You are currently browsing the category archive for the ‘Prison Non-Photography’ category.

prisonhorse5

I realised last week that my banner for my Twitter profile was enlarged and pixelated and looked a bit naff, so I put a call out for suggestions for a new one. Out of left-field came artist David Kelly-Mancaux a.k.a. Erkembode who offered any of his sketches from his series Prison Fights. I took the opportunity.

If you’re confused by them, I am too. David tells me they are based upon prison photographs, presumably portraits. He made them in response to his friend’s book Prison Fights about people who’d got into violent altercation. They’re from 2011.

I think, but am not sure, they are the product of a process David calls Visual Translation which seems to me like a mandatory type of doodling. Whenever, wherever. David has made visual translations of poems, poetry reading, Egon Schiele paintings; I don’t think there’s anything off bounds.

I might not fully understand the motives and the process but I don’t understand the world so it works. Also, the process by which I came across the Prison Photography logo was of equal abandon and random.

See the banner at my Twitter account.

And thank you to David Kelly-Mancaux!

prisonhorse1

prisonhorse3

prisonhorse6

prisonhorse8

prisonhorse13

prisonhorse10

akpress

AK Press stock after the fire

ATTENTION

Stop what you’re doing. Listen up. Help out.

There was a massive fire in Oakland this weekend. Two people died. 30 people have been relocated from the now charred, smoky, water-damaged buildings. This is a costly tragedy from every angle you look at it. My respects go out to the victims and the victims’ friends and families.

The structure that went up was behind and attached to a building in which AK Press and 1984 Printing — two of Oakland’s phenomenal political publishing operations — operated. They lost paper stock, computers, presses, book inventory and more.

Here’s why they are both so impressive and this is why you should throw them some cash.

AK Press has published and distributed anarchist literature since 1990. It is worker run and collectively managed. Over the years, it has put out some of the staples of my library — including Captive Nation by Dan Berger, Resistance Behind Bars by Vikki Law, and Are Prisons Obsolete? by Angela Davis.

AK has consistently raised the bar for analysis of the prison industrial complex, state violence, violence against women and many other social justice urgencies. AK has built community and audience for radical writers. Precisely because the work has to be in the world, AK has to be in the world. Nobody does it better.

1984 Printing is one of the very few all-women-owned businesses I know. They’re happy, open, dog-loving crafts folk who turn the presses not to turn profit but to build knowledge for a better society. Amy and Richard know all their clients by first name and care for each and every project.

1984 does the best offset printing around — they’ve printed the two Carville Annex Press books So Many Mountains But This One Specifically, by Junior Clemons and It Hasn’t Stopped Being California Here, by Jordan Karnes. They also printed Rian Dundon’s Out Here series.

Yesterday, buildings were redtagged by the City of Oakland, meaning both operations are prohibited from occupying the warehouse and shops and shut down until further notice.

AK is raising money. GIVE

1984 is raising money. GIVE

If all you have between now and sanity is beer money and a punk spirit there’s a fundraising outlet for that with a benefit gig at 924 Gilman on May 9th.

Follow the situation at AK Press’ Facebook and Twitter and blog.

Follow 1984 on Facebook and the blog.

akp

ak

b99466373z.1_20150320215721_000_gtaaduki.2-0

There’s a 6 x 12 foot cell in the library at Marquette University in Milwaukee. It’s made of wood not cinderblocks. The toilet mimics the stainless steel of actual cells. This mock-up is intended to grip students and activate petitions and political awareness. Hey, if it’s good for politicians, it’s good for college kids.

I guess the installation — made by the theater department at Madison’s Edgewood College — relies on part shock & awe and part compassion. Students can step inside for a few minutes or can elect a 45 minute stint alone with a Bible or Qur’an and pen and piece of paper, just like prisoners. An iPad and headphones play the sounds of incarceration — the audio comes from a Frontline story on solitary.

I’ve questioned the frequent use of the cell floor-plan at prison art exhibitions (here, here and here), but mapping out the confines of a human-cage isn’t the worst tactic to snag people and have them think about the issue. The United Nations has defined solitary confinement for more than 15 days as torture. People in long term solitary suffer damage comparable to traumatic brain injury. A 6-sided box, with a door might be very effective in provoking response.

