A Woman's Place

The examination of personal identity inevitably leads to questions-the most common; of which is what enables the perpetuation of the self. What is necessary for some past or; future being to be you? But there are other questions of equal interest and importance.; Who am I? Am I myself because of my past, my present, or what I hope for in my future?; Or does my identity emerge from my personal relationships with others, or through my; personal environment and belongings? If I wake up at a different time, in a different place,; could I wake up a different person? Through photographs, prints, and text, I examine; identity, the relationships and bonds between people, individual experience within physical; space, the drama of domestic lives, the modem roles of women, and the ideals of physical; beauty. A common strand throughout all my work is the presence of narrative and nostalgia.

Copyright © Zuzaona Joanna Smolarkiewicz 2007 All Rights Reserved THE UNIVERSITY OF UT AH COLLEGE OF FINE ARTS SUPERVISORY COMMITTEE APPROVAL of a final project paper submitted by Zuzanna Joanna Smolarkiewkz This final paper bas been read by each member of the following supervisory committee and by majority vote has been found to be satisfactory. THE UNIVERSJTY OF UTAH COLLEGE OF FINE ARTS FINAL READING APPROVAL I have read the final project paper of ___ Z-uz=an=n=a~J~oa-n_n_a_S-m=o-l=a-rki-·~ew_ic_z __ in its final form and have found that (1) its format, citations, and bibliographic style are consistent and acceptable; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the Supervisory Committee and is ready for submission to the Graduate School. Date Approved for the Major Department Approved for the Graduate Council For my parents, thank you. TABLE OF CONTENTS ABSTRACT ............................................................................................. iv LIST OF IMAGES ..................................................................................... v ACKNOWLEDGMENTS .............................................................................. vii INTRODUCTION ..................................................................................... 1 BACKGROUND ....................................................................................... 2 Portrait of the Artist as a Young Woman .................................................... Goodbye New York City Hello Salt Lake City ............................................. 2 5 THE KITCHEN ....................................................................................... 6 HISTORICAL BACKGROUND ..................................................................... 6 Housewives and the Domestic Goddess .............................................................. Feminism and the Kitchen ..................................................................... A WOMAN'S PLACE ...................................................................... 8 9 9 CONCLUSION ...................................................................................... 14 SELECTED BIBLIOGRAPHY ................................................................... 15 INDNIDUAL IMAGES ........................................................................ 16-42 LIST OF IMAGES ~ Figure 1. The$1800 Corset/20x24/Chromogenic Print .................................................. 3 2. Beecher's Fn-ckles/20x24/Chromogenic Print ...................................................... 3 3. A whitedms on a dark dty/30x40/Silver Gelatin Pr ........................................ .4 4. Red RidingHood/30x40/Chromogenic Print .................................................. 5 5. Red Shoes/30x40/Chromogenic Print ........................................................ 5 6. Litt/,eMermaid/30x40/Chromogenic Print ........................................................ 5 7. katie, brookjyn,~/20x24/Chromogenic 8. jo/a, livorno,it~/20x24/Chromogenic Print .............................................. 11 Print. ............................................................... 12 9. beecher, brookfyn,newyork/20x24/Chromogenic 10. meredith, part's,france/20x24/ Chromogenic Print. ............................................... 16 11. fynn, newyork, newyork/20x24/Chromogenic Print. ............................................. 17 12. mika, warsaw,po/and/20x24 / Chromogenic Print.. ........................................ 18 13. brenda,bradenton,forida/20x24/Chromogenic Print. ............................................ 19 14. a/'9, brookfyn,newyork/20x24/Chromogenic 20 15. anna,san diego,ca4fornia/20x24/Chromogenic Print. ..................................... 21 16. anna,/.ondon, england/20x24/Chromogenic Print. ............................................... 22 17. (!Jana,brookjyn,newyork/20x24/Chromogenic 23 18. brenda,heberci!J,utah/20x24/Chromogenic Print .................................................. 24 19. ela,warsaw,po/and/20x24/ Chromogenic Print .................................................. 25 20. eva,salt lake ci!J,utah/20x24/Chromogenic Print. ....................................... .26 21. halina,warsaw,poland/20x24/ Chromogenic Print ......................................... 