Summertime


These pictures were taken on a small lake in Northern Wisconsin with a lens extender that did not belong on the camera.
I was experimenting. Wouldn't you know it...I loved what was captured in the camera. That is the good news...the bad is that when I tried to replicate the feel of the images again with the lens extender, I couldn't. So it goes.


This work will be exhibited at the Wallspace Gallery in Ottawa, Canada this coming month. More details to follow on my website.
I am off to San Miguel Allende in Mexico with the annual Frontera Grill staff trip. Looking forward to shooting my heart out!
More on that when I return.
Happy Fourth of July!

On Milkweed and Summertime


It is finally here.
What a welcome time of the year. I have, for the past 5 years, been trying to plant milkweed in my back yard in an attempt to attract monarch butterflies, which feed exclusively on that plant. I have transplanted the actual plant, the seeds...you name it. What a surprise it was when I discovered 4 plants that poked their heads up thru the dirt. I had totally given up on the possibility!
Funny how that happens...you try and try and then let go....THAT IS WHEN THE MAGIC HAPPENS!

"The Fringe Benefits of Failure, and the Importance of Imagination"

J.K. Rowling's Commencement Speech at the Annual Meeting of the Harvard Alumni Association is truly inspiring....enjoy!

"What I feared most for myself at your age was not poverty, but failure.....

....So I think it fair to say that by any conventional measure, a mere seven years after my graduation day, I had failed on an epic scale. An exceptionally short-lived marriage had imploded, and I was jobless, a lone parent, and as poor as it is possible to be in modern Britain, without being homeless. The fears my parents had had for me, and that I had had for myself, had both come to pass, and by every usual standard, I was the biggest failure I knew.

Now, I am not going to stand here and tell you that failure is fun. That period of my life was a dark one, and I had no idea that there was going to be what the press has since represented as a kind of fairy tale resolution. I had no idea how far the tunnel extended, and for a long time, any light at the end of it was a hope rather than a reality.
So why do I talk about the benefits of failure? Simply because failure meant a stripping away of the inessential. I stopped pretending to myself that I was anything other than what I was, and began to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at anything else, I might never have found the determination to succeed in the one arena I believed I truly belonged. I was set free, because my greatest fear had already been realised, and I was still alive, and I still had a daughter whom I adored, and I had an old typewriter and a big idea. And so rock bottom became the solid foundation on which I rebuilt my life.

You might never fail on the scale I did, but some failure in life is inevitable. It is impossible to live without failing at something, unless you live so cautiously that you might as well not have lived at all - in which case, you fail by default.

Failure gave me an inner security that I had never attained by passing examinations. Failure taught me things about myself that I could have learned no other way. I discovered that I had a strong will, and more discipline than I had suspected; I also found out that I had friends whose value was truly above rubies.

The knowledge that you have emerged wiser and stronger from setbacks means that you are, ever after, secure in your ability to survive. You will never truly know yourself, or the strength of your relationships, until both have been tested by adversity. Such knowledge is a true gift, for all that it is painfully won, and it has been worth more to me than any qualification I ever earned.

Given a time machine or a Time Turner, I would tell my 21-year-old self that personal happiness lies in knowing that life is not a check-list of acquisition or achievement. Your qualifications, your CV, are not your life, though you will meet many people of my age and older who confuse the two. Life is difficult, and complicated, and beyond anyone’s total control, and the humility to know that will enable you to survive its vicissitudes.

You might think that I chose my second theme, the importance of imagination, because of the part it played in rebuilding my life, but that is not wholly so. Though I will defend the value of bedtime stories to my last gasp, I have learned to value imagination in a much broader sense. Imagination is not only the uniquely human capacity to envision that which is not, and therefore the fount of all invention and innovation. In its arguably most transformative and revelatory capacity, it is the power that enables us to empathise with humans whose experiences we have never shared.

One of the greatest formative experiences of my life preceded Harry Potter, though it informed much of what I subsequently wrote in those books. This revelation came in the form of one of my earliest day jobs. Though I was sloping off to write stories during my lunch hours, I paid the rent in my early 20s by working in the research department at Amnesty International’s headquarters in London.