Built last year, the cell at Marquette has previously shown on the Capitol steps in Madison and at churches and schools in Wisconsin. Organizers hope more communities and schools will want to display the prison cell. So do I. Let’s get replicas made and installed at every seat of learning in the country. Youngsters need to know about the brutal, crushing systems older Americans have danced into law. Along side many others, the young adults we anoint with education, privilege and upward mobility are important constituents in the resistance movement.

b99466373z.1_20150320215721_000_gtaadul3.2-0

b99466373z.1_20150320215721_000_gtaadukm.2-0

b99466373z.1_20150320215721_000_gtaadulc.2-0

All images by Michael McLoone / Journal Sentinel.

 

The Big Graph (2014). Photo: Courtesy Eastern State Penitentiary.

Eastern State Penitentiary Historic Site Guidelines for Art Proposals, 2016

Eastern State Penitentiary in Philadelphia has announced some big grants for artists working to illuminate issues surrounding American mass incarceration.

READ! FULL INFO HERE

ESP is offering grants of $7,500 for a “Standard Project” and a grant of $15,000 for specialized “Prisons in the Age of Mass Incarceration Project.” In each case the chosen installations shall be in situ for one full tour season — typically May 1 – November 30 (2016).

DEADLINE: JUNE 17TH

THE NEED

ESP has, in my opinion, the best programming of any historic prison site when it comes to addressing current prison issues. Last year, they installed The Big Graph (above) so that the monumental incarceration rates could tower over visitors. Now, ESP wants to explore the emotional aspects of those same huge figures.

Prisons in the Age of Mass Incarceration will serve as a counterpoint to The Big Graph,” says ESP. “Where The Big Graph addresses statistics and changing priorities over time, Prison in the Age will encourage reflection on the impact of recent changes to the American criminal justice system, and create a place for visitors to reflect on their personal experiences and share their thoughts with others.”

ESP says that art has “brought perspectives and approaches that would not have been possible in traditional historic site programming.” Hence, these big grant announcements And hence these big questions.

“Who goes to prison? Who gets away with it? Why? Have you gotten away with something illegal? How might your appearance, background, family connections or social status have affected your interaction with the criminal justice system? What are prisons for? Do prisons “work?” What would a successful criminal justice system look like? What are the biggest challenges facing the U.S criminal justice system today? How can visitors affect change in their communities? How can they influence evolving criminal justice policies?” asks ESP.

While no proposal must address any one or all of these questions specifically they delineate the political territory in which ESP is interested.

“If our definition of this program seems broad, it’s because we’re open to approaches that we haven’t yet imagined,” says ESP. “We want our visitors to be challenged with provocative questions, and we’re prepared to face some provocative questions ourselves. In short, we seek memorable, thought-provoking additions to our public programming, combined with true excellence in artistic practice.”

“We seek installations that will make connections between the complex history of this building and today’s criminal justice system and corrections policies,” continues ESP. “We want to humanize these difficult subjects with personal stories and distinct points of view. We want to hear new voices—voices that might emphasize the political, or humorous, or bluntly personal.”

GO TO AN ORIENTATION

ESP won’t automatically exclude you, but you seriously hamper your chances if you don’t attend one of the artist orientation tours.

They occur on March 15, April 8, April 10, April 12, May 1, May 9, May 15, June 6.

Also, be keen to read very carefully the huge document detailing the grants. It explains very well what ESP is looking for including eligibility, installation specifics, conditions on site, maintenance, breakdown of funding (ESP instructs you to take a livable artist fee!), and the language and tone of your proposal.

For example, how much more clear could ESP be?!

