Annie Flanagan
Deafening Sound
[ EPF 2016 WINNER ]
Deafening Sound examines the deep roots of gendered violence and rape culture in American society. Presently, it combines three documentary projects, a portrait series and a collection of artifacts. It is structured so that each chapter examines different ways systematic gendered violence persists in America. It aims to reduce the stigma of gendered violence, address the complicated cycle of abuse and elevate consciousness about the prevalence of rape culture.
An ash tray from a tourist trap in Biloxi, Mississippi collected in April of 2015. According to RAINN, every 107 seconds, another sexual assault occurs. (Biloxi, MS / April 2015)
A self portrait made in the throes of a panic attack. Since I was raped by a serial rapist on my college campus, I began experiencing panic attacks. I have begun photographing through my panic attacks. Rape is the most common violent crime on college campuses. According to the Cleveland Rape Crisis Center, 1 in 4 college women will be the victim of sexual assault during her academic career. (Syracuse, NY / September 2012)
A child rests on a summer day in Williston, North Dakota. Studies show that nearly 4 million children between the ages of 3-17 are at risk of exposure to domestic violence each year. (Williston, ND / July 2013)
Charlotte days after she left her abusive boyfriend in August of 2015 in Williston, North Dakota. Her boyfriend stabbed her in the thigh, and she came to consciousness bleeding out under a truck. Charlotte first checked into the shelter in 2013, after she left a different abusive boyfriend. Battering is the single major cause of injury to women, exceeding rape, mugging, and auto accidents.
Bree, the day after she left her abusive husband in Williston, North Dakota. She has since moved back in with her husband. On average, women attempt to leave seven times before permanently leaving an abusive relationship. (Williston, ND / August 2015)
“You know what’s nice” Charlotte asked, ?Being able to get in the car and go to the store…without asking.” Here, Charlotte rests outside a shelter in Williston, North Dakota on August 26, 2013. Charlotte moved to Williston that winter to seek work with her ex-boyfriend. According to The National Coalition Against Domestic Violence, every 9 seconds in the US, a woman is assaulted or beaten. (Williston, North Dakota / August 2013)
A child has a tantrum on the Fourth of July. Accordding to the Childhood Domestic Violence Association, children who?ve experienced domestic violence often meet the diagnostic criteria for Post Traumatic Stress Disorder(PTSD) and the effects on their brain are similarly to those experienced by combat veterans. (Williston, ND / July 2013)
A sheet listing the types of abuse you can experience during in an domestic violent relationship. With this particular sheet an anonymous woman circled the types of abuse and control she experienced during her abusive relationship. The shelters asks that women circle the experiences that apply to them, often highlighting the magnitude of their violent domestic relationship. Often times the women do this alone, as the purpose of this is to help the women understand the gravity of their situation. (Williston, North Dakota / 2015)
Bree, a survivor of intimate partner violence. (Williston, ND / August 2015)
This project began when my best friend, Hannah, left her abusive boyfriend. In this relationship she experienced long-term exposure to emotional trauma, where she had little control and there was no hope of escape. This chapter (We Grew Up With Gum In Our Hair) and the accompanying video (Love, Hannah) focus on the correlation between domestic violence and PTSD.
In 2012, I began photographing with two sixteen year old best friends, Nekqua and Brittney, in Syracuse, New York. Months into this project both girls experienced sexual assault, in different experiences on the same day. This chapter (Hey, Best Friend!) works to understand the struggles young women must overcome in dealing with sexual assault.
Since 2013, I have worked closely with a women’s shelter in Williston, North Dakota. This chapter (Sweet Crude) follows survivors of intimate partner violence and sexual assault as they seek safety and support.
After a day of doctor appointments, Maria eats dinner at the crisis shelter. (Williston, ND / February 2014)
Bree crying and waiting at the park after she left her husbands house because they were fighting. She went back to his house later that night. (Williston, ND / August 2015)
Jennifer bathes her daughter the night she was reunited with her children in Williston, North Dakota. She had not seen her children for a week after she left her abusive husband. The children moved in the the shelter with her until they were able to move back home. During that time, Jennifer was demoted at her job because her boss said her personal life got in the way of her job. According to the Childhood Domestic Violence Association, .5 million children witness domestic violence each year in the US (Williston, ND / February 2014)
A week after her attack, she was still experiencing sever pain in her groin and eye. Two days later she boarded a train home to Oregon.
