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Westin New York At Times Square
Westin New York At Times Square in New York City
Westin New York At Times Square
Hotel Guest Rating: 8.9/10
270 West 43Rd Street
New York, NY 10036
Welcome to the Westin New York At Times Square
An architectural wonder a block from Times Square with plush Heavenly Beds, flat-panel TVs and a fitness center, the Westin New York At Times Square puts Priceline guests in the heart of the Theatre District excitement.
Hotel Features
Towering over Times Square, the dramatic hotel boasts 8,000 sheets of colorful glass and two 45-story prisms split by a curving beam of light. The Westin's 863 rooms feature plush Heavenly Beds, flat-panel HDTVs and Wi-Fi. Many of the rooms have spectacular views of Times Square and the surrounding area. The hotel also has a fitness center, restaurant, lounge and concierge services. Valet parking is available for a fee.
Hotel Location
The Westin is one block from the center of Times Square, the Port Authority bus terminal and multiple subway lines. Walk three blocks to Bryant Park and four blocks to the New York Public Library. Madison Square Garden and Penn Station are a mile south, and Central Park is a mile north. LaGuardia Airport is nine miles, JFK International Airport is 18 miles and Newark Liberty International Airport is 16 miles away.
Guest Favorites
Priceline guests love the "beautiful views," "phenomenal location in the heart of Times Square" and the "great" staff at the Westin New York At Times Square.
Westin New York At Times Square Amenities
- Accessible room
- ATM/Cash machine
- Baby sitting
- Baggage hold
- Business center
- Child programs
- Concierge desk
- Currency exchange
- Exercise gym
- Fire safety compliant
- Hairdryer
- High speed internet access for laptop in public areas
- Iron
- Lounges/bars
- Meeting rooms
- Multilingual staff
- Non-smoking
- Onsite laundry
- Parking
- Restaurant
- Shops and commercial services
- Telephone
- Tour/sightseeing desk
- Wedding services
Hotel Information
Upon check-in photo identification and credit card is required. All special requests are subject to availability upon check-in. Special requests cannot be guaranteed and may incur additional charges.Please note, guests under the age of 21 are only allowed to check in with a parent or legal guardian.Please note, the overnight parking fee does not include in and out privileges.Please note, breakfast included rates only provide breakfast for two guests per reservation. Additional guests must pay an extra charge for breakfast. Guests are required to show a photo identification and credit card upon check-in. Please note that all Special Requests are subject to availability and additional charges may apply.
Hotel Guest Reviews of the Westin New York At Times SquareOur hotel ratings and reviews are from real hotel guests. Priceline.com ensures that its reviews are guests-only by proactively sending hotel surveys to customers after they've completed their hotel stays. In the post-stay surveys, priceline.com hotel customers are asked a number of questions about their stay and the hotel. On a scale of 1-10 with 10 being the best, the survey asks guests to rate their overall experience and specifically rate the hotel's cleanliness, staff and location. Priceline.com does not allow site visitors to post unsolicited hotel reviews.
November 19, 2014
Nice place, great staff.
November 19, 2014
Business Traveler
This guest did not leave comments about this hotel.
November 15, 2014
November 11, 2014
No it was an excellent experience.
November 11, 2014
highly recommend it and the staff!
November 5, 2014
This guest did not leave comments about this hotel.
November 4, 2014
This guest did not leave comments about this hotel.
November 4, 2014
November 2, 2014
If you can get a great rate book this for sure...
November 1, 2014
Business Traveler
(1 - 10 of 200 reviews)
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text:
Mansi Salve, Indian Television Actress - Informative & researched article on Mansi Salve, Indian Television Actress
Indian Television
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Mansi Salve
Mansi Salve, Indian Television Actress
Mansi Salve is one of the fresh faces of tellydom who has made a mark by her varied character portrayals.
Mansi Salve is quite a familiar face on television. Her career in the world of glamour took off when she was selected by a renowned ad agency for an ad campaign. Soon after that she managed to bag roles in the popular soaps under different productions houses. She has delivered fabulous performances in soaps like `Ashirwad`, `Koi Apna Sa`, and `Saarthi`. Soon she was offered the lead role in the soap `Sati`.
In the serial `Sati` she plays the character of the girl Sati who fights for truth and justice. Her character is very strong in the sense that she signifies her fight against crime on the women folk. In the serial `Saarthi` also she makes a significant contribution to the plot as the sister-in-law of the female lead. The sudden death of her husband shatters her spirit to the core but soon after she manages to stand up and protect her family against all the odds. In the other soap `Aashirwad` she used to play the love interest of another popular television anchor and actor Hussain. In `Koi Aapna Sa` under Balaji Productions she plays the lead actress. At present she works day and night to present her fans with much more poignant performances in the approaching times. With her dedication she is sure to go a long way.
This article is a stub. You can enrich by adding more information to it. Send your Write Up to
(Last Updated on : 17/07/2014)
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Is there an index for this cemetery?
I am looking for a John V. McDaniel whose death was registered in Archer Co. in 1927/28. I am still waiting for a death certificate from the state for more details.
My John McDaniel would have been born about 1847/48 in NC, and "disappears" about 1892. We have only handed down stories that he died while travelling in the lumber business in Texas.
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Miranda Lambert Helping Furry Friends With Appearance at New Vegas Festival
Miranda Lambert's seventh annual Cause for the Paws event is landing in Sin City on Saturday (Oct. 4) for the first-ever Route 91 Harvest Festival.
Miranda Lambert's seventh annual Cause for the Paws event is landing in Sin City on Saturday (Oct. 4) for the first-ever Route 91 Harvest Festival.
Get ready to get excited! Miranda Lambert has just announced tour stops for her 2015 Certified Platinum Tour.
Even celebrities make New Year's resolutions, and these country stars vowed to lose weight ... and did it! Whether it was a need to be a little healthier or just defy a personal goal, these singers have slimmed down and look great (even though they always did!).
I'm aware this is totally last minute, but the snow might be on it's way TOMORROW...so why not go somewhere WARM before bundling up for the next 6 months?! It's an idea for some unused frequent flier miles...
Trucks and guitars are typically exchanged after a major country tour wraps up (Miranda Lambert bought Carrie Underwood a motorcycle after she recorded 'Somethin' Bad). But Dierks Bentley takes the prize for most creative, unusual and potentially dangerous thank you gift.
The 2014 CMA Awards just got a whole lot hotter with the announcement of three of country music's hottest bands.
While on tour stop in Hawaii, a hardworking Miranda Lambert thankfully got a little time for some R&R. The singer hit the beach and showed off her bangin' beach bod.
If Lady Antebellum's fun-lovin', party anthem 'Bartender' is your jam right now, consider yourself in good company -- the band loves it too.
When it comes to music, artists can find inspiration from a long list of talented acts that came before them. But when it comes to parenting? That list is shorter -- and there's just two people who inspire Carrie Underwood most.
Blake Shelton's journey to superstardom was long and arduous. The singer and 'The Voice' coach's career didn't really begin to take off until he made one very, very difficult decision. Learn all about Shelton's rise to fame and find out why he once quit singing in this edition of 'You Think You Know Country.'
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Of the many No. 1 hits written by Rhett Akins, Dallas Davidson and Ben Hayslip, it's Blake Shelton's 'Honey Bee' that the guys say has had the craziest fan reaction.


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Seeking information on Sophronia A. Mobley m Isham J. Brown Aug 1845 Clark Co, GA. Children were John B. J. Brown born ca 1846 and Sallie H. M. Brown born 1855. Isham died before 3/1855. John Morbley was appointed guardian of children 3/5/1855. Sophronia and children were on Coweta Co, GA census in 1860. firstname.lastname@example.com
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Pujols has 3 hits, including 450th HR
The gem Dan Haren tossed Thursday night looked awfully familiar to Albert Pujols. Except this time instead of Pujols getting fooled by what Haren was tossing, he was helping the Los Angeles Angels' right-hander put together one of the finest efforts of his career.
