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UPDATE: WEDS., 25TH FEB, 2:50PM. I JUST HEARD FROM PARSONS THAT THE WORKSHOP IS FULL. THAT IS GOOD NEWS FOR MARK AND THE PARTICIPANTS. LESS GOOD FOR THOSE WHO MAY HAVE GOT THEIR HOPES UP BECAUSE OF THIS POST.
SPACES ARE STILL AVAILABLE FOR MARK STRANDQUIST’S TALK These Images Won’t Tell You What You Want: Collaborative Photography and Social Justice AT THE SJDC ON FRIDAY, FEBRUARY 27TH AT 6PM.
￼￼￼￼Description from prisoner at Richmond County Jail, Virginia, from a workshop by Mark Strandquist.
WINDOWS FROM PRISON
Mark Strandquist will be coordinating a participatory workshop this Saturday, February 28, in New York City. Over the course of the day, artists, activists, lawyers, students, journalists, photographers, corrections officers, formerly incarcerated individuals and others will work together through dialogue to create photographs requested by prisoners in New York state.
Mark and his collaborators who include the Correctional Association of New York, the Young New Yorkers, Exalt Youth and the New York Writers Coalition have already sourced written responses from prisoners to the question:
“If you had a window in your cell, what place from your past would it look out to?”
The workshop is at the Sheila C. Johnson Design Center, at the Parsons School of Design. Those who gather at SJDC on Saturday will travel in groups to the various locations to make images, which will be sent back to the prisoners.
The workshop is part of the programming for Prison Obscura, a show of prison photography I have curated. Prison Obscura includes Strandquist’s series Some Other Places We Have Missed which was the earliest iteration of his workshops conducted in Richmond Jail, Virginia. Since then, Strandquist has partnered with local reform groups and stakeholders in the prison issue to custom-designed workshops in Washington D.C. and Philadelphia.
The ongoing program of workshops Windows from Prison is designed to open up conversation about the impacts of mass incarceration by using the medium of photography.
Images made during the workshop will be exhibited in the atrium space of the Sheila C. Johnson Design Center adjacent to the Prison Obscura exhibit.
Prison Obscura is made possible with the support of the John B. Hurford ‘60 Center for the Arts and Humanities and Cantor Fitzgerald Gallery at Haverford College, Haverford, PA.
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 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.
Image source: Growing Up Through Pictures (an unrelated program to Anathema Arts)
Prison arts organisation Anathema Arts is petitioning for a photo day program in the state of Illinois. Anathema Arts will provide the supplies necessary — the printer, photo paper, and digital camera. Anathema is at pains to state the program will not cost the taxpayers of Illinois.
“A photo can heal, promote positive thinking, maintain bonds, and enhance memories,” say Anathema Arts. “Photos of loved ones have long been used in psychology to reduce grief and pain, but just as they can provide comfort, the lack of current photos can cause negative consequences for both the incarcerated and their loved ones.”
As the majority of prisoners will be released back in to society it is in all of our interests to enact simple steps that maintain self-esteem among the incarcerated class. More importantly, the one factor that determines most a prisoner’s successful reentry into society is close family relationships during imprisonment. Photographs play their part in aiding those bonds.
“Friends and families of incarcerated people often do not have current pictures, and do not get to see how their son, daughter, friend, brother, or sister looks as their sentence passes over the years,” says Anathema Arts. “For those family members that can visit … portraits provide a positive focus during visits, and remind loved ones and prisoners of happier times.”
As I see it, the biggest potential problem with Anathema Arts’ proposition is how it is perceived. Might prison administrations be reluctant to accommodate the (sensible) suggestions of an arts organisation with stated sympathies for incarcerated peoples? Maybe, I’m problematising? Or maybe, I am not? After all, many members of the citizenry consider anything beyond punishment as being unwarranted or not needed in our prisons. Short version: prisons don’t want to appear soft and a photo portraiture program may be seen as fluffy and coddling.
But, surely, there can be no harm in allowing prisoners and families ready access to a recent photo portrait?!
A knee-jerk reaction would be to reject the FAMILY PHOTO -> BOND STRENGTHENED -> REDUCED ALIENATION -> SAFER SOCIETY theory of causation. I understand why some might think it a stretch but, let’s be honest, photography is often wrapped up in unexamined theory. So, why would we dismiss this well-meaning program specifically? Instead, let us consider the fact that prisoners are probably the demographic in America with least access to self-representation — they do not have the standing, nor the tools to create, share and replace images at will.
