Curating a genre: representing and exhibiting prisoner arts

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ABSTRACT Experiences of incarceration and of artistic engagement have a long – if mostly under-recorded – history, and the urge to create whilst in captivity is increasingly recognized as an important means of expression, survival, resistance and transformation for artists who are largely invisibilised and marginalized. Despite their growing recognition, little is known about prisoner arts as a distinctive genre and about the artists behind these artworks. Even more curious is the standing of prisoner arts once they leave prison walls, where they become subject to the various representational and interpretive rationales of arts organizations, criminal justice mandates and public sentiments. This paper unpacks the representational and curatorial themes of a major prisoner art exhibition in 2023, hosted by Koestler Arts in central London. Through an interview with its curator and the analysis of a series of images from the exhibition, it discusses key tropes in the genre of prisoner arts that make it distinctive, particularly in its unique crafting of the artist-art dyad. The paper queries the role of the curator in showcasing arts from carceral settings and explores political and aesthetic choices made considering the audiences of prisoner arts exhibitions. It argues that curators – and various other mediators involved in bringing prisoner arts into the public domain – play a complex, delicate and ambivalent role in representing captive artists to its audiences – real or imagined. In narrating the representational politics behind prisoner arts, the paper ultimately seeks to highlight the ambivalence inherent in the genre and the ambiguity with which researchers of the prison ought to approach the wider punishment – arts relationship.

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