• Avoid interpretation of your work, and simply tell us what you plan to install.
• Avoid proposing materials that will not hold up in Eastern State’s environment. Work on paper or canvas, for example, generally cannot survive the harsh environment of Eastern State.
• Be careful not to romanticize the prison’s history, make unsupported assumptions about the lives of inmates or guards, or suggest sweeping generalizations. The prison’s history is complicated and broad. Simple statements often reduce its meaning.
• A proposal to work with prisoners or victims of violent crime by an artist who has never done so before, on the other hand, will raise likely concern.
• Do not suggest Eastern State solely as an architectural backdrop. Artist installations must deepen the experience of visitors who are touring this National Historic Landmark, addressing some aspect of the building’s significance.
• Many successful proposals, including Nick Cassway’s Portraits of Inmates in the Death Row Population Sentenced as Juveniles and Ilan Sandler’s Arrest, did not focus on Eastern State’s history at all. They did, however, address subjects central to the topic we hope our visitors will be contemplating during their visit.
• If you are going to include information about Eastern State’s history, please make sure you are accurate. Artists should be sensitive to the history of the space and only include historical information in the proposal if it is relevant to the work. Our staff is available to consult on historical accuracy.
• Overt political content can be good.
• The historic site staff has been focusing explicitly on the modern American phenomenon of mass incarceration, on questions of justice and effectiveness within the American prison system today, and on the effects of race and poverty on prison population demographics. We welcome proposals that can help engage our visitors with these complex subjects.
• When possible, the committee likes to see multiple viewpoints expressed among the artists who exhibit their work at Eastern State. Every year the committee reviews dozens of proposals for work that will express empathy for the men and women who served time at Eastern State. The committee has accepted many of these proposals, generally resulting in successful installations. These include Michael Grothusen’s midway of another day, Dayton Castleman’s The End of the Tunnel, and Judith Taylor’s My Glass House. The committee rarely sees proposals, however, that explore the impact of violence on families and society in general, or the perspective of victims of crime. Exceptions have been Ilan Sandler’s Arrest (2000 to 2003) and Sharyn O’Mara’s Victim Impact Statement (2010). We hope to see more installations on those themes in the future.

PAST GRANTEES

Check out the previous successful proposals and call ESP! Its staff are available to discuss the logistics of the proposal process and the history and significance of Eastern State Penitentiary.

DEADLINE: JUNE 17TH, 2015

ALL INFORMATIONS

Additional Resources

Sample Proposals
Past Installations

For more information contact Sean Kelley, Senior Vice President and Director of Public Programming, at sk@easternstate.org or telephone on (215) 236-5111, with extension #13.

SFJailEnvironmentalImpactFlyer-3

Say NO to a New Jail in SF

The discussion about the long proposed San Francisco County Jail has taken many turns. It’d have been built by now without the opposition of many California groups fighting for social justice under the umbrella organisation CURB (Californian’s United for Responsible Budget).

On Monday, March 2nd from 6-8pm, Sheriff Mirkarimi and staff from the Department of Public Works will be hosting a public meeting on the environmental impact of the $278 million dollar jail plan at the Community Assessment and Service Center (CASC).

The CASC at 564 6th Street in San Francisco — it is just around the corner from San Francisco County Jail #3, at 850 Bryant.

All info and RSVP here.

RALLY

The protest rally begins in front of the jail at 850 Bryant on Monday, March 2nd at 5:30pm and moves to the Community Assessment and Service Center (CASC).

“Come prepared to dance! We will be joined by the BLO (Brass Liberation Orchestra)” says organiser Lisa Marie Alatorre, of the San Francisco Coalition on Homelessness. “San Francisco needs real solutions to public safety, housing, jobs, education, mental health care, not more of the same failed policies that harm our community. Justice is won when we build a future of opportunity for everyone, not more jails.”

Make banners and signs that reflect the environmental impacts that jail and incarceration has on your life and your community.

All info and RSVP here.

CITY HALL MEETING

Separately to the Sheriff’s meeting, the Capitol Planning Committee is voting on the jail plan also on Monday!

Anyone who can speak out against the jail should go to San Francisco City Hall from noon to 2pm Monday, March 2nd and voice their concerns.

GET THE WORD OUT

On Facebook

Share the flyer.

#NoMoreJails

All info and RSVP here.

 

 

G-LAW

Fight Hate With Love, a documentary film about Philadelphia-based artists and activist Michael Tabon (a.k.a. G-Law a.k.a. OG-Law) has been shortlisted for the Tim Hetherington Trust‘s inaugural Visionary Award.

The film made by Andrew Michael Ellis, director of photography at Mediastorm is about “one man’s journey to change the world and still be the guide his family needs him to be.”

The film looks inspiring, but as with any narrative arc, the protagonist faces challenges. It seems the stresses of Tabon’s art and activism upon his family is the emotive hook, Ellis is molding.

