Tag Archives: Rochester Institute Of Technology

Filter Photo Festival Week: Beth Gilbert

This week, I am sharing a few of photographers that I met at the Filter Photo Festival in Chicago….

Beth A. Gilbert presented a body of work in Chicago, Scarred Land, that looks at civilization’s impact on the environment, especially after the affects of war. The project focuses on Israel and the scarred landscape that reflects the trauma of conflict.  Beth lives and works in Boston and earned a BA in art with a concentration in photography from Simmons College, Boston. She worked for a professional, full-service photo lab, Color Services in Needham, MA as Assistant Digital Technician for 5 years. Beth now works for herself providing digital photographic post-production services. In the fall of 2013, Beth will be attending the Rochester Institute of Technology to pursue a Master of Fine Arts degree photography. Her work has been exhibited at the Photographic Resource Center at Boston University, the Danforth Museum of Art, and the Hadassah Gallery in Jerusalem. In addition, she has played a key role in the production of numerous photographic exhibitions for both nationally and internationally recognized artists.

 Restaurant Interior, Dead Sea, Israel 2010

My photographs are primarily landscape based, dealing with the environment, the ways in which human beings affect it and leave their mark upon it. One major influence reflected in the subject matter of my photographs is my interest and background in political science/middle eastern studies. My images have also been inspired by the work of Jem Southam, whose photographs capture a balance of the natural landscape and the intervention of man within it, following the cycles of decay and renewal, documenting the changes over days, months and years. Since the focus of my imagery relies heavily on society and civilization’s impact upon the environment, I am sensitive to my process being as non-invasive as possible- staying true to the unaltered landscape. I have a desire for my photographs to be ‘pure’, as in true to the original medium. My employment of a traditional tool of landscape photography, the 4×5 camera, and using minimal alterations to compliment my ideology fits in well with my artistic expression and vision. In 2010, I decided to take my ventures in photography further, and extended my vision to Israel.

 A Different Viewpoint, Gilbon, Israel 2010 

The photographs in this series entitled Scarred Land, which were all produced in Israel, deal with war, the damage it inflicts upon the terrain, and the natural recovery over time. The battle sites and military training zones depicted have not been memorialized or preserved in any way, and are now naturally recovering from the inflicted trauma as well as being reclaimed by the earth. The focus of the imagery on war zones is to portray to the viewer that this is how we, as human beings, treat each other and the world we live in.

 Charred Landscape, Gamla, Israel 2010 

We are a unique species defined by our intelligence: the ability of abstract thought, understanding, selfawareness, communication, reasoning, learning, having emotional knowledge, retaining, planning, and problem solving. This intelligence enables us to create/invent ever growing technologies through which to better our lives. Unfortunately, some of these technologies are also implemented for the purpose to assault one another and to defend ourselves, which in turn damages the Earth. In my opinion the rationale for going to war with another nation, state or people: whether it be over resources, religious ideology, cultural differences, or power is completely absurd. If everyone took the time to look at the larger picture, the traumas inflicted during war and in its aftermath have detrimental repercussions for not only us and future generations, but for the planet we inhabit and all of its living beings. Therefore, the ramifications are not advantageous to anyone or thing and we could eventually be the means to our own demise.

 Fire-Ravaged Ruins, Gamla, Israel 2010 
Barbed wire bush, Dead Sea, Israel 2010 

Abandoned Outpost, Dead Sea, Israel 2010 
(Un)Occupied Territory #1, Dead Sea, Israel 2010 
(Un)Occupied Territory #2, Dead Sea, Israel 2010 
Trenches from the ’48 and ’67 Wars, Jerusalem, Israel 2010 
Imbedded Plastic from Explosion, Golan Heights, Israel 2010 
Debris, IDF Firing Zone, Gamla, Israel 2010 
IDF Training Grounds, Golan Heights, Israel 2010 
Trench Entrance, Jerusalem, Israel 2010 
Syrian Sentry Post, Golan Heights, Israel 2010 
Fire-Scorched Valley, Gamla, Israel 2010 

Lois Bielefeld, Elizabeth

Lois Bielefeld, Elizabeth

Lois Bielefeld

Queens, 2009
From the The Bedroom series
Website – LoisBielefeld.com

Lois Bielefeld grew up in Milwaukee, Wisconsin. She graduated in 2002 from Rochester Institute of Technology, receiving her BFA in Advertising Photography. Soon after she made the mass migration with all the other photo graduates to NYC where she lived for seven years. After assisting photographers she began shooting commercial and fashion work. In 2008 she started The Bedroom when she shared a bedroom for one year with her eight year old daughter in their small Brooklyn apartment. She is very close to completion of the 100 portrait series and aims to publish a book of all the work. In 2010 she relocated back to Milwaukee with her eleven year old daughter, partner, guinea pig and their cat. Besides photography, Lois loves to bike, cook, eat and dabble in Midwestern things like trap shooting.

