Prison Photography

Eye On PDX: Melanie Flood

June 10, 2013 in Eye on PDX, Photography: Non-Prison, Portland Photographer | Tags: Eye on PDX, Melanie Flood, Portland | by petebrook | Leave a comment

The Eye On PDX series continues with Melanie Flood, who talks about psychtrance, pandas, chance, creative process and Portland friends. Read the full interview on Blake’s blog.

Flood: “I generally dislike separating photography from a larger art scene, but I feel that distinction in Portland much more than in New York. There are a lot of Portland based photographers and few spaces to exhibit their work alongside other mediums, and even fewer spaces that have a collector base. It creates a line between artists and that of hobbyists, amateurs and straight photographers.”

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Eye On PDX is an ongoing series of profiles of photographers based in Portland, Oregon. See past Eye On PDX profiles here and here.

Edmund Clark Shows Us the Significant Yet Banal Peripheral Spaces of the Global War On Terror

May 28, 2013 in Documentary, Fine Art, Institutional, Photography: Non-Prison, Visual Feeds | Tags: Control Order House, Edmund Clark, Global War on Terror, GWOT, HERE, Terror | by petebrook | 2 comments

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A few weeks ago I wrote, for Wired, a piece about Edmund Clark‘s latest body of work Control Order House. The piece carried the irreverent title This Incredibly Boring House Is a U.K. Terror Suspect’s Lockdown but the details of the project it gets into – two years of negotiating access, Clark’s process which riffs on surveillance and forensic photography, Clark’s the decision to present every photograph he took in the order he took them, etc. are important, mildly complex and worth getting one’s head around.

The house Clark documented belonged to a pre-trail UK terror suspect, under house arrested, referred to in legal documents as CE.

I wrote:

Control Order House is the only existing photographic study of a residence occupied by a person under a UK control order. It is not an exposé, however. Given the legal sensitivities, every image was vetted by UK government officials. Clark was not allowed to reveal the identity of the terror suspect — referred to in legal documents as “CE” — nor his location.

“To reveal CE’s identity would be an offence and in breach of the court-imposed anonymity order,” says Clark. “All the photographs I took or the documents I wanted to use had to be screened by the Home Office.”

For Clark, the project is best appreciated in its book form. Control Order House was published by HERE Press and released May 2nd.

Clark refers to the book as an “object of control” because at a point, he accepted that, with so many attached limitations, his photography was almost an extension of the state power he was documenting. All of his equipment had to be itemized and registered with the UK Home Office before his three visits.

Wired created a Scribd document (that has no URL, but is embedded in the article) with six pages of Clark’s correspondence with both the terror suspect and the UK Home Office employees.

“Even CE’s lawyers made it clear to me that the I had to careful about what I spoke to him about because the house was (very probably) bugged and that my telephone communication with him would be monitored,” explains Clark. “All my material, even my words here [in this interview] could become part of CE’s case.”

Control Order House is a finely balanced project. It is hampered by so many obstacles to unfettered depiction that our traditional notions of what photography is supposed to do are frustrated. It is not exposé; it is completely descriptive of its own limitations. It’s these limitations from which we must depart in thinking about photography in highly policed spaces. Control Order House should kick-start considerations of lesser seen photographs from the Global War On Terror (GWOT), namely, images of drone strike aftermath, Aesthetics of Terror (as, in this case, distilled by artists), redacted images in magazines distributed at Guantanamo (scroll down), Kill Team trophy photos, American personnel’s own vernacular war photography, and Jihad suicide posters.

Control Order House is about the act of photography. It’s self-referential as kids’ MFA work that deconstructs photographic process, but — unlike those studio experiments — it has roots in a clearly identifiable political territory. It shows us more than we knew but not as much as we would like to know. In so doing it reminds us of all the operations, violence and war crimes carried out on our tax dollar that we never see, never know.

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Philip Jones Griffith On U.S. Prisons and Money

May 17, 2013 in Photojournalism | Tags: 1986, Philip Jones Griffith, Virginia | by petebrook | Leave a comment

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In 1986, Philip Jones Griffith went to a Virginia prison, made the above image and wrote the following caption:

“The American justice system directs attention away from corporate crime. A deluge of trivia about murder and mayhem is provided, sending the message that everyone is wallowing in original sin and that deliverance can only come from a strong police force. The economically deprived, mostly blacks, who turn to crime are incarcerated in ever-increasing numbers.”

