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Prison Obscura continues to travel. If you’re in or around New Jersey then you should know a version (a tighter edit) of Prison Obscura is currently on show at Alfa Arts Gallery in downtown New Brunswick. The show runs until November 1st.

The official opening was last Friday (10th) and coincided with the Marking Time: Prison Arts & Activism Conference at Rutgers University and hosted by the Institute for Research on Women (IRW). To give you a taster of the presentation, below are some snaps taken by staff at Alfa Arts Gallery. But not before a few notes of thanks …

GRATITUDE

I’d like to thank Alfa Art Gallery-owners Chris Kourtev and the entire Kourtev family for generously giving over their space for three weeks to house the show. Thanks to Nicole Fleetwood, Sarah Tobias and all the staff at IRW involved in bringing Prison Obscura to NJ. Thanks for a wonderful conference too!

I’d also like to extend my thanks once more to Matthew Callinan, Associate Director of Cantor Fitzgerald Gallery at Haverford. Matthew continues to make sure the logistics for each venue are taken care of and, in this case, gave up an entire Sunday to drive from Philadelphia and install the show. Thanks to the staff at John B. Hurford Center for Arts & Humanities at Haverford, who continue to support the exhibition.

For more information about the exhibition, visit the Prison Obscura website.

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Ever since I came across the work Temps Mort it has haunted me. Haunted me in a good way; it has stayed with me. It resonates because of the power delivered by Mohamed Bourouissa and his collaborator’s low-res images. It resonates, also, because this is the only project made by an artist and prisoner with contraband cell-phones that I know of. Surely, there are exchanges like this happening all the time, but this is the only published example. And it was made with the express intentioned to make art.

So I was pleased to discover, recently, that Temps Mort is now a book.

Methodologically, Bourouissa is way ahead of the game. As well as asking for images made according to description and sketches, he asked for videos. Bourouissa would send example videos and his collaborator (whom we know only as Al) would mimic. Throughout the project, Bourrouissa is clearly thinking about how the work will look to secondary and tertiary audiences. We are asked to make sense of seemingly random glimpses of an institution’s innards.

In exchange for composed views of the inside, Bourouissa sent short videos of the Paris streets. The simplest gestures become impressive. Even the txtspk language that is reproduced in the book is touching. In prisons, cellphones are illegal, valuable and a scarce resource, but the two use the tool with abandon and they repeatedly text to make sure they’re adequately fulfilling one another’s requests for footage.

This is not a photobook heavy on photos, yet everything inside depends on the discussions about images between Bourouissa and Al. There’s a lot of white space. The texts ensure we know the timeline and the white space ensures we know — and sense — the slow passing of time.

Temps Mort is over 5 years old now and the book feels a little like a memorial to that audacious moment when an artist dared and a prisoner dreamed. The book is a document that will last longer than the exhibitions and the interest in cellphone videos that declare a moment in Parisian jail operations. This blog post is many more steps removed from the original gifts between Bourouissa and Al. This blog post has no audio/visual jacks nor 9-foot white cube walls. This blog post lags behind the thrill of the original creation of the works and behind the recent exhibitions Bourouissa has mounted. My humble hope, here, is to impress how impressed I am. There’s nothing like this project.

There’s been many projects made in collaboration with prisoners from Virginia to Tennessee, and from Louisiana to Illinois, artists have communicated with prisoners to conjure something beyond the limits of the cell. And yet, none of those efforts have used the illegally smuggled mobile phone as their tool. There’s a subtle two fingers to the man in Temps Mort that we shouldn’t deny. I’m inclined to celebrate it.

Here’s some images and videos appropriated without permission from the web. Enjoy.

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© Ruddy Roye

PDX Design Week wrapped up last weekend. Before I moved out of the city, I was asked to do a guest post for the PDXDW blog. I don’t know much about design, so I wrote about photographers that are making good use of emerging technologies or commenting on our brave new world dominated by emerging and automated technologies.

Thanks to Taryn Cowart for her assistance getting it published.

With some line-editing, I crosspost the listicle below.

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PHOTOGRAPHY’S BEST

Good photography is good vibes. Often, even bad photography is good vibes. The world needs Seflies, SnapChat cheekiness, cat GIFs, and Doge bombs. However, sometimes, we have to search out the good stuff. We need to look around and ask what’s at stake. Frankly, there’s not a lot resting on your cellphone pictures — they’re not changing the world. When the technologies and file formats with which they were made are obsolete, no-one will care if your phone snaps are lost forever. Least of all you?

When we talk about art, journalism and photography we should be able to single projects out and to define worth. Some creative endeavors are world-changing. I want to give a nod to photographers and artists working with images who inform us about the world and some of its urgent issues. As users and consumers, I want to believe we can leverage rapid publishing and sharing for political and social improvement.

BEST USE OF INSTAGRAM

Ruddy Roye was the first photographer to really stake his style on the meaningful caption. He ditched the hashtags and asked real people some real questions. Based in New York most of his portraits are of people in his neighborhood and jollies around the Big Apple. His feed drips with humanity and reveals stories you couldn’t imagine. This is the REAL Humans OF New York! Also, I like to credit Roye for landing the fatal blow to the snarky #TLDR hashtag.

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© EverydayAfrica

SECOND BEST USE OF INSTAGRAM

Peter DiCampo and fellow journalist Austin Merrill (both white American) set up the Everyday Africa after years of reporting from the continent and witnessing nothing but sensational and scary images of war, tragedy and the like. What about the normal everyday stuff? In an attempt to make the most of boring daily things, DiCampo and a wide cadre of collaborator quickly put together a simple, illuminating, sometimes colorful, and intimate Instagram feed. It’s political but not difficult. Okay, so it’s a free-for-all that promotes aesthetically ordinary pictures, but I’ll take neoliberal relativism over neocolonialist manipulation every day of the week.

