Workplace Nudity

Oy, work can be so serious sometimes. We’re guilty of looking at the sober side of things — well, because we take work seriously, too.

Just as Joseph Herscher does, and yet the product of his efforts brings about serious smiles.

Herscher is a kinetic artist who creates Rube Goldberg machines, contraptions that delight viewers with their silly premises and whimsical movements.

His work was recently featured in the Daily Mail, where you can see still shots of “Page Turner,” an installation that–you guessed it–turns a newspaper page. By tapping into his sense of whimsy, he’s created a complicated machine that prompts viewers to experience wonder, joy, and exhilaration.

And he’s wildly popular. The Internet has played “Page Turner” about 5 million times and counting. Herscher has attracted significant media attention, which will likely lead to more commissioned work. To be sure, this artist’s star is rising.

What would result if you were to reveal and engage the extent of your whimsical nature in the workplace? At least, you might bring some levity to your surroundings. And levity, wonderment, joy, and exhilaration are all things that can lead to increased engagement and productivity.

What are you waiting for? You, too, can help bring whimsy back to the workplace.

Watch his very watchable work below:

Image by Fletcher Lawrence via

We were totally excited recently to come across Antony Hegarty of Antony and the Johnsons, a performance group firmly grounded in the 2010s. Part social commentators and part Nina Simone-inspired musicians, AATJ was spotlit in the Village Voice on the eve of Swanlights, their MOMA-commissioned performance at Radio City Music Hall.

In the Voice interview, English-born and transgender Hegarty reflects on the world he inhabits, and touches us at our core. In one moment — among many — of poignance, he relates his experience as a transgender person with the ecological devastation he sees:

“I see them as parallel issues, as a tiny reflection of a greater problem,” he notes. “Even as a transgender person, I’m excruciatingly aware of my privilege as a white male, and the subjugation of women is critical to understanding the subjugation and destruction of the ecology.”

Brilliance! See him working the dual oppressor and oppressed within him?  He continues:

“America is less willing to consider a gay or transgender having a platform outside of gender identity,” he says. “But we are barely acknowledging that the weather is changing, either.”

Say it, Antony. Americans’ purported less-willingness to see the world broadly can lead to pigeonholing one another, and to misperceiving the continuing transformation of Earth’s geography. He’s grounded in his emotions when he says, “We need to start grieving, at the very least.”

And then he drops a profound mind-bender:

“People can more easily imagine the collapse of the world than they can imagine stepping away from capitalism or patriarchy.”

We’ve been thinking about this idea ever since we first read it. Do you think it’s true, that capitalism and preserving the world can’t coexist? While it pains our brain to ponder, it’s certainly worthwhile to consider.

Still, he seems hopeful when he thinks about his ethnicity and place in the world. “I am as American as it gets,” he shares.

And we remain hopeful, too. Not only about our ability to solve some of these worldly problems, but hopeful that revealing our whole selves at work, as Antony does, will help lead us there.

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Many artists can school the world on how to love, and how to work. Just recently at the Brooklyn Museum we came upon an eye-opening example of how to bring your whole self to work–what we call workplace nudity–by English painter David Hockney.

In the exhibit HIDE/SEEK: Difference and Desire in American Portraiture, we saw Hockney’s painting Adhesiveness, 1960, and learned that he actively integrated his sexual identity into his work.

David C. Ward, co-curator of “Hide/Seek” and historian at the National Portrait Gallery, spoke in a video about Hockney’s “nudity,” and the corresponding description says it best:

Even though homosexuality was illegal in England until 1967, David Hockney presented his homosexuality directly, as integral to his art. While his paintings from the early 1960s did use coded references-to lovers and other gay references-the overriding avowal of male desire made these paintings a commentary on England’s proscriptions. And Hockney openly stated his intent to propagandize “for something that hadn’t been propagandized: homosexuality. I felt it should be done.”

Bravo Mr. Hockney! We’ve always loved your paintings, especially those depicting fantasy and reality in Southern California.

Learning that Hockney has fostered workplace nudity means there’s now even more about him to love.

What parts of you are integral to your work?

Image of BMW 850 CSi, 1995 detail via

Word’s getting out that performance evaluations can do significant damage in the workplace. From “Get Rid of the Performance Review” in the Wall Street Journal: “[An evaluation] destroys morale, kills teamwork and hurts the bottom line. And that’s just for starters.”

What to do?

Listen to Courtney Love, natch. We just can’t contain our unending adoration of her.

In an interview last year supporting Hole’s album Nobody’s Daughter, rather than evaluating her performance, she deconstructs it.

There’s a subtle, yet significant difference between the two approaches.  An analysis describes something from different angles, without necessarily drawing conclusions.  In contrast, an evaluation judges it. What do we learn from being judged? Not so much.

Yet from an analytical breakdown, we derive plenty. Love analyzes her recent work experience in typically forthright form.  The gems:

[In Austin, Texas] I engaged the audience more, I gave them more. I don’t know if I can do that all the time. Because I give too much when I give. And I don’t know that people are appreciating what they’re seeing, and even if they are, I don’t know if that’s enough for me. So I’m very conflicted about my job.

