{"id":129809,"date":"2018-10-04T13:00:04","date_gmt":"2018-10-04T17:00:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=129809"},"modified":"2018-10-04T10:39:43","modified_gmt":"2018-10-04T14:39:43","slug":"five-hundred-faces-of-mass-incarceration","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/10\/04\/five-hundred-faces-of-mass-incarceration\/","title":{"rendered":"Five Hundred Faces of Mass Incarceration"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Before he went to prison, Mark Loughney used watercolors and acrylics to create bright, playful portraits of his favorite musicians. His early work features Trey Anastasio and Grace Potter and Snoop Dogg, all smiling and content, deep into their guitars and joints. But then Loughney committed a crime that even now, years later, he can barely explain. <\/span><\/p>\n

In 2012, when he was thirty-five and struggling to make it as an artist, Loughney got into a fight with residents of an apartment building. According to the police, he returned with a gasoline container and set the building on fire, sending multiple people to the hospital. It was big news in Dunmore, Pennsylvania, where Loughney was raised and where his father was serving a term as mayor. He pleaded guilty and was sentenced to a minimum of ten years in prison. At sentencing, his lawyer brought up the role of alcohol. But Loughney still has difficulty comprehending his own actions. \u201cIt wasn\u2019t as if I was in the midst of an addiction or dealing with clinical anger \u2026 It was a fight gone bad,\u201d he wrote in a recent message from the State Correctional Institution at Dallas, thirty miles southwest of his hometown. \u201cThe main point I hope you can make for me is that I am very remorseful and contrite for what I did. <\/span>I don\u2019t often get the opportunity to express my remorse or apologies and I would really like to be able to do that in a public forum.\u201d<\/span><\/p>\n

After Loughney entered prison, his partner left him, and at times he felt catatonic. But listening to an interview with the Australian painter Johnny Romeo on the radio inspired him to return to his passion. \u201cBy the end of his interview, I was on my feet, in my cell, working,\u201d he wrote. \u201cI\u2019m able now to actually understand how fragile and fleeting life is.\u201d To make sense of his new surroundings, he began to draw what was around him, but instead of depicting the bars and razor wire, he focused on the people. <\/span><\/p>\n

At first, his pencil-on-paper portraits of fellow prisoners were meant to be gifts they could give to their parents, wives, and children. The only criterion Loughney uses for choosing his subjects is their willingness to sit for twenty minutes \u201camidst the chaos of prison,\u201d which is \u201charder than you\u2019d think.\u201d Eventually, Loughney realized that lining hundreds of the portraits up on a wall would make for a dramatic comment on politics and policy. The drawings were first shown last May at a gallery in Scranton, the city that adjoins Loughney\u2019s hometown, under the title \u201cPyrrhic Defeat: A Visual Study of Mass Incarceration.\u201d (The title is from the book The Rich Get Richer and the Poor Get Prison<\/em>, by the scholars Jeffrey Reiman and Paul Leighton.) <\/span><\/p>\n

Loughney asks viewers to donate to victims\u2019 advocacy organizations and sends proceeds to them. \u201cThis is a way that I am able to put my feelings of remorse into a tangible form,\u201d he writes. <\/span><\/p>\n

He hopes the work will inspire people to reckon with the sheer number of people in U.S. prisons. <\/span><\/p>\n

\u201cThe irony is that 500 faces is not even a drop in the bucket of our 2.4 million brothers, mothers, sisters, and fathers that are locked away in prisons in our country,\u201d he writes. \u201cThe average man on the street probably has not the foggiest idea of what \u2018mass incarceration\u2019 means … so my hope is to just get the attention of at least a few.\u201d<\/span><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

A few summers ago, Loughney kept noticing another prisoner on the yard: \u201cAn Asian man with striking long, white hair \u2026 he looked like a rock star from the \u201980s.\u201d They talked about the man\u2019s love of drumming, and Loughney told him about drummers he liked. When Loughney finished the portrait, the man said, \u201cWow! You\u2019ll make a million dollars!\u201d He was from Laos and had escaped the country when his family was murdered. He was in prison for drug possession, and worried that his life would be in danger should he be deported. \u201cTwo weeks later, ICE came to get him,\u201d Loughney recalled. He has since forgotten the man\u2019s name.<\/span><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Loughney\u2019s work brings him into contact with all sorts of prisoners he might not otherwise meet. \u201cI saw a guy here with a skeletal middle finger tattoo that engulfed his entire face,\u201d he wrote. \u201cI said, \u2018Dude, I gotta draw you.\u2019 I asked him his name and he said, \u2018Face.\u2019 I asked him why people called him Face, and he replied, \u2018It\u2019s because I\u2019m handsome.\u2019\u201d<\/span><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Loughney\u2019s best-known subject is probably <\/span>Phil Africa<\/span><\/a>, who helped lead MOVE, a Philadelphia-based black liberation group, before being sentenced to more than thirty years for the fatal shooting of a police officer. As Loughney drew, a fly buzzed around them, occasionally landing on Africa\u2019s face. \u201cYou could swat that fly if you want,\u201d Loughney said. \u201cNo, he\u2019s all right,\u201d Africa responded. \u201cHe\u2019s our brother, too.\u201d Africa died soon after.<\/span><\/p>\n

 <\/p>\n

This story was published in partnership with The Marshall<\/span> Project<\/span><\/a>, a nonprofit news organization covering the U.S. criminal justice system.\u00a0Sign<\/span>\u00a0up<\/span>\u00a0for<\/span>\u00a0their<\/span>\u00a0newsletter<\/span><\/a>\u00a0or follow them on\u00a0Twitter<\/a>.<\/em><\/p>\n

Maurice Chammah is a\u00a0staff writer for The Marshall Project. His work has appeared in the <\/span><\/em>New York Times<\/span>, <\/span><\/em>The Atlantic<\/span>, and elsewhere. <\/span><\/em><\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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