EverydayAfrica spurned dozens of loose collective of photographers who set up EverydayMiddleEast, EverydayAsia, EverydayIran and even EverydayBronx. Instagram sponsored an Everyday “Summit” at the 2014 Photoville Festival and ponied up cash to fly in contributors from all corners of the globe. These guys are much better IG-movement than the creepy Christians making VSCO lifestyle shots to pair with their #blessed affirmations and bible quotes.

Watch out though: EverydayUSA has some of the best photojournalists under it’s belt. Photo-industry-folk reckon EverydayUSA will soon eclipse all the other accounts, at which point the whole Everyday movement may have announced its death. Get on this young movement while it’s still fresh and focused on countries other than the one you live in.

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© Mishka Henner

BEST USE OF GOOGLE EARTH

If there’s a controversial topic Mishka Henner hasn’t produced a body of work on, he’s probably in his studio, right now, making it. From censorship, to prostitution in the Mediterranean, from military bases to big-ag food production, from war to big oil, Henner doesn’t shy away from tough topics. His skill is to do so without really leaving his studio. Henner is one of the cleverest, canniest and hardest working artists dealing with Google and the machine age of image-making.

He winds people up with his methods that are anathema to photo-purists but what else is there to do with available imagery if not to capture, ‘shop and frame it in political terms. Google is the all seeing eye that doesn’t care.

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© Tomas Van Houtryve

BEST USE OF PERSONAL DRONES

The Bureau of Investigative Journalism estimates American operated drones have killed between 2,296 and 3,718 people, as many as 957 of them civilians. That’s a whole lot of killing.

The program of U.S. airstrikes which began in 2002, but was only publicly acknowledged in 2012 is a remote war driven by a remote technology. Belgian photographer Tomas Van Houtryve decided the best way to grab Americans’ attention to the issue was to show them how drone attacks would appear in America.

There’s no shortage of projects about drones to get us thinking about the issue. John Vigg has his Google surveilled drone research labs and airports; Jamie Bridle traced a drone shadow in Washington D.C. last year and launched Dronestagram to populate social media sites with satellite views of drone strike sites; Trevor Paglen has photographed drones at distance; and Raphaella Dallaporta took a drone to Afghanistan under the guise of an archaeological survey.

Most recently Not A Bug Splat made a splash. Cheeky and powerful the project installed massive portraits of children in regions subject to U.S. drone strikes, with the intent of pricking the conscience of remote U.S. drone operators stationed in Nevada about to bring the hammer of destruction down on that Waziristan village.

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Screenshot of Josh Begley’s Prison Map

BEST USE OF SURVEILLANCE IMAGERY AGAINST THE SYSTEM

Data artist Josh Begley specializing in scraping images from publicly available sources. He then creates App and websites to publish the info and produce push notifications you can’t avoid.

For his project Prison Map, Begley took the GPS coordinates of every prison, jail and immigration detention center in America and fed them into a Google Maps API code he had modified. He ran the script and it spat out more than 5,300 satellite images — one for every locked facility in the U.S. The prison population in this country has grown 500% in the past 30 years. One in every one hundred adults is behind bars and most of them are poor people. The recurrent patterns of brutally functional architecture within Prison Map are staggering. We’ve been building prisons in high desert and rural backwaters. Begley makes the Prison Industrial Complex (PIC) visible once more.

Likewise, for his project Profiling Is, Begley snagged the NYPD’s surveillance shots of business and residences in the NY boroughs which were under monitoring.

He doesn’t stop there. Begley’s App MetaData alerts users to U.S. drone strikes in Pakistan, Yemen, Afghanistan and elsewhere. This didn’t happen until the conclusion of a merrigoround of negotiation with the “apolitical” Apple. Begley finally got his drone strike App approved when he removed all mention the word drone! Now, you can get next-day updates of Obama’s largely-ignored drone war on Afghanistan, Pakistan, and Yemen straight to your smartphone.

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© Mari Bastashevski

BEST USE OF PHOTOGRAPHY, MUCK-RAKING AND INVESTIGATIVE NOUS

Mari Bastashevski skirts a fine line between journalist, artist, researcher, photographer and tourist to dig up the personalities and money makers in the international arms trade. Here’s the feature I did for WIRED a while back. Her ongoing project State Business is devastating inasmuch it reveals how pervasive and complicit most nations are in making billions on the slaughter of humans.The US, the UK, Croatia, Azerbaijan, Georgia; Bastashevski’s following of the money takes us all over the place … sometimes even to the carport on the Facebook pages of international arms dealers.

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BEST MAKING SENSE OF SURVEILLANCE

If you can’t beat ‘em join ‘em. In 2002, after Hasan Elahi was mistaken for someone on the terror watch list and detained for hours at Detroit airport, he decided he’d save the authorities the bother and monitor himself. Caustic, direct, creepy and amusing, Elahi photographed everything he did, ate, shit, saw and worked on. He also GPS tracked his every move on a live web map. The project is titled Tracking Transcience. One of the by-products of the self-monitoring is the creation of a typology of toilets. Taking sousveillance to another level and entertaining thousands while he does it. Brill.

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© MigraZoom. A migrant on a cargo train traveling from Arriaga, Chiapas to Ixtepec, Oaxaca. After crossing the Mexican-Guatemalan border and traveling to Arriaga, migrants hitch a ride on top of cargo trains to Ixtepec. This trip takes about 12 hours. In addition to the risk of falling off the train (amputations and death are common), gangs frequently extort migrants, charging them $100 to ride. They face threats of being thrown off the train, kidnapped, raped or trafficked if they do not pay.

