BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170522T201614Z UID:277207 DTSTART:20130601T000000 DTEND:20130907T000000 DESCRIPTION:
Presented on two floors of the California Museum of Photography\
, Geographies of Detention: From Guantánamo to the Golden Gulag offers a nuanced investigation into incarceration and its architectu
res. One portion of the exhibition highlights work by artists Sando
w Birk\, Alyse Emdur\, and Richard Ross\, each of whom explores di
fferent aspects of imprisonment. Geographies of Detention also inc
ludes the traveling exhibit the "Guantánamo Public Memory Project\," an exa
mination of the over 100-year history of the US naval station at Guantánamo
The main gallery of the museum is devoted to the contemporary context and landscape of California's own "golden gulag." Prison populations in California have g rown 500% in the last decades even as crime rates subside\, and prison spen ding continues to outweigh state funding for public education. A selection of hauntingly evocative paintings by Sandow Birk from his series "Prisonati on" (2001) reflects on the growth of California's prison industrial complex by engaging its geographic context. Taking inspiration from pictorial genr es of landscape painting\, including those popularized by the Hudson River School in the 19th century\, each of Birk's paintings depicts one of Califo rnia's state prisons\, from Pelican Bay in Northern California to Centinela State Prison at the US-Mexico border.
While Birk's work shows the prisons from afar\, Richard Ro ss and Alyse Emdur take the viewer inside these structures. In his series o f photographs "Architecture of Authority" (2007)\, Ross explores the built environment of prisons\, revealing the spatial logic used to exert power ov er the bodies incarcerated within. Emdur's large-scale photographs of priso n visiting rooms and collected letters and snapshots (some of which appear in her 2013 book\, Prison Landscapes) offer a more intimate vision of inmates posing with their visitors against murals in fantasy landscapes of freedom. Presented together\, the works of Birk\, Ross\, and Emdur medi tate on the "carceral state" of California.
The "Guantánamo Public Memory Project" combines histo rical and contemporary photography\, film\, and first-person audio intervie ws to examine how the naval base has been "closed" and reopened for more th an a century before the attacks on September 11\, 2001. These new perspecti ves on Guantánamo's history as a "legal black hole" provoke discussions abo ut the limits of democracy and the meaning of mass incarceration in a globa l present and future.
Collaboratively curated by eleven universities (including UCR)\, the "Guant ánamo Public Memory Project" is comprised of a deeply researched traveling exhibit\, website\, blog\, curricula\, and ongoing public conversation. Fir st launched in 2009 by the International Coalition of Sites of Conscience a nd coordinated by Columbia University's Institute for the Study of Human Ri ghts\, the project was supported by the participating universities and by t he Open Society Foundations\, Libra Foundation\, and the New York Council o n the Humanities. The section created by graduate students in UCR's Public History Program (Leann Do\, Jay Hartzell\, Kristen Hayashi\, Corinne Knight \, Sean Milanovich\, Karen Raines\, Carolyn Schutten\, Megan Suster\, Jenni fer Thornton\, David Wagner\, and Jennifer Weed) examines Guantánamo as an international symbol of America's War on Terror and a lightning rod for deb ates about torture\, detention\, national security\, and human rights.
The "Guantánamo Public Mem ory Project" will be on view as part of Geographies of Detention t hrough August 10\, 2013. Geographies of Detention: From Guantánamo to t he Golden Gulag is organized by California Museum of Photography at UC R ARTSblock\, and is guest curated by Catherine Gudis\, UCR Associate Profe ssor of History and Director of the Public History Program\, and Molly McGa rry\, UCR Associate Professor of History.