This caption could have been written yesterday, especially given the recent news about Enron’s Jeffrey Skilling worming his way to a reduced sentence and the persistence of “Debtor’s Prisons” across Ohio and other states.

What Jones Griffith didn’t witness in 1986 was the profiteering arm of the corrections industry that was about to emerge. The private prison system is bigger business than ever. VICE tells us who’s getting rich.

‘Cruel and Unusual’ Goes To Australia and Ireland

May 15, 2013 in Words | Tags: Australia, Cobh, Cruel and Unusual, festival, Ireland, Peg Amison, Photoville, Reportage, Sirius Arts Center, Sydney | by petebrook | Leave a comment

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14/38 (Not The Man I Once Was) © Amy Elkins, from the series Black Is The Day, Black Is The Night

Cruel and Unusual, the 2012 exhibition of photographs from prisons, co-curated by Hester Keijser and I is on the move.

Originally commissioned and debuted at Noorderlicht in the Netherlands [ 1, 2 & 3 ], Cruel and Unusual has since been to Amsterdam and Photoville in New York [ 1, 2 & 3 ].

In 2013, continuing its journey, Cruel and Unusual will travel to Sydney, Australia for the Reportage Photography Festival, May 24th – June 13th. It was selected by Photoville as one of three exhibits. To be shown alongside Russell Frederick’s Dying Breed: Photos of Bedford Stuyvesant and Bruce Gilden/Magnum Foundation’s No Place Like Home: Foreclosures in America.

As one presentation ends, another begins. Cruel and Unusual travels to the Sirius Art Center in Cobh, Ireland. On view from June 13th – July 22nd. Hester will be doing a talk at the reception on June 22nd at 2pm.

I’m really happy to see the exhibition live on, and grateful to those who are making it happen.

Special thanks to Peg Amison at Sirius Arts Center, to Sam Barzilay at Photoville, Olaf and the team at Noorderlicht for their ongoing support.

Prison Yard to Paris Photo LA: How an Art Market Hustle Put a $45K Price-Tag on Prison Polaroids

May 2, 2013 in Amateur, Historical, Visual Feeds, Words | Tags: Ampersand, California, CDCR, Harpers Books, Los Angeles, Myles Haselhorst, Paris Photo, Prison Polaroids, San Quentin, vernacular | by petebrook | 8 comments

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UPDATE, 05/14/2013: Harpers Books confirmed that the collection was bought by an individual at Paris Photo LA.

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At Paris Photo: Los Angeles, this week, a collection of California prison polaroids were on display and up for sale. The asking price? $45,000.

The price-tag is remarkable, but so too is the collection’s journey from street fair obscurity to the prestigious international art fair. It is a journey that took only two years.

The seller at Paris Photo LA, Harper’s Books named the anonymous and previously unheard-of collection The Los Angeles Gang and Prison Photo Archive. Harper’s has since removed the item from its website, but you can view a cached version here. The removal of the item leads me too presume that it has sold. Whether that is the case or not, my intent here is not to speculate on the current price but on the trail of sales that landed the vernacular prison photos in a glass case for the eyes and consideration of the photo art world.

The Los Angeles Gang and Prison Photo Archive on display at Paris Photo LA in April, 2013.

FROM OBSCURITY TO COVETED FINE ART COMMODITY

In Spring 2012, I walked into Ampersand Gallery and Fine Books in NE Portland and introduced myself to owner Myles Haselhorst. Soon after hearing my interest in prison photographs, he mentioned a collection of prison polaroids from California he had recently acquired.

You guessed it. The same collection. Where did Myles acquire it and how did it get to Paris Photo LA?

“I bought the collection from a postcard dealer at the Portland Postcard Show, which at the time was in a gymnasium at the Oregon Army National Guard on NE 33rd,” says Haselhorst of the purchase in February, 2011.

As the postcard dealer trades at shows up and down the west coast, Haselhorst presumes that dealer had picked up the collection in Southern California.

Haselhorst paid a low four figure sum for the collection – which includes two photo albums and numerous loose snapshots totaling over 400 images.

