King’ Cross by Sayf. 2008.

King’ Cross, London, UK, 2008.

~ Via The Funambulist ~

Rikers Island in New York City

Prison Map is a project developed by Josh Begley, a graduate student studying Interactive Telecommunications at New York University. Thanks a small script and geo-coordinates, he obtained a google earth snapshot of each of the 4,916 incarceration facilities in the United States. Let’s recall here that a bit less than 2.5 millions people are living in prison in this country. Such a project illustrates therefore a sort of hidden urbanism in which 0.8% of the American population live for a given time. Of course, these photographs are interesting to observe the architecture of incarceration, but more importantly in my opinion, is the relationship they develop with their direct environment as they illustrate a geography of exclusion.

Many of these facilities use the obvious strategy of remoteness to engage this will of exclusion. In this regard, from the cartographic point of view, they often ironically appear similar to European palaces with well-ordered classical plans. Others are situated on islands (like Rikers in New York) or piers in order to use water as a buffer zone between the included society and the excluded one. Finally, others are situated in the center of some cities like the Metropolitan Correctional Center in Chicago (see previous post) or the Brooklyn Detention Complex using the verticality of their architecture to implement the exclusionary status.

The page Prison Map is only displaying 700 facilities for convenience reasons but the 4,216 others can be seen by following this link. Josh Begley also have another page entitled Prison Count which establishes a photographic inventory of California State Adult Prisons.

<< Léopold Lambert.

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Claire Chevrier est née à Pau en 1963.
Préoccupée par la mémoire, elle engage une réflexion sur la place et l’implantation de l’homme dans le monde, l’évolution et le déplacement de l’habitat, l’usage de l’espace et de ses frontières.

Espace + construction 09, Le Caire 0040, 2005

Croisement-ville 01, Bombay (Mumbai 07), 2002

Entre reportage documentaire et art contemporain, elle navigue entre les « paysages-villes », les métiers, l’usine et le décor urbain des mégalopoles.

Claire Chevrier.
« un jour comme les autres ».
Catalogue d’exposition.
Ed. Silvana Editoriale.
28 X 24 cm (Couleur) 120 pages.

Depuis 1993, il peint le paysage urbain des grandes banlieues modernes (Post 1960) à partir de photographies qu’il réalise lors de ses voyages.
Yves Bélorgey se focalise sur un problème de l’architecture fonctionnaliste qui, à partir de Le Corbusier et du Bauhaus, va s’universaliser pour aboutir à la constitution des grands ensembles résidentiels « révolutionnaires ».
~ « C’était comme si je peignais des documents. Je cherchais des objets neutres, que je photographiais. Des objets modernes, sans qualité, mais dans lesquels je trouvais des qualités. »

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La finesse de ses representations s’inspire des peintres de ’vedute’ ou de ruines de la fin du XVIIIe siècle tels que Giovanni Pannini ou Hubert Robert. Du premier, il retient « sa science de l’espace », du second, « la fluidité de sa vision ». Il nous projette en tant qu’habitant dans ces tableaux immenses (240 x 240 cm) où la figure humaine est abstraite, nous sommes au centre de ces grands ensembles comme des survivants, sur « la route »…

Yves Bélorgey né en 1960 expose depuis 1983, alternant séjours en Allemagne et en France. Son travail est représenté dans de nombreuses collections institutionnelles.

Pour en savoir plus, vous pouvez consulter ce PDF réalisé par la Gallerie Xippas >> Yves Bélorgey ( Dossier de presse )

Les photographies de Dom Garcia s’inscrivent dans un style documentaire comme je le conçoit depuis 2005 (Dormitorium).
Les immeubles sont comme des entités uniques,  photographiés frontalement, comme un portrait, dans une sorte d’intimité avec le sujet.
Nous archivons les zones, les rues et les bâtisses pour les générations futures, sans fioriture, tel des cartes postales datant des années 60-70.

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Dom Garcia

« In the heart of downtown Philadelphia, among abandoned buildings and impoverished neighborhoods where drugs and unemployment pervade, is a place called Fletcher Street. A block that upon first glance looks just like all the others, that is, until you see the horses and hear their hoof beats. »

Martha Camarillo has documented the phenomena first in a Life magazine cover story.

« Fletcher Street’s riding community has been a part of the Philadelphia community for over 100 years. For many of those years, Fletcher Street was part of a larger urban horse community that numbered in over 50 stables throughout Philadelphia. Today, it is well known that the area surrounding Fletcher Street has increasingly struggled with unemployment and drugs overtaking the community; the men and boys of Fletcher Street have in turn struggled to maintain their horses, stables and way of life as conditions have become increasingly difficult. »

« The mission of The Fletcher Street Urban Riding Club is to save and restore this historical, important facet of Philadelphia’s community, and most importantly, its children. Fletcher Street’s horse community is for many children, the only safe place to be mentored, to feel good about themselves, to learn important lessons in responsibility, discipline and reward. Many of the boys that frequent Fletcher Street have little to no support in life and the men on Fletcher Street have consistently taken it upon themselves to provide a positive environment and some facet of stability for those kids that have none. Fletcher Street is determined to preserve its legacy, children and horses. »

Wow ! check the Cowboys of Philly, wearing sneakers on horseback with names like : Red Pony, Champ, Power, White Chick, One Eye and Easy Like Sunday Morning, riding through dilapidated hoods, hookin’ up abandoned houses as stables, provide the unique window into Fletcher street’s brotherhood.
Horses are like their owners, have their own cruel experiences, many of them saved from low-end auctions and slaughterhouses, but now, they are Diamonds in the rough ! ^_^

Fletcher Street book available from Powerhouse Books

Martha Camarillo is a photographer from Texas. Her work has appeared in The New York Times, Life, The Telegraph, Numéro, Journal, i-D, and many others. Her first book, Remote Photos (Janvier/Léo Scheer, 2005), a collaboration with artist Avena Gallagher, was an in-depth look at the identity of teenage male and female models, made by giving the models themselves disposable cameras to be used by whomever they saw fit. Work from the project was exhibited at Léo Scheer Gallery, Paris, in 2005. Camarillo was the winner of the Hyères Festival 2001, and the 2002 Art Director’s Award.

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