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At the back-end of 2011, I paid a visit to Nigel Poor and Doug Dertinger at the Design and Photography Department at Sacramento State University where they both teach. We talked about a history of photography course that Nigel and Doug co-taught at San Quentin Prison as part of the Prison University Project. At the time, there was no other college-level photo-history course other class like this in the United States. I have no reason to believe that that has changed (although I'd happily be proved wrong — get in touch!) We cover curriculum, student engagement, logistics, and the rewards of teaching in a prison environment.
Toward the end of the conversation we move on to discuss an essay by incarcerated student Michael Nelson. It was a comparative analysis between a Misrach photo and a Sugimoto photo. The highly respected TBW Books recently released Assignment No.2 which is a reissue of Michael's essay. Packaged in a standard folder and printed on lined yellow office paper, Assignment #2 caught the photobook world a little off guard. Reviewers that dared to take it on admitted to being flummoxed a little. And then won over.
Back in 2011, TBW's interest hadn't yet been registered and Poor was still in production of the audio of Michael reading the work for public presentation. TBW Books publisher Paul Schiek has talked about the production of Assignment No.2, but Nigel Poor less so. This is the back-story to one of the most unique photo books of recent years — a book that combines fine art and fine design with an earnest recognition of a social justice need.
Scroll down for the Q&A.
PP: How did you come to teach at San Quentin?
Nigel Poor (NP): I was always interested in teaching in a prison, and I just really never had the time to do it. While I was on a sabbatical [in 2011] I got an email from the Prison University Project saying they were looking for someone to teach art appreciation. I thought it would be a perfect time to teach there and form a class around the history of photography. I really wanted to do something with Doug so we got together to write this class.
PP: What do you look at?
NP: The history of contemporary photography — focusing on the 1970's to the present. The course is 15 weeks like a regular semester. We met once a week for three hours. We started with early photographers — August Sander, Walker Evans and Robert Frank just to put some context and talk about how these photographers are often quoted and we move forward and show people like Sally Mann, Nan Goldin, Nick Nixon, Wendy Ewald.
Doug Dertinger (DD): Nigel tended to teach about the photographs that dealt with people, portraits, and social issues. My photographs tended to be the ones that dealt with land use and then also media. We struck a nice balance.
DD: The first two classes were strictly on aesthetic language, form, how to experience images, how to talk about them. The first assignment asked them to describe a photograph that doesn't exist, that they wished they had that would describe a significant moment in their life. In that way they would create a little story for us and we would get to know something about them but they'd also have to use all the language about how you talk about a photograph. It was a really wonderful way to get them to think about making themselves part of the story of the photograph. Even if a photograph isn't about you, you can bring your experience to it. It's not solipsism; it is a way of entering photography. The exercise allowed them to take emotional chances with photographs.
In later classes, in 2012, Poor printed out famous photographs on card stock and asked her students to annotate directly upon the images. Click the William Eggleston analysed by Marvin B (top) to see a larger version of it. Kevin Tindall analysed Lee Friedlanders' Canton, Ohio 1980 (middle), and Ruben Ramirez looked at David Hilliard's tripychs (bottom).
PP: Were there any issues with your syllabus? Did you have to adapt it? Omit anything? Compared say to here at Sacramento State?
NP: I always tell my students, wherever we are, that it is an NC-17 rating. I naively thought I could just show the same images in San Quentin [as at Sac State] but when we started going through the process we were told that we couldn't show any images that had to do with drugs, violence, sex, nudity, and children. Which is about 95% of photography!
At that point, I wasn't quite sure how that was going to work but Jody Lewen [Director of the Prison University Project] is an incredible advocate and she didn't want to presume censorship — Jody wanted the burden of explaation as to why we couldn't show a particular image to be on the officials of the California Department of Corrections. She set up a meeting with the with Scott Kernan, the [then] Under-Secretary of the California Department of Corrections, and the [then] warden of San Quentin Prison, Michael Martell.
Kernan and Martell wanted me to show all the images that I was using for the class. I basically give them a mini-course in photography from 1970 to the present. We talked for close to two hours. I ended up getting permission to show everything except for four images.
PP: Not the worst case of censorship then?
NP: No. It was kind of a triumph. And, it must be said, without their help — especially Scott Kernan — I don't think we would have gotten the class in.
PP: Can you describe the philosophy for the course?
NP: The central idea is to expose students to photography but really ask them to think about it quickly in an accessible and emotional way. Nor Doug or I teach from a theoretical or academic point of view. We argue that the images exist and they come to life because of the conversations we have around them. Students learn basic things about framing, form, content, but I really want them to explore all the areas of the photograph.
At the beginning, I describe the photograph as something akin to a crime scene; we are detectives trying to piece all the visual clues together to uncover subtext — perhaps, even secrets of the images that maybe the photographer isn't even aware of.
In 2012, Poor was shown an archive of 4×5 negatives of photographs made by the prison administration in the 70s and 80s. The amount of information attached to the images is minimal. Poor broke the archive into 12 loose categories. One from the 'Violence & Investigations' category (top) and one from the 'Ineffable' category (bottom).
PP: Let's come back to that. Because I want to bring Doug in here. Doug, what did you think when Nigel asked you to co-teach this program inside San Quentin Prison?
DD: I thought great. My parents are doctors and spent the last five years of their careers teaching at Federal Prison System. I taught in prison back in 1993 — one summer just general education stuff. So, when Nigel said that she was going to do this, well, I knew I wanted to partner with Nigel and thought it would be fun, in a way, to see what the what's going on inside San Quentin.
PP: How do these students fair compared to your students in *free* society?
NP: They really understand the power of education and the importance of being present. I never had a student fall asleep at San Quentin or look at me with that blank expression! They were so hungry, open to conversation. It makes you worry about finding that same intensity outside of the prison setting.
DD: The men they already knew what they were about in a sense and so they came to the class with questions about photography and they understood that photography could reveal the world to them in ways that they were hungry for. A lot of students that I've had outside are still trying to figure out what they're about and they haven't yet come to their own necessity.
And, some of the men [in San Quentin] somehow understood that learning to talk about images, learning to see the world in a more complex way, could actually change them. I wish there was a way that didn't sound trite to explain it but I could see transformations in them from the conversations that we had. Every Sunday when I left teaching there I would drive home in silence just contemplating the conversations that we had and how I felt I was becoming a better person for spending time with them. I would like to humbly think that they were too. It was a real back and forth.
Was it Wordsworth that said the imagination is the untraveled traveler? It seemed like when we went to class we all went on these journeys that were very significant for all of us. They were ready to travel.
In Nigel's final class, she asked her students to annotate on print outs of photos from the newly discovered prison archive, in a manner similar to that they had with famous photographs from the art historical canon. Above are two examples.
PP: Earlier you mentioned Sally Mann. I presume a photographer that the authorities think is controversial, a photographer that wider society considers controversial and divides opinion. How did the discussion about Sally Mann's work pan out?
NP: Some of them definitely had questions about the intent: Why would the mother want to photograph her three children romping around naked on their beautiful farm? But what I wanted to talk about how those images are highly staged and stylized. They're not documentary images of how her children grew up. They are images about maybe desire about childhood, maybe the photographer inserting herself very clearly into these images. What is Sally Mann saying about the complexities of childhood or how children do have sexual feelings and act out in various ways? The images are about creating a tableau in a sense. It isn't just about this mother who may have made images that made her children uncomfortable; it's about creating stages to talk about emotional states of being.
PP: Well, I would think that many of the students are interested in notions of fact, truth, whether you can trust an image. Apart from the body, ones word is pretty much all you have when you're incarcerated.
NP: We had a discussion very early on about the image always being a fabrication. It's one person's opinion putting a frame around the world and we always have to keep that in mind whether it's documentary work or artist's work. A lot of them got upset about that because I think they wanted to trust that something was reliable and truthful.
NP: And that may reflect a little bit on what happens to them, as people give evidence, or they want to assert their innocence, or not necessarily their innocence but how something unfolded in their life — this idea that everything is flexible and fluid was a little bit unnerving at times. They couldn't look at the picture and think that's exactly what the photographer meant and a few of them got prickly about it. It would come up off-and-on, you know. Can we use the word truth in reality when we're talking about images and then by extension can you use those words when you're talking about your own experience?
DD: That was a continuing topic throughout the whole semester. It was interesting too that they I don't know how to describe it but they knew when they looked at a picture that there were all these elements in there. They explained it to us once: They get one picture from home once every 6 months, they pour over every detail of it and the desire is to create a narrative that they can fully believe and fully immerse themselves in. It was hard for them to understand that at first, at least, that there could be five different opinions about what a photograph was and each one kind of had equal weight.
Detail of Assignment No.2. Courtesy TBW Books.
NP: We don't have a truth to give [the prisoners]. We're going to give them our experience and talk about how we see the pictures but we're going to learn something from them by the way they interpret images. I would see a photograph in a different light, often, after I heard what they had to say about it. I was the teacher in the classroom but it was very much about the power of group conversation. You have to outline what you want to discuss but you never quite know where the conversation's going to go and I think that gave them a sense of power.
DD: I wonder if it was us not being, in a sense, "guards of meaning" that allowed them to say, 'Oh, Nigel and Doug can be trusted to be privy to what we think, and they're going to let us say things, and they're going to correct themselves in relation to what we're saying. We can participate, we have equal voice.'
PP: What do your students have to contribute to society?