I met Tabon and his wife Gwen this time last year as he was embarking on his third self-imposed lock up in a self-built cell on the cold February streets of Philly. They did not display the tension as they do in Ellis’ trailer. Tabon was putting his un-prison cell together and Gwen was helping with supplies, PR, food & drink, and vocal support. It was clear they rely on one another to make work and to meet the silent, unending need for Tabon’s love-filled message.

Tabon’s manipulation of visual tropes is cunning and effective. He has reclaimed the cell, the orange jumpsuit and the shackles. He has jogged 10 miles a day for seven days around Philadelphia with a 40-foot banner reading FIGHT HATE WITH LOVE. He has walked with a ball-and-chain from Selma to Montgomery.

“Tabon has been caught in the revolving door of the prison system since he was sixteen years old. Incarceration became a way of life, seen as an inherited destiny for America’s young Black poor, until he had a revelation – that he could break the cycle of the womb-to-prison pipeline gripping marginalized communities across the country,” says Mediastorm.

It’s wonderful to see Tabon on the Mediastorm platform and Hetherington Trust’s radar. His unorthodox but unmissable approach to social change needs to go national.

Youtube trailer here. Follow Tabon on Twitter and on the web.

glaw

UrTHh5A

THE VISUAL CULTURE OF PRISON RESISTANCE

Liz Pelly‘s conversation with Josh MacPhee in The Media is a wonderful read. It coincided with MacPhee and his cohort’s incredible exhibition of prisoner made protest materials going all the way back to the early seventies.

MacPhee urges us to dismantle the idea that prisons are separate from outside society. Crucially, he’s not making, in the first instance, a moral point about how we’re all the same, prisoners and all. MacPhee makes an observation of the structural characteristics of the prison system.

“It’s getting harder and harder to hold up the pretense that prison is somehow distinct from the rest of society,” says MacPhee. “When there’s this many people going in and out all of the time, there’s no way that our lives out here don’t leak into there, and that their lives in there don’t leak out into the rest of society. The idea that these are completely separate realms needs to be dismantled.”

Of course, once the structural facts of the system are revealed, the moral point that we are all one-and-the-same, prisoners and all, is indisputable.

I contacted Pelly and asked if I could republish the conversation. It originally appeared as Inside/Out: On Prison Justice, Art of the Incarcerated, and Interference Archive’s New Show in Issue #44 of The Media (October 10, 2014). It is a privilege to feature Pelly and MacPhee’s interview in full here on the blog.

A LITTLE BACKGROUND

Between September 11th and November 16, 2014, Interference Archive exhibited, Self-Determination Inside/Out: Prison Movements Reshaping Society a look back at the visual and material culture of prisoner-led political movements.

Organized by Molly Fair, Josh MacPhee, Anika Paris, Laura Whitehorn, and Ryan Wong, Self-Determination Inside/Out includes sections on the work of incarcerated AIDS educators, the experiences of women and queer prisoners, prison and control unit prisons. The exhibition features prison newsletters, pamphlets, video and audio interviews, prints, photography (!!!) and magazine covers — starting with materials created during the 1971 Attica Rebellion, a massive prisoner uprising in upstate New York, and concluding with work made by current political prisoners, the show highlights moments of self-organization within the prison industrial complex.

You can buy a booklet and a poster for the exhibition.

Interference Archive is a volunteer-run archive in Gowanus, Brooklyn, dedicated to preserving cultural ephemera related to social movements.

12NRgDj

Inside/Out: On Prison Justice, Art of the Incarcerated, and Interference Archive’s New Show

Liz Pelly (LP): What initially inspired the creation of Interference Archive, which mostly houses ephemeral material like posters, t-shirts, and newsletters?

Josh MacPhee (JM): For the different people involved, there are different answers of course. For me, I grew up making this stuff through DIY music, cultural stuff, politics. Through the act of doing, I started collecting it. Flyers, t-shirts, buttons, the ephemera that gets produced by people who are organizing. It was a combination of wanting to understand the history of what I was doing and then at the same time, I was getting really interested in this idea of how people make art and culture in the context of trying to their lives. It’s distinct from art that’s produced purely in the realm of self expression, and the art that tends circulate within the contemporary art world.

This kind of material gets lost. It’s often not clearly authored. Institutions that deal with art don’t quite know what to do with it. Since it’s so political, places like history museums don’t know what to do with it either. It sort of falls through the cracks. But we can see during times like Occupy, or Tahrir Square in Egypt, or with the Maidan in the Ukraine, that this is the stuff of life, [created] when transformation starts to happen. When people have their arms shoulder deep into the constructions of representations of a new world, and the way they want things to be articulated.