“I thought the collection was both culturally and monetarily valuable,” says Haselhorst. “At the time, individual photos like these were selling on eBay for as much as $30 each, often times more. I bought them with the intention of possibly publishing a book or making an exhibition of some kind.”

Indeed, Haselhorst and I discussed sitting down with the polaroids, leafing through them, and beginning research. As I have noted before, prison polaroids are emerging online. I suspect this reflects a fraction of a fledgling market for contemporary prison snapshots. Not all dealers bother – or need to bother – scanning their sale items.

Haselhorst and I were busy with other ventures and never made the appointment to look over the material.

“In the end, I didn’t really know what I could add to the story,” says Haselhorst. “And, I didn’t want to exploit the images by publishing them.”

Another typical and lucrative way to exploit the images would have been to break up the collection and sell them as single lots through eBay or at fairs, but Haselhorst always thought more of the collection then the valuation he had estimated.

In January 2013, Haselhorst sold the collection in one lot to another Portland dealer, oddly enough, at the Printed Matter LA Art Book Fair.

“Ultimately, after sitting on them for more than two years, I decided they would be a perfect fit for the fair, not only because it was in LA, but also because the fair offers an unmatched cross section of visual printed matter. It was hard putting a price on the collection, but I sold them for a number well below the $45,000 mark,” he says.

Haselhorst made double the amount that he’d paid for them.

The second dealer, who purchased them from Haselhorst, quickly flipped the collection and sold it at the San Francisco Antiquarian Book Fair for an undisclosed number. The third buyer, also a dealer, had them priced at $25,000 at the recent New York Antiquarian Book Fair.

From these figures, we should estimate that Harper’s likely paid around $20,000 for the collection.

Harper’s Books’ brief description (and interpretation) of the collection reads:

Taken between 1977 and 1993. By far the largest vernacular archive of its kind we’ve seen, valuable for the insight it provides into Los Angeles gang, prison, and rap cultures. The first photo album contains 96 Polaroid photographs, many of which have been tagged (some in ink, others with the tag etched directly into the emulsion) by a wide swath of Los Angeles gang members. Most of the photos are of prisoners, with the majority of subjects flashing gang signs.

[…]

The second album has 44 photos and images from car magazines appropriated to make endpapers; the “frontispiece” image is of a late 30s-early 40s African-American woman, apparently the album-creator’s mother, captioned “Moms No. 1. With a Bullet for All Seasons.”

[…]

In addition, 170 loose color snapshots and 100 loose color Polaroids dating from 1977 through the early 1990s.

In my opinion, the little distinction Harper’s makes between gang culture and rap music culture is offensive. The two are not synonymous. This is an important and larger discussion, but not one to follow here in this article.

HOW SIGNIFICANT A COLLECTION IS THIS?

Harper’s is right on one thing. The newly named ‘Los Angeles Gang and Prison Photo Archive’ is a unique collection. Never before have I seen a collection this large. Visually, the text etched directly into the emulsion is a captivating feature of many of the polaroids.

We have seen plenty of vernacular prison photographs from the 19th and early to mid 20th century hit the market. Recently, a collection of 710 mugshots from the San Francisco Police Department made in the 1920’s sold twice within short-shrift. First for $2,150 in Portland, OR and then for $31,000 in New York just four months later! At the time of the sale, AntiqueTrader.com suggested it “may [have] set new record for album of vernacular photography.”

As a quick aside, and for the purposes of thinking out loud, might it be that polaroids that reference Southern California African American prison culture are – in the eyes of collectors and cultural-speculators – as exotic, distant and mysterious as sepia mugshots of last century? How does thirty years differ to one hundred when it comes to mythologising marginalised peoples? Does the elevation of gang ephemera from the gutter to traded high art mean anything? I argue, the market has found a ripe and right time to romanticise the mid-eighties and in particular real-life figures from the era that resemble the stereotypes of popular culture. It is in some ways a distasteful exploitation of people after-the-fact. Perhaps?

WHERE DOES THE $45,000 PRICE-TAG COME FROM?

Just because the so-called ‘Los Angeles Gang and Prison Photo Archive’ is rare, doesn’t mean similar collections do not exist, it may just mean they have not hit the market. This is, I argue, because no market exists … until now.

