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DOUBLE METAPHOR

“Being in the prison system is like you go into a maze and never come out,” said an incarcerated to man to artist Sam Durant in the months preceding Open Source, a city wide public art project in Philadelphia.

Durant has erected Labyrinth, a 40x40ft maze of chain-link fence, in Thomas Paine Plaza, across the street from City Hall. The public have been hanging personal responses on the maze fence using it as a stage to consider mass incarceration. Durant intended that the structure which begins as transparent will gradually become opaque with the publics additions.

Philadelphia is a sadly fitting venue. The prison industrial complex has had a particularly acute effect on Philly communities and Pennsylvania as a whole. PA has one of the largest and strictest prison systems. Philadelphia has a jail system with a history of beatings, discrimination and scandal.

It would be folly to think that politicians are going to correct the problems of a bloated, abusive system without the help of the citizenry.

“The maze functions as a double metaphor, symbolizing not only the struggle of criminals caught in the Department of Corrections but for how, as a society, we are all navigating the labyrinth of mass incarceration,” says the Open Source website.

During his recent visit, the Pope didn’t take the opportunity to publicly shame City Hall and those who work within, but Durant’s sculpture obliquely does.

I like this art.

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Sam Durant

Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism. He has had solo museum exhibitions at the Museum of Contemporary Art, Los Angeles; Kunstverein für die Rheinlande und Westfalen, Dusseldorf, Germany; S.M.A.K., Ghent, Belgium; and the Govett-Brewster Art Gallery, New Zealand. Durant shows with several galleries, including Blum and Poe, Los Angeles; Paula Cooper Gallery, New York City; Praz-Delavallade, Paris; and Sadie Coles Gallery, London. His work can be found in many public collections, such as the Art Gallery of Western Australia, Perth; Tate Modern, London; Project Row Houses, Houston; and the Museum of Modern Art, New York. Durant teaches art at the California Institute of the Arts in Valencia.

CREDIT

Photos by Steve Weinik.

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On Thursday, the Federal Communications Commission will vote on prison phone calls. It will be streamed live on the FCC website on Thursday, October 22nd at 10:30am EST.

The event will be live tweeted at #PhoneJustice.

Help spread the word so folks tune-in to the vote. It easy for you to help and yell about this, with the #PhoneJustice Thunderclap campaign. I just did and an automated tweet will go out to my followers.

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FOLLOW HCAH ON INSTAH

I’m being facetious of course. Playful, yes. And earnest, oh yes.

Love the Hurford Center for Arts and Humanities (HCAH). Over at HCAH, they’ve got Matthew Callinan the hardest working man in the Greater Philadelphia area and the fellow who gave me my big break.

FOLLOW HCAH ON INSTAH

Callinan, the campus exhibitions coordinator at Haverford College, builds four shows every year, from the ground up. He’s interested not in the big names per se but the emerging ideas of curators, artists and collectives who’ll connect Haverford students to the world as it is now.

And there’s a good amount there for photo-lovers, too. For example, the recent The Past is a Foreign Country a solo show for François-Xavier Gbré and Possible Cities, curated by Ruti Talmor including the work of photographers Sammy Baloji, Pieter Hugo, Salem Mekuria, Sabelo Mlangeni, Guy Tillim and IngridMwangiRobertHutter.

Check out the archive. There’s Zoe Strauss and Hank Willis Thomas, too.

Oh, and how could I miss the current show?!?! The Wall In Our Heads is a themed show about the Berlin Wall, curated by the legendary Paul M Farber who has written extensively on the TV show, The Wire. Do not miss Farber’s paper The Last Rites of D’Angelo Barksdale: The Life and Afterlife of Photography In The Wire.

How better to follow this hotbed of innovation than through the Instah?

FOLLOW HCAH ON INSTAH

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The high priest of street art just dropped half-a-dozen posters for use by your good selves against the prison industrial complex. #abolishprisons.

Made as part of the Philadelphia Mural Arts-organized Open Source project, they are classic Fairey, but the are free. And they are weapons in the fight.

“Open Source is a month-long, citywide celebration of innovation,” says Mural Arts. “Curated by Pedro Alonzo, the 14 projects of Open Source reveal aspects of Philadelphia’s urban identity. Open Source encourages artists to engage in community-centered explorations, addressing a variety of topics, including immigration, recycling, mass incarceration, the environment, community reinvestment, and displacement.”

The 14 artists at large in Philly are the Dufala Brothers, Sam Durant, Shepard Fairey, JR, Ernel Martinez & Keir Johnston, MOMO, Jonathan Monk, Odili Donald Odita, Michelle Angela Ortiz, Sterling Ruby, Jennie Shanker, Shinique Smith, Swoon and Heeseop Yoon.

