 Thank you so much. It's such an honor to be here amongst the artists and for such a great event, historic event. I'm going to just share with you some of my photographs. It's very difficult for me to talk about my work and the meaning of my work. It began as an outlet or a replacement for verbal communication and I use photography as a means to interpret moments. This is the image that is displayed. It's titled, I Look Just Like My Daddy. It was shot on a rooftop in Williamsburg in 2004 of a subject she goes by the name of Cully. Photography is something which at its very best is immediate seemingly unpredictable and inspiring. I respect and admire photographers who are more controlled in their picture taking. This though is contradictory to my process. Can you hear it in my voice? I've been investigating female experience that reflects my own. I sort of look at the process of picture-making as a form of psychoanalysis or a string of Freudian slips. I have to relinquish control and just respond and in that process, if lucky, I discover these fundamental and insignificant moments which initially seem arbitrary and inconsequential. This is an image taken from a story that was published in a fashion magazine. I approached the editor with with the goal of, I guess, publishing a story and the means for that to happen as I pitched it as a fashion story. So I was able to cast these band of characters and kind of use mainstream commercial medium to get my images out there. This is Isabelle. Unlike most of the subjects that I photographed, she actually approached me in and requested that I photograph her and she sent me pictures of herself and I was very inspired by her. So it was a wonderful experience. These next two pictures were shot at a 4th of July party. Kate Hardy is an artist. She's a woman on the right. She has this annual mud-wrestling party. And it's on 4th of July because she believes it's a dirty holiday. This next picture titled Twins is part of a different series titled It's the Immaculate series and I sought out female-headed families and then it actually broadened to just single-sex headed families. This is my favorite picture of the series because it really addresses the ideal of acceptable public behavior for women and what's deemed appropriate for public space versus private space and what's considered appropriate. Through this experience of photographing these families, I was really discovering how creative the process it is for these families and how there's such a lack of model, a family model for these individuals or these families. So it really became quite apparent to me how how narrow our definition of family is. Interesting, this family which is they used the brother-in-law's sperm which initially would seem quite complicated. But this family was so incredible and inspiring. I had such a great time with them and the uncle slash biological father lived on the block over so they were just really close and he had his biological children or his actual children and they visited while I was there and it just was quite amazing and the son that's being held up in the back he was very verbal on how to him it wasn't confusing at all. This finally is a series called JD's Lesbian Utopia and it started in New York and we traveled from New York to Los Angeles through the south visiting gay and lesbian RV camps. I was invited to accompany JD and we invited a few friends. JD's the woman in the red shirt and she began as the hero of this project and it evolved into somewhat JD it her excuse me her her role in the project it kind of evaporated so she really just became a symbol of freedom and self-definition and with them we were able to there's such a difference between just the other parts of the country that I've I've experienced and I grew up in Los Angeles and I moved to New York so it's um quite extreme and you know there were the five of us kind of penetrating these these environments and and it was really obvious to us the impact that we were making in these environments and how we were being perceived In this particular project the RV contained our world and this world was defined by us and it was interesting because we although it was it was just us it was still not free of the sexual and gender politics that exist in the mainstream world um That's it On my way here my girlfriend She showed me the New York Times article. I don't know if any of you have read it yet but it's pretty funny because this morning I was listening to npr and there is um a segment on Judy Chicago and how her work was received 30 years ago and the New York Times wrote a piece on how it was obscene and it was not art and then It was detailed to them being brief and then 30 years ago, which takes us today. There's a new New York Times article referring to this body of work as non-art and that feminism Is although a movement it is not it's not a body. It's not a move an art movement and um And they were they referred to Judy Chicago this time as the only jewel in the crown and it's It's just um reaffirming how 30 years later the um backlash Is just as strong and it's rooted in just as much judgment and subjugation. So I think that's all I have to say if there's any questions Oh Yes, I mean it's amazing when the when we first started discussing this project and what it was going to look like um JD was like we're going to go to gay and lesbian RV camps and the rest of us were like really There are so and there are so many and they're all over the country and internationally. There are so many so I mean Our our v was a self-contained lesbian traveling kind of Utopia or community and then we would infiltrate these communities and we There are set, you know through this experience. We learned that socially there's such a huge difference between The gay RV camps and the lesbian RV camps and the segregation that exists that was so profound and it really quite um mimicked the segregation that exists on a larger forum and the the prejudice that exists. So unfortunately, um, it was quite Illuminating to find out that we are we we possess all of the judgment and fear that exists on a larger scale, so No, we started in in new york and we Oh Yeah It's not that they weren't friendly. I think that people in all communities and all races really um Are protective of their space and we really want to create um a sacred space so we have the liberties and freedoms to express ourselves and not feel the gaze Of another culture or race or sexual identity. So I think that's the core of it. It's our own Fear of being I mean, I can't speak for everyone, but I know for myself when I'm in Um a space that is designated just for women It has such a different charge than a co-ed space and it really Enables Me to express myself More freely It's true It's a I mean, it's true. And I mean, I I don't know. I mean animosity. I'm sure in some respect, but it I know that there are um when we got to a gay male campground You know, we were brought in and we were told like this is really a male campground and they're tolerating us being there and We're and we're welcome to be there, but um a lot of people have issues about mixing so It um and I you know, I went to a I went to a single sex college and I I understand where that comes from, you know, I could I have that Appreciation for a space being designated for women or a space being designated for men and it and unfortunately you want to believe that all gay people are You know united, but um There's a there's a fundamental difference on how we You know spend our extracurricular time awesome No more questions I think it's recreational vehicles It's um, this is the inside of the RV. That's the the back end It's like a 33 foot massive Gas guzzling Oh, yeah, I mean I it's embarrassing how much gas we went through and yes mom. Do you have a question? Oh That's not a question with me Thanks so much