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ArtinPrison

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Contents

1. Introduction

2. EntitlementofPrisoners’CreativeExpression

3. EssenceofPrisonArt

4. HistoryofArtinPrison

5. Motivation

6. PoliticalPrisoners

7. Socio­PoliticalArt–Contributionsfromthe

JusticeCommunity

8. ArtPrograms

9. PrisonerArtExhibitions

9.1 International

9.2 Australia

10. ArtTherapy

11. ManagementRelations/Issues

12. MarketingofArt­UseofProfits

13. Vision

14. FutureExhibitions

15. Bibliography

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1.Introduction

Thisprojectdocumentsthehistoryofprisonerartasagenre,exploringthecultureofartand

artistsinandaroundprisons.Areviewofliteraturesurroundingartinprisonsshowsomekey

areasnotexplored,specificallyinthedocumentationandexplorationofparticipants

experienceofartprojects.Discussingthemotivationofformalandinformalartistic

expressionbothoftheincarceratedandcontributionsfromthejusticecommunity,alongwith

thesocial,political,educationalandtherapeuticbenefitsofengaginginartpracticesandthe

particularcharacteristicsthatareinherentinandaresultoftheprisonenvironment.

Thisresearchisinpreparationforpoetry,illustrations,paintingsandotherartproducedby

prisonersthatmaybesentthroughfollowingthepostersthathavebeendistributedtoall

AustralianprisonsforourupcomingpublicationofJUSTUS.Intermsofcollaborating

resources,weareinterestedintheareasofmarketingprisonerart,expressionsofculture,

graphicdesignandteachingofartskills.Lookingintowaystobetterunderstandhowartcan

beusednotjustbyprisonersbutalsobythejusticecommunitytoconveymessages,ideasand

feelingsaroundprisonsandtheirimpactonthehumanexperience.

2.EntitlementsofPrisoners’CreativeExpression

Underarticle19.2oftheUniversalDeclarationofHumanRights:

“Everyonehastherighttofreedomofopinionandexpression;thisrightincludes

freedomtoholdopinionswithoutinterferenceandtoseek,receiveandimpart

informationandideasthroughanymediaandregardlessoffrontiers.”1

Thefulldevelopmentofthehumanpersonalityisahumanright,whichthenbegstheissueof

theprisonersrightofpossessionoftheircreationsandtheirstory,alongwiththeabilitytobe

abletoprofitfromsuchcreations.(Seehttp://justiceaction.org.au/cms/prisons/prison‐

issues/conditions/item/521‐prisoners‐right‐of‐possession)

3.EssenceofPrisonerArt

“Artistheprocessorproductofdeliberatelyarrangingelementsinawaythatappeals

tothesensesoremotions.Itencompassesadiverserangeofhumanactivities,

creations,andmodesofexpression,includingmusicandliterature.”2

1UniversalDeclarationofHumanRights,art19,<http://www.un.org/en/documents/udhr/>at13June20132Wikipedia,‘Art,’<http://en.wikiquote.org/wiki/Art>at24May2013

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Artissucharichareathatisinextricablylinkedwiththeprisonexperience.Informalartistic

expressionhasbeenfoundintheformofartoncellwalls,tattoos,quotationsfromsacred

(religious)texts,illustrationsandvarioushand‐madecraftscreatedwithwhateverprisoners

areabletomakeuseof.Infacttattoosareoneoftheearlierformsofexpressionwhenthere

weren’tmanyresourcesandprisonersdidnothavemany,ifany,possessions.Eventhegraffiti

ofcellwallsinAmericanprisonsisstartingtobeviewedasartisticexpressionratherthan

graffiti.3

Itcanevenbearguedthatthemoresimplisticandprimitiveaculture,themoreartis

integratedinawaythatisinseparablefromdailypractices.4Itcanbecomeratherabstract,as

withthecaseofDonnyJohnsonthatisdiscussedlater.Artistheremainderofwhatdoesnot

fit,ofthingsthatarenotclassifiedintocategoriesthatareperfectible.ArtistNicholasWilton