27 22. holfy,bradenton,forida/20x24/Chromogenic Print ....................................... 28 Print ...................................... Print. ............................................. Print. .................................... 13 23. Joanna,laftfYette, co/orado/20x24/Chromogenic Print ............................................ 29 24. katherine,losangeles,ca/i.farnia/20x24/Chromogenic Print ...................................... 30 25. lauren,heberci!J,utah/20x24/Chromogenic Print .............................................. 31 26. leah,salt lake ci!J,tttah/20x24/Chromogenic Print ........................................ 32 27. lit newyork, newyork/20x24/Chromogenic 33 28. maggie,brookfyn,newyork/20x24/Chromogenic 29. nicole,iroine,calffernia/20x24/Chromogenic Print .............................................. 35 30. ryan,brookfyn,newyork/20x24/Chromogenic 36 31. sarah,newyork, newyork/20x24/Chromogenic Print ............................................ 37 32. pani koluch,warsaw,po/and/20x24 / Chromogenic Print .......................................... 38 33. susan,brookfyn,newyork/20x24/Chromogenic 39 34. pani wilczynska,warsaw,po/and/20x24/ Chromogenic Print .............................. .40 35. zofta,warsaw,poland/20x24/Chromogenic Print ......................................... .41 36. Z!'zanna,salt lake ci!J,utah/24x20/Chromogenic 42 Print ............................................. Print .................................... Print ............................................ Print ...................................... Print ....................................... 34 ACKNOWLEDGMENTS I would like to thank my MF A Committee, Joe Marotta, Laurel Caryn, and Justin Diggle for their unwavering support and encouragement; my fellow graduate students for their valuable insight and criticism, especially Eva Jorgensen, thank you for being you and accepting me for me; the wonderful and patient ladies in the office Bridgett, Jenni, and Nevon; Elizabeth Peterson; The Graduate School; Geoff Wichert for his insightful review of A Woman'sPlace,Liz Greenberg for being available daily for my ranting and raving and for her editing; my loving and supportive family, Mom, Dad, Pawe4 Maciej, and Brenda; Oscar and Felix for demanding to be walked and reminding me to enjoy the simple things; Anna May and Anna Hunziker for loving me unconditionally and allowing me to really let loose; all the incredible women who inspired me and appear in the images of A Woman'sPlace,most of all Keith, I love you, thank you for your total support, with you I am always ''home". In loving memory of Brenda Audette. 1 INTRODUCTION We each have a self - an image developed over time. It is a mysterious fusion of ego, personality, and memory that everyone amasses between infancy and early childhood. Being completely personal, your 'self is also completely isolated and separate from every other 'self. Yet, if you saw yourself truly, you would no longer identify with this haphazard, ramshackle thing, your self. Io truth, every person is like a piece of gold. If you were a gold ring, you could say "I am a ring", but this is a temporary shape (your self-image). Io truth you are just gold - that is your essence, no matter how the shape changes. - Deepak Chopra The examination of personal identity inevitably leads to questions-the most common of which is what enables the perpetuation of the self. What is necessary for some past or future being to be you? But there are other questions of equal interest and importance. Who am I? Am I myself because of my past, my present, or what I hope for in my future? Or does my identity emerge from my personal relationships with others, or through my personal environment and belongings? If I wake up at a different time, in a different place, could I wake up a different person? Through photographs, prints, and text, I examine identity, the relationships and bonds between people, individual experience within physical space, the drama of domestic lives, the modem roles of women, and the ideals of physical beauty. A common strand throughout all my work is the presence of narrative and nostalgia. 2 BACKGROUND I was born in Warsaw Poland in 1979. My father's work brought us to the United States, Boulder Colorado specifically, a few years after my birth. My father loved the vast American landscape, and during the summers my parents would pack my older brother and me into the back of their tan hatchback Chevette, and drive cross-country from one national park to the next I don't remember specifically when my dad lent me his prized Pentax Super Program camera to use, I think it may have been when I was 13 years old and taking my first B&W photography class, but even now, 15 years later I still have and frequently use my father's borrowed camera. I became fascinated with documentary portraiture and the idea of discovering identity through the visual image at a very early age. In 1994 my older brother and I took a road trip together to California. On our drive home we were involved in a serious car accident Crushed in the accident was the front and left side of my face and worst of all, my developing ego. After my car accident I became obsessed with my altered image. In private I took photos of myself