If the price tag seems crazy, it’s because it is. But consider this: one of the main guiding factors for valuations of art is previous sales of similar items. However, in the case of prison polaroids, there is no real discernible market. Harper’s is making the market, so they can name their price.

“All in all, it’s pretty crazy,” says Haselhorst, “especially when you think about how I bought it here in Portland over on 33rd, just a few miles from our gallery.”

All these details probably make up only the second chapter of this object’s biography. The first chapter was their making and ownership by the people in the photographs. Later chapters will be many. Time will tell whether later chapters will be attached to astronomical figures.

Harper’s suggests that rich “narrative arcs might be uncovered by careful research.” I agree. And these are importatn chapters to be written too.

I hope that more of these types of images with their narratives will emerge. If these types of vernacular prison images are to command larger and larger figures in the future, I hope that those who made them and are depiction therein make the sales and make the cash.

As it stands the speculation and rapid price increases, can be interpreted as easily as crass appropriation as it can connoisseurship. If these images deserve a $45,000 price tag, they deserve a vast amount of research to uncover the stories behind them. Who knows if the (presumed) new owner has the intent or access to the research resources required?

Along that same vein, here we identify a difference between the art market and the preservationists; between free trade capitalism and the efforts of museums, historians and academics; between those that trade rare items and those that are best equipped to do the research on rare items.

Whether speculative or accurate, the $45,000 price is way beyond the reach of museums. Photography and art dealers who are limber by comparison to large, immobile museums are working the front lines of preservation.

“Some might say that selling [images such as these] is exploitation, but a dealer’s willingness to monotize something like this is one form of cultural preservation,” argues Haselhorst. “If I had not been in a position to both see the collection’s significance and commodify it, albeit well below the final $45,000 mark, these photographs could have easily ended up in the trash.”

Loose Polaroids from the Los Angeles Gang and Prison Photo Archive as displayed by Harper’s Books at Paris Photo LA, Los Angeles, April, 2013.

A cover to one of the two albums that make up the Los Angeles Gang and Prison Photo Archive.

Imminent Closure of New York Hospital Leaves Spinal-Injury Patients Guessing On Future

May 1, 2013 in Activist Art, Documentary, Photography: Non-Prison, Photojournalism | Tags: Daniel Tepper, Goldwater, New York, Roosevelt Island | by petebrook | Leave a comment

Armand Xama, 31, and Bryan Duggan, 51, are best friends. They both suffered broken necks in diving accidents. Xama and Duggan are just two of 800 patients at Goldwater Hospital, on New York’s Roosevelt Island. Almost every patient at the state-run facility is on Medicaid.

Throughout 2012, photojournalist Daniel Tepper followed Xama and Duggan through their days on and off Roosevelt Island.

In the summer of 2013, Goldwater will be closed and demolished to make way for Cornell University’s new science center. Patients have not yet been to told to where they will be relocated.

“This is a developing and underreported issue,” says Tepper. “The people who call it their home have no way to advocate for themselves and let others know what is happening to them. They are at the mercy of the city’s Health and Hospital Corporation that isn’t doing a great job in handling the closing and relocation.”

With over 400 individuals who have neck and spinal injuries, Goldwater is home to the largest community of such persons in the New York hospital system.

“The closing of Goldwater is just the tip of the iceberg,” explains Tepper. “Opponents to the science center are alarmed that the development is projected to cost $2 billion dollars and take decades to complete, especially at the time when many city workers don’t have contracts and the schools and hospitals are badly in need of funding. This is a big issue that will change everyone who lives on Roosevelt Island but the first people to feel the effects will be the patients at Goldwater.”

Tepper wrote for the Gothamist about the background to the Cornell science center planning.

In July 2010, the city stated that it was planning to relocate some of Goldwater’s patients and staff to a facility in Harlem.

Five months later, Mayor Bloomberg announced Goldwater’s location as a possible site in a tech campus competition. In December 2011, the mayor named Cornell and Technion universities the winners of a bid to construct a sprawling science and engineering campus where the hospital now stands. This massive, two billion dollar project will take decades to complete and cover nearly one-third of the island. It will radically transform Roosevelt Island and affect all 12,000 of its residents, but the first ones to feel the impact will be the residents of Goldwater. Cornell has said they plan on using some of the rubble from Goldwater’s demolished edifice to raise the level of their campus site out of the floodplain.