REALEST VIEWS OF IMMIGRATION

There’s some great fine art projects out there about the U.S./Mexican border. Probably, the stand out is David Taylor’s Working The Line, which documents the militarization of the border. But it can be criticised for being to distant and tends to rest on the creaking aesthetic mores of American landscape photography. If we want to see what is really going on during the tough journey’s into North America, we should pay attention to MigraZoom, a project by Spanish-born photographer Encarni Pindado which puts disposable cameras in the hands of economic migrants during their perilous treks northward.

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© David Taylor

Another beautifully shot and more unexpected treatment of new arrivals is Gabriele Stabile’s Refugee Hotel which documents approved asylum seekers’ first nights in America at four hotels adjacent to four hub airports through which new refugee migrants arrive. Respectful documentation that is pregnant with uncertainty.

Taylor’s work is currently on show at the amazing ‘Covert Operations’ at Scottsdale Museum of Contemporary Art.

BEST USE OF INTERNET FOR DISCUSSION

Photographer Hank Willis Thomas is a prolific force. One of his most recent projects Question Bridge is a platform for black males to ask other black males questions about black identity. Participants do so through video and provide answers similarly. Access is easy, involvement free, connections priceless and it works well in exhibition format too. The murder of Michael Brown in Ferguson is the latest incident to demonstrate to the entire nation our shared need to face racial inequality int he country. Willis Thomas is doing his bit.

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© Lindsay Lochman and Barbara Ciurej

BEST COMMENTARY ON MECHANICAL AGE FOOD PRODUCTION

With Ag Gag laws becoming ever more common, clever responses to imaging industrial food production must be inventive. Lindsay Lochman & Barbara Ciurej rip on the much-mythologized West and specifically on the hero-worship of Carleton Watkins by constructing sugar-coated and corn-fed diorama reconstruction of Watkins’ landscapes with shitty foodstuffs.

Will Potter ain’t a photographer but he’s putting imagery to good ends. Potter, a TED Fellow, has been reporting on the crack down on environmental activists under homeland security legislation that was designed to tackle terrorist. Instead of chasing bombchuckers, our law enforcement is going after tree huggers. The title of Potter’s book, Green Is The New Red, say its all. Routinely, it has been eco-activists who’ve brought us the shocking footage from inside factory farms. Potter, continuing the tradition of expose, wants to fly drones over feedlots and take advantage of laws being slow to be written. Again, we seeing the convergence of technologies and activist peel back the layers of obscurity purposefully put over our shady business practices in years past.

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© Donna Ferrato

VIOLENCE AGAINST WOMEN

The greatest photography work being done to reveal the entrapped, terrorized lives of those victim to domestic violence, is done — perhaps not unsurprisingly by female photographers. Donna Ferrato has trained a lens on the topic for decades. Recently, young gun Sara Naomi Lewkowicz captured similar images to Ferrato as an intimate witness to partner abuse. The parallels were saddening proving that this is a strand of violent psychology we just are not dealing with effectively. To be frank, the issue isn’t being imaged enough; intimate partner abuse remains hidden behind closed doors.

Paula Bronstein was one of the earliest and most direct photographers to document the survivors of acid attacks in Asia. If we’re to mention women’s rights abroad we have to look at the work of Stephanie Sinclair, whose multiyear project Too Young To Wed is pitch perfect. Quiet, weighty, tragic and polychrome portraits of child brides throughout the world. Sinclair’s had help from all the major distributors and grant makers to cast the net of her survey far and wide. The transmedia project is about as good as it gets in terms of audience engagement tactics too.

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© Jim Goldberg

BEST COMMENTS ON WEALTH INEQUALITY

It’s difficult to name a stand out photographer who has taken on the wealth gap in a resonant way. It sounds strange to say but maybe cash is difficult to shoot? This apparent lack is consistent with other art forms though. If Occupy taught us one thing, some issues are designed for public performance, demonstration, walking and protest signs. Think of music, for comparison. In the sixties musicians such as Joe Strummer and Nina Simone emerged with brilliant anger toward social injustice. Despite public disgust made visible in anti-Iraq-war protests and Occupy, there’s not a protest song from the 21st century of note. Perhaps music isn’t the format for anger or the wealth gap either?

Don’t worry, I’m not being a pessimist here. Violent dismay certainly exists. I’m just not convinced art is the realm where we see the most direct political action. Gone are the days of the great labor photographers such as Lewis Hine and Jacob Riis. Inequality was laid bare in the photojournalism of the civil rights era (Ernest Cole, Charles Moore, Danny Lyon) and while those reportages were about money and opportunity they weren’t primarily about the markets. Check out the work of Gregory Halpern for your modern day Milton Rogovin.

The most indelible and forthright description of wealth inequality is Jim Goldberg’s Rich and Poor, which remains the high point and the tone at which aspiring photographers should aim.

Dang, that’s been a lot of men’s names. I think it right to end with LaToya Ruby Frazier’s name then. She, better than anyone currently making work, ties together class, race, income, post-industrial America, public health, personal health, family and environmental hazard with her generational survey of the women in her family and her home town of Braddock, PA, in The Notion OF Family.

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© La Toya Ruby Frazier

 

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“Tex Johnson, 60″ by Ron Levine, courtesy of the artist.

Later this week, I’ll be attending the inaugural prison arts and activism conference, Marking Time.

Hosted by the Institute for Research on Women at Rutgers, and across multiple venues, the event brings together an incredibly committed and skilled cohort of practitioners throughout many disciplines — from dance to yoga, from occupational health to sculpture, and from film making to social work.

