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This year marks 200 years since Auburn Prison went in to operation. Joe Librandi-Cowan grew up in the shadow of massive maximum-security prison in upstate New York. Over the past three years, Librandi-Cowan has been photographing the neighborhoods around the prison (now called Auburn Correctional Facility), has been meeting locals, diving into archives and exhibiting the work within the region. His main body of work is The Auburn System, titled after the Auburn System of prison management that added hard labour to the Philadelphia System of solitary, penitence and prayer. His photobook Songs of a Silent Wall brings together archive images of American prisons.
Librandi-Cowan has contempt for the Prison Industrial Complex (PIC) in the United States and the manner in which its decentralized and embedded nature allows for its silent persistence. His work mounts a narrative that writes Auburn into the early chapters of the development of the PIC. It’s not a narrative closely examined by others in his hometown. Shaping and presenting the work has not been without its challenges.
It is Librandi-Cowan’s negotiations between critiquing the system and maintaining empathy for ordinary people who work in it–who are also swallowed by it–that fascinate me. Not least, because other image-makers focused on prisons are dealing with similarly delicate negotiations.
I’m grateful to Librandi-Cowan for making time to answer my questions.
Scroll on for our Q&A.
PP: How did your work on Auburn Prison come about? Is it still ongoing?
JLC: The project formed into the focus of my undergraduate studies and eventually into my thesis work. The project is ongoing. The work requires a slow, long-term approach. While Auburn is my hometown, I still struggle to understand and represent it visually. My relationship to Auburn, much like the town’s relationship to the prison industry, is complex. I critique and question the history of an institution that has almost always supported the community. The fact that I am a member of the community, forces me to move slowly and carefully.
The history takes a while to sift through, the relationships I make with fellow Auburnians take a while to forge, and figuring out how to represent and combat the prison industrial complex isn’t something that is simple to figure out.
PP: When did you first start thinking of the prison as a topic for your art and inquiry?
JLC: The prison sits in the middle of the city. Many members of local families, generations deep, have been employed by the prison industry. Growing up, I was vaguely aware that some of my family had worked in the prison, but I never gave the prison – which was down the street from where I lived, always in view – much of a thought.
I knew little bits about the prison’s history – that it was one of the oldest prisons in New York State, and that it was the first place to host an execution by electrocution – but the prison, and ideas related to imprisonment, were seldom discussed or explained. I never questioned or understood the prison beyond it being a place for employment.
It took me a while to realize that it wasn’t necessarily normal to have a prison down the street or to have a family member or neighbor that worked inside a prison.
JLC: As I got older, I began to learn more about the prison system, mass incarceration, the economics involved and I began to realize that the prison had a much larger influence on my community than I had initially thought or understood. I began making images to make sense of the complicated role the prison has had with my hometown, with history, and with myself as a young person living in the town. I began photographing in an attempt to make sense of the prison system from the lens of a prison host community, but immediately I realized that it further pushed me to question it.
PP: Where have you presented this work?
JLC: I have presented this at the Cayuga Museum of History and Art, which is Auburn’s local history museum. I have also shown selections of the work at LightWork in Syracuse, NY, and I recently opened a show at SUNY Onondaga.
PP: When you showed it in Auburn itself how was it received?
JLC: Reactions varied – it was positive, negative, and also a bit static/unresponsive. Much of the feedback I received were initial aesthetic responses, and not feedback on the conceptual aspects or questions the work asked.
The prison is a top employer within the community, so people are seemingly reluctant to critique or question the role of the prison, its historical implications, or what the hosting of a prison means for a community.
While showing the work in Auburn, I made it clear within my presentation that I was questioning Auburn’s role within the prison industrial complex – past and present – and that I was interested in finding a way within our community to talk about the increasing problem of mass incarceration within the United States.
JLC: I found this information to be much more difficult to present and discuss within Auburn because so many within my community are directly involved with the correctional system. It was incredibly difficult to find ways to talk about what the work questions without the perception that I was criticizing the generations of people within my community who work or have worked at the prison. Finding productive ways to critically engage, discuss, and question the livelihood of many in my community has been very difficult.
In turn, the response to the work often ends up being extremely limited. Employee contracts won’t allow for correctional officers to discuss some of these issues with me, nor they do not want to talk ill of their work. Many people within my community have a difficult time reasoning with my questioning of the prison system; their relationships to it are complex, deep, and difficult to reckon with.