explainsartintheseterms:everythingthatisn’tperfectibleandcannotbecategorisedgoes

intotheboxlabelledART,whichisthekeeperofourimperfectnatureashumanbeings.5

4.HistoryofArtinPrison

Prisonartcanbedescribedasagenrethatisabletogobeyondtheconfinesofanartroom,

takingonnumerousformsincludingprisonwallsandiscapableofencapsulatingsomeofthe

mostbasicdesiresofthehumanexperience.Prisonartisareflectionandarepresentationofa

culture.Eventhoughthismaybeasubcultureoracounter‐culture,theartcanbesymbolicof

commonvalues,attitudes,behaviouralpracticesandknowledge,whilstremainingconnected

tothethemeof‘outside’.6

Thecommonthemesthatareconveyedthroughartproducedbyprisoners

• Connectiontotheoutsideworld

• Identity

• Escapism/engagementwithimagination

• Freedom

3Johnson,LeeMichael2009,‘APlaceforArtinPrison:ArtasAToolforRehabilitationandManagement,’SouthwestJournalofCriminalJustice,Vol.5(2)4Manley,Roger1991,TheFunctionsofOutsiderArt,OutsiderArt:PsychosisorExpressionofFolkArt‐Making?Master'sThesis,UniversityofNorthCarolina,ChapelHill,pp.80‐92,<http://www.folkstreams.net/context,151>at13June20135Brown,Brene2012,DaringGreatly:HowtheCouragetobeVulnerableTransformstheWayWeLive,Love,ParentandLead,GothamBooks6Ibid,3,p17

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• Family

• Country

• Reflectionoflife;past,present,future

• Transcendtheirreality/experience

Intermsofescapism,artcanbedescribedasanescapismthatisnotunreal,butratheravery

realformofcreativeexpression.Artallowsthedefinitionofpast,presentandfutureofthe

individual.Thisengagementwiththeimaginationcanbeahelpfulreflectioninaprisoners’

life,offeringbroad‐brushstrokesoftheirlifeexperience.Byparticipatinginart,aprisoneris

giventheopportunitytochangethedynamicofincarceration,7usingthearttocreatean

entirelyseparateworldtoescapetoandengagewith.Thisisespeciallytrueforthe

Indigenouspopulationsinprison,asartcanbeadirectlinktotheircultureandcosmology,

connectingthemtotribaltotemsfromchildhoodaswellasreinforcingtheirrelationshipto

landandcountry.8

SomeoftheearliestformsofexpressioncomefromthePenalColonyintheformofconvict

tattoos,rangingfrominitials(mostlikelyoflovedones),toanimals,mermaidsandinanimate

objectssuchaskeysandanchors.Theirmeaningsareelusive,thoughtheywereusedasa

formofpersonalidentification,orperhaps“theonlythingrelatedtoalovedonethataconvict

couldtakewiththemwhentransported.”9

“Participatingintheartswhileinprisonhelpsinmatesdevelopasenseof

accomplishmentandself‐esteem,whicharevitalforasuccessfulreintegrationback

intosociety.Italsohelpsthemconveytheirmessagethroughthearttheycreate–an

apology,acallforreconciliation,oracryofinnocence.”(www.safestreetsarts.org)

Artismadeforcommunicatingandconnectingwithanaudience,oftranslatingmultifaceted

contentinasimplemorereadilyunderstoodform.

7Sobin,Dennis,‘ArtontheInside,’<http://www.safestreetsarts.org/uploads/Art_on_the_Inside‐‐PDF.pdf>8ABC2013,‘PrisonArtBanRaisesHumanRightsConcerns,’<http://www.abc.net.au/radionational/programs/nationalinterest/prison‐art‐ban‐raises‐human‐rights‐concern/3010266>at13June20139Newman,Terry,‘Extract:BecomingaPenalColony,Convictresistance,’<http://www.parliament.tas.gov.au/php/BecomingTasmania/Convictresistance08.pdf>at13June2013

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5.Motivation

Thepsychologicalmotivationthatappearsisintheexertionofcontroloverone’s

environment.Itcanofferasenseof“freedom,ofpower,ofnormalcy.”10Participationinthe

artswhilstinprisoncanassistinbuildingconfidenceandself‐worth,giventhattheir

environmentissoheavilyrestrictedandregulated,consistentlyoppressedandbeingtold

whattodo,artoffersanopportunityforindividualexpression.Similarly,graffiticanbeatool

formarkingterritory,sometimesevencommunicatingwithotherinmates.Itcanbeawayof

dissipatingrepressionandcreatinganddisplayingtheiruniqueidentity.

Someprisonersarealreadytrainedorareestablishedartistsontheoutsideinwhichcase

theywilluseanymeansnecessarytocreatewhilstinprison,whichcanproveproblematicfor

management.Forothersthemotivationismorebasedonanunfulfilleddreamtobeanartist

andnowhavingnothingtolose.11Alsointhatrespect,artsatisfiestheneedtocreatewithno

chanceofreachinganaudience.Withouttheintentionofarttobeviewedbyanaudience,the

arttendstobemoreorganic,rawandhonest.