I’ll be moderating a panel discussion Imagery and Prisons: Engaging and Persuading Audiences, with Gregory SaleLorenzo Steele, Jr., and Mark Strandquist on Wednesday afternoon. In addition, a version of Prison Obscura will be on show at the Alfa Art Gallery in downtown New Brunswick.

To emphasise the breadth and depth of expertise I’ve copied out the schedule below. I have made bold and linked the names of artists, activists and academics’ names with whose work I am already familiar … and admire.

I pepper the post with artworks made by photographic artists attending Marking Time.

Marking Time runs 8th-10th Oct. Registration for the conferecne is free.

See you in New Brunswick this Wednesday?!?!

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“Allen and Tanasha, 1998.” Family album. Courtesy of the Fleetwood family.

WEDNESDAY 8TH OCT.

Session 1: 9: 30 – 10:45 am

PANEL: Creative Arts and Occupational Health (ZLD)
Susan Connor and Susanne Pitak Davis (Rutgers University Correctional Healthcare) “Finding Meaning Thru Art”
Karen Anne Melendez (Rutgers University Correctional Healthcare) “The Concert Performance with Adult Females in Correctional Health Care”
Moderator: Michael Rockland (Rutgers-New Brunswick)

WORKSHOP: Steps Taken: Footprints in the Cell (NBL)
Rachel Hoppenstein (Temple University)
Ann Marie Mantey (Temple University)

Session 2: 11:00 – 12:15 pm

PANEL: Law, News, and Art (ZLD)
Regina Austin (Penn Law School)
Ann Schwartzman (Pennsylvania Prison Society)
Tom Isler (Journalist/Filmaker)
Moderator: Tehama Lopez

WORKSHOP: Utilizing Dance as a Social Tool: Dance Making with Women in Prison (NBL)
Meredith-Lyn Avey (Avodah Dance)
Julie Gayer Kris (Avodah Dance)

LUNCH: 12:15 – 1:15 pm

Session 3: 1:15 – 2:30 pm

PANEL: Imagery and Prisons: Engaging and Persuading Audiences (ZLD)
Gregory Sale (Artist)
Lorenzo Steele, Jr. (Founder, Behind these Prison Walls)
Mark Strandquist (Artist)
Moderator: Pete Brook (Freelance Writer/Curator)

PRESENTATION: The Political and Educational Possibilities of Exhibitions (NBL)

David Adler (Independent Curator)
Sean Kelley (Eastern State Penitentiary)
Rickie Solinger (Independent Curator)

Session 4 2:45 – 4:00 pm

PANEL: About Time (ZLD)
Damon Locks (Prison and Neighborhood Arts Project)
Erica R. Meiners (Northeastern Illinois University/Prison and Neighborhood Arts Project)
Sarah Ross (School of the Art Institute of Chicago/ Prison + Neighborhood Arts Project)
Fereshteh Toosi (Columbia College Chicago)
Moderator: Donna Gustafson (Rutgers-New Brunswick)

PANEL: Best Practices: Arts, Prisons and Community Engagement (NBL)
Robyn Buseman (City of Philadelphia Mural Arts Program)
Shani Jamila (Artist, Cultural Worker, Human Rights Advocate)
Kyes Stevens (Alabama Prison Arts and Education Project)

EVENING EVENTS

4:00 – 5:00 pm Artist Talk: Jesse Krimes (ZLD)

5:00– 5:45 pm Welcome Reception (ZL)

7:30 – 9:00 pm Opening Keynote: Reginald Dwayne Betts (KC)
Welcome Remarks: IRW Director Nicole Fleetwood
Introduction of Keynote: Dean Shadd Maruna, School of Criminal Justice – Rutgers, Newark

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“Exercise Cages, New Mexico” by Dana Greene, courtesy of the artist.

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“That Renown New Mexico Light” by Dana Greene, courtesy of the artist.

THURSDAY OCTOBER 9TH

Session 1: 9: 30 – 10:45 am

PANEL: Theater in Prisons (ZLD)

Wende Ballew (Reforming Arts Incorporated, Georgia) “Theatre of the Oppressed in Women’s Prisons: Highly Beneficial, Yet Hated”
Lisa Biggs (Michigan State University) “Demeter’s Daughters: Reconsidering the Role of the Performing Arts in Incarcerated Women’s Rehabilitation”
Karen Davis (Texas A&M) “Rituals that Rehabilitate: Learning Community from Shakespeare Behind Bars”
Bruce Levitt and Nicholas Fesette (Cornell University) “Where the Walls Contain Everything: The Birth and Growth of a Prison Theatre Group”
Moderator: Elin Diamond (Rutgers-New Brunswick)

PANEL: Prison Architecture, Space and Place (NBL)

Svetlana Djuric (Activist) and Nevena Dutina (Independent Scholar) “Living Prison”
Maria Gaspar (Artist) “The 96 Acres Project”
Vanessa Massaro, (Bucknell) “It’s a revolving door”: Rethinking the Borders of Carceral Spaces”
Moderator: Matthew B. Ferguson (Rutgers-New Brunswick)

Session 2 11:00 – 12:15 pm

PRESENTATION: Sustaining Engagement through Art: The US and Mexico (ZLD)

Phyllis Kornfeld (Independent Art Teacher, Author, Activist, Curator) “Thirty Years Teaching Art in Prison: Into the Unknown and Why We Need to Go There”
Marisa Belausteguigoitia (UNAM) “Mural Painting in Mexican Carceral Institutions”

WORKSHOP: The Arts: Essential Tools for Working with Women and Families impacted by Incarceration (NBL)

