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If you’re not going to Oakland for the Open Engagement (OE) conference in April 2016, you’d better have a good excuse. It”ll be great. it’s on the theme of POWER, Angela Davis and Suzanne Lacy are the keynotes and a call for proposals is now open.

“Local, national, and international artists, activists, academics, cultural producers, administrators, curators, educators, writers, thinkers, doers, and makers of all ages are encouraged to propose programming,” says OE.

Proposal deadline: November 2, 2015.

OE is an annual conference about socially engaged art. I’ve been to a couple of past iterations and I recommend.

The Oakland Museum of California (OMCA) hosts OE 2016, April 29–May 1. Additional sites throughout the Bay Area will also be satellite venues.

“Power is the ability to make desired results happen,” says René de Guzman, OE 2016 curator. “We invite participants to explore this concept broadly and expansively. What is power in the present age? How do we effectively demand it—and how we create it for ourselves? What are the innovative strategies for empowerment before us? What are the mechanisms by which we ensure fair and equitable distribution of power for all? How do we conceive of ourselves and how do we share power with others?”

“Founded in 2007, OE is the only conference on this subject of this scale that operates on an inclusive open call model that supports emerging and established artists and collaborates closely with national institutions,” says OE.

They’re asking for proposals for presentations, panels, discussions, workshops, events and interventions. Logistical support projects and social gatherings are also welcome.

You also win points if your proposal is site specific or in some way reflexive. In plain language, get to know Oakland and Oaklanders. Better still, propose collaborations with some locals.

OE wants you to know that “OMCA brings together collections of art, history, and natural science under one roof, featuring indoor venues with capacities ranging from 6–260, including a hot tub lounge and a partial airplane, and outdoor spaces that can accommodate 50–500, including the garden and Peace Terrace.”


A good resource to plug your photo-brain into the prerogatives of OE is Photography As A Social Practice. I am an occasional contributor. Also, check out the recent projects sponsored by the Magnum Foundation’s Photography Expanded program.

Please take a peek at my review of the exhibition Social in Practice: The Art of Collaboration, curated by Deborah Willis and Hank Willis Thomas.

Finally, you cannot miss the e-book Wide Angle: Photography As A Participatory Practice edited by Terry Kurgan and Tracy Murinik.


Rutger, Prins - Discord copy

Rutgers Prins Discord

The curatorial concepts are pioneering, the viewing experience nerve-wracking, and the conclusions occasionally terrifying, but the exhibition DATA RUSH — unlike the powers and digital infrastructures upon which it sheds light — will leave you empowered.

I just wrote, for Vantage, an in-depth review of Wim Melis and Hester Keijser‘s show DATA RUSH, which was the centerpiece to this years Noorderlicht Photofestival in the Netherlands.

The piece is titled This Exhibition Sees Our Ties to Data, Reveals the Future Is Now but it might as well be titled Finally, a Photography Show That Actually Deals with Our Relationship to Screens and Networks!

Arnold Koroshegyi

Arnold Koroshegyi. Electroscapes, 2011-2012

It was a slow process getting my head around the sheer volume of artists’ projects (45) in the show, but it was worth it. Virtually every project is worth a symposium in itself.

For photography, a comparatively conservative medium, DATA RUSH is light years ahead of most presentations. It’s precisely where our discussions about photography need to be if it we’re to comprehend the ways in which we are subject to images and image indexing.

Read the full piece which also boasts bigger images and some photos not included here below.

Hannes Hepp

Hannes Hepp. Not So Alone – Lost In Chatroom, 2012-2015


Simon Høgsberg Grocery Store Project

Andrew Hammerand

Andrew Hammerand. The New Town, 2013

Fernando Moleres. Internet Gaming Addicts, 2014


Sterling Crispin, Data Masks

Julian Röder. Mission and Task, 2012/2013. Situation room of the FRONTEX headquarters in Warsaw, Poland, June, 2014

Catherine Balet

Catherine Balet. Strangers in the Light, 2009

Nate Larson & Marni Shindelman. Geolocation, 2009 – present

Dina Litovsky

Dina Litovsky. Untag This Photo, 2010-2012


Daniel Mayrit’s You Haven’t Seen Their Faces (detail)


Mintio. ~T.H.O.H.Y~ (aka The Hall of Hyperdelic Youths), 2010

Heinrich Holtgreve

Heinrich Holtgreve. The Internet as a Place, 2013-2015

The National Arboretum, Westonbirt, Gloucestershire, 2013 150 x 122cm, Lambda print on Fuji Crystal Archive Paper. Image courtesy of Flowers Gallery.