Equallyimportantistheidentificationwithsomethingotherthan‘prisoner’;thisisvitalfora

prisoner’sstateofmindwhenintegratingbackintosociety,ifthatisthecase.Artoffers

insulation,abufferprotectingthecreativeinmatefromtheharshrealityoftheirexistence

withintheprisonenvironment.Itoffersillusionaryarmour.Andbecauseartisaright‐

brainedactivity,timeisinvisible.12

Avoicetocommunicatetheirsideoftheexperience,especiallyconsideringsomeoftheart,is

inthewayofsatiricalpiecesandcartoons.Itisachancetoofferarepresentationoftheir

experiencetothelargercommunity,andthisisimportanttocreatebalanceandsome

perspective.Itisequallyimportantfortheindividuals’healthydevelopmentandcontinued

connectivityofbothleftandrightbrainhemispheres,astheseareresponsibleforthe

integrationofexperienceaffordingprisonersacoherentnarrativeofpastandpresent,

perceptionandaction;aunificationoftheirlifeexperiencesandreactiontoenvironmental

changes.1314

10Ibid,6,p811Ibid,7,p2912Austinstar2011,‘JailhouseArt,PrisonArt,PanoArte–AKAPanuelosandHandkerchiefArt,’HubPages,<http://austinstar.hubpages.com/hub/Jailhouse‐Art>at13June201313BiologyofAttachment&InterpersonalInteractions,InterpersonalNeurobiology–PositiveHumanDevelopment,<http://www.positivehumandevelopment.com/interpersonal‐neurobiology.html>at22May2013

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DonnyJohnson,aprisoneratPelicanBay,hascreatedhisownuniquestyleofusingthe

coloursleechedfromM&M’sandapaintbrushmadefromhisownhairtocreateabstract

artworksusingblankpostcardsascanvases.Inhisownwords,Donnydescribesoneofthe

hardestthingsaboutbeinginprisonisthe“nearimpossibilityoffeelingconnectiontothe

outsideworld”15andofbeingusefulinsomewaytoothers.Livinginsolitaryconfinementfor

sometwentyyears,Donnyhasbeenabletousehisimaginationtocreateaspacethatenlivens

hissenses.Donnyisafineexampleofhowresourcefulanartistcanbeinfulfillingthat

intrinsicdesiretocreate.

JimmyPike,aninternationallyacclaimedAboriginalprisonartist,discoveredanddeveloped

hisownuniquestyleofexpressioninpaintingwhilstservinghissentenceinFremantle

Prison.HisworkhasbeendisplayedinmorethanfiftyexhibitionsspanningtheAsia‐Pacific,

EuropeandtheUnitedStates.16Hispowerfulandsometimesfluorescentuseofcolourinthe

timelesslyboldpatternshecreatedwereusedtodevelopDesertDesigns,atextilecompany

aimedatcreatingastandardoftheintegrationofindigenousandnon‐indigenousAustralians,

thathasrecentlybeenrebirthedbyJedda‐DaiseyCullen,anartdirector.17(See

www.desertdesigns.com.au)ThiswasshortlyfollowingtheDesertPsychedelicexhibitionof

Jimmy’sworkattheveryprisonhehadbeenincarceratedintenyearsafterhisdeath.

EvencelebratedIndigenousartistGordonSyronattributesthemouldingofhisfuturetohis

artisticexpressionwhilstinprison,“Paintingwasmyescape,whenIwaspaintingit’sas

thoughIwasn’tinprisonanymore,IwasfreeandIwaspartofthatpainting.”18Nothaving

takenartseriouslyuntilincarcerated,artbecamealandscapehewasabletoimmersehimself

in,transcendingandimpartingthedepthofhisexperiencesandhisinextricablebondwithhis

14Lungu,Ovidiu&Stip,Emmanuel2012,‘Agenesisofcorpuscallosumandemotionalinformationprocessinginschizophrenia,’Front.Psychiatry,Vol.3(1),doi:10.3389/fpsyt.2012.0000115‘DonnyJohnson:InHisOwnWords,’<www.donnyjohnson.net/words.html>at13thJune201316JimmyPike(Kurntikujarra),’<http://vrroom.naa.gov.au/print/?ID=19508>at13June201317McKnight,Lillian,‘Interview:DesertDesigns,’<http://www.pagesdigital.com/interview‐desert‐designs/>at30thOctober201218Syron’scall:Athirdlife,10thMay,2011http://tracker.org.au/2011/05/syron%E2%80%99s‐call‐a‐third‐life/

