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He went back every year for four years. Between 2007-2010, photojournalist Louie Palu made six trips to Guantanamo. Not quite a compulsion, but more of a requirement, Palu had to go. He’d photographed in Afghanistan and it made sense that he’d take opportunities to document America’s chosen *homeland* site for its Global War On Terror (GWOT). Guantanamo is another piece in the puzzling puzzle of war against an expanding list of enemies. It is more contained and less flash-bang than any theater of war, but no less violent. Inside Gitmo, coercion and so-called Enhanced Interrogation Techniques do the damage, replacing mortars and EIDs.
Why did Palu go? We know Guantanamo is so controlled that a photographer’s work is compromised. And yet, he returned time and time again. Perhaps he though he’d be the one reporter who’d see the nugget, catch the frame and get out of there with the shot? Not so. After every visit, all photographers are required to hand over their DSLRs. A member of the Joint Task Force will look over all images and delete any that don’t meet military rules. The photographer is given forms with each digital file number listed individually. The procedure is called an “Operational Security Review.”
Palu’s latest publication GUANTANAMO: Operational Security Review is a 24-page conceptual newsprint publication. It combines his Gitmo images with scans of the official forms. It is available at Photoeye Books.
GUANTANAMO: Operational Security Review is abstract, elusive and slippery … which I think is the point. I asked Palu a few questions about it.
Scroll down for our Q&A
[Click any image to see it larger]
Prison Photography (PP): Why did you ever want to go to Guantanamo?
Louie Palu (LP): The detention center at Guantanamo Bay is one of the most infamous results of the “War on Terror” — the most internationally known detention facility of our time. I’ve always been interested in the relationship between history, political events and the human experience. Especially, I am engaged by events or issues that define our time politically.
9-11 and Guantanamo will forever be connected. I am also fascinated by the legal and morale paradox that Gitmo, as it is known, represents in the face of the U.S. Constitution with regards to detaining people indefinitely without trial.
PP: You went many times. Why stop?
LP: Relatively speaking the access went from good, to getting better, to very poor and finally I gave up. I follow Carole Rosenberg’s reporting in the Miami Herald, she is perhaps the best source of reporting on Gitmo there is.
LP: In a recent report she did, it seems the current military public affairs unit there has become exceptionally difficult to work with. I would like to go again, but it looks impossible to work there right now.
Normally each trip lasts four-days.
Day 1: Fly in and get settled. Day 2: Tour various parts of the detention center. At the end of each day everyone goes through what’s called an “Operational Security Review”, also known as an OPSEC Review. In my case as a photographer this involves the deleting of certain photographs right off my memory cards. Basically anything that reveals security features of the prison or direct frontal views of the detainees faces is deleted. Day 3: More touring the facility and more photography and one more OPSEC Review. Day 4. Fly home.
I did do two special photo tours years ago. Most tours have writers as part of the tour group and you can spend hours in areas of no interest to photographers. One of these special photo tours in particular was I think the best access ever for a civilian photojournalist. I think I hold the record for longest OPSEC Review ever, it was an all-nighter! I don’t think they’ll give a tour like that ever again and a number of areas in the prison are now closed and access to the detainees is very limited and basically everyone gets the same photographs now.
PP: You’re a wisened, experienced photojournalist. What did you expect from Gitmo? What did you get?
LP: I try not to expect anything from any assignment, subject or project except that I will do my best and that I am personally engaged in the subject matter. Beyond that, I hoped to make pictures that would last as documents to an important subject in our history.
I think that the manner in which we are forced to take pictures with extreme control should be a part of the history. The control on how I took pictures and the limited access made the images and approach unique. That is what my concept newspaper is partly about.
PP: We’ve stopped taking about Guantanamo ever since we realized Obama couldn’t/wouldn’t close it down. Why is that? Where does it leave your work?
LP: When you say “we” I would take that as mostly the general public, many journalists keep talking about Gitmo and it’s impact and implications. Though relatively speaking I agree people seem to have disengaged from the issue.
However, we have to understand that Guantanamo Bay is a recruiting poster for many extremists and terrorists and it will continue to be especially while it is open. Take for example the video ISIS (aka ISIL, IS) made of journalists they are executing in Iraq/Syria. The journalists are on their knees in orange jumpsuits. In my mind it’s a copy of the same imagery of the first images released by the U.S. government of detainees in Guantanamo in orange jumpsuits right after 9/11. The image the detention center at Guantanamo Bay paints of America goes against every value the United States stands for in my opinion. So long as the detention center at Guantanamo remains open and the detainees are not given a trial, the United States will have a hard time holding any moral high ground on human rights. It makes it a very serious issue to continue to try and find a solution to. If I interest only a handful of people to keep talking about it I did my job.
