Looking at Appalachia

Looking at Appalachia | Les Stone

lesstone23 Les Stone is a photographer based in Claryville, New York who has worked extensively in the coalfields of Appalachia as well as Iraq, Afghanistan, Israel, Kosovo, Liberia, Cambodia, Panama, and Haiti. His images are powerful not only because they bring to our attention important and often overlooked people and events, but because they do so in a visually arresting way. You can see more of his work here.

Les and I got in touch via Facebook, which eventually led to a phone call. It was clear to me from the outset that he was deeply moved by what he saw in Appalachia. The outrage in his voice about miners suffering from black lung disease, his primary focus in West Virginia, was palpable. The passion I heard on the phone is easy to see in his photographs. I asked Les to write an essay to accompany some of his work from Appalachia.

Deep in the Heart of Appalachia

McDowell County, West Virginia is one of the poorest and most remote counties in the United States. Because of coal mining, Welch, had at one time the highest concentration of millionaires in the United States. When I drive down these two lane mountain roads, it feels like another world, far away, perhaps another country, certainly not the wealthiest country on the face of the planet, the USA. For those of you who have never been here, it is truly a special experience and forget all the stupid hillbilly jokes; there are real and great people here with real problems and we are all part of each other’s lives.

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Health Care in Appalachia.

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Thousands of immigrants from Europe came to find work in the coalfields of Appalachia, to Pennsylvania, West Virginia, and Kentucky to name a few. Welch, the county seat of McDowell, is scarcely a shadow of it's former self, but still today more coal is taken out of this area than any time in its history. Mechanization and non-union mining has caused this area has become almost destitute, not to mention that many of these companies have treated the people here with ethical disdain and criminal and moral neglect since the beginning of mining here. Domestic wars have been fought here and hundreds, even thousands, have died in mining accidents and during strikes. Labor history was made here in Appalachia that affects all Americans today.

Black lung, heart disease, diabetes, and drug abuse are endemic in Appalachia. Black lung disease is on the rise among all the miners. Many of formerly wealthy towns in the area are now little more than ghost towns and most of the coal camp towns have fallen into complete poverty. Yet, still to this day the only jobs that pay more than minimum wage are the most dangerous jobs in the world, coal mining. These few jobs are greatly coveted and coal mining, down through the generations, is as so many people have told me again and again, “in our blood.” I’ve met sons who have left the area, gone to college, got an education and come back to mine coal. Mining is not only in the blood, it still pays more than any other job they could potentially get anywhere else. Generations of families have survived and prospered from coal mining.

Health Care in Appalachia.

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Coal mining in West Virginia

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Few people here have health insurance and or easy access to clinics. Life in many parts of Appalachia almost appears to me to be at third world levels of poverty. It's incredibly difficult, yet Appalachian people are some of the proudest, kindest people I’ve ever met.

In the context of a world economy from which we are all suffering, some of our fellow countryman have had it a lot worse for a long time and they should not be forgotten. In fact, they need to be celebrated as heroes; they're the reason the lights are still on. I don't say that to celebrate coal. We need to find less polluting alternatives and quickly, but as in all decisions involving policy you can't forget that people's lives are deeply affected and directly impacted by those decisions.

Coal Mining.

Coal mining in West Virginia

Health Care in Appalachia.

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Many of these men dying of black lung disease live out the remainder of their lives in pain and heartbreak with little faith left in either the coal companies or the government that has neglected them.  Their eyes have been wide open their whole lives. They know what’s possibly in store for them and they know they’re sacrificing their health for family and they do it proudly. Many are bitter, and rightfully so, about how they are treated after no longer being able to work long hours at hard labor in terrible conditions. Most of us wouldn't work underground no matter what the pay is.

All of these people have so many stories, so profound that I can say that I am greatly challenged as a photographer and storyteller. I can only scratch the surface of their lives and every time I plan a trip back, I make the calls and find out another person has died since I was last with them. I’ve never been so stirred by my work.

Health Care in Appalachia.

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I did not grow up in Appalachia. My experiences are completely different and I don’t know what difference I can make for me or anyone and maybe that’s the point. I feel better personally meeting and knowing these incredible people and I think they feel the same. For me, photography is a form of immortality, always living when everyone is gone.

Les Stone April 2013

 

All photographs and essay “Deep in the Heart of Appalachia” © Les Stone.

 

Looking at Appalachia | Joshua Dudley Greer

25 Joshua Dudley Greer is a Visiting Assistant Professor of Photography at East Tennessee State University in Johnson City, Tennessee. His series, Point Pleasant, caught my eye some time ago because of its Appalachian connection. The project also stood out to me as an anomaly of sorts of fine-art Appalachian landscape photography. There seems to be no shortage of "gritty*" documentary photography and photojournalistic projects about Appalachia, but I've had a hard time finding landscape work outside of the Smoky Mountain or Appalachian Trail genre. (Andy Adams' fantastic Looking at the Land exhibition, featured six photographs from Appalachian states as well as an image of Greer's from California.)