There in my little office I read hastily scribbled letters smuggled out of totalitarian regimes by men and women who were risking imprisonment to inform the outside world of what was happening to them. I saw photographs of those who had disappeared without trace, sent to Amnesty by their desperate families and friends. I read the testimony of torture victims and saw pictures of their injuries. I opened handwritten, eye-witness accounts of summary trials and executions, of kidnappings and rapes.

Many of my co-workers were ex-political prisoners, people who had been displaced from their homes, or fled into exile, because they had the temerity to think independently of their government. Visitors to our office included those who had come to give information, or to try and find out what had happened to those they had been forced to leave behind.

I shall never forget the African torture victim, a young man no older than I was at the time, who had become mentally ill after all he had endured in his homeland. He trembled uncontrollably as he spoke into a video camera about the brutality inflicted upon him. He was a foot taller than I was, and seemed as fragile as a child. I was given the job of escorting him to the Underground Station afterwards, and this man whose life had been shattered by cruelty took my hand with exquisite courtesy, and wished me future happiness.

And as long as I live I shall remember walking along an empty corridor and suddenly hearing, from behind a closed door, a scream of pain and horror such as I have never heard since. The door opened, and the researcher poked out her head and told me to run and make a hot drink for the young man sitting with her. She had just given him the news that in retaliation for his own outspokenness against his country’s regime, his mother had been seized and executed.

Every day of my working week in my early 20s I was reminded how incredibly fortunate I was, to live in a country with a democratically elected government, where legal representation and a public trial were the rights of everyone.

Every day, I saw more evidence about the evils humankind will inflict on their fellow humans, to gain or maintain power. I began to have nightmares, literal nightmares, about some of the things I saw, heard and read.

And yet I also learned more about human goodness at Amnesty International than I had ever known before.

Amnesty mobilises thousands of people who have never been tortured or imprisoned for their beliefs to act on behalf of those who have. The power of human empathy, leading to collective action, saves lives, and frees prisoners. Ordinary people, whose personal well-being and security are assured, join together in huge numbers to save people they do not know, and will never meet. My small participation in that process was one of the most humbling and inspiring experiences of my life.

Unlike any other creature on this planet, humans can learn and understand, without having experienced. They can think themselves into other people’s minds, imagine themselves into other people’s places.

Of course, this is a power, like my brand of fictional magic, that is morally neutral. One might use such an ability to manipulate, or control, just as much as to understand or sympathise.

And many prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are. They can refuse to hear screams or to peer inside cages; they can close their minds and hearts to any suffering that does not touch them personally; they can refuse to know.

I might be tempted to envy people who can live that way, except that I do not think they have any fewer nightmares than I do. Choosing to live in narrow spaces can lead to a form of mental agoraphobia, and that brings its own terrors. I think the wilfully unimaginative see more monsters. They are often more afraid.

What is more, those who choose not to empathise may enable real monsters. For without ever committing an act of outright evil ourselves, we collude with it, through our own apathy.

One of the many things I learned at the end of that Classics corridor down which I ventured at the age of 18, in search of something I could not then define, was this, written by the Greek author Plutarch: What we achieve inwardly will change outer reality.

That is an astonishing statement and yet proven a thousand times every day of our lives. It expresses, in part, our inescapable connection with the outside world, the fact that we touch other people’s lives simply by existing.

But how much more are you, Harvard graduates of 2008, likely to touch other people’s lives? Your intelligence, your capacity for hard work, the education you have earned and received, give you unique status, and unique responsibilities. Even your nationality sets you apart. The great majority of you belong to the world’s only remaining superpower. The way you vote, the way you live, the way you protest, the pressure you bring to bear on your government, has an impact way beyond your borders. That is your privilege, and your burden.

If you choose to use your status and influence to raise your voice on behalf of those who have no voice; if you choose to identify not only with the powerful, but with the powerless; if you retain the ability to imagine yourself into the lives of those who do not have your advantages, then it will not only be your proud families who celebrate your existence, but thousands and millions of people whose reality you have helped transform for the better. We do not need magic to change the world, we carry all the power we need inside ourselves already: we have the power to imagine better."