The reason I think that we stopped talking about Gitmo is also limited access to the detainees by journalists being one reason and right now there is no shortage wars and disasters of all kinds to deal with, plenty of “fog of war” to keep us off the issue that challenges one of the core value systems of the United States, which is the constitution.
The eyes of history will judge my work years from now. For now, I am satisfied to have published the work and kept the issue in the public’s eye, no matter how small a contribution I have made. From the point of view of a photojournalist the newspaper is a part of that.
PP: Briefly, tell us about your decision to go with a newspaper format to publish the work from Guantanamo.
LP: Well, I had a fellowship with a think tank in Washington DC called the New America Foundation, which involved covering the Mexican drug war. I created a concept newspaper called Mira Mexico. I created it so you could take it apart and re-edit the order of the pictures and also hang it as an exhibition. It was meant to directly engage the viewer to understand how our images are controlled by governments and the media. It’s about the manipulation and our perception of an issue. It’s explained in this video.
Creating an object as something that goes beyond the news cycle is important to continue to engage the public in on important issues. The newspaper format is important in challenging not only traditional formats of news, but also the manner in which we consume information and the platforms we see them in. You can also hang it as an exhibition as each spread is a poster and you can turn it into an educational lesson in editing or controlling pictures. GUANTANAMO Operational Security Review is the part two to my first concept newspaper on Mexico. I am also making a statement in making a newspaper in which the only content is Guantanamo Bay. No advertising or competing content. I edited out every other story.
PP: What do you hope people take away from GUANTANAMO Operational Security Review?
LP: Well the project has a two-fold purpose. One, obviously it is meant as an artist’s concept fused with journalism to continue to engage the public in a dialogue on the issue. Second, it is meant to challenge the modes in which we are delivered our content and who the gate-keepers are to our news. We need to always ask, who are the editors, curators and or censors we don’t see or ask enough about that shape the way we understand the world through photographs?
I am about to go on a workshop/lecture tour through universities in Canada and the U.S. just as I did with the Mira Mexico newspaper. I’ll be using GUANTANAMO Operational Security Review in classes teaching visual literacy to students. It will be a workshop format where students will each have a copy of the newspaper and re-edit and present to the class why they selected the images they did on Guantanamo. I think empowering young minds to understand how their opinions are manipulated by the use or misuse of photographs is critical to our future.
PP: How does GUANTANAMO Operational Security Review relate to your other bodies of work and areas of interest?
LP: I try to create multi-platform uses for my work and always engage a topic over a long period of time, and usually beyond any news-cycle. My average project lasts between 3-5 years. My first one lasted 15-years. But that won’t happen again!
PP: You must have looked at plenty of other photographer’s work on Gitmo. Who else has done it well?
LP: Actually, I haven’t! I have seen a handful of wire photos from there that are not my style of work, but gives a base of understanding of how news photographers have had to work there. I also have seen numerous art based documentary photographers do bodies of work there, in the end they have all taken many of the same photographs because of the strict control over access. I don’t think anyone has done it “well” including myself since the access is so controlled and photos are deleted. There are sections of the newspaper that deals directly with that issue — the *age of extreme image control* is one of the main layers of meaning in the newspaper. The newspaper is, an object and document that says my access and images were controlled on this issue.
I can’t show you how Guantanmo really is. However, with the newspaper maybe I can show you how it was for me. That is why I created it.
PP: Have you any thoughts (regarding visibility, perhaps?) about how Guantanamo relates to America’s extrajudicial prisons around the globe?
LP: Digital photography is a blessing and a curse. Media campaigns and disinformation operations are easier now than ever. The newspaper is also about photojournalism. You know photojournalists control what we see as well, editing can be seen as censorship by some media critics.
Let me explain, it’s about interpretation of what we are doing, right? If I take 1000 photographs on assignment and I edit only 15 for you to see, what do you call that editing or censorship? This newspaper questions photojournalism as a whole and everyone involved in it including me.
PP: How will Guantanamo end?
LP: I don’t know how Guantanamo will end. Even if it does end as a physical structure, it has become visually symbolic for extremists, they have turned government released visuals linked to the detention center into a disturbing propaganda tool. Events and places like the detention center at Gitmo are never looked at very kindly through the eyes of history.