Kathy Borteck-Gersten (The Judy Dworin Performance Project)
Judy Dworin (The Judy Dworin Performance Project)
Joseph Lea (The Judy Dworin Performance Project)
Kathy Wyatt (The Judy Dworin Performance Project)

LUNCH: 12:15 pm – 1:15 pm

Session 3 1:15 – 2:30 pm

PRESENTATION: Visualizing Bodies/Space: A Performative Picture of Justice System-Involved Girls & Women in Miami, FL (ZLD)
Nereida Garcia Ferraz (Artist/Women on the Rise!)
Jillian Hernandez (University of California-San Diego/Women on the Rise!)
Anya Wallace (Penn State University/Women on the Rise!)
Moderator: Ferris Olin (Rutgers-New Brunswick)

PANEL: 25 Years of the Creative Prison Arts Project: Connecting Incarcerated Artists with the University of Michigan Community (NBL)
Reuben Kenyatta (Independent Artist)
Ashley Lucas (University of Michigan)
Janie Paul (University of Michigan)

PRESENTATION: The Art of Surviving in Solitary Confinement (RAL)
Bonnie Kerness (American Friends Service Committee Prison Watch Program)
Ojore Lutalo (American Friends Service Committee Prison Watch Program)

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“Theda Rice, 77″ by Ron Levine, courtesy of the artist.

Session 4 2:45 – 4:00 pm

PANEL: Restorative Arts and Aging in Prison (ZLD)
Aileen Hongo (Educator/Activist)
Anne Katz (University of Southern California)
Ron Levine (Artist)

WORKSHOP: The SwallowTale Project: Creative Writing for Incarcerated Women (NBL)
Angel Clark (Photographer/Filmmaker)
Bianca Spriggs (Artist/Poet)

Session 5 4:15 – 5:30 pm

PANEL: Resisting Guantanamo through Art and Law (ZLD)
Aliya Hana Hussain (Center for Constitutional Rights)
Matthew Daloisio (Witness against Torture)
Aaron Hughes (Independent Artist)
Moderator: Joshua Colangelo-Bryan (Dorsey & Whitney LLP)

WORKSHOP: Bar None: The Possibilities and Limitations of Theater Arts in Prison (NBL)
Max Forman-Mullin (Bar None Theater Company)
Julia Taylor (Bar None Theater Company)

EVENING EVENTS

5:45 – 6:45 pm Reception (NBL)

7:00 – 9:00 pm: Artist Talks: Russell Craig, Deborah Luster, Dean Gillispie, Jared Owen (AAG)

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“Self Portrait” by Russell Craig, acrylic on cloth, 2014, courtesy of the artist.

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“LCIW, St. Gabriel, Louisiana, Zelphea Adams” from One Big Self: Prisoners of Louisiana, by Deborah Luster, courtesy of the artist.

FRIDAY OCTOBER 10TH

Session 1: 9: 30 – 10:45 am

PANEL: Prison Lit (ZLD)

Helen Lee (University of North Carolina at Chapel Hill) “Eldridge Cleaver’s SOUL ON ICE: A Rhetoric of Confrontation in Prison Writing”
Suzanne Uzzilia (CUNY Graduate Center) “Lolita’s Legacy: The Mutual Imprisonment of Lolita Lebrón and Irene Vilar”
Carolina Villalba (University of Miami) “Radical Motherhood: Redressing the Imprisoned Body in Assata Shakur’s Assata: An Autobiography”
Moderator: Monica Ríos (Rutgers-New Brunswick)

PANEL: Photographic Education Program at Penitentiary Centers in Venezuela: From the Lleca to the Cohue (ZMM)
Helena Acosta (Independent Curator)
Violette Bule (Photographer)
Moderator: Katie Mccollough (Rutgers-New Brunswick)

PANEL: Narrating Injustice: Youth and Mass Incarceration (BSF)

Sean Saifa M. Wall (Independent Artist) “Letters to an Unborn Son”
Richard Mora and Mary Christianakis (Occidental College) “(Re)writing Identities: Past, Present, and Future Narratives of Young People in Juvenile Detention Facilities”
Beth Ohlsson (Independent Educator) “Reaching through the Cracks: Connecting Incarcerated Parents with their Children through Story”
Moderator: Annie Fukushima (Rutgers-New Brunswick)

Session 2 11:00 – 12:15 pm

PANEL: Gender, Sexuality, and Systemic Injustices (ZLD)
Michelle Handelman (Filmmaker, Fashion Institute of Technology) “Beware the Lily Law: Tales of Transgender Inmates”
Tracy Huling (Prison Public Memory Project) “‘She was incorrigible…’ Building Public Memory About A Girl’s Prison”
Carol Jacobsen (University of Michigan) “For Dear Life: Visual and Political Strategies for Freedom and Human Rights of Incarcerated Women”
Moderator: Simone A. James Alexander (Seton Hall University)

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“Beware the Lily Law” by Michelle Handelman, high-definition video, sound, Installation at Eastern State Penitentiary, Philadelphia. Photo credit: Laure Leber, 2014.

