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How can images tell the story of mass incarceration when the imprisoned don’t have control over their own representation? This is the question Dr. Nicole R. Fleetwood asks as editor of the latest Aperture (Spring 2018).

Prison Nation” can be ordered online today and hits the news-stands next week. Devoted to prison imagery and discussion of mass incarceration, the issue presents a slew of works across contrasting genres — landmark documentary by Bruce JacksonJoseph Rodriguez and Keith Calhoun & Chandra McCormick; luscious and uncanny portraits by Jack Lueders-Booth, Deborah Luster and Jamel Shabazz; insider images from Nigel PoorLorenzo Steele, Jr. and Jesse Krimes; and contemporary works by Sable Elyse Smith, Emily Kinni, Zora Murff, Lucas Foglia and Stephen Tourlentes.

Equally exciting is the banger roster of thinkers contributing essays, intros and conversations — including Mabel O. Wilson, Shawn Michelle Smith, Christie Thompson, Jordan Kisner, Zachary Lazar, Rebecca Bengal, Brian WallisJessica Lynne, Reginald Dwayne Betts, Ruby Tapia, Zarinah Shabazz, Brian Stevenson, Sarah LewisHank Willis Thomas and Virginia Grise.

I have an essay ‘Prison Index’ included which looks back on almost a decade of this Prison Photography website–how it began, what it has done and what it has become. I highlight a dozen-or-so photographers’ works that are not represented by features in the issue itself. I wonder how PP functions as an archive and what role it serves for public memory and knowledge.

MATCHING QUALITY CONTENT WITH QUALITY DESIGN

I’ve known for years that Prison Photography requires a design overhaul. This past week, I’ve moved forward with plans for that. It goes without saying that the almost-daily blogging routine of 2008 with which Prison Photography began has morphed into a slower publishing schedule. There’s a plethora of great material on this website but a lot of it is buried in the blog-scroll format. My intention is to redesign PP as more of an “occasionally-updated archive” whereby the insightful interviews from years past are drawn up to the surface.

It’s time to make this *database* of research more legible and searchable. Clearly, as this Aperture issue demonstrates, the niche genre of prison photographs is vast and it demands a more user-friendly interface for this website. I’m proud to be included in “Prison Nation” but know it’s a timely prod to develop Prison Photography’s design and serve the still-crucial discussions.

 

 

Get your copy of Aperture, Issue 230 “Prison Nation” here.

Thanks to the staff at Aperture, especially Brendan Wattenberg and Michael Famighetti for ushering and editing the piece through.

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