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"Prisoners as artists."
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Religion and Prison Art in Ming China (1368-1644)
Approaching the prison as a creative environment and imprisoned officials as creative subjects in Ming China (1368-1644), Ying Zhang introduces important themes at the intersection of premodern Chinese religion, poetry, and visual and material culture.
eBook
Belomor
Containing analyses of everything from prisoner poetry to album covers, Belomor: Criminality and Creativity in Stalin’s Gulag moves beyond the simplistic good/evil paradigm that often accompanies Gulag scholarship. While acknowledging the normative power of Stalinism—an ethos so hegemonic it wanted to harness the very mechanisms of inspiration—the volume also recognizes the various loopholes offered by artistic expression. Perhaps the most infamous project of Stalin’s first Five-Year Plan, the Belomor construction was riddled by paradox, above all the fact that it created a major waterway that was too shallow for large crafts. Even more significant, and sinister, is that the project won the backing of famous creative luminaries who enthusiastically professed the doctrine of self-fashioning. Belomor complicates our understanding of the Gulag by looking at both prisoner motivation and official response from multiple angles, thereby offering a more expansive vision of the labor camp.
eBook
America Is the Prison
In the 1970s, while politicians and activists outside prisons debated the proper response to crime, incarcerated people helped shape those debates though a broad range of remarkable political and literary writings.Lee Bernstein explores the forces that sparked a dramatic \"prison art renaissance,\" shedding light on how incarcerated people produced powerful works of writing, performance, and visual art. These included everything from George Jackson's revolutionarySoledad Brotherto Miguel Pinero's acclaimed off-Broadway play and Hollywood filmShort Eyes. An extraordinary range of prison programs--fine arts, theater, secondary education, and prisoner-run programs--allowed the voices of prisoners to influence the Black Arts Movement, the Nuyorican writers, \"New Journalism,\" and political theater, among the most important aesthetic contributions of the decade.By the 1980s and '90s, prisoners' educational and artistic programs were scaled back or eliminated as the \"war on crime\" escalated. But by then these prisoners' words had crossed over the wall, helping many Americans to rethink the meaning of the walls themselves and, ultimately, the meaning of the society that produced them.
eBook
Marking Time: Art in the Age of Mass Incarceration by Nicole R. Fleetwood (review)
The book's Preface begins by describing the haunting absence of men and women who disappeared from communities in the 1980s and '90s as mass incarceration expanded its reach into the author's life and across the United States. Fleetwood writes that \"As prisons rendered more and more people invisible, a spectacular visual assault on residents in communities like mine helped to justify mass incarceration\" in speaking of state-crafted imagery such as \"wanted posters, arrest photographs, crime-scene images, and mug shots\" (xvi). In addition to cataloguing the different ways artists create within the prison, Fleetwood reflects on how these creations inflect our understanding of the world of art on the outside: \"prison art shifts how we think about art collection and art collectors. Gillispie shared his pieces with his family and used his procurement network not only to gain the materials he needed to create art but also to build lasting relationships, as reflected in his willingness to show up to parole hearings for \"incarcerated allies\" (69).
Journal Article
You (Shall) Have the Body
For three days in early October 2015, the Park Avenue Armory museum in New York City staged \"Habeas Corpus,\" a work of installation art that exposed, if not a present-tense violation of the body, then the flickering visions of its immediate past.1The writ of habeas corpus—Latin for \"you (shall) have the body\"—emanates from the Magna Carta, and decrees that authorities holding a person captive must present the body of that person before a tribunal tasked with ruling on the legality of their captivity. This foundational principle of the rule of law was routinely denied the roughly 780 people held at the U.S. detention camp at Guantánamo Bay, Cuba. In response to numerous habeas petitions brought by detainees, the U.S. Supreme Court clarified first (in Rasul v. Bush, 2004) that, based on the early 20th century Insular Cases resolving questions about the geographical dispensation of U.S. sovereignty after the Spanish-American war, the writ of habeas corpus did indeed apply to people held on the Caribbean island;2and second (in Boumidiene v. Bush, 2008), contrary to the Military Commissions Act of 2006, that people held captive at Guantánamo Bay did indeed have the right to bring habeas cases.3The Park Avenue art installation signified upon this legal history. It foregrounded the ways the detained body was obscured from the purview of law and refused entrance into the sovereign territory of the United States. Produced by the acclaimed U.S. performance artist Laurie Anderson, the installation's centerpiece featured what Anderson called the \"telepresencing\" of Mohammed el Gharani.4Born in Chad and raised in Saudi Arabia, in 2002 the then-14-year-old El Gharani was taken captive in Pakistan and detained for two months at the U.S. military prison in Bagram, Afghanistan, before being sent to Guantánamo, where he was held without charge.5The U.S. state claimed that El Gharani had been part of an Al Qaeda cell in London, though El Gharani had never visited London, and even if he had, he would have been a preteen at the time alleged by the state. In 2009, U.S. Judge Richard J. Leon ruled that the allegations against El Gharani were meritless, and, later that year, U.S. authorities at Guantánamo facilitated El Gharani's release to Chad.6
Journal Article
This Baby Doll Will Be a Junkie: Kunst Und Forschung: Projektbericht Uber Abhangigkeiten Und Gewaltraume
Als das Portrat einer Randgruppe fordert dieses Buch zur Auseinandersetzung mit dem Phanomen Outcast heraus, indem es das vielfaltige Material, das in zahlreichen Projekten kunstlerischer Forschung mit weiblichen Drogenabhangigen in europaischen Gefangnissen und Therapieeinrichtungen entstanden ist, ordnet und in einen Zusammenhang bringt. Die Bedingungen, die sich in sozialen Prozessen strukturell verfestigt haben, werden so offengelegt und als offentliche Angelegenheit wahrnehmbar gemacht. Inhaltlich und visuell umfassend dokumentiert werden die biografische und die kunstlerische Arbeit mit den Gefangenen, die Briefwechsel, die Interventionen im isolierten, offentlichen und kulturellen Raum, Protokolle, Reflexionen und Ergebnisse des interdisziplinaren Austausches mit WissenschaftlerInnen.
eBook
This baby doll will be a junkie
The biographical and artistic work with the inmates, the correspondence, the interventions in the isolated, public, and cultural sphere, the minutes, reflections, and results of the interdisciplinary exchange with scientists are comprehensively documented and illustrated.
eBook
Evelyne Leblanc-Roberge's Wall+Paper
EVELYNE LEBLANC-ROBERGE: In October 2014, I sent letters to men and women who are serving a life sentence or are on death row across the United States, asking if they would be interested in collaborating with me to produce a book and exhibition project about living spaces. [...]he'll leave it to others to describe such things.
Journal Article