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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.


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.



Prison Obscura continues to travel. If you’re in or around New Jersey then you should know a version (a tighter edit) of Prison Obscura is currently on show at Alfa Arts Gallery in downtown New Brunswick. The show runs until November 1st.

The official opening was last Friday (10th) and coincided with the Marking Time: Prison Arts & Activism Conference at Rutgers University and hosted by the Institute for Research on Women (IRW). To give you a taster of the presentation, below are some snaps taken by staff at Alfa Arts Gallery. But not before a few notes of thanks …


I’d like to thank Alfa Art Gallery-owners Chris Kourtev and the entire Kourtev family for generously giving over their space for three weeks to house the show. Thanks to Nicole Fleetwood, Sarah Tobias and all the staff at IRW involved in bringing Prison Obscura to NJ. Thanks for a wonderful conference too!

I’d also like to extend my thanks once more to Matthew Callinan, Associate Director of Cantor Fitzgerald Gallery at Haverford. Matthew continues to make sure the logistics for each venue are taken care of and, in this case, gave up an entire Sunday to drive from Philadelphia and install the show. Thanks to the staff at John B. Hurford Center for Arts & Humanities at Haverford, who continue to support the exhibition.

For more information about the exhibition, visit the Prison Obscura website.












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