By Lee Bernstein
Lee Bernstein explores the forces that sparked a dramatic "prison paintings renaissance," laying off mild on how incarcerated humans produced strong works of writing, functionality, and visible artwork. those integrated every little thing from George Jackson's innovative Soledad Brother to Miguel Pinero's acclaimed off-Broadway play and Hollywood movie Short Eyes. a unprecedented diversity of felony programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to steer the Black Arts circulation, the Nuyorican writers, "New Journalism," and political theater, one of the most vital aesthetic contributions of the last decade.
By the Eighties and '90s, prisoners' academic and creative courses have been scaled again or eradicated because the "war on crime" escalated. yet by way of then those prisoners' phrases had crossed over the wall, supporting many american citizens to reconsider the which means of the partitions themselves and, finally, the that means of the society that produced them.
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Additional resources for America Is the Prison: Arts and Politics in Prison in the 1970s
America Is the Prison: Arts and Politics in Prison in the 1970s by Lee Bernstein