For me, doing an archive was a way to say, “just because these moments come and go, and movements have ebbs and flows, doesn’t mean that once the peak has been reached that this material isn’t still valuable to us, to where we’ve come from and therefore where we are going.”

LP: That said, how do you think this sort of exhibit in particular shines light on the experiences of prisoners?

JM: There were five of us who organized this exhibition, and most of us have been engaged with issues around prisons in different ways, whether having been formerly incarcerated, or working with prison activism programs. As far as I know, nothing like this has ever been done before.

We live in a moment where over two million people are in prison. It’s getting harder and harder to hold up the pretense that prison is somehow distinct from the rest of society. When there’s this many people going in and out all of the time, there’s no way that our lives out here don’t leak into there, and that their lives in there don’t leak out into the rest of society. The idea that these are completely separate realms needs to be dismantled.

We thought it was important to marshal primary source material to show that people aren’t just objects of repression or study or someone else’s activism. But they have done immense amounts of organizing inside themselves. Often times that organizing takes place at the same time, or sometimes even ahead of, what people were doing on the outside. Some of the focus we have on organizing around AIDS and AIDS education in prison was really fascinating and important because it shows how people that had the least access to medical care were doing in some cases the most organizing in order to try to deal with a problem that at the time the government was not even acknowledging existed.

16dnvdc

LP: Can you tell me more about your own experiences with prison reform activism?

JM: I first learned about how the prison system functions in the early 1990s. It just sort of blew my mind that there was a whole world of people who largely because of race and class were basically being warehoused. And that, at the time, it was completely absent from the radar of public In the 90s, the only thing discussed in relationship to prisons and criminal justice was this sort of “tough on crime” thing. There was no acknowledgment that a massive increase of the prison population going on, and that it wasn’t actually working. And that the system that decided who went in and out was so manifestly unjust, random often.

That sent me on a path of doing organizing around prison issues. I started in Ohio, and then did some work in Colorado, and then in Chicago. A lot of the organizing I did was around Control Unit Prisons, basically trying to stop solitary confinement. [Organizing around] these men and women who were spending twenty-three-and-a-half or twenty-four hours a day alone in their cells, and the psychological damage that causes and how it basically goes against international conventions of torture, yet it’s completely commonplace in this country.

2W7RVYR

LP: Over the past year, there has been lot of in the news about the racist criminal justice system. It’s an apt time for Self-Determination Inside/Out: Prison Movements Reshaping Society. But obviously there is a lot of history of racism in the criminal justice system that this brings to light. Were you inspired to put this together because of recent events, or has this exhibit been in the works longer?

JM: We worked on the exhibition for 6 months. As a space, as an institution, one of our goals is to take this material that’s perceived as marginal and present it in ways that will allow it to be in its own context, but also to actually show that it’s not marginal. Our primary audience is not people who already necessarily agree with everything that would be in this exhibition. We are conscious of, and trying to take advantage of, a moment.

The question becomes, how do we push [the discussion] farther? If we say mass incarceration is not okay, at what point is incarceration okay? If 2 million people in cages is not acceptable, is 1.9 million people in acceptable? Or 1.8? Once you start asking those questions it opens up the space to say, “this whole system is just absolutely corrupt.”

Mass incarceration accomplishes a number of things, none of which are its stated goals. It accomplishes deeply suppressing working class communities of color. That’s never been articulated as what the prison system is supposed to do. It’s just clear that that’s what it does. It clearly is completely ineffectual at actually dealing with crime.

LP: What are some underreported sides to the prison industrial complex that you hope this exhibit brings to light?

JM: The fastest growing portion of the prison population for years now has been women.

Increasingly there is a real gendered aspect of being able to look at how the criminal justice system works. Increasingly it’s used to enforce gender binaries. It’s a brutal system for queer and trans people that get sucked up into it. People are doing a lot of organizing around it now, but until recently, it was assumed if you were gender non-conforming, they have to choose where to put you, and then once they chose a men or a women’s prison, then almost immediately you’d get sent to solitary confinement. You’d do your sentence out in solitary confinement, in complete isolation, because the system is not prepared to deal with gender non-conformity. You are being punished because your very existence challenges the bureaucratic way the system works.

