NEW YORK AND A GIRL
Paweł Leszkowicz
featuring
Aneta Grzeszykowska
Ada Karczmarczyk
Eva Rubinstein
curator
Agata Jakubowska
LEVEL 0
Work in progress
On level 0 Izabella Gustowska presents her artistic manifesto related to the
project showcased on the remaining floors of the gallery.
In her presentation, the artist uses a virtual reality headset. Constantly
improved by a range of companies, the device serves to immerse us in
a virtual reality, where we can experience with our own eyes and ears
everything that is unavailable to us in the real world. Wearing the headset,
Izabella Gustowska reads out her manifesto, a text devoted to the problem
of memory – its excess and its lack. The second screen shows the inside of
the virtual reality goggles and the images that the artist is seeing. Combined
with the visual content, the words pronounced by Gustowska offer her own
definition of virtual reality – understood not as alternative worlds created
by designers, but worlds built of images that the artist has retained in
memory and imagined.
I suggest a broader application of the notion of virtuality – to memory (and other forms
of imagined, phantasmic images) in action. The main sense is already suggested
by its etymology: the word “virtual” comes from the Latin noun virtus and at one
point meant “the power of acting without the agency of matter” (Webster’s Third
New International Dictionary, 1993), while “virtual” were things “inherently powerful or
effective owing to particular natural qualities” and “capable of producing a particular
result” (Oxford English Dictionary (online), 2nd ed., 1989). In view of the above,
although memory consisting of memory-images is immaterial, it is nevertheless able
to influence the meaning of a particular image that is being crystallised in perception,
that is its interpretation, to construct its field of influence expanded to include traces
of other images, memories, or narratives. This virtual work of memory in the process
of perception finds its visual realisation in the works of artists who take it into account
as an element of seeing, and at times it becomes their main object of interest. As
a result, the work of memory on the one hand materialises in the text of interpretation,
on the other, in the visual substance of the artwork that allows this virtual dynamics
of time and image to be at least partly manifested. [...] This kind of varied layering
of memory in its collective-individual entanglement constitutes the main theme of
intermedia projects of Izabella Gustowska
[Filip Lipiński, “Figurations of Memory in the Virtual Field of Art (History)”, RIHA
Journal 0113, Special Issue “Contemporary Art and Memory”, December 2014]
The virtual reality goggles project the images of New York City and the women
the artist met there. It is less of a narrative story about them, than an affective
projection – a dynamic collection of a plethora of images retained from that
city by the artist’s memory, but also those seen before, which return now to
the consciousness triggered by mental links. The artist spent several months
in New York in 2013. Gustowska came to the city owing to a scholarship of the
Kościuszko Foundation to carry out her project The Case of Josephine H...
Several years ago Izabella Gustowska became interested in the American
painter Edward Hopper (1882–1967). The period between 2008 and 2012
brought two new projects – The Case of Edward H... and The Case of Iza G... – in
which the artist offered a visualisation of her reception of Hopper’s paintings.
The painter’s works became intertwined with film images that came to the
artist’s mind under the influence of those paintings (The Case of Edward H...);
they were also combined with film footage of Gustowska appearing in a space
that resembled the space in Hopper’s paintings (The Case of Iza G...), thus
underscoring the already signalised private dimension of the reception of art.
At the Art Stations, the artist carries out a virtual performance in which she
establishes a slightly different relation with Hopper. Gustowska covers an
enlarged reproduction of his painting Summertime (1943, 74x112cm, Delaware
Art Museum) with black paint. Her peculiar dialogue with the painter betrays
an iconoclastic character, but the radical gesture is not aimed at the real
object-painting, but at a copy that represents it in the individual memory and
in the art historical narrative. The function of this gesture is to eclipse Edward
Hopper and make room for his wife – Josephine Hopper, as well as for other
women.
Josephine Verstille Nivison (1883–1968). Born
in Manhattan. In 1904, she graduated from the
Normal College of the City of New York (today’s
Hunter College) and worked for many years as
a teacher at public schools. At the same time,
she received training in fine arts at the New
York School of Art, among other institutions.
The artist gradually developed her career in
drawing and painting, as well as acting (since
1915 in the Washington Square Players troupe).