PP: Thanks, Louie.
LP: Thank you, Pete.
At first glance, the image above looks like the usual press photograph of a suspect accompanied to the stand, being escorted between holding cells and a courtroom. Alternatively, it could be a scene from inside a jail. Jumpsuit, shackles and guards are glaring visual clues and we think we know what we are seeing. But, in most cases we don’t. And in this case were aren’t. This is a photo from the set of the in-production web series wHole, for which filming began last month at the vacant Wapato Jail in Portland, Oregon.
wHole, made by Think Ten Media and directed by Ramon Hamilton (who is actually to the left in this picture) aims to raise awareness about the sensory deprivation and widespread use of solitary confinement in American today. The limited information this fictional scene provides us is akin to the limited visual information available to us generally of solitary confinement in America’s prisons. (Aside of photography, we must recognise there is currently a good swell of great advocacy journalism about solitary, not least by Solitary Watch).
Even though Wapato was designed as a medium-level-security county jail. Think Ten Media thought it a worthy location for depicting Supermax facilities. wHole might be the only good thing to come out of this waste of space and money.
In 1996, the taxpayers of Multnomah County (Portland, Oregon) approved a bond measure to build a 168,420-square-foot, 525-bed jail back, but county leaders never set aside money to open and operate it. Construction was completed ten years ago at a total cost of $58M. Wapato was a bad idea to start with, but changes in legislation and a drop in crime proved it a terrible idea. The jail never went into operation. Don’t get me wrong, it is a good thing that no-one has been locked up at Wapato, but it is a terrible thing that it was built in the first place. What could have that $58M (plus the $3M of tax payers money spent over the past decade to merely to maintain the place) achieved in terms of rehabilitation, jobs training and addiction treatment?
Last year, sensible suggestions such as repurposing the jail as a drug rehab center, a homeless shelter or a community center were invoked but didn’t develop. More recently, the county made concerted efforts to sell the jail and get it off the books. In a typical Portlandish well-meaning, transparent but somewhat comic and farce-like public relations stutter, the county called for proposals from companies and citizens alike and then promptly rejected them. The proposals? Some people wanted to make a community garden for at-risk youth, other a prison for international war criminals. A TV production company wanted to make a reality TV show and a private prison firm wanted to use it and use it for you can guess what.
There has been a persistent myth in Portland that Wapato sat empty and was never used for any type of revenue raising, including the exploitation of opportunities presented by the many production companies wanting to film at Wapato. That’s simply not true. Maybe, more filming and more money could’ve been supported, yet, speculation aside and to date, wHole is the 32nd project filmed there int he past 6 years.
That wHole is about mass incarceration makes it, in my book, the most worthy of projects. When the nearly two-month-long California Prisoner Hunger Strike kicked off in the summers of 2011 and 2013, filmmakers Ramon Hamilton and Jennifer Fischer knew they wanted to make a project about solitary. wHole is intended to be “raw and real.”
The locals are excited about the future impact of wHole, which is a far cry from Orange is the New Black. While no mainstream TV show has depicted prisoners so sympathetically, Orange Is The New Black carries its fictional aspects and as such doesn’t reflect reality.
I wanted to know more about how you get into a jail to film and so asked Jennifer Fischer, Think Ten Media co-founder, a few questions.
Scroll down for our Q&A and then further still for more information on the project.
Q & A
Prison Photography (PP): How many vacant jails or prisons are there in the U.S. in which to make feature films or TV series?
Jennifer Fischer (JF): I am not sure. I know Fred C. Nelles Youth Correctional Facility is used often for filming by productions in the Los Angeles Area. I believe Hancock shot there, and there’s lots going on with it right now.
PP: Why did you choose Wapato?
JF: There was really nothing like Wapato Jail that was reasonable in terms of cost. There is a facility in New Jersey I recall Five mentioning to me. I lost all of my research notes about prison locations when my hard drive crashed recently!
We looked into shooting at Nelles and at other locations, but all were prohibitively expensive for our project being made on a limited budget. There were other challenges, such as no running water or electricity, the requirement of a water truck on site.
Some active prisons and jails are often used for filming! But with these locations, if they need the cell you are shooting in, you get booted. At Wapato we’d have access to the entire facility.
PP: How was the process to secure use of the facility?
