In LA, every waitress is supposed to be waiting for her break to be an actress.

My Muzhik novelist from last Sunday was probably not a professional writer, not yet.
I don’t know what he did to earn a living.

One of my friends from book club was telling me about her career in Television. “They are grooming me to be a producer. But I just don’t know…I REALLY want to write coming-of-age books for children.”

The guy that I had coffee with was the director of a very respected news program. “But that’s not what I came here to do,” he says. “I have more in mind.”

And me?
I’m a video conferencing professional, but I just signed up for a journalism class.

Charles Dickens, author of Great Expectations, had his hero in Oliver Twist say it for us:

‘Please, sir, I want some more.”

Yeah, we all want some more. More from our jobs, more from life, more from ourselves.

And more from our JOBS. That’s a critical thing. After the basics are taken care of–food, housing, clothing, etc.–that job takes on a different meaning. The struggle for survival takes so little effort, that we think we can do it with one hand tied behind our back. That leaves us with an extra hand to do all kinds of other things! Maybe we begin to resent the effort it takes to have a job…And we want to get both those hands working together to do what we “really” want to be doing.

A lot of books are written about that. What Color is Your Parachute? and 7 Habits of Highly Effective People are just two well-known examples. These authors write out systems of how to articulate your values and line up your life according to what you believe is most important.

That’s great! that’s why those books are such bestsellers. Who wouldn’t want to achieve perfect balance?

And they continue to be top sellers, because people are not achieving that balance. In large droves, we continue to have difficulty finding the perfect job.

Does it exist?

I remember talking with my friend a long time ago, we were griping about work. I said, “Don’t you think that this is your dream job? I mean, when you were a kid, if someone told you that you would get to be a computer programmer at NASA, you would have been thrilled!”

“Yeah,” he said. “I remember taking a tour of NASA when I was about 14 and being completely impressed.”

“And you worked hard to get the chance to work there. But now, you complain about it! Being an adult sure turns out to be different than what we thought it would be like when we were kids.”

Maybe the idea of the perfect job is not for everyone. On This American Life, they ran a show that talks about it. In the last segment the narrator talks about his love of making things, crafty art pieces that engaged his whole self in the making.

He researched whether he could get a job doing crafts, but concluded that if it was his job, it would no longer be his passion. He would be compelled to do it, instead of free to do it.

That show has really stuck with me lately. I like my job a lot, it is satisfying and it pays my bills. But I have been struggling with pursuing it as a career, since I am not sure that it gives me the opportunity for expression of my best talents.

But maybe we as human being are more complicated than that. Maybe our best talents, that we are all trying to foster and get more opportunity to express, are not things that we can access 40 hours a week.

This was originally an email, but I thought it was blog-worthy.
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Last Sunday, I had a chance to meet someone off of Craig’s list…We’d been emailing wittily back and forth, and we decided we had to meet face to face. We decided to meet down at a place called Psychobabble…It was open mike night.

I didn’t know what he looked like, but I told him I would wear a beret, and he would recognize me. I was sort of looking around, and I looked hard at this one guy, thinking it might be him.

The guy (it wasn’t him) kind of skulkily followed me up to the counter. He nerved himself up to ask me, in a thick Russian accent, if I had come for the poetry.

“Is it poetry night?” I said. “If only I had come prepared!”

“You write poetry?”

I looked him straight in the eye and said, “Doesn’t everybody?”

He said he would be reading his poetry. I told him I would have to make sure to listen for it.

Then he noticed the copy of Crime and Punishment I had brought. You never know if these internet types will actually show up. I figured I’d better have reading material in case I got stood up or had to wait a long time.

“Oh, are you reading that? He is my favorite author”

“Yeah, I’m almost done with it. But I think I like Tolstoy better.”

“Well, yes but..Tolstoy was very different. I mean…”

“Yeah, Tolstoy was from a different era.”

“Yes! Yes!”

I had obviously impressed the socks off this Russian poet Muzhik.
He had to regain some ground.

“Well, if you like Tolstoy, you would probably like my novel.”

That’s quite a claim.

“You’ve written a novel?”

“Yes. I could email it to you, so you could read it.”

This is a new line. So much for etchings. We’ve gone on to novels!
But I know better now.

“Sure, give me your email address.”

Better to get his than to give him mine. I had to get rid of him somehow. The guy I was really there to meet had showed up, and it’s bad form to be hit upon while meeting another male for the first time. Even though it was a platonic meeting, they can get miffed.

I got his email on a napkin and me and the other guy slipped out of the cafe.
I missed my chance to hear the Muzhik’s poems.

