AC_1965_Web

80 AN T I OC H CO L L E G E C L A S S O F 19 6 5 5 0 t h A N N I V E R S A R Y B O O K A B C D E F G H I J K L M N O P Q R S T U V W X Y Z K A P L A N lifted me beyond my dreams. I also fell in love with his three young chil- dren—whom I subsequently raised. The “children” are flourishing: Eric (vice president of a restaurant con- glomerate), Michael (doctor), Lisa (State Department, married to a Congressman, mother of three), and our fourth, Dana (prison reform – currently with the de Blasio adminis- tration).A father and husband whose family came first, his influences on his children can be gleaned. He was a cook and a psychiatrist, followed politics and had a strong sense of so- cial injustice. Somewhere along the way I be- came a photographer with work in the collections of The Metropolitan Museum and The Museum of Modern Art from which I acquired a lifetime membership—nice. I had always loved the old photographs of my parent’s previous life of min- ing camps in South America—my mother holding a rif le beside my father on horseback—evidence of other worlds—unknown but seduc- tive. I purchased a camera to photo- graph Istanbul and back in NewYork I took some classes and tried out the trends of the day: street photography, family as subject, documentation of the art world, but what inexplicitly grabbed me was making portraits. And here is where Antioch comes in again. In my fifth year two events took place that had an im- pact because I did not understand The Clan: Michael and Beth’s wedding 2013 on Nantucket. Eric and Jenny, Dana, Lucy and parents Lisa and Brad; Susie Jarrell, mother of Peggy who is quoted as recently saying “ I was very surprised that you picked Antioch,” Peggy holding Naomi, Michael holding Molly and Beth, and Bob. the new cultural changes they repre- sented: one was my introduction to a “happening,” which was mounted on campus; and the other was at- tending a small luncheon with Susan Sontag and Kenneth King,anAntioch student who became a dance artist in New York. I was baffled and not so happy with what I took to be an assault on my affection for the tradi- tional arts of the past. But the mem- ory stayed with me and photography became a tool to understand what I first did not. In the ’80s, I began to make por- traits of the Judson Church Group, similar to the “Happenings” from that day—the beginning of my life- long series of portraits of choreo- graphers who explore new dance forms, from Merce Cunningham to Pina Bausch. I’ve had rich expe- riences, shared with my husband, exhibiting my photographs in nu- merous dance festivals around the world. In a lovely twist of fate, my portrait of Lucinda Childs is in- cluded in a recent film about Susan Sontag. I feel that I finally caught up with Antioch’s spirit of experimen- tation, and that there was more of Antioch in me than I realized. Again at a crossroads: My hus- band died of cancer in March. His loss runs deep. Last trip—Johannesburg, Demetrius, Dana and Bob.