Tag Archive for Deborah Luster

Photo Exhibit Documents Homeless Vets in Minnesota

Put on by the Greater Minnesota Housing Fund (GMHF), a photography show called “Portraits of Home II: Veterans in Search of Shelter in Greater Minnesota” uses art and documentation to put human faces to the tragedy of our street population. The attitude and the ethical concepts behind the exhibit are stated on the GMHF website:

Art, especially photography, can be a powerful tool for increasing public awareness of the affordable housing crisis facing people in Greater Minnesota. Photographs personalize the human impacts of poor housing conditions and homelessness. They capture the dignity and resiliency of people managing everyday life with few resources and the positive changes that can occur with stable housing. Greater Minnesota Housing Fund is making this compelling exhibit available to local communities throughout 2009 and 2010 in order to touch the hearts and minds of policymakers, local leaders and residents, and to inform these stakeholders of the specific actions they can take to address the housing challenges faced by a growing number of Minnesota families.

The show seems to be doing a good job of generating discussion of the issue. Currently at Winona State University, it was written up in the Winona Daily News:

Ruth Charles, a WSU professor, helped coordinate the event. She hopes the exhibit serves as ‘a piece of education’ and ‘makes the connection’ to viewers that all too often troops are not supported when they return home.

The photos capture an ‘incredibly important piece of history,’ especially right now, as ‘we’ll have a tsunami of veterans coming back to the states’ from Iraq and Afghanistan, said Stormi Greener, a freelance photographer whose work is on display in the exhibit.

One veteran whose photo appears in Minne Hall was deployed to Iraq for 22 months, during which time the house he had been living in was sold. Photographer Brian Lesteberg captures the veteran sitting in the open trunk of his car, where he has been living for more than three months.

We obviously believe in the power of art, image and narrative as catalysts for change. Just take a look at our published offerings. It is said that “a picture is worth a thousand words,” and, in cases like these, we’d say that it’s certainly true. You can quote the dismal statistics of the situation, or you can show someone a picture of a child living on the streets. All too often, it’s the image that catches people’s attention first, and that’s why shows like this one are vitally important.

Take a look at Susan Madden Lankford’s downTown USA: A Personal Journey with The Homeless, or Deborah Luster‘s “One Big Self” to see how much humanity can be communicated by a simple photograph. And, really, that is what is so often absent — simple humanity. While walking past a homeless person in the street, most people have trained themselves to look away, but that same reflex does not occur when they’re looking at photos. We would wager that viewing photos like this provides the first in-depth perception of homelessness for more than a few people.

Source: “Portraits of Home II,” Greater Minnesota Housing Fund, undated
Source: “WSU photo exhibit shines a light on homeless veterans,” Winona Daily News, 09/17/10
Image by NAME, used under its Creative Commons license

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Photographer Deborah Luster: Doing Time in Louisiana

Deborah Luster - LCIW25, 1999 Silver Gelatin print on aluminumDeborah Luster has entered the world of rural Louisiana prisons with camera in hand, just like our own Susan Madden Lankford did, when shooting in California for her book, Maggots in my Sweet Potatoes: Women Doing Time. Luster’s work in Louisiana prisons was also collected in a book, titled One Big Self. (It has received Book of the Year Award from the Louisiana Endowment for the Humanities.) While there are similarities between the two, Luster has started on this path due to a personal tragedy, as this excerpt from her bio on the Edelman Gallery website shows:

Murder is not generally a subject in which most artists find themselves immersed. But twelve years ago, Deborah Luster’s mother was murdered, sparking a photographic project which led her to three different state penitentiaries in Louisiana, her home state, as a means of healing and understanding. Photographing inmates against a black backdrop or in the fields, Luster captures the individuals housed behind the barbed wire and prison cells in a project called ‘One Big Self.’ Cutting 5 x 4″ aluminum and coating it with a liquid silver emulsion, Luster creates images which serve as reliquaries for these men and women whose cockiness, youth, bravado and shyness are embedded in these pocket-sized contemporary tintypes. Through these images she asks us to ‘see beyond their crimes… to suggest that our punitive models are as reflective of who we are as our reward system.’

That last sentence speaks volumes about the similarities between the two photographers. In their own ways, both have humanized the people who had been relegated to the limbo of mere statistics. The approach to their projects was quite a bit different though. Where Lankford’s book contains an array of personal narritives transcribed from her discussions with prisoners, Luster used a different approach. She also talked extensively with the prisoners she had photographed, but, rather than using the exact words of the inmates themselves, she had relied on a poet to create the text based on these interviews.

I first ran across Luster’s work at The Newcomb Art Gallery in New Orleans, and later at Prospect.1, also in New Orleans. Her method of presentation was fascinating, drawing on institutional themes to compliment the photos. The following video will give you a quick look at the Newcomb show, as Luster talks about her work and its presentation:

Since everything in Louisiana has a culinary angle, Luster has incorporated it into her work by photographing the kitchen staff at the Angola State Prison and the Louisiana Correctional Institute for Women. The Kitchen Sisters at NPR have interviewed Luster for their Hidden Kitchens series, while also working on a feature for NPR about One Big Self. Both pieces are well worth a look.

Source: “After Mother’s Murder, Artist Photographs Prisoners,” NPR, The Kitchen Sisters, 08/09/10
Source: “Deborah Luster’s Hidden Kitchens,” KitchenSisters.org, 06/30/10
Image courtesy of Deborah Luster and Jack Shainman Gallery, NY.

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