PREAMBLE
Prisons are but one step in the criminal justice machine. After the division and disciplining brought by a society of economic inequality, the next most abrupt interaction for U.S. citizens with state structures is likely to be that with police and other law enforcement officials. In 2012, just shy of 12,200,000 arrests were made nationwide.
That’s one arrest every 2 seconds. Arrests for marijuana-related offenses alone occurred at a rate of one every 42 seconds.
These figures does not include traffic citations.
At any given time, there are nearly 7 million American’s under correctional supervision — roughly about 2.3 million in prisons or jails and 4.6 million on probation or parole. In any given year 13 million individuals will be locked up for a given period.
Given that police are the sharp end of many of these fractious interactions, it makes sense for us to look at a body of work that focuses deeply on a single city’s police force.
Between 2003 and 2011, Matt Gunther was — on and off — effectively embedded with the Newark Police Department in New Jersey. Gunther’s resulting book Probable Cause (Schilt Publishing, 2014) is one of the most rounded, smartly edited bodies of work on police work I’ve encountered. It is, remarkably, sympathetic to all involved. The police and citizens (particularly those photographed in the precinct) are dealt an equal hand. Within its pages, the drudgery of employment meets the complex issues of social order.
You can see a 15 page preview of Probable Cause here.
Matthew Gunther and I chat about fear, persistence, allegiances, the inside-view, where a book comes from, and boozing with cops before a vice squad bust. Scroll down for our conversation.
The following Q&A has been edited from a longer conversation.
Q & A
Prison Photography (PP): You worked in Newark a long time. Did you always intend it to be a book or did that emerge as you worked?
Matthew Gunther (MG): My issue as a person or as a photographer is that I would not go the whole-nine-yards on a project. I’d get very deep into any project and then it would peter out. This project on Newark was on the verge of petering out many times — it was such an endless pit of imagery and I just couldn’t let go. Until this day, I could still be shooting. Joshua Lutz told me to stop shooting, to edit my images and that I had a book.
So, I did not know it was to be a book. I just started this project. It was cathartic. My projects tackle my fears, or dive into my loves.
PP: Newark is known for it’s toughness and it’s poverty. How did you come to be working so intimately with the police force?
MG: I was taking an ex-girlfriend to Newark airport and we got lost. I’m a native New Yorker, and instantly fell in love with this city so close to my hometown.
I would take my 35mm camera and spend days walking through Newark and still it took me probably about six months to figure out. It’s a pretty tough city. New York is not that tough anymore. Newark feels like New York may have done in the eighties, perhaps. I wanted to do something that is constant in this metropolitan area: cops and liquor stores.
Each project that I’ve done before or since Newark was always to tackle my fears. I grew up in New York as sort of an art-jock with other jocks and street kids, skateboarders and graffiti artists. I had the artistic gift but I didn’t have the strength to show my artistic skills against these tough kids and I guess as soon as I became an adult I was always trying to go back to that place.
Access? I almost hate to say it. My mother was the Head of the Democratic Club of the West Side of New York and I called her up and asked how I’d get into access to the cops. She gave me the number of a retired police captain in Florida. My mom is a waddling, older Jewish woman who knows everyone on the street. My father as well. Born and raised here. The captain in Florida gave me the name of the captain over at the Newark Police Department. It was 8 months of getting denied and constantly sending repeated proposals.
Then, one day out of the blue, I got a phone call, “Matt, you are accepted. What do you want to do?”
PP: It seems like you almost become an artist in residence? The door had been open by this higher official.
MG: You could say that. In the beginning, I had to tell the NPD that I wasn’t going to sell pictures to a magazine. It was strictly an art project and if it became something else I had to tell them. I was happy to promise that as I had no idea where the project might go.
I just wanted to shoot. I didn’t go looking for funding money. I’m dyslexic and so it’s hard for me to write proposals. Even to write a simple proposal takes me a while, but put a camera in my hand and I’m okay. But I wrote a proposal for the project. They didn’t really care if it was an art or not. They just didn’t want me to sue them if I got killed. I was happy to sign away.
MG: Newark is a special place. It was truly like the wild west. Back then, it didn’t look like 2003; it looks like ’91 or ’89. It feels like there’s a gap of about 15 years between big brother New York and this, the biggest city [in the region] outside of New York which is only half-an-hour away. I was always a big Sidney Lumet fan. And films like Siegel’s The French Connection and Friedkin’s Dirty Harry. Newark brought back that sort of aesthetic sensibility.