HOW THE WEST WAS WONWill the Angels or Rangers finish first in the AL West chase?
''He makes good hitters look pretty bad including myself, he has in the past,'' Pujols said. ''He is pretty amazing when he keeps the ball down.
Pujols had three hits, including his 450th career home run, and Haren struck out a career-high 14 to lead the Los Angeles Angels to a 3-0 win over the Seattle Mariners on Thursday night.
The Angels and Mariners met for the first of 19 games this season and Pujols, a newcomer to the AL West rivalry, made his presence known immediately. He lined a two-run shot off Seattle starter Jason Vargas (5-4) with one-out in the top of the first, and added line-drive singles in the fourth and sixth innings. It was just his third three-hit game this season.
And those three runs proved to be plenty for Haren (2-5), who tossed the sixth shutout and 16th complete game of his career. He allowed four hits and one Seattle baserunner to reach third base. Only one other pitcher in Angels history had more strikeouts without allowing a walk than Haren did against the Mariners.
Haren matched his career-high of 12 strikeouts when he got Michael Saunders looking to end the eighth inning. He was given the chance at the complete-game despite starting the ninth at 110 pitches, but struck out Alex Liddi for the fourth time, got Ichiro Suzuki swinging, and closed it out by getting Kyle Seager to ground out.
GREAT AMERICAN RACEThe Junior Circuit is poised for epic AL pennant chases this season.
After struggling with a sore back for the early part of the season, putting together that kind of performance was gratifying for Haren.
''Even pitching at 80 percent I should get better results than I have been getting in prior starts. I think it was obvious tonight that my stuff was better and I was feeling better in general,'' Haren said. ''I'm happy obviously to win a game. I forgot what it felt like.''
The 32-year-old Pujols is the fourth-youngest player in baseball history to reach 450 homers, behind Alex Rodriguez, Ken Griffey Jr., and Jimmie Foxx. Noted for his lack of power in his first two months with the Angels, Pujols displayed plenty of pop on the 3-1 pitch from Vargas, lining it off the facade of the second deck in left field with a thud for his fifth homer of the season and second in three games.
Pujols also stole a base and made a heads up play in the fourth inning, when Suzuki lost track of the number of outs and Pujols advanced to third after Suzuki caught the second out of the inning. He was stranded there when Erick Aybar popped out to end the inning. Pujols stole second and scored on Kendrys Morales' RBI single to left field in the sixth.
''This game comes and goes. I think the main thing is to be positive all the time and continue to make sure to make good adjustments,'' Pujols said. ''Today I swung the bat pretty well, but tomorrow is a new day, you have to try to be consistent.''
MLB STANDINGSWho's clinched? Who's still in the playoff picture? Check all the divisional races.
While Pujols continued to show signs of his bat waking up, Haren snapped a four-game losing streak with one of the finest outings of his career.
Haren picked up his 11th career win against Seattle and made it look easy for most of the night as Seattle failed to get a base runner between the second and sixth innings.
''I stayed with what was working and they were going to have to adjust to me,'' Haren said.
Saunders led off the sixth with an infield single. That ended a streak of 15 in a row set down by Haren and was Seattle's first hit since Dustin Ackley led off the bottom of the first with a single that slipped under Howie Kendrick's glove. Saunders ended up at second after a stolen base, but Haren got a pop up from Ackley and struck out Liddi to end Seattle's first scoring threat.
Suzuki led off the seventh with a double and advanced to third on an infield groundout, but was stranded when Haren got Jesus Montero waving at a pitch off the plate and froze Mike Carp on a 3-2 pitch for his 11th strikeout.
It was the 13th 10-strikeout game of Haren's career and topped his previous career high of 12 accomplished twice, the last time coming in 2008. Seattle manager Eric Wedge was not pleased with how easy Haren made it look.
''We didn't make him make any adjustments. He just kept doing the same thing throughout the course of the game. That just can't happen,'' Wedge said. ''We've got a lot of young ballplayers, but they are far enough along they've got to do better than that.
Notes: Haren picked up his 1,500th career strikeout when he got Saunders looking in the eighth inning. ... It was the league-leading seventh shutout this season for the Angels. ... Seattle activated C Miguel Olivo from the 15-day DL and optioned OF Casper Wells to Triple-A Tacoma. Olivo was 0-for-3 in his return to the Mariners lineup.
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San Miguel de Allende House Rental Photos and Description
5 Bedroom 7 Bath Sleeps 10 Spanish Colonial Home
This 18 century colonial home was lovingly restored and is located in the historic center of San Miguel de Allende. This home is over 6000 square feet of construction and is built around a beautifully landscaped central courtyard with stone fountain and queen palms. The walls are two feet thick in places and most all the bedrooms, living, dining rooms, kitchen and office are all located on the first floor. There is a beautiful bedroom and terraces upstairs with views of the churches and Parroquia that light up at night. There is a maid, cook, gardener and house manager to make your vacation a memorable and unique experience. The home is full of unique architectural details. Each bedroom has its own ensuite bathroom. The beds all have high thread count sheets, pillows and down comforters. The home has lovely hand made colonial style furniture and houses a beautiful art collection of paintings, sculpture, and photography of the owners. This home was featured in the latest book on San Miguel de Allende. San Miguel de Allende Hospitality.
- Suitability:
- children welcome
- non smoking only
About Jed Paradies
The owner has designed and built homes in Tucson Arizona. He fell in love with San Miguel on a visit in 1996 where he now lives in the countryside with his family.
Jed Paradies purchased this house in 2004
Why Jed Paradies chose San Miguel de Allende
We have been coming to San Miguel since 1996 and have made this lovely town our home.
What makes this house unique
Experience this beautiful historic home with family or friends. There's plenty of spaces for privacy and many areas to enjoy as a group. Step out into the cobblestone streets of San Miguel and discover why it was named the number#1 destination in the world in 2013 by Conde Nast Traveler.


text:
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Aramean request for education in mother tongue rejected.kindergarten kindergarten [Ger.,=garden of children], system of preschool education. Friedrich Froebel designed (1837) the kindergarten to provide an educational situation less formal than that of the elementary school but one in which children's creative play instincts would be and deliver education in their mother tongue on the grounds that the community is not designated a minority in the Constitution.
The request marked a first in the history of the Turkish Republic. In remarks appearing in the Vatan daily on Thursday, Sait Susin, a representative from the Aramean community in Turkey, said the ystanbul-based Syriac Kadim Community foundation was planning to open its kindergarten, which would also offer Syriac language lessons. The community submitted a petition to the ystanbul branch of the Education Ministry on June 6 and they received a response rejecting their request on July 26.
Susin talked about the community's experience to deputy chairman of the ruling Justice and Development Party (AK Party) HE-seyin Ecelik during an iftar (fast-breaking dinner) event last week. Ecelik disagreed with the education authorities and said the ystanbul head of the Education Ministry must have misunderstood the request.
"Our government will meet this demand. We are open to requests by minorities' foundations," Susin quoted Ecelik as saying.
There are roughly 25,000 Arameans in Turkey and 85 percent of their population lives in ystanbul. Susin said the Syriac language dates back to 5,000 years ago and the language was named as such after Arameans were converted to Christianity. The 1923 Treaty of Lausanne
- For the 1912 Treaty of Lausanne between Italy and the Ottoman Empire (signed on 18 October, 1912 in Ouchy), see the Italo-Turkish War.
Eastern Orthodox, Russian Orthodox, Orthodox
faith, religion, religious belief - a strong belief in a supernatural power or powers that control human destiny; "he communities as minorities. These groups were given legal rights to establish foundations and deliver education in their languages.