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belovedland.Throughart,Gordonwasabletocommunicatepassionatepoliticalviewsand

expressanger.19

6.PoliticalPrisoners

NelsonMandelacreatedlithographsandthestruggleseriesafterrevisitingRobbenIsland

wherehespentmostofhisincarceration.Acompilationof21sketchesofthemostmeaningful

imagesandsymbolicrepresentationsofhistimeinprison,20themostnoteworthypiecewas

‘thewindow’withthe‘imagined’viewofTableMountainfromhiscellwindowwherehisview

wasinfactaratherbleaksetting.21

DuringtheturbulentIRAyears,thereweremanycraftsmadebyprisoners,manyfrom

matchsticksandwoodmadeintoCelticcrossesandalsohandkerchiefartwithdrawingsofthe

threeScottishsoldierswhowereearlyIRAvictims.Thethemeofcountryagainshines

throughinformalartisticexpressions.

7.Socio­PoliticalArt–ContributionsfromtheJusticeCommunity

Anartistontheoutside’sinterpretationandperspectiveofprisonerscanhaveanimmense

impactonjusticecommunities.InAmerica,artistJackieSumellaskedHermanWallace,a

memberoftheBlackPantherPartywhohasbeenheldinsolitaryconfinementfornearly41

yearsasimplequestion“Whatkindofhousedoesamanwhohaslivedina6’X9’boxforover

30yearsdreamof?”thatwentontobealargescalesocio‐politicalartprojectentitled“The

HousethatHermanBuilt.”Throughthis,JackiewasabletomakeitpossibleforHermantolive

outsideoftheprisonthroughhisimaginationwhilesimultaneouslyofferingthepublicareal

tasteofwhatitislikeontheinsidebyrecreatinghiscurrentlivingcircumstancesinorderto

educatethepeopleandshareHerman’sexperience.(See

http://www.hermanshouse.org/about.php)TheprojectisaimedatbuildingHerman’shouse,

andusingitforgivingbacktohis‘home’community.

ArtistssuchasthelikesofJackieofferavaluablecontributiontothejusticecommunityanda

meansoftranscendingnarrowperspectives,assistinginthetransformationalthinkingthat19Ibid20ClockTowerGallery2009,‘NelsonMandelaArt:OriginalLithographsbyNelsonMandela,’<http://www.clocktowergallery.co.za/nelson‐mandela‐art.php>at13June201321BelgraviaGallery,‘NelsonMandela,LithographsandPhotographs,’BelgraviaGalleryBrochure,pp10‐1,<http://www.paperwiz.biz/?brochure=Belgravia‐Gallery‐Mandela>at13June2013

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improvesopportunitiesforminoritygroups.Theintentionofsocio‐politicalartworksseems

tobearoundthedesiretostimulatesocialcohesion.Artisauniqueinstrumentinthisrespect,

providinganeasywaytounderstandcomplexissuesandinthecaseofJackie’sproject,to

participateasamemberofthejusticecommunity.Avaluablecontributiontowhat‘could’be.

Similarly,inanendeavourtoeducateandgainpublicsupporttocloseTammssupermax

prisoninIllinois,“theinmateswereinvitedtorequestaphotographofanythingintheworld

realorimagined.”22Therequestswerequitevast,rangingfromsimplenostalgicphotoofa

familymembers’hometoanintricatelovesickclown,andwereawelcomerelieftowhat

AmnestyInternationaldescribedas“incompatiblewiththeUSA’sobligationtoprovide

humanetreatmentforallprisoners.”23

Incommemorationof50yearssincetheMandela’scapture,artistMarcoCianfanellihas

erectedalarge‐scaleinstallationof50steelcolumns,representativeofprisonbars,creatinga

portraitofMandelainhologramfashionamidstacountrysidelandscapeinSouthAfrica.24A

reflectionofthecommunity,solidarityandresistanceofthepoliticalchangesfollowingthat

resultedfromhisstruggle.

EmoryDouglas,asprimaryartistfortheBlackPantherParty,createdpostersinresponseto

theracialissuessurroundingthe‘60sand’70swiththeabuseofpowerbypolice.Hissocio‐

politicalartwasintendedtoencapsulatethevoiceofthepeople,thevoiceofacommunity,

andtoofferanopportunitytocommunicateinacomprehensiblewaythecomplexsocial

injusticesbeingfacedbytheblackcommunity.