By deciding to shoot with a large format 8×10 camera I decided I was okay to miss images. It was my way of slowing down and trying to control some of my reality. I constantly moved and I did shoot some images on a Fuji 6×9.
PP: What reactions did you get from the police officers?
MG: The older cops loved it. Once they knew I wasn’t a reporter and that I wasn’t out to exploit them, I became a fly on the wall. Even with the 8×10 camera! The older guys loved the big camera. They loved history and they ate it up. The younger cops couldn’t care less. They just wanted me to stay out of their way. I had freedom and rarely did I get bothered. Even the non-cops seemed not to worry.
PP: I suppose they had other things to worry about?
MG: Often. There were girls doing tricks in the back of a Portuguese restaurant. I spent time with them. Then when I came out with my camera, I turned it on a girl who was in a towncar for a good 45 minutes. Just waiting on her friend. She was scared to come out because she was scared that the cops would arrest her.
PP: When you were out on the street, were you traveling with police officers and then exiting the vehicle with your camera equipment to begin shooting? Did people on the street see you arrive with the officers?
MG: I was doing drive alongs. With my 8 x 10 I wanted to set up like old imaging and see what I could get. A lot of my enjoyment was in not taking the photograph. I’ve always enjoyed these types of projects as much as I do taking the photograph. But, I just would tell them what I want to do and if they said move along I’m moving along. Maybe with my 35mm I’d be a little more aggressive.
PP: But was there a reaction from people on the streets shaped by the fact you were with police officers?
MG: There were moments where I was definitely one of the cops … even though I didn’t look like it. I looked like a photographer.
There were times that I would take my camera into Newark gentlemen’s clubs and there were all these gang-members. The cops were vicious at some moments; it felt like Hollywood to them sometimes. And, there were moments on the street when kids wanted their pictures taken.
There were tense moments on the streets when civilians felt vulnerable but I felt I needed to get that image. I often felt really bad and grappled with those moments for many days. I was justified as an artist; I had to get these images.
MG: You know, I was a street kid and I got into many fights, but I also grew up white in Manhattan. The privileges I had. No matter how bad it was, if you come from a white educated family…
But, it’s not an even-playing field. I always had to deal with that. In Newark, cops are on one side and they took full advantage of it. Once the vice squad came out and busted these women doing tricks. Beforehand, the cops were drinking while we ate at a Portuguese restaurant right by the headquarters. We were drinking beers and doing shots and I remember saying, “Is this okay? That we’re going out there?”
“We’re doing whatever we want. I’m the captain of the vice squad,” was the attitude.
That wouldn’t have happened in the New York Police Department, there’s way too much bureaucracy there.
PP: Some of your night time group shots (below) look like Rembrandt paintings. Two or three sets of eyeballs looking at you as the photographer. The composition of the group. The lighting.
MG: When the cops do these weekend sweeps, you have this vice squad and you have a truckload of cops — about 6 cars full of cops. Every weekend. This is where the cat-and-mouse comes in between cops and perps. This caravan would come through all the neighborhoods that they knew had some issues or drugs problems; the same exact neighborhoods. This, basically, went on every Friday at 12 o’clock.
The kids at the school yard knew exactly what was coming, and you can just see they’re exhausted from it. If it happened to me as a kid, we’d have a politician at them, or someone would be getting into a fight with the cop with, ‘How dare you stop our night.’
The looks on especially the two kids sitting in their white T-shirts, that’s how I sort of felt shooting. Those are the moments when I truly grappled with what I was doing there, and where I almost had the same sense they had to the cops — that it’s just too much.
PP: Tell us mores about Joshua Lutz’s encouragement?
MG: When I first met Josh the project needed polishing. I’d have let it peter out. Even so, I would still constantly show friends and mentors the work. They all said I had something great and those comments just kept on pushing me back to work. Lutz said all I needed to do was fill in some holes.
I liked Josh’s sensibility. He was getting into publishing and we understood New Jersey. We knew the printer had to be right. Through Dutch publisher Schilt in Amsterdam, we found a printer in Germany and we let the German’s do what they do so well.
PP: When I saw the post-industrial landscapes in Probable Cause I immediately thought of Lutz’s Meadowlands.
MG: Originally, I wanted to document the sense of place in Newark. Later, I fell in love with the cops and how they looked. I started asking them to join me outside and then I developed toward shooting landscapes so it had so many different branches.
Maybe, the 4×5 and the 6×9 sort of helped me live on in this project longer. Does that make sense? How do all these wires connect? How does this urban existence work? Can you feel the hum of it all? Might it explode at any point?