“Should I have shot him? Tell me. What would have happened if I had shot him?” Laura asked the police officer who was filing a restraining order against her ex-boyfriend. Laura’s ex, Percy, got out of jail on July 18, 2013 because it was too far for New Orleans to come and pick him up for the two charges he is wanted for. He is now wanted for violation of his no contact order and domestic violence charges. He initially moved to Williston to escape the charges in New Orleans. According to RAINN, 68% of sexual assaults are not reported to the police. (Williston, ND / July 2013)
Janice Alexander, a survivor of intimate partner violence. (Williston, North Dakota / August 2015)
An excerpt from Hannah’s journal, listing the Pro’s & Con’s of staying alive through her recovery from a violent domestic relationship. (Washington, D.C. / March 2010)
This is one of the first pictures I made of my best friend Hannah after we reconnected in 2009. For two years we had no contact because Hannah was in an abusive relationship and neither of us knew how to handle it. After hannah left her abuser, she suffered sever PTSD and began pulling out all of the hair on her body inlacing her eyebrows, eyelashes and all of the hair on her head. (Washington, D.C. / November 2009)
Hannah and Joe sleeping before Hannah’s 10th different doctors appointment. After she left her abuser she suffered from extreme PTSD and began pulling out all of the hair on her body. None of the doctors she visited were able to help her through her PTSD. According to the National Coalition Against Domestic Violence, 7 out of 10 psychologically abused women display symptoms of PTSD. (Washington, D.C. / March 2010)
Lizzy Sullivan, survivor of rape. (New Orleans, LA / June 2015)
A response to the prompt “what I have learned so far” during a Dismantling Gender and Creating Equality workshop for 10th and 11th grade Compass Students in Brattleboro, Vermont. (Brattleboro, Vermont / Fall 2015)
Nekqua watches the Lifetime Movie Network while resting after school during September, 2012. Two months later Nekqua was raped by her ex-boyfriend. According to The National Domestic Violence Hotline, 80% of women who experience rape, experience their first rape before the age of 25. 69% of women who experience intimate partner violence experienced this violence for the first time before age 25. (Syracuse, NY / September 2012)
Nekqua and her best friend Brittney, then 16, talk on and text while Brittney’s son Jayce sleeps. Jacye is Nekqua’s god son. “I get these rages where I just want nothing around me, no one around me. I just get really frustrated,” Nekqua said of her ex-boyfriend, “Ive had nightmares. [They] started like last month because, it’s April and he’s supposed to be coming home in April.” (Syracuse, NY / November 2012)
An empty heart is tattooed on Brittney’s back. According to RAINN, 98% of rapists will never spend a day in jail. (Antwerp, NY / June 2014)
I am constantly working to further my investigation of this epidemic and visually address issues of gendered violence and representations of women in American society. If awarded the EPF, I will use a portion of the funding to continue working on and complete a film that follows Nekqua before, directly after and years after her assault. Additionally, I will photograph rural domestic violence in Alaska, where the rate of reported rape is three times the national average. If needed, I will shift to photograph rural domestic violence in the Dakotas, where I already have connections.
Short Bio
I picked up a camera in the 7th grade and it has since been the primary way in which I make sense of the world. I have had love affairs with other passions, but it has remained the only constant in my life.
I grew up in Washington, D.C. with amazing parents and three brothers and the constant, insane flux of friends and family. I have lived all over the United States; recently, I have mostly lived out of my car while working on projects. I am not used to having those quite moments in life, which I suppose is one reason I like to find those moments with photography.
My work focuses in American society and explores gender, mental health and friendship within the documentary framework. I tend to begin projects that are informed by experiences I have, or those close to me have, and then I look at how those expereinces exist on a large level and in different situations.
Right now, I live in New Orleans and try to keep life equal parts make believe and harsh realities.
Related Links
Annie Flanagan
Interesting stuff despite the heavy relience on the text
We all know this is going on around us all the time – we see the lady at the store with the black eye, the man with the woman about whom he makes snide sexual innuendo posing as humor, the woman so deferential to the man she lives with or is married to that the fear shows through. But it is them, not us, and we have no proof and fell helpless to do anything about it so we just go on with life. Annie Flanagan has done something about it – brought it home, brought it home, provided proof.
An award well-deserved. May your work go far, Annie, and help bring change in at least a few people’s lives.
Nice and very in-depth work, I really like it. But I dont really understand a thing, or at least I want to question it. Why are those in-frame sepia pictures made like that? I kinda understood that those are the survivors, but I still wanna know… why sepia and why “in frame”?
Thanks!
BIG BIG PROPS AND CONGRATS TO ANNIE!
Couldn’t be happier! and big big ups for the entire Boreal Family! :) :)
much love
bob
If a documentary of this type is to succeed with the general public the text needs to be integrated with the images instead of captions that continually disengage the audience. This is where the video is succeeds and the photographic still lose out.
I see this as a well-realized example of prestigious mainstream photography. It is a very serious topic treated very seriously and it is technically very well done. Congrats, and I certainly share the hope that it provides a positive influence on the lives of others, even if it’s limited to the subjects themselves.
I want to tread carefully here. I’ve interviewed and photographed quite a few victims of abusive relationships and sexual violence, done quite a bit of research, and thought extensively about how to effectively communicate the issues I’ve uncovered while getting to know the women who suffer from these kinds of tragedies. I don’t feel that I’ve succeeded in this, nor do I think my work on the subject is “better” than Ms. Flanagan’s. And I did not submit it to the EPF.
My critique in this case is that I see the these women as being portrayed one dimensionally, as little more than their identity as victims. We are shown nothing of these women’s hopes or dreams, or even their coping mechanisms. We are only shown, and told through the captions, grim details of their victimhood. On one hand, the idea that they are nothing more than their tragedy is not realistic, certainly not for every victim. On the other, depicting them that way is probably not very helpful. People, whether they are suffering, or considering the suffering of others, need to believe that there is a way forward. People, whether they are victims or philanthropists, need to see that there is hope. Though I guess if the intent of the work is entirely preventative rather than palliative, one could argue that hopelessness, whether realistic or not, might be more effective at spurring action? I don’t think so, but reasonable people can no doubt disagree.
Anyway, it’s definitely good work and certainly a worthwhile investment by the EPF. I look forward to seeing how it progresses over the years.
Strong work indeed. Well thought out and empathetic to the subject so kudos on that. I too think that there is a huge reliance on explanatory text, but that’s a hard mountain to conquer I think, due to the heavy nature of the subject. I am glad to see some traditional PJ work get the award this yr vs. some ethereal uber-contemporary absolutely vague and pretentious series. Keep up the good work.
Silent pain …no more !!!
Congratulations Annie.