She met Edward Hopper in 1914 at the school;
later, she sometimes saw him at art colonies
in New England, where she used to spend
the summer. In 1923, they developed a closer
bond and married one year later. Her identity as an artist and actress was
gradually diminished by the identity of a painter’s wife and model. Josephine
Hopper posed as the female figure in nearly all Hopper’s paintings, including
Summertime. Instead of her own works, which have largely gone missing, it is
her portraits painted by her husband that have been preserved until the present
day. She donated her few remaining works alongside her husband’s estate to the
Whitney Museum of American Art where they have largely gone missing.
Even though Josephine Hopper was the reason why Izabella Gustowska
arrived in New York, the city where the Hopper family lived and worked, it was
not only her traces that the artist followed – Gustowska also observed young
women living in the city and wondered which of them could be the modernday
incarnation of Josephine. New York became the actual place where the
artist resided and, at the same time, the backdrop for a phantasmal encounter
of lots of creative women. The exhibition New York and a Girl intertwines
phantasmal and real spaces. The interface between the two is served by objects.
For instance, a HAT. It was bought by Gustowska in one of New York’s secondhand
shops because it was very similar to a hat worn by the woman in Hopper’s
painting Automat (1927). Therefore, it could have belonged to Josephine, and
in this work it is worn by the protagonists of Izabella Gustowska’s new project.
LEVEL 1
Things
Izabella Gustowska documented her work on The Case of Josephine H... in the
form of an a specific diary. In 2014, it was published in book form – Hybryda
[Poznań: Fundacja 9/11 Art Space]. This diary features in this exhibition as
an installation that comprises short films, objects and works made both by
Gustowska and invited artists.
Besides its intermedial nature, the unique character of the artist’s diary results
from Gustowska’s use of third person singular to talk about herself – both in
the text and in the film. In the former, an unspecified narrator conveys her
thoughts and sensations. In the latter, the camera shows her at work: filming,
browsing through found or created footage, talking to the Josephines.
Travelling around New York, the artist often visited places connected with the
Hoppers, such as Washington Square, portrayed in the painting Summertime.
But it was Westbeth that became a special space, which incarnated in
Gustowska’s eyes the “other side of the mirror” from Lewis Carroll’s novel.
Located in West Village in Manhattan, it is a building from the end of the
19th century which since the end of the 1960s has been home to a non-profit
organisation that offers apartments and studios for artists and spaces for
artistic associations at affordable prices.
Piotr Korduba, art historian from the Institute of Art History at Adam
Mickiewicz University in Poznań, spent several months in 2015 living in
Westbeth. Korduba recalls: The table in the apartment of Halina (67) and Peter
(80) Warren is neatly covered with stoneware manufactured in Bolesławiec, used
to serve chicken curry. Halina lays huge silver tablespoons with the faded initials of
her ancestors and tarnished stamped Cyrillic letters into bowls. The tablespoons
are from the region of Vilnius, like her landed gentry ancestors (the Gieysztor and
Borowski families), one of whom helped to rebuild Gdańsk after World War II. Halina
was active as a painter, a jewellery maker, she lived in a hippie commune, worked as
a film production assistant. She came to Westbeth as Peter’s wife. Even though they
met half a century ago, they officially tied the knot only a few years ago. Peter has
Slovakian origins, and like Halina he was born to an immigrant family. A musician,
it was he who arrived at Westbeth. Peter played jazz with various superstars; he
released a record with Tomasz Stańko. Another dinner guest is Gaja, a 95-year old
photographer from Croatia. Her husband was a reporter. They travelled extensively
across the world, he was the writer, she was the photographer. Gaja has no family
in the US and remains surrounded by her caring neighbours at Westbeth, who look
after her according to an agreed schedule. They decided she simply could not go
to a nursing home. Gaja is not entirely with us this evening, but she pats Halina’s
hair. When Halina asks her if she’s fine at Westbeth, Gaja kisses her hand. Asked if
she would like to go back to her apartment, she cries: “What for?” and quickly adds:
“is there anyone who wants to go home?” Gaja enjoys spending hours in Halina’s
apartment and watching films about birds. She finds their images recorded on
camera exciting and she makes lively gestures while speaking to herself in Croatian.
If Gaja is not watching films about birds, she likes listening to music. When she
doesn’t like the music, she protests strongly; she prefers pop which makes her hands
dance. Her memory is brought back to life for a brief while by photographs of people
with their names added by Halina on labels. After the meal, Peter lights up a joint. He
talks about the Chelsea Hotel, laughs at Patti Smith, recalls the Gramercy Park Hotel
and the parties that went on there.
