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9781496806512

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Thanks to an indulgence which had never before been granted by the maximum-security state prison in the century of its existence Kim Rushing separates individuals from the mass of a prison population. There is not an ounce of prurience here. And the shocker is that the scripted words of the respective prisoners become as much of an image of the inmates as are the photographs of the prisoners and their habitats. As we read them, the scripted pages, which are written on all sorts of different papers, acquire stunning character in their own right. And it s a character and an intimacy sometimes in seeming contrast to the stark image of those who ventured to write down their intimate histories, lives, loves, hates, needs, tolerances, even futures. They mean more than just what is said in them. Lee Fontanella, Andrew Carnegie Centenary Professor (2009) and professor emeritus of humanities and arts

Kim Rushing's Parchman offers readers and viewers a heart-achingly frank look into life at Parchman farm. Rushing's humanist photographs offer us a glimpse into the stark ordinariness of prison life, and the letters and notes from the prisoners give readers an inkling of the inmates' interior lives. Parchman shows us that incarceration does not end life, but rather shifts it to a place of monotony, worry, and anxiety. This book does not ask for sympathy for its subjects, it simply demonstrates that the world within the prison's walls and fences is as complex and frustrating as the world beyond its walls. --Sesthasak Boonchai, artist and educator based in New Orleans, president emeritus of the New Orleans Photo Alliance, and current staff member at the New Orleans Museum of Art

Kim Rushing's Parchman offers readers and viewers a heart-achingly frank look into life at Parchman farm. Rushing's humanist photographs offer us a glimpse into the stark ordinariness of prison life, and the letters and notes from the prisoners give readers an inkling of the inmates' interior lives. Parchman shows us that incarceration does not end life, but rather shifts it to a place of monotony, worry, and anxiety. This book does not ask for sympathy for its subjects, it simply demonstrates that the world within the prison's walls and fences is as complex and frustrating as the world beyond its walls. --Sesthasak Boonchai, artist and educator based in New Orleans, president emeritus of the New Orleans Photo Alliance, and current staff member at the New Orleans Museum of Art Thanks to an indulgence--which had never before been granted by the maximum-security state prison in the century of its existence--Kim Rushing separates individuals from the mass of a prison population. There is not an ounce of prurience here. And the shocker is that the scripted words of the respective prisoners become as much of an image of the inmates as are the photographs of the prisoners and their habitats. As we read them, the scripted pages, which are written on all sorts of different papers, acquire stunning character in their own right. And it's a character and an intimacy sometimes in seeming contrast to the stark image of those who ventured to write down their intimate histories, lives, loves, hates, needs, tolerances, even futures. They mean more than just what is said in them. --Lee Fontanella, Andrew Carnegie Centenary Professor (2009) and professor emeritus of humanities and arts

A study in confrontation: the inmates' own confrontation of Rushing and the viewer in their portraits, and with their present circumstances and future aspirations through their writing--Karen Jenkins photo-eye blog

Author Information

R. Kim Rushing, Cleveland, Mississippi, USA has taught photography at Delta State University for twenty-three years. His photographs have appeared in numerous magazines and newspapers, including the New York Times and Garden and Gun.

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