{"id":1946,"date":"2025-09-03T12:07:00","date_gmt":"2025-09-03T19:07:00","guid":{"rendered":"https:\/\/catbradley.io\/?p=1946"},"modified":"2025-09-03T12:07:00","modified_gmt":"2025-09-03T19:07:00","slug":"between-the-lines-showcases-the-subversive-traditions-of-art-making-while-incarcerated","status":"publish","type":"post","link":"https:\/\/catbradley.io\/?p=1946","title":{"rendered":"\u2018Between the Lines\u2019 Showcases the Subversive Traditions of Art-Making While Incarcerated"},"content":{"rendered":"

\"\u2018Between<\/p>\n

Artists aren\u2019t strangers to creative constraints. Perhaps they work full-time and have to sneak in just an hour of painting before bed. Or a grant requires that they follow a particular set of guidelines that push their practice in a new direction. Whatever the situation, artists are often uniquely positioned to find innovative, experimental approaches to making.<\/p>\n

For those included in Between the Lines: Prison Art and Advocacy<\/em>, which was on view this past month at the Museum of International Folk Art<\/a>, constraints are plentiful. Featuring an eclectic array of works by incarcerated artists, the group exhibition offers a survey of creativity in confinement.<\/p>\n

an envelope with a drawing of a prison in the shape of the state of texas. a watchtower with the word \"austin\" rises from the center
Artist name redacted, \u201cEnvelope (Austin, Texas)\u201d (June 2002, Snyder, Texas), paper envelope, color pencil, pen<\/figcaption><\/figure>\n

A primary thread in the exhibition\u2014which tends to connect most artworks made during a period of incarceration\u2014is an innovative use of materials. John Paul Granillo, for example, renders blue pen portraits on a pair of canvas prison-issue shoes. Other drawings appear on envelopes sent to the Coalition For Prisoners\u2019 Rights, a nonprofit project<\/a> that mailed newsletters inside for several decades.<\/p>\n

There are also several pa\u00f1os<\/a><\/em>, a genre utilizing commissary handkerchiefs, pillowcases, or bedsheets that originated with incarcerated Chicanos in the 20th century. The largely self-taught art form is perhaps one of the best-known traditions to emerge from inside carceral facilities and is a subversive mode of expression: often sent to family and loved ones on the outside, these fabric pieces offer both a way to communicate what might otherwise be censored in letters and a financial opportunity for particularly talented artists who might sell the pa\u00f1os<\/em> for birthday, anniversary, and other gifts.<\/p>\n

While much of the work comes from facilities in the Southwest and Western states, Between the Lines<\/em> extends its reach to connect carceral systems across the globe. A vibrantly beaded bird with bold text reading Masallah<\/em>, or may Allah, comes from 1960s Anatolia. Purchased in 2005 in Istanbul, the piece is a \u201cprotective amulet and hung from car rearview mirrors or other places,\u201d the museum says. <\/p>\n

As Brian Karl points out in Hyperallergic<\/a>, the exhibition is less concerned with prison reform and larger questions of abolition than it is with showcasing the necessity of creating in such a dehumanizing environment. The eagle, a motif associated with freedom in the U.S., appears in several works and speaks to the lack of agency and autonomy in such a punishing system. When people are very literally confined with meager, if any, resources for self-expression, creating becomes both a mode of survival and a revolutionary act. As the exhibition\u2019s title suggests, prison art is always bound up with advocacy and requires makers to find defiance in interstitial spaces.<\/p>\n

\"a
John Paul Granillo, \u201cShoes with ink drawing\u201d (2011\u20132012, Federal Correctional Institution, Ray Brook, New York), blue pen ink, white fabric, rubber<\/figcaption><\/figure>\n
\"a
Michael Guzman, \u201cPA. LA. Casa (To the House)\u201d (1982\u20131984, New Mexico State Penitentiary, Santa Fe), paper, colored pencil, pen. Work courtesy of Stuart Ashman in honor of the talented inmates at the New Mexico State Penitentiary
<\/figcaption><\/figure>\n
\"an
Artist name redacted, \u201cEnvelope (buffalo skull and stepped chevron design)\u201d (October 2005,
Salinas Valley State Prison, Soledad, California), paper envelope, color pencil, pen<\/figcaption><\/figure>\n
\"a
Artist unrecorded, \u201cPicture Frame\u201d (1980s, New Mexico State Penitentiary, Santa Fe), plastic-coated gum wrappers, photograph
<\/figcaption><\/figure>\n
a beaded bird hanging with the word \"masallah\" written at the top
Artist unrecorded, \u201cAmulet\u201d (1960\u20131970, Anatolia, Republic of T\u00fcrkiye), glass beads, cotton string, sequins, stuffing<\/figcaption><\/figure>\n
\"a
J.D., \u201cTe Amo (I Love You)\u201d (2018\u20132020, Cibola County Correctional Center, Milan, New Mexico), torn cotton bedsheets and ink<\/figcaption><\/figure>\n
\"a
Carlos Cervantes, \u201cHispanic History in the Southwest\u201d (1996, New Mexico State Penitentiary, Santa Fe), cotton handkerchief, lead pencil, colored pencils, ink pens
<\/figcaption><\/figure>\n
an embroidery of a woman sweeping a room with a child at the door and a fire in the fireplace. the words \"where are you now\" are at the bottom
Ray Materson, \u201cWhere Are You Now\u201d (1990, Somers, Connecticut), sock thread, silk, fiber
<\/figcaption><\/figure>\n

Do stories and artists like this matter to you? Become a Colossal Member<\/a> today and support independent arts publishing for as little as $7 per month. The article \u2018Between the Lines\u2019 Showcases the Subversive Traditions of Art-Making While Incarcerated<\/a> appeared first on Colossal<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"

Artists aren\u2019t strangers to creative constraints. Perhaps they work full-time and have to sneak in just an hour of painting before bed. Or a grant requires that they follow a…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rss"],"_links":{"self":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts\/1946","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1946"}],"version-history":[{"count":0,"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts\/1946\/revisions"}],"wp:attachment":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1946"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1946"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1946"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}