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If you’re in NYC, get yourself to lower Manhattan tomorrow evening.

Josh Begley is a data artist and web developer, well known for creating an iPhone app to track every reported U.S. drone strike.

In his artist talk ‘Visualizing Carceral Space’, Begley will discuss his projects Prison Map and Dronestream (a.k.a MetaData).

Begley will speak from 6:00 to 7:30 pm, on Thursday March 12th, at the Sheila C. Johnson Design Center, 2 W13th Street in the ground-floor Anna-Maria and Stephen Kellen Gallery.

The talk is offered as part of the programming for Prison Obscura showing at Parsons which features an expanded, custom-made version of Prison Map.

Josh Begley‘s work has appeared in WiredThe New York TimesNPRThe AtlanticNew York Magazine, and at the New Museum of Contemporary Art. He currently works at The Intercept doing incredible things like this.

Follow Josh on Twitter at @joshbegley and on @dronestream.

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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.

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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.

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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.

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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.

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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.

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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.

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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.”

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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:

Specifically, it’s at the Sheila C. Johnson Design Center, located at 2 West 13th Street, New York, NY 10011.

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.

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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.

PARTNERS

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.

SJDC Prison Obscura invite

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Sébastien van Malleghem has been awarded the 2015 Lucas Dolega Award for Prisons his four years (2011-2014) of reportage from within the Belgian prison system.

I’m a big fan of the work having previously interviewed Sébastien while the work was ongoing and applauded the time he spent three-days locked up in Belgium’s newest most high tech prison. That experience helped van Malleghem understand that there are some very thin but very significant thread that connect the cameras and lenses of security, with the cameras and lenses of photographers and journalists, with the cameras of news and entertainment.

In his formal statement to the Lucas Dolega Award, van Malleghem says:

These images reveal the toll taken by a societal model [the prison] which brings out tension and aggressiveness, and amplifies failure, excess and insanity, faith and passion, poverty.

These images expose how difficult it is to handle that which steps out of line. This, in a time when that line is more and more defined by the touched-up colors of standardization, of the web and of reality TV.

Always further from life, from our life, [prisoners] locked up in the idyllic, yet confined, space of our TV and computer screens.

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In an interview with Molly Benn, Sébastien (mashed through Google translate) says a couple of valid things. They answer key questions young photographers have, firstly about access, and secondly about behaviour in the prison.

No one will tell you up front “You should contact so-and-so.” I went to see the mayor of Nivelles. I forwarded to the director of the prison in Nivelles, who referred me to a government worker. Those exchanges took  8-months. Every time I was asked to re-explain my project. Eventually, I received written permission by email but, still, each warden could still refuse me if he wished.

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In prison, everything is constantly monitored. My first challenge was to get out from under the constant control. Upon entry into prison, you are immediately assigned an agent, supposedly for your safety but mostly to monitor what you’re doing.

But the prison officer ranks are often understaffed. I quickly noticed that they preferred to work their usual job than  be my baby-sitter. So. I asked questions, showed interest in their profession, and I gained their confidence. After this, they let me work quite freely. 

Basically, photographing in prison is a precarious exercise. I recall the words of one photographer who reflected on this best when he told me he never presumed he’d be let back in the next day or next week. He made images as if that day in the prison was his last.

Van Malleghem’s prison work follows on from years documenting Belgian police.

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LUCAS DOLEGA AWARD

Lucas von Zabiensky Mebrouk Dolega grew up between Germany – his mother’s homeland, Morocco – his father’s – and France. Never one to respect authority for authority’s sake, he needled the inconcstencies and the inbetween spaces of persons’ experience and identity. On January 17th 2011, in Tunis, Lucas died on the streets amid a riot. He was covering the “Jasmin Revolution” in Tunisia.

The Lucas Dolega Award honours Dolega’s spirit and contribution. The award recognises freelance photographers who take risks in the pursuit of infomration and informing the world. Previous recipients are Emilio Morenatti (2012), Alessio Romenzi (2013) and Majid Saeedi (2014).

TWEETBOXES

Follow Van Malleghem on Twitter, Facebook and Instagram.

Gumpert

Photographer, friend and fellow San Franciscoer Robert Gumpert will be exhibiting at St. Mary’s College in Moraga, California from January 25th to March 15th.

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.

Prior to the public reception on January 25th, will be an hour long panel discussion with Gumpert; architect/activist Raphael Sperry; and psychologist/authority on solitary confinement Terry Kupers.

Click on the flier below to see it larger and glean all the critical information.

Robert Gumpert

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Tameika Smith, San Francisco, CA. SF CJ2. 9 July 2012.
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Deborah Lee Worledge, San Francisco, CA. CJ1 Men’s jail. 4 April 2008.

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Michael Johnson, San Bruno, CA. CJ5.

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I wrote about the Greenpoint Glass Selfie Window for Vantage, on Medium — All Of Us, Looking at You, Looking at You.

“Molly’s living room window — Greenpoint’s own ‘Selfie Window’—is a local landmark. Over the past year, a small patch of Brooklyn pavement has become a haven for impromptu portraits, in-jokes among friends and street performances.”

Follow @greenpointglass on Instagram — they’re one of my favourites.

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I was invited by WIRED to write about Josh Begley‘s work Prison Map. The article is Aerial Photos Expose the American Prison System’s Staggering Scale:

There are some 2.2 million people behind bars in the United States. That’s more people than there are in all of New Mexico. And there are more jails and prisons than colleges and universities in this country. Still, it can be difficult to grasp the scale of incarceration in America, in part because so many of these facilities are tucked away far from view in rural areas.

Prison Map provides a sense of the enormity of it all by giving us a fascinating vantage point from which to view the architecture of incarceration. Begley’s created a vast visual compendium of the nation’s jails and prisons, comprising more than 5,300 aerial images that offer a compelling metaphor for the rapid expansion of the American prison system.

Prison Map is about visualizing carceral space,” says Begley. “We have terms like the ‘prison industrial complex’ but what does that actually look like? If you were to stitch together all these spaces of exception, how might they appear from above?”

Read more at WIRED.

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EMAIL

prisonphotography [at] gmail [dot] com

@BROOKPETE ON TWITTER

Prison Photography Archives

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