The San Quentin Project

SKU: PR16325

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Sale price$125.00

Description

The San Quentin Project is an insightful visual narrative capturing the daily life within one of America’s oldest and largest prisons. This unique collection shines a light on the profound human experiences of incarceration, showcasing how an archive can facilitate learning and transformation. Crafted under the guidance of noted artist and educator Nigel Poor, this remarkable book originated from a pioneering photography class conducted at San Quentin State Prison, where typical photographic tools were prohibited. The course encouraged students to create 'verbal photographs' and analyze iconic artworks, expanding their visual literacy in unexpected ways. After gaining access to thousands of historical negatives captured by former corrections officers, the students were able to dive deeper into their observations. The images ranged from the mundane to the harrowing, providing a powerful glimpse into prison life. This project not only educates about art and visual storytelling but also fosters connections through shared stories of resilience and hope among incarcerated individuals. Ideal for art enthusiasts, educators, and those interested in social justice, The San Quentin Project is a must-have addition to any collection focused on contemporary issues.

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Condition: BRAND NEW
ISBN: 9781597114929
Format: Paper over boards
Year: 2021
Publisher: Aperture


Description:


The San Quentin Project collects a largely unseen visual record of daily life inside one of America’s oldest and largest prisons, demonstrating how this archive of the state is now being used to teach visual literacy and process the experience of incarceration.




In 2011, Nigel Poor—artist, educator, and cocreator of the acclaimed podcast Ear Hustle—began teaching a history of photography class through the Prison University Project at San Quentin State Prison. Neither books nor cameras were allowed into the facility, so an unorthodox course with a range of inventivemapping exercises ensued: students crafted “verbal photographs” of memories for which they had no visual documentation, and annotated iconic images from different artists. After the first semester, Poor says, “one student told me he could now see fascination everywhere in San Quentin.”





When Poor received access to thousands of negatives in the prison’s archive, made by corrections officers of a former era, these images of San Quentin’s everyday occurrences soon became launchpads for her students’ keen observations. From the banal to the brutal, to distinct moments of respite, the pictures in this archive gave those who were involved in the project the opportunity to share their stories and reflections on incarceration.

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