The closure of Goldwater Hospital and the imminent relocation have received little media coverage. “This is a really old story and it’s done before,” Evelyn Hernández, the director media relations for the city’s Health and Hospitals Corporation told us over the phone. “I wanted to make sure you know that the story’s been done before, a long time ago. We’ve announced it in press releases.”

In April, 2013, Tepper returned to Goldwater to catch up with Xama and Duggan – men he now considers his ‘buddies.’

“I was struck by how little their lives have changed since I began this project last year,” reports Tepper. “The daily lives of both men has fallen into a strict routine that I think happens to most people living in a state-run facility, whether it’s a prison or hospital. A times I found myself feeling photographic deja-vu, as a scene I have already captured repeated itself in front of my camera. Both guys are still in the dark about where they will end up and when they will be moved.”

“But they are both as optimistic and good-humored as always.”

The Surface Of Things: Matt Rainwaters’ Gitmo Media Tour and Prison Interview-Room Portraits

April 8, 2013 in Commercial, Institutional, Interview | Tags: Matt Rainwaters, Offender, Texas | by petebrook | 4 comments

Susan Wright, Texas

Matt Rainwaters is an editorial features photographer, based in Austin, Texas. Photographer Lance Rosenfield told me, “Matt is a specialist at making portraits through bullet proof glass.” For the past few years, Rainwaters has been the go-to-man in the lone star state for interview-room portraits. Collected, these portraits are the series Offender.

As well as Texas prison portraits, Offender includes some images from Rainwaters’ 2010 trip to Guantanamo.

Of Rainwaters’ Guantanamo images, I have never before seen photos like his shots of magazines with crudely redacted images of women inside the pages. The layers, scrawls and obvious surface of those images of images seem to encapsulate the malevolent drudgery that is the deadlock between disfunctional fundamentalism and more disfunctional American legal standards. When two resolute systems that cannot accommodate each other an create faint-compromise, they do so with results of zero utility. Perverse and pathetic.

Unfortunately, when I spoke to Matt, I wasn’t familiar with the redacted-image magazine images, so I didn’t ask him about them. Darn! I hope they spark some inquiries of your own.

Scroll down for our Q&A.

PP: Recently, I spoke with Alan Pogue, a documentary photographer in your home city Austin. Alan said it’s easy to get a photograph in a visiting room but if you need to get inside the living quarters and inside Texan prison facilities you pretty much need a lawsuit. What do you think about that?

Matthew Rainwaters (MR): I’d say that’s fair. Getting access to the visiting rooms is fairly easy if you have a commission and if you have the media contact. Getting beyond that though I’ve never been able to.

The writer I work with and I have had great ideas for stories but getting past the visiting room is not gonna happen. There’s been times when literally I could have walked just past the line and made a much more compelling portait, but it’s just not allowed.

PP: How does one get access to the visiting rooms?

MR: If you go to the Texas Department of Justice website there is a ‘media’ section. Contact the media liaison with details of the publication that you’re working for. Once you have the commission, you tell them the story and the prisoner that you’re planning on working with. The negotiations are straight forward.

PP: In how many Texas prisons have you made portraiture?

MR: I’ve been to various facilities in Hunstville, TX; one in Palestine, TX; and I’ve been to four different facilities in East Texas.

PP: Are there any limitations on the equipment you take in?

MR:You are subject to a search every time you go in. I typically have my lighting kit – two strobe heads, a bag with stands and various modifiers, reflectors, cloths, back drops. I’ve never had a problem getting kit in and out.

PP: How do you shoot through reflective bullet-proof glass?

MR: There’s a few tricks that you can use. Sometimes a polarizer will help. Sometimes if it’s a small enough booth I can have an assistant stand behind me with a dark cloth and that will cut down on reflections and then from there it’s just understanding the fundamentals of photography. Lighting, contrast, and trying to work with the available light.

Trying to use a strobe through glass is next to impossible.

From there it’s just talking with your subject, getting to know them, and then trying to effectively communicate their story that the writer is also telling.

Wayne East, Texas

PP: Can you describe each of your subjects and their particular stories?

