rucker

Photo: Paul Rucker

GUNS

When Obama went to Marc Maron’s garage to record a WTF episode, he was in a sober frame of mind. He was frank about our situation right now with gun control. After Sandy Hook, he said, his administration tried everything they could to change laws but the legislation was fought by the usual NRA suspects. The legislation was watered down and achieved little.

Astutely, Obama didn’t pin the blame solely on the NRA and the kowtowing politicians but also on us. Yes, us, we, you and me. Sweeping political changes will follow sweeping social pressure. But in the aftermath of Sandy Hook, in Obama’s estimation, there was lots of talk but ultimately not enough public will to ring in the massive changes we need.

This is a teachable moment of sorts. Here, POTUS is telling us that organising works; he is saying that politicians listen if the swell of opinion is unavoidable and undeniable. The wave of gun opposition wasn’t sustained or powerful enough it seems. Well, yes and no. Yes, in that political change didn’t result. But, no, in that the passions and intelligence of the gun law reformers shouldn’t be dismissed, or pegged as total failure. It is my belief that in gun reform, in prison reform, in education reform — in any movement that demands wide-scale change — the efforts of the activists must compensate for the inertia and fear of the politicians they wish to influence.

Even when it makes moral, social and economic sense to enact positive change, we have seen that politicians find it hard to filter out the sound of the waft of of checkbooks and the loud and persistent lobbyist’s din.

We have to work harder to see gun laws change. We have to work harder to reduce hate and homegrown terror acts.

CONDOLENCES

Paul Rucker is one of the hardest working artists I know. He’s always stationed politics at the center of his practice but in recent years he has ventured fearlessly into America’s racial histories, current psyche and shortcomings. I curated Paul’s work in Prison Obscura. This morning, Paul sent out the following message to those on his email list. I think it is eloquent. It is from a point of knowledge. And I hope Paul doesn’t mind me sharing it.

Dear Friends,

I’ve been in South Carolina this week visiting my mother. The flags are at half staff at the library. The deeply ambivalent feelings I have for home are more real than ever. Growing up, I remember seeing Confederate flags on cars and bumper stickers stating “I should have picked my own damn cotton!” These were just part of the culture. An even deeper and unacknowledged part of the culture are the souls that built this state and this country. In 1860, there were more slaves living in South Carolina than free citizens. Cotton sales were worth $200 million then, the equivalent of $5 billion today. As we argue/discuss the flag, we must also add to our conversation the  true and complete history of the South and America. Cotton was shipped all over the country and the world. The role of slave labor in the economic success of our country must be acknowledged, along with the cost of that success in millions of lives not deemed human. If we remove the flag, let us replace it with knowledge, and so honor the souls that brought us here to the prosperous land that we have today.

My condolences to the families of the nine people murdered a week ago. My heart goes out to them and their loved ones.

With a heavy heart,

Paul

Well said.

COMICS

Also well said.

Joey Milledge has a plush replica of his late father Army Sgt. Joseph B. Milledge at his home in Gig Harbor, Washington. “I like to sleep with it because it gives me good memories of my dad and sometimesÉ and good dreams, too,” he said.

Touched base with my old mucker Erika Schultz this week. She’s great, her colleagues are great, The Seattle Times is great. It’s a paper that allows its photographers to dive into projects deep. All my buds who shoot at the Times work super hard. It’s not easy, but it can be rewarding. Usually, it’s important.

I tacked on a question to my email to Erika about the photo she’s made recently and most proud of. Erika replied:

An image from a video and photo project on two local woman (and their sons) who lost their husbands in the Iraq War. The women — who were similar ages as me — thought it was important to share their stories on Memorial Day to remind the public of the human cost and sacrifice of war, and keep the memory alive of their husbands for their children.

I was listening to a radio program round up of the latest announcements by politicians for the 2016 Democratic ticket. One of candidates is Lincoln Chafee. He was a Republican U.S. Senator (1999-2007) and later a Governor of Rhode Island (2011-2015) but as an Independent. Well now he wants to challenge Hillary.

Chafee’s distinguishing feature is that he was the only Republican Senator to vote against authorising the use of force in Iraq. Will it matter? Probably not; the radio commentators suggested past wars aren’t of any importance to most Americans, now. Sad.

It’s easy to forget that moving on and away is difficult-to-impossible for some.

Here’s the video. put together by Corinne Chin and Lauren Frohne.

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Erika is Wyoming born, a  staff photographer. Co-founder . board member .