To secure the facility, we had to speak with Mark Gustafson, who is the property manager. He had a few questions, but the process was really pretty simple. The important thing was getting the correct insurance. Here’s the county’s property management webpage for Wapato jail.
PP: Were the rates reasonable?
JF: Yes, the rates are quite reasonable, basically covering the cost to operate — security guard on site, opening and closing of the facility and any janitorial costs incurred from our use.
In fact, we initially went up to Portland because of the [relatively low] cost of the facility. Before we went we were still considering building a cell somewhere in L.A. when the whole series was greenlit.
However, given how wonderful and support everyone in Portland was and how professional the local cast and crew were, we are now absolutely committed to being back in Portland at Wapato to shoot the entire show.
Scroll down for more info on the web series and links to production photos.
Filming the filmers.
A cell doubles as a make-up room.
Filming inside a cell.
wHole draws on the intimate knowledge of two people who have been incarcerated.
Actor William Brown plays the protagonist in wHole. He has served time in prison. Fischer and Hamilton connected with Brown through Deborah Tobola who runs the Poetic Justice Project, a theater program in California for individuals who have been incarcerated. Tobola and Brown worked together when he was in prison in a program called Arts in Corrections.
Five Mualimmak is a co-producer for the project. Mualimmak also spent time in solitary confinement, 5 years, before he was exonerated. Mualimmak works with the Campaign to End the New Jim Crow and is the Executive Director of the Incarcerated Nation Campaign.
“As I wrote the screenplay, I was in touch with Five throughout,” explains Hamilton who is the series writer and director. “I want to make sure that viewers get a real sense of what it is like for a person to live in complete isolation for years.”
Mualimmak wrote about Solitary confinement’s “invisible scars” for the Guardian.
In chatting with Fischer, one of the intriguing resources she pointed me toward was the set photography for wHole. I’ve included some of my preferred shots thorughout this post.
View images from day one, day two, day three and day four. Perhaps most interesting are photos made by crew of the facility’s control room, surveillance systems and control boards.
Five Mualimmak, who spent 5 years of his 12 prison term in solitary confinement, before being exonerated is co-producer on wHole. Above, he plays a prison guard.
Lunch on set
Looks depressingly accurate.
Downloading the day’s footage in the control room.
wHole was made in partnership with American Civil Liberties Union, Amnesty International, the American Friends Service Committee, the National Religious Campaign Against Torture, the United Methodist Church General Board of Church and Society, the Campaign to End the New Jim Crow, Incarcerated Nation Campaign, the Media Change Makers (of the University of Texas-El Paso), SendAPackage.Com, Broken On All Sides, Jail Action Coalition New York City, The Bronx Defenders.
Additionally, Academy Award-Winning Producer Jonathan Sanger is an Executive Producer for the project and Dr. Arvind Singhal is the Entertainment Education Specialist for the project.
In Portland, specifically, the assistance of Jan Elfers, Public Policy Director at Ecumenical Ministries of Oregon, and Shannon Wright, Deputy Director of the Partnership for Safety and Justice was crucial.
All images courtesy of Think Ten Media and William Meeker.
Even in the throes of addiction, Graham MacIndoe was able to take a relatively objective look at the visual culture of the drug trade. He collected more than 100 bags, in NYC, in which heroin was sold.
When other addicts emptied these little baggies, and after they’d cooked and injected the contents, what did they see? Trash? Incriminating evidence? MacIndoe saw the anthropology and informal economics of dealing.
Now, four years clean, photographs of the bags are collected in a new book All In: Buying Into The Drug Trade (Little Big Man Books, San Francisco).
For Wired, I wrote about the series, MacIndoe’s story and his thoughts about what the baggies might mean for us all: The Dark, Ironic Branding Drug Dealers Use to Sell Heroin
Final Words, launched today, is a sprawling documentary project that focuses on the humanity at center of the death penalty in America. It is the brainchild of photographer Marc Asnin known for his brick of a book Uncle Charlie. Well, this project takes Asnin from the personal to the political, but it is no less massive. Asnin’s got form.
Asnin is asking photographers and non-photographers alike to submit selfies as statements against the death penalty. I’ll get to that in a moment but first the project and the cause.
Final Words is a book and traveling exhibition, featuring the final statements of the 515 prisoners executed by the state of Texas since 1982. Final Words will shape and deliver curricula to American high-schoolers. If we can get the youngest generation talking then perhaps we can engineer a future without the barbaric death penalty?
