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In 1972, Joshua Freiwald was commissioned by San Francisco architecture firm Kaplan & McLaughlin to photograph the spaces within Clinton Correctional Facility in the town of Dannemora, NY.
In the wake of the Attica uprising in September of 1971, the New York Department of Corrections commissioned Kaplan & McLaughlin to asses the prison’s design as it related to the safety of the prison, staff and inmates. The NYDoC wanted to avoid another rebellion.
The most astounding sight within Dannemora was the terrace of “courts” sandwiched between the exterior wall and the prison yard. It is thought the courts began as garden plots in the late twenties or early thirties, although there is no official mention of their existence until the 1950s.
Simply, the most remarkable example of a prisoner-made environment I have ever come across.
The courts were the focus of Ron Roizen’s 55 page report to the NYDoC on the situation at Clinton Correctional Facility. Sociologist Roizen, also hired by Kaplan & McLaughlin, conducted interviews with inmates over a period of five days:
“Inmates waited months, sometimes even years, to gain this privilege. The groups would gather during yard time to shoot the breeze, cook, eat, smoke, and generally ‘get away from’ the rigors and boredom of prison life.”
In the same five days, Freiwald took hundreds of photographs at Dannemora. Eight of those negatives were scanned earlier this month and are published online here for the first time.
“Since I’d taken these photographs, I’ve come to realize that these are something quite extraordinary in my own medium, and represent for me a moment in time when I did something important. I can’t say for sure why they’re important, or how they’re important, but I know they’re important,” says Freiwald.
Freiwald and I discuss the social self-organisation of the inmates around the courts, his experiences photographing, the air “thick” with tension and surveillance, the spectre of evil, and how structures like the courts simply do not exist in modern prisons.
LISTEN TO OUR DISCUSSION ON THE PRISON PHOTOGRAPHY PODBEAN PAGE
All images © Joshua Freiwald
All images © Joshua Freiwald
Alabama Death House Prison, Grady, AL, 2004. Silver print photograph. © 2009 Stephen Tourlentes
Stephen Tourlentes photographs prisons only at night for it is then they change the horizon. Social division and ignorance contributed to America’s rapid prison growth. Tourlentes’ lurking architectures are embodiments of our shared fears. In the world Tourlentes proposes, light haunts; it is metaphor for our psycho-social fears and denial. Prisons are our bogeyman.
These prisons encroach upon our otherwise “safe” environments. Buzzing with the constant feedback of our carceral system, these photographs are the glower of a collective and captive menace. Hard to ignore, do we hide from the beacon-like reminders of our social failures, or can we use Tourlentes’ images as guiding light to better conscience?
Designed as closed systems, prisons illuminate the night and the world that built them purposefully outside of its boundaries. “It’s a bit like sonic feedback … maybe it’s the feedback of exile,” says Tourlentes.
Stephen Tourlentes has been photographing prisons since 1996. His many series – and portfolio as a whole – has received plaudits and secured funding from organisations including the John Simon Guggenheim Foundation, the Massachusetts Cultural Council and Artadia.
Stephen was kind enough to take the time to answer Prison Photography‘s questions submitted via email.
Penn State Death House Prison, Bellefonte, PA, 2003. © 2009 Stephen Tourlentes
Carson City, Nevada, Death House, 2002. Gelatin silver print. © 2009 Stephen Tourlentes
Blythe Prison, California. © 2009 Stephen Tourlentes
Pete Brook. You have traveled to many states? How many prisons have you photographed in total?
Stephen Tourlentes. I’ve photographed in 46 states. Quite the trip considering many of the places I photograph are located on dead-end roads. My best guess is I’ve photographed close to 100 prisons so far.
PB. How do you choose the prisons to photograph?
ST. Well I sort of visually stumbled onto photographing prisons when they built one in the town I grew up in Illinois. It took me awhile to recognize this as a path to explore. I noticed that the new prison visually changed the horizon at night. I began to notice them more and more when I traveled and my curiosity got the best of me.
There is lots of planning that goes into it but I rely on my instinct ultimately. The Internet has been extremely helpful. There are three main paths to follow 1. State departments of corrections 2. The Federal Bureau of Prisons and 3. Private prisons. Usually I look for the density of institutions from these sources and search for the cheapest plane ticket that would land me near them.
Structurally the newer prisons are very similar so it’s the landscape they inhabit that becomes important in differentiating them from each other. Photographing them at night has made illumination important. Usually medium and maximum-security prisons have the most perimeter lighting. An interesting sidebar to that is male institutions often tend to have more lighting than female institutions even if the security level is the same.
Holliday Unit, Huntsville, Texas, 2001. Gelatin silver print. © 2009 Stephen Tourlentes
Springtown State Prison, Oklahoma, 2003. Archival pigment print. © 2009 Stephen Tourlentes
Death House Prison, Rawlins, Wyoming, 2000. Archival pigment print. © 2009 Stephen Tourlentes
Arkansas Death House, Prison, Grady, AK, 2007. © 2009 Stephen Tourlentes
PB. Are there any notorious prisons that you want to photograph or avoid precisely because of their name?
ST. No I’m equally curious and surprised by each one I visit. There are certain ones that I would like to re-visit to try another angle or see during a different time of year. I usually go to each place with some sort of expectation that is completely wrong and requires me to really be able to shift gears on the fly.
PB. You have described the Prison as an “Important icon” and as a “General failure of our society”. Can you expand on those ideas?
ST. Well the sheer number of prisons built in this country over the last 25 years has put us in a league of our own regarding the number of people incarcerated. We have chosen to lock up people at the expense of providing services to children and schools that might have helped to prevent such a spike in prison population.
