Taryn Simon photographs secret sites

Okay, so

90 percent of my photographic process

is, in fact, not photographic.

It involves a campaign of letter writing,

research and phone calls

to access my subjects,

which can range from Hamas leaders in Gaza

to a hibernating black bear in its cave

in West Virginia.

And oddly, the most notable

letter of rejection I ever received

came from Walt Disney World,

a seemingly innocuous site.

And it read -- I'm just going to read a key sentence:

"Especially during these violent times,

I personally believe

that the magical spell cast upon guests who visit our theme parks

is particularly important to protect

and helps to provide them with an important fantasy

they can escape to."

Photography threatens fantasy.

They didn't want to let my camera in

because it confronts constructed realities, myths and beliefs,

and provides what appears to be

evidence of a truth.

But there are multiple truths attached to every image,

depending on the creator's intention, the viewer

and the context in which it is presented.

Over a five year period following September 11th,

when the American media and government were seeking

hidden and unknown sites

beyond its borders,

most notably weapons of mass destruction,

I chose to look inward at that which was integral

to America's foundation,

mythology and daily functioning.

I wanted to confront the boundaries of the citizen,

self-imposed and real,

and confront the divide between privileged

and public access to knowledge.

It was a critical moment in American history

and global history

where one felt they didn't have access to accurate information.

And I wanted to see the center with my own eyes,

but what I came away with is a photograph.

And it's just another place from which to observe,

and the understanding that

there are no absolute, all-knowing insiders.

And the outsider can never really reach the core.

I'm going to run through some of the photographs in this series.

It's titled, "An American Index

of the Hidden and Unfamiliar,"

and it's comprised of nearly 70 images.

In this context I'll just show you a few.

This is a nuclear waste storage and encapsulation facility

at Hanford site in Washington State,

where there are over 1,900

stainless steel capsules containing nuclear waste

submerged in water.

A human standing in front of an unprotected capsule would die instantly.

And I found one section amongst all of these

that actually resembled the outline

of the United States of America,

which you can see here.

And a big part of the work that is

sort of absent in this context is text.

So I create these two poles.

Every image is accompanied with a very detailed factual text.

And what I'm most interested in

is the invisible space between a text

and its accompanying image,

and how the image is transformed by the text

and the text by the image.

So, at best, the image is meant to float away

into abstraction and multiple truths and fantasy.

And then the text functions as this cruel anchor

that kind of nails it to the ground.

But in this context I'm just going to read

an abridged version of those texts.

This is a cryopreservation unit,

and it holds the bodies of the wife and mother

of cryonics pioneer Robert Ettinger,

who hoped to be awoken one day to extended life

in good health, with advancements in science and technology,

all for the cost of 35 thousand dollars, for forever.

This is a 21-year-old Palestinian woman

undergoing hymenoplasty.

Hymenoplasty is a surgical procedure which restores the virginal state,

allowing her to adhere to certain cultural expectations

regarding virginity and marriage.

So it essentially reconstructs a ruptured hymen,

allowing her to bleed upon having sexual intercourse,

to simulate the loss of virginity.

This is a jury simulation deliberation room,

and you can see beyond that two-way mirror

jury advisers standing in a room behind the mirror.

And they observe deliberations

after mock trial proceedings

so that they can better advise their clients how to adjust their trial strategy

to have the outcome that they're hoping for.

This process costs 60,000 dollars.

This is a U.S. Customs and Border Protection room,

a contraband room, at John F. Kennedy International Airport.

On that table you can see 48 hours' worth

of seized goods from passengers entering in to the United States.

There is a pig's head and African cane rats.

And part of my photographic work

is I'm not just documenting what's there.

I do take certain liberties and intervene.

And in this I really wanted it to resemble

an early still-life painting,

so I spent some time with the smells and items.

This is the exhibited art on the walls of the CIA

in Langley, Virginia, their original headquarters building.

And the CIA has had a long history

with both covert and public cultural diplomacy efforts.

And it's speculated that some of their interest in the arts

was designed to counter Soviet communism

and promote what it considered to be pro-American

thoughts and aesthetics.

