Emma Bee Bernstein was born in 1985 and grew up on the upper west side of Manhattan. She graduated in June 2007 from the University of Chicago with a BA with honors in Visual Arts & Art History. She wrote her senior thesis on feminism and fashion in contemporary photography, and showed her Masquerade series as part of her senior thesis show. She also exhibited her photographs at A.I.R. Gallery in NYC, the Smart Museum in Chicago, and in numerous student exhibitions at the University of Chicago. She was featured in the New York Times for her work in Vita Excolatur, a University of Chicago erotica magazine and wrote an article on feminist art for M/E/A/N/I/N/G Online #4. Emma was the star of the film Emma's Dilemma, directed by Henry Hills, in which she interviews dozens of artists from the downtown NYC scene. She worked as a curatorial assistant in the Photography, Contemporary Art, and Prints & Drawings departments at the Art Institute of Chicago, at the Renaissance Society, and was a docent at the Smart Museum, the Metropolitan Museum of Art, and the Brooklyn Museum. She worked as a Teaching Artist at the Museum of Contemporary Art in Chicago, and was an involved mentor and teacher for Step Up Women's Network. With Nona Willis Aronowitz, Emma conceived the GIRLdrive project: a cross-country trip to interview and photograph a multitude of diverse women, reflecting on the present state of feminism and social activism. GIRLdrive has a blog and is a forthcoming book from Seal Press. Emma died in December 2008 at the Peggy Guggenheim Collection in Venice, Italy, where she had an internship. Emma is survived by her parents Susan Bee and Charles Bernstein and her brother Felix.Earlier related entries: 1 2
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