(Cihan/TOday's Zaman) CyHAN
Copyright 2012 Cihan News Agency The Cihan News Agency (Turkish: Cihan Haber Ajansı) or CNA is one of the leading Turkish news agency companies. It is based in Istanbul. . All right reserved.
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Capital One® Spark® Miles Select for Business Review: Credit Cards
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teddy bear, bar, teddy bear, cap, hat, propeller, aircraft, airplane, pilot, child, childhood, cap, innovative, idea, helicopters, Hubschraubär
This great product in black from our department Kids & Babies and Baby Bodysuit category can be printed just for you in the size and style you like. The design Propeller Hat Teddy Bear was created by chrisbears and uploaded to Spreadshirt for you to have printed on a Baby Bodysuit. Next to a host of other great designs, you can find this Propeller Hat Teddy Bear design in Spreadshirt's Miscellaneous category. If you are interested in topics like Airplane or Bär, then you'll love Propeller Hat Teddy Bear designs by chrisbears. Spreadshirt also offers a huge selection of personalised T-shirts, hoodies and accessories for the category Miscellaneous as well as top Hubschraubär clothing. chrisbears's designs have already impressed many of our customers, so we are sure that we've got right stuff for you! Spreadshirt is your shop for great designs of all kinds – whether it's Airplane, Bär or Hubschraubär. We are sure that you will find something nice in our shop, there are many amazing personalised Miscellaneous T-shirts, jumpers or accessories for you to find! Tags: Design ID: 13470423
Hi! My name is Chris and I paint bears. What else? :o)
Funny cute mug with i love hot chocolate with sweet cream time slogan in cold snow freezing fall winter t-shirts for geek chic, trendy girls, gift friend christmas mothersday valentine's day Bottles & Mugs Designed by ellumination
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sataySyllabification: sa·tay
Pronunciation: /ˈsäˌtā /
(also saté)
Definition of satay in English:
An Southeast Asian dish consisting of small pieces of meat grilled on a skewer and served with a spiced sauce that typically contains peanuts.
Example sentences
- Don't bother dithering over the appetizers, even though the lightly fried tofu with peanut sauce, chicken satay and green mango salad are all quite good.
- Coriander features in just about everything, save a dish of satay with a nicely savoury sauce.
- The food is an exotic mix of tapas and dim sum, so you eat chorizo and calamari one minute, spring rolls and satay the next.
from Malay satai, Indonesian sate.
Definition of satay in:
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Word of the day sacerdotal
Pronunciation: ˌsasərˈdōtl
relating to priests or the priesthood; priestly


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Here are the top ten articles for the Small Office/Home Office Site! These rankings are live and get reset at the beginning of each month, so check back often to see what your fellow visitors are most interested in!
1. Open your own Thrift Store
One mans trash is another mans treasure is doubly true if you are a thrift store owner! How can you open your own thrift store?
2. Things you can Make and Sell Working from Home
Looking for a simple business idea for working from home? You can make and sell many things from home. Here are some ideas.
3. Six Reasons your Small Business should support a Charity
Most large corporations have programs for social responsibility and community involvement, and it is a great idea for small businesses, too. Here are six reasons your business should support a charity or non-profit endeavor in your community:
4. Organizing Your Business Email Account
What does you business email account look like? If you can't easily find what you are looking for then you may need some help.
5. Start your own Boutique Business
How to start your own fashion boutique. If you love fashion, a boutique may be just the business for you.
6. Example and Tips for Writing Action Plans
Tips and how-to´s on writing action plans.
7. Ten Great Reasons to Work from Home
Do you dream of working from home? This article will explore some reasons and benefits of working from home, and how you can do it, too!
8. Business Ideas for Teens
Teenagers can make money and gain valuable experience running their own business. This article explores the basics and give examples of business ideas for teens
9. Party Planning Business
What a party planner does and how to start your own party planning busienss.
10. Starting a Business as a Personal Chef
Do you love spending time in the kitchen? If so, starting a personal chef business may be perfect for you.
Be sure to visit the Small Office/Home Office Archives for all the articles!
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You are currently browsing the category archive for the 'Fine Art' category.
© Ronnie Goodman
"Evidence suggests that arts-in-prisons programs lower recidivism (returning to prisons) by 27% and reduce disciplinary actions by 75%," reads the press release for the prison art exhibition The Cell and the Sanctuary: Art and Incarceration currently on show at the Santa Cruz Museum of Art & History (SCMAH).
That's a bold claim.
One of the great difficulties with justifying arts and/or liberal arts education is the difficulty in measuring its direct (positive) effects. Evaluation in budget-constrained prison systems is especially demanding and cynical. First and foremost, people want to know if any type of program steers a prisoner away from anti-social behaviour. If the answer is complex, partly elusive or complicated by other criteria then doubt descends, the enterprise is labeled as airy-fairy, and premise is dismissed.
In brief, prison arts programs wanting to prove themselves have a tough audience.
The effects of arts and education is difficult to track because many benefits such as relative thinking, critical engagement outside of institutional narratives, cumulative learning, etc. take years. Education is a slow build. Benefits are for years down the line; for a lifetime. Also, many prisoners are on long sentences and the primary criteria corrections departments and researchers look to – recidivism – can only be measured once a prisoner is released. The intangibles of a liberal arts education aren't necessarily contributing to a measurable impact the next hour.
A general aura of skepticism surrounding arts and liberal arts education is compounded by the fact that research money often goes toward other prison programming (vocational, prison industries) and other evaluation first. We saw this was the case when the State of California stripped the DOC of its Arts-In-Corrections funding 7-years ago. In times of crisis, arts funding is first on the chopping block.
Despite no state funding, groups such as the William James Association continued, driven by volunteer efforts. The recent California budget has put millions back into the coffers earmarked for Arts-In-Corrections. The William James Association has returned to work in 11 state prisons.
The return was helped by the convincing results of a study, California Prison Arts Evaluation 2014, that was commissioned jointly by the William James Association and the California Lawyers for the Arts. You can download it here.
Here's the results of the study and reason for bold claims.
The California Prison Arts Evaluation 2014 was a one-year study in four prisons revealing that arts programs improve prisoners' behavior and their attitudes about themselves.
"A significant majority of inmates attribute their greater confidence and self-discipline to pursue other academic and vocational opportunities to their participation in arts programs, signaling a pathway for overall personal growth," says the William James Association.
The author was Dr. Lawrence Brewster of the University of San Francisco who had, in 2012, completed a Qualitative Study of the California Arts In Corrections Program.
Prior to these two studies, there had been little research since a cost-benefit study in 1983, An Evaluation of the Arts-in-Corrections Program of the California Department of Corrections (also conducted by Brewster), which posited that society and the institutions benefited by reduced disciplinary actions, community service and beautification of the prisons.
It was high time someone brought the research up to date and dampened down naysayers and skeptics. Hopefully, the California Prison Arts Evaluation 2014 might spur other states to make a return to arts programming.
"Arts-in-prisons programs improve relationships between people within the prison as well as with guards and supervisory staff," says the William James Association." Prisoners exposed to arts programs are more likely to adjust to life outside prison and are less likely to become repeat offenders."
'Blind Curve' (2010) © Felix Lucero
'Lower Yard, San Quentin' @ Ronnie Goodman
'Baseball at Old Folsom Prison' @ Ronnie Goodman
© Justus Evans
'Obscuring Self' © Rolf Kissman
'Jazz In San Quentin' @ Ronnie Goodman
'Uphill Struggle' @ Ronnie Goodman
The Cell & The Sanctuary opening, Santa Cruz Museum of Art & History, November 7th, 2014. Photo: Laurie Brooks / William James Association
'Prison Boots' @ Ronnie Goodman
Installation view of The Cell & The Sanctuary, Santa Cruz Museum of Art & History. Photo: Laurie Brooks / William James Association
The Cell and The Sanctuary features paintings, drawings, sculptures and writings by teachers, artists and organizations who are "working together within the prison system to provide a direct link between incarcerated individuals and something larger than their dehumanizing cells," says SCMAH.