NP: Before you have an experience in prison as a teacher or someone who's going in as a civilian volunteer, prisoners are a group of invisible people. Even though I think I'm a thoughtful person, I had assumptions from what I read in the paper, in movies, in news.
PP: What you saw in photographs?
NP: Yeah! That these are going to be scary men, that if you turn your back are going to hurt you, that they're animals they need to be separated from us and that they're one-dimensional.
PP: Not so?
NP: When you go in there and you start talking and you see that these are complex, fascinating, thoughtful people; they're citizens. They are part of our society. Yes, some of them have done terrible things but we have to think about reform and education, and the huge issues of, yes, redemption and forgiveness. How do we deal with those things? I think the only way you can thoughtfully talk about rehabilitation and forgiveness and make change is if you have a personal experience in there — you're going to change your mind.
Details of Assignment No.2. Courtesy TBW Books.
NP: We need to find ways to use what's in there to contribute to our society — to tap their experiences and thoughts. I became a better person by going in there and spending time. I learnt what it means to be human.
PP: That is similar to the feedback that I've got from other educators who've worked in prisons. Do you feel you are a conduit to the outside world. Do you have an added responsibility to share these stories, to share these men and their experiences with the wider public?
NP: I'm a pretty shy person and sometimes it's difficult for me to talk at parties or whatever. But, now, I call myself the San Quentin bore. All I want to do is talk to people about this amazing experience, what these men are like. I feel very strongly about it, it's not about me; it's about this world that's veiled and it's about these men that are made invisible.
PP: You are not only a teacher, you are now an advocate. I hear you're about to give a student the opportunity to "present" his work to the public?
NP: One of the assignments we had for the students was to give them two images from by two different artists and to ask them to analyse them. The only things the student knew about the works were the artists' names, the dates, and the titles.
One student, Michael Nelson was given an image from Hiroshi Sugimoto's Theater series and a Richard Misrach image of a drive-in theatre from his Desert Canto series.
Richard Misrach. Drive-In Theatre, Las Vegas (1987), from the series American History Lessons.
Hiroshi Sugimoto. La Paloma, Encinitas (1993), from the series Theaters.
NP: While Michael was doing the assignment he was put in the hole, isolation, segregation for four weeks. He wrote an amazing paper talking about those two images. So beautiful that I wanted to get it to Richard Misrach which I was able to do and Richard was blown away by the piece.
Richard had been invited to be part of an event in San Francisco called Pop-Up Magazine which invites 20 to 30 different artists, once a year, to tell six minute stories. Richard's idea was to read the paper that Michael wrote which was incredible. BUT! Then we started talking about it more, the organizer of Pop-Up decided he wanted Michael to read the paper. So, I went into San Quentin and recorded him reading his beautiful paper.
PP: Fantastic.
NP: It will be edited together. Richard will introduce it, show the two photographs and then play the recording of the student reading. It's thrilling that this man who's been in prison for more than half of his life is going to have the chance to be heard by 2,500 people.
PP: Nigel, Doug, Thanks so much.
NP/DD: Thank you.
In an edition run of 1000, Assignment No. 2 will give many more people the opportunity to experience Michael's words.
By Michael Nelson, Hiroshi Sugimoto, Richard Misrach.
12 x 9.5″ closed / 12 x 30″ open.
20 pages.
2 full color plates.
All proceeds go to the Prison University Project.
Buy here.
Photo: Meghann Riepenhoff
I'm one of five jurors for this years annual juried show at SF Camerawork. Y'all should enter. Here's the blurb …
This summer, SF Camerawork teams up with LensCulture to host our Annual Juried Exhibition. The theme this year is HEAT.
HEAT registers the volatility and restlessness that comes with long hot summers: violent crime rates increase, leases expire and people seek new homes, global weather changes signal an alarm, and warm summer days bring adults and children alike into the streets, parks, and beaches.
SF Camerawork invites artists to submit work that responds to HEAT: the social, political, and climatic conditions of rapidly changing environments. Following the lead of social and political advocates around the world, SF Camerawork asks artists working at all levels in photography to participate.
Art is politics. Particularly in the realistic forms of photography and filmmaking, what gets assigned, shown or sold reflects political considerations. […] Politics is in the air. All you need to do to get the message is breathe. – Danny Lyon.
Photo: David Butow
Deadline: Monday, June 15, 2015, 5pm PST.
Notification: Finalists will be contacted on July 1st.
Exhibition Dates: July 23 – August 22, 2015.
Opening Reception: Thursday, July 23, 6-8pm.
Application Fee: $50 application fee for up to 15 images.
EXHIBITION AT SF CAMERAWORK: 2-5 finalists will have a 4-week exhibition at SF Camerawork.
LIVE ONLINE REVIEW SESSION: Finalists will receive a one-on-one review with a juror through this innovative platform hosted by LensCulture.
20 JUROR SELECTIONS FEATURED: 20 juror selections will be exhibited on interactive screens at SF Camerawork as part of the exhibition.
FEATURE ARTICLE ON LENSCULTURE: Finalists will be featured in an article on LensCulture.
ONE YEAR MEMBERSHIP: All entrants will receive a one-year membership to SF Camerawork.
Pete Brook, Writer and Curator, Founder: Prison Photography
Jim Casper, Editor and Publisher, LensCulture
Seth Curcio, Associate Director, Pier 24 Photography
Janet Delaney, Artist and Educator
Heather Snider, Executive Director, SF Camerawork
Please email info@sfcamerawork with "Call for Entries" in the subject line.
Founded in 1974, SF Camerawork's mission is to encourage and support emerging artists to explore new directions and ideas in the photographic arts. Through exhibitions, publications, and educational programs, we strive to create an engaging platform for artistic exploration as well as community involvement and inquiry.
SF Camerawork is a membership-based organization.
1011 Market St., 2nd Floor
San Francisco, CA 94103
Gallery hours: 12:00 – 6:00 pm
Tuesday – Saturday (also by appointment)
Photo: McNair Evans
On March 1st, I was a panelist for the BagNewsNotes Salon The Lens in the Mirror: How Surveillance is Pictured in the Media and Public Culture.
In coordination with the Open Society Watching You, Watching Me exhibition, this online panel wanted to reflect not only upon surveillance in our society but how it is pictured and if those depictions meet the realities of networked viewing that are at constant play behind our walls,, systems, nodes and screens.
I felt like an amateur in the room with other esteemed panelists lining up thus – Simone Browne, Assistant Professor of African and African Diaspora Studies, UT Austin; Cara Finnegan (moderator) writer, photography historian, Associate Professor of Communication, University of Illinois; Rachel Hall, Associate Professor, Communication Studies at Louisiana State University; Marvin Heiferman, writer and curator; Hamid Khan, co-ordinator, Stop LAPD Spying Coalition; and Simon Menner, artist, and member of OSF surveillance exhibition.
Over two hours discussion, we discuss 10 images in turn. They flash up as we deconstruct their meanings, but it might be helpful to consult the gallery first, too.
Over the coming weeks, BagNews will be adding highlight clips for easier to digest morsels that get to the meat of our conversation.
"Surveillance technology permeates the social landscape," says BagNews. "Tiny cameras monitor traffic, parking lots, cash registers and every corner of federal buildings. Through personal devices and social media, citizens also monitor one other." In the highlight clip (above), moderator Cara Finnegan and panelists Simon Menner, Simone Browne, Hamid Khan, Rachel Hall and Pete Brook discuss generic imagery and the use of stock photography to represent this reality of daily life
The BagNewsSalon is an on-line, real-time discussion between photojournalists, visual academics and other visual or subject experts. Each salon examines a set of images relevant to the visual stories of the day often focusing on how the media and social media has framed the event. The photo edit is the key element and driver of each Salon discussion and great care is taken to create a group of photos that captures the depth and breadth of media representation.
Bearing Witness is a one-day symposium hosted by SFMOMA assessing the ways in which photography matters now more than ever. Loosely, the theme is connections. I will be presenting and I'm toying with some ideas surrounding the emergent trend in video visitation. Maybe. Possibly, I'll retread safe ground and present the ideas that informed the recent Prison Obscura exhibition.
I'm on stage in the morning, I have been told. Bearing Witness is for one day only – Sunday 16th March. Speakers include David Guttenfelder, chief photographer in Asia for the Associated Press; Susan Meiselas, photographer, Magnum Photos; Margaret Olin, senior research scholar, Yale University; Doug Rickard, artist and founder of AMERICANSUBURBX; Kathy Ryan, director of photography, The New York Times Magazine; and Zoe Strauss, artist, Magnum Photos.
Organisers Erin O'Toole, SFMOMA associate curator of photography and Dominic Willsdon, SFMOMA Curator of Education and Public Programs, have posed these questions for the symposium:
Given the power and pervasiveness of photography in both art and everyday life, what is the significance of the rapid and fundamental changes that the field is undergoing? How have social media, digital cameras, and amateur photojournalism altered the way photographs capture the everyday, define current events, and steer social and political movements? How have photographers responded to these shifting conditions, as well as to the new ways in which images are understood, shared, and consumed? How have our expectations of photography changed?
Bearing Witness is preceded on March 14 and 15 by Visual Activism, a two-day symposium that explores relationships between visual culture and activist practices. Zanele Muholi is presenting at that, so not to be missed either.