ThebookPrisonLandscapes,createdbyartistAlyseEmdur,wasinspiredbyphotographsof

prisonersinfrontofvisitingroombackdroppaintingsof‘imaginedutopias.’25Throughher

art,Alysewasabletorevealtherealprisonstructure,architectureandsecuritymeasures

(barsandcameras)incontrastwiththeimaginarypaintedbackdrops,offeringabalanced

ratherthanmaskedrepresentationoftheprisonexperience.Thereisanunderstood

sacrednesssurroundingprisonwaitingrooms,Alysewasabletoencapsulatethis,22TheOnePhotoaPrisonerWantstoSee,6thMay2013http://www.thedailybeast.com/articles/2013/05/06/prisoners‐at‐tamms‐supermax‐prison‐get‐invited‐to‐request‐a‐photo‐of‐anything‐in‐the‐world.html23Ibid24Czech,Jessica,Fightforfreedom:CommemoratingMandela,<http://www.visualnews.com/2012/09/18/fight‐for‐freedom‐commemorating‐mandela/>at18September201225‘PrisonLandscapes’andtheinteriorworldoftheincarcerated,<http://www.kcet.org/arts/artbound/counties/los‐angeles/prison‐landscapes‐alyse‐emdur.html>at29January,2013

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demonstratingthecomplexityofthetensionsinherentinsuchsettingsonanemotionaland

physicallevel.

8.ArtPrograms

Themainobjectivesoforganisedartprogramsthroughouttheprisonsrevolvesaroundthe

improvementofself‐esteem,rehabilitation,educationandprovidingatradeandtoolsfor

artiststouseuponrelease.Givingthemanopportunitytobere‐educated,toreflectonpast

experiencesandgetthemthinkingonhowthey’reliveswillchangeuponrelease.

TheBoomGateGalleryandMalabarArtUnitatLongBaydeliverprofessionaltrainingina

widevarietyofartisticmediums,offeringpracticalartandmarketingskillsaimedat

educatingandcontributingtoconfidencebuildingamongstudents,whilstdisplayingartina

publicgallery.Partakinginartandartprogramscanmakeanimportantcontributionto

addressingsocialchallengesinherentinprisonpopulations.Belowisanimageofacradle

createdbyprisonersatLongBay.

IncollaborationwithteachersfromNSWCorrectionalCentres,TheRedRoomCompanyhas

developedaprogrammecalledUnlocked,aventureaimedatexploringthecreativepotential

ofinmatesthroughpoetryandeducationofthecreativewritingprocess.Morerecentfocuson

IndigenouspopulationswithIndigenouspoetAliCobbyEckermannsharingofherpersonal

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storyprovedvaluable,elicitingstrongpoeticworksfromparticipants.

(http://redroomcompany.org/projects/unlocked/)

JBlockWomenoftheArtProjectwasconductedattheDarwinCorrectionsCentre,whereit

wasnotedthatartisticactivitiesareincrediblyusefultochannelemotioninto‘manageable’

places,givingthemanexternalformandprovidingasimpleandpracticalformofself‐

expression;provingavaluableformofrehabilitation.26

9.PrisonArtExhibitions

9.1International

TheKoestlerAwardhasbeenrunningintheUKformorethan50yearsbytheKoestlerTrust.

Itattractsupwardsof6,000entriesin52categories,offeringregionalandnationalexhibitions

forartworkwiththeopportunitytosellandrecognitionoftheirparticipation.Thissuccessful

awardsprogramisadvertisedviatheINSIDETIMEtheNationalNewspaperforPrisoners,

providingalltheinformationnecessaryalongwiththeapplicationform.Thisisagreat

opportunityforprisonerstoseethatpositiveachievementsareworththetimeandeffortand

agreatencouragementforprisonerstoengagewiththearts.

In2010,victimsofcrimeweregiventheopportunitytobethecuratorsoftheexhibitionfor

theKoestlerAward.Apowerfulformofrestorativejustice,thisallowedanopportunityfor

forgivenessandalsoconveyedthecollectivearchetypalexperiencethattherearevictims

insideandoutsideofprisons.SirStephenTumimoftheKoestlerTrust,intheirpromotional

brochurefrom1999,statedthat:

“Artinprisonisalegitimateinstrumentforhealingwounds.Mostprisonersarriveto

servetheirsentencesbitterandconfused.Frompractisingarttheyderiveasenseof

orderandameasureofself‐esteem.”27

InWashington,thePrisonsFoundationpublishesbookswrittenbyprisoners,including

fiction,non‐fiction,plays,poetry,artbooks,screenplays,musicbooks,memoirsandcomics.