Artists including Ronnie Goodman, Justus Evans, Felix Lucero and Rolf Kissman (whose works are included in this post) are in the exhibition, as well as Ned Axthelm, Peter Bergne, Guillermo Willie, Stan Bey, Khalifah Christensen, Dennis Crookes, Isiah Daniels, Bruce Fowler, Henry Frank, Roy Gilstrap, Thomas Grider, Gary Harrell, Amy M. Ho, John Hoskings, David Johnson, Ben Jones, Richard Kamler, Chung Kao, Darryl Kennedy, Katya McCollah, Pat Messy, Omid Mokri, Gerald Morgan, Carol Newborg, Stan Newborg, James Norton, Eric "Phil" Phillips, Anthony Marco Ramirez, Adrienne Skye Roberts, Mark Stanley, Fred Tinsley, Tan Tran, Kurt Von Staden, Geno Washington, Michael Williams, Thomas Winfrey, and Noah Wright
The Cell and the Sanctuary: Art and Incarceration is produced in collaboration with Barrios Unidos and the William James Association (also on Facebook)
It is on show November 7, 2014 – February 22, 2015
Senseless © Felix Lucero
Photo: Spike Aston
Photography is often best kept simple. Likewise, the description of photography is, also, best kept simple. So let's do that.
Disposable is a photography project that puts cameras in the hands of a dozen or so homeless men and women in London, England. Very straightforward. Disposable garners images that have given – in their production – moments to create and reflect, and – in their viewing – moments for reflection upon creative practices toward a more equal society. Right? What use is this post, and what use the participants' efforts, and what use the program coordination efforts of Adele Watts if we're not to reflect on the issues of poverty and homelessness in our society?
Disposable began in 2012. Disposable is grassroots. The men and women involved consider themselves a collective.
Watts worked closely with homeless artists over the period of a year and developed a body of original photographs.
"Without a brief, each participant took single-use cameras away, returning them a couple of weeks later to be developed and to look though the work and discuss it together," explains Watts.
"Photography is a science of seeing. I like to see ordinary things too because they can tell you a lot about where you are if you don't know. You can discover many beautiful and interesting worlds that don't seem like worlds without photography," says participant Spike Aston.
In the past 18 months, Disposable has mounted three exhibitions — at a Central London outreach venue in April 2013, and later at Four Corners Gallery, Bethnal Green in October 2013 and Ziferblat, Shoreditch in August 2014.
"Disposable allows us to view homelessness from the rich and insightful perspective of those experiencing it, but does so with refreshing subtlety. This is achieved through a belief in cultivating authorial voice and expression without exception, which is truly at the heart of the project and all those who have brought it to life," says Claire Hewitt who provides texts for the Disposable newsprint publication. "I was overwhelmed by the ways in which they had each nurtured their own visual languages."
A collection of photographic works by Bill Wood, R.O.L and Spike Aston, Disposable's most devoted members — has now been brought together in a 16-page newspaper publication.
The Disposable newsprint publication is available as an insert to the latest issue of Uncertain States a lens-based broadsheet. It is distributed through and available at: Brighton Photo Biennial 2014, V&A London, Tate Britain, Four Corners Gallery, Ikon Gallery & Library of Birmingham, Flowers East, Turner Contemporary, Margate.
Keep in touch with the project via Adele Watts' website and Twitter, and the Disposable Tumblr.
Photo: Bill Wood
Photo: Bill Wood
Photo: R.O.L.
Photo: R.O.L.
Photo: R.O.L.
Photo: Spike Aston
Photo: Spike Aston
Photo: Spike Aston
Disposable Insert. Uncertain States. Open Call. Issue 20
Edition of 5000 copies
290mm x 370mm
16 pages printed full colour on 52gsm recycled newsprint. Inserted into Uncertain States Issue 20, a lens-based broadsheet.
Photographic works by Bill Wood, R.O.L & Spike Aston.
Texts by Clare Hewitt & Jenna Roberts.
Edited by Adele Watts.
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.
Ever since I came across the work Temps Mort it has haunted me. Haunted me in a good way; it has stayed with me. It resonates because of the power delivered by Mohamed Bourouissa and his collaborator's low-res images. It resonates, also, because this is the only project made by an artist and prisoner with contraband cell-phones that I know of. Surely, there are exchanges like this happening all the time, but this is the only published example. And it was made with the express intentioned to make art.
So I was pleased to discover, recently, that Temps Mort is now a book.
Methodologically, Bourouissa is way ahead of the game. As well as asking for images made according to description and sketches, he asked for videos. Bourouissa would send example videos and his collaborator (whom we know only as Al) would mimic. Throughout the project, Bourrouissa is clearly thinking about how the work will look to secondary and tertiary audiences. We are asked to make sense of seemingly random glimpses of an institution's innards.
In exchange for composed views of the inside, Bourouissa sent short videos of the Paris streets. The simplest gestures become impressive. Even the txtspk language that is reproduced in the book is touching. In prisons, cellphones are illegal, valuable and a scarce resource, but the two use the tool with abandon and they repeatedly text to make sure they're adequately fulfilling one another's requests for footage.
This is not a photobook heavy on photos, yet everything inside depends on the discussions about images between Bourouissa and Al. There's a lot of white space. The texts ensure we know the timeline and the white space ensures we know — and sense — the slow passing of time.
Temps Mort is over 5 years old now and the book feels a little like a memorial to that audacious moment when an artist dared and a prisoner dreamed. The book is a document that will last longer than the exhibitions and the interest in cellphone videos that declare a moment in Parisian jail operations. This blog post is many more steps removed from the original gifts between Bourouissa and Al. This blog post has no audio/visual jacks nor 9-foot white cube walls. This blog post lags behind the thrill of the original creation of the works and behind the recent exhibitions Bourouissa has mounted. My humble hope, here, is to impress how impressed I am. There's nothing like this project.
There's been many projects made in collaboration with prisoners from Virginia to Tennessee, and from Louisiana to Illinois, artists have communicated with prisoners to conjure something beyond the limits of the cell. And yet, none of those efforts have used the illegally smuggled mobile phone as their tool. There's a subtle two fingers to the man in Temps Mort that we shouldn't deny. I'm inclined to celebrate it.
Here's some images and videos appropriated without permission from the web. Enjoy.
© Ruddy Roye
PDX Design Week wrapped up last weekend. Before I moved out of the city, I was asked to do a guest post for the PDXDW blog. I don't know much about design, so I wrote about photographers that are making good use of emerging technologies or commenting on our brave new world dominated by emerging and automated technologies.
Thanks to Taryn Cowart for her assistance getting it published.
With some line-editing, I crosspost the listicle below.
Good photography is good vibes. Often, even bad photography is good vibes. The world needs Seflies, SnapChat cheekiness, cat GIFs, and Doge bombs. However, sometimes, we have to search out the good stuff. We need to look around and ask what's at stake. Frankly, there's not a lot resting on your cellphone pictures — they're not changing the world. When the technologies and file formats with which they were made are obsolete, no-one will care if your phone snaps are lost forever. Least of all you?
When we talk about art, journalism and photography we should be able to single projects out and to define worth. Some creative endeavors are world-changing. I want to give a nod to photographers and artists working with images who inform us about the world and some of its urgent issues. As users and consumers, I want to believe we can leverage rapid publishing and sharing for political and social improvement.