While researching the 1967 Silver Bridge collapse and its connection to the Mothman legend, Greer learned of a nearby TNT complex whose subject matter eventually came to construct the series. He agreed to share some of his work from the series. The Point Pleasant project statement:

The West Virginia Ordnance Works (WVOW) was an explosives manufacturing facility constructed during World War II just outside Point Pleasant, West Virginia. Occupying 8,000 acres along the eastern bank of the Ohio River, the WVOW was built specifically for the production and storage of trinitrotoluene (TNT). At its peak, nearly 500,000 pounds of TNT were produced here each day and stored in a massive array of concrete igloos. The site was officially declared surplus and closed in 1945, after which time much of the land was deeded to the state of West Virginia for the creation of the McClintic State Wildlife Management Area.

A large system of ponds and wetlands was constructed as a habitat for waterfowl, migratory birds and other wildlife species. This area came to be known simply as T.N.T. and developed into a popular hangout for local youth, hunters and fishermen. In the early 1980's, EPA and state investigations revealed that the groundwater, soil and surface water of T.N.T. were heavily contaminated with explosive nitroaromatic compounds including TNT, trinitrobenzene, and dinitrotoluene, as well as arsenic, lead, beryllium and asbestos. The site was placed on the EPA's National Priority List in 1983 and extensive cleanup efforts began in 1991. While a large portion of the original facility has been remediated, many of the toxic and explosive contaminants were simply buried on site. The remnants of the WVOW facility survive as relics to our nation's violent history, while the re-purposed landscape hides much of its true nature just beneath the surface.

The site that remains outside Point Pleasant is a haunting place of beauty, mystery and violence. Using an 8x10 view camera, I am photographing the ruins of a once monumental military-industrial complex as it tangles with the surrounding landscape of forest, fields and swamp. While certain structures offer a glimpse of what has transpired on this site, many of my photographs refer indirectly to violence and environmental neglect through metaphor. The repetition of specific imagery is intended to create a labyrinth of sorts where certain motifs are experienced over and over. The interplay of visibility and invisibility that runs throughout these images alludes to the way in which we commonly misperceive both contamination and beauty through strictly visual means. TNT storage igloos are depicted in a serial typology to convey the massive scale of contemporary weapons production, while the emptiness of the landscape, photographed with a muted palette and diffused light, is meant to evoke a kind of post-apocalyptic environment - one that is at times bleak and somber, yet also strangely resilient and beautiful.

There is a familiarity for me with these photographs. They, on some level, remind me of how outside agencies - public and private - have, for decades upon decades, come to West Virginia with the promise of jobs and a semblance of security only to leave (taking jobs with them) a wake of environmental destruction and a threat of danger to mountain communities. I see similarities in a long-neglected and potentially dangerous landscape. In the last few years, the nation's awareness of the destruction caused by mountaintop removal mining has increased exponentially under the watchful eye of communities and a plethora of environmental groups. Greer shows us spaces that are "re-purposed" landscapes, much like the reclaimed mountaintop mining sites in southern West Virginia, and as Greer notes, "these places hide much of their true nature just beneath the suface." In the case of southern West Virginia, where I grew up (130 miles from Point Pleasant), what was hidden beneath the surface - coal - has been extracted in the most violent of means, often using TNT, and then left flattened, forever altered.

Greer's ability to showcase the "interplay of visibility and invisibility that runs throughout these images" is a powerful reminder that what isn't seen is often just as powerful - sometimes more - as what it shown.

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1.  Station 36, Point Pleasant, West Virginia, 2012 2. TNT Storage Igloo N1-B, Point Pleasant, West Virginia, 2009 3. TNT Storage Igloo N1-F, Point Pleasant, West Virginia, 2009 4. Bones and Branches, Point Pleasant, West Virginia, 2012 5. Bullets, Point Pleasant, West Virginia, 2011 6. TNT Storage Igloo N1-A, Point Pleasant, West Virginia, 2009 7. TNT Storage Igloo S6-B, Point Pleasant, West Virginia, 2009 8. North Acid Area, Point Pleasant, West Virginia, 2010 9. Path S7 (Entrance), Point Pleasant, West Virginia, 2012 10. TNT Storage Igloo S7-G, Point Pleasant, West Virginia, 2010 11. TNT Storage Igloo S8-A, Point Pleasant, West Virginia, 2011 12. Path N3, Point Pleasant, West Virginia, 2011 13. Pond 34, Point Pleasant, West Virginia, 2011 14. TNT Storage Igloo S1-E, Point Pleasant, West Virginia, 2011 15. TNT Storage Igloo S3-A, Point Pleasant, West Virginia, 2011 16. Pond 3, Point Pleasant, West Virginia, 2009 17. South Acid Area, Point Pleasant, West Virginia, 2010 18. TNT Storage Igloo S5-A, Point Pleasant, West Virginia, 2012 19. TNT Storage Igloo N7-A, Point Pleasant, West Virginia, 2012 20. TNT Storage Igloos in Pond, Point Pleasant, West Virginia, 2010 21. Interior, TNT Storage Igloo S1-A, Point Pleasant, West Virginia, 2011 22. Interior, TNT Storage Igloo S7-B, Point Pleasant, West Virginia, 2010 23. Interior (Exploded), TNT Storage Igloo S7-F, Point Pleasant, West Virginia, 2011 24. Campfire, Point Pleasant, West Virginia, 2009 25. Dead Deer, Point Pleasant, West Virginia, 2010 26. Drag Trail, Point Pleasant, West Virginia, 2011