And one of the art forms that elicited the interest of the agency,

and had thus come under question, is abstract expressionism.

This is the Forensic Anthropology Research Facility,

and on a six acre plot

there are approximately 75 cadavers at any given time

that are being studied by forensic anthropologists

and researchers who are interested in monitoring

a rate of corpse decomposition.

And in this particular photograph the body of a young boy

has been used to reenact a crime scene.

This is the only federally funded site

where it is legal to cultivate cannabis

for scientific research in the United States.

It's a research crop marijuana grow room.

And part of the work that I hope for

is that there is a sort of disorienting entropy

where you can't find any discernible formula in how these things --

they sort of awkwardly jump from government to science

to religion to security --

and you can't completely understand

how information is being distributed.

These are transatlantic submarine communication cables

that travel across the floor of the Atlantic Ocean,

connecting North America to Europe.

They carry over 60 million simultaneous voice conversations,

and in a lot of the government and technology sites

there was just this very apparent vulnerability.

This one is almost humorous because it feels like I could

just snip all of that conversation in one easy cut.

But stuff did feel like it could have been taken

30 or 40 years ago, like it was locked in the Cold War era

and hadn't necessarily progressed.

This is a Braille edition of Playboy magazine.

(Laughter)

And this is ... a division of the Library of Congress

produces a free national library service

for the blind and visually impaired,

and the publications they choose to publish

are based on reader popularity.

And Playboy is always in the top few.

(Laughter)

But you'd be surprised, they don't do the photographs. It's just the text.

(Laughter)

This is an avian quarantine facility

where all imported birds coming into America

are required to undergo a 30-day quarantine,

where they are tested for diseases

including Exotic Newcastle Disease

and Avian Influenza.

This film shows

the testing of a new explosive fill on a warhead.

And the Air Armament Center

at Eglin Air Force Base in Florida

is responsible for the deployment and testing

of all air-delivered weaponry

coming from the United States.

And the film was shot on 72 millimeter, government-issue film.

And that red dot is a marking on the government-issue film.

All living white tigers in North America

are the result of selective inbreeding --

that would be mother to son,

father to daughter, sister to brother --

to allow for the genetic conditions

that create a salable white tiger.

Meaning white fur, ice blue eyes, a pink nose.

And the majority of these white tigers

are not born in a salable state

and are killed at birth.

It's a very violent process that is little known.

And the white tiger is obviously celebrated in several forms of entertainment.

Kenny was born. He actually made it to adulthood.

He has since passed away,

but was mentally retarded

and suffers from severe bone abnormalities.

This, on a lighter note, is at

George Lucas' personal archive.

This is the Death Star.

And it's shown here in its true orientation.

In the context of "Star Wars: Return of the Jedi,"

its mirror image is presented.

They flip the negative.

And you can see the photoetched brass detailing,

and the painted acrylic facade.

In the context of the film,

this is a deep-space battle station of the Galactic Empire,

capable of annihilating planets and civilizations,

and in reality it measures about four feet by two feet.

(Laughter)

This is at Fort Campbell in Kentucky.

It's a Military Operations on Urbanized Terrain site.

Essentially they've simulated a city

for urban combat,

and this is one of the structures that exists in that city.

It's called the World Church of God.

It's supposed to be a generic site of worship.

And after I took this photograph,

they constructed a wall around the World Church of God

to mimic the set-up of mosques in Afghanistan or Iraq.

And I worked with Mehta Vihar

who creates virtual simulations for the army

for tactical practice.

And we put that wall around the World Church of God,

and also used the characters and vehicles and explosions

that are offered in the video games for the army.

And I put them into my photograph.

This is live HIV virus

at Harvard Medical School, who is working with the U.S. Government

to develop sterilizing immunity.

And Alhurra is a U.S. Government- sponsored

Arabic language television network

that distributes news and information to over 22 countries in the Arab world.

It runs 24 hours a day, commercial free.

However, it's illegal to broadcast Alhurra within the United States.

And in 2004, they developed a channel called Alhurra Iraq,

which specifically deals with events occurring in Iraq

and is broadcast to Iraq.

Now I'm going to move on to another project I did.