MR: I photographed Wayne East. He was convicted of a murder. This is a pretty compelling story. He spent 19 years on death row before a woman started championing his cause. Not incoincidentally, she was the victim’s cousin who believed that East is innocent.

She raised a bunch of money, spent a lot of her own money and basically petitioned to get him off of death row. He was recently paroled. after 30 years for the crime.

PP: It wasn’t a wrongful conviction?

MR: East has always said he is innocent. The question remains: Was he really guilty or is he innocent as she also believes?

The other story I was really close to was that of Susan Wright (top image). My images ran in Texas Monthly for an article titled 193. She was convicted of murdering her husband by stabbing him 193 times.

Susan Wright, Texas

MR: The story goes that Wright’s husband would come home and beat her. The defense attorney never brought up battered woman syndrome.

Well, one day he came home and started rough-housing with their kid, slapped him around, and that’s actually what drove her over the edge and she tied him to the bed and then ended up pulling a knife out and stabbing him 193 times. This whole idea of battered woman syndrome and her being psychologically damaged from years of abuse was never brought up during the defense. So she was up for an appeal for parole and I believe that’s still pending. I don’t know how that’s played out.

PP: There’s another compelling portrait of a female in that story was it the prosecuting attorney or the DA?

MR: Kelly Siegler, prosecutor in the Harris County district attorney’s office.

The court proceedings were aired on Court TV and Siegler was a controversial character because she was very theatrical in her closing arguments. She ended up tying one of her law assistants to the table and climbed on top of him and proceeded to count out 193 stabs, every single one she simulated with her pen. All on TV. A lot of people believe that those theatrics are responsible for convicting Susan.

Kelly Siegler, District Attorney prosecutor, Texas

PP: What was your first prison shoot?

MR: Steven Russell. You may be familiar with him from the movie I Love You Phillip Morris starring Jim Carrey as Russell.

Russell is Texas’ most notorious escape artist. He’ll be in prison for the rest of his life, even though he was originally convicted of a white collar crime. Russell fell in love with a man in prison, escaped to be with him, and then continued to escape over and over again. So what could have been a relatively short prison sentence has been compounded by the crime of escape four times over.

Russell was in the most maximum security prison – the Michael Unit out past Palestine. He has one hour of sunlight each day. He’s locked up in the same way as the most violent offenders, although he’s a completely non-violent offender.

All four times that he escaped were completely nonviolent too, so it’s sort of tragic. Does he deserve to be there? You know, that’s questionable. He did escape but it’s a sad story nonetheless.

Steven Russell, Texas

PP: Let’s move from the US to the US’ outlying territories? When did you got Guantanamo and why?

MR: I went to Guantanamo for Esquire UK in March, 2010.

PP: For how many days?

MR: It was a three day stay on the base.

There’s a lot of misconceptions about Guantanamo Bay. The media portrays it as solely as a detention facility on the coast of Cuba but what I didn’t realize until I got there it’s been a functioning military base since 1906 – a lot of it’s operations have to do with immigration and refueling point for US allies.

MR: We did the media tour of the prison facility. We went to some of the different camps. Saw how, in some cases, some of the inmates live communally, in other cases some of them are locked down. There’s definitely a lot of secrecy still. It’s not as transparent as they would have you believe. There’s some camps that you don’t have access to at all and there’s some camps that they don’t even admit to existing on the island and they don’t show up on any maps. But it’s been proven that there are certain inmates that are held there in a mysterious location.

MR: What is extremely frustrating about photographing at Guantanamo Bay is the strict security protocol. At the end of every day, you sit down with an officer and they look through every single photo.

Sometimes very arbitrary reasons or sometimes very good reasons, they will delete a photo. If they don’t like the way it may represent the prison then they’ll delete those photos too.

Every single photograph goes through this “filter.” I had maybe 60% of the images I shot deleted before I came home.

PP: Is it fair to ask if there’s any points of comparison between Guantanamo and the Texas prisons? Did you feel as though the monitoring is different? Did you feel as though the administrations understood your role as a media person differently? Do you find any irony in the fact that Guantanamo is one of the most secure and notorious prisons in the world but they provide these three days media junkets, something state prisons do not provide?