There’s something about Simon Roberts’ photographic surveys of England that leave me feeling a little uneasy. This is not a bad thing; better to feel something than nothing at all when encountering art.

I published a piece Very English Tourism Spots are Just Intensely Managed Distractions on Medium dealing with my hesitations.

I think my unease stems from the fact that while Roberts is critiquing the quirks of the English and riffing on nostalgia (certainly) and cliche (probably) there remains space in his work for massive misunderstanding — massive under-estimation to be precise.

Roberts’ work could be read as uncritically nationalistic by those who are already that way inclined. Although the ironic title of his latest series National Property: The Imperfect Picturesque directs people away from simplistic and politicised readings of the photographs, the scenes he captures are nonetheless relatively bucolic. They smack of the quaint English countryside and of honest folks at leisure (which they are) but they leave so much of England and experiences of people in England out too.

Trough House Bridge, Eskdale, Cumbria, 2014, 150 x 122cm, Lambda print on Fuji Crystal Archive Paper. Image courtesy of Flowers Gallery.

I’m hesitant to frame this even as an argument. It’s hardly fair to critique something on that which it is stated not to be. And Roberts, nor any other photographer, can be held accountable for the jingositic readings of work by pockets of distant audience.

Many English photographers (Parr, Dench, Stuart) hold a mirror up to their nation with biting snark. Roberts’ mirror is little more removed, less in your face and returns images that are not immediately or obviously critical.

All of these are still forming thoughts. It is one of the luxuries of being a blogger, that with enough caveats, you can share early thoughts and canvas response. So, what do you think?

Read Very English Tourism Spots are Just Intensely Managed Distractions.

Willy Lott’s House at Flatford, East Bergholt, Suffolk, 2014. 150 x 122cm, Lambda print on Fuji Crystal Archive Paper. Image courtesy of Flowers Gallery.

Penshaw Monument, Penshaw, Tyne and Wear, 2013. 150 x 122cm, Lambda print on Fuji Crystal Archive Paper. Image courtesy of Flowers Gallery.


“Life in Prison: Artists Bear Witness”

Thursday, November 13, 2014 – 6:00pm – 8:00pm

MIST Harlem – 46 W 116th St, New York, NY 10026


The Institute for Research in African-American Studies (IRAAS) at Columbia University and OF NOTE, the award-winning arts & activism magazine, hosts a conversation with three dynamic artists who use their creative voice to examine the complex experiences, both personal and political, faced by the two million men, women, and youth currently imprisoned in the United States. Via theatre, photography, and video, these artists, Samara Gaev, Russell Frederick, and Lori Waselchuk illuminate the ways in which our society treats those within our prison systems with compelling work that engages and troubles our notions
of ‘justice.’


Grace Aneiza Ali is founder and editorial director of OF NOTE Magazine
, one of the first online magazines focused on global artists using the arts as catalysts for activism and social change. In 2014, she received the Andy Warhol Foundation for the Visual Arts Curatorial Fellowship in partnership with Aljira, A Center for Contemporary Art for the upcoming exhibition, “Guyana Modern,” which will feature a new generation of photographers from Guyana and its major diasporic communities in New York, London and Toronto. She’s an adjunct faculty member in the Department of Interdisciplinary Arts and Sciences at The City College of New York, CUNY and the recipient of the “Outstanding Faculty of the Year” award for 2013-2014. Grace is also World Economic Forum Global Shaper and a Fulbright Scholar.