It's titled "The Innocents."

And for the men in these photographs,

photography had been used to create a fantasy.

Contradicting its function as evidence of a truth,

in these instances it furthered the fabrication of a lie.

I traveled across the United States

photographing men and women who had been wrongfully convicted

of crimes they did not commit, violent crimes.

I investigate photography's ability to blur truth and fiction,

and its influence on memory,

which can lead to severe, even lethal consequences.

For the men in these photographs,

the primary cause of their wrongful conviction

was mistaken identification.

A victim or eyewitness identifies

a suspected perpetrator

through law enforcement's use of images.

But through exposure to composite sketches,

Polaroids, mug shots and line-ups,

eyewitness testimony can change.

I'll give you an example from a case.

A woman was raped and presented with a series of photographs

from which to identify her attacker.

She saw some similarities in one of the photographs,

but couldn't quite make a positive identification.

Days later, she is presented with another photo array

of all new photographs,

except that one photograph that she had some draw to

from the earlier array is repeated in the second array.

And a positive identification is made

because the photograph replaced the memory,

if there ever was an actual memory.

Photography offered the criminal justice system

a tool that transformed innocent citizens into criminals,

and the criminal justice system failed to recognize the limitations

of relying on photographic identifications.

Frederick Daye, who is photographed at his alibi location,

where 13 witnesses placed him at the time of the crime.

He was convicted by an all-white jury

of rape, kidnapping and vehicle theft.

And he served 10 years of a life sentence.

Now DNA exonerated Frederick

and it also implicated another man

who was serving time in prison.

But the victim refused to press charges

because she claimed that law enforcement

had permanently altered her memory through the use of Frederick's photograph.

Charles Fain was convicted of kidnapping, rape and murder

of a young girl walking to school.

He served 18 years of a death sentence.

I photographed him at the scene of the crime

at the Snake River in Idaho.

And I photographed all of the wrongfully convicted

at sites that came to particular significance

in the history of their wrongful conviction.

The scene of arrest, the scene of misidentification,

the alibi location.

And here, the scene of the crime, it's this place

to which he's never been, but changed his life forever.

So photographing there, I was hoping to highlight

the tenuous relationship between truth and fiction,

in both his life and in photography.

Calvin Washington was convicted of capital murder.

He served 13 years of a life sentence in Waco, Texas.

Larry Mayes, I photographed at the scene of arrest,

where he hid between two mattresses in Gary, Indiana,

in this very room to hide from the police.

He ended up serving 18 and a half years

of an 80 year sentence for rape and robbery.

The victim failed to identify Larry

in two live lineups

and then made a positive identification, days later,

from a photo array.

Larry Youngblood served eight years of a 10 and half year sentence

in Arizona for the abduction and repeated sodomizing

of a 10 year old boy at a carnival.

He is photographed at his alibi location.

Ron Williamson. Ron was convicted of the rape and murder

of a barmaid at a club,

and served 11 years of a death sentence.

I photographed Ron at a baseball field

because he had been drafted to the Oakland A's

to play professional baseball just before his conviction.

And the state's key witness in Ron's case

was, in the end, the actual perpetrator.

Ronald Jones served eight years of a death sentence

for rape and murder of a 28-year-old woman.

I photographed him at the scene of arrest in Chicago.

William Gregory was convicted of rape and burglary.

He served seven years of a 70 year sentence in Kentucky.

Timothy Durham, who I photographed at his alibi location

where 11 witnesses placed him at the time of the crime,

was convicted of 3.5 years

of a 3220 year sentence,

for several charges of rape and robbery.

He had been misidentified by an 11-year-old victim.

Troy Webb is photographed here at the scene of the crime in Virginia.

He was convicted of rape, kidnapping and robbery,

and served seven years of a 47 year sentence.

Troy's picture was in a photo array

that the victim tentatively had some draw toward,

but said he looked too old.

The police went and found a photograph of Troy Webb

from four years earlier,

which they entered into a photo array days later,

and he was positively identified.

Now I'm going to leave you with a self portrait.

And it reiterates that distortion is a constant,

and our eyes are easily deceived.

That's it. Thank you.

(Applause)