10:00 a.m. – 5:00 p.m. Sunday, March 16, 2014
Yerba Buena Center for the Arts, 701 Mission Street San Francisco, CA 94103
Admission for both events is free, but it's wise to register. The 500 spots for Bearing Witness have gone, but that's always the case with over-zealous free-to-register-symposium-photo-enthusiasts isn't it? Sign up for the waitlist and you'll probably get in. I hope.
Image source: Toledo Blade
It is with giddy, air-punching pride and mammoth-sized gratitude for those that helped me along the way that I announce the imminent opening of Prison Obscura.
This exhibition is my first solo-curating gig and reflects my thinking right now about images of and from American prisons. Prison Obscura includes works, approaches and genres that — after 5-years of looking at prison photographs — I consider most informative, responsible, challenging and useful.
Prison Obscura is on show at Haverford College's Cantor Fitzgerald Gallery from January 24 through March 7. The CantorFitz built a remarkable Prison Obscura website to accompany the exhibition, at which you can find a lengthy 5,000-word essay as to why I have shied away from traditional documentary work and focused instead on surveillance, code, vernacular snaps, prisoner-made photographs and rarely-seen evidentiary images.
I posit that certain images can more accurately speak to political realities in America's prison industrial complex. I also celebrate photographs that were made through processes of collaboration with prisoners and with intention to socially engage the subjects and educate audiences. I want you to wonder why you — a tax-paying, prison-funding citizen — rarely gets the chance to see inside prisons, and I want us to think about what roles existing pictures serve for those who live and work within the system.
Scroll down to learn more about the Prison Obscura artists.
Photographer Unknown. Clinical contact holding cage, Administrative Segregation Unit (ASU), C-Yard, Building 12, Mule Creek State Prison, California. August 1st, 2008. Used by law firms representing imprisoned plaintiffs in class action lawsuit against the State of California in the Plata/Coleman vs. Brown cases.
Photographer Unknown. Group holding cages, C-Yard, Building 13, Administrative Segregation Unit, Mule Creek State Prison, August 1st, 2008. Used by law firms representing imprisoned plaintiffs in class action lawsuit against the State of California in the Plata/Coleman vs. Brown cases.
Suicide watch cell, Building 6A, Facility D, Wasco State Prison, California (August 1st, 2008). This photograph document was submitted as evidence in the Brown vs. Plata class action lawsuit (Supreme Court of the United States, May 2011). Photo: Anonymous, courtesy of Rosen Bien Galvan & Grunfeld LLP.
Photographer Unknown. Reception Center Visiting / Clinician Office Space, North Kern State Prison, July, 2008. Used by law firms representing imprisoned plaintiffs in class action lawsuit against the State of California in the Plata/Coleman vs. Brown cases.
Alyse Emdur's collected letters and prison visiting room portraits as well as Robert Gumpert's recorded audio stories from within the San Francisco jail system provide an opportunity to see, read, and listen to subjects in the contexts of their incarceration.
Juvenile and adult prisoners in different workshops led by Steve Davis, Mark Strandquist, and Kristen S. Wilkins perform for the camera, reflect on their past, describe their memories, and self-represent through photographs.
Prison Obscura will also feature work made in partnership with the City of Philadelphia Mural Arts Program. Men from Graterford Prison who are affiliated with both its own Restorative Justice Program and Mural Arts' Restorative Justice Group are collaborating to create a mural for the exhibition.
The exhibit moves between these intimate portrayals of life within the prison system to more expansive views of legal and spatial surveillance in works like Josh Begley's manipulated Google Maps' API code and Paul Rucker's animated videos, which offer a "celestial" view of the growth of the prison system.
Prison Obscura builds the case that Americans must come face to face with these images to grasp the proliferation of the U.S. prison system and to connect with those it confines.
Scroll down for media, details and events.
Mark Strandquist. Pocahontas State Park, Picture of the Dam. One Hundred and Thirty Days (top); text describing the scene written by a Virginia prisoner (bottom). From the series Some Other Places We've Missed.
Josh Begley Facility 237. From the series Prison Map.
50 of the 5,393 facilities imaged by Prison Map, a data art project which automatically "photographs" every locked facility in the U.S. by gleaning files from Google Maps with use of code modified from the Google API code by artist Josh Begley.
Josh Begley Facility 492 From the series Prison Map.
Photographer unknown. Incarcerated girls at Remann Hall, Tacoma, Washington, reenact restraint techniques in a pinhole camera workshop, 2002. Photo: Courtesy of Steve Davis.
Photographer unknown: Untitled, Green Hill School, Chehalis, WA. Photo: Courtesy of Steve Davis.
Photographer unknown: Steve Davis Untitled, Green Hill School, Chehalis, WA. Photo: Courtesy of Steve Davis.
David Wells, Thumb Correctional Facility, Lapeer, Michigan. From the series 'Prison Landscapes (2005-2011).' Photo: Courtesy of Alyse Emdur.
Alyse Emdur. Anonymous Backdrop Painted in Woodbourne Correctional Facility, New York. From the series 'Prison Landcapes' (2005- 2011)
Robert Gumpert. Tameika Smith, 9 July 2012, San Francisco, CA. From the series 'Take A Picture, Tell A Story.'
Robert Gumpert. Michael Johnson, 15 August, 2009, San Francisco County Jail 5, San Bruno, CA. From the series 'Take A Picture, Tell A Story.'
Kristen S. Wilkins. Supplication #17 (diptych). "It might be hard to find, but it's called Trapper Peak near the Bitterroot Valley." From the series 'Supplication.'
Kristen S. Wilkins. Supplication #17 (diptych). "It might be hard to find, but it's called Trapper Peak near the Bitterroot Valley." From the series 'Supplication.'
I'll be giving a curator's talk in the gallery on Friday, January 24, 2014, 4:30-5:30pm, followed by the opening reception 5:30–7:30pm.
Additionally, poet C.D. Wright will be on campus for a Tri-College Mellon Creative Residency in conjunction with the exhibit, and on January 31, at 12 noon in the Cantor Fitzgerald Gallery, Wright and I will host a dialogue about Prison Obscura.
Prison Obscura is presented by Haverford College's John B. Hurford '60 Center for the Arts and Humanities with support from the City of Philadelphia Mural Arts Program.
Part of the John B. Hurford '60 Center for the Arts and Humanities and located in Whitehead Campus Center, the Cantor Fitzgerald Gallery is open Monday through Friday 11 a.m. to 5 p.m., Saturdays and Sundays 12 p.m. to 5 p.m., and Wednesdays until 8 p.m.
Haverford College is located at 370 Lancaster Avenue, Haverford, PA, 19041.
View and download press images here. For interviews or variant images contact me. Here's a big postcard.
For more information, please contact myself or Matthew Callinan, associate director of the Cantor Fitzgerald Gallery and campus exhibitions, at (610) 896-1287 or email@example.com
Cantor Fitzgerald Gallery on Facebook (including installation) and Twitter.
Haverford College on Twitter.
Hurford Center for the Arts on Twitter.
Poster showing the statistics and aesthetic of 'Proliferation' an animated video of prison construction in the United States (1776-2010). Image: Courtesy of Paul Rucker.
Graphic design for Prison Obscura by Ellen Gould.
Photo: Karen Ruckman/PhotoChange
In 1981, freelance photographer Karen Ruckman stepped inside the notorious medium-security Lorton Prison to teach prisoners photography. Lorton was a sprawling barrack-like institution nestled in a rural pocket of the Virginia suburbs. Lorton, a Federal facility, closed in 2001. For decades it was where Washington D.C. sent its convicted felons. Initially, the administration didn't think the program would last more than a few sessions and the students were cautious. Ruckman successfully won grants, donations from Kodak, cash from private donors, and support from then Mayor's wife Effi Barry to support the photography workshops. Ruckman taught at Lorton until 1988.
When I recently learnt about Ruckman's work, I was floored. For the longest time I have said that photography workshops inside of American mens prisons ended in the late seventies and mass incarceration had precluded the mere chance. Ruckman's work at Lorton has forced me to reevaluate my timeline. I hope Ruckman's work also brings you encouragement.
In 1985, Ruckman invited cameraman Gary Keith Griffin to film the class at work. Now, she and Griffin are working on a documentary about this unique moment in prison arts education. Ruckman and Griffin have followed some of the men since their release and the film, tentatively titled InsideOut, is slated for release in 2015 — the 30 years after Gary made those first reels.
Ruckman has routinely worked with populations considered to have less of a voice in our society – battered women, the poor, and at -risk youth for example. She also taught photography in the D.C. women's jail, but that single summer program doesn't feature in the film.
Karen Ruckman and I spoke about her access, the program's successes and obstacles, the need for diverse image-makers in criminal justice and the lessons the project contains for us all three decades on.
Scroll down for our Q&A.
Photo: Calvin Gorman. © Karen Ruckman/PhotoChange + Calvin Gorham
Prison Photography (PP): I wasn't aware of any prison photography workshop programs after the 70's and so to find your work at Lorton is a revelation. It's 25 years since the program ended, so let's start with the basics, how did you get involved? Where did the idea come from?
Karen Ruckman (KR): I was doing work for the Volunteer Clearinghouse here in D.C. and they sent me to the prison to photograph volunteers who were tutoring inmates. I went to Lorton with George Strawn, the head of volunteer services and he asked if I'd be interested in teaching a class. I hadn't really thought about it, but it happened to coincide with the funding for proposals coming in to the D.C. Arts Commission and I applied for a career development grant and I got it, much to my surprise.