Meg Handler

Some time ago, I happened to see this photograph on Facebook.  I was immediately drawn to the image and wanted to know more about the photographer, Meg Handler.

UFO Convention, Rosewell, New Mexico

What I wasn’t expecting when I e-mailed Meg, was what a generous and multi-talented photographer and editor she was.  And I love that it was from looking at one image I made a new friend. We recently spent the day together in Chicago and she helped me outfit my Rolleiflex with a flash, setting me on a new path to making photographs. I am sharing Meg’s project, Fans, today, created between 1994-2001.

Meg is a photo editor and documentary photographer. The former photo editor of The Village Voice, Meg  has also worked at U.S. News & World Report, Blender, New York Magazine, COLORS and Polaris Images. She has edited a number of books, including the monograph, Phil Stern: A Life’s Work, PAPARAZZI by Peter Howe, and POT CULTURE by Shirley Halperin and Steve Bloom. After 20 years of immersion in the photography business, and having worked with some of the great photographers in New York and abroad, Meg now lives in Chicago. She worked as the principle photographer for The Grant Park Music Festival at Millennium Park, and BIGArt at Navy Pier. Currently, assisting in the production of of BagNews Salons, Meg received a Bachelor of Fine Arts in Photography from Rochester Institute of Technology.


I have looked at a lot of photographs over the years, working as a photo editor
for the Village Voice and numerous other publications, but decided to create a
series of my own work when I was inspired by a “Jesus Sighting”in
Washington Heights, New York. A few hundred people stood in line, gathered
in the courtyard of an apartment building to see an image of Christ in a
bathroom window. They saw it, I did not.
Even though I didn’t witness the second coming of Christ, I was intrigued by
the intensity of their experience and their desire to be in the company of
something that moved them deeply. If people are so enthralled by a vision,
what happens when they see their icons in real life? 

Papal Mass, Central Park, NYC

I decided to take a closer look at the phenomenon of FANS, every day people that want to rub up against some magic or star power at a Papal Mass in Central Park, football games, political rallies, a UFO convention and Graceland on the anniversary of Elvis Presley’s death. What I discovered was an almost universal reflection of adoration–the experience of the individual in the crowd, their dedication, commitment and faith becomes clear in their faces. 

Dalai Lama Visits New York

Gillian Anderson appearance, X-Files Convention

Papal Visit, Central Park, NYC

 Papal Visit, Central Park, NYC

 Mark, Barry Manilow fan

Buchanan Rally
Dalai Lama visits New York




KISS Reunion Concert

KISS Reunion Concert

Jesus Sighting
Garth Brooks Concert, Central Park

World Series
Army v. Navy
Army v. Navy

Army v. Navy

Alien Autopsy

UFO Convention, Roswell, New Mexico
UFO Convention, Roswell, New Mexico

UFO Convention, Roswell, New Mexico

UFO Convention, Roswell, New Mexico

Michael Mergen

Now that we know who will be living at 1600 Pennsylvania Avenue for the next four years, we might want to consider who else lives at that very famous address.  As a bookend to his series, VOTE, that ran on Lenscratch yesterday, Michael Mergen has created a terrific series about a very famous address.

Michael earned a BFA in photography from the Rochester Institute of Technology and an MFA in photography at the Rhode Island School of Design. He began his career as a photojournalist, working for national newspapers and newswire services in Boston and then his hometown of Philadelphia. His current work focuses on ideas and notions of America and its institutions.  He has exhibited nationally and internationally and his work is held in several public and private collections. He is currently an Assistant Professor of Art and Photography at Longwood University in Farmville, VA.