Ruddy Roye was the first photographer to really stake his style on the meaningful caption. He ditched the hashtags and asked real people some real questions. Based in New York most of his portraits are of people in his neighborhood and jollies around the Big Apple. His feed drips with humanity and reveals stories you couldn't imagine. This is the REAL Humans OF New York! Also, I like to credit Roye for landing the fatal blow to the snarky #TLDR hashtag.
© EverydayAfrica
Peter DiCampo and fellow journalist Austin Merrill (both white American) set up the Everyday Africa after years of reporting from the continent and witnessing nothing but sensational and scary images of war, tragedy and the like. What about the normal everyday stuff? In an attempt to make the most of boring daily things, DiCampo and a wide cadre of collaborator quickly put together a simple, illuminating, sometimes colorful, and intimate Instagram feed. It's political but not difficult. Okay, so it's a free-for-all that promotes aesthetically ordinary pictures, but I'll take neoliberal relativism over neocolonialist manipulation every day of the week.
EverydayAfrica spurned dozens of loose collective of photographers who set up EverydayMiddleEast, EverydayAsia, EverydayIran and even EverydayBronx. Instagram sponsored an Everyday "Summit" at the 2014 Photoville Festival and ponied up cash to fly in contributors from all corners of the globe. These guys are much better IG-movement than the creepy Christians making VSCO lifestyle shots to pair with their #blessed affirmations and bible quotes.
Watch out though: EverydayUSA has some of the best photojournalists under it's belt. Photo-industry-folk reckon EverydayUSA will soon eclipse all the other accounts, at which point the whole Everyday movement may have announced its death. Get on this young movement while it's still fresh and focused on countries other than the one you live in.
© Mishka Henner
If there's a controversial topic Mishka Henner hasn't produced a body of work on, he's probably in his studio, right now, making it. From censorship, to prostitution in the Mediterranean, from military bases to big-ag food production, from war to big oil, Henner doesn't shy away from tough topics. His skill is to do so without really leaving his studio. Henner is one of the cleverest, canniest and hardest working artists dealing with Google and the machine age of image-making.
He winds people up with his methods that are anathema to photo-purists but what else is there to do with available imagery if not to capture, 'shop and frame it in political terms. Google is the all seeing eye that doesn't care.
© Tomas Van Houtryve
The Bureau of Investigative Journalism estimates American operated drones have killed between 2,296 and 3,718 people, as many as 957 of them civilians. That's a whole lot of killing.
The program of U.S. airstrikes which began in 2002, but was only publicly acknowledged in 2012 is a remote war driven by a remote technology. Belgian photographer Tomas Van Houtryve decided the best way to grab Americans' attention to the issue was to show them how drone attacks would appear in America.
There's no shortage of projects about drones to get us thinking about the issue. John Vigg has his Google surveilled drone research labs and airports; Jamie Bridle traced a drone shadow in Washington D.C. last year and launched Dronestagram to populate social media sites with satellite views of drone strike sites; Trevor Paglen has photographed drones at distance; and Raphaella Dallaporta took a drone to Afghanistan under the guise of an archaeological survey.
Most recently Not A Bug Splat made a splash. Cheeky and powerful the project installed massive portraits of children in regions subject to U.S. drone strikes, with the intent of pricking the conscience of remote U.S. drone operators stationed in Nevada about to bring the hammer of destruction down on that Waziristan village.
Screenshot of Josh Begley's Prison Map
Data artist Josh Begley specializing in scraping images from publicly available sources. He then creates App and websites to publish the info and produce push notifications you can't avoid.
For his project Prison Map, Begley took the GPS coordinates of every prison, jail and immigration detention center in America and fed them into a Google Maps API code he had modified. He ran the script and it spat out more than 5,300 satellite images — one for every locked facility in the U.S. The prison population in this country has grown 500% in the past 30 years. One in every one hundred adults is behind bars and most of them are poor people. The recurrent patterns of brutally functional architecture within Prison Map are staggering. We've been building prisons in high desert and rural backwaters. Begley makes the Prison Industrial Complex (PIC) visible once more.
Likewise, for his project Profiling Is, Begley snagged the NYPD's surveillance shots of business and residences in the NY boroughs which were under monitoring.
He doesn't stop there. Begley's App MetaData alerts users to U.S. drone strikes in Pakistan, Yemen, Afghanistan and elsewhere. This didn't happen until the conclusion of a merrigoround of negotiation with the "apolitical" Apple. Begley finally got his drone strike App approved when he removed all mention the word drone! Now, you can get next-day updates of Obama's largely-ignored drone war on Afghanistan, Pakistan, and Yemen straight to your smartphone.
© Mari Bastashevski
Mari Bastashevski skirts a fine line between journalist, artist, researcher, photographer and tourist to dig up the personalities and money makers in the international arms trade. Here's the feature I did for WIRED a while back. Her ongoing project State Business is devastating inasmuch it reveals how pervasive and complicit most nations are in making billions on the slaughter of humans.The US, the UK, Croatia, Azerbaijan, Georgia; Bastashevski's following of the money takes us all over the place … sometimes even to the carport on the Facebook pages of international arms dealers.
If you can't beat 'em join 'em. In 2002, after Hasan Elahi was mistaken for someone on the terror watch list and detained for hours at Detroit airport, he decided he'd save the authorities the bother and monitor himself. Caustic, direct, creepy and amusing, Elahi photographed everything he did, ate, shit, saw and worked on. He also GPS tracked his every move on a live web map. The project is titled Tracking Transcience. One of the by-products of the self-monitoring is the creation of a typology of toilets. Taking sousveillance to another level and entertaining thousands while he does it. Brill.
© MigraZoom. A migrant on a cargo train traveling from Arriaga, Chiapas to Ixtepec, Oaxaca. After crossing the Mexican-Guatemalan border and traveling to Arriaga, migrants hitch a ride on top of cargo trains to Ixtepec. This trip takes about 12 hours. In addition to the risk of falling off the train (amputations and death are common), gangs frequently extort migrants, charging them $100 to ride. They face threats of being thrown off the train, kidnapped, raped or trafficked if they do not pay.
There's some great fine art projects out there about the U.S./Mexican border. Probably, the stand out is David Taylor's Working The Line, which documents the militarization of the border. But it can be criticised for being to distant and tends to rest on the creaking aesthetic mores of American landscape photography. If we want to see what is really going on during the tough journey's into North America, we should pay attention to MigraZoom, a project by Spanish-born photographer Encarni Pindado which puts disposable cameras in the hands of economic migrants during their perilous treks northward.
© David Taylor
Another beautifully shot and more unexpected treatment of new arrivals is Gabriele Stabile's Refugee Hotel which documents approved asylum seekers' first nights in America at four hotels adjacent to four hub airports through which new refugee migrants arrive. Respectful documentation that is pregnant with uncertainty.
Taylor's work is currently on show at the amazing 'Covert Operations' at Scottsdale Museum of Contemporary Art.
Photographer Hank Willis Thomas is a prolific force. One of his most recent projects Question Bridge is a platform for black males to ask other black males questions about black identity. Participants do so through video and provide answers similarly. Access is easy, involvement free, connections priceless and it works well in exhibition format too. The murder of Michael Brown in Ferguson is the latest incident to demonstrate to the entire nation our shared need to face racial inequality int he country. Willis Thomas is doing his bit.
© Lindsay Lochman and Barbara Ciurej
With Ag Gag laws becoming ever more common, clever responses to imaging industrial food production must be inventive. Lindsay Lochman & Barbara Ciurej rip on the much-mythologized West and specifically on the hero-worship of Carleton Watkins by constructing sugar-coated and corn-fed diorama reconstruction of Watkins' landscapes with shitty foodstuffs.