I went down once a week and taught photography with a focus on career development. I approached it as a basic photography class and I brought in guest speakers, photographers from various newspapers, friends of mine in the community who were photographers. It went very well. The men worked hard, so after that I applied for another grant. Actually, D.C. had a category called 'Arts in Prison' during the 80s. I got my later funding through that grant category.
PP: Which photographers visited the class?
KR: Craig Herndon, from the Washington Post; Bernie Boston, from The Los Angeles Times, Gary Keith Griffin who works primarily in video and is working with me on the feature documentary now. I had executives from NBC who came in too, as well as local artists and fine arts photographers.
PP: What other arts program were being taught in D.C. prisons at the time?
KR: There were several theater programs and a woman who taught painting. That's pretty much it.
Photo: Bernard Seaborn. © Karen Ruckman/PhotoChange + Bernard Seaborn
PP: How did the program develop over the 8 years? Did the funding, scope or size of the class change?
KR: I had a cap on how many students I could have but I ended up doing two classes. Prisoners who had been in the earlier classes then became mentors to the new guys. Over time, I became more of a facilitator: bringing in supplies, bringing in expertise, working with them, training them and then they took on the job of mentoring each other.
They also ran the dark room when I wasn't there. We built a dark room in a closet that was in the prison school where classes took place. I had a teaching assistant, Chuck Kennedy, who came with me from the community but I also had a prisoner who was a teaching assistant so the guys could work during the week. The program grew with more men participating, more prisoners developed skills. The inmates took on more of a teaching role; it was always my goal that they would.
PP: How many students would you say you taught over the seven years?
KR: I tried to figure this out once some years ago! More than 100 but less than 200. We had new intakes for each class and some guys stayed in year after year. They'd been charged for felonies in D.C. Some had written bad checks, others had been charged for murder.
PP: Lorton is now closed?
KR: It was closed in 2001. It was a rather controversial move. The prison was actually located in Virginia on hundreds of acres of land. There were different facilities there including two youth centers, Central, the medium security facility where I taught, and maximum. Virginia had been wanting that land for quite some time.
Lorton's buildings needed a lot of work, and rather than renovate, they closed it. The Federal government transferred the land to Virginia and now D.C. prisoners are farmed out across all of the country.
PP: Ouch! That can't be good for rehabilitation.
KR: It's terrible, yes. And so there's no programing, and they're in federal facilities all over the country.
Photo: Sidney Davis. © Karen Ruckman/PhotoChange + Sidney Davis
PP: What was the reaction and the response from the prison authority? Today, of course, these programs don't exist and often the language-of-security is used to deny all sorts of things within prisons, and the camera in particular is quickly labelled as a security hazard. What was the feelings of the Lorton authorities at that time?
KR: I had to take on the job of educator. Many didn't understood the need for the men to go outside the classroom to photograph, and the usefulness of exhibitions. They understood the photo class but part of that, part of each class was doing a show. We always did one in the community and one in the prison — it was a massive job of educating staff about how we could go about producing the program successfully.
I was very fortunate because Effi Barry, the mayor's wife, had just opened an art gallery and I had her support. I always went top down. It took me a lot of time to go through the necessary channels and to get the permissions. The administrator at Central Facility, Salanda Whitfield, was a really nice guy who supported the program. He died some years ago.
Mr. Whitfield let the program come in, he let us break the rules, because of course cameras weren't allowed, and of course inmates were not allowed to take photographs. Even with his backing I still had lots of paperwork to do in order to make the classes function well.
I found some resistance from the guards who felt like the inmates were getting something that was too nice, that wasn't fair, that they shouldn't get. So, my real problem when I had problems was always from the guards.
Photo: Michael Moses El. © Karen Ruckman/PhotoChange + Michael Moses El
Photo: Calvin Gorman. © Karen Ruckman/PhotoChange + Calvin Gorham
PP: Before you began the project, did you consider yourself an activist in that field of criminal justice?
KR: No, I was an activist generally but not particularly in prison reform.
PP: Did you ever have visitors that were inspired by the program and wanted to replicate it elsewhere? Or were you working in a bubble?
KR: I guess I worked in a bubble. I mean, I had visitors and help from others. I had photographers come in, other artists as well, but, no, I didn't have anyone that wanted to replicate it.
PP: Did you understand at the time that you were doing something very pioneering?
KR: I don't think so. I mean it was a really interesting time. Many of us were doing things in the community and were trying to think sideways, and I felt like it was something exciting. I had a passion about taking the camera to people who couldn't normally tell their stories. By giving the men in my program this powerful communication tool, it was an opportunity for them to tell people who they were, it was a humanizing agent.
For the documentary, and since 2001, we've followed up with two of the men who were in Lorton and the program.
Michael Moses El had a fascination with guns. He found that when he came into the program that he was able to transfer this fascination with guns to the camera. It was a very exciting thing for him.
Calvin Gorham is an artist. He's a singer; a soulful person and he used photography as an artistic tool to communicate how he felt. He said he saw a lot of dark things in the prison and he photographed to express that.
PP: And so there's no doubt in your mind that photography is a rehabilitative tool?
KR: It's a powerful rehabilitative tool. There are so many levels one could do with it as a storytelling device. Now, with digital imaging, possibilities are unlimited. Yes, absolutely. I worked with other groups in the city. In 1988, I also worked with women at D.C. Jail, then in the 90s with women at a pre-release halfway house. Also, women in various shelters and at-risk kids.
PP: And so tell us about the documentary, it's been thirty years since you've been doing this work, how and why did you decide a documentary was necessary?
KR: In 1985, Gary Griffin, a friend and colleague, bought his first TV camera. Gary thought it would be valuable if we could do video about the program. So I got permission again, days of paperwork, but we went in with a crew for a week in 1985.
Some of the footage in the trailer is from '85. We never were quite sure what it was going to be. We did put together a fundraising piece because I was always having to raise money.
Photo: Michael Moses El. © Karen Ruckman/PhotoChange + Michael Moses El
PP: Right, you were constantly communicating with free society how important your work was and asking for help?
KR: To do the programing, I had to constantly write proposals and fundraise. I was somewhat burnt out by the end of the 80s. The funding for the prison program became very difficult to get. I went on to work with other groups and do different things. The guys would stay in touch with me, they had my business phone and they'd call me when they got out of prison and tell me what they were up to.
But, I still have the wonderful images. I was at a workshop in Santa Fe in the late 90s and showed some of the images to National Geographic photographer Sam Abell. I also had an audio tape from one of the graduations that I put with the images and it was a very powerful slideshow (of sorts) — one of the men at one of the graduations gave a marvelous speech about photography.
Sam was excited by the images and very supportive. He said. "You've got to do something with this."
I decided along with my video production friends to do a reunion. We knew Lorton was closing. I tracked down as many of the guys as I could. We had about 20-25 at the reunion. Gary documented the reunion and then we documented some of the men periodically. We later settled on following Michael and Calvin.
Photo: Calvin Gorman. © Karen Ruckman/PhotoChange + Calvin Gorham
PP: Why Michael and Calvin?
KR: Number 1, they were interested in participating. Number 2, they're very interesting people — Michael is business-oriented, very focused about his life. Calvin's a musician, we have a lot of footage of him singing. We've seen them almost every year since 2001. Gary and I think 30 years is a good amount of time. When we get this feature documentary completed by 2015 it will have been 30 years since Gary began filming.
PP: The documentary is a few things, it seems? A record of a moment; the on-going stories of Michael and Calvin; and a call to action asking people to think about photography's relationship to educational and rehabilitation?
KR: It is. It's a character study that presents the power of photography, the power of art, and how important both can be in changing lives.
Only a few of the men now make pictures professionally, but they all make pictures still. The documentary is about the program and how the learning experience has stayed with the participants throughout their lives; how it continues to resonate and define their world view in a positive and powerful way.
The discipline required working in the dark room was critical. For example, one participant, David, spent two years learning how to make a good print. And he ultimately made beautiful prints. Two years. It was very impactful.
Photo: David Mitchell El. © Karen Ruckman/PhotoChange + David Mitchell El
PP: Can you give us your thoughts of storytelling, self-representation and empowerment?
KR: It was always their story to tell. I came in, I gave them cameras. I didn't take a lot of pictures. I was there as a facilitator. I gave them the tool to tell their stories. I think that's enormously important.
During that period — and even now — there's something that is bothersome to me when people go in and take pictures of powerless people. It's important for people to tell their own story; that doesn't just shift the viewer, it shifts the person telling the story.
PP: It does seem obvious that if one puts a camera into the hands of someone in the community that you're trying to bring new information about and to the wider world, but there's still so many people in the photo world who reject that.
KR: Yes. This is off topic, but probably the most amazing experience I had when I took exhibitions to the community was when I hung a show by women at a shelter for victim's of domestic violence. We did a show of their work at the D.C. library, in the mid-90s. Visitors would ask me who took the photographs, and when I explained the women photographers were survivors of domestic violence, people would just stop and walk out of the room.
How do we relate to issues that we're uncomfortable about? Do we not want to see these individuals?
PP: Well, what were attitudes like then about crime? What was the reputation of Lorton? What was the general community's view of Lorton prison?
KR: Lorton and the D.C. community were very connected in the eighties. So many people from the city were incarcerated there that Lorton was just like a subset of the community. So, there wasn't as much stigma with prisoners as I encountered among other groups that I worked with, at least in D.C. at that time.
