TEDGlobal 2009
Taryn Simon: Photographs of secret sites
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Taryn Simon exhibits her startling take on photography -- to reveal worlds and people we would never see otherwise. She shares two projects: one documents otherworldly locations typically kept secret from the public, the other involves haunting portraits of men convicted for crimes they did not commit.
Taryn Simon - Artist
With a large-format camera and a knack for talking her way into forbidden zones, Taryn Simon photographs portions of the American infrastructure inaccessible to its inhabitants. Full bio
With a large-format camera and a knack for talking her way into forbidden zones, Taryn Simon photographs portions of the American infrastructure inaccessible to its inhabitants. Full bio
Double-click the English transcript below to play the video.
00:18
Okay, so
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90 percent of my photographic process
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is, in fact, not photographic.
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It involves a campaign of letter writing,
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research and phone calls
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to access my subjects,
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which can range from Hamas leaders in Gaza
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to a hibernating black bear in its cave
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in West Virginia.
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And oddly, the most notable
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letter of rejection I ever received
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came from Walt Disney World,
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a seemingly innocuous site.
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And it read -- I'm just going to read a key sentence:
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"Especially during these violent times,
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I personally believe
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that the magical spell cast upon guests who visit our theme parks
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is particularly important to protect
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and helps to provide them with an important fantasy
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they can escape to."
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Photography threatens fantasy.
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They didn't want to let my camera in
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because it confronts constructed realities, myths and beliefs,
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and provides what appears to be
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evidence of a truth.
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But there are multiple truths attached to every image,
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depending on the creator's intention, the viewer
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and the context in which it is presented.
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Over a five year period following September 11th,
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when the American media and government were seeking
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hidden and unknown sites
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beyond its borders,
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most notably weapons of mass destruction,
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I chose to look inward at that which was integral
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to America's foundation,
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mythology and daily functioning.
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I wanted to confront the boundaries of the citizen,
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self-imposed and real,
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and confront the divide between privileged
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and public access to knowledge.
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It was a critical moment in American history
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and global history
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where one felt they didn't have access to accurate information.
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And I wanted to see the center with my own eyes,
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but what I came away with is a photograph.
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And it's just another place from which to observe,
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and the understanding that
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there are no absolute, all-knowing insiders.
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And the outsider can never really reach the core.
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I'm going to run through some of the photographs in this series.
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It's titled, "An American Index
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of the Hidden and Unfamiliar,"
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and it's comprised of nearly 70 images.
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In this context I'll just show you a few.
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This is a nuclear waste storage and encapsulation facility
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at Hanford site in Washington State,
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where there are over 1,900
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stainless steel capsules containing nuclear waste
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submerged in water.
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A human standing in front of an unprotected capsule would die instantly.
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And I found one section amongst all of these
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that actually resembled the outline
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of the United States of America,
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which you can see here.
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And a big part of the work that is
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sort of absent in this context is text.
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So I create these two poles.
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Every image is accompanied with a very detailed factual text.
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And what I'm most interested in
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is the invisible space between a text
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and its accompanying image,
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and how the image is transformed by the text
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and the text by the image.
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So, at best, the image is meant to float away
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into abstraction and multiple truths and fantasy.
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And then the text functions as this cruel anchor
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that kind of nails it to the ground.
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But in this context I'm just going to read
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an abridged version of those texts.
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This is a cryopreservation unit,
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and it holds the bodies of the wife and mother
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of cryonics pioneer Robert Ettinger,
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who hoped to be awoken one day to extended life
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in good health, with advancements in science and technology,
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all for the cost of 35 thousand dollars, for forever.
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This is a 21-year-old Palestinian woman
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undergoing hymenoplasty.
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Hymenoplasty is a surgical procedure which restores the virginal state,
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allowing her to adhere to certain cultural expectations
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regarding virginity and marriage.
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So it essentially reconstructs a ruptured hymen,
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allowing her to bleed upon having sexual intercourse,
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to simulate the loss of virginity.