I’ve signed the petition because I think it’s not only a useful pilot program (that could be repeated in other prisons and other states) it is also a test to see what the Illinois Department of Corrections can accommodate. Is it flexible enough to host a volunteer-run photo program? It absolutely must be, for if it is not then what else can it not — will not — provide for those in its custody?
Go on. Sign up if you dare to imagine the possibilities.
After stints at Haverford College, PA; Scripps, CA; and Rutgers, NJ, my first solo-curated effort Prison Obscura is all grown up and headed to New York.
It’ll be showing at Parsons The New School of Design February 5th – April 17th:
On Thursday, February 5th at 5:45 p.m, I’ll be doing a curator’s talk. The opening reception follows 6:30–8:30 p.m. It’d be great to see you there.
Here’s the Parsons blurb:
The works in Prison Obscura vary from aerial views of prison complexes to intimate portraits of incarcerated individuals. Artist Josh Begley and musician Paul Rucker use imaging technology to depict the sheer size of the prison industrial complex, which houses 2.3 million Americans in more than 6000 prisons, jails and detention facilities at a cost of $70 billion per year; Steve Davis led workshops for incarcerated juvenile in Washington State to reveal their daily lives; Kristen S. Wilkins collaborates with female prisoners on portraits with the aim to compete against the mugshots used for both news and entertainment in mainstream media; Robert Gumpert presents a nine-year project pairing portraits and audio recordings of prisoners from San Francisco jails; Mark Strandquist uses imagery to provide a window into the histories, realities and desires of some incarcerated Americans; and Alyse Emdur illuminates moments of self-representations with collected portraits of prisoners and their families taken in prison visiting rooms as well as her own photographs of murals in situ on visiting room walls, and a mural by members of the Restorative Justice and Mural Arts Programs at the State Correctional Institution in Graterford, PA. Also, included are images presented as evidence during the landmark Brown v. Plata case, a class action lawsuit that which went all the way to the Supreme Court of the United States, where it was ruled that every prisoner in the California State prison system was suffering cruel and unusual punishment due to overcrowded facilities and the failure by the state to provide adequate physical and mental healthcare.
Parsons has scheduled a grip of programming while the show is on the walls:
Mid-day discussion with curator Pete Brook and Tim Raphael, Director, The Center for Migration and the Global City, Rutgers University-Newark.
Wednesday, February 4, 12:00–1:30 p.m.
Co-hosted with the Humanities Action Lab.
These Images Won’t Tell You What You Want: Collaborative Photography and Social Justice.
Friday, February 27, 6:00 p.m.
A talk by Mark Strandquist.
Windows from Prison
Saturday, February 28
A workshop led by Mark Strandquist. More information about participation will be available on the website.
Visualizing Carceral Space
Thursday, March 12, 6:00 p.m.
A talk by Josh Begley.
Please spread the word. Here’s a bunch of images for your use.
At The New School, Prison Obscura connects to Humanities Action Lab (HAL) Global Dialogues on Incarceration, an interdisciplinary hub that brings together a range of university-wide, national, and global partnerships to foster public engagement on America’s prison system.
Prison Obscura is a traveling exhibition made possible with the support of the John B. Hurford ‘60 Center for the Arts and Humanities and Cantor Fitzgerald Gallery at Haverford College, Haverford, PA.
On show will be photographs from two projects — Gumpert’s ongoing Take A Picture, Tell A Story, and images from “I Need Some Deodorant. My Skin Is Getting Restless” which were made between 1996 and 2002 at the Alameda County’s Psychiatric Emergency Services at John George, Oakland. In both bodies of work, Gumpert uses oral history (audio and text interviews) to add description, depth and context to the experiences of his subjects.
If you’re in the Bay Area, I strongly recommend a trip through the Caldecott Tunnel out to Moraga.I’ve long been an admirer of Gumpert’s work, specifically Take A Picture, Tell A Story which is part of my curated effort Prison Obscura.
Click on the flier below to see it larger and glean all the critical information.
Tameika Smith, San Francisco, CA. SF CJ2. 9 July 2012.
Chris Goshen, San Bruno, CA. San Francisco. CJ5. 27 June 2009.
Deborah Lee Worledge, San Francisco, CA. CJ1 Men’s jail. 4 April 2008.
Michael Johnson, San Bruno, CA. CJ5.
