The blogo-photo-sphere has been spinning the past couple of days with the 2009 Pulitzer Prize announcements. Damon Winter took one gong for “his memorable array of pictures deftly capturing multiple facets of Barack Obama’s presidential campaign.” (Featured Photography). Patrick Farrell secured the other with his “provocative, impeccably composed images of despair after Hurricane Ike and other lethal storms caused a humanitarian disaster in Haiti.” (Breaking News Story)
Winter’s images are eye-catching, but to be honest I am suffering from ‘Obama-fatigue’. So saturated were we with so many high-quality images of the new 44th President, I now look for different material. A quick shufties through Winters website revealed all. His portraits of sports stars show a precocious willing to improvise with technique and composition. Winter has a seriously sentimental side also epitomised by his portraits of American Olympians from the 1984 Los Angeles games.
I guess, my hope is that he doesn’t become known as ‘that guy that did Obama’ … which is why I am more interested in his Angola Prison Rodeo photojournalism.
The rodeo featuring the prisoners of Louisiana State Penitentiary, commonly known as Angola, is an old – even traditional – event in the Louisiana calendar. Damon Winter is one of many photographers that have covered the community event. It is a raucous spectacle that brings together populations in and outside of the prison.
I still cannot reconcile this event my existing ethics which this event. There’s a charge that the rodeo is exploitative entertainment for which prisoners can suffer serious injury. Yet, I have not witnessed the rodeo-weekend first hand and I have read in the past that this is an event that provides long-term focus and short-term adulation for the prisoner-competitors. All I want to do is bring Winter’s photographs to your attention and hope they’ll compete with Obama for your attentions!
Winter’s pictures capture the strong forces and consequent risks of rodeo competition. I deliberately picked his colour images. The black & white stripes of inmates harry within Winter’s ‘red, white and blue’ palette. The star-spangled palette imbues the series with patriotism, pomp and faux-purpose. I almost feel we are subliminally less inclined to question Angola’s unique display of pseudo-gladiatorial entertainment when the games are suffused with hues of the American flag.