so I could examine the changes my features underwent after each surgery and with the passage of time. Having a difficult time accepting how "I" looked in photographs, I became interested in how others looked in photographs. I began taking portraits of those closest to me, the individuals in my life that influenced and nourished me emotionally. Portrait of the Artist as a Young Woman During my undergraduate studies I developed a particular interest in photographing my close female friends. At the time I had a group of friends who were intimately connected both geographically and psychologically. We all worked in various boutiques in the posh NoLita shopping district in New York City and a few of us attended Pratt Institute 3 and had met there. Our focuses were in different areas of the arts but we always helped each other by readily accepting the role of muse, model, technical assistant, and concierge. At the time I was intensely drawn to these individuals. I desired to reveal them simply and entirely in photographs. I wanted to examine and capture not only their physical beauty, but also their commanding sexuality, independence, confidence, and natural vulnerability. All of my portraits are subtle depictions of my emotions, not only in regards to my subjects, but mostly in regards to myself, at the time they were taken. Oscar Wilde once said, "Every portrait that is painted with feeling is a portrait of the artist, not of the sitter." Figure 1. The$1800 Corset Figure 2. Beecher's Freckles The image A whitedresson a dark dqy (fig.3) was taken in Brooklyn, in the backyard of an apartment building I was living in, on the morning of September 11, 2001. I spent the day functioning in a daze, confused and scared. It was the first time I ever shot with a large format camera, which bas since been one of my favorite formats to shoot with. The image really embodies the way I was feeling: disconnected, frightened, naive, and misplaced. 4 Figure 3. A whitedresson a dark dt!J My personal life changed drastically in the months following September 11th 2001. The changes were not directly related to the events of that day, but nonetheless emotionally heightened because of them. I inevitably came to a personal point of renewal. My work became an outlet for examining questions regarding the issue of identity as I felt that mine was beginning to seriously amend itself, or rather myself. At this time I also became fascinated with the ideal of the goddess and strong female archetypes. I was being exposed to and highly influenced by artists such as Sally Mann, Diane Arb us, Richard A vedon, Cindy Sherman, Nan Goldin, and Philip Lorca diCorcia. For my BFA thesis project I reread all of my favorite fairy tales from my youth. I chose to portray my closest friends as powerful, independent, and invulnerable representations of the classic heroines, who are frequently the victims of their circumstances. But mine were not, they were strong and independent, they didn't need a prince charming to set them free, they could free themselves. lo my version of Red furlingHood (fig.4)she 5 subdues the wolf by empowering her own sexuality instead of becoming a victim of the wolfs rapacious inclinations. In the image Red Shoes(fig.5) my subject has an expression of resignation indicative of the professional woman, she did what she set out to do and achieved success but now she is putting it aside and accepting the consequences in blood and in pain, but she still has her feet, she can still move on. As for the Little Mermaid(fig.6), not only has she chosen to keep her legs, she flaunts them at the viewer, reveling in them down to her bright red toenails. Figure 4. Red RidingHood Figure 5. Red Shoes Figure 6. Little Mermaid Goodbye New York City Hello Salt Lake City In 2005 I moved from the bright and noisy streets of New York City to the quiet and serene landscape of Salt Lake City. Moving across the country immensely affected my work. I have taken my subjects out of the constructed and commercially lit environment of a studio and begun to photograph them using available light amidst the clutter of their own personal environments. I have been examining the modem roles and identities of women by photographing myself as well as women whom I have close relationships with in their own personal environments. I want to present intimate and quiet glimpses into their private lives and surroundings in order to address our differences, our similarities, and especially our personal identities. What can we learn about an individual's character from their personal 6 surroundings and possessions? What does a subject's domestic environment reveal about them as an individual? TI-IE KITCHEN I have specifically chosen to photograph these women in their kitchens. Drawing on my abilities as a visual narrator, I present an intimate glimpse into the domestic roles and personal identities of modem women. I want to literally examine the statement "a woman's place is in the kitchen" and see how that defines the identity of different women today. Do we still embrace traditional domestic roles and what does that say about our personal identity? Even though women's rights have forever changed the relationship of women to