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07-08-14

Inside Alcatraz: The Hospital

Alcatraz Hospital corridor

Alcatraz Hospital corridor; photo: Jan Stürmann

Visitors to @Large: Ai Weiwei on Alcatraz will encounter the island from new perspectives — not just metaphorically, but literally. With artworks occupying the New Industries Building, A Block, the Hospital, and the Dining Hall, the exhibition invites visitors into historic spaces that (with the exception of the Dining Hall) have usually been off limits to the public. This summer on Field Notes, we’re sharing stories from these remarkable spaces. So far we’ve visited the New Industries Building and A Block; we continue our tour in the Hospital.

Alcatraz Hospital

Photo: Jan Stürmann

“You are entitled to food, clothing, shelter and medical attention. Anything else that you get is a privilege.” — USP Alcatraz Regulation 5: Privileges

Medical care was one of only four basic rights granted to prisoners at the Alcatraz penitentiary. Inmates exercised their right at sick call: every day after lunch, prisoners could line up to ask to be taken to the Hospital upstairs from the Dining Hall. One former officer claimed that as many as 10 percent of inmates would appear in the sick line on a given day, either suffering from genuine illness or hoping for an escape from regular life in the cellblock.

A fully functioning hospital existed on Alcatraz throughout the military and federal prison years. Instead of sending sick or injured inmates to San Francisco where they might have a chance to escape, Alcatraz administrators brought the doctors to the prisoners. A Bureau of Prisons bulletin boasted: “The Alcatraz Hospital, adjacent to the main cell house, is equipped with modern X-ray and physical therapy apparatus, operating theater, laboratories, and dental unit, and contains wards and individual rooms for the treatment and convalescence of inmate patients. It has been certified by the American College of Surgeons and compares favorably with the up-to-date hospitals and clinics in the free community.”

Alcatraz Hospital

Photo: Jan Stürmann

The Hospital was staffed by a general practitioner who lived on the island, while specialists, surgeons, and psychiatrists from the San Francisco Public Health Service and the Presidio military base visited when needed. Female nurses or assistants sometimes accompanied the surgeons — the only time women were ever allowed inside the cellhouse. A doctor who worked on Alcatraz described the inmates falling totally silent — whether out of respect or sheer astonishment — at the sight of a female anesthetist walking the length of the cellhouse to the Hospital.

Alcatraz Hospital cells

Photo: Jan Stürmann

Each ward cell in the Hospital could hold as many as six men, but inmates were usually kept separate for safety reasons. Among the prisoners who spent time in these cells were Al Capone, confined to the Hospital in 1938 after being diagnosed with syphilis; and Robert “Birdman” Stroud, who lived in the infirmary for 11 years. A hypochondriac as well as an extremely disruptive inmate who had incited a riot in D Block, Stroud was permanently moved to the Hospital in 1948 to keep him out of the general population.

Psychiatric observation rooms, Alcatraz Hospital

Psychiatric observation rooms; photo: Jan Stürmann

Set apart from the regular ward cells are two psychiatric observation rooms, called “bug rooms” or “bug cages” by inmates. The number of prisoners who became mentally ill during their time on Alcatraz is hard to pin down: the official estimate of Warden James A. Johnston was two percent, but former inmate Jim Quillen said it happened “a lot more than that — all the time.” Many aspects of life on Alcatraz could drive inmates over the edge: the monotony, the lack of privacy, the threat of violence, even the knowledge that San Francisco and freedom were so close but impossible to reach. However, some prisoners also tried to fake insanity, hoping for a chance to be transferred to another institution — anywhere other than Alcatraz.

See Alcatraz Hospital for yourself when you visit @Large: Ai Weiwei on Alcatraz, on view September 27, 2014, through April 26, 2015. Advance tickets are strongly recommended. To purchase, visit Alcatraz Cruises.

@Large: Ai Weiwei on Alcatraz is organized by the FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. Lead support for the exhibition is provided by Roger Evans and Aey Phanachet and by the Fisher family.