In the final two days of fundraising, Echoes Of Incarceration is a long term project that helps children of incarcerated parents to make documentary films about the effects of America’s prison industrial complex — on society, on us, on families, on communities, and mostly on children without one or both parents behind bars.
There are an estimated 2.7 million children in America with one or both parents in prison or jail. Mass incarceration has created fundamental weaknesses in society. Mass incarceration as easily impacts individuals as it does vulnerable groups (the poor, the under-educated, the discriminated against) and often we perceive the effects as lasting only years, or being contained within the experience of one identified moment, lifetime or geographical space. We neglect to recognise that mass incarceration is piling pressures on top of problems on top of expectations on top of America’s young, developing citizens.
We live in a society in which vast numbers of youth must negotiate formative years without parental support. The prison industrial complex has burdened our youth with an almost inconceivable set of problems that they did not ask for, and they do not deserve.
Echoes Of Incarceration brings much needed scrutiny to the issue of mass incarceration and crucially it does it through the lens of the innocent people who have inherited a broken, brutalising system we made. Their latest productions deal specifically with the Bill of Rights of Children with Incarcerated Parents.
Please, fund this important project.
Below is a 2009 production made by Echoes Of Incarceration
Untitled by Derrick Quintero and Ann Catherine Carter. From the “Surrogate Project”
Artist and educators, Paris and Williams coordinate the best prison arts program I’ve never written about.
They work in tandem with prisoners on death row in Tennessee. The Riverbend Maximum Security Institution imprisons 79 people on death row. Eleven prisoners — Abu Ali Abdur’Rahman, G’dongalay Berry, Tyrone Chalmers, Gary Cone, John Freeland, Kennath Artez Henderson, Nikolaus Johnson, Donald Middlebrooks, Harold Wayne Nichols, and Derrick Quintero among them — have worked with Paris and Williams on a few projects. I have admired their practice for a long time.
I’d be embarrassed about bringing their work to you when they are already so far down their creative paths if I didn’t think they still had long and beautiful journeys planned out.
You can see a lot of their work, stretching back 18-months, on the R.E.A.C.H. Coalition blog.
Earlier this year, in Nashville TN, in collaboration with artists from Watkins College of Art they produced the exhibition Unit 2 (part 1) from which several of the images included herein originated. Recently, they completed Unit 2 (part 3). In both cases they partnered with small local galleries to put on the events.
Photos feature heavily in the collaborations between the condemned men and outside artists. For the series “Add-Ons” an outside artist would provide a prompt in the form of a drawing or piece of writing but often an image. The prisoner would then add to it by either drawing or writing directly on the print, or riffing off of it in words and sketches to create a second companion piece.
For the series “Surrogate” a prisoner would make a request for someone on the outside to do something for them by proxy — to enjoy a library full of books, to eat a hearty breakfast prepared to precise specifications, or to make a family portrait. In many cases the evidence and *shared experience* was documentation usually in the form of a photo.
AN ADVOCATE’S MESSAGE
While the process in producing these works is necessarily personal and intimate, the sharing of the artwork and the political urgency needn’t be. Paris, Williams et al. want to use exhibitions as moments for discussion and public education. Namely, they want to contribute to the anti-death penalty movement. As Paris told Hyperallergic, “The system of legal defense for capital cases is shoddy and poorly funded at best; there are no rich people, to my knowledge, on death row. We incarcerate more of our population than any other country. I could go on and on. It’s shameful. It’s not who we think we are as a country.”
This isn’t prison fetishism. The men on death row alongside the artists and students corralled by Paris and Williams are collaborators in the fullest sense. I think it is significant that the winning proposal was written by the prisoners; I think it may have been a deciding factor for the judges on the quality, intent and pedagogy of the art.
The prisoner-artists’ proposal reads:
During the past year, the state of Tennessee has staged a nearly unprecedented offensive against those individuals it has sentenced to die. A state that has executed only six people since 1960 has recently scheduled ten executions. As prisoners on death row, and imminent victims of that state-sponsored violence, we represent the “bare life” described so powerfully by historians and philosophers. During the past two years, however, through an unusual partnership with artists, writers, and educators in Nashville, we have endeavored to make our circumstances visible to those beyond the walls of prison. Through published writings and art exhibitions, we have addressed a public that knows as little of our lives as they do of the indignities of belly chains or the menacing shimmer of razor wire.