[Piotr Korduba, “Nowojorskie Westbeth, czyli dom starego hipstera”, Wysokie
Obcasy, supplement to “Gazeta Wyborcza”, 19th of September 2015]
Apart from permanent residents, some of the apartments are used by
scholarship holders. In 2013, Izabella Gustowska became one of them. Her
studio provided one of the meeting places for the contemporary incarnations
of Josephine.
A major reference for Gustowska’s project is Judy Chicago’s work The Dinner
Party. Judy Chicago (b. 1939 in Chicago) pioneered feminist educational
programmes in the US, initially at the Fresno State College (1970/1971), and
later at the California Institute of the Arts. Between 1974 and 1979, she created
The Dinner Party (Brooklyn Museum, New York), an installation devoted to the
history of women. Thirty nine women, recognised as being the most important,
have their own seats at a table in the shape of an equilateral triangle, while
the names of nine hundred ninety nine more are written on the platform
(Heritage Floor) that supports the table. Each place setting comprises a richly
embroidered napkin and a plate-sculpture that rests on it. The artist completed
the work assisted by numerous female volunteers.
To a certain extent, Gustowska pursued a similar goal: to oppose the process
of erasing women from history; in this case, erasing Josephine Hopper from
the history of art. Like to the art historian Gail Levin, the artist is working
to restore Hopper in the collective memory. Yet, for Gustowska, it is merely
a starting point for her elaborate reflection on the fate of women and their
work, the (im)possibility of developing their creative potential, and (un)
fulfilment. Like The Dinner Party, the exhibition New York and a Girl is
a meeting spot for different women. Yet, the main point is not to recognise
their achievements through what appears an objective evaluation, as is the
case in Judy Chicago’s work. Gustowska does not invite women recognised
in the history of culture, but simply those who attract her interest: the
artists that fascinate her, both contemporary and older, actresses and the
characters they play, friends, students, collaborators. Both the prominent
and unknown women encountered by Gustowska in New York and drawn
into her project share the same status. As opposed to The Dinner Party,
a work that clearly marked the division between the recognised women, who
became part of the work itself, and those who only received a marginal note
(in the accompanying publication), in Gustowska’s work all women become
equal. In The Dinner Party, the highlighted women were given their own
space demarcated by the platform. Here, women appear in films forming
part of video installations that absorb the viewer into their own sphere.
Both the films and the gallery space are immersed in a delicate violet glow,
which unites all the elements and points at their common origin: the artist’s
memory and imagination. Another integrating factor is the mechanical voice
that pronounces all the names, allowing them to resonate in the exhibition
space and intensify the presence of the women.
Ada Katz, the wife of Alex Katz, who often
portrayed her, as the woman in a cap. His
paintings, whose reproductions appear on
POSTC ARDS available at museum shops,
became the inspiration for a range of film
scenes shot by Gustowska in New York
with several contemporary incarnations
of Josephine, among them Danielle Brewer.
These images featured in the exhibition poster.
Ada Karczmarczyk, graduate of the Academy of Fine Arts in Poznań (today’s
University of Arts), creator of the film American Girl (2010). Among other
shows, the work has featured at the exhibition The Eighth Day of the Week
at the 13 Muses Gallery in Szczecin, curated by Gustowska. Like Gustowska,
Karczmarczyk is interested in blurring the boundaries between reality and
film, fact and fiction, authenticity and pose. In this video, the word “pose”
refers to stereotypes that concern life in New York, a model the artist pursues.
Antonina de Lodi, the alter ego of Izabella Gustowska, creator and protagonist of
some of her works, such as The Case of Antonina L… organised at the Wozownia
Gallery in Toruń in 2012. The split personality of a character, which undermines
the consistency of identity is one of the motives in The Case of Iza G…
Audrey Hepburn, the star of Funny Face (1957) and other films. Izabella
watches the film with Naomi. Together, they ride to the top of the Empire
State Building, whose popular outline is a motif on many souvenirs, including
CHRISTMAS bau bles.
Cindy Sherman, the artist who created Untitled Film Stills (1977-
1979), sixty nine black and white photographs made mainly in New
York, soon after Sherman moved into the city. In the cycle, the artist
incarnates characters portrayed in film stills from non-existent films.