Lorton was considered a very dangerous place. The facilities were old even when I was there. The men lived in dorms and there was one guard per dorm at night so you can imagine that there was some violence. I personally, I didn't get too involved in that. I tried to go in and do my program with them without judgement.
Photo: Karen Ruckman/PhotoChange
PP: And then tell me about the dark room? Were there any issues with taking chemicals and other apparatus in?
KR: The dark room was fabulous! I brought the supplies and the men ran the dark room. Kodak gave me film and photographic paper. I bought chemicals. We had lots of applicants, but I could only take so many, so it was considered a reward for someone to get into the photography program.
PP: On what criteria did you decide admission?
KR: They had to have good behavior to be allowed in the program. When it started out I only admitted men that were within three years of parole because the lessons were about career development; it was my hope to actually help guys get jobs once they got out. After a while, we relaxed that rule and a few guys still had a lot of time to serve.
PP: And could students be removed from the program at the whim of the warden or the staff?
KR: Well, I lost a few people because they misbehaved in prison and were sent to the hole (solitary confinement), or to another prison. That happened.
PP: When you release the documentary have you got any plans for distribution. How do you plan to reach audiences?
KR: I'm taking that a step at a time. We are going to finish a 30-minute short this winter that we'll take to film festivals. A local organization, Docs In Progress, is hosting a showing of the trailer. I'll contact our local PBS station, but with the feature-length film I have to plan a more structured distribution plan. It's very important to get it out. I've stayed in connection with people in the D.C. community, people like Marc Mauer at the Sentencing Project and others who care about the issue.
PP: What's your personal position on prisons? What role does incarceration play in our society?
KR: There are people who commit violent crimes and they belong in prison. Some of the men that I worked with said that being in prison gave them an opportunity to really look at themselves and take a timeout and to correct their behavior. There is a role for prison if they have rehabilitation programs.
Of course, we all know that there are way too many people that are incarcerated and there are people that are incarcerated that just shouldn't be there, so it's very frustrating. Things haven't changed all that much since the eighties except we've incarcerated more people.
D.C. incarcerates an enormous number of people. With the poverty and lack of good public education here. That's the story of the documentary. Calvin's son went to prison and Michael's son went to prison. So, we talk about that story, it's that legacy that's just, it should be broken. Marian Wright Edelman's work with the Children's Defense Fund deals with this issue, and has a program called the Cradle to Prison Pipeline.
Photo: Karen Ruckman/PhotoChange
PP: Do you think the American public gets reliable information on prisons?
It's my sense that most people aren't interested in prisons. When I tried to raise money for the program it was very hard. There's little compassion. Around drugs and drug culture there's some alternative sentencing programs happening but by and large, I don't think people are interested. I mean, now, we have for-profit prisons which is even more atrocious because now we have to maintain the population so that profit lines can be maintained.
PP: I ask because, to my mind, if there were more photography programs like yours occurring in our prisons today, there would exist a more nuanced view of prisons; prisoners' views. We'd all be in a better place in terms of being informed.
KR: Yes, absolutely. The program had a humanizing effect, both on the participants and in how they were viewed by the community. It provided a bridge, and it didn't cost the tax payers much. I secured small grants and fundraised and so it was for tax payers a really good deal. That's true of most arts programming.
PP: Often program funding is based on measurable impacts but a lot of time with prisons you can't measure those so easily because some people are not getting out for ten or twenty years. You can't correlate arts rehabilitation with recidivism because the prisoners don't get out in any short space of time. So, what stories do you have about your students? Any stand out stories that convince you of the efficacy of a photography program?
KR: The men would be the ones to tell you. Sadly, a lot of the guys die; they don't make it. Some of them die soon after they get out.
I think about Calvin and Michael — the program gave them discipline and an opportunity to evolve productively. Michael told us about a time soon after his release when he was very tempted to commit a violent act against another man. Something stopped him. It was, he said, it was the discipline and working relationships that he had developed during the program. He didn't want to end up back at Lorton.
A couple of the guys do a lot of professional photography. It's very hard to answer that question because people want to ask, "Okay, well how many guys got a job as a photographer?"
PP: How many people generally get jobs as photographers!
KR: Actually, Michael was hired by US News and World Report to shoot a cover story on poverty, and he took some amazing pictures. They were going to use one of his photos for the cover but when they found out he was an ex-offender they wouldn't run his photo. He's still very bitter about that.
PP: What's his past history got to do with the suitability of a photograph?
KR: It was many years ago; it was the late 80s.
PP: But that's complete discrimination.
KR: I was told by several photographers at the Post that they would be uncomfortable to have ex-offenders there because they would be afraid that they would steal equipment. These are the attitudes that make it really tough for ex-offenders to get jobs in fields other than construction or the food industry, though a few of them do get jobs driving Metro buses.
PP: Is there anything I've missed?
KR: I appreciate you finding and highlighting the work. We're excited about finishing the film. The project has ended up — without me realizing it — a life work.
You can follow Karen and Gary's development of the film via the InsideOut website, on its Facebook page, Tumblr page and via Karen's Twitter.
Yellow Hand With Orange Glow. Courtesy: Fresh Eyes Project
The potential for photography to change the lives of the incarcerated, particularly the young prisoners, is significant. Photography education provides all the therapeutic tenets of arts programming, but also develops new skills; visual literacy, computer and digital-darkroom skills, and (of course) the not-too-simple task of mastering the settings on a camera. Photography workshops flex different muscles than painting or writing workshops may. Photography allows storytelling beyond the pen and the paintbrush.
NOTE: I discuss many photography programs in this article, but all the images are by incarcerated children in New Mexico who've participated in the Fresh Eyes Project workshops.
The Fresh Eyes Project in New Mexico is two years old. It delivers 10-week classes, twice a year in two New Mexico facilities – the Youth Diagnostic and Development Center (YDDC) in Albuquerque and the adjacent Camino Nuevo Correctional Center.
The planning, structure and accountability reported on the Fresh Eyes Project website is impressive.
Volunteer programs, cameras or not, must be water-tight, well-designed and directed. The Fresh Eyes Project clearly states its scope of work, it's objectives, its internal assessment and feedback opportunities for students. I very much appreciate programs that share curriculum and lesson plans. Very valuable.
"Our purpose is to help the youngsters to see themselves and the community into which they would be released with fresh eyes as and for the community to see the youngsters with fresh eyes not as 'the Other' but as 'our own,'" says the Fresh Eyes Project founder, Cecilia Lewis.
Sadly, projects like the Fresh Eyes Project are rare. In America, inside locked facilities there have been some occasional photography workshops but few consistent ones. I've mentioned many times Steve Davis' workshops (there's still so many photographs that remain unpublished). Fatima Donaldson recently led a digital photography workshop at Fort Bend Juvenile Detention Center, Texas (info and video).
Probably the best and most consistent provider of photography workshops to incarcerated youth is AS220 in Providence, Rhode Island. AS220 delivers education, including photography training, at the Rhode Island Training School (RITS), the State's only juvenile detention facility. Classes are delivered as part of AS220's Youth Photography Program which also works out of a downtown location and in local schools too.*
The Fresh Eyes Project and AS220's work are the only year-on-year prison photography programs delivered in the U.S. that I know of. Please, contact me if there's current programs of which I should know.
Fear. Courtesy: Fresh Eyes Project
Ghost Hand. Courtesy: Fresh Eyes Project
These Bars Keep Me In. Courtesy: Fresh Eyes Project
Can a teen do without their phone? Is a phone ever without camera these days? Can that commonplace visual communication be leveraged to spark interest in other forms of image making? In other cameras? In film photography? I'd say so.
Thanks largely to the work of Wendy Ewald, literacy and personal development through photography is a familiar notion. Youth storytelling photo programs include Youth in Focus, Seattle: Focus on Youth, Portland; Critical Exposure, Washington DC; First Exposures, San Francisco; The In-Sight Photography Project, Vermont; Leave Out ViolencE (LOVE), Nova Scotia; Inner City Light, Chicago; My Story, Portland, OR; Picture Me at the MoCP, Chicago; and Eye on the Third Ward, Houston; and Emily Schiffer's My Viewpoint Photo Initiative.
This summer, at Photoville, I saw an exhibit Perspectives featuring the photographs of teens from Red Hook, Brooklyn. Perspectives came out of a specific PhotoVoice program, that itself is part of the ongoing JustArts Photography Program (formerly the Red Hook Photo Project)
The JustArts Photography Program (more here and here) is run through the Red Hook Community Justice Center (RHCJC) in cooperation with New York Juvenile Justice Corps and the Brooklyn Arts Council. As with all the RHCJC projects, the photography program exists to improve the lives of teens within the geographically and socially isolated Red Hook neighbourhood.
Whereas JustArts uses photography as inspiration, working with kids from less advantaged communities to envision great futures, Young New Yorkers actually uses photography (as well as video, illustration and design) as intervention in the cogs of the youth justice system.
"Young New Yorkers a restorative justice, arts program for 16- and 17-year-olds who have open criminal cases. The criminal court gives eligible defendants the option to participate in Young New Yorkers rather than do jail time, community service and have a lifelong criminal record. The curriculum is uniquely tailored to develop the emotional and behavioral skills of the young participants while facilitating responsible and creative self-expression."
Young New Yorkers (YNY) is remarkable. More to come on Prison Photography about their successes. This little shout out is the least YNY deserve.
If you want to support YNY's work right now, their Second Annual Silent Art Auction is on October 16, 6-10pm, at Allegra La Viola Gallery, 179 East Broadway, New York, NY 10002. You can bid online, if you're not in New York.