The failure is being a reactive rather than a proactive society. I feel that the prison system has become a social engineering plan that in part deals with our lack of interest in developing more humanistic support systems for society.
PB. It seems that America’s prison industrial complex is an elephant in the room. Do you agree with this point of view? Are the American public (and, dare I say it, taxpayers) in a state of denial?
ST. I don’t know if it’s denial or fear. It seems that it is easier to build a prison in most states than it is a new elementary school. Horrific crimes garner headlines and seem to monopolize attention away from other types of social services and infrastructure that might help to reduce the size of the criminal justice system. This appetite for punishment as justice often serves a political purpose rather than finding a preventative or rehabilitative response to societies ills.
State Prison, Dannemora, NY, 2004. © 2009 Stephen Tourlentes
Prison, Castaic, CA, 2007. © 2009 Stephen Tourlentes
Federal Prison, Atwater, CA, 2007. © 2009 Stephen Tourlentes
Utah State Death House Complex, Draper, UT, 2002. © 2009 Stephen Tourlentes
PB. How do you think artistic ventures such as yours compare with political will and legal policy as means to bring the importance of an issue, such as prison expansion, into the public sphere?
ST. I think artists have always participated in bringing issues to the surface through their work. It’s a way of bearing witness to something that collectively is difficult to follow. Sometimes an artist’s interpretation touches a different nerve and if lucky the work reverberates longer than the typical news cycle.
PB. In your attempt with this work to “connect the outside world with these institutions”, what parameters define that attempt a success?
ST. I’m not sure it ever is… I guess that’s part of what drives me to respond to these places. These prisons are meant to be closed systems; so my visual intrigue comes when the landscape is illuminated back by a system (a prison) that was built by the world outside its boundaries. It’s a bit like sonic feedback… maybe it’s the feedback of exile.
PB. Are you familiar with Sandow Birk’s paintings and series, Prisonation? In terms of obscuring the subject and luring the viewer in, do you think you operate similar devices in different media?
ST. Yes I think they are related. I like his paintings quite a lot. The first time I saw them I imagined that we could have been out there at the same time and crossed paths.
PB. Many of your prints are have the moniker “Death House” in them, Explain this.
ST. I find it difficult to comprehend that in a modern civilized society that state sanctioned executions are still used by the criminal justice system. The Death House series became a subset of the overall project as I learned more about the American prison system. There are 38 states that have capital punishment laws on the books. Usually each of these 38 states has one prison where these sentences are carried out. I became interested in the idea that the law of the land differed depending on a set of geographical boundaries.
Federal Prison, Victorville, CA, 2007. © 2009 Stephen Tourlentes
Prison Complex, Florence, AZ, 2004. © 2009 Stephen Tourlentes
Lancaster State Prison, Lancaster, CA, 2007. © 2009 Stephen Tourlentes
PB. Have you identified different reactions from different prison authorities, in different states, to your work?
ST. The guards tend not to appreciate when I am making the images unannounced. Sometimes I’m on prison property but often I’m on adjacent land that makes for interesting interactions with the people that live around these institutions. I’ve had my share of difficult moments and it makes sense why. The warden at Angola prison in Louisiana was by far the most hospitable which surprised me since I arrived unannounced.
PB. What percentage of prisons do you seek permission from before setting up your equipment?
ST. I usually only do it as a last resort. I’ve found that the administrative side of navigating the various prison and state officials was too time consuming and difficult. They like to have lots of information and exact schedules that usually don’t sync with the inherent difficulty of making an interesting photograph. I make my life harder by photographing in the middle of the night. The third shift tends to be a little less PR friendly.
PB. What would you expect the reaction to be to your work in the ‘prison-towns’ of Northern California, West Texan plains or Mississippi delta? Town’s that have come to rely on the prison for their local economy?
ST. You know it’s interesting because a community that is willing to support a prison is not looking for style points, they want jobs. Often I’m struck by how people accept this institution as neighbors.
I stumbled upon a private prison while traveling in Mississippi in 2007. I was in Tutweiler, MS and I asked a local if that was the Parchman prison on the horizon. He said no that it was the “Hawaiian” prison. All the inmates had been contracted out of the Hawaiian prison system into this private prison recently built in Mississippi. The town and region are very poor so the private prison is an economic lifeline for jobs.
The growth of the prison economy reflects the difficult economic policies in this country that have hit small rural communities particularly hard. These same economic conditions contribute to populating these prisons and creating the demand for new prisons. Unfortunately, many of these communities stake their economic survival on these places.
Kentucky State Death House, Prison, Eddyville, KY, 2003. © 2009 Stephen Tourlentes
PB. You said earlier this year (Big, Red & Shiny) that you are nearly finished with Of Lengths and Measures. Is this an aesthetic/artistic or a practical decision?
ST. I’m not sure if I will really ever be done with it. From a practical side I would like to spend some time getting the entire body of work into a book form. I think by saying that it helps me to think that I am getting near the end. I do have other things I’m interested in, but the prison photographs feel like my best way to contribute to the conversation to change the way we do things.
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Author’s note: Sincerest thanks to Stephen Tourlentes for his assistance and time with this article.
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Stephen Tourlentes received his BFA from Knox College and an MFA (1988) from the Massachusetts College of Art in Boston, where he is currently a professor of photography. His work is included in the collection at Princeton University, and has been exhibited at the Revolution Gallery, Michigan; Cranbook Art Museum, Michigan; and S.F. Camerawork, among others. Tourlentes has received a John Simon Guggenheim Foundation Fellowship, a Polaroid Corporation Grant, and a MacDowell Colony Fellowship.
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This interview was designed in order to compliment the information already provided in another excellent online interview with Stephen Tourlentes by Jess T. Dugan at Big, Red & Shiny. (Highly recommended!)
Prison Photography 