Tragedy into Strength

Tsering Tsomo reporting from India

By adopting a realistic approach to problems, His Holiness the Dalai Lama said one can transform tragedy into strength no matter how big the obstacle is. “With a calm mind, we see reality more clearly but a disturbed mind destroys inner peace because it cannot utilize human intelligence properly,” His Holiness said. “The enemies, the destructive emotions, are inside you and only you can destroy your inner peace.”

Defining happiness as the state of deep satisfaction, His Holiness said happiness can be achieved on sensorial as well as mental level. Even animals experience sensorial satisfaction which is physically-attuned and therefore short-lived. But human beings can achieve a deeper, genuine sense of satisfaction on the mental level by using human intelligence.

Sometimes listening to devotional music or looking at holy images provide sensorial satisfaction that complement the deeper practice of attaining deeper satisfaction on the mental level, said His Holiness.

He said he has always found the image of Mother Mary carrying a baby (?) in her arms as a very powerful symbol of compassion, love and kindness. Once when he was on a pilgrimage to visit a small Mary statue in Fatima, His Holiness had a very profound experience. “We were coming back after holding a silent meditation and for no apparent reason I looked back and saw Mary’s statue smiling at me,” His Holiness said.

Different religious traditions whether theistic or non-theistic practice different methods to reduce extreme self centeredness or ego. Theistic traditions such as Christianity believe in total submission to God which in some ways reduce self-centered acts. Non-theistic traditions such as Buddhism and Jainism believe in the law of causality which essentially means cultivating positive Karma or actions to achieve long-term satisfaction. Buddhists believe that through positive actions, one can prevent future negative actions without relying on external factors.

Cultivating positive qualities of warmheartedness and a genuine sense of concern for other’s well-being has nothing to do with being a believer or a non-believer, His Holiness said. These are inner secular qualities necessary for a happy life, not some abstruse concepts of next life or heaven and hell, he added.

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AMERICAN PHOTO by David Schonauer

8x10 by karen kuehn in Joels Studio in NM

When asked about this picture of eccentric Albuquerque-based artist Joel-Peter Witkin, Kuehn said: "He wanted to be photographed between an image of God and an image of Satan. Does that mean he's in purgatory?"

Karen Kuehn: A Career Case Study

How one woman's quest for a simpler life led her to photographic purgatory and back again.

By David Schonauer

When asked about this picture of eccentric Albuquerque-based artist Joel-Peter Witkin, Kuehn said: "He wanted to be photographed between an image of God and an image of Satan. Does that mean he's in purgatory?"

Career paths are rarely straight lines, especially in photography. In the September/October issue of American Photo we looked at just how hard it is for photo assistants to successfully launch their own careers. In our November/December issue, we examine the careers of photographers who have made it big, but who, for one reason or another, are now overlooked or underrated. There are a hundred reasons why one talented photographer becomes a success and another, equally gifted, never quite makes it, or having made it can't hang onto it. You can explain it by talking about the vagaries of the art world, about bad luck or bad timing, or you can do what I often do and simply chalk it up to fate.

My favorite career stories are the ones with second acts. Recently I received an e-mail from photographer Karen Kuehn, whom I have known since the 1980s but in recent years had lost track of. That's because in 2002 she left a thriving career in New York City and moved to Peralta, N.M., a small town down the road from Albuquerque. My first encounter with Karen came when American Photographer magazine profiled three young shooters who were taking New York by storm. (She was one; the others were Chip Simons and a guy named Mark Seliger.) Karen was the crazy surfer girl (she grew up in Long Beach, Calif.) who rode her bike all around Manhattan, from her apartment on the Lower East Side to the midtown offices of magazines like Rolling Stone, for which she worked regularly. Her biggest gig was a 15-year stint shooting for the New York Times Magazine. "That really put me on the map," Kuehn says.

Then life got in the way of her career. A single mother, she decided to leave New York. Her old friend Simons had already opted for a different lifestyle by moving his family to New Mexico, where he established a solid career. So Kuehn headed there also. " I needed to raise my son in a place where I could work and have him rooted in an earthy place," she says. "That's what I traded for -- a new home where my kid would ride bikes with his friends and swim in irrigation ditches."

But the price was steep, she admits. "I am by no means making any money here," Kuehn says. "I have chickens and fresh eggs every morning, but getting fresh photo assignments is a struggle when you live in the middle of nowhere." In photography, an industry that seems to get more competitive every day, it is easy -- very easy -- to become forgotten. Kuehn told me how one young photo editor greeted her at a meeting: "She said, 'I know your pictures, but I don't know you."

These days, happily, Kuehn is getting known again. She's been working on a spectacular new personal project -- portraits of New Mexican artists. The highlight of the project, she says, was shooting Albuquerque-based artist Joel-Peter Witkin.

"I met him a few years ago and tried to shoot him, but he was difficult and tried to control everything," says Kuehn. "Then I met him again recently at a wedding, and his wife Barb had him make up with me. His house isn't at all what you might expect from someone who makes the kind of images he does. It's like your grandma's house -- warm and friendly."

The shoot, which took place in late September, went well, reports Kuehn -- even if Witkin maintained a controlling presence. "He wanted to be photographed between an image of God and an image of Satan," says Kuehn. "Does that mean he's in purgatory?" On reflection, the photograph is an entirely appropriate depiction of an artist who leapt to the height of fame by creating visual allegories about life, death, and the states of being that exists between the two. "I didn't take this picture; Joel basically directed it," says Kuehn. "I was his gift to me."

The mark of a brilliant portraitist is to recognize when the gift is of real value. Kuehn, having spent her own season in photographic purgatory, has been around photography long enough now to know how to accept the gift graciously. "After all that's happened, I think I value photography more now than I ever did," she says. "I don't just want to do it; I need to do it."

A POEM FOR ALL WOMEN

PHENOMENAL WOMAN
by Maya Angelou

Pretty women wonder where my secret lies
I'm not cute or built to suit a fashion model's size
But when I start to tell them
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes
And the flash of my teeth,
The swing of my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them,
They say they still can't see.
I say
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
The palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

EYES WIDE OPEN