1600 Pennsylvania Avenue 

With 1600 Pennsylvania Avenue, I sough to explore and document the American landscape using the constant of the country’s most famous address – the White House. Using this address as a constant, I made straightforward images of everyday America. What followed is a vernacular, kaleidoscopic view of this country: lower and middle class homes of all sorts, mundane structures of a waste water treatment plant, and bland, nameless brick and cinderblock buildings. And it is this contrast to the regal white columns of the White House, its manicured lawn and historical context that makes these buildings so interesting, the familiar humdrum of the American landscape, that simple happenstance of sharing an address with the most significant of all.

 1600 Pennsylvania Avenue,
Pine Bluff, AK
, 2008

 1600 Pennsylvania
Street, Gary, IN
, 2008

 1600 Pennsylvania Avenue,
Irwin, PA
, 2008

 1600 Pennsylvania Avenue,
Lorain, OH
, 2008

 1600 Pennsylvania Avenue,
McDonough, GA
, 2008

 1600 Pennsylvania Avenue,
Miami Beach, FL
, 2008

 1600 S Pennsylvania Avenue,
Morrisville, PA
, 2008


1600 Pennsylvania Avenue,
Newton Falls, OH
, 2008

 1600 Pennsylvania Avenue,
Whiting, NJ
, 2008

 1600 Pennsylvania Avenue,
Guilderland, NY
, 2008

 1600 Pennsylvania Avenue, Salem, OH, 2008

 1600 Pennsylvania Avenue,
Stoughton, MA
, 2008

 1600 Pennsylvania Avenue
NE, St Petersburg, FL
, 2008

 1600 Pennsylvania Avenue,
Tyrone, PA
, 2008

1600 Pennsylvania Avenue,
West Mifflin, PA
, 2008

Michael Mergen: Vote!

Virginia photographer, Michael Mergen, has one of the best series I’ve seen about where and how we vote.  His project, VOTE, shines a stunning light on how “mom and pop” our voting system is and reflects the head-scratching realization that it is truly a miracle that we get anyone elected.  These images speak to the potential of error, but they also speak to the fact that much of America is built on a mom and pop reality, where the corner store is still the heart of the community.

Michael earned a BFA in photography from the Rochester Institute of Technology and an MFA in photography at the Rhode Island School of Design. He began his career as a photojournalist, working for national newspapers and newswire services in Boston and then his hometown of Philadelphia. His current work focuses on ideas and notions of America and its institutions.  He has exhibited nationally and internationally and his work is held in several public and private collections. He is currently an Assistant Professor of Art and Photography at Longwood University in Farmville, VA.

 Photographed on Election Day from 2008-2010, Vote documents the spaces where the ideals of our political system meet the mundane realities of participatory democracy. These polling places in unusual, privately owned locations, pointedly do not live up to the majesty of American democracy, yet still speak to a kind of vernacular Americana. The work suggests a collision of public and private.

When a voter is confronted with the decision to vote or shop, vote or eat, vote or skate, which role is expected of us, the role of citizen, or the role of consumer? What happens when confronted with both simultaneously? What does voting in a private home say about the encroachment of government into private life? Or does locating polling machines in places such as supermarkets and shopping malls make voting more convenient and spur a higher turnout? 

The series also points to the temporal quality of Election Day – the days’ brevity contrasting with the perceived permanence of the space it briefly inhabits. In all works, I emphasize the apparent incongruity between the primary function of the space and the temporal use of the space as a polling place. The voting machines act as stand-ins, set up and waiting for voters to activate them. As if transported from another world, the machines remind us of the often haphazard way in which elections are conducted.

Through extensive research at the state, county, and local level, I indentified the locations I intended to photograph. Using Google maps, I created a map of each state or county to determine an itinerary for the particular Election Day, making edits based on proximity of each location, keeping in mind the relatively short day and sometimes hundreds of miles between polling places.

Erika Larsen

The simple fact is that Erika Larsen cannot take a bad photograph.  Her entire site is one stunning and compelling image after another, and well worth a visit. The clarity and beauty that she brings to her images comes from knowing her subjects, spending time in their worlds, and capturing the essence of a culture in a series of well crafted and soulful photographs.  The work featured today is from Erika’s project, Sámi ,The People Who Walk With Reindeer.  Erika spent 4 years living within this culture to create the work — there were no family ties, just a curiosity and need to understand the Sámi.