(www.prisonsfoundation.org)Thereisnocensorshipofthematerialcreatedbyprisoners,it

isscanned‘asis’andpublishedonthewebsite.Prisonplaywrights’worksareevenperformed

attheKennedycentreinWashington.Mostrecentlyincludingcreativepiecesbyaprobation

26Djurichkovic,Alexandra2011,‘ArtinPrisons’,UTSShopfrontintheStudentSeries,pp17‐19<http://www.artsaccessaustralia.org/resources/research‐and‐reports/136‐art‐in‐prisons>27Brown,Mary2002,InsideArt:Crime,PunishmentandCreativeEnergies,WatersidePress

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officerandapoliceband,continuingthethreadofinclusionofthewholeofthejustice

community.

9.2Australia

PrisonFellowshipisanannualexhibitionandartprizecalledArtfromInside,withatheme

andascripturalreferencepoint.Italsohasaninternationalartprizeeveryfouryears.The

exhibitionacknowledgesandcommendsparticipants’works.

ApostgraduatestudentatFlindersLawSchool,JeremyRyder,haspioneeredastudyinto

prisonerartwithinandbeyondprison,modelledoffoftheKoestlerTrustwhereRyderspent

timevolunteeringin2011.WorkinginconjunctionwithCorrectiveServices,theAdelaide

FestivalCentreandtheCommissionerofVictims’Rights,theprogramwasruninseven

facilities,producing32artworksfordisplay.Asecondexhibitionhasjustbeenlaunchedinan

efforttocontinuetoconnectprisonerswiththebroadercommunity.“Theirabilitytohavean

emotionalimpactonthepublichadaresonancefortheprisoners,”28reinforcingthe

constructiveuseoftheirtimeoncreativepursuits.“Creatingartwasnotanactivityofficially

embeddedintheprisonsystem–whereitisavailable,accesstomaterialandspaceremainsa

privilegeratherthanthenorm.”29

10.ArtTherapy

Artastherapycanbeaneffectivetoolfor‘unresponsive’prisonersorprisonersunwillingto

engageinverbalcommunication.Itcanbeavaluablewayforexpressionofthingsthatare

ineffable.Byengagingwiththeimaginationinaphysicalway,itallowsroomforindividuals

tocreatenewparadigmsfromwhichtoviewtheirworld.“Alwaysopenandreceptivetonew

possibilities,imaginationistheconductorofcreativeaction,forgingfreshlinksbetween

previouslyseparateentities.”30

Arttherapyprocessescanofferparticipantsamaptoviewwheretheyareintheirlifeand

circumstancesfromamuchwiderperspective,whichcancontributetoclarityofmind.

Intrinsicallytherapeutic,artunlockstheprimarylandscapeofthepsyche,symbolism.Thisis28MarketingandCommunications2013,‘PrisonerArtEarnsPraiseandaSecondExhibition,’FlindersNews,FlindersUniversity,<http://blogs.flinders.edu.au/flinders‐news/2013/05/03/prisoner‐art‐earns‐praise‐and‐a‐second‐exhibition/?utm_source=rss&utm_medium=rss&utm_campaign=prisoner‐art‐earns‐praise‐and‐a‐second‐exhibition>at13June201329Ibid30McNiff,Shaun2004,ArtHeals:HowCreativityCurestheSoul,Shambhala

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achievedthroughtheuseofimageryandmetaphor,whichiswhytheuseofstorycanbeso

powerfulbecausepeoplemeetit“throughthefilteroftheirworldview,theknowledgeand

experienceconditioningtheirmind”31,meaningtheyeachtakesomethingdifferentfromit.As

isdemonstratedintheUnlockedartprogram.

AlbertEinsteinisfamouslyquotedsaying“Wecannotsolveproblemsbyusingthesamekind

ofthinkingweusedwhenwecreatedthem.”Thisisverymuchinlinewiththenotionofthe

therapeuticvalueofart;bycreatingsomethingphysically,itisthenpossibleforanindividual

toengagewiththeircreation,therebyofferingmanylevelsofself‐awarenessand

understanding.Anopportunitytofindwhatmakeslifeworthlivingandpreserving.