Did I mention OBEY Fairey’s works were FREE? Download a PDF of the graphics here.

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Reporting on the prison industrial complex requires many tactics of approach in order to sustain audiences’ attentions and emotions. For all the constant misery, shame and violence the prison systems of America mete out, that relentless mood of defeat cannot dominate the flow of reported stories. Prisons are scary enough without giving people added fatigue and an easy option to turn away from stories heated the same beat-down drum. I guess this applies to all serious issues and is why human interest stories exist in journalism.

Human interest stories are great, but they have their place. Within the prison system are human interest stories ones that journalist find or are they ones fed to them? We’re headed into the weekend here and the sun is up so I don’t want to be a debbie-downer but I want to flag this contested context before celebrating Grant Blankenship’s latest human interest story, Say a Prayer for the Barber.

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Anthony Ponder spent many years in prison in Georgia. He was released on August 18th. Not knowing where to go he spent his first night out asleep in the truck outside his uncle’s house. While he was inside he was the prison barber.

“Population barber. So I’ve got plenty of practice. Unfortunately.”

Anthony wasn’t afforded much help when he got out form the state. But two churches in the town of Macon, GA did; Centenary Church and Vineville United Methodist Church gave him clippers, scissors and a chair and a space to cut hair. Every Sunday morning, Anthony cut the hair of men.

Every Sunday morning, Anthony cut the hair of men who are making the transition, as he did, from prison or jail back into society.

“I was attracted to the story because of its simple reciprocity. A man is given a hand up and he returns the favor,” says Blankenship. “I was not assigned the story, but when I heard about Anthony I jumped on it pretty quickly.”

The full piece, including audio is titled Say a Prayer for the Barber. Recommended.

Anthony’s “shop” is located in Centenary Church which works with a number of men, providing transitional housing and other services. Eric, an organizer at Centenary, asked Anthony if he would like to volunteer but Anthony couldn’t imagine how to without the gear he had had before his incarceration.

“So Mr. Eric, we had a conversation he said he had a way that he could buy all the tools for me if I worked so many times cutting hair he would donate them to me,” recounts Anthony in Blankenship’s story.

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Blankenship a staff audio and visual reporter for Georgia Public Broadcasting is at the forefront of highlighting, through images, the issues of incarceration to Georgians.

“Public policy regarding former prisoners is shifting,” says Blankenship, who stresses he no expert on prison issues. “For example, my community of Bibb County, GA recently adopted a ban questions on job applications about felon status in an attempt to make hiring practices more immediately meritocratic.”

At the state level, new programs are slowly being introduced to aid returning citizens’ reintegration into communities and the wider economy. I’ve heard anecdotally, from photographers who’ve worked in Georgia’s prisons, that they’re below par, threatening and without significant programs. Georgia’s prisons are overcrowded. Reentry efforts will have to be redoubled to scale back on the damage done by an out of control system.

“Time will tell how those efforts pan out,” says Blankenship of reentry projects.

The state is making moves toward accountability.

“Though it has yet to be tested, a bill passed this year is touted as making the parole process, and even the granting or denial of clemency for death row inmates, more transparent,” says Blankenship who reported on the vague language of a new death penalty pardons bill here and here. “We are in the midst of a subtle but perceptible cultural shift. That’s the eight mile high view.”

 

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In the mean time, we can hope for the best for Anthony and other men and women rejoining society after long stints away. Thanks to some imaginative thinking on the part of some church leaders, Anthony can connect with others in one of their most difficult moments.

“I want to give him some hope. Like I have. That’s my aim. Give him hope. Let him know there is hope. There’s a better way. If he’s down and depressed and discouraged, let him know there’s a better way.”

It’s an uplifting story, but returning to me opening caution. We must remember that people make it out of prison and stay out in spite of the system not because of it. As heartwarming as Anthony’s story is and as easy it is to connect with his warmth and generosity, we must not be distracted from seeing the larger systemic inequalities at play that.

That said, Blankenship’s cracking images and Anthony Ponder’s words of wisdom are the hook by which we are all snagged. And here we are talking about Georgia’s prisons.

The story was only positive for Blankenship. A joy to work on.

“I am grateful to Anthony for sharing so much with me for no good reason,” says Blankenship. “I’m left wanting the absolute best for him. He’s a kind man.

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Read and listen to Blankenship’s full report Say a Prayer for the Barber.