PANEL: Life Sentences: Memoir-Writing as Arts and Activism in a Maximum Security Women’s Prison (ZMM)
Courtney Polidori (Rowan University)
Michele Lise Tarter (The College of New Jersey)
Samantha Zimbler (Oxford University Press)
Moderator: Fakhri Haghani (Rutgers-New Brunswick)

PANEL: The Politics of Imprisonment (BSF)
Dana Greene (New Mexico State University) “Carceral Frontier: The Borderlands of New Mexico’s Prisons”
Marge Parsons (Prisoners Revolutionary Literature Fund) “Free the Spirit from Its Cell”
Jackie Sumell (Independent Artist) “The House That Herman Built”
Treacy Ziegler (Independent Artist) “Light and Shadow in a Prison Cell”
Moderator: Angus Gillespie (Rutgers-New Brunswick)

LUNCH: 12:15 pm – 1:15 pm

Session 3 1:15 – 2:30 pm

PRESENTATION: Shakespeare in Prison (ZLD)
Tom Magill (Educational Shakespeare Company Ltd)
Curt Tofteland (Shakespeare Behind Bars)

PANEL: Building Effective Prison Arts Programs (ZMM)
Laurie Brooks (William James Association) “California Prison Arts: A Quantitative Evaluation”
Jeff Greene (Prison Arts Program at Community Partners in Action) “Beyond Stereotype: Building & Supporting Extraordinary Arts Programs in Prison”
Becky Mer (California Appellate Project/Prison Arts Coalition) “National Prison Arts Networking in the US: Lessons from the Prison Arts Coalition”
Moderator: Lee Bernstein

PANEL: Genre and Aesthetics in Prisons (BSF)

T.J. Desch Obi (Baruch College, CUNY) “Honor and the Aesthetics of Agon in Jailhouse Rock”
Anoop Mirpuri (Portland State University) “Genre and the Aesthetics of Prison Abolition”
Jon-Christian Suggs (John Jay College, CUNY) “Behind the Red Door: Real and Fictional Communism in Prison”
Ronak K. Kapadia (University of Illinois at Chicago) “US Military Imprisonment and the Sensorial Life of Empire”
Moderator: Jed Murr

Session 4 2:45 – 4:00 pm

PANEL: Twenty Years of Teaching Visual and Literary Arts in a Maximum-Security Prison (ZLD)
Rachel M. Simon (Marymount Manhattan College in Bedford Hills Correctional Facility)
Duston Spear (Marymount Manhattan College in Bedford Hills Correctional Facility)

WORKSHOP: Alternatives to Violence Workshops in Prison: Liminal Performances of Community and/as Activism (ZMM)
Chad Dell (Monmouth University)
Johanna Foster (Monmouth University)
Eleanor Novek (Monmouth University)
Deanna Shoemaker (Monmouth University)

WORKSHOP: More Than a Rap Sheet: The Real Stories of Incarcerated Women (BSF)
Amanda Edgar (Family Crisis Services)
Jen LaChance Sibley (Family Crisis Services)
Jenny Stasio (Family Crisis Services)

CLOSING REMARKS (ZLD): 4:00 – 4:30 pm

OPENING RECEPTION FOR PRISON OBSCURA (AAG):4:30 – 6:30 pm

EVENING EVENTS: 7:00 – 9:30 pm (SH)

Tales from the Cell, Mountainview Program
The Peculiar Patriot, Liza Jessie Peterson
Women on Our Own, acapella group of formerly incarcerated musicians

Films to be shown all day on October 9 & 10 at the Ruth Dill Johnson Crockett Building, 162 Ryders Lane (Douglass Campus), schedule to be determined.

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Key for venue codes:
AAG: ALFA ART GALLERY
BSF: BLOUSTEIN SCHOOL FORUM
KC: KIRKPATRICK CHAPEL
NBL: NEW BRUNSWICK PUBLIC LIBRARY COMMUNITY ROOM
RAL: RUTGERS ART LIBRARY
SH: SCOTT HALL
ZL: ZIMMERLI MUSEUM LOBBY
ZLD: ZIMMERLI MUSEUM LOWER DODGE GALLERY
ZMM: ZIMMERLI MUSEUM MULTIMAX ROOM

——————————————————-

 

Pipin, Michlo2

Photographer Milcho Pipin went into the Central Penitentiary of the State of Paraná, in Curitiba, Brazil. It’s a fairly sizable prison with nearly 1,500 prisoners.”Despite frequent overcrowding problems and precarious infrastructural condition, this penitentiary is by no means the worst in Brazil,” says Pipin.

From within this tough institution, Pipin wanted primarily to “capture expressions of male and female prisoners and to understand and share their feelings,” he says.

In collaboration with Dr. Maurício Stegemann Dieter, a criminology specialist, Pipin produced the series Locked Up. Both answered a few short questions I had.

Scroll down for Q&A.

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Q & A

Prison Photography (PP): Why did you want to photograph in Central Penitentiary of the State of Paraná?

Milcho Pipin (MP): It all started because of my father. He was a police inspector of foreign crime / border control in Macedonia for 30 years. He went through a lot of cases. His sense of comprehensibility to all social classes inspired me to photograph in prison.

PP: What are attitudes toward prisons and prisoners in Brazil?

Dr. Maurício Stegemann Dieter (MSD): Hostile and cynical.

PP: What do Brazilians think of incarceration in the U.S.?

MSD: Except for some researchers (criminology and criminal law professors, mostly), they don’t have a clue.

PP: What did the staff think of you and your camera?

MP: As the director of the prison informed us, it had been over 40 years since media had access inside, it was pretty shocking to me. That’s why when we entered, the staff was not really sure who we were, how we got there and what was our purpose being inside with a photo equipment.

I explained that there was nothing to do with any political purpose and that it was an artistic project only  — to photograph the lives behind those concertina wires. Later, the staff mood changed and they were really helpful showing around the prison and introducing us to the prisoners.

PP: How long can babies stay with their mothers? Until what age?

MSD: From birth up to 6-months. After that, they meet daily for up to 4 hours.

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PP: Of the 1480 prisoners, how many are men and how many are women?

Maurício Dieter (MD): 1116 men and 364 women, each in a separate penitentiary.

PP: What did the prisoners think about your photography?

MP: The first day was the hardest. We had a short briefing with the prisoners about the project and I felt their lack of interest as they were not yet sure that we were not there for political purpose.