So much good work being done across the country. These kids are our future.
Shadow Portrait. Courtesy: Fresh Eyes Project
On The Outside. Courtesy: Fresh Eyes Project
Portrait Of My Teacher. Courtesy: Fresh Eyes Project
Scary Hands. Courtesy: Fresh Eyes Project
Mighty Me. Courtesy: Fresh Eyes Project
* A couple of years ago, I interviewed the director of AS220 youth programs, two of the photography instructors and a few kids. They also gifted me a portfolio of work and I'm long overdue to scan and present that material here on the blog. Please, stay tuned.
I came across the work of the Fresh Eyes Project thanks to an article Capturing Captivity From The Inside, by Katy McCarthy for the Bokeh Blog on the Juvenile Justice Information Exchange.


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 Fiona Smith: PSHE: The Missing Link http://www.huffingtonpost.co.uk/fiona-smith/pshe-schools_b_7816340.html 2015-07-17T05:43:53Z 2015-07-17T08:49:19Z Fiona Smith http://huffingtonpost.co.uk/fiona-smith/ The UK is shockingly behind other developed countries in terms of children's health outcomes, with five more children dying per day than in Sweden. So many health issues facing our children are preventable - yet the Government has just cut £200 million from public health spending and with it many of the resources we need to educate children about their health.
Read more: Pshe, Health, Children, Children's Health, Schools, Primary Schools, Nursing, School Nurses, UK Teachers, Teachers, Sex Education, Obesity, Childhood Obesity, Childhood Nutrition, Mental Health, Children's Mental Health, Life Skills, Caroline Lucas, UK Government, Education, Education Reform, Public Health, Budget Cuts, Nhs, Diet and Nutrition, Diet, Ofsted, Healthy Living, Mental Health Foundation, UK News
 Parents Discuss The State Of School Reports http://www.huffingtonpost.co.uk/2015/07/17/school-reports-criticised-parents-robotic-cut-paste_n_7816218.html 2015-07-17T12:31:31Z 2015-07-17T07:31:37Z The Huffington Post News Team http://huffingtonpost.co.uk/the-news/ Some parents have complained about the state of their children's school reports.

 It's not the children's performance that the parents are disappoin...
Read more: UK Lifestyle, UK Parents, School Report, School, Children, Teachers, Family, UK Parents News
 Rae Duke: Teach Last: Are Retirees the Answer to Our Teacher Shortage Crisis? http://www.huffingtonpost.co.uk/rae-mullins/teaching-retirement_b_7807868.html 2015-07-16T04:55:46Z 2015-07-16T05:56:05Z Rae Duke http://huffingtonpost.co.uk/rae-mullins/ With 4 in 10 teachers leaving the profession within their first year there's no denying that UK schools are finding it harder and harder to recruit st...
Read more: Teachers, Teaching, Teach First, Teach Last, Nicky Morgan, Schools, UK Schools, Ofsted, Teaching Unions, Unions, UK News
 J.N. Paquet: Bad Literacy Directly Affects People's Health And The Society As A Whole. http://www.huffingtonpost.co.uk/jn-paquet/bad-literacy-directly-aff_b_7795684.html 2015-07-14T14:16:28Z 2015-07-15T06:03:45Z J.N. Paquet http://huffingtonpost.co.uk/jn-paquet/ Shouldn't the government make eliminating child illiteracy one of its priorities in order to achieve just that and to create a fairer modern society for all?
Read more: Literacy, Illiteracy, Adult Illiteracy, Children, School, Teachers, Society, Government, Nick Clegg, Reading, Books, UK News
 Dr Julie Mills: Justice Is a Team Effort http://www.huffingtonpost.co.uk/dr-julie-mills/justice-is-a-team-effort_b_7751510.html 2015-07-08T06:28:02Z 2015-07-10T06:54:53Z Dr Julie Mills http://huffingtonpost.co.uk/dr-julie-mills/ I had the great pleasure and privilege to chair an extremely high-powered debate on justice a few days ago. Dozens of judges and magistrates, senior...
Read more: Further Education, Offender Learning, Women in Business, Teachers, Justice, Home Office, UK News
 Bansi Kara: 7 July: Preventing Radicalisation in Schools http://www.huffingtonpost.co.uk/bansi-kara/7-july-bombings_b_7739262.html 2015-07-06T17:03:04Z 2015-07-07T05:26:06Z Bansi Kara http://huffingtonpost.co.uk/bansi-kara/ This week, it is our duty to remember those who died in the 7/7 bombings and think of their families' loss. After that, we have to go to work finding ways to debate our world and the place of religion and race within it so that child - that universal, fearful child - can turn to us, rather than away from us. And that we as Londoners can feel safe in our lovely city. That is the real meaning of 'prevent'.
Read more: London 7/7, Schools, Prevent, Radicalisation, Teachers, Beyond the Bombings, UK News
 Rae Duke: The School That Ditched Homework http://www.huffingtonpost.co.uk/rae-mullins/the-school-that-ditched-h_b_7712864.html 2015-07-02T08:50:40Z 2015-07-03T07:25:05Z Rae Duke http://huffingtonpost.co.uk/rae-mullins/ There's a school really making waves in the world of education and those waves are rippling out to broader shores.
Read more: Teaching, Schools, UK Schools, Teach First, Michaela Community School, London Schools, Boris Johnson, Education News, Conservative Party, UK Conservative Party, Homework, Social Mobility, Teachers, UK Teachers, Pgce, UK News
 Bansi Kara: The Minority Game: A BME Teacher's Daily Life http://www.huffingtonpost.co.uk/bansi-kara/ethnic-minority-teachers_b_7627708.html 2015-06-20T11:08:03Z 2015-06-22T06:50:27Z Bansi Kara http://huffingtonpost.co.uk/bansi-kara/ I am facing the distinct possibility that I have worn you out with what appears to be my jaded and sarcastic approach to being a BME teacher. The truth is: I am worn out. The fact that there are not that many Asian women in senior leadership in teaching means that the ones who are here have to work harder to build cultural, ethnic and racial understanding.
Read more: BMe Community, Teachers, Education, Race, Culture, Ethnicity, UK News
 A New Law Proposed By The SNP Is Attacked For Being 'Anti-English' http://www.huffingtonpost.co.uk/2015/06/17/snp-private-schools-teachers_n_7606504.html 2015-06-17T15:12:22Z 2015-06-17T16:22:04Z The Huffington Post News Team http://huffingtonpost.co.uk/the-news/ The SNP is planning to ban private schools from employing teachers not registered in Scotland under a new scheme decried by critics as "anti-English"....
Read more: UK News, Scotland, Snp, Teachers, UK Politics, UK Politics News
 60-Year-Old Teacher's Uptown Funk Retirement Dance Is Utterly Awesome http://www.huffingtonpost.co.uk/2015/06/01/60-year-old-teachers-uptown-funk-retirement-dance_n_7482608.html 2015-06-01T06:03:29Z 2015-06-01T06:14:02Z The Huffington Post News Team http://huffingtonpost.co.uk/the-news/ When the time came for 60-year-old Shirley Clements to retire, the teacher didn't just have a goodbye speech prepared, she put on a whole damn dance -...
Read more: UK Students, UK Teachers, Dancing, UK Comedy, UK Universities & Education News
 This Is Why We Love Teachers http://www.huffingtonpost.co.uk/2015/05/27/student-writes-down-teachers-best-quotes-imgur_n_7449224.html 2015-05-27T05:59:58Z 2015-05-27T06:09:50Z The Huffington Post News Team http://huffingtonpost.co.uk/the-news/ It can be easy to forget that person standing up in front of the whiteboard is actually a real person. And not just a teacher.

 We've all experienc...
Read more: UK Teachers, Student Life, UK News, UK Comedy, UK Universities & Education News


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*Malibu drafting green building ordinance
*Green Building Focus Case Study – Empire State Building energy retrofit
..Report: $571B green materials market by 2013
*FacilitiesNet explains LEED v3
*Opportunities in the green building market
*Opportunities in commercial office space
*USGBC's new list of regional priority credits
*LEED for Retail to be released in August
*LEED-EBOM for Canada
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..Sixth LEED rating for Nestle Waters
..Greenest stadium misses LEED certification
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Dr. Dave Christian has served as a psychologist to believing and post-Mormons for decades. In this episode, Dave begins by discussing his LDS pioneer ancestry, and his early years in the LDS church as a faithful, science-loving boy from St. George. He then discusses early doubts he began to have regarding his LDS faith as he explored the field of epistemology (the study of how we know things). In spite of these doubts, Dave chose to serve an LDS mission in the Australia Sydney Mission (1979 to 1981 timeframe), and during this time struggled with the pressure tactics employed by his mission president…
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Food Products
Company Overview of Canterra Seeds Holdings Ltd.
BOARD MEMBERS AFFILIATED WITH Kris Mayerle *
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*New 1 bd villa* *Amomaya House *Indonesia, Bali, Ubud
About this listing
Space where guests can cook their own meals
Towels, bed sheets, soap, and toilet paper
Space where guests can cook their own meals
Towels, bed sheets, soap, and toilet paper
Central heating or a heater in the listing
In the building, free or for a fee
In the building, free or for a fee
Continuous access in the listing
Breakfast is provided.
