Images Unseen, Images Unknown written by a guest blogger on Prison Photography last week was well received by readers, provoking more questions and some intriguing possibilities.
Change.org offered a synopsis of the article. Change.org focused on the concluding points of Images Unseen, Images Unknown which described the culture of shame shrouding California prisons created by the control of images and manipulated invisibility.
Too many prisoners are hidden from view to serve out their time. Many prisoners refuse visits from family because they don’t want loved ones to see them in institutions that deny them individuality, work to subdue the general population, hide prisoners from society, and keep them docile.
So, the issue of self-representation and empowerment arises. Specific to my interest would be the possibilities of empowerment through photography.
Recently, Stan Banos asked me, “Are you aware of any photography programs in prison for prisoners.”
My answer, in short, is no. This doesn’t mean they don’t exist, it just means for all my searching I have unearthed nothing.
Art therapy has been explored among prison populations and recently San Quentin piloted it’s first ever ‘Film School’. The project did many things at once, teaching inmates the technical skills of documentary film making, building team work and trust; and it allowed inmates to communicate narratives of their choosing from prison life.
Inmates documented the work of the prison nurses distributing medications; filmed the prison kitchens; recorded the “wasted talent” of artists, musicians and writers within San Quentin; and studied American Islamic faith in prison.
With that in mind, we can say empowerment through the arts has been well explored and apparently successful in a number of penal institutions. However, it would seem photography in prisons has not been used as a tool for self-representation and rehabilitation … yet.
Turn Away © Stephene Brathwaite, Red Hook Community Justice Center Photo Project
The model for this type of program exists. Dozens of important non-profits use photography as a means for at-risk-youth to tell their stories. Organisations such as Youth in Focus, Seattle; AS220 Youth Photography Program, Providence, RI: Focus on Youth, Portland; New Urban Arts, Providence; Critical Exposure, Washington DC; First Exposures by SF Camerawork in San Francisco; The In-Sight Photography Project, Vermont; Leave Out ViolencE (LOVE), Nova Scotia; Inner City Light, Chicago; My Story, Portland, OR; Picture Me at the MoCP, Chicago; and Eye on the Third Ward, Houston; The Bridge, Charlottesville, VA; and Emily Schiffer’s My Viewpoint Photo Initiative are exemplars of empowerment through photography.
The Red Hook Photo Project New York offers photography opportunities specifically to a community blighted by crime. The photo project is run by the Red Hook Community Justice Center which operates many programs to improve the lives of teens within the geographically and socially isolated Red Hook Neighbourhood.
Only slight tweaks would be necessary to these types of programs for them to be effective as rehabilitative tools among prison populations. The central driving philosophy is to offer individuals a method of self-representation they’ve never been afforded previously.
A Backwards Eye © Gwendolyn Reed, Red Hook Community Justice Center Photo Project
It seems the main factor, aside of funding, for rehabilitative programs establishing themselves in prisons, is the philosophy of individual wardens. San Quentin Film School was pitched repeatedly across 47 states until Warden Robert Ayers decided to launch it at San Quentin. Likewise Burl Cain, at Louisiana State Penitentiary (Angola) has become well known for maintaining a varied roster of programs to keep inmates occupied. They include the renowned (and ethically questionable) Rodeo, an American Football league and a hospice program in which inmates volunteer to carry out the palliative care tasks.
On this evidence, it would make sense that criminal justice reformers and those interested in increasing the visibility of prisons should actively seek out wardens currently supporting novel, or even pilot, projects. Wardens currently accommodate programs in education, the arts, dog-training, first aid, video and much more. Photography could be added to that list.
There is a lot of mainstream media programs featuring American prisons – Lockdown, Americas Hardest Prisons, Inside American Jail – but of course these are all made for cable distribution and ultimately profit; their common denominator is a heightened sensationalism.
© Wayman, Inner City Light Student Photography Project
Documentary projects upholding rehabilitation and education as their core purpose are a distinctively different type of exposure. There would be no need for regional or national television channels to provide financial backing as an end (marketable) product would not be the motivation. That said, if the narratives of such documentary projects could be shown to enhance the image of an institution the prison authority might be open to trying them. The prison warden has the decision making power, so if under a wardens leadership a prison is given (positive) exposure it makes sense that the warden would be interested.
All successful rehabilitative arts programs presumably share a cooperative approach from the outset. Wardens and authorities are not to be feared or misunderstood, but can be convinced, cajoled and open to novel suggestions and programs.
Matt Kelley has suggested that the criminal justice reform community take note of wardens who are open to more transparency within their institution. Could coordinated media access drive a movement against the “invisibility” of prisons in America today?
The ideal program I envisage, would have only a small operating budget allowing pre-screened inmates to learn the practical skills of photography and apply them for the purposes of self representation.