It’s really clear that women who refuse to be abused, who fight back against abusers, almost always get pulled into the criminal justice system. So we have things like Trayvon Martin being shot, and Zimmerman getting off. But any woman that stops an attack from an abuser is inevitably going to do time because that’s just absolutely taboo.

yENhTvP

LP: What were the biggest challenges to getting this exhibit together?

JM: Each exhibition has unique challenges and obstacles, and then there are ones that are sort of similar across the board. For this exhibition, was just that cultural material produced by incarcerated people is hard to access. A lot of it is made in prison and then just never leaves prison.

In general, one of the challenges for all of the exhibitions, is that unless we do something that’s very focused, inevitably there’s so much stuff it’s hard to know when to say “okay we’ve got enough” or to know when to draw the lines. It’s hard to know when to accept that you’re never going to have all of the stuff that you wish you could, that you’re never going to be able to tell the whole story, that maybe even the idea that you’re going to tell some sort of master narrative is questionable in its own right.

When you’re representing things that are so deeply underrepresented, people get attached to wanting their part of the story told, because it’s been marginal or silenced for so long. It makes it really hard to make those choices, because you don’t want anyone else to continue to feel [that way].

We are collecting material from movements that are marginal. Even though they often have extremely deep impacts, rarely is that impact known or visible when they’re most active. It’s kind of like an extra kick in the face when your ideas become commonplace 10 or 20 years later and you’re still written out of the history even though you’re the ones who came up with the ideas.

LP: What do you hope, in general, visitors learn from Self-Determination: Inside/Out?

JM: On the one hand, I hope this contributes to a shift [towards] the idea that prisons are maybe not the answer to the problems that they claim to be. And that locking people in cages is not actually accomplishing what we’re being told it is.

On another level, that incarcerated people are not just objects. They’re loved ones and family members and neighbors and community members. The thing that primarily defines someone as a human being is not whether or not they’re in prison. That people that happen to find themselves in prison, many for reasons that are and then also at the same time many for doing reprehensible things, doesn’t make them not human. It doesn’t mean they don’t have the same desires, life goals, and relationships that everyone else has. And as such, the way that they conceive themselves and their world is part of, needs to be part of, any movement for social transformation.

Kw4cZxt

THE PEOPLE

The Interference Archive is a collection of posters, flyers, publications, photographs, books, t-shirts, buttons, moving images, audio recordings, and other materials, made by participants of social movements throughout past decades. It is an archive “from below” — collectively run space, powered by people, and with open stacks accessible to all. The Interference Archive explores the relationship between cultural production and social movements. It provides public exhibitions, a study and social center, talks, screenings, publications, workshops, and an online presence, with an aim to preserve and honor histories and material culture that are often marginalized in mainstream institutions. It is at 131 8th Street, #4
, Brooklyn, NY 11215
 (2 blocks from F/G/R trains at 4th Ave/9th Street).

Josh MacPhee is an artist, curator and activist living in Brooklyn, NY. MacPhee is one of the founder of the Just Seeds Artists’ Cooperative, which organizes, creates and distributes radical art. MacPhee is the author of Stencil Pirates: A Global Study of the Street Stencil, which is dedicated to stencil street art. He co-edited Realizing the Impossible: Art Against AuthorityReproduce and Revolt and the upcoming Paper Politics: Socially Engaged Printmaking Today. In 2001 he co-organized the Department of Space and Land Reclamation in Chicago with Emily Forman and Nato Thompson. In 2008 he co-curated the exhibition Signs of Change: Social Movement Cultures 1960’s to Now with Dara Greenwald.

Liz Pelly is a freelance writer and editor based in Brooklyn, NY. I lives and works at the all-ages collectively-run art space The Silent Barn, where she books (and sometimes plays) shows. She and her friends run the ad-free bi-weekly online newspaper The Media.

The Media is a webpaper covering alternative arts, culture, music, news, and grassroots activism. With contributors often embedded in the communities they cover, The Media aims to bridge the gap between underground presses and mainstream media. Crucially, it is AD-FREE and simply designed. “At a moment marked by short attention spans, decentralized click-bait articles, and newspapers in flux, rethinking the aesthetics of our news websites feels just as crucial as re-imagining their content,” says The Media. “We want our content to resonate on its own merit, free of frivolity and flash, and grounded by a homepage that’s striking in its radical simplicity.”