The listing can accommodate a gathering of 25 or more attendees
Easy access to the building and listing for guests in wheelchairs
Private or Shared
Free, in the building or nearby
The Space
Amomaya House 1 Bedroom Villa is in a beautiful garden setting in one of the best neighborhoods of Ubud. Perfect for solo travelers & couples or a small family.
Walk to Ubud. Located in the sought after neighborhood of Penestenan, We have 2 one bedroom villas that can be rented alone or together.
Each villa is private and has all brand new furnishings and bedding. The fully air-conditioned villa has a luxurious king sized bed with beautiful linens, a desk and plenty of hanging closet space to get the wrinkles out of your travel clothes. (An additional mattress can be requested if traveling with a small child.)
The private open air living area features a shaded day bed for daily naps and a separate area to sit and have a bite to eat. Each villa also has a small kitchen area with basic kitchen supplies.
-The bedroom features a built in desk for inspired writings and storage.
-The bathroom is a fully westernized, immaculate indoor enclave with shower/bath combo, toilet and sink.
-WIFI: a reliable 2 mb connection (this is considered pretty fast in Bali) is offered.
The 3 sided infinity edge pool is the centerpiece of the gardens. It's perfect to cool off from a day of sightseeing and walking in Ubud.
2 minute walk to Alchemy Detox & Raw Food restaurant
2 minutes to local warung restaurants
3 minute walk to Eve Spa for relaxing massages
7 minute walk to Intuitive Flow Yoga Center
15 minute walk to the center of Ubud.
Motor bike rental available.
The villas are Balinese owned. The family has done a beautiful job constructing these villas and will treat you as part of their family during your stay.
Simply the 'Best Breakfast in Bali' is served for an additional additional 60,000 rph ($5 US) per night for 2 people. It is SOOO relaxing to have breakfast served right to your villa door, lovingly prepared by Made. (Breakfast can be ordered directly with Ketut and Made upon your arrival and paid directly).
NOTE: The pool is shared with the other 1 bedroom area, but you have your own private outdoor space.
Other villa listed at: http://www.airbnb.com/rooms/689574
Both villas are identical and can be rented together. Each villa is private and separated by lush gardens and space. Even when you are outside, you'll have your own private space to indulge in.
Interaction with Guests
Staff is available to take care of all your housekeeping needs. You won't lift a finger!
96 Reviews
Overall, I would definitely recommend Amomaya house and will look forward to returning there if we go back to Ubud.
I recommend it overall as its really very lovely and a really clean room to come back to.
The villa was kept clean and comfortable, the pool was perfect, the staff were helpful and friendly.
To just plunge into the beautiful pool made each day perfect, especially as the surrounding garden was so beautiful.
The whole family made us feel so comfortable and provided us with a tasty breakfast daily and nothing was ever too much trouble.
Staying at Amomaya was delightful. Although there are two villas on the property, the lush and well cared for landscaping created the feeling as if we had our own private villa and pool. The property was ultra clean, had quality design, materials and furnishings and a friendly yet unobtrusive staff. The neighborhood was upscale and ideal for walking into town, too. We highly recommend.
Regarding the villa itself, the situation is quite closed for the main attraction of Ubud, therefore no real need for taxi in the day.
I didn't pay attention enough to the description so we were expecting private pool, which is clearly not the case... Shared for 2 villas, which isn't a drama at all.
The garden is really beautiful and well maintained.
The top of the top, the best is by far the service, Made, Ketut, Putu and Erich are absolutely very nice, very helpful. We loved being treated by them so carefully.
Not a long stay but a enjoying stay
Great place to stay with lovely staff on hand to help and clean the rooms each day. The breakfasts they cooked were very good and were very much welcomed as a our first meal in Ubud.
Sabina was very quick to respond to questions and messages via AirBnB also kindly arranged a driver to take us from the airport to the villa for a reasonable cost.
Location wise, there are quite a few decent restaurants nearby such as Clear Cafe (which has a great view overlooking a temple) and as it is away from the main road, peaceful at night.
I echo some of the other reviewers comments on the path from the main road to the villa being quite dark and would recommend to bring a torch of some sort.
The walk to city centre and back was fine but did require to walk on the roads for a bit as there was no path. However, the drivers there will go round you with little problem. Just be careful round blind corners.
A taxi from the villa to the centre is around 50,000 rupiah which at the current rate is equivalent to £2-3.
Nous avons séjourné 6 jours dans la villa. A notre arrivée le personnel était présent, aux petits soins. Tout était très propre et bien entretenu. La piscine avec des fleurs fraîchement cueillies nous attendait. Il y a 2 villas se partageant la piscine mais pas de souci, on se sent seuls.
Cette villa est située à environ 20 minutes a pied du centre d'ubud, il est préférable d'être vehiculé quand même. Des scooters sont en location partout, même à la villa.
La literie est très bonne et le lit est grand.
Nous avons eu des problèmes de connexion à la wifi car la 1 ère villa est assez loin de la borne émettrice. La connexion ne se fait pas bien quand on est couché au lit, la villa fermée.
D'autre part, je trouve que la salle de bains est agréable, il y a une baignoire. Par contre le lavabo est trop petit avec peu de place pour mettre les affaires.
En me renseignant autour de la villa car il y a beaucoup d'autres hotels ou guesthouses, je trouve que les tarifs de la villa sont bien trop excessifs.
При приезде обнаружили, что вилла не одна, а две. И бассейн надо делить с соседями. Неудобная кровать. И совсем все не так как на картинке. Плюс за завтраки при отъезде выставили счет. Есть лучше варианты за эти деньги.
Our stay at Villa Amomaya was really special. The villa and the pool are really beautiful. Ketut and the staff are really kind and generous. We ordered breakfast each morning and it was delicious! The location is great, with a taxi rank just at the start of the laneway. Highly recommend.
This host has 127 reviews for other properties.View Other Reviews
About the Host, Sabina
We are a family of four (with a 7 & 5 yr old) that travel, adventure and dream up new experiences. We've lived in Central America, the Caribbean and now make our home in Bali. Occasionally, we blog about those adventures... A King's Life.
We live simply, but richly.


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Garth Brooks Headed to California
Garth Brooks has announced his first performances in the Sacramento area in more than 17 years.
Garth Brooks has announced his first performances in the Sacramento area in more than 17 years.
Today is the day. Tickets to see Kacey Musgraves at MVCC are now on sale.
Did you know that Brad Paisley is a huge Green Bay Packers fan? Yeah! He was hoping his trip to Ashwaubenon, WI was going to be one celebrating and rallying for the Super Bowl, but the Seahawks ended that dream real quick. The show must go on right? It definitely did at the Resch Center and Brad was even joined on stage by a special guest!
Kenny Chesney is bringing his 'Big Revival' tour to Albany. He'll be at the Times Union Center on April 23rd, performing his hits including 'American Kids' and 'Til It's Gone.'.
The Taste of Country Music Festival just got a lot hotter. In addition to headliners Keith Urban, Toby Keith and Tim McGraw a number of stars have been added, including Billy Currington, Jerrod Nieman , Sara Evans and former FrogFest guest Easton Corbin.
As if there aren't enough concerts coming to our are this summer, SPAC has announced their lineup. Lady Antebellum, Brad Paisley and Brantley Gilbert will make stops at Saratoga Performing Arts Center.
Kenny Chesney is kicking off his new tour in Nashville -- twice! Thanks to a high demand for tickets, Chesney has added another night to open the 2015 tour in his hometown.
Whether you're looking for a date night or just to want raise a little ruckus, Nicole's of Camden has the perfect night planned. Saturday, January 31 they welcome ZBTB, a Zac Brown Tribute Band. Click to win tickets to the show.
Luke Bryan is getting ready to 'Kick the Dust Up' this summer. He announced his new tour with Dustin Lynch and Randy Houser that'll have stops in the U.S, Canada and Europe that will start in May. The 'Kick Up the Dust' tour will have a stop at Darien Lake for TWO shows September 3rd & 4th.
You can add Rascal Flatts to the summer tours coming to New York. The guys announced their 2015 'Riot' tour with Scotty McCreery that includes a stop at Darien Lake.
If this run of cold weather doesn't make you look forward to summer this will for sure. Florida Georgia Line will make two appearances this summer in New York. One of the hottest acts in country, FGL announced new tour dates for their "Anything Goes" tour.
Get ready to do a little Day Drinkin' with Little Big Town who are bringing their Pain Killer tour to Turning Stone.