MR: Within the Texas prison system we’re there to photograph a specific individual. So you’re led into an interview room or booth. I’m there to take a photograph of that person whereas in Guantanamo Bay the subject isn’t a specific person it is the entire facility.

PP: But in both cases, for different reasons, the authority is media savvy and happy to work with you?

MR: Yes.

Guantanamo Bay a lot of people believe, and quite possibly rightfully so, should be shut down because it is a publicity nightmare for the United States. Everything they’re trying to do with the media at Guantanamo is to try and show how fair, how honest, how transparent, everything is and they’re really trying to deflect this image of it being a detention facility that practices torture.

The institutionally genius part of Guantanamo Bay, from the administration standpoint is no-one is stationed at Guantanamo Bay. People are only deployed to Guantanamo Bay, so no-one stays there for longer than a year-and-a-half and that goes to the highest ranking people, including the admiral who’s in charge of the Joint Task Force.

So, when you ask them about issues of torture or enhanced interrogation methods everyone can default stock answer over and over again. We kept running into, “I don’t know, I wasn’t here.”

Institutionally it’s set up in that way and that was probably the most frustrating thing as a journalist. No one can tell the whole story. The institutional memory of the place is at best a year old.

PP: Your work has a very distinct look. So, how would you say it fits in with other photography made in prisons? And I’m asking that in terms of like who has the power? How does it inform the public?

MR: I’m photographing individuals and as an editorial features photographer. Portraiture is mostly what I do so I’m trying to set up a dialogue with my subject that is fair to them and it’s honest to the story. I have to quickly learn how to make people comfortable, disarm them, get them to open up to you so that you can be fair and honest to them.

I typically have an hour to work with a subject, it’s a different thing than say a documentary looking at a place over and over again. I’m working work within the confines of limited time and semi-limited knowledge of the person and trying to break all that down and create a portrait.

PP: What is the reaction of your subjects? What do they think will come about through your interaction with the camera as a mediator?

MR: A mixture of skepticism and hope. They hope that telling their story will better the legal decision that may be looming. Maybe it’s a plea for an appeal or they just want to tell their story. Maybe they feel like they haven’t been able to tell their side of the story?

But there’s also skepticism because they don’t know necessarily the turns that the story may take and they don’t know what the recent side of the victim’s story, nor the reactions to it.

Imprisoned subjects can be guarded at first. Usually, there’s 10 to 15 minute window where you’re talking on the phone through the plexi glass. I’ve got my camera just sitting there and I’m not taking photos, just taking the pulse of the person and getting to understand them … and that will dictate everything.

Wayne East, Texas

PP: You’re building what could be loosely characterized as a portfolio of visiting room prison portraiture. Is there a common aesthetic that runs through those that you’re either conscious of or you’ve just started to notice as these projects mount up. Not in a pejorative sense, I want to describe Offender as creepy. Is that okay?

MR: Well, it’s definitely that institutional aesthetic – you’re so confined with time and space you literally have to learn to make do with whatever’s thrown at you.

Now that I’ve done it quite a few times I know what to expect; “Am I shooting through plexi-glass today or am I shooting through a screen? Do we maybe have an open room to work with which maybe means I can actually set up a back drop and maybe a light or two? Am I free to interact with the person without talking on a phone?”

It’s a dark subject but it’s also mostly working with honest stories – fascinating stories, but yeah, creepy at times. Ultimately, these are stories that need to be told and that’s why I enjoy photographing, I believe it’s some of the most honest work that I do.

PP: Thanks Matt.

MR: Thank you, Pete.

Steven Russell, Texas.

Christoph Gielen Goes Up In The Air, Shares a Broad Perspective On Solitary Confinement

April 5, 2013 in Activist Art, Fine Art | Tags: American Prison Perspectives, Blue Earth Alliance, Christoph Gielen, Incarcerated Populations, raw file, Solitary confinement, Supermax, Wired | by petebrook | 1 comment

Christoph Gielen, a photographer known for his aerial views of American suburbs has chosen as his next subject super-maximum security prisons — the most controlled spaces in American prison industrial complex. Supermaxes are of particular interest as they are designed specifically for solitary confinement.

As I wrote for Wired.com, today, America has an unusual thirst for putting people in total lockdown.