The project statement explains that more than one person every month for thirty-one years has been executed by the Lone Star State:
Just before the execution is completed, each prisoner is given the opportunity to share their final thoughts. [...] It is their words, their final words in this life, that allow the reader to experience the underlining humanity central to the death penalty debate. [...] Final Words comprises a part of the legacy that will live on beyond us and it will stand as a testament to the kind of society we were—who our criminals were and how we implemented our idea of justice. Final Words interrogates our presuppositions about the death penalty. [...] While this book is a document of death—the death of both the guilty and innocent, the criminals and the victims—it attempts to create a dialogue about life.
All this takes a movement. And money. An IndieGogo campaign will launch in a months time.
The editioned Final Words books will cost a pretty penny. Their sales will help raise money to pump simpler versions of the content and curricula into the bloodstream of the education system.
Each page of the book features a prisoner’s mug shot, their age both at the time of the crime and when they were put to death, a description of the crime for which they stand convicted, and their final words.
Photographers Selfie Against the Death Penalty
In other efforts to corral some cash, Neverland Publications (cofounded by Asnin) and VII Association are collaborating on Photographers Selfie Against the Death Penalty, an international photo campaign to call for an end to executions in America. Highflying pixelmakers & imagershakers will submitting alongside us flailing Instagram plebs.
Note that the word “selfie” is used as a verb. I like that. Jury’s out as to how much a collection of selfies can effect entrenched moral politics, but it’s worth a try. Social media does nothing if not surprise regularly. And besides, all this just gets people talking ahead of Final Words‘ big fundraising campaign that ignites in October.
As the 501c3 sponsor of the project, VII Photo has asked all its photographers to participate in the selfie campaign. Get yourself in there too:
1. Make a selfie, save it to your computer.
2a. Upload selfie to http://www.final-words.org
2b. Fill out form (name, age, email address, location, how you heard about Photographers Selfies Against the Death Penalty, your preferred photography genre)
2c. Personalize your statement against the death penalty, by completing the following “I stand against the death penalty because …” in 140 characters or less.
Go on, selfie against the machine!
[Oh, if you're wondering how and why Asnin and his colleagues have the last statements of 515 men and women, it is because for some reason the state of Texas keeps a public online database of them. Weird, no?!]
The 15th Annual March to Abolish the Death Penalty takes place in Houston, Texas on Saturday October 25th at 2pm. Details on the exact location in Houston will be announced later.
Aug 12 – dbtvcampaign: #IfTheyGunnedMeDown which pic would they use? Thank you @underserverillance for Helping @dbtv13 shine light on the tragic shooting of 18yr old UNARMED Mike Brown, shot and killed by a St. Louis County police officer, show support by posting your photos! | Join in this movement. #DBTV #JPA #JusticeforMikeBrown #IFTHEYGUNNEDMEDOWN (Instagram)
“America. How do you think we look when the world can see you can’t come up with a police report, but you can find a video?”
– Rev. Al Sharpton, speaking at Michael Brown’s funeral, Friendly Temple Missionary Baptist Church, St. Louis, August 25th, 2014.
POLICING, IMAGING AND REIMAGINING POLICING
In the wake of Michael Brown’s killing by a police officer, the United States has been asked to look at itself in a grave and deep way, once more.
The Brown family, the Ferguson community and America generally must figure out how to turn a tragedy into a movement. The Brown family shouldn’t have to do this; they should be living normal lives, but once that police officer shot six bullets into Michael, their lives took an uncontrollable turn. Strength to them and to their ability to carry a movement born of circumstances no parent would want to endure.
Racial profiling is a national problem — the New York Police Department’s Stop & Frisk policy being the most overt example. Police abuse exists and minorities suffer the brunt of that abuse. The extent to which reports of mistreatment have declined among forces who adopted lapel-cameras for their officers is eye-opening. In Rialto, California — the city widely cited as the earliest pilot program of police officer body cams — had all 70 of it’s officer wear one. Between February 2012 and February 2013, public complaints against officers plunged 88% compared with the previous 12 months. Officers’ use of force fell by 60%.
Aug 14 – djuantrent: #ForThoseWhoHaveBeenGunnedDown “…because our souls cannot rest at the hands of injustice.” More on Djuan Trent’s blog)
Following Ferguson, a renewed call to look at policing rings loud. The figures from Rialto and other pilots like it prove problems exist. We must remember that these figures are merely late confirmation of what poor communities have known and experienced for decades — that they receive a particular and disproportionate amount of scrutiny.
