Jesse Hazelip Critiques the American Prison System in His New Exhibition at Jonathan LeVine Gallery

Image via Jonathan LeVine Gallery / Photo by Adam Wallacavage

When I visited Jonathan LeVine Gallery the day before the opening of Jesse Hazelip’s “Love Lock: Cycle of Violence,” the gallery was abuzz with pre-installation fervor. Framed ballpoint drawings lay, meticulous arranged, on the gallery floor, later to be made vertical. Other works—printed wheatpaste cutouts on bold stenciled backgrounds and reclaimed wood panels from an abandoned prison in Upstate New York—leaned gently against the walls. “Love Lock,” documenting the injustices of the American prison system, is Hazelip’s first solo exhibition in New York.

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Lewis W. Hine

Newsies at Skeeter Branch, St. Louis, Missouri, 11:00 am, May 9, 1910
Lewis W. Hine (American, 1874–1940)
Gelatin silver print; 3 9/16 x 4 11/16 in. (9.1 x 11.9 cm)

In 1908, Lewis Hine accepted a position as chief investigator and photographer for the National Child Labor Committee (NCLC), a private organization founded in 1904 to promote legislation to protect children from exploitation by American industry. Children as young as four years old labored in a variety of trades for up to twelve hours a day. 

During the sixteen years that Hine worked for the NCLC (often posing as an insurance inspector to gain access to the worksite), he made some 5,000 photographs of children at work in mines, farms, canneries, sweatshops, and the street. Less troubling than many of Hine's pictures of child labor, this casual portrait of a trio of newspaper sellers, or newsies, shows the young boys awkwardly assuming the roles and mannerisms of manhood.

GUP about - Tony Ray-Jones "American Colour 1962-1965"

Photo © Tony Ray-Jones

American Colour 1962-1965 by Tony Ray-Jones draws from the vast archive of one of the keenest observers of British society and culture, presenting a selection of his early experiments with colour photography. Coming to the States on a scholarship in the early ‘60s with the background of a graphic designer, Ray-Jones threw himself into the street life of New York and witnessed the excitement and sense of departure that was stirring the nation at the time. Developing his own viewpoints, both artistic and personal, he also dove into the newly emerging medium of colour film. This book shows a selection of these ‘isolated sketches’ in colour, as Ray-Jones referred to them, and sheds a new light on a photographer whose later black-and-white work exerted an enormous influence on British documentary photography.

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