10206902.0

A CARTOONIST GOES TO JAIL

In June 2014, Los Angeles-based cartoonist Elana Pritchard was arrested for violating a court order. When she bailed out on July 3, she had little-to-no money and an overworked public defender. Her prospects didn’t look great.

“I knew I’d have to serve time for my violation,” Pritchard wrote for LA Weekly. “That’s when my mentor, animator-director Ralph Bakshi, advised me to *document my exploits*.”

Pritchard was jailed in the Los Angeles County jail system for two months. First, she spent 5-weeks at Century Regional Detention Facility (CRDF) in Lynwood, and closed out her remaining 3-weeks at Twin Towers Correctional Facility in downtown L.A.

ACCESS, OBSERVING & DRAWING

As you know, I deal with photographic imagery mostly, but I am always eager to point out creative efforts in other mediums that illuminate critical criminal justice issues more efficiently, powerfully and intelligently than photography. Pritchard’s cartoons from jail are honest, wry and direct.

“Armed with nothing more than a golf pencil and whatever paper I could get my hands on, I drew the strange world into which I’d been dropped,” says Pritchard. This was the draughtsperson’s equivalent of a two-month photojournalist embed!

They get to the root of those daily indignities that establish power-relations between guards and prisoners. Simultaneously, those power-relations ratchet up tensions for everyone in the jail.

As you look through these cartoons, I ask you to wonder is the “strange world” Pritchard reveals  — of cold showers, dirty laundry, confiscated belongings, midnight cell-counts, competitions over basic sanitary products, food scarcity, sly put-downs and much more — one that we can accept, or one that we can ignore?

The unreasonable claustrophobia of the jail is made visceral in Pritchard’s drawings. I’d argue she conveys the experience of jail far better than many photographers can and have.

————

I discovered the comics at the Prison Arts Coalition blog and hastily made inquiries as to whether I could repost the cartoons and Pritchard’s commentary here. Gratefully, I was given permission.

Scroll down, here, to read Pritchard’s reaction to the cartoons’ publication in LA Weekly. I also recommend you read the original LA Weekly article in which Pritchard explains the context for each image.

————

10206888.0

10218122.0

10206889.0

10206891.0

10206901.0

“I Wanted To Remind Us We Were People”

Pritchard:

I couldn’t be more pleased with the response to my cartoons from Los Angeles jail system. People from all over the world have written to me expressing their support for what I have done and their contempt for inhumane practices for incarcerated peoples everywhere.

I have been in communication with the LA County Sheriff’s department and they have told me that due to these comics they have issued a new policy that all inmates must be given showers within 24 hours of entering the jail. We are scheduled to meet to discuss further improvements. And throughout all of this it seems the original, humble message of these comics is sticking: that we were people.

Even though we had a barcode on our wrist with a number and were called “bodies” by the staff, we were still people.

10206893.0

10218119.0

10206910.0 10206896.0

Pritchard:

Many people in jail are still on trial and haven’t even been found guilty or innocent yet. Many people made mistakes that you or I have made before in private, only they got caught. There were mothers in there that missed their children. There were kind people in there that cared about the arts and cared about each other.

I drew these comics to make us all laugh and remind us that even though there was a whole group of of people with badges and better clothes than we had telling us we didn’t matter … we DID matter and we WERE PEOPLE.

In that the comics were successful, and for that I am proud.

—————-

All images were first published in the LA Weekly, 2015.

10206905.0  10206907.0

10218120.0

10206900.010206908.0

ELANA PRITCHARD

Elana Pritchard is a cartoonist in Los Angeles. Before she landed in jail she worked as an animator on Ralph Bakshi’s film, Last Days of Coney Island.

She is currently raising money on Kickstarter to complete her animation, The Circus.

You can follow Pritchard on Twitter at @elanapritchard.

PERMISSIONS

All images were first published in the LA Weekly, 2015.

10206890.0

EMAIL

prisonphotography [at] gmail [dot] com

@BROOKPETE ON TWITTER

Prison Photography Archives

Post Categories

Follow

Get every new post delivered to your Inbox.

Join 749 other followers