While many may generally agree that the prison system doesn’t function properly or fairly, Auburn’s relationship to its prison doesn’t seem to allow for a communal discussion on the matter.
PP: You suggested to me in an email that your worry over local reactions have effected the way you edit and present?
JLC: I wouldn’t say that I’ve necessarily changed the work, but I often worry that the project, and that the directness of my stance on the prison industry, may do damage to my community – especially when presented internally. Auburn has bore witness to much trauma. It has direct and early links to the Prison Industrial Complex, the electric chair, and to correctional practices that have helped shaped modern day incarceration. Condensing and presenting that information to the community almost produces and perpetuates this trauma. While it’s not the community’s direct fault, my questioning of these practices and histories has the potential to produce the feeling that the community itself is to blame.
While it is important to combat mass incarceration and the toxic attitudes that prison work can breed, I believe it’s also important to realize and remember that prisons have direct effects on the people who work within them and on the communities that host them.
To me, the ability of many within my community to navigate between the daily entrapment of prison walls and civilian life, begins to raise many questions about how traumas and toxic attitudes are transferred and perpetuated within my community and within society in general.
JLC: Prisons not only affect incarcerated individuals – they affect those who staff the prisons, the people close to those staff too. They affect towns that host prisons and communities from which members are extracted to then be incarcerated.
Prisons shape, and are shaped, by local and regional economies connected to the prison industry, and attitudes towards race – the list goes on. I’m trying to show that the web of the prison industrial complex, while much closer to my hometown than others, is something, often almost invisible, that is local to almost every American.
While I doubt many would pick prison work as their first employment opportunity, it is one of the only financially stable options within the Auburn area. Attacking the industry that financially provides for many within the community doesn’t seem to be the best way to have these conversations or to figure out alternatives or answers to the prison.
As I continue this project, I am attempting to find ways to properly and effectively critique mass incarceration and the Prison Industrial Complex without alienating or further damaging my subjects – whether they be community members, correctional officers, or incarcerated individuals, or returning citizens.
PP: What is gained and what is lost by such slow and reflexive approach?
JLC: Being cautious and thoughtful about how the work may impact the actual people that the work represents will only help further the project and its possible impacts.
Much of the contemporary work on prisons deals with incarcerated individuals, however, I’m becoming increasingly interested in figuring out how conversations and representations of others within the prison industrial complex can impact and change our discussions on mass incarceration. Maybe if it can be shown that mass incarceration negativity effects all within the equation, different sources of change may occur?
I believe The Auburn System functions well outside of Auburn because distance from the work allows for a more general discussion around mass incarceration. But showing the work within Auburn has made me rethink how it should function within the town.
PP: Thanks, Joe
JLC: Thank you, Pete
AK Press stock after the fire
Stop what you’re doing. Listen up. Help out.
There was a massive fire in Oakland this weekend. Two people died. 30 people have been relocated from the now charred, smoky, water-damaged buildings. This is a costly tragedy from every angle you look at it. My respects go out to the victims and the victims’ friends and families.
The structure that went up was behind and attached to a building in which AK Press and 1984 Printing — two of Oakland’s phenomenal political publishing operations — operated. They lost paper stock, computers, presses, book inventory and more.
Here’s why they are both so impressive and this is why you should throw them some cash.
AK Press has published and distributed anarchist literature since 1990. It is worker run and collectively managed. Over the years, it has put out some of the staples of my library — including Captive Nation by Dan Berger, Resistance Behind Bars by Vikki Law, and Are Prisons Obsolete? by Angela Davis.
AK has consistently raised the bar for analysis of the prison industrial complex, state violence, violence against women and many other social justice urgencies. AK has built community and audience for radical writers. Precisely because the work has to be in the world, AK has to be in the world. Nobody does it better.
1984 Printing is one of the very few all-women-owned businesses I know. They’re happy, open, dog-loving crafts folk who turn the presses not to turn profit but to build knowledge for a better society. Amy and Richard know all their clients by first name and care for each and every project.
1984 does the best offset printing around — they’ve printed the two Carville Annex Press books So Many Mountains But This One Specifically, by Junior Clemons and It Hasn’t Stopped Being California Here, by Jordan Karnes. They also printed Rian Dundon’s Out Here series.