In consideration of “the severe mental pain or suffering” it can cause, Juan Mendez, United Nations Special Rapporteur on torture, said that solitary confinement amounts to cruel, inhuman and degrading treatment. Mendez recommended that prisoners never be confined in solitary for more than 15 days.

However, in US prisons, stints in the hole can be longer. Much longer. The California Department of Corrections self-reports the average stay on an inmate in the Pelican Bay State Prison Secure Housing Unit (SHU) is six-and-a-half-years. Many have been in the SHU for a decade or more. In Louisiana, Herman Wallace and Albert Woodfox of the Angola 3 have been in solitary for over 30 years.

I’ve also written previously about how images of solitary confinement – despite its widespread use – are difficult to come by.

“The opportunity to visually examine these restricted locations is significant, especially at a time when journalists access is increasingly curtailed,” says Gielen.

Gielen noticed concentric patterns of equivalent interest in the Supermax prisons of Arizona whiel working on his suburbs photo series Ciphers.

American Prison Perspectives is a simple and effective presentation of these design forms. Are gated communities and caged facilities are our preferred housing solutions for the late 20th and early 21st centuries?

With 1 in 100 adults behind bars, America incarcerates more people than any other modern society. Of the 2.3 million men, women and children locked up in the U.S., 80,000 prisoners are in solitary. That number includes hundreds of children.

The rapid adoption of solitary by prison authorities as a means to discipline and segregate has led Jeremy Travis, president of John Jay College of Criminal Justice, to call it one of the “greatest social experiments of our time.” For some sociologists, the parallels that Gielen drew between housing and prisons go beyond visual similarity. Columbia University’s Spatial Information Design Lab goes so far to ask, “Have prisons and jails become the mass housing of our time?”

The debate on solitary confinement is timely. To quote myself, again:

The Illinois campaign spurred Senator Dick Durbin (D-IL) to chair the first-ever congressional hearing on solitary confinement last summer. Durbin showed up on Capitol Hill with an actual-size solitary-cell replica.

While for many, the discussion of prisons and segregation can revolve around human rights and legal justice, the issue is particularly relevant today for its economic implications. There was a successful grass-roots campaign to shutdown Illinois’ Tamms Correctional Facility, due largely to the fact that it costs more than $60,000 a year to house a prisoner in solitary confinement in Tamms, compared to an average of $22,000 for inmates in other Illinois prisons. The closure is currently stalled — held up in court following opposition from the AFSCME labor union with prison guards in its ranks.

“In America, particularly, the long view is hardly ever considered. Fiscal views are considered for on a yearly basis,” says Gielen. “Economically, the widespread use of solitary is unsustainable.”

American Prison Perspectives doesn’t end with the images. In 2014, Gielen plans launch a website devoted to the series and host a public online forums. Furthermore, Gielen foresees symposia across the U.S. with former prisoners, prison architects, legal experts, activists, correctional officer union-reps and prison administrators, along with firsthand accounts of solitary confinement and the perspectives of mental health experts on the effects of isolation.

American Prison Perspectives will illustrate how prison design and architecture reflect political discourse, economic priorities, cultural sentiments, and social insecurities, and how, in turn, these constructed environments also become statements about a society.

American Prison Perspectives is supported by Blue Earth Alliance, the Fund For Investigative Journalism and Creative Time Reports and others. You too can help spread the potential reach of the work with your own donation.

I wish Christoph the very best in this ambitious project.

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The Los Angeles Gang and Prison Photo Archive on display at Paris Photo LA in April, 2013.

FROM OBSCURITY TO COVETED FINE ART COMMODITY

HOW SIGNIFICANT A COLLECTION IS THIS?

WHERE DOES THE $45,000 PRICE-TAG COME FROM?

Loose Polaroids from the Los Angeles Gang and Prison Photo Archive as displayed by Harper’s Books at Paris Photo LA, Los Angeles, April, 2013.

A cover to one of the two albums that make up the Los Angeles Gang and Prison Photo Archive.

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Susan Wright, Texas

Wayne East, Texas

Susan Wright, Texas

Kelly Siegler, District Attorney prosecutor, Texas

Steven Russell, Texas

Wayne East, Texas

Steven Russell, Texas.

Christoph Gielen Goes Up In The Air, Shares a Broad Perspective On Solitary Confinement

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