Erika’s uses photography, video and writing to learn intimately about
cultures that maintain strong connections with nature. She began working
professionally as a magazine photographer in 2000 specializing in
human-interest stories and sensitive cultural issues. Her images have been
published and exhibited internationally. Her work has been included in the
Smithsonian National Portrait Gallery, National Geographic Society, The Swedish
Museum of Ethnography and Ajtte Sámi Museum. Larsen is a recipient of several
grants and fellowships including a Fulbright Fellowship, New Jersey State Arts
Council Fellowship, Women in Photography Individual Project Grant and the Lois
Roth Endowment. Erika received a BFA and MFA from Rochester Institute of

Erika has created a crowd funding campaign for a book of Sámi ,The People Who Walk With Reindeer through Empas.Is and of you are interested in contributing, you can do so here.

Erika has two upcoming exhibitions of this work, at and Visa Pour L’Image International Festival of Photography in Sweden in September, and the Catherine Edleman Gallery in Chicago in 2013 

Sámi,The People Who Walk With Reindeer
came on a search to understand the primal drive of the modern hunter by taking
an inclusive look at an original hunter-gatherer, nomadic society.

I came to find people who could interpret the language of the land 
when it speaks.

I came in search of silence so that I could begin to hear again.

Every day in the Arctic extremes play upon the lives of the Sámi, an indigenous group native to the Arctic Circle of northern Scandinavia  and Russia–the largest area in the world with an ancestral way of life based on the seasonal migrations of the animals The Sámi are by tradition reindeer herders who have lived as nomads. Today only 10 percent of the Sámi population still works in reindeer husbandry, a business that is regulated by the European Union. By possessing a livelihood dependent on their surroundings, the herders must be acutely aware of changes in nature and more specifically the arctic landscape.

My photographs explore the Sámi herder’s symbiotic relationship with the environment, their existence in today’s world and their ancestral roots.This work was created in Kautokeino, Norway and Gallivare, Sweden where I worked as a beaga, or housekeeper, for a family of Sámi reindeer herders. I chose to immerse myself in this manner so that I could better understand what I was seeing and experiencing when creating the images. The actual image making process was intuitive but the process for understanding the culture required full immersion, through work, learning North Sámi language and listening.

The spoken Sami language, despite being derived from Finno- Uralic roots, has transformed over time and is considered an Arctic language rich in its ability to explain the natural world.

While the reindeer herding Sami remain largely insulated from urban life, they straddle two worlds – tied to their historical roots while acknowledging modern realities. They maintain a deep connection with nature and remain a semi- nomadic people, with little need for the world beyond the arctic landscape.  Yet the Sami are acutely aware of and embrace global connectedness, modern technology and popular culture.

Living with the Sami, I have observed nature being at once both beautiful and brutal. Through their lives, I hope to better understand our role as stewards of the earth and recognize the cycles of life and death and the role of people within this circle.

The Sami have managed to survive in extreme climatic circumstances for ages. As biodiversity, forest stability, water supplies and wildlife management become increasingly important global concerns, this community will be vital to understanding sustainability in the Arctic region.

Gregory Jones

When Gregory Jones shared his new project, Los Angeles, I experienced a bit of deja vu.  His photographs were transversing many of the same streets I travel on a daily basis and what may be a road trip for him, was unfortunately a reality for me.  These are images created with a disposable camera in preparation for a long term project.

After graduating from the Rochester Institute of Technology with a BFA in Fine Art Photography, Gregory received an artist residency in Bejing, China, currently he is working as the co-editor of the terrific Urbanautica Magazine  and working on his fine art photography.

Images from Los Angeles

Los Angeles, 2011In the Fall of 2011 I drove from
Rochester, NY to Los Angeles. where I spent three weeks working on the
first part of a long-term project. This isn’t the project.

When I left for my trip, I brought along about two dozen cheap disposable cameras. My intent with these was to make pictures that went against my normal formal style, and to make pictures that could most resemble pure documentation.

These pictures were made on the streets and highways of Los Angeles, as I drove around looking for places to make pictures.

Elaine O’Neil and Julia Hess: Mother Daughter, Posing as Ourselves

Documenting our lives is a complex task. We bring our own perspectives to family dynamics and often times the participants are presented in ways that are not completely authentic. This is not the case with photographer Elaine O’Neil, who made the brave committment to photograph herself and her daughter Julia, every day for five years, using a 4×5 camera and the living room window. The project: Mother Daughter: Posing as Ourselves is now a monograph and an exhibition, currently on view at the Griffin Museum’s Stoneham Atelier Gallery running through May 20th. This project has been featured at the Smithsonian American Art Museum, at Haverford College in Haverford, PA, at the University of the Arts in Philadelphia, and at the School of Visual Arts and Sciences Gallery at the Rochester Institute of Technology, Rochester, NY.

