Art as Redemption: “Painting Ourselves Into Society” Exhibition at Berkeley Art Center

Summary

In the vibrant embrace of Berkeley Art Center, a profound narrative unfolds as eight formerly and currently incarcerated artists weave their stories into the very fabric of society through their art. The exhibit, titled “Painting Ourselves Into Society,” is a powerful testament to resilience, expression, and the unbreakable spirit of those often overlooked by the mainstream. For a tense month, the exhibit was shrouded in uncertainty, like a canvas left untouched, as a crucial shipment from San Quentin State Prison vanished into the labyrinth of postal delays. Yet, after fervent calls, the artworks reemerged, safe and poised to make their impact. Co-curated by artist-activist Orlando Smith, still behind bars at San Quentin, and Oakland writer Rahsaan Thomas, a man whose own journey through 22 years of incarceration informs their mission, this exhibition beckons viewers to reconsider the narratives surrounding crime and punishment. Each brushstroke in this exhibition speaks volumes, a dialogue between the artists and society. The creators—Cedar Annenkovna, Corey Devon Arthur, Mark A Cádiz, De’jon Joy, Jessie Milo, Joanna Nixon, Jared Owens, and Alvin Smith—share a collective vision that transcends barriers. They invite us to witness a radical belief: that the root causes of crime—exclusion, poverty, trauma—can be healed through love and opportunity. As the doors of the exhibit swing open this Saturday, September 21, the reverberations of Thomas’s words linger: “Exclusion creates criminals.” Here, art becomes a bridge, a canvas upon which to paint the complexities of existence. Works like Alvin Smith’s poignant series capturing individuals voting from prison cells in a land where such an act is often denied underscore the urgent conversation about inclusion in democracy. Cedar Annenkovna, swept up in the flames of a wrongful conviction, conjures a powerful image of a woman on a winged horse—soaring over a burning California, a symbol of hope rising amidst chaos. The diversity of imagery in this exhibit is a kaleidoscope of perspectives, each artist employing unique techniques and materials, a testament to their resourcefulness under constraint. From Corey Devon Arthur’s courageous composite work stitched together on limited paper, defying the tangible boundaries of prison regulations, to Jared Owens’ shadowy masterpieces that draw connections from the scars of slavery to today’s struggles, this exhibit promises visceral storytelling and deep reflection. Owens, whose artistic journey blossomed over 18 years, stands as a beacon of possibility. His works have been celebrated in esteemed galleries, a reminder that creativity can flourish, even from the ashes of confinement. Thomas, with a heart full of ambition, strives to elevate voices like Owens alongside emerging artists, creating a symbiotic relationship reminiscent of an up-and-coming musician opening for an established star. “If I’m just as talented as Kendrick Lamar but unseen, his audience will discover me,” he notes, encapsulating the very essence of community support and empowerment. The Berkeley Art Center becomes more than a venue; it transforms into a sanctuary where art and activism unite, encouraging a collective healing process. This is a vivid call to action that invites the public to engage with the reality of incarceration and the need for compassion and inclusion for all. Don’t miss the reception this weekend as this captivating exhibit runs through January 12, a promising reminder that in the interplay of art and society, hope and healing can emerge, painting a brighter future for all.

Original Source: www.berkeleyside.org