Will Potter ain't a photographer but he's putting imagery to good ends. Potter, a TED Fellow, has been reporting on the crack down on environmental activists under homeland security legislation that was designed to tackle terrorist. Instead of chasing bombchuckers, our law enforcement is going after tree huggers. The title of Potter's book, Green Is The New Red, say its all. Routinely, it has been eco-activists who've brought us the shocking footage from inside factory farms. Potter, continuing the tradition of expose, wants to fly drones over feedlots and take advantage of laws being slow to be written. Again, we seeing the convergence of technologies and activist peel back the layers of obscurity purposefully put over our shady business practices in years past.
© Donna Ferrato
The greatest photography work being done to reveal the entrapped, terrorized lives of those victim to domestic violence, is done — perhaps not unsurprisingly by female photographers. Donna Ferrato has trained a lens on the topic for decades. Recently, young gun Sara Naomi Lewkowicz captured similar images to Ferrato as an intimate witness to partner abuse. The parallels were saddening proving that this is a strand of violent psychology we just are not dealing with effectively. To be frank, the issue isn't being imaged enough; intimate partner abuse remains hidden behind closed doors.
Paula Bronstein was one of the earliest and most direct photographers to document the survivors of acid attacks in Asia. If we're to mention women's rights abroad we have to look at the work of Stephanie Sinclair, whose multiyear project Too Young To Wed is pitch perfect. Quiet, weighty, tragic and polychrome portraits of child brides throughout the world. Sinclair's had help from all the major distributors and grant makers to cast the net of her survey far and wide. The transmedia project is about as good as it gets in terms of audience engagement tactics too.
© Jim Goldberg
It's difficult to name a stand out photographer who has taken on the wealth gap in a resonant way. It sounds strange to say but maybe cash is difficult to shoot? This apparent lack is consistent with other art forms though. If Occupy taught us one thing, some issues are designed for public performance, demonstration, walking and protest signs. Think of music, for comparison. In the sixties musicians such as Joe Strummer and Nina Simone emerged with brilliant anger toward social injustice. Despite public disgust made visible in anti-Iraq-war protests and Occupy, there's not a protest song from the 21st century of note. Perhaps music isn't the format for anger or the wealth gap either?
Don't worry, I'm not being a pessimist here. Violent dismay certainly exists. I'm just not convinced art is the realm where we see the most direct political action. Gone are the days of the great labor photographers such as Lewis Hine and Jacob Riis. Inequality was laid bare in the photojournalism of the civil rights era (Ernest Cole, Charles Moore, Danny Lyon) and while those reportages were about money and opportunity they weren't primarily about the markets. Check out the work of Gregory Halpern for your modern day Milton Rogovin.
The most indelible and forthright description of wealth inequality is Jim Goldberg's Rich and Poor, which remains the high point and the tone at which aspiring photographers should aim.
Dang, that's been a lot of men's names. I think it right to end with LaToya Ruby Frazier's name then. She, better than anyone currently making work, ties together class, race, income, post-industrial America, public health, personal health, family and environmental hazard with her generational survey of the women in her family and her home town of Braddock, PA, in The Notion OF Family.
© La Toya Ruby Frazier
"Tex Johnson, 60″ by Ron Levine, courtesy of the artist.
Later this week, I'll be attending the inaugural prison arts and activism conference, Marking Time.
Hosted by the Institute for Research on Women at Rutgers, and across multiple venues, the event brings together an incredibly committed and skilled cohort of practitioners throughout many disciplines — from dance to yoga, from occupational health to sculpture, and from film making to social work.
I'll be moderating a panel discussion Imagery and Prisons: Engaging and Persuading Audiences, with Gregory Sale, Lorenzo Steele, Jr., and Mark Strandquist on Wednesday afternoon. In addition, a version of Prison Obscura will be on show at the Alfa Art Gallery in downtown New Brunswick.
To emphasise the breadth and depth of expertise I've copied out the schedule below. I have made bold and linked the names of artists, activists and academics' names with whose work I am already familiar … and admire.
I pepper the post with artworks made by photographic artists attending Marking Time.
Marking Time runs 8th-10th Oct. Registration for the conferecne is free.
See you in New Brunswick this Wednesday?!?!
"Allen and Tanasha, 1998." Family album. Courtesy of the Fleetwood family.
Session 1: 9: 30 – 10:45 am
PANEL: Creative Arts and Occupational Health (ZLD)
Susan Connor and Susanne Pitak Davis (Rutgers University Correctional Healthcare) "Finding Meaning Thru Art"
Karen Anne Melendez (Rutgers University Correctional Healthcare) "The Concert Performance with Adult Females in Correctional Health Care"
Moderator: Michael Rockland (Rutgers-New Brunswick)
WORKSHOP: Steps Taken: Footprints in the Cell (NBL)
Rachel Hoppenstein (Temple University)
Ann Marie Mantey (Temple University)
Session 2: 11:00 – 12:15 pm
PANEL: Law, News, and Art (ZLD)
Regina Austin (Penn Law School)
Ann Schwartzman (Pennsylvania Prison Society)
Tom Isler (Journalist/Filmaker)
Moderator: Tehama Lopez
WORKSHOP: Utilizing Dance as a Social Tool: Dance Making with Women in Prison (NBL)
Meredith-Lyn Avey (Avodah Dance)
Julie Gayer Kris (Avodah Dance)
LUNCH: 12:15 – 1:15 pm
Session 3: 1:15 – 2:30 pm
PANEL: Imagery and Prisons: Engaging and Persuading Audiences (ZLD)
Gregory Sale (Artist)
Lorenzo Steele, Jr. (Founder, Behind these Prison Walls)
Mark Strandquist (Artist)
Moderator: Pete Brook (Freelance Writer/Curator)
PRESENTATION: The Political and Educational Possibilities of Exhibitions (NBL)
David Adler (Independent Curator)
Sean Kelley (Eastern State Penitentiary)
Rickie Solinger (Independent Curator)
Session 4 2:45 – 4:00 pm
PANEL: About Time (ZLD)
Damon Locks (Prison and Neighborhood Arts Project)
Erica R. Meiners (Northeastern Illinois University/Prison and Neighborhood Arts Project)
Sarah Ross (School of the Art Institute of Chicago/ Prison + Neighborhood Arts Project)
Fereshteh Toosi (Columbia College Chicago)
Moderator: Donna Gustafson (Rutgers-New Brunswick)
PANEL: Best Practices: Arts, Prisons and Community Engagement (NBL)
Robyn Buseman (City of Philadelphia Mural Arts Program)
Shani Jamila (Artist, Cultural Worker, Human Rights Advocate)
Kyes Stevens (Alabama Prison Arts and Education Project)
4:00 – 5:00 pm Artist Talk: Jesse Krimes (ZLD)
5:00– 5:45 pm Welcome Reception (ZL)
7:30 – 9:00 pm Opening Keynote: Reginald Dwayne Betts (KC)
Welcome Remarks: IRW Director Nicole Fleetwood
Introduction of Keynote: Dean Shadd Maruna, School of Criminal Justice – Rutgers, Newark
"Exercise Cages, New Mexico" by Dana Greene, courtesy of the artist.
"That Renown New Mexico Light" by Dana Greene, courtesy of the artist.