September 9, 1993

The production of her book has an interesting history: ” I submitted our book proposal about the time [Cary] Press Director, David Pankow, was developing a research project centering on the challenges surrounding the accurate reproduction of fine art, silver halide black and white photographs. What I perhaps didn’t state clearly enough is that this project concerned the challenges of making digital replicas, or facsimiles of photographs. During testing and printing, the digital reproduction of every image in the book was measured against the highest quality silver print that I could make. When a print from the book and a silver print, matted to hide the substrate, are set side by side – no one has been able to tell which is which.

This processes is unique to this book. It was determined that it is impracticable, if not impossible to use it as a consumer printing process. The book can be ordered from Amazon or from the publisher, Cary Graphic Arts Press.”

Elaine has exhibited widely and her work can be found in many public and private collections. She also is a noted educator who has lectured and taught in Brazil, England, Israel, Australia, and throughout the United States. She currently teachers graduate fine art at the Rochester Institute of Technology in New York.

September 18, 1993

Mother/Daughter: Posing as Ourselves: In preparation for the phase of life my ten year old daughter, Julia was about to enter, I began to read about the experience of adolescent girls in our culture. In the work of Carol Gilligan and other researchers at Wellesley College’s Stone Center, I found the clearest description of the compelling, unmentioned issues of adolescence—loss of voice, loss of identity and loss of connection.

September 22, 1993

My counter to culture’s effect on Julia’s self-esteem was to create a project which would allow Julia to present herself as truthfully as she wished, while fostering our sense of connection. I suggested, and Julia agreed that for one year we would meet for a few minutes every day in front of the honoring presence of the camera to make a portrait of ourselves. One end of the living room was converted into our studio, with the windows overlooking the backyard garden serving as our the backdrop. The windows were chosen for their graphic pattern, and a middle sash which would serve as a gauge of Julia’s growth. More important was the reference to a specific landscape allowing nature to serve as a metaphor for the impending change in our relationship and in my definition of mother.

January 21, 1994

Ultimately we met in front of that window for five years, until Julia decided that her 16th birthday was the day upon which the project would end. We rarely discussed how we would pose, choosing to remain independent by relating to the camera. The result is 1,800 photographs in which as Susan Stoops, then curator at the Rose Museum at Brandeis stated, “Julia participated fully, demanding her space and the maintenance of autonomy in order to present herself as she wished.” What is also revealed is my need to reassert my autonomy and to reclaim an identity outside of the persona of mother.

March 5, 1994

INTERVIEW with Elaine (Mother)

What were the best and worst parts of creating this project?

I really can’t think of a worst part. I was shocked the day I processed the picture we took on April 13, 1996. When I peeled the Polaroid negative and print apart I saw a picture of my relationship with my mother rather than the one (I thought) I had with my daughter. We rarely discussed anything before we took a picture and I couldn’t remember then, and don’t remember now, what was going on that day or how we got into the pose. But we all think we are so different from our mothers and it is always a shock when one is reminded of how much we are like them.

Second, I was a bit worried when at 15 Julia said she would only pose one more year. By then I couldn’t imagine how life would be when one was not making a picture every day, and wondered how it would alter our relationship. As it turned out, 16 was the perfect age to stop because it is really the age when Julia became engaged with her world beyond the family.

The best part is that it fulfilled one of the original intentions for doing the project. It created a point in every day during which, no matter what else was going on, we did something together which was unique to our relationship.

March 28, 1994

Did this working relationship create a deeper personal relationship between you both?

I don’t know if it created a deeper relationship, but it maintained the relationship we had developed in Julia’s first 12 years while we both were changing.

A second reason I proposed to the project to Julia was my reading about the changes imposed upon girls between the ages of 10 and 13. It is during that stage that they learn to distrust themselves and to deny who they truly are.

In my research I learned that for girls it is a continued relationship with their mother which is crucial to becoming self-actuated women. I was working 60 hours a week, she had her life, and we could have been proverbial ships passing in the night if we didn’t make time to reinforce our relationship.

August 14th, 1994

Have there been any insights that you have realized after the work was created?

The first is understanding that both of us were committed to being as honest as we could in front of the camera. At one point while editing for the book, I got about half way through the images we had chosen and I stopped cold wondering how we ever did this. Until that moment I did not know how powerful a body of work Posing As Ourselves is or how much we had both been willing to reveal. At times I am still amazed by it.