Aneta Grzeszykowska is the artist behind Untitled Film Stills, 2006 (three
photographs from this series are shown in the exhibition), a work that recreates
Sherman’s cycle in colour featuring Grzeszykowska as the protagonist. Like
Gustowska, Grzeszykowska reveals her interest in piling up layers of mutual
references between images and the meaning of this process for identity.
Diane Lane singing “Am I blue” in Cotton Club (1984), a song Sari listens to
while sitting on the train, like Josephine Hopper portrayed in her husband’s
painting Compartment C, Car 293 (1938), and reading a book lit with a LAMP.
Diane Arbus, American photographer. Her family owned a department store
on the Fifth Avenue which specialised in furs, and the artist initially pursued
a fashion photography career working in a duo with her husband. Their older
daughter Doon sometimes posed for them. The work of Arbus has been an
object of Gustowska’s fascination for a long time, including, among other
works, her intriguing portraits, such as those of twins, for instance the famous
portrait of Cathleen and Colleen titled Identical Twins, Roselle, N.J. 1967.
Gustowska has been intrigued by the phenomenon of twins for a long time, an
interest that became manifest, among other works, in her film Relative features
of similarity (1980), which portrays her models Wichna and Hanka.
During the final period of her life, Diane Arbus lived in Westbeth, where she
eventually committed suicide. There, she ran workshops in photography,
attended by Eva Rubinstein, among other figures, who created one of the late
PORTR AITS OF ARBUS during a workshop exercise. Rubinstein recounted:
It was pouring rain that morning – the morning I arrived at Westbeth. Diane
was ready for me, dressed in those, low-lung, black leather pants and black top
she often wore. She seemed harried but then she always seemed harried to me.
She said she had an appointment at the dentist, so be quick about it. [...] And, of
course, she knew how to pose after all those years of shooting fashion models
– she struck exactly the right angle, and she was poised and cool. The session
didn’t take very long.
[Patricia Bosworth, Diane Arbus. A Biography, New York: Knopf, 1984, p. 302.]
Effie Parine, the heroine of The Maltese Falcon (1941), one of the films whose
scenes (here: telephone conversation) become intertwined with fragments of
Hopper’s paintings (here: Solitude, 1944 depicting a seemingly empty HOUSE)
and shots that portray the artist situated in such a setting.
Gail Levin, American art historian living in New York. Author of Edward
Hopper’s biography [Edward Hopper. An Intimate Biography, Rizzoli 2007] and
other BOOKS devoted to the painter, as well as texts about Josephine Hopper.
Levin dedicated her biography of Judy Chicago to Josephine Verstille Hopper and
all erased women-artists. Her biography of Hopper comprises many excerpts
from diaries penned by his wife Josephine, which were used by Gustowska in
this project.
Izabella Gustowska, artist behind the exhibition New York and a Girl. Between
1967 and 1972, student at the State Higher School of Visual Arts (currently
the University of Arts in Poznań). Professor. Lectures at the Faculty of
Multimedia Communication of the University of Art (Studio of Performative
and Multimedia Activities), and at the Faculty of Graphic Design of the School
of Humanities and Journalism in Poznań. Lives and works in Poznań. During
her stay in New York, Gustowska had her PORTR AIT taken on the street, which
she later compares with Josephine Hopper’s SELF-PORTR AIT.
Judy Garland played Dorothy in The Wizard of Oz (1939). The pink stilettos
abandoned by Antonina in The Room of Antonina L... are reminiscent of her
red shoes.
Kathryn Crosby, one of the actresses in Anatomy of a Murder (1959). The
PontiaC driven by the protagonist of the film creates a connection with
Hopper’s painting Western Motel (1957).
Krystyna Piotrowska, artist, Izabella Gustowska’s friend; together, they
organised a range of exhibitions titled Reflections.
Sari Caine standing on the Queensboro Bridge as if she wanted to commit
suicide. For Iza G. this scene is like the opening of Mercier Pascal’s book Night
Train to Lisbon, which sparked her interest in Hopper.
Meredith A. Watson, one of the modern-day incarnations of Josephine.
Sylvia Plath, one of the artists who have fascinated Izabella Gustowska for
a long time. In 1953, Plath was an intern in the editorial office of “Mademoiselle”,
where she typed letters to her family and friends.