I explained [to a large group] that the only thing I wanted to do was to take their portraits as they expressed their feelings, and then to show the outside world. Most of them left the briefing, just 7 or so stayed.

I showed my print portfolio to those who stayed and I heard one prisoner saying: “Oh good, ok, let’s do this!” As I started photographing one by one, they spread the news and the interest to have their photo taken became viral in the next days. Almost all of them were friendly with us, with a few exceptions.

PP: Did the prisoners see your photos and/or receive prints?

MP: They saw the photos on the camera display a few moments afterwards. I gave them my website link, so the family could see them online. I did promise prints though, and for sure they will soon receive them. There are still a lot of photos in a finalizing phase so I can start printing and delivering them with pleasure to all the prisoners that collaborated in this project.

PP: Milcho, how do you hope your photographs might alter attitudes?

MP: Hmm, through my photographs I hope people will be able to visualize, feel and understand that we are all at the risk of committing a crime, purposely or not, at any moment of our lives, and of being convicted and facing a sentence. That’s why we should appreciate our freedom, because it’s just one of those big things we usually don’t appreciate until we lose it.

We never know, our future is a dice.

FIN

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BIOGRAPHY

Milcho Pipin was born in Bitola, Macedonia. Based in Curitiba, Brazil, Pipin started photography in 2001 as he journeyed across five continents. He focuses on editorial, commercial, documentary and fine art photography. Pipin is founder and creative director of VRV, international creative agency.

All images: Milcho Pipin, and used with permission. Use, manipulate or alteration of any photo without written permission of Milcho Pipin is prohibited.

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Arne Svenson, The Neighbors #11, 2012 © Arne Svenson, Courtesy Julie Saul Gallery, New York

The Prying Eye Of The Public Lens, a response piece I wrote for the Carnegie Museum of Art’s Hillman Photography Initiative was published earlier today.

A greater cynic than I might argue that Arne Svenson was working for the state when making photographs of his neighbors. One might suggest this not because there is any inherent value, lest any valuable information about the individuals within the snooping shots, but rather, because the brouhaha that erupted around the exhibition of The Neighbors at the Julie Saul Gallery was a distorting and damaging version of the ongoing conversation about privacy in our society.

I go on to explain how the protestations of Svenson’s (very affluent) neighbours, lawsuits and public outcry derailed us from actually seeing the more pernicious and invasive layers of surveillance we are subject to daily … and especially in New York city.

Read the 1,200 words here.

THE HILLMAN PHOTOGRAPHY INITIATIVE (HPI)

The inaugural HPI at CMOA “investigates the lifecycle of images: their creation, transmission, consumption, storage, potential loss, and reemergence. Technology accelerates the pace of this cycle, and often alters or redirects the trajectory of an image in unexpected, powerful ways.”

Transition and consumption: Love that. I’m proud to be associated with CMOA’s broader consideration of images within society. HPI is getting inside the bloodstreams of the media and changing the discussion.

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FERGUSON

The unrest has abated in Ferguson. The quest for justice has not.

As I watched events unfold last month, I did not at any point feel I had something to add to the news coverage or commentary. I am still not convinced I do. That said, when the very soul of America is at stake, when the life of a young man has been taken, when the police turn up in military get-up, and when all this is being played out in front of the world’s media, I was aware questions needed to be asked of media-makers.

I take this opportunity not to make statements but to ask questions.

Barrett Emke, a young photographer from Kansas, was kind enough to share his photographs from Ferguson with me. He allowed me to make an edit. I publish them here alongside a short Q&A.

These are questions I’m just putting down in digital ink now, but probably come from weeks of thinking in circles. I was not brave or knowledgeable enough to write anything about Ferguson or its people when events were most immediate and raw; when people protested peacefully and faced off with law enforcement.

I want to start finding out about what photography did for the people of Ferguson and what it might do for them in the future. What might it do, or not do, for other communities wracked by racial inequities?

Barrett was in Ferguson August 19-21, I am penning this mid-September, but we know that from the tragedy of Michael Brown’s murder and from the town’s outrage must come long-term positive leaps forward; must come an accelerated and enlightened path to justice for us all as one.

Scroll down for the Q&A.

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Q&A

Prison Photography (PP): Why did you go to Ferguson?

Barrett Emke (BE): I live in Kansas City, so the events in Ferguson definitely felt close to home. As a photographer and a person, I felt I had somewhat of a duty to go there and experience what was happening firsthand – this piece of history and injustice, and the community’s response.

I had to do something other than just watch what was happening on the news or read about it on the internet; maybe my photographs wouldn’t be seen by anyone or make any difference, but at least I would be there to document a piece of it.

PP: Did you know what you wanted to do beforehand?

BE: Not really. I just dove into the situation and worked intuitively, gauging the events as they came. From the first day I got there I had a rough idea that I wanted to make pictures of as many people as I could.

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PP: What does it feel like to have tank in the street?

BE: It was a little overwhelming at first, but you acclimate quickly.

PP: On your website you’ve presented a wider edit with B&W images, pictures of law enforcement who are in action or stationary.

I’m not that interested in your distant (usually nighttime) images of cops. They seem to break up the warmth that maintains throughout the portraits of Ferguson residents. Does that make sense?

BE: I can see that. Obviously, the images of the militarized police, and the tear gassing, and all of that are everywhere now, and I knew that I wasn’t going to do that. But the images I did include I feel have their place in the sequence – I think of them more as portraits of the officers who were part of the situation as well.

PP: How did you feel when your were in Ferguson?

BE: Honestly, I felt human.

