Deborah Luster
Herald "Bubba Brand", Angola, Louisiana and Kenneth "Buddy" Woodbury, Angola, Louisiana, 1999
Archival pigment print on Kozo paper
9 x 7 inches image
12 3/4 x 11 inches paper
15 1/2 x 13 1/4 inches framed
12 3/4 x 11 inches paper
15 1/2 x 13 1/4 inches framed
Edition of 10
doc # 334956 dob. 6.11.72 pob. Picayune, MS entered LSP. 1993 sentence. LIFE work. New Orleans Baptist Theological Seminary rodeo events. bulldoggin' doc # 330091 dob. 11.23.73 pob. Kenner entered...
doc # 334956
dob. 6.11.72
pob. Picayune, MS
entered LSP. 1993
sentence. LIFE
work. New Orleans
Baptist Theological
Seminary
rodeo events.
bulldoggin'
doc # 330091
dob. 11.23.73
pob. Kenner
entered LSP. 1993
sentence. LIFE
work. New Orleans
Baptist Theological
Seminary
rodeo events.
bronc and bull riding,
wild horse race
LSP 10.31.99
Description
Deborah Luster presents a selection of photographs from her acclaimed series One Big Self, chronicling the often forgotten prisoners of Northeast Louisiana between 1998-2002. Small enough to be held in one’s palm, the original black aluminum tintype prints created a sense of intimacy, yet their scale also allowed them to be stacked and filed away by number, reminiscent of the discarding of identity within the prison system. Many prisoners used the prints of their portraits as evidence of life, a reminder and an invitation to the outside world to acknowledge them and to recognize them as they would like to be seen. Blurring the boundaries of death and time, the photographs capture a frozen moment of individuality for people that have been tucked away within an unforgiving and exploitative system.
dob. 6.11.72
pob. Picayune, MS
entered LSP. 1993
sentence. LIFE
work. New Orleans
Baptist Theological
Seminary
rodeo events.
bulldoggin'
doc # 330091
dob. 11.23.73
pob. Kenner
entered LSP. 1993
sentence. LIFE
work. New Orleans
Baptist Theological
Seminary
rodeo events.
bronc and bull riding,
wild horse race
LSP 10.31.99
Description
Deborah Luster presents a selection of photographs from her acclaimed series One Big Self, chronicling the often forgotten prisoners of Northeast Louisiana between 1998-2002. Small enough to be held in one’s palm, the original black aluminum tintype prints created a sense of intimacy, yet their scale also allowed them to be stacked and filed away by number, reminiscent of the discarding of identity within the prison system. Many prisoners used the prints of their portraits as evidence of life, a reminder and an invitation to the outside world to acknowledge them and to recognize them as they would like to be seen. Blurring the boundaries of death and time, the photographs capture a frozen moment of individuality for people that have been tucked away within an unforgiving and exploitative system.