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This is a jury simulation deliberation room,
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and you can see beyond that two-way mirror
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jury advisers standing in a room behind the mirror.
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And they observe deliberations
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after mock trial proceedings
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so that they can better advise their clients how to adjust their trial strategy
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to have the outcome that they're hoping for.
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This process costs 60,000 dollars.
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This is a U.S. Customs and Border Protection room,
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a contraband room, at John F. Kennedy International Airport.
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On that table you can see 48 hours' worth
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of seized goods from passengers entering in to the United States.
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There is a pig's head and African cane rats.
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And part of my photographic work
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is I'm not just documenting what's there.
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I do take certain liberties and intervene.
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And in this I really wanted it to resemble
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an early still-life painting,
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so I spent some time with the smells and items.
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This is the exhibited art on the walls of the CIA
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in Langley, Virginia, their original headquarters building.
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And the CIA has had a long history
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with both covert and public cultural diplomacy efforts.
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And it's speculated that some of their interest in the arts
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was designed to counter Soviet communism
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and promote what it considered to be pro-American
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thoughts and aesthetics.
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And one of the art forms that elicited the interest of the agency,
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and had thus come under question, is abstract expressionism.
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This is the Forensic Anthropology Research Facility,
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and on a six acre plot
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there are approximately 75 cadavers at any given time
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that are being studied by forensic anthropologists
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and researchers who are interested in monitoring
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a rate of corpse decomposition.
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And in this particular photograph the body of a young boy
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has been used to reenact a crime scene.
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This is the only federally funded site
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where it is legal to cultivate cannabis
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for scientific research in the United States.
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It's a research crop marijuana grow room.
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And part of the work that I hope for
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is that there is a sort of disorienting entropy
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where you can't find any discernible formula in how these things --
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they sort of awkwardly jump from government to science
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to religion to security --
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and you can't completely understand
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how information is being distributed.
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These are transatlantic submarine communication cables
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that travel across the floor of the Atlantic Ocean,
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connecting North America to Europe.
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They carry over 60 million simultaneous voice conversations,
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and in a lot of the government and technology sites
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there was just this very apparent vulnerability.
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This one is almost humorous because it feels like I could
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just snip all of that conversation in one easy cut.
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But stuff did feel like it could have been taken
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30 or 40 years ago, like it was locked in the Cold War era
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and hadn't necessarily progressed.
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This is a Braille edition of Playboy magazine.
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(Laughter)
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And this is ... a division of the Library of Congress
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produces a free national library service
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for the blind and visually impaired,
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and the publications they choose to publish
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are based on reader popularity.
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And Playboy is always in the top few.
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07:59
(Laughter)
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But you'd be surprised, they don't do the photographs. It's just the text.
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(Laughter)
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This is an avian quarantine facility
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where all imported birds coming into America
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are required to undergo a 30-day quarantine,
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where they are tested for diseases
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including Exotic Newcastle Disease
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and Avian Influenza.
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This film shows
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the testing of a new explosive fill on a warhead.
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And the Air Armament Center
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at Eglin Air Force Base in Florida
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is responsible for the deployment and testing
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of all air-delivered weaponry
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coming from the United States.
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And the film was shot on 72 millimeter, government-issue film.
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And that red dot is a marking on the government-issue film.
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All living white tigers in North America
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are the result of selective inbreeding --
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that would be mother to son,
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father to daughter, sister to brother --
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to allow for the genetic conditions
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that create a salable white tiger.
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Meaning white fur, ice blue eyes, a pink nose.
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And the majority of these white tigers
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are not born in a salable state
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and are killed at birth.
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It's a very violent process that is little known.
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And the white tiger is obviously celebrated in several forms of entertainment.
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Kenny was born. He actually made it to adulthood.
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He has since passed away,
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but was mentally retarded
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and suffers from severe bone abnormalities.
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This, on a lighter note, is at
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George Lucas' personal archive.
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This is the Death Star.
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And it's shown here in its true orientation.