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I spoke recently with photographer Kike Arnal about his experience documenting a crafts work program in the low security Quencoro Prison in Cuzco, Peru.

The World Bank/United Nations wanted to loan resources to the Peruvian government in order to replicate the programs in other prisons in the country. The World Bank also wanted to extend the educational programs being afforded the prisoners at Quencoro. Arnal had virtually no track record of photographing in prisons but the assignment opened his eyes and heart.

“I wanted to document the hardships and (if there was any to see) the positive aspects of prison life. To tell the story of the daily lives in a prison on the Altiplano of Peru. I did not anticipate what I was going to find at all, but once I was inside I was inspired by what I saw,” says Arnal.

Read our Q&A and see Arnal’s photographs large at VantageThat Souvenir Andean Rug of Yours? Woven by a Prisoner in Peru, Probably

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APQ Whale

© Eric Smith

I’ve been getting really anxious about screens, for good reason. I’m planning my exit strategy from writing. I can’t be in front of backlit rectangles for 8 hours or more every day any more. There are many components to this transition. This piece about Eric Smith’s viral whale pic which I wrote earlier this year for Actually People Quarterly is one of the more cathartic components.

‘A Metaphor For Digital Idiocy’ seemed to be a popular phrase. It fairly sums up my none-too-veiled urge to y’all to be outside more.

“Maybe the whale came to the surface to impart wisdom. Maybe she’s using her humpback to gesture at the man on his phone? Maybe she’s wagging a finger? Or maybe she’s waving? Maybe she’s putting her body on the line because it’s that important folks.”

Read: My Thoughts On That Viral Photo Of The Man, On A Boat, On His Smartphone, Who Did Not See The Whale, The Ever-So Big Humpback Whale, In Front Of Him

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“I spent so much time counting down the days to my court date when I would sit in this very holding cell for about 7 hours. If court is at 9, they bring you down to the holding cell at 5AM and don’t bring you back up until after 2PM count. On one hand it was nice to have all that time to think, on the other the anxiety was a full-time job,” says ihatechoosingausername.

Yesterday ihatechoosingausername posted some snaps from jail alongside stock pics and some funnies too. It is niftily titled So I  Just Came Home From Jail.

In 13 images (make sure to click to see the full gallery after the 10th image) and a few words she describes her entry and exit from Henrico County Jail in Virginia. her past addiction and wish to stay clean, her new felony record, the struggles to find work, her imminent homelessness and her frank cluelessness on what is next.

It went viral. Over 340,000 views at the time of writing.

In an update, ihatechoosingausername said:

Wow, Imgur, the support I’ve received after making this post has been absolutely amazing! Thank you so much for the kind words. Also, through this post I got to talk to one of the people who fed me while I was homeless in the park last winter and let him know just how much good he’s doing in the world by giving sammiches to the homeless.

This is not an obvious feel good story but there’s a realness about ihatechoosingausername’s words that leave us hoping it will become one. Time will tell. I wish ihatechoosingausername the best of luck.

No trolls in sight. To you Internets, well done for not being a dick.

“If a book can have a trailer, I guess this is sort of that,” wrote Steve Davis in his email this morning.

Me Steve have a long history* but that in no way discredits what I am about to say. Whether I am biased or not (I am) this video absolute nails it. Why? The process of image-making is often messy. It get messier the more people are involved. Making photographs inside a prison — for Steve and his students — involves local authorities, management and staff. Everyone thinks they have a say or a role. If everyone is a photographer, then everyone is a photo-critic, or worse, everyone is the Photo Police.

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Steve saw nice things and he saw absolutely devastating things. He met kids raised to be racists and they were very personable. He encountered kids stuck in the system and devolving to the oppressed and hardened personalities required for survival. He met staff who were moving heaven and hell to give these troubled kids the best shot at the rest of their lives, and he met adults who had already written them off and goaded the kids.

As Steve says, layers of contradictions and complex challenges exist in juvenile detention facilities. These images will not give you any easy answers; they will probably throw up more questions.

This is the best, quickest and truest introduction to Steve’s series Captured Youth that currently exists. If you like what he says an dyou like the images then pre-order the book of this work Unfinished at Minor Matters Books.

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*Steve Davis was my first ever interview on Prison Photography. That happened because he was geographically the closest when I started the site. He didn’t have to say yes to the interview but he did. I must have done something right because a year later he invited me to his class to give a lecture. Steve Davis’ student were the first college students I ever presented material to. Years ago, when I was going through a really hard break-up and needed to get out of town, I headed down I5 and crashed on Steve’s couch for a couple of nights. Photographs made by incarcerated boys and girls who were students in his workshops feature in Prison Obscura. Next year,  Prison Obscura will be shown at Evergreen State College in Olympia, Washington. Steve is the coordinator of the photography program at Evergreen and introduced the show to the gallery’s curator. Steve is a friend.

