CENTER’s Producer’s Choice Award 1st Place Winner: Tomas van Houtryve
©Tomas van Houtryve, Screengrab from Divided, 2018, single-channel video installation
Congratulations to Tomas van Houtryve for his First Place win for the CENTER’s 2018 Producer’s Choice Award for his projects, Divided, Lines and Lineage, and Implied Lines. The Choice Awards recognize outstanding photographers working in all processes and subject matter. Images can be singular or part of a series.
Juror Keith Jenkins, Director of Visual Journalism, NPR; formerly Supervising Senior Producer, Multimedia, NPR shares his insights on his selections:
For me, if there is one word that separated the winning entries from all the others, that word would be ‘consistent’. The work that stood out was consistent in its storytelling and execution; consistent in theme and approach, and consistent between the stated intent and the final result. Finally, the work was of a consistent high quality that could sustain repeated viewing; revealing new layers of content each time.
This work took a very simple concept, a border wall between two countries, and visually infused it with all the complexities of the contemporary American debate. The ‘moving picture’ that tells this story, does so in a leisurely way, but clearly one that was thought out and executed with the utmost care and attention to detail. The ‘reveal’, at the end, lingers in your mind. This piece is not overly ambitious, but the artist’s ambition is right-sized to the storytelling and to the ability to tell it with a level of perfection that makes the story of Alta and Baja all the more relevant and impactful to the viewer.
©Tomas van Houtryve, Screengrab from Divided, 2018, single-channel video installation
Jenkins has been a digital manager and strategist specializing in visual storytelling. Jenkins’ teams have earned Pulitzer, Emmy, Peabody, Murrow, World Press, and Webby awards for The Washington Post, NPR, and National Geographic. Jenkins first came to NPR and spent 5 years setting up the Multimedia department at NPR.
©Tomas van Houtryve, Screengrab from Divided, 2018, single-channel video installation
Tomas van Houtryve is a documentary photographer and conceptual artist whose major works interweave investigative journalism, philosophy and metaphor. Van Houtryve makes images using a wide range of processes, from nineteenth-century wet plate collodion to thermal imaging and Augmented Reality. His projects challenge our notions of identity, memory and the relationship between the individual and the State.
Van Houtryve’s works are included in the permanent collections of the International Center of Photography Museum, Nelson-Atkins Museum of Art, and the Chicago Museum of Contemporary Photography.
In 2014, van Houtryve’s groundbreaking Blue Sky Days series was published in Harper’s as the largest photo portfolio in the magazine’s 164-year history. James Estrin of the New York Times stated that “Blue Sky Days is one of the most important photo essays done in the last few years. It tackles issues that are very difficult to photograph but central to modern existence—privacy, government intrusion and modern antiseptic warfare.”
Van Houtryve’s first monograph book, Behind the Curtains of 21st Century Communism, was published in 2012. The seven-year photographic project documents life in the last countries where the Communist Party remains in power: North Korea, Cuba, China, Nepal, Vietnam, and Laos.
Van Houtryve is based in Paris, France.
This work was supported by a CatchLight Fellowship in partnership with the Pulitzer Center.
©Tomas van Houtryve, Screengrab from Divided, 2018, single-channel video installation
Divided
Although they play a consequential role in human lives and group identity, borders are artificial, impermanent and often absurd. Seen through the prism of contemporary politics, these lines between countries can take on dramatic and distorted meanings. From 2017 to 2018, I created a series of lens-based works about the Mexico-U.S. border that reframe our perceptions using line, memory, and perspective.
Divided is a single-channel video installation that focuses on the timeless repetition of lines of waves from the Pacific Ocean as they crash perpendicular into the steel barrier that splits Baja and upper California. The collision of waves is mesmerizing, and we notice unified lines of waves that are divided in two.
©Tomas van Houtryve, Screengrab from Divided, 2018, single-channel video installation
Next in the series is Lines and Lineage, which addresses the missing photographic record of when Mexico ruled what we now know as the American West. Although photography was invented in Paris in 1839, it didn’t arrive in the West until after the U.S. seized the region from Mexico in 1848. Images of the Mexican era were never fixed in our collective memory. Using a 19th century camera and glass negatives, I attempt to fill that vacuum. The work combines landscape photographs of the original Mexico-U.S. border with portraits of descendants of early inhabitants.
©Tomas van Houtryve, From the series Lines and Lineage, Patrick Garcia and East River, 2017, diptych gelatin silver prints, 60 x 40 cm (24 x 16 in.)
©Tomas van Houtryve, From the series Lines and Lineage, Bernadette Therese Ortiz Peña and Carter Lake, 2017, diptych gelatin silver prints, 60 x 40 cm (24 x 16 in.)
©Tomas van Houtryve, From the series Lines and Lineage, Medicine Bow Peak and Ralph Peters III, 2017, diptych gelatin silver prints, 60 x 40 cm (24 x 16 in.)
©Tomas van Houtryve, From the series Lines and Lineage, Anna Maria Gallegos de Houser and Bonneville Salt Flats, 2017, diptych gelatin silver prints, 60 x 40 cm (24 x 16 in.)