Yesterday, buildings were redtagged by the City of Oakland, meaning both operations are prohibited from occupying the warehouse and shops and shut down until further notice.
AK is raising money. GIVE
1984 is raising money. GIVE
If all you have between now and sanity is beer money and a punk spirit there’s a fundraising outlet for that with a benefit gig at 924 Gilman on May 9th.
Today Andy Levin put out the following call:
“Shoot for 100Eyes: Gade, Haiti!
The situation in Haiti has brought a tremendous many talented photographers to Haiti, with many more on the way. We would like to find a way to broaden the picture of Haiti that is currently in the news, by combining work with the disaster area with work from the rest of the nation.
If you are going to Haiti and will be there in February, I am asking photographers to spread out around the country and to spend day or two photographing something other than the earthquake ravaged area, to be included in a special issue of 100Eyes on Haiti.
I am hopeful that photographers can use the same resourcefulness in getting around Haiti as they have in getting to the disaster area … and I know that there are many stories to be told beyond what we are currently seeing, many struggles that happen on a daily basis. There is beauty, there is laughter as well.
We believe that the effort made by photographers in doing this would more than make up for the relative small resources going into the project, by helping to create a broader picture of Haitian life, and to put the horrific, and important, images that are currently being taken in Port au Prince in context.
As part of the project we will be having Haitian children and students take pictures to show the events through their own eyes, an effort that was planned before the tragedy. In addition we ask that each photographer try and bring a compact digital camera and find a Haitian child to work with in whatever area of the country that you are working in.
Depending on the amount of work received we may have needs for volunteer editors and coordinators as well. For those more interested in a structured environment I am going be extending the 100Eyes Workshop in Haiti through the end of the month and possibly beyond.
For details on this please contact me through our workshop page for Haiti, here.”
If I was a photographer I’d be anxiously looking for an avenue to broaden the media coverage away from only disaster consumption. This seems like the best opportunity; Structured, purposeful and community based.
I picked the image above out from the selection at 100 Eyes. David Zentz has done two series on Haiti, Saut D’eau and 2Double.
In an email a few months ago, Ben said to me his interest lies in “getting under the skin of NGOs” and have them realise that they can deliver their stories and campaigns in far more effective ways. A Developing Story wants the stories told in Government & NGO international development campaigns to outlast the short term objectives of said campaigns.
A Developing Story proposes that the media of these campaigns is deposited in a common silo, accessible by all (usually under a Creative Commons license) so stories – once created – can tell themselves infinitum.
While we believe that there’s clear value in bringing together this public-facing, awareness-raising communication material, we also want to do something similar for communications that are used in international development – e.g. radio scripts, posters, mobile text messaging campaigns, etc, used in health campaigns, etc.
Unfortunately, almost none of this material is available in the public domain. A public health campaign about the risks of HIV is run in South Africa, for example, but the artwork and radio scripts aren’t available to someone doing the same thing in Malawi six months later. And that’s what we want to change.
We believe that all Government funded communications for use in international development should be available in a central, easily accessible database under Creative Commons licenses. A database where photographs, posters, scripts, public information leaflets, etc, can be downloaded, copied, translated and adapted for local audiences, saving practitioners time and money and therefore ultimately saving lives.
In an age where we recycle many of our physical objects, it seems strange that most of the international development communications work funded by Governments, IGOs and even NGOs is completely lost after the short campaigns they promote.
Given the primacy of Creative Commons and open-source content, Matt and Scott at DVAfoto needed clarification on A Developing Story‘s impact on the photographer (which was provided). I have fewer worries as I feel this venture is aimed at transforming media sharing practices among government funded and NGO initiatives rather than another pressure on the distribution and remuneration of individuals’ works.
I would anticipate that the payments made to photographers and journalists by media campaign management will continue and that photographers will take on assignments in the knowledge that their work can be used repeatedly for non-profit purposes.
That said, A Developing Story is very open to individual contributions. This is the most relaxed approach to collaboration I’ve witnessed!
We’re particularly interested in multimedia work, so if you want to post monthly podcasts from the Congo, or a slideshow from Myanmar, then do get in touch. There’s no obligation attached to being a contributing editor, you only have to contribute once, and you can post as infrequently as you like.
So, as Ben asked, “Can You Help?”