Session 1: 9: 30 – 10:45 am
PANEL: Theater in Prisons (ZLD)
Wende Ballew (Reforming Arts Incorporated, Georgia) "Theatre of the Oppressed in Women's Prisons: Highly Beneficial, Yet Hated"
Lisa Biggs (Michigan State University) "Demeter's Daughters: Reconsidering the Role of the Performing Arts in Incarcerated Women's Rehabilitation"
Karen Davis (Texas A&M) "Rituals that Rehabilitate: Learning Community from Shakespeare Behind Bars"
Bruce Levitt and Nicholas Fesette (Cornell University) "Where the Walls Contain Everything: The Birth and Growth of a Prison Theatre Group"
Moderator: Elin Diamond (Rutgers-New Brunswick)
PANEL: Prison Architecture, Space and Place (NBL)
Svetlana Djuric (Activist) and Nevena Dutina (Independent Scholar) "Living Prison"
Maria Gaspar (Artist) "The 96 Acres Project"
Vanessa Massaro, (Bucknell) "It's a revolving door": Rethinking the Borders of Carceral Spaces"
Moderator: Matthew B. Ferguson (Rutgers-New Brunswick)
Session 2 11:00 – 12:15 pm
PRESENTATION: Sustaining Engagement through Art: The US and Mexico (ZLD)
Phyllis Kornfeld (Independent Art Teacher, Author, Activist, Curator) "Thirty Years Teaching Art in Prison: Into the Unknown and Why We Need to Go There"
Marisa Belausteguigoitia (UNAM) "Mural Painting in Mexican Carceral Institutions"
WORKSHOP: The Arts: Essential Tools for Working with Women and Families impacted by Incarceration (NBL)
Kathy Borteck-Gersten (The Judy Dworin Performance Project)
Judy Dworin (The Judy Dworin Performance Project)
Joseph Lea (The Judy Dworin Performance Project)
Kathy Wyatt (The Judy Dworin Performance Project)
LUNCH: 12:15 pm – 1:15 pm
Session 3 1:15 – 2:30 pm
PRESENTATION: Visualizing Bodies/Space: A Performative Picture of Justice System-Involved Girls & Women in Miami, FL (ZLD)
Nereida Garcia Ferraz (Artist/Women on the Rise!)
Jillian Hernandez (University of California-San Diego/Women on the Rise!)
Anya Wallace (Penn State University/Women on the Rise!)
Moderator: Ferris Olin (Rutgers-New Brunswick)
PANEL: 25 Years of the Creative Prison Arts Project: Connecting Incarcerated Artists with the University of Michigan Community (NBL)
Reuben Kenyatta (Independent Artist)
Ashley Lucas (University of Michigan)
Janie Paul (University of Michigan)
PRESENTATION: The Art of Surviving in Solitary Confinement (RAL)
Bonnie Kerness (American Friends Service Committee Prison Watch Program)
Ojore Lutalo (American Friends Service Committee Prison Watch Program)
"Theda Rice, 77″ by Ron Levine, courtesy of the artist.
Session 4 2:45 – 4:00 pm
PANEL: Restorative Arts and Aging in Prison (ZLD)
Aileen Hongo (Educator/Activist)
Anne Katz (University of Southern California)
Ron Levine (Artist)
WORKSHOP: The SwallowTale Project: Creative Writing for Incarcerated Women (NBL)
Angel Clark (Photographer/Filmmaker)
Bianca Spriggs (Artist/Poet)
Session 5 4:15 – 5:30 pm
PANEL: Resisting Guantanamo through Art and Law (ZLD)
Aliya Hana Hussain (Center for Constitutional Rights)
Matthew Daloisio (Witness against Torture)
Aaron Hughes (Independent Artist)
Moderator: Joshua Colangelo-Bryan (Dorsey & Whitney LLP)
WORKSHOP: Bar None: The Possibilities and Limitations of Theater Arts in Prison (NBL)
Max Forman-Mullin (Bar None Theater Company)
Julia Taylor (Bar None Theater Company)
5:45 – 6:45 pm Reception (NBL)
7:00 – 9:00 pm: Artist Talks: Russell Craig, Deborah Luster, Dean Gillispie, Jared Owen (AAG)
"Self Portrait" by Russell Craig, acrylic on cloth, 2014, courtesy of the artist.
"LCIW, St. Gabriel, Louisiana, Zelphea Adams" from One Big Self: Prisoners of Louisiana, by Deborah Luster, courtesy of the artist.
Session 1: 9: 30 – 10:45 am
PANEL: Prison Lit (ZLD)
Helen Lee (University of North Carolina at Chapel Hill) "Eldridge Cleaver's SOUL ON ICE: A Rhetoric of Confrontation in Prison Writing"
Suzanne Uzzilia (CUNY Graduate Center) "Lolita's Legacy: The Mutual Imprisonment of Lolita Lebrón and Irene Vilar"
Carolina Villalba (University of Miami) "Radical Motherhood: Redressing the Imprisoned Body in Assata Shakur's Assata: An Autobiography"
Moderator: Monica Ríos (Rutgers-New Brunswick)
PANEL: Photographic Education Program at Penitentiary Centers in Venezuela: From the Lleca to the Cohue (ZMM)
Helena Acosta (Independent Curator)
Violette Bule (Photographer)
Moderator: Katie Mccollough (Rutgers-New Brunswick)
PANEL: Narrating Injustice: Youth and Mass Incarceration (BSF)
Sean Saifa M. Wall (Independent Artist) "Letters to an Unborn Son"
Richard Mora and Mary Christianakis (Occidental College) "(Re)writing Identities: Past, Present, and Future Narratives of Young People in Juvenile Detention Facilities"
Beth Ohlsson (Independent Educator) "Reaching through the Cracks: Connecting Incarcerated Parents with their Children through Story"
Moderator: Annie Fukushima (Rutgers-New Brunswick)
Session 2 11:00 – 12:15 pm
PANEL: Gender, Sexuality, and Systemic Injustices (ZLD)
Michelle Handelman (Filmmaker, Fashion Institute of Technology) "Beware the Lily Law: Tales of Transgender Inmates"
Tracy Huling (Prison Public Memory Project) "'She was incorrigible…' Building Public Memory About A Girl's Prison"
Carol Jacobsen (University of Michigan) "For Dear Life: Visual and Political Strategies for Freedom and Human Rights of Incarcerated Women"
Moderator: Simone A. James Alexander (Seton Hall University)
"Beware the Lily Law" by Michelle Handelman, high-definition video, sound, Installation at Eastern State Penitentiary, Philadelphia. Photo credit: Laure Leber, 2014.
PANEL: Life Sentences: Memoir-Writing as Arts and Activism in a Maximum Security Women's Prison (ZMM)
Courtney Polidori (Rowan University)
Michele Lise Tarter (The College of New Jersey)
Samantha Zimbler (Oxford University Press)
Moderator: Fakhri Haghani (Rutgers-New Brunswick)
PANEL: The Politics of Imprisonment (BSF)
Dana Greene (New Mexico State University) "Carceral Frontier: The Borderlands of New Mexico's Prisons"
Marge Parsons (Prisoners Revolutionary Literature Fund) "Free the Spirit from Its Cell"
Jackie Sumell (Independent Artist) "The House That Herman Built"
Treacy Ziegler (Independent Artist) "Light and Shadow in a Prison Cell"
Moderator: Angus Gillespie (Rutgers-New Brunswick)
LUNCH: 12:15 pm – 1:15 pm
Session 3 1:15 – 2:30 pm
PRESENTATION: Shakespeare in Prison (ZLD)
Tom Magill (Educational Shakespeare Company Ltd)
Curt Tofteland (Shakespeare Behind Bars)
PANEL: Building Effective Prison Arts Programs (ZMM)
Laurie Brooks (William James Association) "California Prison Arts: A Quantitative Evaluation"
Jeff Greene (Prison Arts Program at Community Partners in Action) "Beyond Stereotype: Building & Supporting Extraordinary Arts Programs in Prison"
Becky Mer (California Appellate Project/Prison Arts Coalition) "National Prison Arts Networking in the US: Lessons from the Prison Arts Coalition"
Moderator: Lee Bernstein
PANEL: Genre and Aesthetics in Prisons (BSF)
T.J. Desch Obi (Baruch College, CUNY) "Honor and the Aesthetics of Agon in Jailhouse Rock"
Anoop Mirpuri (Portland State University) "Genre and the Aesthetics of Prison Abolition"
Jon-Christian Suggs (John Jay College, CUNY) "Behind the Red Door: Real and Fictional Communism in Prison"
Ronak K. Kapadia (University of Illinois at Chicago) "US Military Imprisonment and the Sensorial Life of Empire"
Moderator: Jed Murr
Session 4 2:45 – 4:00 pm
PANEL: Twenty Years of Teaching Visual and Literary Arts in a Maximum-Security Prison (ZLD)
Rachel M. Simon (Marymount Manhattan College in Bedford Hills Correctional Facility)
Duston Spear (Marymount Manhattan College in Bedford Hills Correctional Facility)
WORKSHOP: Alternatives to Violence Workshops in Prison: Liminal Performances of Community and/as Activism (ZMM)
Chad Dell (Monmouth University)
Johanna Foster (Monmouth University)
Eleanor Novek (Monmouth University)
Deanna Shoemaker (Monmouth University)
WORKSHOP: More Than a Rap Sheet: The Real Stories of Incarcerated Women (BSF)
Amanda Edgar (Family Crisis Services)
Jen LaChance Sibley (Family Crisis Services)
Jenny Stasio (Family Crisis Services)
CLOSING REMARKS (ZLD): 4:00 – 4:30 pm
OPENING RECEPTION FOR PRISON OBSCURA (AAG):4:30 – 6:30 pm
EVENING EVENTS: 7:00 – 9:30 pm (SH)
Tales from the Cell, Mountainview Program
The Peculiar Patriot, Liza Jessie Peterson
Women on Our Own, acapella group of formerly incarcerated musicians
Films to be shown all day on October 9 & 10 at the Ruth Dill Johnson Crockett Building, 162 Ryders Lane (Douglass Campus), schedule to be determined.