society, and opened up endless possibilities for the roles of women within society, women still have the same fundamental roles: we are mothers, daughters, sisters, aunts, nieces, cousins, friends, lovers and caretakers. The question I ask is how do we, and can we, as modem women, find a balance between those fundamental roles and living the legacy of women's rights. HISTORICAL BACKGROUND In a domestic setting on an international level, women have been the primary food providers to the world. From infancy a child is fed and nourished from their mother's breast. Most of us had a mother who cooked for us. If not, we had a grandmother who did the job, or a stepmother, aunt, or female family friend or neighbor who stepped in when needed. Whoever may have cooked for us, more often than not, it was a woman who did the job. I 7 grew up in a household where the cooking was done almost entirely by my mother, with the exception of the occasional weekend morning breakfast. With three children and a full time job my mother made the time every evening to cook us a balanced meal. Dinnertime was extremely important to her, and no matter what was happening for each of us individually, every evening we would sit down to eat as a family. The role of woman as "nourisher'' was imbedded in my psyche. I personally feel an overwhelming need to cook for the ones I love. I have seen this need in other women in my life, but in few of my own age. I find that most women of my generation don't even know how to prepare a basic meal, nor do they believe that they should. Before the industrial revolution, there had been no questions about what women should be doing in the home. Eighteenth and early-nineteenth-century rural women weren't just baking apple pies; they were making bread and butter, clothing, candles, soap, medicines, and other essential materials for their family's survival. The pre-industrial rural home was a small manufacturing center, extremely demanding of its female workers. The pressure of home production left little time for the tasks that today are recognized as housework. Meals then were simple and repetitive, the cook unconcerned with the presentation and creativity of the food, just with its level of nourishment. The dawn of the industrial revolution in the early nineteenth century gave rise to the Market economy (Ehrenreich 157). Slowly wage labor began to replace agriculture as the predominant way of life. Men, women, and even children were drawn to towns and cities to work for cash rather than their families' immediate needs. However, regardless of the urbanization, industrialization, and war, throughout the nineteenth century 95 percent of married women remained at home (Ehrenreich 157). But their lives too were drastically changed as the traditional home crafts were now manufactured in factories. Cloth, candles, soap, and butter soon became things that most women bought rather than made. 8 House Wives & The Domestic Goddess The 1920's laid claim to the word "housewife". They were looking for a new version of the domestic ideal-something more democratic and innovative. This new ideal would not be the political activist or social reformer, but the housewife. Busy and efficient, she was both intellectually and emotionally engaged in her tasks. The housewife stood as a model for women of all economic and cultural backgrounds. Men could be bank presidents or coal miners, but all women could be housewives. This put more emphasis on the woman's role of being the good wife and mother. Her responsibility was to tie the family together. She was to keep herself beautiful for her husband, as well as entertain him with thoughtful and interesting conversation when he arrived home at night She would achieve this by participating actively in the community by attending certain social events and volunteering in charity organizations. Therefore, she had a dual role. Not only was she to concentrate on being a good wife, but also on taking care of the home. The ideal of the Domestic Goddess was bom. Popular culture in the twentieth century bound women, food, and love together. Society saw the preparation of food in distinct gendered terms. A woman cooking for her family was an activity symbolic of women's love. Women generated feelings oflove even from foods they did not cook, epitomized by the response wives and mothers got from heating up convenience foods. Culture and religion also have a large impact on defining a woman's domestic roles. In certain cultures around the world every woman's place is in the kitchen. In the family, the man is charged with the duty of being the leader of the family and the woman is assigned the duty of looking after the household. This duty is common throughout many modem cultures; however in some it is more constricting than in others. Many modem women find these cultural assumptions of women's roles suffocating. Some women I have met 9 throughout my life find the notion that a woman should cook for her family insulting and that in doing so she would be engaging in a subordinate domestic role. Feminism & The Kitchen Martha Rosler's 1975 performance based piece SemioticseftheKitchenis a landmark of feminist art This short black-and-white film