Russell Frederick is a self-taught Brooklyn-born photographer of Panamanian heritage. He is the recipient of grants from the Open Society Foundation, New York Foundation of the Arts, Brooklyn Arts Council and the Urban Artist Initiative Foundation. Frederick is a member of the African-American photo collective Kamoinge and is represented by KEYSTONE photo agency in Switzerland. As an educator, he dedicates time to mentoring at-risk young men with the Kings Against Violence Initiative as the Men’s Program Director.

Samara Gaev is the founder and artistic director of Truthworker Theatre Company, a social justice based hip-hop theatre company for high school and college-aged youth in NYC. Its recent original productions include “BAR CODE,” a performative analysis of the school to prison pipeline, and “IN|PRISM: Boxed In & Blacked Out in America,” which examines the practice of solitary confinement in U.S. prisons.

Lori Waselchuk, is a Philadelphia-based visual storyteller. Her award-winning photographic documentary “Grace Before Dying,” which chronicles the prisoner-run hospice program at the Louisiana State Penitentiary, in Angola, LA, aims to challenge stereotypes about people that are imprisoned and offers a compassionate perspective into an environment designed to isolate and punish.


Samuel K. Roberts
, Columbia University. 
Director, Institute for Research in African American Studies, and Associate Professor of History & Sociomedical Sciences.

Update 05.11.2014: The Eventbrite registration page has been closed after 80 sign-ups. But, there’s space for walk-ins and allcomers. We don’t want to turn anyone away!

Email to extend your interest. Thanks.


Next Friday, May 16th, as part of the Open Engagement conference, I’ll be part of a conversation about photography based art and social practice.


The Photo-Based Social Practice panel and group brainstorming is at the Aperture Gallery in New York, 10am – 12 noon.

Moderator Eliza Gregory along with panelists Gemma-Rose Turnbull, Mark Strandquist, Wendy Ewald and I will be discussing socially engaged, transdisciplinary, and expanded practices in contemporary photography.

Highfalutin, huh? Not really. The language is big, but the query is simple. Can photography build community and empower subjects? How can photography be nice?

It’s free, but preregistration is required. Do that HERE (6th option on the list).

We’re only going to do the briefest of introductions to our work before breaking into groups to tackle a host of questions that deal with audience, relevance and good design. It only makes sense that we collaborate to tackle answers to these issues.


We hope that the panel will follow nicely on from December’s Collaboration: Revisiting the History of Photography event that crowdsourced a new timeline of photo-history by focusing on projects with communities and groups as creators. I love the ideas involved in that.

While the Collaboration: Revisiting the History of Photography event gave new recognition to old projects and while it presented a new timeline and framework, it didn’t tackle best practices. From the projects it unearthed we can surmise the nature of some socially responsible projects, methodologies and motivations. In our discussion next week we hope to extend the conversation further and start to define common language, and potentially best practices, for socially engaged photography projects.

Please join us and help us along!


Aperture Gallery and Bookstore
547 West 27th Street, New York
10:00 am – 12:00 pm, Friday, May 16th.


Now is a good time to mention a joint venture recently started by my fellow panelists, Eliza Gregory, Gemma-Rose Turnbull and Mark Strandquist.

Photography As A Social Practice is a website for reference tools, teaching tools, and conversation about the intersection of social practice and photography. I’ll be contributing every so often and chatting on the phone about content. You can suggest resources by emailing info[at]asocialpractice[dot]com


The panel is offered in conjunction with the Magnum Foundation and the Aperture Foundation who combined to publish Documentary, Expanded, the Spring Issue (#214) of Aperture Magazine as part of the Photography, Expanded initiative. Support also comes from the Open Society Documentary Photography ProjectThe School of Journalism and Communication (University of Queensland) and Portland State University‘s Art and Social Practice Program.


The Photo-Based Social Practice panel is part of Open Engagement, an international conference that sets out to explore various perspectives on art and social practice, and expand the dialogue around socially engaged art-making. This year, the conference addresses the theme of Life/Work. It is 2 days of programming (Sat, May 17 – Sun, May 18) at the Queens Museum, plus 1 day of pre-conference events on Fri 16th at different locations around the New York boroughs.

bryan wolf-M9-eclipse watchers copy
Bryan Wolf, “Eclipse watchers” (Grid M9).