[Ferguson police have started to wear body cameras, albeit 50 cameras donated by two private companies.]
Thinking about these convergences of issues, it’s surprising how much of the conversation comes back to sight: What is the nature of watching a police search? How do we see our society? How do we see class and race? How do people see the police force? How does the state see, monitor and discipline the citizenry? How are images and imaging technologies used to put forth a case when accounts conflict and versions stand to convict or acquit?
How bad does it look when police roll in military armored vehicles in the face of peaceful protest?
These preoccupations over perceptions and narrative were never more in evidence than when the Ferguson police, who unable and/or unwilling to present an officer’s name or autopsy report to the enraged public, were able to publish a corner-store CCTV camera showing Michael Brown push the store owner. Quite how some unrelated grainy footage impacts the facts of a cold-blooded murder is beyond any of us. In the early scramble to win over the public during what quickly developed as a cops v. community narrative, the police turned to video. Desperate and insulting.
Aug 13 – phoenixpsyd: If I were killed by police today, which picture would they use? #IfTheyGunnedMeDown #WhichPictureWouldTheyUse #IFTHEYGUNNEDMEDOWN (Instagram)
WHICH PICTURE WOULD THEY USE?
As awkward and insulting the police’s use of imagery was in the wake of Brown’s murder, the visual strategies employed by protestors was subtle, simple, subversive and hard hitting. On the streets, protestors walked with their arms in the air. Across the nation, the Tumblr Which Picture Would They Use gave young black Americans the opportunity to simultaneously show their support for the Ferguson protestors, skewer the media, and critique the duplicitous versions of character cast open them by wider society.
I am so impressed by Which Picture Would They Use. Its question is so simple and its rhetorical strategy so strong.
People of colour are subtly vilified daily, and young people of colour more so. Selfies are the snap of choice for many youngsters and Which Picture Would They Use is populated with dozens. This Tumblr shows that young millennials are savvy, canny, funny and more visually literate than us older folk. It shows that they’re totally hip to the media’s rating games. It’s a political engaged use of selfies and Tumblr’s “Like-culture.”
Which Picture Would They Use is a off-the-cuff (off-the-camera) stick in the eye to an ambivalent media. It doesn’t take much time, but the crowdsourced results are striking. Some might say youth might have been primed for this discussion (and controlled anger) following the politics surrounding the images of Trayvon Martin and George Zimmerman used in the media. But that would be glib. I would say each of the Which Picture Would They Use contributors are responding to years of experience and observations.
Which Picture Would They Use puts to bed the “conversations” about hoodies and the associated issues — race; presentation of the self; perceived dis/respect for adult America; generation gaps; and popular culture.
Hoodie or not, sports team colours or not, cross-dressing, swimwear or military fatigues, it doesn’t matter. Which Picture Would They Use demonstrates that we’re all combinations of many different traits and our personalities are not fixed. It is ludicrous to reduce a person to a single reading based upon the appearance of a dominant (most widely-circulated) image.
The young black Americans submitting to Which Picture Would They Use know Michael Brown had already been judged by a portion of America and know the remainder would judge (even if unconsciously) based upon the media’s choice of images.
Aug 12 – dbtvcampaign: #IfTheyGunnedMeDown which pic would they use? Thank you @labeledmisfit_ for Helping @dbtv13 shine light on the tragic shooting of 18yr old UNARMED Mike Brown, shot and killed by a Ferguson police officer. (Instagram)
^^ That’s me ^^, last Tuesday, after two days of installation.
Today, Prison Obscura officially opened in the Clark Humanities Museum at Scripps College in Claremont, just east of Los Angeles. If you’re in the area pop by and have a peek. I’ll also be down there on the 2nd October to deliver a lecture ‘Prison Silences‘ and to attend the opening reception.
Thanks to Kirk, T, Amy, Linda, Juliet and the staff at the Humanities Institute for their welcome, work and support.
All photos: Matthew Seamus Callinan
Filmed by David Hoffman and Harry Wiland.
Two months ago, I published a conversation with Lorenzo Steele, a former NY City Correctional Officer who now gives community talks and makes pop-up street exhibitions of photographs from during his time on Rikers Island. Steele wants to impress upon communities and particularly youngsters how violent jail is.
Steele has produced a video to promote his ongoing work with Behind These Prison Walls. a group he founded to inform, educate, and empower individuals and steer at-risk youth away from the criminal justice system.