All photographs © Joshua Dudley Greer.

*I used the word "gritty" sparingly, intending to reflect the played out notion of how Appalachia has been portrayed.

Sarah Hoskins Postcard Set Giveaway

sarahhoskins-proofsandpostcards CONGRATULATIONS TO OUR WINNER – MELISSA LYTTLE!

UPDATE: Due to flu and holiday travel, I'm extending the deadline until Sunday, 6 January 2013, at 11:59 p.m. EST. The winner will be announced Monday morning, 7 January 2013.

I'm thrilled to announce your chance to win a set of Sarah Hoskins postcards. Sarah will select five photographs from her "The Homeplace" series and Master Printer Chuck Kelton of Kelton Labs in New York City will make gelatin silver prints on Kodak F2 Kodabromide paper.

To enter the drawing, visit Sarah Hoskins' website and go to "The Homeplace." Browse the photographs, find your favorite image, and copy the caption. Paste the caption, along with a description of why it’s your favorite from this series, in the comments section of this page. That’s it! One person will be randomly selected from the submissions to receive the set of postcards. The deadline for the giveaway is Monday, 31 December 2012, at 11:59 p.m. EST. The winner will be announced New Year's morning, 1 January 2013.

Good luck and thanks for sharing!

 

Looking at Appalachia | Sarah Hoskins - Part Two

Sarah_Hoskins_028 We all have different reasons for why pictures resonate with us. Sometimes those reasons are easily defined and sometimes it's a bit of a mystery. As a photographer and as someone who spends a good deal of time looking at photographs, one of the most beautiful qualities of a picture is its ability to offer me something familiar without necessarily having a direct connection to the subject, something I can't quite put my finger on that keeps me coming back.

Sarah Hoskins' dynamic photographs offer us a look into something familiar, where there exists an established, poetic intimacy. Though the people in these photographs aren't familiar to me,  I recognize the intimacy, the humanity. We are inundated with pictures today that attempt to photograph humanity, yet lack a true sense of humanity behind the camera (and in the distribution of the pictures once made). There is something to be said for commitment to long form projects like Hoskins'.

Trust is something that is established and maintained over time. Cultivated. Appalachia has historically been misrepresented, as have African-Americans. When you combine these two truths, it would seem as if the deck is stacked against anyone trying to make serious work here (rightfully so), yet Hoskins connected and she stayed. This is what the process of staying, sticking around, of not taking looks like. There is making and sharing and returning to make and share again. She is not asking for vulnerability without offering her own. For me, this negates the question of whether or not an outsider can truly document a community not their own.

As Hoskins and I spoke by phone again a few days ago, she was baking cookies - eight dozen, in fact - in preparation for a road trip back to Kentucky to attend a wedding of someone in the communities she's photographed for years. Her entire family was invited to share in this special day with what's become her extended family, her community.

Capturing these images on film is a testament to the pace and cadence of her work. She told me she has about one percent of her images edited and printed, which means what we've seen thus far barely scratches the surface of the work she's compiled. Like the lasting friendships Hoskins has built for more than a decade, these photographs will stand as a testament to the love and strength of a Homeplace I hope we all are fortunate enough to find.

Stay tuned for details on how you can win a set of signed postcards from Sarah Hoskins.

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Miss Margaret Raglin

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Mac<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> "The best bookie and bootlegger there was"<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> 2006

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Richard Zion Hill Days

Merytle B on her way to church<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> 2011

 

All photographs © Sarah Hoskins. 1. Farrier Duane, 2012. 2. House of History, 2004. 3. Kayla's Baptism, 2010. 4. New Car, New Zion, 2010. 5. Miss Margaret Raglin, Zion Hill, 2009. 6. Ironing Curtains, 2009. 7. Mac, 2006. 8. Family Reunion, 2003. 9. Apples and Basket, 2004. 10. Homecoming, 2003. 11. Lydia at 100, 2006. 12. Walker Sisters, 2012. 13. Window View, 2003. 14. Richard Hughes, First Annual Zion Hill Days, Zion Hill, 2007. 15. Merytle B on her way to church, 2011.