On Saturday, my article The Grid Project: A Photo-Survey of Portland was published in The Oregonian. It was my first ever piece for The Oregonian, a paper which was founded in 1850 and predates official Oregon statehood which came about in 1859.

I wrote: “In 1995, Christopher Rauschenberg assembled a team of a dozen photography enthusiasts. Together, they sliced up a AAA map of Portland into square mile segments and resolved to hit the streets of each corresponding square and photograph, once a month, until no more squares remained. By 2004, they had documented all 89 squares within the city limits. At that time, the only thing to do was to start over. In September of this year, the Grid Project will complete its second full photo-survey of the Rose City.”

I wrote the article because The Grid Project is raising Kickstarter cash to replace its old, limited-function website with a new-spangly site with full on search, more images and happy-wide-eyed-users. With four days to go, just over $600 more is needed, so it looks like it’s going to make it.

When I arrived in Portland 18 months ago, folks at the Grid Project were some of the first I wanted to meet. Even though I don’t shoot photographs they let me join them for a meeting and look over images. Many of the Gridders are now friends.

The Grid Project is amazing. Here’s why:

1. It’s all about community.

2. It’s done for the love of photography; no one’s getting paid.

3 It’s a simple premise, but collectively 20 or so photographers have documented a changing Portland over nearly two decades. The estimated 40,000 images they’ve made is an incredible resource.

4. The Portland Grid Project invented the formula. The methodology has since been repeated around the globe in towns and cities such as Bradford, England; Toronto, Canada; Vancouver, WA; Victoria, BC; Rome, Italy; Providence, RI; Eugene, OR; Central Oregon; Napa Valley, CA; Philadelphia, PA; Forest Grove OR and Santa Fe, NM.

If you fancy a fancy print you should throw some money in the pot. Here’s some fine Grid Project images to stroke your eyeballs

Ann Kendellen, Pendleton Park, SW 53rd and Iowa, January 2011 (Grid N6) copy
Ann Kendellen, Pendleton Park, SW 53rd and Iowa, January 2011 (Grid N6).
BlakeAndrews, 2007, (Grid J12) copy
BlakeAndrews, 2007, (Grid J12).
Bruce Hall, Kid on the Sandy Blvd overpass for the 205 freeway, (Grid J12) copy
Bruce Hall, Kid on the Sandy Blvd overpass for the 205 freeway, (Grid J12).
CaroleGlauber FrankiesFranks copy
Carole Glauber. “Frankie’s Franks” SE 82nd, 2011.
ChristopherRaushenbergL9 copy
Christopher Rauschenberg, SE 15th Avenue, 2008 (Grid L9).
David Potter. %22Inside of Marci MacFarlane's car%22 North Interstate Avenue and Going Street, May 29th, 2005 (Grid J8) copy
David Potter. “Inside of Marci MacFarlane’s car” North Interstate Avenue and Going Street, May 29th, 2005 (Grid J8).
Lisa Gidley. NE 42nd Avenue near Sumner Street, September 2011 copy
Lisa Gidley. NE 42nd Avenue near Sumner Street, September 2011.
Nancy Butler (Grid N9) copy
Nancy Butler, “Untitled” (Grid N9).

Bruce Hall, Off of NE Fremont, (Grid K11) copy

Bruce Hall, Off NE Fremont, (Grid K11).
Mark Barnes Jessie
Mark Barnes, “Jessie”
Mark Barnes Foster Rd copy
Mark Barnes, “Foster Rd”
Rich Rollins
Rich Rollins
Lisa Gidley
Lisa Gidley
Ann Kendellen
Ann Kendellen
Ann Kendellen
Ann Kendellen
Faulkner Short
Faulkner Short
Barbara Gilson
Barbara Gilson
Alexis Pike
Alexis Pike
Patrick Stearns
Patrick Stearns (one image in a set of three) (Grid K8, 04/99).
David Potter
David Potter, (M14, August 2000).
George Kelly
George Kelly
Patrick Stearns
Patrick Stearns (one image in a set of three) (Grid G4, 04/00)
Faulkner Short
Faulkner Short

Eye On PDX is an ongoing series of profiles of photographers based in Portland, Oregon. See past Eye On PDX profiles here and here.