The second is perhaps a reaffirmation of the truth that relationships are sustained by the little things, the daily rituals, the moments forgotten as soon as they happen. When I look at the work now, I understand Julia and I in a completely different way that I would have if I had only pictures of the cultural rituals of Birthdays, Christmas, Halloween and Easter. I don’t think I can explain it any more clearly – all I can say is that it is that I am so happy that we did it and how we did it.

There have been two surprises:

Everyone who sees the work wants to discuss their family – the woman at the copy shop, that man installing the air conditioning, my students, peers, my Representative to Congress.

The work is not gendered. Men and women want to talk about their relationships with their children, or their parents, or their siblings.

October 31, 1994

INTERVIEW with Julia (Daughter)

What were the best and worst parts of creating this project?

In terms of the actual work that was required to complete this project, I have to give all of the credit to my mom and dad. While the project was happening I feel like I was allowed to flit in and out of the picture whenever we decided to take it on a given day. Which was maybe a good thing in that it somewhat reinforces the idea that we were able to come to the picture free to express whatever emotion we were feeling at that moment. But once that moment was done it was my mom that took on the task of organizing and storing the photos, developing, my dad did a lot of the printing. In putting the book together it was again my parents that did so much of the legwork, although I was definitely part of the collaboration when it came to which pictures my mom and I wanted to include.

So I can’t really think of a worst part. There were days that I remember I did not feel like having my picture taken, and I think that comes through in my body language or expression. But as corny as it may be, without those bad days included the truth to the work, the “relateability” to the project would be lost.

The best part of the project I think is having those pictures to go back and look at. Although I can still remember the context for so many of them, what I was doing, why I posed that way, how I was feeling, and thus still have a memory associated with the project, there is still something about having a tangible object to look at that I like, and that adds something. Maybe it is as I discuss in the Epilogue of the book, that my memories of that time spent with my mother are those of an 11 to 16 year old, and as a result are totally concerned with myself. Having the documentation of the memories allows me to see not only myself but my mom as well, what she was doing, how she was feeling.

April, 13, 1995

Did this working relationship create a deeper personal relationship between you both?

Yes, although I know I did not realize it at the time. And even now I don’t know that I could articulate how it brought us closer or give examples. But speaking from the mindset of a teenage girl, it helped that I had a really great group of friends in high school that were really supportive of the project. They all thought it was very cool that I had parents who were photographers, and many of them have had their pictures taken with that camera. So I think that made it easy for me to readily accept the project as a part of my life, and a good part of my life at that.

Having worked on the book with my mom, and having participated together in the speaking engagements, openings and shows that the book has afforded us, we have been able to start a new phase of our relationship to one another as two adult collaborators. Although I have been an adult for a while now, my relationship to my mom is and has been one of a mother and her adult child. It has been a real opportunity to be in a situation where my mom and I see each other in a different way, and as a result are able to view and interpret the work in a different light.

October 15, 1995

Have there been any insights that you have realized after the work was created?

I think the two insights that I have had echo some of the statements that I have mentioned in the other two questions. First, one of the big realizations that I have as I look back at the work is that my relationship to the work has changed with my changes in age. While the project was going on, my first thought and concern when looking at the work was with myself. My eye was immediately drawn there, as I think any teenager’s would be with their own image. As I said in my artist’s statement, which I wrote about six months before the project ended (and I cringe as I go over the words of my 15 year old self) “I could say that this project is a meaningful part of the my life, but it isn’t. Maybe when I’m 30 it will mean more to me than it does now.” As a 15 year old I know that I thought 30 was an eternity away. Now, this year I’ll be turning 30 and my reactions to the images are very different. I think I am able to see the images as a whole – seeing not only myself, but my mom, the window, what is outside of the window. And I think my relationship with the work will keep changing as I get older and hopefully start to have children of my own.

Second, is that not only is my relationship to the work changing with time, but my relationship to my mom has changed as we have been working together on this project as collaborators and co-authors. I think that was an unforeseen consequence of the project on my and my mom’s part, but it has turned out to be an opportunity that I don’t think we would have ever gotten otherwise.

October 31, 1995

April 13, 1996

June 6, 1996

October 31, 1996

June 6, 1997

June 6, 1998

August 6, 1998

Thank you to Elaine and Julia for their sharing their personal insights.