Our past exhibitions have often included collaborations with artists and art students on the outside. We have created “add-on” drawings (exquisite corpses, more or less) with people beyond the prison, and we have started sketchbooks before sending them out for strangers to finish. We have composed “surrogate” assignments for outsiders to realize (photographs of the stars, for instance, which some of us haven’t seen in 25 years, or the libraries in cities that we will never visit). We have made gifts of our art works and offered them to visitors to the opening of an exhibition in exchange for their photographic portraits. In one show, we exhibited a diorama that traces the all-too-common path from poverty to prison, and in other, we exhibited our personal snapshots and family photos to offer the world a glimpse of our social lives and to show that we are more than prisoners and men condemned to death
In response to your call, we propose an exhibition that will feature designs for our own memorials alongside our representations of the lives we would pursue if we were free. We have all been condemned to death, and the state of Tennessee intends to kill us, but some of are innocent, and we all hope to demonstrate that we are more than the sum of our worst deeds—or that we might be.
The works we will submit will include drawings, paintings, photographs, models, and text-based pieces. Some of us will submit statements outlining reasons for refusing to design their own memorials.
Kudos to them and all involved. Hope to be in NYC when it shows! Robin Paris and I are currently in conversation and I hope to share that back-and-forth with you in the future, but until then, I’d like to use this recent success as an excuse to share some images of the prisoners’ work.
Upreyl Mitchell and Harold Wayne Nichols, “Untitled” (add-on artwork), acrylic and colored pencil on photograph, 13″ x 9″ in (photo courtesy Robin Paris)
Mika Agari, Jessica Clay, Amy Clutter, Robert Grand, Kristi Hargrove, Robin Paris, Sharon Stewart, Tom Williams, Weng Tze Yang, and Barbara Yontz, “Surrogate Project for Harold Wayne Nichols: Breakfast for Dinner,” photograph.
Donald Middlebrooks, ‘Silence is Compliance’ (acrylic on canvas board)
‘The Night Sky’ by Robin Paris and Tom Williams with writing by Gary Cone, Harold Wayne Nichols, and Donald Middlebrooks. From the Surrogate Project
Nickolus Johnson and Zack Rafuls, “Untitled” (add-on drawing), mixed media on paper, 14 x 11 in.
Photograph and drawing, by Upreyl Mitchell and Kennath Artez Henderson. From the Surrogate Project.
Robin Paris is associate professor and chair of the Department of Photography at Watkins College of Art, Design & Film in Nashville, Tennessee. She is a graduate of The Evergreen State College in Olympia, Washington, and the Savannah College of Art and Design, and she has taught at Belmont University and The University of the South, Sewanee. Her work has appeared in exhibitions throughout the country. She has been co-facilitating the art workshop in Unit 2 (the Death Row unit) of the Riverbend Maximum Security Institution since 2013. Her recent work has involved collaborations with its residents.
Tom Williams is assistant professor of art history at Watkins College of Art, Design & Film in Nashville, Tennessee. He is a graduate of Stony Brook University and the Whitney Museum Independent Study Program, and he has taught at the School of Visual Arts, the Museum of Modern Art, New York University, and Vanderbilt University. His writings have appeared in Art in America, Grey Room, and other publications. He has been co-facilitating the art workshop in Unit 2 (the Death Row unit) of the Riverbend Maximum Security Institution since 2013.
apexart is a non-profit arts organization in Lower Manhattan that was conceived to offer opportunities to independent curators and emerging and established artists, as well as to challenge ideas about art, its practice and curation. apex art is at 291 Church Street, New York, NY 10013 USA and it puts on exhibitions, Fellowship Program, publications, and public programs. It is free. Contact is 212 431 5270 or email@example.com. Hours are Tues – Sat 11am-6pm.
UNSOLICITED PROPOSAL PROGRAM
Anyone, from anywhere, may submit an idea-based exhibition to the Unsolicited Proposal Program. Each annum, three winning proposals are presented at apexart as part of its year-long calendar. Proposals remain anonymous and judged by an international group of 100+ artists, curators, writers and arts professionals. Each juror reads at least 50 proposals, in randomized order. Each proposal receives as many as 25 votes.
“We believe it is the most objective and fair process of evaluation that we have found,” says apexart. “Submissions are reviewed anonymously and solely on the strength of their idea. Previous curatorial experience is in no way required. Supplemental materials are not accepted to further level the playing field.”
The eventual ranking of proposals is made available online to all applicants.