Isolation exercise yard, Security Housing Unit, Pelican Bay, Crescent City, California, a supermax-type control, high security facility said to house California’s most dangerous prisoners. © Richard Ross

Solitary confinement is in the news … for lots of reasons – a lawsuit brought by prisoners against the Federal Bureau of Prisons; a lawsuit brought by 10 prisoners in solitary against the state of California; a June Senate hearing on the psychological and human rights implications of solitary confinement in U.S. prisons (which included the fabrication of a replica sized AdSeg cell in the courtroom); an ACLU report pegging solitary as human rights abuse; a NYCLU report showing arbitrary use of solitary, a NYT Op-Ed by Lisa Guenther; the rising use of solitary at immigration detention centres; and the United Nations’ announcement that solitary is torture.

Recently, journalists from across America have contacted me looking for photographs of solitary confinement to accompany their article. I could only think of three photographers – one of whom wishes to remain anonymous; another, Stefan Ruiz is not releasing his images yet; which leaves Richard Ross‘ work which is well known.

Stefan Ruiz’ photographs of Pelican Bay State Prison, CA made in 1995 for use as court evidence. (See full Prison Photography interview with Ruiz here.)

With a seeming paucity, I went in search of other images. I found an image of a “therapy session” by Lucy Nicholson from her Reuters photo essay Inside San Quentin. A scene that has been taken to task by psychologist and political image blogger Michael Shaw.

Shane Bauer took a camera inside Pelican Bay for his recent Mother Jones report on solitary confinement.

Rich Pedroncelli for the San Francisco Chronicle.

Pelican Bay has been hosting media tours and welcoming journalists in the past year – partly due to public pressure and partly through a strategic shift by the CDCR to appear to be responding to public outcry. Maybe the courts have had a say, too?

© Lucy Nicholson / Reuters. Prisoners of San Quentin’s AdSeg unit in group therapy. (Source)

© Shane Bauer. Pelican Bay SHU cell. (Source)

© Shane Bauer. CA CDCR employees show investigative journalist Shane Bauer the Pelcian Bay SHU “Dog run.” (Source)

Correctional Officer Lt. Christopher Acosta is seen in the exercise area in the Secure Housing Unit at the Pelican Bay State Prison near Crescent City, Calif., Wednesday, Aug. 17, 2011. State prison officials allowed the media to tour Pelican’ Bay’s secure housing unit, known as the SHU, where inmates are isolated for 22 1/2 hours a day in windowless, soundproofed cells to counter allegations of mistreatment made during an inmate hunger strike last month. Photo: Rich Pedroncelli, AP/SF (Source)

The amount of visual evidence still seems limited. It’s not that reporting on solitary confinement is lax or missing. To the contrary, I’ve listed at the foot of this piece some excellent recent journalism on the issue form the past year. We lack images.

Look Inside A Supermax a piece done with text and not images is typical of the invisibility of these sites. National Geographic tried a couple of years to bring solitary confinement to a screen near you. ABC News journalist Dan Harris spent the “two worst days of his life” in solitary to report the issue.

Why do we need to see these super-locked facilities? Well, depending on your sources there are between 15,000 and 80,000 people held in isolation daily (definitions of isolation differ). My conservative estimate is that 20,000 men, women and children are held in single occupancy cells 23 hours a day.

Gabriel Reyes, prisoner at Pelican Bay SHU writes about his experience for the San Francisco Chronicle:

“For the past 16 years, I have spent at least 22 1/2 hours of every day completely isolated within a tiny, windowless cell. […] The circumstances of my case are not unique; in fact, about a third of Pelican Bay’s 3,400 prisoners are in solitary confinement; more than 500 have been there for 10 years, including 78 who have been here for more than 20 years.”

