corners of my eyes blurred to invisibility. Those minute details were essential to me. So I spent a paycheck and a half from Summerland on my second camera: a vintage Rolleiflex. The Rollei can make larger and more detailed images, and it makes them square. Instead of looking into it at eye height you hold it at your chest and look down into the viewfinder. It reverses what you see but shows you what you’re looking at in striking detail. My Rollei is black and was made in 1965, the same year I was. Its lens is made of lanthanum glass, which improves resolution and color correction.
I worked mostly at home in my loft—and what a loft! I had nothing, I’d always had nothing, but god, I had that loft. It was on the fourth floor of a building that had once been a factory. A century of manufacturing had left a permanent layer of grime on the concrete floor, and in the winter it was so, so cold, but it was glorious. The light rose up off the corrugated river in the mornings and fell yellow and dusty through my windows in the afternoons. Those windows were enormous. They tilted on an axis on the middle and you hooked them in place with a metal chain. Outside the ones that faced west were the Con Ed plant and rows of other warehouse roofs that stretched to the East River. The FDR Drive, where shining toy cars drove up and down the edge of Manhattan Island and the glinting jagged skyline above it, rows of towers that scraped the sky. My south-facing windows looked out on the Manhattan Bridge, where day and night the subway trains would flicker by. In the summer with the panes hooked open I could hear their rattle-rumble like a stampede of metal animals. Even in the winter with the windows closed I could feel them vibrate in the hollow of my chest. That view, that space, that noise, that light. When the sun shone in, illuminating the slides and negatives that I hung from clotheslines across the windows, I wouldn’t have been anywhere else.
In a corner of the space there was an old wash-up sink, a relic from the building’s factory days. Around that sink I’d rigged up a makeshift darkroom. Bought four heavy blackout curtains on the cheap from an experimental theater on the Lower East Side and hung them from the pipes that crisscrossed the ceiling. I had a boom box my dad found at a yard sale in Barnstable and I’d listen to WBAI or WFMU or WBGO or WNYC—or, if I was feeling really masochistic, Z100—while I developed film and made print after print after print. For every self-portrait I developed I’d make a tally mark on the flimsy drywall that set apart the bathroom from the living space. I was so naive I imagined that someday some collector would come in, rip out that drywall, and have it framed. They’d call it Tally Marks, 1989–199-whatever. They’d talk about it in artspeak: a register, a record of signs and signifiers. I signed that wall. Right in the bottom right corner. Lu Rile. That’s how hungry I was.
* * *
That summer afternoon in June I’d been making a self-portrait a day for 399 days. We’d had a long run of the kind of heat that makes the whole city smell like garbage. Garbage wasn’t a priority back then. Crime was a priority; arson and riots were priorities. On Dinkins’s list of concerns garbage didn’t even factor. It piled up on sidewalks and sat in the sun for weeks leeching greenish liquid that pooled at the curbs and shimmered. The stench of it saturated the still air. For weeks at a time the whole city smelled like shit.
But that afternoon the weather had changed. In the wake of a recent thunderstorm the humidity had lifted. The air was purer. A salty wind blew in from the Atlantic and the sky was a brilliant cloudless blue. I opened my windows and for the first time in a month my loft was almost cool. The seagulls seemed to feel it too. They flew over the river as if stirred by a spoon, round and round, yelping.
As a kid growing up on Cape Cod I was fascinated by seagulls. I used to walk to the beach in the late afternoon before my dad got home—even in the winter, bundled up—and watch them. Their flight looks elegant from far away but if you observe them closely on the wind you’ll see that flying is a constant negotiation. Flight requires muscle. With their wings they fold the wind. What seems like rest when they are gliding is actually millions of minute adaptations. They lean a little this way, a little that way, on a current that resists them, pushing up while they slide downward. What seems like flying is actually falling.
Watching the gulls again I got it in my head I wanted that day’s self-portrait to be about flight. I wanted to celebrate the wind and temperature. And because of that bright blue June sky I wanted to do it in color.
I mounted my Rollei on a tripod and set up the shot, framing the window perfectly, with just a fraction of wall space around the sill and casing. I took off my glasses and practiced leaping in front of the windowpane with a stopwatch, timing it, recording it to the fraction of the second. After half an hour or so I calculated the average time it would take for me to get to the apex of an arc in the air. Then I set the timer on the remote shutter release.
The sun was sinking. The skyscrapers across the river were aglow. Two stories up, on the roof, my neighbors were having a party. Voices and laughter wafted in through the open window. I stripped off my clothes. It seemed bizarre to fly in jeans and a T-shirt. I tried one exposure and heard the shutter release just as I landed. I set the timer a fraction of a second earlier. It was essential that I get it right with as few exposures as possible. Color film’s expensive.
I tried ten or twelve takes before I got it. Before, I mean, it happened. At the exact apex of my leap into the air I heard the shutter release. By the time my feet hit the floor I’d heard a thump outside the window. Something had landed on the roof below. I went to the window and couldn’t see anything much. Just the gulls and far away a tiny airplane glinting. Below a squat tugboat pushed a massive barge.
And then I heard him howl. Steve, upstairs, who’d realized. It was like no sound I’ve ever heard before or since. An animal sound, a complete release. Sometimes in memory I hear it still. I put my clothes back on and slipped into my ratty Keds and grabbed my keys and Pentax. If something was going on up there I wanted to document it—but I didn’t want to waste my medium-format Kodachrome. That stuff was gold.
The hallway smelled of rat poison and turpentine, a century of dust, and roasting lamb. The lights were out in the stairwell. My neighbors were all rushing down the stairs, barely illuminated by the grimy skylight. I stood in the doorway and they passed me without a word. The painter Steve Schubert, who lived directly upstairs from me. Steve’s wife, Kate Fine, looking thin and harrowed. Another painter, Philip Philips, who lived on the second floor. He was holding his hand to his mouth as if he were about to be sick. A few other people I didn’t know—their guests, I guessed. I said, What’s going on? Nobody answered.
When they passed I went upstairs and pushed open the door to the roof. The breeze rolled over me. With the great easy pleasure of that wind came the sounds of helicopters, a faraway siren, the smells of brine and smog and pepper from the spice factory. The decadent sunset illuminated a roof in shambles. Sunlight caught in upturned red-stained glasses. An abandoned joint smoldered in a tray of pigs in a blanket. Someone had dropped or smashed a wine bottle and shards of it lay reflecting in a black pool on the tar roof. I took a couple of pictures. The light was so good. I took a picture. The siren was getting louder.
I heard a low voice at my shoulder and turned to find Bob Maynard beside me. A sculptor who had lived for many years in one of the apartments in the third-floor passageway, Bob was more or less our default handyman. He had replaced the lock on our front door I don’t know how many times. He’d installed the mailboxes. He’d helped us rig up the absurd tangle of doorbells by the front door. He was a heavy man, and drank. I remember he stank that night of wine and sweat. His lips were stained and his graying hair stuck damp to the back of his neck.