‘The Fringe Benefits of Failure and the Importance of Imagination’, may be found at this link.

More Thoughts....


Just finished lunch and came upon this quote on my tea bag from Eugene Delacroix..."Artists who seek perfection in everthing are those who cannot attain it in anything."

I would also like to share a conversation John Hyde Preston had with Gertrude Stein that is part of an anthology called The Creative Process (edited by Brewster Ghiselin)...When Stein speaks of writing, you can substitute that word with whatever it is that you are doing creatively.

"....if you will write without thinking of the result in terms of a result, but think of the writing in terms of discovery, which is to say that creation must take place between the pen and the paper, not before in a thought or afterwards in a recasting. Yes, before in a thought, but not in careful thinking. It will come if it is there and if you will let it come, and if you have anything you will get a sudden creative recognition. You won't know how it was, even what it is, but it will be creation if it came out of the pen and out of you and not out of an architectural drawing of the thing you are doing. Technique is not so much a thing of form or style as the way that form or style came and how it can come again. Freeze your fountain and you will always have the frozen water shooting into the air and falling and it will be there to see____ oh, no doubt about that____but there will be no more coming. I can tell how important it is to have that creative recognition. You cannot go into the womb to form the child; it is there and makes itself and comes forth whole...and there it is and you have made it and have felt it, but it has come itself...and that is creative recognition. Of course you have a little more control over your writing than that; you have to know what you want to get; but when you know that, let it take you and if it seems to take you off the track don't hold back, because that is perhaps where instinctively you want to be and if you hold back and try to be always where you have been before, you will go dry."

Interesting to ponder....

Fareed Zakaria's Commencement Speech

I heard Fareed Zakaria speak at the Oberlin College Graduation. It was very inspiring...if I can find the entire text, I will add it. Until then, here are a few excerpts.....also, he is hosting a new weekly news international CNN/US and CNN/International show that airs for the first time this Sunday at noon EST. Given his commencement speech, it should be a very worthwhile show.

"Do what you love....

So if I have any lesson from my career, it is to stay open to exploration and discovery. And I don’t mean that just in a professional sense. I mean that personally too. Don’t block off the unfamiliar. Stay open to new people, new ideas, new experiences, new possibilities, new cultures, new ways of doing things, and you will grow, in your mind and in your heart. These new things may come from anywhere: from a professor, a poem, a child, a colleague, a New York cab driver. Yeah, even that guy, who had the energy and ambition to travel 6,000 miles, and is working 16-hour days and knows two languages — well, three if you count English — he has something to teach you. You can learn something from anyone.

It is easier to stick with the road well traveled and to close yourself off to something that is strange or unsettling. It may even be the right path for you. But stay open to the possibilities out there. For countries and for people: stay open, and you will grow stronger and more resilient.

If you want to make a good life, human beings will probably respect and reward those talents that they have always honored — intelligence and hard work, discipline and cooperation, honesty and courage, and perhaps above all, love and faith and hope. If you can embrace these qualities of mind and spirit, people will honor you as they have honored men and women for thousands of years."

Giving Help with a Smile

I am usually a hands on creative but there are times when one just doesn't have the right equipment or knowledge.
I had the pleasure of working with Mat Lombardi today from The Pixelmint. He couldn't have been more helpful, pleasant or knowledgeable. If you are in Chicago and need photographic "stuff" done, give him a call.

Happenings in Oberlin

Just returned from a short trip to Oberlin, Ohio. Lots happening there! Visited the Allen Memorial Art Museum and saw the Chris Jordan exhibit, Running The Numbers. Very important work for our times, as is Brian Ulrich's of Chicago. It makes you reflect on our consuming culture.

Also, thought I would share the work of Marie Barnett, an artist who has a lot to say about artmaking...here is her artist statement and a few images of her work..