I’m still undecided whether I want an e-novel sent to me or not.

Although the wonderblog is supposed to be “musings about art and the meaning of life,” I’ve been a little short on the art portion of that. At least, I have never really done a critique of a piece of art yet.

Today, that will change. And I invite comment, please. Isn’t good art supposed to evoke a response?

That’s what they say.

Art should challenge you. Art should change your perspective. Art should make you uncomfortable sometimes.

Right.

But the major patrons of art in the 21st century are corporations. Art for the foyer. Decorative sculpture for the drive up to the main office. Ah yes.

Should lobby art make you uncomfortable? Perhaps the “challenge” of corporate art should have it’s base in challenging the workers (dare I say proletariat?) to do their best work for the company.

My company has been going through some renovations, which included my floor. It was several weeks before the renovation process got around to the part where they hang up pictures. There is a poster by Georgia O’Keefe in the mailroom now. Not her best work—I can say this, since I’ve been to her gallery in Santa Fe—but it is an interesting perspective of the trunk of a tree and some of it’s branches. I appreciate it. There is another work by the elevator; I call it the crayon tree. It’s a sort of white abstract tree trunk on a black background, with brightly colored marks or dabs along the sides. It looks like it’s raining crayons, as I wait for my elevator to arrive. Not sure about that one’s merit, but whatever. It’s cheery.

The one by my buddy’s cube is a sort of college-dorm poster. It’s a poster of a stretch of road going off into the distance, and an enormous moon hangs over it in the twilight blue sky. I think that a college freshman with a desire to travel and/or own a motorcycle would really dig it.

My buddy hates it.

These pictures are all of a bland nature. They are there, they give your eyes a place to rest on, but they are mostly non-intrusive.

The piece that really stopped me was on a different floor. It is a piece called “Candy Bar” by Mel Ramos.

Let me see if I can describe it accurately. It is mostly made out of cardboard, and it looks like a Baby Ruth wrapper. There is an edge of the cardboard with what seems to be instructions posted in the upper left corner. I don’t remember what it says exactly, but it starts out saying, “Cut along the lines.” The candy bar wrapper looks partly opened, and the cardboard cutout of a young blonde 70’s-style knockout is inserted into the wrapper. The edges of the wrapper come right to the right spot on her chest, all you see is a bit of cleavage. But the whole thing is mounted on a mirror, so when you come up to get a closer look, or to read the instructions, you can see that her entire backside is naked. You can even see her tan line, a pale stripe running across her back and another blunt triangle across her naked bottom.

This one is hanging up across from a popular video room, so I get to pass by it a lot. The first time I saw it, I was flabbergasted and I had to take a better look. The idea of a woman being in a candy wrapper was so obviously sexist that it seemed to be almost anti-sexist. And when I got closer, I saw that it was mounted on a mirror, and I saw her little tan lines.

The whole thing is only about a foot tall. Probably not even that. She’s not much bigger than a Barbie.

An apt comparison.

But since I have to pass by this candy bar frequently, I am becoming more and more disturbed. Yes, it is a blatant portrayal of women as consumables for male palates. Or even female. It broadly states the objectification of women, and the role women are expected to play in society. How much the artist is aware of this is unknown. Maybe he is portraying his own attitudes, and they coincidentally are widespread.

It’s witty. It is an exaggerated perspective of an often unspoken reality. In the right mood, it might be profound.

I’m trying to be objective and open about it.

But I don’t think it is the sort of thing that belongs in a company hallway. Yes, women are commonly objectified. But they should not be experiencing that kind of treatment at work! So why should this piece of art (and I think it is more artistic than the crayon tree or the dorm poster) be displayed here?

I don’t think that Japanese Americans would like to have artistic photographs of War scenes from WWII posted in the hallways.

I don’t think African Americans would appreciate having scenes of slavery posted in public rooms.

Corporate art has to be more subtle. More bland, maybe.

Art is not art is not art. That is to say, there is a time and a place for different kinds of art. And some of the most profound and life-changing or life-enriching art must be handled carefully. Like a volatile substance.

I have in the past, a long time ago, made snide comments about the meaninglessness of corporate art. Those strange abstract geometric shapes made out of steel or concrete and rise up tall in the parking lot—“What does that MEAN?” I would say. “That’s not art. It’s just a way to fulfill the government’s requirement to spend x percentage of new construction on ‘art’.”

That was before I started going to work in those buildings.

But here is my dilemma now:

Do I swallow it? Do I just ignore Ms. Candy Bar?

Or do I try to get it removed?