You note her open ambivalence about her livelihood?  Nearly all of us feel ambivalent about some aspects of our employment.  In thinking critically about her relationship to her work, it feels like she’s learning about her self as she speaks.

The internal conflict continues: Read more »

Brandon M. Graham is an educator and author of A Love Supreme: Amputated Feelings & Prosthetic Apologies (Brownstone Publishing, Inc., 2005), as well as the forthcoming collection of poetry entitled Conciliation: Medicine for Melancholy (Brownstone Publishing, Inc. 2011).

He’s also a friend; once upon a time we team taught a professional development course at New School University.

We chatted online recently, and discussed the career path that has led him to become the published poet he is today. Our conversation took twists and turns, uncovering references to Russian literature, growing up with ministers, and wetting himself while writing.

The full interview follows, with very minor edits:

Haig Chahinian:  When you were 12, what did you want to be when you grew up?

Brandon M. Graham:  I remember wanting to be both a professional athlete and a writer of some sort. I wasn’t too versed in genre, but I know I loved playing sport and writing in my journal.

HC:  What kind of athlete? And that’s quite a mix! Did you share this with anyone at that time?

Graham:  As a kid I played organized football, basketball, and track. My parents and coaches have always been really encouraging. I think I had a natural aptitude for playing football. I idolized players like Walter Payton and Jerry Rice. Also, I did share it with my teachers, coaches, and classmates. I wasn’t necessarily ashamed about wanting to be a writer and surely I wasn’t ashamed of wanting to be a professional athlete. I think those thoughts of anxiety toward keeping a journal and writing crept in when I began high school.

HC:  In professional football, what did you want in that line of work? Fame? To crush other ballplayers? Fortune? The poetry of a perfect spiral viewed by millions? And what did writing in your journal feel like to you? It seems like you felt something significant, because you thought about pursuing writing professionally. (And tell me to slow down if we’re going too fast.)

Graham:  That’s funny you would use that language because really early on I found the poetry and symmetry in sport. I had always been a running back when I played football. I noticed the kind of choreography of a football play. You have eleven men going up against eleven other men–and that can both violent and exhilarating. However, the overwhelming feeling I walked away from each play was just how amazed I was that we were all in sync. So I really enjoyed teamwork and collaboration with others on the field. The fame and money and all that comes with being a professional athlete was all secondary. (OK, forgive if I’m typing too slow. I’ll do my best to keep up, but just be a little patient with me and we’re all good man. This is cool.)

HC:  So you were a thinker from an early age.  Both of these avenues — professional sports and professional writing — are hard to find success in!  What happened in high school, where I hear you say anxiety crept in? How did that happen? For example, was it completely internal? Or perhaps there were external forces at play? Read more »

Superstar Missy Elliott has revealed that she’s living with Graves’ Disease, the autoimmune disease linked to an overactive thyroid gland. Symptoms can include insomnia, irritability, heat sensitivity, muscular weakness, eye changes, lighter menstrual flow, rapid heart beat, and hand tremors. In a public statement she said:

I was diagnosed with Grave’s Disease about three years ago but it really hasn’t slowed me down at all. I rocked my performance on VH1 Hip Hop Honors’ tribute to Timbaland last year. I’ve written and produced a bunch of Grammy-nominated, #1 hits… I toured the UK, Europe, Asia, Africa and Australia. And on top of all that, I’m working on my new album. I feel great. Under my doctor’s supervision, I’ve been off medication for about a year and I’m completely managing the condition through diet and exercise.

While Elliott may not be in tune with the nuanced influence of her physical condition on her work, we can sense the relief she feels in relating her life events of the last three years. She simply wants to be heard and understood.

It seems so simple: being heard and understood on the job. Yet experiencing both can be truly powerful, and bring you great joy.

Have you listened to — and understood — a coworker of yours today?

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We loved The Carpenters back in the day, and “Superstar” remains up there among our all-time favorite songs. The duet comprised Karen Carpenter and her brother Richard Carpenter, based in Southern California. What you may not know is that Karen identified first as a drummer, and as a singer second.

Which can be hard to believe given how silky her voice was. Take a look below at the absolute joy she exudes while banging those drums! Her drumsticks seem to be a natural extension of her hands.

While Karen desired both to drum and sing for the Carpenters, Richard wanted her not to hide behind the hulking drum sets, and to be seen more fully at the front of the stage only singing. It was a more commercially appealing proposition, and so Karen came center stage, away from her beloved drums.

Legend has it that her new placement on stage ultimately contributed to her demise. It seems without the creative and rhythmic outlet of drumming, along with difficult family dynamics and–oh, yes–international stardom, Karen Carpenter developed anorexia nervosa. She succumbed to the eating disorder early in 1983.

What do we learn here? If you have a strong desire, or something essential in you — a talent and drive for drumming, or a proclivity to create order out of reams of data –  exercise it! Let it all hang out, and not only will you feel freer at work, you’ll likely meet great success.

It would have been exciting to see what would become of the Carpenters’ success had Karen stuck to the drums.  We’re bummed that we’ll never know.

What do you have inside of you that needs to be let out?

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