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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?
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.
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).
BlakeAndrews, 2007, (Grid J12).
Bruce Hall, Kid on the Sandy Blvd overpass for the 205 freeway, (Grid J12).
Carole Glauber. “Frankie’s Franks” SE 82nd, 2011.
Christopher Rauschenberg, SE 15th Avenue, 2008 (Grid L9).
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.
Nancy Butler, “Untitled” (Grid N9).
Bruce Hall, Off NE Fremont, (Grid K11).
Mark Barnes, “Jessie”
Mark Barnes, “Foster Rd”
Patrick Stearns (one image in a set of three) (Grid K8, 04/99).
David Potter, (M14, August 2000).
Patrick Stearns (one image in a set of three) (Grid G4, 04/00)
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.
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 ELSEWHERE ON PRISON PHOTOGRAPHY
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
‘Steph’ © Tony Foushe
There’s two things I hope you’ll carry away from this post. Firstly, the importance of Live Through This a photo series resulting from a-two year collaboration between Tony Fouhse and Stephanie. Secondly, that Tony has established Straylight Press to get limited-edition books and zines in the hands of photo-lovers. Live Through This is Straylight’s first publication.
To regular readers, Tony Fouhse will not be a new name. I’ve always admired Tony’s honest, weekly updates about his ongoing work, emotions and process. In my capacity as a Wired.com blogger, I recommended his blog drool as a top read.
LIVE THROUGH THIS
Four years ago, Tony began shooting USER, portraits of crack and heroin addicts on a single Ottawa city block. During that time, he met Stephanie, noticed something different about her, and asked, “Is there anything I can do to help?” She said she wanted help getting clean.
From that point it’s a long story of great-strides, trauma, dope sickness, humour, sunlight and friendship. Often photographers may distance themselves from the world by saying they’re mere observers. In the case of photojournalism, so-called objectivity sometimes excuses camera-persons from getting involved in even small practical ways to help those they photograph.
Tony is not a photojournalist and he is no hero either; he’s a guy that offered to help someone whose needs were greater than most. If you want to venture into the drool archives, Tony has told the story in great detail. Alternatively, Tony wrote a five-part series about his and Steph’s journey for the ever-excellent NPAC blog [one, two, three, four, five].
In December, Steph had a wobble and ended up in jail. In January, when I read Steph’s words about her court hearing it was clear that Tony has had a life-changing effect on her life:
When I went to Halifax I sat in front of the judge and the crown was asking for 4-6 months and my lawyer asked for probation and sure enough I got it. Then, when I went to Pictou courts my lawyer asked for 6 months house arrest and he got it too […] if it wasn’t for my lawyer in Halifax I would of been fucked. He fought for me to do house arrest because I did so much in the last year, like, he brought up how when I lived in Ottawa I met this man named Tony Fouhse was gonna help me get into a rehab called the R.O Royal Ottawa but I never came to the rehab because I ended up growing a cyst on my brain and how Tony ended up helping me ween from using Heroin to 1 4mg dillie (Dilaudid) a day and sent me home to my family where I could sober up and become a clean mom and we did a project of my life on the street.
It’s a bit embarrassing it’s taken me six months to share my wonder. As well as being photo-rich, Steph and Tony’s journey is a really compelling story. Live Through This is one of the most interesting photography projects I’ve followed in recent years.
Live Through This is all the more impressive because Tony and Steph have taken it upon themselves to promote, produce and distribute it. Tony describes Straylight Press as a “vehicle to produce and disseminate printed photo matter.”
Future projects include the unflinching work of Scot Sothern and Brett Gundlock’s Prisoners (which I saluted in the past) so it is exciting times. The idea is that the success of one project feeds the next, so if enough copies of Live Through This sell then profits go into producing the next photographer’s book. It’s a pre-sales fundraising model. In addition, Straylight zines are fairly inexpensive and the intent is to produce 3 or 4 each year.
“Straylight is kind of like a Kickstarter, but with more long-term commitment to projects that aren’t just my own,” says Tony. “Kickstarter projects, while a good and interesting idea, seem to me to be too much about the individual. Not that I have anything against that, after all, you need an ego to be a photographer. But …”
Last month, Tony talked with the Ottawa Citizen about Straylight: Tony Fouhse opens photo-book publishing house – and web gurus be damned.
Tony is flogging prints, books and workshops to raise money for Straylight projects.
From the inbox:
“Prison Photography will be honored with a 2011 Photo Blog Award from LIFE.com.
This is the first annual Photo Blog Awards from LIFE.com and this year the editors have selected 20 blogs. To determine the 2011 honorees, LIFE.com editors considered nearly 300 blogs that count photography as central to their mission. Winners range from major news organizations to individual enthusiasts who are transforming the ways that photographs are made, shared, and discussed.”
So that’s unexpected and quite a lovely way to start the week. Chuffed to be on a list with so many other great blogs I read and respect – 500 Photographers, A Photo Editor, aCurator, American Suburb X, Bagnews Notes, Burn, Conscientious, Feature Shoot, New York Times’ Lens, NPR’s The Picture Show, PDN, The Sartortialist, TIME.com’s Lightbox, What’s the Jackanory?
To celebrate, my housemate made a rhubarb-sprinkle-surprise-sponge-cake, which is just about the best cake there is.