©Tomas van Houtryve, From the series Lines and Lineage, Nathan Alexander Steiner and Green River, 2017, diptych gelatin silver prints, 60 x 40 cm (24 x 16 in.)
©Tomas van Houtryve, From the series Lines and Lineage, Dorothy Mary Gallegos and Snow fence, Saratoga, 2017, diptych gelatin silver prints, 60 x 40 cm (24 x 16 in.)
Third in the series is Implied Lines, a critical reflection on how camera systems are used by the border patrol to target and apprehend immigrants. The previous two U.S. administrations spent tens of billions of dollars constructing what they called a “virtual fence,” a vast network of cameras, sensors, and aerial drones. This network is probably the largest array of cameras ever deployed by the US government. Using a drone-mounted camera and thermal imaging technology, my images reveal how the borderlands look through the perspective of weaponized photography. – Tomas van Houtryve
©Tomas van Houtryve, From the series Implied Lines, Nogales, 2018, gelatin silver prints, 100 x 66 cm (40 x 26 in.)
©Tomas van Houtryve, From the series Implied Lines, San Luis Rio Colorado, 2018, gelatin silver prints, 100 x 66 cm (40 x 26 in.)
©Tomas van Houtryve, From the series Implied Lines, San Ysidro, 2018, gelatin silver prints, 100 x 66 cm (40 x 26 in.)
©Tomas van Houtryve, From the series Implied Lines, Wall prototypes, 2018 gelatin silver prints, 100 x 66 cm (40 x 26 in.)
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![In the early morning of Sunday, September 15, 1963, four members of the United Klans of AmericaÑThomas Edwin Blanton Jr.,Herman Frank Cash, Robert Edward Chambliss, and Bobby Frank CherryÑplanted a minimum of 15 sticks of dynamite with a time delay under the steps of the 16th Street Baptist Church in Birmingham, Alabama, close to the basement.
At approximately 10:22 a.m., an anonymous man phoned the 16th Street Baptist Church. The call was answered by the acting Sunday School secretary: a 14-year-old girl named Carolyn Maull. To Maull, the anonymous caller simply said the words, "Three minutes", before terminating the call. Less than one minute later, the bomb exploded as five children were present within the basement assembly, changing into their choir robes in preparation for a sermon entitled "A Love That Forgives". According to one survivor, the explosion shook the entire building and propelled the girls' bodies through the air "like rag dolls".
The explosion blew a hole measuring seven feet in diameter in the church's rear wall, and a crater five feet wide and two feet deep in the ladies' basement lounge, destroying the rear steps to the church and blowing one passing motorist out of his car. Several other cars parked near the site of the blast were destroyed, and windows of properties located more than two blocks from the church were also damaged. All but one of the church's stained-glass windows were destroyed in the explosion. The sole stained-glass window largely undamaged in the explosion depicted Christ leading a group of young children.
Hundreds of individuals, some of them lightly wounded, converged on the church to search the debris for survivors as police erected barricades around the church and several outraged men scuffled with police. An estimated 2,000 black people, many of them hysterical, converged on the scene in the hours following the explosion as the church's pastor, the Reverend John Cross Jr., attempted to placate the crowd by loudly reciting the 23rd Psalm through a bullhorn. One individual who converged on the scene to help search for survivors, Charles Vann, later recollected that he had observed a solitary white man whom he recognized as Robert Edward Chambliss (a known member of the Ku Klux Klan) standing alone and motionless at a barricade. According to Vann's later testimony, Chambliss was standing "looking down toward the church, like a firebug watching his fire".
Four girls, Addie Mae Collins (age 14, born April 18, 1949), Carol Denise McNair (age 11, born November 17, 1951), Carole Robertson (age 14, born April 24, 1949), and Cynthia Wesley (age 14, born April 30, 1949), were killed in the attack. The explosion was so intense that one of the girls' bodies was decapitated and so badly mutilated in the explosion that her body could only be identified through her clothing and a ring, whereas another victim had been killed by a piece of mortar embedded in her skull. The then-pastor of the church, the Reverend John Cross, would recollect in 2001 that the girls' bodies were found "stacked on top of each other, clung together". All four girls were pronounced dead on arrival at the Hillman Emergency Clinic.
More than 20 additional people were injured in the explosion, one of whom was Addie Mae's younger sister, 12-year-old Sarah Collins, who had 21 pieces of glass embedded in her face and was blinded in one eye. In her later recollections of the bombing, Collins would recall that in the moments immediately before the explosion, she had observed her sister, Addie, tying her dress sash.[33] Another sister of Addie Mae Collins, 16-year-old Junie Collins, would later recall that shortly before the explosion, she had been sitting in the basement of the church reading the Bible and had observed Addie Mae Collins tying the dress sash of Carol Denise McNair before she had herself returned upstairs to the ground floor of the church.](http://lenscratch.com/wp-content/uploads/2019/02/001-16th-Street-Baptist-Church-Easter-v2-14x14-150x150.jpg)