 

@Large: Ai Weiwei on Alcatraz, Alcatraz

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  • #LandsEnd featured artist Andrea Chung’s video Come Back to Jamaica (2009), & Come Back to Yourself (2013), will be… https://t.co/HXwouRNnBa
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FOR-SITE collaborator @hankwillisthomas & artist @wideawakes designed  #EyesonIran flying billboards in solidarity with the women of Iran. 

The billboards can be seen this week on South beach, Miami and at @untitledartfair 

@forfreedoms multi-day, multi-media art installation spans Miami and artworks throughout @4freedomspark in NYC
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FOR-SITE collaborator @hankwillisthomas & artist @wideawakes designed #EyesonIran flying billboards in solidarity with the women of Iran. The billboards can be seen this week on South beach, Miami and at @untitledartfair @forfreedoms multi-day, multi-media art installation spans Miami and artworks throughout @4freedomspark in NYC
2 months ago
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1/9
This #GivingTuesday we want to celebrate and honor YOU and the other partners and supporters who have buoyed our wildest dreams. Access to all of our exhibition sites these past years—from the former Cliff House to Alcatraz to military batteries and churches—was gifted to us from our park partners. The 110 artists with whom we have worked blew us away with breathtaking, career-defining work, often under short order. FOR-SITE simply would not exist without the well of generosity and cooperation that is our friends, and we intend to express our gratitude this year. 

You can continue to support FOR-SITE by donating today at the link in bio.
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This #GivingTuesday we want to celebrate and honor YOU and the other partners and supporters who have buoyed our wildest dreams. Access to all of our exhibition sites these past years—from the former Cliff House to Alcatraz to military batteries and churches—was gifted to us from our park partners. The 110 artists with whom we have worked blew us away with breathtaking, career-defining work, often under short order. FOR-SITE simply would not exist without the well of generosity and cooperation that is our friends, and we intend to express our gratitude this year. You can continue to support FOR-SITE by donating today at the link in bio.
2 months ago
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2/9
The participating artists of FOR-SITE’s 2018 exhibition SANCTUARY, represented diverse ideologies and backgrounds (many including experiences as migrants and refugees), but their contributions to the exhibition—spectacularly varied in content and design—conformed to a single format, lending a unifying element that bridged racial, cultural, and religious differences. Installed on the floor of the historic Fort Mason Chapel, the four-by-six-foot wool rugs—woven in Lahore, Pakistan, using traditional materials and hand-knotting techniques—called to mind traditional prayer rugs, but they transcended religious connotations, encompassing thoughtful viewpoints on cultural identity, sense of place, and belonging.

Photo by @robertdiversherrick
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The participating artists of FOR-SITE’s 2018 exhibition SANCTUARY, represented diverse ideologies and backgrounds (many including experiences as migrants and refugees), but their contributions to the exhibition—spectacularly varied in content and design—conformed to a single format, lending a unifying element that bridged racial, cultural, and religious differences. Installed on the floor of the historic Fort Mason Chapel, the four-by-six-foot wool rugs—woven in Lahore, Pakistan, using traditional materials and hand-knotting techniques—called to mind traditional prayer rugs, but they transcended religious connotations, encompassing thoughtful viewpoints on cultural identity, sense of place, and belonging. Photo by @robertdiversherrick
2 months ago
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3/9
#LandsEnd featured artist @suzannehusky has explored interactions among humans, animals, and plants through a multifaceted art practice that includes sculpture, installation, photography, and film for the last 20 years. 