Level 2
Where is this girl?
Kate Tenetko, Chantez Carter, Telma Bernardo, Danielle Brewer, Naomi Bell,
Izabella Gustowska, Abigail Classey, Meredith A. Watson, Clarise Jensen,
Sari Caine, Sofia Lund, Ciara Griffin.
The eleven women who participated in Izabella Gustowska’s project The Case
of Josephine H... and the artist herself. Each of them holds her own place in
a frieze formed by a sequence of projections. Each of them has their own
story, but these stories converge at a number of points, which on the one hand
highlights the uniqueness of each of the participating women, but on the other
hand, raises the question of the similarities between their life stories.
All the women meet in spaces that reconstruct the settings of Hopper’s paintings,
where they impersonate Josephine. Their images are accompanied by excerpts
from Josephine Hopper’s diary.
But he came to feel sex,
swimming, French are his domain – Painting... too
I’ve been crowded out of that too – almost
But I’m ready to fight
9 July 1942
[Josephine Hopper, in: Gail Levin, Edward Hopper. An Intimate Biography, New
York: Rizzoli International Publication, 2007, p. 354.]
These excerpts from the diary offer an insight into her emotions and the
way the painters’ marriage functioned. Swollen with sadness and frustration,
they express an utter lack of fulfilment. The words that resonate in this hall
come from different spots. It seems that each of the contemporary Josephines
repeats a fragment of Josephine Hopper’s text as if she shared her fate. Thus,
the focus of attention shifts to the dimension of the artists’ life that pertains to
their relations with loved ones, the space for creative work or the lack of such
space, acting (or refusing to act) in a role chosen by someone else.
and wives
we must remember,
why artists’ wives lose.
Women are hungry, hungry for life
they sometimes put the self to sleep, this is their comfort,
sometimes they sacrifice themselves for other people, frustrated, they lose even more.
It’s good that she’s not anyone’s wife,
she’s for her own self,
that can sometimes be painful,
but the bottom line is positive
[Izabella Gustowska, Hybryda, Poznań: Foundation 9/11 Art Space, 2014]
Throughout the project, Gustowska remains one of its protagonists. In this
installation, the comparison she makes between herself and Josephine Hopper
is more straightforward than on the lower levels of the gallery. Her relation
with the modern-day incarnations of the American artist is more complex.
On the one hand, she stands with them in one row, and the projection that
concerns herself is situated among their projections. Gustowska points at
a similar problem that they have to face. On the other hand, she is clearly
distinct. Working on The Case of Iza G..., the artist situated herself in the
space of Hopper’s paintings, for instance, she repeated the pose of 68-year-old
Josephine from Morning Sun (1952), sitting on her own bed. In this installation,
the bed in the studio in which Gustowska lived at Westbeth becomes the place
where all the contemporary Josephines appear in a sequence, but it remains
empty during Gustowska’s own projection. The artist remains the one who
observes. This fact pertains both to the situations that she arranged and those
captured by chance. Her observations and imagination materialise in the film
in the modified colour layer, among other aspects. Unreal colours imply that
what we see are not necessarily the things seen by the camera, but those kept
by Gustowska in her memory – her imagined vision of what it could look like
or what it would look like in different circumstances.
Since the end of the 1970s, Izabella Gustowska has observed creative women
and created spaces for their art. She organises exhibitions (initially alongside
Krystyna Piotrowska) where women artists of various generations showcase
their works. They are her peers, predecessors, younger fellow artists. Women’s
Art (1980), Presence III (1992), The Eighth Day of the Week (2011) are some of
the shows created by Gustowska. They function as landmarks of the artist’s
consistent activity for the sake of women engaged in creative practices, which
seems to be underpinned by care for the potential of self-fulfilment. Like the
installation presented here, the latter exhibition gathered works by the curator
of the show and young artists. Both projects result from Gustowska’s fascination
with womanhood woomanhood that is active, creative and brimming with
energy, and the women whose creative lives are only beginning to blossom.
Sometimes, it appears as if Josephine Hopper has been made equal to her
modern-day incarnations. Yet, this does not mean that they are about to
follow her fate, but rather opens up its inherent possibilities. On the one hand,
Gustowska proposes to view contemporary women through her prism – full
of fondness for their activity coupled with uncertainty about their chances to
develop. From the same perspective, the artist looks at herself, her own life,
both personal and artistic. On the other hand, the attitudes represented by the
women of New York have an impact on the way Josephine Hopper is perceived.
