Criminal Abstractions

  • Criminal Abstractions
  • Criminal: a person who has committed a crime. A lawbreaker, offender, villain, delinquent, felon, convict, culprit, crook, con, thief, gunman, gangster, hood, perp.

    Abstraction: the quality of dealing with ideas rather than events; the act of considering something as a general quality or characteristic, apart from concrete realities, specific objects, or actual instances.
  • In a very real way photography has been tied to the objectification and categorization of criminals since its inception. In 1888, Alphonse Bertillon invented what is now referred to as the mug shot. Seen as an institutional tool for documenting criminals to assist in victim identification and police investigation mug shots have, over the years, developed cult appeal. An article in the New York Times entitled “Mugged by Mugshots” exposes a for-profit industry of posting mugshots online. “It was only a matter of time before the Internet started to monetize humiliation.” The fact that mugshots have nothing to do with guilt or innocence seems beside the point. Guilt is presumed, the aesthetics alone are damning.

    Making money off of supposed criminal humiliation is only part of the story; prisons are also ‘for-profit’ in this country making it increasingly difficult to reform the broken system that is making so much money for so many. What is fair to say is that in a system where your financial status is the most reliable factor in ascertaining your likelihood of becoming a convicted criminal, justice has little to do with it.

    In an abandoned police station in Detroit I found a cache of mugshots that had been left for years to weather the storm of destruction and decay that has plagued that city. They serve as a counterpoint to the fetishization of mugshots. In these images the individuals are no longer being recriminalized, rather they are absorbed into the larger narrative of a place that criminalized them.  These photographs are part of a physical & chemical collapse, which now obscures the very thing it was created to preserve, the identity of the accused. Many are no longer recognizable as criminal portraiture at all. They speak now of topographic aerial views, landscapes and impressionism, color fields and peeling paint.  

    They are evidence of the break down of the photograph, of the breakdown of the city of Detroit and of the breakdown of the United States Criminal Justice System. They speak of what has happened to the city as a whole and they have also returned to what they always were, an idea of criminality that bears little or no resemblance to concrete realities, Criminal Abstractions. It has been said that “there is always some promise in destruction”.  Perhaps Detroit, and these mugshots are proof of that.