“I said, ‘I am going to give you a black hairstyle,’ and they were like, ‘You’re going to give me cornrows?’ ” Beal recalled of her conversations with her subjects. “And I said, ‘No, we’re going to do finger waves.’ ‘Finger waves? What’s that? You mean from the ’20s?’ And I said, ‘These are a little bit different type of finger waves!’"
-Behold, Slate's photo blog, features a series of portraits of older white women with black hairstyles from photographer Endia Beal's series, "Can I Touch It?" Beal tells David Rosenberg her work is about self-expression, "specifically in a corporate environment": "I wanted people that had [...]
Via Flavorwire, a photo project from activists working to close the Tamms supermax prison in Illinois:
In 1998, the first prisoners were transferred from prisons across the state to Tamms CMAX, in Southern Illinois. This new “supermax” prison, designed to keep men in permanent solitary confinement, was intended for short-term incarceration. The IDOC called it a one-year “shock treatment.” Ten years later, over one-third of the original prisoners had been in Tamms for more than a decade. They lived in long-term isolation—no phone calls, no communal activity, no contact visits. They are fed through a slot in the door. Prisoners at Tamms only leave [...]
The Week has a preview up of a new exhibit at the Boston Museum of Fine Arts, featuring contemporary work from women in the Arab world. Some of the shots are lovely in their mundanity (women in hijabs riding the subway, a Lebanese girl in her bedroom staring out the window) and others are more obviously political, like Lalla Assia Essaydi's portrait of a woman lying on her back, which is constructed entirely out of glimmering bullet casings. Check them out here.
Image © Boushra Almutawakel. Courtesy of the artist and the East Wing Contemporary Gallery of the Boston MFA.