Itisimportantforstrongemotionstobefeltandnotfixed32,artprovidesthisopportunity,

offeringasafeoutletforexpressingviolentemotionssuchasangerandfear,bothsecondary

emotionalresponsestoshame.Arttherapyaffordsinmatesfavourableconditionstowork

throughissueswithouttheomissionofspecificsthatcouldwellleadtovulnerability33;shame

isoneoftheseemotions.“Shamecorrodestheverypartofusthatbelieveswecanchangeand

dobetter.”34“Rememberingthatshameisthefearofdisconnection–thefearthatweare

unlovableanddon’tbelong...”35

Arttherapyprovidesaconstructivetoolfortheredirectionofprimitiveimpulsesthatare

prominentincorrectionalsettings,themesaroundaggression,sexualityandescape.Engaging

theimaginationwiththesestrongemotionscanbepowerfulandregenerative.Itisalsoa

uniquetoolinthatitbypassesnotonly“unconsciousandconsciousdefences,including

pervasivedishonesty,”36butiscapableofbypassinglearningdifficulties,disabilitiesand

“otherobstaclestoverbalcommunicationandcognitivedevelopment.”37

“Artcandiminishpathologicalsymptomswithoutverbalinterpretation,”38thoughthe

impositionofdiagnosisandinterpretationofaperson’sinnerconditionbasedonthe

observationsofcreatedimagerycancreateadditionaltensionforindividualsasthese

31Grey,Alex1998,TheMissionofArt,Shambhala,p.10232Ibid,29,p10233Gussak,David1997,Drawingtime:ArtTherapyinPrisons,MagnoliaStreet,p534Ibid,5p7235Ibid,p10936Ibid,2037Ibid,2038Ibid,20

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interpretationsmaynotresonatewiththeirexperience.39Lastly,artandcreativeprocesses

areanacceptablemediumofexpressiontobothinternalandexternalcultures.40

11.Managementrelations/issues

Asmentionedearlier,analreadyestablishedartistinprisonisdesperateforacreativeoutlet

andthiscanbecomeproblematicwhentheircircumstancesdonotallowforit.Furthermore,

thereis“acontradictioninherentinprisonart:thattheprisonispunitive,butcreative

activitiesareveryrewarding.Prisonisintendedtostrippoweranddeliverpain;art

empowersanddelivershappiness.”41

Anotherhindranceisthepreconceivednotionthatrehabilitationintheprisonsettingisnot

possible.4243Suchadefeatistattitudetowardstheeffectivenessofprogramswouldhavea

cripplingeffectontheirimplementation.

Theissueofcensorshipofcontentdetractsfromthetherapeuticnatureandtransformative

potentialfreedomofexpressionprovides.44Likewise,thestatusof‘offender’limitsprisoners

tocreatinguncontroversialartworksbasedonhowtheymightbereceivedbyanaudience,

denyingtheprisontheprospectoftransformingsuppressedfeelingswhicharesearchingfor

anoutlet,whichcouldotherwisemanifestincounterproductivebehavioursuchasviolence.

12.MarketingofArt–UseofProfit

Marketingofartcouldprovidefundingforanartprogramand/orprize.Thusmaking

materialsmorereadilyavailableforprisonersuse.Ashopfrontsomewherecouldtakeon

servingprisonersonworkreleaseandfurtherstimulatediscussionsaroundprisonsand

diminishingstigmaandconnotationsassociatedwiththetermprisoner.

Awebsitecanbecreatedallowingprisonerarttobemarketedviaphotographs,asisthecase

withtheQueenslandGovernmentPrisonerartandcraftonlinegallery.

(http://www.correctiveservices.qld.gov.au/About_Us/The_Department/prisoner_art/index.s

html)TheproceedsfromthesaleandexhibitionofprisonerartinQueenslandhasnowbeen

39Ibid,29,p7840Ibid,2041Johnson,LeeMichael2009,‘JailWallArtandPublicCriminology,’ResearchandPracticeinSocialSciences,Vol.5(1),p11542Ibid,26,p1443Currie,C.,ArtInPrison:AnEvaluationofaNewZealandPrisonProgramme,ISSN0113‐7042,InstituteofCriminology,VictoriaUniversityofWellington,Wellington,1989,p.112.44Ibid

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prohibited,alongwiththetransferorgiftingofarttootherpersons,whichiscontraryto

internationaltendenciestowardtheembracingofartasauniquerehabilitativetoolwith

benefitsextendingtothebroadercommunity.45Thishasraisedtheissueofthehumanrights

surroundingartandcreativeexpression,andthelimitationofexhibitingprisoners’worksasa

violationoftheserights.