begins with a stale fixed camera view of a woman in a kitchen. On a counter in front of her are a selection of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the utensil. In a mocking grammatology of sound and gesture, the woman and her tools enter and transgress the familiar system of everyday kitchen meanings. Rosler's slashing gesture as she forms the letters of the alphabet in the air with a knife and fork, is a rebellious gesture, striking through the "system of harnessed subjectivity" from the inside out. In this alphabet of kitchen tools, states Rosler, "when the woman speaks, she names her own oppression". Rosler's piece exposes the suburban kitchen to be a war zone where routine food preparation conceals the frustrations felt by women at being restricted to the home. I think of the kitchen as "my space" I personally feel free when I am in my own kitchen. My life is unpredictable and often I do not have the time to prepare a proper meal, emotionally this always brings me down. I feel best after I have cooked a good balanced meal and the kitchen is clean and a cup of tea is brewing, that is when I feel the least restricted. A WOMAN'S PLACE In comparison to Rosler's work mine is highly objective. I have altered nothing in the individual's environment; however the pieces do possess a resolute yet modest subjectivity. I have chosen what elements of the kitchen to show and how I present each individual woman in her environment. Through photographs of women in my life in their 10 kitchens I visually examine the ambivalence of contemporary attitudes towards domestic roles. I present intimate portraits of women in their domestic environments and how they have chosen to either embrace or discard certain fundamental domestic roles. For example if a women has children I often include them in the photograph, or if a woman's partner participates regularly in the household's kitchen rituals, that is portrayed in my image. I primarily photographed women of my own decade, living in different areas of the world. I am documenting different cultural assumptions of domestic roles and also the cultural prejudice sometimes associated with them. I have been able to photograph the different generations of women in my family, my mother, grandmother, aunt, and godmother to illustrate their influences, convictions, and personal adoption of domestic roles. I have used a variety of lighting and compositions to enhance and embellish the emotional projections of the subject. I have also once again become the subject of my own work-by inspecting myself in my own domestic environment through my photographs I am able to make the portraits of female domestic roles in my personal life complete. For this project I traveled to Poland, England, Italy, France, California, Florida, and Colorado. I also photographed women I have met in the past two years in Utah, and traveled to New York for two weeks to photograph all the wonderful women I grew close to over the eight years I spent living there. The completion of this research produced 30 intimate images of modem women from all walks of life, many different cultures, religions, and economic standings. I hope the viewer will become more aware not merely of our differences but also our commonalities presented through domestic life. Each image is a substantial interpretation of the subjects' conviction of her role as a woman as well as my own. As a group, these images are a varied look at the many different faces of modem women. 11 Although it may not be apparent to the viewer, each image is informed by my intimate knowledge of the subject, and therefore reveals something about each person portrayed. I have chosen to reveal that with which I most empathize and most readily recognize in each subject. In the image katie, brookjyn,1!)' (fig.7) the kitchen is almost unrecognizable, however the entire space photographed is the kitchen. Katie never eats at her apartment; she has a few cups, two bowls and plates, and one pan. Her fridge contains a few previously opened bottles of Poland Springs drinking water, one yogurt, two half empty Orangina bottles and approximately a half box of saltines. I chose to photograph Katie early in the morning while she was putting her makeup on before leaving for work. This is the only time each day she spends in her kitchen. Figure 7. katie, brookjyn,1!)' -12 Figure 8.Jo/a, livorno,ita!J The imageJolla,livorno,ita!J(fig. 8) is one of my favorites and one of the first I took for this series. Jolla is my godmother and I have always idolized her and her kitchen. To me, my godmother has always epitomized the ideal of the Domestic Goddess. She begins her day by making cappuccinos for her and her husband before he leaves for work. I don't know if it's part of her routine now, but when she was younger after breakfast she would attend an aerobics class and then sun herself on the beach for a short while. After returning home to shower and dress for the day she would ride her bike or walk to the local farmers market and purchase everything necessary for dinner that day. Theo she would return home and cook. She makes the most amazing Tuscan meals from scratch, even fresh calamari. I have watched in awe as she de-inks squids. Her husband is a Professor of Science at the 13 University of Pisa. Every evening they discuss his work, art, politics, or their grandson's latest high jinks while sipping port. I took many rolls of film of Jolla and had a difficult time deciding which image to finally use for the series. I chose this image because of the soft quality of light and the subtle glow which surrounds her as she passes by the open window. 