Pamela Jo Bowman

BY PAMELA BOWMAN, MANHATTAN, USA — She went into teacher mode before we even arrived at the museum. I had to tease her and asked if there would be a quiz at the end of the field trip! She wasn’t sure if I was serious until she saw me trying to hide my smile. “My apologies. It’s just that I want to suggest how you might want to look at the work as we … blah, blah, blah.” How she rambles!

To sustain ourselves, we bought an ice cream before we entered the museum. Good thing, because I needed that Ben and Jerry! That museum is HUGE!!

We began in the Renaissance area. Now, in all fairness I have taken art history classes. Cyndi calls them “Art in the Dark.” I called it almost flunking my first college course in my senior year! So I am wandering around looking at the artwork that I had studied and I immediately realized that it would have been much more impactful, memorable and understandable for me to have visited the Met for my class. I would have been able to see how artists, their skills and styles evolved through the centuries. It was enlightening to see how (and when) artists discovered how to represent perspective, human form, texture, light and atmosphere.

Sometimes, in seeing the work of these great artists I realized many of their pieces were just practice works or efforts at honing their craft. Each time we entered a new room, I noticed that I would be immediately drawn to a painting or sculpture or mural because I could “read” the story in the eyes of the subject. The posture of the body, the placement of hand or the attire of the subject would make me see what the artist was trying to evoke. It was amazing and inspiring.

Having my own personal tour guide did not hurt, except my feet! We ended in the Asian wing. I have always loved Japanese art. I am drawn to its simplicity and its complexity. It was a very peaceful and joyous way to end my tour.

And yes there was a full blown verbal test that afternoon. As we walked down Central Park East and through the streets of New York, we discussed artists, movements, color and light. The discussion continues as we apply the work and knowledge of those artists to our current film project. Ever notice how sfumato and chiaroscuro in film is as powerful as it is in painting? Now, how …

BY PAMELA BOWMAN, MANHATTAN, USA — I walked through the halls of the Metropolitan Museum of Art experiencing the work of great artists through the ages. It was an overwhelming experience. On each wall, in each crevice and around every corner was a record in some form of our history. I kept searching because I felt it was not complete. It was not whole. Finally I couldn’t stand it any longer.

“Cyndi, where is the artwork of the women? Where can I see paintings by women?” My question did not surprise her, but she did take a moment to answer. “There were very few women artists during the Renaissance period. It was not thought that women could be great artists. They were expected to stay home and tend to the children and take care of the house.”

“But wait, I have seen movies where women are tutored in art … like Sense and Sensibility.”

“Tutored as a school exercise yes, but not seriously taught as a career. Men could take the time to develop their skills, women did not have the luxury of time.”

She was trying to diplomatic. I was appalled.

“How can human history be really accurate without the perspective of women? You have got to be kidding me? There were no women artists? What if they wanted to pursue art? Would they be allowed to?” Later research revealed that there were a few women painters of the Renaissance but most of them were taught by famous fathers and created only miniatures. It didn’t appear that any women were making their living creating art. Surely there must have been women who wanted to create art as a way of living. The only famous woman artist she could come up with was Artemisia Gentileschi.

Cyndi brought me to a room where there were sculptures by Auguste Rodin and his confidante and lover, Camille Claudel. As a young woman, she studied at the Académie Colarossi with sculptor Alfred Boucher. At the time, the École des Beaux-Arts barred women from enrolling to study. A gifted sculptor and graphic artist, she caught Rodin’s eye in 1883. An idea of how women artists were received? The famous art critic Octave Mirbeau wrote that Claudel was “A revolt against nature: a woman genius.”

My heart was heavy as room after room showed the meticulous work of male artists. It seemed that so many of the pieces lacked warmth. The level of skill was exquisite but there was a dimension that was often absent. Perhaps it was the lack of feminine interpretation of life. How much richer our history might be if we all are encouraged to participate equally.

My first thought was, “Good thing I live in the world today.” But then we started the discussion of today. Is it much different? We find more women artists in the world of art than at any other time. But, how many is that, really? In my medium of film, how many women are represented? How many women directors do we have? Producers? Cinematographers? How are they received? The small numbers reflect the truth.

This is NOT a discussion of division but of inclusion. What would be possible if we all were included. I would NOT want people to look at my work simply because I am a woman any more than I would want to have my work NOT taken seriously because I am a woman.

The difficulty is that in the past many women behaved more masculine in order to pursue their dreams. While women entered the art (and other) arenas, the feminine was still missing. Everyone has something to offer this world. It seems that we should embrace our differences and relish in the three-dimensional realm of possibility when all are represented. I believe that I have something to offer and each of you do as well. It is the contribution of all of the points of view that is important.

Today we have the choice to support and nurture each other. It is my hope that one day, my grandchildren will be walking those same halls of that same museum but it will be different as the scope of art becomes wider and deeper. The artwork of today will reflect a fuller spectrum because we’re all represented. The picture it provides will be more complete. Wholly representative of the human experience.

BY PAMELA BOWMAN, MANHATTAN, USA — Yesterday we went to the press conference for TOWARDS DARKNESS. Written and directed by Antonio Negret, it is the story about a disastrous Columbian kidnapping. While there have been several films about the rampant kidnappings in Latin America, this film is unique because Negret’s family has experienced the phenomenon firsthand. Rather than being an action film about the event, it is an exploration of the desperation faced by the family and the victim. Because of the strength of the script and, undoubtedly, the connections of Producer America Ferrera, Negret was able to get many talented actors to participate. Among them, the incendiary William Atherton (of DIE HARD fame), delicious David Sutcliffe (from HAPPY ENDINGS) and Tony Plana (as the earnest Della Serra in AN OFFICER AND A GENTLEMAN, officer Ray in LONE STAR and Martinez in PRIMAL FEAR).

Plana was eloquent and erudite during the conference. He’s the first actor I’ve known to make an argument FOR politics … politics of the people, of course. “If there is no political solution, the citizens are left in an existential hell. There is no future for the people,” said Plana, “And everybody is forced to sacrifice integrity for survival. They must destroy their enemies or be destroyed.” Plana voiced what Negret’s film reveals about the personal consequence of political impotence and antipathy.

In the film, while Jose, the victim, is physically bound, his mind is still free and he spends moments pondering his past while those who are physically free spend their moments paralyzed with fear and desperation. Negret said that he edited the film to show this contradiction. As more of the past is revealed, there is less and less time to handle the problem in the present so the cutting style is very aggressive. This viewer perceives the passage of time not as an opportunity for greater understanding but fewer choices. The film is worth seeing just for the editing.

One of our most exciting discoveries at Tribeca is Colombian actress Alejandra Borrero. Borrero was luminous as the mother of Jose and wife of Tony. She plays the mother with both tenderness and fierceness, a mixture that Borrero feels is typically Colombian. “What I loved about the part of Jose’s mother is that it shows Columbian women being strong. They never know if their husbands will come home again. They never know if they will see their children again. Columbian women are always prepared for independence.” Alejandra admitted to succumbing to the fear and reality of living in Columbia. “I left and lived in a different country for a few years. I discovered I wasn’t happy. I missed my home. I am now living in Columbia. I do not want to live my life like that. I choose not to live my life like that. My country is really a beautiful place with kind people.”

The audience faces the reality of this situation in a shocking conclusion and discovers that we all have to choose every day to be strong and live and love like there is no tomorrow. Catch the film!