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Select Local Merchants
Benny's Restaurant BarRead MoreFor a mouthwatering meal you're sure to love, Benny's Bar and Grill in Potomac is the place to be. Benny's Bar and Grill is a terrific spot for families to gather with its kid-friendly ambience and menu. Free wireless Internet is also available at Benny's Bar and Grill, so bring your tablet or laptop along. Those in a rush are better off dining here during the week, as the restaurant draws a crowd during the weekend. Leaving the couch is half the battle. Your foods awaits your pickup at Benny's Bar and Grill. Benny's Bar and Grill has easy parking nearby for diners who wish to drive.7747 Tuckerman LanePotomac, MD US
StarbucksRead MoreStarbucks in Potomac on Tuckerman Lane is one of the more inexpensive restaurants in the area, delivering a delicious menu that won't empty the wallet. Whether you are heading there for the excellent quality, friendly service, or both, you will never leave this restaurant unsatisfied. Thanks to its outdoor seating, the restaurant is a fantastic option when the Mid-Atlantic weather is cooperative. Streetwear attire is acceptable, so feel free to come as you are. Also, while the overall price may be low, you can bet that the ingredients will be fresh. In fact, you should certainly be able to enjoy a good meal for nine or ten bucks, and can probably get in and out for just a Lincoln if you try. For those who are interested, the robust menu does feature items that are healthy, organic, and vegetarian. Plus, it's been tabbed as a good option for families with children. WiFi's available if you're trying to get some work done, and if you're in a hurry, the menu has plenty of items that are well-suited to eat on the go. A reliable option in Potomac, a trip to this Starbucks is definitely worthwhile. Don't worry about trying to find a spot on the street, as visitors to the restaurant do have access to a private parking lot nearby. Prefer to pedal there? Bicycle parking is also offered.7911 Tuckerman LanePotomac, MD US
Vie De France Bakery CafeRead MoreA well-known bakery in Potomac, Vie De France Bakery Cafe is the ideal spot for a flavorful menu. The familiar atmosphere and reasonable prices allow customers to focus on what matters: the delicious food. It should be noted that business casual is the recommended attire. For those who are interested, the menu does feature vegan items and it's been tabbed as a nice option for both families with children and large groups. WiFi's available if you're trying to get some work done, and in addition to its quick service (take-out is available), the restaurant also offers delivery, and can even cater an event for you. Specializing in breakfast, Vie De France Bakery Cafe is a tasty choice when you're in the mood for unique international cuisine, and want to break away from the boring ol' Chinese/Mexican/Italian fare. Don't worry about trying to find a spot on the street, as visitors to the restaurant do have access to a private parking lot nearby. Prefer to pedal there? Bike parking is also provided.10146 River RdPotomac, MD US
Old Angler's InnRead MoreFor true American comfort food, head to Old Angler's Inn for a sandwich or side of fries. Low-fat is one factor and amazing taste is another. Come see which wins out at Old Angler's Inn. Take a peek at the drink menu here, and make sure to sample something off the list. Don't miss out on the private room at Old Angler's Inn — you'll want to reserve the space the next time you and your whole crew need a place to celebrate together. Enjoy the beautiful weather while you chow down — with outdoor seating, Old Angler's Inn is a great summer destination. Take it nice and easy at Old Angler's Inn, where casual dress is the rule of the day. Bring the Old Angler's Inn's great food to your place. Valet and lot parking is easily accessible near Old Angler's Inn. Cyclists are in luck. Old Angler's Inn provides bike parking. Checks are bigger than average at the restaurant, so prepare your wallet. Stop by for three square meals a day — Old Angler's Inn serves breakfast, lunch, and dinner.10801 MacArthur BlvdPotomac, MD US
Broadway PizzaRead MoreBroadway Pizza is a local pizza gem for casual diners. Enjoy a low-fat or gluten-free meal at Broadway Pizza, a local favorite. Parents appreciate Broadway Pizza's kid-friendly attitude, and little ones are often seen dining out with the adults. The large dining space at Broadway Pizza provides quick and easy seating options for large groups. Sit back, relax, and enjoy the beautiful weather during your meal at Broadway Pizza. Folks tend to dress down at Broadway Pizza, so keep comfort in mind when heading to the pizzeria. You can also have Broadway Pizza cater your next event. Broadway Pizza will deliver their delicious dishes right to your door, or you can stop in and pick up some great takeout. Don't waste time or money searching for a parking space — pull into the lot next door at no extra charge. Meals at Broadway Pizza are incredibly tasty and reasonably priced around $30. Broadway Pizza offers breakfast, lunch, and dinner, so stop by whenever is most convenient for you.7965 Tuckerman LnPotomac, MD US
Founding FarmersRead MoreFor a new take on American fare, head to Founding Farmers. Fear not you gluten-free or low-fat eaters, you'll have plenty of choices here. The bar at Founding Farmers is fully stocked, so pair your meal with a glass of wine or beer. Have a few picky young eaters in the family? Not a problem at Founding Farmers, where the food and ambience are perfect for family dining. Founding Farmers offers a free wifi hot spot — perfect for surfing the web or getting a little work done. Enjoy the beautiful weather while you chow down — with outdoor seating, Founding Farmers is a great summer destination. Enjoy the vibe here with a business casual dress code. Carry-out is also available for those who prefer to enjoy Founding Farmers' cooking from the comfort of their own home. Diners at Founding Farmers will love the free parking nearby. Checks are bigger than average at the restaurant, so prepare your wallet. Breakfast, lunch, and dinner are all available at Founding Farmers.12505 Park Potomac AvePotomac, MD US


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B&H has the Polsen VM-180M HDSLR shotgun mic for $69.95 (reg. $139.95) as its Deal Zone deal for today only. Check it out here at B&H Photo.
Rokinon Announces Xeen Cine Lenses for Several Camera Mounts
Rokinon has announced a trio of new cinema lenses for a variety of camera mounts. The new lenses include: [Read more…]
Updated RØDE VideoMic Pro Now Available for Pre-Order
The recently-announced RØDE VideoMic Pro with updated features is now available for pre-order for $249 with shipping set to begin on June 15. Check it out here at B&H Photo.
RØDE VideoMic Pro Gets Updated
RØDE has updated the extremely popular VideoMic Pro with a Rycote Lyre suspension system and an upgraded microphone capsule. [Read more…]
DJI Ronin-M Priced, Available for Pre-Order Now
When DJI said its new Ronin-M 3-axis gimbal would be under $2000 back at NAB 2015 earlier this month, I expected it to be pretty close to that number. I am pleasantly surprised to report, however, that the Ronin-M will retail well south of that number at just $1399. [Read more…]
DJI Ronin-M is a New Sub-$2000 Gimbal
Here at NAB 2015, DJI has unveiled the new Ronin-M electronic gimbal that weighs about half of what the original Ronin weighs. The weight reduction is thanks in part to a magnesium construction. [Read more…]
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Library Branch
Book Clubs & Writers' Groups
This is a book club for people who are fluent in French....
Thu Jan 21
St. Lawrence
Nancy Drew turns 85 this year! She remains smart, resourceful, and independent. Get the scoop on Nancy, the people who created her as well as the mystery writers she inspired. Presented by Pamela Hancock, Branch Head, Forest ...
The group invites poetry enthusiasts and anyone curious about poetry to our monthly meetings. Activities include sharing and discussing favourite poems, poetry writing exercises, opportunities to share original poems and get ...
Fri Nov 06
Fri Dec 04
Fri Jan 08
Parliament Street
Discuss new books and old favourites with library staff over a cup of tea. For more information visit the branch in person or call 416-393-7663.
Fri Nov 06
Fri Dec 04
Wed Jan 06
Please join fellow book lovers to share and discuss contemporary Chinese literature once a month in a relaxing manner at Agincourt branch. To register, please call 416-396-8950.
Thu Nov 05
Thu Dec 03
Do you love reading? Join our book club for children! We will read a new book every month and meet to do fun activities and games based on each book. For ages 9-12 years old. Registration is required. Call 416-395-5750 to reg...
Sat Oct 31
Sat Nov 28
Join us for an entertaining and relaxing afternoon with tea, snacks, and a librarian who will introduce you to compelling and exciting library material! For more information, please phone Agincourt library staff at 416-396-89...
Fri Oct 30
Fri Nov 27
This is a book club for people who are fluent in French....
Thu Oct 29
Thu Nov 26
If you enjoy reading a range of literature and talking to others about books, this group is for you. Need more information? Call 416-393-7717. Monthly selections TBA.
Thu Oct 29
Thu Nov 26
Thu Dec 17
St. Lawrence
Discover your next great read!


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Scottish Inn Airport Knoxville
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Day 6
Blue ridge parkway in the smoky mountains. Rode a stretch that was so narrow and as tight as anything on the dragon. Kent started the day with his shirt on backwards! Ha!! Cool up in the mountains , had to pull out a jacket! Great day! Heading out tomorrow back to Kentucky starting ...
Longer day than expected
... how much Virginia drivers suck. It's like they have no idea whats going on. Virginia is not for lovers, its for bad drivers.
2) I prefer the road when there is little to zero other cars. It is just way more enjoyable, and Toby likes it better when I don't have to turn off cruise control every few minutes.
3) The south is really pretty, even when cloudy! But, boy can it rain hard!
4) I think Toby only likes to ...
Lake City FL. To Knoxville TN
... airport and misjudged the curb on way to charger. First boo boo on car! Went to have tire checked at Goodyear and was told it didn't take too much rubber off sidewall and so no problem continuing the drive. The rims will be ugly!! Checked into Knoxville Hilton garden Inn for night. Soooo much better than last night's Holiday Inn. Will try to get early start in the morning with long charge for the longest leg of ...
Day 24
... so we headed back. IT'S a big city, lots of U turns ( the norm ) we ended up in Market Square, having had something to eat watching the world go by. A group of university students arrived on bicycles all dressed up in red white and blue and including their bicycles, with drums in tow. They entertained us for over hour. Tiredness got the better of us, so we headed back, watching the fire works as we drove back to our ...
Day 23
... we decided to head for Knoxville.We had booked through Airbnb for tonight and needed to be there at 4pm as Vicki the owner was going out. It was at this point it all went wrong. We travelled through heavy rain,clouds and very twisting roads up and down mountains. We realised afterwards this was Smokey Mountain Pass, reaching a height of over 5000 ft.(No wonder we went through clouds) and realised were going the wrong way when we saw the Cherokee road sign ( this ...