 

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Screengrab of a Google image search for “terror”

ONE HELL OF AN OPENER

One of the more amazing ledes to a story you’ll see:

Fourteen years of wars, interventions, assassinations, torture, kidnappings, black sites, the growth of the American national security state to monumental proportions, and the spread of Islamic extremism across much of the Greater Middle East and Africa. Fourteen years of astronomical expense, bombing campaigns galore, and a military-first foreign policy of repeated defeats, disappointments, and disasters. Fourteen years of a culture of fear in America, of endless alarms and warnings, as well as dire predictions of terrorist attacks. Fourteen years of the burial of American democracy (or rather its recreation as a billionaire’s playground and a source of spectacle and entertainment but not governance). Fourteen years of the spread of secrecy, the classification of every document in sight, the fierce prosecution of whistleblowers, and a faith-based urge to keep Americans “secure” by leaving them in the dark about what their government is doing. Fourteen years of the demobilization of the citizenry. Fourteen years of the rise of the warrior corporation, the transformation of war and intelligence gathering into profit-making activities, and the flocking of countless private contractors to the Pentagon, the NSA, the CIA, and too many other parts of the national security state to keep track of. Fourteen years of our wars coming home in the form of PTSD, the militarization of the police, and the spread of war-zone technology like drones and stingrays to the “homeland.” Fourteen years of that un-American word “homeland.” Fourteen years of the expansion of surveillance of every kind and of the development of a global surveillance system whose reach—from foreign leaders to tribal groups in the backlands of the planet—would have stunned those running the totalitarian states of the twentieth century. Fourteen years of the financial starvation of America’s infrastructure and still not a single mile of high-speed rail built anywhere in the country. Fourteen years in which to launch Afghan War 2.0, Iraq Wars 2.0 and 3.0, and Syria War 1.0. Fourteen years, that is, of the improbable made probable.

Fourteen years later, thanks a heap, Osama bin Laden. With a small number of supporters, $400,000-$500,000, and 19 suicidal hijackers, most of them Saudis, you pulled off a geopolitical magic trick of the first order.

Read Tom Engelhardt’s 14 Years After 9/11, the War on Terror Is Accomplishing Everything bin Laden Hoped It Would

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Be Their Megaphone

At 5 o’clock on Friday evening, advocates for juvenile justice system reform are marching on the General Assembly in Richmond, Virginia. You can join them.

The Justice Parade for Incarcerated Youth will present, to the powers that be, the work produced by incarcerated youth this summer, as part of the Performing Statistics project. In the parade, a broad coalition of artists, legal and policy experts, community activists, faith leaders and returning citizens will champion the work. It’ll bring art onto the streets and ask the public to imagine a society without prisons for children.

Take drums, banners, trumpets, instruments, foghorns and your loudest songs and chants.

Carry art and banners made by incarcerated youth. Be their presence on the streets.

Take your own signs that answer the question, “How can we create a world where no youth are locked up?”

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WHEN

Friday, October 2 at 5 p.m. Speakers at 5:30 p.m. Walking begins at 5:45 p.m.

WHERE

General Assembly Building 915 E. Broad Street, Richmond, VA 23219.

Parade goes from the General Assembly Building to the ATLAS gallery at the ART 180 art center for teens and youth. ATLAS is currently showing the Performing Statistics exhibition featuring creative work by incarcerated youth that talks about their experiences being incarcerated and alternatives to the system.

Be Their Megaphone

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CONTACT

Mark Strandquist
 — 703-798-6379

Trey Hartt — 
703-946-5217

performingstatistics@gmail.com

Performing Statistics is a Richmond-based art and advocacy project that connects incarcerated teens, artists, and Virginia’s top legal experts. The project is part of Legal Aid Justice Center’s RISE For Youth campaign.

Be Their Megaphone

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Photographer Tony Fouhse photographed his hometown of Ottawa. Then he made a newspaper of his images and gave all 2,000 of them away for free. The project is called Official Ottawa.

I dig Fouhse’s images of politics, power, pomp and circumstance in Canada’s capital. The concept was great, the execution fine and the distribution in cafes and at truck-stops brings a smile to my face.

FREE FOTOGRAFY WILL SET YOU FREE!

I interviewed Tony about the project for Vantage in a piece titled Control and Containment in the Canadian Capital.

About Ottawa, Fouhse says:

“There is a kind of pervasive fear that percolates through the city. Not a fear of getting mugged or anything, rather, a fear of saying or doing the wrong thing. Workers here seem to know which side of their bread is buttered and who is buttering it; they certainly wouldn’t want to put their pensions at risk. An atmosphere like that dampers a lot of healthy thinking and questioning and certainly precludes action.”

Read Control and Containment in the Canadian Capital.

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EMAIL

prisonphotography [at] gmail [dot] com

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