R e s i l i e n c e :

1. an ability to recover readily from change, depression, adversity, misfortune, or the like
2. the capability of a strained body to recover its size and shape after deformation caused especially by compressive illness or stress

My work in Resilience is inspired by the healing and therapeutic qualities of art and art-making. I am on a constant search for the essence and spirit of emotions, and how they translate into the process of creating and seeing art. All processes and changes we experience are embedded with intangible feelings that often lead us on a search for unknown answers to profound questions. Within these processes I see beauty and a sense of wonder that can make even horrible things, such as the decay from disease or illness, whether it be physical or mental, appear spectacular. I am interested in the ways our body and mind experience and observe these changes, and how we respond to them and create within them a space or image that comforts us and answers our questions. Creating an identity or entity for these intangible processes, whether it is for cancerous cells or a depressive episode, is a critical aspect of the healing process.
How do we define a personal illness in visual terms? How do we perceive process, and healing? What transformation results from a journey of growth, decay, and their healing? My work aims to not necessarily answer these questions, but form an outlet and visual solution for navigating and interacting with these inner experiences.
M a r i e B a r n e t t

Cinco de Mayo


In observance of Cinco de Mayo, the day that Mexico declared its independence from mother Spain, I will be giving a short talk at Morton College on my Mexico portfolio, part of which is on exhibit there. If you are in the area, please stop by. The reception will be at 2pm.

Report from Chicago's Artropolis



Here is a photo of my "Treatment Room" installation. Many thanks for all who helped with the final realization of this project. If you are in Chicago, please stop by to see me in booth # 8-5113. There was a nice article written about the installation in the Pioneer Press papers.....and an essay by Karen Sinsheimer, Curator of Photography at the Santa Barbara Museum of Art.

Rooms with a View to Healing
April 24, 2008
BY MYRNA PETLICKI Contributor for Pioneer Press

The psychiatrist's office may be a haven of healing for patients, but to those who have never been in therapy it's a place of mystery. Evanston social worker and award-winning photographer Jane Fulton Alt opens the doors to that world in "The Treatment Room" at Chicago's Merchandise Mart.

Alt's installation consists of a three-sided enclosure furnished like a therapist's office, including a Kleenex box. Lining the walls are photographs of Chicago-area psychiatric offices. The prints are small so that viewers must come close to see them. That seems appropriate in a setting designed for examination.

All of the photos are anonymous -- no faces are visible. You see waiting rooms, and treatment rooms with couches, comfortable chairs and, of course, those Kleenex boxes, but each office has unique aspects. One has a light box for patients affected with seasonal affective disorder. Another's bookshelf includes an anthology of poetry and works by Plato.

Collaborative work
"In some ways, this show is a little bit of a collaboration," Alt said, noting that her husband is a psychiatrist. "We've talked about it together and he has been very supportive."

The majority of the images were taken at psychiatrists' offices in Chicago, although there are photos of Alt's office, too. She is transporting her office furniture to the installation.

Alt, who has worked as a social worker for 35 years, began doing photography about 18 years ago. "When my youngest daughter reached first grade, I started taking classes at the Evanston Art Center in the different arts," Alt said. She wasn't immediately drawn to photography, though.

"I used to think that photography was for obsessive-compulsive people. I didn't understand it," Alt admitted. Then she began to see that photographic images could be powerful.

"It was easier for me to have access to what I wanted to say with a camera," Alt said, adding, "not that it was easy. It's never easy. You have to go through a lot of different renditions to get it right."

And Alt gets it right a lot.

An exhibit of Alt's photos of New Orleans following Hurricane Katrina, called "Look and Leave," was held at the DePaul University Art Museum in 2006.

"I think she's got an incredible eye," said art museum assistant director Laura Fatemi, who also praised the composition and clarity of Alt's images. "At the same time, there's sort of a mood that's captured in them, particularly with the Katrina pieces."

Documenting disaster
"After Katrina hit, I ended up volunteering as a social worker to go down there," Alt related. Working with the U.S. Department of Health and Human Services, she was assigned to a program called "Look and Leave."

"I went with people back to their homes for the first time, in the Lower 9th Ward," she said. "Because I was so overwhelmed with what I saw, I decided I needed to photograph it. Those images are some of the more powerful ones I've done."

Fatemi has seen the images in Alt's "The Treatment Room." "Again, it's a very timely topic," she said, adding that Alt is once more melding her social work with her photography. "That combination is a winner," Fatemi said.