 

COLLECTIVES, YES

Photo collectives are to be admired.

More about network than net worth; more about camaraderie than competition; and more about group-strength than groupthink, I reckon collectives are the best. Being in one doesn’t guarantee an endless flow of fat-paying assignments, but it does guarantee a endless suuply of expertise, friends and feedback. If was a photographer I’d totally be in one.

Imagine my double-bliss when Boreal Collective invited me to the Boreal Bash which is itself is all about collectives.

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 Two pictures of Boreal Bash 2014.

BOREAL BASH 2015

The 2015 Boreal Bash is in Toronto from August 14-16th. What is it? It’s portfolio reviews, presentations by guest speakers, an exhibition, a thought experiment, and an important workshop. It is “a place where photographers can come together, learn from each other, drink and be merry,” they say.

And, if you can get yourself there, it is FREE.

Photo collectives MJR, Prime and Dysturb will be there.

DOLLARS, CANADIAN DOLLARS

Here’s the thing though, Boreal needs to cover overheads. I donated a sketch but that Kickstarter incentive was already snagged, so I can’t tempt you with that. Head over to the Boreal Bash Kickstarter page and let them convince you. Below are a bunch of prints, postcards and newspapers to get you revved up.

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Sled dog eats moose leg. 12×8″ Rafal Gerszak. Yukon, Canada. 2015

WORKSHOP

New to this bash is the workshop.  For this, Boreal Collective’s first ever documentary photography workshop THE ART OF BEING AN INDEPENDENT STORYTELLER you get two days (Fri Aug 14th – Sat Aug 15th) of intensive workshopping. They’re going to let you in on the secrets to make it as an independent photographer. They want you to have a project in progress — something for y’all to get your chops into. If I was a photographer, I’d totally be signing up.

WORKSHOP SCHOLARSHIP

The workshop ain’t free. But it can be. If you’re young and hungry and have the time to submit your work, there’s a scholarship spot up for grabs. I’ve got word from the inside that submissions have been slow (blame LOOK3) so statistically, your chances are good. Get on it. You’re one email from hobnobbing/editing with very talented photographers. One email from certain fame and glory.

Deadline is Midnight EST on Friday June 19th

BOREAL

Boreal are “united by a desire to document humanity and its intricate realities in our rapidly evolving world. […] At a time when the photographic industry is being dismantled, Boreal seeks to rise to the challenge of taking an active role in its redefinition.”

They are Laurence Butet-Roch, Aaron Vincent Elkaim, Rafal Gerszak, Brett Gundlock, Johan Hallberg-Campbell, Matt Lutton, Eamon Mac Mahon, Mauricio Palos, Jonathan Taggart and Ian Willms.

KICKSTARTER IINCENTIVES

Could be yours:

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Ian Wilms. Scarecrow Family, Poland (2012) From the series Why We Walk Framed, 12×18 Giclée Print on Fine Art Baryta Paper, mounted on archival foam. Edition 1/12.
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A Boreal 4×6″ postcard
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Sleeping vigilante fighter. Brett Gundlock. 2013. 8×8″ Digital C-Print.
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Amusement park in Prishtina, Kosovo. Matt Lutton. 2008. 11×14″ Digital C-Print.
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Christmas Tree, Alligator. Mississippi. Brandon Thibodeaux. 2012 – 6×6 Gelatin Silver Selenium Toned Print ed. 20
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Niviaqsi and net ball, Iqalugaaqjuk, Nunavut. Jonathan Taggart. 2013. 8×12″ Digital C-Print.
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Berkut in Mariinskiy. Kyiv, Ukraine. Brendan Hoffman. 2014. 11×14″ Edition: 1 of 10
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Hunter at Caddo Lake, Texas. Lance Rosenfield. 2014. 8″x8″ Digital C-print
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Boreal SUBJECT(ive) newsprint. 12 pages full colour.
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Métis Hunter at Big Point, Fort Chipewyan, Alberta (2010). Ian Willms. 8×12 Chromogenic Print.
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Boreal TENSION newsprint. 12 pages full colour.
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View of the open air pit from the lookout. Thetford Mines, Quebec. Laurence Butet-Roch. 2009. 11×14″. Archival pigment print.

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