Solitary confinement is a “living death”; an isolating “gray box” and “life in a black hole.” Imagine locking yourself in a space the size of your bathroom for 23 hours a day. As James Ridgeway, currently the most prolific and reliable reporter on American solitary confinement, writes:

“A growing body of academic research suggests that solitary confinement can cause severe psychological damage, and may in fact increase both violent behavior and suicide rates among prisoners. In recent years, criminal justice reformers and human rights and civil liberties advocates have increasingly questioned the widespread and routine use of solitary confinement in America’s prisons and jails, and states from Maine to Mississippi have taken steps to reduce the number of inmates they hold in isolation.”

The over zealous and under regulated use of solitary confinement to control risk and populations within U.S. prisons is a cancer within already broken corrections systems. I’m posting a few more image that Google images afforded me – but I urge caution – these are just a glimpse and may not be indicative of solitary/SHU conditions. Windows are a rarity in solitary despite three images below showing them.

The main reason I’m posting here is to ask for your help in sourcing all the photography of U.S. solitary confinement we can. Please post links in the comments section and I’ll add them to the article as time goes on.


© Alice Lynd. Front view of cell D1-119. Todd Ashker has been in a Security Housing Unit (SHU) for more than 25 years, since August 1986, and in the Pelican Bay SHU nearly 22 years, since May 2, 1990. “The locked tray slot is where I get my food trays, mail.” (Source)

A typical special housing unit (SHU) cell for two prisoners, in use at Upstate Correctional Facility and SHU 20.0.s in New York. Photo: Unknown. (Source)

Bunk in Secure Housing Unit cell, Pelican Bay, California © Rina Palta/KALW. (Source)

Solitary Confinement at the Carter Youth Facility. Since the arrival of the girls’ program at Carter, the administration has created a new seclusion cell. This cell contains no pillow, sheet, pillow case or blanket. In fact, there is nothing in the cell other than a mattress, which was added after numerous requests from the monitor. Girls are routinely placed in this room for “time out.” Photo: Maryland Juvenile Justice Monitoring Unit. (Source)

© Rina Palta, KALW. “More than 3,000 prisoners in California endure inhuman conditions in solitary confinement.” This photo, taken in August 2011 of a corridor inside the Security Housing Unit (SHU) at Pelican Bay State Prison, illustrated Amnesty’s report. (Source)

© National Geographic. In Colorado State Penitentiary  756 inmates are held in “administrative segregation” alone in their cells for 23 hours a day. 5 times a week they are allowed into the rec room where they can exercise and breath fresh air through a grated window. (Source)


Eddie Griffin, prisoner in s Supermax prison in Marion, IL writes about “Breaking Men’s Minds” [PDF.]
Boxed In NYCLU campaign and report with resources and video against use of solitary confinement. HIGHLY RECOMMENDED
The Gray Box, an investigative journalism series and film about solitary across the U.S., by Susan Greene. (Dart Society) HIGHLY RECOMMENDED
ACLU – Stop Solitary Confinement – Resources – HIGHLY RECOMMENDED 
ACLU _ State specific reports on solitary confinement
Andrew Cohen’s three part series on “The American Gulag” (Atlantic)
Atul Gawande’s take on the psychological impacts of solitary confinement (New Yorker)
Sharon Shalev, author of  Supermax: Controlling Risk Through Solitary Confinement, here writes about conditions. (New Humanist)
The shocking abuse of solitary confinement in U.S. prisons (Amnesty)

Solitary confinement policies in California revised yet again as inmate leaders promote end to racial hostilities


Interview with Isaac Ontiveros, Director of Communications with Critical Resistance, about Pelican Bay solitary and community activism.
The invention of solitary confinement.
RIGO 23, Michelle Vignes, the Black Panthers and Leonard Peltier
Chilean Miners, Russian Cosmonauts and 20,000 American Prisoners
Robert King, of the Angola 3, writes for the Guardian


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