Alt, who has taken photography courses at Columbia College and the Art Institute of Chicago, indicated some reservations about bringing her work life into her photography.

"I feel a little vulnerable because it's so out there," Alt admitted. "There are some images where I'm both the patient and the therapist." On the other hand, she said, "I feel really positive about the field, and I think the pictures reflect that."

'THE TREATMENT ROOM,' AN INSTALLATION BY PHOTOGRAPHER JANE FULTON ALT
Chicago Atropolis' The Artist Project, Booth No. 8-5113, 8th f loor, Merchandise Mart, Chicago. 6-9 p.m. Thursday, 11 a.m.-7 p.m. Friday and Saturday, 11 a.m.-6 p.m. Sunday and 11 a.m.-3 p.m. Monday, April 24-28. $20 one day pass, $25 multiday pass.

Essay by Karen Sinsheimer
Curator of Photography
Santa Barbara Museum of Art

If the all too-familiar piles of dated magazines and the nondescript chairs and lamp weren’t a give-away, the pleasant poster on the wall announces that the viewer is in a waiting room. It is the first image in Jane Fulton Alt’s powerful series, “The Treatment Room,” in which she visualizes the experience of being both client and clinician in pursuit of unlocking the secret spaces in an individual’s mind.

The myriad psychiatric offices Alt pictures are at once benign, banal, predictable…there is the proverbial couch…and homey, with a comforter and tissue box at the ready. Images of the appointment book and desk, the telephone and ever-present clock, along with books and lint rollers, orchids and ornaments, suggest nothing out of the ordinary. But the identities of the humans present are concealed, portrayed only by gestural postures and details that reveal who is patient, who is therapist. The sense of secrecy and intimacy builds as one realizes that these rooms contain and protect longing, anguish, cruelty, disappointment, yearning and hope.

These are powerful places indeed and Jane Fulton Alt’s images suggest the inherent tension, companioned with the feeling of safe haven, that these spaces – and the clinicians – offer.

Go Fly a Kite...


Kites have always held a special place in my heart. The last photographs I made in Burma in 1999 were of children flying kites...a truly uplifting experience given the oppressive political and social climate of the country.
I also explored death and dying through hospice with CITY 2000.I was consumed and overwhelmed with the subject matter and marched into the office to announce my intention to quit.
Rich Cahan, the director, urged me to remain and suggested I photograph Chicago's Annual Kite Flying Festival on the south side.
I did and it was a truly wonderful counter point to hospice.
I suppose my Visitations work addresses a similar asthetic. Anyway...I was running an errand yesterday and heard the most wonderful story on NPR. "While working for the U.N., Patrick McGrann observed how bureaucracy and distance make it difficult to help people in troubled countries. He decided that in addition to needing jobs and stability, people in war-torn and poor areas also need to have fun.
On one of his trips home, Patrick met someone who had a great passion for kites. That meeting led to the founding of the Kite Gang. He tells Dick Gordon that children in refugee camps and their families face constricted opportunities; teaching them how to make kites can earn them some money and allow them to have fun at the same time." Click HERE to hear the story...learn more about The Kite Gang.

The Treatment Room is Coming to Chicago!


I will be exhibiting THE TREATMENT ROOM at Chicago's Artropolis' satellite show, The Artist Project.
THE TREATMENT ROOM is a photographic exploration depicting Chicago area psychiatric offices which will include an installation of my office.
So please, if you are in the area, stop by and say hello.
I will be on the 8th floor of the Merchandise Mart in booth # 8-5113.
Here is a link to a free complimentary pass to the exhibit.
Dates and Hours:
Thursday, April 24 6 pm – 9 pm Preview Opening
Friday, April 25 11 am – 7 pm
Saturday, April 26 11 am – 7 pm
Sunday, April 27 11 am – 6 pm
Monday, April 28 11 am – 3 pm

Women Thrive Worldwide


Just received an email about upcoming local events from Women Thrive Worldwide,
a non-profit advancing economic opportunity for
women living in poverty across Africa, Asia and Latin America. Worldwide.
One billion people struggle to survive on $1 or less per day, the great
majority of whom are women. If you are interested in attending the Chicago area events or finding out more,
please check out their website.