Her poses frozen in her husband’s paintings come alive in Gustowska’s film.
Their dynamics are built both by the characters of many of the women (lively
conversations, joyful jumps) and the way they are portrayed. Josephine was set
free from the frames of Edward’s paintings, as well as, at least in part, from the
story about a miserable woman. Her young incarnations make it possible to
imagine her again facing the choice she made. To simply see her as a creative
woman living in New York.
Izabella Gustowska is one of the main artists who represent video art in Polish culture.
This is the well-known part of the story, but let us look at the hidden part, the unspoken, like
the words that are whispered, nearly losing articulation in her hallucinatory multimedia
spaces. In contemporary art, the artist belongs to the representatives of those tendencies
that relate to the affirmation of humanism and subjectivity. This situation seems at odds
with the means of expression that Gustowska employs, the so-called new visual and
electronic media, television screens and projections, which many contemporary cultural
critics accuse of a dehumanising and alienating impact. In Gustowska’s art, the video
camera situates external reality amidst the mental life. Thus, it contradicts the distancing
effect of visual technologies. Using tools that are characteristic of mass media, the artist
practices intimism and carries out a the mental retrospection that concerns not only
herself. Her projections are open to fantasies and allow the other to exist.
[Paweł Leszkowicz, “Medialne introspekcje”, in: Izabella Gustowska. Life is a Story,
exhibition catalogue, National Museum in Poznań, 2007, p. 82]
In this case, this openess pertains to all the women involved, but also to the
viewers. The woman from the final shot, repeated in all projections, can be
understood as a sign that reveals which of the female characters is believed
by the Artist to be the closest to Josephine Hopper. Yet, this question remains
unsolved and the woman from the final scene also functions as a figure through
whom everybody can enter this space of imagination. The clock hanging above
the entrance to the gallery measures the time that passes in the real space, thus
underscoring the viewer’s suspension between reality and virtuality.
Text: Agata Jakubowska – curator of the exhibition New York and a Girl.
Graduate of the Institute of Art History of the Adam Mickiewicz University in
Poznań (1995), where she works as an associate professor. Jakubowska has
written abundantly about Polish artists (such as Alina Szapocznikow, Natalia
LL, Maria Pinińska-Bereś, Ewa Partum, Magdalena Abakanowicz). Lives in
Warsaw. Works in Poznań and Warsaw. Jakubowska mainly lectures and
writes, she is occasionally active as a curator.
On level 2 in “Where is this girl?” fragments of Izabella Gustowska’s film
The Case of Josephine H... (2014) are used, together with photography by Izabella
Gustowska, Carlos Amaral Baptista, Yunus Shahula, fragments of film music by
Patryk Lichota and quotes from the diary of Josephine Hopper from the book
by Gail Levin “Edward Hopper. An Intimate Biography” Rizzoli International
Publication, NY, 2007.
The Case of Josephine H... (2014) 50”
PERFORMERS
Josephine H…
Naomi Bell, Telma Bernardo, Annelise Bianchini, Danielle Brewer, Sari
Caine, Chantez Carter, Abigail Classey, Tamara and, India Daley, Ciara
Griffin, Izabella Gustowska, Clarice Jensen, Sofia Lund, Kate Tenetko,
Meredith A. Watson
Edward H…
James K. Fulater, Claudio Brovedani Nuti
DIRECTION AND SCREENPLAY
Izabella Gustowska
PHOTO GRAPHY
Yunus Shahul, Carlos Amaral Baptista, Izabella Gustowska
EDITING
Adam Draber
COLOURISING
Maciej Twardowski
MUSIC AND MASTERING
Patryk Lichota
PRO DUCTION
Maira Shakhanova, Muriel Moraes, Keren Seol
The film uses quotes from the diary of Josephine Hopper taken from the book by Gail
Levin “Edward Hopper. An Intimate Biography” Rizzoli International Publication,
NY, 2007.
The project has been organised as part of the Campus Project administrated by culture.
pl, Polish Cultural Institute, New York, Samorząd Województwa Wielkopolskiego.
The project was carried out during a Kościuszko Foundation scholarship visit to New
York in 2013.