WiththeexceptionofQueensland,wherelegislationprohibitingprisonerartworkstobesold,

allotherAustralianStatesandTerritoriesshowthat“therearenospecificprovisionsthat

allowfororprohibitthesaleofprisonerartwork.”46IncontrasttotheQLDlegislativechanges

of2009,VictoriahasbeenrunningexhibitionsofIndigenousartistsincustodyforthepast

fiveyears,suggestingthatthefeedbacksupportsthecreativedevelopmentoftheprisoner.47

WhilstInsideArthasexhibitedartintheWollombiValleyregionforitsninthyearthisyear,48

andwiththesecondexhibitionofArtWithinandBeyondPrisonsinSA,itistroublingtothink

oftheramificationssucharefusalofentitlementscancause.

OneexampleofthedistributionoffundsisthatofKoestlertrust,where25%isdonatedto

victims’support,50%totheprisoners’‘privatecash,’andtheremainingtothetrustfund.As

anotherexample,TheBoomGateGalleryreturns83.5%totheartist,withtheremaining

16.5%areusedtocoverprojectcosts.

Itisimportanttoincludethosewhoseliveshavebeenaffectedbycrime.Itcouldbeproposed

thatapredeterminedpercentageofthesaleamountbeallocatedtocharitableorganisation(s)

decideduponbytheprisoner.49Here,aslidingscalecouldbeused,dependingontheamount

anartworkfetchesastothepercentagedonated.

Artconsignment,withaminimumof20piecesofartrequiredtoparticipate,isanoptionif

thereisamoreconstantflowofprisonerarttobemarketed.50%ofthesaletoberetainedby

theestablishmentthatdisplaystheart,whiletheremaining50%istoberedistributedequally45Fitzgerald,Ross2011,‘Draconianbanonprisonerartmarksareturntothepenaldarkages,’TheAustralian,<http://www.theaustralian.com.au/national‐affairs/state‐politics/draconian‐ban‐on‐prisoner‐art‐marks‐a‐return‐to‐the‐penal‐dark‐ages/story‐e6frgczx‐1225996141916>at29January201146Black,Alison&Clare,Elizabeth,TheRegulationofPrisoner’sArtAnOverviewoftheLegislatureandPolicyPositionWithinAustralia,UniversityofQueensland,ProBonoCentre,<http://www.law.uq.edu.au/documents/pro‐bono‐centre/publications/Artlslaw‐prisoners‐report.pdf>at13June2013,p.2047StKildaFestival,‘ConfinedIV2012,’<http://www.stkildafestival.com.au/2012/contentPage.php?id=215>at13thJune201348InsideArt2013,2013http://www.wollombi.org/2013_inside_art.html49Ibid,p18

16

inthepredeterminedpercentages.Thiscanbeaviableoptionifthevolumeofartincreases

dramatically.

13.Vision

Theshort‐termvisionforthispaperistokeepArtinPrisonasanopenresource,whichothers

cancontributetoandbeapartof.Theintentionhereistoexpandthefunctionandpurposeof

thispaper,toeducateandbringawarenesstothevalueofprisonerartprograms.

Thelong‐termvisionofthispaperisthatthereisanacceptanceandacknowledgementofthe

inherentvalueofartincorrectivesettings,thatprisonersareencouragedtoengagein

creativeactivitiesandthereis,asfaraspossible,supportavailabletofostersuchartistic

expression,contributingtoconstructiveuseofprisonerstimeandcreatinganopportunityto

engageindialoguewiththewidercommunity.

14.FutureExhibitions

Artisararemediumcapableofbridgingthegapincommunicationbetweenprisonersandthe

largercommunity,thisissomethingthatshouldbeembracedandimprovedupon.Usingthe

KoestlerAwardasaframeofreference,wecanworkwithprisonartteacherstogetabetter

graspofcategoriesofart,and,utilisingthisraremedium,incorporatethesefacetstoestablish

aprogramand/orexhibition,thusraisinggreaterawarenesswithinthebroadercommunity

oftherealitiesoftheprisonsystem,andthechallengesinherentwithinthisshadowedculture

ofoursociety.

“Artistheonlywaytorunawaywithoutleavinghome.”(TwylaTharp)

17

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AdditionalLinks

http://redroomcompany.org/projects/unlocked/

http://www.hermanshouse.org/about.php

http://www.prisonsfoundation.org/

http://www.prisonfellowship.org.au/artfrominside_145_1.html