1 feel the image embodies a certain elegance which she herself radiates. Realistically I know that her life is not perfect, but I wanted to capture her in a perfect moment as I have an ideal memory of her and her kitchen. Figure 9. beecher, brookfyn,newyork In the image beecher, brookfyn,newyork (fig.9) Beecher is framed by the boundary of her kitchen, highlighting the stark division of feminine and masculine space. The image is a 14 literal yin and yang. I originally was photographing Beecher in her kitchen without information pertaining to the rest of the apartment As an after thought I decided to shoot a few more images of her in the kitchen, but including her husband's tum table and skateboards. Beecher and her husband have been together for over twelve years, since she was sixteen years old. They have very distinct and separate personalities and identities, however their own personal identities are very much governed by their relationship with each other. Beecher would not be Beecher as I know her without Mike, so I feel that this image, including a lot of his identity, was the most affective in representing her identity. I can discuss my particular reasons behind each image in the series, why I shot it the way I did, what I chose to include of the subjects environment, what I chose to hide, but in doing so I would take something away from the viewer. Since I know all of the subjects intimately there are elements of their identities and personalities that only I can relate to as I am ultimately projecting my personal views of each individual subject. There is an element of mystery, discovery, and trespass that is inherent in any portrait, but all the more so in a portrait of a woman in her domestic environment. As Vermeer very well knew, there is a strong bond between a woman and her home that distances the outsider and makes it all the more compelling to an outside viewer. Such images are like a contextual puzzle, where the surrounding room, the furniture, the view from the window, the items of everyday life, gives clues to the woman among them. CONCLUSION We evaluate our selves through our everyday lives, through relationships between people or things that can be mundane as well as intensely intimate. Some things are irreversible; our pasts cannot be changed but the memories we have of our past may fade away or transform over time. I continuously question identity so I must continue to examine it. 15 SELECTED BIBLIOGRAPHY Avakian, Arlene Voski, and Barbara Haber Eds. FromBetty Crockerto FeministFoodStudies: CriticalPerspectives n Womenand Food.Massachusetts: University of Massachusetts Press, 2005 Ehrenreich, Barbara, and Deirdre English. For Her Own Good:Two CenturiesoftheExperts' Advice to Women. New York: Anchor Books, 2005. Fishburn, Katherine. Womenin PopularCulture.Connecticut: Greenwood Press, 1982 Hollows, Joanne. Feminism,Feminimty,and PopularCulture.Manchester: Manchester University Press, 2000. Inness, Sherrie A. CookingLessons:The PoliticsofGenderand Food Maryland: Rowman & Littlefield, 2001. KitchenCulturein Ameni:a:PopularRepresentations ofFood,Gender,and Race. Pennsylvania: University of Pennsylvania Press, 2001. DinnerRoles:American Womenand CulinaryCulture. Iowa: University of Iowa Press, 2001. McFeely, Mary Drake. Can She Bake a CherryPie:American Womenand theKitchenin the Twentieth Century.Massachusetts: University of Massachusetts Press, 2001 Schenone, Laura. A ThousandYears Overa Hot Stove:A HistoryofAmerican WomenTold Through Food,Recipes,and Remembrances.New York: W.W. Norton & Company, 2003. Scott,Joan Wallach. Genderand the PoliticsofHistory.New York: Columbia University Press, 1988 Shapiro, Laura. SomethingFromthe Oven:ReinventingDinnerin 1950'sAmerica. New York: Penguin Group, 2004. ► 16 Figure 10. meredith,pans, france 17 Figure 11. /ynn, newyork, newyork -18 Figure 12. mika, warsaw,po/and 19 Figure 13. brenda,bradenton, jlorida ... 20 Figure 14. a/fry,brook/yn,newyork 21 Figure 15. anna, san diego,california 22 Figure 16. anna, london,england 23 Figure 17. (!Jana,brook!Jn,newyork 24 Figure 18. brenda,heberciry, utah 25 Figure 19. ela,warsaw,po/and 26 Figure 20. eva,salt lake ri!J,utah 27 Figure 21. halina,warsaw,po/and 28 Figure 22. ho//y,bradenton, Jlorida 29 Figure 23.joanna, laft:Jette,colorado 30 • ' Figure 24. katherine,losangeles,california I 31 Figure 25. lauren,heberciry, utah 32 Figure 26. leah,salt fake city,utah 33 Figure 27. lit newyork, newyork 34 Figure 28. magg,ie, brookfyn,newyork 35 Figure 29. nicole,irvine,califarnia 36 Figure 30. ryan,brookfyn,newyork 37 Figure 31. sarah,newyork, newyork 38 Figure 32. pani koluch,warsaw,po/and 39 Figure 33. susan,brookfyn,newyork 40 Figure 34. pani wilczynska,warsaw,po/and 41 Figure 35. zefia,warsaw, po/and 42 Figure 36. z.!izanna,salt lake ci!J,utah