Key for venue codes:
Photographer Milcho Pipin went into the Central Penitentiary of the State of Paraná, in Curitiba, Brazil. It's a fairly sizable prison with nearly 1,500 prisoners."Despite frequent overcrowding problems and precarious infrastructural condition, this penitentiary is by no means the worst in Brazil," says Pipin.
From within this tough institution, Pipin wanted primarily to "capture expressions of male and female prisoners and to understand and share their feelings," he says.
In collaboration with Dr. Maurício Stegemann Dieter, a criminology specialist, Pipin produced the series Locked Up. Both answered a few short questions I had.
Scroll down for Q&A.
Prison Photography (PP): Why did you want to photograph in Central Penitentiary of the State of Paraná?
Milcho Pipin (MP): It all started because of my father. He was a police inspector of foreign crime / border control in Macedonia for 30 years. He went through a lot of cases. His sense of comprehensibility to all social classes inspired me to photograph in prison.
PP: What are attitudes toward prisons and prisoners in Brazil?
Dr. Maurício Stegemann Dieter (MSD): Hostile and cynical.
PP: What do Brazilians think of incarceration in the U.S.?
MSD: Except for some researchers (criminology and criminal law professors, mostly), they don't have a clue.
PP: What did the staff think of you and your camera?
MP: As the director of the prison informed us, it had been over 40 years since media had access inside, it was pretty shocking to me. That's why when we entered, the staff was not really sure who we were, how we got there and what was our purpose being inside with a photo equipment.
I explained that there was nothing to do with any political purpose and that it was an artistic project only — to photograph the lives behind those concertina wires. Later, the staff mood changed and they were really helpful showing around the prison and introducing us to the prisoners.
PP: How long can babies stay with their mothers? Until what age?
MSD: From birth up to 6-months. After that, they meet daily for up to 4 hours.
PP: Of the 1480 prisoners, how many are men and how many are women?
Maurício Dieter (MD): 1116 men and 364 women, each in a separate penitentiary.
PP: What did the prisoners think about your photography?
MP: The first day was the hardest. We had a short briefing with the prisoners about the project and I felt their lack of interest as they were not yet sure that we were not there for political purpose.
I explained [to a large group] that the only thing I wanted to do was to take their portraits as they expressed their feelings, and then to show the outside world. Most of them left the briefing, just 7 or so stayed.
I showed my print portfolio to those who stayed and I heard one prisoner saying: "Oh good, ok, let's do this!" As I started photographing one by one, they spread the news and the interest to have their photo taken became viral in the next days. Almost all of them were friendly with us, with a few exceptions.
PP: Did the prisoners see your photos and/or receive prints?
MP: They saw the photos on the camera display a few moments afterwards. I gave them my website link, so the family could see them online. I did promise prints though, and for sure they will soon receive them. There are still a lot of photos in a finalizing phase so I can start printing and delivering them with pleasure to all the prisoners that collaborated in this project.
PP: Milcho, how do you hope your photographs might alter attitudes?
MP: Hmm, through my photographs I hope people will be able to visualize, feel and understand that we are all at the risk of committing a crime, purposely or not, at any moment of our lives, and of being convicted and facing a sentence. That's why we should appreciate our freedom, because it's just one of those big things we usually don't appreciate until we lose it.
We never know, our future is a dice.
Milcho Pipin was born in Bitola, Macedonia. Based in Curitiba, Brazil, Pipin started photography in 2001 as he journeyed across five continents. He focuses on editorial, commercial, documentary and fine art photography. Pipin is founder and creative director of VRV, international creative agency.
All images: Milcho Pipin, and used with permission. Use, manipulate or alteration of any photo without written permission of Milcho Pipin is prohibited.
Arne Svenson, The Neighbors #11, 2012 © Arne Svenson, Courtesy Julie Saul Gallery, New York
The Prying Eye Of The Public Lens, a response piece I wrote for the Carnegie Museum of Art's Hillman Photography Initiative was published earlier today.
A greater cynic than I might argue that Arne Svenson was working for the state when making photographs of his neighbors. One might suggest this not because there is any inherent value, lest any valuable information about the individuals within the snooping shots, but rather, because the brouhaha that erupted around the exhibition of The Neighbors at the Julie Saul Gallery was a distorting and damaging version of the ongoing conversation about privacy in our society.
I go on to explain how the protestations of Svenson's (very affluent) neighbours, lawsuits and public outcry derailed us from actually seeing the more pernicious and invasive layers of surveillance we are subject to daily … and especially in New York city.
Read the 1,200 words here.
The inaugural HPI at CMOA "investigates the lifecycle of images: their creation, transmission, consumption, storage, potential loss, and reemergence. Technology accelerates the pace of this cycle, and often alters or redirects the trajectory of an image in unexpected, powerful ways."
Transition and consumption: Love that. I'm proud to be associated with CMOA's broader consideration of images within society. HPI is getting inside the bloodstreams of the media and changing the discussion.


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Original Article
Altitudinal trends in species richness and diversity of Mesoamerican parasitoid wasps (Hymenoptera: Ichneumonidae)
Article first published online: 20 MAR 2014
DOI: 10.1111/icad.12073
© 2014 The Royal Entomological Society
Insect Conservation and Diversity
Volume 7, Issue 6, pages 496–507, November 2014
Additional Information
How to Cite
Veijalainen, A., Sääksjärvi, I. E., Tuomisto, H., Broad, G. R., Bordera, S., Jussila, R. (2014), Altitudinal trends in species richness and diversity of Mesoamerican parasitoid wasps (Hymenoptera: Ichneumonidae). Insect Conservation and Diversity, 7: 496–507. doi: 10.1111/icad.12073
Publication History
- Issue published online: 29 OCT 2014
- Article first published online: 20 MAR 2014
- Manuscript Accepted: 4 FEB 2014
Funded by
- Finnish Society of Forest Science
- Jenny and Antti Wihuri Foundation
- Smithsonian Institution Graduate Student Fellowship
- Kone Foundation
- National Science Foundation. Grant Number: DEB-0640015
- Abstract
- Article
- References
- Cited By
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