Husky sculpts her trees from used clothes and found textiles, translating our cast-off clothing—informed by age and gender, class, culture, and politics—to the individualizing characteristics of trees, suggesting the deep interconnectedness of humans and their natural surroundings. “Forest” is both an homage to an ecological system that supports countless plant and animal species and a memorial to that same system under threat of erasure. #artaboutplace
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#LandsEnd featured artist @suzannehusky has explored interactions among humans, animals, and plants through a multifaceted art practice that includes sculpture, installation, photography, and film for the last 20 years. Husky sculpts her trees from used clothes and found textiles, translating our cast-off clothing—informed by age and gender, class, culture, and politics—to the individualizing characteristics of trees, suggesting the deep interconnectedness of humans and their natural surroundings. “Forest” is both an homage to an ecological system that supports countless plant and animal species and a memorial to that same system under threat of erasure. #artaboutplace
2 months ago
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4/9
#LandsEnd featured artist @danielbeltraphoto’s striking, large-scale aerial photographs of melting polar ice caps and oil spills highlight the rate and scale at which humanity is impacting our world. His juxtapositions of nature and destruction provide an almost overwhelming sense of physical scale and emotional dread, through flattened but dynamic images that flirt with abstraction.
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#LandsEnd featured artist @danielbeltraphoto’s striking, large-scale aerial photographs of melting polar ice caps and oil spills highlight the rate and scale at which humanity is impacting our world. His juxtapositions of nature and destruction provide an almost overwhelming sense of physical scale and emotional dread, through flattened but dynamic images that flirt with abstraction.
3 months ago
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5/9
FOR-SITE turns 20 in 2023! We feel extremely grateful to all of you, the artists, and to our long-standing park partners, the Golden Gate National Parks Conservancy (@parksconservancy), the Presidio Trust (@presidiosf), and the @nationalparkservice, for such outstanding companionship and support of our work.

Stay tuned! The celebrations begin next month, in December, followed by a milestone anniversary year punctuated by programs and events, and a to-be-announced biennial exhibition open to the public.

In the meantime, you may have noticed we changed our name and branding, with our new website coming soon. The FOR-SITE Foundation is now FOR-SITE, yet we remain dedicated to the creation, understanding, and presentation of art about place.

We look forward to celebrating with you this next year!
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FOR-SITE turns 20 in 2023! We feel extremely grateful to all of you, the artists, and to our long-standing park partners, the Golden Gate National Parks Conservancy (@parksconservancy), the Presidio Trust (@presidiosf), and the @nationalparkservice, for such outstanding companionship and support of our work. Stay tuned! The celebrations begin next month, in December, followed by a milestone anniversary year punctuated by programs and events, and a to-be-announced biennial exhibition open to the public. In the meantime, you may have noticed we changed our name and branding, with our new website coming soon. The FOR-SITE Foundation is now FOR-SITE, yet we remain dedicated to the creation, understanding, and presentation of art about place. We look forward to celebrating with you this next year!
3 months ago
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6/9
Election Day has arrived! VOTE for the planet and the future you want to see in the world 🌍🌊 🗳️
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Election Day has arrived! VOTE for the planet and the future you want to see in the world 🌍🌊 🗳️
3 months ago
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7/9
@anateresafernandez talking sea bodies and On the Horizon on @kqed live. #LandsEnd
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@anateresafernandez talking sea bodies and On the Horizon on @kqed live. #LandsEnd
3 months ago
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8/9
“The response among members of the visual arts community in the Bay Area was swift and certain: The Times story, a consensus of those who spoke with The Chronicle said, does not represent the region accurately, and they do not see a local decline.

The most common criticism of the Times’ reporting was that San Francisco should not be viewed through the lens of an art market, but rather as a larger arts community consisting of many public and private institutions as well as independent artists, arts workers and patrons.” - @tonybravosf 

@anateresafernandez “On the Horizon” at #FORSITE’s #LandsEnd exhibition featured  in @tonybravosf “S.F.’s art scene, disparaged by the New York Times, pushes back” for @sfchronicle_datebook
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“The response among members of the visual arts community in the Bay Area was swift and certain: The Times story, a consensus of those who spoke with The Chronicle said, does not represent the region accurately, and they do not see a local decline. The most common criticism of the Times’ reporting was that San Francisco should not be viewed through the lens of an art market, but rather as a larger arts community consisting of many public and private institutions as well as independent artists, arts workers and patrons.” - @tonybravosf @anateresafernandez “On the Horizon” at #FORSITE’s #LandsEnd exhibition featured in @tonybravosf “S.F.’s art scene, disparaged by the New York Times, pushes back” for @sfchronicle_datebook
3 months ago
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