PP: There’s a constant precariousness to the work. There’s homage to labor, but it’s not “pure.” The work is very deliberate but it’s also uncomfortable because of your obvious privilege to be in that space. This fact is underlined when we see a photograph of a cop with a camera taking a picture of an arrested individual.
On the inside covers, front and back, there are walls of Polaroids of suspects.
MG: Matthew Sharpe talks about them very well in his introductory essay. He asks, ‘Can you tell the difference between the cops and the suspects?’
PP: There’s a very honest presence of photography and it’s many uses — it’s both art and it’s also an apparatus of power and control and policing. I think this is one of the successes of the book.
MG: I had probably over 300 negatives of large format images. Josh and I edited to a hundred pages. It was difficult.
PP: I also wanted to ask about the cover picture. It is a very different picture to all of the photographs within.
MG: I kept coming back to the image on the front of one of the editions of Truman Capote’s book, In Cold Blood. I could not get it out of my head that I needed a sky image. I needed clouds.
MG: I needed something that had some significance about the formation of society, or this world, or the wasteland that Newark is, or New Jersey. The cover is a shot of a beautiful sky above beautiful wetlands but it is also a site where the cops found a body.
Joel Sternfeld did Haunting Grounds, a book on hate and environmental crimes.
PP: A very powerful juxtaposition of seemingly innocuous scenes and horrifying back-stories.
MG: And that’s how I felt the book should be. At one point, it was just going to be Newark but then it became something more. The landscapes made it something more.
PP: Can you talk about the attitudes in Newark and New Jersey toward crime. What were the relationships between the police force and citizens like? What’s the background — learned from your photographing for almost a decade — that we should know?
MG: Newark is predominantly African American and there is a large portion of Portuguese. Then there’s Ironbound which can be a little more blue collar but it’s predominantly poor African Americans.
The Newark PD is one of the largest police forces, and in 2001, I think, it was 50% African American police. Now I think that it is 70% African-American. It’s a huge difference to go out with an all-white force compared to an all-black force — from the way people on the streets react which is, you know, it’s hard when you’re coming there with guns, badges and uniforms but it helps to be part of the same group. Things just get calmer. When you have a mix it tends to break down racial tensions. That’s where it has changed in a good way.
PP: Your work, as foolish as it sounds, runs counter to easy conclusions. There’s cops and suspects; there’s all races; there’s Muslim cops and female cops; there’s chiefs and beat cops too. Policing is made of all stripes.
MG: I didn’t want to lose that fairness to both cop and non-cop. I truly feel romance about the images. I wanted to show a fair balance. This is how cities work and the people among them. I’m not trying to sway public opinion.
In a narcissistic way, it has been a cathartic trip.
PP: Because it was about you entering an “alien” world?
MG: Everyone’s just trying to get their job done in this capitalist system in which it’s hard to get ahead. The cop and the perp are on the same track, but there’s a moment some go one way and others the other way. I felt for both parties. They’re stuck. At 17-years-old, the options are pretty much there for cop and for criminal. It’s about fear, overtime and getting in your years. The cop has his cycle, the robber theirs. They both have their routines. It’s the balance of urban play. Social infrastructure plays its part in shaping these groups’ lives.
In Newark, as a cop, it’s 25 years in a tough environment. It’s not easy. They’re working on a word processor in 2003!?
PP: Did you get over your fear?
MG: No. But I came a long way. I’m excited to do another project like it. In some ways, I hate that it is a book, because it suggests, it feels, like it’s over.
PP: If it is, it’s a significant and successful end. Truly, it is one of my favourite photobooks of recent years. Thanks, Matthew.
MG: Thank you, Pete.
BIOGRAPHY
Matt Gunther, a native new Yorker, is a film-maker and photographer who has been documenting a sense of place and moments of time throughout his career. His portraits endeavor to uncover and expose the vulnerability and compassion- the core of his subjects. Matt received his Bachelor’s in Fine Arts from SUNY Purchase. Matt’s work has been featured in numerous international and national publications, Including The New York Times Magazine, Newsweek, London Sunday Times and Gentlemen’s Quarterly. His work has been awarded and written about in American Photography, PDN, and Communication Arts among others. Matt’s work is in the permanent collection of the Brooklyn Museum and The Palais De Toyko in Paris. He is currently working on his first Monograph, Probable Cause, documenting daily life in Newark New Jersey, which will be published in the fall of 2012.
Prison Photography 