The people I interacted with and photographed were open, genuine, and earnest. Beyond the conflicts and the clashes between protestors and police, I definitely felt a strong sense of community and humanity present there, among those who lived in Ferguson and others who had traveled from elsewhere to be there.

PP: How do you think your feelings compare with residents?

BE: It’s hard to say. Many people who I spoke with and photographed were totally willing to engage with me – in times of crisis, that sort of social barrier kind of breaks down. At the same time, I definitely heard residents express their anger and a certain distrust toward the media, this sentiment that after the spectacle has ended, their lives in Ferguson go on.

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PP: What was the behavior of the media like in Ferguson?

BE: I think the presence of the media was essential, to record and broadcast what was happening. At the same time, it became a little gross to the see the camera crews flocking to and descending upon every little scrap of conflict each night, trying to get the scoop. It definitely seemed vulture-like at certain moments, and there were instances in which I felt like the media’s presence was exacerbating the situation.

There were times when interactions between protestors, police, and the media became problematic, with the media fanning the flames a bit. I’m not sure what the alternative would have been; if the media hadn’t been there reporting, would the militarized aggression of the police have only escalated? Would Michael Brown’s story and its larger implications have been told?

PP: How did people react to you photographing?

BE: Generally, people were receptive to me photographing. I tried to be as respectful and sensitive to the situation and individuals as possible.

PP: What did Ferguson residents think generally about the media and/or photographers?

BE: There was a certain ambivalence about the media that I picked up on. As I mentioned previously, I heard the sentiment echoed that once the media circus had skipped town, the residents still had to go on about their lives and their realities. But at the same time, I heard many people express that the situation would be worse between protestors and the police if the media wasn’t there to report on what was happening, and to check that militarized aggression.

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PP: What was the overall sentiment of the people you photographed?

BE: People were there on West Florissant in solidarity and were fed up with everything that had led to this point. Those I photographed were resolute in their anger and sought justice for Michael Brown, meaning the indictment of Darren Wilson and a major shift in policy, representation, and attitudes going forward. What I heard echoed again and again from people was that this situation wasn’t just about race, it was also a human thing. Beyond that, I perceived an overwhelming amount of positivity and hope from the individuals I met.

PP: Did this sentiment match that of the media generally?

BE: As in, did the media share the same drive for justice as the residents and protestors? I’m not sure, but I would say that they seemed to be there to do their job, which was reporting.

PP: Is America a racist country? I’m not being incendiary here; it actually seems like a fair question if we consider this excerpt from this New Yorker piece The Color of Justice:

Whites support tougher criminal laws at least partly because they overestimate black and Hispanic crime rates. Blacks and Hispanics do commit certain crimes more frequently, per capita, than whites, but not all. But whites consistently overestimate the difference, according to one study, by as much as twenty to thirty per cent. That perception affects attitudes toward offenders and sentencing. Studies show that the more whites attribute higher crime rates to blacks and Hispanics, the more likely they are to support harsh criminal laws. It is less that they are consciously seeking to subordinate racial minorities than that they fail to treat the negative consequences of high incarceration rates as their problem. As the report explains, “attributing crime to racial minorities limits empathy toward offenders and encourages retribution.”

This is a damning indictment. If anyone were to admit that they preferred the death penalty, life without parole, or harsh sentences because they believe the perpetrators of violent crimes are more likely to be black or Hispanic, we would immediately condemn them as the worst sort of racist. If a prosecutor, judge, or juror expressed such a sentiment, any resulting conviction or sentence would be swiftly overturned. No one admits that they feel this way, but the studies recounted by the Sentencing Project suggest that this is precisely what many white Americans feel.

BE: America is a racist country, with its long and complicated history of prejudice that it still cannot shake.

Racism in the United States is deeply entrenched and systemic, even today, as we’ve seen. As a white person, I have tried to be consistently aware of my privilege and the way racism can be internalized by someone who would never consider herself or himself “racist.” It is a process of learning and unlearning that I still grapple with. One can always do better, listen more. It is not enough to simply not be racist; one must be anti-racist.

When a person of color in America can’t be certain that she or he won’t be shot and killed during a routine encounter with police, or a total stranger, something is utterly, intrinsically wrong. I believe it is the duty of those who benefit from white privilege, male privilege, heteronormative privilege, to fight alongside those who are disenfranchised under the law and throughout society.

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PP: What did photography achieve during August for the messages coming out of Ferguson?

BE: I’ve seen an abundance of profound, earth shattering photographs come out of the events of Ferguson. I believe these photographs have been successful in demonstrating to the world what was unfolding and to preserve these moments as historical documents.

PP: Do photographers need to stay in, or return to, Ferguson soon? And/or often?

BE: Speaking for myself, I don’t feel like my work was simply done when I returned home. A situation like this is ongoing. Nothing is solved. There is still more work to be done, and I would like to return to make more photographs.

PP: Do you think that’s going to happen?

BE: I believe that to be committed and thorough in a situation like this, it has to be longterm.

PP: Thanks Barrett.

BE: Thank you, Pete.

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Uncut-doom9lives

Even in the throes of addiction, Graham MacIndoe was able to take a relatively objective look at the visual culture of the drug trade. He collected more than 100 bags, in NYC, in which heroin was sold. 

When other addicts emptied these little baggies, and after they’d cooked and injected the contents, what did they see? Trash? Incriminating evidence? MacIndoe saw the anthropology and informal economics of dealing.

Now, four years clean, photographs of the bags are collected in a new book All In: Buying Into The Drug Trade (Little Big Man Books, San Francisco).

For Wired, I wrote about the series, MacIndoe’s story and his thoughts about what the baggies might mean for us all: The Dark, Ironic Branding Drug Dealers Use to Sell Heroin

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