If San Quentin can mount a film school I am sure any prison in the future can develop a Photography School? What do you think?
I Reach © Stephene Brathwaite, Red Hook Community Justice Center Photo Project
12 comments
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April 13, 2009 at 5:33 am
Matt Kelley
Great post, Pete. I agree completely that the time is right to launch photography education and exploration programs. The age-old and unnecessary stigma of photography behind bars and the fear that it somehow compromises security will hard to overcome for some wardens, but – as you say above – there are already places like San Quentin doing video projects. Hundreds of prisons have programs in painting and theater – there’s no reason photography shouldn’t be next.
April 14, 2009 at 4:04 pm
Stan B.
Unfortunately, in these times of hyper sensitivity and all out bogus security “concerns” when taking pictures of public buildings (let alone cops) can be considered a terrorist act, the incline on this particular upward struggle is steeper than ever.
April 15, 2009 at 5:22 am
beth b
As fate would have it, an exhibition that I curated has just closed that included work from an innovative prison photography program that was active in the 1970s and early 80s! “Taking a Different Tack: Maggie Sherwood and the Floating Foundation of Photography” dealt with the history and collections of the FFP, which was based initially on a two-story purple houseboat. Maggie Sherwood was a member of the circle around teacher/photographer David Vestal, and a good friend of folks like Lisette Model and Gene Smith.
Sherwood’s son, Steven Schoen, pioneered education programs from the boat with a variety of marginalized communities–people living in welfare hotels in NYC, patients at mental institutions, and starting at Sing Sing in the spring of 1971, prisoners. The prison program grew over the years, to include (among others) Sing Sing, Green Haven, Bedford Hills, Riker’s Island, the NYC Women’s House of Detention, Rahway, and Napanoch. Steve worked out a whole curriculum that began with Polaroids, worked up to the somewhat greater control of Diana-F plastic cameras, and in the advanced classes loaned 35mm cameras to the inmates, who were permitted to photograph what they wanted, documenting their own lives and point of view. The Foundation published two books (Sing Sing: The View from Within and Photography From Within) of the prison work, and a number of the prints were included in the Dorsky show–see http://www.newpaltz.edu/museum/exhibitions/exhibitions_2.html
Let’s not forget the history of what’s already been done!
-Beth Wilson
Curator, Taking a Different Tack
April 15, 2009 at 2:01 pm
petebrook
Beth.
Absolutely. Let’s not forget the good work already done! You’ve got me thinking about a comparison between the prisons of the 1970s and today. 30 years ago the regrettable prison “boom” began. The penal landscape of America is now very different and notions of education and collaboration with prisoners is not the norm in today’s culture. Steven Schoen’s efforts are remarkable – such an extensive programme. What sort of archive exists? How many images did you use of the FPP prison Programme for Taking a Different Tack Show?
Coincidentally, a curator from Europe contacted me today also to point out a series of photography workshops run by a celebrated photographer in France for imprisoned adolescents. It is great to be contacted by strangers to be garnished with fresh knowledge. Things are never as dire as one fears…
I searched the book, but it is not available online. It is an important book as it will be one of the earliest of its kind – publishing prisoners own photography.
Thank you for reaching out. Pete
April 18, 2009 at 12:13 pm
Sven
I just stumbled upon this great quote by my countryman that I thought fits in very well with the discussion:
“Whoever fights monsters should see to it that in the process he does not become a monster. And when you look into an abyss, the abyss also looks into you.”
– Friedrich Nietzsche
April 18, 2009 at 12:16 pm
petebrook
That’s a big abyss looking into us all….
April 18, 2009 at 1:02 pm
Sven
time to go for a climb….
December 10, 2010 at 9:12 am
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January 15, 2012 at 3:11 pm
Cristina Nunez
Very interesting article, thanks. I am an artist-photographer and a self-portrait facilitator following my own method, THE SELF-PORTRAIT EXPERIENCE (www.self-portrait.eu) and teaching it in prisons and many other contexts such as universities, art academies, photography schools, high schools, museums, art galleries, mental health institutions and companies. I work in prison since 2009, mainly in Italy and Spain, but soon in Finland as well. In this link you can see my work in Milan, with women. My method’s objectives are mainly, to improve our inner image and public image and to stimulate creative expression.
http://www.self-portrait.eu/home/index.php?option=com_content&view=article&id=105:self-portraits-in-milans-prison-san-vittore&catid=33:cristina&Itemid=41
January 15, 2012 at 3:20 pm
Cristina Nunez
Soon other blog articles will contain my new work in Barcelona’s prisons Brians 1 and Wad Ras, and also D. Chiara Digrandi’s work with my method in two prisons in Peru (one for women, one for teens).
We are preparing a book about self-portraits of women in prison.
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