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In the context of "Star Wars: Return of the Jedi,"
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its mirror image is presented.
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They flip the negative.
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And you can see the photoetched brass detailing,
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and the painted acrylic facade.
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In the context of the film,
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this is a deep-space battle station of the Galactic Empire,
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capable of annihilating planets and civilizations,
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and in reality it measures about four feet by two feet.
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(Laughter)
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This is at Fort Campbell in Kentucky.
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It's a Military Operations on Urbanized Terrain site.
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Essentially they've simulated a city
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for urban combat,
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and this is one of the structures that exists in that city.
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It's called the World Church of God.
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It's supposed to be a generic site of worship.
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And after I took this photograph,
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they constructed a wall around the World Church of God
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to mimic the set-up of mosques in Afghanistan or Iraq.
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And I worked with Mehta Vihar
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who creates virtual simulations for the army
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for tactical practice.
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And we put that wall around the World Church of God,
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and also used the characters and vehicles and explosions
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that are offered in the video games for the army.
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And I put them into my photograph.
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This is live HIV virus
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at Harvard Medical School, who is working with the U.S. Government
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to develop sterilizing immunity.
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And Alhurra is a U.S. Government- sponsored
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Arabic language television network
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that distributes news and information to over 22 countries in the Arab world.
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It runs 24 hours a day, commercial free.
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However, it's illegal to broadcast Alhurra within the United States.
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And in 2004, they developed a channel called Alhurra Iraq,
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which specifically deals with events occurring in Iraq
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and is broadcast to Iraq.
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Now I'm going to move on to another project I did.
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It's titled "The Innocents."
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And for the men in these photographs,
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photography had been used to create a fantasy.
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Contradicting its function as evidence of a truth,
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in these instances it furthered the fabrication of a lie.
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I traveled across the United States
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photographing men and women who had been wrongfully convicted
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of crimes they did not commit, violent crimes.
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I investigate photography's ability to blur truth and fiction,
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and its influence on memory,
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which can lead to severe, even lethal consequences.
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For the men in these photographs,
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the primary cause of their wrongful conviction
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was mistaken identification.
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A victim or eyewitness identifies
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a suspected perpetrator
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through law enforcement's use of images.
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But through exposure to composite sketches,
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Polaroids, mug shots and line-ups,
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eyewitness testimony can change.
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I'll give you an example from a case.
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A woman was raped and presented with a series of photographs
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from which to identify her attacker.
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She saw some similarities in one of the photographs,
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but couldn't quite make a positive identification.
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Days later, she is presented with another photo array
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of all new photographs,
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except that one photograph that she had some draw to
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from the earlier array is repeated in the second array.
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And a positive identification is made
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because the photograph replaced the memory,
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if there ever was an actual memory.
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Photography offered the criminal justice system
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a tool that transformed innocent citizens into criminals,
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and the criminal justice system failed to recognize the limitations
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of relying on photographic identifications.
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Frederick Daye, who is photographed at his alibi location,
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where 13 witnesses placed him at the time of the crime.
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He was convicted by an all-white jury
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of rape, kidnapping and vehicle theft.
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And he served 10 years of a life sentence.
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Now DNA exonerated Frederick
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and it also implicated another man
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who was serving time in prison.
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But the victim refused to press charges
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because she claimed that law enforcement
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had permanently altered her memory through the use of Frederick's photograph.
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Charles Fain was convicted of kidnapping, rape and murder
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of a young girl walking to school.
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He served 18 years of a death sentence.
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I photographed him at the scene of the crime
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at the Snake River in Idaho.
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And I photographed all of the wrongfully convicted
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at sites that came to particular significance
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in the history of their wrongful conviction.
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The scene of arrest, the scene of misidentification,
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the alibi location.
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And here, the scene of the crime, it's this place
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to which he's never been, but changed his life forever.
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So photographing there, I was hoping to highlight
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the tenuous relationship between truth and fiction,
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in both his life and in photography.
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Calvin Washington was convicted of capital murder.
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He served 13 years of a life sentence in Waco, Texas.
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Larry Mayes, I photographed at the scene of arrest,
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where he hid between two mattresses in Gary, Indiana,
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in this very room to hide from the police.
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He ended up serving 18 and a half years
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of an 80 year sentence for rape and robbery.
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The victim failed to identify Larry
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in two live lineups
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and then made a positive identification, days later,
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from a photo array.
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Larry Youngblood served eight years of a 10 and half year sentence
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in Arizona for the abduction and repeated sodomizing
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of a 10 year old boy at a carnival.
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He is photographed at his alibi location.
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Ron Williamson. Ron was convicted of the rape and murder
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of a barmaid at a club,
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and served 11 years of a death sentence.
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I photographed Ron at a baseball field
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because he had been drafted to the Oakland A's
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to play professional baseball just before his conviction.
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And the state's key witness in Ron's case
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was, in the end, the actual perpetrator.
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Ronald Jones served eight years of a death sentence
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for rape and murder of a 28-year-old woman.
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I photographed him at the scene of arrest in Chicago.
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William Gregory was convicted of rape and burglary.
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He served seven years of a 70 year sentence in Kentucky.
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Timothy Durham, who I photographed at his alibi location
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where 11 witnesses placed him at the time of the crime,
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was convicted of 3.5 years
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of a 3220 year sentence,
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for several charges of rape and robbery.
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He had been misidentified by an 11-year-old victim.
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Troy Webb is photographed here at the scene of the crime in Virginia.
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He was convicted of rape, kidnapping and robbery,
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and served seven years of a 47 year sentence.
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Troy's picture was in a photo array
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that the victim tentatively had some draw toward,
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but said he looked too old.
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The police went and found a photograph of Troy Webb
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from four years earlier,
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which they entered into a photo array days later,
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and he was positively identified.
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Now I'm going to leave you with a self portrait.
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And it reiterates that distortion is a constant,
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and our eyes are easily deceived.
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That's it. Thank you.
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(Applause)
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ABOUT THE SPEAKER
Taryn Simon - ArtistWith a large-format camera and a knack for talking her way into forbidden zones, Taryn Simon photographs portions of the American infrastructure inaccessible to its inhabitants.
Why you should listen
Taryn Simon is a multidisciplinary artist working in photography, text, sculpture and performance. Guided by an interest in systems of categorization and classification, her practice involves extensive research into the power and structure of secrecy and the precarious nature of survival. Her works have been the subject of exhibitions at the Louisiana Museum of Modern Art, Copenhagen (2016-17); The Albertinum, Dresden (2016); Galerie Rudolfinum, Prague (2016); Garage Museum of Contemporary Art, Moscow (2016); Jeu de Paume, Paris (2015); Ullens Center for Contemporary Art, Beijing (2013); Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); and Whitney Museum of American Art, New York (2007).
In An American Index of the Hidden and Unfamiliar, Simon compiles an inventory of what lies hidden and out-of-view within the borders of the United States. She examines a culture through documentation of subjects from domains including: science, government, medicine, entertainment, nature, security and religion. Confronting the divide between those with and without the privilege of access, her collection reflects and reveals that which is integral to America’s foundation, mythology and daily functioning.
A Living Man Declared Dead and Other Chapters I-XVIII was produced over a four-year period (2008–11) during which Simon traveled around the world researching and recording bloodlines and their related stories. In each of the eighteen "chapters" comprising the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. The subjects documented by Simon include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood and other components of fate.
Permanent collections include Metropolitan Museum of Art, New York; Tate Modern, London; the Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and the Los Angeles County Museum of Art, Los Angeles. Her work was included in the 56th Venice Biennale (2015). Simon's installation, An Occupation of Loss (2016), co-commissioned by the Park Avenue Armory and Artangel, premiered in New York in 2016. The performance will be held again in London in 2018. Simon is a graduate of Brown University and a Guggenheim Fellow. She lives and works in New York.
Taryn Simon | Speaker | TED.com